Francis Poulenc La Voix HumaIne Digital Premiere Oct. 24, 2020 | 7:30pm

2020–2021 DIGITAL SEASON REIMAGINED FOR THE SCREEN CANADA’S ONLY 5-TIME WINNER OF WINERY OF THE YEAR

Since 1981, Mission Hill Family Estate has pioneered British Columbia’s Okanagan Valley as a premium wine making region. Founded by Proprietor Anthony von Mandl, the iconic family-owned winery is known as Canada’s only 5-time winner of the Winery of the Year Award by WineAlign Canada. Guests can experience international award-wining wines and indulge in an epicurean adventure all while enjoying the panoramic views of mountains, lakes, and vineyards.

MISSIONHILLWINERY.COM Francis Poulenc La Voix HumaIne

Tom Wright, General Director

Jonathan Darlington, Music Director Emeritus CONTENTS

VO Administration and Ticket Centre 6 Cast & Creative 19 Behind the Scenes The Michael and Inna O’Brian Centre for Team Vancouver Opera 21 Patron Information 1945 McLean Drive 7 Production Team Vancouver, BC, V5N 3J7 22 VO Board & Staff Administration 8 Synopsis T: 604 682 2871 F: 604 682 3981 9 Notes from the Creative Team VO Ticket Centre Sponsored by Mission Hill Family Estate T: 604 683 0222 10 Biographies [email protected] www.vancouveropera.ca 15 Opera in Context

16 Opera Allsorts

Vancouver Opera acknowledges that we work and perform on the unceded and traditional territory of the Musqueam, Squamish, and Tsleil-Waututh First Nations.

Publication Manager Vincent Wong Design & Layout Annie Mack

Vancouver Opera is a professional company. It operates under the jurisdiction of Canadian Actors’ Equity Association, Vancouver Musicians’ Association, and IATSE, and is a member of OPERA America and Opera.ca 2020–2021 DIGITAL SEASON Privacy Vancouver Opera is committed to REIMAGINED FOR THE SCREEN protecting your privacy. For information on VO’s patron privacy policy, please visit LA VOIX HUMAINE | AMAHL AND THE NIGHT VISITORS our website at vancouveropera.ca. THE MUSIC SHOP | LA TRAGÉDIE DE CARMEN

Cover Artwork by Emily Cooper. WELCOME | GENERAL DIRECTOR

Thank you for joining us for our first production of our digital season, Francis Poulenc’s La Voix humaine.

Poulenc wrote this monodrama in 1958 after the great success of his second opera, Dialogues des Carmélites. In looking for a story, his publisher suggested he adapt the play of the same name by Jean Cocteau and compose it for soprano Maria Callas. However, Poulenc had just worked with French soprano Denise Duval who starred in his Dialogues and knew of her “stormy love life”. He wrote the opera specifically for her and in fact he referred to her as the co-composer.

We are thrilled to have Vancouver native Mireille Lebel perform the troubled character “Elle” in her debut of this demanding tour de force role. Stage Director Rachel Peake returns to Vancouver Opera; Mireille and Rachel last worked together in our 2016 production of The Marriage of Figaro. Providing music direction and piano accompaniment is the talented Kinza Tyrrell.

As we are all feeling the impact of living through a pandemic, I’m reminded of just how important the arts are to our culture and society. The arts bring people together and build connections. We hope our digital season can be a place to share the power of music, theatre and the human voice.

Please get your drinks, snacks, and tissues, sit back in your favourite position on your couch or comfy chair and enjoy.

Tom Wright General Director, Vancouver Opera

4 | LA VOIX HUMAINE WELCOME | BOARD CHAIR

Welcome to Vancouver Opera’s first digital season. I know that many of us are looking forward to attending live opera performances, but in these extraordinary times this season will be a little different than usual. We are grateful that you have joined us to experience a new digital season that is focused on showcasing local talent and our young artists. I hope the program will excite and delight you, and that you enjoy watching and re-watching all season long.

These are challenging times for everyone in the performing arts. At Vancouver Opera, we are blessed with an extraordinary cadre of supporters who are committed to ensuring we emerge as strong as ever from the pandemic so we can return to offering live performances.

Enjoy the performance and thank you for your support.

Richard Rees Chair, Vancouver Opera Board of Directors

| LA VOIX HUMAINE 5 La Voix HumaIne

Monodrama | By Francis Poulenc | Libretto by Jean Cocteau, original work

Music Director / Pianist Kinza Tyrrell Director Rachel Peake

CAST

Woman (Elle) Mireille Lebel

Set & Costume Designer Hair and Makeup Amir Ofek Nina Farrauto

Lighting Designer Wardrobe Team Lead Jeremy Baxter Caitlin Fysh

Scenic Lead Stage Manager Andrea Joy Rideout Theresa Tsang

Head Scenic Painter English Translations Omanie Elias Rachel Peake

Head of Costumes Parvin Mirhady

First performed at Paris, Opéra Comique, February 6, 1959.

Vancouver Opera premiere October 24, 2020 at 7:30pm.

The performance will last approximately 45 minutes. In French with English subtitles.

DIGITAL SEASON SPONSOR DIGITAL SEASON PRODUCTION PATRONS LA VOIX HUMAINE PRODUCTION PATRONS Mr. Ross & Ms. Ursula Southam Ms. Martha Lou Henley, C.M. Alan & Gwendoline Pyatt Foundation LA VOIX HUMAINE PREMIIERE PATRONS Yoshiko Karasawa Brigitte & Henning Freybe

6 | LA VOIX HUMAINE Monodrama | By Francis Poulenc | Libretto by Jean Cocteau, original work LA VOIX HUMAINE RECORDING PRODUCTION TEAM

Producing Partner CHAN CENTRE STAFF Bob Baker T. Patrick Carrabré Director Carl Armstrong Events and Customer Audio Producer Service Manager Denise Ball Wendy Atkinson Rentals and Programming Manager Audio Engineer Lloyd Balser Head Audio Technician James Perrella Simone Doust Development Officer, Faculty of Arts Collide Entertainment Kara Gibbs Marketing and Camera Operators Communications Manager Mike Southworth David Humphrey Production Manager Adam PW Smith Rebecca Isaac Production Clerk Aaron Nathanson Flora Lew Finance Manager Editor Janice Lew Rentals & Programming Assistant Mike Southworth Glenda Makela Financial and Programming Clerk Assistant Editor Trevor Mangion Ticket Operations Manager Aaron Graham Chloe Martin-Cabanne Operations Clerk Veronica Maynard Administration and COVID Safety Officer Finance Clerk Marijka Asbeek Brusse Caitlin Mckee Presenting Manager Claire Mohun Associate Marketing and PR Manager La Voix Humaine Francis Jean Marcel Poulenc, Kirsty Munro Associate Presenting Manager Jean Clement Eugene Cocteau James Perrella Assistant Head First performed at Paris, Opéra Comique, February 6, 1959. Universal Music Publishing Canada Audio/Stage Technician on behalf of Ricordi Ed. S.A. Liz Kraft, Assistant Head Stage Technician Andrew Riter Assistant Technical THANK YOUS Director / Head Lighting Technician Canadian Actors’ Equity Nadia Roberts Events and Front of Vancouver Musicians Association House Coordinator Union of British Columbia Lyndsey Roberts Ticket Office Supervisor Performers UBCP/ACTRA

| LA VOIX HUMAINE 7 SYNOPSIS

A woman, Elle, lies in her apartment. At first we do not know if she is alive or dead. She rises and is about to leave when the phone interrupts her. There is confusion on the line with wrong numbers and crossed wires. Finally the third call gets through—it is her ex-lover. She tells him that she was out with her friend Marthe the night before, after which she took a pill to help her sleep upon her return home. The couple discusses their past relationship and she blames herself for their problems, telling him “Everything is my fault” (Tout est ma faute). As the conversation continues there are numerous telephone problems and the connection terminates. She calls her former lover back but learns he is not at home, he has been out all evening. He calls back and she hides the fact she knows he is not calling from home. She admits to having lied about going out with Marthe and tells him that the truth is she attempted to die from suicide by taking sleeping pills. After taking the pills she called Marthe, who came with a doctor to save her. Suddenly, Elle hears background music and suspects that her ex-lover is at his new girlfriend’s home. She hints at this suspicion but it is never confirmed. She reveals that she is obsessed with the telephone and has slept with it in bed the past two nights. Again, the connection is terminated and she panics. Her ex-lover calls back again and she tells him that she has the telephone cord wrapped around her neck. She tells him to hang up while she professes her love over and over again until at last the connection is cut for the last time.

8 | LA VOIX HUMAINE NOTES FROM THE CREATIVE TEAM

KINZA TYRRELL, Music Director

La Voix humaine is Francis Poulenc’s third and final opera. All were written in the latter part of his career as he wanted to be at full maturity when he tackled them. Admitting to having had a taste for ‘adorable bad music’ when growing up, he was also greatly influenced by Bach, Mozart, Schubert and Chabrier. Poulenc believed in composing music that was ‘healthy, clear and robust’—his melodies are simple, pleasing, memorable and emotionally expressive. His earlier music was thought to be high spirited and irreverent—his later music, more serious. His contemporaries thought the man to be a true mix of the two, ‘half naughty boy/half monk’. For many years, Poulenc had a reputation as a frivolous, lightweight composer; only recently have people given more attention to his serious works, of which La Voix humaine is one. Looking into his personal life, one can imagine that he must have related to the deep depression of Elle, the sole character in this work. He had his friend, colleague, and performing partner, soprano Denise Duval, in mind as he composed, and worked closely with her and the playwright Jean Cocteau (who designed the scenery and costumes and also directed) on preparing the premiere. This one act tragédie lyrique contains very sudden and extreme musical shifts—reflecting Elle’s fragile state of mind—from anxiety to calm and vice-versa. There are many a cappella (voice alone) moments encouraging the voice to be free, wild and spontaneous. When the accompaniment joins in, Poulenc dictates it to be ‘bathed in the greatest orchestral sensuality’. This opera is saturated with short musical motifs revealing Elle’s tension, feigned casualness, lamenting, false calmness, fear, pleasant memories, and frustration at the intermittent connection with her ex-lover during their 40-minute telephone conversation.

Dr. Kinza Tyrrell is Vancouver Opera’s Principal Répétiteur and Music Director for Vancouver Opera In Schools.

LISTEN TO THE MUSIC WATCH INTERVIEW

RACHEL PEAKE, Director

In this interview Rachel tells us what she loves most about the opera, including the 1950s period, its relevance to living through a pandemic, and the exciting possibilities of filming the work for a digital season.

WATCH INTERVIEW

| LA VOIX HUMAINE 9 BIOGRAPHIES

KINZA TYRRELL | MUSIC DIRECTOR/PIANIST

Kinza is the Principal Répétiteur and Music Director of Vancouver Opera In Schools at Vancouver Opera. She has also been on the music faculty at the Canadian Opera Company, has worked as Conductor, Assistant Conductor and Senior Répétiteur at Opera Nuova in Edmonton and the Opera As Theatre Program at the Banff Centre, and has held conducting and teaching positions at the University of Victoria, Vancouver Summer Opera Studio, Center for Opera Studies (COSI) in Sulmona Italy, Opera Kelowna, the Vancouver International Song Institute (VISI) and the Charlie Creek Vocal Workshop in Wabash, Indiana.

A much sought after vocal coach, accompanist and répétiteur, Kinza has shared recital stages with many renowned singers, including Richard Margison, Erin Wall, Benjamin Butterfield, Daniel Taylor, and Measha Brueggergosman.

Kinza received her Doctorate in piano and vocal coaching from McGill University under the tutelage of Michael McMahon, and studied at the Hochschule für Musik und darstellende Kunst in Graz, the International Mozarteum Summer Academy in Salzburg, the Tanglewood Music Festival and the Merola Opera Program.

RACHEL PEAKE | DIRECTOR

Originally from Saskatchewan, Rachel is a freelance director and dramaturge of theatre and opera. From 2017 to 2020 she led the Citadel's New Play Development initiatives as Associate Artistic Director of the Citadel Theatre. In June 2017 she won the Jessie Richardson Award for Outstanding Direction for her work on Green Lake, produced by Solo Collective Theatre, which also received a Jessie nomination for Outstanding Production.

Rachel recently directed The Garneau Block for the Citadel Theatre and The Marriage of Figaro for Edmonton Opera. Rachel directed and dramaturged Hyperlink for The Elbow, which was nominated for Critic's Choice in Innovation at the 2018 Jessie Awards. Recent directorial credits also include La Cenerentola and The Marriage of Figaro for Vancouver Opera, A Christmas Carol for Gateway Theatre, and Angels in America: Part One for Studio 58.

​Rachel interned at the Komische Oper in Berlin, at Stratford's Michael Langham Workshop for Classical Direction, at the Shaw Festival's Neil Munro Directing Internship. Rachel is a graduate of the University of Alberta and Studio 58.

10 | LA VOIX HUMAINE MIREILLE LEBEL | WOMAN/ELLE

Berlin based, Canadian mezzo−soprano Mireille Lebel grew up in Vancouver and studied music at the University of Toronto and the University of Montreal. She was awarded major grants by the Canada Council and the Jacqueline Desmarais Foundation and furthered her artistic training as a member of the Atelier Lyrique de l’Opéra de Montréal. She is now making critically successful debuts with opera companies and orchestras in Europe and North America.

The 2019/2020 season saw Mireille make role debuts as Nicklausse in Les contes d'Hoffmann in Dessau, and in the title role of Vivaldi's Arsilda at the Rudolfinum in Prague with Vaclav Luks and Collegium 1704. She made her Italian debut in the Paul-Émile Fourny production of Carmen. This season sees the release of the disc Vienna 1905-1910 with the Richter Ensemble on Passacaille where she sings Schoenberg's 2nd String Quartet. She can also be heard in recital with Early Music Vancouver and the Société d'art Vocal in Montreal. Next season's projects include a return to the role of Nerone in an unusual new production of L’incoronazione di Poppea at Columbus Opera directed and conceived by Artistic Director Peggy Kriha-Dye, as well as Idamante in Idomeneo at Opera-Theatre de Metz.

VO audiences last saw Mireille shine in the role of Siébel in the 2019 VOF production of Faust.

AMIR OFEK | SET & COSTUME DESIGNER

Amir was born and raised in Israel. He graduated from Central Saint Martins College of Art & Design (BAhons Theatre Design) and Brandeis University (MFA Theatre Arts).

He designed for productions in London, Tel-Aviv, Boston, Waltham (MA) and Durham (NC) where he worked as the resident set and costume designer and guest lecturer in theatre design for Duke University Department of Theatre Studies.

Since immigrating to Vancouver, Amir has been designing productions for the Arts Club Theatre Company, Bard on the Beach, Chemainus Theatre Festival, Western Canada Theatre, The Search Party and other local independent theatre companies. Amir recently taught an advanced set design class for UBC department of Theatre and Film.

Amir garnered seven Jessie Richardson Theatre Awards nominations and awards for Outstanding Set Design for the Arts Club Theatre Company production of Boeing Boeing (2013), and Outstanding Set Design for The Search Party production of The Father (2019).

| LA VOIX HUMAINE 11 BIOGRAPHIES

THERESA TSANG | STAGE MANAGER

In her over 20 seasons with Vancouver Opera’s Stage Management Department, Theresa Tsang has helped to bring over 80 productions to the stage including Lillian Alling, Evita, Madama Butterfly, L’Elisir d’amore, and Faust. Beyond VO, Theresa has also stage managed for such companies as Pacific Opera Victoria, Banff Centre, UBC’s Opera Department, Wexford Festival Opera in Ireland, and Garsington Opera in the UK on such productions as The Tempest, Kopernikus, Louis Riel, The Skating Rink (World Premiere), Dinner at Eight (European Premiere), and The Turn of the Screw.

Theresa has also contributed to many critically acclaimed shows including the double Irish Times Theatre Award winning production of Kevin Puts’s Silent Night, and the International Opera Award winning production of Guglielmo Ratcliff, both for Wexford Festival Opera in Ireland. She has also received recognition from the Stage Management Association in London, England for her work with WFO. Theresa is a graduate of UBC’s Technical Theatre and Design Programme.

JEREMY BAXTER | LIGHTING DESIGNER

Jeremy has worked in Vancouver’s arts community for the past 25 years—mostly as a technical director and lighting designer. He is currently the Technical Director for: Théâtre La Seizième, PuSh International Performing Arts Festival, Vancouver International Children’s Festival, Vancouver Folk Music Festival, and Vancouver International Dance Festival.

He has designed lights for numerous theatre and dance productions (most recently with Théâtre La Seizième, EDAM Dance and Circadia Indigena) and has been the Lighting Designer for the UBC Opera Ensemble for 25 seasons (more than 70 opera productions at the Chan Centre Concert Hall, the Old Auditorium and other venues around BC). Jeremy is also a cofounder and artistic staff member of Some Assembly Arts Society which focuses on producing original theatre productions written and performed by youth.

12 | LA VOIX HUMAINE PARVIN MIRHADY | HEAD OF COSTUMES

Parvin has been Head of Costumes with Vancouver Opera since 2002. In addition to her work as Head of Costumes she has been the Costume Designer and Costume Design Consultant on several of Vancouver Opera’s productions including Costume Design for the critically acclaimed Nixon in China, The Barber of Seville and Dark Sisters. Parvin has worked with UBC Opera Ensemble as Costume Designer on many productions including Pasazerka (The Passenger) and Silent Night. In addition to her work in opera and theatre Parvin has worked extensively in the film industry. She is a successful businessperson having made and designed her own line of clothing.

| LA VOIX HUMAINE 13 VANCOUVER OPERA OFFSTAGE

Join host Les Dala every second Wednesday for this audio podcast as he chats with opera experts, artists and others to explore the world of opera on and off the stage.

Don’t miss Les’s interview with La Voix humaine's Mireille Lebel, available from Wednesday, October 21.

Subscribe to #VOffstage on your favourite podcast apps! OFFSTAGE Mireille Lebel. Photo by Pierre-Etienne Bergeron. OPERA IN CONTEXT | COLLEEN MAYBIN

OPERA AS A CATHARTIC EXPERIENCE

When we have a strong emotional response to an opera, we often leave the theatre feeling rejuvenated and emotionally refreshed because the emotions portrayed on stage resonate truthfully. When Francis Poulenc was working with soprano Denise Duval on the score and libretto for La Voix humaine, they were both in the grips of an emotional crisis. They drew on their personal experiences to create what Poulenc described as a "musical confession." The results deeply moved the playwright Jean Cocteau. After sitting in on a rehearsal, he wrote the composer stating, "You have worked out, once and for all, how to speak what I have written." This artistic authenticity positions Francois Poulenc's La Voix humaine as perhaps the perfect opera for audiences in 2020.

The operatic monologue takes place in a series of final phone calls between Elle and her ex-lover. The audience only hears her side of the conversation as she tries to reconnect with him. The opera, and Cocteau's play, were written at a time when telephones had become more common. It was now possible to speak directly to someone on the phone. However, the shared intimacy of communicating directly with another person had become mediated through technology that was fraught with complications. Elle finds herself trapped in her apartment. She must stay close to the telephone, so she doesn't miss his call. Wrong numbers, crossed party lines, and his failure to answer the phone add to her mental decline. She finds herself increasingly cut off from him, both literally and figuratively.

Like Elle, we have spent much of 2020 isolated in our homes, reliant on technology to communicate with those we love. The worldwide outbreak of COVID-19 has required society to shut down many of the avenues for in-person communication that are vitally important to our health and well-being. Government agencies and mental health organizations have reported a stark increase in the number of Canadians who report feeling anxious, fearful, and isolated. In La Voix humaine, Poulenc poured his emotional life into music that describes the nature of depression. Director Rachel Peake has used the digital platform to create a uniquely intimate version of the work. For audiences, this production is an opportunity to deeply feel the pandemic's impact and find solace in letting those emotions go.

Colleen Maybin is the Director of Learning and Engagement at Vancouver Opera.

| LA VOIX HUMAINE 15 Opera LA VOIX HUMAINE Allsorts A mix of tidbits and tales about Poulenc's emotional monodrama

ONE ACT WITH A CALLAS CONNECTION DROPPED CALLS Composer Francis Poulenc adapted Cocteau’s play into The opera La Voix humaine an opera in 1958 after the success of his second opera was originally based on Dialogues des Carmélites (1957). Legendary soprano a single act play by Jean Maria Callas was initially suggested to him for the role of Cocteau, completed in 1928 Elle, but Poulenc had another singer in mind. and originally premiered in 1930. Cocteau’s intent was to create a drama refined to the most basic elements. The play lacks the act breaks that typically create story structure. Instead, the structure is only punctuated by the intermittent dropped connections in the sole character’s phone call.

FRANCIS POULENC AND JEAN COCTEAU

16 | LA VOIX HUMAINE POULENC'S MUSE

Poulenc felt a deep affinity with the character’s tumultuous story as he struggled with his own addiction to antidepressants, tranquilizers, and sleeping pills. Having worked with soprano Denise Duval on his previous opera, Poulenc was aware of Duval’s troubled love life and was determined to have her originate the role of Elle in La Voix humaine.

DENISE DUVAL AS ELLE IN LA VOIX HUMAINE, AT TEATRO COLÓN, 1960

THREE'S COMPANY

Poulenc, Duval, and Cocteau worked together on the premiere of the opera. Poulenc composed the part of Elle specifically for Duval and considered her a co-composer of the role. Cocteau took on the roles of director and designer of costumes and stage décor. He customized the costumes and lighting specifically to suit Duval.

DENISE DUVAL AND FRANCIS POULENC IN PARIS JEAN COCTEAU, 1928

| LA VOIX HUMAINE 17 Prop up the artists At this very challenging time, we appreciate your support in propping up the artists and helping us return to the stage. Every dollar helps, and goes a long way. It’s not over, and we will return.

DONATE NOW BEHIND THE SCENES | AUTUMN COPPAWAY

RECORDING STAGE

Elle is in desperation for her lost love, a current allegory to our industry in this pandemic. We miss our audience; our crews and their creative collaborations. We are mourning our lost love, our audience is an integral part of our art.

As production personnel are artists in their own mediums, we respond to the environment as creatively as possible, within our limitations. La Voix humaine set at the Chan Centre I am every proud of my team who rose to meet the new challenges in our creative collaborations. The curtain deadline remains, schedule subject to change for post-production.

These new challenges may positively transform our world, perhaps change crisis into opportunity, with our new artistic relationships and community partners. The recording process adds a layer of production, but also a new perspective and way to see the story.

Autumn Coppaway is Technical Director at Vancouver Opera.

Mireille Lebel transforms into Elle

Rehearsal at the O'Brian Centre Director Rachel Peake, Mezzo-soprano for Vancouver Opera Mireille Lebel, & Music Director Kinza Tyrrell

| LA VOIX HUMAINE 19 FREE BROADCAST STREAMING NOW

THE FLIGHT OF THE HUMMINGBIRD

AN OPERA FOR ALL AGES MUSIC COMPOSED BY MAXIME GOULET LIBRETTO & CREATIVE DESIGN BY MICHAEL NICOLL YAHGULANAAS & BARRY GILSON

A co-production with Vancouver Opera and Pacific Opera Victoria

VANCOUVER OPERA LOTTERIES

YOUR CHOICE OF A TESLA MODEL 3 SR OR $50,000! WIN! PLUS! 50/50 +BONUS DRAW GRAND PRIZE DRAW

OCT 31!

BUY YOUR TICKETS NOW!

Tesla Lottery: Chances are 1 in 5,000 (total tickets for sale) to win a grand prize! BC Gaming Event Licence #: 126409 50/50 Lottery: Chances are 1 in 7,000 (total tickets for sale) to win a grand prize! BC Gaming Event Licence #: 126410

Problem Gambling helpline: 1-888-795-6111 www.bcresponsiblegambling.ca Know your limit, play within it. 19+ to play! PATRON INFORMATION

PRE-SHOW TALKS DEVICE COMPATIBILITY Learn more about the Vancouver Opera You will be able to access our Digital Season production you’re about to see with our website from any iOS or Android smartphone, Pre-Show Talk videos! Topics range from the tablet, desktop or laptop computer through an composer’s life and repertoire, to historical internet browser. context about the work, to more details about the artists involved with the production. To view a performance on your television, we recommend an AppleTV or Chromecast WATCH THE PRE-SHOW TALK streaming media device, or a smart TV with a built-in internet browser. Other streaming media devices may also be compatible.

TICKET SERVICES Our in-person ticket centre is temporarily closed. Digital Season subscriptions can be purchased FREQUENTLY ASKED QUESTIONS (FAQ) online only at digital.vancouveropera.ca VISIT OUR FAQ PAGE FOR ANSWERS To use your credit on account or value on a gift certificate, please call the VO Ticket Centre at 604 683 0222, Monday–Wednesday, 9am–12pm. E-NEWSLETTER AND SOCIAL MEDIA Sign up for our e-newsletter to stay up-to-date on all of the latest Vancouver Opera news.

YOUR SUBSCRIPTION SIGN UP FOR ENEWS The 2020–2021 Digital Season subscription includes unlimited on-demand access to all four You can also find us on social media with the performances for you and your household to handle @VancouverOpera and use our hashtag enjoy. Each opera will be available on-demand #VOgoesdigital from its designated Digital Premiere date until the end of the season, June 2021.

HOW TO WATCH QUESTIONS? The performance videos will be available Contact VO Ticket Centre only with a digital subscription at 604 683 0222 digital.vancouveropera.ca. To access these Monday–Wednesday, 9am–12pm videos, log in to the Digital Season website [email protected] with your email and password. Content cannot be downloaded.

VIEW OUR "HOW TO WATCH" VIDEO AUDIENCE ADVISORY Viewers are advised that La Voix humaine includes references to self-harm and suicide. Help is available. Speak with a counsellor today or learn more at crisisservicescanada.ca

| LA VOIX HUMAINE 21 ADMINISTRATION

DISTINGUISHED HONORARY PATRON

Martha Lou Henley, C.M.

VANCOUVER OPERA BOARD OF DIRECTORS 2020–2021 SEASON

Chair: Richard Rees Treasurer: Roger Flowerdew Past Chair: Bill Maclagan Vice Chair: Meera Bawa Secretary: Susan Van der Flier Mass Abedi Judy Halbert Jennifer Muench Alexi White Alexander Bjornson Kirk LaPointe Jan Sampson Andrea Wood Catherine Dangerfield Maria Leone Carol Tsuyuki Nancy Wu

VANCOUVER OPERA STAFF

Tom Wright, General Director Jonathan Darlington, Music Director Emeritus

Director of Artistic Chief Development Director of Director of Learning Director of Finance Planning Officer Marketing and Engagement and Administration Adrianne Wurz Lisa Westermark Sarah Hitner Colleen Maybin Doug Querns

ARTISTIC PLANNING DEVELOPMENT Artistic Associate: Leslie Dala Director, Donor Development: Carmen Murphy Artistic Administration: Theresa Tsang Manager, Strategic Partnerships: Erin Reddekopp

Music MARKETING Associate Conductor / Chorus Director: Leslie Dala Creative Director: Annie Mack Principal Répétiteur / Assistant Conductor / Assistant Marketing and Sales Manager: Vincent Wong Chorus Director: Kinza Tyrrell Ticket Centre Associate: Charlene Hibbard Répétiteur: Tina Chang Ticket Centre Associate: Kathryn Dobbs Orchestra Manager: Jim Littleford Publicist: Cynnamon Schreinert Music Librarian: Tom Shorthouse Orchestra Stage Manager: Jim Tranquilla FINANCE AND ADMINISTRATION Chief Financial Officer (On Leave): Catriona Cheng Production Director of Information Technology: Hali Autio Technical Director: Autumn Coppaway Accountant & Payroll Administrator: Scenic Team Lead: Andrea Joy Rideout William Murgatroyd Wardrobe Team Lead: Caitlin Fysh Building Manager: Kevin MacLeod Head of Costumes: Parvin Mirhady Office Services Administrator: Keltie Laidlaw

YULANDA M. FARIS YOUNG ARTISTS PROGRAM

Program Head: Leslie Dala Head Coach: Kinza Tyrrell Coach: Tina Chang Jonelle Sills Ian Cleary Amy Seulky Lee Amanda Weatherall Luka Kawabata Dana Fradkin

VANCOUVER OPERA FOUNDATION BOARD OF TRUSTEES 2020–2021 SEASON

Chair: Paul McEwen Treasurer and Secretary: Jim MacCallum Jill Bodkin Catherine Dangerfield Emily MacKinnon Terry Pask Jake Boxer Yuri Fulmer Bill Maclagan Richard Rees Neil Carnell Michael Gallagher Jennifer Muench Russell Smith

22 | LA VOIX HUMAINE COMING NEXT

Gian Carlo Menotti Amahl and the Night Visitors A holiday classic for the whole family

Digital premiere: December 12, 2020 at 7:30PM

Director: Sarah Pelzer | Amahl: Andreas Dala | Music Director: Leslie Dala 2020–2021 DIGITAL SEASON REIMAGINED FOR THE SCREEN

vancouveropera.ca

VO’s 2020—2021 digital season artwork is by Vancouver artist and photographer, Emily Cooper.

DIGITAL SEASON SPONSOR

DIGITAL SEASON PRODUCTION PATRONS LA VOIX HUMAINE PRODUCTION PATRONS LA VOIX HUMAINE PREMIERE PATRONS

Ms. Martha Lou Henley, C.M. Alan & Gwendoline Pyatt Foundation Mr. Ross & Ms. Ursula Southam Brigitte & Henning Freybe Yoshiko Karasawa

OFFICIAL WINERY TICKET CENTRE SPONSOR WITH CONTINUING SUPPORT FROM