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La Voix Humaine Digital Premiere Oct 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.
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