CANADIAN OPERA COMPANY Spring 2013 Per forman ce
LUCIA DI LAMMERMOOR Roger Honeywell as Narraboth and Helen Field as Salome in the COC production of Salome , 2002. Photo: Michael Cooper
CONTEN TS 4 A DANCE TOWARDS THE LIGHT ROBERT CARSEN AND MICHAEL LEVINE DISCUSS DIALOGUES DES CARMÉLITES BY CLAIRE MORLEY
18 BEL CANTO AT ITS BEST DAVID ALDEN DISCUSSES LUCIA DI LAMMERMOOR BY SUZANNE VANSTONE
26 LOOKING AT SALOME BY NIKITA GOURSKI
Anna Christy as Lucia in the CANADIAN OPERA COMPANY Spring 2013 English National Opera production of Lucia di Lammermoor , 2008. Per forman ce Photo: Clive Barda n CANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative n RJ PERFORMANCE MEDIA INC .: PRESIDENT AND PUBLISHER: Joe Marin o n CEO: Frank Barbosa n SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina Zicari n NATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino, Paul Radford n ART DIRECTOR /DESIGN: Jan Haring a n GRAPHIC ARTIST: Glenda Moniz
n Cover images: Lucia di Lammermoor : Anna Christy as Lucia in English National Opera’s production of Lucia di Lammermoor , 2008. Photo: Clive Barda Salom e: Helen Field as Salome in the Canadian Opera Company production of Salome , 2002. Photo: Michael Cooper Dialogues des Carmélites : Patricia Racette as Madame Lidoine (centre) in Lyric Opera of Chicago’s production of Dialogues des Carmélites , 2007. Photo: Robert Kusel
Canadian Opera Company’s edition of Performance magazine is published quarterly by RJ Performance Media Inc., 2724 Coventry Road, Oakville, Ontario, L6H 6R1. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright © Performance Inc. Subscriptions available by contacting publisher. Direct all advertising enquiries to 2724 Coventry Road, Oakville, Ontario, L6H 6R1 or phone 905-829-3900, Ext. 222.
Catch up with blogs and enjoy COC Radio at coc.ca . 3 The COC presents Dialogues des Carmélites . Isabel Bayrakdarian as Blanche de la Force in the Lyric Opera of Chicago (LOC) production, 2007. Photo: Robert Kusel
ADAN CE TOWARDS THE LIGHT: ROBERT CARSEN AND MICHAEL LEVINE DISCUSS DIALOGUES DES CARMÉLITES
BY CLAIRE MORLEY
irector Robert Carsen and set designer Carmelite nuns made. It’s very powerful DMichael Levine created their production because of both the spiritual and intellectual of Poulenc’s Dialogues des Carmélites for quality of the work; these are people who the Netherlands Opera in 1997. Since then, have dedicated their whole lives to their it has been performed in numerous cities beliefs, and achieve some kind of good across the world. Carrying “overwhelming through them.” emotional force” ( Chicago Tribune ), this is Carsen and Levine, who have worked the first time their production of Carmélites together for over 25 years on 26 productions, will be seen in Toronto, an exciting venture began their creative process by going for Carsen and Levine, both Toronto-born. directly to the score, paying careful attention According to Carsen, the unique power to both Georges Bernanos’ libretto and of Dialogues des Carmélites lies in its ability Poulenc’s masterful setting, which Carsen to “speak to humanity in a very particular argues is in a class of its own. “The quality way. You don’t have to be Catholic to be of Poulenc’s writing is so beautiful and very moved by the sacrifice that these 16 seductive. The orchestration is brilliant,
4 Canadian Opera Company 2012/20 13 Season A DANCE TOWARDS THE LIGHT: Robert Carsen and Michael Levine discuss Dialogues des Carmélites ™ a i r o h p u e
n o i t a r o p r o C
c i t e m s o C
n i e l
Robert Carsen Michael Levine K
n i v l a C
consisting of strange, electrifying moments, So much of this intention, Levine argues, 2 1 0
yet the whole work has a genuine and is informed by the French Revolution. “We 2 honest sincerity to it. It’s a very unusual wanted to give the sense and feeling of © piece of writing.” what it would be like to be an aristocrat The musical climax of the piece is saved with revolution on the doorstep. That is a for the final scene, in which the nuns sing difficult story to tell and get across to an the famous “Salve Regina” and, one by one, audience. Quite early, we decided the best are executed by guillotine until only Blanche way to illustrate that was to have a large is left singing, having finally accepted her group of revolutionaries on stage slowly faith. Intensely tragic though this ending close in. In order to give some sense of may be, Carsen felt strongly that Poulenc’s the anxiety within the piece, which is very score also evoked a sense of something apparent in the score, the revolutionaries more profound taking place. “The music is slowly encroach on the aristocrats and remarkable for this ending, and we wanted nuns. We realized that the way to define to try to find a way to deal with what we these spaces was by using people.” heard in it, which is both very powerful These various senses of space are yet has a sense of something positive some of the most powerful aspects of the happening. You hear this in the music, production. Carsen says, “It’s really a space which is so ravishingly beautiful. So we in which the audience has to believe. have treated this not just as a horror story We use people, not objects, to delineate it, with the guillotine, but in a more stylized and I decided not to use any scenic way which I call a ‘dance towards the light.’” elements that would describe where you Levine adds, “When Robert and I work, are. I felt very strongly that it was wrong to we always begin with the music and the have any theatricalized religious elements, story, and we try to find a way that will m ake so there are no crucifixes apart from on it come alive for the audience. We take these the rosary, and no religious scenery – it pieces that were written anywhere from the is all done in a much more abstract way. 17th through to the 20th century and try Religious scenic elements on the stage can to present them to an audience today in very easily go kitsch on you, and I wanted a way that is both accessible and exciting. to avoid that. That doesn’t necessarily mean turning “I don’t think it’s possible to do it in a it on its head and setting it in a Laundromat more minimalistic way, and I couldn’t think euphoria Calvin Klein is proud to be in Chinatown – it doesn’t have to be that. of the work as being anything other than the Preferred Fragrance of the Canadian Opera Company For us, it’s more about discovering the an empty space – like the emptiness of a intention behind the piece.” cell. If you think of a monk or a nun praying
6 Canadian Opera Company 2012/20 13 Season
1 8/24/12 12:52 PM
A DANCE TOWARDS THE LIGHT: Robert Carsen and Michael Levine discuss Dialogues des Carmélites in a completely undecorated space, you can to bring it to Toronto because of his pride imagine this ‘faith space. ’” Levine adds, “As in the production. “It feels good to do soon as you bring an object into that space, something that, after 16 years, is still a very it places great importance on that object. strong piece of work. That is very rare and You can define it in other ways – we try to I’m thrilled to see it finally make its way to define the emotion of the scene in an empty Toronto, to one of the best newly designed space defined by the people on stage and opera houses in the world, and one that the lighting.” I really love.” Carsen believes that these spaces will Carsen is similarly enthusiastic about be complemented by the aesthetic of the bringing it to Toronto audiences. “I think Four Seasons Centre for the Performing wherever one performs it, it inevitably has Arts (FS C). “Apart from Amsterdam, we an extraordinary impact; Poulenc’s personal have never done this production in a really circumstances while he was writing the modern opera house,” he says, “and the work are very much in the DNA of this FSC will be an incredible support to this piece. You feel his personal suffering very production. Even the production’s colour poignantly in the opera. I really believe this tones are very much in harmony with the is Poulenc’s masterpiece, and I can’t wait hall. And with one of the best casts we’ve for everyone to rediscover it.” n ever had, I think it’s going to be very powerful to hear this in that theatre.” Claire Morley is the Communications Assistant Levine adds that he is particularly excited at the Canadian Opera Company.
FOR FURTHER INSIGHT INTO DIALOGUES DES CARMÉLITES , PLEASE READ JON KAPLAN’S INTERVIEW WITH ISABEL BAYRAKDARIAN, ADRIANNE PIECZONKA AND JUDITH FORST, AVAILABLE IN THE SPRING ISSUE OF PRELUDE ONLINE AT COC.CA/PUBLICATIONS .
A scene from the LOC production, 2007. Photo: Robert Kusel
8 Canadian Opera Company 2012/20 13 Season A DANCE TOWARDS THE LIGHT: Robert Carsen and Michael Levine discuss Dialogues des Carmélites
Supernumeraries are, as both Robert Carsen and Michael Levine attest, a crucial part of their production of Dialogues des Carmélites , forming the menacing mass of French revolutionaries who are an ever-present threat throughout the opera. Indeed, there are over 100 in this production.
SUPER JIM LUCAS! Meet Jim Lucas, supernumerary-extraordinaire! Jim has been a “super” with the COC in approximately 60 productions, beginning with Der Rosenkavalier in 1990, in which he recalls having to navigate a tricky spiral staircase dressed as a lackey while holding a sword. He remembers his hands trembling with nerves when he shared a scene with the Marschallin, sung by soprano Carol Vaness, but that initial experience got him hooked.
Jim had been a COC subscriber prior to trying his luck as a super, but his love for opera has grown with his experience. “Being part of the COC family, you discover a great understanding about the art form, especially if you’re working with a great LIVE APRIL 27 director,” he says. “It’s not like you just show up GIULIO CESARE and stand there; you develop your own story and HANDEL your own character. Opera seems bare and minimal ENCORES JUNE 1 & 3 at the beginning, but then you get on stage, in (l – r) Alan Held as Gianni Schicchi and costume, and it all comes together in live performance. Jim Lucas (as a corpse!) in the COC production Sure, it’s a hobby. But a very rewarding hobby.” of Gianni Schicchi , 2012. Photo: Michael Cooper JOIN US FOR THE FINAL
Congratulations, Jim, on your 23 years with us! The COC is proud to have you as part of the family. BROADCAST OF THE SEASON!
FOR MORE OF JIM’S INTERVIEW, PLEASE GO ONLINE TO OUR BLOG AT COC.CA/PARLANDO . Transmission of The Met: Live in HD in Canada is made possible thanks to the generosity of David Daniels, sings the title role Jacqueline and Paul G. Desmarais Sr. opposite Natalie Dessay as Cleopatra. IN MEMORIAM a
The COC would like to note the passing of John Bertram, who, for many r e p O
years, was one of our most experienced and accomplished supers. As the n a t i
harassed maitre d’ in La Bohème , a role he played many times, the drunken l o p o
doctor in Peter Grimes or a lowly servant in Fidelio , he was always a r t e M
favourite of COC stage managers and directors. Like many of our supers, / n a c
John had a career outside opera, but loved to be on stage and part of the i v a
show. He will be missed by many in the opera world and we acknowledge e H
k c him for his many hours of hard work, talent and dedication on our stage. i N
Visit Cineplex.com/Opera : o t
John Bertram in the COC production of Peter Grimes , 2003. o h for tickets and participating theatres P TM/®Cineplex Entertainment LP or used under license.e.
10 Canadian Opera Company 2012/20 13 Season DIALO GUES DES CARMÉLITES: OPERA BACKGROUND
The premiere of Dialogues des Carmélites took place at La Scala, Milan in January 1957, and was performed in Italian. The original French version premiered that same year at the Opéra national de Paris.
Widely considered to be Poulenc’s greatest masterpiece, the evolution of Dialogues des Carmélites is a unique one, fueled by numerous, very personal recollections, adaptations and interpretations of the actual story of an order of Carmelite nuns. It was first recollected by Mère Marie, a Carmelite nun from the monastery at Compiègne (in northern France) who survived the French Revolution and recalled the events in her memoirs. It wasn’t until the early 1930s that Gertrud von le Fort, a German novelist who had recently converted to Catholicism, read these memoirs and was inspired to write Die Letzte am Schafott (The Song at the Scaffold ). It was von le Fort who created the character of Blanche de la Force, the novel and opera’s protagonist, going so far as to bestow her own name on Blanche. Your ticket to the arts. Von le Fort’s novel was eventually adapted into a film script by Georges Bernanos, which also served as the opera’s libretto. Bernanos, who was dying while adapting the script, gave his own age to the dying Prioress, calling 59 a “good age to die.” C
Poulenc set about composing the work based on Bernanos’ script in 1953, after receiving a
commission from La Scala. Tragically, Poulenc’s personal life was deeply painful throughout Member Since the entire composition process. His lover was dying, and just as Poulenc was finishing the 2012 work, passed away. As writer/director Jeremy Sams points out in The New Penguin Opera Guide , Dialogues des Carmélites “is an opera about terror. Personal terror played against 0010128 001 28128 state terror.” endo Mia Cresc
This terror permeates the entire opera, whether it be simmering just beneath the surface in the form of the ever-encroaching revolutionaries; or in the Old Prioress’s scene, where her faith is called into question; or perhaps, most powerfully, in the final scene of the opera It's all in the Artspoints rewards card. when fear is subdued by faith. Artspoints Rewards is the unique rewards program that allows you to earn Artspoints Top: Francis Poulenc, 1960. and redeem them for tickets to more than Photo: John Jonas Gruen 40 arts organizations in Ontario, and over Isabel Bayrakdarian as Blanche de 140 across Canada. la Force in the LOC production, 2007. Photo: Robert Kusel Earn 500 Artspoints and get other great benefits when you join today! Join at artspoints.com
Ontario Arts Partners Festival Players of Prince Simcoe Contemporary Dancers Theatre 20 Edward County Sinfonia Toronto Theatre Smith Gilmour AngelWalk Theatre Great Canadian Theatre Soulpepper Theatre Company Thousand Islands Playhouse Arbor Theatre Company Soundstreams Toronto Summer Music Festival Art Gallery of Sudbury Hamilton Philharmonic Studio 180 Toronto Symphony Orchestra Ballet Jorgen Orchestra Harbourfront Centre St. Lawrence Shakespeare Thunder Bay Symphony Burlington Performing Arts Festival Orchestra Centre Kingston Symphony Sudbury Theatre Centre Windsor Symphony Orchestra Canadian Clay and Glass Gallery Lost and Found Theatre Tafelmusik Canadian Stage Magnetic North Theatre Festival Tapestry New Opera Works + Almost 100 more arts groups Company Theatre Mirvish Productions Tarragon Theatre across Canada DanceWorks Orchestra London The Grand Theatre Esmeralda Enrique Spanish Orillia Opera House The Theatre Centre 12 Canadian Opera Company 2012/20 13 Season Dance Company Ottawa Symphony artspoints.com 2013·2014 SEASON
! NOW CRIBE SUBS 50% UP TO SAVE
ccoc.caoc.ca 416-363-8231416-363-8231
PPresentingresenting SSponsorponsor OOfficialfficial AAutomotiveutomotive CosìCosì fanfafan tuttetutte generouslygenerously UUnn balloballo iinn mascheramascherraa OOfficialfficial MMediaedia ooff SURTITLES™SURTITLES™ SSponsorponssyor underwrittenunderwritten inin partpart byby ProductionProduction SSponsorponsor SponsorsSponsors
LLaa BohèmeBohème hhasas beenbeen ggenerouslyenerouslyously uunderwrittennderwritten byby JerryJerry aandnd GGeraldineeraldine Heffernan.HHeffeffernan. EricEric Owens.Owens. Photo:Photo: DDanan Rest.Rest. CCreative:reativtive: BT/ABTT///AA
o
C
5
M6G 1A9 4 2 C
YOU LOVE HER & SHE LOVES YOU
AndAnd n nowow y you’reou’re r readyeady t too t takeake t thehe n nextext s steptep b becauseecause y youou w wantant t too spendspend thethe restrest ofof youryour lifelife withwith her.her. SoSo youyou wantwant thethe momentmoment youyou GOOSEBUMPS proposepropose toto bebe perfect,perfect andand youyou wantwant herher toto lovelove thethe ringring andand gushgush forfor joyj and run straight away to show it off to all her friends and family. But choosing the right ring isn’t easy. We’re here to help.
INCLUDED.
The power of emotions on stage can be experienced in many ways. We are proud to be the Presenting Sponsor of SURTITLES™ at the Canadian Opera Company, to help patrons experience every emotion under the sun - along with, of course, the goosebumps.
HeartsH on Fire Rings – The World’s Most Perfectly Cut Diamonds®
F A S H I O N · B R I D A L · C U S T O M · D I A M O N D S
NNOWOW IINN YYORKVILLEORKVILLE TM SURTITLES is a registered trade-mark ® Making the Arts More Accessible is a registered 3388 AAVENUEV E N U E RD,R D, TORONTOTO R O N TO 4416.921.92001 6. 9 2 1 . 9 2 0 0 of the Canadian Opera Company. trade-mark of Sun Life Assurance Company of Canada. ALEXANDER NEEF , General Director LUCIA DI LAMMERMOOR by Gaetano Donizetti
Opera in Three Acts. Libretto by Salvatore Cammarano, after Sir Walter Scott’s novel The Bride of Lammermoor
First performance: Teatro di San Carlo, Naples, September 26, 1835 Production originally created by English National Opera Last performed by the COC in 2004 April 17, 20, 26, 30, May 9, 12, 15, 18, 24, 2013 Sung in Italian with English SURTITLES TM THE CAST (in order of vocal appearance) Normanno, follower of Ashton Adam Luthe r^ Enrico, Lord Henry Ashton of Lammermoor Brian Mulligan Raimondo, Chaplain at Lammermoor Oren Gradus Lucia, Enrico’s sister Anna Christy Alisa, companion to Lucia Sasha Djihanian † Edgardo, Master of Ravenswood Stephen Costello Arturo, Lord Arthur Bucklaw Nathaniel Peake
Conductor: Stephen Lord Director: David Alden Associate Director: Ian Rutherford Set Designer: Charles Edwards Costume Designer: Brigitte Reiffenstuel Original Lighting Designer: Adam Silverman Lighting Design Re-created by: Andrew Cutbush Original Choreographer: Claire Glaskin Revival Choreographer: Maxine Braham Chorus Master: Sandra Horst ^ Stage Manager: Liliane Stilwell SURTITLES™ Producer: Gunta Dreifelds
Performance time is approximately two hours and 40 minutes, including one 25-minute intermission.
Production Co-sponsors:
† Current member of the COC Ensemble Studio ^Graduate of the COC Ensemble Studio
Program information is correct at time of printing. All casting is subject to change.
Please visit coc.ca for additional information 1 DIRECTOR’S NOTES SYNOPSIS
ACT I onizetti’s Lucia di Lammermoor (1835) of his treatment regimen, he incorporated Enrico Ashton is enraged because his sister with another woman. Lucia is stunned by D is one of the great early-Romantic theatres into the sanatoriums, and the Lucia refuses to marry Arturo Bucklaw, what she reads and plunges into despair, operas and, like the Sir Walter Scott novel public was invited to see performances by a prominent nobleman. An alliance with wishing for death. Raimondo counsels The Bride of Lammermoor on which it is the patients. The belief was that it helped Bucklaw would allow the Ashton family Lucia to sacrifice herself for the sake of the based, focuses on the prevailing fascinations the patients, but audiences were fascinated to consolidate its political strength and family and go through with the arranged of its time. Though the story of Lucia took by hysteria and madness. This voyeuristic regain its dominance, but Lucia stubbornly marriage to Arturo. Miserable and resigned , place in the 17th century, David Alden’s facet of the time is brilliantly woven rejects the offer. The family chaplain, Lucia agrees. production of Lucia di Lammermoor into this production through the gaunt, Raimondo, cautions Enrico against forcing At the wedding ceremony, Lucia is in captures many aspects of the Victorian portraited faces that stare at the action. Lucia into marriage, saying that she is a daze and signs the marriage contract. period when both Donizetti and Sir Walter Additionally, in this production we abide still mourning her dead mother and is Right after she does, Edgardo bursts into Scott were writing: Europe had been rocked by Donizetti’s wishes and include the glass in no mood for romantic entanglements. the room. A violent fight nearly erupts, by the Napoleonic wars and all the surety armonica for Lucia’s great Act III aria. Normanno, Enrico’s captain, sneers at this but Raimondo succeeds in pacifying the of the Baroque and rococo was ruined. The The instrument was meant to induce suggestion and tells Enrico that Lucia has situation. Edgardo learns that Lucia has arts and sciences became fixated on the hysteria and it is a remarkable piece in fact been going out on nightly trysts been married to another man and curses extremes of humanity, from polarities of of orchestration. with a man named Edgardo. Enrico is her. emotion to the new energies of electricity, Finally, this opera has a personal furious at this revelation because Edgardo to creating life from death. importance for me. Walter Scott heard the is his sworn enemy, a member of the INTERMISSION In this production, the claustrophobic story from his great aunt Margaret Swinton dispossessed Ravenswood family. Enrico gloom of the Scottish Victorian house and was only allowed to publish it if the vows to spill blood in revenge. ACT III permeates. The electric intensity of Adam original names were changed. Lucia’s tale In a secret room in the castle, Alisa, That night, Enrico challenges Edgardo to Silverman's lighting and the extremes of did happen on August 24, 1669. Lucia’s Lucia’s confidante, begs her to forget all a duel at sunrise. Meanwhile, at the castle, love, grief, hatred, and madness contrast real name was Janet Dalrymple and the about the reckless love affair with Edgardo Raimondo brings news to the wedding with this coldness. man she was forced to marry was David but Lucia rejects her advice. Eventually guests that Lucia has stabbed Arturo to Adding to the despair, in the opera, Dunbar of Baldoon. It is not clear whether Edgardo arrives saying he must set sail for death in their bed chamber. Lucia appears the great librettist Cammarano took away it was she or her lover who killed Lord France in the morning. Before he departs, in a state of delirium, thinking she is all parents as well as the mystical servant Baldoon on the wedding night, but murdered however, he intends to ask Enrico for Lucia’s married to Edgardo. Enrico rushes in and Alice, putting the focus on those who had he was. The lover was called Lord hand in marriage. Knowing that her brothe r his fury gradually gives way to great remorse been given responsibility far beyond their Rutherford and after that night he fled will refuse, Lucia convinces Edgardo to as he witnesses Lucia’s mental unravelling youth. Lucia is one of many child/woman the country, thereby losing his castle and keep their love secret. He concedes and and collapse. characters that appear through the arts of possessions and putting that strand of they make a vow to be faithful to each other. At dawn, Edgardo is awaiting the this time, especially in Dickens. The grief my Rutherford ancestry into penury. But beginning of the duel. A procession of for lost parents stalks the story, as do the if that had not happened maybe I would ACT II people from the castle informs him that consequences of every ancestral decision. not have had the chance to work on this Enrico and Normanno have been Lucia, in the throes of death, has been In the same Victorian era, mental marvellous opera? intercepting Edgardo’s letters from abroad calling out for him. Raimondo arrives to health pioneer John Langdon Down in order to drive a wedge between the tell him Lucia has already died. Overcome was understanding and naming Down’s lovers. Now they have forged a letter in with the realization that she has loved him syndrome in his sanatoriums. As part Ian Rutherford, Associate Director which Edgardo declares that he is in love all along, Edgardo kills himself.
2 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 3 MUSIC STAFF ACTORS Jenna Douglas Robert J. Montcalm Ben Malensek ( Head Coach ) Matt Richardson
ITALIAN LANGUAGE COACH FIGHT DIRECTOR Manuela Scarci James Binkley
ASSISTANT CONDUCTOR UNDERSTUDIES Stephen B. Hargreaves Normanno Cameron McPhail Enrico Peter Barrett ASSISTANT DIRECTOR Raimondo Sam Handley Allison Grant Lucia Teiya Kasahara Alisa Karen Olinyk ASSISTANT STAGE MANAGERS Edgardo Nathaniel Peake Tiffany Fraser Arturo Owen McCausland Kristin McCollum
ASSISTANT LIGHTING DESIGNERS Wendy Greenwood Davida Tkach
4 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 5 ARTISTS’ BIOGRAPHIES
ANNA CHRISTY Grand Opera); Des Grieux in Manon and Pittsburgh Opera); Leporello (Marseille, Sharpless in Madama Butterfly and Lucia Lensky in Eugene Onegin (Dallas Opera); HGO); Raimondo (Bologna); Ramfis in Aida Valentin (SFO); Marcello (Houston Grand American soprano Anna and, Roméo in Roméo et Juliette (Santa Fe). (Opera di Roma); Henry VIII (Dallas Opera, Opera); the title role in The Death of Christy is making her COC Semperoper Dresden); Sarastro in Die Klinghoffer (Opera Theatre of Saint debut. Her appearances SASHA DJIHANIAN Zauberflöte (Toronto Symphony Orchestra) ; Louis); Enrico (Washington National this season include Lisette Alisa and, Méphistophélès in Faust (Pittsburgh). Opera, LOC); Sharpless in Madama in Puccini’s La Rondine Ensemble Studio soprano This summer he appears as Zaccaria in Butterfly and Enrico (English National (Met) and Cleopatra in Handel’s Julius and Montreal native Nabucco (Avenches Festival, Switzerland). Opera); Prometheus in Braunfels’s Die Caesar (English National Opera/ENO), Sasha Djihanian was the Vögel and Melot in Tristan und Isolde followed by concerts of Ravel’s L’enfant et winner of the first annual ADAM LUTHER (Los Angeles Opera); and, Ford in Falstaff les sortilèges and Stravinsky’s Le Rossignol COC Ensemble Studio Normanno (Saito Kinen Festival). (NHK Symphony, Tokyo). Ms Christy closes Competition. She recently stepped in as Canadian tenor and the season as Emily Webb in Ned Rorem’s Annio in a COC mainstage performance Ensemble Studio graduate NATHANIEL PEAKE Our Town (Central City Opera) and of La clemenza di Tito as well as the Adam Luther recently Arturo performances of Le Feu, La Princesse and Ensemble performance. A graduate of the appeared as the Shepherd American tenor Le Rossignol in L’enfant et les sortilèges Conservatoire de Musique de Montréal, in Tristan und Isolde . Nathaniel Peake is making with Seiji Ozawa conducting (Saito Kinen she was a national finalist in the 2011 Other COC credits include Gherardo in his COC debut. His Festival, Japan). Other appearances Metropolitan Opera National Council Gianni Schicchi , Second Priest in The appearances include include Zerbinetta in Ariadne auf Naxos Auditions; a semi-finalist in the 2011 Queen Magic Flute (Ensemble), the Steersman in Tamino in The Magic and Olympia in The Tales of Hoffmann Elisabeth Competition and 2012 Montreal The Flying Dutchman , Roderigo in Otello , Flute (San Francisco Opera); Pinkerton in (Lyric Opera of Chicago/LOC); Tytania International Musical Competition; and, and Le Remendado in Carmen . He recently Madama Butterfly (Seattle Opera); Edgardo in A Midsummer Night’s Dream (LOC represented Canada at the 2011 BBC made debuts as Anatol in Vanessa (Pacific in Lucia di Lammermoor (Minnesota Opera); and ENO); and, Kitty in Menotti’s The Last Cardiff Singer of the World Competition. Opera Victoria) and Eisenstein in Die Alfredo in La Traviata (Syracuse Opera); Savage (Santa Fe Opera). Recent credits include Micaëla in Carmen Fledermaus (Toronto Operetta Theatre), Albazar in Il turco in Italia , Snout in at the Teatro Petruzzelli in Bari, Italy and as well as performing the tenor roles in A Midsummer Night’s Dream, the title role STEPHEN COSTELLO at Castleton Festival, with Lorin Maazel Stravinsky’s Renard and Le rossignol in Les contes d’Hoffmann and Pirelli Edgardo conducting. (Opéra de Québec). This season with the in Sweeney Todd (Wolf Trap Opera); American tenor Stephen COC Mr. Luther also appears as the Fourth Pinkerton, Arturo, Scaramuccio in Ariadne Costello is making his OREN GRADUS Jew in Salome and the First Commissioner auf Naxos and Nemorino in L’elisir d’amore COC debut. Appearing in Raimondo in Dialogues des Carmélites . (Houston Grand Opera); and, Second the world’s leading opera American bass Oren Priest/Armoured Man in Die Zauberflöte , houses, his engagements Gradus is making his BRIAN MULLIGAN Don José in La Tragédie de Carmen , this season have included Ishmael in COC debut. This season Enrico and Tybalt in Roméo et Juliette (Syracuse Moby-Dick (San Francisco Opera), Rodolfo includes his debut at American baritone Brian Opera). Mr. Peake is also performing in La Bohème (Deutsche Staatsoper Berlin), Gran Teatre del Liceu Mulligan is making his Narraboth in the COC’s Salome . Nemorino in L’elisir d’amore (Wiener as the Villains in Les contes d’Hoffmann ; COC debut. This season Staatsoper) and Tonio in La fille du régiment Henry VIII in Anna Bolena (Washington he appears as the King’s (San Diego Opera). Future engagements National Opera); and, his return to the Met Herald in Lohengrin include Moby-Dick and L’elisir d’amore as Publio ( La clemenza di Tito ). Other credits (San Francisco Opera/SFO); the Father (Washington National Opera); La Traviata include Garibaldo in Rodelinda , Giorgio in Hansel and Gretel (Lyric Opera of (Deutsche Oper Berlin, Royal Opera House in I Puritani , Timur in Turandot , and Colline Chicago/LOC); the title role in Hamlet Covent Garden, Wiener Staatsoper, Liceu in La Bohème (Met); Leporello in Don (Minnesota Opera); and, as Balstrode in Barcelona and San Francisco Opera); Percy Giovanni , Raimondo (San Francisco Peter Grimes (Aspen Music Festival). in Anna Bolena (Wiener Staatsoper); the Opera); the title role in Le nozze di Figaro Recent roles include Valentin in Faust Duke in Rigoletto (Hamburg); Ferrando (Seattle Opera, Opéra Municipal de (Met); the title role in Nixon in China, in Così fan tutte and the Duke (Houston Marseille, Houston Grand Opera/HGO, Albert in Werther, Marcello in La Bohème ,
6 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 7 ARTISTS’ BIOGRAPHIES
STEPHEN LORD Handel’s Deidamia (De Nederlandse Opera), Conductor Billy Budd (ENO), Maometto II (Santa Fe), American Stephen Lord Alcina (Opéra national de Bordeaux), Peter TOURS OF THE FOUR SEASONS CENTRE last appeared at the COC Grimes (Opera de Oviedo and Vlaamse FOR THE PERFORMING ARTS INCLUDE: conducting Norma . Former Opera), and La Calisto (Royal Opera House music director of Boston Covent Garden). Next season Mr. Alden Lyric Opera/BLO, he is makes his debut at Hamburg State Opera currently music director for Opera Theatre with a festival of three early-Verdi operas BACKSTAGE of Saint Louis (OTSL), conducting repertoire (La battaglia di Legnano , I due Foscari from Mozart to Salome to Sweeney Todd . and I Lombardi ) and returns to Frankfurt This season Mr. Lord also conducts L’elisir (La gazza ladra ) and Deutsche Oper Berlin ACCESS! d’amore and Don Pasquale (Lyric Opera of (Billy Budd ). Chicago/LOC), Don Pasquale (the Juilliard School) and returns to Santa Fe Opera after CHARLES EDWARDS conducting Les contes d’Hoffmann and Set Designer La donna del lago . In addition to his many Charles Edwards was born appearances with OTSL and BLO, Mr. Lord’s in Newcastle-upon-Tyne other credits include La Rondine (New York and graduated from the City Opera); Rigoletto , Tosca , La Bohème Central School of Art (English National Opera); Rigoletto and Design in London. (San Francisco Opera); L'elisir d’amore , His designs include Adriana Lecouvreur , Die Zauberflöte (Michigan Opera Theatre); Elektra (also directed), Faust and Werther Tosca (LOC); and, Macbeth (Opéra de (Royal Opera House Covent Garden); Montréal). A Midsummer Night’s Dream , Kát’a Kabanová , Lucia di Lammermoor , Je n˚ufa DAVID ALDEN and The Makropulos Case (English Director National Opera); Norma , Rigoletto (also American director David directed) and Tosca (Opera North); Je n˚ufa Alden last appeared (Houston); Wozzeck (Dallas and Chicago); at the COC directing Kát’a Kabanová and Macbeth (Houston Die Entführung aus dem and Chicago); Il Trovatore (Met and San Serail . His 2012/2013 Francisco); Billy Budd and The Makropulos season includes Un ballo in maschera Case (Chicago); as well as, designs for (Met), Die Meistersinger von Nürnberg Graz, Berlin, Genoa, Barcelona, Bordeaux, (De Nederlandse Opera) and Peter Grimes Paris, Tel Aviv and Long Beach. Future (Deutsche Oper Berlin). Other productions productions will be seen in Hamburg, include La finta giardiniera (Theater an Grange Park (also directing) and Karlsruhe. der Wien), Kát’a Kabanová (Dallas Opera, Houston Grand Opera, New Israeli Opera, BRIGITTE ENO, Teatro San Carlos, and Polish National REIFFENSTUEL For more information, including a schedule Opera ), Ring Cycle (Bayerische Staatsoper), Costume Designer and how to buy tickets, please visit L’incoronazione di Poppea (Bayerische German-born Brigitte Staatsoper, Welsh National Opera, Paris Reiffenstuel’s designs Opera, New Israeli Opera). Pelléas et appeared recently at coc.ca/Tours Mélisande (Opera Theatre of Saint Louis), the COC in The Tales Chabrier’s L’étoile (Oper Frankfurt), of Hoffmann . Born in Munich and trained R. Fraser Elliott Hall. Photo: Tim Griffith
8 Canadian Opera Company 20 12/20 13 Season ARTISTS’ BIOGRAPHIES ARTISTS’ BIOGRAPHIES
at the London College of Fashion and ANDREW CUTBUSH SANDRA HORST STEPHEN B. St. Martin’s School of Art, her credits include Lighting Re-creator Chorus Master HARGREAVES Falstaff , Adriana Lecouvreur , Faust , Elektra British lighting designer Sandra Horst’s recent Assistant Conductor (Royal Opera House Covent Garden); Andrew Cutbush is COC credits include La Stephen B. Hargreaves The Pearl Fishers and Madama Butterfly making his COC debut. clemenza di Tito , Tristan divides his professional (Santa Fe Opera); Un ballo in maschera He has been a lighting und Isolde , Il Trovatore work between conducting and Giulio Cesare (Met); Falstaff and Don manager for English and Die Fledermaus . She and solo performance. Giovanni (Teatro alla Scala); Il Trovatore National Opera (ENO) since 1999, assisting also conducted Rossini’s Il viaggio a Reims He has been assistant conductor at the (Met, San Francisco Opera, Lyric Opera designers such as Paule Constable, Peter for the COC. Director of musical studies at COC for Semele and Iphigenia in Tauris . of Chicago/LOC); Giulio Cesare Mumford and Jean Kalman in realizing the University of Toronto’s Opera Division, Recent engagements include conducting (Glyndebourne Festival); Billy Budd , their work at ENO. He has been associate she recently conducted Donizetti’s L’elisir The Turn of the Screw (University of Toronto), The Makropulos Case (LOC); and, Lucrezia lighting designer for Adam Silverman d'amore . Ms Horst has served as chorus playing Brahms’ Piano Concerto No. 2 Borgia , Peter Grimes , Tosca , The Damnation on Lucia di Lammermoor at ENO (2008) master for Opera Theatre of Saint Louis (Grand Forks Symphony Orchestra) and of Faust , Lucia di Lammermoor , and Boris and Göteborg Opera (2011), as well as on and Edmonton Opera; a judge for the cover-conducting Aida (Glimmerglass Godunov (English National Opera). Future The Turn of the Screw at ENO and Teatro Metropolitan Opera National Council Festival). Other credits include conducting productions include a Verdi triple bill Real, Madrid (2010). auditions; and, music staff of the Juilliard Le nozze di Figaro from a replica of Mozart’ s (Hamburg), Falstaff (Met) and Pique Dame Opera Center, Chautauqua Institution, fortepiano (Opera Omaha); performing (Zurich). MAXINE BRAHAM Boston Lyric Opera, and Banff Centre for Rachmaninoff’s Piano Concerto No. 3 Revival Choreographer the Arts. She was one of the 100 Alumni (Marion Philharmonic); and, playing the ADAM SILVERMAN Choreographer and of Achievement honoured by Wilfrid Laurier world premiere of Gordon Parmentier’s Original Lighting director Maxine Braham University. This spring Ms Horst is also Piano Concerto No. 3 (Green Bay Symphony). Designer is making her COC chorus master for Dialogues des Carmélites . He has conducted for Lyrique-en-Mer/Festival American and British debut. Working in both de Belle-Île, Chicago Opera Theater, Pine lighting designer Adam opera and theatre, her LILIANE STILWELL Mountain Music Festival and Lyric Opera Silverman is making his credits include Un ballo in maschera (Met); Stage Manager of Kansas City. COC debut. Designing A Midsummer Night’s Dream (Mariinsky With the COC for the for opera, theatre and dance, his recent Theatre); Tannhäuser , Macbeth , Madama past 18 years, Liliane IAN RUTHERFORD credits include David Alden’s Billy Budd Butterfly , Idomeneo , Nabucco and Otello Stilwell recently stage Associate Director and Peter Grimes ; Michael Keegan-Dolan’s with Tim Albery (Royal Opera House Covent managed A Florentine Ian Rutherford, who is Julius Caesar and The Rite of Spring Garden, Opera North, Nationale Reisopera, Tragedy/Gianni Schicchi . making his COC debut, (English National Opera/ENO); Jamie Dallas Opera); Manon Lescaut , Carmen Other COC credits include La Cenerentola , was house staff director Lloyd’s Macbeth with James McAvoy; Ian and Romeo and Juliet (Parma, Cagliari, Maria Stuarda , Otello , The Barber of Seville , at English National Opera Rickson’s Hamlet with Michael Sheen ; Lisbon); Rigoletto , Le nozze di Figaro , Kát’a The Marriage of Figaro , Luisa Miller , for 13 years. Other credits Enda Walsh’s Misterman with Cillian Kabanová and Eugene Onegin (Scottish Götterdämmerung (complete Ring Cycle ), include directing Tosca , La Traviata , Gianni Murphy; Un ballo in maschera (Met); My Opera); and, Peter Grimes , Kát’a Kabanová , Macbeth , L’italiana in Algeri , La Bohème , Schicchi , Lucia di Lammermoor and La belle Fair Lady (Théâtre du Châtelet); Adriana Luisa Miller and Billy Budd for David Alden Eugene Onegin , Madama Butterfly , Pagliacci , Hélène (Diva Opera); Madama Butterfly Lecouvreur (Royal Opera House Covent (English National Opera, Deutsche Oper Je n˚ufa and Oedipus Rex with Symphony of (Opera Holland Park), Cendrillon (Royal Garden); and, A Midsummer Night’s Dream Berlin, Warsaw, Oviedo, Vlaamse Opera, Psalms (Edinburgh International Festival). Academy of Music), La Bohème (Blackheath and Partenope (ENO). Mr. Silverman has Göteborg, Lisbon, and Opéra national Ms Stillwell has also stage managed Concert Halls); the world premiere of also lit Five Gold Rings (Almeida Theatre) de Lyon). Ms Braham has danced with Carousel , Big River , Grease , She Loves Me , The Face ; David Alden’s Ariodante and A Day in the Death of Joe Egg (West companies including DV8, AMP, Second The Roar of the Greasepaint – The Smell of (Houston Grand Opera, Opera de Oviedo End and Broadway). Stride and Random Dance Companies. the Crowd , Romeo and Juliet , A Midsummer and Vlaamse Opera); Rusalka (Slovenian Night’s Dream , Me and My Girl , Cinderella , Opera); Peter Grimes (Oviedo and at Robin Hood , Dirty Dancing at the Royal Deutsche Oper); Lucia di Lammermoor Alexandra Theatre and Hairspray at the (Washington Opera and Göteborg Opera); Princess of Wales Theatre. and, recently, associate director on Die
10 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 11 ARTISTS’ BIOGRAPHIES THIS SPRING AT THE OPERA SHOP
Meistersinger (Lyric Opera of Chicago). Treat Yourself! Future plans include directing Le nozze This spring we welcome local artisan jeweller Edina Racz di Figaro (Glyndebourne) and Billy Budd (Whitelotus) whose handcrafted pieces use semi-precious (Glyndebourne and Brooklyn Academy). gems, rare stones and sterling silver. Nature-inspired designs feature spring motifs with vibrant and luxurious ALLISON GRANT colours. Visit us to see more of our featured jewellers and Assistant Director find books and recordings of this spring’s operas! Allison Grant was recently choreographer for the The Opera Shop is located on the main floor of the Isadore and Rosalie Sharp City Room, open before, COC’s Die Fledermaus during, and (sometimes) after all performances. and assistant director for Semele . Other COC credits include choreographer for The Queen SPRING TRUNK SHOW DATES of Spades , Dido and Aeneas , Don Giovanni Sunday, May 12: Whitelotus jewellery Saturday, May 18: Alicia Niles jewellery and Eugene Onegin . She recently directed and choreographed Roméo et Juliette (Vancouver Opera), choreographed and Featured recordings from Universal Classics: performed in The Great Gatsby (Theatre London) and directed John Burge’s opera CD Lucia di Lammermoor This was Joan Sutherland’s The Auction (world premiere). Other credits greatest role. She displays absolute command of the bravura passages which have rarely been sung with such a beautiful, include Die Zauberflöte (Sarasota Opera), large, rich sound. In Luciano Pavarotti, she had the ideal Don Giovanni and Carmen (Opera Ontario), partner – the perfectly idiomatic “Donizetti tenor.” A recent Così fan tutte (Vancouver Opera), L’Italiana re-mastering of a must-have recording at a budget price! in Algeri (Opéra de Montréal), Smokey $26.50 including tax Joe’s Café (Stage West Calgary) and A Meeting of Minds (Canadian Stage). DVD Salome Director Luc Bondy’s Covent Garden As artistic director of Theatre Athena, she production stars Catherine Malfitano in a sexy and frightening performance. Her voice encompasses the directed Master Class , Private Lives and extremes of lyricism and power demanded by this Bach at Leipzig (Canadian premiere). touchstone of the dramatic soprano repertoire. Bryn Terfel is simply one of the best John the Baptists on disc – his singing and acting of the half-mad prophet are scarily FOOD AND BEVERAGE SERVICE accurate! $25.75 including tax We are pleased to offer, for the convenience of all of our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermission and we invite you to make use of it at every COC performance. Carsen’s Dialogues des Carmélites on DVD Bars are located throughout the Isadore and Rosalie Sharp City Room’s many levels. DVD Dialogues des Carmélites, Arthaus. The COC’s current Food and beverages are not permitted in R. Fraser Elliott Hall. Robert Carsen production is seen in its 2004 staging at Milan’s Teatro alla Scala with Riccardo Muti conducting. Dagmar Schellenberger sings a moving Blanche, while two singers who have figured prominently in past COC seasons, Gwynne Geyer and Barbara Dever, sing the key roles of Madame Lidoine and Mother Marie respectively. $44.50 including tax
The Opera Shop is a project of the Canadian Opera Company, in partnership with L’Atelier Grigorian and Decca – The Opera Label.
All proceeds support the Canadian Opera Company.
12 Canadian Opera Company 20 12/20 13 Season CANADIAN OPERA COMPANY ORCHESTRA BOARD OF DIRECTORS
VIOLIN I CELLO TROMBONE OFFICERS Mr. Robert Brouwer Mr. Nicholas Mutton Marie Bérard, Bryan Epperson, Principal Charles Benaroya, Principal Mr. Tony Arrell, President Ms Marcia Lewis Brown Mr. Ian Pearce Concertmaster Alastair Eng, Associate Ian Cowie The Concertmaster’s chair Principal Mr. Philip C. Deck, Chair Mr. Stewart Burton Ms Frances Price has been endowed in Paul Widner, Assistant BASS TROMBONE Mr. Paul A. Bernards, Mr. George S. Dembroski Mr. Arthur R. A. Scace, C.M. perpetuity by Joey and Principal Herbert Poole Treasurer Mr. William Fearn ( ex officio ) Ms Colleen Sexsmith Toby Tanenbaum Maurizio Baccante Benjamin Bowman, Olga Laktionova TIMPANI Mr. John H. Macfarlane, Mr. David C. Ferguson Ms Sandra Simpson Associate Concertmaster Elaine Thompson Michael Perry, Principal Secretary Mr. Adam Froman Mr. Philip S. W. Smith Véronique Mathieu*, Acting Mr. Alexander Neef, General Mr. Michael Gibbens Mr. Paul B. Spafford Associate Concertmaster BASS PERCUSSION Diane Tait, Assistant Alan Molitz, Principal Trevor Tureski, Principal Director (ex officio ) Dr. Linda Hutcheon Ms Michele Leighton Symons Concertmaster Robert Speer, Assistant Romano DiNillo* Mr. Robert Lamb, Managing Ms Trinity Jackman Ms Kristine (Kris) Vikmanis Anne Armstrong Principal Director (ex officio ) Mr. Jeff Lloyd Mr. John H. (Jack) Sandra Baron Tom Hazlitt HARP Bethany Bergman Paul Langley Sarah Davidson, Principal Mr. Stephen O. Marshall Whiteside Elizabeth Johnston Robert Wolanski* MEMBERS Ms Judy Matthews Nancy Kershaw GLASS ARMONICA Mr. Mark Appel Ms Trina McQueen HONORARY DIRECTORS Dominique Laplante FLUTE William Zeitler* Yakov Lerner Douglas Stewart, Principal Ms Nora Aufreiter Mr. Jonathan Morgan Mr. Joey Tanenbaum, C.M. Jayne Maddison Christine Little* BANDA HORNS Ms Cecily Bradshaw Mrs. Sue Mortimer Neria Mayer Roslyn Black* PICCOLO Olivia Esther* VIOLIN II Shelley Brown Michele Gagnon* Paul Zevenhuizen, Principal Scott Wevers* Csaba Koczó, Assistant OBOE Principal Mark Rogers, Principal VOLUNTEER SUPPORT ORGANIZATIONS James Aylesworth Lesley Young Christine Chesebrough* LIBRARIAN COC OPERA GUILDS CANADIAN OPERA FOUNDATION Hiroko Kagawa* CLARINET Wayne Vogan Brantford Opera Guild, Mr. William Fearn, Chair Renée London* James T. Shields, Principal Aya Miyagawa Colleen Cook ASSISTANT MUSIC David M. Cullen, President Mr. Derek Brown Louise Tardif LIBRARIAN Kingston Opera Guild Mr. J. Rob Collins Marianne Urke, on leave BASSOON Capella Sherwood Grace Orzech, President Mr. Tony Arrell ( ex officio ) of absence Eric Hall, Principal Ashley Vandiver* William Cannaway* STAGE LIBRARIAN London Opera Guild Mr. David Forster Joanna Zabrowarna Elizabeth Gowen , on leave Paul Langley Ernest H. Redekop, President Mr. Michael Gough of absence Muskoka Opera Guild Mr. George Hamilton, Treasurer VIOLA PERSONNEL Tom Anderson, President Mr. Roy D. Hogg, FCA Keith Hamm, Principal HORN MANAGER Joshua Greenlaw, Assistant Joan Watson, Principal Ian Cowie Northumberland Opera Guild Mr. Ken Jesudian Principal Janet Anderson Thais Donald, President Hon. Dennis Lane Carolyn Blackwell* Bardhyl Gjevori * extra musician Oakville Opera Guild Mr. Peter MacKenzie Karen Moffat* Gary Pattison Rhyll Peel Maureen Rudzik, President Ms Kathleen McLaughlin Angela Rudden* TRUMPET Quinte Opera Guild Mr. David E. Spiro, Secretary Beverley Spotton Robert Grim, Principal Dorothy Temple, President Yosef Tamir Robert Weymouth Sudbury Opera Guild Mike Humphris, President CANADIAN OPERA COMPANY CHORUS Western New York Opera Guild SOPRANOS MEZZO-SOPRANOS TENORS BARITONES & BASSES Dorothy K. Piepke, President Lindsay Barrett Marianne Bindig Craig Ashton Grant Allert Andrea Cerswell Susan Black Stephen Bell Kenneth Baker Margaret Evans Sandra Boyes Taras Chmil Sung Chung For more information on COC Guilds Laura Klassen Wendy Hatala Foley Stephen Erickson Michael Downie please visit coc.ca/Guilds Alexandra Lennox- Sonya Gosse Nicolas Groenewegen Jason Nedecky Pomeroy Lilian Kilianski John Kriter Michael Nyby Ingrid Martin Kathryn Knapp James Leatch Niculae Raiciu Victoria Pinnington Anne McWatt Stephen McClare Michael Sproule Jennifer Robinson Karen Olinyk Eric Olsen Jan Vaculik Catherine Tait Vilma Indra Vitols Taylor White Gene Wu Teresa van der Hoeven
14 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 15 ADMINISTRATION AND STAFF ALEXANDER NEEF , General Director
Robert Lamb Assistant Librarian Rupert Baker Additional Costumes by Francesco Corsaro John Kriter CALL CENTRE Security Supervisors Managing Director Capella Sherwood Head Flyman Arana Enterprises Senior Development Volunteer and Creative Richard Paradiso Videsh Dookhu Industry Costumes Officer, Institutional Assistant Call Centre Manager Dave Samuels Johannes Debus COC Ensemble Studio Alison Potter Gifts Music Director Mireille Asselin Head of Properties Paint and Dye by Kristin McKinnon Call Centre Security Officers Ambur Braid Chrome Yellow Adriana Formusa Assistant Publicist Representatives George Balyasin EXECUTIVE OFFICE Rihab Chaieb Core Crew Development Officer, Gesilayefa Azorbo Joel Grannum Timothy Cheung Scott Clarke Marilyn Rodwell Institutional Gifts Claire Morley Catherine Belyea Tammy Hill Executive Assistants to Neil Craighead Terry Hurley Wardrobe Mistress Communications DeeAnn Sagar Natalia Juzyc the General Director Sasha Djihanian Paul Otis Nikita Gourski Assistant Margaret Terry Usman Khalid Marguerite Schabas Jenna Douglas Chuck Theil Rafe Macpherson Development Kathleen Minor (on leave ) Christopher Enns Wardrobe Assistant Communications EDUCATION AND FINANCE AND Heather Reid Laura Aylan-Parker Owen McCausland Alex Naylor Officer OUTREACH ADMINISTRATION Cameron McPhail Scene Shop Co-ordinator Sharon Ryman Katherine Semcesen Building Operators ARTISTIC Claire de Sévigné Wig & Make-up Tracy Briggs Associate Director, Lindy Cowan, CPA, CA Dan Bisca ADMINISTRATION David Retzleff Supervisor Senior Manager, Education and Outreach Director of Finance Dan Popescu Production Assistants Head Scene Shop Special Events and Administration Adrian Tudoran Roberto Mauro Melanie Craighead Carpenter Cori Ferguson Gianmarco Segato Artistic Administrator Hannah Gordon Head of Wig & Christine Tizzard Adult Programs Lorraine O’Connor, Paula Da Costa Dana Paul Andrew Walker Make-up Crew Development Officer, Manager CHRP Eurest Services MUSIC Assistant Scene Shop Special Events & Human Resources Supervisor PROGRAMMING Carpenter Shawna Green Ensemble Circle Vanessa Smith Manager Sandra Gavinchuk Production Co-ordinator Manager, School Music Administrator Nina Dragani c´ Richard Gordon Victor Widjaja Programs Amalie Davis, CPA, CA FOUR SEASONS Director of Programming Head Scenic Artist Gunta Dreifelds Donation Database Finance Manager CENTRE FOR THE Sandra Horst – Free Concert Series SURTITLES™ Producer Officer Amber Yared PERFORMING ARTS Chorus Master Katherine Lilly Children and Youth General Accountants PRODUCTION Assistant Head Scenic Zane Kaneps Olena Moldovan Programs Co-ordinator Florence Huang Alfred Caron Wayne Vogan Artist SURTITLES™ Editor Donation Database Zoran Orli c´ (FSCPA) Director, Four Seasons Music Librarian, Coach Lee Milliken Officer TICKET SERVICES Centre for the Production Manager Scott Williamson Olwyn Lewis Alan Moffat Payroll Accountants Performing Arts Elizabeth Upchurch Rehearsal Head SURTITLES™ Assistant COMMUNICATIONS Patron Relationship Jovana Bojovic Head of the Ensemble David Feheley Technician Manager Jeanny Won Elizabeth Jones Studio & Coach Technical Director Supernumeraries Claudine Domingue Associate Director, Guy Nokes Co-ordinators Director of Public Andrea Salin Steven Sherwood Business Development Derek Bate Barney Bayliss Properties Supervisor Analee Stein Relations Associate Manager, Manager, IT Services Resident Conductor Associate Technical Elizabeth Walker Ticket Services Natalie Ireland Director Stephanie Tjelios Jeremy Elbourne Brad Staples Business Services Music Staff Resident Properties DEVELOPMENT Director of Marketing Nikki Tremblay Database Reporting Assistant Rachel Andrist Wendy Greenwood Builder/Co-ordinator Assistant Ticket Specialist Stephen B. Hargreaves Lighting Co-ordinator Christie Darville Phil Stephens Services Manager Jefferson Guzman John Hess Kathy Frost Chief Advancement Senior Manager, Sales Tony Sandy Associate Director, Anne Larlee Assistant Technical Properties Buyer/ Officer and Customer Service David Nimmo IT Services Assistant Patron Services Ben Malensek Directors Co-ordinator Group Sales Co-ordinator Christopher Mokrzewski Melynda Jurgenson Ali Kashani Suzanne Vanstone Katarina Božovi ´c Kim Hutchinson-Barber Kevin Murphy Wendy Ryder Tracy Taylor Associate Director, Senior Communications Lillian Fung Receptionist/ Assistant Manager, Miloš Repický Properties Builder/ Institutional Gifts Manager, Editorial Ticket Services Switchboard Front of House Eric Weimer Janice Fraser Co-ordinator Supervisor Head Electrician Dawn Marie Schlegel Gianna Wichelow Branka Hrsum Brigitte Lang Olwyn Lewis Properties Builders Associate Director, Senior Communications Ticket Services Mailroom Clerk/ Assistant Manager, Company Manager Joel Thoman Carolyn Choo Donor Relations Manager, Creative Representatives Courier Food & Beverage Assistant Electrician Wulf James Baldwin Kathryn Garnett Natalie Sandassie Jennifer Pugsley Karen Brown BUILDING SERVICES Patron Services Scheduling Manager Al Merson Sandra Corazza Senior Development Media Relations Darren Bryant Supervisors Head of Sound Costume Supervisor Officer, Annual Manager Ellen Casey Joe Waldherr Kelly Bailey Michael Barrs Programs and Patron Ernest Cayemen Associate Director, Stuart Constable Assistant Scheduling Craig Kadoke Chloe Anderson Engagement Meighan Szigeti Holly Coish Facilities Management Enrique Covarrubias Manager Sound Assistant Costume Co-ordinator Associate Manager, Anna Kay Eldridge Cortes Paige Phillips Digital Marketing Kate Estock Piro Milo Jamieson Eakin Karen Olinyk Paul Watkinson Costume Assistants Co-ordinator, Annual Peter Genoway Assistant Building Melissa McDonnell Administrative Assistant, Head Carpenter Natassia Brunato Programs and Patron Eldon Earle Amanda Gomes Services Manager Adam Orr Music Christina Del Monte Engagement Marketing Co-ordinator Maureen Gualtieri Rebecca Riddell Craig Kadoke Melissa Haddad Maintenance Assistants Kimberly Wu Birthe Joergensen Assistant Carpenter Sue Furlong Aisha Talarico Michelle Hwu Stephen Haimes Ryszard Gad (COC) Archivist – Joan Baillie Resident Tailor Senior Development Retail Co-ordinator Keith Lam Branislav Peterman Patron Services Leads Archives Paul Watkinson Officer, Friends of Ian McDonnell (COC) Carianne Hill Head Carpenter Assisted by the COC Danielle D’Ornellas Kevin Morris Julian Peters (COC) Jennifer Toulmin Ian Cowie Deniz Cakin Digital Marketing Mary Porter Andrew Barley (FSCPA) Orchestra Personnel Mike Gelfand Gulay Cokgezen Kevin Sean Pook Assistant Rebecca Riddell James Esposito Manager Assistant Carpenter Karen Donaldson Co-ordinator, Friends Darcy Stoop (FSCPA) Grace Kessel of the COC Mitch Yolevsky Mark Healy (FSCPA) Barb Nowakowski Piotr Wiench (FSCPA)
FSCPA – Four Seasons Centre for the Performing Arts
16 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 17 E. LOUISE MORGAN SOCIETY
The E. Louise Morgan Society was created to reflect the vision and commitment of its founder and the members who have created a legacy of leadership, passion and philanthropy in support of the goals of the Canadian Opera Company. Each of these donors has contributed a cumulative total of more than one million dollars over the past 15 years. Their support is critical to the company’s success and we are forever indebted to their commitment and generosity.
The Estate of Dr. Larry M. Agranove Kolter Communities ARIAS: Canadian Opera Student The Catherine and Maxwell Meighen Foundation Development Fund Roger D. Moore The Gerard & Earlaine Collins Foundation E. Louise Morgan The late John A. Cook Joey & Toby Tanenbaum The Estate of Horst Dantz and Don Quick Anonymous (2)
Major Gifts & Special Projects Every year, the Canadian Opera Company has unique projects operating beyond regular annual activities, each of which relies on private funding to ensure its success. These include: endowment funding, production underwriting, artist and performance sponsorship as well as training, education and outreach programs.
$1,000,000+ Estate of Betty M. Kalmanasch Dr. David Stanley-Porter & The Estate of Horst Dantz & Patrick & Barbara Keenan Dr. Colin McGregor Mailer Don Quick‡ Marjorie & Roy Linden Ms Kristine Vikmanis & Peter M. Deeb Roger D. Moore Mr. Denton Creighton Katalin Schäfer Samara Walbohm & $500,000 – $999,999 Robert Sherrin Joe Shlesinger The Catherine and Maxwell The Stratton Trust Melanie Whitehead Meighen Foundation Ryerson & Michele Symons Brian Wilks The Slaight Family Foundation Wendy J. Thompson and Estate of Jean Yack Wright the late Samuel A. Rea Anonymous (3) $100,000 – $499,999 Estate of Kathryn Thornton‡ Peter A. Allen William & Phyllis Waters (The commitments listed above Mark & Gail Appel Anonymous (1) were made as of March 15, 2013.) Anne & Tony Arrell Paul Bernards UP TO $24,999 INDIVIDUAL ANNUAL SUPPORT David G. Broadhurst Laurie & Fareed Ali Lisa Balfour Bowen & ARIAS: Canadian Opera GOLDEN CIRCLE Walter M. Bowen Student Development Fund Jean Davidson & Paul Spafford Marcia Lewis Brown GOLDEN CIRCLE COMMITTEE Philip Deck & Kimberley Bozak Nani & Austin Beutel Mark Appel George S. Dembroski John Chiu in memory of Cecily Bradshaw Jerry & Geraldine Heffernan Yvonne Chiu, CM Stewart Burton Judy & Wilmot Matthews Classical 96 FM Stephen Marshall Don McQueen & Estate of Meryl Cole Judy Matthews Trina McQueen OC Ninalee Craig Frances Price (Chair) Donald O’Born Catherine Fauquier Colleen Sexsmith Tim & Frances Price Estate of Judith Howard Michele Symons David Roffey & Karen Walsh Peter & Hélène Hunt Colleen Sexsmith Michael & Linda Hutcheon GOLD, $50,000 + Sandra L. Simpson Dr. Noëlle Grace & Anne & Tony Arrell**** Jack Whiteside The Shohet Family David G. Broadhurst* Anonymous‡ (1) Hon. Henry N. R. Jackman‡ In memory of Gerard H. Collins**** J. Hans Kluge Jerry & Geraldine Heffernan**** $25,000 – $99,999 Jo Lander The Catherine and Cecily & Robert Bradshaw Tom C. Logan Maxwell Meighen Foundation**** Earlaine Collins Estate of J. Bruce MacDonald Roger D. Moore**** Estate of Walter Carsen Sue Mortimer Arthur & Susan Scace**** Ethel Harris & Rosemary Speirs Colleen Sexsmith** the late Milton E. Harris Estate of Sarka Spinkova Sandra L. Simpson*
Please visit coc.ca for additional information 19 SILVER, $25,000 – $49,999 John & Esther McNeil*** Murray & Marvelle Koffler**** Andrew Peller Limited Don McQueen & Mr. Gurney Kranz*** Mark & Gail Appel*** Trina McQueen, O.C.* Anne Lewitt* Paul Bernards*** John McVicker & B. W. Thomas**** Jerry & Joan Lozinski**** Barbara Black* Delia M. Moog** John Macfarlane* The Black Family Foundation Jonathan Morgan & The Hon. Barbara McDougall*** Cecily & Robert Bradshaw Shurla Gittens* Mrs. Louise O’Shea**** Stephen Clarke & Elizabeth Black* Sue Mortimer**** Rogan Foundation Philip Deck & Kimberley Bozak*** Nicholas & Rosemary Mutton Annie & Ian Sale George & Kathy Dembroski**** James & Christine Nicol Dr. David Shaw* Michael & Lora Gibbens Mrs. & Mr. Christl & Françoise Sutton** Rennie & Bill Humphries*** Karl Niemuller** Carol Swallow*** Ronald Kimel & Donald O’Born** Vanessa LaPerriere**** Peter M. Partridge**** PATRON, $3,750 – $7,499 Susan Loube & William Acton* Ian & Michelle Pearce Clive & Barbara Allen**** Tim & Frances Price**** Mr. Peter A. Allen* BRONZE, $12,500 – $24,999 Ms R. Raso**** Sue Armstrong*** Dr. & Mrs. Hans G. Abromeit**** David Roffey & Karen Walsh*** Ron Atkinson & Philip & Linda Armstrong* Barrie Rose & Family*** Bruce Blandford*** Ms Nora Aufreiter John A. Rothschild* Mona H. Bandeen, C. M.** Melissa & Barry Avrich Philip & Maria Smith** Karen & Bill Barnett Mr. Philip J. Boswell†**** Stephen & Jane Smith**** L. H. Bartelink in memory of Walter M. & Lisa Balfour Bowen**** Marion & Gerald Soloway** Oskar & Irmgard Gaube** Susanne Boyce & David E. Spiro*** Dr. Thomas H. Beechy**** Brendan Mullen*** David Stanley-Porter**** Mr. Doug & Mrs. Alison Bell Rob & Teresa Brouwer* Riki Turofsky & Charles Petersen* Mr. & Mrs. Eric Belli-Bivar*** Marcia Lewis Brown Ryerson & Michele Symons Dr. Catherine Bergeron** Stewart & Gina Burton* Ms Kristine Vikmanis & Tom Bogart & Kathy Tamaki* Dr. John Chiu in memory of Mr. Denton Creighton**** William & Yvonne Chiu, C.M.**** Jack Whiteside** Anna Maria Braithwaite* Mr. & Mrs. Alexander Christ**** T o m & Ruth Woods*** Dr. Jane Brissenden & The Max Clarkson Family Dr. Janet Roscoe**** Foundation**** PRESIDENT’S COUNCIL Mrs. Donna Brock** J. Rob Collins & Janet Cottrelle**** Margaret & Derek Brown**** Sydney & Florence Cooper* PRESIDENT’S COUNCIL Murray & Judy Bryant** Ms Alice J. Court COMMITTEE Joe & Laurissa Canavan A scene from the COC's The Nightingale and Other Short Fables, 2009. Photo: Michael Cooper Mrs. Ninalee Craig*** Mary-Catherine Acheson Cesaroni Management Limited** Mr. & Mrs. Leslie Dan** Diane Adamson-Brdar Paul G. Cherry & Jean Davidson & Catherine Bergeron Dean C. Noack**** Paul Spafford**** Marcia Lewis Brown Frank Ciccolini**** David Denison & Thomas J. Burton The Rt. Hon. Adrienne Clarkson Make the most of your Maureen Flanagan* Ninalee Craig Mr. & Mrs. William J. Corcoran** David & Kristin Ferguson**** Gladys Fogler Lindy Cowan† & Chris Hatley** opera experience! George Fierheller**** Sue Mortimer Norman Curtis**** Lloyd & Gladys Fogler*** Katalin Schäfer Jill Denham & Stephen Marshall* Four Seasons Hotels & Colleen Sexsmith (Chair) Dr. Jeanne Deinum**** The President’s Council and Golden Circle programs help Resorts** Kristine Vikmanis Carol Derk & David Giles* make possible many of the company’s activities. New Adam & Sharin Froman Karen Walsh Bernard & Francine Dorval** productions, the COC Ensemble Studio program, our Roger & Kevin Garland** Peter & Anne Dotsikas** education and outreach initiatives – these are just a few of Ira Gluskin & TRUSTEE , $7,500 – $12,499 Vreni & Marc Ducommun*** Maxine Granovsky Gluskin*** à la Carte Kitchen Inc. Ron Dyck & Walter Stewart*** the reasons why President’s Council and Golden Circle gifts Ethel Harris & Laurie & Fareed Ali* Bud & Leigh Eisenberg*** are so crucial to our future. the late Milton Harris**** Margaret Atwood & Joseph Fantl & Moira Bartram* Dr. W. P. Hayman & Graeme Gibson** Fleur-de-lis Interior Design President’s Council and Golden Circle members share in Dr. M. L. Myers*** Mr. & Mrs. Avie Bennett**** Kimberley Fobert & the excitement of opera in new ways through events and William & Mr. Roland Bertin Robert Lamb†*** Nona Heaslip Foundation**** Dr. David & Constance Briant**** The Fraser Elliott Foundation**** activities, receive personalized service for ticket purchases Douglas E. Hodgson**** Marilyn Cook* Dr. & Mrs. Wm. O. Geisler** and exchanges, and enjoy exclusive use of the Henry N. R. Michael & Linda Hutcheon**** Mrs. A. Ephraim Diamond & The Hon. Alastair W. Gillespie**** Jackman Lounge at all opera performances. Intact Financial Corporation Family**** Ben & Sarah Glatt**** William Ip & Kathleen Latimer* Andrew Fleming** Peter & Shelagh Godsoe* Trinity Jackman The Hon. William C. Graham & Rose & Roger Goldstein *** For further information, contact us at Jeff Lloyd & Barbara Henders* Mrs. Catherine Graham**** Michael & Anne Gough**** [email protected] or call 416-363-5801. Mr. & Mrs. J. S. A. MacDonald**** Rainer Hackert**** Ronald & Birgitte Granofsky**** Bobby & Gordon MacNeill* M a g g i e H a yes** D o u g l a s & R u t h Grant Judy & Wilmot Matthews* Bernhard & Hannelore Kaeser**** John & Judith Grant** Jill & Geoff Matus* J. Hans Kluge* Al & Malka Green* * The COC recognizes donations from all individual giving programs with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines.
24 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 21 John Groves*** Gordon Robison & David Grant* A l ic e & T o m B a s t e d o** James & Joyce Gutmann**** J oseph L. Rosenmiller** Mr. Danny Battista Gudrun Hackert*** Maxwell L. Rotstein & Dr. Gail Beck, O. Ont. & Hampton Securities Ltd. Nancy-Gay Rotstein**** Mr. Andrew Fenus Scott & Ellen Hand** Judy & Hy Sarick**** Mr. & Mrs. Peter & Sondra Beck Hon. & Mrs. Paul Hellyer**** Sam & Esther Sarick*** Ms Marie Bérard†** Ava Marion Hillier* Helen & John Scott* Nani & Austin Beutel**** Prof. Michiel Horn & Dr. Ralph Shaw & June Shaw**** Dody Bienenstock* Cornelia Schuh**** Allan & Helaine Shiff**** John & Mandy Birch* Scott Irvine† & Joan Watson†** David & Hilary Short*** A n n eliese and Walter Blackwell**** The Jackman Foundation*** Judy & Hume Smith*** Lynn Blaser & John van Ogtrop**** Victoria Jackman*** D r . H a r le y S m yth & Darlene & Peter Blenich Mr. Robert C. Jefferies**** Carolyn McIntire Smyth* Ian & Janet Blue** Dr. Joshua Josephson & Dr. John Stanley & John & Ila Bossons* Ensemble Studio Ms Elaine Lewis**** Dr. Helmut Reichenbächer** Mr. W. Bowen & Lorraine Kaake**** Drs. Wayne Stanley & Ms S. Gavinchuk†*** Patrick & Barbara Keenan**** Marina Pretorius* Mrs. Carolyn Bradley-Hall & The Canadian Opera Company Dr. Joel Keenleyside**** D o r e e n L. Stanton**** Mr. William Bradley*** Ensemble Studio is the country’s Jim & Diane King* Kathryn J. Thornton**** Mrs. Richard Bradshaw*** Joseph Kerzner & Lisa Koeper**** Anthea Thorp**** Peter Brieger & Beverley Hamblin* premier opera training program. Jean V. Kramar* Vincent Tovell, O.C.*** Brian Bucknall & Since 1980, more than 150 young The Hon. Dennis Lane, Q.C. & Ian Turner** Mary Jane Mossman**** Mrs. Sandra Lane**** Dita Vadron & James Catty* Christopher & Elizabeth Buller Canadian singers, stage directors, Harold & Larraine Langer**** Rosalind & Dory Vanderhoof Alice Burton** apprentice opera coaches and Mr. Philip Lanouette* Donald & Margaret Walter**** Thomas J. Burton* John B. Lawson, Q.C.**** Hugh & Colleen Washington* Maureen Callahan & conductors have acquired their first Paul Lee & Jill Maynard**** William R. Waters*** Douglas Gray* professional operatic experience Mr. J. Levitt & Ms E. Mah* R u t h Watts-Gransden**** Margaret Harriett Cameron**** Daniel & Janet Li* Dr. Virginia Wesson** Sharon & Howard Campbell* through this program, including such Anthony Lisanti** E r i c W e t l a ufer Brian & Ellen Carr**** well known singers as Ben Heppner, Vincent & Helene Lobraico* Dr. Jack Williams & Gail Carson**** Angelo & Grace Locilento** Dr. Dorothy Pringle** Wendy M. Cecil**** Isabel Bayrakdarian, John Fanning, Tom C. Logan* Mr. & Mrs. Richard Wookey*** D r . & M r s . Albert Cheskes** Wendy Nielsen, David Pomeroy, Jonathan & Linda Young* Birte von Chlumecky-Bauer** Dorothea Lovat Dickson* Tricia Younger* John D. Church Joseph Kaiser, Lauren Segal and Mrs. J. L. Malcolm* The Youssef-Warren Foundation*** Dr. Howard M. Clarke** Krisztina Szabó. Dr. & Mrs. M. A. Manuel* Helen Ziegler** Edward Cole & Adrienne Hood** Hon. Margaret McCain** Sharon Zuckerman**** Brian Collins & Amanda Demers* Christa & Robert McDermott* Helen & Walter Zwig**** Tony & Elizabeth Comper* For more information about Paul & Jean McGrath**** Anonymous (4) Murray & Katherine Corlett*** Ronan McGrath & Sarah Perry Harold & Anita Corrigan*** supporting the COC Ensemble Kathleen McLaughlin & MEMBER, $2,250 – $3,749 Dr. Lesley S. Corrin**** Studio, please call 416-847-4949 Tim Costigan* The Acheson Family Foundation** Bram & Beth Costin June McLean**** D. C. Adamson-Brdar**** Gay & Derek Cowbourne* or visit coc.ca. Mr. Ulrich Menzefricke**** D r . & M rs. Larry M. Agranove**** Ruth & John Crow*** Dr. Thomas & Donna & Lorne Albaum* Andreas Curkovic Mrs. Catherine H. Millar Mr. & Mrs. Roberto & Mary Beth Currie & Jeff Rintoul Dr. Judith A. Miller*** Nancy Albis** Carrol Anne Curry*** Bruce & Vladka Mitchell* Mr. Thomas & Mrs. Claire Allen* Ms Lindsay Dale-Harris & Professor David J. Murray*** Dr. D. Amato & Ms J. Hodges**** Mr. Rupert Field-Marsham**** Eileen Patricia Newell** Andrée Appleton & Doris J. Daughney Mrs. Sally-Ann Noznesky**** Alexander Leman* Dr. & Mrs. Michael & Ute Davis** Ambur Braid as Vitellia and Rihab Chaieb (kneeling) as E. Oliana & A. Iu*** Anne-Marie H. Applin*** Brian J. Dawson** Sesto in the COC Ensemble Studio performance of La Keith & Brenda Ottaway*** Valerie Armstrong**** Michael & Honor de Pencier*** clemenza di Tito, 2013. Photo: Michael Cooper The Ouellette Family Foundation Philip Arthur & Mary Wilson* M r s . R o s a r io d e W i t - F arro*** Dr. & Mrs. William M. Park**** Virginia Atkin*** Mrs. Leonard G. (Anne) Delicaet Douglas L. Parker**** John Bailey* & Mrs. Kendra Anne John & Gwen Pattison* James C. Baillie* Delicaet-Almasi**** Polk Family Charitable Fund** Marilyn & Charles Baillie**** Mary-Kathleen Delicaet & Julian Porter, Q.C.* Andrew & Cornelia Baines**** John Young Mary Jean & Frank Potter*** Janice A. Baker**** Perry & Rae Dellio*** Margrit & Tony Rahilly**** Richard J. Balfour*** Angelo & Carol DelZotto*** Wendy J. Thompson and Schuyler Bankes & Family*** Mr. & Mrs. Elvio DelZotto* the late Samuel A. Rea**** Lindy Barrow** Mr. & Mrs. A. J. Diamond* Mrs. Gabrielle Richards** Dr. Frank Bartoszek & J. DiGiovanni* Rob & Penny Richards*** Mr. Daniel O’Brien**** Olwen & Frank Dixon* Margaret A. Riggin* Julia Bass & David Hamilton** James Doak & Patricia Best**
8 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 23 Sandra Z. Doblinger* Michael Harris & Carol Rak* Dr. & Mrs. W. G. Lindley**** Dr. John & Pamela Newall**** Philip Somerville* Ms June Yee** Ms Petrina Dolby** Valerie & Brian Harris**** Janet & Sid Lindsay** Dr. Emilie Newell* John & Ellen Spears*** Anonymous (3) Dr. James & Mrs. Ellen Downey* Mr. & Mrs. William B. Harris*** Dr. Vance Logan*** Dr. Steven Nitzkin*** Martha E. Spears*** John Duffy & Jill Presser* P a u l & Natalie Hartman* A. Benson Lorriman**** Dorothy Novotny-Brandenberg Alex & Kim Squires**** ASSOCIATE FRIENDS Marko Duic**** Mr. Harquail & Dr. Sigfridsson* Douglas L. Ludwig & Simon & Marlene Nyilassy O k s a n a R . S t e i n * * * $1,100 – $1,599 Mr. Albert D. Dunn* Jenny Heathcote**** Karen J. Rice** Dr. James & Mr. & Mrs. Gary & Sula Stern* Ms I. M. Allen**** William & Gwenda Echard**** Mr. Thomas G. Heintzman & Dr. Robert G. Luton**** Mrs. Valda Oestreicher** Dr. & Mrs. Stephen Stern*** Michael & Janet Barnard** Jean Edwards* Ms Mary Jane Heintzman** Ms Jane Loughborough* Janice Oliver** John D. Stevenson*** Michael Benedict & Wendy & Elliot Eisen*** Caroline Helbronner** M a r y L u & Bruce MacDonald**** Benson Orenstein*** Jim Stewart & Deborah Swail* Martha Lowrie**** Mr. & Mrs. John J. Elder**** J a c q u e s & E l izabeth Helbronner** James & Connie MacDougall**** Martin & Myrna Ossip* James H. Stonehouse* Don Biderman**** Genia & Stan Elkind**** Thea Herman & Gregory King** Mr. Jed MacKay**** Julia & Liza Overs*** Janet Stubbs Ellen & Murray Blankstein Jordan Elliott & Lynne Griffin William E. Hewitt*** Dr. & Mrs. Richard Mackenzie**** Mr. Al Pace S u n n y C r u n c h F o o d s L t d . Dr. Wendy C. Chan Robert Elliott & Paul Wilson* Mr. Tom Higgins** Mrs. R. MacMillan**** Dr. & Mrs. N. Pairaudeau**** Eric Tang & Dr. James Miller* P a t ricia Clarke** Christoph Emmrich & Sam & Libby Ho** Macro Properties Ltd.* Mrs. Margaret Ann Pattison**** Mr. & Mrs. Gordon Taylor*** Cogeco Data Services Srilata Raman Chris Hoffmann & Joan Eakin* Susan & Scott Maidment** Dr. A. Angus Peller* Judith Teller Foundation**** Mr. John A. Crocker & Dr. & Mrs. John Evans** Sally Holton & Stephen Ireland*** Dr. Colin McGregor Mailer**** Dr. R. G. Perrin* Tesari Charitable Foundation** Mrs. Mary Crocker*** Virginia Evans* Emmy & Walter Homburger** R. Manke**** J o h n & C a r o l Peterson** John Todd & Jenny Ginder**** Mr. Darren Day** Fabris Inc. Drs. Walter & Virginia Hryshko* Mr. & Mrs. R. Gordon Marantz**** M. J. Phillips**** Elizabeth Tory**** Prometheum Institute*** George A. Farkass* Ken Hugessen & Roberto Mauro† & Erin Wall June C. Pinkney**** Diana Tremain**** Dr. Eric Domville** Gail & Bob Farquharson J e n n i f e r C o n n o ll y * Pauline and Dipak Mazumdar Robin B. Pitcher*** Sandra & Guy Upjohn** Mr. Steven D. Donohoe**** Catherine Fauquier*** Anthony C. J. Humphreys**** at the Toronto Community Wanda Plachta*** Dr. R. B. Van Winckle Mr. Larry Enkin ** Bill Fearn & Claudia Rogers*** Gillian Humphreys* Foundation**** Georgia Prassas**** Edmond & Sylvia Vanhaverbeke*** R. Dalton Fowler**** Mr. & Mrs. Fraser M. Fell**** P e t er & Hélène Hunt**** Mrs. Ettore Mazzoleni** D r . M a r k Q uigley*** Mr. & Mrs. Henry & John H. Galloway**** Lee & Shannon Ferrier*** Mrs. Wilma Hysen*** Dr. & Mrs. John A. McCallum**** C. Edward Rathé**** A n n L o u i s e V e h o v e c * * * Dr. Gabriela Gohla William & Rosemary Fillmore** Dr. Melvyn L. Iscove** W e n d y & Chris McDowall* Stephen Ralls & Bruce Ubukata** Dr. Yvonne Verbeeten** Aviva & Andrew Goldenberg** Dr. Sidney M. Fireman* Elliott Jacobson & Judy Malkin* Dr. & Mrs. Donald C. McGillivray**** The Carol & Dr. Helen Vosu & Donald Milner**** Suzy Greenspan** Mrs. Lois Fleming**** M r . Hamid Jahanzad & Darcy & Joyce McKeough* Morton Rapp Foundation**** Richard & Nathalie Wachsberg Mr. James Hamilton* J. E. Fordyce**** Ms Rosaria Giorgi Don McLean & Diane Martello K e n n e t h F . R e a d **** Dr. O. R. Waler* L a w r e n c e & Beatrice Herman*** David & Elizabeth Forster** L y n n e Jeffrey*** Guy & Joanne McLean**** Mrs. Richard Gavin Reid* E li z a b e t h & M ic h a e l W a lk er** In memory of Pauline Hinch* Robert & Julia Foster** Paul Jaggard & Ruth Caswell M. E. McLeod**** Grant L. Reuber*** Ann & Marshall Webb* Mr. David Holdsworth & Margaret & David Fountain**** Laurence Jewell* Jean M. McNab**** Carolyn Ricketts*** Peter Webb & Joan York**** Ms Nicole Senecal* Linda & Ken Foxcroft* The Norman & Mark & Andrea McQueen*** Ms Nada Ristich Philip & Diana Weinstein* Richard & Susan Horner**** Mr. Michael A. French* Margaret Jewison Charitable Shawn McReynolds & Emily & Fred Rizner* Dr. Bogomila Welsh* Mr. Josef Hrdina* Robert Fung** Foundation**** Elaine Kierans* Clara Robert* Ms Eleanor Westney* Donald Hughes*** John & Rita Gagliano Mrs. E. Patricia Johnson** M r . I a n M c W alter* S id n e y R o b i n s o n & Melanie Whitehead** James Hughes** Rev. Ivars Gaide & Ms Elizabeth Johnson* Dr. Don Melady & Linda Currie**** Ms Anne-Marie Widner & Ms Elisa Kearney Rev. Dr. Anita Gaide** Dr. Albert & Bette Johnston* Mr. Rowley Mossop** Dr. Michael & Mary Romeo**** Mr. Paul Szymanski*** Ms Suanne Kelman & Ann Gawman** Joyce Johnston** Eileen Mercier**** John & Hannah Rosen* Mr. Brian Wilks* Dr. Allan J. Fox* Dr. Barry A. Gayle**** Alexandra Jonsson Ingrid & Daniel Mida* Ken & Helen Rotenberg* Elizabeth Wilson & Ms K. Margot Khan Martin & Mindy Gerskup* Ms Antonina Karpouchkina Marvene (Cox) & Gordon Miller** Rainer & Sharyn Rothfuss**** Ian Montagnes**** Mr. & Mrs. I. P. & The Honourable Irving Gerstein & Inta Kierans**** Lee Milliken† & The Roux Family Jeffrey Stewart Wilson* O. M. Komarnicky*** Mrs. Gail Gerstein* Peter Kingsmill* Doug MacNaughton* Drs. Orest & Maureen Rudzik**** Dr. Jackson Wu & Eleven Television Canada Inc.* Ann J. Gibson**** Ellen & Hermann Kircher**** Patricia & Frank Mills** David A. Ruston*** Dr. Viviana Chang P . Anne Mackay**** Mary & Lionel Goffart Mr. Douglas Klaassen** M s Kamini Milnes* Ms Sharon Cookie Sandler*** Morden Yolles**** M r . S e a n O'Neill*** Dr. Eudice Goldberg Dr. Elizabeth Kocmur**** Dr. & Mrs. Steven Millward Mallory Morris Sartz & Dr. Howard & Sybil Young**** Ms Marianne Orr Dr. Fay Goldstep & Michael & Sonja Koerner** Audrey & David Mirvish** John Sartz**** George Zeman Eileen & Ralph Overend* Dr. George Freedman* Robin Korthals & Dr. David N. Mitchell & Go Sato*** Susan Zorzi** Barbara & Peter Pauly* Deanna A. Gontard**** Janet Charlton* Dr. Susan M. Till*** Dr. & Mrs. Bruce Schaef**** Anonymous (22) Ms Victoria Pinnington** Tina & Michael Gooding** Dr. Robert Kosnik**** Mr. Donald Mitchell Beverly & Fred Schaeffer**** Mr. & Mrs. Porporo* Wayne A. Gooding**** Richard J. Kostoff** Robert & Janet Mitchell* Katalin Schäfer*** FRIENDS OF THE COC Dr. Peter Ray*** Goodman Family* Valarie Koziol Eva Mocarski* F r e d & Mary Schulz* Mrs. Gertrude Rosenthal**** Dr. Noëlle Grace & William & Eva Krangle**** Dr. & Mrs. S. Mocarski* Dr. Marianne Seger**** SUSTAINING FRIENDS Dorothy & Robert Ross*** The Shohet Family*** Richard T. La Prairie* Anne Moore**** Carol Seifert & Bruno Tesan** $1,600 – $2,249 Ms Elisabeth Scarff**** Jane Greene* Elizabeth & Goulding Lambert*** Mr. Robert Morassutti**** Mr. & Mrs. Norman Shamie*** In memory of M. Baptista*** The Sorbara Group**** Mr. Finn Greflund & Leslie & Jo Lander**** Ruth Morawetz & Ken Judd** Victor & Rhoda Shields**** Iivi Campbell**** Norma & George Steiner**** Mrs. M. Ortner* Dr. Connie Lee** Alice Janet Morgan*** Milton & Joyce Shier**** Ms Sylvia D'Addario** Jane & Ted Stephenson**** Mr. Carmen & Linda Lee & Michael Pharoah**** Ada & Hugh G. Morris* Dr. Kevin Shiffman* J a y n e & Ted Dawson**** Dr. & Mrs. Karel Terbrugge Mrs. Vittoria Guglietti* Neal Lee & Dominique Lee* Ms Rosalind Morrow* William Siegel & Margaret Swaine* Bill Heaslip**** Ms Peg Thoen* Ellen & Simon Gulden**** Dr. Richard Lee & Drs. Christopher & Pippa Moss** Dr. Bernie & Mr. A. Mafrici**** Wendy Thorburn* Mr. & Mrs. Henry Hackenspiel**** Mr. Gary Van Haren* Gael Mourant & Mrs. Bobbie Silverman** Clarence & Mary Pace** Dr. M. Lynne Thurling & Dan Hagler & Family** Alexander & Anna Leggatt*** Caroline Hubberstey In memory of Dr. Bernard Slatt Dr. Roger D. Pearce*** Dr. John Treilhard*** Ms Francess G. Halpenny**** Joy Levine** Mr. Noel Mowat** Dr. & Mrs. Jeremy Sloan* Dr. Norbert V. Perera**** Janet White** Mr. Adrian J. Hamel Mr. Peter Levitt & Ms Mai Why** Mr. Joseph Mulder* Brit & Sally Smith** A. K. Sigurjonsson*** F. Whittaker* George & Irene Hamilton**** Cheryl Lewis & Mihkel Voore** Ethel Myers**** Jay Smith & Laura Rapp* David Smukler & Patricia Kern* Ron Williams* John & Ruth Hannigan L. Liivamagi & Dr. D. N. Cash Matt & Debbie Mysak*** Kenneth & Catherine Smith*** Mr. & Mrs. Vernon & Anonymous (6) Beverly Hargraft* Justin S. Linden D a v i d & M a r y Neelands*** Ms Muriel Smith & Mr. Eric Ojala*** Beryl Turner*** Paul & Margaret Harricks* Marjorie & Roy Linden**** Dr. Shirley C. Neuman* Dr. Joseph So*** Gordon Waugh***
24 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 25 CONTRIBUTING FRIENDS Mr. David Hutton** Henry & Mary Seldon**** $700 – $1,099 Mr. Sumant Inamdar** Anci Shafran**** Carol A. Albright**** Mr. Kazik Jedrzejczak**** Robert & Geraldine Sharpe**** Mr. Robert Atkinson Douglas & Dorothy Joyce**** Marlene Pollock Sheff* Peter & Leslie Barton** Heidi & Khalid Khokhar*** Ms Linda Sheppard* Mrs. Lynn Bayer** Mai Kirch**** Cheryl Shook** Jeniva Berger*** Mr. Martin Kirr & C. Anderson Silber* Dr. B. Derek & Dr. Anne W. Birt**** Ms Suzanne McCuaig D. Bruce Sinclair** Dr. Jennifer Blake* Dr. & Mrs. L. A. Kitchell**** Joan Sinclair & John McConnell** Ms Marlene Bohn* Mr. Christopher J. Kowal Mr. Warren Sorensen & Bob Bosshard & Nancy Williams Mr. & Mrs. Armin Kratel**** Mr. Gregory Williams**** Dr. & Ms B. M. Braude** Mr. Jonathan Krehm* John Spears**** Mary Brock & Brian Iler**** Gediminas P. Kurpis**** Tony Stapells** Mr. Thomas N. Bryson** Mr. James R. Lake**** Dr. & Mrs. W. K. Stavraky*** Ms Judith Burrows** Harry Lane** Scott Steele & Jan Korman* Ms E. Burton*** M. J. Horsfall Large** Helga & Klaus Stegemann*** Theresa & John Caldwell**** Miss Donna Lasecki** Hamish Stewart & Betty Carlyle**** Giles le Riche & Susan Taylor**** Mark Cestnik**** Rosemary Polczer** Paul & Maria Szasz**** Harold Chmara & Danny Hoy **** Claus & Heather Lenk* Ms Michelle Tan* Joe T. R. Clarke**** Mr. Yakov Lerner Dr. R. Paul Thompson* Sherri Clarkson Mr. Jason Lewis Ria Tietz**** Mr. Robert D. Cook* Mrs. Mary Liitoja**** Mr. Alex Tosheff Mr. & Mrs. Norman & Dr. Francois Loubert* Dr. Claude Tousignant** Louise Coxall*** Dr. Deidre Lynch* David & Diana Trent**** Mr. Neil Crawford Craig & Karen * Mrs. Norene Turvolgyi**** Professor K. G. Davey, OC** Ms Andrea Margles**** Tobias & Jeanne van Dalen* Mr. Stuart Davidson Kathy Marton* Dr. Nancy F. Vogan**** Elaine & Michael Davies**** Mary McClymont**** Mr. Wayne Vogan†**** Ms Christine Demont*** Mary McGowan*** George Vona & Lark Popov Mr. Michael Disney* Jil McIntosh** Dr. Peter Voore*** Dr. Christine Dunbar* Mr. Bruce McKeown*** Angela & Michael Vuchnich**** Howard & Kathrine Eckler** Dr. & Mrs. Martin & Mr. John M. Welch**** Peter & Shashi Eden** Deborah McKneally** James & Margaret Whitby**** Ms Eleanor L. Ellins**** Georgina McLennan**** David B. & Virginia Wortman** Mr. Arthur English* Sylvia McPhee**** Ms Diana Yenson A scene from the COC's Gianni Schicchi, 2012. Photo: Michael Cooper Joe & Helen Feldmann** Mr. Jeffrey Mesina Ms Iris Zawadowski* Brian A. Ferguson*** Dr. Alan C. Middleton** Carole & Bernie Zucker Richard & Gail Flack** Frank & Anne Moir** Anonymous (7) Tom Flemming**** Mr. Carl Morey**** Mr. Morris Flicht**** Terry & Dom Morris** Join us! Mrs. & Mr. Jennifer & Anne Murdock** Francis Flower*** Mr. Tomi Nishio*** Hugh Furneaux** David Northcote & Today’s performance has been made possible, in part, by Douglas G. Gardner*** Suzanne Betcke** the generosity and loyal support of the Friends of the COC*. Gordon & Pamela Gibson**** Jean O'Grady** Our Friends also support our education and outreach Elinor Gill Ratcliffe C.M., Ms Cristina Oke** programs and Ensemble Studio training program. O.N.L.,LLD(hc) Karen Olinyk† Alison Girling & Paul Schabas* Mr. Martti Paloheimo* Ricardo Gomez-Insausti* Mr. Joseph & Become a Friend of the COC and you can join us in the Dr. Wilfred S. Goodman**** Mrs. Letizia Paradiso*** Friends Lounge at all COC performances, enjoy special Mr. Dave Gordon* David Peachey & Georgia behind-the-scenes working rehearsals and events, receive Mrs. Marion A. Green**** Henderson** Dr. & Mrs. Voldemars Gulens**** Dr. A. Angus Peller* our newsletter Prelude, as well as gain access to single Gisele Hall* Mrs. Dorothy K. Piepke**** tickets one week prior to the public. All gifts will be gratefully Philo Handler** Ed & Beth Price** acknowledged with a charitable tax receipt. Dr. & Mrs. Brian & Dr. Shelley Rechner**** Cynthia Hands**** In Loving Memory of Rita & For more information, please stop by the Friends Lounge Mr. & Mrs. E. Roy Harrison**** Morris Shoichet Ms Leslie Hart* Marat Ressin located on Ring 3, visit coc.ca, or call 416-847-4949. Mr. & Mrs. H. C. Hatch*** Mr. Jason Roberts** Sandra Hausman** Mr. David E. Roman**** In memory of Pauline Hinch** M. Sanvido**** Gerry Hogaboam*** William & Mr. Sylvain Houle* Meredith Saunderson**** Dr. Ivan & Mrs. Diana Hronsky**** Barbara Sawaszkiewicz**** Pierre Hurtubise**** Patti & Richard Schabas**
* Friends of the COC give a charitable membership gift between $150 – $2,249 annually.
28 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 27 THE ENCORE LEGACY Marjorie & Roy Linden Tom Nanasi** The Encore Legacy is the Ms Lenore MacDonald Ms Helma Neil planned giving program of the Dr. Colin M. Mailer Ms Lynda Neil Canadian Opera Company. R. Manke Christa Nimmo Tim & Jane Marlatt Dr. Krystyna Prutis-Misterska Planned giving is making the Mr. Shawn Martin Mrs. Mary Lou Rashid decision today to provide a Margaret McKee Peter & Lili Rechnitzer gift for the Canadian Opera Sylvia M. McPhee Rainer & Sharyn Rothfuss**** Company that may not be Dr. Alan C. Middleton Brenda & Fred Saunders** realized until after your lifetime. Eleanor Miller Beverly & Fred Schaeffer**** Planned giving also allows Sigmund & Elaine Mintz Desmond Scott & many people to make a Donald Morse Corinne Langston* significant gift without altering Sue Mortimer Ross Shin their current lifestyle. Mr. & Mrs. James D. Patterson Mr. Stanley & Mervyn Pickering Mrs. Loretta Skinner**** Gifts planned today, that will Gunther & Dorothy Piepke Paul & Maria Szasz**** ultimately affect your estate, Wanda Plachta Ms Grace Szczerbowski allow you to make a statement Ms Georgia Prassas Melanie Whitehead** of support that will become K. F. Read Ms June Yee** a lasting legacy to the COC. Dr. John Reeve-Newson Anonymous (7) In addition, gift planning may Mrs. Margaret Russell provide significant tax benefits Cookie & Stephen Sandler CORPORATE MATCHING for your estate. J. M. Doc Savage PARTNERS Claire Shaw The Canadian Opera Company The Canadian Opera Company R. Bonnie Shettler gratefully acknowledges the gratefully acknowledges and David E. Spiro following organizations that thanks the following individuals Dr. D. P. Stanley-Porter have matched gifts by their who have included the COC in Doreen L. Stanton employees: their estate planning: Lilly Offenbach-Strauss Drs. W. & K. Stavraky Burgundy Asset Management Isobel Allen Janet Stubbs Limited Renata Arens & Elizabeth Frey Ann Sutton Canadian Tire Corporation Mrs. Rosalen Armstrong Ronald Taber Limited Ron Atkinson & Mrs. L. Treutler IBM Canada Ltd. Bruce Blandford Riki Turofsky & Charles Petersen Ivanhoe Cambridge Inc Lindy Barrow N. Suzanne Vanstone† Goodman & Company, Mr. L. H. Bartelink Marie-Laure Wagner Investment Counsel Ltd. J. Linden Best & James G. Kerr Hugh & Colleen Washington FM Global Foundation David Bowen Marion C. Wilson Ketchum Canada Inc. Four Seasons Centre for the Performing Arts. Photo: Sam Javanrouh Marnie M. Bracht Marion York Gregory Brandt Tricia Younger (The above Individual Support Earl Clark Anonymous (53) Gifts were made as of March 15, Brian Collins & Amanda Demers 2013.) Earlaine Collins OPERATOURS DONORS $700 + David H. Cormack (From January 2012 – Corporate Sponsorship Anita Day & Robert McDonald March 2013) Ann De Brouwer * five to nine years of support The Canadian Opera Company welcomes financial Helen Drake Dr. Eric W. Amann ** 10 to 14 years of support Rowland D. Galbraith Howard & Ruth Barrett**** *** 15 to 19 years of support support from corporations that appreciate the Douglas G. Gardner Dr. David & Constance Briant**** **** 20 or more years of support advantages of partnering with one of Canada’s premier Ann J. Gibson Nancy H. Conn † COC administration, chorus performing arts companies. Michael & Anne Gough Mr. Steven D. Donohoe**** or orchestra member L. A. Grover Brian A. Ferguson*** ‡ Endowment George & Irene Hamilton Mrs. & Mr. Jennifer & A variety of sponsorship opportunities can be Joan L. Harris Francis Flower*** customized to meet branding, marketing and corporate James Hewson Ben & Sarah Glatt**** Despite the staff’s extensive entertainment needs including production, performance, John R. Higgins Dr. Irene Gulka* efforts to avoid errors and education and outreach, official orchestra and chorus Mr. Kim Yim Ho & Donald Gutteridge & omissions, mistakes can occur. Walter Frederic Thommen Anne Millar If your name was omitted, sponsorships, as well as official supplier partnerships Douglas E. Hodgson Peter & Hélène Hunt**** listed incorrectly or misspelled, at the Four Seasons Centre for the Performing Arts. Matt Hughes Dr. Elizabeth Kocmur**** we apologize for any Corporate sponsorship offers exciting privileges that you Michael & Linda Hutcheon Mr. Joseph Kovacs Jr. & inconvenience this may have Lynne Jeffrey Mrs. Edith Kovacs**** caused. We would appreciate and your company can enjoy all year long. Ann Kadrnka Ms Antonieta Marticorena being notified of any errors Ben Kizemchuk Mr. Heinz & Mrs. Janet Mayr at 416-847-4949. For further information, please contact Ali Kashani at Kathryn Kossow David & Jean McIntosh* [email protected]. Mr. Gurney Kranz Ruth Miller Jo Lander Mr. Alex Moraru Peggy Lau Dr. Robert E. Munn**
28 Canadian Opera Company 20 12/20 13 Season MAJOR CORPORATE SPONSORS 20 12/2013 SPONSORS 2012/2013 SEASON
DIAMOND PERFORMANCE SPONSORS $2,000 to $2,999 BMO Financial Group Pre-Performance Opera Chats Jarvis & Associates and BMO Financial Group Student Dress Rehearsals. Presenting Sponsor of SURTITLES™ MAC Cosmetics Production Sponsor Wagner’s Tristan und Isolde Mercedes-Benz Canada Shinex Window Cleaning Inc
$1,000 to $1,999 Aeroplan Canada HOSTING SPONSOR D’Avignon Freight Services Inc. LoyaltyOne Inc. McKinsey & Company Milgram Group of Companies Ltd. Official Automotive Sponsor The Powis Family Foundation of the COC at the FSCPA OPERANATION 9: SWEET REVENGE PERFORMANCE SPONSORS PRESENTING SPONSOR Barrick Gold Corporation TD Bank Group Burgundy Asset Management Davies Ward Phillips & Vineberg VIP DINNER SPONSOR Fionn MacCool’s Jackman Family Four Seasons Hotels and Resorts McCarthy Tétrault OFFICIAL FRAGRANCE Norton Rose Canada LLP Xstrata Ensemble Studio Major Supporter, Ensemble Studio and Supporting Partner, Calvin Klein ENCOUNTER School Tour Second Annual Ensemble Studio Competition RBC Foundation RGA Life Reinsurance Company of Canada EVENT SPONSORS Absolut Elyx Chair-man Mills PROGRAM SPONSORS CTV Great West Life, London Life and Canada Life, ICON Model Management Inc. Living Opera Program Sponsor Knot PR The Globe and Mail, Ticket Back Sponsor Mill St. KPMG LLP, Xstrata Ensemble Studio School Nadège Patisserie Tour Performance Sponsor Perrier-Jouët Presenting Sponsor Rose Reisman Catering Opera Under 30 and Official Canadian Production Co-sponsors OPENING NIGHT SPONSOR Sennheiser Operanation 9: Wine of the COC Donizetti’s Lucia di Lammermoor Fionn MacCool’s Société Perrier Sweet Revenge at the FSCPA Storys The Globe and Mail PREFERRED FLORISTS Toronto Life Bloom The Flower Company Torrié Quince Flowers Trius Quince Flowers CORPORATE AND FOUNDATION DONORS MAJOR GIFTS Presenting Sponsor Presenting Sponsor FINE WINE AUCTION 2013 After School Opera Program Weekday Rush Subscriptions Preferred Fragrance PRESENTING SPONSORS $10,000+ TD Securities Audrey S. Hellyer Charitable Foundation Bloomberg The Hal Jackman Fund at the Ontario Arts Foundation SUPPORTING SPONSOR The McLean Foundation Blake, Cassels & Graydon LLP Anonymous (1) Thomson Reuters
$5,000 to $9,999 CHEESE SPONSOR 225490 Investments Limited Scheffler’s Delicatessen & Cheese Local 58 Charitable Benefit Fund Preferred Hospitality Preferred Medical Unit Park Holdings Inc. CHOCOLATE SPONSOR Sponsor Official Media Sponsors Services Provider The Hope Charitable Foundation Rheo Thompson Candies Stikeman Elliott LLP 2012/2013 MEDIA SPONSORS & $3,000 to $4,999 IN-KIND SUPPORTERS Classical 96.3 FM CBC Radio Two The Calgary Foundation – Nellie Hicks Remenyi House of Music Ltd. Memorial Fund
30 Canadian Opera Company 20 12/20 13 Season Please visit coc.ca for additional information 31 GOVERNMENT SUPPORT
The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments.
OPERATING SUPPORT
We acknowledge the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country. Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 157 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.
ENSEMBLE STUDIO
SPECIAL PROJECT FUNDING For the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from:
Department of Canadian Heritage Ontario Arts Council
CREDITS & ACKNOWLEDGMENTS The Canadian Opera Company would like to thank all those who volunteer both on a daily basis and for special events with the company. Michael Cooper: Official photographer The COC is a member of Opera America and Opera.ca. The COC operates in agreement with Canadian Actors’ Equity Association. The COC operates in agreement with I.A.T.S.E., Local #58, Local #822, Local #828.
SUPERNUMERARIES Jim Lucas Andrew McIntosh Aleksi Moriarty Chris Weber Armand Yousef
32 Canadian Opera Company 20 12/20 13 Season The COC presents Lucia di Lammermoor . Anna Christy as Lucia (centre) in a scene from the English National Opera (ENO) production, 2008. Photo: Clive Barda
BE L CA NTO AT I TS BES T DAVID ALDEN DISCUSSES LUCIA DI LAMMERMOOR
BY SUZANNE VANSTONE David Alden Photo: Dario Acosta
othic romance. Scottish wildness. Internationally renowned director David GEarly-Victorian repression. Director Alden is excited about mounting this David Alden showcases his riveting production in Toronto and directing in production of Donizetti’s opera Lucia our opera house for the first time. “Lucia di Lammermoor at the COC this spring. is amazing – it’s one of the very strongest Based on Sir Walter Scott’s novel The Bride pieces in the bel canto repertoire. This of Lammermoor , the opera follows a young production is set in the early-Victorian girl’s descent into madness. Lucia is period, where society was very strong, rigid, embroiled in a conflict between her brother, hierarchical and patriarchal. Obviously Enrico and her lover, Edgardo. Barely a underneath those rigid codes and societal woman, she is treated as a mere possession, structures there was passion and love and and those who should have her best interests madness which burst through these very at heart are the same culprits who gradually strong repressions. That’s what this opera chip away at her fragility. is all about.
18 Canadian Opera Company 2012/20 13 Season BEL CANTO AT ITS BEST David Alden discusses Lucia di Lammermoor
“Implicit in this work is the terrible 7ERE IN YOUR Anna Christy as Lucia in the ENO production, 2008. buildup of tension on Lucia – the slow Photo: Clive Barda hammering away of a girl who is really just a child. She is totally isolated with her NEIGHBOURHOOD brother, and there is almost an Edgar Allan Poe sense of an incestuous brother-sister relationship which is close and passionate, but turns violent and explodes into madness.” Alden says that madness was often the climax of operas from that period, but to not mistake madness and florid cadenzas as superficial. He says that the stereotypical view of Donizetti operas, especially Lucia , as purely bel canto vehicles for the “canary” of the day is somewhat outdated. Certainly the music exploits the beauty and flexibility of what the human voice can accomplish, but he maintains that Lucia is a very well written !T !VIS h7E TRY HARDERvIS OUR GLOBAL COMMITMENT TO YOU piece of drama and there is nothing frivolous AND WITH SO MANY LOCATIONS YOULL FIND US CLOSE BY or amusing about the madness. “Donizetti was a storyteller and Donizetti was a theatre .EED A TEMPORARY VEHICLE WHEN YOUR CAR IS IN THE SHOP person – the dramaturgy is very tight. .EED A CAR VAN OR 356 FOR THE WEEKEND “I have always taken the musical aspect !VIS IS THERE WITH A WIDE RANGE OF VEHICLES TO SUIT EVERY NEED of this opera very seriously. There are no cuts in the production. Lucia has been abused 7HETHER FOR YOUR BUSINESS OR PERSONAL RENTAL NEEDS over the decades, the structure of it not taken COUNT ON !VIS TO PROVIDE THE PERSONAL ATTENTION AND SERVICE seriously. Obviously there is a certain freedom YOU DESERVE TO GET YOU ON YOUR WAY FAST in the bel canto music which is part of the tradition, but we are getting back to the basics.” He says the overall structure of this "OOK ONLINE AT AVISCA OR CALL piece is brilliant. The tension keeps mounting, first with Enrico, who then turns it upon his sister and the manipulation becomes more 429 !6)3 desperate and extreme. Alden says, “The final eruption into the mad scene is justly famous because it’s incredibly well timed. It’s very shocking but it’s also deeply satisfying. The audience is released into this other dimension, the way Lucia is released into another corner of her mind.” n
Suzanne Vanstone is Senior Communications Manager, Editorial at the Canadian Opera Company.
FOR FURTHER INSIGHT INTO LUCIA DI LAMMERMOOR , PLEASE READ GIANMARCO SEGATO’S INTERVIEW WITH SOPRANO ANNA CHRISTY, AVAILABLE IN THE SPRING ISSUE OF PRELUDE ONLINE AT COC.CA/PUBLICATIONS . %ARN !EROPLAN -ILES
ÁÊÛÃÊÃÊ>Ê,i}ÃÌiÀi`ÊÌÀ>`i>ÀÊViÃi`ÊÌ ÛÃV>À]ÊV°ÊvÀÊÕÃiÊÊ >>`>°ÊÊÁÊiÀ«>ÊÃÊ>Ê,i}ÃÌiÀi`Ê/À>`i>ÀÊvÊiÀ«>Ê *°ÊÊäxÉäÈÊ-*ÊÊ 20 Canadian Opera Company 2012/20 13 Season BEL CANTO AT ITS BEST David Alden discusses Lucia di Lammermoor
THE GLASS ARMONICA William Zeitler will be playing the glass Donizetti originally composed the mad scene aria armonica during for glass armonica accompaniment, which provides the COC’s production a delicate, other-worldly sound, mimicking Lucia’s of Lucia . tenuous grasp on reality. However, after a dispute with the glass armonica player before the premiere, Donizetti rewrote the part for flute. A flute is still traditionally used, but patrons are in for a rare treat as the COC will employ the glass armonica as originally written. Director David Alden says, “It was often thought to be impractical, a romantic idea on paper – not the case. It’s an extraordinary instrument and creates an amazing soundscape in the mad scene which is very unusual and deeply disturbing.” SUNDAYS AT STOCK™ RESTAURANT $49 PER PERSON | 11AM 3PM
Barry Banks as Edgardo and Anna Christy as Lucia in the ENO production, 2008. Photo: Clive Barda
AN UNEXPECTED INSPIRATION
While looking for inspiration for this production, set designer Charles Edwards happened to visit a rather famous large manor house in England known as Normansfield. It had been owned GOURMET BREAKFAST DISPLAYS, TOMAHAWK ROAST, by John Langdon Down, a doctor in the 19th century who studied and classified a condition that later became known as Down’s Syndrome. Down lived in this manor but also turned it OYSTER & RAW BAR, DESSERT & MORE CHEF SELECTIONS. into an asylum for people living with the syndrome. Interestingly, this Victorian manor also LIVE MUSIC • BOTTLE SERVICE • CAESAR & MARGARITA BAR • $10 VALET PARKING housed a theatre which is still functional to this day. It was this combination of a theatre and an asylum that appealed to Alden and they based the Lucia set on it. “We have imagined it more in a state of neglect and decay,” says Alden, “a Victorian relic of an old house.”
FOR FURTHER INSIGHTS INTO THE GLASS ARMONICA, WILLIAM ZEITLER AND THE SET FOR LUCIA DI LAMMERMOOR , PLEASE VISIT OUR BLOG AT COC.CA/PARLANDO . RESERVATIONS: 416.201.4107 STOCKRESTAURANT.COM
22 Canadian Opera Company 2012/20 13 Season LUCIA DI LAMMERMOO R: OPERA BACKGROUND
Unlike a lot of artists, Italian composer Gaetano Donizetti (1797 – 1848) achieved enormous success in his lifetime. He had already composed over 30 operas between 1816 and 1830, but it was with Anna Bolena (1830) that he gained international fame. L’elisir d’amore and Lucia di Lammermoor followed quickly and they both remain two of the most-performed operas in the repertoire.
Sir Walter Scott’s popular novel The Bride of Lammermoor was the basis for Lucia and fed Europe’s fascination for Scotland at that time. In fact, three librettos already existed before Donizetti composed his own take on the tragedy.
Lucia di Lammermoor premiered on September 26, 1835, in Naples. It was an immediate success with critics and audiences alike. Rossini and Bellini had passed the torch and Donizetti was now the king of Italian opera. He wrote of his success with Lucia : “…at the risk of sounding immodest… Lucia … judging by the applause and compliments I received, pleased the audience very much. Every number was listened to in religious silence and then hailed with spontaneous cheers.”
Even before Donizetti’s composition, madness had become a popular artistic subject. It is a curious and sad fact that, at the time, certain behaviours exhibited by young women were often attributed to madness. Anything from wilfulness and melancholia, to independence and sexuality might be identified as examples of the weaker natures and minds of women in the 19th century. Consequently, lunatic asylums during this time were mainly populated by women.
Lucia di Lammermoor possesses one of the most famous mad scenes in all of opera portraying Lucia’s unravelling in a most poignant and terrifying way. Famed interpreters of the challenging title role include Maria Callas and Joan Sutherland. This spring the COC is thrilled to welcome American soprano Anna Christy (seen above). This production, from English National Opera, was created specifically for her and she has sung the role to great acclaim.
To p: Etching by anonymous artist of Gaetano Donizetti, circa 1835
Abov e: Anna Christy as Lucia in the ENO production, 2008. Photo: Clive Barda
24 Canadian Opera Company 2012/20 13 Season Opposite: Dancer Carolyn Woods. Below: A scene from the COC’s Salome , 2002. Photos: Michael Cooper
BY NIKITA GOURSKI
n 1994, Canadian film director Atom Salome is tonight,” repeated obsessively by I Egoyan won international recognition for the young Syrian Narraboth – the process his film Exotica , a provocative meditation of looking is established as a dominant on erotic obsession and psychological psychological theme in Salome . Characters trauma explored through the relationship are compulsively observing others, or else of a nightclub dancer and her male client. being looked at themselves, held visually Shortly after Exotica ’s release, the as objects within a matrix of frustrated Canadian Opera Company approached desire. “The Page is obsessed with Narraboth , Egoyan with an offer to direct an opera, who doesn’t return her gaze; Narraboth a story so thematically saturated with is obsessed with Salome, who doesn’t voyeurism it seemed ideal for the young return his gaze; and Salome is obsessed filmmaker’s sensibility: Richard Strauss’s with Jochanaan, who doesn’t return her Salome . gaze,” Egoyan says, describing the opera’s Unveiled in 1996, Egoyan’s production gridiron pattern of erotic fixation. simultaneously recognized the deeply To get at the heart of all this looking, disturbing matter of the opera – a work Egoyan’s production makes use of that has inflamed scandal since its 1905 surveillance equipment, as well as projected world premiere – while offering a fresh film and video images. The guards, for reading responsive to our contemporary example, become camera-wielding soldiers, culture. Rather than a first-century palace whose official “watching” is less about in Judea, Egoyan set the action in an patrolling the perimeter and more about abstract and foreboding environment, deploying modern technology to direct something between a spa and a sanatorium. a collective gaze onto objects of sensual Derek McLane’s set design is built around interest: usually Salome. In fact, before we a diagonal plane tilted at a dangerously steep ever see the teenaged princess onstage angle, with Jochanaan (John the Baptist) in the flesh, we encounter a filmed image imprisoned underneath the floorboards of her in a series of unsettling shots set in instead of the subterranean cistern in which a spa’s mud baths. he’s traditionally kept. Similarly, when Jochanaan berates Egoyan’s approach focused on the complex members of Salome’s family from offstage, circuitry of voyeurism, made explicit in the a large video screen positioned behind the libretto, and followed it to its disconcerting singers shows a live feed of his mouth in psychological depths. From the first lines close-up. The disembodied projection of the opera – “How beautiful the Princess anticipates Salome’s fetishistic dissecting
26 Canadian Opera Company 2012/20 13 Season Catch up with blogs and enjoy COC Radio at coc.ca . 27 Looking at Salome
of Jochanaan’s body parts – skin, hair, mouth – into isolated objects of lust, but it also prefigures the actual, physical decapitation of the prophet. Incorporating film projection in this context elaborates the thread of continuity that runs between the predatory look and the act of unimaginable violence. In this opera, looking is never benevolent. Left: Roger Honeywell as Narraboth and Helen Field From Salome’s opening remarks about the as Salome; right: Helen Field as Salome, COC, 2002 . Photos: Michael Cooper lascivious gaze of her stepfather Herod – “those mole’s eyes… under his quivering eyelids” that look at her “like that” – to the oversees the entire sexual atrocity, watching Page warning Narraboth that it’s “very it and thereby giving it licence. dangerous to look at a human face in such “[Violence] doesn’t come out of nowhere,” a way,” the desiring gaze has a throbbing Egoyan observes, “and we’ve seen that with underside that threatens to devour and abused victims: there is a repetition of the consume. way that they have been treated.” Using the Nowhere is this truer than the opera’s dance to chronicle a history of terrifying acts narrative pivot: the Dance of the Seven makes Salome’s subsequent demand for Veils. Egoyan’s innovative account gives Jochanaan’s head psychologically credible a dramatic weight and clarity to Salome’s and dramatically focused. Instead of showing psychology that few interpretations could the prototypical femme fatale – “an unbridled rival. On a screen created by the billowing sexuality that leads to ruin,” as Egoyan skirts of the princess, who is lifted on a says – the production depicts an “abused, swing high up into the rafters, we see traumatized character.” “home movies” of the young Salome. In The results carry a sobering impact. these moments, she is a girl in a world of Egoyan’s production issues a challenge: it paper dolls, living through childhood. But asks us to treat seriously – and understand – we also catch silhouetted glimpses of a how anyone, including a young girl, could disturbing act committed in the shadows, instigate such horrific violence. n possibly in the near past, but maybe right now: she is being raped by a gang of men. Nikita Gourski is Development Communications We realize that Salome’s stepfather Herod Officer at the Canadian Opera Company.
FOR FURTHER INSIGHT INTO SALOME , PLEASE READ SUZANNE VANSTONE’S INTERVIEW WITH DIRECTOR ATOM EGOYAN AND SHADOW DESIGNER/PERFORMER CLEA MINAKER, AVAILABLE IN THE SPRING ISSUE OF PRELUDE ONLINE AT COC.CA/PUBLICATIONS .
28 Canadian Opera Company 2012/20 13 Season SALOME: OPERA BACKGROUND
The story of Salome derives from the Bible, appearing in the Gospels of Mark and Matthew. The episode concerns an unnamed young princess who dances for King Herod and asks for the head of John the Baptist in exchange.
This brief, almost skeletal story has captivated artists through the ages. Painters, sculptors, writers, composers, as well as choreographers, filmmakers and contemporary pop musicians have taken slightly different approaches to the raw material of the story, adding nuance and subtleties to the primary characters, and reinterpreting the action through aesthetic and cultural notions of their time.
One of the most enduring literary interpretations of Salome is Oscar Wilde’s play, Salomé . Written in French, Wilde’s treatment employed deliberately ornate phrasing and layered repetitions that achieved music-like effects.
The play also featured open-ended stage directions for Salome to perform a Dance of the Seven Veils. The fact that the play – and the libretto on which it was based – gave no explicit direction for enacting the dance, opened this decisive moment in the play/opera to any number of possibilities in performance.
After Salomé was finished in 1892, the play was banned in England by the Lord Chamberlain’s office (as part of a prohibition on any representations of biblical scenes). It was not staged publicly until an 1896 production was mounted in Paris to little fanfare or success. Shortly after the turn of the century however, Salomé became a massive hit in Europe.
Before he reached his 40s, Richard Strauss had already established himself as one of his generation’s pre-eminent musical minds. Although a prominent conductor and acclaimed composer of orchestral music, operatic success had nonetheless eluded him. But in 1902 Strauss attended a Berlin performance of Wilde’s Salomé , staged by a young and highly original theatre director named Max Reinhardt. Strauss became convinced that the play was ideal for adaptation as an opera.
When Strauss first played the finished score for his father, the elder Strauss remarked that the music had “ants in its pants.” The singers engaged for the premiere were similarly horrified at the demands placed on them by the score, which pushed the limits of dissonance and flirted with atonality. The leading soprano refused to appear in the Dance of the Seven Veils, reportedly saying, “I won’t do it, I’m a decent woman.” Nonetheless when Salome premiered on December 9, 1905, in Dresden, it received an astonishing 38 curtain calls.
Top: Oscar Wilde, circa 1882. Photo: Napoleon Sarony
Left: “The Stomach Dance” drawing by Aubrey Beardsley for Wilde’s play Salomé , 1893
30 Canadian Opera Company 2012/20 13 Season P
JILL BARBER MICHAEL KAESHAMMER Friday May 3 8pm with special guest Kellylee Evans Winter Garden Theatre Saturday May 25 8pm Massey Hall Sponsored by Perfect Match
Every dollar you contribute to the COC until June 30, 2013 will be matched in value by an anonymous donor. That means your gift goes twice as far in helping us pursue artistic projects that make this company great.
From training the next generation of Canadian opera talent, to introducing music into our communities through education and outreach, the vital support of our patrons makes it possible. To participate in the Year-End Matching Appeal or to learn more, please PINK MARTINI visit coc.ca or call us at 416-847-4949. with the Toronto Symphony Orchestra Wednesday June 26 8pm Sponsored by Roy Thomson Hall * The COC recognizes individual donations with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines.
Video still by Bill Viola for Opéra national de Paris’ production of Tristan und Isolde, 2004/2005. Photo: Kira Perov PATRO NINFORMAT ION AND POLICIES
Etiquette Ticket Services Patrons are reminded that R. Fraser Elliott Hall is Canadian Opera Company subscriptions and individual an extremely lively auditorium and that all audience tickets are available through COC Ticket Services noise will be accentuated and audible to other patrons. ONLINE : coc.ca Turn off all electronic devices, avoid talking, coughing, BY PHONE : 416-363-8231 humming, moving loose seats, kicking the backs of seats, or long distance 1-800-250-4653 rustling programs, and unwrapping candies or cough Monday to Friday – 10 a.m. to 6 p.m. drops. In consideration of patrons with allergies please Saturday – 10 a.m. to 4 p.m. avoid wearing strongly perfumed beauty products IN PERSON : Four Seasons Centre Box Office and fragrances. Please remain in your seat until the 145 Queen St. W. performance has completely ended and the house lights Monday to Saturday – 11 a.m. to 6 p.m. have been turned on. or through first intermission Sunday (performance days only) – Electronic Devices 11 a.m. to 3 p.m. or through first The use of mobile and smartphones and all other intermission electronic devices is extremely disruptive and is strictly The Four Seasons Centre for the Performing Arts prohibited during performances. If a patron has Box Office also services ticketing needs for The National an emergency and needs to be contacted during Ballet of Canada and all other Four Seasons Centre events. a performance, he or she should contact Patron Services for assistance before the performance. Group Sales Groups of 10 or more enjoy savings on regular individual Cameras/Recording Devices ticket prices. For more information or to reserve seats The use of cameras, video cameras or sound-recording call 416-306-2356 . devices of any kind is prohibited in R. Fraser Elliott Hall during performances. Any person using an unauthorized Parking recording device while the performance is in progress There is parking on a first-come, first-served basis for will be required to surrender or erase any recordings, about 200 vehicles underneath the Four Seasons Centre. photographic or digital images and may be asked to The entrance is located on the west side of York Street, leave. No refunds will be issued. south of Queen Street. Additional parking is conveniently located just steps away in the Green P lot underneath Latecomers Nathan Phillips Square. For directions visit greenp.com . In the interest of safety and for the comfort of all patrons and performers, latecomers may not enter the Four Seasons Centre Facility Tours auditorium or be seated unless there is a suitable break Tours of the Four Seasons Centre now include backstage in the performance (usually intermission). Patrons access! For more information, visit fourseasonscentre.ca . leaving the auditorium during the performance or returning late after intermission may not be readmitted BMO Financial Group Pre-Performance Opera Chats or will be accommodated in an alternate viewing location. The Canadian Opera Company Volunteer Speakers Bureau offers free, insightful chats about the stories, Children and Babes-in-Arms music and background of all COC performances, All patrons, including children, must have a ticket for 45 minutes prior to each performance in the Richard the performance. All children must be seated next to Bradshaw Amphitheatre. an accompanying adult. Young children should be able to sit quietly throughout the performance. If unable Food and Beverage Service to do so, children and their accompanying adult will A pre-order system for intermission refreshments is be asked to leave the auditorium. Babes-in-arms will available at all bars throughout the Isadore and Rosalie not be admitted. Sharp City Room. Food and beverages are not permitted in R. Fraser Elliott Hall. Patron Services Located in the Lower Lobby, the following services are Special Events and Catering available: coat and parcel check, booster seats, back The Four Seasons Centre is available for rental for all supports, infrared hearing-assistive devices and rental of your presentation, meeting or special events needs, of binoculars, on a first-come, first-served basis. with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit Medical Emergencies and First Aid fourseasonscentre.ca or call 416-363-6671 . A house doctor is present at all performances. Please contact an usher if medical services are required. The Opera Shop Located on the orchestra level of the Isadore and Rosalie Lost and Found Sharpe City Room, the COC's Opera Shop offers a fine During performances please speak with an usher or visit selection of opera recordings on CD and DVD, as well Patron Services at the Coat Check in the Lower Lobby . as opera-related books, giftware and COC souvenirs. Following performances, all lost and found items will be stored at the security desk at Stage Door. Please call 416-363-6671 for information.
34 Canadian Opera Company 2012/20 13 Season