May 12, 13 & 14

2016-2017 Season Sponsor

Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor St. West salutes Greig Dunn for his generous support of this production.

Win a trip for Two to Florence, Italy!

Raffle closes this weekend!

Grand prize includes round-trip tickets from Toronto and a 5-night stay at a 5-star Florence hotel.

Raffle tickets are $50 Only 100 tickets left!

The Grand Prize draw will be held on May 14, 2017 at the close of the concert at 6pm. Draw will take place at Trinity-St. Paul’s Centre, 427 Bloor Street West, Toronto.

Lottery License no. M789846 Raffle proceeds support The Toronto Consort Elena Music by Francesco Cavalli Libretto by Nicolò Minato, based on a scenario by Giovanni Faustini Performing edition by David Fallis, based on a transcription by Kristen Kane

Cast (in order of appearance)

Teseo (Theseus) Cory Knight Peritoo (Pirithous, a companion of Theseus) Vicki St. Pierre Menelao (Menelaus) Kevin Skelton Diomede, servant of Menelaus Andrew Walker Iro, court buffoon Bud Roach Tindaro (Tyndareus, king of Sparta and father of Helen) John Pepper Elena (Helen) Michele DeBoer Creonte (Creon, king of Tegea) John Pepper Menesteo (Menestheus, son of Creon) Katherine Hill Ippolita (Hippolyta, betrothed to Theseus) Laura Pudwell Castore (Castor, brother of Helen) Emma Hannan Polluce (Pollux, brother of Helen) Veronika Anissimova Antiloco (confidante of Menestheus) Andrew Walker

Chorus of sea gods; chorus of Argonauts

Act One Scene 1 – By the seashore of Laconia Scene 2 – In the palace of King Tyndareus Scene 3 – An amphitheatre outside the city Scene 4 – In the courtyard of the palace of King Creon in Tegea Scenes 5 & 6 – In the palace of King Creon Scene 7 – In the city Scene 8 – In the women’s apartments of King Creon Scene 9 – The seashore near Tegea

INTERMISSION Refreshments and CDs are available in gymnasium Act Two Scenes 1, 2 & 3 – The royal garden Scene 4, 5 & 6 – In the palace of King Creon TONIGHT’S PERFORMERS ARE: STAFF & ADMINISTRATION

David Fallis, Artistic Director David Fallis, Artistic Director, conductor Michelle Knight, Managing Director Adam Thomas Smith, SINGERS Marketing Director Nellie Austin, Bookkeeper Kiran Hacker, Graphic Designer Veronika Anissimova Yara Jakymiw, Michele DeBoer Season Brochure Graphic Designer Martin Reis, Derek Haukenfreres Emma Hannan & Ruth Denton, Box Office Katherine Hill Peter Smurlick, Database Consultant Cory Knight Gordon Baker, Stage Manager Cecilia Booth, Front of House John Pepper & Volunteer Coordinator Laura Pudwell Gordon Peck, Technical Director Bud Roach Sam Elliott, Intermissions & Receptions Kevin Skelton Heather Engli, Touring Vicki St. Pierre BOARD OF DIRECTORS Andrew Walker Heather Turnbull, President Ann Posen, Past President PLAYERS John Ison, Treasurer Tiffany Grace Tobias, Secretary Patricia Ahern, 1st violin Harry Deeg Trini Mitra Felix Deak, cello Sara Morgan Lucas Harris, theorbo Anita Nador Paul Jenkins, harpsichord Alison Melville, 1st recorder FOLLOW US ON FACEBOOK!

Bud Roach, baroque guitar 427 Bloor Street West Colin Savage, 2nd recorder Toronto ON M5S 1X7 Julia Wedman, 2nd violin Box Office 416-964-6337 Admin 416-966-1045 [email protected] Literary and Textual Consultant Guillaume Bernardi TorontoConsort.org Projectionist Alex Eddington

Prop Master Adam Smith ABOUT US

Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Photo Credit: Paul Orenstein

Since its founding in 1972, The Toronto The Toronto Consort has made recordings for Consort has become internationally recognized the CBC Collection, Berandol, SRI, Dorian, for its excellence in the performance of and currently Marquis Classics, with 10 CDs to medieval, renaissance and early baroque music. its credit, two of which have been nominated Led by Artistic Director David Fallis, nine of for Juno awards. The most recent recording Canada’s leading early music specialists have (Navidad) was released in 2012; in 2014, come together to form The Toronto Consort, the group re-released its popular Christmas whose members include both singers and recording The Little Barley-Corne. instrumentalists (lute, recorder, guitar, flute, early keyboards and percussion). Recently, the ensemble has been called upon to produce music for historical-drama TV Each year The Toronto Consort offers a series, including The Tudors, The Borgias and subscription series in Toronto, presented in the The Vikings, all produced by the cable network beautiful acoustic of the recently-renovated 700- Showtime. The Toronto Consort recorded the seat Jeanne Lamon Hall, at the Trinity-St. Paul’s soundtrack for Atom Egoyan’s award-winning Centre in downtown Toronto. The ensemble filmThe Sweet Hereafter. also tours regularly, having been to Europe and Great Britain four times, and frequently across Canada and into the US. PROGRAM NOTES

Francesco Cavalli was by far the most successful and Gluck were “dark ages” (to quote Joseph opera composer of the mid-17th century. As Kerman) in the history of opera, because the a young musician employed at San Marco in works sometimes seem so cavalier in their Venice, he developed his musical abilities under dramatic and musical cohesion. Towards the the mentorship of Claudio Monteverdi, and end of the 17th century, there arose a “reform” when commercial opera companies began to movement in Italian operatic circles that develop in Italy in the 17th century, he was well condemned the mixture of high- and low-brow placed to take advantage of this new source of poetry and characters in many of Cavalli’s income for talented dramatic composers. operas, and this condemnation cast a long He wrote over thirty operas, with a shadow over Italian scholars appreciating part further half dozen or so attributed to him. It of their own heritage. (Hence the fact that a is surprising then that so prolific and popular a complete-works edition was never undertaken figure in the history of opera has been largely for Cavalli, unlike Monteverdi.) overlooked in the modern musical world Finally, the instrumental forces required (although thankfully this oversight is slowly to perform Cavalli are small – often only two being corrected, with a few of his operas now melody instruments atop a small continuo produced even by major houses like La Scala section. This has meant that major houses and Covent Garden). There are a number of have been reluctant to perform the works, and reasons for this gap in our appreciation of this when they do, there are often large numbers wonderful composer. of instruments added, giving us a slightly false Firstly, there is no complete-works edition image of the works. for Cavalli, nor is it easy to find reliable modern Many of these “issues” can be explained editions of his operas. They were not published by the social and business context in which in his lifetime (very few operas by any composer Cavalli’s operas were performed. Public opera were published in the 17th century), so the houses for a paying public were a recent business music exists only in hand-written sources proposition, and the owners of the theatres were housed in Italian libraries, principally the interested in attracting as many ticket-buyers as Marciana Library in Venice. For many years it possible. The works needed to have “something was not easy to access these materials; today the for everyone” in them, hence the often wild digitization of many sources allows musicians combination of comedy and seriousness. Costs around the world to avail themselves of these had to be kept in control, and an elaborate treasures. (For this production of Elena we orchestra is expensive. Monteverdi’s Orfeo, made frequent reference to the online facsimile which has a lavish accompaniment including a of the principal source.) large continuo section, brass, strings and winds, Secondly, in some ways Cavalli’s operas was performed in a courtly setting, where cost do not conform to the idea that opera should was no object. If a positive balance sheet at represent a deep integration of drama and the end of the night is the only way to survive, music, a concept most strongly articulated by savings have to be found. (Our modest forces Richard Wagner. Many leading music historians tonight more accurately reflect the original have found that the years between Monteverdi circumstances than an Orfeo-sized group.) And it must be remembered that audiences This was an extreme though not infrequent in the 17th century did not attend an opera in event in the opera theatres. The performances the same way we do today. The opera houses were, after all, taking place at Carnival time had many patrons who came and went during when normal standards of behaviour were the performance. Wealthy patrons reserved a relaxed, and many of the audience would have box for themselves for the whole run of the been wearing masks. show, so they came some nights, not others, The Toronto Consort has produced four and would entertain guests and friends in Cavalli operas-in-concert over recent years their box on still others. (Perhaps more in the (Calisto, Gli amore di Apollo e di Dafne, Giasone spirit of a box at Maple Leaf Gardens than and now Elena), and we have come to love the a theatre.) Sometimes one listened intently, combination of seriousness and comedy that especially to favourite sections; during other all these works exhibit. The twists in the plot, parts one chatted, played cards, or enjoyed a including frequent cases of cross-dressing, snack. The opera theatre was a place to go to mistaken identities, and erotic suggestiveness, hear music and to see theatre, but also a place owe a great deal to the commedia dell’arte to meet friends, see the world, and sometimes, tradition. (Troupes of commedia players would as the following excerpt makes clear, settle have been major competition for the operas in scores of all kinds. The following is taken from Carnival-time Venice). As ever, we have had to a letter sent to the Medici court in Florence by make choices about roles which were originally an anonymous courtier who had been to see written for castrati: male parts sung in the Giasone in Venice in 1649: soprano or alto range. In the case of Elena, we decided to cast Menelaus (originally a soprano Monday evening at the Teatro di San castrato) as a tenor, while all the other castrato Cassiano, during the well-attended roles (Pirithous, Menestheus, Castor and Pollux) performance of the opera Giasone, someone are being sung by women, making them so- shot a pistol at Signor Marchese Canossa, called pants roles. Despite all the musicological from Verona, through the keyhole of the and performative issues inherent in this box where he was sitting with another repertoire, Cavalli’s gorgeous music and his gentleman. He was only mildly injured endless inventiveness and power mean that these in the shoulder, as the bullet itself failed works are a joy to revive, explore, and share with to strike him. ... Moreover, two evenings modern audiences. before, in the same theatre twenty-five or thirty Venetian noblemen who were – David Fallis arguing among themselves during the performance drew arms. The only damage that resulted was that all of the spectators, thrown into disorder, were compelled to flee onto the stage because of the uproar that was going on; after things had quieted down, the opera concluded without further disturbance. SYNOPSIS

ACT ONE falls in love with Elisa. They abduct that he can sometimes be less than the two “women”, but all the while perfectly faithful. She overhears Scene 1 asking the women for their mercy Menestheus talking to his confidante By the seashore of Laconia since they only do this awful deed Antiloco about the plan to murder out of love. Iro raises the alarm that Theseus. Hippolyta resolves to The hero Theseus has resolved to Helen and her new fitness coach have defend Theseus if possible, and is become the lover of Helen, daughter been kidnapped. happy that maybe this might make of the mortal woman Leda and him appreciate her more. Zeus (and reportedly the most Scene 4 beautiful woman in the world). He In the courtyard of the palace of Scene 8 knows that she likes to exercise in King Creon in Tegea In the women’s apartments of an amphitheatre outside the city of King Creon Sparta where she lives. He and his Theseus and Pirithous take their companion Pirithous have sailed to captives to Tegea, where they Menelaus decides the best way to Sparta and plan to abduct her. are welcomed by King Creon. throw off his disguise is to pretend The women are given one set of to be asleep, and declare his love Scene 2 apartments, the men another, until as if he were talking in his sleep. In the palace of King Tyndareus they can get married. Unfortunately, He does this, knowing that Helen Creon’s son Menestheus falls is listening. She wakes him, and The Spartan hero, Menelaus, has hotheadedly in love with Helen. when she is surprised by such a fallen in love with Helen, and When alone, he immediately resolves strange dream, he reveals himself as decides the best way to woo her is to that he must woo her. Menelaus, and declares his love. Now disguise himself as an Amazonian Helen is flabbergasted and she does slave woman who is an expert in Scenes 5 not know where her heart tends. She physical fitness, and would be willing In the palace of King Creon asks Cupid for direction, saying to to coach Helen in her exercises, Menelaus that she will decide soon. especially wrestling. With the help Helen is beginning to fall in love of his servant, Diomede, he dons with Theseus. Even though he Scene 9 his disguise, and through the abducted her, he has behaved like a The seashore near Tegea good offices of the court fool, Iro, perfect gentleman, not even asking is admitted to the court of King for a kiss, but only declaring his love. Castor and Pollux, twin brothers of Tyndareus of Sparta (married to Leda Menelaus (Elisa) is flabbergasted, and Helen, arrive with the Argonauts, and raising Helen as his daughter). despondent. Alone, he decides that fresh from their victory in stealing he should throw off his disguise and the Golden Fleece. Iro says they Scene 3 declare his true identity and love. shouldn’t be so happy, because their An amphitheatre outside the city sister Helen has been kidnapped and Scene 6 brought to Tegea. They resolve to Helen has gone to the amphitheatre, free her. where at first she is alone, lamenting Menestheus declares his love to the fact that she has never known Helen. Helen dismisses him, saying love, just dreamed of it. Iro that if she loves anyone, it is Theseus. ACT TWO introduces Menelaus (disguised as a Menestheus immediately decides he fitness coach with the name of Elisa). will murder Theseus. Scene 1 Helen asks a few questions of “Elisa” The royal garden and then wants to wrestle with her. Scene 7 Elisa is nervous of the assignment, In the city Menelaus presses Helen to choose lest the disguise be betrayed. her lover, and she declares that her Theseus and Pirithous appear and see Hippolyta (Theseus’ fiancée) appears, heart is his. They sing beautiful love Helen and Elisa wrestling. Pirithous searching for Theseus, knowing duets, and resolve to escape at the first opportunity. Scene 2 Scene 4 and Pirithous rush in to try and stop In the palace of King Creon them. Castor and Pollux say they Pirithous declares his love to “Elisa”. will kill Theseus for his outrage. Menelaus leads him on. Back in the palace, Menestheus Hippolyta rushes in, saying if discusses his narrow escape with anyone has a grudge about Theseus’ Scene 3 Antiloco, resolving still to murder behaviour, it is her. Theseus says she Theseus. His father Creon overhears tried to kill him, so there is clearly Theseus enters the garden, declaring this and intervenes, declaring that no love lost between them. Creon how much he is in love with Helen’s this is no way for Menestheus to treat enters with Menestheus, and says it beauty. He falls asleep in the garden. guests in the palace. was his son who tried to kill Theseus, Hippolyta comes upon him. She not Hippolyta. Menestheus confesses almost resolves to kill her unfaithful Scene 5 his crime. Theseus realizes that fiancé, but then decides it is better Hippolyta saved his life, and asks for to see if he might return to her. Pirithous warns Theseus that Castor forgiveness, saying he doesn’t love She watches over him as he sleeps. and Pollux have heard about their Helen anymore. They are reunited. Menestheus arrives, and tries to kill kidnapping of Helen and have Pirithous asks if “Elisa” could be Theseus. Hippolyta draws a weapon, resolved to free her. They both get his bride. “Elisa” says he should ask and chases him away, wounding the their arms. Helen. Helen declares that Elisa is young man. Theseus awakes, thinks actually Menelaus, and she wants to Hippolyta was trying to kill him, and Scene 6 marry him. Menelaus reveals himself says he never wants to see her again. to all present (to great surprise), Hippolyta laments this tragic turn of Castor and Pollux arrive at the Pirithous is abashed, and the two events, and says that cruel fate should palace to rescue Helen. They are happy couples sing of their love. just kill her. surprised to meet “Elisa”. Theseus BIOGRAPHIES

David Fallis Kingsbury Ensemble, Aradia, I FURIOSI, Newberry conductor & Artistic Director Consort, Musica Pacifica, and the Carmel Bach Festival. Patricia has recorded for Sony, Naxos, and Analekta, and David Fallis has been a member of the joined Tafelmusik in 2002. Toronto Consort since 1979 and its Artistic Director since 1990. He has Veronika Anissimova led the ensemble in many critically- Polluce acclaimed programs, including The Praetorius Christmas Vespers, The Play of Daniel, all three of Monteverdi’s Mezzo-soprano Veronika Anissimova operas in concert, Cavalli’s La Calisto and Carissimi’s is working towards a Master of Music Jephte, among many others. He has directed the group degree in historical voice performance in its many recordings and tours, and has conceived and at the University of Toronto, under the scripted many of their most popular programs, such as The tutelage of Daniel Taylor. This season she has performed Marco Polo Project, The Queen, and The Real Man of La with UofT Schola Cantorum as Mystery in Purcell’s Fairy Mancha. He is also one of Canada’s leading interpreters of Queen and alto soloist in Handel’s Dixit Dominus, and operatic and choral/orchestral repertoire, especially from appeared in concert with the Cor Unum Ensemble. In the Baroque and Classical periods. He is Music Director August she joins the American Bach Soloists Academy for Opera Atelier and has conducted major operatic works in San Francisco, California, as a recipient of the Early by Mozart, Monteverdi, Purcell, Lully and Handel in Music America Summer Scholarship. In past summers Toronto and on tour to France, the US, Japan, Korea and Veronika has attended Andreas Scholl’s workshop at Singapore. He has conducted for the Luminato Festival, l’Académie de Sablé, the Vancouver International Song Houston Grand Opera, Wolf Trap Theatre, Utah Opera, Institute’s Schubert Sessions with Graham Johnson (Art Orchestra London, Symphony Nova Scotia, the Windsor Song Foundation of Canada grant), and the Tafelmusik Symphony, Festival Vancouver, the Singapore Festival, Baroque Summer Institute. She has sung the roles of the Elora Festival, and the Elmer Iseler Singers. He is also Kate Pinkerton in Madama Butterfly and Third Boy the director of Choir 21, a vocal ensemble specializing in The Magic Flute with Summer Opera Lyric Theatre in contemporary choral music, and has led them in (2014), and Second Boy in The Magic Flute with the performances for Soundstreams, Continuum, The Art of Canadian Opera Company (2005). Winner of the 2014 Time Ensemble and the TIFF series at the Bell Lightbox. National Gold Medal in voice performance from the Royal He was the Historical Music Producer for two Showtime Conservatory of Music, Veronika completed her BMus in historical dramas: The Tudors and The Borgias. piano at the University of Toronto, while studying voice with Inna Golsband. Patricia Ahern 1st violin Felix Deak cello Violinist Patricia Ahern has a BA and BMus from Northwestern University, Cellist and gambist Felix Deak is a MMus from Indiana University, and founding member of Toronto’s I performer diploma from the Schola FURIOSI Baroque Ensemble. He Cantorum in Basel, Switzerland. She taught baroque showcases his career as a freelance violin at the Freiburg Conservatory in Germany and musician with orchestras and chamber ensembles. He Oberlin’s Baroque Performance Institute, and has given performs and tours regularly with Toronto’s Tafelmusik masterclasses at McGill, York University, Wilfrid Laurier, Baroque Orchestra and Montreal-based viol consort University of Windsor, Western, University of Wisconsin, Les Voix Humaines. Felix instructs private students and Grand Valley State University, University of Southern orchestral classes in and around Toronto. He can be California, and University of Toronto. She has concertized heard on CBC Radio Two in performances, and has made throughout Canada, the United States, Europe, Asia, recordings for Atma, Sony, and Dorian at home and Australia and South America and has performed with abroad. Milwaukee Baroque, Ars Antigua, Chicago Opera Theater, Michele DeBoer on two Juno-nominated albums: Sony Classical’s Four Elena (Helen) Thousand Winter and Tafelmusik’s Beethoven Symphony & Toronto Consort Member No. 9. Emma is a graduate of the Victoria Conservatory of Music, where she studied with Nancy Argenta and Born and raised in Toronto, Michele Ingrid Attrot. She is currently finishing her BMus in Voice DeBoer enjoyed a rich musical Performance at the University of Toronto as a student education growing up, particularly of Monica Whicher. Emma participated in the 2016 through the Claude Watson School for the Arts and the Tafelmusik Baroque Summer Institute and is a current Toronto Children’s Chorus. After completion of a BMus member of the Tafelmusik Chamber Choir. She will be in education at the University of Western Ontario and joining Toronto Masque Theatre again in the fall in their an Associateship in Singing Performing (ARCM) from double bill featuring Henry Purcell’s Dido and Aeneas and the Royal College of Music in London, England, a career James Rolfe’s Aeneas and Dido. balancing performing and teaching evolved. Being drawn to early music from a young age, as a teenager Michele Lucas Harris founded and directed a national-award-winning madrigal theorbo choir, then sang in the Early Music studio at Western and took courses in early music at the Royal College. Lucas Harris studied the lute and Joining the Toronto Consort has been a dream come true! early music at the Civica scuola Michele is also a long-time member of Tafelmusik and di musica di Milano (as a Marco has sung with many leading early-music groups as well as Fodella Foundation scholar) and professional choirs in Toronto and Montreal, including then at the Hochschule für Künste Bremen. Based in Les Voix Baroques, Toronto Masque Theatre, La Toronto since 2004, Lucas is the regular lutenist with Chappelle de Québec, Elora Festival Singers, Elmer Iseler the Tafelmusik continuo section and enjoys a busy Singers and Choir 21. Michele was particularly thrilled freelance career with dozens of other ensembles. He is last season to be featured in Soundstreams’ celebration of on faculty at the Tafelmusik Baroque Summer Institute, the 80th birthday of renowned composer Steve Reich at Oberlin Conservatory’s Baroque Performance Institute, Massey Hall. Concerts further afield have taken Michele and the Vancouver Early Music Festival’s Baroque Vocal to Thunder Bay with Consortium Aurora Borealis, to Programme. Lucas is also a founding member of the Eugene for the Oregon Bach Festival, and to the Royal Toronto Continuo Collective, the Vesuvius Ensemble, Opera House in Versailles to sing the role of L’Amour in and the Lute Legends Ensemble. In 2011 Lucas began Lully’s Persée with Opera Atelier. Michele is also passionate graduate studies in choral conducting at the University of about teaching private voice lessons at her home studio, as Toronto with the help of a prestigious SSHRC research well as at Appleby College and Cawthra Park Secondary award. He was named the new Artistic Director of the School, and conducting two choirs at Our Lady of Toronto Chamber Choir just after graduating in 2014. Sorrows Church. When not busy with music-making, Lucas has been a guest music director for the Pacific she is happiest in her gardens, or spending time with her Baroque Orchestra, the Ohio State University Opera husband and two daughters. Program, Les voix baroques, and the Toronto Consort.

Emma Hannan Katherine Hill Castore Menesteo & Toronto Consort Member Emma Hannan, soprano, is a native of Vancouver BC and is known to local Singer Katherine Hill first developed audiences for her many performances a love for old European text and with the Victoria Baroque Players music here in her native Toronto. including the Bach St. John Passion, Handel Dixit With support from the Canada Council for the Arts she Dominus, and Bach Jesu meine Freude. She has been moved to the Netherlands in 2000, studying, appearing featured as a soloist with such groups as the Victoria in concerts, radio broadcasts and at festivals throughout Pacific Baroque Festival, the Theatre of Early Music and Europe over many years. Her particular interest in music Toronto Masque Theatre. In December 2015 she joined from medieval women’s communities has led to her Early Music Vancouver as a soloist for the Praetorius developing and directing her own projects in Amsterdam, Vespers directed by David Fallis that toured in Canada Toronto and Calgary, and she currently directs a women’s and the United States. As a recording artist she has sung group, Vinea (The Vineyard). In 2010, she completed an MA in Medieval Studies at the University of Toronto’s their 2016/17 season to sing the role of the Sailor in Dido world-renowned Centre for Medieval Studies, and and Aeneas. in 2012, with the support of the Canada Council for the Arts, Katherine received a diploma from the Eric Alison Melville Sahlström Institute in Sweden, where she studied the 1st Recorder nyckelharpa (a Swedish keyed fiddle with origins in the & Toronto Consort Member middle ages). Katherine is the Director of Music at St Bartholomew’s Anglican Church, an Anglo-Catholic Toronto-born Alison Melville began parish in Regent Park, Toronto. She performs and records her musical life by playing the recorder frequently with early, traditional and new music groups in a school classroom in London here in Toronto and abroad. (UK). Her subsequent career on historical flutes of many kinds has taken her across North America and to New Paul Jenkins Zealand, Iceland, Japan and Europe, most recently to Harpsichord Switzerland and Finland. She is a member of Ensemble & Toronto Consort Member Polaris and Artistic Director of the Bird Project, appears regularly with Tafelmusik, and collaborates in many other Paul Jenkins cultivates an eclectic varied artistic endeavours. Some personal career highlights musical career as a keyboardist and include playing for The Tudors, CBC-TV’s The Friendly tenor. A member of the Toronto Giant, and Atom Egoyan’s The Sweet Hereafter; solo Consort since 1990, he also performs regularly with the shows in inner-city London (UK) schools; an improvised Aradia Ensemble, and has appeared with some of Canada’s duet with an acrobat in northern Finland this summer; leading baroque and early music groups, including and, oh yes, a summer of concerts in Ontario prisons. Tafelmusik, Opera Atelier, Ensemble Anonymus and Alison has been heard on CBC/R-C, BBC, RNZ, NPR, La Nef. Guest appearances include Apollo’s Fire, the Iceland’s RUV, and on over 60 CDs. She taught for many Windsor, Kitchener-Waterloo and Toronto Symphony years at the Oberlin Conservatory of Music, is currently Orchestras, Orchestra London, Opera in Concert, the on faculty at the University of Toronto and Wilfrid Laurier Toronto Chamber Choir, Esprit Orchestra, I FURIOSI, University, and also teaches music-appreciation classes for Toronto Masque Theatre, and many music festivals. This the Royal Conservatory of Music and Ryerson University’s season he performs with Nota Bene Baroque Players in Life Institute. Tales of musical adventure can be read at Kitchener for the first time. calliopessister.com. For more information please see www. alisonmelville.com. Cory Knight Teseo John Pepper Tindaro & Creonte Described as “that rare, wonderful, & Toronto Consort Member lyric tenor who turns every note he sings into gold” (Musical Toronto), A native of Annapolis, Maryland, bass Cory Knight is in demand as a soloist John Pepper sang for many years with and ensemble singer. He recently returned home to Festival Singers of Canada, Tapestry Toronto after completing a Masters degree in Historical Singers, The Gents, the Tafelmusik Chamber Choir, Elora Performance Practice at the prestigious Schola Cantorum Festival Singers and the Toronto Chamber Choir, and Basiliensis in Switzerland. He has sung at major festivals now works regularly with Opera Atelier and Choir 21. He and concert venues across Europe, including the Utrecht has recorded extensively with most of those organizations Early Music Festival, the Trigonale Early Music Festival, and with Canadian Brass, and has taken part in recordings the Baroque Music Festival in Ambronay, the Warsaw and premiéres of music by John Beckwith, R. Murray Philharmonic Hall, the Concertgebouw in Amsterdam and Schafer, Harry Somers and Arvo Pärt. His work in music the Palau de la Música Catalana in Barcelona. He has also theatre includes Huron Country Playhouse, Comus Music appeared on a number of CD recordings, most recently Theatre and Rainbow Stage Theatre. He has written spending a week at the beautiful Muri Abbey recording program notes for The Toronto Mendelssohn Choir, the music by Kaiser Leopold I and Georg Muffat. Highlights Elora Festival and Roy Thomson Hall, and liner notes for of his work in Canada include singing with Tafelmusik CBC Records and CentreDiscs, among others. John has Chamber Choir, Pacific Opera Victoria, Les Violons du been a member of the Toronto Consort since 1990. His Roy, and Opera Atelier. Cory returns to Opera Atelier for principal hobby is genealogy and family history. Laura Pudwell Colin Savage Ippolita 2nd recorder & Toronto Consort Member Colin Savage has been principal Grammy-nominated Laura Pudwell clarinetist with the Mississauga has a well-established international Symphony for more than 25 years, and profile, with recent engagements in regularly performs on recorder and Paris, Salzburg, London, Houston, Boston and Vienna. historical clarinets with chamber and orchestral ensembles She has sung with many leading orchestras and opera in Southern Ontario. He has toured Japan and performed companies, including Tafelmusik, Les Violons du Roi, the several times in the Royal Opera House at Versailles Boston Early Music Festival, the Calgary Philharmonic with Opera Atelier, and worked with Artek, New York Orchestra, Calgary Opera, Vancouver Opera, Opera Collegium, Tafelmusik, Canadian Opera Company, la Atelier, Symphony Nova Scotia and the Kitchener- Nouvele Sinfonie, Aradia, Apollo’s Fire, les Boréades and Waterloo Symphony. Her range of repertoire is immense, the Toronto Consort. Colin particularly enjoys playing ranging from Hildegard of Bingen, through a recording bass clarinet with the Arctic fusion band Ensemble Polaris, of Dido and the Sorceress in Purcell’s Dido and Aeneas whose recordings of Nordic/Canadian/Mediterranean under Hervé Niquet, to Prokofiev’s Alexander Nevsky, genre-bending music have received international critical Elgar’s Dream of Gerontius, and evenings of Stephen acclaim. Polaris has delighted audiences across Canada, Sondheim and Cole Porter. A native of Fort Erie, she lives and has just released From Iceland to the Moon, a DVD of in Waterloo with her husband and two children. www. historical and modern silent films with the band’s musical knowlesarts.com accompaniments. Colin’s interest in analog photographic processes finds him in well-lit and very dark places; his Bud Roach images of abandoned spaces, shot with a vintage twin lens Iro & baroque guitar reflex camera, are included in the book Modern Canadian Interiors, and a solo exhibition of his work will be Hamilton tenor Bud Roach maintains mounted at Toronto’s Alliance Française in April 2018. a busy schedule of performances from the Baroque to the contemporary. Kevin Skelton Bud’s recordings for the Musica Menelao Omnia label have been recognized internationally as ground-breaking achievements in historically-informed Kevin Skelton has a multifaceted performance practice. “Roach is marvellous throughout…. career as a performer, director, Five stars” (Early Music Today, UK). Recent recital choreographer, teacher, and scholar. appearances include Toronto (Early Music Centre), the Equally at home on the concert and Midtown Concert Series (New York), and the Boston operatic stage, Kevin specializes in seventeenth-century Early Music Festival Fringe Series (“revelatory concerts”- music, the Bach Evangelist roles, and experimental music Early Music America). Highlights for the 2016-17 season theatre. Kevin has performed with some of the world’s include concert appearances with La Chapelle de Québec, finest early-music ensembles, including Collegium Vocale the Hamilton Philharmonic, Bach Elgar Choir, Nota Gent, L’Arpeggiata, and Concerto Palatino, and in Bene Baroque Players, the Menno Singers, Soundstreams numerous theatres and festivals throughout the world, Canada, the Spiritus Ensemble, Talisker Players, and including Teatro La Fenice, La Monnaie, Aix-en-Provence, Toronto Masque Theatre. Recital appearances include and the early-music festivals in Boston and Utrecht. In Boston, New York, Hamilton, Guelph, and Thunder recent years Kevin has begun a new initiative exploring Bay, as well as a lecture/recital on the self-accompanied the possibilities of integrating classical singing and performance tradition at the Historical Performance contemporary dance. His unique facility combining voice Institute, Jacobs School of Music, Indiana University. and movement has been showcased in productions of the With Capella Intima, whose debut recording for Musica Netherlands Reisopera, Veenfabriek, Opera Atelier, Sasha Omnia of spiritual canzonettas is receiving international Waltz & Guests, and the Dutch breakdance company acclaim, he leads programmes in Hamilton, Toronto, and ISH. Kevin is currently exploring new methods applicable Kitchener. Bud is also the founder and Artistic Director to the training, creation, direction, and performance of the HAMMER BAROQUE concert series, presenting of integrated music theatre. The recipient of numerous some of Canada’s finest early-music performers. awards and scholarships, including grants from the Canada www.budroach.com Council for the Arts and the Ontario Arts Council, Kevin has completed graduate programmes in voice, conducting, he performed in Italy, the Czech Republic, and across musicology, and choreography, having studied at the North America. He served as a Choral Scholar at Truro University of Toronto, Indiana University, Oxford Cathedral in the UK in 2013-2014. Recently, he has University, and the contemporary dance school PARTS. regularly performed with the Choir of the Cathedral Church of St. James, The Elora Singers, the Theatre of Vicki St. Pierre Early Music, the Toronto Chamber Choir, the Tallis Choir Peritoo and the Toronto Mendelssohn Choir. He has appeared as a soloist in Andrew Ager’s Führerbunker and in Orchestra Vicki St. Pierre’s warm, lush voice Toronto’s Viva Italia! has been described as “rich with both a darkness and brightness.” Ms. Julia Wedman St. Pierre’s engagements include a 2nd violin debut appearance with the Academy of Ancient Music at the Barbican Centre (London, UK), engagements with Baroque violinist Julia Wedman grew Tafelmusik and the Toronto Consort, and performances up in Saskatoon, Saskatchewan. After with Les Idées Heureuses of Montreal, l’Ensemble studies at Western, Indiana University Masques de Montréal, the Elmer Iseler Singers, the and the University of Toronto, she Talisker Players, Bach’s Christmas Oratorio with the joined the Tafelmusik Baroque Orchestra in 2005 and Toronto Bach Consort, and Dido and Aeneas at Carnegie quickly developed a reputation for her solo performances Hall with Les Violons du Roy. Ms. St. Pierre has recorded with the group. In addition to being featured regularly numerous works, including works by Harry Somers with on the group’s home series in Toronto, Julia has Soundstreams Canada, Beethoven’s Scottish Songs and performed solos on tours in Canada, the US, Germany, Andrew Ager’s Ellis Portal with the Talisker Players, and Mexico, Puerto Rico, China, Korea, Japan, Australia, Bach’s Christmas Oratorio (national CBC broadcast) and New Zealand. She is also a member of I FURIOSI with Tafelmusik, as well as Navidad, a recording with Baroque Ensemble (www.ifuriosi.com) and the Eybler the Toronto Consort. Ms. St. Pierre holds a Doctorate String Quartet (www.eyblerquartet.com). Performance in Vocal Performance from the University of Toronto, highlights this season include solo performances with the and currently is an Assistant Professor at Mount Allison Saskatoon Symphony in October, a tour to Korea and University, Faculty of Music, in New Brunswick. China with Tafelmusik in November, performances in Europe with the Orchestra of the Age of Enlightenment Andrew Walker in December and the Academy of Ancient Music in May, Diomede & Antiloco and an Eybler Quartet debut on the prestigious Music Toronto chamber series in February. Andrew is honoured to be performing with the Toronto Consort today. He pursued his training at St. Michael’s Choir School, during which time

Thank You Harbord Bakery You make Toronto Consort intermissions delicious! Making and baking good things since 1945 115 Harbord (west of Spadina) 416-922-5767 harbordbakery.ca THANK YOU

The Toronto Consort gratefully acknowledges the generous ongoing support of Trinity-St. Paul’s Centre, our sponsor and foundation partners, our long-time government funders and our many wonderful dedicated volunteers.

CORPORATE & COMMUNITY SUPPORTERS

FOUNDATION SUPPORTERS

The J.P. Bickell Foundation, The Lloyd Carr-Harris Foundation, The McLean Foundation, The Keith Foundation at the Strategic Charitable Giving Foundation, The F.K. Morrow Foundation, The Catherine & Maxwell Meighen Foundation, The Ed Mirvish Family Foundation, Audrey S. Hellyer Charitable Foundation, The Mary Margaret Webb Foundation, The Pluralism Fund

SPECIAL THANKS

Many thanks to Tafelmusik Baroque Orchestra & Chamber Choir, Borys Medicky, Guillaume Bernardi, Bill Found, Greig Dunn and the Istituto Italiano di Cultura 2016–17 DONORS

GOLD RENAISSANCE IN MEMORY OF BENEFACTOR Selma Odom CIRCLE URSULA & Christopher Palin FRED FRANKLIN ($200 – $499) Susanne Palmer ($5,000 and above) & Wayne Drewry Alison Burford-Mason Lewis W. Abbott Valdis Petersons Ann H. Atkinson Givins Shaw Public School Ellen Anderson Ruth Pincoe & David Peebles Tom Bogart & Kathy Tamaki B. Gombay James & Penny Arthur Margaret Proctor Greig Dunn Janet Goodfellow Edward & Jocelyn Badovinac David Ptolemy & Robert Maclennan Hans De Groot David & Anne Bailey Georgia Quartaro Jane & Al Forest Eva Lindberg Sara Blake Brenda Rolfe Estate of Patricia Hosack Avery MacLean Helen G. & Harry Bowler Dorothy & Robert Ross John & Maire Percy Mary Newberry Marcus Butler Erik Schryer Vivian E. Pilar Scott Paterson Michael & Honor de Pencier Judy Skinner Joan E. Robinson Ruth Pincoe Annette DeBoer Donald Smith Suzanne Rumsey Harry Deeg Lee Smith & Lyle Burton & Michael Shapcott Neil Dobbs & Susan Girard B. Stalbecker-Pountney ($2,500 – $4,999) Takaya Shimoda Carol Dorman Paul & Lynne Stott Avivah Wargon Richard Earls Karen Teasdale Estate of & Elliott Chapin Katalin Gallyas Martha Ter Kuile Norman John Cornack Dr. Hartley Garfield Edward J. Thompson Fred & Ursula Franklin RENAISSANCE Joan Mary & David Gilbert Patricia & Alasdair Urquhart Tiit Kodar, CIRCLE Carol & Peter Gould Ilze Valdmanis in memory of Jean Kodar David Grant & Arlene Gehring Gisela Van Steen ($500 – $999) John & Jane Grant & the late Mark Van Steen Ian & Joan Guenther Catherine & Gary Vivian ($1,000 – $2,499) Margaret Ackerman Beatrice & Lawrence Herman Laurie White Donald E. Altman Pauline S. Hill Morden Yolles C. Bergeron Monica Armour Jerry Hogan Shaunie & Brian Young Michael Clase Nellie Austin Anya Humphrey Anonymous (1) Jane Couchman & Bill Found J. Douglas Bodley Ludwig W. Kalchhauser David Fallis Marion Breukelman Miret William Karner PATRON Kevin Finora Marie Campbell George & Kathryn Kawasaki Chester & Camilla Gryski Kim Condon Lisa Marie Krause ($100 – $199) A. L. Guthrie & Jonathan Barrentine Lois Kunkel & John Olthuis Glen Hutzul Stephen & Linda Cook Michael Lerner Dr. Philip Anisman John Ison Jayne & Ted Dawson Dr. Teresa Liem Cheri & Gregory Barnett D. Kee Michael Disney Hallett & Karen Llewellyn Guyszi S. Berki William & Hiroko Keith Jean Edwards Margaret Magee Chris Brownhill Oleg Kuzin, Dinah Hoyle & Earl Rosen Mary Ella Magill Frances Campbell in memory of Betty Kuzin Eva & Doug Green Christina Mahler Sheila Campbell Marion Lane & Bill Irvine George Hathaway & Jeanne Lamon Philippa Campsie Dr. Margaret Ann Mackay Jill Humphries Pat & Howard Malone & Norman Ball Ann F. Posen Gerhard & Louise Klaassen Alina Matus Connie Catalfamo Ted & Sheila Sharp Grace & Henry Klaassen Kathleen McMorrow Priscilla Chong Heather Turnbull Robert & Michelle Knight Trini Mitra Rose Marie Cira & Priyanka Sheth Eric A. Lipka Richard Moore Thomas & Elizabeth Cohen Guy Upjohn Bonnie & Timothy McGee Alec & Joyce Monro Nancy Conn Jane Witherspoon Lynda Newmarch Margaret & Reid Morden Douglas Crowe & Brian Stewart Prof. E.M. Orsten Sara Morgan David & Liz Currie Berta Zaccardi Carol Percy & Daniel Philpott S. Davidson & Craig Robertson Paul & Elaine Pudwell Elizabeth Mowat Helen Davies Barbara Tangney Stephen J. Munro Stephanie de Bruijn Janet Walker Cindy & Ed Nowina Beatrice de Montmollin Heather Walsh Toby & Martine O’Brien Colin Dobell Janet Wood Judy Dora Sean Miller Jeffrey White Gillian Meecham Lee Emerson Paul Muther & Ulla Dagert Paula Wilson Ellen Mole Carol Farkas Darryl Nakamoto Andrea Whitehead Dana Oakes Joyce Ford Paul Nash Angie Wong Sheila O’Connor Frank & Donna Lynne Fraser Derry Neufeld Anne Wong G.D. Olds David & Helena Garlin Lorna Novosel Peter & Sharon Wong Katherine V. Paterson Brydon Gombay Barbara Obrai Beverley Wybrow Manfred & Sylvia Petz José Gotera, in memory of Christopher Palin Sharon Zimmerman Marion Pope Consuelo Gotera Katherine V. Paterson Judith Zoltai Anne Power Ulla Habekost R.M.H. Pinkerton Anonymous (3) Marilyn Richards Sylvia Hamilton Jean Poldosky Cathy Richardson Terrie-Lee Hamilton Anne-Marie Prendiville FRIEND Molly Robbins Richard & Marie Hands & John Gillies Margery Robson Derek & Susan Hayes Tim Reid ($50 – $99) Norma Rowen Gerry & George Helleiner Jason Roberts Erik Schryer Beatrice & Larry Herman David Robertson Dianna Allen Marion Scott Avril N. Hill & Eva MacDonald Sandra Alston Gary Smith Deborah Holdsworth Elaine Rolfe Ruth Baillie Roberta Smith Gail Houston Marina Romain Anton Bakalic Janet Stern Cheryl L. Huber Joan Rosenfield Larry Beckwith Marilyn Isaac Stewart Marguerite Hunt Bruce Ross Leonie Bedford Keith Strand Susanna Jacob Joanne & Walter Ross Stephen Bishop Mrs. Penelope Sullivan Nancy Jacobi Janet Rubinoff Geraldine Campbell Jackie Taschereau J. & J. Jimenez David Saunders Ann Carson Kaspers Tuters Elisabeth Jocz Cathy Schell Colleen Clark Catherine Ukas Ann Karner C. Schuh & M. Horn Amy Colson Anthony & Lorna Van Bergen David Keenleyside Bill Schultz Ruth Comfort In Memory of Sheila VanSlyke Marianne Khurana Charlotte Sharkey Sue Cousland Mary Jane Warner John Klassen Jill Shefrin John Crozier Carol B. Watson Natalie Kuzmich Elizabeth Stewart Hans De Groot Brenda Watts Anne-Louise Lanteigne Richard Sumner Brenda Ellenwood John & June Wevers Claire Lavigna Brian Taylor Angela Emmett Nora Wilson Ken Lawday Ella Taylor-Walsh George & Kittie Fells Susan Q. Wilson Kenneth & Mary Lund Dana Tenny Margaret Furneaux Perry Wong Norma Lundberg Martha Ter Kuile Constance Gardner Bob Zarichansky Edward & Margaret Lyons Mary Thomas Nagel Barbara Habib Anonymous (1) Duncan MacKenzie Ross Tilley Christopher Harris B. Lesley Mann Roger Townshend & Mary Shenstone Gloria Marsh William Toye Elke Heidemann & Elsa Miller Hugh & Lou Mason Patricia & Alasdair Urquhart Gail Houston Lynne Massey Carol Vine Marie Howes-Clark Anne McConnell Mary Vise Moira Hutchinson Listing includes donations & Ross Hirning Elaine Waddington Prof. Alexandra F. Johnston received up to May 1, 2017. Gary McIntosh Imogene Walker Andrea Kinch Please let us know if we have in honour of Ross Tilley John & June Wevers Tiiu Klein missed you or made an error. Barbara McNutt Sharon Walker Ronald Leprohon Call 416-966-1045.

We are are looking out for your safety! St. John Ambulance York Region (Division #0548 York Central) is working together with The Toronto Consort to provide you with superior first aid coverage, delivered with care and class. To become a volunteer, to register for first aid/CPR courses, or to purchase first aid kits and supplies, please call 905-773-3394, or visit us at www.sja-yorkregion.org Do you share our passion to bring to life and sustain the extraordinary music of the Middle Ages, Renaissance and early Baroque periods?

The Toronto Consort is seeking to fill vacancies in the following committees:

THE BOARD OF DIRECTORS

The Toronto Consort has an active Board of ten members supported by a committee structure (Nominations, Finance, Marketing, Fundraising, Education, Human Resources), and follows a business model. Musical excellence – in production quality, community engagement, and education – is our organization’s passion. The 2017-18 season will mark the Consort’s 45th year of success producing Early Music for a growing audience base locally, nationally and internationally.

We are currently seeking to bring ‘on board’ two individuals, ideally possessing governance and corporate experience. Preferred requirements:

• Enthusiasm for the performing arts • Collegial, collaborative work style • Volunteer time and energy including a commitment to active participation in 10 Board meetings per year), projects, and committees • Fundraising expertise (strategy and execution) • Willingness to be a Toronto Consort ambassador across our culturally diverse communities

Application deadline: May 31, 2017

ANNOUNCING: THE TORONTO CONSORT’S DIRECTORS-IN-TRAINING

To develop our next generation of leaders, The Toronto Consort is launching a Directors-in-Training Program. Ideal candidates will have a passion for the arts, as well as keen interest in hands on learning related to operating a thriving performing arts organization. No prior experience is required. Participants will be mentored by a Board Member and participate in an ex-officio capacity.

Directors-in-Training will:

• Attend selected Board Meetings • Assist in project work and committees • Help with fundraising • Support the organization’s public image and outreach

After completing one year of the Directors-in-Training Program, participants may be considered for Board or other positions as they become available.

To obtain more information and to express an interest in above opportunities, please contact Michelle Knight, Managing Director, 416-966-1045, or [email protected]