Nigredo Program

HOTEL CITY OPERA VANCOUVER PRESENTS HOTEL A one-act chamber opera by Nic Gotham and Ann-Marie MacDonald, commissioned in 1992 by Tarragon Theatre and Tapestry Opera, Toronto STARRING OCT 7 Tyler Duncan, Raymond • Sarah Vardy, Sophie Alan Corbishley • Stage Director Charles Barber • Music Director John Webber • Set and Lighting Design Barbara Clayden • Costume Design Jayson McLean • Production Manager Janet Lea and Nora Kelly • Producers COASTAL JAZZ PRESENTS Trudy Chalmers • General Manager KANDACE SPRINGS SUNDAY, OCTOBER 7 | 8PM | THE IMPERIAL TICKETS AT COASTALJAZZ.CA OR IN-PERSON AT RED CAT RECORDS @COASTALJAZZ This production is being given on the traditional territories of the Coast Salish peoples of the 1 Xʷməθkwəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Səl̓ílwətaʔ (Tsleil-Waututh) Nations. 2 FROM THE ARTISTIC DIRECTOR FROM THE STAGE DIRECTOR Charles Barber Alan Corbishley Welcome to the legendary Nigredo Hotel, In alchemy, nigredo, or blackness, means putrefaction or a bizarre, macabre and astonishing operatic thriller decomposition. Many alchemists believed that as a first step by Nic Gotham and Ann-Marie MacDonald. in the pathway to the philosopher’s stone, all alchemical As you will see, it is the story of an encounter between a beautiful ingredients had to be cleansed and cooked extensively to a but crazed woman who runs a shoddy hotel, and a brain surgeon uniform black matter. In analytical psychology, the term who takes refuge there after he crashes his car. became a metaphor ‘for the dark night of the soul, when Raymond and Sophie are two of the most unusual characters in an individual confronts the shadow within’… 20th C opera: brilliant, dazed, lonely, each possessing great insight into the other but little into themselves, sarcastic and corrosive, ...and this, in relation to the theories of famed psychologist Dr. Carl funny and combative, dazzling and daring, lunatic and often lovely. Jung, set me on a path towards understanding this opera. Ann-Marie These are two remarkable roles, telling three remarkable stories: hers, MacDonald’s libretto is rich in alchemic metaphor while really probing the his, and theirs. human condition at its deepest roots – the subconscious. As we have tried Our choice of this unusual repertoire is a departure for City Opera. to reflect in the design elements of this production, Ms. MacDonald has It is meant to help build a Canadian canon, to shine a great light on structured the opera through the lens of Jung’s process of individuation (the two extraordinary voices, and to expand our work into a quasi-jazz developmental psychic process during which innate elements of personality and improvisational idiom. The orchestra is a combo, seated onstage become integrated into a well-functioning whole with its subconscious). and very much part of the story. Seven orchestral interludes help This process cycles through a four-stage journey called the Magnum Opus: tell and drive that story. So too does the visual centerpiece, a giant head conceived, designed and lit by John Webber. Nigredo Hotel 1/ Nigredo (blackening), the dark night of the soul, when an individual marks our first appearance at The Cultch, a perfect venue for such confronts the shadow within an intimate show. And it is part of our ongoing project to widen the 2/ Albedo (whitening), the separation of ego and ‘inner anima/animus’ audience for new and powerful Canadian chamber opera. 3/ Citrinitas (yellowing), the reflective ‘soul light’ and the wise old woman We have never done anything quite like this before. archetype which confronts the ego with its own existential limitations, and Thank you for joining us. an acceptance of its dependence and attachments 4/ Rubedo (reddening), the ‘self’ archetype which has achieved wholeness As Raymond passes through these four stages, we begin to understand how Sophie is integral to the success of his journey. As the chips (or feathers) fall, we begin to see not only how she assists in his process, but seems to push him not only to see himself more profoundly, but to see her as well. In doing so, she encapsulates various elements of his past and present, while working towards a cohesive and enlightened future. It is safe to say that Sophie is certainly not your standard hotel owner – if she ever was one at all. 3 4 CAST TYLER DUNCAN Raymond SARAH VARDY Sophie Long a Vancouver favourite son, baritone Tyler Duncan recently Well known to Vancouver and Victoria audiences, acclaimed for her performed at the Metropolitan Opera as Prince Yamadori in Puccini’s “emotional yet unaffected quality of performance with true clear voice”, Madama Butterfly. At the Spoleto Festival he debuted as Mr. Friendly soprano Sarah Vardy has impressed and delighted audiences across Canada, in the 18th-century ballad opera Flora, returning the next season as the Europe, Mexico, and China. “She stands out wherever she sings, with a Speaker in Mozart’s The Magic Flute. Other appearances have included combination of vocal passion and rich characterization and musicality.” the role of the Journalist in Berg’s Lulu and Fiorello in Rossini’s Barber Her European debut of Tosca was “Victorious” and she continues to “convey of Seville, both at the Metropolitan Opera, Raymondo in Handel’s Almira deep emotion and rich and unique vocal tones.” Performing opera, oratorio, with the Boston Early Music Festival, Dandini in Rossini’s La Cenerentola small and large concerts, Ms Vardy has sung with the Opera Wroclawska with Pacific Opera Victoria; and Demetrius in Britten’s A Midsummer (Poland), Regina Symphony Orchestra, Saskatoon Symphony, Highlands Night’s Dream at the Princeton Festival. Issued on the CPO label is his Opera Studio, Calgary Concert Opera, Saskatoon Opera, Pacific Opera Boston Early Music Festival recording of the title role in John Blow’s (Victoria), City Opera Vancouver, and members of the Victoria Symphony. Venus and Adonis. Ms. Vardy debuted the role of Eva Johnson in Pauline by Margaret Atwood Mr. Duncan’s concerts include Mahler’s Eighth Symphony with the and Tobin Stokes, described by Opera Canada as “sung with catty, self- American Symphony Orchestra and the Toronto Symphony, Berlioz’s righteous intensity – just what the part needed.” She performed La Gioconda L’enfance du Christ with the Montreal Symphony; both Bach’s and with Calgary Concert Opera. This season she sings Mendelssohn’s Elijah, Mendelssohn’s Magnificats with the New York Philharmonic; Bach’s Mozart’s Requiem, and performs various opera works in two concerts for St Matthew Passion with the Munich Bach Choir, Montreal Symphony, the Mexican community Los Cabos. and the Oregon Bach Festival; Haydn’s The Creation with the Québec, Montreal, and Winnipeg symphony orchestras; Beethoven’s Ninth Symphony Sarah participated in Highlands Opera Studio to study and perform with the Calgary Philharmonic and Philharmonie der Nationen in Munich, Madama Butterfly and Tosca with renowned Canadian tenor Richard Berlin, Stuttgart, and Frankfurt; Haydn’s The Seasons with the Calgary Margison and soprano Christiane Riel. She twice has performed in Philharmonic; Handel’s Messiah with Tafelmusik, the Montreal and Montréal as a Laureate of Les Jeunes Ambassadeurs Lyriques for whom Toronto Symphony Orchestras, Handel and Haydn Society, San Francisco’s she also competed in Italy at International Singing Contest where she Philharmonia Baroque, and Portland Baroque; Mozart’s Requiem with the was a prize winner. She also did a five- week tour of China with orchestra, Montreal, Toronto, and Salt Lake City Symphony Orchestras. He has also performing excerpts from Madama Butterfly, Tosca, and Il Trovatore. performed at Germany’s Halle Händel Festival, Verbier Festival, Vancouver Early Music Festival, Montreal Bach Festival, Oregon Bach Festival, Lanaudière Festival, Stratford Festival, Berkshire Choral Festival, and New York’s Carnegie Hall. Tyler’s performance in Nigredo Hotel marks his City Opera Vancouver debut. City Opera Vancouver is a professional company and operates within the jurisdiction of the Canadian Actors’ Equity Association. We thank them for their support of this production. 5 6 PRODUCTION TEAM ALAN CORBISHLEY Stage Director JANET LEA Co-producer In 2006, Alan transitioned from a successful operatic baritone into a versatile Janet Lea’s career has included work in radio, music recording, arts opera stage director and arts producer. As a producer, Alan was Director production, and administration. She enjoyed a lengthy career with CBC of Programming for Vancouver International Song Institute and an Event Radio, serving as Head of Music for CBC English Radio, and as Director Producer for TED Conferences (TED Talks) around the world with PDW. of Cultural Programming for CBC Radio in British Columbia. Prior to In 2007 Alan created BC Living Arts (Sound the Alarm: Music/Theatre), that she was Executive Producer of CBC Radio’s popular afternoon show, and as the Artistic and Executive Director, he has created well over 200 Disc Drive with Jurgen Gothe, and also a recording producer of concerts events including festivals and performances, as well as writing and directing for national broadcast. Migrating from radio to dance, she worked as over 10 original works. Handel’s Acis & Galatea, which he directed and co- Artistic Administrator for Ballet BC and as Program Coordinator for The produced for Sound the Alarm, was named one of Vancouver’s best opera Banff Centre’s dance program. Ms. Lea joined the Board of City Opera in productions of 2017. In 2016, he directed The Lost Operas of Mozart for City 2007, assuming the role of President in 2014. She has been co-producer and Opera Vancouver. In 2014, Alan wrote and directed his “silent play”, based artistic administrator for the Company’s productions of Emperor of Atlantis, on the life of Charlie Chaplin, entitled Silent Chap, for Western Canada Sumidagawa/Curlew River, Fallujah, Pauline, Lost Operas of Mozart, and Theatre’s mainstage season.

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