PROGRAM SPRING 2016

CARMEN MAOMETTO II Reaching their Someday is music to everyone’s ears.

The hard work, perseverance and vision of emerging artists demonstrate the power of having – and the joy of realizing – a Someday™. Together with programs like the Ensemble Studio at the Canadian Company, we support a diverse range of Canadian talent in communities across the country through the RBC Emerging Artists Project.

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® / ™ Trademark(s) of Royal Bank of Canada. VPS93138 39782A (05/2015) CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 WHAT’S PLAYING: ALEXANDER NEEF 10 CARMEN FULL CIRCLE: As we bring our 2015/2016 season to a DIRECTOR JOEL IVANY close, we can look back on a year to be proud of, both on and off the stage. 14 WHAT’S PLAYING: MAOMETTO II The COC continued to cement its 20 SERIOUSLY... reputation as a centre for artistic ROSSINI’S MAOMETTO II excellence and a go-to destination for some of the world’s top operatic talent. 24 GET TO KNOW... This past fall, the world premiere of LUCA PISARONI Pyramus and Thisbe was a landmark production for the COC, while La 26 TOWARDS A NEW ERA OF LOWER TICKET PRICES Traviata met with rave reviews from critics and audiences alike. Our 28 BACKSTAGE AND BEYOND featured one of the strongest casts you’re likely to hear anywhere 30 SHIFTING INTO HIGH GEAR in the world, and Claus Guth’s take on Mercedes-Benz at the COC had audiences laughing and talking! 31 BIOGRAPHIES: CARMEN BIOGRAPHIES: MAOMETTO II The unparalleled artistic achievement 35 continues this spring. Our production 38 THE SCENIC TOUR of Bizet’s beloved Carmen returns with Of the COC’s Scene Shop a fresh look from director Joel Ivany, currently taking the Canadian opera We’re also proud of our new initiative, 40 SETTING FOOD TO MUSIC scene by storm with his innovative Opera Access for New Canadians, At Hilton’s Tundra “transladaptations” of classic . which aims to make dress rehearsals 41 SUPPORT OUR You can read more about Joel’s and select performances accessible to With the Season-End journey from supernumerary to new Canadian citizens and newcomers Campaign director on page 10. to Canada, including immigrants and refugees. Starting this spring we’re 48 MANY THANKS We close our season with what is likely joining the Institute for Canadian Acknowledging our the Canadian premiere of Rossini’s Citizenship’s Cultural Access Pass, many supporters rarely performed Maometto II, an through which 40 free tickets will be 54 PATRON INFORMATION opera which disappeared from the set aside to every COC dress rehearsal AND POLICIES repertoire in its original form until and given to new Canadian citizens premiered this registered with the CAP program. production in 2012. audiences can count themselves among the As we move into our 2016/2017 GO SCENT FREE lucky few in the world to see this work season, the COC continues to In consideration of performed using Rossini’s original hold itself to the highest artistic patrons with allergies, score. International star, - standard. You’ll experience favourites please avoid wearing Luca Pisaroni makes his COC debut as like and , Maometto, and shows off his lighter side perfumed beauty star-powered new productions of on page 24. and , the final products and fragrances! chapter of Wagner’s Ring Cycle There’s no doubt that the COC with Götterdämmerung, and a new features some of the world’s best production of the iconic Canadian COC Program is published three times a operatic talent on stage, but the opera Louis Riel, to commemorate year by the . All company also boasts exceptional Canada’s 150th birthday festivities. We rights reserved. Reproduction in whole work behind the scenes. As we move or in part without written consent is also mark the 10th anniversary of the prohibited. Contents copyright Canadian forward with COC365, the company’s ! Opera Company. Direct all advertising new strategic plan and guiding vision inquiries to [email protected]. for the next five years, we’ll bring you If you haven’t already, we invite you Program edited by Claudine Domingue, closer to the work that goes on year- to renew or purchase a subscription Director of Public Relations; Kristin round at the COC. We start with a visit at one of our desks at intermission McKinnon, Publicist and Publications to our very active Scene Shop, which or following the performance, and Co-ordinator; and, Gianna Wichelow, you can read about on page 38. Senior Manager, Creative and celebrate 16/17 with us. Publications. Layout by Gianna Wichelow. All information is correct at time of printing. Photo credits are on page 53. CANADIAN OPERA COMPANY 2015/2016 3 CARMEN BY

PRODUCTION SPONSOR Opéra comique in Four Acts w Libretto by Henri Meilhac and Ludovic Halévy, based on the novella by Prosper Mérimée w First performance: Opéra-Comique, Paris, March 3, 1875 w COC Revival

COC PRODUCTION Last performed by the COC in 2010 April 12, 17, 20, 23, 28, 30, May 4, 6, 8, 10, 12, 13, 15, 2016 Sung in French with English SURTITLES™

THE CAST (in order of vocal appearance) Moralès, an officer...... Peter Barrett^ Micaëla, a peasant girl...... Simone Osborne1 ^ Karine Boucher2†* Don José, a corporal...... Russell Thomas1 David Pomeroy2^ Zuniga, the captain...... Alain Coulombe^ Carmen, gypsy girl...... Anita Rachvelishvili3 Clémentine Margaine4D Frasquita, a gypsy...... Sasha Djihanian^ Mercédès, a gypsy...... Charlotte Burrage^ Escamillo, a toreador...... Christian Van Horn1 Zachary Nelson2 Le Dancaïre, a smuggler...... Iain MacNeil† Le Remendado, a smuggler...... Jean-Philippe Fortier-Lazure†**

Conductor...... Paolo Carignani Director...... Joel Ivany Assistant Director...... Brenna CornerD Set Designer...... Michael Yeargan Costume Designer...... François St-Aubin Lighting Designer...... Jason Hand Set & Costume Design Co-ordinator...... Camellia Koo Chorus Master...... Sandra Horst^*** Stage Manager...... Stephanie Marrs SURTITLES™ Producer...... Gunta Dreifelds

Performance time is approximately three hours including one intermission

* Karine Boucher’s performance is generously sponsored by Colleen Sexsmith ** Jean-Philippe Fortier-Lazure’s performance is generously sponsored by Margaret Harriett Cameron and the late Gary Smith *** Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price

1 April 12, 17, 23, 30, May 4, 6, 13, 15 2 April 20, 28, May 8, 10, 12 3 April 12, 17, 23, 30, May 4, 6, 13 4 April 20, 28, May 8, 10, 12, 15 D COC Debut † Current member of the COC Ensemble Studio ^ Graduate of COC Ensemble Studio

Program information is correct at time of printing. All casting is subject to change.

GO SCENT FREE: In consideration of patrons with allergies, please avoid wearing perfumed beauty products and fragrances.

4 CANADIAN OPERA COMPANY 2015/2016 Don José (Brian Hymel) arrests Carmen (Rinat Shaham) in the COC’s 2010 production.

CANADIAN OPERA COMPANY 2015/2016 5 Did you know Carmen has been played in Toronto longer than pro hockey? It’s true! Carmen had its world premiere in 1875 in Paris. Only four years later, on March 5, 1879 it premiered in Toronto, garnering favourable reviews, including this tidbit from the Evening Telegram: “It is as a whole, however, fairly endowed with sprightly passages and pleasing melody… Many passages are interspersed throughout in which the rhythm is most graceful and others are of dashing liveliness.” The Toronto Professional Hockey Club, the city’s first professional ice hockey team, was founded 27 years after Carmen’s premiere, in 1906.

6 CANADIAN OPERA COMPANY 2015/2016 Director’s Notes Synopsis

I am honoured to be making my mainstage directing ACT I debut at the Canadian Opera Company. This is my Micaëla, a young peasant girl, is searching for her beloved, home company and the company that gave me my first the corporal Don José. During the changing of the guard, opportunity. a group of women take a break from their work at a cigar factory. One of them, Carmen, has many admirers but Why Carmen and why now? Carmen is not a new opera. It she tries to attract the attention of Don José who remains has stood the test of time to emerge as one of the best- indifferent to her, despite the flower she has tossed at loved works in the operatic canon. I can’t help but feel that him. A short time later, the beautiful Carmen is arrested this piece was the entertainment of the time. Everything following a fracas with another factory worker, and Don about this show is spectacle, busyness and excitement: José is assigned to arrest her. Falling under her spell, the the chorus is on stage practically the entire length of the corporal allows her to escape, landing him in jail for two opera which gives us plenty to look at and take in, and the months. numerous memorable melodies have us humming as we leave the theatre. ACT II Carmen and her friends have gathered at a tavern, when For me, what has allowed this piece to endure through a passing parade celebrates the victorious bullfighter, the years, from 1875 to the present, are the real characters Escamillo. Zuniga, Don José’s lieutenant who is in love in real situations. Now more than ever, this piece is a with Carmen too, tells Carmen that Don José has been reminder of the freedom that we all enjoy and also the released from jail. Don José soon arrives at the tavern chains that we can find ourselves bound by. We desire and Carmen demands that he give up his commission passion and uninhibited living, but must have certain and follow her into the mountains with the smugglers. constraints to maintain order within our lives. We see Meanwhile, Zuniga has caught up with Don José and tries ourselves in the gentle, yet strong, spirit of Micaëla; our to convince the corporal to come home with him. Don inhibitions are brought out through Don José; our passion José, torn between duty and desire and jealous of Zuniga’s is felt through Carmen; and our self-absorbed, “selfie” affection for Carmen, picks a fight with Zuniga. In the end, urges are seen through Escamillo. This opera can be like he has no choice but to desert his company and flee into looking in a mirror. the mountains with Carmen and the band of smugglers.

Bizet wrote a piece that is understandable, triggers our INTERMISSION impulses, and questions morality. It can be difficult to find a likeable character, or one that we truly want to ACT III be. Instead, he’s painted characters that embody several As the smugglers move through the mountains, Carmen different aspects that we are simultaneously drawn to but becomes less and less tolerant of her lover’s possessive can also disassociate from. and controlling behaviour. Escamillo, who has also followed them in search of Carmen, arrives. A fight ensues This isn’t just another Carmen. This is our Carmen. This is between Don José and Escamillo but is interrupted by our moment to come together, learn something new about Micaëla who has come to tell Don José that his mother is this opera (even for those who have seen it many times), dying. Micaëla and Don José leave together. and learn something new about each other. ACT IV As Philip Glass said, “If you don’t need a new technique, On the day of the great bullfight, Carmen and Escamillo then what you’re saying probably isn’t new.” swear their love to each other. A haggard Don José appears at the arena and begs, then demands, Carmen I hope you will, as I do, see this production for what it to return to him, but she refuses, throwing down the ring is: a stunning piece of music theatre that we can all find he had once given her. Don José, in despair, charges at ourselves in. Carmen, stabbing her. She dies as the crowd cheers the toreador in the corrida. Joel Ivany

To learn more about Carmen, read Eric Domville’s article, “Love, Sex, Spirit,” on our blog at Left: Carmen (Rinat Shaham) sings her seductive coc.ca/Parlando. This originally appeared in our Habanera, basking in the admiration of the local men in 2010 house program. the COC’s 2010 production.

CANADIAN OPERA COMPANY 2015/2016 7 Canadian Opera Company Orchestra

VIOLIN I PICCOLO PERCUSSION Marie Bérard, Concertmaster Keith Hamm, Principal Shelley Brown Trevor Tureski, Principal The Concertmaster’s chair has Joshua Greenlaw, Assistant Douglas Stewart Chung Ling Lo* been endowed in perpetuity by Principal (leave of absence) John Thompson* Joey and Toby Tanenbaum Sheila Jaffé, Acting Assistant OBOE Aaron Schwebel, Associate Principal Mark Rogers, Principal HARP Concertmaster Alyssa Delbaere-Sawchuck* Lesley Young Sarah Davidson, Principal Jamie Kruspe, Assistant Emily Eng* Concertmaster Nicholaos Papadakis* ENGLISH HORN Anne Armstrong Angela Rudden* Lesley Young Banda Sandra Baron, (leave of absence) Beverley Spotton Bethany Bergman Yosef Tamir CLARINET TRUMPET Nancy Kershaw James T. Shields, Principal Robert Grim Dominique Laplante CELLO Colleen Cook Robert Weymouth Yakov Lerner Bryan Epperson, Principal (leave Jayne Maddison of absence) BASSOON TROMBONE Neria Mayer Alastair Eng, Acting Principal Eric Hall, Principal Charles Benaroya Ashley Vandiver* Paul Widner, Assistant Principal Elizabeth Gowen Ian Cowie Joanna Zabrowarna Elaine Thompson, Acting Assistant Principal HORN BASS TROMBONE VIOLIN II Maurizio Baccante Mikhailo Babiak, Principal Herbert Poole Paul Zevenhuizen, Principal Peter Cosbey* Janet Anderson Csaba Koczó, Assistant Principal Olga Laktionova Bardhyl Gjevori James Aylesworth Gary Pattison LIBRARIAN Elizabeth Johnston BASS Wayne Vogan Boris Kupesic* Alan Molitz, Principal (leave of TRUMPET Renée * absence) Robert Grim, Principal ASSISTANT MUSIC LIBRARIAN Aya Miyagawa Robert Speer, Assistant Principal Robert Weymouth Ondrej Golias Louise Tardif Tom Hazlitt, Acting Assistant Marianne Urke Principal TROMBONE STAGE LIBRARIAN Joanna Zabrowarna Paul Langley Charles Benaroya, Principal Paul Langley Eric Lee* Ian Cowie Robert Wolanski* PERSONNEL MANAGER BASS TROMBONE Ian Cowie FLUTE Herbert Poole Douglas Stewart, Principal *extra musician Shelley Brown TIMPANI Michael Perry, Principal

Canadian Opera Company Chorus

SOPRANOS MEZZO- /BASSES Lindsay Barrett Marianne Bindig Vanya Abrahams Grant Allert Christina Bell Susan Black Stephen Bell Kenneth Baker Stacie Carmona Sandra Boyes Sam Chung Peter Barnes Margaret Evans Wendy Hatala Foley Sean Clark Sung Chung Meghan Fleet Erica Iris Huang Stephen Erickson Bruno Cormier Alexandra Lennox-Pomeroy Lilian Kilianski William Ford Michael Downie Ingrid Martin Kathryn Knapp Ryan Harper Jason Nedecky Eve Rachel McLeod Laura McAlpine John Kriter Michael Sproule Victoria Pinnington Anne McWatt Jason Lamont Jan Vaculik Jennifer Robinson Karen Olinyk James Leatch Peter Wiens Teresa van der Hoeven Lisa Spain Stephen McClare Marcus Wilson Carrie Wiebe Vilma Indra Vitols Derrick Paul Miller Gene Wu Eric Olsen Michael York

Canadian Children’s Opera Company Teri Dunn, Music Director Ken Hall, Managing Director Dean Burry, Artistic Director

Members of the Canadian Children’s Opera Company appear in all Canadian Opera Company productions requiring children’s voices. Founded in 1968, the CCOC is the only permanent children’s opera company in Canada, providing musical and dramatic training to hundreds of participants each year. It specializes in the development and performance of operatic and choral repertoire for children.

Isobel Arseneau Samantha Fu Laudomia Lo Greco Serene Sakhnini Alexandra Bernstein Alia Ginevra Beatrice Nusink Finleigh Smart Lucas Drube Sophie Habkirk Frances Quilty Alastair Thorburn-Vitols Annika Faric Julianna Harsfai Madelaine Ringo-Stauble Claudia Winfield-Hicks Arianna Forgione Jacqueline Kirby Connor Ross Nathalie Winfield-Hicks

8 CANADIAN OPERA COMPANY 2015/2016 MUSIC STAFF ASSISTANT STAGE MANAGERS UNDERSTUDIES Esther Gonthier (Head Coach) Mike Lewandowski Zuniga Bruno Cormier Jordan de Souza Kate Porter Moralès Jason Nedecky Michael Shannon Frasquita Lindsay Barrett Jennifer Szeto (Ensemble Studio Intern Coach) APPRENTICE STAGE MANAGER Mercédès Erica Iris Huang Adriana Dimitri Le Dancaïre Jan Vaculik DICTION COACH Le Remendado Charles Sy Rosemarie Landry ASSISTANT LIGHTING DESIGNER Davida Tkach ASSISTANT CONDUCTOR Derek Bate FIGHT DIRECTOR Anita Nittoly

Don José (Brian Hymel) and Carmen (Rinat Shaham) in the COC’s 2010 production.

CANADIAN OPERA COMPANY 2015/2016 9 CARMEN FULL CIRCLE IN CONVERSATION WITH DIRECTOR JOEL IVANY BY GIANNA WICHELOW

This spring’s Carmen marks the closing of a circle for opera, to see if it appealed to him. So Joel joined the roster Joel Ivany, the acclaimed Canadian director and founder of supernumeraries (extras) for that production, and was of Against the Grain Theatre collective. In 2005, when hooked. Eleven years later, he returns to direct it. the COC premiered the production that audiences are seeing again this season, Joel was building his directing “It was exciting because Carmen was my first real experience career after studying theatre and music theatre. His friend of live opera—and I was in it! I saw everything, including Brent Krysa was assistant director for the 2005 Carmen, how an opera director works. I saw how people treated each and he advised Joel to take a closer look at the world of other, as groups and individuals—and supers. And that had an impact: for me, whether it’s Carmen herself or the one kid who is on stage for a moment and doesn’t sing, they’re all an important part of the show.”

At that time, the COC was performing in the Sony Centre for the Performing Arts. The following year the company moved into its own home, the Four Seasons Centre for the Performing Arts. Since then Joel has been assistant director on many productions in the COC’s .

“I love this space so much; it’s such a beautiful hall. I’ve had the opportunity to explore every part of it from every angle. I know the sightlines, and how the stage looks and sounds from all parts of the auditorium. I’ve experienced how the space has been utilized in different productions, whether it was Iphigenia in Tauris, where a singer was positioned above the curved ceiling of the auditorium, or the proscenium-high videos for . Now, during this rehearsal process, I’m asking myself how we can bring the audience into Carmen in a way that hasn’t been done with Carmen, or this production, or in the Four Seasons Centre before. “ “I love this space so much; it’s such a beautiful hall. I’ve had the opportunity to explore every part of it from every angle.”

At the heart of Carmen is a crime of passion that could happen anywhere and any time. Joel approaches this cautiously but with great enthusiasm. He asks, “Why do you need to tell the story? Why tell the story over and over again? Why is it important? How can it be told differently?” Joel has been working with two casts so the plot, of course, remains the same but, with different performers, the way the story is told is altered. “We have two incredibly different but talented Carmens so that’s a great start, but with the way rehearsals Joel Ivany are scheduled we didn’t start off with everyone in the same room, and we have real time to work with the two groups

10 CANADIAN OPERA COMPANY 2015/2016 SPOT THE DIRECTOR! The young photographer in the Act II crowd in the COC’s 2005 Carmen was to become the director of the 2016 production.

individually. The other important I want a company, why not just start try and attack everything and ask, factor is that everyone in this cast has one?’ It kind of exploded from there. ‘What new thing can be said about done this opera more times than I have When we were forming Against this? Everything has been done this so they have more experience with the Grain [AtG] in 2010, there was way, so—within the parameters that these characters than I do, which is maybe one other indie opera group in we have—what can we do differently, pretty great! I’ll learn a lot from them Toronto at the time. And now there are to say something new?’ Other people and hopefully I’ll bring an angle that’s something like 10 or 12. Thankfully I will always do it the way most people new to them. They also haven’t worked had other opportunities to work with want it done. Does it mean that my way with each other and that will bring other directors elsewhere and I kept is THE way? No, it’s just something added excitement to the process. It’ll AtG going, but assistant directing gave different.” also be wonderful to work with some me directing and administrative skills of the same people from 2005: Alain and I got to experience productions One of Joel’s great hopes is that Coulombe is back as Zuniga and Mike on a big level. It made me less nervous there will be more opportunities for Lewandowski is back as part of the about handling large productions, and opera artists to work in Canada. His stage management team. Some of the gave me a lot more confidence to make own career is country-wide now. He same choristers and supers will be AtG what it is today.” will return to in there, so it’s going to be fun!” 2017 to direct Jake Heggie’s Dead AtG had an immediate resonance Man Walking. And, once again this After his initial experience as a super, for Toronto opera lovers with its summer, he is program director for Joel knew he wanted to direct opera. first productions, such as a bold, Banff’s Open Space: Opera in the He went on to complete two formative pared-down La Bohème performed 21st Century. A partnership between years at the in a bar, and a startling The Turn Banff, AtG and the COC, the program Opera School studying opera directing of the Screw in an attic space at the is a performance-based collaborative with Michael Albano. From there, not University of Toronto. What makes training experience for emerging opera having immediate access to a large Joel’s work consistently intriguing professionals and brings in faculty company and the infrastructure that and illuminating is what his approach members such as , Paul provided, he thought to himself, “‘If attempts to reveal and unearth: “I Curran and Judith Forst, as well as staff

CANADIAN OPERA COMPANY 2015/2016 11 from the COC. Having these resources these companies across the west. We be exhausted. They put everything available allows the faculty to work with need to find people who love this art into it, the singing and acting was so young artists, and “dream and plan form enough to understand that they’ll physical. To witness that is huge—it without having to worry about raising have a few rough years, but if they just grips you. That duet is so beautiful funds at the same time!” can commit to it, they’ll be investing and strong and the performers have in something very worthwhile. You to be so powerful in their focus, their But before then, AtG remounts A Little plant seeds and bear fruit later. We intention, and their musicality. With our Too Cozy in Toronto this May. As he see that with AtG. I can’t wait to find Carmen there will be some audience did for the other two Mozart/Da Ponte the next person who says, ‘Joel did members who are experiencing this operas, Joel developed the production this,’ but they do it better than me. opera—or any opera—for the first time, last year at Banff, taking the score and Where is that person now? Are they in and that’s one of the reasons it has to basic idea of Così fan tutte and writing theatre or accounting? What is it that’s be excellent because it could stick with a new libretto around a modern-day going to change them to follow that them, change their life, you never know. wedding reality TV show. “It’s taking dream? Young directors need as much Standing in the wings as a super, seeing place in Studio 42 at the CBC Building. experience as they can get in small that final duet every night… that stuck We all get to go to a live studio companies and big companies.” with me.” experience in one of the city’s coolest venues.” In 2005, Joel would watch from the wings each night as the singers Gianna Wichelow is Senior As for the future: “There’s been so much walked off the stage at the end of the Communications Manager, Creative greatness before us, like developing all final, devastating duet. “They would and Publications at the COC.

The COC has two great artists playing Carmen this spring. We asked them to share their feelings about this fascinating character.

ANITA RACHVELISHVILI: “I’ve performed the role of Carmen for over five years and I feel a real understanding for her. To me Carmen is not just a woman who goes from man to man. She’s a very strong woman, but a lonely one, who is trying to find her happiness as we all do. When I perform, I try to just BE Carmen, to bring to the audience who she is and how she struggles to live a difficult life.”

…AND A HAIR-RAISING STORY… “A few months ago I had a very bad accident on stage during the first act of Carmen. In the scene when Manuelita and I fight, she caught my hand with the Spanishnavaja (folding knife). I was bleeding for the rest of the performance, but saying, ‘Well now I really have something to remember!’ After the performance I went to hospital where I got five stitches.”

CLÉMENTINE MARGAINE: “I love the freedom of this character, her passion and her sense of humour. I love that she’s living for herself and not to please others. I love that she’ll do anything—even dying­—just to keep her freedom. How modern is this character?”

…AND HOW SHE STARTS A PERFORMANCE DAY… “To get into the character of Carmen before a performance I always start the day by dancing, even if the production doesn’t require it. Carmen has to be aware of her body and of the impact of the body on the others. She’s an animal so you have to make your body and your mind awake.”

12 CANADIAN OPERA COMPANY 2015/2016 A passion for the arts

KPMG is proud to sponsor the Canadian Opera Company’s production of Carmen. kpmg.ca

© 2016 KPMG LLP, a Canadian limited liability partnership and a member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. The KPMG name and logo are registered trademarks or trademarks of KPMG International. 11957 MAOMETTO II BY

Luca Pisaroni in the title role of Maometto II in the COC’s production, when it debuted at Santa Fe Opera in 2012.

14 CANADIAN OPERA COMPANY 2015/2016 PRODUCTION SPONSOR

Opera in Two Acts w Libretto by Cesare della Valle Critical Edition edited by Hans Schellevis. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner

First performance: Teatro San Carlo, Naples, 1820 Production created by Santa Fe Opera

COC PRODUCTION w COC PREMIERE April 29, May 1, 3, 5, 7, 11, 14, 2016 Sung in Italian with English SURTITLES™

THE CAST (in order of vocal appearance) Paolo Erisso, head of the Venetians...... Bruce SledgeD Condulmiero, Venetian noble...... Charles Sy†** Calbo, Venetian General...... Elizabeth DeShong Anna, Paolo’s daughter...... Leah CrocettoD Maometto II...... Luca PisaroniD* Selimo, Maometto’s confidant...... Aaron Sheppard†***

Conductor...... Harry Bicket Director...... David Alden Assistant Director...... Marilyn Gronsdal^ Set and Costume Designer...... Jon Morrell Lighting Designer...... Duane SchulerD Choreographer...... David LaeraD Chorus Master...... Sandra Horst^**** Stage Manager...... Jenifer Kowal SURTITLES™ Producer...... Gunta Dreifelds

Performance time is approximately three hours and 20 minutes, including one intermission

* Luca Pisaroni’s performance is generously sponsored by Françoise Sutton ** Charles Sy’s performance is generously sponsored by Catherine Fauquier *** Aaron Sheppard’s performance is generously sponsored by Tony & Anne Arrell **** Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price

D COC Debut † Current member of the COC Ensemble Studio ^ Graduate of COC Ensemble Studio

Program information is correct at time of printing. All casting is subject to change.

GO SCENT FREE: In consideration of patrons with allergies, please avoid wearing perfumed beauty products and fragrances.

CANADIAN OPERA COMPANY 2015/2016 15 Leah Crocetto as Anna and Luca Pisaroni in the title role of Maometto II in the COC’s production, when it debuted at Santa Fe Opera in 2012.

16 CANADIAN OPERA COMPANY 2015/2016 Director’s Notes Synopsis

We know Rossini best from his comedies—the familiar ACT I works such as —and from his image Maometto Secondo, Sultan of the Ottomans, has captured as the great genius who made his fortune young, retired Constantinople and ended the Byzantine Empire. He now from composing opera at the age of 40 and lived out plans to invade Western Europe by taking Negroponte, his long life in Paris as bon vivant and observer of all the Venetian-held gateway between the Eastern and things cultural. The shock comes when we look at his Western Mediterranean regions. The head of the Venetians more serious works and realize he was not only one of in Negroponte is Paolo Erisso whose daughter Anna is the music theater’s greatest comic geniuses, but also a betrothed to the young Venetian nobleman, Calbo. Erisso supreme innovator of serious drama. Great singers of must decide whether to lead his forces in what looks to the last century such as Callas, Sutherland and Horne be a futile stand against Maometto or, surrender and revealed these forgotten tragedies as living, passionate seek the most peaceful settlement possible. Anna has theatre. Especially surprising and intriguing are the works been romantically involved with a man she believes to be Rossini wrote for Naples, usually created for his wife, the Uberto, a nobleman from Corinth. Erisso tells her she must diva Isabella Colbran—brilliant, idiomatic, experimental have fallen for an imposter as the real Uberto was with him operas, many still virtually unknown today. Among them is in Venice. The Muslims invade the city and take Erisso Maometto II. and Calbo as prisoners. When Maometto arrives, he and Anna recognize each other from their encounter in Corinth There is something intense and dangerous about when he was under the guise of Uberto. Horrified, Anna Maometto II that I find absolutely contemporary and threatens suicide unless Maometto releases his prisoners. modern. It is not a typical recitative-aria opera seria of Still smitten with her, he relents while Erisso rejects his the period, but an unusually through-composed and daughter for having fallen in love with his enemy. unpredictably paced drama. Throughout the first act until the entrance of Maometto, the buildup of dramatic tension ACT II leaves no chance for the audience to stop and applaud. Maometto wants to marry Anna but she refuses. He This is unusual in any opera up until Wagner. Mozart leaves to prepare a final assault on Negroponte, giving had tried something similar in his masterpiece , his imperial seal to Anna in order to guarantee her safety. but returned to “number operas,” perhaps persuaded With it, his soldiers will obey her command. Erisso and by disgruntled singers to restore their missed applause Calbo have sought refuge at the tomb of Anna’s mother (or perhaps missing it himself). This structure forces where Erisso rails against his daughter’s betrayal. She the listener to focus on the drama without reducing the arrives and to prove her loyalty, gives their enemy’s seal virtuosity of Rossini’s glorious music. It also highlights to her father, begging him to marry her to Calbo which character: as the tension builds, we are made to fear the he does in front of her mother’s tomb. Erisso and Calbo arrival of Maometto­—the scourge from the dark land, the manage to defeat the invaders against all odds but dangerous conqueror. But when we finally encounter him Maometto’s soldiers are now calling for Anna’s death since late in Act I he is more impressive, cultivated and rounded she inspired the last minute surge of Venetian strength. than the Venetians we have come to know earlier in the act. Maometto comes back to confront Anna and seek revenge. She tells him that she gave the seal to her father, married The role of Anna (the Colbran role) is equally modern— Calbo and then stabs herself, dying on her mother’s tomb. not only in her importance, but in her growth through the opera. She starts out as a young girl and daughter caught in a terrible war in a very male society where women are marginalized and brutalized, and where men make all the decisions. She is dominated on one side by her father, the overbearing Venetian general Erisso, and on the other by Maometto, far more evolved than her father but equally powerful. But as the opera progresses, she gathers this whole mess (personal, political) into her own hands— ultimately taking a heroic, self-sacrificing initiative to save her people.

Perhaps the most modern of all is the conflict between eastern and western cultures at the heart of the opera. Which side captures our sympathies? That must remain an open question… something for each listener to decide.

David Alden (Santa Fe Opera, 2012) CANADIAN OPERA COMPANY 2015/2016 17 Canadian Opera Company Orchestra

VIOLIN I CELLO TRUMPET BASSOON Marie Bérard, Concertmaster Bryan Epperson, Principal Robert Grim, Principal William Cannaway* The Concertmaster’s chair has Alastair Eng, Associate Principal Andrew Dubelsten* been endowed in perpetuity by Paul Widner, Assistant Principal Robert Weymouth (leave of HORN Joey and Toby Tanenbaum Maurizio Baccante absence) Michele Gagnon* Aaron Schwebel, Associate Olga Laktionova David Quackenbush* Concertmaster Elaine Thompson TROMBONE Scott Wevers* Jamie Kruspe, Assistant Charles Benaroya, Principal Concertmaster BASS Ian Cowie TRUMPET Anne Armstrong Alan Molitz, Principal (leave of Michael Fedyshyn* Sandra Baron (leave of absence) absence) BASS TROMBONE Brendan Cassin* Bethany Bergman Robert Speer, Assistant Principal Megan Hodge* Elizabeth Johnston Tom Hazlitt, Acting Assistant CIMBASSO Nancy Kershaw Principal OPHICLEIDE Scott Irvine, Principal Dominique Laplante Paul Langley Herbert Poole Yakov Lerner Robert Wolanski* PERCUSSION Jayne Maddison TIMPANI Trevor Tureski Neria Mayer FLUTE Michael Perry, Principal Chung Ling Lo* Douglas Stewart, Principal VIOLIN II Shelley Brown PERCUSSION Paul Zevenhuizen, Principal Trevor Tureski, Principal LIBRARIAN Csaba Koczó, Assistant Principal PICCOLO Chung Ling Lo* Wayne Vogan James Aylesworth Shelley Brown John Thompson* Hiroko Kagawa* Douglas Stewart ASSISTANT MUSIC LIBRARIAN Aya Miyagawa HARP Ondrej Golias Louise Tardif OBOE Sarah Davidson, Principal Marianne Urke (leave of absence) Mark Rogers, Principal STAGE LIBRARIAN Ashley Vandiver* Lesley Young Paul Langley Joanna Zabrowarna Banda CLARINET PERSONNEL MANAGER VIOLA James T. Shields, Principal PICCOLO Ian Cowie Keith Hamm, Principal Colleen Cook Maria Pelletier* Joshua Greenlaw, Assistant * extra musician Principal (leave of absence) BASSOON Eb CLARINET Sheila Jaffé, Acting Assistant Eric Hall, Principal Max Christie* Principal Elizabeth Gowen Carolyn Blackwell* CLARINET Alyssa Delbaere-Sawchuck* HORN Margaret Gillie* Beverley Spotton Mikhailo Babiak, Principal James Ormston* Yosef Tamir Janet Anderson Michele Verheul* Bardhyl Gjevori Gary Pattison

Canadian Opera Company Chorus

SOPRANOS MEZZO-SOPRANOS TENORS BARITONES/BASSES Lindsay Barrett Marianne Bindig Vanya Abrahams Kenneth Baker Stacie Carmona Susan Black Stephen Bell Sung Chung Margaret Evans Sandra Boyes Sam Chung Bruno Cormier Alexandra Lennox-Pomeroy Wendy Hatala Foley Sean Clark Michael Downie Ingrid Martin Erica Iris Huang Stephen Erickson Jason Nedecky Eve Rachel McLeod Lilian Kilianski John Kriter Michael Sproule Victoria Pinnington Anne McWatt Jason Lamont Jan Vaculik Jennifer Robinson Karen Olinyk James Leatch Marcus Wilson Teresa van der Hoeven Vilma Indra Vitols Stephen McClare Gene Wu Eric Olsen Michael York

MUSIC STAFF ASSISTANT STAGE MANAGERS UNDERSTUDIES Ben Malensek (Head Coach) Gerry Egan Maometto II Michael Anthony McGee Stephen B. Hargreaves Tiffany Fraser Anna Aviva Fortunata Hyejin Kwon (Ensemble Studio Condulmiero Stephen Bell Intern Coach) ASSISTANT LIGHTING DESIGNER Selimo Jean-Philippe Fortier-Lazure Davida Tkach ASSISTANT CONDUCTOR DANCERS Stephen B. Hargreaves Jak Barradell Liana Bellissimo Matt Marr Breanna Willis

18 CANADIAN OPERA COMPANY 2015/2016 NOW OPEN — A CITY TRANSFORMED: IMAGES OF ISTANBUL THEN AND NOW

The city we now know as Istanbul has been an important cultural and economic hub for centuries. Under its many guises, this magnificent place has witnessed a succession of empires and astounding urban growth. Experience the many faces of this city through the historical collection of Ömer Koç and contemporary photographs by Murat Germen—then enrich your knowledge through our special programming, including illustrated talks and an evening of Turkish music! agakhanmuseum.org Right: Detail of Muta-morphosis — Istanbul, Historical Peninsula #1 Murat Germen, 2013 ~ Lambda C-print ~ Photo courtesy of the artist

Luca Pisaroni (centre) in the title role of Maometto II in the COC’s production, when it debuted at Santa Fe Opera in 2012.

CANADIAN OPERA COMPANY 2015/2016 19 SERIOUSLY... ROSSINI’S MAOMETTO II BY GIANMARCO SEGATO

Opera notoriously relegates huge drawn from poetry, prose and the other opera houses in Italy. Rossini swathes of its historic legacy to the stage), particularly during his stay was therefore able to break free of the proverbial dustbin while at the same in Naples from 1815 to 1822 where formulae that would have been non- time stuffing even its most celebrated he premiered his dramas Armida negotiable elsewhere—a good example composers into extremely reputation- (1817), Ermione (1819) and Maometto being the virtual stranglehold held limiting pigeonholes. Despite having II (1820). These works were highly by the neoclassical poet Metastasio achieved the highest degree of experimental and with them, Rossini whose ubiquitous opera seria librettos popularity and name recognition, took significant artistic risk largely dictated happy endings at all cost! Gioachino Rossini probably suffers due to some felicitous historical and Rossini rejected this artificial conceit, more than most when judged by geographic circumstances: Naples giving his serious, Neapolitan operas these criteria. To this day he is mostly dominated Italian music during the the more dramatically appropriate, known for his comic operas­—The late 18th and early 19th centuries and tragic endings they deserved. Barber of Seville (1816), its audiences were among the most (Cinderella, 1817) and The Italian Girl highly cultivated in Europe. They were Beyond these dramaturgical tweaks, in Algiers (1813). It might therefore accustomed to hearing operas from the Rossini further pushed the envelope come as a surprise that the greater “outside” since French, German and by imbuing his serious works with a part of Rossini’s output was opera Austrian works figured much more truly progressive musical structure. seria (serious opera treating subjects prominently in Naples than in most British conductor Harry Bicket (Orfeo

20 CANADIAN OPERA COMPANY 2015/2016 Above: a scene from Maometto II at Santa Fe Opera in 2012. ed Euridice, 2011; Hercules, 2014), the spectacular, concluding cabaletta DeShong (La Cenerentola, 2011; who returns to the COC to lead these (flashier, quicker movement) “Del , 2014), returns performances, singles out Maometto mondo al vincitor” where Maometto in the trouser role of Calbo—the II’s “breadth and grandeur… which vows to conquer the universe. For Venetian noble who is Maometto’s is unusual; one thinks of Rossini as Pisaroni, his entrance music poses the rival in love for Anna. She singles out a brilliant comic writer, excelling in ultimate challenge: “It has everything: this more ensemble-based approach perfectly judged arias and lean, taut top notes; coloratura; long phrases… in Maometto II as one of its most finales. What you have inMaometto II [the role] is without question the most compelling features: “Rossini spends are massive structural arcs which push difficult I’ve ever sung… the range the most time musically on numbers the musical and dramatic conventions goes from high G to a low F so it’s that include the most characters and of the day (many of which were more than two octaves—but I love how they relate to each other. It’s codified by Rossini himself) to their challenges!” not so much about single moments limits. For example, the famous Act I for a single character; it’s about how terzettone [literally, “big, fat trio!”] is In addition to the requisite vocal they impact each other­—I think he 25 minutes long, and includes two of pyrotechnics, the role’s other big chose to focus on the humanity of the the characters disappearing to battle, hurdles are its reams of recitativo piece as opposed to the political and cannon fire, chorus interjections, and accompagnato (sung dialogue cultural aspects that could come in a prayer for the women’s chorus. This accompanied by full orchestra) which and distract from that.” That is not to was absolutely groundbreaking for its Pisaroni is especially keen to re-visit say lovers of bel canto vocal virtuosity day; one gets the sense that Rossini for the first time since debuting as won’t be satisfied as DeShong makes wanted to see how far he could push Maometto in the same 2012 Santa Fe abundantly clear: “Calbo’s [epic Act II] the audience’s expectations.” Opera production being revived at aria, in particular, requires impeccable the COC this spring. It was thanks to agility and the ability to easily access Rossini’s experimentation also the superlative Neapolitan the outer extremes of one’s vocal range extended to his handling of the Rossini had at his disposal that he in rapid succession. The vocalism demanding principal roles, especially was able to do away with recitativo required to make this opera a success the title character Maometto, based secco (literally, “dry recitative”—sung cannot be overestimated. Every on the historical Mehmet II (1432- dialogue accompanied by harpsichord) element of each singer’s technique and 1481) who captured Constantinople and opt for the more dramatically musicality is put to the test in the most in 1453 thus ending the Byzantine colourful possibilities offered by a extreme ways.” Empire. For the COC, he will be sung full orchestra. In preparation for his by Italian bass-baritone Luca Pisaroni COC performances, Pisaroni says For all his experimentation however, in his company debut—a rare instance he’ll be paying particular attention Rossini paid a price: Maometto II fared when a low-voiced male gets to sing to the “something like 20 pages of poorly in other Italian cities and even the title role. Rossini skillfully delays recitativo” that follow his demanding in relatively adventurous Naples. It Maometto’s entrance—a tactic Pisaroni entrance aria: “I want to make sure seemed excessive and was not a huge hails as “brilliant because we hear that [it is] dramatically effective and success. A more crowd-pleasing, happy everyone talking about him for 45 has a direction… obviously that’s an ending was provided for its short 1822 minutes as this horrendous human incredible amount of work because you Venetian revival; it was seen again in being without pity… but once we need to keep up the tension. A lot is Vienna (1823), Milan (1824) and Lisbon eventually meet him you realize he has going on; a lot gets said and you need (1826) but then dropped out of the a human side nobody is aware of–his to keep the audience interested. So, I repertoire entirely. It regained life in love for Anna [daughter of his enemy, work on details [using vocal] colour Paris in 1826 as Le siège de Corinthe Paolo Erisso, Governor of Venice] to project the idea that it’s simply a in an extensive revision with a French is sincere and he’s actually crushed conversation the audience can follow.” libretto, becoming Rossini’s first between what he’s supposed to do as foray into the newly emerging genre a commander of the army and his It was these types of seamlessly- of grand opéra (operas in five acts, private life.” integrated conversational passages including massive crowd scenes and a that paved the way for the future of requisite ballet). Until its 2012 revival Musically, Pisaroni couldn’t ask Italian opera—think of Verdi and his by Santa Fe Opera, Maometto II had for a grander entrance: a tripartite, brilliant, long-form dialogue between not been performed in its original form tour-de-force solo that opens with a Germont and Violetta in La Traviata, since its premiere at Naples’ Teatro di cantabile (slower, free-form, song-like) or the intensely moving father/ San Carlo on December 3, 1820. movement “Sorgete, sorgete” (“Arise, daughter recognition scene in Simon arise”) in which Maometto exhorts his Boccanegra—all derived from his For those Santa Fe performances, followers to battle. A change in tempo predecessor’s experimentation with a brand new Critical Edition was is signaled by a transitional tempo conventional forms. COC favourite, prepared by Dutch scholar Hans di mezzo choral section that links to American mezzo- Elizabeth Schellevis and edited by musicologist

CANADIAN OPERA COMPANY 2015/2016 21 Phillip Gossett. Rossini had a penchant for writing down successive DAVID ALDEN ON ROSSINI’S revisions directly into the autograph score resulting in many textual SERIOUS OPERAS: “In the last decades, problems which the Critical Edition managed to clean up—this is the artists have started to bring Rossini’s long- version that will be used in Toronto. Drawing on his vast experience with forgotten dramatic works back to the stage. early opera, conductor Harry Bicket plans to look at the score “forward Starting, of course, with Maria Callas, and through the lens of the Classical period rather than backwards from, continuing with , Marilyn say, Verdi. Of course, the orchestra is bigger than a Mozart orchestra… Horne, Montserrat Caballé, Rockwell Blake, but Rossini handles this larger orchestra in an almost ‘pointillist’ way, Samuel Ramey, and many other virtuosi, perhaps delicately adding a dash of woodwind colour to a particularly we now have performers who have the tender moment, or giving the clarinet an ‘aria’ of its own in the second technique to sing this challenging and act. In the big choral ensembles he brings out the big guns, especially to extremely florid and dramatic music, evoke the ‘other’ world of the Muslim invaders.” and… who take these long-forgotten and often disparaged works seriously. A whole hidden and glorious high-point of 19th- Until its 2012 revival by Santa Fe Opera, century music drama is back after lying Maometto II had not been performed forgotten for more than a century and it is in its original form since its premiere capable of thrilling audiences.” HARRY BICKET ON THE COC CAST: at Naples’ Teatro di San Carlo on “Maometto II is only done if you have a cast December 3, 1820. that can sing it and they are rare! The COC has put together a dream team of singers Historically grounded in the East/West conflict of the 15th-century and the opportunity to hear this rarity sung Crusades, director David Alden dubs Maometto II, a “siege opera” so well in a deeply theatrical production is but stresses it is much more about war in general, rather than any one which only comes round once every 20 specific cultural clash. “When I first started to think about Maometto years or so.” II in preparation for the Santa Fe production, I was worried that the East versus West theme might be controversial (not in a good way) in LUCA PISARONI ON DAVID ALDEN: our current, charged international climate. I did not want to present a “No role is the same from the beginning clichéd, Hollywood ‘50s-style epic of noble Christians versus exotic and to the end for him… there is always a villainous Muslim hordes. But after some study and thought I realized development dramatically. I love David that, if anything, the balance is tilted in favour of the cultured, dangerous because there is no white and black—it’s but sympathetic Maometto over the fundamentalist and hard-headed all the colours in between and that’s what Christian leader Erisso. In this tense drama… many questions are raised makes it exciting.” but not many easy answers given–the only certainty is that a very unusual and challenging night of bel canto awaits the audience.” LEAH CROCETTO ON THE ROLE OF ANNA: “What makes it difficult is its Maometto’s love interest, Anna, will be sung by American soprano Leah length—Anna starts and ends the opera and Crocetto who like Pisaroni, also starred in the 2012 Santa Fe production. only stops singing for about 15 minutes She calls Alden’s concept “genius…he knows the music forwards and while Maometto performs his big scena. backwards… it is a miraculous process to work with him. David’s artistic Her music was composed with such care— vision is very classical in nature. He paints a beautiful picture of what, Rossini obviously loved [his then wife I believe, was absolutely intended by Rossini. David also does not and muse, the Spanish soprano] Isabella settle for mediocrity. He pushes his actors to be the best... it is quite a Colbran very dearly as he composed this collaboration.” piece for her at the height of her career.”

With Maometto II, Rossini seemed to realize he had stretched his art as ELIZABETH DESHONG ON far as the dramatic and musical strictures of the times would allow. Given DISCOVERING MAOMETTO II: “ the gradual stylistic retrenchment to which he subjected the piece with My first thought upon hearing it was, ‘Wow, his subsequent revisions, he had clearly pushed his public to its limits. Rossini is a composer that should never be This spring, COC audiences will have the unique opportunity to hear underestimated!’ While I have spent much this dramatic masterpiece as Rossini intended, in its raw, original form time with Rossini’s La Cenerentola, The and to be overwhelmed by the same audacity that made it the talk of 1820s Barber of Seville, and Semiramide, I was Naples! still unprepared for Maometto II’s depth of orchestration, intense drama, and sheer rhythmic and tonal force. It wouldn’t be a Gianmarco Segato is Adult Programs Manager at the COC. stretch of the imagination to suppose that Verdi may have drawn specific inspiration from Maometto II.”

622 CANADIAN CANADIAN OPERA OPERA COMPANY COMPANY 2015/2016 2015/2016

Jumping rope, Downton Abbey, and two furry best friends! GET TO KNOW... LUCA PISARONI

Tristan (on the chair, following the score) and Lenny hang out with Luca during a warm up.

24 CANADIAN OPERA COMPANY 2015/2016 For security, privacy, safety and time management charter a private jet.

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FBO SERVICES AIRCRAFT MANAGEMENT CHARTER SERVICES www.skycharter.com [email protected] 905-677-6901 TECHNOLOGY ENTREPRENEUR PHILIP DECK IS LEADING THE CANADIAN OPERA FOUNDATION TOWARDS A NEW ERA OF LOWER TICKET PRICES BY NIKITA GOURSKI

“Opera is as popular as ever, but Deck sees the growth of the COF as a natural extension of fewer people can afford the rising the capital campaign that built the Four Seasons Centre. cost,” says Philip Deck (left), the “The FSCPA is a visible, permanent legacy to the donors that new chair of the Canadian Opera gave us the best opera house in the world. The Foundation is Foundation’s (COF) Board of creating a way for new donors to create permanent legacies Directors. that will make our opera accessible to everyone.” And visibility of Foundation donors is part of the new initiatives He points to the consistent says Deck: “We need to include Foundation donors better experience of the COC with into our recognition and benefits programs and people will ticketing options such as rush see the results over the next 12 months.” tickets, Value subscriptions, and more, where lower prices always But the Foundation is not just for large donors: “Even find a surge in demand. Lower prices also bring younger and modest-sized annual gifts have a tremendous amount of more diverse audiences. “The long-term challenge facing leverage,” he emphasizes, “because they get matched to a the COC is how to fund the low ticket prices that attract new large extent by the Department of Canadian Heritage and audiences when production costs keep rising at more than then supplemented by tax-free investment returns. Even the rate of inflation.” modest annual contributions can really add up over time. And then they generate benefits forever.” That’s where the COF comes in, providing a stable and permanent source of revenue which, in the long run, can be The COF distributes a portion of those earnings to the marshalled to reduce ticket prices and increase accessibility. COC annually, while the rest of the income and principal is While the company has many well developed fundraising reinvested to generate further returns. platforms in place to help cover the expenses of staging new productions and bringing in artists, the role of the In making that vision a reality, Philip Deck is chairing a Foundation, as Deck sees it, is to offer a way to permanently Board that includes major COC donors, as well as leading reduce ticket prices. investment management professionals, law, and accounting experts. He is thrilled about working with his board and Armed with a newly expanded mandate and supported by the COC in mobilizing existing and new donors: “We help a roster of Canada’s leading investment professionals, the donors build a permanent legacy in support of the COC; we COF Board is building on its strong record of investment give them an account statement every year so they can see success and asset growth and taking advantage of available how their gift is growing, and how much support it gives the matching dollars from the federal government. “The COC.” combination of matching funds with solid non-taxable returns offers leverage that even the savviest investor would Nikita Gourski is Development Communications Officer be hard-pressed to beat” says Deck. at the COC.

The COF is already a major part of the COC’s support base. With over $36 million in assets, it already generates over $1 million per year in funding to the COC to offset what would To learn more about making a gift to lower our otherwise be higher ticket prices. ticket prices, please contact Janet Stubbs at [email protected] or 416-306-2327. 26 CANADIAN OPERA COMPANY 2015/2016 ra O pe For s nnt ice ie nce t egnif Exper he ma Te ct! world of opera! A ompose Sing Opera! C

music! Design sets Grades 7 to 12 umes! and cost July 2016 nd perform eate a Cr Four Seasons Centre for era! an original op the Performing Arts 145 Queen St. W. Toronto Make friends! Details at coc.ca/Camps or 416-363-8231

Program Supporter: J.P. Bickell Foundation Photo: COC BACKSTAGE AND BEYOND! Here is a look at some of our recent activities, many shared with our wonderful COC donors, including parties, galas, and backstage meet-and-greets with artists. 1 2

3 4 5

1 The 2016/2017 Season Announcement was attended by a packed on opening night. The five players were Glenn Gould School (GGS) house of subscribers eager to see what the COC had in store for cellist Drew Comstock, GGS violinists Hua-Chu Huang and Yada them. It also featured a closing performance by soprano Christine Lee, GGS bassist Doug Ohashi, and University of Toronto Faculty Goerke (who was appearing as Brünnhilde in Siegfried) who sang of Music’s violist Meagan Turner. They were mentored by players Ortrud’s Curse from Lohengrin. Christine and the COC Orchestra, from the COC Orchestra: violinists Marie Bérard, Anne Armstrong, led by Johannes Debus, brought the festivities to a stunningly and James Aylesworth, violist Keith Hamm, cellist Paul Widner, exciting conclusion! and bassist Alan Molitz. Pictured (left to right): Bérard, Huang, Lee, Aylesworth, Hamm, Turner, Comstock and Widner. 2 COC Music Director Johannes Debus (far right) did double duty this winter both Siegfried and The Marriage of 5 Mezzo-soprano Emily D’Angelo stepped in at the last minute to Figaro, but took time out to attend the Working Rehearsal Dinner perform a recital as part of our Free Concert Series, and a few weeks for Siegfried with its director François Girard (left) and Alexander later won the National Council Auditions in Neef (middle). New York. This fall Emily will join the COC Ensemble Studio.

3 The Free Concert Series in the Richard Bradshaw Amphitheatre 6 Ensemble Studio soprano Karine Boucher celebrated the continued this winter with a performance by Ensemble Studio Ensemble Studio performance of The Marriage of Figaro (in which Jean-Philippe Fortier-Lazure and (4) members of the COC she sang The Countess) with Golden Circle member Sue Mortimer. Orchestra and the Orchestra Academy, the latter returning for its third year. The Academy welcomed five student musicians to 7 Participants of the winter edition of Youth Opera Lab discovered its annual three-week intensive training program, part of which the world of sets, wigs and makeup with a focus on The Marriage of involved rehearsing Siegfried and playing with the COC Orchestra Figaro, and experienced the magical vista from the stage of the Four Seasons Centre.

28 CANADIAN OPERA COMPANY 2015/2016 6 7 8

9 10

11 12 13

8 The COC’s 2016/2017 Season Announcement was toasted by 12 Part of the winter was spent getting ready for spring, and at the Ensemble Studio tenor Charles Sy and Golden Circle member Lisa COC’s busy Scene Shop, head carpenter Dave Retzleff is seen with a Balfour Bowen. piece of the set for Maometto II. You can read more of what goes on at the Scene Shop on pages 38 and 39. 9 The cast of The Marriage of Figaro celebrated at the opening night party in the Richard Bradshaw Amphitheatre, and (10) 13 In the midst of a really busy and exciting season, there is soprano (The Countess) joined her husband Roberto always time to pause and celebrate... and eat cake! The Ensemble Mauro (COC’s director of music and artistic admininstration) with Studio performance of Figaro provided an opportunity for COC General Director Alexander Neef. the company to mark Alexander Neef’s birthday, so a double celebration was enjoyed by all! 11 As part of the COC’s efforts to increase accessibility of its performances and dress rehearsals to newcomers to Canada, the COC welcomed the Abdallah family and their sponsors from the Ripple Refugee Project to a performance of The Marriage of Figaro.

CANADIAN OPERA COMPANY 2015/2016 29 Shifting into High Gear SPOTLIGHTING MERCEDES-BENZ’S SUPPORT OF THE COC BY NIKITA GOURSKI

When the Canadian Opera Company perfection” (Globe and Mail)— emerging Canadian opera singers, began looking for a new official both companies have a relentless and enthusiastically came on board automotive sponsor in 2013, Mercedes- commitment to benchmark-setting as the pace-setting Platinum Sponsor Benz Canada immediately stood out as quality. for the COC’s first-ever Centre Stage: a most compelling potential partner. Ensemble Studio Competition Gala In fact, the storied automaker was “We’re very proud to be supporting in 2013. Its support was critical in already a COC supporter, having made one of Canada’s most exciting cultural transforming what was a comparatively annual gifts since the late 1990s as part institutions and contributing to the modest public competition into a of its broader mandate of corporate thriving arts scene both in Toronto nationally significant event, moving citizenship. and in Canada,” says JoAnne Caza, from the 230-seat Richard Bradshaw Director of Communications and Public Amphitheatre into the 2000-seat But in 2013, Mercedes-Benz and the Relations at Mercedes-Benz Canada. R. Fraser Elliott Hall; incorporating COC worked out an agreement which “We’ve been very impressed with the orchestral accompaniment under the included prominent vehicle displays COC’s mainstage programming. From baton of Maestro Johannes Debus; at the opera house, the Four Seasons the outset, it was quite evident that and generally shining a much brighter Centre for the Performing Arts, as well both parties had similar values and a spotlight on the opera talent being as exciting exposure opportunities for passionately progressive vision.” nurtured in this country. the luxury auto brand. Beyond the opportunity for brand Mercedes-Benz has maintained its “Our respective reputations for alignment, however, an intriguing Platinum Sponsorship of Centre Stage excellence and innovation made this element for Mercedes-Benz has been since 2013 and is poised to return in a natural association between the two the prospect of getting involved this foundational role on Thursday, companies,” said COC General Director with the COC’s renowned Ensemble November 3 for Centre Stage 2016. Alexander Neef when the partnership Studio training program. Ms. Caza At the same time, its ongoing was unveiled two and a half years ago. notes that Mercedes-Benz has been support ensures that the COC can highly invested in pan-Canadian continue to innovate and deliver live There is no question that the initial projects like Mercedes-Benz Start opera of the highest international fit and continuing success of the Up, which supports up-and-coming quality: from reviving beloved COC partnership stems from a set of shared fashion designers, as well as the productions to offering invigorating values, with both Mercedes-Benz and Customer Experience Innovation Retail new interpretations of canonical the COC embodying leadership and Competition, which is giving young repertoire, to developing a new slate of overall excellence in their respective technology start-ups the opportunity Canadian commissions, giving voice to fields—whether that means engineering to implement some of their innovative our composers, our librettists, and our a 4-litre V8 Biturbo engine that ideas in Mercedes-Benz dealerships. stories. delivers 503 horsepower for the new 2017 Mercedes-AMG C 63 S Coupe, or Mercedes-Benz saw the value in mounting a production of Wagner’s developing a national platform for Nikita Gourski is Development Siegfried hailed for its “otherworldly the discovery and celebration of Communications Officer at the COC.

30 CANADIAN OPERA COMPANY 2015/2016 BIOGRAPHIES: CARMEN

PETER BARRETT DEREK BATE KARINE BOUCHER CHARLOTTE BURRAGE PAOLO CARIGNANI Baritone (Corner Brook, NL) (Toronto, ON) Soprano ( City, QC) Mezzo-soprano (Toronto, ON) (Milan, Italy) Moralès Assistant Conductor Micaëla Mercédès Conductor

COC DEBUT COC DEBUT COC DEBUT COC DEBUT COC DEBUT Mandarin, , 2003 Conductor, Carmen, 1979 Kate Pinkerton, Madama Butterfly, Dorabella, Così fan tutte (Ensemble Tosca, 2012 2014 Studio performance), 2014 RECENT RECENT RECENT Jason, M’Dea Undone (Tapestry Siegfried (COC) RECENT RECENT Norma (Bayerische Staatsoper) Opera) Pyramus and Thisbe with Lamento Susanna, The Marriage of Figaro Suzuki, Madama Butterfly (Saskatoon La Bohème, Tosca and Turandot Dr. Falke, Die Fledermaus d’Arianna and Il combattimento di (COC Ensemble Studio Opera) (Metropolitan Opera) (Metropolitan Opera/Met) Clorinda e (COC) performance) Rosina, The Barber of Seville (COC I vespri siciliani (Royal Danish Opera) Bluebeard’s Castle/ (COC) Berta, The Barber of Seville (COC) Ensemble Studio performance) UPCOMING Conductor, The Student Prince Mimì, La Bohème (Jeunesses Grimgerde, Die Walküre (COC) UPCOMING Morales, Carmen (Met) (Toronto Operetta Theatre) Musicales du Canada) Turandot and Amleto (Bregenz Mercutio, Romèo et Juliette (Met) Festival) UPCOMING (New National Theatre Tokyo) Norma, Götterdämmerung, Louis Riel (COC)

BRENNA CORNER ALAIN COULOMBE SASHA DJIHANIAN JEAN-PHILIPPE JASON HAND (High River, AB) Bass (Toronto, ON) Soprano (, QC) FORTIER-LAZURE (Toronto, ON) Assistant Director Zuniga Frasquita Tenor (Kitchener-Waterloo, ON) Lighting Designer

COC DEBUT COC DEBUT COC DEBUT Le Remendado COC DEBUT Angelotti, Tosca, 1998 Annio, (Ensemble Associate Lighting Designer, Iphigenia COC DEBUT RECENT Studio performance), 2013 in Tauris, 2006 Count Almaviva, The Barber of Seville Madama Butterfly and Dark Sisters RECENT (Ensemble Studio Performance), (Vancouver Opera) Der Doktor, Wozzeck (Teatro alla RECENT RECENT 2015 Béatrice et Bénédict (Fraser Lyric Scala/TAS) Barbarina, The Marriage of Figaro A Little Too Cozy (Banff Centre/Against Opera) Archangel Uriel/Third Man at the (COC) the Grain) Airport, CO2 (TAS) Zerlina, (COC) RECENT The Marriage of Figaro (Opera Lyra) Don Curzio, The Marriage of Figaro UPCOMING Un Vieil Hébreu, Samson et Dalila Pedro, (COC) M’Dea Undone (Tapestry New Opera) (COC) La Bohème (Glimmerglass Festival) (Opéra de Montréal/ODM) Susanna, The Marriage of Figaro (Minnesota Opera) Don Basilio, The Marriage of Hansel and Gretel (Vancouver Opera) Géneral Audebert, Silent Night (Opera Lyra) () Figaro (COC Ensemble Studio UPCOMING UPCOMING performance) The Rape of Lucretia (Banff Centre) UPCOMING Fiordiligi, Così fan tutte (Opéra de Giuseppe, La Traviata (COC) Il Commendatore, Don Giovanni Massy and Opéra de Reims) Pelléas, Pelléas et Mélisande (Nova ( and ODM) Scotia Opera Company) Geronte di Ravoir, Manon Lescaut (Dutch National Opera)

CANADIAN OPERA COMPANY 2015/2016 31 SANDRA HORST JOEL IVANY CAMELLIA KOO IAIN MACNEIL CLÉMENTINE (Toronto, ON) (Toronto, ON) (Toronto, ON) Baritone (Brockville, ON) MARGAINE Chorus Master Director Set & Costume Design Le Dancaïre Mezzo-soprano (Narbonne, France) Co-ordinator COC DEBUT COC DEBUT COC DEBUT Carmen Norma, 1998 Assistant Director, La Bohème, 2009 Commissioner, Madama Butterfly, COC DEBUT 2014 RECENT RECENT Set & Costume Designer, The Bremen COC DEBUT The Marriage of Figaro (COC) Mozart’s Requiem, (Toronto Symphony Town Musicians (COC’s Glencore La Traviata (COC) Orchestra/TSO) Ensemble Studio School Tour), RECENT RECENT Pyramus and Thisbe with Lamento Marilyn Forever (Adelaide Festival of 2014 Figaro, The Marriage of Figaro (COC Carmen, Carmen (Berlin, Munich, d’Arianna and Il combattimento di Arts, Australia) Ensemble Studio performance) Rome, Dallas, Washington, RECENT Tancredi e Clorinda (COC) Program Director, Opera (The Banff Marquis d’Obigny, La Traviata (COC) Naples) Set Designer, Carmen (Edmonton Charlotte, (Teatro Colón) Conductor, The Machine Stops and Centre) Dr. Bartolo, The Barber of Seville Opera) Dalila, Samson et Dalila (Deutsche Paul Bunyan (UofT Opera) #UncleJohn ( International (COC Ensemble Studio Chamber Festival) Set & Costume Designer, Wormwood Oper Berlin/DOB) performance) UPCOMING (Tarragon Theatre) Marguerite, Damnation de (DOB) Norma and Ariodante (COC) UPCOMING Set & Costume Designer, Lady From Fiorello, The Barber of Seville (COC) A Little Too Cozy (Against the Grain the Sea (Shaw Festival) UPCOMING Theatre) UPCOMING Carmen, Carmen (Metropolitan Opera, Dead Man Walking (Vancouver Opera) UPCOMING Tarquinius, The Rape of Lucretia and Opéra national Set & Costume Designer, The Rape of The Seven Deadly Sins (TSO) (Banff Centre) de Paris) Lucretia (Banff Centre) Sara, (Bayerische Soloist, Songs of Travel (Free Concert Set & Costume Designer, Simon Staatsoper) Boccanegra (Pacific Opera Series in the Richard Bradshaw Dulcinée, Don Quichotte (Lyric Opera Victoria) Amphitheatre) of Chicago)

STEPHANIE MARRS ZACHARY NELSON SIMONE OSBORNE (Toronto, ON) Baritone (Annapolis, MD, USA) Soprano (Vancouver, BC) Tenor (St. John’s, NL) Mezzo-soprano (, ) Stage Manager Escamillo Micaëla Don José Carmen

COC DEBUT COC DEBUT COC DEBUT COC DEBUT COC DEBUT Madama Butterfly, 2003 Masetto, Don Giovanni, 2015 Ilia, Idomeneo (Ensemble Studio Faust, Faust, 2007 Carmen, Carmen, 2010 performance), 2010 RECENT RECENT RECENT RECENT Assistant Stage Manager, Siegfried Escamillo, Carmen (Salzburger RECENT Paul, Die Tote Stadt (Calgary Opera Marfa, Khovanshchina (Dutch National (COC) Landestheater and Palm Beach Gilda, (Vancouver Opera) and Oper Frankfurt) Opera) Stage Manager, La Traviata, Madama Opera) Soloist, The Metropolitan Opera’s Arrigo, I vespri siciliani (Royal Danish Carmen, Carmen (Metropolitan Opera; Butterfly and Hercules (COC) Figaro, The Barber of Seville Rising Stars Concert Series Opera) , Covent Stage Manager, Apocalypsis (Sächsische Staatsoper/SS) (national tour) Garden/ROH; and Teatro alla (Luminato Fesitval) Marcello, La Bohème (SS) UPCOMING Scala/TAS) Stage Manager, Panamania (Pan UPCOMING Soloist, Mahler’s Symphony No. 8 Amneris, (TAS,Teatro dell’Opera Am Games 2015 Arts and Culture UPCOMING Marguerite Riel, Louis Riel (COC) (Calgary Philharmonic) di Roma, Teatro Regio di Torino) Festival) Escamillo, Carmen (San Francisco Soloist, Mozart’s Exsultate jubilate Soloist,Verdi’s Requiem (Vancouver Opera) and Barber’s Knoxville (Utah Symphony) UPCOMING Donner, (Lyric Opera Symphony) Calaf, Turandot (Edmonton and Amneris, Aida (Opéra national de of Chicago) Calgary Opera) Paris/ONP) Soloist, Janáček’s Glagolitic Mass Dalila, Samson et Dalila (ONP) (Warsaw Philharmonic) Azucena, (ROH)

32 CANADIAN OPERA COMPANY 2015/2016 COMING SOON File Name: SWM_AD_Opera_8x10 Publication: Opera Trim: 8.375” x 10.875” Material Deadline: 03/14/16 Creative & Production Services Bleed: 0.125" Safety: 0.25” Mech Res: 300dpi 100 Yonge Street, 16th Floor Insertion Dates: 04/12/16 Toronto, ON M5C 2W1 Colours: CMYK

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SWM_AD_Opera_8x10.indd 1 2016-02-22 2:35 PM FRANÇOIS ST-AUBIN RUSSELL THOMAS CHRISTIAN VAN HORN MICHAEL YEARGAN (Montreal, QC) Tenor (Miami, FL, USA) Bass-baritone (Rockville Centre, (Milford, CT, USA) Costume Designer Don José NY, USA) Set Designer Escamillo COC DEBUT COC DEBUT COC DEBUT Carmen, 2006 Hoffmann, , COC DEBUT Carmen, 2006 2012 Angelotti, Tosca, 2012 RECENT RECENT Director of Set & Costume Design RECENT RECENT L’elisir d’amore and The Barber of (National Theatre School of Stiffelio, Stiffelio (Oper Frankfurt) Frère Laurent, Roméo et Juliette (Lyric Seville (Metropolitan Opera) Canada) Pollione, Norma (Los Angeles Opera/ Opera of Chicago/LOC) Roméo et Juliette (Lyric Opera of Ring Cycle (Metropolitan Opera) LAO) Colline, La Bohème (Metropolitan Chicago) The Count of Monte Cristo, Don Juan, Turiddu, Cavalleria rusticana Opera/Met) Luisa Miller (/ and An Ideal Husband (Stratford (Deutsche Oper Berlin) Alidoro, La Cenerentola (LOC) SFO) Festival) La Traviata (Opera Australia) UPCOMING UPCOMING Pollione, Norma (COC and Lyric Colline, La Bohème (Met) UPCOMING Opera of Chicago) Il Prefetto, Linda di Chamounix (Teatro Ring Cycle (Washington National Cavaradossi, Tosca (LAO) dell’Opera di Roma) Opera) Florestan, Fidelio (Cincinnati Opera) Narbal, Les Troyens (LOC) Aida and Rigoletto (SFO) Ismaele, Nabucco (Metropolitan Escamillo, Carmen (LOC) Madama Butterfly (Dallas Opera) Opera) Oroveso, Norma (Dallas Opera)

BIOGRAPHIES: MAOMETTO II

DAVID ALDEN HARRY BICKET LEAH CROCETTO ELIZABETH DESHONG MARILYN GRONSDAL (New York, NY, USA) (London, UK) Soprano (San Francisco, CA, Mezzo-soprano (Selinsgrove, PA, USA) (Toronto, ON) Director Conductor USA) Calbo Assistant Director Anna COC DEBUT COC DEBUT COC DEBUT COC DEBUT Hermia, A Midsummer Night’s Dream, 2009 The Abduction from the Seraglio, 1980 Rodelinda, 2005 COC DEBUT Director, La Bohème, 2009

RECENT RECENT RECENT RECENT RECENT Fenena, Nabucco (Lyric Opera of (Deutsche Oper Berlin) Orlando (The English Concert) Associate Director, Siegfried (COC) Semiramide, Semiramide (Opéra Chicago/LOC) Assistant Director, Pyramus and (Oper Frankfurt) The Marriage of Figaro and National de Bordeaux) Wardrobe Mistress/Schoolboy/Page, Thisbe with Lamento d’Arianna ( Madrid) (Houston Grand Opera) Liù, Turandot (Metropolitan Opera) Lulu (Metropolitan Opera/Met) La finta giardiniera (Santa Fe Opera/ Luisa Miller, Luisa Miller (San Hermia, A Midsummer Night’s Dream and Il combattimento di Clorinda e UPCOMING SFO) Francisco Opera/SFO) (Féstival d’Aix-en-Provence) Tancredi (COC) Jenůfa () Elisabetta, (Opera Rosina, The Barber of Seville (Los Co-director, Madama Butterfly UPCOMING ) Angeles Opera) (Saskatoon Opera) Carmen (Lyric Opera of Chicago) Assistant Director, Bluebeard’s Castle/ Roméo et Juliette (SFO) UPCOMING UPCOMING Erwartung (COC) Donna Anna, Don Giovanni (Santa Isabella, The Italian Girl in Algiers (Met) Fe Opera) Adalgisa, Norma (LOC) UPCOMING Aida, Aida (SFO) Hermia, A Midsummer Night’s Dream Assistant Director, Norma (COC) (Glyndebourne Festival) CANADIAN OPERA COMPANY 2015/2016 35 Imagine choosing a caregiver who loves opera too!

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PROG15_COC_Winter2015_LivingAssistS_ad.indd 1 2015-12-02 3:04 PM STEPHEN B. SANDRA HORST JENIFER KOWAL DAVID LAERA JON MORRELL HARGREAVES (Toronto, ON) (Thornhill, ON) (Dusseldorf, Germany) (London, UK) (Montréal, QC) Chorus Master Stage Manager Choreographer Set and Costume

Assistant Conductor COC DEBUT COC DEBUT COC DEBUT Designer Norma, 1998 Assistant Stage Manager, , COC DEBUT 1992 RECENT COC DEBUT , 2011 RECENT Choreographer, Khovanshchina Costume Designer, Aida, 2010 The Marriage of Figaro (COC) RECENT (Opera Vlaanderen) RECENT La Traviata (COC) The Marriage of Figaro (COC) Assistant Choreographer and Dancer, RECENT Principal Coach (Opera McGill/OM) Pyramus and Thisbe with Lamento AtG’S Messiah (Against the Grain Alcina (Teatro Real Madrid) Otello (English National Opera/ENO Conductor, Speed Dating & Buoso’s d’Arianna and Il combattimento di Theatre) Dancer, Rinaldo (Theater Dortmund) and Swedish Royal Opera) Ghost (OM) Tancredi e Clorinda (COC) Pyramus and Thisbe with Lamento Dancer, Der Rosenkavalier (Oper Costume Designer, Tannhäuser (Royal Conductor, Orpheus and Euridice of Conductor, The Machine Stops and d’Arianna and Il combattimento di Frankfurt/OF) Opera House, Covent Garden and Ricky Ian Gordon (Chicago Opera Paul Bunyan (UofT Opera) Clorinda e Tancredi (COC) Chicago Lyric Opera) Theater) Bluebeard’s Castle/Erwartung (COC) UPCOMING La finta giardiniera (Santa Fe Opera) Soloist, Variations on 1930 (Richard UPCOMING Choreographer/Dancer, Pierrot Bradshaw Amphitheatre recital and Norma and Ariodante (COC) UPCOMING Lunaire/Anna Toll (OF) UPCOMING CD release) Norma and Tosca (COC) Costume Designer, Jenůfa (ENO) Soloist, Brahms’ Piano Concerto No. 2 Otello (Teatro Real, Madrid) (Grand Forks Symphony) Conductor and re-orchestration, #UncleJohn (The Banff Centre)

UPCOMING Conductor, Tosca (Union Avenue Opera, St. Louis, MO)

LUCA PISARONI DUANE SCHULER AARON SHEPPARD BRUCE SLEDGE CHARLES SY Bass-baritone (, Italy) (Seattle, WA, USA) Tenor (St. John’s, NL) Tenor (Orange, CA, USA) Tenor (Toronto, ON) Maometto Lighting Designer Selimo Paolo Erisso Condulmiero

COC DEBUT COC DEBUT COC DEBUT COC DEBUT COC DEBUT The Italian Girl in Algiers, 2003 Don Curzio, The Marriage of Gastone, La Traviata, 2015 RECENT Figaro (COC Ensemble Studio RECENT Count Almaviva, The Marriage of RECENT performance) Duke of Mantua, Rigoletto (Vancouver RECENT Figaro (Metropolitan Opera/Met, Der Rosenkavalier (Deutsche Oper Opera and Santa Fe Opera/SFO) Adolfo, La Rondine (Opera Theatre of Lyric Opera of Chicago, Salzburg Berlin and Lyric Opera of Chicago) RECENT Roberto, Earl of Leicester, Maria Saint Louis) Festival/SF) Don Pasquale and La donna del lago Soloist, Lord Nelson Mass Stuarda (Royal Swedish Opera) Mr. Owen, Postcard from Morocco Leporello, Don Giovanni (Staatsoper (Metropolitan Opera/Met) (Newfoundland Symphony Monseigner Popescu, The Impresario (UofT Opera) im Schiller Theater) The Marriage of Figaro (Seattle Opera) Orchestra) (SFO) Tamino, Die Zauberflöte (Hawaii Soloist, Mozart’s Requiem (Guelph Fisherman, Le Rossignol (SFO) Performing Arts Festival) UPCOMING UPCOMING Symphony Orchestra) Leporello, Don Giovanni (SF) Béatrice et Benedict (Glyndebourne) Kronprinz, Silent Night (Opéra de UPCOMING Count Almaviva, The Marriage of Don Pasquale and The Makropulos Montréal) Macduff, Macbeth (Welsh National Figaro (Wiener Staatsoper) Case (San Francisco Opera) Opera/WNO) Giorgio, I Puritani, (Met) (Met) UPCOMING Lorenzo, The Merchant of Venice Méphistophélès, Faust (Houston Fernando, A Little Too Cozy (Against (WNO) Grand Opera) the Grain Theatre) Charlie Whitten, Ours (Opera on the Avalon)

CANADIAN OPERA COMPANY 2015/2016 37 THE SCENIC TOUR A VISIT TO THE COC’S SCENE SHOP WITH KRISTIN McKINNON

The COC Scene Shop is not much to look at on first-glance. 10 or even 30 years!), it’s no wonder that opera, ballet and It’s a cavernous, former melon warehouse tucked away at the theatre companies from around the world seek out the end of a residential street in Toronto’s west end. But it’s here COC for their own set-building needs. that a dedicated crew of painters, carpenters, welders and metalworkers are busy throughout the year building sets from Presenting world-class opera requires a world-class team, the ground up, or tweaking and repairing ones that need some both on and off the stage, so the COC is lucky to have such freshening up. a wealth of set-building talent right here at home. The Scene Shop may just be one cog in the big COC wheel, but On a recent visit, the Scene Shop was bursting with set pieces it is essential in bringing any COC production to the stage. from three different productions: Fort Worth Opera’s JFK, the National Ballet of Canada’s Le Petit Prince, and the COC’s own Maometto II. With so much talent and expertise concentrated Kristin McKinnon is Publicist and Publications in one place (some crewmembers have been with the COC for Co-ordinator at the COC.

From classical colonnades to a ‘60s-era bathtub, you never know what you might bump into at the Scene Shop on any given day. “It’s nice to have variety,” says Head Scene Shop Carpenter Dave Retzleff, who started at the COC in 2003 as a welder for the company’s then-new production of Die Walküre.

Right: Dave shows off the set maquette for Fort Worth Opera’s JFK, designed by Thaddeus Strassberger.

38 CANADIAN OPERA COMPANY 2015/2016 It’s up to the Scene Shop crew Sometimes unexpected hiccups occur and a little extra ‘magic’ is required. to transform drawings and “Rigoletto [COC, 2012] had these huge rugs but once they were on stage, miniatures into full-size sets in [the production team] realized that they weren’t big enough, so we ended “the fastest, easiest and smartest up painting an extra fringe around the rug,” says Katherine. way” according to Assistant Head Scenic Painter Katherine Lilley. Below: the final product! She works with Head Scenic Painter Rick Gordon to decide the right colour, texture and shine for every set piece.

Below: Katherine puts the finishing paint touches on a stone wall for the set of the COC’s current production of Maometto II.

The set for Pyramus and Thisbe this past fall, was a favourite for Katherine. “As an artist, it was an amazing experience—the set was huge and covered the entire space,” she says. Inspired by the abstract paintings of Mark Rothko, Paul Steinberg’s design gave the scenic painters a rare opportunity. “We don’t often get to work Testing for leaks? Dave on sets that use so much and Katherine discuss the colour. It was very ‘painterly’. construction of a bathtub for We used gallons and gallons Fort Worth Opera’s JFK. of acrylic paint. It was really beautiful.” Top left: the set maquette. Bottom left: the finished set as it appeared in performance last fall.

On opening night both Katherine and Dave agree that it can be difficult to sit back and relax. “It’s hard not to look for all the seams,” says Dave. Katherine adds: “Sometimes I get preoccupied with things I would have done differently and forget a show is going on!” But sometimes they can forget scrutinizing the set for a moment and appreciate their craftsmanship. For Dave that was 2015’s La Traviata. “I could actually sit back and enjoy this one!”

CANADIAN OPERA COMPANY 2015/2016 39 programs are on hand for diners to brush up on the opera’s synopsis; and since the Hilton provides a home to many of the COC’s visiting artists, it’s not unusual to see an opera singer pre- or post-performance at Tundra.

“It’s a whole continuous experience, coming here and then going to the performance,” Chef Prendergast says. In creating the culinary portion of that experience, the Toronto-born chef is driven by a commitment to local and sustainable food.

As one example, he brings up Tundra’s Ocean Wise certification, which ensures that all of the restaurant’s seafood meets stringent guidelines in terms of how, where, and when it was caught or farmed. “That’s very important to us: being responsible to the customer, to the species, and to the ocean.”

By working with local producers and vendors, Chef Prendergast’s menus are necessarily seasonal. He works with three other Tundra sous-chefs on designing those menus, usually starting out by drafting ideas on paper, then moving into the kitchen. “Once they’re on the plate we tweak them, checking the nuances of the flavour. We really dissect them and remake them again and again, and do several tastings,” before an item is finally added to the menu.

Showcasing local food also means getting creative with Canada’s limited growing season and constantly thinking SETTING MUSIC up ways of extending the abundance of spring and summer into the winter. “For instance, in the spring, wild ramps come in. So this year we took that and made ramp kimchi TO FOOD for our short-rib dish. So here’s a Korean dish, made out PRIX-FIXE MENUS SHOWCASE of local Canadian product. Even though we serve it in the winter, it’s pulled together with ingredients that came from THE SEASON AT TUNDRA the spring.” BY NIKITA GOURSKI As Chef Prendergast puts the finishing touches on his 2016 spring menu—moving away from braising towards more Most chefs wouldn’t know the running time of Wagner’s sautéing, leaving behind flavours like duck and bison, and Siegfried, but if you’re Kevin Prendergast—Executive Chef at embracing lighter profiles and a greater variety of fresh Hilton’s award-winning restaurant Tundra—that information is produce—he is excited to share his creations with the precisely the sort of thing you keep in mind when designing a hundreds of diners who’ll stop in at Tundra on their way to special menu for your opera-going clients. Carmen and Maometto II.

“We’ve been doing an opera prix-fixe dinner menu since the “We have a true partnership,” Chef Prendergast notes. doors [of the FSCPA] opened,” he says. “We create menus “We feed the body, the COC feeds the soul.” that help people enjoy dinner before they enjoy the show.” Gathering as much information as possible about a COC production can aid that process for Chef and his team, whether Nikita Gourski is Development Communications Officer at that means knowing the set designer’s inspiration or being the COC. mindful of an early start time to accommodate and shape a dining experience.

In fact, Tundra’s dining room is replete with evidence of their To make a reservation for Tundra’s partnership with the COC: artwork from the production is opera prix-fixe dinner call often integrated into the prix-fixe menu cards; COC house 416-860-6800, e-mail Tundra at [email protected] or search Tundra on OpenTable.com 40 CANADIAN OPERA COMPANY 2015/2016 SUPPORT THE FUTURE OF OUR ORCHESTRA!

A lead donor is matching all gifts made before perform alongside the COC’s players. This year’s June 30, 2016 to the COC’s Season-End participants performed at our 2016/2017 Season Matching Campaign. Launch Celebration; at the opening night of Wagner’s Siegfried; and as part of the Free Concert Series in Your gift will once again support the critically the Richard Bradshaw Amphitheatre on January 21. acclaimed work of the COC Orchestra under Moreover, they experienced masterclasses and private Maestro Johannes Debus, including the sessions with production personnel, visiting music tremendously important Orchestra Academy staff, and leading opera singers, including a session initiative. with the incredible Wagnerian soprano Christine Goerke. Introduced in the COC’s 2013/2014 season, the Orchestra Academy training program All gifts—big or small—will be matched, helping allows student instrumentalists to immerse the COC Orchestra continue to attain the highest themselves in a professional opera orchestra levels of performance excellence, while sharing its environment, learn from the best, and even to knowledge, artistry, and skill with the next generation of players.

DONATE NOW AND DOUBLE YOUR IMPACT! 416-847-4949 coc.ca/Match

CANADIAN OPERA COMPANY 2015/2016 41 B:8.625” T:8.375” S:7.875”

Your paradise doesn’t include waiting in line. B:11.125” S:10.375” T:10.875” Until May 27, you could get Your experience is our priority. a Welcome Bonus2 of up to 55,000 Aeroplan Miles. Plus, When you travel, the last thing on your mind is the ® ® TD will donate 25,000 Miles to fi rst thing on ours. The TD Aeroplan Visa Infi nite Privilege* Card gives you the speed and convenience the Canadian Opera Company.3 you deserve. As Primary Cardholder, you and your companions can enjoy priority check-in and priority boarding1 on Air Canada® fl ights. So get more of an elevated travel experience.

Visit tdaeroplan.com/privilege/opera or 1-866-827-0385

1 Conditions apply. All Air Canada benefi ts are fulfi lled by Air Canada, or its designated affi liates or other third parties, and are subject to change at any time without notice. The Toronto-Dominion Bank and its affi liates are not responsible for fulfi lling these benefi ts. Priority travel services (the complimentary fi rst checked bag, priority check-in and priority boarding) are applicable whenever the Primary Cardholder travels on a fl ight operated by Air Canada, Air Canada rouge or under the Air Canada express banner. Flights operated by other airlines are not eligible. To access these benefi ts, the Primary Cardholder must include their Aeroplan Number on their reservation at time of booking, or redeem their Aeroplan fl ight reward (defi ned as a Fixed Mileage Flight Rewards, formerly called ClassicFlight Reward, or Market Fare Flight Reward) with miles from their Aeroplan account. Please allow two (2) weeks from receiving your credit card for all Air Canada benefi ts to be activated. To access Air Canada benefi ts, you may be required to show your TD Aeroplan Visa Infi nite Privilege Card to the Air Canada agent. Additional conditions apply and are outlined on aircanada.com/tdbenefi ts. 2 Welcome Bonus of 25,000 Aeroplan Miles will be awarded to the Aeroplan Member account associated with the TD Aeroplan Visa Infi nite Privilege Card Account (“Account”) only after the fi rst Purchase is made on the Account. To receive the additional 25,000 Aeroplan Miles, you must: (a) apply for an Account between March 1, 2016, and May 27, 2016; and (b) make $1,000 in Purchases on your Account, including your fi rst Purchase, within 90 days of Account approval. To receive the additional 5,000 Aeroplan Miles, you must: (a) apply for an Account and add an Authorized User between March 1, 2016, and May 27, 2016; (b) Authorized User must call and activate their Card by July 15, 2016. You can have a maximum of three (3) Authorized Users on your Account but you will only receive 1 (one) 5,000 Bonus Aeroplan Miles offer. Annual Fee for each Authorized User Card added to the Account will apply. The Primary Cardholder is responsible for all charges to the Account, including those made by any Authorized User. If you have opened an Account in the last 6 months, you will not be eligible for these offers. We reserve the right to limit the number of Accounts opened by and the number of miles awarded to any one person. Your Account must be in good standing at the time bonus miles are awarded. Please allow 8 weeks after the conditions for each offer are fulfi lled for the miles to be credited to your Aeroplan Member account. Offer may be changed, withdrawn or extended at any time and cannot be combined with any other offer unless otherwise specifi ed. These miles are not eligible for Aeroplan status. 3 The Toronto-Dominion Bank will donate 25,000 Aeroplan Miles to the Canadian Opera Company for each TD® Aeroplan® Visa Infi nite Privilege* Account (“Account”) application submitted through this website link between March 1, 2016, and May 27, 2016, which is approved. Account must also remain open, active and in good standing for 90 days after Account approval. The Toronto-Dominion Bank does not receive any tax benefi ts for miles donated to the COC. All trade-marks are property of their respective owners. ® The Air Canada logo, Air Canada, Air Canada express, and Air Canada rouge are registered trademarks of Air Canada, used under license. ® The Aeroplan logo and Aeroplan are registered trade-marks of Aimia Canada Inc. ® The TD logo and other trade-marks are the property of The Toronto-Dominion Bank.

File Location: Share1:client_work:TD:N6142 TD...plan Newspaper:TDM6142-1D Mag.indd Ad #: TDM6142-1D Mag Inks: Fonts: Placed Images: Sign Offs: Client: TD Bleed: 8.625” x 11.125” Colours: 4C Acct Mgr: Kim L, Alyssa R Producer: Barry D Cyan Frutiger (45 Light, 46 Light 200311412-001_11v2.tif (Gray; 500 ppi, -500 ppi) Creative: Magenta Italic; Type 1) lefttab.psd (Gray; 349 ppi) Docket #: 112-LTDCOFN6142 Trim: 8.375” x 10.875” Start Date: 2-10-2016 9:34 AM Crea Dir: Dave F, Josh B Studio: Kim C Yellow Futura (Light Condensed, TD-A-AC_InfinitePriv_E_CMYK_3780x2377_18N- Production: Black Light Condensed Oblique; ov13.jpg (CMYK; 2794 ppi) Project: Aeroplan IP Print Live: 7.875” x 10.375” Rev Date: 2-18-2016 3:52 PM Art Dir: - Proofreader: Peter C & Claude G Type 1) TD SHIELD +Tagline + CHAIR_ENG_CMYK.eps Proofreading: Aeroplan_cmyk.eps File built at: 100% 1” = 1” Print Scale: None Writer: - Account: Publication: Canadian Opera In House Client: PREPRESS Prepress: SQ Comments: None Leo Burnett, 175 Bloor Street East, North Tower, 12th Floor, Toronto, ON M4W 3R9 416.925.5997 145 Queen St W, Toronto, ON M5H 4G1

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QUEEN OF THE NIGHT OPERANATION THURSDAY, MAY 19, 2016

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Photo: Dexter Quinto, 2015. Headpiece by David Dunkley Fine Millinery, www.DavidDunkley.me. Jacket by Erdem, available at The Room, Hudson’s Bay. Creative: BT/A Advertising

Date: Mar 29, 2016 Filename_ Version# COC162193_OpNtn_COC_hse_pgm_rev2FNL Client: COC Artist: kim Ad#: Operanation Issue Date: Spring 2016 Pub: COC house program Material Due: March 22, 2016

559 College Street, Suite 401 Ad Size: 8.375"W x 10.875"H full page Colors: CMYK Toronto, ON M6G 1A9 Safety/Live: -.25" 416-323-3282 Bleed: +.125" File Built at: 100% (1:1) COC Board of Directors

OFFICERS Ms. Marcia Lewis Brown Ms. Anne Maggisano Ms. Colleen Sexsmith, Chair Ms. Helen Burstyn Ms. Judy Matthews Mr. Justin Linden, Vice-Chair Mr. Philip C. Deck Mr. Jonathan Morgan Mr. Paul A. Bernards, Treasurer Mr. Peter M. Deeb Ms. Frances Price Mr. John H. Macfarlane, Secretary Mr. George S. Dembroski Mr. J. Allen Smith Mr. Alexander Neef, Mr. William Fearn Mr. Philip S. W. Smith General Director (ex officio) Mr. David Ferguson (ex officio) Mr. Paul B. Spafford Mr. Robert Lamb, Mr. Michael Gibbens Ms. Kristine (Kris) Vikmanis Managing Director (ex officio) Mr. Peter Hinman Mr. Graham Watchorn Dr. Linda Hutcheon Mr. John H. (Jack) Whiteside MEMBERS Ms. Carolyn Jarvis Ms. Yael Woodward Amaral Mr. Tony Arrell Mr. Jeff Lloyd Ms. Nora Aufreiter Mr. Timothy Loftgard

Canadian Opera Foundation Directors

Mr. Tony Arrell Mr. Philip C. Deck, Chair Ms. Colleen Sexsmith Mr. Jonathan Bloomberg Mr. Gary Grad Mr. David Spiro, Secretary Mr. J. Rob Collins Mr. Christopher Hoffmann

Credits and Acknowledgments COC Opera Guilds

The Canadian Opera Company would like to thank all those Brantford Opera Guild ~ David M. Cullen, President who volunteer both on a daily basis and for special events Kingston Opera Guild ~ Grace Orzech, President with the company. London Opera Guild ~ Ernest H. Redekop, President Muskoka Opera Guild ~ Dr. Hans Heeneman, President Michael Cooper, Official Photographer Northumberland Opera Guild ~ Thais Donald, President Oakville Opera Guild ~ Maureen (Mo) Crossman, President Musical excerpts provided Sudbury Opera Guild ~ Dianne Moore, President by Universal Classics Western New York Opera Guild ~ Dorothy K. Piepke, President

For more information, visit coc.ca/Guilds. The COC is a member of Opera America, Opera.ca and TAPA.

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

CARMEN: Jacqueline Doig Risa Prenick Liz Allemang Mark Garlin Analee Stein John Allemang Shawna Green Bob Stein Angela Bell Doug Hamilton Patrick Stepien-Scanlon Robert Bell Graham Leather Kim Twohig Matt Bernstein Colleen Mathieu Susana Velasquez Stephen Bodiam Andrew McIntosh Nicole Vezeau Marie Braico Nancy Mellow Peter Wismath Richard Brown Lee Perenack

MAOMETTO II: Polo Izquieredo Dan Lord Ward Jardine Jordan Thomas

44 CANADIAN OPERA COMPANY 2015/2016 SUPPORTING TORONTO’S GROWING ARTS COMMUNITY TODAY, AND FOREVER

As Naming Donor of the Four Seasons Centre for the Performing Arts, we are proud to be a lifelong friend of the fine arts experience for the patrons here and from around the world.

ENJOY THE PERFORMANCE

fourseasons.com

15_3112_FSCOR_COC_Support_Ad.indd 1 2015-08-25 10:51 AM Costume Co-ordinators Senior Development Officer, Administration and Staff Chloe Anderson Stewardship Cassandra Spence Emma Noakes ALEXANDER NEEF, General Director Costume Assistants Senior Development Officer, Natassia Brunato Annual Programs & Patron Christina Del Monte Engagement Managing Director PRODUCTION Natalie Sandassie Robert Lamb Resident Tailor Director of Production Sue Furlong Co-ordinators, Annual Programs & Music Director Peter W. Lamb Patron Engagement Johannes Debus Assisted by Brianna Chase Production Manager Johanna Edwards Eileen Hanratty Lee Milliken Barbara Nowakowski EXECUTIVE OFFICE Rosalie Bond Senior Development Officer, Executive Assistant to the General Technical Director Rebecca Zimmerman Friends of the COC Director Chuck Giles Victor Widjaja Marguerite Schabas Additional Costumes by Lighting Co-ordinator Industry Costumes Individual Giving Co-ordinator, Daniele Guevara Martino Nyugen Friends of the COC MUSIC AND ARTISTIC Christine Audet Soojin Ahn ADMINISTRATION Assistant Technical Directors Mara Bredovskis Additional hats by Senior Development Officer, Director of Music & Artistic Autumn Coppaway Muir Cap and Regalia Institutional Gifts Administration Melynda Jurgenson Francesco Corsaro Roberto Mauro Additional Painting and Dyeing by Head Electrician Marjory Fielding Senior Development Officer, Contracts Manager Janice Fraser Partnerships Karen Olinyk Head of Wardrobe Sarah Heim Assistant Electrician Nancy Hawkins Company Manager Joel Thoman Development Communications Olwyn Lewis Wardrobe Assistant Officer Head of Sound Leslie Brown Nikita Gourski Chorus Master Bob Shindle Sandra Horst Wig & Make-up Supervisor Advancement Operations Officers Assistant Sound Sharon Ryman John Kriter Assistant to the Music Director Craig Kadoke Sophie Malek Derek Bate Head of Wig & Make-up Crew Head Carpenter Cori Ferguson Scheduling Manager Paul Watkinson COMMUNICATIONS Kathryn Garnett Production Co-ordinator Assistant Carpenter Shawna Green Chief Communications Officer Production Assistants David Middleton Steve Kelley Caitlyn Albanese SURTITLES™ Producer Kaitlyn Smith Head Flyman Gunta Dreifelds Director of Public Relations David Alexander Claudine Domingue Orchestra Personnel Manager SURTITLES™ Editor Ian Cowie Head of Properties Zane Kaneps Senior Manager, Creative & Daniel Graham Publications Music Librarian, Coach SURTITLES™ Assistants Gianna Wichelow Wayne Vogan Core Crew Olwyn Lewis Scott Clarke John Sharpe Media Relations Manager Assistant Librarian Doug Closs Jennifer Pugsley Ondrej Golias Terry Hurley Supernumeraries Co-ordinators Paul Otis Analee Stein Associate Manager, Digital Music Staff Elizabeth Walker Marketing Jordan de Souza (Carmen) Scene Shop Co-ordinator Meighan Szigeti Esther Gonthier (Carmen) Amy Cummings Stephen B. Hargreaves (Maometto II) ADVANCEMENT Assistant Manager, Marketing & Ben Malensek (Maometto II) Head Scene Shop Carpenter Customer Service Michael Shannon (Carmen) David Retzleff Chief Advancement Officer Eldon Earle Christie Darville Assistant Scene Shop Carpenter Digital Marketing Co-ordinator COC ENSEMBLE STUDIO AND Andrew Walker Executive Assistant to the Chief Kiersten Hay ORCHESTRA ACADEMY Advancement Officer Head Scenic Artist Elizabeth Scott Publicist and Publications Director, COC Ensemble Studio Richard Gordon Co-ordinator and Orchestra Academy Manager, Government Relations Kristin McKinnon Nina Draganic Assistant Head Scenic Artist Amy Mushinski Katherine Lilley Head of the Ensemble Studio & Foundation Development EDUCATION AND OUTREACH Coach Rehearsal Head Technician Janet Stubbs Elizabeth Upchurch Scott Williamson Associate Director, Education & Director of Development Outreach Head Vocal Consultant Properties Supervisor Stephen Gilles Katherine Semcesen Wendy Nielsen Guy Nokes Senior Manager, Advancement Program Manager, Free Concert COC Ensemble Studio Resident Properties Builder/ Operations Series Gordon Bintner Co-ordinator Peter Hussell Claire Morley Karine Boucher Stephanie Tjelios Jean-Philippe Fortier-Lazure Senior Manager, Events & Adult Programs Manager Aviva Fortunata Resident Properties Buyer/ Engagement Gianmarco Segato Andrew Haji Co-ordinator Tracy Abergel Hyejin Kwon Kathy Frost School Programs Manager Iain MacNeil Senior Development Officer, Vanessa Smith Aaron Sheppard Properties Builder/Co-ordinator Events & Engagement Charles Sy Tracy Taylor Erin Koth Children & Youth Programs Jennifer Szeto Co-ordinator Properties Builder Development Officer, Events & Amber Yared Wulf Engagement Alexandra Folkes Costume Supervisor Sandra Corazza

46 CANADIAN OPERA COMPANY 2015/2016 TICKET SERVICES FOUR SEASONS CENTRE FOR THE PERFORMING ARTS Ticket Services Manager Andrea Salin Director, Four Seasons Centre for the Performing Arts Assistant Ticket Services Manager Alfred Caron Nikki Tremblay Associate Director, Business Group Sales Co-ordinator Development David Nimmo Elizabeth Jones

Ticket Services Supervisor Business & Events Co-ordinator Lillian Fung Shannon Churm

Ticket Services Supervisor Administrator Maureen Gualtieri Jennifer Toulmin

Ticket Services Representatives Patron Services Manager, James Baldwin Front of House Ernest Cayemen Julia Somerville Nick Davis Aurelie Dufour Patron Services Manager, Anna Kay Eldridge Food & Beverage Peter Genoway Brigitte Lang Cat Haywood Karla Kampars Assistant Manager, Patron Manda Kennedy Services Keith Lam Kim Hutchinson-Barber Megan Miles GREAT OPERA Kevin Morris Patron Services Supervisors Rafael Renderos Karol Carstensen Paulina Saliba Stuart Constable needs Kat Smiley Jamieson Eakin Darcy Stoop Christine Groom Lori MacDonald GREAT Melissa McDonnell CALL CENTRE Evan Steingarten Sophia Wiens Call Centre Manager Rosemary Williams SUPPORTERS Richard Paradiso Kimberly Wu

Call Centre Representatives Patron Services Leads Dona Arbabzadeh Grace Cacciatore Catherine Belyea Alana Sambey Thank you to our many generous Atanas Bozdarov Amelia Smart Frank Bushe Kate Werneburg Taisa Dackiw members, as well as corporate, Keith Fernandes Dennis Lam BUILDING SERVICES foundation, and government partners Paul Maly Margaret Terry Associate Director, Facilities Management for making everything we do Joe Waldherr FINANCE AND possible. ADMINISTRATION Assistant Manager, Operations Christian Coulter Director of Finance & Administration Maintenance Assistants Lindy Cowan, CPA, CA Ryszard Gad (COC) Your support ensures that we can Branislav Peterman (COC) Human Resources Manager Julian Peters (COC) Lorraine O’Connor, CHRP James Esposito (FSCPA) continue bringing the transformative Enrique Covarrubias Cortes Finance Manager (FSCPA) experience of opera to our audience Amalie Vanderzwet, CPA, CA Piotr Wiench (FSCPA)

General Accountants Security Supervisor in Toronto and across the country. Florence Huang Dave Samuels Zoran Orlic (FSCPA) Security Officers Accounting Clerk George Balyasin Vera Brjozovskaia Abdi Gulleed Become a supporter today Natalia Juzyc Payroll Accountants Usman Khalid to go behind the scenes with Jovana Bojovic Nicholas Martin Jeanny Won Kathleen Minor Heather Reid our artists, enjoy exclusive Manager, IT Services Steven Sherwood Building Operators benefits, access tickets ahead Dan Bisca Database Reporting Specialist Dan Popescu of the general public, and much Brad Staples Adrian Tudoran

IT Services Assistant Eurest Services Supervisor more. Tony Sandy Paula Da Costa

Archivist, Joan Baillie Archives Eurest Services Team Birthe Joergensen Jennifer Barros Malaku Godana Receptionist/Switchboard Nash Lim 416-363-5801 Katarina Božovic Jimmy Pacheco Sugey Torres Mailroom Clerk/Courier coc.ca/Support Branka Hrsum

CANADIAN OPERA COMPANY 2015/2016 47 Life Trustees Council The Life Trustees Council salutes the leaders of the COC community whose efforts have been integral to the company’s artistic evolution and transformative history of accomplishment.

Earlaine Collins Jerry and Geraldine Heffernan J. Rob Collins Ben Heppner Arthur R. A. Scace, C. M. David Ferguson (Chair) Henry N. R. Jackman David Stanley-Porter

E. Louise Morgan Society TThe 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.

Tony and Anne Arrell Kolter Communities The Estate of Dr. Larry M. Agranove The Catherine and Maxwell Meighen Foundation ARIAS: Canadian Opera Student Development Fund Roger D. Moore The Gerard & Earlaine Collins Foundation E. Louise Morgan The late John A. Cook Tim & Frances Price The Estate of Horst Dantz and Don Quick Colleen Sexsmith Jerry and Geraldine Heffernan Joey & Toby Tanenbaum Anonymous (3)

Major Gifts and Special Projects The COC offers its sincere thanks to the individuals listed below for their extraordinary support.

PRODUCTION ENSEMBLE STUDIO June Shaw and the late Up to $24,999 UNDERWRITERS SUPPORTERS Dr. Ralph Shaw June McLean Demonstrating their leadership Encouraging the next Jack Whiteside Anonymous (1) and generosity, these donors generation of artists, these Brian Wilks have underwritten the COC’s donors support the COC Anonymous (2) LEGACY AND BEQUEST GIFTS mainstage productions. Ensemble Studio. The COC honours the memory GENERAL PROGRAM of the following patrons whose $500,000 + $1,000,000 SUPPORTERS vision and generosity has Jerry & Geraldine Heffernan Peter M. Deeb Providing general program provided lasting support. The Catherine and Maxwell support is critical to the COC’s Meighen Foundation $100,000 + artistic mission. Estate of Horst Dantz and Colleen Sexsmith The Slaight Family Foundation Don Quick‡ $1,000,000+ Estate of Marion Gertrude Farr‡ $100,000 – $499,999 $25,000 – $99,999 Tim & Frances Price Estate of Egon Homburger‡ Mark & Gail Appel Ethel Harris & the late Anonymous (1) Estate of Eluned J. MacMillan Paul Bernards Milton E. Harris Estate of Vida Peene Sarah Billinghurst Solomon & Hal Jackman Foundation $100,000+ Estate of J.M. (Doc) Savage‡ Howard Solomon Barbara Keenan Anne & Tony Arrell Estate of Helen Allen Stacey David Roffey & Karen Walsh Roy and Marjorie Linden Estate of Jeanie Irwin Walker Roger D. Moore $25,000 – $50,000 Estate of Marion Caroline PERFORMANCE AND ARTIST The Stratton Trust Simon Nyilassy Wilson‡ SPONSORS W. Garfield Weston Foundation Anonymous‡ The following donors extend Up to $24,999 their generous support Up to $24,999 Bruce C. Bailey ‡ designates funds directed to the to individual artists and ARIAS: Canadian Opera James & Christine Nicol COC’s Endowment productions Student Development Fund Gretchen & Donald Ross In honour of Walter and $100,000 + Anneliese Blackwell ENDOWMENT SUPPORT MEMORIAL AND HONORARY George & Kathy Dembroski Marcia Lewis Brown Making a gift to the DONATIONS Jack Whiteside Margaret Harriett Cameron and Endowment ensures the long- The COC expresses its sincere the late Gary Smith term stability for the COC and appreciation to all donors $25,000 – $99,999 Earlaine Collins its artists. who have made memorial and Earlaine Collins Ninalee Craig honorary donations. Robert Sherrin Catherine Fauquier $100,000 + Françoise Sutton Patrick Hodgson Family Hon. Henry N. R. Jackman In Memory of Anonymous (1) Foundation Tony Andrejicka Alexandra Jonsson $25,000 – $99,999 Richard Bradshaw Up to $24,999 Jo Lander The Bennett Family Foundation George Brough Peter & Hélène Hunt Tom C. Logan Dr. Rodney C. Ellis Norman Coxall Kristine Vikmanis & Dr. & Mrs. Donald C. McGillivray John B. Lawson C.M., Q.C. Denton Creighton Colleen Sexsmith Shelagh and Nicholas Goldschmidt Michael W. & Wanda Plachta Dr. Wilfred Stephan Goodman Dr. David Shaw Endowment Fund C. Roy Horney Janet Stubbs

48 CANADIAN OPERA COMPANY 2015/2016 Anthony C. J. Humphreys Clara Rosenbaum In Honour of John Freund Patricia Johnson Martin Ruckpaul Charlie Andrews Julie and Michael Gibbens William G. Mitchell L. Bruce Schaef Nora Aufreiter Ruth Watts-Gransden Marjorie Pepper Darco Seifert Walter and Anneliese Blackwell Anitta Lantos Emily Rankin Jon Vickers Walter and Lisa Bowen Justin Linden John Henry Rogers Joan Watson Earlaine Collins Vivian Rosenberg Rob Collins and Janet Cottrelle Mischi Schwertzer Ronald Cooper As of January 5, 2016

John & Esther McNeil**** Lindy Cowan† & Chris Hatley*** Keith & Brenda Ottaway*** Individual Giving Don McQueen & Brian J. Dawson*** The Ouellette Family Foundation Trina McQueen, O.C. ** Peter Deeb* Julia & Liza Overs**** Annual Support John McVicker & B. W. Thomas**** Dr. Jeanne Deinum**** Dr. & Mrs. William M. Park**** Delia M. Moog*** Angelo & Carol DelZotto*** Douglas L. Parker**** Jonathan Morgan & Shurla Gittens** Carol Derk & David Giles** John & Gwen Pattison** GOLDEN CIRCLE Sue Mortimer in memory of Mrs. Shirley Diamond & Family**** John & Carol Peterson*** Clive Bennett Mortimer**** Peter & Anne Dotsikas** June C. Pinkney**** GOLD, $50,000 + Donald O’Born*** Jeffrey Douglas Polk Family Charitable Fund Anne & Tony Arrell**** Peter M. Partridge**** Vreni & Marc Ducommun*** Julian & Anna Porter Cecily & Robert Bradshaw* Mr. Tim & Mrs. Frances Price**** Joseph Fantl & Moira Bartram** Margrit & Tony Rahilly**** David G. Broadhurst** Ms R. Raso**** Mr. & Mrs. Fraser M. Fell**** Mrs. Richard Gavin Reid** In memory of Gerard H. Collins**** David Roffey & Karen Walsh**** Ms Lindsay Dale-Harris & Douglas L. Ludwig & Jerry & Geraldine Heffernan**** Barrie D. Rose & Family*** Mr. Rupert Field-Marsham**** Karen J. Rice*** The Catherine and Maxwell Meighen J. Allen Smith & Margaret & David Fountain**** Rob & Penny Richards*** Foundation**** Katherine Megue-Smith Dr. & Mrs. Wm. O. Geisler*** Margaret A. Riggin* Colleen Sexsmith*** Philip & Maria Smith** Ann J. Gibson**** Gordon Robison & David Grant* Anonymous (1) Stephen & Jane Smith**** Rose & Roger Goldstein**** Judy & Hy Sarick**** Marion & Gerald Soloway** Michael & Anne Gough**** Sam & Esther Sarick**** SILVER, $25,000 – $49,999 David E. Spiro*** Dr. Noëlle Grace & Helen & John Scott** Mark & Gail Appel*** Françoise Sutton*** The Shohet Family**** June Shaw & the late Paul Bernards*** Ryerson & Michele Symons Ronald & Birgitte Granofsky**** Dr. Ralph Shaw**** Barbara Black** Kiersten Taylor & Tim Loftsgard Douglas & Ruth Grant* Allan & Helaine Shiff**** Philip Deck & Kimberley Bozak*** & Charles Petersen** John & Judith Grant** David & Hilary Short*** Michael Gibbens & Julie Lassonde* Ms Kristine Vikmanis & Al & Malka Green** Hume Smith**** Suzy Greenspan & Family Mr. Denton Creighton**** John Groves & Vera Del Vecchio**** Dr. Harley Smyth & Rennie & Bill Humphries**** The Youssef-Warren Foundation**** Dr. Albert J. Haddad Carolyn McIntire Smyth** Ronald Kimel & George & Irene Hamilton**** Mr. Philip Somerville* Vanessa LaPerriere**** Scott & Ellen Hand*** Cameron Rusaw & Susan Loube & William Acton** PRESIDENT’S COUNCIL Mr. Harquail & Dr. Sigfridsson* Anne-Marie Sorrenti James & Christine Nicol Maggie Hayes** Dr. John Stanley & Jack Whiteside*** TRUSTEE, $7,500 – $12,499 Hon. & Mrs. Paul Hellyer**** Dr. Helmut Reichenbächer*** Anonymous (1) à la Carte Kitchen Inc. Michiel Horn & Cornelia Schuh**** Wayne Stanley & Marina Pretorius* Margaret Atwood & Ken Hugessen & Jennifer Connolly** David Stanley-Porter**** BRONZE, $12,500 – $24,999 Graeme Gibson*** Dr. Melvyn L. Iscove*** Doreen L. Stanton**** Dr. & Mrs. Hans G. Abromeit**** Marilyn Cook* Mr. Robert C. Jefferies**** Janet Stubbs†** Ms Nora Aufreiter* Bud & Leigh Eisenberg*** Ms Elizabeth Johnson** Wendy J. Thompson**** Mr. Philip J. Boswell**** Andrew Fleming** Dr. Joshua Josephson & Anthea Thorp**** Walter M. & Lisa Balfour Bowen**** Peter & Shelagh Godsoe** Ms Elaine Lewis**** Ian Turner*** Susanne Boyce & Chris Hoffmann & Joan Eakin** Lorraine Kaake**** Sandra & Guy Upjohn*** Brendan Mullen**** J. Hans Kluge** The Patrick & Barbara Keenan Dita Vadron & Jim Catty ** Marcia Lewis Brown* Paul Lee & Jill Maynard**** Foundation**** Donald & Margaret Walter**** Helen Burstyn & Family Anne Lewitt** James & Diane King** Hugh & Colleen Washington** Stewart & Gina Burton* Jerry & Joan Lozinski**** Dr. Elizabeth Kocmur**** William R. Waters**** Wendy M. Cecil**** Mr. & Mrs. J. S. A. MacDonald**** Kimberley Fobert & Ruth Watts-Gransden**** Dr. John Chiu in memory of Kathleen McLaughlin & Robert Lamb†**** Dr. Virginia Wesson*** Yvonne Chiu, C.M.**** Tim Costigan* Mr. Philip Lanouette** Mr. Brian Wilks* Stephen Clarke & Elizabeth Black** Dr. Judith A. Miller*** John B. Lawson, C.M. Q.C. **** Ms Lilly Wong* The Max Clarkson Family Alan & Gwendoline Pyatt Mr. J. Levitt & Ms E. Mah** Mrs. Richard Wookey**** Foundation**** Annie & Ian Sale* Mr. Peter Levitt & Ms Mai Why*** Linda Young* J. Rob Collins & Janet Cottrelle**** Dr. David Shaw** Daniel & Janet Li** Helen Ziegler*** Sydney & Florence Cooper** Carol Swallow*** Dr. Vance Logan**** Susan Zorzi** Ninalee Craig*** Peter H. Lunney* Sharon Zuckerman**** Mr. & Mrs. Leslie Dan*** PATRON, $3,750 – $7,499 James & Connie MacDougall**** Anonymous (4) Jean Davidson & Paul Spafford**** Miguel Amaral & Mr. Jed MacKay**** David & Kristin Ferguson**** Yael Woodward Amaral Mrs. R. MacMillan **** MEMBER, $2,250 – $3,749 George Fierheller**** Sue Armstrong**** Dr. Colin McGregor Mailer**** D. C. Adamson-Brdar**** Lloyd & Gladys Fogler*** Ron Atkinson & Bruce Blandford**** Mrs. J. L. Malcolm** Donna Albaum** Four Seasons Hotels & Resorts*** Mona H. Bandeen, C. M. ** Dr. & Mrs. M. A. Manuel** Mr. & Mrs. Roberto & Nancy Albis*** Robert Fung** Henk Bartelink in memory of Frederick J. Marker & Clive & Barbara Allen**** The Hon. William C. Graham & Oskar & Irmgard Gaube*** Anne W. Dupré Mr. Thomas & Mrs. Claire Allen** Mrs. Catherine Graham**** Dr. Frank Bartoszek & Fernando Martinez-Caro Dr. D. Amato & Ms J. Hodges**** Ira Gluskin & Mr. Daniel O’Brien**** Dr. & Mrs. Donald C. McGillivray**** Mr. Mark Andrews Maxine Granovsky Gluskin*** Dr. Thomas H. Beechy**** Paul & Jean McGrath**** Anne-Marie H. Applin*** Ethel Harris & the late Mr. & Mrs. Eric Belli-Bivar*** Ronan McGrath & Sarah Perry* Valerie Armstrong**** Milton Harris**** Dr. Catherine Bergeron*** June McLean**** Philip Arthur & Mary Wilson* William & Nona Heaslip Tom Bogart & Kathy Tamaki** Mr. Ian McWalter* Virginia Atkin*** Foundation**** Dr. David & Constance Briant**** Mr. Ulrich Menzefricke**** Mr. Jeff Axelrod & Mr. Peter Hinman & Dr. Jane Brissenden & Bruce & Vladka Mitchell* Dr. John Goodhew Ms Kristi Stangeland Dr. Janet Roscoe**** Dr. M. L. Myers & the late K.R.I. Bailey* Douglas E. Hodgson**** Mrs. Donna Brock*** Dr. W. P. Hayman*** John Bailey** Michael & Linda Hutcheon**** Alice Burton*** Matt & Debbie Mysak*** James C. Baillie** Bernhard & Hannelore Kaeser**** Margaret Harriett Cameron**** Dr. Shirley C. Neuman** Marilyn & Charles Baillie**** Justin S. Linden* Sharon & Howard Campbell** Eileen Patricia Newell*** Andrew & Cornelia Baines**** Jeff Lloyd & Barbara Henders* Cesaroni Management Limited*** Dr. Emilie Newell* Janice A. Baker**** Bobby & Gordon MacNeill** Frank Ciccolini Jr.**** Sally-Ann Noznesky**** Richard J. Balfour**** Ms. Anne Maggisano The Rt. Hon. Adrienne Clarkson* Simon Nyilassy* Alice & Tom Bastedo*** Judy & Wilmot Matthews* Mr. & Mrs. William J. Corcoran*** E. Oliana & A. Iu*** Ms Marie Bérard†*** Hon. Margaret Norrie McCain*** Bram & Beth Costin Janice Oliver*** Nani & Austin Beutel****

CANADIAN OPERA COMPANY 2015/2016 49 Dody Bienenstock** Mr. Adrian J. Hamel Ms Rosalind Morrow** John Wright & Chung-Wai Chow* John & Mandy Birch* Beverly Hargraft** Drs. Christopher & Pippa Moss*** Dr. Jackson Wu & Douglas Birkenshaw & Michael Harris & Carol Rak** Gael Mourant & Dr. Viviana Chang* Ginger Sorbara Paul & Natalie Hartman* Caroline Hubberstey* Mr. Takahiro Yamanaka Anneliese & Walter Blackwell**** Caroline Helbronner*** Mr. Joseph Mulder** Ms June Yee** Ian & Janet Blue*** Jacques & Elizabeth Helbronner*** Marilyn & Amy Mushinski† Morden Yolles**** Mr. W. Bowen & Ms. S. Gavinchuk**** Thea Herman & Gregory King*** David & Mary Neelands*** Walter Zwig**** Mr. Stephen Bradley William E. Hewitt*** Dr. Steven Nitzkin**** Anonymous (26) Mrs. Carolyn Bradley-Hall & Pamela Hoiles Dr. James & Mr. William Bradley*** Richard & Donna Holbrook**** Mrs. Valda Oestreicher*** Mrs. Richard Bradshaw*** Sally Holton**** Marwan Osseiran FRIENDS OF THE COC Rob & Teresa Brouwer** Frances Humphreys in memory of Eileen & Ralph Overend* Brian Bucknall & Anthony C. J. Humphreys**** Clarence & Mary Pace** SUSTAINING FRIENDS Mary Jane Mossman**** Peter & Hélène Hunt**** Dr. & Mrs. N. Pairaudeau**** $1,600 – $2,249 Christopher & Elizabeth Buller Mr. Sumant Inamdar Dr. Roger D. Pearce*** Carol & Ernest Albright**** Thomas J. Burton** Eva Innes & David Medhurst* Dr. A. Angus Peller* Gail Asper & Michael Paterson Maureen Callahan & Douglas Gray** Elliott Jacobson & Judy Malkin** Dr. R. G. Perrin** Iivi Campbell**** Ken & Denise Cargill** Lynne Jeffrey**** M. J. Phillips**** Jayne & Ted Dawson**** Brian & Ellen Carr**** Dr. R.G. Perrin** Robin B. Pitcher**** Mr. Steven D. Donohoe**** Gail Carson**** Laurence Jewell** Wanda Plachta**** Ricardo Gomez-Insausti* Drs. Carol & David Cass The Norman & Margaret Jewison Mr.& Mrs. Domenic Porporo** Mr. James Hamilton* Lee Chambers Charitable Foundation**** Mary Jean & Frank Potter*** Bill Heaslip**** Prof. Alfred L. Chan & In Memory of Patricia Johnson** Georgia Prassas**** Frieda and Vern Heinrichs Mr. Michael Farewell*** Dr. Albert & Bette Johnston** Ms Jill Presser & Mr. John Duffy* Mr. Josef Hrdina* Dr. & Mrs. Albert Cheskes*** Joyce Johnston*** Dr. Mark Quigley**** Dr. Paul & Mrs. Marcia Kavanagh Dr. Howard M. Clarke*** Alexandra Jonsson Stephen Ralls & Bruce Ubukata*** Duncan & Sondra Lear Edward Cole & Adrienne Hood*** Miriam Kagan The Carol & Morton Rapp Georgina McLennan**** Brian Collins & Amanda Demers* H. L. Katarynych*** Foundation**** Lee Parsons* Tony & Elizabeth Comper* Dr. Joel Keenleyside**** Lola Rasminsky & Bob Presner Barbara & Peter Pauly** Katherine Robb Corlett**** David W. & Sheryl L. Kerr* Dr. Reza Rastegar Norbert & Elizabeth Perera**** Anita Corrigan*** Inta Kierans**** C. Edward Rathé**** Ms Joan Sinclair** Dr. Lesley S. Corrin**** Ellen & Hermann Kircher**** Kenneth F. Read**** David Smukler & ** Gay & Derek Cowbourne** Mr. Martin Kirr & Grant L. Reuber**** The Sorbara Group of Mary & John Crocker**** Ms Suzanne McCuaig* Mrs. Gabrielle Richards** Companies**** Ruth & John Crow*** Mr. Douglas Klaassen** Carolyn Ricketts**** Georgina S. Steinsky Mary Beth Currie & Jeff Rintoul Michael & Sonja Koerner*** Ms Nada Ristich* Ms Peg Thoen** Carrol Anne Curry*** William & Eva Krangle**** Emily & Fred Rizner** Vernon & Beryl Turner**** Dr. & Mrs. Michael & Ute Davis** Richard T. La Prairie* Clara Robert* Gordon Waugh**** Honor & Michael de Pencier**** Elizabeth & Goulding Lambert*** Steve & Richa Roder F. Whittaker** Charles Dennis & Steve Kelley† Jo Lander**** Dr. Michael & Mary Romeo**** Carole & Bernie Zucker*** Mr. & Mrs. A. J. Diamond* The Hon. Dennis Lane, Q.C. & John & Hannah Rosen* Anonymous (1) J. DiGiovanni** Mrs. Sandra Lane**** Mrs. Gertrude Rosenthal**** Olwen & Frank Dixon** M. J. Horsfall Large** Ken & Helen Rotenberg** ASSOCIATE FRIENDS James Doak & Patricia Best*** Dr. Connie Lee*** Rainer & Sharyn Rothfuss**** $1,100 – $1,599 Sandra Z. Doblinger** Linda Lee & Michael Pharoah**** Michael & Janet Barnard** The Roux Family Ms Petrina Dolby*** Neal & Dominique Lee** Michael Benedict & Drs. Orest & Maureen Rudzik**** Dr. James & Mrs. Ellen Downey** Dr. Richard Lee & Martha Lowrie**** David A. Ruston*** Bernita Drenth Mr. Gary Van Haren** Don Biderman**** Ms Sharon Cookie Sandler**** Marko Duic and Gabriel Lau**** Alexander & Anna Leggatt*** Darlene & Peter Blenich* Mallory Morris Sartz & Mr. Albert D. Dunn* Joy Levine*** Ms Marlene Bohn* William & Gwenda Echard**** L. Liivamagi & Dr. D. N. Cash* John Sartz**** Dr. Wendy C. Chan* Jean Patterson Edwards** Marjorie & Roy Linden**** Go Sato**** Geoffrey & Bilgi Chapman**** Wendy & Elliott Eisen**** Dr. & Mrs. W. G. Lindley**** Bruce Schaef**** Patricia Clarke** Jordan Elliott & Lynne Griffin* Janet & Sid Lindsay*** Fred & Mary Schulz** Robert D. Cook** Christoph Emmrich & Srilata Raman Anthony J. Lisanti*** Dr. Marianne Seger**** Mr. Neil Crawford* Dr. & Mrs. John Evans*** Tom C. Logan* Carol Seifert & Bruno Tesan*** Mr. Stuart Davidson* George A. Farkass** Jonathan & Dorothea Lovat Robert & Geraldine Sharpe**** Mr. Darren Day*** Darren Farwell Dickson** Milton & Joyce Shier**** Mr. Rohan D’souza Catherine Fauquier*** Amy & John Macfarlane** Dr. Bernie & Mrs. Bobbie Silverman** Dr. Christine Dunbar** Bill Fearn & Claudia Rogers**** Dr. & Mrs. Richard Mackenzie**** Rod & Christina Simpson Howard & Kathrine Eckler*** Lee & Shannon Ferrier**** Tom MacMillan**** In memory of Dr. Bernard Slatt* Lawrence Enkin** William & Rosemary Fillmore*** Macro Properties Ltd. ** Dr. & Mrs. Jeremy Sloan** R. Dalton Fowler**** Goshka Folda* Mr. A. Mafrici**** Jay Smith & Laura Rapp* Mr. Osvaldo & J. E. Fordyce**** R. Manke**** Ms Muriel Smith & Mr. Eric Ojala**** Mrs. Joanne Girimonte Robert & Julia Foster** Mr. & Mrs. R. Gordon Marantz**** Dr. Joseph So*** Roy & Gail Harrison**** Mrs. Ingrid Fratzl Roberto Mauro† & Erin Wall John & Ellen Spears**** Ms Alison Harvison Young & Rev. Ivars Gaide & Mrs. Ettore Mazzoleni*** Martha E. Spears*** Mr. Herman J. Wilton-Siegel* Rev. Dr. Anita Gaide*** Diane McArthur Rosemary Speirs Sylvie Hatch**** Judy & David Galloway Darcy & Joyce McKeough* Ms Gillian Stacey David Holdsworth & Nicole Senécal* Bryan Grant Mr. Brent Mclaughlin Oksana R. Stein*** Richard & Susan Horner**** Ms Carol Gray Don McLean & Diane Martello* John D. Stevenson**** James Hughes*** Ann Gawman*** Guy & Joanne McLean**** James H. Stonehouse** Mr. David Hutton*** Dr. Barry A. Gayle**** M. E. McLeod**** William Siegel & Margaret Swaine** Mr. Kazik Jedrzejczak**** Susan Gerhard** Mr. Timothy McNicholas* Eric Tang & Dr. James Miller** Ms Suanne Kelman & The Honourable Irving Gerstein & Mark & Andrea McQueen**** Peter A. Roy & Leah Taylor Roy Dr. Allan J. Fox** Mrs. Gail Gerstein** Shawn McReynolds & Tesari Charitable Foundation Dr. & Mrs. L. A. Kitchell**** Ben & Sarah Glatt**** Elaine Kierans* Mr. Ronald L.W. Till**** Murray & Marvelle Koffler**** Dr. Eudice Goldberg* Dr. Don Melady & Mr. Elizabeth Tory**** Andrew & Harriet Lyons Aviva & Andrew Goldenberg** Rowley Mossop*** Dr. R. B. Van Winckle* P. Anne Mackay**** Dr. Fay Goldstep & Eileen Mercier**** Dory Vanderhoof & Rosalind Bell** Mrs. Janet Maggiacomo** Dr. George Freedman** Lee Milliken† & Edmond & Sylvia Vanhaverbeke**** Mary McClymont**** Deanna A. Gontard**** Doug MacNaughton** Stefan Varga & Dr. Marica Varga* Janina Milisiewicz**** Tina & Michael Gooding*** Patricia & Frank Mills*** Dr. Yvonne Verbeeten** Mr. David Milovanovic & Wayne A. Gooding**** Dr. & Mrs. Steven Millward** Dr. Helen Vosu & Donald Milner**** Dr. Cinda Dyer David & Wendy Flores-Gordon* Florence Minz Richard & Nathalie Wachsberg* Mr. Carl Morey**** Mr. Finn Greflund & Mrs. M. Ortner** Audrey & David Mirvish*** Elizabeth & Michael Walker*** Sean O’Neill & Victoria Cowling**** Mr. Carmen & Dr. David N. Mitchell & Peter Webb & Joan York**** Justice Michael & Susan Phelan Mrs. Vittoria Guglietti** Dr. Susan M. Till*** Dr. Bogomila Welsh** Ms Victoria Pinnington*** Ellen & Simon Gulden**** Mr. Donald Mitchell* Ms Eleanor Westney** Brayton Polka James & Joyce Gutmann**** Eva Mocarski** Melanie Whitehead*** Mr. Andrew Prodanyk Dan Hagler & Family*** Mr. Robert Morassutti**** Elizabeth Wilson & Dr. Peter Ray**** Mrs. Pamela Hallisey Alice Janet Morgan*** Ian Montagnes**** Dr. Shelley Rechner**** Francess G. Halpenny**** Ms Sylvie Morin Robert Elliott & Paul Wilson** Robert & Dorothy Ross***

50 CANADIAN OPERA COMPANY 2015/2016 Amye & DeeAnn Hagler Sagar David Macfarlane Isobel Allen June Shaw, in memory of Mr. Michael Samborsky** Mary P. MacLean*** Ms Sandra Alston Dr. Ralph Shaw William & Meredith Saunderson**** Kathy Marton* Ms Ann Andrusyszyn R. Bonnie Shettler Dr. Anabel M. Scaranelo Mary McGowan**** Callie Archer William Siegel & Margaret Swaine Ms Elisabeth Scarff**** Jil McIntosh** Renata Arens & Elizabeth Frey Paul Spafford Dr. & Mrs. W. K. Stavraky*** Mr. Bruce McKeown**** Mrs. Rosalen Armstrong David E. Spiro Mr. Paul Steep & Ms Anne McNeilly* Dr. & Mrs. Martin & Tony & Anne Arrell Dr. D. P. Stanley-Porter Norma & George Steiner**** Deborah McKneally** Ron Atkinson & Bruce Blandford Doreen L. Stanton Mr. & Mrs. David G. Trent**** Sylvia M. McPhee**** Nora Aufreiter & Lawrence Pentland Drs. W. & K. Stavraky Dr. Peter Voore**** Janis Medland* Mr. L. H. Bartelink Lilly Offenbach-Strauss Ms Virginia Wai Dr. Alan C. Middleton*** J. Linden Best & James G. Kerr Janet Stubbs† Mr. John M. Welch**** Randy Mills* Mr. Philip J. Boswell Ann Sutton Nina & Norman Wright*** Kamini & Lynne Milnes* David Bowen Ronald Taber Anonymous (4) John Mogan* Marnie M. Bracht Susanne Tabur Frank & Anne Moir*** Gregory Brandt Mrs. Ann C. Timpson CONTRIBUTING FRIENDS Peter Naylor Ms Cindy Breslin-Carere Riki Turofsky & Charles Petersen $700 – $1,099 Larry Nevard Brian Bucknall & Tony & Mary van Straubenzee Dr. I. L. Babb Fund at the Toronto Ms Cristina Oke*** Mary Jane Mossman N. Suzanne Vanstone Community Foundation**** Karen Olinyk†* Dita Vadron & Jim Catty Marie-Laure Wagner Peter & Leslie Barton** Mr. Vlad Ovchinnikov & Mrs. Ann Christie Hugh & Colleen Washington Mrs. Lynn Bayer*** Mrs. Lesia Menchynska* Earl Clark William R. Waters Mr. N. Beilstein & Mr. A. Lee Joan Pape**** Stephen Clarke & Elizabeth Black Marion York Catherine Belyea† Mr. James C. Pappas**** The Rt. Hon. Adrienne Clarkson Tricia Younger Jeniva Berger**** Mr. Joseph & Mrs. Letizia Paradiso*** Brian Collins & Amanda Demers Anonymous (36) Anthony Bird**** Dr. Wadermar A. Pieczonka**** Earlaine Collins Staunton Bowen Ed & Beth Price*** David H. Cormack Mary Brock & Brian Iler**** Robert Radke Ninalee Craig James E. Brown* Marat Ressin Anita Day & Robert McDonald Ms Judith Burrows*** Mr. Jason Roberts*** Ann De Brouwer Opera Tours Donors Ms E. Burton*** Ms Virginia Robeson** Helen Drake $700 + Mr. Bill Cameron** Mr. Anthony Rubin**** Yvonne Earle As of February 25, 2016 Mary Campbell**** Patti & Richard Schabas** David & Kristin Ferguson James C. Baillie** Betty Carlyle**** Front Desk Ltd./Toby Schertzer Carol Fordyce Ms E. Burton*** Mark Cestnik & Natercia Sousa**** Valerie Schweritzer & Chris Reed**** Rowland D. Galbraith Jennifer & Frank Flower*** Harold Chmara & Danny Hoy**** Marlene Pollock Sheff* Douglas G. Gardner Miss Ann J. Gibson**** Joe T. R. Clarke**** Mrs. Pamela Smith*** Ann J. Gibson George & Irene Hamilton**** William Cowan & Elodie Fourquet** John Spears and Tina & Michael Gooding Dr. Elizabeth Kocmur**** Sylvain Crozon Elisabeth Marsden**** Michael & Anne Gough John B. Lawson, C.M. Q.C.**** Peter and Elly Daniels Phil Spencer**** Donald I. F. Graham Mrs. J. L. Malcolm** Anita Day Helga & Klaus Stegemann*** Colin Gruchy Alice Janet Morgan*** Don DeBoer & Brent Vickar*** Mr. Paul Straatman David G. Hallman Mrs. Annette Oelbaum* Mr. Michael Disney* Pavel and Vera Straka*** George & Irene Hamilton Janice Oliver*** Wendy Drahovzal Ms Grace Szczerbowski Joan L. Harris Joan Pape**** Ms Eleanor L. Ellins**** Anna Talenti**** William E. Hewitt Dr. & Mrs. William M. Park**** Susan Elliott Larry & Judy Tanenbaum**** James Hewson Linda Lee & Michael Pharoah**** Joe & Helen Feldmann*** Dr. M. Lynne Thurling & John R. Higgins June C. Pinkney**** Dr. James Ferguson Dr. John Treilhard*** Mr. Kim Yim Ho & Rainer & Sharyn Rothfuss**** Bruce & Mary Fillier Ria Tietz**** Walter Frederic Thommen Mr. Michael Samborsky** Russell Finch Dr. Claude Tousignant** Douglas E. Hodgson Allan & Helaine Shiff**** Tom Flemming**** Dr. Nancy F. Vogan**** Matt Hughes Stephen & Jane Smith**** Jennifer & Frank Flower*** Mr. Wayne Vogan†**** Michael & Linda Hutcheon Melanie Whitehead*** Angelo Furgiuele & Family* George Vona & Lark Popov** Elaine Iannuzziello Ms June Yee** Douglas G. Gardner**** Angela & Michael Vuchnich**** Dr. Ingrid Jarvis Anonymous (1) Mr. M. Gerwin & Mrs. J. Rutledge** James & Margaret Whitby**** Lynne Jeffrey Alison Girling & Paul Schabas** Joan Williams**** Ann Kadrnka Les & Marion Green**** David A. Young Ben Kizemchuk Ms Julianna Greenspan Ms Iris Zawadowski* Kathryn Kossow Dr. & Mrs. Voldemars Gulens**** Yvonne Zhang Jo Lander Corporate Dr. & Mrs. Brian & Cynthia Hands**** Anonymous (11) Peggy Lau Sandra Hausman** Marjorie & Roy Linden Matching Partners Mrs. Hana Havlicek-Martinek* Tom C. Logan, A.R.C.T. The Canadian Opera Company W. L. B. Heath**** Ms Lenore MacDonald gratefully acknowledges the Dr. Paul Cooper & Mr. David Hiebert Dr. Colin M. Mailer In memory of Pauline Hinch** The Encore Legacy R. Manke following organizations that have Dr. Ivan & Mrs. Diana Hronsky**** The Encore Legacy is the planned Tim & Jane Marlatt matched gifts by their employees: In loving memory of giving program of the Canadian Mr. Shawn Martin Joyce Whitney Hughes* Opera Company. Margaret McKee Canadian Tire Corporation Limited Mr. Chris Ibey*** Sylvia M. McPhee IBM Canada Ltd. Xiao Jiang John McVicker & B. W. Thomas Ivanhoe Cambridge Inc Douglas & Dorothy Joyce**** Planned giving is making the Dr. Alan C. Middleton Goodman & Company, Investment Lilian Kilianski† & Brian Pritchard* decision today to provide a gift for Eleanor Miller Counsel Ltd. Mai Kirch**** the Canadian Opera Company that Sigmund & Elaine Mintz FM Global Foundation June Knudsen**** may not be realized until after your Donald Morse Mr. & Mrs. I. P. & O. M. Komarnicky*** lifetime. Sue Mortimer Adrian Kos & Olga Repryntseva Mr. & Mrs. James D. Patterson The above Individual Support Gifts were Mr. Christopher J. Kowal* Gifts planned today, that will Mervyn Pickering Dr. Milos Krajny**** Gunther & Dorothy Piepke made as of February 25, 2016 ultimately affect your estate, allow Ms Eva Kukiel* Sheila K. Piercy Gediminas P. Kurpis**** you to make a statement of support Dr. Zitamaria Pinto * five to nine years of support Mr. James R. Lake**** that will become a lasting legacy to Wanda Plachta ** 10 to 14 years of support Harry Lane*** the COC. Ms Georgia Prassas *** 15 to 19 years of support Alan & Marti Latta**** K. F. Read **** 20 or more years of support Giles le Riche & The Canadian Opera Company Dr. John Reeve-Newson † COC administration, chorus or orchestra Rosemary Polczer*** gratefully acknowledges and thanks Florence Richler member ‡ Endowment Mr. Tom Le Seelleur** the following individuals who have John & Norma Rogers Mr. Martin Leistner Mrs. Margaret Russell Claus & Heather Lenk* included the COC in their estate Sharon Ryman† Despite the staff’s extensive efforts to Yakov Lerner†* planning: Cookie & Stephen Sandler avoid errors and omissions, mistakes can Mrs. Mary Liitoja**** Fred & Mary Schulz occur. If your name was omitted, listed Gil & Dorota Lorenson Marie Agay John & Helen Scott incorrectly or misspelled, we apologize for Ms Elizabeth Lorimer* Susan Agranove & Estate of Colleen Sexsmith any inconvenience this may have caused. Dr. Francois Loubert* Dr. Larry M. Agranove Claire Shaw We would appreciate being notified of Deidre Lynch & Thomas Keirstead* Ken R. Alexander any errors at 416-847-4949.

CANADIAN OPERA COMPANY 2015/2016 51 2015/2016 Corporate Sponsors and Foundation Supporters

BMO Financial Group Pre-Performance Opera Chats BMO Financial Group Student Dress Rehearsals Verdi’s La Traviata generously underwritten in part by

Presenting Sponsor Official Automotive Sponsor Presenting Sponsor Opera Under 30, Preferred Credit Card of the COC at the FSCPA of SURTITLESTM Operanation, and Centre Stage TD® Aeroplan® Visa Infinite Privilege*

Supporter of Ensemble Studio and Centre Stage Glencore Ensemble Studio School Tour

Official Canadian Wine Production Sponsor Production Sponsor of the COC at the FSCPA Rossini’s Maometto II Bizet’s Carmen

Program Sponsor Preferred Hospitality Sponsor Preferred Dry Cleaner After School Opera Program

GOVERNMENT SUPPORT The Canadian Opera Company gratefully acknowledges the generous support through operating grants from these government agencies and departments:

OPERATING SUPPORT ENSEMBLE STUDIO

an government agency un organisme du gouvernement de l’Ontario

We acknowledge the support of the Canada Council for the Arts, which last year invested $153 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 $153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

SPECIAL PROJECT FUNDING For many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: Department of Canadian Heritage Employment and Social Development Canada

52 CANADIAN OPERA COMPANY 2015/2016 $100,000 + HOSTING SPONSORS Event Supporters The Peter Cundill Foundation Drake One Fifty BT/A The Slaight Family Foundation Nota Bene Restaurant Chairman Mills Mill St. $50,000 – $99,999 PREFERRED PIANO PROVIDER Perrier Chair-man Mills Inc. Steinway Piano Gallery Toronto Quince Flowers The Hal Jackman Foundation at the Ryan Emberley Photography Ontario Arts Foundation PREFERRED FLORISTS 10tation Event Catering Bloom The Flower Company The Knot Group $10,000 – $49,999 Quince Flowers The Room Audrey S. Hellyer Charitable Foundation Toronto Life Barrick Gold Trius Wines Blake, Cassels & Graydon LLP CENTRE STAGE: ENSEMBLE Wellington Printworks Burgundy Asset Management Limited STUDIO COMPETITION GALA 2015 J.P. Wiser’s ® Canadian Whisky The Chawkers Foundation Lot No. 40™ Canadian Whisky Davies Ward Philips Vineberg Platinum Supporters Pike Creek™ Canadian Whisky Goldman Sachs Peter M. Deeb Jameson® Irish Whiskey Great-West Life Assurance Company Mercedes-Benz Canada The Glenlivet® Single Malt Scotch Whisky Jackman Foundation RBC and RBC Foundation Aberlour® Single Malt Scotch Whisky J.P. Bickell Foundation Beefeater® Gin Linden & Associates Opera Under 30 Sponsor The Lloyd Carr-Harris Foundation TD Bank Group McCarthy Tetrault SEASON LAUNCH CELEBRATION The Mclean Foundation Competition Supporter 2016 Norton Rose Fulbright Canada LLP Hal Jackman Foundation Osler, Hoskin & Harcourt LLP Lead Sponsor Shangri-la Hotel Gold Sponsors TD® Aeroplan® Visa Infinite Privilege* Card Anonymous (1) Brookfield Asset Management Philip Deck & Kimberley Bozak $5,000 – $9,999 Linden & Associates The George Cedric Metcalf Charitable Scotiabank FINE WINE AUCTION 2016 Foundation The Hope Charitable Foundation Presenting Sponsors Local 58 Charitable Benefit Fund Graywood Group Mill St. Brewery OPERANATI0N 2014 PwC Canada Shinex Window Cleaning Inc. Michael Gibbens & Julie Lassonde Torres Coffee Presenting Sponsor Unit Park Holdings Inc. TD Bank Group Partnering Sponsors Gillam Group Inc. $2,500 – $4,999 Dinner Sponsor RR Donnelley Canada Inc. Hicks Memorial Fund at the Calgary Hampton Securities Foundation Supporting Sponsor Milgram & Company Ltd Preferred Fragrance Geoffrey Pennal of CIBC Wood Gundy Tesari Charitable Foundation REVEAL by Calvin Klein Unit Park Holdings Inc. Event Sponsors Vida Peene Fund at the Canada Council Jewellery Partner 10tation Event Catering for the Arts Maison Birks The Cheese Boutique Trius Wines $1,000 - $2,499 Partnering Sponsor Waddingtons D’avignon Freight Services Inc. Burgundy Asset Management Gill Ratcliffe Foundation Jarvis & Associates Contributing Sponsors Judith Teller Foundation Bloomberg Loch-Sloy Holdings Limited Bonnie Shore O’Shanter Development Company Ltd Canaccord Genuity The Powis Family Foundation Element Financial Corp. Torkin Manes LLP

PHOTO CREDITS COVER: R. Fraser Elliott Hall, photo: Lucia Graca, 2014. PAGE 3: Alexander Neef, photo: bohuang.ca. PAGES 4/5, 6, 9, 11: photos: Michael Cooper. PAGE 10: Photo of Joel Ivany by Nikola Novak. PAGES 14/15, 16, 19, 20: photos: Ken Howard. PAGE 24: photo courtesy of Luca Pisaroni. PAGE 25: tickets photo: COC. PAGE 26: photos: COC. PAGES 28 and 29: 1, 8: Chris Hutcheson; 2, 6, 13: Sam Gaetz; 3, 4: Karen E. Reeves; 5: Ken Howard/Metropolitan Opera; 7, 12: COC; 9, 10: Inna Yasinska; 11: photo courtesy of Ripple Refugee Project. PAGE 30: photo: Michael Cooper. PAGES 38 and 39: Scene Shop photos: COC; A scene from the COC’s Rigoletto (2012), photo: Michael Cooper; Pyramus and Thisbe set maquette photo: COC; Krisztina Szabó and Phillip Addis in Pyramus and Thisbe (COC 2015), photo: Gary Beechey; and Ekaterina Siurina in La Traviata (COC, 2015), photo: Michael Cooper. PAGE 40: photo courtesy of Hilton Toronto. PAGE 41: photo collage of Johannes Debus (photo: bohuang.ca), and Drew Comstock and Meagan Turner (photo: Karen E. Reeves). PAGE 47: Alexander Neef and director Arin Arbus at the Working Rehearsal Dinner for La Traviata (2015), photo: Inna Yasinska. PAGE 54: A bar at the Four Seasons Centre, photo: Joey Lopez

CANADIAN OPERA COMPANY 2015/2016 53 Food and Beverage Service

We are pleased to offer, for the convenience of all our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermisison and we invite you to make use of it at every COC performance. Bars are located throughout the Isadore and Rosalie Sharp City Room’s many levels.

Food and beverages are not permitted in R. Fraser Elliott Hall.

Patron Information and Policies

COAT AND PARCEL CHECK MEDICAL EMERGENCIES AND FIRST AID To uphold the safety of the building, oversized bags and parcels A house doctor is present at all performances. Please contact an may be prohibited from entering R. Fraser Elliott Hall. Patrons usher if medical services are required. attending COC performances are now eligible for complimentary parcel check. Coat check is located in the Lower Lobby, where LOST AND FOUND the following services are also available: booster seats, back During performances please speak with an usher or visit supports, infrared hearing-assistive devices and rental of Patron Services at the Coat Check in the Lower Lobby. binoculars, on a first-come, first-served basis. Following performances, please e-mail [email protected] or call 416-342-5200 for information. GO SCENT FREE In consideration of patrons with allergies, please avoid wearing TICKET SERVICES perfumed beauty products and fragrances. Canadian Opera Company subscriptions and individual tickets are available through COC Ticket Services ETIQUETTE ONLINE: coc.ca Patrons are reminded that R. Fraser Elliott Hall is an extremely BY PHONE: 416-363-8231 or long distance 1-800-250-4653 lively auditorium and that all audience noise will be accentuated Monday to Friday – 10 a.m. to 6 p.m. and audible to other patrons. Turn off all electronic devices, Saturday – 10 a.m. to 4 p.m. avoid talking, coughing, humming, moving loose seats, kicking IN PERSON: Four Seasons Centre Box Office the backs of seats, rustling programs, and unwrapping candies 145 Queen St. W. or cough drops. Please remain in your seat until the performance Monday to Saturday – 11 a.m. to 6 p.m. or through has completely ended and the house lights have been turned on. first intermission Sunday (performance days only) – 11 a.m. to 3 p.m. ELECTRONIC DEVICES or through first intermission The use of mobile and smartphones and all other electronic The Four Seasons Centre for the Performing Arts Box Office also devices is extremely disruptive and is strictly prohibited during services ticketing needs for The National Ballet of Canada and all performances. If a patron has an emergency and needs to be other Four Seasons Centre events. contacted during 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 ticket CAMERAS/RECORDING DEVICES prices. For more information or to reserve seats call The use of cameras, video cameras or sound-recording 416-306-2356. devices of any kind is prohibited in R. Fraser Elliott Hall during performances. If you’d like to get a picture inside the auditorium, PARKING do so before the performance begins. However, the design There is parking on a first-come, first-served basis for about 200 and direction of the production is restricted under intellectual vehicles underneath the Four Seasons Centre. The entrance is property law, so patrons must have the permission of the COC located on the west side of York Street, south of Queen Street. to take pictures of the production’s set or the stage before or Additional parking is conveniently located just steps away in the during performances. Be sure to take a look at our Facebook Green P lot underneath Nathan Phillips Square. For directions page for official photos of our productions! visit greenp.com.

LATECOMERS FOUR SEASONS CENTRE FACILITY TOURS In the interest of safety and for the comfort of all patrons Tours of the Four Seasons Centre include backstage access! For and performers, latecomers may not enter the auditorium or more information, visit fourseasonscentre.ca. be seated unless there is a suitable break in the performance (usually intermission). Patrons leaving the auditorium during BMO FINANCIAL GROUP PRE-PERFORMANCE OPERA CHATS the performance or returning late after intermission may not be COC Education and Outreach staff and guest speakers offer free, readmitted or may be accommodated in an alternate viewing insightful chats about the stories, music and background of all location. COC productions, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. CHILDREN AND BABES-IN-ARMS All patrons, including children, must have a ticket for SPECIAL EVENTS AND CATERING the performance. All children must be seated next to an The Four Seasons Centre is available for rental for all of your accompanying adult. Young children should be able to sit quietly presentation, meeting or special events needs, with spaces throughout the performance. If unable to do so, children and accommodating from 20 to 2,000 people and full catering their accompanying adult will be asked to leave the auditorium. services. For further details visit fourseasonscentre.ca or call Babes-in-arms will not be admitted. 416-342-5233.

54 CANADIAN OPERA COMPANY 2015/2016

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