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Report to the Community OUR VISION Art That Resonates Beyond the Final Note

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Report to the Community OUR VISION Art That Resonates Beyond the Final Note 2016/2017 Report to the Community OUR VISION Art that resonates beyond the final note. OUR MISSION Edmonton Opera brings our community together through meaningful artistic experiences that remind us of our shared humanity. EDMONTON OPERA BOARD OF DIRECTORS Richard Cook, Chair Francis Price, Vice Chair Ken Keenleyside, Treasurer Irv Kipnes, Past Chair Garner Beggs Robert Bessette Jennifer Brown Frank Calder Mary Clonfero Craig Corbett Hans Forbrich Melanie Nakatsui Bernie Robitaille Sheri Somerville Enzo Barichello Daniel Rojek Cinderella, 2017 All photos by Nanc Price 2 Report to the Community CONTENTS Board Chair Report • 4 2016/17 Mainstage Season • 6 Production Facility • 10 Finance • 10 Fundraising • 10 Endowment • 10 Box Office • 10 Special Events • 10 Community Engagement • 11 Education • 11 Marketing and Communications • 12 Staff • 12 Summary Financial Statements • 13 Donors and partners • 16 Elektra, 2017 3 REPORT TO THE BOARD FROM THE CHAIR Richard Cook I would like to start this year’s Chairman’s has installed a system of rigorous financial report with comments about how proud I am of oversight, and our intention is to continue a this past season of Edmonton Opera. I feel it is high level of financial mindfulness. important to focus on how the artistic vision is starting to resonate through the integrity and Community Engagement, while challenging to artistic excellence of the company. What do I define, is crucial to the survival of Edmonton mean by this? Our vision is: Art that resonates Opera. We can only survive in Edmonton if we beyond the final note. By presenting stories that are relevant and indispensable to Edmonton. move people in a manner that stirs the soul, In simpler terms, we must continually ask the opera is able to reach out and grab our attention question as to whether or not more than our and feelings. immediate family of supporters would rally to our defence if we were to go out of business. The pianist Jonathan Biss talks of “music’s Edmonton Opera has become a thinking-persons mysterious capacity for saying the unsayable,” company where assumptions and conventions and to express “feelings we don’t know how will be continually challenged so that they can to express and sometimes don’t even know be preserved, expanded or dispensed with. we have.” It is a huge artistic responsibility to activate feelings in the minds of our audience I would like to share with you that I have members, and I have observed that our artistic received feedback from long-time patrons team led by Tim Yakimec has achieved who have commented on how interesting our great success. programming has become. Offering three different operas a year has limitations, but As a company, we have worked hard defining four anecdotal comment as well as feedback from the pillars of focus in our strategic plan. Identifying press and from other opera companies across these pillars was the result of thinking over Canada affirms that the programs presented by the past year that came together in a Board our General Director and the management team strategic planning session this past Spring. are being well received. Last year, for example, You will hear more about these in the future ticket sales for Elektra exceeded expectations. as our strategic planning process continues, We know there is a demand for a variety of but as an introduction, these pillars include: operatic work. And we are aware that our Financial Stability, Community Engagement, future depends on bringing in new patrons. Artistic Development and Programming, and Infrastructure and Operations, The final strategic pillar — Infrastructure and Operations — has received considerable attention The pillar of Financial Stability has been a this past year. The further development of the major focus for the past four years, and it will Edmonton Opera Centre has received very continue to be the most important activity for positive comments from our corporate sponsors, the foreseeable future. A wise past Chair, Irv granting agencies, patrons and artists. The Opera Kipnes, told me that, “if you cannot pay your Centre allows us to be more creative in our use of bills, you are out of business”. His comment was local talents in set building and painting for new so simple but so devastatingly true. Our financial “built in Edmonton” productions. The Edmonton stability includes improving our fundraising Opera Centre also provides services to other success, preserving and expanding our loyal arts organizations throughout the city and is business supporters, enhancing our stature becoming a catalyst for more collaborative work. with and funding from granting agencies, and continuing to operate within our means. These On the operational side, the relationship between responsibilities are core to the future of the the Board and the management team and staff 4 company. Along with these practices, the Board is one of mutual respect. We have formed a true Cinderella, 2017 corporate family that believes in possibilities and company has meant, but I can tell you with who face challenges as a team. I congratulate complete conviction that without Irv and Dianne all of those who are part of Edmonton Opera for Kipnes, there would be no Edmonton Opera their work and dedicated professionalism. today. I am very pleased to let you know that Irv will continue to have a major influence with With this meeting, my four-year term as Board the company in its journey of great art, superior Chair has concluded. We are fortunate to have a management practices and relevant contributions transition plan in place, and a new Chair will be to our Edmonton communities. named very shortly. I will continue to be involved as Past Chair. Richard Cook I would like to pay special tribute to Irv Kipnes who is stepping down from the Board after this October 2017 meeting. Irv has provided insight, inspiration, wisdom and guidance to both the Board and management. I find it difficult to express in words how much his engagement with the 5 2016/17 SEASON Audiences enjoyed a stunning line-up of productions during the 2016/17 season, with a mix of grand opera, delightful comedy, and intense tragedy. Over 15,400 people attended our performances at the Jubilee, and our community outreach further introduced new audiences to opera all year round, making this one of the most talked-about seasons in years. 2016/17 was also a season of many firsts, featuring two new productions built entirely at our north end facility, which also housed rehearsals for all three productions. Turandot, 2016 6 2016/17 SEASON GIACOMO PUCCINI TURANDOT Our season-opening production of Puccini’s “ David Pomeroy, singing his first Calaf, was Turandot was a lavish affair, with breathtaking the star of the show…From his opening note, scenery and costumes from Nashville Opera. This the charismatic tenor, secure in his craft, was Puccini masterpiece transported audiences to every bit the heroic opera character. mythical ancient China, where Princess Turandot He gave Calaf just the right amount of heart challenges her suitors with impossible riddles and egotism, and he landed “Nessun dorma” and punishes their failures severely. Only Prince wonderfully, to great applause.” Calaf has the wit and steadfast determination to “ The scenery-filled stage and full chorus melt the icy princess’s heart, which he does with required considerable physical direction soaring heroism. Skilfully conducted by David and Robert Herriot’s management of the Stern and elegantly directed by Robert Herriot, proceedings was outstanding” Turandot brought over 80 artists to the Jubilee “ Michele Capalbo conveyed Liu’s vulnerability stage for performances that earned standing and her own moment of self-sacrificing ovations each night. heroism movingly.” —Bill Rankin, Opera Canada Ontario-born soprano Othalie Graham made her Canadian debut in her signature role of “ Vocally, [David Pomeroy] is commanding. Turandot, and tenor David Pomeroy debuted the He has developed a darker, rich colour to his role of Calaf to ecstatic cheers from the audience, voice, more a dramatic than a spinto tenor, especially after singing Calaf’s timeless aria which is not only compelling to listen to, but “Nessun dorma”. The Edmonton Opera chorus works in this role. Indeed, the combination shone in their significant parts, and we welcomed of heroic-style acting and vocal colour was Cantilon choirs as the children’s chorus in at times almost Wagnerian, and his Nessun this production. dorma aria rightly brought down the house.” —Mark Morris, Edmonton Journal 7 GIOACHNIO ROSSINI CINDERELLA (LA CENERENTOLA) Edmonton audiences were treated to vibrant “ Edmonton Opera’s new production of costumes, delightful comedy, and stellar singing Rossini’s La Cenerentola (Cinderella) […] in our newly designed production of Rossini’s deserves to be the hottest theatrical ticket Cinderella. While the opera is already an in town. For the production by director inventive take on the classic Cinderella story, Robert Herriot […] sizzles over with comic our production went even further by placing inventiveness and sheer fun. It’s augmented this rags-to-riches fairy tale in the world of by Deanna Finnman’s vivid costumes, and 1950s haute couture. Inspired by vintage high brought to life by a fine cast that doesn’t fashion designers such as Givenchy and Chanel, have a weak link in it. I have rarely heard costume designer Deanna Finnman crafted show so much delighted laughter from an opera stopping looks that complemented director audience.” Robert Herriot’s masterful reconceptualization —Mark Morris, Edmonton Journal of the Rossini opera. Conductor Peter Dala led the Edmonton Symphony Orchestra with great “ The audience at Edmonton Opera’s La finesse and the all-Canadian cast delivered Cenerentola was duly tickled by the brilliantly marvellous performances. directed, terrifically acted and sung bel canto delight.
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