fall 2012 | volume 20 | number 1

allen moyer and mireille asselin and constance hoffman ambur braid the design of deceit exploring adele

il trovatore’s 2012/2013 ensemble studio star quartet welcome! Thank You A MESSAGE FROM GENERAL DIRECTOR and Farewell ALEXANDER NEEF fall in love with opera to ARIAS For over 60 years ARIAS, formerly the Canadian Opera Volunteer Committee (COVC), and prior to that the Canadian Opera Women’s Committee (COWC), was integral in its volunteerism and support of the , as well as one of the leading volunteer organizations for the promotion of opera in Canada. In 1947, a small group of Toronto women, led by Jean A. (Mrs. Floyd) Chalmers, formed an “Opera and Concert Committee.” Its focus was to promote performances at the Royal Conservatory of Music, as well as opera in general throughout the city. During a successful eight-day festival in 1950, they mounted La Bohème, , and Don A gift to our friends Giovanni at the Royal Alexandra Theatre and Editorial Board: later that year, when Herman Geiger-Torel Robert Lamb, and Nicholas Goldschmidt wished to create

Photo: bohuang.caPhoto: Managing Director a new opera company, Jean Chalmers was Roberto Mauro, As I look back on my first years with a stable and stimulating presence with Artistic Administrator there with her committee members to help. the COC, I am proud of what we have our celebrated orchestra and chorus Jeremy Elbourne, The company was then called the Opera accomplished together since my and is actively engaged in bringing Director of Marketing Festival Association of Toronto and in 1960 Claudine Domingue, appointment here and I am humbled them to even greater heights. All of officially became known as the Canadian Director of Public Relations Opera Company. by the confidence that our patrons, these advances serve and complement Christie Darville, donors, board members and this the spectacular opera house we Director of Development Over the decades, ARIAS has worked wonderful company have in me. call home. Editors: tirelessly with one goal in mind: to Thursday, October 18, 2012 Suzanne Vanstone, As you know, the last four years have My contract extension through the Senior Communications Manager, Editorial, COC promote and support opera in Canada and been about increasing the company’s 2020/2021 season has brought me an Gianna Wichelow, assist gifted students with scholarships. 9 p.m. international reach and reputation – overwhelming number of kind words Senior Communications Manager, Creative, COC Fundraising activities included the Opera engaging world-renowned, visionary and congratulations, and reaffirms my Editors E-mail: [email protected] Shop, fashion shows, musicales, book sales, directors and conductors, and creating commitment to the present and future Design: Endeavour art sales, Arias magazine, and an annual productions that welcome esteemed of excellence at the COC. This long- Contributors: Nikita Gourski, Development Opera Ball. In addition, countless hours Communications Officer, OC C; Jon Kaplan, were devoted to serving food at rehearsals, casts with a formidable Canadian term consistency allows us the chance Senior Theatre Writer at NOW magazine; presence – and this will continue to to lengthen our planning cycles Maria Lioutaia, former Publicist, COC; hosting visiting artists, introducing them be a priority. These years have also even further, explore new repertoire, Claire Morley, Communications Assistant, to the city and generally making them feel buy tickets at operanation.ca COC; Vanessa Smith, School Programs as comfortable and as welcome as possible been about taking the necessary time develop new pieces, and take Manager, COC; Suzanne Vanstone, Senior # to form lasting relationships and deep advantage of unique and wonderful Communications Manager, Editorial, COC during their stay. operanation roots within our community. And, we partnerships with other artists and All information is correct at time of printing. ARIAS has supported the COC by annually are fortunate that our Music Director, opera companies, both in Canada sponsoring a performance or an entire Presenting VIP Dinner Official Media Front Cover: Preliminary costume sketch of a Sponsor: Sponsor: Fragrance: Sponsors: Johannes Debus, continues to provide and abroad. female chorus member by costume designer production, and its donations over the years Constance Hoffman for the COC’s new production of , 2012. to the company have totalled over $6 million. Our fall season is a perfect distillation of these plans: a large It was also a generous capital campaign number of Canadian singers onstage; no fewer than three supporter with a gift of $600,000 to the Jackman building of the Four Seasons Centre for the opera stars making their role debuts with us – Ramón Vargas Save time, save paper… Performing Arts. Family Il Trovatore Die and save the COC mailing and printing costs! and Russell Braun in and Michael Schade in View Prelude online at coc.ca/Publications. It is with great appreciation and tremendous Fledermaus; and, with Fledermaus, a witty, new production Sign up at coc.ca/Prelude with your Patron thanks that we acknowledge this closing Event Sponsors: Number no later than December 31, 2012 to of an opera and a genre that we haven’t produced in over 20 indicate that you no longer wish to receive a chapter of ARIAS, but we well know that its years. I couldn’t imagine a better way to start the next era in hard copy of Prelude. If we do not hear back indelible stamp will be on opera and opera from you, we will mail your regular issue of singers for many years to come. the COC’s history! Prelude in January 2013. We thank you. Photo by Mario Miotti. Dress by J. Mendel, Necklace and Bracelet by Tom Binns, Heels by Sergio Rossi. All available at The Room. Location courtesy of 2 Prelude Magazine La Société. Creative: Endeavour totally brilliant and inspired music, nor just because of the crazy, frivolous the design of deceit New Year’s Eve entertainment. It is a wonderful story with terrific characters and situations that resonate with allen moyer and constance audiences down through the ages and has a lot to say about society, hoffman explore die fledermaus relationships and marriage. We look forward to presenting this work in a new light to our audiences.” By Suzanne Vanstone For further insights into Die Fledermaus, please see Suzanne Vanstone’s interview It is always a great moment for our so much, and we wanted to take a new at the home of Prince Orlofsky, where “A Fresh Fledermaus” with COC music company to have the opportunity look at it. It’s like mounting Così fan disguise and deceit are the order director Johannes Debus and director to create a new production for our tutte – you can do a production that is of the day, Falke begins to exact his Christopher Alden in the fall house program, audience, and it has been Alexander completely lighthearted and slightly revenge upon Eisenstein. The creative available online at coc.ca/Publications. Neef’s goal, since his arrival, to flippant, or you can do a production team sees him as a pseudo-therapist, Allen Moyer Constance Hoffman regularly introduce new productions that also acknowledges the pain and a Sigmund Freud. Moyer says, “He to the COC’s repertoire. This fall we betrayal that is part of being an adult brings a sexual aspect to the forefront present Johann Strauss II’s delicious and falling in love.” The team wanted of Eisenstein’s and Rosalinde’s “We are fortunate that the COC has like entertainers with elaborate Die Fledermaus, which has not been to see what lay behind the froth and reality and the problems with their a wonderfully large theatre because headdresses (a Weimar version performed here since 1991. fluff and champagne. relationship become more obvious.” we wanted to use really broad of Busby Berkeley), as well as brushstrokes,” Moyer says. “The women who are experimenting by Set designer Allen Moyer (Nixon Moyer says that at the core of the Hoffman, too, is interested in the costumes will be amazing. They are trading places and taking clothes in China) and costume designer opera are the real, the imagined, and fantasies of infidelity. “When you so personalized, fanciful, sexy! We from the men. And also, of course, Constance Hoffman Julius( Caesar) the “almost” infidelities amongst strip away the sitcom aspects of always thought that Orlofsky’s party the bat and the bat image flits discuss a few of the visual aspects several of the characters, with the the situation and just look at the in Act II was similar to the one in through the whole design. There is of this production as well as what primary focus on the relationship relationships, that’s where the story the film Eyes Wide Shut.” The fact always this consciousness of that influenced some of their design between Eisenstein and his wife starts to take hold. Who is Dr. Falke? that the role of Orlofsky is a woman memory of Falke’s – his agenda choices. All the members of the Rosalinde. As such, one of the What is his relationship to this couple playing a man further informed and his embarrassment iterated in creative team were interested, from dominant pieces of furniture onstage and particularly his experience of their treatment of this scene. There different ways.” the start, in presenting a well-known is their marriage bed, and although it being humiliated and abandoned is a bit of a throw-away line in Act I The creative team took their work in a fresh, relevant way. They shifts during the course of the opera, it in the street? It is a potent, horrible that often gets ignored when Falke inspiration from several different felt there was great potential in is always present. Even in the prison in experience. And then his desire for encourages Eisenstein to attend sources including movies by Ernst delving further into Strauss’s Act III, Alfred, Rosalinde’s paramour, vengeance? It all starts to get nice and the party because there will be Lubitsch. Hoffman says, “We were also as well as subsequent periods in is cuffed to it! complicated – a lovely messy feeling.” ballet dancers there. “That is rarely very drawn to Surrealist Max Ernst Viennese history. addressed, but in our production Upon further exploration of Eisenstein The set has a very simple but stately and his work ‘Une semaine de bonté’ – there are a lot of ballet dancers – Moyer was delighted to hear that and Rosalinde, Dr. Falke began to presence with high ceilings and collages that Ernst took from Victorian even the men cross-dress, wearing Neef had chosen director Christopher figure more prominently and he a sense of elegant, sophisticated engravings and transformed into tutus, etc. It’s fantastic! We didn’t Alden (The Flying Dutchman, became a crucial underpinning to space. Act I takes place in a Victorian fantasy pictures with creatures and want the party to be an orgy, but still Rigoletto) for this project. “The the story. Falke, Eisenstein’s friend, bedroom coated with heavy wallpaper, phantoms of the unconscious. Also, something that was overtly sexy, only person I would really want was mortified when Eisenstein left which eventually “cracks” into a more Edward Gorey became an interesting ever so slightly seedy, and over the to do Fledermaus with would be him drunk, alone and dressed as a open, stylized space for the party in illustrator to look at for archetypes top. So that when the festivities are Christopher. I enjoy doing ‘pretty’ bat in the town square the previous Act II with a grand staircase, and then of both the turn-of-the-century and disrupted by the police, it is slightly things but Fledermaus has been done winter. By throwing a masked party transforms again to a slightly enclosed id-fueled archetypes of the early 1920s more frightening.” feeling in the prison in Act III. which often played on that theme. All Hoffman elaborates, “The Eisensteins Hoffman elaborates, “Because these artists were guideposts for us. In have a repressive household where Orlofsky is a pants role, we have terms of costume design, I also looked everybody has suppressed the sexual an interesting mixture of gender at a work called Voluptuous Panic. It’s desires that they want to act upon, messages. The party is largely about a book of photographs of the whole yet have these fantasies about other cross-dressing, exchanging roles, Weimar time in Berlin, both in cabaret people. They go to Orlofsky’s party experimenting – allowing everyone and in private parties.” to express that – it’s an invitation to to explore their inhibitions and As director Alden sums up in an enter the forbidden. When viewed that partner up with people that they interview in our fall house program, way, then the jail scene at the end is a wouldn’t necessarily meet anywhere “Die Fledermaus is one of the most shutting down of all those fantasies else. It’s meant to be very playful, but famous and beloved operettas written. Preliminary costume sketch of a male chorus and the repressive force returns.” with a slightly dangerous feel to it. member by costume designer Constance And that’s not just because of the Hoffman for the COC’s new production of I played with both women dressed Die Fledermaus, 2012 Preliminary maquette for Act II by set designer Allen Moyer for the COC’s new production of Die Fledermaus, 2012. Photo: COC

4 Prelude Magazine Prelude Magazine 5 The O pera Exchange in the spotlight GrimmFest: In this recurring feature we shine the spotlight on members MULTIDISCIPLINARY APPROACHES TO O PERA Celebrating Storytelling and of the COC community who make extraordinary contributions in support of the company’s artistic projects Join us as we take a deeper look at a Special Canadian Milestone three of this season’s outstanding the foundation of new productions productions. This series combines Escape the onset of winter and dive into the lively in-depth discussion with vibrant and captivating world of storytelling! 2012 marks musical performances, as academic “Great art always responds to the circumstances of its creation, but it also transcends those specialists and singers unite. Spend the 200th anniversary of the publication of the circumstances,” notes Jonathan Morgan, the vice-president of the Catherine and Maxwell Meighen your mornings with us! Brothers Grimm collected fairy tales. Coincidentally, Foundation, which is underwriting the COC’s new production of Johann Strauss II’s Die this season will also mark the 500th performance of All lectures take place at: Fledermaus. “Presenting Strauss in 2012 is a great opportunity to experience that duality in art: on The Brothers Grimm, a charming opera for children the one hand it’s about Vienna at a certain historical moment, but on the other hand it’s full of a Walter Hall, Faculty of Music, by Canadian composer Dean Burry that was special kind of genius, the meaning and relevance of which is just as powerful today as it was University of Toronto, commissioned by the COC in 1999 and has become almost 140 years ago.” 80 Queen’s Park Cres. the most performed Canadian opera. For program details and tickets, call One fascinating, perhaps surprising, element that makes Die Fledermaus a resonant piece in 416-363-8231 or visit coc.ca/Explore. To celebrate, the COC has planned a week of 2012 is the economy. Strauss’s Vienna was experiencing a temporary downturn that shares family-friendly programming, including two Let’s Lighten Up! some similarities with our recent economic conditions. In 1873, stock market disruptions affected concerts as part of the Free Concert Series in the much of the European continent. The sluggish economy that followed meant people in the Die Fledermaus Richard Bradshaw Amphitheatre; an Opera Talk at Austro-Hungarian capital – from industrial tycoons to school teachers – were reluctant to spend Illustration: Lisa Vanin the North York Central Library with Dean Burry; Saturday, October 13, 2012 money on items like theatre tickets. family performances of The Brothers Grimm; and, a special party to commemorate 9:30 a.m. to 12:30 p.m. its 500th performance, with refreshments and activities for the whole family. For Yet Strauss’s Die Fledermaus enjoyed phenomenal success at its premiere in 1874. It latched onto the Join Dr. Derek Scott, professor of more details on GrimmFest and how to purchase tickets for the family performances, spirit of the age and transformed it into an expression of popular culture that was both rejuvenating and Preliminary costume sketches critical musicology (University of of Dr. Blind (left) and Gabriel please visit coc.ca/GrimmFest. fun, without resorting to mere froth or triviality. Morgan continues, “It was timely in 1874, and I think it’s von Eisenstein by costume Leeds), and director Michael Albano designer Constance Hoffman, (UofT Opera School) as they delve into a very timely piece in 2012. I’m very excited and very proud that the Foundation could play a part in Die Fledermaus, 2012. the light-hearted musical genre known creating this wonderful new production of a classic.” as operetta. This half-day symposium Follow Alexander Neef’s blog at includes a live performance by COC coc.ca/Neef. Peter M. Deeb and The Slaight Family Foundation Keep Young Music Director Johannes Debus and Look Watch the 2012/2013 trailer and Singers Singing Ensemble Studio soprano Mireille explore our season with our Asselin, one of our charming Adeles. interactive digital brochure found at For up-and-coming opera artists, Ensemble Studio – is a sign of having taking on jobs outside their field to Wagner and Adaptation: online! coc.ca/DigitalBrochure. adversity is a given. While a casual made it, the fact is that challenges make ends meet – Adrian observer might conclude that joining remain significant even for this select Kramer, for instance, regularly Tristan und Isolde For all COC news including behind- the-scenes reporting, productions in the country’s most prestigious group of Canada’s most exceptional worked construction jobs between Saturday, February 2, 2013 progress, Q&As with the stars, and opera training program – the COC’s talent. Stories abound of singers summer gigs during his time with 9:30 a.m. to 12 p.m. much more, visit Parlando at the Ensemble Studio. “I actually liked coc.ca/Parlando. the work,” he says, “but when you’re This event will be held in conjunction with the all-day University of Toronto This fall in the house program, putting up drywall you’re not training Wagner symposium on Friday, Gianmarco Segato discusses the “King and you’re not auditioning.” February 1 from 9 a.m. to 5:45 p.m. of Italian Opera” in an exploration of Those who have purchased tickets Verdi’s Il Trovatore; while Suzanne Peter Deeb and the Slaight family for the Opera Exchange on Saturday, Vanstone sits down with conductor recognize that the need for supporting February 2 can attend the University of Johannes Debus and director Canadian artists remains great. To Toronto symposium for free. Christopher Alden to discuss this year’s brand new production of that end, Peter Deeb has made a very The Series continues... Die Fledermaus; and Maria Lioutaia welcomes new and returning 12/13 Ensemble generous commitment of $1 million Singing from the Scaffold: Studio members. Our fall house programs are also available online at coc.ca/ towards the Ensemble Studio, while Publications. The Slaight Family Foundation Dialogues des Carmélites At coc.ca/Radio, enjoy podcasts, listening guides, video trailers, performance adds to their impressive history Saturday, May 11, 2013 highlights, audio and video interviews with artists, CBC broadcasts, audio and of philanthropy with a renewed 9:30 a.m. to 12:30 p.m. video excerpts of complete tracks from the Universal catalogue, and much more! commitment of $500,000 in support The Free Concert Series in the Richard Bradshaw Amphitheatre, generously of the program. The COC announces The Opera Exchange is presented in partnership with: underwritten by Peter A. Allen, continues this fall, starting on September 18, these two gifts with the utmost 2012, with the introduction of our 12/13 Ensemble Studio artists. To see the gratitude; they will go a long way in full schedule and learn more about our performers and varied repertoire, visit helping Canada’s next generation FACULTY OF MUSIC coc.ca/FreeConcerts. of opera artists spend valuable time The Opera Exchange is generously supported See what our busy bees are up to at coc.ca/Honeybees. Members of the 2011/2012 COC Ensemble Studio, with Liz Upchurch, Head of the Ensemble Studio. pursuing their craft. by the Jackman Humanities Institute. Photo: Chris Hutcheson

6 Prelude Magazine Prelude Magazine 7 impossible odds to rescue the gypsy, but he doesn’t hesitate to try.” The two sides of di Luna offer a Il Trovatore’s challenge to Braun, singing his first Verdi opera. “I’ve thought long and hard about how di Luna arrives at this point in his life with such an insatiable desire for revenge,” says the baritone. Star Quartet “He’s a man who has both an obsessive love and an abundance of power, and By Jon Kaplan they feed each other like a fire that’s Ramón Vargas grown out of control. “Di Luna’s never been given the chance to deal with the abduction of his brother and has grown up with the lore of the gypsy as a foreign, evil character; he can’t even question his own prejudice. But di Luna gets to reveal another side of himself in the aria ‘Il balen’; I couldn’t sing the role unless I found something human and sympathetic in the character. Tender, Riccardo Massi passionate and full of beautiful images, the aria reveals a man who can be open and sensitive; some of his recitatives also show his compassionate side.” Those recitatives have turned out to be revelatory for Braun’s study of di Luna. “What I’m discovering as I work on this character is that the composer uses his short recitatives so differently from, The Canadian Opera Company presents Il Trovatore (Opéra de Marseille), 2003. Robert Hyman (centre) as Conte di Luna. Photo: Christian Dresse say, Mozart. In Mozart, a recitative is used to propel the story along; in Verdi, Elza van den Heever An infant abducted. A woman burned As the opera opens, di Luna and the Enrico Caruso, one of history’s best- She’s been torn by these contrasting it’s used to cast a great light into a at the stake. Passionate duels between gypsy Manrico, son of Azucena, are known Manricos, declared that all feelings for 20 years, since Manrico character’s hidden emotions. Mozart’s rival suitors for a gentlewoman’s hand. not only on opposite sides of battling that was necessary for a successful was a child.” writing contains almost no dynamic Several generations of families bent Spanish forces but also compete for performance of Il Trovatore was the markings, but Verdi is specific about on revenge against each other. the affection of Leonora, who loves four greatest singers in the world. Manrico is similarly caught between how he wants a recitative sung. It’s in Manrico. Azucena pushes her son to warring emotions: his love for Leonora his recitatives that he shows how a The plot for Verdi’s Il Trovatore, avenge her mother’s immolation, and The Canadian Opera Company’s and his dedication to his mother character is crafted.” premiered in Rome in 1853, is one the continued confrontations between complement of powerhouse Azucena, who raised him and saved his In some ways Leonora is the most of his most complicated, with all the the two men lead to multiple deaths performers includes Elza van den life on the battlefield. “He’s an honest, steadfast of the four central characters, details, contrivances and coincidences and a few revelations. Heever as Leonora, Elena Manistina virtuous and loyal person, someone who you might find in a Dickens novel. In as Azucena, Russell Braun as the believes in his principles and decisions,” never wavering from her affection for the opinion of some, in fact, the opera’s Despite criticism of the story, Conte di Luna and, sharing the role of offers Vargas as he prepares for the part, Manrico. But van den Heever finds Elena Manistina libretto – by Salvatore Cammarano, there’s no denying the glory of the Manrico, Ramón Vargas and Riccardo the latest in a series of Verdi tenor roles that Leonora develops a complexity with revisions by Leone Emanuele music, which includes such operatic Massi. The men are all making their that include the Duke in Rigoletto and during the course of the opera. “At first Bardare – is one of his most unrealistic. favourites as the Anvil Chorus, role debuts. the title role in Don Carlo. she’s innocent; naïve about herself soprano arias “Tacea la notte placida” and the world. From the beginning her In brief, the back story deals with the and “D’amor sull’ali rosee,” mezzo The role of Azucena is, arguably, the “The singer has to show not only love is real and true; she’s harmed and family of the current Conte di Luna, aria “Stride la vampa,” baritone aria opera’s linchpin; Manistina sees her Manrico’s passion for Leonora,” finally dies for what she believes in. whose younger brother was reportedly “Il balen” and Verdi’s thrilling tenor as a woman “caught between two adds Massi, “but also the strength of But in the process she goes from being bewitched by a gypsy; she was showstopper, “Di quella pira.” opposing feelings; love and revenge. his bond with Azucena. At the very a girl to being a woman. Her entrance burned at the stake, and her daughter She feels a crazy, all-consuming love moment of his marriage to Leonora, aria is innocent and full of hope; she’s Azucena, in revenge, abducted the Notwithstanding the opera’s for the son she raised, at war with the he’s given the devastating choice of no less steadfast in the final act, when brother and supposedly burned him popularity, it’s a difficult piece to hatred she feels for the son of di Luna, either staying with her or rushing away she dies in the arms of the man she on the site of her mother’s pyre. pull off in performance. In fact, whose father had her mother killed. to save his mother. He may be facing loves, believing she’s saved him.” Russell Braun

8 Prelude Magazine Prelude Magazine 9 All five singers agree that Verdi’s the audience must listen to Azucena’s In learning the role of di Luna, Braun music helps them create memorable music not just with the ears but also appreciates the detail that Verdi brings characters. with the heart. Verdi creates so many to his writing. “Even in terms of colour, THE OPERA SHOP colours, so much passion, so many he’s very specific about the kinds of “Verdi is the greatest singing feelings. I see a parallel between accents he requires of the voice,” says THIS FALL, ALEXANDER NEEF RECOMMENDS... teacher for the lirico-spinto tenor Azucena and Rigoletto, both in their the singer. “When I prepare a role, the Paris Opera voice,” suggests Massi. “His writing characters and the complexity of their key for me is how best to understand helps define Manrico’s emotions feelings. Both are parents with deep the composer’s musical language, not Candida Höfer, Schirmer/Mosel, $47.50 including tax and ambitions. As with all the best feelings for their children – Azucena so much the range of the voice but the Candida Höfer’s timeless photographic works capture the enchantment of two stunning opera houses composers, it’s all in the score.” does love Manrico, no matter what dynamics, the texture, the emotions while completely empty. She makes us imagine all of the performers, audiences, plots and places that “He knew just how to create character other demands she makes on him that are inherent in the way the populate these venues during a night at the opera. This collection focuses on two major Parisian opera houses: the neo-baroque Palais Garnier and the modernist Opéra Bastille. through music,” agrees Vargas, “and – and in both cases their plan for composer puts notes on a page.” he does it not just through the vocal vengeance turns around, hurting the child and the parent.” And what about Caruso’s partly line but also through the orchestration. tongue-in-cheek statement about FEATURED RECORDINGS FROM FIRE & ICE Some people see Manrico as a kind Van den Heever views Verdi as the the four key singers, that the opera of Italian heldentenor role, but that UNIVERSAL CLASSICS This fall season, we are featuring a range of exquisite most masterful of operatic composers. works best when it achieves a blend of one-of-a-kind jewellery by local Canadian artisans Rikki Blitt, impression comes largely through the “He has a mature understanding expert vocal athleticism and onstage aria ‘Di quella pira’ and the high note Il Trovatore Nancy Ciccone, and Jenny Greco. Unique pieces are made of of what a singer needs to fulfill and chemistry? “I think that Verdi opera stunning materials such as sterling silver, gold, exotic woods, . Orchestra often interpolated at its end. In fact, pearls and crystals. We are also featuring cufflinks and rings serve the music, to make it come to is, first and foremost, a celebration of and Chorus dell’Accademia Nazionale the rest of the role is lyrical, with lots by local artisan John Carnes as a part of our new and stylish life realistically. He doesn’t place the expressivity of the voice,” offers di Santa Cecilia, Carlo Maria Giulini, of pianissimi and dolci markings. My men’s line. impossible demands on the singer but Braun. “It’s not about volume or conductor. Plácido Domingo, Rosalind most satisfying moment in the opera knows what each character needs to holding a high note but having the Plowright, , Giorgio TRUNK SHOWS is singing the sweetness of the aria make a big, important impression at power to move the listener. That’s Zancanaro, Evgeny Nesterenko. $36.75 ‘Ah sì, ben mio,’ which immediately including tax Nancy Ciccone (jewellery): Friday, October 12 the moment they’re singing. Just as why his music has endured, because David Dunkley Millinery from KC Hats: Sunday, October 14 precedes the fireworks of ‘Di quella importantly, he knows how to build a it captures the unique quality and Maestro Giulini’s careful study of Verdi’s original autograph Jenny Greco (jewellery): Sunday, October 28 pira.’ I feel it’s almost bel canto, and, as role over the course of an evening. His beauty of the human voice. score is what makes this recording so special. Plácido they say in Italy, metaphorically ‘good entrance arias are attention-getting Domingo, then at the peak of his career, offers heroic singing in the role of Manrico, including his exciting rendition of the I HEART COC! bread for the teeth.’ Verdi always took but also written with the knowledge “Maybe that’s what Caruso means: care in how he expressed emotion in that the four singers have to allow fiery show-stopper, “Di quella pira.” Widely reviewed as the Love the COC as much as we do? We are very that you’re not warmed up the way first choice among modernIl Trovatore recordings. excited to annouce the launch of our custom music. In Il Trovatore, you regularly you’ll be two hours later. Similarly, themselves to be vulnerable as well as hear an oom-pah-pah rhythm, which I powerful and, in the process, touch an COC accessory line! In collaboration with his last-act arias are difficult but also Die Fledermaus Heather Campbell Textiles, our new interpret to be a beating heart into audience’s collective soul.” brilliantly realized. Leonora’s music Deutsche Grammophon. Bavarian State line features silk scarves, kerchiefs which the singer has to put his in the final act is challenging: you For further insights into Il Trovatore, Orchestra, conductor. and men’s pocket squares with feelings.” have to float the high notes and sound please see Gianmarco Segato’s article, Eberhard Wächter, Pamela Coburn, custom COC designs , , Brigitte inspired by our company. Manistina picked up on that image vulnerable, sharing your feelings with “Verdi and Il Trovatore – It’s About the Music!” in the fall house program, Fassbaender. $25.75 including tax when she says that “the singer and the thousands in the opera house.” We also have new I HEART available online at coc.ca/Publications. Austrian director ’s COC tote bags for $15 and don’t forget traditional production of this beloved to snuggle up with a COC Teddy Bear, operetta delivers the requisite sparkly, custom made by Herrington Teddy Bears bubbly fun. Legendary German for only $29.75. All Opera Shop prices conductor Carlos Kleiber makes one of include taxes. his rare forays onto the podium leading a starry cast of soloists.

The Opera Shop is located on the main floor of The Opera Shop is a project of the Canadian the Four Seasons Centre for the Performing Arts, Opera Company, in partnership with L’Atelier open before, during and (sometimes) after all Grigorian and Decca – The Opera Label. All performances. Shop for more online at coc.ca! proceeds support the Canadian Opera Company.

It’s been a good year for the They’re now easier to see from the north honeybees who live on the roof of the bar on Ring Four and from the window Four Seasons Centre for the Performing of the north door to the roof. Check Arts. New queens were installed this them out when you’re at the opera this summer and the hives were shifted fall! You can follow the bees’ progress slightly from their original location. on their blog at coc.ca/HoneyBees.

The Canadian Opera Company presents Il Trovatore (Opéra de Marseille), 2003. Robert Hyman (centre) as Conte di Luna. Photo: Christian Dresse

10 Prelude Magazine Prelude Magazine 11 Recently at the COC working hard playing hard

courtyard party

Patron level President’s Council, Golden Circle, and Ensemble Circle members convened in the Max Tanenbaum Courtyard Gardens on June 30 for the COC’s annual summer recital. Guests toasted the end of the 2011/2012 season with closing remarks from Alexander Neef, and a memorable performance by COC Ensemble Studio graduate Lauren Segal. (l – r) Stephen R. Clarke, Alia Rosenstock, Martine Stibrany, and Simon Rusinek. Photo: Dave Cox This summer, over 150 young people, ages 5 to 18, descended designed to introduce youth ages 13 to 18 to opera. Don't on the Joey and Toby Tanenbaum Opera Centre. They were miss a chance to introduce the young people in your lives to committed to taking the opera experience into their own the exciting and creative world of opera: registration for the Since its inception in 1994, the COC KPMG Opera Golf Classic The COC Fine Wine Auction has raised over one million hands during the COC’s Summer Opera Camps for kids COC’s 2013/2014 summer programs opens March 4, 2013. has raised over 2.5 million dollars establishing a superior dollars, helping the Canadian Opera Company maintain and Summer Youth Intensive, a non-auditioned program Photos: COC standard of fundraising excellence. Our deep gratitude goes to the highest level of excellence. The event would not be Robert Brouwer, Chair of the 2012 KPMG Opera Golf Classic possible without the outstanding leadership of Michael Committee, who says, “As a proud supporter of the arts in Gibbens, Chair of the Fine Wine Auction Committee. Canada we at KPMG are delighted to be part of this wonderful Patrons mingle at the COC’s 13th Annual Fine Wine Auction. event in support of the COC.” Photo: Karen Walsh Photo: Anne Peacock

12 Prelude Magazine Prelude Magazine 13 with the Ensemble has really taught the loveable ditz. It really depends Both young artists welcome the me how to sing on a large stage and on what director Christopher Alden opportunity to perform Adele Exploring Adele: how to project vocally, physically and thinks about the character and what and look forward to seeing what dramatically.” we discover during the rehearsal Christopher Alden will bring to the process.” work because, as Mireille sums up, Mireille Asselin and Ambur Braid And both sopranos, of course, “Die Fledermaus is a fantastic piece of will have their own take on Adele. Ambur comments, “There are so many music, wonderfully entertaining and Although they have often been double little snippets during the piece that has stood the test of time. And isn’t By Suzanne Vanstone cast in roles, Ambur and Mireille have I think are hilarious. It’s our job to that what great art is?” very differently coloured voices and have fun and allow the audience to For further insights into Die Fledermaus, After splitting the demanding title role styles of singing. Ambur experience that. I love the part where please see Suzanne Vanstone’s interview in the Ensemble Studio performance says, “My idea of Adele they interrupt their scheming and is going to be rather craziness and sing about brotherhood “A Fresh Fledermaus” with COC of this past spring, sopranos music director Johannes Debus and Mireille Asselin and Ambur Braid different. I have always and their mutual bond as human director Christopher Alden in the fall are both excited to join us this fall to seen her portrayed beings. It’s very sweet but I don’t house program, available online at share the charming role of Adele in as a very spunky, think it should be overly sugary – coc.ca/Publications. Johann Strauss II’s operatic frolic chipper . it should be honest. I’m sure it will be Die Fledermaus. That’s not my very honest with Christopher Alden! personality – nor I’m excited and feel it’s a pretty Both sopranos have been busy over am I a soubrette. good match to be involved with him the summer months. Ambur had a few But when I read the because I don’t do ‘sugary’ well – stops: Santa Fe to coach upcoming text I discovered I love getting down to the darker roles with Anne Larlee and Matthew that she is not so side of things. Epstein; then to the Chautauqua much chipper, as Institution to work with Richard she is very dry. She “Die Fledermaus is a great Bonynge; followed by a stint at the definitely knows season opener. I love it when I can Steans Institute in Ravinia. Mireille what’s going on recommend an opera to anyone left Toronto the day after Semele when she walks and everyone. It has a solid plot, the closed to travel to Glimmerglass into that ball! It’s construction is great, and it’s human. I feel we’ve experienced a lot of what where she performed Phénice/Lucinde Mireille Asselin so Wes Anderson in Lully’s Armide with Opera Atelier [American film the characters in the opera feel – we’re often deceived when we’re actually as well as being involved to a lesser Both agree that the Ensemble Mireille is no stranger to the role director] to me – a attempting to deceive others. And extent with Aida and The Music Man. Studio program has helped in their of Adele – Eisenstein’s cheeky, yet very dry German then the humility comes full circle. preparation for the larger roles they endearing chambermaid – having sensibility and I adore it. Adele Ambur Braid When it’s not all ‘jazz hands,’ it will feel have been offered recently. “The first first performed it with Opera Nuova taunts and challenges, and she’s extremely visceral.” year was so unlike anything I’d ever and then Opera Hamilton. “It has clever. You have to be able to draw experienced,” says Ambur. “But you been the role that has eased me into on your own resources to make the Mireille adds, “Operetta is a genre put things together in a way that works every new career step – my first big character yours and flesh it out.” completely unto its own and it’s for you. My second year involved a role, then my first professional role a shame that it sometimes Mireille says, “You can either write series of small roles, understudying and now to be able to perform it with gets discounted. Adele off as someone who is quite the Clémence in Love from Afar and the COC is just incredible. There are There is hilarious, airhead, not a very good actress, and witty, funny music a little vain about wanting to be on in this piece. The beauty the stage, or you can look at her as a “It’s our job to have fun and allow the of the genre is that it gives good actress but stuck in a lower level so much creative license to audience to experience that.” of society. You can certainly make a the director, the cast and the case for either version. She definitely conductor too. There isn’t a has her ‘blonde’ moments,” she laughs, performing Semele. Clémence is the always surprises along the way and ‘white glove, put-on-a-pedestal’ “but at the same time has the ability biggest role I’ve ever learned, never every production is different, but at attachment to the music. In to hoodwink and play with her boss mind the most difficult, but that made least I know how this role ‘fits’ me and operetta you have so much freedom at a dinner party in front of everyone learning Semele so much easier. It’s what my ideas are. The pacing of a to update the dialogues and make it and have him eating out of the palm made me a better musician and made role is different depending on what topical so that the jokes are relevant of her hand. me organize my time in a different kind of stage you’re on and the size of to the modern audience. You are way. In Fledermaus I am not as the house. The way that you deliver “I find it much more interesting to expected to have your own vision of concerned about the music as I am dialogue in a large house like the play someone who knows exactly what the piece which is often very different about all that German dialogue! It will COC’s is completely different than she is doing instead of someone who from ‘straight’ opera where people be so much fun, but you have to have how I did it four years ago in a smaller is a loveable ditz. But at the same time strongly feel it’s prima la musica – first that fluidity with the language.” community house. This past year there is a ton of comedic potential in the music.”

Preliminary costume sketches of Adele by costume designer Constance Hoffman for the COC’s new production of Die Fledermaus, 2012.

14 Prelude Magazine Prelude Magazine 15 An exclusive insiders’ experience, the Ensemble Studio the Performing Arts. It is a must-see event for all who are Competition opened up a formerly behind-the-scenes invested in, and intrigued by, the future of opera in Canada. audition process. The 12/13 season is a busy and exciting one for the young Welcoming our Ten finalists from across Canada were selected from over artists. They take to the mainstage in several productions, 160 singers in preliminary auditions in Toronto, Vancouver, including a special performance of La clemenza di Tito on Montreal and New York to perform in front of a sold-out February 6, 2013, with the principal roles sung entirely by 2012/2013 Ensemble Studio audience and a panel of judges. In addition to the four cash Ensemble Studio members. The new and returning artists prizes, the finalists were competing for highly coveted of the Ensemble will also make frequent appearances in the By Maria Lioutaia positions in the 2012/2013 Ensemble. At the sold-out Free Concert Series in the Richard Bradshaw Amphitheatre, inaugural competition in November 2011, the four new starting with a noon-hour Meet the Young Artists concert The COC’s renowned training program for young Canadian members were selected from the 10 finalists to join us. to launch the 12/13 concert season on September 18, 2012. opera professionals, the Ensemble Studio, has long been In addition, they will once again participate in the Xstrata This season, the COC hosts its second annual Ensemble considered one of the best programs of its kind in North Ensemble Studio School Tour, which takes two operatic Studio Competition on November 29, 2012 in the Richard America. Since the program’s inception in 1980, over 150 productions, The Brothers Grimm and Hansel and Gretel, to Bradshaw Amphitheatre at the Four Seasons Centre for young professional Canadian singers, opera coaches, stage schools across Ontario and the GTA. directors and conductors have acquired their first major professional operatic experience through the Ensemble. Young artist programs like ours are a way to ensure the vibrant future of opera and, in particular, of Canadian This year we welcome four new Ensemble Studio members: operatic talent. The program allows Canadian singers to develop a strong Canadian presence and stage experience, while at the same time preparing them for professional careers. The Ensemble Studio introduces Canadian opera audiences to the rising stars of tomorrow and nourishes their development to ensure that talent flourishes at home and abroad. At the end of last season, five more singers joined the alumni ranks: sopranos Ileana Montalbetti, Simone Osborne and Jacqueline Woodley, bass-baritone Philippe Sly and baritone Adrian Kramer graduated from the program after a very successful tenure. We may have said goodbye to them, for

now, but to its graduates the COC provides a home to return Sasha Djihanian Claire de Sévigné Owen McCausland Cameron McPhail to time and time again throughout their careers. Joining us this season on the mainstage are several Ensemble cast of our new production of Die Fledermaus. The winter Montreal-born soprano Soprano Claire de Sévigné, Tenor Owen McCausland, Baritone Cameron McPhail Studio graduates. In the fall, David Pomeroy as Alfred, Peter run starts off in glorious fashion, with Ben Heppner in the Sasha Djihanian, the also a native of Montreal, born and raised in Saint was born in Brandon, Barrett as Dr. Falke and James Westman as Frank join the title role in Tristan und Isolde. Then, in addition to roles as first-place winner at the received her master’s John, New Brunswick, Manitoba and recently Old Gypsy in Il Trovatore and a Steersman in Tristan und inaugural Ensemble Studio degree in opera from the completed a bachelor of completed his master of arts Isolde, Robert Gleadow returns to sing Publio, alongside Competition, University of Toronto and arts in music at Dalhousie in music at the Yale Opera Wallis Giunta as Annio, in La clemenza di Tito. The spring is a graduate of the a bachelor’s degree from University. This past Studio. This past summer production of Salome sees graduates Michael Colvin, Conservatoire de Musique McGill University, with summer, Mr. McCausland he was in Santa Barbara, Michael Barrett and Adam Luther take the stage. Closing the de Montréal with honours additional training at the sang Rinuccio in Gianni CA, where he sang Nick season with Dialogues des Carmélites, Isabel Bayrakdarian of First Prize and Great Aspen Opera Program, Schicchi with Opera on the Shadow in Stravinsky’s The sings Blanche de la Force, joined by Doug MacNaughton, Distinction. Ms Djihanian Tafelmusik Institute, the Avalon in Newfoundland. Rake's Progress as a fellow Michael Colvin, and Adam Luther. In addition, graduates was a national finalist in Centre for Opera Studies With the COC this season, at Marilyn Horne’s Music Anne Larlee and Christopher Mokrzewski return as the 2011 Metropolitan in Italy, Institut Canadien he sings the Messenger Academy of the West. With members of the music staff over the course of the season. Opera National Council d’Art Vocal, Brevard Opera in Il Trovatore, Second the COC this season, Mr. Auditions, a semi-finalist in and Opera NUOVA. This Nazarene in Salome, and McPhail sings Normanno in This season we welcome four new members to the program – the 2011 Queen Elisabeth season she takes on the roles shares the title role of Tito Lucia di Lammermoor and sopranos Sasha Djihanian and Claire de Sévigné, tenor Competition and a finalist in of Ida in Die Fledermaus, a in the Ensemble Studio an Officer inDialogues des Owen McCausland and baritone Cameron McPhail – whose the 2011 BBC Cardiff Singer Slave in Salome, Une Voix performance of La clemenza Carmélites. path to the Ensemble Studio took a slightly different of the World Competition. in Dialogues des Carmélites di Tito. trajectory than any past Ensemble Studio members. Last This season with the COC and Servilia in the Ensemble year, the COC launched the Ensemble Studio Competition, she will sing Alisa in Lucia Studio performance of La holding the final round of national auditions in front di Lammermoor and Annio clemenza di Tito. of a public audience for the first time in COC history. in the Ensemble Studio

Top left: Mireille Asselin as Semele, Philippe Sly as Cadmus. Top right: Ambur performance of La clemenza Braid as Semele and Christopher Enns as Jupiter. Bottom: Rihab Chaieb as di Tito. Juno and Jacqueline Woodley as Iris. All photos are from the COC’s Ensemble Studio performance of Semele, 2012. Photos: Michael Cooper

16 Prelude Magazine Prelude Magazine 17

We also welcome back seven returning members of the Ensemble Studio for the 12/13 season:

“It’s hard work!” “I LOVE IT!” ­­— Grade 5 student ­­— Grade 2 student

kids creating opera

Mireille Asselin Ambur Braid Neil Craighead Rihab Chaieb

Soprano Mireille Asselin, a native soprano and voice teacher (and Timothy Cheung served as the music Kingdoms at War of Ottawa, made her Carnegie Hall Ensemble Studio graduate) Wendy director for the Xstrata Ensemble performance debut in 2011 with Nielsen. In the 12/13 season he will Studio School Tour’s production of By vanessa smith Vaughan Williams’ Dona Nobis take on the roles of a Cappadocian Isis and the Seven Scorpions. He will Pacem, and returned there in January in Salome, the Jailer in Dialogues reprise his role as music director for the On April 26, 2012, 300 people witnessed common musical forms, meter, and In speaking with the students 2012 for her solo recital debut. This des Carmélites, and Publio in the school tour this season, this time for the world premiere of a new opera, major and minor keys as they helped afterwards, it was easy to tell that they’d past summer she participated in the Ensemble Studio performance of The Brothers Grimm. In addition, Mr. Kingdoms at War. As the lights dimmed Dean craft the score for arias “Charge learned a lot from the experience. Glimmerglass Festival Young Artists La clemenza di Tito. Cheung will be an intern opera coach and the performers began to enter, the and Attack,” “You are not the King,” and Not only were they excited and Program, performing the roles of with the COC for La clemenza di Tito Tunisian-born Rihab Chaieb started audience shifted impatiently in their “Hip Hip Hooray.” enthused about opera, but they Phénice and Lucinde in Lully’s Armide. and Salome, and will also join the COC chairs, knowing they were about to be also emphasized the importance of This season Ms Asselin shares the role her summer in Munich, Germany, music staff forDie Fledermaus. The younger Lescon students did with auditions and language study, part of something magical. Also present teamwork and striving to do their best. of Adele in Die Fledermaus, and sings were the composers, librettists, and their part by learning about design Even a grade two student expressed Servilia in the mainstage production of before heading to the Steans Music Barrie, Ontario native, pianist Jenna and colour from artist Andy Miller, Institute at the Ravinia Festival. In the Douglas’ recent operatic credits as an designers of the piece, excited to see their how proud of herself she was for her La clemenza di Tito. creation unveiled to the world. Where working to create the set (grade one) work onstage and off. Teachers were fall, she joins the cast of Il Trovatore intern opera coach include Iphigenia and props (grade two) that would be Soprano Ambur Braid dazzled as Inez, and during the spring run she in Tauris, , and Semele. This was this premiere and who created this similarly proud of their students’ new piece? Lescon Public School – and used for some of the chorus members. successes and the overall program, critics on and off the stage in the sings Sœur Mathilde in the season- season she will once again be the music Large, colourful items allowed even shared title role of the 2012 Ensemble closing production of Dialogues des director for the Xstrata Ensemble Studio the creators were the dedicated students describing it as “excellent enrichment from grades one through six, with a little the parents at the back to clearly see and an opportunity to learn, in depth, Studio performance of Semele, and Carmélites. In the Ensemble Studio School Tour production of Hansel and everything on the stage. in performance with rockers Austra performance of La clemenza di Tito, Gretel, in addition to serving as an help from the COC and a new program something different” and an “amazing and Broken Social Scene at recent Ms Chaieb takes on the role of Sesto. intern opera coach on productions of called Opera Creation. The grade 3 and 4 students continued experience.” COC Operanation festivities. This Il Trovatore, Die Fledermaus and La their journey by becoming performers The education and outreach team would Manitoba tenor , Over the course of three months, the summer she worked with coaches on Christopher Enns clemenza di Tito, and joining the COC in the piece. Working with opera singer like to congratulate the students, staff, workshopped The Enslavement and students worked together with COC two upcoming roles at Santa Fe Opera, music staff forLucia di Lammermoor. artist-educators to turn Lescon Public Kyra Millan and director Rosanna and parents of Lescon Public School as well as participated in the Steans Liberation of Oksana G with Tapestry Saracino, they spent their time for their enthusiasm, dedication, and The COC Ensemble Studio, underwritten School into the Lescon Opera Company, Music Institute at the Ravinia Festival. New Opera in Toronto this summer studying the music and learning about hard work during our first experience in part by Peter M. Deeb and The Slaight creating an opera community within with the Opera Creation Program. What She shares the role of Adele in Die before leaving for Dresden for German acting and stage directions in order to language study. On the mainstage this Family Foundation, is Canada’s premier their own school. First, award-winning an overwhelming success! If you’d like Fledermaus and sings Vitellia in the training program for young opera create a powerful piece of theatre. The season he shares the title role of Tito composer Dean Burry visited Mr. Joe to learn more about the Opera Creation Ensemble Studio performance of La professionals and provides advanced grade six students received visits from Program, please contact Vanessa Smith, in the Ensemble Studio performance Jarrett’s class to help them write the clemenza di Tito. instruction, hands-on experience, and COC media relations manager Jennifer School Programs Manager at of La clemenza di Tito. career development opportunities. The libretto. The students were excited from the start, brainstorming ideas that Pugsley and COC associate director, 416-306-2392. Born in South Africa, Calgary-raised Ensemble Studio is also supported by development Dawn Marie Schlegel Last season, in addition to working as the Government of Canada through the included tales from Ancient Egypt and bass-baritone Neil Craighead spent to learn the importance of PR and an intern opera coach on several COC Department of Canadian Heritage, RBC an alien invasion in Toronto. Finally July in St. Andrews by-the-Sea, New fundraising to an opera company. This Brunswick, studying with renowned productions, Hong Kong-born pianist Foundation and other generous donors. they settled on a medieval story of two kingdoms at war, and how their kings provided an extra dimension to their secretly plotted to bring the kingdoms behind-the-scenes look at the COC. together. With Dean’s help, they Along the way, Lescon teachers explored the structure of a good plot instructed students in dance and and the concept of conflict, along with led them in playing Dean’s music rhythm and rhyme, to write Kingdoms on the recorder, adding percussion at War, which included three very and other surprise elements to create catchy arias. Next. the torch was passed their own orchestra. Everyone had a to Lescon’s grade 3 and 4 students, who role to play in the final performance, worked with Dean to write the music delighting their families with the for their opera. They learned about unbelievable work they had created.

Christopher Enns Timothy Cheung Jenna Douglas Top left: Original Score for Kingdoms at War. Top right: Set design by newly-formed Lescon Opera Company. Bottom: Dean Burry, composer and COC artist-educator, in rehearsal at Lescon Public School. Photos: COC

18 Prelude Magazine Prelude Magazine 19 COC OPERATOURS 2012/2013 – Now in its 31st season!

Join Dr. David Stanley-Porter on these thoughtfully planned tours that explore the ever-exciting world of opera and classical music in historic and new opera houses and concert halls in North America and Europe. Book today!

New York Berlin The Munich Opera Festival March 3 – 7, 2013 April 11 – 22, 2013 June 26 – July 6, 2013 The Staatsoper Berlin im Schiller Theater WAGNER Der fliegende Holländer No opera house in the world can equal the WAGNER c. Asher Fisch, d. Peter Konwitschny with Met’s starry array of great singers! n.p. c. Daniel Barenboim, d. Guy Cassiers Hans-Peter König, Anja Kampe, Klaus Florian Vogt and Johan Reuter ZANDONAI Francesca da Rimini Deutsche Oper Berlin c. Marco Armiliato with Eva-Maria Ring um den Ring ch. Maurice Béjart with Tannhäuser c. Kent Nagano d. David Alden Westbroek, Marcello Giordano, Robert the Berliner Staatsballet with Robert Dean Smith, Matthias Goerne, Brubaker and Mark Delavan Anne Schwanewilms and Petra Lang Philharmonie VERDI Don Carlo c. with LUTOSŁAWSKI Double Concerto for oboe, Lohengrin c. Lothar Koenigs, d. Richard Barbara Frittoli, Anna Smirnova, Ramón harp and string orchestra Jones with Klaus Florian Vogt, Evgeny Nikitin, Vargas, Dmitri Hvorostovsky, Ferruccio DUTILLEUX L’Arbre des songes Annette Dasch and Michaela Schuster Furlanetto and Eric Halfvarson (Violin Concerto) VERDI Il Trovatore n.p. BEETHOVEN Symphony No. 6 in F major WAGNER n.p. c. Daniele Gatti, c. Paolo Carignani d. Olivier Py with Alexey “Pastoral” d. François Girard, with a dream cast: Markov, Jonas Kaufmann, Anja Harteros and Berlin Philharmonic c. Sir Simon Rattle Katarina Dalayman, Jonas Kaufmann, Peter Elena Manistina Mattei, Evgeny Nikitin, and René Pape Extensive sight-seeing in and around Berlin STRAUSS Ariadne auf Naxos c. Bertrand COC Co-production with Thorsten Wagner de Billy d. with Sophie Koch, Accommodation at the exclusive Accommodation at Hotel Otto ★★★★ Jane Archibald, Eva-Maria Westbroek and Yale Club of New York Burkhard Fritz Spain: Zurich and Baden-Baden A tale of two operatic cities! Bayerisches Staatsballett March 19 – 29, 2013 May 30 – June 13, 2013 Exits and Entrances ch. Merce Cunningham, Maurice Siegel Opernhaus Zürich Gran Teatre del Liceu, Palau de la Music: Gavin Bryars WAGNER Parsifal c. Ulf Schirmer, d. Claus Música, L’Auditori (BARCELONA) Guth with Evgeny Nikitin, Jan-Hendrik DONIZETTI L’elisir d’amore La Bayadère ch. Marius Petipa, Patrice Bart Rootering, Stuart Skelton and Angela Denoke Aleksandra Kurzak, Rolando Villazón, Music: Ludwig Minkus Ambrogio Maestri Ballet Evening TBA Forever Young ch. José Limón, Léonide ROSSINI Il turco in Italia Massine, Music: Purcell, Brahms Song Recital: , Ildebrando d’Arcangelo, Christian Gerhaher, Baritone Prinzregententheater Pietro Spagnoli Song Recital: Tonhalle WAGNER Der fliegende Holländer Pavol Breslik, tenor Grigory Sokolov, Piano Evgeny Nikitin, Ingela Brimberg, Eric Cutler Accommodation at the Hotel Opera ★★★★ Glimmerglass Festival Cor de Cambra: Andrea & Giovanni Gabrieli, August 16 – 21, 2013 Festspielhaus Baden-Baden Ralph Vaughan Williams, et al. In collaboration with the Festival of MOZART Die Zauberflöte n.p. Orquestra Simfònica de Barcelona: American Romantics c. Sir Simon Rattle, d. Robert Carsen with GARRETA Les illes Medes Simone Kermes, Pavol Breslik, Kate Royal, Verdi & Wagner KORNGOLD Violin Concerto in Magdalena Kožená and José van Dam 200th Anniversary Celebrations: D major, Op. 35 VERDI Un giorno di regno VIARDOT Cendrillon n.p. STRAUSS Ein Heldenleben (A King for a Day) sung in English A real rarity from the 19th century Teatro Real, Auditorio Nacional WAGNER Der fliegende Holländer Concerts: (madrid) LERNER-LOEWE Camelot featuring A week-long residency by the Berlin BERG Wozzeck Simon Keenlyside, Jon Nathan Gunn as Lancelot Philharmonic, conductors Sir Simon Rattle Villars, Nadja Michael LANG The Little Match Girl Passion and Mariss Jansons; three concerts of glorious Orquesta y Coro Nacionales de España: PERGOLESI Stabat Mater late 19th- and early 20th-century music: LEHAR The Merry Widow BRAHMS Violin Concerto, Maxim Vengerov; Excursion to Cooperstown, New York, Véronique Gens, Michael Volle Piano Concerto No. 1, Krystian Zimerman by private coach MAHLER Symphony No. 2 Academy of St Martin-in-the-Fields: An Accommodation at the famous Otesaga BRUCKNER Symphony No. 9 all-Mozart program featuring Murray Resort Hotel. Breakfast & dinner included. DEBUSSY La mer Perahia, piano RAVEL La valse Orquesta Sinfónica de Madrid c. Sylvain Accommodation at the Cambreling, Measha Brueggergosman n.p. – new Production Badischer Hof Hotel ★★★★ MESSIAEN Poèmes pour Mi c. – Conductor BERLIOZ Symphonie fantastique d. – Director ch. – Choreographer An evening of Flamenco

For up-to-date information (including tour changes and newly announced tours), COC Operatours please visit our website at coc.ca/Operatours. For full booking information e-mail c/o Merit Travel [email protected] OR send a SEPARATE, self-addressed, stamped envelope 101 Cherryhill Blvd. (#10 business-size) for each tour that interests you to: London, ON N6H 4S4

20 Prelude Magazine Prelude Magazine 21 Government Support Fall-Winter 2012/2013 The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments:

november 2012 September 2012 Operating Grants Mon 4 12 p.m. Youth Opera Lab: Die Fledermaus Thu 1 12 p.m. Francesco Cafiso, saxophone* 7:30 p.m. Die Fledermaus Tue 18 12 p.m. Artists of the COC Ensemble Studio* Sat 3 4:30 p.m. Die Fledermaus Closing Performance Wed 19 5:30 p.m. Phil Dwyer, saxophone; Don Thompson, piano/bass* Tue 6 12 p.m. Aruna Narayan, sarangi* Thu 20 12 p.m. China Court Trio* Wed 7 5:30 p.m. Heather Bambrick, vocals; Julie Michels, vocals; Diane Leah, piano* Mon 24 5:30 p.m. Youth Opera Lab: Die Fledermaus Thu 8 12 p.m. Alexander Seredenko, piano* Tue 25 12 p.m. Dave Young, double bass; Kevin Turcotte, trumpet; Robi Botos, piano; Frank Botos, drums* Tue 13 12 p.m. Darbazi Georgian Choir; major corporate sponsors Shalva Makharashvili, conductor* Thu 27 12 p.m. Susie Burpee and Linnea Swan, choreographers* 2012/2013 season Wed 14 12 p.m. The Humber Groove Merchants; Fri 28 7:30 p.m. Culture Days: Die Fledermaus Open Rehearsal Mark Kelso, leader* Tue 20 12 p.m. The Glenn Gould School New Music Ensemble; Sat 29 7:30 p.m. Il Trovatore Season Opening Performance Brian Current, director* BMO Financial Group Pre-Performance October 2012 Thu 22 12 p.m. Chris Donnelly, piano; Dan Fortin, bass; Opera Chats and BMO Financial Group Ernesto Cervini, drums* Student Dress Rehearsals Sun Life Financial Accessibility Program Tue 2 12 p.m. Sageev Oore, piano; Dani Oore, saxophone* Production Sponsor Encompassing SURTITLES™, Wheelchair Seating, Official Automotive Sponsor Tue 27 12 p.m. Royal Conservatory Young Artists 7:30 p.m. Il Trovatore Wagner's Tristan und Isolde Hearing-Assistive and Vision-Impaired Devices of the COC at the FSCPA Performance Academy* Wed 3 12 p.m. Artists of the U of T Opera Division; Wed 28 12 p.m. Suzie Vinnick, guitar* Sandra Horst, COC Chorus Master; Michael Albano, director* Thu 29 6 p.m. COC Ensemble Studio Competition, Thu 4 12 p.m. John Kameel Farah, pianist/composer* Richard Bradshaw Amphitheatre 7 p.m. Opera Talks, Die Fledermaus, North York Central Library december 2012 7:30 p.m. Die Fledermaus Opening Performance Tue 4 12 p.m. GrimmFest: COC artists perform opera arias Fri 5 7:30 p.m. Il Trovatore and duets* Xstrata Ensemble Studio School Tour Major Supporter, Ensemble Studio Tue 9 12 p.m. Kaleidoscope Recorder Consort* Wed 5 12 p.m. Maryem Tollar, vocals/quanun: GrimmFest* 7:30 p.m. Die Fledermaus Thu 6 7 p.m. Opera Talks: GrimmFest, Wed 10 7:30 p.m. Il Trovatore North York Central Library Thu 11 12 p.m. Artists of the COC Ensemble Studio* Fri 7 5:30 p.m. GrimmFest: The Brothers Grimm, Regent Park Arts & Cultural Centre Fri 12 7:30 p.m. Die Fledermaus Sat 8 2 p.m. GrimmFest: The Brothers Grimm, Sat 13 9:30 p.m. The Opera Exchange, Die Fledermaus, & 7 p.m. Regent Park Arts & Cultural Centre UofT Walter Hall Tue 11 12 p.m. Artists of the Toronto Symphony Orchestra* 4:30 p.m. Il Trovatore Sun 14 2 p.m. Die Fledermaus Wed 12 5:30 p.m. Alex Pangman and her Alleycats*

Tue 16 12 p.m. Ileana Montalbetti, soprano; Peter Barrett & Thu 13 12 p.m. Jeng Yi Korean Drumming Ensemble* Presenting Sponsor James Westman, ; Robert Gleadow, Opera Under 30 and Official Canadian Wine Production Co-sponsors bass; Anne Larlee, piano* january 2013 Operanation 9: Sweet Revenge of the COC at the FSCPA Donizetti’s Lucia di Lammermoor

Wed 17 12 p.m. Toronto International Flamenco Festival* Tue 8 12 p.m. Artists of the COC Ensemble Studio* 7:30 p.m. Die Fledermaus Wed 9 5:30 p.m. Robi Botos trio* Thu 18 9 p.m. Operanation 9: Sweet Revenge Thu 10 12 p.m. Jade's Hip Hop Academy* Fri 19 7:30 p.m. Il Trovatore Tue 15 12 p.m. Humber Latin Jazz Big Band* Sat 20 7:30 p.m. Die Fledermaus 7 p.m. Opera Talks: La clemenza di Tito, Sun 21 2 p.m. Il Trovatore North York Central Public Library KPMG Opera Presenting Sponsor Preferred Medical Thu 17 12 p.m. Mehdi Ghazi, piano Tue 23 12 p.m. Eliana Cuevas, vocalist; Jeremy Ledbetter, Golf Classic 2012 After School Opera Program Services Provider piano; Luis Orbegoso, percussion* Tue 22 12 p.m. Ensembles of The Glenn Gould School* Wed 24 7:30 p.m. Die Fledermaus Thu 24 12 p.m. Artists of the COC Ensemble Studio* Thu 25 12 p.m. Strings of the COC Orchestra* Tue 29 12 p.m. Ryan MacEvoy McCullough, piano* 7:30 p.m. Il Trovatore 6:30 p.m. Tristan und Isolde Opening Performance Sat 27 7:30 p.m. Die Fledermaus Thu 31 12 p.m. Artists of the COC Orchestra* Sun 28 2 p.m. Il Trovatore calendar of events of calendar Tue 30 7:30 p.m. Die Fledermaus Guitar Nomads Trio* 7:30 p.m. keep up-to-date at Preferred Wed 31 7:30 p.m. Il Trovatore Closing Performance coc.ca/Calendar Fragrance Preferred Hospitality Sponsor Official Media Sponsors Digital Marketing Sponsor

*These performances are part of the Free Concert Series in the Richard Bradshaw Amphitheatre, supported by the Free Concert Series Endowment Fund, established in honour of Richard Bradshaw by an anonymous donor. Generously underwritten by Peter A. Allen.

22 Prelude Magazine Prelude Magazine 23 The Canadian Opera Company presents Il Trovatore (Opéra de Marseille), 2003. Ines Salazar as Leonora and Vladimir Galouzine as Manrico. Photo: Christian Dresse

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