NATIONAL CAPITAL SOCIETY Newsletter November 1992

SOCIETE D'OPERA DE LA CAPITALE NATIONALE Bulletin novembre 1992

P.O. Box 8347, Main Terminal, Ottawa, K1G 3H8 C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8

Louis Quilico dining with the NCOS Board at the Lindenhof

Summary of forthcoming local events

Operatic Double Bill Opera video 30 November 7:00pm Ottawa Public Library • Sutherland and Pavarotti • "Pavarotti in London"

I Capuieti e i Montecchi Opera in concert 4 December 4:15 pm Opera and (dep. from Ottawa) Romeo et Juliette Opera 5 December

Brian Law Competition 21 January 7:30pm St Andrew's Opera Scholarship Church

1 Louis Quilico's benefit recital Our Evening with Louis Quilico was magical. Of Thomas Muraco, the pianist: "His The atmosphere in the Theatre was electric, playing was of the order that warranted his the performance superb. Jacob Siskind endorsement in the past by such singers as called the recital "marvellous" and "a re­ Phyllis Curtin, Maureen Forrester and Jennie sounding success." As he reported in the Tourel." Citizen- Following the recital, there was a reception Of Louis Quilico, Canada's world­ sponsored by Morgan Tours and Stinson renowned : "It is a source of wonder Business Services. Our favourite radio and amazement that his voice has been so announcer, Rob Clipperton, was our host for well preserved over his long career. It now the evening. Our special guests included His sounds as marvellously rich and resonant as Excellency Sergio Balanzino, the it did decades ago." Ambassador of Italy, who presented Mr Of Raul Melo, the young tenor joining Mr Quilico with a special medal; Jim Watson, Quilico for this recital: "Melo made a strong Ottawa City Councillor, who presented Mr impression with the musicality of his Quilico with a certificate making him an phrasing and his sensitive use of colour" and honorary citizen of Ottawa; and Frank "he has an important operatic career ahead of Augustyn (Ottawa Ballet) and Jeannette Aster him."

The program Quilico and Melo Oh, Mimi, tu pili non torni La Boheme, Puccini Quilico The Gods of Battle OhJove Hercules, Handel Melo Allerseelen Du meines Herzens Kronelein Zueignung R. Strauss Quillco Madamina, il catalogo Don Giovanni, Mozart Quillco Non pili andrai Le nozze di Figaro, Mozart Melo Ah! leve-toi, solei!! Romeo et Juliette, Gounod Quilico and Melo Solenne in quest'ora LaJorza del destino, Verdi --Interval / Entracte -- Quilico and Melo Au fond du temple saint Les pecheurs de perles, Bizet Melo Addio Marechiare L'alba separa dalla luce l'ombra Tosti Quilico Beau soir Voici que Ie printemps Debussy Quilico Phidyle Duparc Melo Poem a en forma de canciones Dedicatoria (piano solo / solo de piano) Nunca olvida Can tare s Los dos miedos Las locas por arnor Turin a Quilico Vision fugitive Herodiade, Massenet Quilico and Melo Dio, che nell'alma Don Carlo, Verdi 2 () who shared some of was truly surprised and touched by the many their memories of working with Mr Quilico. honours bestowed upon him. Rob Clipperton read letters of praise from The Society is very grateful to Mr Quilico for His Excellency Ramon John Hnatyshyn, giving us this benefit recital. It further Governor General of Canada; from Allan acknowledges the help of Counterpoint Gotlieb, Chairman of the Canada Council; Classics, the National Arts Centre, and and from Gary Relyea, Mr Quilico's friend Victoria Park Suites. Thanks to all who and student. The formal proceedings ended worked hard to make this happen and to appropriately with a message from Brian those who attended the recital; it was indeed Law, read by Marion Pickering. Mr Quilico an evening to remember. MC

The Brian Law Opera Scholarship Below this paragraph is a list of donors who submission to "The Brian Law Opera have contributed to the The Brian Law Opera Scholarship Fund" in care of the Society, Scholarship Endowment Fund. In addition, indicating the amount contributed and the the National Capital Opera Society itself has name under which you would like the made a substantial contribution from its donation registered. fundraising efforts over the past year, more The first scholarship competition will take than doubling the amount of the fund. We place on 21 January 1993 at S t Andrew's are over one-third of the way towards our Church, Ottawa, before a distinguishyd panel goal of $15000, which would provide an ofjudges, with application forms required by annual scholarship of $1000. 15 November 1992. For further information, If you have not yet made your donation to the contact the Scholarship Chairperson, Bobbi Scholarship Fund or have friends who will Cain, at 225-0124. join us in this effort, please mail your BC

List of Donors to the Brian Law Opera Scholarship Endowment Fund Marjorie and John Clegg MaIjory Cornett Lita Classen Helen and Jeffry Morgan Jan Webb Josephine Machacek Opera Festival Chorus Party Eric O. Smith Rob and Norma Mellon Dr Edward O. and Mary Kay Anne M. Daman John Rolfe Dodson Margaret Clegg Martha Collins MaIjorie Clegg W. M.Park Maurice Deschamps W. M. Park Judith Burrows Robert and Margaret Pflug Margaret Graham Almut and Gaetan Fleuriau Marion R. Miller Thais Holmes Chateau A. S. Haydon W. Kolokoski David Pritchard Kathryn Palmer Fairlie E. Sills Patricia Sinclair Phil and Sandy Shea Hiroko Ozaki Catherine Patton Brenda Lane-Eraut Helen Rudden B. J. Clark Murray Kitts L. Budgell-Gray Michele Gaudreau Dr and Mrs Edward Dodson Brenda Lane-Eraut Lois E. Harvey Mark G. Shulist Barbara Petepiece Joan and Ray Brining Bobbi Cain Doris M. Smith Ruth Davis Endowment Patron Jim and Ursula Mount Marion Cox The Ottawa Citizen Jean A. Loates Mrs. R. H. Evans (The second appearance of a name means a second donation.) As of12 October 1992 3 Opera encores La Cenerentola the grandness of scenes and authenticity of costumes. The principals, Ermanno Mauro What a delightful production Opera Lyra gave as Chenier and Stefka Evstatieva as us of this Rossini masterpiece! The sets were Maddalena, sang passionately and beautifully designed for quick transformations and this under the shadow of the guillotine. This was allowed the conductor to keep up a fast­ truly grand opera and the Orchestre moving tension in the action of the plot. symphonique de Montreal under Michel­ There was outstanding singing from Mark angelo Veltri provided a powerful (sometimes Dubois and Linda Maguire, two Honorary a little too powerful) accompaniment to the Friends of NCOS, and excellent comic stirring events on stage. characterizations from the other principals. The next opera tour Afterwards, in spite of demands of family, and of the other cast members who were The next opera excursion will leave late holding a final-night party, Linda Maguire enough on a Friday afternoon to allow people took the time to go to each table and to say a to complete their work week and still enjoy few words (at least) to each person present the opera in Montreal that evening. This will with the NCOS group in Le Cafe. Opera Lyra happen on 4 December at 4: 15 pm. The Ottawa was presented with our donation of opera will be Bellini's I Capu!eti e i $1250 and Linda Maguire with her honorary Montecchi and, after an overnight stay in membership. Montreal, Gounod's Romeo et Juliette the following evening. We plan to have another special evening at La traviata, followed by an infonnal get­ The Flying Dutchman together. Perhaps you will join us then. Not everyone in the small but appreciative Aida audience who witnessed the controversial The heavy rain warnings in effect that Bayreuth production approved of the interpretation, but all agreed that the singing evening probably account for the fact that this and intensity of performance were both showing was so poorly attended. Those who did come, however, found free parking in the remarkable. Ottawa Public Library underground parking Our next showing will be on 30 November at facility (entered from Laurier Avenue). 7:00 pm, starring and Luciano Pavarotti. In going from the motion picture format to the projected laser disc format, some Louis Quilico disadvantages were found: the projection It's true! His voice is still wonderful. His equipment cannot be adjusted to give a good fellow artists lived up to his recommend­ focus for the subtitles. This disadvantage is ations. It was an evening of great enjoyment, more than offset by the enormous range of not only for music lovers, but for all those available to us on laser discs and by who can be touched by a person of great the tremendous decrease in overhead costs of warmth and humanity. We must never forget the showing. the generosity of Louis Quilico in performing Andrea Chenier this benefit for us. A group of lucky NCOS members (and MK others) made the trip down to Montreal on 26 September to see Giordano's masterpiece given by the Opera de Montreal at the Place des Arts. After the usual smooth trip and stops at museums, exhibitions, shopping areas, and gourmet dining places, the opera fans were treated to an opera production exceptional even for the Opera de Montreal in 4 o Romeo, Romeo, wherefore art thou a German? Most people know about Romeo and Juliet marriage alliance with Juliet as a solution to through the celebrated play by Shakespeare. the constant warring. Now this has prac­ After all, this play, and Hamlet and Richard tically nothing to do with Shakespeare's plot. III, are Shakespeare's most popular plays. Shakespeare based his play on Arthur Looking·at the musical interpretation of the Brooke's poem The Tragical History of story of the ill-starred lovers, devotees of Romeus and Juliet and on the prose story in Shakespeare might be shocked, even Painter's Palace ofPleasure. Shakespeare's repelled, by changes in the plot. main addition was the character Mercutio, At first sight it looks as though Gounod, or who figures in both Gounod's and Berlioz's rather Jules Barbier and Michel Carre, made versions of the story. Bellini's librettist, an honest attempt to be faithful to Shake­ Felice Romani (who was the librettist for speare, given the necessity to condense and almost all of Bellini's operas), follows cut the original play to opera libretto pro­ Matteo Bandello's Giulietta e Romeo, which portions. Some of the lines themselves are as was written about 1554. Fortunately, close to the original as possible. Romani did not follow Bandello's story completely, otherwise we would have Romeo When we arrive at the last scene, however, Juliet revives before Romeo dies, just in time disguised as a German in order to get to Juliet's tomb. When Juliet awakes she is for a duet which concludes with the simul­ terrified (for some strange reason) to find a taneous deaths of the two lovers, ending the German lying down outside her coffin. opera at this point. Now, one could say that Fortunately she is able to recognize Romeo this is not as bad a perversion of Shakespeare before he dies and before she dies herself of as Thomas's Hamlet, which has a happy sorrow, and not of the self-inflicted wound ending (happy for Hamlet, anyway), but this of the Shakespeare-Gounod version. is not the point. The fact is that there are a number of versions of this story; some of Opera lovers owe a vote of thanks to Romani them have Juliet reviving before Romeo dies. for rejecting this disguise business. We are Therefore, it is not just an operatic con­ getting pretty close to the Pyramus and vention that comes into play in this opera. Thisbe story as performed by the rude mechanicals in A Midsummer Night's One of the greatest admirers of Shakespeare Dream. In Luigi Da Porto's version of in the 19th century was Hector Berlioz, and Romeo and Juliet, Romeo goes to the Capulet we have his magnificent Romeo et Juliette as ball disguised as a nymph, another disguise witness of his enthusiasm and of the profun­ that was fortunately never included, at least if dity of the influence of Shakespeare on his one wishes to tell a tragic story. genius. Berlioz was enraged at what he called a travesty when he attended a perform­ There are very few characters in Romani's ance of Bellini's I Capuleti e i Montecchi. libretto-only five. Apart from the two What Berlioz didn't realize was that Bellini's principals, Giulietta (a soprano) and Romeo opera was not based so much on (a mezzo-soprano), there appear only Shakespeare's playas on other sources that Tebaldo (a tenor-a combination of Tybalt had been either unknown to, or discarded by, and Paris), Capellio (a baritone, who Shakespeare. emerges as the villain of the piece), and Lorenzo (a bass, alias Friar Laurence) who Take for example this description of one of loses his tonsure for this version and the leading characters in Act I, Scene 1 of the becomes a doctor. The reference above to the opera: " ... the most abhorred, evil and Montagues and the Ghibellines puts the story violent of the Ghibellines." And who is this in the context of warring factions in Italy, the nasty character? Why, Romeo, of course: Guelphs (Capulet side) supporting the Pope Romeo who has killed Capellio's son and and the Ghibellines supporting the Holy who comes to the castle of the Capulets in the Roman Emperor. guise of an envoy from Romeo to suggest a 5 Therefore if you are going to Montreal on our Romeo is sung by a tenor. It is true that tour to see both the Bellini and Gounod Bellini was once required to transpose the operas, don't be surprised if the plot takes part of Romeo for a soprano voice, since a certain unexpected turns. Suffice it to say particular opera house didn't have a mezzo to that with two opera masters the music is sing Romeo. However, he never had a tenor great. If Bellini's opera plot doesn't follow singing the part. Shakespeare it provides the framework for It might easily be deduced that the only some glorious bel canto singing. Wagner, reason for the issuance of the Montreal who didn't have much good to say about any performance in 1967 and the Milan opera or composer, had some praiseworthy performance in 1968, both by La Scala Opera words for Bellini and this opera specifically. under Abbado, is the presence of Luciano As for Gounod, his Romeo was the greatest Pavarotti in both performances. Quite success of his musical career. It's not diffi­ correctly Pavarotti is singing not Romeo but cult to understand why. Tebaldo, and is worth a hearing for his bel For those who like to familiarize themselves canto style. Be forewarned that the quality of with a work before hearing it, there is a good these recordings varies from fair to dreadful. recording of the Gounod opera on EMI CDCC The Montreal version on Butterfly Music­ 47365, with a fine cast led by Alfredo Kraus Pavarotti Collection, BMCD 012, has a libretto and Catherine Malfitano and including such in Italian only. The Milan version, only luminaries as Jose Van Dam and Gino available on a four-disc set that includes La Quilico. Boheme, is called "Luciano Pavarotti Sings The Great Operas" (G02-51Ol-1/4), and omits For the Bellini opera there is a recording of a any libretto or notes in any language; but it is Iive performance from Covent Garden under very cheap. Pavarotti again sings Tebaldo, Riccardo Muti with Agnes Baltsa and Edita with Renata Scotto as Juliet and Giacomo Gruberova (EMI CDS 7473888), but this is Aragall as Romeo. difficult to obtain unless specially ordered from Britain. In other words, unless you have easy access to a recording of I Capuleti e i Montecchi, There are some other recordings of the Bellini better just go to Montreal ready to be including one made in 1967 at the World enthralled by one of the greatest works of one Festival as part of Expo'67. This version is of opera's greatest composers. rather contemptuously referred to as the AbbadolBellini opera, since the part of MK

President's message I have put this message in writing because I The liaisons with Opera Lyra Ottawa and want it to become part of the official Board the National Arts Centre have been very records. productive and effective. We often spend our Board meetings talking The membership database is kept current, about how things could or should be done and we have up-to-date labels for our differently. This is necessary, of course, but newsletters and other mailings. we can losesight of the many things we do We have a much-praised newsletter with well. I wish to acknowledge some of those well-written and interesting articles. good things: Our members are provided with oppor­ Our minutes are well-taken and distributed tunities for many exciting, professionally­ in good time. directed tours, and the Society has Our books are in excellent order, receipts benefited financially. and repayments are efficiently handled, There are promising new arrangements for and we have up-to-date financial reports. our video screenings at the Ottawa Public Letters are sent quickly on request. Library. The program for the next few 6 1­ months is excellent, and there is a good All of the many necessary, complex possibility of our making a reasonable arrangements for the Brian Law Opera profit. Scholarship are progressing well. We have increased our visibility in the It's sometimes easy to forget that we are all community through our widening volunteers who work hard for something we pUblicity. love. We deserve to have our efforts We have organized several successful acknowledged. Thank you-all of you. events, and have ideas for many more. 29 September 1992 Me

Opera within reach, 1992-1993 Here is our usual reminder of the remaining Montreal operas this season that it is reasonably easy to A Morgan Tour for NCOS members pays a visit get to: to L'Opera de Montreal on those dates marked Ottawa by asterisks. (The tour to the two Romeo and The production of Opera Lyra Ottawa: Juliet operas, which are on consecutive nights, includes an overnight stay in Montreal.) The La traviata, by Verdi. 10, 12, and 13 March. telephone number for Morgan Tours is 722­ 7572. The is performing: I Capuleti e i Montecchi, by Bellini (in Don Giovanni, by Mozart. 4, 6, 10, 12, 14, concert). 4* December. 17, 19,21,25,27, and 29 November Romeo et Juliette, by Gounod. 21,23,26, and 2, 4, and 6 December. and 28 November and 2 and 5* December. Cosifan tutte, by Mozart. 11, 13, 15,18, , by Donizetti. 27 20, 22, 24, 26, and 28 November and 1, February and 1,4,6, 10, and 13* March. 3, and 5 December. Madama Butterfly, by Puccini. 17,19,22,24, Hansel und Gretel, by Humperdinck. 15, and 28 April and 1* May. 19,21,23,25,27, and 30 January and Die Fledermaus, by 1. Strauss. 29 and 31 May 2, 5, and 7 February. and 1, 3, 5, and 7 June. Bluebeard's Castle, by Bartok, and Hamilton Erwartung, by Schoenberg. 22,26,28, and 31 January and 3 and 6 February. At the furthest distance we consider within reach for the purposes of this summary, there , by Puccini. 2,7,9, 12, 14, 17,20, is Opera Hamilton with the following 22, and 25 April. productions: The Bartered Bride, by Janacek. 8, 10, 13, La Cenerentola, by Rossini. 26 and 28 16, 18,21, and 24 April. November. Madama Butterfly, by Puccini. 1,6, and 8 May.

7

I Opera screenings at the Public Library As you will know, the NCOS and Counter­ highlights ofLa traviata, Lucia di Lammer­ point Classics have been presenting a series of moor, and . benefit screenings of operas in the Ottawa conducts. Public Library at Metcalfe and Laurier streets. And­ The shows are on Monday nights at 7 :00 pm in the auditorium. The next screening is: "Pavarotti in London." A Royal Albert Hall gala with Kurt Herbert Adler conducting Operatic Double Bill. 30 November the Royal Philharmonic Orchestra. 1992. All events are $7 at the door. For further "An Evening with Joan Sutherland and information, call 721-0172 or 830-9827. Luciano Pavarotti."

Board meets Jack Mills Membership renewal The President and several members of the The 1992 membership year ends on 31 Board recently had a meeting with Jack Mills, December, so now we have to mention the Music Producer at the National Arts Centre, need to send in your money for 1993. A to discuss the prospects for the return of renewal form is in this Newsletter, giving the opera to the NAC produced by the NAC. prices of the various forms of membership. While he was as keen as anyone to see the We hope you will all renew, and that many of return of opera as in the good old days, he you will be able to persuade new members to explained that there simply isn't the money join: the more members we have, the more we available during the present recession. Ticket can do and the more effectively we can do it. sales are down throughout North America for most classical music--even world-renowned artists can barely half-fill a hall for a recital Discount for members these days. Although ticket prices had The kind of Christmas presents that many remained the same at the NAC for Cosi fan members like can be conveniently and eco­ tutte in 1991 as for Don Giovanni in 1990, nomically bought at Counterpoint Classics, there had been no further sell-out. where we are given a good discount. You On top of reduced sales, costs are rising­ should present your membership card when utility costs faster than the inflation rate-and making purchases. appropriations are being clawed back. This Counterpoint Classics, Murray St. 20% picture of gloom was unfortunately rather off each regularly priced CD. convincing for the present; it is up to bodies like the NCOS to keep alive and increase public interest in opera, so that when better Letters from members times return and operatic events resume, there As far as I can remember, this Newsletter has will be someone sitting on every seat. not had a section'for members' letters. Why not? Presumably because no one has written Back issues of Opera News any. May I therefore invite letters on anything of interest to our readers. Naturally the editor One of our members has a few years of back would reserve all the usual autocratic rights, but issues of Opera News that she would like to you can be sure that their exercise would be only give away. If you want them, call Jenny to further the good of opera in the area and to Birks at 745-4648. A donation to the Brian maintain the finest standards of decorum. Law Scholarship fund from the lucky receiver of the magazines would be most welcome. JMC This is the second and final time of asking.

8 NCOS Board Members

President Marjorie Clegg Newsletter John Clegg First Vice-President Anne Marie Smith Publicity Mary Anne Griffith, Brenda Lane-Eraut Second Vice-President Gilles Patry Films Helen Morgan, Brenda Lane-Eraut, Murray Kitts Past-President Bobbi Cain Events Bob Pflug, Peggy Pflug Recording Secretary Valerie Donnelly General Liaison Mary Anne Griffith Corresponding Secretary Maureen Donnelly NAC Liaison Bobbi Cain, Mary Anne Griffith Treasurer Murray Kitts Opera Lyra Ottawa Liaison Gilles Patry .Membership Gerda Ruckerbauer, Scholarships Bobbi Cain, Jeffry Maureen Donnelly Morgan, Gilles Patry, Anne Marie Smith, Helen Morgan Tours Jeffry Morgan, Archives Val Donnelly Helen Morgan, Val Donnelly

Some telephone numbers Marjorie Clegg 594-2988 (h) Anne Marie Smith 828-7062 (h) Bobbi Cain 225-0124 (h) Gilles Patry 829-4762 (h)

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