NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Fall 2010 Automne

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

Our New Patron - Gerald Finley by Murray Kitts The NCOS is pleased to announce we were members of the Board that Gerald Finley has graciously when the competition was instituted. agreed to be patron of the Brian Law By lending his name as pa- Opera Competition. The board of di- tron to the Brian Law Opera rectors unanimously agreed that Competition Gerald Finley Gerald Finley had to be the obvious brings with him a tremendous successor to the late Maureen prestige in the world of opera, Forrester. Gerald as chorister and singing and music generally. Brian as choirmaster and musical One of our members once mentor formed a great friendship in asked: “Has Gerald Finley ever Ottawa many years ago. Not long had a bad review?” The evi- after the scholarship was first an- dence is in the many DVD per- nounced, Bobbi Cain, through her formances which capture not knowledge of Gerald, asked him to only his fine voice but also his give a fund-raising recital. This was brilliant acting. See for yourself the first of a number of events through his great performances in the years where Gerald freely do- Mozart’s operas: Figaro at nated his presence to help establish Glyndebourne; the Count at an ever-increasing amount of money Covent Garden; and the soon- which would go to aspiring singers. Photo: Siemsen to-be released Don Giovanni Two trips to New York not only de- which was the big event at lighted our members but raised money by a raffle of tickets Glyndebourne this summer. Gerald has been nominated as for the trip. The first of these for Gerald’s debut at the Met “Artist of the Year”, has had his CDs winning many awards as Papageno was crowned with an extraordinary brunch ar- and has even had operas composed with him in mind as the ranged by the Canadian consul in New York and attended principal singer. by Gerald’s parents and the whole group from Ottawa. The I’m sure Brian Law will be very pleased at the news second, for Don Giovanni, was marked by a visit from Gerald that Gerald Finley is the distinguished patron of the Brian just before he went for make-up and costuming for that Law Competition. evening’s performance. No one there will forget the time he Incidentally, the spent counseling and encouraging one of the Brian Law con- news from Christ- testants who was on the trip. Gerald’s visits to Ottawa were church is that, al- also occasions to meet with him and to promote our efforts though his house at raising money. There was a fine reception sponsored by was somewhat the Harpers (our trip arrangers and benefactors) when Gerald damaged by the took part in one of the Chamber Music Festivals. For his earthquake, Brian appearance with the NAC Orchestra the NCOS arranged was not in the house a grand reception after a performance. It was an especially at the time and was happy moment for Peggy Pflug and myself (see photo) since not injured. Photo: Adamo Fall 2010 NEWSLETTER • BULLETIN Automne 2010 President's Message It must be the fresh air and the beauty of the countryside that pation in Bernstein’s A Quiet Place with the New York makes what has become our annual summer meeting out at City Opera in October; a photo of “the highly promising the Pflugs’ country home so pleasant and productive. As you Cherubino of Wallis Giunta” accompanied the opera re- can see, the directors have all been willing to serve in the same view in Canadian Opera; Shannon Mercer received an positions again. Our finances are in good shape. We were excellent review in June’s Gramophone for her record- again able to contribute $1,000 each to Opera Lyra’s Studio ing of music by Francesca Caccini; Julie Nesrallah’s caba- Artists Program and to Pellegrini Opera. Pat Adamo has gen- ret performance of Carmen; Yannick-Muriel Noah’s erously agreed to donate again the 3rd prize of $1,000 at the delightful recital in Luskville accompanied by Jean next Brian Law competition (November 2011). The number Desmarais, enjoyed again on a CBCTV program hosted of members has increased. Opera alla Pasta arrangements have by Julie; and Philippe Sly is to have a leading role in a been made for the coming season. Plans for a new brochure McGill Student Opera Production of La Bohème. As and a logo for the NCOS are underway. There was unani- usual the potluck food and drink were excellent but noth- mous support to ask Gerald Finley to be our new patron. His ing could equal the fresh corn and tomatoes right out of positive answer was most gratifying. We shared news of the the Pflugs’ garden - another expression of their bound- Brian Law Competition family: Joshua Hopkins with a full- less hospitality. page photo and article in Opera News, excellent reviews for his roles in two operas in Santa Fe, and notice of his partici-

Newsletter Editors David Williams Tom McCool

Opera Alla Pasta — Sunday Afternoon at the Opera

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October 3 (Double Bill) November 7 Fidelio Henry VIIIAct 3 I due Foscari Beethoven Saint-Saëns Verdi & Walter Felsenstein’s 1953 acclaimed film with Richard Holm, Magda Laszlo, the Based on Byron’s The Two Foscari this The annulment conflict between Vienna Symphony and State elaborate La Scala 1988 production with Henry and Catherine of Aragon Opera Chorus under the direc- Renato Bruson and Linda-Roark-Strummer sets the stage for a “grand opera”. tion of Fritz Lehmann is both under the direction of Gianandrea Gavazenni 1983 production by the Théâtre moving and thrilling. brings out the full beauty of Verdi’s score. Français de la Musique. Reserve by Sept 29 by calling 613-721-7121 (Elizabeth Meller) Reserve by Nov 3 by calling 613-721-7121

In 2011 March 6: The Bartered Bride (Smetana) May 15: Der Freischütz (Weber)

2 Fall 2010 NEWSLETTER • BULLETIN Automne 2010 Music Triumphs in Opera Lyra's Turandot by Murray Kitts The popularity of Puccini’s last opera depends to Turandot, the princess made of ice, is a much more some extent on lavish sets which accompany the difficult task for any singer. Lori Phillips, possessing a exotic-sounding music. Opera Lyra has had to voice which is powerful yet beautiful, proved capable choose between a production approaching the of surmounting all the vocal technical difficulties with Met’s Zeferelli extravaganza or a more modest one apparent ease. At the same time she had to cope with (this one from Opera Carolina) using the money an elaborate costume, albeit magnificent, while man- saved to hire the best voices available. I think that aging to climb up and down sets of stairs. There was the latter choice proved to be the best one. After much in the stage direction by Brian Deedrick to ad- all, Opera Lyra has the great NAC orchestra to mire. His handling of the chorus and especially the start with and, augmented as it was by at least a children was admirable. However the presence of a dozen musicians, the orchestra played magnificently number of mobile platforms, although moved about under the direction of Andreas Delfts. The Opera quite skilfully, led to some staging problems. The beau- Lyra Chorus under Laurence Ewashko has once tiful children’s chorus at the entrance of Turandot was again proved that they can tackle any score bril- sung well to the back of the stage. The parade of the liantly. Right from the start the audience knew that the cast had been very well chosen with the en- Right from the start the au- trance of the powerful voice of the Mandarin, Gene dience knew that the cast Wu. Benoît Boutet was a memorable, magnifi- cently garbed, Emperor. The three imperial coun- had been very well chosen cillors: Ping, Aaron St. Clair Nicholson, Pang, James McLean, and Pong, Michel Corbeil, were executioner’s men with the head of the Prince of Per- obviously chosen for their accomplished acting skills sia (designed to further dissuade Calàf) went unno- as well as for vocal abilities. Their comic “turns” in ticed by many in the audience. This could have been the first two acts captured the commedia dell’arte corrected by better use of lighting effects. As a matter conventions of Gozzi’s play. Peter Volpe portrayed of fact, I found the lighting and projections in Act I to the bravery and despair of the blind king Timur with be rather weak. For example, if the libretto mentions his excellent bass voice. Richard Margison as Calàf the image of the moon as a severed head then surely is still able to produce those high notes and to thrill the moon itself should be shown. The lighting effects audiences with his solos. Puccini knew what he was improved greatly in the last two acts. To sum up, this doing when he introduced the character of Liù into masterly opera by a great opera composer was given the story. Shu-ying Li’s performance in this role an outstanding performance with the two sopranos was genuinely moving and sung to perfection. especially notable.

NCOS Board of Directors 2010-2011 President Murray Kitts Publicity Renate Chartrand Past President Bobbi Cain Ute Davis Vice President Ute Davis Events Peggy Pflug Secretary Jean Saldanha Pat Adamo Membership Vera-Lee Nelson Elizabeth Meller Treasurer Gordon Metcalfe Webmaster Jim Burgess Website: http://ncos.ca

3 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

Another Great Glimmerglass by Shelagh Williams

After forsaking Glimmerglass Opera (GGO) for Santa office! However, all of the black of costumes and Fe Opera last summer, we returned to our old favourite walls was quite ominous. Jeff Harris’s lighting this summer and immersed ourselves in four operas in played up this feeling, especially in the scary sec- three days: Puccini’s , Handel’s Tolomeo, ond act, yet managed to distinguish the initial church Copland’s The Tender Land, and Mozart’s Marriage setting and the final outdoor dawn scene visually of Figaro, plus a delightful concert by the Young Ameri- for us. Although updated to between the two World can Artists Program (YAAP) entitled Killer B’s: Ameri- Wars, Puccini’s era, it worked if you ignored the can Song from Amy Beach to the Beach Boys! actual text! Matthew Pachtman gave Tosca some GGO prides itself on new productions for its nice gowns - attractive yet sensible day dresses yearly offerings, but this year, in a thrifty response to and a stunning pristine white evening gown in which the economic conditions, enlisted Donald Eastman as to confront Scarpia and his black-clad menials in set designer for all four operas, commissioning him to the second act. Wielding the baton was the GGO “repurpose” his 2005 set for Death in Venice, yet not Music Director, Brit David Angus, who ran a tight damage it so that it could not still be rented out intact to ship musically, matched by director Ned Canty, other opera companies to use for that opera! This re- who was sparing of big gestures, but told the story sulted in the same floor and footprint in a unit set for all well, if sparsely, with no unnecessary or expensive four operas, with the original black walls serving Tosca directorial whims. Fortunately, the money was and Tolomeo, and new white walls plus backdrops for spent on the singers, three magnetic young Ameri- Tender Land and Figaro - quite a brilliant concept cans. Baritone Lester Lynch was a merciless, evil actually, with suitable set dressing to accommodate each Scarpia, winning some boos at the curtain call, while opera. We watched the stage crew on Saturday do the good looking Adam Diegel hit his high notes changeover from Tolomeo to Tender Land, and the while singing strongly and beautifully. Soprano Lise heads of the technical teams in their commentary men- Lindstrom, fresh from her Turandot at the Met, tioned that the expense of a special floor change team gave us her first essay of the title role. She was of 16 or so was also saved this year. I can remember in capable of not only singing the role but also look- a changeover witnessed many years ago watching a very ing and acting the part so that we could feel for her complicated raked stage being painstakingly and ex- in her predicament. In spite of being the sparsest pensively put together for the evening show! However, Tosca I’ve ever seen, Glimmerglass had a winner the story of the problems and pitfalls of trying to supply in this production! tall wheat (6’ was wanted!) for the background of the The next afternoon was Tolomeo, in an Tender Land kept us in stitches, and set one to won- entirely different opera form, a baroque opera seria dering how much that particular conceit of the director about Royalty. The story is a typical convoluted or designer had cost the opera company! The com- Handel “romantic comedy”. Deposed King mentators also mentioned that the “repurposing” was Tolomeo of Egypt and his wife Seleuce have been not entirely a matter of economics - the company on exiled separately to Cyprus, where they live dis- which GGO relied to build some of the sets had gone guised as shepherds, while seeking each other. The out of business, leaving GGO to build all four of their local Royals, Princess Elisa and her brother, King sets themselves in house. Behind the scenes can be as Araspe, are, in turn, surprisingly, in love with the interesting as what happens on stage! two supposed shepherds, who are of course not The production of Tosca was an extremely fine interested. Enter Tolomeo’s brother Alessandro one, with all aspects contributing to its overall quality. and a potion to further complicate matters but, by The setting lacked the sumptuousness of other produc- the end, the Egyptian Royal couple and Elisa and tions - no bishop or procession in the church, and only Alessandro are happily paired off and sadness turns typewriters with no couch for seduction in Scarpia’s to joy for everyone but Araspe. The black walls

4 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

Another Great Glimmerglass(continued) of the unit set, with various backdrops and a lot of Alessandro, and even Araspe, so that we finished with imagination were used by director Chas Rader- the ladies in white satin slips and the men in various Shieber, with lighting by Robert Wierzel, to por- humorous underwear to lark about happily and leave tray the various scenes. To suggest the ocean we us with a smile on our faces as marital constancy and saw a goldfish in a bowl and a huge swordfish swim- brotherly love prevailed. GGO, which has now staged ming across the back, for the shipwreck a toy boat 8 different Handel operas since 1995, has been impor- broken in two, and for a windstorm five antique tant in the revival of Baroque opera in the US, and this electric fans. The light-hearted range was from production, the North American professionally-staged quaint to humorous to absurd. Rader-Shieber cer- premier of Tolomeo, showed why - first-rate musical tainly kept one’s attention without too much up- values coupled with interesting and inventive staging staging of singers and their arias, except for the making for another great performance! addition of three supernumeraries, dressed as an- That evening was The Tender Land, originally cient bewigged footmen, who excruciatingly slowly commissioned for TV, but actually premiered at NYC moved furniture, pushed brooms and watched the Opera in 1954, and also a relatively rarely performed singers, definitely distracting from the singing! The opera. One reason may be that it was written for young costumes, by Andrea Hood, were stylish but as people, but is too difficult for college age singers, espe- bizarre and inconsistent as the set and props - and cially the lead role of Laurie, written for an 18 year old therefore in keeping with the overall concept! Do with Wagnerian capabilities! Fortunately, GGO’s YAAP not, however, let all this detract from the fact that class of 2010 - 38 chosen from a field of 700-800 ap- the opera was beautifully played and sung under plicants - was of sufficient calibre to select the total cast the superb direction of Scottish conductor and ba- from its members - another cost-saving measure! roque specialist Christian Curnyn, plus a nifty little Tazewell Thompson, who directed the original Death continuo consisting of harpsichord, theorbo and in Venice whose set was reconfigured for this summer’s baroque cello, in the right hand corner of the pit, operas, had Donald Eastman provide worn white clap- raised to keep an eye on the singers! The smaller board walls for The Tender Land, plus the aforemen- roles were taken by two excellent YAAPs, bari- tioned wheat backdrop for authenticity. Thompson tone Steven LaBrie, in red dandy outfit and top hat matched the setting with good straightforward, unpre- with feather plus devilish goatee, to play the villain- tentious direction of the rather uninspired libretto. Farm ous Araspe with great glee, and mezzo Kate girl Laurie Moss, about to be the family’s first high school Mushegain in the pants role of Alessandro. As the graduate, wishes to escape the farm and overbearing ever-faithful Seleuce, soprano Joelle Harvey sang Grandpa Moss. She suddenly falls in love with Martin, her lovely laments heartrendingly, maintaining her the younger of the two newly hired men, and hopes to regal poise despite whatever stage business was leave with him. However Top, the older, makes Martin going on around her! Canadian mezzo Julie realize he really has nothing to offer Laurie, and early Boulianne had the juicy role of Elisa, which she on the morning of graduation day the two men depart sang and played to the hilt, bringing out all the com- without her. Implausibly, Laurie still decides to leave edy of a man-hungry vixen in bright red curly hair on her own, that very day. Andrea Hood of the stylish and matching red ankle boots! As Tolomeo, coun- Tolomeo here used borrowed 1930s clothing from tertenor Anthony Roth Costanza, in jeans and a Juilliard’s costume archive for a shabby but All-Ameri- long frock coat, with a beautiful clear voice, made can feel, with Robert Wiesel providing the prairie light- his invariably sad character still believable and like- ing. Emeritus Music Director and YAAP founder able. And then at the end, the reunited Tolomeo Stewart Robertson returned to conduct the lush score and Seleuce threw off their outer garments in joy, with the full GGO orchestra and his talented protégés. followed by Elisa and her new boyfriend These included Canadian tenor Chris Lysack who sang

5 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

Another Great Glimmerglass(continued)

the mailman Mr. Splinters, bass-baritone Joseph fessed in the pre-show chat that Figaro is his Marron as Grandpa Moss, and baritone Mark Dia- favourite opera, and it showed in his work with mond as Top. As the young couple, tenor Andrew his first class singers and orchestra! Mezzo Stenson and soprano Lindsay Russell both had the Aurhelia Varak was charming in the pants role lovely voices and good acting skills to pull off their of young Cherubino, soprano Haeron Hong was roles. This was a brave attempt, but the result did adorable as his scatterbrained girlfriend not feel totally professional, and there are clearly Barbarina, baritone Robert Kerr was believ- reasons why this opera is not often performed! able - and sober! - as her father the gardener Fortunately, we finished off with a marvel- Antonio, and tenor Alex Monsoori was lively lous “traditional” performance of Marriage of as Basilio, but bass-baritone Mark Schnaible Figaro. Canadian Leon Major directed the opera did not have the presence he should have had, with care and thoughtfulness, and in this case as the Count - he certainly didn’t act like top Eastman’s unit set was the white wood one with dog! In 2008, soprano Caitlin Lynch sang the added wainscoting, plus a back wall encompass- Countess successfully in Ottawa for Opera Lyra ing double doors and windows to accommodate Ottawa, and so of course here sang with the the various scenes and comings and goings in the facility of practice and with feeling. In the piv- opera! The designer even suggested that the slightly otal role of Susanna, Russian soprano Lyubov worn aspect of the walls of this country estate mir- Petrova - the charismatic GGO Cleopatra of rored the Count’s own lack of concern for his wife two years ago - showed again what a good ac- and property. The costume designer, Matthew tress and fine singer she is. But of course, this Pachtman again, in this production set in 1905, opera lives or dies on its Figaro, and in bass- has given us beige and cream Edwardian clothing, baritone Patrick Carfizzi we had just the ticket: with the only colour on Susanna - whose story it a first-rate voice, and an active and clever ac- really is in this production - in a lovely blue dress, tor, with a good comedic turn - need I say with the Count looking rumpled, in his linen suit, more? It was a great way to end our long week- and not at all in charge! Major ensured that any end of operas at GGO, with its always excel- jokes came logically from the story and situations lent music values. of the opera, rather than being added on indis- This year we decided to try the Road criminately. Some clever bits of stage business Scholar programme run by “Explore New really enlivened the proceedings, especially in Act York”. It included such excellent presenters as I: Figaro and Susanna’s little wrestling match, and singer and Yale University Music faculty mem- Figaro’s not marching Cherubino off to war, but ber Daniel Egan, GGO Principal Coach and instead delightfully giving Cherubino his first shave, harpsichordist David Moody, and GGO Music setting it up exactly as in the shaving scene of Bar- Director and conductor David Angus. A high- ber of Seville! Throughout Don Basilio was quite light was a Sunday morning session with Lind- active, and kept turning up, comically eavesdrop- say Russell, the morning after she had sung ping and keeping an eye on things! Ingeniously, in Laurie in Tender Land, and Patrick Carfizzi, the complicated final act, a large wagon dominated just before he was to sing Figaro in Marriage the stage and provided umpteen hiding places on, of Figaro! Their enthusiasm for opera was in- under and beside it, as various lovers, disguised fectious and their insights into their profession, and otherwise, flirted and tried to evade detection though at different stages, were most enlighten- while seeking to embarrass the philandering Count! ing. Overall the programme was an excellent Our conductor was again David Angus who con- experience.

6 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

Events You Could Have Enjoyed by Shelagh Williams

Fringe Festival: Two shows which we saw merit Yannick-Muriel Noah and Festival Pontiac mention and indicate that there is lots of music out Enchante: Jean Desmarais has established a music fes- there - you just have to find it! Vancouver opera tival in the Pontiac, and on a Sunday afternoon in late singer turned cabaret chanteuse Lindsay Sutherland July we enjoyed a superb concert by Yannick-Muriel Boal presented Purely Cabaret, based mainly on Noah, accompanied by Jean. Muriel capped off a the underground songs of the Weimar Republic, programme of beautifully sung art songs in French, En- sung in German or English. She and pianist, Elisabeth glish and German with four brilliant operatic arias plus Scholtz, provided a lively, lovely partnership for two encores. CBC was there, recording, and they these sometimes witty, sometimes tender, often bit- broadcast the programme on Ottawa TV on Sept.. 4th. tersweet melodies. Completely different was the dance rock opera The Duck Wife, based on an Chamberfest: For Chopin’s 200th birthday ancient Inuit myth. An epic journey was brought to Chamberfest supplied us in one concert with two sets life by Inertia Productions through song, dance, the- of his songs, sung beautifully in Polish by a soprano and atre and very loud live rock music played by the a baritone respectively, plus a lovely sonata for cello band Grub Animal. The music was not perhaps to and piano - who else had heard or even knew about our taste, but the whole was certainly interesting - these works? Having travelled to Toronto to hear Ca- and won Best of Fest for their venue! nadian Brett Polegato sing at the COC, it was a plea- sure to have him debut here at Chamberfest in a Music and Beyond Festival: Julian Armour re- programme of both well known and rare English lan- turned, bringing the usual heat wave and his own guage songs from the British Isles and the States, which inimitable repertoire choices! Ottawa’s own Donna suited his rich baritone beautifully. Brown - she of the heavenly creamy soprano - gave a sublime Shepherd on the Rock accompanied by Shaw Festival: The Shaw gave us the hilarious, tune- Menahem Pressler on piano and Ross Edwards on ful hit musical One Touch of Venus, with marvellous clarinet! The next day she returned with pianist music by Kurt Weill and clever lyrics by Ogden Nash, Stephane Lemelin for a set of Mahler songs, set in delivered by a cast that could sing, dance and deliver a context by music writer and incomparable racon- one-liner with the best! teur Norman Lebrecht. For opera lovers, the Bos- ton vocal ensemble Tapestry presented the fully Stratford Festival: Monday evening's Night Music costumed world premiere of The Tale of the White featured Barbara Fulton, in a concert of tunes from the Rooster, a delightful chamber opera for voices, 1920s to 1960s. The rock opera Evita, with Chilina percussion and Tibetan bowls. The four rich female Kennedy and Juan Chioran was given a superb pro- voices blended beautifully in this Tibetan Buddhist duction - though with more rock music in it than I re- tale, commissioned by the Smithsonian and, as the called - or am I getting older?! Cole Porter’s clever composer told us, scheduled for its Washington, music and lyrics made Kiss Me Kate very funny, with DC, premiere the following week! The magnificent good production values and lots of humorous stage British Hilliard Ensemble, in its first-ever Canadian business, all performed with super energy. Jacques Brel appearance, presented a concert of superbly is Alive and Well and Living in Paris, starring Brent blended early music From the time of Caravaggio Carver, was presented with a nice intimate, cabaret feel, - quite breathtaking! It was hard to believe that only but it was more nostalgic and less gritty than I remem- four voices, a capella, could so fill the church and bered. King of Thieves, a newly commissioned musi- surround us with music. Later in the week there were cal by George F. Walker with a cynical edge, was in- our own lovely Ottawa Bach Choir and then Daniel spired by The Beggar’s Opera, composed and con- Taylor’s peerless Choir of the Theatre of Early ducted by John Roby, and staged in the new Studio. Music doing Music from the Sistine Chapel.

7 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

A New Vision for Glimmerglass by David Williams

Francesca Zambello officially assumed the role of Gen- Evening, an opera based on five Edward Hopper eral & Artistic Director at Glimmerglass Opera on Sep- paintings. tember 1, 2010 when she succeeded Michael New in 2011, the company will host a MacLeod, who held the position for five years. An Glimmerglass Festival Artist in Residence. American, who grew up in Europe, she speaks French, Each summer, an Artist in Residence will join the Italian, German and Russian. She has a vast interna- company for the season and be fully integrated into tional experience in directing operas, musicals and the- the Festival. The inaugural Artist in Residence will atre and has received significant awards from many be who, in addition to starring in countries. Zambello has a vision for Annie Get Your Gun, will per- Glimmerglass and brings with her form special solo performances many new ideas to revitalise the throughout the summer and organisation.The first is to rename work closely with members of Glimmerglass Opera as The the company’s Young American Glimmerglass Festival beginning Artists Program. Coincidently with the 37th season which will run Voigt will star in Puccini’s La July 2 through August 23, 2011. Fanciulla Del West in the com- The company will continue its tra- ing season at the MET which will dition of four new fully staged pro- give us an interesting comparison. ductions, but instead of four operas Also new in 2011, The the season will change to three op- Glimmerglass Festival will eras and one piece of American present Meet Me at the Pa- musical theater, performed as in- vilion, a series of special per- tended with full orchestra, large cast formances and lectures that will and no sound amplification. These take place in the company’s four productions will be supple- Thaw Pavilion next to the Alice mented by special performances, Busch Opera Theater. These cabarets, concerts, lectures and photo by Claire McAdams performances will be presented symposiums throughout the season. all summer and will consist of Zambello has said: Our new name reflects our new concerts, lectures, post-performance discussions breadth of activities and spirit of adventure. My with cast and crew, and performances by mem- goal is to have a variety of offerings, so you can bers of the Young American Artists Program. The come to a concert or reading in the afternoon, have Glimmerglass Festival will also introduce a picnic, go to the opera, and then stay afterward ShowTalk, a series that will take place over three for a cabaret. weekends and two weeks in August when visiting In 2011, The Glimmerglass Festival will present scholars and artists will explore topics related to new productions of Bizet’s Carmen, Berlin’s Ameri- the Festival productions. Zambello says we should can classic Annie Get Your Gun and Cherubini’s rarely anticipate an eclectic mix of cultural and criti- performed Medea. Additionally, a double bill of two cal perspectives on music, theater, art and ideas. new one act operas about American artists will feature Unfortunately, most of us in Ottawa only visit the world-premiere production of A Blizzard in Glimmerglass for a few days to see the main stage Marblehead Neck, a Glimmerglass-commissioned performances and consequently, will miss many of work by award-winning composer Jeanine Tesori and these new ventures. Hopefully, those who live close librettist Tony Kushner, and the professional premiere enough will visit frequently so that The Glimmerglass of John Musto’s and Mark Campbell’s Later the Same Festival can succeed financially as well as artistically.

8 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

Events You Could Enjoy by David Williams

Ars Nova: World-class soprano Isabel St. Luke’s Anglican Church: Pauline van der Bayrakdarian, accompanied by pianist Serouj Roest, Lara Ferreira (soprano), Ken Trudell (tenor), Kradjian, will perform favourite works by Handel, amd Thomas Franzky (bass) will present a concert of Mozart and more in a recital entitled Sing, Heav- opera arias, etc. on October 3, 2010 at 7:30pm. Lo- enly Muse. Wednesday, November 24, 2010 - 7:30 cation - 760 Somerset Street West. Information: (613) pm at St. Andrew’s Church (Kent at Wellington). 235-3416 or www.stlukesottawa.ca Daniel Taylor and the Theatre of Early Music present a special Christmas concert entitled The Ewashko Singers: A concert in celebration Star of Wonder which will feature Bach’s Christ- of the 200th anniversary of the births of Chopin and mas Cantatas. Wednesday, December, 22, 2010 - Schumann will feature guest artist soprano Maria Knapik 7:30 pm, Knox Presbyterian Church (Elgin at on October 23, 2010 at First Unitarian Congregation of Lisgar). Ottawa, 30 Cleary Avenue, and will commence at 7:30 Information: www.arsnova.ca or 819-328-9447 pm. For tickets or information, [email protected] or Doretha Murphy at 613-565-3993 Cathedral Arts: Soprano Marie-Josée Lord will present a recital on Sunday, Oct. 24, 2010 at Ottawa University: Music at Tabaret will feature 7:30 pm. Award-winning Marie-Josée Lord, has a concert by Donna Brown on October 22nd at 8:00pm been featured in many CBC broadcasts, and has Location - Tabaret Hall. Information:“613-562-5800, performed in numerous operatic productions. ext. 3611 Yannick-Muriel Noah and the Christ Church Cathedral Boys’ Choir will present a Ottawa Baroque Consort will present Matthew Christmas Concert on Saturday, Dec. 18, 2010, White in Concert, Saturday September 25, 2010 - at 8:00 p.m. This concert is being presented in 8:00pm at St. Giles Presbyterian Church - Bank and collaboration with the Ottawa Bytown Rotary Club First Avenue. www.ottawabaroque.ca in partial support of the outreach program of StreetSmarts to help homeless individuals of all National Arts Centre: A Kinderconcert, backgrounds. Annabelle Canto will be presented November 21, Both concerts at Christ Church Cathedral. 2010, featuring Christina Tannous, soprano and Information: 613-567-1787 or www.cathedralarts.ca Dominic Boulianne, piano.The amazing story of a young opera singer who happens to lose both her voice and OLO Opera Studio: On September 30, 2010 her memory on the morning of an important concert... bring your lunch to the NAC Fourth Stage at noon how unlucky can you get?All concerts are held in the and enjoy a free concert featuring artists of the Panorama Room at the National Arts Centre. OLO Opera Studio as they perform a 50-minute English performances: 9:30 a.m. 11 a.m. 1:30 p.m. concert. Admission is free, general seating, cabaret French performance: 3 p.m. style. A Night at the Oratorio: Jean Desmarais with sing- Orpheus: The Broadway musical Annie will be ers Lacroix, Woyiwada, O'Hearn, Jost, Parmer, presented November 12-21, 2010. Annie is based O'Farell, Brown and Lawlor will present a concert at upon the popular Harold Gray comic strip Little Tabaret Hall, October 8 at 7.30 pm. Orphan Annie, with music by Charles Strouse, lyrics by Martin Charnin, and the book by Tho- Savoy Society: A fundraising concert version of mas Meehan. Information: the Merry Widow will be presented December 6, at www.centrepointetheatre.com or call 613-580-2700 the Unitarian Church, Cleary Avenue.

9 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

A Whale of an Opera by Ute Davis On 30 April 2010 I was privileged to attend the opening night of Moby-Dick, the brilliant new opera with music by Jake Heggie (Dead Man Walking) and libretto by Gene Scheer. This took place at the Winspear Opera House in Dallas, Texas which only opened in October of 2009, blessed with excellent acoustics, courtesy of acoustician Robert Essert, responsible for the same at the COC Toronto Four Seasons Centre for the Performing Arts. I think we all know the Herman Melville novel about the manically obsessed Captain Ahab’s duel with the great white whale and here the major potential for a staged drama has been fully realized. However the long, tedious descriptions and symbolism had to be removed, preserving the underlying psychological drama of Ahab ver- sus Whale and concurrently of Ahab versus his more ob- jective first mate, Starbuck.The sailor’s yarn is clearly and well told and the music of Heggie proves emotional and beautiful and helps move the plot forward in a way rarely Photo: Almond (Dallas Opera) found in modern opera. The lush tonal score and colourful instrumentation lead to comparison with Puccini as well as tenor – who rose triumphantly to the occasion - one of shades of Gershwin and even Wagner. the most challenging and rewarding roles of his land- Even for Texas the staging seemed huge and was mark career”. This was Ben at his best, combining lyri- extremely ingenious. Credit is due to director Leonard cal grace and heroic vocal powers. The opera proved Foglia, set designer Robert Brill, lighting director Donald to be a physical challenge for Ben as well. There are Holder and especially to projection director Elaine several stories about the peg leg in circulation, which McCarthy. This opera breaks ground with a single white caused some circulation problems of its own. Suffice it planked rear wall, convex to the audience, fitted with metal to say that the resultant relative lengthy immobility on rungs for the singing sailors to hold onto. This serves con- stage further focuses attention on him. vincingly as a backdrop for projected images, allowing the The chorus, all male, performed in excellent cast to leave the Pequod and man the whaling boats. fashion on stage and from the pit, under the leadership The overture is played to a captivating series of of Alexander Rom. The cast was uniformly of very high night-sky projections, the multiplicity of stars yielding to a quality. I was particularly impressed by baritone Mor- lesson in astro-navigation and finally merging to the outline gan Smith’s subtle portrayal of the conscientious first of the huge bow of the whaling vessel Pequod headed mate Starbuck as a contrast to the obsessed Ahab. His straight at our front-orchestra seats! diction is superb, not always the case with American The curtain rises to reveal the foreground com- singers. Jonathan Lemalu, who hails from the South Sea plex of masts and rigging of the Pequod. As in a real square- Islands, proved another excellent piece of casting as rigged vessel, you must be swift and sure to work on this set. the harpooneer, Queequeg. Talise Trevigne, the sole For this huge production and intense drama, Ben female on stage, sang the cabin boy Pip with great in- Heppner became the obvious choice for Ahab. One is at tensity adding to the impact of his drowning death. Tenor times reminded of a comparison with Peter Grimes. To Stephen Costello as Ishmael, but known in the opera quote Dallas critic Wayne Gay, “Ben Heppner, the lead- version as Greenhorn, turned in a performance worthy ing dramatic tenor of our times, was born to musically of a major premiere, as did baritone Robert Orth and embody Ahab”. And William Littler reports “Sheer and tenor Matthew O’Neill in most noticeable secondary Heggie....have given Ben Heppner, Canada’s foremost roles of Stubb and Flask. (continued on page 11)

10 Fall 2010 NEWSLETTER • BULLETIN Automne 2010

(continued from page 10) delighted to see some Canadians at the stage door. Conductor Patrick Summers, long associated The Moby-Dick saga will not end in Dallas. It was with Jake Heggie creations, was thoroughly impres- co-commissioned by four other companies. Ben has only sive, adding this experience to his extensive reputation been contracted to sing Ahab in San Francisco in the fall in modern opera. He will be remounting Dead Man of 2012. Enterprising Calgary Opera had not realized that Walking in Houston early next year, with Frederica Mr. Heppner would be engaged at the Met in the winter of von Stade performing in it for the last time. They are 2012, when they expected him to follow up his Ahab in scrambling to find the money for a DVD version. Canada. They have asked John McMaster to sing instead. The applause was the longest I have experi- I am not aware as to whom San Diego, February 2012, or enced in North America. The audience went truly wild the State Opera of South Australia, September 2011 will and clapped and screamed with delight for a full 10 engage for their respective productions. Let’s hope this is minutes. The cast danced off the stage in daisy-chain not the end of the list and that Ahab and the Moby-Dick fashion with huge grins on their faces. Ben was truly will live forever. Pellegrini Opera presents Don Giovanni by Ute Davis tivated his audience. Stephanie Piercey sang beautifully This slightly edited version of the Mozart/da Ponte work as a powerful Donna Elvira and Chantal Parent overcame with recitative in English, but the arias in the original a nervous start to fulfill the role of Donna Anna well. Mean- Italian, allowed the large audience on 24 April of this while Rory McGlynn’s clear tenor tone made a convinc- year at Dominion Chalmers Church to keep up with ing Don Ottavio, although he appeared to be tiring in the the plot and to enjoy the touches of humour subtly later stages. intermixed with the drama. The artistic direction of As the “youngsters”, Zerlina and Masetto, Nicole Maria Pellegrini and stage direction of Vincent Tho- Bower and Mark Gough both sang very well and showed mas maintained a light touch to leaven the dramatic a delicate mix of coquettish behaviour and rustic simplic- morality play, while the work of very talented pianist ity to be totally convincing. Fred Bradley back-stopped Michel Ross and conductor Christian Paquette did the the production as a stentorian and unrelenting music full justice. Commendatore. The cast was of good calibre, substantially All in all this was a highly successful production, stronger than that of Pellegrini Opera’s first Don well received by the audience and a great credit to the Giovanni in 2004, indicating how far the company Pellegrini-Thomas team. A final note is a nod to the un- has progressed in the interim. sung heroes, Jean E. Hudson and her assistant stage man- Luc Lalonde sang a strong Don and acted well, agers as well as technical manager Carlo Verdicchio, with though fundamentally he might just be too nice a guy keen son by his side, who, among his many functions cov- for this role. As Leporello, Christopher Mallory again ered the departure of Don Giovanni to the nether world showed his great skill and versatility and he quite cap- with large and effective quantities of “smoke”.

Photo: Davis

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Viva Saratoga Springs! by Tom McCool Saratoga Springs, a small city in upper New York state, is ing La Scala, under a number of different titles, includ- a pleasant five hour drive from Ottawa through the ing Viva la Mama. It has also enjoyed increasing popu- Adirondacks on the way to New York City. Saratoga larity in the U.S.A. First performed in San Francisco in Springs is a popular tourist mecca in the summertime with 1977 it has since been presented by a number of other a multitude of attractions. The major tourist lure is the opera companies. The latest American staging was in Saratoga Springs Race Course, one of the most important July of this year when it was mounted by the Lake racetracks in the United States. The 40 day racing season George Opera Company in Saratoga Springs. begins in late July and runs until early September and dur- This opera is unique in that Donizetti composed ing the racing season horses reign supreme in Saratoga. the music and wrote the libretto as well. How he found Evidence of this is scattered throughout the downtown area the time to do both is remarkable because in 1827 in the form of numerous life-size statues of horses. How- Donizetti composed the music for five other operas – ever, if you should be one of those unfortunates who almost a lifetime’s work for many composers. The mu- doesn’t own a stable of stallions there is still much to enjoy sic is typical Donizetti so not surprisingly the music was in Saratoga Springs. There are many spas in the area and a highlight of the evening. The libretto was also first a whole range of outdoor activities such as golfing, hiking, rate. The plot revolves around the attempt of a regional hot-air ballooning, boating and so on. There are also ac- opera company to stage an opera seria. All the trials tivities of a musical nature. Saratoga Springs is the sum- and tribulations, conflicts and controversies that one mer home of both the Philadelphia Orchestra and the New might expect by bringing together a cast of opera sing- York City Ballet; both are resident in Saratoga Springs in ers as well as the director, conductor and composer July. As is the Lake George Opera, which usually stages are very much in evidence as the plot unfolds. two operas every summer: one very well known and one The “Mama” of the title (a bass dressed in quite obscure. Typical was this year’s offerings of Bizet’s women’s attire) is the mother of the second soprano Carmen and Donizetti’s Viva la Mama. It is the latter and manages to harass the first soprano until she quits that is the subject of this report the production. Then “Mama” takes over the role of the Viva La Mama, an opera about opera, began its prima donna herself. You can imagine the results. Viva existence in 1827 as a one-act La Mama is one of the few operas piece performed under the that can be considered a farce and name Le Convenienze as such requires superior acting, teatrali. It proved to be very skilled interaction among the per- successful but four years after formers, and precise timing. Farce, if its premiere in Naples not done well, can be painful to ex- Donizetti lengthened the opera perience but his production was any- to a two-act format and retitled thing but. The star of the show was, the work as Le Convenienze of course, the big burly bass (expertly ed inconvenienze teatrali played by Richard Holmes) who (Theatrical Seemliness and could not only sing and act but proved Unseemliness). Again, it was quite adept at running about the the- initially quite popular but nev- atre in high heels. Though by no ertheless faded into obscurity means one of Donizetti’s best operas, and was forgotten for well Viva La Mama was a very enter- over a hundred years until its taining comic romp. I do believe revival in 1963. Since 1963 Donizetti would have been happy the opera (in both its one-act with this Lake George Opera pro- and two-act versions) has been duction. I know the audience at performed in Europe, includ- Donizetti Saratoga was.

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Chautauqua's by Vera-Lee Nelson A beautiful midsummer evening, orchestra in this opera and he led them champagne, the cream of oper- where they needed to go. Jay atic music, what more could one Lesenger, the stage manager took full ask for? This year our annual advantage of the large open stage to week at the Chautauqua Institu- emphasize the three dimensional aspect tion included a performance of and extend the feeling of intimacy with Vincenzo Bellini‘s wonderful bel the audience. Every member of the cast canto opera Norma. As I have moved to support the action on the en- noted before, all the Chautauqua tire stage, and a big stage it is. The set opera presentations must be was simple, featuring an almost stark, sung in English if they are to be stylized silvery forest that was moved presented at Norton Hall, in accordance with the terms of the smoothly around the stage by the cast as the opera proceeded. bequest that funded the construction of the concert hall. Some- The costumes were richly coloured and ornate, perfect against how, I cannot even imagine how Bellini would be squeezed the almost monochromatic set and on stage in such a large venue. into the English language and fortunately others must have won- BarbaraQuintiliani was singing Norma for the first time. dered too. So the wise decision was made to present the op- And what a challenge; she is onstage virtually the entire time era for one night only, in the open air 5000 seat amphitheatre. and is singing on a ¾ thrust stage in an amphitheatre open to The Chautauqua Amp is the venue of all the major lectures, the any outside noises and passers by. She has sung at Chautauqua symphony and dance productions and the ecumenical church before, last year in Il Trovatore, but not in the Amp.I was services. It is roofed and there are complex and sophisticated totally impressed by her talent and beautiful rendering of the sound and lighting systems. The sides are open and the night music, her agility and flexibility in singing was most impressive . breezes waft through as the performances unfold. In true However she seemed rather stiff. I got the impression she had Chautauqua fashion, the screens for the surtitles were ex- to concentrate so thoroughly on the music that her dramatic actly placed so that they could be seen by all. interpretation suffered. One thing that worked especially well In preparation for the opera, I signed up for a 5 hour was the relationship between Norma and Adalgesa, the 2 fe- mini course on Norma, the opera. The first session began with males of the triangle. Elizabeth Bishop sang her part beautifully a short lesson on the proper way to make a Bellini cocktail. and her acting was well up to the plot. The voices of these 2 Such intoxicating beverages are not to be found in public so women complimented and supported each other extraordinar- we had only the recipe and were left to try it at home. Fortu- ily well. You really felt it when they came together and decided nately, it was peach season. The lectures were enhanced by how to proceed. Roy Cornelius Smith performed as Pollione , many DVD clips of past productions of the opera and the singing well and making his character deservedly unsympathetic. chance to hear the signature Casta Diva sung by Maria Cal- A true professional, acting and singing, was Philip Cokorinos las and Joan Sutherland, among others. On the last afternoon singing the majestic character of Oroveso. Although the part is we were invited to attend the dress rehearsal, an enchanting not large it is a key element in the unfolding of the plot and four hours. Returning for the performance on Saturday evening Cokorinos gave it everything it needed. The rest of the sup- I was well prepared with almost 8 hours of Norma prep under porting cast and the chorus were as outstanding as we have my belt. Would it be a surfeit of Norma, I wondered? The come to expect every year. Artists from the Young Artists pro- night of the performance came, we met our friends and took gram and apprentice and studio artists are an integral part of the seats we had psyched out beforehand to give us the view the productions of Chautauqua Opera. They rise to the high and sound we wanted. (Seating in the Amp is always open, standards set for them every year. with just an occasional section reserved for special guests.) This Norma was a brilliant experience for this audi- The Chautauqua Symphony began the overture and all the ence. I sincerely hope that future operas will be performed in magic that attends an actual performance took over. the Amp; it really works to give the audience the gift to become From the first bars it was obvious that the orchestra immersed in the opera, as well as doing justice to the lyrics sung and conductor Joseph Colaneri understood the place of the in the language in which they are written.

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And now for something completely different:

Carmen on Tap by Ute Davis

Julie, a natural Carmen, showed her usual vibrant mezzo skills and dynamic acting, well balanced by the plaintive melodic tenor tones of Steeve Michaud as Don José. The other members of the cast were strong with Maghan McPhee/Stewart singing a particularly pleasing Micaëla. Sean Watson was a very capable and enjoyable Escamillo. The piano accompaniment was Photo: Davis limited by the quality of the in- strument, but the production of- An interesting item on the Ottawa entertainment bill of fered some imaginative moves, as when Carmen ser- fare this summer was the production of La Tragédie de enades Don José using an ice cube filled metal cocktail Carmen in the Red Velvet dining room above Fat Tues- shaker (replacing the convential castanets) to reinforce day Pub in Byward Market. The three acts alternated the sexy rhythm as well as some distinctly pub-type with a three course dinner of quite typical “pub grub”, moves to cool his ardour! with an extensive choice of beers and wines. Julie Julie and her colleagues deserve high marks for Nesrallah initiated the production with an old colleague, the choice of opera and quality of production. Originally artistic director Brent Krysa, in an effort to bring opera booked for two performances, it was extended to four to a new, younger audience. evenings and was a sell-out for all of these. However seating Despite some inevitable limitations of space, light- was limited to 100 per show in this venue, with several pa- ing and the acoustic quality of the building, the produc- trons being rather unhappy with a largely “obstructed” view. tion was well presented by a very talented cast and was We hear rumours of the group wanting to repeat cheerfully received by the audience; at least the ones who their venture in another location, possibly Toronto and we were able to see from behind the forest of tables. look forward to perhaps another “on tap” opera in Ottawa.

The Opera Lyra Ottawa Guild presents Werther Starring Marcell Alverez and Elina Garanca Join us for a full-screen showing of this 2005 production of Massenet's opera. Wilkie Kushner will introduce this Vienna Opera production. October 31, 2010 at 1.00 pm The Auditorium, Library and Archives Canada

Minimum Contribution $20; Guild members $15

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Saturday Afternoon at the Opera The Met: Live in HD Season Wagner’s Das Rheingold – New Production October 2, 2010 October 9, 2010 at 1:00 pm; Encore November 20 at Kat’a Kabanova - Leoš Janácek 1.00 pm and November 29 at 6.00 pm , Markus Stenz, conductor Mussorgsky’s Boris Godunov – New Production October 9, 2010 October 23, 2010 at 12:00 pm; Encore November 27 The Merry Widow - Franz Lehar at 12.00 pm Lyric Opera of Chicago, Emmanuel Villaume, cond. Donizetti’s Don Pasquale October 16, 2010 November 13, 2010 at 1:00 pm; Encore December 4 Carlo, Re de Alemagne - Alessandro Scarlatti at 1.00pm and January 17, 2011 at 6.30 pm Stavanger Sinfoniorkester (Norway), Fabio Biondi, violin & conductor Verdi’s Don Carlo – New Production December 11, 2010 at 12:30 pm; Encore January 22, October 23, 2010 2011 at 12.30 pm and February 14, 2011 at 6.00 pm Genoveva - Robert Schumann MDR Radio Chorus and Orchestra, Jun Märki, Puccini’s conductor January 8, 2011 at 1:00 pm; Encore February 19, 2011 at 1.00 pm Canadian Opera Company Season October 30, 2010 Adams’s Nixon in China – New Production Idomeneo - Wolfgang Amadeus Mozart February 12, 2011 at 1:00 pm; Encore March 12, 2011 Harry Bicket, conductor at 1.00 pm

November 6, 2010 Gluck’s Iphigénie en Tauride Maria Stuarda - Gaetano Donizetti February 26, 2011 at 1:00 pm; Encore March 26, 2011 Anthony Walker, conductor at 1.00 pm

November 13, 2010 Donizetti’s Lucia di Lammermoor March 19, 2011 at 1:00 pm; Encore April 2, 2011 at Der Fliegende Holländer - Richard Wagner 1.00 pm Johannes Debus, conductor Rossini’s Le Comte Ory - New Production November 20, 2010 - encore April 9, 2011 at 1:00 pm; Encore May 7, 2011 at 1.00 Carmen - Georges Bizet pm and June 13, 2011 at 6.30 pm Rory Macdonald, conductor Strauss’s Capriccio November 27, 2010 - encore April 23, 2011 at 1:00 pm; Encore May 21, 2011 at 1.00 Otello - Giuseppe Verdi pm and June 27, 2011 at 6.30 pm Paolo Olmi, conductor Verdi’s Il Trovatore December 4 & December 11 TBA April 30, 2011 at 1:00 pm; Encore June 4, 2011 at 1.00 pm and July 18, 2011 at 6.30 pm December 18, 2010 The Toll Brothers "Live from the Met" broadcasts Wagner’s Die Walküre – New Production begin with Verdi's Don Carlo conducted by May 14, 2011 at 12:00 pm; Encore June 18, 2011 at Yannick Nézet-Séguin 12.00 pm and July 11, 2011 at 6.00 pm

15 Fall 2010 NEWSLETTER • BULLETIN Automne 2010 Opera Within Reach Ottawa Toronto Opera Lyra Ottawa Canadian Opera Company Aida by Verdi Hansel and Gretel by Humperdinck Oct 2, 6, 9, 12, 15, 18, 21, 24, 27, 30 Nov 2 & 5 October 23, 24, 30 & 31 in the NAC Fourth Stage Death in Venice by Britten Lucia di Lammermoor by Donizetti Oct 16, 19, 22, 25, 28, 31 Nov 3 & 6 March 26, 28, 30 & April 2, 2011 in Southam Hall at the NAC Performances are in the Four Seasons Centre Information: http://www.coc.com Information http://www./operalyra.ca Opera Atelier Orpheus Society Annie by Strouse Acis and Galatea by Handel October 30, November 2, 3, 5, 6 & 7 November 12-21 with matinees on Nov 14 & 21 at Centrepointe Theatre Performances are in Elgin Theatre Information:http://www.orpheus-theatre.ca. Information: http://www.operaatelier.com Montréal Opera de Montréal Syracuse Rigoletto by Verdi September 25, 29, October 2, 4, 7, 9 Syracuse Opera The Mikado by Gilbert & Sullivan Roberto Devereux by Donizetti November 13, 17, 20, 22, & 25 October 22 & 24

Performances are in Salle Wilfrid Pelletier at Place des Performances are in the Syracuse Civic Center. Arts Information: http://www.operademontreal.com http://www.syracuseopera.com

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