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Home , Adrianne Pieczonka, Alessandro Corbelli, Ambur Braid, Diana Damrau, Ildar Abdrazakov, Marina Rebeka

Fall 2011 | volume 19 | number 1

The COC presents Iphigenia in Tauris. A scene from the production, 2006. Photo: Robert Kusel

Return Undeliverable Canadian Addresses To: 227 Front St. E., Toronto, ON, Canada m5a 1e8 t 416-363-6671 f 416-363-5584 e [email protected] w coc.ca A gift to our friends Approximately 10 to 15 singers will perform in front of a A message from the general director stars of public audience and COC judges, including Alexander Neef, alexander neef General Director; Roberto Mauro, Artistic Administrator; Sandra Gavinchuk, Music Administrator; and Liz Upchurch, tomorrow Head of the Ensemble Studio. Along with guest panellists, Home to the best they will deliberate on location, and announce the COC Opens Doors to competition winners at the conclusion of the event. Further and their colleagues to make a great Exclusive Audition details will be released at a later date. season even more exciting. Process with New Ensemble Equally rewarding to me is the ability Studio Competition to bring the next generation of great artists to the COC. Erin Wall, Quinn For the first time in the history of the Canadian Opera Kelsey, Russell Thomas, Dimitri Pittas, in this issue Company, the final auditions for singers seeking to join Katherine Whyte, David Lomelí and Susan Graham: the Ensemble Studio training program will be made public Andriana Chuchman are among The iphigenia of our time through the launch of an annual vocal competition. The many making their debuts with us this inaugural COC Ensemble Studio Competition takes Sandra Gavinchuk Roberto Mauro Liz Upchurch season. Some of you may remember has it really been place on Nov. 28, 2011 at 5:30 p.m. in the Richard Bradshaw that Joseph Kaiser was a member five years? Amphitheatre at the Four Seasons Centre for the Performing The COC Ensemble Studio Competition is presented in part of our Ensemble in 2000/2001 and celebrating canada’s Arts, with the winners garnering a variety of awards by RBC Foundation. we’re pleased to welcome him back. glorious home for opera including offers of highly prized positions in the 2012/2013 And, as always, our Ensemble Studio Ensemble Studio. no exit: members and graduates, as well as ’s abuse of power Photo:Michael Cooper our exceptional orchestra and chorus, I have been living with 2011/2012’s led by Johannes Debus and Chorus may we introduce and program for a long time. In fact, with Master Sandra Horst, are featured welcome back: only one exception, it is the season prominently all season. the 2011/2012 ensemble studio artists that I proposed to the COC’s search Fostering young talent is always a committee when I was first approached priority at the COC and one of our about the position of General Director how we spent our new initiatives this year highlights summer holiday: in early 2008. I felt these operas would future Canadian artists even more – summer youth intensive offer COC audiences a very exciting the Ensemble Studio Competition. As journey through operatic history, with part of the annual audition process Rochelle de Goias, Trinity Jackman Alexander Josephson and Alexander Neef Brooke Marion, Lucia Cesaroni productions of value and nuance and, for our Ensemble Studio, this year the and Victoria Jackman and Ashleigh Semkiw not incidentally, four COC premieres. final round of Ensemble auditions Now that these productions have will be open to the public (see the Launching the Ensemble been chosen and cast, I am even more article on the opposite page for more Circle Membership Program convinced that 11/12 truly embodies information). The winners will be Join the Circle what the COC continually strives to be offered a place in the prestigious A gift to our friends – home to the best. program for the following year. As At her family home on the evening that confirmed, in no uncertain terms, as well as a ticket to the company’s Editorial Board: Over the course of this season you will anyone who follows the COC knows, of May 3, 2011, Canadian Opera opera’s relevance to contemporary annual fundraiser, Operanation 8: Robert Lamb, Company board member Trinity culture. More broadly, the launch A Muse Ball. A number of special see some of the most sought-after and watching these young artists over Managing Director acclaimed artists in the world. Singers, several seasons and seeing them grow Roberto Mauro, Jackman hosted an announcement party showed the exciting potential events designed to enhance the conductors and directors like Susan and develop into formidable talents Artistic Administrator party launching the Ensemble of Ensemble Circle membership operatic experience are also included Jeremy Elbourne, Graham, , Sir is a very rewarding experience. Plus, Circle, the COC’s new membership and the opportunity it brings for in the program, taking members Director of Marketing program for younger patrons. The ambassadorship of the art form. The behind-the-scenes with working Andrew Davis, COC Music Director there are few things more exciting than Claudine Domingue, Johannes Debus, Catherine Malfitano, telling your friends that you were there Director of Public Relations evening brought together over 150 initiative works to establish stronger rehearsals, the season opening and Russell Braun, Christopher Alden and when a star was born. Christie Darville, of Toronto’s arts-and-culture lovers connections between the company closing parties and post-performance Director of Development need no introduction to share in the exclusive festivities. and our younger audience. toasts with the artists. Join us this fall to see and hear all this Editors: anywhere in the opera world. It is an The highlight of the night was wonderful talent! Suzanne Vanstone, undoubtedly a special performance of The 2011/2012 Ensemble Circle is honour to be collaborating with them Senior Communications Manager, Editorial arias and duets from , Giulio open to an intimate group of 100 Gianna Wichelow, members. Membership includes one Senior Communications Manager, Creative Cesare and Lakmé, sung by COC ticket to three mainstage productions: Editors E-mail: [email protected] Ensemble Studio members Ambur For more information on the Ensemble ’s Rigoletto, Kaija Save time, save paper… Design: Endeavour Braid and Wallis Giunta, with bassist Circle, please contact Tracy Briggs Saariaho’s Love from Afar and the and save the COC mailing and printing costs! View Prelude online at coc.ca/Publications. Akki Mackay and electric guitarist (416-306-2305/[email protected]) Ensemble Studio performance of Sign up at coc.ca/Prelude with your Patron Number no later than Dec. 23, 2011 to indicate All information is correct at time of printing. Patrick Power accompanying the duo. or Stephanie Hunt (416-306-2353/ that you no longer wish to receive a hard copy of Prelude. If we do not hear back from you, George Frideric Handel’s , Front Cover: Costume design elements by It was an exhilarating performance [email protected]). we will mail your regular issue of Prelude in mid-January 2012. Michael Levine, set and costume designer for Rigoletto. Production originally designed for Lyric Opera of Chicago, 2000. Photo: COC 2 Prelude Magazine Prelude Magazine 3 hugely freeing. “I can go completely “I love the challenge of expressing the inside myself and sort it out human condition within a classical The Opera susan Graham: between me and the audience. form. I love bringing somebody like Exchange Every performance is different. It’s Cherubino [] emotionally exhausting, but extremely to contemporary life – to something Multidisciplinary Approaches to Opera the iphigenia of our time gratifying to perform. that people can relate to, but within the confines of classical form. And the “I love the opening storm scene – it’s same is true of Iphigenia. But where Delve into the social, political and By Suzanne Vanstone so brilliant. It’s been interpreted it is the strongest is in Handel. The artistic implications of selected COC in many different ways in various operas in this series of three in-depth In the world of opera, the ultimate goal, “Robert and I have talked a lot about heart-squeezing way that Handel has productions that I’ve been in, in something like “Scherza infida” symposia led by an array of academic of course, is to have the best artists in the how to play the character. She’s been specialists. Following a brief formal but in Robert’s production it’s a from . On paper it looks so arioAcosta world performing, conducting, directing on the island for a long time, and had lecture, each dynamic speaker D psychological storm. All hell is simple, but if you can squeeze blood and designing. This coming season is an this life thrust upon her while just a breaking loose in her head. It sets engages with the audience during a out of it, that’s the real challenge. question-and-answer period. exciting one for the COC, and in Gluck’s girl. She’s an adult woman but with a everything up so beautifully because Iphigenia in Tauris we are very proud kind of arrested development, and her And that’s what is so enjoyable. To All lectures take place at Walter Hall, she’s having a real crisis followed by make semi-predictable music sound to welcome celebrated mezzo-soprano life basically stopped when she was the intense introspection that comes Faculty of Music, , unpredictable. 80 Queen’s Park Cres. Susan Graham who makes her debut 14 years old and at the altar to marry after the storm. with us in a role she owns. Achilles. Diana snatched her up on “In Iphigenia we strive to express For program details and tickets SusanGraham Photo: her wedding day because her father “I do love performing this role. It has the universality of the story. The call 416-363-8231 Graham grew up in Roswell, New Mexico, Agamemnon had agreed to sacrifice four basic arias, a beautiful trio, and, or visit coc.ca/Explore. which she says was a pretty magical place but opera’s not the first thing that connection with family that defies her in return for favourable winds that the thing that’s really interesting rationality. And although we jokingly springs to mind there. She lived there until she was 12 and studied piano seriously allowed his ships to win the Trojan and groundbreaking for Gluck A Greek Family from age 7 to 18. Graham says, “We moved to Texas where there were competitions call it the ultimate dysfunctional Wars. On Tauris, Iphigenia was under is that there’s no secco recitative family, there is great suffering, great Reunion: Gluck’s for everything – from playing Beethoven sonatas to chili cook-offs! And my piano the power of King Thoas, who had a [accompanied continuo by a few solo and vocal studies were no different. frustration, great tragedy, great anger Iphigenia in Tauris premonition that he was going to be instruments i.e. harpsichord, cello, and great loss. Betrayal. Emptiness. “Music was so much a part of my daily life, but I didn’t have an awareness of killed by a stranger. Therefore he has ]. It’s all through-composed. Shock. Joy. And everyone has felt Saturday, Oct. 1, 2011, whether or not I had a voice. At age 16, I started taking voice lessons and was all strangers destroyed before they My friends who are violin those things. When Iphigenia realizes 9:30 a.m. to 12:30 p.m. also accompanying choirs so I was splitting my interests between singing and can get to him. He’s like the extreme players say, ‘We have to play that Orestes is in fact her brother, she every note of this opera – Discover the myth and music in piano. In my senior year of high school, I was cast as Maria in The Sound of paranoid schizophrenic.” experiences that wash of relief where Gluck’s incredible opera along with every single note! We Music and that started to tip the scale. I was not happy sitting behind the piano Graham pauses and laughs, “Iphigenia she doesn’t know whether to cry, laugh, experts from the University of Toronto can’t even stop to turn and Harvard University. This half-day anymore – I needed to be out in front of it.” In Midland, Texas, people assumed has a lot of stuff going on. Then she collapse or stand frozen. she would pursue a Broadway career. But in her senior year of high school, the the page.’ But it’s amazing symposium includes a live vocal discovers news from a stranger whom performance by Canadian soprano Texas Opera Theatre (the touring leg of Houston Grand Opera) came through because it holds the “I just did Poppea in Florence in she is instructed to kill (unbeknownst dramatic tension just a very non-period production – a Katherine Whyte (Iphigenia). Midland and performed Così fan tutte. Graham exclaims, “Wow. Mozart (which to her, her brother Orestes). She finds I’d played so often) and comedy, and hot chocolate? This is a good combination beautifully. Gluck generic era. But there was enormous out that her mother, Clytemnestra, was breaking freedom musically and dramatically. Long Distant for me! It seemed very difficult. Anybody could go do Broadway, but opera… that’s killed her father, and their son Orestes impossible. That’s what I want to do!” the mould. And that was another case of bringing Loving: Saariaho’s killed the mother to avenge his It was no contemporary perspective and father’s death. And she thinks, ‘But my Love from Afar Graham has performed the role of Iphigenia in Salzburg, Chicago, San Francisco, longer aria- expression to the second earliest opera Sat. Feb. 4, 2012 brother Orestes, whom I love so much, London, Madrid, the Met and Paris – three different productions, totalling over 50 applause, ever written. Sometimes the music 9:30 a.m. to 12:30 p.m. performances. Toronto will be the fifth city to present acclaimed director Robert is all I have left.’ Yet this stranger aria- of this period can seem to exist on a Carsen’s production. announces that Orestes is dead as recitative. higher plane, sort of untouchable. But A Wilde Time: well, not realizing that she is his sister. The drama we bring blood and guts and down- How does she keep this role, which she knows so intimately, fresh? She says, Craziness! keeps and-dirty intensity to it, which brings it Zemlinsky’s “What’s really interesting is the different conductors and whatthey bring to it. I moving and to life. The audience can then A Florentine haven’t met Pablo [Heras-Casado] yet, but I’m going to be working with him at “Whatever mindset any of us is in that pulling. breathe it, and touch it.” Tanglewood before I arrive at the COC and we’re actually performing two arias day, Robert lets us explore it and use Tragedy from Iphigenia.” it. The majority of time I am onstage Suzanne Vanstone is Senior Sun. April 22, 2012 by myself. No set, no props. It’s strictly Communications Manager, 10 a.m. to 1 p.m. Even with the numerous times she has performed his production, Carsen always personal expression. It’s the character Editorial at the Canadian gives her, and the other performers, leeway to shape and mould each performance. telling her story and what she’s going Opera Company. “Of all the productions I’ve done, Robert’s is so individually driven. It is very through.” Graham admits that in bare bones. It’s just us, in a black box. It’s a fascinating psychological journey. the beginning it was a challenge to The Opera Exchange is presented And Robert illustrates the story with dancers enacting all the murders, the chalk perform with in partnership with: disappearing on the walls as each family member disappears, and the water “so little.” onstage representing the blood of the family. Visually, very compelling. It sucks But then you into the psychological trap in which Iphigenia finds herself. it became FACULTY OF MUSIC The Opera Exchange is generously supported Right: The COC presents Iphigenia in Tauris. Susan Graham (centre) as Iphigenia in the Lyric Opera of by the Jackman Humanities Institute Chicago production, 2006 Photo: Dan Rest

4 Prelude Magazine Prelude Magazine 5 in us. We know that their time, effort and money is a commitment to us and we respect and acknowledge that. has it really been Hopefully those who are new to opera, or who may not be as familiar with an artist’s name or with a particular design five years? team, will take a leap of faith and share in compelling musical drama. celebrating canada’s glorious home for opera A key part in that drama, of course, is the artists. Singers, conductors, By Suzanne Vanstone directors and designers have also heard the buzz in the last five years and want Really? Can it be that ed Euridice marked the end of the General Director Alexander Neef has always maintained to be a part of what the COC offers. first five years in our new home, the Four Seasons Centre for that our house demands that we provide the best. And he While promoting our own acclaimed the Performing Arts? I suppose we should remove “new” continually strives to choose repertoire and artists that will Canadian artists we also continue to from our vocabulary, even though for many of us the be showcased to full advantage. Yearly, numerous COC discover new and exciting talent in building still seems as fresh and vibrant and welcoming as patrons travel worldwide to enjoy opera, and they experience other areas of the world and bring when we first stepped through its doors. And for some of us, a myriad of artists and productions. And they consistently them to our public. Our exceedingly it feels like it has always been there. tell us that they return to Toronto to experience equal, if not popular Free Concert Series, which also higher, levels of performance with the COC. launched in 2006, features another array For a few days in April 2006, we first opened our intimate of artists in various disciplines, and lets hall to students so that we could better test our new resource We want to continue to offer that high level of performance audiences absorb their performances with a full, but perhaps less discerning, audience. We to everyone. Alexander and the COC Board and staff in the beautiful, light-filled space of the nervously held our collective breath and prepared our ears tirelessly work to ensure that happens. And it comes down Richard Bradshaw Amphitheatre with for those first sounds that would ring through the hall. For urban vitality in full view. The focus of the building, however, Thousands of patrons have enjoyed its clear sightlines continues to be the intimate theatre and extraordinary sound. Encased in its own protective space of R. Fraser Elliott Hall. Thousands of patrons have enjoyed shell, the hall provides a peaceful framework for the its clear sightlines and extraordinary colour and soul of its canvas — the stage. sound. Encased in its own protective shell, the hall provides a peaceful over half the company’s life it had been a dream, and then to balance. Balance of repertoire, number of performances, framework for the colour and soul of its a resolute goal, to provide Canada with its first home built ticket pricing, satisfying our longtime subscribers and canvas – the stage. specifically to nurture opera and ballet. Years of effort were, attracting new ones, promoting Canadian artists as well What started as architect Jack we hoped, about to pay off. Late COC General Director as featuring those from around the globe – it’s a juggling Diamond’s rough sketch on a paper Richard Bradshaw raised his arm to conduct, and a child’s act. How do we continue to be accessible, consistent, and napkin, culminated in our translucent voice from behind him enthusiastically uttered, “Go for it, successful? opera house at the corner of Queen and dude!” And we were off. We have never been a company that is content to rest. University. We are privileged to engage In June of that year we held the inaugural concert and then, We are always pushing to find another way, a better our audiences in the true wonder of remarkably and somewhat unbelievably, we opened the way, a more compelling way to captivate our audience, opera, and have them rediscover that new house with an epic work – Wagner’s Ring Cycle. In for be it onstage, or in the many other endeavours we offer wonder each time they attend a COC a penny, in for a pound. And it has been our fervent desire, offstage. Part of being in the spotlight and of now having performance. We celebrate the past ever since that stellar opening, to provide opera audiences such an international profile, is to provide a footprint for five years in our permanent home with with the very best. other companies in which to follow. It’s not just about numerous emotions. Pride. Persistence. maintaining; it’s about growing, developing, risking. From From top: Conceptual sketch of the Four Seasons Centre for the Performing Arts by Jack Diamond Passion. And perhaps the most We have learned, along the way, what works and of Diamond and Schmitt Architects Inc., 1998; R. Fraser Elliott Hall, photo: Steven Evans; the House of the Dead, War and Peace, The Nightingale Four Seasons Centre for the Performing Arts, photo: Sam Javanrouh important? Possibility. occasionally what doesn’t work. And we are still learning. and Other Short Fables, , Maria The COC has always endeavoured to provide the best it a truly memorable production we won’t mount for If you would like to contribute a particular memory from Stuarda, Death in Venice, are just a few the last five years of being a part of the Canadian Opera musical and theatrical experience possible, but in the past the sake of doing Tosca. We’re offering it because we have of some of the superb productions we have been able to Company, please visit our website at coc.ca/Memories. we were sorely hampered by a space that was not designed offer in the past five years. one of the world’s best Toscas. Period. We’re not performing for opera. The Four Seasons Centre has transformed how Rigoletto unless it features a great new cast and is an Tours of the Four Seasons Centre for the Performing Arts we “do” opera. Privy to one of the highest acoustical ratings We have a certain affinity for mounting innovative, perhaps evocative production. And it does and is. now include backstage access! For more information, in the world, it holds us to an even higher standard of lesser-known operatic works. And we do them to great visit fourseasonscentre.ca. performance, while allowing us the luxury of mounting acclaim. But as well we want, and need, to build and co-build It’s not just about selling tickets. But we also hope – and we Suzanne Vanstone is Senior Communications Manager, works that engage the finest talent in the world in leading-edge productions of what are often termed the are seeing this the more we fully engage in what our new Editorial at the Canadian Opera Company. productions that enlighten, inform, and entertain. “warhorses.” Unless we have the top artistic talent to make house affords us – that the audience is putting their trust

6 Prelude Magazine Prelude Magazine 7 “the high notes will always be there” talking with singer and donor Riki Turofsky

By Nikita Gourski

As she went on to build an impressive professional opera career that included appearances with the COC, New York City Opera and many other companies throughout the U.S. and Europe, she never lost sight of the generous donor support that made her career possible. “I was so grateful. It’s something that over all the years you never forget.” It is no surprise, then, that Ms Turofsky would make a natural transition from opera singer to opera supporter, a graceful arc that brings together the experience of her performing years with a vision for the future of opera in Canada. This season, she and her husband Charles Petersen will be underwriting, in part, the COC’s double bill of Alexander Zemlinsky’s A Florentine Tragedy and ’s CharlesPetersen and Riki Turofsky Long before the dazzling high notes of an opera career . Their generous donation falls in line became her bread and butter, a young Riki Turofsky listened to the broadcasts every week with her father. “I listened with him,” she recalls, “because he would tickle my back, and I loved to have my back tickled.” The notion of pursuing a career on the opera stage, however, a night of i only captured Ms Turofsky’s imagination years later when nspiration she was in her early 20s and living in Whitehorse, Yukon. The northern reaches of Canada might seem an unlikely o n setting for the discovery of the art form, but the Canadian peranatio 8 Opera Company “toured around a lot in those days… with full orchestra, sets, costumes, stage hands – the whole thing.” Ms Turofsky, in fact, was instrumental in bringing Alexander Gray as Marcello and Riki Turofsky as Musetta in a publicity the touring company up north in her capacity as the vice- shot for the COC’s La Bohème, 1972. president of the Yukon Concert Association. “They came in friday, oct. 21, 2011 a big transport plane and performed at a high school.” For with the company’s mandate of staging at least two new main event 9 p.m., $150 the 22-year-old it was an event that would blossom into a productions each season. Major works, like this double BUY TICKETS dress: inspired elegance bill, will elevate the artistic profile of the COC, “I have sung Musetta’s waltz more times while building a Canadian inventory of the operanation.ca than i can count. When I’m 90, I could most important operatic repertoire and allowing probably still get up and sing that aria!” the company to benefit from rental and revival opportunities. “If you’re going to be a world-class live performance featuring rufus wainwright life-long commitment to the opera in all its forms, but back opera company, then you’ve got to do these things,” Ms

then, as she watched the performance of ’s Turofsky says. “I think it’s wonderfully exciting. Charles and PRESENTING DINNER Official Media Official Fragrance Partnering comic opera , her only thought was: “Wow, I are delighted to help make it happen.” SPONSOR Sponsor Sponsor Sponsor Sponsor does that look like fun, I bet I could do that.” To learn more about potential sponsorship opportunities, Financial Corporation Limited So she did. She bought a recording of arias, learned please contact Christie Darville, Director of Development, at 416-306-2375 or [email protected]. several of them and without a bar of professional training Event Supporters auditioned her way into the Vancouver Opera Training Nikita Gourski is the Development Communications Assistant Program. “I was still pretty raw and rough, but they offered at the Canadian Opera Company. me a full scholarship and set me up with a voice teacher.” Photo: Mario Miotti. Clothing provided by Holt Renfrew. Creative: Endeavour.

8 Prelude Magazine Prelude Magazine 9 of any attempt to encourage Italian separate from the outside world. However, as Alden patriotism. Verdi’s enthusiasm domestic realm. The makes clear, Rigoletto will learn remained undampened, so much setting is an opulent a hard lesson in the impossibility No Exit: so that he instructed his librettist Victorian men’s of maintaining such a strictly Francesco Maria Piave to “use four club, all polished compartmentalized life. Gilda Rigoletto’s Abuse of Power legs, run through the town and find me mahogany and eventually finds a way to break out of an influential person who can obtain thick oriental her oppressive home environment, the permission for making Le Roi carpets: the with devastating consequences for By Gianmarco Segato s’amuse.” trappings of herself and her father. an exclusive, The world we enter in Verdi’s Rigoletto social inequalities, In order to get the opera performed, privileged, closed, The penetrating vision that Alden is a nasty one: a male-dominated but in choosing Verdi was forced to alter his source male society. The and Levine bring to this production is society in which women are merely such a subject, he by changing the names of all of its club will function absolutely in keeping with pawns used to boost the abusive and faced major hurdles characters and shifting the scene as a kind of “no Verdi’s story and music. The Duke absolute power of the ruling Duke. in attempting to turn from the French court to a minor exit” court into is a libertine for whom women are Christopher Alden, who directed the the play into an opera. absolutist Italian state. Hugo’s Francis which women no more than prey waiting to be COC’s highly acclaimed production The play’s intermingling of politics I, King of France, becomes the Duke seized. Sure enough, the opera’s are dropped Production. originally designed for LyricOpera ofChicago, 2000. of Wagner’s The Flying Dutchman, and sex and its savage attack on the hired assassin, Sparafucile. But of Mantua, a member of the Gonzaga and trapped most famous tune, the Duke’s will bring an appropriately dark and the monarchy and the decadent even she is used mainly as a bauble family whose dukedom was already as playthings canzone “La donna è mobile,” igoletto

probing vision to his new production aristocracy created a scandal at its to entice the Duke to the inn where R extinct by the mid-19th century, for its members. sounds harmless enough – but make of Verdi’s masterpiece this fall. “Often Paris premiere, setting off a riot and Rigoletto has arranged to have him so that nobody could be offended. Costumes (also by Levine) no mistake, in it he expresses his people are dulled to what the true causing it to close after only one killed. The Duke is immediately Controversy continued to plague will be traditionally Victorian, with disdain for women whom he labels intent of a piece is by decades of performance. attracted to her, but we’ve no reason Rigoletto even after its successful full-skirted frock coats and formal “simple in speech and simple in seeing it done in a comfortable way,” Venice premiere as it continued to mind.” Rigoletto himself is complicit to feel he would treat her with any This controversy did Verdi no favours evening attire for the men; décolleté, Alden says. “I try to get at something experience problems with censorship in this general point of view – witness more import than any of his other when confronting the censors who flounced gowns for the loose-moraled which does get back to the original in an that was still divided, his actions in the opening scene conquests. watched over Italy’s city states, always Maddalena and more appropriately kick that the piece had when it was and ruled by nervous monarchs. on the lookout for even the slightest restrained high-necked dresses for Verdi strove to establish a tinta, or first performed.” Depending on the whims of the Rigoletto’s saintly daughter, Gilda. overarching colour, for each of his local censor, the opera was subject operas, and in the case of Rigoletto, The play’s intermingling of politics to various cuts and adjustments as it Within this harsh environment, it would certainly be dark. Its score played in different cities throughout the character of Rigoletto is very and sex and its savage attack on the shows Verdi at the height of his Italy. much the middle-class working powers, creating music that runs monarchy and the decadent aristocracy man whose job it is to be cruel and the gamut from intensely dramatic Canadian designer Michael Levine, mocking. He is always there behind created a scandal at its Paris premiere, to unearthly beautiful. However, we who provided the critically acclaimed the Duke, encouraging his master cannot forget that the inspiration setting off a riot and causing it to close visuals for the COC productions of to exert his power by seizing what is behind all of the great tunes was a after only one performance. Wagner’s Ring Cycle and Stravinsky’s not rightfully his – that is – his own revolutionary piece of drama that Oedipus Rex with Symphony of courtiers’ women. The Victorian There is good reason to believe that hint of subversion. As luck would have delivered an uncompromising critique Psalms, worked with Alden to restore separation of work and home is Verdi would have been onside with it, Verdi began to think about using of a society rife with injustice and to Rigoletto some of the elements made manifestly clear in Rigoletto’s Alden’s approach. He was highly Hugo’s play in exactly the same year abuses of power. Timeless themes that made it so controversial at the situation: the one ray of light in his enthusiastic about the source for his (1850) that the Austrian army had such as these, regrettably, still time of its premiere. They are setting life is his precious daughter Gilda as he eggs on the Duke to carry off Rigoletto, Victor Hugo’s incendiary reoccupied Venice (where the opera make the headlines today and will the opera in Verdi’s own time: a hard- whom he shields from the horrors Count Ceprano’s wife. When the 1832 drama Le Roi s’amuse, which was to have its premiere), after that be thoughtfully re-examined again bitten Victorian world dominated of the Duke’s debauched realm by Duke asks him, “What about the he called the “greatest subject and city had experienced a 15-year period this fall as the COC mounts its new by men, those highly successful literally holding her prisoner in her husband?” Rigoletto suggests prison perhaps the greatest drama of all of independence. The Austrians production of Rigoletto. mavens of the Industrial Revolution own home. She is the quintessential or banishment. In many ways, the modern times.” Verdi would have instituted strict censorship of the arts for whom wealth and power were the Victorian “Angel in the House” – a strongest female figure in this opera Gianmarco Segato is the Retail and been attracted to Hugo’s belief that and were very touchy about attacks ultimate goal and whose less-than- paragon of womanhood who must be is the whore, Maddalena, who shares Editorial Co-ordinator at the Canadian art could incite revolution and correct on the ruling class and suspicious savoury public lives were strictly sheltered from the corruption of the a dark relationship with her brother, Opera Company. (clockwisefrom left) Preliminary sketches ofSparafucile, Rigoletto, Maddalena and Gilda Michaelby Levine, set and costume designer for Close-up look at costumes, sets, and props from the COC’s Rigoletto. Photos: COC

10 Prelude Magazine Prelude Magazine 11 COC Coast to Coast and May we Introduce and Across the Atlantic Welcome Back: We are pleased to announce that, for the third year in a row, you will be able to relive Upcoming Introducing The 2011/2012 Ensemble Studio Artists every moment of the COC’s season as we CBC Broadcasts COC Radio: will be partnering with CBC Radio Two to Your online home for everything Pilgrim in Love from Afar. broadcast the complete 2011/2012 season Sept. 17, 2011 COC and everything opera all in one The spring production of on Saturday Afternoon at the Opera. CINDERELLA convenient and easy-to-use player! We are once again proud to showcase Gioacchino Rossini Listen to playlists or make your own features Lauren Segal our amazing company and phenomenal Sept. 24, 2011 selections on demand! returning to sing The Muse/ guest artists for the enjoyment of all Nicklausse, tenor David Canadians from coast to coast. If you miss • CBC broadcasts of all 2010/2011 and Pomeroy sharing the title the original broadcast, you can catch all of 2011/2012 COC productions role with Russell Thomas, the 2010/2011 and 11/12 operas on demand Oct. 1, 2011 • Podcasts featuring COC singers and tenor Michael Barrett taking on our exciting new online service, COC ORFEO ED EURIDICE other artists including full excerpts up the role of Spalanzani Radio at coc.ca. We are also pleased to Christoph Willibald Gluck from Decca and other Universal and Samuel Tak-Ho Tam as announce that the European Broadcasting Classics recordings assistant conductor. Gianni Union has chosen two of the 11/12 CBC Please note that 2011/2012 • Listening guides, introductory chats, Schicchi brings back tenor broadcasts for transmission across Europe: season broadcast dates will be video trailers and performance Adam Luther in the role of Gluck’s Iphigenia in Tauris in October announced shortly. highlights for past and future COC Gherardo and Doug 2011 and Handel’s Semele in June 2012. productions MacNaughton as Maestro This marks the first time that two COC Spinelloccio, and the cast productions from the same season will • Audio and video interviews with of Semele welcomes mezzo- be broadcast by the EBU, placing us in COC artists soprano Allyson McHardy as the same multiple-performance category • Video excerpts of complete tracks Juno/Ino. as such other major houses as the from the Universal DVD catalogue Metropolitan Opera, And much more! Often overlooked but Covent Garden, Paris Opera and the (l – r) Adrian Kramer as Papageno, Michael Barrett as Monostatos and Simone Osborne as Pamina in the COC crucially important, . coc.ca/cocradio Ensemble Studio performance of , 2011. Photo: Michael Cooper opera coaches assist the conductors and singers from By Caitlin Coull watch the birth of new stars, The recent graduation the first day of rehearsals and track their trajectories of mezzo-soprano Wallis to the closing performance. It’s an exciting time for the over the formative years. Giunta, bass Michael Uloth The music staff for the 11/12 hot, busy honeybees COC’s renowned training season includes several and intern coach Anne program for young Canadian In keeping with this vision, Larlee was celebrated last graduates of the Ensemble opera professionals, the It was a very warm summer for all Torontonians, including the for the first time in the May with Les Adieux, a Studio, including chorus approximately 100,000 honeybees living on the roof of our opera Ensemble Studio. Although history of the COC, the final free concert in the Richard master Sandra Horst and house, the Four Seasons Centre for the Performing Arts. it has long been considered auditions for singers seeking Bradshaw Amphitheatre. coaches Steven Philcox, one of the best programs of Fred Davis, the beekeeper, tells us: to join the Ensemble Studio Many alumni of the Anne Larlee, Christopher its kind in North America, “On hot days it's not unusual to see the bees mass will be made public through Ensemble Studio return Mokrzewski and Kinza the Ensemble Studio is outside of the hive in order to keep the temperature the launch of an annual to the COC this season, Tyrell. cooler inside. There are a number of bees attracting more public vocal competition. The underlining the quality positioned at the entrances fanning their attention than ever before inaugural COC Ensemble The 11/12 program boasts wings in order to create a breeze into the of their experience here. with the development of Studio Competition takes an impressive roster of hive. I created a gap to increase ventilation in In the fall season, bass new initiatives, driven by talented young artists the hives by placing chopsticks and popsicle place on Nov. 28, 2011 at Alain Coulombe sings the youthful energy. By shining who are certain to make sticks in between the supers (hive boxes). This 5:30 p.m. in the Richard role of Count Ceprano in will let a little air escape and let cool air enter the hive the spotlight brightly on remarkable achievements Bradshaw Amphitheatre at Rigoletto, and the cast of during these hot summer months.” the program and the young over the coming season. the Four Seasons Centre for Iphigenia in Tauris is joined artists within it, the COC After winning critical When the temperature really soared, our wonderful building the Performing Arts, with the by mezzo-soprano Lauren aims to attract even more acclaim for their winter services team got creative with a long hose and lawn sprinkler winners garnering a variety Segal as Diana and tenor and have been water-misting the areas around the hives. talented young artists to the of awards including offers of 2011 Ensemble Studio Beekeeper Fred Davis Joseph Kaiser as Pylades. company for future seasons. performance of The Magic Photos: COC highly prized positions in the During the winter run, The benefit to patrons is Flute, the Ensemble Studio Visit the honeybees blog at coc.ca/Honeybees to keep up to date! 2012/2013 Ensemble Studio. mezzo-soprano Krisztina exciting – they are invited to will mount a presentation of (See pg. 3 for further details). Szabó sings the role of the

12 Prelude Magazine Prelude Magazine 13 Semele on the mainstage in participate once again in the The new and returning Artists. The series runs until This season Mr. Craighead for his “lively, ingratiating Antonia’s Mother in The Musicale), made her debut spring 2012. The principal Xstrata Ensemble Studio artists may be seen in June 2012 and features the sings an Usher in Rigoletto, stage persona” (La Scena Tales of Hoffmann and with Queen of Puddings roles in this special May 23 School Tour, which brings the Free Concert Series Ensemble Studio in several Pinellino in Gianni Schicchi Musicale) in the Ensemble understudies Bianca in A Music Theatre in June, and performance will be sung operatic productions geared in the Richard Bradshaw presentations of diverse and Cadmus/Somnus Studio production of The Florentine Tragedy and was engaged over July and almost entirely by Ensemble towards young people to Amphitheatre when it repertoire, as well as several in the Ensemble Studio Magic Flute. In July and Nella in Gianni Schicchi. August for performances Studio members and recent schools across Ontario and resumes on Sept. 20, 2011 at distinguished alumni in performance of Semele. August, he studied privately with the Sharon Festival graduates. They will also the GTA. 12 p.m. with Meet the Young vocal and piano recitals. at the Chautauqua Institute Vancouver native Simone and a recording with the Morris, Manitoba tenor and with baritone Timothy Osborne uniformly dazzled Capriccio Ensemble. Over Christopher Enns was Noble at the Highlands critics last season as Pamina the 11/12 season she sings lauded by the National Post Opera Studio to prepare the in The Magic Flute. Over the roles of the First Priestess for his “fresh and appealing roles of Marullo in Rigoletto the summer months, she in Iphigenia in Tauris, the voice” in the role of Tamino and a Jailer in Tosca. studied in Santa Barbara Page in Rigoletto and Iris in the Ensemble Studio with legendary singer and in the Ensemble Studio production of The Magic Saskatoon-born Ileana mentor Marilyn Horne, performance of Semele. Flute. Mr. Enns returned to Montalbetti was hailed working on her upcoming Manitoba over the summer last season by the Toronto roles which include Gilda To keep up to date on months to engage in private Star as “ready for a great in Rigoletto and Lauretta in exciting developments in

ouglas the Ensemble Studio and

D study in preparation for his career. Period.” This past Gianni Schicchi, as well as 11/12 roles, which include summer Ms Montalbetti the understudy of a Greek for further biographical information, please Mireille Asselin Mireille Timothy Cheung Timothy Jenna Sly Philippe Nathanaël in The Tales of sang the Countess in Woman in Iphigenia in visit coc.ca. Hoffmann, Apollo in Semele Le nozze di Figaro with Tauris. This year we welcome four new Ensemble Studio members: soprano Mireille Asselin, intern coaches Timothy Cheung and Jupiter in the Ensemble Saskatoon Opera, competed Caitlin Coull is the former and Jenna Douglas, and bass-baritone Philippe Sly: Studio performance of in the Stella Maris Vocal Port Elgin, Ontario-born Communications Manager, Jacqueline Woodley, Special Initiatives at the Ottawa native Mireille Born in Hong Kong, pianist A native of Barrie, Ontario, Also Ottawa-born, bass- Semele. Competition, and attended the prestigious Ravinia praised for sounding Canadian Opera Company. Asselin completed her Timothy Cheung holds a pianist Jenna Douglas also baritone Philippe Sly recently Guelph, Ontario native “deceptively like a young bachelor of music degree bachelor’s degree in piano completed her studies as won the Metropolitan Opera’s Festival in Illinois. This Adrian Kramer won kudos Dawn Upshaw” (La Scena at The Glenn Gould School performance and a master’s a collaborative pianist at National Council Auditions year she sings the Voice of of The Royal Conservatory degree in collaborative the University of Western Competition and completed of Music and her master’s piano from the University Ontario and will act as his bachelor of music degree degree through Yale of Western Ontario. This an apprentice music staff in voice performance at McGill University’s opera program. season he will act as an member throughout the University’s Schulich School of This season she will sing apprentice music staff season. She will be the music Music. This season he sings a Countess Ceprano in member and as music director for the Xstrata Scythian Man in Iphigenia in Rigoletto, the Second director for the Xstrata Ensemble School Tour Tauris, Hermann in The Tales nns

Priestess in Iphigenia in Ensemble School Tour production of Hansel and of Hoffmann, Ser Amantio di E

Tauris and will share the title production of Isis and the Gretel. Nicolao in Gianni Schicchi and raid B role in the Ensemble Studio Seven Scorpions. the High Priest in the main

performance of Semele. cast and Ensemble Studio Craighead eil Rihab Chaieb Rihab Ambur Christopher performances of Semele. N

Returning to the Ensemble Studio are eight current members who have established themselves over the past season as the opera stars of tomorrow: sopranos Ambur Braid, Ileana Montalbetti, Simone Osborne, and Jacqueline Woodley; mezzo-soprano Rihab Chaieb; tenor Christopher Enns; baritone Adrian Kramer; and bass-baritone Neil oodley

Craighead: W

Terrace, British Columbia This season Ms Braid sings School Tour to the northern South African-born, Calgary- soprano Ambur Braid, who the roles of a Greek Woman reaches of Nunavik, Quebec. raised Neil Craighead AdrianKramer gave a “characterful and in Iphigenia in Tauris and This summer she studied travelled to New York in 2011 Montalbetti I leana Osborne Simone Jacqueline spontaneous” performance will share the title role privately with esteemed to perform in the critically (NOW Magazine) in last in the Ensemble Studio pedagogue Marlena Malas hailed production of The year’s Orfeo ed Euridice, performance of Semele. at the Chautauqua Institute Nightingale and Other The Ensemble Studio is generously supported by the Government of Canada through the Department of Canadian Heritage, ARIAS (The travelled to Italy for in New York State to learn Short Fables at the Brooklyn Canadian Student Opera Development Fund), in loving memory of Mr. George R. Bishop, from his family & friends, John A. Cook Young a language intensive Tunisian-born, Montreal- the roles of La Ciesca for Academy of Music. Over Artist Development Fund, in honour of Earlaine Collins, in honour of Ninalee Craig, Estate of Horst Dantz and Don Quick, Michael & Lora Gibbens, Ethel Harris, Audrey S. Hellyer Charitable Foundation, Peter & Hélène Hunt, Patrick & Barbara Keenan, Hal Jackman Fund at the workshop over the summer, raised Rihab Chaieb Gianna Schicchi and Juno/ the summer he attended Ontario Arts Foundation, Jo Lander, Ruby Mercer Fund, George Cedric Metcalf Charitable Foundation, Roger D. Moore Ensemble Studio and attended noted soprano inspired young audiences Ino for the Ensemble Studio the Centre for Operatic last year as Cinderella on Endowment Fund, RBC Foundation, Katalin Schäfer, in honour of Colleen Sexsmith, Slaight Family, John Stratton Trust, William & Phyllis Wendy Nielsen’s New performance of Semele. Studies in Italy to perform Waters, and an anonymous donor. Brunswick vocal program. the Xstrata Ensemble Studio roles in .

14 Prelude Magazine Prelude Magazine 15 In March of this year, former COC General Director Richard Bradshaw was posthumously presented with the Jan Masaryk Award. This commemorative silver medallion and certificate was bestowed by The Consul General of the Czech Republic, Mr. Richard Krpac, in

recognition of Richard’s programming and performance of Czech music – Cooper Michael Photo: radshaw. B Janác˘ek, Smetana and Dvor˘ák – at the Canadian Opera Company. Richard Richard

whether it’s classic or romantic you’ll find it this fall at the Opera Shop

The Opera Shop, located on the main floor of the Isadore and Rosalie Sharp City Room, offers a fine selection of opera recordings on CD and DVD, opera-related books, giftware, jewellery made by Canadian artisans and COC souvenirs. This fall we recommend the following recordings from Universal Classics: Iphigénie en Tauride Rigoletto Marc Minkowski, conductor, Le Chœur , conductor, Vienna des Musiciens du Louvre and Les Philharmonic Orchestra and Vienna Musiciens du Louvre. With Mireille State Opera Chorus. With Luciano Delunsch, Simon Keenlyside, Yann Pavarotti, Edita Gruberová, Ingvar Beuron and Laurent Naouri. Wixell and Ferruccio Furlanetto. Archiv, $52.75 including tax. Decca, $25.75 including tax.

Marc Minkowski and Les Musiciens du Louvre rely on their Jean-Pierre Ponnelle’s sumptuous mastery of historically informed performance practice to production is set in a Renaissance turn this outstanding recording of Gluck’s masterpiece into ducal palace with Luciano Pavarotti in his prime a truly theatrical experience. The principals, many of them performing one of his signature roles. This atmospheric native speakers, excel in the French declamatory singing film version also features the great soprano style required by Gluck. Edita Gruberová as Gilda. Shop for much more at the Opera Shop or online at coc.ca! The Opera Shop is a project of the Canadian Opera Company, in partnership with L’Atelier Grigorian and Decca – The Opera Label. All proceeds support the Canadian Opera Company.

Alexander Neef Recommends… An Oresteia: Agamemnon by Aiskhylos; by Sophokles; Rigoletto and Orestes by Euripides. Translated by Anne Carson, Faber & Carlo Maria Giulini, conductor, Faber, $16.25 including tax. Orchestra and Chorus. With Piero Cappuccilli, If you’re at all curious about the fascinating, dark family history Ileana Cotrubas, Plácido Domingo that lies behind Gluck’s Iphigenia in Tauris, this modern translation and Nicolai Ghiaurov. of three Greek tragedies by Canadian poet Anne Carson makes , 2 CDs, for compelling reading. Publishers Weekly says that in it, “readers $36.25 including tax. will find stunning expressions of the pain that grown children feel after bad parental separations This classic recording features the great Italian maestro and neglect. The various characters’ impressions Carlo Maria Giulini who “persuades his singers to convey of events are psychologically enthralling, and the sense of a live performance” (Gramophone). Piero the poetry is sublime. Carson is one of the great Cappuccilli, one of the last authentic Italian Verdi poets writing today and is an equally compelling , embodies the full range of the complex title translator. Her language here is clear and role from cruel, detestable clown to vengeful, loving comfortable and the volume can be read fast, father. One of the greatest recorded performances of like a novel, for a weird and thrilling ride.” this opera, offered at mid-price with full, printed libretto. Both available at the Opera Shop in person and online

16 Prelude Magazine Prelude Magazine 17 how we spent our summer holiday! SUN LIFE FINANCIAL summer youth intensive

By Katherine Semcesen

“Nessun dorma” (“None shall sleep”) is an impression of the COC that the great Puccini may have had, if he were alive today. In addition to the fantastic season of operas, the COC offers 11 months of educational programming to those wanting to learn more about the magic of the art form beyond the main stage. This past summer, the Joey and Toby Tanenbaum Opera Centre transformed into an operatic playground for over 30 youth ages 12 to 18 officially kicking off the 2011/2012 season with an explosion of artistic collaborations!

For one week the enthusiastic and genuinely talented filmmaker Justin Friesen captured the participants in action group of youth approached repertoire from the 11/12 season documenting their week in a video diary. with thoughtfulness and commitment as any professional director, singer, designer, or musician who has ever crossed Mornings consisted of the study and staging of large choral the stage at the COC. scenes excerpted from operas performed in the upcoming season. A team of opera professionals (mentor artists) guided the participants through the weeklong operatic exploration Afternoons focused on individual skill-building electives including Ashlie Corcoran (a graduate of the COC with mentor artists in vocal master classes, directing, acting Ensemble Studio and most and staging techniques and theories, and costume design. recently the assistant director on Each day ended with a sharing of the participants’ individual The Magic Flute in 2010/2011), talents ranging from performances on the harp and piano to Graham Cozzubbo (assistant original compositions written for piano and voice. The COC director of Nixon in China encourages and nurtures young artists and looks forward to We are pleased to support the Sun Life Financial Accessibility Program, in 10/11), COC costume reconnecting with these talented participants in the future! TM co-ordinator Ren Cahill, assistant at the Canadian Opera Company, which encompasses SURTITLES , designer Pat Broms, opera singer Katherine Semcesen is Associate Director, Education and wheelchair seating, hearing-assistive and vision-impaired devices. and vocal coach Kyra Millan and Outreach at the Canadian Opera Company. pianist Kevin Tam. In addition, The excitement and learning continues this season. support was provided by artists Visit coc.ca/Explore to discover the COC’s enriching and who were new to opera or early engaging lineup of education and outreach programs for ntensivephotos: Karen Reeves 2011© I in their opera careers (intern schools, children, youth and adults. artist-educators): Jessalyn

outh Bursaries for select programs are available at Y Kinney, Natalie Mathieson, coc.ca/Bursaries Suzanne Maziarz, Patrick Murray

and Anne-Marie Ramos. Young TM

Summer SURTITLES is a registered trade-mark of the Canadian Opera Company. ® Making the Arts More Accessible is a registered trade-mark of Sun Life Assurance Company of Canada.

18 Prelude Magazine prima donna: CBC celebrates 75 years COC OPERATOURS An evening in celebration of CBC Radio’s 75th Look The COC Operatours for the 2011/2012 Season – Now in its 31st season!! anniversary and the glories of the female voice. Isabel Bayrakdarian, Julie Boulianne, Marianne Fiset and Aline Join Dr. David Stanley-Porter on these thoughtfully planned tours and explore the ever-exciting online! world of opera and classical music in historic and new opera houses and concert halls in North Kutan join the Canadian Opera Company Orchestra America and Europe. Book today! conducted by Johannes Debus. Hosted by Sylvia L'Écuyer and Bill Richardson. NEW YORK: VIENNA: Santa Fe: The Metropolitan Opera Staatsoper & Konzerthaus Location: The Glenn Gould Studio, CBC, 250 Front St. W. The Santa Fe Opera Festival & Jan. 29 – Feb. 2, 2012 March 22 – April 1, 2012 Chamber Music Festival Time: monday, Oct. 3, 8 p.m. HANDEL, VIVALDI, RAMEAU WAGNER Tannhäuser Aug. 5 – 12, 2012 Tickets: $45 The Enchanted Island STRAUSS Die Frau ohne Schatten A visit to the prestigious summer Contact: 416-872-4255 c. William Christie opera festival! with Danielle de Niese, HINDEMITH Cardillac Joyce DiDonato, David Daniels, PUCCINI Tosca Operas: Plácido Domingo, Luca Pisaroni DONIZETTI L’elisir d’amore PUCCINI Tosca Planning for the WAGNER Götterdämmerung c. d. Robert Lepage with Ballet: BIZET The Pearl Fishers Future, Today: Deborah Voigt, Wendy Bryn Harmer, Anna Karenina SZYMANOWSKI King Roger Waltraud Meier, Stephen Gould, R. STRAUSS Iain Paterson, Eric Owens, Concerts: Generous $1 Million ROSSINI Maometto II Estate Commitment Hans-Peter König Vienna Symphony DONIZETTI Rotterdam Philharmonic Orchestra Accommodation at Inn on the Alameda This year, the Estate of Horst Dantz and Don Quick has c. Marco Armiliato with , El-ina Garan˘ca, Accommodation at Hotel Am Parkring made a very generous gift to the Canadian Opera Company St. Petersburg Alexander Neef’s blog Ildar Abdrazakov of approximately $1 million, a testament to their long history May 5 – 15, 2012 is at coc.ca/Neef Amsterdam, Paris & Versailles: Accommodation at Yale Club of New York Experience performances at the of philanthropic support for the COC and the company’s Het Muziektheater, Concertgebouw, world-renowned Mariinsky (Kirov) training program for young artists, the Ensemble Studio. For all COC news including behind-the-scenes reporting, Palais Garnier, Opéra Bastille, Theatre, Mussorgsky (Mikhailovsky) In turn, this gift leveraged a significant match by the productions in progress, Q & A’s with the stars NEW YORK: Théâtre des Champs-Élysées, Opéra Theatre, Hermitage Theatre, the The Metropolitan Opera Royal de Versailles Department of Canadian Heritage making the bequest that and much more, visit Parlando at coc.ca/Parlando new Mariinsky concert hall, and the March 11 – 16, 2012 June 17 – 30, 2012 much more impactful. Philharmonia Grand Hall. Extensive To learn more about the COC Ensemble Studio DONIZETTI L’elisir d’amore with Operas: guided sightseeing provided in and The COC is immensely grateful to the estate’s gift, which Competition as it is announced, keep your eyes on the , Juan Diego Flórez, around the city. Mariusz Kwiecien, Alessandro Corbelli WAGNER Parsifal will provide for the company’s artistic future by ensuring competition website at coc.ca/ESCompetition that young opera artists continue to have a place to learn MUSSORGSKY R. STRAUSS Arabella Operas, Ballets & Concerts: the artistry and craft of opera. Focusing on the development This fall in the house program, Jon Kaplan interviews c. Kirill Petrenko with , PROKOFIEV L’amour des trois oranges Repertoire to be announced Vladimir Galouzine, Ildar Abdrazakov, of young Canadian talent, the Ensemble Studio provides two , and Lester Lynch, and RAMEAU Hippolyte et Aricie Anatoli Kotscherga advanced instruction, hands-on experience, and the practical speaks with COC Music Director and Rigoletto conductor Accommodation at the new four-star Ambassador Hotel located downtown career development skills necessary to succeed in a highly Johannes Debus about this passionate operatic tragedy; mozart Don Giovanni n.p. Ballets: c. Sir Andrew Davis with competitive international environment. while Eric Domville offers insights into Iphigenia in Tauris. La fille mal gardée Marina Rebeka, Annette Dasch, For full booking information: Our fall house programs are also available Les Saisons Russes du XXI Siècle Horst Dantz and Don Quick had made arrangements Isabel Leonard, Matthew Polenzani, E-mail: [email protected] online at coc.ca/Publications Gerald Finley, John Relyea Orphée et Euridice through the COC’s Encore Legacy program to direct Mail: Send a SEPARATE, self-addressed VERDI with Nadja Michael, their generous gift towards the Ensemble Studio so that Enjoy listening guides, video trailers, performance Concerts: and stamped envelope (#10 business- , Dimitri Pittas, it can continue to prepare a new generation of Canadian size) for each tour that interests you to: highlights, audio and video interviews with artists, Günther Groissböck Joyce DiDonato in recital Phone: Call Suzanne Malloy at Merit performers for the world stage of the opera profession. It is CBC broadcasts, audio and video excerpts of Netherlands Philharmonic Orchestra a fitting legacy for two opera lovers whose commitment to Accommodation at Yale Club of New York Travel: 1-800-265-1141, ext. 6209 complete tracks from the Universal catalogue Philharmonia Orchestra supporting the art now lives on through their gift. COC Operatours c/o Merit Travel, and much more! coc.ca/Radio 101 Cherryhill Blvd. Accommodation at Hôtel Château Frontenac London, ON N6H 4S4 Please consider the Canadian Opera Company in your The Free Concert Series in the Richard Bradshaw estate planning. Your support is a testament to the value Amphitheatre continues this fall, starting on Sept. 20, c. – conductor d. – director n.p. – new production you place in the enrichment of cultural life in Toronto and 2011, with the exciting introduction of our 2011/2012 will assist the company in continuing to attract the most Ensemble Studio artists. To see the full schedule and learn For up-to-date information (including tour changes and newly announced tours), promising talent and encouraging an environment of more about our performers and varied repertoire, please visit our website at coc.ca/Explore. creative artistic vitality for generations to come. visit coc.ca/FreeConcerts To start a conversation about your philanthropic goals, See what our busy bees are up to Find out more at please contact Dawn Marie Schlegel (Senior Development coc.ca Officer, Individual Giving & Donor Programs) at coc.ca/Honeybees at 416-306-2351 or [email protected].

20 Prelude Magazine Prelude Magazine 21 Government Support fall & winter 2011/2012 The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments: Operating Grants september 2011 november 2011

Thu 8 7 p.m. Opera Talks, Iphigenia in Tauris, North York Tue 1 12 p.m. Kornel Wolak, clarinet; Central Library Chris Donnelly, piano* Wed 14 6 p.m. Opera 101: Iphigenia in Tauris, Duke of York; Wed 2 5:30 p.m. Adi Braun Quartet* Susan Graham and Russell Braun (guests) Thu 3 12 p.m. Nova Bhattacharya, dancer/choreographer; Sat 17 1 p.m. Cinderella on CBC’s Saturday Afternoon at Ed Hanley, tabla* the Opera Sat 5 11 a.m. Family Performances, Xstrata Ensemble Tue 20 12 p.m. Artists of the COC Ensemble Studio* Studio School Tour production of Hansel and Gretel Thu 22 12 p.m. Pavlo* Sat 5 2 p.m. Family Performances, Xstrata Ensemble Thu 22 7:30 p.m. Season Opening Performance Iphigenia in Tauris Studio School Tour production of major corporate sponsors Hansel and Gretel Sat 24 1 p.m. Ariadne auf Naxos on CBC’s Saturday 2011/2012 season Afternoon at the Opera Tue 8 12 p.m. ArrayMusic* Sun 25 2 p.m. Iphigenia in Tauris Thu 10 12 p.m. Caroline Chéhadé, violin; Michael Nicolas, Tue 27 12 p.m. Artists of the COC Orchestra with Music cello; Marie-Hélène Trempe, piano* BMO Financial Group Pre-Performance Director Johannes Debus* Tue 15 12 p.m. Lucas Porter, piano* Sun Life Financial Accessibility Program Opera Chats and BMO Financial Group Tue 27 6 p.m. Opera 101: , Duke of Westminster; Encompassing SURTITLES™, Wheelchair Seating, Official Automotive Sponsor Student Dress Rehearsals Rigoletto Thu 17 12 p.m. TorQ Percussion Quartet* Christopher Alden, Michael Levine, David Hearing-Assistive and Vision-Impaired Devices of the COC at the FSCPA Love from Afar Production Sponsor Lomelí (guests) Tue 22 12 p.m. Ricker Choi, piano* Wed 28 7:30 p.m. Iphigenia in Tauris Wed 23 12 p.m. Vesuvius Ensemble* Thu 29 12 p.m. Nagata Shachu* Tue 29 12 p.m. Nathaniel Anderson-Frank, violin; Carson Becke, piano* Thu 29 7:30 p.m. Rigoletto Opening Performance Fri 30 7:30 p.m. Rigoletto december 2011 Major Supporter, Ensemble Studio october 2011 Thu 1 12 p.m. Artists of the Toronto Symphony Orchestra* Semele Production Sponsor Xstrata Ensemble Studio School Tour Tue 6 12 p.m. Humber Studio Jazz Ensemble; Denny Sat 1 9:30 a.m. The Opera Exchange: “A Greek Family Christianson, director* Reunion: Gluck’s Iphigenia in Tauris,” 80 Queen’s Park Cres. Wed 7 5:30 p.m. Bruce Cassidy, trumpet; Nancy Walker, piano* Sat 1 1 p.m. Orfeo ed Euridice on CBC’s Saturday Afternoon at the Opera Tue 13 12 p.m. Cadence* Sat 1 4:30 p.m. Iphigenia in Tauris Thu 15 12 p.m. Bill McBirnie, flute; RobiB otos, piano* Sun 2 2 p.m. Rigoletto Tue 4 12 p.m. Young Artists of the UofT Opera Division* january 2012 Presenting Sponsor Tue 4 7:30 p.m. Iphigenia in Tauris Tue 10 12 p.m. Little Pear Garden Collective; A Florentine Tragedy/ Emily Cheung, artistic director* Official Canadian Wine Opera for a New Age and Gianni Schicchi Official Spirit Wed 5 7:30 p.m. Rigoletto of the COC at the FSCPA Operanation 8: A Muse Ball Production Co-sponsors of the COC at the FSCPA Wed 11 5:30 p.m. Julie Michels, vocals; Kevin Barrett, guitar* Thu 6 12 p.m. Artists of the COC Ensemble Studio* Thu 12 12 p.m. Peggy Baker Dance Projects Fri 7 7:30 p.m. Iphigenia in Tauris choreographer/dancer* Sat 8 4:30 p.m. Rigoletto Tue 17 12 p.m. Artists of the COC Ensemble Studio* Tue 11 12 p.m. Ekaterina Sadovnikova, soprano; Thu 19 12 p.m. Artists of the COC Orchestra* Christopher Mokrzewski, piano* Tue 24 12 p.m. Humber Latin Jazz Mexican Project* Wed 12 12 p.m. Queen of Puddings Music Theatre* KPMG Opera Preferred Official Airline Preferred Medical Services Thu 26 12 p.m. Alejandro Vela, piano* Wed 12 7:30 p.m. Iphigenia in Tauris Golf Classic Fragrance of the COC Provider Tue 31 12 p.m. Soundstreams, Elmer Iseler Singers, Thu 13 12 p.m. Zata Omm; William Yong, artistic director* Carla Huhtanen, soprano* Thu 13 7:30 p.m. Rigoletto Fri 14 7:30 p.m. Rigoletto Sat 15 7:30 p.m. Iphigenia in Tauris Sun 16 2 p.m. Rigoletto Mon 17 7:30 p.m. Rigoletto Tue 18 12 p.m. Toronto International Flamenco Festival* Tue 18 7:30 p.m. Rigoletto keep up Preferred Hospitality Sponsor Official Media Sponsors Digital Marketing Sponsor alendar of events of alendar Thu 20 12 p.m. Robert Pomakov, bass; Gryphon Trio* to date at Thu 20 7:30 p.m. Rigoletto coc.ca/Calendar Fri 21 9 p.m. Operanation 8: A Muse Ball

c Sat 22 7:30 p.m. Rigoletto Tue 25 12 p.m. Hiroko Kudo, piano* Wed 26 12 p.m. Zodiac Trio*

*These performances are part of the Free Concert Series in the Richard Bradshaw Amphitheatre at the Four Seasons Centre for the Performing Arts.

22 Prelude Magazine Prelude Magazine 23