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Message from the Chair, Board of Trustees

Welcome to Rigoletto, the first production of Manitoba Opera’s 40th season! I know I speak for my fellow board members, the cast, crew, staff, volunteers, and everyone

associated with the company, when I say that we are very glad to have you here this evening.

The board and staff take pride in Manitoba Opera’s 40-year history of providing opera to the community and all that entails. We are proud of the talented artists who appear with us. We are proud to be able to give opportunities to young singers. We are proud of our chorus, an incredibly dedicated group of individuals. We’re proud of the partnerships we have with other art organizations. And we are very proud to have your support.

Anniversaries are a good time to take stock of where you’ve been and chart a course for where you're headed. In the last four decades, we have presented mainly traditional productions of traditional repertoire. This has been the company’s focus because this is what the audience has generally supported. But the world is changing, as it does, and we must change with it.

As a long-time trustee, and now Chair of the Board, I’ve had the opportunity to learn a great deal about the business of making opera. This past June, I attended my first Opera America Conference in Philadelphia, a gathering of more than 600 opera professionals, trustees, and volunteers coming together to shine the light on the evolution of the art form.

Opera companies are embracing change in a way unimaginable even 10 years ago. They are looking at innovative ways to present productions, to connect to audiences, and to integrate into communities. These innovations are not only happening in the opera house, but in community centres, second stages, churches, even on the internet. One general director told me of an opera he saw recently that took place in a swimming pool. Opera companies are going to where the audiences are, no longer able to wait for the audiences to come to them. In short, they are reinventing themselves.

It’s impossible to predict what the next 40 years will hold for Manitoba Opera. Will we all watch holograms of Met Opera productions in our living rooms or will we still come together to sit in a darkened theatre and collectively immerse ourselves in a dramatic world set to beautiful music? Will we see operas sung in Tagalog, Cree, or Punjabi? We cannot know these things, but we do know that we need to be ready to embrace change when comes, relish it, explore it, and search it deeply for the opportunities it presents.

Whether an opera takes place in a 2000-seat auditorium, a school gymnasium or yes, even a swimming pool, one thing never changes, and that is a powerful story set to beautiful music can still change your life. And that is what Manitoba Opera will always do.

Jennifer Snyder Chair

Pre-Show Chats

An informative 15-minute presentation that will add to your enjoyment of the production.

Saturday, November 24 7:30 pm

Orchestra Right, Main Floor

Presenter: Rob Herriot, Director

Tuesday, November 27 6:30 pm

Friday, November 30

7:30 pm

Piano Nobile

Presenter: Richard Lee,

Resident Conductor, WSORob Herriot Richard Lee

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Message from the General Director

Rigoletto is the first of three masterpieces, Il Trovatore and La Traviata being the others, in what is called Verdi’s ‘middle period.’ For years he had worked ‘in the galleys’ as he put it,

turning out operas as diverse as Nabucco, his first great success, to the comedy Un Giorno di Regno (King for a Day), a real flop. But it was with Rigoletto that he became supreme in Italian opera and was considered one the dominant composers in Europe.

Based on a famous play of the time, Le roi s’amuse (The King Amuses Himself) by Victor Hugo, author of Les Misérables and The Hunchback of Notre Dame, Rigoletto seemed like unpromising material. Certainly not a ‘grand’ opera, it is more intimate in size and feeling than most of his early works. But it has a couple of aspects to which Verdi was always drawn: a father-daughter relationship at its heart, and showing a society in fear of its ruler, even a ruler as easygoing as the Duke. (The king becomes a duke in the opera because of censorship.) Censorship dogged Verdi through much of his career, at least until Italy rid itself of the Austrians and united as one country. As authors will to adaptations, Victor Hugo also objected to having the king changed to a duke, but eventually he became one of the opera's most vocal adherents.

The opera’s librettist, Francesco Maria Piave, worked a great deal with Verdi over the years,

but the Rigoletto libretto is maybe his best text. It helped that Piave, like the Duke in the opera, was a persuasive ladies’ man. But he also shaped, under Verdi’s studious direction, characters that resonate today as strongly as they did in the Venice of the 1851 premiere.

The opera features Verdi’s most famous tune, “La Donna è Mobile,” recognized by everyone, opera lover or not. Tossed off by the cynical Duke, daring to suggest women are fickle, while he remains the textbook case of infidelity, its dramatic use in the last act is what makes it so memorable. That dramatic core is also at the heart of Verdi’s continuing importance, even after almost 200 years.

As we enter his bicentennial in 2013, a couple of quotes might put Verdi in perspective as an artist and a man. From philosopher Isaiah Berlin: “Verdi’s assured place, in the high canon of the musical art… is a symptom of sanity in our time.” And New Yorker music critic, Alex Ross, puts it this way: “In the modern world, we seldom find ourselves in the grip of a single emotion, and this is what Verdi restores to us – the sense of belonging.”

Verdi, more practical in the business of theatre, however, might prefer the perspective of Rudolph Bing, manager of the Met in the fifties and sixties. He once ventured rhetorically: “What would an opera season be without Verdi? Answer: It wouldn’t.”

Larry Desrochers General Director & ceo

Manitoba artS CounCil

Canada CounCil for the artS

WinnipeG artS CounCil

the WinnipeG foundation

Manitoba Opera gratefully acknowledges the encouragement and financial support given by the following:

DONORS:

12 Resto Bar (Radisson Hotel) Aija Aleksandra Svenne Anna Magazine Asessippi Ski Area & Resort Assiniboine Downs Assiniboine Park Conservancy Be-Dazzled Jewellery Brian Eldred Brooklyn’s Bistro Buhle Painting & Decorating Butterfly Womyn Productions Centennial Concert Hall Chanel Continental Travel Daria Rakowski Deborah Thorlakson Delta Vancouver De Luca’s Cooking Studio Doreen Millin Dry Cold Productions Edward Carriere Salon Elements Fargo-Moorhead Opera Fort Whyte Alive Garden Gate Painting by Janice Gilbert & Sullivan Society Girl Candy Shop Homer’s Restaurant & Catering Inn at the Opera Interior Illusions Josef Ryan Diamonds Julie Pederson Kitchen Craft Lawton Partners Lilac Bakery Lionetti Clothier Lobby on York Luisa Matheson Manitoba Club Manitoba Gardener Michael Joyal Miriam Rudolph Mona Lisa Restaurant Morden’s Chocolates Manitoba Theatre for Young People Nardella Photography Inc. Olsen Europe Plug In Institute of Contemporary Art

continued on next page

Thank youto last year‘s Bravo Gala Sponsors and Donors who made the event such a success!

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Notes from the Director

Rigoletto was one of the operas I attended in high school. I recall our music teacher, John Standing, (who was at that time chorus master for Manitoba Opera) preparing us for the

production. He talked about the beauty of the composition with special mention of the “thunderstorm sequence” in Act Three and how brilliantly it was crafted. He was right. Some years later, in 1988, I was in the MO Chorus and had a wonderful time playing a hedonistic courtier and singing that brilliant thunderstorm sequence. Now I find myself directing the piece for the first time at – where else? Manitoba Opera, a most fitting place for me to make my Rigoletto debut.

Based on Victor Hugo’s play Le roi s’amuse (The King has Fun), Rigoletto’s beginnings were shaky in that the censors referred to it as “A repugnant (example of) immorality and obscene triviality.” And yet it went on to have a very successful premiere, becoming one of Verdi’s best-known masterpieces and today, an operatic staple.

The story is a very clear comment on the aristocracy and its exclusivity where the laws of the common person don’t apply. But more than that, it speaks to the dark side of human nature. Set in sixteenth century Mantua, one might wonder if it is still relevant to a modern audience. Upon looking at the piece in greater detail, I came to the conclusion that not only is it relevant, but it has a deep connection to our life here in Winnipeg.

It seems like we are regularly greeted by news headlines and stories of murder, senseless stabbings, bullying, and hatred-fuelled vendettas going wrong. Almost every day we read that someone has had their life cut short with seemingly little consequence. We see murderers walk free – and thus we have the story of the court jester.

Aside from the brilliance of the musical composition, Rigoletto sends home a very strong message about human nature. There will always be a faction of society that lives without regard to others, and we must remember this. However, we must also realize that love, forgiveness, and understanding are better tools to use when confronted with that society. In the absence of justice, revenge is never the answer.

rob herriot

DONORS continued:

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SPONSORS:

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9

Perspectives

Is Rigoletto a sympathetic

character? Should he be?

He comes from a play by

Victor Hugo, Le roi

s’amuse (The King Amuses

Himself) and represents

a new kind of character.

In the classical depiction

of character, a physical deformity usually was a

reflection of a character’s inner evil; heroes were

displays of beauty, though they may be flawed.

The supreme example of the former is Richard

III, a “humpback” like Rigoletto, who represents

sheer ambitious evil. Hamlet might be considered

the latter.

However, Hugo, and then Verdi, wanted to present

the character who is physically deformed as not so

much evil, but misguided. Here is someone who

gives the worst part of himself free reign as jester

at the corrupt court of the young, womanizing

king (or Duke in the opera), while maintaining

a purer part of his life away from that corruption

with his innocent daughter, Gilda. It won’t work,

of course, and a curse drives the opera, which

at one time was to be called Le Maledizone

(The Curse). That curse is hurled by a father

whose daughter was betrayed by the Duke, urged

on and aided, as always, by the jester. Rigoletto

takes it seriously, but not because it was an age

when people believed in curses as part of daily

life, but more so because he knows something will

topple over his unsteady balance between the bad

and the good in his life. The curse crystallizes the

desperation he tries to keep at bay.

Verdi is as sympathetic with Rigoletto as he

deserves. He means well, but that is never enough.

Gilda, encased in a house which is like a shrine,

will have her life, however sad that turns out to be,

despite her intentions. The Duke is unstoppable

and his brief, sentimental notion that he may love

Gilda dies with his intention to be true only to

his will.

Is then Rigoletto sympathetic? The idea was to

make him as beautiful and ugly as any human

being, and here Verdi succeeds. He is a devoted

father, a nasty companion, and is driven by

revenge out of love, nurturing fear and loathing

for himself that is expressed towards his dissolute

employer. We all must compromise in life, often

doing things we dislike, while keeping separate

what we know are the good things. Rigoletto has

the best of intentions, but he, like us, knows that

going to the darkest of places while looking at the

light only leads down, as the light recedes. It goes

out when Gilda dies, the curse fulfilled. Best

intentions don’t bring sympathy, but, just maybe,

a little pity for the tormented jester.

Rory Runnells is Artistic Director of the Manitoba

Association of Playwrights, Drama Editor for

Prairie Fire magazine, and writes book reviews for the

Winnipeg Free Press.

THe BesT of InTenTIons By Rory Runne l l s

Opera is a multi-sensory experience, but smell shouldn’t be one of them. When attending performances, please be considerate of fellow opera lovers who have allergies and sensitivity to fragrance and chemicals by refraining from wearing perfume, cologne, aftershave, and other fragrant personal care products such as strongly perfumed hand lotion.

Please be “scent-sitive”

Experience all the grandeur of Aida this AprilDoomed lovers, armies, slaves, dancing girls, plus potentates, priests, and pyramids – ever since its premiere in Cairo in 1871, Aida has become synonymous with spectacle.

Manitoba Opera will close the 40th season with Verdi’s unforgettable tale of love and duty that is sure to thrill audiences with its majestic triumphal march and glorious arias and ensembles.

One of the best-known operas of all time, Aida is set in ancient Egypt and tells the tragic love story of Aida, the enslaved Ethiopian princess, and Radames, the Egyptian captain of the guard.

The great soprano Leontyne Price once said of Aida: “I don’t think there is another opera with such a wealth of extraordinary melody. It’s ravishing.”

Potentates, priests, and pyramids

Three Shows Only! April 13, 16, and 19 Tickets at 204-944-8824, www.manitobaopera.mb.ca

Calgary Opera 2011 production of Aida.This set will be featured in the MO production.

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The Composer and Librettist

Giuseppe Fortunino Francesco Verdi dominated the world of Italian opera from his first considerable success in 1842 with Nabucco until his final Shakespearean operas Otello, staged at La Scala, Milan in 1887, and Falstaff, mounted at the same opera house in 1893.

During his lifetime, this most beloved of all opera composers, wrote 26 operas, not including revisions, as well as numerous other compositions. The best known of these operas are Nabucco, Macbeth, Rigoletto, Il Trovatore, La Traviata, Aida, Falstaff, Otello, Les Vêpres Sicilennes (The Sicilian Vespers), Simon Boccanegra, Un Ballo in Maschera (A Masked Ball), La Forza del Destino (The Force of Destiny), and Don Carlos.

Verdi made opera into more realistic theatre than the bel canto operas composers, such as Donizetti, had produced. He demanded more emotion and better acting from his singers and discouraged vocal acrobatics. The orchestration, sentiments, and passions of Italian Romanticism can be clearly seen in his operas which offer dramatic, passionate characters taken from

real life, characters involved in desperate struggles and displaying heightened passions. He dealt with heroism and loyalty, jealousy and greed, love and hate, and devotion and patriotism.

His career coincided with the rise of Italian nationalism and the unification of the country, causes with which he was openly associated and which were incorporated into his music. He became a great Italian patriotic hero and champion of human rights, and throughout his career, had many battles with censors of artistic freedom.

Several of Verdi’s operas told stories about wrestling freedom from oppression. In Nabucco, Ernani, Il Due Foscari and Battaglia di Legnano, the audience heard echoes of their own patriotic ardour. As well, the letters of Verdi’s name formed an acronym for Italy’s would-be king – Vittorio Emanuele Re D’Italia (Vittorio Emmanuele, King of Italy). The cry “Viva, Verdi!” – at first an artistic accolade – became a passionate expression of the Italian spirit.

The ComposerGiuseppe Verdi (1813-1901)

Francesco Maria Piave wrote librettos for a number of Verdi’s operas including Rigoletto, La Traviata, Aida, and Macbeth. Born in Venice in 1810, Piave first worked as a proof reader for a publisher after his family’s glass business failed and he had to leave the seminary where he was training for the priesthood.

In 1844 he became poet and stage manager of Teatro Fenice in Venice where Piave remained until 1860, when he moved to La Scala in Milan, after Verdi’s recommendations. In 1848 he took an active part in the struggle against the Austrian occupation of Italy.

When he wrote for Verdi, much of the direction came from the composer, who was very specific in what he sought from the librettist. Despite the ‘taskmaster’ approach of Verdi over Piave, they developed a strong and lifelong friendship. After Piave suffered a stroke that left him paralyzed and unable to communicate, Verdi’s friendship extended to financial support for his family. The librettist died in 1876.

Piave wrote almost 30 librettos for other opera composers including Mercadante, Puccini, and the Ricci brothers, but none of these works became as famous as Verdi’s compositions.

The LibrettistFrancesco Maria Piave (1810 - 1876)

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Rigoletto Composer: Giuseppe Verdi

Librettist: Francesco Maria Piavebased on: Victor Hugo’s Le roi s’amuse

firSt perforManCe: Teatro La Fenice, Venice, March 11, 1851plaCe: Mantua, Italy • tiMe: 16th Century • oriGinal lanGuaGe: Italian

ACT I, SCene 1

During a ball held in the Ducal Palace, the philandering Duke of Mantua describes his love for all beautiful women, and his particular interest in an unknown girl he has seen at church. The Duke proceeds to flirt with Countess Ceprano while Marullo tells his fellow courtiers that Rigoletto, the hunchbacked court jester, has a mistress. Meanwhile, Rigoletto cruelly mocks Count Ceprano for his infidelity and the Count promises revenge.

Count Monterone, whose daughter has been seduced by the Duke, interrupts the party and demands vengeance. Rigoletto ridicules Monterone who then places a father’s curse on the terrified jester.

ACT I, SCene 2

That evening, Rigoletto refuses the offered services of Sparafucile, a professional assassin.

His daughter Gilda, the single source of happiness in Rigoletto’s life, affectionately greets him as he enters his courtyard. Gilda inquires about her family history; Rigoletto reveals only that her mother is dead.

Rigoletto orders his housekeeper, Giovanna, to watch Gilda closely, who is ordered to never leave their home. Gilda does not inform her father that she has fallen in love with a man she sees at church, who is really the Duke in disguise.

As soon as Rigoletto leaves Gilda alone, the Duke, dressed as a poor student, tells Gilda of his love for her.

After the Duke has left, Rigoletto returns to the house, and discovers the Duke’s courtiers abducting Gilda, whom they believe is the Duke’s new mistress. The courtiers tell Rigoletto that they are abducting Countess Ceprano, and he is persuaded to stand blindfolded and hold the ladder, inadvertently aiding his beloved daughter’s abduction.

ACT IIThe Duke is delighted to hear that Gilda has been abducted and he rushes to find her in his bedroom. Rigoletto enters, attempting to hide his unhappiness, and desperately looks for clues which will lead him to his daughter’s whereabouts. When Rigoletto understands what has happened, he pleads unsuccessfully with the Duke’s courtiers to give back his daughter. Gilda runs out of the Duke’s room and tells her father of the night’s events. As Rigoletto sees Count Monterone on his way to prison, Rigoletto swears vengeance on the Duke.

ACT IIIRigoletto brings Gilda to Sparafucile’s inn to let her see the Duke flirting with the assassin’s sister, Maddalena. Gilda’s love for the Duke is unwavering and Rigoletto orders her to return home and change into men’s clothing in preparation for their journey to Verona.

Once Gilda leaves, Sparafucile meets Rigoletto outside the inn and they decide that the Duke will be murdered and Rigoletto will return at midnight to fetch the corpse. When Maddalena hears of the impending murder, she tries to convince the Duke to leave the inn, and when he refuses, she begs her brother to spare the Duke’s life.

Sparafucile will not break his agreement with Rigoletto, however he tells his sister that if anyone else enters the inn that night, they will murder that person and the Duke’s life will be spared. In the meantime, Gilda has returned to the inn. Overhearing Maddalena and Sparafucile’s conversation, she resolves to sacrifice herself in order to save the Duke. She knocks on the door and is swiftly murdered and stuffed into a sack for Rigoletto. Rigoletto excitedly picks up the sack.

As he is rowing out into the middle of the river, preparing to throw the body overboard, he hears the Duke singing back at the inn. He tears open the sack and discovers his dying daughter who asks her father for forgiveness. As Gilda dies, Rigoletto painfully recalls Monterone’s curse.

Synopsis

Manitoba Opera is a professional company operating within the jurisdiction of Canadian Actors’ Equity Association.

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Rigoletto A n O P e r A I n T H r e e A C T S ( I n F O u r S C e n e S )

Music by Giuseppe VerdiLibretto by Francesco Maria Piave

Based on the play Le roi s’amuse by Victor HugoConducted by Tyrone Paterson Directed by robert Herriot

CAST (In order of vocal appearance)

THE DUKE OF MANTUA. . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID POMEROy

BORSA, a courtier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES MCLENNAN

THE COUNTESS CEPRANO . . . . . . . . . . . . . . . . . . . . . . . KATHRyN PATRICK

RIGOLETTO, the Duke’s jester . . . . . . . . . . . . . . . . . . . . . . . . . TODD THOMAS

MARULLO, a courtier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MEL BRAUN

COUNT CEPRANO, a nobleman . . . . . . . . . . . . . . . . . . . . . HOWARD REMPEL

COUNT MONTERONE, a nobleman . . . . . . . . . . . . . . . . . . . . . . PETER VOLPE

SPARAFUCILE, an assassin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER VOLPE

GILDA, Rigoletto’s daughter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRACy DAHL

GIOVANNA, Gilda’s nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAWN BRUCH

A HERALD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAL KOWALIK

A PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SUSANNE REIMER

MADDALENA, Sparafucile’s sister . . . . . . . . . . . . . . . . . . . . . . . LAUREN SEGAL

Lighting Designer BILL WILLIAMS

Set DesignerLAWRENCE SCHAFER

Projected Titles bySHELDON JOHNSON

There will be three 15-minute intermissions.

Latecomers will not be seated until an appropriate break in the program. The use of cameras and recording devices is strictly forbidden. Please turn off paging devices, cell phones, and alarm watches. Cast subject to change.

Set and Props provided byNEW ORLEANS OPERA

Wardrobe provided byMALABAR LTD.

(TORONTO ON)

Stage ManagerEVAN R. KLASSEN

Assistant Stage Managers

KATHRyN BALLCANDACE MAxWELL

rob Herriot Director

Canadian stage director Rob Herriot has directed productions of Lucia di Lammermoor, La Bohème, Carmen (Manitoba Opera); La Traviata (Opera Hamilton); Carmen (Arizona Opera); Don Pasquale (Opera Hamilton, Connecticut

Opera, and Utah Opera); Pirates of Penzance, La Fille du Régiment, HMS Pinafore (Edmonton Opera – winner of a Sterling Award for Outstanding Musical of the Season); Tosca and The Mikado, both nominated for the Sterling Award for Best Musical Production 2011/12 and The Barber of Seville (Calgary Opera) which was nominated for a Betty Mitchell award for Best Musical of the 2008/09 season.

Mr. Herriot was also the Director-in-Residence for Opera on the Avalon (2009-2012) in St. John’s, Newfoundland, where he directed productions of Albert Herring, The Marriage of Figaro, Suor Angelica and Gianni Schicchi.

Last season he returned to performing, playing the role of Pirelli in Sweeney Todd and Harold Ickes in Annie at Rainbow Stage. He just directed his first musical, Little Women for Dry Cold Productions.

tyrone paterson Conductor

Tyrone Paterson is Manitoba Opera’s Music Advisor and Principal Conductor. He is one of Canada’s major opera conductors and has led performances throughout Europe, the U.S., Asia, and Canada. Recent performances include Rigoletto (Montreal

Opera); Cavalleria rusticana/Pagliacci (Edmonton Opera); concerts in San Remo, Italy; La Traviata (Hawaii Opera Theatre); Medea at Il Teatro Greco (Italy); concerts for Opera Cracow (Poland); Manon (Calgary Opera); and Lucia di Lammermoor (Opera Lyra Ottawa).

Other notable past engagements include Eugene Onegin featuring Russell Braun; Lucia di Lammermoor featuring Sumi Jo; Borodin’s Prince Igor (National Theater of Moravia-Silesia); La Traviata and Rigoletto for Opera Constanta (Romania); Tosca for the Opern Air Festival (Austria); Jenufa at the Hukvaldy Festival; Bartók’s Blue Beard’s Castle (Czech Republic); and

The Magic Flute in Beijing. Upcoming engagements include La Traviata (Opera Lyra Ottawa) and Aïda (Manitoba Opera).

david pomerory Duke of Mantua

Newfoundland tenor David Pomeroy recently appeared with the Canadian Opera Company (COC) in the title role of Les Contes d’Hoffmann and as Alfred in Die Fledermaus. Other COC appearances include Pinkerton in Madama

Butterfly, Rodolfo in La Bohème, Skuratov in From the House of the Dead, and the title of Faust.

Mr. Pomeroy’s 2011/12 highlights included Carmen (Philadelphia), Faust (Metropolitan Opera), and La Traviata (New york City Opera). Past credits include Stefano in the world premiere of Filumena (Calgary, Ottawa, Edmonton); Rigoletto (Montreal, Calgary and Kansas City); Lucia di Lammermoor (Calgary, Manitoba); Hoffmann (Metropolitan Opera and Florida Grand); La Traviata (Vancouver); Roméo et Juliette (Metropolitan Opera); Two Widows (Scottish Opera and Edinburgh Festival); Carmen (Vancouver, Manitoba, Stuttgart, Kansas City, Victoria); La Rondine (Michigan Opera); Tosca (Montreal); and Pinkerton (Michigan, Fort Worth, Kansas City, and Québec).

Future appearances include Faust with the Metropolitan Opera, Hoffmann in Edmonton, the Montreal Opera Gala, and a debut solo recital at the CBC Glenn Gould studio in Toronto.

James mCLennan* Borsa

James McLennan has performed with many of Canada’s major opera companies in repertoire ranging from Baroque to buffo. Highlights include Triquet in Eugene Onegin for Vancouver Opera, the title role in Candide for Toronto

Operetta Theatre, Remendado in Carmen with Calgary Opera, Antoine Tassy in Kamouraska with Opera in Concert, and Beppe in Pagliacci with Hamilton Opera.

16

The Artists Listed in order of Vocal Appearance * Manitoba Opera debut

On the concert stage, he has sung the St. John Passion with the Amadeus Choir and the Grand Philharmonic, Handel’s Israel in Egypt with the Mendelssohn Choir, the Bach Mass in B Minor with the Vancouver Bach Choir, and Haydn’s Creation with the Winnipeg Symphony Orchestra, where he was also the tenor soloist for the North American premiere of the Tavener Requiem.

James McLennan is an alumnus of the Second City Training Center, North America’s premier improv and comedy school, and he holds a degree in French translation from york University’s Glendon College.

KatHryn patriCK Countess Ceprano

This is Kathryn Patrick’s second time on the Manitoba Opera stage after making her debut in the ensemble of The Daughter of the Regiment last spring.

Ms. Patrick is an active soloist and is currently completing

her Associate of the Royal Conservatory (ARCT) Performance Diploma through the Royal Conservatory of Music. She has been a participant in the Winnipeg Music Festival Competition since her teens and was celebrated as a finalist in the Rose Bowl Trophy, the recipient of the Tudor Bowl Trophy, Alma Wynne Memorial Trophy, and W.H. Anderson Memorial Trophy.

Her television credits include being chosen as one of Canada’s Top 48 Finalists in the CBC series How Do You Solve a Problem Like Maria? Andrew Lloyd Webber’s Search for the Next Maria Von Trapp.

todd tHomas Rigoletto

American baritone Todd Thomas is recognized with operatic companies and critics alike as one of the true Verdi baritones currently gracing stages today. Recently as Macbeth, Opera News depicted his performance as “warm and centered in his

tone with subtle phrasing that emphasized the introspective, almost poetic quality of the tormented king.” Of a recent Falstaff performance, Opera News said, “Thomas’s forthright vocalism (featuring wonderful top notes) and apt physique give him a leg up in this part, but he also captured the generous, earthy spirit of Shakespeare’s creation, giving the evening its comic and emotional fulcrum… it’s hard to imagine there are many

better Falstaffs working on North American stages today.”

This season engagements include a return to Lyric Opera of Chicago to perform Monterone and cover the title role in Rigoletto; Scarpia in Tosca with Opera Carolina; Amonasro in Aida with North Carolina Opera; Sharpless in Madama Butterfly with Opera Birmingham; and performances as Captain Balstrode in Peter Grimes in a return to Des Moines Metro Opera. He last performed with Manitoba Opera as Count di Luna in Il Trovatore.

meL braun Marullo

Mel Braun is a versatile singer, equally at home in oratorio, opera, and recital. He is well known to Canadian audiences for his performances of the Baroque masterworks, his many New Music premieres, and his innovative recital programming.

Mr. Braun heads up the Vocal Department at the Marcel A. Desautels Faculty of Music (University of Manitoba), where many of his students have gone on to professional careers.

He also appears regularly as a conductor with Camerata Nova and the Professor Bach Project. His previous appearances with Manitoba Opera include roles in Rigoletto, Nosferatu, The Consul, Aida, Jason and Hanna, and Candide in Concert.

Howard rempeL Count Ceprano

This is Howard Rempel’s 11th Manitoba Opera performance with roles in previous productions including The Daughter of the Regiment (2012), Salome (2011), Tosca (2010) and The Barber of Seville (2009).

During the 2011/12 season, Mr. Rempel was the bass/baritone soloist in Puccini’s Messa di Gloria, Kodaly’s Missa Brevis, Vaughan Williams’ Hodie, Beethoven’s Mass in C, Mozart's Requiem, Vaughan Williams’ Five Mystical Songs and Brahms’ Requiem. Following Rigoletto, he will be performing as the baritone soloist in Saint-Saëns’ Christmas Oratorio and the bass soloist in Handel's Messiah.

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The Artists

peter voLpe* Monterone/Sparafucile

American bass Peter Volpe continually receives critical and popular acclaim on four continents. Possessing a vast and ever-expanding repertoire of over 80 roles in six languages, his captivating style and interpretive skill embraces the depth of

historical and fictional characters. Of a recent portrayal as Prince Gremin in Eugene Onegin, Opera News said he “managed to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of tone, together with his intelligent interpretation, won him a well-deserved ovation.”

In the current season, performances include Ramfis in Aida at Michigan Opera Theatre, Ferrando in Il Trovatore at Arizona Opera, Zuniga in Carmen at the Florentine Opera, the bass soloist in Verdi’s Requiem with the Chattanooga Symphony, and his role debut as Daland in The Flying Dutchman with Glimmerglass Opera. In addition, he will perform Raimondo in Lucia di Lammermoor with Portland Opera and Philip II in Don Carlo at Austin Lyric Opera.

traCy daHL Gilda

With her 2006 debut at La Scala as Zerbinetta in Ariadne auf Naxos, Canada’s premier coloratura soprano, Tracy Dahl has taken another milestone in a career that has brought her together with such opera houses as the Metropolitan Opera, San

Francisco Opera, Houston Grand Opera, Canadian Opera Company, and the Châtelet in Paris, to name a few.

Recent and upcoming appearances include Maria Stuarda (Maria) with Pacific Opera Victoria, Alice in Wonderland (Cheshire Cat) with Opera Theatre of Saint Louis, as well as Carmina Burana with Naples Philharmonic, Britten’s Les Illuminations with Manitoba Chamber Orchestra, and selected Gershwin songs with the New york Philharmonic, Cleveland Orchestra, and Sydney and Melbourne symphonies.

Ms. Dahl was honoured to be recognized with the Golden Baton (WSO) and the Ruby (Opera Canada) for her significant musical contributions, and the Betty Mitchell Award for her portrayal of Gilda for Calgary Opera.

dawn bruCH Giovanna

Dawn Bruch made her Manitoba Opera debut as Countess Ceprano in Rigoletto in 2004 and is looking forward to revisiting Rigoletto as Giovanna. This soprano has performed a number of roles including Countess Almaviva (Le Nozze di Figaro) and

Fiordiligi (Così fan tutte) both with Lyric Opera Studio Weimar; Donna Eleonora (Prima la Musica, Poi le Parole) with the Little Opera Company; Lady Billows (Albert Herring) with Opera on the Avalon; and Ines (Il Trovatore) with Manitoba Opera.

Ms. Bruch is a sought-after concert performer as well. She was a featured soloist in the Groundswell concert “The Lady with the Hammer,” has appeared with the Winnipeg Symphony Orchestra, and regularly puts on recitals in Winnipeg. Ms. Bruch also works at the Manitoba Conservatory of Music and Arts.

miCHaL KowaLiK A Herald

Michal Kowalik was born in Czestochowa, Poland. Currently he is completing his Bachelor of Music and Bachelor of Education degrees at the University of Manitoba. In 2011, he performed the role of Count Almaviva in

the U of M Opera Theatre’s presentation of The Marriage of Figaro. He has been an active member of the Manitoba Opera Chorus since the 2007 season.

Mr. Kowalik has performed as a soloist in numerous recitals, is also a member of the Sokol Polish Folk Ensemble Choir, and is the organist and choir director at Holy Ghost Church.

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The Artists

19

susanne reimer A Page

Susanne Reimer, mezzo-soprano, is a graduate of the Marcel A. Desautels Faculty of Music, University of Manitoba, where she earned her Bachelor of Music and Post-Baccalaureate Diploma in Vocal Performance, studying with Monica

Huisman and Lois Watson-Lyons.

Notable performances there include portrayals of such characters as Madame de la Haltière in an excerpt from Massenet’s Cendrillon and Hansel in Humperdinck’s Hansel and Gretel, which delighted Winnipeg-area students during the U of M Opera School Tour in 2012.

Through the prestigious opera programs Opera NUOVA and Opera on the Avalon, Ms. Reimer has had the privilege of studying with acclaimed singers Judith Forst (Officer of the Order of Canada) and Peter Strummer.

Other performance highlights include Manitoba Underground Opera’s production of Giulio Cesare, in which she sang Tolomeo and repeat appearances with the baroque chamber music company, The Musical Offering.

Lauren segaL Maddalena

Former member of the Canadian Opera Company Ensemble Studio, mezzo-soprano Lauren Segal has appeared regularly with the company in roles such as Mercedes in Carmen, Siébel in Faust, Dorabella in Così fan tutte and Nicklausse in

Les Contes d’Hoffmann.

Further credits include Maddalena in Rigoletto for Opéra de Montréal, and Hamilton Opera; Carmen (cover) in Bari, Italy; Orlovsky in Die Fledermaus and Rosina in The Barber of Seville for Opera Hamilton; and Suzuki in Madama Butterfly with Manitoba Opera and Opera Hamilton.

On the concert stage, Ms. Segal has sung with the Grand Philharmonic Choir, the Bach Elgar Choir, the Vancouver Bach Choir, and Orchestre Metropolitain du Grand Montréal. She has appeared for the last two summers with Brott Summer Music, featured in several concerts, as well the title role in Bizet’s Carmen.

Born in South Africa, Ms. Segal holds a Master’s of Science degree from the Department of Physics at the University of Toronto.

tadeusz biernaCKi Assistant Music Director, Chorus Master

This is Mr. Biernacki’s 30th season with Manitoba Opera as Assistant Music Director, Chorus Master and Rehearsal Pianist. He is also the Music Director and Conductor for the RWB.

Winner of the K. Szymanowski Piano Competition (Warsaw), Mr. Biernacki has performed internationally as a piano soloist. He has conducted major orchestras across Canada, as well as the Tessaloniki State Orchestra, St. Paul Chamber Orchestra, Cleveland Opera Orchestra, Kaohsiung City Symphony Orchestra and the Hong Kong Sinfonietta. Mr. Biernacki has also written orchestral arrangements for the TSO, NAC Orchestra, and others.

He is Music Director of Saskatoon Opera where he has conducted a number of productions including La Traviata, La Bohème, Rigoletto, and Don Giovanni.He recently conducted their Gala concert featuring Richard Margison.

His most recent work as a conductor with Manitoba Opera includes the Divos and Divas Concert, The Daughter of the Regiment, The Barber of Seville, Candide, The Elixir of Love, Don Giovanni, Così fan tutte, and The Magic Flute.

Guest conducting with Opera Lyra Ottawa includes the concert versions of Hamlet and Mignon.

biLL wiLLiams Lighting Designer

Bill Williams is a well known Canadian lighting designer with more than 40 years of experience and over 600 production credits. He has worked for many leading opera, theatre, and dance companies across Canada, Europe, Asia, South America,

the U.S., and in the U.K. Past projects also include lighting for Royal visits, Olympics, World Fairs, theme parks, festivals, television, film, and special events.

continued on page 20

The Artists

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When not designing for the stage, Mr. Williams works as an architectural lighting designer and theatre consultant. He is also an active teacher, author, and photographer.

Bill Williams has designed the lighting for more than 25 Manitoba Opera productions.

evan r. KLassen Stage Manager

Rigoletto marks Evan Klassen’s ninth production with Manitoba Opera. Previous productions include Candide in Concert, Il Trovatore, Transit of Venus, La Bohème, L’Elisir d’Amore, Don Giovanni, Lucia di Lammermoor and Così fan tutte.

Recently, Mr. Klassen was stage manager for Little Women (Dry Cold Productions); Annie and Footloose (Rainbow Stage); God of Carnage and Grumpy Old Men: The Musical (RMTC); and House at Pooh Corner (MTyP). Elsewhere, he has worked for Theatre Calgary, Edmonton Opera, the National Arts Centre, Drayton Entertainment, and spent three seasons at the Shaw Festival. Evan Klassen is a proud member of Canadian Actors’ Equity Association and also serves on the Association’s National Council.

Up next, Mr. Klassen is the stage manager for the world premiere of Gone With The Wind at RMTC and Anne of Green Gables at Theatre Calgary.

KatHryn baLL Assistant Stage Manager

Kathryn Ball is pleased to be back with Manitoba Opera for her eighth production. Past productions include The Daughter of the Regiment, Salome, The Magic Flute, Tosca, The Barber of Seville, Madama Butterfly, and Il Trovatore. Favourite theatre

credits include Dreamgirls, Steel Magnolias, The Melville Boys (RMTC); The Full Monty (Rainbow Stage); The Brink (PTE); and Toopy and Binoo and the Marshmallow Moon (koba).

Next up, Ms. Ball is looking forward to touring Manitoba with RMTC’s regional tour of Ed’s Garage.

CandaCe maxweLL Assistant Stage Manager

Candace Maxwell is thrilled to be working on her eighth show with Manitoba Opera. She has been busy working across Alberta, Manitoba, and Ontario. Some selected credits include The Daughter of the Regiment, The Magic Flute, Carmen, Transit of

Venus (Manitoba Opera); The Boys in the Photograph (Mirvish Productions and RMTC); The Fighting Days, Fiddler on the Roof, Driving Miss Daisy (RMTC); Bingo!, The Savannah Disputation, and Munscha Meeya Manitoba School Tour (PTE).

Following Rigoletto, Ms. Maxwell will be joining the Royal Winnipeg Ballet for this year’s Nutcracker. Later this season she will head back to the Edmonton Opera for Les Contes d’Hoffmann before returning home to work on Manitoba Opera’s Aida.

Ms. Maxwell attended The Banff Centre for the Professional Theatre Program and Opera as Theatre Program. Banff Centre credits include Pride and Prejudice (Citadel Theatre), Siren Song, and La Tragedie de Carmen. She majored in Theatre Production and Design at the University of Winnipeg.

The Artists

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Manitoba Opera Chorus

direCtor of produCtion Sheldon Johnson

ChoruS MaSter Tadeusz Biernacki

rehearSal pianiSt Cary Denby

apprentiCe StaGe ManaGer Heather Lee Brereton

Wardrobe SuperviSor Roslynne Manson

Wardrobe Staff Royal Winnipeg Ballet

hair/WiG deSiGner Lori Caputi

Make-up deSiGner Alice Wiebe

proJeCted titleS CueinG Kim Lavilla

Concert Hall Production Staff

Production Personnel

StaGe ManaGer Dave Martin

liGht board operator Denis Crymble

Sound board operator Glen Jonatchik

StaGe CreW/ Wardrobe dreSSerS I.A.T.S.E. Local #63

Nicole Cadotte-Worden

Linda Feasby

Kelley Fry

Micheline Hay

Sarah Kirsch

Megan Krohn

Bonita Reimer

Marlise Ritchie

Mavis Ritchie

Deanna Smith

Erin Taruc

Karla Weir

Mark Brubacher

James Firby

William Jordan

Aiden Ritchie

Supernumeraries

Manitoba Opera Chorus

Tenor

Russ Foster

Peter Klymkiw

Michal Kowalik

David LaRue

Rick MacLowick

Tim Magas*

Colin Nicolson

George Nytepchuk

Lawrence Pauls

Raymond Sokalski

Jan van der Hooft

Bass

Jerzy Bibik

David Boyes

Chris Caslake

James Dutton

Jason Gooding

Neil Grewar

Richard Gusnoski

Ron Hooker

Eric Loepp

Fred Simpson

Jonathan Talbot

*Appearing with permission from Canadian Actors’ Equity Association

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Winnipeg Symphony Orchestra

First Violin

Gwen Hoebig, ConCertMaSter

Karl Stobbe, aSSoCiate ConCertMaSter

Mary Lawton, aSSiStant ConCertMaSter

Chris Anstey

Raymond Chrunyk

Mona Coarda

Hong Tian Jia

Trevor Kirczenow*

Simon MacDonald

Rachel Moody

Jane Radomski+

Julie Savard

Jun Shao

Second Violin

Darryl Strain, prinCipal

Elation Pauls, aSSiStant prinCipal

Karen Bauch

Rodica Filipoi

Barbara Gilroy*

Takayo Noguchi**

Boyd MacKenzie

Meredith McCallum

Susan McCallum

Claudine St-Arnauld

Phoebe Tsang

Viola

Daniel Scholz, prinCipal

Anne Elise Lavallée, aSSiStant prinCipal

Laszlo Baroczi

Richard Bauch

Greg Hay

Suzanne McKegney

Merrily Peters

Mike Scholz

Cello

yuri Hooker, prinCipal

Cristian Markos,** aSSiStant prinCipal

Alex Adaman

Margaret Askeland

Arlene Dahl

Carolyn Nagelberg

Emma Quackenbush

BassMeredith Johnson, prinCipal

Viorel Alexandru,** aSSiStant prinCipal

Paul Nagelberg

Bruce Okrainec

Zdzislaw Prochownik

Patrick Staples

FluteJan Kocman, prinCipal

Martha Durkin

PiccoloMartha Durkin

OboeBede Hanley, prinCipal

Robin MacMillan

english HornRobin MacMillan

ClarinetMicah Heilbrunn, prinCipal

Michelle Goddard

BassoonAlex Eastley, prinCipal

Meryl Summers

Horn

Patricia Evans, prinCipal

Ken MacDonald, aSSoCiate prinCipal

James Robertson

Caroline Oberheu

Michiko Singh

TrumpetBrian Sykora, prinCipal

Paul Jeffrey

Isaac Pulford

TromboneSteven Dyer, prinCipal

John Helmer

Bass TromboneJulia McIntyre, prinCipal

TubaChris Lee, prinCipal

TimpaniJeremy Epp, prinCipal

PercussionFrederick Liessens, prinCipal

HarpRichard Turner, prinCipal

Orchestra Personnel ManagerChris Lee

Principal LibrarianRaymond Chrunyk

Assistant LibrarianLaura MacDougall

* On Leave** One year contract+ Dual Section Position

Please note: Non-titled (tutti) string players are listed alphabetically and are seated according to a rotational system.

Manitoba Opera

Pro

gram

des

ign

by

Pan

ama

Des

ign

MissiOn sTATEMEnT

Manitoba Opera is a non-profit arts organization dedicated to changing people’s lives through the glory of opera.

Manitoba Opera will1. Present a balanced repertoire of both traditional and innovative productions;

2. Be the leader among Canadian opera companies in the development and employment of Canadian talent with an emphasis on Manitoba artists and technical personnel;

3. Operate as a fiscally responsible organization.

UndEr ThE disTingUishEd pATrOnAgE Of

The Honourable Philip S. Lee, C.M., O.M.

Lieutenant-Governor of Manitoba

His Worship Sam Katz,

Mayor of the City of Winnipeg

Founding President, The Honourable A. Kerr Twaddle

Artistic Director Emeritus, Dr. Irving Guttman, C.M., O.B.C.

Founding Director Emeritus, Dr. Robert H. Thorlakson, O.C.*

dirECTOrs EMEriTi

James W. AstwoodThos. F. Copeland*

Rosalind DickD. Chris Finnbogason

H.E. HarlandMrs. Kenneth R. Howell

A. Rolph HubandRichard Irish

Bruce H. LangMrs. Sinclair A. Levack*

Allan M. Moore*Dr. Robert N. Morris

Dr. M.M. Pierce*Dr. Elmer E. Reimer

Louis R. (Bud) ShermanEleanor Siddall

Dr. Lawrence SolowayJ.F. Reeh Taylor

Leigh Taylor

* deceased

BOArd Of TrUsTEEsJennifer Snyder,

Chair

Wayne Benson, SeCretary

Dr. Robert Biscontri treaSurer

Peter George, paSt Chair

Elba HaidPeter Heavysege,

CoMMunity Support Chair

Dr. Anthony IacopinoSue Jurkovic

Chris Mainella, GovernanCe Chair

Luisa Matheson, SpeCial eventS Co-Chair

Melanie Sifton, SpeCial eventS Co-Chair

Carolin TaubenseeRobert Vineberg,

viCe-Chair, audienCe developMent Chair

MAniTOBA OpErA OffiCE

Room 1060, 555 Main Street Winnipeg, MB R3B 1C3

204-942-7479 www.manitobaopera.mb.ca

Manitoba Opera is a member of Opera.ca and Opera America.

prOgrAM AdVErTising

Pennie Olson, proGraM adS SaleS rep.

Ph: 1-204-642-7574 E-mail:

pennie.olson123@gmail.com

sTAff (Listed alphabetically)

Tadeusz Biernacki aSSiStant MuSiC direCtor/

ChoruS MaSter

Michael Blais box offiCe Coordinator

Larry Desrochers General direCtor & Ceo

Livia Dymond eduCation and outreaCh

Coordinator

Chad Falk event and SponSorShip

ManaGer

Sheldon Johnson direCtor of produCtion

Tyrone Paterson MuSiC adviSor &

prinCipal ConduCtor

Louise Pujo SponSorShip ConSultant

Darlene Ronald direCtor of MarketinG

Vivian Schubert aCCountant

Monica Wood direCtor of developMent

BOX OffiCE

Manitoba Opera General OfficeLower Level,

Centennial Concert HallRoom 1060, 555 Main Street,

Wpg. R3B 1C3Hours: 9:30 am - 4:30 pm,

Monday to FridayCasual Tickets: 204-944-8824Subscriber Services Hotline:

204-957-7842Online:

tickets.manitobaopera.mb.caWebsite:

www.manitobaopera.mb.ca

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25

Partners in Opera

Manitoba Opera gratefully acknowledges the encouragement and financial support given by many individuals, foundations, businesses, and corporations, allowing us to bring opera to Manitobans.

Listings include donations made between June 1, 2011 to November 6, 2012. Please call Monica Wood at 204-942-0489 if you see any errors or omissions, or if you

would like further information on any of Manitoba Opera’s donation programs.

MATChing gifTs You can make your gift go even further if your company participates in a matching giving program. Ask your employer for an application before making your donation to Manitoba Opera.

FunDerS

Canada Council for the Arts

Manitoba Arts Council

Richardson Foundation

The Winnipeg Foundation

Winnipeg Arts Council

COrPOrATe LeADerS

BMO Financial Group

Delta Winnipeg

The Gail Asper Family Foundation

The Great-West Life Assurance Company

Investors Group

Manitoba Public Insurance

McKim Cringan George

Sun Life Financial

TD Canada Trust Prairie Region

Triple E Canada Ltd.

The Wawanesa Mutual Insurance Company

PrInICIPALS $5,000 to $9,999

Marwest Group of Companies

National Leasing

Terracon Development Ltd.

Nova 3 Engineering Ltd.

CHOruS $2,500 to $4,999

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Children’s Dental World

Elba & Marshall* Haid and Lara Secord-Haid

Pollard Banknote Limited

Price Industries Limited

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ArTISTS $500 to $999

Indutec Alchemist (1987) Inc.

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Number Ten Architectural Group

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FrIenDS $100 to $499

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GHy International

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Morier Benefits

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PCGI Consulting Services Winnipeg

Saper Agencies Ltd.

Thank you to our corporate donors who supported Manitoba Opera with gifts of under $100.

foundation and Corporate supporters

season supporters

education & outreach sponsors

Design Partner

Production & Performance sponsors

Hotel Partner

student night at the opera

In-school Presentation by Al simmons

Partners in Opera

IMPreSArIO CIrCLe $5,000+

Susan Brownstone Brock in Memory of Her Father, Jack Brownstone

Bonnie and John Buhler

Gail Clark & Carole Spread

Bill and Shirley Loewen

Michael F.B. Nesbitt

One Anonymous Donor

MAeSTrO $3,000 to $4,999

Ms. Gail Asper & Dr. Michael Paterson

Frank Fred Gladky

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Drs. William Pope & Elizabeth Tippett-Pope

Robert Vineberg + & Lena Horne ◆

VIrTuOSO $2,000 to $2,999

Audrey F. Hubbard

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Edward Ransby – in Memory of Carolyn Ransby

Hartley & Heather Richardson

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CAMerATA $1,250 to $1,999

Aubrey & Dr. Linda Asper

Jim & Margaret-Lynne Astwood

The Albert D. Cohen Family

Robert & Alison Darling

Laurie Lam & Larry Desrochers †

Nathaniel D Bell

Delores Gembey

Susan Glass & Arni Thorsteinson

Mr. Peter Heavysege +

Charles Hebert & Valerie McPherson

Leona Herzog ◆

Audrey Inglis

Investors Group Matching Gift Program

Robert B. Jackson

Sheldon Johnson †

Mr. Ralf Kyritz

Katarina Kupca & Bartley Kives

Dr. David Lyttle

Darlene Ronald † & Stewart Heaton

Frank & Hannah Sellers

Eleanor & Bob Siddall

Charles Tax

Leigh Taylor & Beverley De’Athe

Dr. & Mrs. J.M. Trainor

Brent Twist

Dr. & Mrs. W. Reid Waters

The Hon. A. Kerr Twaddle & Susan Twaddle

One Anonymous Donor

CC a m e r a t aC a m e r a t a

The name comes from a group of 16th century Florentine poets, musicians, and nobles who were patrons of the arts. It was through their efforts, talents, creativity and support that opera was born and flourished. Manitoba Opera’s Camerata helps ensure that the finest possible representation of the operatic art continues to be available to the Manitoba public. With any gift of $1,250 or more, individuals automatically become a member of the Camerata. In addition to all Friends benefits, Camerata members enjoy exclusive privileges and special programs.

◆ Monthly giving+ Member, Board of Trustees† Manitoba Opera Staff* Deceased

BeneFACTOr $500 to $1,249

All Charities Campaign

Mr. & Mrs. Robert Bartolo

Wayne + & Ember Benson

Bruce & Shelley Bertrand Meadows

Carol Campbell & Andrew Krentz

Bjorn & Roberta Christianson

John & Gay Docherty

Emmanuel Fernandez

Ms. Penny Gilbert

Ms. Barbara Hamilton

Barry Konzelman

Drs. Herman Lam & Laura Chan ◆

Ms. Debbie MacKenzie

Mrs. Natalie Anne Mayba

Ron & Sandi Mielitz ◆

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Mr. Josef Nejmark

Norma Anne Padilla

Margaret & Paul Shuckett

Dr. & Mrs. Murray R. Steinbart

Karl Strieby

Dr. Milada A. Toffler

Lee Treilhard

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Four Anonymous Donors

SuPPOrTer $250 to $499

Jay & Judy Anderson

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Reg Friend

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Loretta Kampeas & John Gartner ◆

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Ms. Iona McPhee

Marc Monnin & Donna Miller

Vic Pinchin

Dr. Brian Postl

Mr. T. David & Mrs. Lorraine Smith

Mr. & Mrs. Stano Spina

B. Steidle

Thomas & Wanda Struthers

Reeh & Pamela Taylor

Dr. Sylvia Todescan

Ray Turner

Mr. & Mrs. H. Voigt

Edna Walpole ◆

Florence & Donald Whitmore

Ms. Daniela Wightman

Elizabeth & Charles Wilson

The John Leslie Taylor Fund through The Winnipeg Foundation

Two Anonymous Donors

Friends of Manitoba Opera is a program designed to help us acknowledge and thank the many private individuals who support Manitoba Opera each year.

◆ Monthly giving+ Member, Board of Trustees† Manitoba Opera Staff* Deceased

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Partners in Opera

SuSTAIner $100 to $249

P. Achtemichuk

Monica Allison ◆

Dr. John R.M. Smith & Douglas H. Arrell

Zaz Bajon & Pat Hunter-Bajon

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Bruno Gossen & Solange Chabannes

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Hans Pintea

Ms. Marina Plett-Lyle

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Ricou-Manfreda

David H. & Helene Riesen

Roger Rigelhof & Marjorie Russell

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Joe Sandy

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Jeff Sisler & Cathy Rippin-Sisler

Jean Smellie

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Ms. Jennifer Snyder +

Nicola Spasoff & Erik Thomson

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Ellen Spencer ◆

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Brenda Keith St. Clair

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William & Peggy Stewart ◆

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Juris & Aija Svenne

Jo Swartz & Richard Silverman

Dr. Shelley Sweeney

Dr. Emöke J. E Szathmàry

Meir Serfaty and Bonnie Talbot

Lloyd Talbot

Virginia Tate

Ms. Carolin M. Taubensee +

Mr. Ross & Mrs. Bette Jayne Taylor

Mr. Len Termeer

Mr. Ian Thomson & Ms. Leah Janzen

Verna Tribula

Mr. Ian Trump & Ms. Marcella Poirier

Dorothy Tytgat

Suzanne Ullyot

Audrey Unger

Eve Vickar

Dr. & Mrs. F.C. Violago

Dr. Robert D. Walker

Mrs. Faye Warren

Mr. A.M.C. Waterman ◆

Mr. Cian Whalley

Debbie Wilson

Walter & Arlene Wolfe

Dr. & Mrs. Graham & Vicki young

Ken young

Donn K. yuen

Marylla van Ginkel

Mr. Ivan Zimmer

Ms. Ljiljana Zlatanovic-Kovacevic

Seventeen Anonymous Donors

COnTrIBuTOr $50 to $99

Ms. Helen Adrian

Mrs. Pat Ahmad

Ms. Gloria Anderson

Mr. & Mrs. Don & Jean Ayre

Joseph Anthony Tritt Bar Mitzvah Fund

Mrs. D. Patricia Barry

Allan and Roma Bellhouse

Audrey Belyea

Ms. Gertrude Bergen

Jeanette Block

Mr. Emile & Mrs. Anna Blouin

Ms. Taeko Boorberg

Mrs. Gabrielle Boulet

Mrs. Phyllis Briercliffe

Mrs. F. Buckmaster

Mr. Robert Campbell

Agnes & John K. Collins

Ms. Valerie Cox

G. & M. Crielaard

Miss K. Crowston

Christine Dewar

Jeanie M. Dubberley

Mr. Spencer Duncanson

Dr. Dorothy Easton

Caroline & Armin Ens ◆

Mr. Kornelius Ens

Mr. & Mrs. H.R Entz

Julie Enyingi

Mr. Willie Falk

Peter & Vera Fast

Mr. & Mrs. James & Linda Feasby

Ms. Nelma Fetterman

Dr. & Mrs. D. D. Fillis

Gayle Fischer

Mrs. J. Fitzmaurice

Gitta Fricke & Andrea Cibinel

Mr. Andre Gautron

Ms. Denise Gillies

Don Graham

John & Louise Greenaway

Lorraine Griffiths ◆

Esther Haluschak

Mr. John Harder

Ms. Ruth Hartnell

Dr. & Mrs. J.C. Haworth

Mr. yude Henteleff

Partners in Opera

Dr. & Mrs. Earl S. Hershfield

Patricia & Robert Hill

Ms. Rhonda Hogg

Maureen & Gary Hunter

Ms. Janice Ingimundson

Mr. & Mrs. Reinhard & Liesel Jansson

David & Heather Jenkins

Lucie Joyal

J.H. Kaminsky

Ms. Mary Kasper

Mr. Fred Kisil

C. Kleiner

Andrew & Claudia Serray

Mr. Gilles Landry

K.W. Lee

Mr. Camille Legare

Gordon P. Linney

Shirley Lynch

Claudette & Michel McDonald

Al & Diane McGregor

Sam and Aveeve McLaughlin

Anny Meyer

Ms. Emily Mikolajewski

Mr. Tony Mitousis

Mr. & Mrs. Fred & Margaret Mooibroek

Ms. Eleanor Moore

Dr. Donna Norell

Mr. Grant Pastuck

Lesia Peet

Norman & Edna Pohl

Ms. Laura Rawluk

Ms. Sherry Ridley

Mrs. Waltraut Riedel-Baun

Beverly Ryman

Dr. C. Michael Sampson

Mr. & Mrs. Eduard Schludermann

Rita Schroeder ◆

Phyllis Schwartz

Mr. & Mrs. Douglas Scott

Ms. Marlene Serafin

Linda Sexsmith

Louise Shaw

Shelagh Sinclair Fund through the Winnipeg Foundation

Mrs. Marie Sichler

Bob Smith

Mrs. Rae Spear

Clifford & Gina Speer

Mr. Peter Sribniak

M. & H. Stinson

Ms. Megan Tate

Mrs. Bette Jayne Taylor

Robert & Catherine Thiessen

Mr. Norman D. Toms

Alan Tring

Mrs. F.A. Trott

Kenneth R. Twomey

Mrs. Shirley Tyderkie

Lois Watson-Lyons

Mr. Tim Wildman

Elizabeth Woods

Linda Sexsmith

Phillip S. young ◆

Nineteen Anonymous Donors

Many thanks to all of our donors who generously supported Manitoba Opera with donations under $50.

enDOwMenT FunD GIFTS

Ms. Kate Armstrong

Audrey F. Hubbard

Marion Lewis

Mr. & Mrs. Howard and Sue Simpson

Terracon Development Ltd.

Dr. and Mrs. W. Reid Waters

Please consider making a gift to the Manitoba Opera Endowment Fund, visit www.wpgfdn.org to make a donation today!

enDOwMenT FunD GIFTS MADe In MeMOrY OF MArSHALL HAID

Ms. Gail Asper and Dr. Michael Paterson

Rebecca Grafstein

Ms. Goldie G. Weatherhead

BequeSTS

The Estate of Margareth Mol

TrIBuTeS

In Memory of…

Mr. Albert Cohen Donna and Ian Plant

Graham Dixon Faye Dixon

Hank Allan Besson

Ross Houston Ms. Patricia Gartrell

George Krahn C Inglis Christine & Henry Sahrmann Sharon & Cecil Cox Gail & Joe Jarema

Ross Houston Patricia A. Gartrell

Dale Morrison Peter Morgan

Harold Pollock Arnice Pollock

Evelyn Shapiro Daniel Shapiro

David Harrison Skinner R. F. Skinner Donn K. yuen

Dr. Robert Thorlakson Rosalind and Alan Dick

Alice Vorst Jesse Vorst

In Honour of…

Congratulations to Chris Mainella upon his judicial appointment – Janet and Larry Gould

In Honour of John Buhler's Order of Canada, and Bonnie Buhler's 65th Birthday – One Anonymous Donor

In Honour of Bonnie Buhler on the occasion of her birthday – Drs. William Pope & Elizabeth Tippett-Pope

MOnTHLY Or BY InSTALMenTS It’s often more convenient to give a substantial gift in smaller,

more comfortable instalments. your chosen gift amount is debited automatically from your bank account or credit card.

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