Cinderella House Program

C A N A D I A N O P E R A C O M P A N YSpring 2011

Performance

Cinderella (La Cenerentola)

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nCANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, CreativenRJ PERFORMANCE MEDIA INC.: PRESIDENT AND PUBLISHER: Joe Marino n CEO: Frank Barbosan SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina ZicarinNATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino, David Thom, Heather ThomnART DIRECTOR/DESIGN: Jan Haringa n GRAPHIC ARTIST: Glenda Moniz

nCinderella, Ariadne auf Naxos and Orfeo ed Euridice cover images: Mark Olson

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For blogs, interactive quizzes, and podcasts featuring music and interviews, visit coc.ca. 5

CONTENTS6 MASTER OF SUBLIME

BY PATRICK SUMMERS

12 BATHING IN STRAUSSBY SUZANNE VANSTONE

20 NIGHTINGALE SOARSAT BAM

22 THE OPERA OF UNANSWERED CRIESBY MAX LOPPERT

The Canadian Opera Company presentsCinderella. Joyce DiDonato as Cenerentolaand Patrick Carfizzi as Don Magnifico in theHouston Grand Opera production, 2007.Photo: Brett Coomer

C A N A D I A N O P E R A C O M P A N YSpring 2011

Performance

Canadian Opera Company 2010/2011 Season6

n that most quotable of movies,Casablanca, no one says, “Play it again,

Sam.” Ingrid Bergman, as Ilsa, says, “Play it once, Sam, for old times’ sake.” But thephrase benignly sits in our lexicon: we want,as time goes by, our legends to be true. The Italian composer Gioacchino

Rossini (1792 – 1868) is surrounded by lore.Thanks to the legends of his time, we picturethe rotund and jolly young retiree in mid-19th-century Paris, the reliable dispenser ofbon mots (he thought Wagner’s operas had“beautiful moments but awful quarter hours”)who happily ate his weight in tournedos

I

MASTER OF SUBLIME

BY PATRICK SUMMERS

Rossini as the cultured of Europe stoppedby his salon to pay him homage. We don’tknow why he wrote the last of his 39 operasat the age of 37. But we do know that hefeared being remembered merely as thecomposer of “the third act of Otello andThe Barber of Seville.” And, indeed, it wasn’tuntil a late-20th-century renaissance thatRossini’s grand and revered reputation wasfully restored. Why was Rossini considered a lesser

musical figure for about a century after hisdeath? Fashions come and go, of course, andRossini wrote in a particularly florid vocalstyle that linked the late-Classical era to theRomantic, but which, in the mid-to-late 19thcentury, came to be considered old-fashioned.His serious works largely faded from thestage. In the mid-20th century, Rossini’smusic was heard in cartoons and on televisionshows, most famously for The Lone Ranger,which used the finale of the William TellOverture as its theme. Rossini’s operas,meanwhile, were singer-dominated “star”vehicles, often with delicately lean accompaniment figures considered by some(even now, sadly) to be intellectually suspectin their simplicity.

But, of course, music is not automaticallybettered by being more complex. A closelook at Rossini’s orchestral writing reveals a marvellously inventive musical mind, fullof complicated and transparent simplicity.Rossini was a master of sparkling orchestralvirtuosity and elegant economy. And heexpected orchestral virtuosity from thesinging voice: his vocal lines are limpid,wide-ranging, and highly florid, like singingclarinets and horns. One moment he asks a singer to spin a long and rhythmicallypliant phrase only to follow it with afiendishly difficult passage work. Performinghis arias can feel, to singers, like singing an instrumental concerto. In addition to the written demands of the page, Rossinicomposed – like Handel and Mozart, theoperatic masters who came before him –with an expectation that a star singerwould “decorate” his music, much like jazzsingers of our own time personalize theirinterpretations of famous songs and makethem their own.How does a singer “decorate” a Rossini

aria? Think of an aria as a house andRossini as the architect. He has laid thefloor plan and selected the paint colours. It is left to the taste of the interpreters tofinish the décor, to add the personal touchesthat make the room unique. Thus no twoperformances are alike.But the point is to decorate, not remodel.

Taste is everything: Rossini left hundredsof examples of vocal ornamentation heconsidered proper and/or stylish for hismusic. He wrote, for example, four alternatesets of ornaments for the finale of La donnadel lago (The Lady of the Lake), written for

Opposite page: The COC presents Cinderella. (l – r) Tamara Wilson as Clorinda, Earle Patriarco as Dandini, and Catherine Cook as Tisbe in theHouston Grand Opera production, 2007. Left: Nikolai Didenko (centre) as Alidoro. Photos: Brett Coomer



The COC presents Cinderella. (Foreground, l – r) Lawrence Brownlee as Don Ramiro, EarlePatriarco as Dandini; (background, l – r) CatherineCook as Tisbe, Patrick Carfizzi as Don Magnifico,and Tamara Wilson as Clorinda in the HoustonGrand Opera production, 2007. Photo: Brett Coomer

four different sopranos; they are fantasticallyinventive and much bolder than what manyconductors and singers would try in Rossinitoday. Rossini’s ornamental style has aunique tint; a musical language that, oncerecognized, is unmistakable. It crackles. Andhe let it be known if one decorated too far:in the early 1860s, the celebrated sopranoAdelina Patti sang a Rossini aria for themaestro. Her highly decorative ornamentsprompted his famous retort, “It’s a lovelyaria – who wrote it?”“Who wrote it?” begs the question of why

he wrote the way he did. Vocal ornamentationis expected to heighten the expressivenessof a given phrase, to surprise the ear andkeep the music fresh with each new singer.The resurgence of many of Rossini’s seriousoperas has positively influenced our currentgeneration of singers, who are schooledand gifted in the demands of this music –as a result, Rossini’s grand musical thoughts,

particularly in so touching and humourousa work as La Cenerentola, are being discovered anew by modern audiences.Rossini’s music, ebullient and friendly,

recalls the remarkable era of Parisian musicalhistory over which he reigned. The threechildren of Manuel García, who was Rossini’sfirst Almaviva in The Barber of Seville, were all indelibly linked to Rossini: Manuelthe younger invented the laryngoscope and became a celebrated vocal pedagogue,training Jenny Lind and Mathilde Marchesi,the latter of whose published vocal exercisesremain one of the most important links to Rossini and should be studied by everyyoung singer. Manuel’s sisters, Maria Malibranand Pauline Viardot-García, were legendarysingers who inspired some of the greatestcomposers of their day, particularly Berlioz,Saint-Saëns, Meyerbeer, and Chopin, whosepiano music was highly influenced by thedecorative vocal style of bel canto opera.

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Did Rossini, as a major part of his legendsuggests, simply make enough money anddecide to stop writing after William Tell?Or was he just aesthetically linked more to the past than to the future? We’ll neverknow, of course. Listening to the glowinghumanity of La Cenerentola’s gossamerfinale, or the sunburst which closes thefinal moments of his William Tell, we feelperhaps a wistful look back at the noblefinales of Mozart and Gluck, the world into which Rossini was born and which he outlived. But we also hear the future:Wagner, Berlioz, and perhaps even Mahler’svocal music.But enjoyment of Rossini needs no

academic credentials: the relevance of a work like Cenerentola is its reassuringglimpse of sameness. We share, across

time, stories, music, and emotions. Rossini’slighthearted legend, that of the ultimatebon vivant, will undoubtedly endure, but his own words pierce that surface.“Music is a sublime art,” he said,

“precisely because, unable to imitate reality,it rises above ordinary nature into an idealworld, and with celestial harmony movesthe earthly passions.”Play it again and again and again, Sam.

Patrick Summers is the music director of Houston Grand Opera. This article originated with Houston Grand Opera, 2007, reprinted with permission.

For further insights into Cinderella, please readRamón Jacques’ article on the directing team of Els Comediants in the spring issue of Prelude,available online at coc.ca.

CINDERELLA: Master of Sublime


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caught renowned Canadian sopranoAdrianne Pieczonka just before she left

for Berlin to perform Desdemona with theDeutsche Oper Berlin, before arriving inToronto to sing the title role in Ariadne auf Naxos with the COC. “Quite a changeof pace – Verdi to Strauss,” she laughs. Adrianne is no stranger to Ariadne.

This is approximately the sixth productionthat she has performed in and, until now,all have taken place in Europe: from a very traditional 35-year-old production in Vienna,to a couple in Spain – Bilbao and Barcelona– and a recent one in Munich with Canadiandirector Robert Carsen, which was one of her favourites. Robert also joins us thisspring to direct Orfeo ed Euridice.The COC has not performed Ariadne

since 1995 and it contains some of Strauss’smost sublime music. In this opera-within-an-opera, where opera seria and commediadell’arte become strange bedfellows, theaudience is privy to backstage melodramaas well as onstage expressions of heartbreak,love and transcendence. We look forward towelcoming a stellar cast for this production. Adrianne says, “In fact I just sang

Ariadne in Munich with Alice Coote andJane Archibald a couple of months ago,and they’re wonderful.” Ms Coote and


BATHING IN STRAUSS

BY SUZANNE VANSTONE

ADRIANNE PIECZONKA:

I

Adrianne Pieczonka

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Canadian Ms Archibald perform in thisCOC production as the Composer andZerbinetta respectively. “It’s going to begreat. I’ve worked with Alice a couple timesand she is such a world-class artist, and I think Canadians are in for a real treat. I hadn’t sung with Jane before, but it was a joy. Not only is she a wonderful artist butshe takes everything in her stride and is soeven-keeled.” When I mention to Adriannethat Robert Carsen will be with us thisspring, she exclaims, “Yay, Canada! Andthen, of course, there’s Richard Margison as Bacchus. I’ve not sung Ariadne with him before and I’m looking forward to it.And a lot of the other cast members arealso Canadians. Very exciting – we shouldall be so proud!” Why has this particular role become so

dear to her? “Ariadne is a beloved role. Firstof all, I’m such a huge admirer and lover of Strauss – I think he wrote so well for my particular type of voice. It always feelslike I’m taking a lovely bath in these longbeautifully-spun phrases. Zerbinetta getsall the fireworks, and often she can ‘cleanup’ and get thunderous applause after heraria. I have an aria in the second act, but it’s not a showstopper, the action continueson and there’s no applause – it’s the way it’s composed. But I think what really doesspeak to me is the text. It’s that marriage of Hofmannsthal [librettist] and Strauss.It’s a dream team that I just adore. I lovesinging the text. “I speak the language fluently as I’ve

lived and worked in Germany and Austrialong enough that it really feels like a part of me. And I know the nuances. Ariadne isnot like a lot of Strauss heroines. It’s not ashowy, diva-like role. She’s very introspective.She, of course, is in the second part of theopera. Bereft on this island, she does a lotof languishing. And yet there is much self-

reflection and, maybe as I’m getting older,this appeals to me more. But I don’t find it dull – the music is absolutely glorious.And then we finally have the entrance ofBacchus. Although he isn’t on until thevery end of the opera, his music is terriblydifficult. That amazing love duet that heand Ariadne have – it’s almost on anotherplane. Is it reality? Is it magic? It is verymetaphysical and extremely beautiful.” Interestingly, Adrianne’s connection

with Ariadne began long before she startedsinging the title role. Although her officialoperatic debut was at the COC in LadyMacbeth of Mtsensk in 1988, her first largerrole was as Naiad in Vancouver. “JeanStilwell was Dryad, Martha Collins wasEcho and Judy Forst was the Composer.”She laughs, “I don’t think I have those highDs anymore, but Naiad was my first mainrole and I remember it very fondly.”

Ariadne is not the only Strauss operathat Adrianne has performed in. She madeher debut in Vienna at the Staatsoper asthe Fifth Maiden in Elektra. “I was pretty

ADRIANNE PIECZONKA: Bathing in Strauss


The COC presents Ariadne auf Naxos. Peter Hoareas Bacchus and Janice Watson as Ariadne in theWelsh National Opera production, 2004. Photo: Clive Barda

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green. It was in 1991 and starred HildegardBehrens and Christa Ludwig, which wasincredible. The Fifth Maiden is a small butimportant role, and she has a little mini-ariawhere she kneels down and grabs theknees of Elektra. I was grabbing HildegardBehrens’ knees! That was pretty amazing.” She then performed it with Claudio Abbado

conducting in Florence. Following that shesang Arabella in 1995 at Glyndebourne, a role she has since performed numeroustimes. She continues, “There is theMarschallin in Der Rosenkavalier, whichI’ve performed a lot and loved. Then Ariadne,and then the Empress in Die Frau ohneSchatten, which is not a well-known operabut very beautiful and I’ve been asked tosing that quite a few times. It, too, is a challenging role. She has a high D in Act Iand by Act III it is similar to an Isolde-likemonologue – very big and dramatic. I amalso looking forward to Chrysothemis(Elektra) in a new production by PatriceChéreau at Festival d’Aix en Provence. “Strauss has accompanied me every-

where – he really has. And maybe it’s becauseI started in Europe and Vienna where ofcourse there are so many more opportunitiesto sing this repertoire. The only roles Ihaven’t done are Elektra, and I don’t thinkI’d do that one. Salome might be an option– it’s short, quite high and dramatic.” Director Neil Armfield returns to the

COC having directed Billy Budd and A Midsummer Night’s Dream. Adriannelooks forward to his “take” on the opera.She has not worked with him before norwith renowned conductor Sir Andrew Davis. “Sir Andrew is known as a Strauss specialist,and is in New York doing Capriccio withRenée Fleming. I’ve never done that role onstage, but I’ve recorded the big monologuescene. I can’t wait to work with him – whata wonderful conductor. “It’s interesting – Ariadne is a sort of

chamber opera, in that the orchestra’sreduced in size, but they make a sizeablesound. For the players in Europe, it’s theirreal bread and butter, it’s such a tradition.It’s in their blood and is usually played acouple times a year, so it’s very accessible. I am sure the COC will rise to the occasionand play it wonderfully. There is a harmoniumand a celeste which are different and funfor the orchestra members. It also has beautiful solos for the violin, cello, etc. It’s challenging, gorgeous music and what a wonderful team we have to perform it!”

Suzanne Vanstone is Senior CommunicationsManager, Editorial at the Canadian Opera Company.

For further insights into Ariadne auf Naxos pleaseread Gianmarco Segato’s interview with JaneArchibald in the spring issue of Prelude.


ADRIANNE PIECZONKA RETURNS IN 2011/2012 TO SING THE TITLE ROLE IN TOSCA –SUBSCRIBE TODAY WITH ONLY 25% DOWN

The COC presents Ariadne auf Naxos.A scene from the Welsh National Opera production, 2004. Photo: Clive Barda

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ALEXANDER NEEF, General Director

CINDERELLA (LA CENERENTOLA)

Gioacchino Antonio Rossini

Opera in two acts, libretto by Giacomo (Jacopo) Ferretti, after the tale Cendrillonby Charles Perrault (1697), the libretti Cendrillon by Charles-Guillaume Etienne (1810),

and Agatina by F. Fiorini, set by Stefano Pavesi

First Performance: Teatro Valle, RomeJanuary 25, 1817

Last performed by the COC in 1996

Co-production of Houston Grand Opera, Welsh National Opera, Gran Teatre del Liceu and Grand Théâtre de Genève

April 23, 28, May 1, 7, 10, 13, 19, 22, 25, 2011Four Seasons Centre for the Performing Arts, Toronto

Sung in Italian with English SURTITLESTM

The CAsT(in order of vocal appearance)

Clorinda, Don Magnifico’s daughter Ileana MontalbettiTisbe, Don Magnifico’s daughter Rihab Chaieb*

Angelina, known as Cinderella, his stepdaughter Elizabeth DeShongAlidoro, a philosopher Kyle Ketelsen

Don Magnifico, Baron of Mountflagon Donato DiStefanoDon Ramiro, Prince of Salerno Lawrence Brownlee

Dandini, his valet Brett Polegato

Conductor: Leonardo VordoniDirector: Joan Font

Associate Director: Joan Anton RechiSet & Costume Designer: Joan Guillén

Lighting Designer: Albert FauraChoreographer: Xevi DorcaChorus Master: Sandra HorstStage Manager: Liliane Stilwell

SURTITLESTM Producer: Gunta Dreifelds

Performance time is approximately three hours with one intermission.

* Ms Chaieb’s performance is generously sponsored by Katalin schäfer.

This production of Cinderella is being recorded for future broadcast on CBC Radio Two (94.1 FM in Toronto) on Saturday Afternoon at the Opera.

Program information is correct at time of printing. All casting is subject to change.

Please visit coc.ca for additional information 1

and the transformation of each situation inthe story occurs through light. Our aim hasbeen to preserve the basic concept of theoriginal tale as well as respecting the operaversion, in which Rossini’s music adds areal dimension to the feelings, sensationsand emotions of the work. This composertakes us along different paths: the comicpath with characters and situations distortedfrom the “real” characters; the romanticpath (because this is a proper love withpassion and desire eager to be revealed);the clash of the characters’ contradictoryfeelings and the conflicting narrativebetween the plot and the characters, creatingdifferent musical moments of great beautyand complexity.

The characters are created under the gazeof a Mediterranean light with pure, highlyexaggerated colours that accentuate thepersonalities of the characters and howthey evolve within the tale. A constantmetamorphosis occurs in this apparentlysimple and empty space and one that follows the plot since, in our interpretation,it’s all a story imagined by the main character in order to escape from her dramatic situation. We enter a world of dreams-reality-fiction-imagination, combined in such a way that we’re not surewhere we are actually living. The aim ofour staging is to show the indefinite natureof a reality that clashes with fantasy andthat perhaps, when all is said and done,was only a dream like life itself ... becausedreams are but dreams.

Joan Font

he basis for La Cenerentola is a 1697tale by Charles Perrault. This tale has

become a classic and tells a universal story,that of a girl who is mistreated by her ownfamily and, thanks to a fairy’s magic, can seeher dream come true. From this legendarytale, composer Gioacchino Rossini (1792 –1868) and librettist Jacopo Ferretti createda delightful opera, which premiered at theTeatro Valle in Rome on the 25th ofFebruary 1817, when Rossini was just 25years old.

There is a mix of themes in this delightfulopera: the grey, sad reality of the characters’everyday lives; the opulence and magnificence of the “royals”; the clash of these two worlds; the comic quality of these realities given their exaggeratednature; the romanticism, as love entersthrough the door of true emotion betweenPrince Ramiro and Angelina (Cenerentola);and the dream struggling to come true.

We have taken a new look at the dramaticnarration of the tale and have accentuatedthe concept of timelessness. This isn’tsomething that happened purely in thepast: it is still valid today and is not thelegacy of a single culture but of all humanity.We all dream of escaping poverty and misery, of living full and happy lives, andit’s better if love acts as a catalyst for thischange. But this love arrives from the outside as if by magic, and it’s from anothersocial class: the highest.

That is why the story is set in an empty,clean space and it’s here where the transformations are experienced. In ourinterpretation of the work everything is a dream, the space is constantly changing

DIRECTOR’S NOTES

The Timelessness of La Cenerentola

DIRECTOR’S NOTES


T

SYNOPSIS


SYNOPSIS

ACT IDon Magnifico’s fortunes are crumbling

and his mansion is in disrepair, but thebaron and his vain daughters, Clorinda andTisbe, still try to maintain some semblanceof grandeur, all the time subjectingMagnifico’s stepdaughter Angelina(Cinderella) to the harshest servitude.

A beggar comes to their home seekingcharity and Cinderella is kind to him in spiteof the protests of Clorinda and Tisbe. The“beggar,” however, is actually Alidoro, courtphilosopher and tutor to Prince Ramiro, andhe is looking for a bride for the Prince.Because of Cinderella’s kindness, Alidororeports to Ramiro that a suitable bride mightbe found in Magnifico’s home. Courtiersarrive and announce that Ramiro himselfwill come shortly to bring Don Magnificoand his daughters to a ball at which the Princewill choose the most beautiful girl presentto be his wife. Magnifico is elated at theprospect of improving the family fortunes.

Ramiro enters disguised as his valet,Dandini; he falls instantly in love withCinderella, in spite of her apparently lowlystation. Dandini then arrives dressed as thePrince and invites Clorinda and Tisbe to theball, but Magnifico forbids Cinderella to go.Alidoro later returns with a gown and jewelsand takes Cinderella to the ball himself.

At the ball, Dandini gleefully continuesimpersonating the Prince, and Clorindaand Tisbe compete for his attentions.Alidoro enters and announces the arrivalof an unknown lady wearing a veil. Whenshe is persuaded to show her face, the jealous sisters are struck by her resemblanceto Cinderella.

InTeRMIssIon

ACT IIMagnifico admonishes Clorinda and

Tisbe not to forget their old father whenone of them ascends the throne. Ramirohas fallen in love with the mysterious ladybecause of her resemblance to the girl hemet that morning, and he suspects thatDandini entertains similar feelings for her.Concealing himself, he overhears Dandini’sproposal of marriage to Cinderella and her confession that she is already in lovewith his valet. Ramiro comes forth and,revealing his true identity, proposes toCinderella. She cryptically responds thatbefore she can marry him, he must see heras she truly is; as she leaves, she gives himone of a pair of identical bracelets she iswearing so that he may recognize her whenhe finds her. Meanwhile, Don Magnificopresses Dandini for his decision as towhich daughter he has chosen for a wife,and to Magnifico’s deep chagrin, Dandinireveals that he is really the Prince’s valet.

Don Magnifico, Clorinda and Tisbereturn home to find Cinderella waiting for them. The Prince has set out withAlidoro and Dandini to find the unknownbeauty when a violent storm breaks out,overturning their carriage. They seek shelter with Don Magnifico. Ramiro seesthe bracelet on Cinderella’s arm and immediately announces his intention to marry her. Her stepfamily is angry and jealous, but Alidoro points out thatCinderella will reign with the Prince andsuggests they ask pardon for the way theyhave treated her. Cinderella forgives themand joyously begins life anew with herPrince.

MusIC sTAFFAlbert Krywolt

Elizabeth Rowe (Head Coach)

ITAlIAn lAnGuAGe CoAChManuela Scarci

AssIsTAnT ConduCToRDerek Bate

AssIsTAnT dIReCToRMarilyn Gronsdal

AssIsTAnT sTAGe MAnAGeRsLesley Abarquez

Tiffany Fraser

AppRenTICe sTAGe MAnAGeRMeghan Speakman

lIGhTInG Co-oRdInAToRWendy Greenwood

AssIsTAnT lIGhTInG desIGneRsJason Golinsky

Jason Hand

dAnCeRsRyan Adkins

Liam FlanaganNeesa Kenemy

Damien LavergneJosie Marasco

Laurence Ramsay

undeRsTudIesClorinda Ambur Braid

Tisbe Megan LathamAngelina Wallis GiuntaAlidoro Neil CraigheadDandini Adrian Kramer



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.

Shop for much more at the Opera Shop or at coc.ca!

This spring we recommend the following recordings from Universal Classics:

Bring in the Blingthis Spring!One-of-a-kind jewellery, sparkling stationery, musical gems, and so much more at the Opera Shop! Visit us on the main floor of the Isadore and Rosalie Sharp City Room, open before, during and (sometimes) after all performances.

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Orfeo ed Euridice The 1762 Vienna version of the score sung in Italian, with celebrated countertenor Derek Lee Ragin as Orfeo. A recording hailed by Gramophone magazine as “a total interpretation of the work, more penetrating than any other in the catalogue.” John Eliot Gardiner, conductor; English Baroque Soloists; Monteverdi Choir. With Derek Lee Ragin, Sylvia McNair, Cyndia Sieden, Decca, 2 CDs, $22.75 including tax.

Ariadne auf Naxos A classic recording now offered at budget price. Levine has always held this score close to his heart and the cast features two of the great 20th-century exponents of their roles: Anna Tomowa-Sintow’s regal Ariadne and Kathleen Battle’s spectacular Zerbinetta. James Levine, conductor; Vienna Philharmonic Orchestra. With Anna Tomowa-Sintow, Agnes Baltsa, Kathleen Battle, Gary Lakes, Hermann Prey, Deutsche Grammophon, 2 CDs, $22.75 including tax.

La Cenerentola Two of today’s most celebrated Rossini singers in the very same strikingly colourful, storybook production appearing onstage at the COC this spring! Patrick Summers, conductor; Gran Teatre Del Liceu Orchestra and Chorus. With Joyce DiDonato and Juan Diego Florez, Decca, 2 DVDs, $56.50 including tax.

Jewellery trunk showsNancy Ciccone: Sunday, May 8 (Mother’s Day)P. J. Bundy: Saturday, May 28 and Sunday, May 29

LAWRENCE BROWNLEEdon RamiroAmerican tenorLawrence Brownleemakes his COC debut asPrince Ramiro. In 2010,Mr. Brownlee took on

Elvino in La Sonnambula for the first timeat Theatre St. Gallen and made his debut at Opéra national de Paris as Lindoro inL’Italiana in Algeri, which also served ashis Opéra de Lausanne debut. 2011 beganat Seattle Opera as Almaviva in Il barbieredi Siviglia followed by a reprise of hisRinaldo in Armida opposite RenéeFleming at the Metropolitan Opera. Mr. Brownlee’s season continues at theDeutsche Staatsoper Berlin (Almaviva), followed by a program of bel canto arias at Copenhagen’s Tivoli Concert Hall andends in Italy at Teatro alla Scala (Lindoro)and with a debut at the Arena di Verona(Almaviva). 2009/2010 engagementsincluded Almaviva to open the WashingtonNational Opera’s season, Mayr’s Medea in Corinto in St. Gallen, and the previouslymentioned Armida in its first productionon the Met stage, transmitted in HD andrecently released on DVD by DeutscheGrammophon. Recent recordings includeRossini’s Stabat Mater for EMI and DG’sDVD of the 2009 Met production of La Cenerentola.

RIHAB CHAIEBTisbeTunisian-born mezzo-soprano Rihab Chaieb is a new member of theCOC Ensemble Studio.Recently with the COC

she performed the roles of the Third Ladyin the Ensemble Studio performance of

The Magic Flute, Second Secretary to Maoin Nixon in China and the French Motherin Death in Venice. She graduated from the Schulich School of Music at McGillUniversity with a bachelor of music invocal performance, where she performedthe title role in Carmen, Baba the Turk in The Rake’s Progress, Sister Mathilde in Dialogues des Carmélites and Suzy inLa Rondine. Ms Chaieb recently performedDido in Dido and Aeneas with the McGillChamber Orchestra and Third Spirit in Die Zauberflöte with Opéra de Montréal.She has studied with the Franz SchubertInstitute in Baden bei Wien (Austria),Opera Nuova in Edmonton and theInternational Vocal Art Institute in Tel Aviv.With the COC this season she understudiesroles in The Magic Flute and Ariadne auf Naxos.

ELIZABETH DESHONGAngelinaAmerican mezzo-sopranoElizabeth DeShongreturns to the COC having made her debutin 2009 as Hermia in

A Midsummer Night’s Dream. This seasonshe was heard as Hermia with Lyric Operaof Chicago and made her London debut asMaffio Orsini in English National Opera’snew production of Lucrezia Borgia. Thissummer, she will sing the Kitchen Girl inRusalka in her return to GlyndebourneFestival Opera. Next season, Ms DeShongwill return to San Francisco Opera asMaffio Orsini and will be featured asHermia in the Metropolitan Opera’s newproduction of The Enchanted Island.Recent credits include Hänsel in Hänselund Gretel with Glyndebourne FestivalOpera, the Composer in Ariadne auf


ARTISTS’ BIOGRAPHIES


Naxos for Washington National Opera,Suzuki in Madama Butterfly for Santa FeOpera, and Rosina in Il barbiere di Sivigliawith Arizona Opera. On the concert stage,Ms DeShong has performed with theCleveland Orchestra, the New JerseySymphony Orchestra, and sang Beethoven’sMissa Solemnis with John Nelson and the Chamber Orchestra of Europe, a performance which will be released onDVD.

DONATO DISTEFANOdon MagnificoBass Donato DiStefanoreturns to the COC havingmade his debut in 1994’sLe Comte Ory (Tutor) withsubsequent performances

as Dr. Bartolo in the 1999 production of The Barber of Seville and Dr. Bartolo in 2007’s The Marriage of Figaro. Duringthe 2009/2010 season he appeared at DallasOpera as Don Pasquale, the MetropolitanOpera as Simone in Gianni Schicchi, andas Rossini’s Bartolo in Tokyo, Brussels,Leipzig, Munich, Lisbon and at WashingtonNational Opera. Other recent appearancesinclude Mustafà (L’Italiana in Algeri) atPesaro; Don Geronimo (Il Turco in Italia)at Teatro alla Scala, Milan; Don Magnificoat Théâtre Royal de la Monnaie and atOpéra national de Lorraine in Nancy; and,the title role in Gianni Schicchi in Frankfurtand Tel Aviv. His recordings include anaward-winning DVD of La serva padronawith La Petite Bande. Upcoming engagements include Sulpice in TheDaughter of the Regiment at San DiegoOpera, Don Magnifico at MinnesotaOpera, Don Pasquale at Festival d’Aix-en-Provence, Mustafà at Nancy andRossini’s Bartolo in Munich and Hamburg.

KYLE KETELSENAlidoro American bass-baritoneKyle Ketelsen returns tothe COC having appearedas Ashby in 2001’s La fanciulla del West.

During the 2010/2011 season Mr. Ketelsenappears in his trademark role of Escamilloin Carmen with Lyric Opera of Chicago,Bayerische Staatsoper, and Gran Teatre del Liceu in Barcelona. He can be heardwith the Chicago Symphony Orchestraunder the baton of their new music directorRiccardo Muti in Hector Berlioz’s Lélioin Chicago as well as at Carnegie Hall. He is also featured in duo recital under theauspices of the George London Foundationwith soprano, Elizabeth Futral. Recently he returned to Lyric Opera of Chicago toperform his renowned Figaro in Le nozzedi Figaro, as well as Méphistophélès inGounod’s Faust, both conducted by SirAndrew Davis. He made his role debut as Nick Shadow in Robert Lepage’s production of The Rake’s Progress at RoyalOpera House Covent Garden conducted by Ingo Metzmacher. Another important2010 debut came at the Festival d’Aix-en-Provence as Leporello in a new DmitryChernyakov production of Don Giovanniconducted by Louis Langrée.

ILEANA MONTALBETTIClorinda Originally from Saskatoon,soprano and EnsembleStudio member IleanaMontalbetti recently performed with the COC

as the First Lady in the Ensemble Studioperformance of The Magic Flute and theRussian Mother/Newspaper Seller in



Death in Venice. COC credits includeAnna Kennedy in Maria Stuarda, Elettra in the Ensemble Studio performance of Idomeneo, Fiordiligi in the EnsembleStudio production of Così fan tutte, andMavra Kuzminichna in War and Peace. She has held two consecutive soprano fellowships at the Tanglewood MusicCentre where, most notably, she sang theCelestial Voice in a concert version of DonCarlos under the baton of Maestro JamesLevine. At the end of 2010 she understudiedthe role of Anai in Rossini’s Moïse et Pharaonat Teatro dell’Opera di Roma under the batonof Riccardo Muti. She has sung DonnaAnna in Don Giovanni for SaskatoonOpera and the Toronto Summer MusicAcademy. This season Ms Montalbetti isunderstudying roles in Aida, The MagicFlute and Nixon in China.

BRETT POLEGATOdandiniCanadian baritone BrettPolegato most recentlyappeared with the COCas Sharpless in MadamaButterfly. Other COC

performances include the title roles in Don Giovanni and Eugene Onegin, Valentinin Faust and as part of the Inaugural GalaConcerts for the FSCPA*. Highlights of the2010/2011 season include the title role in Wozzeck with Bolshoi Theatre, CountAlmaviva in Le nozze di Figaro with OperaHamilton and Papageno with CincinnatiOpera. Recent appearances include theCount with Norwegian Opera, Lescaut inMassenet’s Manon with Opera Lyra Ottawaand Don Giovanni with Calgary Opera.Other credits include Oreste in Iphigénieen Tauride in Seattle, the Count with NewYork City Opera, Fritz in Die Tote Stadtat Grand Théâtre de Genève, and his ParisOpera debut as Pelléas – a role he has alsoperformed with Opéra national du Rhin,

Leipzig Opera and Munich Opera. He sangin a broadcast concert of Massenet ariasand scenes with the COC Orchestra andsoprano Erin Wall, and regularly appearsin concert with major symphony orchestrasin Cincinnati, Colorado, St. Louis and Toronto.

LEONARDO VORDONIConductor Originally from Trieste,Italy, conductorLeonardo Vordoni makeshis COC debut with LaCenerentola. This season

he conducted La Bohème at Utah Opera,Tosca at Opera on the James, and Turandotat Portland Opera and this summer he willdebut at Santa Fe Opera with La Bohème.Last season, Mr. Vordoni led Les pêcheursde perles and Dominick Argento’s Casanova’sHomecoming at Minnesota Opera, followedby two consecutive debuts in Chicago, firstwith Le nozze di Figaro at Lyric Opera of Chicago followed by Rossini’s Mosè inEgitto at Chicago Opera Theater. Recentnotable engagements include Il barbiere di Siviglia at Opera Colorado; Pedrotti’sTutti in Maschera at Wexford Opera Festival;Don Pasquale at Teatro Comunale di Bologna;and, a concert dedicated to the music of Maria Malibran at the internationallyrenowned Rossini Opera Festival in Pesaro.Mr. Vordoni has been a member of themusic staff at the Metropolitan Opera.Engagements next season include Il barbieredi Siviglia at Houston Grand Opera andLucia di Lammermoor at Minnesota Opera.

JOAN FONTdirectorSpanish director JoanFont makes his COC debutwith this production. He is the founder of Els Comediants (1971),


a Spanish artists’ collective formed by actors,musicians and artists, and he has participatedin the creation of more than 30 stage productions spread over five continentsincluding projects for Festival d’Avignon,Venice’s Biennale and the closing ceremoniesof the 1992 Barcelona Summer Olympicgames. Increasingly, he has turned hisattention to the operatic stage with productions of The Magic Flute (Gran Teatredel Liceu), Orfeo ed Euridice (PeraladaFestival) and the COC’s production of La Cenerentola which has already playedto great success at Welsh National Opera,Houston Grand Opera, Gran Teatre delLiceu and Grand Théâtre de Genève. In2009 Mr. Font directed the premiere ofLeonardo Balada’s Faust-Bal and L’Italianain Algeri both for Teatro Real Madrid, the latter a co-production with Houston GrandOpera, Opéra national de Bordeaux andMaggio Musicale Fiorentino. 2010 saw himdirecting a new production of The MagicFlute for Murcia, Spain.

JOAN ANTON RECHIAssociate directorBorn in the principality of Andorra, Joan AntonRechi makes his COCdebut with this production.He studied acting at the

Theatre Institute of Barcelona and AncientHistory at the University of Barcelona. He has worked as an actor in theatre andtelevision and as an assistant director with Calixto Bieito, Robert Carsen, HerbertWernicke, Danielle Abbado, and Joan Font(Els Comediants). Mr. Rechi began hisindependent directing career in 2003 with a theatrical adaptation of Orpheus in the Underworld in Barcelona. Othercredits include productions of Il barbiere diSiviglia, Un ballo in maschera and AdrianaLecouvreur in Freiburg; L’elisir d’amorein Heidelberg; Pasión (a zarzuela gala) in

Basel, Krol Roger (Szymanowski) in Mainz;Woyzeck (Waits/Brennan/Wilson), The SaintJohn Passion and Carmen in Oberhausen;and, Casta Diva in Barcelona and Madrid.

JOAN J. GUILLÉNset and CostumedesignerSpanish set and costumedesigner Joan Guillénmakes his COC debutwith this production. He

is a cartoonist, set designer and a tutor forthe School of Dramatic Art at the Institutdel Teatre, Barcelona, where he teachescharacter design courses, theatre masqueand stage set design. In 1999, Mr. Guillénreceived the Gold Medal in CostumeDesign at the Prague Quadrennial forTheatre Architecture and Set Design.Recent projects include The Magic Fluteat Gran Teatre del Liceu, La Cenerentolafor Houston Grand Opera, Théâtre Royalde la Monnaie, Grand Théâtre de Genève,Gran Teatre del Liceu and Welsh NationalOpera; L’Italiana in Algeri for Teatro RealMadrid, Maggio Musicale Fiorentino,Opéra national de Bordeaux, and HoustonGrand Opera; and, Balada’s Faust-Bal atTeatro Real Madrid. Mr. Guillén also worksin illustration, etching and sculpture. As asatirical cartoonist, his work has appearedin Spain’s most important newspapers and magazines and on television stationsin Catalonia. He was honoured with theAward of the City of Barcelona in 1983 and 1985 for achievements in journalism.

ALBERT FAURAlighting designerSpanish award-winninglighting designer Albert Faura makes hisCOC debut with this production. He has

worked extensively in the worlds of theatre



and opera. Recent projects include a co-production of La voix humaine and Il segreto di Susanna for Teatro Cervantes(Málaga), Teatro Arriaga (Bilbao), andTeatro Villamarta (Jerzez); Anna Bolenaand The Queen of Spades both for GranTeatre del Liceu; Els Comediants’ stagingof L’Italiana in Algeri for Teatro RealMadrid and Maggio Musicale Florence;Turandot for Opéra de Monte-Carlo andSimon Boccanegra for Grand Théâtre deGenève. He has worked with some of theleading directors and set designers of hisday including Núria Espert, Nicolas Joel,Frédérico Alagna, Jordi Saball, Joan Font,Ezio Frigerio and Hugo de Ana. Mr. Fauraholds a degree in lighting design from the Theatre Institute of Barcelona andcompleted an international course in theatre lighting organized by the BritishCouncil in London.

XEVI DORCAChoreographerSpanish choreographerXevi Dorca makes his COCdebut with this production.He completed studies in contemporary dance

at the Institut del Teatre in Barcelona.Subsequently, he was named best dancerand awarded a scholarship by the MadridChoreographic Competition which led to a residency with Transitions DanceCompany at the Laban Center, London. He has worked as a dancer with numerouscompanies including Sol Picó, LindsayKemp, Carlos Santos, Mar Gomez, BalletContemporani de Barcelona, MeekersDance Company, Andrés Lima, Búbulus,Iliacan, Susan Kempster, Los Corderos,Montse Colomé and Anima’s Animal Art.Mr. Dorca has also co-managed the companyChicos Mambo as a choreographer and actor.As a choreographer, he has collaboratedwith Els Comediants. Recent choreographic

work includes this production of LaCenerentola which premiered at HoustonGrand Opera as well as Leonardo Balada’scontemporary opera, Faust-Bal andL’Italiana in Algeri, both at Teatro RealMadrid, all of which were directed by JoanFont (Els Comediants). Mr. Dorca alsoenjoys an active acting career on stage, in film and in commercials.

SANDRA HORSTChorus MasterChorus master SandraHorst’s recent creditsinclude The Magic Flute,Nixon in China, Aida,and Death in Venice

for the COC; and The Marriage of Figaro,Eugene Onegin and The Golden Ticket forOpera Theatre of St. Louis. As director of musical studies for the University ofToronto’s Opera Division, she has mostrecently conducted Hansel and Gretel, as well as productions of L’enfant et les sortilèges, L’heure espagnole, L’elisir d’amore,Die Fledermaus, Die lustigen Weiber vonWindsor, Gianni Schicchi, and JohnBeckwith’s Taptoo! Ms Horst conducted Il viaggio a Reims for the COC, has beenchorus master of Edmonton Opera, servedas a judge for the Metropolitan OperaNational Council auditions and has beenon the music staff of the Juilliard OperaCenter, Chautauqua Institute, Boston LyricOpera, Edmonton Opera, Banff Centre for the Arts, Opera Ontario and OperaSaskatchewan. This spring she is also thechorus master for Orfeo ed Euridice.

LILIANE STILWELLstage Manager Liliane Stilwell recentlystage-managed theCOC’s 2010 productionof Maria Stuarda andhas served as stage


manager at the COC for the past 16 years.Selected COC credits include Otello, TheBarber of Seville, The Marriage of Figaro,Luisa Miller, Götterdämmerung as part ofthe complete Ring Cycle, the InauguralGala Concerts for the FSCPA*, Macbeth,L’Italiana in Algeri, La Bohème, EugeneOnegin, Madama Butterfly, Pagliacci, Jenufaand Oedipus Rex with Symphony of Psalmsat the Edinburgh International Festival.Elsewhere she has served as stage managerfor Carousel, Big River, Grease, She LovesMe, The Roar of the Greasepaint – The Smell of the Crowd, Romeo and Juliet,A Midsummer Night’s Dream, Me and MyGirl, Cinderella, Robin Hood, Dirty Dancingat the Royal Alexandra Theatre andHairspray at the Princess of Wales Theatre.Ms Stilwell has also stage-managed numerousindustrial shows in Canada and the U.S.

DEREK BATEAssistant ConductorDerek Bate recently conducted Aida andMadama Butterfly withthe COC, as well as oneperformance of The Flying

Dutchman and was the assistant conductorfor Carmen, Maria Stuarda and Nixon inChina. Currently the COC resident conductor,he has led performances of Luisa Miller,Eugene Onegin, La Bohème, Carmen,Turandot, La Traviata, Die Fledermaus, the Ensemble Studio productions of Renardand Swoon, and was assistant conductor of A Midsummer Night’s Dream, Fidelio,War and Peace, Pelléas et Mélisande, Fromthe House of the Dead, Don Carlos, Elektra,Lady Macbeth of Mtsensk and the completeRing Cycle. He served as COC chorus master for five seasons, and as residentconductor of the COC Ensemble Studio.He has appeared with Opera GrandRapids, Calgary Opera, Edmonton Opera,Alberta Ballet, the National Arts Centre,

and Toronto Operetta Theatre. His musicaltheatre repertoire includes Les Misérables,The Phantom of the Opera, and Show Boat.

MARILYN GRONSDALAssistant directorMarilyn Gronsdal is adirector, assistant directorand librettist in opera.She has worked regularlyat the COC, including

serving as the director of La Bohème, associate director of Eugene Onegin and asthe assistant director on several productionsincluding Aida, War and Peace, From theHouse of the Dead and The Flying Dutchman.Ms Gronsdal was the production assistantdirector for the COC’s Ring Cycle. She hasstaged productions for the COC EnsembleStudio, Manitoba Opera, Canadian Children’sOpera Company and the University ofToronto Opera Division, and assisted atthe Nationaltheater Mannheim. Ms Gronsdalhas also travelled with many COC productionsincluding Oedipus Rex with Symphony of Psalms in Edinburgh, La Traviata inAuckland and Wellington, Siegfried inLyon and most recently, The Nightingaleand Other Short Fables in New York.

*FSCPA – Four Seasons Centre for thePerforming Arts

FOOD AND BEVERAGE SERVICEWe are pleased to offer, for the convenienceof all of our patrons, a pre-order system forintermission purchases. Our pre-order system is designed to decrease your waittime at the bar during intermission and we invite you to make use of it at everyCOC performance. Bars are locatedthroughout the Isadore and Rosalie SharpCity Room’s many levels. Food and beverages are not permitted in R. FraserElliott Hall.

VIOLIN IMarie Bérard, Concertmaster

The Concertmaster’s chairhas been endowed in perpetuity by Joey andToby Tanenbaum

Benjamin Bowman, AssociateConcertmaster, on leave of absence

Diane Tait, AssistantConcertmaster

Anne Armstrong, ActingAssistant Concertmaster

Sandra BaronBethany BergmanNancy Kershaw, on leave of absence

Dominique Laplante Yakov LernerJayne Maddison Neria MayerAya Miyagawa

VIOLIN IIPaul Zevenhuizen, PrincipalCsaba Koczó, Assistant

PrincipalJames AylesworthAndrew ChungElizabeth JohnstonLouise TardifMarianne UrkeJoanna Zabrowarna

VIOLANicolò Eugelmi, Principal, onleave of absence

Francis Kefford, ActingPrincipal

Joshua Greenlaw, AssistantPrincipal

Rhyll PeelTheresa Rudolph KoczóBeverley SpottonYosef Tamir

CELLOBryan Epperson, PrincipalAlastair Eng, Associate

PrincipalPaul Widner, Assistant

PrincipalMaurizio BaccanteOlga LaktionovaElaine Thompson

BASSAlan Molitz, PrincipalRobert Speer, Assistant

PrincipalTom HazlittPaul Langley, on leave of absence

Robert Wolanski

FLUTEDouglas Stewart, PrincipalShelley Brown

PICCOLOShelley BrownDouglas Stewart

OBOEMark Rogers, PrincipalLesley Young

CLARINETJames T. Shields, PrincipalColleen Cook

BASSOONEric Hall, PrincipalElizabeth Gowen

HORNJoan Watson, PrincipalJanet Anderson

TRUMPETRobert Grim, PrincipalBrendan Cassin

FORTEPIANOAnne Larlee

LIBRARIANWayne Vogan

ASSISTANT MUSIC LIBRARIAN

Capella Sherwood

STAGE LIBRARIANPaul Langley

PERSONNEL MANAGERIan Cowie

Mr. Matt Hughes has generously donated afortepiano to the COC and it will be played during performances of La Cenerentola.

TENORS Vanya AbrahamsCraig AshtonSasha BataliginStephen BellTaras ChmilSean ClarkStephen EricksonNicolas GroenewegenJohn KriterJason LamontJames LeatchStephen McClare

BARITONES/BASSES Grant AllertKenneth BakerPeter BarnesSung ChungMichael DownieJason NedeckyNiculae RaiciuBruce SchaefMichael SproulePeter WiensMarcus WilsonGene Wu


CANADIAN OPERA COMPANY ORCHESTRA

CANADIAN OPERA COMPANY CHORUS


OFFICERSMr. Paul B. Spafford, ChairMr. Philip C. Deck, President Mr. Paul A. Bernards,

TreasurerMr. John H. Macfarlane,

SecretaryMr. Alexander Neef, General

Director (ex officio)Mr. Robert Lamb, Managing

Director (ex officio)

MEMBERSMr. H. Anthony (Tony) ArrellMs Nora AufreiterMr. Barry AvrichMr. David BroadhurstMr. Robert BrouwerMs Marcia Lewis Brown

Mr. Stewart BurtonMr. George S. Dembroski Dr. Fayaz Dossa Mr. William Fearn(ex officio)

Mr. David C. FergusonMr. David ForsterMr. Adam FromanMr. John GaglianoMr. Michael GibbensDr. Linda HutcheonMs Trinity JackmanMs Pamela JefferyMr. Jeff LloydMr. Stephen O. MarshallMs Judy MatthewsMr. Geoffrey MatusMs Marina McDougall(ex officio)

Ms Trina McQueenMr. Jonathan MorganMrs. Sue MortimerMr. Nicholas MuttonMr. Ian PearceMs Frances PriceMr. John RothschildMr. Arthur R. A. Scace, C.M.Ms Colleen SexsmithMs Sandra SimpsonMr. Philip SmithMs Kristine (Kris) VikmanisMs Karen WalshMr. John H. (Jack)Whiteside

Mr. Tom Woods

HONORARY DIRECTORSMr. Joey Tanenbaum, C.M.

COC OPERA GUILDSBrantford Opera Guild,

David M. Cullen, PresidentKingston Opera Guild

Grace Orzech, PresidentLondon Opera Guild

Ernest H. Redekop,President

Muskoka Opera GuildTom Anderson, President

Northumberland Opera GuildThais Donald, President

Oakville Opera GuildMargaret Parker, President

Peterborough Opera GuildJune Wilson Thexton,President

Quinte Opera GuildDorothy Temple, President

Sudbury Opera GuildMike Humphris, President

Western New York Opera GuildDorothy K. Piepke,President

ARIAS: Canadian StudentOpera Development Fund Arija Stiver, ChairMarina McDougall,

PresidentArija Stiver, Past-PresidentLisa Teskey, Vice President/

TreasurerFrancine Lewis, Secretary(ex officio)

CANADIAN OPERAFOUNDATIONMr. William Fearn, ChairMr. Derek BrownMr. J. Rob CollinsMr. Philip C. Deck (ex officio)

Mr. David ForsterMr. George Hamilton,

TreasurerMr. Roy D. Hogg, FCAHon. Dennis LaneMr. Peter MacKenzieMs Kathleen McLaughlinMr. David E. Spiro,

SecretaryMr. Edzo Wisman

For more information on COC Guilds please visit coc.ca/Guilds

BOARD OF DIRECTORS

VOLUNTEER SUPPORT ORGANIZATIONS

ADMINISTRATION AND STAFFALEXANDER NEEF, General Director

Managing Director Robert lamb

Music DirectorJohannes debus

EXECUTIVE OFFICEExecutive Assistant to

the General DirectorMarguerite schabas

ARTISTIC ADMINISTRATIONArtistic AdministratorRoberto Mauro

MUSICMusic Administratorsandra GavinchukChorus Mastersandra horstMusic Librarian, CoachWayne VoganHead of the Ensemble

Studio & Coachelizabeth upchurch Resident Conductorderek BateMusic StaffRachel Andristsusan BallJean desmaraisAlbert KrywoltAnne larleeBen Malenseksteven philcoxelizabeth RoweFelice Venanzoni Company Managerolwyn lewisScheduling ManagerKathryn GarnettAdministrative

Assistant, MusicKaren olinykArchivist, Joan Baillie

ArchivesBirthe JoergensenOrchestra Personnel

ManagerIan CowieAssistant LibrarianCapella sherwoodCOC Ensemble StudioAmbur BraidRihab Chaiebneil CraigheadChris ennsWallis GiuntaAdrian KramerAnne larleeIleana Montalbettisimone osborneMichael ulothJacqueline WoodleyProduction AssistantsAriel Martin-smith Aislinn Ritchie

PROGRAMMINGDirector of

Programming – FreeConcert Series

nina draganić

PRODUCTIONProduction Managerlee MillikenTechnical Directordavid FeheleyAssociate Technical

DirectorBarney BaylissLighting Co-ordinatorWendy GreenwoodAssistant Technical

DirectorMelynda JurgensonHead ElectricianJanice Fraser

Assistant ElectricianJoel ThomanProduction ElectricianAshley RoseHead of SoundAl MersonHead Carpenterpaul WatkinsonAssistant CarpenterMike GelfandHead FlymanRupert BakerHead of PropertiesAlison potterCore CrewGuy Campagnaroscott ClarkeTerry hurleypaul otisHead Scene Shop

Carpenterdavid RetzleffHead Scenic ArtistRichard GordonAssistant Head Scenic

ArtistJana ostermanRehearsal Head

Technicianscott WilliamsonProperties SupervisorGuy nokesResident Properties

Builder/Co-ordinatorstephanie TjeliosProperties Buyer/

Co-ordinatorKathy FrostProperties Co-ordinatorTracy TaylorProperties BuildersCarolyn ChooWulf Costume Supervisorsandra CorazzaCostume Co-ordinatorChloe AndersonAssisted by Kate dayCassandra spenceCostume AssistantsJazlyn dowlina MarquesResident Tailorsue FurlongAssisted Bydeniz CakinGulay CokgezenKaren donaldsonhelen Flowersharon GashgarianKaren hancockIlana harendorfKrista naumanBarbara nowakowskiAdditional Costumes byIndustry CostumesAdditional Dyeing byChrome YellowWardrobe MistressMarilyn RodwellWardrobe AssistantRafe MacphersonWig & Make-up

Supervisorsharon RymanHead of Wig & Make-up

CrewCori FergusonProduction Co-ordinatorshawna GreenInterpreterAnna Jover RoyoSURTITLES™ ProducerGunta dreifeldsSURTITLES™ EditorGillian BartlettSURTITLES™ Assistantolwyn lewis

DEVELOPMENTDirector of

DevelopmentChristie darvilleSenior Development

Officer, IndividualGiving

dawn Marie schlegelDonor Relations Officernatalie sandassieDevelopment Officer,

Individual Giving leeAnne RorabeckIndividual Giving

Co-ordinatorstephanie huntIndividual Giving

Co-ordinatorstephen RadbournDevelopment Officer,

Friends of the COCAisha TalaricoDevelopment

Co-ordinator, Friendsof the COC

lucia lySenior Development

Officer, CorporatePrograms

Carlie WepplerDevelopment Officer,

Corporate &Foundation Giving

sybil CholesCo-ordinator, Corporate

Developmentpeggy lauManager, Special

EventsTracy BriggsCo-ordinator, Special

EventsChristine Tizzard Donation Database

OfficerKira egorovaData Processing

Co-ordinatorolena Moldovan

FINANCE AND ADMINISTRATIONDirector of Finance and

Administrationlindy Cowan, CAFinance ManagerRay Gooden, FCA (uK)General AccountantsFlorence huangZoran orlić (FsCpA)Payroll AccountantsJovana BožovićJeanny Won Public Affairs ManagerAmy MushinskiManager, IT Servicessteven sherwoodIT Services AssistantTony sandyComputer Services

Assistantnick MitropoulosReceptionist/

SwitchboardKatarina Božović Mailroom Clerk/CourierBranka hrsum

BUILDING SERVICESCOC & FSCPABuilding Services

ManagerMichael TremblayAssistant Building

Services Managerpiro MiloSecurity SupervisorsVidesh dookhudave samuels

Maintenance AssistantsTymen de Vries(FsCpA

James esposito(FsCpA)

Ryszard Gad (CoC)Branislav peterman(CoC)

Julian peters (CoC)Wojtek plichta(FsCpA)

piotr Wiench (FsCpA)Security OfficersTammy hillnatalia Juzycheather ReidBuilding OperatorsRadu Cherejidan popescudan BiscaHurley Supervisorpaula da Costa

COMMUNICATIONSDirector of Public

RelationsClaudine domingueDirector of MarketingJeremy elbourneSenior Manager Sales

and Customer Servicephil stephensSenior Communications

Manager, Editorialsuzanne VanstoneSenior Communications

Manager, CreativeGianna WichelowCommunications

Manager, SpecialInitiatives

Caitlin CoullDigital Marketing

Manager (on leave)Jennifer dougallMedia Relations

ManagerJennifer pugsleySocial and Interactive

Media Co-ordinatorCecily CarverMarketing Co-ordinatoreldon earleDigital Marketing

Co-ordinatorolga KwakRetail and Editorial

Co-ordinatorGianmarco segatoVolunteer and Creative

AssistantJohn KriterCommunications

AssistantVanessa smith

EDUCATION AND OUTREACHSenior Manager,

Education andOutreach

Katherine semcesenEducation and

OutreachProgrammingManager

Jessica lovettEducation and

OutreachProgramming Co-ordinator

Carly AndersonAdministrative and

Marketing Assistant,Education andOutreach

Kalun leung

TICKET SERVICESTicket Services

ManagerAlan MoffatAssistant Ticket

Services ManagersAndrea salinnikki Tremblay (onleave)

Group Sales Co-ordinator

david nimmoTicket Services

Supervisorserin Cooklilian FungVictor WidjajaTicket Services

RepresentativesBecky BridgerTerry Burseyernest Cayemenholly Coishdanielle d’ornellasAnna Kay eldridgeChelsea IretonKeith lamJulia ledererIan Mcdonnelldiana MertaAmber MillsKelly noordermeerKevin pookMary porterMaria serrenoMitch Yolevsky

CALL CENTRECall Centre Managersarah FrankelCall Centre

RepresentativesFrank BushAlex Gladwelldavid ontonovichRichard paradisoTim sellAdriano sobretodoMargaret Terry

FOUR SEASONS CENTREFOR THE PERFORMINGARTSDirector of Facility

OperationsAlfred CaronBusiness Managerelizabeth JonesPatron Services

ManagerJefferson GuzmanAssistant Manager,

Front of HouseKim hutchinson-BarberAssistant Manager,

Food & Beverage Brigitte langPatron Services

SupervisorsKelly BaileyMelissa lapczynskiAdam orrBrynn pearsonRebecca RiddellAshley WestlakeKimberly Wu Patron Services LeadCarianne hill

FSCPA – Four Seasons Centre for the Performing Arts



MAJOR GIFTS & SPECIAL PROJECTSEvery year, the Canadian OperaCompany has unique projectsoperating beyond regular annualactivities, each of which relieson private funding to ensure its success. These include: transition and endowment funding, production under-writing, artist and performancesponsorship as well as training,education and outreach programs.

$500,000 – $999,999The Catherine and MaxwellMeighen Foundation

$100,000 – $499,999Anne & Tony ArrellDavid G. BroadhurstThe Estate of Horst Dantz &Don Quick‡

Jean Davidson & Paul SpaffordPhilip Deck & Kimberley BozakGeorge S. DembroskiTrina & Don McQueenTim & Frances PriceColleen SexsmithSandra L. SimpsonThe Slaight FamilyAnonymous‡

$25,000 – $99,999Estate of Daphne BellEthel Harris & the late Milton E. Harris

Ronald Kimel & Vanessa LaPerriere

Estate of Aldo & Anita Maggiorotti

Jill & Geoff MatusMelanie Whitehead MerschRoger D. MooreDavid Stanley-Porter

The Stratton TrustFrançoise SuttonWilliam & Phyllis Waters

UP TO $24,999Philip Anisman††Anthony G. Borg††James & Lembi Buchanan††Cecily & Robert BradshawPaul & Joyce Chapnick††Ian & June CockwellMr. Frank L. Davis††Mr. Gordon Fenwick††David & Kristin FergusonDave Friedman††Peter & Hélène HuntStephen W. Ireland††Hon. Henry N. R. Jackman‡Patrick & Barbara KeenanMrs. Dolly Kerzner††J. Hans KlugeJo LanderIan Lightstone††Marjorie & Roy Linden††Vincent Lobraico††Michael Overbury††In loving memory of Sandra Papsin

David Roffey & Karen WalshJeffery Rubenstein††Katalin SchäferDean Tudor††Terry Vaudry††Ms Kristine Vikmanis & Mr. Denton Creighton

Peter Wearing††Jack Whiteside††Estate of Evelyn Ann YoungAnonymous (2)

INDIVIDUAL ANNUALSUPPORT

GOLDEN CIRCLE

GOLD, $50,000 +Anne & Tony Arrell***David G. Broadhurst*In memory of Gerard H. Collins****Jerry & Geraldine Heffernan**** The Catherine and MaxwellMeighen Foundation****

Roger D. Moore****Arthur & Susan Scace****Colleen Sexsmith**Sandra L. Simpson*

SILVER, $25,000 – $49,999Andrew Peller LimitedPaul Bernards*** Cecily & Robert BradshawPhilip Deck & Kimberley Bozak***George S. Dembroski****Mr. & Mrs. W. Humphries*** Ronald Kimel & Vanessa LaPerriere****

Susan Loube & William Acton*The Stratton Trust*

BRONZE, $12,500 – $24,999Dr. & Mrs. Hans G. Abromeit****Mark & Gail Appel**Philip & Linda Armstrong*Ms Nora AufreiterMelissa & Barry AvrichJohn & Claudine Bailey***Barbara Black*Mr. Philip J. Boswell†****Walter M. & Lisa Balfour Bowen****

Susanne Boyce & Brendan Mullen***

Rob & Teresa Brouwer*Marcia Lewis BrownStewart & Gina Burton*

E. LOUISE MORGAN SOCIETYThe E. Louise Morgan Society was created to reflect the vision and commitment of its founderand the members who have created a legacy of leadership, passion and philanthropy insupport of the goals of the Canadian Opera Company.

Each of these donors has contributed a cumulative total of more than one million dollars overthe past fifteen years. Their support is critical to the company’s success and we are foreverindebted to their commitment and generosity.

Dr. Larry M. Agranove

ARIAS: Canadian Opera Student Development Fund

The Gerard & Earlaine Collins Foundation

The late John A. Cook

Kolter Communities

The Catherine and Maxwell Meighen Foundation

Roger D. Moore

E. Louise Morgan

Joey & Toby Tanenbaum

Dr. John Chiu in memory ofYvonne Chiu, C.M.****

The Max Clarkson FamilyFoundation****

J. Rob Collins & Janet Cottrelle****

Sydney & Florence Cooper*Mr. & Mrs. Leslie Dan** Jean Davidson & Paul Spafford****David Denison & Maureen Flanagan*

Dr. Fayaz & Mrs. Sandra DossaDavid & Kristin Ferguson****George Fierheller****Margaret & Jim Fleck*Lloyd & Gladys Fogler***David & Elizabeth Forster**Four Seasons Hotels & Resorts**Adam & Sharin FromanJohn & Rita GaglianoRoger & Kevin Garland**Michael & Lora Gibbens Ira Gluskin & Maxine Granovsky Gluskin**

James & Joyce Gutmann****Ethel Harris & the late Milton Harris****

Dr. W. P. Hayman & Dr. M. L. Myers***

Nona & William HeaslipFoundation****

Douglas E. Hodgson****Michael & Linda Hutcheon****William Ip & Kathleen Latimer*Jeff Lloyd & Barbara HendersMr. & Mrs. J. S. A. MacDonald****Bobby & Gordon MacNeill*Judy & Wilmot Matthews Jill & Geoff Matus*John & Esther McNeil***Trina & Don McQueen*Johanna Metcalf***Bruce & Vladka Mitchell Delia M. Moog**Jonathan Morgan*Sue Mortimer in memory ofClive Bennett Mortimer****

Nicholas & Rosemary MuttonMrs. & Mr. Christl & Karl Niemuller**

Donald O’Born**Peter M. Partridge****Ian & Michelle Pearce Tim & Frances Price****David Roffey & Karen Walsh***Barrie Rose & Family*** John A. Rothschild Katalin Schäfer**Philip & Maria Smith**Stephen & Jane Smith****Marion & Gerald Soloway*David E. Spiro***David Stanley-Porter****Ms Kristine Vikmanis & Mr. Denton Creighton****

Jack Whiteside**Tom & Ruth Woods***

PRESIDENT’S COUNCIL

PRESIDENT’S COUNCILCOMMITTEEMary-Catherine AchesonDiane Adamson-BrdarThomas J. BurtonGladys Fogler Sue MortimerKatalin Schäfer Colleen Sexsmith (Chair)Kristine Vikmanis Karen Walsh

TRUSTEE, $7,500 – $12,499à la Carte Kitchen Inc.Laurie & Fareed Ali*Margaret Atwood & Graeme Gibson**

Mr. & Mrs. Alexander Christ****Andrew Fleming**The Hon. William C. Graham &Mrs. Catherine Graham****

Al & Malka Green*Rainer Hackert***Maggie Hayes**Trinity Jackman Bernhard & Hannelore Kaeser****

J. Hans Kluge*Murray & Marvelle Koffler****Mr. Gurney Kranz*** Anne & Wilf Lewitt*Jerry & Joan Lozinski****Hon. Margaret & Mr. Wallace McCain**

John McVicker & B. W. Thomas****

Mrs. Louise O’Shea****Ms R. Raso***Françoise Sutton**Dr. David Shaw*Anonymous

PATRON, $3,750 – $7,499Clive & Barbara Allen**** Mr. Peter Allen*Sue Armstrong**Ron Atkinson & Bruce Blandford***

Salah Bachir*Mrs. N. A. Balciunas****Mona H. Bandeen, C.M.** Schuyler Bankes & Family***Karen & Bill BarnettL. H. Bartelink in memory ofOskar & Irmgard Gaube**

Dr. Thomas H. Beechy****Mr. & Mrs. Eric Belli-Bivar** Mr. & Mrs. Avie Bennett****Mr. Roland Bertin****Tom Bogart & Kathy Tamaki*

William & Anna Maria Braithwaite*

Dr. David & Constance Briant****

Dr. Jane Brissenden & Dr. Janet Roscoe****

Mrs. Donna Brock**Margaret & Derek Brown****Murray & Judy Bryant**Thomas J. Burton*Sharon & Howard Campbell*Joe & Laurissa Canavan Cesaroni ManagementLimited**

Mr. Douglas W. Chaddock Paul G. Cherry & Dean C. Noack****

Peter & Frances Chiddy*Frank Ciccolini****Marilyn CookMr. & Mrs. William J. Corcoran**Tim Costigan & Kathleen McLaughlin

Lindy Cowan† & Chris Hatley**Mrs. Ninalee Craig**Norman Curtis****C. M. Dare****Raul Werneck de Castro**Dr. Jeanne Deinum****Carol Derk & David Giles*Mrs. A. Ephraim Diamond and Family****

Bernard & Francine Dorval**Peter & Anne Dotsikas* Vreni & Marc Ducommun**Bud & Leigh Eisenberg**Mr. & Mrs. John J. Elder****Joseph Fantl & Moira Bartram*Graham Farquharson**Fleur-de-lis Interior DesignKimberley Fobert & Robert Lamb†***

The Fraser Elliott Foundation****Dr. & Mrs. Wm. O. Geisler**The Hon. & Mrs. Alastair W.Gillespie****

Ben & Sarah Glatt****Peter & Shelagh Godsoe*Rose & Roger Goldstein ***Michael & Anne Gough****Dr. Noëlle Grace & The Shohet Family***

Ronald & Birgitte Granofsky***Douglas & Ruth GrantJohn & Judith Grant*John Groves***George & Irene Hamilton**** Hampton Securities Ltd. Scott & Ellen Hand**Mr. & Mrs. William B. Harris** Hon. & Mrs. Paul Hellyer****Ava Marion Hillier*Prof. Michiel Horn****Scott Irvine† & Joan Watson†** Dr. Melvyn L. Iscove** The Jackman Foundation***Victoria Jackman** Dr. Peter Janetos*Mr. Robert C. Jefferies***Dr. Joshua Josephson****Lorraine Kaake****



Patrick & Barbara Keenan****Dr. Joel Keenleyside**** Jim & Diane King*Joseph Kerzner & Lisa Koeper***

Jean V. Kramar*The Hon. Dennis Lane, Q.C. &Mrs. Sandra Lane****

Harold & Larraine Langer****Mr. Philip Lanouette*John B. Lawson, Q.C.****Paul Lee & Jill Maynard****Mr. J. Levitt & Ms E. MahDaniel & Janet Li*Anthony Lisanti**Michel Lislois** Vincent & Helene LobraicoAngelo & Grace Locilento*Douglas L. Ludwig & Karen J. Rice**

John MacfarlaneMrs. J. L. Malcolm* Christa & Robert McDermott*The Hon. Barbara McDougall***Paul & Jean McGrath**** June McLean****Mr. Michael J. McMurray*Sam Meister Mr. Ulrich Menzefricke**** Melanie Whitehead Mersch**Mr. Albert Merz* Dr. Thomas & Mrs. Catherine H. Millar

Dr. Judith A. Miller***Beatrice & Arthur Minden Foundation****

Professor David J. Murray**Eileen Patricia Newell**Mrs. Sally-Ann Noznesky**** E. Oliana & A. Iu** Keith & Brenda Ottaway**Dr. & Mrs. William M. Park****Mr. Douglas L. Parker****John & Gwen Pattison*Polk Family Charitable Fund**Julian Porter, Q.C.*Samuel A. Rea & Wendy J. Thompson****

Rob & Penny Richards**Margaret A. RigginGordon Robison & David Grant* Joseph L. Rosenmiller*Maxwell L. Rotstein & Nancy-Gay Rotstein****

Mr. & Mrs. R. T. Ruggles**** Annie & Ian D. SaleJudy & Hy Sarick****Sam & Esther Sarick***Helen & John Scott*Katherine & Gary Shaw*Dr. Ralph Shaw & June Shaw****Allan & Helaine Shiff****Judy & Hume Smith*** Dr. John Stanley & Dr. Helmut Reichenbächer**

Drs. Wayne Stanley & Marina Pretorius

Doreen L. Stanton****Dr. Richard & Jane Stoneman*Carol Swallow**Mr. & Mrs. Michael Tatham*Kathryn J. Thornton***Anthea Thorp***Vincent Tovell, O.C.***Rosalind & Dory VanderhoofDonald & Margaret Walter****Hugh & Colleen Washington*William R. Waters***Ruth Watts-Gransden****Peter Webb & Joan York**** Dr. Jack Williams & Dr. Dorothy Pringle**

L. R. Wilson*Mr. & Mrs. Richard Wookey*** Linda YoungTricia Younger*The Youssef-WarrenFoundation***

Helen Ziegler**Sharon Zuckerman****Helen & Walter Zwig****Anonymous (6)

MEMBER, $2,250 – $3,749Mr. Herb Abramson** The Acheson FamilyFoundation**

D. C. Adamson-Brdar****Dr. & Mrs. Larry M. Agranove****Donna & Lorne Albaum*Mr. & Mrs. Roberto & Nancy Albis**

Mr. Thomas Allen*Mr. & Mrs. Howard Alpert**Dr. D. Amato & Ms J. Hodges****

Rod Anderson & Merike Lugus****

Andrée Appleton & Alexander Leman*

Anne-Marie H. Applin**Valerie Armstrong***Philip Arthur Virginia Atkin**John Bailey*James C. Baillie*Marilyn & Charles Baillie****Andrew & Cornelia Baines****Janice A. Baker****Richard J. Balfour***Lindy BarrowMs Roxanne BartelDr. Frank Bartoszek & Mr. Daniel O’Brien****

Florence Sharpe Barwell****Julia Bass & David Hamilton**Alice & Tom Bastedo**Rene Beaulieu Mr. & Mrs. Peter & Sondra BeckMr. Doug & Mrs. Alison Bell Ms Marie Bérard†**Dan Bereskin, Q.C. & Rhoda Gryfe*

Dr. Catherine Bergeron**

Nani & Austin Beutel****John N. & Miranda A. H. Birch J. Bismillah*Anneliese and Walter Blackwell****

Susanne Blake***Ms Lynn Blaser & Mr. John van Ogtrop****

Ian & Janet Blue**John & Ila Bossons*Mr. W. Bowen & Ms S. Gavinchuk†***

David Boyd-Thomas***Mrs. Carolyn Bradley-Hall & Mr. William Bradley**

Mrs. Richard Bradshaw**Sylvia Brander****Peter Brieger & Beverley Hamblin

Brian Bucknall & Mary Jane Mossman****

Alice Burton**Barrie & Betty Cade**Maureen Callahan & Douglas Gray*

Margaret Harriett Cameron****Della H. Campbell****Ken & Denise Cargill**Brian & Ellen Carr**** Gail Carson****Wendy M. Cecil****Dr. & Mrs. Albert Cheskes**Birte von Chlumecky-Bauer** Dr. Howard M. Clarke**The Rt. Hon. Adrienne ClarksonCogeco Data ServicesEdward Cole & Adrienne Hood**

Brian Collins & Amanda Demers*

Murray & Katherine Corlett***Harold & Anita Corrigan***Dr. Lesley S. Corrin****Gay & Derek Cowbourne*Ms Wanda Crickmay Susan Crocker*Irene & Keith Croot***Andreas Curkovic Mary Beth Currie & Jeff Rintoul Carrol Anne Curry**Ms Lindsay Dale-Harris & Mr. Rupert Field-Marsham****

Doris J. DaughneyM. P. Davies* Dr. & Mrs. Michael & Ute Davis*Brian J. Dawson**Juleth DawsonMichael & Honor de Pencier***Mrs. Rosario de Wit-Farro**Mrs. Leonard G. (Anne)Delicaet & Mrs. Kendra AnneDelicaet-Almasi***

Mary-Kathleen Delicaet & John Young

Perry & Rae Dellio**Angelo & Carol DelZotto** Mr. & Mrs. Elvio DelZotto*

Please visit coc.ca for additional information

Jill Denham & Stephen Marshall*

Mr. & Mrs. A. J. DiamondMr. David S. DickSteven & Linda Diener**J. DiGiovanniOlwen & Frank Dixon*James Doak & Patricia Best**Sandra Z. Doblinger*Ms Petrina Dolby**Dr. James & Mrs. Ellen Downey*John Duffy & Jill PresserMarko Duic****H. I. Dunlop***Judy DunnRon Dyck & Walter Stewart**William & Gwenda Echard****Jean Edwards* Wendy & Elliot Eisen***Genia & Stan Elkind****Robert Elliott & Paul Wilson*Dr. & Mrs. John Evans**Virginia Evans*Fabris Inc.George A. Farkass*Gail & Bob Farquharson Catherine Fauquier***Bill Fearn & Claudia Rogers***Lee K. Ferrier***William & Rosemary Fillmore**Mr. & Mrs. Cosimo & Christina Fiorenza**

Dr. Sidney M. Fireman*Robert & Julia Foster*Margaret & David Fountain****Mr. Michael A. French*Judith Ann Fullerton*Robert Fung**Rev. Ivars Gaide & Rev. Dr. Anita Gaide**

Tom & Helen Galt****Ann Gawman**Dr. Barry A. Gayle****Martin & Mindy Gerskup*The Honourable Irving Gerstein &Mrs. Gail Gerstein*

Mr. & Mrs. Andrew Giancamilli*Ann J. Gibson****William & Marika Glied**Mary & Lionel GoffartDr. Eudice GoldbergDr. Fay Goldstep & Dr. George Freedman*

Deanna A. Gontard****Tina & Michael Gooding**Wayne A. Gooding****Goodman FamilyDavid & Janice Gordon** Jane Greene*Mr. Finn Greflund & Mrs. M. Ortner*

Carmen & Vittoria Guglietti*Ellen & Simon Gulden****Anna L. Guthrie****Mr. & Mrs. Henry Hackenspiel****Gudrun Hackert***Dan Hagler & Family**

Ms Francess G. Halpenny****Mr. Adrian J. HamelJohn & Ruth HanniganBeverly Hargraft*Michael Harris & Carol Rak*Valerie & Brian Harris***Mr. D. Harrison & Dr. E. Fischer*Paul & Natalie HartmanLloyd Heaslip****Jenny Heathcote****Mr. Thomas G. Heintzman & Ms Mary Jane Heintzman**

Caroline Helbronner & Douglas Klaassen**

Jacques & Elizabeth Helbronner**

Ann & Lyman Henderson****Thea Herman & Gregory King**The Donald HeskinsPhilanthropic Fund of TheFoundation for Jewish

Philanthropies*William E. Hewitt***Sam & Libby Ho**Chris Hoffmann & Joan Eakin*Richard & Donna Holbrook****Sally Holton & Stephen Ireland***

Emmy & Walter Homburger**Mr. Roland Hoy**Drs. Walter & Virginia HryshkoKen Hugessen & Jennifer Connolly*

Anthony C. J. Humphreys****Gillian HumphreysPeter & Hélène Hunt****Mrs. Wilma Hysen***Infonex Inc.*Prof. Christopher Innes &Brigitte Bogar

William InnesDiana & Philip Jackson in memoryof Ethel B. Jackson***

Elliott Jacobson & Judy Malkin*Lynne Jeffrey***Laurence Jewell*The Norman & Margaret Jewison CharitableFoundation****

Ms Elizabeth Johnson*Dr. Albert & Bette Johnston*Joyce Johnston**H. L. Katarynych** Joseph & Maureen KatchenDavid W. & Sheryl L. KerrInta Kierans****Peter Kingsmill Ellen & Hermann Kircher****Dr. Elizabeth Kocmur****Michael & Sonja Koerner**Robin Korthals & Janet Charlton*

Dr. Robert Kosnik****Richard J. Kostoff**Valarie KoziolWilliam & Eva Krangle***Richard T. La Prairie

Elizabeth & Goulding Lambert***Leslie & Jo Lander****Dr. Connie Lee**Linda Lee & Michael Pharoah****

Neal Lee & Dominique Lee* Dr. Richard Lee & Mr. Gary Van Haren*

Alexander & Anna Leggatt**Joy Levine**Mr. Peter Levitt & Ms Mai Why**Cheryl Lewis & Mihkel Voore**L. LiivamagiJustin S. Linden Marjorie & Roy Linden****Dr. & Mrs. W. G. Lindley****Janet & Sid Lindsay**Dr. Vance Logan***A. Benson Lorriman****Dr. Robert G. Luton****Ms Jane Loughborough*Jonathan & Dorothea Lovat Dickson*

Mary Lu & Bruce MacDonald****James & Connie MacDougall****Mr. Jed MacKay****Dr. & Mrs. Richard Mackenzie****Mrs. R. MacMillan****Tom & Catharina MacMillan**** Macro Properties Ltd.* Mrs. Janet Maggiacomo*Susan & Scott Maidment**Dr. Colin McGregor Mailer****R. Manke**** Dr. & Mrs. M. A. ManuelMr. & Mrs. R. Gordon Marantz****Gerald & Helen Marr****Kenneth & Kathleen MathiesonPauline and Dipak Mazumdar atthe Toronto CommunityFoundation***

Mrs. Ettore Mazzoleni** Dr. & Mrs. John A. McCallum****Wendy & Chris McDowall*Anne McFadyenDr. & Mrs. Donald C.McGillivray****

Dr. Gabrielle McIntireDarcy & Joyce McKeough*Guy & Joanne McLean***M. E. McLeod****Jean M. McNab****Margaret C. McNeeMark & Andrea McQueen*** Shawn McReynolds & Elaine Kierans

Mr. Ian McWalter* Dr. Don Melady & Mr. RowleyMossop**

MI9 Business IntelligenceSystems

Ingrid & Daniel MidaMarvene (Cox) & Gordon Miller*Lee Milliken† & DougMacNaughton*

Dr. William & Mrs. Sharon Millman*


Patricia & Frank Mills**Ms Kamini Milnes*Audrey & David Mirvish**Dr. David N. Mitchell & Dr. Susan M. Till**

Mr. Donald MitchellRobert & Janet MitchellEva MocarskiDr. & Mrs. S. MocarskiDonald Moggridge & Susan Howson**

Anne Moore***Mr. Robert Morassutti****Alice Janet Morgan**Ada & Hugh G. MorrisEdith Patterson Morrow***Ms Rosalind Morrow*Drs. Christopher & Pippa Moss**

Mr. Noel Mowat* Walter & Susan MozekMr. Joseph Mulder*Taketo & Vija Murata*Ethel Myers****David & Mary Neelands**Dr. Shirley C. Neuman*Dr. John & Pamela Newall****Dr. Emilie Newell*Dr. Steven Nitzkin***Mr. Jean-Claude Noel*Simon & Marlene Nyilassy Dr. James & Mrs. Valda Oestreicher**

Janice Oliver**Benson Orenstein**Martin & Myrna Ossip*Julia & Liza Overs*** Dr. & Mrs. N. Pairaudeau***Isabel Pargana & Raimondo Maltese

Mrs. Margaret Ann Pattison****John & Penelope Pepperell*Dr. R. G. Perrin*Stephanie Perry & Ronan McGrath

Mr. William Perry*John & Carol Peterson**M. J. Phillips****June C. Pinkney****Johann C. PintoRobin B. Pitcher***Wanda Plachta***Mary Jean & Frank Potter*** Georgia Prassas****Margrit & Tony Rahilly****Stephen Ralls & Bruce Ubukata**

The Carol & Morton RappFoundation****

C. Edward Rathé****Grant L. Reuber**Mrs. Gabrielle Richards*Carolyn Ricketts***Ms Nada RistichEmily & Fred Rizner*Clara RobertMs Virginia Robeson

Sidney Robinson & Linda Currie****

Dr. Michael & Mary Romeo****John & Hannah RosenKen & Helen Rotenberg*Rainer & Sharyn Rothfuss***Drs. Orest & Maureen Rudzik****

David A. Ruston**Ms Sharon Cookie Sandler***Mallory Morris Sartz & John Sartz****

Stewart & Dianne Saxe***Dr. & Mrs. Bruce Schaef****Beverly & Fred Schaeffer****Mrs. Ortaud Scherer*Fred & Mary Schulz*Dr. Marianne Seger****Carol Seifert & Bruno Tesan**Mr. & Mrs. Norman Shamie***Victor & Rhoda Shields***Milton & Joyce Shier****Dr. Kevin Shiffman*David & Hilary Short***William Siegel & Margaret Swaine*

Dr. Birgitta SigfridssonIn memory of Dr. Bernard SlattDr. & Mrs. Jeremy Sloan*Jay Smith & Laura RappKenneth & Catherine Smith**Ms Muriel Smith & Mr. Eric Ojala***

Dr. Harley Smyth & Carolyn McIntire Smyth*

Dr. Joseph So**Philip Somerville*John & Ellen Spears***Martha E. Spears**Alex & Kim Squires****The Steve & Sally Stavro FamilyFoundation*

Celia & Lee Steels**Oksana R. Stein**Mr. & Mrs. Gary & Sula SternDr. & Mrs. Stephen Stern**John D. Stevenson***James H. Stonehouse*Dr. Peter Stroz & Dr. Sophia Pantazi***

Janet Stubbs Anna Talenti***Eric Tang & Dr. James Miller*Mr. & Mrs. Gordon Taylor***John Todd & Jenny Ginder****John & Liz Tory****Diana Tremain****Ian Turner**Riki Turofsky & Charles Petersen*

Cindy & Gary Ullman**Sandra & Guy Upjohn**Dita Vadron & James Catty*Tony & Mary van Straubenzee***Dr. R. B. Van WinckleEdmond & Sylvia Vanhaverbeke***

Mr. & Mrs. Henry & Ann Louise Vehovec***

Dr. Yvonne Verbeeten**Dr. Helen Vosu & Donald Milner***

Richard & Nathalie Wachsberg Samara Walbohm & Joe Schlesinger

Diane Walker & Rob Bell** Elizabeth & Michael Walker**Philip & Diana WeinsteinDr. Bogomila Welsh*Dr. Virginia Wesson**Ms Eleanor Westney*Ms Anne-Marie Widner & Mr. Paul Szymanski**

Mr. Brian WilksElizabeth Wilson & Ian Montagnes****

Jeffrey Stewart Wilson*Ms Ling Wong*Dr. Jackson Wu & Dr. Viviana Chang

Dr. Laval Yau***Erik Yeo Morden Yolles**** Marion York & Robert Speer†*Marina Yoshida***Dr. Howard & Sybil Young****George ZemanSusan Zorzi**Anonymous (23)

FRIENDS OF THE COCAs of April 6, 2011

SUSTAINING FRIENDS$1,600 – $2,249In memory of M. Baptista**Dody Bienenstock*Iivi Campbell****Mrs. Margaret Couch*Ruth & John Crow**Jayne & Ted Dawson****Mr. Albert D. DunnMrs. Lois Fleming****Carmen & Vittoria Guglietti*Ms Suanne Kelman & Dr. Allan J. Fox*

Dr. & Mrs. R. W. Kimber**Tom C. Logan*Mr. A. Mafrici****Mrs. Eileen A. Mercier***Mr. John NagelMrs. Annette OelbaumDr. Norbert V. Perera****Mrs. Richard Gavin ReidGo Sato****Gary Shiff**Jim Stewart & Deborah SwailMr. & Mrs. Vernon & Beryl Turner***

Dr. O. R. Waler*Gordon Waugh***Ms June Yee**Anonymous (2)


ASSOCIATE FRIENDS $1,100 – $1,599Ms I. M. Allen****Michael & Janet Barnard*Don Biderman****Mrs. William BirchallMs Ethel BirkenshawBruce Burgess**Ms E. Burton**Dr. Wendy C. ChanPauline Cheung & Winston KooMr. Darren Day**Prometheum Institute**Ms Christine Demont**Gary Fitzgibbon**Mr. James DewhurstJ. E. Fordyce****Miss Gillian Foster**R. Dalton Fowler****Klaus Multiparking Inc.John H. Galloway****Alison Girling and Paul Schabas*

Helen & Barry Goldlist****Mr. Henry Gooderham**Dr. Wilfred S. Goodman****Mrs. Marion A. Green****Suzy Greenspan**Mr. & Mrs. Michael E.Harrison****

Mr. & Mrs. H. C. Hatch***Jean & Bill Heaslip****Lawrence & Beatrice Herman***Mr. Josef Hrdina*Donald Hughes***Horace & Elizabeth Krever****Mr. & Mrs. Owen & Margie Kurin*

Alan & Marti Latta****Claus & Heather Lenk*P. Anne Mackay****Craig & Karen Mahood*Mary McGowan***Brian Miron & Monica VegeljMr. Carl Morey***Mr. Sean O'Neill***Clarence & Mary Pace*Dr. Roger D. Pearce**Ms Alexandra PetrenkoMs Beatrice RiddellA. K. Sigurjonsson**C. Anderson Silber*David Smukler & Patricia Kern*Mr. Warren Sorensen & Mr. Gregory Williams****

Dr. & Mrs. George Steiner***Jane & Ted Stephenson***Ms Peg Thoen*Bill MacKenzie & Alan Westbrook**

Janet White*Ron Williams*Anonymous (4)

CONTRIBUTING FRIENDS$700 - $1,099Mr. Roger AbbottMrs. Rosalen Armstrong****Anne & Husayn Banani*Peter & Leslie Barton**Dr. Gail Beck & Mr. Andrew Fenus

Michael Benedict & Martha Lowrie****

Jeniva Berger**Dr. B. Derek & Dr. Anne W. Birt****

Dr. Jennifer BlakeMary Brock & Brian Iler***Miss Maria Buisman*Ms Judith Burrows*Theresa & John Caldwell****Betty Carlyle****Jack A. CarrMark Cestnik****Carole Chabot & Derek Dodd**Barbara Charters****Harold Chmara****Joe T. R. Clarke****Dr. Marsha Cohen & Mr. Michael Mendelson**

Mr. & Mrs. Norman & Louise Coxall**

Mr. Neil CrawfordMr. John A. Crocker & Mrs. Mary Crocker***

Mrs. Grace DiezDr. Domville**Mr. Steven D. Donohoe****Peter & Shashi Eden*Mr. Thomas Eiser****Ms Eleanor L. Ellins****Mr. Arthur English*Ms Sharon Evans****Mr. Kirk Falconer**Mr. F. C. Farr***Joe & Helen Feldmann**Brian A. Ferguson***Richard & Gail Flack**Mr. Morris Flicht****Mrs. & Mr. Jennifer & Francis Flower***

Dr. & Mrs. A. Mervyn Fox****Douglas G. Gardner***Elinor Gill Ratcliffe C.M., O.N.L.Dr. Gabriela GohlaDr. Bruno & Mrs. Louise Golisky**

Lisa & Harvey Golombek inmemory of Hilda & IsieGolombek*

Ricardo Gomez-InsaustiMs Ina K. Govan****Mr. James HamiltonPhilo Handler*Dr. & Mrs. Brian & Cynthia Hands****Harper House Contracting LtdMr. & Mrs. E. Roy Harrison****W. L. B. Heath***In memory of Pauline ChorniukHinch

Mr. David Holdsworth & Ms Nicole Senecal

Richard & Susan Horner****Dr. Ivan & Mrs. Diana Hronsky****James Hughes**Pierre Hurtubise****Mr. Sumant Inamdar*Mr. Kazik Jedrzejczak****Frances E. Johnson***Douglas & Dorothy Joyce****May & Fred Karp**Heidi & Khalid Khokhar**Mai Kirch****Dr. & Mrs. L. A. Kitchell**Mr. & Mrs. I. P. & O. M. Komarnicky**

Mr.& Mrs. Armin KratelMr. Jonathan KrehmGediminas P. Kurpis****Mr. James R. Lake***Harry Lane**Mary-Jane Large**Giles le Riche & Rosemary Polczer**

Mr. Yakov LernerMrs. Mary Liitoja****Nathan & Glenys LindenbergIngrid MartinKathy MartonMary McClymont****Jil McIntosh*Mr. Bruce McKeown***Georgina McLennan****Sylvia McPhee****Janis MedlandMr. & Mrs. David & Shirley Menzel**

Suzanne Mess**Kathryn Mikoski & Hope Clement*

Frank & Anne Moir*Terry & Dom Morris**David Northcote & Suzanne Betcke**

Jean O'Grady*Ms Cristina Oke**Karen Olinyk†William Ostrander***Mr. Martti PaloheimoMr. Joseph & Mrs. Letizia Paradiso**

Barbara & Peter Pauly*David Peachey & Georgia Henderson*

Bruce Pearce***Dr. A. Angus PellerMrs. Dorothy K. Piepke****The Late Ms Ella Prindiville****Dr. Peter Ray***Dr. Shelley Rechner****Guylaine Rheault-OliverMr. David E. Roman****Mrs. Gertrude Rosenthal****Dorothy & Robert Ross***M. Sanvido***William & Meredith Saunderson***


Barbara Sawaszkiewicz****Miss Elisabeth Scarff****Patti & Richard Schabas*Mrs. Sylvia Schmid****The Derick BrenninkmeyerCharitable Foundation

Henry & Mary Seldon***Anci Shafran****Robert Sherrin**Cheryl Shook*Ms Elizabeth J. Shropshire*Dr. & Mrs. Bernie & Bobbie Silverman*

D. Bruce Sinclair*Joan Sinclair & John McConnell*

John Spears****Mrs. Harriet H. Stairs**Tony Stapells**Dr. & Mrs. W. K. Stavraky**Scott Steele & Jan KormanRobert & Nancy Stephenson*Marta Stewart****Mr. Paul Szaszkiewicz & Ms Peggy Theodore

Anna M. Tait****Ms Michelle Tan*Mrs. Yoka TerbruggeDr. M. Lynne Thurling & Dr. John Treilhard**

Dr. Claude Tousignant*David & Diana Trent****Mrs. Norene Turvolgyi****Dr. Nancy F. Vogan****Mr. Wayne Vogan†****Dr. Peter Voore***Mr. John M. Welch****Mr. and Mrs. Karl WildiDavid B. & Virginia Wortman*Nina & Norman Wright**Ms Iris ZawadowskiMs Marta ZerenyiAnonymous (15)

THE ENCORE LEGACYThe Encore Legacy is theplanned giving program of theCanadian Opera Company.

Planned giving is making thedecision today to provide a gift for the Canadian OperaCompany that may not be realized until after your lifetime.Planned giving also allowsmany people to make a significant gift without alteringtheir current lifestyle.

Gifts planned today, that willultimately affect your estate,allow you to make a statementof support that will become a lasting legacy to the COC. In addition, gift planning mayprovide significant tax benefitsfor your estate.

The Canadian Opera Companygratefully acknowledges andthanks the following individualswho have included the COC in their estate planning:

Dr. Larry M. AgranoveIsobel AllenRenata Arens & Elizabeth FreyMrs. Rosalen ArmstrongRon Atkinson & Bruce Blandford

J. Linden Best & James G. Kerr David BowenMarnie M. BrachtWalter CarsenEarl ClarkBrian Collins & Amanda Demers

Earlaine CollinsDavid H. CormackAnn De BrouwerHelen DrakeRowland D. GalbraithDouglas G. GardnerMichael & Anne GoughL. A. GroverGeorge & Irene HamiltonJoan L. HarrisJames HewsonJohn R. HigginsMr. Kim Yim Ho & Walter Frederic Thommen

Douglas E. HodgsonMatt HughesLynne JeffreyAnn Kadrnka Kathryn KossowMr. Gurney KranzJo LanderPeggy Lau†Marjorie & Roy LindenJ. Bruce MacDonaldMs Lenore MacDonaldDr. Colin M. MailerR. MankeTim & Jane Marlatt Margaret McKeeSylvia M. McPheeDr. Alan C. MiddletonEleanor MillerDonald MorseSue Mortimer Mr. & Mrs. James D. PattersonMervyn PickeringGunther & Dorothy PiepkeMs Georgia PrassasK. F. Read Dr. John Reeve-NewsonMrs. Margaret RussellCookie & Stephen SandlerJ. M. Doc SavageDavid SerberClaire ShawR. Bonnie ShettlerDavid E. SpiroDr. D. P. Stanley-Porter

Doreen L. StantonLilly Offenbach StraussDrs. W. & K. StavrakyJanet StubbsAnn SuttonRonald TaberVivian TreacyMrs. L. TreutlerN. Suzanne Vanstone† Marie-Laure WagnerHugh & Colleen WashingtonMarion C. WilsonMarion YorkAnonymous (41)

CORPORATE MATCHINGPARTNERSThe Canadian Opera Companygratefully acknowledges thefollowing organizations thathave matched gifts by theiremployees:

Canadian Tire CorporationLimited

Ivanhoe Cambridge IncGoodman & CompanyInvestment Counsel Ltd.

FM Global Foundation

The above Individual SupportGifts were made as of March 24, 2011.

* five to nine years of support** 10 to 14 years of support*** 15 to 19 years of support**** 20 or more years of support† COC administration, chorus

or orchestra member‡ Endowment†† Fine Wine Auction

Despite the staff’s extensiveefforts to avoid errors andomissions, mistakes can occur.If your name was omitted, listed incorrectly or misspelled,we apologize for any inconvenience this may havecaused. We would appreciatebeing notified of any errors at 416-847-4949.


Major Supporter, Ensemble StudioProduction Sponsor

Mozart’s The Magic Flute

Sun Life Financial Accessibility ProgramEncompassing SURTITLES™, Wheelchair Seating,Hearing-Assistive and Vision-Impaired Devices

BMO Financial Group Pre-Performance Opera Chats and BMO Financial Group Student Dress Rehearsals

Aida Opening Night Sponsor

Official Automotive Sponsor of the COC at the FSCPA

Presenting Sponsor Opera for a New Age and

Operanation VII

Presenting Sponsor, Free Concert Series

in the Richard BradshawAmphitheatre

Official Canadian Wine of the COC at the FSCPA

KPMG Opera Golf Classic

Preferred Medical ServicesProvider

Xstrata Ensemble Studio School Tour

Official Media Sponsors Digital Marketing Sponsor

Production Co-sponsorsAdams’ Nixon in China

PreferredHospitality Sponsor


MAJOR CORPORATE SPONSORS 2010/2011 SEASON

Preferred FragranceSponsor

Preferred Airline Sponsor

Rentals Supplier

Preferred FloristsMario SéguinQuince FlowersTidy’s FlowersWild Thyme

Other suppliersTHE BUTLER DID ITNestlé WatersTorrié Coffee

DIAMOND PERFORMANCESPONSORS

PERFORMANCE SPONSORS At time of printing

ARIASBarrick GoldBurgundy Asset ManagementCTVglobemediaDavies Ward Phillips &Vineberg LLP

DelviniaFionn MacCool’sFour Seasons Hotels andResorts

HSBC Bank CanadaLouis VuittonPwCScotia CapitalStandard Life

OPENING NIGHT SPONSORFionn MacCool’s

HOSTING SPONSOR

PROGRAM SPONSORSBudd Sugarman Foundation,Create an Opera Supporter

Great West Life, London Lifeand Canada Life, OperaStorytime ProgramSupporter

The Globe and Mail,Subscriber Ticket BackSponsor

KPMG LLP, Xstrata EnsembleStudio School TourPerformance Sponsor

Standard Life, XstrataEnsemble Studio SchoolTour Performance Sponsor

Torys LLP, After School OperaProgram SupportingSponsor

CORPORATE ANDFOUNDATION DONORS MAJoR GIFTs

$10,000+Audrey S. Hellyer CharitableFoundation

J. P. Bickell FoundationThe Hope CharitableFoundation

The Hal Jackman Fund at theOntario Arts Foundation

The McLean Foundation

$5,000 to $9,999225490 Investments LimitedBritten-Pears FoundationIATSE Local 58 CharitableStage Technicians Toronto

SNC LavalinUnit Park Holdings Inc.

$3,000 to $4,999The Calgary Foundation –Nellie Hicks Memorial Fund

The Keg Spirit Foundation

$2,000 to $2,999Classical 96.3 FMMAC CosmeticsMercedes-Benz Canada Inc.Vida Peene Fund - CanadaCouncil

$1,000 to $1,999Milgram Group of CompaniesLtd.

Powis Family Foundation

2010/2011 MEDIA SPONSORS & IN-KIND SUPPORTERSCBC Radio TwoRemenyi House of Music Ltd.

KPMG OPERA GOLF CLASSICTitle sponsorKPMG LLP

OPERANATION VIIpresenting sponsorTD Bank Financial Group

oFFICIAl FRAGRAnCeCalvin Klein Beauty

dInneR sponsoRE-L Financial Limited

ANNUAL FINE WINEAUCTION 2011hosT sponsoRCrush Wine Bar

pARTneRInG sponsoRHarris Brown & Partners Limited

Cheese sponsoRCheese Boutique

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2010/2011 SPONSORS

CREDITS & ACKNOWLEDGMENTSThe Canadian Opera Company would like to thank all those who volunteer

both on a daily basis and for special events with the company.

Michael Cooper: Official photographer

The COC is a member of Opera America and Opera.ca.

The COC operates in agreement with Canadian Actors’ Equity Association.

The COC operates in agreement with I.A.T.S.E., Local #58, Local #822 and Local 828.

Broadcast Partner CBC Radio is providing the production facilities and production team for the COC produced recordings of this season’s operas.

Recording Producer: Neil Crory; Recording Engineer: Doug Doctor; Assistant Recording Engineer: Steve Sweeney

The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments.

enseMBle sTudIo

speCIAl pRoJeCT FundInG

GOVERNMENT SUPPORT

For the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from:

Department of Canadian Heritage

Human Resources and Skills Development Canada

We acknowledge the support of the Canada Council for the Arts which last year invested $26.3 million in music throughout Canada.Nous remercions de son soutien le Conseil des Arts du Canada, qui a investi 26,3 millions de dollars l’an dernier dans la musique

à travers le Canada.

opeRATInG GRAnTs


S U N L I F E F I N A N C I A L

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

We are pleased to support the Sun Life Financial Accessibility Program, at the Canadian Opera Company, which encompasses SURTITLESTM, wheelchair seating, hearing-assistive and vision-impaired devices.

This March, at the invitation of the world-renowned Brooklyn Academy of Music(BAM), the Canadian Opera Company performed the U.S. premiere of its spectacular production of Robert Lepage’sThe Nightingale and Other Short Fables.

The production, set to the music ofStravinsky, was directed by Robert Lepageand conducted by COC Music DirectorJohannes Debus. Audiences cheered andthe critics raved!


“Magic, pure and complex... Johannes Debus conducts the Toronto forces with elegant swagger...Call it a triumph.” HHHHH

Martin Bernheimer, Financial Times

“The Canadian Opera Company’s Orchestra and Chorus were vibrantly conducted by its accomplished young music director, Johannes Debus.”Anthony Tommasini, New York Times

“When its [chorus] members simultaneously opened up their Chinese robes to reveal hitherto hidden puppets, it was pure magic – and the show was full of these moments of childlike wonder.”Elisabeth Vincentelli, New York Post

“Mixing elegance and whimsy, director Robert Lepage’s production of The Nightingale and OtherShort Fables, at the BAM Howard Gilman Opera House, is both a visual and an aural treat.”Dan Bacalzo, Theater Mania

“The COC Orchestra, conducted by Johannes Debus, brings out the delicacy and haunting lyricismin this charming work...”Mike Silverman, Associated Press

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A scene from The Nightingale and Other ShortFables at the Brooklyn Academy of Music, 2011.Photo: © 2011 Jack Vartoogian/FrontRowPhotos

pening the Orfeo ed Euridice chapterof his Opera Nights (1943), Ernest

Newman presented his readers with twoassertions: “This is the work with which[Gluck] began his famous ‘reform of theopera,’” and “It is the oldest opera now inthe repertory.” The first may still be anarguable proposition; the second no longeris. Since Newman’s date of publication, the vast continent of early music has beenopened up. The beginnings of opera havebeen re-explored, and Monteverdi’s Orfeonow claims the position in the repertorythat Newman staked for Gluck’s. Moreover,Italian 18th-century “serious opera,” the targetof Gluck’s revolutionary zeal, is no longerterra incognita for opera-lovers. ReceivedOpinion, re-stated in generations of operatictextbooks, may have dismissed opera seriaas intrinsically a hopelessly decadent art-formverging on dramatic meaninglessnessbecause of formulaic rigidity and dependenceon singers’ showing off. Now – in the wakeof successful recent revivals of opera seria


O

THE OPERAOFUNANSWEREDCRIES BY MAX LOPPERT

by Handel, Hasse, Jommelli, Traetta, andmany others, which have won new admirers– the whole subject requires root-and-branchre-examination. With all this as background, the status

of Orfeo, Gluck’s azione teatrale per musica,as one of the key works of operatic historyremains easy to reaffirm. At the time of its first performance, at the Burgtheater inVienna on Oct. 5, 1762, the composer was48, with a long and varied theatrical careerbehind him. Born in Bavaria, raised inBohemia, he earned his living first inPrague, then Vienna, before departing forMilan, where he steeped himself in currentItalian operatic modes and manners; hisfirst opera, Artaserse (Milan, 1741), was asuccess, as were his next seven, given invarious Italian theatres. Thereafter he spenttime in London (where he struck up a warmrelationship with Handel), Vienna, Dresden,Prague, Copenhagen, and Naples, for muchof the time at the head of the travellingopera troupe which he had joined in 1746.

Marriage to a wealthy Viennese merchant’sdaughter in 1752 enabled him to settle inthat city; attached to the court, he enjoyedthe inestimably valuable patronage ofCount Durazzo, Genoa-born, Francophileby cultural inclination, who served as theEmpress’s theatre administrator. MariaTheresa herself never wholly admiredGluck, though he taught her children and eventually won high office from her;she preferred the collaborations of hercourt poet Metastasio (the 18th century’ssupreme opera seria librettist, who in a letteronce described Gluck as a composer of“surprising fire but… mad”) and Hasse – the“old guard,” also resident in Vienna – to the“avant garde,” that formed around Durazzo.Alongside Gluck, that group also includedRanieri de’ Calzabigi from Livorno, librettistof Orfeo (and another passionate Francophile),and the Florentine dancer-choreographerGasparo Angiolini. Nonetheless, Viennaremained Gluck’s home until his death in1787, even during the 1770s, when he was

The COC presents Orfeo ed Euridice. David Daniels(centre) as Orfeo in the Lyric Opera of Chicagoproduction, 2006. Photo: Robert Kusel


bent on conquest of the Paris operatic stage. The diversity, variety, and sheer

skilfulness of Gluck’s theatrical scores arestill insufficiently recognized. He composedin all the operatic modes fashionable inVienna, and prolifically for the dance.Among the most significant of his balletcompositions was Don Juan, the Molière-inspired A-bomb of a pantomime-ballet thatGluck and Angiolini dropped on an unsuspecting Burgtheater on Oct. 17, 1761.

Orfeo the following year caused anothersensation. Produced for the EmperorFranz’s name day, it was modest in lengthand modestly supplied with three principalroles. More startling, given the context, wasthe severe Classical setting, the large-scaleuse of chorus, the absence of soloist vocaldisplay, and the integration of Angiolini’sdance episodes into the dramatic unfolding.Retrospectively Orfeo was taken to markthe start of the whole so-called Reformmovement, which Gluck later provided witha manifesto. To the publication in 1769 ofAlceste (premiered in Vienna, 1767), thesecond of his three Reformist collaborations

with Calzabigi, he attached as preface whatbecame one of the most widely quoted documents in music history, in which heformulated the ideals that had driven himto simplify current operatic practice. This is its key sentence: “I sought to rid music of all the abuses, introduced either by thevanity of singers or by the excessive complaisance of conductors, that have forso long disfigured the Italian opera.”It is salutary to remember that Gluck’s

own creative path never maintained anunswerving route towards the innovativeideals expressed in that preface. (He continued to write “old-fashioned” operaseria after Orfeo.) In the words of WintonDean in the first edition of The New GroveDictionary, “[His] Italian Reform operas…were not quite the bolt from the blue theyappear in the selective light of historicalmemory. Rather they crystallized existingtendencies, fortified by the hand of genius”– tendencies already apparent in Gluckhimself and in other opera seria composersof the day, Traetta and Jommelli amongthem. Furthermore, in Paris there was

ORFEO ED EURIDICE: The Opera of Unanswered Cries


The COC presents Orfeo ed Euridice. David Daniels(centre) as Orfeo in the Lyric Opera of Chicagoproduction, 2006. Photo: Robert Kusel

2010|11 season is presented by

Dancers of The Royal Ballet. Photo by Manuel de los Galanes.

Lead philanthropic support provided by an anonymous friend of the National Ballet with additional support generously provided by The Catherine & Maxwell Meighen Foundation, Richard M. Ivey, C.C., Rosamond Ivey and Wallace & Margaret McCain.

Presented as part of

Alice’s Adventures in WonderlandJune 4—25 national.ballet.ca 416 345 9595

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“A brilliantly theatrical

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“Spectacular”—The Times, London, 2011

already the well-established theatrical trend of moving away from the grandioselyartificial towards simplicity and naturalness.Significant French influences are detectablein Orfeo, applied (no doubt) via the Parisianleanings of Gluck’s collaborators Durazzoand Calzabigi; these concern the expandedrole of the chorus, removal of “dry” (that is, keyboard-accompanied) recitative, andconstruction of the acts in massive tableaux. All this notwithstanding, it takes no

more than a single encounter with Orfeoin its original form to convince one thatGluck’s expressive directness and (for most of the opera’s course) unremittingconcentration of musical effect for dramatic

purpose represent a creative landmark in the history of opera. Let me be specificabout this “concentration of effect”: inmeasure 25 of the opening minor-key chorus,the hero cries out the name “Euridice!” (on four notes – three Ds and then the D an octave lower) above the other voices. Inmeasure 27 he repeats the cry; in measure44 he slightly alters it. The situation is summarized: a funerary chorus, the chiefmourner bursting out in grief above it, thedead beloved’s name thrice repeated. Anunforgettable sound-image encapsulatesthe tragedy. Interpolation of a solo voiceinto choral singing may not itself havebeen a new operatic effect, yet in context atthe very opening of the opera, it amountsto a new operatic invention.

Orfeo ed Euridice could be subtitled “theopera of unanswered cries.” In his first solo,“Chiamo il mio ben così,” Orfeo calls out to Euridice everywhere in the natural world,but Nature fails to return him a reply (hiscalling-out suggested with supreme poeticaptness by the presence offstage of a smallsecond orchestra echoing the ends of hisphrases). Later, in “Che faro senza Euridice?”Orfeo’s Act III lament and the opera’s climax, Euridice’s name is invoked withincreasingly desperate passion. (Gluck issaid to have instructed the celebrated altocastrato Gaetano Guadagni, the first Orfeo,to “shout [it] as if you had suffered a realloss.” Across the span of the opera thehero’s first and second losses are linked,and the second thereby rendered limitlesslypoignant; in the entire operatic literature,few names become charged with a strongeremotional current. The music of Orfeo, in its balance of

forms, colours, and atmospheres, penetratesthe core of Calzabigi’s drama. Act II, whichfor Romain Rolland, the distinguishedFrench novelist-scholar of the late 19th andearly 20th centuries, was “the most moving…



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in all opera,” creates between its two parts a perfect equilibrium: hell then heaven,darkness then light, sombre then limpidorchestration, with Orfeo in his traversal of both realms providing the link betweenthem. The opera’s ceremonial C-major overture may not live up to Gluck’s belief(subsequently expounded in that Alcestepreface) that an “overture ought to warnthe spectators of the action that is to be represented to them”; the traditional18th-century happy ending complete withsuite of decorative dances may contradictsense and dramatic momentum. The piece,after all, was premiered on an emperor’s name day, and even as it stands, the mostenlightened 18th-century aristocrat mightbe forgiven some discomfort on sittingthrough quite so unadorned a festive entertainment.

I used earlier the phrase “Orfeo in itsoriginal form”; for confusingly, the operaexists in more than one authentic form and in several unauthentic ones. The verybrevity of the 1762 score, though its localsuccess set European cognoscenti buzzing,rendered it disconcerting to most contemporary tastes – it was simply tooplain-spoken. When in 1774 Gluck presentedthe work at the Paris Opera as Orphée etEurydice, it may well have been this thatprompted him to enlarge it as he did. The Paris version might almost be deemeda new opera, expanded from the old. To satisfy local tastes and cope with local performing exigencies, he altered the originalinstrumentation, added much new music(notably the D-minor flute solo in theElysian Fields scene), and recast Orpheusfor the high tenor Joseph Legros. The



The COC presents Orfeo ed Euridice. David Danielsas Orfeo and Isabel Bayrakdarian as Euridice in the Lyric Opera of Chicago production, 2006.Photo: Robert Kusel

immediacy of the original was distanced –and in 1859, 72 years after Gluck’s death,when Berlioz prepared a Paris revival of theopera, returning a shortened, re-orderedform of the 1774 Orphée to the 1762 altopitch for the great mezzo-soprano PaulineViardot, the next stage of that distancingwas prepared. Viardot herself was one ofthe greatest operatic actresses of her (orany) day, but in later years the hero’s parttended to become the preserve of oratoriocontraltos; the emotional predicamentburning beneath the classical simplicitiesof the original became hard to detect,unless a performer of Viardot-like giftsfilled the leading role. For at least a centurya post-Berlioz composite of all previousscores, “back-translated” into Italian, suchas was published by Ricordi in Italy andNovello in England, was the Orfeo editionmost often performed – and the distancingprocess was complete. All the various versions of Orfeo and

Orphée demand performance; none can be sacrificed. Yet if we wish to recover in its keenest, purest, most nakedly affectingform Gluck’s response to the myth aboutthe power of art to triumph over mortality,it is to the original Orfeo ed Euridice, thatwe shall need to turn.

Max Loppert, born in 1946 in Johannesburg, waschief critic of the London Financial Times (1980 – 96) and assistant editor of Opera (1986 – 1997). He now lives in Italy, acting as a northeast Italycorrespondent for Opera and contributing to othermusic journals and periodicals while completelyhis study of Gluck’s operas. This article originatedwith Lyric Opera of Chicago, 2006, reprinted withpermission.

For further insights into Orfeo ed Euridice, pleaseread Suzanne Vanstone’s interview with directorRobert Carsen in the spring issue of Prelude, available online at coc.ca.



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The COC presents Orfeo ed Euridice. IsabelBayrakdarian as Euridice and David Daniels as Orfeoin the Lyric Opera of Chicago production, 2006.Photo: Robert Kusel

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EtiquettePatrons are reminded that R. Fraser Elliott Hall isan extremely lively auditorium and that all audiencenoise will be accentuated and will be audible to otherpatrons. Turn off all electronic devices, avoid talking,coughing, humming, moving loose seats, kicking thebacks of seats, rustling programs, and unwrappingcandies or cough drops. In consideration of patrons withallergies please avoid wearing strongly perfumed beautyproducts and fragrances. Please remain in your seat untilthe performance has completely ended and the houselights have been turned on.

Electronic DevicesThe use of mobile and smart phones and all otherelectronic devices is extremely disruptive and is strictlyprohibited during performances. If a patron has an emergency and needs to be contacted during a performance, he or she should contact Patron Services for assistance before the performance.

Cameras/Recording DevicesThe use of cameras, video cameras or sound-recordingdevices of any kind is prohibited in R. Fraser Elliott Hallduring performances. Any person using an unauthorizedrecording device while the performance is in progresswill be required to surrender or erase any recordings,photographic or digital images and may be asked toleave. No refunds will be issued.

LatecomersIn the interest of safety and for the comfort of all patrons and performers, latecomers may not enter theauditorium or be seated unless there is a suitable breakin the performance (usually intermission). Patronsleaving the auditorium during the performance orreturning late after intermission may not be readmittedor will be accommodated in an alternate viewing location.

Children and Babes-in-ArmsAll patrons, including children, must have a ticket for the performance. All children must be seated next to an accompanying adult. Young children should be ableto sit quietly throughout the performance. If unable to do so, children and their accompanying adult will be asked to leave the auditorium. Babes-in-arms will not be admitted.

Patron ServicesLocated in the Lower Lobby, the following services areavailable: coat and parcel check, booster seats, backsupports, infrared hearing-assistive devices and rental of binoculars, on a first-come, first-served basis.

Medical Emergencies and First AidA house doctor is present at all performances. Please contact an usher if medical services are required.

Lost and FoundDuring performances please speak with an usher or visitPatron Services at the Coat Check in the Lower Lobby.Following performances, all lost and found items will be stored at the security desk at Stage Door. Please call416-363-6671 for information.

Ticket ServicesCanadian Opera Company subscriptions and individualtickets are available through COC Ticket ServicesONLINE: www.coc.caBY PHONE: 416-363-8231

or long distance 1-800-250-4653Monday to Friday – 10 a.m. to 6 p.m.Saturday – 10 a.m. to 4 p.m.

IN PERSON: Four Seasons Centre Box Office145 Queen St. W.Monday to Saturday – 11 a.m. to 6 p.m. or through first intermissionSunday (performance days only) – 11 a.m. to 3 p.m. or through firstintermission

The Four Seasons Centre Box Office also servicesticketing needs for The National Ballet of Canada and all other Four Seasons Centre events.

Group SalesGroups of 10 or more enjoy savings on regular individualticket prices. For more information or to reserve seats call 416-306-2356.

ParkingThere is parking on a first-come, first-served basis forabout 200 vehicles underneath the Four Seasons Centre.The entrance is located on the west side of York Street,south of Queen Street. Additional parking is convenientlylocated just steps away in the Green P lot underneathNathan Phillips Square. For directions visitwww.greenp.com.

Four Seasons Centre Facility ToursRegularly scheduled tours of the Four Seasons Centretake place on most Saturdays at noon. Please visitwww.coc.ca for complete schedule. To inquire aboutprivate group tours please call 416-363-6671.

BMO Financial Group Pre-Performance Opera ChatsThe Canadian Opera Company Volunteer SpeakersBureau offers free, insightful chats about the stories,music and background of all COC performances, 45minutes prior to each performance in the RichardBradshaw Amphitheatre.

Food and Beverage ServiceA pre-order system for intermission refreshments isavailable at all bars throughout the Isadore and RosalieSharp City Room. Food and beverages are not permittedin R. Fraser Elliott Hall.

Special Events and CateringThe Four Seasons Centre for the Performing Arts isavailable for rental for all of your presentation, meetingor special events needs, with spaces accommodatingfrom 20 to 2,000 people and full catering services. For further details visit www.fourseasonscentre.caor call 416-363-6671.

The Opera ShopLocated on the orchestra level of the Isadore and RosalieSharpe City Room, the COC's Opera Shop offers a fineselection of opera recordings on CD and DVD, as well as opera-related books, giftware and COC souvenirs.

PATRON INFORMATIONAND POLICIES


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Cinderella House Program

Documents

Transcript of Cinderella House Program