Evening Program - Ainadamar

GOLIJOV / HWANG

PROGRAMMING PARTNERS

MARCH 18-21-23-26, 2023

@OPERADEMONTREAL

PUBLIC PARTNERS

COMPOSER: OSVALDO GOLIJOV

LIBRETTO: DAVID HENRY HWANG

Language: Spanish with English and French surtitles

Premiere: Osvaldo Golijov, Tanglewood, United States, August 1st 2003

Duration: 1h20 (without intermission)

Margarita Xirgu

Federico García Lorca

Nuria

Ramón Ruiz Alonso

José Tripaldi

Torero

Maestro

Conductor

Stage Director

Choreographer

Set Design

Costume

Lighting

Video

Principal Stage Manager

Principal Stage Assistant

Management, wireless mics

Surtitles Projectionist

Assistant to the Stage Director

Video illustrator

Video animation

Chorus Master

Rehearsal Pianist

Rehearsal Pianist (chorus)

Assistant to the Conductor

Assistant to the Choreographer

Emily Dorn

Luigi Schifano

Elizabeth Polese

Alfredo Tejada

Alain Coulombe

Jaime Sandoval

Geoffrey Schellenberg

Nicole Paiement

Brian Staufenbiel

Rocio Vadillo

Pierre Massoud and Brian Staufenbiel

Dominique Guindon

Claude Accolas

David Murakami

Joëlle Desjardins and Bethzaïda Thomas

Valérie Bélanger and Thomas Lussier

Emelyn vanBruinswaardt

Simon-Charles Tremblay-Béchard

Kim Crofts

Adrián Cuevas Del Valle

Sam Clevenger

Claude Webster

Jennifer Szeto

Pierre McLean

Christopher Gaudreault

Emma Garau Cima

Orchestre symphonique de Montréal Choeur de l'Opéra de Montréal

March 18, 21, 23 at 7:30 p.m. and March 26, 2023 at 2 p.m.

Théâtre Maisonneuve, Place des Arts

The Opéra de Montréal sincerely thanks the Conseil des arts et des lettres du Québec, the Ministère de la culture et des communications du Québec, the Canada Council for the Arts, Canadian Heritage, the Conseil des arts de Montréal and the City of Montreal.

Experience the magic of the Opera

BMO is excited to present magical moments at the Opéra de Montréal. Prepare to be enchanted by captivating stories and incredible vocal performances.

PATRICK CORRIGAN

Dear audience members,

Welcome to Théâtre Maisonneuve, welcome to the Opéra de Montréal!

We are delighted to present Ainadamar, on its Canadian debut. This innovative opera by Argentine composer Osvaldo Golijov is a tribute to the powerful work of Federico García Lorca. The great Spanish poet and playwright who not only had a great influence on contemporary literature, but also became a major figure in the struggle for freedom and democracy, addressing notions of poverty, oppression, and injustice. A vocal opponent of the growing fascist regime in Spain, his tragic death at the hands of Franco's forces turned him into a modern symbol of resistance and freedom. In turn, the opera reminds us of the critical role the artist plays in defending our humanity.

The choice to present Ainadamar in Théâtre Maisonneuve is intentional: it is a jewel of an opera that shines intensely in an intimate setting. For an opera house, the ability to perform in a variety of venues broadens the range of productions available.

Ainadamar has been – and will continue to be – celebrated around the world thanks to the brilliant combination of operatic and traditional singing, dialogue and flamenco dancing that make it something quite unique in the opera world.

Enjoy the show!

FIERS PARTENAIRES DE L’OPÉRA DE MONTRÉAL PROUD PARTNERS OF THE MONTREAL OPERA

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MICHEL BEAULAC

At the crossroads

Ainadamar—an Arabic word meaning “fountain of tears”—is a place in the hills above Granada where poets and thinkers would gather in the days of Muslim Hispania. Tragically, it is also the place where Federico García Lorca was executed at the start of the Spanish Civil War.

Through the memories of Margarita Xirgu, Lorca’s favourite actress, we look back on the playwright’s short life, some of the darkest years in Spanish history, and the final moments in the life of the famous Catalan actress.

Ainadamar takes us to a crossroads where Spanish, gypsy, Arabic, and Jewish music meet. In peppering his work with powerful accents of Andalusian flamenco, Sephardic melismas, and Cuban rhythms, Argentine composer Osvaldo Golijov has created a captivating piece that has enchanted all audiences on every continent.

Now it is our turn to fall for the charms of Ainadamar!

PRELUDE

The setting is Spain during the Civil War (1936-1939). The children have been taken away to be indoctrinated by the Falangists.

FIRST IMAGE: MARIANA

April 1969, Teatro Solís, Montevideo, Uruguay

First ballad. Actress Margarita Xirgu comes to the end of a performance of Federico García Lorca’s play Mariana Pineda , which she has been performing for 40 years. Nearing death, she tries to convey to her talented young student Nuria the fire, passion, and hope of her generation—a generation that gave birth to the Spanish Republic. She recalls her first meeting with Lorca in a bar in Madrid.

Madrid, 1929. Lorca tells Margarita that the theme of freedom in his play was inspired by the statue of Mariana Pineda that he saw as a child in Granada. Mariana was martyred in 1831 for having sewn a revolutionary flag and refusing to reveal the names of the revolutionary leaders, including her lover.

Margarita’s reverie is shattered by the call of the Falangist Ramón Ruiz Alonso, taking us back to the play and the abuse exacted on Mariana Pineda.

SECOND IMAGE: FEDERICO

Summer 1936, Andalusia, Spain

Nuria finds Margarita Xirgu sitting on a garrotte and helps her back to her dressing table. Margarita reflects on the parallel fates of Mariana and Federico, wishing she could have saved the writer. Her mind goes back to the summer of 1936, the last time she saw Federico. The young Spanish Republic is under attack: the rise of the right-wing generals has begun, there are daily strikes and massacres. Margarita’s theatre company is embarking on a tour of Cuba. She begs Federico to come, but he decides to go home to Granada instead, to work on new plays and poetry.

No one knows the details of Lorca’s murder. Margarita has a vision of his final hour: the opportunist Ruiz Alonso arrests Lorca, a bullfighter, and a teacher in Granada, leading them to the place of execution: Ainadamar, the fountain of tears. The three men are made to confess their sins and are then shot. 2,137 people were murdered in Granada between July 26, 1936 and March 1, 1939. The death of Lorca was an early signal to the residents of Ainadamar.

THIRD IMAGE: MARGARITA

April 1969, Teatro Solís, Montevideo, Uruguay

Shots ring out. Margarita’s vision leads us into Mariana Pineda’s ballad for the third time. Once more, the play is about to begin, but Margarita is unable to make her entrance. She knows she is dying. As her heart gives out, she tells Nuria that an actor lives but for a moment, and that though the individual voice is silenced, the hope of a people does not die. The Fascists have ruled Spain for over 30 years. Franco has never permitted Margarita Xirgu, the symbol of freedom, to return to Spanish soil. Margarita has allowed Lorca’s plays to live on in Latin America, while they were forbidden in Spain.

Lorca’s spirit enters the room. He takes Margarita’s hand and that of Nuria. Together, they enter a blazing twilight… a delirious, visionary transformation. Margarita dies, giving up her life to the sound of Mariana Pineda’s final words: “I am freedom!” Her courage, her brilliance, and her humanity are passed on to Nuria, her students, and the generations to come. She sings: “I am the source, the fountain from which you drink.”

INTERVIEW WITH CONDUCTOR NICOLE PAIEMENT

Conductor Nicole Paiement returns to the Opéra de Montréal to lead the orchestra for Ainadamar, a contemporary work in which classical music and flamenco are brought together to depict a fiery Spain. Here are five questions for this passionate artist who has made current operas her niche.

WHAT WAS IT THAT DREW YOU TO THE PROFESSION OF CONDUCTOR?

I was always very passionate about music, and about architecture as well. When I was very young, I realized that by conducting, I could combine my two loves. A music score is a bit like a blueprint. When I look at it, I analyze the structure, the colours, the textures, and the foundations. In architecture, you create a work in three dimensions; in music, you create it sonically.

WHAT DISTINGUISHES AINADAMAR FROM OTHER OPERAS YOU HAVE CONDUCTED?

Ainadamar is certainly a very current work, but it is also a journey through the centuries, with the story taking place in different periods. I’m a very philosophical person, I think a lot about our raison d’être, and I find that good operas always point to the human condition in telling their story. Operas that survive through various eras deal with universal themes and, unfortunately, the story of the revolution in Spain is one that still resonates today.

WHAT IS IT, IN PARTICULAR, THAT MOVES YOU ABOUT THIS SCORE?

It’s contemporary music that isn’t intimidating because it doesn’t break with tradition, it pushes it to its extremes.

Flamenco is perfectly intertwined with classical music through the use of percussion like the cajón, the quinto, and palmas (a style of handclapping), as well as guitars. There is also a whole team of magnificent dancers who create percussive effects with their feet. You don’t just hear Spain in Golijov’s music, you see it.

Improvisation is also very much in evidence, both on the vocal level, with the flamenco singer, and in the orchestra, where the instruments are required to improvise on a rhythmic and musical motif to create a particular texture. Certain concrete sounds are also added to the score, and technology is employed at certain moments to create specific effects.

AAAAA AFTER HAVING CONDUCTED IT IN SAN FRANCISCO A FEW YEARS AGO, WHAT DOES IT FEEL LIKE TO BE PRESENTING THIS OPERA IN MONTRÉAL?

I could come back to Montreal every season—I love being here! Even though I’ve been gone a long time, every time I step out of the airport, I feel like I’m coming back home. The spirit of collaboration is very special here, everyone works generously towards a common goal and gives 150% to make sure things are done right. There’s no pretentiousness, just talent!

WHAT CAN THE AUDIENCE EXPECT AT THESE PERFORMANCES?

A whole range of emotions! You get a sense of the revolution, followed by fountains of tears, sadness, and every type of love one can encounter in a lifetime. You rarely get to go from one place to another so quickly. It’s a wonderful journey!

OSVALDO GOLIJOV

Osvaldo Golijov’s blending of genres and seamless integration of voices speak volumes about his approach and style, a musical language that can only be termed “Golijovian.” Since the early 1990s, he has enjoyed collaborations with some of the world’s leading chamber music ensembles and such artists as Yo-Yo Ma, Dawn Upshaw, and Robert Spano. In 2000, his La Pasión según San Marcos took the music world by storm, hailed as “the first indisputably great composition of the 21 st century” (The Boston Globe). Other ground-breaking works, including his opera Ainadamar, the clarinet quintet The Dreams and Prayers of Isaac the Blind, and his film scores for Francis Ford Coppola, have also received acclaim. Fall 2021 saw the world premiere of his string quartet suite Um Dia Bom.

DAVID HENRY HWANG

David Henry Hwang is a Tony Award winner and three-time nominee, a Grammy Award winner who has been twice nominated, a three-time OBIE Award winner, and a three-time finalist for the Pulitzer Prize in Drama. Stage work includes the plays M. Butterfly, Chinglish, Yellow Face, Golden Child, The Dance and the Railroad, and FOB, as well as musicals Aida , Flower Drum Song (2002 revival) and Tarzan Screenplays include M. Butterfly, an in-progress live-action remake of Disney’s The Hunchback of Notre Dame, and an Anna May Wong biopic. For television, he was a writer/consulting producer for the Golden Globe-winning series The Affair. Called America’s most-produced living opera librettist, he has written thirteen libretti, including five with Philip Glass. He also co-wrote the song Solo with pop music icon Prince.

SOPRANO CANADA

@emilydornsoprano

EMILY DORN

Emily Dorn’s performance career has spanned decades and continents, but she is thrilled to be returning to Canada and the Opéra de Montréal for this production of Ainadamar. Recent engagements include roles with the Landestheater Detmold, where she has been an Ensemble member since 2018: Tatjana (Eugene Onegin), Contessa Almaviva (Le nozze di Figaro), The Governess (The Turn of the Screw), Hanna Glawari (Die Lustige Witwe), Marguerite (Faust). She has also performed Violetta Valery (La Traviata) with Vancouver Opera and Micaéla (Carmen) with Seattle Opera, as well as concerts with the BBC Philharmonic and Teatro Massimo di Palermo. Last OdM appearance : Don Giovanni (2016)

FEDERICO GARCIA LOCA

LUIGI SCHIFANO

COUNTER-TENOR ITALY

@luigischifano_controtenore

Endowed with a dark and mellow timbre and an intense volume, Luigi Schifano has won acclaim for performances in Gluck’s Orfeo ed Euridice (Macedonian Opera, Skopje), Handel’s Giulio Cesare (Stadttheater, Klagenfurt) and Amadigi di Gaula (Barga Festival), as well as Ottone in Monteverdi’s L’ncoronazione di Poppea (National Opera, Riga). He has also appeared in leading roles in modern operas, such as Federico Garcia Lorca in Golijov’s Ainadamar (Theatro Municipal, São Paolo). In 2014, he appeared in the world premiere of Seven Songs of Light and Dust by Italian contemporary composer Angelo Inglese, demonstrating both his vocal and musical versatility. Last OdM appearance: Written on skin (2020)

ELIZABETH POLESE

SOPRANO CANADA

elizabethpolese.ca

@bethsingsongs

Soprano Elizabeth Polese has recently been a young artist at l’Atelier Lyrique de l’Opéra de Montréal (2018-20), Tanglewood Music Center, and is currently a Resident Artist at Detroit Opera. She is the winner of the prestigious 2019-20 Sullivan Foundation Award and 2021 Hnatyshyn Foundation Developing Artist Award. Engagements for the 2022-23 season include Boris: Sa vie en musique with l‘Orchestre Classique de Montréal and Nuria in Ainadamar with Opéra de Montréal. With Detroit Opera, Elizabeth covers Marguerite in Faust and Margarita in Ainadamar, and makes her role debut as Fiordiligi in Così fan tutte with Great Lakes Chamber Music. 202122 season highlights include Papagena in Barrie Kosky’s Die Zauberflöte with Opéra de Montréal, Bachfest 2022 at Gewandhaus Leipzig (German debut), and Isabel in the American premiere of George Benjamin’s Lessons in Love and Violence at Tanglewood. Last OdM appearance: La flûte enchantée (2020)

RAMÓN RUIZ ALONSO

ALFREDO TEJADA

Born in Malaga, and raised in Granada, flamenco singer Alfredo Tejada. In demand as an accompanist for dancers, Alfredo appears regularly at peñas, festivals, theatres, flamenco tablaos and since 2007 has sung as part of the Antonio Gades Foundation in the shows Carmen, Fuenteovejuna, Suite Flamenca and Bodas de Sangre touring the world’s major theatres. He has released several critically acclaimed flamenco albums including En Directo and Sentidos del Alma. He has collaborated extensively with contemporary composer Osvaldo Golijov, touring the world with performances of Ainadamar. He is the 2020 winner of the Festival de Jerez award for Best Accompaniment Singer and the 2017 winner of the Lámpara Minera award at the Cante de las Minas for Best International Flamenco Singer. OdM debut

ALAIN COULOMBE

Renowned for his “deep bass voice that resounds with stentorian authority,” Alain Coulombe—following recent appearances at La Scala in the role of the Doctor (Wozzeck)—will be heard in the world premieres of two Québécois operas in 2023-24. Roles in 20th and 21st century operas in which he has made a name for himself include the Priest (Lady Macbeth of Mtsensk) at the Canadian Opera Company, the French General (Silent Night) at the Calgary Opera, George Benton (Dead Man Walking) at the Opéra de Montréal, Arkel (Pelléas et Mélisande) at the Vancouver Opera, and Monseigneur Taché (Louis Riel) at the Opéra de Québec. He has also appeared in the world premieres of Mary’s Wedding at Pacific Opera Victoria, CO2 at La Scala, and Waiting for Miss Monroe at the Dutch National Opera. Last OdM appearance: Roméo et Juliette (2018) Former member of the Atelier lyrique de l’Opéra de Montréal.

JOSÉ TRIPALDI TORERO

JAIME SANDOVAL

Mexican-Canadian tenor Jaime Sandoval’s operatic repertoire includes over 25 main roles. With the Opéra de Montréal, Mr. Sandoval was recently engaged to sing the roles of Monostatos (double) (The Magic Flute), the Messenger (Il Trovatore), and the Prisoner (Fidelio). Alongside his career in opera, Mr. Sandoval also holds a doctoral degree in Photonic Physics from Mexico’s National Centre for Scientific Research in Optics. Last OdM appearance: Il Trovatore (2022)

geoffreyschellenberg.com

GEOFFREY SCHELLENBERG

Praised for his "impressive vocal colour" (Opera Canada), CanadianAmerican baritone Geoffrey Schellenberg has been featured in a number of North American opera productions, including those with Vancouver Opera, Portland Opera, Pacific Opera Victoria, and Calgary Opera. He has been recognized for his performances of Figaro (Il barbiere di Siviglia), Don Giovanni (Don Giovanni), and Marcello (La bohème). A graduate of Opera de Montreal’s l’Atelier lyrique program, Geoffrey will be featured in several upcoming OdM productions including Yamadori in Madama Butterfly and Marquis D’Obigny in La traviata. Geoffrey has completed a number of additional artist residencies including those with Portland Opera and Calgary Opera. He additionally completed a number of revered training fellowships including Highlands Opera Studio and Music Academy of the West. He has also earned a number of accolades in vocal competitions, including the of the Concours OSM (Stingray Rising Stars Award), the MONC Auditions (District Winner), and the COC Centre Stage Competition (Third Prize). Last OdM appearance : Mixtape (2021)

Former member of the Atelier lyrique de l'Opéra de Montréal (2022)

CONDUCTOR

NICOLE PAIEMENT

Conductor, Nicole Paiement is the Founder and Artistic Director of Opera Parallèle (OP) in San Francisco. Recently for OP, Paiement conducted Philip Glass’ La Belle et la Bête and Everest: An Immersive Experience by Joby Talbot, a work she originally premiered on stage at The Dallas Opera, where she is Principal Guest Conductor. An active guest conductor, Mo. Paiement has performed with companies including the Washington National Opera, Seattle Opera, Lyric Opera of Chicago and The Atlanta Opera. In 2020 Paiement made her debut Opéra de Montréal with the Canadian premiere of Benjamin's Written on Skin. In 2022, Mo. Paiement returned to The Dallas Opera with Bizet's The Pearl Fishers, and made her UK debut with the English National Opera conducting It's a Wonderful Life. Upcoming engagements include Moravec’s The Shining with OP and a return to the UK to conduct Talbot's Everest with the BBC Symphony at the Barbican Center. The 2023/2024 season will include 2 world premieres with OP, a return to The Dallas Opera, followed by a debut with the Volksoper Vienna conducting both a symphonic concert and an opera by John Adams. In addition to being a leader in contemporary opera, Paiement is also a specialist in early 20th Century French music and regularly conducts music from the Baroque and Classical repertoire. Last OdM appearance: Written on Skin (2020)

BARITONE CANADA

CANADA

BRIAN STAUFENBIEL

Brian Staufenbiel is the creative director for Opera Parallèle where he has directed and created the conceptual designs of the company’s productions since it was founded in 2010. Specializing in multimedia, immersive, and interdisciplinary productions, he actively works across a wide range of artistic disciplines collaborating in film, and with media designers, choreographers and dancers, circus artists, and designer fabricators. His progressive approach to stagecraft has garnered critical acclaim for many of the company’s productions, including Wozzeck, Orphée, Champion and Dead Man Walking. Staufenbiel recently directed films for the online festival season of the Sun Valley Music Festival, a film of Dove/Angelis’ Flight for Seattle Opera, an award-winning graphic novel film of Talbot/Scheer’s Everest with Opera Parallèle, and a feature-length film of Gordon Getty’s opera Goodbye Mr. Chips for Festival Napa Valley. Dernière présence à l’OdM : Das Rheingold (2018)

CHOREOGRAPHER

ROCIO VADILLO MOLINA

Born in Madrid, Rocio Vadillo Molina soon joined the rest of her family in Córdoba, Andalusia. From a very young age, she began to take a general interest in the performing arts. After having obtained her diploma from the University of Dramatic Arts in Córdoba, she was awarded a scholarship to study at the School of Cinema in Madrid, and another to continue her training at the Carmen Roche School of Dance, where she studied musical theatre. She began teaching dance in Madrid, in the Antón Martin neighbourhood, the birthplace of flamenco. For several years now, she has combined her artistic activity with teaching. After spending 15 years in France, she began a new life here in Montreal in 2018. OdM debut.

CO-DESIGNER, SETS

PIERRE MASSOUD

A 1993 graduate of the National Theatre School of Canada, Pierre Charbel Massoud has developed his expertise on over one hundred productions in every genre, occupying such roles as lighting designer, set designer, stage manager, technical director, and production director. These various positions have led to work on a wide array of artistic achievements. Having worked in the fields of theatre, dance, variety, and comedy, he has dedicated himself to opera for the past 15 years. He plays an active development role within the creative teams for most of the Opéra de Montréal’s artistic projects. He has been the company’s production director since 2015.

CANADA / SPAIN

COSTUMES

DOMINIQUE GUINDON

Dominique Guindon studied fashion design at Collège Lasalle (graduating in 1996) and obtained a Bachelor of Fine Arts degree in scenography from Concordia University (1999). Since 2007, she has been the head of the Opéra de Montréal’s costume workshop. She has worked on several productions at the company, including The Barber of Seville (2014), Madama Butterfly (2015), Aida (2016), La bohème (2018), Roméo et Juliette (2018), and Lucia di Lammermoor (2019). Her first design for the Opéra was for Faust (2012). As a designer, she also created the costumes for Samson et Dalila (2015), Elektra (2015), Dialogues des Carmélites (2017), and her first Carmen (2019). After the death of great Quebec designer François Barbeau, she took up the torch and successfully completed the work he had begun for Les Feluettes (2016). Her new designs will once again be on display in this production of Ainadamar (2023). Last OdM appearance: Carmen (2022)

LIGHTING

CLAUDE ACCOLAS

Claude Accolas has been designing lighting for projects in the fields of theatre, ballet, opera, television, multimedia, and architecture since 1978. He has worked with most stage directors in Quebec and for numerous production companies at home and abroad, including in Japan, Singapore, Hong Kong, Australia, Scotland, and France. As a leading collaborator of several stage directors and set designers, he has consistently been regarded as a highly creative artist and an utmost professional. Last appearence at OdM : Eugène Onéguine (20189)

VIDEOS

DAVID MURAKAMI

David Murakami is a projection designer and film director focused on the union between the cinematic and theatrical. Recent productions include Everest at Dallas Opera, Elektra at Minnesota Opera, Luis Valdez’ Zoot Suit and Valley of the Heart at the Mark Taper Forum, Singin’ in the Rain with McCoy Rigby, Sense and Sensibility at South Coast Repertory, and Gordon Getty’s Scare Pair at LA Opera Off Grand. Other companies include Opéra de Montréal, San Jose Repertory Theater, SFJazz, Alonzo King LINES Ballet, Atlanta Opera, Presidio Theatre, Arizona Opera, Skylight Theatre, and Riyadh Season. David is a proud member of United Scenic Artists 829 and teaches projection design at the University of California, Irvine. Last OdM appearance: Das Rheingold (2018)

CANADA

CANADA

CANADA

CLAUDE WEBSTER

Claude Webster has worked in the field of opera as a rehearsal pianist and vocal coach for some thirty years. His work is widely recognized in North America and Europe. Internationally sought after as a specialist in the French repertoire, he has participated in many programs including those in Tel Aviv, Berlin, Ravinia and New York. He was the head coach at the Atelier lyrique de l'Opéra de Montréal from 1997 to 2017 and has been the Opéra de Montréal’s chorus master since 2007. Last OdM appearance: La Beauté du monde (2022) Former member of the Atelier lyrique de l'Opéra de Montréal.

REHEARSAL PIANIST

JENNIFER SZETO

CANADA

Praised for “an immense sweetness and precision which seemed to be flawless” (L’Opéra), Jennifer Szeto is a graduate of San Francisco Opera’s Adler Fellowship, the Merola Opera Program, the Canadian Opera Company Ensemble Studio, and the Atelier lyrique de l’Opéra de Montréal. A sought-after collaborator for contemporary works, Jennifer is the Founding Artistic Director of Musique 3 Femmes. Her recent projects include the world premiere of L’Écoute du perdu by Keiko Devaux, INCONNU for UfaFabrik in Berlin, Triptyque with the SMCQ, and L'hiver attend beaucoup de moi by Laurence Jobidon with the Opéra de Montréal. Former member of the Atelier lyrique de l’Opéra de Montréal. Last OdM appearance: L’Hiver attend beaucoup de moi (2020) Former member of the Atelier lyrique de l’Opéra de Montréal.

PIERRE MCLEAN

Pierre McLean is much sought-after as a vocal coach, accompanist, pianist, and musical director working in these various capacities with such institutions as Université de Montréal, the Schulich School of Music, Atelier lyrique de l’Opéra de Montréal, Orchestre symphonique de Montréal, Opéra de Montréal, Jeunesses musicales Canada, Productions Belle Lurette, the Canadian Vocal Art Institute, Opéra-Théâtre de Rimouski, and Concours musical international de Montréal, as well as with other music ensembles and soloists. Last OdM appearance: La Beauté du monde (2022)

REHEARSAL PIANIST (CHORUS)

MUSICIANS

FIRST VIOLINS

Olivier Thouin, Associate Concertmaster

Jean-Sébastien Roy, 1st Assistant

Richard Zheng

Abby Walsh

Ariane Lajoie

Kathy Palyga

SECOND VIOLINS

Alexander Read, solo

Brigitte Rolland, 1st Assistant

Alison Mah-Poy

Eliane Charest-Beauchamp

Jean-Marc Leclerc

Daniel Yakymyshyn

Ann Chow

VIOLAS

Charles Pilon, 2nd Assistant

Jean Fortin, 1st Assistant

Sofia Gentile

Chantale Boivin

Véronique Potvin

Justin Almazan

CELLOS

Tavi Ungerleider, 1st Assistant

Geneviève Guimond

Karen Baskin

Gerald Morin

Alexandre Castonguay

Zachariah Reff

DOUBLE BASSES

Ali Yazdanfar, solo

Peter Rosenfeld

Andrew Goodlett

Edouard Wingell

FLUTES

Albert Brouwer, interim associate

Christopher James, solo piccolo

Josée Poirier

OBOES

Vincent Boilard, Associate

CLARINETS

Todd Cope, solo

Brent Besner

BASSOONS

Michael Sundell, Contrabassoon

FRENCH HORNS

Denys Derome, Associate

Xavier Fortin, interim 2nd horn

TRUMPETS

Stéphane Beaulac, Associate

Samuel Dusinberre, 4th Trumpet

TROMBONES

Charles Benaroya, 2nd Trombone

TIMPANI

Hugues Tremblay, Associate

PERCUSSIONS

Serge Desgagnés, solo

Corey Rae

Nicolas Lapointe

HARP

Jennifer Swartz, solo

PIANO

Olga Gross

CELESTA

Jennifer Szeto

GUITARS

Karl Marino

Thierry Bégin-Lamontagne

Music Librarian

Michel Léonard

CHOEUR DE L'OPÉRA DE MONTRÉAL DANCERS

SOPRANOS

Anne-Marie Beaudette

Odéi Bilodeau

Susan E Brown*

Sophie De Cruz

Geneviève Dompierre-Smith

Marie-Claire Drolet

Julie Ekker

Nadine Guertin

Audrey Larose Zicat

Kripa Nageshwar

Eugénie Préfontaine

Laurie Tremblay

MEZZOS

Maude Côté-Gendron*

Chantal Denis

Chantal Dubois

Marie-Christine Duplessis Zanga

Elizabeth Ekholm

Marie-Chantal Lemieux

Marie-Claude L'Heureux

Andréanne Moreau

Catharine Murray

Gilda Salomone

Béatrice Stoklas

Michelle Sutton

* Chorus soloist

Rocio Vadillo, Dancer soloist

Maria Castaneda-Delgado

Nadège Chiron de la Casinière

Yasmine Iguer

Marika Patoto

Fabienne Sosa

Kathy Toutant

SUPERNUMERARIES

ADULTS

Jean-Louis Luque

Philippe Morin

CHILDREN

Béatrice Courcy

Flora Fellinger

Marilou Gélinas

Martine Gélinas

Blanche Lauzon

Adèle Ledoyen

THÉRAPIE PAR LA MUSIQUE

ROCIO VADILLO

Fiery Flamenco, from Spain to Montreal

TEXT:

Véronique Gauthier

The rhythm of flamenco beats strongly at the heart of the opera Ainadamar. Against a backdrop of civil war, it expresses the fight for freedom and gives a voice to the suffering. For the production presented at the Opéra de Montréal, Rocio Vadillo is calling the shots as choreographer while also appearing as a solo dancer.

How did the southern winds of Spain carry this artist all the way to Montreal, where today she shares an important part of her culture with local audiences? Let’s take a look at her journey, from Andalusia to the stage of Théâtre Maisonneuve.

JUST ONE STRING TO HER BOW

Young Rocio grew up in Cordoba, Andalusia, where she studied at the theatre school. Hoping to embark on a career as an actress, she settled in Madrid, scholarships in hand, to continue her training in the dramatic arts. “Madrid was my destiny. I was sure I would make my life there,” she recalls.

While studying, she also danced and taught flamenco, without considering it as a real profession. “I didn't take myself seriously at all. It was simply one more string in my bow.”

FROM MADRID TO PARIS… AND THEN, TO MONTREAL

A string that proved to be quite useful, as she made her way to Paris for a threemonth summer stay with some friends—a stay that was extended… to 15 years! “When I arrived, I hardly spoke any French, so working as an actress wasn’t really an option. That’s when flamenco began to play a bigger role. I quickly made my way onto the scene, both as a singer and a dancer.”

In 2018, the dancer, actress, singer, and teacher took a big leap with her partner and their three daughters, moving to a new adoptive home: Montreal. “Here, I felt like the door of possibilities would swing wide open for me. And I wasn’t wrong!”

A GIFT ON A SILVER PLATTER

When Michel Beaulac, Artistic Director of the Opéra de Montréal, offered her the opportunity to be the choreographer and solo dancer for an opera about García Lorca, Rocio couldn’t believe her luck. “As an Andalusian and an actress, García Lorca is part of my DNA, so it was truly heaven sent!”

From her first listen, she fell for the charms of Ainadamar’s music. “There’s a real fusion of opera and flamenco. The rhythms are incorporated into classical music in a very profound and authentic way, far removed from clichés. It captivated me!”

The project also hit close to home because of a link between her family history and the civil war. “My grandfather lived through it and my grandmother told me about it throughout my childhood. Relating this part of my history, today, in Montreal, is very moving. It’s like my origins and my new home have been brought together.”

THE PLEASURE OF WORKING, ON STAGE AND IN THE WINGS

Being the choreographer while also appearing on stage as the solo dancer brings the artist great joy. “It’s wonderful to be wearing both hats. I’ve got the best of both worlds! I don’t express the same things through group choreographies as I do with my solos,

so it allows me to explore.”

It has also been a great pleasure for her to work with stage director Brian Staufenbiel, who gives creative artists a lot of freedom. “Flamenco is far from anecdotal in the work, and Brian trusted me completely. I also worked with Dominique Guindon for the costumes, so that we could make sure the movements wouldn’t be constrained, without misrepresenting the clothing of the period.”

WOMEN AT THE REVOLUTION’S CORE

From the start, through her group choreography, Rocio sought to bring to life the women who, during the revolution, committed themselves to the struggle and took their fate into their own hands.

“These were women who did not let themselves be swept away by tragedy. Mothers who, after having lost everything, decided to take up arms and fight for freedom—that of their country, of their sisters. In Europe, Spanish women were the first to have the right to vote, and the right to abortion came very early, but all this was overturned during the war. It’s very important to me, as a woman and a mother of women, to remember that we are never safe from losing it all again. Nothing can be taken for granted. Even today.”

AN UNFORGETTABLE WORK

What will the audience take from this opera in which music and dance are so closely intertwined, and in which Spain is put to the fire and sword? “I think it is a very special opera that is not soon forgotten. And who knows, perhaps spectators will be made more aware of the history of Spain and be inspired to delve into García Lorca’s spectacular body of work? That is what I hope.”

Supporting artists helps build vibrant communities and strong economies.

Because we know that music is essential to the well-being of Quebec society, today and tomorrow.

Together with programs like l’Atelier lyrique de l’Opéra de Montréal, we support a diverse range of Canadian talent across the country through the RBC Emerging Artists Project.

DONORS

AMBASSADORS’ CIRCLE

We wish to warmly thank all our generous individual and family contributors who care to support the Opéra de Montréal and its activities. Your help is essential to the pursuit of our mission and your contribution is an integral part of the vitality of both our company and Montreal’s operatic life.

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The Azrieli Foundation is proud to support Opéra de Montréal in discovering, elevating and amplifying new artistic voices through the Atelier Lyrique.

Photo: Pierre-Étienne Bergeron

OUR HEARTFELT GRATITUDE TO THE VANDA TREISER INITIATIVES FOR ITS CONTRIBUTION TO THE EXCELLENCE OF OUR EMERGING ARTISTS!

Through the support of the Vanda Treiser Initiatives, artists-in-residence with the Atelier lyrique have access toaccess to some of the finest resources available to them for achieving their full vocal and artistic potential. This includes the masterclass, given on December 9, 2022, with distinguished Canadian soprano and orchestral conductor Barbara Hannigan . An intensely fruitful moment of sharing and artistic exchange.

Vanda Treiser with Chantal Lambert © Brent Calis

© Kevin Calixte

THE FRIENDS OF THE OPÉRA DE MONTRÉAL

A special thanks to the FRIENDS of the Opéra de Montréal whose contributions strongly encourage us in the pursuit of our mandate

$600 AND MORE

Philippe Alcouffe

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Foundation

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Isabelle Giguère

Cindy Gilbert

Isabelle Girard

Lise Goulet

Amy Grainger

Amelie Gravel

Gillian Greig

Paul Guay

Robert Hackett

Joelle Hafsi

Eren Halil

Lynne Halpern

Monique Hamelin

Peter D. Hannen

André Harvey

H. Haslam

Yves Hébert

Alice Homonko

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Kim Phuong Huynh

Irena Iwanyckij

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Anne-Marie Jean

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Louise Julien

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Murielle Matteau & Daniel Ladouceur

Pierre Lafond

Dominique Lafontaine

Monique Laliberté

Carolle Lamontagne

Berthier Landry

Claude Laneuville

Jocelyne Langevin

Nathalie Langlois

Suzanne Langlois

Christiane Lantagne

Denis Lapierre

Jean-Marc Laplante

Donald Laporte

Pierre Laporte

François Larivière

Jacques Larivière

Normand Laurence

Gérard Lavallée

Ginette Lavallière

Marie-Claude Le Clair

Michèle Leblanc

Katerie Leclerc

Marcel D. Legault

Fern G. Lerner

Marc Leroux

Régis Lévesque

Mai Why & Peter Levitt

Jacob T. Levy

Johanne Lizee

Andrée Lortie

Sylvain Lussier

En l'honneur de Françoise Mageau

Erik Mailhiot

Serge Marceau

Allan Marr

Éric Martel

Monique Martel

Lise Mayrand

Ann McKinnon

Rene Michel

MJ Fiscalité inc.

Daniel Mongrain

Alain Moreau

Marie-Louise Moreau

Jocelyne Morin

Suzanne Morin

Beryl Moser

Allannah Murphy

Mark Myskohlid

Gigi Nadeau

Stéphan Nadeau

Alain Nadon

Jacques Nahmias

Mike Natanblut

Martine Nolin

Lourdes Olguin Zuniga

Alain Orvoine

Alfred Ouellet

Georges Ouellet

P.K. Pal

Jennifer Paquet

Lucien Paquette

Jean-Pierre Paradis

Zephya & Gianluca Passarella

Vladimir H. Perez Zavala

Roger Peters

Marie-Soleil Pichette

Yves Pigeon

Real Plourde

François Poirier

Serge Poisson de Haro

John Bossange & Lynne Poteau

Catherine Potvin

Nathalie Pratte

Marie-Claude Prévost

Gilles Proulx

Emmanuel Raufflet

Micheline René

K Rice & R Fréchette

Nathalie Riel

Marc-André Roberge

Madeleine Rocheleau

Hélène Rochon

Richard Rodgers

Renée & Joseph Rouleau

Helene Rousseau

Hélène Roy

Marie-Christine Roy

Yves Roy

Yolanda Sabetta

Bahjat Salem

Aline Saverys

Léo Savoie

Marianne Schlegel

Richard Shedleur

Michael C. Shklar

Heidy Simonin

V. Sirois

Michael Smith

Suzanne Spinelli

Geneviève St-Amand

Larry Stonesifer

Raymonde St-Pierre

À la mémoire de Raoul et Helene Tessier

Gérard Therrien

Simon & Mathilde Tinawi

À la mémoire de Madame

Anne-Marie Trahan

Martine Tremblay

Yolande Tremblay

Huguette Trudel

Julie Trudel

Josée Turpin

Daniel Tweed

Suzanne Vadboncoeur

Lise Veilleux

Louise Veulleyx

Karine Venne

Mychelle Bachand & Pierre Vincelette

Susan Vincelli

Dionysios Vossos

Abraham Wexler

Salam Yazbeck

Louise Yoshinaka

Tamara Zakon

Daniella Zilkha

Pledges made from January 1, 2022 and March 1, 2023.

GOVERNMENT PARTNERS

PROGRAMMING PARTNERS

CIVIL IMPACT AND EDUCATION PARTNERS

ATELIER LYRIQUE PARTNERS

Major Partners

Presenting Partners

MEDIA PARTNERS

SERVICE PARTNERS

Charlotte Lefebvre, décoratrice florale Clark Influence

DoubleTree by Hilton Montréal

GRDN

GLO Marie-Claude Paquette, graphic designer

National Auditions Partner

MRS. VANDA TREISER and in the memory of M. BENJAMIN TREISER

PERMANENT TEAM

Patrick Corrigan, General Director / Hélène Turp, Associate to the General Director

Michel Beaulac, Artistic Director / Catherine Levac, Artistic Administrator

Louis Bouchard, Strategic Operations Director

ATELIER LYRIQUE DE L’OPÉRA DE MONTRÉAL

Chantal Lambert, Director /

Marie Maous, Program Coordinator /

Geneviève Lessard, Production

Manager / Esther Gonthier, Head

Vocal Coach / Ariane Girard, Principal Voice Teacher / Holly Kroeker, Training

Assistant

ARTISTIC AND PRODUCTION

Pierre Massoud, Production Director /

Marie Hélène Larivière, Production Coordinator / Patrick Belzile, Technical Director / Laurence Pronier, Stage

Director and Manager / Dominique

Guindon, Head of Wardrobe / Sonya

Bayer, Associate Head of Wardrobe /

Sandra Chirico, Supervisor – Costume Worshop / Elysabeth Daigle, Wardrobe

Assistant

ADMINISTRATION

MARKETING & COMMUNICATIONS

Marie-Pier Perron, Interim Director, Marketing and Communications /

Daniella Johnson, Communications

manager / Darnyse Memnon, Client

Services Manager / Marine Geffroy, Coordinator, Communications and Marketing / Filémon BraultArchambeault, Coordinator, Box Office /

Estelle Mouden, Coordinator’s Aide /

Antoine Hatem, Eden Paradis, Fatima Ali, Maika Bélanger, Client Services Agents

DEVELOPMENT

Jean-Pierre Primiani, Director of Development / Antoine Gervais, Manager, Donor Relations and Partnerships / Amy Grainger, Coordinator, Annual Campaign / Marion Malon, Coordinator, Philanthropic Events / Geneviève Levasseur, Associate, Philanthropic Events

CIVIL IMPACT AND EDUCATION

Pierre Vachon, Director, Civic Impact and Education / Charlotte Gagnon, Project Manager, Civic Impact and Education

FINANCES

Luc Perron, Director, Finance / Marie-Claude Lagacé, Accounting Agent

CONCERT TEAM

PRODUCTION

Pierre Massoud, Production Director / Marie Hélène Larivière, Production Coordinator / Patrick Belzile, Technical Director / Drew Lyall, Technical Director Assistant / Catherine Germain, Project Manager / Saturnin Goyer, Assistant Technical Director, lighting / Olivier OuelletHébert, Assistant Technical Director, video

STAGE MANAGEMENT

Laurence Pronier, directrice de scène – Head Stage Manager / Bethzaïda Thomas, Principal Stage Manager / Joëlle Desjardins, Valérie Bélanger, Thomas Lussier, Assistant to the tage manager / Emlyn VanBruinswaardt, Assistant Stage Manager, wireless mics

SUPERTITLES

Simon-Charles Tremblay-Béchard, projection / Christine Archambault, Mélanie Caillerez, Danny Kay, Shelley Gaffe, proofreaders / Ludovick Béchard-Tremblay, translator

COSTUMES

Dominique Guindon, Head – costume workshop / Sonya Bayer, Associate Head, costume workshop / Sandra Chirico, Supervisor, costume workshop / Cassandre Josépovic, Workshop Technician / Marie-Claire Doyon, Mireille Tremblay, Daniel Beaudet, Laurence Racine, Ame Hutchison, Seamstresses / Richard Provost, Hatter and Couturier / Fauve Du TillyLefebvre, Cutter and Seamstress / Anita Tataru, trainee / Geneviève Fortin, Head Dresser / Dressers team IATSE Local 863 : Sophie Bovin, Head dresser / Martine Seguin, Carole Gamache, Dressers

PROPS

Madeleine St-Jacques, Head Props / Philippe Pointard, Assistant Head Props / Christian Larochelle, Prop Maker

HAIR

Pierre Lafontaine, Head - hair department / Denis Parent, Assistant Head - hair department / Marie-Ève Ménard, Kareen Deest, Manon Alexandre, Kimberley Murphy, Guylaine Sant, Stylists

MAKE-UP

Julie Casault, Head - makeup department / Camiel McLean, Mélina Di Cristo, Stéphanie Villemaire, makeup artists

RUNNER

Jean-Sébastien Lavoie

TECHNICAL STAFF

Daniel Masse, Head Carpenter / Julie Latulippe, Martin Jannard, Assistant Head Carpenter / Pierre Veniot, Head Sound / André Corbeil, Head Sound Assistant / David Leblanc, Head Props / Eric Piché, Head Fly Assistant / Saturnin Goyer, Head Lighting / Martin Dussault, Head Lighting Assistant / Richard Gravel, Head, video

Technicians, Salle Maisonneuve: Sylvain Pomerleau, Stagehand / Manon Meunier, Head, sound / Jacques Foulem, Head, props / Marco Dupont, Head, fly / Denis Forest, Head, lighting

Stage technical services are provided by: Le regroupement des techniciens de la scène du Québec inc. (RTSQ)

Thank you to our collaborators: Pierre Dufour, Les Ateliers Yves Nicol / Marie-Ève Turcotte, 33 Degrés / Patrick Loubert, Théâtre du Nouveau Monde  / Stéphan Pépin, Les Grands Ballets Canadien / Marjorie Quessy, École Nationale de Théâtre du Canada / Alexandre Michaud, Théâtre du Rideau Vert / Pierre Laporte and Patrice Bienvenue, Trans-Québec / Véronique Babin, Solotech

BOARD OF DIRECTORS

CHAIRMAN

Me René Branchaud

Lavery

FORMER CHAIRMAN

Bernard Stotland* CA, CPA, FCA, FCPA Richter S.E.N.C.R.L./LLP

VICE-PRESIDENT

Louise Roy*, O.C., O.Q.

CIRANO

Louis Arseneault*

Université McGill

TREASURER

Sylvie Marois

Banque Nationale, Gestion Privée

SECRETARY

Pascal Lépine*, MBA, Adm. A.

Atypic

MEMBERS

François Carrier

Valeurs mobilières Desjardins

Me Bruno-Étienne Duguay

NOVACAP

Frédéric Godbout, CFA Mouvement Desjardins

Me Joanie Lapalme

Fasken

Dr François Loubert

Clinique médicale Angus

Guillaume Marion

Diagram Ventures

Richard Pan

Power Corporation du Canada

Emmelle Segal

Administratrice de sociétés

Vanda Treiser

Administratrice de sociétés

Elizabeth Wirth

Wirth-Brand Inc., Wirth Rail

Alysia Yip Hoi

Founding President Maison Alysia

* Officers

Chapelle historique du Bon-Pasteur

100 Sherbrooke Est, Montréal, QC H2X 1C3

MADAMA BUTTERFLY

Puccini once said that it was the most sincere and expressive work he had ever written. Beyond the conflict between two civilizations, Madama Butterfly is an ode to love and to women. For this stunning production, two women also play the key roles of orchestral conductor and stage director.

APRIL 30, 2023

LET'S TALK OPERA!

Prepare for this opera by attending this Let's Talk Opera event!

CONCERT EMILY

PRESENTED BY L’ATELIER LYRIQUE DE L’OPÉRA DE MONTRÉAL

Free, tickets for this event will be available on March 22, 2023, here : bit.ly/3ymZZgl Limited number of seats - General Admission.

The evening features poetry of Emily Dickinson set by composers Aaron Copland and Ricky Ian Gordon. This theatrical performance is brought to life by members of the Atelier lyrique as they explore text by Dickinson, one of the great American poets. The audience is invited into the writing room of the enigmatic Emily as she explores nature, life, death, and eternity leading up to her final hours of her life.

22-23 GRADUATES' CONCERT

PRESENTED BY L’ATELIER LYRIQUE DE L’OPÉRA DE MONTRÉAL

Chapelle historique du Bon-Pasteur

100 Sherbrooke Est, Montréal, QC H2X 1C3

Free, tickets for this event will be available on April 4, 2023, here : bit.ly/3ymZZgl Limited number of seats - General Admission.

To celebrate spring and the end of a productive stage in their journey at the Atelier lyrique de l’Opéra de Montréal, the 2022-2023 graduates are presenting a selection of their favourite arias and mélodies at La Chapelle historique du Bon-Pasteur on April 18, at 7:30 pm. Join contralto Sydney Frodsham, mezzo-soprano Martina Myskohlid, soprano Lucie St-Martin, soprano Karoline Podolak, tenor Marc-Antoine Brûlé, and tenor Mishael Eusebio, accompanied on the piano by Christopher Gaudreault and Rebecca Klassen-Wiebe.

Salle Wilfrid-Pelletier

Victoria Hall

MADAMA BUTTERFLY