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PROGRAM WINTER 2016

SIEGFRIED THE MARRIAGE OF FIGARO


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CONTENTS 4

HIS LIFE, HIS WORK, HIS CRAZY SCHEDULE Johannes Debus, COC Music Director

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NEWS FROM THE COC’S ANNUAL GENERAL MEETING

A MESSAGE FROM GENERAL DIRECTOR ALEXANDER NEEF “This is our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.” Leonard Bernstein

BIOGRAPHIES

Who’s Who at the COC this Winter

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WHAT’S PLAYING: SIEGFRIED

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SIEGFRIED, MEMORY AND IDENTITY

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GET TO KNOW... STEFAN VINKE

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UP IN THE AIR WITH THE COC!

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BACKSTAGE AND BEYOND

30

WHAT’S PLAYING: THE MARRIAGE OF FIGARO

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HOLDING A MIRROR UP TO NATURE

Jane Archibald and Erin Wall on The Marriage of Figaro

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DARKNESS AND JOY

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OPERA’S NEXT GENERATION

Exploring the humanity of Claus Guth’s Figaro

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OPERA: FACES AND WORDS

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MANY THANKS

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PATRON INFORMATION AND POLICIES

Acknowledging our many supporters

COC Program is published three times a year by the Canadian Opera Company. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright Canadian Opera Company. Direct all advertising inquiries to cdunlop@mirvishmedia.com. Program edited by Claudine Domingue, Director of Public Relations; Kristin McKinnon, Assistant Publicist; and, Gianna Wichelow, Senior Manager, Creative and Publications. Layout by Gianna Wichelow. All information is correct at time of printing. Photo credits are on page 53.

First of all, it gives me great pleasure to announce that our exceptional music director Johannes Debus has extended his contract with the COC to the end of the 2020/2021 season. In January and February, two extraordinary COC productions grace the mainstage, both conducted by Johannes, who will be making his Siegfried debut. This production also stars the world’s most renowned Siegfried, Stefan Vinke in his first Canadian performances, and the incomparable Christine Goerke, making her role debut. Our new Marriage of Figaro is a production originally created by the Salzburg Festival. Directed by the renowned Claus Guth and starring our own wonderful Jane Archibald, Russell Braun and Erin Wall, we are very pleased that this acclaimed production now belongs to us. The Marriage of Figaro is a particularly poignant opera that truly exemplifies the values of freedom of speech and expression. Mozart’s opera (and the comedy by Beaumarchais it is based on) is among the earliest pieces in the operatic canon to deal with the ideas and values that have recently come under attack in Paris, Beirut, San Bernardino and other places around the world. At the COC, we feel it is important to not only reflect on the impact of these attacks, but also to honour our Canadian values of freedom, respect for cultural differences, and a commitment to social justice. We are proud of providing a cultural space in this country where people are free to gather, create art and express opinions—freedoms not granted in many places around the world. Opening night of Figaro will include a special presentation by the COC

Orchestra of the National Anthem at the top of the performance, and a few brief remarks from me to dedicate the production of The Marriage of Figaro to the Canadian values we hold so dear. Every new calendar year at the COC begins with a season announcement. For the third year in a row, our subscribers were part of the excitement at the 2016/2017 Season Launch Celebration last week, becoming the first to hear about our upcoming line-up of productions. In addition to our beloved classics, Tosca and The Magic Flute, the majesty of Götterdämmerung, and superb new productions of Norma and Ariodante, we are presenting, in collaboration with Canada’s National Arts Centre, a new production of Louis Riel to help mark the country’s 150th birthday. I’m sure you agree that 16/17 is a season worth celebrating! (Please refer to the insert within this program for more information). Finally, over the past year, COC staff and volunteers have been looking further ahead into the future and embarked on an extensive strategic planning process called COC365. At the heart of the new mission and vision for the company is our unequivocal belief in artistic excellence, and, in the next five years, we will turn our dreams and ideas into concrete plans to help our large, multi-faceted, and everevolving company grow even better and stronger. With COC365, we will bring the transformative experience of opera to our local, national, and global audience every day of the year. You won’t want to miss a moment of it! CANADIAN OPERA COMPANY 2015/2016

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JOHANNES DEBUS, COC MUSIC DIRECTOR

HIS LIFE, HIS WORK, HIS CRAZY SCHEDULE BY CLAUDINE DOMINGUE

We caught up with our busy maestro as he prepares to conduct both operas this winter run.

it again, and I might have a different answer, but right now I’m very happy about it!

Johannes, how do you perform two operas back-to-back? Isn’t it exhausting?

Do you do a lot of preparation the day you conduct?

Well, first of all, an instrumentalist wants to play, a singer wants to sing and conductor wants to conduct, so it’s actually great when you have performances back-to-back. Yes, admittedly, it could have been a “lighter menu.” But, I’m fortunate to have two of the greatest composers in the operatic repertoire, Wagner and Mozart, and I find so much energy and inspiration in that music. Both operas are such masterpieces that you don’t think about how exhausting it might be. Ask me after the run if I would do 4

CANADIAN OPERA COMPANY 2015/2016

Yes and no. I do need some time to prepare, to get into the “zone.” I need this moment—and of course, for Siegfried and Figaro it’s a longer moment because the works are long— to mentally go through the piece. I also try to reflect on what happened in the performance before and what I have to do better, or maybe what I want to do differently this time. Do you prepare for some pieces differently?

For an opera like Siegfried, I try to understand the “structure” of

the piece—the architecture of each act—trying to somehow connect the very beginning with the very end, and by doing that, build this arc over the whole evening. For something like Figaro, I try to capture the “atmosphere” of the piece. Also, as always in Mozart you are trying to deal with the emotions of the characters. Mozart is a composer of the soul and what the soul is going through, so, I have to know what state of mind each character is in at each moment, and then try to connect with it. Those kinds of things are going through my mind in preparation for each opera. So, yes, in answer to your question, there is preparation. I can’t just jump into the pit, look at the score and say, “Oh well, it’s Figaro, it’s Siegfried tonight!” and start. It doesn’t work for me.


Both winter operas are pretty long, Siegfried particularly. How do you and the musicians get through them?

What have you been up to since Pyramus and Thisbe closed, and what does the rest of your season look like?

Wagner conductors are always revered for their stamina and strength, but, in fact, I think sometimes it’s far more exhausting to conduct a Verdi opera than to follow the natural flow of Wagner’s music. It’s so well written for all the instruments that everyone loves to play it. Wagner, even though he loved to write longer operas, was extremely clever in terms of pacing of the piece. Each act has maybe one real climax. As the conductor you have to know where those climaxes are, and you work towards them and try not to exhaust yourself and everyone else too early. If you understand that, then it’s not as difficult to get through as one might imagine.

In November, I did a very special concert with the San Diego Symphony, in which the symphony collaborated with the city’s art museum. After that I made my debut with the National Arts Centre Orchestra, conducting the world premiere of a new piece by Ana Sokolovic*. Then I spent some time in Berlin studying the winter operas. In the middle of the Siegfried and Figaro run, I have a concert with the Royal Conservatory Orchestra on February 12, which we kind of squeezed into my crazy schedule. I was released from the spring run here because I got an offer from my old theatre in Frankfurt to do a production of The Cunning Little Vixen. I’m a real lover of Janácek’s music and I’m also very happy to be back in Frankfurt and reconnect with my old “opera family.” v

How can Verdi be more difficult to conduct than Wagner?

I think it was Daniel Barenboim who said that Verdi is always in the present and Wagner is always in the development of something, of getting somewhere. Another conductor said Verdi’s music is vertical and Wagner’s is horizontal. This means that Verdi’s operas force you to jump start your engine at the very beginning and that requires a lot of energy. And you have to keep that motor going at high speed for the whole opera. That might be a reason that you sweat a little bit more during a Verdi opera than you do in a Wagner opera.

In a way I was really lucky that I could spend a long time in Frankfurt and it became a kind of home for me. When I left Frankfurt, I came here and found a new beautiful home. I have to say that I’m very, very grateful for that, and I have to remind myself how good things turned out for me! On January 13, 2016, at the public launch of the COC’s 2016/2017 season, General Director Alexander Neef announced that a new contract for Johannes Debus extends his tenure with the Canadian Opera Company through to June 30, 2021.

Last year, your son was born the same day as a performance of Die Walküre. How did you get through that run?

Noah was born at 12:45 in the afternoon, and the performance started at 6:30 that evening. I have no clear memories of that performance; I know that I was on an adrenaline high. I knew I had to conduct that night and I can’t rationalize it… I knew that I had to do it somehow for this little creature, for this little wonderful being… It was a very memorable night, that’s for sure.

*Ana Sokolovic has been commissioned to compose a new opera for the COC for the 2019/2020 season. La Reine-Garçon will have a libretto by Quebec playwright Michel Marc Bouchard from his play of the same name.

Claudine Domingue is Director of Public Relations at the COC.

Maestro moments: In rehearsal for the world premiere of Pyramus and Thisbe, Johannes with director Christopher Alden (top) and tenor Owen McCausland (third image from the top).

Johannes Debus is generously underwritten by George and Kathy Dembroski

CANADIAN OPERA COMPANY 2015/2016

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WELCOMES, FAREWELLS... AND THREE REAL OPERA HEROES BY NIKITA GOURSKI

At the COC’s Annual General Meeting on October 22, 2015, General Director Alexander Neef welcomed Timothy Loftsgard and Yael Woodward as new members to the Board of Directors, and paid special tribute to Mr. Tony Arrell, who stepped down as Chair after serving his three-year term. “During those three years, Tony has been the COC’s biggest champion, an energetic leader, and a thoughtful mentor to us all,” Mr. Neef said at the event. “We can’t thank him enough and I am very happy that he remains on the Board.”

Long-time COC supporter and Board member Colleen Sexsmith transitions from her role as Vice-Chair to Chair of the Board, while Justin Linden transitioned and took up the duties of Vice-Chair. Mr. Neef also announced the retirement of several Board members: Mark Appel, Rob Brouwer, Stewart Burton, Adam Froman, Stephen Marshall, Nick Mutton, and Michele Symons, noting their incredible enthusiasm and unwavering generosity to the company. Together they represent nearly four decades of board service, and have had

a tremendous cumulative impact on the COC, steering the organization from a role of national importance to one of international renown. Last but not least, Mr. Neef also unveiled new appointees to the Life Trustees Council, a recognition society comprising philanthropic and artistic leaders whose efforts have been integral to the company’s transformative history of accomplishment. Arthur Scace, Rob Collins, and David Stanley-Porter were all welcomed into the prestigious Life Trustees Council.

Life Trustees Council Appointments MR. ARTHUR R. A. SCACE For nearly 20 years, Mr. Scace has served the COC in a variety of capacities, including Past President and Chair of the COC’s Board of Directors, Co-Chair of the COC’s Capital Campaign Cabinet—Four Seasons Centre, and President of the Canadian Opera House Corporation (COHC). As President of the COHC and Co-Chair of the Capital Campaign Cabinet, he was instrumental in helping the COC with the building of the Four Seasons Centre. He was also an inspiring champion of the new opera house, leading numerous personal tours of the building site to potential donors and advocating for the investment required for the project to succeed. MR. J. ROB COLLINS Intimately involved with every aspect of the company’s administration for almost two decades, Mr. Collins has been a generous supporter and advocate for the COC. In particular, his guidance during the construction of our opera house has been superlative. Mr. Collins chaired countless board and committee meetings, attended dozens of cultivation events, solicited scores of prospective donors and made numerous site visits. During his two-year term as President of the COC (2004-2006), he not only participated in the conversion of a parking lot into a world-class opera house, but also presided over the board’s supervision of the COC’s operations, including fundraising and world-class productions. DR. DAVID STANLEY-PORTER Dr. Stanley-Porter has been an inspiring educator for the COC since the early 1980s, bringing neighbours, coworkers, and friends to this company in huge numbers and supporting the operatic art form by broadening its audience. Through his Opera Courses and Opera Tours, he has enriched the opera experience for thousands of people. He graciously donated the funds constituting his salary back to the company, catalyzing more than $2 million in revenues for the COC. He has also been an enthusiastic individual donor, supporting the company’s wide-ranging operations through major gift donations, including Capital Campaign, production underwriting of modern operas, artist sponsorship, and annual giving through his Golden Circle membership. 6

CANADIAN OPERA COMPANY 2015/2016


BIOGRAPHIES

WHO’S WHO AT THE COC THIS WINTER

WOLFGANG ABLINGER- JANE ARCHIBALD Soprano (Truro, NS) SPERRHACKE Tenor (Zell am See, Austria) Susanna, Mime, Siegfried The Marriage of Figaro COC DEBUT RECENT Herod, Salome (Vienna State Opera and Opernhaus Zürich) Hauptmann, Wozzeck (Teatro all Scala and Opernhaus Zürich) The Prince, Lulu (Bayerische Staatsoper) Monostatos, The Magic Flute (Dutch National Opera) UPCOMING Loge, Das Rheingold (Opera North) Mime, Das Rheingold (Staatsoper im Schiller Theater) Pollux, Die Liebe der Danae (Salzburg Festival)

COC DEBUT Zerbinetta, Ariadne auf Naxos, 2011 RECENT Zerbinetta, Ariadne auf Naxos (Royal Opera House, Covent Garden) Konstanze, Die Entführung aus dem Serail (Théâtre des ChampsElysées, Festival d’Aix en Provence) Queen of the Night, The Magic Flute (Opéra national de Paris) UPCOMING Cunégonde, Candide (Hamburger Symphoniker, Hamburg) Donna Anna, Don Giovanni (Theater an der Wien)

MEREDITH ARWADY

Contralto (Kalamazoo, MI, USA)

Erda, Siegfried

COC DEBUT Death, The Nightingale and Other Short Fables (COC at BAM, 2011) RECENT Zita, Gianni Schicchi (Los Angeles Opera) Aunt Hannah Watkins, Emmeline (Opera Theatre of Saint Louis) Schwertleite, Die Walküre (Houston Grand Opera) UPCOMING Erda and First Norn, Ring Cycle (Oper Frankfurt) Erda, Siegfried (Houston Grand Opera)

DEREK BATE

GORDON BINTNER

Siegfried

Count Almaviva, The Marriage of Figaro

Bass-baritone (Regina, SK)

Assistant Conductor (Toronto, ON) COC DEBUT Conductor, Carmen, 1979 RECENT Pyramus and Thisbe (with Lamento d’Arianna and Il combattimento di Clorinda e Tancredi), COC Bluebeard’s Castle/Erwartung, COC Die Walküre, COC Conductor, The Student Prince (Toronto Operetta Theatre) UPCOMING Carmen, COC

(Ensemble Studio performance)

COC DEBUT Customs Official, La Bohème, 2013 RECENT Figaro, The Marriage of Figaro (Manitoba Opera) Don Basilio, The Barber of Seville (COC Ensemble Studio performance) Guglielmo, Così fan tutte (Milwaukee Symphony Orchestra) UPCOMING Papageno, The Magic Flute (Michigan Opera Theatre) Araldo, Otello (Salzburg Easter Festival)

CANADIAN OPERA COMPANY 2015/2016

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KARINE BOUCHER

RUSSELL BRAUN

MICHAEL COLVIN

JORDAN DE SOUZA

JOHANNES DEBUS

Susanna, The Marriage of Figaro

Count Almaviva, The Marriage of Figaro

Basilio, The Marriage of Figaro

The Marriage of Figaro

Siegfried and The Marriage of Figaro

Soprano (Quebec City, QC)

(Ensemble Studio performance)

COC DEBUT Kate Pinkerton, Madama Butterfly, 2014 RECENT Berta, The Barber of Seville (COC) Mimì, La Bohème (Jeunesses Musicales) Miss Pinkerton, The Old Maid and the Thief (Opéra de Montréal) Annina, La Traviata (Opéra de Montréal) Inez, Il Trovatore (Opéra de Montréal)

Baritone (Georgetown, ON)

COC DEBUT Servant, Der Rosenkavalier, 1990 RECENT Pentheus, Les Bassarids (Teatro dell’Opera di Roma) Lescaut, Manon (Metropolitan Opera) Don Giovanni, Don Giovanni (COC)

UPCOMING Micaëla, Carmen (COC)

UPCOMING Soloist, Brett Dean’s Songs of Joy (Toronto Symphony Orchestra) Soloist, Brahms’ Vier Ernste Gesänge (Stuttgart Radio Symphony) The Man, Senza Sangue (Göteborgs Symfoniker) Louis Riel, Louis Riel (COC)

SASHA DJIHANIAN Barbarina, The Marriage of Figaro

Soprano (Montreal, QC)

COC DEBUT Annio, La clemenza di Tito, 2013 RECENT Zerlina, Don Giovanni (COC) Pedro, Don Quichotte (COC) Susanna, The Marriage of Figaro (Opera Lyra) UPCOMING Frasquita, Carmen (COC) Fiordiligi, Così fan tutte (Opéra de Massy and Opéra de Reims)

Tenor (Toronto, ON)

COC DEBUT Count Almaviva, The Barber of Seville, 1999 RECENT L’Aumônier, Dialogues des Carmélites (Dutch National Opera) Rodolphe, Guillaume Tell (Royal Opera House, Covent Garden) Peter Grimes, Peter Grimes (English National Opera) Herod, Salome (Northern Ireland Opera)

Conductor (Feb. 23 and 25) / Assistant Conductor (Toronto, ON) COC DEBUT Assistant Conductor, Dialogues des Carmélites, 2013 RECENT Assistant Conductor, La Traviata, Un ballo in maschera, La Bohème (COC) Conductor, Verdi's Requiem (Ottawa Symphony) Conductor, Mass in B Minor, St. Matthew Passion, St. John Passion (Ensemble Caprice) Conductor, M'dea Undone (Tapestry Opera)

COC Music Director (Berlin, Germany/Toronto, ON)

COC DEBUT War and Peace, 2008 RECENT National Arts Centre Orchestra San Diego Symphony Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda (COC) Aspen Chamber Symphony (Aspen Music Festival) The Tales of Hoffmann (Bregenz Festival)

UPCOMING Duke of Cornwall, Lear (Opéra national de Paris) The Painter, Lulu (English National Opera)

UPCOMING Conductor, Rocking Horse Winner (Tapestry Opera) Conductor, Romeo and Juliet (National Ballet of Canada) Assistant Conductor, Franco Faccio's Amleto (Bregenz Festival)

UPCOMING The Cunning Little Vixen (Oper Frankfurt) The Marriage of Figaro (Komische Oper Berlin)

PHILLIP ENS

DONNA FEORE

DAVID FINN

EMILY FONS

Fafner, Siegfried

Siegfried

Siegfried

Cherubino, The Marriage of Figaro

Bass (Winkler, MB)

Choreographer (Stratford, ON)

COC DEBUT Don Fernando, Fidelio, 1991

COC DEBUT Red Emma, 1995

RECENT Jorg, Stiffelio (Metropolitan Opera) Claggart, Billy Budd (Glyndebourne Festival and Houston Grand Opera) Fafner, Das Rheingold and Siegfried (Royal Opera House, Covent Garden)

RECENT Director/Choreographer, The Sound of Music, Crazy for You, Fiddler on the Roof (Stratford Festival) Creative Producer/Director, Dear Life and I Lost my Talk (National Arts Centre) Director, Mendelssohn’s A Midsummers Night Dream, National Arts Centre

UPCOMING Ramfis, Aida (L’Opéra de Montréal) King Mark, Tristan and Isolde (Musiktheater im Revier)

UPCOMING Director/Choreographer, A Chorus Line (Stratford Festival)

Lighting Designer (Mill Valley, CA, USA) COC DEBUT Venus and Adonis, 2001 RECENT Hänsel und Gretel (Dutch National Opera) The Marriage of Figaro (Opera Australia) Roméo et Juliette (Deutsche Oper Berlin) UPCOMING Così fan tutte (Opera Australia) Tannhäuser (Royal Opera House, Covent Garden)

Mezzo-Soprano (Milwaukee, WI, USA)

COC DEBUT RECENT Prince Orlofsky, Die Fledermaus (New Orleans Opera) Ruby, Cold Mountain (Santa Fe Opera) Rosina, The Barber of Seville (Opera Theatre of St. Louis) UPCOMING Rosina, The Barber of Seville (Lyric Opera Baltimore and Pittsburgh Opera) Soloist, Crescendo at White River State Park (Indianapolis Opera) Stéphano, Roméo et Juliette (Santa Fe Opera)

CANADIAN OPERA COMPANY 2015/2016

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JEAN-PHILIPPE FORTIER-LAZURE

Tenor (Kitchener-Waterloo, ON)

Don Curzio (main cast) Don Basilio

(Ensemble Studio performance)

The Marriage of Figaro COC DEBUT Count Almaviva, The Barber of Seville (Ensemble Studio Performance, 2015) RECENT Giuseppe, La Traviata (COC) Pelléas, Pelléas et Mélisande (Nova Scotia Opera Company) Chevalier de la Force, Dialogues des Carmélites (Atelier d’Opéra, University of Montreal)

AVIVA FORTUNATA

FRANÇOIS GIRARD

The Countess, The Marriage of Figaro

Director, Siegfried

Soprano (Calgary, AB)

(Ensemble Studio performance)

COC DEBUT Fiordiligi, Così fan tutte (Ensemble Studio performance, 2014) RECENT Annina, La Traviata (COC) Berta, The Barber of Seville (COC) Helmwige, Die Walküre (COC) Song Prize Finalist, 2015 BBC Cardiff Singer of the World UPCOMING Clotilde, Norma (COC)

(Montreal, QC)

COC DEBUT Oedipus Rex with Symphony of Psalms, 1997 RECENT Parsifal (Metropolitan Opera) Boychoir (Informant Films) Zarkana (Cirque du Soleil) UPCOMING Waiting for Godot (Théâtre du Nouveau Monde, Montreal) The Hunting Gun (Tokyo) War Requiem (Opéra de Lyon)

UPCOMING Remendado, Carmen (COC)

MARILYN GRONSDAL

Associate Director (Toronto, ON)

Siegfried

COC DEBUT Director, La Bohème, 2009 RECENT Assistant Director, Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Clorinda e Tancredi (COC) Co-director, Madama Butterfly (Saskatoon Opera) Assistant Director, Bluebeard’s Castle/ Erwartung (COC) Associate Director, Die Walküre (COC) UPCOMING Assistant Director, Maometto II (COC)

CLAUS GUTH

(Frankfurt, Germany)

Director, The Marriage of Figaro COC DEBUT RECENT Der Rosenkavalier (Oper Frankfurt) Fidelio (Salzburg Festival) L´incoronazione di Poppea (Theater an der Wien) Salome (Deutsche Oper Berlin) UPCOMING Rigoletto (Opéra national de Paris) Juliette (Staatsoper Berlin im Schiller Theater)

ALAN HELD

Bass-Baritone (Washburn, IL, USA)

The Wanderer, Siegfried COC DEBUT Simone/Schicchi, A Florentine Tragedy/Gianni Schicchi, 2012 RECENT Orest, Elektra (Opéra de Montréal) Kurwenal, Tristan und Isolde (Bayerische Staatsoper) Don Pizarro, Fidelio (San Francisco Symphony) UPCOMING Wotan, Ring Cycle (Washington National Opera) Jochanaan, Salome (Staatsoper Wien)

CHRISTINE GOERKE Soprano (Valley Stream, NY, USA)

Brünnhilde, Siegfried

ALLISON GRANT

Assistant Director (Toronto, ON)

The Marriage of Figaro

COC DEBUT Brünnhilde, Die Walküre, 2015

COC DEBUT Choreographer/Assistant Director, Queen of Spades, 2002

RECENT Turandot, Turandot (Metropolitan Opera) Elektra, Elektra (Boston Symphony Orchestra) Brünnhilde, Die Walküre (Houston Grand Opera)

RECENT Director, The Magic Flute (Hawaii Opera Theatre) Director/Choreographer, The Marriage of Figaro (Sarasota Opera) Director/Choreographer, Roméo et Juliétte (Vancouver Opera)

UPCOMING Brünnhilde, Siegfried (Houston Grand Opera) Turandot, Turandot (Opera Philadelphia) Brünnhilde, Ring Cycle (Metropolitan Opera)

UPCOMING Director, The Hobbit (Canadian Children’s Opera Company) Director/Choreographer, Company (Music Theatre on the Thames)

SANDRA HORST

ULI KIRSCH

The Marriage of Figaro

Cherubim, The Marriage of Figaro

Chorus Master (Toronto, ON) COC DEBUT Norma, 1998

RECENT La Traviata (COC) Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda (COC) Conductor, The Telephone and The Medium (UofT Opera) UPCOMING Carmen (COC) Maometto II (COC) Conductor, The Machine Stops and Paul Bunyan (UofT Opera)

Actor (Berlin, Germany)

COC DEBUT RECENT Dancer, Samson et Dalila and La Rondine (Deutsche Oper Berlin) Death, Orfeo ed Euridice (Mozartwoche Salzburg and Musikfest Bremen) Dargelos, Les Enfants Terribles (Komische Oper Berlin) Die Maske, AscheMOND (Staatsoper im Schiller Theater Berlin) Die Haut, Dionysos (Staatsoper Berlin im Schiller Theater) UPCOMING Death, Orfeo ed Euridice (Opéra national de Lorraine)

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CANADIAN OPERA COMPANY 2015/2016


Image credit: SEAN GALBRAITH, Palace Theatre, 2014

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Marcellina, The Marriage of Figaro

Siegfried

Stage Manager (Thornhill, ON)

Thank you to our many generous members, as well as corporate, foundation, and government partners for making everything we do possible.

COC DEBUT Assistant Stage Manager, Falstaff, 1992 RECENT Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Clorinda e Tancredi (COC) Bluebeard’s Castle/Erwartung (COC) Don Giovanni (COC) AtG’S Messiah (Against the Grain Theatre) UPCOMING Maometto II (COC)

Mezzo-Soprano (Abbotsford, BC)

(Ensemble Studio performance)

COC DEBUT Florence Pike, Albert Herring (Ensemble Studio production), 2004 RECENT Ruth, Dark Sisters (Vancouver Opera) Alisa, Lucia di Lammermoor (Edmonton Opera) Rossweisse, Die Walküre (COC) Geneviève, Pelléas et Mélisande (Against the Grain Theatre)

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CANADIAN OPERA COMPANY 2015/2016

Set and Costume Designer (Toronto, ON) COC DEBUT Idomeneo, 1985 RECENT Wozzeck (Opernhaus Zürich) Between Worlds (English National Opera) The Encounter (Complicite Theatre/ Edinburgh International Festival) Hansel and Gretel (Dutch National Opera) UPCOMING Benjamin, dernière nuit (Opéra de Lyon) Le Petit Prince (National Ballet of Canada)

DOUG MACNAUGHTON IAIN MACNEIL

GEORGE MOLNAR

Antonio, The Marriage of Figaro

The Bear, Siegfried

Baritone (Brandon, MB)

COC DEBUT Telemaco, Il ritorno d’Ulisse in patria, 1989 RECENT Judge Turpin, Sweeney Todd (Vancouver Opera) Donner, Das Rheingold (Pacific Opera Victoria) Luther/Crespel/Schlemil, The Tales of Hoffmann (Edmonton Opera) UPCOMING Solo Recital, Light and Shadow (COC’s Free Concert Series in the Richard Bradshaw Amphitheatre)

Baritone (Brockville, ON)

Figaro, The Marriage of Figaro (Ensemble Studio performance)

COC DEBUT Commissioner, Madama Butterfly, 2014 RECENT Marquis d’Obigny, La Traviata (COC) Dr. Bartolo, The Barber of Seville (COC Ensemble Studio performance) Fiorello, The Barber of Seville (COC) Guglielmo, Così fan tutte (Centre for Opera Studies in Italy) UPCOMING Le Dancaïre, Carmen (COC)

Actor (Montreal, QC)

COC DEBUT The Bear, Siegfried, 2005 RECENT Actor, Zsófika (short fiction), dir. Maxime-Claude L’Écuyer Dancer, Requiem for Fanny, chor. Lorne Brass Actor, Cendres, dir. Jérémie Niel UPCOMING Documentary on the making of François Girard’s installation, La Paresse (Sloth)


PRESENTS

NORTH AMERICAN DEBUT OF

ANDI A. MÜLLER

AGLAJA NICOLET

The Marriage of Figaro

The Marriage of Figaro

Video Designer (Zurich, Switzerland)

Associate Director (Zurich, Switzerland)

COC DEBUT

COC DEBUT

RECENT Die Frau ohne Schatten (Royal Opera House, Covent Garden) Lohengrin (Teatro alla Scala) Parsifal (Teatro del Liceu)

RECENT Associate Director, Tristan und Isolde (Zurich Opera) Associate Director, Die Frau ohne Schatten (Royal Opera House, Covent Garden) Director, Die Entführung aus dem Serail (Musikfest Bremen)

UPCOMING Rigoletto (Opéra Bastille)

SCOTTISH OPERA

UPCOMING Projects in Salzburg, Paris, Madrid and Milan

THE DEVIL INSIDE Libretto by Louise Welsh Music by Stuart MacRae

ROBERT POMAKOV Bass (Toronto, ON)

Bartolo, The Marriage of Figaro COC DEBUT Varlaam, Boris Godunov, 2002 RECENT Don Basilio, The Barber of Seville (Metropolitan Opera) Monterone, Rigoletto (Metropolitan Opera) Vodnik, Rusalka (Lyric Opera of Kansas City) UPCOMING Banquo, Macbeth (Opera Theatre of Saint Louis) Mathieu, Andrea Chenier (San Francisco Opera) Gremin, Eugene Onegin (Oper Frankfurt) Monterone, Rigoletto (Opéra national de Paris)

CHRISTOPHER PURVES

Baritone (Cambridge, UK)

Alberich, Siegfried COC DEBUT

RECENT Alberich, Götterdämmerung (Bayerische Staatsoper) Ephraimite, Moses und Aaron (Opéra national de Paris) Saul, Saul (Glyndebourne Festival) UPCOMING Alberich, Siegfried (Houston Grand Opera) Protector, Written on Skin (Barbican Hall/Teatro Real/Gran Teatro del Liceu) Gamekeeper, The Cunning Little Vixen (Glyndebourne Festival)

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416-973-4000

CANADIAN OPERA COMPANY 2015/2016


CHRISTIAN SCHMIDT Set and Costume Designer (Coburg, Germany)

The Marriage of Figaro COC DEBUT RECENT The Turn of the Screw and Don Giovanni (Staatsoper Unter den Linden) Rinaldo (Theater Dortmund) Der Rosenkavalier (Oper Frankfurt) UPCOMING Parsifal (Teatro Real de Madrid) Rigoletto (Opéra national de Paris) Don Giovanni (Dutch National Opera)

HELENE SCHNEIDERMAN

Mezzo-Soprano (Flemington, NJ, USA)

Marcellina, The Marriage of Figaro COC DEBUT RECENT Mrs. Darling, Peter Pan (Staatstheater Stuttgart) Marcellina, The Marriage of Figaro (Royal Opera House, Covent Garden and Theater an der Wien) Suzuki, Madama Butterfly (Staatstheater Stuttgart) Prince Orlofsky, Die Fledermaus (Staatstheater Stuttgart)

AARON SHEPPARD

RAMSES SIGL

Don Curzio, The Marriage of Figaro

The Marriage of Figaro

Tenor (St. John’s, NL)

(Ensemble Studio performance) COC DEBUT

RECENT Fernando, A Little Too Cozy (Banff Centre) Kronprinz, Silent Night (Opéra de Montréal) UPCOMING Selimo, Maometto II (COC) Soloist, Lord Nelson Mass (Newfoundland Symphony Orchestra)

Choreographer (Munich, Germany) COC DEBUT

RECENT Don Giovanni (Staatsoper Berlin) Hans Heiling and L´incoronazione di Poppea (Theater an der Wein) Rinaldo (Operahouse Dortmund) UPCOMING Giulio Cesare in Egitto (Semperoper Dresden) Don Giovanni (Dutch National Opera) Juliette (Staatsoper Berlin)

CYNTHIA TOUSHAN

Stage Manager (Stratford, ON)

Siegfried

COC DEBUT Carmen, 1989 RECENT Die Walküre (COC) A Masked Ball (COC) The Sound of Music (Stratford Festival) White Christmas (Drayton Entertainment) UPCOMING A Chorus Line (Stratford Festival)

UPCOMING Annina, Der Rosenkavalier (Metropolitan Opera) Baroness, Vanessa (Santa Fe Opera) The Mother, The Nose (Royal Opera House, Covent Garden)

STEFAN VINKE

Tenor (Hargesheim, Germany)

Siegfried, Siegfried COC DEBUT

RECENT Tambourmajor, Wozzek (Lyric Opera of Chicago) Siegfried, Götterdämmerung and Siegfried (Bayreuth Festival) Siegmund, Die Walküre (Müpa Budapest) UPCOMING Tannhäuser, Tannhäuser (Deutsche Oper Berlin) Menelas, Die agyptische Helena (Deutsche Oper Berlin) Siegfried, Götterdämmerung and Siegfried (Bayreuth Festival)

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JOSEF WAGNER

Baritone (Niederösterreich, Austria)

Figaro, The Marriage of Figaro COC DEBUT RECENT Don Giovanni, Don Giovanni (Volksoper Wien) Golaud, Pelléas et Mélisande (Deutsche Oper Berlin) Don Basilio, The Barber of Seville (Styriarte Music Festival) UPCOMING Guglielmo, Così fan tutte (Opéra Municipal de Marseille) Antigone, Olimpie (Théâtre des Champs-Elysées)

CANADIAN OPERA COMPANY 2015/2016

ERIN WALL

OLAF WINTER

Countess Almaviva, The Marriage of Figaro

The Marriage of Figaro

Soprano (Vancouver, BC)

COC DEBUT Clémence, Love from Afar, 2012 RECENT Clémence, Love from Afar (Opéra de Québec) Anna Sorenson, Silent Night (Lyric Opera of Kansas City) Donna Anna, Don Giovanni (Bayerische Staatsoper and Seattle Opera) UPCOMING Vanessa, Vanessa (Santa Fe Opera) Soloist, Mahler’s Eighth Symphony (Philadelphia Orchestra) Soloist, Bruckner’s Te Deum (Chicago Symphony Orchestra)

Lighting Designer (Bad Homburg, Germany) COC DEBUT RECENT Parsifal (Royal Swedish Opera) Der Rosenkavalier, The Flying Dutchman (Oper Frankfurt) L’incoronazione di Poppea (Theater an der Wien) UPCOMING Rigoletto, Lohengrin (Opéra national de Paris) Il Trovatore (Royal Opera House, Covent Garden) Don Giovanni, Le nozze di Figaro (Dutch National Opera)

JACQUELINE WOODLEY

Soprano (Port Elgin, ON)

Forest Bird, Siegfried Cherubino, The Marriage of Figaro (Ensemble Studio performance)

COC DEBUT Lace Seller, Death in Venice, 2010 RECENT Dahlia, M’Dea Undone (Tapestry Opera) Belinda and Second Witch, Dido and Aeneas/Aeneas and Dido (Ottawa International Chamber Music Festival) Papagena, The Magic Flute (Edmonton Opera) UPCOMING Milice-Bride, Svadba-Wedding (San Francisco Opera)


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SIEGFRIED BY RICHARD WAGNER

Drama in Three Acts w Libretto in German by Richard Wagner First performance: Festspielhaus, Bayreuth, August 16, 1876, the Second Day of the Ring Cycle COC PRODUCTION Last performed by the COC in 2006 January 23, 27, 30, February 2, 5, 11, 14, 2016 Sung in German with English SURTITLES™ THE CAST

(in order of vocal appearance)

Mime.............................................................. Wolfgang Ablinger-SperrhackeD Siegfried...................................................... Stefan VinkeD*** The Wanderer............................................ Alan Held Alberich........................................................ Christopher PurvesD**** Fafner........................................................... Phillip Ens Forest Bird.................................................. Jacqueline Woodley^ Erda............................................................... Meredith Arwady Brünnhilde................................................... Christine Goerke** The Bear...................................................... George Molnar Conductor................................................... Johannes Debus* Director........................................................ François Girard Associate Director................................... Marilyn Gronsdal Set and Costume Designer.................. Michael Levine Lighting Designer.................................... David Finn Choreographer.......................................... Donna Feore Stage Manager.......................................... Cynthia Toushan SURTITLES™ Producer........................... Gunta Dreifelds Performance time is approximately five hours, with two intermissions

Production originally made possible by Kolter Communities *Johannes Debus is generously underwritten by George & Kathy Dembroski **Christine Goerke’s performance is generously sponsored by Jack Whiteside ***Stefan Vinke’s performance is generously sponsored by an anonymous donor ****Christopher Purves’ performance is generously sponsored by Kristine Vikmanis and Denton Creighton D

COC Debut ^ Graduate of COC Ensemble Studio Program information is correct at time of printing. All casting is subject to change.

GO SCENT FREE: In consideration of patrons with allergies, please avoid wearing strongly perfumed beauty products and fragrances. Christian Franz in the title role of the COC’s 2005 production of Siegfried.

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Synopsis PRELUDE – ACT I Scene i: Mime the Nibelung knows he must repair the shattered sword Nothung if he wants to reclaim the Ring from Fafner the dragon. The sword rightfully belongs to Siegfried, the boy Mime has raised from infancy without knowledge of other people or of fear. Siegfried returns home from the forest with a bear. He loses patience with Mime and grabs him by the throat, demanding that Mime fix the sword. Mime sobs in frustration at being unable to fix Nothung. Scene ii: The Wanderer enters Mime’s home. He challenges Mime to a battle of riddles; the winner can claim the loser’s life. Winning handily, The Wanderer spares Mime and tells him that a man who has never learned fear will forge the sword, and it will be that man who takes Mime’s life. Scene iii: Siegfried enters to check on the progress of Nothung, but Mime can think of nothing but The Wanderer’s prophecy. Mime tells Siegfried that he must fight Fafner, the giant, who has taken the Rhinemaiden’s gold and turned himself into a dragon, but Siegfried refuses to fight without his sword. Siegfried himself sets to work on the sword. As Siegfried successfully re-forges Nothung, Mime makes plans to poison him after his battle with Fafner.

instinctively, he puts his fingers in his mouth. After tasting the blood, he discovers he can understand the bird’s song. The Forest Bird tells him to take only the magical helmet (Tarnhelm) and the Ring. Siegfried disappears into the cave. Scene iii: Timidly returning to the mouth of the cave, Mime finds a defiant Alberich waiting for him. The dwarves begin to argue over who will get Tarnhelm and the Ring. They fade into the background while Siegfried speaks again to the Forest Bird, who tells him that Mime is false and shouldn’t be trusted. Mime walks toward Siegfried and offers him a drink for his thirst. Because of the spell cast by Fafner’s blood, Siegfried hears Mime’s murderous thoughts. With one swing of his sword, Siegfried strikes Mime dead. Lonely, Siegfried wonders how to proceed. The Forest Bird tells Siegfried of a bride up on a mountain, guarded in her sleep by a ring of fire. Only one who has no fear can fight the flames and wake her from sleep. Siegfried starts out for the mountain. INTERMISSION

INTERMISSION

ACT III Scene i: The Wanderer wakes the earth goddess Erda from her long slumber. Erda cannot help him, as her power is declining. The Wanderer finally admits that Erda was right about her predictions regarding the end of the world. He allows her to return to her slumber.

ACT II Scene i: Alberich the Nibelung waits at the mouth of Fafner’s cave for the moment he can seize the Ring. The Wanderer approaches Alberich and tells him he has come to witness what happens next. The Wanderer calls to Fafner in his cave and leaves Alberich to his fate.

Scene ii: The Wanderer intercepts Siegfried at the foot of Brünnhilde’s mountain. Believing this is his last chance to end the destruction, he blocks Siegfried’s way with his spear, but Siegfried shatters it. The Wanderer’s power now completely gone, he gathers the pieces of his spear and disappears into the darkness.

Scene ii: Alberich hides as Mime and Siegfried reach Fafner’s cave. Mime describes the ghastly Fafner; his poisonous drool, his twisting tail, his merciless heart. Siegfried is not afraid, and demands Mime leave. Once Mime is out of sight, Siegfried begins to reminisce about his parents, imagining his mother is speaking to him through a Forest Bird. With a flute, he mimics the bird’s song. Fafner appears. They fight; Siegfried and Nothung make quick work of the shocked Fafner. As Fafner dies, he tells Siegfried about the Ring’s curse. Siegfried accidently touches Fafner’s blood, which burns;

Scene iii: Siegfried climbs the mountain, flames all around him. He sees a warrior lying sleeping. As he approaches, he sees that the warrior is, in fact, the bride the Forest Bird told him about. Enchanted by her beauty, Siegfried wonders how to wake her. Fear consumes him as he reaches down for a kiss. Brünnhilde awakes, and asks for his name. They marvel at the wonder of their meeting, and proclaim their love. Brünnhilde realizes she has lost her immortality, but chooses to remain with Siegfried, though it may mean her death. They joyously vow to go to their deaths together.

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Director’s Notes Everything seems to have been said about Richard Wagner’s Ring of the Niebelung. From Nietzsche to Jung and Freud, from Mahler to Shaw, Donington, Magee, a remarkable number of scholars and thinkers from all fields have commented on the work. Still today, in Wagner Societies around the world and in intellectual circles, the discussion continues. It is hard to think of another piece that has captured music and theatre lovers’ imaginations so completely. And yet, despite the various essays and countless interpretations, including the composer’s own, The Ring has resisted all attempts to define it. During the 20 years Wagner took to compose it, his entire worldview shifted and he even sometimes contradicted himself when commenting on his masterpiece. The Ring’s reach is larger than anyone’s grasp and the life that lies beneath it speaks in its own voice. Within The Ring, Siegfried remains the most abstract of the four operas and this is what first attracted me to it. It holds a very special place in the Ring Cycle. The audience comes to the theatre with the foreknowledge of Das Rheingold and Die Walküre—it is a memory play of sorts where the spectator already knows what the hero does not which allows Wagner to make the most powerful use of his famous leitmotif structures.

Above: Christian Franz starred as Siegfried and Robert Künzli as Mime in the COC’s 2005 production of Siegfried.

The mythical sources of Siegfried, as well as the whole cycle, its pre-Freudian symbolism and its musical complexity perfectly illustrate the revolution Wagner’s ‘music drama’ wrought in the operatic world. In much the same way that Beethoven transformed symphonic

My gratitude goes out to the late Richard Bradshaw for the invitation to be part of this incredible journey he and the COC undertook more than a decade ago.

music, Wagner made emotions and inner thoughts the landscape of his work. And this is exactly where we started— by exploring the introspective nature of the piece in the hopes of hearing its true voice shine through.

François Girard

IN MEMORIAM: MARIA RADNER Last March, the COC was among many opera companies around the world greatly shocked and saddened by the untimely death of German contralto Maria Radner. Ms. Radner made her COC debut in 2009 in The Nightingale and Other Short Fables, and was scheduled to sing this winter at the COC as Erda in Siegfried. Only in her early 30s, she had already built an international career singing a wide range of alto repertoire, particuarly renowned for her performances in works by Wagner, Mahler and Strauss. Ms. Radner died on March 24, 2015, along with her partner Sascha Schenk and their infant son, Felix, when Germanwings Flight 9525 crashed near the French alps.

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Orchestra VIOLIN 1 Marie Bérard, Concertmaster The Concertmaster’s chair has been endowed in perpetuity by Joey and Toby Tanenbaum Aaron Schwebel, Associate Concertmaster Jamie Kruspe, Assistant Concertmaster Anne Armstrong Sandra Baron (leave of absence) Bethany Bergman Hua-Chu Huang** Hiroko Kagawa* Nancy Kershaw Boris Kupesic* Dominique Laplante Yakov Lerner Renée London* Jayne Maddison Neria Mayer Aya Miyagawa VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal Laura D’Angelo* James Aylesworth Jennie Baccante* Christine Chesebrough* Corey Gemmell* Elizabeth Johnston Sarah Kim* Yada Lee** Alexey Pankratov* Sonia Shklarov* Louise Tardif Marianne Urke (leave of absence) Sonia Vizante* Joanna Zabrowarna VIOLA Keith Hamm, Principal Joshua Greenlaw, Assistant Principal Carolyn Blackwell* Katrina Chitty* Catherine Gray* Sheila Jaffé Chau Luk* Rory McLeod* Nicholaos Papadakis* Laurence Schaufele* Beverley Spotton Yosef Tamir Meagan Turner** CELLO Bryan Epperson, Principal Alastair Eng, Associate Principal Paul Widner, Assistant Principal Maurizio Baccante

Naomi Barron* Drew Comstock** Peter Cosbey* Bryan Holt* Olga Laktionova Marianne Pack* Elaine Thompson BASS Alan Molitz, Principal Robert Speer, Assistant Principal Nick Davis* Tom Hazlitt Paul Langley Eric Lee* Doug Ohashi** Reuven Rothman* Robert Wolanski* FLUTE Douglas Stewart, Principal Leslie Newman Maria Pelletier PICCOLO Shelley Brown Maria Pelletier OBOE Mark Rogers, Principal Jasper Hitchcock Lief Mosbaugh ENGLISH HORN Lesley Young CLARINET James T. Shields, Principal James Ormston Michele Verheul BASS CLARINET Colleen Cook BASSOON Eric Hall, Principal William Cannaway Elizabeth Gowen CONTRA BASSOON Elizabeth Gowen HORN Mikhailo Babiak, Principal Sarah Sutherland, Assistant Principal* Janet Anderson Roslyn Black* Jessie Brooks* Erin Cooper-Gay* Bardhyl Gjevori

Right: Susan Bullock was Brünnhilde in the COC’s 2006 production of Siegfried.

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David Quackenbush* Gary Pattison WAGNER TUBAS Roslyn Black* Bardhyl Gjevori David Quackenbush* Gary Pattison TRUMPET Robert Grim, Principal Michael Fedyshyn* Robert Weymouth BASS TRUMPET David Pell* TROMBONE Charles Benaroya, Principal Ian Cowie BASS TROMBONE Herbert Poole Megan Hodge* CONTRABASS TROMBONE Megan Hodge* TUBA Scott Irvine, Principal TIMPANI Michael Perry, Principal Trevor Tureski PERCUSSION Trevor Tureski, Principal Chung Ling Lo* Ryan Scott* HARP Sarah Davidson, Principal Sanya Eng* BACKSTAGE HORN Mikhailo Babiak LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIAN Ondrej Golias STAGE LIBRARIAN Paul Langley PERSONNEL MANAGER Ian Cowie *extra musician **Orchestra Academy member


MUSIC STAFF Eric Weimer (Head of Music Preparation) Anne Larlee Jennifer Szeto (Ensemble Studio Intern Coach) ASSISTANT CONDUCTOR Derek Bate FIGHT DIRECTOR James Binkley ASSISTANT CHOREOGRAPHER Stephen Cota

ASSISTANT STAGE MANAGERS Stephanie Marrs Joanna Barrotta ASSISTANT LIGHTING DESIGNERS Andrea Nelson Davida Tkach WALLY RUSSELL LIGHTING INTERN Wesley McKenzie

DANCERS Matthew Armet Alexandra Herzog Galen Johnson Bonnie Jean Jordan Chad McFadden Jason Sermonia UNDERSTUDIES Siegfried Clay Hilley Mime Michael Colvin Alberich Robert Pomakov Erda Megan Latham Forest Bird Karine Boucher

CANADIAN OPERA COMPANY 2015/2016

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SIEGFRIED, MEMORY, AND IDENTITY BY STEPHAN BONFIELD

When we first meet the hero Siegfried, we encounter a man-child-demigod trying to learn about his own past and identity from someone who can tell him very little about either. What the unscrupulous Mime does know, he buttresses with untruths in a petulant, fitful manner, claiming to be both Siegfried's father and mother, so as to use him for his own sinister purposes to acquire the Ring. We may not realize it right away, but our first encounter with Siegfried is with someone whose very human qualities we know all too well, recognizable from earlier stages in our own lives—naïveté, innocence, manipulability—in short, someone with an underdeveloped identity. When we begin to seek first awareness of our own identities we start with who our parents are. Unlike Siegfried, most of us are fortunate enough to know our parents' identities, and even to know a lot about our own heritage. Knowing our past becomes a guarantor for taking first firm steps toward knowing ourselves. But for Siegfried, the basic first step toward taking action in the world is hampered by his disconnection from his own past. He knows nothing of the events we saw in the previous music drama Die Walküre, nothing of his parents Siegmund or Sieglinde, nor of his infamous grandfather Wotan, who now seeks truth about the fate of the gods and the world disguised as The Wanderer. Above all, Siegfried knows nothing of fear itself, that great human attribute that makes us cautious in our tentative first steps toward selfknowledge.

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Wagner presents Siegfried's lack of knowledge about his own identity in revealing, metaphorical fashion. The hero, for all his strength and eventual indomitability in battle, still remains a mystery to himself, something like how the human race discourses with its own obscured past by trying to seek clues to its own evolutionary emergence. Humanity is symbolized in the personage of Siegfried, emerging nascent, fresh and new in the primeval world, which Wagner describes in darkest primordial woodwind hues as the curtain rises on the forested cave of our hidden unconscious origins.

Siegfried was Wagner’s artistic representation of the emergence of human consciousness. Wagner liked to say that his earliest understanding of Siegfried could be seen in "each throbbing of his [own] pulse, each effort of his muscles as he moved," and in him, he "saw the archetype of man himself." Siegfried was Wagner's artistic representation of the emergence of human consciousness. Furthermore, Wagner composed Siegfried when Germany was itself emerging as a nation during a time of great political upheaval; struggling to life; flexing a newly-unified, muscular national identity, and likewise, the composer came to envision humanity in much the same way, being birthed from the cosmic undergrowth into a visibly new thicket of life. Siegfried's character also stands as a representation of humanity birthed

into fledgling self-awareness, emerging from a primordial past, long-ago forgotten. Siegfried is descended from the gods but does not know it. Even when told something of his past by Brünnhilde at the end of the opera, he seems to lack the fundamental curiosity to explore this cosmic relationship further. He even forgets the meaning of fear he learned when he first encountered Brünnhilde. Siegfried seems to have lost his way in understanding his own lineage, a vital piece of information needed to establish a connection with the past, his own present identity, and an emotionally secure path toward responsible future action. In other words, cut off from memory of his past, and lacking an emotionally mature present, Siegfried lacks the profound conscious self-awareness necessary to construct his own future. Wagner appears to be making the interesting but astonishing assertion that somewhere along the way, we too forgot, or worse, became oblivious to the notion that, like Siegfried, we were descended from some transcendently creative power. Wagner often wrote of Greek epic heroes who were descended from gods themselves and in Siegfried, seems to suggest that in our mythopoetic understanding of our own origins we have forgotten that we too were stamped from a similar forge of eternal fire. Much like Siegfried, who cannot even recognize his own grandfather, Wotan, king of the Norse pantheon, we also seem to reside in a sort of collective amnesia, cut off from our past origins, and still seeking clues as to our present identity as human beings. When Wotan, disguised as The Wanderer


confronts his grandson to ask whether he knows who he is, Siegfried impertinently answers that he doesn't much care, and essentially tells the Ruler of the Gods to stop speaking in useless riddles and to get out of his way. He over-runs The Wanderer and splits his spear, smashing the old-world order, destroying any connection with the past and effectively securing the eventual doom of the gods in the next music drama Götterdämmerung.

Siegfried (Christian Franz) slays Fafner in the COC’s 2005 production of Siegfried.

Much has been written about this epic moment, often described as a cost borne of colossal human ignorance. Humanity, in its rush to overthrow its gods because of the imperturbable need to move forward, effectively guarantees its own inevitable destruction by sequestering the past into ignorance, dooming the human race to repeat its mistakes. When we lose memory of both our past and our identity, we ensure our own fall into ignorance and destruction, just as surely as Siegfried does when his naïveté tragically betrays him in Götterdämmerung and he is treacherously slain. And herein lies the point of Wagner's central message in Siegfried. As Siegfried forges his sword—a bold metaphor for the creation of his new and heroic identity—so we too as a civilization must forge identity and memory together, based on an unstoppable love that thirsts for the knowledge of our origins. For Wagner, anything less meant being cursed by a loveless Will to blind power, like Alberich's curse on the Ring. If we remain naïve to this evil tendency of human nature, then like Siegfried, we ensure our own destruction. How can we escape such a fate? To find out, we will have to return next season for Götterdämmerung. Stephan Bonfield is a frequent speaker at the COC and other opera companies across Canada and is the opera and ballet critic for The Calgary Herald and Edmonton Journal. The COC production of Siegfried was originally made possible by Kolter Communities

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Cappuccino, Riesling, and some advice for Siegfried...

GET TO KNOW... STEFAN VINKE

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UP IN THE AIR WITH THE COC! One sign of having made it as an opera singer is encountering the (pleasant) problem of a demanding travel schedule. Indeed, the world’s leading opera professionals are essentially nomads, living out of a suitcase for long stretches of the year and spending nearly as much time airborne as they do on the ground at the world’s major opera centres. To be an opera singer—or a conductor, or a director, or a designer—is to be a frequent flyer. From an organizational perspective, a world-class opera company like the Canadian Opera Company needs to book a lot of flights, becoming something of an international hub where artists from near and far converge to collaborate in the preparation and performance of what is arguably the world’s most complex art form.

With so much airfare to cover, travel represents a significant portion of our annual operating costs. For this winter run of Siegfried and The Marriage of Figaro alone, the COC is booking approximately 233,000 kilometers of air travel. (That’s roughly six times the circumference of the Earth!) So it is fantastic news that the COC’s existing relationship with our preferred credit card, TD® Aeroplan® Visa Infinite Privilege* Card, is entering a new chapter with support from Montreal-based company Aimia, which manages the Aeroplan loyalty program in Canada. Aeroplan’s Beyond Miles program makes it possible for you to easily donate your Aeroplan Miles to participating charitable organizations, including the COC. By donating your Aeroplan Miles to the COC, you can help us continue bringing the very best Canadian and international artists to Toronto.

Donate your Aeroplan Miles today to help bring acclaimed Canadian and international artists to Toronto The TD® Aeroplan® Visa Infinite Privilege* Card is the perfect travel companion. Earn Aeroplan Miles faster, and get privileges designed to make your journey more rewarding. As the Primary Cardholder, you will enjoy the following benefits on flights operated by Air Canada®, Air Canada rouge® or under the Air Canada express® banner: one complimentary first checked bag1, priority check-in and priority

boarding1 and four annual One-Time Guest Access Benefits1 to an Air Canada Maple Leaf Lounge™ when you travel using an Aeroplan flight reward redeemed using miles from your Aeroplan account. Plus, you will receive a Welcome Bonus2 of 25,000 miles. All COC patrons who purchase a subscription on their TD® Aeroplan® Visa Infinite Privilege* Card will be

eligible to receive an exclusive complimentary COC seat upgrade (subject to availability)3. Learn more about this offer and apply, visit: td.com/privilege. To donate your Aeroplan Miles, please visit www.milesforcoc.com.

All trademarks are the property of their respective owners. ® The Aeroplan logo and Aeroplan are registered trade-marks of Aimia Canada Inc. ® The TD logo and other trade-marks are the property of The Toronto-Dominion Bank. 1

Conditions apply. All Air Canada benefits are fulfilled in whole or in part by Air Canada or its designated affiliates or other third parties, and are subject to change at any time. With the TD® Aeroplan® Visa Infinite Privilege* Card, Air Canada Priority Travel Services (the complimentary first checked bag, priority check in and priority boarding) apply whenever the Primary Cardholder travels on a flight operated by Air Canada, Air Canada rouge or under the Air Canada express banner. Flights operated by other airlines are not eligible. To access these benefits, the Primary Cardholder must include their Aeroplan Number on their reservation at time of booking, or redeem their Aeroplan flight reward (defined as a Fixed Mileage Flight RewardTM or Market Fare Flight RewardTM) using miles from their Aeroplan account. To access these benefits, the Primary Cardholder may be required to show their TD® Aeroplan® Visa Infinite Privilege* Card to the Air Canada agent. The Primary Cardholder will also receive four (4) Air Canada Maple Leaf Lounge One-Time Guest Access Benefits once every calendar year (January 1 - December 31). The Primary Cardholder may access an Air Canada Maple Leaf Lounge, where available and pending space availability, upon presentation of an active TD® Aeroplan® Visa Infinite Privilege* Card with a valid, same-day boarding pass for travel using an Aeroplan flight reward, only, on flights operated by Air Canada, Air Canada rouge or under the Air Canada express banner. To access this benefit, the Primary Cardholder must redeem their Aeroplan flight reward (defined as a Fixed Mileage Flight Reward or Market Fare Flight RewardTM) with miles from their Aeroplan account. Access is subject to Air Canada Maple Leaf Lounge terms and conditions and may not be available due to unforeseen circumstances. Please allow two (2) weeks from receiving your Card for these Air Canada benefits to be activated. Additional conditions apply and are outlined on aircanada.com/tdbenefits. 2 Welcome

Bonus of 25,000 Aeroplan Miles (“Welcome Bonus Miles”), will be awarded to the Aeroplan Member account associated with the TD Aeroplan Credit Card Account (“Account”) only after the first Purchase is made on the Account. If you have opened an Account in the last 6 months, you will not be eligible for this offer. We reserve the right to limit the number of Accounts opened by, and the number of Welcome Bonus Miles awarded to, any one person. Please allow up to 8 weeks after your first Purchase is posted to your Account for the Welcome Bonus Miles to be credited to your Aeroplan Member account associated with your Account. Offer may be changed, withdrawn or extended at any time and cannot be combined with any other offer unless otherwise stated. Welcome Bonus Miles are not eligible for Aeroplan status. 3

The Toronto-Dominion Bank and its affiliates are not responsible for the seat upgrade offer (“Seat Upgrade”). To be eligible for the Seat Upgrade you must purchase your 2016/2017 Canadian Opera Company (COC) subscription with your TD® Aeroplan® Visa Infinite Privilege* Card by April 30, 2016. Cardholders are entitled to one Seat Upgrade per subscription, up to a maximum of four subscriptions, for a single performance. If you qualify, you will receive information on how to upgrade your seat with your COC subscription tickets. The COC will also contact you by telephone in August 2016 and assist you with upgrading your seat for a performance between October 6, 2016 to May 20, 2017 as part of the 2016/2017 season subscription. Seat Upgrades are granted on a case-by-case basis and are subject to availability. Account must be in good standing at the time you upgrade your seat. A Seat Upgrade has no cash value and is non-transferable. The COC reserves the right to modify these terms and conditions at any time.

CANADIAN OPERA COMPANY 2015/2016

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OPERA INSIGHTS FREE EVENTS THIS SPRING

REGISTRATION BEGINS TUES. APRIL 5, 2016 AT 10 A.M. ONLINE OR BY PHONE. Visit coc.ca/OperaInsights for more information.

Carmen danza!

Tues. April 19, 2016, 7 – 8:30 p.m. Put on your dancing shoes and join Ritmo Flamenco’s Anjelica Scannura and flamenco guitarist Roger Scannura as they take you on a journey deep into the heart of Spain’s rich dance culture. All levels of dancers are welcome!

Reconstructing Rossini

Wed. April 27, 2016, 7 – 8:30 p.m. Rossini’s Maometto II went through several dramatic revisions early in its performance history. Join the team responsible for the new critical edition of the opera as they lead us on a fascinating journey of rediscovery. Presented in partnership with the Center for Italian Opera Studies, University of Chicago.

Rossini Master Class

Mon. May 2, 2016, 7 – 8:30 p.m. Listen in as singers from the COC’s Ensemble Studio join Maometto II conductor Harry Bicket to unravel the complexities of Rossinian bel canto vocal style in this public master class.

DON’T FORGET OUR WINTER 2016 EVENTS! Siegfried from Scratch | In Conversation: Christine Goerke | Figaro Bootcamp LIMITED PLACES MAY STILL BE AVAILABLE! Go to coc.ca/OperaInsights to register.

SUMMER OPERA CAMPS One hot Monday last summer, a group of teenagers gathered in a sunlit room on the Queen Street side of the Four Seasons Centre for the Performing Arts. It was the first day of the COC’s Summer Opera Camps after a two-year hiatus. Most of them had never met, but over the next few days these talented young people conceived, wrote, composed, designed, staged, rehearsed, and, finally, performed an opera. They were guided by the remarkable Chris Thornborrow (composer), Jen Johnson (drama and movement specialist), and Sonja Rainey

(designer). Their imaginative and moving opera, Speak Stand Change, dense with ideas, emotions, and beautiful melodies, received a standing ovation. Each Monday a new group of young people entered the space and by the end of each week they had created and performed an original opera. In the process participants formed friendships; learned each other’s amazing talents as singers, designers, and composers; and discovered new strengths and interests of their own.

We are delighted to bring Summer Opera Camps back this coming July! Once again, participants in grades 1 to 12 will be given the rare experience of playfully exploring opera as both creators and performers, and will get a glimpse into the magnificent world of opera. For more details, please visit coc.ca/Camps. Registration opens in January.

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CANADIAN OPERA COMPANY 2015/2016


SUPPORTING TORONTO’S GROWING ARTS C O M M U N I T Y T O D AY, A N D F O R E V E R

As Naming Donor of the Four Seasons Centre for the Performing Arts, we are proud to be a lifelong friend of the fine arts experience for the patrons here and from around the world.

ENJOY THE PERFORMANCE

fourseasons.com


BACKSTAGE AND BEYOND! Here is a look at some of our recent activities, many shared with our wonderful COC donors, including parties, galas, and backstage meet-and-greets with artists. 1

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1 Happy winners Lauren Eberwein (mezzo-soprano, Second Prize),

Emily D’Angelo (mezzo-soprano, First Prize and Audience Choice Award), and Bruno Roy (baritone, Third Prize), pose for a picture after our annual Centre Stage: Ensemble Studio Competition Gala. The event raised approximately $450,000 (net) in support of young artists and brought nearly 1,000 people together to discover and celebrate Canada’s emerging opera voices.

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4 COC General Director Alexander Neef and soprano Sondra

Radvanovsky at a video shoot in the fall, where Sondra spoke about returning to the COC to sing Norma during the 2016/2017 saeson.

5 COC Board Member Michael Gibbens and his wife Julie

Lassonde enjoy drinks prior to Centre Stage alongside Canadian Opera Foundation Chair Phil Deck.

2 Production underwriter Gail Appel with Canadian composer

6 Young superheroes hard at work designing and making their

3 Ensemble Studio graduate, bass Robert Gleadow, his wife Yvonne

7 The COC showed its solidarity with the Toronto Blue Jays,

Barbara Monk Feldman and director Christopher Alden toast the Canadian world premiere of Pyramus and Thisbe. Schut, and baritone Quinn Kelsey at opening night party of La Traviata.

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own capes as part of the public performance of the new Glencore Ensemble Studio School Tour production of Operation Superpower. hanging a huge banner in the front window of the Four Seasons Centre for the fall run. The Jays didn’t win the World Series, but we know they will in 2016!


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8 Nada Ristich, Director of Corporate Donations at BMO, and

Alexander Neef attend a Working Rehearsal Dinner for our new production of La Traviata, underwritten in part by BMO. These donor-attended events feature a dinner in the Henry N. R. Jackman Lounge, an intimate Q&A session with the production’s creative team, as well as a sneak peek at a portion of a working rehearsal.

9 The hundreds of thousands of honey bees who live on

the roof of the Four Seasons Centre won a sweet victory! Beekeeper Fred Davis entered the bees’ honey into the Royal Agricultural Winter Fair’s amber honey category and took first place! You can buy this award-winning honey at Four Seasons Centre bars during performances.

10 Alexander Neef and COC Board Chair Colleen Sexsmith provide four-hand piano accompaniment during a rendition of “O Tannenbaum” at Cocktails & Carols, the annual Golden Circle Holiday Party.

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11 Aaron Sheppard, Lesley Abarquez, Erica Iris Huang and

Jean-Philippe Fortier-Lazure hit the road during last November’s Glencore Ensemble Studio School Tour.

12 Opera Club members attended the Season-Opening Party at the Four Seasons Centre.

13 Sandra Corazza, COC costume supervisor, at the “La Traviata

and the History of the Ball Gown” event, part of the new free Opera Insights series. This event featured a spectacular array of gowns, including many lent from some of the world’s most stylish women.

14 Ticket services manager Andrea Salin and chief

communications officer Steve Kelley joined the rest of the Communications team to celebrate the holidays with a cooking class in a professional kitchen. In all, 16 delicious dishes were prepared in four hours! CANADIAN OPERA COMPANY 2015/2016

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GO SCENT FREE: In consideration of patrons with allergies, please avoid wearing strongly perfumed beauty products and fragrances. A scene from the COC’s new production of The Marriage of Figaro (Salzburg Festival, 2011)

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CANADIAN OPERA COMPANY 2015/2016


THE MARRIAGE OF FIGARO BY WOLFGANG AMADEUS MOZART

Opera Buffa in Four Acts w Libretto by Lorenzo da Ponte, after Pierre-Augustin Caron de Beaumarchais’ comedy, La folle journée, ou Le mariage de Figaro First performance: Burgtheater, Vienna, May 1, 1786 NEW COC PRODUCTION Production created by the Salzburg Festival Last performed by the COC in 2007 Sung in Italian with English SURTITLES™ Conductor..................................................................................................... Johannes Debus* Jordan de Souza (Feb. 23 and 25) Director.......................................................................................................... Claus GuthD Associate Director..................................................................................... Aglaja NicoletD Set and Costume Designer.................................................................... Christian SchmidtD Lighting Designer...................................................................................... Olaf WinterD Video Designer........................................................................................... Andi A. MüllerD Choreographer............................................................................................ Ramses SiglD Chorus Master............................................................................................. Sandra Horst^**** Stage Manager............................................................................................ Jenifer Kowal SURTITLES™ Producer............................................................................. Gunta Dreifelds Performance time is approximately three hours and 30 minutes, with one intermission

Generously underwritten in part by Sarah Billinghurst Solomon and Howard Solomon in memory of Gerard Mortier

THE CAST (in order of vocal appearance) February 4, 7, 9, 13, 17, 19, 21, 23, 25, 27, 2016 Figaro, Count Almaviva’s valet.............................................................. Josef WagnerD Susanna, Countess Almaviva’s maid, engaged to Figaro........... Jane Archibald Bartolo............................................................................................................ Robert Pomakov Marcellina...................................................................................................... Helene SchneidermanD Cherubino, a page...................................................................................... Emily FonsD Count Almaviva.......................................................................................... Russell Braun** Don Basilio, a music-master................................................................... Michael Colvin^ Countess Almaviva.................................................................................... Erin Wall Antonio, the gardener........................................................................... Doug MacNaughton^ Don Curzio, counsellor-at-law............................................................... Jean-Philippe Fortier-Lazure†*** Barbarina, Antonio’s niece...................................................................... Sasha Djihanian^ Cherubim....................................................................................................... Uli KirschD *Johannes Debus is generously underwritten by George & Kathy Dembroski **Russell Braun’s performance is generously sponsored by Earlaine Collins ***Jean-Philippe Fortier-Lazure’s performance is generously sponsored by Margaret Harriett Cameron and the late Gary Smith ****Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price D

COC Debut ^ Graduate of COC Ensemble Studio Program information is correct at time of printing. All casting is subject to change.

CANADIAN OPERA COMPANY 2015/2016

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THE CAST (in order of vocal appearance) Ensemble Studio Performance: February 22, 2016 Figaro, Count Almaviva’s valet.............................................................. Iain MacNeil† Susanna, Countess Almaviva’s maid, engaged to Figaro............ Karine Boucher†** Bartolo............................................................................................................ Robert Pomakov Marcellina...................................................................................................... Megan Latham Cherubino, a page...................................................................................... Jacqueline Woodley^ Count Almaviva.......................................................................................... Gordon Bintner†* Don Basilio, a music-master................................................................... Jean-Philippe Fortier-Lazure†***** Countess Almaviva.................................................................................... Aviva Fortunata†*** Antonio, the gardener........................................................................... Doug MacNaughton^ Don Curzio, counsellor at law............................................................. Aaron Sheppard†D**** Barbarina, Antonio’s niece................................................................... Sasha Djihanian^ Cherubim....................................................................................................... Uli KirschD

Generously underwritten in part by Roy and Marjorie Linden *

Gordon Bintner’s performance generously sponsored by Marcia Lewis Brown

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Karine Boucher’s performance generously sponsored by Colleen Sexsmith

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Aviva Fortunata’s performance is generously sponsored by COVC Jean A. Chalmers Award

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Aaron Sheppard’s performance is generously sponsored by Tony & Anne Arrell

Jean-Philippe Fortier-Lazure’s performance is generously sponsored by Margaret Harriett Cameron and the late Gary Smith *****

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COC Debut † Current member of the COC Ensemble Studio ^ Graduate of COC Ensemble Studio Program information is correct at time of printing. All casting is subject to change.

GO SCENT FREE: In consideration of patrons with allergies, please avoid wearing strongly perfumed beauty products and fragrances.

A scene from the COC’s new production of The Marriage of Figaro (Salzburg Festival, 2011)

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Director’s Notes With The Marriage of Figaro, Mozart created a world theatre of human passions that testifies to the elemental force of eroticism. All forms of love and desire are found in this opera, and the four generations of characters— presented in exemplary fashion—are completely torn between morality, desire and impulse. In Figaro, Mozart not only allows all kinds of intense human passions but also portrays how they can get out of control and escalate to extremes, thus setting his opera far apart from the comedy by Beaumarchais. That was why I wanted, on the one hand, to follow the characters into their darkest psychological depths, but at the same time leave space for exploring the utopian moments in Mozart’s music, which for me are so special in the score of Figaro. An invented character, a kind of Eros angel, indicates this confusing other dimension that pervades the opera. He always appears when the characters find themselves in situations that are diametrically opposed to their intentions when guided by reason. Claus Guth, Salzburg, 2011

MUSIC STAFF Rachel Andrist (Head Coach) Michael Shannon Hyejin Kwon (Ensemble Studio Intern Coach) Jennifer Szeto (Ensemble Studio Intern Coach) ASSISTANT CONDUCTOR Jordan de Souza ASSISTANT DIRECTOR Allison Grant FIGHT DIRECTOR James Binkley ASSISTANT STAGE MANAGERS Tiffany Fraser Kate Porter ASSISTANT LIGHTING DESIGNERS Andrea Nelson Davida Tkach Wally Russell Lighting Intern Wesley McKenzie UNDERSTUDIES Susanna Countess Almaviva Count Almaviva Figaro Cherubino Marcellina Don Basilio Don Curzio

Karine Boucher Aviva Fortunata Gordon Bintner Iain MacNeil Jacqueline Woodley Megan Latham Jean-Philippe Fortier-Lazure Aaron Sheppard CANADIAN OPERA COMPANY 2015/2016

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Synopsis

This page: Simon Keenlyside as Count Almaviva and (opposite) Marlis Petersen as Susanna in The Marriage of Figaro (Salzburg Festival, 2011).

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ACT I Susanna informs her fiancé Figaro that the Count is making advances to her. Figaro leaves intent on revenge. Bartolo and Marcellina enter, the latter baiting Susanna because she wants Figaro for herself, while Bartolo is still smarting at Figaro for making a fool of him in the past. They leave and Cherubino enters, seeking advice from Susanna because, after being caught dallying with the gardener’s niece, he is to be sent away. He hides himself as they hear the Count approaching. The Count, too, is forced to hide as Don Basilio enters. Basilio mentions Cherubino’s crush on the Countess to Susanna and the enraged Count reveals himself. He informs them that he is sending Cherubino away, at which point he finds the hidden page. Furious, he swears to get rid of Cherubino with a military commission. Figaro returns with celebrating townsfolk and asks the Count to unite Susanna and him in marriage. The Count postpones the proceedings.

chamber, claiming Susanna is inside trying on her wedding dress. The Count leaves with the Countess to get a crowbar. Susanna hides herself in the locked inner chamber and Cherubino escapes through the window. Upon their return, the Countess decides to confess everything to her husband and is shocked when Susanna exits the locked room. The Count begs forgiveness for his suspicions. Figaro arrives to gather up the group once more for the wedding. He is followed by Antonio who reports that someone jumping from the Countess’ balcony has crushed his flowers. After prompting from the women, Figaro claims it was he who jumped. The gardener shows him Cherubino’s dropped commission, which Figaro claims he was holding to get the Count’s seal. Marcellina, Bartolo and Basilio enter, and the Count, still suspicious, hears their claim that Figaro is obliged to marry Marcellina to pay off an outstanding debt.

ACT II Susanna tells the Countess that she and Figaro have a plan to teach the Count a lesson: Susanna will set up a rendezvous with the Count, but will send Cherubino in her place, disguised as a girl. The page enters with a song of love for the Countess and a commission letter that the Count forgot to seal. They hear the Count approaching and quickly hide Cherubino in an inner chamber and Susanna elsewhere in the room. The Count is instantly suspicious. The Countess refuses to unlock the inner

ACT III Susanna agrees to meet the Count in the garden. The Count then overhears Susanna tell Figaro that his legal troubles will soon be over. He is furious at the apparent deception. Marcellina and Bartolo, their attorney Don Curzio in tow, confront Figaro, who tells them that being of noble birth—though stolen away by thieves as an infant—he can only marry with the consent of his family. As proof, he reveals his birthmark. Marcellina and Bartolo recognize the

CANADIAN OPERA COMPANY 2015/2016

INTERMISSION

mark as belonging to their son, and the three joyfully reunite. Susanna rejoins them, having secured the money from the Countess to pay off Figaro’s debt. At first angry, Susanna is overjoyed at the news. Everyone is happy except the Count, who is sure he’s still being played. The Countess dictates a letter from Susanna to the Count. She plans to surprise her husband in the garden herself. Figaro returns to once more gather everyone for the wedding. During the dancing, Susanna slips the Count her letter. ACT IV In the garden, Figaro meets the gardener’s niece Barbarina, who the Count has entrusted to return the brooch Susanna pinned to the letter. Figaro assumes Susanna is cheating on him, and invites Bartolo and Don Basilio to join him for her public humiliation. As they leave, the Countess and Susanna appear, each dressed as the other. Cherubino is also in the garden meeting with Barbarina. He spies the Countess and, thinking she is Susanna, leans in to kiss her. Instead he kisses the Count, who swats Figaro. The Count declares his love for Susanna, who is really the Countess, while Figaro tells the Countess, who is really Susanna, about the tryst. Susanna forgets to disguise her voice, and Figaro figures out it is she under the Countess’s cloak. Their embrace is noticed by the Count, who is about to expose them when his wife takes off her own disguise. Almaviva is shamed and apologizes to his wife for both his jealousy and his infidelity. They all return to the celebration.


Orchestra VIOLIN I Marie Bérard, Concertmaster The Concertmaster’s chair has been endowed in perpetuity by Joey and Toby Tanenbaum Aaron Schwebel, Associate Concertmaster Jamie Kruspe, Assistant Concertmaster Anne Armstrong Sandra Baron (leave of absence) Bethany Bergman Catherine Cosbey* Nancy Kershaw Dominique Laplante (leave of absence) Yakov Lerner Jayne Maddison Neria Mayer VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal James Aylesworth Elizabeth Johnston Lynn Kuo* Aya Miyagawa Louise Tardif Marianne Urke Joanna Zabrowarna VIOLA Keith Hamm, Principal Joshua Greenlaw, Assistant Principal Carolyn Blackwell* Sheila Jaffé Beverley Spotton Yosef Tamir CELLO Bryan Epperson, Principal Alastair Eng, Associate Principal Paul Widner, Assistant Principal Maurizio Baccante Olga Laktionova Elaine Thompson

BASS Alan Molitz, Principal Robert Speer, Assistant Principal Tom Hazlitt Paul Langley FLUTE Douglas Stewart, Principal Shelley Brown OBOE Mark Rogers, Principal Lesley Young CLARINET James T. Shields, Principal Colleen Cook BASSOON Eric Hall, Principal Elizabeth Gowen HORN Mikhailo Babiak, Principal Gary Pattison TRUMPET Robert Grim, Principal Robert Weymouth TIMPANI Michael Perry, Principal CONTINUO PIANO Michael Shannon*

IN MEMORIAM: BRUCE SCHAEF On January 2, 2016, the COC lost a beloved friend. Baritone Bruce Schaef was a 30-plus-year member of the COC chorus and a loyal subscriber and donor. From COC chorus master Sandra Horst: In addition to being a wonderful singer and captivating performer Bruce will be remembered for his fabulous, ever-present smile and positive approach to life. It was sheer joy to see Bruce in chorus rehearsals struggling with memory or complicated staging or dance steps, yet still flashing that beautiful smile and refusing to give up... an inspiration to me and everyone he worked with! Words cannot express the sense of loss we are all feeling and he will be sorely missed. He was adventurous, courageous, resilient in adversity, talented, empathetic, selfless, and a true friend to so many.

LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIAN Ondrej Golias STAGE LIBRARIAN Paul Langley PERSONNEL MANAGER Ian Cowie * extra musician

Chorus SOPRANOS Lindsay Barrett Alexandra Lennox-Pomeroy Eve Rachel McLeod Katie Murphy Jennifer Robinson Teresa van der Hoeven

TENORS Vanya Abrahams Stephen Bell Taras Chmil Sam Chung Sean Clark Stephen Erickson

MEZZO-SOPRANOS Susan Black Sandra Boyes Erica Iris Huang Laura McAlpine Marianne Sasso Cindy Won

BARITONES/BASSES James Baldwin Bruno Cormier Michael Downie Jason Nedecky Jan Vaculik Gene Wu

CANADIAN OPERA COMPANY 2015/2016

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HOLDING A MIRROR UP TO NATURE JANE ARCHIBALD AND ERIN WALL DISCUSS TACKLING THE ROLES OF SUSANNA AND THE COUNTESS, AND THE ENDURING RESONANCE OF MOZART’S FIGARO BY NIKITA GOURSKI

JANE ARCHIBALD

This page: Genia Kühmeier as the Countess. Next page: Marlis Petersen as Susanna. Both images are from the COC’s new production of The Marriage of Figaro when it was staged at the Salzburg Festival in 2011.

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ERIN WALL

Speaking by telephone from her home in Halifax, Nova Scotia, soprano Jane Archibald is looking for the right words to describe Mozart’s The Marriage of Figaro. “‘Masterpiece’ doesn’t really do it justice,” she says. “I would hazard a guess that for anyone who sings professionally, discovering this opera for the first time... It’s a ‘before Figaro’ and ‘after Figaro’ scenario.” Even by the lofty standards of Mozart’s oeuvre, which includes The Magic Flute, Don Giovanni, and Così fan tutte, The Marriage of Figaro stands apart as a pinnacle achievement: possibly the best opera ever written. “My heart still beats faster every time I hear the overture,” says Canadian soprano Erin Wall (Clémence in Love from Afar and Antonia in The Tales of Hoffmann, both 2011/2012), who portrays the Countess in the COC’s new production of the opera. “I still have to fight off the tears onstage when I hear ‘Contessa, perdono’ [in which the Count apologizes to his wife for his failures as a husband]. To me it’s one of the greatest moments in all opera.” In a similar vein, Jane calls Figaro her “favourite Mozart opera,” and recalls how thrilled she was to be offered the part. She has sung the role of Susanna—Figaro’s fiancée and the object of the Count’s extracurricular attentions—only once before, a decade ago with the Chicago Opera Theater. “It’s been simmering on the back burner for 10 years,” she says, noting that her life has changed radically in the interim. She is now married and a mother, so “maybe aspects of Susanna that are more knowing, more mature will come to the fore.” For Jane, who is known to COC audiences for her mastery of roles requiring high-wire vocal acrobatics and exquisite ornamentation—recall her rendition of Zerbinetta in Strauss’ Ariadne auf Naxos (spring 2011) or the title role in Handel’s Semele (spring 2012)—Susanna’s music represents a significant departure. “This is not one of my bread and butter roles, where I sing as many notes as possible, as


quickly as I can, and as high as I can,” she notes. But while Mozart’s tempos and vocal writing demand fewer show-stopping fireworks, they offer “these moments of beautiful calm. Susanna’s aria “Deh vieni” [in Act IV] is stunning in its simplicity,” says Jane. “She drops down to the low notes, to the chest voice, and there’s something so assured and calm in that moment. For most of the opera she’s been at the whim of just about everyone else, but at this moment, she’s in control. Time slows down.” Both Jane and Erin agree that Mozart continues to delight and engage us because the material is so universal and timeless. “The marriage that’s in trouble, the boss who’s a jerk, the power of attraction and how people act (or don’t act) on those impulses. These are universal elements,” Erin says.

Stock characters emerge as real people: flawed and conflicted, with music that enacts the full range and ambiguity of their human experience. Indeed, Figaro is—quite possibly—the first opera in music history written about us, which is to say, ordinary people. Serious operatic works in the 18th century drew their subject matter from mythological or Biblical sources, relegating the ordinary affairs of men and women to the merely comic genre (opera buffa).

Figaro, but they had never seen them represented the way Figaro and Susanna are, transcending their cartoonish antecedents in opera buffa; audiences had never seen characters like the Count and Countess, who defy their genealogy as predictable stock characters to emerge as real people: flawed and conflicted, with music that enacts the full range and ambiguity of their human experience. “I love the Countess,” Erin says. “Her music is exquisite, and full of challenges, but an absolute delight to sing. She is so relatable, so human, and so easy to sympathize with. She finds herself in a situation that is uncomfortable and sad, but she doesn't just sit around moping—she wants her husband [the Count] back, and she spends the majority of the opera working to make this happen, going to some fairly extreme measures. She’s smart, and almost always one step ahead of her husband. Of all the Mozart roles I’ve sung, it’s my favourite.” Portraying the Countess’ husband is COC favourite, baritone Russell Braun. “We’ve sung together a lot over the last couple of years,” Erin says. “He is a wonderful musician, and I find he’s always open to discussion and truly interested in collaboration. We’ve sung two operas together, Dido and Aeneas and Love from Afar, but in those instances, our characters never sang together in ensembles and didn’t interact a great deal. Figaro will be very different, so I’m looking forward to that.”

Moreover, the COC’s new production— originally conceived at the Salzburg Festival as part of the celebrations surrounding Mozart’s 250th birthday and hailed for opening “a new perspective on an opera that is normally staged as a lightweight, turbulent farce” (Zeit Online)—gives Erin the opportunity to explore the Countess’ role even more substantially. Watching the production on DVD, she was intrigued by the “dark and serious psychological current running through it, balanced with whimsical elements. The relationship between the Count and Countess is far more interesting in this production—she seems much more tortured and neurotic, and their relationship is quite charged and intense, whereas in many stagings the Count has simply lost all interest in her and is cold and distant.” The Count and Countess ultimately experience an understanding and the opera ends with a jubilant finale, but Mozart weaves a thread of uncertainty into the whole. His genius is as much about giving us a taste of perfection as it is about recognizing the sad sweetness of life, the instability of love, which is why the moments of musical transcendence in the opera fade almost as quickly as they are drawn. “Life. Love. It’s ephemeral,” Jane notes, “the way you come to recognize the perfection of a moment only when its edges are already kind of disappearing.” Nikita Gourski is Development Communications Officer at the COC.

The breakthrough of Figaro was to examine ordinary human relationships within the conventions of comic opera, but to exceed the limitations of that genre, to offer a sophistication of musical writing and character development that was, in an important way, brand new. An 18th-century opera audience had seen common people depicted on stage prior to CANADIAN OPERA COMPANY 2015/2016

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DARKNESS AND JOY: EXPLORING THE HUMANITY OF CLAUS GUTH’S FIGARO BY GIANMARCO SEGATO

Uli Kirsch as Cherubim and Marlis Petersen as Susanna from the COC’s new production of The Marriage of Figaro when it was staged at the Salzburg Festival in 2011.

Classical River Cruise & Concert Series

Rhone, France & Barcelona, Spain October 10 - 25, 2016

Renowned impresario and raconteur George Zukerman, OC, OBC, has orchestrated a glorious music cruise along the Rhone River. This exploration of Southern France and Barcelona features a rich cultural program sure to enthrall lovers of music, travel, history and fine cuisine. Savour 3 nights in Lyon, 4 nights in Barcelona, and 7 nights aboard the luxurious river cruise ship AMADagio, with a dozen extraordinary music performances both on board and in some of the grand venues of France and Spain.

Jiuguang Wang

Experience Verdi’s Macbeth at the Grand Teatre del Liceu in Barcelona

Special Travel International

4603 Main Street, Vancouver, BC V5V 3R6 phone 1 (800) 665.0998

sti@sticanada.com W W W. S T IC A N A D A . C O M


Claus Guth’s production of The Marriage of Figaro has had a lengthier gestation period than most. It premiered at the 2006 Salzburg Festival, was quickly revived there in 2007 and 2009, and culminated in the German director staging all three of Mozart’s collaborations with librettist Lorenzo da Ponte at the 2011 festival (Don Giovanni being added in 2008 and Così fan tutte in 2009). Initially, Guth resisted Mozart’s iconic comedy, questioning whether it was possible for him to confront the dangerous elements in a work whose music he had enjoyed with “uncontrolled excess”* while growing up. It was the Salzburg production’s first conductor, Nikolaus Harnoncourt, who managed to shift Guth’s focus away from Figaro’s distractingly glittery musical delights towards its intelligent, witty exploration of real, human relationships—the very elements that pushed comic opera beyond its more formulaic, slapstick Italian commedia dell’arte roots.

an agent of chaos and his symbolic threat is dispensed with when Guth has him killed by his alter-ego, Cherubim, at the end of the opera.

character types within the Mozart/ da Ponte trilogy. For example, Guth came to view Figaro’s philandering Count Almaviva as a double for the womanizing anti-hero, Don Giovanni. Accordingly, he portrays the Count as a middle-aged, sex-obsessed roué who despite carrying on an affair with his wife’s maid, Susanna, still struggles to maintain a degree of bourgeois domesticity. He constantly mops his sweaty brow with a white handkerchief, panic-stricken he will be caught in the act.

From this emerged an interpretation that relocates the action from 18thcentury Andalusia to fin-de-siècle Central Europe by way of the intense, modernist stage dramas of Ibsen and Strindberg, and the films of Ingmar Bergman. Guth’s concept for his Figaro was by no means static, enmeshed as it became with his simultaneous stagings of Don Giovanni and Così fan tutte. He began to identify fascinating crossovers and linkages between specific

Guth notes a prevailing pessimism that pervades Mozart’s world view— in Figaro it has not yet completely taken over and so, “the more amusing elements are roughly equal to what frightens and depresses human beings.”* Darkness is always rumbling just beneath the surface, even in unexpected places like the opera’s grand finale. In most stagings, this moment is an excuse for general rejoicing despite the betrayals, both real and perceived, that have preceded it. Guth “found it rather attractive to add to this slightly mad jubilation, something rather like slightly hysterical laughter in view of the abyss.”*

This production’s most striking directorial intervention comes in the form of a non-speaking character, Cherubim, costumed exactly like the page, Cherubino. His silent, trickster-like presence (he has been portrayed by dancer and champion unicyclist Uli Kirsch in all iterations of the production) functions a lot like the personification of Love/Eros in early Baroque opera; he is invisible to the other characters and frequently manipulates them, pushing them together or pulling them apart. Guth’s Cherubim symbolizes the engine which drives Mozart’s complex musicodramatic creation: Eros (love/lust), and therefore expands and magnifies the real Cherubino’s function. Within Figaro’s world, the randy young page stands apart as the only character not yet shoehorned into a clearly defined societal role; as one who wears his heart on his sleeve and manages to remind the women (the Countess, Susanna and Barbarina) of their buried sexual desires. As such, he is deemed

If the happiness of Figaro’s all-too recognizably human characters is not a complete and outright lie, it is at the very least, deeply conflicted. * From an interview with Claus Guth by Monika Mertl in the 2011 Salzburg Festival house program

Gianmarco Segato is Adult Programs Manager at the COC. The COC production of The Marriage of Figaro is generously underwritten in part by Sarah Billinghurst Solomon and Howard Solomon in memory of Gerard Mortier

HIGH NOTES GALA for MENTAL HEALTH

JEAN STILWELL | RICHARD & LAUREN MARGISON | LUBA GOY RON KORB | MERCEDES CHEUNG | BALLET JORGEN | AND FRIENDS... April 28, 2016 | Tickets $35-$65 | 905.787.8811 | rhcentre.ca

Moving forward on higher notes

highnotesavante.ca | 416.605.8915


COC Board of Directors OFFICERS Ms. Colleen Sexsmith, Chair Mr. Justin Linden, Vice-Chair Mr. Paul A. Bernards, Treasurer Mr. John H. Macfarlane, Secretary Mr. Alexander Neef, General Director (ex officio) Mr. Robert Lamb, Managing Director (ex officio)

MEMBERS Mr. Tony Arrell Ms. Nora Aufreiter Ms. Marcia Lewis Brown Ms. Helen Burstyn Mr. Philip C. Deck Mr. Peter M. Deeb Mr. George S. Dembroski Mr. William Fearn Mr. David Ferguson (ex officio) Mr. Michael Gibbens Mr. Peter Hinman Dr. Linda Hutcheon Ms. Carolyn Jarvis

Mr. Jeff Lloyd Mr. Timothy Loftgard Ms. Anne Maggisano Ms. Judy Matthews Mr. Jonathan Morgan Ms. Frances Price Mr. J. Allen Smith Mr. Philip S. W. Smith Mr. Paul B. Spafford Ms. Kristine (Kris) Vikmanis Mr. Graham Watchorn Mr. John H. (Jack) Whiteside Ms. Yael Woodward

Canadian Opera Foundation Directors Mr. Tony Arrell Mr. Jonathan Bloomberg Mr. J. Rob Collins

Mr. Philip C. Deck, Chair Mr. Gary Grad Mr. Christopher Hoffmann

COC Opera Guilds Brantford Opera Guild David M. Cullen, President Kingston Opera Guild Grace Orzech, President London Opera Guild Ernest H. Redekop, President Muskoka Opera Guild Dr. Hans Heeneman, President Northumberland Opera Guild Thais Donald, President Oakville Opera Guild Maureen (Mo) Crossman, President Sudbury Opera Guild Dianne Moore, President Western New York Opera Guild Dorothy K. Piepke, President For more information, visit coc.ca/Guilds.

Ms. Colleen Sexsmith Mr. David Spiro, Secretary

Credits and Acknowledgments The 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 Musical excerpts provided by Universal Classics The COC is a member of Opera America, Opera.ca and TAPA. 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, Local #828.

Supernumeraries SIEGFRIED: John Allemang Matt Bernstein Liz Birss Marie Colucci Jackie Doig Mark Garlin Art Grierson

Doug Hamilton Ward Jardine David Johnston Gerald King Graham Leather Jim Lucas Colleen Mathieu Ian McIntosh

Vladimir Pajovic Ryan Reeve Yuan Ren Patrick Stepien-Scanlon Kim Twohig Jim Vanderlip Jim Warrington Jamie Whitaker

THE MARRIAGE OF FIGARO: Isobel Arseneau Annie Harsfai

Ella McCollum Siegfried Amelia Mendoza

Isla Parekh Chiara Urban


OPERA’S NEXT GENERATION The COC is committed to fostering the development of the next generation of opera stars and the future looks bright! In 2016, we look forward to welcoming several young artists to our two prestigious training programs, the COC Ensemble Studio and the COC Orchestra Academy. The COC Ensemble Studio, Canada’s premier training program for young opera professionals, welcomes seven outstanding artists for the 2016/2017 season: sopranos Danika Lorèn and Samantha Pickett, mezzo-sopranos Emily D’Angelo, Lauren Eberwein and Megan Quick, baritone Bruno Roy, and pianist Stéphane Mayer. The seven artists join the Ensemble Studio in August 2016 and become part of an illustrious program that, since its inception in 1980, has launched the

careers of over 215 Canadian singers, opera coaches, mainstage directors and conductors. D’Angelo, Eberwein and Roy were the top prize winners this past November at the COC’s fifth annual Ensemble Studio Competition, a vocal showcase of young artists vying for a spot in the program. Pickett is a fellow 2015 competition finalist, and Lorèn and Quick are two singers who impressed the COC artistic administration during the preliminary auditions for the Ensemble Studio this past fall. These new artists join four returning members of the Ensemble Studio for the 16/17 season: soprano Karine Boucher, tenors Aaron Sheppard and Charles Sy, and pianist Hyejin Kwon.

On January 6, the COC Orchestra Academy returned for its third year and five student musicians were immersed in this three-week intensive training program: cellist Drew Comstock, violinist Hua-Chu Huang, violinist Yada Lee, bassist Doug Ohashi, and violist Meagan Turner. Led by COC Music Director Johannes Debus, and developed in collaboration with The Glenn Gould School at the Royal Conservatory of Music and the University of Toronto’s Faculty of Music, the COC Orchestra Academy offers its student musicians professional insight, mentorship and experience in the pursuit of a career in an opera orchestra. As part of the Academy experience, students are featured in multiple public performances, including the opening night of Siegfried on January 23.

16/17

ENSEMBLE STUDIO KARINE BOUCHER Soprano

STÉPHANE MAYER Pianist

EMILY D’ANGELO Mezzo-soprano

LAUREN EBERWEIN HYEJIN KWON Mezzo-soprano Pianist

DANIKA LORÈN Soprano

SAMANTHA PICKETT MEGAN QUICK Soprano Mezzo-soprano

BRUNO ROY Baritone

CHARLES SY Tenor

AARON SHEPPARD Tenor

DREW COMSTOCK Cello

YADA LEE Violin

DOUG OHASHI Bass

MEAGAN TURNER Viola

2016

ORCHESTRA ACADEMY HUA-CHU HUANG Violin

CANADIAN OPERA COMPANY 2015/2016

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Administration and Staff

Costume Supervisor Sandra Corazza

ALEXANDER NEEF, General Director

Costume Co-ordinators Chloe Anderson Cassandra Spence

Managing Director Robert Lamb Music Director Johannes Debus EXECUTIVE OFFICE Executive Assistant to the General Director Marguerite Schabas MUSIC AND ARTISTIC ADMINISTRATION Director of Music & Artistic Administration Roberto Mauro Contracts Manager Karen Olinyk Company Manager Olwyn Lewis Chorus Master Sandra Horst Assistant to the Music Director Derek Bate Scheduling Manager Kathryn Garnett Production Assistants Caitlyn Albanese Kaitlyn Smith Orchestra Personnel Manager Ian Cowie

PRODUCTION Director of Production Peter W. Lamb Production Manager Lee Milliken Technical Director Chuck Giles Associate Technical Director Barney Bayliss Lighting Co-ordinator Daniele Guevara Assistant Technical Directors Autumn Coppaway Melynda Jurgenson Head Electrician Janice Fraser Assistant Electrician Joel Thoman Head of Sound Bob Shindle Assistant Sound Craig Kadoke Head Carpenter Paul Watkinson Assistant Carpenter David Middleton Head Flyman David Alexander

Music Librarian, Coach Wayne Vogan

Head of Properties Daniel Graham

Assistant Librarian Ondrej Golias

Core Crew Scott Clarke Doug Closs Terry Hurley Paul Otis

Music Staff Rachel Andrist (The Marriage of Figaro) Anne Larlee (Siegfried) Michael Shannon (The Marriage of Figaro) Eric Weimer (Siegfried)

Scene Shop Co-ordinator Amy Cummings Head Scene Shop Carpenter David Retzleff

COC ENSEMBLE STUDIO AND ORCHESTRA ACADEMY

Assistant Scene Shop Carpenter Andrew Walker

Director, COC Ensemble Studio and Orchestra Academy Nina Draganic

Head Scenic Artist Richard Gordon

Head of the Ensemble Studio & Coach Elizabeth Upchurch Head Vocal Consultant Wendy Nielsen COC Ensemble Studio Gordon Bintner Karine Boucher Jean-Philippe Fortier-Lazure Aviva Fortunata Andrew Haji Hyejin Kwon Iain MacNeil Aaron Sheppard Charles Sy Jennifer Szeto

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Assistant Head Scenic Artist Carolina Valenzuela Rehearsal Head Technician Scott Williamson Properties Supervisor Guy Nokes Resident Properties Builder/ Co-ordinator Stephanie Tjelios Resident Properties Buyer/ Co-ordinator Kathy Frost

Costume Assistants Natassia Brunato Christina Del Monte Resident Tailor Sue Furlong Assisted by Gulay Cokgezen Karen Hancock Rebecca Zimmerman Additional Costumes by Industry Costumes Martino Nyugen Avril Stevenson Additional hats by Kaz Chopcian Additional Painting and Dyeing by Marjory Fielding Head of Wardrobe Nancy Hawkins Wardrobe Assistant Leslie Brown Wig & Make-up Supervisor Sharon Ryman Head of Wig & Make-up Crew Cori Ferguson Production Co-ordinator Shawna Green SURTITLES™ Producer Gunta Dreifelds SURTITLES™ Editor Zane Kaneps SURTITLES™ Assistants Olwyn Lewis John Sharpe Supernumeraries Co-ordinators Analee Stein Elizabeth Walker ADVANCEMENT Chief Advancement Officer Christie Darville Executive Assistant to the Chief Advancement Officer Elizabeth Scott Manager, Government Relations Amy Mushinski Foundation Development Janet Stubbs Director of Development Stephen Gilles Senior Manager, Advancement Operations Peter Hussell Senior Manager, Events & Engagement Tracy Abergel

Properties Builder/Co-ordinator Tracy Taylor

Senior Development Officer, Events & Engagement Erin Koth

Properties Builders Carolyn Choo Wulf

Development Officer, Events & Engagement Alexandra Folkes

CANADIAN OPERA COMPANY 2015/2016

Senior Development Officer, Stewardship Emma Noakes Senior Development Officer, Annual Programs & Patron Engagement Natalie Sandassie Co-ordinator, Annual Programs & Patron Engagement Brianna Chase Co-ordinator, Annual Programs & Patron Engagement Eileen Hanratty Senior Development Officer, Friends of the COC Victor Widjaja Individual Giving Co-ordinator, Friends of the COC Soojin Ahn Senior Development Officer, Institutional Gifts Francesco Corsaro Senior Development Officer, Partnerships Sarah Heim Development Communications Officer Nikita Gourski Donations Database Officer John Kriter COMMUNICATIONS Chief Communications Officer Steve Kelley Director of Public Relations Claudine Domingue Senior Manager, Creative & Publications Gianna Wichelow Media Relations Manager Jennifer Pugsley Associate Manager, Digital Marketing Meighan Szigeti Assistant Manager, Marketing & Customer Service Eldon Earle Digital Marketing Co-ordinator Kiersten Hay Assistant Publicist Kristin McKinnon EDUCATION AND OUTREACH Associate Director, Education & Outreach Katherine Semcesen Program Manager, Free Concert Series Claire Morley Adult Programs Manager Gianmarco Segato School Programs Manager Vanessa Smith Children & Youth Programs Co-ordinator Amber Yared


TICKET SERVICES Ticket Services Manager Andrea Salin Assistant Ticket Services Manager Nikki Tremblay

FOUR SEASONS CENTRE FOR THE PERFORMING ARTS Director, Four Seasons Centre for the Performing Arts Alfred Caron

Group Sales Co-ordinator David Nimmo

Associate Director, Business Development Elizabeth Jones

Ticket Services Supervisor Lillian Fung

Business & Events Co-ordinator Shannon Churm

Ticket Services Supervisor Maureen Gualtieri

Administrator Jennifer Toulmin

Ticket Services Representatives James Baldwin Ernest Cayemen Nick Davis Aurelie Dufour Anna Kay Eldridge Peter Genoway Cat Haywood Karla Kampars Manda Kennedy Keith Lam Megan Miles Kevin Morris Rafael Renderos Paulina Saliba Kat Smiley Darcy Stoop

Manager, Front of House Julia Somerville

CALL CENTRE Call Centre Manager Richard Paradiso Call Centre Representatives Dona Arbabzadeh Catherine Belyea Denis Lam Margaret Terry FINANCE AND ADMINISTRATION Director of Finance & Administration Lindy Cowan, CPA, CA Human Resources Manager Lorraine O’Connor, CHRP Finance Manager Amalie Vanderzwet, CPA, CA General Accountants Florence Huang Zoran Orlic (FSCPA) Accounting Clerk Vera Brjozovskaia Payroll Accountants Jovana Bojovic Jeanny Won Manager, IT Services Steven Sherwood Database Reporting Specialist Brad Staples IT Services Assistant Tony Sandy Archivist, Joan Baillie Archives Birthe Joergensen Receptionist/Switchboard Katarina BoŞovic Mailroom Clerk/Courier Branka Hrsum

Manager, Food & Beverage Brigitte Lang Assistant Manager, Patron Services Kim Hutchinson-Barber Patron Services Supervisors Karol Carstensen Stuart Constable Jamieson Eakin Christine Groom Lori MacDonald Melissa McDonnell Evan Steingarten Sophia Wiens Rosemary Williams Kimberly Wu Patron Services Leads Grace Cacciatore Amelia Smart Kate Werneburg BUILDING SERVICES Associate Director, Facilities Management Joe Waldherr Assistant Manager, Operations Christian Coulter Maintenance Assistants Ryszard Gad (COC) Branislav Peterman (COC) Julian Peters (COC) James Esposito (FSCPA) Enrique Covarrubias Cortes (FSCPA) Piotr Wiench (FSCPA) Security Supervisor Dave Samuels Security Officers George Balyasin Abdi Gulleed Natalia Juzyc Usman Khalid Nicholas Martin Kathleen Minor Heather Reid Building Operators Dan Bisca Dan Popescu Adrian Tudoran Eurest Services Supervisor Paula Da Costa Eurest Services Team Jennifer Barros Malaku Godana Nash Lim Jimmy Pacheco Sugey Torres


OPERA: FACES & WORDS In an ambitious, large-scale work, portrait photographer, President’s Council member, and COC subscriber Veronika Roux-Vlachova, turns her camera on internationally acclaimed opera singers to explore the many sides of an artist’s personality. BY NIKITA GOURSKI

Lauren Segal, mezzo-soprano 44

CANADIAN OPERA COMPANY 2015/2016

Two winters ago, Veronika RouxVlachova was at a performance of Così fan tutte—a work about the dissolving boundaries between authenticity and deception—when a line in the libretto prompted a series of ruminations: during an aria, who is the true self? The performer as she is on stage, embodying a role? Or the individual as she is in “real life,” beyond the proscenium? And how do these two selves interact through the text of an opera? These questions continued to percolate, and prompted Ms. Roux-Vlachova to undertake an ambitious photography project called Opera: Faces & Words. For the duration of our winter run, the COC is proud to showcase a portion of this ongoing project at the Four Seasons Centre for the Performing Arts. A business strategist and portrait photographer with a multinational practice operating out of Toronto, New York, and Paris, Ms. Roux-Vlachova has spent several months photographing opera singers, producing a series of double-portraits: one in which the subject is situated and attired formally, as a performer, and one in which we glimpse another side of them, their offstage selves. The paired photographs reveal not only subtle shift in selfpresentation, but also the continuities of an artist’s multi-sided essence.

Andrew Haji, tenor

Ms. Roux-Vlachova also requested that each singer provide an aria that is personally meaningful to them, and the text is included alongside the paired photographs. In combining words and images to enhance our understanding of the subject, Ms. Roux-Vlachova was inspired by works like Miroirs autoportraits (1973), a collaboration of French photographer Édouard Boubat and the writer Michel Tournier, presenting photographs of French authors and the authors’ descriptions of their photographs. To date, Ms. Roux-Vlachova has taken portraits of 14 singers, and the COC presents a selection of six during the winter run. Moreover, Opera: Faces & Words is highlighted in the Winter 2016 issue of Opera Canada. Ms. Roux-Vlachova hopes to continue her work with this venture, adding more subjects, and perhaps revisiting them after five, 10, or 15 years, to incorporate temporality into our evolving perception of the people who bring opera to life. To learn more about the ongoing photo project, visit operafacesandwords.com. Nikita Gourski is Development Communications Officer at the COC.

Allyson McHardy, mezzo-soprano


SPRING SIZZLES AT THE COC!

TICKETS FROM

$50

Don’t miss a single moment of the COC’s spring line-up, from the vocal pyrotechnics of superstar bass-baritone Luca Pisaroni in Rossini’s Maometto II to the heat and passion of Bizet’s Carmen. Tickets start at $50 and subscribers can purchase extra tickets at their already reduced subscription rate. Visit coc.ca/Tickets or call 416-363-8231 or 1-800-250-4653. CANADIAN OPERA COMPANY 2015/2016

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Life Trustees Council

The Life Trustees Council salutes the leaders of the COC community whose efforts have been integral to the company’s artistic evolution and transformative history of accomplishment. Earlaine Collins J. Rob Collins David Ferguson (Chair)

Jerry and Geraldine Heffernan Ben Heppner Henry N. R. Jackman

Adrianne Pieczonka Arthur R. A. Scace, C. M. David Stanley-Porter

E. Louise Morgan Society

The E. Louise Morgan Society was created to reflect the vision and commitment of its founder and the members who have created a legacy of leadership, passion and philanthropy in support of the goals of the Canadian Opera Company. Each of these donors has contributed a cumulative total of more than one million dollars over the past 15 years. Their support is critical to the company’s success and we are forever indebted to their commitment and generosity. Tony and Anne Arrell The Estate of Dr. Larry M. Agranove ARIAS: Canadian Opera Student Development Fund The Gerard & Earlaine Collins Foundation The late John A. Cook The Estate of Horst Dantz and Don Quick Jerry and Geraldine Heffernan

Kolter Communities The Catherine and Maxwell Meighen Foundation Roger D. Moore E. Louise Morgan Tim & Frances Price Colleen Sexsmith Joey & Toby Tanenbaum Anonymous (3)

Major Gifts and Special Projects The COC offers its sincere thanks to the individuals listed below for their extraordinary support. PRODUCTION UNDERWRITERS Demonstrating their leadership and generosity, these donors have underwritten the COC’s mainstage productions.

ENSEMBLE STUDIO SUPPORTERS Encouraging the next generation of artists, these donors support the COC Ensemble Studio.

June Shaw and the late Dr. Ralph Shaw Jack Whiteside Brian Wilks Anonymous (2)

$500,000 + Jerry & Geraldine Heffernan The Catherine and Maxwell Meighen Foundation Colleen Sexsmith

$1,000,000 Peter M. Deeb

GENERAL PROGRAM SUPPORTERS Providing general program support is critical to the COC’s artistic mission.

$100,000 – $499,999 Mark & Gail Appel Paul Bernards David Roffey & Karen Walsh

$25,000 – $99,999 Ethel Harris & the late Milton E. Harris Hal Jackman Foundation Barbara Keenan Roy and Marjorie Linden The Stratton Trust W. Garfield Weston Foundation

PERFORMANCE AND ARTIST SPONSORS The following donors extend their generous support to individual artists and productions $100,000 + George & Kathy Dembroski Jack Whiteside $50,000 – $99,999 Sarah Billinghurst Solomon & Howard Solomon $25,000 – $49,999 Earlaine Collins Françoise Sutton Anonymous (1) Up to $24,999 Peter & Hélène Hunt Robert Sherrin Kristine Vikmanis & Denton Creighton 46

$100,000 + The Slaight Family Foundation

Up to $24,999 ARIAS: Canadian Opera Student Development Fund In honour of Walter and Anneliese Blackwell Marcia Lewis Brown Margaret Harriett Cameron and the late Gary Smith Earlaine Collins Ninalee Craig Catherine Fauquier Patrick Hodgson Family Foundation Alexandra Jonsson Jo Lander Tom C. Logan Dr. & Mrs. Donald C. McGillivray Roger D. Moore Colleen Sexsmith Dr. David Shaw

CANADIAN OPERA COMPANY 2015/2016

$1,000,000+ Tim & Frances Price Anonymous (1) $100,000+ Anne & Tony Arrell $25,000 – $50,000 Simon Nyilassy Up to $24,999 Bruce C. Bailey James & Christine Nicol Gretchen & Donald Ross ENDOWMENT SUPPORT Making a gift to the Endowment ensures the longterm stability for the COC and its artists. $100,000 + Hon. Henry N. R. Jackman $25,000 – $99,999 The Bennett Family Foundation Dr. Rodney C. Ellis John B. Lawson C.M., Q.C.

Michael W. & Wanda Plachta Endowment Fund Janet Stubbs Up to $24,999 June McLean Anonymous (1) LEGACY AND BEQUEST GIFTS The COC honours the memory of the following patrons whose vision and generosity has provided lasting support. Estate of Horst Dantz and Don Quick‡ Estate of Anne Margaret Delicaet Estate of Marion Gertrude Farr‡ Estate of Egon Homburger‡ Estate of Eluned J. MacMillan Estate of Vida Peene Estate of J.M. (Doc) Savage‡ Estate of Helen Allen Stacey Estate of James Drewry Stewart Estate of Jeanie Irwin Walker Estate of Marion Caroline Wilson‡ Anonymous‡ ‡ designates funds directed to the COC’s Endowment


MEMORIAL AND HONORARY DONATIONS The COC expresses its sincere appreciation to all donors who have made memorial and honorary donations. In Memory of

Tony Andrejicka Richard Bradshaw Clarice Carson Norman Coxall Shelagh and Nicholas Goldschmidt Dr. Wilfred Stephan Goodman C. Roy Horney Anthony C. J. Humphreys

Individual Giving Annual Support GOLDEN CIRCLE GOLD, $50,000 + Anne & Tony Arrell**** Cecily & Robert Bradshaw* David G. Broadhurst** In memory of Gerard H. Collins**** Jerry & Geraldine Heffernan**** The Catherine and Maxwell Meighen Foundation**** Colleen Sexsmith*** Anonymous (1) SILVER, $25,000 – $49,999 Mark & Gail Appel*** Paul Bernards*** Barbara Black** Philip Deck & Kimberley Bozak*** Michael Gibbens & Julie Lassonde* Douglas E. Hodgson**** Rennie & Bill Humphries**** Ronald Kimel & Vanessa LaPerriere**** Susan Loube & William Acton** James & Christine Nicol Jack Whiteside*** Anonymous (1) BRONZE, $12,500 – $24,999 Dr. & Mrs. Hans G. Abromeit**** Ms Nora Aufreiter* Mr. Philip J. Boswell**** Walter M. & Lisa Balfour Bowen**** Susanne Boyce & Brendan Mullen**** Marcia Lewis Brown* Stewart & Gina Burton* Helen Burstyn & Family Wendy M. Cecil & Jack Cockwell**** Dr. John Chiu in memory of Yvonne Chiu, C.M.**** Stephen Clarke & Elizabeth Black** The Max Clarkson Family Foundation**** J. Rob Collins & Janet Cottrelle**** Sydney & Florence Cooper** Ninalee Craig*** Mr. & Mrs. Leslie Dan*** Jean Davidson & Paul Spafford**** David & Kristin Ferguson**** George Fierheller**** Lloyd & Gladys Fogler*** Four Seasons Hotels & Resorts*** Robert Fung** The Hon. William C. Graham & Mrs. Catherine Graham**** Ira Gluskin & Maxine Granovsky Gluskin*** Ethel Harris & the late Milton Harris**** William & Nona Heaslip Foundation**** Mr. Peter Hinman & Ms Kristi Stangeland Michael & Linda Hutcheon**** Justin S. Linden* Jeff Lloyd & Barbara Henders* Bernhard & Hannelore Kaeser**** Bobby & Gordon MacNeill**

Patricia Johnson William G. Mitchell Marjorie Pepper Emily Rankin John Henry Rogers Martin Ruckpaul Darco Seifert Joan Watson

In Honour of

Ms Anne Maggisano Judy & Wilmot Matthews* Hon. Margaret Norrie McCain*** John & Esther McNeil**** Don McQueen & Trina McQueen, O.C. ** John McVicker & B. W. Thomas**** Delia M. Moog*** Jonathan Morgan & Shurla Gittens** Sue Mortimer in memory of Clive Bennett Mortimer**** Donald O’Born*** Peter M. Partridge**** Mr. Tim & Mrs. Frances Price**** Ms R. Raso**** David Roffey & Karen Walsh**** Barrie D. Rose & Family*** J. Allen Smith & Katherine Megue-Smith Philip & Maria Smith** Stephen & Jane Smith**** Marion & Gerald Soloway** David E. Spiro*** Ryerson & Michele Symons Kiersten Taylor & Tim Loftsgard Riki Turofsky & Charles Petersen** Ms Kristine Vikmanis & Mr. Denton Creighton**** The Youssef-Warren Foundation****

Margaret Harriett Cameron**** Sharon & Howard Campbell** Cesaroni Management Limited*** Frank Ciccolini Jr.**** The Rt. Hon. Adrienne Clarkson* Mr. & Mrs. William J. Corcoran*** Lindy Cowan† & Chris Hatley*** Brian J. Dawson*** Peter Deeb* Dr. Jeanne Deinum**** Angelo & Carol DelZotto*** Carol Derk & David Giles** Mrs. Shirley Diamond & Family**** Peter & Anne Dotsikas** Jeffrey Douglas Vreni & Marc Ducommun*** Mr. Albert D. Dunn* Joseph Fantl & Moira Bartram** Mr. & Mrs. Fraser M. Fell**** Margaret & David Fountain**** Ms Lindsay Dale-Harris & Mr. Rupert Field-Marsham**** Dr. & Mrs. Wm. O. Geisler*** Ann J. Gibson**** Rose & Roger Goldstein**** Michael & Anne Gough**** Dr. Noëlle Grace & Mr. Morris Shohet**** Ronald & Birgitte Granofsky**** Douglas & Ruth Grant* John & Judith Grant** Al & Malka Green** John Groves & Vera Del Vecchio**** Dr. Albert Haddad George & Irene Hamilton**** Scott & Ellen Hand*** Mr. Harquail & Dr. Sigfridsson* Maggie Hayes** Hon. & Mrs. Paul Hellyer**** Michiel Horn & Cornelia Schuh**** Ken Hugessen & Jennifer Connolly** Dr. Melvyn L. Iscove*** Mr. Robert C. Jefferies**** Ms Elizabeth Johnson** Alexandra Jonsson Dr. Joshua Josephson & Ms Elaine Lewis**** Lorraine Kaake**** The Patrick & Barbara Keenan Foundation**** James & Diane King** Dr. Elizabeth Kocmur**** Kimberley Fobert & Robert Lamb†**** Mr. Philip Lanouette** John B. Lawson, C.M. Q.C. **** Mr. J. Levitt & Ms E. Mah** Daniel & Janet Li** Peter H. Lunney* James & Connie MacDougall**** Mr. Jed MacKay**** Mrs. R. MacMillan **** Dr. Colin McGregor Mailer**** Mrs. J. L. Malcolm* Dr. & Mrs. M. A. Manuel* Frederick J. Marker & Anne W. Dupré Fernando Martinez-Caro Dr. & Mrs. Donald C. McGillivray**** Paul & Jean McGrath**** Ronan McGrath & Sarah Perry* June McLean**** Mr. Ian McWalter* Mr. Ulrich Menzefricke**** Bruce & Vladka Mitchell*

PRESIDENT’S COUNCIL TRUSTEE, $7,500 – $12,499 à la Carte Kitchen Inc. Margaret Atwood & Graeme Gibson*** Mr. & Mrs. Avie Bennett**** Marilyn Cook* Bud & Leigh Eisenberg*** Andrew Fleming** Peter & Shelagh Godsoe** Chris Hoffmann & Joan Eakin** J. Hans Kluge** Paul Lee & Jill Maynard**** Anne Lewitt** Jerry & Joan Lozinski**** Mr. & Mrs. J. S. A. MacDonald**** Amy & John Macfarlane* Kathleen McLaughlin & Tim Costigan* Dr. Judith A. Miller*** Douglas L. Parker**** Annie & Ian Sale* Dr. David Shaw** Françoise Sutton*** Carol Swallow*** PATRON, $3,750 – $7,499 Sue Armstrong**** Ron Atkinson & Bruce Blandford**** Mona H. Bandeen, C. M. ** Henk Bartelink in memory of Oskar & Irmgard Gaube*** Dr. Frank Bartoszek & Mr. Daniel O’Brien**** Dr. Thomas H. Beechy**** Mr. & Mrs. Eric Belli-Bivar*** Dr. Catherine Bergeron*** Tom Bogart & Kathy Tamaki** Dr. David & Constance Briant**** Dr. Jane Brissenden & Dr. Janet Roscoe**** Mrs. Donna Brock*** Alice Burton***

Charlie Andrews Nora Aufreiter Walter and Anneliese Blackwell Walter and Lisa Bowen Earlaine Collins Rob Collins and Janet Cottrelle Ronald Cooper

John Freund Julie and Michael Gibbens Ruth Watts–Gransden Anitta Lantos Justin Linden Vivian Rosenberg Mischi Schwertzer As of January 5, 2016

Dr. M. L. Myers & the late Dr. W. P. Hayman*** Dr. Shirley C. Neuman** Eileen Patricia Newell*** Sally-Ann Noznesky**** Simon Nyilassy* E. Oliana & A. Iu*** Janice Oliver*** Keith & Brenda Ottaway*** The Ouellette Family Foundation Julia & Liza Overs**** Dr. & Mrs. William M. Park**** John & Gwen Pattison** John & Carol Peterson*** June C. Pinkney**** Polk Family Charitable Fund** Julian & Anna Porter Margrit & Tony Rahilly**** Mrs. Richard Gavin Reid** Douglas L. Ludwig & Karen J. Rice*** Rob & Penny Richards*** Margaret A. Riggin* Gordon Robison & David Grant* Judy & Hy Sarick**** Sam & Esther Sarick**** Helen & John Scott** June Shaw & the late Dr. Ralph Shaw**** Allan & Helaine Shiff**** David & Hilary Short*** Hume Smith**** Dr. Harley Smyth & Carolyn McIntire Smyth** Philip Somerville* Cameron Rusaw & Anne-Marie Sorrenti Dr. John Stanley & Dr. Helmut Reichenbächer*** Wayne Stanley & Marina Pretorius* David Stanley-Porter**** Doreen L. Stanton**** Janet Stubbs†** Wendy J. Thompson**** Anthea Thorp**** Ian Turner*** Sandra & Guy Upjohn*** Dita Vadron & James Catty** Donald & Margaret Walter**** Hugh & Colleen Washington** William R. Waters**** Ruth Watts-Gransden**** Dr. Virginia Wesson*** Mr. Brian Wilks* Ms Lilly Wong* Mrs. Richard Wookey**** Linda Young* Helen Ziegler*** Susan Zorzi** Sharon Zuckerman**** Anonymous (4) MEMBER, $2,250 – $3,749 D. C. Adamson-Brdar**** Donna & Lorne Albaum** Mr. & Mrs. Roberto & Nancy Albis*** Clive & Barbara Allen**** Mr. Thomas & Mrs. Claire Allen** Dr. D. Amato & Ms J. Hodges**** Anne-Marie H. Applin*** Valerie Armstrong**** Philip Arthur & Mary Wilson* Virginia Atkin***

CANADIAN OPERA COMPANY 2015/2016

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Mr. Jeff Axelrod & Dr. John Goodhew K.R.I. Bailey* John Bailey** James C. Baillie** Marilyn & Charles Baillie**** Andrew & Cornelia Baines**** Janice A. Baker**** Richard J. Balfour**** Karen & Bill Barnett* Alice & Tom Bastedo*** Ms Marie Bérard†*** Nani & Austin Beutel**** Dody Bienenstock** John & Mandy Birch* Douglas Birkenshaw & Ginger Sorbara Anneliese & Walter Blackwell**** Ian & Janet Blue*** John & Ila Bossons** Mr. W. Bowen & Ms. S. Gavinchuk†**** Mr. Stephen Bradley Mrs. Carolyn Bradley-Hall & Mr. William Bradley*** Mrs. Richard Bradshaw*** Rob & Teresa Brouwer** Brian Bucknall & Mary Jane Mossman**** Christopher & Elizabeth Buller Thomas J. Burton** Maureen Callahan & Douglas Gray** Ken & Denise Cargill** Brian & Ellen Carr**** Gail Carson**** Drs. Carol & David Cass Lee Chambers Prof. Alfred L. Chan & Mr. Michael Farewell*** Dr. & Mrs. Albert Cheskes*** John D. Church Dr. Howard M. Clarke*** Edward Cole & Adrienne Hood*** Brian Collins & Amanda Demers* Tony & Elizabeth Comper* Murray & Katherine Corlett**** Anita Corrigan*** Dr. Lesley S. Corrin**** Bram & Beth Costin Gay & Derek Cowbourne** Mary & John Crocker**** Ruth & John Crow*** Mary Beth Currie & Jeff Rintoul Carrol Anne Curry*** Dr. & Mrs. Michael & Ute Davis** Michael & Honor de Pencier**** Charles Dennis & Steve Kelley† Mr. & Mrs. A. J. Diamond* J. DiGiovanni* Olwen & Frank Dixon** Sandra Z. Doblinger** Ms Petrina Dolby*** Dr. James & Mrs. Ellen Downey** Bernita Drenth Marko Duic and Gabriel Lau**** William & Gwenda Echard**** Jean Patterson Edwards** Wendy & Elliott Eisen**** Jordan Elliott & Lynne Griffin* Christoph Emmrich & Srilata Raman Dr. & Mrs. John Evans*** Fabris Inc.* George A. Farkass** Mrs. Rosario de Wit-Farro*** Darren Farwell Catherine Fauquier*** Bill Fearn & Claudia Rogers**** Lee & Shannon Ferrier**** William & Rosemary Fillmore*** David & Wendy Flores-Gordon* Goshka Folda* J. E. Fordyce**** Robert & Julia Foster** Mrs. Ingrid Fratzl Rev. Ivars Gaide & Rev. Dr. Anita Gaide*** Judy & David Galloway Ann Gawman*** Dr. Barry A. Gayle**** Susan Gerhard** The Honourable Irving Gerstein & Mrs. Gail Gerstein** Ben & Sarah Glatt****

48

Dr. Eudice Goldberg* Aviva & Andrew Goldenberg** Dr. Fay Goldstep & Dr. George Freedman** Deanna A. Gontard**** Tina & Michael Gooding*** Wayne A. Gooding**** Bryan Grant Mr. Finn Greflund & Mrs. M. Ortner** Mr. Carmen & Mrs. Vittoria Guglietti** Ellen & Simon Gulden**** James & Joyce Gutmann**** Dan Hagler & Family*** Mrs. Pamela Hallisey Francess G. Halpenny**** Mr. Adrian J. Hamel Beverly Hargraft** Michael Harris & Carol Rak** Paul & Natalie Hartman* Caroline Helbronner*** Jacques & Elizabeth Helbronner*** Thea Herman & Gregory King*** William E. Hewitt*** Pamela Hoiles Richard & Donna Holbrook**** Sally Holton**** Ms Judith Hull In memory of Anthony C. J. Humphreys**** Peter & Hélène Hunt**** Eva Innes & David Medhurst* Elliott Jacobson & Judy Malkin** Lynne Jeffrey**** Laurence Jewell** The Norman & Margaret Jewison Charitable Foundation**** In Memory of Patricia Johnson** Dr. Albert & Bette Johnston** Joyce Johnston*** Miriam Kagan H. L. Katarynych*** Dr. Joel Keenleyside**** David W. & Sheryl L. Kerr* Joseph Kerzner & Lisa Koeper**** Inta Kierans**** Ellen & Hermann Kircher**** Mr. Martin Kirr & Ms Suzanne McCuaig* Mr. Douglas Klaassen** Michael & Sonja Koerner*** Valarie Koziol* William & Eva Krangle**** Richard T. La Prairie* Elizabeth & Goulding Lambert*** Jo Lander**** The Hon. Dennis Lane, Q.C. & Mrs. Sandra Lane**** M. J. Horsfall Large** Marc Lebeau & Guylaine Lefebvre Dr. Connie Lee*** Linda Lee & Michael Pharoah**** Neal & Dominique Lee** Dr. Richard Lee & Mr. Gary Van Haren** Alexander & Anna Leggatt*** Joy Levine*** Mr. Peter Levitt & Ms Mai Why*** Mr. Kejun Liang L. Liivamagi & Dr. D. N. Cash* Marjorie & Roy Linden**** Dr. & Mrs. W. G. Lindley**** Janet & Sid Lindsay*** Anthony J. Lisanti*** Tom C. Logan* Dr. Vance Logan**** Jonathan & Dorothea Lovat Dickson** Dr. & Mrs. Richard Mackenzie**** Tom MacMillan**** Macro Properties Ltd. ** Mr. A. Mafrici**** R. Manke**** Mr. & Mrs. R. Gordon Marantz**** Roberto Mauro† & Erin Wall Mrs. Ettore Mazzoleni*** Diane McArthur Dr. & Mrs. John A. McCallum**** Darcy & Joyce McKeough* Mr. Brent Mclaughlin Don McLean & Diane Martello Guy & Joanne McLean**** M. E. McLeod****

CANADIAN OPERA COMPANY 2015/2016

Mr. Timothy McNicholas* Mark & Andrea McQueen**** Shawn McReynolds & Elaine Kierans* Dr. Don Melady & Mr. Rowley Mossop*** Eileen Mercier**** Lee Milliken† & Doug MacNaughton** Patricia & Frank Mills*** Dr. & Mrs. Steven Millward** Florence Minz Audrey & David Mirvish*** Dr. David N. Mitchell & Dr. Susan M. Till*** Mr. Donald Mitchell Eva Mocarski* Mr. Robert Morassutti**** Alice Janet Morgan*** Ms Rosalind Morrow** Drs. Christopher & Pippa Moss*** Gael Mourant & Caroline Hubberstey* Mr. Joseph Mulder** Marilyn & Amy Mushinski† Matt & Debbie Mysak*** David & Mary Neelands*** Dr. Steven Nitzkin**** Dr. James & Mrs. Valda Oestreicher*** Marwan Osseiran Eileen & Ralph Overend* Clarence & Mary Pace** Dr. & Mrs. N. Pairaudeau**** Lee Parsons* Dr. Roger D. Pearce*** Dr. A. Angus Peller* John & Penelope Pepperell* Dr. R. G. Perrin** M. J. Phillips**** Robin B. Pitcher**** Wanda Plachta**** Mr. & Mrs. Domenic Porporo** Mary Jean & Frank Potter*** Georgia Prassas**** Ms Jill Presser & Mr. John Duffy* Alan & Gwendoline Pyatt Dr. Mark Quigley**** Stephen Ralls & Bruce Ubukata*** The Carol & Morton Rapp Foundation**** Lola Rasminsky & Bob Presner Dr. Reza Rastegar C. Edward Rathé**** Kenneth F. Read**** Grant L. Reuber**** Mrs. Gabrielle Richards** Carolyn Ricketts**** Ms Nada Ristich* Emily & Fred Rizner** Clara Robert* Steve & Richa Roder Dr. Michael & Mary Romeo**** John & Hannah Rosen* Mrs. Gertrude Rosenthal**** Ken & Helen Rotenberg** Rainer & Sharyn Rothfuss**** The Roux Family Drs. Orest & Maureen Rudzik**** David A. Ruston*** Ms Sharon Cookie Sandler**** Mallory Morris Sartz & John Sartz**** Go Sato**** Bruce Schaef**** Fred & Mary Schulz** Dr. Marianne Seger**** Carol Seifert & Bruno Tesan*** Robert & Geraldine Sharpe**** Milton & Joyce Shier**** Dr. Bernie & Mrs. Bobbie Silverman** Rod & Christina Simpson In memory of Dr. Bernard Slatt* Dr. & Mrs. Jeremy Sloan** Jay Smith & Laura Rapp* Ms Muriel Smith & Mr. Eric Ojala**** Dr. Joseph So*** John & Ellen Spears**** Martha E. Spears*** Rosemary Speirs Ms Gillian Stacey Oksana R. Stein***

John D. Stevenson**** James H. Stonehouse** William Siegel & Margaret Swaine** Eric Tang & Dr. James Miller** Peter A. Roy & Leah Taylor Roy Tesari Charitable Foundation** Mr. Ronald L. W. Till**** Elizabeth Tory**** Mr. Alex Tosheff* Dr. R. B. Van Winckle* Dory Vanderhoof & Rosalind Bell** Edmond & Sylvia Vanhaverbeke**** Stefan Varga & Dr. Marica Varga* Dr. Yvonne Verbeeten** Dr. Helen Vosu & Donald Milner**** Richard & Nathalie Wachsberg* Elizabeth & Michael Walker*** Peter Webb & Joan York**** Dr. Bogomila Welsh** Ms Eleanor Westney** Melanie Whitehead*** Elizabeth Wilson & Ian Montagnes**** Gregory Wilson Robert Elliott & Paul Wilson** John Wright & Chung-Wai Chow* Dr. Jackson Wu & Dr. Viviana Chang* Ms June Yee** Morden Yolles**** Walter Zwig**** Anonymous (25)

FRIENDS OF THE COC SUSTAINING FRIENDS $1,600 – $2,249 Carol & Ernest Albright**** Gail Asper & Michael Paterson Iivi Campbell**** Jayne & Ted Dawson**** Mr. Steven D. Donohoe**** Ricardo Gomez-Insausti* Mr. James Hamilton* Bill Heaslip**** Frieda and Vern Heinrichs Mr. Josef Hrdina* Mr. Sumant Inamdar** Dr. Paul & Mrs. Marcia Kavanagh Duncan & Sondra Lear Mrs. Mary Liitoja**** Georgina McLennan**** Barbara & Peter Pauly** Norbert & Elizabeth Perera**** Ms Joan Sinclair** David Smukler & Patricia Kern** The Sorbara Group of Companies**** Georgina S. Steinsky Ms Peg Thoen** Dr. M. Lynne Thurling & Dr. John Treilhard*** Vernon & Beryl Turner**** Gordon Waugh**** F. Whittaker** Carole & Bernie Zucker*** Anonymous (2) ASSOCIATE FRIENDS $1,100 – $1,599 Michael & Janet Barnard** Michael Benedict & Martha Lowrie**** Don Biderman**** Darlene & Peter Blenich* Ms Marlene Bohn* Dr. Wendy C. Chan* Patricia Clarke** Robert D. Cook** Mr. Neil Crawford* Mr. Stuart Davidson* Mr. Darren Day*** Mr. Rohan D’souza Dr. Christine Dunbar** Howard & Kathrine Eckler*** Lawrence Enkin** R. Dalton Fowler**** John H. Galloway**** Mr. Osvaldo & Mrs. Joanne Girimonte Alison Girling & Paul Schabas** Roy & Gail Harrison****


THURSDAY, APRIL 7, 2016 FOUR SEASONS CENTRE FOR THE PERFORMING ARTS TICKETS $100

coc.ca/wine 6 p.m. Cocktail Reception & Silent Auction 7:30 p.m. Ensemble Studio Performance & Live Auction

For donations and tickets, please contact Tracy Abergel at 416-306-2305 or tracya@coc.ca

SAVE THE DATE

OPERANATION TH U RS DAY, MAY 1 9, 201 6

J O I N U S FO R N O RTH AM E R I C A’ S B I G G E ST O PE R A PART Y !

O PER ANATIO N .C A


Ms Alison Harvison Young & Mr. Herman J. Wilton-Siegel* Sylvie Hatch**** David Holdsworth & Nicole Senécal* Richard & Susan Horner**** James Hughes*** Mr. David Hutton*** Mr. Kazik Jedrzejczak**** Ms Suanne Kelman & Dr. Allan J. Fox** Dr. & Mrs. L. A. Kitchell**** Murray & Marvelle Koffler**** Andrew & Harriet Lyons P. Anne Mackay**** Mrs. Janet Maggiacomo** Karen & Craig** Mary McClymont**** Janina Milisiewicz**** Mr. David Milovanovic & Dr. Cinda Dyer Mr. Carl Morey**** Sean O’Neill & Victoria Cowling**** Justice Michael & Susan Phelan Ms Victoria Pinnington*** Brayton Polka Mr. Andrew Prodanyk Dr. Peter Ray**** Dr. Shelley Rechner**** Robert & Dorothy Ross*** Amye & DeeAnn Hagler Sagar Mr. Michael Samborsky** William & Meredith Saunderson**** Dr. Anabel M. Scaranelo Ms Elisabeth Scarff**** Dr. & Mrs. W. K. Stavraky*** Mr. Paul Steep & Ms Anne McNeilly* Norma & George Steiner**** Mr. & Mrs. David G. Trent**** Dr. Peter Voore**** Ms Virginia Wai Nina & Norman Wright*** Anonymous (5) CONTRIBUTING FRIENDS $700 – $1,099 Dr. I. L. Babb Fund at the Toronto Community Foundation**** Karen & Bill Barnett* Peter & Leslie Barton** Mrs. Lynn Bayer*** Mr. N. Beilstein & Mr. A. Lee Catherine Belyea+ Jeniva Berger**** Anthony Bird**** Staunton Bowen Mary Brock & Brian Iler**** James E. Brown* Ms Judith Burrows*** Ms E. Burton*** Mr. Bill Cameron** Mary Campbell**** Betty Carlyle**** Jack A. Carr**** Mark Cestnik & Natercia Sousa**** Geoffrey & Bilgi Chapman**** Harold Chmara & Danny Hoy**** Joe T. R. Clarke**** William Cowan & Elodie Fourquet** Sylvain Crozon Peter and Elly Daniels Anita Day Don DeBoer & Brent Vickar*** Mr. Michael Disney* Wendy Drahovzal Ms Eleanor L. Ellins**** Susan Elliott Joe & Helen Feldmann*** Brian A. Ferguson**** Dr. James Ferguson Bruce & Mary Fillier Russell Finch Tom Flemming**** Jennifer & Frank Flower*** Angelo Furgiuele & Family* Douglas G. Gardner**** Mr. M. Gerwin & Mrs. J. Rutledge** Dr. Wilfred S. Goodman**** Les & Marion Green**** Dr. & Mrs. Voldemars Gulens**** Dr. & Mrs. Brian & Cynthia Hands**** Sandra Hausman** Mrs. Hana Havlicek-Martinek*

50

W. L. B. Heath**** Dr. Paul Cooper & Mr. David Hiebert In memory of Pauline Hinch** Dr. Ivan & Mrs. Diana Hronsky**** In loving memory of Joyce Whitney Hughes* Mr. Chris Ibey*** Xiao Jiang Douglas & Dorothy Joyce**** Lilian Kilianski+ & Brian Pritchard* Mai Kirch**** June Knudsen**** Mr. & Mrs. I. P. & O. M. Komarnicky*** Adrian Kos & Olga Repryntseva Mr. Christopher J. Kowal* Dr. Milos Krajny**** Ms Eva Kukiel* Gediminas P. Kurpis**** Mr. James R. Lake**** Harry Lane*** Alan & Marti Latta**** Giles le Riche & Rosemary Polczer*** Mr. Tom Le Seelleur** Mr. Martin Leistner Claus & Heather Lenk* Yakov Lerner* Gil & Dorota Lorenson Ms Elizabeth Lorimer* Dr. Francois Loubert* Deidre Lynch & Thomas Keirstead* David Macfarlane Kathy Marton* Dr. Lynn McAslan Mary McGowan**** Jil McIntosh** Mr. Bruce McKeown**** Dr. & Mrs. Martin & Deborah McKneally** Sylvia McPhee**** Janis Medland* Dr. Alan C. Middleton*** Randy Mills* Kamini & Lynne Milnes* John Mogan* Frank & Anne Moir*** Peter Naylor Larry Nevard Ms Cristina Oke*** Karen Olinyk†* Mr. Vlad Ovchinnikov & Mrs. Lesia Menchynska* Joan Pape**** Mr. James C. Pappas**** Mr. Joseph & Mrs. Letizia Paradiso*** Dr. Wadermar A. Pieczonka**** Ed & Beth Price*** Robert Radke James Rausch Marat Ressin Mr. Jason Roberts*** Ms Virginia Robeson** Patti & Richard Schabas** Front Desk Ltd./Toby Schertzer Valerie Schweritzer & Chris Reed**** Marlene Pollock Sheff* Mrs. Pamela Smith*** John Spears**** Phil Spencer**** Helga & Klaus Stegemann*** Pavel and Vera Straka*** Ms Grace Szczerbowski Anna Talenti**** Larry & Judy Tanenbaum**** Ria Tietz**** Dr. Claude Tousignant** Dr. Nancy F. Vogan**** Mr. Wayne Vogan+**** George Vona & Lark Popov** Angela & Michael Vuchnich**** Mr. John M. Welch**** James & Margaret Whitby**** Joan Williams**** Mr. Takahiro Yamanaka David A. Young Ms Iris Zawadowski* Yvonne Zhang Anonymous (10)

CANADIAN OPERA COMPANY 2015/2016

The Encore Legacy The Encore Legacy is the planned giving program of the Canadian Opera Company.

Planned giving is making the decision today to provide a gift for the Canadian Opera Company that may not be realized until after your lifetime. Gifts planned today, that will ultimately affect your estate, allow you to make a statement of support that will become a lasting legacy to the COC. The Canadian Opera Company gratefully acknowledges and thanks the following individuals who have included the COC in their estate planning: Marie Agay Susan Agranove & Estate of Dr. Larry M. Agranove Ken R. Alexander Isobel Allen Ms Sandra Alston Ms Ann Andrusyszyn Callie Archer Renata Arens & Elizabeth Frey Mrs. Rosalen Armstrong Ron Atkinson & Bruce Blandford Mr. L. H. Bartelink J. Linden Best & James G. Kerr Mr. Philip J. Boswell David Bowen Marnie M. Bracht Gregory Brandt Ms Cindy Breslin-Carere Brian Bucknall & Mary Jane Mossman Dita Vadron & Jim Catty Mrs. Ann Christie Earl Clark Stephen Clarke & Elizabeth Black The Rt. Hon. Adrienne Clarkson Brian Collins & Amanda Demers Earlaine Collins David H. Cormack Ninalee Craig Anita Day & Robert McDonald Ann De Brouwer Helen Drake Yvonne Earle Carol Fordyce Rowland D. Galbraith Douglas G. Gardner Ann J. Gibson Tina & Michael Gooding Michael & Anne Gough Donald I. F. Graham L. A. Grover Colin Gruchy David G. Hallman George & Irene Hamilton Joan L. Harris William E. Hewitt James Hewson John R. Higgins Mr. Kim Yim Ho & Walter Frederic Thommen Douglas E. Hodgson Matt Hughes Michael & Linda Hutcheon Elaine Iannuzziello Dr. Ingrid Jarvis Lynne Jeffrey Ann Kadrnka Ben W. Kizemchuk and Lauren Oberson Kathryn Kossow Jo Lander Marjorie & Roy Linden Tom C. Logan, A.R.C.T. Ms Lenore MacDonald Dr. Colin M. Mailer R. Manke Tim & Jane Marlatt Mr. Shawn Martin Margaret McKee

Sylvia M. McPhee John McVicker & B. W. Thomas Dr. Alan C. Middleton Eleanor Miller Sigmund & Elaine Mintz Donald Morse Sue Mortimer Mr. & Mrs. James D. Patterson Mervyn Pickering Gunther & Dorothy Piepke Wanda Plachta Ms Georgia Prassas K. F. Read Dr. John Reeve-Newson John & Norma Rogers Mrs. Margaret Russell Sharon Ryman† Cookie & Stephen Sandler Fred & Mary Schulz John & Helen Scott Claire Shaw R. Bonnie Shettler William Siegel & Margaret Swaine David E. Spiro Dr. D. P. Stanley-Porter Doreen L. Stanton Drs. W. & K. Stavraky Lilly Offenbach-Strauss Janet Stubbs† Ann Sutton Ronald Taber Susanne Tabur Mrs. Ann C. Timpson Riki Turofsky & Charles Petersen Tony & Mary van Straubenzee N. Suzanne Vanstone Marie-Laure Wagner Hugh & Colleen Washington William R. Waters Marion York Tricia Younger Anonymous (39)

Opera Tours Donors $700 +

From March to December, 2015

Ms E. Burton*** William & Rosemary Fillmore*** Janice Oliver*** Joan Pape**** Rainer & Sharyn Rothfuss**** Melanie Whitehead*** Ms June Yee**

Corporate Matching Partners The Canadian Opera Company gratefully acknowledges the following organizations that have matched gifts by their employees:

Canadian Tire Corporation Limited IBM Canada Ltd. Ivanhoe Cambridge Inc Goodman & Company, Investment Counsel Ltd. FM Global Foundation

The above Individual Support Gifts were made as of January 5, 2016 * 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 Despite the staff’s extensive efforts to avoid errors and omissions, mistakes can occur. If your name was omitted, listed incorrectly or misspelled, we apologize for any inconvenience this may have caused. We would appreciate being notified of any errors at 416-847-4949.


. 15 16

®

SEASON

WOLFGANG AMADEUS MOZART’S

COSÌ FAN TUTTE

.

15 16 SEASON

LUST. LOVE. LOSS.

FRI • FEB 19, 2016 • 8PM SUN • FEB 21, 2016 • 2PM FERGUSON HALL GIUSEPPE VERDI’S

LA TRAVIATA FRI • MAR 11, 2016 • 8PM SUN • MAR 13, 2016 • 2PM MORSANI HALL WOLFGANG AMADEUS MOZART’S

DON GIOVANNI FRI • APR 8, 2016 • 8PM SUN • APR 10, 2016 • 2PM MORSANI HALL 2015•2016 Festival Sponsors and Underwriters:

Helen Torres Foundation; Dr. Zena Lansky and Mr. Warren Rodgers; Dr. Yi-Hwa Outerbridge and Mr. Felix Cannella, Jr.; Charlene and Mardy Gordon; Mary Ann and Brad Morse; Greenberg Traurig, P.A.; Florida Health Care News/Dr. Barry Levine and Gina d’Angelo; Raymond James; Neiman Marcus

@

STRAZ CENTER

IT’S GRAND OPERA AT ITS GRANDEST!

Tickets and dining: 813.229.STAR (7827) Outside Tampa Bay: 800.955.1045 Group Sales (10+ get a discount): 813.222.1018 OPERATAMPA.ORG

Photo of Cecilia Violetta López by Vanessa Preziose Photography

ANDREA BOCELLI

Presented by the Florida Opera Festival THU • FEB 11 • 7:30PM

AMALIE ARENA

IL VOLO

SUN • MAR 6 • 7:30PM MORSANI HALL Il Volo and Andrea Bocelli are not part of the season ticket package.


2015/2016 Corporate Sponsors and Foundation Supporters BMO Financial Group Pre-Performance Opera Chats BMO Financial Group Student Dress Rehearsals Verdi’s La Traviata generously underwritten in part by

Official Automotive Sponsor of the COC at the FSCPA

Presenting Sponsor of SURTITLESTM

Presenting Sponsor Opera Under 30, Operanation, and Centre Stage

Supporter of Ensemble Studio and Centre Stage

Preferred Credit Card TD® Aeroplan® Visa Infinite Privilege*

Glencore Ensemble Studio School Tour

Official Canadian Wine of the COC at the FSCPA

Production Sponsor Rossini’s Maometto II

Production Sponsor Bizet’s Carmen

Program Sponsor After School Opera Program

Preferred Hospitality Sponsor

Preferred Dry Cleaner

GOVERNMENT SUPPORT The Canadian Opera Company gratefully acknowledges the generous support through operating grants from these government agencies and departments: OPERATING SUPPORT

ENSEMBLE STUDIO

an Ontario government agency un organisme du gouvernement de l’Ontario

We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country. Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi $153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays. \

SPECIAL PROJECT FUNDING For many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: Department of Canadian Heritage 52

CANADIAN OPERA COMPANY 2015/2016

Employment and Social Development Canada


$100,000 + The Peter Cundill Foundation The Slaight Family Foundation

HOSTING SPONSORS Drake One Fifty Nota Bene Restaurant

$50,000 – $99,999 The Hal Jackman Foundation at the Ontario Arts Foundation

PREFERRED PIANO PROVIDER Steinway Piano Gallery Toronto

$10,000 – $49,999 Audrey S. Hellyer Charitable Foundation Barrick Gold Blake, Cassels & Graydon LLP Burgundy Asset Management Limited Creeds Dry Cleaning Davies Ward Philips Vineberg Goldman Sachs Great-West Life Assurance Company J.P. Bickell Foundation Linden and Associates McCarthy Tetrault Norton Rose Fulbright Canada LLP Osler, Hoskin & Harcourt LLP Shangri-la Hotel The Chawkers Foundation The Lloyd Carr-Harris Foundation The Mclean Foundation $5,000 – $9,999 Local 58 Charitable Benefit Fund Mill St. Brewery Shinex Window Cleaning Inc. The George Cedric Metcalf Charitable Foundation The Hope Charitable Foundation Torres Coffee Unit Park Holdings Inc. $2,500 – $4,999 Calgary Foundation – Hicks Memorial Fund Canada Council for the Arts – Vida Peene Fund Milgram & Company Ltd Tesari Charitable Foundation Unit Park Holdings Inc. $1,000 - $2,499 D’avignon Freight Services Inc. Gill Ratcliffe Foundation Jarvis & Associates Judith Teller Foundation Loch-Sloy Holdings Limited O’Shanter Development Company Ltd The Powis Family Foundation

PREFERRED FLORISTS Bloom The Flower Company Quince Flowers

CENTRE STAGE: ENSEMBLE STUDIO COMPETITION 2015 Platinum Supporters Peter M. Deeb Mercedes Benz RBC and RBC Foundation Opera Under 30 Sponsor TD Bank Group Competition Supporter Hal Jackman Foundation Gold Sponsors Brookfield Asset Management Philip Deck & Kimberley Bozak Linden & Associates Scotiabank

OPERANATI0N 2015 Presenting Sponsor TD Bank Group Dinner Sponsor Hampton Securities Preferred Fragrance REVEAL by Calvin Klein Jewellery Partner Maison Birks Partnering Sponsor Burgundy Asset Management Contributing Sponsors Bloomberg Bonnie Shore Canaccord Genuity Element Financial Corp. Torkin Manes LLP

Event Supporters BT/A Chairman Mills Mill St. Perrier Quince Flowers Ryan Emberley Photography 10tation Event Catering The Knot Group The Room Toronto Life Trius Wines Wellington Printworks J.P. Wiser’s ® Canadian Whisky Lot No. 40™ Canadian Whisky Pike Creek™ Canadian Whisky Jameson® Irish Whiskey The Glenlivet® Single Malt Scotch Whisky Aberlour® Single Malt Scotch Whisky Beefeater® Gin

SEASON LAUNCH CELEBRATION 2016 Lead Sponsor TD® Aeroplan® Visa Infinite Privilege* Card

FINE WINE AUCTION 2015 Presenting Sponsor Graywood Group Partnering Sponsors Element Financial Gillam Group Inc. RR Donnelley Canada Inc. Supporting Sponsor Geoffrey Pennal of CIBC Wood Gundy Wine Sponsor Trius Wines Catering 10tation Event Catering Cheese Sponsor The Cheese Boutique Auctioneer Stephen Ranger Fine Art Valuation & Consultancy

PHOTO CREDITS COVER: R. Fraser Elliott Hall, photo: Lucia Graca, 2014. PAGE 3: Alexander Neef, photo: bohuang.ca. PAGE 4: Johannes Debus, photo: bohuang.ca. PAGE 5, photos: Chris Hutcheson. PAGE 7: Stage door of the Four Seasons Centre, photo: COC. PAGES 16 to 23, photos: Michael Cooper. PAGE 24: photo courtesy of Stefan Vinke. PAGE 26, top: Anjelica Scannura in performance at the Free Concert Series in the Richard Bradshaw Amphitheatre, 2015, photo: Chris Hutcheson; bottom: Summer Opera Camp, photo: COC. PAGES 28 and 29: 1: Michael Cooper; 2, 4: Chris Hutcheson; 3: Joey Lopez; 5: IKONICA; 6: Inna Yasinka; 7. 14: COC; 8: Jeff Higgins Photography; 9: Courtesy of Fred Davis; 10: Sam Gaetz; 11: Jennifer Szeto; 12: Henry Chan; 13: Karen E. Reeves; PAGES 30 to 39: photos: Monika Rittershaus. PAGE 45, left: Luca Pisaroni in the title role of Maometto II (Santa Fe Opera, 2012), photo: Ken Howard; right: Rinat Shaham and Alain Coulombe in Carmen (COC, 2010), photo: Michael Cooper. PAGE 54: A bar at the Four Seasons Centre, photo: Joey Lopez

CANADIAN OPERA COMPANY 2015/2016

53


Food and Beverage Service We are pleased to offer, for the convenience of all our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermisison and we invite you to make use of it at every COC performance. Bars are located throughout the Isadore and Rosalie Sharp City Room’s many levels. Food and beverages are not permitted in R. Fraser Elliott Hall.

Patron Information and Policies COAT AND PARCEL CHECK To uphold the safety of the building, oversized bags and parcels may be prohibited from entering R. Fraser Elliott Hall. Patrons attending COC performances are now eligible for complimentary parcel check. Coat check is located in the Lower Lobby, where the following services are also available: booster seats, back supports, infrared hearing-assistive devices and rental of binoculars, on a first-come, first-served basis. GO SCENT FREE In consideration of patrons with allergies, please avoid wearing strongly perfumed beauty products and fragrances. ETIQUETTE Patrons are reminded that R. Fraser Elliott Hall is an extremely lively auditorium and that all audience noise will be accentuated and audible to other patrons. Turn off all electronic devices, avoid talking, coughing, humming, moving loose seats, kicking the backs of seats, rustling programs, and unwrapping candies or cough drops. Please remain in your seat until the performance has completely ended and the house lights have been turned on. ELECTRONIC DEVICES The use of mobile and smartphones and all other electronic devices is extremely disruptive and is strictly prohibited 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 DEVICES The use of cameras, video cameras or sound-recording devices of any kind is prohibited in R. Fraser Elliott Hall during performances. If you’d like to get a picture inside the auditorium, do so before the performance begins. However, the design and direction of the production is restricted under intellectual property law, so patrons must have the permission of the COC to take pictures of the production’s set or the stage before or during performances. Be sure to take a look at our Facebook page for official photos of our productions! LATECOMERS In the interest of safety and for the comfort of all patrons and performers, latecomers may not enter the auditorium or be seated unless there is a suitable break in the performance (usually intermission). Patrons leaving the auditorium during the performance or returning late after intermission may not be readmitted or may be accommodated in an alternate viewing location. CHILDREN AND BABES-IN-ARMS All patrons, including children, must have a ticket for the performance. All children must be seated next to an accompanying adult. Young children should be able to 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. 54

CANADIAN OPERA COMPANY 2015/2016

MEDICAL EMERGENCIES AND FIRST AID A house doctor is present at all performances. Please contact an usher if medical services are required. LOST AND FOUND During performances please speak with an usher or visit Patron Services at the Coat Check in the Lower Lobby. Following performances, please e-mail lostandfound@coc.ca or call 416-342-5200 for information. TICKET SERVICES Canadian Opera Company subscriptions and individual tickets are available through COC Ticket Services ONLINE: coc.ca BY PHONE: 416-363-8231 or long distance 1-800-250-4653 Monday to Friday – 10 a.m. to 6 p.m. Saturday – 10 a.m. to 4 p.m. IN PERSON: Four Seasons Centre Box Office 145 Queen St. W. Monday to Saturday – 11 a.m. to 6 p.m. or through first intermission Sunday (performance days only) – 11 a.m. to 3 p.m. or through first intermission The Four Seasons Centre for the Performing Arts Box Office also services ticketing needs for The National Ballet of Canada and all other Four Seasons Centre events. GROUP SALES Groups of 10 or more enjoy savings on regular individual ticket prices. For more information or to reserve seats call 416-306-2356. PARKING There is parking on a first-come, first-served basis for about 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 conveniently located just steps away in the Green P lot underneath Nathan Phillips Square. For directions visit greenp.com. FOUR SEASONS CENTRE FACILITY TOURS Tours of the Four Seasons Centre include backstage access! For more information, visit fourseasonscentre.ca. BMO FINANCIAL GROUP PRE-PERFORMANCE OPERA CHATS COC Education and Outreach staff and guest speakers offer free, insightful chats about the stories, music and background of all COC productions, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. SPECIAL EVENTS AND CATERING The Four Seasons Centre is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit fourseasonscentre.ca or call 416-342-5233.


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A Daimler Brand

Take centre stage. Mercedes-Benz Canada and the showstopping 2016 GLE are proud to be the Official Automotive Sponsor of the Canadian Opera Company at the Four Seasons Centre for the Performing Arts.

Š 2016 Mercedes-Benz Canada Inc.

Profile for Canadian Opera Company

COC Winter 2016 Program  

The program for the Winter 2016 season of the Canadian Opera Company, including Siegfried and The Marriage of Figaro.

COC Winter 2016 Program  

The program for the Winter 2016 season of the Canadian Opera Company, including Siegfried and The Marriage of Figaro.

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