The Phantom of the Opera concert programme

The Phantom of the Opera

The classic 1925 horror film with a new score

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Dina Gilbert MESSAGE FROM THE MUSIC DIRECTOR Greetings and welcome to our second concert experience of the 2020-2021 Season.

Before writing about the experience you are about to have, we would like to share some exciting news with you!

SEASON SPONSORS

PERFORMANCE SPONSORS

Firstly, we were thrilled to have recently been named Not-For-Profit of the Year, at the 34th Annual Kamloops Chamber & MNP Business Excellence Awards. As the only cultural organization represented at the evening, we are incredibly honoured.

Of course, this award is in large part due to all our supporters who help us achieve our mission of engaging, educating, and enriching our community through music. On behalf of the all the KSO musicians, board members and our staff: thank you!

Since the beginning of the season, we have also been busy implementing our latest project: the KSO Wellness Lab. Aimed at giving the community enjoyment and therapeutic musical experiences, this new program embraces experimentation, to offer a variety of small-scale chamber and educational activities. We launched our first experiment with a string quartet playing pieces in various Pop-Up Concerts across Kamloops, including Aberdeen Mall, the Kamloops Airport, Cordo Resto + Bar, and the Chartwell Ridgepoint.

Furthermore, we also produced a Pro-Am Jam, where members of the orchestra joined members of the community for a relaxed reading session of contemplative music by Florence Price, and Canadian Composers Julie Thériault and Iman Habibi.

As part of the Wellness Lab, we also piloted our first-ever Tune-In Meetings, where orchestra members and myself “zoom” into elementary classrooms.

These interactive webinars help improve the students’ knowledge of their instruments through the experience of our musicians. Through presentations, discussions and quizzes, the students get to hear a few live “tunes” and learn about the benefits of music to better manage stress. We are very thrilled to be able to offer this programming to the community, and we look forward to developing it further as we progress through the year.

Finally, more about today’s program: The Phantom of the Opera. You are about to experience a unique take on a concert combining live music and film.

You will be able to see the musicians playing the incredible soundtrack by composer Gabriel Thibaudeau, while also watching Rupert Julian’s original film, via a new digital multi-angle format. Our hopes are that this process will provide insight as to how music can be crucial to storytelling, and showcase the work of the usually “unseen” artists that perform the soundtracks to your favourite movies!

Prepare your popcorn and enjoy the show!

DONALD LAWRENCE CASTING THE EYE ADRIFT

ON NOW! JULY 7 TO DECEMBER 31, 2020

Kamloops, BC • kag.bc.ca

Tuesday to Saturday 10 am to 5 pm Donald Lawrence, One Eye Folly, 2008, camera obscura

Kamloops Symphony Society BOARD OF DIRECTORS

ADMINISTRATION

President

Daniel Mills

Miki Andrejevic Directors

Claire Ann Brodie Kathy Collier Lucille Gnanasihamany Gabriele Klein Maureen McCurdy | Treasurer Rod Michell Helen Newmarch | Secretary Steve Powrie | Vice President Simon Walter

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Executive Director Music Director

Dina Gilbert Office Administrator

Sue Adams Marketing Coordinator

Ryan Noakes Fund Development & Event Assistant

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Sally Arai Orchestra Personnel Manager

Olivia Martin

Bonnie Jetsen Art Hooper

Production Manager

GOVERNMENT GRANTS

Chorus Master

City of Kamloops Canada Council for the Arts BC Arts Council Proud Member of Orchestras Canada, the national association for Canadian orchestras

Adrien Fillion Tomas Bijok Collaborative Pianist

Daniela O’Fee Music Director Emeritus

Bruce Dunn

MUSIC DIRECTOR Regularly invited to conduct in Canada and overseas, Dina Gilbert attracts critical acclaim for her energy, precision and versatility. Currently Music Director of the Kamloops Symphony and of the Orchestre symphonique de l’Estuaire (Québec), she is known for her contagious dynamism and her audacious programming.

Dina Gilbert is regularly invited by leading Canadian orchestras including the Orchestre symphonique de Montréal, Orchestre métropolitain, Toronto Symphony Orchestra, Hamilton Philharmonic and the Orchestre symphonique de Québec.

In 2017, she made debut performances in the United States with the Eugene Symphony and the Fayetteville Symphony Orchestra as well as in Asia conducting a series of five concerts with the Sinfonia Varsovia in Niigata and Tokyo.

Passionate about expanding classical audiences and with an innate curiosity towards non-classical musical genres, Dina has conducted the Orchestre Philharmonique de Radio France and the Orchestre national de Lyon in several Hip-Hop Symphonic programmes collaborating with renowned Hip hop artists. She has also conducted the world premiere of the film The Red Violin with orchestra at the Festival de Lanaudière and has conducted the North American premiere of film The Artist with the Orchestre symphonique de Montréal.

As the founder and artistic director of the Ensemble Arkea, a Montreal-based chamber orchestra, Dina premiered over thirty works from emerging young Canadian composers. Committed to music education, she has reached thousands of children’s in Canada with her interactive and paticipative Conducting 101 workshop.

From 2013 to 2016, Dina Gilbert was assistant conductor of the Orchestre symphonique de Montréal and Maestro Kent Nagano, also assisting guest conductors including Zubin Mehta, Sir Roger Norrington, Lawrence Foster and Giancarlo Guerrero. In April 2016, she received great acclaim for stepping in to replace Maestro Alain Altinoglu with the OSM in a program showcasing Gustav Holst’s The Planets.

Dina Gilbert earned her doctorate from the Université de Montréal, where she studied with Jean-François Rivest and Paolo Bellomia. Awarded the Opus Prize of “Découverte de l’année” in 2017, Dina Gilbert was also named as one of the 50 personalities creating the extraordinary in Québec in 2018 by the Urbania Magazine.

Cvetozar Vutev and Elyse Jacobson

Musicians Cvetozar Vutev | violin

Geoff & Judith Benson | concertmaster

Elyse Jacobson | violin

Rod Michell | assistant concertmaster

Ashley Kroecher | viola

Gabriele Klein | principal second violin

Martin Kratky | cello Michael Vaughan | bass Sally Arai | clarinet Olivia Martin | bassoon

Dina Gilbert

Chair Sponsors

June McClure | principal viola Anonymous | principal cello Eleanor Nicoll | principal flute

Sam McNally | horn

Joyce Henderson | principal clarinet

Julia Chien | percussion

Kelvin & Roberta Barlow | principal bassoon

Naomi Cloutier | keyboard

Hugh & Marilyn Fallis | principal trumpet

Gabriel Thibaudeau Composer

Coloratura soprano Magdalena How is currently pursuing her master’s degree in Opera Performance at the University of British Columbia under the tutelage of Nancy Hermiston. Born in Victoria, Magdalena spent her early childhood in Ontario before her family returned to the West Coast. She has loved music all her life, enthusiastically participating in community and school choirs and enjoying performing in musical theatre as a teenager, particularly when touring musicals to Lower Mainland elementary schools as part of the Arts Umbrella PreProfessional Musical Theatre Troupe.

At the age of 16, Magdalena began to study classical voice at the Vancouver Symphony Orchestra School of Music and has loved it ever since! As part of her studies Magdalena has been fortunate enough to portray a wide variety of operatic roles, including: Olympia (Les Contes d’Hoffmann), Queen of the Night (Die Zauberflöte), Zerlina (Don Giovanni), Anna Sørensen (Silent Night), Elvira (L’Italiana in Algeri), and Clorinda (La Cenerentola)

Guest Artist

Magdalena How

with UBC Opera, and Miss Silverpeal (The Impresario), Oberto (Alcina), and Billie (Speed Dating Tonight!) with Opera McGill. In addition to opera, Magdalena has performed extensively across the Lower Mainland, singing as a guest soloist with the Vancouver Welsh Men’s Choir and Amabilis Singers as well as participating in numerous local concerts and other events. Recently, Magdalena toured to Europe with UBC Opera to sing in a series of concerts in Plzen, Czech Republic and Nürnberg, Germany. She is honoured to have received a number of awards, most notably: The University of BC Medal in Music (2019), the Edwina Heller Memorial Award in Opera (2018), the Vancouver Opera Guild Young Talent in Opera Grant (2018), the Phyllis and Bernard Shapiro Scholarship (2016), and the Hélène Gombay Memorial Prize (2015). Magdalena has also worked as the Surtitles Operator for Vancouver Opera and UBC Opera. When Magdalena is not singing, she can frequently be found knitting, baking, or enjoying a fantasy novel.

Born in 1959 the Canadian composer, pianist and conductor Gabriel Thibaudeau studied piano in Montreal at the Vincent D’Indy music school and composition at l’Université de Montréal. He started work at the age of 15 as a pianist for ballets. Since then, he has been a pianist for Les Grands Ballets Canadiens, appointed pianist at La Cinémathèque Québécoise for the last 30 years and the composer in residence with L’Octuor de France for more than 20 years. Thibaudeau’s work includes music for ballets, the opera, chamber music and several orchestral compositions for silent films. His works are performed in the Americas, as well as in Europe and Asia. Several international institutions have commissioned work from Mr. Thibaudeau, among them: Le Musée du Louvre in Paris, the Cineteca di Bologna, Le Festival de Cannes, the National Gallery in Washington, Les Grands Ballets Canadiens and the Montreal Symphony Orchestra.

Congratulations to the Kamloops Symphony on your valuable contribution to the quality of life we all enjoy.

The proud sponsor sponsor and andwishes wishesthe the The City City of Kamloops is aa proud symphony 2020–2021 season. season. symphony all all the the best during its 2019–2020

The Phantom of the Opera Music by Gabriel Thibaudeau

SOME SILENT BACKGROUND

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The truth is . . . the silent movies never really were SILENT. Well, technically speaking, the films themselves were silent because the technology to record soundtracks did not yet exist.

But it quickly became apparent that, in performance, early movie-going audiences were simply not going to sit still (and in the dark) for a silent experience.

The film’s title-cards supplied the words that the actors’ moving lips could not.

Yet something was missing, something that could complement the emotions carried in the actors’ expressive faces and gestures and embody the shifting emotional atmosphere of the story as the camera captured the light and dark of the unfolding action. The missing element was, of course, music. At first it was supplied by a solitary pianist improvising in the darkened theatre, the music intensifying the audience’s experience as well as helping to drown out the sound of the noisy projector.

Since then, as we know, full orchestras and a multitude of other sources of sound have come to supply “the music” that accompanies the art of cinematic storytelling.

In fact, music has likely always been a part of the human craft of storytelling.

So, when moving pictures emerged as a new story-telling medium in the late 19th Century, film makers instinctively looked to make music a partner in the new enterprise. One early successful French film, The Assassination of the Duc de Guise (1908), commissioned no less than the leading theatrical composer of the day, Camille Saint-Saëns, for the score. This was the first music known to be composed for a specific film. SaintSaëns produced at least 18 minutes of music for a 15-minute film, repeatedly watching the film scene by scene and composing his music to match the action.

Of course, without the invention of a soundtrack, actual performance of the film meant assembling musicians and playing the music live for each screening of the movie. Last month your Kamloops Symphony Orchestra combined live music by Stravinsky with live storytelling of The Soldier’s Tale. Tonight, the KSO presents live music with silent film: Lon Chaney in the classic The Phantom of the Opera and the music of Montreal composer Gabriel Thibaudeau. >

THE COMPOSER: GABRIEL THIBAUDEAU (B. 1959) The Montreal pianist and composer Gabriel Thibaudeau has had a long association with film music. The way he describes parts of his own career sheds light on the art of composing for cinema, especially for silent film, and also sounds like a description of the life of one of those silent-movie-era pianists improvising a musical accompaniment to the action on the screen. In the early 2000s the theatre Cinématèque québécoise in Montreal regularly screened silent films, and Thibaudeau was employed as the pianist, screening the movies alone in the daytime to prepare musical ideas for his accompaniments for the evening shows.

He had never seen The Phantom of the Opera before, but when he did, he realized that it was a special movie. Moreover, he admits, the story of the rejected would-be artist whose music is hidden in the dark recesses of the Paris Opera House, rather reflected his own circumstances at that stage in his career. It prompted him to take special pains in the preparation of his piano accompaniment. The showing of The Phantom of the Opera with his music was so popular he was invited to develop his piano version into a full orchestral version, which has been performed with the film many times now. Tonight’s showing uses the reduced musical forces of a chamber orchestra consisting of strings: two violins, viola, cello and double bass; winds: clarinet, bassoon and horn, with percussion, a piano (as well as a keyboard), plus the all-important soprano heroine, Magdalena How. Thibaudeau’s description of his process of composition is a good reminder to viewers of the care film composers take to match their music to details of character and action. He gives a couple of examples. There is a long 4-minute scene in which the Phantom takes Christine

down, down to his refuge in the depths of the Opera basement. Nothing dramatic happens on the way, but Thibaudeau recognizes that the film makers filmed it so that we expect that something is about to happen—so he writes his music to deliberately trigger the viewers’ momentby-moment anticipation of shock or surprise. There is also the famous scene in which the chandelier hurtles fatally into the auditorium, the soprano is singing an aria from Gounod’s Faust, the closing notes of which Thibaudeau converts into a prolonged and terrifying scream as she looks upwards towards the unfolding disaster. In similar fashion, in the scene in which Christine hesitatingly “unmasks” the Phantom, a hysterical dissonant chord from his organ playing anticipates (and punctuates) the scream of her horrified reaction.

There is an especially memorable scene about halfway through the film, the “mad” Bal Masque, notable in part because it is strikingly filmed in red in addition to black and white. This technique powerfully intensifies the demonic quality of the story and of the character of the Phantom, who appears as the intimidating skull-masqued spectre of the Red Death. Thibaudeau’s music here is equally memorable, by turns frenetic, portentous, and tender, as the story moves inexorably towards its climax.

In our modern film viewing experience, the sound of the accompanying music, however rich and resourceful, always comes to us from an “invisible” source.

Tonight though, in this showing of The Phantom, we become direct observers of the music-making experience, in a way that brings us closer to, and more responsive to, its powerful effects. >

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THE STORY The novel on which the film of The Phantom of the Opera is based was written by French author Gaston Leroux and published in serial form in 19091910. It tells of events in the Paris Opera in the 1880s and the rumours of an opera “ghost.” Christine, an aspiring opera soprano, has been taking lessons from a secret “Master” and as understudy to the Diva, Carlotta, finally gets her chance on stage. “The Master” (who is also the Phantom) is a disfigured former composer who lives in (and haunts) the opera house. He has fallen in love with Christine, and lures her to his underground apartments to profess his love for her. He believes her love has the power to make his spirit beautiful in spite of his disfigurement.

Though warned not to, she removes his mask and is horrified by his repulsive appearance. The Phantom agrees to release her but forbids her to see her admirer, Raoul. But she does not comply and seeks the protection of her lover.

Predictably, the betrayed Phantom is incensed. He kidnaps Christine. Raoul, with the help of a mysterious police agent, comes to rescue her from his dangerous underground lair. The police have determined that the Phantom is an insane escapee from Devil’s Island.

He commandeers Raoul’s carriage and flees, but is pursued by the opera house’s stagehands and their accomplices. They catch him, beat him to death and throw his body into the Seine. Quite enough excitement for one night!

The first of the two silent film versions came in 1925, and an enhanced rerelease in 1929/1930 with the same cast.

It is this later version we see tonight.

There have been some remakes since then, and of course the much-admired Andrew Lloyd Webber musical version.

At its making, there appear to have been difficulties between some cast members (Lon Chaney in particular) and the director. Not a surprise perhaps. The elaborate film sets were much admired, but the adaptation of the story less so.

Some plot elements were changed, others just not satisfactorily developed.

In particular, the fate of the Phantom at the movie’s end was a matter of contention. One version has him die of a broken heart slumped over the organ, but some thought that too feeble. In the later version that we see tonight, he remains a wicked creature to the end, abducting Christine, escaping with her in a carriage, but caught by the vengeful mob, beaten and thrown into the Seine.

With the benefit of our almost 100-year hindsight we can see the importance of The Phantom in the evolution of film, in particular the horror/monster genre.

There had been “horror” films before this version of The Phantom, but the film’s relative commercial success likely paved the way for Dracula (1931) (by the same producer as The Phantom) and Frankenstein (1931) and their numerous successors up to our own time.

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The Kamloops Symphony wishes to acknowledge the following people who so generously donated the value of their tickets to cancelled performances: Susan Hammond

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Coming late November…

Solemn Contemplation A soothing and introspective concert experience featuring works by Julie Thériault, Larysa Kuzmenko, and Giovanni Battista Pergolesi.

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