The Turn of the Screw Program

WELCOME

Hey Opera Goers,

Welcome to The Turn of the Screw! We are so excited to be back together, in person, for our first live performance since 2018! We are thrilled to bring together an exceptional team of Canadian artists for Britten’s creepy, psychological thriller. And, of course, it wouldn’t be an Opera 5 production without a fresh twist on this spooky classic.

Every year Opera 5 grows and it is because of our supportive community of donors, audience members, and colleagues. Thank you for being part of our family!

The Opera 5 Team (Rachel, Jess, Evan, and Jaclyn)

BE SURE TO TAG US IN YOUR SOCIAL MEDIA POSTS TONIGHT:

Opera 5 Updates

Threepenny Submarine

Check out our children’s opera-puppet series! We’ve teamed up with Gazelle Automations to share the story of junior officers, Iona the cockatiel and Lydian the vixen, as they explore the deep sea in Threepenny Submarine near the mysterious Salieri sector. After a scare, they accidentally come across a strange sea creature who sounds like a flute and their adventure begins. Visit threepennysubmarine.com for more info!

Support Opera 5

https://www canadahelps org/en /charities/opera-5/

Opera Intern Program

We are excited to partner with Opera McGill for our brand-new Opera Intern Program! Throughout this year, we have been working with six incredible Opera McGill students who are each covering a role in The Turn of the Screw, taking the stage on June 13th, participating in professional development learning, and gaining a secondary skill in production, design, or administration.

SYNOPSIS Prologue

In the shadows of early morning, before the sun is up and the household begins their day, Peter Quint, the valet to the master of the house, and Miss Jessel, the current governess to the children, perform a spell to check-in on the wellbeing of Bly Manor and everyone who calls it home. Quint, a well-practiced Wiseman receives an unexpected and curious vision of the future that tells him of a young, unnamed Governess charged to care for the two children at Bly She will be full of doubts and she is troubled by their uncle’s explicit instruction not to write or worry him with the goings on at Bly, no matter what. Miss Jessel’s concern about this new governess becomes overshadowed by the rising sun. Soon, Mrs. Grose, Bly’s housekeeper, will be up to get the day started. They know the risks of being caught practicing magic.

Act One

The Governess is on her way to Bly Manor and is apprehensive about her new position. Upon arriving at Bly, she is greeted by Mrs. Grose and the children, Miles and Flora. The Governess takes an instant liking to the children, expressing a love for her new home and her excitement to help support the children.

A letter arrives, saying that Miles has been dismissed from his boarding school for causing “an injury to his friend.”

She is deeply concerned, but Mrs. Grose reassures her that Miles is not “bad,” and is only doing what young boys do.

Time passes and the Governess becomes better acquainted with her new home While on a walk in the garden, she sees a strange man in the tower and describes him to Mrs. Grose. She identifies him as Peter Quint, the master’s valet who was left in charge while he was away. Mrs. Grose explains that she feared Quint and did not approve of how he interacted with the other members of the house. She explains her suspicions about Quint and goes on to tell the Governess that something happened that led Miss Jessel to leave Bly She tells her that Miss Jessel “went away to die” and that Quint’s death followed soon after. The Governess begins to recognize the presence of both Quint and Jessel’s ghosts, and her fear for the children grows, especially for Miles. The Governess becomes increasingly suspicious of Miles and she feels as though he is hiding something from her.

Days later, the Governess and Flora are at the lake and are visited by Miss Jessel while Flora plays. The Governess becomes convinced that it is up to her to save the children

SYNOPSIS

Late one night, Miles and Flora sneak out to perform a spell, using leaves and feathers that they have gathered over time. They call on the spirits of Quint and Jessel, who each come to them to caution the children and tell them they can be found “down the path, in the woods” if they are ever needed. Mrs. Grose and the Governess realize the children are missing and go looking for them

Act Two

The Governess becomes burdened by her fears and cannot stop thinking about what Mrs. Grose told her about Peter Quint and Miss Jessel. These troubling stories fill her dreams and convince her of what she must do to protect the children.

The Governess begins to lose hope as she sees the children acting up on the way to church, and she believes the ghosts have taken them already. She tells Mrs. Grose but her warning go unheard. The Governess laments that her innocence has not prepared her for the new evil that surrounds her, and decides to leave Bly. However, after seeing Miss Jessel’s ghost lamenting in the schoolroom, the Governess decides to stay and stand strong for the sake of the children.

She decides to write to their uncle to tell him that there are things that he should know about currently going on at Bly.

The Governess later presses Miles to tell her what he has on his mind and tells him that she wrote to his uncle. Miles becomes afraid of what could come of it, and calls on Quint for help.

Days later, The Governess, Mrs. Grose, Flora, and Miles relax into the evening. Flora becomes restless and sneaks away after Mrs Grose doses off and while the Governess is preoccupied with Miles’ piano playing. The Governess realizes Flora is gone and calls on Mrs. Grose to look for her with her. They find Flora playing and Miss Jessel visits once again. The Governess tries to make Flora admit she seeing Miss Jessel’s ghost but she vehemently denies it and convinces Mrs. Grose of the same. The Governess is now certain that she has “most miserably failed” to save the children The next morning, Mrs Grose admits something is wrong with Flora. She takes Flora away to get her the help she believes she needs. Miles enters and sees he is now alone with the Governess. She urges Miles to tell her, at last, what she believes he is hiding from her. Miles calls on Quint while the Governess continues to ask Miles if he took her letter and who made him take it. Tensions rise as Quint and the Governess instruct Miles about what he should do to make everything better.

Act One: 57 minutes

Intermission: 20 minutes

Act Two: 53 minutes

DIRECTOR NOTES

By Amanda Smith & Daevyd Pepper

We live in a time when truth is getting harder and harder to discern, as a result of the persuasiveness of social media, AI, and convincing online deep-fakes. The line between truth, belief, and all-out lies can be easily blurred. But, this is not new. We have simply used technology to expand our tools to create distrust in others through conspiracy theories and distorted gossip.

Benjamin Britten was personally familiar with the hostilities of an unaccepting and hostile society As a gay man in rural England, during a time when it was still illegal to be gay, Britten experienced the consequences of what happens when communities are misunderstood and mislabeled as “bad.” This is, of course, not simply a problem of the past and this kind of insidious discrimination can be applied to a long list of communities who seem to threaten the status quo. Social ostracization is a theme that Britten has brought into his work on many occasions and it certainly exists here in The Turn of the Screw.

For this production, I am looking at what happens when we only learn about people through the lens of someone else’s fear. Fear leads us to believing we are doing good when we are, in fact, causing harm. This is the basis of so many tragedies in human history and we continue to see it today on multiple fronts

So, for our production, I have asked if Quint is unequivocally ‘bad’ or, perhaps, it is the posthumous perception of him through the gossip of a disapproving acquaintance, combined with a socially fostered distrust of ‘the other’. The music is surely ominous but who is perceiving it? When it comes to emotional perception, including in music, context is everything. This is what we are exploring. The high level of ambiguity in the libretto of The Turn of the Screw creates much doubt around what is real and whose version of the truth is most correct.

To explore the themes I have discussed, we are portraying Peter Quint and Miss Jessel as those who practiced magic in their living lives We see Quint as a member of the Cunning Folk, a community of European folk healers who primarily resided in rural areas. The veneration of nature and belief in spirits of place remained embedded in the fabric of rural life. Their practices included healing, divination, protective magic, and interacting with familiar spirits.

DIRECTOR NOTES

We see Miss Jessel as someone who was likely introduced to Cunning Folk practices upon arrival at Bly Manor to work as the Governess, and may have come with an open mind due to the rise of spiritualism and the occult, at the time, in intellectual urban circles.

Meanwhile, the dominant religion of the Victorian Era was surely Christianity Although not all, some Christians viewed Cunning Folk with suspicion or disapproval, due to their association with pre-Christian practices. Others sought the services of Cunning Folk in times of need. While primarily viewed as helpful, Cunning Folk could be accused of harmful witchcraft by those who feared magic The relationship between Christians and Cunning Folk was complex, influenced by factors such as local dynamics, individual beliefs, and the practical benefits offered by Cunning Folk within their communities.

It is viewed that ancient pagan traditions embody the continuity of spiritual practices across generations. While no unbroken lineage exists, revived and adapted forms of these practices exist among modern practitioners, inspired by history and Folklore For many, this is a practice and culture to protect.

In our production, innocence is seen as the freedom to be oneself through the cultural and spiritual practice of magic We also see one of the ways in which “innocence is drowned.”

Memorial Dedication:

I have a close relationship with The Turn on the Screw. I have assisted on it twice, one of which was for the late Michael Cavanagh, whom I have had in my heart throughout this whole process Michael is one of the directors who helped shape me in my career and he did this in so many ways. I cannot speak for the other members of this team but there are likely others on this project whose lives have touched him, as he has impacted so many in Canada’s opera industry. I am eternally grateful to him and truly wish he was here today My part in this production is dedicated to Michael As a small token of my gratitude to him, I have made a donation to the Michael Cavanagh Legacy Foundation, which goes toward performing arts scholarships, and supports charities that provide end of life care and cancer research.

MUSIC DIRECTOR NOTES

Opera is a strange and wonderful thing, bridging worlds, showcasing ideas on a grand, indescribable scale, and celebrating what it is to be human.

Britten has a particular gift in this regard. Somehow, in his most tightly crafted operatic offering, he manages to weave a tapestry of characters who read as real people with real motivation. You can relate to these people even when (perhaps especially when) they're clearly making bad decisions. Mrs. Grose and the Governess constantly talk at each other with neither properly hearing a single word. When the children are caught up in a game or in the increasingly detailed imaginary journeys of their playthings, they read as young, innocent and vulnerable kids. Genuinely believing in the characters is a fundamental part of the contract of investment in which we partake as members of the audience, and, knowing this, the picture of humanity which Britten paints is very, very convincing.

Now, that's important and foundational. But what else do we have as we travel upwards, building on this incredible sundae of existential dread and self-doubt, missed opportunity, tragedy? Extraordinary music and colour bubbling over in Every. Single. Moment. It doesn't matter if it's a solo instrument acting as a proxy observer amidst a conversation between leads, or the entire orchestra's full force as the Governess scream-cries "Malo!" The invention in the craft, the pathos... it's something to behold. All this made ever more special, ever more powerful by virtue of raw, live performance. It's been a while since we've been able to share ourselves with you onstage, and believe me, we're grateful.

Enjoy!

Evan Mitchell Music Director

PRESENTS

MusicbyBenjaminBritten

LibrettobyMyfanwyPiper

Basedonthe1898novellaTheTurnoftheScrewbyHenryJames

The Opera 5 Team

Rachel Krehm, General Director

Jessica Derventzis Artistic Director

Evan Mitchell Music Director

Jaclyn Grossman Opera Intern Program Coordinator

Past Opera 5 Members

Aria Umezawa

Maika’i Nash

Board of Directors

Victoria Novak, President

George Hoff, Secretary

Catherine Gordon

Aidan Johnston

Amelia Lyon

David Matthews

Amanda Smith - Director

Evan Mitchell - Music Director

Shannon Lea Doyle - Production Designer

JB Nelles - Associate Production Designer

Noah Feaver - Lighting Designer

Trevor Chartrand - Music Staff

Patrick Lynn - Production Manager

Tamara Vuckovic* - Stage Manager

Vivien Illion* - Assistant Stage Manager

Chris Faris - Head of Wardrobe

Chynah Philadelphia - Head of Props

David Fisher - Head Technician

Sebastian Cattrysse, Nathan Gregory, Frank Incer,

Elio Michel, Chris Sutherland - Technicians

Kevin Anderson - Costume Assistant

Daevyd Pepper - Dramaturg, Consultant

Patrick Hansen - Opera McGill Artistic Director

Stephen Hargreaves - Opera McGill Music Director

Elizabeth Koch - Role Preparation/Diction Coach

THE CAST (IN ORDER OF APPEARANCE)

Main Cast (June 12, 14, 15)

Asitha Tennekoon*........................................................................Prologue/Peter Quint

Rachel Krehm...................................................................................................Miss Jessel

Thera Barclay...............................................................................................................Flora

Krisztina Szabó*................................................................................................Mrs. Grose

Elizabeth Polese*..............................................................................................Governess

Ryan McDonald...........................................................................................................Miles

Carl Lyons....................................................................................Priest (Supernumerary)

Opera Intern Cast (June 13)

Patricia Yates.................................................................................Prologue/Peter Quint

Bri Jones...........................................................................................................Miss Jessel

Paige Robinson............................................................................................................Flora

MacKenzie Sechi...............................................................................................Mrs. Grose

Kate Fogg............................................................................................................Governess

Mala Weissberg...........................................................................................................Miles

Carl Lyons....................................................................................Priest (Supernumerary)

The Orchestra

Allene Chomyn........................................................................................................Violin 1

Kenneth Kwan..........................................................................................................Violin 2

Jody Davenport..........................................................................................................Viola

Rebecca Morton..........................................................................................................Cello

Eric Lee..........................................................................................................................Bass

Amelia Lyon Flute/Piccolo/Alto Flute

Ari Cohen Mann.................................................................................Oboe/English Horn

Peter Stoll......................................................................................Clarinet/Bass Clarinet

Anna Norris............................................................................................................Bassoon

Courtney Prizrenac.......................................................................................French Horn

Trevor Chartrand........................................................................................Piano/Celesta

Lori Gemmell................................................................................................................Harp

Tim Francom......................................................................................................Percussion

* The participation of these Artists are arranged by permission of Canadian Actor’s Equity Association under the provisions of the Dance Opera Theatre Policy (DOT).

THE CAST

ASITHA TENNEKOON

PETER QUINT / THE PROLOGUE

Praised by The Globe and Mail for “...his silky, emotional presence on stage – both vocally and dramatically...”, Sri Lankan tenor Asitha Tennekoon has established himself as one of Canada’s most versatile singing artists. In 2016 he drew critical acclaim and received a Dora Award for his portrayal of Paul in Tapestry Opera/Scottish Opera’s Rocking Horse Winner. Asitha is sought after for performances spanning from Baroque to experimental repertoire. This season, Asitha reprises his performance as Paul in Tapestry Opera’s remount of Rocking Horse Winner and sings the role of Boy Angel in Du Yun and Royce Vavrek’s Pulitzer Prizewinning Angel’s Bone presented by Loose Tea Music Theatre in Toronto. Asitha recently made several operatic debuts; as Ferrando in Edmonton Opera’s Cosi fan tutte, the First Priest with Canadian Opera Company’s The Magic Flute, Remendado with Pacific Opera Victoria and as Flute in Britten’s A Midsummer Night’s Dream with Vancouver Opera, Jacques Lacombe conducting. Asitha is a Co-Founder of Amplified Opera, a Toronto based indie Opera company committed to placing artists at the centre of public discourse. He makes his home in the unceded traditional territories of the xwməθkwəyəm (Musqueam), Sḵwxwú7mesh (Squamish), and s Nations (Vancouver, BC)

RACHEL KREHM MISS JESSEL

A multi-faceted artist, soprano Rachel Krehm is the co-founder and General Director of Opera 5 She works in opera, new music, art song, improvisation, voice and web-series acting, and is also a writer and producer Rachel is passionate about commissioning, workshopping, and creating Canadian art song and opera In 2018, she premiered an orchestral song cycle by Vancouver based composer Ryan Trew on texts by her late sister Elizabeth Krehm called Come Closer and has since performed the cycle with Kingston Symphony Orchestra, Thunder Bay Symphony Orchestra, Canzona Chamber Players, and North York Concert Orchestra Rachel and Ryan are now expanding this song cycle into a chamber opera with Rachel as the librettist The opera explores processing grief through memories and dreams Come Closer has received support for development from The Canada Council for the Arts, Pacific Opera Victoria, Opera McGill Beta Lab, and The Association for Opera in Canada Rachel co-wrote, produced, and performed in Threepenny Submarine, Opera 5’s web series combining opera and puppetry in collaboration with Gazelle Automations Next up for Rachel is soprano soloist in Beethoven 9’s Symphony with Cathedral Bluffs Orchestra www rachelkrehm com www opera5 ca www threepennysubmarine com

THERA BARCLAY FLORA

Born in Ottawa, ON, Thera Barclay is in demand as an interpreter of operatic, recital, and concert repertoire, and has graced stages across Canada, Europe, and the United States. Performance highlights include Marie (La fille du régiment), Marzelline (Fidelio), Zerlina (Don Giovanni), Mabel (The Pirates of Penzance), Barbarina (The Marriage of Figaro), Lucia (The Rape of Lucretia), Diana (Siren Song), Pamina, Zweite Dame, Papagena (Die Zauberflöte), Poppea (Lʼincoronazione di Poppea), Suor Genovieffa (Suor Angelica), and Lauretta and Nella (Gianni Schicchi) Ms Barclay has a vested interest in curly hair products and craft beer

THE CAST

KRISZTINA SZABO

MRS. GROSE

Main Cast: June 12, 14, 15

In order of appearance

Hungarian-Canadian, mezzo-soprano Krisztina Szabó is highly sought after in both North America and Europe as an artist of supreme musicianship and stagecraft, and is known for her promotion and performance of contemporary Canadian works. In the 2022-23 season, Krisztina will perform with Calgary Opera (50th Anniversary Opera Gala), Honens International Piano Competition (Finals), Victoria Symphony (Ian Cusson’s Songs from the House of Death), Houston Symphony (Handel’s Messiah), Early Music Vancouver (Festive Cantatas), Tafelmusik Baroque Orchestra (Bach’s St John Passion), Music of the Baroque (Bach’s St Matthew Passion) and a tour of George Benjamin’s Lessons in Love and Violence. Krisztina’s career has seen her on all the major opera and concert stages across Canada. She regularly performs with the Canadian Opera Company, Vancouver Opera, Tapestry Opera, Early Music Vancouver, and Tafelmusik Baroque Orchestra. Outside of Canada, she has performed with San Francisco Opera, Opera Philadelphia, Stadttheater Klagenfurt, Wexford Festival Opera. In 2018, Krisztina made her Royal Opera and Netherlands Opera débuts in George Benjamin’s new opera, Lessons in Love and Violence, the recording of which received a Grammy nomination for Best Opera Recording.

She has been nominated for Outstanding Performance by the Dora Awards twice, and was in Kopernikus (Claude Vivier) with Against the Grain Theatre (Toronto) which won a Dora Award for Best Ensemble. Her discography includes Found Frozen: Songs of Jeffrey Ryan (Centrediscs), New Jewish Music, Vol 3 (Analekta), Ana Sokolovic – Sirens (Naxos), and Talisker Players Where Words and Music Meet (Centrediscs) Digital projects include Canadian Opera Company’s Bluebeard’s Castle, Canadian Art Song Project’s Four Short Songs (2014),Tafelmusik’s The Voice of Vivaldi, Festival of the Sound’s Arias and Antics, Wagner’s Wesendonck Lieder (Vancouver Opera), An Italian Baroque Festive Celebration (Early Music Vancouver); performing in recital for the Chan Centre for the Performing Arts and Behind the Keys for Vancouver Bach Choir, and Tapestry Opera’s S O S Sketch Opera Singers

Ms Szabó finished her postgraduate studies at the Guildhall School of Music and Drama in London, England, after completing her undergraduate degree at the University of Western Ontario studying with Darryl Edwards She has been the recipient of the Emerging Artist grant from Canada Council and has been honoured by her home town of Mississauga , Ontario with a star on the Music Walk of Fame in its inaugural year Krisztina lives in Vancouver and Toronto with her husband, Kristian Clarke and their daughter, Phoibe Ms Szabó is Assistant Professor of Voice and Opera at the University of British Columbia School of Music

ELIZABETH POLESE THE GOVERNESS

Canadian soprano Elizabeth Polese has recently been a young artist with Atelier Lyrique de l’Opéra de Montréal, Tanglewood Music Center, Highlands Opera Studio, and Detroit Opera She is a winner of the Sullivan Foundation Award (Gail Robinson Award for Soprano), and Hynatyshyn Developing Artist Award for Classical Voice Recent credits include Nuria in Ainadamar with Opéra de Montréal, Marguerite (cover) in Faust with Detroit Opera, Fiordiligi in Cosi fan tutte with Detroit Opera and Great Lakes Chamber Festival, and concerts with Orchestre Classique de Montréal, Domaine Forget (Charlevoix), and Gewandhaus Orchestre (Leipzig). Notably, she appeared as Isabel in George Benjamin’s Lessons in Love and Violence with Tanglewood Music Center with the composer at the podium, to critical acclaim by the New York Times and Boston Globe 2023/24: WE’RE LATE! With The Happenstancers chamber collective (Toronto), Norina in Don Pasquale with Vancouver Opera, Soprano I in Mozart’s Mass in C Minor with Choral Connection (St Thomas), and The Governess in The Turn of the Screw with Opera 5 (Toronto) Beth is so thrilled to return to both her hometown of Toronto and to Opera 5, who are so very close to her heart! <3

THE CAST

RYAN MCDONALD

MILES

Originally from Ktaqmkuk (Newfoundland), and the ancestral homelands of the Beothuk, Mi’kmaq, Innu & Inuit (Labrador), Ryan McDonald currently resides and performs in Tkaron:to (Toronto). An award winner from the Metropolitan Opera National Council Auditions, this season saw Ryan appear as a soloist in concert with the Toronto Symphony Orchestra, Newfoundland Symphony Orchestra, Theatre of Early Music, Nota Bene Players, Cellar Singers, Elora Festival Singers & Symphony in the Barn. Operatic highlights this season include Sorceress in Purcell's Dido and Aeneas, Male Soprano/ Victim A in Du Yun’s Angel’s Bone and Miles in Britten’s Turn of The Screw. This fall, Ryan will travel to France and appear in concert with Les Arts Florissant.

During the 21/22 season, Ryan was a Young Artist with Pacific Opera Victoria’s Civic Engagement Quartet and jConfluence Concerts inaugural Young Artistic Associate. Ryan is the co-founder of OperaQ; a company focused specifically on presenting queer theatre by queer artists for queer audiences Ryan led the company’s original composition to a nomination at the 2023 Opera America Digital Excellence in Opera Awards

In addition to their musical activities, Ryan is currently pursuing a DMA in Historical Performance at the University of Toronto, where they are researching the life of Klaus Nomi and investigating the ever-expanding queer performance

CARL LYONS PRIEST (SUPERNUMERARY)

A chance meeting a a CD release event at a local venue introduced Carl more personally to the world of opera and the possibility to being more connected. As a new subscriber to the Canadian Opera Company, he received an email inviting folks to apply to be one of the many supernumeraries (extras) needed for an upcoming opera called Dialogues of the Carmelites. Being one of the chosen 120 was life changing. Since 2016 he has become an avid opera goer to shows, recitals and performances by singers and musicians in the classical music sphere.

He is also frequently accepted to be a super. As he says often: “I feel so lucky to have taken the initial step”. Imagine 43 years of being a social worker with a keen but limited interest in arts and culture, and now it’s central to his life, second only to two daughters and five granddaughters.

THE CAST

PATRICIA YATES

PETER QUINT/THE PROLOGUE

As a concert soloist, Patricia’s oratorio repertoire includes Dvořak’s Stabat Mater, Goodall’s Eternal Light Requiem, Handel’s Messiah and Ode for St. Cecilia’s Day, Haydn’s Lord Nelson Mass and Harmoniemesse, Mozart’s Requiem and Mass in C minor, Orff’s Carmina Burana, Stainer’s Crucifixion. She has given solo recitals across the UK, with repertoire such as Britten’s Winter Words, Beethoven’s An die Ferne Geliebte and the works of Amy Beach, Florence Price and Fanny Mendelssohn-Hensel.

As a writer, including for Opera Canada and the Musician’s Union of the UK, Patricia’s pieces often centre issues of decolonisation, gender variance and EDI in opera.

BRI JONES MISS JESSEL

Soprano Bri Jones is currently pursuing their Masters of Music degree under the tutelage of Tracy Smith-Bessette at McGill University As a graduate student, Bri played the role of The Parrot in the Canadian Premier of Plaything by Anna Pidgorna in November 2023, and is set to play the title role in Massenet’s Cendrillon this coming January In addition, Bri is thrilled to be covering the role of Miss Jessel this Spring, in Opera 5’s production of Britten’s The Turn of the Screw She completed her Bachelor of Music at McGill, during which, she portrayed Zerlina in Opera Intern Cast: June 13

In order of appearance Opera McGill’s January 2022 production of Mozart’s Don Giovanni and made her operatic debut in Opera McGill’s 2020/21 season as Flora in Benjamin Britten’s The Turn of the Screw. Bri has performed twice as a soloist with the Calgary Philharmonic Orchestra; as a finalist in the CPO Concerto Competition, and as an invited soloist for the CPO’s Sounds of the Season 2019 concert. Earlier solo performances include VoiceScapes Sing Along Messiah 2018, and Listening to our City 2017, both in Calgary. In 2019, they competed in, and won, each of their categories in the National Association of Teaching of Singing Songfest, the Calgary Performing Arts Festival, and the Voice 20 category of the Canadian Music Competition A dedicated student and passionate performer, Bri Jones looks forward to their future musical experiences

Patricia Yates is a classical tenor, vocal coach, piano repetiteur and writer, from West Yorkshire, UK, based in Montréal She will obtain her Master of Music from McGill University in 2024, studying with John Mac Master, having graduated from the University of Leeds with a First Class Bachelor of Music in 2021 Patricia also studied at ArtEZ hogeschool voor de kunsten, Netherlands for a year Patricia’s recent operatic credits include Don Ramiro La Cenerentola, Alfred Die Fledermaus, Tamino Die Zauberflöte, King of the East/The Moon The Enchanted Pig, and Der Sandmann Hänsel und Gretel Patricia also performed roles in world premieres by such composers as Dean Burry, Anna Vienna Ho and Ramin Amin Tafreshi

PAIGE ROBINSON FLORA

Paige Robinson is a 21 year old coloratura soprano from Calgary, Alberta She is currently in her second year of undergraduate study at the Schulich School of Music at McGill University as a student of Tracy Smith Bessette Previously in Calgary, she has studied with Rachel Hop, Margaret George Hahle, and Jessica Lutzak. She has performed regularly in competitions such as NATS Songfest, Calgary Performing Arts Festival, and Calgary Contemporary Competition, frequently placing first as well as winning scholarships. Her most recent competition was the 2022 National NATS Chicago Competition in which she competed in the finals Paige has participated in the training program of Mount Royal University Vocal Academy for two years, exposing her to more variety in art song, language, and style of classical singing One highlight of the program being the performance as the leading role in the Children’s Opera, The Mystery on The Docks Paige is continuing to explore her passion for music in McGill’s Opera program, in which she has recently performed in their production of Cendrillon Paige is thrilled and honored to be a part of this Internship program and is excited to be a part of Opera 5’s adaptation of The Turn of the Screw

THE CAST

MACKENZIE SECHI

MRS.

GROSE

MacKenzie Sechi is a mezzo-soprano from Cape Breton, Nova Scotia. She is now in her first year of the Master of Music in Opera and Voice at McGill, where she studies with Tracy SmithBessette. She is a recent graduate of the Bachelor of Music in Performance program at Wilfrid Laurier University, where she studied with Kimberly Barber. Coming up, MacKenzie will be playing several characters in McGill’s Sondheim at Segal, and Le Prince Charmant in their winter production of Massenet’s Cendrillon. MacKenzie has a strong background in musical theatre, most recently taking part in a production of Into the Woods. Recent operatic credits include Little Women, Mansfield Park and Serse MacKenzie is currently based in Montreal She is so thrilled to be a part of the internship with Opera 5

KATE FOGG THE GOVERNESS

Kate Fogg (she/her) is a writer and soprano from Bangor, Maine Kate is pursuing a Master of Music in Voice and Opera at McGill University where she is a student of Annamaria Popescu Upcoming performances with Opera McGill include various roles in Sondheim at Segal and La Fée in Massenet’s Cendrillon Kate completed a Bachelor of Music in Voice Performance and a Bachelor of Arts in Journalism at The University of Maine where she studied with baritone Isaac Bray. UMaine Opera Workshop credits include Madame Herz in Mozart’s Der

Schauspieldirektor. NATS Maine Chapter Ellen Chickering Award recipient 2021, 2023. Penobscot Theatre Company regional credits; Mamma Mia, 9 to 5: The Musical, and Matilda: The Musical. Kate is a Resident Teaching Artist at Burns Music Studio. She lives in Montréal with her street kitty, Auggie.

MALA WEISSBERG MILES

Mezzo Soprano Mala Weissberg from Tel Aviv, Israel, performed Hänsel (Hänsel und Gretel), Human (Plaything *Montreal premiere), Cendrillon (Cendrillon), Dorabella (Cosi fan tutte), Miss Todd (Old Maid and the Thief), Autumn (Service Provider), Bride (AVOW) and Third Spirit (Die Zauberflöte). A recipient of awards including title of “Musical Prodigy” from the State of Israel, Encouragement Award from the Career Bridges Foundation, First prize in the Westminster Voice Competition, America-Israel Cultural Foundation (AICF) scholarships and Keren Ronen scholarships Recent performance highlights include guest soloist in International Women’s Day concert with Femme d'Europe in Brussels and soloist in ‘Love, Beauty and Death in Venice’ concert with Tafelmusik in Toronto Summer engagements include various solo and ensemble performances at the OperaFest Sewanee, The CoOPERAtive program, Opera Viva!, Young Israeli Philharmonic and The Spoleto Festival USA Mala is in the pursuit of her Master’s degree at Schulich School of Music of McGill University Her upcoming roles with Opera McGill include Angelina (La Cenerentola), Le Prince Charmant (Cendrillon) and Ino (Semele) Mala is a pupil of Ms Laura Brooks-Rice and Prof Matthew Treviño

THE PRODUCTION & MUSIC TEAM

AMANDA SMITH DIRECTOR

Amanda Smith is a Toronto-based stage director and Founding Artistic Director of FAWN Chamber Creative, with whom she commissions, develops, produces, and directs new opera and experimental music performances. For over a decade, Amanda’s love of the creative process has led her to explore collaborative methods when developing opera, such as devised creation. In doing so, she seeks to integrate a greater diversity of artistic input into the projects she works on.

Amanda is currently completing a Master’s at York University in Interdisciplinary Studies. Her research looks at the intersection of devised theatre, musical improvisation, and social psychology to develop a greater understanding of devised creation methods for opera and how they impact empathy in artists and audiences.

Amanda investigates collective processes through her work as a freelance opera director as well as with her company FAWN, with whom she has fostered many projects that integrated devised creation methods. Some examples include the twice Dora Award nominated production of Pandora by librettist David James Brock and composers Joseph Glaser, Kit Soden, and David Storen, along with a new devised horror project that FAWN is developing with contemporary dance company Rock Bottom Movement, and the co-composed queer-techno-opera called Belladonna by UK librettist Gareth Mattey and the Belladonna team. In 2025, Amanda will join FAWN in the second stage development of a new graphic score opera about solitary confinement, called Cells of Wind by composer Anna Höstman and librettist Oana Avasilichioaei, for which she has implemented a design dramaturgy approach to develop the piece with the team

Amanda has created live shows for Tafelmusik Baroque Orchestra, Opera Laurier, Opera Lyra Ottawa, the University of Toronto New Music Festival, Against the Grain Theatre, Cowtown Opera, the Iranian-Canadian Composers of Toronto, and Stratford Summer Music Festival In 2020, Amanda focused her energy on developing a multimedia, online double-bill for the Glenn Gould Opera School, featuring Kurt Weill’s Seven Deadly Sins and William Bolcom’s Lucrezia, along with writing a new libretto adaptation of Die Fledermaus for Dalhousie University In 2021, Amanda directed a short film of Berio’s Sequenza iii for New Music Concerts, which premiered in 2022 at the Paradise Theatre as part of NMC’s 50th anniversary concert

Amanda’s personal interest in underground electronic music led her to develop an extensive collaborative partnership with modular synth artist ACOTE. Their projects have been performed at the Banff Centre, the Aga Khan Museum, several Haus Musik productions with Tafelmusik, and numerous FAWN projects.

Described as a “visionary” by LUDVIG VAN, Amanda’s collaborative, process-driven approach allows her to be flexible and work within a wide variety of project frameworks.

EVAN MITCHELL MUSIC DIRECTOR

Evan Mitchell is one of Canada’s most innovative and imaginative conductors, an artist equally at home conducting symphonic masterworks, opera, contemporary music, and films live in concert. He has been consistently acclaimed for curating thoughtful, incisive, and affecting musical performances.

Evan’s style of leadership is based on a combination of personal sincerity and the dogged pursuit of collegial music-making an approach, he says, that he learned from his parents In performance, Evan prizes commitment, risk-taking, drive, and an unwavering effort to produce the widest possible spectrum of sound colours He believes in extreme softness as well as extreme loudness, and his over-arching goal is to provoke a sustained emotional response in listeners

THE PRODUCTION & MUSIC TEAM

Evan began his committed musical life at age 16 with drumset lessons. This experience fostered a deep-rooted sense of rhythm and pulse that he focuses on during his rehearsal process. While he loves all the instruments of the orchestra, he particularly adores the marimba, an instrument whose expressive potential is nearly limitless. He has also brought the magic of orchestral music to over 500,000 students and children, many of whom had never experienced a live performance first hand. His programs for young people have been recognized for their appeal and educational mandate.

Evan is deeply committed to supporting Canadian artists and composers. He has premiered over 30 new Canadian works during his career and firmly believes the importance of supporting Canadian composers to write significant, substantial works cannot be overstated.

His most memorable concert experience was a profound performance of Beethoven’s Eroica in honour of the late Elizabeth Krehm of Toronto, who died at age 22 The performance was part of a memorial concert series that has so far raised over $200,000 for St Michael’s Hospital intensive care unit

Evan has treasured memories of past partnerships with the Barenaked Ladies, who showcase incredible artistry and ability, and with Omara Portuondo, who at 88 years old remains a true master of audience engagement He is deeply grateful to conductor Bramwell Tovey for launching his conducting career

SHANNON LEE DOYLE PRODUCTION DESIGNER

Shannon Lea Doyle is an award winning set and costume designer born-and-raised in Toronto She is a founder of Triga Creative: a design collective raising the profile of ecoscenography on national and international stages Her design career moves between collaborations with independent artists on new work and reimagining classic texts and musicals on some of the most reputable stages in Canada. She holds a BFA in Sculpture and Installation from OCAD University and studied scenography in the Soulpepper Academy under the mentorship of Lorenzo Savoini Shannon is an emerging art director and production designer for film, she is an Associate Member of the Director’s Guild of Canada She is humbled by and grateful for her family’s love and support Recent theatre credits include: El Terremoto (Tarragon Theatre), Dialogues des Carmelites (Glen Gould School), Truth, It's A Wonderful Life (YPT), heatre / Mirvish), The Seagull (Soulpepper Theatre)

JB NELLES

LIGHTING DESIGNER

JB Nelles (they/them) is an emerging set and costume designer currently based in Toronto, ON In addition to their work as a designer, JB is a trained scenic artist, sewist and prop maker, and teaches scenic art and prop making at York University in Toronto. Recent production credits include; associate set and props designer for La Bete (Talk is Free Theatre); assistant set and costume designer for Macbeth: A Tale Told by an Idiot (Eldritch Theatre, Asst. Designer); set designer for (Everyone I Love Has) A Terrible Fate (Befall Them) (VideoCabaret, Crow’s Theatre), set and costume designer for Dancer: A Musical in Ten Furlongs (Oh What a Ride! At Toronto Fringe)

NOAH FEAVER

LIGHTING DESIGNER

Noah Feaver is a Dora Award nominated lighting designer He works frequently in Dance and Opera and has designed for companies such as: The National Ballet of Canada, Edmonton Opera, Toronto Dance Theatre, Tapestry Opera, Soulpepper Theatre Company, Holla Jazz, Citadel + Compagnie, The Royal Conservatory of Music, Against the Grain Theatre, and Rock Bottom Movement Noah holds a BFA from Toronto Metropolitan University’s Performance Production program and spent two summers as a lighting design practicum at The Banff Centre He works as a Lighting Design Coach at The National Theatre School of Canada Noah is a member of the Associated Designers of Canada

THE PRODUCTION & MUSIC TEAM

TREVOR CHARTRAND

MUSIC STAFF

Dr Trevor Chartrand is an active collaborative pianist, and repetiteur in Toronto, Ontario Being one of Canada’s most sought after pianists for both recitals performances and opera coaching, he has worked as a head coach/repetiteur for many opera companies across Canada and the United States including the Canadian Opera Company (COC), the Glenn Gould School, Opera5, Western University, the University of Michigan, OperaQ and Cowtown Opera.

Chartrand has performed numerous recitals across the country with both voice and instrumental partners These performances have included venues such as the Richard Bradshaw Amphitheatre at the Four Seasons Centre, Koerner Hall, St. Lawrence Centre for the Arts, Roy Thompson Hall, the Meridian Arts Centre, and many universities across Canada and the United States.

He has also been active overseas serving as music director in France at the Franco American Vocal Academy. In addition to his international work, Trevor has adjudicated for ORMTA (Ontario Registered Music Teachers’ Association) zone competitions, and contemporary showcase competitions for both voice and piano, across Ontario. He has also given public masterclasses as an alumnus at the Western University, and at the University of Manitoba.

Trevor holds a Doctorate of Musical Arts (DMA) from the University of Michigan under the tutelage of Martin Katz. He has also obtained an undergraduate degree in solo piano performance, a Master’s degree in collaborative piano (both from W t U i it ) ell as his ARCT from the Royal Conservatory of Music

PATRICK LYNN PRODUCTION MANAGER

Patrick Lynn (they/them/iel) works primarily as a freelance production manager and stage manager for dance, theatre, and live events They grew up near the Wolastoq in Fredericton, NB, and moved to Tkaronto in 2017 to pursue their BFA, Performance: Production at TMU They are fluent in English and French and enjoy working bilingually The Turn of the Screw is their début opera, and they are thrilled to explore a new genre of performance with Opera 5 They are a member of Means of Production and have been privileged to work with such companies as: 1S1, Aluna Theatre, ARC Stage, BoucharDanse, Buddies in Bad Times, Factory Theatre, Pencil Kit Productions, Théâtre français de Toronto, Transcen|Dance Project, and more.

TAMARA VUCKOVIC STAGE MANAGER

Tamara is a Toronto based Stage Manager, Producer and Director in primarily Theatre and Opera. She has worked in most Toronto theatres, as well as across Canada, into the US, and overseas. Tamara is the Managing Producer and Resident Stage Manager of indie performance company ARC, and the Administrative Manager and Resident Stage Manager of Off Centre Music Salon.

Selected Stage Management credits include: All Is Love and The Resurrection (Opera Atelier); Rockabye and Martyr (ARC); On A Night Like This and Sympathy For The Devil (Soulpepper Theatre); Rocking Horse Winner (Tapestry Opera); Fidelio (Canadian Opera Company);Treemonisha (Volcano Theatre); Electric Messiah (Soundstreams); The Shape of Home (Crow's Theatre & County Stage); HMS Pinafore (Vancouver Opera); Gloria and Oil (ARC); Prototype (ZOU Theatre Company); Marjorie Prime (Coal Mine); Hell’s Fury (Soundstreams).

THE PRODUCTION & MUSIC TEAM

VIVIEN ILLION

ASSISTANT STAGE MANAGER

Vivien Illion is a Torontonian soprano and wearer-of-many-operatic-hats currently pursuing a Masters in Opera & Voice at McGill University As a founding member of Pick-Up Opera (formerly Nóżki Opera), Vivien has produced, directed, and performed in numerous outreachfocused projects In 2023, she sang the role of Pamina in Pick-Up’s school tour of The Magic Flute (Mozart) She also authored the production’s original English libretto, adapted for young audiences and set in outer space! Other roles with Pick-Up Opera have included Serpina in Pergolesi’s La Serva Padrona and Anne 1 in Cecilia Livingston’s Singing Only Softly

During the upcoming academic year, Vivien will be conducting a research-creation project on the use of singing translations to increase audience engagement, with funding from the Social Sciences and Humanities Research Council and the Fonds de Recherche du Québec This year, Vivien was a member of Opera McGill, singing in a creation workshop for Jewish Space Lasers (Likht Ensemble) and serving as Assistant Director for Semele (Handel) She also coordinated a student-produced performance of Svadba (Sokolović), in which she sang the role of Lena Vivien loves the Mozart/Da Ponte operas, and is an avid reader of Agatha Christie mysteries

CHRIS FARIS

HEAD OF WARDROBE

Opera 5 – Head of Wardrobe on The Turn of the Screw

Previous – Head of Wardrobe on All is Love for Opera Atelier; Wardrobe Assistant on Dialogues des Carmelites for The Glenn Gould School; Cutter on Morning After for A Front Theatre; Wardrobe Assistant for 2 Seasons at The Shaw Festival

Upcoming – Head of Wardrobe on Acis and Galatea for Opera Atelier; Head of Wardrobe on Beauty and the Beast Jr. for Bravo Academy

CHYNA PHILADELPHIA HEAD OF PROPS

Chynah Philadelphia graduated from Toronto Metropolitan University in 2019 where she studied performance production Throughout the program she specialized in prop building and continues to hone her skills and use of imagination to help bring stories to life! Her work includes Props Assistant: Jumbo,Cake Walk,Team on The Hills,In The Wake of Wettlaufer, Bed & Breakfast (The Blyth Festival Theatre) Head of Props: SpongeBob The Musical (Mainstage Theatre) Head of Props: Rinaldo,Dialogues of the Carmelites (Royal Conservatory of Music)

P , As You Like It, Public Enemy (Canadian Stage) Head of Props: Indecent (Studio 180) Head of P cano Theatre) This is her first time working with Opera 5 and she wants to thank everyone in the cast and crew for an an amazing time building this production!

THE PRODUCTION & MUSIC TEAM

DAEVYD PEPPER DRAMATURG/CONSULTANT

Daevyd is a multidisciplinary artist based in T'karonto (Toronto), whose work explores Self, gender, and spirituality through storytelling and music Originally from Bracebridge, Ontario, they are a dynamic opera singer known for their powerful voice and interpretations of dramatic and contemporary repertoire Daevyd's performances have graced stages across Canada with companies such as Good Mess Opera Theatre, Calgary Opera, Vancouver Opera, the Canadian Opera Company, and the Saskatoon Symphony. They are a passionate advocate for new Canadian opera, particularly works by equity-seeking groups Trained at York University, the University of Toronto, and in young artist programs across North America, Daevyd's artistry extends beyond opera to directing, dramaturgy, choral music, pop/folk, and writing in various forms Their diverse artistic practice reflects a commitment to creative exploration and storytelling

ATRICK HANSEN

ARTISTIC DIRECTOR OF OPERA MCGILL

atrick Hansen is the Artistic Director of Opera McGill, an associate professor of music at he Schulich School of Music of McGill University, on the board of the Association for Opera in Canada, and lead coach for the Bel Canto Institute in Florence, Italy Considered a leading progressive figure in opera, he is only one of a few opera producers equally established as a stage director, conductor, vocal coach, collaborative pianist, and artistic administrator having spent the last thirty-five years on the creative and producing teams of over 230 operas. His productions have been seen all over North America and in Europe. Recently he directed and choreographed the Bulgarian premiere of Weill’s Street Scene. He has directed at the Kennedy Center in Washington DC, Eugene Opera, Pittsburgh Opera, Charlottesville Opera, Fargo Opera, Opera5, Opera Memphis, Arizona State University, Opera on the James, Eugene Opera, and Tri-Cities Opera.

In 2025, he will be the musical supervisor for The Light in the Piazza and direct Platée for Opera McGill, and direct Rigoletto for Tri-Cities Opera’s 75th anniversary season.

STEPHEN HARGREAVES MUSIC DIRECTOR OF OPERA MCGILL

When Stephen Hargreaves’ mother noticed he had slurred speech as a beginning talker, she immediately paid a visit to the pediatrician: he subsequently went through 11 sets of ear tubes From the moment he could hear clearly, he fell in love with sound and, as an extension, music in all its forms Stephen attended Indiana University where he studied horn with Myron Bloom while furthering his piano skills In his 3rd year, he played piano for Turn of the Screw with a student opera company that inspired his life-long love of opera. Post university, Stephen lived in Chicago, where he joined the staff of Chicago Opera Theater, a boutique company performing eclectic works. In his 13 seasons with COT, he fulfilled every musical job imaginable: répétiteur, coach, orchestral pianist, outreach pianist, recital accompanist, music librarian, continuo, chorus master, assistant conductor and conductor. He has since conducted at companies including Union Avenue Opera, Opera Omaha, Glimmerglass, Chicago Opera Theater, Banff, Pine Mountain Music Festival, Festival Lyrique de Belle-île-en-mer, Opera McGill and University of Toronto. He has assisted conductors including Harry Bicket, Jane Glover, Steuart Bedford, Johannes Debus, Pablo Heras-Casado, Rinaldo Alessandrini, Julius Rudel, Raymond Leppard, Emmanuelle Haïm and Michael Hofstetter at companies including Santa Fe Opera, Canadian Opera Company, Washington National Opera and Chicago Opera Theater

in Chicago, where he joined the staff of Chicago Opera Theater, a boutique company performing eclectic works In his 13 seasons with COT, he fulfilled every musical job imaginable: répétiteur, coach, orchestral pianist, outreach pianist, recital accompanist, music librarian, continuo, chorus master, assistant conductor and conductor

THE PRODUCTION & MUSIC TEAM

He has since conducted at companies including Union Avenue Opera, Opera Omaha, Glimmerglass, Chicago Opera Theater, Banff, Pine Mountain Music Festival, Festival Lyrique de Belle-île-en-mer, Opera McGill and University of Toronto He has assisted conductors including Harry Bicket, Jane Glover, Steuart Bedford, Johannes Debus, Pablo Heras-Casado, Rinaldo Alessandrini, Julius Rudel, Raymond Leppard, Emmanuelle Haïm and Michael Hofstetter at companies including Santa Fe Opera, Canadian Opera Company, Washington National Opera and Chicago Opera Theater.

As a collaborative pianist, he has accompanied singers including Anita Rachvelishvili, Samuel Ramey, Clémentine Margaine, and Jonathan Beyer. Hargreaves is an active harpsichordist, playing continuo for operatic productions at companies including Santa Fe Opera, Canadian Opera Company, Brooklyn Academy of Music and Chicago Opera Theater. He also is known for leading from the keyboard, conducting Ricky Ian Gordon’s Orpheus and Euridice and Jake Heggie’s Three Decembers from the piano for Chicago Opera Theater, le nozze di Figaro from the fortepiano for Opera Omaha as well as numerous productions for Opera McGill. He has created performing editions of two operas - a full edition of Chevalier de Saint-Georges’ L’amant anonyme as well as an eleven instrument reorchestration of Bluebeard’s Castle Based in Montréal, he is currently an associate professor at McGill, the music director of Opera McGill and recipient of the Schulich School of Music 2021-2022 teaching award

Recent productions: Don Pasquale, Falstaff, Il barbiere di Siviglia, Nabucco, Tosca (Union Avenue); Tosca, Nightingale and Other Fables, Louis Riel, Maometto II (Canadian Opera Company); Alcina (Santa Fe); Cendrillon, Orfeo ed Euridice, Hänsel und Gretel, Don Giovanni, Les mamelles de Tirésias, Turn of the Screw, L’amant anonyme, Clemenza di Tito, Bluebeard’s Castle, Lucia di Lammermoor (Opera McGill)

ELIZABETH KOCH

ROLE PREPARATION AND DICTION COACH

After completing her opera training at The Juilliard School’s prestigious Opera Center singing the title role in Barber’s Vanessa, Ms. Koch went on to perform with many U.S. opera companies including the Lyric Opera of Chicago, Santa Fe Opera, Tulsa Opera, Shreveport Opera, Des Moines Metro Opera, and Florida Grand Opera. Her many roles include Mimi in La Bohème, Ortlinde in Die Walküre, Antonia in The Tales of Hoffmann, Donna Elvira and Zerlina in Don Giovanni, Micaela in Carmen, and the Countessa as well as Susanna in Mozart’s Le Nozze di of the Mother in Opera Festival of New Jersey’s critically acclaimed production of Dallapiccola’s Il Prigioniero She has been on the voice faculties of Ithaca College, the University of Miami, and Cornell University where her many success stories include students who regularly perform on the operatic, concert, cabaret, and Broadway stages as well as on television and in film, including Aaron Tveit who won the 2021 Tony Award for Best Lead Actor in a Musical (Moulin Rouge) Ms Koch was a winner and finalist in many vocal competitions including the Pavarotti International Competition, the Metropolitan Opera National Council competition, the Sullivan awards, and sang with the Marlboro Festival for many summers Her master’s degree in Vocal Performance is from Manhattan School of Music For the past two summers she has been the voice teacher for the Bel Canto in Tuscany program in Greve in Chianti She currently teaches English Diction for singers at the Schulich School of Music, is the opera repertoire coach for Opera McGill, and teaches privately in Montreal, Quebec.

THE OPERA INTERN PROGRAM

Opera 5 is excited to launch the first iteration of the Opera 5/Opera McGill Portfolio Intern Program! This comes from a direct need in the industry for singers to have a diverse set of skills to build a career in the opera sector in Canada. We are excited to provide programming which empowers artists to pursue opportunities in multiple areas, both in and outside of opera.

We have come together with Opera McGill to provide a first professional contract for six student singers. Each of them have prepared a role which they will cover, sing one performance on June 13, participate in professional development learning, and develop a secondary skill in design, production, or administration We are so proud to be able to present these six artists on our stage They are bright, problem solvers, kind, fierce artists, and we can’t wait to continue to follow these exceptional artists as their careers grow

"Game Changer" is a phrase often used, but where this innovative internship program is concerned, it truly fits Historically, Canadian opera summer training programs for young singers have been almost entirely pay-to-sing, meaning you need to pay tuition to be involved For many young students who are struggling to meet their school's tuition and lesson fees, these programs - however wonderful - have been a burden for many I've seen so many talented singers flounder in the summer because they can't afford to pay to be in a Canadian program This is in stark contrast to the United States where there are dozens of professional summer programs that offer many singers opportunities to be paid professional wages while learning their craft and building their skills. It's been a dream of mine to help create a paid summer program for young singers since becoming the director of opera studies at the Schulich School of Music of McGill University. The importance of this new program, nurtured by the team at Opera 5 along with Opera McGill's collaboration, is that it affords students pursuing their career goals the opportunity to be part of the professional operatic world. But the game-changing part is that it's not just about performing onstage, these students also get to expand their portfolio of other related skills that can become instrumental in helping them find success while pursuing their singing career. The vision of Rachel Krehm and her whole team is extraordinary and Opera McGill is thrilled to be a partner! - Patrick Hansen, Director of Opera McGill

2023-2024 Opera Intern Assignments

Kate Fogg - Governess (cover & June 13 performance), Secondary learning program in directing, social media, & marketing

Bri Jones - Miss Jessel (cover & June 13 performance), Secondary learning program in artistic leadership &directing

Paige Robinson - Flora (cover & June 13 performance), Secondary learning program in design & stage management

MacKenzie Sechi - Mrs Grose (cover & June 13 performance), Secondary learning program in stage management & artistic leadership

Mala Weissberg - Miles (cover & June 13 performance), Secondary learning program in design & stage management

Patricia Yates - Prologue/Peter Quint (cover & June 13 performance), Secondary learning program in conducting/music directing, social media, & marketing

ORCHESTRA

ALLENE CHOMYN

VIOLIN 1

A native of Western Canada, Allene Chomyn holds a Bachelor of Music Performance with Distinction from the University of Victoria (2005) and a Master of Music Performance from the University of Toronto (2007) She was a member of the Kitchener-Waterloo Symphony from 2007-2023 and was featured as Concertmaster and soloist multiple times Allene can be seen performing regularly as Concertmaster of the Spiritus Ensemble and the Stratford Symphony Orchestra, and joining many other ensembles throughout Southern Ontario One of Allene’s career highlights was being selected from hundreds of applicants to be a part of the YouTube Symphony Orchestra (2011) which included a trip to Australia to perform in the Sydney Opera House, and whose performance became the largest livestreaming concert event in YouTube history, with over 30 million streams. Allene lives in Kitchener with her husband, bassist Ian Whitman, their two children, and their cute dog, Spike

KENNETH KWAN

VIOLIN 2

A native of Hong Kong, Kenneth started playing violin at the age of 7. By the age of 12 he was accepted into the Interlochen Arts Academy. He went on to finish his studies at the Peabody Conservatory of Music and McGill University. His Teachers include Dennis Kim, Violaine Mealancon, Felicia Moye and Denise Lupien. While attending McGill University, Kenneth was generously sponsored by the Sir Kenneth Fun Ping Fan Foundation Trust I.

Prior to Joining the Kitchener-Waterloo Symphony in 2019, Kenneth spent one season with the Thunder Bay Symphony. He has also played with other orchestras in Canada, such as the Toronto Symphony, Toronto Concert Orchestra. Besides maintaining a busy performance schedule, Kenneth also enjoys teaching and is currently faculty at the Laurier Academy of Music and Arts.

JODY DAVENPORT VIOLA

Judith is a graduate of Wilfrid Laurier University where she studied with members of the Penderecki String Quartet. She has been a member of the National Youth Orchestra, continuing her summer studies in Banff, at the Orford Arts Centre and has participated in a number of QuartetFests at Wilfrid Laurier University.

An avid chamber musician, Judith has performed on series such as the Stratford Summer Music Festival, KWS’s Baroque and Beyond, Leith Summer Festival, Perimeter Institute’s Bistro Series, Festival of the Sound, and the KWMS to name just a few She is currently a member of the INNERchamber String Quartet

As an educator, Judith is very active in the Kitchener-Waterloo community teaching at Wilfrid Laurier, University of Waterloo (Conrad Grebel), as well as maintaining a small private studio Judith is part of the resident faculty for IMC (Interprovincial Music Camp) She is a long-time coach for the KW Symphony’s Youth Orchestra program and is in high demand as a clinician across Southern Ontario

Judith held the position of Associate Principal Viola with the Kitchener-Waterloo Symphony from 2002 to September 2023 She continues to maintain an active freelance career across Southern Ontario She lives in Kitchener with her husband Jeff and their small but mighty Scottish Terrier Gus

ORCHESTRA

REBECCA MORTON CELLO

Cellist Rebecca Morton inspires audiences with her honesty, ease, and love of music making. She began her studies at the age of six in her hometown of Hamilton, Ontario and went on to study as a scholarship student at the Royal Conservatory of Music in Toronto with Vladimir Orloff and David Hetherington where she was awarded the Gold Medal for achieving the highest string mark in Canada. Continuing at the Eastman School of Music, she was the recipient of a six year scholarship and graduated with highest distinction receiving Bachelor and Master of Arts degrees under Paul Katz and Steven Doane. Since graduating, she has won numerous scholarships and awards including semi-finalist in the 2003 Eckhardt-Gramatte String Competition.

Currently living and freelancing in Toronto, Rebecca has played with the Hamilton Philharmonic Orchestra, Toronto Symphony Orchestra, Ontario Philharmonic, group of 27, Toronto Masque Theatre, Contact Contemporary Music Ensemble, the Stratford Festival Orchestra and the Niagara Symphony Sought after as a principal player, she has been guest principal of Symphony on the Bay, Talisker Players and the Kingston Symphony A gifted soloist and ensemble member, she was a member of the Kamareli String Quartet for many years and has been heard in many solo and chamber music recitals, including performances with ChamberWorks!, Nota Bene, Past Perfect, at the Toronto Music Garden and in recordings with Final Fantasy Most recently, she has performed with members of the Canadian Opera Company at the Richard Bradshaw Amphitheatre, Gallery 345, the McMaster Concert Series, and with the McMaster Trio In September of 2015, Rebecca joined the cello section of the Kitchener-Waterloo Symphony

Voted “favourite music teacher” through the Hamilton spectator, Rebecca also enjoys teaching privately and at McMaster University

ERIC LEE BASS

Eric Lee studied with Thomas Monohan and Alan Molitz at the University of Toronto Faculty of Music. He then went on to study with Brian Robinson at McGill University. He is currently working as the principal bassist of the Kingston Symphony Orchestra and is the double bass instructor at the Dan School of Music at Queens University. Eric works as a freelance musician in and around Toronto. Some highlights include playing in the Canadian Opera Company Orchestra for the inaugural production of Wagner’s Ring Cycle, as well as their productions of Lady Macbeth of Mtsensk and Elektra He has also enjoyed playing with the Hamilton Philharmonic and the Esprit Orchestra

AMELIA LYON FLUTE/PICCOLO/ALTO FLUTE

Amelia received both an Undergraduate and a Masters degree in orchestral performance at the McGill Schulich School of Music, under the orchestral tutelage of Carolyn Christie, Denis Bluteau, and Alexis Hauser Previously she spent seven years studying with Beverley Robinson, and one with Robert Cram in Ottawa In May of 2015, she won an audition for principal flute of the Kingston Symphony Orchestra and took up the position that fall, a position she continues to hold Her orchestral experience consists of work with the Kitchener-Waterloo Symphony, Sinfonia Toronto, Toronto Concert Orchestra, and Euphonia among others Amelia spent four years as principal flute of the Ottawa Youth Orchestra, two years playing with the National Youth Orchestra of Canada, under the baton of Jacques Lacombe, and completed three summers with the National Academy Orchestra working with Boris Brott In addition to music, Amelia is the owner of Yarns Untangled shop in Kensington Market She is an avid knitter and crocheter, having made and sold many of her own clothing and designs

ORCHESTRA

ARI COHEN MANN OBOE/ENGLISH HORN

Ari Cohen Mann (they/them) has been hailed as the "Jonathan Van Ness of the oboe" (CBC Music), proudly championing their queer identity and serving as a role model for LGBTQ youth Based in Toronto, Ari is a dynamic recitalist, new music proponent, orchestral musician, and educator Recognized on CBC's 30 Hot Canadian Classical Musicians under 30, they are a Howarth Artist, performing on a Howarth LXV-VT oboe

Ari's career includes performances as a concerto soloist with the National Academy Orchestra, Canadian Studio Symphony, and Ontario Philharmonic. They eagerly anticipate their Atlantic Canada debut with the PEI Symphony Orchestra in November 2024. Ari has premiered works by composers such as Jocelyn Morlock, Matthew Emery, and Felipe Tellez. Ari’s solo debut at Carnegie Hall was with harpist Noël Wan, as featured artists in the Yale in New York series.

Equally at home within the orchestra, Ari has performed with esteemed ensembles such as the National Arts Centre Orchestra, the Canadian Opera Company, the National Ballet of Canada Orchestra, and the Toronto Symphony Orchestra. As a faculty member at Wilfrid Laurier University, Ari teaches oboe and coaches chamber music. Connect with them at www oboeari com

PETER STOLL CLARINET/BASS CLARINET

Known for his virtuoso energy on stage, creative musical arrangements and an entertaining way of speaking with the audience, Peter Stoll performs regularly in Toronto with many orchestral and chamber groups, and has toured as soloist and with ensembles to the USA, across Europe and to Russia, Japan and China In 2019 he won a Dora Mavor Moore Award as part of Best Ensemble-Opera

Recent seasons’ solo and chamber highlights have included concerts for Music Toronto and the Maison de la Culture Frontenac in Montreal. A recording of re-imagined chamber music with members of the Canadian Brass was released on the Opening Day label, and Peter performed the Canadian premiere of noted American wind ensemble composer Brian Balmages' concerto "Escapades" with the composer conducting He was recently first clarinet in the orchestra behind the mega rock group The WHO at Scotiabank Arena

Peter teaches clarinet, chamber music and performance studies at the Faculty of Music, University of Toronto He is also a member of the Royal Conservatory of Music's National College of Examiners, and is much sought after as an adjudicator at music festivals across the country Peter's website is www peterstoll ca

ANNA NORRIS BASSOON

As a bassoonist, Anna Norris has played with orchestras across Canada including the Toronto, Winnipeg, Regina, and Thunder Bay symphonies She has also taught bassoon, gymnastics and mathematics all while avoiding the haunting-induced deaths of any of her charges, which is more than can be said for some people around here She lives and works in a spooky mansion (apartment shared with two rabbits) in the gothic countryside (Hamilton, Ontario)

ORCHESTRA

COURTNEY PRIZRENAC FRENCH HORN

Courtney Prizrenac is an active freelance musician performing with orchestras and ensembles across Canada, including the Canadian Opera Company, National Ballet of Canada, Shaw Festival and the Manitoba Chamber Orchestra Courtney is a past recipient of the Tom Thomas Prize and is an alumnus of Spoleto Festival USA, the Pacific Music Festival and Music Academy of the West

In 2015 Courtney made her European solo debut with the European Young Musicians Orchestra, touring Italy with Mozart’s First Horn Concerto, which included a live broadcast on Italian television C t h ld B h lor of Music degree from the Curtis Institute of Music in Philadelphia, where she was a student of fer Montone

LORI GEMMEL HARP

Lori Gemmell was the Principal Harpist with the Kitchener-Waterloo Symphony from 20002023. She teaches at Wilfrid Laurier University and for the National Youth Orchestra of Canada. Lori enjoys being involved in many solo and chamber music projects: with the Four Seasons Harp Quartet, with trumpeter Larry Larson, harp duo with Jennifer Swartz, and playing with pop artists Kevin Fox and Feist. Lori and her husband, storyteller Tom Allen, create chamber musicals, their newest one being, J.S. Bach's Long Walk in the Snow. Lori has two solo recordings, Prelude and Canadian Music for Harp, a harp duo recording with Jennifer Swartz, The Garden of Peacocks, and Divertissement with trumpeter Larry Larson. She is thrilled to be playing with violinist Sheila Jaffe, premiering a new work commissioned through the Canada Council for the Arts, Partita for Violin and Harp by Canadian composer and harpist, Caroline Lizotte

TIM FRANCOM PERCUSSION

For more than 20 years Tim Francom has enjoyed a diverse performing and teaching career Based in Toronto, he has performed and recorded with orchestras and ensembles across the province He is the principal timpanist of London Symphonia, and Section Percussionist with the Windsor Symphony Orchestra, and regularly performs with many other groups including the Toronto Symphony Orchestra, the National Arts Centre Orchestra, and the Hamilton Philharmonic Orchestra Tim holds a Doctor of Musical Arts (DMA) degree from the University of Toronto His research focused on elements of Indian tabla repertoire and technique and gave him the unparalleled privilege of learning tabla with Ustad Ilmas Hussain Khan of Lucknow, India Tim maintains a busy teaching studio in the Earlscourt neighbourhood of Toronto, and also teaches at Community Music Schools of Toronto in Regent Park

DONORS, FUNDERS & THANK YOUS

$10,000 + Anonymous

In Memory of Elizabeth Krehm

Dawn Davis

Jonathan Krehm

Rachel Krehm

Evan Mitchell

Jessica Ramirez

$5,000 - $9,999

Suzanne Gayn

$1,000 - $4,999

George Hoff

$500 - $999

Heather Ferguson

David Matthews

David Mitchell

Janice Payne in memory of Russel

Lyon and Bobbie McKnight-Lyon

John Ryerson

Under $500

Jillian Bonner

Marjorie Chan

Gordon Gerrard

Joel Klein

Nicole Malcolm

Kimmy McLaren

Robert Milne

Ian Rye

Amanda Smith

Lawrence Wiliford

Sound the Alarm

Special thanks to Paul Hahn Pianos for kindly donating the piano for The Turn of the Screw

Special thanks to the Canadian Opera Company for kindly donating the celesta of The Turn of the Screw

DONORS, FUNDERS & THANK YOUS

Thank you!

For the generous support from the Ontario Arts Council!

To the wonderful staff and crew of Theatre Passe Muraille!

To Opera McGill for the Intern partnership and coaching and preparing all of the interns on their roles!

To Jessica Derventzis and Kyle Briscoe for creating and running surtitles!

To Jules Café for generously catering our opening night reception!

To Emily Ding for her brilliant photography!

To Ryan Harper for archiving our two opening nights!

To Guillermo Silva-Marin and the team at Toronto Operetta Theatre for sharing their amazing space with us!

To York University and Soulpepper for their generous costume contributions!

To Carlyn Rahusaar Routledge for her costume expertise!

To Factory Theatre for the use of lighting equipment!

To The Grand Theatre for the use of their piano shell!

To Young People's Theatre for their generous tree rental!

To Canadian Stage for their generous offering of space and props!