Evening program - The Coronation of Poppea

Nove m be r 1 8 & 1 9, 2 0 2 3

ENGLISH VERSION

DISTRIBUTION

COMPOSER

Claudio Monteverdi LIBRETTO

Giovanni Francesco Busenello LANGUAGE In Italian with English and French surtitles PREMIERE Venice - 1642 DURATION 2hrs. 40mins. (including one intermission of 20 minutes)

ARTISTS

SET DESIGNER:

Gabriel Tsampalieros

POPPEA/FORTUNA

EMMa Fekete

COSTUME DESIGNER:

OTTAVIA/FAMIGLIARI II/AMORE SECONDO

Rachèle Tremblay NERONE

Ilanna Starr AMORE/DRUSILLA

Sophie Naubert VIRTÙ/VENUS

/

Chelsea KoLIc OTTONE

Ian Sabourin ARNALTA/FAMIGLIARI I/AMORE TERZO

Sydney Frodsham NUTRICE/LUCANO/SOLDAT 1

Angelo Moretti

SOUND TECHNICIAN:

Nataq Huault LIGHTING DESIGNER:

Martin Sirois HAIR AND MAKE-UP ARTIST:

Justine Denoncourt-Bélanger CHOREOGRAPHER:

Mistaya Hemingway TECHNICAL MANAGER:

Mélissa Perron TECHNICAL MANAGER (INTERIM):

Julien Boisvert

PRODUCTION MANAGER:

LIBERTO/SOLDAT 2/TRIBUNO

Geneviève Lessard

SENECA

COSTUME MAKING TEAM

Mishael Eusebio Matthew Li

CONSOLE/LITTORE/FAMIGLIARI III

Mikelis Rogers CREATIVE TEAM CONDUCTOR:

Nicolas Ellis

Sandra Chirico Anne-Sophie Boucher Marie-Claire Doyon Cassandre Josépovic Richard Provost Margarita Brodie PATTERN MAKER

STAGE DIRECTOR:

Aria Umezawa ASSISTANT CONDUCTOR AND PIANIST-REPEATER:

Christopher Gaudreault A production of Productions ODM Inc. with the financial support of SODEC

Jessica Poirier-Chang

PIANIST REPEATER:

Jerome de los Santos MUSICAL PREPARATION:

Hank Knox

Fauve Du Tilly-Lefebvre DRESSING

Viviane Borkowski Anne-Sophie Boucher SET DESIGNER

Atelier Morel Leroux inc.

ITALIAN DICTION:

Alessandra Cattani PUBLIC PARTNERS PUBLIC PARTNERS

The Opéra de Montréal and Orchestre de l’Agora sincerely thank the Conseil des arts et des lettres du Québec, the Ministère de la Culture et des Communications du Québec, the Canada Council for the Arts, Canadian Heritage, the Conseil des arts de Montréal and the City of Montreal.

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ORCHESTRE DE L’AGORA

VIOLINS

HARP

CELLO

HARPSICHORDS

Chloé Chabanole Julien Patrice Thomas Beard DOUBLE BASS

Gabriel Garabini Sakamoto

Antoine Malette-Chénier Hank Knox Nicolas Ellis THEORBOS

BAROQUE GUITAR

Kerry Bursey FLUTES

Caroline Tremblay Alexa Raine-Wright LIRA AND VIOLA DA GAMBA

Sylvain Bergeron

Tristan Best

The Agora Orchestra (OA), under the direction of

On the ATMA Classique label, the Orchestra recorded

Nicolas Ellis, uses music as a tool for sustainable

Viola Borealis with violist Marina Thibeault, which

social change while presenting innovative and daring

won a Juno Award for Classical Album of the Year.

concerts. Our musicians, young professionals from the Montreal area, are among the best of their generation

The Orchestra began its partnership with the Montreal

and actively participate in our social actions through

Detention Centre in 2021–2022 to present concert-

music.

workshops for persons detained in the penitentiary.

Since 2013, the Orchestra’s musicians have been

Founded in 2013, the Orchestra’s core values are

offering music lessons and mentoring to hundreds of

collaboration, commitment and daring, reflected

children from underserved backgrounds in partnership

in the Orchestra’s many initiatives over the years.

with Share the Warmth.

These include the Gala de la Terre pour les enfants, presented in June 2022, which raised $255,000 in support of environmental and humanitarian causes, and won the Opus "Musical Event of the Year" award.

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MESSAGE FROM THE DIRECTOR OF THE ATELIER LYRIQUE

JENNIFER SZETO

To bring forth a contemporary vision of Poppea, we have enlisted Aria Umezawa, one of Canada’s most daring stage directors. With each of Aria’s productions, I am struck by the radical collaborative nature of her process and her uncanny ability to galvanize artists across different disciplines. Here, we welcome costume designer Jessica Poirier-Chang, scenographer Gabriel Tsampalieros, lighting designer Martin Sirois, makeup designer Justine Denoncourt-Bélanger, and movement

consultant Mistaya Hemingway. Their contributions shine through every element of this show and we are delighted to showcase their inspiring work.

For this project, Atelier lyrique joins forces with the musicians of Orchestre de l’Agora and Nicolas Ellis - a partnership that has brought forth some of our most formidable projects. To Jean-Frédéric, Nicolas, and the team of Agora - thank you for the immense gift of your collaboration!

Lastly, I want to highlight our production’s staff - harpsichordist Hank Knox, stage manager Julie Abran, two exceptional Atelier lyrique pianists: Jerome de los Santos and Christopher Gaudreault, and the training team of the Atelier lyrique - Ariane Girard, Esther Gonthier, Holly Kroeker. Performances showcase those who are onstage but also the quiet and essential work that happens before the curtain rises. We recognize this team’s tireless efforts behind the scenes!

Credit : Tam Photography

One of opera’s most enigmatic works, Claudio Monteverdi’s final opera features a libretto by Busenello which is regarded as the first libretto to use historical characters. Rather than transporting us to the world of gods and goddesses, the creators chose a grittier setting where excess, immorality, and adultery triumphs over reason. While those themes may not be out of place in an episode of Occupation Double, for example, L’Incoronazione di Poppea at the time of its creation heralded the arrival of a new era for opera.

Opera is, at its heart, an experience of community. Thank you for being here with us to share in this joyful moment in our season.

Jennifer Szeto, Director of the Atelier Lyrique de l'Opéra de Montréal

THE ATELIER LYRIQUE DIRECTORSHIP IS GENEROUSLY SPONSORED BY VANDA TREISER.

MESSAGE FROM THE MUSIC DIRECTOR OF THE ORCHESTRE DE L'AGORA

NICOLAS ELLIS pany certain characters, and improvising within the continuo group.

I wish to sincerely thank the Atelier lyrique team and singers for their dedication and their enlightened exploration of this music. Thanks also to the Atelier lyrique pianists Jérôme de los Santos and Christopher Gaudreault, who collaborated from the harpsichord for several rehearsals and ensured overall coherence of musical direction. I also wish to extend special thanks to Hank Knox for his commitment and for sharing his invaluable expertise with engagement and humour, helping us to navigate this extraordinary adventure.

Nicolas Ellis, Artistic Director – Orchestre de l’Agora

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Crédit: Maxime Girard-Tremblay

This year marks Agora’s 7th collaboration with the Atelier lyrique. After various projects in which we joined forces for performances of Rameau, Mozart, Rossini, Britten, Mahler, and Ravel, we delved this year into the late Renaissance to explore the genesis of opera, whose early development is attributed to Monteverdi.

The score of The Coronation of Poppea is fascinating: with only a few ingredients (a bass line and a vocal line), Monteverdi succeeded in constructing a world of affects and expressions of unrivalled intensity. Poppea is, indeed, a work of sung theatre more than an opera of the kind we are familiar with today. Its harmonic progressions and vocal intervals, chosen with great care, harness the libretto’s full dramatic potency. This being said, the sparseness of the score allows for a multitude of possibilities and choices, such as selecting given instruments to accom-

STAGE DIRECTOR'S NOTES

Credit: Tam Photography

ARIA UMEZAWA The librettist Giovanni Francesco Busenello was quite open about the artistic liberties he took when depicting historical events and figures in “L’incoronazione di Poppea”. In the preface to his libretto, he stated, "Here we represent these actions differently."

His artistic aim was to use a fictionalized version of Roman history as a means to explore the moral and political climate of 17th-century Venice. However, both he and Claudio Monteverdi, the opera's composer, assumed that their audience would possess a certain level of familiarity with the characters and their historical context. They believed the audience could recognize their changes and use this awareness to draw parallels between the events in the opera and contemporary political situations.

often necessary, as one cannot reveal their true intentions until they have acquired enough power to put their plans into action.

This idea of power revealing true intentions, and the necessity of concealing one's true self in the pursuit of power forms the core of our interpretation of "L’incornazione di Poppea." Busenello's portrayal of historical events and Monteverdi's emotive music obscure the harsh truths of the central characters.

In this production, we strive to reveal them as they were: morally ambiguous, corrupt, cruel, and deeply flawed.

Today, the average viewer may be less acquainted with the central figures of the opera and how they've been reimagined: Emperor Nero is portrayed as more petulant than tyrannical, Nero's first wife Ottavia becomes a vengeful murderer, Seneca's nobility and virtue are exaggerated, and Poppea's motivations are attributed to love rather than a lust for power. In contrast to the opera's portrayal, the union of Nero and Poppea did not exemplify love triumphing over adversity but rather ushered in a period of decline and political turmoil in the Roman Empire.

We find ourselves in a political climate where leaders in government and business around the world often take advantage of misinformation campaigns and an increasingly polarized populace to conceal their own ambitions and corrupt endeavours. Like Busenello and Monteverdi before us, we hope our audience will have enough familiarity with these tactics to draw parallels between the events in the opera and our contemporary political situations.

This production draws inspiration from Monteverdi and Busenello's original intentions to use Poppea's rise to power as a means of making contemporary political commentary. However, rather than focusing on what the creators thought about 17th-century Venice, we use the material to present a modern perspective on the nature of power and those who wield it.

Aria Umezawa, Stage Director

Robert A. Caro, the acclaimed author of The Power Broker, is widely regarded as an authority on the subject of power. He has written, "We're taught Lord Acton's axiom: all power corrupts, absolute power corrupts absolutely… I don't believe it's always true anymore. Power doesn't always corrupt… What I believe is always true about power is that power always reveals. When you have enough power to do what you always wanted to do, then you see what the guy always wanted to do." Caro goes on to suggest that in the pursuit of power, concealment is

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SYNOPSIS

Fortune, Virtue, and Amore argue over which of them has the most influence on the hearts and souls of humankind.

Part 1

Part 2

Roman praetor Ottone, returning from Lusitania, is eager to see Poppea, his lover. He notices with horror that her house is being guarded by two of Nerone’s soldiers. He overheard the guards lamenting the fate of Empress Ottavia: while she is consumed with grief over her husband’s infidelity, Nerone spends his nights in the arms of Poppea, who is secretly his mistress. At dawn, as he departs, Nerone promises Poppea that he will leave Ottavia. Filled with hope, Poppea sings the praises of Fortune and Amore, disregarding the warnings of Arnalta, her nurse, who tells her to be mindful of Ottavia’s wrath. The philosopher Seneca goes to console the unhappy empress, suggesting that she should base her life on virtue. Ottavia ignores this morality lesson by describing virtue as a specious vanity. Nerone comes to see Seneca, who is also his tutor, and informs him of his intention to leave Ottavia so he can marry Poppea. He remains deaf to the philosopher’s efforts to dissuade him, ordering him to leave. Poppea joins her lover and, through flattery, gets him to order Seneca to commit suicide. After Nerone leaves, Ottone tries in vain to regain his former lover’s favour, but she scorns his advances. Drusilla calms the storm in Ottone’s heart, but does not manage to extinguish his love for Poppea, for whom he had once rejected her. An envoy from Nerone tells Seneca that he must take his own life. Seneca announces to his friends that he will commit suicide, and explains that death is merely a passage, a release for the soul.

Relieved by Seneca’s death, Nerone abandons himself to hedonistic reverie, believing that the moment will soon come when he can marry Poppea.

Ottavia summons Ottone and urges him to kill Poppea, threatening to otherwise have him put to death. Ottone reluctantly agrees to carry out the crime, with the help of Drusilla, driven by her infinite love for him. She lends him her clothes so that he can get close to the sleeping Poppea without drawing attention to himself. Poppea imagines herself as empress and promises Arnalta to remain faithful.

She falls asleep. Ottone, disguised as Drusilla, raises his blade to kill Poppea. Arnalta runs off to find Drusilla, believing her to be the attempted murderer.

Filled with hope, Drusilla awaits Ottone’s return.

However, she is found by Arnalta, who denounces the alleged criminal. Before Nerone, hoping to protect her beloved, she confesses her own guilt and accepts the horrible death that awaits her. Ottone rushes in and reveals that the empress had ordered him to kill Poppea; Nerone then orders Ottone and Drusilla to be exiled. Nerone repudiates Ottavia, who he also banishes; she bids farewell to her friends and to Rome. Poppea, thirsty for glory, has achieved her goal: Nerone crowns her empress, and the two lovers are finally united.

(Intermission)

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COMPOSER

( 1 5 6 7 – 16 4 3 )

C L A U D I O M O N T E V E R D I A precocious musician, Monteverdi developed his art under the tutelage of Marco Antonio Ingegneri, composing his first motets, sacred works for several voices, at the age of 15. In addition to being an adept of the voice, Monteverdi was also a viol aficionado, which earned him the position of maestro di cappella at the court of the Duke of Mantua in 1590. A prolific composer of madrigals (secular pieces, mostly for several voices), Monteverdi composed works whose harmonies and expression caused him to increasingly move away from the canons of the earlier Renaissance.

In 1607, after his assignment to produce a staged performance of L’Orfeo, Monteverdi truly earned his place in history, instituting the foundations of modern opera. While the Camerata struggled with the task, Monteverdi’s L’Orfeo hit upon the right inflections and the appropriate size of orchestra. The composer rose to prominence throughout Europe, becoming one of the main purveyors of the Baroque style. He died in 1643, leaving a legacy of many madrigals and operas, including The Coronation of Poppea.

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THE ARTISTS

Nicolas Ellis is the Artistic Director, Conductor and Founder of the Orchestre de l’Agora and currently serves as Artistic Partner to the Orchestre Métropolitain and Yannick Nézet-Séguin. He was recently named Principal Guest Conductor of Les Violons du Roy starting in the 2023–2024 season. Mr. Ellis has performed as guest conductor with numerous Canadian orchestras including the Vancouver Symphony, the National Arts Centre Orchestra, the Orchestre de chambre I Musici de Montréal, the KitchenerWaterloo Symphony, the Orchestre symphonique de Québec, Symphony Nova Scotia, the Saskatoon Symphony Orchestra, the Royal Conservatory of Music in Toronto and Les Grands Ballets Canadiens. Last OdM appearance: Les Noces de Figaro (2023)

Nicolas Ellis Conductor Canada

Poppea/Fortuna

Emma Fekete Soprano Canada

Praised for her “distinctive voice, well-mastered vocal technique, presence imbued with simplicity, truth and radiant personality…”, soprano Emma Fekete has performed across Canada, The Netherlands and Switzerland. Emma recently made her Opéra de Montréal debut as Barbarina in Le Nozze di Figaro. This season (23–24), she will perform the title role in L’incoronazione di Poppea for the Atelier lyrique, Frasquita in Carmen with the Orchestre symphonique de Trois-Rivières, and soprano soloist in Mozart’s Requiem with the Orchestre classique de Montréal. An advocate for interdisciplinary creations and new works, she created the role of Cécile de Volanges in the world premiere of Dangerous Liaisons in 2019 with OPERA2DAY and again in 2022 with the Theater Orchester Biel Solothurn. Performance highlights include Madeline in The Fall of the House of Usher, La bergère/La pastourelle/La chouette in L’enfant et les sortilèges, Les galanteries sauvages with Ensemble Volte, and West Side Story with the Nederlands Philharmonisch Orkest. Emma is a recipient of the Holland Scholarship and EU Talent Grant and has received awards from the Jeunesses musicales du Canada, Domaine Forget de Charlevoix, and Jeunes Ambassadeurs Lyriques. She obtained her bachelor’s and master’s degrees with great distinction from the Conservatorium van Amsterdam.

Last OdM appearance: Les Noces de Figaro (2023) Emma Fekete is generously sponsored by Isabelle Murray and Dominic Chalifoux.

Member of the Atelier lyrique de l’Opéra de Montréal.

Rachèle Tremblay’s performances include Miss Smith (La Cantatrice chauve) at the Opéra de Montpellier, Ljubica (Svadba) at the Opéra de Montréal, Rosina (Le barbier de Séville) with the Société d’Art lyrique du Royaume, Mercedes (Carmen) with Jeunesses musicales Canada, and Czipra (Le baron tzigane) with Opéra bouffe du Québec. As a member of the Atelier lyrique, she sang Miss Todd (The Old Maid and the Thief) and Die Hexe (Hänsel und Gretel). She has appeared at festivals in Quebec as well as in concert in Japan and China. Last OdM appearance: Les noces de Figaro (2023) Ottavia/Famigliari II/ Amore Secondo

Former member of the Atelier lyrique de l’Opéra de Montréal.

Rachèle Tremblay Mezzo-soprano Canada

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THE ARTISTS

Nerone

Ilanna Starr Mezzo Canada/USA

Praised for her “lovely mezzo voice” (Berkshire Fine Arts) and “dramatically incisive” stage presence (Parterre Box), Canadian-American Ilanna Starr is currently an artist-inresidence with the Atelier lyrique de l’Opéra de Montréal. Her 2023–2024 season includes upcoming performances as Mercédès in Carmen with the Orchestre symphonique de Trois-Rivières, as well as her mainstage debut with l’Opéra de Montréal as Flora Bervoix in La traviata. Role highlights include Hänsel (Hänsel und Gretel) with Opera McGill, Nerone (L’incoronazione di Poppea) with the Halifax Summer Opera Festival, Dorabella (Così fan tutte) with Quisisana, and Melissa (La liberazione di Ruggiero) with dell’Arte Opera Ensemble in New York City. Ilanna has received training at SongFest, Chautauqua Institute, and was recently recognized with an Encouragement Award at the 2022 Metropolitan Opera Laffont Competition. In 2023, she was named a Wirth Vocal Prize finalist in addition to being a laureate with the Jeunes Ambassadeurs Lyriques of the Théâtre Lyrichorégra. Interested in exploring diverse human experiences through art music, Starr has curated and performed collaborative recitals centered around voices of women, domestic violence, and the resilience of Jewish culture during the Holocaust and throughout the 20th century. She holds degrees from Vanderbilt University, Northwestern University, and McGill University.

Ilanna Starr is generously sponsored by Elizabeth Wirth.

Member of the Atelier lyrique de l’Opéra de Montréal.

Amore/Drusilla

Sophie Naubert Soprano Canada

Sophie Naubert is a young soprano praised for her “extraordinary vocal maturity coupled with exceptional stage presence” (Louis Bilodeau, L'Opéra). At the age of 23, she made her solo debut with the Orchestre Métropolitain under Yannick Nézet-Séguin, with the Cottbus Philharmonic Orchestra at the Berlin Konzerthaus, and with Arion Orchestre Baroque in Montreal. That same year, she was one of the winners of the 2021 edition of the Orchestre symphonique de Montréal Competition and took part in the recording of Massenet’s complete art songs for ATMA Classique. Her inherent curiosity, agility and vocal flexibility enable Sophie to be equally at home in the operatic and art song repertoires as well as in musicals, all of which are consistently adorned by her luminous stage presence. Her roles include Maria in Gregory Charles’ production of The Sound of Music at Théâtre St-Denis, Gretel (Hänsel und Gretel, Humperdinck), Euridice (Orfeo ed Euridice, Gluck), Ilia (Idomeneo, Mozart), Adina (L'elisir d'amore, Donizetti), Annio (La clemenza di Tito, Mozart), Cendrillon and Noémie (Cendrillon, Massenet). Sophie also created the role of Fibi in the world premiere of Airat Ichmouratov’s L'homme qui rit, as well as that of Ariel in the North American premiere of Thomas Linley’s The Tempest in the spring of 2023. For the 2022-23 season, she joins the Atelier lyrique de l’Opéra de Montréal as an artist-in-residence.

Sophie Naubert is generously sponsored by Monique Roy. Member of the Atelier lyrique de l’Opéra de Montréal.

Virtù/Venus

Chelsea Kol i c /

Soprano Canada/Croatia

Hailed for her “silver-voice”, Croatian-Canadian soprano Chelsea Kolić is establishing herself as one of the most exciting young artists of her generation. Previously based in Germany, Kolić has appeared in a range of solo roles with Theater Krefeld und Mönchengladbach, including Frasquita (Carmen), First Lady (The Magic Flute) First Wood Sprite (Rusalka), and as a soloist in The Plague. She made her UK debut in 2022 with the Hampstead Garden Opera, in the title role of Janácek’s The Cunning Little Vixen.

In 2022, Kolic was an academy artist in Sweden’s Confidencen Opera & Music Festival and soprano soloist in Handel’s Brockes Passion with the Crescendo Chor Krefeld. She was a District winner at the 2020-21 Metropolitan Opera Laffont Competition and has received prizes from the 6th Arturo Toscanini International Competition for Singers, the Concorso Internazionale Città di Massa, and the San Francisco International Innovative Music Competition. An avid performer of lieder and contemporary works, Kolić is a graduate of Salzburg’s Mozarteum University (Master of Music in Opera, Lied, and Oratorio), and holds a Bachelor of Music degree in Voice Performance from the Schulich School of Music of McGill University.

Chelsea Kolić is generously sponsored by Sue and Soren Wehner.

Membre de l’Atelier lyrique de l’Opéra de Montréal.

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THE ARTISTS

Ottone

Ian Sabourin

Canadian countertenor Ian Sabourin hails from Ottawa and has been noted for his powerful sound and diverse repertoire. In 2022, he was awarded the Fellowship Stingray Audience Award at the Gala Talent, and joins the Opéra de Montréal’s Atelier lyrique program in the 2023-24 season—the first ever countertenor in the history of the program.

Upcoming season highlights include Handel’s Israel in Egypt (Chœur Classique de Montréal), Soloist in Bach’s St. Matthew Passion (Peterborough Singers), and a debut with the Atelier Lyrique as Ottone in L'incoronazione di Poppea. Performances in 202223 include a staged version of Pergolesi’s Stabat Mater with the Edmonton Opera as an understudy, Bach’s Mass in B Minor (soloist), and Solomon in Handel’s Solomon with Caelis Academy Ensemble in Ottawa, a Maritime tour of Handel’s Messiah with Musique Royale, and the title role in Handel’s Orlando with Opera McGill. Ian holds a Master of Music degree in Early Music/Opera Performance from the Schulich School of Music of McGill University and a Graduate Diploma in Voice Performance. He obtained his Bachelor of Music degree from the University of Toronto.

Ian Sabourin is generously sponsored by Dr. Nathalie Zan. Member of the Atelier lyrique de l’Opéra de Montréal.

Countertenor Canada

Canadian American contralto Sydney Frodsham brings joy, musicality, and compassion everywhere she goes. Recent performances include Hippolyta (A Midsummer Night’s Dream), La Maman/La Tasse/Le Pâtre/La Libellule (L’enfant et les sortilèges), La Mère in a the new work Le flambeau de la nuit, Dritte Dame (Die Zauberflöte), Irene (Theodora), and Bradamante (Alcina). This season, she will be singing Erda (Das Rheingold) with Edmonton Opera.

This young contralto has performed with Orchestre Métropolitain, Orchestre de l’Agora, and the Dallas Symphony Orchestra, and completed apprenticeships with Atelier Lyrique de l’Opéra de Montréal, Des Moines Metro Opera, and The Santa Fe Opera.

Arnalta/Famigliari I/ Amore Terzo

Sydney Frodsham

Sydney earned her MM from Brigham Young University and her BM from Southern Methodist University.

Former member of the Atelier lyrique de l’Opéra de Montréal.

Contralto Canada/USA

Nutrice/Lucano/Soldat 1

Angelo Moretti

Canadian-Italian tenor Angelo Moretti made his professional debut in 2022 with the Opéra de Montréal as Ruiz in Verdi’s Il Trovatore and as the Teapot in L’enfant et les sortilèges with the Atelier lyrique in collaboration with Orchestre de l’Agora. Other notable performances by Moretti include the role of Count Almaviva in the University of Toronto Opera’s first ever production of Rossini’s Il Barbiere di Siviglia, as well as that of Martin in their production of Aaron Copland’s The Tenderland. He also joined the cast of Dean Burry’s The Bells of Baddeck and sang as Lieutenant Thomas Selfridge in Cape Breton, Nova Scotia during the summer of 2022. In 2023-24, Moretti joins the mainstage casts of the Opéra de Montreal’s Le Nozze di Figaro as Don Basilio and Don Curzio, and La Traviata as Gastone, and will sing Nemorino for the Orchestre symphonique de Drummondville and Remendado in Carmen with the Orchestre symphonique de TroisRivières. He holds a Master of Music degree in Opera Performance from the University of Toronto’s Opera School, where he studied under the tutelage Dr. Darryl Edwards. Last OdM appearance: Les noces de Figaro (2023) Angelo Moretti is generously sponsored by Joan Vogelesang and Fred Heese.

Member of the Atelier lyrique de l’Opéra de Montréal.

Tenor Canada/Italy

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THE ARTISTS

Liberto/Soldat 2/Tribuno

Mishael Eusebio

Mishael Eusebio is Filipino-Canadian Tenor currently based in Montréal and Toronto.

He is an avid interpreter of both contemporary and traditional classical music, and was recently featured on the cover for Opera America’s 2022 Summer Edition in his role as Young Harvey in Harvey Milk Reimagined. He has developed new roles for such companies as Houston Grand Opera, Opera Theatre of Saint Louis, l’Opéra de Montréal, Tapestry Opera, Banff Opera Centre, Cincinnati Opera, National Sawdust, and Musique 3 Femmes. He has also been engaged as a concert soloist with Les Grand Ballets Canadiens, L’Orchestre symphonique de Laval, l’Orchestre Metropolitain, l’Orchestre de l’Agora, Regina Symphony Orchestra and the Bach Ensemble of St. Thomas, Cincinnati.

Eusebio was a winner of the 2023 Jeunes Ambassadeurs Lyriques, semi-finalist at the 2021 Montréal Symphony Competition, and finalist at the 2020 American National Opera Association Auditions. He is a graduate of The Juilliard School and Cincinnati CollegeConservatory of music.

Former member of the Atelier lyrique de l’Opéra de Montréal.

Tenor Philippines/Canada

Seneca

Matthew Li Bass Canada

Hailing from Ottawa, Chinese Canadian bass Matthew Li is an artist-in-residence of the Atelier lyrique de Opéra de Montréal. His operatic roles include Sarastro in Die Zauberflöte, Masetto and Il Commendatore in Don Giovanni, Colline in La Bohème, the Commissioner in Madama Butterfly (Opéra de Montréal), and Le Fauteuil/Un Arbre in L’enfant et les sortilèges (Atelier lyrique/Orchestre de l’Agora). In 2022-23, Li created the lead bass role of Xon Pon in Alice Ping Yee Ho and Madeleine Thien’s new opera Chinatown, with City Opera Vancouver in its world premiere, to critical acclaim. Concert highlights include the bass solos in Dvorák’s Stabat Mater, Schütz’s Weihnachtshistorie, Mozart’s Requiem, and Steffani’s Stabat Mater. In 2022, Li was a finalist at the Center Stage Competition with the Canadian Opera Company. In 2023-24, Matthew Li returns to the Opéra de Montréal as Antonio in Le Nozze di Figaro, conducted by Nicolas Ellis, and as Seneca in L’incoronazione di Poppea (Atelier lyrique), directed by Aria Umezawa.

Last OdM appearance: Les noces de Figaro (2023) Matthew Li is generously sponsored by the Andrea Alacchi Family.

Member of the Atelier lyrique de l’Opéra de Montréal.

Latvian-Canadian baritone Mikelis Rogers is an artist-in-residence with the Atelier lyrique de l’Opéra de Montréal. Role debuts in the 2023-24 season include Belcore in L’Elisir d’Amore with the Orchestre symphonique de Drummondville, Baron Douphol in La Traviata with Opéra de Montreal, the Console in L’Incoronazione di Poppea, and Dancaïro in Carmen with the Orchestre symphonique de Trois-Rivières. Winner of the Stingray Rising Star Award at Gala Talent in 2021, Rogers completed his undergraduate studies in Voice Performance under Jean MacPhail at the University of Toronto.

Console/Littore/Famigliari III

Mikelis Rogers is generously sponsored by Marie-Hélène Fox, in loving memory of Claude Morin.

Member of the Atelier lyrique de l’Opéra de Montréal.

Mikelis Rogers Baritone Latvia/Canada

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THE DESIGNERS

With her quirky, irreverent style, Aria Umezawa (she/her)’s work evokes wonder and challenges the long-established traditions of opera and classical music. The stage director, producer, and writer is a co-founder of Amplified Opera, the independent, equity-seeking opera company and current Disruptor-in-Residence at the Canadian Opera Company.

Aria was Artistic Director of Opera 5 from 2012-17. Recent and upcoming engagements include The Raven with Opera Philadephia, A Midsummer Night’s Dream with Vancouver Opera, Acis and Galatea with Philharmonia Baroque at Caramoor and Tanglewood, and Le nozze di Figaro with Calgary Opera.

Aria Umezawa Stage Director

Jessica is a designer from Montreal where she graduated in Set and Costume Design from the National Theatre School in 2006. Upcoming credits include costume designs for Chimerica at Théâtre Duceppe, Maelstrøm with Théâtre I.N.K and Meteor Shower at Theatre Calgary. She created a personal theatrical project entitled Musée Vivant which fuses art, theater and immersion to deeply examine the representation of women in classical art. Recipient of a grant from the Conseil des Arts et des Lettres du Québec, Jessica is currently continuing the development of this innovative project.

Website: jessicapchang.com

Jessica Poirier-Chang Costumes Designer

Trained as an architect and scenographer, Gabriel Tsampalieros has been working for 25 years as a set designer for the performing arts.

In theatre, he collaborates as much in the modernization of the classical repertoire as in the creation of new plays by contemporary authors for productions that occupy the stages of the main institutions of Quebec, Ontario and Belgium.

Gabriel Tsampalieros Set Designer

Beyond theatre, the versatility of his talent has led him to work in several related disciplines such as dance, opera, film, television and exhibition design. More recently, Gabriel was the assistant designer of the set design for Drawn to Life, Cirque du Soleil’s new permanent show at Walt Disney World Resort in Florida.

Being a historian of architecture and scenography as well, he has developed a variety of courses and lectures that he has given at many renowned institutions, including the National Theatre School of Canada, where he’s been teaching since 2007.

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THE DESIGNERS

Light is invented, it must be found. Martin embraces the universe of nothingness. Space is empty, even before the interpreters invade the stage, its lights have the function of creating volumes and giving life to a place.

This research suggests a decorative and scenographic value, a sensorial power to lighting even before trying to unveil.

Our perceptions modify space, its concepts freeze the viewer in a position of listening, of opening to give to see and to hear so that we can sublimate our imaginary and thus continue to invent in real time.

Martin Sirois

Lighting Designer

Resourceful and self-taught, Justine Denoncourt-Bélanger started out as an assistant to make- up artist Amélie Bruneau-Longpré (Romeo and Juliet (Just for Laughs and TNM) and the opera Carmen (OSM). Although her preferred field is theater, she also dabbles in television, fashion, music, photography and, more recently, the circus.

Her work is particularly appreciated by theater artisans. She regularly collaborates with

Justine DenoncourtBélanger

Catherine Vidal and Solène Paré. Her talent has also been showcased on Les Choristes (Juste pour rire), Je t'écris au milieu d'un bel orage and Abraham Lincoln va au théâtre (TNM), Mama and Showtime (Duceppe), Traces d'étoiles (Rideau vert), Quatre filles (Denise-Pelletier), Toutes choses (Quat'Sous), I/O (Centre du Théâtre d'Aujourd'hui) to name but a few.

In 2023, we’ll see her work on La dernière cassette (L'Activité) and La Famille Addams (Théâtre St-Denis).

Hair and Make-up Artist

Mistaya Hemingway Choreographer

Mistaya Hemingway is a freelance dancer, choreographer, and filmmaker living in Montreal. She began her career as a classical and contemporary dancer with Dutch National Ballet and Alberta Ballet, and then moved into contemporary and modern dance as a dancer for Hubbard Street Dance Chicago and as a soloist for 8 years with La La La Human Steps.

Throughout her career, Mistaya has danced a wide range of repertoire and yet she continues to study movement and somatic practice, participating regularly in Butoh, Gaga and dance workshops. Ever curious about different forms of expression, Mistaya studied acting in New York City and also earned a degree in urban planning from Concordia University.

Mistaya has also been developing a screen dance practice producing, directing and dancing in several of her own films that have been presented internationally. Her latest film is Forward Back, co-directed with Kaveh Nabatian. Presently, she is working on an immersive installation for architecture, dance and augmented reality. Mistaya is excited to bring her understanding of the body to this production of Poppea.

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THE ARTISTS

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OPÉRA DE MONTRÉAL STAFF

PERMANENT TEAM

DEVELOPMENT

MEMBERS

Patrick Corrigan, General Director Michel Beaulac, Artistic Director Louis Bouchard, Strategic Operations Director

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

M. Louis Arseneault Université McGill

CIVIL IMPACT AND EDUCATION

M. Frédéric Godbout, CFA Mouvement Desjardins

PRODUCTION Pierre Massoud, Production Director / Patrick Belzile, Technical Director / Catherine Levac, Artistic Administrator / Marie Hélène Larivière, Production Coordinator / Drew Lyall, Technical Director Assistant / Laurence Pronier, Stage Director / Dominique Guindon, Head of Wardrobe / Sonya Bayer, Associate-Head of Wardrobe / Sandra Chirico, Wardrobe Superviser and project coordinator / Anne-Sophie Boucher, Marie-Claire Doyon, Cassandre Josépovic, Seamstress / Richard provost, Hat Maker / Fauve Du Tilly-Lefevebvre, Patterne Maker/ Margarita Brodie, Jessica Poirier-Chang, Patina.

ATELIER LYRIQUE OF THE OPÉRA DE MONTRÉAL Jennifer Szeto, Director of the Atelier Lyrique / Marie Maous, Program Coordinator / Geneviève Lessard, Production Manager / Esther Gonthier, Head Vocal Coach / Ariane Girard, Principal Voice Teacher / Holly Kroeker, Administrative and Artistic Associate

ADMINISTRATION MARKETING & COMMUNICATIONS Stephanie Laichi, Director, Marketing and Communications / Marie-Pier Perron, Marketing Manager (on maternity leave) / Daniella Johnson, Communications Manager / Darnyse Memnon, Client Services Manager / Alexandre Therrien, Marketing and Communications Coordinator, Filémon Brault-Archambeault, Estelle Mouden, Coordinators, Client Services / Maïka Bélanger, Assistant-coordinators, Client Services / Fatima Ali, Florie Duchesneau, Antoine Hatem, Client Services Agents

Pierre Vachon, Director, Civic Impact and Education / Charlotte Gagnon, Manager, Social Impact and Education, Béatrice Beaudin-Caille, Coordinator

M. François Carrier Valeurs mobilières Desjardins Me. Bruno-Étienne Duguay NOVACAP

Me. Joanie Lapalme Fasken

FINANCES

Dr François Loubert Clinique médicale Angus

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

M. Guillaume Marion Diagram Ventures

board of directors CHAIRMAN Me. René Branchaud* Lavery FORMER CHAIRMAN M. Bernard Stotland* CA, CPA, FCA, FCPA Richter S.E.N.C.R.L./LLP

M. Richard Pan Power Corporation du Canada Mme. Louise Roy, O.C., O.Q. CIRANO Ms. Emmelle Segal Administratrice de sociétés Ms. Vanda Treiser Administratrice de sociétés * Officers

VICE-PRESIDENT Ms. Elizabeth Wirth* Wirth-Brand Inc., Wirth Rail M. Pascal Lépine*, MBA, Adm. A. Atypic TREASURER Ms. Sylvie Marois* Banque Nationale, Gestion Privée SECRETARY Ms. Alysia Yip Hoi* Founding President Maison Alysia

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Festival Bach

ATELIER LYRIQUE PARTNERS

M a j o r Pa r t n e r s Grands partenaires

Grands partenaires Partenaires présentateurs

P r e s e n t i n g pa r t n e r s Partenaires présentateurs

Pascal Lépine

Julius Frohlich

NATIONAL AUDITION PARTNERS MRS. VANDA TREISER AND IN MEMORY OF M. BENJAMIN TREINSER

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ORCHESTRE DE L'AGORA TEAM

BOARD OF DIRECTORS

ADMINISTRATIVE TEAM

CHAIRMAN

Nicolas Ellis Founding Conductor and Artistic Director

Michel Bélanger-Roy Civil and commercial litigation lawyer, Norton Rose Fulbright VICE-CHAIR Chloé Chabanole Concertmaster, Orchestre de l'Agora TREASURER Christian Ruel, CFO Commissionnaires du Québec

Jean-Frédéric Caron Executive Director Florence Bourget Artistic Operations Coordinator Audrey Chea Communication and Partnerships Coordinator

SECRETARY Maurane Cloutier Legal Counsel, Beneva HONORARY MEMBER Xavier Roy Executive Director, Festival de Lanaudière ADMINISTRATORS Sylvain Dupuis President, 4P inc.

Audrey Gabriella Conarroe Medical doctor, pianist, and co-founder of the OA Isabelle Demers President, IDMRS Advancement & Business Strategy Nicolas Ellis Artistic Director, Orchestre de l'Agora Louise-Hélène Lefebvre Director - Service des grands parcs, du Mont-Royal et des sports, Ville de Montréal

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Thomas Beard Community Projects Manager Julien Patrice Musicians’ Manager and interim Financial and Administrative Coordinator Jeff Poussier Leduc Music Librarian Noémie Caron-Marcotte Cultural Mediation Projects Manager

PARTNERS OF L’ORCHESTRE DE L’AGORA

The Orchestre de l’Agora extends its sincere thanks to all its individuals, donors, and sponsors, who enable the success of its activities, and who include Dax Dasilva, Bita Cattelan, François Leclair and John Farrell, Ariane Riou and Réal Plourde, Jacques Marchand, Stéphane Roy, Elizabeth Wirth, Roger Dubois, and its many volunteers, including its administrators.

SEAS ON S P ONS O R

C ONC E RT PA RT NERS

SE RVIC E PA RTN E RS

A RT I ST IC PA RTN E RS

PUBLIC SECTOR PA RTNE RS

C OMMUNIT Y PROJECTS PA RTNE RS

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Samedi 25 novembre

CRÉATIONS MUSIQUES

ESPACE ORANGE

NOUVELLES

à 19h30

Nicolas Gilbert : Concerto pour percussions, David Brongo, soliste Ian Cusson : Récital des Anges, poèmes d'Émile Nelligan, Elisabeth St-Gelais, soliste Wlad Marhulets : Concerto for klezmer clarinet, PRÉSENTATEUR DE SAISON

Victor Alibert, soliste

CODIFFUSEUR

PARTENAIRES PUBLICS

CONCERT POUR LA BIODIVERSITÉ DU QUÉBEC

LA MAI SO N SYMP H O N I Q UE

12.06.2024 GA L A D E L AT E R R E .C O M

Symphonie alpestre de Johann Strauss Direction : Nicolas Ellis

ORGANISMES BÉNÉFICIAIRES

Soliste : Elisabeth St-Gelais

PARTENAIRES PUBLICS

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PRÉSENTÉ

EN PARTENARIAT

PAR

AVEC

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