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Opera in 2 acts
Premiere: October 29, 1787, in Prague
Composer: Wolfgang Amadeus Mozart
Librettist: Lorenzo Da Ponte
Language: Italian, with French and English surtitles
Duration: 3 hours including one 25-minute intermission
DON GIOVANNI
JOHN BRANCY
LEPORELLO RUBEN DROLE
DONNA ANNA KIRSTEN LEBLANC
DON OTTAVIO ANTHONY GREGORY
DONNA ELVIRA ANDREA NÚÑEZ
ZERLINA SOPHIE NAUBERT
MASETTO MATTHEW LI
II COMMENDATORE WILLIAM MEINERT
CONDUCTOR KENSHO WATANABE
STAGE DIRECTOR STEPHEN LAWLESS
SET DESIGNER OPÉRA DE MONTRÉAL
COSTUME DESIGNER OPÉRA DE MONTRÉAL
LIGHTING DESIGNER THOMAS HASE
CHOREOGRAPHER NOËLLE-ÉMILIE DESBIENS
CHORUS MASTER CLAUDE WEBSTER
REHEARSAL PIANIST ESTHER GONTHIER
CHORUS REHEARSAL PIANIST PIERRE MCLEAN
Public Partners
Chœur de l’Opéra de Montréal
September 27, 30 and October 2 at 7:30 pm, October 5, at 2 pm
SALLE WILFRID-PELLETIER, PLACE DES ARTS
The Opéra de Montréal sincerely thanks the Conseil des arts et des lettres du Québec, the Ministère de la Culture et des Communications du Québec, the Canada Council for the Arts, Canadian Heritage, the Conseil des arts de Montréal, the City of Montreal and Emploi Québec.
Experience the magic of the Opera
BMO is excited to present magical moments of the Montreal Opera. Prepare to be enchanted by captivating stories and incredible vocal performances.
A WORD FROM THE GENERAL DIRECTOR
As my retirement approaches, I join you in the audience tonight with the knowledge that this splendid production of Don Giovanni marks the end of a deeply rewarding career in opera and ten seasons at the helm of OdM. It has been the greatest privilege of my professional career.
My retirement has been carefully planned in collaboration with the Board of Directors, whom I must thank for their unwavering support throughout my tenure. I also thank our exceptional team for their leadership, dedication, and for our many attainments that have brought the opera to new heights artistically and institutionally.
I am deeply grateful to the communities that make up this wonderful company, including our audiences, artists, and supporters, who embraced our mission and helped it thrive. Your support made everything possible and has been a beacon of encouragement to all of us every step of the way.
Finally, I wish to congratulate Opéra de Montréal and its Board of Directors for naming our Chief Philanthropy Officer, Jean-Pierre Primiani, as the next General Director starting November 1, 2025. Having worked closely with him for most of my tenure, I know the company is in the very best of hands.
I leave my post knowing that the great potential of Opéra de Montréal remains unlimited. My partner Marc Poliquin and I look forward to being part of that wonderful adventure as audience members and supporters ourselves.
So, my sign-off remains, with love and gratitude to everyone:
See you at the Opera!
PATRICK CORRIGAN
Complice de l’Opéra de Montréal
A WORD FROM THE ARTISTIC DIRECTORZHAO-IONESCU FAMILY
Timeless
Don Giovanni premiered in Prague in 1787 and is no less fascinating, troubling, and seductive today than it was then.
Mozart and his librettist, Da Ponte, left us the story of a man driven by an unquenchable thirst for conquest.
Comic, sensual, and tragic all at once, Don Giovanni contains a musical universe where showy arias and heart-rending scenes can exist side by side.
But who is Don Giovanni, and why does he disgust and fascinate us?
In his character, we are confronted with our own contradictions. Manipulative, egotistical, and destructive, he shows us how a man enslaved by his urges can bring about his own downfall. Does the Don represent freedom without morals? Or does he simply reflect a society that turns a blind eye to abuse, as long as it is masked by power and charm?
You be the judge in this production from renowned director and Mozart specialist Stephen Lawless.
Enjoy the show!
MICHEL BEAULAC
Chaque jeudi, Sortir vous ouvre les portes de la scène culturelle d’ici, pour renouer avec le frisson de l’art vivant.
En savoir plus
ACT I
Leporello, Don Giovanni’s long-suffering servant, keeps watch outside the Commendatore’s house, complaining about his thankless job. Suddenly, Donna Anna appears, chasing Don Giovanni, who has just tried to assault her. When her father, the Commendatore, rushes to defend her, Giovanni kills him in a duel and escapes. Donna Anna returns with her fiancé, Don Ottavio, and together they vow revenge—still unaware that Giovanni is the killer.
Later, Don Giovanni tries to seduce a mysterious woman, Donna Elvira, only to realize she is a former lover of his. He runs off, leaving Leporello to show her the catalogue listing the 2,065 women his master has seduced. Donna Elvira vows revenge.
Meanwhile, Don Giovanni disrupts the engagement celebration of two peasants, Zerlina and Masetto. He tries to seduce Zerlina, but Donna Elvira arrives just in time to stop him. Shortly after, Donna Anna and Don Ottavio ask Don Giovanni for help to avenge the Commendatore, still unaware that the latter is guilty of the murder. Donna Elvira tries again to expose him. Donna Anna recognizes his voice and realizes he was her attacker. Don Ottavio swears to bring him to justice.
Still driven by his desire, Don Giovanni throws a party, hoping to add another name to his list of conquests. Zerlina approaches Masetto, seeking reconciliation, but Don Giovanni interrupts once again in his attempt to seduce Zerlina. At the party, Donna Elvira, Donna Anna, and Don Ottavio arrive masked to expose the truth. Don Giovanni makes yet another aggressive advance; the masked trio intervenes. Exposed and cornered, he refuses to repent and arrogantly exits the scene.
Intermission (25 min)
ACT II
Outside Donna Elvira’s house, Don Giovanni and Leporello argue—Leporello wants to leave, tired of being dragged into his master’s schemes. Money convinces him to stay. Then, Don Giovanni switches clothes with Leporello so he can flirt with Elvira’s maid. He tricks her by pretending to be in love, luring her out, while Leporello, disguised as his master, leads her away.
Don Giovanni sings a serenade to the maid, but Masetto arrives with some villagers. Disguised as Leporello, Don Giovanni deceives them and ends up beating Masetto. Zerlina comforts him.
Meanwhile, Leporello, still disguised, is mistaken for Don Giovanni by Donna Elvira, Masetto, Zerlina, Donna Anna, and Don Ottavio. Donna Elvira tries to defend him. Leporello finally reveals his identity and escapes. Don Ottavio again vows revenge.
In a cemetery, Don Giovanni engages in banter and mocks the statue of the Commendatore. He forces Leporello to invite the statue to dinner—and to their shock, the statue accepts the invitation. Later, Don Ottavio again asks Donna Anna to marry him, but she delays the wedding, saying she still needs time.
That evening, as Don Giovanni dines, Donna Elvira makes one final attempt to save him. He mocks her. Soon after, the statue arrives and invites Don Giovanni to repent. He refuses—and is dragged to hell. His victims are finally freed.
In the aftermath, the others reflect on Don Giovanni’s downfall: this is the fate of those who live without conscience or repentance.
THE COMPOSER
WOLFGANG AMADEUS MOZART
Mozart is one of the greatest composers in the history of Western music. Born in Salzburg, he showed exceptional talent from an early age. He began composing at the age of five and performed throughout Europe alongside his sister Nannerl, under the direction of their father Leopold.
Settling in Vienna as an adult, Mozart composed a rich and varied body of work that had a profound influence on the classical style. He excelled in all musical genres: chamber music, symphonies, concertos, and religious works – but it was in opera that he achieved a unique depth. His operatic masterpieces such as Le nozze di Figaro, Don Giovanni, Così fan tutte and The Magic Flute combine dramatic mastery, psychological finesse and musical genius.
Despite his immense talent, Mozart’s life was plagued by financial instability. He died prematurely at the age of 35, leaving his moving Requiem unfinished.
Mozart remains a central figure in the classical repertoire. Centuries later, the timeless beauty, humanity, and emotion of his work continue to fascinate us.
THE LIBRETTIST
Lorenzo Da Ponte was an Italian librettist famous for his collaboration with Wolfgang Amadeus Mozart. Born Emanuele Conegliano in Ceneda (now Vittorio Veneto), he converted to Catholicism with his family and adopted the name Da Ponte.
After studying literature and theology, he became a teacher, a priest, and then an official poet at the court of Vienna. It was there that he met Mozart, with whom he formed an exceptional artistic duo. Together, they created three operatic masterpieces: Le nozze di Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790). Da Ponte’s librettos, inspired in particular by Beaumarchais, Molière, and Goldoni, are distinguished by their liveliness, psychological insight, and theatricality.
After the death of Emperor Joseph II, Da Ponte left Vienna. He then lived in London before emigrating to the United States, where he taught Italian literature at Columbia University in New York, becoming the country’s first professor of Italian.
A cultured, cosmopolitan, and daring man, Lorenzo Da Ponte left a profound mark on the history of opera. His work remains a model of the classical opera libretto, combining humour, emotion, and dramatic intelligence.
JOHN BRANCY
DON GIOVANNI
Grammy-winning baritone John Brancy has been praised for his “mesmerizing tone” (OperaWire) and hailed as “remarkable” by The Financial Times. During the 2025–26 season, he returns to Opéra de Montréal as the title character in Don Giovanni. He will also reprise his role in George Benjamin’s Picture a Day Like This at the Teatro di San Carlo, perform the Brahms Requiem with La Seine Musicale and the Insula Orchestra, and make his role debut as Count Almaviva in Le nozze di Figaro at the Opéra national du Rhin.
In 2022, John Brancy performed the role of Franz Wolff-Metternich in the world premiere of La beauté du monde at the Opéra de Montréal. In 2024-25, he debuted at Paris’s Opéra-Comique, the Opéra national du Rhin, and the Théâtre de la Ville de Luxembourg. During the same season, he returned to Bayerische Staatsoper for Weinberg’s Lady Magnesia, made his role debut as Marcello in La bohème at the Opéra de Montréal, and appeared as the baritone soloist for Carmina Burana with the Cleveland Orchestra. Last ODM appearance: La bohème (2025)
RUBEN DROLE
Renowned operatic baritone Ruben Drole was born in 1980 in Switzerland to SpanishSlovenian parents. Before graduating with distinction from Musikhochschule Zürich under Jane Thorner Mengedoht, he won several singing competitions and joined the International Opera Studio Zürich. He became a soloist at Zürich Opera House in the 2005–06 season and was quickly engaged for major roles such as Papageno, Guglielmo, and Figaro, working with renowned conductors such as Nikolaus Harnoncourt and Franz Welser-Möst. He has appeared internationally in Paris, Frankfurt, and Vienna, among other cities, with ensembles such as Concentus Musicus and the Cleveland Orchestra, as well as at the Aix-en-Provence, Salzburg, Spoleto, and Styriarte festivals. He has also recorded for Deutsche Grammophon. Ruben Drole is the recipient of cultural prizes from the Pro Europa and Carl-HeinrichErnst Foundations. First ODM appearance
KIRSTEN LEBLANC
Described as a “major vocal revelation” (Le Devoir), soprano Kirsten LeBlanc is quickly becoming known for her rich and powerful voice and engaging stage presence. She recently made her Canadian Opera Company mainstage debut, as the title role in Bilodeau-Bouchard’s La reine-garçon, and debuted at Calgary Opera as Lauretta in Puccini’s Gianni Schicchi.
Other highlights from recent seasons include Ines in Verdi’s Il Trovatore at the Opéra de Montréal, a role debut as Roselinde in Strauss’s Die Fledermaus at Toronto Operetta Theatre, and a performance of Mahler’s Symphony No. 2 at Toronto’s Roy Thomson Hall.
A graduate of Opéra de Montréal’s prestigious Atelier lyrique, Kirsten LeBlanc has returned to Montréal’s opera house for productions such as Golijov’s Ainadamar (Margarita Xirgu, cover) and the world premieres of La beauté du monde (Esther, cover) and La reine-garçon (Christina, Queen of Sweden). At the Canadian Opera Company, she covered the role of Leonore in Beethoven’s Fidelio, staged by Matthew Ozawa, in 2023–24. Last ODM appearance: Il Trovatore (2022) Former member of the Atelier lyrique
Kirsten LeBlanc’s participation is supported through artistic sponsorship by the Leonard Sanders Family Foundation.
LEPORELLO
DONNA ANNA
ANTHONY GREGORY
DON OTTAVIO
Hailed by The Sunday Times as “a Mozart tenor to watch,” Anthony Gregory is admired for his luminous sound, profound musicality, and captivating stage presence. Previously a Jerwood Young Artist at Glyndebourne, Gregory is an alumnus of the National Opera Studio and the Royal College of Music. In 2015, he was a winner in the What’s On Stage Breakthrough Artists category, following his acclaimed appearance as Peter Quint in The Turn of the Screw.
He has since appeared on prestigious opera stages such as the Royal Opera House, Opernhaus Zürich, Staatsoper Hamburg, Teatro Real, and Glyndebourne. Currentseason highlights include Don Ottavio at the Opéra de Montréal, Grimoaldo in Rodelinda at Santa Fe Opera, and Glaucus at Opernhaus Zürich.
Highly in demand in concert, Anthony Gregory has performed with ensembles such as the Irish Baroque Orchestra, Les Arts Florissants, and the London Philharmonic. His extensive repertoire ranges from baroque to contemporary. As he pursues a standout international career, Gregory is represented by MWA Management worldwide. First ODM appearance
ANDREA NÚÑEZ
DONNA ELVIRA
Praised for her “blinding brilliance,” Canadian Soprano Andrea Núñez is establishing herself as a versatile young artist. Andrea has recently made several role and company debuts, including Susanna in Mozart’s Le nozze di Figaro (Opéra de Montréal), Donna Elvira in Mozart’s Don Giovanni (Edmonton Opera), and Elvira in Verdi’s Ernani (Voicebox: Opera in Concert). Last season, she returned to Pacific Opera Victoria as Water in Portman’s Le Petit Prince and to the Opéra de Montréal as Musetta in Puccini’s La bohème. Other highlights from past seasons include Frasquita in Bizet’s Carmen (Pacific Opera Victoria); Adele in Die Fledermaus at the Toronto Operetta Theatre, where she was praised for her “brilliant coloratura” (BarczaBlog); Juliette in Gounod’s Roméo et Juliette (Opéra du Royaume); and Violetta in Verdi’s La traviata (Brott Opera). As an artist-in-residence at National Sawdust, she worked with librettist Royce Vavrek and composer Vivian Fung on a cycle of songs centred on her identity and experiences as a multi-racial Canadian. Last ODM appearance: La bohème (2025) Former member of the Atelier lyrique
Soprano CANADA
SOPHIE NAUBERT
ZERLINA
Sophie Naubert is a lyric coloratura soprano acclaimed for her expressive stage presence, vocal agility, and bold versatility on stage. After a highly praised European debut in Germany—where the Lübecker Nachrichten wrote that she “has everything it takes for an international career”—she joins Theater Lübeck in the 2025–26 season as Cunegonde (Candide), Olympia (Les contes d’Hoffmann), and Poppea (L’incoronazione di Poppea).
She has appeared at Berlin’s Konzerthaus, the Opéra de Montréal and Théâtre StDenis, as well as with Les Ambassadeurs – La Grande Écurie, Arion Baroque Orchestra, and the Orchestre Métropolitain under Yannick Nézet-Séguin. Previous roles include Semele, Euridice, Le feu, Adina, and world premieres such as Fibi (L’homme qui rit) and Bateau (Le phare).
A prizewinner at the Metropolitan Opera Laffont Competition (St. Louis District, 2024), she has also received awards from the OSM Competition and the George London Foundation, among others. She appears on ATMA Classique singing Massenet songs and, more recently, a solo Handel and Purcell album with Arion. Last ODM appearance: Le phare (2025) Former member of the Atelier lyrique
Possessing a “vibrant stage presence and a rich, commanding voice” (La Scena Musicale), bass Matthew Li is a graduate of the Opéra de Montréal’s Atelier lyrique. His operatic roles include Leporello, Masetto, and Il Commendatore in Don Giovanni, Don Basilio in Il barbiere di Siviglia, Dulcamara in Elisir d’amore, Seneca in L’incoronazione di Poppea, Polyphemus in Acis and Galatea, Sarastro in Die Zauberflöte, and Colline in La Bohème. Concert highlights include the bass solos in Haydn’s Die Schöpfung, Handel’s Messiah, Dvořák’s Stabat Mater, and the Mozart Requiem. Li is passionate about contemporary music; he sang the leading role of Xon Pon in Alice Ping Yee Ho and Madeleine Thien’s Chinatown during the opera’s critically acclaimed premiere at City Opera Vancouver in 2022. In 2025–26, Li will return to the Opéra de Montréal as Masetto (Don Giovanni) and make his first appearances with Pacific Opera Victoria (Tosca), the Chœur Philharmonique (Turandot), and the Ottawa Choral Society (Die Schöpfung). Last ODM appearance: Hamlet (2024) Former member of the Atelier lyrique
WILLIAM MEINERT
Praised for his “rich vibrant bass” (Opera Today), William Meinert appears during the 2025–26 season as Commendatore in Don Giovanni (Opéra de Montréal) and La voce di Nettuno in Idomeneo (Grand Théâtre de la Ville de Luxembourg). He is also featured at Bühnen Bern as Oroveso in Norma (concert version), Geronte in Manon Lescaut, Antonio in Le nozze di Figaro, Il padre guardiano in La forza del destino, and Herold in the world premiere of Salvatore Sciarrino’s L’Agamennone.
In 2024-25, he made his Metropolitan Opera debut as Jailer in Tosca and was warmly received in his first roles at Bern: Gremin (Eugene Onegin), Sparafucile (Rigoletto), Sarastro (Die Zauberflöte), and Brundibár.
He is an alumnus of the Grand Théâtre de Genève’s Young Ensemble, where he notably appeared as Lord Rochefort (Anna Bolena) et Antinoo (Il ritorno di Ulisse in patria). He has since reprised the role of Antinoo in concert alongside Europa Galante in Spain. First ODM appearance
UNITED STATES
KENSHO WATANABE
Praised for his “Midas touch” (OperaWire, 2024), Kensho Watanabe is known for his collaborative leadership and intelligently crafted performances. The 2025-26 season includes his Houston Grand Opera debut in Kevin Puts’ Silent Night, Don Giovanni at the Opéra de Montréal, performances with the National Symphony Orchestra of Ireland and the Orchestre Métropolitain, among others, and a debut appearance with Florida Orchestra to conduct Prokofiev’s Symphony No. 5.
Recent highlights include returns to the Metropolitan Opera (La bohème, Champion, The Hours) and Detroit Opera (Madame Butterfly) as well as his debut at Suntory Hall with the Tokyo Philharmonic Orchestra. He has directed world-class ensembles such as the Philadelphia Orchestra, Minnesota Orchestra, and Calgary Philharmonic.
Other notable symphonic appearances include debuts with the London Philharmonic, Scottish Chamber Orchestra, and Orchestre National du Capitole de Toulouse. Based in Paris, Kensho Watanabe was the inaugural conducting fellow of the Curtis Institute of Music and holds a Master of Music from Yale. Last ODM appearance: Elektra (2016)
STEPHEN LAWLESS
STAGE DIRECTOR
Stephen Lawless is an internationally renowned British opera director. From 1986 to 1991, he was Director of Production for Glyndebourne Touring Opera, where he staged an exceptionally successful Death in Venice. The production was recorded by the BBC and reprised at the Glyndebourne Festival in 1992. Lawless made history by staging Boris Godunov at Opéra Kirov, in what was to be the first ever live telecast of an opera from the Soviet Union to the U.K. He has worked with many major opera houses, including New York’s Metropolitan Opera, Vienna State Opera, San Francisco Opera, Lyric Opera of Chicago, Theater an der Wien, Venice’s La Fenice, and Santa Fe Opera. His repertoire is vast, from Falstaff to Salomé via Die Fledermaus and Maria Stuarda. Upcoming engagements include projects in Barcelona, Toronto, San Francisco, and Scotland. Last ODM appearance: Les noces de Figaro (2023)
THE DESIGNERS
THOMAS HASE
LIGHTING DESIGNER
Thomas C. Hase has made a mark on the international scene. He is the lighting designer for the Tony-winning Broadway revival of Company and has worked with institutions such as New York City Opera and BAM’s Next Wave festival. His international credits include lighting design for the Vienna State Opera, Bayerische Staatsoper, and Deutsche Oper am Rhein. His work has illuminated theatres in London (Barbican, Sadler’s Wells), Dublin (Abbey Theatre, Riverdance), and Sweden (Göteborg and Malmö), as well as major opera houses across Europe, North America, Asia, and Colombia. He has also been featured in major festivals, such as Toronto’s Luminato, leading him to travel Singapore, Tokyo, and more. Hase’s consistently innovative lighting creations are acclaimed worldwide. Dernière présence à l'ODM: Les noces de Figaro (2023)
NOËLLE-ÉMILIE DESBIENS
Noëlle-Émilie Desbiens began studying dance at five years old. Initially trained in classical ballet, she quickly expanded her practice to include a wide variety of styles and went on to study musical theatre, diving deeper into singing, dancing, and acting. Today, she enjoys a versatile artistic career that has brought her to major stages such as Cairo Opera, the television screen, and many productions in Quebec.
Since 2009, she has been collaborating regularly with the Opéra de Montréal, drawing on her expertise as a choreographer, rehearsal pianist, assistant director, and consultant. She also contributes to productions at Jeunesses Musicales Canada and the Université de Montréal’s Atelier d’Opéra, tapping into her passion for sharing unique artistic and choreographic perspectives. Last ODM appearance: La Traviata (2024) CHOREOGRAPHER
IN REHEARSALS
CLAUDE WEBSTER
CHORUS MASTER
For 30 years, Claude Webster has been working both internationally and at the Opéra de Montréal, where he became chorus master in 2007 after working for 20 years as the Atelier lyrique’s principal vocal coach. He is also an accredited Professional Certified Coach and holds a certificate in psychology from the Université du Québec à Montréal. For the past fifteen years, he has been using his knowledge and expertise to support musicians. He gives regular workshops and lectures, both at home and abroad, about stress management and mental preparation for performance. These trainings gave rise to a book, Atteindre sa zone d'excellence, published by Éditions de l’Homme. His most recent publication, The Performance Handbook for Musicians, Singers and Performers, is now available for purchase. Last ODM appearance: La bohème (2025)
ESTHER GONTHIER
REHEARSAL PIANIST
Esther Gonthier is one of the most sought-after vocal coaches in Québec. She collaborates regularly with the Opéra de Montréal, the Orchestre symphonique de Montréal, and the Orchestre Métropolitain, as rehearsal pianist, coach, or assistant conductor. She also works with student opera singers at McGill and the Université de Montréal, and she is proud to share her experience with the young artists of the Opéra de Montréal’s Atelier lyrique. Last ODM appearance: Hamlet (2024)
PIERRE MCLEAN
An accomplished pianist and vocal coach, Pierre McLean holds a master’s degree in Piano Performance from the Université de Montréal. He pursued advanced training in France, Italy, and Germany and has participated in prestigious programs at the Banff Centre for the Arts and the Tanglewood Music Centre. After his studies, he completed a residency as a vocal coach with the Atelier lyrique, going on to join the music faculty at the Université de Montréal and McGill’s Schulich School of Music. Highly appreciated by both singers and choral conductors, he has appeared throughout Québec and abroad. He frequently works as pianist for the Orchestre symphonique de Montréal and Opéra de Montréal choruses. In 2024, he was the official collaborative pianist for the National Youth Choir of Canada during their Québec tour and participation in the Montreal Summer Choral Academy. His work can be heard on Karina Gauvin’s Juno-nominated Marie Hubert album. Last ODM appearance: La bohème (2025)
Murielle Matteau & Daniel Ladouceur, à la mémoire de Jacqueline Ducas (1931-2024)
Pamela McGovern
Scott Mckay
Joseph Mereb
Serge Meunier
Jocelyne Morin
Linna Muller-Wille
Lourdes Olguin Zuniga & Vladimir
Humberto Perez Zavala
Alain Orvoine
P.K. Pal
À la mémoire de Claire Parenteau
Abbott
Monique Pauzé
Michel Perrault & Joanne Bazinet
Lise Pierre Pierre
Suzanne Plamondon
François Poirier
Jason Poirier Lavoie
Serge Poisson-de-Haro
Nicole Blanchet, pour les 25 dernières années d'abonnée
Jean-Pierre Racette
K. Rice & R. Fréchette
Marc-André Roberge
Renée & Joseph Rouleau†
Yves Roy
Richard Sabbagh
Marianne Schlegel
Hugo Sierra
V. Sirois
Patricia Spry
Raymonde St-Pierre
Jean Taillefer
Zivojin Tanich
Richard Tremblay
Suzanne Vadboncoeur
Marc Vézina
Susan Vincelli
Christine Vozoris
Nan & Jack Wiseman
Gerald Zion
Anonymous (28)
Portrait of a Philanthropist
Raymonde Lavoie and the Joy of Giving
Throughout her life, Raymonde Lavoie has been a creator—of ads, campaigns, and marketing strategies. Today, through the opera, she continues to nurture a profound need for creativity and beauty. A portrait of a devoted donor who chose a legacy gift, ensuring that the joy she finds at the opera will endure for generations to come.
For many years, Opéra de Montréal has been fortunate to count on the generous support of Raymonde Lavoie. With her gentle nature and playful spirit, Raymonde has made creativity the guiding thread of a rich and vibrant life — first in her career, where she spent many years in advertising and marketing, moving from creative work to strategy, and now in her personal pursuits.
An avid reader, music lover, and fashion enthusiast, Raymonde surrounds herself with art and culture. She even takes weekly ballet classes with teacher Andrei Uvarov of the Mariinsky School. “Like Pierre Vachon before each opera, this teacher shares the story behind the ballet to help us step into that world. From there, anything is possible, at any age!”
Opening concert of the Atelier lyrique at Bourgie Hall (Brent Calis 2021)
Portrait of a Philanthropist
Opera: Living in the moment
For Raymonde, opera brings together everything she loves: music, intellect, and movement. “It’s an art form where everything worth experiencing converges. Each time, I’m captivated by the story, swept away by the music, dazzled by the talent.” Far from being an art of the past, she sees opera as a living, contemporary experience. “Even the great classics take on new meaning in today’s world. We rediscover them again and again.”
From spectator to donor
At a certain point, Raymonde wanted to do more than attend performances. “I had several close friends involved in Opéra de Montréal’s philanthropic community. We often talked about it, and I became curious. I wanted to contribute too. So, I became a donor.”
More recently, she decided to go one step further by including Opéra de Montréal in her will. “It was very easy to arrange. If something happens to me, I have peace of mind knowing Opéra de Montréal will receive part of my estate to continue its mission. I want the joy I’ve had at the opera to carry on into the future.”
Celebrating what makes us unique
Raymonde believes in big ambitions, for both Opéra de Montréal and the city it calls home. “Montréal is an unconventional city, and the Opera reflects that. It’s not trying to be the Met or the Paris Opera; it’s a truly unique place where connoisseurs and newcomers gather around an innovative, open-minded approach that’s accessible to all. We need to recognize how special that is and nurture it. The Opera’s leaders understand this. I trust them, and I share their vision.”
An engaged and thoughtful philanthropist, Raymonde wants her gifts to have a real impact on creativity and talent. She never misses the Talent Gala, which showcases the artists of the Atelier lyrique each year. “There’s something electric about seeing these young performers on stage. I admire them, and supporting their growth brings me genuine happiness.” Her story reminds us how the joy of giving can resonate far beyond a single gesture, creating echoes of joy for generations to come.
Montréal,
Nurturing and visionary support for future opera stars
Thank you to Vanda Treiser Initiatives for helping propel the careers of emerging artists at the Atelier lyrique!
La Fondation Azrieli est fière de soutenir l’Opéra de Montréal dans la découverte, l’élévation et l’amplification de nouvelles voix.
The Azrieli Foundation is proud to support Opéra de Montréal in discovering, elevating and amplifying new voices.
NOVEMBER 22 TO 30
TUESDAY, NOVEMBER 11, 2025
Salle Wilfrid-Pelletier
cocktail + concert $195 concert only $75 TICKETS
Civic Impact and Education Partners
Presenting Partners
National Auditions Partner
MRS. VANDA TREISER and in in memory of MR. BENJAMIN TREISER
DoubleTree by Hilton Montréal
Hôtel Saint-Sulpice LaCité Le Mille Neuf Malinki
Marie-Claude Paquette, graphic designer Place
Permanent Team
Patrick Corrigan, General Director
Jean-Pierre Primiani, General Director Designate / Michel Beaulac, Artistic Director / Louis Bouchard, Director of Strategic Operations / Hélène Turp, Associate to the General Director / Nicolas Bourry, Artistic Administrator
PRODUCTION
Pierre Massoud, Production Director / Marie Hélène Larivière, Production Coordinator / Patrick Belzile, Technical Director / Jimmy Deschênes, Assistant Technical Director / Laurence Pronier, Stage Manager / Dominique Guindon, Head of Wardrobe / Sonya Bayer, Assistant Head of Wardrobe / Sandra Chirico, Wardrobe Supervisor
ATELIER LYRIQUE DE L’OPÉRA DE MONTRÉAL
Jennifer Szeto, Director, Atelier lyrique / Marie Maous, Program Manager / Geneviève Lessard, Production Manager / Martin Dubé, Head Vocal Coach / Vanessa Croome, Artistic Associate Administration
Jean-Pierre Primiani, Chief Philanthropy Officer and General Director Designate / Antoine Gervais, Manager, Philanthropy and Partnerships / Audrey Le Cour, Advisor, Philanthropy and Partnerships / Amy Grainger, Manager, Philanthropic Operations and Communications / Marion Malon, Project Manager, Philanthropic Events / Géraldine Leong Sang, Coordinator, Philanthropic Operations and Communications / Micol Battaglia, Philanthropy Assistant
CIVIC IMPACT AND EDUCATION
Pierre Vachon, Director, Civic Impact and Education / Charlotte Gagnon, Manager, Civic Impact and Education / Trycia Paquin, Coordinator, Civic Impact and Education
FINANCE
Maria Morse, Director, Finance and Administration / Ndieme Diene, Payroll Technician
HUMAN RESOURCES
Elisabeth Malo, Director, Human Resources
Current Production Team PRODUCTION
Pierre Massoud, Production Director / Marie Hélène Larivière, Production Manager / Patrick Belzile, Technical Director / Jimmy Deschênes, Technical Director Assistant / Olivier Ouellet-Hébert, Technical Advisor
STAGE MANAGEMENT
Laurence Pronier, Head of Stage Management Department / Thomas Lussier, Stage Manager / Caroline Nowacki, Constance Malenfant, Franco Calvano, Assistant Stage Managers
Dominique Guindon, Head of Wardrobe / Sonya Bayer, Associate Head of Wardrobe / Sandra Chirico, Wardrobe Supervisor / Cassandre Josépovic, Wardrobe Technician and Couturier / Richard Provost, Hat Maker and Tailor / Alain Spooner, Cutter / Anne-Sophie Boucher, Marie-Claire Doyon, Sandrine Moreau, Mireille Tremblay, Christine Tremblay, Gabriela Farinaccio, Anna-May E. Hutchison, Seamstresses / Mélanie Turcotte, Patina / Guylaine Gagnon, Shoemaking / Genevieve Fortin, Head Dresser (ODM) / Carole Gamache, Head Dresser (PDA) / Cédric Boué, Intern
PROPS
Madeleine Saint-Jacques, Head Props / Philippe Pointard, Distinguished Props Master
HAIR & MAKE-UP
Julie Casault, Head of Make-up Department and of Hair & Wigs / André Duval, Marie-Ève Ménard, Manon Alexandre, Karine Deest, Kimberly Murphy, Ghislaine Sant , Janie Otis, Hair Stylists / Camiel McLean, Marianne Bobet, Stéphanie Villemaire, Johanne Doyon, Alexe-Rose Francoeur, Jacques Besner, Make-up Artists
RUNNER
Alexandre Renaud
Stage OPÉRATechnicians DE MONTRÉAL
Daniel Masse, Head Carpenter / Julie Latulippe, Martin Jannard, Head Carpenter Assistants / Pierre Véniot, Head of Sound / Olivier Venne, Head of Sound Assistant / Isabelle Gagnon, David Leblanc, Prop Master / Martin Turgeon, Nicolas Bernier, Prop Master Assistant / Charles Denis, Head Fly Man / Eric Piché, Head Fly Man Assistant / Saturnin Goyer, Head of Lighting / Chantal Dostie, Head of Lighting Assistant
Stage technical services are provided by IATSE section locale 56 / Unité PDA
THANK YOU TO OUR COLLABORATORS:
SoftBox intégration inc. : Lighting Rental
Trans Québec Intégration : Audiovisual
Les Entreprises Truck N'Roll inc. : Transport
33 Dégrés :
Drawing and Graphic Modelling
Les Productions Yves Nicol : Set Construction
Board of Directors
PRESIDENT
René Branchaud
Lavery
VICE-PRESIDENT
Elizabeth Wirth
Wirth-Brand Inc., Wirth Rail
TREASURER
Sylvie Marois
Banque Nationale Gestion privée 1859
MEMBERS
François Carrier
Desjardins Marché des capitaux
Bruno-Étienne Duguay NOVACAP
Joanie Lapalme Fasken
François Loubert
Clinique médicale Angus
Guillaume Marion Sagard
Louise Roy, O.C., O.Q. CIRANO
Bernard Stotland, F.C.A., F.C.P.A. Richter
Vanda Treiser
Philanthropist
Daniel Turp
Université de Montréal
Joan Vogelesang
Joan Vogelesang (JV) Consultants
Vickie Zhao
Philanthropist
AN EVENING OF VIENNESE OPERETTA
FRIDAY, OCTOBER 24, 7:30 PM SALLE PIERRE-MERCURE
ORCHESTRE CLASSIQUE DE MONTRÉAL
With Odile Portugais, Tessa Fackelmann, Colin Mackey, and Jamal Al Titi
Celebrate the 200th birthday of Johann Strauss II, the “King of Waltz,” with an evening of effortlessly elegant Viennese music. Under the baton of Simon Rivard, four talented young singers will perform beloved excerpts from the Viennese operetta repertoire, thanks to a partnership between the Opéra de Montréal’s Atelier lyrique and the Austrian Society of Montréal. The concert pays homage to the golden age of Vienna’s refined, festive waltzes and operettas.
OPERA AT THE HEART
WEDNESDAY, OCTOBER 15, 6 PM ÉDIFICE WILDER – SALLE ATRIUM
When song becomes a force for care, learning, transformation, and belonging.
Step into an evening where opera extends beyond the stage to embrace communities. At the heart of this powerful event: health, education, and co-creation as the catalysts for social connection.
