Edmonton Opera Intermezzo - Mary Stuart

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Gaetano Donizetti

Spring 2016 contents

�ary �tuart

4 Message from the Director

20 Program Notes

6 Partners and Sponsors

22 Community Arts Event Listings

9 Sustainability Fund

27 Artists’ Profiles

11 Director’s Circle

12 Friends of Edmonton Opera

33 Edmonton Opera Chorus and Edmonton Symphony Orchestra

15 Endowment Fund

17 Composer Bio

18 Synopsis

35 Edmonton Opera 2016/17 Season

38 Edmonton Opera Valentine’s Gala 2016

Cast and Production Credits

Administration Office: 15230-128 Ave., Edmonton, AB T5V 1A8 Ph: 780-424-4040 Fax: 780-429-0600 Email: info@edmontonopera.com www.edmontonopera.com

45 Edmonton Opera Board and Staff

46 Upcoming Events

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GOVERNMENT & FOUNDATION SUPPORT

Message from the director Set in a remarkable period in history, Mary Stuart tells the story of two women locked in conflict over one of the world’s greatest empires. Mary Queen of Scots and Elizabeth I are surely two of the most fascinating and colourful personalities on the historical stage. They rose to lead their people in a time when ruling empires normally fell into the hands of men, by either birthright or political supremacy. The two queens had radically different upbringings, and their rise to power was riddled with unexpected twists and turns. How each woman chose to deal with her fate reflects their conflicting but equally passionate natures. They made extreme sacrifices out of duty to their country, and their lives were interwoven for more than twenty years in a painful struggle for political power.

It is no wonder that today we are seeing an amazing resurgence and continuing interest in the Kings and Queens of the Tudor period.

From movies to television, in documentaries, critical studies, and biographies, the world continues to be fascinated by the personalities and the intense political intrigues of that period in history. Lives were lived large, stakes were high, and the world was in a dramatic period of flux and change. Donizetti knew this all too well, since he drew from these historical stories as the subjects of his “Tudor” trilogy of operas – Anna Bolena, Maria Stuarda, and Roberto Devereux. It must be noted that Donizetti took many historical liberties with the story of Elizabeth I and Mary Queen of Scots, based on the source material, the play Maria Stuart (1800) by Friedrich Schiller.

The two queens never actually met in person (though they had a lengthy and intense correspondence), and in real life, the character of Leicester was devoted to Elizabeth, as she was to him. In the opera, the love triangle between Leicester and the two Queens functions as a theatrical substitute for the true love triangle – between Elizabeth, Mary, and the English throne. Mary’s role as a tragic figure and a Catholic martyr appealed to Donizetti’s dramatic instincts, as did the imperious figure of Elizabeth I and the personal sacrifices she made to become one of history’s most celebrated monarchs.

I am delighted to return to this production 4 years after its creation in Victoria, to bring it to the warm, appreciative audience of Edmonton Opera. Donizetti is known as a singer’s composer, and we are very fortunate with this revival to have a cast of superb vocal artists to bring the world of Tudor England to life.

Working on this production has made me appreciate the unique historical circumstances that intertwined these two women for twenty years, and the opportunity to tell their story has been deeply rewarding.

In a time when female monarchs were rare, their story remains riveting, as they fought to survive in times of enormous change, confronting the threats to their lives and their people. The legacy of their courage, intelligence and accomplishment endures.

– Maria Lamont

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PARTNERS

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SPONSORS

SEASON SPONSORS

The Rob Hood Fund Production Sponsors the merry widow

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Mary Stuart

Francis Price & Marguerite Trussler opening night sponsor

Sponsor of the Edmonton Opera Chorus

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Emerging Artist Sponsor

Education Dress Rehearsal Sponsor

Gold Partners

SPONSORS

media Supporters

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Education outreach Sponsor

Official Supporters

Suggitt PUBLISHERS

Thank you to Don’s Piano Place for the use of a 7'9 Petrof PII during the rehearsals of Mary Stuart.

Suggitt The Edmonton Opera gratefully acknowledges the Kucey Dental Group, who offers complimentary emergency dental services forPUBLISHERS EO artists, and Dr. Mat Rose, who offers medical services for EO artists.

Edmonton Opera is grateful for the support of these sponsors, suppliers and media partners.

For more information about supporting the Edmonton Opera, please call 780.288.2510 or email development@edmontonopera.com.

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Who supports all artists from comprimario to prima donna?

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We know our artists help shape and grow our community, now and in the future. That’s why ATB Financial celebrates local art, history and culture, fostering creativity in Alberta and beyond. atb.com

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(Premiere Circle) We wish to thank the following individuals, corporations and foundations

who have committed to Edmonton Opera’s sustainability fund.

Each of the following members of the Sustainability Fund has committed a minimum of $50,000 over five years.

Individuals

Jim & Monica Allen James Archibald & Heidi Christoph Robert & Michelle Bessette Kevin & Penny Birkholz Jim & Sharon Brown John Cameron Carol & David Cass Richard S. Cook Judy & John Cosco Darren & Laurel Durstling Bruce Hagstrom & Susan Wylie-Hagstrom Mark & Nancy Heule Laurence Jewell Dianne Kipnes Irving Kipnes

Ashif & Zainul Mawji Phil Milroy & Jane Russell Dr. Thomas & Melanie Nakatsui Jack & Esther Ondrack Sir Francis Price Hon. Marguerite Trussler Maureen & Randall Purvis Bernie Robitaille Arnold & Grace Rumbold Angus & Heather Watt James & Sheila Wheatley Ed Wiebe & Marcia Johnson Bill Winter Paulette Winter Glen & Sandra Woolsey

Corporations & Foundations

Al-terra Engineering Ltd. Arrow Engineering Inc. Clark Builders Dentons Canada LLP Kasian Architects Dianne & Irving Kipnes Foundation

Ledcor Qualico Shelley & Guy Scott Family Foundation Sorrell Financial Standard General Inc Wheaton Family Foundation

The first stage of the Sustainability Fund, to obtain 50 gifts, has been achieved.

The second stage, to reach 100 gifts, is now in progress.

For more information on the Sustainability Fund, please contact the Program Concierge, Gwen Horvath, at gwen.horvath@edmontonopera.com or at 780.288.2510.

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Edmonton Opera director’s circle The Director’s Circle recognizes those patrons whose significant financial support and ongoing commitment enable Edmonton Opera to continue to produce award-winning and compelling art in our community.

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For more information about the Director’s Circle or to become a member, please call Lauren Hyatt at 780.996.2744.

Season SponsorS $250,000 Rob Hood Fund Dianne & Irving Kipnes Foundation Creekwood The Merry Widow Production Sponsor $150,000 Francis Price & Marguerite Trussler Carmen Production Sponsor $150,000 Creekwood MaestroS $10,000+ Allard Foundation

LEADERS $5,000-$9,999 Larry Eberlein Dr. Frederic & Alma Gojmerac Marjorie Purdy Alan Rose Eira Spaner Chris & Vivian Varvis PATRONS $3,000-$4,999 City Lumber Corporation Thomas Fath Jeffrey Jansen Dr. Christine Kyriakides LandLink Consulting Ltd. Steven & Day LePoole Dr. P.J. White & Patty Whiting BenefactorS $1,750-$2,999 Tricia Abbott Darlene Acton Pauline Alakija Rhonda Baker Bruce & Carol Bentley Douglas K Bingham & Sheila Janki-Bingham

David & Patricia Cassie Dr. Mary Chisholm Marian Clarke Elaine Coachman Joseph & Pat Fernando Hans & Susanne Forbrich Peter & Astrid Griep Linda Hamilton Korwon Properties Ltd. Brian Kucey & Elena Hernandez-Kucey Alan Kuysters Dr. Igor & Galia Kwetny Joan Lopatka & Bill Rutledge Hilliard Macbeth Judy & Stuart Mackay Stephen & Lynn Mandel Rod & Heleen McLeod Hugh McPhail & Yolanda Van Wachem Michael & Mariette Meier Arliss Miller Ken & Gerda Miller Risha Milo Kyle & Colleen Murray Eleanor Olszewski Aline Pratch Dr. Leonard Ratzlaff James E. & Vivian Redmond David Steer & Larissa Whiting Peter & Joyce Walton Wawanesa Gerhard & Inge Zmatlo

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Thank you to those who have previously donated in memory of Kimberly Heard, Dr. Robert J. Buck, Dr. Lee Anholt, Dr. John Martin, Norah McKillop, Ernie LeMessurier, Dr. David Cook, Howard Irving, Patricia M. Paone, and in honour of Dianne and Irving Kipnes.

Sincere thanks go to those individuals who, through their gifts, have demonstrated their belief in making opera a vital part of our cultural community. To donate or for additional information, please call Lauren Hyatt at 780.996.2744 or email individual.giving@edmontonopera.com.

Only 2015/16 season donations and/or pledges processed up to Mar. 21, 2016, are listed. Every effort has been made to ensure the accuracy of our donor information.

If we have made an error or omission, please call Lauren Hyatt at 780.996.2744. We apologize for any inconvenience.

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Edmonton Opera’s Director’s Circle (donations of $1,750 or more) is our way of providing special recognition to our generous individual donors for their outstanding and sustained annual support. Director’s Circle members enjoy a number of exclusive opportunities throughout the season, to enhance their overall operatic experience.

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Edmonton Opera applauds the following visionaries for contributing to or establishing a legacy of support for the future of opera in our community. Many of these contributions have been matched by the Canada Cultural Investment Fund.

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Edmonton Opera’s Endowment Funds: Sam & Sonia Azer Family Fund Canada Cultural Investment Fund Cecilia Fund Dr. David Cook Fund for Edmonton Opera Edmonton Opera Endowment Trust Fund Edmonton Opera Staff Contributions Fund Andy & Marianne Elder Fund Frederic & Alma Gojmerac Family Fund Irving Guttman Opera Endowment Fund The Dianne and Irving Kipnes Opera Fund Oline and Roderick Markine Family Fund John and Barbara Poole Family Fund Francis Price and Marguerite Trussler Family Fund Russell & Dwight Purdy Memorial Fund Arnold & Grace Rumbold Fund In Memory of Howard Irving: J.E. Cote Richard Fraser Larry Judge John Karvellas Alec & Irene Murray Francis Price & Marguerite Trussler In Memory of Oline Markine: Francis Price & Marguerite Trussler

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Edmonton Opera presents

mary stuart April 16, 19 & 21, 2016

Considered one of the most sublime bel canto opera composers alongside Rossini and Bellini, Gaetano Donizetti would have one of the greatest influences on the operas that Verdi would eventually write.

Born Domenico Gaetano Maria Donizetti on Nov. 29, 1797, in Bergamo, Italy, he was the youngest of three sons in a working class family.

His music education included studying under Simon Mayr and later Padre Mattei, in Bologna. Donizetti’s father wanted him to return to Bergamo to teach music, but Donizetti didn’t like that idea and instead enlisted in the army.

His first two operas, composed while enlisted, were great successes, and after the success of his second opera, he was discharged and exempted from further service so he could compose full-time.

Even though Donizetti’s bel canto works are widely recognized, he wrote for all styles of opera, in addition to composing 16 symphonies, 19 quartets, 193 songs, 45 duets, three oratorios and 28 cantatas. His early operas were usually written for the talents of a particular singer, but as he matured, his compositions focused on building and reaching dramatic heights.

Starting in 1822, he worked in Naples for 16 years, where he produced operas at a rapid pace; usually three or four per year.

Donizetti enjoyed a successful professional life, although his personal life saw more tragedy — his wife, Virginia Vasselli, died in 1837 during a cholera outbreak, and none of their three children survived more than a few days of infancy.

Later in his life, he spent some time in Paris and Vienna, but by 1845, he had become quite ill. He was placed in a French sanatorium for 17 months before being transferred to Bergamo (by this point, he was paralyzed, disorientated and rarely spoke).

He died on April 8, 1848, in Bergamo, and was buried in the Valtesse cemetery. Late in the 19th century, his body was moved to Bergamo’s Basilica of Santa Maria Maggiore.

Music by Gaetano Donizetti Libretto by Giuseppe Bardari Premiere: December 30, 1835, La Scala, Milan

Conductor Director

Robert Dean Maria Lamont

The Cast (in order of vocal appearance)

Elizabeth Talbot Cecil Leicester Anna Mary

Keri Alkema Jordan Bisch Jason Howard Diego Silva Elizabeth Turnbull Kathryn Lewek

Understudies Elizabeth Nola Shantz Talbot Tyler Fitzgerald Mary Vanessa Oude-Reimerink with members of the Edmonton Opera Chorus and Supers and the Edmonton Symphony Orchestra

Scenery and Costume Designer Lighting Designer Chorusmaster Repetiteur Stage Manager Assistant Stage Manager Assistant Stage Manager Apprentice Assistant Stage Manager

Camellia Koo Geoffrey George Peter Dala Leanne Regehr Ha Neul Kim Anna Davidson Gina Moe FengYi (Mona) Jiang

There will be one 20-minute intermission between Acts II and III. The production and designs for Mary Stuart (Maria Stuarda) were originally created by Pacific Opera Victoria for a production in 2012 at the Royal Theatre in Victoria, British Columbia and have been adapted by Edmonton Opera for this production.

Edmonton Opera is a professional company operating within the jurisdiction of the Canadian Actors’ Equity Association.

Edmonton Opera is a member of the Professional Opera Companies of Canada and Opera America.

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SYNOPSIS

With permission from

Overview

Act 2

Mary Stuart, Queen of Scots, former Queen of France, and claimant to the throne of England, is held prisoner by her cousin Queen Elizabeth I. Will Mary’s attempts to cajole Elizabeth into a reconciliation save her from being beheaded?

Donizetti takes brazen liberties with history, but imparts a splendid operatic flair to the political and religious conflict between Mary and Elizabeth. So what if the feuding monarchs never met in real life! Donizetti brings them together anyway, concocts a love triangle, and lets the sparks fly. As the niceties of diplomacy go out the window, the confrontation erupts into some very un-royal language and the most lyrical catfight in all of opera.

Mary Stuart brings us two indomitable heroines and a wonderfully Italian twist on British history – Shakespearian invective hurled in purest bel canto, hatred and scorn spun into silken, sinuous melody – magnificent drama and ethereal music.

Act 1

The Palace of Westminster Elizabeth I is toying with the idea of marrying the King of France, although she is actually in love with Lord Leicester, Robert Dudley, a long time member of her court. Elizabeth is also full of ambivalence about her cousin, Mary Stuart, the exiled Queen of Scotland who is claimant to the throne of England. Mary is being held prisoner in England, and while Talbot (Earl of Shrewsbury and Mary’s keeper), urges Elizabeth to be merciful, Cecil (Lord Burghley, Elizabeth’s chief advisor), pushes for Mary’s execution.

Elizabeth orders Leicester to deliver a ring to the French Envoy as a token that she is considering the marriage proposal. She is exasperated by Leicester’s cool indifference.

Talbot privately gives Leicester a letter from Mary in which she begs him to arrange a meeting with Elizabeth. Leicester rhapsodizes over Mary’s beauty, proclaiming that he would happily die for her. Clearly in love, Leicester is discovered by Elizabeth. Her suspicions aroused, Elizabeth pressures the flustered Leicester to give her the letter. Elizabeth gloats over Mary’s change of fortune and the fact that her three crowns are now lost to her. Leicester begs Elizabeth to show compassion, but praises Mary’s beauty a little too ardently. Furious that Mary is trying to rob her of both her crown and the man she loves, Elizabeth agrees to a meeting, but secretly pledges to punish her rival.

Pacific Opera Victoria

Fotheringhay Castle Imprisoned at Fotheringhay Castle, Mary enjoys a beautiful day with her companion Anna and sings nostalgically of her happy youth in France.

When trumpets announce the arrival of Elizabeth’s hunting party, Mary’s mood abruptly changes to dread at the thought of meeting her cousin.

Leicester appears and urges Mary to appear submissive. He is confident Elizabeth will be merciful – if she is not, he vows to take revenge.

The meeting begins tensely. The two women eye one another warily, Mary full of terror and apprehension, and Elizabeth infuriated by the pride she sees in her rival. When Mary kneels to ask forgiveness, Elizabeth taunts her about her sordid past, including rumors of adultery, and her implication in the murder of her husband. Even as Leicester and Talbot urge her to hold her tongue, Mary, provoked beyond endurance, loses her temper, and insults Elizabeth by calling her impure and illegitimate. Elizabeth orders her guards to take an unrepentant Mary away, as all save the gleeful Cecil express their horror and despair.

Intermission Act 3

Council Chambers in Westminster; Fotheringhay Castle Elizabeth is vacillating over Mary’s execution; Lord Cecil urges Elizabeth to sign and seal the warrant as England’s security and future hangs in the balance. Leicester’s arrival convinces her to follow through with signing the death warrant. His pleas for leniency only serve to fuel her conviction, and she orders him to witness his lover’s execution.

In Fotheringhay Castle, Cecil delivers the warrant to Mary, and Talbot stays to comfort her. Denied a Catholic last confession, Mary tells Talbot she is haunted by the ghosts of her murdered secretary Riccio, as well as her husband Darnley; she is tormented with remorse over her personal past, as well as her involvement in a plot (The Babington Plot) against Elizabeth.

She experiences a moment of epiphany and release, and prepares herself for death. She greets her household and gathered witnesses, and with great nobility leads a prayer to God. As cannon shots signal the imminent execution, Cecil asks Mary if she has any last wishes. She requests that Anna accompany her to the scaffold, and announces her forgiveness of Elizabeth, promising she will beseech God to bless England and its Queen.

Leicester enters, distraught and railing against the injustice of the death sentence. Mary begs him not to avenge her, but to support and comfort her as she goes to her death. She says farewell and is led to the scaffold. Cecil declares that with the death of its enemy, England’s peace is now ensured.

50/50 tickets can be purchased in the main lobby and on the first balcony prior to the performance and during intermission.

The winning ticket will be displayed at the end of the performance at the Jubilee exit doors. Thank you for your support of the arts in Edmonton!

Those attending the Thursday night performance are invited to take home one of the floral arrangements courtesy of Hole’s Greenhouses, in exchange for a donation to the Edmonton Opera. Please visit the Opera Boutique in the main lobby on Thursday if interested.

gaetano donizetti (1797–1848)

PROGRAM NOTES

�ary �tuart

When we think of Donizetti, his incredible fecundity as a composer and musician, it is hard not to wonder how he came to compose some 70 operas, 30 of them grand operas, in so short a span of twenty-five years. He was uncommonly productive, but he had to be in order to make a living. As it turned out, his high yield of works granted him the possibility to improve his craft at a constant pace.

Time and again, Donizetti tried new ideas with his librettists and singers, innovating the moulding together of dramatic storyline with musical and narrative arc. He experimented with both tragic and comic (semi-seria) genres, but it was tragedy that secured his international fame, particularly with Anna Bolena (1830). After Bellini’s death in 1835 and the debut of Lucia di Lammermoor, the opera that would secure Donizetti’s place among the alltime greats, he became the lone reigning Italian genius of opera composers.

It is certainly hard to believe that in the four years between Anna Bolena and its magnificent Elizabethan sequel, Maria Stuarda, he wrote ten operas, including the two great hits L’elisir d’amore, and Lucrezia Borgia (which would make its way into the repertory a few years later) and the two-act melodrama Rosmonda d’Inghilterra, which was largely forgotten.

However, Rosmonda has a few things to teach us. Rosmonda and Eleonora’s powerful duet seemed to serve as a model for the opera that followed it, Mary Stuart, which is known primarily for its classic confrontation scene between the two queens. It is one of many jewels found in the opera, but these sparkling moments all find their antecedents in the operas leading up to this point in Donizetti’s career. From our vantage point, Mary Stuart seems to be one of those works that was in creative preparation through the process of endless practice that can only come from the pen of someone so prolific, endlessly inventive, and preternaturally driven to produce the most perfect dramatic opera possible.

Drama was everything to Donizetti. A famous Donizetti composition story revolves around the supremely famous tenor aria “Una furtive lagrima,” taken from L’elisir d’amore. It is inconceivable to us that Donizetti had to convince his librettist Felice Romani that the heartfelt aria of considerable pathos be included in order to buttress the opera’s comic ending. Pathos was essential to comedy, Donizetti argued, and even more so, to building the structure of Act II’s recognition scene where Adina finally acknowledges her love for Nemorino.

20 MARY STUART

By the time Donizetti reached the construction of Mary Stuart, dramatic narrative grew to become something of an integrated, compositional instinct, especially in the utterly masterful Act II finale, one of the composer’s finest achievements. Mary’s ariafinale, including the preamble prayer with chorus, once again made use of Donizetti’s most famous, signature, emotionaldramatic conveyance, namely pathos, but now intertwined with overwhelming tragedy. It was all for one reason: to allow his singers to shine.

And in Elizabeth’s ‘mad scene’ of near total dissolution, another remarkable Donizettian innovation, it showed just how much Donizetti was a singer’s composer, yet progressive enough to serve the dramaturgy, and never at the expense of empty virtuosity sacrificing artifice for the sake of the vocal thrill-ride. His mission was to tell the story, tell it well, and augment it at the right moment and at the right time with the most appropriate musical forms he could creatively muster — hallmarks of true genius.

Small wonder Verdi was so intensely influenced by him.

Background literary history to Mary Stuart Much has been made of the European-wide, early Romantic literary interest in Scotland, and by extension, the British Isles.

Whether it be via a translation of Schiller’s play Maria Stuart, or the novels of Sir Walter Scott in particular, which gave rise to so many works including Lucia di Lammermoor and so much more between 1815-1840 and beyond, there was a conspicuous fascination that predominantly Catholic Europe had with the beheaded Mary Stuart (Queen of Scots) and her alleged run-in with Queen Elizabeth I of England. Audiences flocked to operas with these themes in their plots.

The fact that the cherished — and entirely confabulated — confrontation scene between the two queens in Act II of Mary Stuart never took place in history seemed hardly to matter. What mattered more to librettists and composers was that the scene could make for great drama.

And, quite by happenstance, that helped to secure Donizetti’s posthumous reputation as a composer of dramatic opera when the role was taken up by the great bel canto coloraturist Maria Callas. Then, Beverley Sills made a virtue of performing all three Tudor dramas, Anna Bolena, Maria Stuarda and finally the musicodramatically gripping Roberto Devereux, composed three years

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by stephan bonfield later, and the great trilogy of Donizetti Elizabethan dramas finally received their due. On top of it all, Donizetti had also composed the earlier mini-masterpiece Elizabetta al Castello di Kenelworth (later revised in 1830 to Il Castello di Kenelworth), in which Donizetti set the standard for creating an opera for two strong female leads, not just for their dramatic intensity but just as notably for their uncompromising virtuosity and technically demanding vocal pyrotechnics.

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Then there was the matter of the opera’s rocky early history.

Mary Stuart was banned by the King of Naples while it was still in rehearsals, very likely for its inappropriate theme.

Italians still viewed Elizabeth as a Protestant heretic, and indeed a bastard child of Henry VIII with illegitimate claims upon the throne, her reputation further smeared by her mother Anne Boleyn’s execution. But such controversy only fed more grist for Donizetti’s mill and seemed to stoke greater interest in his opera. The reality was simple for Donizetti — he didn’t care as much about politics as he did about furnishing a great story as means to even greater artistic ends.

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MARY STUART 21

community

Arts

This schedule brought to you by the Edmonton Cultural Trust Foundation | edmontonculturaltrust.org

EDMONTON CULTURAL TRUST

Other Desert Cities On now until May 1

From Cradle to Stage: An Evening of New Work May 16 – 21

Citadel Theatre citadeltheatre.com | 780.425.1820

Brahm’s Third April 30

Edmonton Symphony Orchestra edmontonsymphony.com 780.428.1414

FOUNDATION

Walterdale Playhouse walterdaletheatre.com 780.439.3058

Grease Sing Along April 30 Sean Caulfield: The Flood On now until August 6

South Pointe Community Centre Opera NUOVA operanuova.ca | 780.487.4844

Art Gallery of Alberta youraga.ca | 780.422.6223

Love Lies Bleeding May 13 – 14

7: Professional Native Indian Artists Inc. On now until July 3 Art Gallery of Alberta youraga.ca | 780.422.6223

West Side Story April 23 – May 22

Citadel Theatre citadeltheatre.com | 780.425.1820

Jubilee Auditorium Alberta Ballet albertaballet.com | 780.428.6839

10 Times 2: The Eternal Courtship May 4 – 22

Backstage Theatre at ATB Financial Arts Barns Shadow Theatre Shadowtheatre.org | 780.434.5564

Or The Whale, an adaptation of Herman Melville’s Moby Dick May 12 – 21

Gordon April 26 – May 15

The Roxy on Gateway Theatre Network Theatrenetwork.ca | 780.453.2440

22 MARY STUART

Studio Theatre, University of Alberta uofa.ualberta.ca

Pictures at an Exhibition May 14

Edmonton Symphony Orchestra edmontonsymphony.com 780.428.1414

Shadow of Dreams May 29

All Saints’ Cathedral ProCoro Canada procoro.ab.ca | 780.420.1247

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Artists’

PROFILES

(in order of vocal appearance)

Robert Dean

Keri Alkema

Elizabeth | soprano

Conductor

Robert Dean made his Canadian debut in 1993 with The Pearl Fishers for Edmonton Opera.

This was followed by a highly acclaimed La Cenerentola (recorded by CBC), Die Fledermaus, Abduction from the Seraglio, Lakme and John Estacio’s Filumena (also filmed for Canadian TV). Most recent performances include La Fille du Regiment, La Boheme, Don Giovanni and Il Barbiere di Siviglia. He has a long association with Calgary Opera where he recently conducted Lucia di Lammermoor, Falstaff and Der Fliegende Hollander and will return to conduct Filumena in 2017.

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Maria Lamont

In the 2015-16 season, Keri Alkema heads to the Opéra National de Bordeaux as Eboli in Don Carlo, and debuts as Elizabeth in Maria Stuarda (Mary Stuart) for Seattle Opera and Edmonton Opera. In 2014-15, she made her French debut at Théâtre du Capitole in Toulouse as Amelia in Un ballo in maschera under the baton of Daniel Oren with costumes by Christian Lacroix. She also sang her first performances of Madama Butterfly at Teatro Municipal de Santiago and of Tosca with the Orlando Philharmonic. She returned to Palm Beach Opera as Mimì in La bohème. Recent performances for the soprano include Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company); Title role/Anna Bolena (Minnesota Opera); Mimi/La Bohème (Glyndebourne); Adalgisa/Norma (Opera North UK).

Director

Maria Lamont recently directed Edmonton Opera’s production of Carmen, and is delighted to revive her production of Maria Stuarda, which she premiered at Pacific Opera Victoria in 2012. Lamont’s directing credits include the world creation of the First Nations opera Giiwedin (Native Earth Performing Arts) and Enoch Arden in the Hope Shelter (Theatre Centre in Toronto). She has worked as an assistant and a revival director for opera companies all over the world, including La Scala Milan, La Monnaie Brussels, Theater an der Wien Vienna, Théâtre des Champs Elysées Paris, De Nederlandse Opera Amsterdam, Le Grand Théâtre de Luxembourg, Opéra du Rhin Strasbourg, Canadian Opera Company, English National Opera and Hyogo Performing Arts Festival Japan.

Jordan Bisch Talbot | bass

American bass Jordan Bisch has appeared with many prestigious US opera companies including the Metropolitan Opera (where he is an alumnus of the Lindemann Young Artists program), San Francisco Opera, Opera Philadelphia, Washington National Opera, Los Angeles Opera, and the Seattle Opera. In Europe he has appeared at the Théâtre du Capitol in Toulouse and at the Verbier Festival. In concert he has performed at the Hollywood Bowl and the Tanglewood Festival, and is featured on the Los Angeles Philharmonic Orchestra’s recording of Shostakovich’s Orango (Deutsche Grammophon). His many awards include second place in the 2009 Operalia competition and one of the winners of the 2005 Metropolitan Opera National Council Auditions Grand Final.

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Artists’

PROFILES Jason Howard Cecil | baritone

Internationally renowned baritone Jason Howard is recognized as one of the UK’s leading operatic performers. Over the course of a three decade career he has sung the baritone roles in Attila, La Traviata, Don Carlos, Rigoletto, Macbeth, Nabucco and Il Trovatore . He made his debut at the Royal Opera House and Paris Opera as Marcello (La Bohème). More recently he has enjoyed great success in the German rep as Wotan in Wagner’s Ring, and The Flying Dutchman among others. Other highlights include Death in Venice (Buenos Aires), Mourning Becomes Electra (Chicago Lyric Opera) and Emile de Becque in the Lincoln Center production of South Pacific.

Diego Silva

Leicester | tenor Tenor Diego Silva continues to attract significant national and international attention with his captivating performances, and will make his Metropolitan Opera debut as Tybalt in Bartlett Sher’s production of Roméo et Juliette in the 2016-17 season. Diego recently performed the title role in Faust at the Macau International Music Festival, a role which he also covered at the Opéra National de Paris. Other performance highlights include the roles of Rodolfo in La bohème under the baton of Lorin Maazel at the Castleton Festival, and with the Yucatan Symphony Orchestra; Alfredo in La Traviata with the Theater Orchester Biel and with Des Moines Metro Opera; Percy in Anna Bolena at the Tchaikovsky Concert Hall in Moscow; and Tamino in Die Zauberflöte at the Palacio de Bellas Artes in Mexico City.

Elizabeth Turnbull Anna | mezzo-soprano

Elizabeth Turnbull’s credits include appearances with major orchestras and opera companies across North America. She also portrayed Lyubija in the European and Canadian tours of Svadba. Her roles range from the baroque (Juno in Semele), to the romantic (Carmen), modern (Augusta Tabor in the Canadian premiere of The Ballad of Baby Doe) and new (creating the role of Maria Picariello in Filumena). Upcoming performances include the creation of the role of Elizabeth in Opera on the Avalon’s new John Estacio opera, Ours, as well as a reprise of Maria in Calgary Opera’s upcoming 2017 remount of Filumena, and the role of Clytemnestra for Edmonton Opera’s Elektra. Ms. Turnbull is an instructor of voice and is the director of Opera Workshop at the University of Alberta’s Department of Music, where she has been teaching for seven years.

Kathryn Lewek Mary | soprano

A double prizewinner at the 2013 Operalia World Opera Competition, Soprano Kathryn Lewek is one of the most promising coloratura sopranos of this generation. Ms. Lewek’s interpretation of her signature role, Queen of the Night, regularly garners critical acclaim in performances at the world’s leading opera houses including The Metropolitan Opera, Wiener Staatsoper, Deutsche Oper Berlin, and Houston Grand Opera, to name a few. This season’s engagements include Teresa in Benvuto Cellini at Gran Teatre del Liceu in Barcelona, Carmina Burana at the Dallas Symphony, Konstanze in Die Entführung aus dem Serail at Deutsche Oper Berlin, and Queen of the Night in Die Zauberflöte at Teatro Real in Madrid.

Camellia Koo

Scenery and Costume Designer For Edmonton Opera, Camellia designed the sets for Carmen and the sets and costumes for The Tales of Hoffmann. Other recent designs include collaborations with Minnesota Opera, Pacific Opera Victoria, Boston Lyric Opera, Against the Grain, Tapestry New Opera and the Canadian Opera Company. Recent designs for theatre and dance include collaborations with Ballet Jörgen, Cahoots Theatre Projects, Tarragon Theatre, The Second City, the Shaw Festival and Young People’s Theatre. She has received six Dora Awards, a Sterling Award, a Chalmers Award Grant, the 2006 Siminovitch Protégé Prize and third prize (team) at the 2011 European Opera Directing Prize.

Geoffrey George

Lighting Designer

Geoff is pleased to be returning to Edmonton Opera. His work has been seen on this stage for The Merry Widow, Pirates of Penzance, La Bohème, The Mikado, Eugene Onegin and The Barber of Seville. Beginning his career as a lighting technician at the Shaw Festival and working mainly as a lighting designer, Geoff has designed over 200 productions for Carousel Player, Theatre New Brunswick, Neptune Theatre, Northern Light Theatre, the Mayfield, Brian Webb Dance, Mile Zero Dance, Kurt Browning, Leave It To Jane Theatre and last, but not least, Grant MacEwan University, where he recently retired as chair of the award-winning theatre program.

MARY STUART 29

Artists’

PROFILES Peter Dala Chorusmaster

Peter Dala began his conducting career 30 years ago with the Basel Ballet. He conducted for seven years at the Hungarian State Opera and the National Ballet of Hungary. As Edmonton Opera’s chorusmaster from 1996 to 2012 and resident conductor from 2001 to 2012, he prepared the chorus for roughly 40 operas, has played over 50 operas as repetiteur and has conducted over 30 operas. In 2001 he began his affiliation with Alberta Ballet and was named music director in 2005. He has conducted over 40 different productions for them.

Leanne Regehr Repetiteur

Pianist Leanne Regehr earned a doctor of music degree in piano performance from Northwestern University and is currently based in Edmonton, where she serves on the faculties of the University of Alberta and the King’s University. Leanne has been engaged as a repetiteur with Shreveport Opera, Mercury Opera and Edmonton Opera. Her dedication to the development of young singers has been recognized through her work as a faculty member with Opera NUOVA, as a staff pianist for Sherrill Milnes’ VOICExperience Program in Florida, and as a coaching fellow at the Aspen Music Festival. Leanne enjoys her freelance career as a soloist, vocal coach, recital partner and adjudicator.

Ha Neul Kim

Anna Davidson

Assistant Stage Manager Anna is so happy to be working on Mary Stuart this season. Past Edmonton Opera assistant stage manager credits include Carmen, Lucia Di Lammermoor, The Magic Flute, Barber of Seville, Madama Butterfly, Die Fledermaus, Salome, Eugene Onegin and The Mikado. She has worked as a stage manager or ASM for the Citadel Theatre, Northern Light Theatre, Shadow Theatre, Workshop West, Theatre Network, Concrete Theatre and L’Uni Théâtre. She is a graduate of the theatre production program at MacEwan and is a freelance technician and member of IATSE Local 210.

Gina Moe

Assistant Stage Manager Gina Moe’s recent Edmonton Opera assistant stage manager credits include Carmen, Lucia di Lammermoor, The Magic Flute and The Tales of Hoffmann. Stage management credits include The Last Five Years and Little One (Theatre Network), Sleuth, The Euphorians, Angels on Horseback, Witness to a Conga and The Occultist’s Holiday (Teatro la Quindicina), Heroine and Victoria Martin: Math Team Queen (Northern Light Theatre), Craniatrium (Firefly Theatre), Enchanted April, The Retreat From Moscow and Trying (Theatre Calgary), Cooking at the Cookery, Trying, Einstein’s Gift, Wit and Skylight (Citadel Theatre). Gina is a two-time winner of the Elizabeth Sterling Haynes award for Outstanding Achievement in Production.

Stage Manager

2015/16 is Ha Neul Kim’s 14th season with Edmonton Opera. A graduate from the University of Alberta with her BFA degree in technical theatre production specializing in stage management, she has been the Edmonton Opera’s stage manager since 2007. She has been the assistant stage manager for many past Edmonton Opera and Manitoba Opera productions, as well as stage managing for the main stage during the Queen’s royal visit, field stage for the opening and closing ceremonies of the 2005 World Masters Games, and has worked in theatres across Canada. She also teaches opera stage management at the University of Alberta.

MARY STUART 31

Mercedes-Benz Edmonton West 17407-111 Avenue, Edmonton, AB • 780-484-9000

Edmonton Opera chorus Women’s Chorus

Men’s Chorus

Janine Bremault Bamford Seang Youn Choi Natasha Gago Da Fonseca Jill Hoogewoonink Betty Kolodziej Dilys Kulchitsky Lydia-Ann Levesque

John Adria Stephen Allred Garreth Borgstrom Ivan Fedyna Hans Forbrich Mathew Glenn Nick Horobec

Patrece Maluzynsky Krista Mulbery Christina O’Dell Ann Parry Glynis Price Cristina Weiheimer Karen Zabinski

and supers Supers

Walter Hsu Andrae Marchak Mike Otto Andrea Pinna Robert Rock Danny Rowley John Yun

Fred Deis Markiyan Fedyna Adrian Howard Howard Kowalchuk

Tuesday night’s performance is in memory of longtime chorus member Thomas J. Hall.

Edmonton Symphony orchestra William Eddins, Music Director Violin 1

cello

bassoon

Robert Uchida Eric Buchmann Laura Veeze Neda Yamach Richard Caldwell Anna Kozak Aiyana Anderson-Howatt Susan Flook Joanna Ciapka-Sangster Broderyck Olson

Rafael Hoekman Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin Ian Woodman

Matthew Howatt Edith Stacey

Violin 2 Dianne New Heather Bergen Zoë Sellers Robert Hryciw Tatiana Warszynski Murray Vaasjo Christine Yu Yue Deng

Viola Stefan Jungkind Charles Pilon Clayton Leung Rhonda Henshaw Jeanette Comeau Leanne Maitland

bass Jan Urke John Taylor Janice Quinn Rob Alridge

Librarian

Allene Hackleman Megan Evans Gerald Onciul Donald Plumb

Aaron Hawn

trumpet Robin Doyon Frederic Payant

Trombone

Elizabeth Koch Shelley Younge Petar Dundjerski

John McPherson Kathryn Macintosh

Oboe

Christopher Taylor

clarinet Julianne Scott David Quinn

Eric Filpula

horn

flute

Lidia Khaner Paul Schieman

Orchestra Personnel Manager

Bass Trombone tIMPANI Barry Nemish

Percussion Brian Jones

Harp Nora Bumanis

ESO Production Staff Jerrold Eilander Mike Patton

Proud suppor ters of the Edmonton Opera

34 MARY STUART

16/17 season

GIACOMO PUCCINI

TURANDOT OCTOBER 22, 25 & 27, 2016

GIOACHINO ROSSINI

CINDERELLA

LA CENERENTOLA

FEBRUARY 4, 7 & 9, 2017

RICHARD STRAUSS

ELEKTRA MARCH 11, 14 & 16, 2017

Edmonton Opera’s 2016/17 season is nearly here!

This year, we present three very different and equally compelling stories that are sure to capture your imagination.

We start with Puccini’s masterpiece Turandot, set against the backdrop of a mythical ancient China. Princess Turandot’s beauty attracts suitors from far and wide, but with no intention to marry, she presents these men with unsolvable riddles and punishes their failures with death. Along comes Prince Calaf, determined to win Turandot’s affection and melt her icy heart.

Calaf gambles everything he has to find true love.

at love; in a fortunate turn of events, love finds Cinderella and changes her life forever after. This family favourite, set to enchanting music, is sure to entertain and delight.

In her Canadian debut, Ontario-born soprano Othalie Graham sings Turandot, a role she has become known for across America and beyond. Canadian tenor David Pomeroy, seen previously in Edmonton Opera’s The Tales of Hoffman in 2013, plays Calaf.

We are excited to share this wonderful season with you, and look forward to seeing you at our shows next year! Enjoy all three operas with the purchase of season tickets, which saves you up to 30% compared to single ticket prices. We also offer courtesy ticket exchanges and other great perks to our season ticket holders. Contact our box office at 780.429.1000 to book your seats today!

Next, we bring you Rossini’s interpretation of a classic fairytale in Cinderella (La Cenerentola). Cinderella endures bad treatment from her stepfather and stepsisters, even giving up her chance

Finally, Richard Strauss’s Elektra takes the stage for its Alberta premiere. Elektra, filled with madness and hatred, plots lethal revenge against her mother in this Greek tragedy. Strauss’s composition mirrors and fuels Elektra’s various emotional states, creating a dark but captivating insight into the mind of a woman possessed.

MARY STUART 35

HELPING OUR ARTS COMMUNITIES

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To find out how MNP can help your organization shine, contact Darren Turchansky at 780.453.5378 or darren.turchansky@mnp.ca

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MARY STUART 39

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edmonton opera board of directors 2015-2016 season Garner Beggs Robert Bessette Danisha Bhaloo Jennifer Brown

Richard Cook, Chair Francis Price, Vice Chair Ken Keenleyside, Treasurer Irv Kipnes, Past Chair

Mary Clonfero Craig Corbett Hans Forbrich Mary-Lou Hamilton

Melanie Nakatsui Bernie Robitaille Robert Rock

edmonton opera staff Executive Tim Yakimec, General Director*

Finance Debra King, CFO Serene Yau, Accountant

Community Relations Cameron MacRae, Director of Marketing & Communications Rohan Kulkarni, Communications & Community Engagement Coordinator PenĂŠlope Haro Aranda, Marketing Assistant

Fund Development Gwen Horvath, Director of Fund Development Jennifer Hinnell, Grants Officer Lauren Hyatt, Events Coordinator & Donor Relations Celyne Runzer, Fund Development Assistant

Box Office Joanne Madeley, Box Office Manager Katie Gallin, Box Office Clerk

Artistic Administration Ha Neul Kim, Director of Artistic Operations, Resident Stage Manager* Peter Dala, Resident Conductor & Chorusmaster*

Production and technical Clayton Rodney, Production & Technical Director* Greg Brown, Head Scenic Carpenter & Shop Supervisor Deanna Finnman, Head of Wardrobe & Resident Wardrobe Designer* Megan Kumpula, Head of Properties & Scenic Paint Theresa Grant, Assistant Head Properties Kris Aasen, Production Coordinator

Brenda Inglis, First Assistant Wardrobe* Ava Siemens, First Stitcher* Judith Darough, Cutter Kathleen Mulder, Dyer Kathryn Neuman, Stitcher Viola Peters, Stitcher Genevieve Savard, Stitcher* Samantha Rumble, Head Wig Builder

Production and technical Stage Crew Geoff Bacchus, Head Stage Carpenter* Kathy Cooper, Assistant Head Scenic Carpenter Al Kliss, Head Fly* Alison Hardy, Head Electrics Joseph (Bud) Race, Assistant Head Electrics Megan Kumpula, Head of Properties Theresa Grant, Assistant Head Properties Danine Regenwetter, Head Wardrobe Dresser* Kathryn Neuman, Assistant Head Wardrobe Dresser* Cathy Nicoll, Head Make-up* Noreen Jani, Assistant Head Make-up Judy Morley, Head Wigs & Hair* Nancy Horn, Wigs & Hair* Pat Mackenzie, Supertitle Cuer*

Nanc Price, Volunteer Photographer

*10 years or more of service to Edmonton Opera.

MARY STUART 45

�pcoming

events

June 17, 2016 Come celebrate one of the longest days of the year with Opera al Fresco at the Devonian Botanic Garden. Satisfy your palate with delectable hors d’oeuvres and wine, while you enjoy charming operatic performances on four different stages.

Let the vibrant music and gentle breeze lift your spirits to summer bliss!

Opera al Fresco starts at 7 p.m. on June 17, 2016. Tickets are $55 for adults and $20 for children, on sale now!

October 2016

Join us at CKUA, in the beautiful Alberta Hotel at 9804 Jasper Ave., for a casual discussion about Turandot. Learn more about the music and traditions behind Puccini’s classic during

this Opera 101, beginning at 7 p.m. This is a complimentary event — more details to follow!

October 2, 2016 Enjoy an exquisite meal accompanied by your favourite arias during the Sunday Opera Brunch (11 a.m.) at the Royal Glenora Club. Gaze at the scenic fall colours of Edmonton’s river valley while the cast of Turandot delivers special performances catered to please!

October 20, 2016 We welcome students to witness an exclusive dress rehearsal of our first opera from the upcoming season, Turandot. Teachers can contact education@edmontonopera.com to arrange tickets for the dress rehearsal, which begins at 7 p.m.

October 22, 25 & 27, 2016

Puccini’s masterpiece Turandot transports the audience to a mythical ancient China, where a determined prince sets out to woo a cold-hearted princess, risking his life to earn her love.

Soprano Othalie Graham makes her Canadian debut as Turandot, and Canadian tenor David Pomeroy sings Calaf in this enthralling production.

We have an exciting opera line-up in 2016/17!

Be sure to purchase your season tickets now — starting at just $99 for all three operas!

For more information or to purchase tickets to any of these events, please call 780.429.1000 or visit edmontonopera.com.

46 MARY STUART

TURANDOT

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Music to our ears.

While Mary Stuart is a stunning bel canto classic, the all-new 2017 Audi A4 is an exceptional new achievement where innovation meets form and function. Both are beautiful music to our ears. On behalf of Audi Edmonton North, please enjoy the opera this evening.

On Stony Plain NW at The Henday Audi Edmonton North 18855 Stony Plain Road NW Edmonton, AB (587) 772-AUDI (2834) local or 1 (855) 642-AUDI toll-free AudiEdmontonNorth.com for more details.

NORTH OF EXTRAORDINARY Dealer #4991570

Conveniently located on 170th Street

COMPACT CROSSOVER

NX 200t Starting from $41,500*

ALL–NEW

2016 RX Now Here!

Starting from $53,950*

5 STAR

REVIEW

R E A D O U R G O O G L E R E V I E W S O N L I N E TO S E E W H Y L E X U S O F E D M O N TO N I S T H E TO P R AT E D D E A L E R S H I P I N C A N A DA

THE LEXUS OF EDMONTON VIP EXPERIENCE

CONVE NIE NTLY LOCATE D ON 1 70 ST

*Freight/PDI, block heater and applicable taxes not included. See Lexus of Edmonton for details.

100 Ave NW

West Edmonton

170 St NW

W W W. L E XU SO FE DM ON TO N .CA

111 Ave NW

Anthony Henday Dr

Winner of the Pursuit of Excellence award for customer service First class business loft and luxury spa No stress service appointments with complimentary courtesy vehicle, chauffeur service or valet pick-up

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N Whitemud Dr NW

78 0- 4 6 6 -8 3 0 0