Edmonton Opera Intermezzo - Salome

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4 Message from Richard Cook, Chair

contents

6 Partners and Sponsors

9 Director’s Circle

22 Program Notes

26 Message from the Premier of Alberta

Message from the Minister of Culture

27 Message from Irving Guttman

10 Friends of Edmonton Opera

31 Artists’ Profiles

13 Endowment Fund

45 Edmonton Opera Chorus Concert

47 Opera Art Project

49 Planned Giving

15 Composer Bio Cast and Production Credits

16 Production Sponsor –

Francis Price and Marguerite Trussler

18 Director’s Message

20 Synopsis

Administration Office: 9720 102 Ave., Edmonton, AB T5J 4B2 Ph: 780-424-4040 Fax: 780-429-0600 Email: info@edmontonopera.com www.edmontonopera.com

53 Rob Hood Fund

57 Edmonton Opera Supers

61 Edmonton Opera Board and Staff

66 Upcoming Events

and Orchestra

The Edmonton Opera magazine is published by Playhouse Publications Ltd. 1200 Bell Tower 10104-103 Ave., Edmonton, Alberta T5J 0H8 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca

GOVERNMENT & FOUNDATION SUPPORT

Message from

richard cook, CHAIR Thank you to all of you for joining us this evening.

Without our ticket purchasers, our patrons, generous sponsors and government funders, the compelling art of opera would not be possible in Edmonton.

Salome – the word alone has an air of intrigue, passion and horror. Richard Strauss took a play by Oscar Wilde and turned it into an intense musical experience. Listen for the complex tonalities of the score; for the passion and power of Salome, sung in our production by Maida Hundeling, whose beautiful voice and powerful stage presence brings this role to life.

future, and a sad and heartbreaking end to abandonment. In addition, our excellent opera chorus can be heard in their own performance of your favourite opera repertoire (Nov. 23, 7:30 p.m., McDougall United Church).

I join others in congratulating the Edmonton Symphony Orchestra in their upcoming 62nd season. The ESO is our most significant artistic partner and it is due to the high level of skill and musicianship of the orchestra that we are able to frequently produce works that are difficult and musically complex. Congratulations to the ESO and their music director William Eddins for their ongoing and exceptional contributions to the artistic life of Edmonton.

It is inspiring to look back on the numerous ways Edmonton Opera has been able to bring opera to the community in the past five decades — not only mainstage productions, but also outreach programs in the city, partnerships with like-minded organizations and performances in community-based theatres. It is even more exciting to know that because of your support we can continue to present opera in innovative, memorable ways.

These are exciting times for Edmonton Opera, and our opening production foretells of interesting performances to come. Our February production of Die Fledermaus (Feb. 1, 4 and 6) was also composed by a Strauss, but the very different and unrelated Johann Strauss Jr. The party is on with Die Fledermaus with its rollicking good tunes and comic relief. Our 50th anniversary season closes with Madama Butterfly (April 5, After listening to feedback from you, our audience, the board wants Filewas Name: LOG09017_RM_AD_ArtsCutlure_7.25x4.625_0913 8 and 10) by Giacomo Puccini. This the first opera performed by the you to better enjoy the entire performance evening by providing Trim:Opera 7.25”Association x 4.625” 50 years ago. This Canadian Marketing then-called Edmonton Professional complimentary parking to improve access and egress from the 100 Yonge Street, 16 Floor Bleed: 0.125" Safety: n/a Mech Res: 300dpi seasonToronto, portrays strong female personalities, ONthree M5C 2W1 Jubilee Auditorium.

Colours: CMYK but in very different musical styles and with dramatically different outcomes that encompass Tonight is the overture to another 50 years of success. Thank you all. madness and personality disorders, a joyous and happy outlook on the th

d e r i p s n i my life e rts. by th a The Arts makes us better. It pushes us to develop new perspectives.

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PARTNERS

SPONSORS

SEASON SPONSORS

WINE AND

BEYOND SPIRITS BEER & MORE

Production Sponsor

Education Dress Rehearsal Sponsor

Francis Price & Marguerite Trussler salome

Supertitles Sponsor

Emerging Artist Sponsor

Gold Partners

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SPONSORS

Official Supporters

GOLF CLASSIC SPONSORS Title Sponsor PCL Cart Sponsor Hemisphere Engineering Million Dollar Hole-in-One Sponsor Playhouse Publications Ltd. Breakfast Sponsor Miller Thomson LLP Cocktail Reception Sponsor Williams Engineering Canada

Hole Sponsors Angus Watt Advisory Group Bell Big Rock Brewery E & J Gallo Winery Jack & Esther Ondrack HSBC Canada ICI Minhas Micro Brewery Northern Alberta Jubilee Auditorium Sleeman Transcontinental Printing Witten LLP

Media Sponsor Edmonton Journal Car Hole-in-One Sponsor Western GMC Buick Cash Hole-in-One Sponsor Investors Group Food Sponsors Fat Franks Canada Safeway Gift Bag Sponsor Colnuck Ltd.

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

For more information about supporting the Edmonton Opera, please call 780.392.7837 or email development @edmontonopera.com.

Salome 7

MET OPERA VERDI

Falstaff DEC 14 ENCORES JAN 18, 20 FEB 5

LIVE ON SCREEN IN MOVIE THEATRES 2013–14 Season

DVORˇ ÁK

Rusalka FEB 8 ENCORES MAR 29, 31

BORODIN

Prince Igor MAR 1 ENCORES APR 12, 14

MASSENET

Werther MAR 15 ENCORES MAY 24, 26

PUCCINI

La Bohème APR 5 ENCORES JUN 7, 9, 18

MOZART

Così Fan Tutte APR 26 ENCORES JUN 21, 23

PUCCINI

Tosca NOV 9 ENCORES DEC 7, 16 Starring Patricia Racette

Visit Cineplex.com/Opera for tickets and participating theatres.

ROSSINI

La Cenerentola MAY 10 ENCORES JUL 5, 7, 16

Encore performances are only available at select theatres.

Performances may not be available at all participating theatres for all advertised dates.

Transmission of The Met: Live in HD in Canada is made possible thanks to the generosity of Jacqueline and Paul G. Desmarais Sr. TM/®

Cineplex Entertainment LP or used under license.

DC

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.

Bravo and thank you!

For more information about the Director’s Circle or to become a member, please call the donor services line at 780.392.7837.

Season SponsorS $250,000+

Arnold & Grace Rumbold Ed Wiebe & Marcia Johnson

Dianne & Irving Kipnes Rob Hood Fund

$5,000+ Derek & Joanne Beaton Fath Group — O’Hanlon Paving Mark & Nancy Heule Alan Rose & Judy Schroder

SALOME Production Sponsor $150,000 Francis Price & Marguerite Trussler Visionaries $50,000+ Jim & Sharon Brown Shelley & Guy Scott Family Foundation MaestroS $10,000 ATB Financial Dr. Thomas & Melanie Nakatsui LEADERS $7,000+ Laurence Jewell Russell M. & Marjorie Purdy $6,000+ Larry & Ellen Eberlein Sandra Gajic Frederic & Alma Gojmerac Jack & Esther Ondrack

PATRONS $4,000+ Robert Bessette Richard S. Cook Jeffrey Jansen Rod & Heleen McLeod Arliss Miller Chris & Vivian Varvis $3,000+ Justice Darlene Acton Hans & Susanne Forbrich Dr. Christine Kyriakides Steven & Day LePoole BenefactorS $1,750-$2,999 Tricia Abbott Pauline Alakija & Paolo Raggi James Archibald & Heidi Christoph Rhonda Baker Douglas K. Bingham & Sheila Janki-Bingham Cheryl & Gary Bosgoed Branko & Jasna Calic Carol & David Cass David & Patricia Cassie Dr. Mary Chisholm

Marian Clarke Elaine Coachman Judy Cosco Tracy Dawn Czuy McKinnon Heinz & Donna Feldberg Joseph & Pat Fernando Peter & Astrid Griep Linda Hamilton Karen & Pam Hofmann John & Susan Hokanson William Johnston & Mary Ritchie Brian Kucey & Elena Hernandez-Kucey Alan Kuysters Joan Lopatka & Bill Rutledge Hilliard & Nancy Macbeth Stephen & Lynn Mandel David & Pam Margolus Ashif & Zainul Mawji Laurel Mckay Carman & Avery McNary Hugh Mcphail & Yolanda Van Wachem Michael & Mariette Meier Ken & Gerda Miller Neil & Susan Miller Shauna Miller & James Gillespie Risha Milo Kyle & Colleen Murray John Oberg Eleanor Olszewski Aline Pratch Dr. Leonard Ratzlaff James E. & Vivian Redmond Tulane Rollingher Marshall & Lisa Sadd Gabe & Connie Shelley Margaret Slate | Slate Personnel Katie Soles Eira Spaner David Steer & Larissa Whiting Bill & Paulette Winter Paola Zanuttini

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FRIENDS of Edmonton Opera Sincere thanks go to the following 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, phone the donor services line at 780.392.7837 or email individual.giving@edmontonopera.com.

SustainerS

($1,000-$1,749) Richard Balan & Tracey Ripley Greg Christenson Dr. Robyn Fowler Ron Johnson Joseph Kim Juri & Helle Kraav Libuse Kuzel Judy & Stuart Mackay Devon J. Mark & Allen Vander Well Peggy Marko Alan Mather & Helgard Proft-Mather Bob & Bev McNally Keith & Brenda McNicol Mercer Bradley Kevin Neveu North West Crane Wesley M. Pedruski Precision Drilling Corporation John Speirs Brian & Dawn Vaasjo C. Von Hohenbalken Ralph & Gay Young

SUPPORTERS

($500-$999) John Adria Michael Bacchus Katrina Beatty Joan Bensted Jennifer Brown Henry & Debbie Bruinsma Kathryn Buchanan Cameron Development Corporation Doug Cannam Bernie Corry Louis & Marcelle Desrochers Robert Edmunds Ivan & Ksenia Fedyna Bill Grace A R Grynoch Radhe & Krishna Gupta Gabor Gyenes & Erika Mullner Andy Hladyshevsky Douglas & Dorothy Hollands HUB International Canada West Hughes Petroleum Ltd Patricia Johnston John Karvellas Karen & Thilo Kaufmann Kim & Jay Krushell Shawn & Jane Kubiski Igor & Galia Kwetny 10 Salome

Peter & Jean Langford-Jones Rick LeLacheur Liquor Stores Neil & Jean Lund Brenda MacDonald Kevin & Lyn McKee Les Moss Lewis Nakatsui George & Teresa Pemberton Fay Plomp Clarence & Elizabeth Preitz Protostatix Engineering Consultants Inc. Michael Roulston Alison Seymour Kelly Sheard Michael & Nance Smith Joe Tkalcic Frank & Suzanne Vani Paul & Norah Verhesen Knut Vik & Frank Calder Joan Welch Ralph James Wood Gerhard & Inge Zmatlo

CONTRIBUTORS

($250-$499) Peter & Barbara Allen Diana M. Bacon Lucie & Armand Baril Stella & Walter Baydala Dr. Grace Bokenfohr William A. Bowlen Robert & Helen Buck Janet Carle Gary Christenson Donald & Nancy Cranston Brenda Dale Peter & Kathleen Daly Sheila Davidson John & Ann Dea Tom Diamond Brett Dravinskis Steven Duong Noella Fagnan Terry Fillmore David Finlay Karin Fodor Kevin & Rachel Foster Shirley & Jim Funk Randy Garvey Louise Gibson Paul Gibson Ross Haffie Lois Hawkins Zenia J. Hawrysh Kenneth & Jean Heavenor Ben Horcica Dr. Jiri Hrazdil Prof. Corp Lesley Jacobson & Wynne Rigal

Pavel & Sylva Jelen Sandra Kavanagh Ha Neul Kim Loretta Klarenbach Wade Klimchuk Leslie Kozma Cody Lakevold Craig Lazaruk Lloyd Lewis Franklin C. Loehde Douglas Lynass Lowell & Donna Lyseng Kelly MacFarlane & Christopher S. Mackay Dave Majeski Grant Mccurdy Denis & Ruth McGettigan Bob McNally Linda Medland-Davis Dallas & Laura Miles Jim & Linda Mitchell Kevin T. Mott Maureen Nicholson Mel Olmstead Aaron & Jean Oshry Alex & Kelley Pagnotta Edward & Geri Papp Wes Patterson Jason Portas David Rees & Linda Miller Mary Richardson Dr. Dean Rokosh Hilary & Robert Rose Orla Ryan Harvey Saskiw R. & W. Sherbaniuk Anne Shillington Doug & Devika Short Gerry & Barbara Sinn Kierstin Smyth Mike Staines Greg Steele Campbell & Rosalind Sydie Karen Trace Donna Valgardson Ryan Vestby Brian Wallace Dr. Lorraine Wilgosh Tim Yakimec Christine & Gene Zwozdesky

MEMBERS

($100-$249) Jodi Abbott Brent Agerbak America Aznar Carmona Brian Baker Justin Barbour Erika Barootes Vicki Barrow Barbara Batoni

Lola Baydala Lavina Belik Alan & Alice Bell David Blackley Wesley Boe Jelena Bojic Blair Bondar Gordana Bosiocic Bill Boyd Marion Boyd Kathleen Brady Martha Breithaupt Kathryn Buchanan Alan M. & Caroline Carroll Donald Chisholm Kathryn Chisholm Joyce Christenson George Christidis Chung Chu Stacey Claffey Janet M. Clark Phyllis Clark Joseph & Marta Collier Karin Conradi George & Heather Coon Craig Corbett J.E. Cote Marcie Coutts Suzanne Cowles Dr. Diane Cox Gary & Sue Cutmore Brenda Dale Miles Davis Shirley Day Gail Defelice Kathy Demuth Dan & Lorna Dennis Iris Diduck-Rudnisky R.J. & Janet Dmytruk Isabelle A. Donald Maggie Dower Dwayne Dufva Frank & Muriel Dunnigan Jim Ebbels Lowell Eckert Tim Eckert Marion Elder Alfred & Coleen Falk Werner Fenske Martin & Peggi Ferguson-Pell Lois Field Ferdinand Filiplic Agnes Fisher Jason Fjeldheim Justin & Kelty Germain Stacey Gibson Elaine Gill Walter Goetz F.S. & Margaret Golberg Jon Goor

Orest & Linda Gowda Crystal Graham Laura Graham Charles & Ann Grant Richard Groom Wesley Gunderson Dr. Mary Ellen Haggerty Bruce Hagstrom Daniel Hamilton W. & Joceylyn Hamilton John Hampson Alice Harrison Dr. T. Hayashi Ghislaine Hebert Lesley Helppleston R. & Barbara Henderson Jeremy & Elizabeth Herbert Cathryn Heslep Dr. Judith Hibberd Candace Hills Georgette Holyk Gwen Horvath Bonny Hubert Dr. Sheila L. Hughes W.H. Hurlburt Louis & Mary Hyndman Colleen Ilkiw Stewart & Juliette Inglis Investors Group Matc Erik & Franziska Jacobsen Susan Jaksich Keith Jansen Ben Jensen Alan Jones Larry Judge Ajeypal Kang Shirley Kirkpatrick Vera Kornelsen David & Sandra Kraatz Dr. Elizabeth Krause Lorraine & Stan Kucey Jean Langley & Tim Winton Arthur S. Langner Ian Large Tara-Lee LaRose Mark LaRue Ursula Leipziger Mary LeMessurier Leo Levasseur Susan & Murray Lieberman Dr. Laurie Litwinson Laurie Lodge Doug & Joan Longley David Lynch Richard Lyne Kirby Mack Gordon Malic David Malka James Malkin Antoinette Marchand

Brian Scheerschmidt Wendy Schelske Jillian L. Scherba Don Schultz Sheelagh & Andrew Semper Vaughn & Jennifer Shears Jamey Singh Jim Sirup Michael Skozakewich Howie Sniderman Lon Sokalski Ron Sorokin Michael Spassov Sheila Steinhauer-Mozejko Lorenz & Theodora Stenger Alex Stenner G H & Isobel Stout Anne Strack Martin & Heike Stribrny Edwin Strimer

Fred Otto C H Parks Jelena Pekez Homsanith Phetlathy Barbara Prodor Brian Quinn & Havington Hail Paul Rachynski Carlos Raposo & Judy Strachan Eugene & Jeanne Ratsoy Trevor Reddekopp Terrie Reekie Yvonne Rekken Jordan Rice Janet Riopel Analee Roman Carolynne E. Ross Dr. E J Rudnisky Kathleen Ryks Kathleen L. Savey Jelena & Dustin Savic

Donations made in memory of Dr. Lee Anholt:

Donations made in honour of Dianne & Irving Kipnes:

Donations made in memory of Dr. John Martin:

Laurence Jewell

Jim & Sharon Brown Shauna Miller & James Gillespie David & Pam Margolus Shelley & Guy Scott Family Foundation Bill & Paulette Winter

Martha Breithaupt

Donations made in memory of Dr. Robert J. Buck: Isabelle A. Donald

Donations made in memory of Howard Irving: Kathryn Buchanan J.E. Cote Joseph & Pat Fernando Richard Fraser Larry Judge

Donations made in memory of Norah McKillop: Brenda Dale

Thank you to those who have previously donated in memory of Kimberly Heard.

FRIENDS OF THE OPERA MEMBER

Tax receipt Acknowledgment in Intermezzo magazine Complimentary poster from our current season

• •

Invitation for two to each dress rehearsal and VIP reception Two tickets at 30% off for each mainstage production Exclusive VIP event (per season) Two invitations to the exclusive DC Lounge VIP courtesy Jubilee parking during performances Backstage tour of a mainstage production Two complimentary Opera Brunch tickets Invitations to each Sitzprobe rehearsal Invitation to cast dinner Two complimentary mainstage subscriptions Recognition as a production or principal artist sponsor Access to private recitals

$250+

• •

$500+

• • •

$1,000+

• • • •

Sandra Gajic Louis & Mary Hyndman Dianne & Irving Kipnes Stephen & Lynn Mandel

Francis Price & Marguerite Trussler Hilary Rose

DIRECTOR’S CIRCLE

CONTRIBUTOR SUPPORTER SUSTAINER BENEFACTOR

$100+

John Karvellas Alec & Irene Murray Francis Price & Marguerite Trussler

Donations made in memory of Ernie LeMessurier:

Only 2013/14 season donations and/or pledges processed up to Sept. 12, 2013, 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 the donor services line at 780.392.7837. We apologize for any inconvenience.

Although space limitations allow us to list only charitable contributions of $100 or more, we gratefully acknowledge all donations. Each gift, regardless of size, helps to make Edmonton Opera performances possible. Thank you!

benefits

Alida Visscher Ian Wachowicz Jolanta Wiens Randy Williams & Janice MacDonald Dan Wilson & Leah Margiotta Norine Woods Morley & Patricia Workun Doug & Mary Wright Frank & Melinda Wuest Jim Yih Edward Yoo Kurt Zolmer Richard Zolmer Mark Zutz

Danny Sullivan Jean Sult Frederick Tams Sonia O Tarabay Dave Tarkowski Mark & Sarah Taylor Louis Te Doug Thomas Glen & Ashley Tichkowsky William Tonn Colin Tooth John & Mandy Trapp Darcy Trufyn Melvin Tussman Darrell E. Ungstad Dennis Vance Terry & Michele Veeman Trudy Velichka Joe & Sabrina Viana A.C. & Patricia Visman

Graeme Marr Joan H. Marshall John & Cathleen Matthews Karen Mazurek Bruce Mccollum Chelsey Mclaughlan Roderick McLean Jan McMillan Spencer Melnyk Marcio Mendes Zoltan Meszoly Ronald & Carole Middleton Sandra A. Mikalonis Janet Millar Paul Monson Lindsay Munn-Price Alec & Irene Murray Chris Nicholas Michael O’Dell Dr. Thomas O’Leary

$1,750+

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PATRON

LEADER

$3,000+

$5,000+

• • • • • • • • •

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MAESTRO

VISIONARY

$10,000+ $25,000+

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At Jayman, we know a home is only as good as the community it’s built in. We are proud to support Edmonton Opera and all the ways they move and inspire our city.

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13-10-08 9:58 AM

Aria Legacy Help Edmonton Opera Sing Forever Edmonton Opera creates award-winning and compelling art, and strives to keep that art accessible for the Edmonton community. Aria Legacy is your opportunity to share that dream in a focused and personal way, with a gift to our endowment program that will last into perpetuity. Endowment gifts of any size are appreciated.

For more information on how you can help sustain Edmonton Opera for generations to come, please call the donor services line at 780.392.7837.

Edmonton Opera

ENDOWMENT FUNDS Edmonton Opera’s Endowment Funds: Sam & Sonia Azer Family Fund Frederic & Alma Gojmerac Family Fund Canada Cultural Investment Fund Edmonton Opera Staff Contributions Fund Edmonton Opera Endowment Fund Irving Guttman Opera Endowment Fund The Dianne and Irving Kipnes Opera Fund John and Barbara Poole Family Fund Francis Price and Marguerite Trussler Family Fund Dwight Purdy Memorial Fund David Cook Fund for Edmonton Opera Oline and Roderick Markine Family 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

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. Thank you.

Endowment Donors & Aria Legacy Members John Adria Tricia Abbott Justice Darlene Acton Peter & Barbara Allen Rebecca Anderson Sam & Sonia Azer Alan and Alice Bell Robert Bessette Jelena Bojic Dr. Grace Bokenfohr Katherine Braun Erin Clyde Richard S. Cook Glenda Dennis Maggie Dower Ivan & Ksenia Fedyna Laura Fitzgerald

Karin Fodor Sandra Gajic Fred & Alma Gojmerac Karen Good Andy Hladyshevsky John & Susan Hokanson Dorothy & Douglas Hollands Gwen Horvath W.H. Hurlburt Jeffrey Jansen Laurence Jewell Ha Neul Kim Betty Kolodziej Juri and Helle Kraav Tara-Lee LaRose Franklin C. Loehde

Brenda MacDonald Amanda MacRae Cameron MacRae Stephen & Lynn Mandel Devon J. Mark & Allen Vander Well Roderick & Oline Markine Peggy Marko Alan Mather & Helgard Proft-Mather Jeff McAlpine Jeff McCune Rod & Heleen McLeod Bob & Bev McNally Arliss Miller Kyle & Colleen Murray

Wesley M. Pedruski Barbara Poole Clarence & Elizabeth Preitz Francis Price Protostatix Engineering Consultants Russell & Marjorie Purdy Reynolds Mirth Richards & Farmer LLP Robert & Asha Rock Clayton Rodney Analee Roman Hilary & Robert Rose Arnold & Grace Rumbold Kelly Sheard

Katie Soles Michael Spassov Darren Staten Catherine Szabo Lauren Tenney Karen Trace Marguerite Trussler Chris & Vivian Varvis Stella Varvis Angus Watt Joan Welch Adrienne E. Wong Tim Yakimec Stacy Young Gerhard & Inge Zmatlo

Additional financial contributions from members of the Edmonton Opera Chorus.

A generous endowment gift has been made by the Edmonton Opera Guild in honour of the Edmonton Opera Chorus.

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Rock solid.

Vintage

16646 - 111 Avenue NW Edmonton, Alberta www.worldstone.ca 780-481-4511 C O U N T E R T O P S

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F I R E P L A C E S

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S H O W E R S

Composer

Edmonton Opera presents

BIOGRAPHY

SALOME

October 26, 29 & 31, 2013

richard strauss A highly skilled composer and conductor, Richard Strauss’ advice to conductors, particularly of his own work, was, “Above all, don’t be dull.” One critic noted that even if Strauss had never composed, he still would be listed among the most important musicians of his generation for his conducting reputation alone.

Strauss was born June 11, 1864, in Munich, the first child of Franz Joseph Strauss and Josepha Pschorr. The elder Strauss was the first horn player of the Munich Opera, and the younger Strauss received piano lessons when he was four years old and composition lessons by age six. Later, he would also play the violin. He became the assistant of Hans von Bülow at the Meiningen Orchestra in 1885, becoming the principal conductor the following year at von Bülow’s recommendation.

He wrote two operas before Salome — Guntram (1894) and Feuersnot (1901), neither of which were well received. Strauss knew how to test the limits of an orchestra, and the music for Salome makes use of extended tonality, chromaticism, a wide range of keys, unusual modulations, tonal ambiguity and polytonality. Supposedly, at an orchestra rehearsal for Salome, when the oboist indicated that a certain passage might be playable on the piano but not the oboe, Strauss replied, “Don’t worry, it’s unplayable on the piano as well.” The influence he drew from Wagner was because of his friendship with Alexander Ritter; the tone poems Strauss wrote were influenced by Wagner, compared to the inspiration he had previously drawn from Brahams and the fundamental principles of Franz Liszt’s works. Elektra, in 1909, marked the beginning of his partnership with Hugo von Hofmannsthal, which would last 25 years.

Strauss had a worldwide reputation as a conductor, and conducted at the Munich Opera (1886), Weimar Court (1889 to 1894), the Vienna State Opera (1919 to 1924), visited the United States twice (1904 and 1921) and was the musical director at the Berlin Opera for 12 years, starting in 1898.

Although he was invited to a position in the new German government during the 1930s, he did not align with the new regime. He came into conflict with the Nazi government particularly after he collaborated with Jewish writer Stefan Zwieg for Die schweigsame Frau, and by the 1940s left Germany for Bavaria and then Vienna, Austria, where he continued to write music. He spent much of the post-war period in Switzerland, and died on Sept. 8, 1949, at his home in GarmischPartenkirchen, Germany, at the age of 85.

Production sponsored by Francis Price & Marguerite Trussler Music by Richard Strauss Libretto by Hedwig Lachmann Premiere: Dec. 9, 1905, Hofoper, Dresden

Conductor Director

David Stern Waut Koeken

The Cast (in order of vocal appearance)

Narraboth Page of Herodias First Soldier Second Soldier Jokanaan Cappadocian Salome Slave Herod Herodias First Jew Second Jew Third Jew Fourth Jew Fifth Jew First Nazarene Second Nazarene

Robert Clark Elizabeth Turnbull Uwe Dambruch Justin Welsh Mark Schnaible Derek Beaton* Maida Hundeling Ron Long* Jan Vacik Mary Phillips Adam Luther John Kriter Michael Barrett Michael Marino Branch Fields Bertrand Malo Dan Rowley*

*non-equity member

with members of the The Edmonton Symphony Orchestra

Choreographer Set & Costume Designer Lighting Designer Repetiteur Stage Manager Assistant Stage Manager Assistant Stage Manager Apprentice Stage Manager Production Intern

Serge Bennathan Yannik Larivée Bretta Gerecke Tatiana Vassilieva Ha Neul Kim Anna Davidson Holly Clark Desire Poulin Kris Aasen

There is no intermission.

The performance is approximately 1 hour and 40 minutes long.

Projected titles by Waut Koeken 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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Francis Price & Marguerite Trussler As the production sponsors of Salome,

Francis Price and Marguerite Trussler have been constant and dedicated supporters of the Edmonton Opera. Their passion and involvement for the arts community as a whole is greatly appreciated.

Marguerite, who was born and raised in Edmonton and Calgary, met Francis in Australia. Together, they returned to Edmonton in mid-winter 1974 — from an Australian mid-summer! Within three weeks they were given tickets by Howard Irving (then Marguerite’s senior law partner and on Edmonton Opera’s board of directors) to La Traviata starring Anna Moffo (who went home sick) and a young José Carreras (who went on to greater things!).

Since then, they have both been Edmonton Opera fans, board members, billets for visiting opera singers, sponsors and fundraisers, volunteers and workers. Francis and daughter Glynis sing in the Edmonton Opera Chorus.

Over the last 40 years their whole family has enjoyed the excitement of Edmonton Opera. Every opera is a larger-than-life experience. It’s wonderful to be transported on a cold winter’s night from Edmonton to ancient Egypt, Paris or the South Pacific, and to lose yourself in another world — even if you have to go out to start your cold car after the show!

Congratulations from our family to Edmonton Opera

on your 50th anniversary! We are pleased and proud to be a part of this company. Best wishes for the next glorious 50 years.

16 salome

The world of Salome is a world of moral decay. The failure and downfall of the characters comes from living in a material world of wealth and privilege but one devoid of love, understanding and human compassion. Salome is often read as a dark and provocative piece about the dangerous abysses of unbound erotic desire, with its heroine mostly seen as a prototype of the femme fatale. A closer reading of Strauss’ score, however, reveals a very different picture.

From the opening of the work, one hears in the orchestral texture the incessant resounding of Salome’s love theme, or rather, love’s ecstasy.

Strauss’ music makes it clear to me that his lyrical drama is a drama of love. In a later letter, Strauss stressed that Salome’s behaviour should not just be met with horror and dismay, but also with pity.

In this way I see Salome not just as the classic femme fatale, but as a victim. She longs for a kind of love that she has never received, and maybe cannot truly understand. She is clearly manipulated by her mother and sexually objectified by her stepfather. She has been raised with enormous material wealth, but with a complete absence of any kind of emotional nurturing — a loveless upbringing in a dysfunctional family.

Message from

the director A Tragedy of

lovelessness

The approach to this production of Salome was in very much the same way as Richard Strauss when he adapted his libretto from Oscar Wilde’s startling play. Wilde’s original text is haunting, evocative, poetic and intoxicating, and Strauss meticulously distilled the text into its bare emotional essence. The result is a concentrated and psychologically gripping tale of profound longing and profound moral failure — the failure of society, Salome and even John the Baptist, whose rigid religious dogma does not recognize Salome’s sincere capacity to love.

The unequaled richness of the opera’s orchestration conveys the disturbed psychology of the characters, and the biblical setting is a vehicle for Strauss’ desire to tell the story at its most universal level. Strauss’ orchestration reveals a psychological space; it translates the outward scenic action into extremely powerful, subjective impressions of emotional and psychological states. The composer leads his audience into the dark and complex world of Salome’s psyche. In this way, we are inspired to strip the story of its historical trappings, to find a version which can speak to today’s audience.

The drama of Salome unfolds against the backdrop of King Herod’s luxurious golden palace. However, the brilliant palatial world in which the young princess grows up is a golden prison; despite all its splendor, it is a darker, more claustrophobic and more terrifyingly lonely place than the cistern in which the prophet is imprisoned.

Rather than a concrete depiction of a sumptuous biblical palace, we have tried to create a visual world that evokes poetically the universe of Salome’s tragedy and focuses on the inner essence of the lyrical drama. The immense sensory poetry of the text and the score are so powerful that one needs to create a theatrical space in which this music can sculpt Salome’s world. Beyond the distractions and clichés of the exotic and decorative orientalism often associated with the subject, we wanted to create a set that is atmospherically charged, evoking powerful associations, and can change and transform to the moods and colours of the music and the heroine’s mental states.

At the heart of the tragedy is the relationship between Salome and Jokanaan. It is the story of a utopian, impossible and

“We wanted to create a set that is atmospherically charged, evoking powerful associations and can change and transform to the moods and colours of the music and the heroine’s mental states.”

18 salome

misunderstood love; catastrophe is unavoidable. She is fascinated by the words coming from Jokanaan’s mouth, as he speaks of redemption.

But because of Salome’s corrupted upbringing, both protagonists fail to recognize the opportunity their meeting offers them. Salome confuses her love for him as lust because she knows no difference.

Jokanaan is both attracted and repelled by Salome’s sensuality, and responds by rejecting her. He is unable to give her the love she craves; he even fails in the moral code that he preaches. However, without love we cannot become full human beings, and this propels the action of the opera to bring the downfall of these two flawed characters.

The Dance of the Seven Veils is the focal point for any director approaching the work. At the heart of his opera, Strauss inserts 11 minutes of symphonic poetry of enormous musical power. It is an incredibly subtle and accurate psychological portrait of his main character. After the exciting and intensely sensual opening bars that seemingly announce an erotic dance, we leave the realm of realistic outward action to focus exclusively on Salome’s inner drama. I have decided to conceive this part of the opera as seven phases in Salome’s life. The unveiling is not literal but psychological, with each veil representing a younger woman at an earlier time in

Salome’s life. Rather than performing some sort of banal striptease with seven veils, Salome “unveils” her broken self in seven stages.

Outwardly, she fulfils her stepfather’s wishes to be entertained, but she metaphorically unleashes the full power of her history.

In the final, heartrending scene of Salome’s monologue, the silvery chains surrounding her lonely imprisonment are now like a thousand iridescent tears raining down on the stage.

As a historical subject and fin-de-siècle art document, Salome links two comparable historical phases with a third epoch: that of our own.

Today, ethical, moral religious and social notions are also exposed to decay and disintegration of their essential values. The central questions raised in the text and expressed through the music are very much the same today as they were in Strauss’ turn-of-the-century world or in the world of over 2,000 years ago.

– Waut Koeken

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SYNOPSIS

by Stephan Bonfield | Writer/musicologist

Judea: 30 A.D. The captain of the guards, Narraboth, is deeply in love with Salome, princess of the kingdom. From afar, he watches her on a terrace while she dines with her mother Herodias, her stepfather King Herod and the entire court at a banquet.

Jokanaan (John the Baptist) can be heard from the cistern below where he is imprisoned, calling out his lyrical prophecies. Meanwhile Salome flees Herod’s leering and the tedious arguments of priests quibbling over sectarian differences. While taking in the fresh air, she hears one of Jokanaan’s prophecies. Salome remarks she has heard Jokanaan curse her mother, Herodias, for taking to Herod’s bed, and inquires further about the nature of Jokanaan’s other prophecies.

Salome refuses Herod’s order to return to the banquet, and when she hears another prophecy, she asks to speak to Jokanaan. She is told that Herod forbids anyone, even the High Priest, to speak to Jokanaan.

Defiantly, Salome orders the guards to bring Jokanaan to her. When they refuse, Salome charms Narraboth into releasing Jokanaan.

The captain’s men follow his orders and bring the prisoner to her.

Jokanaan emerges from the cistern and majestically condemns Herod and Herodias. All are unable to understand Jokanaan’s words except Salome, who is clearly enamored by his strange and ghastly appearance. When Salome introduces herself, Jokanaan condemns her as unclean. Salome appears to misunderstand the severity of his words, somehow mistaking his voice as music to her ears. When she asks him what she must do, Jokanaan prophesies the salvation of humanity, through the Son of Man, but his words are apparently meaningless to Salome.

She asks to touch his skin and hair, but Jokanaan rejects her.

Unperturbed, Salome becomes increasingly ecstatic with each repudiation and, overwhelmed by the sight of Jokanaan’s mouth, she asks to kiss him. Meanwhile, a shocked Narraboth cannot restrain Salome from her deranged passion for Jokanaan. Unable to withstand his insurmountable grief at Salome’s obsessive behaviour, Narraboth stabs himself. Jokanaan returns to the cistern telling Salome to seek the only One who can save her. Salome, uncomprehending and overwhelmed by his mystique, begs to kiss him. Jokanaan curses her and disappears back inside his cell.

King Herod, Herodias and their guests have finished the banquet and now move to the terrace. When Herod enters, he slips on Narraboth’s blood and falls into a recurrent hallucination of powerful winds and

20 salome

beating wings. Lustfully, he approaches his stepdaughter Salome, despite Herodias’ repeated remonstrations to stop looking upon her. Salome turns him away. Jokanaan begins prophesying again from the cistern, and Herodias asks Herod to keep him quiet, urging her husband to hand him over to the Jews. Herod protests that Jokanaan is a holy man who has seen God. The Jews and rabbis denounce Jokanaan and demand he be handed over to them, arguing over the nature of prophecy and differing doctrines concerning God’s various powers of revelation. Jokanaan interrupts their noisy squabble with another prophecy about Jesus, corroborated by two men who tell of His miracles, including raising the dead. Herod exclaims he will prohibit the raising of the dead, but Jokanaan continues his preaching from below, turning his ire on Herodias, who is outraged.

Unnerved and seeking distraction, Herod begs Salome to dance for him, swearing an oath he will grant her any wish however extravagant if she does so, over her mother’s strenuous objections. Salome begins the seductive Dance of the Seven Veils. In this production, each veil represents a phase in Salome’s life, making the unveiling psychological and not literal as in other productions.

After her dance, Herod happily offers to grant Salome her wish. She asks for the head of Jokanaan on a silver platter. Despite her mother’s approval, Herod is shocked and desperately entreats Salome to consider accepting a seemingly endless list of valuables instead, but is rebuffed at every turn. Insistent, Salome vehemently holds Herod to his oath, and he angrily relents to Jokanaan’s execution. When the executioner returns with the prophet’s head, Salome grabs it and proclaims that now she will kiss Jokanaan at last, without refusal. Half-sunken into madness and erotic delirium, Salome sings hysterically of Jokanaan’s beauty, then proceeds to kiss the lips of his severed head. Repulsed, Herod orders the death of Salome.

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PROGRAM NOTES salome richard strauss (1864-1949) If an opera lover ever had the chance to use a time machine, surely one of the musical destinations would have to be the neo-Baroque splendour of the Graz opera house in Austria, on May 19, 1906.

There Richard Strauss would be found, conducting the first Austrian performance of his opera Salome, some five months after the Dresden world premiere. In the audience were Mahler, Puccini, Schoenberg, Berg, and, as he later reminisced to the composer, a young out-of-work artist who had to beg money from his family to attend: Adolf Hitler. What a combination!

Already the opera was becoming infamous. Indeed, Mahler, in spite of his strenuous efforts, was forbidden by the censors from conducting the work in Vienna. When the Met gave it in 1907, the production lasted for just one performance — the scandalized daughter of the billionaire John Pierpont Morgan, a major patron, ensured that it was immediately taken off, and it wasn’t seen there again until 1934. For the Covent Garden premiere the censor demanded changes to the German text, and the opera house agreed. In the performance, though, the text was given in its original, and no one noticed — much to conductor Beecham’s amusement. Even the Nazis eventually banned the work in Graz, in 1939, on the grounds it was a Jewish ballad.

The root cause of all this scandal was that Strauss had dared to depict, all too realistically, a woman’s erotic — as opposed to romantic — desires. Worse, he had done so by using a story from the Bible familiar to all the audiences of the time. Worse still, his treatment had absolutely no redeeming features in the form of a good moral, or some wholesome Christian conclusion. In other words, Strauss was (deliberately) challenging the prevailing sexual and religious mores of the age.

The Biblical story was, of course, that of the death of John the Baptist: Salome dances for her stepfather, King Herod, and he is so besotted that he offers her anything she wants — and she wants the head of the prophet. Strauss based his opera on a German translation of Oscar Wilde’s play, in which Wilde adds the twist that Salome is sexually attracted to John the Baptist, who rejects all her advances.

Strauss encountered the play in 1901, and he himself adapted it for his opera. He used almost entirely Wilde’s words, but he

22 salome

cut drastically, excising all the minor secondary characters and much of Wilde’s philosophizing. The result is an incredibly taut 90-minute one-act opera, where not a single minute is wasted, and where the attention is almost entirely on Salome herself — we really only see the other characters in relation to her.

She is a new type of operatic heroine, overtly sexual, alluring, exotic, self-absorbed, cruel. Strauss’ musical treatment of her was also revolutionary in the history of opera, as the music quite clearly seeks to explore her psychology, to lay bare the subconscious. In this, Strauss was the right composer at the right time, as German-speaking Austria was the centre of the new discipline of psychology, with Freud working in Vienna.

Associated with that new interest in the psyche was the artmovement of symbolism, of which Salome and Debussy’s Pelléas et Mélisande are the artistic summits. Symbolism suggested that the surface representation of events could never get at absolute truths — one had to get at what we would now call the subconscious, and to do that one used symbolism. Mozart had understood that unwittingly in The Magic Flute, but here Strauss deliberately sets out to exploit the idea. The very setting invites such symbolism — the exoticism of Herod’s court, its hedonism, the religious undercurrents, the Freudian undertones such as the well in which John the Baptist is incarcerated, or the shafts of moonlight — and the text is replete with it.

Strauss’ genius was to so palpably, and so sensuously, amplify that layer in the music. As has been pointed out, the orchestra will often tell you what a character is feeling before they have consciously thought it. He does this first through the marvellous orchestration — especially the woodwinds — with a kaleidoscope of tone and colour, often used in chamber-like proportions. Then the harmonies, essentially late Romantic, are constantly on edge, constantly creating psychological tension in both the characters on stage and in the audience — often he juxtaposes two unrelated keys to get this effect. The vocal lines match this, often employing large, angular leaps, and sometimes on the edge of the range, creating further tension.

And finally there is the apotheosis of the musical representation of sensual seduction, of operatic striptease, the Dance of the Seven Veils itself.

by Mark Morris For Strauss Salome was a breakthrough. His two previous operas, now largely forgotten, had only hinted at these techniques. He now turned from concentrating on the orchestral tone poems that had brought him general acclaim to the production of the marvellous operas that made him so famous. The success of Salome also made him very rich, and with the proceeds he built the substantial house in Garmisch that was home for the rest of his life.

The opera continues to provoke very strong reactions. It is my experience that those who are uncomfortable with, or antipathetic to, explorations of the unconscious can sometimes loathe the work; conversely, those sympathetic to such ideas are usually bowled over by it. But either way, it remains extraordinarily

powerful, and one has a certain amount of sympathy with the Austrian Court censor who wrote when rejecting the opera, “The representation of events which belong to the realm of sexual pathology is not suitable for our Court stage.”

My favourite comment on Salome, though, comes not from the many composers who have so admired this work, or the many critics who have so loathed it, but from Strauss’ father, a celebrated horn player. He died just as Strauss was completing the work, but the son managed to play some of it to his father first. “O God,” the father pronounced. “What nervous music. It’s like having your trousers full of May bugs.”

The Strausses always were down to earth!

Salome 23

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Message from Honourable

Alison M. Redford, QC Premier of Alberta

On behalf of the Government of Alberta, I offer my warmest congratulations to the Edmonton Opera on reaching its 50th anniversary milestone.

The past 50 years have been a truly wonderful overture for the Edmonton Opera, riveting audiences with world-class performances. From the relationships built with community partners to nurturing Canadian and international talent, the Edmonton Opera Association has helped create a rich and vibrant arts community. It is only fitting the perennial favourites that launched the first season in 1963 would be staged once more. It is a vivid and poetic reminder that while time may pass,

art is timeless and continues to inspire a new generation of opera enthusiasts.

Thank you to the staff, volunteers, donors, supporters and partners, past and present, for all your hard work and dedication.

Your invested interest helps ensure that the Edmonton Opera continues to flourish as a vital part of Alberta’s cultural libretto.

Happy Anniversary!

Alison M. Redford, QC October 26, 2013

Message from Honourable

Heather Klimchuk Minister of Culture

As Minister responsible for Alberta’s vibrant culture sector, it is my great pleasure to congratulate the Edmonton Opera on reaching its 50th anniversary milestone.

Culture is the window through which the rest of the world sees Alberta and thanks to the Edmonton Opera’s contributions over the last five decades, Edmonton’s cultural landscape is that much richer. Residents and visitors of our beautiful capital city have had the opportunity to experience the music, theatre, dance and visual artistry of opera and have been immersed in its magic.

26 salome

From education programs to special events and mainstage productions of Salome, Die Fledermaus and Madama Butterfly, this year’s season will exemplify why the Edmonton Opera has been a community favourite for the last half century.

My thanks to all the staff, volunteers and sponsors for your hard work and dedication since the opera’s inception, and best wishes for continued success. After all, 50 years is just the overture!

Heather Klimchuk Minister

Message from

Irving Guttman

Congratulations on your 50th anniversary, Edmonton Opera.

My dearest friends at the Edmonton Opera, I wish to take this opportunity on this very special occasion to share with you my deepest, warmest wishes on your birthday.

My 34 years as founding and artistic director allowed me to establish and build a very successful company, accomplishing its mark on the opera scene for North America. I want you all to know this would not have happened without the loyalty and support of past and current audiences, for opera in Edmonton.

This has allowed me to reminisce about the early years of building, developing and nurturing a very important opera company for Alberta and Canada. I know in my heart that the Edmonton Opera will continue to flourish as it has in the past.

The present season of the Edmonton Opera is a precedent for casting and operas, and promises to be an exciting year.

My very best wishes, Dr. Irving Guttman C.M. O.B.C. (DLitt) Artistic Director Emeritus

Salome 27

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Artists’

PROFILES David Stern Conductor

David Stern is the music director of Israel Opera and music director and founder of the Paris-based opera studio and period instrument ensemble, Opera Fuoco. Recent debuts include the Vienna Symphony, Hong Kong Philharmonic and Orchestra Haydn Di Bolzano e Trento. Future engagements include reinvitations to the Vienna Chamber Orchestra, Ulster Orchestra and Shanghai Symphony. As an operatic conductor David has performed at La Monnaie, Opéra de Lyon, English National Opera, Marseille, Rouen, Strasbourg and St. Gallen. With Opera Fuoco, David recorded and toured a fully-staged production of Zanaida, which premiered at Bachfest 2011 and received a Classica ‘CHOC’ award for the recording.

2014 sees him conduct newly commissioned work Cosi Fanciulli at the Théâtre des Champs-Élysées.

Waut Koeken Director

Waut Koeken’s productions include Abduction from the Seraglio (National Opera of the Rhine, Strasbourg), Die Feen (Vienna State Opera), Merry Wives of Windsor (Erfurt Opera), Die Fledermaus (National Opera Strasbourg, Nuremberg Opera), L’Ile de Tulipatan /Bataclan (Vienna Chamber Opera), Bluebeard (Opera Maastricht), La Princesse de Trébizonde (Opera-Theatre SaintEtienne) and the world creations of La Strada (Flemish Opera) and Der Turm (Grand Théâtre Luxembourg). Waut has created many opera productions for children — Magic Flute (Antwerp, Brussels and Luxembourg), Nino Rota’s Aladin (Antwerp, Luxembourg, Strasbourg and Lausanne) and Snow White (Strasbourg and Paris, Théâtre de L’Athenée). Upcoming — a new version of Bluebeard for the opera houses of Nancy, Nantes, Angers and Rennes, and La Vie Parisienne at the Opéra du Rhin Strasbourg.

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Artists’

PROFILES (in order of vocal appearance)

Robert Clark Narraboth | tenor

An alumnus of Calgary Opera’s Emerging Artist Program, Robert Clark made his mainstage debut as Normanno in Lucia di Lammermoor with Calgary Opera. Other credits include Al in The Barber of Barrhead (Edmonton Opera and Calgary Opera), Sam in Kurt Weill’s Street Scene, and roles in L’enfant et les sortilèges, Le Nozze di Figaro, Gianni Schicchi, A Game of Chance and Frobisher. Recent and upcoming engagements include The Steersman in The Flying Dutchman (Calgary Opera), Beppe in I Pagliacci (Edmonton Opera), Flask in Moby Dick, where he also covered the role of Ahab (Calgary Opera), Jaquino in Fidelio (Edmonton Opera), Tamino in Die Zauberflöte (Highlands Opera Studio), Macduff in Macbeth (Pacific Opera Victoria) and Roderigo in Otello (Calgary Opera).

Elizabeth Turnbull Page | mezzo-soprano

Elizabeth Turnbull’s varied credits include appearances with major orchestras and opera companies across North America. Recent operatic performances include Ljubica in the European and Canadian tours of Svadba, Zita in Gianni Schicchi (Calgary Opera), Olga in Eugene Onegin (Opera Lyra Ottawa), Emilia in Otello (Dallas, Edmonton) and Ruth in Calgary Opera’s new summer opera festival. Concert performances have included Verdi’s Requiem (Edmonton), Das Lied von der Erde (Edmonton, Victoria and London), Mozart’s Requiem (Vancouver), Messiah (National Arts Centre) and Bach’s St. Matthew Passion (Edmonton).

Elizabeth teaches at the University of Alberta, where she has been part of the voice faculty for five years.

Uwe Dambruch

First Soldier | bass-baritone German-born and Calgary-based bass-baritone Uwe Dambruch has performed with Frankfurt Opera, Deutsche Oper am Rhein Duesseldorf, Zurich, Hannover, Karlsruhe, Bayreuth Festival, Taiwan Symphony, Vancouver Opera, Calgary Opera, Edmonton Opera, Pacific Opera Victoria, Opera Hamilton, North Carolina Opera Company, Florentine Opera in Milwaukee and Alberta Ballet, and sang Wagnerian excerpts in the Cannes award-winning film Wahnfried. His repertoire includes Raimondo (Lucia di Lammermoor), Don Basilio (The Barber of Seville), Sarastro (The Magic Flute), Timur (Turandot), Sparafucile (Rigoletto), Ramfis (Aida), Mephistopheles (Faust), Daland (The Flying Dutchman) and many others.

Justin Welsh

Second Soldier | baritone In the 2012/13 season, Justin Welsh was heard in Faure’s Requiem (Regina Philharmonic), Messiah (Orchestra London and Ontario Philharmonic) and Beethoven’s Symphony No. 9 (Winnipeg Symphony). This season he will play Frazier in Porgy and Bess (Opéra de Montréal) and the title role in The Marriage of Figaro (Pacific Opera Victoria). His 2011/12 season was highlighted by the role of Queegueg in Moby Dick (Calgary Opera). Justin is an alumnus of the Canadian Opera Company Ensemble Studio, and of young artist programs in the Czech Republic, Germany, Pacific Opera Victoria and Opera NUOVA. He is a Tanglewood Summer Institute fellow and his awards include first place in the Kurt Weil Competition.

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Artists’

PROFILES Mark Schnaible

Jokanaan | bass-baritone Highlights of 2012/13 included Scarpia in Tosca (Portland Opera), Ferrando in Il Trovatore (Utah Opera) and Brahms’ Ein deutches Requiem (North Carolina Symphony). In 2011/12, Mark Schnaible sang his first performances of Der Wanderer in Siegfried (Bergen Philharmonie) and Pizarro in Fidelio (Utah Opera) as well as Beethoven’s Ninth with the Hong Kong Philharmonic. Other recent performances include Orest in Elektra (Polish National Opera), Four Villains in Les contes d’Hoffmann (Den Nye Opera), Friedrich in the North American stage premiere of Wagner’s Das Liebesverbot (Glimmerglass Opera), Bluebeard’s Castle (Utah Symphony), Clovis et Clotilde (Philharmonie de Lorraine), Jokanaan (Cedar Rapids Opera Theatre) and Escamillo (New Orleans Opera).

Maida Hundeling Salome | soprano

In 2012/13, Maida Hundeling returned to the roles of Senta in Der fliegende Holländer (Opéra de Montréal and Slovenian National Opera), the title role of Jenůfa (Slovakian State Theater), Giulietta in Les contes d’Hoffmann (National Theater Prague) and Giorgetta in Il tabarro (Volksoper Wien). She sings her first performances in the title role of Salome (Volksoper Wien) and Elsa in Lohengrin in Ostrava, as well as a benefit concert in Prague. This season includes her debut with Houston Grand Opera with a re-engagement the following season. She is a frequent guest with the Prague State Opera, where she has sung Senta (Der fliegende Holländer), the title roles of Turandot, Aida and Tosca, Marta in Tiefland, and Amelia in Un ballo in maschera.

Performance of Maida Hundeling generously made possible by Dianne & Irving Kipnes.

Jan Vacik Herod | tenor

Jan Vacik’s recent engagements include Albert Gregor in Makropulos Case, Skuratov in From the House of the Dead and Laca Klemeň in Jenůfa (Deutsche Oper am Rhein), Aegisth in Elektra (Grand Théâtre de Genève), further performances of Jenůfa (Oper Leipzig, Košice State Theatre), Tichon in Káťa Kabanová (NDM Ostrava, Theater Regensburg), Vítek in Makropulos Case (Teatro del Maggio Musicale di Firenze), Yannakos in Martinů’s The Greek Passion (Teatro Massimo di Palermo), Florestan in Fidelio (Teatro alla Scala) and Herod in Salome (National Theatre Prague).

Upcoming engagements include a return to NDM Ostrava for Michalek in Smetana’s Čertova stěna.

Mary Phillips

Herodias | mezzo-soprano Mary Phillips’ recent appearances have included her role debut as Brangäne in Tristan und Isolde (Dallas Opera), Schwertleite in Wagner’s Ring and Mrs. Alexander in Satyagraha (Metropolitan Opera). She has sung Fricka and Waltraute in Die Walküre and Waltraute in Götterdämmerung (Canadian Opera Company), Erda (Scottish Opera), and Wellgunde and Rossweise (Seattle Opera). Also hailed for her Verdi, she is perhaps best known for her Amneris in Aida, reprised in 2012 for Hawaii Opera Theatre, but she has also sung Eboli in Don Carlo (Canadian Opera Company) and Azucena in Il Trovatore (Seattle Opera, Arizona Opera). Recent concert performances have included Beethoven’s Symphony No. 9 (Baltimore Symphony), Prokofiev’s Alexander Nevsky (Milwaukee Symphony) and Mendelssohn’s Elijah (Nashville Symphony).

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Salome 37

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Artists’

PROFILES Adam Luther First Jew | tenor

Adam Luther recently completed his tenure as a member of the Canadian Opera Company Studio Ensemble where he performed many mainstage roles to great critical and audience acclaim. Recent performances at the COC: Steuermann (Die fliegende Holländer), Sailor (Tristan und Isolde), Gherardo (Gianni Schicchi), Arbace (Idomeneo), Jaquino (Fidelio) and Lysander (Midsummer Night’s Dream).

Other appearances: Anatol in Vanessa (Pacific Opera Victoria), Don José in Carmen (Saskatoon Opera) and Eisenstein in Die Fledermaus (Toronto Operetta). He received his bachelor of music degree from Wilfrid Laurier University, as well as a diploma in opera from both Wilfrid Laurier University and the University of Toronto.

John Kriter

Second Jew | tenor John Kriter last appeared with Edmonton Opera as Goro in 2004. Roles with the Canadian Opera Company include Goro, Spoletta (Tosca), Borsa (Rigoletto), Hotel Porter (Death in Venice), Normanno (Lucia di Lammermoor), Emperor Altoum (Turandot), Old Convict (From the House of the Dead), Bardolfo (Falstaff), Reverend Horace Adams (Peter Grimes), Red Whiskers (Billy Budd), Nick (La fanciulla del West), Ringmaster (The Bartered Bride), Tanzmeister (Ariadne auf Naxos), Gherardo (Gianni Schicchi) and Don Basilio/Don Curzio (The Marriage of Figaro). Other credits include Don Basilio/Don Curzio (Calgary Opera), Dr. Blind in Die Fledermaus (Opera Hamilton), Mr. Snarlygob in The Midnight Court (Queen of Puddings Music Theatre, Toronto, and Linbury Theatre, Covent Garden) and Princess Zebra in The Mummers’ Masque (Toronto Masque Theatre).

Michael Barrett Third Jew | tenor

Michael Barrett is a former member of the Canadian Opera Company Ensemble Studio. Recent roles with the COC include Monostatos (Die Zauberflöte), High Priest of Neptune (Idomeneo) and El Remendado (Carmen), among others. Roles with the University of Toronto Opera School included Nemorino (L’elisir d’amore), Male Chorus (Rape of Lucretia) and Eisenstein (Die Fledermaus). Michael also regularly appears with the Aldeburgh Connection. Other recent performances include Hansel and Gretel (COC touring production), Taptoo! (Toronto Operetta Theatre), Messiah (Newfoundland Symphony), Spalanzani (Les contes d’Hoffmann, COC), Quint (Turn of the Screw, Against the Grain), Spalanzani and Nathanael (Tales of Hoffmann, Edmonton Opera), and Salome, Dialogues of the Carmelites and Hansel and Gretel (COC).

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Michael Marino Fourth Jew | tenor

Michael Marino recently finished his residency as an Emerging Artist with Calgary Opera and is thrilled to be joining Edmonton Opera for their production of Salome. Recent performances include the role of Rinuccio in Gianni Schicchi with the COSI summer training program in Sulmona, Italy, and his participation in the scenes program at Wendy Nielsen’s St. Andrews By the Sea, New Brunswick.

Last season Michael performed the roles of Gonzalve in L’Heure Espagnole and Gastone in La Traviata (Calgary Opera). Other past roles include Fenton (Falstaff), Lurcanio (Ariodante), Tamino (Magic Flute), Rodolfo (La Bohème), Romeo (Roméo et Juliette), Don Ottavio (Don Giovanni), Davey Palmer (Siren Song) and Sam Kaplan (Street Scene).

Performance of Michael Marino generously made possible by Francis Price & Marguerite Trussler.

Salome 39

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Artists’

PROFILES Branch Fields Fifth Jew | bass

Branch Fields recently was chosen to understudy the role of Emile de Becque in South Pacific at the Lincoln Center Theater. His roles at New York City Opera have included Angelotti (Tosca), Major Domo (Vanessa) and Zuniga (Carmen). Earlier this season he returned to the role of Emile de Becque in South Pacific (Ogunquit Playhouse) as well as the role of Don Alfonso in Così fan tutte (Intermountain Opera). Recent roles include Sarastro in Die Zauberflöte (Opera on the James), Friar Laurence in Roméo et Juliette (Intermountain Opera), Mephistopheles in Faust (Opera Fort Collins) and Man 3 in Lera Auerbach’s The Blind (American Opera Projects).

Bertrand Malo

First Nazarene | bass-baritone Bertrand Malo has performed with opera companies including Opera McGill, Edmonton Opera and Opera Rimouski, and various ensembles and orchestras. Production credits include Les Pêcheurs de Perles, Christopher Sly, Don Giovanni, Fidelio and Le Nozze di Figaro. In the concert arena, he appeared as a guest soloist in Seven Last Words of Christ, the national anthems for Canada and France at Brive-la-Gaillarde, Requiem (Fauré) and at the Vermont International Opera Festival galas. He won first prize in his category at the NATS competition in Potsdam, New York (1999). His last appearance with EO was at Opera al Fresco in June 2013.

Serge Bennathan Choreographer

Serge Bennathan was the artistic director of Toronto’s Dancemakers from 1990 to 2006. He created Les Productions Figlio and is the recipient of the Rio Tinto Alcan Award 2012 with Elles. Recent creations are Conversations (LPF), Les chercheurs de dieu (Ballet BC), L’éloge du rêve (DansEncorps), Orages (LADMMI), Écriture en silence (SFU) and Mémoires 1, 2 et 3 (Sarah Roche and Lise McMillan). Serge’s next projects are an opera dance, The Flight, and a one-man show, Mr. Auburtin.

Yannik Larivée

Set & Costume Designer Yannik Larivée’s selected production credits include: Tancredi, Don Giovanni and Renard (Canadian Opera Company), Dangerous Liaisons, The Odd Couple, Houdini, Amadeus (Critics Circle Award) and Hedda Gabler (Montreal’s Segal Theatre), Simpl and Interiors (National Arts Centre), Vida (Royal Alexandra Theatre and Teatro Nacional de Cuba), One of Three (American Ballet Theater), Dreamland (Royal Swedish Ballet), Die Fledermaus (Staatstheater Nürnberg) and Barbe-Bleue (Opera Zuid).

He has also designed for the National Ballet of Canada, Tarragon Theatre and the Opera National du Rhin. In 2013 he designed 4:48 Psychosis (Necessary Angel Theatre), Entertaining Mr. Sloan (Soulpepper Theatre Company) and The Flood Thereafter (Canadian Stage).

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Artists’

PROFILES Bretta GereCke

ANNA DAVIDSON

Bretta is the resident designer at Catalyst Theatre, where she has designed world premieres which have toured to the U.K., Australia, the U.S. and across Canada. Bretta also works at Canadian Stage, the National Arts Centre, Edmonton Opera, Calgary Opera, Theatre Calgary, the Banff Centre, Trinity Laban Conservatoire and the Globe Theatre. She is the recipient of over 20 Sterling Awards, Jessie Richardson Awards, SATA, and Betty Mitchell Awards for Outstanding Achievement in Set, Lighting and Costume Design; The Enbridge Award for Best Emerging Artist, the Global Women of Vision Award, Edmonton’s Top 40 Under 40 and was short-listed twice for the Siminovitch Prize.

Anna is excited to be working at the opera again!

Previous Edmonton Opera credits include The Mikado, The Barber of Barrhead, Carmen and Eugene Onegin. In November 2012, she was the assistant stage manager for the Edmonton Opera’s coproduction of Shelter with Tapestry New Opera. She has also worked as a stage manager for the Citadel Theatre, Northern Light Theatre, Shadow Theatre, Workshop West, Theatre Network, Concrete Theatre and L’Uni Theatre. Anna is a graduate of the theatre production program at MacEwan University and the theatre performance program at Red Deer College.

Lighting Designer

Tatiana Vassilieva Repetiteur

A native of St. Petersburg, Russia, pianist and coach Tatiana Vassilieva has previously worked on productions at Florida Grand Opera, Sarasota Opera, Opera Santa Barbara, Central City Opera, Des Moines Metro Opera, Wolf Trap Opera, Ash Lawn Opera, Opera North, Boston University Opera Institute and Eastman Opera Theatre, among others. She held fellowships at Tanglewood Music Center and Music Academy of the West, and participated in the Britten-Pears Young Artist Programme in Aldeburgh, England. Tatiana attended the Eastman School of Music, earning a bachelor of music degree in piano performance and a master of music degree in both piano performance and accompanying.

Assistant Stage Manager

Holly Clark

Assistant Stage Manager Salome is Holly’s sixth production with the Edmonton Opera Association; her favourite of which being The Abduction from the Seraglio. She spent last season working with the Calgary Opera Association on Otello, La Traviata and a school tour of Hannaraptor. Most recently, Holly tried to keep out of trouble by being the site technical director of the Edmonton International Fringe Festival. Holly would like to thank her mom for the constant support and Vanessa for always making her look good. She hopes you enjoy the show!

Ha Neul Kim Stage Manager

The 2013/14 season is Ha Neul Kim’s 12th 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 manager 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.

Previously, she taught opera stage management at the University of Alberta.

Salome 43

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edmonton opera chorus concert Creating a wall of sound, the Edmonton Opera chorus personifies opera’s most powerful moments.

This season, current members and alumni will perform their expansive repertoire in Salute to 50, an anniversary concert on Nov. 23, at 7:30 p.m. at McDougall United Church. Featuring opera’s most powerful arias from the EO’s last five decades, the program is sure to please every audience member with some selection.

Choruses are integral to most operas, and the Edmonton Opera’s first production of Madama Butterfly would have been no exception. Today, approximately 60 members make up the chorus. Members’ professional and musical backgrounds vary — many are teachers, lawyers, librarians, business men and women, speech pathologists and students — but all share a love for music, singing and being part of a large team. Some chorus members

have been part of the group for decades, and can lay claim to being part of 80-plus productions, while others are experiencing their first season.

Edmonton has a very strong arts and culture community, with a closely knit chorus aspect. This concert allows retired members to sing with fellow choristers they may not have performed with in years, as well as giving friends and family a chance to see them perform.

To offset the cost of producing this concert, we are running a campaign on kickstarter.com (search Edmonton Opera, Salute to 50), with benefits and perks provided to those who donate.

Tickets are available through the box office or online; $25 for subscribers and $30 for the general public.

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Thank you for helping us fund excellence at the Stollery Children’s Hospital.

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opera art project

Local artists continue to make tangible opera memories, as part of the 2013/14 Opera Art Project.

The project, a partnership between the Edmonton Opera and the Alberta Craft Council, debuted during the 2012/13 season, and the new 2013/14 collection was previewed in early October.

In addition to drawing inspiration from the season’s productions — Salome, Die Fledermaus and Madama Butterfly — artists from the Alberta Craft Council also create fine craft pieces in their chosen medium that reflect the opera’s 50th anniversary and the art form in general.

This season, another dozen artists, a mix of returning and new, will be involved.

Clay artist Janet Grabner has joined the Opera Art Project to offer a twist on the art of music, with her signature Rock Rattles decorated with treble clefs and butterflies, for the Edmonton Opera’s 50th anniversary. Artists Meghan Wagg and Dana Roman are returning to the project in their chosen mediums — after creating jewelry based on the human larynx last year, Wagg shifts focus from the performer to the audience, using the anatomy of the inner ear for inspiration, while Roman’s scarves will again be specific to each production, making great collectibles to remember the 2013/14 season.

Valerie Baber, Margie Davidson, Chris Kubash, James Lavoie, Todd Safronovich, Amy Skrocki and Darlene Storgeoff are also returning to the Opera Art Project, while artists Denise Ahlefeldt and Janet Grabner are contributing for the first time. Throughout the season, more artists are expected to become involved.

Last season, approximately a dozen artists participated in the project, with pieces including wearable and decorative art, as well as functional pieces including scotch glasses, serving trays, memory boxes and more.

This partnership allows two vibrant organizations to enhance relationships in Edmonton’s arts and culture communities as well as introduce and promote its respective members to each other’s arts-oriented audiences.

The Opera Art Project pieces are on sale during each of the Edmonton Opera’s productions in the lobby of the Jubilee Auditorium, and at the Alberta Craft Council after closing night.

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PLANNED GIVING

by SHELLY K. CHAMASCHUK It takes a lifetime to build up an estate, and yet it seems little time, in comparison, is spent to determine what should happen with an estate after passing. Everyone is encouraged to put a will in place to ensure that the distribution of their estate is properly planned.

W

A basic will can be done, leaving your estate to your family and those who matter to you. However, you may also wish to consider the ability to continue to give back to the community by leaving a charitable gift in your will. A charitable gift leaves money or other assets to those organizations which have given you joy, such as the opera. This would be such a wonderful legacy to you and a thoughtful way to give back on your way out.

There is also a significant tax benefit to charitable gifts.

hen you include Edmonton Opera in your estate plans, you provide a foundation for great opera in Edmonton to future generations.

If you wish to know more about giving to the opera, you are welcome to contact Mickey Melnyk, Stewardship Officer, at 780.392.8719.

Shelly K. Chamaschuk is a partner with the law firm of Reynolds Mirth Richards and Farmer LLP who practises in the area of estate planning. Shelly can be reached at schamaschuk@rmrf.com or 780.497.3364.

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Salome 49

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FEB 1, 5, & 7, 2014 Once every seven years, the Flying Dutchman is cast upon the earth to search for the one woman who can set him free of his terrible curse. Wagner’s powerful and stirring music sets the stage for this haunting ghost story.

APR 5, 9 & 11, 2014 One of the most poignant and beloved stories in the opera repertoire, Madame Butterfly is a woman caught between two cultures, her own and that of the dashing Lieutenant Pinkerton to whom she has pledged her life.

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Rob hood fund

The Edmonton Opera is the grateful recipient of a generous gift from the Rob Hood Fund.

Mr. Hood’s direction was that these legacy funds be used to attract operatic singers of the highest calibre.

The first gift from the Rob Hood Fund was an award to Metropolitan Opera stars Angela Brown and Carl Tanner, who were two of the lead singers in Aida. Our second gift will be committed to renowned soprano Anne Sophie Duprels who will appear in the lead role of Madama Butterfly in April 2014. Butterfly was the first opera ever performed by Edmonton Opera in 1963 and part of its inaugural season, so this will be a most apt acknowledgement of the company’s legacy in its 50th anniversary season.

Dr. Irving Guttman, artistic director emeritus of the Edmonton Opera, shares his memories of Mr. Hood.

“I first met Robert when he joined our chorus in 1965. Two things were clear between us, we both loved opera and while he was serious and dedicated about his singing, we agreed that it was important to pursue one’s passions but not necessarily aspire to singing on the Met stage. He contributed to Edmonton Opera as both a board and guild member. That said, I believe his work in our chorus was seminal to his fine appreciation of the power and presence of the human voice. With his personal experience as a bass, his respect grew for the voices of the operatic greats of the time. He liked to call it ‘fine singing!’

“Rob was very principled in his belief that there were certain ways to do things, which extended to being a rather private person, to dressing properly and to being immensely loyal to his friends and colleagues.

“Aside from his avocation, Rob was well placed in his work with the Alberta government’s culture portfolio. He was always committed to high standards, personally and professionally, and I am certain those were valued qualities in his work, thus making him known and respected in the arts community in the province and beyond.”

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Edmonton Opera Magazine is published four times per year by Playhouse Publications Ltd. The contents of Edmonton Opera Magazine may not be reproduced in whole or in part without the written permission of the publisher.

All rights reserved by Playhouse Publications Ltd.

Inquiries should be made to: Playhouse Publications Ltd. 1200 Bell Tower 10104-103 Ave. Edmonton, Alberta T5J OH8 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca

PLAYHOUSE PUBLICATIONS LTD. President & Publisher: Rob Suggitt Vice President: Stephen Kathnelson Art Director & Designer: Christine Kucher Advertising Sales: Barry Powis, Kerry Duperron Administration: Suzanne Peacock Edmonton Opera Magazine is a product of Playhouse Publications Ltd., an affiliate of Suggitt Group Ltd. President & CEO: Tom Suggitt President & CFO: Rob Suggitt Playhouse Publications Ltd. also publishes The Citadel Theatre playbill, The Arden Theatre playbill, the Fringe Theatre Arts at the Barns Magazine, Calgary Opera program, Hockey Edmonton Magazine and Hockey Calgary Magazine

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SUPERNUMERARIES John Adria Autumn Bellek Martina Belecan Mike Boire Adam Clarke Fred Deis Adrian Howard

Walter Hsu Emma Hynes-Sykes Terry Ingraham Howard Kowalchuk Claire Kulchitsky Mila LeBlanc Stephen Noble

Amanda Pelz Paige Romano Tony Schwabenbauer Rebecca Sykes Shane Taylor David Tonner Laura Winton

edmonton symphony orchestra William Eddins, Music Director Violin 1

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Robert Uchida Eric Buchmann Virginie GagnĂŠ Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Anna Kozak Alissa Cheung Neda Yamach Alison Stewart

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Elizabeth Faulkner Shelley Younge Jessica McMillan

Megan Evans Shamilla Ramnawaj Micajah Sturgess Gerald Onciul Donald Plumb

Barry Nemish

cello Colin Ryan Ronda Metszies Gillian Caldwell Derek Gomez Sheila Laughton Victor Pipkin Julie Amundsen Ian Woodman

Violin 2 Dianne New Susan Flook Heather Bergen ZoĂŤ Sellers Robert Hryciw Tatiana Warszynski Murray Vaasjo Jim Cockell

bass Jan Urke John Taylor Janice Quinn Rob Aldridge

oboe Lidia Khaner Paul Schieman Dan Waldron

trumpet

Percussion Brian Jones John McCormick Brian Thurgood Raj Nigam

clarinet

Robin Doyon Bill Dimmer Brian Sand

Harp

Julianne Scott David Quinn

Trombone

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Rob Spady Dan Sutherland

John McPherson Kathryn Macintosh

Michael Massey

bassoon

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William Harrison Edith Stacey

Alden Lowrey

Diane Persson

tuba Scott Whetham

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Personnel Manager Eric Filpula

Librarian Sheila Jones

Salome 57

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60 salome

edmonton opera board of directors 2013-2014 season

Richard Cook, Chair Francis Price, Vice Chair Ken Keenleyside, Treasurer Irv Kipnes, Past Chair Robert Bessette John Cameron Mary Clonfero

Craig Corbett Bertrand Malo Ashif Mawji

Melanie Nakatsui Bernie Robitaille Robert Rock

Katie Soles Stella Varvis

Irving Guttman, Artistic Director Emeritus

edmonton opera staff Executive Tim Yakimec, General Manager

AdminIstrative Assistant Jessica McMillan

Finance Debra King, Interim CFO Serene Yau, Senior Bookkeeper

Community Relations Jelena Bojic, Director of Community Relations & Assistant General Manager Jennifer Hinnell, Grants Officer Amanda MacRae, Manager of Education & Community Outreach Cameron MacRae, Creative Manager Mickey Melnyk, Stewardship Officer Catherine Szabo, Communications Coordinator Lauren Tenney, Marketing & Fund Development Coordinator

Box Office Tara-Lee LaRose, Box Office Manager Rebecca Anderson, Box Office Supervisor

Artistic Administration Ha Neul Kim, Company Manager & Stage Manager

Production and technical Clayton Rodney, Production & Technical Director Alison Hardy, Technical Administrator Greg Brown, Head Scenic Carpenter & Shop Supervisor Deanna Finnman, Head of Wardrobe & Resident Wardrobe Designer Chantel Fortin, Head of Properties & Scenic Art Kathy Cooper, Assistant Head Scenic Carpenter

AndrĂŠ-Michel Lavoie, Scenic Carpenter Wayne Jeannotte, Scenic Carpenter Shanna Orgovan, Head Scenic Artist Katie Hartfeil, Scenic Artist & Properties Construction Judith Darough, Cutter Brenda Inglis, Wardrobe, First Assistant Michelle Warren, Wardrobe First Stitcher Catherine Bamsey, Wardrobe Tailor Kathleen Mulder, Wardrobe Dyer Julie Davie, Junior Cutter Kayla Fulton Wardrobe Stitcher Kathryn Neuman, Wardrobe Stitcher Danine Regenwetter, Wardrobe Stitcher Genevieve Savard, Wardrobe Stitcher Ava Siemens, Wardrobe Stitcher Sharon Templeman, Wardrobe Stitcher

Production and technical Stage Crew Anna Davidson, Assistant Stage Manager Holly Clark, Assistant Stage Manager Desire Poulin, Apprentice Assistant Stage Manager Michelle Warren, Head Dresser Danine Regenwetter, Dresser Michael Devanney, Head of Wigs & Hair Judy Morley, Wigs & Hair Cathy Nicoll, Head of Make-up Noreen Jani, Assistant Head Make-up Chantel Fortin, Head Properties Katie Hartfeil, Assistant Head Properties Geoff Bacchus, Head Stage Carpenter Greg Brown, Assistant Head Stage Carpenter Al Kliss, Head Fly Alison Hardy, Head Electrician Joseph Race, Assistant Head Electrician Jacquie Dawkins, Supertitle Cuer Stage crew courtesy of I.A.T.S.E. Local 210

salome 61

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The actors at the jube aren’t pixels – they’re real and they’re right in front of you. Here are just a few tips on how to make your night stand out.

1 Skip the lines at intermission! Pre-order your refreshments at any of our concessions.

2 Pump up the volume and zoom into the action! Ask about infrared listening devices and binoculars at Patron Services.

3 Get a room! Organizing a group outing? Talk to our staff about renting out a luxury suite. It comes stocked with food, drinks and its own bartender. Not to mention its very own washroom!

Giving Props...

The Jube is proud to have Edmonton Opera as one of its Resident Companies. With a proud 50 year history, Edmonton Opera is committed to producing opera of the highest possible calibre and making their productions as accessible as possible in the community.

Check out our new website at jubileeauditorium.com!

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Salome 65

Nov. 23, 2013

The Edmonton Opera Chorus celebrates 50 years in a concert at McDougall United Church at 7:30 p.m.

Jan. 8, 2014

Complimentary screening of The Sound of Music, as part of the EO Film Series at the Metro Garneau Cinema. Starts at 7 p.m.

Jan. 15, 2014

Understand the context of Die Fledermaus with an informative, complimentary panel discussion at Opera 101, 7 p.m. at the Art Gallery of Alberta.

Jan. 19, 2014

Enjoy great food at the Edmonton Petroleum Club, followed by intimate recitals by the artists of Die Fledermaus during Opera Brunch.

Jan. 30, 2014

The education dress rehearsal allows students to experience opera firsthand.

Teachers can contact education@edmontonopera.com to arrange tickets.

Feb. 1, 4 & 6, 2014

The Edmonton Opera presents Die Fledermaus, a sparkling comedy

in three-quarter time.

Feb. 14, 2014

The annual Valentine’s Gala supports both the CapitalCare Foundation and the Edmonton Opera.

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

66 Salome

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