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4 Message from the General Director
18 Synopsis
6 Partners and Sponsors
20 Program Notes
9 Sustainability Fund
22 Community Arts Events Listings
11 Director’s Circle
27 Artists’ Profiles
12 Friends of Edmonton Opera
34 Edmonton Opera Chorus and Supers
15 Endowment Fund
35 Edmonton Symphony Orchestra
16 Message from the Director
40 Cinderella & Elektra Preview
45 Edmonton Opera Board and Staff
46 Upcoming Events
and Conductor
17 Composer Bio Cast and Production Credits
Cover photo by Reed Hummell, Nashville Opera’s Turandot
Administration Office: 15230-128 Ave., Edmonton, AB T5V 1A8 Ph: 780-424-4040 Fax: 780-429-0600 Email: info@edmontonopera.com www.edmontonopera.com
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Edmonton Opera wishes to acknowledge that the land on which we gather today is Treaty 6 territory and a traditional meeting ground and home for many Indigenous Peoples, including Cree, Saulteaux, Blackfoot, Métis, and Nakota Sioux.
Message from the general director Welcome to Edmonton Opera’s 53rd season! This evening, I am pleased to present a new season of opera that truly exemplifies our commitment to creating meaningful and extraordinary shared experiences for you, the audience. Our three operas this year are completely different from one another, bringing a mix of comedy and tragedy, tradition and innovation, and even radically distinct styles of music to the Jubilee stage. Turandot is a wonderful way to open the season because it celebrates everything we love about opera — breathtaking scenery, beautiful costumes, a massive cast and chorus, and of course, unforgettable music. Cinderella (La Cenerentola) delivers an upbeat romantic comedy to liven up the dreary winter months, and also gives us the opportunity to showcase local talent in this newly designed production. Finally, the Alberta premiere of Elektra brings edgy and dramatic work to Edmonton, introducing audiences to an opera that is widely known as groundbreaking and ingenious. Beyond our productions at the Jubilee, Edmonton Opera is increasingly focused on building community. This means investing our efforts in presenting opera to diverse audiences and impacting cultural conversations in the city as a whole. To this end, we recently joined the Cultural Access Pass program, which makes opera accessible to new
Canadian citizens and facilitates their participation in the performing arts. We also celebrated the annual Alberta Culture Days at Kingsway Mall, once again showcasing the beauty of opera to the greater public with free programming. Through partnerships with local businesses, farmers’ markets, educational institutions, and various non-profit organizations, we hope to make opera more visible around the city while demystifying the art form for new audiences. As well, community outreach initiatives give us opportunities to interact with loyal operagoers and create ongoing dialogue about the exciting future of opera. Speaking of an exciting future, we are currently in the process of renovating our north end production facility into a multi-purpose space that consolidates all Edmonton Opera operations at one location. This facility will now house our rehearsals, production builds, props and costume storage, and may be shared with other arts organizations. The completion of this project will further allow Edmonton Opera to become an important hub for arts and culture in our vibrant city. Tonight, and indeed in the coming years, Edmonton Opera will continue to embrace this heightened sense of community — when staging an opera like Turandot, I am reminded that collaboration, above all else, is the essence of our beloved art form. – Tim Yakimec
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4 EDMONTON OPERA 2016/17 SEASON
PARTNERS
and
SPONSORS
SEASON SPONSORS
The Rob Hood Fund Production Sponsors turandot
cinderella
Francis Price & Marguerite Trussler
Jim & Sharon Brown
opening night sponsor
opening night sponsor
Sponsor of the Edmonton Opera Chorus
Emerging Artist Sponsor
Gold Partners
SPONSORS
media Supporters
6 EDMONTON OPERA 2016/17 SEASON
elektra
opening night sponsor
Education Dress Rehearsal 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 Turandot. Turandot Production photographs provided by Nanc Price photography.
Suggitt
The Edmonton Opera gratefully acknowledges the Kucey Dental Group, who offers complimentary emergency dental services PUBLISHERS for 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 Edmonton Opera, please call 780.288.2510 or email development@edmontonopera.com.
FEBRUARY 4, 7 & 9, 2017 JUBILEE AUDITORIUM
MARCH 11, 14 & 16, 2017 JUBILEE AUDITORIUM
Opera Duo packages start at $72 and include both operas
pa
t
TURANDOT 7
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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 Anonymous James Archibald & Heidi Christoph Robert & Michelle Bessette Kevin & Penny Birkholz Jim & Sharon Brown John Cameron Carol & David Cass Richard S. Cook John & Judy 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 Glenn & Sandra Woolsey
Corporations & Foundations
Al-terra Engineering Ltd. Arrow Engineering Inc. Clark Builders Dentons Canada LLP Kasian Architects Dianne & Irving Kipnes Foundation
Ledcor Group of Companies 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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10 EDMONTON OPERA 2016/17 SEASON
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. Bravo and thank you! For more information about the Director’s Circle or to become a member, please call Gordana Bosiocic at 780.996.2744.
Season SponsorS $250,000 Rob Hood Fund Dianne & Irving Kipnes Foundation Creekwood turandot Production Sponsors $150,000 Francis Price & Marguerite Trussler cinderella Production Sponsors $150,000 Jim & Sharon Brown MaestroS $10,000+ Allard Foundation
LEADERS $5,000-$9,999 Larry Eberlein Hans & Susanne Forbrich Dr. Frederic & Alma Gojmerac Arliss Miller Marjorie Purdy Alan Rose Eira Spaner Chris & Vivian Varvis PATRONS $3,000-$4,999 City Lumber Corporation Thomas Fath Jeffrey Jansen Dr. Christine Kyriakides Steven & Day LePoole Joan Lopatka & Bill Rutledge Judy & Stuart Mackay Rod & Heleen McLeod Eleanor Olszewski Team TELUS Cares Dr. P.J. White & Patty Whiting BenefactorS $1,750-$2,999 Tricia Abbott Darlene Acton Pauline Alakija Douglas K. Bingham & Sheila Janki-Bingham
Jennifer Brown David & Patricia Cassie Marian Clarke Elaine Coachman Sandi Ann Darrell Joseph & Pat Fernando Peter & Astrid Griep Gabor Gyenes & Erika Mullner Jill Konkin Korwon Properties Ltd. Brian Kucey & Elena Hernandez-Kucey Alan Kuysters Igor & Galia Kwetny Hilliard Macbeth Stephen & Lynn Mandel Hugh McPhail & Yolanda Van Wachem Ken & Gerda Miller Risha Milo Kyle & Colleen Murray Dr. Leonard Ratzlaff James E. & Vivian Redmond David Steer Joyce Walton Ralph James Wood
friends SustainerS
of
Edmonton Opera
Les Moss John Oberg Dr. Hanne Ostergaard Fred & Helen Otto Dr. Edward & Geri Papp Dr. George & Teresa Pemberton Fay Plomp Frank Prosperi-Porta Dr. Dean Rokosh Marshall Sadd Pierre Sareault Scheffer Andrew Ltd. Roger Schilf Doug & Devika Short Nance & Michael Smith Tim James Holdings Ltd. Brian & Dawn Vaasjo Frank Van Veen Joan Welch Bruce White James & Annika Wolfli Pat Young
Jonathan Chia Donald Chisholm Heidi Christoph Chung Chu Janet M. Clark Mary Teresa Clonfero Roger & Carol Cohen Craig David Corbett Dr. Diane Cox Tim Crisall & Stefanie Ivan Brenda Dale Lois Davis Peter Dawes Jeanette Debruin James & Gail DeFelice Terry Defreitas Fred Deis Dan & Lorna Dennis Dr. Jerrold Diamond R.J. & Janet Dmytruk Gail Docken Ryan Dory Sholeh Drackett Lloyd Dumonceaux GUARDIANS Frank & Muriel Dunnigan ($250-$499) Lee Michael Duperron Action Moving & Tim Eckert Storage 1988 Ltd. Martin & Jacqueline Elton Jenny Adams Tom & Heather Etsell Paul C. Allard Wayne Eyre Cory P. Almquist Noella Fagnan Michael Bacchus Brittney Falcon Walter & Stella Baydala Alfred & Coleen Falk Darren Bieganek Barry Farquharson Marc R. Bisson Krista Ference Peter Boisjoli Deanna Finnman MEMBERS Thomas Bradley Glenn Fisher David & Leanne Bryan ($100-$249) Karin Fodor SUPPORTERS Carolyn Campbell 1341920 Alberta Ltd. Margaret J Friedman Cory Chisholm ($500-$999) Lynn Adams Kevin George Joseph & Marta Collier Nancy Aust Andree Aston John Getson Barrie Corry Avillia Developments Ltd. GG Deeks Consulting Chris Chantler & Darren Currie Colleen Mckenna Sam & Sonia Azer Elaine Gill David C. Edwards Prof. Corp. Diana M. Bacon Nancy Cranston Margaret & F.S. Golberg Michael Dorey Ben & Brandy Dutton Jenna Baron Jon Goor Maggie Dower Ivan & Ksenia Fedyna Vicki Barrow David Gordey Walter Goetz David Finlay William Bartelds Laura Graham Footprint Developments Inc. Eppy Graf Alan & Alice Bell Brenda Gross Charles & Ann Grant Lorna Gawlinski Scott Benoit Jay Hamilton Zenia J. Hawrysh Alice Harrison Lary Benson Marylee Hansen Douglas & Dorothy Hollands Jiri Hrazdil Mary-Ellen Berget Kenneth & Jean Heavenor Azim & Shenaz Jeraj Pavel & Sylva Jelen Peter Bevilacqua R & Barbara Henderson Dr. Jay Kassiri Sandra Kavanagh Danisha Bhaloo Cathryn Heslep Ken Keenleyside Brandon Kot Julia Boberg Dr. Judith Hibberd Bern Kotelko Neil & Jean Lund Donald Bobey Jennifer Hinnell Warner & David & Sandra Kraatz Brenda MacDonald Dan Brassad Keith Warner Libuse Kuzel Kelly MacFarlane & Ryan Brown Brendan Hobal Campbell MacKenzie Christopher Mackay Joanne Burek & Lee Stickles Gwen Horvath Greg & Patrece Maluzynsky Elisebeth Checkel Julian Mayne Mike Hruska Heather McCaw Robert Michalowski Nancy Cheng Bonny & Earl Hubert ($1,000-$1,749) John Adria James Belovich Lynn Bengert Frank Calder Orville Chubb & Trudy Callaghan Michael & Eva-Maria Day John & Ann Dea Robert Edmunds Eng-Con Holdings E.P. Rees Inc. Heinz & Donna Feldberg Bill Grace A. R. Grynoch & P. V. Sing Mary-Lou Hamilton Neil Hayes Donald & Susan Hickey Holt Renfrew Devon J. Mark & Allen Vander Well Peggy Marko Alan Mather Carman & Averie McNary Susan & Ove Minsos Lindsay Nakatsui Mary Phillips-Rickey Dr. Clarence H. Preitz Dave & Michele Rumbold Louise Severin, Linda Pratch & Darren Pratch Donald & Jacqueline Smith Roger Swainson Dr. Knut Vik & F. Calder Ralph & Gay Young Family Fund
12 EDMONTON OPERA 2016/17 SEASON
Linda Medland-Davis Zoltan & Brigitte Meszoly Jim Montgomery Keith Mould Sam Narayan Next Digital Chris Nicholas Ken Nielsen Alfred Nikolai Wade O’Neill Alex & Kelley Pagnotta Frank Palko Dr. Edward & Geri Papp C.H. Parks Parkwood Master Builder Jason Portas Carolynne E. Ross Stewart Roth Lesly Round Edmond & Orla Ryan Dennis Schmidt Matthew Singer Gerry & Barbara Sinn Grant Smith Jim Smyrl Dr. Thomas Snyder Dorothy Stoutjesdyk Campbell & Rosalind Sydie William Tonn Karen Marie Trace Darcy Trufyn Georgina Marian Villeneuve Tim Yakimec Gerhard & Inge Zmatlo Mr. Brian Zrobek
Dr. Sheila L. Hughes Joe & Karon Huising Lauren Hyatt Erik & Franziska Jacobsen Ernie Jacobson Gino Jenkelj Alan Jones Jesse Kadosh Jason Kalincak Lynne Kest Patching John Kim Debra King Harold Kingston & Marie Desrochers Shirley Kirkpatrick Betty Kolodziej Mark Kortbeek Dr. Elizabeth Krause Sharron Grace Krill Al Kulay Dilys Kulchitsky Stephan M. Lacroix Jillene Lakevold Claudette Larocque Mark LaRue Margaret Law Stuart Lee Steven Lenarduzzi Franklin C. Loehde Richard Loken Doug & Joan Longley Ben Louie Richard & Jean Lyne Ian MacDonald Scott Mackie Reverend Joseph MacNeil Cameron MacRae Faye & Peter Macyk Stephen Madsen John Mahon Bob Mann Sharon Marcus Joan H. Marshall Daniel Martin Richard McCarty Denis & Ruth McGettigan Rob McGrath Dr. Keith & Brenda McNicol Andrew McPherson Ronald & Carole Middleton Janet Millar Lorne Miller Glenn Mitchell Kevin & Robyn Mott Edward Mozejko Keith Muller Larry Newton Roberto Noce Michael O’Dell Timothy O’Neill
Steven & Janice Owens Sheila Parr Susan & Ernie Pasemko Rebecca Patterson Jason Philipson Ryan Pinkney Christian Poirier Michael Powers Barbara Prodor Jacquie Pylypiuk Carlos Raposo & Judy Strachan Eugene & Jeanne Ratsoy In Honour of Mary LeMessurier: Georgina Marian Villeneuve
Sharla & Dorian Rauschning Todd Reade Yvonne Rekken Karan Riarh Jason James Richardson Terrance Richelhoff Jeff Robinson Hilary Rose John M. Ross Kim & Andrew Ross Dr. E. J. Rudnisky Kathleen Ryks Nadine Samycia In Memory of Oline Markine: Francis Price & Marguerite Trussler
Kathleen L. Savey Jelena & Dusan Savic Tom & Bev Sawyer Chris Schulte Tony Scozzafava Sheelagh & Andrew Semper Vaughn Shears Julie Sinclair Edward Smith Ian & Irene Sneddon Tim & Bailey Sousa Alison & Richard Starke Alex Stenner
In Memory of Tom Hall: Dr. Laurence Jewell Deanna Finnman Brenda Inglis Michael & Eva-Maria Day
Shawn D. Stevens Anne Strack Martin & Heike Stribrny Jean Sult Stevo Sun Brittany Sutherland Helen Tkalcic Christina Tozer Nick Trovato & Chereda Bodner Dennis Vance Terry & Michele Veeman Trudy Velichka
In Memory of Aline Pratch: Louise Severin, Linda Pratch & Darren Pratch
John Wanchulak Lorrill Waschuk Cristina Weiheimer Brett Wellicome Sarah Wong Mary Wood Serene Yau Jim Yih Alexander Yiu Edward Yoo Thomas Ziegler
In Memory of Alice Mary Brisebois: Walter & Stella Baydala Gino Jenkelj
In Memory of Dr. Knut Vik: Lary Benson Susan & Ernie Pasemko In Memory of Rita Allen: Margaret Friedman
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 Gordana Bosiocic at 780.996.2744 or email gordana.bosiocic@edmontonopera.com. Only 2016/17 season donations and/or pledges processed up to October 1, 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 Gordana Bosiocic at 780.996.2744. 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!
FRIENDS OF THE OPERA
benefits
MEMBER
guardian
SUPPORTER
SUSTAINER
BENEFACTOR
PATRON
LEADER
$100+
$250+
$500+
$1,000+
$1,750+
$3,000+
$5,000-$10,000
Tax receipt Acknowledgment in Intermezzo magazine Poster from our current season (upon request)
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CD of a classic opera recording (upon request) Exclusive VIP event (per season) Invitation for two to each dress rehearsal and VIP reception Two tickets at 30% off for each mainstage production Two invitations to the exclusive VIP Lounge VIP courtesy Jubilee parking during performances Tour of Production Facility Two complimentary Opera Brunch tickets Exclusive invitation to rehearsals
DIRECTOR’S CIRCLE
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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. Please contact Gordana Bosiocic, Events Coordinator and Donor Relations, at gordana.bosiocic@edmontonopera.com or 780.996.2744 for more information about becoming a DC member. The Sustainability Fund is comprised of dedicated individuals, corporations and foundations who have committed to a five-year, $10,000-per-year contribution, ensuring the sustainable future of Edmonton Opera. For more information about Sustainability Fund experiences and commitments, please contact Gwen Horvath, Director of Fund Development, at gwen.horvath@edmontonopera.com or 780.288.2510.
TURANDOT 13
Proud Sponsors of the Arts CIBC is committed to cultivating strong, vibrant communities across Canada. That’s why we are proud supporters of the Edmonton Opera.
CIBC Cube Design is a trademark of CIBC.
14 EDMONTON OPERA 2016/17 SEASON
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 780.996.2744.
Edmonton Opera
endowment funds
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. We would like to announce the creation of the Tom Hall Opera Chorus Fund in honour and memory of longtime chorus member Thomas J. Hall. To contribute, please call our donor services line at 780.996.2744.
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 & Roderick Markine Family Fund John & Barbara Poole Family Fund Francis Price & 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
Endowment Donors & Aria Legacy Members Kris Aasen Tricia Abbott Darlene Acton John Adria Peter & Barbara Allen Rebecca Anderson PenĂŠlope Haro Aranda Sam & Sonia Azer Alan & Alice Bell Robert Bessette Danisha Bhaloo Jelena Bojic Dr. Grace Bokenfohr Gordana Bosiocic Katherine Braun Greg Brown Jennifer Brown John Cameron Mary Teresa Clonfero Erin Clyde Richard S. Cook Craig Corbett Glenda Dennis Maggie Dower Marianne & Andy Elder Ivan & Ksenia Fedyna Deanna Finnman Laura Fitzgerald
Karin Fodor Hans & Susanne Forbrich Sandra Gajic Fred & Alma Gojmerac Karen Good Mary-Lou Hamilton Jennifer Hinnell Warner & Keith Warner Andrew Hladyshevsky John & Susan Hokanson Douglas & Dorothy Hollands Gwen Horvath W.H. Hurlburt Lauren Hyatt Jeffrey Jansen Laurence Jewell Ken Keenleyside Ha Neul Kim & John Yun Debra King The Dianne & Irving Kipnes Foundation Betty Kolodziej Juri & Helle Kraav Rohan Kulkarni Tara-Lee LaRose Franklin C. Loehde Brenda MacDonald
Amanda MacRae Cameron MacRae Joanne Madeley Bertrand Malo Greg & Patrece Maluzynsky Stephen & Lynn Mandel Devon J. Mark & Allen Vander Well Roderick & Oline Markine Peggy & John Marko Alan Mather Julian Mayne Jeff McAlpine Jeff McCune Rod & Heleen McLeod Bob & Bev McNally Mickey Melnyk Arliss Miller Kevin & Robyn Mott Kyle & Colleen Murray Dr. Thomas & Melanie Nakatsui Wesley M. Pedruski Barbara Poole Dr. Clarence H. Preitz Francis Price Protostatix Engineering Consultants
Reynolds Mirth Richards & Farmer LLP Clayton Rodney & Raymond Cameron Analee Roman Hilary & Robert Rose Arnold & Grace Rumbold Celyne Runzer Kelly Sheard Katie Soles Michael Spassov Darren Staten Catherine Szabo Team TELUS Cares Lauren Tenney Karen Trace Hon. Marguerite Trussler Chris & Vivian Varvis Stella Varvis Angus Watt Cristina Weiheimer Joan Welch Adrienne E. Wong Tim Yakimec Serene Yau 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.
TURANDOT 15
Message from the conductor To say that Puccini is one of the greatest and most important opera composers is an absolute understatement. While conscious of his talent and place in history, it is important, however, to remember that Puccini held a tremendously low opinion of himself; he always felt that his music was not as brilliant as other composers, especially his German colleagues. Puccini grew up in a poor family, did not receive the most rigorous musical education, and also started making music quite quickly to earn money and support his family. While for us this adds to our impression of him, to Puccini it manifested as a constant need to substantiate his validity as a composer. Puccini was a champion of verismo style, which sought to highlight a realistic approach to opera drama and psychology as a reaction against the romanticism of late 19th century composers. Nevertheless, Puccini was always afraid that his intellectual instincts were not clear enough in his music. Puccini wrote great melodies, evident in Turandot as much as in any other of his operas, but his music in reality offers much more than that; indeed, there are great emotions and tunes in his operas, but those are secondary to the actual construction of each score. Puccini’s
true brilliance is found in the level of subtlety and sophistication between his writing of arias and recitatives, the very elaborate architecture he puts into his work, and how the arias reflect the psychology of their respective characters. In his most revered operas such as La Bohème, Madama Butterfly, and Tosca, Puccini demonstrates the height of his mastery of verismo. Then comes Turandot, his final work, not completed at the time of his death, which is always challenging to categorize as either a romantic opera or a verismo opera. In fact, it is neither. Turandot shows Puccini at his most expressionist, in the tradition of Strauss, Wagner (the Tristan elements), Mahler, and even Berg. It portrays a style that would have been the dawn of new Puccini, had he lived to compose more works. Does Turandot contain verismo? Sometimes. Is it sentimental? No. It contains sentiment without falling into sentimentality. Love in Turandot is not love in the sense of Pinkerton and Butterfly. This is expressionist love — Calaf represents life and Turandot represents death. There is an inherent feeling that the life in Calaf needs to couple with the death in Turandot to create harmony in nature, like yin and yang. The music of Turandot invites a connection with something greater than oneself, creating a truly spiritual experience for the audience. – David Stern
Message from the director I am very excited to be back at Edmonton Opera with Turandot and Cinderella this season. Tonight’s Turandot is special because it brings a vibrant production to Edmonton Opera in a piece that is traditional, yet not traditional. Turandot was the last opera Puccini wrote; in fact, he died halfway through composing Act Three. Towards the end of his life, Puccini was able to create some very dynamic music because he started choosing characters and stories that were strong and interesting. In Turandot, Puccini adds a mixture of anger and softness into a character who cannot admit that she is in love, which infuses the music with a whole new intensity. The score captures Turandot’s terrifying ferocity, while bringing joyous music in Calaf’s soaring ‘Nessun dorma’ and sublime tenderness in Liu’s arias. The music of Turandot thus erupts with energy and takes you on a very dramatic journey throughout. The character of Turandot has always intrigued me — she is so complex and dynamic, and even atypical as far as opera heroines go. Her strength and fierceness are amazing, and for most of the opera, her anger dominates. But even more remarkable is Turandot’s transition into finding love and embracing the softness of her heart; as a director, the 16 EDMONTON OPERA 2016/17 SEASON
melting of her icy exterior is truly magical to discover. The thing about this opera is that, much like Aida, Turandot is essentially a chamber opera with scenes of pageantry and grandness. In approaching it this way, one is able to find the many layers and colours of these great characters and the story. Liu, Calaf and Timur are all of a “real” world within this fairy tale, juxtaposed against the world of Ping, Pang and Pong who are from another realm altogether adding even more colour to the piece. We have a remarkable cast for this production; each singer is at the top of their game, because it couldn’t be any other way. Puccini’s music is highly demanding, and requires Olympic level vocal performance. There were moments while rehearsing this production, when my belief and love of opera seemed reborn — when it was again clear that opera is an essential in this life. The music says those things we have no words for. All your senses are in for a treat this evening. Puccini’s music, combined with the unique scenery full of Chinese symbolism and costume designs from Allen Charles Klein, create a whimsical and immersive fairytale world. Turandot is an operatic experience like no other! – Robert Herriot
Edmonton Opera presents
Turandot
October 22, 25 & 27, 2016 Music by Giacomo Puccini Libretto by Giuseppe Adami and Renato Simoni Premiere: April 25, 1926, La Scala, Milan Born Dec. 22, 1858, in Lucca, Italy, Giacomo Puccini was the fifth child (of eight) and first son born to Michele and Albina Puccini. His family was musically inclined – in fact, members of his family had held the position of music director at the Cathedral of San Martino for decades. When his father died, the municipality of Lucca not only supplied his family with a small pension, but held the music director position until Puccini came of age. He was regularly exposed to opera, but it was upon seeing Verdi’s Aida that Puccini decided he wanted to compose for the art form. With the help of a grant from the Queen of Italy, he was able to attend the Milan Conservatory, and studied under Antonio Bazzini and Amilcare Ponchielli. Puccini experienced both failures and successes during his lifetime, including the premiere of Madama Butterfly, which required the work to be adjusted before premiering again a few months later (and received a much better reception the second time). He did not work easily with librettists, and Manon Lescaut lists only the composer, because approximately seven librettists worked on the piece at some point. Puccini was obsessed with creating the perfect libretto and the perfect dramatic experience. At the time of his death, Turandot was incomplete. At its premiere, it was performed as it had been written, but by the second performance, Franco Alfano had written an additional two scenes based on Puccini’s notes and sketches. Puccini’s personal life was also dramatic – he lived with a married woman, Elvira Gemignani, and had a son with her, finally marrying her in 1904 when her first husband died. By 1901, he had been in two automobile accidents, and died at the age of 65 on Nov. 29, 1924, of a heart attack in Brussels, shortly after surgery for throat cancer. A funeral was held in Brussels before his body was moved to Milan, where there was a second funeral. He is buried with his wife and son in Torre del Lago.
Conductor Director
David Stern Robert Herriot
The Cast
Turandot Calaf Liu Timur Ping Pang Pong Mandarin Emperor Altoum
Othalie Graham David Pomeroy Michele Capalbo Giles Tomkins Geoffrey Sirett James McLennan Christopher Mayell Dion Mazerolle Matthew Bruce
Understudies Liu Whitney Sloan Calaf Matthew Bruce with members of the Edmonton Opera Chorus, Supers, and Cantilon Choirs and the Edmonton Symphony Orchestra
Scenery & Costume Designer Originating Director Lighting Designer Chorusmaster/Repetiteur Understudy Coach Cantilon Choir Director Stage Manager Assistant Stage Manager Assistant Stage Manager Apprentice Assistant Stage Manager Apprentice Assistant Stage Manager
Allen Charles Klein Bliss Herbert Barry Steele Peter Dala Leanne Regehr Heather Johnson Ha Neul Kim Anna Davidson Al Gadowsky Morgan Graumann FengYi (Mona) Jiang
There will be one 20-minute intermission between Acts I and II, and one 15-minute intermission between Acts II and III. This production was originally created by Bliss Herbert and Allen Charles Klein for Florida Grand Opera, The Dallas Opera, and San Francisco Opera. 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. TURANDOT 17
SYNOPSIS Act One Outside the Imperial Palace, a mandarin reads out a royal proclamation: the Prince of Persia, who recently sought to marry Princess Turandot, will be executed because he failed to answer the princess’s three riddles. Any man who seeks Turandot’s hand in marriage must solve the riddles she poses; should he fail, he will be sentenced to death.
Listening to this announcement are an elderly man, Timur, and his devoted helper, a girl named Liu. Calaf, who is also in the crowd, notices the pair and immediately recognizes Timur as his long-lost father. As the two men embrace in heartfelt reconciliation, the Prince of Persia is brought forward to face execution. The crowd pleads for him to be spared, but Princess Turandot appears and commands the execution to proceed. This brief appearance is all it takes — Calaf is in awe of Turandot’s beauty, and decides that he will try to win her love. Everyone in the crowd is horrified, including Liu (who is in love with Calaf) and Timur. Turandot’s three ministers Ping, Pang, and Pong, try to talk Calaf out of his fatal pursuit, but Calaf will listen to no one. He comforts Timur and Liu, then strikes the gong to announce himself as a new suitor.
Photos: Reed Hummell, Nashville Opera’s Turandot
Act Two
Act Three
Ping, Pang, and Pong explain the number of men who have fallen to Turandot’s wrath, and hope that she will find love soon. A crowd gathers as Calaf is presented to the court. Turandot’s father, Emperor Altoum, asks the young man to retract his proposal and live to see another day. Calaf politely declines.
Turandot commands that no one in the kingdom shall sleep until she has found out the suitor’s name. An angry mob hunts down Liu and Timur, but Calaf tries to convince everyone that they do not know his name.
Turandot enters and sings of her ancestor, Princess Lou-Ling, who was abducted and killed by a prince. This wound has been passed down the generations and causes Turandot to disavow marriage, asserting that no man will ever possess her. Turandot then poses three riddles to Calaf. To her surprise and anger, Calaf answers each riddle correctly. As the crowd celebrates Calaf’s success, Turandot remains angry. Still determined to win her love, Calaf approaches Turandot and serves her a challenge: if she can learn his name by sunrise, Calaf will give up his life.
Turandot enters and has Liu captured and tortured, but Liu does not give up Calaf’s name. She speaks directly to Turandot, wishing the princess to find love. Liu then takes a dagger and kills herself. The crowd gathers and takes her body away. Now alone, Turandot confronts Calaf. Overcome with emotions, Calaf kisses the princess and for the first time, Turandot feels love. She begins to weep. Knowing he has melted Turandot’s heart, Calaf has nothing to fear — he reveals his identity. In front of the entire court, Turandot announces that she has learned the stranger’s name: it is Love.
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.
S A M E G R E AT S E R V I C E
BRAND NEW LOOK
F O R A L M O S T 3 0 Y E A R S , W E ’ V E P R O V I D E D P R O F E S S I O N A L , E C O - F R I E N D LY D R Y C L E A N I N G S E R V I C E S T O T H E G R E AT E R E D M O N T O N A R E A . A N D F O R T H E P A S T S E V E N T E E N Y E A R S W E ’ V E B E E N P R O U D PA RT N E R S A N D P R E F E R R E D D RY C L E A N E R S O F T H E E D M O N T O N O P E R A . T H A N K Y O U F O R Y O U R C O N T I N U E D S U P P O R T.
Turandot How do we reconcile, in our contemporary understanding,
the fact that an Italian composer created an entire opera that supposedly represents the Chinese nation — especially when his knowledge of the ‘Orient’ was restricted to a few books and one music box? Opera lovers and scholars have pondered this question extensively over the past few decades, aiming to examine Puccini’s orientalist disposition and invite audiences to consider the issue while watching Turandot. There is arguably no one solution to this complex problem, but recognizing the cultural politics of representing our collective notions of the East is certainly a step forward.
Orientalism In his groundbreaking 1978 book titled Orientalism, American scholar Edward Said took centuries of European history to task: he showcased modern Western civilization’s reliance on characterizing the Middle East and the Far East as primitive, mysterious, and potentially dangerous. By constructing the East as an ideological opposite, that is, as feminine, irrational, sexualized, and exotic, the West can view itself as masculine, rational, and self-assured. The consequences of such artistic representation do not remain within the realm of art; in fact, orientalism has historically both accompanied and enabled colonial expansion. The perceived weakness and primitive nature of the East gave European nations the justification to conquer and civilize these lands; in effect, orientalism in art and literature often resulted in violent interactions between West and its exotic Other.
The Characters in Turandot The character of Turandot can be traced back to an impressive historical figure from the Mongol Empire called princess Khutulun. This fierce warrior princess was an unmatched wrestling champion and invited suitors to face off against her; if a man was able to defeat Khutulun, she would agree to marry him. Unfortunately for the suitors, Khutulun never lost. When French traveller François Pétis de la Croix stumbled upon Khutulun’s legendary status during his travels to the Middle East, he knew it could make for an exciting work. Of course, the idea of an empowered female wrestler would not be acceptable within his own cultural context, so Pétis de la Croix instead created a harsh, unrelenting yet beautiful foreign princess who posed deadly riddles to her suitors. It is worth noting that the riddle component of Pétis de la Croix’s story was also inspired by a previous source, a Persian narrative poem named Haft Peykar. Thus the very character of Turandot, a name coined by Pétis de la Croix meaning ‘daughter of Central Asia’ in Persian, is a product of layered European interpretations and omissions. Another example of visible cultural mélange comes in the comic trio of Ping, Pang, and Pong. These clown-like figures were introduced (by different names) in the 1762 play by Carlo Gozzi, on which Puccini based his opera, as a revival of the commedia dell’arte tradition. Puccini 20 EDMONTON OPERA 2016/17 SEASON
casts them as Chinese government ministers who are cunning yet hilarious, supported by music that immediately invokes the Orient. Though crudely named, Ping, Pang, and Pong nonetheless bring forth an interesting reinforcement of Italian culture alongside Puccini’s limited understanding of Chinese culture.
The Jasmine Flower song When Puccini encountered a music box containing Oriental tunes, given to him by a friend, he was naturally quite fascinated. One melody made a remarkable impression on him, and ended up featuring prominently all through Turandot. This was the traditional Chinese song about a jasmine flower. Puccini intricately weaves the Jasmine Flower song into Turandot, used to accentuate key moments in the opera and add a flavour of China to the otherwise European score. Interestingly, the Jasmine Flower song (‘Mo Li Hua’) in its traditional context does not bear as much weight as Puccini assigns it. The song is simple, popular, and typically learned at an early age. It is nowhere the magnificent trademark of an entire Chinese empire that Puccini presents it as. In the context of orientalism, the elevation of Mo Li Hua in Turandot serves to equate traditional Chinese music with an authoritarian empire where love never thrives. One might learn to associate the folk tune with an image of China that is treacherous and unpredictable, especially because Puccini uses it in a way that sounds rather haunting.
Reclaiming Turandot Puccini’s epic final masterpiece, though celebrated around the world, was banned in China for almost seventy years. Partly because of the country’s political climate, its government did not appreciate Turandot’s role as a brutal dictator and the depiction of China as a dreary kingdom ruled by fear. Only in 1995, after playwright Wei Minglun adapted the story to address Turandot’s representation from a Chinese perspective, did the opera make its way to China. In 1998, perhaps the grandest and most famous production of Turandot was staged outside the Forbidden City in Beijing. Indian conductor Zubin Mehta and Chinese director Zhang Yimou collaborated on this international project that brought artists from around the world to China for an authentic (in Mehta’s words) reclamation of Turandot. Since then, the opera has been performed numerous times in China, and productions in the Western world have likewise become more globally conscious in their performances of Turandot. Ultimately, no scholar, artist, or opera lover can deny the sheer operatic genius of Turandot. It is the reason we continue to revisit the opera despite some of its difficult cultural politics. So while Puccini may not have considered the myriad of historical patterns apparent in his work, a discussion of Turandot’s complex cultural legacy creates a more wholesome experience of the opera without diminishing its status as one of the most musically stunning pieces ever created.
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Artists’
PROFILES David Stern Conductor
David Stern is a born communicator. Whether conducting a major symphony orchestra, baroque opera, teaching vocal master classes, or defending cultural activities, Stern keeps his musicians, students and audiences riveted by sharing his strong musical convictions, his flexibility of approach and his belief that music is relevant, and indeed essential in today’s world. He is the founder and director of the Paris-based opera studio and period-instrument ensemble Opera Fuoco, as well as artistic advisor of the Shanghai Baroque Festival and director of opera at the Crested Butte Music Festival in Colorado. He was appointed Chief Conductor of Palm Beach Opera in 2015.
Robert Herriot Director
Stage director Rob Herriot is pleased to be back with his Edmonton Opera family for the first of 2 productions this season. Previous productions for Edmonton Opera include HMS Pinafore, La Fille du Regiment, Pirates of Penzance, Tosca, Mikado and The Magic Flute. Other productions include Lucia di Lammermoor, Rigoletto, Don Pasquale, Don Giovanni, Marriage of Figaro, Carmen, La Bohème, Albert Herring, Gianni Schicci, Suor Angelica, and Barber of Seville for companies across North America including Calgary Opera, Manitoba Opera, Opera Lyra Ottawa, Utah Opera, Arizona Opera, Connecticut Opera, Wilfred Laurier Opera, and Opera Nuova. His productions have been nominated for a Betty Mitchell Award, 3 Sterling awards, winning Best Production of a Musical for HMS Pinafore.
Barry Steele Lighting Designer
For two decades Barry Steele has created designs for opera, dance, and music productions worldwide. Important engagements include San Francisco Opera Center, Lucinda Childs Dance Company, Ballet Stars of Moscow, Nantes Opera, and ODC Dance. New operas such as Vincent and The Man Who Mistook His Wife for a Hat as well as rarities like The Fall of the House of Usher and La Voix Humaine complement his considerable list of standard opera repertory gained from designing over one hundred productions as Resident Lighting Designer for Sarasota Opera, Des Moines Metro Opera, and New Jersey Opera. He currently acts as Production Designer for Battery Dance Company, supervising all productions domestic and foreign.
Othalie Graham Turandot | soprano
Canadian-American Soprano Othalie Graham is receiving critical acclaim internationally, ahead of her Canadian debut with Edmonton Opera. In 2015-16, she sang Turandot with the Gran Teatro Nacional del Perú and Nashville Opera, and was featured in Gala concerts with the Orquesta Filarmónica de la UNAM. She was also seen as Serena in Porgy and Bess with Toledo Opera and Springfield Symphony. Other recent engagements include the title role in Aida with Opera Carolina, Toledo Opera and at the Teatro Greco di Siracusa in Sicily; the title role in Turandot with Michigan Opera Theatre and Arizona Opera ; the title role in Ariadne auf Naxos with Festival Opera; the role of Minnie in La Fanciulla del West with Nashville Opera ; and Verdi’s Requiem with the Atlanta Symphony Orchestra.
David Pomeroy Calaf | tenor
Newfoundland native David Pomeroy is enjoying a career that has placed him in the spotlight on some of the world’s most important stages. He made his Metropolitan Opera debut portraying the title role of Faust followed by Hoffmann in Les contes d’Hoffmann, under the baton of Maestro James Levine. His engagements for 2016/17 include Calaf in Turandot with Edmonton Opera and Calgary Opera, Verdi’s Requiem in Vancouver, Braunfels’s Te Deum with the Warsaw Philharmonic, and Florestan in a new production of Fidelio with the Cologne Opera. Pomeroy was recently seen as Don Jose in COC’s Carmen, Paul in Die Tote Stadt at Oper Frankfurt and Henri in Les Vepres Siciliennes at the Royal Danish Opera. His recent concert appearances included the tenor soloist in Mahler’s Symphony No. 8 with the Vancouver Symphony, and Janáček’s Glagolitic Mass with the Orchestre Metropolitain de Montreal, under the baton of Yannick Nezet-Seguin.
Michele Capalbo Liu | soprano
Rarely is the opera world treated to the talents of a genuine Verdian soprano... Michele Capalbo is that rarity. Recent and upcoming engagements include the title role in Tosca for Vancouver Opera and Opera Lyra Ottawa, Poulenc’s Stabat Mater for the Edmonton Symphony, Verdi’s Requiem for the Ottawa Choral Society and Madama Butterfly for the Saskatoon Opera. Selected credits include the role of Aida for Le Festival de Musique de Strasbourg; Palacio de Bellas Artes, Mexico; Théâtre du Capitole de Toulouse, France; the Canadian Opera Company and San Francisco Opera. In addition to a demanding performance schedule, she remains an advocate for music education. turandot 27
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Artists’
PROFILES Giles Tomkins
Timur | Bass-baritone Bass-baritone Giles Tomkins is recognized as one of Canada’s most versatile singers, widely praised for his vocal virtuosity and lyricism in an impressive range of repertoire. Operatic highlights for Giles include Raimondo (Lucia di Lammermoor) with Edmonton Opera, Colline (La Bohème) with Manitoba Opera and Don Basilio (Barber of Seville) with Pacific Opera Victoria. This summer, Giles portrayed Gandalf in the Canadian Childrens’ Opera Company performances of Dean Burry’s The Hobbit and returned to Cape Breton for The Bells of Baddeck, a music drama based on the life of Alexander Graham Bell by Lorna MacDonald and Dean Burry.
Geoffrey Sirett Ping | baritone
Baritone Geoffrey Sirett continues to impress musicians and audiences in debut performances in opera, concert and recital repertoire. He was recently seen in Edmonton Opera’s Carmen and The Merry Widow, as William Dale in the Montreal premiere of Kevin Puts’ opera Silent Night, and in Adams’ The Wound Dresser for the Victoria Symphony. Other engagements include Messiah for the orchestras of Winnipeg, Victoria, London, and St. Matthew’s Church in Ottawa in addition to an Opera Gala for the Kingston Symphony. Mr. Sirett is a graduate of the University of Toronto where he completed a Master’s in Music (Opera).
James McLennan Pang | tenor
An alumnus of Opéra de Montréal’s Atelier Lyrique and the Second City Training Centre in Toronto, James McLennan has performed on opera stages across Canada in a career encompassing over 25 roles. Recently: Almaviva in The Barber of Seville and Triquet in Eugene Onegin (Edmonton Opera), Caïus in Falstaff (Opéra de Montréal and Hamilton Opera), Tamino in The Magic Flute (Sudbury Symphony), Goro in Madama Butterfly (Opéra de Montréal and Pacific Opera Victoria), and Young Bilodeau in the world premiere of Les Feluettes (Opéra de Montréal). Upcoming engagements include Bardolfo in Falstaff for Manitoba Opera and Young Bilodeau in Les Feluettes at Pacific Opera Victoria.
Christopher Mayell Pong | tenor
In addition to joining Edmonton Opera as Pong (Turandot) this season, Mr. Mayell joins Manitoba Opera as Dr. Caius (Falstaff) and Vancouver Opera in the dual roles of Don Basilio and Don Curzio (Le Nozze di Figaro). Selected recent highlights include Carmina Burana for the Grand Philharmonic Choir, the Winnipeg Symphony and the Toronto Mendelssohn Choir, Candide for Calgary Opera and the role of Albert in Albert Herring at the Aldeburgh Festival in England. Mr. Mayell has collaborated in the creation of new works, including Opera Nuova’s The Lives of Lesser Things, Toronto’s Tapestry New Opera in Payne’s Get Stuffed!, and Aaron Gervais’ Oksana G.
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Artists’
PROFILES Dion Mazerolle
Peter Dala
Mandarin | baritone
Chorusmaster/Repetiteur
Acadian baritone Dion Mazerolle has received critical acclaim for his “smooth voice, assured and at once both thunderous and nuanced” (Messiah) and “great wit and charm” in the title role of Salieri’s Falstaff with Toronto’s Voicebox: Opera in Concert with Aradia Ensemble. Operatic performances for this versatile artist include Chabrier’s L’étoile with Société d’art lyrique du Royaume in Chicoutimi, Quebec, the Four Villains in Offenbach’s Les contes d’Hoffmann with Opera-Theatre de Rimouski and Dr. Malatesta (Don Pasquale) with Opera York. Dion recently starred as Ramos in Montreal’s Chants Libres world premiere of The Trials of Patricia Isasa.
Peter Dala began his conducting career over 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
Matthew Bruce
Emperor Altoum/ Calaf Understudy | tenor Matthew Bruce’s passion for the performing arts inspired him to study voice, acting, and dance at the Canadian College of Performing Arts in Victoria, BC. Upon graduating, Mr. Bruce continued his vocal training at the Victoria Conservatory of Music and advanced his artistic development in the Opera Studio program where he studied privately with Ms. Nancy Argenta. Mr. Bruce is a graduate of the Calgary Opera Emerging Artist Development Program and has performed the roles of Male Chorus (The Rape of Lucretia), Candide (Calgary Opera in the Village), Jonathan Dale (Silent Night), Le Dancaïre (Carmen), and Roderigo (Otello, Pacific Opera Victoria).
Understudy Coach
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.
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Artists’
PROFILES Ha Neul Kim Stage Manager
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Assistant Stage Manager Anna is so happy to be working on Turandot this season. Past Edmonton Opera assistant stage manager credits include Mary Stuart, 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.
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As a graduate of the University of Alberta’s technical theatre production program with a specialization in stage management, Ha Neul has worked at theatres and major special events across Canada. She is delighted to mark the 2016/17 season as her 15th with Edmonton Opera, taking over as Stage Manager in 2007. These past 15 years have been an incredible experience, being involved in over 35 productions and in the company’s artistic operations. Ha Neul also enjoys the opportunity to mentor Assistant Stage Managers and Apprentice Assistant Stage Managers for each EO production, and teaches a class in opera stage management at the University of Alberta.
Training $1.3M
Al Gadowsky
Assistant Stage Manager Al is thrilled to return to Edmonton Opera for Turandot, after working on The Merry Widow last year. Al has had various engagements with the Citadel Theatre: as assistant stage manager for Alice Through the Looking-Glass and West Side Story, and apprentice stage manager for Monty Python’s Spamalot, Make Mine Love and Avenue Q. Other stage management credits include Working It Out (Alberta Workers Health Centre) and Glenda’s Kitchen (Charlottetown Festival). Coming up, he will ASM for Fortune Falls by Catalyst Theatre. Al is a graduate of the BFA stage management program at the University of Alberta. He would like to thank his family and friends for their continuing love and support.
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turandot 33
Edmonton Opera chorus
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Supernumeraries
Andrea Pinna Caspar Seely Dan Rowley* Gavin Belik Joseph Chambrinho* Mathew Glenn Robert Rock*** Terry Cheng
Andrae Marchak* Elliot Harder Greg Maluzynksy** Hans Forbrich** Ivan Fedyna* John Adria** John Yun** Martin Galba* Jason Somerville Nick Horobec** Francis Price*** Teaan van Zijl
Lydia-Ann Levesque Cristina Weiheimer* Sanja Garanis Isabel Davis Krista Paton Christina O’Dell* Emily Valliant Kim Oviatt Alison Turk
Betty Kolodziej*** Seang Youn Choi Ann Parry*** Patrece Maluzynsky* Linda Farrah-Basford*** Sable Chan Tatiana Stanishich Joanne Linden** Karen Zabinski*
Mike Boire Mitch Caddick Fred Deis* Markiyan Fedyna Adrian Howard Walter Hsu* Terry Ingraham* Howard Kowalchuk* Tim Lo Nicholas Rose Mikhajlena Fedyna Autumn Ballek Nicole Yakimec Ethan Spenrath
Toby Robinson Norah Shippit Grace Tessier Julianna Tinga Marina Tinga
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Cantilon Choirs Choir Director: Heather Johnson Sophie Brereton Bianca (Bibi) Compri Serene (Sisi) Compri Theara (Ara) Compri Grace Daly
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The charming costumes of Cinderella Winter can be a cold, long, and dreary time for many Edmontonians. This is especially the case in February, after the holiday season is a distant memory and all that New Year’s resolution vigour has guiltily worn off. Between snow, freezing temperatures, and dark days, how does one lift the spirits? Enter Rossini and his charming, heartwarming Cinderella. This opera is the perfect antidote to a plethora of wintertime blues. With its bubbly melodies, quirky characters, and a plot that zigzags between mistaken identities, Cinderella is like a grand feast for the senses that will leave you feeling cheerful once again! To celebrate the 200th anniversary of Cinderella, Edmonton Opera will stage a new production that brings zany 1950’s spunk and glamour to Rossini’s bel canto romantic comedy. You’ll get a generous serving of edgy haute couture, inspired by the era of big fashion houses and their influence on the Audrey Hepburns and Grace Kellys of yesteryear! Costume designer Deanna Finnman is drawn to the 1950’s fashion era not only for the kind of designs it produced, but also for its connection to the themes seen in Cinderella. “The fifties reflect a time when women were strictly expected to have a certain place. This helps us update the time period Rossini wrote Cinderella in (1817) without losing its thematic significance,” says Finnman. “In the opera, Don Magnifico is an overbearing father who is trying to get his daughters married. The two daughters (Clorinda and Tisbe) are wrapped up in fashion all the time because they are told their looks are all they’re worth,” she explains. 40 EDMONTON OPERA 2016/17 SEASON
Costumes designed by Deanna Finnman
Finnman envisions the women’s costumes as a ‘battle of the dresses’. The two stepsisters are competing fashionistas with their own distinctive looks, both equally over-the-top and garishly reflective of their personalities. Clorinda’s costumes are quite fluffy and feminine (see the ‘cupcake dress’ above) while Tisbe’s are more angular and sensual. “The costumes have really sumptuous colours; in 1950’s haute couture they used very complex colour schemes, including lots of tertiary colours like pinks and purples. We have amped that up for the stepsisters, since they have gone to the far end of ‘bigger is better’ in their clothes,” says Finnman. Cinderella’s look, in contrast, “has a simplicity that radiates her true beauty,” Finnman notes. “Her transformation will be into a gown that is elegant, unencumbered, and timelessly beautiful.” Since the world of Cinderella is quite cutthroat and seldom leaves room for genuine humanity, her costumes juxtapose conceptually with the wicked stepsisters’. The designs you see are now in the process of being built into intricate pieces that will dazzle the Jubilee stage in February. Hundreds of hours will go into creating these unique costumes, right here at our production facility in Edmonton. With such glowing insight into the stunning designs we have lined up for the production of Cinderella, winter might well be a time to look forward to — prepare to enjoy an evening of entertainment, romance, and visual spectacle, accompanied by Rossini’s effervescent bel canto tunes!
At the helm of Strauss’s commanding score will be British conductor Alexander Prior, who has become a regular face at the Edmonton Symphony Orchestra in the last few years. Prior is fascinated with Elektra, calling it one of those “pivotal, brilliant, and most exciting masterpieces in the repertoire,” adding that it is any conductor’s dream to work on this opera. Conductor Alexander Prior
Clearly, the ancient Greeks believed in revenge. Brutal revenge, to be precise. Their theatre examined the worst possibilities of human nature, reaching into the lowest depths of our psyche to purge us of immorality. The story of Elektra does this in particularly effective (and horrifying) ways. When Richard Strauss composed his 1909 opera Elektra, based on the play Electra by Sophocles, he wanted to capture the essence of this Greek heroine’s madness — how does a woman cope with the gruesome murder of her father, that too at her own mother’s hand? When does grief turn into anger, anger into obsession, and obsession into a complete loss of control? The resulting score is undoubtedly one of opera’s most chilling. It not only reflects Elektra’s deep psychological turmoil, but also spurs her on to commit heinous acts. The music keeps you on the edge of your seat, creating both excitement and dread simultaneously. Strauss had first explored this style of composition in Salome, which Edmonton Opera staged during the 2013/14 season, and he really perfected it with Elektra.
“Elektra is a really good opera for first timers and experienced operagoers alike. It is intense, visceral, and immediate. The music is a good head banger at times, which is quite fun, and allows a very physical experience,” he says. On the other hand, Prior suggests that Elektra can also be “an emotional experience, because it addresses the themes of longing, loneliness, and a desire to find justice when there isn’t any to be found. Like any great opera, it helps us understand ourselves a bit better.” The role of Elektra can be hugely challenging, which explains the rarity of sopranos who can perform this complex and delicate character. One of the most prominent is dramatic soprano Elizabeth Blancke-Biggs, known for her “rapturous sound” (Miami Herald) and her haunting portrayal of opera’s famous ‘madwomen’ — Salome, Lady Macbeth, and of course, Elektra. In yet another first, Edmonton Opera presents the Alberta premiere of Strauss’s riveting and evocative Elektra, promising a live theatre experience that will immerse you in its intensity. This March, strap in for an uninterrupted 100-minute roller coaster ride through the psychological highs and lows of opera’s most dangerous woman. No one is safe once Elektra vows her revenge!
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42 EDMONTON OPERA 2016/17 SEASON
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edmonton opera board of directors 2016-2017 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 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 Mary-Lou Hamilton, Director of Strategic Partnerships Jennifer Hinnell Warner, Grants Officer Gordana Bosiocic, 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 Mikael Gustafsson, Assistant Head Scenic Carpenter Megan Kumpula, Head, Properties & Scenic Paint Tessa Stamp, Assistant Head Properties & Assistant Head Scenic Paint Deanna Finnman, Head, Wardrobe & Resident Wardrobe Designer*
Brenda Inglis, First Assistant Wardrobe* Ava Siemens, First Stitcher Kathryn Neuman, Stitcher Judy Morley, Head Wig Builder* Nancy Horn, Wig Builder* Kris Aasen, Production Coordinator Morgan Franche, Transportation Captain Robert Clark, Transportation Commander Taralyn Bieganek, EO Facilities Jeff Yee, EO Facilities Connor MacDonald, Production Assistant
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 Tessa Stamp, 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* Leanne Scott, Make-up Artist Osase Emokpae, Make-up Artist Lynnette Kuchera, Make-up Artist Judy Morley, Head Wigs & Hair* Nancy Horn, Wigs & Hair* Rebecca Klassen, Wigs & Hair Pat Mackenzie, Supertitle Cuer*
*10 years or more of service to Edmonton Opera.
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�pcoming
events
Giving Tuesday || November 29, 2016 Start off your holiday season on the right note, with a gift that can make a difference! This year, Edmonton Opera is pleased to partner once again with Kids Up Front, bringing the magic of opera to families. On November 29, every $20 contribution made will provide a child’s ticket to the opera, and every $100 donation will bring a family of four to our upcoming production of Cinderella. Free Film Screening || January 11, 2017 || 7 p.m. Enjoy the timeless romantic comedy Roman Holiday starring Audrey Hepburn and Gregory Peck at the Metro Cinema on Wednesday, January 11. Bring a date or come with friends to this free, fun-filled screening of Hollywood’s glamorous reverse Cinderella story! Opera 101 || January 18, 2017 || 7 p.m. Learn all about the music and background of Rossini’s charming bel canto opera, Cinderella, with a panel of experts at the CKUA building downtown. This event is free to attend, RSVP required. Opera Brunch || January 15, 2017 || 11 a.m. The talented cast of Cinderella welcomes you to the Royal Glenora Club, where they will perform the best of Rossini’s effervescent melodies as you savour delectable brunch offerings! Education Dress Rehearsal || February 2, 2017 || 11 a.m. The matinee dress rehearsal of Cinderella will see over 2000 students of all ages gather at the Jubilee to experience our exciting new production of Rossini’s classic! This performance is now sold out, but we still have tickets available to enjoy the dress rehearsal for Elektra on Thursday, March 9 at 7 pm! Book your field trip to Elektra by emailing education@edmontonopera.com.
Cinderella || February 4, 7, and 9, 2017 Celebrate the 200th anniversary of Rossini’s bel canto confection as mistaken identities, charming duets, and stunning costumes come together in our newly designed production of Cinderella! Valentine’s Gala || February 14, 2017 Step back in time to 1950’s Hollywood at our annual Valentine’s Gala! Join us for the year’s most romantic evening, complete with gourmet offerings and spectacular live entertainment at the Shaw Conference Centre. For more information or to purchase tickets to any of these events, please contact the box office at 780.429.1000 or visit edmontonopera.com. 46 EDMONTON OPERA 2016/17 SEASON
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