Carmen Programme

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CARMEN CONTENTS

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Beyond Femme Fatale

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A MESSAGE FROM THE GENERAL DIRECTOR AND THE BOARD CHAIR Dear Opera Lovers, One of the most enduring triumphs in opera history, Bizet’s Carmen is unparalleled musical theatre, writ large. Its principal characters, Carmen and Don José, are driven by their desires and crushed by their weaknesses. Carmen, undeniably the most powerful female character in all of opera, knows that she’s doomed from the start, but never sways from her principles. Don José, by contrast, goes from naïve country boy, to infatuated lover, to deranged killer, driven mad by jealousy. It’s a tale of politics and class divisions, of seduction and scorn, and it runs decidedly hot, propelled by Bizet's stirring, Spanish-inflected score. As timeless as the music is, the enduring popularity of Carmen has as much to do with the melodic power of “Habanera” and the “Toreador song” as it does with the work’s realist, relatable setting. We’re wowed by the grand orchestrations and colour-splashed stagecraft, but we're drawn in, and drawn in closely, by the deeply human emotions that propel this classic, tragic drama.

We’ve been bowled over by the buzz around town for this fittingly grand-scale production of Carmen. Not that we didn’t anticipate strong interest, but we found ourselves with the fastest-selling show in Vancouver Opera history on our hands! Thankfully, we planned an extended run of five performances to meet the demand, which also means we had the opportunity to cast two spectacular singers for each of our leads, bringing an even-wider range of world-class talent to the Queen Elizabeth Theatre stage. It’s been an absolute treat to see our Carmens (Sarah Mesko and Carolyn Sproule) and Don Josés (Alok Kumar and Matthew White) working in rehearsals with director Rachel Peake, conductor Leslie Dala, the VO Orchestra and Chorus, and the rest of the top-flight cast. We can’t wait to share the richness of their artistry with you when the curtain rises!

With Carmen breaking all-time VO box office records, we’re ecstatic to report that opera is not just alive in Vancouver, it’s thriving. This grand-scale production, conceived and crafted by our friends at Opera Philadelphia, is a fitting close to a blockbuster 2023–2024 season, and the perfect springboard to the massive anniversary celebrations we have planned for 2024–2025. Next season marks 65 years of bringing spectacular experiences to our ever-evolving city, and from nostalgia to new ideas, we’re excited for what we’re going to bring to this milestone anniversary, and we can’t wait for you to join the celebration! 2024– 2025 season tickets are on sale now, and you can lock in the best seats at the best prices with unlimited, free ticket exchanges on two or three-show packages. There’s also huge savings to be had on single tickets: with our early bird pricing, you’ll save an additional 10% if you snap up your seats by May 31.

As we close the 2023–2024 season in spectacular fashion and look ahead to a celebratory 65th anniversary, we want to express our heartfelt gratitude to everyone who has supported VO through ticket sales, charitable donations, kind words, and invitations to friends to join you for an evening of exceptional opera. Together, we can keep world-class opera thriving in Vancouver for another 65 years, and beyond!

Tom Wright General Director

Susan Van der Flier Board Chair | CARMEN

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NOTES FROM THE CONDUCTOR Leslie Dala When Georges Bizet died on June 3rd, 1875, at the age of 36, he went to his grave believing that Carmen, which had opened exactly three months before at the Opéra-Comique, was the greatest failure in the history of opera. While this might seem unimaginable today (as Carmen is consistently one of the top five operas produced annually in the world, and its music is instantly recognizable through its consistent usage in advertising), the real reasons have nothing to do with the ingenuity and brilliance of the vocal and orchestral writing, but rather the prevailing societal norms and attitudes of the era in which it first appeared.

First of all, the Opéra-Comique was known for presenting lighter musical and theatrical comedic fare with a moralistic undertone in which virtue is ultimately rewarded. With a libretto

by Henri Meilhac and Ludovic Halèvy, based on Prosper Mérimée's 1845 novella, Carmen was anything but. Featuring common folk and outcasts of society whose values are outside of the norms of a “moral” society, the work shocked and upset the audiences of the time. Piotr Tchaikovsky, who had studied the piece and attended a January 1876 performance in Paris, considered Carmen “perhaps the most outstanding operatic work of our age” and predicted that “within ten years or so, it would become the most popular opera in the world.”

So, what makes Carmen such a great score? It is hard to think of another piece that has so many instantly recognizable numbers: the Habanera, the Toreador Song, the Séguedille, the rousing exuberant opening Prelude and each of the Entr'actes. This is a score that feels so spontaneous, so authentic, rather than composed. Bizet took pains to study the folk music of the region but all of the music is his own invention.

Richard Strauss wrote “if you want to learn how to orchestrate, don’t study Wagner’s scores, study the score of Carmen ...every note and every rest is in its proper place.” In the opening scene where the soldiers stand around in the town square, you can literally feel the stifling breeze with the alternating woodwinds and string undulations. The sultriness and erotic tension of Carmen’s "Habanera" is created with a simple ostinato pattern in the cello section with sprinklings of string pizzicatos, tambourine and triangle supporting the alluring chromatically descending vocal line which is dripping with invitation and danger.

We have chosen to perform the original version of Carmen which includes spoken dialogue (significantly reduced) rather than the version with sung recitatives composed by Ernst Guiraud after Bizet’s death. This work is clearly a forerunner to the verismo style of Puccini, Mascagni and others, but it is very much a work of its own time and place. For me, the combination of the spoken and sung voice adds to the power of conveying all of the raw contrasting emotions contained in this enduring masterpiece.

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FREE CONCERT SERIES Supported by The Voices Free Concert Series is an array of amazing free concerts across a broad range of disciplines. Get up close and personal with opera, theatre, dance, film and more in our Martha Lou Henley Rehearsal Hall and the Vancouver Public Library. Over 12 free events per year.

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DIRECTOR NOTES Rachel Peake The fascination with the character of Carmen transcends geography and generations. Does she act out of spite? Revenge? Love? Boredom? Need? Ambition? I think most of us are both drawn to and somewhat repulsed by her. My curiosity lands at the intersection of these ideas. The complexity of the character is what I fixate on. Would I invite her to dinner? Maybe. Would I like her? Maybe not. But do I understand her? I think so.

I know the challenges of being a woman in Canada in 2024. I can only guess what the challenges of being a woman in the middle of the 20th century in Southern Europe. There is also the genetic lottery: why is one person born to a life of privilege and another has to live by their wits? The women in this piece do what they can with what they have, Carmen more so than any other. She chooses to use her sexuality, her playfulness, her looks, her cunning, to get by in life.

This is where her power comes from. Without it, where does a poor, Romani, outcast young woman derive power? I can’t blame her for wanting to use the means she has at her disposal, even if I am not sure if I like her for that. I see her. And she knows, as all women know, that exerting her power is dangerous.

A friend of mine who has worked on Carmen many times told me she wishes the piece ended at Act III. I disagree. Much as I despise what happens to Carmen, this is the story. This evolution of love becoming obsession becoming serious danger is very real to many women. To many women even here, today. The man you love can become a monster.

The question of male identity is also at the centre of this play. We see many different versions of men: some who perform their masculinity, some trying it on, some slipping with ease into different versions of themself. Again, how does power, how does identity, sit inside these manifestations of masculinity? And what happens when that is threatened?

There is magic in this piece. There are songs that we know in our bones. There is energy, freedom, sexuality, and joy. There is also threat, danger, and violence.These extremes of humanity is what we come to the opera to experience, and here Bizet delivers. Thank you for joining us on this journey of identity, of power, of love.

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SYN OP SIS

ACT I On a blistering day, soldiers hang out and watch people go by. The shy, pretty Micaëla comes looking for Corporal Don José, but he’s not there. The soldiers try to get Micaëla to stay by flirting with her, but she leaves. Soon after, Don José arrives as the guards change shifts. The cigarette factory bell chimes, and women come out for their smoke break. The men flirt with the factory girls, too. Carmen comes out last, and everyone fixates on her, except Don José. Rising to the challenge, she sets eyes on him, sings "love is a rebellious bird that no one can tame” and throws him a flower. Laughing, she and the other women return to the factory. Don José hides the flower in his uniform. Micaëla returns with a letter from Don José’s mother, who begs him to marry Micaëla. As he reads the letter to himself, Micaela leaves. Suddenly, screams come from the factory. Carmen has gotten into a fight with another girl and slashed her face with a knife. Lieutenant Zuniga questions Carmen, who replies with a mocking “tra-la-la.” Don José is ordered to guard Carmen while Zuniga gets an order for her imprisonment. Alone with Don José, Carmen seduces him into making a plan that will let her escape.

Zuniga returns with Carmen’s formal arrest orders. As she’s being led away to prison, Carmen pushes Don José and escapes through the confused crowd.

ACT II Months later, Carmen and her friends Frasquita and Mercédès have fun singing and dancing for the soldiers late at night in Lillas Pastia’s tavern. Carmen hears that Don José, who was sent to prison because he let her escape, was released the day before. The famous bullfighter Escamillo arrives, and everyone is star-struck. He sings about his adventures in the bullring and flirts with Carmen, but she’s not interested. The soldiers and Escamillo leave as the smugglers Dancaïre and Remendado join Carmen, Frasquita, and Mercédès.

They need to deliver their smuggled goods and want the three women to join them. Carmen says she can’t go because she’s in love, but nobody believes her. Don José arrives and the others leave Carmen and Don José alone. He tells her how much he loves her. A trumpet signals that the soldiers must report back to the barracks.

Don José says he must leave, but Carmen mocks his loyalty to the military. Don José proves his love by pulling out the flower she threw at him when they met. That’s not enough for Carmen; she wants him to leave the army and join her free-spirited life. Don José tells her he could never leave the military. Zuniga shows up to see Carmen and orders Don José to leave. José refuses. The smugglers burst in, interrupt the fight, and tie up Zuniga. Don José has no choice but to flee with the smugglers.

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ACT III Late at night, the smugglers are carrying off their goods.

Carmen’s love for Don José is fading and the two bicker. She tells him to go home to his mother. Frasquita and Mercédès read their fortunes in cards, but when Carmen tries, she only sees her and Don José’s deaths. Planning to distract any guards, the women join the smugglers on their trip. Don José stays behind to watch the camp.

Micaëla has found her way to the smugglers’ site, looking to take Don José away from Carmen. Micaëla hides after seeing Don José shoot at and barely miss Escamillo, who is there to see Carmen. The Toreador claims the two of them are in love. Don José challenges him to a fight, but it is cut short when the smugglers return. After Escamillo leaves, Remendado finds Micaëla hiding. She tells Don José that his mother is dying. As Don José rushes off with Micaëla, Escamillo’s voice is heard in the distance.

ACT IV Outside the bullfighting arena, merchants hawk their wares. Zuniga tells Frasquita that an order has been issued for Don José’s arrest.

The crowd cheers Escamillo as he enters, and he and Carmen express their love for each other. As the throng enters the arena, Frasquita warns Carmen that Don José is somewhere in the crowd. Carmen says that she is not afraid and stays behind to confront him. Disheveled and crazed, he emerges from the shadows and begs Carmen to start a new life with him. Carmen says everything is over between them. Carmen tries to go into the arena and Don José blocks her. Carmen says that she loves Escamillo.

Enraged, Don José fatally stabs her. The crowd exits the arena with a victorious Escamillo to find Don José standing over Carmen’s lifeless body.

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BEYOND FEMME FATALE: THE CHANGING FACE OF CARMEN

by Rena Roussin In a 1986 issue of Opera News, Peter Conrad described Georges Bizet’s character Carmen as “an anthology of womankind no one interpreter can ever define or exhaust.” Nearly forty years later, these words still ring true, as Carmen’s characterization shifts with changing understandings of womanhood.

Initially portrayed as an anti-hero—an exoticized, disposable, and dangerous Romani “Other” — Carmen has been many things since the opera’s 1875 premiere in Paris, morphing over the years into a femme fatale, a seductress, a victim. Today she is more frequently portrayed as a heroine celebrated for her agency and strength.

Of course, Carmen the opera is about more than womanhood; it’s become a study of changing social understandings of masculinity, gender constructions, patriarchy, and gender-based violence. As French philosopher Catherine Clément observed in Opera, or the Undoing of Women, the operatic canon routinely falls prey to an “infinitely repetitive spectacle” of women who are punished—by murder, violence, loss of power, or loss of sexuality—for threatening the patrwwiarchal order. Carmen, unfortunately, is no exception: in the end, Don José stabs her in a murderous rage after she finds a new lover, Escamillo.

Throughout the twentieth century, Don José's downfall was viewed as the great tragedy of the opera, eclipsing Carmen's murder—a perspective now almost unimaginable. Carmen, once seen merely as a temptress, today stands as a potent symbol of resistance against gender-based violence. The opera's ending is fixed, but the ongoing stories of countless individuals confronting similar battles remain urgent and unresolved.

Rena Roussin is a doctoral candidate in musicology at the University of Toronto, where she studies opera's historic and current relationships to gender, disability, and concepts of social justice. As a reconnecting Métis and European settler individual, Rena is especially interested in the rise of Indigenous-led opera in Canada. An active public musicologist, she routinely writes program notes for the Toronto Mendelssohn Choir, for whom she is musicologist in residence, and the Toronto Summer Music Festival.

Originally from Vancouver Island, Rena is delighted to be returning to her West Coast roots by writing for Vancouver Opera!

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EPIC PASSION, REBELLIOUS LOVE

CARMEN

BY GEORGES BIZET LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY

Opera in 4 Acts 3 hours, including one 25 minute intermission In French with English SURTITLES™ First performed at the Théâtre national de l'Opéra-Comique in Paris, France on March 3, 1875.

Original Stage Director for co-production with Seattle Opera, Irish National Opera, and Opera Philadelphia: Paul Curran Set and Costume Designer: Gary McCann Original production was a Co-Production with Seattle Opera, Irish National Opera, and Opera Philadelphia. Scenery and Costumes constructed by Opera Philadelphia.

Conductor Leslie Dala

Director Rachel Peake

Choreographer Cydney Uffindell-Phillips

CAST IN ORDER OF VOCAL APPEARANCE Moralès Danlie Rae Acebuque* Micäela Jonelle Sills Don José Alok Kumar APRIL 27, MAY 2, 4 Matthew White APRIL 28, MAY 5 Zuniga Alain Coulombe

Carmen Sarah Mesko APRIL 27, MAY 2, 4 Carolyn Sproule APRIL 28, MAY 5 Frasquita Heidi Duncan* Mercédès Simran Claire*

Lillas Pastia Joey Lespérance Le Dancaïre Luka Kawabata Le Remendado Jeremy Scinocca*

Escamillo Nathan Keoughan

With the Vancouver Opera Orchestra, Vancouver Opera Chorus and Vancouver Opera Children’s Chorus

Stage Manager/Fight Captain Theresa Tsang

Assistant Director/ Intimacy Captain Sawyer Craig*

Assistant Lighting Designer Jamie Sweeney

Intimacy Director Sam Jeffery

Assistant Conductor/Chorus Director/ Assistant Stage Managers Children's Chorus Director/ Emma Hammond Principal Répétiteur Michelle Harrison Tina Chang Apprentice Stage Manager Répétiteurs Julia Lank Angus Kellett Indra Egan* SurTitle Creator Sarah Pelzer Women in Musical Leadership Participant Assistant Jennifer Tung

Fight Director Mike Kovac Set and Costume Designer Gary McCann Lighting Design Itai Erdal

*Artists from the Yulanda M. Faris Young Artists Program. | CARMEN

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VO'S 2010 NIXON IN CHINA. PHOTOS BY TIM MATHESON.

MICHAEL CAVANAGH REMEMBERED We mourn the loss of Michael Cavanagh, whose remarkable Vancouver Opera career began as our Resident Director in the early 90s. In this position, Michael was assistant director on VO’s mainstage productions while adapting operas for the Vancouver Opera in Schools program. His work at VO launched a journey that led him to direct over 150 opera productions at more than 30 companies across Canada, the U.S. and Europe. His groundbreaking production of John Adams’ Nixon in China for the 2010 Winter Olympics, a project developed by Vancouver Opera, showcased his innovative vision and significantly impacted the opera community. This production not only cemented his reputation as a masterful director, but also highlighted his ability to infuse opera with contemporary relevance and emotional depth. Michael's wonderful personality, his incredible ability to connect with all the artists that he worked with, and the infectious joy that he spread in the rehearsal hall has left deep impressions and made lasting friendships with the VO Chorus and staff members he worked with over a period of 30 years.

Beyond his contributions in Vancouver, Michael's legacy resonates through his tenure as Artistic Director of Edmonton Opera, his role as Director/Producer in Residence at Opera on the Avalon, and his celebrated work at prestigious venues around the world. After the success of VO’s Nixon in China presentations in Kansas City, San Francisco, Dublin, and Stockholm, Michael was invited back for several more projects at San Francisco Opera, including new productions of Susannah, Lucia di Lammermoor, and the Mozart/Daponte trilogy of Le Nozze di Figaro, Don Giovanni, and Cosi fan tutte. In 2020, Michael was named Artistic Director of The Royal Swedish Opera in Stockholm, exemplifying his global influence and dedication to the art form. Michael Cavanagh’s soulful, committed, and visionary approach to opera has left an indelible mark that will inspire future generations.

ORCHESTRA & CHORUS ORCHESTRA

Flutes Brenda Fedoruk Principal Anne-Elise Keefer Piccolo Anne-Elise Keefer Oboes Emma Ringrose Principal Erin Marks English Horn Erin Marks Clarinets Mary Backun Principal Christopher Lee Bassoons Ingrid Chiang Principal Allan Thorpe Horns Laurel Spencer Principal Nick Anderson Heather Walker Dawn Haylett Trumpets Katherine Evans Principal Jim Littleford Trombones Jeremy Berkman Principal Ellen Marple Bass Trombone Jackson Howard Timpani Phillip Crewe Principal Percussion Brian Nesselroad Acting Principal Lauri Lyster Harp Janelle Nadeau Principal

CHORUS

Violin I Mark Ferris Concertmaster Angela Cavadas Associate Concertmaster Ken Lin Shang Ko Chan Evelyn Creaser-Rumley Ellen Farrugia Lawrie Hill Hyunjung Julia Lim Domagoj Ivanovic Ji In Kim

Soprano D'Arcy Blunston Sarah Caulfield Rebecca Collett Eve-Lyn de la Haye Allyson Hop Aviva Lacterman Heather Pawsey Julia Rooney Szu-Wen Wang Karen Ydenberg

Violin II Rebecca Ruthven Principal Andrea Siradze Assistant Principal Heilwig von Koenigsloew Adrianne Stride Petro Krysa Richard Dorfer Toni Stanick Sandra Fiddes

Mezzo-Soprano Francesca Corrado Katie Fraser Brenda Glass Martina Govednik Katherine Landry Yacht Lisa-Dawn Markle Heather Molloy Megan Morrison Elena Razlog Dionne Sellinger

Violas Tawnya Popoff Principal Roxi Dykstra Assistant Principal Mila Tymoshenko Marie-Claude Brunet Barbara Irschick Colin Miles Cellos Ashton Lim Acting Principal Heather Hay Assistant Principal Susan Round Harold Birston Jake Klinkenborg Basses Maggie Hasspacher Principal Michael Vaughan Assistant Principal Meaghan Williams Remi Yueming Xia Orchestra Manager Jim Littleford Orchestra Stage Manager Nick Anderson

Tenor Callum Alden Kevin G. Armstrong William Grossman Brent MacKenzie Harout Markarian Ian McCloy Wade Nott Mark Pepe Don Wright Bass/Baritone Angus Bell DJ Calhoun Henry Chen Jason Cook Glenn deVerteuil Jonathon Dick Dean Giustini Willy Miles-Grenzberg Ed Moran Zainen Suzuki Philip Wing

Music Librarian Mia Gazley Orchestra Librarian Meaghan Williams | CARMEN

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CHILDREN CHORUS

PRODUCTION TEAM

Children Chorus Jake Apricity Hetherington Olivia Begg Emerald Chen Maggie Dang Clara Griesdale Eloise Grieve Fanya Gross Sofia Jones Ema Lake Marlowe MacLennan Sarika Menon Fontaine Molyneaux Behgooy Mana Nakamura Claire O'Donnell Christine Pielak Sofia Scaglione Manuela Shklanka Rachel Shakya Sissi Wang Jeen Yoon

Director of Artistic & Production Nicole Lamb

Production Electrician Dave Marx

Company Manager Kewen Huang

Child Supervisors Julia Abreu Colleen Alfredson Lorry Badajos, Lead Rachel Dreger Noah Epting Dayna Horn

Technical Director Jon Mottram Head of Wardrobe Roberta Doylend Head of Properties Stephen Elgar Assistant Properties Jesse Orr Production Assistant Jimena Pacheco Production Make-Up Michael Croteau

Supernumeraries Gabriel Eum Oscar Gil Mauricio Lopez Ever Nolasco Bianca Salazar

Production Hair & Wigs Lillooet Fox Wigs Designer Christine Hackman Wardrobe Assistant Lily Yuen Stitchers/Cutters Florence Barrett Sarah Butler Jayme Cline Tracey Gauvin Jaime Lievers Darryl Milot Jennifer Reid Kate Rittenhouse Production Carpenter Dale Baratelli

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THANK YOUS IATSE 118 Vancouver Civic Theatres Show Crew Martin Argus Carlos Avila Bob Bancroft Saghar Bazargan Mark Carter Jayme Cline Cordelia Cohen Scott Ellis Vince Folgizan Chantele Fry Tammy Greggain Therese Hartwig Brenda Hodge Andie Mei Fong Ho Joel Johnson Sarah Marchant Patrick O'Doherty David Page Vaughn Pease Mike Phelan Carolyn Reemeyer Robin Richardson Kate Rittenhouse Paul Siczek Anna-Lena Steiner Grant Windsor Lily Yuen At the time of printing, the show crew was incomplete. Please check the Digital Programme on VO's website for up-to-date information.

BIOS

GARY MCCANN Set & Costume Designer From Ireland, but based in Brighton, England, Gary designs sets and costumes for operas, internationally.

Recent works: A Midsummer Night’s Dream (ROH Muscat), The Merry Widow (Glyndebourne Festival); Ariadne auf Naxos (Teatro Verdi); Peter Grimes (Teatro La Fenice); Turandot (Teatro Petruzzelli, Bari); Phantom of the Opera (National Opera Bucharest); Eugene Onegin, The Golden Cockerel (Santa Fe Opera).

LESLIE DALA Conductor Leslie Dala is the Head of Music for Vancouver Opera and the Music Director of the Vancouver Bach Choir. He has guest conducted across Canada, as well as in Europe and Asia and he is a member of the Music Staff at the Santa Fe Opera.

His repertoire consists of over 100 operas and he will be conducting next season's production of Jonathan Dove's Flight.

RACHEL PEAKE Director Rachel is Artistic Director of the Grand Theatre. For Vancouver Opera she directed The Pearl Fishers, La Voix Humaine, La Cenerentola, The Marriage of Figaro, and Stickboy.

She has also directed Macbeth (Calgary Opera) and The Marriage of Figaro (Edmonton Opera). Recent theatre highlights: The Sound of Music (RMTC, Citadel), Sense and Sensibility (Arts Club), and Something Rotten (TUTS).

ITAI ERDAL Lighting Designer Itai is delighted to be back with VO where he previously designed Orfeo ed Euridice, Requiem for A Lost Girl and Stickboy. Itai has won six Jessie Richardson Awards, a Dora Mavor Moore Award, a Winnipeg Theatre Award, the Jack King Award, Victoria’s Spotlight Choice Award, a Guthrie Award and the Design Award at the Dublin Fringe Festival. He was shortlisted to the Siminovitch Prize in 2018.

DANLIE RAE ACEBUQUE, YAP Moralès Filipino-Canadian baritone Danlie Rae Acebuque is described to “possess a beautiful, warm baritone voice with enviable flexibility and an easy top.” Past highlights include Figaro (Il Barbiere di Siviglia), Dr. Falke (Die Fledermaus), John Smithurst (Florence: The Lady with The Nightlamp), Top (The Tender Land), Gianni Schicchi (Gianni Schicchi), Escamillo (La Tragedie de Carmen).

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JONELLE SILLS Micäela Jonelle Sills is one of the most exciting young sopranos of her generation.

Named one of CBC Music’s 30 hot classical musicians under 30, Jonelle recently made her company debut at the Canadian Opera Company as Mimi in La bohème, a performance that was lauded as being a “beautifully sensitive Mimi with careful control and colour” (The Globe and Mail).

ALOK KUMAR Don José April 27, May 2, 4 In 23 & 24, Alok Kumar debuts with Scottish Opera (Don Joșé in Carmen), Vienna Volksoper (Lazarus in Adams’ The Gospel According to the Other Mary), Portland Opera (Sankaram’s Thumbprint), Fort Worth Opera (Rodolfo in La bohème), State Opera of South Australia (Edgardo in Lucia di Lammermoor), MV Hong Kong (Percy in Anna Bolena) and Scottish Opera’s French Collection concert (title roles in Werther and Faust).

MATTHEW WHITE Don José April 28, May 5 In the 23/24 season, Matthew White starred in Rigoletto (Utah Opera), Oedipus Rex (Houston Symphony), Carmen (Opera Naples, Oper Im steinbruch), and Madama Butterfly (Opera de Montreal). He recorded Aaron Zigman’s Emigre with Deutsche Grammophon and the Shanghai Symphony as a joint venture with New York Philharmonic. Upcoming debuts: Manon Lescaut (Opera Festival of Chicago) and Don Carlo (The Danish Royal Opera).

ALAIN COULOMBE Zuniga Bass Alain Coulombe was a 2023 nominee for the Paul de Hueck and Norman Walford Career Achievement Award. He was in Wozzeck at La Scala, Don Giovanni at the Salzburg Festival and Manon Lescaut at the Dutch National Opera. Premieres include Messe Solennelle pour une pleine lune d’été at l'opéra de Québec, La Reine Garçon at l’Opéra de Montréal, as well as Waiting for Miss Monroe at the Dutch National Opera.

SARAH MESKO Carmen April 27, May 2, 4 This season Sarah Mesko debuts with Vancouver Opera as the titular character in Carmen and returns to Opera Theatre of Saint Louis for the title role in Handel’s Julius Caesar. On the concert stage she makes her debut with the Houston Chamber Choir and Orchestra in the world premiere of Daniel Knaggs's new major work The Joyful Mysteries.

CAROLYN SPROULE Carmen April 28, May 5 Recent: Cherubino in Le Nozze di Figaro with Calgary Opera, Lapák in The Cunning Little Vixen with Canadian Opera Company, Stéphano in Roméo et Juliette with Savonlinna Festival, Pobehlice in From the House of the Dead and Varvara in Kát’a Kabanová with Teatro dell’Opera di Roma, Carmen with Pacific Opera Victoria, Houston Grand Opera, and Opera Hong Kong.

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OPERA ADVENTURES a unique partnership with the Vancouver Public Library intended to share the joy of opera with our whole community with exciting free programming created around each mainstage opera.

VANCOUVER OPERA IN SCHOOLS brings fully staged productions right to students in school with sets, costumes, and glorious music. Operas like The Flight of the Hummingbird and Stickboy are highlights of this amazing program.

Find out more about our education programs at vancouveropera.ca/learn PHOTOS, TOP TO BOTTOM: 2023 Opera Miscast of The Magic Flute, Opera Summer Camp and Opera in the Park by Michael Cox

HEIDI DUNCAN, YAP Frasquita Hailing from Calgary, Alberta, soprano Heidi Duncan is a current participant in Vancouver Opera's Yulanda M. Faris Young Artists Program. This season, she covered the role of Pamina in Mozart's Die Zauberflöte and Norina in Donizetti’s Don Pasquale. Heidi holds both a Bachelor of Music and Master of Music from The University of Toronto.

SIMRAN CLAIRE, YAP Mercédès Mezzo-soprano Simran Claire joins Vancouver Opera as a member of the Yulanda M. Faris Young Artists Program. She has performed with companies across Canada and abroad including Calgary Opera, Pacific Opera Victoria and the Glimmerglass Festival. Alongside performance, she creates original work; her “utterly moving” narrative recital film Dadima was featured

by CBC Music, Opera Canada and Global TV.

NATHAN KEOUGHAN Escamillo Baritone Nathan Keoughan’s recent credits include his debut at Pacific Opera Victoria for Braunfels’ Die Vögel, Carmina Burana with Brott Music Festival and a return to Opéra de Montréal for Il trovatore. This season sees his debut at Vancouver Opera as Escamillo (Carmen), with Chorus Niagara for Bernstein’s Mass and with Opéra de Montréal for the world premiere of Bilodeau’s La reine garçon.

LUKA KAWABATA Le Dancaïre Nikkei-Canadian artist, Luka Kawabata 川端ルカ is a producer, performer and language-enthusiast, based in Vancouver. He has collaborated with major companies across the full breadth of the continent, including being selected for the prestigious Beth Morrison Projects: Producer Academy. The first theatrical presentation of his series The HAFU ハーフ Project is set for late-May with City Opera Vancouver.

JEREMY SCINOCCA, YAP Le Remendado Jeremy Scinocca is an award-winning tenor from Toronto and a returning member of Vancouver Opera’s Yulanda M. Farris Young Artists Program. This season he played the role of Lorenzo in their production of Bolcom’s Lucrezia and covered Ernesto in Don Pasquale. Recently, Jeremy made his role debut as Tonio in La fille sans regiment with Jeunesses Musicales Canada and Festival d’opéra du Québec.

JOEY LESPÉRANCE Lillias Pastia Recent credits include Me Love Bingo, Arts Club Theatre 2022, The Café, ITSAZOO Theatre 2022, A Midsummer Night’s Dream, Bard on the Beach 2022 and many more.

He received the Best Actor Award in 2015 for his role in À toi pour toujours ta Marie-Lou by Michel Tremblay, Théâtre la Seizième. Joey is currently signing his first solo show Michel(le) opening May 29th at Théâtre la Seizième.

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Since 2004, the David Spencer Endowment Encouragement Fund has been investing in emerging artists at Vancouver Opera, providing a boost for many artists' training to become professional performers.

We sincerely thank the DSEEF Trustees for their role in helping VO become a focal point for young artists training in Canada.

In this production of Carmen, we recognize Francesca Corrado, Alain Coulombe, Luka Kawabata, Jeremy Scinocca, Dionne Sellinger, Jonelle Sills and Karen Ydenberg as David Spencer Artists.

SUMMERSING! MAY 19 2024 AT 4PM VANCOUVER PLAYHOUSE

WORLD OF MUSIC MAY 18 2024 AT 7:30PM VANCOUVER PLAYHOUSE

TICKETS AND INFO: VANCOUVERBACHCHOIR.COM

BIOS CYDNEY UFFINDELL-PHILLIPS Choreographer Cydney’s credits include: As Choreographer/Movement Director: Macbeth (NT UK tour), Jekyll and Hyde & Cabaret (The English Theatre Frankfurt), The Soldier’s Tale (BBC Proms), The Borrowers (Theatre by the Lake), Our Country’s Good (Ramps on the Moon), Symphonie Fantastique (BBC Proms), L’enfant et Les Sortilèges (Teatro Nacional de São Carlos), The Revenger's Tragedy (Nottingham Playhouse).

SAM JEFFERY Intimacy Director Sam Jeffery is an intimacy director, actor, award-nominated fight director, and creator born & raised in amiskwaciwâskahikan (Edmonton) on Treaty 6 territory who now makes the coast her home. Select intimacy: Red Velvet, Elf: The Musical (Arts Club); Mob (Workshop West); Sunrise Betties (ITSAZOO Prod); Dooja Ghar (Monsoon Festival); Boy Trouble (Amoris Prod); Smoke (Tiny Bear Jaws).

MIKE KOVAC Fight Director Mike Kovac is a Certified Fight Director and Instructor with Fight Directors Canada, and works in film/ television/theatre in and around Vancouver. Along with Vancouver Opera he has been the FD for several companies, and is an instructor with Capilano University, UBC, and TRU. If you see him on stage or screen, he’s probably about to get beaten up.

SAWYER CRAIG, YAP Assistant Director A Canadian multidisciplinary artist with a passion for vibrant, collaborative storytelling. In demand as both singing actor and as stage director, she’s been praised as a “bit of a renaissance woman” (UM Today).

Onstage highlights: Adina (Highlands Opera Studio) and Frasquita (Edmonton Opera). Directing Highlights: Orphée aux enfers (U of A Opera Theatre) and Lucrezia (VO Young Artist Showcase).

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M A I N S TAG E

TINA CHANG Assistant Conductor/Chorus Director/Children's Chorus Director/Principal Répétiteur Described as a “scintillating player,” pianist and coach Tina Chang is currently on the music staff at Vancouver Opera. She has been involved with Wexford Festival Opera in Ireland and soundSCAPE New Music Festival in Italy. Locally, she works with Chor Leoni and Arts Club.

She maintains her own private studio and has been on the adjunct faculty at UBC, and Dalhousie University.

JENNIFER TUNG Assistant Conductor, Women In Musical Leadership Participant Dora-nominated conductor Jennifer Tung is Artistic Director of Toronto City Opera, Assistant Conductor of Mississauga Symphony Orchestra, and was named a 2020 conducting fellow with Tapestry Opera’s Women in Musical Leadership program.

Upcoming engagements including concerts with New Music Concert, Kamloops Symphony, and Symphony Nova Scotia. Jennifer studied conducting with Maestro Denis Mastromonaco.

THERESA TSANG Stage Manager In her over 25 seasons with Vancouver Opera’s Stage Management Department, Theresa Tsang has worked on nearly 100 productions for VO. She also stage manages for Garsington Opera and Wexford Festival Opera, earning acclaim for The Turn of the Screw and Silent Night. A UBC graduate, she is lauded internationally and received recognition from the Stage Management Association in London.

EMMA HAMMOND Assistant Stage Manager Emma has been active in theatre and opera for 10 years, working with a variety of companies, including Vancouver Opera, Pacific Opera, the Firehall, Ruby Slippers, Drayton Entertainment, Theatre Under the Stars, Theatre Replacement, and the Cultch. She will be stage managing School of Rock at TUTS this summer.

Thanks go to Marijka, Michelle, and Theresa for being one of the most amazing SM teams.

MICHELLE HARRISON Assistant Stage Manager Michelle has worked in stage management with Pacific Opera Victoria and Vancouver Opera on such operas as For a Look or a Touch, Orfeo ed Euridice, The Barber of Seville and The Flying Dutchman.

Recent theatre credits include Little Shop of Horrors (Arts Club/Citadel), The Sound of Music and Kinky Boots (Arts Club). She is a graduate of UBC.

JULIA LANK Apprentice Stage Manager Julia (she/her) is a stage manager and graphic designer. Opera: Don Pasquale, Le portrait de Manon (Vancouver Opera); L'elisir d'amore (BLO). Plays: Peace Country (rice & beans), How To Believe In Anything (the Cultch); Marjorie Prime (ETC); Gramma, The Cake (Pacific Theatre).

Next: Measure for Measure and The Comedy of Errors (Bard on the Beach).

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WE'VE SAVED YOU A SEAT.

JOIN OPERA ROUND TABLE—OUR COMMUNITY OF PASSIONATE OPERA SUPPORTERS. Kick off performances at exclusive pre-show dinners, mingle in the private ORT lounge, and peek behind the curtain at our ORT-only Meet the Artists events.

Your membership in ORT is tax creditable and lasts a full year. For more information, visit our website, or contact Bella Dingman at 604 331 4832 | bdingman@vancouveropera.ca

JAMIE SWEENEY Assistant Lighting Designer Jamie Sweeney is a Vancouverbased Canadian theatre collaborator.

She is a lighting designer, a production manager, a performer, a deviser, a creator, and an artist. She has a BFA in theatre production and design from Simon Fraser University.

Some companies she has worked with include Ballet BC, Bard on the Beach, Vancouver Opera, Arts Club, rice & beans theatre, vAct, and Neworld Theatre.

ANGUS KELLETT Répétiteur Over 20 productions as répétiteur with Vancouver Opera, including The Magic Flute (debut, 2007), Eugene Onegin, Nixon in China, and West Side Story. As music director for Burnaby Lyric Opera: La bohème, Carmen, Il barbiere di Siviglia, L'elisir d'amore, Madama Butterfly, and Pagliacci/Gianni Schicchi.

Keyboardist for many productions with the Arts Club, Gateway Theatre, and Broadway Across Canada.

INDRA EGAN, YAP Répétiteur Northern BC-born pianist and vocal coach Indra Egan holds a M.Mus. (Collaborative Piano, U of Toronto), where she won the Koldofsky Prize in Accompanying, and a B.Mus. (Piano Performance, U of Manitoba).

Opera highlights include The Magic Flute (Vancouver Opera), Béatrice et Bénédict (Opera Kelowna), Songbook XI (Tapestry Opera), La bohème (Opera NUOVA), and Colas et Colinette (Lyn Vernon Productions).

SARAH JANE PELZER English SurtitlesTM Sarah Jane Pelzer is a stage director and surtitlist based in Vancouver, BC. She has directed, assisted and taught across Canada and the US at Vancouver, Edmonton, and Manitoba Opera, Opera on the Avalon, Opera Kelowna, Wolf Trap and the New England Conservatory. Sarah is the co-founder of Lucky Penny Opera, a company dedicated to exploring alternative models for creating opera performances.

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2024/25 Season!

LANG LANG, PIANO

MARION NEWMAN, MEZZO-SOPRANO

JOYCE EL-KHOURY, SOPRANO

GORDON BINTNER, BASS-BARITONE

SUBSCRIBE NOW & SAVE UP TO 40%

THOMAS HAMPSON, BARITONE

RIHAB CHAIEB, MEZZO-SOPRANO

COMPARED TO SINGLE TICKET PRICES

Plus enjoy no-fee flexible exchanges.

Early access and discounts to special concerts including Lang Lang and Tan Dun’s Buddha Passion.

VancouverSymphony.ca/Subscribe 604.876.3434

OPERA SUMMER CAMP

VANCOUVER OPERA SUMMER CAMP | JUL 15–19 FOR 8-16 YEAR OLDS WITH A PASSION FOR MUSIC AND THEATRE LEARN MORE: vancouveropera.ca/learn/opera-camp

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Tickets: artsumbrella.com/season-finale

Supported by the Wesik Family Foundation

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Credit: Michael Slobodian

SEASON FINALE

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The Yulanda M. Faris Young Artists Program provides artists—singers, pianists and stage directors—with the opportunity to train with industry leaders through master classes, oneon-one coachings and performance opportunities as part of a residency program. vancouveropera.ca/artists-program/

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OPERA NU IN TS A HE LL

GRAND PRIZE DRAW

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Know your limit, play within it. 19+ to play!

VANCOUVER OPERA GUILD 2024 ESCORTED OPERA TOURS The Vancouver Opera Guild organizes a minimum of three escorted opera tours per year and features several destinations in North America including its annual spring tour to New York. Destinations in Europe are also featured including Britain, France, Italy, Germany, the Czech Republic, and Austria.

The tours to Munich, Strasbourg, Paris, and London in June and to Naples, Rome, Parma, and Milan in October are sold out but our 2025 spring tour to New York and our summer and fall tours are in the planning stages and details will be available shortly.

We invite you to join one of our escorted tours and experience some of the world’s most famous opera houses in the company of other opera enthusiasts.

FOR UP-TO-DATE TOUR INFORMATION PLEASE CALL Lis Dawson at 604-922-8008 Genny MacLean at 604-738-5535 For more information visit www.vancouveroperaguild.com

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VO IS PROUD TO BRING OPERA TO SCHOOLS WITH

PROJECT OPERA The magic of opera comes to the classroom! In this fun and highly interactive program, elementary school children work with VO artists and teachers to design and deliver an opera of their very own. Wherever the inspiration comes from—a book they love, a bit of local history, the wonders of nature—Project Opera helps kids create unforgettable experiences in song and story.

STUDENTS FROM GRANDVIEW ELEMENTARY PARTICIPATE PROUDLY IN PROJECT OPERA.

Find out more at vancouveropera.ca/learn

THANK YOU TO OUR SPONSORS

SEASON SPONSORS

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CORPORATE GIVING We are proud to partner with organizations who want to lend their support for arts and culture in our community. Our corporate sponsors help us create exceptional opera experiences while also building their own brand visibility and enjoying exclusive corporate hosting opportunities.

Reach out to our team at development@vancouveropera.ca

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VANCOUVER OPERA BOARD OF DIRECTORS

VANCOUVER OPERA STAFF

Chair Susan Van der Flier Vice Chair Krista Johanson Treasurer Roger Flowerdew Secretary Stanis Smith Past Chair Richard Rees

General Director Tom Wright

Human Alghabi Shaun Dolman Gagan Grewal Joshua Hutchinson Kirk LaPointe Pierre Lebel Maria Leone Jessica Macintosh Jennifer Muench Jan Sampson Carol Tsuyuki Wilson Williams Andrea Wood President, Vancouver Opera Guild Nancy Wu

VANCOUVER OPERA FOUNDATION BOARD OF TRUSTEES Chair Paul McEwen Treasurer and Secretary Jim MacCallum Jill Bodkin Jake Boxer Neil Carnell Roger Flowerdew Yuri Fulmer Emily Mackinnon Jennifer Muench Richard Rees Susan Van der Flier

Music Director Jacques Lacombe Music Director Emeritus Jonathan Darlington Director of Marketing Jonathan Harrison Director of Development Kayleigh Harrison Director of Artistic & Production Nicole Lamb Manager, Administration and Strategic Initatives William Murgatroyd Director of Engagement and Civic Practice Ashley Daniel Foot ARTISTIC PLANNING Company Manager Kewen Huang Head of Music Leslie Dala Coach/Répétiteur Tina Chang Music Librarian Mia Gazley PRODUCTION Technical Director Jon Mottram Production Assistant Jimena Pacheco Head of Properties Stephen Elgar Head of Wardrobe Roberta Doylend DEVELOPMENT Senior Manager, Major Gifts & Events Bella Dingman Senior Manager, Grants & Sponsorships Kseniia Gorlevaia Manager, Development Communications Hazel Yeung

MARKETING Creative Director Annie Mack Senior Marketing Manager Keltie Laidlaw Database and Ticket Centre Manager Tracey Flattes Ticket Centre Associate Charlene Hibbard Social Media Specialist Lucas Bertoli Senior Communications Advisor Stephen Lyons Publicist Cynnamon Schreinert Program Ad Sales Jennifer Lee ENGAGEMENT AND CIVIC PRACTICE Senior Teaching Artist Eve-Lyn de la Haye Teaching Artists Tabitha Brasso Ernst Nicholas Burns Holly Collis Handford Kris Epps Researcher and Writer Jane Potter Audio Producer Mack McGillivray Coordination Vincent Huynh YULANDA M. FARIS YOUNG ARTISTS PROGRAM Program Director Leslie Dala Coach Tina Chang Heidi Duncan, Soprano Simran Claire, Mezzo-Soprano Jeremy Scinocca, Tenor Danlie Rae Acebuque, Baritone Indra Egan, Pianist Sawyer Craig, Director

FINANCE AND ADMINISTRATION Accounting and Payroll Manager Sonny Sohn Office Services Manager Jennifer Pipe

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JOIN THE UBC OPERA ENSEMBLE FOR THE 2024/2025 SEASON

Three Mainstage Operas, Opera Teas and more!

SUBSCRIPTIONS AVAILABLE JULY 16TH

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LEGACY GIVING Legacy gifts allow donors to continue their support into the future and help celebrate and sustain this special art form for future generations of opera lovers. Vancouver Opera is deeply grateful to the thoughtful people who plan ahead to make a gift, and we would like to recognize the following for their legacy gifts.

Vancouver Opera Association LOIS BEWLEY GERALDINE RITA NICOLODI Vancouver Opera Foundation BOB HOUSTON

“Sensational instrument”

– Daniil Trifonov

"arguably today's leading classical virtuoso"

"without question the most astounding pianist of our age"

– The Globe and Mail

– The Times

W W W . S H O W C A S E P I A N O S . C O M

PATRON INFORMATION PREVIEW TALKS

RECORDINGS AND PHOTOGRAPHS

Learn more about the Vancouver Opera production you’re about to see at our complimentary Preview Talks. A great added value to your VO ticket, and an opportunity to gain insight into the performance, Preview Talks are offered an hour before every performance. Led by an expert, topics range from the composer’s life and repertoire, to historical context about the work, to more details about the artists involved with the production. Each talk lasts approximately 25 minutes.

Any recording (video, audio) or photographs of VO performances are strictly prohibited without the permission of Vancouver Opera. We welcome you to take photos of the curtain call and share using the hashtag #carmen

ACCESSIBILITY Elevators in the Queen Elizabeth Theatre parkade provide patron access to street level and the main entrances of the Queen Elizabeth Theatre and the Vancouver Playhouse. There also is a driveway for taxis and pick-up/drop-off for patrons with physical needs.

Seating for patrons using wheelchairs is available on the orchestra and mezzanine levels of the Queen Elizabeth Theatre, and on the orchestra level of the Vancouver Playhouse. Elevator access is available from each of the theatre’s main lobby to the upper levels. For more information, please call the VO Ticket Centre.

Patrons who are hard-of-hearing may borrow Sennheiser Infrared Hearing System headsets for any performance, free of charge. Headsets are available at the theatre coat check. This system was made possible through the generous donation of Wolverton Securities Limited and the Vancouver Foundation.

ELECTRONIC DEVICES Please silence all electronic devices when entering the theatre, so as not to disrupt the performance.

LATECOMERS To avoid disrupting the performance, latecomers may not be seated once the show has started. If possible, they will be ushered to their seats at the first appropriate break.

PARKING Parking is available at the Queen Elizabeth Theatre parkade, located off Cambie Street between West Georgia and Dunsmuir Streets. Accessible parking is available with an accessible parking decal. Parking is limited, so plan to arrive early.

TICKET SERVICES Purchases A variety of subscription packages as well as single tickets can be purchased online through the VO’s website or by calling the VO Ticket Centre.

Visit, write or call: VO Ticket Centre, 1945 McLean Drive, Vancouver T: 604 683 0222 | E: tickets@vancouveropera.ca vancouveropera.ca/tickets Hours of operation: Monday—Friday, 9AM—5PM Exchanges and Lost Tickets Please contact the Ticket Centre directly with any questions about exchanging and/or replacing tickets.

Print your tickets at home!

Vancouver Opera offers an easy, convenient way to get your tickets immediately after purchasing a VO ticket or subscription package.

With a valid email address, you can receive your e-tickets directly to your inbox, whether you purchase tickets online or through the VO Ticket Centre. You can get your tickets sooner and avoid waiting in line at the theatre before the performance.

PRIVACY

PERFORMANCE ETIQUETTE In consideration of other patrons and the performers, please refrain from rustling programs, unwrapping candy or whispering during the performance. Given some people’s allergies, we also ask patrons to avoid wearing perfume or other scented products.

Patrons are requested to speak to a Vancouver Opera or Civic Theatres representative at intermission in the case of any disturbance or discomfort during a performance.

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Vancouver Opera is committed to protecting your privacy. For information on VO’s patron privacy policy, please visit our website: vancouveropera.ca.