A Masked Ball program, 2014

C A N A D I A N O P E R A C O M P A N YWinter 2014

Performance

AMASKED BALL

nCANADIAN OPERA COMPANY EDITORS: Gianna Wichelow, Senior Manager, Creative and Publications; Claire Morley, Associate Manager, Editorial

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n Cover images: Così fan tutte: Preliminary costume sketch by set and costume designer Debra Hanson for theCOC's new production of Così fan tutte. A Masked Ball: Catherine Naglestad as Amelia in the Berlin Staatsoper production of A Masked Ball, 2008. Photo: Ruth Walz

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CONTENTS4 SIR THOMAS ALLEN:

A MUSICAL LIFETIME WITH COSÌBY GIANMARCO SEGATO

18 TEN THINGS TO KNOW ABOUT VERDI'S A MASKED BALLBY NIKITA GOURSKI

22 THE COC IS THRILLED TO PRESENT OUR 2014/2015 SEASON Discover our six operas on the following pages: Falstaff, pg. 22 Madama Butterfly, pg. 24Don Giovanni, pg. 26Die Walküre, pg. 27The Barber of Seville, pg. 28 Bluebeard’s Castle/Erwartung, pg. 29

C A N A D I A N O P E R A C O M P A N YWinter 2014

Performance

Top: A Masked Ball (Berlin Staatsoper,2008). Photo: Ruth Walz

Bottom: Preliminary costume sketchfor the COC's new production of Così fan tutte by set and costumedesigner Debra Hanson

Catch up with blogs and enjoy COC Radio at coc.ca.

Canadian Opera Company 2013/2014 Season4

n an age in which superlatives such as“unforgettable,” “legendary” and “greatest”

are thrown about indiscriminately, fewwould argue Sir Thomas Allen’s status as the pre-eminent lyric baritone of his generation. He has earned this title mostespecially for his iconic interpretations ofMozart’s Don Giovanni, Count Almaviva,Figaro, Papageno, Guglielmo and DonAlfonso, both onstage and in the recordingstudio. Following his appearances at theGlyndebourne Festival in Sir Peter Hall’s

legendary production, EMI recorded hisDon Giovanni in 1984 – now considered thedefinitive account of Mozart’s notoriouswomanizer. For close to four decades he has been the baritone of choice for star conductors such as James Levine, RiccardoMuti, Georg Solti, John Eliot Gardiner,Colin Davis and Simon Rattle. Allen hasnot only mastered the fine balance betweensinging and acting needed to be a great operasinger, but stands as a master interpreter of the art song, especially in the English

I

BY GIANMARCO SEGATO

SIR THOMAS ALLEN

AMUSICALLIFETIME WITH COSÌ

imagine finding a caregiver who loves opera!

Tel: 416.483.0070 Toll Free: 1.855.483.2273 www.LAServices.ca

Celebrating 14 years of service

and French repertoire. He now passes onhis expertise to the next generation ofartists, giving masterclasses worldwideincluding, since 1996, at his own SamlingAcademy, located in Allen’s beloved nativecountry in North East England.

Sir Thomas Allen’s association withMozart’s Così fan tutte goes as far back as his student days in the 1960s when hecame to the attention of the great Britishvocal pedagogue, James Lockhart. “One of the things I worked on with him was how to go through a score. He taught me how

to do that and read it as a singer, prepareand pencil it up and do the things that allsingers do. And the score chosen was Così,though I didn’t learn the role [Guglielmo]at the time, maybe just one of the arias perhaps. After that he [Lockhart] becamemusic director at Welsh National Operaand one of the first things I did with themwas a touring version of Così. That goesback to 1970 or something like that.”

Allen’s first Così role, Guglielmo, is oftenregarded as a rite of passage for the buddinglyric baritone. “I think the reason why we as

Sir Thomas Allen: A Musical Lifetime with Così


Preliminary costume sketches for the character of Don Alfonso for theCOC's new production of Così fantutte, by set and costume designerDebra Hanson

a breed feel that way is that it doesn’t seemto have the emotional maturity of a rolelike that of Ferrando [with whom Guglielmoschemes to prove the infidelity of theirrespective fiancées]. The relationshipGuglielmo enjoys with Dorabella is one of pure pleasure rather than the [more emotionally deep] way Ferrando latches ontoFiordiligi. Musically as well, of all the Cosìroles, Guglielmo is the one that tends mosttowards the buffo [comic].” The other threeyoung leads sing some of the most sublime,grand and emotional music Mozart everwrote but Guglielmo’s “vocal opportunitiesare just not on the same level.”

On the other hand, Allen relishes theentirely different demands made of DonAlfonso, Così’s philosopher and cynic, andthe role which brings him to the COC thiswinter. He draws some fascinating parallelsbetween Alfonso and Don Giovanni, theMozart role with which he has the closestassociation. “It’s a strange thing aboutMozart. If one looks at Don Giovanni musically, he isn’t all that demanding – it’s an endurance test and you have to singvery loudly at the end of the piece. Butyou’ve not been asked great musical

questions during the course of it in the way Donna Anna has, or had to sing thelong-breath lines that Don Ottavio has.And similarly, Don Alfonso doesn’t havethose great [vocal] demands made of him.The thing is to use those moments whenyou’ve seemingly not been asked to domuch… when in fact you are actually doinga lot. Then it’s a question of listening towhat others are doing, and causing actionand reaction in them by just being there; by setting a plan in motion, sowing a seedof doubt or whatever it might be. A lot of it is just sitting down, crossing your legscomfortably, having a cup of coffee whilstyou’re watching everything going on. That’sthe way it often pans out. I have no qualmsabout that – I don’t crave great lengthystentorian arias – I’m very happy to just pull the strings and watch the others danceto my tune!”

Having mastered Così’s two low-voicedmale roles, Allen has taken the next logicalstep and can now be found directingMozart’s effervescent comedy in addition to Don Giovanni, The Marriage of Figaroand The Magic Flute for companies such as Scottish Opera, Arizona Opera and



Preliminary set maquettefor the COC's new production of Così fan tutte, designed by Debra Hanson

Boston Lyric Opera. For the latter he notonly directed Così but simultaneouslyplayed Don Alfonso, an undertaking whichrequired “eyes in the back of your head. It’s not easy, but not impossible either.” In Boston he opted to perform the opera in English, wanting the text to have animmediate impact on the audience. ForAllen, communication through music – its actual sounds, pitches and dynamics –are definitely the singer’s responsibility,but even more important is the performer’sability to personally connect to the text and enliven it for the audience. By using anEnglish translation for his Boston Così, hewished the singers to experience the wordsfirst, rather than second-hand. “Using one’sown language is a distinct advantage. I don’t care how seriously and intenselyyou work with a second or third language –there’s nothing like getting back to one’sown – it’s in your DNA. Also, the coloursthat become available to a singer forexpression are that much more telling. It’s a much more advanced process whenyou’re learning a role that’s not your nativelanguage.” That, says Allen, is “a lifetimestudy. I’m still doing it.”

Just as director Atom Egoyan will re-envision Mozart’s “school for lovers” forour audiences, Allen will also be looking at it afresh. “The main thing is not to comewith anything assumed. Listen to what [the director] gives you and then respondto that rather than relying on the processyou’ve used for years and years. I keep on saying this to singers – listen to whatyou’re hearing and respond to that, not tothe thing you’ve learned like a parrot fromseveral recordings.”

Having lived with Così for over 40 years,Allen has witnessed a huge sea change in attitude with respect to the piece. Theremight have been a time when critical opinion denigrated the opera for its perceived immorality and frivolity, but in a post-Freudian world fascinating avenueshave opened up to explore the “lessons of love” which lie beneath its undeniablyfrothy exterior. As Allen reasons, “It’s nolonger possible to regard these characterssimplistically, as no more than decorative18th-century porcelain figurines.” This isespecially true of the opera’s ambiguousending – do the original couples “kiss and make up,” returning to their originalpartners, or are their relationships damagedforever? Allen feels the answer is found in Mozart’s score itself: “You start thinkingsurely [the two couples] can’t just return to everyday life as a result of the lessonsthat have been learned. In a way, Mozartindicates this in the finale which is in thevery basic key of C major. It’s music that’sso simplistic, almost as though he’s deliberately trying to show us that [thewedding between the two “original” couples] is a façade – they’re clearly goingthrough the motions here – it’s very superficial when you think of all the glorious music that went before.” How willthings end up for the lovers in Toronto thiswinter? Allen and his fellow cast memberswill no doubt have fun playing with thepossibilities when they meet on stage for the COC’s new production of Così. n

Gianmarco Segato is Adult Programs Manager,Education and Outreach at the Canadian OperaCompany.



FOR FURTHER INSIGHT INTO THE CANADIAN OPERA COMPANY’S NEW PRODUCTION OF MOZART’S COSÌ FANTUTTE, PLEASE READ AN EXPLORATION OF ENCHANTMENT, IN THE WINTER ISSUE OF PRELUDE, AVAILABLEONLINE AT COC.CA/PUBLICATIONS.

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Visit Cineplex.com/Opera for tickets and participating theatres.Encore performances are only available at select theatres. Performances may not be available at all participating theatres for all advertised dates.

2013–14 Season

VERDI

Falstaff DEC 14 ENCORES JAN 18, 20 FEB 5

DVORÁK

Rusalka FEB 8 ENCORES MAR 29, 31

BORODIN

Prince Igor MAR 1 ENCORES APR 12, 14

MASSENET

Werther MAR 15 ENCORES MAY 24, 26

PUCCINI

La Bohème APR 5 ENCORES JUN 7, 9, 18

MOZART

Così Fan Tutte APR 26 ENCORES JUN 21, 23

ROSSINI

La Cenerentola MAY 10 ENCORES JUL 5, 7, 16

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DVORÁK

Rusalka FEB 8 ENCORES MAR 29, 31Starring Renée Fleming

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Unlike The Marriage of Figaro and Don Giovanni, Mozart’s previous collaborations withlibrettist Lorenzo da Ponte, Così fan tutte was not adapted from an existing literary source(Beamarchais’ play of the same title and the infamous Don Juan legend, respectively), butwas newly written. Così also differs from those works, and from the normal pattern weexpect in a play or opera, in that it lacks a hero or any one character to grab the audience’simmediate attention as does, for example, the scandalous Don Giovanni. The other stumbling block which plagued Così for the first 100 years of its existence was its negativereception history – audiences were scandalized by its subject matter, unable to handle thenotion of two sisters falling in love with each other’s fiancés. Even once Così had finally re-entered the standard repertoire in the 1930s it was treated with little respect, sufferingbrutal cuts, including Dorabella’s short Act I aria “Smanie implacabili” (“Implacable restlessness”), one of only two arias she gets to sing in the entire opera!

Like Don Giovanni which came before it, Così is identified in its libretto as a dramma giocoso, an Italian term for operas that contain both comic and tragic elements.Conventionally thought of as light, frothy and joyful, Così is also shot through with a decidedly poignant, sad and cynical edge. Our responses are always being played with: the two sisters are clearly devastated when their fiancés must go off to war, and the men join in on their sorrow… yet, we know the men are just play-acting. Atom Egoyan’s production takes the deception one step further, allowing the women to not only be aware of the scheme, but having them devise a counter-scheme of their own.

Egoyan pays particular attention to the subtitle of the libretto: La scuola degli amanti“The School For Lovers,” a phrase which suggests that the premise of the opera can beunderstood as an educational experiment. This reading resonates with Così’s historicalposition in relation to the ideals of Mozart’s time. The Age of Enlightenment was at its peak throughout the latter half of the 1700s, but towards the end of the century, concernsgrew about an excessive elevation of reason above religion; both Mozart and da Ponte (following French philosopher Jean-Jacques Rousseau’s views) believed that reason, coupledwith moral and spiritual guidance, was a superior way to understand human nature.

It is this constant switching between reason and emotion that presents the biggest directingchallenge, says Egoyan. The score often vacillates jarringly between light-hearted fun and piercingly sincere quasi-tragedy and, in doing so, illuminates how we are all capable of “straying” when we feel an attraction, and that the human heart can shift unexpectedly.

Canadian Opera Company 2013/2014 Season

COSÌ FAN TUTTEOPERA BACKGROUND

Preliminary set maquettefor the COC's new production of Così fan tutte, designed by Debra Hanson

Special Event THE OPERA EXCHANGEComing Home: Handel’s Hercules

Friday, April 4, 2014 I 9:30 a.m. – 4 p.m.Campbell Conference RoomMunk School of Global Affairs1 Devonshire Place

Tickets: $20/person; $10 for students with ID

416-363-8231 coc.ca/Explore

The ancient Greek tragedian Sophocles was also a war general who knew

fi rst-hand the devastating psychological traumas that imperilled returning

veterans. Celebrated director Peter Sellars’ new COC production of

Hercules – Handel’s take on Sophocles’ play – confronts the untold horrors

of war and the unspoken complications of reunion. Join us as we explore

Hercules and examine music’s role, both historical and contemporary, in

the rehabilitation and re-integration of those touched by war. Peter Sellars

will be joined by former CBC war correspondent Brian Stewart, musicologists

Kip Pegley and Susan McClary, 18th-century literary/drama scholar

Brian Corman as well as veterans from World War II and the

wars in Korea, Bosnia, and Afghanistan.

Eric Owens as Hercules (Lyric Opera of Chicago, 2011). Photo: Dan Rest

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The Opera Exchange is presented in partnership with:

Part of the Munk School of Global Affairs’ year-long series, 1914-1918: The Making of the Modern World, which explores the effects of World War I through the century.

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AleXAnder neef, General director

A MASKED BALLby Giuseppe Verdi

Opera in Three Acts. libretto by Antonio Somma, based on Augustin eugène Scribe’s libretto for daniel françois Auber’s opera Gustave III, ou Le Bal Masqué

first performance: Teatro Apollo, rome, february 17, 1859

Production of Staatsoper Unter den Linden Berlin

last performed by the COC in 2003

february 2, 5, 8, 11, 14, 16, 20, 22, 2014

Sung in Italian with english SUrTITleSTM

THE CAST(in order of vocal appearance)

Tom Giovanni Battista ParodiSamuel Evan Boyer

Oscar Simone Osborne^Riccardo Dimitri Pittas

Renato Roland WoodThe Magistrate John Kriter

Ulrica Elena ManistinaSilvano Gregory Dahl

Servant of Amelia Owen McCausland†*Amelia Adrianne Pieczonka**

Conductor Stephen LordDirectors Jossi Wieler and Sergio Morabito

Revival Director Samantha SeymourSet Designer Barbara Ehnes

Costume Designer Anja RabesLighting Designer Olaf Freese

Chorus Master Sandra Horst^Stage Manager Cynthia Toushan

SURTITLES™ Producer Gunta Dreifelds

Performance time is approximately three hours, including two intermissions.

Production Sponsor

**Adrianne Pieczonka’s performance is generously sponsored by Jack Whiteside

*Owen McCausland’s performance is generously sponsored by Peter and Hélène Hunt

†Current member of the COC Ensemble Studio^ Graduate of the COC Ensemble Studio

Program information is correct at time of printing. All casting is subject to change.

Please visit coc.ca for additional information 1


n 1857, 44-year-old Giuseppe Verdi tookon a commission from the Naples opera

to adapt an opéra historique by EugèneScribe – at the time already set to music byAuber – about the murder of the SwedishKing Gustav III at a masked ball in 1792.However it was in Rome, not Naples, thatthe finished score finally saw its premiere in1859. For two years, censorship authoritieshad sent the opera time-travelling throughchanging masks and costumes: the action was moved from the 18th-centuryStockholm court to 17th-century Stettin,then to medieval Florence and finally toBoston circa 1690. There, the fortune-telling gypsy Arvedson of Swedish historybecame the African-American Ulrica.

It was in this role that Marian Anderson,after protracted disputes, appeared as thefirst African-American singer at the Met in 1955. Our production also takes place in an America of the 50s or early 60s when segregation was just beginning to be overcome, not least thanks to such a progressive and enlightened ruler asRiccardo, whose sympathy and commitmentlie with the disadvantaged of this system.And yet the racial pogroms are far frombeing “history.” Oppression and persecutionstill exist, and Riccardo’s violent death willopen the way for the reactionary powersand, we have to fear, set his country backmany years. Of course the “modern” Americaof our production is no less an “invention”than the America of Verdi and his librettist –yet the genesis of the opera shows that forVerdi the historical costume as the “outergarment” was not crucial: he was interestedin investigating the paradigm of hierarchiesand social systems, in whose light any periodcan reflect its concrete social and historicalexperiences. As Verdi put it, “To copy thetruth can be a good thing, but to invent the

truth is better, much better.”The dilemma of Riccardo, a public figure

who must also protect his private life fromthe stern gaze of a puritanical public, seemsto still correspond to the present-day rulesof the game of the American media. In our production, we have put a First Lady at his side who knows about her spouse’sescapades, but “plays along” as long as herofficial position remains unchallenged. Itis she who orchestrates Renato's promotion,praising him in a dispatch which ensuresthat both he and her rival Amelia mustleave America.

Riccardo also maintains contact withthe youth culture scene and has taken ayoung performance artist into his entourage,who, under the stage name Oscar, stirs up his cabinet with unconventionalmethods. What is really going on behindthe flamboyant mask of this agente provocatrice remains unclear. In the end,she seems driven by a destructive desirefor scandal, and even sabotage.

We wanted to explore how fragile ouridentity can be, how quickly apparentlysecure contexts and relationships – social,professional, family or personal – can breakdown. A life-long friendship is destroyed, a happy wife and mother falls in love withanother man, a marriage breaks down, achild is at the mercy of his parents’ maritaldispute, a sympathetic, successful andenlightened politician, who has changedhis country for the better, loses his grip onreality and slides into a catastrophe whichdamages the people that he loves most –including his own wife – and throws hiscountry into crisis. All this happens withina matter of days. This is the story that ourMasked Ball tells.

Jossi Wieler and Sergio Morabito

DIRECTORS’ NOTES

I


ACT IOscar inspects the ballroom of the ArvedsonPalace Hotel.The party leaders are at breakfast. Most ofthem are fervent followers of the governorRiccardo, but among them are also somesecret opponents led by Samuel and Tom.Riccardo arrives. Oscar hands him theguest list for the planned masked ball.Riccardo is delighted to see Amelia’s nameon the list. She is the wife of his best friendand political advisor Renato, and Riccardohas fallen in love with her. Renato appears.He misinterprets Riccardo’s diffidence as a reaction to the rumours of a plannedassassination attempt and urges him, inthe interest of his people, to interveneagainst the conspirators. Riccardo managesto not reveal his moral conflict to his friend.The magistrate hands Riccardo a documentfor signature: an order banishing Ulrica,an African-American woman.

Oscar jokingly defends the woman, who has made a name for herself as a fortune-teller. In order to form his ownopinion, Riccardo decides to visit Ulricaincognito in the company of his companions.

Before a circle of women and children,Ulrica invokes the devil. Silvano, an invalidveteran from Riccardo’s fleet, questions herabout when he will finally be compensatedfor his sacrifice. Ulrica prophesies wealthand imminent promotion. Riccardo, whohas been observing the scene, secretlyslips him a promotion letter. There is muchjubilation at such quick fulfilment ofUlrica's prophecy. Amelia’s chauffeurrequests a private audience for his mistress.Ulrica sends everyone away and Riccardohides. Amelia asks Ulrica to deliver her fromher adulterous passion for the governor.The fortune-teller tells her about a secretherb that, if picked below the gallows at

midnight, will bring release. Amelia wantsto seek it out that very evening. Riccardoresolves to follow her.

Riccardo’s followers – including the conspirators – arrive. Riccardo has his fortune told. Ulrica prophecies his imminentdeath at the hand of a friend. When Riccardopushes for more detail, Ulrica describes themurderer as the next person to shake hishand. Renato, who has followed his friend,greets him with a handshake. Everyonetakes this as a sign that the oracle was inerror. Only now Riccardo reveals his identity.This is met with enthusiasm; Silvano initiates an anthem in his honour.

INTERMISSION

ACT IIAt midnight Amelia looks for the magicherb beneath the gallows. Riccardo, havingsecretly followed her, surprises her andreveals his love and extracts a confessionof her love for him. Unexpectedly, Renatoappears to warn Riccardo about Tom andSamuel, who are approaching with theirfellow conspirators. He switches coats with the governor so that he can escapeunimpeded, and promises to bring Riccardo’sveiled companion back to the city limitswithout enquiring as to her identity. Theconspirators arrive and close in on the supposed governor and his companion.Renato reveals his identity and draws aweapon, in order to protect the identity ofthe lady entrusted to him. Amelia throwsherself between the fighting men and in sodoing drops her veil. The conspirators cannotmake sense of the proceedings and thecouple’s consternation, but take advantageof it in order to play down their own compromised situation. Renato invitesSamuel and Tom to his house for the next day.

SYNOPSIS


INTERMISSION

ACT IIIAmelia attempts to convince Renato thatshe has not committed adultery. He wantsto kill her. She begs him to let her embraceher son one last time before her death. Atthis, Renato decides to kill his friend ratherthan his wife. Samuel and Tom arrive.Renato asks to be taken into the circle ofthe conspirators and hands over his son as a hostage, whose life should guaranteethe sincerity of his intentions. They drawlots to decide who gets to kill the governor.Amelia is forced to draw the fateful lot.Renato is chosen. Oscar delivers the invitation to the masked ball. Renatodecides to kill the governor at the ball.Amelia sees through his intentions anddesperately thinks about how she can warnRiccardo without implicating her husband.

Riccardo, torn between friendship andlove, finally decides never to see Ameliaagain and signs a decree dispatching

Renato and Amelia to England. WhenOscar delivers a letter from an “unknownlady” (the masked Amelia) warningRiccardo of an assassination attempt at the ball, he believes he will be accused of cowardice if he stays away. Full of anticipation at the final reunion withAmelia, he rushes recklessly to the ball.

The ball is in full swing. Oscar confirmsto the doubting Renato that the governoractually is present at the ball. He also manages to find out from Oscar whatRiccardo’s disguise is. Amelia discoversher beloved and begs him to leave theparty, insisting that he is putting his life indanger by ignoring her warning. Riccardocan’t tear himself away from her, knowingthat the next day she will leave Americawith Renato. When they embrace one lasttime, Renato shoots the governor. Thedying Riccardo swears Amelia’s innocenceand shows Renato the signed decree withhis transfer to England. As his last officialact, he pardons his murderer.


MUSIC STAFF

Rachel AndristBen Malensek (Head Coach)

ITALIAN LANGUAGE COACH

Manuela Scarci

ASSISTANT CONDUCTOR

Jordan de Souza

ASSISTANT DIRECTOR

Graham Cozzubbo

ASSISTANT STAGE MANAGERS

Tiffany FraserLiliane Stilwell

ASSISTANT LIGHTING DESIGNERS

Wendy GreenwoodJareth Li

Andrea Nelson (Wally Russell Lighting Intern)

DANCERS

Andrea CiacciDani Jazzar

FIRST LADY

Adrienne Kress

UNDERSTUDIES

Oscar Sasha DjihanianRenato Gregory Dahl

The Magistrate Andrew HajiSilvano Cameron McPhail

Amelia’s servant Andrew HajiAmelia Keri Alkema


EVAN BOYER SamuelAmerican bass EvanBoyer’s recent COC credits include SecondCommissioner inDialogues des Carmélites

and First Soldier in Salome. He recentlycompleted his tenure at the Lyric Opera of Chicago’s Ryan Opera Center. Recentcredits include numerous appearances atLyric Opera of Chicago as Pietro in SimonBoccanegra, Count Ceprano in Rigoletto,Lodovico in Otello, Luther in Les contesd’Hoffmann, Sarastro in Die Zauberflöte,and the King in Aida. He has also sungColline in La Bohème (Dominican Republic’sNational Symphonic Orchestra); Sarastro(LA Opera and Garsington Opera); FirstSoldier/Nazarene in Salome (ClevelandOrchestra at Carnegie Hall); and Créon in Médée and Oreste in Giasone (ChicagoOpera Theater).

GREGORY DAHL SilvanoCanadian baritoneGregory Dahl lastappeared with the COCas Crespel/Schlémil inThe Tales of Hoffmann.

COC roles include Balaga/GeneralYermolov/First German General in Warand Peace and Ping in Turandot. Othercredits include Conte di Luna inIl Trovatore and Ford in Falstaff (L’Opérade Montréal); Jochanaan in Salome (OperaTheatre of St. Louis and Manitoba Opera);Amonasro in Aida (Manitoba Opera); Iago in Otello (Calgary Opera); Macbeth(Pacific Opera Victoria); Alfio in Cavalleriarusticana and Tonio in Pagliacci (EdmontonOpera); Enrico in Lucia di Lammermoor(Vancouver Opera); and Goloud in Pelléaset Mélisande (Opera Theatre of St Louis).

Upcoming engagements include Mandrykain Arabella (cover at Metropolitan Opera);Macbeth with Opéra de Québec and Goloudin Pelléas et Mélisande with Against theGrain Theatre.

JOHN KRITER The MagistrateCanadian tenor JohnKriter most recentlyappeared as Spoletta inthe COC’s Tosca. OtherCOC roles include Borsa

(Rigoletto), the Hotel Porter (Death in Venice),Goro (Madama Butterfly), Normanno(Lucia di Lammermoor), Emperor Altoum(Turandot), Bardolfo (Falstaff), ReverendHorace Adams (Peter Grimes), Red Whiskers(Billy Budd), Nick (La fanciulla del West),the Ringmaster (The Bartered Bride),Tanzmeister (Ariadne auf Naxos), Gherardo(Gianni Schicchi), and Don Basilio andDon Curzio (The Marriage of Figaro). Mr. Kriter recently performed the SecondJew in Salome with Edmonton Opera, wherehe returns this spring as Goro. Otherappearances include Mr. Snarlygob in The Midnight Court (Queen of PuddingsMusic Theatre, Toronto and LinburyTheatre, Covent Garden).

ELENA MANISTINAUlrica Russian mezzo-sopranoElena Manistina recentlyappeared as Azucena inthe COC’s Il Trovatore.She trained at the Music

School of Saratov and the Moscow StateTchaikovsky Conservatory. Ms Manistinamade her debut as Marfa in Khovanshchinain Saratov and sang the role of Ulrica andthe Countess in Pique Dame at WashingtonOpera. As well as her ongoing regularappearances at the Bolshoi Theatre in

ARTISTS’ BIOGRAPHIES

Moscow, future appearances includeAlexander Nevsky (Tanglewood Festival);Ulrica (Théâtre du Capitole Toulouse);Ježibaba in Rusalka (Teatro Municipal de Santiago); and the Fortune Teller in The Fiery Angel (Bayerische Staatsoper).Ms Manistina was the first prize winner ofPlácido Domingo’s Operalia Competitionin 2002.

OWEN McCAUSLANDServant of AmeliaNew Brunswick nativeand COC EnsembleStudio tenor OwenMcCausland recentlyappeared at the COC

as Parpignol in La Bohème and ReverendHorace Adams in Peter Grimes. Other COCcredits include the Second Nazarene inSalome and the Messenger in Il Trovatore,as well as stepping into the title role in La clemenza di Tito on the mainstage aswell as the Ensemble performance. Creditsinclude Rinuccio in Gianni Schicchi(Opera on the Avalon) and Don Ottavio in Don Giovanni (Centre for Opera Studiesin Italy). This season with the COC Mr.McCausland also appears as Ferrando inCosì fan tutte (Ensemble), Cecil in RobertoDevereux and Juan in Don Quichotte.

SIMONE OSBORNEOscarEnsemble Studio graduatesoprano Simone Osbornelast appeared with theCOC as Musetta in La Bohème. Previous COC

roles include Lauretta in Gianni Schicchi,Gilda in Rigoletto, Pamina in The MagicFlute, and Naiad in Ariadne auf Naxos.Recent performances include her debutwith the Los Angeles Philharmonic underGustavo Dudamel; Seiji Ozawa’s Saito

Kinen Festival; and Carnegie Hall withpianist Warren Jones; Juliette in Roméo et Juliette and Pamina (Vancouver Opera);and Mozart’s Requiem (Toronto SymphonyOrchestra). Ms Osborne is a grand prizewinner of the Metropolitan Opera NationalCouncil Auditions and winner of the MarilynHorne Foundation Competition. Upcomingappearances include Beethoven’s SymphonyNo. 9 and Strauss songs with the VancouverSymphony, and recitals across Canadawith pianist Anne Larlee.

GIOVANNI BATTISTAPARODI TomItalian bass GiovanniBattista Parodi is making his COC debut.A graduate of the La Scala

Academy program, his recent roles includeMoser in Verdi’s I masnadieri (Parma Opera);Ferrando in Il Trovatore (Tyrolean FestivalErl); Fiesco in Simon Boccanegra (TeatroRegio di Torino and Teatro Verdi Trieste);Raimondo in Lucia di Lammermoor(Teatro Comunale Alighieri, Opera-Certosadi Pavia, Teatro Comunale Ponchielli, amongothers); Giove in La Calisto (Theater ander Wien); Plutone in L’Orfeo; and Collinein La Bohème (Teatro San Carlo, Opera di Roma and Opéra de Paris). Other rolesinclude Capellio in I Capuleti e i Montecchi(Opéra de Paris and Opéra de Lyon); andConte Rodolfo in La sonnambula (WienerStaatsoper).

ADRIANNEPIECZONKA AmeliaCanadian sopranoAdrianne Pieczonkarecently appeared at theCOC as Madame Lidoine

in Dialogues des Carmélites. Other COC


ArTISTS’ bIOGrAPhIeS



roles include the title character in Tosca,Prima Donna/Ariadne in Ariadne aufNaxos, Leonore in Fidelio, Elisabeth inDon Carlos, and Sieglinde in Die Walküre.She appears regularly at the Met, ViennaStaatsoper, La Scala and with the Paris, Berlin,Munich, Frankfurt and Los Angeles operas,as well as at the Salzburg and Bayreuthfestivals. Recent engagements includeChrysothemis in Elektra (Aix-en-Provenceand Royal Opera House, Covent Garden)and The Empress in Die Frau ohne Schatten(Bayerische Staatsoper). Ms Pieczonka is an Officer of the Order of Canada, a recipient of the Queen’s Jubilee Medaland was named Kammersängerin by theAustrian government. She recentlyreceived the Norman Walford and Paul de Hueck Career Achievement Award.

DIMITRI PITTASRiccardoAmerican tenor DimitriPittas recently appearedwith the COC as Rodolfoin La Bohème and theDuke in Rigoletto. His

recent appearances include Oronte in I Lombardi alla Prima Crociata (StaatsoperHamburg); Rodolfo (MetropolitanOpera/Met, Houston Grand Opera/HGO,Lyric Opera of Chicago, Oper Frankfurt);Tebaldo in I Capuleti e i Montecchi(Bayerische Staatsoper); Macduff inMacbeth (Met; Royal Opera House, CoventGarden; Wiener Staatsoper); the title rolein Don Carlo (Théâtre du CapitoleToulouse); Edgardo in Lucia di Lammermoor(HGO); and Alfredo in La Traviata(Wiener Staatsoper, Seattle Opera andDeutsche Oper). This season he will alsosing Nemorino in L’elisir d’amore(Deutsche Oper). Mr. Pittas is a graduateof the Met's Lindemann Young ArtistDevelopment Program.

ROLAND WOODRenatoEnglish baritone RolandWood is making his COCdebut. He is a graduateof the Royal NorthernCollege of Music and the

National Opera Studio. Recent appearancesinclude Papageno in The Magic Flute, Don Fernando in Fidelio, and Pilgrim/JohnBunyan in The Pilgrim’s Progress (EnglishNational Opera/ENO); Germont in La Traviata (Santa Fe Opera); Albert in Werther (Scottish Opera); and Enrico in Lucia di Lammermoor (NationaleReisopera Enschede). Other roles includeConte Almaviva in Le nozze di Figaro andPaolo Albiani in Simon Boccanegra (ENO).Future roles include his debut at RoyalOpera House, Covent Garden as Roucherin Andrea Chenier; and Oedipus in theworld premiere of Julian Anderson’sThebans (ENO).

STEPHEN LORDConductorAmerican Stephen Lordlast appeared at theCOC conducting Luciadi Lammermoor. He alsoconducted the COC’s

Norma. He is currently music director forOpera Theatre of Saint Louis, conductingrepertoire from Mozart to Salome toSweeney Todd. Recent appearances includeDon Pasquale (Lyric Opera of Chicago/LOCand The Juilliard School); La Donna dellago and Les contes d’Hoffmann (Santa FeOpera); and Rigoletto and La Traviata(Seoul Arts Center). Other credits includeLa Rondine (New York City Opera);Rigoletto, Tosca, La Bohème (EnglishNational Opera); Rigoletto (San FranciscoOpera); Tosca (LOC); and Macbeth (Opérade Montréal).


JOSSI WIELERDirectorSwiss director Jossi Wieleris making his COC debut.A recipient of the KonradWolf Award and theGerman Critics’ Award,

he was named “Stage Director of the Year”in 1994 for his production of ElfriedeJelinek’s Wolken.Heim (DeutschesSchauspielhaus Hamburg). Mr. Wieler hasworked with Sergio Morabito on numerousproductions, including La clemenza di Tito,Siegfried, Don Carlo, Una cosa rara, Norma,Alceste (Stuttgart Opera), Macbeth (Basel)and Pelléas and Mélisande (HannoverStaatsoper). In 2002 and 2012 Wieler andMorabito were named “Directorial Team of the Year" by an international panel of 50 critics contributing to the magazineOpernwelt. At the Netherlands Opera theyproduced Lucio Silla in 2004 and the threeMozart/Da Ponte operas in 2006. Their2013/2014 season includes Tristan undIsolde at the Stuttgart Opera, where Mr.Wieler became artistic director in 2011.

SERGIO MORABITODirectorGerman-Italian directorSergio Morabito is makinghis COC debut. A memberof the German Academyof Performing Arts, he

has worked with Jossi Wieler on numerousproductions, including Alcina,L’incoronazione di Poppea, Moses undAron, Kát’a Kabanová, L’Écume des jours(Stuttgart Opera) and La Juive (Stuttgartand Dresden). Wieler and Morabito werenamed twice “Directorial Team of the Year”by an international panel of 50 critics contributing to the magazine Opernwelt, in 2002 for their production of Ariadne aufNaxos at the Salzburg Festival, and in 2012for La Sonnambula in Stuttgart. Theyreceived the Deutsche Theaterpreis DER

FAUST in 2006 for Busoni’s Doktor Faust(San Francisco Opera and Stuttgart) and in 2012 for the double bill Die glücklicheHand-Osud. Their 2013/2014 seasonincludes the world premiere of composerMark Andre’s wunderzaichen.

SAMANTHA SEYMOUR Revival DirectorEnglish director SamanthaSeymour is making her COC debut. Afterstudying electronic andelectrical engineering

and working in avionics and software project management, she began her careerin opera after observing a production of Humperdinck’s Die Königskinder(Bayerische Staatsoper). She studied dramaturgy and theatre studies, specializingin opera, in Munich and has worked withdirectors including Andreas Homoki, PeterKonwitschny and Martin Kušej. Her projectswith Jossi Wieler and Sergio Morabitoinclude Norma (Stuttgart), Rusalka(Salzburg Festival) and currently Tristanund Isolde (Stuttgart). She directed therevival of Rusalka for the Royal OperaHouse, Covent Garden and the GrandThéâtre de Genève. In 2012 she was award-ed a scholarship for the interdisciplinary program at the Mannheim Mozart Summer.

BARBARA EHNES Set DesignerGerman set designerBarbara Ehnes is makingher COC debut. Shestudied with WilfriedMinks and Marina

Abramović at the College of Fine Arts in Hamburg. During her assistantship toRaimund Bauer and Wilfried Minks from1995 to 1998, she created her first originalstage designs. Today Ehnes regularly collaborates with directors including StefanPucher, Stefan Bachmann, Sebastian




Baumgarten and choreographer Meg Stuart,and works at the Deutsches Schauspielhausin Hamburg, Munich Kammerspiele,Zurich Schauspielhaus, Berlin Volksbühne,Theater Basel, Burgtheater Wien and theMuziektheater Amsterdam. In 2005 shereceived an Opus Award in the stagedesign category, and, in 2012, the Germantheatre award, DER FAUST, together withvideo artist Chris Kondek. She teaches atthe Art Academy in Dresden.

ANJA RABES Costume DesignerGerman costumedesigner Anja Rabes ismaking her COC debut.After working in thecostume department

at the Bayerische Staatsoper, she studiedtheatre studies and worked as assistant toAnna Viebrock, Axel Manthey and JohnGrützke at the Deutsches Schauspielhausin Hamburg, and at the Burgtheater inVienna. Her first original designs were for dance productions by Verena Weissand Carolyn Carlson. She regularlycollaborates with directors including JossiWieler, Stephan Kimmig and AnselmWeber. With Jossi Wieler and SergioMorabito she designed costumes for the Mozart/Da Ponte cycle (NetherlandsOpera), Rusalka (Salzburg Festival), and Don Carlo (Stuttgart Opera). At theBayerische Staatsoper Opera she designedfor Don Giovanni. Anja Rabes currentlyteaches at the School of Theatre and Musicin Hamburg and is also a set designer.

OLAF FREESE Lighting DesignerGerman lighting designerOlaf Freese is making his COC debut. He hasworked as a lightingdesigner since completing

his training at the Berliner Ensemble and

the Hamburger Schauspielhaus in 1992.He has worked at Schauspiel Hannover,Deutsches Theater Berlin and, since 2007,at the Staatsoper unter den Linden inBerlin. Other theatre and opera workincludes the Burgtheater in Vienna as wellas the Wiener Staatsoper, and the operacompanies of Stuttgart, Hamburg, Hannover,Essen, Netherlands Opera, the SalzburgFestival, and Royal Opera House, CoventGarden. He has worked with directorsincluding Jossi Wieler and Sergio Morabito(Rusalka, A Masked Ball); Achim Freyer(Eugene Onegin); and Stefan Herheim(Lohengrin, Die Meistersinger von Nürnberg,Der Rosenkavalier, Eugene Onegin), among others.

SANDRA HORSTChorus MasterSandra Horst’s mostrecent COC creditsinclude La Bohème andPeter Grimes. Also at the COC she conducted

Rossini’s Il viaggio a Reims. As director of musical studies at the University ofToronto’s Opera Division, she recentlyconducted Donizetti’s L’elisir d'amore. Ms Horst has served as chorus master forOpera Theatre of St. Louis and EdmontonOpera; a judge for the Metropolitan OperaNational Council auditions; and music staffof the Juilliard Opera Center, ChautauquaInstitution, Boston Lyric Opera, and BanffCentre for the Arts. She was one of the 100 Alumni of Achievement honoured byWilfrid Laurier University. This season Ms Horst is also chorus master for Cosìfan tutte, Roberto Devereux, Hercules andDon Quichotte.

JORDAN DE SOUZA Assistant ConductorRecently at the COCCanadian Jordan deSouza was the assistantconductor for La Bohèmeand Dialogues des

Carmélites. Based in Montreal, he is theartistic director and principal conductor of the Ottawa Choral Society, conductor atthe Church of St. Andrew and St. Paul, and,from 2011 to 2013, was a course lecturer atMcGill University. Conducting highlightsinclude Carmen (Saskatoon Opera),Béatrice et Bénédict (Opera NUOVA),Bach’s St. John Passion, St. MatthewPassion, Christmas Oratorio, and Mass inB Minor, Berg’s Violin Concerto, and Orff’sCarmina Burana. At the age of 19, Mr. de Souza earned his Fellowship degree fromthe Royal Canadian College of Organists.He is broadcast regularly on the CBC andthroughout the European BroadcastingUnion.

GRAHAM COZZUBBOAssistant DirectorOriginally from Calgary,Graham Cozzubbo waslast at the COC as assistant director for La Bohème and Die

Fledermaus. For the COC, he has directedseveral Glencore Ensemble Studio SchoolTour productions including Isis and theSeven Scorpions, The Brothers Grimm andCinderella. In Calgary he co-founded NewCentury Stage and served as the assistantartistic director of the Banff Centre’sTwentieth Century Opera Program for four years. His work encompasses theatre,opera and contemporary music theatre. As an educator, Mr. Cozzubbo has taughtfor the Banff Centre, Baltimore’s PeabodyUniversity, Wilfrid Laurier University, and the Faculty of Music at the Universityof Toronto.

CYNTHIA TOUSHANStage ManagerCynthia Toushan hasbeen a member of theCOC for over 25 years as a stage manager and choreographer. Past

COC productions include Tristan und Isolde,Love from Afar, Nixon in China, From theHouse of the Dead, Faust, Turandot andHänsel und Gretel. Ms Toushan was theproduction stage manager and residentdirector for Jersey Boys Toronto (2008 –2010). She has worked for 17 seasons withthe Stratford Festival, stage managingnumerous productions including 42ndStreet, Kiss Me Kate, West Side Story,Fiddler on the Roof and Camelot and takeson the role of Production Stage Managerthere in 2014. In addition, she was the senior stage manager for Pope John PaulII’s visit to Toronto in 2002.



FOOD AND BEVERAGE SERVICEWe are pleased to offer, for the convenience of all of our patrons, a pre-order system for intermission purchases. Our pre-order system isdesigned to decrease your wait time at the bar during intermission and weinvite you to make use of it at everyCOC performance. Bars are locatedthroughout the Isadore and RosalieSharp City Room’s many levels. Food and beverages are not permitted in R. Fraser Elliott Hall.

CANADIAN OPERA COMPANY ORCHESTRA


VIOLIN IMarie bérard, ConcertmasterThe Concertmaster’s chair has

been endowed in perpetuity by Joey and Toby Tanenbaum

benjamin bowman, AssociateConcertmaster, on leave of absence

diane Tait, AssistantConcertmaster

Sandra baron, Acting Assistant Concertmaster

Anne Armstrongbethany bergmanelizabeth Johnstonhiroko Kagawa*nancy Kershawdominique laplante Yakov lernerJayne Maddisonneria Mayer

VIOLIN IIPaul Zevenhuizen, PrincipalCsaba Koczó, Assistant PrincipalAya MiyagawaJames AylesworthPamela hinman*elizabeth Johnstonrenée london*Alexei Pankratov*Marianne UrkeJoanna Zabrowarna

VIOLAKeith hamm, PrincipalJoshua Greenlaw, Assistant

Principal, on leave of absenceCarolyn blackwell, Acting

Assistant Principal*Valerie Kuinka*rhyll PeelShannon Knights*Angela rudden*beverley SpottonYosef Tamir

CELLObryan epperson, Principal,

on leave of absenceAlastair eng, Associate PrincipalPaul Widner, Assistant PrincipalMaurizio baccante, Acting

Assistant PrincipalPeter Cosbey*Olga laktionovaelspeth Poole*elaine Thompson

BASSAlan Molitz, Principalrobert Speer, Assistant PrincipalTom hazlittPaul langleyrobert Wolanski*

FLUTEdouglas Stewart, PrincipalShelley brown

PICCOLOShelley brown

OBOEMark rogers, Principallesley Young

ENGLISH HORNlesley Young

CLARINETJames T. Shields, PrincipalColleen Cook

BASSOONeric hall, Principalelizabeth Gowen

HORNJoan Watson, Principal,

on leave of absenceScott Wevers, Acting Principal*Janet Andersonbardhyl GjevoriGary Pattison

TRUMPETrobert Grim, Principalrobert Weymouth

TROMBONECharles benaroya, PrincipalIan Cowie BASS TROMBONEherbert Poole

CIMBASSOScott Irvine, Principal

TIMPANIMichael Perry, Principal

PERCUSSIONTrevor Tureski, Principal

HARPSarah davidson, Principal

BANDA

VIOLIN IAaron Schwebel*lyn Kuo*Christine Chesebrough*

VIOLIN IICorey Gemmell*Sonia Vizante*

VIOLAIvan Ivanovich*

CELLOMarianne Pack*

BASSdaniel lalonde*

E-FLAT CLARINETMax Christie*

TRUMPETSAndre dubelsten*luise heyerhoff*Michael fedyshyn*

TROMBONESdavid Pell*Megan hodge*

BELLSTrevor Tureski

LIBRARIANWayne Vogan

ASSISTANT MUSIC LIBRARIANOndrej Golias

STAGE LIBRARIANPaul langley

PERSONNEL MANAGERIan Cowie

* extra musician

COC ORCHESTRA ACADEMYThe COC welcomes students selected by audition from The Glenn Gould School at The royal Conservatory of Music and the faculty of Music at the University of Toronto who will participate in a mentorship programwith musicians of the COC Orchestra.

COC Orchestra Academy MusiciansAshton lim, cellorebecca Macleod, violinAlessandro rauli, oboe


SOPRANOSlindsay barrettAndrea CerswellMargaret evanseliza JohnsonAlexandra lennox-

PomeroyIngrid Martineve rachel McleodKatie MurphyJennifer robinsonCatherine TaitTeresa van der hoevenCarrie Wiebe

MEZZO-SOPRANOSKristina AlexanderMarianne bindigSusan blackSandra boyesWendy hatala foleyerica Iris huangJennifer Keelilian Kilianskilaura McAlpineAnne McWattKaren OlinykCindy Won

TENORSVanya AbrahamsCraig AshtonStephen bellTaras ChmilSam ChungSean Clarknicolas Groenewegenryan harperJames leatchStephen McClareeric OlsenConrad SiebertTaylor White

BARITONES & BASSESGrant AllertJeremy bowesMatthew CassilsSung Chungbruno CormierJeremy ludwigConstantine MeglisMichael nybyKeith O'brienniculae raiciuMichael SprouleJan VaculikGene Wu

CANADIAN OPERA COMPANY CHORUS

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When the curtain goes down and the audience heads home, the real conversations start. Discover behind-the-scenes content from your favourite operas on our blog Parlando, immerse yourself in podcasts and exclusive Inside Opera videos on COC Radio, and connect with COC artists through social media.

@canadianopera@alexanderncoc

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Opera at

its finest

CIBC is proud to sponsor the Canadian Opera Company’s

production of Giuseppe Verdi’s A Masked Ball

M6G 1A9

4

OFFICERSMr. Tony Arrell, PresidentMr. Philip C. deck, ChairMr. Paul A. bernards,

TreasurerMr. John h. Macfarlane,

SecretaryMr. Alexander neef,

General Director(ex officio)

Mr. robert lamb, Managing Director(ex officio)

MEMBERSMr. Mark AppelMs nora AufreiterMr. robert brouwerMs Marcia lewis brownMr. Stewart burtonMr. Peter M. deebMr. George S. dembroskiMr. William fearn

(ex officio)Mr. Adam fromanMr. Michael GibbensMr. Peter hinmandr. linda hutcheonMs Trinity JackmanMr. Justin lindenMr. Jeff lloyd

Ms Anne MaggisanoMr. Stephen O. MarshallMs Judy MatthewsMs Trina McQueenMr. Jonathan MorganMr. nick MuttonMs frances PriceMr. Arthur r.A. Scace, C.M.Ms Colleen SexsmithMr. Philip S.W. SmithMr. Paul b. SpaffordMs Michele SymonsMs Kristine (Kris) VikmanisMr. John h. (Jack) Whiteside

HONORARY DIRECTORMr. Joey Tanenbaum, C.M.

COC OPERA GUILDSbrantford Opera Guild,

David M. Cullen, PresidentKingston Opera Guild

Grace Orzech, Presidentlondon Opera Guild

Ernest H. Redekop, PresidentMuskoka Opera Guild

Dr. Hans Heeneman, Presidentnorthumberland Opera Guild

Thais Donald, PresidentOakville Opera Guild

Maureen Rudzik, PresidentSudbury Opera Guild

Mike Humphris, PresidentWestern new York Opera Guild

Dorothy K. Piepke, President

CANADIAN OPERA FOUNDATIONDIRECTORSMr. William fearn, ChairMr. Ken Jesudian, Vice ChairMr. Tony Arrell Mr. Jonathan bloombergMr. J. rob Collins Mr. david forster, TreasurerMr. Gary GardMr. Michael GoughMr. Christopher hoffmanMr. david Spiro, Secretary

HONORARY DIRECTORSMr. George hamiltonhon. dennis lane

For more information on COC Guilds please visit coc.ca/Guilds

BOARD OF DIRECTORS

VOLUNTEER SUPPORT ORGANIZATIONS



ADMINISTRATION AND STAFFAleXAnder neef, General director

Robert LambManaging Director

Johannes DebusMusic Director

EXECUTIVE OFFICE

Executive Assistant to the General DirectorSky Fairchild-WallerMarguerite Schabas(on leave)

ARTISTIC ADMINISTRATION

Roberto MauroArtistic Administrator

Olwyn LewisCompany Manager

Karen OlinykAssistant, ArtisticAdministration & Music

MUSIC

Sandra GavinchukMusic Administrator

Sandra HorstChorus Master

Wayne VoganMusic Librarian, Coach

Elizabeth Upchurch Head of the EnsembleStudio & Coach

Derek BateResident Conductor

Music StaffRachel AndristTimothy CheungJean DesmaraisJenna DouglasEsther GonthierStephen HargreavesAnne LarleeBen MalensekKevin MurphySteven PhilcoxEric Weimer

Gerry EganInterim SchedulingManager

Hannah Gordon Assistant SchedulingManager

Birthe JoergensenArchivist – Joan BaillieArchives

Ian CowieOrchestra PersonnelManager

Ondrej GoliasAssistant Librarian

COC Ensemble StudioGordon BintnerCharlotte BurrageSasha DjihanianAviva FortunataClarence FrazerAndrew HajiDanielle MacMillanOwen McCauslandCameron McPhailClaire de SévignéMichael Shannon

Production AssistantsAdriana DimitriMichelle Galuszka

PROGRAMMING

Nina DraganićDirector of Programming– Free Concert Series

PRODUCTION

Peter W. LambDirector of Production

Lee MillikenProduction Manager

Chuck GilesTechnical Director

Barney BaylissAssociate TechnicalDirector

Wendy GreenwoodLighting Co-ordinator

Assistant TechnicalDirectorsMelynda JurgensonWendy Ryder

Janice FraserHead Electrician

Joel ThomanAssistant Electrician

Bob ShindleHead of Sound

Craig KadokeAssistant Sound

Paul WatkinsonHead Carpenter

Mike GelfandAssistant Carpenter

Rupert BakerHead Flyman

Alison PotterHead of Properties

Core CrewScott ClarkeTerry HurleyPaul OtisChuck TheilAmy CummingsScene Shop Co-ordinator

David RetzleffHead Scene ShopCarpenter

Andrew WalkerAssistant Scene ShopCarpenter

Richard GordonHead Scenic Artist

Carolina ValenzuelaAssistant Head ScenicArtist

Daniela MazicScenic Artist

Scott WilliamsonRehearsal HeadTechnician

Guy NokesProperties Supervisor

Stephanie TjeliosResident PropertiesBuilder/Co-ordinator

Kathy FrostResident PropertiesBuyer/Co-ordinator

Tracy TaylorProperties Builder/Co-ordinator

Properties BuildersCarolyn ChooWulf

Sandra CorazzaCostume Supervisor

Chloe AndersonCostume Co-ordinator

Costume AssistantsNatassia BrunatoChristina Del Monte

Sue FurlongResident Tailor

Assisted bySharon GashgarianKaren Hancock

Additional Costumes ByArana EnterprisesIndustry Costumes

Nancy HawkinsHead of Wardrobe

Leslie BrownWardrobe Assistant

Sharon RymanWig & Make-upSupervisor

Cori FergusonHead of Wig & Make-up Crew

Shawna GreenProduction Co-ordinator

Gunta DreifeldsSURTITLES™ Producer

Zane KanepsSURTITLES™ Editor

John SharpeSURTITLES™ Assistant

Supernumeraries Co-ordinatorsAnalee SteinElizabeth Walker

DEVELOPMENT

Christie DarvilleChief AdvancementOfficer

Kaila LeMaitreDevelopment Associate

Amy MushinskiManager, GovernmentRelations

Stephen GillesDirector of Development

Peter HussellSenior Manager,AdvancementOperations

Ali KashaniAssociate Director,Institutional Gifts

Dawn Marie SchlegelAssociate Director,Donor Relations

Sarah HeimDonor Relations Officer

Natalie SandassieSenior DevelopmentOfficer, AnnualPrograms and PatronEngagement

Paige PhillipsCo-ordinator, AnnualPrograms and PatronEngagement

Emma NoakesCo-ordinator, AnnualPrograms and PatronEngagement


Aisha TalaricoSenior DevelopmentOfficer, Friends of the COC

Kevin Sean PookCo-ordinator, Friends of the COC

Francesco CorsaroSenior DevelopmentOfficer, InstitutionalGifts

Adriana FormusaDevelopment Officer,Institutional Gifts

Nikita GourskiDevelopmentCommunicationsOfficer

Tracy BriggsSenior Manager, Special Events

Laura Aylan-ParkerSenior DevelopmentOfficer, Special Eventsand Ensemble Circle

Victor WidjajaDonation DatabaseOfficer

Olena MoldovanDonation DatabaseOfficer

COMMUNICATIONS

Claudine DomingueDirector of PublicRelations

Jeremy ElbourneDirector of Marketing

Phil StephensSenior Manager, Salesand Customer Service

Gianna WichelowSenior Manager,Creative andPublications

Jennifer PugsleyMedia Relations Manager

Claire MorleyAssociate Manager,Editorial

Meighan SzigetiAssociate Manager,Digital Marketing

Danielle D’OrnellasDigital Marketing Co-ordinator

Eldon EarleMarketing Co-ordinator

Michelle HwuRetail Co-ordinator

Kristin McKinnonAssistant Publicist

EDUCATION ANDOUTREACHKatherine SemcesenAssociate Director,Education and Outreach

Gianmarco SegatoAdult ProgramsManager

Vanessa Smith Manager, SchoolPrograms

Amber YaredChildren and YouthPrograms Co-ordinator

TICKET SERVICESAlan MoffatPatron RelationshipManager

Andrea SalinAssociate Manager,Ticket Services

Nikki Tremblay Assistant TicketServices Manager

David NimmoGroup Sales Co-ordinator

Lillian Fung Ticket ServicesSupervisor

Ticket ServicesRepresentativesJames BaldwinEllen CaseyErnest CayemenHolly CoishAnna Kay EldridgePeter GenowayMaureen GualtieriKeith LamKevin MorrisDarcy StoopMitch Yolevsky

CALL CENTRERichard ParadisoCall Centre Manager

Call CentreRepresentativesCatherine BelyeaWendy LimbertieDeeAnn SagarMargaret TerryAngela ThompsonAlexandra Varela

FINANCE AND ADMINISTRATION

Lindy Cowan, CPA, CADirector of Finance and Administration

Lorraine O’Connor,CHRP

Human ResourcesManager

Amalie Davis, CPA, CAFinance Manager

General AccountantsFlorence HuangZoran Orlić (FSCPA)

Payroll AccountantsJovana BojovicJeanny Won

Steven SherwoodManager, IT Services

Brad StaplesDatabase ReportingSpecialist

Tony SandyIT Services Assistant

Katarina Božović Receptionist/Switchboard

Branka Hrsum Mailroom Clerk/Courier

BUILDING SERVICES

Joe WaldherrAssociate Director,Facilities Management

Jennifer ToulminFacilities ManagementAssistant

Maintenance AssistantsRyszard Gad (COC)Branislav Peterman(COC)Julian Peters (COC)James Esposito(FSCPA)Mark Healy (FSCPA)Dinh Tran (FSCPA)Piotr Wiench (FSCPA)

Security SupervisorsVidesh DookhuDave Samuels

Security OfficersGeorge Balyasin Tammy HillNatalia JuzycUsman Khalid Kathleen Minor Heather ReidCraig Thompson

Building OperatorsDan BiscaDan PopescuAdrian Tudoran

Paula Da CostaEurest ServicesSupervisor

Eurest Services TeamJennifer BarrosMalaku GodanaNash LimJimmy PachecoSugey Torres

FOUR SEASONS CENTRE FOR THE PERFORMING ARTS

Alfred CaronDirector, Four SeasonsCentre for thePerforming Arts

Elizabeth JonesAssociate Director,Business Development

Shannon ChurmBusiness & Events Co-ordinator

Jefferson GuzmanAssociate Director,Patron Services

Kim Hutchinson-BarberAssistant Manager,Front of House

Julia SomervilleAssistant Manager,Front of House

Brigitte LangAssistant Manager, Food & Beverage

Patron ServicesSupervisorsKelly BaileyStuart ConstableEnrique CovarrubiasCortesJamieson EakinMelissa McDonnellAdam Orr

Patron Services LeadsCarianne Hathaway

FSCPA – Four Seasons Centre for the Performing Arts

As Naming Donor of the Four Seasons Centre

for the Performing Arts, we are proud to be a

lifelong friend of the fine arts experience for the

patrons here and from around the world.

S U P P O RT I N G T O R O N T O ’ S G R O W I N G A RT S

C O M M U N I T Y T O D AY, A N D F O R E V E R

E N J O Y T H E P E R F O R M A N C E

fourseasons.com


PRODUCTIONUNDERWRITERSDemonstrating theirleadership and generosity,these donors haveunderwritten the COC’smainstage productions.

$500,000 + Jerry & Geraldine heffernan The Catherine and Maxwell

Meighen foundation

$100,000 – $499,999Mark & Gail AppelAnne & Tony ArrellPhilip deck &

Kimberley bozakTim & frances Pricedavid roffey & Karen WalshColleen Sexsmith

PERFORMANCE ANDARTIST SPONSORS The following donorsextend their generoussupport to individualartists and performances.

$100,000 + Jack Whiteside

$25,000 – $49,999earlaine CollinsPatrick & barbara Keenan françoise Sutton Anonymous (1)

Up to $25,000Paul bernards robert SherrinThe Stratton TrustCarol Swallowdr. david Stanley-Porter &

dr. Colin McGregor MailerMs Kristine Vikmanis &

Mr. denton Creighton

ENSEMBLE STUDIOSUPPORTERS Encouraging the nextgeneration of artists, these donors support theCOC’s Ensemble Studio.

$1,000,000Peter M. deeb

$500,000 – $999,999The Slaight family

foundation

$25,000 – $499,999Anne & Tony Arrellethel harris &

the late Milton e. harrisroger d. MooreThe Stratton Trust

Up to $25,000ArIAS: Canadian Opera

Student development fundMarcia lewis brownMargaret harriett Cameron

and the late Gary SmithClassical 96.3 fMninalee CraigCatherine fauquierPatrick hodgson family

foundationPeter & hélène huntMarjorie & roy lindenJo landerTom C. loganJames nicol and

Christine MilneOCC lasikbrian Wilks

GENERAL PROGRAMSUPPORTERS Providing GeneralProgram support is criticalto the COC’s artistic mission.

$100,000+ George S. dembroski Judy & Wilmot Matthews

$25,000 – $99,999William & Phyllis Waters

Up to $24,999Anonymous (3)

MAJOR GIFTS & SPECIAL PROJECTSThe COC offers its sincere thanks to the individuals listed below for theirextraordinary support.

E. LOUISE MORGAN SOCIETYThe e. louise Morgan Society was created to reflect the vision and commitment of its founder and the members who have created a legacy of leadership, passion and philanthropy in support of the goals of the Canadian Opera Company.

each of these donors has contributed a cumulative total of more than one million dollarsover the past 15 years. Their support is critical to the company’s success and we areforever indebted to their commitment and generosity.

The estate of dr. larry M. Agranove ArIAS: Canadian Opera Student

development fund The Gerard & earlaine Collins foundation

The late John A. CookThe estate of horst dantz and don Quick

Kolter Communities

The Catherine and Maxwell Meighenfoundation

roger d. Mooree. louise Morgan

Joey & Toby TanenbaumAnonymous (2)

Make the most of your opera experience!The President’s Council and Golden Circle programs help make possible many of the company’s activities. New productions, the COC Ensemble Studio program, our education and outreach initiatives – these are just a few of the reasons why President’s Council and Golden Circle gifts are so crucial to our future.

President’s Council and Golden Circle members share in the excitement of opera in new ways through events and activities, receive personalized service for ticket purchases and exchanges, and enjoy exclusive use of the Henry N. R. Jackman Lounge at all opera performances.

For further information, contact us at [email protected] or call 416-363-5801.

A scene from the COC's The Nightingale and Other Short Fables, 2009. Photo: Michael Cooper

* The COC recognizes donations from all individual giving programs with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines.

GOLDEN CIRCLE

GOLDEN CIRCLE COMMITTEEMark AppelStewart burtonStephen MarshallJudy Matthewsfrances Price (Chair)Colleen SexsmithMichele Symons

GOLD, $50,000 +Anne & Tony Arrell****Cecily & robert bradshaw* david G. broadhurst*In memory of Gerard h. Collins****Jerry & Geraldine heffernan**** The Catherine and Maxwell

Meighen foundation****roger d. Moore****Arthur & Susan Scace****Colleen Sexsmith***

SILVER, $25,000 – $49,999Andrew Peller limited*Mark & Gail Appel***Paul bernards*** barbara black* The black family foundationPhilip deck &

Kimberley bozak***George & Kathy dembroski****Michael Gibbens* ethel harris &

the late Milton harris****douglas e. hodgson****rennie & bill humphries**** ronald Kimel &

Vanessa laPerriere****Susan loube & William Acton*James nicol & Christine MilneJack Whiteside***

BRONZE, $12,500 – $24,999dr. & Mrs. hans G. Abromeit****Philip & linda Armstrong**Ms nora Aufreiter*Mr. Philip J. boswell†****Walter M. &

lisa balfour bowen****Susanne boyce &

brendan Mullen***rob & Teresa brouwer*Marcia lewis brown*Stewart & Gina burton*Wendy M, Cecil****dr. John Chiu in memory of

Yvonne Chiu, C.M.****Mr. & Mrs. Alexander Christ**** Stephen Clarke &

elizabeth black**The Max Clarkson family

foundation****J. rob Collins & Janet Cottrelle**** Sydney & florence Cooper*


ENDOWMENT SUPPORT Making a gift to theEndowment ensures long-term stability for the COC and its artists.

$100,000 +hon. henry n. r. JackmanAnonymous (1)

$25,000 - $99,999Michael W. & Wanda

Plachta endowment fund

Up to $25,000Anonymous (1)

LEGACY AND BEQUEST GIFTS The COC honours thememory of the followingpatrons, whose vision and generosity hasprovided lasting support.

estate of helen Allen(Stacey)

estate of Walter Carsen‡estate of horst dantz &

don Quick‡ estate of Phillipp

eberhardinger estate of Mary b. Godfreyestate of Judith howard estate of ethel berney

Jackson‡estate of borge John

Kraglundestate of J. bruce

Macdonald‡estate of J.M. (doc)

Savage‡estate of Sarka Spinkovaestate of Kathryn

Thornton‡ estate of Vivian Treacy ‡estate of hugh Victor

Wallaceestate of Jean Yack Wright

‡ designates funds directed to the COC’s endowment

MEMORIAL ANDHONORARY DONATIONS The COC expresses itssincere appreciation to all donors who have madememorial and honorarydonations.

In Memory of Sam AjzenstapYvonne Chiu, CMJack CulinerMary roxalyn finchfreddy Kremerlotfi MansouriAleksandar PetričicMagda rietsnorma louise rogers

In Honour of After School Opera

Programearlaine Collinsninalee Craignatalia lobachruth MankeKevin Sean PookTim and frances PriceMike ScottColleen Sexsmithletty Snethendiane Visentin

As of January 9, 2014

MAJOR GIFTS & SPECIAL PROJECTS

INDIVIDUAL GIVING ANNUAL SUPPORT

Ensemble StudioThe Canadian Opera Company Ensemble Studio is the country’s premier opera training program. Since 1980, more than 150 young Canadian singers, stage directors, apprentice opera coaches and conductors have acquired their first professional operatic experience through this program, including such well known singers as Ben Heppner, Isabel Bayrakdarian, John Fanning, Wendy Nielsen, David Pomeroy, Joseph Kaiser, Lauren Segal and Krisztina Szabó. For more information about supporting the COC Ensemble Studio, please call 416-847-4949 or visit coc.ca.

Ambur Braid as Vitellia and Rihab Chaieb (kneeling) as Sesto in the COC Ensemble Studio performance of La clemenza di Tito, 2013. Photo: Michael Cooper


ninalee Craig***Mr. & Mrs. leslie dan*** Jean davidson &

Paul Spafford****Jill denham & Stephen Marshall**david & Kristin ferguson****George fierheller****lloyd & Gladys fogler***four Seasons hotels & resorts**Adam & Sharin froman*roger & Kevin Garland**Ira Gluskin &

Maxine Granovsky Gluskin***The hon. William C. Graham &

Mrs. Catherine Graham**** William & nona heaslip

foundation****Peter hinman & Kristi StangelandMichael & linda hutcheon****Intact financial Corporation Trinity Jackman*bernhard & hannelore Kaeser****Jeff lloyd & barbara henders*Mr. & Mrs. J. S. A. Macdonald****bobby & Gordon Macneill** Judy & Wilmot Matthews* John & esther Mcneil***don McQueen &

Trina McQueen, O.C.** John McVicker & b. W. Thomas****delia M. Moog***Jonathan Morgan &

Shurla Gittens* Sue Mortimer****nicholas & rosemary Mutton*dr. M. l. Myers &

the late dr. W.P. hayman***Mrs. Christl & Mr. Karl niemuller**donald O’born***Peter M. Partridge****Mr. Ian & Mrs. Michelle Pearce Mr. Tim & Mrs. frances Price**** Ms r. raso****david roffey & Karen Walsh***barrie d. rose & family*** John A. rothschild** Philip & Maria Smith**Stephen & Jane Smith****Marion & Gerald Soloway**david e. Spiro***david Stanley-Porter****ryerson & Michele Symonsriki Turofsky & Charles Petersen**Ms Kristine Vikmanis &

Mr. denton Creighton****

PRESIDENT’S COUNCIL

PRESIDENT’S COUNCILCOMMITTEEMary-Catherine AchesonCatherine bergerondiane Adamson-brdarThomas J. burtonninalee CraigGladys fogler Marcia lewis brownSue MortimerKatalin Schäfer Colleen Sexsmith (Chair)Kristine Vikmanis Karen Walsh

TRUSTEE, $7,500 – $12,499à la Carte Kitchen Inc. laurie & fareed Ali*Margaret Atwood &

Graeme Gibson***Mr. & Mrs. Avie bennett****dr. david & Constance briant****Marilyn Cook* Andrew fleming**rainer hackert****J. hans Kluge**Jean V. Kramar**Mr. Gurney Kranz**** Paul lee & Jill Maynard****Anne lewitt** Jerry & Joan lozinski****Amy & John Macfarlane* The hon. barbara Mcdougall***Kathleen Mclaughlin &

Tim Costigan* Mark & Andrea McQueen*** rogan foundation Annie & Ian Sale*dr. david Shaw**françoise Sutton***Carol Swallow***

PATRON, $3,750 – $7,499Mr. Peter A. Allen*Sue Armstrong****ron Atkinson &

bruce blandford****Mona h. bandeen, C. M.** Karen & bill barnett*l. h. bartelink in memory of

Oskar & Irmgard Gaube**dr. frank bartoszek &

Mr. daniel O’brien**** dr. Thomas h. beechy****doug & Alison bell Mr. & Mrs. eric belli-bivar*** dr. Catherine bergeron*** Tom bogart & Kathy Tamaki**dr. Jane brissenden &

dr. Janet roscoe****Mrs. donna brock***Margaret & derek brown****Alice burton*** Joe & laurissa Canavan Cesaroni Management limited***Paul G. Cherry &

dean C. noack****frank Ciccolini****The rt. hon. Adrienne Clarkson Mr. & Mrs. William J. Corcoran***lindy Cowan† & Chris hatley***norman Curtis**** Ms lindsay dale-harris &

Mr. rupert field-Marsham**** brian J. dawson*** dr. Jeanne deinum****Carol derk & david Giles**Mrs. A. ephraim diamond &

family**** Jeffrey douglas Peter & Anne dotsikas**Vreni & Marc ducommun***ron dyck & Walter Stewart*** bud & leigh eisenberg***Joseph fantl & Moira bartram**fleur-de-lis Interior design*

Kimberley fobert & robert lamb†***

The fraser elliott foundation****dr. & Mrs. Wm. O. Geisler**The honourable Irving Gerstein &

Mrs. Gail Gerstein** ben & Sarah Glatt****Ann J. Gibson****Peter & Shelagh Godsoe**rose & roger Goldstein****Michael & Anne Gough****ronald & birgitte Granofsky****douglas & ruth Grant*John & Judith Grant**Al & Malka Green**John Groves &

Vera del Vecchio****James & Joyce Gutmann**** hampton Securities ltd.* Scott & ellen hand***Maggie hayes** hon. & Mrs. Paul hellyer****Michiel horn & Cornelia Schuh****Scott Irvine† & Joan Watson†***The Jackman foundation***Victoria Jackman*** Mr. robert C. Jefferies****dr. Joshua Josephson &

Ms elaine lewis****lorraine Kaake****Patrick & barbara Keenan****dr. Joel Keenleyside**** Jim & diane King**Joseph Kerzner & lisa Koeper****dr. elizabeth Kocmur**** Mr. Philip lanouette**John b. lawson, Q.C.****Mr. J. levitt & Ms e. Mah* daniel & Janet li*Vincent & helene lobraico*Tom C. logan* Jonathan &

dorothea lovat dickson** Mrs. J. l. Malcolm*dr. & Mrs. M. A. Manuel*hon. Margaret McCain*** Paul & Jean McGrath****ronan McGrath & Sarah Perry* June Mclean****Mr. Ian McWalter* Mr. Ulrich Menzefricke**** dr. Judith A. Miller***Mr. noel Mowat** eileen Patricia newell***Sally-Ann noznesky**** e. Oliana & A. Iu*** Janice Oliver** Keith & brenda Ottaway***The Ouellette family foundationdr. & Mrs. William M. Park****douglas l. Parker**** John & Gwen Pattison*Polk family Charitable fund**Julian Porter, Q.C.*Mary Jean & frank Potter*** Margrit & Tony rahilly**** rob & Penny richards***Margaret A. riggin*Gordon robison & david Grant* Maxwell l. rotstein &

nancy-Gay rotstein****


Cameron rusaw & Anne-Marie Sorrenti

Judy & hy Sarick****Sam & esther Sarick****helen & John Scott**June Shaw &

the late dr. ralph Shaw****Allan & helaine Shiff****david & hilary Short*** Judy & hume Smith**** dr. harley Smyth &

Carolyn McIntire Smyth*dr. John Stanley &

dr. helmut reichenbächer**drs. Wayne Stanley &

Marina Pretorius*doreen l. Stanton****Mr. & Mrs. Gordon Taylor***Wendy J. Thompson Anthea Thorp****Vincent Tovell, O.C.***Ian Turner** dita Vadron & James Catty* rosalind & dory Vanderhoof**donald & Margaret Walter****hugh & Colleen Washington*William r. Waters****ruth Watts-Gransden****dr. Virginia Wesson*** dr. Jack Williams &

dr. dorothy Pringle***Ms lilly Wong* Tom and ruth Woods**** Mr. & Mrs. richard Wookey*** linda Young*Tricia Younger* The Youssef-Warren

foundation**** helen Ziegler***Sharon Zuckerman****Anonymous (6)

MEMBER, $2,250 – $3,749The Acheson family

foundation**d. C. Adamson-brdar****Susan Agranove & estate of

dr. larry M. Agranove****donna & lorne Albaum*Mr. & Mrs. roberto &

nancy Albis***david & debbie Allan Clive & barbara Allen**** Mr. Thomas & Mrs. Claire Allen** dr. d. Amato & Ms J. hodges****Anne-Marie h. Applin***Valerie Armstrong****Philip Arthur & Mary Wilson* Virginia Atkin***John bailey**James C. baillie*Marilyn & Charles baillie****Andrew & Cornelia baines****Janice A. baker****richard J. balfour***Schuyler bankes & family***lindy barrow**Julia bass & david hamilton***Alice & Tom bastedo**dr. Gail beck, O. Ont. &

Mr. Andrew fenus* Mr. & Mrs. Peter & Sondra beck*

Ms Marie bérard†***nani & Austin beutel****dody bienenstock** John & Mandy birch*Anneliese and Walter blackwell****lynn blaser & John van Ogtrop**** darlene & Peter blenich* Ian & Janet blue**John & Ila bossons**Mr. W. bowen &

Ms S. Gavinchuk†****Mrs. Carolyn bradley-hall &

Mr. William bradley***Mrs. richard bradshaw***Peter brieger &

beverley hamblin*Murray & Judy bryant*** brian bucknall &

Mary Jane Mossman****Christopher & elizabeth buller Thomas J. burton**Maureen Callahan &

douglas Gray**Margaret harriett Cameron****Sharon & howard Campbell**brian & ellen Carr**** Gail Carson****Ms Carol Cass dr. & Mrs. Albert Cheskes**birte von Chlumecky-bauer** John d. Church dr. howard M. Clarke***edward Cole & Adrienne hood**brian Collins & Amanda demers*Tony & elizabeth Comper* Murray & Katherine Corlett****harold & Anita Corrigan***dr. lesley S. Corrin****bram & beth Costin Gay & derek Cowbourne**Mr. John A. Crocker &

Mrs. Mary Crocker ruth & John Crow***Mary beth Currie & Jeff rintoul Carrol Anne Curry***doris J. daughneydavid denison &

Maureen flanagan**Michael & honor de Pencier****Mrs. rosario de Wit-farro***Mrs. leonard G. (Anne) delicaet

& Mrs. Kendra Anne delicaet-Almasi****

Mary-Kathleen delicaet & John Young

Angelo & Carol delZotto*** Mr. & Mrs. A. J. diamond*J. diGiovanni*Olwen & frank dixon**James doak & Patricia best** Sandra Z. doblinger**Ms Petrina dolby***dr. James & Mrs. ellen downey**Marko duic and Gabriel lau**** Mr. Albert d. dunn*Mr. Vlad dzavik William & Gwenda echard****Jean Patterson edwards* Wendy & elliott eisen****Mr. John J. elder & family**** Jordan elliott & lynne Griffin robert elliott & Paul Wilson**

Christoph emmrich & Srilata raman

dr. & Mrs. John evans***fabris Inc.*Mr. eddy fanGeorge A. farkass*Gail & bob farquharsondarren farwell Catherine fauquier***bill fearn & Claudia rogers****Mr. & Mrs. fraser M. fell**** lee & Shannon ferrier***William & rosemary fillmore**Mrs. lois fleming**** J. e. fordyce**** david & elizabeth forster*** Margaret & david fountain****linda & Ken foxcroft* Mrs. Ingrid fratzlMr. Michael A. french**robert fung**John & rita Gagliano*rev. Ivars Gaide &

rev. dr. Anita Gaide***Ann Gawman***dr. barry A. Gayle****Mary & lionel Goffart*dr. eudice Goldberg*dr. fay Goldstep &

dr. George freedman**deanna A. Gontard****Tina & Michael Gooding***Wayne A. Gooding****Goodman family*dr. noëlle Grace &

The Shohet family*** Jane Greene**Mr. finn Greflund &

Mrs. M. Ortner**Mr. Carmen &

Mrs. Vittoria Guglietti**ellen & Simon Gulden****Mr. & Mrs. henry hackenspiel****dan hagler & family***Mr. Adrian J. hamelGeorge & Irene hamilton**** John & ruth hannigan*beverly hargraft**Paul & Margaret harricks*Michael harris & Carol rak*Mr. & Mrs. William b. harris*** Paul & natalie hartman*Mr. harquail & dr. Sigfridsson* Caroline helbronner** Jacques &

elizabeth helbronner***Thea herman & Gregory King***William e. hewitt***Mr. Tom higgins***Chris hoffmann & Joan eakin**Pamela hoiles Sally holton & Stephen Ireland***emmy & Walter homburger***drs. Walter & Virginia hryshko*Anthony C. J. humphreys****Gillian humphreys*Peter & hélène hunt****eva Innes & david Medhurst dr. Melvyn l. Iscove***elliott Jacobson & Judy Malkin**Paul Jaggard & ruth Caswell lynne Jeffrey***

Please visit coc.ca for additional information 25 Please visit coc.ca for additional information

laurence Jewell**The norman & Margaret Jewison

Charitable foundation****Mrs. e. Patricia Johnson** Ms elizabeth Johnson**dr. Albert & bette Johnston*Joyce Johnston***Alexandra JonssonMs Miriam Kagan Inta Kierans****ellen & hermann Kircher****Martin Kirr Mr. douglas Klaassen** Michael & Sonja Koerner**Murray & Marvelle Koffler**** robin Korthals & Janet Charlton**dr. robert Kosnik****Valarie Koziol*William & eva Krangle****richard T. la Prairie*elizabeth & Goulding lambert***leslie & Jo lander****Marc lebeau & Guylaine lefebvredr. Connie lee**linda lee & Michael Pharoah**** neal & dominique lee** dr. richard lee &

Mr. Gary Van haren**Alexander & Anna leggatt***Joy levine***Mr. Peter levitt & Ms Mai Why**l. liivamagi & dr. d. n. CashJustin S. linden Marjorie & roy linden****dr. & Mrs. W. G. lindley****Janet & Sid lindsay***Anthony J. lisanti***dr. Vance logan***A. benson lorriman****douglas l. ludwig &

Karen J. rice***James & Connie Macdougall****Mr. Jed MacKay****dr. & Mrs. richard Mackenzie****Macro Properties ltd.**Ole P. Madsen*Mr. A. Mafrici****Susan & Scott Maidment***dr. Colin McGregor Mailer****r. Manke**** Mr. & Mrs. r. Gordon Marantz****fernando &

Marietta Martinez-Caro Jill & Geoff Matus**roberto Mauro† & erin Wall Mrs. ettore Mazzoleni*** dr. & Mrs. John A. McCallum****Wendy & Chris Mcdowall**dr. & Mrs. donald C. McGillivray****darcy & Joyce McKeough*Mr. brent Mclaughlin don Mclean & diane Martello Guy & Joanne Mclean****M. e. Mcleod****Shawn Mcreynolds &

elaine Kierans* dr. don Melady &

Mr. rowley Mossop***eileen Mercier****Ms Andrea Miller Marvene (Cox) &

Gordon Miller**

lee Milliken† & doug Macnaughton**

Patricia & frank Mills**dr. & Mrs. Steven MillwardAudrey & david Mirvish***bruce & Vladka Mitchell* dr. david n. Mitchell &

dr. Susan M. Till***robert & Janet Mitchell*eva Mocarski* dr. & Mrs. S. Mocarski*Anne Moore****Mr. robert Morassutti****ruth Morawetz & Ken Judd*** Alice Janet Morgan***Ms rosalind Morrow**drs. Christopher &

Pippa Moss***Gael Mourant &

Caroline hubberstey Mr. Joseph Mulder**ethel Myers****Matt & debbie Mysak*** david & Mary neelands***dr. Shirley C. neuman**dr. John & Pamela newall****dr. emilie newell*dr. Steven nitzkin***Simon & Marlene nyilassy* dr. James &

Mrs. Valda Oestreicher***benson Orenstein***Martin & Myrna Ossip*Clarence & Mary Pace** dr. & Mrs. n. Pairaudeau****dr. roger d. Pearce*** dr. A. Angus Peller* John & Penelope Pepperell* dr. r. G. Perrin**John & Carol Peterson**M. J. Phillips****June C. Pinkney****robin b. Pitcher***Wanda Plachta***Georgia Prassas****Ms Jill Presser & Mr. John duffy*dr. Mark Quigley**** Stephen ralls &

bruce Ubukata***Professor C. edward rathé**** The Carol &

Morton rapp foundation****Kenneth f. read**** Mrs. richard Gavin reid* Grant l. reuber***Mrs. Gabrielle richards** Carolyn ricketts****Ms nada ristichemily & fred rizner**Clara robert*dr. Michael & Mary romeo****John & hannah rosen*Ken & helen rotenberg**rainer & Sharyn rothfuss****The roux family Peter A. roy & leah Taylor roydrs. Orest & Maureen rudzik****david A. ruston***Ms Sharon Cookie Sandler**** Mallory Morris Sartz &

John Sartz****Go Sato***

dr. & Mrs. bruce Schaef****Katalin Schäfer*** fred & Mary Schulz**dr. Marianne Seger****Carol Seifert & bruno Tesan***Victor & rhoda Shields****Milton & Joyce Shier****dr. Kevin Shiffman** William Siegel &

Margaret Swaine**dr. bernie &

Mrs. bobbie Silverman** In memory of dr. bernard Slatt*dr. & Mrs. Jeremy Sloan**brit & Sally Smith** Jay Smith & laura rapp*Ms Muriel Smith &

Mr. eric Ojala****dr. Joseph So***Philip Somerville*John & ellen Spears***Martha e. Spears***Phil Spencer****Alex & Kim Squires****Oksana r. Stein***Mr. & Mrs. Gary & Sula Stern*dr. & Mrs. Stephen Stern***John d. Stevenson****Jim Stewart & deborah Swail* James h. Stonehouse*Janet Stubbs**eric Tang & dr. James Miller** Judith Teller foundation**** Tesari Charitable foundation**elizabeth Tory****Mr. Alex Tosheff* diana Tremain****Sandra & Guy Upjohn***dr. r. b. Van Winckle*edmond &

Sylvia Vanhaverbeke****Stefan Varga & dr. Marica Varga Mr. & Mrs. henry &

Ann louise Vehovec***dr. Yvonne Verbeeten**dr. helen Vosu &

donald Milner****richard & nathalie Wachsberg*dr. O. r. Waler* elizabeth & Michael Walker***Ann & Marshall Webb** Peter Webb & Joan York**** Philip & diana Weinstein*dr. bogomila Welsh*Ms eleanor Westney**Melanie Whitehead** Mr. brian Wilks*elizabeth Wilson &

Ian Montagnes****Jeffrey Stewart Wilson*Mr. dale Woolridge dr. Jackson Wu &

dr. Viviana Chang* Ms June Yee** Morden Yolles**** dr. howard & Sybil Young****helen & Walter Zwig**** Anonymous (31)

A scene from the COC's Gianni Schicchi, 2012. Photo: Michael Cooper

* Friends of the COC give a charitable membership gift between $150 – $2,249 annually.

Join us!Today’s performance has been made possible, in part, by the generosity and loyal support of the Friends of the COC*. Our Friends also support our education and outreach programs and Ensemble Studio training program.

Become a Friend of the COC and you can join us in the Friends Lounge at all COC performances, enjoy special behind-the-scenes working rehearsals and events, receive our newsletter Prelude, as well as gain access to single tickets one week prior to the public. All gifts will be gratefully acknowledged with a charitable tax receipt.

For more information, please stop by the Friends Lounge located on Ring 3, visit coc.ca, or call 416-847-4949.


FRIENDS OF THE COC

SUSTAINING FRIENDS $1,600 – $2,249Yvonne blaszczykIivi Campbell****elaine & Michael davies****Jayne & Ted dawson****bill heaslip****I. Mcdorman****dr. norbert V. Perera****david Smukler & Patricia Kern**The Sorbara Group****Vernon & beryl Turner****Ms eda VaralliGordon Waugh***

ASSOCIATE FRIENDS $1,100 – $1,599Carol & ernest Albright****Ms I. M. Allen****Gail Asper O.C., O.M., lldMichael & Janet barnard**Michael benedict &

Martha lowrie****don biderman****dr. & Ms b. M. braude**dr. Wendy C. ChanPatricia Clarke**Cogeco data Services Inc.Mr. Stuart davidsonMr. darren day***Mr. Steven d. donohoe****Mr. larry enkin***dr. James M. fergusonMr. Morris flicht****r. dalton fowler****John h. Galloway****ricardo Gomez-Insausti*Mrs. Suzy Greenspan**Mr. James hamilton*Mr. & Mrs. h. C. hatch****lawrence & beatrice herman****In memory of Pauline hinch*haim & Mardi hirshberg*david holdsworth &

nicole Senécal*richard & Susan horner****Mr. Josef hrdina*donald hughes***James hughes**Karen & Craig*Ms Suanne Kelman &

dr. Allan J. fox*Mrs. Mary liitoja****deidre lynch*P. Anne Mackay****Mrs. Janet Maggiacomo**Georgina Mclennan****dr. davender Mehra &

Mrs. ellis Galea KirklandMr. Carl Morey****Mr. Sean O'neill***Ms Marianne Orr*eileen & ralph Overend*Mr. Martti Paloheimo**barbara & Peter Pauly**Ms Victoria Pinnington***Alice Pitt & deborah britzmanMr. & Mrs. domenic Porporo*Prometheum Institute***dr. Peter ray***

dorothy & robert ross***M. & G. Sanvido****Ms elisabeth Scarff****Joan Sinclair & John McConnell**dr. & Mrs. W. K. Stavraky***norma & George Steiner****dr. & Mrs. Karel Terbrugge*Ms Peg Thoen*Angela Thompsondr. M. lynne Thurling &

dr. John Treilhard***Mr. & Mrs. david G. Trent****Valery lloyd-WattsJanet White**ron Williams*Anonymous (8)

CONTRIBUTING FRIENDS$700 – $1,099dr. I. l. babb fund at the Toronto

Community foundation****Peter & leslie barton**Mrs. lynn bayer***dr. robert bellCatherine belyea†Jeniva berger***Anthony bird****dr. b. derek & dr. Anne W. birt****dr. Jennifer blake*ellen & Murray blanksteinMary brock & brian Iler****Mr. Thomas n. bryson**Ms Judith burrows**Ms e. burton***betty Carlyle****Mark Cestnik & natercia Sousa****Geoffrey & bilgi Chapman****harold Chmara & danny hoy****Jillian ClarkeJoe T. r. Clarke****Sherri Clarksond. M. Cook***robert d. Cook**Mr. neil Crawford*Professor K. G. davey**Anita daydon deboer & brent Vickar***Mr. Michael disney*dr. eric domville**Wendy drahovzaldr. Christine dunbar**howard & Kathrine eckler**Peter & Shashi eden**Ms eleanor l. ellins****roger & Janet emery***Mr. Arthur english*Joe & helen feldmann**brian A. ferguson****Tom flemming****Jennifer & frank flower***Marie-lison fougere*Angelo furgiuele & family*douglas G. Gardner****elinor Gill ratcliffe C.M., O.n.l.,

lld (hc)Alison Girling & Paul Schabas**Aviva & Andrew Goldenberg**dr. Wilfred S. Goodman****david Gordon &

Wendy flores Gordon*In memory of n. bruce GrandfieldMrs. Marion A. Green****

dr. & Mrs. Voldemars Gulens****dr. & Mrs. brian &

Cynthia hands****roy & Gail harrison****Sandra hausman**In memory of Glenda henniger*Mr. Matthew hilgerdenaarIn memory of Pauline hinch**Mr. Sylvain houle*dr. Ivan & Mrs. diana hronsky****In loving memory of

Joyce Whitney hughesMr. Pierre hurtubise****Mr. david hutton**Mr. Sumant Inamdar**Mr. Kazik Jedrzejczak****douglas & dorothy Joyce****Ms elisa KearneyMs Meredith Keeveheidi & Khalid Khokhar****lilian Kilianski† &

brian Pritchard*Mai Kirch****dr. & Mrs. l. A. Kitchell****Mr. Christopher J. KowalMr. Jonathan Krehm*Gediminas P. Kurpis****Mr. James r. lake****harry lane**M. J. horsfall large**Miss donna lasecki****Giles le riche &

rosemary Polczer***Claus & heather lenk*Mr. Yakov lernerJason & Stephanie lewisdr. francois loubert*Mr. Andrew & Mrs. harriet lyonsKathy Marton*Mary McClymont****Mary McGowan****Jil McIntosh**Mr. bruce McKeown***Janis Medland*Sylvia McPhee****Suzanne Mess***dr. Alan C. Middleton**Kamini & lynne Milnesfrank & Anne Moir**Anne Murdock**Mr. Tomi nishio****david northcote &

Suzanne betcke*Ms Cristina Oke**Karen Olinyk†*Mr. James C. Pappas****Mr. Joseph &

Mrs. letizia Paradiso***Pauline & donalddavid Peachey &

Georgia henderson**Mrs. dorothy K. Piepke****ed & beth Price***Mr. robert radkedr. Shelley rechner****Marat ressinMs laura rimas*Mr. Jason roberts**Ms Virginia robeson*Amye & deeAnn hagler Sagar†William &

Meredith Saunderson****

t O p

F


Patti & richard Schabas**nancy A. Schiefer in memory of

Walter Schiefer***Schuyler bankes & family***henry & Mary Seldon****Cheryl Shook**d. bruce Sinclair**John Spears****helga & Klaus Stegemann***Jane & Ted Stephenson****hamish Stewart &

Susan Taylor****Stoesser law OfficeMs Michelle Tan**dr. r. Paul Thompson*ria Tietz****dr. Claude Tousignant**Mrs. Maria Tulip****Mrs. norene Turvolgyi****dr. nancy f. Vogan****Mr. Wayne Vogan†****George Vona & lark Popov**dr. Peter Voore***Angela & Michael Vuchnich****Mr. John M. Welch****James & Margaret Whitby****nina Wright**Ms Iris Zawadowski*Anonymous (5)

THE ENCORE LEGACYThe encore legacy is theplanned giving program of theCanadian Opera Company.

Planned giving is making thedecision today to provide a gift for the Canadian OperaCompany that may not be realized until after your lifetime.

Gifts planned today, that willultimately affect your estate,allow you to make a statementof support that will become a lasting legacy to the COC.

The Canadian Opera Companygratefully acknowledges andthanks the following individualswho have included the COC in their estate planning:

Susan Agranove & estate of dr. larry M. Agranove

Isobel Allenrenata Arens & elizabeth freyMrs. rosalen Armstrongron Atkinson &

bruce blandfordlindy barrowMr. l. h. bartelinkJ. linden best & James G. Kerrdavid bowenMarnie M. brachtGregory brandtAnn Christieearl ClarkThe rt. hon. Adrienne Clarksonbrian Collins & Amanda demersearlaine Collinsdavid h. Cormack

ninalee CraigAnita day & robert McdonaldAnn de brouwerhelen drakerowland d. Galbraithdouglas G. GardnerAnn J. GibsonMichael & Anne Goughl. A. GroverGeorge & Irene hamiltonJoan l. harrisJames hewsonJohn r. higginsMr. Kim Yim ho &

Walter frederic Thommendouglas e. hodgsonMatt hughesMichael & linda hutcheonlynne JeffreyAnn Kadrnkaben KizemchukKathryn KossowMr. Gurney KranzJo landerPeggy lauTom C. logan, A.r.C.T.Marjorie & roy lindenMs lenore Macdonalddr. Colin M. Mailerr. MankeTim & Jane MarlattMr. Shawn MartinMargaret McKeeSylvia M. McPheedr. Alan C. Middletoneleanor MillerSigmund & elaine Mintzdonald MorseSue MortimerMr. & Mrs. James d. PattersonMervyn PickeringGunther & dorothy PiepkeWanda PlachtaMs Georgia PrassasK. f. readdr. John reeve-newsonMrs. Margaret russellCookie & Stephen SandlerClaire Shawr. bonnie Shettlerdavid e. Spirodr. d. P. Stanley-Porterdoreen l. Stantonlilly Offenbach-Straussdrs. W. & K. StavrakyJanet StubbsAnn Suttonronald TaberMrs. l. Treutlerriki Turofsky &

Charles Petersenn. Suzanne VanstoneMarie-laure Wagnerhugh & Colleen WashingtonMarion C. WilsonMarion YorkTricia YoungerAnonymous (59)

OPERATOURS DONORS $700 +

(From October 2012 –December 2013)

dr. eric W. Amann**howard & ruth barrett****Ian & Janet blue**Ms Victoria burenko*Ms e. burton***louise Coxall***edward Cummings &

Margaret Kelly****ben & Sarah Glatt****dr. Irene Gulka*donald Gutteridge &

Anne Millar****Ms fawzia Khan*dr. elizabeth Kocmur****earl law****Mrs. J. l. Malcolm*Ms Antonieta Marticorena****Mary McClymont****Mr. Alex Moraru*Mrs. Christa nimmo****Mr. Michael r. Overbury***rainer & Sharyn rothfuss****Mr. Michael Samborsky**beverly & fred Schaeffer****Stephen & Jane Smith****Paul & Maria Szasz****Ms Grace Szczerbowskiria Tietz****david roffey & Karen Walsh***Ms June Yee**Anonymous (5)

CORPORATE MATCHINGPARTNERSThe Canadian Opera Companygratefully acknowledges thefollowing organizations thathave matched gifts by theiremployees:

Canadian Tire Corporationlimited

IbM Canada ltd.Ivanhoe Cambridge IncGoodman & Company,

Investment Counsel ltd.fM Global foundation

The above Individual Support Giftswere made as of January 7, 2014

* five to nine years of support** 10 to 14 years of support*** 15 to 19 years of support**** 20 or more years of support† COC administration, chorus

or orchestra member‡ endowment

despite the staff’s extensive effortsto avoid errors and omissions, mistakes can occur. If your namewas omitted, listed incorrectly ormisspelled, we apologize for any inconvenience this may have caused.We would appreciate being notifiedof any errors at 416-847-4949.

The Opera Shop is a project of the Canadian Opera Company, in partnership with L’Atelier Grigorian and Decca – The Opera Label.

All proceeds support the Canadian Opera Company.

Featured recordings from Universal Classics:

WARM UP THIS WINTER AT

This winter we’re introducing more I HEART COC custom-made merchandise including mugs, pens, cufflinks and tie clips! And of course the beloved COC teddy bear is back! We’re thrilled to showcase once more the stunning jewellery of TwoA (right) and PJ Bundy and welcome for the first time Danielle O’Connor and her exquisite, handmade jewellery, featuring beautifully faceted stones. Also new to the Opera Shop is the vintage lace jewellery line of THISILK.

The Opera Shop is located on the main floor of the Isadore and Rosalie Sharp City Room, open before, during, and (sometimes) after all performances.

CD Così fan tutte, Decca. The Chamber Orchestra of Europe, Georg Solti, conductor. Renée Fleming, Anne Sofie von Otter, Adelina Scarabelli and Frank Lopardo. Sir Georg Solti’s digital Così, recorded live at London’s Royal Festival Hall in 1994, has been hailed as one of the finest versions of Mozart’s miraculous score on disc. Renée Fleming is a commanding Fiordiligi, conveying all that character’s tragic vulnerability with enough pathos to melt even the hardest of hearts. $38 including tax

DVD Un ballo in maschera Deutsche Grammophon. The Metropolitan Opera Orchestra and Chorus and Ballet, James Levine, conductor. Luciano Pavarotti, Leo Nucci, Aprile Millo and Florence Quivar. Luciano Pavarotti’s sunny personality and quintessentially Italianate tone found their perfect match in Ballo’s blindly cheerful Riccardo, often cited as his greatest role. Piero Faggioni’s sumptuous production opts for the opera’s 18th-century Swedish court setting. $25.75 including tax

THE OPERA SHOP

MEET THE JEWELLERS! WINTER TRUNK SHOW DATES

Saturday, February 1, 4:30 p.m. TwoA Jewellery

Sunday, February 16, 2 p.m. PJ Bundy

Major Supporter, ensemble StudioCompetition Supporter, Centre Stage:

ensemble Studio Competition Gala

Presenting Sponsor of SUrTITleS™

Presenting Sponsor Opera Under 30

and Operanat10n: A Night of Temptation

Official Canadian Wine of the COC

at the fSCPA

Presenting Sponsor After School Opera Program

Glencore ensemble Studio School Tour

Official Media Sponsor

Production Sponsor Verdi’s A Masked Ball

Preferred hospitality Sponsor


MAJOR CORPORATE SPONSORS 2013/2014 SEASON

Preferred fragrance

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bMO financial Group Pre-Performance Opera Chats and bMO financial Group Student dress rehearsals.

Mozart’s Così fan tutte underwritten in part by

Official Automotive Sponsor of the COC at the fSCPA

Presenting Sponsor Weekday rush Subscriptions


DIAMOND PERFORMANCE SPONSORS

HOSTING SPONSOR

PERFORMANCE SPONSORS barrick Goldburgundy Asset Managementlinden & Associatesfionn MacCool’sfour Seasons hotels and resortsMcCarthy Tetrault llP norton rose Canada llPPWC

PROGRAM SPONSORGreat West life, london life and Canada life,

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OPENING NIGHT SPONSORfionn MacCool’s

LA BOHÉME OPENING NIGHT SPONSORSan Pellegrino

PREFERRED FLORISTSbloom The flower CompanyQuince flowers

CORPORATE AND FOUNDATION DONORS MAJOR GIFTS

$10,000+Audrey S. hellyer Charitable foundationThe hal Jackman fund

at the Ontario Arts foundation J.P. bickell foundationThe lloyd Carr harris foundationOCC lasikThe Mclean foundationAnonymous (1)

$5,000 to $9,999225490 Investments limitedlocal 58 Charitable benefit fundUnit Park holdings Inc. The hope Charitable foundation Shinex Window Cleaning IncState Street

$3,000 to $4,999Classical 96.3 fM hicks Memorial fund

at The Calgary foundationVida Peene fund

at the Canada Council for the Arts

$2,000 to $2,999d’Avignon freight Services Inc.Jarvis & AssociatesMAC CosmeticsMilgram Group of Companies ltd.

$1,000 to $1,999AimialoyaltyOne Inc.McKinsey & Company The Powis family foundation

CENTRE STAGE: 2013 ENSEMBLE STUDIO COMPETITION GALA COMPETITION SUPPORTERSrbC and rbC foundationPeter M. deebhal Jackman foundation

PLATINUM SPONSORMercedes-benz

GOLD SPONSORbrookfield Asset ManagementextupleScotiabank

OPERANAT10N: A NIGHT OF TEMPTATIONPRESENTING SPONSORTd bank Group

VIP SPONSORJ.P. Morgan

OFFICIAL FRAGRANCECalvin Klein dOWnTOWn

PARTNERING SPONSORSburgundy Asset ManagementGlobalive Communications Corp.

CONTRIBUTING SPONSORSbMO financial GroupWeirfoulds llP

EVENT SPONSORS10tationAlan CandyChair-man MillsKAelenKnot PrliliumMedia needsMill St. PerrierSheridan nurseriesToronto lifeTrius Wines

FINE WINE AUCTION 2013PRESENTING SPONSORSTd Securitiesbloomberg

SUPPORTING SPONSORblake, Cassels & Graydon llP

CHEESE SPONSORScheffler’s delicatessen & Cheese

CHOCOLATE SPONSORrheo Thompson Candies

2013/2014 MEDIA SPONSORS & IN-KIND SUPPORTERSremenyi house of Music ltd.

2013/2014 SPONSORS

CREDITS & ACKNOWLEDGMENTSThe Canadian Opera Company would like to thank all those who volunteer

both on a daily basis and for special events with the company.

Michael Cooper: Official photographer

The COC is a member of Opera America and Opera.ca.

The COC operates in agreement with Canadian Actors’ equity Association.

The COC operates in agreement with I.A.T.S.e., local #58, local #822, local #828.

The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments.

ENSEMBLE STUDIO

SPECIAL PROJECT FUNDING

GOVERNMENT SUPPORT

for the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from:

department of Canadian heritageemployment and Social development Canada

SUPERNUMERARIESTasha Adhihettynigel Atkinsonrichard browndiego CeresoliMariba douglasArianna forgioneAnnie harsfai

dylan Jardine-WongMargot lariviereMakayla leggettPico MaddenConnor McneilArman MohammadpourShawna notice-lue

Isla ParekhChyrell Samsonbrian TalugendeChiara Urbanrowan Wiltonlawrence Wraith

We acknowledge the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country.

nous remercions le Conseil des arts du Canada de son soutien. l’an dernier, le Conseil a investi 157 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

OPERATING SUPPORT


The power of emotions on stage can be experienced in many ways. We are proud to be the Presenting Sponsor of SURTITLES™ at the Canadian Opera Company, to help patrons experience every emotion under the sun - along with, of course, the goosebumps.

GOOSEBUMPS INCLUDED.

® Making the Arts More Accessible is a registered trade-mark of Sun Life Assurance Company of Canada.

TM SURTITLES is a registered trade-mark of the Canadian Opera Company.

MAKING THE OLD NEW1. It was the first and only time in Verdi’scareer that he adapted an already existinglibretto, Gustave III, ou Le bal masque byEugène Scribe. Scribe’s libretto had beenset to music by French composer DanielAuber in 1833 and enjoyed great success at its premiere in Paris.

A HISTORICAL OPERA2. The libretto was based on the 1792assassination of the progressive and widelyadored King Gustav III of Sweden. Gustavwas shot at a masked ball in Stockholmand died several days later.

STOCKHOLM TO BOSTON3. As Verdi worked on the opera with histranslator and librettist, Antonio Somma,the royal censors in Naples demanded a number of changes. The opera wentthrough three different titles, and just as many historical periods and locations(18th-century Stockholm, 17th-centuryPomerania, 14th-century Florence), beforeending up at the centre of a legal disputebetween Verdi and the management of the Teatro San Carlo. The courts releasedVerdi from his contract in Naples, and thecomposer took his opera to another theatrein Rome. There, the original Swedish


10THINGS TOKNOW ABOUT VERDI’S

A MASKED BALL BY NIKITA GOURSKI AND GIANMARCO SEGATO

setting was also rejected, but Verdi proposed17th-century Boston as an alternative, witha governor instead of a king, which satisfiedall parties involved. It was in this versionthat A Masked Ball finally premiered in Romein 1859. The Boston setting was the standardversion throughout Europe in Verdi’s life-time, though within two years of the opera’spremiere, a production in Paris had set theaction in Italy.

EXTERNAL DETAILS WEREN’T OF CRITICAL IMPORTANCE 4. The opera’s genesis shows that whatwas critical for Verdi in Masked Ball was

not so much the outer detail – a particularcity or a nobleman’s rank – but the universalstructures that govern our most private and public relationships.

Catch up with blogs and enjoy COC Radio at coc.ca. 19

Above: The COC presents A Masked Ball. CatherineNaglestad as Amelia and Piotr Beczala as Riccardo in theBerlin Staatsoper production, 2008. Photo: Ruth Walz

Below: Portrait of Verdi, 1886, by Giovanni Boldini (GaleríaNacional de Arte Moderno de Roma)

A COMPLEX LOVE TRIANGLE 5. A Masked Ball marked Verdi’s moveaway from melodrama toward subjects ofgreater emotional complexity. The charactershere are multi-faceted, experiencing intenseconflicts of the heart and mind. The GovernorRiccardo is in love with his best friend’swife, Amelia, but realizes that uncheckedardour would only compromise her marriageand lead to misery. Similarly, Amelia feelsreal passion for Riccardo but can’t bringhimself to betray her husband Renato.Meanwhile Renato – probably the mostcomplex baritone part Verdi ever wrote – isdevastated when he discovers what appearsto be an affair between Amelia and Riccardo,the man he has sworn to protect with his life against a brewing conspiracy.Remarkably, Renato never turns into a one-dimensional villain and Verdi giveshim a broad spectrum of conflicting emotions, from vengeful bloodlust thatwants revenge, to grief at the breakdown of his marriage, and from pain at beingbetrayed to sorrow at the loss of a friend he loved and admired.

BLENDING COMEDY AND TRAGEDY 6. This opera is Verdi’s most successfulfusion of light and dark styles. The commingling of tragedy and comedy is most striking during the opera’s final scene when the stage band at the maskedball, apparently unaware that the Governorhas been shot, continues to play upbeatdance music while Riccardo succumbs to his wounds.

VERDI LOOKS TO FRENCH MODELS 7. In composing to a French libretto, Verdiopted to use musical forms associated with19th-century French opera. This is especiallytrue of the music he wrote for the pageOscar, who often sings in straight-forwardFrench couplets (two-versed songs) thatlighten the mood with fun and mischief.The part of Oscar is traditionally performedas a pants role (a male character played by a female singer), but in this productionOscar’s character is presented as a youngwoman.


10 Things to Know About Verdi's A Masked Ball

The COC presents A Masked Ball. A scene from theBerlin Staatsoper production, 2008. Photo: Ruth Walz

A MODERN AMERICAN SETTING 8. This production takes place in anAmerica of the 50s and 60s, but makes references to symbols and iconography outside that epoch – for example the extravagant outfit Oscar wears to themasked ball is a theatrical wink citingBjörk’s “swan dress” at the 2001 Oscars. In drawing from a broad spectrum of real and mythic American tropes, this production presents a completely invented“modern America,” reinforcing Verdi’s artistic recommendation that “to copy reality can be a good thing, but to inventreality is much, much better.”

A VERSATILE HOTEL 9. The set is a hotel ballroom that cantransform seamlessly into different localesof the opera. During Act II, for example,when Amelia is in a cemetery by the gallows, the lighting dims, the columns ofthe ballroom suddenly became transparentto reveal vine-like plants crawling upward,and chandeliers lower to create the illusionof treetops that rustle and sway in the wind.The single set complements the action of A Masked Ball, one of Verdi’s most compactand propulsive operas.

A RENOWNED DIRECTORIAL TEAM 10. Two-time winners of the “DirectorialTeam of the Year” recognition (2002 and2012), selected by an international panel of 50 critics contributing to the magazineOpernwelt, Jossi Wieler and SergioMorabito have also been the recipients of “Der Faust” – a major German theatreaward – for best opera staging (2006 and2012). They are renowned for immersingthemselves deeply in the score and following the nexus of text and music to arrive at their production’s aesthetic and thematic focus. When Jossi Wieler was recently appointed head of theStuttgart Opera, the Financial Times noted that it meant a welcome return to “productions based firmly on score andtext” and praised him and Morabito fortheir “unshakeable faith in the score.” When it premiered in 2008, this productionof A Masked Ball was hailed by Bloombergfor being “unashamedly entertaining” and having the “cinematic dynamism and the velocity of a good thriller.” n

A STELLAR CASTThe production stars Canadian sopranoAdrianne Pieczonka (Dialogues desCarmélites, Tosca), who makes her role debutas Amelia. Tenor Dimitri Pittas returns (La Bohème, Rigoletto) as the GovernorRiccardo, while English baritone RolandWood makes his COC debut as Renato.Russian mezzo-soprano Elena Manistinamakes a welcome return as Ulrica after her Dora-award winning performance in the COC’s Il Trovatore (2012).

Nikita Gourski is Development CommunicationsOfficer and Gianmarco is Adult Education Managerat the Canadian Opera Company.

10 Things to Know About Verdi's A Masked Ball

FOR FURTHER INSIGHT INTO THE CANADIAN OPERA COMPANY’S PRODUCTION OF A MASKED BALL, PLEASE READ VERDI GOES TO ELSEWHERE, U.S.A., IN THE WINTER ISSUE OF PRELUDE, AVAILABLE ONLINE ATCOC.CA/PUBLICATIONS.

Adrianne Pieczonka (Amelia)

Dimitri Pittas (Riccardo)

Roland Wood (Renato)

Elena Manistina (Ulrica)



FALSTAFFVERDI

A Feast of Laughs Falstaff’s life of sport and pleasure comescrashing down when his appetites lead to an ill-advised seduction scheme in this adaptation of Shakespeare’s The Merry Wivesof Windsor. Verdi had more fun writingFalstaff than probably anything else in hiscareer, and it shows in the quicksilvermelodies and upbeat tempos of this joyous,life-affirming comedy.

This new COC production, directed by RobertCarsen, has already delighted audiences inNew York, Milan and London, and transportsus to England, circa 1950. It is a time when the aristocracy – represented by the lecherous yet lovable Sir John Falstaff – is fading into obscurity, while a powerfulmiddle class is emerging. The battle betweenthe noblesse and the nouveau riche takes us from the wood-panelled rooms of a poshcountry inn to the pastel-coloured kitchensof the bourgeoisie, from an enchanting scenein the forest to a lavish banquet, with Falstaff’sbeloved food and drink a unifying themethroughout. World-famous Canadian baritoneGerald Finley makes his role debut as Falstaff,and serves up the always-welcome lesson of being able to laugh at ourselves.

October 3 – November 1, 2014

NEW COC CO-PRODUCTION with Royal Opera House, Covent Garden;

Teatro alla Scala, Milan; Metropolitan Operaand De Nederlandse Opera

JOIN US IN 2014/2015

SUBSCRIBEAND SAVE UP TO

60%

Underwritten in part by

Production Supported by

Main image: Gerald Finley. Photo: Gary Mulcahey, 2013. Inset: Falstaff (Teatro alla Scala, 2013). Photo: Rudy Amisano

* Comprehensive Health Assessment must be purchased at the regular retail rate.

Be proactive and book your Comprehensive Health Assessment today.

Complete a Comprehensive Health Assessment (CHA) at the Medcan Clinic and Medcan will give $250 to the Canadian Opera Company.*

Beyond a traditional medical, Medcan’s detailed CHA includes:

Call 416.350.7103 or email [email protected] quote promo code: COC250.

To learn more, visit medcan.com

Medcan Clinic

“ The head-to-toe medical provided important information. And Medcan was our advocate in navigating the system to ensure we received the follow-up care we needed.”

— Alexander NeefGeneral Director

Canadian Opera Company

Medcan is the Preferred Medical Services Provider for the Canadian Opera Company.

PH

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EARLY DIAGNOSIS.PROMPT TREATMENT.BETTER OUTCOMES.


MADAMABUTTERFLY PUCCINI

October 10 – 31, 2014

COC PRODUCTION


Puccini’s heartbreaking masterpiece of love, longing and loss Following its 1990 premiere, the COC’s exquisitely beautiful MadamaButterfly immediately achieved classic status as “one of the treasuresof the COC’s collection” (Globe and Mail). It tellingly situatesButterfly’s little house as an island on the stage, revealing her isolationfrom family and community, as well as her ultimate abandonment by the American husband in whose empty vows she blindly placesher future.

Butterfly is simply the most vocally challenging, emotionally complexheroine in all Italian opera. She must embody strength and fragility in equal measure – qualities which abound in the great Americansinging actress Patricia Racette, whose Butterfly touched millions in the recent Metropolitan Opera HD transmission, and “can rightlystand among the great Butterflies of her era” (Opera News). Racette’sgolden voice will carry Puccini’s best-loved melodies into thesonorous warmth of the Four Seasons Centre, and will be matched in beauty by the breathtaking simplicity of Brian MacDonald and SusanBenson’s impeccable production.Racette shares the role with herfellow American soprano,Kelly Kaduce.

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Main image: Patricia Racette. Photo: Gary Mulcahey, 2013.Inset: Allyson McHardy and Adina Nitescu in

Madama Butterfly (COC, 2009). Photo: Michael Cooper

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Don Giovanni’s dangerous allure is a force to be reckoned with in thisgame-changing production Mozart wrote three great operas with Lorenzo da Ponte:The Marriage of Figaro, Così fan tutte and Don Giovanni,which the COC will present next winter (2015). The star-studded cast includes Russell Braun, Jane Archibald andMichael Schade in director Dmitri Tcherniakov’s enthrallingproduction of this darkly witty masterpiece in which DonJuan – the icon of seduction – is brought to blistering life, his almost supernatural, sexual magnetism undimmed as he faces his inevitable downfall.

One of the most exciting new directors in theworld of opera today, Moscow-born DmitriTcherniakov (best director, 2013 OperaAwards) will make his COC debut withanother of his deeply considered,unconventional, and always honestproductions that have produced some of the most inspired operaticperformances ever witnessed. Hisintense rehearsal process plumbs thepsychological possibilities of this work andthe characters become part of oneextended family, who are, in one wayor another, brought into the web ofthe unforgettable title character, whois partly inspired by Marlon Brando’sperformance in Last Tango in Paris.

We’re presenting this new co-production of Don Giovanni in collaboration with Bolshoi Theatre of Russia, Teatro Real Madrid andFestival d'Aix-en-Provence, where,when it premiered in 2010, it wasdescribed by the Financial Timesas “a thrillingly accomplished DonGiovanni that caught us off guard.”

DONGIOVANNIMOZART

January 24 – February 21, 2015

NEW COC CO-PRODUCTION with Festival d’Aix-en-Provence,

Teatro Real Madrid and Bolshoi Theatre



60%


Main image: Russell Braun. Photo: Gary Mulcahey, 2013. Inset: Kerstin Avemo and Bo Skovhus in Don Giovanni

(Festival d’Aix-en-Provence, 2010). Photo: PascalVictor/Artcomart

It takes a goddess to make a heroDirector Atom Egoyan and designer MichaelLevine breathe life into Wagner’s incrediblypowerful drama that was part of the RingCycle which opened the Four SeasonsCentre in 2006 to rave reviews, and is atonce both monumental yet deeply intimatein subject matter.The second of four epic operas that makeup Wagner’s enormous Ring Cycle exploresthe forbidden love between separated-at-birthsiblings Siegmund and Sieglinde, whoseunion marks the beginning of the downfall ofthe gods. Die Walküre charts their treacherousjourney alongside Wotan, ruler of the gods, andBrünnhilde, the mighty Valkyrie heroine who iscaught between familial obedience and moral truth. Conductor Johannes Debus leads a star-studdedcast, headed by Christine Goerke as the indomitableBrünnhilde, whose COC debut also marks a much-coveted role debut. Clifton Forbis takes on therole of the fierce Siegmund. The ever-impressivefull force of the COC Orchestra tacklesWagner’s colossal score that features someof the most impressive music ever conceived.This is a legend of heroes and gods, andforbidden love and revenge, and it sets the stage for the subsequentinstalments of Wagner’s most magnificent artistic achievement.

DIE WALKÜRERICHARD WAGNER January 31 – February 22, 2015

COC PRODUCTION



Main image: Christine Goerke. Photo: Gary Mulcahey, 2013.

Inset: Die Walküre (COC, 2006). Photo: Michael Cooper



BARBEROFSEVILLE

THE

Masters of comedy bringcolour, whimsy and frenziedperfection to this Rossini rompThe work of Spanish theatre troupe Els Comediantscame to international prominence in 1992 withthe spectacular fire ceremony they designedfor the closing of the Barcelona Olympics.Since then they have continued pioneeringlive theatre of unbounded vitality, combiningcarnival and circus performance traditions withpuppetry, dance, acrobatics and pantomime.

With this new COC production of Rossini’sgreatest comedy, the freewheeling Spaniardsreturn to Toronto. Their Cubist-inspired setstoy with scale and proportion, while bursts of day-glo colour and innovative lighting conjure a fantasy world hovering betweenfairy-tale and hilarious vaudeville.

Hitting all the high notes is an impressive castof voices led by “dynamite performer” (OperaNews) Joshua Hopkins, and “vocally flawless”(Munich Merkur) Met tenor Alek Shrader.Rossini’s score is a veritable hit parade, withshowstoppers and sparkling tunes aplenty,while the creative magic on stage reminds ushow much sheer fun can be had at the opera –a confection the entire family can enjoy.

April 17 – May 22, 2015

NEW COC CO-PRODUCTION with Houston Grand Opera,

Opéra National de Bordeaux and Opera Australia


ROSSINI


60%

ProductionSponsor


Main image: Christine Goerke. Photo: Gary Mulcahey, 2013.Inset: The Barber of Seville (Houston Grand Opera, 2011).

Photo: Felix Sanchez

Mystery. Murder. Madness.Robert Lepage’s ground-breaking produc-tion of Bartók’s Bluebeard’s Castle andSchoenberg’s Erwartung astounded Torontoaudiences at its 1993 premiere, establishingthe COC as one of the world’s most visionaryand compelling opera companies. Lepage’sspectacular and surprising integration ofmovement, light and theatrical slight-of-handsubsequently garnered world-wide acclaimin New York, Edinburgh, Melbourne andHong Kong.

These two revolutionary early 20th-centuryscores now return home to Toronto wheretheir stunning sonic and visual effects will beexperienced for the first time in the acousticsplendour of the Four Seasons Centre for thePerforming Arts.

Superstar Canadian bass John Relyea (TheTales of Hoffmann, 2012) sings the strangelyalluring Duke Bluebeard who inhabits a dark,mysterious castle whose secrets he does not want revealed. Powerhouse Russianmezzo-soprano Ekaterina Gubanova (Don Quichotte, 2014) portrays his fatallycurious new wife, Judit. Schoenberg’s monodrama about a woman spiraling intomadness stars Canadian mezzo-sopranoKrisztina Szabó (Love From Afar, 2012). COC Music Director Johannes Debus conducts the extraordinary COC Orchestra.

BLUEBEARD’SCASTLE/ERWARTUNG BARTÓK/SCHOENBERG

May 6 – 23, 2015

COC PRODUCTION



Main image: John Relyea. Photo: Gary Mulcahey, 2013.

Inset: Peter Fried and Sara Fulgoni in Bluebeard’s Castle (COC, 2001).

Photo: Michael Cooper



EtiquettePatrons are reminded that R. Fraser Elliott Hall isan extremely lively auditorium and that all audience noise will be accentuated and audible to other patrons.Turn off all electronic devices, avoid talking, coughing,humming, moving loose seats, kicking the backs of seats,rustling programs, and unwrapping candies or coughdrops. In consideration of patrons with allergies pleaseavoid wearing strongly perfumed beauty products and fragrances. Please remain in your seat until theperformance has completely ended and the house lights have been turned on.

Electronic DevicesThe use of mobile and smartphones and all otherelectronic devices is extremely disruptive and is strictlyprohibited during performances. If a patron has an emergency and needs to be contacted during a performance, he or she should contact Patron Services for assistance before the performance.

Cameras/Recording DevicesThe use of cameras, video cameras or sound-recordingdevices of any kind is prohibited in R. Fraser Elliott Hallduring performances. Any person using an unauthorizedrecording device while the performance is in progresswill be required to surrender or erase any recordings,photographic or digital images and may be asked toleave. No refunds will be issued.

LatecomersIn the interest of safety and for the comfort of all patrons and performers, latecomers may not enter theauditorium or be seated unless there is a suitable breakin the performance (usually intermission). Patronsleaving the auditorium during the performance orreturning late after intermission may not be readmittedor may be accommodated in an alternate viewing location.

Children and Babes-in-ArmsAll patrons, including children, must have a ticket for the performance. All children must be seated next to an accompanying adult. Young children should be ableto sit quietly throughout the performance. If unable to do so, children and their accompanying adult will be asked to leave the auditorium. Babes-in-arms will not be admitted.

Patron ServicesLocated in the Lower Lobby, the following services areavailable: coat and parcel check, booster seats, backsupports, infrared hearing-assistive devices and rental of binoculars, on a first-come, first-served basis.

Medical Emergencies and First AidA house doctor is present at all performances. Please contact an usher if medical services are required.

Lost and FoundDuring performances please speak with an usher or visitPatron Services at the Coat Check in the Lower Lobby.Following performances, all lost and found items will be stored at the security desk at Stage Door. Please call416-363-6671 for information.

Ticket ServicesCanadian Opera Company subscriptions and individualtickets are available through COC Ticket ServicesONLINE: coc.caBY PHONE: 416-363-8231

or long distance 1-800-250-4653Monday to Friday – 10 a.m. to 6 p.m.Saturday – 10 a.m. to 4 p.m.

IN PERSON: Four Seasons Centre Box Office145 Queen St. W.Monday to Saturday – 11 a.m. to 6 p.m. or through first intermissionSunday (performance days only) –11 a.m. to 3 p.m. or through firstintermission

The Four Seasons Centre for the Performing Arts Box Office also services ticketing needs for The NationalBallet of Canada and all other Four Seasons Centre events.

Group SalesGroups of 10 or more enjoy savings on regular individualticket prices. For more information or to reserve seats call 416-306-2356.

ParkingThere is parking on a first-come, first-served basis forabout 200 vehicles underneath the Four Seasons Centre.The entrance is located on the west side of York Street,south of Queen Street. Additional parking is convenientlylocated just steps away in the Green P lot underneathNathan Phillips Square. For directions visit greenp.com.

Four Seasons Centre Facility ToursTours of the Four Seasons Centre now includebackstage access! For more information, visitfourseasonscentre.ca.

BMO Financial Group Pre-Performance Opera ChatsThe Canadian Opera Company Volunteer SpeakersBureau offers free, insightful chats about the stories,music and background of all COC performances, 45 minutes prior to each performance in the RichardBradshaw Amphitheatre.

Food and Beverage ServiceA pre-order system for intermission refreshments isavailable at all bars throughout the Isadore and RosalieSharp City Room. Food and beverages are notpermitted in R. Fraser Elliott Hall.

Special Events and CateringThe Four Seasons Centre is available for rental for all of your presentation, meeting or special events needs,with spaces accommodating from 20 to 2,000 peopleand full catering services. For further details visitfourseasonscentre.ca or call 416-363-6671.

The Opera ShopLocated on the orchestra level of the Isadore and RosalieSharpe City Room, the COC's Opera Shop offers a fineselection of opera recordings on CD and DVD, as well asopera-related books, giftware and COC souvenirs.

PATRONINFORMATIONAND POLICIES

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Documents

A Masked Ball program, 2014