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C a n a d i a n O p e r a C O m p a n yFall 2014

PerformanceFALSTAFF

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n Cover images: Falstaff: A scene from the COC/Royal Opera House, Covent Garden/Metropolitan Opera/Teatro alla Scala/Dutch National Opera co-production of Falstaff, 2013, Teatro alla Scala. Photo: Rudy AmisanoMadama Butterfly: Adina Nitescu as Cio-Cio San and David Pomeroy as Pinkerton in the COC's production ofMadama Butterfly, 2009. Photo: Michael Cooper

Canadian Opera Company’s edition of Performance magazine is published quarterly by RJ Performance Media Inc., 2724 Coventry Road, Oakville, Ontario, L6H 6R1. All rights reserved. Reproduction in whole or in part without writtenconsent is prohibited. Contents copyright © Performance Inc. Subscriptions available by contacting publisher. Direct all advertising enquiries to 2724 Coventry Road, Oakville, Ontario, L6H 6R1 or phone 905-829-3900

3

CONTENTS4 ROBERT CARSEN:

FALSTAFF FOR A NEW AGE BY GIANMARCO SEGATO

12 OH, THE PLACES THEY’LL GO! COC ENSEMBLE STUDIO 2014/2015BY JENNIFER PUGSLEY

18 AROUND THE WORLD WITH MADAMA BUTTERFLYKRISTIN McKINNON

28 BACKSTAGE AND BEYOND

C a n a d i a n O p e r a C O m p a n yFall 2014

Performance

Top: Falstaff (Teatro alla Scala, 2013).Photo: Rudy Amisano

Bottom: (l-r) Allyson McHardy andAdina Nitescu in Madama Butterfly(COC, 2009). Photo: Michael Cooper

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

ROBERT CARSEN:

obert Carsen believes that more thanany other art form, opera offers a direct

portal to the way people lived in the past.In addition, a work like Verdi’s Falstaff,written a mere 150 years ago in a culturalmilieu not so far removed from our own,has the ability to shed light on many of thesame social anxieties and obsessions thatstill occupy us today. In his new productionof what is arguably opera’s greatest comedy,Carsen has masterfully blurred boundariesbetween all these seemingly disparate time

periods by re-inventing Verdi’s 1890s take on 1590s Elizabethan England as a mid-century farce set in post-war, class-obsessed, suburban Great Britain. Fortunately, COC audiences are now very

familiar with the work of this international,in-demand, Canadian director and designer.Carsen’s stagings of Gluck’s Orfeo edEuridice and Iphigenia in Tauris as well as Poulenc’s Dialogues des Carmélites havebeen hailed as some of the most compellingevents in the Toronto theatre scene in

Canadian Opera Company 2014/2015 Season4

R

FOR ANEWAGE

FALSTAFF

Robert Carsen

BY GIANMARCO SEGATO

Catch up with blogs and enjoy COC Radio at coc.ca. 5

recent seasons. Those operas, however, aremostly fraught, tragic affairs with nary amoment of comic relief. Falstaff is cut froma decidedly different cloth – Verdi’s finalmasterpiece is the successful comedy healways craved, written as much to pleasehimself as any public. No mere buffoconfection, Carsen calls Falstaff “a socialcomedy told from a point of view focusedon a very specific part of society. The plotdoesn’t just play around with comic situations but enriches them with a grand,deep exploration of the human soul.”Compared to the more serious works we’reaccustomed to seeing him direct, Carsenadmits that comedy is a real challenge:“Falstaff consists mostly of group scenes,and it moves very quickly so you have to be very careful and direct it like a movie,making sure that every single person inany moment knows exactly what they’redoing and is completely on.”When deciding how to best interpret

Verdi’s brilliant exploration of human follyfor a modern, international audience (theproduction’s original co-producers were the COC, Teatro alla Scala and Royal Opera

House, Covent Garden), Carsen was facedwith a rather challenging paradox. Normally,when working on a concept he feels nocompunction to faithfully reproduce specificlocations or time periods but Falstaff “isthe most English of all comedies, set inEngland, in Windsor, on the River Thameswith all these typically English characters.On the other hand Verdi is the symbol ofItalian music, so in taking Falstaff back toLa Scala where it had its world premiere in 1893, we had to make sure that it workedextremely well in those two cities [Milanand London] which have a particular connection to the work.”There are all sorts of compelling reasons

for maintaining an English locale: for one,Shakespeare’s The Merry Wives of Windsoron which the opera is partly based, isunique among the playwright’s comediesfor being the only one set in England. ButCarsen wasn’t interested in “authentic,” traditional, heavy Elizabethan brocades andhalf-timbered, “Tudorbethan” stage sets.Instead, he looked forward in time to the“second Elizabethan” period – that of post-war England at the time of the coronation

A scene from Falstaff, Teatro alla Scala, 2013. Photo: Rudy Amisano

of Queen Elizabeth II. “It seemed a goodperiod in which Falstaff would be able tolament what had passed after the SecondWorld War, because England was never the same. [The lifestyle of] all the greataristocratic homes which had employedalmost seventy percent of the Englishworkforce was all finished. All those bighouses were sold; people couldn’t afford to keep them on, so in this setting, Falstaff [whom Verdi and his librettist Boito characterize as a down-on-his-luck, gone-to-seed aristocrat] has something to complain about and to regret.” The 1950s English setting also affords

costume designer Brigitte Reiffenstuel a chance to play with what Carsen characterizes as a particularly Italianfetishization of British men’s fashion,

as evidenced by their penchant for tweeds,blazers and classic Oxfords. He notes the Milanese have an especial talent fortransforming these elements into somethingquite different from traditional Englishstyle. “I find the effect of this fusion –“Italianness” clothed in English style – very amusing!” In his production, this synchronicity of style and national identitycomes together most trenchantly in the bighunt ball which ends the show where “wehave a lot of hunting tweeds and huntingpinks … beautiful red cutaway coats and thewomen in tartans.” Carsen seized upon thehunt theme due to the many references in the libretto to “la caccia” (“the hunt”) –Boito’s well-chosen metaphor alluding toFalstaff’s ongoing, devious hunt for womenwith deep pockets!

Robert Carsen: Falstaff for a new age


Setting Falstaff in 1950s England gave costume designer Brigitte Reiffenstuel the chance to play with traditionalEnglish styles and fabrics. Clockwise from left: Ambrogio Maestri as Falstaff; (l-r) Kai Rüütel, Ana María Martínez andAmanda Forsythe; a scene in the Garter Inn; All photos from the Royal Opera House, Covent Garden production.Photos: Catherine Ashmore

A NEW FRAGRANCE FOR HER

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The Preferred Fragrance of the Canadian Opera Company

Beyond its outward trappings, the post-warmilieu also seemed to be the right choicefor teasing out the social class tensionsinherent in the opera: “One of the thingsthat’s evident in Shakespeare’s plays andeven more so in Verdi’s time is the way theopera deals with the sunset of the aristocracyand the rise of the middle class. It’s themoment in which one perceives the problem of the English aristocracy after theSecond World War when it entered a phaseof decline. And in this production Falstaffhas a lot of nostalgia for his past, for theEdwardian era. Ford [the husband of Alice,one of Falstaff’s potential conquests] is anouveau riche. He represents the newemerging middle class, focused as it was on the acquisition of money but lacking the elegance of the aristocracy. Ford is insecure and paranoid in the face of Falstaff’saffected, stylish manner. When he comes indisguise to visit Falstaff in Act II we decidedto dress him as a rich American, [appropriate]

Robert Carsen: Falstaff for a new age


A scene from Falstaff, Teatro alla Scala, 2013. Photo: Rudy Amisano.

Robert Carsen discussing his concept for Falstaffat the COC, 2014. Photo: Jeff Higgins Photography

for the period in which England was justbeginning to come out of all the problemsafter the war, and when America wasstarting to be this wonderful place wheremotor cars and household appliances likerefrigerators were being manufactured. A lot of this was just beginning to comeinto England as it became wealthier again.”In the second scene of Act II, we get to see cupboards full of these colourful, shiny,brand-spanking new American products in the Fords’ gigantic kitchen where thewomen’s fashionable, Christian Dior-style,A-line “New Look” dresses are also completely in period.Previous Carsen productions seen at the

COC have all been re-mountings of stagingsthat originated in other theatres. Falstaff ishis first new co-production for the company,

a development he feels is “an indication of the COC’s standing; its co-producers are major houses like La Scala and CoventGarden [Metropolitan Opera and DutchNational Opera were added later as partnersin the collaboration] and Alexander Neefsees the company in terms of the world,recognizing that opera is very much a globalart form using the greatest artists from allover the world.” It is in this spirit of globalco-operation together with Carsen’s meldingof visual styles, nationalities, historical periods, and its sheer comedic fun thatFalstaffmakes a much anticipated returnto the Toronto stage this fall. n

Gianmarco Segato is Adult Programs Manager at theCanadian Opera Company.

FOR FURTHER INSIGHT INTO FALSTAFF, READ ANATOMY OF AN OPERA AND AN INTERVIEW WITH GERALD FINLEY IN THE FALL ISSUE OF PRELUDE AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.


10

FALSTAFFOPERA BACKGROUND

Saving the laughs for last Over the course of his prodigious career, Verdi gravitated toward the grand and tragic subjects of the human condition: love, death, vengeance.

Yet for his final opera – written as the composer approached his 80th birthday – Verdiset his extraordinary talents loose on comedy, a genre he had attempted only once before,and without much success. But this time, Verdi gave the world a lush, sunny, and life-affirmingwork that many consider his crowning achievement. “In writing Falstaff,” he claimed, “I haven’tthought about either theatres or singers. I have written for myself and my own pleasure.”

The opera’s premiere at La Scala in Milan in 1893 was a complete triumph for the composer.Even though Verdi’s work was practically canonized in Italy by this point, his Falstaffdemonstrated such humour and zest, such mastery and ingenious invention, that it is hardto imagine a more appropriate grand finale to one of the most illustrious careers in opera.

“It must seem very very easy” The storyline of Falstaff comes primarily from Shakespeare’s The Merry Wives of Windsor.Verdi’s librettist Arrigo Boito made cuts and streamlined the five-act material to movebriskly on the opera stage. He also weaved in passages from Henry IV, Parts I and II (theplays in which Falstaff was first introduced in all his charm and gluttonous richness). Boitosaw his task as having to “squeeze all the juice from that Shakespearean orange withoutletting any of the useless pips fall into the glass... It is very very difficult and it must seemvery very easy.”

Unfettered Musical Flow For Verdi’s predecessors and contemporaries the traditional way of structuring opera was to combine impressive, virtuosic set-pieces (arias, ensembles, duets) that had clearbeginnings and endings with sections of recitative and dialogue that moved the plot alonguntil the next occasion for an extravagant musical number.

But Falstaff is very different, an almost entirely through-composed opera. It has virtuallynone of the discernible set-pieces that were the building blocks of Italian opera up untilthat point, and it races along with a remarkable, free-flowing continuity of form. The musicresponds with quicksilver sensitivity to the language of Boito’s libretto and makes rapidmelodic shifts in lockstep with the imagery and tone of the text. This generates the paceand naturalism of spoken-theatre, but with all the emotional colour and musical expressivityof the best operas.

From the Maestro COC Music Director Johannes Debus shared his high praise for the opera: “Falstaff is, in away, the sum and summary of life. And it offers this incredible wisdom through humour –humour as the human condition, as something we cannot practically live without. It’s reallyone of the true masterpieces of all time.”

Canadian Opera Company 2014/2015 Season

Falstaff, 2013, Teatro alla Scala. Photo: Rudy Amisano

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r. Seuss’s charming tale, Oh, the PlacesYou’ll Go!, conjures up a whimsical but

very appropriate image of what it meansto be a member of the Canadian OperaCompany’s Ensemble Studio. Four new artistsjoin the ranks of this illustrious trainingprogram in the 2014/2015 season: sopranoKarine Boucher, tenor Jean-Philippe Fortier-Lazure, bass-baritone Iain MacNeil andpianist/coach Jennifer Szeto, and it is indeeda journey they are about to embark upon.Since the program’s inception in 1980,

over 180 young professional Canadiansingers, opera coaches, stage directors andconductors have acquired their first majorprofessional operatic experience throughthe Ensemble Studio. Centre Stage is the COC’s lavish annual gala featuring a thrilling vocal showcase of audition finalists for the Ensemble Studio with theforces of the COC Orchestra led by COCMusic Director Johannes Debus. Boucher,

DBY JENNIFER PUGSLEY

Soprano Karine Boucher

Centre Stage host Rufus Wainwright (far right) with the finalists of the 2013 Ensemble Studio Competition

THE PLACES THEY’LL GO!OH,

COC ENSEMBLE STUDIO 2014/2015

Fortier-Lazure, and MacNeil were the topprize-winners in 2013.“I’m most excited about the learning

opportunities I will have while in the Studio,”says Fortier-Lazure. “Having the chance to perform alongside some of the bestinternational singers, musicians and conductors, and learning from theirrehearsals and performances is simply a dream for me.”MacNeil is equally in awe and looking

forward to “working with and learning fromthe faculty [of the Ensemble Studio] andthe artists involved in the season.” The lastfew years alone have connected Studioartists with some of opera’s most excitingand influential names for masterclassesand talkback sessions: baritones GeraldFinley, Russell Braun, and Sir ThomasAllen; tenor Neil Shicoff; mezzo-soprano

Judith Forst; soprano Erika Sunnegårdh;conductor Carlo Rizzi; the MetropolitanOpera’s Executive Director of theLindemann Young Artist DevelopmentProgram, Brian Zeger; Vice President atColumbia Artists Management William G.Guerri; and impresario and artist managerMatthew Epstein, to name but a few.For Boucher, joining the Ensemble

Studio is indeed about “taking all the toolsthe COC will give me to reach my goals.”But it’s also about finding ways to recreatea moment she experienced so intenselyduring Centre Stage last fall.“At the competition I could feel this

energy passing through the orchestramembers to Maestro Debus to me and outto the audience. The result was so powerfulthat I, and everyone else there, had the feeling of being a part of something bigger,something special that makes the soul feelgreat.”After graduating from the Ensemble

Studio, its members are “off and away!”One need only look to the casting of theCOC’s 14/15 mainstage season to see howmany principal roles are filled with programgraduates: tenor Michael Colvin is Dr. Caiusin Falstaff and Goro in Madama Butterfly;bass Robert Gleadow is Pistola in Falstaff,the Bonze in Madama Butterfly and Basilioin The Barber of Seville; soprano SimoneOsborne is Nannetta and mezzo-sopranoLauren Segal is Meg Page in Falstaff;soprano Sasha Djihanian is Zerlina in Don Giovanni; and mezzo-soprano KrisztinaSzabó is The Woman in Erwartung. n

Jennifer Pugsley is Media Relations Manager

at the Canadian Opera Company.

FOR MORE INFORMATION ON CENTRE STAGE, INCLUDING HOW TO BUY TICKETS, VISIT COCCENTRESTAGE.CA.


OH, THE PLACES THEY’LL GO!COC Ensemble Studio 2014/2015

Tenor Jean-Philippe Fortier-Lazure

Bass-baritoneIain MacNeil


OH, THE PLACES THEY’LL GO!COC Ensemble Studio 2014/2015

Centre Stage takes places on November 25, 2014 at the Four Seasons Centre for thePerforming Arts and featuresthe fourth annual EnsembleStudio Vocal Competition.Tickets to the competition andcocktail celebration are $100.Gala tickets, which include a black-tie dinner, are $1,500. For more information and to purchase tickets, visit centrestage.ca, call 416-363-8231 or go to the Four Seasons Centre BoxOffice (145 Queen St. W.)

Gordon Bintnerbass-baritone

Karine Boucher soprano

Charlotte Burrage mezzo-soprano

Jean-PhilippeFortier-Lazuretenor

Aviva Fortunata soprano

Clarence Frazerbaritone

Andrew Haji tenor

Iain MacNeil bass-baritone

Owen McCausland tenor

Jennifer Szeto intern coach

MEET THE 2014/2015ENSEMBLE

(l-r) Clarence Frazer and Owen McCausland in the Ensemble Studioperformance of Così fan tutte, 2014. Photo: Michael Cooper

ALEXANDER NEEF, General Director

FALSTAFFby Giuseppe Verdi

Opera in Three Acts. Libretto by Arrigo Boito after William Shakespeare’s plays The Merry Wives of Windsor and Henry IV Parts I and II

First performance: Teatro alla Scala, Milan, February 9, 1893

New COC Production

Co-production with Royal Opera House, Covent Garden, London; Teatro alla Scala, Milan; Metropolitan Opera, New York; and Dutch National Opera, Amsterdam

Last performed by the COC in 2004

October 3, 9, 12, 14, 25, 29, November 1, 2014

Sung in Italian with English SURTITLESTM

THE CAST(in order of vocal appearance)

Dr. Caius Michael Colvin†

Sir John Falstaff Gerald Finley*Bardolfo, a follower of Falstaff Colin Ainsworth

Pistola, a follower of Falstaff Robert Gleadow†

Meg Page, Alice’s friend Lauren Segal†**Alice Ford, Ford’s wife Lyne Fortin

Mistress Quickly Marie-Nicole LemieuxNannetta, Ford’s daughter Simone Osborne†***

Fenton, a young gentleman Frédéric AntounFord, a wealthy citizen Russell Braun****

Conductor Johannes DebusDirector Robert Carsen

Associate Director Christophe GayralSet Designer Paul Steinberg

Costume Designer Brigitte ReiffenstuelLighting Designers Robert Carsen and Peter van Praet

Associate Lighting Designer Wendy GreenwoodChorus Master Sandra Horst†*****Stage Manager Jenifer Kowal

SURTITLES™ Producer Gunta Dreifelds

Performance time is approximately two hours and 45 minutes, including one intermission.

Generously underwritten in part by

Production supported in part by

*Gerald Finley’s performance is generously sponsored by Sue Mortimer****Russell Braun’s performance is generously sponsored by Earlaine Collins***Simone Osborne’s performance is generously sponsored by Robert Sherrin

**Lauren Segal’s performance is generously sponsored by Riki Turofsky and Charles Petersen

*****Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price

†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 the character of Falstaff, WilliamShakespeare created one of literature’s

greatest celebrants of the pleasures of life.Here is a man who loves eating, drinkingand sex; whose entire attitude reminds us that life – so painfully short, so problem-riddled – can ultimately be a wonderfulthing. Carpe Diem is clearly Falstaff’smotto.

Verdi was an old man when he composed Falstaff, aware that it would behis last work. It is one of only two comedieshe wrote, but it is arguably the best, mostaccomplished and richest social comedy in the entire operatic repertoire. His collaborator, Arrigo Boito, deserves hugecredit for having created a brilliant librettoout of scenes from three differentShakespeare plays, weaving them togetherand adding a certain amount of his ownsugar and spice.

A central theme that occurs inShakespeare’s text is the sunset of the aristocracy and the rise of the middle class.To explore those social changes morepotently and to bring the satire nearer toour time, we have moved the productionfrom the reign of the first Queen Elizabethto that of the second: 1950s England, aperiod in which Falstaff could well lament

DIRECTOR’S NOTES

I the passing of his privilege, a time whenmany of the great aristocratic homes inEngland (which used to employ a hugepercentage of the nation’s workforce) were sold by an upper class no longer ableto afford their upkeep. The new societybelonged to an emerging professionalclass, men like Ford, whose homes werefull of modern electrical appliances andmotor cars. Falstaff’s extravagant andimaginative response to life and love iscontrasted with Ford’s obsession withmoney and power.

This period also allows us to explore thequintessential Englishness of Falstaff andits characters. So much of the text is about“la caccia” (the hunt), a theme which wehave enjoyed developing visually in thisproduction: hunting, fishing and shootinghave remained very upper-class Englishpursuits through the centuries.

We have also made a point of incorporating food and drink into everyscene in the production, which seems inkeeping not only with Falstaff’s legendaryappetites, but also with the spirit of thisopera, which is a superb banquet for theperformers and the audience. Bon appetit!

Robert Carsen


ACT IScene 1: The Garter InnDr. Caius bursts into Sir John Falstaff’sroom in the Garter Inn, accusing him ofunseemly behaviour the previous night.He further accuses Falstaff’s two henchmen,Bardolph and Pistol, of having robbed himwhile he was drunk. Unable to obtain reparations, Dr. Caius leaves in a fury.

Falstaff contemplates the large bill hehas run up at the inn. He informs Bardolphand Pistol that in order to repair hisfinances he plans to seduce Alice Ford and Meg Page, both wives of prosperousWindsor citizens. When Bardolph andPistol refuse to deliver the letters Falstaffhas written to the two ladies, Falstaffinstructs a page to do so instead. He thenridicules Bardolph and Pistol’s newly discovered sense of honour, before throwingthem out of his room.

Scene 2: The Garter InnAlice Ford and Meg Page laugh over theidentical love letters they have receivedfrom Sir John Falstaff. They share theiramusement with Alice’s daughterNannetta, and with their friend MistressQuickly.

Ford arrives, followed by four men allproffering advice: Dr. Caius, whom Fordfavours as Nannetta’s future husband;Bardolph and Pistol, who are now seekingadvantageous employment from Ford; andFenton, who is in love with Ford’s daughterNannetta. When Ford learns of Falstaff’splan to seduce his wife, he immediatelybecomes jealous.

While Alice and Meg plan how to takerevenge on their importunate suitor, Forddecides to disguise himself in order to paya visit to Falstaff. Unnoticed in the midst

of all the commotion, Nannetta and Fentonmanage to steal a few precious momentstogether.

ACT IIScene 1: The Garter InnFeigning penitence, Bardolph and Pistolrejoin Falstaff’s service. They show inMistress Quickly, who informs Falstaff thatboth Alice and Meg are madly in love withhim. She explains that it will be easier toseduce Alice, since her husband is out ofthe house every afternoon, between twoand three. Falstaff joyously anticipates hisseduction of Alice.

Bardolph now announces that a “MisterBrook” (Ford in disguise) wishes to speakto Falstaff. To Falstaff’s surprise, “Brook”offers him wine and money if he willseduce Alice Ford, explaining that he haslong been in love with the lady, but to noavail. If she were to be seduced by themore experienced Falstaff, she might thenbe more likely to fall a second time andaccept “Brook”. Falstaff agrees to the plan,telling his surprised new friend that healready has a rendezvous with Alice thatvery afternoon.

As Falstaff leaves to prepare himself,Ford gives way to jealous rage. WhenFalstaff returns, dressed in his best clothes,the two men exchange compliments beforeleaving together.

Scene 2: Ford’s houseMistress Quickly, Alice and Meg arepreparing for Falstaff’s visit. Nannetta tearfully tells her mother that her fatherinsists on her marrying Dr. Caius, but Alice tells her daughter not to worry.

Falstaff arrives and begins his seductionof Alice, nostalgically boasting of his

SYNOPSIS


aristocratic youth as page to the Duke ofNorfolk. As Falstaff becomes more amorous,Meg Page interrupts the tête-à-tête, asplanned, to announce (in jest) that Ford isapproaching. But just at that point MistressQuickly suddenly returns in a panic toinform Alice that Ford really is on his way,and in a jealous temper.

As Ford rushes in with a group of townsfolk, the terrified Falstaff seeks a hiding place, eventually ending up in alarge laundry basket. Fenton and Nannettaalso hide. Ford and the other men ransackthe house. Hearing the sound of kissing,Ford is convinced that he has found hiswife and her lover Falstaff together, but isfurious to discover Nannetta and Fentoninstead. While Ford argues with Fenton,Alice instructs her servants to empty thelaundry basket out of the window. To general hilarity, Falstaff is thrown into theRiver Thames.

INTERMISSION

ACT IIIScene 1: Outside the Garter InnA wet and bruised Falstaff laments thewickedness of the world, but soon cheersup with a glass of mulled wine. MistressQuickly persuades him that Alice wasinnocent of the unfortunate incident atFord’s house. To prove that Alice still loveshim, she proposes a new rendezvous thatnight in Windsor Great Park. In a letterwhich Quickly gives to Falstaff, Alice asksthe knight to appear at midnight, disguisedas the Black Huntsman.

Ford, Nannetta, Meg and Alice preparethe second part of their plot: Nannetta willbe Queen of the Fairies and the others, alsoin disguise, will help to continue Falstaff’s

punishment. Ford secretly promises Caiusthat he will marry Nannetta that evening.Mistress Quickly overhears them…

Scene 2: Windsor Great ParkAs Fenton and Nannetta are reunited, Alice explains her plan to trick Ford intomarrying them. They all hide as Falstaffapproaches. On the stroke of midnight,Alice appears. She declares her love forFalstaff, but suddenly runs away, sayingthat she hears spirits approaching.

Nannetta, disguised as the Queen of theFairies, summons her followers who attackthe terrified Falstaff, pinching and pokinghim until he promises to give up his dissolute ways. In the midst of the assaultFalstaff suddenly recognizes Bardolph, andrealizes that he has been tricked. WhileFord explains that he was ‘Brook’, MistressQuickly scolds Falstaff for his attempts atseducing two younger, virtuous women.Falstaff accepts that he has been made a figure of fun, but points out that heremains the real source of wit in others.

Dr. Caius now comes forward with aveiled figure dressed in white. They are tobe married by Ford. Alice brings forwardanother couple, who also receive Ford’sblessing. When the brides remove their veilsit is revealed that Ford has just marriedFenton to Nannetta, and Dr. Caius toBardolph! With everyone now laughing at his expense, Ford has no choice but toforgive the lovers, and bless their marriage.

Before sitting down to a wedding supperwith Sir John Falstaff, the entire companyagrees that the whole world may be nothingbut a jest filled with jesters, but he wholaughs last, laughs best!

Robert Carsen


MUSIC STAFFAndrea Del Bianco (Head Coach)

Rachel AndristMichael Shannon

ASSISTANT CONDUCTORDerek Bate

ASSISTANT DIRECTORMarilyn Gronsdal

ASSISTANT STAGE MANAGERSTiffany FraserLiliane Stilwell

APPRENTICE STAGE MANAGERLisa McKay

COSTUME SUPERVISORZeb Lalljee

ASSISTANT LIGHTING DESIGNERSJareth Li

Davida Tkach

ACTORSDale Miller

Justin StadnykAndrew TaylorRobert Yeretch

UNDERSTUDIESDr. Caius Owen McCauslandBardolfo Andrew Haji

Pistola Gordon BintnerMeg Page Charlotte BurrageAlice Ford Aviva Fortunata

Fenton Colin AinsworthFord Gregory Dahl

UNDERSTUDY ACTORJak Barradell


COLIN AINSWORTHBardolfoCanadian tenor ColinAinsworth is making hisCOC debut. Acclaimedfor his interpretations ofthe major Classical and

Baroque tenor roles, recent appearancesinclude Castor in Castor et Pollux (Festivalde Beaune and Le Festival Radio France et Montpellier); Bach’s St. John Passion(Soli Dei Gloria, Chicago); Bach’s Mass in BMinor (Elmer Iseler Singers); Don Ottavioin Don Giovanni (Vancouver Opera);Hippolyte in Hippolyte et Aricie (Opera in Concert); Fenton in Falstaff (PacificOpera); Tamino in Die Zauberflöte (OperaAtelier); and Janáček’s Diary of One WhoDisappeared (Against the Grain Theatre).Upcoming appearances include Messiah(Peterborough Singers, Ann Arbor SymphonyOrchestra, and Symphony Nova Scotia);Weill’s Street Scene (Opera in Concert);and Mozart’s Requiem (VancouverSymphony Orchestra).

FRÉDÉRIC ANTOUNFentonFrench-Canadian tenorFrédéric Antoun lastappeared at the COC asChevalier de la Force inDialogues des Carmélites

and Tamino in The Magic Flute. Recentappearances include Amadeus Daberlohnin Charlotte Salomon (Salzburger Festspiele);Tonio in La fille du régiment (Royal OperaHouse, Covent Garden/ROH); Gérald inLakmé (Opéra Comique); and Renaud inArmide (Dutch National Opera). Upcomingappearances include Belmonte in DieEntführung aus dem Serail and Thespis inPlatée (Opéra national de Paris); Nadir inLes pêcheurs de perles (Opernhaus Zürich),Cassio in Otello (ROH); the title role in

Dardanus (Opéra National de Bordeaux);Raùl in Thomas Adès’ The ExterminatingAngel (Metropolitan Opera, ROH andSalzburger Festspiele); and Tonio (Opérade Lausanne).

RUSSELL BRAUNFordCanadian baritone RussellBraun last appeared withthe COC as the Duke ofNottingham in RobertoDevereux. Other COC

roles include Conte di Luna in Il Trovatore,Jaufré Rudel in Love from Afar, Orestes inIphigenia in Tauris, Prince Andrei Bolkonskyin War and Peace, Pelléas in Pelléas etMélisande, Count Almaviva in The Marriageof Figaro, Guglielmo in Così fan tutte,Enrico in Lucia di Lammermoor and thetitle role in Billy Budd. Recent appearancesinclude Don Giovanni (Teatro Real), a rolehe reprises at the COC this season; ChouEn-lai in Nixon in China, Olivier in Capriccioand Valentin in Faust (MetropolitanOpera); the Prince in Offenbach’s Fantasio(Orchestra of the Age of Enlightenment);and Lescaut in Manon (Teatro alla Scala).

MICHAEL COLVINDr. CaiusEnsemble Studiograduate tenor MichaelColvin’s COCappearances include theChaplain in Dialogues

des Carmélites, Idomeneo/Arbace inIdomeneo, Ferrando in Così fan tutte,Grimoaldo in Rodelinda, Count Almavivain Il barbiere di Siviglia, Don Ottavio inDon Giovanni, Lindoro in L’italiana inAlgeri, and Argirio in Tancredi. Other roles include Bob Boles in Peter Grimes(BBC Proms, Opera de Oviedo, LondonPhilharmonic Orchestra, L’Accademia

ARTISTS’ BIOGRAPHIES


di Santa Cecilia and English NationalOpera/ENO); Flute in A MidsummerNight’s Dream and Peter Quint in The Turn of the Screw (ENO); Mayor Upfold in Albert Herring (Vancouver Opera); and Jaquino in Fidelio (La Monnaie and Le Cercle de l’Harmonie). Upcomingappearances include Rodolphe in GuillaumeTell (Royal Opera House, Covent Garden)and Herod in Salome (Northern IrelandOpera). This fall with the COC Mr. Colvinalso appears as Goro in Madama Butterfly.

GERALD FINLEYFalstaffGrammy and Junoaward-winning Canadianbass-baritone GeraldFinley, one of the leadingsingers and dramatic

interpreters of his generation, makes his roledebut in a return to the COC stage aftermore than 20 years. He has performed atthe world’s major opera houses in a widevariety of repertoire. Recent appearancesinclude Hans Sachs in Die Meistersinger von Nürnberg (Glyndebourne Festival); Iagoin Otello (London Symphony Orchestra);Amfortas in Parsifal (Royal Opera House,Covent Garden/ROH); J. RobertOppenheimer in Dr. Atomic (MetropolitanOpera/Met); Count Almaviva in Le nozzedi Figaro and Don Giovanni (BayerischeStaatsoper); Forester in The Cunning LittleVixen (Wiener Staatsoper); and Don Alfonsoin Così fan tutte (Salzburger Festspiele).Upcoming appearances include Wolframin Tannhäuser (Lyric Opera of Chicago);Nick Shadow in The Rake’s Progress (Met);and the title role in Guillaume Tell (ROH).He was appointed an Officer of the Orderof Canada in July 2014.

LYNE FORTINAlice FordFrench-Canadiansoprano Lyne Fortin ismaking her COC debut.Recent appearancesinclude Alice Ford

(Opéra de Québec/OQ and HamiltonOpera); the Woman in Erwartung (OQ);Lady Macbeth in Macbeth (Pacific Operaand OQ); and Violetta in La Traviata(Calgary Opera). Other roles includeJuliette in Roméo et Juliette, Donna Elviraand Donna Anna in Don Giovanni, Susanna and the Countess in Le nozze di Figaro, Elettra in Idomeneo, Mimì in La Bohème, Cio-Cio San in MadamaButterfly, Micaëla and Carmen in Carmen,Thaïs in Thaïs, Gilda in Rigoletto, Pamina in Die Zauberflöte, and Rosalinde in DieFledermaus. Future engagements include a return to Calgary Opera as Marietta inDie tote Stadt.

ROBERT GLEADOWPistolaCanadian bass andEnsemble Studiograduate Robert Gleadowrecently appeared withthe COC as Guglielmo

in Così fan tutte. Other COC credits includePublio in La clemenza di Tito, A Steersmanin Tristan und Isolde, the Old Gypsy in Il Trovatore, the Speaker in Die Zauberflöte,and Colline in La Bohème. Other rolesinclude Rocco in Fidelio (La Monnaie andLe Cercle de l’Harmonie); Sam in Un balloin maschera and Colline (Royal OperaHouse, Covent Garden); Leporello in DonGiovanni (Glyndebourne Festival); andZuniga in Carmen, the King in Aida andTalbot in Maria Stuarda (Houston GrandOpera). This season at the COC Mr. Gleadowalso appears as The Bonze in Madama



Butterfly and Don Basilio in The Barber of Seville.

MARIE-NICOLE LEMIEUXMistress QuicklyFrench-Canadian contraltoMarie-Nicole Lemieuxlast appeared at the COCas Eduige in Rodelinda.Other COC credits

include Isaura in Tancredi and Cornelia inGiulio Cesare. Recent appearances includeMistress Quickly (Teatro alla Scala; Opéranational de Paris; Royal Opera House,Covent Garden; Wiener Staatsoper; andOpéra de Montréal); Azucena in Il Trovatore(Salzburger Festspiele); the title role inTancredi and Isabella in L’italiana in Algeri(Théâtre des Champs-Élysées); Suzuki inMadama Butterfly (Gran Teatre del Liceu);and Zita in Gianni Schicchi and thePrincess in Suor Angelica (Theater an derWien). Upcoming appearances includeUlrica in Un ballo in maschera (La Monnaie)and Dalila in Samson et Dalila (Opéra deMontréal).

SIMONE OSBORNENannettaEnsemble Studio graduatesoprano Simone Osbornelast appeared with theCOC as Oscar in A Masked Ball and

Musetta in La Bohème. Previous COC rolesinclude Lauretta in Gianni Schicchi, Gildain Rigoletto and Pamina in The MagicFlute. Recent performances includeappearances with the Chicago SymphonyOrchestra and Los Angeles Philharmonic;Seiji Ozawa’s Saito Kinen Festival; CarnegieHall; and the Luminato Festival with theToronto Symphony Orchestra. Ms. Osborneis a grand prize winner of the MetropolitanOpera National Council Auditions andwinner of the Marilyn Horne FoundationCompetition. Upcoming appearances this

season include the title role in Lucia di Lammermoor (Edmonton Opera) anddebuts with the New York Philharmonic,Philharmonie de Paris and the orchestras ofToulouse and Monte Carlo.

LAUREN SEGALMeg PageFormer Ensemble Studiomezzo-soprano LaurenSegal last appeared withthe COC as The Muse/Nicklausse in The Tales

of Hoffmann. Other COC credits includeDiana in Iphigenia in Tauris, Dryad inAriadne auf Naxos, the Third Lady in The Magic Flute, Nancy T’sang in Nixon in China, Mercédès in Carmen, Sonyain War and Peace, Aljeja in From the Houseof the Dead and Siebel in Faust. Recentappearances include Suzuki in MadamaButterfly (Calgary Opera); Meg Page inFalstaff (Opéra de Montréal); The Muse/Nicklauss/Voice (Edmonton Opera); thetitle role in Carmen (Saskatoon Opera) and Mozart’s Coronation Mass (TorontoSymphony Orchestra). Upcomingperformances include Maddalena inRigoletto and Suzuki in Madama Butterfly(Opera Tampa); a recital tour (DebutAtlantic); and Messiah (EdmontonSymphony Orchestra).

JOHANNES DEBUSConductorCOC Music DirectorJohannes Debus recentlyconducted the company’sDon Quichotte, Così fan tutte and Peter Grimes.

Other COC credits include Dialogues desCarmélites, Salome, Tristan und Isolde, Die Fledermaus, The Tales of Hoffmann,Love from Afar, Rigoletto and, at the BrooklynAcademy of Music, The Nightingale and Other Short Fables. Other highlights



include his recent BBC Proms debut in a concert featuring Rufus Wainwright andDeborah Voigt; The Adventures of Mr.Brouček and Rusalka (Oper Frankfurt);appearances with the Toronto SymphonyOrchestra, Boston Symphony Orchestra,Cleveland Orchestra, Orchestra Haydn, and Philharmonia Orchestra; Elektra andThe Rake’s Progress (Staatsoper Unter denLinden); Hänsel und Gretel and DieEntführung aus dem Serail (BayerischeStaatsoper); and appearances at OpéraFestival de Québec, Merola Opera Programat San Francisco Opera and Spoleto,Scotiafest, Aspen, and Blossom musicfestivals. This season at the COC Mr. Debusalso conducts Die Walküre and Bluebeard’sCastle/Erwartung.

ROBERT CARSENDirector and LightingDesignerCanadian theatre andopera director RobertCarsen last appeared withthe COC for Dialogues

des Carmélites. Other COC credits includeIphigenia in Tauris, Orfeo ed Euridice, Marioand the Magician and Kát’a Kabanová. He recently directed The Queen of Spades(Opernhaus Zürich); Platée (Opéra Comique);From the House of the Dead (Opéra nationaldu Rhin); Rinaldo (Glyndebourne Festival);Rigoletto (Festival d’Aix-en-Provence);Elektra and Die Zauberflöte (Opéra nationalde Paris); The Turn of the Screw (alsodesigner; Theater an der Wien); DonGiovanni (Teatro alla Scala), L’amour destrois oranges (Deutsche Oper); Ariadne auf Naxos (Bayerische Staatsoper); and My Fair Lady and Candide (Théâtre du Châtelet). Future projects includeCampra’s Les fêtes vénitiennes (OpéraComique); Singin’ in the Rain (Théâtre du Châtelet); and the world premiere ofGiorgio Battistelli’s CO2 (Teatro alla Scala).

CHRISTOPHE GAYRALAssociate DirectorFrench stage directorChristophe Gayralrecently worked at theCOC on Orfeo ed Euridice.Credits include co-writing

and directing Le Grand Carrousel, anequestrian opera, for the City of Brussels, aswell as writing Jai mata di, an Indo-Frenchco-production which toured India. Othercredits include directing Die lustigen Weibervon Windsor and the world premiere of La Fable de Ooh et Aah (Alden BiesenFestival); and Il matrimonio segreto, OwenWingrave and Idomeneo (Opéra nationaldu Rhin). His work with Robert Carsenincludes Iphigénie en Tauride (Lyric Operaof Chicago; Royal Opera House, CoventGarden; and Teatro Real); L’incoronazionnedi Poppea (Glyndebourne Festival, OpéraNational de Bordeaux and WienerStaatsoper); Alcina and Don Giovanni(Teatro alla Scala); Rinaldo (GlyndebourneFestival); and La Traviata (La Fenice).

PAUL STEINBERGSet DesignerAmerican set designerPaul Steinberg is makinghis COC debut. Recentproductions include Der Rosenkavalier

(Glyndebourne Festival); Billy Budd andPeter Grimes (English National Opera/ENO and Deutsche Oper/DO); and Unballo in maschera (Metropolitan Opera); La Périchole (New York City Opera); and Khovanshchina (Vlaamse Opera). With Robert Carsen, his credits include Il Trovatore (Bregenz Festival); Tannhäuser(Tokyo Opera Nomori, Opéra national deParis and Gran Teatre del Liceu); L’amourdes trois oranges (DO); Lohengrin (Opéranational de Paris); La fanciulla del Westand Madama Butterfly (Vlaamse Opera);and Otello (Opernhaus Köln). Upcoming



productions include the world premiere ofCO2 (Teatro alla Scala); Die Meistersingervon Nürnberg (ENO); and Semiramide(Bayerische Staatsoper).

BRIGITTEREIFFENSTUELCostume DesignerGerman costume designerBrigitte Reiffenstuelrecently worked at theCOC on Lucia di

Lammermoor and The Tales of Hoffmann.Born in Munich and trained at the LondonCollege of Fashion and St. Martin’s Schoolof Art, her credits include Pique Dame(Opernhaus Zürich and Opéra national du Rhin); Adriana Lecouvreur, Faust andElektra (Royal Opera House, CoventGarden); The Pearl Fishers and MadamaButterfly (Santa Fe Opera); Un ballo inmaschera and Giulio Cesare (MetropolitanOpera/Met); Don Giovanni (Teatro allaScala); Il Trovatore (Met, San FranciscoOpera, Lyric Opera of Chicago/LOC);Giulio Cesare (Glyndebourne Festival);Billy Budd and The Makropulos Case(LOC); and Lucrezia Borgia, Peter Grimes,Tosca, The Damnation of Faust and BorisGodunov (English National Opera). She also designed the costumes for Kate Bush’srecent concerts in London.

PETER VAN PRAETLighting DesignerBelgian lighting designerPeter van Praet recentlyworked at the COCon Iphigenia in Taurisand Orfeo ed Euridice.

He has worked on many productions byRobert Carsen, including The Turn of theScrew (Theater an der Wien); L’amour destrois oranges (Deutsche Oper); Rinaldo(Glyndebourne Festival); Jenůfa, TheCunning Little Vixen and Kát’a Kabanová(Flemish Opera); Die Zauberflöte, Rusalka

and Capriccio (Opéra national de Paris);Platée (Opéra Comique and Theater an derWien); La Traviata (La Fenice); Rigoletto(Grand Théâtre de Genève) and AMidsummer Night’s Dream in Barcelona.With Valentina Carrasco he worked on thespecial abridged version of Wagner’s Ring(Teatro Colón) and Don Giovanni (PermOpera). Future plans include CO2 (Teatroalla Scala) and Die Walküre (HoustonGrand Opera).

WENDY GREENWOODAssociate LightingDesignerCanadian lightingdesigner WendyGreenwood has workedfor 15 seasons with the

COC as lighting supervisor and assistantlighting designer. She recently recreatedthe lighting design for Peter Grimes andher associate lighting design credits includeEugene Onegin, the Ring Cycle and TheHandmaid’s Tale. She received a DoraAward nomination for OutstandingLighting Design for The League of Nathans(Factory Theatre). Other design creditsinclude Agamemnon, Elektra, The Flies andThe Trials of Ezra Pound (Stratford Festival);The School for Scandal (Chicago ShakespeareTheater); The Glass Menagerie and TuesdaysWith Morrie (Globe Theatre); and Miracleon 34th Street, It’s a Wonderful Life andAnnie (Grand Theatre). Ms. Greenwood is a past guest faculty member at theNational Theatre School in Montreal.

SANDRA HORSTChorus MasterSandra Horst’s mostrecent COC creditsinclude Don Quichotte,Roberto Devereux andHercules. Also at the

COC she conducted Rossini’s Il viaggio a Reims. As director of musical studies at



UofT Opera, she most recently conductedDonizetti’s Don Pasquale. Ms. Horst hasserved as chorus master for Opera Theatreof Saint Louis and Edmonton Opera; ajudge for the Metropolitan Opera NationalCouncil auditions; and music staff of theJuilliard Opera Center, ChautauquaInstitution, Boston Lyric Opera, and BanffCentre for the Arts. She was one of the 100Alumni of Achievement honoured byWilfrid Laurier University and is a graduateof the COC Ensemble Studio. This seasonMs. Horst is also chorus master for MadamaButterfly, Don Giovanni and The Barber of Seville.

DEREK BATEAssistant ConductorCOC Assistant to theMusic Director DerekBate recently served as conductor for aperformance of Don

Quichotte. Also with the COC, he has ledperformances of Salome, La clemenza di Tito, Rigoletto, Aida, Madama Butterfly,The Flying Dutchman, Luisa Miller, EugeneOnegin, La Bohème, Carmen, Turandot, La Traviata, Die Fledermaus and served as assistant conductor for Così fan tutte,Peter Grimes, Love From Afar, A FlorentineTragedy/Gianni Schicchi, Maria Stuarda,Nixon in China, Cinderella, A MidsummerNight’s Dream, War and Peace and thecomplete Ring Cycle, among others. Mr.Bate frequently conducts with TorontoOperetta Theatre, and was musical directorfor Les Misérables, The Phantom of theOpera and Show Boat.

MARILYN GRONSDALAssistant DirectorMarilyn Gronsdal wasrecently associatedirector for the COC’sCosì fan tutte and assistantdirector for Don Quichotte

and Peter Grimes. Other COC creditsinclude director of La Bohème, associatedirector of Eugene Onegin, productionassistant director for the COC’s Ring Cycle and assistant director on severalproductions that have been presentedelsewhere: Oedipus Rex with Symphony of Psalms (Edinburgh Festival), La Traviata(New Zealand Opera), Siegfried (Opéranational de Lyon) and the COC’sproduction of The Nightingale and OtherShort Fables (Brooklyn Academy of Music).Other credits include directing Carmenand Don Pasquale (Saskatoon Opera) and remounting the COC’s Der fliegendeHolländer (Opéra de Montréal). In 2013,she was a jury member in the Helikon-Opera's International Competition forYoung Opera Directors in Moscow.Upcoming engagements include associatedirector for the COC’s Die Walküre.

JENIFER KOWALStage ManagerThis is Jenifer Kowal’s23rd season with theCOC. Her numerousCOC stage managingcredits include Roberto

Devereux, Così fan tutte, Peter Grimes, Salome,La clemenza di Tito, Die Fledermaus,Semele, Tosca, Rigoletto, Aida, Carmen, TheFlying Dutchman, A Midsummer Night’sDream, Fidelio, War and Peace, EugeneOnegin, Don Carlos, La Traviata, LadyMacbeth of Mtsensk, the Ring Cycle and, atthe Brooklyn Academy of Music, TheNightingale and Other Short Fables. Shewas the production stage manager for Pittsburgh Civic Light Opera’s MissSaigon, which also toured to Toronto andSchenectady. Ms. Kowal studied theatre at Indiana University.

TUESDAY, NOVEMBER 25, 2014FEATURING THE CANADIAN OPERA COMPANY ORCHESTRA

For tickets, visit COCCentreStage.ca#COCCentreStage

CANADIAN OPERA COMPANY PRESENTS

WHO WILL BE CANADA’S NEXT

OPERA STAR?

ENSEMBLE STUDIOCOMPETITION GALA

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Platinum SponsorCompetition Sponsors

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Opera Under 30 Sponsor

Gala Reception Sponsor


CANADIAN OPERA COMPANY ORCHESTRAVIOLIN IMarie Bérard, ConcertmasterThe Concertmaster’s chair

has been endowed in perpetuity by Joey andToby Tanenbaum

Aaron Schwebel, ActingAssociate Concertmaster

Sandra Baron, ActingAssistant Concertmaster

Anne ArmstrongBethany BergmanHiroko Kagawa*Nancy KershawDominique LaplanteYakov LernerJayne MaddisonNeria MayerJoanna Zabrowarna

VIOLIN IIPaul Zevenhuizen, PrincipalCsaba Koczó, Assistant

PrincipalJames AylesworthChristine Chesebrough*Elizabeth JohnstonBoris Kupesic*Renée London*Aya MiyagawaAlexey Pankratov*Louise Tardif

VIOLAKeith Hamm, PrincipalJoshua Greenlaw, Assistant

PrincipalCarolyn Blackwell*Rory McLeod*Nicholaos Papadakis*Rhyll Peel, on leave

of absenceAngela Rudden*Beverley SpottonYosef Tamir

CELLOBryan Epperson, PrincipalAlastair Eng, Associate

PrincipalPaul Widner, Assistant

PrincipalMaurizio BaccanteOlga LaktionovaElaine Thompson

BASSAlan Molitz, PrincipalRobert Speer, Assistant

PrincipalTom HazlittPaul LangleyRobert Wolanski*

FLUTEDouglas Stewart, PrincipalChristine Little*Shelley Brown

PICCOLOShelley Brown

OBOEMark Rogers, PrincipalLesley Young

ENGLISH HORNLesley Young

CLARINETJames T. Shields, Principal,

on leave of absenceColleen Cook, Acting

PrincipalMichele Verheul*

BASS CLARINETMichele Verheul*

BASSOONEric Hall, PrincipalElizabeth Gowen

HORNJoan Watson, PrincipalJanet AndersonBardhyl GjevoriGary Pattison

TRUMPETRobert Grim, PrincipalAndrew Dubelsten*Robert Weymouth

TROMBONECharles Benaroya, PrincipalIan Cowie

BASS TROMBONEHerbert Poole

CIMBASSOScott Irvine, Principal

TIMPANIMichael Perry, Principal

PERCUSSIONTrevor Tureski, PrincipalRyan Scott*

HARPSarah Davidson, Principal

GUITARJeffrey McFadden*

BANDA

PERCUSSIONTrevor Tureski

HORNScott Wevers

LIBRARIANWayne Vogan

ASSISTANT MUSIC LIBRARIANOndrej Golias

STAGE LIBRARIANPaul Langley

PERSONNEL MANAGERIan Cowie

* extra musician

SOPRANOSLindsay BarrettAndrea CerswellMargaret EvansAlexandra Lennox-

PomeroyIngrid MartinJennifer RobinsonCatherine TaitTeresa van der Hoeven

MEZZO-SOPRANOSSandra BoyesWendy Hatala FoleyErica Iris HuangLilian KilianskiKathryn KnappAnne McWattKaren OlinykVilma Indra Vitols

TENORSStephen BellTaras ChmilSam ChungStephen EricksonJohn KriterJames LeatchStephen McClareEric Olsen

BARITONES & BASSESGrant AllertKenneth BakerPeter BarnesBruno CormierPeter WiensMarcus WilsonGene WuMichael York

CANADIAN OPERA COMPANY CHORUS

See Madama Butterfly or Falstaff plus two more 14/15 operas and save up to $171 per package!

VISIT US AT THE BOX OFFICE OR THE

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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. David Ferguson

(ex officio)Mr. Adam FromanMr. Michael GibbensMr. Peter HinmanDr. Linda HutcheonMs. Trinity JackmanMr. Justin Linden

Mr. Jeff LloydMs. 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

Diane Moore, PresidentWestern New York Opera Guild

Dorothy K. Piepke, President

CANADIAN OPERA FOUNDATIONDIRECTORSMr. Tony Arrell Mr. Jonathan BloombergMr. J. Rob Collins Mr. William Fearn, ChairMr. David Forster, TreasurerMr. Michael GoughMr. Gary GradMr. Christopher HoffmannMr. 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

Marguerite SchabasExecutive Assistant to the General Director

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

Wendy NielsenHead Vocal Consultant

Derek BateAssistant to the MusicDirector

Music StaffRachel AndristTimothy CheungAndrea Del BiancoJenna DouglasStephen HargreavesAnne LarleeBen MalensekKevin MurphyMichael Shannon

Kathryn GarnettScheduling Manager

Adriana DimitriScheduling Assistant

Birthe JoergensenArchivist – Joan BaillieArchives

Ian CowieOrchestra PersonnelManager

Ondrej GoliasAssistant Librarian

COC Ensemble StudioGordon BintnerKarine BoucherCharlotte BurrageJean-Philippe Fortier-LazureAviva FortunataClarence FrazerAndrew HajiIain MacNeilOwen McCauslandJennifer Szeto

Production AssistantsAdriana DimitriJane Honek

PROGRAMMING

Nina Dragani´́cDirector 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

David MiddletonAssistant Carpenter

Rupert BakerHead Flyman

Daniel GrahamHead of Properties

Core CrewScott ClarkeTerry HurleyPaul OtisChuck Theil

Amy CummingsScene Shop Co-ordinator

David RetzleffHead Scene ShopCarpenter

Andrew WalkerAssistant Scene ShopCarpenter

Richard GordonHead Scenic Artist

Carolina ValenzuelaAssistant Head ScenicArtist

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

Cassandra SpenceCostume Co-ordinator

Costume AssistantsNatassia BrunatoChristina Del Monte

Sue FurlongResident Tailor

Assisted byGulay CokgezenKaren HancockBarbara Nowakowski

Additional Footwear ByHandmade Shoe

Kaz ChopicanAdditional Millinery

Chrome YellowAdditional Paint andBreakdown

Special thanks for thebuilding of GeraldFinley’s body paddingand prosthetics to Robert Allsopp & Associates

Nancy HawkinsHead of Wardrobe

Leslie BrownWardrobe Assistant

Sharon RymanWig & Make-upSupervisor

Cori FergusonHead of Wig & Make-up Crew

Shawna GreenProduction Co-ordinator

Hannah GordonProduction DepartmentAssistant

Gunta DreifeldsSURTITLES™ Producer

Zane KanepsSURTITLES™ Editor

Ariel Martin-SmithSURTITLES™ Assistant

Supernumeraries Co-ordinatorsAnalee SteinElizabeth Walker

DEVELOPMENT

Christie DarvilleChief AdvancementOfficer

Paige PhillipsDevelopment & BoardRelations Officer

Amy MushinskiManager, GovernmentRelations

Stephen GillesDirector of Development

Peter HussellSenior Manager,AdvancementOperations

Dawn Marie SchlegelAssociate Director,Donor Relations

Emma NoakesDonor Relations Officer

Natalie SandassieSenior DevelopmentOfficer, AnnualPrograms and PatronEngagement

Bree CallahanCo-ordinator, AnnualPrograms and PatronEngagement


FSCPA – Four Seasons Centre for the Performing Arts

Alexandra FolkesCo-ordinator, AnnualPrograms and PatronEngagement

Victor WidjajaSenior DevelopmentOfficer, Friends of the COC

Kevin Sean PookCo-ordinator, Friends of the COC

Francesco CorsaroSenior DevelopmentOfficer, InstitutionalGifts

Sarah HeimSenior DevelopmentOfficer, Partnerships

Nikita GourskiDevelopmentCommunicationsOfficer

Tracy BriggsSenior Manager, Special Events

Laura Aylan-ParkerSenior DevelopmentOfficer, Special Eventsand Ensemble Circle

John KriterDonation DatabaseOfficer

Olena MoldovanDonation DatabaseOfficer

COMMUNICATIONS

Steven KelleyChief CommunicationsOfficer

Claudine DomingueDirector of PublicRelations

Phil StephensSenior Manager, Salesand Customer Service

Gianna WichelowSenior Manager, Creativeand Publications

Jennifer PugsleyMedia Relations Manager

Claire MorleyAssociate Manager,Editorial

Meighan SzigetiAssociate Manager,Digital Marketing

Kiersten HayDigital Marketing Co-ordinator

Eldon EarleMarketing Co-ordinator

Dorian CoxRetail Co-ordinator

Kristin McKinnonAssistant Publicist

EDUCATION ANDOUTREACH

Katherine SemcesenAssociate Director,Education and Outreach

Gianmarco SegatoAdult ProgramsManager

Vanessa Smith School ProgramsManager

Blanche IsraëlInterim Children andYouth Programs Co-ordinator

TICKET SERVICES

Alan MoffatPatron RelationshipManager

Andrea SalinAssociate Manager,Ticket Services

Nikki Tremblay Assistant TicketServices Manager

David NimmoGroup Sales Co-ordinator

Lillian Fung Ticket ServicesSupervisor

Ticket ServicesRepresentativesJames BaldwinErnest CayemenAurelie DufourAnna Kay EldridgePeter GenowaySylvie GoncalvesMaureen GualtieriCat HaywoodKeith LamKevin MorrisPaulina SalibaKat SmileyDarcy Stoop

CALL CENTRE

Richard ParadisoCall Centre Manager

Call CentreRepresentativesCatherine BelyeaWendy LimbertieDeeAnn SagarMargaret TerryAsna Wise

FINANCE AND ADMINISTRATION

Lindy Cowan, CPA, CADirector of Finance and Administration

Lorraine O’Connor, CHRPHuman ResourcesManager

Amalie Vanderzwet,CPA, CA

Finance Manager

General AccountantsFlorence HuangZoran Orli´́c (FSCPA)

Vera BrjozovskaiaAccounting Clerk

Payroll AccountantsJovana BojovicJeanny Won

Steven SherwoodManager, IT Services

Brad StaplesDatabase ReportingSpecialist

Tony SandyIT Services Assistant

Katarina Božovi´́c Receptionist/Switchboard

Branka Hrsum Mailroom Clerk/Courier

BUILDING SERVICES

Joe WaldherrAssociate Director,Facilities Management

Christian CoulterAssistant Manager,Operations

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

Security SupervisorsVidesh DookhuDave Samuels

Security OfficersGeorge BalyasinTammy HillNatalia JuzycUsman KhalidKathleen MinorHeather 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,Patron Services

Julia SomervilleAssistant Manager,Front of House

Brigitte LangAssistant Manager, Food & Beverage

Patron ServicesSupervisorsStuart ConstableEnrique CovarrubiasCortesJamieson EakinLori MacDonaldMelissa McDonnell

Patron ServicesAssistantJennifer Toulmin

Patron Services LeadsKarol CarstensonChristine GroomSkye PlowmanRosemary Williams

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


PRODUCTION UNDERWRITERSDemonstrating their leadership and generosity,these donors have underwritten the COC’smain stage productions.

$500,000 + Jerry & Geraldine Heffernan The Catherine and MaxwellMeighen Foundation

Colleen Sexsmith

$100,000 – $499,999Anne & Tony ArrellPaul BernardsPhilip Deck & Kimberley Bozak

Donald O’BornDavid Roffey & Karen Walsh

$50,000 – $99,999The Asper Foundation

PERFORMANCE ANDARTIST SPONSORS The following donorsextend their generous support to individual artists and productions.

$100,000 + Jack Whiteside

$50,000 – $99,999Sue Mortimer

$25,000 – $49,999Earlaine CollinsJ. Hans Kluge Dr. David Stanley-Porter &Dr. Colin McGregor Mailer

Anonymous (1)

Up to $25,000Robert SherrinCarol SwallowRiki Turofsky & Charles Petersen

Ms Kristine Vikmanis & Mr. Denton Creighton

ENSEMBLE STUDIO SUPPORTERS Encouraging the next generation of artists, these donors support theCOC’s Ensemble Studio.

$1,000,000Peter M. Deeb

$500,000 – $999,999The Slaight FamilyFoundation

$25,000 – $499,999Anne & Tony ArrellEthel Harris & the late Milton E. Harris

Hal Jackman FoundationMarjorie & Roy LindenThe Stratton TrustW. Garfield WestonFoundation

Up to $25,000ARIAS: Canadian OperaStudent Development Fund

Marcia Lewis BrownMargaret Harriett Cameronand the late Gary Smith

Classical 96.3 FMEarlaine CollinsNinalee CraigCatherine FauquierPatrick Hodgson FamilyFoundation

Peter & Hélène HuntAlexandra JonssonMarjorie & Roy LindenJo LanderTom C. LoganRoger D. MooreJames Nicol & Christine MilneColleen SexsmithOCC LasikBrian WilksAnonymous (1)

GENERAL PROGRAMSUPPORTERS Providing general programsupport is critical to theCOC’s artistic mission.

$1,000,000+ Tim & Frances Price

$100,000+ Anonymous (1)

$10,000 - $25,999 Bruce C. Bailey

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 andphilanthropy 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

Jerry and Geraldine Heffernan Kolter Communities

The Catherine and Maxwell MeighenFoundation

Roger D. MooreE. Louise Morgan

Tim & Frances PriceColleen Sexsmith

Joey & Toby TanenbaumAnonymous (2)

Developing new audiences, providing a greater

understanding of opera, and creating new

productions is smart business.

BMO Financial Group is proud to sponsor the

Canadian Opera Company’s Student Performances,

Pre-Performance Opera Chats, and this season’s

production of Falstaff.

®Registered trade-marks of Bank of Montreal.

GOLDEN CIRCLE

GOLD, $50,000 +Anne & Tony Arrell****Cecily & Robert Bradshaw* David G. Broadhurst**In memory of Gerard H.Collins****

Jerry & Geraldine Heffernan**** The Catherine and MaxwellMeighen Foundation****

Roger D. Moore****Colleen Sexsmith***Anonymous (1)

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 & Julie Lassonde*

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 ofYvonne Chiu, C.M.****

Mr. & Mrs. Alexander Christ**** Stephen Clarke & Elizabeth Black**

The Max Clarkson FamilyFoundation****

J. Rob Collins & Janet Cottrelle****

Sydney & Florence 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***

Robert Fung**The Hon. William C. Graham &Mrs. Catherine Graham****

Ira Gluskin & Maxine Granovsky Gluskin***

William & Nona HeaslipFoundation****

Mr. Peter Hinman & Ms Kristi Stangeland

Michael & Linda Hutcheon****Trinity Jackman*Bernhard & Hannelore Kaeser****

Jeff Lloyd & Barbara Henders*Justin S. LindenMr. & Mrs. J. S. A. MacDonald****Bobby & Gordon MacNeill**


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

$100,000 +Hon. Henry N. R. JackmanAnonymous (1)

$25,000 – $99,999Michael W. & Wanda PlachtaEndowment Fund

Up to $25,000Anonymous (1)

LEGACY AND BEQUEST GIFTS The COC honours thememory of the followingpatrons whose vision andgenerosity has providedlasting support.

Estate of Horst Dantz andDon Quick‡

Estate of Mary B. GodfreyEstate of Egon Homburger‡Estate of Judith Howard Estate of John Gordon HunterEstate of Ethel BerneyJackson‡

Estate of Henri KolinEstate of Borge JohnKraglund

Estate of Vida PeeneEstate of J.M. (Doc) Savage‡Estate of Helen StaceyEstate of Jeanie Irwin WalkerAnonymous (1)

‡ designates funds directed to the COC’s Endowment

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

In Memory of Diedre GippStephen Walter IrelandJanet LoDavid Murray HarleyEric RumpSylvia Shawn

In Honour of Walter BowenEarlaine CollinsNinalee CraigYael DunklemanMichael Gibbens and Julie Lassonde

Earl B. LawWailan LowBarbara and Iain ScottColleen SexsmithBeverly Zerafa

As of August 29, 2014

MAJOR GIFTS & SPECIAL PROJECTS

INDIVIDUAL GIVING ANNUAL SUPPORT


Judy & Wilmot Matthews*Hon. Margaret McCain*** 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*Mrs. Christl & Mr. Karl Niemuller***

Donald O’Born***Peter M. Partridge****Mr. Tim & Mrs. Frances Price**** Ms R. Raso****David Roffey & Karen Walsh****Barrie D. Rose & Family*** 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****

The Youssef-WarrenFoundation****

PRESIDENT’S COUNCIL

TRUSTEE, $7,500 – $12,499à la Carte Kitchen Inc.Laurie & Fareed Ali**Margaret Atwood & Graeme Gibson***

Mr. & Mrs. Avie Bennett****Dr. David & Constance Briant****Paul G. Cherry & Dean C. Noack****

Marilyn Cook*Ms Lindsay Dale-Harris & Mr. Rupert Field-Marsham****

Andrew Fleming**J. Hans Kluge**Jean V. Kramar**Mr. Gurney Kranz**** Mr. Philip Lanouette** Paul Lee & Jill Maynard****Anne Lewitt** Jerry & Joan Lozinski****Amy & John Macfarlane* Kathleen McLaughlin & Tim Costigan*

Dr. Judith A. Miller***Douglas L. Parker****Annie & Ian Sale*Dr. David Shaw**Françoise Sutton***Carol Swallow***William R. Waters****Anonymous (1)

PATRON, $3,750 – $7,499Sue Armstrong****Ron Atkinson & Bruce Blandford****

Mona H. Bandeen, C. M. ** Karen & Bill Barnett*L. H. Bartelink in memory ofOskar & Irmgard Gaube***

Dr. Frank Bartoszek & Mr. Daniel O’Brien****

Dr. Thomas H. Beechy****Mr. & Mrs. Eric Belli-Bivar*** Dr. Catherine Bergeron*** Tom Bogart & Kathy Tamaki**Peter Brieger & Beverley Hamblin*

Dr. Jane Brissenden & Dr. Janet Roscoe****

Mrs. Donna Brock***Alice Burton*** Margaret Harriett Cameron**** Joe & Laurissa Canavan Cesaroni ManagementLimited***

Frank Ciccolini****The Rt. Hon. Adrienne Clarkson*Mr. & Mrs. William J. Corcoran***Lindy Cowan† & Chris Hatley***Norman Curtis**** Brian J. Dawson*** Dr. Jeanne Deinum****Carol Derk & David Giles**Mrs. A. Ephraim Diamond &Family****

Peter & Anne Dotsikas**Jeffrey Douglas Vreni & Marc Ducommun***Ron Dyck & Walter Stewart*** Bud & Leigh Eisenberg***Joseph Fantl & Moira Bartram**Mr. & Mrs. Fraser M. Fell****Kimberley Fobert & Robert Lamb†****

The Fraser Elliott Foundation****Dr. & Mrs. Wm. O. Geisler***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****George & Irene Hamilton**** Hampton Securities Ltd. * Scott & Ellen Hand***Maggie Hayes** Hon. & Mrs. Paul Hellyer****Chris Hoffmann & Joan Eakin**Michiel Horn & Cornelia Schuh****

Ken Hugessen & Jennifer Connolly**

Dr. Melvyn L. Iscove***

The Jackman Foundation***Victoria Jackman*** Ms Elizabeth Johnson**Dr. Joshua Josephson & Ms Elaine Lewis****

Lorraine Kaake****Patrick & Barbara Keenan****Dr. Joel Keenleyside**** Joseph Kerzner & Lisa Koeper****

Jim & Diane King**Dr. Elizabeth Kocmur****Murray & Marvelle Koffler****John B. Lawson, Q.C. ****Mr. J. Levitt & Ms E. Mah** Daniel & Janet Li**Vincent & Helene Lobraico*Tom C. Logan* Jonathan & Dorothea Lovat Dickson**

Mr. Jed MacKay****Mrs. R. MacMillan ****Dr. Colin McGregor Mailer**** Mrs. J. L. Malcolm*Dr. & Mrs. M. A. Manuel*Paul & Jean McGrath****Ronan McGrath & Sarah Perry* June McLean****Mr. Ian McWalter* Mr. Ulrich Menzefricke****Bruce & Vladka Mitchell*Mr. Noel Mowat**Dr. Shirley C. Neuman**Eileen Patricia Newell***Sally-Ann Noznesky**** E. Oliana & A. Iu*** Janice Oliver*** Keith & Brenda Ottaway***The Ouellette FamilyFoundation

Julia & Liza Overs****Dr. & Mrs. William M. Park****John & Gwen Pattison**June C. Pinkney****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* 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**

Philip Somerville*Dr. John Stanley & Dr. Helmut Reichenbächer***

Drs. Wayne Stanley & Marina Pretorius*


Doreen L. Stanton****Mr. & Mrs. Gordon Taylor****Wendy J. Thompson**** Anthea Thorp****Ian Turner***Sandra & Guy Upjohn***Dita Vadron & James Catty** Rosalind & Dory Vanderhoof**Donald & Margaret Walter****Hugh & Colleen Washington**Ruth Watts-Gransden****Dr. Virginia Wesson*** Dr. Jack Williams & Dr. Dorothy Pringle***

Ms Lilly Wong* Mr. & Mrs. Richard Wookey****Linda Young*Helen Ziegler***Susan Zorzi**Sharon Zuckerman****Anonymous (2)

MEMBER, $2,250 – $3,749D. 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***Mr. Jeff Axelrod & Dr. John Goodhew

John Bailey**James C. Baillie**Marilyn & Charles Baillie****Andrew & Cornelia Baines****Janice A. Baker****Richard J. Balfour****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 & Walter Blackwell****Darlene & Peter Blenich* Ian & Janet Blue***John & Ila Bossons**Mr. W. Bowen & Ms S. Gavinchuk†****

Mr. Stephen BradleyMrs. Carolyn Bradley-Hall & Mr. William Bradley***

Mrs. Richard Bradshaw***

Mr. Ingvar & Mrs. Sheila Brogren Murray & Judy Bryant*** Brian Bucknall & Mary Jane Mossman****

Christopher & Elizabeth Buller Thomas J. Burton**Maureen Callahan & Douglas Gray**

Sharon & Howard Campbell**Brian & Ellen Carr**** Gail Carson****Drs. Carol & David CassCara Celotti & Tom NicolopoulosProf. Alfred L. Chan & Mr. Michael Farewell***

Dr. & Mrs. Albert Cheskes***John D. Church Dr. Howard M. Clarke***Edward Cole & Adrienne Hood***

Brian Collins & Amanda Demers*

Mr. Andrew Combes*Tony & Elizabeth Comper*Mr. & Mrs. R. W. CorcoranMurray & Katherine Corlett****Harold & Anita Corrigan***Dr. Lesley S. Corrin****Bram & Beth Costin Gay & Derek Cowbourne**Mary & John Crocker****Ruth & John Crow***Carrol Anne Curry***Michael & Honor de Pencier****Mrs. Rosario de Wit-Farro***Dr. & Mrs. Michael & Ute Davis**Mrs. Leonard G. (Anne) Delicaet &Mrs. Kendra Anne Delicaet-Almasi****

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*Mrs. Anne W. DupréWilliam & Gwenda Echard****Jean Patterson Edwards**Wendy & Elliott Eisen****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 Farquharson*Darren Farwell Catherine Fauquier***Bill Fearn & Claudia Rogers****Lee & Shannon Ferrier****William & Rosemary Fillmore***Mrs. Lois Fleming****

Goshka Folda* J. E. Fordyce**** Robert & Julia Foster** Margaret & David Fountain****Linda & Ken Foxcroft* Mrs. Ingrid FratzlRev. Ivars Gaide & Rev. Dr. Anita Gaide***

Ann Gawman***Dr. Barry A. Gayle****The Honourable Irving Gerstein &Mrs. Gail Gerstein**

Mary & Lionel Goffart*Dr. Eudice Goldberg*Dr. Fay Goldstep & Dr. George Freedman**

Deanna A. Gontard****Dr. Paul W. GoochTina & 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. Albert Haddad Dan Hagler & Family***Ms Pamela HalliseyMr. Adrian J. HamelBeverly Hargraft**Mr. Harquail & Dr. Sigfridsson* Michael Harris & Carol Rak**Mr. & Mrs. William B. Harris*** Paul & Natalie Hartman*Caroline Helbronner*** Jacques & Elizabeth Helbronner***

Thea Herman & Gregory King***William E. Hewitt***Pamela Hoiles Sally Holton****Emmy & Walter Homburger***Drs. Walter & Virginia Hryshko*Ms Judith Hull Anthony C. J. Humphreys****Peter & Hélène Hunt****Eva Innes & David Medhurst* Elliott Jacobson & Judy Malkin**Paul Jaggard & Ruth Caswell Lynne Jeffrey****Laurence Jewell**The Norman & Margaret Jewison CharitableFoundation****

E. Patricia Johnson** Dr. Albert & Bette Johnston**Joyce Johnston***Alexandra Jonsson Ms Miriam KaganDavid W. & Sheryl L. Kerr*Inta Kierans****Ellen & Hermann Kircher****Mr. Martin Kirr & Ms Suzanne McCuaig

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

Mr. Douglas Klaassen** Michael & Sonja Koerner***Robin Korthals & Janet Charlton**

Dr. Robert Kosnik****Valarie Koziol*William & Eva Krangle****Richard T. La Prairie*Elizabeth & Goulding Lambert***Leslie & Jo Lander****M. J. Horsfall Large**Marc Lebeau & Guylaine Lefebvre

Dr. 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***Mr. Kejun LiangL. 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***

Dr. Robert G. Luton****James & Connie MacDougall****Dr. & Mrs. Richard Mackenzie****Macro Properties Ltd. **Ole P. Madsen*Mr. A. Mafrici****R. Manke**** Mr. & Mrs. R. Gordon Marantz****Frederick J. MarkerFernando & Marietta Martinez-Caro

Roberto Mauro† & Erin Wall Mrs. Ettore Mazzoleni*** Dr. & Mrs. John A. McCallum****The Hon. Barbara McDougall***Dr. & Mrs. Donald C.McGillivray****

Darcy & Joyce McKeough*Mark & Andrea McQueen***Don McLean & Diane Martello Guy & Joanne McLean****M. E. McLeod****Jean M. McNab****Mr. Thomas McNicholas*Shawn McReynolds & Elaine Kierans*

Dr. Davender Mehra & Dr. Ellis Galea Kirkland*

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 Millward**Florence MinzAudrey & David Mirvish***Dr. David N. Mitchell & Dr. Susan M. Till***

Eva 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**Anne Murdock**Matt & Debbie Mysak*** David & Mary Neelands***Dr. Emilie Newell*Dr. Steven Nitzkin****Simon & Marlene Nyilassy* Dr. James & Mrs. Valda Oestreicher***

Benson Orenstein***Martin & Myrna Ossip*Eileen & Ralph Overend*Clarence & Mary Pace** Dr. & Mrs. N. Pairaudeau****Lee Parsons*Dr. Roger D. Pearce*** Dr. A. Angus Peller* John & Penelope Pepperell* John & Carol Peterson***M. J. Phillips****Robin B. Pitcher****Wanda Plachta****Georgia Prassas****Ms Jill Presser & Mr. John Duffy*

Dr. Mark Quigley**** Stephen Ralls & Bruce Ubukata***

The Carol & Morton RappFoundation****

Professor C. Edward Rathé**** Kenneth F. Read**** Mrs. Richard Gavin Reid** Grant L. Reuber***Mrs. Gabrielle Richards** Carolyn Ricketts****Ms Nada Ristich*Emily & Fred Rizner**Clara Robert*Mr. Mike & Ms Stacy RobitailleSteve & Richa RoderDr. 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****

Katalin Schäfer*** Fred & Mary Schulz**Dr. Marianne Seger****Carol Seifert & Bruno Tesan***Robert & Geraldine Sharpe****Victor & Rhoda Shields****Milton & Joyce Shier****Dr. Kevin Shiffman** William Siegel & Margaret Swaine**

Dr. Bernie & Mrs. Bobbie Silverman**

Rod & Christina SimpsonIn memory of Dr. Bernard Slatt*Dr. & Mrs. Jeremy Sloan**Jay Smith & Laura Rapp*Ms Muriel Smith & Mr. Eric Ojala****

Dr. Joseph So***John & Ellen Spears****Martha E. Spears***Alex & Kim Squires****Oksana R. Stein***Mr. & Mrs. Gary & Sula Stern*Dr. & Mrs. Stephen Stern***John D. Stevenson****James H. Stonehouse**Janet Stubbs**Eric Tang & Dr. James Miller** Mr. Arthur Paul Tarasuk*Judith Teller Foundation**** Tesari Charitable Foundation**Elizabeth Tory****Mr. Alex Tosheff* Edmond & Sylvia Vanhaverbeke****

Dr. R. B. Van Winckle*Stefan Varga & Dr. Marica Varga*

Mr. & Mrs. Henry & Ann Louise Vehovec****

Dr. Yvonne Verbeeten**Dr. Helen Vosu & Donald Milner****

Richard & Nathalie Wachsberg*Elizabeth & Michael Walker***Ann & Marshall Webb** Peter Webb & Joan York**** Dr. Bogomila Welsh**Ms Eleanor Westney**Melanie Whitehead*** Mr. Brian Wilks*Elizabeth Wilson & Ian Montagnes****

John Wright & Chung-Wai Chow*

Dr. Jackson Wu & Dr. Viviana Chang*

Ms June Yee** Morden Yolles**** Walter Zwig****Anonymous (24)

The Opera Shop is a project of the Canadian Opera Company, in partnership with Decca – The Opera Label. All proceeds support the Canadian Opera Company.

Featured RecordingsDVD Madama ButterflyThis 2009 Metropolitan Opera HD transmission features our own Cio-Cio San, Patricia Racette, in a portrayal that is “quite simply revelatory ... one of the most beautiful interpretations in memory” (Opera News). $38 including tax

DVD Falstaff This acclaimed Metropolitan Opera production by Franco Zeffirelli is conducted with warmth and brio by James Levine. The stunning cast includes Paul Plishka, Mirella Freni, Marilyn Horne and Barbara Bonney. $25.75 including tax

In celebration of Puccini’s Madama Butterfly, the Opera Shop is carrying exquisite, handmade origami work by Robert Wu, and a cherry-blossom inspired jewellery collection from ZSISKA.

FALL TRUNK SHOWSSunday, October 19: Jeweller Nancy Ciccone; hatmaker Rene FalconSaturday October 25: Jeweller Alice Chik

Visit the OPERA SHOP

Fabulous Fall Jewellery

This fall we have huge discounts on DVDs, CDs, books, giftware and COC merchandise!


FRIENDS OF THE COC

SUSTAINING FRIENDS $1,600 – $2,249Yvonne BlaszczykIivi Campbell****Jayne & Ted Dawson****Mr. Steven D. Donohoe****Mr. James Hamilton*Bill Heaslip****Mr. Josef Hrdina*Dr. Paul & Mrs. Marcia KavanaghMrs. Mary Liitoja****I. McDorman****Mrs. Annette Oelbaum*Barbara & Peter Pauly**Dr. Norbert V. Perera****Ms Adrianne PieczonkaMr. & Mrs. Domenic Porporo**David Smukler & Patricia Kern**The Sorbara Group****Vernon & Beryl Turner****Ms Eda VaralliGordon Waugh****Anonymous (1)

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. Chan*Patricia Clarke**Cogeco Data Services Inc.Robert D. Cook**Mr. Stuart DavidsonMr. Darren Day***Dr. Christine Dunbar**Dr. James M. FergusonMr. Morris Flicht****R. Dalton Fowler****John H. Galloway****Alison Girling & Paul Schabas**Ricardo Gomez-Insausti*David Gordon & Wendy Flores Gordon*

Mr. & Mrs. H. C. Hatch****Lawrence & Beatrice Herman****In memory of Pauline Hinch*Haim & Mardi Hirshberg**David Holdsworth & Nicole Senécal*

Richard & Susan Horner****Donald Hughes****James Hughes***Mr. Sumant Inamdar**Karen & Craig**Ms Elisa KearneyMs Suanne Kelman & Dr. Allan J. Fox**

P. Anne Mackay****Mrs. Janet Maggiacomo**Georgina McLennan****Mr. David Milovanovic & Dr. Cinda Dyer

Mr. Carl Morey****

Mr. Sean O'Neill****Ms Marianne Orr*Eileen & Ralph Overend*Mr. Martti Paloheimo**Ms Victoria Pinnington***Dr. Peter Ray****William & MeredithSaunderson****

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***

Dr. Peter Voore****Valery Lloyd-WattsJanet White**Ron Williams*Anonymous (7)

CONTRIBUTING FRIENDS$700 – $1,099Dr. I. L. Babb Fund at theToronto CommunityFoundation****

Schuyler Bankes & Family***In memory of M. Baptista***Mrs. Lynn Bayer***Dr. Robert BellCatherine Belyea†Jeniva Berger****Anthony Bird****Dr. B. Derek & Dr. Anne W. Birt****

Dr. Jennifer Blake**Ellen & Murray Blankstein*Mary Brock & Brian Iler****Mr. Thomas N. Bryson***Ms Judith Burrows***Ms E. Burton***Mr. Bill Cameron*Betty Carlyle****Mark Cestnik & Natercia Sousa****

Geoffrey & Bilgi Chapman****Harold Chmara & Danny Hoy****Joe T. R. Clarke****Sherri ClarksonMs Rovena CooperMr. Neil Crawford*Professor K. G. Davey***M. P. Davies**Anita DayDon DeBoer & Brent Vickar***Mr. Michael Disney*Dr. Eric Domville**Wendy DrahovzalHoward & Kathrine Eckler***Peter & Shashi Eden**Ms Eleanor L. Ellins****Roger & Janet Emery***Mr. Arthur English**Mr. Larry Enkin***Joe & Helen Feldmann***Brian A. Ferguson****Tom Flemming****Jennifer & Frank Flower***

Angelo Furgiuele & Family*Douglas G. Gardner****Girish & Bharati GhataliaElinor Gill Ratcliffe C.M., O.N.L.,LLD (hc)

Aviva & Andrew Goldenberg**Dr. Wilfred S. Goodman****Mrs. Marion A. Green****Mrs. Suzy Greenspan**Dr. & Mrs. Voldemars Gulens****Dr. & Mrs. Brian & Cynthia Hands****

Roy & Gail Harrison****Sandra Hausman**In memory of Glenda Henniger*Mr. Matthew Hilgerdenaar*In memory of Pauline Hinch**Mr. Sylvain Houle*Dr. Ivan & Mrs. Diana Hronsky****

In loving memory of Joyce Whitney Hughes

Mr. Pierre Hurtubise****Mr. David Hutton***Mr. Kazik Jedrzejczak****Douglas & Dorothy Joyce****Ms Meredith KeeveLilian Kilianski† & Brian Pritchard*

Dr. & Mrs. L. A. Kitchell****Mr. & Mrs. I.P. & O.M. Komarnicky

Mr. Christopher J. Kowal*Mr. Jonathan Krehm*Gediminas P. Kurpis****Mr. James R. Lake****Harry Lane***Alan & Marti Latta****Giles le Riche & Rosemary Polczer***

Claus & Heather Lenk*Mr. Yakov Lerner*Dr. David Levine*Dr. Francois Loubert*Mr. Andrew & Mrs. Harriet LyonsKathy Marton*Mary McClymont****Mary McGowan****Jil McIntosh**Mr. Bruce McKeown****Sylvia McPhee****Janis Medland*Suzanne Mess****In memory of N. Bruce Grandfield*

Kamini & Lynne MilnesFrank & Anne Moir***Blake Murray & Nancy Riley****Peter NaylorLarry NevardMr. Tomi Nishio****David Northcote & Suzanne Betcke*

Ms Cristina Oke***Mrs. Jean O'GradyKaren Olinyk†*Mr. James C. Pappas****Mr. Joseph & Mrs. Letizia Paradiso***

Pauline & Donald


David Peachey & Georgia Henderson**

Mrs. Dorothy K. Piepke****Alice Pitt & Deborah BritzmanEd & Beth Price***Mr. Robert RadkeDr. Shelley Rechner****Marat RessinMs Laura Rimas**Ms Virginia Robeson*Dorothy & Robert Ross***Amye & DeeAnn Hagler Sagar†M. & G. Sanvido****Patti & Richard Schabas**Nancy A. Schiefer in memoryof Walter Schiefer****

Marlene Pollock Sheff*Cheryl Shook**D. Bruce Sinclair**John Spears****Phil Spencer****Mr. Paul Steep & Ms Anne McNeilly*

Helga & Klaus Stegemann***Jane & Ted Stephenson****Stoesser Law OfficeMs Michelle Tan**Dr. R. Paul Thompson*Ria Tietz****Dr. Claude Tousignant**Mr. & Mrs. David G. Trent****Maria & Ian Tulip****Mrs. Norene Turvolgyi****Dr. Nancy F. Vogan****Mr. Wayne Vogan†****George Vona & Lark Popov**Mr. John M. Welch****James & Margaret Whitby****F. Whittaker**Nina Wright***Ms Diana YensonMs Iris Zawadowski*Anonymous (6)

THE ENCORE LEGACYThe Encore Legacy is theplanned giving program of theCanadian Opera Company.Planned giving is making the

decision today to provide a gift for the Canadian OperaCompany that may not be realized until after your lifetime. Gifts planned today, that will

ultimately affect your estate,allow you to make a statementof support that will become a lasting legacy to the COC. The Canadian Opera Company

gratefully acknowledges andthanks the following individualswho have included the COC in their estate planning:

Susan Agranove & Estate of Dr. Larry M. Agranove

Ken R. AlexanderIsobel AllenRenata Arens & Elizabeth FreyMrs. Rosalen Armstrong

Ron Atkinson & Bruce Blandford

Lindy BarrowMr. L. H. BartelinkJ. Linden Best & James G. KerrDavid BowenMr. Philip J. BoswellMarnie M. BrachtGregory BrandtMrs. Ann ChristieEarl ClarkThe Rt. Hon. Adrienne ClarksonBrian Collins & Amanda DemersEarlaine CollinsDavid H. CormackNinalee 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 Thommen

Douglas E. HodgsonMatt HughesMichael & Linda HutcheonLynne JeffreyAnn KadrnkaBen KizemchukKathryn KossowMr. Gurney Kranz Jo LanderPeggy LauMarjorie & Roy LindenTom C. Logan, A.R.C.T.Ms 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. Stavraky

Janet StubbsAnn SuttonRonald TaberMrs. L. TreutlerRiki Turofsky & Charles Petersen

N. Suzanne VanstoneMarie-Laure WagnerHugh & Colleen WashingtonMarion C. WilsonMarion YorkTricia YoungerAnonymous (58)

OPERATOURS DONORS $700 +(From July 2013

– August 2014)James C. Baillie*Ben & Sarah Glatt****Donald Gutteridge & Anne Millar****

Dr. Elizabeth Kocmur****John B. Lawson, Q.C.****Dr. & Mrs. Richard Mackenzie****David & Jean McIntosh*Drs. Moira & Matthew McQueen*Dr. Krystyna Prutis-Misterska****Desmond Scott & Corinne Langston*

Stephen & Jane Smith****Anonymous (1)

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 August 21, 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 name was omitted, listed incorrectly ormisspelled, we apologize for anyinconvenience this may have caused.We would appreciate being notifiedof any errors at 416-847-4949.

Three acclaimed opera productions Invitations to special events Post-performance toast with artists Henry N. R. Jackman Lounge access

Join the Ensemble Circle

Call 416-306-2309

Exclusive backstage tour Attend working rehearsal Admission to Operanation … and much more

The Ensemble Circle is a rapidly expanding community of young people who appreciate and support opera and the arts in Toronto. By becoming a member, you join a network of your peers from across the arts, media and business communities, and benefit from a personalized introduction to the world of opera and the Canadian Opera Company.

E-mail [email protected] Visit ensemblecircle.ca

Photos from Operanat10n: A Night of Temptation, 2013. Left: Cameron McPhail and Catherine Affleck. Photo: Ryan Emberley-Media Needs. Centre: Photo: Tara Noelle. Right: (l-r) Katie Jones, Ashleigh Semkiw and Marissa Semkiw. Photo: Tara Noelle

Major Supporter, Ensemble StudioCompetition Supporter, Centre Stage: Ensemble Studio Competition Gala

Presenting Sponsor of SURTITLES™

Presenting Sponsor Opera Under 30

and Operanation 11: Light Up the Night

Official Canadian Wine of the COC

at the FSCPA

Program Sponsor After School Opera Program

Glencore Ensemble Studio School Tour

Preferred Dry Cleaner

Production Sponsor Rossini’s

The Barber of Seville

Preferred Hospitality Sponsor


MAJOR CORPORATE SPONSORS 2014/2015 SEASON

Preferred FragrancePreferred Jewellery Partner

Preferred Medical Services Provider

BMO Financial Group Pre-Performance ChatsBMO Financial Group Student Dress Rehearsals

Verdi’s Falstaff generously underwritten in part by

Official Automotive Sponsor of the COC at the FSCPA

Golden Circle Hosting Partner

Production SponsorPuccini’s

Madama Butterfly

Production SponsorPuccini’s

Madama Butterfly


DIAMOND PERFORMANCE SPONSORSBarrick GoldBlake, Cassels & GraydonBurgundy Asset ManagementDavies Ward Phillips & Vineberg LLPFionn MacCool’sFour Seasons Hotels and ResortsLinden & AssociatesMcCarthy Tetrault LLP Norton Rose Fulbright LLPOsler, Hoskin & HarcourtPricewaterhouseCoopers LLP

HOSTING SPONSOR

PREFERRED FLORISTS Bloom The Flower CompanyQuince Flowers

CORPORATE AND FOUNDATION DONORS

$50,000+The Asper FoundationThe Slaight Family FoundationThe Hal Jackman Fund at the Ontario Arts

Foundation

$10,000 – $49,999Audrey S. Hellyer Charitable FoundationCineplexGreat West Life, London Life and Canada LifeJ.P. Bickell FoundationThe Lloyd Carr-Harris FoundationOCC LasikThe McLean Foundation The W. Garfield Weston FoundationAnonymous (1)

$5,000 to $9,999225490 Investments LimitedThe Hope Charitable Foundation JMV Food Services Canada Ltd.Local 58 Charitable Benefit FundMill Street BreweryShinex Window Cleaning IncState StreetUnit Park Holdings Inc.The WholeNote Magazine

$2,500 – $4,999Hicks Memorial Fund at The Calgary FoundationVida Peene Fund at the Canada Council for the Arts

$1,000 – $2,499AimiaD’Avignon Freight Services Inc.Jarvis & AssociatesLoch-Sloy Holdings Ltd.LoyaltyOne Inc.MAC CosmeticsMilgram Group of Companies Ltd. O’Shanter Development Company Ltd. The Powis Family Foundation

CENTRE STAGE: ENSEMBLE STUDIO COMPETITION GALA 2013 COMPETITION SUPPORTERSRBC and RBC FoundationPeter M. DeebHal Jackman Foundation

PLATINUM SPONSORMercedes-Benz

GOLD SPONSORSBrookfield 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 SPONSORSBMOWeirFoulds LLP

EVENT SPONSORS10tationAlan CandyChair-man MillsKAELENKnot PRLiliumMedia NeedsMill St. PerrierSheridan NurseriesToronto LifeTrius Wines

FINE WINE AUCTION 2014PRESENTING SPONSORSTD SecuritiesBloombergGraywood Group

PARTNERING SPONSORSGWLM Inc.Thomson ReutersBlake, Cassels & Graydon LLP

SUPPORTING SPONSORSIAMGOLDOzz Electric

EVENT SPONSORSFalconcrest HomesMarel Contractors

CHEESE SPONSORThe Cheese Boutique

AUCTIONEERStephen Ranger Fine Art Valuation & Consultancy

2014/2015 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, Opera.ca. and TAPA.

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:

Ontario Cultural Attractions Fund

Department of Canadian Heritage

Employment and Social Development Canada

Photographer credits for pages 28-29 of colour pages: 1, 4, 5, 7: Joey Lopez; 2: Tara Noelle-medianeeds; 3, 10: Dave Cox; 6,9, 11: Ryan Emberley-medianeeds; 8. Henry Chan.

SUPERNUMERARIESLiz AllemangAngela BoydMarie ColucciShawna GreenPolo IzqueirdoWard Jardine

Paulette Kuehn

Carla KurzenhauserMark MilliganLee PerenackRyan Reeve

Max SokolovskiPatrick Stepien-Scanlon

Tiffany Tobias

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


adama Butterfly, a timeless tale of love, loss and devotion, is one of the world’s mostpopular operas. From New York City, to Rome and Finland, our globe-trotting

Madama Butterfly artists have performed in opera houses and festivals around the world.We asked them to share their favourite stories, memories and behind-the-scenes tidbitsfrom this beloved opera.


M

BY KRISTIN McKINNON

MADAMA BUTTERFLYAROUND THE WORLD WITH

PATRICK LANGE (COnduCtOr)One of the things that makes live performance so excitingis that even after countless rehearsals, you can neverguarantee the final result. Conductor patrick Lange knowsthis from experience, when a show he was conductingdidn’t go quite as planned… but he took it in stride andnow it’s one of his favourite Butterfly memories!

I had one of my most memorableButterfly experiences when I wasworking, for the first time, witha certain singer notorious forslowing down the tempo in performances – but in rehearsals,this singer asked me not to slowdown his part. When it cametime for the performance, theConcertmaster (who had knownthis singer for years) asked me if I was sure about keepingthe quicker tempo. I replied

confidently, “Of course!Rehearsals have been goingwell!” But when the performancestarted, the singer was in acompletely different world,singing his part much slowerand making it impossible to go at the speed we’d rehearsed.When I looked down at the pit,I received a beautiful, knowingsmile from the orchestra. Thesethings are part of the fun ofopera!

A scene from Madama Butterfly, 2009, COC. Photo: Michael Cooper


Around the World with Madama Butterfly

PATRICIA RACETTE (CiO-CiO San)Working and performing with children on stage can leadto all kinds of interesting situations. as one of the world’sleading Butterflys, patricia racette has shared the stagewith countless “troubles” (or “Sorrows,” as Butterfly’s childis known in the COC’s production) and her experiencesprove that working with opera’s youngest performerscomes with its own unique challenges and rewards…

My best Butterfly storiestypically involve my various“Troubles.” The situations I’vedealt with have been hilarious,heart-warming and sometimesexhausting! The best momentsseem to occur during “Dormiamor mio” at the end of Act II.I am always a bit tired at thatpoint and, apparently, so aremy Troubles! On more than oneoccasion the child has actuallyfallen asleep, and, I must remindany of you who are unaware, a

sleeping child is MUCH heavierthan one who’s awake! So tocarry a child AND sing becomesmore challenging. Once mylittle Trouble actually snoredduring the entire exit and I hadto physically rouse her to wakeher up when we got offstage!In a recent production, I alsohad the great pleasure to workwith a lovely little boy whosemother informed me that hehad referred to me as his “adultgirlfriend.”

KELLY KADUCE (CiO-CiO San)as a young singer, soprano Kelly Kaduce took a risk tacklingthe title role in Madama Butterfly for the first time atminnesota Opera (her home state). Her gamble paid off,thanks in part to an influential director who had a lastingimpact on her professional and personal life.

When I sang my first Butterfly,I was quite young for the role.The general consensus is thatyou should wait until you’reolder and more establishedbecause it’s so difficult. I soughtout a lot of advice and basicallyeveryone said “No.” But I’m a little headstrong and decided I wanted to do it. And thebiggest factor for me – otherthan that when you’re a youngsinger, you’re crazy to say no toanything – was that Colin Grahamwas directing it. He was such

a well-known director, and hespent a large part of his life inJapan and knew a lot about theculture. So I knew that if I tookthis opportunity to do thatButterfly with him, I would reallylearn a lot. And sure enough I did. I learned about Japanesegesture and culture. And I justloved that man to death. I wound up doing a good handful of operas with him. My husband and I even endedup naming our son after him.



STEFANO SECCO (pinKertOn)Stefano Secco’s first experience singing the role ofpinkerton in rome was a global experience that broughttogether a diverse international cast.

The first time I sang the roleof Pinkerton was in a beautifulcity: Rome. It was 2002. Inaddition to the huge emotionsabout making my debut insuch a great theatre, I was alsocurious about the other singers.Cio-Cio San was African, Kate

Pinkerton was Korean, theAmerican Consul Sharpless wasUruguayan and I’m an Italianplaying an American. It was a very interesting situation!That’s the beauty of music – it’s a universal language! It wasan extraordinary experience.

ANDREA CARÈ (pinKertOn) tenor andrea Carè’s role debut as pinkerton at Finland’sSavonlinnan Opera Festival in 2010 turned out to be a life-changing experience in ways he didn’t expect.

I arrived in Finland in mid-Junefrom Italy, where it had been34 degrees and sunny. Finlandwas cold, windy and rainy. Noone spoke to me because myEnglish was really bad at thetime and I didn’t know evenone Finnish word. After 10 daysof rehearsal, the weather changedand the sun started to shine on the wonderful castle ofOlavinlinna and I fell in love withthe woman who was to becomemy wife! She was acting as anextra in the production, whereshe actually played a ninja. The

newspaper version of our storyis that I fell in love with twowonderful blue eyes jumpingout from a black ninja suit, whileI was singing in a romantic andbreathtaking castle in the middleof Finland. The truth is that I started to “stalk” that ninjaduring rehearsals that tookplace in a much more modestand less romantic place: a gym.A few months later, I foundmyself spending much moretime in Finland than in Italy,and that summer that ninjamarried me.


ELIZABETH DESHONG (SuzuKi)mezzo-soprano elizabeth deShong knows the importanceof drama in Madama Butterfly, whether it takes shapein some real tour-de-force acting, or by a surprise frommother nature!

I have had the pleasure ofworking with both Kelly Kaduceand Patricia Racette inMadamaButterfly. Kelly was my firstButterfly at Santa Fe Opera.One evening, after we hadfinished scattering petals duringthe "flower duet” and the newsof Pinkerton’s return had beendelivered, a storm blew in. Asthe drama intensified on stage,the wind picked up the flowerpetals and swirled them onstagewhile lightning flashed on thehorizon. Mother Nature providedus with stage effects that noamount of money could buy!That production also understoodthe importance of all of the

characters. Suzuki is so muchmore than a servant; she isButterfly’s one true friend. Andthe audience sees and feels whatSuzuki does – a silent worry andattachment to a young girl whostands to lose everything forlove. My most recent Butterflywas with Patricia Racette at San Francisco Opera, and whilevisually stunning, it called forthe singers onstage to be trulysubstantial actors and actressesso that the story didn’t becomelost in the vivid setting. Pat wasjust the kind of dramatic forceneeded to lead the cast. It is a pleasure to revisit our rolestogether again at COC!

DWAYNE CROFT (SHarpLeSS)during a show, not everything always goes to plan, even for seasoned pros, as dwayne Croft discovered in a recentperformance at the metropolitan Opera.

Most recently I was in aperformance at the Met and tookout my prop glasses to read theletter to Butterfly in Act 2. Theglasses had gotten bent whilein my pocket and they wouldn’tstay on, so I had to incorporatebroken glasses into that beautiful,

intimate moment but they keptpopping off. I finally put themaway and pretended to read theletter holding it far away like Ido in real life. It was distracting,but these things happen... andthey are the things you alwaysremember.




GREGORY DAHL(SHarpLeSS)Gregory dahl rushedacross Canada to make an earlier than expecteddebut as Sharpless withOpera Lyra in Ottawa.

I was scheduled to debutthe role of Sharpless withVancouver Opera inNovember 2004; however,that summer, while attendinga friend’s wedding in BritishColumbia, Opera Lyra calledto request that I replace theirSharplesswho had cancelleddue to a family crisis.Rehearsals were to start in10 days, so I returned toToronto and got to work.After four furious days ofmemorizing and coachingsessions, I was ready forrehearsals to begin. I waspleased with my performanceand, if the reviews were anyindication, the show was ahuge success. Ten seasonslater, I’m excited to reprisethe character of Sharpless andI am grateful to have morethan 10 days to prepare!

FOR FURTHER INSIGHT INTO MADAMA BUTTERFLY, READ AN INTERVIEW WITH PATRICIA RACETTE AND KELLYKADUCE IN THE FALL ISSUE OF PRELUDE AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.


MADAMA BUTTERFLYOPERA BACKGROUND

(l-r) Xiu Wei Sun as Cio-Cio San, Liam Benson as Sorrow (laying down) and Allyson McHardy as Suzuki in Madama Butterfly, 2003, COC.

Photo: Michael Cooper

Giacomo Puccini (1858-1924) wrote almost nothing but operas. A meticulous composer, he worked intensely on his scores, constantly revising his work until he was satisfied.Although his style is firmly rooted in the 19th-century Italian tradition, his later works revealcosmopolitan musical tastes, including the influence of French Impressionist composersand the German masters. These variations reflect the musical activity and changes goingon around the world during Puccini’s lifetime. He was frequently learning about new trendsin music and art, and continued to reinvent himself. What remains constant, however, arehis strong melodies and incomparable attention to orchestral detail.

During a visit to London in 1900, Puccini saw David Belasco’s one-act play Madame Butterfly,which served as inspiration for the opera. The libretto is based on two sources – Belasco’splay, and the 1889 short story by John Luther Long that inspired it. Both are quite slim ondialogue, and so librettists Luigi Illica and Giuseppe Giacosa greatly expanded upon thisstory, creating fully realized characters and dramatic action that considerably improvedupon both of the original sources.

Puccini considered Madama Butterfly to be his best work, as well as the most technicallyadvanced of all of his operas. It showcases Puccini’s varied influences – the strong vocallines and beautiful lyricism of the Italian tradition, a large orchestra and a through-composed style like that of the German masters, uncommon harmonies reminiscent of the experimentation of the French impressionists, and the use of American and Japanesemelodies as principal motifs. Puccini studied Japanese music to enhance Butterfly’s score,studying with a “Mrs. Oyama” as well as using recordings shipped from Tokyo and transcriptions of Japanese songs. This resulted in a mix of existing and newly createdJapanese-inspired melodies in Butterfly.

Madama Butterfly is one of opera’s most enduring tales, and a favourite amongst operalovers worldwide. It currently ranks as the sixth-most-performed opera internationally andhas served as the inspiration for numerous screen and stage adaptations, including theBroadway musical Miss Saigon.

LONDON PHILHARMONIC ORCHESTRA Vladimir Jurowski, Principal Conductor Jean-Efflam Bavouzet, PianoWinner of the Gramophone Concerto Award 2014

FRIDAY, OCTOBER 17, 2014 8 PMROY THOMSON HALL

Magnus Lindberg: Chorale Prokofiev: Piano Concerto No. 3 Shostakovich: Symphony No. 8

Supported by

and

Media Partner

CALL 416-872-4255MASSEYHALL.COM | ROYTHOMSON.COM

ESSMA

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BACKSTAGE AND BEYOND

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1. Sopranos Simone Osborne and Adrianne Pieczonka celebrate the opening of A Masked Ball.

2. Sam Roberts Band wowed 1,000+ audience members at 2013's Operanation, the COC's annual bash mixingmusic, art, food and fashion, that raises funds for the COC Ensemble Studio program.

3. Pianist Carolyn Maule (far left) and baritone Russell Braun with former COC Board members Earlaine Collins(centre) and Sue Mortimer (right) at the COC's 2014/2015 season launch celebration. Mrs. Collins generouslysponsors Russell Braun's performances.

4. (l-r) CBC Radio host Eleanor Wachtel and artist and writer Bernice Eisenstein.

5. (l-r) COC Chorus Master Sandra Horst, star soprano Sondra Radvanovsky, and COC General Director AlexanderNeef, with opera fans Toronto deputy mayor Norm Kelly and wife Charlotte at the Golden Circle toast followingRoberto Devereux.

6. 2013's Operanation VIP dinner included delicious eats by 10tation Event Catering.

OUR WONDERFUL COC DONORS HELPEDUS CELEBRATE A GREAT 2013/2014 SEASONAT SOME UNFORGETTABLE EVENTS THATINCLUDED PARTIES, GALAS, AND BACK-STAGE MEET-AND-GREETS WITH ARTISTS!


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7. The COC's 2014 Fine Wine Auction attracted 350 guests who bid on hundreds of the finestinternational wines.

8. (l-r) Actor David Bradley (Harry Potter series,Game of Thrones), COC principal viola KeithHamm, Ensemble graduate mezzo-soprano RihabChaieb, COC Board member Kris Vikmanis andtenor Richard Croft celebrate the premiere of theCOC's Hercules.

9. Jian Ghomeshi joins the revelers at 2013'sOperanation.

10. (l-r) Mezzo-soprano Anita Rachvelishvili, sopranoSasha Djihanian and mezzo-soprano Ariana Chrisafter their triumphant opening performance ofDon Quichotte.

11. (l-r) Sisters Katie Jones and Ashleigh and MarissaSemkiw at Operanation.


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 include backstageaccess! For more information, visit fourseasonscentre.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 not permittedin 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 RosalieSharp City Room, the COC’s Opera Shop offers a fineselection of opera recordings on CD and DVD, as well as opera-related books, giftware and COC souvenirs.

PATRON INFORMATIONAND POLICIES

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