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C a n a d i a n O p e r a C O m p a n yFall 2013

Performance

PETERGRIMES

nCANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, former Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative; Claire Morley, Communications Officer

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n Cover images: La Bohème : Dimitri Pittas as Rodolfo and Katie Van Kooten as Mimì in the Canadian OperaCompany/Houston Grand Opera (HGO)/San Francisco Opera co-production of La Bohème, 2012, HGO. Photo: Felix SanchezPeter Grimes: (l–r) Taryn Fiebig and Lorina Gore as Auntie’s Nieces and Stuart Skelton as Peter Grimes in the OperaAustralia production of Peter Grimes, 2009. Photo: Branco Gaica

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, Ext. 222.

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CONTENTS4 REMEMBERING LOTFI

6 JOHN CAIRD DIRECTS A NEW BOHÈMEBY SUZANNE VANSTONE

12 HEPPNER ON PETER GRIMESBY SUZANNE VANSTONE

20 CANADA’S FUTURE OPERA STARS TAKE CENTRE STAGE BY JENNIFER PUGSLEY

24 COMING THIS WINTERMOZART’S COSÌ FAN TUTTE BY CLAIRE MORLEY

28 COMING THIS WINTERVERDI’S UN BALLO IN MASCHERA BY GIANNA WICHELOW

C a n a d i a n O p e r a C O m p a n yFall 2013

Performance

A scene from the Opera Australiaproduction of Peter Grimes, 2009.Photo: Branco Gaica

(l–r) Dimitri Pittas as Rodolfo andJoshua Hopkins as Marcello in theCanadian Opera Company/HoustonGrand Opera (HGO)/San FranciscoOpera co-production of La Bohème,2012, HGO. Photo: Felix Sanchez

MIZRAHID E V E L O P M E N T S

M

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

Canadian Opera Company 2013/2014 Season4 Catch up with blogs and enjoy COC Radio at coc.ca. 5

LOTFIREMEMBERING

his past August, we at the COC weredeeply saddened to hear of the loss of

our third General Director, Lotfi Mansouri.Lotfi led the company from 1976 to 1988and played a crucial role in launching theCOC’s international reputation for artisticexcellence and creative innovation. He grew the company into the largestopera producer in Canada and one of the

largest in North America. During histenure, Mansouri’s focus was on implementing a longer performance season, audience development, moreadventurous repertoire and productions,and advance planning both financially and artistically, the accomplishments of which are essential elements of theCOC’s operations today.

One of Lotfi’s most personal and heartfeltambitions was achieved when he foundedthe COC Ensemble Studio in 1980, which is now Canada’s premier training programfor young opera professionals. To date, over180 young opera artists including singers,coaches, stage directors and conductorshave received their first major professionaloperatic experience through the EnsembleStudio, claiming such alumni as BenHeppner, Isabel Bayrakdarian, JanetStubbs, John Fanning, and Wendy Nielsen,to name just a few.

Among Lotfi’s many contributions to theCOC and the opera world was the unveiling of SURTITLES™ at the company’s1983 production of Elektra. The innovativeuse of simultaneous projected translationsabove the stage suddenly allowed the COC to make opera more accessible toaudiences. This revolutionized the operaworld, and the use of titles is now standardpractice in all major opera houses aroundthe world.

Mansouri left the COC in 1988 to becomeGeneral Director of the San FranciscoOpera, but he returned to the COC familyregularly to direct on the mainstage, and to give masterclasses to the young artistsof the Ensemble Studio. T

“Lotfi was a legend. There is noquestion that he was one ofopera’s most influential generaldirectors. i am personally verygrateful for his friendship and theadvice he shared with me eversince i joined the COC.”– COC General Director Alexander Neef

“Lotfi possessed an infectiousenthusiasm for all that opera is.He inspired us. He knew everyword and note in every opera he directed. He loved his ‘kids’, the singers whose careers henourished and supported. What a privilege it was to havebeen one of his ‘kids’!”– Janet Stubbs, mezzo-soprano and member

of the inaugural Ensemble Studio

“His larger-than-life personality, broad sense of humor and boundlessenthusiasm for his work endeared him to everyone. His knowledge of the repertoire and stagecraft were daunting, and it benefitted everyorganization he was associated with.”– San Francisco Opera General Director David Gockley

LOTFI MANSOURI(1929–2013)

(left) Lotfi Mansouri and Alexander Neef at the Four Seasons Centre for the Performing Arts, 2010.Photo: COC;(below) The COC's 1983 production of Elektra, whereSURTITLES™ were first used. Photo: Robert C. Ragsdale

BY SUZANNE VANSTONE

JOHNCAIRD

hether you are an opera neophyte ora seasoned aficionado, chances are

you have experienced La Bohème’s beautifulmusic and heart-wrenching tale in somefashion – be it with a full production,excerpted highlights, or perhaps that ariaon the radio that you can’t quite name, butknow intimately. A repertoire staple sincethe company’s inaugural season in 1950,the COC is thrilled to bring a brand newBohème to its stage under the direction ofTony-award winning director John Caird.

Caird very much enjoyed working at the Four Seasons Centre for the PerformingArts when he was last here to direct DonCarlos in 2007. “The building has a light,

airy feeling, both in the public foyer spacesand in the hall itself. The space is not pretentious but rather incorporates a realsense of community. It was a great pleasureto work there and I look forward to my returnwith La Bohème.”

In creating this new co-production withHouston and San Francisco, Caird and setand costume designer David Farley havetaken inspiration from La Belle Époque,capturing the romance and artistic brillianceat the heart of this opera.

La Bohème is based on Scènes de la viede bohème, a play by Henri Murger andThéodore Barrière, which was adapted from a novel by Murger. But as Caird says,

Canadian Opera Company 2013/2014 Season6

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A scene from the Canadian OperaCompany/Houston Grand Opera(HGO)/San Francisco co-production of La Bohème, 2012, HGO. Photo: Felix Sanchez

DIRECTS ANEWBOHÈME

John Caird

“In reality, the original works were neither a novel nor a play, but rather vignettes,glimpses into the lives of the bohemianlifestyle in Paris’s Latin Quarter.” Murgervividly captured the bohemians’ unconventional attitude towards freedom,pleasure and love, as well as their completecommitment to art, but he also remindedhis readers of the harsh realities of their lives.

At La Bohème’s core is the heartbreakingtragedy of Mimì, an ailing seamstress andher lover Rodolfo. But Caird ingeniouslyuses the four young artists: Marcello, apainter; Rodolfo, a poet; Schaunard, a musician;and Colline, a philosopher; to propel the story, each employing their particular talent. “All four young men possess wit and talent but they aren't as good at their relationships as they are at their art. Rodolfo knows hemust lose Mimì and Marcello runs hot andcold with Musetta, but by the end of the

story we know that both men will move on and certainly love again.”

“Rather than relationships, their art iswhat is paramount to them – art is theirtrue passion. No matter what is happeningaround them, Rodolfo pauses to write downa line of verse and Marcello feverishly paintsand sketches. Like all good artists, theydon’t want a moment to slip by without, in some way, recording it.”

Caird has set this production in the 19thcentury, inspired by what was happening in Paris at the time. “We drew great inspiration from the great painterToulouse-Lautrec who was capturing allaspects of street life, feeding the desire forthe wealthy classes to peer into the seamierside of life.” The set design revolves arounda mosaic of canvases, painted by Marcello,that frame the action within the opera’schanging Parisian locales. Some paintingsremain fixed, some turn in place to createscene changes, and others fly in to enhancethe artistic effect.

Puccini’s ability to create compellingcharacters and express larger-than-lifeemotions through unforgettable melodiesis what makes La Bohème a perpetualfavourite of audiences. “A great opera likeBohème is a beautifully crafted constructionof melodies and musical dialogue – andPuccini’s craftsmanship is quite astonishing.As always, it will be an unalloyed pleasureto share a rehearsal room with his music.Having said that, my own work is only everas good as the cast I am working with, andfrom whom I draw my own inspiration. Inthis respect I am being doubly rewarded –with two superb casts, both brimming overwith youthful energy and enthusiasm.” n

Suzanne Vanstone is former Senior CommunicationsManager, Editorial at the Canadian Opera Company

John Caird Directs a NEW Bohème


FOR FURTHER INSIGHT INTO LA BOHÈME, PLEASE READ CANVASES COME ALIVEWITH SET AND COSTUME DESIGNER DAVID FARLEY, BY SUZANNE VANSTONE, AVAILABLE IN THE FALL ISSUE OF PRELUDE ONLINE ATCOC.CA/PUBLICATIONS.

(l–r) Vuyani Mlinde as Colline, Michael Sumuel asSchaunard, Dimitri Pittas as Rodolfo and Joshua Hopkinsas Marcello in the Canadian Opera Company/HoustonGrand Opera (HGO)/San Francisco Opera co-productionof La Bohème, 2012, HGO. Photo: Felix Sanchez

10

LA BOHÈMEOPERA BACKGROUND

A scene from the Canadian Opera Company/Houston Grand Opera(HGO)/San Francisco co-production of La Bohème, 2012, HGO.

Photo: Felix Sanchez

Puccini’s La Bohème was adapted from Henri Murger’s series of short stories, Scènes de lavie de bohème, depicting the life and times of bohemian artists, social rebels and radicalsin Paris’s famed Latin Quarter.

La Bohème premiered in 1896 in Turin, Italy. Through its subject matter of penniless artistsliving for their ideals, the work’s realism and heartfelt drama reverberated with the largerartistic concerns of the verismo tradition. Verismowas a literary movement in southern Italy beginning in the 1870s, characterized by gritty realism, a concern with poverty, the use of everyday rather than poetic language, quotes from popular songs of the day, and a tragic ending.

At the time of its premiere, Italian audiences were unsure of how to react to the novelty of the story. Perhaps one reason for this sense of disorientation was that Puccini’s operawas staged at Turin’s Teatro Regio, a theatre that earlier in the season had featured theItalian premiere of Wagner’s Götterdämmerung, a work characterized by its comparativeenormity and stratospherically different content. In contrast, La Bohème’s subject and stylecalled out to a segment of the urban population and depicted a lower class far differentfrom the privileged group that ordinarily attended the opera house. Mixed reactionsnotwithstanding, the opera quickly became a popular piece.

The Industrial Revolution radically altered the day-to-day lives of Europeans. The growth of industry brought with it a rapidly expanding workforce and created a divide betweenthe wealthy and the poor which led to the artistic reaction against self-indulgence. The premiere of La Bohème coincided with Labour movements in Italy in the mid-1890s, a period of social unrest. La Bohème’s democratic appeal and its acknowledgment of poverty and poor living conditions signalled changing times in both life and art.

Puccini’s music, along with Giuseppe Giacosa’s and Luigi Illica’s libretto, combined to create one of the most popular operas of all time, with enduring themes of young love set to incredibly powerful, beautiful music.

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ollowing his deserved ovations inTristan und Isolde last season, celebrated

tenor Ben Heppner returns to the COC to portray one of the most iconic rolesin 20th-century opera – Peter Grimes.Benjamin Britten’s masterful compositionof a tormented fisherman shunned by an unforgiving society is a favourite ofHeppner’s, and he has performed the roleworldwide in over 40 performances in sevenproductions. In fact, as soon as the curtaincomes down in Toronto in October, he is off to do it again in Vienna.

The role is a complex one to perform,balancing Grimes’s often raging personawith a softer, wounded man who, becauseof the death of his young apprentice, isforced to defend himself against those whohave already decided his guilt. Heppnerfeels that, “If you try to soften him toomuch, he can appear whiny. You have tohave the confidence to be disliked. Grimesis not a likeable character in many ways.From the beginning he comes across asbeing self-righteous, railing, ‘No. I want toexplain myself in court. Don’t leave me to


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A S I A N I N S P I R E D. D I S T I N C T LY C A N A D I A N.

5:46 PM

BY SUZANNE VANSTONE

HEPPNERONPETERGRIMES

Ben Heppner Photo: Kristin Hoebermann

The COC presents Peter Grimes. A scene from the Houston Grand Operaproduction, 2010. Photo: Felix Sanchez


be judged by the court of public opinion,’yet the whole time he is judged by the courtof public opinion.

“It takes courage at the outset of the operato be your own man and not care what othersthink – particularly in the dramatic scenesin the pub and then in the hut.” Heppnercontinues, “In the pub, Grimes seems to bein some other space. He loves the brewingstorm, while others think him mad ordrunk. Then in the hut scene, although heis rough and tumble with the boy, you suddenly realize how tender he is. He lovesthis boy and really wants to care for him.Somehow they have a mutual affection thatworks. And so, at the end of the opera,when the curtain comes down, there isoften silence from the audience. People arestunned. I think they are trying to figureout why they care about this man; perhapsthey were wrong about him. I think it’s

genius – you don’t have to be the mostbeloved character on stage to have thatextraordinary effect on people.”

The music creates an extraordinary effectas well, and Heppner describes the score as film-like. When he talks about it withfriends who don’t attend opera regularlyand may have qualms about 20th-centuryor “modern” music, he reassures them thatthe music is extremely accessible. “It’s verydescriptive, has some beautiful melodiesand the music fits the action. It’s likeWagner contemporized – not such a heavyorchestration, but the colours Britten getsin the orchestra are amazing. This is reallyvisceral writing – it just seems to grab yourheart.”

One of Heppner’s favourite moments isin the church scene when Grimes confrontsEllen Orford, a schoolmistress who is oneof the few villagers sympathetic to his plight.

Heppner on Peter Grimes

The COC presents Peter Grimes. (l-r) NicholasBakopoulos-Cooke as John and Stuart Skelton asPeter Grimes in the Opera Australia production, 2009.Photo: Branco Gaica

Heppner on Peter Grimes


“She is there to protect the boy and hassome sort of relationship with Grimes, thenature of which, even after 40 performances,I am still unsure. It seems to have romanticelements, but I created a backstory for myselfthat perhaps she taught him how to readand he is very appreciative of that. The sceneis filled with enflamed passions – on bothsides. She approaches him very tenderly:‘Peter, tell me one thing…’ and he snaps,‘Take away your hand! The argument’s finished, friendship lost, gossip is shouting…To hell with your ambitions. God havemercy upon you!’ It’s a swirling microcosmof his various moods.

“I think Ellen sees something in himthat she doesn’t see in the other men,something that really attracts her. She seeshis interest in the outside world, and thereare only three characters who have anyvision of that – Captain Balstrode, Ellenand Grimes. If I use my own backstory of Ellen having helped him read, she hasperhaps suggested things for him to study,so he has a connection with the outsideworld. Balstrode is a world-travelled seacaptain and Ellen has, if not actually travelled, journeyed through her books.They are the only people who have an outside perspective. Everybody else is lockedinto their society and their little town.”

In portraying that insular town, directorNeil Armfield sets the piece in a communityhall, similar perhaps to Britten’s ownJubilee Hall in Aldeburgh. Armfield says,“The music paints pictures not only of thesea and the land around The Borough, but

also the spaces that separate people, and in those spaces we feel fear and mistrust,anger and love, hope and despair. I saw myjob in this production as allowing the worldthat Britten creates so vividly in the musicto play freely in the audience’s imagination,and I was at pains to ensure the experienceof watching and listening to Peter Grimesnot be blurred by too literal a representationof this world in the actual images createdon stage. In a sense all of my productionsin theatre have been about trying to sharewith an audience the experience of playthat goes on in the rehearsal room beforeopening – to render that experience in a not entirely finished form, so that theminds of the audience are all engaged infinishing it together.”

Ben concurs. “I think Neil’s stagingimproves our understanding of the opera.I’ve done Peter Grimes both ways – withboats and nets, etc., and I’ve also performedit with very little on stage. What this kindof approach does for the audience is unbelievable. It gets rid of all that other stuffand focuses in on the relationships betweenall the characters. That’s what it’s about. It’san amazingly well written piece of drama.There is a real self-examination that occurswhen you watch this opera and that is thebest kind of theatre – it makes you think, itinvolves you, you’re caught up in it. That’swhy people need to come to this – it’s sucha great experience.” n

Suzanne Vanstone is former Senior CommunicationsManager, Editorial at the Canadian Opera Company.

FOR FURTHER INSIGHT INTO PETER GRIMES, PLEASE READ ANATOMY OF AN OPERA: THE MYSTERY OF EVIL, BY NIKITA GOURSKI AND GIANMARCO SEGATO, AVAILABLE IN THE FALL ISSUE OF PRELUDE ONLINE ATCOC.CA/PUBLICATIONS.


PETER GRIMESOPERA BACKGROUND

The COC presents Peter Grimes. A scene from the Opera Australia production, 2009. Photo: Branco Gaica

Born in Suffolk on the sea-swept east coast of England in 1913, Benjamin Britten isacknowledged as one of the foremost English opera composers of the 20th century. A child prodigy, he composed prolifically from the age of four. By the age of 12 he hadcomposed a dozen large-scale works and later studied with Frank Bridge, John Ireland and Ralph Vaughan Williams. In 1936 Britten met tenor Peter Pears who was to become his lifelong partner and muse, and in 1939 they fled Britain together, horrified by the rise of Nazism in Europe.

While still travelling in the U.S. and Canada, war was declared and Britten and Pears wereunable to return to England. In 1941, while visiting California, Britten was given a copy of George Crabbe’s collection of poems entitled The Borough. In 24 poems, it describesthe lives of the people of a small fishing village in Suffolk, one of whom is Peter Grimes.

Crabbe, a poet and clergyman, had grown up in Aldeburgh, England, and depicted the village and its inhabitants with a great deal of precision, though he kept his account thinlyveiled as The Borough. Britten grew up very near Aldeburgh and knew the area and thepeople well. A potent combination of homesickness and his identification with the depictionof the loner misfit spoke to him on a personal level. Britten immediately seized on thepoem as the subject for his first full-scale opera. In 1942 he and Pears finally returned to England, settling in Aldeburgh.

Peter Grimes received its world premiere in June 1945, only weeks after WWII ended, atSadler’s Wells Theatre in London, England with Peter Pears in the title role. Embraced bythe public and critics, Peter Grimes was generally acknowledged as a watershed momentin operatic history, giving a fresh new feel to the art form. Over the next 15 years Brittenestablished himself as the leading opera composer of the 20th century: Albert Herring, Billy Budd, The Turn of the Screw, A Midsummer Night’s Dream, Owen Wingrave, andDeath in Venice are the most famous of his operas. Not coincidentally, all of these worksshare a common theme – an outsider excluded or misunderstood by society. Britten never lostthe belief that art could convey fundamental truths by confronting social majorities withevidence of their own intolerance and insensitivity.

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ALEXANDER NEEF, General Director

PETER GRIMESby Benjamin Britten

Opera in a Prologue and Three Acts, with libretto by Montagu Slater, based on the poem, The Borough, by George Crabbe

By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner

First performance: Sadler’s Wells, London, June 7, 1945

Co-Production from Opera Australia, Houston Grand Opera and West Australian Opera

Last performed by the COC in 2003

October 5, 8, 11, 17, 20, 23, 26, 2013

Sung in English with English SURTITLESTM

THE CAST(in order of vocal appearance)

Hobson, carrier Robert PomakovSwallow, lawyer Tom Corbeil

Peter Grimes, fisherman Ben Heppner^*Mrs. Sedley, widow Judith Christin

Ellen Orford, widow, schoolmistress Ileana Montalbetti^Auntie, landlady of “The Boar” Jill Grove

Bob Boles, fisherman and Methodist Roger Honeywell^Captain Balstrode, retired merchant skipper Alan Held

Reverend Horace Adams, rector Owen McCausland†***First Niece Claire de Sévigné†****

Second Niece Danielle MacMillan†*****Ned Keene, apothecary and quack Peter Barrett^**

Dr. Crabbe Thomas HauffJohn, apprentice Jakob Janutka

Conductor Johannes Debus Director Neil Armfield

Revival Director Denni SayersSet Designer Ralph Myers

Costume Designer Tess SchofieldLighting Designer Damien Cooper

Lighting Design Re-created by Wendy GreenwoodChorus Master Sandra Horst^Stage Manager Jenifer Kowal

SURTITLES™ Producer Gunta Dreifelds

Performance time is approximately three hours and 15 minutes, including two intermissions.

Johannes Debus is generously sponsored by Anne and Tony Arrell

*Ben Heppner’s performance is generously sponsored by Françoise Sutton**Peter Barrett's performance is generously sponsored by Carol Swallow

***Owen McCausland’s performance is generously sponsored by Peter and Hélène Hunt****Claire de Sévigné's performance is generously sponsored by Anne and Tony Arrell

*****Danielle MacMillan's performance is generously sponsored by Brian Wilks, Marjorie and Roy Linden

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

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

Please visit coc.ca for additional information 1


ne of the remarkable things in PeterGrimes is the sense of place alive

in it, and the way musically that place isseen and felt through the minds of the protagonist: we experience landscape,weather, light and atmosphere as psychological entities. Britten plays socourageously in almost visually creatingthe world that surrounds his characters.The music paints pictures not only of thesea and the land around The Borough, butalso the spaces that separate people, andin those spaces we feel fear and mistrust,anger and love, hope and despair.

I saw my job in this production as allowing the world that Britten creates sovividly in the music to play freely in theaudience’s imagination, and I was at painsto ensure the experience of watching andlistening to Peter Grimes not be blurred by too literal a representation of this worldin the actual images created on stage.

In a sense all of my productions in theatre have been about trying to sharewith an audience the experience of playthat goes on in the rehearsal room beforeopening — to render that experience in a not entirely finished form, so that theminds of the audience are all engaged

in finishing it together. And so our stage is our rehearsal hall — perhaps a version of Aldeburgh’s Jubilee Hall, where Brittenworked amongst his community to find the musical expression appropriate to theenergies, the rhythms, the dreams of hisworld. It is a space for the good people of The Borough to reveal their lives, to telltheir story.

It is interesting that Britten went to somepains to place inside this story the author,Dr. Crabbe. It provided us with the seed of an idea, perhaps, about the parental actof creating the story: Dr. Crabbe has conceived these characters, this story, and sits back as their father and watches as these creations of his mind come to lifeand act. To some extent Crabbe’s poem canbe seen as a speculation on the mystery ofcreation — and the creation of human pain,misery, frustration. In 1945, at the end ofthe most dreadful war in human history,Britten wrote this magnificent study of avillage by the sea. But he is asking all theway through it — where does our ragecome from? What is the complex equationin the community, in the human heart, thatresults in evil?

Neil Armfield

DIRECTOR’S NOTES

O


SYNOPSIS

PROLOGUEAn English fishing villageDuring a coroner’s inquest at the town hall,the lawyer Swallow questions the fisherman,Peter Grimes, about the death of hisapprentice during a storm at sea. Thoughthe room is crowded with villagers hostileto Grimes, Swallow accepts the man’sexplanation of the event and rules that the boy died accidentally. He warns Grimesnot to take on another apprentice unlessthe boy lives with a woman who can carefor him. When the hall empties, Ellen Orford,the schoolmistress, asks Grimes to havecourage and promises to help him find a better life.

ACT IAs the villagers go about their daily routine, the apothecary Ned Keene tellsGrimes that he has found him a newapprentice at a workhouse and EllenOrford offers to go and fetch him, in spiteof the villagers’ hostile comments. Grimesis left alone with Captain Balstrode, one of his few friends, who tries to convincehim to leave the village. The fishermanexplains that first he has to make enoughmoney to open a store and marry Ellen.

That night, as a storm rages, the villagers gather at Auntie’s tavern. WhenGrimes enters, there is an uncomfortablesilence. Ellen arrives with the new apprentice, John, and Grimes immediatelytakes the boy back into the storm and to his hut.

INTERMISSION

ACT IIOn Sunday morning, as Ellen and John are watching the villagers go to church,she discovers a bruise on the young boy’sneck. Grimes comes to take John fishing.Ignoring Ellen’s concerns, he hits her anddrags the child off. The villagers, who havewitnessed this brutality, decide to confrontthe fisherman, and an angry mob heads off to Grimes’s hut.

At his hut, Grimes hears the mobapproaching and rushes John out of theback door. The boy slips and falls down the cliff and Grimes escapes. The villagersfind the hut empty and orderly and decidethat they have misjudged Grimes. CaptainBalstrode looks over the cliff and knowsbetter.

INTERMISSION

ACT IIIA dance is underway in the town hall.Captain Balstrode and Ellen have beensearching for Grimes. Ellen has found theboy’s jersey but there is no sign of Grimesor John. Once the villagers realize Grimes’sboat has returned they mount anothermanhunt, convinced that Grimes is guiltyof the death of his new apprentice.

Grimes, deranged and raving, hears thevillagers shouting his name in the distance.Ellen asks Grimes to come home, butBalstrode tells him to sail out and take hisown life. He helps Grimes launch the boat,and then leads Ellen away. As the dawnbreaks, the villagers return to their dailychores. Swallow tells them that the coastguard has reported a sinking boat, but no one listens to him.

Synopsis courtesy of Houston Grand Operaand Opera Australia

Canadian Opera Company 2013/2014 Season4 Please visit coc.ca for additional information 5

MUSIC STAFF

Rachel Andrist (Head Coach)Jenna Douglas

Michael Shannon (Ensemble Studio Intern Coach)

ASSISTANT CONDUCTOR

Derek Bate

ASSISTANT DIRECTOR

Marilyn Gronsdal

ASSISTANT STAGE MANAGERS

Lesley AbarquezKristin McCollum

ASSISTANT LIGHTING DESIGNERS

Wendy GreenwoodJareth Li

Davida Tkach

UNDERSTUDIES

Hobson Doug MacNaughtonSwallow Gordon Bintner

Peter Grimes Roger HoneywellMrs. Sedley Wendy Hatala Foley

Ellen Orford Aviva FortunataAuntie Deborah Overes

Bob Boles Owen McCauslandCaptain Balstrode Mark Walters

Reverend Horace Adams Andrew HajiFirst Niece Eve Rachel McLeod

Second Niece Charlotte BurrageNed Keene Cameron McPhail

Old Peter Grimes made fishing his employ,His wife he cabin’d with him and his boy,And seem’d that life laborious to enjoy:To town came quiet Peter with his fish,

And had of all a civil word and wish.He left his trade upon the Sabbath-day,

And took young Peter in his hand to pray:But soon the stubborn boy from care broke loose,

At first refused, then added his abuse:His father’s love he scorn’d, his power defied,But being drunk, wept sorely when he died.

• • •

Alas! for Peter not a helping hand,So was he hated, could he now command;

Alone he row’d his boat, alone he castHis nets beside, or made his anchor fast:To hold a rope or hear a curse was non, —

He toil’d and rail’d; he groan’d and swore alone.

Thus by himself compell’d to live each day,To wait for certain hours the tide’s delay;

At the same time the same dull views to see,The bounding marsh-bank and the blighted tree;

The water only, when the tides were high,When low, the mud half-cover’d and half-dry;The sun-burnt tar that blisters on the planks,And bank-side stakes in their uneven ranks;Heaps of entangled weeds that slowly float,

As the tide rolls by the impeded boat.

George Crabbe

EXTRACT FROM LETTER XXII, THE POOR OF THE BOROUGH,

“PETER GRIMES”

FROM THE BOROUGHBY GEORGE CRABBE (1804 – 1809, 1810)


Gretel, Flaminia in Il mondo della luna,Cunegonde in Candide (University ofToronto); and Cleopatra in Giulio Cesare(Thirteen Strings Orchestra). This seasonwith the COC Ms de Sévigné also appearsas Despina in Così fan tutte (Ensembleperformance).

JILL GROVEAuntie American mezzo-sopranoJill Grove last appearedwith the COC as Amnerisin Aida. Her roles includeKlytemnestra in Elektra,

Die Amme in Die Frau ohne Schatten,Countess Geschwitz in Lulu and Amneris(Lyric Opera of Chicago); Florence Pike in Albert Herring (Santa Fe Opera); Erda and the First Norn in the Ring Cycle (Los Angeles Opera/LAO, Met, and MunichStaatsoper); Zita in Gianni Schicchi (LAO and Spoleto Festival); Haushälterinin Die schweigsame Frau (Théâtre duChâtelet); the Deaconess in King Roger(Netherlands Opera); and Ulrica in Un balloin maschera (New Orleans Opera andWelsh National Opera).

THOMAS HAUFFDr. CrabbeCanadian Thomas Haufflast appeared with theCOC as the Major-Domoin Ariadne auf Naxos.Theatre roles include

Bottom in A Midsummer Night’s Dream(Stratford Festival); Paul Sycamore in YouCan’t Take It With You (Theatre Aquarius);Matthew Cuthbert in Anne (Blyth Festival,Theatre Calgary); James Donnelly in Sticksand Stones (Blyth Festival); Angus andMorgan in The Drawer Boy (Theatre PasseMuraille, Waterloo Stage Company); Alfredin Stretching Hide (Manitoba Theatre

Projects); and Richard in Cruel and Tender(Canadian Stage). Films include Adoration,Away From Her and Who Has Seen theWind. TV credits include Sue Thomas F.B.Eye, The Listener and regular appearanceson several TV series.

ALAN HELDCaptain BalstrodeAmerican bass-baritoneAlan Held recentlyappeared at the COC as Jochanaan in Salome,Kurwenal in Tristan und

Isolde, Simone in A Florentine Tragedy and in the title role in Gianni Schicchi. He has appeared with major internationalopera houses, including the Met, WienerStaatsoper, Royal Opera House CoventGarden, Opéra national de Paris, La Scala,Teatre del Liceu, Hamburgische Staatsoperand Lyric Opera of Chicago (LOC). Mr.Held’s recent appearances include Orest in Elektra (LOC); Wotan in Siegfried (Teatrode la Maestranza); Hans Sachs in DieMeistersinger von Nürnberg (Nomuri Festival,Tokyo); Wotan and the title role in Derfliegende Holländer (Bayerische Staatsoper);and the title role in Wozzeck (Met).

BEN HEPPNERPeter GrimesCanadian tenor BenHeppner last appearedwith the COC as Tristanin Tristan und Isolde. A COC Ensemble Studio

graduate, his many roles include Lohengrin,Tristan, Florestan (Fidelio), Aeneas (Les Troyens) and Hermann (The Queen of Spades) at the Met; as well as Idomeneo,Parsifal, Otello, Andrea Chénier, Laca(Jenůfa), Walther (Die Meistersinger vonNürnberg) and the Prince (Rusalka) at theMet, Covent Garden, Wiener Staatsoper,


ARTISTS’ BIOGRAPHIES

PETER BARRETTNed KeeneCanadian baritone andEnsemble Studio graduatePeter Barrett last appearedwith the COC as the Jailer in Dialogues des

Carmélites. Other COC roles include Dr. Falke in Die Fledermaus; Harlequin in Ariadne auf Naxos; Marcello in La Bohème; Prince Yamadori in MadamaButterfly; Lieutenant Colonel Denisov and General Rayevsky in War and Peace;Šapkin in From the House of the Dead; Le Dancaïre in Carmen; Papageno in TheMagic Flute; Nick in The Handmaid’s Tale;Sid in Albert Herring; and Baritone 1 inThe Nightingale and Other Short Fables.Other credits include Dr. Malatesta in DonPasquale (Met); the King in Transformations(Wexford Festival); Figaro in Il barbiere diSiviglia (Opera Lyra Ottawa); the Shepherdin Daphne (Pacific Opera Victoria); andMarcello (Minnesota Opera).

JUDITH CHRISTINMrs. SedleyAmerican mezzo-sopranoJudith Christin is makingher COC debut. She hasperformed with leadingopera companies

throughout the United States including theMetropolitan Opera, San Francisco Opera,Lyric Opera of Chicago (LOC), HoustonGrand Opera and Santa Fe Opera (SFO).Her roles include Mrs. Sedley (Met,Norwegian National Opera, Saito KinenFestival, SFO); Grandmother Burjya inJenůfa (Washington National Opera,Glimmerglass Opera); Mrs. Lovett inSweeney Todd (LOC); Mother Herring inAlbert Herring, Madame Larina in EugeneOnegin, Margret in Wozzeck, Mère Mariein Dialogues des Carmélites, and Despina

in Così fan tutte (SFO); and the Witch in Hansel and Gretel, Third Lady in DieZauberflöte, and the Countess in AndreaChénier (Met).

TOM CORBEILSwallowCanadian bass-baritoneTom Corbeil lastappeared with the COCas the English Clerk inDeath in Venice. Recent

performances include Leporello in DonGiovanni, Basilio in Il barbiere di Sivigliaand Rodolfo in La sonnambula with FloridaGrand Opera (FGO); Basilio (MichiganOpera Theater); Leporello (Fort WorthOpera, Green Mountain Opera Festival);and Faraone in Mosè in Egitto (ChicagoOpera Theater). Other credits includeMarquis in La Traviata and the InfernalGod in Alceste (Santa Fe Opera); Enrico in L’isola disabitata (Gotham ChamberOpera); Superintendent Budd in AlbertHerring (Opera North); and Colline in La Bohème (Eugene Opera, FGO, OperaOmaha, Sacramento Opera). Mr. Corbeil is also performing Colline in the COC’s La Bohème. Upcoming engagementsinclude his Nashville Opera debut as Basilio.

CLAIRE DE SÉVIGNÉFirst NieceSoprano Claire de Sévigné,a native of Montreal, is a COC Ensemble Studiomember. Recent COCroles include Une Voix

in Dialogues des Carmélites, the Slave in Salome, Servilia in La clemenza di Tito(Ensemble performance) and Ida in DieFledermaus. Other credits include Queenof the Night in Die Zauberflöte (MusicAcademy of the West); the title role in Luciadi Lammermoor, Gretel in Hansel and


ARTISTS’ BIOGRAPHIES ARTISTS’ BIOGRAPHIES


in Così fan tutte (Ensemble performance),Lord Cecil in Roberto Devereux and Juanin Don Quichotte.

ILEANA MONTALBETTIEllen OrfordCanadian soprano andEnsemble Studio graduateIleana Montalbetti lastperformed with the COC as The Voice of

Antonia’s Mother in The Tales of Hoffmann.Her COC appearances include Clorinda(La Cenerentola), the Russian Mother/Newspaper Seller (Death in Venice), Anna Kennedy (Maria Stuarda), MavraKuzminichna (War and Peace), and withthe Ensemble, the First Lady (The MagicFlute), Elettra (Idomeneo), and Fiordiligi(Così fan tutte). Ms Montalbetti’s creditsinclude Antonia in The Tales of Hoffmann(Edmonton Opera); Leonore in Fidelio(Michigan Opera Theater); and the FifthMaid in Lehnhoff’s production of Elektraand Anaï (understudy) in Moïse et Pharaonunder Riccardo Muti (Teatro dell’Opera di Roma).

ROBERT POMAKOVHobsonCanadian bass RobertPomakov’s COC creditsinclude Bottom inA Midsummer Night’sDream, Leporello in

Don Giovanni, Fasolt in Das Rheingold,Gorjančikov in From the House of the Deadand Varlaam in Boris Godunov. Recentappearances include Monterone (SanFrancisco Opera); Benoît in La Bohèmeand Haly in L'italiana in Algeri (HoustonGrand Opera); and Monterone (Met). Othercredits include Leporello in Don Giovanni(Washington Opera); Nikitich in BorisGodunov (Teatro Real Madrid); Vodnik in Rusalka (Opéra de Montréal); Colline inLa Bohème and Pietro in Simon Boccanegra

(Los Angeles Opera); Angelotti in Toscaand Raimondo in Lucia di Lammermoor(Opera Lyra); Hobson and the Bonze inMadama Butterfly (Houston Grand Opera);and productions of Attila and Pelléas etMélisande (Met).

JOHANNES DEBUSConductorCOC Music DirectorJohannes Debus recentlyconducted the company’sDialogues des Carmélitesand Salome. COC credits

include Tristan und Isolde, Die Fledermaus,The Tales of Hoffmann, Love from Afar,Rigoletto and, at the Brooklyn Academy of Music, The Nightingale and Other ShortFables. This past summer Mr. Debus conducted a concert with Rufus Wainwrightand the Orquesta Sinfónica de Madrid.Other highlights include appearances withthe Toronto Symphony Orchestra, BostonSymphony Orchestra and ClevelandOrchestra; Elektra and The Rake’s Progress(Staatsoper unter den Linden); Hänsel undGretel and Die Entführung aus dem Serail(Bayerische Staatsoper); and appearancesat Opéra Festival de Québec, the SpoletoFestival and Merola Opera Program at San Francisco Opera. This season at theCOC Mr. Debus also conducts Così fantutte and Don Quichotte, and appears withthe Orchestra della Toscana, PhilharmoniaOrchestra and Oper Frankfurt.

NEIL ARMFIELDDirectorDirector Neil Armfieldreturns to the COC afterdirecting Ariadne aufNaxos, A MidsummerNight’s Dream and Billy

Budd. An acclaimed director of theatre, television and film, his opera creditsinclude Tristan und Isolde, Der Ring des


La Scala, Bayerische Staatsoper, SanFrancisco Opera and Lyric Opera ofChicago; Tristan (Houston Grand Opera,Welsh National Opera, Edinburgh andHelsinki festivals, Royal Opera HouseCovent Garden); Lohengrin (Deutsche OperBerlin); and Captain Ahab in Moby-Dick(world premiere with Dallas Opera, CalgaryOpera). Mr. Heppner, the new host of CBC’sSaturday Afternoon at the Opera, regularlytours Canada in concert and is a Companionof the Order of Canada.

ROGER HONEYWELLBob BolesCanadian tenor andEnsemble Studio graduateRoger Honeywell lastappeared with the COCin Ariadne auf Naxos.

Other COC roles include Macduff inMacbeth, Roderigo in Otello, Narraboth inSalome, and the title role in Giulio Cesarein Egitto (Ensemble performance). Recentengagements include Captain Vere in Billy Budd (Teatro Municipal de Santiago);the title role in Peter Grimes (Des MoinesMetro Opera); Aegist in Elektra (LyricOpera of Chicago/LOC); Cavaradossi in Tosca (Portland Opera and Fort WorthOpera); Pinkerton in Madama Butterfly(Portland Opera); Midas in Die Liebe derDannae (Bard Festival); James Nolan inDoctor Atomic (LOC and Met); Jimmy inLillian Alling (Vancouver Opera); and Don José in Carmen (Calgary Opera).

JAKOB JANUTKAJohnCanadian actor JakobJanutka is making hisCOC debut. Mr. Janutkais a grade 5 student who loves dance, music,

drawing and acting, the latter of which hehas been pursuing over the course of thelast year. At age 2, he began taking ballet

lessons, and has been dancing in theAssociates Program at Canada’s NationalBallet School for the past 5 years. He hasappeared on stage for several productionsof The Nutcracker and Alice in Wonderland.

DANIELLE MACMILLANSecond NieceToronto native DanielleMacMillan, a first yearCOC Ensemble Studiomember, is making herCOC debut. She holds

a bachelor of fine arts, with honours, inclassical vocal performance from YorkUniversity, with additional training at the International Vocal Arts Institute in Montreal, Istituzione Teatro LiricoSperimentale di Spoleto in Italy and TheGlenn Gould School (GGS). Her creditsinclude Rose in Lakmé (Opera by Request);Diana in Cavalli’s La Calisto, Véronique inBizet’s Le docteur Miracle and the CabaretSinger in Weil’s Mahagonny-Songspiel(GGS); and Cherubino in Le nozze diFigaro (York University). This season Ms MacMillan also appears as Dorabella in Così fan tutte (Ensemble performance).

OWEN McCAUSLANDReverend Horace AdamsNew Brunswick nativeand COC EnsembleStudio tenor OwenMcCausland recentlyappeared as the Second

Nazarene in the COC’s Salome. Other COCcredits include stepping into the title rolein La clemenza di Tito on the mainstage aswell as the Ensemble performance and theMessenger in Il Trovatore. Credits includeRinuccio in Gianni Schicchi (Opera on theAvalon) and Don Ottavio in Don Giovanni(Centre for Opera Studies in Italy). Thisseason with the COC Mr. McCausland alsoappears as Parpignol in La Bohème, theServant in Un ballo in maschera, Ferrando



(Australian Academy Award winner forBest Costume Design).

DAMIEN COOPERLighting DesignerDamien Cooper was previously at the COC as lighting designer forA Midsummer Night’sDream. Working in opera,

theatre and dance, he has collaborated withAustralian directors Neil Armfield, BenedictAndrews, Barrie Kosky, Graeme Murphy,Gideon Obarzanek, Jim Sharman andSimon Stone; and international directorsHoward Davies, Des McAnuff, DavidPountney, Phillip Seymour Hoffman andStephen Soderberg. Credits include A Midsummer Night’s Dream (ChicagoLyric Opera, Houston Grand Opera/HGO);Peter Grimes, Chorus! (HGO); Dr. Zhivago(Gordon Frost Org.); Peter Grimes, Così fantutte, Aida, Alcina, and The Magic Flute(Opera Australia); Exit the King (Broadway);and Swan Lake (Australian Ballet in NewYork, London, Paris, Tokyo). Mr. Cooper is the winner of four Green Room Awards,three Sydney Theatre Awards and a MikeWalsh Fellowship.

WENDY GREENWOODLighting DesignRecreator Canadian WendyGreenwood has worked for14 seasons with the COCas lighting co-ordinator

and assistant lighting designer. Her associatelighting designer credits include EugeneOnegin, Der Ring des Nibelungen and The Handmaid’s Tale. She has receivedDora Award nominations for OutstandingLighting Design and in the Best IndependentProduction category. Other design creditsinclude Agamemnon, Elektra, The Fliesand The Trials of Ezra Pound (StratfordFestival); The School for Scandal (Chicago

Shakespeare Theater); The Glass Menagerieand Tuesdays With Morrie (Globe Theatre);and Miracle on 34th Street, It’s a WonderfulLife and Annie (Grand Theatre). MsGreenwood is a past guest faculty memberat the National Theatre School in Montreal.

SANDRA HORSTChorus MasterSandra Horst’s mostrecent COC creditsinclude Lucia diLammermoor andDialogues des Carmélites.

Also at the COC she conducted Rossini’s Il viaggio a Reims. As director of musicalstudies at the University of Toronto’sOpera Division, she recently conductedDonizetti’s L’elisir d'amore. Ms Horst hasserved as chorus master for Opera Theatreof St. Louis and Edmonton Opera; a judgefor the Metropolitan Opera NationalCouncil auditions; and music staff of the Juilliard Opera Center, ChautauquaInstitution, Boston Lyric Opera, and BanffCentre for the Arts. She was one of the 100 Alumni of Achievement honoured byWilfrid Laurier University. This season MsHorst is also chorus master for La Bohème,Così fan tutte, Un ballo in maschera,Roberto Devereux, Hercules and DonQuichotte.

DEREK BATEAssistant ConductorResident conductorDerek Bate recently conducted a performanceof the COC’s Salome.Also with the COC, he

has led performances of La clemenza diTito, Rigoletto, Aida, Madama Butterfly,The Flying Dutchman, Luisa Miller, EugeneOnegin, La Bohème, Carmen, Turandot, La Traviata, Die Fledermaus and served as assistant conductor for Die Fledermaus,Love From Afar, A Florentine Tragedy/



Nibelungen, Janáček and Britten cycles,and the world premieres of Brett Dean’sBliss and Alan John’s The Eighth Wonderfor Opera Australia. He has also workedwith English, Washington, Welsh National,Houston Grand, Chicago Lyric and ZurichOperas and Royal Opera House CoventGarden. Mr. Armfield was artistic directorof the internationally renowned Belvoir St. Theatre in Australia for 17 years. Hedirected Geoffrey Rush and SusanSarandon in Exit The King on Broadway,and the feature film Candy starring HeathLedger. In 2007, he was awarded Officer of the Order of Australia for service to thearts, nationally and internationally.

DENNI SAYERSRevival DirectorRevival Director DenniSayers most recentlyworked with the COC as choreographer forAriadne auf Naxos. Other

COC engagements include Don Carlos,Boris Godunov and Tosca. Ms Sayer’sextensive credits include Don Giovanniand Hippolyte et Aricie (Glyndebourne);Porgy and Bess (Chicago); The FlyingDutchman (Los Angeles and EnglishNational Opera); Les contes d'Hoffmann(Beijing); Ibsen’s Emperor and Galilean(National Theatre); Sweeney Todd(Chichester Festival and Adelphi Theatre,Olivier Award Winner for Best MusicalRevival); reviving La Fanciulla del West(Paris); and engagements with Royal OperaHouse Covent Garden (ROH), Paris Opera,Mariinsky Opera, Netherlands Opera,Dresden Opera, Salzburg Festival, WelshNational Opera, Opera Australia, HoustonGrand Opera and Washington Opera.Future projects include The Flying Dutchman(Copenhagen), Turandot (La Scala), andManon Lescaut (ROH).

RALPH MYERSSet DesignerSet designer Ralph Myersis making his COC debut.As well as being theartistic director ofSydney’s Belvoir Theatre,

he designs internationally in theatre, danceand opera. Opera highlights includeCaligula (English National Opera); PeterGrimes (Houston Grand Opera, OperaAustralia); Così fan tutte, The Marriage ofFigaro (Opera Australia); and La Bohème(New Zealand Opera). Other creditsinclude A Streetcar Named Desire (SydneyTheatre Company, touring to WashingtonDC and the Brooklyn Academy of Music);The Lost Echo, Mother Courage and HerChildren (Sydney Theatre Company);Private Lives, Summer of the SeventeenthDoll, The Seagull, The Wild Duck andToy Symphony (Belvoir); and a new balletchoreographed by Lucy Guerin for LyonOpera Ballet.

TESS SCHOFIELDCostume DesignerAward-winning costumedesigner Tess Schofieldis making her COCdebut. Working in theatre, opera and film,

her opera credits include Peter Grimes(Houston Grand Opera, Opera Australia);Sweeney Todd (Lyric Opera of Chicago,Royal Opera House Covent Garden); The Prisoner/Berio Folk Songs/La Strada(English National Opera); La Traviata(Handa Opera); and Lady Macbeth ofMtsensk, Jenůfa, and Whitsunday (OperaAustralia). Theatre credits include A Streetcar Named Desire (Sydney TheatreCompany) and The Diary of a Madman(Belvoir Theatre), both of which toured to the Brooklyn Academy of Music. Mostrecently Ms Schofield designed the costumes for the film The Sapphires


CANADIAN OPERA COMPANY ORCHESTRA


VIOLIN IMarie Bérard, ConcertmasterThe Concertmaster’s chair hasbeen endowed in perpetuity by Joey and Toby Tanenbaum

Benjamin Bowman, AssociateConcertmaster

Diane Tait, AssistantConcertmaster

Anne ArmstrongJames Aylesworth Sandra BaronBethany BergmanPamela Hinman*Nancy KershawDominique Laplante Yakov LernerJayne MaddisonNeria MayerAshley Vandiver*

VIOLIN IIPaul Zevenhuizen, PrincipalCsaba Koczó, Assistant PrincipalCorey Gemmell*Elizabeth JohnstonHiroko Kagawa*Jamie Kruspe*Renée London*Aya MiyagawaLouise TardifMarianne UrkeSonia Vizante*Joanna Zabrowarna

VIOLAKeith Hamm, PrincipalJoshua Greenlaw, AssistantPrincipal

Carolyn Blackwell*Ivan Ivanovich*Shannon Knights*Rory McLeod*Nicholaos Papadakis*Rhyll PeelAngela Rudden*Beverley SpottonYosef Tamir, on leave of absence

CELLOBryan Epperson, PrincipalAlastair Eng, Associate PrincipalPaul Widner, Assistant PrincipalPeter Cosbey*Olga LaktionovaMarianne Pack*Elaine Thompson

BASSAlan Molitz, PrincipalRobert Speer, Assistant PrincipalNick Davis*Tom Hazlitt, on leave of absencePaul LangleyEric Lee*Robert Wolanski*

FLUTEDouglas Stewart, PrincipalShelley Brown

PICCOLOShelley BrownDouglas Stewart

OBOEMark Rogers, PrincipalLesley Young

ENGLISH HORNLesley Young

CLARINETJames T. Shields, PrincipalColleen Cook

E-FLAT CLARINETColleen Cook

BASSOONEric Hall, PrincipalElizabeth Gowen

CONTRABASSOONWilliam Cannaway*

HORNJoan Watson, Principal,

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

TRUMPETRobert Grim, PrincipalBrendan Cassin*Robert Weymouth

TROMBONECharles Benaroya, PrincipalIan Cowie

BASS TROMBONEHerbert Poole

TUBAScott Irvine, Principal,

on leave of absenceMark Bonang*, Acting Principal

TIMPANIMichael Perry, Principal

PERCUSSIONTrevor Tureski, PrincipalRyan Scott*

HARPSarah Davidson, Principal

CELESTEJenna Douglas*

BANDA

VIOLINBenjamin Bowman

BASSRobert Wolanski*

CLARINETJames T. ShieldsColleen Cook

TUBAMark Bonang*

ORGANWayne Vogan*

PERCUSSIONTrevor Tureski

LIBRARIANWayne Vogan

ASSISTANT MUSIC LIBRARIANOndrej Golias

STAGE LIBRARIANPaul Langley

PERSONNEL MANAGERIan Cowie

* extra musician

SOPRANOSMary BellaStacie CarmonaAndrea CerswellMargaret EvansIlona KaranAlexandra Lennox-

PomeroyIngrid MartinEve Rachel McLeodJennifer RobinsonTaylor StrandeCatherine TaitTeresa van der Hoeven

MEZZO-SOPRANOSMarianne BindigSandra BoyesWendy Hatala FoleyErica Iris HuangLilian KilianskiKathryn KnappJessica LloydKaren OlinykLisa SpainVilma Indra VitolsPaula WickbergCindy Won

TENORSVanya AbrahamsCraig AshtonStephen BellTaras ChmilSean ClarkStephen EricksonJason LamontJames LeatchStephen McClareDerrick Paul MillerEric OlsenConrad Siebert

BARITONES & BASSESKenneth BakerPeter BarnesSung ChungMichael DownieJason NedeckyBruce SchaefMichael SprouleJan VaculikPeter WiensMarcus WilsonGene WuMichael York

CANADIAN OPERA COMPANY CHORUS


Gianni Schicchi, Maria Stuarda, Nixon inChina, Cinderella, A Midsummer Night’sDream, War and Peace and the completeRing Cycle, among others. Mr. Bate frequently conducts with Toronto OperettaTheatre, and was musical director for Les Misérables, The Phantom of the Operaand Show Boat.

JENIFER KOWALStage ManagerThis is Jenifer Kowal’s22nd season with theCOC. Her numerousCOC stage managingcredits include Salome,

La clemenza di Tito, Die Fledermaus,Semele, Tosca, Rigoletto, Aida, Carmen,The Flying Dutchman, A MidsummerNight’s Dream, Fidelio, War and Peace,Eugene Onegin, Don Carlos, La Traviata,Lady Macbeth of Mtsensk, the Ring Cycleand, at the Brooklyn Academy of Music,The Nightingale and Other Short Fables.She was the production stage manager for Pittsburgh Civic Light Opera’s MissSaigon, which also toured to Toronto andSchenectady. Ms Kowal studied theatre at Indiana University.

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

OFFICERSMr. Tony Arrell, PresidentMr. Philip C. Deck, ChairMr. Paul A. Bernards,Treasurer

Mr. John H. Macfarlane,Secretary

Mr. 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. George S. Dembroski Mr. William Fearn (ex officio)Mr. David C. FergusonMr. Adam FromanMr. Michael GibbensDr. Linda HutcheonMs Trinity JackmanMr. Jeff LloydMr. Stephen O. MarshallMs Judy Matthews

Ms Trina McQueenMr. Jonathan MorganMrs. Sue MortimerMr. Nicholas MuttonMs Frances PriceMr. Arthur R. A. Scace, C.M.Ms Colleen SexsmithMr. Philip S. W. SmithMr. Paul B. Spafford Ms Michele Leighton SymonsMs Kristine (Kris) VikmanisMr. John H. (Jack) Whiteside

HONORARY DIRECTORSMr. Joey Tanenbaum, C.M.

COC OPERA GUILDSBrantford Opera Guild,David M. Cullen, President

Kingston Opera GuildGrace Orzech, President

London Opera GuildErnest H. Redekop, President

Muskoka Opera GuildDr. Hans Heeneman, President

Northumberland Opera GuildThais Donald, President

Oakville Opera GuildMaureen Rudzik, President

Sudbury Opera GuildMike Humphris, President

Western New York Opera GuildDorothy K. Piepke, President

CANADIAN OPERA FOUNDATIONMr. William Fearn, ChairMs. Kathleen McLaughlin, ChairMr. Tony Arrell Mr. Jonathan BloombergMr. J. Rob Collins Mr. David Forster, TreasurerMr. Gary GardMr. Michael GoughMr. Christopher HoffmanMr. Ken JesudianMr. David Spiro, Secretary

HONORARY DIRECTORSMr. George HamiltonHon. Dennis Lane

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

BOARD OF DIRECTORS

VOLUNTEER SUPPORT ORGANIZATIONS



ADMINISTRATION AND STAFFALEXANDER NEEF, General Director

Robert LambManaging Director

Johannes DebusMusic Director

EXECUTIVE OFFICE

Executive Assistant to the General DirectorMarguerite Schabas(on leave)

ARTISTIC ADMINISTRATION

Roberto MauroArtistic Administrator

MUSIC

Sandra GavinchukMusic Administrator

Sandra HorstChorus Master

Wayne VoganMusic Librarian, Coach

Elizabeth Upchurch Head of the EnsembleStudio & Coach

Derek BateResident Conductor

Music StaffRachel AndristMatthew AucoinTimothy CheungJean DesmaraisJenna DouglasEsther GonthierAnne LarleeBen MalensekKevin MurphySteven PhilcoxEric Weimer

Olwyn LewisCompany Manager

Kathryn GarnettScheduling Manager

Hannah Gordon Assistant SchedulingManager

Karen OlinykAdministrative Assistant,Music

Birthe JoergensenArchivist – Joan BaillieArchives

Ian CowieOrchestra PersonnelManager

Ondrej GoliasAssistant Librarian

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

Production AssistantsAdriana DimitriHannah Gordon

PROGRAMMING

Nina DraganićDirector of Programming– Free Concert Series

PRODUCTION

Peter LambDirector of Production

Lee MillikenProduction Manager

Barney BaylissAssociate TechnicalDirector

Wendy GreenwoodLighting Co-ordinator

Assistant TechnicalDirectorsMelynda JurgensonWendy Ryder

Janice FraserHead Electrician

Joel ThomanAssistant Electrician

Al MersonHead of Sound

Craig KadokeAssistant Sound

Paul WatkinsonHead Carpenter

Mike GelfandAssistant Carpenter

Rupert BakerHead Flyman

Alison PotterHead 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

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 byNancy AllenGulay CokgezenSharon GashgarianKaren HancockKrista Nauman

Additional Costumes ByArana EnterprisesChristopher ReadIndustry Costumes

Paint and Dye ByChrome Yellow

Nancy HawkinsHead of Wardrobe

Leslie BrownAssistant Head ofWardrobe

Sharon RymanWig & Make-upSupervisor

Cori FergusonHead of Wig & Make-up Crew

Shawna GreenProduction Co-ordinator

Gunta DreifeldsSURTITLES™ Producer

Zane KanepsSURTITLES™ Editor

John SharpeSURTITLES™ Assistant

Supernumeraries Co-ordinatorsAnalee SteinElizabeth Walker

Child SupervisorsSherily De SilvaMadelyn Watkinson

DEVELOPMENT

Christie DarvilleChief AdvancementOfficer

Kaila LeMaitreDevelopment Associate

Amy MushinskiManager, GovernmentRelations

Stephen GillesDirector of Development

Peter HussellSenior Manager,AdvancementOperations

Ali KashaniAssociate Director,Institutional Gifts

Dawn Marie SchlegelAssociate Director,Donor Relations

Sarah HeimDonor Relations Officer

Natalie SandassieSenior DevelopmentOfficer, AnnualPrograms and PatronEngagement

Paige PhillipsCo-ordinator, AnnualPrograms and PatronEngagement

Emma NoakesCo-ordinator, AnnualPrograms and PatronEngagement

Aisha TalaricoSenior DevelopmentOfficer, Friends of the COC

Kevin Sean PookCo-ordinator, Friends of the COC

Francesco CorsaroSenior DevelopmentOfficer, InstitutionalGifts

Adriana FormusaDevelopment Officer,Institutional Gifts

Nikita GourskiDevelopmentCommunicationsOfficer

Tracy BriggsSenior Manager, Special Events

Christine Tizzard Development Officer,Special Events &Ensemble Circle

Victor WidjajaDonation DatabaseOfficer

Olena MoldovanDonation DatabaseOfficer

COMMUNICATIONS

Claudine DomingueDirector of PublicRelations

Jeremy ElbourneDirector of Marketing

Phil StephensSenior Manager, Salesand Customer Service

Gianna WichelowSenior CommunicationsManager, Creative

Jennifer PugsleyMedia Relations Manager

Meighan SzigetiAssociate Manager,Digital Marketing

Claire MorleyCommunications Officer

Danielle D’OrnellasDigital Marketing Co-ordinator

Eldon EarleMarketing Co-ordinator

Michelle HwuRetail Co-ordinator

Kristin McKinnonAssistant Publicist

EDUCATION ANDOUTREACHKatherine SemcesenAssociate Director,Education and Outreach

Gianmarco SegatoAdult ProgramsManager

Vanessa Smith Manager, SchoolPrograms

Amber YaredChildren and YouthPrograms Co-ordinator

TICKET SERVICESAlan MoffatPatron RelationshipManager

Andrea SalinAssociate Manager,Ticket Services

Nikki Tremblay Assistant TicketServices Manager

David NimmoGroup Sales Co-ordinator

Lillian Fung Ticket ServicesSupervisor

Ticket ServicesRepresentativesJames BaldwinKaren BrownEllen CaseyErnest CayemenHolly CoishAnna Kay EldridgePeter GenowayMaureen GualtieriMelissa HaddadKeith LamIan McDonnellKevin MorrisDarcy StoopMitch Yolevsky

CALL CENTRERichard ParadisoCall Centre Manager

Call CentreRepresentativesCatherine Belyea Philip ClarkeWendy LimbertieDeeAnn Sagar Margaret TerryAngela Thompson

FINANCE AND ADMINISTRATION

Lindy Cowan, CPA, CADirector of Finance and Administration

Lorraine O’Connor,CHRPHuman ResourcesManager

Amalie Davis, CPA, CAFinance Manager

General AccountantsFlorence HuangZoran Orlić (FSCPA)

Payroll AccountantsJovana BojovicJeanny Won

Steven SherwoodManager, IT Services

Brad StaplesDatabase ReportingSpecialist

Tony SandyIT Services Assistant

Katarina Božović Receptionist/Switchboard

Branka Hrsum Mailroom Clerk/Courier

BUILDING SERVICES

Joe WaldherrAssociate Director,Facilities Management

Piro MiloAssistant BuildingServices Manager

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 Balyasin Joel Grannum Tammy HillNatalia JuzycUsman Khalid Kathleen Minor Heather Reid

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

Jefferson GuzmanAssociate Director,Patron Services

Kim Hutchinson-BarberAssistant Manager,Front of House

Brigitte LangAssistant Manager, Food & Beverage

Patron ServicesSupervisorsKelly BaileyStuart ConstableEnrique CovarrubiasCortesJamieson EakinMelissa McDonnellAdam Orr

Patron Services LeadsCarianne HillJennifer Toulmin

FSCPA – Four Seasons Centre for the Performing Arts


$1,000,000+The Estate of Horst Dantz &Don Quick‡

Peter M. DeebHon. Henry N. R. Jackman‡Anonymous

$500,000 – $999,999Jerry & Geraldine Heffernan The Catherine and MaxwellMeighen Foundation

The Slaight Family Foundation

$100,000 – $499,999Peter A. Allen Mark & Gail AppelAnne & Tony ArrellLisa Balfour Bowen & Walter M. Bowen

Philip Deck & Kimberley Bozak George S. Dembroski Judy & Wilmot MatthewsDon McQueen & Trina McQueen OC

Donald O’Born Tim & Frances PriceDavid Roffey & Karen WalshEstate of J.M. (Doc) SavageColleen SexsmithJack WhitesideAnonymous‡

$25,000 – $99,999Cecily & Robert Bradshaw Earlaine CollinsEstate of Walter CarsenEthel Harris & the late Milton E. Harris

Estate of Ethel Berney JacksonPatrick & Barbara Keenan

Marjorie & Roy LindenRoger D. MooreMichael W. & Wanda PlachtaEndowment Fund

Katalin Schäfer Robert SherrinFrançoise Sutton Estate of Vivian Treacy The Stratton TrustRyerson & Michele SymonsEstate of Kathryn Thornton‡ William & Phyllis Waters Anonymous

UP TO $24,999Laurie & Fareed AliEstate of Helen Allen (Stacey) ARIAS: Canadian OperaStudent Development Fund

Paul Bernards Nani & Austin BeutelMarcia Lewis BrownJohn Chiu in memory ofYvonne Chiu, CM

Classical 96 FMNinalee CraigEstate of Phillipp Eberhardinger‡Catherine FauquierEstate of Judith Howard Peter & Hélène HuntMichael & Linda HutcheonDr. Noëlle Grace & The Shohet Family

J. Hans KlugeEstate of Borge John KraglundJo LanderTom C. LoganEstate of J. Bruce MacDonald‡Sue Mortimer Rosemary Speirs

Estate of Sarka SpinkovaDr. David Stanley-Porter & Dr. Colin McGregor Mailer

Ms Kristine Vikmanis & Mr. Denton Creighton

Samara Walbohm & Joe Shlesinger

Brian WilksEstate of Jean Yack WrightAnonymous (3)

(The commitments listed abovewere made as of August 19, 2013.)

INDIVIDUAL ANNUAL SUPPORT

GOLDEN CIRCLE

GOLDEN CIRCLE COMMITTEEMark AppelStewart BurtonStephen MarshallJudy MatthewsFrances Price (Chair)Colleen SexsmithMichele Symons

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

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

Roger D. Moore****Arthur & Susan Scace****Colleen Sexsmith***

Major Gifts & Special Projects

Every year, the Canadian Opera Company has unique projects operating beyond regularannual activities, each of which relies on private funding to ensure its success. These include:endowment funding, production underwriting, artist and performance sponsorship as well as training, education and outreach programs.

E. LOUISE MORGAN SOCIETYThe E. Louise Morgan Society was created to reflect the vision and commitment of its founderand the members who have created a legacy of leadership, passion and philanthropy insupport of the goals of the Canadian Opera Company.

Each of these donors has contributed a cumulative total of more than one million dollars overthe past 15 years. Their support is critical to the company’s success and we are foreverindebted to their commitment and generosity.

The Estate of Dr. Larry M. AgranoveARIAS: Canadian Opera Student

Development FundThe Gerard & Earlaine Collins Foundation

The late John A. CookPeter M. Deeb

The Estate of Horst Dantz and Don Quick

Jerry & Geraldine HeffernanKolter Communities

The Catherine and Maxwell Meighen FoundationRoger D. MooreE. Louise Morgan

Joey & Toby TanenbaumAnonymous (2)

SILVER, $25,000 – $49,999Andrew Peller Limited*Mark & Gail Appel***Paul Bernards*** Barbara Black* The Black Family FoundationPhilip Deck & Kimberley Bozak***

George & Kathy Dembroski****Michael Gibbens* Ethel Harris & the late Milton Harris****

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*Melissa & Barry AvrichMr. Philip J. Boswell†****Walter M. & Lisa Balfour Bowen****

Susanne Boyce & Brendan Mullen***

Rob & Teresa Brouwer*Marcia Lewis Brown*Stewart & Gina Burton*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*Ms Alice J. Court Mrs. Ninalee Craig***Mr. & Mrs. Leslie Dan*** Jean Davidson & Paul Spafford****

Jill Denham & Stephen Marshall**

David & Kristin Ferguson****George Fierheller****Lloyd & Gladys Fogler***Four Seasons Hotels & Resorts**Adam & Sharin Froman*Roger & Kevin Garland**Ira Gluskin & Maxine Granovsky Gluskin***

Dr. M.L. Myers & the late Dr. W.P. Hayman***

William & Nona HeaslipFoundation****

Peter Hinman & Kristi Stangeland

Douglas E. Hodgson****Michael & Linda Hutcheon****Intact Financial Corporation Trinity Jackman*

Jeff Lloyd & Barbara Henders*Mr. & Mrs. J. S. A. MacDonald****Bobby & Gordon MacNeill** Judy & Wilmot Matthews* John & Esther McNeil***Don McQueen & Trina McQueen, O.C.**

John McVicker & B. W. Thomas****

Delia M. Moog***Jonathan Morgan & Shurla Gittens*

Sue Mortimer****Nicholas & Rosemary Mutton*Mrs. & Mr. Christl & Karl Niemuller**

Donald O’Born***Peter M. Partridge****Mr. Ian & Mrs. Michelle Pearce Mr. Tim & Mrs. Frances Price**** Ms R. Raso****David Roffey & Karen Walsh***Barrie Rose & Family*** John A. Rothschild** Philip & Maria Smith**Stephen & Jane Smith****Marion & Gerald Soloway**David E. Spiro***David Stanley-Porter****Ryerson & Michele SymonsRiki Turofsky & Charles Petersen**

Ms Kristine Vikmanis & Mr. Denton Creighton****

PRESIDENT’S COUNCIL

PRESIDENT’S COUNCILCOMMITTEEMary-Catherine AchesonCatherine BergeronDiane Adamson-BrdarThomas J. BurtonNinalee CraigGladys Fogler Marcia Lewis BrownSue MortimerKatalin Schäfer Colleen Sexsmith (Chair)Kristine Vikmanis Karen Walsh

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

Mr. & Mrs. Avie Bennett****Dr. David & Constance Briant****Marilyn Cook* Andrew Fleming**The Hon. William C. Graham &Mrs. Catherine Graham****

Rainer Hackert****Bernhard & Hannelore Kaeser****J. Hans Kluge**Mr. Gurney Kranz****

Paul Lee & Jill Maynard****Anne Lewitt** Jerry & Joan Lozinski****John Macfarlane* The Hon. Barbara McDougall***Kathleen McLaughlin & Tim Costigan*

Mark & Andrea McQueen*** Rogan Foundation Annie & Ian Sale*Dr. David Shaw**Françoise Sutton***Carol Swallow****

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

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

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

Dr. Thomas H. Beechy****Doug & Alison Bell Mr. & Mrs. Eric Belli-Bivar*** Dr. Catherine Bergeron*** Tom Bogart & Kathy Tamaki**Dr. Jane Brissenden & Dr. Janet Roscoe****

Mrs. Donna Brock***Margaret & Derek Brown****Alice Burton*** Joe & Laurissa Canavan Cesaroni Management Limited***Paul G. Cherry & Dean C. Noack****

Frank Ciccolini****The Rt. Hon. Adrienne Clarkson Mr. & Mrs. William J. Corcoran***Lindy Cowan† & Chris Hatley***Norman Curtis****Ms Lindsay Dale-Harris & Mr. Rupert Field-Marsham****

Brian J. Dawson*** Dr. Jeanne Deinum****Carol Derk & David Giles**Mrs. A. Ephraim Diamond &Family****

Jeffrey Douglas Peter & Anne Dotsikas**Vreni & Marc Ducommun***Ron Dyck & Walter Stewart*** Bud & Leigh Eisenberg***Joseph Fantl & Moira Bartram**Fleur-de-lis Interior Design*Kimberley Fobert & Robert Lamb†***

The Fraser Elliott Foundation****Dr. & Mrs. Wm. O. Geisler**The Honourable Irving Gerstein& Mrs. Gail Gerstein**

Ben & Sarah Glatt****Peter & Shelagh Godsoe**Rose & Roger Goldstein****


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

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

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

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

*


Michael & Anne Gough****Ronald & Birgitte Granofsky****Douglas & Ruth Grant*John & Judith Grant**Al & Malka Green**John Groves & Vera Del Vecchio****

Gudrun Hackert***James & Joyce Gutmann**** Hampton Securities Ltd.* Scott & Ellen Hand***Maggie Hayes** Hon. & Mrs. Paul Hellyer****Michiel Horn & Cornelia Schuh****Scott Irvine† & Joan Watson†***The Jackman Foundation***Victoria Jackman*** Mr. Robert C. Jefferies****Dr. Joshua Josephson & Ms Elaine Lewis****

Lorraine Kaake****Patrick & Barbara Keenan****Dr. Joel Keenleyside**** Jim & Diane King**Joseph Kerzner & Lisa Koeper****Dr. Elizabeth Kocmur**** Jean V. Kramar**The Hon. Dennis Lane, Q.C. &Mrs. Sandra Lane****

Mr. Philip Lanouette**John B. Lawson, Q.C.****Mr. J. Levitt & Ms E. Mah* Daniel & Janet Li*Vincent & Helene Lobraico*Tom C. Logan* Jonathan & Dorothea Lovat Dickson**

Mrs. J. L. Malcolm*Dr. & Mrs. M. A. Manuel*Hon. Margaret McCain*** Paul & Jean McGrath****Ronan McGrath & Sarah Perry* June McLean****Mr. Ian McWalter* Mr. Ulrich Menzefricke**** Dr. Judith A. Miller***Mr. Noel Mowat** Eileen Patricia Newell***Sally-Ann Noznesky**** E. Oliana & A. Iu*** Janice Oliver** Keith & Brenda Ottaway***The Ouellette Family Foundation Dr. & Mrs. William M. Park****Douglas L. Parker**** John & Gwen Pattison*Polk Family Charitable Fund**Julian Porter, Q.C.*Mary Jean & Frank Potter*** Margrit & Tony Rahilly**** Wendy J. Thompson and the late Samuel A. Rea****

Rob & Penny Richards***Margaret A. Riggin*Gordon Robison & David Grant* Maxwell L. Rotstein & Nancy-Gay Rotstein****

Cameron Rusaw & Anne-Marie Sorrenti

Judy & Hy Sarick****Sam & Esther Sarick****Helen & John Scott**June Shaw & the late Dr. Ralph Shaw****

Allan & Helaine Shiff****David & Hilary Short*** Judy & Hume Smith**** Dr. Harley Smyth & Carolyn McIntire Smyth*

Dr. John Stanley &Dr. Helmut Reichenbächer**

Drs. Wayne Stanley & Marina Pretorius*

Doreen L. Stanton****Mr. & Mrs. Gordon Taylor*** Anthea Thorp****Vincent Tovell, O.C.***Ian Turner** Dita Vadron & James Catty* Rosalind & Dory Vanderhoof**Donald & Margaret Walter****Hugh & Colleen Washington*William R. Waters****Ruth Watts-Gransden****Dr. Virginia Wesson*** Dr. Jack Williams & Dr. Dorothy Pringle***

Ms Lilly Wong* Tom and Ruth Woods**** Mr. & Mrs. Richard Wookey*** Linda Young*Tricia Younger* The Youssef-WarrenFoundation****

Helen Ziegler***Susan Zorzi** Sharon Zuckerman****Anonymous (5)

MEMBER, $2,250 – $3,749The Acheson Family Foundation**D. C. Adamson-Brdar****Susan Agranove & Estate of Dr. Larry M. Agranove****

Donna & Lorne Albaum*Mr. & Mrs. Roberto & Nancy Albis***Clive & Barbara Allen**** Mr. Thomas & Mrs. Claire Allen** Dr. D. Amato & Ms J. Hodges****Anne-Marie H. Applin***Valerie Armstrong****Philip Arthur & Mary Wilson* Virginia Atkin***John Bailey**James C. Baillie*Marilyn & Charles Baillie****Andrew & Cornelia Baines****Janice A. Baker****Richard J. Balfour***Schuyler Bankes & Family***Lindy Barrow**Julia Bass & David Hamilton***Alice & Tom Bastedo**

Dr. Gail Beck, O. Ont. & Mr. Andrew Fenus*

Mr. & Mrs. Peter & Sondra Beck*Ms Marie Bérard†***Nani & Austin Beutel****Dody Bienenstock** John & Mandy Birch*Anneliese and Walter Blackwell****Lynn Blaser & John van Ogtrop**** Darlene & Peter Blenich* Ian & Janet Blue**John & Ila Bossons**Mr. W. Bowen & Ms S. Gavinchuk†****

Mrs. Carolyn Bradley-Hall & Mr. William Bradley***

Mrs. Richard Bradshaw***Peter Brieger & Beverley Hamblin*Murray & Judy Bryant*** Brian Bucknall & Mary Jane Mossman****

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

Margaret Harriett Cameron****Sharon & Howard Campbell**Brian & Ellen Carr**** Gail Carson****Ms Carol Cass Wendy M. Cecil****Dr. & Mrs. Albert Cheskes**Birte von Chlumecky-Bauer** John D. Church Dr. Howard M. Clarke***Edward Cole & Adrienne Hood**Brian Collins & Amanda Demers*Tony & Elizabeth Comper* Murray & Katherine Corlett****Harold & Anita Corrigan***Dr. Lesley S. Corrin****Bram & Beth Costin Gay & Derek Cowbourne**Mr. John A. Crocker & Mrs. Mary Crocker

Ruth & John Crow***Mary Beth Currie & Jeff Rintoul Carrol Anne Curry***Doris J. DaughneyDr. & Mrs. Michael & Ute Davis**David Denison & Maureen Flanagan**

Michael & Honor de Pencier****Mrs. Rosario de Wit-Farro***Mrs. Leonard G. (Anne) Delicaet &Mrs. Kendra Anne Delicaet-Almasi****

Mary-Kathleen Delicaet & John Young

Angelo & Carol DelZotto*** Mr. & Mrs. A. J. Diamond*J. DiGiovanni*Olwen & Frank Dixon**James Doak & Patricia Best** Sandra Z. Doblinger**Ms Petrina Dolby***Dr. James & Mrs. Ellen Downey**

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

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

Please visit coc.ca for additional information 25Canadian Opera Company 2013/2014 Season24 Please visit coc.ca for additional information

Marko Duic and Gabriel Lau**** Mr. Albert D. Dunn*Mr. Vlad Dzavik William & Gwenda Echard****Jean Edwards* Wendy & Elliott Eisen****Mr. John J. Elder & Family**** Jordan Elliott & Lynne Griffin Robert Elliott & Paul Wilson**Christoph Emmrich & Srilata Raman

Dr. & Mrs. John Evans***Fabris Inc.*George A. Farkass*Gail & Bob Farquharson Catherine Fauquier***Bill Fearn & Claudia Rogers****Mr. & Mrs. Fraser M. Fell**** Lee & Shannon Ferrier***William & Rosemary Fillmore**Mrs. Lois Fleming**** J. E. Fordyce**** David & Elizabeth Forster*** Margaret & David Fountain****Linda & Ken Foxcroft* Mr. Michael A. French**Robert Fung**John & Rita Gagliano*Rev. Ivars Gaide & Rev. Dr. Anita Gaide***

Ann Gawman***Dr. Barry A. Gayle****Ann J. Gibson****Mary & Lionel Goffart*Dr. Eudice Goldberg*Dr. Fay Goldstep & Dr. George Freedman**

Deanna A. Gontard****Tina & Michael Gooding***Wayne A. Gooding****Goodman Family*Dr. Noëlle Grace & The Shohet Family***

Jane Greene**Mr. Finn Greflund & Mrs. M. Ortner**

Mr. Carmen & Mrs. Vittoria Guglietti**

Ellen & Simon Gulden****Mr. & Mrs. Henry Hackenspiel****Dan Hagler & Family***Mr. Adrian J. HamelGeorge & Irene Hamilton**** John & Ruth Hannigan*Beverly Hargraft**Paul & Margaret Harricks*Michael Harris & Carol Rak*Mr. & Mrs. William B. Harris*** Paul & Natalie Hartman*Mr. Harquail & Dr. Sigfridsson* Jenny Heathcote****Mr. Thomas G. Heintzman & Ms Mary Jane Heintzman***

Caroline Helbronner** Jacques & Elizabeth Helbronner***Thea Herman & Gregory King***William E. Hewitt***

Mr. Tom Higgins***Chris Hoffmann & Joan Eakin**Pamela Hoiles Sally Holton & Stephen Ireland***Emmy & Walter Homburger***Drs. Walter & Virginia Hryshko*Anthony C. J. Humphreys****Gillian Humphreys*Peter & Hélène Hunt****Eva Innes & David Medhurst Dr. Melvyn L. Iscove***Elliott Jacobson & Judy Malkin**Paul Jaggard & Ruth Caswell Lynne Jeffrey*** Laurence Jewell**The Norman & Margaret JewisonCharitable Foundation****

Mrs. E. Patricia Johnson** Ms Elizabeth Johnson**Dr. Albert & Bette Johnston*Joyce Johnston***Alexandra Jonsson Inta Kierans****Ellen & Hermann Kircher****Martin Kirr Mr. Douglas Klaassen** Michael & Sonja Koerner**Murray & Marvelle Koffler**** Robin Korthals & Janet Charlton**Dr. Robert Kosnik****Valarie Koziol*William & Eva Krangle****Richard T. La Prairie*Elizabeth & Goulding Lambert***Leslie & Jo Lander****Marc Lebeau & Guylaine 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**L. Liivamagi & Dr. D.N. CashJustin S. Linden Marjorie & Roy Linden****Dr. & Mrs. W. G. Lindley****Janet & Sid Lindsay***Dr. Vance Logan***A. Benson Lorriman****Douglas L. Ludwig & Karen J. Rice***Ms Jane Loughborough*James & Connie MacDougall****Mr. Jed MacKay****Dr. & Mrs. Richard Mackenzie****Macro Properties Ltd.**Ole P. Madsen*Susan & Scott Maidment***Dr. Colin McGregor Mailer****R. Manke**** Mr. & Mrs. R. Gordon Marantz****Jill & Geoff Matus**Roberto Mauro† & Erin Wall Mrs. Ettore Mazzoleni*** Dr. & Mrs. John A. McCallum****Wendy & Chris McDowall**

Dr. & Mrs. Donald C. McGillivray****Darcy & Joyce McKeough*Don McLean & Diane Martello Guy & Joanne McLean****M. E. McLeod****Jean M. McNab****Shawn McReynolds & Elaine Kierans*

Dr. Don Melady & Mr. Rowley Mossop***

Eileen Mercier**** Marvene (Cox) & Gordon Miller**Lee Milliken† & Doug MacNaughton**

Patricia & Frank Mills**Dr. & Mrs. Steven MillwardAudrey & David Mirvish***Bruce & Vladka Mitchell* Dr. David N. Mitchell & Dr. Susan M. Till***

Mr. Donald MitchellRobert & Janet Mitchell*Eva Mocarski* Dr. & Mrs. S. Mocarski*Anne Moore****Mr. Robert Morassutti****Ruth Morawetz & Ken Judd*** Alice Janet Morgan***Ms Rosalind Morrow**Drs. Christopher & Pippa Moss***Gael Mourant & Caroline Hubberstey

Mr. Joseph Mulder**Ethel Myers****Matt & Debbie Mysak*** David & Mary Neelands***Dr. Shirley C. Neuman**Dr. John & Pamela Newall****Dr. Emilie Newell*Dr. Steven Nitzkin***Simon & Marlene Nyilassy* Dr. James & Mrs. Valda Oestreicher***

Benson Orenstein***Martin & Myrna Ossip*Julia & Liza Overs*** Clarence & Mary Pace** Dr. & Mrs. N. Pairaudeau****Dr. Roger D. Pearce*** Dr. A. Angus Peller* John & Penelope Pepperell* Dr. R. G. Perrin**John & Carol Peterson**M. J. Phillips****June C. Pinkney****Robin B. Pitcher***Wanda Plachta***Georgia Prassas****Dr. Mark Quigley**** C. Edward Rathé**** Stephen Ralls & Bruce Ubukata***The Carol & Morton Rapp Foundation****

Kenneth F. Read**** Mrs. Richard Gavin Reid* Grant L. Reuber***Mrs. Gabrielle Richards**

Carolyn Ricketts****Ms Nada RistichEmily & Fred Rizner**Clara Robert*Dr. Michael & Mary Romeo****John & Hannah Rosen*Ken & Helen Rotenberg**Rainer & Sharyn Rothfuss****The Roux Family Drs. Orest & Maureen Rudzik****David A. Ruston***Ms Sharon Cookie Sandler**** Mallory Morris Sartz & John Sartz****

Go Sato*** Dr. & Mrs. Bruce Schaef****Katalin Schäfer*** Fred & Mary Schulz**Dr. Marianne Seger****Carol Seifert & Bruno Tesan***Victor & Rhoda Shields****Milton & Joyce Shier****Dr. Kevin Shiffman** William Siegel & Margaret Swaine**

Dr. Bernie & Mrs. Bobbie Silverman**

In memory of Dr. Bernard Slatt*Dr. & Mrs. Jeremy Sloan**Brit & Sally Smith** Jay Smith & Laura Rapp*Ms Muriel Smith & Mr. Eric Ojala****

Dr. Joseph So***Philip Somerville*John & Ellen Spears***Martha E. Spears***Phil Spencer**** Alex & Kim Squires****Oksana R. Stein***Mr. & Mrs. Gary & Sula Stern*Dr. & Mrs. Stephen Stern***John D. Stevenson****Jim Stewart & Deborah Swail* James H. Stonehouse*Janet Stubbs**Eric Tang & Dr. James Miller** Judith Teller Foundation**** Tesari Charitable Foundation**Elizabeth Tory****Mr. Alex Tosheff* Diana Tremain****Sandra & Guy Upjohn***Dr. R. B. Van Winckle*Edmond & Sylvia Vanhaverbeke****

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

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

Richard & Nathalie Wachsberg*Dr. O. R. Waler* Elizabeth & Michael Walker***Ann & Marshall Webb** Peter Webb & Joan York**** Philip & Diana Weinstein*

Dr. Bogomila Welsh*Ms Eleanor Westney**Melanie Whitehead** Mr. Brian Wilks*Elizabeth Wilson & Ian Montagnes****

Jeffrey Stewart Wilson*Mr. Dale Woolridge Dr. Jackson Wu & Dr. Viviana Chang*

Morden Yolles**** Dr. Howard & Sybil Young****Helen & Walter Zwig**** Anonymous (27)

FRIENDS OF THE COC

SUSTAINING FRIENDS $1,600 – $2,249In memory of M. Baptista***Iivi Campbell****Jayne & Ted Dawson****Bill Heaslip****Dr. Norbert V. Perera****A. K. Sigurjonsson***David Smukler & Patricia Kern**The Sorbara Group****Vernon & Beryl Turner****Gordon Waugh***Ms June Yee**Anonymous (2)

ASSOCIATE FRIENDS $1,100 – $1,599Carol & Ernest Albright****Ms I. M. Allen****Michael & Janet Barnard**Michael Benedict & Martha Lowrie****

Don Biderman****Ellen & Murray BlanksteinDr. & Ms B. M. Braude**Dr. Wendy C. ChanPatricia Clarke**Cogeco Data ServicesMr. Stuart DavidsonMr. Darren Day***Prometheum Institute***Mr. Steven D. Donohoe****Mr. Larry Enkin ***Mr. Morris Flicht****R. Dalton Fowler****John H. Galloway****Dr. Gabriela GohlaMrs. Suzy Greenspan**Mr. James Hamilton*Mr. & Mrs. H. C. Hatch****Lawrence & Beatrice Herman****In memory of Pauline Hinch*David Holdsworth & Nicole Senécal*

Richard & Susan Horner****Mr. Josef Hrdina*Donald Hughes***James Hughes**Ms Suanne Kelman & Dr. Allan J. Fox*

Ms K. Margot Khan*Mr. Martin Kirr & Ms Suzanne McCuaig

Mr. & Mrs. I. P. & O. M. Komarnicky***

Eleven Television Canada Inc.**P. Anne Mackay****Mrs. Janet Maggiacomo**Georgina McLennan****Mr. Carl Morey****Mr. Sean O'Neill***Ms Marianne Orr*Eileen & Ralph Overend*Barbara & Peter Pauly**Ms Victoria Pinnington***Mr. & Mrs. Domenic Porporo*Dr. Peter Ray***Dorothy & Robert Ross***M. & G. Sanvido****Joan Sinclair & John McConnell**Norma & George Steiner****Dr. & Mrs. Karel Terbrugge*Ms Peg Thoen*Wendy Thorburn**Dr. M. Lynne Thurling & Dr. John Treilhard***

Mr. & Mrs. David G. Trent****Janet White**Ron Williams*Anonymous (7)

CONTRIBUTING FRIENDS$700 – $1,099Mr. Robert AtkinsonPeter & Leslie Barton**Mrs. Lynn Bayer***Jeniva Berger***Dr. B. Derek & Dr. Anne W. Birt****

Dr. Jennifer Blake*Ms Marlene Bohn*Bob Bosshard & Nancy Williams*

Mary Brock & Brian Iler****Mr. Thomas N. Bryson**Ms Judith Burrows**Ms E. Burton***Betty Carlyle****Mark Cestnik****Harold Chmara & Danny Hoy****Joe T. R. Clarke****Sherri ClarksonRobert D. Cook**Craig & Karen*Mr. Neil Crawford*Professor K. G. Davey, OC**Elaine & Michael Davies****Mr. Michael Disney*Dr. Eric Domville**Dr. Christine Dunbar**Howard & Kathrine Eckler**Peter & Shashi Eden**Ms Eleanor L. Ellins****Mr. Arthur English*Joe & Helen Feldmann**Brian A. Ferguson****Richard & Gail Flack***


Jennifer & Frank Flower***Hugh Furneaux***Douglas G. Gardner****Gordon & Pamela Gibson****Elinor Gill Ratcliffe C.M., O.N.L.,LLD (hc)

Alison Girling & Paul Schabas**Aviva & Andrew Goldenberg**Ricardo Gomez-Insausti*Dr. Wilfred S. Goodman****David Gordon & Wendy Flores Gordon*

Mrs. Marion A. Green****Dr. & Mrs. Voldemars Gulens****Gisele Hall*Philo Handler**Dr. & Mrs. Brian & Cynthia Hands****

Roy & Gail Harrison****Sandra Hausman**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. Sumant Inamdar**Mr. Kazik Jedrzejczak****Douglas & Dorothy Joyce****Ms Elisa KearneyMs Meredith KeeveHeidi & Khalid Khokhar****Mai Kirch****Dr. & Mrs. L. A. Kitchell****Mr. Christopher J. KowalMr. & Mrs. Armin Kratel****Mr. Jonathan Krehm*Gediminas P. Kurpis****Mr. James R. Lake****Harry Lane**M. J. Horsfall Large**Miss Donna Lasecki****Giles le Riche & Rosemary Polczer***

Claus & Heather Lenk*Mr. Yakov Lerner†Mr. Jason LewisDr. Francois Loubert*Dr. Deidre Lynch*Ms Andrea Margles****Kathy Marton*Mary McClymont****Mary McGowan****Jil McIntosh**Mr. Bruce McKeown***Dr. & Mrs. Martin & Deborah McKneally**

Sylvia McPhee****Dr. Alan C. Middleton**Frank & Anne Moir**Terry & Dom Morris**Mr. Tomi Nishio****David Northcote & Suzanne Betcke*

Jean O'Grady**Ms Cristina Oke**

Karen Olinyk†*Mr. Martti Paloheimo*Mr. James C. Pappas****Mr. Joseph & Mrs. Letizia Paradiso***

David Peachey & GeorgiaHenderson**

Mrs. Dorothy K. Piepke****Ed & Beth Price***Mr. Robert RadkeDr. Shelley Rechner****In Loving Memory of Rita &Morris Shoichet

Marat RessinMs Laura Rimas*Mr. Jason Roberts**Ms Virginia Robeson*William & Meredith Saunderson****

Barbara Sawaszkiewicz****Ms Elisabeth Scarff****Patti & Richard Schabas**Henry & Mary Seldon****Marlene Pollock Sheff*Ms Linda Sheppard*Cheryl Shook**C. Anderson Silber**D. Bruce Sinclair**John Spears****Dr. & Mrs. W. K. Stavraky***Scott Steele & Jan Korman*Helga & Klaus Stegemann***Jane & Ted Stephenson****Hamish Stewart & Susan Taylor****

Paul & Maria Szasz****Ms Michelle Tan**Dr. R. Paul Thompson*Ria Tietz****Dr. Allan Peterkin & Mr. Robert Tomas*

Dr. Claude Tousignant**Mrs. Maria Tulip****Mrs. Norene Turvolgyi****Tobias & Jeanne van Dalen*Dr. Nancy F. Vogan****Mr. Wayne Vogan†****George Vona & Lark Popov**Dr. Peter Voore***Angela & Michael Vuchnich****Mr. John M. Welch****James & Margaret Whitby****Ms Iris Zawadowski*Carole & Bernie Zucker***Anonymous (8)

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

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

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

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

Susan Agranove & Estate of Dr. Larry M. Agranove

Isobel AllenRenata Arens & Elizabeth FreyMrs. Rosalen ArmstrongRon Atkinson & Bruce BlandfordLindy BarrowMr. L. H. BartelinkJ. Linden Best & James G. KerrDavid BowenMarnie M. BrachtGregory BrandtMrs. Ann ChristieEarl ClarkThe Rt. Hon. Adrienne ClarksonBrian Collins & Amanda DemersEarlaine CollinsDavid H. CormackMrs. Ninalee CraigAnita Day & Robert McDonaldAnn De BrouwerHelen DrakeRowland D. GalbraithDouglas G. GardnerAnn J. GibsonMichael & Anne GoughL. A. GroverGeorge & Irene HamiltonJoan L. HarrisJames HewsonJohn R. HigginsMr. Kim Yim Ho & Walter Frederic Thommen

Douglas E. HodgsonMatt HughesMichael & Linda HutcheonLynne JeffreyAnn KadrnkaBen KizemchukKathryn KossowMr. Gurney KranzJo LanderPeggy LauMarjorie & Roy LindenL. Liivamagi

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

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

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

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

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


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. StavrakyJanet StubbsAnn SuttonRonald TaberMrs. L. TreutlerRiki Turofsky & Charles PetersenN. Suzanne VanstoneMarie-Laure WagnerHugh & Colleen WashingtonMarion C. WilsonMarion YorkTricia YoungerAnonymous (58)

OPERATOURS DONORS $700 +(From July 2012 – August 2013)

Dr. Eric W. Amann**Howard & Ruth Barrett****Ian & Janet Blue**Ms Victoria Burenko*Ms E. Burton***Mr. & Mrs. Norman & Louise Coxall***

Edward Cummings & Margaret Kelly****

Eleanor Dover*Ben & Sarah Glatt****Dr. Irene Gulka*Donald Gutteridge & Anne Millar****

Tim Jokela**Ms Fawzia Khan*Dr. Elizabeth Kocmur****Ms Claire LaVigna***Earl Law****Mrs. J. L. Malcolm*Ms Antonieta Marticorena****Mr. Alex Moraru*Mrs. Christa Nimmo****Mr. Michael R Overbury***David Roffey & Karen Walsh***Rainer & Sharyn Rothfuss****Mr. Michael Samborsky**Beverly & Fred Schaeffer****Stephen & Jane Smith****Ms June Yee**Anonymous (4)

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 SupportGifts were made as of August 20,2013)

* 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 extensiveefforts to avoid errors andomissions, mistakes can occur.If your name was omitted, listed incorrectly or misspelled,we apologize for any inconvenience this may havecaused. We would appreciatebeing notified of any errors at416-847-4949.

Corporate SponsorshipThe Canadian Opera Company welcomes financial support from corporations that appreciate the advantages of partnering with one of Canada’s premier performing arts companies.

A variety of sponsorship opportunities can be customized to meet branding, marketing and corporate entertainment needs including production, performance, education and outreach, official orchestra and chorus sponsorships, as well as official supplier partnerships at the Four Seasons Centre for the Performing Arts. Corporate sponsorship offers exciting privileges that you and your company can enjoy all year long.

For further information, please contact Ali Kashani at [email protected].

Four Seasons Centre for the Performing Arts. Photo: Sam Javanrouh

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

Presenting Sponsor of SURTITLES™

Presenting Sponsor Opera Under 30 and Operanat10n:

A Night of Temptation

Official Canadian Wine of the COC

at the FSCPA

Presenting Sponsor After School Opera Program

Glencore Ensemble Studio School Tour

Official Media Sponsor

Production Sponsor Verdi’s Un ballo in maschera

Preferred Hospitality Sponsor


MAJOR CORPORATE SPONSORS 2013/2014 SEASON

Preferred Fragrance

Preferred Medical Services Provider

BMO Financial Group Pre-Performance Opera Chats and BMO Financial Group Student Dress Rehearsals.

Production Underwriter, Mozart’s Così fan tutte

Official Automotive Sponsor of the COC at the FSCPA

Presenting Sponsor Weekday Rush Subscriptions

DIAMOND PERFORMANCE SPONSORS

HOSTING SPONSOR

PERFORMANCE SPONSORS Linden & AssociatesFionn MacCool’sFour Seasons Hotels and ResortsNorton Rose Canada LLPPwC

PROGRAM SPONSORGreat West Life, London Life and Canada Life,Living Opera Program Sponsor

OPENING NIGHT SPONSORFionn MacCool’s

LA BOHÉME OPENING NIGHT SPONSORSan Pellegrino

SUPPORTER, PATRON ENGAGEMENT PROGRAMQuinn’s Steakhouse & Irish Bar

PREFERRED FLORISTSBloom The Flower CompanyQuince Flowers

CORPORATE AND FOUNDATION DONORS MAJOR GIFTS

$10,000+Audrey S. Hellyer Charitable FoundationThe Hal Jackman Fund at the Ontario Arts Foundation

J.P. Bickell FoundationThe Lloyd Carr-Harris FoundationThe McLean Foundation Anonymous (1)

$5,000 to $9,999225490 Investments LimitedLocal 58 Charitable Benefit FundUnit Park Holdings Inc. The Hope Charitable Foundation Shinex Window Cleaning Inc

$3,000 to $4,999Classical 96.3 FM Hicks Memorial Fund at The Calgary Foundation

Vida Peene Fund at the Canada Council for the Arts

$2,000 to $2,999Jarvis & AssociatesMAC Cosmetics

$1,000 to $1,999AIMIAD’Avignon Freight Services Inc.LoyaltyOne Inc.McKinsey & Company Milgram Group of Companies Ltd. The Powis Family Foundation

CENTRE STAGE: ENSEMBLE STUDIO COMPETITION GALA COMPETITION SUPPORTERSRBC Hal Jackman FoundationPeter M. Deeb

PLATINUM SPONSORMercedes-Benz

GOLD SPONSORScotiabank

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 SPONSORSChair-man MillsKnot PRLiliumMedia NeedsMill St. PerrierToronto Life Trius Wines

FINE WINE AUCTION 2013PRESENTING SPONSORSTD SecuritiesBloomberg

SUPPORTING SPONSORBlake, Cassels & Graydon LLP

CHEESE SPONSORScheffler’s Delicatessen & Cheese

CHOCOLATE SPONSORRheo Thompson Candies

2013/2014 MEDIA SPONSORS & IN-KIND SUPPORTERSRemenyi House of Music Ltd.

2013/2014 SPONSORS

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

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

Michael Cooper: Official photographer

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

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

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

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

ENSEMBLE STUDIO

SPECIAL PROJECT FUNDING

GOVERNMENT SUPPORT

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

Department of Canadian Heritage

Employment and Social Development Canada

SUPERNUMERARIESNigel Atkinson

Christopher Karnay GayowskyDylan Jardine-Wong

Ezra KeyesPico Madden

Connor McNeilBen Wismath

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



he evening of November 26, 2013 has the potential to be the night that

launches the careers of Canada’s futureopera stars. On that night the CanadianOpera Company holds its fundraising galaCentre Stage, a magical evening dedicatedto the discovery and celebration of theyoung opera talent in this country.

An event unlike any other in Canada,Centre Stage features the competitive vocalshowcase of the COC’s Ensemble StudioCompetition with a twist that intensifiesthe already awe-inspiring performancesthis event has come to feature. For the first time, finalists in the Ensemble StudioCompetition will perform from the mainstage of the Four Seasons Centre forthe Performing Arts, accompanied by the internationally acclaimed COC Orchestraconducted by COC Music DirectorJohannes Debus.

“I had been thinking of creating a galafundraiser for the COC for some time,” saysCOC General Director Alexander Neef.“Seeing how the Ensemble StudioCompetition has engaged the communityin past years, the timing was right tolaunch Centre Stage and make it the occasion to expand our audience with thismuch grander showcase of Canada’s risingopera talent.”

All patrons who attend Centre Stagewill enjoy a cocktail celebration in the Four Seasons Centre’s sparkling Isadore

and Rosalie Sharp City Room. Gala guestswill go on to enjoy an elegant formal dinner from the Four Seasons Centre stage,catered by critically acclaimed Nota BeneExecutive Chef David Lee, mingling withcompetition finalists and winners as well as notable COC artists.

The Ensemble Studio Competition features singers from the final round ofauditions for the COC Ensemble Studio,

Canada’s premier training program foryoung opera professionals, competing forcash prizes ranging in value from $1,500 –$5,000. The competition was launched in2011 by COC General Director AlexanderNeef to showcase the opera talent the COC

had scouted from across the country andcreate a public platform for celebrating thefuture of opera in Canada.

With the creation of Centre Stage, theCOC now opens the Ensemble StudioCompetition to an audience of over 1,000opera lovers and interested guests as itmoves from the intimate setting of theRichard Bradshaw Amphitheatre to R. Fraser Elliott Hall.

The growth of the event will most certainly ensure that the 2013 competitionrealizes the prediction of one opera bloggerof it “becoming a firm fixture in the calendarfor anyone in Toronto who is serious aboutopera and its future.” This statement is no surprise to past competition patronswho have been treated to performance line-ups that La Scena Musicale hasdescribed as “a grand night of singing.”

“It’s the excitement of hearing up-and-coming voices vying for prize money andglory that makes competition irresistible –to me, at least!” said Joseph So, an operajournalist, in his review of the 2012 competition for La Scena Musicale. “Tenaspiring singers got to strut their stuff, allwell-schooled, with beautiful voices backedby a solid technique, and a desire to tell a story, to communicate their art to anaudience. Some of them have that extra,intangible something called star power,musicality, charisma, whatever. It’s that elusive quality that makes a singer anartist, and someone with the promise of a significant career. Competitions such asthis one are designed to find that singer.” n

Jennifer Pugsley is the Media Relations Manager

at the Canadian Opera Company.

Catch up with blogs and enjoy COC Radio at coc.ca. 21

CANADA’S FUTURE OPERA STARS TAKE CENTRE STAGE

TBY JENNIFER PUGSLEY

FOR FURTHER INFORMATION ON OUR 2013/2014 ENSEMBLE STUDIO MEMBERS, PLEASE READ SPOTLIGHT SHINES ON COC ENSEMBLE STUDIO BY JENNIFER PUGSLEY, AVAILABLE IN THE FALL ISSUE OF PRELUDE ONLINE ATCOC.CA/PUBLICATIONS.

COC General Director Alexander Neef (second fromright) with (l–r) Gordon Bintner, Charlotte Burrage andAndrew Haji, winners of the 2012 COC Ensemble StudioCompetition. Photo: Chris Hutcheson


CANADA’S FUTURE OPERA STARS TAKE CENTRE STAGE

Centre Stage takes place on November 26,2013 at the Four Seasons Centre for thePerforming Arts and features the third annualEnsemble Studio Vocal Competition. Ticketsto the Ensemble Studio Competition andCentre Stage cocktail celebration are $100.Centre Stage Gala tickets, including theblack-tie dinner, are $1,500. For more information and to purchase tickets, visit coc.ca, call COC Ticket Services at 416-363-8231 or go to the Four Seasons Centrefor the Performing Arts Box Office (145 Queen St. W.).

Gordon Bintnerbass-baritone

Charlotte Burragemezzo-soprano

Sasha Djihaniansoprano

Aviva Fortunatasoprano

Clarence Frazerbaritone

Andrew Hajitenor

Danielle MacMillanmezzo-soprano

Owen McCauslandtenor

Cameron McPhailbaritone

Claire de Sévignésoprano

Michael Shannonintern coach

MEET THE MEMBERS OF THE COC'S 2013/2014 ENSEMBLE STUDIO

SEASON

Compañia Maria Serrano

Friday, November 298pm Massey Hall

“Rumour has it that Compañia Maria Serrano will come this way again,

and when it does, it is a run don’t walk.”

- Paula Citron, Classical 96.3FM

CALL 416-872-4255 masseyhall.com

C


COMING THIS WINTERMOZART’S COSÌ FAN TUTTEThe Plot in a MinuteTwo soldiers, Ferrando and Guglielmo, are challenged to test the fidelity of theirfiancées, sisters Dorabella and Fiordiligi.Ferrando and Guglielmo disguise themselves and woo the sisters, who,although perfectly aware they are beingdeceived, still develop romantic feelings for the disguised men. Wedding preparationsare made, only to be cancelled whenFerrando and Guglielmo reveal their trueidentities. The four reconcile, but can theirlives be the same after this masquerade?

Fast Facts• When it premiered in 1790, Così was

considered trivial, sexist and immoraland had only 10 performances duringMozart’s lifetime

• Così was the final collaboration betweenMozart and librettist Lorenzo Da Ponte(the other two being Don Giovanni andThe Marriage of Figaro)

• Critic Edward Said argued that “of thethree Da Ponte operas, Così fan tutte isnot only the last and… the most complexand eccentric, but also the most internallywell organized, the most full of echoesand references, and the most difficult tounlock, precisely because it goes furthertowards the limits of acceptable, ordinaryexperiences of love, life, and ideas thaneither of its two immediate predecessors…What affects us most about Così is ofcourse the music.”

• Così is one of Mozart’s most popularoperas, along with The Marriage of Figaro,Don Giovanni and The Magic Flute.

BY CLAIRE MORLEY

Preliminary costumesketches by set and costume designer Debra Hanson for theCOC’s new production of Così fan tutte

Egoyan Takes On MozartCelebrated director Atom Egoyan (Salome,2013) brings his signature style to Così.Although some period costumes are usedfor various scenes in the opera, Egoyan creates a sense of the surreal and timeless,pointing to many historical periods withoutbeing rooted in any single one.

Egoyan’s production pays particularattention to the subtitle of the libretto: La scuola degli amanti (“The School forLovers”) and places the action in a finishingschool, with laboratorial elements and allusions mixed in among more academiccharacteristics.

DesignCostumes and sets were created by Canadiandesigner Debra Hanson, who drew inspirationdirectly from the timelessness of the opera,and designed a world that is at once period-specific and historically fluid.

Diverse Art Forms,

Shared ThemesFraming the concept of the production is a painting by Frida Kahlo entitled “Las DosFridas.” Egoyan recalls, “I was in Los Angelesand saw the canvas and I was struck by thisimage of the two Fridas and the parallel inCosì of the two sisters. What I was reallystruck with was Kahlo’s use of the brooch.The brooch is a really important prop in theopera – it’s what the two sisters use to revealtheir loved ones. Ultimately it is removedor replaced when the experiment comes tofruition and, when the infidelity is actuallyconsummated, it’s by the switching of thebrooch. This painting also had the image of a heart, which is at once contained andthen completely vulnerable and open, andboth Fridas are connected by these veryprecarious veins which can be switchedand clipped and tied. In one hand, the firstFrida is holding scissors which are used tosever feeling or emotional connection; thesecond Frida is holding a brooch. It justseemed eerily appropriate in terms of whatthe opera is proposing.” n

Claire Morley is Communications Officer at the

Canadian Opera Company.

FOR MORE INFORMATION, LISTENING GUIDES, INSIDE OPERA VIDEOS, AND HOW TO ORDER TICKETS, VISIT COC.CA.

Photo: A

nthony W

oods

Construction of head pieces for Così fan tutte. Photo: COC

“Las Dos Fridas” painting by Frida Kahlo © 2011 Banco deMéxico Diego Rivera & Frida Kahlo Museums Trust. Av. Cinco de Mayo No. 2, Col. Centro, Del. Cuauhtémoc 06059,México, D. F.


Mozart’s Così fan tutte


COMING THIS WINTER VERDI’S UN BALLO IN MASCHERA

his winter, the Canadian OperaCompany presents Giuseppe Verdi’s

Un ballo in maschera (A Masked Ball), a deeply human tale of forbidden passionand adult love, whose lovers are alsoembroiled in a politically charged situationbeyond their control.

The Plot in a MinuteRiccardo is a respected governor, secretlyin love with Amelia, the wife of his secretary,Renato. Riccardo is also the object of aplanned assassination by a small group of disgruntled conspirators. He and Ameliaare plagued by guilt for their feelings andresist consummating their growing love.However, Renato discovers their hiddenpassion and joins with the conspirators to bring his rival down at the governor’sball.

Verdi, Assassinations, Censors Verdi had enjoyed huge success with his three previous operas, Rigoletto, La Traviata, and Il Trovatore. He arrived in Naples on January 15, 1858, to startrehearsals for Un ballo in maschera, anopera inspired by the actual assassinationof King Gustav of Sweden. However, on thesame day, an assassin attempted to kill

T

(top and bottom) Scenes from the Berlin Staatsoperproduction of Un ballo in maschera, 2008. Photos: Ruth Walz

BY GIANNA WICHELOW

Reviving 5000 years of civilization

ALL-NEW 2014 SHOWWITH LIVE ORCHESTRA

JAN 23-26SONY CENTRE

Toll Free: 1-855-416-1800Ticketmaster: 1-855-985-5000 SHENYUN.COM

Let Shen Yun take you on a journey where the wisdom of ancient China, the world’s finest classical Chinese dancers, gorgeous handcrafted costumes, and towering animated backdrops come together in one spectacular performance.

Sold-Out Shows Across North America

“It’s so inspiring, I may have found new ideas for the next Avatar movie.” —Robert Stromberg, Academy Award-winning production designer

Toronto . Hamilton . Mississauga . Kitchener . Ottawa . Quebec City . Montreal . Vancouver

i

Napoleon III on his way to the theatre inParis (coincidentally to see an opera). A yearpreviously, the King of Naples had narrowlyescaped being assassinated. All this violencemade the censors nervous and they camedown firmly on Verdi, demanding majorchanges to his storyline which, after all, centredon the assassination of a king. They didn’twant the opera to inspire a copycat tragedy.

Verdi was offered an almost unrecognizableversion of his libretto with all the censors’changes made. He wasn’t interested and,instead, offered his opera to Rome. A fewchanges were required there by the censors,but Verdi was willing to accept them. He changed the setting for the opera from 18th-century Sweden to 17th-centuryBoston with King Gustav of Swedenbecoming Riccardo, Count of Warwick,Governor of Boston.

The PremiereUn ballo in maschera premiered in Romeon February 17, 1859 and it was soon beingperformed all over Europe and in NorthAmerica. After all the trouble that Verdihad experienced with the censors, other operacompanies took some startling liberties withthe setting of the opera. Two years after its premiere, Ballo appeared in Paris withFlorence as its setting and, later that sameyear, at Covent Garden, London, the settingwas shifted to Naples. In 1935 the operafinally appeared in its original Swedish

setting. Since then, Ballo has often beenproduced in its originally intended form,along with its Boston setting and many othersthat imaginative directors have created.

Join Us This WinterThis winter, you’ll see how directorial duoJossi Wieler and Sergio Morabito haveplaced their carefully considered productionin an America of their own imaginings, with a strong nod to Kennedy-era tensions andpower plays.

The striking period sets and costumes(by designers Barbara Ehnes and Anja Rabes,respectively) bring to mind the televisionseries Mad Men, full of the colour, optimismand vitality of the early 1960s, with theoccasional more contemporary detail.

Sometimes referred to as Verdi’s Tristanund Isolde, Un ballo in maschera requiressimilarly great artists to scale the heightsof the lead roles, and we have them, inCanada’s great diva Adrianne Pieczonka(who starred in Tosca two seasons ago) andthe exciting tenor Dimitri Pittas (the Dukeof Mantua in Rigoletto). Elena Manistina (a riveting Azucena in our Il Trovatore)returns as the mysterious fortune tellerUlrica. COC favourite Simone Osborne is the saucy page, Oscar. n

Gianna Wichelow is Senior Communications

Manager, Creative at the Canadian Opera Company.

Top: Catherine Naglestad as Amelia and Piotr Beczalaas Riccardo in the Berlin Staatsoper production of Un ballo in maschera, 2008. Photo: Ruth Walz

Below: A scene from the Berlin Staatsoper productionof Un ballo in maschera, 2008. Photo: Ruth Walz

FOR MORE INFORMATION, LISTENING GUIDES, INSIDE OPERA VIDEOS, AND HOW TO ORDER TICKETS, VISIT COC.CA.

Verdi’s Un ballo in maschera



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Opera ShopLocated on the orchestra level of the Isadore andRosalie Sharpe City Room, the COC's Opera Shop offersa fine selection of opera recordings on CD and DVD, aswell as opera-related books, giftware and COC souvenirs.

PATRON INFORMATIONAND POLICIES

C r e a t i n g f i n e b e s p o k e g a r m e n t s s i n c e 1 9 0 8 .

145 Wellington st. w.

toronto, on

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416.595.5454

www.walterbeauchamp.com

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It’s not your ride. It’s your drive.We built the E-Class for drivers. Everything about it, from its aggressive stance to its muscular powerplants and taut driving dynamics, suggests one thing – and one thing only – this is a car you drive. Mercedes-Benz is proud to be the Official Automotive Sponsor of the Canadian Opera Company at the Four Seasons Centre for the Performing Arts.

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LIVE TO DRIVE. THE 2014 MERCEDES-BENZ E-CLASS.

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canadian opera company perform an cefiles.coc.ca/pdfs/program/petergrimes_program2013.pdfpeter...

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