The cloud-capp`d towers, the gorgeous palaces, The

October 23 to
November 1, 2014
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve;
And, like this insubstantial pageant faded,
Leave not a rack behind. — The Tempest
Season Underwriter
Season Presenting Sponsor
Production Sponsor
presents
George Frideric Handel
Libretto by Antonio Fanzaglia, after Ludovico Ariosto
An Opera Seria, sung in Italian with English surtitles.
Performance time is approximately three hours with one intermission.
Marshall Pynkoski
David Fallis
Jeannette Lajeunesse Zingg
Ger ard Gauci
Director
Conductor
Choreogr apher
Set Designer
Michael Gianfr ancesco Costume Designer
Bonnie Beecher Lighting Designer
Ben Shirinian Film Director
Arwen MacDonell Production Stage Manager
the cast
Mireille Asselin
Wallis Giunta
Olivier Laquerre
Meghan Lindsay
Allyson McHardy
Krešimir Špicer
Morgana
Br adamante
Melisso
Alcina
Ruggiero
Oronte
Edited for the Hallische Händel-Ausgabe by Wolfram Windszus Bäerenreiter-Verlag
Used by arrangement with European American Music Distributors Company,
Canadian agent for Bäerenreiter Verlag
2
Artists of
Atelier Ballet
Oper a Atelier
Chorus
Meredith Clinton
Tyler Gledhill
Elizabeth Kalashnikova
Kevin Kong
Lukas Malkowski
Jeremy Nasmith
Jennifer Nichols
Julia Sedwick
Cynthia Smithers
Michael Spendlove
Edward Tracz
Brett Vansickle
Magdalena Vasko
Angel Wong
Jeannette Lajeunesse Zingg
Colin Hathaway (apprentice)
Rebecca Moranis (supernumerary)
Leigh-Ann Allen
Alexandra Asher
Leslie Bickle
Maciej Bujnowicz
Ivy Buttigieg
Lauren Crowther
Eugenia Dermentzis
Philip Hahn
Patrick Haung
Elisabeth Hetherington
Cian Horrobin
Richard Hrytzak
Tessa Laengert
Caitlin Martin
Lindsay McIntyre
John-Michael Scapin
Jordan Scholl
Daevyd Pepper
Joshua Wales
Janaka Welihinda
Jessica Wright
Tafelmusik Baroque Orchestr a
Violin I
Jeanne Lamon, Director
Geneviève Gilardeau
Elizabeth Loewen-Andrews
Stephen Marvin
Julia Wedman
Violin II
Christopher Verrette
Patricia Ahern *
Allene Chomyn
Thomas Georgi
Valerie Gordon
Viola
Patrick G. Jordan
Stefano Marcocchi
Brandon Chui
Violoncello
Christina Mahler
Felix Deak *
Margaret Gay
Double Bass
Alison Mackay
Pierre Cartier
Bassoon
Dominic Teresi
Horn
Derek Conrod
Scott Wevers
Percussion
Ben Grossman
Lute
Lucas Harris *
Harpsichord
Charlotte Nediger
* appearing onstage
Season Underwriter
Oboe
John Abberger
Marco Cera
Season Presenting Sponsor
Production Sponsor
an Ontario government agency
un organisme du gouvernement de l’Ontario
3
dear friends,
It gives us great pleasure to welcome you to Opera Atelier’s first major
Handel opera. There are many reasons for the twenty-year delay in
exploring Handel’s oeuvre — most of which are outlined in the following
pages. Suffice to say, we believe it was well worth the wait. Handel’s Alcina
is a ravishing confection which, to our minds, floats somewhere between
A Midsummer Night’s Dream and The Tempest. Alcina also provides an
unparalleled opportunity for Opera Atelier’s singers, dancers and designers
to be shown to their very best advantage.
We also wish to remind you of our upcoming spring production of the
Berlioz version of Gluck’s greatest masterpiece, Orpheus and Eurydice. This
will be the latest repertoire ever undertaken by Opera Atelier and Tafelmusik and we are proud to once
again be pushing the boundaries of period production.
In the meantime, we are thrilled to be making our La Scala debuts in February of 2015 with our
Salzburg Festival production of Lucio Silla — an early Mozart opera which we hope to present in
Toronto in the not-too-distant future. We hope some of you will be able to join us for Opera Atelier’s
once-in-a-lifetime patron tour to La Scala and we trust all of you will return for our spring production
of Orpheus and Eurydice.
Wishing you a magical evening.
– M arshall Pynkoski & Jeannette Lajeunesse Zingg
Co-Artistic Directors
Message from the executive director
Welcome all to this production of Alcina. It is always exciting for our team
to work on building a brand new production from the ground up, and this
show has allowed us to flex our muscles like never before — as you will
see today! Thank you for being here with us to experience our first major
Handel production.
We have an astonishing year ahead, with the team making their La Scala
debuts in February and a return engagement to the Royal Opera House at
the Palace of Versailles next fall. We are honoured to have been asked to
participate in the events commemorating 300 years since the death of King
Louis XIV. We are further honoured by being asked to make an ongoing commitment to bring our work to
the Palace once every two years. This is an incredible opportunity for our whole Opera Atelier family.
I would like to express our gratitude to the Ministry of Ontario, the Ontario Arts Council, the Canada
Council and the Toronto Arts Council for their continued belief in and support of Opera Atelier. We could
not have achieved these great successes without their support.
Finally, on a personal note, I’d like to extend my sincere best wishes to Tricia Baldwin of Tafelmusik
as she embarks upon a new life adventure. Tricia has been a mentor, a friend, a rock and has always
encouraged me to take on bigger challenges. I owe so much of my success at Opera Atelier to Tricia and
her guidance.
–P
atricia Barretto
Executive Director
4
BY
GLUCK
April 9 to 18, 2015
A love story that resonates through the
ages. An opera that changed the history of
music. Hector Berlioz’s version of Gluck’s
landmark opera is presented for the first
time at Opera Atelier.
TICKETS START AT $38!
Buy tickets: www.ticketmaster.ca or call
1-855-622-ARTS (2787)
Peggy Kriha Dye, Colin Ainsworth and Jeannette Lajeunesse Zingg.
Photo by Bruce Zinger.
VISIT OUR CUSTOMER SERVICE
DESK IN THE LOBBY TO BUY
YOUR TICKETS TODAY!
Artist Biogr aphies
Alcina
Meghan Lindsay, Sopr ano
For Opera Atelier: Nymphe Guerrière and Venus in Persée (Toronto, Versailles),
Agathe in Der Freischütz, Sidonie/Nymphe des Eaux in Armide (Toronto, Versailles,
Glimmerglass Festival), Donna Anna in Don Giovanni.
Elsewhere: Meghan recently performed the title role of Luisa Miller (Opera Nova
Scotia); Mimi in La Bohème (The Northern Lights Festival); and made her recording debut with Grammynominated early music ensemble, Ars Lyrica, with Scarlatti's La Sposa dei Cantici. Meghan is an alumna
of the Glimmerglass Festival and Opera Studio Nederland. Other recent credits include: International
debut as Eurydice in Pierre Audi’s production of Monteverdi’s Orfeo; Fiordiligi in Cosi fan Tutte (Opera
Studio Nederland); Contessa in Le Nozze di Figaro (Opera on the Avalon); Richard Danielpour’s Sonnets to
Orpheus under the baton of Paul Nadler.
Upcoming: Amour in the Berlioz version of Gluck’s Orpheus and Eurydice (Opera Atelier, April 9 to 18, 2015).
Ruggiero
Allyson McHardy, Mezzo-Sopr ano
For Opera Atelier: Actéon.
Elsewhere: Sara in Donizetti’s Roberto Devereux (Canadian Opera Company);
l’Italiana in Algeri (Calgary Opera); Hippolyte et Aricie (Opera in Concert); Bach’s
Magnificat (Orchestre de Québec); Sister Helen Préjean in Dead Man Walking
(l’Opéra de Montréal); Carmen (Pacific Opera Victoria); Annio in La Clemenza di Tito (Opéra de Paris);
Arcabonne in Amadis de Gaule (Opéra Comique and Château de Versailles).
Upcoming: Donizetti’s Lucrezia Borgia in St. Gallen, Switzerland; the Messiah (Toronto Symphony and Les
Violons du Roy); her debut at the Aix-en-Provence Festival; Recitals at Rosedale: A Walk on the Dark Side.
Etcera: Ligeti’s Requiem (Royal Concertgebouw Orchestra in the Netherlands); Allyson’s recordings
include the 2014 JUNO-nominated Orlando (ATMA), the JUNO- and ADISQ-nominated La Conversione
di Clodoveo (ATMA), Bellini's Norma, Serinette and A Midwinter Night's Dream by Harry Somers
(Centrediscs).
Br adamante
Wallis Giunta, Mezzo-Sopr ano
For Opera Atelier: The Marriage of Figaro, Idomeneo.
Elsewhere: Performances with The Metropolitan Opera, Canadian Opera Company,
Le Théâtre du Châtelet (Paris), Fort Worth Opera, Madison Opera, L'Opéra de
Montréal, Opera Lyra Ottawa, the Taipei, Toronto, Seville, Edmonton, and Saskatoon
symphonies, the Stuttgart Festivalorchester, and the National Arts Centre and Munich Radio orchestras,
as well as with Soundstreams Canada, Roy Thomson Hall, the Luminato, Caramoor, Aspen, and Ravinia
festivals, with the New York Festival of Song, and at the Banff Centre.
Upcoming: In the 2014-15 season she returns to the Metropolitan Opera as Olga in a new production of
The Merry Widow, and to Opera Lyra Ottawa as Cherubino in their new Le Nozze di Figaro. She performs
programs of Mendelssohn and Beethoven with the National Arts Centre Orchestra, and in future
seasons will make European debuts at Teatro dell'Opera di Roma, Oper Leipzig and Oper Frankfurt.
Etcetera: Miss Giunta is a grateful recipient of the Novick Career Advancement Grant, the Sylva Gelber
Music Foundation Career Development Award, and multiple grants from The Canada Council for the
Arts. She is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development
Program and the Juilliard School Artist Diploma in Opera Studies, a graduate of The Glenn Gould School,
and was a member of the Canadian Opera Company Ensemble Studio.
6
Morgana
Mireille Asselin, Sopr ano
For Opera Atelier: Andromède in Persée, Servilia in La Clemenza di Tito, Galatea in
Acis and Galatea, First Witch in Dido and Aeneas (Seoul, South Korea), Phénice and
Lucinde in Armide (Glimmerglass Festival, 2012).
Elsewhere: Ms. Asselin joined the Metropolitan Opera’s 2013-14 season, covering
Adele in Die Fledermaus. She was a member of the COC’s Ensemble Studio (2011-13), where her roles
included Adele, Servilia in La Clemenza di Tito, and the title role in Semele. She has also appeared with
Wolf Trap Opera, the Boston Early Music Festival and on concert stages across North America and in
England, including at Carnegie Hall.
Upcoming: The 2014-15 season will include her debut with the Metropolitan Opera as Poussette in
Manon, concert debuts with the Edmonton Symphony in Messiah, Calgary Philharmonic for Carmina
Burana and solo appearances with the Ottawa Choral Society, Colorado Bach Ensemble, Indianapolis
Chamber Orchestra, Amici Chamber Ensemble (Toronto) and Johnstown (PA) Symphony. She will return
to the Boston Early Music Festival for the 2015 Monteverdi Festival as Minerva in Ulisse and Euridice in
Orfeo. In the summer of 2015, she will sing concerts with the Lanaudiere Festival, Quebec.
Et cetera: A native of Ottawa, ON, she holds degrees from the Yale School of Music and the Glenn Gould
School of the Royal Conservatory of Music in Toronto.
Oronte
Krešimir Špicer, Tenor
For Opera Atelier: Der Freischütz (The Marksman), 2012, La Clemenza di Tito, 2011,
Iphigénie en Tauride, 2009, and Idomeneo, 2008.
Elsewhere: He regularly appears in major opera houses, concert halls and festivals,
performing operatic repertoire under conductors such as William Christie, Marc
Minkowski, Hartmut Haenchen, Christian Zacharias, Kent Nagano, Phillip Herreweghe, Myung-Whun
Chung, Yuri Temirkanov, Thomas Hengelbrock, Fabio Luisi, Paul Daniel, Andrew Parrot, and Rene Jacobs.
Highlights include: Mozart’s La Clemenza di Tito, Il re pastore, Lucio Silla; Strauss’s Die Aegyptische Helena,
Die Fledermaus; Handel’s Ariodante, Il trionfo del Tempo e del Disinganno; Donizetti’s Lucia di Lammermoor;
Monteverdi’s Ulisse, Le Rossignol; Stravinsky’s Oedipus Rex.
Et cetera: Several of the productions were captured on DVD, namely Il ritorno d’Ulisse by Monteverdi,
Mozart’s Il re pastore at the Salzburg Festival, and Cavalli’s La Didone at Théâtre de Champs Élysée.
Melisso
Olivier LaQuerre, Bass-Baritone
For Opera Atelier: Médée, Iphigénie en Tauride, Don Giovanni, Persée, Armide, Orfeo,
Il Ritorno d’Ulisse in Patria, Idomeneo, L’Incoronazione di Poppea, Le Nozze di Figaro,
The Magic Flute.
Elsewhere: Canadian Opera Company, Cleveland Opera, Boston Early Music
Festival, Tafelmusik Baroque Orchestra, Orchestre symphonique de Québec, Opéra de Québec,
Orchestre symphonique de Montréal, Vancouver Chamber Choir, Symphony Nova Scotia, etc.
Et cetera: Olivier Laquerre is a laureate of the Paris and the Verviers (Belgium) international voice
competitions, and has been in great demand as a soloist since winning the Joseph-Rouleau Award
(First Prize) at the Jeunesses Musicales national voice competition. He performed with some of the
best orchestras and vocal ensembles in North America. He is a regular guest soloist at the Boston Early
Music Festival, with whom he has recorded four CDs under the CPO label (Germany).
7
Production Staff
Conductor
David Fallis
For Opera Atelier: Lully’s Persée, Armide; Mozart’s The Marriage of Figaro, The Magic
Flute, Don Giovanni, Abduction from the Seraglio, La Clemenza di Tito; Monteverdi’s
Orfeo, L’incoronazione di Poppea, Il Ritorno d’Ulisse; Weber's Der Freischütz (The
Marksman); Purcell’s Dido and Aeneas; Gluck’s Orfeo ed Euridice; Rameau’s Pygmalion;
Handel’s Acis and Galatea, Il pastor fido, La Resurrezione; Charpentier’s Actéon.
Elsewhere: Luminato Festival, Glimmerglass Festival, Toronto Consort, Houston Grand Opera,
Soundstreams Canada, Utah Opera, Elora Festival, Orchestra London, Symphony Nova Scotia, Manitoba
Chamber Orchestra, Symphony New Brunswick, Festival Vancouver, and more.
Upcoming: Last Days at the University of Toronto Opera School; Paris Confidential and The Play of
Daniel with The Toronto Consort; Monteverdi and Tremblay with Soundstreams; R. Murray Schafer’s
Apocalypsis at the 2015 Luminato Festival.
Et cetera: Historical Music Producer for two Showtime TV series: The Tudors, starring Jonathan Rhys
Meyers, and The Borgias, starring Jeremy Irons. Currently consulting on The Vikings and Penny Dreadful.
Directs Choir 21, dedicated to contemporary choral music.
Set Designer
Ger ard Gauci
For Opera Atelier: Resident set designer Gerard Gauci has worked with the company
since its inception. Over the years he has designed sets for all of Opera Atelier’s
repertoire including Orfeo, The Coronation of Poppea, Persée, Medée, Iphigénie en
Tauride, Idomeneo, The Marriage of Figaro, La Clemenza di Tito, Don Giovanni, Armide and
Der Freischütz (The Marksman).
Elsewhere: Gauci has an extensive history of exhibiting his paintings in public and private galleries in
Toronto, Montréal and across Canada. In 2010 he designed the exhibition “Drama and Desire” at the Art
Gallery of Ontario featuring theatrically inspired works by Ingres, David, Degas, Toulouse-Lautrec and others.
Et cetera: Gauci also pursues a career as a painter, exhibiting at the Galerie de Bellefeuille in Montréal.
(Photo by Jim Allen.)
Costume Designer
Michael Gianfr ancesco
For Opera Atelier: Debut.
Elsewhere: Michael has designed sets and costumes for companies across Canada,
including the Stratford Festival, the Shaw Festival, The National Ballet of Canada, Les
Grands Ballets Canadiens de Montreal, Canadian Opera Company, Royal Manitoba
Theatre Centre, Citadel Theatre, Young People’s Theatre, Canadian Stage, Tarragon Theatre, Theatre
Passe Muraille, Queen of Puddings Music Theatre, Opera Philadelphia, Grand Theatre, Ross Petty
Productions, Studio 180, Against the Grain Theatre, Royal Conservatory of Music, Acting Up Stage,
Obsidian Theatre, Segal Centre, Neptune Theatre, Opera Ontario, Pleiades Theatre, Theatre Aquarius,
Theatre New Brunswick, Theatre By the Bay, and Festival of Classics. He was also Production Designer
for Christmas Dreams (CBC).
Etcetera: Michael has been recognized with the Virginia and Myrtle Cooper award in costume design
(Ontario Arts Foundation), the Brian Jackson award, and the Tyrone Guthrie award (Stratford Festival).
8
Lighting Designer
Bonnie Beecher
For Opera Atelier: Alcina is Bonnie’s tenth production with Opera Atelier.
Elsewhere: Bonnie has designed over 250 productions for theatre, opera and dance
both in Canada and internationally. Canadian companies include Canadian Stage,
The Canadian Opera, Stratford, The Shaw Festival, Tarragon Theatre, Soulpepper,
Ballet British Columbia, and The National Ballet of Canada. International work includes productions
for The Dutch National Ballett, Pacific Northwest Ballet, New Zealand Opera, The Royal Shakespeare
Company, The American Ballet Theatre, The Stuttgart Ballett, and over 12 new productions for the Kevin
O’Day Ballett – Mannheim in Germany.
Et cetera: Bonnie has received 14 Dora nominations and has won the award twice.
Film Director
Ben Shirinian
For Opera Atelier: Debut.
Elsewhere: Ben Shirinian was born in Montreal, Quebec and is a passionate
filmmaker with a unique talent for bringing ideas to life through innovative visual
techniques. Combining his cinematic style with a strong eye for design, Ben has
cultivated an inspiring body of work where he pushes the boundaries of visual storytelling in his pursuit
to create compelling content in an original way. With an in-depth knowledge of visual effects and postproduction, Ben’s 15 years of experience spans broadcast commercials, film and new media projects.
Ben has recently explored his talents with a range of pioneering new projects. His new media ballet
installation, Impermanence, premiered in Florence, Italy, before touring North America, while his short
film starring renowned ballet dancer and choreographer Guillaume Côté, Lost in Motion, debuted at
the Toronto International Film Festival. Ben has recently completed a striking follow-up, Lost in Motion
II, featuring music by Leonard Cohen, which premiered at Cinedans Dance On Screen Festival in
Amsterdam and Dance on Camera 2014 Film Festival, in New York City. The film also won for Best
Cinematography at the Canadian Society of Cinematography (CSC) Awards and Winner for Best Editing
at the AICE Awards.
In 2010, Ben co-founded Toronto-based KLP, a design driven production company specializing in original
and branded content across all media platforms.
Production Stage Manager
Arwen MacDonell
For Opera Atelier: Over 25 productions including: Persée (Toronto and Versailles),
Armide (Toronto, Versailles, Glimmerglass Festival), Idomeneo, The Magic Flute,
Orfeo, Don Giovanni, L’incoronazione di Poppea, The Marriage of Figaro; tours to Europe,
Singapore, Korea and Japan.
Elsewhere: Angels in America Parts I & II, Parfumerie, Ghosts, The Glass Menagerie, Awake and Sing!, Mary
Stuart, Salt-Water Moon (Soulpepper); Proud (Proud Productions); I Claudia (Crow's Theatre/Edinburgh
Fringe); The Africa Trilogy (Volcano/Luminato); The Dishwashers, Rune Arlidge, The Domino Heart, Side
Man, The Good Life, Midnight Sun (Tarragon Theatre); Vida!, The Drowsy Chaperone (Mirvish Productions);
The Triumph of Love, Cymbeline, The Fellini Radio Plays (Stratford Festival).
Et cetera: Arwen is very proud to be a part of this production, and is dedicating her work to her
wonderful grandparents, Drs. Ása and Jack MacDonell.
9
Production Staff(continued)
Assistant Stage Manager
Monik a Seiler
For Opera Atelier: Persée, The Marriage of Figaro, Idomeneo.
Elsewhere: The Country Wife, A Fond Husband (GBC); Race (Canadian Stage); Electro/
Acoustic, The War of the Worlds, I Send You This Cadmium Red (Art of Time Ensemble); A
Midsummer Night's Dream (Citadel); Beckett: Feck It! (Queen of Puddings/Canadian Stage); Topdog/Underdog
(Obsidian/Shaw Festival); Jake and the Kid (Globe); What the Butler Saw, A Christmas Carol (Soulpepper);
Eugene Onegin (Opera Lyra); Strong Poison, Pride & Prejudice, Rope's End (Manitoba Theatre Centre).
Upcoming: A Christmas Carol (Soulpepper) and teaching/stage managing the graduating students at
George Brown College.
Et cetera: Monika is a graduate of the National Theatre School of Canada.
Assistant Stage Manager
Nan Shepherd
For Opera Atelier: This is Nan’s twenty-fouth production with Opera Atelier. Past
favourites include Dido and Aeneas in Korea and Armide at the Palace of Versailles.
Elsewhere: Nan has had the pleasure of working with Tarragon Theatre, Soulpepper,
Motion Live, Theatre Columbus, the National Arts Centre, Buddies in Bad Times, Factory Theatre, Mirvish
Productions, Canadian Stage, Harold Green Jewish Theatre, Obsidian Theatre, Soundstreams, Volcano,
Theatre Smith Gilmour and Thousand Islands Playhouse.
Et cetera: Nan studies printmaking at OCAD University.
About Oper a Atelier
Opera Atelier holds a unique place in the North American theatre community, specializing in opera, ballet
and drama from the 17th, 18th and 19th centuries. These productions draw upon the aesthetics and ideals of
the period, featuring soloists of international acclaim, period ballet, original instruments, elaborate stage
decor, exquisite costumes and an imaginative energy that sets Opera Atelier apart.
Opera Atelier is not in the business of “reconstruction,” rather, each production is a new creative effort and
takes its own place in history. Opera Atelier strives to create productions that would have been recognized
and respected in their own time while providing a thrilling theatrical experience for modern audiences.
Under the direction of founders Marshall Pynkoski and Jeannette Lajeunesse Zingg, Opera Atelier has
been acclaimed throughout Canada, Houston, Cleveland, Columbus, New York, Stuttgart, Halle, Bremen,
London (BBC Proms), Paris, Versailles, Montreux, Citta di Castello, Singapore, Japan and Seoul, Korea.
Opera Atelier has collaborated with some of early music’s most distinguished artists including Andrew
Parrott, Trevor Pinnock, Hervé Niquet, Marc Minkowski and many others.
@OperaAtelier
#OAAlcina
Photo by Bruce Zinger.
10
Marshall Pynkoski & Jeannette Lajeunesse Zingg
Director
Marshall Pynkoski
Marshall Pynkoski’s fascination with music, theatre and dance of the 17th and 18th
centuries began in classes with the late Leonard Crainford and John Marshall,
respectively Chairman and Major Examiner, Royal Academy of Dancing in London.
His further studies with Florentina Lojekova (Master Artist of Czech Republic) and
David Moroni (the Royal Winnipeg Ballet) were pivotal in his decision to pursue a career in ballet.
Early in Mr. Pynkoski’s professional career, he had the opportunity to undertake in-depth studies of
Baroque opera and ballet in Paris. His studies continued with renowned Baroque dramaturge Professor
Dene Barnett at Flinders University in South Australia.
In 1985 he founded Opera Atelier with his partner Jeannette Lajeunesse Zingg and he has since directed
a wide range of period productions of Baroque and early Classical opera and ballet in close collaboration
with Tafelmusik Baroque Orchestra. He has acted as guest instructor at the Centre for Baroque Studies,
Versailles under conductor Marc Minkowski with whom he premiered North America’s first period
productions of The Marriage of Figaro and Don Giovanni. Mr. Pynkoski has collaborated with many of the
finest artists in the world of early music and his productions of opera and ballet have toured throughout
North America, Europe and Asia.
He is a recipient of numerous awards including the Toronto Arts Award, the Ruby Award for outstanding
contribution to opera in Canada, and the TIME Magazine award for Classical music. He was named
Chevalier dans l’Ordre des Arts et des Lettres following his international tour of Purcell’s Dido and Aeneas
with Marc Minkowski and Les Musiciens du Louvre. Mr. Pynkoski most recently directed Mozart’s Lucio
Silla for the Salzburg Festival in 2013. In 2015 Mr. Pynkoski makes is directorial debut at La Scala, Milan.
Choreogr apher
Jeannette Lajeunesse Zingg
Canadian choreographer Jeannette Lajeunesse Zingg has performed and
choreographed internationally for more than two decades. She received her training
in London, Copenhagen and Paris. She credits her teachers with instilling in her
a love and respect for the history of classical ballet. Through her most important
teacher/mentors — John Marshall and Florentina Lojekova — she can trace a direct line to such dance
luminaries as Idzikowski, Fokine, Espinoza, Perrot and Vestris.
As a young dancer, she relocated to Paris where she undertook in-depth studies of Baroque dancing
from original source material. These studies were supplemented by intensive training in North America
by Wendy Hilton and Sandra Caverly — experts in Baroque dancing and Bournonville technique
respectively. Since then, Ms Zingg has choreographed and performed in more than 70 productions for
Opera Atelier, which she founded in 1985 with her partner, Marshall Pynkoski.
Opera Atelier productions have been performed in Versailles, at the BBC Proms, Houston Grand Opera
and the Glimmerglass Festival. Opera Atelier has also introduced period productions of Mozart to
audiences in Japan, Singapore and Korea.
Ms Zingg has received numerous awards including the prestigious Toronto Arts Award, the Opera
Canada Ruby Award for outstanding achievement in the field of opera in Canada in addition to having
been named by TIME Magazine as one of Canada’s most influential artists in the field of Classical music.
She has collaborated with conductors Marc Minkowski, Christopher Hogwood, Andrew Parrott, David
Fallis and Stefano Montanari and choreographed for dancers from the National Ballet of Canada, The
Scapino Ballet, The Dutch National Ballet and Opera Atelier. She has also choreographed and performed
in numerous film projects including Rhombus Media’s “Master Peter’s Puppet Show”, “Romeos
and Juliets” and “The Sorceress” opposite Dame Kiri te Kanawa. In the summer of 2013, Ms Zingg
choreographed dances for Mozart's Lucio Silla for the Salzburg Festival. In 2015 Ms. Zingg makes her
choreographic debut at La Scala, Milan.
11
Artists of Atelier Ballet
12
Meredith
Clinton
Jeremy
Nasmith
Edward
Tr acz
First performance
with Opera Atelier:
Mozart’s Abduction
from the Seraglio,
2013.
First performance
with Opera Atelier:
Monteverdi’s Orfeo,
1986.
First performance
with Opera Atelier:
Charpentier’s
Médée, 2002.
Tyler
Gledhill
Jennifer
Nichols
Brett
Vansickle
First performance
with Opera Atelier:
Mozart’s Abduction
from the Seraglio,
2008.
First performance
with Opera Atelier:
Mozart’s Idomeneo,
2008.
First performance
with Opera Atelier:
Mozart’s Abduction
from the Seraglio,
2013.
Elizabeth
Kalashnikova
Julia
Sedwick
Magdalena
Vasko
First performance
with Opera Atelier:
Mozart’s Abduction
from the Seraglio,
2013.
First performance
with Opera Atelier:
Handel’s Acis and
Galatea, 2010.
First performance
with Opera Atelier:
Lully’s Armide, 2005.
Kevin
Kong
Cynthia
Smithers
Angel
Wong
First performance
with Opera Atelier:
Lully’s Armide, 2012.
First performance
with Opera Atelier:
Mozart’s Abduction
from the Seraglio,
2008.
First performance
with Opera Atelier:
Gluck’s Iphigénie en
Tauride, 2009.
Lukas
Malkowski
Michael
Spendlove
First performance
with Opera Atelier:
Weber’s Der
Freischütz (The
Marksman), 2012.
First performance
with Opera Atelier:
Mozart’s Idomeneo,
2008.
Tafelmusik Baroque ORCHESTR A
Tafelmusik
Baroque Orchestr a
Hailed as “one of the world’s top baroque
orchestras” by Gramophone Magazine, Tafelmusik
was founded in 1979 by Kenneth Solway and Susan
Graves. At the heart of Tafelmusik is a group of
talented and dynamic permanent members, each
of whom is a specialist in historical performance
practice. In June of 2014, Music Director Jeanne
Lamon stepped down from Tafelmusik after 33
remarkable years at the helm. She will continue
as Chief Artistic Advisor, and will direct various
Tafelmusik home programmes and tours until her
successor is appointed.
Delighting audiences worldwide for more than
three decades, Toronto-based Tafelmusik reaches
millions of people through its touring, criticallyacclaimed recordings, broadcasts, new media,
and artistic/community partnerships. The vitality
of Tafelmusik’s vision clearly resonates with
its audiences in Toronto, where the orchestra
performs more than 50 concerts every year for a
passionate and dedicated following. For 35 years
Tafelmusik has maintained a strong presence on the
world stage, performing in some 350 cities in 32
countries. Tours this season include the US, eastern
Canada, Ontario, Australia, and New Zealand.
Jeanne Lamon,
Chief Artistic
Advisor
Music Director of Tafelmusik
from 1981 to 2014, Jeanne
Lamon has been praised
by critics in Europe and North America for her
strong musical leadership. She has won numerous
awards, including honorary doctorates from York
University, Mount Saint Vincent University, and
University of Toronto, and the prestigious Molson
Prize from the Canada Council for the Arts. In
2000, Jeanne Lamon was appointed a Member of
the Order of Canada. Ms. Lamon is in demand as
guest director of symphony orchestras in North
America and abroad. She is passionate about
teaching young professionals, which she does at
the University of Toronto and through Tafelmusik’s
artist training programmes. Jeanne Lamon
stepped down as Music Director of Tafelmusik in
June, 2014, and is currently serving as the Chief
Artistic Advisor until the next Music Director is
chosen. She will continue to perform and tour with
the orchestra in a reduced capacity, and plans to
devote more time to teaching, guest directing, and
pursuing various hobbies.
Tafelmusik has released over 80 CDs and has been
awarded numerous international recording prizes,
including nine JUNO Awards. In 2012 Tafelmusik
created is own label, Tafelmusik Media, and has
released a number of new and past recordings.
Tafelmusik’s 14/15 season highlights include The
French Connection (Dec 4-7), Beethoven Symphony
no. 5 with Kent Nagano at Koerner Hall (Jan 2225), the return of our popular House of Dreams (Feb
11-15), Bach’s St. John Passion (Mar 19-22), and a
new multi-media creation from Alison Mackay, J.S.
Bach: The Circle of Creation (May 6-10, 12). And of
course, don’t forget Messiah at Koerner Hall (Dec
17-20) and the Sing-Along Messiah (Dec 21)!
The Tafelmusik Baroque Orchestra and Chamber
Choir have enjoyed collaborating with Opera
Atelier since its very first production in 1985.
Visit www.tafelmusik.org for more information.
13
Char acters & Synopsis
CHARACTERS
SETTING
Alcina — a powerful sorceress
who entraps men
The sorceress Alcina inhabits a world
made up of the souls of her past lovers.
Her kingdom is in reality a desert — a
lifeless place of no moral compass into
which she lures her unsuspecting victims.
As the opera opens, the warrior knight
Ruggiero has fallen under her spell.
Morgana — her otherworldly companion
Oronte — her lover and Alcina's general
Ruggiero — a knight, waylaid while
on Crusade
Bradamante — his betrothed, who comes
to rescue him dressed as
her brother Ricciardo
Melisso — h
er guardian, who possesses
a magic ring
ALCINA SYNOPSIS
Bradamante arrives on Alcina’s island
with Ruggiero’s former tutor, Melisso.
Bradamante has disguised herself as her
brother Ricciardo in order to infiltrate
Alcina’s kingdom. She and Melisso
possess a magic ring, which enables
the wearer to see through the mirage
of Alcina’s kingdom. With the help of
this ring, they plan to free Ruggiero and
release Alcina’s captives.
The first person they meet is the fairy,
Morgana. Barely human, and with
no understanding of true love, she
immediately abandons her own lover
Oronte for the handsome “Ricciardo”.
Morgana conveys the visitors to Alcina’s
court where Bradamante is dismayed
to discover Ruggiero is under Alcina’s
spell and in a state of amnesia about his
previous life. Bradamante and Melisso
rebuke Ruggiero for his desertion, but he
can think of no one but Alcina.
Meanwhile, the volcanic Oronte discovers
that Morgana has fallen in love with
“Ricciardo” and threatens to murder him.
14
Morgana stops the fight, but Oronte is in a
violent mood and takes it out on Ruggiero.
He tells the young man how Alcina
transforms her former lovers and adds
that, as far as he can tell, Alcina has fallen
in love with the newcomer, “Ricciardo”.
Ruggiero is horrified and accosts Alcina
with jealous fury.
Alcina calms Ruggiero, but Bradamante
is so upset to see her fiancé seduced
before her very eyes that she reveals her
true identity to Ruggiero. Melisso hastily
contradicts her and Ruggiero is left in a
state in which he no longer knows what is
real and what is a mirage.
Alcina plans to turn “Ricciardo” into a wild
beast in order to show Ruggiero that she
still loves him. Morgana warns “Ricciardo”
to escape the island and Alcina’s clutches,
but “he” says he prefers to stay, as he
loves another. Morgana believes this
“other person” is herself and the act
ends with her ravishingly seductive aria
“Tornami a Vagheggiar.”
Melisso recalls Ruggiero to reason and
duty by compelling him to wear the magic
ring. Under its influence, Ruggiero sees
the island as it really is – a mirage made
up of the souls of Alcina’s past lovers.
Appalled, Ruggiero admits that even
though he now knows the island and
Alcina are mere illusions, their beauty will
haunt him for the rest of his life.
Melisso warns Ruggiero that he can’t just
leave; Alcina still wields immense power
and he should cover his escape by telling
her he wishes to go hunting. Ruggiero
agrees, but he is so bewildered by the
magic and illusion surrounding him, he
refuses to believe his eyes when he at last
sees Bradamante as herself — believing
that she might be another of Alcina’s
illusions. Bradamante exits in despair.
After this, the opera finishes swiftly.
Morgana and Oronte rebuild their
relationship. She returns to him and
he reluctantly admits he still loves her.
Ruggiero returns to his proper heroic
status and sings the one martial aria of the
opera — accompanied by horns.
Bradamante and Ruggiero realize they
must destroy the source of Alcina’s
power — a magic orb which contains her
soul. Alcina pleads with them for mercy,
but Ruggiero is deaf to her appeals and
smashes the orb. As he does so, the souls
of her enslaved lovers are set free and in
the ensuing resurrection, Alcina and her
kingdom are destroyed.
Oronte realizes that “Ricciardo”, Melisso
and Ruggiero have formed an alliance and
Morgana and Alcina realize they are being
deceived. But it is too late. Alcina’s powers
depend on illusion, and, as true love enters
her life, her magic powers slip away. As
the act ends, Alcina tries to call up evil
spirits to stop Ruggiero from leaving her,
but her magic fails her.
15
Director’s Notes
“A short phrase concisely spoken and full of
meaning pierces the brain like a surgeon’s lancet.
— Jean Cocteau
Ever since Opera Atelier’s inception,
friends and colleagues have asked when
we planned to produce a major Handel
opera. As the years have passed, people
have become somewhat incredulous
that we have failed to mount an opera
by a composer whose name is so closely
associated with the baroque world.
There were a number of reasons for our
hesitation to commit to Handel, but the
quality of his music was certainly not
among them. Handel’s incomparable sense
of melody and his dance music in particular
have acted as a constant lure, but the
same could not be said initially for the
libretti of his operas. Simply put, Handel’s
librettists left me cold, particularly when I
compared them with the great playwrights
serving composers such as Monteverdi,
Charpentier, Lully or Mozart. In fact, the
very nature of Handel’s opera seria seemed
to be at variance with Opera Atelier’s
commitment to storytelling and great
descriptive narrative.
However, I had ample opportunity to
rethink my position on opera seria over
the eight weeks of rehearsal which I had
at the Salzburg Festival while staging
Mozart’s Lucio Silla. The year I spent in
preparation and the ensuing intensive
rehearsal period forced me to look more
closely at an art form which I now believe
I had too easily dismissed.
Alcina is introduced to us as a villain.
She inhabits a desert which itself is a
metaphor for her own being: a place
bereft of life; a place with no moral
compass. Her danger lies in her ability to
cast spells and create a mirage. Alcina’s
entire world is a chimera — the clouds,
trees, animals and water are all made up
of the souls of her discarded lovers.
Over time, I came to appreciate the power
that is inherent in opera seria’s formality
and its formulaic conventions and I
believe there is much to be said for a more
restricted vocabulary in the service of a
melodic line which is meant to trigger our
emotional impulses.
The knight Ruggiero finds himself ensnared
in this mirage, but it is his destiny to set
free the men who have been enslaved. In
so doing, he destroys Alcina and her world,
leaving us in the very ambiguous place
between contempt and pity, deformity and
beauty, revulsion and desire.
In short, there is no need to patronize the
past. Our goal is to find beauty within
traditions which the 20th century has often
wished to excise.
– Marshall Pynkoski
Choreogr apher’s Notes
Alcina, first performed in London (1735),
contains some of Handel’s most ravishing
music, expressly composed for the extensive
ballet sections. His choreographic muse
for this opera was the remarkable dancer/
choreographer, Marie Sallé. Dancing masters
who were commissioned to choreograph
operas usually were also engaged to dance
in these pieces — this is not in itself unusual.
Marie Sallé was unique in her day as a woman
undertaking these roles and she was also
extremely innovative in her creative output,
stressing expression over virtuosity. She was
a star in both London and Paris, and appeared
several times in Versailles. She was known
for the grace of her dancing as well as for the
expressivity of her choreography. Handel
collaborated with her on numerous occasions
and wrote his only ballet, Terpsichore, for her.
She was described thus by the famous choreographer Noverre:
“She danced with simple, touching grace;
free of any affectation, her expression was noble,
eloquent and spirited. Her sensuous dancing
displayed lightness and finesse; it was not by leaps
and antics that she touched the heart.”
Voltaire, in verses describing her, wrote:
“The Graces dance like her.”
The dances for this production of Alcina have
been choreographed as homage to this great
woman. Handel has provided plenty of inspiration
with his beautiful choruses (often choreographed
in his day) Minuets, Sarabandes, Entrées
for Dreams and of course the final brilliant
Tamburino for the freed captives.
– Jeannette Lajeunesse Zingg
CONDUCTOR'S Notes
On April 12, 1735, Handel held the first full rehearsal for his new opera Alcina at his own
house in London. As was common at the time, he invited friends and supporters to attend,
including Mrs. Mary Pendarves (later Delany), a perceptive and educated commentator
on many aspects of 18th-century English society, who wrote of the new work:
“I think it the best he ever made, but I have thought so of so
many, that I will not positively say ’tis the finest, but ’tis so
fine I have not words to describe it. Whilst Mr. Handel was
playing his part, I could not help thinking him a necromancer
in the midst of his own enchantments.”
Handel had good reason to make Alcina as
brilliant as possible. The years preceding
had been tumultuous ones, especially
financially, for this man of the theatre.
Handel’s famous high-handedness
and obstinacy had soured his relations
with many of the directors of the Royal
Academy (the company formed back
in 1720 to “secure a constant supply of
Operas to be composed by Handel, and
performed under his direction”), so much
so that many of them deserted Handel to
form the rival Opera of the Nobility. He had
similarly fallen out with some of the leading
star singers of the day (especially when he
imperiously insisted on their performing
his music the way he wished), and they too
were now working with the rival company.
Perhaps most telling of all, entertainments
in English, with lavish scenic effects,
dances and choruses, were increasingly
popular in London, and both companies
producing Italian opera were in serious
financial straits.
Handel’s lease on the Haymarket Theatre
expired in 1734, and the rival company
made sure he would not be able to renew
it. Indeed, as one newspaper report
suggested, some of Handel’s former
supporters hoped he might now “seek for
a retreat in his own Country”. But they
underestimated Handel’s resolve (and the
fact that he had recently become a British
subject). Instead, Handel turned to the
newly built Covent Garden theatre, where
there was a small resident chorus, facilities
for spectacular scenic effects, and a corps
de ballet, led by the renowned French
ballerina Marie Sallé.
All of these combined to turn Alcina into
Handel’s last great success with Italian
opera in London, and one can see why.
The setting of a magic opera, featuring
a sorceress on an enchanted island, not
only provided the perfect setting for
dance, chorus and scenic display, but
also inspired Handel to some of his most
sublime music. Aria after aria in the work
shows Handel’s inexhaustible lyric genius,
his ability to plumb the depths of varied
emotional states, and his understanding of
how to make opera into an ever-changing
kaleidoscope of delights. The choruses,
though few, are perfectly suited to the
atmosphere of outdoor enchantment which
suffuses the opera, and the dance music
is enchanting. (For many years in the early
20th century before the opera was revived,
the only music one could hear from Alcina
was a famous suite of dances played by
orchestras.) All in all, one has to agree with
Mrs. Delany: Handel is a magician.
– David Fallis
21
Set Design Notes
The sorceress Alcina has been floating around
for a long time now.
Marshall and I have talked for years
about producing Handel’s “magic opera”
and each time we approached it we
stepped back, unsure of how to tackle
the scenic transformations so necessary
to the telling of this story based on
Ariosto’s great Crusades-inspired poem
“Orlando Furioso”. It was only after a
chance viewing of a brilliant ballet film by
Toronto’s Krystal Levy Pictures that we
began to think about the possibilities of
22
video projection and our doubts about
producing this opera vanished.
I admit to having a moment when I
wondered how we might justify using
modern computer technology in a “period”
opera production until I recalled that
within Handel’s own lifetime, designers
and directors were already experimenting
with magic lantern effects on stage.
Phantasmagoria shows featured the
projection of images from painted glass
Alcina’s world is a mirage, a landscape
consisting of the captive souls of her lovers
transformed into rocks, trees, waves,
architecture or even wild beasts. For
me the dream-like quality of this world
instantly brought to mind the work of
surrealist painters like Dali, Magritte and
de Chirico and they became the guiding
spirits of the designs. My challenge was
to create settings that would incorporate
the hidden figures of Alcina’s prisoners
and the challenge for the filmmakers was
to integrate the projected film of these
prisoners into the painted sets in a way that
was seamless and theatrical.
the Opera Atelier office
slides onto walls, gauze screens or even
smoke (impresario and actor David Garrick
famously conjured Hamlet’s father’s ghost
with a smoke projection). By the late
18th century animation was invented and
audiences gasped as projected figures
climbed out of coffins, morphed into
mythical beasts or burst into flame before
their eyes. Video projection now seemed
only one small step away.
Together with director Ben Shirinian and his
team at KLP we devised a plan whereby we
could reveal the figures using green-screen
technology. The designs were digitized and
a film shoot was scheduled. Over a thrilling
twelve-hour day we filmed Opera Atelier
dancers as sand dunes, pillars, rocks, the
moon and a waterfall, and then watched
as they were instantly incorporated into
the set on the computer screen in front of
us. An important part of maintaining the
integrity of the design was insisting that
all the imagery in the video (except the
figures) was consistent with the painted
scenery on stage and for me that meant
becoming an animator, rendering moving
clouds, a ship passing over the ocean and
even an fiery explosion carefully painted
frame by frame.
Unexpectedly, venturing into this new
technology led not away from the baroque
but right into the heart of it. Designers of
the 17th and 18th century were the great
innovators of the theatre, inventing scenic
techniques that have changed little over the
centuries and planting the seed for the one
you will witness onstage tonight.
– Ger ard Gauci
23
JOIN OPER A ATELIER FOR AN
UNFORGETTABLE
ADVENTURE
Having produced Mozart’s Lucio Silla to rave reviews
at the Salzburg Festival in summer 2013,
Opera Atelier’s founding Co-Artistic
Directors Marshall Pynkoski and
Jeannette Lajeunesse Zingg have
been invited to Milan, Italy to
perform at Teatro alla Scala in
February 2015.
Rolando Villazón and Eva Liebau in Lucio Silla. Photo by Matthias Baus, 2013.
Opera Atelier is organizing a special VIP patron tour for those
who wish to join us for this unforgettable experience.
Highlights of the La Scala Patron Tour:
• Visit La Scala Museum and tour the opera house;
• Leonardo da Vinci themed afternoon with a visit to The Last Supper at the Church of
Santa Maria delle Grazie and Pinacoteca Ambrosiana;
• Out of town visits to either Bergamo or Turin;
• Sightseeing adventures to museums and neighbourhoods such as Galleria d’Arte
Moderna, Museo Poldi Pezzoli, Villa Necchi Campiglio or Pinacoteca di Brera.
“THE OPER A WORLD’S EQUIVALENT OF WINNING
AN OSCAR, TONY, EMMY AND GR AMMY —
ALL AT THE SAME TIME.” – Richard Ouzounian, The Toronto Star
Contact Dan Hickey, Director of Development,
at 416.703.3767 x226 for information.
Education and Outreach
For over 25 years, Opera Atelier has
demonstrated its commitment to artist
and youth training, which has grown
to include all aspects of performance.
The School of Atelier Ballet (SAB) offers classes
led by professional dancers in a caring, creative
atmosphere year-round, six days a week.
Instruction in ballet, modern dance and historical
dance is affordable and enjoyable for both aspiring
professionals and recreational dancers. SAB also
provides an intensive summer program in which
students study various forms of dance. Students
from the SAB also participate in various outreach
performances throughout the year across the
city of Toronto through the Dance Through Time
program, which traces the history of dance from
the Renaissance right through to the Romantic era
(15th to 19th centuries), and provides educational
and entertaining commentary that puts each
dance in a historical context.
Opera Atelier’s Making of an Opera (MOAO)
has influenced hundreds of teachers and
thousands of students across the GTA over the
last 15 years. Designed for high school students,
workshops and demonstrations include historical
perspectives, set and costume design, wigs and
makeup, careers in the arts, music, dance and
stage fighting. This informative and hands-on
learning experience culminates in attendance at a
dress rehearsal performance.
26
School of
Atelier Ballet.
Jeannette Lajeunesse Zingg
leading students in Baroque dance.
OA’s numerous outreach performances and
workshops give opera-lovers of all ages the
opportunity to hear, learn about, and discuss all
aspects of the production with guest soloists and
members of the Opera Atelier creative team.
Each evening during our productions, we also
offer interesting and informative pre-performance
chats. Pre-performance chats are held 45 minutes
before each performance on the lower level at
the Elgin Lounge, where speakers will discuss the
production and answer audience questions.
For more information on our education and
outreach programs please visit operaatelier.com.
Marshall Pynkoski, Christopher Bagan,
and tenor Christopher Enns.
Opera Atelier is pleased to announce the launch of the
Period Performance Lab artist training program.
Opera Atelier’s Period Performance Lab will take
place twice a year for all singers and dancers
involved in Opera Atelier productions. Thanks
to the ongoing support from the Hal Jackman
Foundation, Opera Atelier’s Period Performance
Lab will allow us to continue to train Canadian
artists in repertoire and techniques they would
never otherwise encounter, and our singers
and dancers will be challenged to broaden their
technique in new ways.
Future sessions will be open to a select number
of young opera and ballet professionals, who will
be invited to attend and audit sessions with our
main stage cast and to work first-hand with Opera
Photos by Claire Lucht 2014.
Atelier’s artistic team. Each Opera Atelier Period
Performance Lab will conclude with an open
rehearsal offered to the public* free-of-charge.
There is no other opera or ballet company in
Canada that provides such in-depth preparation
for virtually every piece of repertoire. Opera
Atelier’s Period Performance Lab will ensure the
continuation of this invaluable training opportunity
for Canadian singers and dancers.
Period Performance Lab
Sponsor:
*limited seating, first come first serve only.
27
Corpor ate & Foundation Supporters
14-15 Season Presenting Sponsor
Season Underwriter
Production Sponsor: Alcina
Operatix Sponsor
2014 Versailles Gala Presenting Sponsor
Young Artist Development Sponsor
Making of an Opera Sponsor
Student Access Program Sponsor
Surtitles Sponsor
Making of an Opera Sponsor
Period Performance Lab Sponsor
TM
Pre-Performance Lecture Series Sponsor
Cosmetics Sponsor
Archives and Storage Sponsor
Production Partner
Lounge Décor Sponsor
Media Sponsor
SF_businessCard_CMYKt.indd 1
12-04-21 10:48 AM
an Ontario government agency
un organisme du gouvernement de l’Ontario
28
Corpor ate & Foundation Supporters
Artist Travel Sponsor
The Mary-Margaret Webb Foundation
Choreography Sponsor
The Hal Jackman Foundation
Production Partners
The Sharp Foundation
Corporate Donors
Adams Design Ltd.
Power Corporation of Canada
Staff Your Event
St. Lawrence Market Complex
at the St. Lawrence Hall
Education Supporters
J.P. Bickell Foundation
The McLean Foundation
Foundation Support
The Bennett Family Foundation
The Dalglish Family Foundation
The Patrick Hodgson Family Foundation
Keith Foundation at the
Strategic Charitable Giving Foundation
Barrie D. Rose and Family
Judith Teller Foundation
Twigge-Molecey Family Foundation
on behalf of Benefaction
Piano Sponsor
Robert Lowrey Piano Inc.
Beverage Sponsor
Second Cup, Jarvis and King
As a Friend of Opera Atelier, you play a
crucial role in the ongoing vitality of the
company. Ticket sales cover less than
one third of our costs and we rely on
donations to train Canadian singers and
dancers, visit public schools with our
free education programs and, of course,
present exquisite ballet and opera to
thousands of music lovers every year.
The company of Armide takes a bow in Versailles (2012).
Photo by Bruce Zinger.
Our donors are the lifeblood of our
company. We simply cannot do what
we do best without the generosity of
these extraordinary individuals. For more
information on the Friends of Opera
Atelier or the Baroque Court, or to make
a gift towards the work of Opera Atelier,
please email [email protected]
or call 416.703.3767 x226.
29
Michael Wekerle’s support of
Opera Atelier is truly outstanding.
From everyone at Opera Atelier,
THANK YOU!
Meghan Lindsay (Venus) and Artists of Atelier Ballet. Photo by Bruce Zinger.
Individual Giving
All donor lists as of October 3, 2014
Opera Atelier’s work is generously supported by loyal and dedicated patrons who share our passion and enthusiasm for
period productions of opera and ballet. We are deeply appreciative of their commitment to our vision. For information on
the Baroque Court or Friends programs, or to make a gift to Opera Atelier, please call Dan Hickey at 416.703.3767 x226.
ARTIST SPONSORS
Marshall Pynkoski Co-Artistic
Director and Educator generously
sponsored by Jerry & Joan Lozinski.
Artists of Atelier Ballet generously
sponsored by Vivian Elizabeth Pilar.
Krešimir Špicer generously
sponsored by Vivian Elizabeth Pilar.
Tafelmusik Orchestra generously
sponsored by Brayton Polka.
Allyson McHardy generously
sponsored by the Patrick Hodgson
Family Foundation.
Wallis Giunta generously
sponsored by Katalin Schäfer.
Olivier LaQuerre generously
sponsored by
Sharon and Ken Giffen.
Meghan Lindsay generously
sponsored by Tom Logan.
Mireille Asselin generously
sponsored by Marcia Lewis Brown.
THE SUN KING ($200,000)
Mr. Michael A. Wekerle
SUN KING ($20,000+)
Mr. David Broadhurst *
Al & Jane Forest *
The Patrick Hodgson
Family Foundation
Mr. & Mrs. William Lambert ***
Mr. Thomas Logan **
Mr. & Mrs. Jerry & Joan Lozinski **
Vivian Elizabeth Pilar ***
Mr. Brayton Polka *
Ms Katalin Schäfer
VICEROY ($10,000 – $19,999)
Mr. & Mrs. Robert & Cecily Bradshaw
Mr. Greig S. Dunn &
Mr. Robert Maclennan ***
Mr. & Mrs. Ken & Sharon Giffen
David Green, Daphne Wagner,
Lita & Mikey Green,
Youth Education
and Outreach Supporters
Ms Heather Sable
Anonymous
Mr. James Stonehouse **
Ms Ingrid Tanner *
IMPRESARIOS ($2,500 – $4,999)
United Way of Greater Toronto
Walter M. & Lisa Balfour Bowen ****
Ms Anne Baumann *
Dr. Thomas Beechy ***
Ms Alberta G. Cefis ***
Ms Susan Friedman & Dr. Ed Brown **
Mr. David Fallis & Ms Alison Mackay
Ms Elda Fares
Mary & Bryan Graham
Robert Glover & Martha McOuat
Keith Lam
Mr. & Mrs. Jeffrey & Lynn Lang
Arif & Hazel Manuel *
Ms Suzanne McCuaig
Mr. & Mrs. Robert & Susan Mathia
Mr. Roger D. Moore ****
Peter M. Partridge ****
Mr. & Mrs. John R. & Maire Percy *
Dr. Jolie Ringash & Dr.Glen Bandiera
PATRON ($1,500 – $2,499)
Patricia & Sheldon Barretto
Ms Moira Bartram *
Ms Lori Bianchini
Dr. David and Constance Briant *
Mr. J. Harold Buttle
Mr. John Clifford *
Mr. & Mrs. Stephen & Linda Cook ***
Dean Artists
Vreni & Marc Ducommun
Ms Catherine Dunne
Ms Jean Edwards
Mr. Thomas Evans **
Rev. Brian D. Freeland ****
Tyler Gledhil
Mr. Edward Brian Grainger
Dan Hickey & Lisa Vanderlip
Mr. & Mrs. Peter & Hélène Hunt *
Ron Lalonde & Jane Humphreys *
Ms Joanna Tanner *
Bill & Catherine Graham ***
John & Judith Grant ***
Anna L. Guthrie ***
Gordon & Pamela Henderson *
Thomas Keirstead & Deidre Lynch *
Ms Connie Leon
Mr. John MacKinlay *
Tim and Frances Price **
Marshall Pynkoski &
Jeannette Lajeunesse Zingg
Mr. Bruce Zinger ***
MARQUIS ($5,000 – $9,999)
Diane Blake & Stephen Smith **
Marcia Lewis Brown
Eric Dingman
Mr. Phillip Khaiat &
Ms Carolynne Hallitt,
Youth Education
and Outreach Supporters ***
Ms Johanna Metcalf **
Rick & Virginia Walker *
Mr. Jack Whiteside **
Mr. & Mrs. Nick Zelenczuk ***
Anonymous, Youth Education
and Outreach Supporters ****
William & Hiroko Keith ****
Ms Gabriella King
The Honourable Margaret McCain *
Mr. Stephen Moranis &
Dr. Monica Caverson
Ms Sheila Phillips **
Mr. Charles Edward Rathe
Mr. & Mrs. Ian & Annie Sale *
Chris Stalzer
S.K. Upjohn ***
Mr. Cornelis Van de Graaf
Nicole Vermond & Andre Langevin *
Ms Jane Yacobazzo
Frances M. Wells (in memoriam)
Ms Diana Wiley *
Ms Linda Young *
*
**
***
****
five to nine years of support
10 to 14 years of support
15 to 19 years of support
20 or more years of support
31
Individual Giving(continued)
MAESTRO ($1,000 - $1,499)
C. Bergeron
Mr. J Douglas Bodley
In Honour of Anna Guthrie
& in Memory of Shirley Wigmore.
From Lis Wigmore & Chris Guthrie
Mr. Robin & Dr. Ruth Heisey *
Richard Isaac and Brian Sambourne *
Mr. Kazik Jedrzejczak ***
Ms Karen Walker
Mr. Arnost Kolin
Mr. John B. Lawson ***
Ms Anne MacKay *
Mrs. Patti McFarlane *
Mary Jane Mossman &
Brian Bucknall *
Kate & David Parker
Ms Georgina Schwartz
Ms Cynthia Smithers
Mr. Frank Whittaker **
Anonymous
SOLOIST ($600 – $999)
Mr. Stephen Bishop *
Ms Wendy Brodkin
Tim & Carole Dilworth **
Alice Fox **
Mr. Donald Grant *
Prof. Michiel Horn ****
Elaine Ishibashi & Keith Smithers ***
Mr. John Kerr ***
Mr. Peter J. Lewis
Mr. Eric Lipka *
Mr. Anthony Lisanti ***
Mr. James Milligan *
Dr. Emilie Newell *
Ms Mary O'Donoghue *
Andrew Kropinski & Peggy Pritchard *
Valerie Schweitzer &
Christopher Reed ***
Ms Leslie Rennie *
Ms Irmgard Rosinowski
Mr. Ross Tilley
Ms Ruth Vernon *
Kori Williams & Megan Roach
Jean and Jim Wilson
Mr. John Wright
ENSEMBLE ($300 – $599)
Urve & Lewis Abbott
Ms Anna Aksan *
Mr. Anton Bakalic **
Mr. Richard Balfour *
Mr. Bruce Barnett-Cowen **
Ms Sara Blake ***
Ms Louisa Bloomfield **
Ms Marta Braun &
Mr. Edward Epstein
Mr. David Brierley
Ms Angela Bhutani
32
Don Middleton and Clayton Wilson *
Mr. Douglas Clemence
Ms Susan Costello *
Mr. Bram Costin *
Ms Sheila Croft *
Mrs. Jeanie Davis
Ms Carol Derk *
Susan Done & Sean Mace *
Mr. Elan Dresher *
Patricia A. Elliot **
Mr. Thomas Flemming **
Ms Kathleen Fraser **
Mr. Mark Garner *
Mr. Joseph Gerrath *
Mr. Mark Golding **
Diana Goldsborough *
Ms Marion Green
Ms Sherry Hatton *
Mr. Tom Higgins *
Dr. & Mrs. D. Theo Hofmann ****
CR Hunter *
Cathy Hutchinson *
Dr. Elaine Keillor **
Karen Kitchen *
Spencer Lanthier & Diana Bennett
Ms Sheila Lathe
Alan Lee & Norbert Beilstein
Janet Macdonald **
Meg Shatilla & Myles MacDonald *
Mr. & Mrs. Douglas Mackintosh
Donald & Sema MacLellan
Geoffrey & Jill Matus *
Mr. Dipak Mazumdar *
Mr. Antonio Gambini &
Dr. Stephen McQuade
Dr. Ulrich Menzefricke
Mr. Peter Merkle
Frank & Patricia Mills **
Mr. Trini Mitra
Mr. Craig Morash *
Ms Marilyn Nairn *
Ms Jennifer Nichols
Mr. & Mrs. Edward Northwood *
David & Bernadette Palmer
Mrs. Margaret Ann Pattison
Ms Anne Perdue **
Mr. Stephen Phillips **
Ann & Gary Posen **
Mr. Wyley Powell *
Lisa Richter Davey & Michael Davey *
Lesley & Mark Robinson *
Mr. & Mrs. Aser Rothstein
Wendy Sanford **
Mr. David Scott *
Ms Marianne Seger *
Rhonda Shirreff
Sylvia Soyka *
Ms Patricia Stone ****
Mr. William Thompson
Ms Norene Turvolgyi *
Ms Armeda Vanderwoude *
Alison von Criegern
Ms Marianne Weil ***
Ms Mary Williamson *
Ms Margarete Wolfram *
Mr. Dale Woolridge
Lei Xu
Meg & Jim Young *
Mr. Martin Young *
Anonymous (4)
CORPS ($125 - $299)
United Way of Greater Toronto
Canada Helps
Ms Margaret Ackerman *
Ms Elvi Aer
Mr. Howard Aitken
Ms Nancy Allen
Dr. & Mrs. Arthur Ameis *
Mr. Gordon Anderson
Ms Gerda Anderson *
Mr. Richard Archbold *
Craig Arthurs *
Ms Marlene Auspitz
Mr. John Bailey *
Mr. & Mrs. Jonathan &
Diane Bamberger *
Mr. Greg Barber *
Mr. Donald Barr ***
Ms Rosemary Barton *
In Honour of Joan & Jerry Lozinski
Mr. Ronald Bayne ***
Dr. Henry A. Becker ***
Linda & Chris Bell
Mr. Gabriel Bensusan *
Mr. Gyuszi Berki
Mr. Michael Beswick ***
Ms Janet Blakely-Bowe
Ms Susan Booker *
Dr. Louise Bourgault
Mr. Jimmy Brennan
Ms Margaret Brock ****
Richard Bull & Bryan Pipe ***
Mr. Blair Caines *
Ms Pamela Cameron *
Mr. Robert Cameron *
Mr. Manuel Cappel *
Mr. & Mrs. Brian & Ellen Carr **
Ms Lucy Carter
Ms Rosanna Cavallaro
Mrs. L. S. Cheung-White **
Mr. Robert Clark
Ms Nancy Conn *
Morley Bedford Funderal Service Ltd.
Mr. William Crisell ***
Mr. & Mrs. Douglas G. Crowe ***
Ms Anne Crowley *
Ms Shelley Cull **
Norman Curtis *
Ms Deanna Cyr ***
Mr. George Dalton **
Kate Danter **
Ms Geraldine Dasgupta *
Ms Shirley Dawe
Neal den Hollander *
Mr. Michel Desormeaux *
Ms Serena Dessen **
Mr. Steven D. Donohoe *
Ms Carol Dorman *
Mrs. Janette Doupe **
Mr. Richard Earls ***
Mr. Christopher Edwards
Ms Sue Edworthy *
Ms Nancy Embry
Ms Kathleen Engberg
Dr. Paul Finnegan *
Mrs. Beatrice Fischer
Ms Jennifer Flower *
Mr. Alexander Frirdich **
Dr. Peter Froud
Mr. Eric Gam
Dr. Brian Gamble *
Mrs. Mary Gauci **
Mr. Roberts Hair Design
Hugh Gayler
Tove Geertsen
Ms Ann Gibson **
Mr. & Mrs. Bernard & Ruth Gillespie **
Ms Margarita Gitev
Mr. Alexander Globe *
Dr. Fay Goldstep &
Dr. George Freedman **
Mr. William A. Goodfellow *
Mr. Laurent Goulet *
Sherrill & Colin Graham **
Charlotte Graham *
Thomas Green **
Mr. & Mrs. Chester & Camilla Gryski *
Mr. & Mrs. George Haag **
Mrs. Barbara Habib ***
Ms Brenda Hamer
Mr. Jim Hamilton
Mr. William Hanley *
Kenneth & Patricia Hanson *
Mr. David Harquail &
Dr. Birgitta Sigfridsson *
Ms Rhoda Hassmann &
Mr. Peter McCabe *
Ms Angelika Heath
Mr. D. Herbert Heine
Edward & Jane Heinemann ***
Ms Linda Heino
Janet & Alan Heisey
Mr. Bram Herlich ***
Ms Pauline Hill
Mr. Brian Hillis
Peter and Verity Hobbs **
Mr. Arthur Hollbach *
Ms Janet Holt *
Mr. Andrew Horberry
Sandy & Naomi Horodezky ****
Liz Inman *
Robert L. Iveson ****
Mr. Brian Ivey
Dr. Anthony Jenkins *
Mary Jessup
Ms Elisabeth Jocz
Quentin & Susan Johnson ***
Mr. & Mrs. Derek Jordan *
Mr. James C. Murphy
Don & Francie Kendal **
Mr. Babulal Khandor
Victor Kindred
Ms Kathryn A. Knight
Ms Susan Knight *
Ms Ingeborg Koch ****
Mr. Gerald Kors **
Mr. Anton Kuerti
Mr. James Kurliak
Mr. Dan Kushnir **
Mr. Michael Lake *
Ms Anne-Louise Lanteigne
Tina Leslie *
Mr. Jason Lewis
Dr. & Ms Stan & Elizabeth Litch
Mr. & Ms Douglas Loucks &
Kathy Christie
Ms Mary Low *
Mr. M. Burton MacDiarmid
Ms Susanne Mackowiak
Mr. Graham Major *
Ms Barbara Makuch
Mr. & Ms Nick & Eva Mandrapilias *
Mr. Peter Manson *
Mr. Bruce Margles
Bogdan Marinescu
Ms Ann Martin *
Ms Racheal McCaig
Ms Susan McCawley *
Ms Jan McCrae
Peter & Rosemary Meier
Dr. Tatiana Melynk
Mr. & Ms Jack E. C. Miller **
Ms Helen Milton *
Mr. Carl Morey ***
Mr. Terry Morrison &
Mr. Michael Page *
Ms Margaret Moule *
Edmund M. Murphy
David & Mary Neelands **
Dr. & Mrs. Ron & Sharon Nickle *
Ms Tenny Nigoghossian
Mr. Christopher O'Brien
Dr. Darrell Ogilvie-Harris *
Marilyn Palmer
Terrence Paris
Mr. Douglas Parker *
Mr. Eric Parker
Ed Parkins *
Mr. Richard Parkinson
Ms Katherine Paterson *
David and Mary Ann Pearson *
Ms Marjorie Pepper
Ms Marie Perrotta
Ms Helje Porre ***
Mr. Dave Powers **
Steve & Zora Pozgaj *
Ms Clare Prendergast
Ms Barbara Priscus *
Mrs. Olga Pugliese
David J. Purcell *
Marshall Pynkoski &
Jeannette Lajeunesse Zingg *
Mr. Terence Reid *
Mr. Conrad Reifel
Ms Marina Romain *
Ms Janet Rubinoff *
Mr. & Mrs. Rubisov *
Erwin & Erika Rummel
Dr. Inda Sabatini ***
Mr. Khachik Sarkissian
Ms Colleen Sexsmith *
Ms Nan Shepherd *
Mr. Clark Sid
Maggie Siggins & Gerald Sperling
Ms Judy Skinner *
Hume & Judy Smith *
Mrs. Juanita Smith *
Ms Rosamunde Sobryan
In Memory of Myron Sochaniwsky
William Solomon *
Ms G. Pamela Soodeen ***
Wendy Southall
Michael & Margaret Spence **
Rosemary & David Spendlove
Mrs. Mary-Clare Spracklin
David & Darlene Stafford *
Ken Stephen *
Mr. Frank & Mrs. Ellen Strittmatter *
Mr. Leonard Surges
Ronald Taber *
Ms Carole Tanenbaum
Mrs. Carol C. Theoret-Douglas
David & Diana Trent ***
Mr. Michael Treuman *
Mr. Stephen van Beck
Ms Irene Van Cauwenberghe
Ms Gisela van Steen *
Dr. Gail Vanstone *
Mr. David & Mrs. Agnes
Basskin-Vermes *
Mr. Steven Vieira
Dr. Sandor Vigh
Mr. Peter Voore *
Mr. Robert Wakefield **
Ms Nancy Walden *
Sylvia Watson
Ms Laurie White **
Dr. Blossom Wigdor ***
Dr. & Mrs. David & Shelagh Williams
Ms Dorte Windmuller *
Ms Jane Witherspoon
Mr. Perry Wong **
Ms Lilly Wong *
Mr. Morden Yolles ***
Ms Cynthia Young & Mr. David Allan *
Dr. Zobeidah Youssef ****
Anonymous (7)
*
**
***
****
five to nine years of support
10 to 14 years of support
15 to 19 years of support
20 or more years of support
Despite our efforts to avoid errors and
omissions, mistakes can occur. If your
name was omitted, listed incorrectly
or misspelled, we apologize for any
inconvenience this may have caused. We
would appreciate being notified of any
errors at 416.703.3767 x228.
33
Royal Opera House of Versailles (2012). Photo by Bruce Zinger.
With sincere gr atitude,
we salute
Jerry & Joan Lozinski
for supporting Marshall Pynkoski
as Co-Artistic Director.
Marshall is actively involved in arts education programs here and within
the community, and the Lozinskis are proud to support his work.
Opera Atelier would also like to acknowledge Jerry & Joan’s
commitment to us over the next four years. Their pledge will help
solidify a bright and exciting future for Opera Atelier.
THANK YOU!
ONE NATION
UNDER THE ARTS
RBC Capital Markets
is proud to support
Opera Atelier.
Proud supporter of
Opera Atelier
and proudly Canadian.
rbccm.com
® Registered trademark of Royal Bank of Canada. Used under license.
© Copyright 2014. All rights reserved.
Proud to support
Operatix.
We are working together
with Opera Atelier to
make a difference in
our communities.
M04198 (0610)
35
With sincere gr atitude,
we salute
Vivian Elizabeth Pilar
for her generosity and dedication to
Oper a Atelier.
In addition to her long-standing and continuing sponsorship
of the Artists of Atelier Ballet, Vivian is also an artist sponsor and
helped bring Krešimir Špicer to the stage in the role of Oronte.
THANK YOU!
Artists of Atelier Ballet in Persée (2004). Photo by Bruce Zinger.
Enriching
communities
For the last 10 years, we’ve been proud to support
Opera Atelier in its vision to deliver one-of-a-kind
arts programs to enrich our communities.
For more information on us, visit
www.pwc.com/ca
© 2014 PricewaterhouseCoopers LLP, an Ontario limited liability partnership. All rights reserved. 3918-07 0914
3918-07 PwC Opera Atelier Persee HALFPAGE.indd 1
2014-09-16 1:40 PM
Opera Atelier applauds
Opera Atelier applauds
Sharon & Ken
Giffen
Tom Logan
for sponsoring Olivier LaQuerre
as Melisso
Olivier LaQuerre as Medusa (2013).
Photo by Bruce Zinger.
for sponsoring Meghan Lindsay
as Alcina
Meghan Lindsay in Der Freischütz (2012).
Photo by Bruce Zinger.
37
Oper a Atelier applauds
Br ayton Polk a
for supporting our partnership
with the critically acclaimed
Tafelmusik Baroque Orchestr a.
Thank you for becoming our official Orchestr a Sponsor!
The company of The Magic Flute and Tafelmusik Baroque Orchestra. Photo by Bruce Zinger.
Building a
Bright Future, together.
Scotiabank is proud to be a Production Sponsor for Opera Atelier
We’re bringing together the passion of our employees, the insight of our partners
and the spirit of our communities. Through the Scotiabank Bright Future program,
our global charitable efforts are aimed at being actively responsive to the needs of local
communities, at a grassroots level.
Help out, follow, or apply for funding at scotiabank.com/brightfuture
Together, we can build a bright future for everyone.
38
Opera Atelier applauds
Opera Atelier applauds the
K atalin Schäfer
Patrick Hodgson
Family Foundation
for sponsoring Wallis Giunta
as Bradamante
for sponsoring
Allyson McHardy
as Ruggiero
Wallis Giunta in The Marriage of Figaro (2010).
Photo by Bruce Zinger.
MESSIAH
@ KOERNER HALL
SELLS
OUT
EVERY
YEAR!
IVARS TAURINS
DIRECTOR
LYDIA TEUSCHER
SOPRANO
JULIE BOULIANNE
MEZZO-SOPRANO
Toronto’s Hallelujah event!
HANDEL MESSIAH
Dec 17-20 at 7:30 416.408.0208
COLIN BALZER
TENOR
BRETT POLEGATO
BARITONE
ALSO: SING-ALONG MESSIAH
at Massey Hall Dec 21 at 2pm
416.872.4255
SEASON PRESENTING SPONSOR
& MESSIAH CONCERTS SPONSOR
Baroque Orchestra and Chamber Choir
tafelmusik.org
39
OPER A ATELIER volunteers and interns
Gala Assistant Management Team
Rebecca Caswell
Jon Manzana
Ryan Moilliet
Jim Reid
Mark Wood Soloman
Pablo Trinidade
Evita Trembley
Opera Atelier Volunteers
Esther Byun
Albert Calzaretto
George Calzaretto
Lauren Cheng
Priscilla Chong
Adanya Dunn
Greig S. Dunn
Sandra Gopaul
Elisa Mendoza-Gilabert
Monique Guibert
Anna L. Guthrie
Jocelyn Hamilton
Aaron Huntly
Izumi Ishikawa
Jemma Israelson
Meena Jagait
Renata Janiszewski
Mufei Jiang
Rayna Jolley
Al Kula
Susi Kula
Theresa Lau
Erica Leung
Hannah Loo
Amanda Joy Lim
Joanna Liu
Cynthia Lovat-Fraser
Vina Ly
Brian Malcolm
Olivia Marshman
Elana Mlotek
Nafisa Murji
Magda Nusink
Jane Park
Sangjoon Park
Elaina Pawelka
Meher Pavri
Teresa Pinto
Lena Polyvyannaya
Mayeda Quadir
Semra Salkok
Terence Tam
Lara Thompson
Heather Vogan
Lisa Weber
Liz Wilson
Sayaka Y-Perry
DARE TO DREAM
NATIONAL AUDITION TOUR
BEGINS NOVEMBER 3, 2014
PRESENTING SPONSOR
Making the Arts
More Accessible®
WWW.NBS-ENB.CA
an Ontario government agency
un organisme du gouvernement de l’Ontario
40
Opera Atelier applauds
Marcia Lewis
Brown
for sponsoring Mireille Asselin
as Morgana
Wednesday, May 20, 2015
The Four Seasons Hotel Toronto
60 Yorkville Avenue
Mireille Asselin in Persée (2014).
Photo by Bruce Zinger.
The Elgin And Winter Garden Theatre Centre
189 YONGE STREET
TORONTO, ON M5B 1M4
General Manager
Brett Randall
Marketing and
Communications Manager
Ellen Flowers
Administrative Assistant
Elena Polyvyannaya
Production Manager
Dana Johnston
Front Of House Manager
Lori MacLean
House Manager
Kelly Mudie
Usher Supervisors
Bryce Dudley, Nic Labriola
Arnie Lappin, Randy Pierce,
Jason Singh, David Tomlinson
(416) 314-2901
www.heritagetrust.on.ca/ewg
Manager, Bookings And Events
Kevin Harris
Box Office Manager
Sasha Miszczyk
Box Office Staff
Cecilia Aguilera
Patrick Crowther
Operations Manager
Derek Dresser
Operations Staff
John Kolesnyk
Jeff Snow
Marc Washington
Production and
Operations Assistant
Grant Hawkins
Box office services
provided by Ticketmaster.
I.A.T.S.E. DEPT. HEADS – Local 58
Head Carpenter
Jim Nutt
Head Electrician
Lars Tilander
Head of Properties
Mark Fisher
Head of Sound
Aaron Hanna
ONTARIO HERITAGE TRUST
Chairman
Thomas H. B. Symons
Chief Executive Officer
Beth Hanna
Director, Heritage Programs
and Operations
Sean Fraser
Acting Director, Corporate
Businesses and Services
Paul Dempsey
The Elgin and Winter Garden Theatre Centre is owned
and operated by the Ontario Heritage Trust (OHT),
a not-for-profit agency of the Ontario Ministry of
Tourism, Sport and Culture. The OHT is dedicated
to preserving, protecting and promoting Ontario’s
diverse heritage. The OHT is financially supported,
in part, through generous corporate sponsors and
private donors.
ELGIN AND WINTER GARDEN VOLUNTEERS
The OHT is grateful to the hundreds of volunteers who
donate their time and efforts to the promotion and
preservation of the theatres. Volunteers are involved in
guided tours, events and special programs. Consider
volunteering your time call (416) 314-2873.
Please Note: Latecomers may not be admitted until
a suitable break in the performance and only at the
discretion of management. The use of cameras,
recording equipment, radios or any playback
devices is not permitted in the theatres. Patrons are
asked to ensure that watch alarms and cell phones
do not sound during the performance. No food or
beverage, with the exception of water, is permitted
in the theatres. Smoking is not permitted in the
Theatre Centre.
Hearing Enhancement: The Elgin and Winter
Garden Theatre Centre is equipped with a hearing
enhancement system. Please ask the usher staff
for assistance.
Lost and Found Articles: Call (416) 314-2885 and
leave a message with your name, telephone number
and article description.
Public Tours: Guided tours of the Centre take
place Thursday afternoons at 5 p.m. and Saturday
mornings at 11 a.m. No reservation is required and
tickets can be purchased 30 minutes prior to the
tour in the lobby. Admission is $12 for adults, $10 for
students and seniors. Group tours are available by
special arrangement, call (416) 314-2871 for more
information.
42
Special Thanks!
All the staff at The Elgin
& Winter Garden Theatres
John MacKinlay
Alex Eddington
Anne-Marie Mediwake
Nada Ristich,
BMO Financial Group
Mendl & Zev Schwartz,
Incredible Printing
Alberta Cefis
Anna Guthrie
Connie Leon
Diane Kazarian
Lary Willows, Staff Your Event
Robert & Cecily Bradshaw
St. Lawrence Hall
Holly Coish
Oper a AtelieR board & Staff
FOUNDING DIRECTORS
Co-Artistic Director
Marshall Pynkoski
Co-Artistic Director
Jeannette Lajeunesse Zingg
ADMINISTRATIVE STAFF
Executive Director
Patricia Barretto
Director of Development
Dan Hickey
Director of Finance
& Administration
Trini Mitra
Production Manager
Evelyn Campbell
PRODUCTION STAFF
Resident Music Director
David Fallis
Apprentice Stage Manager
Georgia Priestley-Brown
Assistant Conductor
Ben Cruchley
Repetiteurs
Christopher Bagan
James Bourne
Assistant Lighting Designer
Nic Vincent
Film Production Company
Krystal Levy Pictures
Film Producer
Leslie Aimée Gottlieb
Director of Photography
Jeremy Benning, csc
BOARD OF DIRECTORS
President and Chair
Bryan Graham, FCA
Treasurer
Sharon Giffen
Anne Baumann
Eric Dingman
Elda Fares
Gordon Henderson
Senior Manager of
Communications & Education
Bronwen Bradley
Audience Services Coordinator
Holly Coish
Development Coordinator
Monica Calzaretto
Development & Marketing
Coordinator
Kirsten Hering
Compositor, Animator
JR Reid
Video Coordinator
Raha Javanfar
Head of Wardrobe
Michael Legouffe
Costume Builders
Ruth Bartle
Terri Dans
Margaret Lamb
Scenery Construction
Hamilton Scenic
McWood
Scenic Drop Studios
Richard Mongait
Elizabeth Bailey
Paul Boddum
Gabriella King
Jan Lambert
John MacKinlay
Robert Mathia
Steven Rosenhek
James Stonehouse
Diana Wiley
Jane Yacobazzo
Bruce Zinger
Production Assistant
William H. Zachary Bruman
Resident Photographer
Bruce Zinger
Archival Videographer
John Kerr
Graphic Design
Ted Rouse
Leslie Furness
Katie Horrill
Ashley Johnson
Lisa Petrocco
Anna Treusch
Shawndra White
Shaw Festival
Gwyneth Stark
Cobbler
Jitterbug Boy
Make-up Designer
Barbara Szablowski
Make-up Artist
Lee Lanham
Wig Mistress
Jacqueline Robertson-Cull
43