Season Presenting SponsorSeason Underwriter

Support the magic of Opera Atelier. Your Gift Matters!• Play your part in our rediscovery and

revitalization of period opera and ballet

• Enrich youth through educational and outreach initiatives

• Reinforce the future of the company and development of talented Canadian artists

A gift to Opera Atelier helps ensure the extraordinary quality of performances that you have come to expect. We are pleased to recognize your donation with charitable tax receipts and invitations to exclusive working rehearsals, salon evenings, dress rehearsals and Season Opening and Closing Parties.

Donate online at operaatelier.com/donate or contact Dan Hickey, Director of Development at 416.703.3767 x226

Opera Atelier is a registered charity. Charitable Registration number: 12859 0817 RR0001

Tafelmusik Baroque Orchestra

Violin IPatricia AhernThomas GeorgiMichelle OdoricoCristina Zacharias

Violin IIChristopher Verrette Isabella BisonGeneviève Gilardeau

ViolaPatrick G. Jordan Stefano Marcocchi

Viola da gambaFelix Deak

VioloncelloChristina Mahler Margaret Gay

OboeJohn AbbergerMarco Cera

BassoonDominic Teresi

PercussionEd Reifel

Lute/GuitarLucas Harris

HarpsichordCharlotte Nediger

Artists of Atelier Ballet

Eric da SilvaTyler GledhillEric Hall (apprentice)Juri HiraokaElizabeth KalashnikovaJeremy NasmithJennifer NicholsJulia SedwickMichael SpendloveEdward TraczMagdalena VaskoJeannette Lajeunesse Zingg

Toronto Children's Chorus Choral Scholars

Elise Bradley, Artistic Director

Alexander Annosantini Shira Aronson Ariel Brookes Giulia Brown Erin CaseNicole Cheung* Aramea Copeman Dean Ebona Jordan Edwards Summer Figueroa Fiona Fisher

Julie Frynta Vivien Illion* Taira Kajiwara Alexandra Koukarina Andrew LoweJessica-Marie Nigli* Nora PopescuKirsten Read Jamie Rokin Alisha Suri*Ania Suri

*Head Choristers, 2016-17

TCC Alumna, Georgia Lin, will join the choristers for the October 28 and 29 performances

Opera Atelier Chorus

Joel AllisonBradley ChristensenColin Frotten Richard Hrytzak

Robert KinarCory KnightRobert Rawlings David Yung

PRESENTS

Marshall Pynkoski Director David Fallis Conductor Jeannette Lajeunesse Zingg Choreographer Gerard Gauci Set Designer Michael Legouffe Costume Designer Michelle Ramsay Lighting Designer Natasha Bean-Smith Stage Manager

THE CAST

Christopher Enns Aeneas Wallis Giunta Dido Cory Knight Sailor Meghan Lindsay Belinda Ellen McAteer First Witch Irene Poole Narrator Laura Pudwell Sorceress Karine White Second Witch

Libretto by Nahum Tate

Sung in English with English surtitles.

Performance runs approximately 1 hour and 30 minutes including one intermission.

HENRY PURCELL

Excerpts from The Aeneid performed through arrangement with Georges Borchardt, Inc., on behalf of Robert Fagles. All rights reserved.

Original costume designs by Dora Rust-D’Eye.

Season Presenting Sponsor

Season Underwriter

MARSHALL PYNKOSKI & JEANNETTE LAJEUNESSE ZINGG CO-ARTISTIC DIRECTORS

an Ontario government agencyun organisme du gouvernement de l’Ontario

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Message froM artistic directors

A NEW ERA BEGINS. Following a triumphant 30th anniversary season last year, Opera Atelier is energized and renewed as we look forward to the next chapter of our illustrious history.

Once again, Opera Atelier finds itself in the unique position of pro-ducing period productions that have an extraordinary resonance, vis-à-vis current world events.

It was only one year ago that Opera Atelier toured to the Royal Opera House at Versailles with our production of Lully’s Armide — arriving in Paris on the very day of the terrorist attacks. The astonish-ing significance of this 17th-century opera — based on the conflicts between the French Christian knight, Renaud, and the Muslim war-rior princess, Armide — was lost on no one.

And now we find ourselves embarking on our 2016-2017 season, which features two female protagonists (Dido and Medea) both of whom are refugees from civil war — Dido having escaped from what is now the area of modern Syria/Lebanon. The challenges faced by both women, and the harrowing decisions they are forced to make speak across the centuries with a clarity that requires no explanation. These women find themselves faced with dilemmas that mirror the plight of refugees which we encounter in the news on a daily basis.

This repertoire underscores our conviction that great art is timeless, and has the power to speak across the centuries with its own voice. At Opera Atelier, we have no desire to patronize the past — rather, we wish to learn from the past, allowing it to challenge us artistically, intellectually, and socially, while acting as a catalyst for new creation.

It is our hope that you will use this opportunity to introduce your fam-ily and friends to the world of Baroque opera, by encouraging them to attend Dido and Aeneas — a wonderfully accessible piece of music theatre sung in English. What’s more, our $15 ticket for anyone 15–30 years of age (Operatix) makes this opportunity particularly attractive.

We also hope that you will join us next spring for our new production of one of the most profound operas from the court of the Sun King — Charpentier’s Medea. Two weeks after its Toronto performance, the entire cast and orchestra will tour the production to the most beautiful opera house in the world — the Royal Opera in Versailles. If you are interested in joining us on this tour, please feel free to contact Opera Atelier’s office for details.

Best wishes,

• Marshall Pynkoski & Jeannette Lajeunesse Zingg

Marshall Pynkoski and Jeannette Lajeunesse Zingg in the lobby of La Scala Opera House in Milan. Photo by Bruce Zinger.

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Opera Atelier artists and staff in Versailles' Hall of Mirrors 2015. Photo by Bruce Zinger.

Taking Medea to

To get involved, please contact Director of Development Dan Hickey at 416-703-3767 x226 or visit www.operaatelier.com/donate

The tour is an incredible opportunity to showcase Canadian artistic talent on the

international stage. It is also a massive undertaking, involving dozens of personnel, tonnes of cargo, and years of preparation.

Please support our artists and this tremendous opportunity by making a tax-deductible contribution to this campaign.

The tour is made possible with the generous support of John & Claudine Bailey, who have donated $25,000 to

kick off the campaign to take this French masterpiece back to Versailles.

We are asking you join with the Baileys to assist our triumphant return to the

Palace of Versailles.

Opera Atelier is thrilled to return to the Royal Opera House at the Palace of Versailles in May 2017 with our stunning production of Charpentier's Medea.

Message froM the executive director

WelcoMe froM the chairMan of the Board

Welcome to Dido and Aeneas and our 2016-2017 season!

We are thrilled to welcome you to the Elgin Theatre for this beautiful new production, which stars some of Canada’s great rising talents.

On behalf of the Board of Directors, I would like to take this opportunity to extend our thanks to all of our incredible supporters, without whom we could not continue producing the magnificent opera that has gained us a stellar reputation around the globe. Special thanks go to the Canada Council for the Arts, the Ontario Arts Council and the Toronto Arts Council for supporting Opera Atelier so generously.

I would like to invite you to save the date for our annual Versailles Gala, taking place on June 7, 2017 at the gorgeous Shangri-La Hotel in downtown Toronto. This event always offers attendees a memorable evening, and its proceeds are vital to supporting our free education and outreach initiatives, and international touring. Please contact Director of Development Dan Hickey at 416-703-3767 x226 for more information.

It seems fitting that as we begin our fourth decade of producing period opera, we are returning to the piece that started it all. I hope you enjoy our beautiful production of Dido and Aeneas!

• John MacKinlay, Chair, Opera Atelier Board of Directors

We are so glad you are joining us today for Dido and Aeneas, Henry Purcell’s tragi-comic masterpiece of English theatre.

Marshall and Jeannette have always been so wonderful about nurtur-ing Canadian talent, and this production is no different. We are thrilled to have an all-Canadian cast of singers for Dido and Aeneas, including the magnificent Wallis Giunta, who had her professional debut at Opera Atelier. Gracing the stage with Ms. Giunta are Opera Atelier audience favourites Christopher Enns, Meghan Lindsay, Laura Pudwell and Cory Knight — and also two young Canadian singers making their Opera Atelier debuts: Ellen McAteer and Karine White.

Opera Atelier is delighted to welcome new Canadians to our audience. Through a special program of the Canada Council for the Arts, a number of Syrian refugees are enjoying this opera free of charge. We also are happy to join with the Institute of Canadian Citizenship to offer complimentary tickets to new Canadian citizens through the Cultural Access Pass program.

We look forward to representing Canada in France later this season. Opera Atelier performs Charpentier’s Medea in Toronto in April, and at the Palace of Versailles in May. It is a real honour for a Canadian company to bring French opera to France. We are happy to be joined by our artistic partner, Tafelmusik Baroque Orchestra, another Canadian cultural icon. Touring opera is an enor-mous undertaking — please consider supporting this tour in any way that you can.

To our whole audience — thank you. We deeply appreciate the many individuals, corporations, foundations, and government agencies who support us in so many ways. We wouldn’t be here without you.

• Alexandra Skoczylas, Executive Director

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Sailor Cory Knight, Tenor

For Opera Atelier: Telemaco in The Return of Ulysses (2007) and Lucano in The Coronation of Poppea (2009).

Elsewhere: He has sung at major festivals and concert venues across Europe including the Utrecht Early Music Festival (Netherlands), the Trigonale Early

Music Festival (Austria), the Baroque Music Festival in Ambronay (France), the Warsaw Philharmonic Hall, the Concertgebouw in Amsterdam and the Palau de la Música Catalana in Bacelona. He has also appeared on a number of CD recordings, most recently spending a week at the beautiful Muri Abbey recording music by Kaiser Leopold I and Georg Muffat. Highlights of his work in Canada include singing with Tafelmusik Chamber Choir, Pacific Opera Victoria, and Les Violons Du Roy.

Et cetera: Described as ‘that rare, wonderful, lyric tenor who turns every note he sings into gold’ (Musical Toronto), Cory recently returned home to Toronto after completing a Master of Arts degree in Historical Performance Practice at the prestigious Schola Cantorum Basiliensis in Switzerland.

Belinda Meghan Lindsay, Soprano

For Opera Atelier: Giunia in Lucio Silla, Amour in Orpheus and Eurydice, Alcina in Alcina, Nymphe Guerriere and Venus in Persée (Toronto, Versailles), Agathe in Der Freischütz (The Marksman), Sidonie/Nymphe des Eaux in Armide (Toronto, Versailles, Glimmerglass Festival), Donna Anna in Don Giovanni.

Elsewhere: Previous credits include Luisa Miller (Opera Nova Scotia); Mimi in La Bohème (The Northern Lights Festival); recording debut with Grammy-nominated early music ensemble, Ars Lyrica of Scarlatti’s La Sposa dei Cantici; soloist with the Houston Early Music Festival, 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: Opera Atelier's Medea in Toronto and Versailles, soloist Pierrot Lunaire, and recording of Schubert songs and chamber works.

Et cetera: Meghan is advocate for accessible, community-based arts. Her contributions to the music community extend to academia, where she is a researcher on the subject of classical music nonprofits.

First Witch Ellen McAteer, Soprano

For Opera Atelier: Debut.

Elsewhere: Lucia in B. Britten’s The Rape of Lucretia (Against the Grain Theatre); Rebecca in W.A. Mozart/Joel Ivany's No One's Safe (The Banff Centre); Despina in W.A. Mozart/Joel Ivany's A Little Too Cozy (Against the Grain Theatre); Tigrane

in G. F. Handel’s Radamisto (Musica Angelica Baroque Orchestra); Dido in H. Purcell’s Dido and Aeneas (Theatre of Early Music).

Upcoming: O. Golijov’s Tenebrae (Against the Grain Theatre); G. F. Handel’s Messiah (Newfoundland Symphony Orchestra); J. S. Bach’s Weihnachts-Oratorium (Bethlehem Bach Choir); W. A. Mozart’s Requiem (Peterborough Singers).

Et cetera: www.ellenmcateer.ca.

artist Biographies

Aeneas Christopher Enns, Tenor

For Opera Atelier: Persée in Lully’s Persée.

Elsewhere: Christopher is an alumnus of the Canadian Opera Company Ensemble. Recent highlights include Thomas Selfridge in The Bells of Baddeck, Jonathon Dale in Opéra de Montréal’s production of Silent Night and Tamino in

Mozart’s Magic Flute. He is also involved in the Toronto based Bicycle Opera Project, whose mission is to bring new works to town across Canada by bicycle.

Upcoming: Jealousy in Opera Atelier’s production of Medea, and the title role in Candide.

Et cetera: The Manitoba native holds a degree in Vocal Performance from the University of Manitoba and an Opera Diploma from the University of Toronto.

Dido Wallis Giunta, Mezzo-Soprano

For Opera Atelier: Alcina, The Marriage of Figaro, Idomeneo.

Elsewhere: Performances with the Canadian Opera Company, the Metropolitan Opera, Oper Frankfurt, Oper Leipzig, Deutsche Oper am Rhein, Le Théâtre du Châtelet, Teatro dell'Opera di Roma, Fort Worth Opera, Dallas Opera, Madison

Opera, L’Opéra de Montréal, the Toronto, Taipei, Hamburg, Edmonton, Seville and Nuremberg Symphonies, the Stuttgart Festivalorchester, Gewandhaus Orchester, the National Arts Centre & Munich Radio Orchestras, the Luminato Festival, the 21C Music Festival, the New York Festival of Song, the festivals of Caramoor, Ravinia and Aspen, and at the Banff Centre.

Upcoming: In the 2016–17 season she returns to Oper Leipzig as the title role in La Cenerentola, as Mozart's Cherubino, as the Page in Salome, and as Siebel in Faust, and debuts with Opera North, also as Angelina in La Cenerentola. She debuts with the Tokyo Metropolitan Symphony in con-cert, returns to the Munich Radio Orchestra, and returns to both the Toronto Symphony and Real Orquesta Sínfonica de Sevilla for new productions of Weill's The Seven Deadly Sins. She performs recitals in Vancouver and debuts with Symphony Nova Scotia in Messiah.

Et cetera: Ms. Giunta is a grateful recipient of the 2016 Bernard Diamant Prize from the Canada Council for the Arts, along with the 2015 Novick Career Advancement Grant, and the Sylva Gelber Music Foundation Career Development Award. She is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development Program & The Juilliard School’s Artist Diploma in Opera Studies, a 2011 graduate of the Canadian Opera Company Ensemble Studio, and a 2009 graduate of The Glenn Gould School.

Opera Atelier is pleased to welcome Syrian refugees to our production of Dido and Aeneas free of charge through a special program of the Canada Council for the Arts: The Arts and Culture Welcome Refugees.“ We know that arts and culture can be a refuge, a celebration of diversity, and source of inspiration

and connection. Our message on behalf of the arts community to newcomers is welcome, we are so happy to have you in our communities, we welcome you to our spaces, performances and events when you are ready.” – Simon Brault, Director and CEO, Canada Council for the Arts

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Director Marshall Pynkoski

Marshall Pynkoski’s fasci-nation with music, theatre and dance of the 17th and

18th centuries began in classes with the late Leonard Crainford and John Marshall, respec-tively 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 pre-miered North America’s first period productions of The Marriage of Figaro and Don Giovanni. Mr. Pynkoski has collaborated with many of the fin-est 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 out-standing 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 by the Government of France fol-lowing his international tour of Purcell’s Dido and Aeneas with Marc Minkowski and Les Musiciens du Louvre. In 2013 Mr. Pynkoski had his Salzburg Festval debut with Mozart’s Lucio Silla, and most recently he made his directorial debut at La Scala in Milan.

Choreographer Jeannette Lajeunesse Zingg

Canadian choreographer Jeannette Lajeunesse Zingg has performed and cho-

reographed internationally for more than two decades. She received her training in London, Copenhagen and Paris. She credits her teach-ers 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 danc-ing 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 includ-ing the prestigious Toronto Arts Award, the Opera Canada Ruby Award for outstanding achieve-ment 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 con-ductors 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, La Scala Ballet, and Opera Atelier. She has also choreographed and performed in numerous film projects includ-ing Rhombus Media’s Master Peter’s Puppet Show, Romeos and Juliets and The Sorceress opposite Dame Kiri te Kanawa. In 2013 Ms Zingg had her Salzburg Festival debut with Mozart’s Lucio Silla, and most recently she made her choreographic debut at La Scala in Milan.

Narrator Irene Poole

For Opera Atelier: Debut.

Elsewhere: Sir Stephen Scroop, Sir Walter Blunt, Sheriff in Breath of Kings: Rebellion and Alice, Lord Chief Justice, Lady Northumberland in Breath of Kings: Redemption, Kate in The Little Years, Katherina in The Taming of the Shrew, Olga

in Three Sisters (Stratford Festival); Happy Place, The Gigli Concert (Soulpepper); How Do I Love Thee? (Canadian Rep); The Bakelite Masterpiece, The Little Years (Tarragon Theatre); Manon, Sandra and the Virgin Mary (Buddies in Bad Times); Escape from Happiness, Better Living, Fighting Words, The Glace Bay Miners’ Museum (Factory Theatre); Age of Arousal (Alberta Theatre Projects); Possible Worlds, directed by Yoshi Oida (Canadian Rep). Film/TV: Cardinal, Rookie Blue, Reign (CTV); Murdoch Mysteries, Republic of Doyle (CBC); Carrie (MGM); Breakout Kings (A&E). Awards: Dora Awards for Outstanding Performance in The Little Years (Tarragon), The Last Days of Judas Iscariot (Birdland Theatre), The Leisure Society (Factory Theatre). Dora nomination for How Do I Love Thee? and Happy Place (Soulpepper).

Sorceress Laura Pudwell, Mezzo-Soprano

For Opera Atelier: Many productions, including the 2005 production of Dido and Aeneas.

Elsewhere: Ms. Pudwell is equally at home on the opera, oratorio or recital stage, and has received international acclaim for her recordings. On the opera stage, Ms Pudwell has performed across Canada with such companies as Opera Atelier, Calgary Opera, Vancouver Early Music and Festival Vancouver, as well as with Houston Grand Opera and Cleveland Opera.

She is a regular participant in many festivals, appears regularly with the Toronto Consort, and is a frequent guest soloist with Tafelmusik, the Kitchener-Waterloo Symphony, the Calgary Philharmonic Orchestra, the Toronto Chamber Choir, Symphony Nova Scotia, and the St. Lawrence Choir, to name a few.

Second Witch Karine White, Soprano

For Opera Atelier: Debut.

Elsewhere: Musetta (La Bohème) and Despina (Così fan tutte) with the Centre for Opera Studies in Italy (COSI); Susanna (Le Nozze di Figaro) and Soeur Constance (Dialogues des Carmélites) with l’Accademia Europea dell’Opera (AEDO); Lady

with a Hand Mirror (Postcard from Morocco), Josephine (H.M.S. Pinafore), Baiana (Pedro Malazarte) and Emmie (Albert Herring) with UofT Opera, Adele (Die Fledermaus) with UWOpera.

Upcoming: Cléone in Opera Atelier’s Medea (Toronto and Versailles).

Et cetera: Karine is thrilled to be making her debut at the Elgin with Opera Atelier! She would like to thank Marshall, Jeannette and David for the opportunity, as well as her family for their ongoing support.

artist Biographies (continued) Marshall pynkoski & Jeannette laJeunesse Zingg

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Conductor David Fallis

For Opera Atelier: Mozart’s Lucio Silla, The Marriage of Figaro, The Magic Flute, Don Giovanni, Abduction from the Seraglio, La Clemenza di Tito; Handel’s Alcina, Acis and Galatea, Il pastor fido, La Resurrezione; Lully’s Armide, Persée; 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; Charpentier’s Actéon.

Elsewhere: Fallis is the Artistic Director of the Toronto Consort with whom he has toured across Canada, the US and Europe, and led the ensemble in many recordings and special projects. He has led major productions of works by Murray Schafer for the Luminato Festival, and is a fre-quent collaborator with Soundstreams Canada. He has conducted for Early Music Vancouver, the Glimmerglass Festival, Houston Grand Opera, Utah Opera, Opera Columbus, Wolftrap Theater, Elora Festival, Orchestra London, Symphony Nova Scotia, Manitoba Chamber Orchestra, Symphony New Brunswick, and more.

Upcoming: The Italian Queen of France with the Toronto Consort, with dancers from the School of Atelier Ballet; Kanatha/Canada: First Encounters; Charpentier’s Médée with Opera Atelier, in Toronto and Versailles; Cavalli’s Elena with the Toronto Consort.

Et cetera: Historical Music Producer for two Showtime TV series: The Tudors, and The Borgias. Directs Choir 21, dedicated to contemporary choral music. Teaches in the Graduate Faculty, Faculty of Music, University of Toronto.

Set Designer Gerard Gauci

For Opera Atelier: Resident set designer Gerard Gauci has worked with the com-pany since its inception. Over the years he has designed sets for all of Opera Atelier’s repertoire including Alcina, Orfeo, The Coronation of Poppea, Médée, Iphigénie en Tauride, Idomeneo, The Marriage of Figaro, La Clemenza di Tito, Don

Giovanni, Armide and Der Freischütz (The Marksman). Gauci has received Dora Award nominations for outstanding scenic design for his productions of Persée and Lucio Silla.

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 and Toulouse-Lautrec. Recently he exhibited his designs for Armide at the Aga Khan Museum in Toronto.

Et cetera: Gauci also pursues a career as a painter, exhibiting at the Galerie de Bellefeuille in Montréal. (Photo by Jim Allen.)

Lighting Designer Michelle Ramsay

For Opera Atelier: Lucio Silla, Orpheus and Eurydice.

Elsewhere: Gertrude and Alice (Independent Aunties); The Mountaintop (The Grand Theatre - London); dead reckoning (Blue Ceiling Dance); Road to Paradise (Human Cargo); huff (Native Earth Performing Arts); Tuesdays and Sundays (Sundown

Theatre); You Play Beautifully (Theatre New Brunswick); Arcadia (Mirvish Productions/Shaw Festival); Obaaberima (Buddies in Bad Times Theatre); Sultans of the Street (YPT); The Wanderers (Cahoots Theatre Company); The Stronger Variations (Theatre Rusticle).

Et ce tera: Michelle is the 2008 winner of the prestigious Pauline McGibbon award, five Dora Mavor Moore Awards and a SAT Award.

Stage Manager Natasha Bean-Smith

For Opera Atelier: As Assistant Stage Manager: Orpheus and Eurydice, The Magic Flute (Toronto, Columbus), Der Freischutz (The Marksman), La Clemenza di Tito, Don Giovanni (at Opera Columbus). As Tour Manager: Armide 2012, Persee, Armide 2015.

Elsewhere: Select Theatre credits include: Tarragon Theatre (Within the Glass, The Bakelite Masterpiece, The Ugly One), Thousand Islands Playhouse (Das Ding, Blythe Spirit, Dear Johnny Deere, The Ugly One, Salt Water Moon), Shakespeare in the Ruff (Romeo & Juliet, Macbeth: Walking Shadows, Richard III, Two Gents), Theatre Smash with fu-GEN (Durango). Natasha is also a concert manager for Tafelmusik.

Upcoming: Sequence at Tarragon Theatre, Kiss with Theatre Smash, ARC and Canadian Stage at the Berkeley Street Theatre. Tour Manager for Opera Atelier's Medea at the Opera Royal in Versailles.

Assistant Stage Manager Jessica Severin

For Opera Atelier: As Stage Manager: Lucio Silla, Abduction from the Seraglio, The Marriage of Figaro. As Assistant Stage Manager: Armide (2015, Toronto, Versailles), Persée (Toronto, Versailles), Armide (2012, Toronto, Versailles and Glimmerglass), Don Giovanni, Abduction from the Seraglio, The Return of Ulysses.

Elsewhere: Once, Billy Elliot, A Couple of Blaguards, Hairspray, The Lion King (Mirvish Productions); Do You Want What I Have Got? A Craigslist Cantata (Acting Up Stage/NAC/ATP/Citadel); This Wide Night (Summerworks); Parfumerie, La Ronde, A Christmas Carol, A Midsummer Night’s Dream, Window on Toronto, Loot, Awake and Sing!, Ring Round the Moon, Mary Stuart, The Caretaker, The Government Inspector, Our Town (Soulpepper); Miss Caledonia, The Patient Hour (Tarragon); The Importance of Being Earnest, Educating Rita, Suds!, Somewhere Beyond the Sea (Thousand Islands Playhouse); and pro-ductions with Art of Time Ensemble, Theatre Smith Gilmour, Nightwood, George Brown Theatre School, Obsidian, Tapestry New Opera, Nuit Blanche, Drayton Entertainment, and Harold Green Jewish Theatre.

Et cetera: Jessica is a graduate of the Faculty of Music at the University of Toronto.

Assistant Stage Manager Nan Shepherd

For Opera Atelier: This is Nan’s twenty-seventh 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.

creative teaM

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artists of atelier Ballet aBout opera 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 aes-thetics 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 experi-ence 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.

toronto children’s chorus

Elise Bradley, Artistic Director The Toronto Children’s Chorus is now celebrat-ing its 39th Anniversary season, In Peace and Celebration, and its tenth year under the baton of internationally renowned conductor Elise Bradley.

The Toronto Children’s Chorus comprises a ‘family’ of choirs, the youngest being our intro-ductory KinderNotes for children aged 3 to 6, followed by our Training Choirs (the Preparatory Choir and Training Choirs I, II, and III), which offer children aged 6 and older the opportu-nity to gradually progress into membership in the Main Choir (which is further subdivided into Cantare and Chorale levels). As Chorale mem-bers develop ever-stronger skills in vocal tech-nique, sightsinging and theory, they may also be selected to join the Chamber Choir, which tours nationally and internationally - and possibly the elite Choral Scholars. The TCC Youth Choir, for girls aged 16 and older and boys with changed voices, is now in its fourth season.

Over the course of its history, the Chorus has won many competitions, including the International Eisteddfod in Wales and the CBC, Kathaumixw, and Let the Peoples Sing competitions in

Canada. The choir has also performed at such revered venues as the Musikverein, the Berlin Dom, Carnegie Hall, Kennedy Center, and Royal Albert Hall, under the direction of celebrated conductors Sir Andrew Davis, Yannick Nézet-Séguin, Peter Oundjian, Krzysztof Penderecki, Sir Simon Rattle, Helmuth Rilling, and Sir David Willcocks.

The Chorus is internationally recognized, not only for the high standard of its performances and recordings, but also for its challenging and eclectic repertoire that spans diverse cul-tures, languages, traditions and musical genres. Its latest CD, Sounzscapes: From Our Lands - a juxtaposition of contemporary and First Nations music from Canada and New Zealand - was named ‘Outstanding Choral Recording’ by Choral Canada in May 2014. In addition to demanding annual concert seasons, the TCC’s young choral ambassadors have represented Toronto and Canada on 29 international tours and, in July 2017, will travel to Barcelona, Spain, to participate in the 11th World Symposium on Choral Music, at the invitation of the International Federation for Choral Music.

Jeremy NasmithFirst performance with Opera Atelier: Monteverdi’s Orfeo, 1986.

Tyler GledhillFirst performance with Opera Atelier: Mozart’s Abduction from the Seraglio, 2008.

Edward TraczFirst performance with Opera Atelier: Charpentier’s Médée, 2002.

Magdalena VaskoFirst performance with Opera Atelier: Lully’s Armide, 2005.

Eric HallOpera Atelier debut. (apprentice)

Jennifer NicholsFirst performance with Opera Atelier: Mozart’s Idomeneo, 2008.

Julia SedwickFirst performance with Opera Atelier: Handel’s Acis and Galatea, 2010.

Juri HiraokaFirst performance with Opera Atelier: Charpentier’s Médée, 2002.

Eric da SilvaOpera Atelier debut.

Elizabeth KalashnikovaFirst performance with Opera Atelier: Handel's Abduction from the Seraglio, 2013.

Michael SpendloveFirst performance with Opera Atelier: Mozart’s Idomeneo, 2008.

Congratulations to the Ontario Arts Foundation! In 2016, the Ontario Arts Foundation is celebrating 25 years of serving arts organizations in Ontario.

Through the generosity of our donors, the value of Opera Atelier’s endowment held in the Arts Endowment Fund Program has reached almost $200,000.

These funds are permanently held in Opera Atelier’s name, and each year we receive the income generated by the endowment. In recognition of the 25th anniversary, the

Foundation has made an additional grant to Opera Atelier, along with other arts organizations holding an endowment under the Arts Endowment Fund Program at the Ontario Arts Foundation. Opera Atelier has earmarked this special 25th anniversary distribution to our Arts Endowment Fund, to help ensure our future success. Thanks go to our partners at the Ontario Arts Foundation for this extraordinary gift.

For information about endowment gifts, please contact Dan Hickey, Director of Development, at 416-703-3767 x226 or dan.hickey@operaatelier.com.

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tafelMusik Baroque orchestra

Hailed as “one of the world’s top baroque orches-tras” by Gramophone Magazine, Tafelmusik was founded in 1979 by Kenneth Solway and Susan Graves. At the heart of this Toronto-based ensemble is a group of talented and dynamic permanent members, each of whom is a spe-cialist in historical performance practice.

Delighting audiences worldwide for more than three decades, Tafelmusik reaches millions of people through its touring, critically-acclaimed recordings, broadcasts, new media, and artis-tic/community partnerships. The vitality of Tafelmusik’s vision clearly resonates with its audiences in Toronto, where the orchestra per-forms some 80 concerts every year. As well as traditional concerts at our home venues, Tafelmusik has developed a range of other con-cert experiences, including innovative memo-rized multimedia performances, Haus Musik (a new strand of immersive concert experiences), and brand new for this year, an intimate series of chamber music concerts, Close Encounters.

For 35 years, Canada’s most active touring orchestra has maintained a strong presence on the world stage, performing in over 350 cities in 32 countries. This season’s touring takes the orchestra to China, South Korea, across the US,

Puerto Rico, and to France with Opera Atelier, in addition to the orchestra’s annual tour of its home province.

Tafelmusik has released over 80 CDs and has been awarded numerous international record-ing prizes, including nine JUNO Awards. Its new-est release is the orchestra’s landmark recording of Beethoven Symphony no. 9.

Tafelmusik’s 2016/17 season includes a year-long celebration of the Chamber Choir’s 35th anniversary with three concerts: Let Us All Sing! (Nov 2–6), A Bach Tapestry (Feb 9–12, 14), and Mozart’s Mass in C Minor (May 4–7). Other blockbusters include The Baroque Diva with soprano Karina Gauvin (Mar 23–26), and our commemoration of Canada’s 150th anniversary with Alison Mackay’s newest multi-dimensional program, Visions & Voyages: Canada 1663–1763 (Feb 22 26). And of course, don’t forget Handel’s Messiah (Dec 14–17) and the 30th anniversary of Sing-Along Messiah (Dec 18)!

Tafelmusik’s first collaboration with Opera Atelier was a production of Purcell’s Dido & Aeneas at the Royal Ontario Museum in April 1986, and the partnership has continued ever since.

Visit tafelmusik.org to find out more.

Join us after the show on Friday October 28 for a mixer in the lobby bar! Have a drink and mingle with Opera Atelier artists and your fellow opera enthusiasts. Thanks to our Operatix sponsor, TD!

To find out more about our $15 Operatix ticket program, visit operaatelier.com/operatix

Are you age 30 or under?

prologue & synopsis

PROLOGUE

With Narrator Irene Poole, Artists of Atelier Ballet, Wallis Giunta, and Christopher Enns

Our narrator assumes alternately the voices of the poet Virgil, Juno (the Queen of Heaven), Aeolus (King of the Winds) and Neptune, the Lord of the Sea.

We are told of the reasons for Juno’s fury – her hatred of the Trojan Prince Aeneas and her attempts to destroy him at sea.

Aeneas and a handful of his men are saved by the god Neptune and take refuge in the harbour

of Carthage — kingdom of Dido, a recently wid-owed Queen.

Aeneas and his men wander through Dido’s beautiful kingdom, magically hidden from sight by a cloud. Venus suddenly reveals them to the court and Dido and Aeneas fall des-perately in love. Dido, however, resists Aeneas, having sworn eternal fidelity to the spirit of her murdered husband.

SYNOPSIS

Act 1 Scene iDido, Queen of Carthage, is tormented, but refuses to reveal the cause of her distress. Her sister Belinda guesses her secret: Dido is des-perately in love with Aeneas, the Trojan prince who has found refuge at her court following the destruction of Troy. After Belinda and the Queen’s courtiers declare their hope for such a union, Aeneas appears and presses Dido to respond to his love. The Queen insists that fate has forbidden their union, but she eventually succumbs to the encouragement of her court and publicly acknowledges Aeneas as her con-sort. The courtiers extol the triumph of love and beauty with singing and dancing, and further celebrate with a hunting party.

Act 1 Scene iiMeanwhile, the Sorceress and her witches plot the downfall of the Queen and the destruction of Carthage. During the hunt, the Sorceress will send an elf, disguised as Mercury (messen-ger of the gods) to demand that Aeneas leave Carthage immediately, and continue his quest to found a new Troy. Aeneas will have no choice but to forsake Dido. To hasten this moment, the witches conjure a storm to disperse the hunt-ing party and separate Dido and Aeneas. The witches gloat over their demonic plan.

INTERMISSION

Act 2 Scene iDido, Aeneas, and their courtiers rest from their hunting in a beautiful grove. The royal couple is entertained by singing and dancing. One of Dido’s ladies-in-waiting tells the tale of the hunter Acteon who was changed into a stag and pursued by his own hounds, after he had seen the goddess Diana bathing in a fountain. The entertainment is cut short by the witches’ terrifying storm, and the hunting party races back to Carthage. Last to depart, Aeneas is waylaid by the Sorceress’ elf, disguised as Mercury. Pretending to speak for Jupiter, the spirit orders Aeneas forsake Carthage and abandon all thoughts of love. Aeneas is torn between his destiny to found a new kingdom of Troy and his commitment to Dido, but resolves to obey Jupiter. The Sorceress and the witches, who have been listening out of sight, celebrate the success of their plot.

Act 2 Scene iiThe departure of Aeneas’ fleet is imminent. A Trojan sailor cajoles his companions to say goodbye to their Carthaginian sweethearts. The witches rejoice over Dido’s misfortune, and the Sorceress plots the death of Aeneas in a storm they will create during his sea travels. Dido has divined Aeneas’s change of plans, and her fears are soon confirmed: he tells her that the gods have decreed he must depart at once. Outraged at what she sees as his duplicity, Dido sends Aeneas away, despite his pleas to remain. As soon as she is forsaken, the queen is over-whelmed and takes her own life. The courtiers mourn their tragic Queen and call for cupids to scatter roses on her tomb. Aeneas fulfills his destiny and becomes the founder of Rome – the new Troy.

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director's notes choreographer's notes

Dido and Aeneas is part English Masque and part Italian Opera. It is unique in the works of the great English composer Henry Purcell (1656–95). The libretto is based on books one through four of The Aeneid. The opera was written for performance at a girls boarding school run by dancing mas-ter Josias Priest. It was first performed in October or December, 1689 (it may already have had a private court performance).

The young ladies for whom this opera was written had received extensive and expert training in singing and dancing. The male roles were undertaken by professional per-formers. The original performance con-tained seventeen dances, although only the Triumphing Dance, Echo Dance of the Furies and the Sailors’ Dance (opening of fourth scene) are actually included in the score. Other dances are indicated but not fully rendered; for example Purcell calls for several Chaconnes.

Tonight’s production opens with a danced Prologue in which we see that Aeneas and his followers have landed in Carthage after fleeing from their ruined city of Troy (an audience in Purcell’s day would have been fully aware of the story. Dido meets Aeneas and falls in love during the Prologue, setting the scene for her opening aria. The dances in this piece are theatrical dance tunes written by Purcell. In the opera itself, we have added two Chaconnes following the composer’s instructions, and a final Minuet again in accordance with Purcell’s wishes. The dances have all been created specifi-cally for this Opera Atelier production. They are inspired by English and French dances of Purcell’s era, which were recorded in 17th century dance notation.

• Jeannette Lajeunesse Zingg

I doubt that any opera company in recent history has spent more time explor-ing Purcell’s Dido and Aeneas than Opera Atelier. It was our first fully-mounted pro-duction at the Royal Ontario Museum more than thirty years ago, and we have since toured our production to major ven-ues in England (Royal Albert Hall, BBC Proms 100th anniversary), France (Royal Opera House, Versailles), Italy, Switzerland, Germany, Japan, Korea, Singapore, and throughout the US. Past Opera Atelier pro-ductions have featured some of Canada’s finest sopranos in the title role including Catherine Robbin, Jean Stillwell, Monica Whicher, and now the superb young mezzo, Wallis Giunta.

This work, like all great works of art, never pales. As we grow and develop as peo-ple and as artists, we find there is always something new to discover and new

depths to explore in Nahum Tate’s libretto, and Purcell’s glorious score. For our current performances, we have stripped the pro-duction down considerably, focusing more than ever on clear, coherent storytelling, and the opera’s inherent tension between the rigid formality of a courtly world at odds with the most visceral of human emotions.

I would be remiss if I did not thank my entire artistic team, most of whom have explored this opera with me for more than thirty years. Their continued enthusiasm and sup-port acts as a constant catalyst. Finally, a sincere thanks to our extraordinary cast of singing actors, dancers, the Toronto Children’s Chorus, and Tafelmusik Baroque Orchestra, all of whom have invested this project with a renewed sense of freshness and discovery.

• Marshall Pynkoski

Baroque dance notation.

Wallis Giunta and Christopher Enns rehearsing the final scene of Dido and Aeneas.

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conductor's notes

Dido and Aeneas is rightly considered one of the greatest operas ever written in English — perhaps the very greatest — but the materials which have come down to us from the 17th and 18th centuries are full of mysteries.

The main surviving musical score dates from the mid-18th century, over fifty years after the death of Henry Purcell. There is a libretto (text only) from 1689, entitled "An Opera perform'd at Mr. Josias Priest's Boarding-School at Chelsey, by young gen-tlewomen". Josias Priest was a good friend of Purcell, and a dancing master who ran a famous finishing school for young women; it was there that the only-known produc-tion of Dido in Purcell’s lifetime took place.

Unfortunately, there are many details in the libretto which are not reflected in the surviving score. For instance, the libretto of Dido has a prologue for which there is no music in the score. As well, there are numerous indications for dances in the libretto, but again, much music is miss-ing. In our production, we have tried to fill in some of these gaps, and it is interesting to experience how this restores the greater length of an opera that is often considered a small chamber work. Out of the rich rep-ertoire of Purcell's music for the theatre we have created a musical prologue, sketch-ing the "back story" to the opera using words from Virgil’s Aeneid. Just before the opera begins, Aeneas (who is despised by Juno, the queen of the gods) and his men are shipwrecked in a terrible storm, lead-ing to their surprise arrival in Carthage. To portray this, we have availed ourselves of the magnificent storm music by Purcell’s contemporary Marin Marais in his opera

Alcyone; it is the only music on the program not by Purcell. We have also added dances in many places where they are called for in the libretto. We are pleased to have mem-bers of the Toronto Children's Chorus in our chorus, as it was girls who were the original creators of these parts. Altogether, these aspects help restore the combination of grandeur and simplicity originally intended by the “Orpheus Britannicus”, Henry Purcell.

• David Fallis

Henry Purcell

set design notes

Purcell’s Dido and Aeneas has a special place in our hearts at Opera Atelier. It was one of the company’s first fully staged productions that over the years, in varied iterations, has charted our growth as artists and reflected our evolving creative vision. Early produc-tions featured elaborate period make up and hairstyles, lavish baroque costumes and grand forced-perspective architectural sets. This new production strips away much of that surface décor and leaves us with a vision that both highlights the wild emo-tional trajectory of the story and points to the underlying environmental conditions that lead to the meeting, uniting and ulti-mate parting of the two protagonists.

The first known production of Purcell’s Dido and Aeneas took place in Josias Priest’s School for Girls in London in 1689 and as such the settings would have been fairly improvisational. It is unlikely that the drama was backed by elaborate sets and machin-ery and one can imagine that the simplicity of the staging added much to the charm and emotional focus of the drama.

The sets for tonight’s offering observe a certain simplicity as well. Most of its scenic elements are elemental in nature; expansive painted cloudscapes, the night sky lit by a brilliant moon, a forest grove and above all, the sea. The sea plays an important role in Dido’s story. It is by sea that Dido flees her homeland and eventually establishes the city of Carthage. Raging seas whipped by Aeolus’ winds (and directed by the wrath of Juno) propel Aeneas onto the shores of Carthage and ultimately, it is that same sea that bears him away, leaving Dido to her tragic end. The sea, in both its benign and malevolent guise, becomes the fram-ing device for this new imagining of Purcell’s miniature masterpiece.

Sometimes a work of art is best set off in a simple frame. You will notice costumes with clean, clear silhouettes, natural makeup and hairstyles and scenes painted with a fairly broad brush. For many years, the design motto at Opera Atelier has been “more is more”, and for many works in our repertoire that motto still applies. But in this version of Dido and Aeneas, taking a “less is more” approach has allowed us to see an old friend with fresh eyes.

• Gerard Gauci

Design by Gerard Gauci.

22 23

Fight Director Jennifer Parr (left) works with high school students for Making of an Opera in the Elgin rehearsal hall. Photo by Bruce Zinger.

education and outreach

Opera Atelier takes the artistic business of producing period productions of opera and ballet very seriously, and we place equal importance on educating community youth and training the per-formers of tomorrow. Opera Atelier offers a robust slate of education, enrichment and outreach opportunities that engage and educate new and existing audience members of all ages, with a particular emphasis on the youth of the GTA.

Examples include:

Making of an Opera program: Since 1996, Opera Atelier’s Making of an Opera program has annually given more than 1,000 young peo-ple a one-day, once-in-a-lifetime opportunity to learn about, participate in, and experience the magic of opera, completely free of charge.

School of Atelier Ballet: A unique ballet school housed in the historic St. Lawrence Hall, the School of Atelier Ballet offers instruction in bal-let, modern dance and historical dance that is affordable and enjoyable for both the aspiring professional and the recreational dancer.

Pre-Performance Chats: For each production, we assemble an exciting roster of guest speak-ers to give patrons background information on our productions, discuss the production, and answer audience questions. Join us in the lower lobby of the Elgin Theatre 45 minutes before each performance!

Period Performance Workshops for Artists: Opera Atelier’s Period Performance Lab allows us to train Canadian artists in repertoire and techniques they would never otherwise encoun-ter, and our singers and dancers are challenged to broaden their technique in new ways.

Visit us at www.operaatelier.com to explore our broad range of education opportunities for youth, opera-lovers, artists and our community.

Period Performance Lab Sponsor:

An epic tale of love, power, and revenge.

STARRINGPeggy Kriha DyeColin AinsworthMireille AsselinMeghan Lindsay

PLUSTafelmusik Baroque Orchestra and Chamber Choir,Artists of Atelier Ballet

Season Presenting Sponsor

Season Underwriter Photo by Bruce Zinger

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corporate & foundation supporters

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OPERA ATELIER IN

JOIN US!

Following its Toronto run (April 22-29, 2017), our stunning

production of Charpentier's Medea will play in Versailles May 2017.

We are pleased to once again offer a VIP Patron Tour May 16-20, which will include special behind-the-scenes opportunities in Versailles as well as the chance to enjoy some of the best of culture and cuisine that the

incredible city of Paris has to offer. For more information on how to par-ticipate in this exclusive opportunity, contact Director of Development

Dan Hickey at dan.hickey@operaatelier.com or 416.703.3767 x226.

Palace of Versailles photo by Bruce Zinger.

an Ontario government agencyun organisme du gouvernement de l’Ontario

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ARTIST TRAVEL SPONSOR

The Mary-Margaret Webb Foundation

PRODUCTION PARTNERS

The Sharp Foundation

CORPORATE DONORS

Foresters

Staff Your Event

St. Lawrence Market Complex at the St. Lawrence Hall

EDUCATION SUPPORTERS

Delaney Capital Management

Power Corporation of Canada

J.P. Bickell Foundation

The McLean Foundation

FOUNDATION SUPPORT

The Bennett Family Foundation

The Dalglish Family Foundation

The Lloyd & Gladys Fogler Foundation

Patrick Hodgson Family Foundation

The LeGresley Family Foundation

Keith Foundation at the Strategic Charitable Giving Foundation

Barrie D. Rose and Family

Judith Teller Foundation

Twigge-Molecey Family Foundation

The Henry White Kinnear Foundation

PIANO SPONSOR

Robert Lowrey Piano Inc.

BEVERAGE SPONSOR

Second Cup, Jarvis and King

2016 VERSAILLES TABLE SPONSORS

BMO Financial Group

Burgundy Asset Management

CIBC

DLK on Avenue

Ms Connie Leon

Hampton Securities

KPMG

William & Jan Lambert

PWC

Sláinte Holdings Inc. Racheal McCaig Photography

Staff Your Event

Ms Katalin Schäfer

James H. Stonehouse

Marshall Pynkoski & Jeannette Lajeunesse Zingg

individual giving All donor lists as of September 2016

Opera Atelier’s work is generously supported by loyal and dedicated patrons who share our pas-sion and enthusiasm for period productions of opera and ballet. We are deeply appreciative of their commitment to our vision. For information on the Friends or Baroque Court programs, or to make a gift to Opera Atelier, please call Dan Hickey at 416.703.3767 x226

ARTIST SPONSORSMarshall Pynkoski Co-Artistic Director and Educator generously sponsored by Jerry & Joan Lozinski.Jeannette Lajeunesse Zingg, Choreographer generously sponsored by Vivian Elizabeth Pilar.Gerard Gauci, Set Designer generously sponsored by Tom Logan.

Tafelmusik Baroque Orchestra generously sponsored by Brayton Polka.Artists of Atelier Ballet generously sponsored by Vivian Elizabeth Pilar.Toronto Children’s Chorus generously sponsored by Nick and Barb Zelenczuk.

Wallis Guinta generously sponsored by Anonymous .Christopher Enns generously sponsored by Vivian Elizabeth Pilar.Meghan Lindsay generously sponsored by Katalin Schäfer.Laura Pudwell generously sponsored by Anna Guthrie.

THE SUN KING ($200,000)Mr. Michael A. Wekerle*

SUN KING ($20,000+)Mr. & Mrs. John & Claudine BaileyMr. David Broadhurst*Mr. Andrew Curnew & Dr. Rita KilislianBill & Catherine Graham****Anna L. Guthrie***The Patrick Hodgson Family

FoundationMr. & Mrs. William Lambert***Mr. Thomas Logan**Mr. & Mrs. Jerry & Joan Lozinski**Ms Vivian E. Pilar***

Mr. Brayton Polka*Ms Katalin Schäfer**Marshall Pynkoski &

Jeannette Lajeunesse Zingg

VICEROY ($10,000 – $19,999)Walter M. & Lisa Balfour Bowen***Mr. Greig S. Dunn & Mr. Robert

Maclennan***Mr. Stephen ForbesJohn & Judith Grant***David Green & Daphne Wagner,

Youth Education and Outreach Supporters

Thomas Keirstead & Deidre LynchMr. John MacKinlay*Ms Connie LeonMr. James H. Stonehouse**Mr. & Mrs. Nicholas Zelenczuk***Bruce Zinger***

MARQUIS ($5,000 – $9,999)Diane Blake & Stephen Smith**Mr. & Mrs. Robert & Cecily BradshawMs Marcia Lewis BrownMr. J. Harold Buttle*Mr Peter M DeebAl & Jane Forest*Ms Johanna Metcalf***Ms Racheal McCaigTim and Frances Price**Ms Barbara RedlichValerie Schweitzer &

Christopher Reed****Ms Darla Rhyne****Mr. Joe TurkelMr. Jack Whiteside**Anonymous, Youth Education

and Outreach Supporters****

IMPRESARIOS ($2,500 – $4,999)David Allan & Cynthia Young*Ms Anne Baumann**Dr. Thomas Beechy***Ms Alberta G. Cefis***Mrs. & Mr. Vreni & Marc Ducommun*Robert Glover & Martha McOuatMr. David Harquail*Gordon & Pamela Henderson*Ms Lindsay HistropMs Candace JayMr. David Fallis & Ms Alison Mackay**Mr. Phillip Khaiat &

Ms Carolynne Hallitt***Arif & Hazel Manuel*

Mr. & Mrs. Robert & Susan Mathia**Ms Suzanne McCuaigPeter M. Partridge****Mr. & Mrs. John R. & Maire Percy*Dr. Jolie Ringash & Dr. Glen Bandiera*S.K. Upjohn***Rick & Virginia Walker*

PATRON ($1,500 – $2,499)Ms Jane Adams*Moira Bartram & Joseph Fantl**Ms Marta Braun & Mr. Edward EpsteinDr. & Mrs. David & Constance Briant*Mr. John Clifford*Mr. & Mrs. Stephen & Linda Cook***Ms Catherine Dunne**Mr. Thomas Evans**Ms Elda Fares*Ms Marilyn FieldRev. Brian D. Freeland***

Dr. Manfred FrenkelDan Hickey & Lisa Vanderlip*Mr. Soheil HomayouniMr. & Mrs. Peter & Hélène Hunt*Ron Lalonde & Jane Humphreys***Mr. Kazik Jedrzejczak***Ms Ann Marie MacDonald &

Dr. Frank ListaAlan G. Lee & Norbert BeilsteinTina Leslie*Ms Anne MacKay*Mr. Roger D. Moore***Ms Sheila Phillips**Alexandra Skoczylas & Shaun LittleMs Ingrid TannerNicole Vermond & Andre Langevin*Aaron Walker & Craig D'ArvilleMr. Frank Whittaker**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

corporate & foundation supporters

All the staff at The Elgin & Winter Garden Theatres

Emily Butters

Greig S. Dunn

Anna Guthrie

Opera Atelier’s wonderful group of volunteers

John MacKinlay

Anne-Marie Mediwake

Brandon Moe

Mendl & Zev Schwartz, Incredible Printing

Lary Willows, Staff Your Event

Nada Ristich, BMO Financial Group

Connie Leon

St. Lawrence Hall

special thanks!

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Peter and Verity Hobbs**Mr. David HoldsworthMr. Arthur R. Hollbach*Ms Janet Holt*Ms Hannah HoppeSandy & Naomi HorodezkyMichael & Linda

Hutcheon****Cathy HutchinsonRobert L. Iveson****Ms Frances JerryMary JessupMs Jacqueline JimenezMs Elisabeth Jocz*Quentin & Susan JohnsonMr. & Mrs. Derek Jordan*Don & Francie Kendal**Mr. David KennedyMs Eleanor KerfootDaniel Kmiecik & Lynn

TomkinsMs Ingeborg Koch****Mr. Jeremy KramerMs Barbara KreverMs Pauline KuglerMr. James Kurliak*Mr. Michael KutrykMr. Michael LawJennifer Kropac & Kevin LawMs Katherine Lochnan**Sun Life Financial

Dr. & Mrs. Richard Mackenzie

Mr. William MacKenzieDonald & Sema MacLennan*Mr. Ian MacLennanMr. Brian MalcolmMr. & Ms Nick & Eva

Mandrapilias*Mr Peter Manson*Ms Helen McGillivrayMs Kandice McKeeMs Hélène McLenaghan**Mr. Antonio Gambini &

Dr. Stephen McQuade*Dr. Donald Melady &

Rowley Mossop*Mr. & Ms. Jack E.C. MillerMr. Ali MirzaMs. Carole Montemurro*Ms Jane MooreMr. Carl Morey***Ms Margaret Moule**Mr. & Ms Edmund & Mary

MurphyMs Derry NeufeldDr. & Mrs. Ron & Sharon

NickleMs Bridget O'Brien***Dr. Darrell Ogilvie-Harris**Özden and David DunlopMr. Terrence Paris

Mr. Douglas Parker**Mr. Eric Parker*Edward Parkins*Ms Josipa PaskaLouis PaulyDavid & Mary Ann Pearson*AnonymousSteve & Zora Pozgaj**Ms Barbara Priscus**Mr. Tony RahillyMs Denise ReidMr. Conrad ReifelYvonne Rosenberg*Karl & Sheila RubanMs Janet Rubinoff*Mr. & Mrs. Rubisov**Mr. Khachik Sarkissian*D. SchaeferMs Sylvia SchmidMr. Bill Schultz**Ms. Georgina SchwartzIain ScottMs Judy Skinner*Anne & Henry SkoczylasMr. Hume Smith*In Memory of

Myron SochaniwskyNorma SoleyMs G. Pamela Soodeen***In Memory of

Gregory Williams

Mr. Phillip SpencerRosemary & David

SpendloveMr. Mike O'Neil SpendloveMrs. Penelope Sullivan***Rev. Ella Taylor-Walsh*Ms Dana Tenny*Ms Martha Ter KuileMs Mary Thomas NagelDavid & Diana Trent****Mr. Ross Tucker*Mr. Michael Tukatsch*Ms Gisela van Steen*Dr. Gail Vanstone*Dr. Sandor Vigh**Mr. Robert Wakefield**Ms. Sharon WalkerSusan WattMs Laurie White***Dr. Blossom Wigdor***Dr. David & Mrs. Shelagh

Williams*Mr. & Mrs. Jack Wiseman*Ms Jane WitherspoonMs Lilly Wong*Mr. Perry Wong**Mr. & Mr. Marek & Magdalena

ZbikowskiAnonymous (5)

individual giving (continued)

MAESTRO ($1,000 - $1,499)C. Bergeron *Mr. Stephen BishopMs Jean EdwardsEdward & Jane

Heinemann****Dr. Richard Isaac*William & Hiroko Keith***Mr. & Mrs. Jeffrey &

Lynn LangBrian Bucknall &

Mary Jane Mossman*Dr. Emilie Newell*

SOLOIST ($600 – $999)Ms Anna AksanMr. & Mrs. John GilliesPatricia & Sheldon BarrettoMs Sara BlakeMs Sheila CroftTim & Carole Dilworth**Dr. Rohan D’SouzaAlice FoxMs Kathleen Fraser***Mr. Donald D. GrantElaine Ishibashi &

Keith Smithers***Mr. John Kerr***Mr. Arnost Kolin**Ms Dana LafargaMs Lynn LairdMr. John B. Lawson***Mr. Peter J. Lewis*Mr. Eric Lipka**Mr. Anthony Lisanti***David & Bernadette PalmerEmile Oliana & Alvin IuAndrew Kropinski &

Peggy Pritchard*Mr. Damon SutherlandMr. Ross Tilley*Mr. Alex TosheffAlison von Criegern***Mr. Dale WoolridgeAnonymous

ENSEMBLE ($300 – $599)Urve & Lewis AbbottMs Margaret Ackerman*Ms Morgana AsselinMr. Richard Balfour *Mr. Ronald Bayne****Mr. J Douglas Bodley*Ms Barbara BrunsdenMr. & Mrs. Brian & Ellen

Carr**Don Middleton &

Clayton Wilson*Ms Nancy Conn*Ms Susan Costello*Mr Bram Costin*Carrol Anne CurryMs Deanna Cyr***Dean ArtistsMs Carol Derk & Mr. David

Giles**Mr. Steve DienerSusan Done & Sean Mace*Mr. Elan Dresher*Ms Marga DunhamPatricia A. Elliot**Mr. Thomas Flemming**Lloyd FoglerDr. Hugh Gayler &

Ms Eileen MartinMr. James A. GlazierMs Marion Green**Thomas Green**Mr. & Mrs. Chester &

Camilla Gryski*Mr. Christopher GuthrieMr. & Mrs. George Hagg**Ms Sherry Hatton*Mr. D. Herbert HeineDr. & Mrs. D. Theo HofmannMr. Tim HogarthProf. Michiel Horn &

Cornelia Schuh***CR Hunter*Karin & Allan IrelandDr. Richard Isaac**Ms Nancy JohnsonMs. Susan JohnsonKuxdorf-Pescantin FamilyDr. Elaine Keillor**Mr. Igor KorenzvitMargaret Shatilla &

Myles MacDonald*Douglas & Anne MackintoshMr. Trent Mayers &

Ms Susan Carr*Ms Susan McCawley**Dr. Ulrich Menzefricke*

Mr. James Milligan*Frank & Patricia Mills**Mr. David MurrayMs Marilyn Nairn*Emile Oliana & Alvin luMr. Marwan OsseiranMs Katherine Paterson*Ms Anne Perdue**Etienne PhaneufMr. Stephen PhillipsMr. Raymond H. PladsenAnn & Gary Posen**David J. Purcell*Mr. Charles Edward RatheLesley & Mark Robinson*Ms Marina Romain*Wendy Sanford**Mr. Ron SchlumpfMr. David ScottDr. Marianne Seger*Ms Rosamunde SobryanWilliam Solomon*Mr. Kenneth Stephen*Marc & Marcy StoneMs Patricia Stone***Ms Rachel TalbotMs Carole TanenbaumBrian Telfer and Helena BirtMs Armeda Vanderwoude*Jean & Jim WilsonMr. Morden YollesMeg & Jim Young*Mr. Martin Young*Anonymous (4)

CORPS ($125 - $299)Mr. Howard Aitken*Faizal Ali & Susan BeaverNancy & Arthur Ameis**Ms Tetyana AntimirovaMs Marlene Auspitz**AnonymousMr. Anton Bakalic***Charles Taylor &

Janet BallantyneMr. Bruce Barnett-CowenMr. Donald Barr***Mr. Arlen BartschDr. Henry A. Becker***Mr. Gyuszi Berki*Mr. David BernhardtMr. Michael Beswick***Ms Colette BevilacquaMs Anne Biringer*Ms Janet Blakely-Bowe*Ms Susan Booker*

Ms Dolores BorkowskiWendy BoydMr. David Brierley**Ms Margaret Brock****Mr. Thomas Bryson***Ms Maria BuismanRichard Bull & Bryan Pipe***Ms Judith Burrows*Mr Blair Caines*Ms Iivi CampbellMr. Manuel Cappel*Vilgi ChapmanMrs. L. S. Cheung-White***Professor & Mr. Caryl ClarkMr. Robert ClarkMs Susan CostelloMr. William Crisell****Mr. George Dalton**Kate Danter**Ms Maria DavidsonMs. Jan L. de SerresMr. Michel Desormeaux*Ms Serena Dessen***Mr. Sholem DolgoyMs Carol Dorman**Mr. Richard Earls***Ms Katherine EdwardsMs Sue EdworthyMr. Ossama El NaggarMs Mary Faziluddin**Mr. Christopher FergusonPeter FischerMs Eleanor Frank*Ms Donna FraserMrs. Mary Gauci**Ms Isabelle GibbMs Ann Gibson**Mr. Bruce GillespieMr. & Mrs. Bernard &

Ruth Gillespie***Ms Margarita GitevDr. Fay Goldstep &

Dr. George Freedman***Nadia & Harold GomezMichael Goodwin***Mr. Robert GouldMr. Laurent Goulet**Mr. George Grant***Mr. John GrantMrs. Barbara Habib***AnonymousDr. William Hanley*Ms Rhoda Hassmann &

Mr. Peter McCabe*Mr. D. Herbert HeineMr. Bram Herlich****Ms Pauline Hill

* 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 the staff’s 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.

Donate your Aeroplan miles! Opera Atelier uses Aeroplan miles to book artist travel for our tours overseas. We are currently collecting points for our 2017 tour to Versailles with Charpentier's Medea! Consider donating miles today through operaatelier.com/donate.

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WITH SINCERE GRATITUDE, WE SALUTE

Jerry & Joan LozinskiFOR SUPPORTING MARSHALL PYNKOSKI

AS CO-ARTISTIC DIRECTOR.

Save the

Date!Join us for our annual Versailles Gala on June 7, 2017 at the Shangri-La Hotel.

Guests will enjoy performances by Opera Atelier artists, fabulous live and silent auctions, and the chance to mingle with fellow opera-lovers.

Funds raised help support our free education and outreach programs, and our international touring.

Contact the Development Office at 416-703-3767 x228 for more info.

Michael Wekerle, Jeannette Lajeunesse Zingg and Marshall Pynkoski at the 2016 Versailles Gala. Photo by Vuk Dragojevic.

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 four-year commitment to the company. Their pledge will help solidify

a bright and exciting future for Opera Atelier.

THANK YOU!

Royal Opera House of Versailles (2012). Photo by Bruce Zinger.

From left to right: Ivars Taurins, Amanda Forsythe, Krisztina Szabó, Colin Balzer, Tyler Duncan

Tafelmusik’s original

MESSIAHat Koerner Hall

tafelmusik.org

HANDEL MESSIAHKoerner Hall Dec 14–17, 7:30pm(416) 408-0208

ALSO: SING-ALONG MESSIAHMassey Hall, Dec 18, 2pm (416) 872-4255

CELEBRATING 30 YEARS!

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We are working together with Opera Atelier to make a difference in our communities.

Proud to support Operatix.

M04198 (0610)

thank you vivian!

In addition to her long-standing and continuing sponsorship of

The Artists Of Atelier Ballet, Vivian is also sponsoring Christopher Enns

in his role as Aeneas.

WITH SINCERE GRATITUDE WE SALUTE

Vivian Elizabeth Pilar FOR HER GENEROSITY AND DEDICATION

TO OPERA ATELIER.

The Company of Armide (2015). Photo by Bruce Zinger.

Mireille Asselin and Wallis Giunta in Alcina (2015). Photo by Bruce Zinger.

Opera Atelier applauds one of our very special patrons for sponsoring Wallis Giunta

With great admiration and respect I am pleased to be the Choreography Sponsor in support of Co-Artistic Director Jeannette Lajeunesse Zingg. Her dedication and expertise have brought the joy and beauty of dance to the performances of Opera Atelier and have helped create a unique dimension and style to the Company’s beautiful presentations.

Thank you Jeannette!

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Opera Atelier applauds Brayton Polka for sponsoring Tafelmusik Baroque Orchestra

The company of The Magic Flute and Tafelmusik Baroque Orchestra. Photo by Bruce Zinger.

Opera Atelier applauds Nick & Barb Zelenczuk for sponsoring The Toronto Children’s Chorus

Phot

o: A

leks

anda

r Ant

onije

vic

NATIONAL AUDITION TOUR 2016/17 DARE TO DREAM

Canada’s National Ballet School

DATES AND LOCATIONS: WWW.NBS-ENB.CA

an Ontario government agencyun organisme du gouvernement de l’Ontario

#NBSAUDITIONS

Creating value where we live and work. Together.

Applauding Opera Atelier.

Opera Atelier applauds Anna Guthrie for sponsoring Laura Pudwell

Opera Atelier applauds Katalin Schäfer for sponsoring Meghan Lindsay

Opera Atelier applauds Tom Logan for sponsoring Gerard Gauci

Laura Pudwell in Dido and Aeneas (2005). Photo by Bruce Zinger.

Meghan Lindsay in Der Freischütz (2012). Photo by Bruce Zinger.

Photo by Jim Allen.

Proud Supporter of Opera Atelier

This advertisement is for informational purposes only. © Copyright 2016. Used under license. All rights reserved.

rbccm.com

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General Manager Brett RandallMarketing and Communications Manager Ellen FlowersAdministrative Assistant Lena PolyvyannayaProduction Manager Dana JohnstonFront Of House Manager Lori MacLeanHouse Manager Kelly MudieUsher Supervisors Bryce Dudley Arnie Lappin Randall Pierce Samantha Serles Jason SinghManager, Bookings And Events Kevin Harris

Box Office Manager Sasha MiszczykBox Office Staff Cecilia Aguilera Patrick CrowtherOperations Manager Derek DresserOperations Staff John Kolesnyk Jeff Snow Marc WashingtonProduction and Operations Assistant Carolyn Mykytyshyn

Box office services provided by Ticketmaster.

I.A.T.S.E. DEPT. HEADS LOCAL 58Head Carpenter Jim NuttHead Electrician Lars TilanderHead of Properties Mark FisherHead of Sound Aaron Hanna

ONTARIO HERITAGE TRUSTChairman Thomas H. B. SymonsChief Executive Officer Beth HannaDirector, Heritage Programs and Operations Sean FraserActing Director, Corporate Businesses and Services Paul Dempsey

the elgin and Winter garden theatre centre

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. If you wish to become a volunteer go to www.heritagetrust.on.ca/ewg for more infor-mation and to download an application form.

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 the-atres. 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 hear-ing enhancement system. Please ask the usher staff for assistance.

Lost and Found Articles: Call (416) 314-2885 and leave a message with your name, tele-phone 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 min-utes prior to the tour in the lobby. Admission is $12 for adults, $10 for students and seniors. Group tours are available by special arrange-ment, call (416) 314-2871 for more information.

Like us on facebook.com/elginwintergardentheatres

189 YONGE STREET TORONTO, ON M5B 1M4

(416) 314-2901 www.heritagetrust.on.ca/ewg

opera atelier Board & staff

PRODUCTION CREDITS

Resident Music Director David Fallis

Assistant Conductor Peter Tiefenbach

Repetiteurs Nicole Bellamy Borys Medicky

Apprentice Stage Manager Jane Honek

Head of Wardrobe Michael Legouffe

Wardrobe Apprentice Leah MacRae

Make-up Designer & Artist Barbara Szablowski

Technical Drafters Ryan Marshall Nic Vincent

Score Coordinator Kat Chin

Production Assistant Rene Kimmett

Wig Mistress Jacqueline Robertson-Cull

Custom Footwear Jitterbug Boy

Surtitles Operator Alex Eddington

Scenic Painting Scenic Drop Studios

Weapons Fantastic Creations

Set Motion Designs Limited

Lighting Bespoke Audio Visual

Sound Dual Audio Services

Special Effects AirMagic

ADMINISTRATIVE STAFF

Executive Director Alexandra Skoczylas

Director of Development Dan Hickey

Senior Manager of Communications & Education Bronwen Bradley

Production Manager William H. Zachary Bruman

Manager of Finance & Administration Irina Richter

Audience Services Coordinator Holly Coish

Development Coordinator Nadine Haddad

Office Assistant Lauren McCauley

Resident Photographer Bruce Zinger

Archival Videographer John Kerr

Graphic Design Ted Rouse, Takedanger Design

FOUNDING DIRECTORS

Co-Artistic Director Marshall Pynkoski

Co-Artistic Director Jeannette Lajeunesse Zingg

BOARD OF DIRECTORS

President and Chair John MacKinlay

Treasurer Sharon Giffen

Secretary Steven Rosenhek

Jane Adams Anne Baumann Eric Dingman Elda Fares Jan Lambert Robert Mathia Laura Money Julia Robertson James Stonehouse Rani Turna Bruce Zinger

Cover images and Opera Atelier production photos throughout by Bruce Zinger.

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