Director of community relations & assistant general manager
March 12, 2014
Puccini’s libretto tells a simple, timeless love story that crossed oceans, and Edmonton Opera’s production of Puccini’s Madama Butterfly does the same thing— literally.
The final opera of the 2013/14 season is a revival of the acclaimed Opera North production in Leeds, England, directed by Tim Albery and with French soprano Anne Sophie Duprels returning to the title role.
During a performance at the Grand Theatre in Leeds, a Telegraph reviewer described Duprels’ voice by saying, “For sheer sweetness of personality, for sheer pathos, I have seen few to match her.”
Her character, Cio-Cio-San, loves Pinkerton because of his differences, and because he’s not her idea of a typical American.
The production has moments of romance when called for, Albery said during a set presentation, but it also has hard edges — the truth, that Cio-Cio-San (Madame Butterfly) and Pinkerton do not see their marriage agreement in the same light, is not so kind.
With its powerful music, the opera is well-loved by audiences.
Listing Puccini, Massenet and Janáček as her favourite composers, Duprels said it’s their approach to composing that makes their works and Madama Butterfly so attractive.
“I think what they all have in common is this incredible way of telling a story, the drama is at the centre, the emotions are in every note, it’s a very passionate way of writing music. I think that’s why I love them so much,” she said.
The opera also has an added meaning for Edmonton Opera during its 50th season. This was the opera first performed by the company under the name of the Edmonton Opera Professional Association, with Dianne Gibson Nelsen and Ermanno Mauro in the title roles, in October 1963.
At that time, the president of the EOPA wrote in his program notes, “We make a bold debut.” Fifty years later, Edmonton Opera considers this just the overture.
Please contact Jelena Bojic, director of community relations and assistant general manager, at 780.392.7837 or firstname.lastname@example.org, to arrange interviews with artists or to attend the media dress rehearsal on April 3 at 7 p.m. Madama Butterfly opens at the Jubilee on April 5 (8 p.m.), with additional performances on April 8 (7:30 p.m.) and April 10 (7:30 p.m).
More media releases
A new collaboration between the Edmonton Opera and the Edmonton Symphony Orchestra will bring three dynamic baritones to the Winspear Centre this March.
No Tenors Allowed features the Edmonton Opera Chorus and guest baritone singers Gordon Bitner, Elliot Madore and Philippe Sly on March 24, 2014, led by ESO conductor Bill Eddins. The ensemble’s program includes prominent works that will engage a wide variety of audience members.
Edmonton Opera Association held its 49th Annual General Meeting yesterday at the MacEwan University, Alberta College Campus at 5:30 p.m. The Report to the Community was released, as well as financial statements for 2012/13 and changes to the society’s bylaws.
Irving Kipnes, past chair, thanked the board, staff, supporters and volunteers and said that he’s aware the organization is reviewing its current business model, and looking for measures that will make it more financially sustainable.
After 50 years, the Edmonton Opera still considers this just the overture. So, a new anniversary
initiative, 50 Days of Opera, seems like the perfect way to celebrate five decades of contributions to the
Edmonton arts community.
Please be aware that effective immediately, Sandra Gajic has decided to move on from the Edmonton Opera and resigned as CEO on May 2, 2013.
For the immediate future, Tim Yakimec, Director of Production, will be the Interim Business Manager for the Edmonton Opera.
Please direct any inquiries to Craig Corbett at email@example.com or 780.964.7604
Those who haven’t had their heart broken need not apply.
Each character in the opera Eugene Onegin has the love of something, so understanding love is key to Edmonton Opera’s production, starting in mid-April at the Northern Alberta Jubilee.
“It’s really about, in many ways, living your life with a broken heart,” said director Tom Diamond. “On the first day, when I spoke to the cast, I talked about, at my middle age, I’m kind of glad that at some point in my life, I have had my heart broken, because it equips me to direct this kind of opera.”