Peter has worked for the Basel Ballet, Zurich Ballet in Switzerland, the Hungarian State Opera and the National Ballet of Hungary, with performances in Monte Carlo, Germany, Israel, New York, Spain and China. As Edmonton Opera’s chorusmaster from 1996 for 2012 and resident conducter from 2001 to 2012, he prepared the chorus for roughly 40 operas and conducted numerous mainstage productions. In 2001 he began his affiliation with Alberta Ballet and was appointed music director in 2005. Most recent performances were Tchaikovsky’s Nutcracker in Edmonton, Calgary, and Ottawa’s National Arts Centre. Last spring, he conducted Mozart’s Requiem — choreographed by Jean Grand-Maitre, with the Richard Eaton Singers, and soloists Nathalie Paulin, Allyson McHardy, Ben Butterfield and John Fanning — and Yukichi Hattori’s world premiere of Pomp without Circumstance. Last season, he was the repetiteur for Edmonton Opera’s Aida and Les Contes d’Hoffmann.
Allison Grant recently choreographed an acclaimed production of Die Fledermaus at the Canadian Opera Company and Pirates of Penzance for Vancouver Opera. A highlight of the past season was an acclaimed production of Romeo et Juliette for Vancouver Opera. Other directing highlights include Die Zauberflöte (Sarasota Opera), Don Giovanni and Carmen (Opera Ontario), Così fan tutte (Vancouver Opera), L’Italiana in algeri (L’Opéra de Montréal), Smokey Joe’s Café (Stagewest Calgary) and Leslie Arden’s A Meeting of Minds (CanStage). As a choreographer her work has been seen in The Merry Widow for opera companies in Hawaii, Edmonton and Hamilton, Die Fledermaus, Un ballo in maschera and Eugene Onegin (Vancouver Opera), The Queen of Spades, Dido and Aeneas, Don Giovanni and Eugene Onegin (Canadian Opera Company) and Die Fledermaus (Kentucky Opera). At Theatre Athena where she was recently artistic director, she directed Master Class, Private Lives and the Canadian premiere of Itamar Moses’ brilliant play, Bach at Leipzig.
Previous designs with the Edmonton Opera include Aida, Cavalleria Rusticana/I Pagliacci and Otello. As a Calgary-based artist, David works extensively across the country in theatre, dance and opera. His theatrical designs have been seen from the National Arts Centre in Ontario, to the Vancouver Opera in British Columbia, while his designs in dance have been seen both nationally and internationally with choreographers Tania Alvarado and Pam Tzeng. He has been nominated for a Jessie Richardson Award, two Betty Mitchell Awards, and 10 Elizabeth Sterling Haynes Awards, and he has been the recipient twice for his designs.
Betty Waynne Allison
Soprano Betty Waynne Allison is an alumna of the Canadian Opera Company’s Ensemble Studio. She made her French debut in Metz as Alice in Falstaff and created the title role in Mary’s Wedding for its world premiere in Victoria. The title role in Floyd’s Susannah was her U.S. debut role in Milwaukee and on the concert stage, she was heard in Galgenlieder à 3 by Gubaidulina (Queen of Puddings), and was featured in Brahms’ Requiem for the Winnipeg Symphony and the Grand Philharmonic Choir. Leading assignments in Ensemble productions included Fiordiligi (Così fan tutte), Donna Elvira (Don Giovanni), and Mona in the world premiere of James Rolfe’s Swoon. On the mainstage she has covered and performed roles including Erste Dame (Die Zauberflöte), Donna Anna (Don Giovanni), Luisa Miller (Luisa Miller), Turnspit (Rusalka), Freia (Das Rheingold), Marguerite (Faust), Countess (Le nozze di Figaro), Tatyana (Eugene Onegin) and Amelia (Simon Boccanegra).
A former member of the Canadian Opera Company Ensemble, soprano Jacqueline Woodley drew wide attention starring in the world premiere of Ana Sokolovic's opera Svadba - Wedding, commissioned and produced by Queen of Puddings Music Theatre. She sang the role of Milica, the bride, to rave reviews and joined the company for the European and Canadian tours of Svadba in the 2012/13 season. After her success as Papagena in the Ensemble production of Die Zauberflöte, she sang Iris in Handel's Semele (Four Seasons' Opera Centre). Other roles with the COC include the Page (Rigoletto) and First Priestess (Iphigénie en Tauride). Jacqueline is featured frequently in the Richard Bradshaw Amphitheatre Free Concert Series, recently for her Les Adieux solo recital as well as in Tenebrae by Golijov, with the Tokai Quartet, Clarinet and dancers and as Lucy in The Telephone. Other recent operatic highlights include the Lace Seller (Death in Venice), Pamina (Die Zauberflöte), Lisette (La Rondine), Miss Wordsworth (Albert Herring), Serpina (La serva padrona), Despina (Cosí fan tutte) and Belinda (Dido and Aeneas).
Gordon Gietz created the role of Stingo in Nicholas Maw’s Sophie’s Choice at Covent Garden and for the North American première in Washington, DC. He appeared as Tamino, Don Ottavio, Cassio and Alfred at the Opéra National de Paris and created the character of Yonas in the world première of Kaija Saariaho’s Adriana Mater, a role he reprised at the Barbican in London for the British première with the BBC Orchestra. He made his La Scala debut as Chevalier in Dialogues des Carmélites and returned for A Midsummer Night’s Dream as Lysander, his debut role at Glyndebourne and the Gran Teatre del Liceu in Barcelona. Other highlights include Die Nase at the Metropolitan Opera, Steva in Jenufa at the Châtelet and Madrid’s Teatro Real, Hoffmann in Marseille, Don José in Carmen in Montréal, Antwerp and Lille and Béatrice et Bénédict with the New York Philharmonic, Orchestre National du Capitole de Toulouse and the Santa Fe Opera.
American countertenor Gerald Thompson’s recent successes include his return to the Metropolitan Opera for the role of Bertarido (cover) in Rodelinda, and appearances as Mike Teevee in The Golden Ticket (Atlanta Opera) and at Chicago Opera Theatre in Teseo. He returned to Europe for concert performances of Narvèes in Montezuma (Musikfestpiele Potsdam Sassoucci Festival). Further appearances include his debut at Pacific Opera Victoria as Bertarido and his appearance at New York City Opera in the role of Hegai in Esther. He made his Royal Opera House, Covent Garden, debut in the role of The Dog in The Cunning Little Vixen, and sang Medoro in Orlando in Moscow, in one of the first public appearances in Russia by a countertenor. He is the recipient of the spring 2007 Koloszar Award (New York City Opera), Richard Tucker Foundation Career Grant (2006), second prize in the Opera Division as well as International Media-Jury Prize winner at the 25th International Hans Gabor Belvedere Vocal Competition (2006).
Vancouver tenor Adam Fisher began his 2012 season in scenic Santa Barbara, California, leading the cast as Tom Rakewell in performances of Stravinsky’s The Rake’s Progress at Music Academy of the West. A graduate of University of British Columbia, Adam joined Calgary Opera’s Emerging Artists Program in 2010, where he performed the roles of Ferrando (Così fan tutte), Wilhelm in The Brothers Grimm (Burry) and several roles in the world premiere of Bramwell Tovey’s The Inventor. With Edmonton’s Opera Nuova, this charismatic young tenor sang Fenton (Falstaff) and Alfred (Die Fledermaus). Adam returned to Calgary as Tamino in Cowtown Opera’s fresh version of Mozart’s The Magic Flute and joined the youthful cast as Alfred in their 2012 production of Die Fledermaus. He recently debuted with Chorus Niagara in Best of Broadway, an orchestral concert of favourite Rodgers and Hammerstein songs from Oklahoma, Carousel, Flower Drum Song and more.
Baritone Peter McGillivray was the winner of the 2003 CBC Young Performers Competition and won top prizes at both the Montreal International and the Queen Sonya of Norway singing competitions (2005). He joined the Canadian Opera Company where he has appeared in Dido and Aeneas, Albert Herring, La Bohème, Faust, War and Peace, and Gianni Schicchi. He has appeared with orchestras in Vancouver, Calgary, Edmonton, Regina, Winnipeg, Windsor, London, Kitchener-Waterloo, Quebec City, Liverpool, Oslo, Duisberg and the National Arts Centre Orchestra in Ottawa in repertoire ranging from Messiah to Carmina burana to the St. Matthew Passion. He joined the roster of the Metropolitan Opera in 2010 for productions of La Bohème and Capriccio. Other recent credits include performances with companies in Calgary (Carmen, Manon, Gianni Schicchi, Pagliacci, Moby Dick), Victoria (Madama Butterfly, Albert Herring, Noye's Fludde), Hamilton (Die Fledermaus) and Ottawa (La Bohème). With Toronto's Tapestry New Opera, he has starred in the premiere of Omar Daniel's The Shadow and most recently the 2012 world premiere of Juliet Palmer’s Shelter in Edmonton.
Bass-baritone Edward Hanlon, a 2010 Metropolitan Opera National Council Auditions semi-finalist and Lyric Opera of Chicago Ryan Opera Center finalist, is a graduate of the University of Michigan and McGill University. Recent engagements include covering with the Lyric Opera of Chicago, performing with Michigan Opera Theatre, Virginia Opera, Ohio Light Opera, Winter Opera St. Louis, Toledo Opera and the Siena Music Festival in roles including Figaro (Le nozze di Figaro), Dick Deadeye (H.M.S. Pinafore), Masetto (Don Giovanni), Don Alhambra (The Gondoliers), Sid (La fanciulla del west), Count Ceprano (Rigoletto) and Pish-Tush (The Mikado). An alumnus of several young artist programs, Edward has performed with Des Moines Metro Opera, the Glimmerglass Festival, Ash Lawn Opera, Chautauqua Opera and Summer Opera Lyric Theatre. Edward has upcoming engagements with Toledo Opera and the Lyric Opera of Chicago and currently resides in Chicago with his wife, soprano Tanya.
Tanya Roberts has performed over 30 opera and musical theatre roles in professional and academic arenas throughout North America, Europe and the Middle East. She recently made her solo debut with the Chicago Symphony Orchestra as a principal artist in the Very Special Promenades Concert Series and as the Soprano I cover in Bach’s Mass in B Minor under the direction of Riccardo Muti. Recent highlights include Anna in The King & I and Gianetta in The Gondoliers (Ohio Light Opera Company), Gianetta in The Gondoliers (Gilbert & Sullivan Opera Company), Coffee Cantata and Faure’s Requiem (Salt Creek Chamber Orchestra), Vivaldi’s Gloria (Northeastern Illinois University), and Lucy in The Billy Goats Gruff (Motor City Lyric Opera). Tanya is in residence with the Lyric Opera of Chicago Chorus.
Renowned for his intricate physical characterization and flawless comic timing, Aaron is quickly establishing himself as one of the top international comic tenors. Recent performances include Armide (Le Chevalier Danois, Glimmerglass Festival, Royal Opera of Versailles, Opera Atelier), Constable Locke (The Music Man, Royal Opera of Muscat, Oman), Grandpa Joe in Johnny Johnson and Monstatos in Die Zauberflöte (Opera Atelier, Opera Columbus, Penn State), Blind in Die Fledermaus, Basilio/Curzio in Il nozze di Figaro, Nika Magadoff in The Consul, Borsa in Rigoletto, Monostatos in Die Zauberflöte, Spoletta in Tosca and Le Doyen in Cendrillon (Opéra de Montréal, Opera de Québec Gala), Lysander (A Midsummer Night’s Dream, Banff Centre), Apollo (Semele, Pacific Opera Victoria), Riot (Peace, Shannon Festival, Ireland) and Albert in Albert Herring (Opera Nuova). He has performed with Toronto Symphony Orchestra, Orchestre Métropolitain, Tafelmusik, Victoria Symphony, Orchestra London, Vancouver Chamber Singers and Victoria Choral Society. Upcoming engagements include Euryale (Persée, Royal Opera of Versailles and Opera Atelier), Gastone (La Traviata, Opera Highlands), Goro (Madama Butterfly, Opéra de Québec) and Jupiter/Anfinomo (Il ritorno d’Ulysse in patria, Opera Atelier).