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Puccini's Tosca - April 9, 12, 14 2011
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Tosca

A tale of desperate choices embroiled in art and politics concludes the season with Tosca, Puccini’s darkest and most powerful masterpiece.

Tosca, a fiery and passionate diva, struggles with a deadly decision: will she surrender to Rome’s brutal chief of police to save the man she loves?

Puccini's Tosca - April 9, 12, 14 2011

Puccini – Tosca
April 9, 12, 14, 2011 – 7:30pm
The Northern Alberta Jubilee Auditorium
Sung in Italian with English supertitles

Yannick-Muriel Noah

YANNICK-MURIEL NOAH, Tosca

Soprano Yannick-Muriel Noah triumphed as Madama Butterfly both with the Canadian Opera Company, and with the Staatsoper Hannover in Germany. This recent COC Ensemble Studio graduate just sang her first Aida in Klagenfurt, where she previously made a stellar Austrian début as La Wally. Ms. Noah is the recipient of the top Canadian award from the George London Foundation Awards Competition, the 1st Prize Advanced Division from the Palm Beach Opera Vocal Competition as well as their first-ever Audience Favourite Award. Native of Madagascar, Ms. Noah holds a Bachelor of Architectural Studies with a Minor in Italian from Carleton University.

Robert Breault

ROBERT BREAULT, Cavaradossi

Born and raised in Wisconsin and a graduate of the University of Michigan and St. Norbert College, Breault also serves as Professor of Music and Director of Opera at the University of Utah. During the 2009 – 2010 season, Breault joined the Edmonton Opera for the first time in the role of the Duke in Rigoletto. Opera Canada wrote, “Tenor Robert Breault made his EO (Edmonton Opera) debut with distinction as the Duke of Mantua. He looks the part of a man who can seduce women with more than just his power and wealth, and he has a lustrous voice.”

Nathan Berg

NATHAN BERG, Scarpia

With a “first-class voice” (The Boston Globe), Nathan Berg has emerged as one of the most in-demand bass-baritones of his generation. Berg enjoys a versatile career that incorporates a balance of concert, recital and operatic performances.With repertoire ranging from Bach and Handel to Mahler and Verdi, he has travelled extensively to perform with Los Angeles Philharmonic, Chicago Symphony, Montreal Symphony, the BBC Symphony Orchestra, the Orchestre de Paris and the Berlin Philharmonic Orchestra.

Tom Goerz

TOM GOERZ, Angelotti / Sciaronne

Dramatic integrity and vocal clarity are the enduring artistic hallmarks of performances by bass-baritone Thomas Goerz. Of particular note this season is Mr. Goerz’s return to New York’s Metropolitan Opera as cover artist for Don Alfonso in COSI FAN TUTTE. International repertoire includes performances with Cincinnati Opera, Arizona Opera, as well as having performed with the Japan Philharmonic at the Takefu International Music Festival. Thomas is well remembered as the villainous Inspector Javert in the original Canadian cast of LES MISERABLES at Toronto’s Royal Alexandra Theatre and has toured to Singapore and Hong Kong as M. Firmin in PHANTOM OF THE OPERA.

Alexandre Sylvestre

ALEXANDRE SYLVESTRE, Sacristan / Jailer

Alexandre studied at the Conservatoire de musique de Montréal where he successfully obtained the Premier Prix avec Grande Distinction. He has performed The Magic Flute with Pacific Opera Victoria, The Marriage of Figaro with the Opera Centre in Sulmona, Italy, Roméo et Juliette and Madama Butterfly with the Opéra de Montréal and has participated in the premiere work based on the writings of Jacques Cartier as part of Quebec City's 400th anniversary celebrations .

Keith Klassen

KEITH KLASSEN, Spoletta

Keith Klassen has emerged to become one of Canada's busiest tenors, averaging 12 productions a season since graduating with honours from the Opera Division at the University of Toronto in 2002. He has been engaged across Canada, as well as in Scotland, Germany, the United States, Ireland and the Czech Republic. In the past season alone, critics and audiences alike have enthusiastically received his performances of Rodolfo (La Boheme), Alfredo (La Traviata), Don Jose (Carmen), the Duke (Rigoletto), Samson (Samson et Dalilah), Uriel (Haydn's 'Creation') and Spoletta (Tosca).

Robert Herriot

Tosca was the very first opera I was in. I was a supernumerary dressed as an altar boy and my role was to join about 100 other altar boys and slowly troop across the stage in a procession in the final fantastic Te Deum scene at the end of act one. I was pretty young and didn't know very much about opera, but I recall vividly waiting backstage for our cue and listening to the music. It was overwhelming. After our 5 seconds of glory on stage I would quickly change and run into the audience to watch the rest of the evening's performance. I then ran out and spent way too much money on my first box set of C.D.s which was a recording of Tosca. It became my favorite opera and remains in my mind one of Puccini’s best works.

“The drama Puccini has created takes us on a remarkable journey through a story that is rich in love, jealousy, lust, deception and evil...throw a murder into the mix and you have a pretty great opera. The music of the piece is seamlessly beautiful and terrifying at the same time - from the opening chords we feel the tension of the story which is punctuated with glorious moments of loving tenderness and the simple desperation to survive life's atrocities.

“Perhaps the most remarkable thing is the story itself. The opera is based on Sardou's 1887 French play La Tosca. From a director’s point of view I think it is perhaps one of the more exciting pieces to direct a piece of theatre you can really sink your teeth into - believable and relevant. The plot is one of the best ever set to music which, in turn gives us characters rich in depth, that take us on journey of human experience that is riveting. The key elements of this story are unfortunately very present in our daily news - misuse of power, political unrest, murder and sexual assault. These are human experiences that we could do without in life, but they make for great theatre on the stage.”

Robert Herriot

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