Jul 23, 2025

2024/25 SEASON ANNUAL GENERAL MEETING RECAP

Manitoba Opera (MO) announced at its 2024/25 Annual General Meeting (AGM), held at the Centennial Concert Hall on Tuesday, July 8, that the year ending May 31, 2025, was a dynamic and affirming year for the company that underscored Manitoba Opera’s role as both a cultural leader and a creative force in the province. 

“With generous community support, in 2024/25, we continued to expand our impact while staying grounded in the timeless power of storytelling through music,” said Larry Desrochers, General Director & CEO. “Our programming, community engagement, and education initiatives all centered on the core themes of artistic excellence and innovation, connecting to communities, language and cultural reclamation, and civic leadership.” 

The company reported that it posted an operating surplus of $5,000 following an internal transfer of $47,082 to its board-designated Operating Reserve Fund. As of May 31, 2025, the Reserve Fund has a balance of $314,561 up from $267,479, to support activities and programs for FY2026.  

Although subscription figures were just 70% of pre-pandemic levels, this represents a 20% increase over the previous year. The 2024/25 season programming – The Elixir of Love and La Bohème – was a resounding artistic success, but single ticket revenue for both productions underperformed. The year ended with $501,344 in box office receipts. Fundraising from all operational campaigns saw a modest increase of five percent in donations, fundraising, and sponsorship. During the 2024/25 season, The A. Kerr Twaddle Robert H. Thorlakson Manitoba Opera Endowment Fund grew by $964,450, and as of May 31, 2025, has a market value of $4,227,251 ($3,262,801 – 2024).  

“We are so very thankful to the opera community and all our supporters coming together to support opera in Manitoba once again in the 2024/25 season,” commented Judith Chambers, Outgoing Chair. “Whether it’s a fully staged mainstage production, new Canadians attending an opera for the first time through our Opera Access program, or students working with a professional singer in their classroom, none of our work would be possible without the generous support we receive from our individual donors, corporate partners, funders, and investments from all three levels of government.”  

The 2024/25 season saw the Opera Access program grow significantly. This program provides free or subsidized tickets to social service organizations that distribute tickets to people who might not attend an opera otherwise. This season, over 3,700 tickets (2,527 for The Elixir of Love and 1,187 for La Bohème) were distributed to over 75 organizations.   

Other season highlights included the return of celebrated Winnipeg soprano Andriana Chuchman as Adina in The Elixir of Love and La Bohème’s powerful all-Canadian cast led by Zachary Rioux (Rodolfo) and Suzanne Taffott (Mimì); the retirement of Maestro Tyrone Paterson as the company’s music advisor & principal conductor after 21 seasons; the awarding of a transformative investment of $750,000 over three years from Prairies Economic Development Canada that will help to rebuilding audiences, strengthen finances, and modernize business practices; the Gala Reception in honour of Winnipeg philanthropist Michael Nesbitt, the third recipient of the Gail Asper Award; a continuation of the company’s equity, diversity, and inclusion work which included the creation of the Black Communities Advisory Committee; the fifth anniversary of the Digital Emerging Artist Program which saw five participants receiving a total of 445 hours of mentorship; reaching over 2,000 students through a range of programs; and multi-faceted engagement initiatives such as the art supplies drive that positioned the company as a community connector and cultural convenor.  

The 2025/26 Board of Trustees was also announced at the AGM. Members re-elected were Sandy Chahal, Charlene Ord, John Pacak, and Grant Suderman. Trustees in mid-terms are Paul Bruch-Wiens, Terence Sakohianisaks Douglas, Flavia Fernadez Fabio, Lana Maidment, Luisa Matheson, Andrea McLandress, and Dr. Bill Pope. Joining the board of trustees is Anthony Maros and Dr. Verona Wheatley. (See below for bios.) Returning to the board is Incoming Chair Lori Yorke, who previously served as a trustee and was chair of the Finance Committee. 

After completing four full terms, Judith Chambers will be retiring from the board. Also concluding their service of four full terms are Keith Sinclair and Dr. David Folk. Ray Karasevich is leaving the board after joining in 2022. Elba Haid is also leaving the board and has been named Director Emeritus. Haid joined the board in 2007, served as chair from 2015 to 2000, continued to support the company as past chair, and was the co-chair for this year’s The Gail Asper Award and co-chair of The Power of Voice Endowment Campaign. 

Jul 23, 2025

CANADA LIFE’S ENDURING SUPPORT HELPS MANITOBA OPERA REACH NEW AUDIENCES

For more than 50 years, Canada Life has played a pivotal role in the growth and reach of Manitoba Opera, helping to ensure that opera remains an accessible and vibrant part of Manitoba’s cultural landscape. Since the company’s inaugural performance in 1972, Canada Life has been a steadfast sponsor, motivated by a belief in the power of storytelling and cultural expression to build stronger, more connected communities. 

This commitment is visible in Canada Life’s ongoing support for Manitoba Opera’s educational and community engagement programs. As Education & Community Engagement Sponsor, Canada Life has helped bring opera directly to youth across Manitoba. The Opera Class program, in particular, has introduced over four thousand children to the art form, sparking creativity and a love of music through hands-on workshops led by professional opera singers. These efforts ensure that young people, regardless of their background, can experience the transformative power of the arts. 

Canada Life’s dedication to community giving is also reflected in the actions of its employees, who volunteered more than 36,000 hours and contributed over $2.6 million to community causes in 2024-25. This culture of generosity and engagement aligns closely with Manitoba Opera’s mission to change lives through music and storytelling. 

Without support from partners like Canada Life, Manitoba Opera’s ability to offer student programming and community outreach would be diminished, leaving a gap in opportunities for youth to explore, question, and create. Canada Life’s unwavering support ensures that opera remains a vital gateway for connection, imagination, and understanding in Manitoba. 

Manitoba Opera extends heartfelt gratitude to Canada Life for its decades-long partnership and ongoing belief in the value of the arts. Their support continues to make a meaningful difference, on stage, in classrooms, and throughout the community. Thank you Canada Life!  

Jul 23, 2025

THE POWER OF PARTNERSHIP: THE GAIL ASPER FAMILY FOUNDATION’S ROLE IN A CELEBRATED SEASON PREMIERE 

With the 2024/25 season now complete, audiences are still reflecting on the unforgettable opening production, The Elixir of Love, a vibrant, heartwarming performance that seamlessly blends humour, romance, and world-class artistry. This remarkable achievement was made possible by the generous support of the Gail Asper Family Foundation, whose continued partnership brings Manitoba Opera’s artistic vision to life. Their contribution went beyond supporting a single production; it helped create a transformative operatic experience that enriched Manitoba’s cultural landscape. 

Back on Winnipeg stages for the first time in two decades, The Elixir of Love captivated audiences. The production featured a stellar cast led by Winnipeg soprano Andriana Chuchman, reprising her signature role as Adina, which she previously performed to acclaim at the Metropolitan Opera in New York. She was joined by American tenor Jonah Hoskins as the lovelorn Nemorino and baritone Jorell Williams, making his Manitoba Opera debut as the swaggering Belcore. Under the baton of Maestro Tyrone Paterson, the Winnipeg Symphony Orchestra and Manitoba Opera Chorus brought Donizetti’s charming score to life with warmth and brilliance. 

But this production was more than just a musical triumph, it was a celebration of community. Thanks to the support of the Gail Asper Family Foundation, The Elixir of Love became an inclusive experience, accessible to many who might not otherwise have had the opportunity to attend. Free tickets were distributed through Manitoba Opera’s Opera Access Program to underserved audiences, while educational initiatives like the Opera Primer and Understanding the Music sessions offered meaningful context and deeper engagement. 

As we reflect on a remarkable season, Manitoba Opera extends its deepest gratitude to the Gail Asper Family Foundation for their unwavering commitment to nurturing a thriving, inclusive, and artistically rich community. With their support, we continue to share the transformative power of opera, one unforgettable performance at a time. Thank you!

Jun 25, 2025

What We Can Learn from Tosca — What’s love got to do with it?

Reprinted from Psychology Today.
Posted July 3, 2023 

This year the first offering of the Santa Fe Opera was Tosca, the famous story of an opera diva named Tosca, her artist lover, and the toxic, predatory, and rapacious villain Scarpia. The setting is Rome, when it was under the thumb of the oppressive Holy Roman Empire, before Napoleon’s forces achieved military victory over the suffocating regime embodied by Scarpia. Tosca’s lover Cavaradossi, who is on the Napoleonic side, hides a friend who has escaped political prison. For this seditious act, Scarpia arrests him and will only free him from the gallows if Tosca sleeps with Scarpia.

Composer Giacomo Puccini and librettists Luigi Illica and Giuseppe Giacosa pull us into a world where we hear about Tosca even before we see her. Cavaradossi sings about her jealous, suspicious, possessive love and reveals that he loves her for her external beauty and is excited by her big brown eyes and even bigger emotions and passion. For Scarpia, it’s lust for conquest; women are prey and once he lures one into his lair, he pounces, rapes, and then discards her.

With these excesses of unbridled emotion, superficiality, and selfishness, we know we are in trouble. We also know that the opera is a tragedy, so it is not going to end well. While sitting in a darkened theatre, it’s safe to think about what kind of lovers we are, and whether what we see on stage mirrors or echoes the kinds of relationships we pursue and maintain. Do we, like Cavaradossi, idealize those we fall for? To him, Tosca is a beautiful and gentle being who will one day be nurturing and raising children and smelling the roses in her garden. Like the villain Scarpia, he is excited by her anger and emotional demands, but his desire is only to love and be loved by her. For Scarpia, sexual entrapment and domination are the end goals, and the more Tosca resists and expresses her love for Cavaradossi, the more excited he gets at the idea of satisfaction by force. hen discards her.

Accompanied by compelling, driving music, the action on stage plays out with ever-increasing intensity. And for all of the characters, the end is death. Tosca acquiesces to Scarpia’s vile demand because he promises not to execute her lover. She sacrifices her body to save the man she loves, but before the act is consummated, she kills her would-be rapist. Cavaradossi, tortured and condemned to death because of loyalty to his friend, demonstrates before the end that all he truly cares about in life is his love for Tosca. The diva Tosca sheds her petty selfishness and vanity. She becomes a murderer out of self-defence and love and loyalty to Cavaradossi. When he is executed, she is hunted down as a criminal. In the throes of deep grief, she despairs for her life and kills herself.

You could hear the proverbial pin drop as the audience held its collective breath while the story grew in intensity, and all I could think about was that it was a relief that this is playing out on stage and not in real life.

After the curtain calls, it dawned on me that Tosca is actually a cautionary tale about love, and what it can lead to if it is not tempered by self-control, abandonment of greed and selfishness, and living in a dream world of idealization about our loves, lovers, or those we want to love us. Perhaps if we see it being played out on stage, we can reflect on what kind of lovers we are, and where that has taken us in life.

Cavaradossi is a dreamer, an idealizer, but he is also capable of intense loyalty and self-sacrifice. He is passionate in his painting and in his relationships with friends and lovers. He is brave, and he evolves past a slavish devotion to physical beauty and matures into a heroic figure. However, I couldn’t help but wonder if his fate would have been different if he had been more moderate and self-reflective before rushing headlong into action.

Tosca too, evolves, and shows that she can love deeply, sacrifice her vanity and self-absorption, but, ultimately, she is prone to excess and emotional extremes — including the no-return point of suicide. Could she have used her power as a diva, a star, to act differently, and with more self-awareness? Would her end have been different?

As for Scarpia, his rapacious, ugly, toxic, lust for power and domination led to his death and destruction. If he had acted differently, his end might have been avoided.

In the opera Tosca, the only balance to a life of emotional extremes is offered by religious devotion to the gentleness of the Madonna, or the self-sacrifice of Jesus on the cross. But to me, in real life, the balance is provided by introspection, self-reflection, self-control, and healthy, reciprocal love.

Ultimately, Tosca offers an opportunity to see things played out in a fictional story and maybe trigger a shift in our behavior or at least awaken a desire to live a life where the outcomes of loving are more positive and less painful and tragic. Extreme forms of love make a great opera, but not a better life.

https://www.psychologytoday.com/us/blog/life-is-a-trip/202307/what-we-can-learn-from-the-famed-opera-tosca

About the Author

Judith Fein is an award-winning international travel journalist who has contributed to 130 publications, the author of three books about transformative travel, an inspirational speaker, and an opera librettist.

May 29, 2025

CELEBRATING A SEASON OF FIRSTS, INCLUSION, & PARTNERSHIP

As the curtain falls on another remarkable season at Manitoba Opera, we take a moment to reflect on the powerful stories shared, the talented artists who brought them to life, and the community that continues to support and celebrate the art of opera. 

This season’s success was in part thanks to our 2024/25 Season Presenting Sponsor: BMO. Since 2017, BMO’s steadfast partnership has helped make opera accessible and vibrant in Manitoba. Their commitment allows us to dream big and deliver performances that resonate across generations and backgrounds. 

We opened the season with The Elixir of Love, a heartwarming comedic gem led by veteran Winnipeg director Ann Hodges. We were also proud to welcome Eve Legault back as assistant conductor. This production not only celebrated timeless music but also highlighted our commitment to showcasing women in artistic leadership roles within opera. 

La Bohème followed, offering a deeply moving exploration of love, friendship, and life’s fragility. Directed by Anna Theodosakis in her Manitoba Opera debut, the production marked a historic milestone: for the first time in our company’s history, both productions in the season were directed by women.   

Manitoba Opera’s commitment to equity and diversity remained a guiding force throughout the year. BIPOC artists took to the stage and led behind the scenes, allowing more members of our community to see themselves reflected in the stories we tell.  

Through our Opera Access program, hundreds of individuals facing socio-economic barriers attended performances at no cost, ensuring that Manitoba Opera  provides a space for all. 

As we look back on this season of firsts, heartfelt performances, and meaningful impact, we extend our deepest gratitude to BMO for their unwavering support of the arts and our community.  It is thanks to partners like BMO that opera in Manitoba continues to thrive. 

Feb 24, 2025

The Bohemian Life

The opera La Bohème is primarily based on a collection of short stories – Scènes de la vie de Bohème – written by French novelist and poet Henri Murger in the mid-19th century. The collection paints a vibrant picture of the lives of struggling young artists in Paris, focusing on their challenges and camaraderie amid poverty.

The characters in La Bohème are ordinary people experiencing everyday events, no kings and countesses here. And indeed, some of those events actually did occur in the lives of Henri Murger and Giacomo Puccini, the composer.

This semi-autobiographical novel about life in the Latin Quarter of Paris, relates the experiences of Murger when he was in his 20s. For example, the character of Rodolfe in Scènes is an unabashedly honest self-portrait of the writer.

Giacomo Puccini also included some of his own memories of his student days in Milan when he shared a room with Pietro Mascagni, a baker’s son who went on to compose Cavalleria Rusticana. It is said that they pooled their meagre funds to buy the score of Parsifal, cooked beans in the only pot available – their washbasin – and marked a city map with areas to be avoided, in order to not run into creditors. Like Colline in the opera, Puccini is said to have even pawned his coat at one point, although not to help a dying friend.

This initial glimpse into the lives of these characters, their relationships, and their struggles with both art and finances hints at the deeper themes of passion, ambition, and the sacrifices that come with a life dedicated to creativity.

In his preface, Murger wrote “Bohemia is a stage in artistic life.” Eventually, like Murger, most of his characters make their escape into the next stage of life – respectability. At the end of the novel, Colline inherits money and marries a rich woman; Schaunard becomes a successful writer of popular songs; Marcello secures an exhibit of his work, sells a painting to an ex-lover of Musetta and moves to better accommodations; Rodolfo’s writing career is launched when he publishes his first book; and even the fiery Musetta settles down.

Click to read – Scènes de la vie de Bohème

Feb 24, 2025

Evan Maydaniuk joins Staff Team

Evan Maydaniuk has joined the team at Manitoba Opera and will be leading the fundraising department as director of development. He started in January and is looking forward to connecting with the company’s donors.

“As director of development, I will have the privilege of helping to connect those who love Manitoba Opera with the joy of giving,” says Evan. “Donors keep the art form on the stage and are at the heart of Manitoba Opera. I am looking forward to getting to know the folks who make it possible for opera to thrive here on the Prairies.”

A proud citizen of the Red River Métis nation and a born and raised Winnipegger, Evan graduated with a business administration degree from the University of Winnipeg, where his studies focused on non-profit management. From there, he took the Association of Fundraising Professionals’ fundraising course and then launched his career in the development sector as the stewardship officer for the Royal Winnipeg Ballet.

He has since earned his CFRE (Certified Fundraising Executive professional designation) and gives back by serving as the current president of the Association of Fundraising Professionals, Manitoba Chapter.

Evan has also held positions as the annual giving manager with the Inuit Art Foundation; development and marketing director for Big Brothers Big Sisters of Winnipeg; and most recently, was the director of development for Rainbow Resource Centre.

“Now, I’m living the dream!” says Evan of his position with Manitoba Opera. “My goal has been to work in the arts sector, and I am so happy to be able to use my fundraising and leadership abilities to help bring opera to the stage. It’s a gift to come to work every day.

I may not know that much about the art form yet, but I certainly believe in the power of the arts. The arts tell our stories, make the world a more beautiful place, and build community. And I look forward to learning more about opera from those who love it most, our donors.”

Music is a big part of Evan’s recreational life as well. He plays the great Highland bagpipe and is the Pipe Major of Glenaura Pipes & Drums, leading a community band that focuses on preserving and celebrating Scottish music. Ballet also figures into Evan’s life as well.

“Ballet is my happy place. I’m proud to sit on the Royal Winnipeg Ballet School Board. I’ve danced recreationally but leave the real dance to the professionals. My favorite ballets are Don Quixote, Dracula, and The Wizard of Oz,” says Evan.

“My Roman Empire (thinks about daily) is the Eurovision Song Contest. I’m obsessed with it. It’s quirky, it’s fun, and it’s great music. But moreover, the song contest brings people together across borders to celebrate and create unity through music.”

Feb 12, 2025

TB, Mimì and Indigenous Peoples

Winnipeg opera and theatre performer Keely McPeek is a member of the Anisininew (Oji-Cree) Kitchenuhmaykoosib Inninuwug First Nation in northwestern Ontario with Irish and German settler roots. She made her MO debut as Marie Serpente in Li Keur: Riel’s Heart of the North in 2023 and sits on the Manitoba Opera Community Engagement Committee.

In La Bohème, Mimì suffers from an infectious disease contracted by inhalation called tuberculosis (TB).¹ Referred to as consumption at the time in which the opera is set, TB is depicted in the opera as a social disease that particularly impacts those living in poverty.² Mimì suffers from malnutrition and inadequate living conditions, creating an ideal environment for tuberculosis and in the end, she wastes away and succumbs to the disease.³

A group of young patients at Clearwater Lake Indian Hospital in 1964. This building was not intended for long-term use, leading to many structural issues. Image source: https://indigenoustbhistory.ca/projects/photos/will-01-39-001

Tuberculosis has disproportionately affected Indigenous peoples in Canada since Europeans brought the disease in the 18th century.⁴ In the 1930s, the term “Indian TB” was coined to label a more virulent form of the disease that Indigenous peoples were thought to be more racially susceptible to.⁵ The “experts” who coined the term failed to consider the social aspects that caused higher TB rates in Indigenous populations, such as poverty, malnutrition, and overcrowded and inadequate housing on reserves and in residential schools.⁶ Indigenous peoples were deemed a public health threat, “soaked with tuberculosis,” which could “leak” into settler communities.⁷ In Manitoba’s response to the perceived threat of “Indian TB,” an “Indian Hospital” opened near Selkirk in the late 1930s.⁸ “Indian Hospitals” promised to segregate Indigenous peoples to contain TB while giving the impression of a humanitarian Canadian government.⁹ The care of Indigenous peoples was expected to cost half as much as the care given to non-Indigenous people.¹⁰ “Indian Hospitals” provided substandard medical care in overcrowded facilities that were ill-suited for proper care.¹¹ Many patients experienced abuse from staff, were subjected to medical experiments, and were isolated from their communities.¹² Indigenous peoples have suffered a long history of being disproportionately impacted by TB.

Tuberculosis is not a disease of the past; it still disproportionately affects Indigenous people.¹³ In 2023, Indigenous individuals accounted for 77% of new TB cases among the Canadian-born population.¹⁴ Manitoba has a higher incidence of tuberculosis compared to most provinces, falling behind only Nunavut and Saskatchewan in 2022.¹⁵

Poverty has been a risk factor for developing TB since before the time La Bohème was written. Indigenous peoples in Canada continue to face socio-economic disparities compared to the non-Indigenous population.¹⁶ Many Indigenous peoples today live with malnutrition and inadequate housing, increasing their risk for TB infection – these same risk factors which the seamstress Mimì confronted.¹⁷

References/Sources