Jan 21, 2020
OPERA.CA ANNOUNCES RECIPIENT OF THE 2020 NATIONAL OPERA DIRECTORS RECOGNITION AWARD — ELBA HAID, CHAIR, BOARD OF TRUSTEES, MANITOBA OPERA
Toronto, ON – Opera.ca, the national association for opera in Canada, is proud to honour an outstanding opera company board member, Elba Haid, Chair of Manitoba Opera’s (MO) Board of Trustees, as the 2020 recipient of the Opera.ca National Opera Directors Recognition Award.
Now in its 12th year, the National Opera Directors Recognition Award highlights the tenets of good governance, celebrates models of volunteer excellence, and raises the bar for board director commitment.
“The strength and stability of an opera company correlates to the calibre of its volunteer leadership, and strong governance is a crucial factor in an opera company’s success. Elba Haid’s contributions to Manitoba Opera are exemplary, enabling the company to increase its fundraising, eliminate debt, and build a strong foundation for the future,” stated Christina Loewen, Executive Director of Opera.ca. “We are delighted to honour Elba Haid with this award and to celebrate the impact she has made, and continues to make, to Manitoba Opera and by extension to the community of Winnipeg.”
Elba Haid joined the board of Manitoba Opera in 2007. Prior to becoming Chair, she served as Chair of the Annual Gala and of the Camerata Committee (for donors starting at $1,250) during which time gifts and donations increased by 20%. In 2018, she was instrumental in the development of a new fundraising initiative – The Gail Asper Award – named after Winnipeg philanthropist Gail Asper and awarded to individuals who, like its namesake, demonstrate exemplary leadership in the field of endeavor or pursuit of a visionary goal. The event raised $255,000 in support of the company’s programming and education programs.View Press Release
Jan 15, 2020
MANITOBA OPERA NAMES TANNIS M. RICHARDSON AS 2020 RECIPIENT OF THE GAIL ASPER AWARD
Manitoba Opera announced today that the company will honour Winnipeg champion, philanthropist, and volunteer Tannis M. Richardson C.M., B.Sc. (H. Ec.), LL.D. with The Gail Asper Award. The Gail Asper Award was created by Manitoba Opera in 2018 to honour individuals who demonstrate exemplary leadership in a field of endeavor or pursuit of a visionary goal.
Mrs. Richardson has made a significant difference in her hometown of Winnipeg and across the country through her decades of work and dedication to the arts, health care, and cultural organizations. She will receive The Gail Asper Award at a Gala Reception held in her honour Thursday, April 16, 2020, from 6:30 pm to 8:30 pm at the Manitoba Club, 194 Broadway, Winnipeg.
Mrs. Richardson cares deeply about her community and giving back. She has been a dedicated supporter of numerous health, cultural, and social service organizations. She has been especially committed to the Juvenile Diabetes Research Foundation of Canada (JDRF), serving at the community and national levels, as well as with JDRF International.
In addition, she has contributed time and funds to many organizations including Manitoba Opera (for which she sat on the board from 1975 to 1978), the Winnipeg Symphony Orchestra, Manitoba Museum, United Way of Winnipeg, and the Kidney Foundation of Canada, and played an instrumental role in the development of the Winnipeg Art Gallery, as well as other organizations. In recognition of her philanthropy and community service, and among other awards, Mrs. Richardson was invested in the Order of Canada in 2003 and awarded an honorary degree by the University of Manitoba in 2012. (Bio follows)View Press Release
Dec 19, 2019
The Music of Carmen
Georges Bizet worked in opera theatres during much of his career, mostly as a rehearsal pianist. Prior to the composition of Carmen, he wrote some truly charming music, some salon music, a little symphonic music, and some incidental music for the theatre. He also wrote some operas, many of which were stillborn at birth and others which remained incomplete. None of these works gives us any inkling of the volcanic explosion of ideas that is the score of the four-act Carmen.
The choice of subject is in itself quite telling. In setting the potentially scandalous novella by Prosper Mérimée to music for the staid, family-friendly Opéra Comique, he was thumbing his nose at the social class that supported the very art within which he tried to make his living. So rabidly counter to the traditional fare of audiences that traveled to the Salle Favart was this opera, it couldn’t have been a mistake or a miscalculation. This was virtual artistic suicide, premeditated and fully committed. The music provoked rebellion amongst the orchestral players and chorus members, ignited a furor in the administration of the opera house resulting in the resignation of one of its directors, and scandalized a perplexed audience. The composer died feeling that the work was a complete failure, a tragic irony heightened by the fact that within months of his demise the work was well on its way to being hailed as one of the greatest operas ever written.
Surely one reason for the shock felt by the Carmen’s first audiences is the sheer intimacy of the Salle Favart, then a medium-sized theatre (at least by American standards) of fewer than 2,000 seats with a ‘live’ acoustic. In such close quarters the explosive energy of the overture, the sultry nature of Carmen’s seduction of Don José, and the violence of her murder at the climax of the opera must have stunned the polite bourgeois Parisian audience. The shock value has certainly been overcome with time and endless productions of the opera throughout the world, but the essential theatrical effect remains: Carmen is an opera that brilliantly interconnects plot and subplot with music that communicates an amazing array of the emotions and psychological states of the characters. And it does this at times subtly, and at other times with the blatancy of a velvet-covered hammer.
The opera is brilliantly orchestrated, of course, the composer taking advantage of every timbre at his disposal. The use of the wind instruments to add flashes of color and the brass to add a burnished quality to the bullfighting references brings the story to memorable life. Cymbals, tambourines and castanets add to the Spanish, martial flavor of many important passages. In many ways, it is a typical mid-19th century French orchestration, not dissimilar to the scores of Offenbach and early Massenet. But it is Bizet’s treatment of the orchestra as an equal member of the operatic team that is striking in the context of 1875. Why? Because the orchestra seems to always have the role of playing below the surface. Note how practically every solo moment for the character Carmen is accompanied by a dance rhythm, with the notable exception of the Act III card aria, “En vain pour éviter les réponses amères.” The habanera, the seguidilla, the castanet-accompanied Spanish song in the duet with José, and the gypsy song at the beginning of Act II all conspire to give us a total picture of this person. The dances identify her as a free spirit, a lover, an actor, and above all, a woman who follows her senses beyond all else and who will never be contained by societal, religious, or moral strictures. The music therefore communicates the essence of Carmen, just as the pretty, elegant lines of Micaëla’s music projects her maidenly, village girl persona and the lusty lilt of Escamillo’s Toreador Song portrays his wild, erotic nature.
Don José’s music is of a different quality and is the more remarkable achievement. Bizet’s music for José is sweet and lyrical in Act I, especially in his duet with Micaëla, “Parle moi de ma mere,” perfectly matching the relative innocence and naïve quality that he exhibits at that point. As José deteriorates psychologically, so does his music; by Act III, his vocal lines have become angular, dissonant, even disjointed. He is no longer the same person and his music brilliantly reflects that.
The characters in the opera whose music changes very little are, of course, Escamillo and Micaëla. Micaëla is a stock character from the opera-comique tradition, a peasant girl from the country with a sensitive spirit, but traditionally bound to the moral codes of the village structure, society as she knew it, the church. Her music never evolves from the lyrical nature of the Act I duet; in the Act III aria “Je dis, que rien ne m’épouvante” we meet exactly the same character we met at the beginning of the opera. She hasn’t grown, but then she doesn’t really need to. Escamillo is also a somewhat pivotal, unchanging character. His Toreador Song is lusty, self-confident, alluring, and his music constantly reflects these traits. His only moment of tenderness is the brief duet with Carmen in Act IV, “Si tu m’aimes.” This also happens to include Carmen’s one moment of unison singing with another character, signaling her complete unanimity with the bullfighter, something she never experiences with Don José.
Bizet’s musical characterization reminds one of the operas of Mozart, in which we see a style or type of music (and at times even an entire musical world) given to the characters in order to propel the dramatic action. It is in this accomplishment that Bizet has been most successful and remains the most important factor in the centrality of Carmen in the standard repertoire.
Courtesy of San Diego Opera
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