General & Co-Artistic Director
Julie Jordan Gunn
Hailed for his ringing top notes and spine-tingling power, Canadian tenor, Richard Margison, is one of the most critically acclaimed opera singers Canada has ever produced. An Officer of the Order of Canada, the recipient of three honorary doctorates (McMaster University, University of Victoria, and University of British Columbia), two life-time achievement awards (Giulio Gari Foundation, Licia Albanese-Puccini Foundation), and the Royal Conservatory of Music's highest honour, the Honorary Fellowship, Richard has performed regularly as a principal artist over the past 2 1/2 decades in all of the worlds leading opera houses at home and abroad, including fifteen consecutive years at the Metropolitan Opera, La Scala, the Royal Opera House Covent Garden, Deutsche Oper Berlin, Vienna Staatsoper, San Francisco Opera, Opera Australia (Sydney Opera House), the Liceu (Barcelona), La Monnaie (Brussels), Opera de Montreal, Opera de Quebec, Vancouver Opera, Calgary Opera, Manitoba Opera, Edmonton Opera, and the Canadian Opera Company, where he most recently performed the role of Herod in Salome.
In recent years Richard has been devoting more time to his passion for teaching, helping the next generation of artists within his industry, and giving back to the community at large. He is sought after across Canada and internationally as a master class and private professor of voice, and, although still performing professionally, continues to offer his services for a variety of charitable organizations.
Since 2013, Richard has been enjoying performing regularly across Canada with his daughter, Lauren Margison, also a singer, in their duo act, "Back to Back". Richard and Lauren turn their combined talents to classical arias, art song, Neapolitan love songs, jazz, pop, and a little Gordon Lightfoot.
Recent seasons included performances of Electra (Aegisthus), with Michigan Opera Theatre, as well as being featured as the title role of 'Abraham' in the world premiere of an important new, multi-cultural and multi-denominational oratorio written and conducted by Canadian composer and music theatre legend, David Warrack, and performed at Metropolitan United Church in Toronto. Other performances included Beethoven's 9th Symphony with the Victoria Symphony Orchestra, conducted by Tania Miller.
In recent years Richard has been celebrating his Canadian roots with performances across the country including Herod in Salome (Canadian Opera Company), Turiddu and Canio in Cavalleria Rusticana/I Pagliacci (Edmonton Opera), and his signature roles of Calaf, in Puccini's Turandot (Opera Lyra Ottawa), Manrico in Verdi's Il Trovatore (L'Opera de Quebec), Cavaradossi in Puccini's Tosca (Manitoba Opera), and Bacchus in Strauss' Ariadne auf Naxos (Canadian Opera Company). Concert appearances included Mahler's, 'Das Lied von der Erde', with the Victoria Symphony, Mahler's Symphony No. 8, with the Toronto Symphony, and a 15-concert solo recital tour of British Columbia with acclaimed pianist, Kinza Tyrell. Richard was proud to have had his debut performance in the new Four Seasons' Centre for the Performing Arts in Toronto with the National Ballet of Canada, performing Mahler's, 'Das Lied von der Erde' with the company.
Highlights from previous seasons include performances as Bacchus in Strauss's Ariadne auf Naxos at the Teatro Campoamor in Oviedo, Spain, the reprise of his celebrated role as O'Brien in Lorin Maazel's 1984 in Valencia, Spain, Radamès in Verdi's Aida at the Metropolitan Opera, as Pollione in Bellini's Norma with the Vancouver Opera, and in a series of concerts for Arizona Opera. A highlight of his 2009-2010 season was his trip to China for the opening of the new Guangzhou Opera House where Richard appeared in one of his most celebrated roles, Calaf, in Puccini's Turandot, conducted by Lorin Maazel: "As a rare, true lyrico spinto, a lyric tenor with the capacity to [sing] the heavier dramatic roles, Margison is the heir to Placido Domingo...Margison colors his voice with an ease and spontaneity that almost seems conversational, and he rides over the big Turandot orchestra, with its extra complement of exotic-sounding percussion, with ease and beauty." (Financial Times, May 2010)
Other highlights include Richard's debut as Aegisthus in Strauss's Elektra with the Seattle Opera and the New York Philharmonic, his debut at Milan's famed La Scala as O'Brien in Lorin Maazel's 1984, a role he originated at the ROH Covent Garden in 2005, recently released on DVD. Renowned for his interpretations of Verdi, Puccini, Strauss and Beethoven, recent seasons have featured performances of Un Ballo in Maschera (l'Opéra de Montréal, Hamburg, the ROH Covent Garden), Turandot (New York, Barcelona, Toronto), Aida (New York, Cincinnati, l'Opéra de Montréal, Chicago, Orviedo), Ariadne auf Naxos (Madrid, London, Hamburg, New York), Fidelio (Seattle, Vancouver), Il Trovatore (New York, Toronto, Berlin, San Francisco), La Gioconda (Barcelona) and Don Carlo (New York).
A much sought after concert artist, Richard has garnered such praise as "…it is an important experience to hear Margison live, simply to come into contact with the physical presence of the voice. It has both brass and beauty, and its power is so forceful and concentrated that you have to remind yourself that its source is a human throat…" (Globe and Mail). He has appeared with the Royal Philharmonic in London, the Philadelphia Orchestra, the San Francisco Symphony, the Montreal, Vancouver and Toronto Symphony Orchestras, the National Arts Centre Orchestra in Ottawa and at the Ravinia Festival. He has also performed with Bryn Terfel at his opera gala at the Faenol Festival in Wales.
Richard's discography includes an all-Verdi recording on CBC Records and the highly acclaimed recording of Beethoven's Fidelio with Christine Brewer on Chandos. He has also recorded Lanza (Warner Music), made for the film on the life of Mario Lanza, in which he sings the title role. Other recordings include Verdi's Don Carlo with the Royal Opera House Orchestra and Chorus under the direction of Bernard Haitink (Philips) and Tchaikovsky's Mazeppa with the Gothenburg Symphony Orchestra, conducted by Neeme Järvi (Deutsche Grammophon). He made three recordings with the late Richard Bradshaw and the Canadian Opera Company Orchestra: a solo album of French and Italian Arias (CBC Records), Rarities by Rossini and Verdi, with Gary Relyea (CBC Records) and Aria, une sélection de Radio-Canada with Anita Krause, Wendy Nielson and Gary Relyea (CBC Records). Richard is also a featured artist on the Millennium Opera Gala recording released by CBC Records.
Richard's DVD recordings include his highly acclaimed appearance as Bacchus in the Metropolitan Opera production of Ariadne auf Naxos with Deborah Voigt and Natalie Dessay (Virgin Classics), his roles as Cavaradossi in Tosca and as O'Brien in Lorin Maazel's 1984 (both on Decca), and as Enzo in Ponchielli's La Gioconda (TDK).
FOLK-SINGING OPERA STAR
Richard's rise to the top of the opera world did not follow the traditional path – his career began in the coffee houses and clubs of Victoria, BC, where he performed with his own rock band for ten years. Since making his debut in 1980 with Pacific Opera Victoria, he has gone on to take the opera world by storm while not neglecting his roots, enthusiastically performing songs by Gordon Lightfoot or Stan Rogers whenever possible. In January 2010, Bravo! presented a documentary (Harbinger Films) on Richard called the 'Folk-Singing Opera Star'. Now available on DVD, the documentary features him in a musical collaboration with Bruce Cockburn, in major performances and in discussion about his life and career. www.thefolksingingoperastar.com
HIGHLANDS OPERA STUDIO
In the summer of 2007, Richard Margison and Opera Director, Valerie Kuinka, founded the Highlands Opera Studio, a very advanced professional training program for emerging operatic professionals, which provides training of the highest level for 20 to 25 talented singers and 1 collaborative pianist, between the ages of 19 and 35, chosen through competitive audition from across Canada with the main objective to provide these singers with the necessary skills to embark on a career in opera. Richard and Valerie feel that these extremely talented young people should no longer be expected to pay for a summer program, and, therefore, offer the 5 – 6 week program at no charge for those accepted. Looking forward to its 13th season in August 2019, the program includes vocal master classes, individual voice lessons, movement classes, professional development and networking opportunities, stagecraft coaching and staging rehearsals for 2-3 fully staged productions. The faculty includes renowned opera professionals from Canada and around the world.
HONOURS AND BENEFIT WORK
Although Richard is in great demand on the great opera stages of the world, he gives generously of his time to support a number of causes. He has generously given of his talent at benefits in Chicago, for the Metropolitan Opera, Leukaemia Research (Ontario), LOFT Community housing (Toronto), the Children's Opera Chorus (Toronto), the Royal Conservatory of Music, and many others.
He has been particularly active in his former home province of British Columbia, where he has raised more than two million dollars through benefit concerts including Victoria Symphony, Pacific Opera Victoria, the Victoria Conservatory of Music, Vancouver Symphony, Vancouver Opera and the Rotary Club.
Richard Margison was named an Officer of the Order of Canada in 2001 not only in honour of his contribution to musical life in Canada but in recognition of his accomplishments on the international stage. In 2002 Richard received the Queen Elizabeth II Golden Jubilee Medal. Richard received and Honorary Fellowship from the Royal Conservatory of Music as well as being inducted into the Canadian Opera Hall of Fame. In October of 2007, Richard was awarded an Opera Canada Ruby Award. In October 2009 he received Lifetime Achievement Awards from both the The Giulio Gari Foundation and The Licia Albanese-Puccini Foundation. In 2012 he was awarded the Queen Elizabeth II Diamond Jubilee Medal for his service to Canada. Richard also holds Honorary Doctorates from the University of Victoria (DMus), University of British Columbia (D.Litt) and McMaster University (D.Litt).
An Ontario resident for twenty-six years, Richard splits his time between his homes in Stouffville and Minden with his wife, opera director, Valerie Kuinka, and his daughter, Lauren Margison.
From the time of his debut as Renato in Un Ballo in Maschera with Luciano Pavarotti for the Opera Company of Philadelphia, the American baritone has been in demand in opera houses and on concert stages throughout the world. His return to the Wiener Staatsoper in the role of Stankar in Stiffelio resulted in “Cheers of Jubilation”… Wiener Zeitung.
Mr. Rucker made his Metropolitan Opera debut as Amonasro in Aida and has since been heard at the Met as Don Carlo in La Forza del Destino, Tonio in I Pagliacci and as Rigoletto for the Met in the Parks and continues to be part of the Met roster.
He sang the major baritone roles in Rigoletto, Macbeth, Nabucco, Un Ballo in Maschera, La Traviata, Stiffelio, II Trovatore, Cavalleria Rusticana/I Pagliacci, Samson et Dalila and Die Fliegende
Hollander for companies such as: Arena di Verona, Wiener Staatsoper, Staatsoper Unter den Linden, Teatro Comunale, Bologna,Netherlands Opera, Greek National Opera, Opera de Wallonie, Bregenz, Savonlinna, Santander, Michigan Opera Theater, Florida Grand, L'Opera Montreal and numerous other companies. He has worked with celebrated Maestri, including, Richard Bonynge, Riccardo Chailly, Fabio Luisi, Daniele Gatti, Carlo Rizzi, Gianandrea Noseda, Bruno Campanella and Paolo Arrivabeni.
Mark made his Carnegie Hall debut to great acclaim as Don Carlo in La Forza del Destino. His other concert credits include Linda di Chamounix and Jerusalem with the Concertgebouw, Rigoletto with the Israel and Rotterdam Philharmonics. Recently performances include Jack Rance in La Fanciulla del West for Opera Colorado, Macbeth for Opera Tampa, Belshazzar's Feast for the Flint Symphony, Elijah for MSU, Amonasro in Aida for Teatro Colon, Buenos Aires and Paolo in Simon Boccanegra for Royal Opera House Covent Garden, La Traviata for Opera Grand Rapids and Macbeth for Toledo Opera and Opera Carolina. In Spring of 2019 he sang the baritone solo for MSU’s performance of Shostakovich’s Babi Yar. Recordings include Mark Rucker Sings Lena Mclin's Songs for Voice and Piano; Amonasro in Aida for Naxos and Cambro in Opera Ebony's recording of Fosca by A. Carlos Gomes.
Mr. Rucker serves as professor of voice at MSU's College of Music and is the Administrative/Artistic Director for the Martina Arroyo Foundation’s Celebrated Young Artist Program, Prelude to Performance since 2005 and Artistic Director since 2015.
Having worked within the realm of alternative multi-disciplinary theatre to grand opera for over 25 years, Canadian director Valerie Kuinka brings a wealth of experience and unique creativity to her work. The list of highly accomplished artists with whom she has collaborated is extensive: Placido Domingo, Anna Netrebko, Roberto Alagna, Richard Margison, Jose Cura, Nathan Gunn, Matthew Polenzani, Rex Harrington, Quartetto Gelato, Alannah Myles, Frank Moore, and Shauna Rolston, to name but a few.
August 2020 marks the fourteenth season of The Highlands Opera Studio, a summer ensemble and professional training program for highly accomplished emerging operatic artists, in which she acts as General & Co-Artistic Director along with her husband, Artistic Director and operatic tenor, Richard Margison.
A stage director at the Metropolitan Opera in New York for four seasons (2004–08), Valerie was on the stage directing team of Romeo et Juliette (2005–06) and its revival (2007–08) as well as the revivals of Samson et Dalilah (2004–05, 2005–06), Idomeneo (2006–07) and Cavalleria Rusticana/Pagliacci (2006–07).
In 1996, Valerie established her own Toronto-based multi-disciplinary theatre company, COLLABORATIONS, and during its nine-year existence wrote, produced, directed, and often performed in 14 productions. “Kuinka has established no small reputation for creating exciting seamless theatrical collage” – Geoff Chapman (Toronto Star, 2003); “It was Kuinka’s instinct for elision that held everything together.” – William Littler (Toronto Star, 2004)
Valerie has also directed productions for Edmonton Opera, Manitoba Opera, Opera de Quebec, Pacific Opera Victoria, Opera Hamilton, Opera Lyra Ottawa, Quartetto Gelato, International Vocal Arts Festival (Tel-Aviv), The Banff Centre, The Glenn Gould School (Toronto), Opera Mississauga, The Canadian Childrens’ Opera Chorus (Toronto), and has assisted at the New York City Opera and the Vlaamse Opera in Antwerp.
“In so many ways, that it is hard to know where to begin or end, Kuinka laid bare, framed and illustrated the essence of this drama with exquisite skill and technical savvy... With video and her own consummate inventiveness Kuinka created a fresh, new and vibrantly alive Trovatore.” – Hugh Fraser (Hamilton Spectator, 2012)
Beginning her career as a classical violist, Valerie has been (and continues to be) active as a chamber, orchestral, studio, and performance artist for over thirty years. She was a member of the orchestras of the Canadian Opera Company (since 1986) and the National Ballet of Canada (since 1984), playing every position from section to principal before her retirement from the Canadian Opera Company Orchestra in June 2005. She remains a member of the National Ballet of Canada Orchestra.
In recent years, Valerie has been devoting most of her time to working with emerging operatic artists as a dramatic/musicianship coach and career consultant and to building and running Highlands Opera Studio. Often working in tandem with her husband, Richard Margison, she is a regular guest coach and masterclass teacher with L'Atelier Lyrique (L'Opera de Montreal), and other national and international vocal institutions.
Philip Morehead recently retired as Head of Music Staff of the Lyric Opera of Chicago and the Ryan Opera Center. a position he had held since 1991. His previous positions at Lyric have included Music Administrator, Chorus Master and Assistant Conductor. In recent years Mr. Morehead has been cover conductor at Lyric Opera for Die Meistersinger, Jenůfa, Der fliegende Holländer, Sweeney Todd, Billy Budd and many others. He conducted regular season performances of Die Fledermaus, Un ballo in maschera and The Mikado and the premiere production of Anthony Davis’s Amistad and student performances of La Traviata, The Cunning Little Vixen, Carmen, Die Zauberflöte and Pagliacci. In January 2015 he conducted the first edition of Lyric Unlimited’s The Magic Victrola, a program introducing young children to opera with excerpts sung by members of the Ryan Opera Center at Lyric Opera of Chicago. In addition to repertoire coaching and work in preparation of Lyric Opera and Ryan Opera Center productions, he conducted performances of Rossini’s La Cenerentola for the Center. In the summer of 2008 he conducted Il barbiere di Siviglia for the Lyrique-en-Mer Festival on Belle-Ile, France, and returned to the Festival the summer of 2011 to conduct L’elisir d’amore. During the 2010-11 season Mr. Morehead conducted performances of Un ballo in maschera (with Sondra Radvanovsky, Frank Lopardo, and Mark Delavan), The Mikado (with James Morris, Stephanie Blythe, Neal Davies, Andriana Chuchman, and Andrew Shore), and Carmen (with Katharine Goeldner and Richard Cox). He is a member of the board of the Conductors’ Guild and a member of the selection panel for the Solti Foundation U.S. awards.
When not engaged in his Lyric Opera duties Mr. Morehead is a conductor, coach, pianist, and harpsichordist. His conducting work has included Boulez’ Improvisations sur Malarmé for the Contemporary Chamber Players at The University of Chicago and Gounod’s Faust at Illinois State University. He was a founding member of CUBE, a Chicago-based chamber ensemble specializing in the performance of new music. From 1987 to 2013 with the CUBE ensemble he performed as pianist in a wide variety of repertoire and conducted the ensemble in world premieres of William Ferris's An Eden Garden, Sebastian Huydts's Three Serious Songs, Russ Grazier's Leaving, Arriving, Ilya Levinson's The Tell-Tale Heart, and other works. Mr. Morehead has given vocal masterclasses in conjunction with Elgin Opera and is a member of the faculty of the Bel Canto Institute in Florence, Italy.
In addition to his musical activities, Mr. Morehead is the editor of revised versions of the New American Roget’s College Thesaurus, The New American Webster’s Handy College Dictionary and Hoyle’s Rules of Games. He is author of The New International Dictionary of Music and the Penguin Thesaurus.
John Fisher studied at Glasgow University and the Royal Academy of Music & Drama and The London Opera Centre. His career, which began as Music Director of Welsh National Opera’s ‘Opera for All’ project, has included work at the Théâtre à la Monnaie (Brussels), Nederlands Opera (Amsterdam), La Scala (Milan), where he was also Artistic Administrator, and as the first non-Italian to be appointed Artistic Director in a state-funded Italian opera house, at the Teatro alla Fenice (Venice). He was Director of Opera and Vocal Productions and Executive Producer at Deutsche Grammophon Gesellschaft, Hamburg, and Director of Music Administration at the Metropolitan Opera, New York. In 2006, he took up the post of Chief Executive and Artistic Director at Welsh National Opera, a role he held for five years. He subsequently returned to the Metropolitan opera as Assistant General Manager.
John has collaborated throughout his career with the industry’s most distinguished conductors, including Claudio Abbado, Carlos Kleiber and Sir Georg Solti. He has also worked extensively with many of the world’s greatest opera stars, notably José Carreras, Marilyn Horne, Luciano Pavarotti and Dame Joan Sutherland. John’s recent work in New York has also featured engagement with the Young Artists programme at the Metropolitan Opera and at the world-renowned Juilliard School. As Hodge International Chair in Opera since 2015 he has been a regular visiting artist at the Royal Welsh College of Music & Drama working with many young singers on the College’s Masters programme in Advanced Opera Performance.
Pianist and Coach Anthony V. Manoli has worked with some of the leading opera companies throughout the world including the Theatre Des Champs-Elysees, Gran Teatre del Liceu, Opera Lausanne and L’Opera Du Rhin as assistant conductor and coach. In addition, the Spoleto Festival in both Italy and the United States, The Los Angeles Opera, The Washington National Opera, Opera New England, Lake George Opera Festival and L’Opera Francais de New York have engaged him as both conductor and pianist/coach. Other duties for Mr. Manoli include prompting for The Washington National Opera and the Palau De Les Arts, Valencia Spain. He has been summer faculty for Dolora Zajick’s Institute for Young Dramatic Voice, The Miami Summer Music Festival and this season at the Highlands Opera Festival in Canada. Mr. Manoli was a Fellowship coach at the Tanglewood Festival and has worked with conductors such as Leonard Slatkin, Seiji Ozawa, Claudio Abbado, Robert Shaw, Sir Andrew Davis, Richard Bonygne and Sir Colin Davis. Dame Kiri Te Kanawa, Mirella Freni, Jose Carreras, Rockwell Blake, Edita Gruberova and Barbara Frittoli are just some of the singers with whom he has worked.
Mr. Manoli has given master classes in London, France for the Foundation Royaumont, Denver Opera, the USC School of Music, The Miami Summer Music Festival and at the SIVAM Institute in Mexico City. He received his musical training at the New England Conservatory of Music and the Juilliard School where he was a staff member. His teachers have included Patricia Zander and Herbert Stessin for piano studies and Alberta Masiello for opera studies.
Mr. Manoli has coached for the Cafritz Washington National Opera’s Young Artist Program, the Los Angeles Opera’s Young Artist Program and more recently at the Palm Beach Opera company for their Young Artist Program. He has also worked at the Canadian Opera Companies Young Artist Ensemble and for the New National Theater’s Young Artist Program in Tokyo where he conducted a series of concerts. Mr. Manoli has been guest faculty for the Dallas Opera’s Hart Institute for Women Conductors. He is a faculty member of The New School/Mannes College of Music in New York City where he lives and maintains an active coaching studio. He appears frequently in recital with prominent singers worldwide and has been seen on the A&E channel in performance with Mezzo-Soprano Dolora Zajick along with performances on television and throughout Asia with Soprano YoungOk Shin. Other performances include concerts in the United States with Tenor Stephen Costello, Mexico with Tenor David Lomeli and frequent collaboration with Soprano Sondra Radvanovsky in the United States, London, Canada, Mexico, Spain and France. He is an associate producer for recordings that appear on the Telarc and Naxos labels and is heard on the soundtrack for the Miramax film “The Talented Mr. Ripley.”
Miss Szeto is a recent graduate of the San Francisco Opera Adler Fellowship and the 2016 Merola Opera Program. Praised for her “rock-solid rhythm and a great variety of color” (Bachtrack), she was an Intern Coach at the Canadian Opera Company Ensemble Studio, where she assisted in seven productions and appeared in over 15 recitals at the Richard Bradshaw Amphitheatre Noon Concert Series over a two year period. Previously, she was an Artist-in-Residence the Atelier Lyrique at Opéra de Montréal, where she performed in productions of Hansel & Gretel, Old Maid and the Thief, and Amahl and the Night Visitors.
In 2018-2019, she was Assistant Conductor for John’s Estacio’s Ours at Opera on the Avalon, joined the vocal coaching staff at University of Ottawa, served as Head Coach for the Banff Centre for the Arts and Creativity as part of “Opera in the 21st Century”, and returned to Calgary’s Cowtown Opera Academy as a Principal Coach. In May 2019, she makes a recital appearance for the Société d’art vocal Montréal alongside Canadian baritone Elliot Madore.
Elsewhere, Miss Szeto has held staff positions with the Calgary Opera, International Vocal Arts Institute (Tel Aviv), Canadian Vocal Arts Institute (Montreal), and serves as accompaniment staff for McGill University’s Schulich School of Music. As a music director, She has previously led productions of Cosi fan tutte and Elixir of Love for MYOpera in Toronto, as well as performances of four One Acts in English for the Halifax Summer Opera Festival.
In addition to her work as a performer, Miss Szeto is co-founder of Musique 3 Femmes, which in 2018 launched the Mécénat Musica Prix 3 Femmes – a $25,000 award supporting the creation of operas by women in Canada. The prize is awarded biennially to teams of emerging female composers and librettists and includes seed funding for new works, mentorship opportunities, and subsequent workshops and performances of new pieces. In 2019, Musique 3 Femmes is an Ensemble-In-Residence at Queen’s University’s DAN School of Music and Mount Allison University, with performances at Opera.ca’s Opera: Changing Worlds summit, Tapestry Opera’s Ernest Balmer Studio, and at the Canadian Opera Company’s Richard Bradshaw Amphitheatre.
Miss Szeto holds a M.Mus. in Piano Accompaniment from McGill University, a B.Mus Performance from University of Toronto, and has received additional training from SongFest, Green Mountain Opera Festival (Vermont), Center for Opera Studies in Italy, Opera NUOVA Vocal Arts Festival (Edmonton), and the Franz Schubert Institut in Baden-bei-Wien, Austria.
Dietlinde Turban Maazel’s first stage appearance at the age of 19 as Gretchen in Goethe’s Faust at Munich State Theatre brought her national fame. Thanks to scores of films and TV plays, she won Germany’s coveted Bambi Award as Best Actress of the Year (1983). Among her film credits: the title role in Goethe’s Stella, Luise in Schiller’s Love and Intrigue, Euridice in Monteverdi’s Orfeo (directed by J.-P. Ponelle), Bloodline (Sidney Sheldon) and Mussolini and I, starring opposite Anthony Hopkins. In 2004 she created her first One Woman Play Constantly Risking Absurdity (Cherry Lane Theatre, NY) and starred in 2013 as “Elle” in Cocteau's The Human Voice.
Ms. Turban Maazel appeared as soloist/narrator with the New York Philharmonic, the Pittsburgh Symphony, the National Symphony, the Symphony Orchestra of the Bavarian Radio, and the Munich Philharmonic. She recorded several audio books with Naxos and other companies.
Dietlinde Turban Maazel’s background includes 44 years of working as performer and educator, as well as continued training in vocal performance, yoga, ayurvedic nutrition, and psychology (Expressive Arts Therapy, Psychodrama and Somatic Experiencing).
She was exposed to extensive chamber music experience in her teenage years and studied classical dance and voice at the Music&Ballet Academy Munich, the Martha Graham Studio NY, and the Aspen Music Festival. Her theatre and music studies include Master Classes with Peter Brook, Lee Strasberg, the T. Schreiber Studio, NYC, Prof. Gerhard Hetzel (Vienna) and Dorothy Delay (Juilliard) and Ron Browning.
In 1996 she founded a private school for low-income families on her Virginia Estate and developed a pilot educational project designed to explore new ways of integrating vital artistic values into school curricula.
In 2009 Ms. Turban Maazel co-founded the Castleton Festival with her late husband, Maestro Lorin Maazel where she taught every summer at the “Castleton Artists Training Seminar” (CATS), the Castleton Festival’s Young Artist Program. After Lorin Maazel’s passing in 2014, she took over as Artistic Director and CEO. She recently launched the Lorin Maazel Castleton Institute to perpetuate the Maestro’s Legacy and runs four ongoing series: Castleton in Residency, Castleton in Mentorship, Castleton in Conversation, Castleton in Performance.
In 2014 Ms. Turban Maazel created the course "Acting for Singers" for Rutgers University where she is on faculty. She regularly holds masterclasses and is a guest faculty member of the International Vocal Arts Institute (IVAI - NYC and Montreal), the Blair School of Music at Vanderbilt, the Atelier Lyrique de l'Opéra de Montréal, and Highland Opera Studios, Ontario.
Since 2018 she is the director of The Meadows at Castleton Resort, a wedding venue and vacation retreat on the foothills of the Blue Ridge Mountains.
Soprano, voice teacher, and co-head of Voice program at the Faculty of Music at the University of Montreal, Rosemarie Landry has sung on all the major Canadian stages, in either recital, concert, or opera. She was a guest artist of major orchestras and of numerous opera and chamber music festivals throughout the world and toured extensively with pianist Dalton Baldwin. Winning First Prize at the coveted CBC Young Artists Competition early in her career, Ms. Landry went on to win numerous other prizes and scholarships, and was awarded many honorary doctorates. She has given master classes in places such as Le Conservatoire supérieur de musique de Paris, the conservatories of Beijing, Tokyo, Reykjavik, Cracovia, and Bogota, and at the Juilliard School in New York. She also gives master classes in many Canadian universities and opera companies, and teaches in a number of vocal art summer schools and venues, such as the International Vocal Art Institute (IVAI), Le Centre d’Arts Orford, and the Vancouver International Song Institute. For years, Ms. Landry has been actively involved as artistic advisor or member of the board of directors with many of the major cultural and musical organizations in Canada. She is a member of the Order of Canada, Chevalier de l’Ordre des Arts et des Lettres of France, and Chevalier de l’Ordre de la Pléiade. In 2014 she received the prestigious Opera Canada Ruby Award, which honors outstanding individual achievement onstage and behind the scenes.
Pianist and coach Craig Rutenberg is a native of New Haven, Connecticut
He graduated from Georgetown University in 1974, having studied German and Italian Literature, before attending the University of Illinois for studies with John Wustman.
Further studies continued in France with Pierre Bernac and Miriam Solovieff as well as with Martin Isepp and Geoffrey Parsons in London.
He has twice been Head of Music at The Metropolitan Opera (1988-92 and 2006-2015). He was also on the staff of The Glyndebourne Festival 1979-1989, four of those years as a senior coach. Other engagements have taken him to the Chicago Lyric Opera, the San Francisco Opera, the Houston Grand Opera, the Palm Beach Opera, the London Opera Centre, l’Opéra-Studio de Paris, L’École d’Art Lyrique de Paris, and the Royal Operas in Stockholm and Gothenburg.
Mr. Rutenberg has performed in recital with Diana Damrau, Christine Brewer, Maria Guleghina, Harolyn Blackwell, Susanne Mentzer, Frederica von Stade, Jerry Hadley, Ben Heppner, Thomas Hampson, René Pape and Willard White amongst many others.
He has recorded for RCA/Warner, DG and EMI.
Currently Mr. Rutenberg is guest coach and vocal advisor for The Mariinsky Theatre in St. Petersburg, Russia.
Rebecca Hass is a woman of many creative passions. A certified Life Coach and meditation instructor, she has been a mentor and resource for performing artists seeking balance and career support since 2007. A graduate of Wilfrid Laurier University with an Honours Bachelor in Music performance and the Canadian Opera Company Ensemble, Rebecca, a mezzo-soprano, devoted the much of the last thirty years to a professional singing career. From her early career, appearing with major opera companies and symphonies across Canada which included a stint with The Phantom of the Opera in Toronto as a swing, she later moved into acting, writing and producing a broad range of creative projects (The Belfry, Theatre Skam, Victoria Fringe Festival) and several intimate cabarets (Wanna Sing a Showtune). Rebecca is also a voice clinician, adjudicator and has given artist-centered health and wellness workshops for the Canadian Opera Company Ensemble, Calgary Opera, Pacific Opera Victoria , the Universities of British Columbia, Toronto, Ottawa and Wilfrid Laurier Opera Nuova, St. Andrews Arts Council Opera Workshop, The Canadian College of Performing Arts and the Victoria Conservatory of Music. A writer and broadcaster, she has been a regular guest host and documentary maker on CBC Radio One and Two. Currently she is the Director of Community Engagement for Pacific Opera and is the winner of the 2019 Arts and Culture award for Community work from Leadership Victoria specifically for her work in addressing inclusion and diversity. Her programming includes curating young artist training, education programming and traditional music based programming as well as connecting the opera to socially relevant issues. A proud Metis, Rebecca is currently producing a video project with a local Indigenous Theatre Collective, that bridges her European and Indigenous ancestry musically and is a member of the all -female drum group ANSWER. Rebecca lives in Victoria with her family and rescue pooch, Rye Rye.
Pianist and composer Stéphane Mayer has quickly been establishing himself as one of Canada's premier up and coming artists. A recent graduate of the COC ensemble, Stéphane has served as a rehearsal pianist and member of music staff for Norma, The Magic Flute, Louis Riel, Arabella, The Abduction from the Seraglio, Anna Bolena, Eugene Onegin, Cosi fan Tutte, La Boheme and Otello at the Canadian Opera Company. He has served as an opera répétiteur for productions of The Marriage of Figaro and Ariadne auf Naxos (Opera NUOVA) and Don Giovanni (Opera McGill). As a piano accompanist, he studied with noted interpreters of German Lied, including Elly Ameling, Robert Holl, Julius Drake, Andreas Schmidt and Roger Vignoles at the Franz-Schubert Institut in Baden bei Wien, Austria. Mr. Mayer also participated in the presentation of two world premieres: The Rocking Horse Winner (Tapestry Opera/Scottish Opera) and Ours (Opera on the Avalon). Last season, he collaborated with noted librettist Joel Ivany on an adaptation of Rossini's La Cenerentola entitled WOW Factor, for which he provided original music. Mr. Mayer's music has also been included in numerous recitals at the Richard Bradshaw Amphitheater at the Four Seasons Centre for the Performing Arts as well as featured at The Future of Art Song Symposium at the University of Toronto. A graduate of McGill University’s Schulich School of Music, Stéphane also worked as a vocal coach and accompanist at Western University.
Zoe Band is an Artist Manager in the vocal division of HarrisonParrott, operating from their London office. Prior to this, Zoe was with Dean Artists Management in Toronto as an Artist Manager in the opera division. Upon completion of her graduate studies at the Peabody Institute of The Johns Hopkins University in Baltimore, Zoe was launched in the field of artist management through a mentorship with Ana De Archuleta of ADA Artist Management in New York. She brings to her clients an understanding of and experience in the world of opera. In 2014, she was a finalist in the Canadian Opera Company’s Centre Stage competition. Later that year, as a Vocal Fellow at the Tanglewood Music Festival, she appeared as Idamante alongside Dawn Upshaw as Ilia in scenes from Idomeneo conducted by Ken-David Masur, and debuted both David Lang’s Where you go, and Michael Gandolfi’s Carroll in Numberland. Zoe also has a strong grasp of repertoire, and served as a teaching assistant for Peabody’s Opera Literature course. She is particularly passionate about helping young professional singers understand and learn how to be their own CEOs.
Soprano Christine Goerke has appeared in the major opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Washington National Opera, Houston Grand Opera, Seattle Opera, Opera Company of Philadelphia, Pittsburgh Opera , New York City Opera, Glimmerglass Opera, Royal Opera House Covent Garden, Paris Opera, Théâtre du Châtelet, Théâtre du Capitole in Toulouse, Deutsche Oper Berlin, La Scala, Maggio Musicale Fiorentino, Teatro
Real in Madrid, Teatro Municipal de Santiago, and the Saito Kinen Festival. She has sung much of the great soprano repertoire, starting with the Mozartand Handel heroines and now earning critical acclaim for the dramatic Strauss and Wagner roles. She has received praise for her portrayals of the title roles in Elektra, Turandot, and Ariadne auf Naxos, Brünnhilde in the Ring Cycle, Kundry in Parsifal, Ortrud in Lohengrin, Leonora in Fidelio, Eboli in Don Carlos, The Dyer's Wife in Die Frau ohne Schatten, Cassandre in Les Troyens, Ellen Orford in Peter Grimes, Female Chorus in The Rape of Lucretia, Alice in Falstaff, and Madame Lidoine in Dialogues des Carmelites.
Ms. Goerke has also appeared with a number of the leading orchestras including the New York Philharmonic Orchestra, Boston Symphony Orchestra (in Boston, Carnegie Hall, and the Tanglewood Festival), Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Radio Vara (at the Concertgebouw), Sydney Symphony, New Zealand Symphony, the Orchestra of the Age of Enlightenment, the BBC Symphony Orchestra at the BBC Proms, and the Hallé Orchestra at the Edinburgh International Festival. She has worked with some of the world's foremost conductors including James Conlon, Sir Andrew Davies, Sir Mark Elder, Christoph Eschenbach, Claus Peter Flor, James Levine, Sir Charles Mackerras, Kurt Masur, Zubin Mehta, Andris Nelsons, Seiji Ozawa, David Robertson, Donald Runnicles, Esa-Pekka Salonen, the late Robert Shaw, Patrick Summers, Jeffery Tate, Christian Thielemann, Michael Tilson Thomas, and Edo de Waart.
Ms. Goerke's recording of Vaughan Williams’ A Sea Symphony with Robert Spano and the Atlanta Symphony Orchestra won the 2003 Grammy Award for Best Classical Recording and Best Choral Performance. Her close association with Robert Shaw yielded several recordings including Brahms' Liebeslieder Waltzes, Poulenc's Stabat Mater, Szymanowski's Stabat Mater, and the Grammy-nominated recording of Dvorak's Stabat Mater. Other recordings include the title role in Iphigenie en Tauride for Telarc and Britten’s War Requiem, which won the 1999 Grammy Award for Best Choral Performance.
This season, Ms. Goerke returns to the Lyric Opera of Chicago for Siegfried, the Canadian Opera Company for Elektra, and to the Metropolitan Opera for the complete Ring Cycle. She also appears in concert with the Royal Concertgebouw Orchestra and the Atlanta Symphony Orchestra.
Ms. Goerke was the recipient of the 2001 Richard Tucker Award, the 2015 MusicalAmerica Vocalist of the Year Award, and the 2017 Opera News Award.
Matthew Horner is currently Senior Vice President and Director of the vocal division of IMG Artists, New York where he has worked since 2000. His roster includes such international singers as Eric Owens, Susan Graham, Lawrence Brownlee, Catherine Malfitano, Frederica von Stade, David Daniels, Alice Coote, Danielle de Niese, Angela Meade, Susanna Phillips, Albina Shagimuratova, Kyle Ketelsen, Amber Wagner, Brian Mulligan, Brandon Jovanovich, and James Valenti as well as many important erging young American singers. He has served as a judge for numerous vocal competitions including the Metropolitan Opera National Council (both District and Regional levels), Palm Beach Opera Competition, the McCammon Competition in Ft. Worth, the Juilliard Honors Recital, the Alice Tully Hall Debut Recital Competition, the Joy in Singing Competition, and the Jenny Lind Competition. He presents regular classes and audition seminars at the Curtis Institute of Music, Yale University, Mannes College of Music, Bard College, the Canadian Opera Company, the Santa Fe Opera, the Sarasota Opera, and others. He is a member of the Board of Directors of the George London Foundation for Singers and the advisory board of ASTRAL Artistic Services and served as Artistic Consultant to Palm Beach Opera. He is also a twenty-two year member of the choir at St. Patrick's Cathedral, New York City where he has sung on recordings, frequent national telecasts and for Popes John Paul II in 1995 and Benedict XVI in 2008, 2010, and 2011, the latter two at St. Peter's Basilica in Rome. Matthew Horner received his undergraduate education at Oberlin College, double majoring in art history and history. While there, he was a member of numerous organizations, including being a two-year chair of the History Majors Committee and a member of the Art Majors Committee. He served as a tutor in Spanish, Italian, and art history. He was a member of the Committee to Restructure Student Government and the academic Regulations Committee. He sang for four years in the acclaimed Oberlin College Choir including national tours. He also presented a weekly opera show on the radio station WOBC. His graduate work at the Institute of Fine Arts at New York University was also in art history, and he completed both the master of arts and doctoral course work there. He was the recipient of a Levy Travel Fellowship and chaired the Silverberg Lecture Series. He served as research assistant to Professors Kathleen Weil-Garris Brandt and Donald Posner and was also a student of the legendary Sir John Pope-Hennessey. He worked on the scholarly team that examined the Sistine Chapel during itSemperiod of restoration as well as being part of a study group in Rome for several summers. Matthew Horner graduated from Westmont High School in Johnstown, PA in 1987. Among his awards were the academic Top Ten, the Patrick Gleason Award for achievement in American government courses, the National School Orchestra Award, a National Merit Scholarship finalist, the Outstanding Foreign Language Student in Pennsylvania Award, and the West End Lions Award. He was also a member of the National Honor Society. He served as captain of the Scholastic Quiz team, was a two-time district forensics champion and one of the founders of the annual academic Honors Banquet. He served as president of the Youthemeducation Association for two years and was part of Student Council, the Debate Club and took part in County, District, Regional, and All State Orchestra and Chorus. He spoke at the 1995 academic Honors Banquet in commemoration of its 10th anniversary and was the school's commenc ent speaker in 2001. Matthew Horner was born in the Canal Zone, Panama, and resides in New York City.
William Smith has been a Chartered Professional Accountant for 25 years. He started his career at Orenstein and Partners as a student and worked at that firm for several years before joining Arthur Gelgoot and Associates. William eventually left Arthur Gelgoot and Associates to work as a sole practitioner. His practice is primarily focused on the entertainment industry, with many of his clients working in the world of opera.
William holds a B.A. (Honours) in political science and history and a Master of Arts degree in history from York University.
Robert Gilder (Managing Director) has been at the forefront of international artist management for over 20 years. After studies at Durham University in the UK, Robert Gilder worked for English National Opera and the Festival of Music in Great Irish Houses before entering the world of artist management in 1982. Robert Gilder & Co now has offices in London, New York and Skopje (Macedonia) and manages a roster of singers, conductors, directors and instrumentalists who are in worldwide demand. The list of distinguished artists with whom he has collaborated includes Yehudi Menuhin, Arnaldo Cohen, Vladimir Fedoseyev, Ruth Falcon, Joyce Castle, Galina Gorchakova, and Deborah Voigt to name a select few. Aside from this, he has also been responsible for the training and mentoring of a new generation of artist managers. In recent years Robert Gilder has been selected as a jurist of several of the world’s leading vocal competitions including Verviers, the ‘Maria Callas Vocal Competition’ in São Paulo, Brazil and the “Competizione dell’Opera” in Dresden. He is frequently asked to give guest masterclasses and workshops to Young Artist Programs on artist development and career management. Robert Gilder is the recipient of the 2009 Patrick Hayes Award at the New York ISPA Congress.
With Pacific Opera, Chief Executive Officer, Ian Rye has stewarded the creation of over 60 original opera productions, new opera commissions, cultivated an enhancement of artistic scope, and orchestrated a co-production model that has positioned Victoria-made productions on opera stages across Canada and the U.S. He has stewarded youth and education programs and community collaborations, and was key to the creation of the Baumann Centre as a community hub for increased participation in opera.
Previously, Ian was the Director of Artistic Administration for Pacific Opera Victoria, the Director of Production at the Belfry Theatre, and an Instructor of Design at the University of Victoria. His scenic and lighting designs for dance, opera and theatre have played at notable stages across Canada. His designs for Pacific Opera Victoria include the world première of Mary’s Wedding, South Pacific, and Ariadne auf Naxos.
Ian earned an MBA in Executive Management and Management Consulting from Royal Roads University, and is an alumnus of the Opera America Leadership Intensive. He previously studied theatre production and design at Ryerson and the Banff Centre for the Arts. An active volunteer, Ian is a recent contributor to the World Opera Forum and the Arts and Culture Master Plan Advisory Group for the City of Victoria. He is vice chair of the Association for Opera in Canada, and serves on the board of OPERA America.
Born in Brighton, England, Perryn Leech has dedicated more than 35 years to the performing arts industry, starting at the Glyndebourne Festival and then as a freelance lighting technician and Head of Lighting at the Edinburgh International Festival, before moving to English National Opera, and then served as Technical Director at Welsh National Opera. Since 2011, Leech has served as the Managing Director of Houston Grand Opera (HGO), one of the largest and most highly acclaimed opera companies in the United States. Leech initially joined HGO in 2007 and served as the technical and production director and then the chief operating officer before being appointed to the role of Managing Director. HGO has built a reputation for commissioning new opera, with 67 world premieres to date, and has received a Tony Award, two Grammy Awards, and three Emmy Awards – the only opera company in the world to win all three honours.
Named one of CBC's Top 30 Canadian Classical Musicians under 30, Canadian baritone Samuel Chan has been praised by critics for his “naturally produced, forwardly placed, attractive baritone” (Ludwig van Toronto). An artist whose repertoire spans centuries from Dowland to Dutilleux, Samuel is establishing himself as a versatile young artist to watch internationally.
For the 2020-21 season, Samuel made his European house debut as part of the Fest Ensemble at Theater Kiel. Though the year was marked with many cancellations and schedule changes, roles performed during the season include the Gurilla in the world premiere of Giovanni Sollima’s Das Dschungelbuch, and Hans in Könneke’s Der Vetter aus Dingsda.
2019-20 season highlights include a surprise last minute role debut at the Canadian Opera Company (COC) as the title character in Rossini's Il barbiere di Siviglia, under the baton of Maestra Speranza Scappucci, Handel’s Messiah for Kitchener Waterloo’s Grand Philharmonic Choir, Faure’s Requiem for the Toronto Mendelssohn Choir with the Toronto Symphony Orchestra, new work workshops for Tapestry Opera and City Opera Vancouver, and Dr. Falke in Die Fledermaus for Saskatoon Opera.
A recent graduate of the Canadian Opera Company Ensemble Studio, Samuel’s roles during his studio tenure included Marcello/Sergeant in La Bohème, Dad in Ana Sokolovic’s The Old Fools (workshop), Guglielmo understudy in Così fan tutte, Orestes’ Guardian understudy in Elektra, the Sycophantic Senator in the world premiere of Hadrian, the Captain/Eugene Onegin understudy in Eugene Onegin, the 2nd Japanese Envoy in The Nightingale and Other Fables, the Usher/Marullo understudy in Rigoletto, and Count Lamoral’s understudy in Arabella. Other operatic engagements include Moralès in Carmen (Brott Music Festival); Don Asdrubale/Calandrino/Gomatz in Lo sposo deluso/L’oca del Cairo/Zaide (City Opera Vancouver); and Pastore II/Apollo in L’Orfeo (Cincinnati Chamber Opera).
Samuel’s academic studies were completed with a focus on Concert repertoire/Art Song. He has been recognized for this affinity with 2nd Place in Lieder and 3rd Place in Oratorio at the 2019 Stella Maris International Vocal Competition. Samuel’s repertoire includes Handel’s Messiah; Fauré’s Requiem; Arvo Pärt’s Passio; Monteverdi’s Selva morale et spirituale / Vespers; Bach’s St John Passion / B Minor Mass; and Vaughan Williams’ Serenade to Music / Five Mystical Songs. Notable song repertoire performances include Schumanns’ Dichterliebe, Schubert’s Schwanengesang/Harper’s Lieder from Wilhelm Meister / Schulze Lieder from Poetisches Tagebuch; Poulenc’s Tel jour telle nuit / Calligrammes / Le travails du peintre; and Bergs’ Op. 2.
Other competition highlights include 2nd Place in the COC’s Ensemble Studio Competition, and a district win/encouragement award from the Metropolitan Opera National Council Auditions’ Western Canada/Ohio district respectively.
Future engagements include Papageno in Die Zauberflöte, Pantalone & Farfarello in The Love of Three Oranges, and Montano in Otello (Theater Kiel), and Dancairo in Carmen (Pacific Opera Victoria).
Samuel received his Bachelor of Music from the University of Cincinnati College-Conservatory of Music and has had further training at the National Arts Centre’s Young Artist Programme, Highlands Opera Studio, the Vancouver International Song Institute, Ravinia’s Steans Music Institute, and the Toronto Summer Music Festival.