20102011 AnnuAl report

Toronto is the place to be. Alexander Neef and his team are creating incredible art. Peter Cook: Thoroughly enjoyed @CanadianOpera 's new production of Magic Flute. Isabel, Michael are stars. Queen of the Night: wow! Papageno brilliant. Yvonne Yuen: Loving COC's Magic Flute. Perfectly whimsical and divine. Mark Churaman: Great time at "The Magic Flute"! The caliber of the @CanadianOpera's productions never ceases to amaze me. Andrew Gillespie: amazing work on Nixon in China. So refreshing to see such a modern piece done so well!! Amber Sethi: Watching Nixon in China at the FSC. Favourite place to be in all of TO. Gregory Oh: just saw #coc #nixoninchina. best opera production i've seen in toronto ever. what a great show! Shannon Coates: #Cenerentola @canadianopera is fantastic. DeShong? Is a force of nature. And not a weak link in the entire cast. Mcauleys: La Cenerentola last night was a joy for the ears, eyes, and heart. Bravo @CanadianOpera! Alice Longhurst: La Cenerentola (Cinderella) - easily in my top 5 ever for @CanadianOpera perhaps even top 3 - go get tickets, seriously. Shannon Coates: L'Archibald is a wonder. As is Amber Wagner. And Strauss. Simon Capet: Congratulations on a superb opening of Ariadne auf Naxos. A well deserved standing ovation. Marlene Wilson: Ariadne auf Naxos was outstanding, incandescent! last night. Still trying to find the top of my head that floated off somewhere... Katie Cross: Wow!! Congratulations to @CanadianOpera on the most amazing show I've seen there yet. Ariadne was mesmerizing, what an incredible cast! Keith Lam: Lawrence Zazzo STOLE the show as Orfeo at @CanadianOpera, what a MAGNIFICENT performance! How great to have him back in Toronto again. Joseph Levesque: Was at Orfeo Dress @CanadianOpera tonight. Fabulous show-Great singing & performances! Larry Zazzo is phenomenal! Robert Carsen is a genius! Rosalind Robertson: @CanadianOpera Robert Carsen staging of Orfeo ed Eruidice was like seeing/hearing a Rothko painting come to life. Beautiful. Margaret E. Atwood: After Canadian Opera Company's gem of an Orfeo & Eurydice last nite, captivated audience leapt to its feet it was perfect! Emma Jenkin: Biked down to @CanadianOpera's free concert today! Excellent music, beautiful space! John Gilks: Gotta love Toronto. Where else can you go to a two hour recital by ten really talented singers, in a great setting? FOR FREE! Jeff Johannes: Nightingale deserves to be seen world-round. Excellent wherever it appears. The Hype: Operanation is always a place to see and be seen

Most importantly, in 10/11 we achieved the elusive goal of ensuring that every production, regardless of genre or style, is presented in a fresh, artistically satisfying way. This does not mean that everyone loves everything we do, but it does mean that the COC is a forward-looking, intellectually and emotionally stimulating company one that clearly demonstrates our resolve to ensure that the art form remains ever-evolving, relevant, and most of all, of and for the times.

Not surprisingly, my first year as President has been remarkably inspiring. I thank my predecessor Paul Spafford for his wise advice and steady support, and my fellow members of the COC Board who demonstrate a remarkable level of commitment to the company. My admiration also goes to the COC staff, volunteers and artists who remain dedicated to the creation of great art. We truly are home to the best!

If you ask the average opera producer, balancIng artIstIc flare and fInancIal stabIlIty Is a fools game, one that you can never expect to perfect. And yet, we who work and volunteer in the arts sector doggedly pursue that target every year, sometimes with even a hint of enthusiasm and optimism. Why do we do it? Because the emotional satisfaction of working for a company that provides such food for the soul is tremendous. And sometimes, you hit on the magic formula, and things balance.

In a year in which virtually every arts organization on the continent visibly suffered, or was forced to close up shop permanently, we balanced our books, achieved 94% capacity with ticket revenue of over $12 million, and met our fundraising goal of just over $8.6 million. For this we remain extremely grateful to the thousands of donors, supporters and patrons as well as our public and private sponsors who support the COC in the belief that the art we create improves and informs everyones lives.

2010/2011 saw us push our artistic boundaries even further than the previous four seasons in the opera house. We added two new productions to our repertoire and performed two 20th-century works. We effectively added an eighth production to our season by taking our 2009 hit, The Nightingale and Other Short Fables, to the Brooklyn Academy of Music, wowing the notoriously hard-bitten New York audiences and the critics. We moved even closer to our goal of extending our planning cycle to five years in advance (as I write this, we are working on the 2015/2016 season). Once again we reached out to audiences across the country and around the world by presenting our season on CBC Radio 2 and Radio-Canada. Closer to home, we celebrated our fifth season of free concerts in the Four Seasons Centre with 79 events.

Home to tHe BeSt

Philip C. DeckPresident, Canadian Opera Company

Ph

oto

: CO

C, 2

011

3

FundrAiSing

CoC 10/11 FundrAiSing revenueS

75% Individual

20% corporate & foundations

5% special events

You arent just making [a donation] to the bottom line, you are directly contributing to the live experience.

Dr. DaviD Stanley-POrter, DOnOr, PatrOn, leaDer Of the COCS OPeratOurS anD ClaSSeS

Over 6,000 loyal subscribers, donors, corporations and foundations played a part in making the artistic and creative achievements of the COCs 2010/2011 season possible, with combined total fundraising revenues of $8.6 million (net).

The generous commitments toward transition and endowment funding, production underwriting, artist and performance sponsorship, training, and education and outreach programs cannot be overstated. Annual support through the Golden Circle, Presidents Council and Friends of the COC patron programs including a lead gift from an anonymous donor to the Year-End Matching Appeal are integral to the COCs continued success. Its about belonging to a vibrant community that recognizes the importance of a living opera company in Toronto.

Whether its dancing at midnight to Broken Social Scene, going backstage with the cast and crew of one of our productions, or simply relaxing in the elegant Henry N. R. Jackman Lounge with friends, all year long COC supporters know they are part of a thriving cultural community.

The Magic Flute opening night party at the four Seasons Centre. Photo: Dave Cox, 2011

for a complete list of all our donors, supporters and committee members, please see coc.ca/1011annualreport

4

$6,500,000 in individual commitmentsSeveral exclusive opportunities to personally experience the art of opera were hosted over the 10/11 season, from post-performance receptions with cast and creative teams to intimate backstage toasts. these behind-the-scenes opportunities brought our valued supporters, who help to ensure the success and continuity of the art form, together with the artists themselves who bring our productions to life.

introduCing tHe enSemBle CirCle In May 2011, the Canadian Opera Company officially launched the Ensemble Circle, the COCs newest membership program for younger patrons. Broadly, the launch highlighted the potential of Ensemble Circle membership and the opportunity it brings for ambassadorship of the art form. This non-revenue generating program, works to establish stronger connections between the company and our younger audience.

The Ensemble Circle is open to an intimate group of 100 members. Membership includes one ticket to three mainstage productions, as well as a ticket to the companys annual fundraiser, Operanation. A number of special events designed to enhance the operatic experience are also included in the program, taking members behind-the-scenes to working rehearsals, the season-opening and closing parties and post-performance toasts with the artists.

SpeCiAl eventS annual fundraising events held by the COC netted

$360,000

$110,000from Operanation VII

$110,000from the 12th annual fine Wine auction

$140,000through the COCs 17th annual golf tournament, the KPMG Opera Golf Classic

YeAr-end mAtCHing

AppeAl

1 leaD DOnOr

$254,000net raiSeD

Operanation VII. Photo: Mark ridout, 2010

rochelle de Goias, trinity Jackman and victoria Jackman

top to bottom: ensemble Studio members ambur Braid and Wallis Giunta perform with Broken Social Scene, photo: Mark ridout, 2010; COC Managing Director rob lamb and Karen Walsh, photo: COC, 2011; (l r) Catherine fauquier, David ferguson, Susan and arthur Scace, photo: Karen Walsh, 2011

alexander Josephson and alexander neef Brooke Marion, lucia Cesaroni and ashleigh Semkiw

Ph

oto

s: C

OC

, 20

11

5

new productions are extraordinarily important to the COC. they ensure that we remain artistically relevant, and they provide a diversified revenue stream from rental and co-production opportunities. Most importantly, new productions allow the public and private sectors to jointly participate in the COCs ambitious plans. alexanDer neef

new produCtionS leAd tHe wAY

AidA The 2010/2011 season opened with a new production of Verdis Aida (Oct. 2 to Nov. 5, 2010). Director Tim Alberys contemporary Middle Eastern setting stripped away the conventional Egyptian iconography, allowing the composers potent combination of music and drama to shine through, revealing the operas vast emotional depths and surprising relevance in the modern world. As The Huffington Post noted in its review, If forward-thinking opera companies like the COC dont interpret and

reinvent the classics to make them relevant and thought-provoking, then what on earth is the point of going to opera? In a performance described as magnificent, gorgeous and triumphant, the worlds leading Verdi soprano, Sondra Radvanovsky, made her role and COC debut as Aida. Others in the exemplary cast included Rosario La Spina as Radames, Jill Grove as Amneris, Scott Hendricks as Amonasro, Phillip Ens as Ramfis, Alain Coulombe as the King of Egypt, and Canadian Michele Capalbo, who shared the title role. Music Director Johannes Debus and the large COC Orchestra and Chorus won huge praise and ovations for their gloriously expressive work. Radvanovsky is a dramatic

and vocal force of nature. tOrOntO Star

Aida was generously underwritten in part by tim and frances Price.

Sondra radvanovsky as aida in the COCs production of Aida, 2010. Photo: Michael Cooper

6

new produCtionS leAd tHe wAY

tHe mAgiC Flute After an absence of almost 20 years, The Magic Flute finally made its return to the COC mainstage in a sparkling new production (Jan. 29 to Feb. 25, 2011). American wnder-director Diane Paulus and her frequent collaborator, designer Myung Hee Cho, set Mozarts opera in the early 19th century at the home of a wealthy family celebrating their daughters name day. As the party progresses, the guests gradually transform into Mozarts characters and the operas great truths about love and fidelity emerge.

The productions popularity generated 13 performances (including an Ensemble Studio performance, see page 14) with separate casts in the lead roles. COC favourites Michael Schade and Isabel Bayrakdarian were Tamino

and Pamina for eight performances, with young Canadians, Ensemble member Simone Osborne and Frdric Antoun, singing the roles for four performances. The rest of the superb cast included Aline Kutan, Rodion Pogossov, John Easterlin, and Mikhail Petrenko, as well as several former and current Ensemble members including Betty Waynne Allison, Lisa DiMaria, Wallis Giunta, Robert Gleadow and Lauren Segal. Johannes Debus again led the orchestra and chorus to great praise with a uniquely Mozartian combination of verve and delicacy.

The Magic Flute was generously underwritten by the Catherine and Maxwell Meighen foundation.

The Magic Flute Production Sponsor:

for complete cast and creative team information, please see coc.ca/1011annualreport

Artists the likes of tenor Michael Schade and soprano Isabel Bayrakdarian can shine, particularly when they are backed by the superb COC Orchestra under the flawless direction of Johannes Debus. tOrOntO Sun

Michael Schade as tamino (right) in a scene from the COCs production of The Magic Flute, 2011. Photo: Michael Cooper

7

deAtH in veniCe (Oct. 16 to Nov. 6, 2010) Benjamin Brittens masterwork of an interior life expressed through music was given an exceptional interpretation by Japanese director Yoshi Oida and the works original conductor Steuart Bedford. Reviewers called it magically gripping, unforgettable and a triumph, and praised all of the various aspects of the performance which brought into clear and profound focus an ephemeral landscape that floated liquidly between Venice at the turn of the 20th century and the protagonists interior torments. Anchored by Alan Okes remarkable Dora Award-winning performance as von Aschenbach (in which he never left the stage), Peter Savidge as the seven interconnected characters, William Towers as Apollo and the many cast members including Ensemble Studio and chorus members, dancers and actors, this production of Death in Venice was a revelation.

artist sponsorship is an especially rewarding investment. these sponsorships often grow into profound relationships that truly define artistic patronage. three artists in Death in Venice received support from individual donors.

So overwhelming that one wondered if there could ever be a better production of the work or a better performance of its central role. OPera neWS

Death in Venice was generously underwritten in part by David Stanley-Porter.Co-production of the aldeburgh festival, Bregenz festival, Sttn opera Praha and Opra national de lyon.

A rewArding inveStment

Its wonderful to be able to contribute to the welfare and development of a young Canadian artist. Its like having a daughter Im sitting in the audience and rooting for her go for it, kid! Katalin SChfer, artiSt SPOnSOr Of rihaB ChaieB, enSeMBle StuDiO MezzO-SOPranO

alan Oke (centre) as Gustav von aschenbach, and Peter Savidge (right) as the leading Player in the COCs production of Death in Venice, 2010. Photo: Michael Cooper

8

nixon in CHinA coc premiere One of the most performed and respected late 20th-century operas finally made its way to Toronto audiences with the COC premiere of John Adams seminal work (Feb. 5 to 26, 2011). Set against the backdrop of Richard Nixons historic five-day visit to China in 1972, the opera brings out both the public posturing and the private reflections of the main characters during that remarkable week. Robert Orth was the very essence of Richard Nixon, and

Maria Kanyova, Chen-Ye Yuan, Thomas Hammons, Adrian Thompson and Marisol Montalvo all created the stage versions of their real-life characters from the inside out. Conductor Pablo Heras-Casado pulled the overarching themes out of the complex score, which is filled with extraordinarily intricate and interwoven patterns in an unusual orchestration (including two pianos and four saxophones). Director James Robinsons production, a rare theatrical achievement of personification without condescension, teased the poetry out of history.

Nixon in China Production Co-sponsors:

Co-production of Opera theatre of St. louis, Chicago Opera theater, Opera Colorado, houston Grand Opera, Minnesota Opera, and Portland Opera

for complete cast and creative team information, please see coc.ca/1011annualreport

A rewArding inveStment

This is contemporary opera music at its most viscerally engaging. tOrOntO Star

for many years CiBC and CiBC Mellon have sponsored one of the COCs more traditional opera productions. this season we thought it was time for a more modern approach and Nixon in China provided a unique opportunity as it would also highlight this important historic event and Chinas importance on the world stage.CiBC

(l r) thomas hammons as Kissinger, robert Orth as nixon, Chen-ye yuan as Chou en-lai, adrian thompson as Mao tse-tung and rihab Chaieb as Second Secretary in the COCs production of Nixon in China, 2011. Photo: Michael Cooper

9

Molire once said that, Of all the noises known to man, opera is the most expensive. It can also be the most satisfying especially when everything comes together as magically as it did on opening day. tOrOntO Star

AriAdne AuF nAxoS (April 30 to May 29, 2011) Strausss opera was given a production of rare pedigree with conductor Sir Andrew Davis (in his long-overdue and much-anticipated COC debut), leading perhaps the finest Ariadne cast in the

world. Audiences and critics rhapsodized over Adrianne Pieczonka, Jane Archibald, Alice Coote, Richard Margison and Richard Stilwell and the rest of the distinguished cast. The juxtaposition of the alternating frenzy and tedium of backstage life in the first half, and the mash-up of comedic lows and dramatic heights in the second half, were all expertly handled by director Neil Armfield. The commedia troupe of John Easterlin, Peter Barrett, Michael Uloth and Christopher Enns, and the dramatic trio of spirits, Simone Osborne, Lauren Segal and Teiya Kasahara made the most of their roles, aided immeasurably by Denni Sayers cheerful choreography. Amber Wagner, Ms Pieczonkas understudy, won raves for her single performance on opening night, tempting many in the audience to say they had witnessed a star being born. The extraordinarily high calibre of music and singing, paired with a production which emphasized the transcendent power of art, was rewarded each performance with well-deserved cheers and standing ovations.

Over 30 special events and backstage experiences were enjoyed by our Golden Circle and Presidents Council members last year. Membership benefits take the opera experience to a higher level, from post-performance drinks with the cast and crew, to a rare glimpse into the inner workings of the COC costume and wig departments.

Production of Welsh national Opera

A HigHer level

(l r) Peter Barrett as harlequin, Christopher enns as Scaramuccio, Jane archibald as zerbinetta, Michael uloth as truffaldino and John easterlin as the Dancing Master/Brighella in the COCs production of Ariadne auf Naxos, 2011. Photo: Michael Cooper

10

CinderellA (la cenerentola) The COC greeted its spring patrons with an eye-popping visual and aural treat (April 23 to May 25, 2011), a fanciful version of Rossinis Cinderella. Led by the vocally enchanting Elizabeth DeShong in the title role, and one of the worlds greatest Rossini tenors, Lawrence Brownlee (making his debut with the COC), as her Prince, the day-glo-costumed and bewigged cast included Donato DiStefano, Brett Polegato, Ileana

Montalbetti, Rihab Chaieb and Kyle Ketelsen. Audiences of all ages also enjoyed the blue-haired mens chorus and the six long-tailed dancing rodents! Spanish theatre collective Els Comediants, headed by director Joan Font, mounted their production already presented to raves in Barcelona, Houston, Amsterdam and Brussels. Conducted by Leonardo Vordoni, Rossinis opera of fairy tale dreams and true love was a rollercoaster of vocal fireworks and amusing high jinks.

Co-production of houston Grand Opera, Welsh national Opera, Gran teatre del liceu and Grand thtre de Genve

for complete cast and creative team information, please see coc.ca/1011annualreport

The production is blessed with a superb cast [Elizabeth DeShong] fires off the incredible vocal fireworks Rossini demands with perfect ease. As Don Ramiro (the Prince Charming equivalent), Lawrence Brownlee is simply amazing. eye WeeKly

exceptional artists enjoy working with exceptional companies. Word is spreading that the COC is one of the very elite companies that great talents want to work with, ensuring that the COC remains a destination for creators and interpreters of a truly remarkable calibre and productions of the highest standards.

(l r) rihab Chaieb as tisbe, Donato DiStefano as Don Magnifico and ileana Montalbetti as Clorinda in the COCs production of Cinderella (La Cenerentola), 2011. Photo: Michael Cooper

11

tHiS iS wHY we go to tHe operA GlOBe anD Mail

orFeo ed euridiCe coc premiere (May 8 to 28, 2011) Renowned Canadian director Robert Carsen made his long-awaited return to the COC with a production universally lauded as a work of genius, Orfeo ed Euridice. Guided by Glucks theories on theatrical simplicity, Carsen and his design team transformed the Four Seasons Centre stage into a bleak, rocky landscape that reflected the Greek origins of the myth as well as the hard, dark reaches of the Underworld and, ultimately, the inner desolation of Orfeos broken heart. Countertenor Lawrence Zazzos anguished portrayal was showered with well-deserved

tributes, and, in the only other roles, Isabel Bayrakdarian and Ensemble Studio member Ambur Braid received much praise for their work in this intimate opera. Conductor Harry Bicket (who received a Dora Award for his work) elicited enormous sensitivity from the COC Chorus and Orchestra, and achieved a transformative quality of sound richly evocative of the period style. The COC closed its 2010/2011 season with a breathtakingly moving production that captured the hearts and minds of all who saw it, and one that illustrated the reason opera has endured for centuries its hold on the human psyche.

Production of lyric Opera of Chicago

Without exaggeration, it was a truly unforgettable experience. la SCena MuSiCale

for complete cast and creative team information, please see coc.ca/1011annualreport

lawrence zazzo as Orfeo and isabel Bayrakdarian as euridice in the COCs production of Orfeo ed Euridice, 2011. Photo: Michael Cooper

12

durIng the 2010/2011 season 15,000 people attended 79 concerts to experIence dIverse artIstIc programmIng In what has become one of torontos most excItIng cultural hubs. The vocal series featured artists of the highest calibre, including frequent appearances of the COC Ensemble Studio as well as recitals by Sondra Radvanovsky, Richard Margison, Brett Polegato, and distinguished alumni of the COC Ensemble Studio, including Wendy Nielsen, Doug MacNaughton, Krisztina Szab, Robert Gleadow and Lawrence Wiliford.

Audiences who attended the piano virtuoso series were thrilled by rising stars including Alexander Seredenko, Todd Yaniw, and Darrett Zusko, the winner of the most recent E-Gr piano competition, Claudia Chan, London-based Russian Tartar pianist Rustem Hayroudinoff, Mexican pianist Alejandro Vela and COC Ensemble Studio graduate Christopher Mokrzewski.

The chamber series showcased the excellent musicianship of some of the most notable local and international artists including the Afiara, Cecilia, and Annex Quartets, Frances Zodiac Trio, solo recitals by

Winona Zelenka and Rachel Mercer. Collaborations featured distinguished Canadian artists Jacques Israelievitch, Shauna Rolston, members of the Toronto Symphony and Canadian Opera Company orchestras, The Glenn Gould School and one of Hungarys brightest young violinists, Adam Banda.

Bringing some of the most dynamic members of Torontos dance community to perform against the backdrop of the bustling streetscape, the dance series ranged from Baroque dance to belly dance and included new works and performances by the Atelier Ballet, contemporary dance artists Peggy Baker and Sashar Zarif, blackandblue, Blue Ceiling and Tiger Princess Dance Projects and Arabesque Dance Company.

There was something for every jazz fan in the jazz series, including wonderful opportunities to hear the likes of Hilario Durn, Jane Bunnett, Don Thompson, Bill McBirnie, Julie Michels, Adi Braun, George Koller, Mike Murley, David Occhipinti and Chris Donnelly.

The world music series encompassed the sounds and rhythms from across the globe, and delivered moving experiences ranging from Asia to Eastern Europe and Cuba to the Caribbean. Featured artists included Mark Mosca, Wen Zhao, Bassam Bishara, Mark Korven, Ernie Tollar, Levon Ichkhanian, Fern Lindzon and the Pappas/Young Duo.

This space, dedicated to the man who built it, is bright, warm and irresistible by day or night. tOrOntO life

Clockwise from top: the annex Quartet, photo: Karen reeves; arabesque Dance, photo: Chris hutcheson; Sondra radvanovsky, photo: Chris hutcheson

Presented by:

13

enSemBle Studio the COC continues to educate, nurture and promote young Canadian artists through its renowned program, the ensemble Studio. in addition to the obvious benefits to the young artists, the impact this program has on the Canadian and international music scene is significant. the benefit to patrons is no less exciting watching the birth of new stars, and tracking their trajectories over their formative years is extremely rewarding!

mAinStAge mAgiCThe COC continues to provide exceptional performance opportunities for its members by casting one performance of a mainstage production with Ensemble Studio members and recent graduates. The principal roles of 2010/2011s The Magic Flute were performed by current members to great critical and audience acclaim and allowed the members to shine while creating a truly youthful dynamic on stage.

xStrAtA enSemBle Studio SCHool tourPerforming up to two shows daily across Ontario (and, in 2010, Northern Quebec), Ensemble members hone their craft and provide wonder, laughter and joy to thousands of young people each year.

(l r) 10/11 ensemble Studio members Simone Osborne, neil Craighead, ileana Montalbetti, ambur Braid, Michael uloth, head of the ensemble liz upchurch, anne larlee, rihab Chaieb, Jacqueline Woodley, Christopher enns, Wallis Giunta and adrian Kramer. Photo: Chris hutcheson

[enSemBle Studio ArtiStS] rAiSe HigH HopeS For tHe next generAtion oF SingerS OPera CanaDa

14

otHer StAgeS, otHer opportunitieSThroughout the year Ensemble members appear in varied roles including performances in the Free Concert Series, semi-staged productions of short chamber operas, competitions here and abroad, fundraising and stewardship functions and community outreach initiatives.

When not performing, members participate in intensive coachings with COC music staff as well as sessions with visiting opera luminaries for training and development spanning topics that include stage comportment, dramaturgy, audition repertoire, personal training, financial planning, and media coaching.

Clockwise from top: (l r) adrian Kramer, Michael Barrett and Simone Osborne in a scene from the COC ensemble Studio performance of The Magic Flute, 2011, photo: Michael Cooper; rihab Chaieb, as Cinderella in the COCs xstrata ensemble Studio School tour production of Cinderella, meets some of the audience members at Pigiurvik School in Salluit, QC, 2010, photo: Michael Cooper; (l r) Simone Osborne, Wallis Giunta, Christopher enns and adrian Kramer in the COC xstrata ensemble Studio School tour production of Isis and the Seven Scorpions, 2010, photo: anand Maharaj

The COC Ensemble Studio marked the true beginning of my career... it gave me the tools to make singing my job in addition to my passion. laWrenCe WilifOrD, tenOr, 2005-2007

15

The COCs adult programs are tailored to meet all levels of participant experience: Interactive concerts; relaxed discussion evenings with opera singers and directors over food and drink (Opera 101); engaging talks delivered by COC staff at the Toronto Public Library (Opera Talks); and, academic symposia at the University of Toronto featuring international and local scholars (The Opera Exchange).

NEW! Youth Opera Lab. Over 90 youth, aged 16 to 21, gained insight into the inner workings of an opera company by attending a free workshop, dinner and a Q&A session with a working opera professional. To top it all off, participants were invited to working rehearsals and a dress rehearsal, giving them a view into the creative process that brings opera to the stage.

Opera singer Kyra Millan leads young students in a vocal workshop. Photo: COC, 2011

after School Opera Program. Photo: Karen reeves, 2011

COC wig supervisor, Sharon ryman, explains the process of wig creation to youth Opera lab participants. Photo: COC, 2011

Michael Barrett (Prince) enchants the students in Salluit. Photo: Michael Cooper, 2010

COC Music Director, Johannes Debus, conducts a sing-a-long of verdis anvil Chorus at the COCs Culture Day event. Photo: COC, 2010

diSCovering operA At AnY AgeCoCS eduCAtion And outreACH initiAtiveS

each year, the Canadian Opera Company welcomes approximately 45,000 children, youth and adults to high-quality, accessible programs and encourages active participation in opera on a local, regional and national level.

Lucky number 13! The After School Opera Program, which introduces the art form of opera to young people aged 7 to 12, celebrated its 13th season with three brand new operas by composer Dean Burry and two new program partners. The season concluded with Burrys Bee Opera to mark the first anniversary of the beehives atop the Four Seasons Centre (see page 19).

Blistering cold temperatures, white-outs and challenging travel routes did not prevent Xstrata from bringing the COC Xstrata Ensemble Studio School Tour to northern Quebec (Nunavik) in November, 2010. The COC Ensemble Studio performed for students K to 6 for two schools in Salluit and one in Kangiqsujuaq. Ensemble Studio members also presented a special evening recital for Xstrata employees at the companys Raglan Mine. Overall Xstrata Ensemble School Tour productions of Cinderella and Isis and the Seven Scorpions reached 16,000 young people and educators across Ontario and Quebec.

16

CAnAdiAn operA CompAnY BoArd oF direCtorS 2010/2011

oFFiCerSMr. Paul B. Spafford, ChairMr. Philip C. Deck, PresidentMr. Paul a. Bernards, Treasurer

HonourArY direCtorSMr. Joey tanenbaum, C.M.

Mr. John h. Macfarlane, SecretaryMr. alexander neef, General Director

(ex officio)

Mr. robert lamb, Managing Director (ex officio)

memBerSMr. h. anthony (tony) arrellMs nora aufreiterMr. Barry avrichMr. David BroadhurstMr. robert BrouwerMs Marcia lewis BrownMr. Stewart BurtonMr. George S. DembroskiDr. fayaz DossaMr. William fearn (ex officio)Mr. David C. fergusonMr. David forsterMr. adam froman

Mr. John GaglianoMr. Michael GibbensDr. linda hutcheonMs trinity JackmanMs Pamela JefferyMr. Jeff lloydMr. Stephen O. MarshallMs Judy MatthewsMr. Geoffrey MatusMs Marina McDougall (ex officio)Ms trina McQueenMr. Jonathan MorganMrs. Sue Mortimer

Mr. nicholas MuttonMr. ian PearceMs frances PriceMr. John rothschildMr. arthur r.a. Scace, C.M. Ms Colleen SexsmithMs Sandra SimpsonMr. Philip SmithMs Kristine (Kris) vikmanisMs Karen WalshMr. John h. (Jack) WhitesideMr. tom Woods

a scene from the COCs production of Aida, 2010. Photo: Michael Cooper

17

Magic, pure and complex Call it a triumph. finanCial tiMeS (u.K.)

this COC production and tour at BaM was generously made possible in part by Canada Council for the arts, Ontario arts Council, anne & tony arrell, Bruce Bailey, Cecily & robert Bradshaw, robert & Gail Dorrance, David & Kristin ferguson, tom & Sarah Milroy, Colleen Sexsmith, Sandra l. Simpson, David roffey & Karen Walsh, Donald & Gretchen ross, and an anonymous donor.Co-produced with festival daix-en-Provence, Opra national de lyon, and netherlands Opera, in collaboration with ex Machina (Qubec).

for complete cast and creative team information, please see coc.ca/1011annualreport

CoC triumpHS in nYCthe extraordinary success of this tour would not have been possible without the generous support of both government and the private sector. emphasizing how important financial support is to the companys continued artistic achievements, a group of private underwriters joined alexander neef, Johannes Debus and the nightingale herself, Olga Peretyatko, at a private dinner in new york City to celebrate the tremendous honour of touring to BaM.

reACHing new HeigHtS ABroAd

(Brooklyn Academy of Music: March 1 to 6, 2011) In March the COC was invited, for the second time in its history, to the prestigious Brooklyn Academy of Music to present four performances of its milestone production of The Nightingale and Other Short Fables. Robert Lepages transformative reimagining of theatrical conventions set to some of Stravinskys short works was an unqualified smash hit when it made its world premiere with the company in 2009. Subsequent

productions at the renowned Festival dAix-en-Provence and Opra national de Lyon last year only reaffirmed its reputation as an unmissable experience. New York audiences and critics were no different and outdid themselves trying to describe the productions magical grip on its audiences. The entire creative team and Johannes Debus leading the orchestra, chorus and the exemplary cast, were lauded. The company received an incalculable boost in its international standing. A rental by Opra de Qubec in 2011 and an upcoming 2012 production by the fourth co-producer, Netherlands Opera, further enhance the COCs stature around the world.

tHe nigHtingAle And otHer SHort FABleS

(l r) Michael uloth as the Bonze, robert Pomakov as the Chamberlain and laura albino as the Cook (in water) and Olga Peretyatko (above, right) as the nightingale in the COCs production of The Nightingale and Other Short Fables, 2009. Photo: Michael Cooper

18

Home to tHe BeStthe COCs resident artists the orchestra, chorus and ensemble members are a huge part of our success as a company. encouraging and supporting their work on our mainstage and elsewhere as part of the companys activities is important to us.

in March 2011 the COC Orchestra was commissioned by roy thomson hall to accompany famed soprano angela Gheorghiu in a solo recital. as part of an effort to expand the musicians reach, Johannes Debus has spearheaded a new mini-festival of chamber works presented by COC Orchestra members as part of the free Concert Series in the richard Bradshaw amphitheatre during the 2011/2012 season.

CoC rAdioMore music, more videos, more interviews, more articles, more photos all in one convenient place coc.ca/cocradio

listen in to CBC radio 2 throughout the year when, once again, the full COC season will be broadcast on Saturday Afternoon at the Opera. if you miss the broadcast, check out COC radio for a web stream version.

...And At Home

makIng the world a better place through art is our primary goal. Making the work we do more sustainable and better for the planet is our aspiration.

the two honeybee hives on the roof of the four Seasons Centre in 2010 were expanded to seven in spring 2011. this brought us approximately 200 pounds of honey and a whole lot of good will from our neighbours who know that we are doing what we can to sustain the bee population in our small corner of the world.

One hundred and fifty-four solar panels donated and installed by hatch engineering on our west end scene shop in spring of 2011 recoup energy that the COC sells back to the grid to the tune of about $25,000 annually. Good for us, good for the environment.

new enSemBle Studio Competitionin 2011/2012, the COC highlights the ensemble Studio with a new initiative! the programs final audition process will be open to the public through a vocal competition, effectively introducing singers to our audiences from the moment we meet them! Watch for more information on this exciting new venture through the coming season.

Ben Heppner in ConCertOne of the worlds greatest artists, Canadian tenor Ben heppner performed a recital with pianist John hess in the fall of 2010 on the stage of the four Seasons Centre. the highly personal and intimate concert featured songs by Grieg, Sibelius and tchaikovsky.

COC Music Director Johannes Debus with the COC Orchestra. Photo: Michael Cooper, 2009

(l r) ensemble Studio members ileana Montalbetti, Wallis Giunta and rihab Chaieb. Photo: Chris hutcheson, 2011

John hess and Ben heppner. Photo: Michael Cooper, 2010

Beekeeper fred Davis and a tray of honeybees. Photo: COC, 2010

19

BMO financial Group Pre-performance Opera Chats and BMO financial Group Student Dress rehearsals Aida Opening night Sponsor

Official automotive Sponsor of the COC at the fSCPa

Sun life financial accessibility Program encompassing SurtitleS, Wheelchair Seating,

hearing-assistive and vision-impaired devices

Major Supporter, ensemble Studio Production Sponsor, Mozarts The Magic Flute

xstrata ensemble Studio School tour

Preferred hospitality Sponsor Digital Marketing SponsorPreferred Medical Services Provider

Official Media Sponsors

Official Canadian Wine of the COC at the fSCPa

KPMG Opera Golf Classic Preferred fragrance

Presenting Sponsor Opera for a new age and Operanation VII

Presenting Sponsor, free Concert Series in the

richard Bradshaw amphitheatre

Production Co-sponsors, adams Nixon in China

mAjor CorporAte SponSorS 2010/2011 SeASon

enSemBle Studio & endowment Support

SpeCiAl projeCt Fundingfor the many programs and special initiatives undertaken each year by

the Canadian Opera Company, we gratefully acknowledge project funding from:

OntariO artS COunCil

OPera.Ca

huMan reSOurCeS anD SOCial DevelOPMent CanaDa

government Supportthe Canadian Opera Company gratefully acknowledges the generous support

of these government agencies and departments.

operAting grAntS

20

2010/2011 SponSorS

preferred aIrlIne sponsor

rentals supplIer

preferred florIstsMario SguinQuince flowerstidys flowersWild thyme

other supplIersthe Butler DiD itnestl Waterstorri Coffee

DIAMOND PERFORMANCE SPONSORS

PERFORMANCE SPONSORSariaSBarrick GoldBurgundy asset ManagementCtvglobemediaDavies Ward Phillips & vineberg llPDelviniafionn MacCoolsfour Seasons hotels and resortshSBC Bank Canadalouis vuittonMcCarthy ttrault llPPwCScotia CapitalStandard life

OPENING NIGHT SPONSOR

fionn MacCools

HOSTING SPONSOR

PROGRAM SPONSORS

Budd Sugarman foundation, Create an Opera SupporterGreat West life, london life and Canada life, Opera

Storytime Program Supporterthe Globe and Mail, Subscriber ticket Back SponsorKPMG llP, xstrata ensemble Studio School tour

Performance SponsorStandard life, xstrata ensemble Studio School tour

Performance Sponsortorys llP, after School Opera Program Supporting Sponsor

CORPORATE AND FOUNDATION DONORSMaJOr GiftS

$10,000+audrey S. hellyer Charitable foundationJ. P. Bickell foundationthe hope Charitable foundationthe hal Jackman fund at the Ontario arts foundationthe Mclean foundation

$5,000 to $9,999225490 investments limitedBritten-Pears foundationSnC lavalinunit Park holdings inc.

$3,000 to $4,999the Calgary foundation nellie hicks Memorial fund

$2,000 to $2,999Classical 96.3 fMJarvis & associatesMaC CosmeticsMercedes-Benz Canada inc.Shinex Window Cleaningvida Peene fund Canada Council

$1,000 to $1,999aeroplan CanadaloyaltyOneMilgram Group of Companies ltd.Powis family foundationtruck n roll

2010/2011 MEDIA SPONSORS & IN-KIND SUPPORTERS

CBC radio tworemenyi house of Music ltd.

kpmg opera golf classIc tItle sponsorKPMG llP

cocktaIl sponsorCadillac fairview

operanatIon vII presentIng sponsortD Bank Group

offIcIal fragranceBeauty Calvin Klein

dInner sponsore-l financial limited

annual fIne wIne auctIon 2011 host sponsorCrush Wine Bar

partnerIng sponsorharris Brown & Partners limited

cheese sponsorCheese Boutique

chocolate sponsorrho thompson Candies

21

Canadian Opera CompanyCONDENSED FINANCIAl STATEMENTSCONDENSED BAlANCE SHEETAs at June 30 (in thousands)

CONDENSED STATEMENT OF OPERATIONS AND NET DEFICITFor the year ended June 30 (in thousands)

Assets 2011 2010Current assets

Cash & cash equivalents $ 643 $ 4,831

accounts receivable 1,396 674

Due from Canadian Opera house Corporation 1,578 1,051

Due from the Canadian Opera foundation 695 263

Other 1,527 1,388

5,839 8,207

Other assets 480 382

Capital assets, net 1,867 1,585

$ 8,186 $ 10,174

liabilities and Net DeficitCurrent liabilities

accounts payable and accrued liabilities $ 1,377 $ 1,266

Deferred revenue 8,214 10,198

Due to the Canadian Opera foundation 125

9,591 11,589

net deficit (1,405) (1,415)

$ 8,186 $ 10,174

Revenue 2011 2010Box office and fees $ 12,302 $ 13,422

fundraising 9,233 8,759

Grants 6,954 6,206

Contributions from the Canadian Opera foundation 1,058 365

Contributions from Canadian Opera house Corporation 1,100

unrestricted bequests 1,287 214

Other 4,811 3,766

total revenue $ 36,745 $ 32,732

ExpensesProduction $ 23,079 $ 21,038

Communications 2,743 2,558

Development 1,693 2,190

General and administrative 3,148 3,146

ensemble Studio Program 706 758

education 378 379

transfer to the Canadian Opera foundation 1,287 214

Other 3,701 2,428

total expenses $ 36,735 $ 32,711

Operating surplus 10 21

net deficit, beginning of year (1,415) (1,436)

net deficit, end of year $ (1,405) $ (1,415)

MANAGEMENTS REPORTThe financial statements of the Canadian Opera Company are the responsibility of and have been prepared by management and approved by the Board of Directors. The financial statements are prepared in accordance with generally accepted accounting principles and include certain amounts which are based on estimates and judgments. Management has determined such amounts on a reasonable basis in order to ensure that the financial statements are presented fairly, in all material respects. The integrity of the financial statements is supported by a system of internal accounting controls. This system is designed to provide assurance that the financial information is relevant, reliable and accurate, and that the Companys assets are appropriately accounted for and adequately safeguarded. The external auditors, Ernst & Young LLP, have full and free access to the Audit Committee and the Finance and Operating Committee, which are comprised of members of the Board of Directors. The Finance and Operating Committee meets regularly with management, and the Audit Committee meets annually with the auditors to review the financial statements and to recommend their approval to the Board of Directors.

Lindy Cowan, CA Director of Finance and Administration

A complete set of audited statements is available upon request.

22

The Canadian Opera Foundation (the Foundation) acquires, holds in trust and applies funds to assist in the development of opera for the benefit of the Canadian Opera Company (the Company). The audited market value of the net assets held by the Foundation as at December 31, 2010, totalled approximately $24,788,000. These funds are not included in the accounts and financial statements of the Company. In addition, at December 31, 2010, the Foundation administered additional funds totaling $289,000 on behalf of the Company and $2,010,000 in a maintenance fund on behalf of the Canadian Opera House Corporation. These amounts are not included in the accounts and financial statements of the Foundation. The following sets out the balance sheet and statement of revenue and expense for 2010 and 2009.

The Canadian Opera FoundationFINANCIAl STATEMENTS

BAlAnCe SHeetAs at December 31 (in thousands)

StAtement oF revenue And expenSeFor the year ended December 31 (in thousands)

Assets 2010 2009Miscellaneous receivables $ 7 $ 10

investments (at market value) 24,781 22,227

$ 24,788 $ 22,237

liabilities and Fund Balances

accrued liabilities $ 24 $ 17

fund Balances 24,764 22,220

$ 24,788 $ 22,237

Revenue 2010 2009investment income $ 1,826 $ 2,578

Donations and bequests 1,364 1,593

$ 3,190 $ 4,171

Expenses

investment and counsel fees and services $ 124 $ 116

administration and professional fees 29 28

153 144

net revenue before grants 3,037 4,027

Grants to Canadian Opera Company and individuals 493 650

net revenue 2,544 3,377

fund balances beginning of year 22,220 18,843

Fund balances, end of year $ 24,764 $ 22,220

reflecting on 2010/2011, the COC can proudly proclaim another successful opera season, recording an average attendance of 94% and a total of 45,025 single tickets sold and 79,550 subscription tickets purchased. With $3.7 million in single ticket sales and more than $8.38 million in subscription ticket revenue, the COC generated a total ticket revenue of over $12 million for the entire season. the 10/11 season saw 12,271 of those tickets sold to people under the age of 30, including young persons under the age of 15 and student groups. in total, 129,450 patrons attended 66 performances of the COCs seven mainstage productions in the four Seasons Centre for the Performing arts.

33% box office

19% government

grants

17% other Income

25% fundraising

6% other grants

CoC 10/11 operAting revenueS

Cover Photo: a scene from the COCs production of The Magic Flute, 2011. Photo: Gary Beechey.

Creative: endeavour

23

coc.ca

The Canadian Opera Company is dedicated to being one of the greatest opera companies in the world. Through the leadership of its artistic team and its management, the COC is committed to creating, innovating and delivering a live experience of the highest quality that reflects the passion, vitality, relevance and power of operatic theatre.