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Roles of Nightingale in Bruce Sled’s the Nightingale and the rose and The woman in Benjamin Lees’ Medea… Kurka, Irene 1999

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ROLES OF NIGHTINGALE IN BRUCE SLED'S THE NIGHTINGALE AND THE ROSE AND THE WOMAN IN BENJAMIN LEES • MEDEA IN CORINTH by IRENE KURKA B.Mus., Southern Methodist U n i v e r s i t y , 1997 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (OPERA) in THE  FACULTY OF GRADUATE STUDIES (School o f Music)  We accept t h i s t h e s i s as conforming to the required  standard  THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 1999 ©  Irene Kurka ,  In p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of the requirements f o r an advanced degree at the U n i v e r s i t y of B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r r e f e r e n c e and study. I f u r t h e r agree that p e r m i s s i o n f o r e x t e n s i v e copying of t h i s t h e s i s f o r s c h o l a r l y purposes may be granted by the head of my department or by h i s or her r e p r e s e n t a t i v e s . I t i s understood that copying or p u b l i c a t i o n of t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l not be allowed without my w r i t t e n p e r m i s s i o n .  Department of The U n i v e r s i t y of B r i t i s h Columbia Vancouver, Canada  UBC  OPERA  night of  ENSEMBLE  ( T H R E E O N E - A C T OPERAS)  T H E N I G H T I N G A L E A N D T H E ROSE  M E D E A IN C O R I N T H  T H E W H I T E ROSE  november6 & 7 1998/8pm T h e Chan Centre f o r t h e P e r f o r m i n g A r t s l  MESSAGE F R O M T H E UBC OPERA ENSEMBLE  DIRECTOR  The UBC Opera Ensemble's 1 9 9 8 / 1 9 9 9 season is a year of celebration. As we near the close of the 2 0 t h century we have chosen to celebrate three of its composers in a chilling triple bill of three operatic premieres. We celebrate not only the genius of the composers whose music we are performing, but also the talent of all those involved in bringing the operas to life. As you experience the excitement of watching talented young performers on the road to success, please know that your support and encouragement is an integral part of their development. For this very positive and crucial support, we thank you. I look forward to meeting you and to another great season with you. I hope you enjoy this evening's performances.  Opera in One Act Music by Bruce Sled  The Nightingale and the Rose Richard Epp Nancy H e r m i s t o n  Conductor Stage Director  CAST NOVEMBER 6 Narrator. Nightingale Rose Tree Student. Two Nightingales Wicked Nightingale Girl.  Sandra Stringer Irene Kurka Kevin Sean Pook Jonathan Liebich Jennifer Legare Stephanie Zee RapunzeITu Suzanne Abbott  NOVEMBER 7 Joanna Go Robyn Driedger-Klassen Gil Anderson Chad Louwerse Julianna Chin Stephanie Zee Catherine Redding June Iwagami  SYNOPSIS Based on an original fairy tale by Oscar Wilde, The Nightingale and the Rose recounts the tale of an idealistic nightingale whose belief in true love leads her to sacrifice her life for t w o egocentric people. A young student has taken a fancy to a beautiful girl who has promised her suitor that if he brings her a red rose she will dance with him at the Prince's ball. Knowing that his garden contains no such rose, the student bemoans his misfortune as the nightingale listens from her tree. Wishing t o aid the student whom she believes to be a "true lover", the nightingale asks the rose-tree for help. He tells her there is but one way to make a red rose: the nightingale must sing for him all night long with a thorn piercing her breast. The nightingale believes her sacrifice t o be just and does as the rose-tree has commanded. Upon discovering the rose, the student rushes to his true-love's house. Alas, the girl has been courted by another who has given her "real jewels" and she scoffs at the student's offering. A chorus of on-lookers accuse the young lady of being ungrateful as the student throws the rose into the street. He renounces love forever, preferring to return t o the order of intellectual pursuits.  Sandra Stringer  3  Musical Drama in One A c t Music by Benjamin Lees  Medea in Corinth Richard Epp Craig  Holzschuh  Conductor Stage Director  Cast  Medea The Woman  NOVEMBER 6  NOVEMBER 7  Megan Latham  Heidi Davis Bruyn  Irene Kurka  Jason  Chad Louwerse  Creon  ShaeApland  Kevin Sean Pook Peter M u l h o l l a n d  Synopsis The m y t h o f Medea is one t h a t dates back t o t h e Ancient Greeks. This particular opera looks at t h e latter part o f t h e m y t h including t h e events in Corinth f o r w h i c h this timeless story is most recognized. Medea has used her w i t , t h e supernatural, and murder t o help herself and her husband Jason t o escape t o t h e Greek island o f Corinth. Once arrived and settled, Jason, f o r w h o m Medea has sacrificed and done so much, has abandoned her t o marry t h e daughter o f Creon, King o f Corinth. This is t h e point at w h i c h t h e opera begins. Subsequent t o t h e previous events, Creon has banished Medea and her sons f r o m Corinth, sentencing t h e m t o certain death. Enraged at Jason's ingratitude, Medea sends a poisoned robe as a g i f t t o his bride. Then, in a final gesture o f hate and revenge, Medea kills her o w n children and exhibits t h e m t o Jason. As was popular in Greek tragedy, Medea in Corinth uses a chorus. The chorus was an actor w h o could interchange w i t h t h e o t h e r characters, c o m m e n t upon t h e moral happenings of t h e play o r narrate t o create a mood. In this particular opera t h e chorus consists o f only one person, t h e W o m a n . This production has chosen t o recount this mythic opera atemporally. The original situation has been transposed t o heighten t h e focus on t h e haunting occurrences t h a t destroy Medea's life and has plagued audiences f o r over t w o thousand years.  Craig Holzschuh  4  Opera in Eight Scenes Music by Udo Zimmermann New English Translation by Norbert Ruebsaat  The White Rose Conductor  Richard Epp Nancy  Stage Director  Hermiston  Hans Scholl  CAST Sophie Scholl  Sophie Scholl Hans Scholl  NOVEMBER 6  NOVEMBER 7  Lambroula Pappas  Alexandra Tait  Colin Balzer  John Bacon  SYNOPSIS The White Rose movement, which culminated in a remarkable public demonstration by students against the Nazi regime, was organized and led by young people. At its head were a medical student at the University of Munich, Hans Scholl, his sister Sophie and Christoph Probst, who were outraged by the acquiescence of educated men and women in the Nazi treatment of Jews and Poles. In correspondence that became known as the "White Rose Letters," the group established a network of students in Hamburg, Freiburg, Berlin, and Vienna. "We will not be silent," they wrote to their fellow students. "We are your bad conscience. The White Rose will not leave you in peace." Hans and Sophie Scholl and Christoph Probst were executed on February 2 2 , 1 9 4 3 after mounting an anti-Nazi demonstration in Munich. Just before his death, Hans Scholl repeated the words of Goethe: "Hold out in defiance of all despotism." In this powerful and chilling opera, Udo Zimmerman takes us to the Munich-Stadelheim execution prison in the final hour of Hans and Sophie Scholls' life. The libretto is a nonchronological montage of letters and diary entries, mostly by the Scholls. It is through the events at the prison and flashbacks that Zimmerman relates the courage and ultimate sacrifice of two young university students who risked everything to speak out against Hitler. While the executioner is preparing the ghastly business, Hans and Sophie cast their minds back to the past, evoking images of longing for a pristine nature as well as fragmentary recollections of Nazi tyranny, suffering, and murder. Zimmerman's The White Rose takes us into the Scholls' hearts and minds and also leaves us with many questions echoing in our minds: Have we learned from the errors of the past? Are we our brother's keeper? What would we do at the moment of truth ? Hussein Janmohamed Sandra Stringer, ed.  5  Steven  CREATIVE T E A M Nancy  Hermiston  H E A D OF OPERA A N D VOICE  DIVISIONS  A Canadian b o r n lyric c o l o r a t u r a , Nancy H e r m i s t o n has established herself as o n e o f Europe's m o s t versatile a n d e x c i t i n g vocal artists and directors. She has a p e r m a n e n t e n g a g e m e n t a t t h e prestigious N u r n b e r g Opera C o m p a n y and has starred w i t h opera companies t h r o u g h o u t N o r t h A m e r i c a and G e r m a n y . Her N e w Y o r k d e b u t t o o k place at Carnegie Hall w i t h M a r i l y n H o m e a n d M a r i o Bernardi. She is o n t h e d i r e c t i n g s t a f f o f t h e I n t e r n a t i o n a l Opera W o r k s h o p in t h e c i t y o f Opava in t h e Czech Republic and has held various a p p o i n t m e n t s as voice teacher, vocal coach, d i r e c t o r and c o o r d i n a t o r w i t h t h e U n i v e r s i t y o f T o r o n t o Opera and Performance Divisions. In 1995, Ms. H e r m i s t o n j o i n e d t h e UBC School o f M u s i c as t h e Head o f t h e V o i c e a n d Opera Divisions.  DIRECTOR  M r . Epp has studied w i t h w e l l - k n o w n musicians such as D a l t o n B a l d w i n , M a r t i n Katz, Graham Johnson, and Elly A m e l i n g . H e is in d e m a n d in t h e V a n c o u v e r area as an a c c o m p a n i s t and vocal coach, a n d has appeared across Canada and o n t h e CBC as an accompanist. M r . Epp is c u r r e n t l y t h e Musical D i r e c t o r o f t h e UBC Opera Ensemble.  Craig  Choreographer o f last year's p r o d u c t i o n La Finta Giardiniera, M r . Sparling brings his t a l e n t t o The Nightingale and the Rose. A f t e r t r a i n i n g as an a c t o r at G r a n t M a c E w e n College and t h e U n i v e r s i t y o f A l b e r t a , he g r a d u a t e d in 1 9 9 7 as Class V a l e d i c t o r i a n w i t h a Bachelor o f Fine A r t s in Interdisciplinary Studies f r o m M o n t r e a l ' s Concordia U n i v e r s i t y . As an actor, singer, and d a n c e r he has created several solo w o r k s as w e l l as p e r f o r m i n g w i t h E d m o n t o n O p e r a , Les Grands Ballets Canadiens, M i l e Z e r o Dance, Studio T h e a t r e , O p e r a Breve a n d t h e CBC M r . Sparling is c u r r e n t l y a s t u d e n t o f Gary Relyea a n d teaches m o v e m e n t skills in t h e O p e r a P r o g r a m a t UBC.  ABOUT THE ENSEMBLES UBC Opera  Richard Epp MUSICAL  Sparling  CHOREOGRAPHER  Holzschuh  D I R E C T O R , M e d e a in Corinth M r . Holzschuh is t h r i l l e d t o be back w i t h t h e UBC Opera ensemble w h e r e he has directed excerpts o f Werther, The Crucible, and H.M.S. Pinafore as w e l l as having been assistant d i r e c t o r o n t h e V a n c o u v e r , K e l o w n a , and Kamloops p r o d u c t i o n s o f Hansel and Cretel. O r i g i n a l l y f r o m O t t a w a , he is f i n i s h i n g his M.F.A. in T h e a t r e D i r e c t i o n a t UBC. Some o f his f a v o r i t e d i r e c t i n g credits include Fool for /.ove(THEATRE X ) , The Good Person of SetzuanCYheatre a t UBC), Glengarry Glenn Ro55(Unicorn T h e a t r e ) , a n d 7ewe/(THEATRE X ) . M r . H o l z s c h u h w a s r e c e n t l y a w a r d e d t h e Sidney Risk Foundation A w a r d f o r Directing.  e  n  -  s  e  m  b  f  '  e  Ensemble  The UBC Opera Ensemble is a h a v e n f o r all levels o f past a n d present s t u d e n t s o f o p e r a , including y o u n g professionals in t h e Greater V a n c o u v e r area. T h r o u g h t h e p r e p a r a t i o n o f concerts, staged excerpts a n d f u l l scale p r o d u c t i o n s , t h e ensemble provides t r a i n i n g in voice, stage t e c h n i q u e , stage d i r e c t i o n , acting a n d o t h e r aspects o f o p e r a t i c p r o d u c t i o n . In its spare t i m e , t h e ensemble produces cabaret p e r f o r m a n c e s a n d participates in c o m m u n i t y o u t r e a c h concerts in r e t i r e m e n t homes a n d o t h e r venues. This year t h e Ensemble w i l l t r a v e l t o G e r m a n y t o p a r t i c i p a t e in a Festival f o r y o u n g opera singers a n d t o give c o n c e r t p e r f o r m a n c e s in t h e Czech Republic. T o g e t h e r w i t h school and c o m m u n i t y s u p p o r t t h e UBC Opera ensemble looks f o r w a r d t o m a n y m o r e successful years.  Helikon  Ensemble  C O N D U C T O R , Wallace  Leung  The H e l i k o n Ensemble is a n e w l y f o r m e d c h a m b e r g r o u p dedicated t o t h e p e r f o r m a n c e o f c o n t e m p o r a r y classical music. This g r o u p o f excellent y o u n g musicians is m a k i n g t h e i r d e b u t w i t h t h e UBC O p e r a Ensemble. T h e i r o f f i c i a l c o n c e r t d e b u t w i l l t a k e place here in t h e Chan Centre f o r t h e P e r f o r m i n g A r t s o n M a r c h 1 5 , 1 9 9 9 . W e t h a n k t h e m f o r sharing t h e i r t i m e , t a l e n t and e n t h u s i a s m f o r c o n t e m p o r a r y music and look f o r w a r d t o t h e i r f u t u r e concerts. f  SYMPOSIUM Va«couveig|pe> Mu||pa.present^il^ woetet. per£q|j|ed by* Symposiiaa»»: with gjsw&sopranos^Teresa Ootxaxtitwand Gmmte Axelson. Works include premieres by Colin MacDonald, Jordan Nobles, and Matthew Welch and pieces by Scott Wilson and John Cage. Holy T n n j » Anglican Chu rch, 1440 Wes 112* Ave. ..., ^,, .^jSuesda5^ovembet40*.,8-T^.,^'^...^-,- , , , ^ „ „ • ,.. .. ?8 At thqj^p>r' ..4k* 708-3370 ,  !  OPERA  SOPRANO Rhonwen Adams Katy Bowen-Roberts Rhoslyn Jones Jinny Park Tara Tang MEZZO  PRODUCTION  CHORUS TENOR  Paul Ouellette Russell Robson Michael Walker  BARITONE  SOPRANO  Garrick Huang Mark Sampson Jason Spittel Garrit Theule Justin Welsh  Aliya Ahmad Maaike de Bruyn Jeanine Fynn Eva Gersbach Sascha Karp Alexis Barthelemy  TEAM COSTUME COORDINATION Reva Quam  HEAD OF OPERA DIVISION Nancy Hermiston STAGE DIRECTORS Nancy Hermiston Craig Holzschuh  COSTUME ASSISTANTS Tara Tang Eva Gersbach  MUSIC DIRECTOR Richard Epp  DRESSER Brenna W o n g  CHOREOGRAPHER Steven Sparling  MAKEUP Nancy Hermiston Dawn Stevens Jennifer Ciresi  CHORUS DIRECTOR Hussein Janmohamed  ORCHESTRA The Nightingale  and the Rose  PIANO Karen Lee-Morlang+  ASSISTANT DIRECTOR Peggy Jameson  The Medea in  REPETITEURS Donna Falconer Scott Knight Karen Lee-Morlang  Corinth  FLUTE Samantha Fu + OBOE Brian Bruce+ CLARINET Andrea Ciona +  BASSOON Gordon MacLeod+ HORN Aaron Hillier+ PERCUSSION Nick Coulter**  The White Rose  TRUMPET Jonathan Michalak+  SET CREATION Derek Mack Nancy Hermiston  VIOLA  TROMBONE Mark Quigley+  SLIDE PHOTOGRAPHY Julie Martens  BASS TROMBONE Janice Jensen +  SLIDE PROJECTION Neyir Hall Kimberly Webb James Howick  FLUTE Chenoa Anderson** OBOE Peter Gal**  Donna Falconer+ HARP Melanie Beale+ PERCUSSION Nick Coulter**  CLARINET Karen Noel-Bentley** **Helikon Ensemble * Community Guest + UBC School of Music  To our UBC School of Music Chamber Ensemble, and to our community players we express our sincere gratitude for their participation in this project. You have made this a very special production.  POSTER Signals Design  LIGHTING DESIGNER Jeremy Baxter  2 N D VIOLIN Michelle Chatteray*  PIANO  RAFFLE COORDINATOR Robyn Driedger-Klassen  TECHNICAL DIRECTOR Derek Mack  HORN Danielle Stevens+  CELLO Christine Kovacs* DOUBLE BASS Anne Duranceau**  PUBLICITY Jeanine Fynn Eva Gersbach Hussein Janmohamed  STAGE MANAGER Suseh Nievares  1ST VIOLIN Christie Meyers**  Martina Smazal**  PROGRAMME Sandra Stringer Hussein Janmohamed  ASSISTANT CONDUCTOR Tom Eccleston  PACIFIC BAROQUE ORCHESTRA WEIHNACHTEN  CHRISTMAS AT LUBECK, 1705 VOCAL & INSTRUMENTAL MUSIC S A I U K I J A Y . un;  ST  !'•/ V.  f'M  [••1AKKS-TRINIIY C I U R C H  L A R C H ST  AT WEST  2HH  S U N D A Y . DFC  20  VANCOUVCR 2 30  PH  U B C S C H O O L O r M U S I C RuCI IAI SUNDAY  oi  o  :•:>  m  i  11 ALL  m  '/.'LSI V A N C O U V E R U U I I I ) C H U R C H 2052 l-.SOUIMAULT VVCST VAMCOIJ7LK < A l l . :i.*-N4'll.  IOU IM OKM\l KIN \ Kl.s|.|{\ MIONS  7  ACKNOWLEDGEMENTS "An Evening of Premieres' is made possible by support from the Chan Endowment Fund of the University of British Columbia. The UBC Opera Ensemble gratefully acknowledges the generous support of the following organizations: EVENT MEDIA SPONSOR  rtif -sfe British Columbia V-tSVw. *3*F Radio-Television PROGRAM PRINT SPONSOR  Food and drinks (with the exception of cough drops, candy, or bottled water) are not permitted in the Chan Shun Concert Hall. Please refrain from unnecessary talking or unwrapping of candy during the performance. Due to the finely-tuned acoustics of the venue, ambient noise may disturb other patrons and the performers on stage. Hearing-impaired persons may obtain free of charge, Sennheiser Infrared Hearing System headsets foi performances at all three Chan Centre venues. Headsets are available at the coat check; a security deposit of a driver's license or credit card is required. Smoking is not permitted in any area of The Chan Centre.  Access for the disabled  RAFFLE SPONSORS Vancouver Chamber Choir Ballet BC Vancouver Opera Association Pacific Baroque Orchestra Chor Leoni Electra Women's Choir Masterpiece Chamber Music Phoenix Chamber Choir Special thanks to: Vancouver Holocaust Education Centre, Venables Paper and Bindery, UBC School of Music, Jesse Read, Valerie Pusey, Isabel da Silva, Office Administrative staff, Computer Lab staff, Gene Ramsbottom, Martin Berinbaum, The Frederic Wood Theatre, Jean Driscoll-Bell, Janet Bickford, The Chan Centre'for the Performing Arts, Elke Englicht, Peggy Jameson, Rachel Ywei, Wallace Leung, Dunbar Lumber, Norman Chan.  HOUSE  RULES  The Chan Centre is fully accessible to people with disabilities. Outdoor ramps and elevators permit travel from the Rose Garden Parkade to the Chan Centre Plaza, and from the rotunda to the various levels of the facility. Wheelchair seating is also available. Please contact The Chan Centre's Box Office Coordinator at 822 2695 to make arrangements.  Amenities W a s h r o o m s  are located on the main lobby level (all  access). Public  telephones  are located on the main and first  levels. Medical  emergencies  should  be reported  to  any  uniformed staff member. R e f r e s h m e n t s are available in the main lobby during pre-show and intermission periods and include bar service and light confections. Cash only. Persons under 19 years of age cannot be served alcoholic beverages. L o s t & F o u n d items will be taken to The .Chan Centre coat check. Please call Customer Services at 6 0 4 822 6321 for information.  The taking of photographs or operation of any recording Chan Centre News device is strictly forbidden in all performance venues. If you would like additional information about the Chan These devices may be left at the coat check free of charge. Centre for the Performing Arts please call 822 2695 or fax us at 822 1606. Latecomers will be seated at intermission or during an appropriate break in the performance. It may be necessary All artists, dates and programmes subject to change for latecomers to be placed in alternate seating or without notice. standing room until intermission. If you must leave your seat during the performance, you will not be re-admitted C H A N C E N T R E T O U R S until an appropriate performance break. Please turn off all pagers, cellular phones, beepers and Tours are available every Tuesday at 12:30 pm, and leave alarm watches before you enter the concert hall, theatre from the Chan Centre main entrance. For additional details, please call Customer Services at 6 0 4 822 6321. or cinema.  6*  


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