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Role of Medea in Benjamin Lees’ Medea in Corinth and Dich Theure Halle from Richard Wagner’s Tannhauser Davis, Heidi April 1999

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ROLE OF MEDEA IN BENJAMIN LEES' MEDEA IN CORINTH AND DICH THEURE HALLE FROM RICHARD WAGNER'S TANNHAUSER by HEIDI APRIL DAVIS B.Mus., U n i v e r s i t y o f B r i t i s h Columbia, 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  THE  standard  UNIVERSITY OF BRITISH COLUMBIA A p r i l 1999 ©  H e i d i A p r i l Davis . 1999  In  presenting  degree freely  at  this  the  available  copying  of  department publication  thesis  in  partial  fulfilment  of  the  University  of  British  Columbia,  1  agree  for  this or of  reference  thesis by  this  for  his thesis  and  scholarly  or for  her  The  University  Vancouver,  DE-6  (2/88)  tV)U5lC  of of  Canada  British  Columbia  I  further  purposes  gain  be  It  is  shall  that  agree  may  representatives.  financial  permission.  Department  study.  requirements  not  that  the  Library  an  by  understood allowed  advanced  shall  permission  granted  be  for  the that  without  for head  make  it  extensive of  my  copying  or  my  written  UBC School of Music presents  w i t h  the  UBC Opera Ensemble UBC Choral Union UBC Symphonic Wind Ensemble March 25 * 12:30 pm March 26,27 - 8:00 pm March 28 • 2:00 pm Chan Centre for the Performing Arts  Choral Melissa Bencic Katheryn Buble Colleen Burdeniuk LoriCroewe Robvn Driedqer-Klassen Tzung-Lin Fu' Eva Gersbach Soprano z Sabrina Chang Clara Choi Dobbs Sara Ellis Lilian Fan Tzung-May Fu Kristen Huskins Alia Hussey Alto 1 Jasmine Allen Alexis Barthelemy Karen Cavezza Ellen Chan X Julianna Chin Emily Chow <*Katherine Eun  Union  Brooke Hams Stephanie Ho Catherine Lan Jacqueline Langlois Angela Latham Cheryl Lo  wGli/abeth M.inlcy Emily S.idlier Brown CaraStarnes Florence Ng Tara Tang Miriam Nortan Elena Trovato Yoonjo Park Diana Welsh Claire Payne Michelle Zaharik jcssicn Quan  eaKymberley McLeod Maria Hwang Catherine Poon Tina Im Anne Sequin caAnne Rang Paula Schikkerling Annie Kim Anna Stratis Marie Lee Clara Tsang Annie Li Catherine Tseng Katie Longworth  Julia Ewers Allison Gibbons Sheri Hackwell Selina Jung Yume Kohno X Andrea Lee Cindy Leung  Suzannah VandeVelde Elisa Vincencio Ananda Jenny Wagler Catherine Wang Angelina Winstanley Liyan W u Annie Yim  Abbie Lu Andrea Noble Heidi Poon Julie Renaud Kristine Richards Rebecca Simonds  Grace Tang Rhonda Vertefeuille Lisa Weng Tina Wong Sung-Yoon Yang Dawn Yew  Alto z Esther Abd-Elmessih Kim Carson Sara Ciantar Jennifer Dickson Christine Gaspar  Alexandra Gosden Natalie Griller Edith Hamel Jennifer Harms Sarah Jones  Monica Lee Patricia Lewis Melissa Lind Hiromi Sato  Maggie Schifferer esClare Scott Huong t r a n Arelia Werner  Tenor Tim Burns Philippe Castagner Geoff Charkow Yang-Chieh Chou Francis Edmilao  ^Michael Forbes Mehrdad Ghafouri Darren Gock Derek Knoechel  Bernard Li Peter Lee Leo Pedersen Russell Robson  lan So Boming Tong c*Anthony Winstanley Stephen W r i g h t  Blair Fantillo Paul Henning Jonathon Ho  James Howick Gerard Navratil caStephen Johnson Joel Nickel Mark McCann Wesley Wong  Ed Yeung Hugo Huynh David Kiloh  caGaelen Marsden Ali-Reza Sharifi  Baritone Alexander Beynon Dale Beugin <?>Daniel Chow Bass  Shae Apland Jerod Bertram Hamish Carr  Ray Shinada Gerrit Theule es section leader jr, librarian e rehearsal pianist  c o to  c"E .2  E  c o  Z5  ro c  JZ ZJ JZ vj  O cu rrj  rrj  uo QJ  O ro I  8.2  r-rx  >*  'ro  g  o  i-  OJ  VJ  CL  c:  >  _  -Si  CL ^ U J  E QJ C  2vj  cu  c cu -M  O  OJ  E ~ —  cu  s o  -M to  C  o  E  O  M— OJ M— r— OJ  vj rrj C JZ ro U  £Z  uo  <" c CU  cu c  V TO TO _  o  £  c cu c < v_ TO O " O _cu VI AD • c c "o  3  <<  c c >- cu  as.  ^  —  o!  cu cu > >  -C c c ra cu _ ^ OX) c S ra  I  < w  RO  ra -c U LU  ro •-;  LU  o| o|  ro, col  CU u  o  i f .  o u. c3 c 1-0 o >  3  cu ro. cu  u  cu 3  QP  QL  § o m c ro .E  cn CA c c 3 ^  cu c  l  - t r ,  ctL  ^ ro •_  c  o  u  cG<  E  p  CU  C cu cu  DL  E  >-  E 3 5  J_ cu u  CA  c  CU  •5 r-  _ ra  § ro __ O 'E  roc  •- o J= ^ — —  c ">-"cu ra o • .;=.—c ra c  C  ~  o - CU ^ ra I <roU__Qro| TO - U  E 3  "J ->  I-  2  ro  ro  cn M t3 c cu h-  ^ E  5 £  cu »- ro E h- LU  3  o! 1=  o  c cu ro  cu cl _ro  \J  rrj  Z k —  CU  — CL. $S2 CU  cu  LA  ^  '—J  ro  (Li  —  JZ JZ  CQ CQ CQ  c cu ro CL  ro  Zi  I"  C  Iv  LTi -4-J  ro  -Cl  cu ro c g  ro rocu x c  <  £fc  fc£  XCQ  E 5 Q  ra O5  o.  & .£ -z cu  ro i cu (j _ <. ro r; vu ro c c  ro^ r o ^ r a j y o ^ A  JO \J  CD  rara  ] 2 co ra ^= E  <  j£  13  ~"  OJ TJ OJ \y  A3 C  A3 A3  o  ch  "o X  A3  3  QJ C QJ  XT  A3  CQ A3  A3  N  3 ui  3 Ul  LL  LL  UL  QJ 4-*  Quel let  la Pa PP ean Poo  A3  3 Ul  TJ C _A3  O  Z3 u-i  O  UJ  o  o o  Xl  o* o  E A3  C -  S v.  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As we near the close of the 20th 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 to 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 to 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 to the order of intellectual pursuits. Sandra Stringer 1  Musical Drama in One Act Music by Benjamin Lees  M e d e a in C o r i n t h Richard Epp Craig Holzschuh  Conductor Stage Director  Cast  Medea The Woman  NOVEMBER 6  NOVEMBER 7  Megan Latham  Heidi Davis  Maaike de Bruyn  Irene Kurka  Jason  Chad Louwerse  Creon  ShaeApland  Kevin Sean Pook Peter Mulholland  Synopsis The myth of Medea is one that dates back to the Ancient Greeks. This particular opera looks at the latter part of the myth including the events in Corinth for which this timeless story is most recognized. Medea has used her wit, the supernatural, and murder to help herself and her husband Jason to escape to the Greek island of Corinth. Once arrived and settled, Jason, for whom Medea has sacrificed and done so much, has abandoned her to marry the daughter of Creon, King of Corinth. This is the point at which the opera begins. . Subsequent to the previous events, Creon has banished Medea and her sons from Corinth, sentencing them to certain death. Enraged at Jason's ingratitude, Medea sends a poisoned robe as a gift to his bride. Then, in a final gesture of hate and revenge, Medea kills her own children and exhibits them to Jason. As was popular in Greek tragedy, Medea in Corinth uses a chorus. The chorus was an actor who could interchange with the other characters, comment upon the moral happenings of the play or narrate to create a mood. In this particular opera the chorus consists of only one person, the Woman. This production has chosen to recount this mythic opera atemporally. The original situation has been transposed to heighten the focus on the haunting occurrences that destroy Medea's life and has plagued audiences for over two thousand years. Craig  Holzschuh  ID  Opera in Eight Scenes Music by Udo Zimmermann New English Translation by Norbert Ruebsaat  T h e W h i t e Rose Richard Nancy  Epp  Conductor  Hermiston  Stage Director Hans Scholl  CAST Sophie Scholl  Sophie Scholl. Hans Scholl.  NOVEMBER 6 Lambroula Pappas Colin Balzer  NOVEMBER 7 Alexandra Tait 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 M u n i c h , 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 t h a t became k n o w n as the " W h i t e 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. " W e 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 Coethe: "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 t h a t 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.  II  Steven Sparling CHOREOGRAPHER  CREATIVE T E A M Nancy Hermiston H E A D O F O P E R A A N D V O I C E DIVISIONS  Choreographer of last year's production La Finta Giardiniera, M r . Sparling brings his talent to The Nightingale and the Rose. After training as an actor at Grant MacEwen College and the University of Alberta, he graduated in 1 9 9 7 as Class Valedictorian with a Bachelor of Fine Arts in Interdisciplinary Studies from Montreal's Concordia University. As an actor, singer, and dancer he has created several solo works as well as performing with Edmonton Opera, Les Grands Ballets Canadiens, Mile Zero Dance, Studio Theatre, Opera Breve and the CBC. M r . Sparling is currently a student of Gary Relyea and teaches movement skills in the Opera Program at UBC.  A Canadian born lyric coloratura, Nancy Hermiston has established herself as one of Europe's most versatile and exciting vocal artists and directors. She has a permanent engagement at the prestigious Nurnberg Opera Company and has starred with opera companies throughout North America and Germany. Her N e w York debut took place at Carnegie Hall with Marilyn H o m e and Mario Bernardi. She is on the directing staff of the International Opera Workshop in the city of Opava in the Czech Republic and has held various appointments as voice teacher, vocal coach, director and coordinator with the University of Toronto Opera and Performance Divisions. In 1995, Ms. Hermiston joined the UBC School of Music as the Head of the Voice and Opera Divisions.  ABOUT THE ENSEMBLES UBC  Richard Epp MUSICAL DIRECTOR  in Corinth  Mr. Holzschuh is thrilled to be back with the UBC Opera ensemble where he has directed excerpts of Werther,  The Crucible,  and H.M.S.  Pinafore  as well as  having been assistant director on the Vancouver, Kelowna, and Kamloops productions of Hansel and Gretel. Originally from Ottawa, he is finishing his M.F.A. in Theatre Direction at UBC. Some of his favorite directing credits include Fool for LovefTHEATRE  Helikon Ensemble C O N D U C T O R , Wallace  5etzuan(Theatre at UBC), Glengarry Glenn ft055(Unicorn Theatre), and Jewe/(THEATRE X). M r . Holzschuh was recently awarded the Sidney Risk Foundation Award for Directing.  I  n  s  e  m  b  I  e  SY/v\POSfUM & ^ -  <r'' u ' u  rt o  Leung  The Helikon Ensemble is a newly formed chamber group dedicated to the performance of contemporary classical music. This group of excellent young musicians is making their debut with the UBC Opera Ensemble. Their official concert debut will take place here in the Chan Centre for the Performing Arts on March 1 5 , 1 9 9 9 . We thank them for sharing their time, talent and enthusiasm for contemporary music and look forward to their future concerts.  X ) , The Good Person of  e  Ensemble  The UBC Opera Ensemble is a haven for all levels of past and present students of opera, including young professionals in the Greater Vancouver area. Through the preparation of concerts, staged excerpts and full scale productions, the ensemble provides training in voice, stage technique, stage direction, acting and other aspects of operatic production. In its spare time, the ensemble produces cabaret performances and participates in community outreach concerts in retirement homes and other venues. This year the Ensemble will travel to Germany to participate in a Festival for young opera singers and to give concert performances in the Czech Republic. Together with school and community support the UBC Opera ensemble looks forward to many more successful years.  Mr. Epp has studied with well-known musicians such as Dalton Baldwin, M a r t i n Katz, Graham Johnson, and Elly Ameling. He is in demand in the Vancouver area as an accompanist and vocal coach, and has appeared across Canada and on the CBC as an accompanist. M r . Epp is currently the Musical Director of the U B C Opera Ensemble. Craig Holzschuh D I R E C T O R , Medea  Opera  of- 1 o ' v?**'  * y  v.  Vancouver^; Musjjjca presenM^^oldenEtcmijjjjfe coaled: of new voic'al works perfected by Ensemble Symposium with guest sopranoi Teresa Connors and Celeste Axelson. Works includeprerriieres by C olin MacDonald, Jordan Nobles, and Matthew Welch and pieces by Scott Wilson and John Cage. X Holy Trinity Anglican Church, 1440 Wex: 12$Avei •i -Tuesday^ovember 10* 3 P M ** •? ?8 A t thcDjdor • 708-3370  IZ.  OPERA  CHORUS  PRODUCTION  SOPRANO Rhonwen Adams Katy Bowen-Roberts Rhoslyn Jones Jinny Park Tara Tang  TENOR Paul Ouellette Russell Robson Michael Walker  /MEZZO SOPRANO Aliya Ahmad Maaike de Bruyn Jeanine Fynn Eva Gersbach Sascha Karp Alexis Barthelemy  BARITONE Garrick Huang Mark Sampson Jason Spittel Garrit Theule Justin Welsh  HEAD OF OPERA DIVISION Nancy Hermiston STAGE DIRECTORS Nancy Hermiston Craig Holzschuh.  and the Rose  PIANO Karen Lee-Morlang +  MUSIC DIRECTOR Richard Epp  DRESSER Brenna W o n g  CHOREOGRAPHER Steven Sparling  MAKEUP Nancy Hermiston Dawn Stevens Jennifer Ciresi  FLUTE Samantha Fu + OBOE Brian Bruce+ C L A R I N E T  Andrea Ciona +  ASSISTANT CONDUCTOR Tom Eccleston  BASSOON Gordon MacLeod + HORN Aaron Hillier+ PERCUSSION Nick Coulter**  The White Rose  RAFFLE COORDINATOR Robyn Driedger-Klassen  STAGE MANAGER Suseh Nievares  POSTER Signals Design  TECHNICAL DIRECTOR Derek Mack LIGHTING DESIGNER Jeremy Baxter  HORN Danielle Stevens+  2ND VIOLIN Michelle Chatteray*  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  CELLO Christine Kovacs* DOUBLE BASS Anne Duranceau** FLUTE Chenoa Anderson** OBOE Peter Gal**  PIANO  PUBLICITY Jeanine Fynn Eva Gersbach Hussein Janmohamed  REPETITEURS Donna Falconer Scott Knight Karen Lee-Morlang  1ST VIOLIN Christie Meyers**  Martina Smazal**  PROGRAMME Sandra Stringer Hussein Janmohamed .  ASSISTANT DIRECTOR Peggy Jameson  The Medea In Corinth  COSTUME COORDINATION Reva Quam COSTUME ASSISTANTS Tara Tang Eva Gersbach  CHORUS DIRECTOR Hussein Janmohamed  ORCHESTRA The Nightingale  TEAM  Donna Falconer+ HARP Melanie Beale+ PERCUSSION Nick Coulter**  CLARINET Karen Noel-Bentley** " H e l i k o n Ensemble * Community Guest + UBC School o f Music  To our U B C 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.  BAROQUE ORCHESTRA '"'SATURDAY.'oris ..' 7,";.ST MAHK S--IKINi IY. '..'n jriCH.' LARCH ST Ar-.hcsi itsiy,:/--\'~Afl)\:tR. ^/'•'JSUNnAY DFC L'i.;l' •'.•„'.'•• -  :L'LcscHopi'.!o.:-r.iJrij!:|K: :  ,  ;  v.SU"r;r.A 'lii-''.:'-'I:.'.. v  iV;?S~ VA>lCOllVlK 0*41 !,i :  •'-.-.•i  io-•».;•'•  fe^-LS'O'UIMAULT. '.VF.ST v/-'i'.'.)U\.i h ..:,••"•"'"•( Al I. 215 mm. , - ' • ' H I I M M O K M M I O W \U'M HA \ll(>\s  13  ACKNOWLEDGEMENTS 'An Evening of Premieres' is made possible by support from the Chan E n d o w m e n t Fund of the University of British Columbia.  Food and drinks ( w i t h the exception of cough drops, candy, or bottled w a t e r ) are n o t permitted in the Chan Shun Concert Hall.  The UBC Opera Ensemble gratefully acknowledges the generous support o f the following organizations:  Please refrain f r o m unnecessary talking or unwrapping of candy during the performance. Due t o the finely-tuned acoustics of the venue, ambient noise may disturb other patrons and the performers on stage.  EVENT MEDIA SPONSOR  Hearing-impaired persons may obtain free o f charge, Sennheiser I n f r a r e d H e a r i n g System headsets f o i 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.  ror 4 J L BrRjjh Columbia L.DV_ R a d o Television  PROGRAM PRINT SPONSOR  Smoking is not permitted in any area of The Chan Centre.  Access P R I N T E R S  LTD.  Vancouver Chamber Choir Ballet BC Vancouver Opera Association Pacific Baroque Orchestra Chor Leoni Electra W o m e n ' s Choir Masterpiece Chamber Music Phoenix Chamber Choir  Washrooms access). Public levels.  should  be  reported  to  any  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.  | f  C  ,  t e l e p h o n e s are located on the main and first  Lost 8c Found items will be taken t o The Chan Centre coat check. Please call Customer Services at 6 0 4 822 6321 for i n f o r m a t i o n .  RULES  ...  are located on the main lobby level (all  Medical emergencies uniformed staff member.  The taking of photographs or operation of any recording dban device is strictly f o r b i d d e n in all performance venues. These devices may be left at the coat check free of charge. ..  disabled  Amenities  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 W o o d 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.  ,  the  The Chan Centre is f u l l y accessible t o people w i t h disabilities. O u t d o o r ramps and elevators p e r m i t travel from the Rose Garden Parkade t o the Chan Centre Plaza, and f r o m the rotunda t o the various levels of the facility. Wheelchair seating is also available. Please contact The Chan Centre's Box Office Coordinator at 822 2 6 9 5 to make arrangements.  RAFFLE SPONSORS  HOUSE  for  ,  .  ,  .  Latecomers will be seated at intermission or during an appropriate break in the performance. It may be necessary f o r latecomers t o be placed in alternate seating or standing room u n t i l intermission. If you must leave your seat during the performance, you will not be re-admitted until an appropriate performance break.  e  n  t  r  w e  us at A w  M  j  Centre , , o  u  f o r  t  n  o  h  e  News i k e  p  e r  a d d i t i o n a  f  o r m i n g  A  i r  t  i n f o r m a t i o n about the Chan | | | 822 2 6 9 5 or fax  s  p  e a s e  c a  8221606.  a r t i s t s t  d  u  t  d  a  t  notice  :  C H A N  e  s  a  n  d  programmes  C E N T R E  subject t o  change  T O U R S  Please t u r n off all pagers, cellular phones, beepers and J available every Tuesday at 12:30 pm, and leave alarm watches before you enter the concert hall, theatre Chan Centre m a m entrance. For additional or cinema details, please call Customer Services at 6 0 4 822 6321. o u r s  f  r  o  m  a r e  t  h  e  14  


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