The Crucible Casting List

Need to know when your favourite UBC Opera singer, co-worker, friend or family member is performing in The Crucible? Hot off the presses, The Crucible CASTING LIST has been posted. Tickets can be purchased by clicking here. See below:

Nov. 10, 12  (Nov 11, 13)
Abigail Williams   Ember Lanuti (Anne-Marie Macintosh)
Rev. Paris  Tony Caruso (Andrew Robb)
Betty Paris   Katie Miller (Christine Robinson)
Tituba   Heny Janawati  (Christina Kent)
Thomas Putnam  Alan Macdonald  (Aaron Durand)
Ann Putnam  Lindsay McIntyre (Amber Gaulthier)
Rebecca Nurse  Francesca Corrado (Lauren Solomon)
Francis Nurse  Nick Meyer (Max van Wyck)
Giles Corey  Matt Chittick  (Zhang Xiao Dong)
John Proctor  Jose Ramirez-Solano (Richard Petroski)
Rev. Hale  Jordan Collalto  (Brandon Thronhill)
Elizabeth Proctor  Heather Molloy  (Evanna Chiew)
Mary Warren  Eden Tremayne (Emily Wilkerson)
John Cheever  Saygin Ozgu (Eric Schwarzhoff)
Judge Danforth  Brian Lee (Russell Robson)
Sara Good  Emily Nelson  (Lindsay Moore)
Ruth Putnam  Erin Milley-Patey (Nicole Brooks)
Susanna Walcott  Leslie Dolman  (Courtney Bridge)
Mercy Lewis  Christina Kent (Adela Velova)
Martha Sheldon  Christina Madarasz  (Bahareh Poureslami)
Bridget Booth  Danielle Faulkner (Maria Bamford)

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Ember Lanuti speaks about embodying the character of Abigail

EMBER LANUTI —Last Thursday, the two Abigails (Anne-Marie MacIntosh and I) went to see the play The Crucible by Arthur Miller at Studio 58. The play is so well written; the actors and audience can’t help but feel the intensity in the words.   However, I couldn’t refrain from comparing it to the opera. Robert Ward, the composer of the opera The Crucible, perfected the expression of the text by creating themes to match each character. For example, every time Thomas Putnam (Aaron Durand / Alan Macdonald) speaks, he is accompanied with these heavy weighted melodies that immediately make you feel like his words hit you like a sledgehammer!

For me, the music informs the actors and the audience so much more of the under lying current than just a spoken word. So much so, that in our last staging rehearsal for the “court scene” every second I was on stage, I noticed my body standing stronger and taller in defiance of John Proctor (Richard Petroski/Jose Ramirez Anton) and Judge Danforth (Brian Lee / Russell Robson). Every cell in my body felt energized and I felt the anger that John thought he could get away with “telling the truth.”

This journey is challenging, yet exhilarating. I’m so proud to be part of this production. Being Abigail Williams is completely different than anything I’ve ever done before. It requires an immense amount of concentration and discipline to keep your head in the game, so to speak. At the end of every rehearsal, my body feels drained like I had just run a marathon. She is an angry girl because has experienced a lot of ugliness in her young age —everything she does is to be John Proctor’s new wife and to hear him say, “I loves you”. It’s gut-wrenching to rehearse this everyday because I have to go through the whole journey of hoping, plotting and working so he will come back to me….but never does.

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Opera and a Dinner for only $45

Start your night at the opera off right. This 2011-2012 Season, UBC Opera is partnering with Mahony and Sons restaurant to bring a great night out experience and amazing value to opera-goers. Enjoy a pre-performance dinner at Mahony and Sons before the opera right on the UBC Campus. Each package includes 1 ticket to your chosen evening performance of The Crucible and a three course dinner at Mahony and Sons Public House —where you will find delicious food in a comfortable atmosphere. PLUS! Let us transport you to the opera in our 6-person golf cart and back again at the end of the evening!

TO PURCHASE TICKETS: Participating performance dates are November 10-12th at Mahony and Sons. Tickets are $45 and are available from UBC Opera at 604.822.6725 or in-person at the Old Auditorium Box Office. Limited number of tickets available! Tickets must be purchased in advance, not available online. Gratituty and drink purchase not included.

 

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Evanna Chiew speaks about lessons learnt in “The Crucible”

EVANNA CHIEW – This is one of your Elizabeth Proctors speaking, currently in the thick of rehearsals for The Crucible!  I was at rehearsal last Tuesday October 4th and we were in the midst of staging the court scene in Act III: this is where— spoiler alert!— John Proctor (Richard Petroski / Jose Anton Ramirez) ends up accused of witchcraft by Abigail Williams (Anne Marie MacIntosh / Ember Lanuti). I attended this rehearsal directly after a second year law class at the newly constructed UBC Law Building.

Going to the staging rehearsal for a trial scene after attending a law class was interesting for me because it almost made me feel guilty that I was participating in such a mockery of justice, pretending to be a witness while others pretended to be judges or clerks. Meanwhile, real students of law sit for hours in class and study for many more because they believe that the Law is worth studying and practicing. They become real lawyers and judges, who uphold the fundamental principles behind our justice system today.

And then it dawned on me that the trial scene we were staging is frighteningly close to what must’ve happened in real life — in the year 1692. What is known as the “trial scene” in The Crucible is no real trial at all, but a display of hysteria and human cruelty. Act III brings to attention the degree of selfishness that a man or woman is capable of achieving in order to get what he or she wants. “Crying witch” is not just an outdated, seventeenth-century notion: it happens every time someone is discriminated against or silenced for their individual beliefs and convictions. The power of The Crucible is that not that it is a documentation of a great tragedy in history but that it provides inspiration to act against the hundreds of large and small injustices that happen every day. This is what great opera and great storytelling can do.

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Simone Osborne shines at the Canadian Opera Company

October 4  – Simone Osborne, a recent graduate of UBC Opera, is continuing to forge ahead with her career. After winning the Metropolitan Opera National Council Auditions in 2008 (one of the youngest performers ever to do so) she begins her final year as a member of the Canadian Opera Company Studio Ensemble in the 2011 – 2012 season at the tender age of 24.

This weekend, Simone made her role debut as Gilda in Christopher Alden’s production of ‘Rigoletto‘ at the Canadian Opera Company. Watch for her back in Vancouver in the fall. Simone will make her Vancouver Opera debut as Juliette in ‘Roméo et Juliette‘ – a production not to be missed.  Recently Simone sat down with Leslie Barcza to discuss this life as an opera singer and singing Gilda, one of the most challenging roles in the repetoire.

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Shannon Chan-Kent sings with Vancouver Metropolitan Orchestra

Recent Graduate Shannon Chan-Kent  (last seen at UBC Opera performing the Fairy God-Mother in our production of Cinderella) will be performing selected arias (complete with fantastic coloratura fireworks) with the Vancouver Metropolitan Orchestra at their opening performance. In an article with David Gordon Duke in the Vancouver Sun, Chan-Kent discusses not only her singing activities but her other forays into the entertainment world including the singing voice for “Pinkie Pie”. To read the full article click here.

CONCERT LISTING:
THE VANCOUVER METROPOLITAN ORCHESTRA
9th Annual Chamber Orchestra Concert
When: Sunday, 1 p.m.
Where: Michael J. Fox Theatre, 7373 Macpherson Ave., Burnaby
Tickets: $25 from vmocanada.com or 604-876-9397

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Julia Kot talks about her experience as Susanna in Marriage of Figaro

Le Nozze di Figaro Dress Rehearsal Saturday August 27th

JULIA KOT — This morning when I woke up, I was both nervous and excited to perform my dress rehearsal on the main stage of Bard on the Beach.  I’ve been working on the role of Susanna, Figaro’s betrothed, since November, and this Monday I get to share the character that I’ve learned so much about.  This won’t be my first performance of the role, as I traveled to the Czech Republic in July with UBC Opera and sang Susanna there.  The rehearsal process has been exciting for the entire cast because Bard is such a different venue from a traditional opera stage.  Nancy Hermiston began staging the opera in the spring, teaching us operatic techniques of playing to the audience while being aware of the conductor.  I’ve had the pleasure of learning Susanna from Nancy, a role she has performed countless times herself.  Over the last few days, Christopher Gaze taught us a bit about performing in a round space so we can include the whole audience.  It’s a challenge that’s well-worth the reward of being able to sing in such a beautiful setting.  Our preparation is now over and our show will be the next time we’re all together.  The rehearsal today was the final step I needed to be confident in my performances at Bard – now I can’t wait for Monday’s show!

 

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Jordan Collalto featured in Vancouver Sun

In an interview with David Gordon Duke, UBC Opera’s Jordan Collalto speaks about his experience as the title character in this year’s production of Marriage of Figaro on the Bard on the Beach stage. Below are excerpts from the article featured in the Vancouver Sun.

Bard on the Beach Presents Mozart Classic
This summer’s Figaro stretches the rules: bass baritone Jordan Collalto sings the title role in all four performances. In an e-chat with him earlier this month, I learned that he’s 24, and hails from Alberta. “I’d been studying music in school since I was 10, starting on recorder, and then playing trombone into high school. At 15 I moved from Canmore to Calgary to study music more seriously, and joined the Calgary Youth Orchestra. In my last year of high school I started singing in choir, and decided that I’d rather pursue singing.”

Like so many contemporary male singers, Collalto discovered opera somewhat casually. “My introduction was thanks to some friends from the orchestra, who brought me to a production of Tales of Hoffmann at Calgary Opera. That encouraged me to audition for the chorus after high school, and provided my start in actually performing opera. I sang with the chorus for four seasons while working full-time in real estate.

The next step was an audition at UBC, whereupon it was goodbye real estate, hello stage. “So far my experience with the UBC Opera Ensemble has been great. I’ve been really lucky to perform more than many people at other schools do in an entire degree. Indeed: even a casual glance at the performance schedule proves Collalto’s point. “One of the major perks at UBC is that we do so many full opera productions every year with orchestra. That being said, the life of an ensemble member can be very busy!”

Doing Figaro in Figaro is tailor-made for Collalto at this point in his emerging career. “Figaro is one of the few young bass roles, so I’m about the right age to play him. A nice treat, as basses usually are left to play the fathers and old men in operas, not something that I have too much life experience being! Also, Figaro is quite a jokester and schemer, so he’s quite easy to relate to for a young university student such as myself.

“Figaro is the largest role I’ve performed so far, and it’s been extremely fun to prepare. It’s still taken a lot of work, I’ve been working on it in some form since last fall, but I feel it’s been a very good fit. It’s great to play a role close to my own personality and age.

“As for where I’m going from here, I guess that would just be back to school. I’ve got another year to work out what I want to do, and then next fall I need to be ready to audition for jobs, emerging artist programs, or another degree—if I decide that’s what I want to do.”

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Win two tickets to see Marriage of Figaro at Bard on the Beach

Every year, the gifted young stars of the UBC Opera Ensemble, accompanied by members of the Vancouver Opera Orchestra, perform under the tents at Bard on the Beach. This year we bring Mozart’s delightful comic opera The Marriage of Figaro to the Bard Mainstage. A rakish count, a broken hearted countess, boorish social climbers, a sex-charged teenager and at the centre of this whirlwind, Figaro and his bride-in-waiting the servant girl Susanna. Will Figaro ever have his long overdue wedding?

Performances are August 29 and Sept 5 | 1:00pm and 7:00pm
TICKETS are $35-$40 available www.bardonthebeach.org
New! Youth Price ($30 for ages 25 & under) is available for the evening performances.

NOW! You can enter to win TWO TICKETS to the August 29th matinee performance by clicking below.

CLICK HERE TO ENTER

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