On Friday, December 31, 1999 at 7:00 p.m., Toronto, Ontario was home to one of the most historic events in Canadian music history: Roy Thomson Hall’s Millennium Opera Gala. Although headlined by Canada’s own ‘three tenors’ - Ben Heppner, Richard Margison and Michael Schade - the impressive list of participants did not end there. Included on the roster were sopranos Tracy Dahl, Frances Ginzer and Adrianne Pieczonka; mezzo sopranos Catherine Robbin and Jean Stilwell; and baritones Russell Braun, Brett Polegato, and Gino Quilico. In addition to these current international stars, the next generation was also represented by four exceptionally gifted young singers: sopranos Isabel Bayrakdarian and Measha Brüggergosman; baritone James Westman; and the 18-year-old bass Robert Pomakov. The Millennium Opera Gala was produced by Wende Cartwright, Director of Programming for Roy Thomson Hall. “Never before have we had so much Canadian talent on the world stage,” she stated in an interview before the event. “At the moment, our opera stars are among the most sought-after on the international music scene. Over two years ago, inspired by their extraordinary talent, I set out to create a gala concert that would honour these artists. So I am truly delighted that we are bringing so many of them home to celebrate this special moment in our history.” “Milestones are to be celebrated,” Charles Cutts, President and CEO of The Corporation of Massey Hall and Roy Thomson Hall continued, “and the evening of the new millennium seemed like a perfect occasion to pay tribute – not only to our outstanding Canadian singers – but also to our two resident companies, the Toronto Symphony Orchestra and the Toronto Mendelssohn Choir.” Two years in the making, the gala continues the Corporation’s century-long tradition of bringing the community the best in live entertainment. The two-and-a-half hour concert – conducted by Richard Bradshaw and Mario Bernardi - was broadcast live to the nation on the Canadian Broadcasting Corporation’s RADIO TWO network on the concert programme IN PERFORMANCE. The critical and public response to both the concert and the broadcast was unprecedented. The reviews that followed the glittering Millennium Opera Gala were equally glowing. Brian Hunt, writing in the National Post, enthused, “Let’s say straight away, that Roy Thomson Hall’s Millennium Opera Gala was a joyous occasion and a cumulative series of musical thrills. All praise to the team - headed by producer Wende Cartwright - who spent two years putting the event together. …It was a glorious evening. I had tears in my eyes more than once…”

In the Globe and Mail, Urjo Kareda wrote, “The term ‘gala,’ devalued lately by so much promiscuous and inappropriate use, regained its currency at Roy Thomson Hall on New Year’s Eve with a staggeringly celebratory Millennium Opera Gala, featuring more than a dozen international opera stars - all of whom were Canadian.”

Toronto Star music critic, William Littler, was equally impressed. “Was there ever another time in our history,” he wrote, “when so many international-calibre Canadian operatic voices could have been assembled on one stage? Was there ever another occasion when so many of them - a total of 15 - actually turned up to sing together?”

The Millennium Opera Gala was programmed by CBC Radio Music Producer, Neil Crory. 

PROGRAMME NOTES by Neil Crory

MIGNON: “Oui, pour ce soir…Je suis Titania…”

Although based upon Goethe’s German novel Wilhelm Meisters Lehrjahre, Thomas’ three-act opéra-comique (1866) is quintessentially Gallic in flavour. The story centres on a love triangle involving the young student Wilhelm Meister, the gypsy girl Mignon, and the actress Philine. In Act II, set in a castle park, Philine enters, surrounded by adoring fans. She has just finished a performance of Shakespeare’s A Midsummer Night’s Dream in which she appeared as Titania. Flush with excitement and elated by her success, the coquette sings this brilliant polonaise: “I am Titania…” 

LAKMÉ: “Viens, Mallika…dôme épais où le blanc jasmin…”

Delibes’ exotic opera (1883) - based upon Pierre Loti’s Le mariage de Loti - is set in India at the time of British colonial rule. The action focuses upon the plight of a young Hindu priestess, Lakmé, who is torn between her love for her father, religion and country and that for the handsome English officer, Gérald. In this gentle, atmospheric duet from Act I, Lakmé and her servant, Mallika, go to the sacred stream over which “a dense dome of jasmine and roses clings together.” There they collect blue lotus blossoms to offer the god Ganesh. 

LES PÊCHEURS DE PERLES: “Au fond du temple saint…”

The Pearl Fishers (1863) was the work which launched the 24-year-old Bizet’s career. Perhaps inspired by the success of Spontini’s La Vestale and Bellini’s Norma, the librettists, Carré and Cormon, fashioned a similar story in which a priestess is torn between love and duty. In this Act I duet, the two Ceylonese pearl fishers, Nadir and Zurga, meet and they recall the night when they first saw Leïla - a Brahmin priestess whose perfect beauty not only captured their hearts but also drove them apart out of jealousy. Reunited, the two men promise “to remain friends for life.” 

HAMLET: “O vin dissipe la tristesse…” (Drinking Song)

Although Thomas’ five-act opera (1868) closely follows the outlines of Shakespeare’s well-known play about the Danish prince who avenges his father’s murder, there are a few changes which must have shocked critics of the day - including a ‘happy ending’ in which Hamlet survives and is hailed as the new king! In Act II, Hamlet sings this brilliant aria after greeting a group of strolling actors hired to perform The Murder of Gonzalez. Although technically a “drinking song”, the aria also reveals a darker side beneath the veneer of wild abandon. 

LA PÉRICHOLE: “Ah! Quel dîner…” (Griserie Ariette)

Offenbach composed roughly 100 works for the stage, but this spirited opéra bouffe (1868) - based upon Mérimée’s comedy, Le carrosse du Saint-Sacrement - is one of the most charming. Set in Lima, Peru, it tells the story of the impoverished streetsinger, La Périchole, who catches the eye of a local Viceroy. Totally smitten the Viceroy offers her a position as lady-in-waiting at the palace. Although fully aware of the implications, she accepts. In this delightful aria, she has just returned from a grand dinner at the palace and admits that “I drank so much that I’m a little bit drunk!” 

LUCIA DI LAMMERMOOR: “Chi mi frena in tal momento?…” (Sextet)

Donizetti’s opera (1835) is based upon Sir Walter Scott’s novel The Bride of Lammermoor. Set in Scotland towards the end of the 17th-century, the opera tells the tragic story of Lucia, who - forced into an unwanted marriage - descends into madness. In the final scene of Act II, the wedding guests are gathered. Tricked into believing that Edgardo - her real love - has abandoned her, the distraught Lucia signs the fatal marriage contract. At this moment Edgardo bursts in and confusion erupts and, in this famous sextet, the six principals give vent to their various emotions. 

LA TRAVIATA: “Di Provenza il mar…”

Verdi’s 1853 opera La Traviata (or The Fallen Woman) inspired by Alexander Dumas’ play La Dame aux camélias - deals with the courtesan Violetta Valéry and her love for Alfredo Germont. Act II, Alfredo’s father, Giorgio Germont, appears and confronts Violetta. Fearful of scandal he pleads with her to leave his son for the sake of his family’s honour. When Alfredo returns to find Violetta gone, he is devastated. Germont then sings this moving aria, reminding Alfredo of their home in Provence: “There alone can peace shine on you again.” 

AÏDA: “Se quel guerrier io fossi!…Celeste Aïda…”

Verdi’s exotic grand opera was premiered at the Cairo Opera House in 1871. Set in ancient Egypt during the time of the Pharaohs, it tells the story of the Egyptian soldier Radamès who is in love with the slave girl Aïda. In this scene from Act I, Radamès is hopeful that he will be chosen to lead the Egyptian army against the marauding Ethiopians so that he can, once victorious, return and ask that Aïda be his. “Heavenly Aïda. You are queen of my thoughts. You are the splendour of my life. I would like to build a throne for you next to the sun.” 

TOSCA: “Vissi d’arte…”

Puccini’s opera, based upon Sardou’s drama La Tosca, was premiered in Rome in 1900. In Act II, the painter Mario Cavaradossi has been imprisoned for treason by the sadistic chief of police, Baron Scarpia. As he is being tortured, his lover - the actress Floria Tosca - is forced to listen to his painful screams. Scarpia lasciviously suggests to her that Mario’s fate lies in her own hands: she need only yield to his own advances. As Scarpia throws her to the floor she cries: “I lived for art. I lived for love. I’ve never harmed any living soul! Why, O God, why do you repay me thus?” 

SEMIRAMIDE: “Bel raggio lusinghier …”

Rossini’s opera (1823), based upon Voltaire’s tragedy Sémiramis, is set in Babylon around 1200 BC. It tells the story of the ruthless Semiramide who murders her husband and takes over the throne of Babylon. As Queen, she falls in love with Arsace, a handsome young army officer. In this splendid coloratura aria from Act I, Semiramide sings that with Arsace’s return, “every care has vanished from my heart. A beautiful enchanting ray of hope and content has shone at last.” It is only later in the opera that she discovers - to her horror - that Arsace is her own missing son, Ninia. 

DON GIOVANNI: “Dalla sua pace…”

Mozart’s dramma giocoso (1787), set in Seville in the 17th-century, is based upon the age-old legend about that amorous adventurer, Don Juan. In the opera, Don Giovanni’s attempts to add the name of Donna Anna to his list of conquests are thwarted when her cries for help are answered by her father. While in search of the villain, Don Ottavio (Donna Anna’s fiancé), sings this elegant, expressive aria in which he declares that he lives for her alone. “Her wishes are the breath of life to me; her grief stabs me to the heart. There’s no joy for me if she has none.” 

DER ROSENKAVALIER: “Marie Theres’!…Hab’ mir’s gelobt…”

Strauss’ Der Rosenkavalier (1911), with an inspired libretto by Hugo von Hofmannsthal, remains one of the operatic masterpieces of the 20th-century. The action is set in Vienna during the time of Maria Theresa of Austria and deals with the Marschallin (a married woman) who is having an affair with a young man named Octavian (a ‘trouser’ role sung by a mezzo). In this extraordinary, climactic trio, the Marschallin is resigned to the fact that her young lover has lost his heart to an even younger woman (Sophie) and with calm dignity renounces her hold on him. 

LA WALLY: “Ebben, ne andro lontana…”

Catalani is best known for this single aria from his opera La Wally (1892) and made famous in the French film Diva. Set in the Tyrol around 1800, the story centres on Wally, whose father has ordered her out of his house unless she agrees to marry Gellner, the man he has chosen for her. In response Wally, who is in love with Hagenbach, looks to the mountains and sings, “Well then, I shall go far away. Up there amid the white snows and the golden clouds.” The opera ends tragically with the young lovers perishing in an avalanche. 

TURANDOT: “In questa reggia…”

In Puccini’s final opera (1926), set in Peking of legendary times, Princess Turandot agrees to marry only the man who can answer three riddles. Whoever fails, however, is to be beheaded. In Act I, an unknown prince (Calaf ) has fallen in love with Turandot and strikes the gong heralding his candidacy. In the next act, Turandot appears and recounts the story of her ancestor, Princess Lo-u-Ling, whose rape and murder has strengthened her own resolve to be revenged upon all men who desire her. “No man shall ever possess me! Hatred for him who killed her lives on in my heart.” 

TURANDOT: “Nessun dorma…”

To Turandot’s horror, Calaf is successful in answering all three of her riddles. In response, he tells her that if she can discover his name before dawn, she will be freed from her vow of marriage and he will submit to the executioner’s sword. Turandot then orders that no one is to sleep until the name of the Unknown Prince is revealed. “No one shall sleep tonight”, Calaf sings, but “My secret lies hidden within me. No one shall discover my name! Oh no, I will reveal it only on your lips when daylight shines forth and my kiss shall break the silence which makes you mine.” 

ENCORE:

LA TRAVIATA: “Libiamo, libiamo ne’lieti calici…” (Brindisi)

The first act of Verdi’s opera (1853) opens during a party in Paris given by the courtesan Violetta Valéry. Gastone reveals to her that a certain Alfredo Germont is also present and that the young man has fallen madly in love with her - although they have not even met. Once introduced, Alfredo sings this spirited brindisi, or drinking song, in which Violetta and her guests join in with gusto. “Let us drink from the goblets of joy…Let us drink, for with wine, love will enjoy yet more passionate kisses….Let us be happy, as the delight of love is fleeting and rapid.” 

NATIONAL ANTHEM: “O Canada! Our home and native land…”

Although “O Canada” - with French lyrics by Sir Adolphe-Basile Routhier (1839-1920) and music by Calixa Lavallée (1842-1891) - was composed in 1880, it was not until July 1, 1980 that it was officially proclaimed Canada’s national anthem. The version on which the official English lyrics are based was written in 1908 by Mr. Justice Robert Stanley Weir (1856-1926). The stirring version for chorus and orchestra heard on this recording was arranged by the distinguished Toronto-born composer, educator, writer and conductor, Godfrey Ridout (1918-1984). 

ISABEL BAYRAKDARIAN, soprano léger

This talented young Armenian-Canadian soprano has won considerable recognition as the recipient of numerous awards and prizes. Since her professional operatic debut in 1997 with the Glimmerglass Opera, she has also scored triumphs in such works as Rossini’s Il barbiere di Siviglia for the Canadian Opera Company; Handel’s Flavio in Karlsruhe; and William Bolcom’s new opera, View from the Bridge, for the Lyric Opera of Chicago. 

MARIO BERNARDI, conductor

In 1968, Maestro Bernardi became the first artistic director of the newly formed National Arts Centre Orchestra. After serving in that position for 13 years, he left Ottawa and was soon appointed artistic director of the Calgary Philharmonic Orchestra, a post he held through the 1992-93 season. Since 1983, he has been Principal Conductor of the CBC Vancouver Orchestra. Mario Bernardi was born in Kirkland Lake, Ontario. 

RICHARD BRADSHAW, conductor

This English-born conductor – who includes Sir Adrian Boult, Sir Charles Groves and Sir John Pritchard as his musical mentors - is currently the conductor and general director of the Canadian Opera Company. Prior to moving to Toronto, Maestro Bradshaw was also a conductor with the San Francisco Opera from 1977 to 1988. He has also been associated with the Glyndebourne Festival and the opera companies of Santa Fe and Seattle. 

RUSSELL BRAUN, baritone

Russell Braun has become one of Canada’s most endearing artists. While his sensibility and sensitivity make him ideally suited to the recital stage, his operatic persona is also warm, generous and increasingly charismatic. In recent years he has made a considerable splash in Europe, including the Bastille Opera in Paris and the prestigious Salzburg Festival. Russell is the son of the distinguished Canadian bass-baritone Victor Braun. 

MEASHA BRÜGGERGOSMAN, lyric soprano

At the tender age of 22, this native of Fredericton, New Brunswick has already created a name for herself. “A genuine discovery, a passionate singer with a warm, rich natural soprano voice,” extolled William Littler in The Toronto Star. Although still a student, she has given countless recitals and concerts, and has starred in James Rolfe’s new chamber opera Beatrice Chancy which has also been filmed by CBC Television. 

TRACY DAHL, coloratura soprano

This sparkling dynamo from Winnipeg, Manitoba, has dazzled audiences around the world with such demanding coloratura roles as Zerbinetta in Strauss’ Ariadne auf Naxos, Olympia in Offenbach’s Les Contes d’Hoffmann and Lucia in Donizetti’s Lucia di Lammermoor. She appears regularly with major opera companies across Canada and the United States, including the Metropolitan Opera and San Francisco Opera. FRANCES

GINZER, dramatic soprano

Frances Ginzer, originally from Calgary, Alberta, now lives in Dusseldorf, Germany. In the months leading up to the Millenium Opera Gala, she scored a triumph with her first Isolde (in Wagner’s Tristan und Isolde) for the Washington Opera and her first complete Ring Cycle in San Francisco (singing the demanding role of Brunnhilde). Much in demand internationally, Ginzer is one of Canada’s first truly ‘dramatic’ sopranos.

BEN HEPPNER, Heldentenor

Born in Murrayville, B.C., this extraordinary artist has been universally acclaimed for his life-affirming performances and recordings of many of the heavier French and Italian operatic roles. But it is in the German repertoire where he scored his greatest tgriumphs: from Beethoven’s Fidelio, Weber’s Oberon, and Strauss’ Ariadne auf Naxos, to Wagners’ Lohengrin, Die Meistersinger von Nürnberg and Tristan und Isolde. 

RICHARD MARGISON, tenor

With the careers of the ubiquitous ‘Three Tenors’ coming to an end, it seems assured that the Victoria-born tenor Richard Margison will assume part of their mantle. His effortless and seemingly tireless voice – with its plangent, clarion top register - makes for a truly visceral operatic experience. Although he sings a wide variety of repertoire, Margison has proven himself to be one of the great Verdi tenors of his generation. 

ADRIANNE PIECZONKA, soprano lyrico spinto

Adrianne Pieczonka is originally from Burlington, Ontario, but now makes her home in England. Prior to that she was based for several years in Vienna, Austria, where she sang lead roles at the State Opera (particularly in the operas of Mozart, Strauss, Tchaikovsky and Wagner). Today she is in demand by all of the great houses of the world: from Dresden’s Semper Oper and Munich’s Bavarian State Opera, to Milan’s La Scala. 

BRETT POLEGATO, baritone

Since his European debut in 1995, this versatile young artist from Niagara Falls, Ontario, has been making quite a name for himself on the recital, concert and opera stages of the world. Particularly renowned for his performances of French mélodies and English song, he is also extremely active as an opera singer, performing everywhere from the Lyric Opera of Chicago and New York City Opera to the Savonlinna Festival in Finland. 

ROBERT POMAKOV, basso cantante

At 18 years of age, bass Robert Pomakov was the youngest singer to perform on the Millennium Opera Gala. A graduate of St. Michael’s Choir School in Toronto, he is currently studying voice at the prestigious Curtis Institute of Music in Philadelphia. His operatic repertoire is already quite extensive and includes lead roles in Mozart’s Don Giovanni, Le nozze di Figaro, Così fan tutte and Die Entführung aus dem Serail. 

GINO QUILICO, baritone

Although he continues to perform in all the great opera houses of the world (from the Bastille and La Scala to Covent Garden and the Metropolitan Opera), he still maintains a residence in Montreal. One of the most dashing baritones around, he has had outstanding successes as Escamillo in Carmen and Marcello in La Bohème. As with Russell Braun, Gino is the son of an equally famous father - in this case, baritone Louis Quilico. 

CATHERINE ROBBIN, mezzo-soprano

Although her distinguished career has taken her around the globe, this much-loved mezzo - a favourite of such conductors as John Eliot Gardiner, Christopher Hogwood and Nicholas McGegan - continues to make Ontario her home. While her greatest contribution to the musical life of Canada – and the world - has been as a recitalist and concert singer, she has also enjoyed considerable success in the operas of Handel, Mozart and Berlioz. 

MICHAEL SCHADE, tenore di grazia

Many deem this irrepressible tenor as Canada’s answer to the legendary German tenor Fritz Wunderlich. His stylish, honey-toned performances of Mozart, Strauss and Wagner opera - and German Lieder – are unsurpassable. Although he spends a good deal of time at the Vienna Staatsoper and other international houses, Schade - and his wife, mezzo Norine Burgess - continue to live, perform and record in Canada. 

JEAN STILWELL, mezzo

This tall, charismatic mezzo – a native Torontonian - has the rare ability to light up any stage on which she performs. Who can forget her Carmen? Given the magnetism of her lithesome and seductive femme fatale, it is not surprising that she has already starred in 16 productions of Bizet’s opera around the world. In addition to opera and concert work, Ms. Stilwell has also triumphed with her smoldering performances of the cabaret music. 

JAMES WESTMAN, baritone

This talented young Torontonian has sung professionally since the age of 11, first as a boy soprano and eventually as baritone. In recent years he has been an Adler Fellow with the San Francisco Opera, appearing with that company in several main stage productions, including Charpentier’s Louise, Puccini’s La Bohème and Verdi’s Un Ballo in Maschera. Still under 30 years of age, he is already one of Canada’s major operatic exports.