2018/2019 ANNUAL REPORT - Tapestry Opera

2018/2019 ANNUAL REPORT

PHOTO BY DAHLIA KATZ

SHANAWDITHIT photography by Dahlia Katz

TAPESTRY BOARD OF DIRECTORS & STAFFMESSAGE FROM THE BOARD CHAIRMESSAGE FROM THE ARTISTIC DIRECTOR

2018-2019 SEASON HIGHLIGHTS TAPESTRY BRIEFS: TASTING SHORTS HOOK UP SHANAWDITHIT TAP THIS! THE BOOK OF MY SHAMES

WORKS IN DEVELOPMENT

FIVE YEARS AT A GLANCE

EDUCATION & OUTREACH SONGBOOK & NEW OPERA 101 YOUTH INSIDE OPERA

FINANCIALS REVENUE AND EXPENSES OVERVIEW STATEMENT OF FINANCIAL POSITION STATEMENT OF OPERATIONS

SUPPORTERSINDIVIDUAL DONORS

456

8101214

1516

1820

212223

2425

TABLE OF CONTENTS

“The leader of the opera pack”

GLOBE AND MAIL

ANNUAL REPORT 2018-2019 Tapestry Opera | 3

2 | Tapestry Opera ANNUAL REPORT 2018-2019

PHOTOS BY DAHLIA KATZ

MESSAGE FROM THE BOARD CHAIR

Brian DawsonChair, Board of Directors

We are pleased to report the company produced two new works that addressed social issues currently under scrutiny while, at the time, developed a framework to expand our geographic and artistic presence.

As Canada’s leader in new opera, Tapestry continues to cultivate relationships and programs that expand and enhance the genre. We are grateful for the steady increase

in public and private support for the company and believe this reflects the quality and relevance of our productions.

Finally, we wish to acknowledge one of our most generous supporters, the late Roger D. Moore, who shared our vision that new opera is a vital artistic endeavour.

We look forward to our 40th season!

TAPESTRY BOARD OF DIRECTORSCHAIR Brian Dawson

VICE CHAIR Christie Matwee

TREASURER

Jean-Francois Leclerc

DIRECTORS

Ali Kashani

Alex Nikolic

Richard Paradiso

Jill Roussy

Susan Salek

Juliette Sweeney

Chris Younkman

Dear fellow new opera lovers,

On behalf of the Board of Directors, I am pleased to report

that Tapestry Opera had another successful season.

PAST CHAIRS

Dana Lafarga

Helen Findlay

HONOURARY CHAIRErnest Balmer


GENERAL DIRECTOR Michael Hidetoshi Mori

EXECUTIVE DIRECTOR Jaime Martino

MANAGER OF EXTERNAL RELATIONS Angie Caunce

MANAGER OF PATRON ENGAGEMENT & INDIVIDUAL GIVING Keith Fernandes

ASSOCIATE MANAGER COMMUNICATIONS Barbara Yebuga

GENERAL ADMINISTRATOR Kate Croome

PUBLICITY KWT International

FOUNDER AND FORMER ARTISTIC DIRECTOR

Wayne Strongman CM

TAPESTRY STAFF

It is interesting to note that both Hook Up and Shanawdithit were polarizing for the media, they were provocative. Both shows were written and directed with a feminist perspective, and both shows drew significant new audiences and audience acclaim. The feminist perspective might be the most important core element as the bulk of operas produced by professional entities in Canada in 2018 and 2019 are still written by men pre-1900 with romanticized misogyny, rigid gender stereotypes, and frequent endings including the death

of a woman. In order to renew and grow an audience for this art form we must consider and engage with the changing world we are in.

I am so proud of Yvette Nolan, Dean Burry, Julie Tepperman and Chris Thornborrow for creating shows that tap into the heart of our changing world while also creating beautiful, tragic, innovative, and provocative music and drama.

MESSAGE FROM THE GENERAL DIRECTOR

Michael Hidetoshi MoriGeneral Director

This season intersected with some of the most pressing and current conversations in Canada #metoo and Truth and Reconciliation with genre bending music and triumphant spectacle. Opera is at its core, storytelling with great music, vocality, and spectacle. It is true that opera cannot (and should not) do what journalism or documentary does in terms of addressing current and controversial issues. It can do what those cannot; have us spend an hour or two getting to know, love, and care for characters whose life and humanity are impacted by forces of those same controversial issues through compelling stories and spectacle. Spending time with Mindy and Cindy, and with Shanawdithit is spending time with people that most of us are not, but who perhaps we can see ourselves in, in some way.

6 | Tapestry Opera ANNUAL REPORT 2018-2019 ANNUAL REPORT 2018-2019 Tapestry Opera | 7

COMPOSERS

Ian CussonAugust Murphy-King

Rene OrthBenton Roark

LIBRETTISTS

Kanika AmbroseColleen Murphy

Lila PalmerDaniel Solon

CAST

SOPRANO – Teiya KasaharaMEZZO-SOPRANO – Stephanie Tritchew

TENOR – Keith KlassenBARITONE – Peter McGillivray

PIANIST – Jennifer TungLIBLAB PIANIST – Andrea Grant

CREATIVE TEAM AND CREW

DIRECTORS – Michael Hidetoshi Mori & Jessica DerventzisMUSIC DIRECTOR – Jennifer Tung

STAGE MANAGER – Jane HonekLIGHTING DESIGNER – Shawn Henry

TAPESTRY BRIEFS: TASTING SHORTS

“most satisfying”

OPERA RAMBLINGS

“excellently performed”


The Composer-Librettist Laboratory, Canada’s flagship opera creation intensive for two decades, brings premier established and emerging artists together to experiment with the medium and form lasting collaborations.

For most composers and writers, the artistic process is a solitary one. Producers around the world agree that forming workable artistic partnerships between composers and playwrights is the single greatest challenge facing the development of new opera and music theatre. The Composer-Librettist Laboratory is Tapestry’s response to this challenge. Initiated in 1995, the laboratory is an intensive workshop for composers and writers to explore the collaborative process. Currently, the program attracts participants from Canada, the United States, and the U.K., as well other international participants. It is also the model for the English National Opera Studio’s All-in Opera, as well as Pacific Opera Victoria’s Composer-Librettist Workshop.

Tapestry’s Composer-Librettist Laboratory provides artists with the opportunity to work with several partners in a short period of time, thereby developing techniques for effective collaboration and also maximizing trial and error over a short period to clarify the most successful techniques and approaches.

ALL NEW WORKS BY THE ARTISTS OF THE 2018 COMPOSER-LIBRETTIST LABORATORY

SEPTEMBER 13 - 16, 2018 | ERNEST BALMER STUDIO



CREATORSMUSIC – Chris Thornborrow

LIBRETTO – Julie Tepperman

CREATIVE TEAMDIRECTOR & DRAMATURG– Richard Greenblatt

SET & COSTUME DESIGNER – Kelly WolfLX & VIDEO DESIGNER – Monty MartinSOUND DESIGNER – Chris Thornborrow

STAGE MANAGER – Tamara VuckovicASSISTANT STAGE MANAGER – Anna SpencerPRODUCTION MANAGERS – Shawn Henry &

Eric ReadSCENIC ART – Megan Cinel

WARDROBE ASSISTANT – Tatiana Ferreira

CASTMINDY – Emily Lukasik

CINDY – Alicia AultTYLER – Nathan Carroll

STEPH/MOM/HEATHER – Alexis GordonDAD/DUDE/DUKE – Jeff Lillico

MUSICIANSMUSIC DIRECTOR/PIANIST – Jennifer Tung

PERCUSSIONIST – Greg HarrisonSECOND PIANIST – Andrea Grant

“opera at its most socially engaged and political”

THE TORONTO STAR

“beautiful, gut-wrenching and

absolutely riveting”

MOONEY ON THEATRE

“powerful”

BARCZA BLOG“haunting”

“so true it hurts – brought tears to my eyes”

SCHMOPERA

“real and raw”


A TAPESTRY OPERA WORLD PREMIERE IN PARTNERSHIP WITH

HOOK UPMUSIC BY CHRIS THORNBORROW | LIBRETTO BY JULIE TEPPERMAN

JANUARY 29 - FEBRUARY 9, 2019 | THEATRE PASSE MURAILLE | TORONTO

Tapestry Opera, in partnership with Theatre Passe Muraille, presents the world premiere of Hook Up, an opera that traverses the awkward tensions within friendships, dorm life, and hook up culture on a university campus. As three friends begin university and explore their newfound independence, they quickly learn that freedom is fraught with challenges. Starkly resonant with the #metoo movement, Hook Up is a darkly humorous exploration of privacy and consent in three teens’ coming-of-age.Hook Up combines the genres of musical theatre and opera, creating a dynamic and rhythmically vibrant new style.


“a transformative experience”

“each line is a gut punch”

MOONEY ON THEATRE

“unforgettable performance of

boundless passion and grace”

“pure magic”

BARCZA BLOG

OPERA GOING TORONTO

“an opera of immense importance”

CREATORSMUSIC – Dean Burry

LIBRETTO – Yvette Nolan

CREATIVE TEAMCO-DIRECTORS – Michael Hidetoshi Mori and Yvette Nolan

MUSIC DIRECTOR – Rosemary ThomsonSET DESIGNER – Camellia Koo (in conjunction with Artistic

Collaborators)LIGHTING DESIGNER – Michelle RamsayCOSTUME DESIGNER – Kinoo Arcentales

PROJECTION DESIGNER – Cam DavisPRODUCTION MANAGER – Charissa Wilcox

STAGE MANAGER – Kristin McCollumASSISTANT STAGE MANAGER – Lesley Bradley

CASTSHANAWDITHIT – Marion Newman (Kwagiulth and Stó:lō)

CORMACK – Clarence FrazerPEYTON, MAN 1, SPIRIT CHORUS – Asitha Tennekoon

KWE/SPIRIT CHORUS – Rebecca Cuddy (Métis)SPIRIT CHORUS/MOTHER – Deantha Edmunds (Inuk)

SIMMS/MAN 2/SPIRIT CHORUS – Evan Korbut (Ojibway)DEMASDUIT, DANCER, SPIRIT CHORUS – Aria Evans (Mi’kmaq/

Black/settler heritage)

ARTISTIC COLLABORATORSMichelle Olson – Choreographer (Tr’ondëk Hwëch’in First Nation)

Lori Blondeau – Visual Artist (Cree/Saulteaux/Métis)Jordan Bennett – Visual Artist (Mi’kmaq)

Jerry Evans – Visual Artist (Mi’kmaq)Meagan Musseau – Visual Artist (Mi’kmaq)

TORONTO CITY OPERA CHORUS Alicia Ault, Basia Baron, Teodora Borcean, William Cahoon, Carmen Cameron, Michela Foschia, Beverly Gibson, Madeline Hannan-Leith,

Lauren Levorson-Wong, Vivien Mann, Don Maudsley, Alexander Moss, Heather Pike, Vanessa Quinn, Brian Rosen, Nada Savicevic, Elaine Singer, Brennan Schommer, Trevor Rines, Esther Wang, Kathy Wert, Mark Wilson

ORCHESTRAVIOLIN 1 Hua-chu Huang

VIOLIN 2 Matthias McIntireVIOLA Brenna McLane

CELLO Bryan HoltBASS Daniel Lalonde

FLUTE/PICCOLO Amelia LyonCLARINET/BASS CLARINET Peter Stoll

HORN Ryan GarbettPERCUSSION Tim Francom

PERCUSSION Andrew Rasmus HARP Sanya Eng


Shanawdithit - Shanawdithit is a landmark Canadian-Indigenous world premiere opera. Centred on the story of Shanawdithit (1801-1829), this collaboratively created opera combines soaring orchestration, evocative storytelling, and spectacular, large-scale works of art.

Mezzo-soprano Marion Newman, noted for her “sumptuous mezzo tone and impressive vocal agility”, makes her Tapestry Opera debut as Shanawdithit.

Thought at the time of her death to be the last of her kind, in 1829, Shanawdithit was taken to St. John’s by William Cormack, where she created a series of ten drawings that spoke of the life of her people, their encounters with the European settlers, and loneliness of survival. These detailed drawings are the foundation of the opera.

As nearly all of the Beothuk’s published history was written by Europeans and non-Indigenous historians, this collaboration sheds a new light on a story and people misrepresented by deeply flawed documentation. The story and libretto is written and curated by celebrated Algonquin playwright Yvette Nolan, with a score composed by Newfoundlander Dean Burry.

The opera brings Indigenous artistic collaborators together from Nations across the country to give voice to Shanawdithit and her people, responding to the ten drawings that are the only first-person account of the life of the Beothuk. Collaborators, performers, and Indigenous community members have been instrumental in the shaping of the work from the beginning of development, through a collaborative and workshop-driven creation process influenced by oral and visual histories passed down to them. The collaborators have studied each drawing and determined how to communicate the essence of Shanawdithit’s account, using dance, language, costume, photography, projections, sculpture and set design to bring her drawings to life on stage.

A TAPESTRY OPERA WORLD PREMIERE

SHANAWDITHIT MUSIC BY DEAN BURRY | LIBRETTO BY YVETTE NOLAN

CO-PRODUCED BY TAPESTRY OPERA AND OPERA ON THE AVALONMAY 16-25, 2019 | IMPERIAL OIL OPERA THEATRE

“stunning soundscapes”

TORONTO STAR

“powerful” “visually delectable spectacle”

THE GLOBE AND MAIL


10 DAYS IN A MADHOUSECo-commission with Opera PhiladelphiaCOMPOSER - Rene OrthLIBRETTIST - Hannah Moscovitch

WORKS IN DEVELOPMENT

2019

CREATOR AND PERFORMER – Isaiah Bell

PIANIST – Darren Creech

DIRECTOR AND DRAMATURGE – Sean Guist


TAP THIS!THE BOOK OF MY SHAMESCREATED AND PERFORMED BY ISAIAH BELLJUNE 6-8, 2019 | ERNEST BALMER STUDIO | TORONTO

“This is what would happen if the opera-singing lovechild of Noel

Coward and Sylvia Plath was encouraged by his therapist to perform

on Grownups Read Things They Wrote as Kids.”

- Isaiah Bell

In the premiere of his new solo show - part confessional comedy, part opera séance, part love letter to lost innocence - Canadian tenor, writer, and composer Isaiah Bell (Antinous in the world premiere of Rufus Wainwright and Daniel MacIvor’s Hadrian) traces the roots and ramifications of the war inside. The Book of My Shames takes a unique perspective on the the conflict between our naked primal longing and that basic modern need to make everything seem OK. It manages to find the humour in a gaslighting Evangelical cult and the pathos in a terrible teen-angst play, and to bring curiosity and compassion to parts of the human experience most of us would rather ignore.

Producing new works year after year, Tapestry Opera has a rich development history. It takes

several years to create a new opera and our rigorous process ensures the highest quality of new

Canadian works, offering new experiences to an ever-expanding audience base.

TAP:EX AUGMENTED OPERACOMPOSER - Benton RoarkLIBRETTIST - Debi Wong

2020JACQUELINECOMPOSER - Luna Pearl WoolfLIBRETTIST - Royce Vavrek

DRAGON’S TALECOMPOSER - Ka Nin ChanLIBRETTIST - Mark Brownell

GOULD’S WALLCOMPOSER - Brian CurrentLIBRETTIST - Liza Balkan

R.U.R.COMPOSER – Nicole LizeeLIBRETTIST – Nicolas Billon

2021

20222023

OF THE SEACo-commission with Obsidian TheatreCOMPOSER - Ian CussonLIBRETTIST - Kanika Ambrose





REVENUE GROWTH OVER LAST FIVE YEARS

$1,000,000

$750,000

$500,000

$250,000

0

2014-2015 2015-2016 2016-2017 2017-2018 2018-2019

$771,454

$ 981,720$ 1,036,958

$ 1,077,417

$ 705,746

63%TOTAL NEW AUDIENCE GROWTH OVER 3 YEARS

101%TOTAL SUBSCRIPTION GROWTH OVER 3 YEARS42%

TOTAL AUDIENCE GROWTH OVER 3 YEARS

AUDIENCE GROWTH OVER LAST THREE YEARS

Tapestry’s revenues have climbed steadily and significantly over the last 5 years.

We achieve reliable and repeatable growth year over year.

The consistent quality of work and marketing efforts builds audiences

Tapestry’s groundbreaking strategies to reach new audiences have proven successful

Tapestry’s focus on community building helps us retain audiences

©Dahlia Katz

©Dahlia Katz©Dahlia Katz

©Dahlia Katz©Dahlia Katz

©Dahlia Katz

“TAPESTRY IS THE LEADER OF THE CANADIAN OPERA PACK”

- GLOBE AND MAIL

Dora Mavor Moore nominations and 14 wins

4511 70 5

FIVE YEARS BY THE NUMBERS

World Premieres Works currently in development

Partnerships with artistic companies, major venues, and educational institutions

Tapestry Opera works with diverse community groups to engage and create entrances to the art form and tell specifically Canadian stories. Communities that we have worked with include Persian, Indigenous, Ukrainian, Japanese, Chinese and LGBTQ.

Working with female music directors and composers is a priority that we stand behind with real action. Equity within our hiring of performers sets the bar within the opera community.

EQUITY AND ACCESSIBILITY



JACQUELINE WOODLEY

New Opera 101 is a masterclass intensive and concert

showcase for emerging singers and collaborative pianists.

Participants are assigned contemporary Canadian repertoire,

individually curated from the Tapestry’s decades long history

of developing new works. Singers and pianists will perform

and workshop their repertoire in masterclass and then have

an opportunity to showcase the best of the masterclass in

concert performances.

This masterclass invites emerging artists to expand their

repertoire and learn from some of the greatest opera talent

Canada has to offer. Each year New Opera 101 invites

established and highly accomplished singers and pianists to

act as master clinicians to the New Opera 101 students. Also

instructed and directed by Artistic and General Director

Michael Hidetoshi Mori, students are invited to enhance and

showcase their skills.

Following the masterclass intensive, the program culminated

in public performances in concert as part of Songbook IX,

with participants performing alongside soprano Jacqueline

Woodley and pianist Andrea Grant.

NEW OPERA 101 &SONGBOOK IXMARCH 29-30, 2019 | ERNEST BALMER STUDIO | TORONTO

ANDREA GRANT

SOPRANO – Jacqueline Woodley

PIANO – Andrea Grant

DIRECTOR – Michael Hidetoshi Mori



ELISABETH BOUDREAULT - Mezzo-sopranoLINDSAY I. CONNOLLY - Soprano

BRIANNA DESANTIS - SopranoRYAN DOWNEY - Tenor

GABRIELLE FRENCH - Mezzo-sopranoREBECCA GRAY - Soprano

LAUREN E. HALÁSZ - Mezzo-soprano

RYOKO HOU - PianoRACHEL KREHM - SopranoQIAO YI MIAO MU - PianoBRITTANY RAE - SopranoANNE-MARIE RAMOS - SopranoJENNIFER ROUTHIER - Mezzo-soprano

Tapestry Opera’s Youth Inside Opera Program gives

youth and children from Toronto’s Neighbourhood

Improvement Areas a full scholarship to train and

mentor with classical opera and other performing arts

professionals to learn musical storytelling and engage

in the creation and performance of their own opera.

Participants join Tapestry’s faculty of composers,

playwrights, and artists, including specialists in dance,

spoken word, rap, and graffiti arts to create story

and music that is their own. The youth are coached

in singing, drama, and music and given opportunities

to not only perform their opera, but also to be the

driving creative force behind the stories, music, and

scenic design that they perform. The program ends

with a performance for family and friends.

Tapestry values art as one of the greatest forms

of self-expression and stands behind Youth Inside

Opera as a program that empowers youth in

Toronto to express themselves and find their voice.

Youth Inside Opera closely parallels Tapestry’s

professional new work development and allows us to

bring in award-winning playwrights and composers

from our professional endeavours to mentor and

collaborate with Youth Inside Opera participants.

We believe that opera is uniquely able to

communicate raw emotion, and we are committed

to creating opportunities for youth to collaborate

directly with the best possible professional artists.

YOUTH INSIDE OPERAYOUTH MUSIC THEATRE CREATION PROGRAM

JULY 16-28, 2018 | WEST NEIGHBOURHOOD HOUSE | TORONTO


CATHY NOSATY

DONNA-MICHELLE ST. BERNARD

HUSSEIN JANMOHAMED

JAVID JAH

YOUTH INSIDE OPERA FACILITATORS

45%GOVERNMENT$481,507

22%INDIVIDUALS$238,530

4%STUDIO RENTAL$47,512

16%BOX OFFICE$176,612

11%CORPORATIONS & FOUNDATIONS$121,246

EXPENSES

57%ARTISTIC$609,754

19%ADMINISTRATION$205,885

6%FACILITY$61,664

16%FUNDRAISING$61,230

12%MARKETING & COMMUNICATIONS$129,188

1%ENDOWMENTS$12,010

SOURCES OF REVENUE

EXPENSES


2019 2018 2017

ASSETS

Current Assets

Cash and guaranteed investment certificates $ 21,546 $ 20,116 $ 214,133 *

Accounts receivable $ 96,199 $ 44,870 $ 21,945

Harmonized Sales Tax recovered $ 14,923 $ - $ 22,764

Prepaid expenses $ 24,535 $ 18,402 $ 11,945

$ 157,203 $ 83,388 $ 270,787

Capital assets $ 21,393 $ 26,020 $ -

Collection (Bosendorfer Concert Grand Piano) $ 229,885 $ 229,885 $ -

$ 408,481 $ 339,293 $ 270,787

LIABILITIES

Current Liabilities

Bank indebtedness $ 94,349 $ 94,873 $ -

Accounts payable and accrued liabilities $ 31,634 $ 18,332 $ 17,856

Loan payable $ 20,000 $ - $ -

Harmonized Sales Tax payable $ - $ 146 $ -

Deferred revenues $ 48,508 $ 19,131 $ 291,450

$ 197,491 $ 132,482 $ 309,306

Defferred capital contributions $ 6,250 $ 6,750

$ 203,741 $ 139,232 $ 309,306

NET ASSETS (DEFICIT)

Collection $ 225,000 $ 225,000 $ -

Unrestricted $ (20,260) $ (24,939) $ (38,519)

$ 204,740 $ 200,061 $ 270,787

$ 408,481 $ 339,293 $ 270,787

SUMMARY STATEMENT OF FINANCIAL POSITIONAS OF JUNE 30, 2019


2019 2018 2017

REVENUES

Fundraising $359,776 $ 350,077 $ 425,486

Grants $ 481,507 $ 473,526 $ 393,418

Earned Revenues $ 224,124 $ 201,288 $ 151,051

Ontario Arts Foundation Endowment $ 12,010 $ 12,067 $ 11,765

$ 1,077,417 $ 1,036,958 $ 981,720

EXPENSES

Artistic

Artistic professional fees $ 296,756 $ 303,813 $ 244,545

Programming $ 104,895 $ 92,390 $ 105,821

Production and technical salaries and fees $ 135,505 $ 60,572 $ 127,392

Artistic salaries $ 70,302 $ 70,518 $ 64,187

Royalties $ 2,686 $ 3,421 $ 2,564

Administration

Salaries, benefits and fees $ 120,817 $ 104,742 $ 78,743

Office and general $ 86,068 $ 83,460 $ 70,671

Marketing and communications $ 129,188 $ 145,599 $ 136,834

Facility $ 61,664 $ 54,975 $ 53,072

Fundraising $ 61, 230 $ 101,575 $ 51,797

Amortization $ 4,627 $ 2,313 $ -

$ 1,072,738 $ 1,023,378 $ 935,626

EXCESS (DEFICIENCY) OF REVENUES OVER EXPENSES $ 4,679 $ 13,580 $ 46,094

DEFICIT - BEGINNING OF YEAR $ (24,939) $ (38,519) $ (84,613)

DEFICIT - END OF YEAR $ (20,260) $ (24,939) $ (38,519)

SUMMARY STATEMENT OF OPERATIONSAS OF JUNE 30, 2019


*The audited financial statement takes a “snapshot” of bank account on day of audit. The Canada Council for the Arts multi-year operating grant had just been awarded and tranferred to account.

FOUNDATIONS

SEASON SPONSOR

GOVERNMENT SUPPORT

ORGANIZATIONS


HEARTFELT THANKS TO OUR GENEROUS SUPPORTERS

MAJOR DONOR ($5,000+)Ernest Balmer and Barb Parsons

Reginald Bronskill and Helen Findlay

Denton Creighton and Kris Vikmanis

Brian Dawson and John Therrien

Cornelia Schuh and Michiel Horn

Michael and Linda Hutcheon

Annonymous

PRODUCER ($2,500-$5,000) Dana Lafarga

Jean-Francois Leclerc

Christie Matwee and Scott Hawrelak

Michael and Caitlin Mori

R. Bruce Murray

Chris Younkman

DIRECTOR ($1,000 - $2,499) Lisa Balfour Bowen

Harold Chmara and Danny Hoy

Rodney Ellis

Hana Havlicek

Claire Hopkinson

Miranda Hubbs

Ellen Karp

Ali Kashani

George and Kathy Kawasaki

Toshifumi Mori

Kevin Morse

Noel Mowat

Richard Paradiso

Sarah Perry and Ronan McGrath

Jill and David Roussy

Susan and Joe Salek

Katalin Schafer

Wilma Spence

Juliette Sweeney

CREATOR ($750 - $999) Michael Beswick

Don and Helen McGillivray

INFLUENCER ($500 - $749) Eric Adelman

Tricia Black

Jeffrey Coull

Sarah Crawford

Don and Francie Kendal

Ann MacKenzie

Joe Martino

Elizabeth Miller

Mary Newman

Shirley Neuman

Bruce Reid

DeeAnn Sagar

Wayne Strongman

PATRON ($250 - $499) Kristine Anderson and Richard Wolfe

Annick Aubert

Stephan Bonfield

John Burge

Paul Ciufo

Brian Corman

Lorraine Coull

Lynda Covello

Spencer Cripps

Chrystal Dean

Robert Dick

Jean Edwards

Aaron and Patricia Fenton

Marsha Groves

Waldemar Halek

Adrian Ishak

Paul Jessen

Ulrich Menzefricke

Joseph Mulder

Brigid O’Reilly

Trixie Postoff

Robin Roger

Annie and Ian Sale

Iain & Barbara Scott

Maureen Simpson

Jini Stolk

Krisztina Szabo and Kristian Clarke

FRIEND ($100 - $249) Susan Aihoshi

Tola Ajao

Carol and Ken Anderson

Richard Archbold

Seiichi Ariga

Katerina Cizek

Amy Colson

Robert Cook

Terence Crowley

Maria del Junco

Ben Dietschi

Keith Fernandes

John Freund

Nikita Gourski

Catherine Graham

Ken Hall

Bryan Holt

Sally Holton

Teiya Kasahara

Carrie Klassen

Jennifer Krabbe

Laura Lane

Ken Marple

June McLean

Alec McGillivray

Kathleen McMorrow

Robert Missen

Susan Mortimer

Alon Nashman

Marlene Preiss

Margaret Procter

Benton Roark

Alison Smiley

Maria Soulis

Linda Steingarten

Jennifer Szeto

Barbara Titherington

Stefani Truant

Susan Van Allen

Carina Vassilieva

Sis Weld

Lilie Zendel

Kirk Zurell

THANK YOU TO OUR PARTNERS


SHAPING THE FUTURE OF OPERA


#316-9 Trinity StreetThe Historic Distillery DistrictToronto, ON M5A 3C4

(416) 537-6066

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Documents

2018/2019 ANNUAL REPORT - Tapestry Opera