The Phantom of the Opera - The classic 1925 horror film with a new score - Kamloops Symphony
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The Phantom
of the Opera
The classic 1925 horror film
with a new score
kamloopssymphony.com
250.372.5000
Dina
Sponsors Gilbert
SERIES SPONSORS
MESSAGE FROM THE MUSIC DIRECTOR
Greetings and welcome to our second concert experience of the 2020-2021 Season.
Before writing about the experience you As part of the Wellness Lab, we also
are about to have, we would like to share piloted our first-ever Tune-In Meetings,
some exciting news with you! where orchestra members and myself
“zoom” into elementary classrooms.
Firstly, we were thrilled to have recently
SEASON SPONSORS been named Not-For-Profit of the Year, These interactive webinars help improve
the students’ knowledge of their
at the 34th Annual Kamloops Chamber &
instruments through the experience of
MNP Business Excellence Awards. As the
our musicians. Through presentations,
only cultural organization represented at
discussions and quizzes, the students
the evening, we are incredibly honoured.
get to hear a few live “tunes” and learn
Of course, this award is in large part due
about the benefits of music to better
to all our supporters who help us achieve
manage stress. We are very thrilled to
our mission of engaging, educating,
be able to offer this programming to
and enriching our community through
the community, and we look forward
music. On behalf of the all the KSO
to developing it further as we progress
musicians, board members and our staff:
through the year.
thank you!
PERFORMANCE SPONSORS Since the beginning of the season, we Finally, more about today’s program:
The Phantom of the Opera. You are
have also been busy implementing
about to experience a unique take on a
our latest project: the KSO Wellness
concert combining live music and film.
Lab. Aimed at giving the community
You will be able to see the musicians
enjoyment and therapeutic musical
playing the incredible soundtrack by
experiences, this new program embraces
composer Gabriel Thibaudeau, while
experimentation, to offer a variety of
also watching Rupert Julian’s original
small-scale chamber and educational
film, via a new digital multi-angle
activities. We launched our first
format. Our hopes are that this process
experiment with a string quartet playing
will provide insight as to how music can
pieces in various Pop-Up Concerts
be crucial to storytelling, and showcase
across Kamloops, including Aberdeen
the work of the usually “unseen” artists
Mall, the Kamloops Airport, Cordo Resto
that perform the soundtracks to your
+ Bar, and the Chartwell Ridgepoint.
favourite movies!
Furthermore, we also produced a
Pro-Am Jam, where members of the Prepare your popcorn
orchestra joined members of the and enjoy the show!
community for a relaxed reading session
of contemplative music by Florence
Price, and Canadian Composers Julie
Thériault and Iman Habibi.
DONALD
LAWRENCE
CASTING THE
EYE ADRIFT
Kamloops
Symphony
ON NOW!
Society
JULY 7 TO DECEMBER 31, 2020
BOARD ADMINISTRATION
OF DIRECTORS Executive Director
President Daniel Mills
Kamloops, BC • kag.bc.ca
Miki Andrejevic
Tuesday to Saturday 10 am to 5 pm Music Director
Directors
Donald Lawrence, One Eye Folly, 2008, camera obscura
Dina Gilbert
Claire Ann Brodie Office Administrator
Kathy Collier Sue Adams
Lucille Gnanasihamany
Marketing Coordinator
Gabriele Klein
Ryan Noakes
Maureen McCurdy | Treasurer
Rod Michell Fund Development
Helen Newmarch | Secretary & Event Assistant
Steve Powrie | Vice President Evan Ren
Simon Walter Librarian
Sally Arai
HONOURARY Orchestra Personnel Manager
LIFE MEMBERS Olivia Martin
Bonnie Jetsen Production Manager
Art Hooper Adrien Fillion
Chorus Master
GOVERNMENT Tomas Bijok
GRANTS
Collaborative Pianist
City of Kamloops Daniela O’Fee
Canada Council for the Arts
For upcoming concerts and more BC Arts Council Music Director Emeritus
please check out our website... Bruce Dunn
Proud Member of Orchestras
kamloopssymphony.com Canada, the national association
for Canadian orchestras
MUSIC DIRECTOR
Regularly invited to conduct in Canada and overseas, Dina Gilbert attracts critical
acclaim for her energy, precision and versatility. Currently Music Director of the
Kamloops Symphony and of the Orchestre symphonique de l’Estuaire (Québec), she
is known for her contagious dynamism and her audacious programming.
Dina Gilbert is regularly invited by leading Canadian orchestras including the
Orchestre symphonique de Montréal, Orchestre métropolitain, Toronto Symphony
Orchestra, Hamilton Philharmonic and the Orchestre symphonique de Québec.
In 2017, she made debut performances in the United States with the Eugene Symphony
and the Fayetteville Symphony Orchestra as well as in Asia conducting a series of five
concerts with the Sinfonia Varsovia in Niigata and Tokyo.
Passionate about expanding classical audiences and with an innate curiosity towards
non-classical musical genres, Dina has conducted the Orchestre Philharmonique
de Radio France and the Orchestre national de Lyon in several Hip-Hop Symphonic
programmes collaborating with renowned Hip hop artists. She has also conducted the
world premiere of the film The Red Violin with orchestra at the Festival de Lanaudière
and has conducted the North American premiere of film The Artist with the Orchestre
symphonique de Montréal. Cvetozar Vutev and Elyse Jacobson
As the founder and artistic director of the Ensemble Arkea, a Montreal-based
chamber orchestra, Dina premiered over thirty works from emerging young Canadian
composers. Committed to music education, she has reached thousands of children’s
in Canada with her interactive and paticipative Conducting 101 workshop.
From 2013 to 2016, Dina Gilbert was assistant conductor of the Orchestre symphonique
Musicians Chair Sponsors
de Montréal and Maestro Kent Nagano, also assisting guest conductors including Cvetozar Vutev | violin Geoff & Judith Benson | concertmaster
Zubin Mehta, Sir Roger Norrington, Lawrence Foster and Giancarlo Guerrero. In April
Elyse Jacobson | violin Rod Michell | assistant concertmaster
2016, she received great acclaim for stepping in to replace Maestro Alain Altinoglu
with the OSM in a program showcasing Gustav Holst’s The Planets. Ashley Kroecher | viola Gabriele Klein | principal second violin
Dina Gilbert earned her doctorate from the Université de Montréal, where she studied Martin Kratky | cello
June McClure | principal viola
with Jean-François Rivest and Paolo Bellomia. Awarded the Opus Prize of “Découverte Michael Vaughan | bass
de l’année” in 2017, Dina Gilbert was also named as one of the 50 personalities creating Anonymous | principal cello
the extraordinary in Québec in 2018 by the Urbania Magazine. Sally Arai | clarinet
Eleanor Nicoll | principal flute
Olivia Martin | bassoon
Sam McNally | horn Joyce Henderson | principal clarinet
Julia Chien | percussion Kelvin & Roberta Barlow | principal bassoon
Naomi Cloutier | keyboard Hugh & Marilyn Fallis | principal trumpet
Dina
Gilbert
Gabriel
Thibaudeau
Composer
Born in 1959 the Canadian composer, pianist and conductor Gabriel Thibaudeau
studied piano in Montreal at the Vincent D’Indy music school and composition at
l’Université de Montréal. He started work at the age of 15 as a pianist for ballets. Since
then, he has been a pianist for Les Grands Ballets Canadiens, appointed pianist at
La Cinémathèque Québécoise for the last 30 years and the composer in residence
with L’Octuor de France for more than 20 years. Thibaudeau’s work includes music
Guest Artist
for ballets, the opera, chamber music and several orchestral compositions for silent
films. His works are performed in the Americas, as well as in Europe and Asia. Several
Magdalena international institutions have commissioned work from Mr. Thibaudeau, among
them: Le Musée du Louvre in Paris, the Cineteca di Bologna, Le Festival de Cannes,
How
the National Gallery in Washington, Les Grands Ballets Canadiens and the Montreal
Symphony Orchestra.
Coloratura soprano Magdalena How is with UBC Opera, and Miss Silverpeal
currently pursuing her master’s degree (The Impresario), Oberto (Alcina), and
in Opera Performance at the University Billie (Speed Dating Tonight!) with Opera
of British Columbia under the tutelage McGill. In addition to opera, Magdalena
of Nancy Hermiston. Born in Victoria, has performed extensively across the
Magdalena spent her early childhood Lower Mainland, singing as a guest
in Ontario before her family returned to soloist with the Vancouver Welsh Men’s
the West Coast. She has loved music all Choir and Amabilis Singers as well as
her life, enthusiastically participating participating in numerous local concerts
in community and school choirs and and other events. Recently, Magdalena
enjoying performing in musical theatre toured to Europe with UBC Opera to sing
as a teenager, particularly when touring in a series of concerts in Plzen, Czech
musicals to Lower Mainland elementary Republic and Nürnberg, Germany. She
schools as part of the Arts Umbrella Pre- is honoured to have received a number
Professional Musical Theatre Troupe. of awards, most notably: The University
At the age of 16, Magdalena began to of BC Medal in Music (2019), the Edwina
study classical voice at the Vancouver Heller Memorial Award in Opera (2018),
Symphony Orchestra School of Music the Vancouver Opera Guild Young Talent
and has loved it ever since! As part in Opera Grant (2018), the Phyllis and
of her studies Magdalena has been Bernard Shapiro Scholarship (2016),
fortunate enough to portray a wide and the Hélène Gombay Memorial Prize
variety of operatic roles, including: (2015). Magdalena has also worked as
Olympia (Les Contes d’Hoffmann), the Surtitles Operator for Vancouver
Queen of the Night (Die Zauberflöte), Opera and UBC Opera. When Magdalena
Zerlina (Don Giovanni), Anna Sørensen is not singing, she can frequently be
(Silent Night), Elvira (L’Italiana in found knitting, baking, or enjoying a
Algeri), and Clorinda (La Cenerentola) fantasy novel.
Congratulations to the Kamloops
Symphony on your valuable contribution
to the quality of life we all enjoy.
The Phantom
The City
The City of Kamloops is aa proud
proud sponsor
sponsor and
andwishes
wishesthe
the
of the Opera
symphony
symphony all
all the
the best during its 2019–2020
2020–2021 season.
season. Music by Gabriel Thibaudeau
SOME SILENT BACKGROUND
The truth is . . . the silent movies never In fact, music has likely always been a
Kamloops.ca really were SILENT. Well, technically part of the human craft of storytelling.
speaking, the films themselves were So, when moving pictures emerged as
silent because the technology to a new story-telling medium in the late
record soundtracks did not yet exist. 19th Century, film makers instinctively
If luxury travel were a symphony, But it quickly became apparent that, looked to make music a partner in the
we’d be your composer. in performance, early movie-going new enterprise. One early successful
audiences were simply not going to sit still French film, The Assassination of the Duc
(and in the dark) for a silent experience. de Guise (1908), commissioned no less
The film’s title-cards supplied the words than the leading theatrical composer
that the actors’ moving lips could not. of the day, Camille Saint-Saëns, for the
Yet something was missing, something score. This was the first music known to
that could complement the emotions be composed for a specific film. Saint-
carried in the actors’ expressive faces Saëns produced at least 18 minutes of
and gestures and embody the shifting music for a 15-minute film, repeatedly
emotional atmosphere of the story as watching the film scene by scene and
the camera captured the light and dark composing his music to match the action.
CHIROPRACTOR of the unfolding action. The missing Of course, without the invention of a
Michael V. James, C.C.S.S. element was, of course, music. At first soundtrack, actual performance of the
it was supplied by a solitary pianist film meant assembling musicians and
Elke Staruiala improvising in the darkened theatre, playing the music live for each screening
Chiropractic Office Assistant
the music intensifying the audience’s of the movie. Last month your Kamloops
What’s your luxury? experience as well as helping to drown Symphony Orchestra combined live
out the sound of the noisy projector. music by Stravinsky with live storytelling
Since then, as we know, full orchestras of The Soldier’s Tale. Tonight, the KSO
and a multitude of other sources presents live music with silent film:
TO FIND YOUR LUXURY CONTACT TRAVELWISE
of sound have come to supply “the Lon Chaney in the classic The Phantom
(250) 851-0211 | travel@travelwise.ca
456 Victoria Street, Kamloops, BC Phone: 250-372-7212 music” that accompanies the art of of the Opera and the music of Montreal
BCLICENCE#2843
#2-1540 Springhill Drive, Kamloops cinematic storytelling. composer Gabriel Thibaudeau. >
THE COMPOSER: GABRIEL THIBAUDEAU (B. 1959)
The Montreal pianist and composer down, down to his refuge in the depths of
Gabriel Thibaudeau has had a long the Opera basement. Nothing dramatic
association with film music. The way he happens on the way, but Thibaudeau
describes parts of his own career sheds recognizes that the film makers filmed it
light on the art of composing for cinema, so that we expect that something is about
especially for silent film, and also sounds to happen—so he writes his music to
like a description of the life of one of those
silent-movie-era pianists improvising a
deliberately trigger the viewers’ moment-
by-moment anticipation of shock or
Alastair Murdoch
musical accompaniment to the action
on the screen. In the early 2000s the
surprise. There is also the famous scene
in which the chandelier hurtles fatally
Accounting Group Ltd.
Chartered Professional Accountant Firm
theatre Cinématèque québécoise in into the auditorium, the soprano is
Montreal regularly screened silent films, singing an aria from Gounod’s Faust, 490 - 546 St Paul Street, Kamloops V2C 5T1
and Thibaudeau was employed as the the closing notes of which Thibaudeau Phone 250 851 9900 | Fax 250 851 9901
pianist, screening the movies alone in the converts into a prolonged and terrifying
daytime to prepare musical ideas for his scream as she looks upwards towards the www.alastairmurdoch.ca
accompaniments for the evening shows. unfolding disaster. In similar fashion, in
He had never seen The Phantom of the the scene in which Christine hesitatingly
Opera before, but when he did, he realized “unmasks” the Phantom, a hysterical
that it was a special movie. Moreover, he dissonant chord from his organ playing
admits, the story of the rejected would-be anticipates (and punctuates) the scream
artist whose music is hidden in the dark of her horrified reaction.
recesses of the Paris Opera House, rather There is an especially memorable
reflected his own circumstances at that scene about halfway through the film,
stage in his career. It prompted him to the “mad” Bal Masque, notable in part
take special pains in the preparation of his because it is strikingly filmed in red
piano accompaniment. The showing of in addition to black and white. This
The Phantom of the Opera with his music technique powerfully intensifies the
was so popular he was invited to develop demonic quality of the story and of the
his piano version into a full orchestral character of the Phantom, who appears
version, which has been performed as the intimidating skull-masqued
with the film many times now. Tonight’s spectre of the Red Death. Thibaudeau’s
showing uses the reduced musical music here is equally memorable, by
forces of a chamber orchestra consisting turns frenetic, portentous, and tender,
of strings: two violins, viola, cello and as the story moves inexorably towards
double bass; winds: clarinet, bassoon and its climax.
horn, with percussion, a piano (as well
as a keyboard), plus the all-important In our modern film viewing experience,
soprano heroine, Magdalena How. the sound of the accompanying music,
however rich and resourceful, always
Thibaudeau’s description of his process comes to us from an “invisible” source.
of composition is a good reminder to Tonight though, in this showing of The
viewers of the care film composers Phantom, we become direct observers
take to match their music to details of of the music-making experience, in a
character and action. He gives a couple of way that brings us closer to, and more
examples. There is a long 4-minute scene responsive to, its powerful effects. >
in which the Phantom takes Christine
THE STORY
The novel on which the film of The The first of the two silent film versions
Phantom of the Opera is based was came in 1925, and an enhanced re-
written by French author Gaston Leroux release in 1929/1930 with the same cast.
and published in serial form in 1909- It is this later version we see tonight.
1910. It tells of events in the Paris Opera
in the 1880s and the rumours of an opera
“ghost.” Christine, an aspiring opera
There have been some remakes since
then, and of course the much-admired
Andrew Lloyd Webber musical version.
Volunteers
soprano, has been taking lessons from At its making, there appear to have been Erin Adams Hinke Floris Andrew McLaren
a secret “Master” and as understudy difficulties between some cast members Nicholas Adams Debbie Fransen Wendy McLean
to the Diva, Carlotta, finally gets her (Lon Chaney in particular) and the Randy Adams Lucille Gnanasihamany Linda McMillan
chance on stage. “The Master” (who director. Not a surprise perhaps. The Luisa Ahlstrom Karin Gerke Rod Michell
is also the Phantom) is a disfigured elaborate film sets were much admired, Joe Alcock Diana Hague Vi & Gerry Maricle
former composer who lives in (and but the adaptation of the story less so. Lorene Anders Shane Hall Sharon Mirtle
Leianne Anderson Leslie Hall Vic & Sally Mowbray
haunts) the opera house. He has fallen Some plot elements were changed,
Milentije Andrejevic Robert Hall Doug Neigel
in love with Christine, and lures her others just not satisfactorily developed. Sally Arai Cathy Hall-Patch Davina Neve
to his underground apartments to In particular, the fate of the Phantom Mary Aulin Judy Hatch Helen Newmarch
profess his love for her. He believes her at the movie’s end was a matter of Wendy Bainbridge Roy Haugen Eleanor Nicoll
love has the power to make his spirit contention. One version has him die of Helen Barnett Helene Haugen Rae Nixon
beautiful in spite of his disfigurement. a broken heart slumped over the organ, Pierrette Beaton Petra Hofman Woltle Helen Nybo
Though warned not to, she removes his but some thought that too feeble. In Caylen Bennett Marylyne House Daniela O’Fee
mask and is horrified by his repulsive the later version that we see tonight, he Jack & Pauline Braaksma Ken House Lucas Olsen
Sue Brace Rick Howie Jane Osterloh
appearance. The Phantom agrees to remains a wicked creature to the end,
Pam Bradley Carol Howie Bess Ovington
release her but forbids her to see her abducting Christine, escaping with her Claire Ann Brodie Loretta Huff Kaytee Ovington
admirer, Raoul. But she does not comply in a carriage, but caught by the vengeful Margaret Brown George Humphrey Louise & Ron Oyler
and seeks the protection of her lover. mob, beaten and thrown into the Seine. Roz Burnell Kathy Humphrey Colene Palmer
Predictably, the betrayed Phantom is Maeve Calhoun Darla Hunter Carol Paulsen
With the benefit of our almost 100-year
incensed. He kidnaps Christine. Raoul, Naeve Calhoun Betty Jakel Margaret Peemoeller
hindsight we can see the importance of Harriet Chave Marg James Marlene Peters
with the help of a mysterious police The Phantom in the evolution of film, Jo Chipperfield Pat Kaatz Don Poirier
agent, comes to rescue her from his in particular the horror/monster genre. Michelle Chitsaz June Kitamura Michael Powell
dangerous underground lair. The police There had been “horror” films before Franca Cinel Barb Klie Steve Powrie
have determined that the Phantom is this version of The Phantom, but the Tracy Clarke Gabriele Klein Bonnie Pryce
an insane escapee from Devil’s Island. Geoff Collier Gwyneth Lamperson Jane Reid
film’s relative commercial success likely
He commandeers Raoul’s carriage and Kathy Collier Marg Larsen Russ Reid
paved the way for Dracula (1931) (by
flees, but is pursued by the opera house’s John Corbishley Sue Lemke Cherryl Rice
the same producer as The Phantom) and
stagehands and their accomplices. They Bunny Covey Carmen Leslie Wilma Scheer
Frankenstein (1931) and their numerous Philippa Coxon Mary Lester Sue Sewell
catch him, beat him to death and throw successors up to our own time. Jean Crowe Maureen Light Terry Simpson
his body into the Seine. Quite enough
Libby Denbigh Teresa Lomax Tom Stone
excitement for one night!
Murray & Cathy Dochstader Teresa Lomax Jolana Tamajka
Kay Dodds Jim MacPherson Lynne Totten
Annette Dominik Hilda MacPherson Linda Tully
Kathrine Dominik Gerry & Vi Maricle Simon Walter
Denise Douglas Linda Marquard Tom Walton
Lori Douglas Diane McArthur James Watson
Bruce Dunn Maureen McCurdy John Watson
Jane Dyck Elspeth McDougall Linda Watson
Sandy Eastwood Kirsten McDougall Sigi White
Jill Field Deb McKeown Judy Wiebe
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Julie Feather Nonie Miles
Julie Flowerdew Bertina Mitchell
Donna Walsh Don Cavers Barb MacEwan River City Realty
Robert Walter
William Flynn Joan Moffat Michelle Chabassol Molly Mak Linda Sharp
Andrew & Tammy Watson
Judith Fowles George & Gloria Moore
John Watson Alastair Chaplain Rick & Diane McArthur M. Colleen Stainton
Diane Fraser Kathleen Nadler
Ronald Watson Franca Cinel June McClure Fred Trestain
Allen & Sharon Frissell Trudy Nagurski
Vance Weare Heidi Coleman Jim McLaren Brian Mills
Sandy Gallup W. Russell Nakonesby
Elaine Webber
Anne Geernaert Doug Neigel John Corbishley Andrew McLaren Susan Tyrrell
James & Barbara Wentworth
Judy Gibson Jean Nelson
Judy Wiebe Cathy Dochstader Daniel Mills Dave Whiting
Vivian Grant Bruce & Helen Newmarch
John Wiens Annette Dominik Jean Nelson Judy Wiebe
Peter & Judy Gray Eleanor Nicoll
Lois & David Williams
Victoria Gray Rae Nixon
Barb Dominik Brian Newell & Jill Field Pledge
Andrew Wilson your support
Robert & Leslie Hall Angi & Russ Noakes Steve Donegan Sam Numsen today
Perry WingenbachComing late November…
Solemn
Contemplation
A soothing and introspective
concert experience featuring
works by Julie Thériault,
Larysa Kuzmenko, and
Giovanni Battista Pergolesi.
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