DAS RHEINGOLD

Music and Libretto by Richard Wagner

April 20, 24 & 26, 2024
At the Southern Alberta Jubilee Auditorium

Conducted by Jonathan Brandani
Directed by Brian Staufenbiel

The Story

Gold, protected by the daughters of the river Rhine, harbours a deep magic. Anyone who casts a ring made from it can rule the whole world but must also renounce love forever. The promise of unlimited power proves irresistible to opportunistic gods, arguing giants, and ambitious dwarfs. The power of the gold trades hands many times, leaving a trail of misery and murder in its wake. Whoever wears the “rheingold” is cursed to be its slave.

Wagner’s retelling of Norse mythology in Das Rheingold portrays universal themes of love and power, and the forceful music creates a grandeur unparalleled in opera. This is further magnified by positioning the entire eighty-piece orchestra and conductor on the stage with the cast and set.

Read the full synopsis here.

Read the Study Guide.

Featuring

The Calgary Philharmonic Orchestra

Please note: This production features occasional heavy use of non-toxic theatrical fog that will reach patrons seated in the first few rows of the orchestra level (nearest to the stage).

If you have any questions, please contact the box office at 403-262-7286

Gallery

Justine Ledoux, Juliana Krajcovic, Yenny Lee. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Kenneth Kellogg and Guido Jentjens. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Boaz Daniel and the Cantare Children’s Choir. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Boaz Daniel. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Catherine Daniel. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Rodell Rosel and Gordon Gietz. Das Rheingold, Calgary Opera 2024. HarderLee Photography

The cast of Das Rheingold, Calgary Opera 2024. HarderLee Photography

Elias Theocharidis. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Connor Hoppenbrouwers. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Justine Ledoux. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Rodell Rosel. Das Rheingold, Calgary Opera 2024. HarderLee Photography

Location

Southern Alberta Jubilee Auditorium
1415 14 Avenue NW

Language

Sung in German with projected English translations

Seating

Assigned (View seating map)

Duration

2 hours and 30 minutes (approximately)

CAST AND CREATIVE TEAM

Conductor

Jonathan Brandani was appointed Calgary Opera’s Artistic director in September 2021. Recent engagements include opera productions and concert appearances at Atlanta Opera (USA), Gothenborg Opera (Sweden), Meininger Hofkapelle (Germany), the Bregenzer Festspiele (Austria), the Vorarlberg Symphony Orchestra (Austria), the Danish Royal Opera House Copenhagen (with soprano Angela Gheorghiu), Teatro Lirico di Cagliari (Italy), Teatro Comunale di Bologna (Italy), Théatre Royal de Wallonie-Liège (Belgium). From 2014-2019 he was Associate Conductor of Minnesota Opera (USA), and from 2017-2020 he was Principal Guest Conductor of Daegu Opera House (South Korea). Upcoming engagements in the 24/25 season include Don Giovanni and Bluebeard’s Castle/Gianni Schicchi for Calgary Opera, as well as The Barber of Seville at Opera Theatre of St Louis and concerts with Orchestra Filarmonica Toscanini in Parma (Italy).

Director

Brian Staufenbiel is the creative director for Opera Parallèle where he has directed and spearheaded the conceptual designs of the company’s productions since it was founded in 2010. Specializing in multimedia, immersive, and interdisciplinary productions, he actively works across a wide range of artistic disciplines collaborating in film and with media designers, choreographers and dancers, circus and fabric artists, and designer fabricators. His progressive approach to stagecraft has garnered critical acclaim for many of the company’s productions, including Wozzeck, Orphée, Champion and Dead Man Walking.
Staufenbiel recently directed films for the online festival season of the Sun Valley Music Festival, a film of Dove/Angelis’ Flight for Seattle Opera, and a graphic novel film of Talbot/Scheer’s Everest with Opera Parallèle. Other upcoming projects include the premiere of Miguel Zenon’s Golden City Suite with SF JAZZ, a feature-length film of Gordon Getty’s opera Goodbye Mr. Chips for Festival Napa Valley, a project with L’Opéra De Montréal, and a documentary about the life of Frederica Von Stade with Paper Wings Films. Staufenbiel will be co-directing, with choreographer Yayoi Kambara, Ikkai, a dance installation about Japanese incarceration camps in the United States during World War II.
Staufenbiel enjoys an ongoing relationship with composer Philip Glass, having directed a number of his operas including In the Penal Colony for Philip’s own festival. The production is currently streaming an a new platform, Philip Glass Days and Night’s Festival Presents and was named a New York Times Top Ten pick.
Staufenbiel recently created a new production of Elektra for Minnesota Opera. His 2016 production of Das Rheingold for Minnesota Opera was reprised at Arizona Opera and at L’Opéra de Montréal and was named a Star Tribune Classical Pick of the Decade. He also recently created a new production of Gordon Getty’s Usher House and Canterville Ghost for the Center of Contemporary Opera in NY and LA Opera.
Staufenbiel’s interdisciplinary approach to opera extends to his academic activity. He recently left his position after seventeen years as the director of the opera program at the University of California, Santa Cruz, where he has mounted a wide spectrum of award winning productions ranging from traditional operas to original works by contemporary composers. Staufenbiel holds degrees in Philosophy and Music including a Doctorate of Musical Arts from the Eastman School of Music and currently resides in San Francisco.

Wotan

With “his rich and booming voice and nuanced acting” (Bachtrack), his celebrated Wagner roles have taken him to the world’s leading operatic stages. He has performed Hans Sachs Die Meistersinger von Nürnberg for houses including the Bayreuth Festival, Wiener Staatsoper, Hamburgische Staatsoper, Oper Köln, San Francisco Opera, Budapest Wagner Festival and Glyndebourne Festival; Wolfram Tannhäuser for San Francisco Opera and Deutsche Oper Berlin; the title role in Der Fliegende Holländer for the Budapest Wagner Festival, Oper Frankfurt and Oper Stuttgart as well as Kurwenal Tristan und Isolde for Washington National Opera.
James continues to sing his core repertoire in the 23/24 season, where his roles include Der Holländer Der Fliegender Holländer and Faninal Der Rosenkavalier for Deutsche Oper am Rhein; Wotan Das Rheingold in his debut with Calgary Opera, and Wotan Die Walküre with the Hangzhou Philharmonic/Markus Stenz. He adds the role of Rocco Fidelio to his repertoire in a tour with the Los Angeles Philharmonic/Dudamel.

His recent operatic roles have included Der Holländer Der Fliegender Holländer for Oper Leipzig, Deutsche Oper am Rhein, Badisches Staatstheater Karlsruhe, and Oper Köln; Giorgio Germont La Traviata for Oper Graz; Hans Sachs Die Meistersinger von Nürnberg for Oper Leipzig and Lawrence The Wreckers for the Glyndebourne Festival. Recent highlights on the concert stage have included a semi-staged performance of The Wreckers at the BBC Proms, and St John Passion with the Orchestra of the Age of Enlightenment/Stephen Layton.
Described as “the role of a lifetime” (Das Opernmagazin), the part of Wotan has been fundamental to James’ career. He first performed the role to much critical acclaim at Oper Frankfurt, conducted by Sebastian Weigle in 2016. Since then, he has performed Das Rheingold and Die Walküre at the Budapest Wagner Festival/A. Fischer, Das Rheingold for Hamburgische Staatsoper/Nagano, Die Walküre at Tanglewood/Nelsons and Teatro Real/Heras-Casado. He recorded Die Walküre with the Bayerischer Rundfunk/Rattle. With Deutsche Oper am Rhein, he has performed all three roles in a new production of the Ring. His interpretation of the cycle is recorded with the Duisburg Philharmonic/Axel Kober.

alberich

Boaz Daniel is a regular guest at opera houses and on concert stages all over the world. Of particular interest is his role debut as Orest, which he will make in a concert performance of Elektra with the Orquestra Sinfónica do Porto Casa da Música conducted by Stefan Blunier.
Highlights of the recent seasons include Frau ohne Schatten (Deutsche Staatsoper Berlin), Tabarro, Masnadieri, Don Giovanni (Wiener Volksoper), Tristan und Isolde (Staatsoper Berlin, Budapest Wagner Festival, Teatro Colon Buenos Aires, BBC Proms London, Staatsoper Hamburg, Semperoper Dresden, San Francisco Opera, Perth), Carmen (Tokyo), Rienzi (Budapest), Parsifal (Lanaudiere Festival, Gran Teatre del Liceu Barcelona, Oper Köln), Nozze di Figaro (Semperoper Dresden), Lucia di Lammermoor (Deutsche Oper Berlin, Oper Köln), Götterdämmerung (Staatsoper Berlin and Opera de Oviedo), Fidelio (Tel Aviv), Die Soldaten (Teatro alla Scala Milano, Salzburger Festspiele), Meistersinger von Nürnberg (Wiener Staatsoper), Don Carlo (Deutsche Oper Berlin, Bayerische Staatsoper München), Falstaff and Ernani (Lyric Opera Chicago), Ballo in Maschera (Oper Frankfurt), Lohengrin (Covent Garden London) and his role debuts as Michele (Tabarro), Franz (Masnadieri) and Rigoletto at Volksoper Wien. Of particular interest was his role debut as Orest (Elektra), which he made in a concert performance of Elektra with the Orquestra Sinfónica do Porto Casa da Música conducted by Stefan Blunier.
Opposite to Anna Netrebko and Rolando Villazon Boaz Daniel recorded the role of Marcello for the CD and DVD release of La Bohème with the Orchestra of the Bayerische Rundfunk conducted by Bertrand de Billy.
Recent concerts took him to Munich and with Kirill Petrenko conducting to Bregenz for Mahler’s Symphony No.8 as well as to Kunstfestspiele Herrenhausen for Gurre-Lieder under the baton of Ingo Metzmacher.
Boaz Daniel was born in Tel-Aviv, where in 1996 he graduated from the Rubin Academy of Music and after moving to Vienna he completed a second degree at the Vienna Conservatory. During his studies he had several engagements with the New Israeli Opera. Mr. Daniel has been connected to the Wiener Staatsoper since 1998 (until 2005 as ensemble member, and since then as guest performer) where he has performed a wide repertoire including Falstaff (Ford), Tristan und Isolde (Kurwenal), Lohengrin (Heerrufer), Parsifal (Klingsor), Hänsel und Gretel (Peter Besenbinder), Ariadne auf Naxos (Musiklehrer), Madama Butterfly (Sharpless), Manon Lescaut (Lescaut), Le Nozze di Figaro (Graf), L´Elisir d´Amore (Belcore), Puritani, Simone Boccanegra (Paolo), La Boheme (Marcello), Lohengrin (Heerrufer), Carmen, Lucia di Lammermoor, Die Fledermaus, La Juive, Pique Dame, Faust and Don Carlo, Götterdämmerung (Gunther) and Un ballo in maschera (Renato).

Loge

Originally from the Philippines, Grammy-nominated tenor Rodell Aure Rosel appears regularly in major opera houses, including the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera, Houston Grand Opera, and Royal Opera House. He is primarily known for his superb portrayals of character roles: Monostatos, Goro, Mime and Loge, Basilio, Tanzmeister, Spoletta, and the Four Servants in The Tales of Hoffmann.

He made his Metropolitan Opera debut as Valzacchi in Der Rosenkavalier, opposite Renee Fleming, Susan Graham, and Sir Thomas Allen. He originated the roles of Ong Chi Seng in Paul Moravec’s The Letter at Santa Fe Opera, as well as Anthony Candolino in Terrence McNally and Jake Heggie’s Great Scott at Dallas Opera, which starred Joyce DiDonato and Frederica von Stade, conducted by Patrick Summers.

As Monostatos in The Magic Flute, he debuted in the David McVicar production at the Royal Opera House in Covent Garden, U.S.-premiered in the Barry Kosky production at Los Angeles Opera, not to mention the Julie Taymor production at the Metropolitan Opera. In addition, he has sung the title role in Zemlinsky’s Der Zwerg, Britten’s Albert Herring, as well as Tamino in The Magic Flute and Don José in Carmen. He recently made his house and role debut as Calaf in Puccini’s Turandot with Opera Southwest, and will make his house and role debut as Beppe in Leoncavallo’s Pagliacci with Austin Lyric Opera. He has collaborated with esteemed directors of both film and theater, including Michael Grandage, John Caird, Bartlett Sher, James Gray, and David McVicar, as well as world-renowned conductors James Conlon, Carlo Rizzi, Emmanuel Villaume, Sir Andrew Davis, Franz Welser-Möst, and the late Bruno Bartoletti.

Rodell was a grand prize winner of the Metropolitan Opera Laffont Competiton (formerly the National Council Auditions), and a prize winner in the Lotte Lenya Vocal Competition, Palm Beach Opera Vocal Competition, and the Jose Iturbi International Competition. He was part of the Grammy-nominated cast of John Musto’s opera, Volpone. He is an alumnus of Santa Monica College and UCLA, attended the Music Academy of the West, and trained at Lyric Opera of Chicago’s Ryan Opera Center (formerly Lyric Opera Center for American Artists.) He continues to study with internationally-acclaimed heldentenor Timothy Mussard.

Mime

Gordon Gietz began his career in the chorus of Calgary Opera. He created the role of Stingo in Sophie’s Choice at London’s Covent Garden. He appeared as Don Ottavio (Don Giovanni), Cassio (Otello) and Alfred (Die Fledermaus) at the Opéra National de Paris and created Yonas in the world première of Kaija Saariaho’s Adriana Mater. Gietz made his La Scala debut as Chevalier in Dialogues des Carmélites, returning for A Midsummer Night’s Dream as Lysander, his debut role at Glyndebourne and the Gran Teatre del Liceu in Barcelona. Other highlights include Die Nase at the Metropolitan Opera, Steva in Jenufa at the Châtelet and Madrid’s Teatro Real, Hoffmann in Marseille and Béatrice et Bénédict with the New York Philharmonic, Teatro Communale, Bologna and the Santa Fe Opera.

Fricka

Praised by the Chicago Tribune for her “firmly knit tone from top to bottom of an imposingly wide range,” in the 2023/24 season, American mezzo-soprano Jill Grove returns to the role of Klytaemnestra in Elektra with Dallas Opera, sings Fricka in Das Rheingold with Calgary Opera, Mamma Lucia in Cavalleria rusticana with Kansas City Opera, and Gertrude in Romeo et Juliette with Washington National Opera. Last season, she returned to the Lyric Opera of Chicago as the Witch in Hansel und Gretel, and made her Portland Opera debut as Ježibaba in Rusalka. She recently joined Arizona Opera as Madame Armfeldt in A Little Night Music, returned to the Metropolitan Opera for their productions of Elektra and The Rake’s Progress. She joined the Metropolitan Opera and the Lyric Opera of Chicago as the Governess in Pique Dame, Minnesota Opera for Klytaemnestra in Elektra, San Francisco Opera the Fortune Teller in Arabella and Mamma Lucia in Cavalleria Rusticana, Canadian Opera Company 1st Maid in Elektra, and the Calgary Philharmonic for performances of Verdi’s Requiem.

Ms. Grove is a frequent guest at the Lyric Opera of Chicago, she has sung previous performances of Marthe in Faust, Ježibaba in Rusalka, Filippyevna in Eugene Onegin, Klytaemnestra in Elektra, Margret in Wozzeck, the Witch in Hansel und Gretel, Die Amme in Die Frau ohne Schatten, Amneris in Aida, Erda in Das Rheingold, Countess Geschwitz in Lulu, and Reginal Segla in the world premiere of Wlad Marhulet’s The Property as part of the inaugural season of Lyric Unlimited. At the Metropolitan Opera, her performances include Erda in Siegfried and Das Rheingold, Magdalene in Die Meistersinger von Nürnberg, Madelon in Andrea Chénier, Pantalis in Mefistofele, Emila in Otello, Mary in Die fliegende Holländer, Auntie in Peter Grimes, die Muschel in Die ägyptische Helena, and Cornelia in Giulio Cesare.

The mezzo’s other recent performances include Ježibaba in Rusalka with Des Moines Metro Opera; Klytaemnestra in Elektra with Michigan Opera Theatre; Auntie in Peter Grimes with Canadian Opera Company; Ježibaba in Rusalka and First Maid in Elektra with Houston Grand Opera; Buryja in Jenůfa, Madelon in Andrea Chenier and Jenny Reefer in Thompson’s The Mother of Us All at San Francisco Opera; Dame Quickly in Falstaff, Muschel in Die ägyptische Helena, Florence Pike in Albert Herring, Ursule in Béatrice et Bénédict, and Antonia’s Mother in Les contes d’Hoffmann with Santa Fe Opera; Erda in Siegfried, Nutrice in L'Incoronazione di Poppea, and Zita in Gianni Schicchi at Los Angeles Opera; Baba the Turk in The Rake’s Progress with Pittsburgh Opera and Utah Opera; Amneris in Aida in previous performances with Canadian Opera Company and New Orleans Opera; Ulrica in Un ballo in maschera with San Diego Opera; and the Sorceress in Dido and Aeneas with Philharmonia Baroque. In Europe, Ms. Grove has performed the role of Haushälterin in Die schweigsame Frau with Théâtre du Châtelet; the Deaconess in Szymanowski’s Krol Roger; Ulrica in Un ballo in maschera with Welsh National Opera and Teatro Carlo Felice; and Erda in Siegfried and the First Norn in Götterdämmerung with the Bayerische Staatsoper in Munich under the baton of Kent Nagano.

A sought-after concert soloist, she has joined the Los Angeles Philharmonic, New York Philharmonic, National Symphony, Atlanta Symphony, Utah Symphony, Houston Symphony, Lubbock Symphony Orchestra, and Santa Fe Symphony for Beethoven’s Symphony No. 9. She has sung Verdi’s Requiem with the Toronto Symphony under the baton of Sir Andrew Davis, Tucson Symphony, Lubbock Symphony Orchestra, and Calgary Philharmonic; Mahler’s Symphony No. 3 with the Houston Symphony under the baton of Christoph Eschenbach and the Royal Concertgebouw Orchestra with Mariss Jansons conducting; Prokofiev’s Alexander Nevsky with the National Symphony under the baton of Hans Graf; Maria Aegyptiaca in Mahler’s Symphony No. 8 with the San Francisco Symphony under the baton of Michael Tilson Thomas and the Houston Symphony with Eschenbach, Bergen Philharmonic, and the Norddeutsche Rundfunk Sinfonieorchester under the baton of Eschenbach; Janáček’s Glagolitic Mass and Elgar’s The Kingdom at the Grant Park Music Festival; Elgar’s The Dream of Gerontius with the Jacksonville Symphony; Handel’s Messiah with the Toronto Symphony under the batons of Nicolas McGegan and Sir Andrew Davis and with the National Arts Centre Orchestra under the baton of Trevor Pinnock; Mahler’s Symphony No. 2 with the San Francisco Symphony conducted by Michael Tilson Thomas; Beethoven’s Missa Solemnis with the Minnesota Orchestra; Bernstein’s Jeremiah Symphony with The Orchestra NOW; Brahms’ Alto Rhapsody with the American Classical Orchestra; and Verdi’s Requiem with the Dallas Symphony conducted by Jaap van Zweden.

Ms. Grove's recordings include Ulrica on a Chandos recording of Verdi's Un ballo in maschera, Auntie in Peter Grimes on the London Symphony Orchestra Live label with Sir Colin Davis and in a new production by John Doyle at the Metropolitan Opera (available on EMI DVD), Magdalene in Die Meistersinger von Nürnberg under the baton of James Levine and issued on DVD by Deutsche Grammophon, as well as the Muschel in Strauss's Die ägyptische Helena with the American Symphony Orchestra on Teldec. As a member of the Houston Grand Opera Studio, she sang Tisbe in La cenerentola opposite Cecilia Bartoli which was released by Decca/London.

She is the winner of the 2003 ARIA award, a 2001 Richard Tucker Foundation Career Grant, a 1999 George London Foundation Career Grant, a 1997 Sullivan Foundation Career Grant, a 1996 winner of the Metropolitan Opera National Council Auditions, a 1996 recipient of a Richard Tucker Foundation Study Grant, and a 1995 recipient of a Richard F. Gold Career Grant. She was a member of the Merola Program at San Francisco Opera and the Houston Grand Opera Studio and attended the Music Academy of the West, the New England Conservatory, and Stephen F. Austin State University. She received a Distinguished Alumna Award from the latter university in 2006.
Guy Barzilay Artists

Erda

Career highlights for Ms. Daniel include: singing Emelda Griffiths in Grammy award-winner Terence Blanchard’s opera ‘Champion’ with l’Opéra de Montréal, debuting Klytemnestra in Edmonton Opera’s production of Elektra, singing Elisabetta in Knoxville Opera’s production of Donizetti’s Maria Stuarda, and debuting at Carnegie Hall as a soloist in Haydyn’s Mass in Time of war. Ms. Daniel made her Opera Tampa debut in Carmen singing the title role in 2020.
Ms Daniel studied voice with Coluratura soprano Tracy Dahl at the University of Manitoba. She was a member of the Atelier Lyrique de l’Opéra de Montréal, and later became a member of the Opera Studio Nederlands in Amsterdam.

Donner

Baritone Connor Hoppenbrouwers has gained a reputation for the power and beauty behind his voice. Born in Edmonton, Connor started his vocal career under the tutelage of John Tessier and later went on to study with J. Patrick Raftery. Prominent roles for Connor include Paul Jobs in The (R)evolution of Steve Jobs, and Dancaïre in Carmen with Calgary Opera (2022), Count Almaviva in Le nozze di Figaro with the University of British Columbia Opera Workshop (2021), Papageno in Die Zauberflöte with The University of Alberta Opera Workshop (2019) also as a soloist with The Alberta Baroque Ensemble. An avid musician Connor also performs regularly with orchestra and jazz bands as a double bassist.

Froh

Of Greek and Italian descent, tenor Elias Theocharidis has been noted as “…raw… and exuberant”. Elias’s most recent roles include Malcolm in Calgary Opera’s Macbeth, The Prince in their school tour production of Cinderella adapted by Rob Herriot, Don José in Peter Brook’s La Tragédie de Carmen, Don Ottavio in Mozart’s Don Giovanni, Mr. Rushworth in the Canadian Premiere of Jonathan Dove’s Mansfield Park, and Nemorino in Donizetti’s L’elisir d’amore. In 2019, he was the tenor soloist in Mozart’s Requiem with the Toronto Sinfonietta under Matthew Jaskiewicz. He grew up in an artistic family in Toronto, coming from a long line of Broadway performers, classically trained pianists, folk singers, dancers, models and DJ’s. This is his second year in Calgary Opera’s McPhee Artists Program.

Fasolt

Born in Geldern, Germany, Guido Jentjens studied at the Musikhochschule Köln and began his singing career at the Opera Studio of the Deutsche Oper am Rhein in Düsseldorf. From 2005 to 2013 Guido Jentjens was an ensemble member of the Staatstheater Nürnberg. Other permanent and guest engagements have taken him to Augsburg, Erfurt, Karlsruhe and Wiesbaden, as well as to the opera houses in Bielefeld, Krefeld/Mönchengladbach, Kassel, Halle, Würzburg, Dortmund, Essen and others.
Guido Jentjens' repertoire includes all great Wagnerian bass and bass-baritone roles such as König Heinrich (Lohengrin), Hans Sachs and Pogner (Die Meistersinger von Nürnberg), Landgraf Hermann (Tannhäuser), Hunding (Walküre), Daland (Der fliegende Holländer), Gurnemanz (Parsifal) and König Marke (Tristan and Isolde), Hagen (Götterdämmerung) and Wotan (Rheingold). His wide repertoire also features roles like Baron Ochs auf Lerchenau (R. Strauss, Rosenkavalier), Orest (R. Strauss, Elektra), Osmin (Mozart, Entführung aus dem Serail), Sarastro (Mozart, Zauberflöte), Rocco (Beethoven, Fidelio), Philipp (Verdi, Don Carlo), Mephisto (Gounod, Faust), belcanto roles such as Silva (Verdi, Ernani), Banquo (Verdi, Macbeth), Des Grieux (Massenet, Manon) as well as numerous roles from Handel operas.
In the past seasons he celebrated highly acclaimed role debuts as Blaubart in Bela Bartók's Herzog Blaubarts Burg and as Hagen in Wagner's Götterdämmerung.
Guest appearances in opera and concert have taken Guido Jentjens among others in Berlin to the Staatsoper Unter den Linden, Deutsche Oper and Komische Oper, to the Staatsoper Hamburg (world premiere of Zemlinsky, König Kandaules under Gerd Albrecht), to the Semperoper Dresden (Matthus, Farinelli), to the Theater am Gärtnerplatz and the Prinzregententheater in Munich, the Philharmonie Köln and the Gewandhaus Leipzig.
International guest appearances have taken him to the Zurich Opera House (2013 house debut with Veit Pogner under Sebastian Weigle), Austria (Linz - Rosenkavalier, Innsbruck - Parsifal), Belgium
(Brussels – Aida under Kazushi Ono), France (Paris, Théâtre de Champs-Elysées and Toulouse – Die Meistersinger von Nürnberg under Pinchas Steinberg), Italy, Spain (Palau de la Musica Barcelona), to the USA, Japan (Tokyo - Tristan und Isolde under Kazushi Ono), Hong Kong and China (Beijing, Die Meistersinger von Nürnberg).
Guido Jentjens is regularly invited to renowned festivals. In 2013 he made his debut at the Salzburg Festival in the new production of Wagner's Die Meistersinger von Nürnberg (musical director Daniele Gatti, stage director Stefan Herheim). At the Bayreuth Festival he appeared under the musical direction of Christian Thielemann as Pogner (Die Meistersinger von Nürnberg) and as Landgraf Hermann (Tannhäuser). At the Baden-Baden Festival he worked with Thomas Hengelbrock. In addition he appeared at the Karlsruhe Handel Festival, the St. Margarethen Opera Festival and the Festival Erl (role debut 2011 Hans Sachs), the Schleswig-Holstein Music Festival and the Casals Festival Puerto Rico.
During concert tours and radio recordings he performed, among others, with Hellmuth Rilling (Internationale Bachakademie Stuttgart), Thomas Hengelbock, Michael Gielen and Christoph Prick and sang works such as J. S. Bach h-Moll-Messe, Händel Messias, Mendelssohn Bartholdy Elias, Puccini Messa di Gloria and Tippett A Child of Our Time as well as numerous other cantatas, oratorios and masses.

FAFNER

American bass Kenneth Kellogg’s recent engagements include several role debuts: Basilio Il Barbiere di Siviglia at San Francisco Opera; Grand Inquisator/Phillippe II (c) Don Carlo and Bartolo Le Nozze di Figaro both at Maryland Lyric Opera; Rocco Fidelio at North Carolina Opera; Raimondo Lucia de Lammermoor at Madison Opera and Ramfis Aida at Detroit Opera. Past highlights include his return to Europe where he sang the role of Father Blue at Dutch National Opera and at English National Opera; he inaugurated the role, written for him by composer Jeanine Tesori and librettist Tazewell Thompson, at the world premiere at Glimmerglass Festival and later sang in productions at Detroit Opera, Seattle Opera, Pittsburgh Opera, Toledo Opera and in Washington National Opera’s recording and performances of the work. Upcoming role debuts include Fafner Das Rheingold followed by the title role X: The Life and Times of Malcolm X at Seattle Opera.

Freia

Soprano Anna Pompeeva was born in the small town of Lozovaya in eastern Ukraine. In 2012 Anna graduated from Kharkiv National Institute of Arts named of Kotlyarevsky (class of opera singing, concert and chamber singing). In 2017 she defended her thesis and received a PhD in the History of Arts. From 2015-2017 she works as the soloist as the Kharkiv regional Philharmonic Society. Since 2013, Anna was the soloist of the Kharkiv National Theater of Opera and Ballet of Lysenko (Kharkiv), where she was seen as Donna Elvira, Donna Anna (Don Giovanni), Contessa (le Nozze de Figaro), Liza (The Queen of Spades), Aida (Title role), Desdemona (Otello), and Leonora (Il trovatore).
Anna has travelled to Spain, Poland, Hungary, Germany, Netherlands, Belgium as part of many concert tours. She is a prizewinner at international competitions including Montecatini Opera Academy International Competition (Montecatini, Italy, 2022), Citta di Alessandria International Music Competition (Mozart Italy Association, Bologna, Italy, 2021), Grand Prix of the International «Festival-Competition» of Vocal Art named of N.A. Obykhova (Crimea, Ukraine 2009). Special distinction by Kharkiv Region of Ukraine for «Great contribution to the creative life of the region» (2020)

woglinde

Ottawa-born Slovak-Canadian soprano Juliana Krajčovič is a recent graduate of the McPhee Artist Development Program with Calgary Opera. Past engagements include Lady-in-Waiting/Macbetto, Héro/Béatrice et Bénédict, Sally/Stone Soup, Annina/La Traviata, Princess/L’Enfant et les Sortilèges (Calgary Opera) Susanna/Il segreto di Susanna, Marcellina/Le nozze di Figaro (University of Toronto Opera), Donna Anna/Don Giovanni (University of Ottawa), Tatiana/Eugene Onegin, Suor Angelica/Suor Angelica (Shooting Stars’ Operatic Showcase). Concert performances include Webern’s 6 Lieder nach Gedichten von Georg Trakl (UofO’s CME), and Soprano Soloist/Mendelssohn’s Lobgesang (UOSO). She is the winner of the ORMTA Young Artist Competition in 2018, the Finalist Prize in the 2019 Brian Law Competition, and the Richard Bradshaw Graduate Fellowship in Opera.

Welgunde

Quebec mezzo-soprano Justine Ledoux is known for the sincerity of her singing, her velvety tone and her extraordinary charisma on stage. She obtained her master’s degree from the Conservatoire de musique de Montréal and is in her second season with Calgary Opera’s McPhee Artist Development Program. Operatic roles have included The Stepmother in The Juniper Tree (P. Glass); Dorabella in Così fan tutte (W.A. Mozart); Dorothée in Cendrillon (J. Massenet). During her 2022-2023 season with Calgary Opera, she performd the roles of Mercédes in Carmen (G. Bizet), Cinderella and Rubella in alternating performances of Cinderella (adaptation of the operas Cinderella by J. Massenet and La Cenerentola by G. Rossini), as well as Béatrice and Ursule in alternating performances of Béatrice & Bénédict (H. Berlioz), a McPhee Artist Production.

Flosshilde

Yenny Yeeun Lee is a Korean-Canadian mezzo soprano, known for her powerful voice, captivating stage presence, and passionate performances. Praised by the Vancouver Sun as "simply wonderful", Lee has made a name for herself as one of the most exciting young opera singers of her generation.
Lee's talent has been recognized both nationally and internationally, having represented Canada in the prestigious competitions including the Belvedere International Competition and Concorso Viotti. Lee has graduated the University of British Columbia with Director’s Prize, and won at Vancouver International Music Competition (1st place), and the Metropolitan Opera Laffont Competition (District winner & People’s choice).
Lee was critically acclaimed with her performance as Hoisan Singer in the world-premiered opera Chinatown by Alice Ho in 2022. Her performances have been praised for her technical skill, expressive interpretation, and her ability to connect with audiences on an emotional level.

Nibelungs

Widely recognized as one of Calgary’s premier performing ensembles, Cantaré Children's Choir was formed in 1997 by Founder / Artistic Director Catherine Glaser-Climie to enrich the lives of children through the power and wonder of music.
Each week, over 150 children ages 6 through 18 come together in four ensembles to experience the joy of singing. Though they represent diverse abilities and backgrounds, our choristers are united through the study and performance of great choral music and discover that music can be a bridge to understanding. We aspire to instil ideals of compassion, sensitivity, consideration, commitment, tolerance, discipline, co-operation and teamwork. In addition to giving performances, choristers gain valuable training in musicianship, self-discipline, confidence, poise and teamwork. Singers enjoy meeting and getting to know other children who share their interests.

Lighting Design

Scott Reid is a Calgary-based designer who is happy to be back designing for Calgary Opera. Some of his previous Calgary Opera credits include Macbeth, Eugene Onegin, Die Tote Stadt, The Flying Dutchman, Otello, as well as several productions for the McPhee Artist Development program. He recently designed The Pearl Fishers, directed by Rachel Peake, for Vancouver Opera. In addition to opera, Scott designs for theatre and dance at such places as Theatre Calgary, Alberta Ballet, Vertigo Theatre, The Citadel Theatre (Edmonton), ATP, and The Shakespeare Company, to name a few. scottreiddesign.com

Projection Design

David Murakami is a projection designer and film director focused on the union between the cinematic and theatrical. Recent productions include Ainadamar at Opéra de Montréal, Everest at Dallas Opera, Elektra at Minnesota Opera, Luis Valdez’ Zoot Suit and Valley of the Heart at the Mark Taper Forum, The Shining and La Belle et la Bête with Opera Parallèle, Rigoletto with Pacific Symphony. Other companies include Arizona Opera, Atlanta Opera, Berkshire Theatre, Celebration Theatre, Des Moines Metro Opera, East West Players, LA Opera, LINES Ballet, Lyric Opera of Kansas City, Opera Theatre of Saint Louis, Presidio Theatre, Riyadh Season, Seattle Opera. David is a proud member of United Scenic Artists 829 and teaches at the University of California, Irvine. www.davidmurakami.com.

costume Design

Mathew J. LeFebvre has been designing costumes for theatrical productions since 1987. Born and raised in Minnesota, he attended UMN Morris where he fell in love with costume design and then received his MFA from UMN Twin Cities, where he now resides as the resident faculty professor of Costume Design in the Department of Theatre Arts & Dance.
Mathew LeFebvre has designed for theatre companies across the country and has received an Ivey Award, TDF Irene Sharaff Award, and a McKnight Theatre Artist Fellowship. Notable theatres he has worked with include the Guthrie Theater, Penumbra Theatre, Signature Theatre, Arizona Theatre Company, American Players Theatre, Milwaukee Repertory Theatre, The Children's Theatre Company, The Minnesota Opera, and many more.

Staging Associate

Latino American director David Radamés Toro applies his backgrounds in music and mime to create innovative opera productions. He has worked at companies such as Minnesota Opera, the Wexford Opera Festival, Seattle Opera, and Washington National Opera. An admirer of modern era opera, David has had the privilege of directing 21st century works such as Cruzar la Cara de la Luna (director, Minneapolis Opera & Austin Opera), Dead Man Walking (Opera Idaho, 2022), The Shining (Opera Colorado, 2022), Glory Denied (Opera Fayetteville, 2020), and Flight (Minnesota Opera, 2020). He also enjoys directing opera for young audiences and has done so with Tri-Cities Opera, Minnesota Opera, and Opera Saratoga.

Stage Manager

For Calgary Opera (select):The Elixir of Love, The Marriage of Figaro, Macbeth, The (R)evolution of Steve Jobs, Carmen, La Traviata, The Merry Widow, Opera Labs, Norma, La Bohème. Favourite credits include: As You Like It (Theatre Calgary), Alice’s Adventures in Wonderland, The Nutcracker, Cinderella, La Fille mal gardée, The Sleeping Beauty, The Seagull (National Ballet of Canada); The Two Gentlemen of Verona, A Funny Thing Happened on the Way to the Forum, Julius Caesar, The Importance of Being Earnest, West Side Story (Stratford Festival); Mimi, Courageous, If We Were Birds (Tarragon Theatre). Outside the theatre: The Tokyo 2020 and Rio 2016 Olympic Games. Film work including Prey (Disney), My Life With The Walter Boys (Netflix), and the upcoming series The Abandons (Netflix).

Assistant Stage Manager

Kate has been actively working on operas, plays, and live events across Alberta since graduating from the University of Lethbridge with a BFA in Technical/Design Theatre in 2017. Kate has toured across Canada as the Stage Manager for bliss: the birthday party play (Verb Theatre), touring to Victoria’s Uno Fest and to Ottawa’s National Arts Centre. Select credits include: L’Elisir d’Amore, Béatrice et Bénédict, Macbeth, La Traviata, La Bohème, Amahl and the Night Visitors (Calgary Opera), Ghost Opera (Old Trout Puppet Workshop/Calgary Opera), The Black Bonspiel of Wullie MacCrimmon, The Jungle Book (Alberta Theatre Projects), STRUCK (Ghost River Theatre), The Thin Man, The Drowning Girls (Vertigo Theatre). Kate would like to thank her colleagues, family, and husband Derek for their constant support.

Assistant Stage Manager

For Calgary Opera: Carmen, La Traviata, The Brothers Grimm, Hansel & Gretel, Everest, Rigoletto, South Pacific, Turandot, Filumena. Kennedy is thrilled to be back at Calgary Opera! She is a Calgary based Stage Manager, a self-proclaimed stationery nerd and theatre brat. Other select credits include: As You Like It, The Mousetrap, Jimmy Buffett’s Escape to Margaritaville, Lady Day at Emerson’s Bar and Grill (Theatre Calgary); Naughty But Nice TenMas!, Naughty But Nice 9, LIVE! (Forte Musical Theatre Guild); Many Mothers, Seven Skies (Many Mothers Collective); Allergic to Water (Wee Witches/Inside Out Theatre); STRUCK (Ghost River Theatre); Heaven, Flight Risk (Lunchbox); Kim’s Convenience (ATP/ Arts Club); Assassinating Thompson (Lunchbox/Inside Out Theatre); 80’s Solid Gold, Spamalot, Chicago, Gameshow (StageWest); The Thin Man, The Hollow (Vertigo).

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What’s so special about Das Rheingold?

Artistic Director Jonathan Brandani lets us in on why he loves this opera:

In Context

Calgary Opera is committed to constructive debate and with this production, launches a new web feature that explores and reckons with injustices in the works we perform.

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*Price includes GST. A $4 per ticket handling fee will be applied at the time of sale.
*Denotes member of the McPhee Artist Development Program

Season artwork by Shauna Hartsook

DAS RHEINGOLD

April 20, 24 & 26, 2024
At the Southern Alberta Jubilee Auditorium