Doug Tuck's Golden Memory

My first exposure to opera was when I was IN an opera. In the spring of 1960, I was 9 years old and my Grade 4 music teacher, Frances Norman, was in the VO chorus. (Her husband, Karl Norman, was the company's general manager, and he sang comprimario roles too.) Children were needed for La Boheme and Frances prevailed on some of her "pills", as she called us, to sing in the production.

Rehearsals took place at Scottish Hall, on Fir Street. Irving Guttman directed. I don't remember much about the rehearsal process but I vividly recall the gold-coloured velvet pants I wore on stage, and I remember being hoisted on a chorister's shoulders for the final moments of Act II. This was a heroic feat on the part of the chorister; I was not a small kid.

I remember having a wonderful time on that huge Queen Elizabeth Theatre deck. There is something truly exciting about being in a scene, with the orchestra going full tilt and the singers giving everything, and looking out to the audience and seeing glimpses of people through the flare of bright spotlights. One evening I thought it would be nice to improvise some stage business, so without telling anyone I made an entrance, in the middle of the principals' scene, through one of the street-scene doorways. How I managed to get past stage management remains a mystery. It would never happen today. However, the stage manager did have a stern word with me and I curtailed my improvisations from then on.

Years later, in 1993, I returned to the QE stage to star as the innkeeper in the same scene. I was a supernumerary, meaning I did not sing. It was, again, very exciting. This time, I was allowed to improvise during rehearsal. Director Kelly Robinson (who will direct Lillian Alling next season) accepted my idea for a bit of business involving Musetta and of course it made the scene MUCH better. One of the thrills of being in the show was that I could stand in the wings during Act III and listen to the singers, who included Richard Margison as Rodolfo, Stephanie Friede as Mimi, and John Fanning as Marcello. For a matinee performance, Mimi was sung by the young Liping Zhang. Awesome.

- Doug Tuck

James W. Wright's Golden Memory

One of my first Vancouver Opera experiences...

We were producing our first “Gardens that Sing” special event, a roving garden party requiring lots of volunteers staffing posts, outdoors, at various homes and gardens.

It was raining – hard – and I thought, “Oh no, our volunteers won’t show up in all this rain!” Boy was I wrong! As I drove 'round the curve, I saw a large group of smiling women standing under their umbrellas just waiting to get the special event underway, completely undeterred!

I learned my lesson about Vancouver weather, our attitude toward it, and the opera company’s volunteers all in just a few wet moments!

- James W. Wright

Tony Wade-Cooper's Golden Memory

I have been volunteering with Vancouver Opera since very shortly after Expo and I have seen such a change through the years. The company is great to work with and everyone is so professional.

I volunteer at the Opening Night parties, and John and the crew are awesome to work with. Lightwalking gets me onto the amazing sets. I also have been lucky enough to be cast as a Super in several operas, and it has found me in some astounding operas with casts that you can only dream about! (Not to mention that the Supers and Stage Managers are a great group of people and I have been lucky to work with them).

So many memories over the years but one that really stands out is walking onstage at the end of Act 2 of Eugene Onegin to see the forest set flying out and the ballroom scene flying in with wonderful music... Truly spine-chilling!

Great to be part of the 50th Anniversary and here's to another 50!
CHEERS!

-Tony Wade-Cooper

Andy Krieger's Golden Memory

I began volunteering for the opera in 1993 and have been fortunate to have seen a great majority of the operas. I never would have been able to afford even one were it not for the exceptional organizational skills of Bob and Ling and Jennifer. These 3 individuals allowed me to sell tickets for the car lottery and then were always able to get me, usually, a front row seat. No words to express my appreciation. For me it’s a terrific high being so close to the stage and hearing the orchestra so close up.

Sitting 5 feet or so behind Maestro Bonynge on Saturday night was as sublime as Norma itself. I thought Kate Aldrich, the American soprano , was as an outstanding performance as I have ever heard. Her beauty and voice will one day, I predict, make her the Joan Sutherland of this era. Thank you to Jennifer and her wonderful predecessors for providing all of us with such happiness in being able to watch one of the world’s greatest opera companies.

Finally I remember working the Stage Door one Saturday night with a wonderful volunteer name Del. I didn’t want to see the opera that night as I thought I needed to write important letters to my children in California. I owed them a letter. Well, Del insisted, and I grudgingly went inside to see one of the most glorious operas I have every heard: Nabucco. My frown soon turned to a huge smile and still think it was, until Norma last Saturday, one of the great moments in my opera life. Will also never forget a couple of Marriage of Figaros, A Don Giovanni, and a Magic Flute. Life is wonderful with Vancouver Opera.

-Andy Krieger

Brenda Corby's Golden Memory

Vancouver Opera, you have experienced so much since your beginnings. You've weathered many changes and been touched by great joys.

Now you're celebrating your Golden Anniversary, rich with the memories, of fifty remarkable years.

You have so much to be proud, so much to celebrate. I hope each of you enjoys every moment and ever memory of this special season.

Congratulations to all. Happy 50th anniversary!

With much respect and admiration,

Affectionately,
Brenda