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DRAGON’s TALE: A soaring epic across generations
Written by Mark Brownell
Composed by Chan Ka Nin
Directed by Michael Hidetoshi Mori
Music Director David Fallis, Naomi Woo (June 18)
June 15 – 18, 2023
Harbourfront Centre Concert Stage
A Tapestry Opera and Soundstreams co-production.
Content warning: Dragon’s Tale contains death by suicide.
Co-presented by Luminato Festival Toronto and realized in partnership with Harbourfront Centre
Artwork by Gracia Lam
FROM TAPESTRY OPERA
Welcome to Dragon’s Tale! If it’s your first time at a Tapestry show, welcome. If you know us well, welcome back! Either way, we’re so glad you’re here.
Tapestry Opera is a 44-year old company, the only professional company in Canada dedicated solely and obsessively to the cultivation, commissioning, development, and producing of new works of opera. We believe that opera is a vast, expansive art form, and that there is no end to the stories that we can tell. We celebrate creators and artists who disrupt the status quo, who access universal emotions through specificity of storytelling, and who are engaged in the time and place they live. Opera is an art form of possibilities, and we know that those possibilities can stretch on forever.
Chan Ka Nin and Mark Brownell have a long history with Tapestry; their work Iron Road premiered in 2001 as the largest work Tapestry ever produced to date, and was an incredible spectacle of beauty, history, and fable. When they approached us about Dragon’s Tale in 2018, we knew that there was similar magic at work – a story that stretches backwards and forwards, but keeps the humanity of its characters at its heart. After many years of starts and stops, we are so delighted to be here with you.
Thank you for joining us for this epic journey on the water, through the mists of time and place. We hope that in the end, you find yourself at home.
Michael Hidetoshi Mori, Artistic and General Director
Jaime Martino, Executive Director
Soundstreams is celebrating its 40th anniversary this season, and it’s so fitting that we’re premiering an opera by Chan Ka Nin at the culmination of this celebratory season. Soundstreams’ history with Ka Nin, and mine as oboist, go backnearly three decades, beginning with The Charmer, a work commissioned in 1994 for our Encounters series. Encounters was co-produced with CBC’s Two New Hours in the Glenn Gould Studio and I premiered this work for my instrument – the oboe’amore – together with chamber ensemble. It was subsequently recorded and released on a CD of Canadian music called The Charmer, still available on the Centrediscs label.
A number of Soundstreams commissions followed, but of particular interest in the context of Dragon’s Tale was that for the oratorio The Weaving Maiden, premiered on the Encounters series in 2006. The Weaving Maiden has much in common with Dragon’s Tale: it features a libretto by Ka Nin’s long-time collaborator Mark Brownell; both are centred around a quintessential ancient Chinese legend, in that case a story of unrequited love; the orchestras in both include Western and non-Western instruments, i.e., traditional Chinese; and both incorporate Western and non-Western operatic traditions, including those from Beijing Opera.
In addition to our long history with Ka Nin and Mark, we’re also delighted that Dragon’s Tale incorporates performing artists that are near and dear to us having worked with Soundstreams over many seasons. These include Dragon Tale’s music director David Fallis, who is also the music director of Soundstreams Choir 21, a project choir formed more than a decade ago specifically for the performance of contemporary music and opera. And Ensemble Soundstreams itself has a history of performing and touring music that combines Western and non-Western instruments. That ensemble has toured to the Beijing Modern Music Festival, the Shanghai New Music Week and has appeared in Tapei’s National Concert Hall.
Dragon’s Tale marks our third major co-production with Luminato, the first being R. Murray Schafer’s monumental opera The Children’s Crusade in 2009, the second being Hell’s Fury, The Hollywood Songbook in 2019, starring Russell Braun.
We thank Luminato for their continuing support for Canadian music and contemporary creation. This is our first co-production with Tapestry Opera of a staged work and we thank them for being such a resourceful and talented partner.
– Lawrence Cherney, Founding Artistic Director
FROM LUMINATO FESTIVAL TORONTO
Luminato has been proud partners with both Soundstreams and Tapestry Opera over many festivals, and we are so excited to be collaborating with both organizations, together, in 2023. We began talking about presenting Dragon’s Tale in 2019, so it’s been a long time coming, and I could not be more thrilled to see this beautiful project come to fruition. Dragon’s Tale is a tremendous work by the brilliant team of Chan Ka Nin and Mark Brownell which tells an important story for our city.
Offering the opera to the public for free, on the water, in partnership with our friends at Harbourfront Centre, is a wonderful way to honour the story of Dragon’s Tale after so many years of planning. Thank you for coming. Enjoy the show, enjoy the lake, enjoy Luminato Festival Toronto!
– Naomi Campbell, Artistic Director
Growing up in Hong Kong, my fond memories are the festivals, often associated with fun activities such as lighting firecrackers and playing with lanterns. Together with special foods and a public holiday, what’s not to like? When Dragon Boat racing became popular in Canada, I was amazed this Chinese cultural event is practiced worldwide, and I decided to write an opera to tell the story behind this legend, Qu Yuan because this loyal minister in the court of Chu from 2300 years ago is not that well known in Canada. My first thought is to ask Mark Brownell, a writer with whom I have worked for over 20 years, to write the story and the text. As always, Mark is a good sport and dives into the subject. After 8 years, he knows more about Qu Yuan than I do; initially, I did not know he was also an influential poet. In the process, we incorporate this ancient story into a modern-day story of a young girl and her father. Both Mark and I have a daughter, and our parental experience is inevitably reflected in the story. I am very thankful to Mark, and the dragon team: Michael Mori of Tapestry Opera, Lawrence Cherney of Soundstreams, and music director David Fallis, for realizing the tale from the past.
– Chan Ka Nin
I am grateful for the kind support of composer Chan Ka Nin and the Tapestry Opera creative team. It is always a challenge to adapt factual history into drama. With Dragon’s Tale, we have chosen to present a simplified version of the great poet Qu Yuan’s life. The historical record is far more complex, of course, but the essence of the man and what he sacrificed remains.
– Mark Brownell
Collaborating with composer Chan Ka Nin and librettist Mark Brownell has been a great pleasure with a dynamic that is a reflection of the show. Both creators are fathers with adult children, whereas I relate more to this story as the son of an immigrant father. While the opera features the story of Qu Yuan, for Xiao Lian, it is the struggle of a child with a stubborn parent that forces the exploration of Qu Yuan’s mythical past, and that tricky intergenerational dynamic is where I find the most resonance.
At the heart of Dragon’s Tale are three propositions. One for parents: despite your lived experience, your children, especially in times of change, must be fundamentally different to adapt and thrive. One for children: you may never know the full picture of your parents, and you should not judge them by the last 5 minutes or years of their life. The final proposition is for Toronto as a model for many places in the world: With a younger population composed of many children of immigrants, any one person’s cultural identity is fluid, complex and unique and mostly accepted as such. This feature of cities like Toronto, Vancouver, and Montréal I humbly put forward as a great opportunity for Canada to lead in celebrating common humanity and cultural differences as complementary.
– Michael Hidetoshi Mori
Music Director’s Note
Dragon’s Tale tells the story of a young woman struggling to find balance as she incorporates many sides of her family and cultural inheritance into her modern life. And so it is entirely appropriate that the music in Dragon’s Tale is also a combination of many styles and influences. This has been one of the great pleasures of working on the piece, discovering moments of challenging contemporary writing beside heartfelt musical theatre ballads, Chinese pentatonic melodies beside astringent chromaticism, and in the orchestra, traditional Chinese instruments beside traditional Western ones. And all of these varied themes and styles are brilliantly woven together by Chan Ka Nin to create a unique synthesis where musical motifs shift and transform in an ever-changing kaleidoscope of colours.
– David Fallis
Dragon’s Tale is the story of a young Chinese-Canadian woman (Xiao Lian) and her ailing father, both living in Toronto. Xiao Lian wakes up in the ancient past and witnesses the last days of one of China’s greatest poets, Qu Yuan. In doing so, she begins to understand her father and herself as she returns to a challenging present.
Scene 1 | A young Chinese/Canadian woman (Xiao Lian) faces a difficult choice: Honour her family’s traditional past or embrace a more modern future. Her father dwells on the memory of his deceased wife and honours her by performing the Qingming funeral tradition. Meanwhile, Xiao Lian’s two friends want her to get out and be more social. Her father objects to this and demands that she stay home.
Scene 2 | Xiao Lian’s father bitterly reveals that he will die soon. Xiao Lian’s mother appears in spirit form and asks her to forgive her father. She speaks of their happiness together as a family in earlier times. As a child, Xiao Lian had a close connection with the Dragon Boat Festival, known as Duanwu and its hero, the ancient poet Qu Yuan. Her Father and Qu Yuan are linked together by fate.
Scene 3 | Xiao Lian vows to look to the past and summons the great spirit of Qu Yuan. His spirit rises and assumes the form of Xiao Lian’s father.
Scene 4 | Xiao Lian is transported back to the ancient royal court, where she witnesses the majestic entrance of King Huai of Chu. Qu Yuan is at the peak of his power but is soon outfoxed by rival minister Zhang Yi. Qu Yuan is cast down and banished by his beloved king.
Scene 5 | Qu Yuan wanders into the southern wilderness. As he travels, he composes a lament for himself and his lost position in court. In the present, Xiao Lian’s Father senses his end is near. Summoning up his strength, he joins with the spirit of Qu Yuan to tell the final chapter.
Scene 6 | Years later, Qu Yuan has earned the honour and respect of the people in a little fishing village on the river Miluo. Xiao Lian and a local villager strike up a conversation with Qu Yuan, and it is soon revealed that The Kingdom of Chu has been destroyed by its enemies. After learning this news, Qu Yuan’s heart breaks, and he drowns himself in the river. Xiao Lian and the villager raise the alarm, and the fishermen launch their dragon boats in a desperate attempt to save Qu Yuan.
Scene 7 | All hope is lost as the villagers return and collect Qu Yuan’s possessions. They take the scrolls containing his famous poetry to the Daoist temple, where they will be preserved forever. Xiao Lian returns to the present at the bedside of her dying father. With his encouragement and love, she finally recognizes the value of honouring the past.
Scene 8 | Xiao Lian performs the Qingming ceremony to honour the spirit of her departed father and mother. Love and fellowship combine in the running of a dragon boat race. Xiao Lian joins her friends and crosses into her future.
Scene 9 (Epilogue) | The combined spirits of Qu Yuan and Father return and ask the audience to release them from their servitude. That freedom granted, they ascend into the heavens triumphantly.
Twice winner of Juno Awards for Best Classical Composition, Chan Ka Nin’s works have been performed by ensembles and artists such as the Toronto Symphony Orchestra, National Arts Orchestra, CBC Vancouver Orchestra, Calgary Philharmonic Orchestra, Esprit Orchestra, Hamilton Philharmonic Orchestra, Manitoba Chamber Orchestra, Orchestra London Canada, Symphony Nova Scotia, Amici, Mirò Quartet, Purcell Quartet, Rivka Golani and Lawrence Cherney.
Mark is a Toronto-based playwright and librettist. His projects with composer Chan Ka Nin include Iron Road (Tapestry Opera), The Weaving Maiden (Soundstreams), Harmonious Interest (Victoria Symphony) and Dragon’s Tale (Tapestry/Soundstreams). Other selected work includes Monsieur d’Eon is a Woman (Pea Green Theatre Group/Buddies In Bad Times), The Chevalier St. George (Tafelmusik), The Schoolyard Carmen (Shoestring Opera) and Three Men in a Boat (Pea Green Theatre Group).
Michael Hidetoshi Mori is an internationally acclaimed stage director, working equally in site-specific settings and conventional theatres. As an operatic stage director, Michael is a two-time Dora Mavor Moore Award for Outstanding Direction winner for Rocking Horse Winner and R.U.R. A Torrent of Light.
David Fallis is a Canadian conductor and music director renowned for his work in both early and contemporary music. He has conducted at the Royal Opera House in Versailles, the Luminato Festival, the Glimmerglass Festival, the Singapore Festival, Festival Vancouver, Houston Grand Opera, the Seoul Arts Centre, Cleveland Opera, Wolftrap Theater, Utah Opera, and in major opera houses in Japan.
Hailing from Toronto Canada, Alicia Ault is a Chinese-Canadian actor with a passion for musical theatre, opera, and jazz music. Alicia is excited to be returning to Tapestry Opera as Xiao Lian in this co-production of Dragon’s Tale with Soundstreams and the Luminato Festival!
Mom / Zhang Yi / Villager / Female Friend (Cover)
Canadian mezzo-soprano and future veterinarian Evanna Lai is thrilled to return to the stage in Tapestry Opera’s Dragon’s Tale. As a singer, she apprenticed at Santa Fe Opera, and holds degrees from the University of British Columbia and the Yale School of Music. Ms. Lai has a special interest in contemporary and early music, but currently resides in Saskatoon, Saskatchewan, where she is pursuing a Doctor of Veterinary Medicine degree.
King / Male Friend
Mishael Eusebio is Filipino-Canadian Tenor currently based in Montréal and Toronto. He is an avid interpreter of contemporary classical music; recent engagements include: Young Harvey Milk (Harvey Milk Reimagined), the cover for Rose’s Fiancé (Awakenings) at the Opera Theatre of Saint Louis and the cover for Alexandre Rosenberg (La beauté du monde) at l’Opéra de Montréal. He has also workshopped operas with Houston Grand Opera and the National Sawdust in Brooklyn. Eusebio is a graduate of The Juilliard School, CCM (Cincinnati), and l’Atelier lyrique de l’Opéra de Montréal.
Qu Yuan / Father
Todd is delighted to return to the stage after a hiatus of 11 years to make his Tapestry Opera debut in the dual roles of Dad and Qu Yuan. As the son of a Chinese-Canadian mother, Todd learnt from a young age the importance of embracing and preserving cultural traditions. He would like to dedicate his performance to his mother, (Bonnie) Jang Mojing, his grandparents, (Dick) Jang Yin Chong and (Dora) Jang Gut Lin, and his cousin (Julia) Lee Moolan.
Korean-Canadian soprano Grace Lee discovered a love for contemporary music at 16 when debuting as Pandora in Dean Burry’s Pandora’s Locker. She is honoured to be a part of Dragon’s Tale, hoping all glory goes to Jesus.
Chorus (Mezzo) / Female Friend
Alyssa Nicole Samson is a Filipino-Canadian mezzo-soprano based in Vancouver, BC. Her artistic presence is inspired by her continued curiosity and dedication in bridging the gap between her Western classical education and her Filipino heritage. Driven by her passion to connect with the community through the operatic art form, it enabled Alyssa to tour and perform internationally in Portugal, Italy, Spain, Austria and the United States, in addition to working with musical communities within the Lower Mainland.
Mike Fan | 范祖铭 (they), is renowned for memorable performances in 11 languages, “sung extremely well and acted even better” (Opera Ramblings) across North America, Europe, and Australia. A multi-disciplinary artist whose work spans opera and beyond as a tenor, actor, producer, and educator, Mike is thrilled to make their professional début with Tapestry Opera in Chan’s Dragon’s Tale.
Hong Kong-born, Toronto-based singer Keith Lam (he/him) recently made his European debut with Soundstream’s staged production of Claude Vivier’s Musik für das Ende. He also appeared in the film adaption of the a cappella opera Sweat, reviving the role of the Boss, which had its premiere this year at the Kingston Canadian Film Festival.
SOUNDSTREAMS Choir 21
Founded in 2010 by Soundstreams’ Artistic Director Lawrence Cherney, Soundstreams Choir 21 is a pre-eminent group of exceptional singers selected on a project basis by Music Director David Fallis. Soundstreams Choir 21 members are handpicked for their ability to perform contemporary choral music. They are drawn from a pool of professional choristers, including the Canadian Opera Company Chorus, Tafelmusik Choir, and The Elmer Iseler Singers. The choir appears in Soundstreams’ concerts under David Fallis and with renowned guest conductors such as James MacMillan, Tõnu Kaljuste and Péter Eötvös. Soundstreams Choir 21 has performed with the Toronto Symphony Orchestra and for the Toronto International Film Festival, Art of Time, and Continuum. Soundstreams Choir 21 is committed to the highest possible standards for the performance of compelling new choral music in the 21st century.
David Fallis | Music Director & Conductor
Grace Lee | Soprano
Clara Krausse | Soprano
Gisele Kulak | Soprano
Alyssa Nicole Samson | Alto
Veronika Anissimova | Alto
Claudia Lemcke | Alto
Mike Fan 范祖铭 | Tenor
Robert Busiakiewicz | Tenor
Benjamin Keast | Tenor
Keith Lam | Bass
Jacob Feldman | Bass
Bryan Martin | Bass
Soundstreams has no permanent ensemble but has worked for more than twenty years with a nucleus group of some of Toronto and Canada’s finest instrumentalists assembled by the excellent cellist David Hetherington. As with Soundstreams Choir 21, they have appeared under esteemed international conductors of the stature of James MacMillan, Tõnu Kaljuste and Péter Eötvös. Ensemble Soundstreams made its first international tour to the Beijing Modern Music Festival and Taiwan’s National Concert Hall in 2013, returning to China in 2018 at the invitation of the Shanghai New Music Festival.
Patty Chan is a second-generation Chinese Canadian erhu musician, educator, composer, and author. She is the Music Director of the Toronto Chinese Orchestra, Co-founder of PhoeNX Ensemble with harpist Sanya Eng, and the Founder of the Centre for Music Innovations.
Wen Zhao is an acclaimed pipa virtuoso, “a sensitive and lyrical performer”. Born in Beijing, she began to learn the Pipa at the age of seven, having studied under the renowned pipa master Wang Fan Di at the China Conservatory of Music. In 1990 Wen continued her musical journey in England, performing and leading Chinese music workshops throughout the U.K. Wen has lived in Toronto since 1997 and teaches pipa at York University. She is the co-founder of the Lute Legends Collective, which is a performing association of musicians who represent ancient plucked-string traditions.
ZiWen Cynthia Qin, B. A. graduated from the China Conservatory of Music in Beijing; her excellent and mature performance is well-known in the Greater Toronto Area. Cynthia Qin has successfully developed her own distinctive performance style. Her performance is skillful, her timbre is soft and brilliant, and her expression is exquisite.
Flute / Dizi
Leslie Allt is a Toronto-based poly-flutist known for combining finesse with versatility. As Principal Flute for the National Ballet of Canada and regular guest principal with the Hamilton and Kitchener-Waterloo orchestras, he is a respected classical orchestral player and soloist.
Since 2009, Colin has been the oboist for the internationally acclaimed classical crossover ensemble Quartetto Gelato. During that time, he has been heard on global radio broadcasts, recorded 6 albums, received the 2010 INDIE award for best classical ensemble, and toured the world several times.
Dominic Desautels has been the Principal Clarinetist at the Canadian Opera Company since 2017 and on the University of Toronto faculty. He is considered one of Canada’s most sought-after wind instrumentalists and enjoys a thriving career as a soloist, chamber musician and pedagogue.
Zsofia Stefan is a winner of multiple international competitions and received an excellent diploma from the Franz Liszt Academy of Music, Budapest. Before relocating to Canada, she was the principal bassoonist and soloist of a leading Hungarian orchestra, Concerto Budapest (2011-2020). Her first solo album, “Exploring Enchanted Gardens” was released in 2018.
Olivia Esther is an active performer, having played with many of Canada’s finest arts organizations, orchestras and presenters, including the Canadian Opera Company, National Ballet Orchestra, Winnipeg Symphony, Symphony Nova Scotia, Festival of the Sound, Toronto Jazz Festival, and Mirvish Productions.
An active freelancer in Toronto, Anita McAlister has an interesting and varied career performing with the Toronto Symphony, the National Ballet Orchestra, the Canadian Opera Company, the Hamilton Philharmonic and the National Arts Centre Orchestra.
Toronto-born Ian Cowie is a member of the Canadian Opera Company Orchestra where he has performed over 150 opera productions including eight world premieres and […]
Hailed as “excellent” (New York Times, 2022) and “captivating” (Myanmar Times, 2018), Chinese-Canadian percussionist Michael Murphy has toured North America, Scandinavia, Europe, and Asia as a chamber and solo musician.
Dr. Michelle Colton is a versatile percussionist who has performed throughout North America, Asia, Europe, and Central America. She often performs with the Canadian Opera Company, Toronto Symphony Orchestra, Soundstreams, Esprit Orchestra, Niagara Symphony, and her duo Oregano Percussion.
Violin I / Concertmaster
Violinist Andréa Tyniec has created a versatile performance career as a soloist and as a collaborator with dance and theatre; and is recognized as a promoter of contemporary music, particularly of Canadian new works.
Violinist Suhashini Arulanandam is a musical explorer with an intense curiosity and a love for finding a commonality between elements. Her explorations have included tango, free improvisation, new music, historically informed performance/Baroque violin, and folk music traditions.
Suhashini is a member of the Hamilton Philharmonic Orchestra and Windsor Symphony Orchestra and frequently plays with the Esprit Orchestra as well as numerous other ensembles such as the Thin Edge New Music Collective, Arraymusic and Soundstreams.
Judith is a graduate of Wilfrid Laurier University, where she studied with members of the Penderecki String Quartet. She has been a member of the National Youth Orchestra, continuing her summer studies in Banff at the Orford Arts Centre and has participated in a number of QuartetFests at Wilfrid Laurier University.
A native of St. Catharines, Ontario, David Hetherington was the Toronto Symphony Orchestra’s Assistant Principal Cellist for many years. He received musical training at the Royal Conservatory of Music and the University of Toronto. He furthered his cello studies in New York, Italy and Germany with Claus Adam, André Navarra and Paul Tortelier.
Sanya Eng is one of Canada’s most sought-after harpists of her generation, equally celebrated as a soloist, chamber, and orchestral musician. A dynamic and sensitive performer, she has been described as “an outstanding musical talent” (Jerusalem Post), “remarkably polished” (Globe and Mail) and “dazzling with her delicate and intense command of the harp” (Musical Toronto).
Travis Harrison is professor of Double Bass at the University of Ottawa who performs regularly in chamber, soloist, and orchestra roles. Notable engagements have been as Guest Principal Bass of both the National Arts Centre and Canadian Opera Company Orchestras; Ottawa’s Chamberfest, Saskatoon’s Ritornello Festival, Owen Sound’s Sweetwater Festival, and festivals across Europe; as a champion of contemporary music with Array Music and Soundstreams; and as bassist-in-residence at the Lunenburg Academy of Music Performance and the Banff Centre.
Creative, DESIGN & Production Team
郝邦宇 Steven Hao is a Toronto-based director, actor, and writer passionate about creating work that breaks the boundary of what theatre can be. Born and raised in China, Steven is very open about how his upbringing and cultural influence have often impacted how he tells stories and leads his process.
Associate Conductor, Women in Musical Leadership Program
Naomi Woo, named by CBC in 2019 as a “Top 30 Classical Musicians under 30”, is the Assistant Conductor of Winnipeg Symphony Orchestra and the first-ever Music Director of Sistema Winnipeg.
Echo is an award-nominated Chinese immigrant, Tkaronto-based scenographer working in live performance. She has designed for Tarragon Theatre, Studio 180, Buddies in the Bad Times, Theatre Passe Muraille, Thousand Island Playhouse, Frog in Hand, The Theatre Centre, SummerWorks Festival, The Next Stage Festival, etc. Her design works have also been presented in Japan and China. Echo was one of Why Not Theatre’s ThisGen Fellowship cohorts in 2020.
Soundstreams’ Artistic Director
Lawrence Cherney’s first professional engagement was as oboist under the baton of Igor Stravinsky in the CBC Symphony. At the forefront of Canadian music for over 40 years, he is often referred to as Canada’s “Ambassador of New Music”.
Set & Costume Designer
Jackie has worked as a set and costume designer for over 200 productions, and her work can be seen across Canada and internationally. In addition, she is a production designer and art director for film and television.
Charissa spent the last couple decades working at the Iconic Queer Canadian Art Organization, Buddies in Bad Times Theatre (BIBT) as the Head of Production.
Myra is a career stage manager for both opera and drama. Theatre companies worked with include the Foster Festival, Grand Theatre, Citadel Theatre, Watermark Theatre and both the Stratford and Shaw Festivals; Opera companies include Toronto Operetta Theatre, Opera Hamilton, Pacific Opera Victoria, Vancouver Opera, Edmonton Opera, Canadian Opera Company, Opera Lyra and The Banff Centre.
Assistant Stage Manager
Rachel More is an artist living and working in Hamilton, Ontario. Past credits include Die Fledermaus (TOT), Sound of Music (Brott Music Festival), Ordinary Days (Hamilton Theatre Project), Mary’s Wedding (Rooks Theatre). Rachel loves opera and musical theatre and is excited to be making her debut with Tapestry.
Head of Props
David is an acquisitive props master and builder for hire whose work has been seen in almost every theatre throughout Toronto over the last 30 years. David has also been the props master for George Brown College Theatre School since 1997.
Head of Wardrobe
Ellie is a Toronto-based Costume Designer and Wardrobe Manager. Ellie currently serves as a Head of Wardrobe at Soulpepper Theatre Company.
Korean-Canadian pianist Hyejin Kwon moved to Toronto in 2012. A graduate of Peabody Conservatory of Music, University of Toronto Opera, and COC ensemble studio, she has worked as a music staff with Canadian Opera Company, Against the Grain Theatre, Canadian Children’s Opera Company, and Lyric Opera of Baltimore to name a few. She is also currently working on her DMA in collaborative piano at University of Toronto.
Pianist and composer Stéphane Mayer has quickly been establishing himself as one of Canada’s premier up-and-coming artists. A recent graduate of the COC ensemble, Stéphane has served as a rehearsal pianist and member of the music staff for Norma, The Magic Flute, Louis Riel, Arabella, The Abduction from the Seraglio, Anna Bolena, Eugene Onegin, Cosi fan Tutte, La Boheme and Otello at the Canadian Opera Company.
Patrick Iun is a multidisciplinary artist and musician based in Toronto, Ontario. A graduate of the Bachelor of Music program at the DAN School of Drama and Music at Queen’s University and the Music and Digital Media program at St. Lawrence College, he has been immersed in the arts all his life.
Behind the scenes
Past & Present
Soprano Alicia Ault (Xiao Lian) performs Past & Present from Dragon’s Tale. This piece shares Xiao Lian’s struggle to either “embrace new life and be free and selfish” or “embrace the past and be stuck in a dream”
Thank you to our Sponsors & Supporters
Dragon’s Tale is supported by George and Kathy Kawasaki.
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Tapestry Opera is an award-winning Toronto-based company dedicated to creating, developing and performing original Canadian opera. Tapestry is passionate about uniquely Canadian stories, told in innovative settings, unforgettably interpreted by world-class artists. Tapestry supports emerging artists, develops new audiences and brings Canadian opera to the world stage. Founded in 1979, Tapestry is the voice of original contemporary Canadian opera.
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Dragon’s Tale artwork by Gracia Lam
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Bradley Langham, Ticketing Manager
Kelly Estomo, Marketing & Communications Coordinator
Christine Harris, Senior Director, Marketing & Communications
Priyanka Ganguli, Marketing & Communications Manager
Cassandra Popescu, Digital Content Manager
Paulina Luciani, Digital Content Coordinator
Noor Gatih, Social Media Coordinator
Kelly Estomo, Marketing & Communications Coordinator
Jessica Litwin, Chief Development Officer
Natasha Udovic, Senior Director, Corporate Partnerships
Sarah Barrable-Tishauer, Partnerships & Events Manager
Jackie Nguyen, Membership Manager