2018/2019 annual report - tapestry opera
TRANSCRIPT
SHANAWDITHIT photography by Dahlia Katz
TAPESTRY BOARD OF DIRECTORS & STAFFMESSAGE FROM THE BOARD CHAIRMESSAGE FROM THE ARTISTIC DIRECTOR
2018-2019 SEASON HIGHLIGHTS TAPESTRY BRIEFS: TASTING SHORTS HOOK UP SHANAWDITHIT TAP THIS! THE BOOK OF MY SHAMES
WORKS IN DEVELOPMENT
FIVE YEARS AT A GLANCE
EDUCATION & OUTREACH SONGBOOK & NEW OPERA 101 YOUTH INSIDE OPERA
FINANCIALS REVENUE AND EXPENSES OVERVIEW STATEMENT OF FINANCIAL POSITION STATEMENT OF OPERATIONS
SUPPORTERSINDIVIDUAL DONORS
456
8101214
1516
1820
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TABLE OF CONTENTS
“The leader of the opera pack”
GLOBE AND MAIL
ANNUAL REPORT 2018-2019 Tapestry Opera | 3
2 | Tapestry Opera ANNUAL REPORT 2018-2019
PHOTOS BY DAHLIA KATZ
MESSAGE FROM THE BOARD CHAIR
Brian DawsonChair, Board of Directors
We are pleased to report the company produced two new works that addressed social issues currently under scrutiny while, at the time, developed a framework to expand our geographic and artistic presence.
As Canada’s leader in new opera, Tapestry continues to cultivate relationships and programs that expand and enhance the genre. We are grateful for the steady increase
in public and private support for the company and believe this reflects the quality and relevance of our productions.
Finally, we wish to acknowledge one of our most generous supporters, the late Roger D. Moore, who shared our vision that new opera is a vital artistic endeavour.
We look forward to our 40th season!
TAPESTRY BOARD OF DIRECTORSCHAIR Brian Dawson
VICE CHAIR Christie Matwee
TREASURER
Jean-Francois Leclerc
DIRECTORS
Ali Kashani
Alex Nikolic
Richard Paradiso
Jill Roussy
Susan Salek
Juliette Sweeney
Chris Younkman
Dear fellow new opera lovers,
On behalf of the Board of Directors, I am pleased to report
that Tapestry Opera had another successful season.
PAST CHAIRS
Dana Lafarga
Helen Findlay
HONOURARY CHAIRErnest Balmer
ANNUAL REPORT 2018-2019 Tapestry Opera | 5
GENERAL DIRECTOR Michael Hidetoshi Mori
EXECUTIVE DIRECTOR Jaime Martino
MANAGER OF EXTERNAL RELATIONS Angie Caunce
MANAGER OF PATRON ENGAGEMENT & INDIVIDUAL GIVING Keith Fernandes
ASSOCIATE MANAGER COMMUNICATIONS Barbara Yebuga
GENERAL ADMINISTRATOR Kate Croome
PUBLICITY KWT International
FOUNDER AND FORMER ARTISTIC DIRECTOR
Wayne Strongman CM
TAPESTRY STAFF
It is interesting to note that both Hook Up and Shanawdithit were polarizing for the media, they were provocative. Both shows were written and directed with a feminist perspective, and both shows drew significant new audiences and audience acclaim. The feminist perspective might be the most important core element as the bulk of operas produced by professional entities in Canada in 2018 and 2019 are still written by men pre-1900 with romanticized misogyny, rigid gender stereotypes, and frequent endings including the death
of a woman. In order to renew and grow an audience for this art form we must consider and engage with the changing world we are in.
I am so proud of Yvette Nolan, Dean Burry, Julie Tepperman and Chris Thornborrow for creating shows that tap into the heart of our changing world while also creating beautiful, tragic, innovative, and provocative music and drama.
MESSAGE FROM THE GENERAL DIRECTOR
Michael Hidetoshi MoriGeneral Director
This season intersected with some of the most pressing and current conversations in Canada #metoo and Truth and Reconciliation with genre bending music and triumphant spectacle. Opera is at its core, storytelling with great music, vocality, and spectacle. It is true that opera cannot (and should not) do what journalism or documentary does in terms of addressing current and controversial issues. It can do what those cannot; have us spend an hour or two getting to know, love, and care for characters whose life and humanity are impacted by forces of those same controversial issues through compelling stories and spectacle. Spending time with Mindy and Cindy, and with Shanawdithit is spending time with people that most of us are not, but who perhaps we can see ourselves in, in some way.
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COMPOSERS
Ian CussonAugust Murphy-King
Rene OrthBenton Roark
LIBRETTISTS
Kanika AmbroseColleen Murphy
Lila PalmerDaniel Solon
CAST
SOPRANO – Teiya KasaharaMEZZO-SOPRANO – Stephanie Tritchew
TENOR – Keith KlassenBARITONE – Peter McGillivray
PIANIST – Jennifer TungLIBLAB PIANIST – Andrea Grant
CREATIVE TEAM AND CREW
DIRECTORS – Michael Hidetoshi Mori & Jessica DerventzisMUSIC DIRECTOR – Jennifer Tung
STAGE MANAGER – Jane HonekLIGHTING DESIGNER – Shawn Henry
TAPESTRY BRIEFS: TASTING SHORTS
“most satisfying”
OPERA RAMBLINGS
“excellently performed”
ANNUAL REPORT 2018-2019 Tapestry Opera | 9
The Composer-Librettist Laboratory, Canada’s flagship opera creation intensive for two decades, brings premier established and emerging artists together to experiment with the medium and form lasting collaborations.
For most composers and writers, the artistic process is a solitary one. Producers around the world agree that forming workable artistic partnerships between composers and playwrights is the single greatest challenge facing the development of new opera and music theatre. The Composer-Librettist Laboratory is Tapestry’s response to this challenge. Initiated in 1995, the laboratory is an intensive workshop for composers and writers to explore the collaborative process. Currently, the program attracts participants from Canada, the United States, and the U.K., as well other international participants. It is also the model for the English National Opera Studio’s All-in Opera, as well as Pacific Opera Victoria’s Composer-Librettist Workshop.
Tapestry’s Composer-Librettist Laboratory provides artists with the opportunity to work with several partners in a short period of time, thereby developing techniques for effective collaboration and also maximizing trial and error over a short period to clarify the most successful techniques and approaches.
ALL NEW WORKS BY THE ARTISTS OF THE 2018 COMPOSER-LIBRETTIST LABORATORY
SEPTEMBER 13 - 16, 2018 | ERNEST BALMER STUDIO
PHOTOS BY DAHLIA KATZ
8 | Tapestry Opera ANNUAL REPORT 2018-2019
CREATORSMUSIC – Chris Thornborrow
LIBRETTO – Julie Tepperman
CREATIVE TEAMDIRECTOR & DRAMATURG– Richard Greenblatt
SET & COSTUME DESIGNER – Kelly WolfLX & VIDEO DESIGNER – Monty MartinSOUND DESIGNER – Chris Thornborrow
STAGE MANAGER – Tamara VuckovicASSISTANT STAGE MANAGER – Anna SpencerPRODUCTION MANAGERS – Shawn Henry &
Eric ReadSCENIC ART – Megan Cinel
WARDROBE ASSISTANT – Tatiana Ferreira
CASTMINDY – Emily Lukasik
CINDY – Alicia AultTYLER – Nathan Carroll
STEPH/MOM/HEATHER – Alexis GordonDAD/DUDE/DUKE – Jeff Lillico
MUSICIANSMUSIC DIRECTOR/PIANIST – Jennifer Tung
PERCUSSIONIST – Greg HarrisonSECOND PIANIST – Andrea Grant
“opera at its most socially engaged and political”
THE TORONTO STAR
“beautiful, gut-wrenching and
absolutely riveting”
MOONEY ON THEATRE
“powerful”
BARCZA BLOG“haunting”
“so true it hurts – brought tears to my eyes”
SCHMOPERA
“real and raw”
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A TAPESTRY OPERA WORLD PREMIERE IN PARTNERSHIP WITH
HOOK UPMUSIC BY CHRIS THORNBORROW | LIBRETTO BY JULIE TEPPERMAN
JANUARY 29 - FEBRUARY 9, 2019 | THEATRE PASSE MURAILLE | TORONTO
Tapestry Opera, in partnership with Theatre Passe Muraille, presents the world premiere of Hook Up, an opera that traverses the awkward tensions within friendships, dorm life, and hook up culture on a university campus. As three friends begin university and explore their newfound independence, they quickly learn that freedom is fraught with challenges. Starkly resonant with the #metoo movement, Hook Up is a darkly humorous exploration of privacy and consent in three teens’ coming-of-age.Hook Up combines the genres of musical theatre and opera, creating a dynamic and rhythmically vibrant new style.
PHOTOS BY DAHLIA KATZ
“a transformative experience”
“each line is a gut punch”
MOONEY ON THEATRE
“unforgettable performance of
boundless passion and grace”
“pure magic”
BARCZA BLOG
OPERA GOING TORONTO
“an opera of immense importance”
CREATORSMUSIC – Dean Burry
LIBRETTO – Yvette Nolan
CREATIVE TEAMCO-DIRECTORS – Michael Hidetoshi Mori and Yvette Nolan
MUSIC DIRECTOR – Rosemary ThomsonSET DESIGNER – Camellia Koo (in conjunction with Artistic
Collaborators)LIGHTING DESIGNER – Michelle RamsayCOSTUME DESIGNER – Kinoo Arcentales
PROJECTION DESIGNER – Cam DavisPRODUCTION MANAGER – Charissa Wilcox
STAGE MANAGER – Kristin McCollumASSISTANT STAGE MANAGER – Lesley Bradley
CASTSHANAWDITHIT – Marion Newman (Kwagiulth and Stó:lō)
CORMACK – Clarence FrazerPEYTON, MAN 1, SPIRIT CHORUS – Asitha Tennekoon
KWE/SPIRIT CHORUS – Rebecca Cuddy (Métis)SPIRIT CHORUS/MOTHER – Deantha Edmunds (Inuk)
SIMMS/MAN 2/SPIRIT CHORUS – Evan Korbut (Ojibway)DEMASDUIT, DANCER, SPIRIT CHORUS – Aria Evans (Mi’kmaq/
Black/settler heritage)
ARTISTIC COLLABORATORSMichelle Olson – Choreographer (Tr’ondëk Hwëch’in First Nation)
Lori Blondeau – Visual Artist (Cree/Saulteaux/Métis)Jordan Bennett – Visual Artist (Mi’kmaq)
Jerry Evans – Visual Artist (Mi’kmaq)Meagan Musseau – Visual Artist (Mi’kmaq)
TORONTO CITY OPERA CHORUS Alicia Ault, Basia Baron, Teodora Borcean, William Cahoon, Carmen Cameron, Michela Foschia, Beverly Gibson, Madeline Hannan-Leith,
Lauren Levorson-Wong, Vivien Mann, Don Maudsley, Alexander Moss, Heather Pike, Vanessa Quinn, Brian Rosen, Nada Savicevic, Elaine Singer, Brennan Schommer, Trevor Rines, Esther Wang, Kathy Wert, Mark Wilson
ORCHESTRAVIOLIN 1 Hua-chu Huang
VIOLIN 2 Matthias McIntireVIOLA Brenna McLane
CELLO Bryan HoltBASS Daniel Lalonde
FLUTE/PICCOLO Amelia LyonCLARINET/BASS CLARINET Peter Stoll
HORN Ryan GarbettPERCUSSION Tim Francom
PERCUSSION Andrew Rasmus HARP Sanya Eng
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Shanawdithit - Shanawdithit is a landmark Canadian-Indigenous world premiere opera. Centred on the story of Shanawdithit (1801-1829), this collaboratively created opera combines soaring orchestration, evocative storytelling, and spectacular, large-scale works of art.
Mezzo-soprano Marion Newman, noted for her “sumptuous mezzo tone and impressive vocal agility”, makes her Tapestry Opera debut as Shanawdithit.
Thought at the time of her death to be the last of her kind, in 1829, Shanawdithit was taken to St. John’s by William Cormack, where she created a series of ten drawings that spoke of the life of her people, their encounters with the European settlers, and loneliness of survival. These detailed drawings are the foundation of the opera.
As nearly all of the Beothuk’s published history was written by Europeans and non-Indigenous historians, this collaboration sheds a new light on a story and people misrepresented by deeply flawed documentation. The story and libretto is written and curated by celebrated Algonquin playwright Yvette Nolan, with a score composed by Newfoundlander Dean Burry.
The opera brings Indigenous artistic collaborators together from Nations across the country to give voice to Shanawdithit and her people, responding to the ten drawings that are the only first-person account of the life of the Beothuk. Collaborators, performers, and Indigenous community members have been instrumental in the shaping of the work from the beginning of development, through a collaborative and workshop-driven creation process influenced by oral and visual histories passed down to them. The collaborators have studied each drawing and determined how to communicate the essence of Shanawdithit’s account, using dance, language, costume, photography, projections, sculpture and set design to bring her drawings to life on stage.
A TAPESTRY OPERA WORLD PREMIERE
SHANAWDITHIT MUSIC BY DEAN BURRY | LIBRETTO BY YVETTE NOLAN
CO-PRODUCED BY TAPESTRY OPERA AND OPERA ON THE AVALONMAY 16-25, 2019 | IMPERIAL OIL OPERA THEATRE
“stunning soundscapes”
TORONTO STAR
“powerful” “visually delectable spectacle”
THE GLOBE AND MAIL
PHOTOS BY DAHLIA KATZ
10 DAYS IN A MADHOUSECo-commission with Opera PhiladelphiaCOMPOSER - Rene OrthLIBRETTIST - Hannah Moscovitch
WORKS IN DEVELOPMENT
2019
CREATOR AND PERFORMER – Isaiah Bell
PIANIST – Darren Creech
DIRECTOR AND DRAMATURGE – Sean Guist
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TAP THIS!THE BOOK OF MY SHAMESCREATED AND PERFORMED BY ISAIAH BELLJUNE 6-8, 2019 | ERNEST BALMER STUDIO | TORONTO
“This is what would happen if the opera-singing lovechild of Noel
Coward and Sylvia Plath was encouraged by his therapist to perform
on Grownups Read Things They Wrote as Kids.”
- Isaiah Bell
In the premiere of his new solo show - part confessional comedy, part opera séance, part love letter to lost innocence - Canadian tenor, writer, and composer Isaiah Bell (Antinous in the world premiere of Rufus Wainwright and Daniel MacIvor’s Hadrian) traces the roots and ramifications of the war inside. The Book of My Shames takes a unique perspective on the the conflict between our naked primal longing and that basic modern need to make everything seem OK. It manages to find the humour in a gaslighting Evangelical cult and the pathos in a terrible teen-angst play, and to bring curiosity and compassion to parts of the human experience most of us would rather ignore.
Producing new works year after year, Tapestry Opera has a rich development history. It takes
several years to create a new opera and our rigorous process ensures the highest quality of new
Canadian works, offering new experiences to an ever-expanding audience base.
TAP:EX AUGMENTED OPERACOMPOSER - Benton RoarkLIBRETTIST - Debi Wong
2020JACQUELINECOMPOSER - Luna Pearl WoolfLIBRETTIST - Royce Vavrek
DRAGON’S TALECOMPOSER - Ka Nin ChanLIBRETTIST - Mark Brownell
GOULD’S WALLCOMPOSER - Brian CurrentLIBRETTIST - Liza Balkan
R.U.R.COMPOSER – Nicole LizeeLIBRETTIST – Nicolas Billon
2021
20222023
OF THE SEACo-commission with Obsidian TheatreCOMPOSER - Ian CussonLIBRETTIST - Kanika Ambrose
ANNUAL REPORT 2018-2019 Tapestry Opera | 15
PHOTOS BY DAHLIA KATZ
PHOTOS BY DAHLIA KATZ
ANNUAL REPORT 2018-2019 Tapestry Opera | 17
REVENUE GROWTH OVER LAST FIVE YEARS
$1,000,000
$750,000
$500,000
$250,000
0
2014-2015 2015-2016 2016-2017 2017-2018 2018-2019
$771,454
$ 981,720$ 1,036,958
$ 1,077,417
$ 705,746
63%TOTAL NEW AUDIENCE GROWTH OVER 3 YEARS
101%TOTAL SUBSCRIPTION GROWTH OVER 3 YEARS42%
TOTAL AUDIENCE GROWTH OVER 3 YEARS
AUDIENCE GROWTH OVER LAST THREE YEARS
Tapestry’s revenues have climbed steadily and significantly over the last 5 years.
We achieve reliable and repeatable growth year over year.
The consistent quality of work and marketing efforts builds audiences
Tapestry’s groundbreaking strategies to reach new audiences have proven successful
Tapestry’s focus on community building helps us retain audiences
©Dahlia Katz
©Dahlia Katz©Dahlia Katz
©Dahlia Katz©Dahlia Katz
©Dahlia Katz
“TAPESTRY IS THE LEADER OF THE CANADIAN OPERA PACK”
- GLOBE AND MAIL
Dora Mavor Moore nominations and 14 wins
4511 70 5
FIVE YEARS BY THE NUMBERS
World Premieres Works currently in development
Partnerships with artistic companies, major venues, and educational institutions
Tapestry Opera works with diverse community groups to engage and create entrances to the art form and tell specifically Canadian stories. Communities that we have worked with include Persian, Indigenous, Ukrainian, Japanese, Chinese and LGBTQ.
Working with female music directors and composers is a priority that we stand behind with real action. Equity within our hiring of performers sets the bar within the opera community.
EQUITY AND ACCESSIBILITY
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18 | Tapestry Opera ANNUAL REPORT 2018-2019
JACQUELINE WOODLEY
New Opera 101 is a masterclass intensive and concert
showcase for emerging singers and collaborative pianists.
Participants are assigned contemporary Canadian repertoire,
individually curated from the Tapestry’s decades long history
of developing new works. Singers and pianists will perform
and workshop their repertoire in masterclass and then have
an opportunity to showcase the best of the masterclass in
concert performances.
This masterclass invites emerging artists to expand their
repertoire and learn from some of the greatest opera talent
Canada has to offer. Each year New Opera 101 invites
established and highly accomplished singers and pianists to
act as master clinicians to the New Opera 101 students. Also
instructed and directed by Artistic and General Director
Michael Hidetoshi Mori, students are invited to enhance and
showcase their skills.
Following the masterclass intensive, the program culminated
in public performances in concert as part of Songbook IX,
with participants performing alongside soprano Jacqueline
Woodley and pianist Andrea Grant.
NEW OPERA 101 &SONGBOOK IXMARCH 29-30, 2019 | ERNEST BALMER STUDIO | TORONTO
ANDREA GRANT
SOPRANO – Jacqueline Woodley
PIANO – Andrea Grant
DIRECTOR – Michael Hidetoshi Mori
ANNUAL REPORT 2018-2019 Tapestry Opera | 19
PHOTOS BY DAHLIA KATZ
ELISABETH BOUDREAULT - Mezzo-sopranoLINDSAY I. CONNOLLY - Soprano
BRIANNA DESANTIS - SopranoRYAN DOWNEY - Tenor
GABRIELLE FRENCH - Mezzo-sopranoREBECCA GRAY - Soprano
LAUREN E. HALÁSZ - Mezzo-soprano
RYOKO HOU - PianoRACHEL KREHM - SopranoQIAO YI MIAO MU - PianoBRITTANY RAE - SopranoANNE-MARIE RAMOS - SopranoJENNIFER ROUTHIER - Mezzo-soprano
Tapestry Opera’s Youth Inside Opera Program gives
youth and children from Toronto’s Neighbourhood
Improvement Areas a full scholarship to train and
mentor with classical opera and other performing arts
professionals to learn musical storytelling and engage
in the creation and performance of their own opera.
Participants join Tapestry’s faculty of composers,
playwrights, and artists, including specialists in dance,
spoken word, rap, and graffiti arts to create story
and music that is their own. The youth are coached
in singing, drama, and music and given opportunities
to not only perform their opera, but also to be the
driving creative force behind the stories, music, and
scenic design that they perform. The program ends
with a performance for family and friends.
Tapestry values art as one of the greatest forms
of self-expression and stands behind Youth Inside
Opera as a program that empowers youth in
Toronto to express themselves and find their voice.
Youth Inside Opera closely parallels Tapestry’s
professional new work development and allows us to
bring in award-winning playwrights and composers
from our professional endeavours to mentor and
collaborate with Youth Inside Opera participants.
We believe that opera is uniquely able to
communicate raw emotion, and we are committed
to creating opportunities for youth to collaborate
directly with the best possible professional artists.
YOUTH INSIDE OPERAYOUTH MUSIC THEATRE CREATION PROGRAM
JULY 16-28, 2018 | WEST NEIGHBOURHOOD HOUSE | TORONTO
ANNUAL REPORT 2018-2019 Tapestry Opera | 20
CATHY NOSATY
DONNA-MICHELLE ST. BERNARD
HUSSEIN JANMOHAMED
JAVID JAH
YOUTH INSIDE OPERA FACILITATORS
45%GOVERNMENT$481,507
22%INDIVIDUALS$238,530
4%STUDIO RENTAL$47,512
16%BOX OFFICE$176,612
11%CORPORATIONS & FOUNDATIONS$121,246
EXPENSES
57%ARTISTIC$609,754
19%ADMINISTRATION$205,885
6%FACILITY$61,664
16%FUNDRAISING$61,230
12%MARKETING & COMMUNICATIONS$129,188
1%ENDOWMENTS$12,010
SOURCES OF REVENUE
EXPENSES
ANNUAL REPORT 2018-2019 Tapestry Opera | 21
2019 2018 2017
ASSETS
Current Assets
Cash and guaranteed investment certificates $ 21,546 $ 20,116 $ 214,133 *
Accounts receivable $ 96,199 $ 44,870 $ 21,945
Harmonized Sales Tax recovered $ 14,923 $ - $ 22,764
Prepaid expenses $ 24,535 $ 18,402 $ 11,945
$ 157,203 $ 83,388 $ 270,787
Capital assets $ 21,393 $ 26,020 $ -
Collection (Bosendorfer Concert Grand Piano) $ 229,885 $ 229,885 $ -
$ 408,481 $ 339,293 $ 270,787
LIABILITIES
Current Liabilities
Bank indebtedness $ 94,349 $ 94,873 $ -
Accounts payable and accrued liabilities $ 31,634 $ 18,332 $ 17,856
Loan payable $ 20,000 $ - $ -
Harmonized Sales Tax payable $ - $ 146 $ -
Deferred revenues $ 48,508 $ 19,131 $ 291,450
$ 197,491 $ 132,482 $ 309,306
Defferred capital contributions $ 6,250 $ 6,750
$ 203,741 $ 139,232 $ 309,306
NET ASSETS (DEFICIT)
Collection $ 225,000 $ 225,000 $ -
Unrestricted $ (20,260) $ (24,939) $ (38,519)
$ 204,740 $ 200,061 $ 270,787
$ 408,481 $ 339,293 $ 270,787
SUMMARY STATEMENT OF FINANCIAL POSITIONAS OF JUNE 30, 2019
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2019 2018 2017
REVENUES
Fundraising $359,776 $ 350,077 $ 425,486
Grants $ 481,507 $ 473,526 $ 393,418
Earned Revenues $ 224,124 $ 201,288 $ 151,051
Ontario Arts Foundation Endowment $ 12,010 $ 12,067 $ 11,765
$ 1,077,417 $ 1,036,958 $ 981,720
EXPENSES
Artistic
Artistic professional fees $ 296,756 $ 303,813 $ 244,545
Programming $ 104,895 $ 92,390 $ 105,821
Production and technical salaries and fees $ 135,505 $ 60,572 $ 127,392
Artistic salaries $ 70,302 $ 70,518 $ 64,187
Royalties $ 2,686 $ 3,421 $ 2,564
Administration
Salaries, benefits and fees $ 120,817 $ 104,742 $ 78,743
Office and general $ 86,068 $ 83,460 $ 70,671
Marketing and communications $ 129,188 $ 145,599 $ 136,834
Facility $ 61,664 $ 54,975 $ 53,072
Fundraising $ 61, 230 $ 101,575 $ 51,797
Amortization $ 4,627 $ 2,313 $ -
$ 1,072,738 $ 1,023,378 $ 935,626
EXCESS (DEFICIENCY) OF REVENUES OVER EXPENSES $ 4,679 $ 13,580 $ 46,094
DEFICIT - BEGINNING OF YEAR $ (24,939) $ (38,519) $ (84,613)
DEFICIT - END OF YEAR $ (20,260) $ (24,939) $ (38,519)
SUMMARY STATEMENT OF OPERATIONSAS OF JUNE 30, 2019
ANNUAL REPORT 2018-2019 Tapestry Opera | 23
*The audited financial statement takes a “snapshot” of bank account on day of audit. The Canada Council for the Arts multi-year operating grant had just been awarded and tranferred to account.
FOUNDATIONS
SEASON SPONSOR
GOVERNMENT SUPPORT
ORGANIZATIONS
24 | Tapestry Opera ANNUAL REPORT 2018-2019
HEARTFELT THANKS TO OUR GENEROUS SUPPORTERS
MAJOR DONOR ($5,000+)Ernest Balmer and Barb Parsons
Reginald Bronskill and Helen Findlay
Denton Creighton and Kris Vikmanis
Brian Dawson and John Therrien
Cornelia Schuh and Michiel Horn
Michael and Linda Hutcheon
Annonymous
PRODUCER ($2,500-$5,000) Dana Lafarga
Jean-Francois Leclerc
Christie Matwee and Scott Hawrelak
Michael and Caitlin Mori
R. Bruce Murray
Chris Younkman
DIRECTOR ($1,000 - $2,499) Lisa Balfour Bowen
Harold Chmara and Danny Hoy
Rodney Ellis
Hana Havlicek
Claire Hopkinson
Miranda Hubbs
Ellen Karp
Ali Kashani
George and Kathy Kawasaki
Toshifumi Mori
Kevin Morse
Noel Mowat
Richard Paradiso
Sarah Perry and Ronan McGrath
Jill and David Roussy
Susan and Joe Salek
Katalin Schafer
Wilma Spence
Juliette Sweeney
CREATOR ($750 - $999) Michael Beswick
Don and Helen McGillivray
INFLUENCER ($500 - $749) Eric Adelman
Tricia Black
Jeffrey Coull
Sarah Crawford
Don and Francie Kendal
Ann MacKenzie
Joe Martino
Elizabeth Miller
Mary Newman
Shirley Neuman
Bruce Reid
DeeAnn Sagar
Wayne Strongman
PATRON ($250 - $499) Kristine Anderson and Richard Wolfe
Annick Aubert
Stephan Bonfield
John Burge
Paul Ciufo
Brian Corman
Lorraine Coull
Lynda Covello
Spencer Cripps
Chrystal Dean
Robert Dick
Jean Edwards
Aaron and Patricia Fenton
Marsha Groves
Waldemar Halek
Adrian Ishak
Paul Jessen
Ulrich Menzefricke
Joseph Mulder
Brigid O’Reilly
Trixie Postoff
Robin Roger
Annie and Ian Sale
Iain & Barbara Scott
Maureen Simpson
Jini Stolk
Krisztina Szabo and Kristian Clarke
FRIEND ($100 - $249) Susan Aihoshi
Tola Ajao
Carol and Ken Anderson
Richard Archbold
Seiichi Ariga
Katerina Cizek
Amy Colson
Robert Cook
Terence Crowley
Maria del Junco
Ben Dietschi
Keith Fernandes
John Freund
Nikita Gourski
Catherine Graham
Ken Hall
Bryan Holt
Sally Holton
Teiya Kasahara
Carrie Klassen
Jennifer Krabbe
Laura Lane
Ken Marple
June McLean
Alec McGillivray
Kathleen McMorrow
Robert Missen
Susan Mortimer
Alon Nashman
Marlene Preiss
Margaret Procter
Benton Roark
Alison Smiley
Maria Soulis
Linda Steingarten
Jennifer Szeto
Barbara Titherington
Stefani Truant
Susan Van Allen
Carina Vassilieva
Sis Weld
Lilie Zendel
Kirk Zurell
THANK YOU TO OUR PARTNERS
ANNUAL REPORT 2018-2019 Tapestry Opera | 25
SHAPING THE FUTURE OF OPERA
PHOTO BY DAHLIA KATZ