Opera Canada -julkaisun Spring 2024 -irtonumeron sisällysluettelo

On our cover, we feature the talented conductor Jordan de Souza, who is set to take on the esteemed position of General Music Director of the City of Dortmund, Germany; he will be responsible for the Opera and the Symphony Orchestra. Jordan’s passion for opera and his dedication to musical excellence make him a shining example of Canadian talent on the global stage. We wish him all the best in this exciting new chapter of his career. We also spotlight several other visionary leaders who are making significant contributions to the opera community at home. Gordon Gerrard, as the new Artistic Director of City Opera Vancouver, brings fresh perspectives and innovative ideas to the company. Tania Miller’s appointment as the Artistic Director of BrottOpera builds upon the late Boris Brott’s…

Originally from the Netherlands, van Lierop immigrated to Canada at the age of seven. He attended McGill University, motivated initially by Montreal’s vibrant indie rock scene—he even had an Arcade Fire cover band! It was Michael McMahon’s Song Interpretation class and van Lierop’s first performance of Schubert’s Die Schöne Müllerin that redirected his focus entirely to classical music. He also mentions the positive impact of Patrick Hansen’s Insights into Music Theatre and Opera class, and the meaningful collaborations he’s had with colleagues like pianist Jennifer Szeto and conductor Jordan de Souza. Van Lierop’s mother, a violinist in the Netherlands Radio Philharmonic until the family moved to Canada, certainly influenced and nurtured his love of music. She took him to Haydn’s Il mondo della luna when he was a young boy—“a…

… Opera and classical music are hyper international. Your career has spanned US, European and Canadian markets. What have you learned and what insights can you offer about operating in different contexts? Over the past year, managing the entire European legal market has been a transformative experience. While the transition presented challenges, the core principles of professionalism remain universal—earning trust, clear communication, active listening, and consistently adding value. How have you cultivated resilience and adaptability, necessities for classical musicians and companies, too? Cultivating resilience and adaptability has been deeply personal for me, emphasizing a growth mindset, and seeing setbacks as experiences rather than failures. Meditation, particularly following Yogananda’s teachings, has changed my life—it has helped me become more resilient and able to face the challenges that life inevitably brings, and…

Joseph So talks to Edith Wiens, the great Canadian soprano and celebrated teacher, about advice for aspiring singers As Canadian opera lovers know well, the Great White North has produced many outstanding classical singers. While most of them receive their early training at home, many choose to continue their studies outside Canada, mostly in the US or Europe. This is due to the relatively limited opportunities for full-time classical singing careers in Canada. Many have gone on to flourishing careers in Europe, gracing their prestigious opera houses and concert halls. Soprano Edith Wiens is a prime example. Born to a Mennonite family in Saskatoon, Wiens studied in Hanover, Germany at a young age and won several European competitions along the way. She made her professional debut in 1980 with the Berlin…

Jessica Muirhead talks to Wendy Nielsen and Dr. Betty Allison When considering training programs for future Canadian opera performers, the larger cities are first to spring to mind. The Canadian Opera Company (COC) Ensemble Studio in Toronto, NUOVA Vocal Arts in Edmonton, l’Atelier Lyrique de Montréal, and the Yulanda M. Faris program in Vancouver to name a few. One shouldn’t, however, overlook the impact that a smaller, shorter program can have on a performer’s preparation for a life in the spotlight. In the idyllic town of St. Andrews by-the-Sea, New Brunswick, there is a small summer Opera Workshop which has been nurturing Canadian talent for 30 years. What started out as a weekend singing workshop for high school students has evolved into a multi-faceted program offering daily voice lessons, masterclasses, dramatic and…

The late actor and comedian Charles Nelson Reilly was a great opera fan, though he was often highly critical of the old-fashioned and staid productions he was seeing. When asked why he still faithfully attended operatic performances he answered, “I always hope that this will be the night that Rodolfo actually looks at Mimì”. I wish Mr. Reilly had seen a production directed by Constance Fisher. It would have delighted him. Connie (as she was known to all of us) began her musical career at The Royal Conservatory of Music studying piano with Alberto Guerrero and voice with Weldon Kilburn and later, Irene Jessner. After graduating from the newly formed Opera School, she made her debut in 1957 with the Canadian Opera Company (at that time called the Opera Festival…

LC: What separates a good leader from a great one? PS: A clearly articulated vision and strategy for its execution are fundamental. But in the arts, from fundraising to management, a great leader is genuine—able to convince people that what you’re doing is important. And these people have to like you and want to spend time with you. The RCM is unlike other cultural entities in Canada with activities across North America, a large base of educational IP, three schools, a major Performing Arts series, a publishing division, an Early Childhood Centre and examinations. A great leader here must have a growth mindset—the status quo will not increase participation levels or fundraising. Coupling this with business ventures, we can diversify the revenue base. LC: And you’re an artist! You studied…

1. Initiate contact with administrators of opera houses, along with teachers and coaches integral to your studies and career. Their familiarity with your strengths and belief in your potential make them valuable allies who can assist in crucial networking efforts. 2. With 23 opera houses in Germany, acquiring some proficiency in German proves advantageous due to abundant opportunities. All German opera house websites are accessible online. Locate the phone number for their Künstlerisches Betriebsbüro, commonly referred to as the KBB (Artistic Planning Office) and inquire about their next “Informatives Vorsingen” (an audition where they are not looking for a candidate for a specific role, but simply to hear someone new). Express your intention to send your materials and be prepared for multiple followup calls to secure an audition date. 3.…

Lev Bratishenko spotlights City Opera Vancouver’s new Artistic Director Survival isn’t enough. That’s the Gordon Gerrard, who sounds acutely aware conviction you take away from a conversation with City Opera Vancouver’s Artistic Director of the special risks and opportunities that come with running a smaller opera company. More nimble and carrying fewer costs, like leases on big halls that were always hard to fill, the smalls can have a clearer identity and a purposeful culture—but they also have smaller endowments (if they have one at all) and can rightly feel financially precarious. Most recently the Kitchener-Waterloo Symphony filed for bankruptcy, but what would happen if one of Canada’s major organizations, something with the international recognition of the Canadian Opera Company, looked like it was about to disappear? Perhaps some organizations…