Table of contents for 60th Anniversary Issue in Opera Canada

GERALD FINLEY: One of the things that is interesting is the fact that you live in the United States—does that impact your choice of role progression into what would be considered bigger or more developed repertoire? Is something like Tannhäuser—which I have to say you’d be perfect for in a European house, no doubt—is that something that you then think, “It’s all very well doing that in the European house, but how would it be in the places where I would really want to work in the US?” JOSHUA HOPKINS: I think that’s a huge consideration. Most US and Canadian houses are larger than normal. The majority are built for multi-purpose events and most of those events are amplified. So I think it’s a particular challenge singing in North America…

IAN RYE: So did you come to opera because of a connection to Tapestry or because you were drawn to the company? JAIME MARTINO: I was drawn to the company. I was looking around for my next move but nothing excited me the way that Tapestry excited me. It was the emphasis on the contemporary grounding of that work, the acknowledgement that works are created in a particular time and place. And by acknowledging that, you open up more interesting stories. It was the company’s ethos that drew me in. I love the work that we do and it has opened the door to all kinds of opera appreciation, but what I think remains true to me is that I’m here for Tapestry. I: And isn’t that exciting? Each of…

From its inception 1998, Opera NUOVA was dubbed “CANADA'S OPERA BOOTCAMP”. More than 20 years later, Opera NUOVA is nationally recognized as a renowned training program and Spring Festival for Canadian emerging artists. Opera NUOVA exists…. because we believe in instilling excellence in emerging and newly professional artists and wish to inspire this next generation to persist in pursuing their passion, dreams and aspirations as performing artists of the future. Since its founding, NUOVA has played a critical role in Edmonton, Alberta's cultural tapestry. Our longevity is based on a commitment to follow guiding principles created at inception: affordable ticket prices, a focus on the development of emerging Canadian artists, and productions of compelling, lesser known works performed in intimate venues that engage a diverse audience. The NUOVA Opera and…

My bold PREDICTION for Canadian opera in 60 years is… Patrick Corrigan, General Director of Opéra de Montréal: There will be fewer ‘big stage’ opera companies and the ones that survive will have distinctive and compelling artistic brands, and major digital presence. The digital experience will continue to improve, digital consumption will continue to grow and our digital audiences will count. Topher Mokrzewski, artist agent/Dean Artists Management: We’ll see robust growth in government investment, reaching European-like levels, reflecting a fundamental change in how we view the importance of arts and culture in Canadian society. Anna Theodosakis, director: We will see way more BIPOC [Black, Indigenous, People of Colour] creators on stage and in artistic leadership positions. Tom Wright, General Director of Vancouver Opera: New operas telling the stories of our…

JORDAN DE SOUZA: What was it like to discover Vienna as a young person in the 60s and 70s? TIMOTHY VERNON: When I arrived to begin my studies in Vienna in 1965, the Staatsvertrag, which created the Second Austrian Republic, was only 10 years old. Worn and dirty, shell-shocked from the war, and with a soft currency, Vienna was still picking itself up. Culturally, especially musically, it rallied around its great tradition, and was for a time to remain almost parochial in conveying approval on artists and composers. It had not even begun to come to terms with its last 40 years. I came ready to fall on my knees at the mention of Mahler’s name, but of course he was virtually unknown, absent from the repertoire since the 30s.…

Founded as Opera.ca in 2000, we quickly became known as the association that “punches above its weight.” A hallmark of our first decade was the Canadian Opera Creation Fund which granted $2.5 million towards development of over 75 new, distinctively Canadian operas. The next ten years featured innovative new programs and services including: programwhichhelpedfledglingarts organization think more like a start up. animpact investing program and North American first, which provided essential capital to the recent production of thelargestcoproductioninCanadian operatic history. Our ground-breaking ayardstickfor measuring the impact opera has in its community, allowing opera companies to communicate their impact locally and nationally to funders and other community stakeholders. Our thatprovidesacriticalcontinuum between training institutions, emerging artists, and the opera companies they will work for. When the pandemic struck and closed…

CAMELLIA KOO: How did you get your start in the industry? SUSAN BENSON: Both my mother and grandmother were in the theatre. I grew up in that atmosphere and it was always something that I wanted to be a part of. In the early 20th century, my grandmother trained for what was then “grand opera.” She had a beautiful voice but it was not considered a good profession for a young woman to enter; however, with the First World War attitudes changed, and because my grandfather had been gassed in the war, she became the breadwinner. She ended up performing musical comedy in the West End, not opera. My mother acted, taught and directed in the UK and in Canada when we first emigrated here; much of my knowledge of…

Teresa Stratas TERESA STRATAS IS UNQUESTIONABLY one of Canada’s most dynamic operatic stars. I’ve never had the chance to meet her, but have learned so much through her example. She first inspired me when I was learning about Kurt Weill; her album The Unknown Kurt Weill is simply iconic! Her attention to detail was always evident, her clarity of intention poured through every sound she made, and her command of language was dramatically nuanced and so expressive. After digging a little deeper, I discovered her greater body of work to be wonderfully varied and exciting, from her sweet Mimì in Zeffirelli’s production of La bohème, to her gripping portrayal of Salome in Götz Friedrich’s 1975 film version, to her premiere of Berg/Cerha’s completed Lulu in 1979. This was the kind…