Browsing: Opera

Toronto – In an announcement made this morning by the Department of Canadian Heritage, the Canadian Opera Company will receive $644,372 in crucial funding provided through the Canada Cultural Spaces Fund toward the Digital Infrastructure Enhancements Project at the Four Seasons Centre for the Performing Arts. The infrastructure plan, developed in partnership with The National Ballet of Canada, aims to implement a range of digital upgrades to the opera house, significantly boosting both organizations’ recording and broadcast capabilities in the immediate, as well as helping to improve both community and global access to  Canadian artistry and other community programming showcased in the…

Share:

Hamilton, Ontario – February 8, 2021 – BrottOpera is delighted to share Scenes From Filumena, a uniquely Canadian opera experience, now  available to stream online.  The opera Filumena, composed by John Estacio, libretto by John Murrell and set in Alberta, Canada, tells the story of the last woman to be executed in the province of Alberta. It is a tightly-woven tale of  romantic entanglements, bootlegging, crime, and punishment.  “The music is hauntingly beautiful, highly dramatic and Puccini-esque” said conductor Boris Brott.  Brott’s production features the National Academy Orchestra and an all-star cast including baritone  Gregory Dahl as Picariello, tenor Ernesto Ramirez as Stefano,…

Share:

SAN JOSE, CA (3 February 2021) – In keeping with Opera San José’s mission to expand accessibility to its work, the company has announced that through the support of generous donors it is able to extend access to its hit virtual production of Jake Heggie’s chamber opera, Three Decembers, now making it available on a pay-what-you-can basis for streaming on demand. The production is being offered with subtitles in Spanish and Vietnamese, as well as English, furthering its accessibility to the Spanish and Vietnamese speaking members of the San Jose community, two of the largest populations in its home region. Featuring world-renowned mezzo-soprano Susan…

Share:

by Olivier Bergeron in collaboration with Camille Rogers and with the participation of Katherine Goforth The performing arts in the Western world have never strictly enforced gender norms. Since European women were not allowed to appear on stage until the 17th century, men have performed female roles from the beginnings of Greek theatre, through the days of Shakespeare and, in some cases, continue to do so today.  The performing arts are, however, a place where gender can be not only challenged, but expressed. Openly transgender performers are starting to appear on stage, sometimes portraying a character whose gender corresponds with…

Share:

In recent years, opera companies have had no problem with singers of colour taking the roles of people of colour. In 2008, for example, the Opéra de Montréal welcomed Japanese soprano Hiromi Omura to the stage as the geisha Cio-Cio San. A few years later, in 2013, in a production by the Opéra de Québec, the Korean-born soprano Yunah Lee was chosen to play the character.  Some might fear that these artists are confined to a certain type of role and have few other options. They can remember the career of the great Leontyne Price. As early as the 1960s,…

Share:

Soprano Suzanne Taffot’s journey to the stage has been somewhat unconventional. A lawyer by trade, she studied in Cameroon, France and Quebec before embarking on a second career in music, something she never thought would be possible. “When I was growing up in Cameroon, becoming a classical musician wasn’t even a possibility,” she said. “After high school, I had three options: try to find a position as a government employee, continue my studies in literature or pursue law studies.” Taffot was struck by the beauty and harmony of the voices of a parish choir after arriving too early for a…

Share:

The death of George Floyd incited a series of protests across the United States, including in the world of opera. Mezzo-soprano J’Nai Bridges was invited by the Los Angeles Opera to give a virtual recital shortly after the events. Instead she offered to moderate a panel with fellow Black singers on the issue of race and inequality in their milieu. The company agreed. Among the participants were tenor Lawrence Brownlee, soprano Karen Slash and bass Morris Robinson, all of whom experienced at least casual or implied racism from the beginning of their careers. Much has changed for the better, of…

Share:

Much has been written, and rightly so, about musicians who have lost months of work because of the pandemic. What about those who, by some miracle, have had the opportunity to get back on stage? Magali Simard-Galdès was in Ireland when the pandemic forced the world to close up shop. After she arrived in Montreal on March 13, she found herself facing an almost empty calendar for the next year or so, as did the majority of the entertainment industry. She took advantage of the free time to prepare for a recording of Massenet’s complete mélodies to be released the…

Share:

Perryn who? This was the consensus in the hours following the ­announcement by the Canadian Opera Company that Perryn Leech, a British-born resident of Houston, would succeed Alexander Neef as general director in March. I include in this informal survey a critic who lived for decades in Texas. Perryn who? Not that someone of whom we have never heard is disqualified by his or her anonymity from leading the biggest opera company in the land. The pantheon of Canadian arts management includes many people of whom, when they were first appointed, we had never heard. Alexander Neef, the COC general…

Share:

WHEN ABSENCE HAUNTS US The postponement of the creation of L’orangeraie gave an opportunity for Chants Libres to film Prélude à l’opéra in the deserted Monument-National. This digital event, inspired by excerpts from the opera and coloured by constraints imposed on the performing arts milieu, will be webcast on January 21, 2021.  “After four years of work, I received the last notes of the score in March of 2020 just before the lockdown,” explains Pauline Vaillancourt. “We were ready for what was to come (costumes, rehearsals, set design, etc.), everything that is requires for the months leading up to a…

Share:
1 2 3 79