AtG-DORIS

AtG DORIS: Technology is shaping the future. How will it change the future of opera?

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Technology has affected nearly all aspects of our lives. We are more connected and have access to more information than ever before. It is the solution to many of our problems, and the cause of many others. The question we keep asking ourselves is: how does an opera company adjust to this current reality and use technology to serve our audiences better?

At Against the Grain Theatre (AtG), we believe that technology is key to reaching new audiences and enriching the experience for existing audiences. Our company was formed on the idea that opera can be produced anywhere, including a dimly-lit pub, a remote grotto and shiny TV studio. Presenting opera online is our next challenge.

Over the past several months, we’ve been serious about exploring livestreamed performances. We’ve been speaking with experts from around the world and, more importantly, asking opera audiences for their opinions on livestreams. With the generous support of the Canada Council for the Arts, we’ve engaged digital consultant Michael Morreale to lead a comprehensive research project. The project is called the Digital Opera Research and Intelligence Study. We like to call it DORIS for short.

Download our free White Paper in English or French to read the complete results.

Our big takeaways:

  • 35.7% of respondents have watched a livestreamed performance; however, 72.8% say they are at least somewhat interested in doing so.
  • The majority of respondents say they would pay to watch a livestream. In fact, almost a quarter of respondents would pay $10 or more.
  • 31.9% of respondents say they are more likely to donate to an opera company after it has streamed an opera.
  • Only 55.2% of respondents report watching online video at least one per week. This is significantly lower than the Canadian video consumption rate of 85% across all demographics.*

Of course, it is impossible to generalise the views of all opera-goers. Some expressed complete disinterest toward experiencing opera in this way. It is clear that livestreaming isn’t for everyone. But others see livestreaming as the best way to get their opera fix between the performances they are able to attend in person. Time and money are the top barriers stopping opera fans from attending more performances, and free or cheap livestreaming is one solution to this problem. But neither group sees watching a livestream as a replacement for the live experience.

Download our free White Paper in English or French to read the complete results.

We acknowledge the support of the Canada Council for the Arts.
Nous remercions le Conseil des arts du Canada de son soutien.

* IAB Canadian Media Usage Trends Study 2018

AtG DORIS: Q&A with Alex Olegnowicz of Symmetrica

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As part of Against the Grain’s Digital Opera Research and Intelligence Study (DORIS), we sat down with livestreaming experts to chat about the intersection between opera and technology. In the Q&A below, you’ll meet Alex Olegnowicz, founder and CEO of Symmetrica.

Symmetrica is a Toronto-based company specialising in webcasting solutions for orchestra, opera, ballet and jazz. With over 20 years of extensive experience in production, post-production, and live events, Alex has successfully developed and managed companies in media and entertainment and has worked with some of the most important producers and directors in Canada, the U.S. and Brazil. Alex was personally nominated in 2002 for the Emmy Award in a craft for CGI and Design.

How did Symmetrica come to be?

Symmetrica was founded in 2014 when we started looking at availability of concerts and media in new platforms. We noticed a lack of production outside traditional broadcasters and streaming services, so we started research on new ways of production and distribution using technology that was just starting to become available.

What is the best way of disseminating livestreams?

We suggest using as many platforms as possible and then routing viewers back to your website. Enabling multicasting to all platforms is the best way to make your stream accessible to the widest possible audience. We recommend using Facebook Live, Twitter, Livestream, YouTube and even non-traditional online video platforms.

What are some possible revenue streams to support recording and streaming projects?

I don’t believe that a paywall approach to streaming performances is a sustainable model. Even the most recognized organizations report a modest income if any, and the model keeps some audiences away. In our experience, the best model is direct sponsorship with non-traditional advertisers that can benefit from exposure to your audience.

Tell us about the current project you’re working on.

We are currently working on a series that takes an intimate look at the life of composers, conductors and soloists. We are also developing a semi-automated switching and camera control system specifically designed for live performances.

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AtG DORIS: Q&A with Hervé Boissière of Medici

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As part of Against the Grain’s Digital Opera Research and Intelligence Study (DORIS), we sat down with livestreaming experts to chat about the intersection between opera and technology. In the Q&A below, you’ll meet Hervé Boissière, founder and CEO of Medici.tv.

Medici.tv is the world’s leading online classical music channel. It broadcasts over 150 live events each year from the world’s most prestigious stages. Based in Paris, Hervé Boissière worked in various executive positions in the recording industry before founding Medici.tv in 2008.

How did Medici.tv get started? What was the need?

As a music producer, my goal and responsibility has always been to efficiently connect the best artists with the biggest possible audience worldwide. When I saw YouTube in 2005, I immediately understood that a new phase of our industry was starting. In June 1999, Napster completely changed (or even destroyed) the CD business and it was clear that we needed a new format for promoting artists. The obvious solution was to create a new place where people could “attend” some fantastic concerts from their home. We had the intuition to set up a freemium model combining livestreaming for free and a collection of programs available on SVOD (Subscription Video On Demand), behind the paywall. The idea was to combine YouTube and Netflix.

How has the response to Medici.tv changed since the beginning?

The support and the response of the artists, without whom nothing is possible, has not changed since we started 10 years ago. It is amazing to see how they love to join our productions and how they appreciate the international reach we deliver to them.

The main change has been on the audience side. Medici.tv was the very first platform dedicated to classical music. It started in 2007 with full coverage of the Verbier Festival with 27 concerts webcasted live all around the world. Since then, newcomers have arrived including the Berlin Philharmonic’s Digital Concert Hall, the Met Opera on Demand and public broadcasters like Arte, ORF and BBC switching to streaming. But we are still the only platform open to everyone and without any structural connection or influence from the partners.

Another challenge for us has been moving from a promo platform at the beginning, beloved by the users by definition because it’s free, to various forms of monetization which obviously secure our future financially and our independence. That is the reason why we created a diversified business model, combining B2C (about 20k individual subscribers YTD), B2B (strong distribution in the education market with over 200 universities and music schools in our client portfolio), and sponsorship (corporate partners like Rolex or private foundations) which help us cover part of the production costs of our free line-up of livestreaming.

But all together, we are quite proud to have maintained our objectives and values for the past 10 years. We are still the leading platform for the community and we have to reinvent ourselves each day to keep that number one market position.

What do we know about the online audience for performing arts content?

We are reaching a relatively similar audience compared to live performances, but the main differences are that they are younger (average on Medici.tv is 51 years) and coming from a more diversified social background. We of course see a strong proportion of high-earners but we are also very attractive to all the people who don’t have the money to travel or to buy tickets to the Salzburg Festival. There is clearly a democratization element to our work and we are very much inspired by that because we all know that it is urgent to welcome new and younger audiences to our musical genre.

Why should performing arts companies livestream their performances?

It is essential to develop the public of tomorrow. Your future ticket-buyers are already online but not yet in your concert halls and operas. That is why your responsibility is to connect with them today through livestreaming, social media and other innovative content formats. If you are not proactive online today, you will lose your existing audience as they get older, and you will not create your next generation of audience.

And the competition is very strong online. Digital has changed our entire life and classical music will not escape the revolution. It is of course not a danger but a fantastic opportunity. Nobody can ignore it.

A new chapter for AtG and Topher Mokrzewski

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When one door closes, another one opens. As AtG closes the door on a successful production of Kopernikus, we announce another door opening for our Music Director, Topher Mokrzewski.

After a stunning 10 years as a Founding Member and Music Director of AtG, Toph will be moving on to an exciting new opportunity as Associate Artist Manager at Dean Artists Management!

Toph has brought so much honest love, dedicated musicality, and excellent sportsmanship to AtG over the past decade (!) and we wish him every success with our pals at Dean.

Kopernikus could not have been a greater show to go out on.

AtG is so proud of him and lucky to have had him on our team for as long as we did.

Good luck Toph and look forward to working with you in new ways.

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The history behind an unknown-opera

By | Joel Ivany, Kopernikus | No Comments

Introducing Claude Vivier (Pt.3): a three-part series on the life and works of Claude Vivier by Against the Grain’s Media Attaché, Michael Zarathus-Cook

On April 4th 2019, Against the Grain Theatre’s production of Claude Vivier’s Kopernikus will mark the latest occasion of the incredibly long arc in the production history of one of Canada’s most prolific operas. In the forty years between it’s premiere at the University of Montreal and it’s upcoming AtG premiere in Toronto, Kopernikus has toured the globe from Argentina to Paris and London to Amsterdam; and found its most recent Canadian stage at Banff Centre for Arts and Creativity in the Margaret Greenham Theatre. That Banff production was a workshop by AtG’s Artistic Director, Joel Ivany, and was praised in 2017 by the Calgary Herald as ‘the ideal opera of the future’. Stephan Bonfield, in that same article for the Calgary Herald, projected Kopernikus to be an opera ‘both for our times and perhaps, even possibly, for five hundred years from now’, indeed the simplicity and ambiguous spirituality at the core of this opera makes it an ideal candidate for posterity. Yet, in order for a work to remain available for the inspiration of future Canadian composers, it relies as much on it’s own merit as on the active endorsement of the arts communities and councils of each successive generation. Kopernikus is entering into its second generation of audiences, and it’s time for it (and its composer) to achieve the same renown in English Canada as it has enjoyed in Quebec and elsewhere outside of Canada.

“His music really resembles no other, and he puts himself right on the fringe of all trends. His music, of a direct and disruptive expression, could bewilder only those hard-hearted people who are unfit to categorize this independent man of genius. Claude Vivier found what so many others have sought for, and still seek: the secret of a truly new simplicity” — Musicologist Harry Halbreich, Harmonie-Panorama Musique, April 1983.

Back here in Toronto, rehearsals for the April 4th premiere are underway, with AtG’s Music Director, Topher Mokrzewski, reprising his role as conductor. Matjash Mrozewski who, in the Banff production “created a gestural language to unite the singers, musicians, and dancers” (Ludwig van Toronto), will once again take on the choreography for the ensemble. That ensemble is a cast of two mezzo-sopranos and two sopranos; a bass, baritone and bass-baritone; as well as two dancers who in the last production imparted “an air of ecstatic rapture to the piece” (Opera Going Toronto). Danielle MacMillan will also be returning to her role as Agni—“a fire spirit of ideal protean innocence” (The Calgary Herald)—the centerpiece around which orbits the rest of the cosmic ensemble.

The role of Agni was created by Jocelyne Fleury-Coutu, one-third of the creative triumvirate that helped bring Claude Vivier’s vision to life at the University of Montreal almost. The other two were: Marthe Forget, who staged the premier (and died 12 years ago); and Lorraine Vaillancourt as conductor and musical director. In the subsequent years after Vivier’s death in 1983, Vaillancourt was instrumental in the various productions of Kopernikus, beginning in Montreal and thereon to Paris. Her interview for AtG’s upcoming production was a revelation of Vivier’s character and a recollection of the unique character of his only opera: “…there’s not really a narrative, it is a ritual in an invented language, wherein the main characters, apart from Agni, are the passage, and eventually become the music (yes, the music!)”.

A short history of the international productions of Kopernikus

May 8-9 1980: (world premiere) Monument national by the Atelier de musique
contemporaine and the Atelier de jeu scénique of the University of Montreal
July 5-6 1985: (UK premiere) Almeida Theatre by Contemporary Chamber
Orchestra. London, United Kingdom
1986-1989: Les Événements du neuf, Montreal
1989: Les Événements du neuf, Paris
Sept-Oct 1990: Van East Cultural Centre, Vancouver New Music Society,
Vancouver
April 14 2008: Atelier de musique contemporaine de l’Université de Montréal, Salle Claude-Champagne / Lorraine Vaillancourt, Montreal
June 7-29 2008: Universität der Künste Berlin, Germany
Oct-Nov 2012: Holst-Sinfonietta – Christuskirche, Young Opera Company,
Freiburg, Germany
April 15-19 2014: De Nederlandse Opera – Boekmanzaal, Amsterdam,
Netherlands
May 11-14 2014: Ensemble oktopus für musik der moderne – Reaktorhalle,
München, Germany
June 12 2016: (American Premiere) Roomful of Teeth / Eric Dudley – Libbey Bowl,
Ojai, California, USA
June 6-8 2017: Margaret Greenham Theatre, Against The Grain Theatre, Alberta,
Canada
August 2 2018: (Argentinian premiere) Americas Society / Sebastian Zubieta
Festival Nueva Opera de Buenos Aires, Argentina
December 4-19 2018: Ensemble l’instant donne, Roomful of Teeth, Theatre de la
ville, l’Espace Cardin, Paris, France
Jan-Feb 2019: Mitglieder des Internationalen Opernstudios der Staatsoper
Unter den Linden, Alter Orchesterprobensaal, Berlin, Germany

Against the Grain Theatre’s Kopernikus premieres at Theatre Passe Muraille Mainstage on April 4th, and runs till April 13th.

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Interview with Lorraine Vaillancourt, the premiere conductor of Kopernikus

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Introducing Claude Vivier (Pt.2): a three-part series on the life and works of Claude Vivier by Against the Grain’s Media Attaché, Michael Zarathus-Cook

Against the Grain Theatre will be staging Kopernikus, an opera by Montrealais composer Claude Vivier, from April 4th to 13th. In anticipation of that we are excited to talk to conductor Lorraine Vaillancourt—the premiere conductor of Kopernikus almost 40 years ago—about some of her memories and impressions from her collaborations and friendship with Vivier.

Born in Quebec in 1947, Lorraine Vaillancourt has been a prolific member of Montreal’s contemporary orchestral music scene since the 70’s. Trained as a pianist and conductor at the Conservatoire de musique du Quebec and thereafter in Paris at the Ecole normale de musique, she went on to become the director of University of Montreal’s contemporary music workshop showcasing works ranging from Cage to Stockhausen. She is now the conductor of one of the world’s premier chamber orchestras, Nouvel Ensemble Moderne, which she founded in 1989. Arguably her most unique creation, however, was the result of a collaboration with Vivier:

At 9pm on the ninth day of the month, since 1978 and as late and 1990, a concert society in Montreal produced a performance for avant-garde and contemporary compositions with a mission of “removing barriers between historical periods and musical categories.”. The founding members of the society Les Événements du neuf were an eclectic group of nine, which included Vaillancourt and Vivier. After conducting the premier of Kopernikus on May 9th 1980, she thereafter toured the opera in Montreal and Paris between 1986 and 1989, and was a catalyst to the proliferation of Vivier’s works in the immediate years after his death.

Their relationship dates as early as 1978 when Vaillancourt conducted Vivier’s Chants (1973), a choral work for sevens voices, shortly after they met at the University of Montreal’s Faculty of Music. Recalling the near-instantaneous attraction to his musical sensibilities she describes the short trajectory of collaborations that led to Kopernikus:

I immediately wanted to work on this piece for seven women’s voices that seemed particularly inspired and inspiring to me—and I had a team of thunder! This was when a concert project was born…Friendship and love for music already united Claude and I. This concert, being very well received, was the launch of the concert society “Evenements du neuf”.

At the end of this program, Claude (among others) started his doctoral project (he would study with composer Serge Garant) which was an opera composed specifically for my Atelier and what was then called the “The stage play workshop” (now l’Atelier d’opera) directed by Mrs. Marthe Forget. Thus Kopernikus was conceived in 1979.

Vaillancourt’s body of work throughout the 80’s was especially focused on promoting avant garde compositions that combined historical periods and musical styles, as such Vivier’s penchant for the experimental fringes for voice and ensemble was a welcome opportunity for Vaillancourt. It was the complexity of Vivier’s spiritually adventurous musicality that inspired their collaboration:

Vivier was an enlightened being. The emotion I often felt while directing his music (Chants, Kopernikus, Prologue for a Marco Polo, Wo bist Du Licht) is absolutely unique and I did not find this poetry, this interiority, anywhere else. His influence on me was manifested within our small team of Evenements du Neuf (1976-1988) since we were doing programming collectively. Claude, like all of us, respected his fellow composers and showed the healthiest curiosities about worlds that did not necessarily resemble his own.

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From left to right: Claude Vivier, Lorraine Vaillancourt, and José Evangelista

Besides his oddities in socializing—a nervous, raucous laugh and the less than pleasant smell of the biker’s jacket he always wore—Vaillancourt also remembers Vivier for his enthusiasm in connecting a community of creatives in Montreal, albeit his social instincts contended with the solitary spirituality that his music pursued:

Claude Vivier was a star! And his terrible death contributed to his notoriety. We can only imagine everything he could have still given us. Claude was also a beloved and much appreciated person in Montreal. His network of acquaintances and friends was immense. He considered the premiere of his opera an event not to be missed, and he took charge of filling the National Monument Hall. Claude had a kind of faith in his music that was rather touching, and what might have seemed pretentious in someone else was actually a gesture of love.

She added, in the same breath, a reminder of the importance of staging Canadian opera in Canada, and the significance of small opera companies to the growth and relevance of the operatic repertoire…

Today there are many operas “resolutely modern” and that are still quite interesting. If we do not have more audiences this is due to the reluctance of the big boxes that are the major opera houses. Just because we program an opera that is composed in 2019 does not mean we are contributing to enriching the repertoire: we often have to deal with voiceless music, writing that is very conformist and academic, without being interesting … just a good show! The presence of an open, curious and stated artistic direction makes all the difference. Toronto, among others, has dared to create beautiful creations and should serve as an example.

Lorraine Vaillancourt is the current Musical Director of Nouvel Ensemble Moderne, and has been an advocate for the production of Vivier’s works in Canada and abroad, since the year of his death.

Article by Michael Zarathus-Cook, Against the Grain’s Media Attaché
To purchase tickets to Against the Grain’s Kopernikus (April 4 – 13) click here.

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‘Find the Soul of the human race’

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Introducing Claude Vivier (Pt.1): a three-part series on the life and works of Claude Vivier by Against the Grain’s Media Attaché, Michael Zarathus-Cook

Had you been even the most occasional patron to Montreal’s experimental compositional music scene in the 80’s, then no such introduction is needed. You might have heard his name in association with production houses like Les Événements du neuf (an avant-garde concert society) and titans of modern composers like Karlheinz Stockhausen (with whom Vivier studied composition). On this side of the Québec border, however, his name might ring a bell to those who keep watchful a eye on foreign theatres interested in producing Canadian content. Perhaps the telling fact of the belated recognition of Vivier’s talents within Canada is that news of his death did not make it to any significant English music journal until 1986—his body had been discovered by Parisian police officers on March 12th 1983. Against the Grain Theatre’s production of his internationally prolific opera Kopernikus begins on April 4th and concludes on the 13th, a day before what would have been Vivier’s 71st birthday.

He was born in Montreal to unknown parents and was adopted at the age of three by a poor French-Canadian family that tried (unsuccessfully) to return him. Adolescent freedom came in the form of enrolment into a noviciate in preparation for priesthood. He never attempted to hide his homosexuality, a fact not entirely separate from that of his ejection from the Brotherhood at the age of 18 on grounds of his ‘immaturity’. Having benefited from a prolonged exposure to sacred music and now free of the stringencies of religious training, he left for Europe in 1971 to pursue the expression his natural talent: music. All throughout the myriad and eccentric colours through which that talent was expressed, two main elements were ever-present: a secular and yet sacred spirituality, and his fixation upon the loneliness of his childhood (he described his Lonely Child, for soprano and orchestra, as a ‘long song of solitude’).

Canadian Music Center Programme for the Concert Commémoratif Claude Vivier When Vivier’s body was discovered beneath an upturned mattress five days after his murder, between 20 and 45 knife wounds were accounted. Officers of the police nationale also discovered composition notes for an unfinished work by the name Crois-tu en l’immortalité de l’âme—wherein the main character in murdered by a young man on a Parisian subway: “And without further ado, he drew a dagger out of his black jacket (probably bought in Paris), and stabbed me right in the heart.”

Aside from the contemplative solemnity with which he approached the subject of death and transcendence, there is perhaps no single defining characteristic underlining Vivier’s tumultuous lifespan from Montreal to Paris. His was a creative mind for whom plurality and ambiguity were the necessary features of his operatic experience. The ten or so characters that are projected by Agni, the central character of his Kopernikus, exemplify the plurality and intensities of experience that his short life afforded. Despite the ambiguities that accompanied such creative excursions—like the use of invented language—he was often clairvoyant in the description of what he felt to be the mission of his life’s work, and its galactic proportions:

“Find the soul of the human race and place it there in front of the human race, make individuals face up to themselves again, individually and infinitely, confronting the total mystery that is the Universe, contemplating it, so as eventually to be able to find a way in it.”

A struggle between the individual and the infinite—the little boy from Montreal struggling for his place in the world, despite a childhood of sexual abuse and neglect; an openly gay man embracing the manifold colours of Parisian liberal life—that is one of the many brilliant contradictions available in the biography of a man whose life is accurately described as hard and fast.

Article by Michael Zarathus-Cook, Against the Grain’s Media Attaché
Sketch by Jeremy Lewis
Photo of Claude Vivier from the Canadian Music Centre

To purchase tickets to Against the Grain’s Kopernikus (April 4 – 13) click here.

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Kopernikus: Canada’s most famous unknown opera

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TORONTO — The turbulent life of Montréalais composer Claude Vivier (1948-1983) came to end at the age of 35 when he was murdered in his Parisian hotel room. Against the Grain’s mission of pushing the boundaries of opera returns with Vivier’s Kopernikus: A Ritual Opera of Death, a culmination of the composer’s unconventional career and rejection of many traditional ideas of life, music and opera. Its Banff Centre for Arts and Creativity workshop premiere in 2017 earned praise from The National Post as an opera “made for some supreme theatre” and was hailed by Opera Going Toronto as “utterly extraordinary.”

Set in two acts for seven singers and instrumentalists, Kopernikus challenges the norms of classical opera with its innovative use of compositional and technical devices to create a vivid meditation on self-transcendence with a series of music-theatre tableaux. “I think this is Canada’s greatest opera ever written. Vivier was unique, he was an innovator and a true artist,” says stage director Joel Ivany of what is perhaps one of the most staged Canadian operas outside of Canada.

Canadian mezzo-soprano Danielle MacMillan revives her role as Agni, the central character who travels to an unknown space suspended in time wherein she meets the fragmented embodiment of many eclectic characters, the likes of Tristan and Isolde, Copernicus, Lewis Caroll and Mozart. Filling in the roles on this list are mezzo-soprano Krisztina Szabó; bass Alain Coulombe; baritone Dion Mazerolle; sopranos Anne-Marie MacIntosh and Jonelle Sills and baritone Bruno Roy. Joining this outstanding ensemble on stage are dancers Anisa Tejpar and William Yong as they bring strong and supple expression to choreographer Matjash Mrozewski’s vision. In the boisterously irreverent spirit of seeking out new and engaging interpretations of the operatic experience, AtG has taken an innovative twist on orchestration by incorporating members of the orchestra into on-stage roles of the ensemble as part of the production concept. The orchestra ensemble includes violinist Brenna Hardy-Kavanagh; clarinetists Brad CherwinMarc Blouin and Peter StollMichael Fedyshyn on trumpet; Paul Tarussov on trombone and Carly Gordon on oboe.

AtG’s resident lighting designer Jason Hand is both set and lighting designer for this project, creating an environment that hearkens back to the original usage of Theatre Passe Muraille’s unique space. Leela Gildayacts as dramaturge alongside Marissa Kochanski’s original costume design. Musical director Topher Mokrzewski takes on the challenge of conducting a dispersed ensemble through Vivier’s cosmic and ethereal orchestration.

It’s been nearly 40 years since the premiere of Kopernikus’ epic journey of fire, life, death and ultimately, hope. A profound and spiritual experience invented by a composer who, despite his intrigue as a grand-eccentric, was a profoundly spiritual man. “Find the soul of the human race” Viver said “and place it there in front of the human race, make the individuals face up to themselves again…”

Join us for AtG’s Kopernikus, an adventure into Canada’s most famous unknown opera. The production will be presented at Theatre Passe Muraille’s Mainspace (16 Ryerson Avenue) on April 4, 5, 6, 11, 12 and 13, 2019 with all performances at 8pm and doors open at 7:30pm. Tickets range from $25 – $85 and are available now from Against the Grain TheatreArts Box Office

Audience member uses smart phone to take photo of two singers embracing on stage.

AtG launches opera streaming research project with national partners

By | Digital, Joel Ivany, Video | No Comments

Against the Grain Theatre, Toronto’s visionary chamber opera company, has always asked questions about what it means to be an opera company in the 21st century. Starting today, the company begins a comprehensive digital research project examining online trends and behaviours of opera audiences towards live streamed performances. This research will inform future initiatives.

The project is led by digital consultant Michael Morreale, and is being conducted in partnership with the Canadian Opera Company, Canadian Music Centre, the Banff Centre for Arts and Creativity, with support from the Canada Council Digital Strategy Fund. More partner organisations will be announced in the coming weeks.

The Digital Opera Research and Intelligence Study (“DORIS”) consists of a national audience survey and discussions with international experts in the field of performing arts streaming. A final research paper in English and French will be available for free on Against the Grain’s website this spring, with ongoing blog updates leading up to its release.

“To be able to add someone like Michael to the AtG team, with his vast experience both in the arts and technology is a win not just our company, but for opera in Canada”, says Founder and Artistic Director, Joel Ivany. “We’ll be able to ask, test and hopefully have some answers for questions that have always been at the forefront of our arts practice.”

“The future is digital.” says General Manager Jonathan MacArthur. “This project is pivotal in learning how to engage with our growing generation of online art consumers while also uniting niche opera lovers world-wide.”

“These audience insights are a crucial part of forming a digital strategy for any Canadian arts organisation,” says Michael, who has produced streams and recordings for the Toronto Symphony Orchestra, Royal Conservatory and CBC Music. “I’m thrilled to work with a forward-thinking company like Against the Grain, who are asking these important questions about what modern online audiences want.”

Follow updates on the project here.

For more information, please contact: michael@againstthegraintheatre.com.

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We acknowledge the support of the Canada Council for the Arts.
Nous remercions le Conseil des arts du Canada de son soutien.

 

Against the Grain Theatre Opera Pub at Amsterdam Bicycle Club. Photo: Darryl Block

Q&A with Scottish mezzo-soprano Karen Cargill

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home-4Karen Cargill is a Scottish operatic mezzo-soprano who has performed with the Metropolitan Opera and at the Edinburgh International Festival among other organizations.

We’re fortunate to have Karen on our faculty for Summer Modern Intensive 2019!

Karen sings some of the larger rep in the world of opera (Wagner, Wagner, Wagner).  We had some baby-Wagner singers last summer at our Intensive and so we wanted to have some teachers with us who could inspire them.  Karen is one of those teachers (Heidi is the other).  We asked Karen about some questions about singing big rep and small rep and why she likes working with singers.

Q:  When you were well on the opera train, how did you know when you were ready to move from safer rep to some of the heavier stuff.  How did you get into Wagner and know that it was both safe and what fit.

A:  I’ve had an interesting journey with singing once I graduated from the National Opera Studio in London. I started singing the usual beginner roles Third lady in Magic Flute, Suzuki in Butterfly, Sesto, when the music director at Scottish Opera offered me the chance to sing Rosina in Barbiere di Siviglia. I was convinced I couldn’t do it and it ended up being the most amazing time of exploration. At the same time I was offered the cover of Waltraute in Götterdämmerung for the BBC proms which I then ended up performing. That meant doing both roles at the same time which was a gift, the Rossini became very lyrical and the Wagner stayed fresh and not over-sung. That’s the thing about Wagner: if you study the score carefully, the vocal parts are so well written that the accompaniment should never push the voice too much. We need to be brave enough as singers to never push.

I spent a long time with Waltraute and the Wesendonck lieder making sure that I got to grips with Wagner’s musical language before moving on to other roles and I took my time with each role I’ve tackled since; the Norns, Brangäne, parts of Kundry, Fricka for the first time only recently, Erda for the first time this season. Make sure you have trusted ears with you when you start and ALWAYS begin with the text!!

Q:  What is it about a singer working with a singer that works so well?

A:  There’s nothing better than working with someone who knows the inner workings of your job, whatever field you might be in, whether you are a plumber or a teacher or a musician. To be able to share thoughts and ideas with someone who fully understands the trials and tribulations that we go through as a performer is an invaluable lesson. One of the things I love about working with other singers is the sharing of ideas, the fresh perspective that we can all gain whether you’ve been working for 5 months or 15 years. Being able to share some of the knowledge I’ve gained about the business is something I take very seriously.

Q:  What would you say to your younger self now?

A:  I had an epiphany about 12 years ago watching a well known singer give a recital. They didn’t ‘try’ to be anyone, anything, they were just present. Along with that came a stage presence that many singing teachers would criticize, blowing their nose, having the words in the piano, not always facing the audience, the thing was that it was completely real. I changed my perspective right there and promised to no longer ‘try’ to give a performance but just be me. In short my advice would be to be authentic, shut out the noise of chasing perfection, it doesn’t exist and that’s actually the place where great art lies. Whoa…. that is PROFOUND!!!

Scottish mezzo-soprano Karen Cargill studied at the Royal Conservatoire of Scotland and was the winner of the 2002 Kathleen Ferrier Award.  On the opera stage she will appear as Waltraute in Götterdammerung at the Royal Opera Covent Garden and has three return invitations to the Metropolitan Opera, with roles including Erda and Mère Marie.

You can still apply for AtG and U of T Opera’s Summer Modern Intensive.

Click HERE to apply. The application is free. There is no audition for this program.

Program Dates: Thursday, August 8, 2019 — Friday, August 22, 2019
Deadline to Apply: Friday, January 25, 2019