Category Archives: Uncategorized

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

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(La) voix humaine

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Against the Grain is hanging up on fachs with (La) voix humaine – a gender-bent re-imagining of Francis Poulenc’s one-woman show La voix humaine.

AtG asks: How does this system limit our ability to breathe new life into established pieces?

As the first project for our AtG Incubator initiative, (La) voix humaine explores the potential of the human voice by co-opting a well-established soprano role to challenge depictions of masculinity in the operatic canon. The project was proposed by Tenor Jacques Arsenault who has been paired with AtG Musical Director, Topher Mokrzewski and Stage Director, Aria Umezawa. Arsenault will re-frame the role of Elle as Lui, and portray the grief, angst, and neurosis of a man confronting his ex-lover over the phone.

Join AtG at the Gallery 345 on February 16, 8:00 p.m. to get a glimpse into the creative process of this new exploration, which seeks to demonstrate that just like the human voice, opera’s ability to tell compelling and relevant stories is limitless.

Event Information:

Saturday, February 16th, 2019

Doors: 7:30 p.m.
Show: 8:00 p.m.
Location: 345 Sorauren Avenue, Toronto, ON M6R 2G5
Tickets: $35

Click here to purchase tickets.

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Summer Modern Intensive

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A summer training program for opera singers

Building upon last summer’s successful intensive training program, Against the Grain Theatre joins University of Toronto Opera to immerse established and emerging artists in a two-week program focusing on the exciting canon of modern-contemporary works. This program lets you bring your best, your worst, your tired, your polished, (and the ones you won’t do for many many years, but want to look at it) into a space to work on the development of your craft. This intensive is meant for you to prioritize your individual artistic needs, in the middle of August when audition season is just around the corner. And by looking at the hidden gems of opera’s 20th century treasures and looking at contemporary operas 21st century current works, we will provide valuable insight to artists as they aim to develop, specialize and perfect their modern opera roles. Against the Grain Theatre’s outside the box approach to traditional opera matched with UofT Opera’s educational excellence will be a hub for singers to learn and perform.  “As a graduate of this storied institution, my foundation for opera was built at U of T Opera.  Our General Manager, Jonathan MacArthur is also a graduate of this program and together we couldn’t be more thrilled to partner with Sandra and Michael,” says Against the Grain Artistic Director Joel Ivany.

Over the course of two-weeks, singers will take part in masterclasses, movement classes, staging, daily one-on-one coaching sessions, perform in Opera Pub and end the program performing modern opera scenes with both the performers and audience members right on the MacMillan Theatre Stage.

Sessions will take place at the Edward Johnson Building (80 Queens Park, Toronto, Ontario). Further opportunities include mentorship, career guidance, round-table discussions with industry professionals, a professional headshot, a recorded aria video, and much more!

Meet some of our faculty:

Voice Instructors:
Miriam Khalil
Heidi Melton
Karen Cargill

Music Faculty:
Sandra Horst
Topher Mokrzewski
Andrea Grant
David Eliakis

Stage Direction/Acting Faculty:
Joel Ivany
Michael Albano

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

Program Dates: Thursday, August 8, 2019 — Friday, August 22, 2019
Deadline to Apply: January 25, 2019
Participants will be notified by end mid-February of their acceptance
Cost: $1,750 CAD
Payments due: 50% on April 1st, and the remainder of tuition June 1st.

Questions? Email: info@againstthegraintheatre.com

Ayre Live CD

Stunning new interpretation of Golijov’s Ayre launches Against The Grain Records

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“A perfect and tremendously satisfying example of cultural transcendence”  –The Globe and Mail

Golijov’s Haunting Song Cycle Ayre Receives Powerful New Interpretation by Soprano Miriam Khalil

Live Recording to Launch Against The Grain Records Label on December 7

TORONTO, Canada – November 7, 2018 – Against The Grain Theatre, Toronto’s visionary chamber opera company, is known for electric performances that act as “a bracing wake-up call to the spirit” (The Globe and Mail). That daring candor is now being channeled via its new in-house recording label, which launches with a live recording of Osvaldo Golijov’s “ecstatically beautiful…radical and disorienting” song cycle Ayre this December (The New Yorker).

Informed by the composer’s personal history as a Romanian Jew born in Argentina, Ayre blends traditional and electronic instruments with elements of Byzantine chant, Sephardic lullabies, Sardinian protest songs, and Arabic, Hebrew, and Christian texts. Praised by Gramophone as “an intoxicating, endlessly haunting mixture of styles and musical cultures,” the technically exacting song cycle has become a signature piece for AtG Founding Member Miriam Khalil.

Khalil, a Lebanese Christian raised in Damascus, Syria, until her family immigrated to Canada, was immediately drawn to the eclectic textures and melodies of Ayre.

“When I first heard Ayre, I was mesmerized. I recognized two of the pieces as songs I had sung since childhood – songs my mother and father taught me,” said Khalil. “With all the anti-Arab propaganda on the news, it was very moving to hear holy music from Arabic culture framed so beautifully, enveloped with real respect by Hebrew and Christian traditions.”

To those distressed by endless media reports highlighting the rise of nationalistic movements across the globe, Ayre’s reverence for seemingly conflicting cultures can act as an injection of hope. It offers us a glimpse of shared humanity – of the ties we can more easily perceive through music, poetry, and common experience. As The Globe and Mail has recognized, Ayre is “an evening of power and resonance, the kind of which deep memories are made.”

The composer, a 2003 MacArthur Fellow, believes that Ayre’s resonance is heightened by Khalil’s performance – including her ability to deliver the texts in their original Arabic, rather than in English translation.

“No one owns this piece in the way that Miriam Khalil does,” said Golijov. “It is as if she was born to sing it.”

Critics from Ottawa to Buenos Aires have praised Khalil’s interpretation of Ayre as a powerful and visceral reminder that humanity has the capacity to transcend the cultural barriers that seem to accost us daily. Golijov’s conscious weaving of linguistic and musical threads represents a more accepting form of cultural pluralism, where historically competing traditions can coexist, complementing each other more beautifully than an assimilated society might anticipate.

According to Against the Grain Founder and Artistic Director Joel Ivany, the preservation of such transformative works was a major motivator in the establishment of the theatre’s in-house label. “At AtG, we have made it our mandate to create fresh and daring experiences for our audiences – and with this new facet of our work, we’re now able to capture and share moments of our acclaimed limited production runs.”

“Against the Grain is thrilled to be able to share the immediacy and emotion of this live performance, recorded at the breathtaking Ismaili Center in Toronto, with a broader audience,” he said. “Ayre is an extraordinary and unforgettable adventure.”

In this video, Lebanese-Canadian soprano Miriam Khalil and director Joel Ivany explore the cultural threads of Osvaldo Golijov’s beguiling song cycle Ayre.

About Miriam Khalil

One of Canada’s acclaimed singers, Lebanese-Canadian soprano Miriam Khalil is lauded as a “skilled, versatile artist” whose “signature warm lyrical voice” makes “her fine soprano express every emotion with exactness and feeling.” An alumna of the Canadian Opera Company Ensemble Studio, she won first place in the Metropolitan Opera National Council Auditions (Great Lakes Region) and subsequently appeared in the 2007 documentary The Audition. Her performance credits include Glyndebourne Festival Opera, Canadian Opera Company, Minnesota Opera, Opera Tampa, Fargo-Moorhead Opera, Opera Hamilton, Against the Grain Theatre (AtG), Edmonton Opera, Pacific Opera Victoria, Opera Lyra Ottawa, and prominent orchestras across Canada, in roles such as Mimì (La bohème), Mélisande (Pelléas et Mélisande), Governess (The Turn of the Screw), Susanna (Le nozze di Figaro), Donna Elvira (Don Giovanni), Cleopatra (Giulio Cesare), Almirena (Rinaldo), and the title role in Alcina. Ms. Khalil’s 2018/19 season includes appearances as Mimì in La bohème with the Canadian Opera Company, Marzelline in Fidelio at Pacific Opera Victoria, Eurydice in Orphée at the Banff Centre for the Arts, and Noor Haddad in AtG’s Handel mash-up BOUND.

About Osvaldo Golijov

Osvaldo Golijov is a composer who blends classical forms with the rhythms and melodies of other genres to create a concert experience that resonates deeply with contemporary audiences. Drawing on diverse musical and literary traditions (from tango and klezmer to the poems of Emily Dickinson and Pablo Neruda), Golijov’s compositions exhibit a fresh, powerful style. Among Osvaldo Golijov’s best known works are the St Mark Passion; the opera Ainadamar; a cello concerto, Azul, and the song cycle Ayre. He has also written soundtracks for films by Francis Ford Coppola (Tetro, Youth Without Youth), and arranged music from many places in the world, primarily for the Kronos Quartet. He is currently working on Falling Out of Time, a song cycle for the Silk Road Ensemble, based on a book by David Grossman. He was born in Argentina in 1960, lived in Jerusalem in his youth, and moved to Massachusetts in 1991, where he is the Loyola Professor of Music at the College of the Holy Cross.

Images by Darryl Block

Press Contact: Beth Stewart

Verismo Communications

Tel: 618.444.3183 | Email: beth@verismocommunications.com

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AtG Goes North

By | Joel Ivany, Opera Pub, Press, Uncategorized, Upcoming | No Comments

In a dynamic new partnership with the Yukon Arts Centre, AtG reaches further north than ever before in “Life, Love and Drinking Alone: the artist’s guide to smashing your phone”

This November, Against the Grain Theatre’s Founder and Artistic Director Joel Ivany, Music Director Topher Mokrzewski and baritone Andrew Love (who we last loved as Marcello in AtG’s La bohème) travel to Whitehorse and Dawson City, Yukon. “The Yukon Arts Centre is thrilled to announce a new partnership with Against The Grain Theatre to bring its fiery, irreverent approach to opera to Canada’s North.” says Yukon Arts Centre’s CEO Casey Prescott.

This exciting new program will feature a staged Kurt Weill song recital titled “Life, Love and Drinking Alone: the artist’s guide to smashing your phone”.

Join Sam as he both celebrates and grieves at the end of a relationship. From bar to bar, drink to drink, lounge to floor to gutter, he works through what went wrong, facebook stalks, falls down the infamous instagram rabbit hole, reminisces, and dismisses… all while maintaining his greatest relationship of all… with his true love… his smartphone.
This cabaret features music from Opera to Musical Theatre, Pop to Country, (to maybe even rap), with a special emphasis given to the brilliant music of Kurt Weill. Lead from the piano by Topher Mokrzewski (bartender), this cabaret has been conceived, staged and will be performed by baritone Andrew Love (Sam).

Produced by Against the Grain Theatre and the Yukon Arts Centre.

The tour will also include community workshops, talks and roundtables.

Events Listing
7:00 PM Thursday, November 29
At the Old Fire Hall, Whitehorse, Yukon
8:00 PM Friday, November 30
At KIAC Ballroom, Dawson City, Yukon

About the Yukon Arts Centre
The Yukon Arts Centre (YAC) is a not for profit charitable organization dedicated to the development of the arts as an important cultural, social and economic force in the Yukon. We intend to be a model for the development of the arts in the North and a stimulus for a vibrant and creative territory. YAC is the territory’s premier venue for performing and visual arts.

About the Klondike Institute of Art and Culture
The Klondike Institute of Art and Culture is of one of the many volunteer driven not-for-profit initiatives that are vital to the social, cultural and economic health of Dawson City. The Klondike Visitors Association plans activities and events that attract thousands of visitors to Dawson City each year. The Dawson City Music Festival is legendary for its ability to present Canada’s finest musical talent to the community both at the July festival, and at concerts during the year. Other organizations such as the Dänojà Zho Cultural Centre, Dawson Museum Society, and CFYT Radio add to Dawson’s rich cultural milieu, which is somewhat unexpected in a small northern town that’s only a few hours drive from the Arctic Circle.

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New Sponsor for 2018/19 Season!

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We’re very excited to announce that Sue-Ann Staff Estate Winery is our newest sponsor for our 2018/19 season.

Be sure to stop by and celebrate with us.  We will be toasting at our Opera in the Garden event following our inaugural AtG Intensive, August 19, 2018 at 3pm EST.
After opening in 2009, it has been a whirlwind of ultimate experiences, from Weddings to Corporate Dinners to Food Truck Events and Niagara Icewine Programs. Concerts and Fashion Shows, they can now add Opera to their list.

 

Click on the following link for an introduction to this great Estate Winery: www.youtube.com/watch?v=zlN-NrDPH54

 

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Miriam Khalil in Bound, photo Darryl Block for Against the Grain Theatre

Opera in the age of Trumpism: An interview with Lebanese-Canadian soprano Miriam Khalil

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FROM THE CANADIAN OPERA COMPANY’S

ISSUE 3 of NOTES

A Conversation with 

SOPRANO MIRIAM KHALIL


As part of their work in the COC’s Company-in-Residence program, Against the Grain Theatre has been developing a new opera. BOUND  takes Handel arias and ensembles, reconstructs them through a new interpretation by composer Kevin Lau, and layers the music against new English-language texts drawn from real-life world events. In the leadup to tonight’s opening, we asked Founding AtG member and Ensemble Studio graduate Miriam Khalil to share her thoughts on the challenging process of creating art that responds to contemporary realities of persecution, oppression, and asylum.

n BOUND each artist’s performance is informed by a real-life story in the news. What’s the background of the character you portray?

My character is based in part on Amani Al-Khatahtbeh, a Muslim-American journalist who was detained upon her arrival at an airport in France and forced to remove her hijab under threat of deportation.

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How are the singers being tasked with developing these characters?

The past couple of weeks have been spent in challenging discussions about the real-life stories that serve as the launching pad for our characters, but we’ve also been bringing them out of the documentary realm into interpretation and characterization. It is a true collective endeavour, in that all of us are researching our characters deeply and then bringing that back to the rest of the creative team for continued exchange and collaborative dialogue. It’s a powerful process that builds a kind of shared reserve of empathy and nuance that we can draw on to get closer to these realities.


I understand you’ve also been having lots of conversations with subject matter experts in refugee and immigration law, trans rights, and marginalized and underrepresented people as part of the project. What’s that been like?

Alia Rosenstock, a Toronto-based immigration and refugee lawyer, explained the basics of Canada’s refugee system. We learned about some aspects of a refugee’s experience that we wouldn’t ordinarily encounter, including the hardships people are willing to endure to escape to Canada and some of the obstacles they face upon arrival.

Many refugees are illegally detained and tortured in their countries of origin, only to be detained again, once they’ve arrived in countries where they’re seeking asylum, including the USA and Canada.

Some are detained for long stretches of time, while their files are being processed. The effects of long-term detention can be devastating to an individual’s mental health and on the family members who rely on them, including children.

With Rania Younes, a representative from the Canadian Arab Institute, we talked about the hijab, women’s rights in Canada, and Islam. For her personally, wearing the hijab remains a form of self-empowerment.

But there are also prejudices that affect so many aspects of daily life for a hijab-wearing woman in today’s political climate, from obstacles to full participation in the public sector, to feelings of invisibility to being treated with hostility.

Of course we could only absorb a small amount of what she goes through, but it was sobering to begin understanding what it takes simply to practice the freedom that our country guarantees.

I’m really in awe of each and every one of our special guests for their openness, generosity, and curiosity. For my colleagues and me this whole project is about much more than just an opera production—it’s about an expanding scope for empathy and inclusion that we can carry with us as artists and human beings.

Detail of BOUND poster, designed by Eitan Zohar, illustration by Dmitry Bondarenko

Detail of BOUND poster, designed by Eitan Zohar,
illustration by Dmitry Bondarenko

Your family immigrated to Canada in the 1990s. The lived experience of people of colour in this country is often at odds with the way Canada likes to present itself as an almost utopian post-national state. What was your experience growing up here?

My immigration to Canada was mostly positive. I was bullied for a time, but I don’t know if that had anything to do with race. I attended a small school and I was the new girl that didn’t speak the language (my first language was Arabic).

First Canadian school photo, courtesy of Miriam Khalil

First Canadian school photo, courtesy of Miriam Khalil

My parents and older brothers had much bigger struggles and were much more alert to the pressures of assimilation. My father worked odd jobs for the first year and eventually bought a restaurant (Italian, of course), where he and my brothers worked until my father’s retirement. My brothers each pursued their own career path while helping at the restaurant and are all business owners now.

My parents worked really hard to build a life for us in Canada. My mother was a stay-at-home mom in Damascus, but when we moved to Canada she learned English, learned how to drive, and took Early Childhood Education courses. She became a licensed caregiver and eventually ran a home daycare after years of working in the Ottawa School Board.

First summer in Ottawa: Miriam’s mother Taghrid (standing in the middle) surrounded by her children Nabil and Wassim (also standing) and Miriam and Maher (crouching in front). Photo courtesy of Miriam Khalil.

First summer in Ottawa: Miriam’s mother Taghrid (standing in the middle) surrounded by her children Nabil and Wassim (also standing) and Miriam and Maher (crouching in front). Photo courtesy of Miriam Khalil.

 

In a big way, we were very lucky because we had family in Ottawa and there is a large Lebanese/Arab community that welcomed us from the beginning. I remember being amazed at the amount of family we finally had in one place.


Tell me about the Handel aria you sing.

“Ah! mio cor, schernito sei,” from Alcina.

It has an introduction of dissonant chords finding resolution and clashing again in a heartbeat-like pulse. It’s very contemporary sounding for its time and is really quite moving.

The B section moves faster and suggests a growing strength, as the character moves to anger and determination, collapsing again into the A section which restates its emotions quite beautifully to find resolution in a tone of sadness.

Music Director Topher Mokrzewski in rehearsal with Miriam Khalil for AtG's BOUND, photo Darryl Block

Music Director Topher Mokrzewski in rehearsal with Miriam Khalil for AtG’s BOUND, photo Darryl Block

 

Why is a Baroque composer like Handel being used to tell these stories?

Handel’s music covers such a wide range of emotions and is so beautiful in its purity. His music breathes and can seem bare at times, which makes it so vulnerable and human and so apt in exploring the emotional journeys of the oppressed.

And then composer Kevin Lau—who has been with us since day one, immersed in our conversations, etc.—will actually orchestrate and manipulate Handel’s music with electronic amplification to create new juxtapositions for future workshops.

“At a time when the world seems to be spinning away from hope and unity, BOUND will look to moments of beauty, acceptance, and diversity.” —AtG Director Joel Ivany. Photo Darryl Block

“At a time when the world seems to be spinning away from hope and unity, BOUND will look to moments of beauty, acceptance, and diversity.” —AtG Director Joel Ivany. Photo Darryl Block.

 

What happens when you bring Baroque music into contact with stories that have a contemporary sense of cultural and political urgency?

Most of Handel’s operas deal with the big themes: war, love, hate, and death. Baroque music can be incredibly moving because it takes on these essential concerns with emotional honesty and musical simplicity. Within that basic vocabulary, however, Handel develops these intricate relationships with dissonance and resolution, which pull the music forward into emotional waves and gestures that seem perfectly matched for our own political and cultural upheavals.

 

What role does art play in the age of Trumpism?

That’s one of the big discussions we’ve been having throughout the rehearsal process: “Can art really make a difference?” I don’t have an answer to that.

I can say that this week has been incredibly transformative for me. We talked about issues related to the Travel Ban on Muslim countries, human rights violations, our right to privacy, and the freedom to wear what we want. As artists I think we’re all so fortunate to be in a creative community in which we can take a week to discuss and debate the injustice that we see on our newsfeeds and meaningfully apply those conversations, those breakthrough moments, to our work.

The depth of these discussions has left me restless and curious.

In the age of Trumpism, it is so easy to feel helpless and voiceless. The blatant disregard of a very specific set of individuals and the lack of care for their well-being is disheartening. However, in discussion with these open-hearted artists, I find myself hopeful and excited by what art can do to create change in our times.

We have it in us to create a higher sense of awareness of the bigger issues and to lay down a foundation of empathy for “the other.”

Miriam Khalil is a Lebanese-Canadian soprano performing in Against the Grain Theatre’s Handel mash-up BOUND, running December 14–16 at the COC’s Culture Hub, 227 Front St. E. in Toronto. Rush tickets ($35 cash only) are available at the door for each performance. Thank you to the Canadian Opera Company and Nikita Gourski for sharing this Issue of NOTES. AtG is proud to be the inaugural Company-in-Residence of the Canadian Opera Company.

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We need you to join our global virtual chorus!

By | Joel Ivany, Orphee, Uncategorized, Upcoming, Video, Volunteer | No Comments

Against the Grain Theatre, Opera Columbus in Columbus, Ohio, and Banff Centre for Arts and Creativity in Banff, Alberta are co-producing a brand new production of Gluck/Berlioz’s groundbreaking opera Orphée et Eurydice. At the time it was written, Orphée et Eurydice changed the way opera was produced and experienced; we hope to do the same with this daring interpretation. This production features a new electronic orchestration, baroque burlesque dancers, sopranos singing from silks and (hopefully) you, part of our Global Virtual Chorus.

This is where you come in.

We need you to record your voice to three excerpts from the opera. Submitted videos will be stitched together with hundreds of other videos and projected onto our set, and your voice will be mixed to sync with our LIVE Opera orchestra (cool, right?)!

NEXT STEPS:

  1. Watch the videos and practice (for sheet music, click here)
  2. Record your video(s)
  3. Submit them via Dropbox or WeTransfer to virtualchorus@operacolumbus.org
  4. Be amazed!

Watch the introduction video here and click-through to YouTube and become a part of the Global Virtual Chorus!

Q: When is the deadline for submissions?
A: January 15, 2018

Q: Where do I submit my video(s)?
A: You can submit them here.

Q: Can I submit a video for just one chorus section?
A: Yes!

Q: Will I get credit for my piece?
A: Yes! The programs of each performance will have the names listed inside

Q: Do I have to sing in French?
A: Yes – the entire production will be performed in French. If French isn’t a language you speak, you can learn the pronunciation from the Diction videos.

*Thank you for donating your time and submitting your virtual-chorus videos! By submitting these materials, you have read the following and agree to: allow the designers and creative team the use your image, voice, and likeness in all productions of Orphée et Eurydice. You acknowledge that your voluntary submission may be used entirely at and in the discretion of the producing companies. As a voluntary submission, you will not seek any compensation from the producers. Your submission is greatly valued, however, we may not use all submissions in the final project. Any persons with an Equity affiliation must have notified the producers before submission.

 

 

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WholeNote Magazine: “Genres fused in Ayre”

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Christopher Hoile writes in the latest issue of WholeNote Magazine:

“A third production in November also breaks contemporary notions of genre. This is the song cycle Ayre (2004) by Argentinian composer Osvaldo Golijov (born 1960) presented by Against the Grain Theatre from November 10 to 12 at the Ismaili Centre. The title in medieval Spanish means “air” in both the sense of “song” and the air we breathe. The song cycle is a juxtaposition of Arabic, Hebrew, Sardinian and Sephardic folk melodies and texts. The soloist will be Miriam Khalil accompanied by an 11-member ensemble with stage direction by AtG founder and artistic director Joel Ivany and lighting by Jason Hand. Golijov, Ivany and Khalil all met at Banff this past summer and Golijov sat in on rehearsals of the piece. Though not an opera, critics have repeatedly called the work “dramatic.” Ivany says this is the first time anyone has “taken the work a step further” by staging it. He says, “Miriam will have memorized the entire piece and will thus be free to use movement and gesture to illuminate the texts and to tie them together visually.” Ivany is excited that Golijov plans to attend the first two of the performances in Toronto.”