Category Archives: Upcoming

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Against the Grain Theatre brings back award-winning Mozart classic Figaro’s Wedding

By | Figaros Wedding, Joel Ivany, Press, Upcoming | No Comments

TORONTO (November 1, 2019)Against the Grain Theatre (AtG), the rule-breaking opera company that has received critical acclaim for its unconventionally staged works, brings back their Dora Award winning (Outstanding New Opera; 2014) opera, Figaro’s Wedding, in a brand new production. Taking place at Enoch Turner Schoolhouse on Toronto’s King Street East, AtG will present a record 12-performance run: December 3, 4, 5, 9, 10, 11, 13, 14, 15*, 18, 19 & 20, 2019 at 8:00 p.m. (*Matinee performance at 4:00 PM).

Staged as a real wedding with audience members attending as guests, the production is once again directed by Founder and Artistic Director Joel Ivany. A string quartet will accompany Figaro’s Wedding in a new special arrangement, led by guest Music Director Rachael Kerr from the piano. The cast brings together several of Toronto’s hottest Canadian opera talents in the lead roles: soprano Alexandra Smither makes her AtG debut as Susanna, the blushing bride; baritone Bruno Roy, returning to AtG after performing in the award-winning production of Kopernikus, sings Figaro, the stressed-out groom; soprano Lauren Eberwein as the young heartthrob Cherubino; AtG Associate Artistic Director, soprano Miriam Khalil as Rosina, the modern Countess; and baritone Phillip Addis as Alberto, a re-imagined version of Mozart’s Count. Gregory Finney sings the traditional characters of Bartolo and Antonio, who have been transformed into the wedding officiant and florist, respectively. Jacques Arsenault is Basilo, the wedding planner, and Maria Soulis is Marcellina, the wedding venue coordinator.

Set and costume designer Anna Treusch, along with lighting designer Siobhán Sleath, make their AtG debut, transforming the Enoch Turner Schoolhouse—where real weddings frequently take place—into the setting for Susanna and Figaro’s comedic and contemporary wedding-planning angst.

“We’re so excited to bring Figaro’s Wedding back,” said Ivany. “For many of us in the company, this new opera was a landmark show for us and we’ve been wanting to reward our faithful community with one of our hits.”

Enoch Turner Schoolhouse is located at 106 Trinity St, Toronto. Tickets start at $35 and are available at www.atgtheatre.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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What does opera in the age of Trumpism look like? #AtGBOUND

By | Bound, Joel Ivany, Press, Upcoming | No Comments

FOR IMMEDIATE RELEASE: 18 October, 2018

Kevin Lau’s newly commissioned opera BOUND v. 2 in concert performance with Toronto’s acclaimed indie opera company Against the Grain Theatre

TORONTO – Against the Grain Theatre (AtG) has matched one of opera’s most dramatic composers, George Frideric Handel, to a narrative inspired by the current, chilling refugee stories populating our newsfeeds — stories of migration and displacement due to war, discrimination, hate, and intolerance. AtG’s Artistic Director and librettist Joel Ivany alongside composer Kevin Lau begin the indie-company’s ninth season by digging deeper into the music and text of BOUND. This November, AtG presents their first commissioned opera written by Toronto composer Kevin Lau in a concert presentation called BOUND v. 2. November’s concert (part-two of a three-year concept-to-realization project) focuses on where Lau’s new composition intersects with the melodies of Handel’s music. A mash-up of centuries, styles, and stories.
 
“Bringing Handel’s music into the 21st century is a way for us to directly grapple with the big issues of tradition versus change that face our society today,” said Lau. The development of BOUND began as a mash up of Handel arias and ensembles used to highlight the current state of those dehumanized and mistreated across the globe. “Our opera does delve into darker themes—among them, the ethical consequences of trading individual freedoms for national security, an issue which grows more relevant every day—but ultimately our hope is to sow musical seeds of empathy, by finding truth among differences.” 
 
AtG Founder and Artistic Director Joel Ivany has created a new English libretto, minting another AtG transladaptation to express the plight of the characters—who are based on real people—in BOUND v. 2. The opera centres around four citizens who are detained by an omnipotent and oppressive government; the State.  We watch and hear about their struggles, hopes and fears.
 
The development of this opera began in 2017: a week of inspired round-table discussions with Ivany, Lau, creative team and artists where they invited guest speakers that included survivors, storytellers, and members of communities that are too often overlooked to share their stories. “We asked them very personal and important questions,” said Miriam Khalil who portrays Noor Haddad, a journalist detained for refusing to remove her hijab at a border crossing. In her role, for example, Khalil balances between baroque flourishes and maqamat embellishments, “with Kevin, we explored how these unique experiences would colour our music and shape our characters.” With teeming collaboration, the singers eventually chose the news stories that best suited them and from those stories Ivany formed the base of the new libretto, which was then to be meshed with Handel’s music while Lau worked on his score and developed a new musical language for each character.
 
Kevin Lau’s BOUND v. 2 is written for chamber orchestra, four singers, actor and digital sound artist. The ensemble will be led by AtG music director Topher Mokrzewksi and features AtG Founding Member and soprano Miriam Khalil, countertenor David Trudgen, tenor Andrew Haji and baritone Justin Welsh as the cast of detainees, Martha Burns as the voice of the state, and the electronic stylings of Acote.
 
This workshop concert will be presented in Longboat Hall at The Great Hall (1087 Queen Street West, Toronto, Ontario, M6J 1H3) on November 19, 20 and 21, 2018. Sung in English. All performances begin at 8pm with doors open at 7:30pm. Tickets ranging from $35 – $80 are now on sale at www.againstthegraintheatre.com

LISTING INFORMATION
Bound v. 2
Against the Grain Theatre  
November 19, 20, and 21
8 p.m.
The Great Hall — Longboat Hall, 1087 Queen Street West, Toronto, Ontario, M6J 1H3
Tickets: $35 – $80
More info: www.againstthegraintheatre.com/bound/

ABOUT AtG
Toronto’s Against the Grain Theatre (AtG) has invigorated opera audiences since its first sold-out production to an audience of fifty guests in December of 2010. AtG revitalizes the operatic art form by presenting an eclectic array of musical works in unconventional spaces and innovative ways. Since its first season, AtG has consistently performed to standing room-only crowds, to both critical and public acclaim, and continues to introduce hundreds of new opera-goers to the art form. Founded by an adventurous collective of friends and artists, the company endeavours to be serious in intent and execution, yet fun and irreverent in spirit. Current members include Joel IvanyTopher MokrzewskiJonathan MacArthurAmanda HadiDavid EliakisJason HandMiriam Khalil, and Michaela Dickey.

For more information, please visit AtG online at www.againstthegraintheatre.com, on Twitter, Snapchat and Instagram @AtGTheatre and on Facebook at www.facebook.com/AtGTheatre

– 30 –
Media Contact

Jonathan MacArthur
General Manager
Against the Grain Theatre
416-220-5376
gm@againstthegraintheatre.com

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

Just announced: Against the Grain Summer Intensive

By | Canadian Opera Company, Joel Ivany, Media Release, Summer Intensive, Upcoming | No Comments

“A professional and educational summer training program for today’s musician.”

This exclusive professional summer training program (running over August 13–19, 2018 in downtown Toronto, Canada) is tailor-made to individual singers’ needs.

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. Bring us your Mozart. Bring us your weird. Bring us that random piece you really want on your audition package but it’s “just not coached enough”. Or, work on your upcoming roles for the 18-19 Season. We’re here to make this program uniquely yours, and we want to make sure you get what you need to set you up for success.

Guided by some of the core members from the Against the Grain Theatre Creative Team (Joel Ivany, Topher Mokrzewski and Miriam Khalil), applicants will be offered individual coaching, voice lessons, scene study, masterclasses, professional organization skills and a new headshot (optional).

Deadline to apply: Friday, May 25, 2018 at midnight EST. (Candidates will hear back from AtG by June 1.)

Cost: $500, with 50% deposit due June 15. (Remainder due July 15.) Payment can be made by e-transfer to info@againstthegraintheatre.com or in cash.

Location: 227 Front Street East, Toronto, ON, Canada, M5A 1E8

Questions? Contact info@againstthegraintheatre.com with “[Your Full Name] + Against the Grain Summer Intensive” in the subjectline and a real human will reply ASAP.

How to Apply: See below.

Photo: Darryl Block

Complete our Online Submissions form by Friday, May 25, 2018 at midnight EST.

Marcy Richardson

Orphée⁺ — An email conversation with Marcy Richardson

By | Behind the scenes, Orphee, Upcoming | No Comments

Curious about Orphée⁺ , our contemporary re-imagining of the Gluck baroque opera? Joel Ivany knows you, and our cast, have a lot of questions about our ambitious undertaking (electric instruments! baroque dancers! aerial artistry! a virtual global chorus!). So, Joel sparked an email conversation with New York-based classical soprano, aerialist and burlesque performer Marcy Richardson (aka @operagaga, of Company XIV), who will sing the role Amour airborne.

Orphée⁺ is a new AtG co-production with the Banff Centre for Arts and Creativity and Opera Columbus.
April 26, 27, 28 at 8 p.m.
Fleck Dance Theatre
207 Queens Quay West, Toronto

Buy tickets ($42–$110) online at againstthegraintheatre.com/orphee, by phone (416-973-4000, press 1), or at the Harbourfront Box Office (no fees!).

 


FROM: JOEL IVANY
TO: MARCY RICHARDSON

Hi Marcy,

Hope all is well!

I just saw your performance at the Gala for Opera Columbus. You were singing, spinning and making it look so so so easy.

When you’re performing like this, does one ever take precedence over the other? Is it constantly switching?

You must have such control!

Joel

 


FROM: MARCY RICHARDSON
TO: JOEL IVANY

Hi Joel! Thank you! I’m so glad you enjoyed and were able to check it out!

Singing is always the most important. My priority is that if you close your eyes, it sounds just as perfect and beautiful as if I were just standing there. It is inevitable that sometimes you hear heavier breathing because of the physicality and I do have to breathe more frequently. But if the singing is not really beautiful, [the aerial performance] is just a gimmick and makes it look like you’re trying to distract or hide a flaw. Which defeats the purpose in my mind—I want the combination to elevate the singing and music and make it even more beautiful and transportive.

That being said, my voice teacher actually thinks my singing is the strongest when I’m in the air or inverted, because my core and lower support is so activated, and my head and neck even more free, so I am never concerned about the singing suffering at this point.

The key is really making any transitions between phrases so as not to bump the vocal line, or to know which transitions are possible to do in the middle of a line without disturbing it.

I do have a lot of control, yes! I am thankful for it of course—I started studying pole and acrobatics almost eight years ago, and the control comes over time like with dance or any other physical skill I guess! :)

M


FROM: JOEL IVANY
TO: MARCY RICHARDSON

May sound silly, but have you ever had a voice lesson in the air?

Or does your teacher come to performances?

Joel


FROM: MARCY RICHARDSON
TO: JOEL IVANY

My teacher has not come, no—it’s not so easy for her to come to stuff, especially if it’s further in Brooklyn. (Plus she is always insanely booked/busy!)

But she’s seen a zillion videos and we Snapchat videos from shows and lessons to one another—she actually thinks many vocal things she wants from me happen naturally in the air, so it wouldn’t be necessary.

M


FROM: JOEL IVANY
TO: MARCY RICHARDSON

I love that the freest singing can be done up there.

Have any other singers you know given it a try?

Do you miss being in the air when you sing in an opera where you’re just walking around? :)

Joel


FROM: MARCY RICHARDSON
TO: JOEL IVANY

There are some singers I’ve seen testing the waters in workshops, student showcases, etc., but I’m the only one doing it as pretty much my main profession—AND I’m the only one I know of equally adept at doing it on Lyra/hoop, silks, and acrobatic pole. It’s taken a lot of work to be performing at a professional level in all three, though hoop and pole are my favourite.

Of course I do lots of gigs where I’m just doing aerial work without singing, and gigs where I’m just singing without aerial work. With just an aerial gig, I’m able to enjoy the music (I’ll often perform improvising in the air with a live band/rock singer and love reacting to them with movement). I also love the stand-and-sing concert format as well or fully staged operas — at that point, it is all about the character or musicality. That’s beautiful in its own right. I think it would be boring to not have that variety!

M


FROM: JOEL IVANY
TO: MARCY RICHARDSON

Variety is key!

Is there anything you’re curious about in this production coming up?

Will it work? Do you think all the elements (virtual chorus, aerial and burlesque performance, digital orchestra, projections) are too much?

I’ve been telling people that the way we digest information has never been more overwhelming in terms of sheer volume. We enjoy stimulation and details subconsciously in a weird way, which still allows us to focus on the dominant voice.

Joel


FROM: MARCY RICHARDSON
TO: JOEL IVANY

As far as all the elements in Orphée—there’s never too much!

I’m actually most curious about Act 2 and the parts of Act 3 where my character [Amour] isn’t even involved. What does the underworld look like? How do the Company XIV dancers come to play in that space?

M


 
FROM: JOEL IVANY
TO: MARCY RICHARDSON

That’s what’s kind of cool.

In my mind, you don’t disappear in Acts 2 and 3. I see your character more as Orphée’s subconscious.

In Act 1, when he’s all alone and no one is around, you show up and speak to him.

For me, what he sees in Act 2 and 3 are manifestations of you.

We know in the opera he descends to the underworld to retrieve his lost lover, Eurydice. But in this production, in reality, he hasn’t even left his room (or forest spot)—rather it’s his subconsciousthat takes him on this journey.

Act 2 is everything missing in his life that he remembers as erotic, sensual, carnal; it’s one part of his love for Eurydice. And it’s something he won’t get back (from that one woman).

Act 3 is what he imagines to be the peaceful, the tranquil, the “better place” underworld. It’s a place so wonderful that even if we knew our lost loves still lived on there, we’d still want to pull them back. Because as humans we’re selfish beings.

Also love is a powerful thing.

Joel

 


FROM: MARCY RICHARDSON
TO: JOEL IVANY

Hmmm—so do you think love conquers all in the end, and that Eurydice is reunited with Orpheé in real life, or was it all somewhat of a dream brought on by his subconscious?

In any case, love IS a powerful thing. I think it’s easy to look at Amour as a character and interpret her (or him) as something cute or childlike, when in reality, amour or “love” is strong and powerful. I hope to bring, quite literally, strength to the character/Orpheé’s subconscious, and can really see “love” being the powerful driving force that takes him on this journey.

M


FROM: JOEL IVANY
TO: MARCY RICHARDSON

Yes.

And not just on this journey of the opera, but past the opera… and for us all.

It’s universal.

I don’t think Eurydice comes back to life in the end.

It’s all a learning/coping mechanism of Orphée’s, simply because no one tells us how to grieve.

We experience it. We can’t know what it’s like until it arrives.

And you, Marcy, are a main main main part of this story.

Can’t wait!

Joel

***

Photo: Marcy Richardson (Company XIV), by Corey Weaver

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 AtG wants you to join us in hell: Orphée⁺ 

By | Orphee, Press, Upcoming | No Comments

FOR IMMEDIATE RELEASE: 23 February, 2018

Against the Grain Theatre presents an electronic, baroque burlesque descent into hell

Against the Grain Theatre’s fervour for pushing the boundaries of opera and art continues this spring with a reinvention of Berlioz’s arrangement of Gluck’s baroque masterpiece Orphée et Eurydice. In an international co-production between AtG, the Banff Centre for Arts and Creativity, and Opera Columbus, the three companies are banding together to thrust a score written in 1762 into the 21st century. To complement the story in an unusual, beautiful way, Orphée⁺ will boldly blend an orchestra that mixes acoustic and electric instruments, feature baroque-burlesque dancers, and include a global virtual chorus.

While remaining true to the score, AtG presents the question, “How could Berlioz have updated Gluck’s opera if he had the tools of 2018?” In 1859, Berlioz revised  both Gluck’s Italian and French versions combining them into a new arrangement.  He stitched together a work that has since become standard repertoire of opera houses worldwide. This new co-production aims to go further by incorporating  an international cast of 100 virtual chorus members as the narrative voices Orphée⁺, and introducing a new orchestral arrangement that creates an atmospheric, electronic soundscape while maintaining the integrity of the original music.

“There is no battle between the baroque here,” director Joel Ivany says on the music for Orphée⁺. “Instead of changing the music, we’re using the score as the backbone for a new soundscape to complement our current environment. The intent is to discover something new and thrust a timeless story into a contemporary setting.”

Peggy Kriha Dye, Artistic Director of Opera Columbus says, “We are looking to innovate and transform the way that this spectacular opera — which was cutting-edge when it first premiered — is presented and experienced.”

In Orphée⁺, the hero is portrayed as a modern man who is grieving the death of his greatest love, Eurydice. We witness his traumatic journey, which takes him through the depths of sorrow to hell and back again in an attempt to bring back his lost love. His mourning is expressed traditionally through music, word, movement, and now technology.

The cast features Korean countertenor Siman Chung in the title role,Canadian soprano Mireille Asselin as his love Eurydice and American aerialist and soprano Marcy Richardson who will portray Amour, the inner conscience of our hero. A cast of dancers from NYC’s acclaimedCompany XIV (known for their annual burlesque Nutcracker Rouge) act as witnesses along Orphée’s journey.

Stage direction is by AtG Founder and Artistic Director Joel Ivany, theset and projection design by is by S. Katy Tucker, and will be lit by JAX MessengerOrphée⁺ is choreographed by Austin McCormick, Director and Choreographer of Company XIV in New York City, with costume design by Zane Pihlström. Featuring sound design by John Gzowskiand a reduced orchestra of eleven players which include electric guitarand synthesizer. This work is conducted by AtG’s Music Director and Founding Member, Topher Mokrzewski, and features members of the new AtG Ensemble: Brenna Hardy-Kavanagh, violin/viola and Brad Cherwin, clarinet.

Orphée⁺ is sung in French with English surtitles. Three performances take place at Fleck Dance Theatre, 207 Queens Quay West, third floor, onApril 26, 27, and 28 at 8 p.m. Tickets range from $40 – $110 and are available beginning Thursday, March 1 at 10 a.m. fromagainstthegraintheatre.comharbourfrontcentre.com and the Harbourfront Box Office.

LISTING INFORMATION
Against the Grain Theatre’s Orphée⁺
April 26, 27, and 28, 2018
8 p.m.
Fleck Dance Theatre, 207 Queens Quay West, Third Floor
Tickets: $40 – $110
More info: www.againstthegraintheatre.com

ABOUT AtG
Toronto’s Against the Grain Theatre (AtG) has invigorated opera audiences since its first sold-out production to an audience of fifty guests in December of 2010. AtG revitalizes the operatic art form by presenting an eclectic array of musical works in unconventional spaces and innovative ways. Since its first season, AtG has consistently performed to standing room-only crowds, to both critical and public acclaim, and continues to introduce hundreds of new opera-goers to the art form. Founded by an adventurous collective of friends and artists, the company endeavours to be serious in intent and execution, yet fun and irreverent in spirit. Current members include Joel IvanyTopher MokrzewskiJonathan MacArthurAmanda Hadi,David EliakisJason HandMiriam KhalilMichaela Dickey, Brenna Hardy-Kavanagh, and Brad Cherwin.

For more information, please visit AtG online atwww.againstthegraintheatre.com, on Twitter, Snapchat and Instagram@AtGTheatre and on Facebook at www.facebook.com/AtGTheatre

– 30 –
Media Contact

Toronto Inquiries:
Jonathan MacArthur
General Manager
Against the Grain Theatre
416-220-5376
gm@againstthegraintheatre.com

Photo: Marcy Richardson (Company XIV), by Corey Weaver

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

“Opera Pub brings this most secret of pleasures to astonished newcomers”

By | AtG in the News, Opera Pub, Press, Upcoming | No Comments

Looks like Toronto’s best-kept secret is out… The Globe and Mail secretly attended our last free Opera Pub and gave us two pints up 

Next event: Feb 1, 9pm at the The Amsterdam Bicycle Club

"Full-scale opera is daunting to attend largely because of the cost of it. Making it free and intimate is showing to ever-larger groups of astonished newcomers how thrilling it is to hear a beautiful trained voice singing a famous work of art. Ventures like these, as they pop up around the world, are the best way of publicizing this most secret of pleasures."

− The Globe and Mail

"The audience – lots of bearded youth mixed in with the white heads – is not typical for opera. Quite a few hands went up when asked who had never seen an opera before."

− The Globe and Mail

martha burns

Just announced: Screen and stage legend Martha Burns joins BOUND cast

By | Behind the scenes, Bound, Canadian Opera Company, Media Release, Upcoming | No Comments

Gemini, Genie and Dora Award—winning actor Martha Burns joins the cast of BOUND (Dec 14–16, 2017). In this groundbreaking, dystopian production featuring reconstructed music by Handel, she plays the role of The State.

Martha Burns has performed leading roles at the Stratford and Shaw Festivals and at theatres across the country. A founding member of Soulpepper Theatre, she developed their youth mentorship and Soulpepper in School programs. She is a double Gemini winner (Best Actress in a Leading Role, Slings and Arrows), the recipient of two Best Supporting Actress Genie Awards (Long Day’s Journey Into Night and Love and Savagery), two Dora Mavor Moore Awards (Trafford Tanzi and The Miracle Worker), and the winner of the 2005 Barbara Hamilton Award for Excellence and Professionalism in the Performing Arts. With actor/writer Susan Coyne, Burns wrote and directed the TIFF’08 short, How Are You?, and produced and directed the documentary Robin, Mark and Richard III. She has served on the boards of Canadian Stage, the Shaw Festival, Peggy Baker Dance Projects and the Toronto Council for the Arts, and most recently worked with performers from Nunavut’s Qaggiavuut society to create the play Kiviuq Returns. She currently teaches acting at the National Theatre School.

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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.

 

 

Boheme_NikPix_132

New Video! Opera Pub: Opus Pocus

By | Opera Pub, Upcoming, Video | No Comments

#OperaPub
Thursday, October 5, 2017
Amsterdam Bicycle Club
54 The Esplanade, Toronto, ON, M5E 1A6

The greatest event that the The Amsterdam Bicycle Club has ever seen, AtG’s Opera Pub returns for a sinister spooktacular “just in time” for Halloween* (*a full four weeks ahead of Halloween). Host David Eliakis is joined by our favourite operatic Disaster Artists (to be revealed) for a night of:

+ The Best (Haunting and Bewitching) Operatic Music of All Time
+ A special set of I PAGLIACCI devoted to the scariest thing we know: clowns
+ Cheap Pints! Raffle Prizes! Spaghetti!
+ More crazy things we can’t predict

About Opera Pubs:
Running the first Thursday of every month, AtG Opera Pub nights are improvised, wild nights that offer up your favourite beer with a side of operatic arias and ensembles, performed by both established and emerging opera talent performed on our very own Craigslist piano. Free admission, discounted pitchers of beer.

AtG Artist Director Joel Ivany and Music Director Topher Mokrzewski chatted with Jenna Douglas at Schmopera about the idea behind Opera Pub.

Duration: Depending on how many performers sign up, Opera Pubs usually have four 15-minute sets. We take a break between each set to refresh our drinks and chat with the audience.

Video produced by Andy Martin-Smith; Cinematography: Issa Shah; Sound: Adam Laycock