Opera Canada Spring 2022

This is not a time for thoughtless optimism, but welcome to Issue #251 of the magazine, the first published in a brave but cautious new world of opera in Canada and Canadians in opera everywhere. Starting in February, there have been mainstage productions in Edmonton, Calgary and Toronto, reviewed in this issue; meanwhile, news and reviews of live performances in schools, conservatories and companies are appearing at a quickening pace at operacanada.ca, the magazine’s online complement. Artists are working to pick up careers stunted by the pandemic’s forced hiatus, and companies have started to announce more confident and substantial plans for the 2022/23 season. At the time of writing, government-mandated pandemic restrictions have generally eased across the country, allowing theatres and concert halls to welcome audiences back. Some credible sources,…

This is not a time for thoughtless optimism, but welcome to Issue #251 of the magazine, the first published in a brave but cautious new world of opera in Canada and Canadians in opera everywhere. Starting in February, there have been mainstage productions in Edmonton, Calgary and Toronto, reviewed in this issue; meanwhile, news and reviews of live performances in schools, conservatories and companies are appearing at a quickening pace at operacanada.ca, the magazine’s online complement. Artists are working to pick up careers stunted by the pandemic’s forced hiatus, and companies have started to announce more confident and substantial plans for the 2022/23 season. At the time of writing, government-mandated pandemic restrictions have generally eased across the country, allowing theatres and concert halls to welcome audiences back. Some credible sources, however,…

APRIL Canadian Opera Company, Toronto After Omicron forced cancellation of Madama Butterfly, the Canadian Opera Company returns to the Four Seasons Centre Apr. 23-May 20 with its first mainstage production in more than two years, Verdi’s La traviata. Tenor Matthew Polenzani (pictured), straight from his successful role debut as Verdi’s Don Carlos at the Met, sings Alfredo to the Violetta of Amina Edris and the Elder Germont of Simone Piazzola. The production runs in repertory with a revival of the COC’s Diane Paulus staging of Mozart’s Die Zauberflöte (May 6-21). Vienna State Opera Tenor Josh Lovell, in the ensemble of the Vienna State Opera, has a busy month with performances as Andres in Berg’s Wozzeck, the Italian Singer in Richard Strauss’s Der Rosenkavalier, Arturo in Donizetti’s Lucia di Lammermoor, the…

APRIL Canadian Opera Company, Toronto After Omicron forced cancellation of Madama Butterfly, the Canadian Opera Company returns to the Four Seasons Centre Apr. 23-May 20 with its first mainstage production in more than two years, Verdi’s La traviata. Tenor Matthew Polenzani (pictured), straight from his successful role debut as Verdi’s Don Carlos at the Met, sings Alfredo to the Violetta of Amina Edris and the Elder Germont of Simone Piazzola. The production runs in repertory with a revival of the COC’s Diane Paulus staging of Mozart’s Die Zauberflöte (May 6-21). Vienna State Opera Tenor Josh Lovell, in the ensemble of the Vienna State Opera, has a busy month with performances as Andres in Berg’s Wozzeck, the Italian Singer in Richard Strauss’s Der Rosenkavalier, Arturo in Donizetti’s Lucia di Lammermoor, the Voice of the Young…

“Not at all,” counters Toronto-born, Munich-based soprano Jacoba Barber-Rozema, a McGill alumna in classical voice performance. “I love film but have always been very excited by the idea of live performance. I’m not closing any doors.” Sound advice. And Barber-Rozema has gleaned other indispensable nuggets from her parents. “Probably to try to listen to your gut as much as you can,” she continues. “Don’t say ‘yes’ to projects just because you may be perceived as ‘successful’ for doing them. Say ‘yes’ to ones you’re excited about, or feel are necessary, or that you’re inexpressibly drawn to. Also, always continue to question the patriarchal, white and hetero-normative systems we find ourselves in, even though it’s easier to just accept and run with them.” Barber-Rozema talks the talk and walks the walk.…

“Not at all,” counters Toronto-born, Munich-based soprano Jacoba Barber-Rozema, a McGill alumna in classical voice performance. “I love film but have always been very excited by the idea of live performance. I’m not closing any doors.” Sound advice. And Barber-Rozema has gleaned other indispensable nuggets from her parents. “Probably to try to listen to your gut as much as you can,” she continues. “Don’t say ‘yes’ to projects just because you may be perceived as ‘successful’ for doing them. Say ‘yes’ to ones you’re excited about, or feel are necessary, or that you’re inexpressibly drawn to. Also, always continue to question the patriarchal, white and hetero-normative systems we find ourselves in, even though it’s easier to just accept and run with them.” Barber-Rozema talks the talk and walks the walk. No more…