May 1, 2012 Dear Brian Quirt, Rupal Shah, and the Nightswimming gang, I’m very exciting to be making this application for the Nightswimming Pure Research program. Though my background is in theatre and in classical music/opera, these two worlds have largely remained confined in themselves until the past year. I have noticed an increased interest among all artists to collaborate across disciplines and this has sparked my own interest in the intersection of physical theatre, opera and dance. In the past little while, I have helped workshop a Viewpoints/movement-based piece with vocal and opera components (Tapestry/Bound2Create), and performed in an artist’s installation that involved me lifting a ’68 Mustang coupe while singing Roy Orbison’s ‘Only the Lonely’ in German. One question that has consistently come to mind during these endeavors is “What are the physical limitations of operatic singing?” As someone who is interested in extreme physicality in classical singing/opera, I’m very much interested in exploring the outer boundaries of maintaining an ‘acceptable’ tone while going physically ‘all out’. I know that certain singers are asked to do some taxing things (I once saw Susan Graham run across the stage and jump on someone’s back, all the while holding one long note), however there are also many singers who can’t or won’t move. With the current trend of integrating physicality into opera, what exactly is feasible? Are there boundaries that haven’t been tested yet? I am proposing a Pure Research workshop to explore the physical limitations of classical singing. My collaborators are Michael Mori and Teiya Kasahara. Michael is a director, choreographer and singer and is currently Associate Artistic Director at Tapestry New Opera. He will serve as the ‘director’/outside eye and will oversee the conducting of these experiments. Teiya is an accomplished singer and a very physical performer in her own right. She and I will both be collaborative subjects in the experiments. Over three full days, or 5 half days, we hope to put ourselves through our paces and discover some new possibilities for physical opera performance. We know that singing opera is already a physically taxing activity, however we are interested in finding out how much further we can push opera performance before it is no longer sustainable (or recognizable). We will be testing ourselves through a series of cardiovascular, movement and positioning exercises that will hopefully generate new staging possibilities for the future. Thank you for this wonderful opportunity for pure exploration. It is indeed seldom that we get the opportunity to investigate what we do from a perspective of curiosity. Please let me know if you need any other documents or information from me. You can reach me at kwanzoku@gmail.com or at 647 669 4080.
Best Regards,
Derek Kwan
The Unfettered Singer - Project Description
Background There is increased interest in the performing arts community in intersecting various disciplines- dance, theatre, opera and others. While opera has sometimes been seen as the combination of all the arts, the fact remains that most opera singers aren’t asked to move very much in the course of their singing; particularly in the world of classical music, there is rarely full integration of the various art forms in the performer and has led to the phenomenon known as the ‘park and bark’. At present, however, there is a trend towards asking more of singers physically, as opera and theatre evolve towards ever news forms of storytelling integrating physical theatre and dance. While opera directors are seeking novel physicalities, it is not really known what those physical limits are. Naturally, possibilities are dictated by the individual capabilities of a singer, her cardiovascular health, flexibility, openness to experimentation and so forth. In recent years, singers have been asked to sing lying on their backs and hanging in the air, but there doesn’t appear to have been any attempt to explore the outer limits of what a classical singer can physically do and still maintain performance quality singing. What we would like to accomplish with this project is to discover the physical limitations of Classical singing and to answer a number of questions related to physicality and singing, including: • • • •
How long would it take a healthy singer to recover after rigorous cardiovascular exercise to the point where he could competently hit the highest notes in his range? Is it possible to sing an entire aria standing on one’s head? How much is too much movement for a singer to maintain tone? At what point do chattering teeth impinge on phonation?
Pure Research will allow us the freedom for an in-depth exploration of each of our questions without the normal demands for a definitive answer. We will be able to push ourselves in each of these experiments without having to worry about performance context and performance anxieties. These experiments are about discovering new possibilities and potentials, not figuring out blocking or staging. Objectives & Goals •
• • •
Explore the physical limits of classical singers in four major areas: o Cardiovascular and pulmonary limits on singing o Limitations of body positions and poses o Limitations of physical movement o Effects of environment Discover personal limits in endurance, physicality and response to environment Expand the expressive palate for singers and directors Generate new possibilities for staging
Methodology Two singers (one male, one female) will collaborate with one director to go through a number of pre-determined and improvised exercises/experiments to test the physical limits of the performers under various circumstances. Benchmarks of performance will be discussed and set on the first day and will include: a vocalise covering the singer’s entire vocal range, individual arias that are challenging to that singer’s capabilities, and a duet for exercises involving both singers. The singer’s objective is not to merely phonate (whisper, squeak, screech), but to maintain a quality of singing acceptable in performance circumstances. The experiments will be spread over a number of sessions- each focusing on one area of exploration. Exercises will be undertaken in the following areas: • • • •
Cardiovascular and pulmonary- singing while running (various speeds), recovery rate after strain, maintaining the voice through various spurts of activity Poses- inversions, compressions, twists, yoga poses, specific angles, body/back support vs. none Movement- effect of large movements & choreography, somersaults, cartwheels, wrestling, hula hoops, playing tag Environment- cold/hot temperature differences, cold/hot beverages and their effects on the throat, wind
Because of the physically demanding and potentially damaging nature of the experiments, safety will remain the top priority in all of the exercises. The exercises will be constructed and scheduled to take into consideration the performers’ endurance, while fully recognizing that it is this endurance that we are interested in testing. Data collected will be qualitative and subjective. The participants will each keep a written record of the results, observations and discoveries of each experiment- both those doing and watching. Group discussions will also take place to review the proceedings and to identify further possible avenues of exploration. There will also be video and photographic documentation of the exercises. Requirements • • •
A studio space large enough for 2 people to move comfortably with an accessible piano 3 full days or 5 half days Chairs, tables and other simple properties
Budget Items • • • • •
Fees for collaborators (3) Sessional fees for pianist (1 or 2 sessions) Space rental Piano rental? Petty cash for minor props (eg. ice, bucket)
DEREK KWAN
647 669 4080 | kwanzoku@gmail.com
HAIR: BLACK
EYES: BROWN
THEATRE (SELECTED):
RED SNOW A FOOL’S LIFE EURIPIDE’S CYCLOPS THE IMPORTANCE OF BEING EARNEST KING LEAR THE SHAPE OF THINGS MASTER BUILDER CALIFORNIA SUITE BEAUTIFUL THING SAVAGE / LOVE BANANA BOYS*
Jason Yamamoto Various Satyr John Worthing Oswald Adam Ragnar Mort / Marvin Ste Lover Mike Chao
BANANA BOYS
Mike Chao
HEIGHT: 5’6”
WEIGHT: 145 LBS Red Snow Collective Ahuri Theatre Children of Wine / Fringe 2011 East West Theatre, Shanghai Shanghai Repertory Theatre East West Theatre, Shanghai East West Theatre, Shanghai East West Theatre, Shanghai Michael Darragh, Shanghai Bangkok Community Theatre fu-GEN Asian Canadian Theatre Company / Factory Theatre, Toronto fu-GEN /Magnetic North Theatre Festival
*Nominated Dora Award: Outstanding Performance for Best Ensemble in a Play or Musical (2006)
OPERA (SELECTED): NEW OPERA SHOWCASE (Various) DIE SIEBEN TODSÜNDEN (Weill) THE IMPRESARIO (Mozart) MOZART IN MISCHIEF ARIADNE AUF NAXOS (Strauss) LA VIE PARISIENNE (Offenbach) RINALDO (Handel)
Tenor Tenor Mr. Angel Fernando / Don Ottavio Scaramuccio Bobinet Araldo
Tapestry New Opera Against the Grain Bangkok Opera NUNi Productions (Bangkok) Summer Opera Lyric Theatre Summer Opera Lyric Theatre Opera in Concert
INSTALLATIONS, CONCERTS & ORATORIOS: Today a Legend Died. Viva La Revolution (Derek Liddington) Soirees with Debussy, Ravel & Poulenc- Neapolitan Connection Scotiabank Nuit Blanche 2010 (Derek Liddington) Handel’s Messiah – Bangkok Combined Choir Mozart’s Coronation Mass- Bangkok Japanese Choir TRAINING: Bouffon Clown/Jeu Gargantua Intensive Artist Lab Suzuki Method & Viewpoints Tafelmusik Summer Baroque Institute Working with Words & Shakespeare Devised Theatre Commedia dell’Arte Workshop Classical Lab On-Camera Acting Contemporary Techniques for Classical Singers
Theatre Gargantua Volcano Theatre Tafelmusik Stratford Theatre Festival Patrice Naiambana, Will Power, Quinn Bauriedel (Pig Iron) Why Not Theatre / Theatre Run Equity Showcase Professional Actor’s Lab Queen of Puddings Musical Theatre Company
Adam Lazarus Philippe Gaulier Various Michael Greyeyes Various Kennedy C. MacKinnon & Janine Parsons Marcello Magni Peter Van Wart Marvin Hinz
SPECIAL SKILLS & INTERESTS: Languages: Chinese (Mandarin, Chinese), French (Intermediate), Japanese (Elementary), German, Italian, Thai Operatic Tenor, Oboe, Flute, Piano (Intermediate), Sound Recording and Design, Performance Management, Yoga, Pilates, Gourmet Cooking,
Michael David Hidetoshi Mori BMus MMus Education 2006 Masters of Music (Opera Performance) University of British Columbia 2004 Bachelor of Music University of British Columbia 2004, 2006 Mozarteum Sommerakademiediplom
Language Proficiencies Written and Spoken: German, English, French Spoken: Swiss German, Italian Studied: Czech, Spanish, Japanese, Danish
Directing 2012 Assistant Director Assistant Director Music Director Director Director
Shelter, World Premier, Edmonton Opera, Tapestry New Opera under Keith Turnbull The Enslavement and Liberation of Oksana G. (Workshop), under Tom Diamond, Tapestry New Opera Noor over Afghan, Canadian Stage, Festival of New Ideas New Opera Showcase, Tapestry New Opera Black Blood, Paprika Festival, Tarragon Theatre
2011 Assistant Director Assistant Director Assistant Director Director/Choreographer
Pub Operas, under Sue Miner, Tapestry New Opera Opera Briefs, under Sue Miner, Tapestry New Opera Dido and Aeneas, under Tim Albery, Opera on the Avalon The HMS Pinafore, University of British Columbia
2010 Director/Choreographer Director/Writer
Gilbert and Sullivan Greatest Works, University of British Columbia Nothing is Free, Powell Street’s Spatial Poetics Festival
2009 Director Staging Director
Duet from, The Bartered Bride, David Spencer Concert Dido and Aeneas,Vancouver Voices,Van Dusen Gardens
2008 Director/Choreographer Choreographer 2007 Assistant Choreographer Director/Asst. Choreo. 2006 Director/Choreographer Asst. Director/Choreo.
The Mikado, UBC Gilbert and Sullivan Society Honk and Into the Woods Broadway or Bust Musical Theatre Camp, Squamish, BC The Gondoliers, UBC Opera Ensemble Iolanthe, UBC Gilbert and Sullivan Society Cool from Westside Story, David Spencer Concert H.M.S. Pinafore, UBC Opera Ensemble, Westben Festival c: 778 882 8902 e: morimichaeld@gmail.com
Michael David Hidetoshi Mori BMus MMus Production and Admin Experience 2012-2013 2011-2012 2011-2012 2011-2012 2010-2011 2008-2012 2005-2006
Associate Artistic Director, Tapestry New Opera Production Manager, Life Opera, musica intima Artistic Coordinator, Head of Production, musica intima Artistic Associate to Wayne Strongman, Head of Tapestry Opera Producer, The UBC GIlbert and Sullivan Society Assistant Producer and Event Coordinator, musica intima Assistant to the Head of Voice and Opera, University of British Columbia
Dance Training: Harbour Dance Soul to Sole iDance
Jazz, Break, Tap Tap Jazz, Ballet
Ballroom Awards: Golds in Latin Ballroom, Salsa, Jive
Recent and Upcoming Performances
2011
December
Asahi Ball Player/Shite - Shadow Catcher, Vancouver Pro Musica
May
Doctor - The Painted Brain, Songroom
April
Stage Manager: Victoria Philharmonic Choir: St Matthew Passion Co-producer and presentation director: Where theres a Will with musica intima
March
Baritone Soloist - ACT!, Sonic Boom New Music Festival
February
Baritone Soloist - Dorothy Fields Cabaret Producer, Director, Choreographer, Set Design and Construction: HMS Pinafore
2010 November
Mr. Morcom, Officer – Enigma: The Life and Death of Alan Turing, Vancouver New Music
Jan-Dec
Singer, Presentation Director, co-artistic director in musica intima, winner of three consecutive Best of Vancouver (Georgia Straight: Best Classical
c: 778 882 8902 e: morimichaeld@gmail.com
Michael David Hidetoshi Mori BMus MMus Recent and Upcoming (cont)
Vocal Ensemble), Juno nominee, and winner of best classical album for Western Canada co-Produced “Silhouette” with guest cellist Ari Barnes at the Telus Theatre
July
Girl, Boy, and Storm-God, Performer, Writer, and Director – Nothing Is Free, Spatial Poetics
June
Harry Parch, Zachary – The Boy Who Went Outside, Wild Excursions Productions at Performance Works
March
Soloist – Bach's St Matthew Passion,Victoria Philharmonic Choir
Past Operatic Roles: (University of British Columbia and Stadtsoper Usti nad Labem, Czech Republic): Figaro
Le Nozze di Figaro
Guglielmo
Cosi fan tutte
Papageno
Die Zauberfloete
Schaunard
La Boheme
Zaretsky
Eugene Onegin
Mercury
Orphee aux Enfers
Pritschitsch
Die Lustige Witwe
c: 778 882 8902 e: morimichaeld@gmail.com
+1 (416) 712–6722 teiya@teiyakasahara.com www.teiyakasahara.com
soprano
Teiya Kasahara teiya /′tε·i·ja/ ていや 貞野
RÉSUMÉ ROLE ( * = cover) OPERA
Lucia* Lucia di Lammermoor
COMPANY
CONDUCTOR/DIRECTOR
DATE
COMPANY
CONDUCTOR or MUSICIAN(s)
DATE
Canadian Opera Company S.Lord/D.Alden 2013 Queen of the Night The Magic Flute Vancouver Opera L.Dala/R.McQueen 2013 Olympia Les contes d’Hoffmann Edmonton Opera C.Campestrini/J.Ivany 2013 Königin der Nacht Die Zauberflöte Highlands Opera Studio T.Vernon/V.Kuinka 2012 Solana When the Sun Comes Out Pride in Arts Society, Vancouver R.Iwaasa/R.McQueen 2012, 2013 Soprano Solo New Opera Showcase Tapestry New Opera W. Strongman/M.Mori 2012 Königin der Nacht Die Zauberflöte Opera Kitchener D.Warren/P.Cookson 2011 Tytania A Midsummer Night’s Dream Aspen Music Festival & School J.Glover/E.Berkeley 2011 Echo Ariadne auf Naxos Canadian Opera Company Sir A.Davis/N.Armfield 2011 Zerbinetta* Ariadne auf Naxos Canadian Opera Company Sir A.Davis/N.Armfield 2011 Lucy The Telephone Canadian Opera Company C.Mokrzewski/T.Huffman 2011 Balmont Fables The Nightingale Canadian Opera Company/BAM J.Debus/R.Lepage 2011 The Nightingale* The Nightingale Canadian Opera Company/BAM J.Debus/R.Lepage 2011 Madame Mao* Nixon in China Canadian Opera Company P.Heras-Casado/J.Robinson 2011 Florestine* The Ghosts of Versailles Aspen Music Festival & School M.Christie/E.Berkeley 2010 La Contessa* Le nozze di Figaro Aspen Music Festival & School J.Gaffigan/M.Duncan-Steidl 2010 Maria Stuarda* Maria Stuarda Canadian Opera Company A.Walker/S.Lawless 2010 Ilia* Idomeneo Canadian Opera Company H.Bicket/F.de Carpentries 2010 Serpina La serva padrona Canadian Opera Company A.Larlee/A.Newton 2010 Frasquita Carmen Canadian Opera Company R.Macdonald/J.Way 2010 Despina Così fan tutte Canadian Opera Company M.Isepp/M.Albano 2009 Tytania* A Midsummer Night’s Dream Canadian Opera Company A.Mason/N.Armfield 2009 Musetta* La Bohème Canadian Opera Company J.Kovatchev/M.Gronsdal Powell 2009 1st Wood Sprite Rusalka Canadian Opera Company J.Keenan/D.Bertman 2009 Marzelline* Fidelio Canadian Opera Company G.Buehl/A.Baesler 2009 Rosina(*) Il barbiere di Siviglia Canadian Opera Company M.Harth-Bedoya/M.P.Albano 2008, 2009 Zerbinetta Ariadne auf Naxos Toronto Summer Music A.Grossmann/T.Hollweg 2008 Queen of the Night The Magic Flute Canadian Opera Company S.Ball/B.Krysa (School Tour) 2007 Susanna* Le nozze di Figaro Canadian Opera Company J.Jones/G.Bernardi 2007 Königin der Nacht Die Zauberflöte University of British Columbia N.Baxa/M. Otava 2007 Rosina Il barbiere di Siviglia University of British Columbia M.Matesic/N.Hermiston 2007 Musetta La Bohème University of British Columbia N.Varon/N.Hermiston 2007 Susanna Le nozze di Figaro University of British Columbia T.Paterson/Martin Otava 2006
CONCERT
A.Patterson (alto sax.) Voices of the Pacific Rim T.Chang (piano) Shepherd on the Rock (+ arias) Opéra Toulon Provence Méditerranée G.Carella, G.Sobrino (clarinet) Ugro-Finnic/Spanish Salon Off Centre Music Salon I.Perkis, B.Zarankin (piano) Deux Poèms de Ronsard (Roussell) Aspen Music Festival & School N.Asin (flute) L'incoronazione di Poppea National Ballet of Canada D.Briskin I Never Saw Another Butterfly (Laitman)
Manhattan School of Music Vancouver Opera
TRAINING & AWARDS
2012 2011 2010 2011 2010 2010
Ensemble Studio Artist Canadian Opera Company Toronto, Canada 2007-2010 Bachelor of Music (Opera Perf.) University of British Columbia Vancouver, Canada 2003-2007 Languages: Czech, English**, French, German**, Italian, Japanese, Latin, Russian, Spanish (** = spoken) Programs: HOS 2012, Aspen 2011, ‘10; IVAI, YACIN 2009; C.O.S.I., TSMAF 2008; UBC Opera Czech Rep. 2005-’07 Awards: 4th Place Czech-Slovak Competition (Montreal), Winner Western Canada District - MONC Auditions 2011. Semi-finalist Julián Gayarre International Singing Contest 2010.
Member of Canadian Actors’ Equity Association and ACTRA.