Who’s Afraid of Contemporary Opera? p. 5
Unlocking the Mystery of Enigma p. 8
Inside the Costume Shop Labyrinth: Dominique Guindon p. 10
Have you had a look at our 2023–2024 season yet? If you have, you’ll have noticed that two contemporary works will be taking to the stage this season: an opera penned by composer Julien Bilodeau and playwright Michel Marc Bouchard, and a production by Éric-Emmanuel Schmitt , one of the most notable playwrights of our time.
In both cases, with its distinct identity and its single-minded desire to turn opera into a nexus for every type of art, the Opéra de Montréal has once again sought out extraordinary creators. They share our desire to tell thought-provoking contemporary stories. These productions transcend the generations, while echoing values that are profoundly human.
For artists like these, who often come from other places, our opera company is a major draw because, among other things, it already has one foot in the future. “Always a bit ahead of its time,” is something we often hear about the company.
But we haven’t gotten here by chance, have we? It’s a choice we’ve made together, you and us, to invest in the future, to push our opera company to become ever more innovative, more inclusive.
It’s no secret that one of the major challenges facing numerous cultural
institutions involves refreshing their offerings. As we emerge from a pandemic that paralyzed our industry for nearly three years, consumers of arts and culture have become more choosy, more mindful about what’s on offer. And that’s perfectly normal!
This is why it’s more important than ever for companies like ours to build and nurture a community, and to have a clear identity in which people can see reflections of themselves, while also working together to forge the bright future that awaits us. This is what will make audiences want to keep coming back. And, at the Opéra de Montréal, we’re certainly on the right path: at this point in time, we have more subscribers than we had three years ago!
We can be proud of where we are. Proud that we have succeeded in creating a place for ourselves within the hearts and minds of our audience, whether they are simply music lovers or dyedin-the-wool opera fans. And proud to see opera as an art form with a whole future ahead of it, a future that is ambitious, bright, and as extravagant as the passions that play out onstage.
Thank you for being a key part of our future. Thank you for supporting that future, and for taking it even further than we could ever have imagined. And thank you for your unswerving dedication as we work together, side by side, to shape the opera of tomorrow.
Writing: Charlotte Gagnon, Véronique Gauthier, Antoine Gervais, François Ulrich
Translation: Sheila Senghal (Artistic Licence)
Graphic Design: Le trafiquant d’images
Photography: Luc Bertau, Brent Calis, Marianne Charland, Steve DiBartolomeo, Anna Eli, Ken Howard, Caroline Perron, Yves Renaud, Tam Lan Truong
Nicole Paiement is a multi award-winning conductor emerita, Principal Guest Conductor for the Dallas Opera, and the founder of San Francisco’s Opera Parallèle, a company dedicated to contemporary works. She was in Montréal this past winter to conduct Ainadamar for the Opéra de Montréal, and generously answered our questions between rehearsals.
I think every conductor has their own definition. For me, an opera is contemporary when the composer and librettist are still alive, and when there is resonance with our time — not just historically, but also in its musical language. As you know, opera in the classical sense of the word has long been considered an elite art form, sitting slightly above everything else. By contrast, opera of the 21st century takes into account everything going on around it. It embraces other forms of art: film, the visual arts, architecture, and the many other new disciplines currently making their presence felt in our society. Contemporary opera “plays nice” with all of it, rather than setting itself apart and remaining aloof. In other words, contemporary opera is much less insular.
For example, in Ainadamar, there are flamenco elements. In Champion, which has already been presented in Montréal, you find elements borrowed from jazz. That’s what contemporary opera is, in my opinion: being open to other forms of artistic expression, resulting in a hybrid production that reflects the spirit, preoccupations and zeitgeist of our time.
How does contemporary opera differ from so-called classical opera or modern opera?
Traditional opera uses a classical musical language that is usually tonal and relies upon conventional orchestration. By contrast, modern opera, which corresponds more or less to opera of the 20th century, took a highly exploratory approach. Composers still used traditional writing — the notes, the staves — but they wanted to change how those tools were used. They were looking for a new language — sometimes atonal — to create new colours. They might also introduce unusual instruments, such as the ondes Martenot in works by Messiaen.
I love modern opera, but you have to acknowledge that it’s more elitist: you have to be somewhat in-the-know to appreciate it. From that standpoint, contemporary opera is much more accessible. The composers are keenly aware of both society and the audience. They ask themselves: “Will this story touch the audience? Is it visual? How can I tie it in with other arts such as circus, dance or even sculpture?”
I’ve also noticed that new works seek a more personal and intimate connection than modern or classical opera. It’s the 21st century: we’ve become more individualistic; we want to experience the performance, not just sit and watch it. We want to be engaged. A space like the Théâtre Maisonneuve, for example, is ideal for creating that sort of intimacy.
How is contemporary opera perceived today? Do audiences remain wary of it?
By definition, contemporary opera is new. And, like everything new, this can make people a bit leery. But contemporary opera is not a break with the history of music; it’s an evolution. We have gotten to this point because, before this, there was baroque opera, classical opera, romantic opera. There is a lineage within the operatic tradition, and knowing that genealogy can help allay any fears people might have.
But beyond any natural reticence, there is the issue of trust. If an audience trusts its opera company, it also trusts that the works on the program are worth seeing, even if the audience doesn’t yet know them. This relationship with an audience is built over time, and with initiatives such as events before each presentation. The Opéra de Montréal does this really well; you feel that there is an ongoing interest in broadening the musical horizons of audiences, gently leading them to new experiences.
To anyone who is still hesitant when faced with a contemporary work, I want to say this: dare to give it a try. Dare to give yourself a chance to love something new. You may not love it. Then again, do we love all of Verdi’s operas?
Not always. Astonishingly, however, contemporary opera can serve as an unexpected entry point for new opera audiences. The audience for contemporary works is often younger. What makes them come is the novel aspect of the experience. They arrive with open minds and are ready for anything — particularly to love what they see! Leaving a show once, I heard a young audience member exclaim, “I had no idea, but I actually love opera.” In this way, they begin to embrace opera and slowly develop their enthusiasm — including an enthusiasm for classical opera.
Ainadamar (2023)Is that why most opera companies are now programming contemporary operas?
It’s difficult to keep an art form alive if we only look to the past. The key responsibility of opera companies today is ensuring that opera continues to thrive for a long time to come — that it remains relevant, interesting, current. Ultimately, we are shaping a 21st-century discipline. And that comes through contemporary productions. Refreshing our audiences, of course, but also retaining the loyalty of our current audiences. Existing audiences remain attached to masterworks from the repertoire — the Carmens, the La Bohèmes, the Don Giovannis — but they also have a thirst for novelty, for new discoveries.
And I must say that, in that respect, the Opéra de Montréal plays its role very well as a leader and a guiding light. It leverages a diversity of works to keep its audiences interested and engaged. It is a company very much in tune with our time, with artistic trends, and with the strengths of the city as well.
You know, as I do, that Montréal loves novelty and creativity — I adore this city! And the Opéra de Montréal has learned how to take full advantage of that in working with artists from the city to develop new works. It is very avant-garde, and that’s what will inspire smaller companies, when their time comes.
What would you like to say to loyal subscribers of the Opéra de Montréal, who are also often donors?
A huge thank you! It is thanks to their generosity and their boldness that we can create new operas that may become tomorrow’s classics. It is thanks to them that we are able to continue to enhance the operatic tradition, and to ensure that in 100 years, people will still be going to the opera.
I sincerely believe that contemporary opera is the key to this longevity. Because it lives and breathes the spirit of its time, because it is accessible, because it reflects the people themselves. It is well on its way to becoming ever more popular. This is the future of opera!
In addition to contributing to the creation of new works, the Opéra de Montréal regularly programs contemporary operas, including, in recent years: Dead Man Walking, JFK, Champion, Silent Night, Les Feluettes and Written on Skin. During the 2023–2024 season, two new contemporary works will be featured: Enigma, adapted from Variations énigmatiques by Éric-Emmanuel Schmitt, and La Reine-garçon, taken from the play by Michel Marc Bouchard.
Two clashing visions of love. Two men swept up in a strange love triangle. Whom do we love when we love? And do we ever really know the person we love?
After wowing European audiences last fall at the Opéra-Théâtre de Metz, Enigma will storms the stage at the Théâtre Maisonneuve from April 7 to 13, 2024. Tenors Jean-Michel Richer and Antoine Bélanger plunge into the heart of this psychological thriller, an adaptation of Variations énigmatiques by Éric-Emmanuel Schmitt, keeping audiences on edge from start to finish.
Based on music by composer Patrick Burgan, Enigma faithfully reflects its theatrical origins. The title refers first and foremost to the storyline, which involves pieces of a puzzle and hidden truths that are revealed bit by bit as the story progresses.
“Without giving anything away, the story explores topics that are really well suited
to opera,” says Jean-Michel Richer. “Emotions are very raw. What I love when I go to an opera is when the emotion becomes so big that you tell yourself that all you can do is sing. And we have that in Enigma.”
Although the text by Éric-Emmanuel Schmitt contains few direct references to Elgar’s Enigma Variations, composer Patrick Burgan did not shy away from making that classical work the backbone of his score, elegantly integrating different variations into his music.
“At heart, I’m not a natural when it comes to contemporary music,” says Antoine Bélanger. “And yet, this particular work
is right up my alley. It is current, recent, but also evokes impressionism and post-romanticism in its shading and its use of orchestra. It remains very musical and melodic.”
“Patrick’s music is very thoughtful,” adds Jean-Michel Richer. “The score has multiple layers to explore, and if you want to dive into an analysis, there is a lot content to have fun with! But you can also simply sit back and enjoy the music while experiencing a range of emotions. It is something that can be enjoyed by opera connoisseurs and the uninitiated alike.”
To enhance the symbolism of the conflict, the opera’s two roles were given to tenors. Far from maintaining a spirit of competition, Bélanger and Richer instead developed a great partnership, working together within the production’s demanding musical and theatrical context.
As Jean-Michel Richer says, “It has been a great experience. Antoine and I get along really well, and working together is a pleasure. However, once we’re onstage, we definitely enjoy pretending that we can’t stand the sight of one another!”
The two singers agree about the opera’s vocals, energy and emotion: the substantial roles they’ve taken on can push them to their limits. “It’s a monumental work,” says Antoine Bélanger. “We’re onstage from start to finish. We are deeply involved in every moment. Emotio nally speaking, the characters are undergoing an evolution, peppered with highly intense moments, as well as moments that are quite intimate. It’s a major challenge to deal with all that physical and emotional work, while also working with a score that has a very broad vocal range.”
“The characters are going through major internal conflicts,” adds Jean-Michel Richer, “and we have to perform that. You have to
abandon yourself to the emotion, while also remaining cool, calm and collected, because there is also technical work to do, and you have to remain in control of your instrument. These are major-league roles!”
Directed by Paul-Émile Fourny, the two performers benefitted from an outstanding opportunity to explore and develop the relationship between their characters. For singers who love acting, it was a true delight.
“It really was a team effort,” says Antoine Bélanger. “We had room to express ourselves, to make suggestions, and to try a lot of things. It was a truly creative endeavour, shared by all of us.”
What awaits audiences in April 2024? “A show that is unsettling, touching and emotionally gripping, with great humanity,” says Antoine. “The music is magnificent, and the writing very contemporary. It is a work full of unexpected twists and turns that I would really want to go see!”
It is an enthusiasm shared by Jean-Michel Richer. “I’m beginning to have a good roadmap when it comes to creation, and I have to say that this opera is strong on so many levels! We really have something here. Whether people come to see it because they like ÉricEmmanuel Schmitt, or because they’re opera-lovers, everyone is sure to find what they are looking for.”
Unbeknownst to passersby who stroll through the Place des Arts complex each day, there is an entire world of work humming away underground — work that is essential to every opera performance. Sewing machines whirr, hands are kept busy, fabrics are draped and transformed.
There are more than 15,000 costumes stored in the “bunker” at Place des Arts, along with an array of footwear and accessories, ready to be used in upcoming productions. Overseeing this hive of activity, Head of Wardrobe
Dominique Guindon and her Associate Sonia Bayer coordinate every task within this tightly choreographed dance to dress each and every character.
How does a person with a passion for technique end up directing the costume shop for the Opéra de Montréal? First and foremost, you need a lively interest in the creative process, coupled with an abiding love for the history of costume and the study of forms, styles and silhouettes.
After studying fashion at Collège LaSalle, and theatrical production design at Concordia University, Guindon worked at the now-defunct Centre national du costume. Presiding over their inventory, she studied the various techniques used, for example, to shape the waist, slimming some areas while adding volume to others. “The transformation of the body fascinates me,” she says. “I could have spent my entire life there!”
After a time at the theatre school at the Cégep de Saint-Hyacinthe, she made the leap to the Opéra de Montréal. “When I was interviewed, it was the first time in my life that I was able to tick all the boxes for the position. I had them all. The job seemed tailormade for me, without a word of a lie!” As a child, she also recalls family trips to Parc Belmont — not for the rides, but to listen to the opera singers who performed during the dinner hour.
When she took over as Head of Wardrobe in 2007, she had to get used to dealing with a massive volume of costuming. “The biggest production that I had done up to that time involved 30 costumes. At the opera, there is nothing under 200, 400 or 500 costumes per season. It’s a whole other dimension!” The result: very busy weeks, and days that were sometimes very long. “But when I took my seat in the theatre and saw that it all worked, it was the icing on the cake for me.”
What are the successful ingredients when it comes to ensuring that everything comes together on opening night? “I have to ensure that everyone onstage is costumed to suit their character, that the desired aesthetic is reflected, and that everything stays in place.”
For each production, the Head of Wardrobe enjoys immersing herself in a given era, whether historical or modern. To dress characters in the most evocative way possible, she must, first of all, grasp the unique personality of each.
“It’s sometimes a question of detail, but you have to grasp the traits of the character, the backstory, the milieu, and the period to make the character as believable as possible. As for the chorus, you also have to find a common denominator to carry the costume and, for that, I really have to know the pool of people around me. It’s an art to come up with the right thing.”
Playing with the shapes and body types of performers, and adapting them to the characters, can be a major challenge. “If we want a strong character, but the performer is physically slight, we have to accentuate the character to add authority. People see the final result, but never guess at all the analytical work that goes into the final choice of fabrics.”
What does she like most about her work? “The diversity of the projects and the interactions. Forget that tired old diva cliché! The singers are happy to collaborate with us, and we have developed some great relationships!”
In the small midwestern American town where she grew up, Sue Wehner discovered opera via her pianist mother and the household collection of vinyl records. She listened and re-listened in rapture to the voices of Ezio Pinza, Franco Corelli, Anna Moffo, and many others.
As a young student in New York City, she attended her first opera performances at the Metropolitan. “I think that the opera that really converted me was Boris Godunov, with Jerome Hines in the title role. It felt like he was nine feet tall!”
When Sue ultimately settled in Montréal with her family, she continued to attend concerts and operas with the same enthusiasm. Aware of the role philanthropy plays in arts and culture, she also got involved in directly supporting the organizations.
How did she become “godmother” to an artist at the Opéra? “I followed in the footsteps of my father, in a way. He was a marvellous man — deeply committed to youth-related causes. Opera is such a specific art form, so demanding for the artists onstage. They must master their voices, along with dramatic expression and languages, while also managing to work with so many other professionals, directors, conductors, etc. It’s a big challenge! I felt that, if I could be there for an artist — be there to encourage and
support them, in addition to providing financial support — it would be meaningful for both of us.”
At the Atelier lyrique, Sue had an opportunity to contribute to the development of two sopranos: Elizabeth Polese and Lucie St-Martin. “Beth and Lucie became like members of my own family — my ‘opera daughters’ you might say! I know in my heart that they will remain friends for life, and that I will continue to follow their careers as they blossom professionally.” Sue also emphasizes the need to support artists in the particularly delicate post-Atelier period, whether through contacts, advice, or both.
As Elizabeth Polese attests, the presence of a godmother extends well beyond the philanthropic support. “When I joined the Atelier, I arrived from Toronto with my husband Jesse, and my dog Darcy. We knew hardly anyone, and the meeting with Sue was heaven-sent! We discovered that we had shared interests — baseball, a love of animals, drag queens She welcomed us to her house in Ste-Marthe on many occasions, our two dogs running around together while we toured her farm.”
Lucie St-Martin agrees wholeheartedly. “Sue’s presence had a very positive impact on my Atelier journey. It was, first and foremost, a very human experience — her attendance at all of my concerts, her words of encouragement, her network of music contacts to help and advise me. The relationship also extended to my family. Sue got to meet my father and grandfather, and I know her son Soren. Our relationship goes beyond music: we exchange photographs of horseback riding, fishing, travel. I know that I can count on her if there is a problem, and I hope she feels the same way about me!”
In the end, the artist sponsorship program gives artists an opportunity to venture beyond their usual circle. As Lucie St-Martin says, “I must admit that, before meeting Sue, I was a bit intimidated by the program. My fears flew out the window at our first meeting, and once I met all of the other artist sponsors. It really is a great community of people who are both accessible and committed, who support opera because they love it, like us!”
What does Sue want for up-and-coming opera artists? “I wish them enduring success and all the accolades they deserve! They have so much talent, generosity and discipline, and it is a blessing to be able to help them out a little. I hope to continue supporting them for a long time to come, along with all of the Opéra de Montréal’s other outstanding and innovative programs.”
Jean-Philippe Mc Clish, bass-baritone (Atelier 2021)
Sang the role of Mutter in Sieben Todsünden, by Kurt Weill, at the Theater Orchester Biel Solothurn in Biel, Switzerland (October 28, 2022 to February 5, 2023)
Spencer Britten, tenor (Atelier 2020)
Magali Simard Galdès, soprano (Atelier 2016)
Performed Lysander and Tytania respectively in A Midsummer Night’s Dream, by Benjamin Britten, at the Vancouver Opera (February 11–19, 2023).
Phillip Addis, baritone (Atelier 2005)
Renaud Doucet, Stage Director, Choreographer, Costume Designer (Atelier 1998)
Phillip Addis performed Pelléas in Pelléas and Mélisande, by Claude Debussy, at Teatro Comunale di Modena in Modena, Italy, with staging and scenography by another Atelier lyrique alumnus, Renaud Doucet (January 20 to February 5, 2023).
Julie Boulianne, mezzo-soprano (Atelier 2006)
Sang the title role in Iphigénie en Tauride, by C. W. Gluck, at the Opéra national de Lorraine in Nancy, France (March 15–21, 2023)
Catherine Daniel, mezzo-soprano (Atelier 2010)
Will sing the role of Katie Ellen in the production Omar, by Rhiannon Giddens, at the Boston Lyric Opera (May 4–7, 2023).
Florie Valiquette, soprano (Atelier 2015)
Will sing the role of La Fortuna in L’Incoronazione di Poppea, by Claudio Monteverdi, at the Gran Teatre del Liceu in Barcelona (July 10–21, 2023).
In 2018, the Opéra de Montréal launched its Programme Impact Opéra.
This program provides various activities within the community and in schools, led by a team of dedicated teaching artists and partners. The goal: to introduce a wide audience to opera, support well-being, and make opera an essential teaching tool, and even a means of promoting social transformation.
In 2020, Pierre Vachon, Director of Civic Impact and Education division, started considering the benefits of singing, beyond the artistic experience enjoyed by audiences during a performance. The positive benefits of art on health and well-being were already well-documented. But what effect might operatic singing techniques — deep breathing, vocal vibrations — have on physical health? Could these have a demonstrable impact on the bodies of amateur singers?
It was within that spirit that the BREATHE (Respirer) program was launched in February 2022, to benefit people suffering from the symptoms of long COVID. In association with the IRCM post-COVID-19 (IPCO) research clinic, the program was created and developed by mezzo-soprano Ariane Girard, who is also Principal Voice Teacher with the Opéra de Montréal’s Atelier lyrique; and by Charlotte Gagnon, a mezzo-soprano and yoga teacher who handled program animation.
This virtual clinic was inspired by the English National Opera’s own BREATHE program. It offers virtual workshops in classical singing and yoga. During a series of 12 sessions lasting 50 minutes each, participants experiment with their voices. Through vocalizations and the singing of selected arias, they work to rebuild their lung capacity. “The body knows how to breathe, and singing is nothing more than an extension of this basic function,” says Charlotte Gagnon. “Thanks to music and the use of the voice, their symptoms improve slowly but surely.”
La voix harmonisée:
Building upon the success of BREATHE, Pierre Vachon and his team began exploring other applications. That’s how a new initiative, dubbed La voix harmonisée was born.
Society of Speech Therapists and Audiologists] — the program is designed as a preliminary approach to the vocal harmonization techniques used in speech therapy.
“During the gender-affirmation process that trans women undergo, one of the elements that remains unchanged despite hormone therapy is the voice. A trans woman can thus be faced with a contradiction between her identity (what she embodies) and what is perceived by those around her,” says Cédric Maguin. “After hearing about the BREATHE program offered to patients with long COVID, I saw an opportunity to approach the Opéra de Montréal to collaborate on a program adapted to trans women. The idea is for them to develop ease and control of their voice. By providing them with an opportunity to experience different sensations and tones, we are helping them develop a voice that matches their self-perception.”
Through breathing exercises, and exercises in targeted muscle tone and specific vocalizations, participants learn to master their vocal equipment. This, in turn, further supports their affirmed identity, through the sound of their voice.
These two programs showcase the richness of the operasinging experience. Together, they pave the way for the development of other new approaches to health and wellbeing. Each is an example of how the Opéra de Montréal continues to engage with its community, sharing the benefits of opera in all its forms, in support of our fellow citizens.
This pilot program allows trans women to develop and firm up their voices using operatic techniques. Created and developed by Charlotte Gagnon, in collaboration with speech therapist Cédric Maguin — a member of the Ordre des Orthophonistes et Audiologistes du Québec [Quebec
How did you discover opera?
It dates back to my childhood. My father loved singers with big voices: Michel Dens after Mass every Sunday, South Pacific, The Student Prince with Mario Lanza, and excerpts from Carmen Carmen remains my earliest memory, but the opera that hooked me, when I was still a teenager, and in a pretty surprising way, was Wozzeck by Alban Berg (Boulez, Berry, Strauss).
Your best opera memory?
In my case, it’s personal. It was La Traviata by Opéra Immédiat, Sophie De Cruz’ semi-professional company. I took part as a chorist-baritone. I was struck by the drama and the singing, even more so because my daughter, Xuan-Mélanie, performed lovely ballet choreography that was closely related to the drama. In addition, the excellent baritone and former Atelier lyrique artist, Dion Mazerolle, sang Germont.
An opera artist you adore?
I think more about certain performances that astonished or struck a chord with me: Teresa Stratas in Lulu, Anna Netrebko in La Traviata, Placido Domingo in his “Puccinis.”
Off the top of my head, Bizet’s Carmen; this is also the work that I knew first, as young child. It was one of the first that I got, as a teenager, as a complete version on vinyl, and also one that I performed in as a baritone.
I am keenly aware that keeping an opera company up and running in Montréal — a city that barely, including its suburbs, has the population of a large American or European city — requires something of a miracle! Ensuring that the quality of the performances remains high, while also maintaining the excellence of the Atelier and responsiveness to highly diverse audiences is a daily challenge. All of this is dear to my heart. I also know that choosing to go into opera is not the most obvious choice. It takes a lot of courage, and we need to support those who make that commitment.
Lesley Robinson
How did you discover opera?
I was lucky to grow up in a household where we regularly listened to opera. When I was about 11 years old, my parents gave me a record player, with a 33-rpm record of highlights from La Bohème, and a paperback of the libretto in Italian and English. I listened to it while following along with the libretto, at night in bed, and I quickly fell in love with it.
Your best opera memory?
I can tell you my favourite moment and my favourite note: when Mimi joins Rodolfo in “O soave fanciulla” — that expression of ecstasy! Every time we see La Bohème, I have that additional special memory.
An opera artist you adore?
No contest! I love great tenor voices, and there is no one who delights me more than Juan Diego Florez. His warm and expressive voice could make one want to travel all over the world hear it.
Your favourite work/composer/ repertoire?
That’s a tough one. I am an absolute fan of Bel Canto, but I also love Handel, Mozart, Puccini and Verdi. I have great appreciation for the dramatic and visual aspects of opera.
Why support the Opéra de Montréal?
We are privileged to have an opera company the calibre of the Opéra de Montréal so close at hand, with its ground-breaking and thoughtful productions. The past two years have been difficult, and it’s a pleasure to be able to go back to the opera to support and enjoy the productions in person.
How did you discover opera?
When I arrived in New York in the mid-1970s, I completely immersed myself in the cultural life of the city. The Met offered an unusual opportunity: volunteers could attend the operas for free. That’s where my opera education began. I discovered many different productions, the great orchestra, and legendary voices. I am very grateful for those unforgettable experiences.
How did you discover opera?
I’ve always enjoyed classical music, but it was when I was living with my new housemate Vanessa Croome of Atelier lyrique that I really dove into the world of opera.
Your best opera memory?
The Barber of Seville by Rossini at the Santa Fe Opera. It was a very unique experience, because the production was both funny and impressive, with the mountains of New Mexico as a backdrop.
An opera artist you adore?
Any tenor who intones, “Ah ! mes amis, quel jour de fête,” in La Fille du régiment by Gaetano Donizetti, will always be able to win my heart!
Your favourite work/composer/repertoire?
There are so many! I have a particular love for certain arias, such as “Mein Herr Marquis” in the opera Die Fledermaus; “Mêlons ! Coupons !” from the opera Carmen; and “La donna è mobile” from Rigoletto, which I listen to on loop.
Why support the Opéra de Montréal?
For me, it is essential to support the arts and culture, as well as their practitioners — and especially opera in Montréal. It is a powerful form of artistic expression that does not get enough recognition, particularly among younger generations. The more exposed we are to opera, the more we appreciate it! This art has existed for centuries, and its history is rich and fascinating. It is important to support it so that future generations can also benefit from it.
Your best opera memory?
It’s impossible to choose just one. Among many others: Leontyne Price singing Aida at the Met. The final trio of Der Rosenkavalier always makes me cry. Memories of Renée Fleming, Christine Schäfer and Susan Graham. And all of the operas conducted by Yannick Nézet-Séguin are memorable.
An opera artist you adore?
Marie-Nicole Lemieux, primarily for her magni ficent voice and her stage presence. It’s as though she isn’t playing a role but creating something new onstage, right before our very eyes. She is daring in the characters she chooses, and passionate about bringing them to life. We had an opportunity to see Marie-Nicole in the major production of Il Trovatore at the Opéra de Montréal last fall, and I also had the privilege of seeing her in Falstaff at the Met.
Your favourite work/composer/ repertoire?
Begin with Monteverdi, Mozart, Verdi. Go on from there…
Why support the Opéra de Montréal?
A city needs opera! It’s where everything comes together: people, stories, drama, music. For its character, its ambitions and its flair, the Opéra is quintessential Montréal!
Saturday, May 6, 2023, 6 PM Opening Night Cocktail Madama Butterfly
SALON URBAIN, PLACE DES ARTS
Sunday, June 11, 2023, 11 AM Director’s Brunch
(DETAILS TO COME)
Wednesday, May 17, 2023, 5 PM FINALE Concert of the Atelier lyrique PIANO NOBILE, SALLE WILFRID-PELLETIER
Wednesday, September 6, 2023, 5 PM Season Debut Concert RITZ CARLTON OVAL ROOM
1 2 3
Of the following works, which one is not considered a contemporary opera?
a. La beauté du monde (Bilodeau/Bouchard)
b. Wozzeck (A. Berg)
c. Ainadamar (O. Golijov)
d. Hadrian (R. Wainwright)
Of these contemporary operas, which has not yet been performed by the Opéra de Montréal?
a. JFK (D.T. Little)
b. Silent Night (K. Puts)
c. Written on Skin (G. Benjamin)
d. Fire Shut Up in My Bones (T. Blanchard)
Which of these unusual instruments was featured in the orchestra for Ainadamar
a. Kalimba
b. Sackbut
c. Cajón
1. b) Wozzeck (opera from a deceased composer)
ANSWERS