A Fountain of Youth: Opera Creation at the Opéra de Montréal

Being, original production by René-Daniel Dubois and Blair Thomson (rehearsal with the resident artists of the Atelier lyrique)

A Fountain of Youth:

The Vision behind the Creation of New Works

Since 2016, the Opéra de Montréal has been making room for original productions in its programming. Where does this fresh approach come from? What does it add to the company, to audiences, to artists? Patrick Corrigan, General Director of the Opéra de Montréal, and Artistic Director Michel Beaulac, share their thoughts on this exciting development, which promises the company long-term appeal among contemporary audiences.

Developing New Works for the Opera of Tomorrow

Over the past 10–15 years, the opera world has undergone profound change. In Europe and North America alike, large companies are starting to create brand-new works — and the Opéra de Montréal is no exception. Why? “To begin with, it’s a matter of necessity,” says Patrick Corrigan. “The operatic form had become somewhat calcified, always involving gigantic spectacles with a big orchestra, on a large stage, with massive sets.” The coming of digital, which gives everyone access to whatever is happening around the world, shed light on financial disparities between opera companies, and made it essential for companies to diversify in order to set themselves apart. Then there were the audiences, looking for new repertoire to which they could relate.

For Michel Beaulac, it was important to find an identity for Montréal’s own company. “I call it “Montrealizing” the company, meaning the presentation of works in which our audiences can see themselves — works that help the Opéra de Montréal position itself as both homegrown and international.”

Developing a Taste for It

For his first major plunge into developing a new work, Michel Beaulac approached Michel Marc Bouchard in 2012 about adapting his play Les Feluettes — already well known and liked by the public — into an opera. The resulting production became a runaway success in 2016. Following this baptism by fire, Michel Beaulac wanted just one thing: to do it all over again. “We’d caught the bug. Creating new works becomes a real passion; it’s intoxicating! It’s like a Fountain of Youth, reinvigorating the audience-company relationship, as well as the entire Opéra de Montréal team.” New processes were put in place to accommodate similar projects. This was not without its challenges. “We had ways of working, funding and organizing that were well-established for works in our repertoire,” says Patrick Corrigan. “We had to revisit everything. Developing new works takes years, so we also needed to maintain some kind of cash flow. We had to deconstruct our financial structure to allow us to adapt.” The positive upshot for the arts sector is that this leads to many more work opportunities for artists and musicians. To be sure, the creative process eventually results in a single approach and a single artistic vision, but the truth is that developing a new project involves more than hiring creators. It also translates into additional contracts for the many singers, pianists, musicians and designers involved in shaping a project — far more than what is required for a traditional work. Diversifying to Connect with Larger Audiences Presenting new works by varying their format, by stepping outside a traditional framework, by using instruments and voices in different ways, and by appearing in different sizes of hall attracts new audiences to opera. “We have broken down the barriers and developed a whole new way of doing things,” he notes. Patrick Corrigan feels that this variety of formats will ensure that the opera company’s longevity, while also changing the misconceptions about opera that remain within a certain segment of the population. “Opera is not limited to what was done in the 19th century. It is a highly modern and relevant art form. Our strategy is to strike a balance between works already in our repertoire and new works, as well as between operatic extravaganzas, and more intimate productions.”

Une île de passions, original production by Marie-Claire Blais, Hélène Dorion and Éric Champagne. (From left to right: Michel Beaulac, Éric Champagne, Jean-François Lapointe, Stéphanie Pothier, Hélène Dorion)

When the Stars Align

How are new works selected?

The Opéra de Montréal regularly receives project proposals from composers and librettists. The Artistic Director also keeps an eye on the international scene, approaching creatives who may have an interest in opera.

La beauté du monde, original production by Michel Marc Bouchard and Julien Bilodeau (Scenery sketch, Prologue)

“We always have our audiences in mind, as well as the circumstances surrounding a new proposal. We then have to evaluate available budgets, what stage the proposed project is at, if its subject matter fits our programming, etc. Beyond the quality and inherent interest of the work itself, several criteria are involved in our decisions. The conditions must be perfect.”

A Spectrum of Veteran Collaborators

As it did with Michel Marc Bouchard, Olivier Kemeid, Hélène Dorion and Angela Konrad, the Opéra de Montréal collaborates regularly with accomplished creatives whose practices are deeply rooted in other artistic disciplines. This is a major asset, according to Patrick Corrigan.

“By connecting with them, we are seeking solid new expertise, as well as a novel take on an art form they may not know much about. It’s refreshing. Same thing for the younger companies with which we work — companies that are very different from us — such as BOP (Ballet Opéra Pantomime) and Musique 3 Femmes. It enriches our offering, and the more opportunities we can provide to young opera artists, the more vital and healthy our milieu remains, because that is where all the excitement and enthusiasm are found.” A Team Sport from Start to Finish

Among the selection criteria for collaborators is their capacity for teamwork. “This is a collective art. It is essential to form creative partnerships, and Michel [Beaulac] is a black belt at that,” says Patrick Corrigan.

“Everything has to work together seamlessly: music, ideas, egos, intentions. These are colossal projects!” says Michel Beaulac, who serves as both navigator and facilitator throughout the process. “The first thing I do is listen. I’m their first audience — the first feedback creators get on their work. I’m involved in adjustments to librettos, to the dramatic arc, to the structure. I ask questions. I ensure that the work can achieve the creators’ artistic goals.”

The Fruits of Their Labours

It takes around three to five years for a new work to make it to the stage, although each project is different. At the moment, the Artistic Director is overseeing no fewer than five or six projects. It’s highly demanding work, but also extremely gratifying. Patrick Corrigan agrees. “Seeing something take shape from a simple idea set on its feet — that artists have carried along with their energy, their will and their passion — is so moving.”

“We are witnessing a rebirth of sorts, a spring awakening for opera,” says Michel Beaulac. “Even though it is a species of flower we already know, it is still a new flower growing and waiting to bloom.”