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Volume 17 Issue 1 - September 2011

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  • September
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WAYNESTRONGMANMANAGINGARTISTICDIRECTORSTUDIO PASSESON SALE NOW5NEW OPERAHST INCLUDEDSINGLETICKETSROGER D. MOORETHE JOHN MCKELLARCHARITABLE FOUNDATIONYou can find us on2011 / 2012 CREATIVEDEVELOPMENT SEASONPresented at Theatre PasseMuraille Main Space:OPERA BRIEFSSeptember 23 & 24, 2011 7:30pmErnest Balmer Studio,Distillery Historic District:PUB OPERASNovember 10, 11 & 12, 2011DAVID BROCK, LIBRETTISTGARETH WILLIAMS, COMPOSERTHE TAPESTRY SONGBOOKJanuary 28, 2012NEW OPERA SHOWCASEMarch 2012The Enslavement and Liberation of(WORKSHOP CONT’D)OKSANA G.June 2012COLLEEN MURPHY, LIBRETTISTAARON GERVAIS, COMPOSERPURCHASE ONLINE ATtapestrynewopera.comOR CALL416.537.6066 x222 PUB OPERAS ALL OTHER PERFORMANCESVisit tapestrynewopera.com for updates on the2011/2012 Season and to follow our current works in developmentPhoto of Marcus Nance by Brian Mosoff www.brianmosoff.comthe music. As an example he mentions how, when Renée Fleming startssinging the extended aria Ah, mio cor in his production of Alcina withstage in a dark corner with her back to the audience. You can barelysee her, but you can certainly hear her. As the lights gradually comeup, she moves forward. It’s very effective — and moving.Carsen handles a broad range of repertoire. Earlier in his career heSunset Boulevard andThe Beautiful Game. A show that he wrote and directed 20 years ago,Buffalo Bill’s Wild West Show, is still playing at Disneyland Paris. He hastrilogy, plenty of Strauss, bel canto (except for Rossini, the only composerwho doesn’t“The way I direct, I feel like I’m thecamera … I want the audience tofollow the story in a certain way.”interest him), someBritten, including astylish MidsummerNight’s Dream, anda strong showing inbaroque opera, especially in his 10 productions with the masterfulWilliam Christie. His production of The Sound of Music in Paris thisyear is heading to the Marinsky in St. Petersburg. He has also done anumber of contemporary operas. Next year for the Geneva Opera, hedirects a new opera by French composer Philippe Fenelon for the celebrationof the 300th anniversary of the birth of Jean-Jacques Rousseau.He is already booked to return to the COC — a revival of his exquisiteproduction of Dialogues des Carmélitesfor an upcoming season.As versatile as Carsen’s repertoire is, so too is his ability to handlevarious aspects of a project, such as lighting, which he co-designswith lighting designer Peter Van Praet. For his upcoming productionof Britten’s Turn of the Screw at the Theater an der Wien in Vienna,he’ll be not only directing and co-designing the lighting, but, for theCarsen’s interest in the visual arts has recently led him to design artexhibitions, so far just in Paris, about Marie Antoinette and CharlesGarnier, architect of the old Paris opera house, the splendid PalaisGarnier. His next exhibition, “Bohèmes,” will explore how artists duringthe past 500 years have treated the theme of gypsies. At one pointhe had been in discussion with the Art Gallery of Ontario to designtheir recent show on artists and the theatre, though unfortunately thatfell through.What makes him decide to accept a project? “If it is interesting andI think I can contribute to it, and if I’m able to make it work, then it’ssomething that is nice to do.”What would make him not accept? “You can’t really say it likethat — that isn’t how it works. Sometimes I think, ‘Well, I don’t thinkI’m going to be able to make an interesting piece of theatre in collaborationwith that conductor, because he’s only going to come forthe last week,’ or whatever, and so I might not want to do that job. Orsometimes singers might already be cast and you think they are notgoing to work out — but that’s not so often, I have to say. If the castingis still underway, it’s normal for a director to say what he sees — andof course not just sees, but hears. But if a singer has already been cast,and I don’t think it’s going to work, I would never dream of saying,“There are so many other factors. But whether the theatre is large orsmall is not one of them. Of course it’s great to work at big companiesBut I also love to work with smaller theatres like the Flemish Opera inAntwerp and Ghent, where I’ve done more productions than anywhere,and Opera du Rhin in Strasbourg. With smaller theatres you don’t havethe same pressures. The large theatres tend to do so much repertoirethat you don’t have as much time with the artists, especially if they arevery big stars, or on the stage because you have to share it with theballet and everything else that’s going on in these houses.”He pauses, then says, “But for me there’s only one theatre in theworld anyways, and that’s the theatre I’m working in. Each artisticcreation seems unbelievably important when you are working on it —a matter of life and death.”continued on page 7010 thewholenote.comSeptember 1–October 7, 2011

QUARTETS 3, 4JERUSALEMQUARTETTh. Oct. 132011 ~ 2012 Subscription SeriesGRYPHON TRIOTh. Nov. 1740thAnniversary SeasonGREAT CHAMBER MUSIC DOWNTOWNTOKYO QUARTETTh. Sept. 15withMARCUS GROHpianistLAFAYETTEQUARTETTh. Jan. 19TOKYOQUARTETTh. Mar. 15PIANO 6, 8LISEDE LA SALLETu. Nov. 8MARCUS GROHTu. Sept 20LOUISEBESSETTETu. Dec. 6QUATUORBOZZINITh. Apr 5ST. LAWRENCEQUARTETTh. Dec. 1ARTEMISQUARTETTh. May 3RICHARDGOODETu. Mar. 6MARC-ANDRÉHAMELINTu.Mar.27DISCOVERY , including HSTLESLIE NEWMAN, flutist, withERICA GOODMAN,harpistTh. Jan.12VÉRONIQUE MATHIEU, violinistwith pianistANDRÉE-ANNE PERRAS-FORTINTh. Mar. 22WALLIS GIUNTA, mezzo sopranowith STEVEN PHILCOX, pianistTh. Mar. 1atSubscriptions on sale now. Single tickets on sale Sept. 6416-366-7723 1-800-708-6754order online at www.stlc.comlCanadian PatrimoineHeritage canadien

Volumes 21-25 (2015-2019)

Volume 25 Issue 4 - December 2019 / January 2020
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Volume 24 Issue 4 - December 2018 / January 2019
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Volume 21 Issue 1 - September 2015

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