5 years ago

Volume 8 Issue 7 - April 2003

  • Text
  • April
  • Toronto
  • Theatre
  • Jazz
  • Musical
  • Symphony
  • Arts
  • Orchestra
  • Glenn
  • Gould


FIRST, THE GOOD NEWS ••• continued are blessed with wann-sounding and intimatefeeling halls. Opera Atelier, with its strong focu on visual elements, draws committed niche · support from the ballet and early music crowds. Other niche players, including John Hess' Queen of Puddings and Wayne Strongman's Tapestry in the contemporary music segment, Guillermo Silva-Marin's Opera in Concert in ti historical rarities segment, and Giµseppe Macina's Toronto Opera Repertoire in the adul education area, add greatly to the rich variety o experiences available to both performers and audiences in our city. Feeding these and other companies is the prodigious talent pool of the University of Toronto's wonderful "Opera School. Each year, is one of the greatest pleasures of Torontonian opera-lovers to watch the stars of the future develop. The 20 hand-picked post-graduate students in the School are supplemented in performances by the more senior members of the vocal performance undergraduate body. Productions in the University's capacious and custom"built opera house also showcase the talents of the University's student orchestra. The opportunity to spot rising stars and then follow their development through the School, into the C.O.C. 's Ensemble program, on~ards to the local recital circuit and upwards into an international career, is one of the inestimable privileges of life in this city. Does this rosy picture of variety, range and opportunity have a darker side? Yes, without doubt. All these companies need mqney -: some of Aida and Amonasro, 2002: Opera Mississauga them a lot of money - and many of them need it in three simultaneous forms - their capital, endowment, and operating support campaigns. Opera in any form is exotic, irrational, extravagant, and very expensive. Every opera company knows that box office revenues can at best cover a third of their costs. In what other business do you lose money every time · the curtain goes up? Opera lovers are constantly reminded that they must . also be donors as well as consumers for their chosen art form to survive. These demallds for financial support, however, are cumulatively burdensome. The pressure is inexorable. · Although their ranks are growing, the number of enthusiasts is finite. I believe this community can and will rally to the call to build a new house for the C.O.C. but there remain many other smaller and worthy companies which will need ongoing support and they must continue to receive that assistance. Iain Scott teaches a variety of "introductory" and "insight" opera courses and organizes opera tours, panicularly to Italy. His website is www LLIVAN at the Leah Posluns l'heatre 4588 Bathurst Street (between Sheppard and Finch) May 17, 22, 23, 24 - 8pm May 18 & 25 - 2pm May 21-lpm . 32

SPOlLIGHT ON MUSIC THEATRE Music OF THE SPHERES ... (NORTHERN AND Sovi-HERN HEMISPHERES, THAT 1s!) WORLD MUSIC There's always so much happening at the biennial World Stage that it can be daunting to figure out what there is to see, and this edition is no exception. However, if you narrow y~ur choices to music theatre offerings, it becomes a little simpler. One of the highlights of this year's World Stage is "Indaba, A Celebration of South African Culture". Under this heading are two pieces by Broomhill Opera (UK) and Wilton's Music Hall (South Africa), both South African reimaginings of European stage works. The Mysteries is a retelling Broomhi/l's Carmen of the Chester Mystery plays, while Carmen is a new English and 'Xhosa translation of the Bizet CONTINUES Scarborough Gilbert & Sullivan Society presents llMS Pinafore (The 38th annual production) 6 PERFORMANCES Fri. Apr. 4, 8 pm Fri. Apr. 11, 8 pm Sat. Apr. 5, 8 pm Sat. Apr. 12, 8 pm Sun. Apr. 6, 2 pm Sun., Apr. 13, 2 pm • at David & Mary Thomson· Collegiate 2740 Lawrence Ave. E. in Scarborough Adults ; Seniors & Children . Call 905-839-3411 AUDITIONS '~""""'-•-~=~xr~~

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