Paul Curran: a director's tips for singers

Interview

As a follow-up to our chat with stage director Paul Curran, we asked him about working with young singers. He offers up tips for singers at the beginning of their career, on how to impress in the rehearsal room, and to get the most out of their time with a director.

Talking with directors: Paul Curran

Interview

We had the great luck of meeting Curran during his work on The Rape of Lucretia at The Banff Centre. He spoke with us about the role of the director, the beauty of working with singers, and how he finds Britten's operas to be continuously fascinating.

Enjoying opera: the home team advantage

Editorial

For the audience, the creative team can only wish listeners the richest experience when they go to see their work. Great operas have seemingly infinite moments of dramatic significance, of a musical changes that speaks volumes of the story; will the average audience notice those details, and feel moved by them?

New works: The Imaginings

Interview

"I've been wanting to write an opera ever since I watched Amadeus. There has always been lingering ideas in my mind for a libretto. Using the paintings as characters came initially from Stu & Jess productions commissioning me to adapt several poems into a song cycle based on classic paintings (Mona Lisa, Napoleon etc.); the initial poems had a humorous tone and sparked an idea."

Spotlight on: Shelley Jackson

Interview

"Trust your instincts, combined with these few people you trust. At the end, it is you getting up onstage, and you alone are responsible for working out your issues. Feed your person, love your life and live it fully, and that will be all come out onstage."

4 myths from music school

Editorial

Like in any industry, there's only so much one can learn in school. In conservatories and post-secondary music programs, musicians hone their technique and prepare as best they can for their potential career as a performer; yet there are a few details that simply don't translate well between academic and professional environments. We're big advocates of schools and institutions, and it's important to know what they can and can't offer aspiring musicians. A few myths, debunked:

A little Mozart, a little murder, a lot of fun

Editorial

The audience congregates with the Marshalls as they arrive, and they follow the family inside for the gruesome discovery. As the family goes their separate ways throughout the gallery, audience members are invited to follow specific characters along their journeys. The entire show is performed twice, giving an opportunity for listeners to follow a different character the second time around, and gain some new information on the mysterious murder.

Elevated opera: the Crested Butte Opera Studio

Interview

"The Crested Butte Music Festival was particularly attractive to me because there aren't many paid summer young artist programs where you have the opportunity to sing a leading role. This summer, I'm eager to learn the role in a safe environment with amazing music staff and peers."

Spotlight on: Vanessa Oude-Reimerink

Interview

"Normally, the voice in my head would say things like 'you're running out of air' but instead I try to hear 'you have all the air in the world and you WILL make it through this phrase!' I really believe that sending out positive energy and thoughts will not only make your life more enjoyable, but you will notice a difference in the people who surround you. "

Michael Christie: new opera that the box office loves

Interview

It seems, when an audience is left to decide what they deem "opera", that they respond positively to hearing new works; Christie credits the community surrounding Minnesota Opera for the consistent support. "In some communities, new music doesn't go over quite as well," he explains. "Minnesota is a very particular community; I feel very lucky to be there."