Simple and evocative language, a close relationship between visuals and text, even a few great rhymes thrown around — this is the stuff of excellent children's literature. And in case I'm not clearly driving my point home, the stuff of great operas.
Star mezzo-soprano Denyce Graves, Grammy-nominated countertenor Anthony Roth Constanzo, acclaimed stage director James Robinson (who directs both Fire and Porgy at the Met), and David Lomeli, Santa Fe Opera's Artistic Administrator and Casting Director at the Bayerische Staatsoper — they'll all join Blue for a 90-minute discussion moderated by Opera America CEO Marc Scorca.
The second iteration of the RBC Artist Fellowship has been announced, with an aim to give voice and professional experience to Canadian artists in their early careers. Applications for this year's Fellowship are due October 4, 2021; you can find the forms in English and French.
But if you ask me and my opera-bias, the big draw for this season's 21C is the world premiere of Gould's Wall, the new opera by Brian Current and Liza Balkan, produced by new-opera leaders, Tapestry Opera.
I intend to take it all in, and I'm particularly excited to experience Will Liverman and Nicole Cabell in a production together. Plus, Patricia Racette's Elle is an exciting thought.
Maybe because of morbid curiosity, I'm oddly pumped for this season. It'll be like watching opera history happen: we've gotten used to digital opera, and there's more out-of-the-box thinking happening now than we've had in centuries.
In case you're curious, I'll keep writing. No, I won't write reviews of my clients' performances, nor will I try and get away with any similar sort of glaring conflict of interest. I know it's not really common for someone to do the jobs of management and criticism at the same time, but being a rare breed is alright with me.
I think Neef has been playing a different game than Canadian opera fans. He was making the COC a new hub in the international opera scene, and we were loving the big gets onstage.
I don't live in the vast world of opera, anymore, and it's fucking sad. I haven't had one of those heart-racing experiences at a live show since February. I haven't had that happy, vibrating commute home in the magical night-time after seeing something incredible; it's been a long time since I've felt the relief of taking off high heels at the end of the night, or placed those heels gently back on their shelf, for next time.
The premiere viewing of Grindr (and other conce rns) will feature Act 1: An Annotated Sing Through, where you can catch "unforgettably naughty scenes and arias" from the opera's first act, along with some delightful commentary on topics like opera development and queer hook-up culture. It's a combination of live and pre-recorded material.