Remember that being able to call yourself a Curtis student or a Juilliard student or say you attend the Conservatoire is a statement about status, and no indicator of your musicianship. So, be fair to your chosen school and what it can offer; more importantly, be honest with yourself about your academic goals.
The players onstage, who in fact make up "Canada's only Opera Improv group" had fun and poked fun. They conjured up cringe-worthy audition situations, laid out solid impressions of well-known opera bosses, and basically roasted every stereotype of "Canadian contemporary opera". By design, what happened onstage was not only relevant to the audience, but hopelessly intertwined.
Interestingly enough, it's a reason to stay well-rounded, even while pursuing something time-consuming like singing; having something to say comes from having opinions on the world, and those are easier to come by outside of the bubble of singing and opera.
Certainly, if you look at opera's plots in a vacuum, perhaps you could find evidence of misogyny. But it would entirely miss the point of opera - art, really - to ignore the opinions of its composers and librettists.
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Opera has always had a close relationship with moral dilemma and ugly human behaviour. We can watch an opera about corrupt leaders, prejudicial hate, or fatal sexism - and still, when the curtain falls there always looms the question, "then what"?
Singers, if you show up to a coaching or a rehearsal and you feel the urge to tell your coach or conductor that you're under the weather, ask yourself this: what do you expect will be the outcome of your volunteering this information?
That's where slowness comes in. It's the great magnifying glass, the exposer of weak spots. It's in slow practice that you find the crux of the problem, the ignored detail, the missing piece that makes the difference between a section of music that's hit-and-miss, and one that's consistent like a Swiss watch.
Spontaneity counts for a lot, especially in an environment that seems like it's all about first impressions. So singers, as you pack your bags and board your flights for your summer program(s) of choice, don't forget to add to your repertoire binder some Gerswhin or some Sondheim or even some inappropriate Puccini.
None of this is to minimize the work and merit of the 2017 Dora Award nominees. Yet it's a list that's desperately incomplete. Perhaps the juror qualifications exclude too many people with knowledgeable and unbiased connections to the Toronto industry. More importantly, maybe the TAPA membership qualifications are prohibitive to what much of Toronto's opera and theatre scenes can manage.