Spotlight on: Emma Char

Interview

"Until recently, I thought that if I wasn't doing everything I could to become a successful opera singer all the time (following all opportunities and constantly working my butt off to the point of exhaustion) that I should feel badly because I wasn't as completely committed as I thought I should be. Over time, I've come to feel that through relaxing a bit everything is actually a lot easier."

Spotlight on: Michael J. Scott

Interview

"As for what not to do, I can say as the most guilty party, stop bitching and moaning. It doesn't help anything and will put you in a terrible place emotionally. It is tempting and easy to sit around complaining about the system, about other singers, about the schedule being late again, but it's just a waste of your time and energy."

Spotlight on: Christina Haldane

Interview

"I feel one of the biggest challenges for us all not to compare our own successes with others. Have faith in your abilities and learn to keep re-defining your image of what 'success' looks like to you. Check in with what the 'old' you in a rocking chair would say about the choices you make now, any regrets? "

Spotlight on: Adam Fisher

Interview

"For me, exercise and the outdoors has always cathartic. Getting outside for a bike ride or weight training during a contract is such a great release for me. It's kinda like meditation and gives me a place to let out all the baggage built up from the process of creating art."

Talking with singers: Nino Machaidze

Interview

"I think a long career is made by saying 'No,' not by saying 'Yes' to everything. Even when there are really attractive operas that you want to sing in that moment and important opera houses are offering them to you, even more you must say 'No.' The more carefully you go, the further you will go!"

Talking with singers: Giles Tomkins

Interview

"Being a dad has also included an emotional maturity that frankly took me a little by surprise. As a result, I often feel more dramatically connected to the opera roles I take on, and not just the typical "father figure" parts. This in turn has impacted my singing as it's all part and parcel of how I produce my sound on the stage. It's an exciting time, as I feel there are many more opportunities opening up to me."

A full house for Canadian art song at 21C

Review

The Canadian Art Song Project itself has an unblemished history of presenting concert events that are thoughtful, wisely collaborative, and beautifully executed. No doubt, their high standards of concert-giving would extend beyond the realm of Canadian music; yet a trustworthy entity like CASP is a valuable tool in the large challenge of getting Canadian music written and heard. Simply put: if there's quality to the work, a sold-out crowd is no mystery.

Tough to watch: Oksana G.

Review

There's much about Oksana that's maddening. Kind and trusting people make risky and uninformed decisions, and evil people lie and harm others with no remorse; everyday people ignore cries for help from sex workers, and helpless parents, left without money or police, turn to fortune-tellers in times of desperation. Maddening as it may be - and easy as it seems to say, "I'm too smart to fall for that" - the story of human trafficking is true and happening now.

Talking with singers: Nahuel Di Pierro

Interview

I decided to become an opera singer when I was 7 years old. I was singing at the children choir at the Teatro Colon of Buenos Aires, and I remember the first time I performed on stage with Menotti's Help, Help, the Globolinks! I had a big shock. I was totally amazed by the stage, the costumes, the lights, the orchestra, the soloist... I think I went a little crazy at that moment... I will never forget it... That's why I sing...

Talking with composers: Aaron Gervais

Interview

Obviously, my opera Oksana G., which is opening this week, is something I'm very proud of. It's the longest and most ambitious piece I've ever written, the story is gripping and powerful, the vocal lines are nuanced yet singerly, the orchestration is colorful and dynamic, and every moment is vital — there is no "filler" music. It really embodies what I believe makes for great opera.