Volume 8 Issue 7 - April 2003

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 .opera-is.com
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