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Dairine is elated. "Finally we<br />
will be taking all the good stuff<br />
we knew we had here from day<br />
one out lO the world, the way I<br />
said we wanted to do from the<br />
very start ... the great composing,<br />
the unparalleled pool of<br />
singers."<br />
The singers in this case will<br />
be Shannon Mercer, Krisztina<br />
Szabo and Alexander Dobson.<br />
Mercer and Szabo are well<br />
known to Toronto audiences because<br />
of their work with the<br />
COC. And Dobson's talent will<br />
be on display this month in Tapestry<br />
New Opera Works' remount<br />
of Nigredo Hotel.<br />
According to Wayne Strongman,<br />
Tapestry's artistic director,<br />
Dobson is one to watch. "I know<br />
him from 1991 when I conducted<br />
the Ontario Youth Choir and he<br />
was a tall weedy eager young<br />
baritone. 1 remember we did a<br />
piece called Felix's Girls by<br />
Murray Schafer and I saw how it<br />
grabbed him. He reads quickly,<br />
and has the ability to go to some<br />
really dark places."<br />
Strongman, incidentally, was<br />
in the audience for that first production<br />
of Mad for All Reasons<br />
in 1996 and remembers it "in<br />
part because of an extraordinary<br />
performance by Ian Funk in<br />
Eight Songs - right then I said I<br />
want lO work with him, and we<br />
have ever since. But also because<br />
of the sense of community it<br />
gave: someone else on the scene<br />
with 'Music Theatre' in their<br />
name, and with an understanding<br />
similar to ours of what it meant."<br />
Tapestry Music Theatr_e<br />
changed its name to Tapestry<br />
New Opera Works in 1999, the<br />
year of Beatrice Chancey.<br />
"It was a loosely defined envelope<br />
that suited us very well as<br />
we grew, but one that had its<br />
problems. In a nutshell, south of<br />
the border if you said music theatre<br />
they thought, aha, Oklahoma<br />
I And in Europe they thought<br />
it stopped with Kurt Weill.<br />
Changing our title to Tapestry<br />
New Opera Works was for us<br />
taking ownership of what we<br />
were really doing. Although the<br />
'Opera' tag has its baggage too."<br />
(Talking to Dairine you get the<br />
sense that Queen of Puddings<br />
will continue to tly the Music<br />
Theatre tlag for a good while<br />
yet.)<br />
So, with their first decade<br />
coming so gloriously to a close,<br />
what's next for Queen of Puddings?<br />
Queen of Puddings' other key<br />
animateur, John Hess's reply is<br />
somewhat unexpected.<br />
"In a very real sense" he says<br />
'·you could say we'll be starting<br />
all over again."<br />
JOHN HESS TEACHES THE ART Of<br />
collaborative piano at University<br />
of Western Ontario in London,<br />
and maintains a vigorous performance<br />
schedule. "The idea of<br />
collaborative piano is still a bit of<br />
a novelty up here," he says.<br />
·'It's only been 8 years since we<br />
started it at UWO, and it only<br />
started at U of T this fall. What<br />
it does is to eliminate some of<br />
the taint that sticks to the word<br />
accompanist, the idea that the<br />
pianist who doesn't do the solo<br />
thing is someone who couldn't<br />
cut it, as opposed to someone<br />
who chose a different art."<br />
Call his art what you will, he<br />
is much sought after by singers<br />
as a partner, as busy in that field<br />
as he allows himself to be.<br />
"Deciding where to live," he<br />
says "I admit I was quite drawn<br />
to the romantic idea of staying<br />
in Dublin, but I couldn't do there<br />
what I do here. As Dairine said,<br />
much of what we de needs a busier<br />
and more diverse context."<br />
"'Midnight Court going to<br />
Covent Garden represents a huge<br />
triumph, make no mistake, it's<br />
as much the good housekeeping<br />
seal of approval for what we do,<br />
as Broadway for a stage play or<br />
Hollywood for film. But it raises<br />
fundamental questions for us."<br />
The issue is analogous to the<br />
one that .had them choosing Toronto<br />
in the first place - the impasse<br />
of monoculturalism, but<br />
this time applied to opera itself.<br />
"Opera is in its own way as monocultural<br />
as was the Ireland<br />
Dairine left. We need to be careful<br />
about saying we're taking our<br />
work 'to the world' when we<br />
mean we are taking it to people<br />
like us living somewhere else."<br />
. "Compare that," he says "to<br />
the world here in Toronto, a<br />
kind of emerging Canadian pancultural<br />
identity that is affecting<br />
our whole society. Our art needs<br />
to follow suit. The health of opera<br />
depends on it embracing the<br />
whole of society, and that means<br />
being prepared to re-invent."<br />
Something called Vanity and<br />
the Goddess Sarasvati: a new<br />
Canadian Opera built around<br />
the extraordinary South Indianbased<br />
vocal art of Suba Sankaran<br />
will be part of that reinvention.<br />
But that is another chapter.<br />
•<br />
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