Magazine article Opera Canada

Notebook

Magazine article Opera Canada

Notebook

Article excerpt

I GET ASKED FROM TIME TO TIME why we don't run articles about the big non-Canadian names on the international opera circuit--people like Placido Domingo or Reneee Fleming. The implication, to my mind, is that the unabashedly Canadian focus of this magazine risks turning its pages into a parochial concern with an opera world that's somehow cut off like a backwater of the international mainstream.

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The short answer is that this is Opera Canada, not Opera, Opera Now, Opera News, opermvelt, L'Opera or any other periodical in the business of covering opera. These magazines include Canadian creators and singers in reviews and articles, to be sure, but the coverage is inevitably spotty because it's part of a broader editorial mandate that focuses on older, more established opera centres.

This magazine, on the other hand, was founded on a mandate to record and celebrate opera in Canada from coast to coast and the work of Canadians on opera stages on stages everywhere. Thus our editorial is undeniably focused--just as Opera News is mainly focused on the Metropolitan Opera--on an opera scene that, in terms of audiences and the number of performing institutions, is relatively small compared to the U.S. and Europe.

A more interesting dimension to the response about being a Canadian magazine, however, emerges when you consider just how international our coverage has to be to fulfill our Canadian mandate.

Just a couple of issues back. Domingo appeared on our content page in a striking picture with Canadian soprano Michele Losier singing Diana to his Oreste in the Metropolitan Opera's recent production of Gluck's Iphigenie en Tauride. There's a photo of Renee Fleming in this issue (p. 30) from a new production of Capriaio at Vienna's Staatsoper that also featured Canadian tenor Michael Schade and. Canadian, soprano Jane Archibald our review will run next issue).The fact is that non-Canadian luminaries on the A-list roster of international artists frequently appear in the magazine. Its just that we feature diem through the filter of the Canadian company they keep.

Its interesting to look at this current issue, which I think is typical, to see just how international the Canadian opera story has become. In some respects, the most significant news is the appointment of Alexander Neef to succeed the late Richard Bradshaw as General Director of the Canadian Opera Company. …

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