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Roman Holiday

The day after Acis closed Jeannette and I left for a week in Rome. This was partially in an effort to get Acis out of our systems (we all loved it too much!) while helping us to focus on OA’s next production – the North American premiere on period instruments of Mozart’s La Clemenza di Tito. The production will reflect the aesthetic of Ancient Rome and Baroque Rome coupled with a modern sensibility which only someone as sophisticated as designer Gerard Gauci could give us.

For the first time in our lives, we shared our holiday with a dear friend – singer, dancer Laird Mackintosh. Many of you will remember Laird as a multi-talented performer with OA. After several years with us he joined the Stratford Festival Company singing leads in numerous musicals after which he joined the US national tour for the Walt Disney production of Mary Poppins. He has a grueling schedule alternating the roles of Bert and Mr. Banks and we were extremely touched that he chose to spend his one week vacation with us.

This was our eighth trip to Rome and the city continues to enthrall us with each successive visit. I can’t image any place in the world more effectively firing the imagination of artists in any discipline. I include a few of Laird’s marvelous photographs.

Jeannette and me standing in front of what is arguably the most magical building in Rome - the Pantheon.

Laird's candid shot of me in St. Peter's.

The glorious staircase in the Palazzo Massimo - holding ourselves up after a long thrilling day.

Jeannette seated in front of Canova's "Hercules."

Another Acis Vox Populi from Ashiq Aziz…

Since I am such a Handel fanatic, Opera Atelier’s new production of Acis and Galatea immediately drew my attention.  How could it not?  With some truly inspirational music, wonderful singers and players, and the company’s long-standing presence as a forerunner of Baroque opera in this city, all the ingredients were present to ensure a memorable evening.  I was not disappointed.  The beautiful simplicity of the production, its unpretentiousness and sincerity, were traits echoed in the music-making.  The production had just enough darkness to give contrast to the ecstatic pastoral merriment that is so captivating for much of the piece.  Glorious costumes.  And my favourite moment was surprisingly not a musical one.  Galatea, played by the inimitable Mireille Asselin, looks upstage where she exercises her divine power and turns her thwarted lover Acis into an immortal fountain.  Then the coup de grâce: a shower of blue paper crystals falls from above, casting away any doubt that the show could not be more moving than it already was.  I recall my thoughts racing back to co-artistic director Marshall Pynkoski’s heartfelt words preceding the performance, where he called the show “a jewel, a gift to the audience for twenty-five years of support”.  Congratulations to Opera Atelier for twenty-five years of beauty, and may its jewel continue to shine brightly.

-Ashiq Aziz

A beautiful show, beautiful performers, beautiful music…what more could we ask for?

Acis is up and running and it has surpassed all of our expectations – a beautiful show, beautiful performers, beautiful music…what more could we ask for? One of our dancers (Jeremy Nasmith) has put together some video clips of some of our final rehearsals prior to our move into the theatre. You can check them out here. If you’d like to get an idea of what the real show looks like with all the bells and whistles go to http://www.torontowide.com as usual Doug Brown has done spectacular job shooting and editing excerpts from dress rehearsal.

By the way here is my favourite image (taken by photographer Bruce Zinger) from dress rehearsal. I can’t imagine anything more gorgeous. It makes me think of Bernini’s sculptural masterpiece “Apollo and Dapne.”

Our first Vox courtesy of Diana Wiley…

The voices are beautiful and the music so beautiful that you don’t want the songs to end. The singer/actors look the part of divine lovers and act their roles so convincingly that you will be truly moved by their plight. Even the monster is portrayed with enough complexity (mostly through the gorgeous music that pours out of his ‘ugly’ mouth . . . he’s actually as gorgeous as the rest of the cast, so it’s difficult to hide that!) that you almost feel sorry for the poor brute. The music is melodious and highly reminiscent of Handel’s Messiah in some places . . . which means that people will feel that they recognize the music even if they’ve never seen the opera.
After two hours, which pass much too quickly, you’ll leave feeling happy, with glorious music echoing in your mind.

Yesterday evening we actually ran Acis and Galatea for the first time

Yesterday evening we actually ran Acis and Galatea for the first time – taking two and a half hours to gradually make our way through the entire show. Acis is of course less than two hours long, but we had allowed ourselves plenty of time to straighten out entrances and exits, deal with inevitable collisions etc. Happily, we were all delighted with the results and went home feeling exhausted and invigorated at the same time. Normally I would be concerned to be running a show this early in the game – considering we still have two weeks before opening, but the fact is, this cast loves to rehearse. The interaction between singers and dancers becomes more natural and more genuine with each repetition of every scene and we have every reason to hope for a seamless production. We’ll be posting excerpts of rehearsal very soon – so be certain to stay tuned!

Onstage Traffic…

The dancers have joined us and as always, their presence adds a whole new element of excitement for all of us. Suddenly, the singers have context for a great deal of the staging I have given them – and the dancers in turn have real people to relate to rather than music stands, dance bags etc. standing in for sopranos, tenors and basses. Inevitably, there are collisions and traffic problems when arias and choruses which involve all artists are assembled for the first time – but this is part of what makes our rehearsals so much fun and so rewarding. In the process of working through blocking and spacing issues, the dancers and singers come to depend on each other in every scene. Consequently, no one is able to float away into their own world while waiting for “their downbeat.” Acis and Galatea is becoming more and more a cohesive unit – a Gesamtkunstwerk in fact. What could possibly be more satisfying?

Week two is almost over…

We are just finishing week two of rehearsal and I couldn’t be happier with the progress we’ve made on Acis and Galatea. The singers are magnificent – real theatre animals who love to rehearse and enjoy each others’ performances enormously.

There’s a wonderful chemistry between Thomas Macleay (Acis) and Mireille Asselin (Galatea). Their romantic scenes have the perfect combination of sexuality and innocence – to my mind a must for a show which is taking place in Arcadia.

Joao Fernandes (our Polyphemus) has surprised all of us with his spectacular sense of humour and comic timing. In real life Joao is such an elegant gentleman – it was at first difficult to imagine him playing someone so vulgar and gross as Polyphemus. He managed to be both of the above while remaining lovable and even poignant when rejected by Galatea.

As Damon, tenor Lawrence Wiliford simply plays himself which is precisely why I cast him in the role. He is charming, ephemeral, ironic…like a piece of quicksilver let loose on the stage. He embodies everything this invisible spirit should be!

On Tuesday the dancers come to join us and we are more than ready for their arrival. They are the big missing element that all of us have been longing for and their participation in rehearsal will bring the production to a whole new level.

How Jeannette and I met Gerard Gauci

The other day, Anna Guthrie (one of Opera Atelier’s big supporters) asked me how Jeannette and I happened to meet Opera Atelier’s designer, Gerard Gauci. It’s a great story and Anna enjoyed it so much, I’ve decided to tell you as well!

25 years ago, Jeannette maintained a busy modeling career – both print and runway. It was not a major focus in her life, but it did pay extremely well and helped finance our early OA projects before we were funded by the arts councils.

One day, Jeannette went to a shoot with the marvelous Toronto photographer, Taffy Rosen. Jeannette explained to Taffy that she had to leave exactly on time as she had a rehearsal that same afternoon. Taffy was intrigued and asked Jeannette what sort of theatre she was involved in. When she heard Jeannette’s description of Opera Atelier, she insisted she had a friend that we must meet. That friend had recently painted a cover for the CBC magazine, Radio Guide.

The cover depicted a Baroque dancer in front of an elaborate backcloth. Jeannette and I had already seen the magazine and had torn off the cover and stuck it on our fridge – never dreaming we would have the opportunity to meet the artist.

Taffy’s introduction led to Jeannette and me arranging a meeting with Gerard Gauci. Given the sophistication of his painting I took for granted that we would be meeting a well established middle aged artist. You could imagine our surprise when Gerard opened the door to his apartment and we were confronted with someone who appeared to be in his late teens.

Yesterday I asked Gerard if he still had a copy of the Radio Guide magazine. Happily, he did and brought it to the Opera Atelier offices yesterday evening. You can imagine our surprise when we had encountered that marvelous image exactly 25 years ago. You can take a look at Gerard’s painting and the photograph that Jeannette shot with Taffy Rosen. I think its very interesting that these two images of beautiful dancers led to one of the most satisfying artistic collaborations of our lives.

Photograph by Taffy Rosen; Jeannette Lajeunesse Zingg

The Radio Guide cover designed by Gerard Gauci which led to our first collaboration.

Experiments…

Today we begin our dance workshop for the Artists of Atelier Ballet in preparation for our fall production of Handel’s Acis and Galatea. Our dancers will be particularly closely integrated with the singers in this production, consequently, this opportunity to have the dancers by themselves in order to explore various aspects of baroque dancing becomes doubly important. The complexity and sheer number of steps in baroque choreography is already daunting for most professional dancers. When you add a totally new way of using the arms it presents a huge learning curve. On the surface, the work looks extremely balletic (which in some ways it is) but kinetically it is a brand new world.

Jeannette and I can’t wait to begin and we’ll be certain to post some videos of our experiments as we prepare for this 25th Anniversary kick off!

Tickets to Acis and Galatea on sale now!

Finally we are able to offer single tickets for Acis and Galatea to our loyal supporters who have not yet become subscribers! This is something of a relief, given the number of people who, for weeks have been asking me when they may purchase their tickets.

We’ve chosen Handel’s ravishing pastorale Acis and Galatea to open Opera Atelier’s 25thAnniversary Season. It’s going to be a glittering, amusing, sexy and heartbreaking event. You really will not want to miss it. Acis by the way, was composed in English and with a running time of only two hours it is the perfect piece of repertoire to introduce children and young people alike to the beauty and charm of Handel’s music.

Tickets start from $33. Click here to buy now!