I’m writing now from New York, where we’re making our pilgrimage to do auditions, along with Timothy Vernon, Patrick Corrigan and Ian Rye from Pacific Opera Victoria. Every November/December is always known in the opera community as “audition season” — maybe because there usually isn’t much opera this time of year, since that’s when ballet companies use the halls to do The Nutcracker. In any case, we’re here to hear three days of auditions with our friends from POV, and to find some exciting young talent that we can bring to our audiences in Edmonton.
We’re especially excited to hear a few members of the Lindemann Young Artist Development Program at the Met tomorrow morning.
This is the third set of auditions we've done recently, as we were in Toronto at the end of October and in Calgary in late November. I just wanted to take a moment to say how much Sandra and I enjoyed Calgary Opera’s production of Verdi’s Otello last week. Otello was Verdi’s next-to-last opera, and his final tragedy (his last opera was Falstaff) and it’s an utter masterpiece. It was great to see many artists who have performed with Edmonton Opera before: Gregory Dahl, Colin Ainsworth, and John Mac Master — as well as to hear the orchestra wonderfully led by Robert Tweten, whom our audiences recently heard conducting Fidelio.
While we were in Calgary, we also got a chance to hear auditions of the Emerging Artists at Calgary Opera. What a fantastic group of singers! Every one of them had something really special to offer, and a couple of them are in the finals of the COC Ensemble Studio competition, which is happening this weekend in Toronto.
Young artist programs, like Calgary’s Emerging Artist program, COC’s Ensemble Studio and the Met’s Lindemann Program, are such an important part of what opera companies do, and they’re an essential part of developing the art form of opera. Many talented singers graduating out of college usually aren’t quite ready to begin professional careers — what they need is practical experience. And so the young artist program serves as kind of a bridge between school and the professional world. Once they have all the vocal and theoretical training from the university, a young artist program sets them up with all of the practical stage experience that they will need to be successful — it makes them “stage-smart,” and shows them what it’s like to work in a professional company. They also serve as ambassadors for the art form and for the company in the community by singing concerts wherever they can. It’s a win-win: the artists build their experience, and the city gets more opera!