BWW Previews: CANADIAN OPERA COMPANY Ensemble Members Rock Mozart

The Canadian Opera Company's Ensemble Studio was created in 1980 as a vehicle for training Canada's next generation of opera superstars. Its current members will be taking to the Four Seasons Centre For The Performing Arts on February 7th, replacing regular cast members in Atom Egoyan's production of the Mozart opera Cosi fan tutte for one night only. Two current members of the Ensemble say to expect something very unique and special.

Baritone Cameron McPhail and soprano Aviva Fortunata, who will be singing the roles of lovers Guglielmo and Fiordiligi for the opera's first act, are sitting in the members' lounge of the Four Seasons Centre, illuminated by the greyish early afternoon light of a long, cold Toronto winter. McPhail, affable and with movie-star looks, smiles as he sips on a coffee, as the red-haired Fortunata sits primly in a patterned dress, her hands folded, but not quite concealing her fancy nails. They're delicately painted with distinct butterfly patterns echoing Cosi's unique visual motifs.

"There's such a high expectations of professionalism in the Ensemble program," Fortunata observes. "Maybe it's unspoken - or it's spoken somewhere -but there is an expectation you come in fully prepared and ready to learn."

The Ensemble is chosen through a national audition process. Members of the Ensemble Studio receive a blend of advanced study and practical experience, including vocal, theatrical and career development instruction. As well as understudying major roles taking, Ensemble members take part in an annual school tour (this past year the Ensemble toured Dean Burry's The Brothers Grimm and Pergolesi's La Serva Padrona); they also put on chamber productions, perform in COC mainstage productions, and put on a special performance of a COC mainstage production. Last year it was Clemenza di Tito; this year it's Cosi fan tutte. Notable graduates of the Ensemble program include soprano Isabel Bayrakdarian, mezzo-soprano Krisztina Szabó, and tenor Ben Heppner. Another graduate, Canadian bass Robert Gleadow, is currently singing the role of Guglielmo in Cosi.

Both Fortunata and McPhail agree current Ensemble members have developed a special bond. "We've had dinners together, hung out, gone on tour together, travelled around and done eighty shows for kids in grade three, and, at nine in the morning after whatever you did the night before... it just brings you together in a lot of ways," McPhail says. "It's what makes the Ensemble show special."

That bond is evident over the next hour, with Fortunata and McPhail frequently finishing each others' sentences and questioning each another on aspects of various productions and composer styles. It's obvious the Ensemble experience, for all its emphasis on the art and business aspects of opera, cultivates bonds that go far beyond the house. It's also obvious the Ensemble attracts a refreshingly diverse group of people who greatly contribute to the shape and flavour of the Canadian Opera Company itself.

Soprano Fortunata hails from a musical background; she took singing lessons from a young age, and originally planned on pursuing a career in musical theater. She performed in Andrew Lloyd Webber's Joseph And The Amazing Technicolor Dreamcoat at the tender age of eight; five years later she saw her first opera, The Marriage of Figaro, produced by Calgary Opera, and everything changed.

"That was a good (opera) too," she remembers. "My friend, the first opera he saw was Norma, and he was all, "I hate opera!" I'm glad my first opera was (by) Mozart."

In 2008, Fortunata made her operatic debut, in the role of Appollonia in Haydn's La Canterina. A recipient of the 2012 Norcop Prize in Song Recital, she was also awarded a judges' commendation in the Mildred Miller International Voice Competition (Opera Theater of Pittsburgh). This past summer, she had the opportunity to sing selections from Wagner's epic Lohengrin with a full orchestra. Though she calls the experience "unsettling" and "daunting," she's tossing around more Wagner in the future.

McPhail's start in opera was more accidental. During his student days as a business student at the University of British Columbia in the 2000s, he was asked to step in for a sick friend who fronted a rock-and-roll cover band. Though he'd been in a high school musical (Hello Dolly!) and sung in the choir, McPhail had never sung for a crowd on his own before.




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Catherine Kustanczy Catherine an arts writer specializing in reviews and longform profile features. She has worked in Dublin, London, Toronto, and New York City, in a variety of freelance capacities for film, TV, radio, and digital news. She has interviewed a range of award­-winning cultural figures from the worlds of theatre, music, television, movies, and food, including Oscar winner Mira Sorvino, rock star Ian Astbury (The Cult), and social media maverick Andy Carvin. Find her tweeting regularly at @catekustanczy.


 
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