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Opera Atelier |
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Making beautiful music
Building on centuries of tradition with Opera Atelier
Creating a successful opera company is a difficult enough task, never mind creating one that specializes in period pieces from the 17th and 18th centuries. But that's exactly what co-directors Marshall Pynkoski and Jeannette Zingg did when they founded Opera Atelier in 1985.
Since then, Opera Atelier has taken its place among Canada's leading performing arts companies and has enjoyed a high demand on the international stage. It has performed operas of the baroque period in fully staged productions around the world, including New York, Houston, Stuttgart, Bremen, London, Singapore, Seoul and Tokyo - not to mention an inauguration of the newly restored theatre at Chateau Versailles, France.
"I wouldn't want to undermine any other production," says David Baile, General Manager of Opera Atelier. "But our work is unique. It's dazzling visually. The music is sublime. And it provides a real opportunity for the audience to enter the piece the way it was intended to be seen."
The way we were
Opera Atelier describes itself not as a museum opera company, but rather as an opera company that creates something new while being historically informed by the past. It is this emphasis on producing accurate 17th and 18th century performances that sets Opera Atelier apart from other opera companies. To do so means using period instruments, as well as sets and costume designs that reflect the aesthetics of the period. Even the choreography, although original, is performed in the style of that time.
"We are one of the only companies in North America that are exploring this repertoire," says Baile, who says that the company offers 12 to 14 performances of two operas per year and tours internationally biannually. And each opera can take a couple of years to develop before it even hits the stage.
"The success of this company can be attributed directly to the artistic vision of the founders and to their ability to stick to their vision and brand the company," says Baile. "We have also been blessed with a creative team and group of artists who have worked together for a very long time and have developed real synergies as a result."
Toronto as a cultural centre
Another reason for the Opera Atelier's success is the fact that it is located in Toronto. "This city provides such a solid base of artists to draw from," adds Baile, who suggests that each production involves about 100 artists and another 50 production people. He also speaks to the fact that Tafelmusik Baroque Orchestra, an orchestral ensemble recognized in its own right for its use of period instruments, and Opera Atelier are together in one city. "This is a situation unique to Toronto," he says. "You won't find this in any other city."
The two organizations have a very innovative relationship, with Opera Atelier teaching opera at Tafelmusik's summer school.
Other local relationships fostered by and nurturing to Opera Atelier are partnerships with the Royal Conservatory of Music and the National Ballet of Canada, both of which are located in the city. Opera Atelier also benefits from its location through other ways, namely funding from the Toronto Arts Council and the City's ongoing promotion of Toronto as a cultural tourist destination.
"I don't think there is any other city in Canada, other than maybe Montreal, that has the level of arts support that we have here," says Baile, who adds that some 40 per cent of Opera Atelier's funding comes from contributions. Another 40 per cent comes from box office and subscription sales, and the remaining monies come from government funding. Opera Atelier has also used its Toronto address to establish some deep-seated relationships with the local business community.
"Our relationships go far beyond writing a cheque," explains Baile. And the extent of that relationship is evident in comments from Alberta Cefis, Chair of the Board for Opera Atelier and Executive Vice President & Group Head, Global Transaction Banking, Scotiabank.
"Opera Atelier is a world-class company that develops much of its talent here in Toronto's vibrant arts community," she says. "We're proud to contribute to the city's rich culture, helping Torontonians to experience life in multiple dimensions." Cefis' personal passion fuels her work on the Board of Opera Atelier.
"I simply fell in love with the work that we do," she says. "There aren't many companies that do baroque opera. The work that we do is so specialized and beautiful; it's so intricate. It really is world-class, a jewel of a product."
Building a repertoire of success
Opera Atelier has firmly established itself as Canada's baroque opera company and has attracted an impressive international reputation. It has also built up an annual loyal audience of around 15,000, of which 20 per cent are subscribers. Results like these are a great accomplishment for any opera company, notwithstanding one that focuses on a narrow period within an art form that spans only 400 years.
"I'd be remiss not to attribute part of our success to our volunteers as well," concludes Baile, who adds that this group of people is culled from various sectors around the city. "The volunteers, and in particular our Board of Directors, are a real mix of people. They are from the business world, from the artistic community, and from the marketing arena. They have been an integral part of our organization's growth and have helped us determine what we need to do to succeed today and in the future."
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