Tapestry Opera

Author: clay

  • $150,000 OTF Grant from the Ontario Government

    $150,000 OTF Grant from the Ontario Government

    $150,000 OTF Grant from the Ontario Government Gave Independent Performing Arts Community a Lift

    Toronto, ON – On Sunday, Tapestry Opera and Nightwood Theatre celebrated the $150,000 Capital grant from the provincial government’s Ontario Trillium Foundation (OTF) in 2023 with a public concert in Ramsden Park in Toronto. The one-year grant is being used to create a new theatre at 877 Yonge Street. The project will create the most affordable, accessible and well-equipped theatre of its kind in Toronto with a centrally located venue, residency and subsidy programs for independent and emerging artists and state-of-the-art theatre technology with a focus on Canadian works.”I am delighted to see Tapestry Opera and Nightwood Theatre receive this well-deserved support from the Ontario Trillium Foundation. This new facility will be a beacon for Toronto’s vibrant arts community. It’s an investment in the cultural heart of our city, and I can’t wait to see the incredible performances that will come to life here.” – Jessica Bell, MPP for University-Rosedale.The OTF grant supported the creation of Tapestry Opera’s new performing arts facility by providing crucial funding for demolishing and renovating an existing space at 877 Yonge Street. Retrofitting an existing building gives life to under-used spaces at a fraction of the energy of a new build and contributes to greater sustainability in the performing arts sector. “We are thrilled to be adding a new arts facility, featuring a theatre, rehearsal space and offices to Toronto’s cultural ecology and to be moving into such a vibrant part of the city to do so,” said Jaime Martino, Executive Director, Tapestry. “This venue will be dedicated to the vibrant and space-hungry independent performing arts as a new home for artists and the creation of new Canadian works,” said Michael Hidetoshi Mori, General Director and Artistic Director, Tapestry Opera. “Connecting Toronto’s dynamic artist community with this neighbourhood and audiences who can visit through the close-by Yonge and Bloor hub will provide innumerable opportunities for inspiration and joyful human interaction.”Founded in 1979, Tapestry Opera is an award-winning Toronto-based company dedicated to creating, developing and performing original, progressive opera. Tapestry is passionate about timely, resonant stories told in innovative settings and interpreted by extraordinary artists. Tapestry creates space to unite diverse art forms, creators, and communities to develop powerful, boundary-breaking opera that reflects and changes the world. Tapestry believes in embedding their values in everything they do, on and offstage, and work to create a flexible, adaptable, and accountable culture for their time and communities.As Canada’s preeminent feminist theatre, Nightwood cultivates, creates, and produces extraordinary theatre by women and gender-expansive artists, liberating futures, one room at a time.“Whether it’s helping people learn new things, connect with their community, or simply have fun, organizations like Tapestry Opera deliver experiences that make a difference,” said Stan Cho, Minister of Tourism, Culture and Gaming. “That’s why grant support through the Ontario Trillium Foundation is so important. This funding will help ensure that it remains at the heart of the community for decades to come.”The Ontario Trillium Foundation (OTF) is an agency of the Ontario government with a mission to build healthy and vibrant communities across the province. Last year, OTF invested more than $110M into 1,044 community projects and multi-sector partnerships. Projects aim to enhance economic well-being, foster more active lifestyles, support child and youth development, provide spaces for people to come together and connect, and create a more sustainable environment. Visit otf.ca to learn more.

    INTERVIEW OPPORTUNITIES AVAILABLE

    For more information, please contact:

    Clay Jones, Marketing & Communications Manager
    Tapestry Opera
    416 537 6066
    cjones@tapestryopera.com 

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  • Von Stade, Heggie, Nagano… Jacqueline du Pré!

    Von Stade, Heggie, Nagano… Jacqueline du Pré!

    Tapestry’s Artistic Director, Michael Mori, shares his thoughts on his recent trip to direct Jacqueline in San Francisco.

    “a perfect and intricate dance of storytelling… absolutely the highest level of virtuosity, artistry and communication…. Spectacular!”
    – Jake Heggie, opera composer (Dead Man Walking, Moby Dick, Everest…)

    This past month, I was in San Francisco to direct the US premiere of Luna Pearl Woolf and Royce Vavrek’s Jacqueline, based on the life of Jacqueline du Pré. You may have joined Tapestry five years ago (!) for the world premiere in February 2020 at the Betty Oliphant Theatre. The cast, creators, and I were thrilled to have luminaries such as Kent Nagano, Frederica von Stade, and Jake Heggie in the San Francisco audience… offering pretty high praise!

    “I was mesmerized and amazed at this brilliant work…. Marnie Breckenridge and her orchestra; Matt Haimovitz was so powerful and truly magnificent… We left the theatre knowing of the brilliance of music, theatre, and passion!”
    – Frederica von Stade, legendary mezzo soprano

    We were in good company at the West Edge Opera Festival, with the world premiere of Bullrusher (featuring Tapestry alumna mezzo-soprano Rebecca Cuddy) and a 3 1/2 hour condensed version (initially 15 hours!) of Wagner‘s entire ring cycle featuring some fantastic voices! Bullrusher tells the story of an African-American girl growing up in Northern California’s remote Anderson Valley in 1955. She has never seen anyone that looks like her until a young Black woman from Alabama comes to town… It was beautifully sung and nuanced in revealing how relationships in small-town California work, thoughtfully considering the changing culture of the day without falling into racial tropes. 

    With Jacqueline as the third premiere of the festival, we were set to share the drama and tragedy of Jacqueline du Pré with our Bay area friends and audiences. Cellist Matt Haimovitz, who plays the role of Jacqueline du Pré’s cello, was age 14 when he was brought into Dupré and Daniel Barenboim’s household as one of Jacqueline’s last proteges and the first cellist to play with Daniel following her illness.

    This work has come so far with the team of Royce, Luna, Matt, Marnie Breckenridge, and myself first meeting in artistic retreats at the art ranch at Tippet Rise in Montana, at McGill University, and now with enthusiastically received premieres in Toronto and San Francisco. 

    L to R: Luna Pearl Wolf, Matt Haimovitz, Michael Hidetoshi Mori, Royce Vavrek, Marnie Breckenridge.

    The Inverted Portal massive sculpture at Tippet Rise

    Workshopping scenes at Tippet Rise.

    Designer Camie Koo’s and my concept of an exploded concert hall resonated as a symbol of what might transpire in Jacqueline, who identified as a professional cellist for her entire life and then completely lost that capacity. The design initially benefitted from using fly rails to ‘explode’ the chairs and stands into the air and was adjusted for the San Francisco production to use hidden floor lines to have the chairs and stands ‘magically’ collapse.

    Matt Haimovitz, Cello and Marnie Breckenridge as Jacqueline.
    All Photos, credit: Cory Weaver/West Edge
    Please check out the entire series of photos from West Edge Opera’s production of Jacquline.

    After a slow three years of pandemic, it’s truly awesome to see two Tapestry commissioned works continue to find new homes and success in the world, with Rocking Horse Winner having its 5th production and this recent US premiere, Jacqueline’s 2nd production of hopefully many many more!

    Michael Hidetoshi Mori
    General Director and Artistic Director
    Tapestry Opera

  • Women in Musical Leadership Highlights

    Women in Musical Leadership Highlights

    The 23/24 season was an exciting one for our six Women in Musical Leadership conductors!  We’re excited to share a few highlights from our first graduating cohort, debut conducting experiences and awards!

    Women in Musical Leadership Program Milestone

    Women in Musical Leadership fellows Jennifer Tung and Juliane Gallant Photo by Allan Cabral / TSO
    Jennifer Tung and Juliane Gallant | Photo by Allan Cabral / TSO

    Juliane Gallant and Jennifer Tung have become the first Women in Musical Leadership (WML) conductors to graduate from Tapestry Opera’s three-year program. WML is a cornerstone of Tapestry Opera’s commitment to diversity and inclusion and has provided invaluable opportunities and mentorship to emerging female leaders in the industry.

    Juliane Gallant

    During my three-year term with Women in Musical Leadership, I benefitted from the mentorship of Karen Kemansek and Gustavo Gimeno and participated in three masterclasses with the Toronto Symphony Orchestra. The program allowed me to travel across the country, and I gained enough orchestral experience in two years to get my current job.

    During my time in the program, a few highlights include being Assistant Conductor on R.U.R. A Torrent of Light and working with the young talent at the Nova Scotia Youth Orchestra, even though Hurricane Fiona cancelled our concert. Returning to the Victoria Symphony multiple times was also a great experience. I first joined as part of a larger musical team for “Splash Around Town,” working on a broad range of styles from early music to Pops shows. I then assisted with the Mozart Requiem and led a Christmas show with Ken Lavigne.

    – Juliane Gallant
    Conducting Fellow Juliane Gallant stands on the conducting podium, holding the baton between her two hands.
    2024 Masterclass: Conducting Fellow Juliane Gallant with the TSO | Photo by Dahlia Katz
    Conducting Fellow Juliane Gallant stands on the conducting podium, holding the baton in her right hand.
    2024 Masterclass: Conducting Fellow Juliane Gallant with the TSO | Photo by Dahlia Katz

    Jennifer Tung

    Before the Women in Musical Leadership program, I had only about a year of experience on the podium. I was so nervous every time I stepped up to conduct. After the three-year program, my confidence soared.  But I am most grateful to have met many amazing people in the sector, from musicians to administrators. I have made some great, long-lasting friendships with other female conductors at a similar stage in our careers. Women in Musical Leadership is more than building confidence in conducting – it makes human connections possible. And what is making music if not to connect and create new human experiences?

    A few highlights during my time in the program include conducting the world premiere of Gould’s Wall (Brian Current and Liza Balkan, Tapestry Opera/Maniac Star/Royal Conservatory of Music), the world premiere of Of the Sea (Ian Cusson and Kanika Ambrose, Tapestry Opera/Obsidian Theatre), the Canadian premiere of Plaything (Anna Pidgorna and Maria Reva, Opera McGill) and Kamloops Symphony’s 2024 season finale with guest artist Jeremy Dutcher.

    – Jennifer Tung
    Conducting Fellow Jennifer Tung stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Jennifer Tung with the TSO | Photo by Dahlia Katz
    Conducting Fellow Jennifer Tung stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Jennifer Tung with the TSO | Photo by Dahlia Katz

    Naomi Woo

    Naomi Woo debuted with WML Lead Orchestral Partner, the Toronto Symphony Orchestra, at their Lunar New Year Celebration concert.  She also became the National Youth Orchestra of Canada’s first female Music Director!

    Conducting Fellow Naomi Woo stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Naomi Woo with the TSO | Photo by Dahlia Katz
    Conducting Fellow Naomi Woo stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Naomi Woo with the TSO | Photo by Dahlia Katz

    Maria Fuller

    Maria Fuller was a finalist and award winner at the 11th Grzegorz Fitelberg International Conducting Competition in Poland, which has garnered her several appearances in Europe this season and next, including at the Teatr Wielki w Łodzi in Poland and the Prague State Opera and this year marked Maria’s first season as the founding Music Director of Ammolite Opera in Calgary. 

    Maria Fuller conducts the Filharmonia Ślaska at the Fitelberg International Conducting Competition in November 2023

    Monica Chen

    Monica Chen supplemented her busy schedule as RBC Assistant Conductor of the Winnipeg Symphony Orchestra with assistant conducting engagements at partner organizations across Canada.  This summer, she led her first opera, Manitoba Underground Opera’s production of Hansel and Gretel.

    Conducting Fellow Monica Chen stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Monica Chen with the TSO | Photo by Dahlia Katz
    Conducting Fellow Monica Chen stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Monica Chen with Maestro Gustavo Gimeno and the TSO | Photo by Dahlia Katz

    Kelly Lin

    Kelly Lin worked with orchestras across the country and stepped into the world of opera for the first time by assisting WML Mentor Tania Miller with Vancouver Opera’s production of The Magic Flute.  Later in the fall she conducted two brilliant performances of Shaw Festival’s Brigadoon, assisting Music Director Paul Sportelli.

    Conducting Fellow Kelly Lin stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Kelly Lin with the TSO | Photo by Dahlia Katz
    Conducting Fellow Kelly Lin stands on the conducting podium.
    2024 Masterclass: Conducting Fellow Kelly Lin with the TSO | Photo by Dahlia Katz

  • Award-Winning Commission: 10 Days in a Madhouse

    Award-Winning Commission: 10 Days in a Madhouse

    July 24th, 2024 – Tapestry Opera’s co-commission and co-production with Opera Philadelphia, 10 Days in a Madhouse, has won the 2024 Music Critics Association of North America award for BEST NEW OPERA. This accolade follows last year’s triumph when Tapestry Opera received the same award for RUR: A Torrent of Light, becoming the first Canadian work to do so. The recognition reaffirms Tapestry Opera’s commitment to groundbreaking and compelling storytelling through music.

    The Best New Opera award goes to composer Rene Orth and librettist Hannah Moscovitch for 10 DAYS IN A MADHOUSE. The award recognizes musical and theatrical excellence and is given annually to an operatic world premiere presented in North America the previous calendar year. 

    Commissioned by Opera Philadelphia and Tapestry Opera, 10 Days had its world premiere at Opera Philadelphia as part of Festival O23 in September 2023 at the Wilma Theater. Opera Philadelphia has a stellar history of producing compelling and successful new operas, and 10 Days in a Madhouse now joins Breaking the Waves (by Missy Mazzoli and Royce Vavrek) and The Wake World (by David Hertzberg), both Opera Philadelphia commissions, in the Best New Opera pantheon. 

    An Awards Committee of distinguished music critics determines the Best New Opera Award. It reflects MCANA’s overarching mission to recognize distinctive achievements and, through its web publication Classical Voice North America, communicate the richness of musical life in the U.S. and Canada at a time when classical music coverage in traditional print media is shrinking. 

    10 Days in a Madhouse is a psychological opera inspired by the life of Nellie Bly, a trailblazing reporter who, in 1887, faked madness in order to be admitted to Blackwell’s Asylum for the Insane and to report on conditions from the inside. It uses her story to explore how insanity has been used as an operatic conceit and as a way to control non-compliant women, exposing—as Nellie Bly herself did—the feminization of madness, the bias of doctors against the sanity of women and how the systems and social structures in which women find themselves induce madness. 

    The opera was received with great acclaim. The New York Times hailed it as a pillar of the form, stating that “opera needs works like 10 Days, which treats the medium with affection and respect while also chafing at its tropes throughout history.” The Wall Street Journal praised the libretto and music, writing, “Ms. Orth and librettist Hannah Moscovitch trenchantly explore how female insanity has been used both as an operatic trope and as a way to label and control non-compliant women.” Opera News wrote: “Orth orchestrates superbly…This gripping new opera deserves wide circulation.” Observer stated, “10 Days in a Madhouse is a rare piece: a contemporary opera whose subject, story, music and execution are both intelligent and moving.”

    In response to winning the award, composer Rene Orth said:
    “I am so grateful for the MCANA jury to recognize 10 Days in a Madhouse with such a prestigious honor. Hannah and I set out to write something surprisingly rare in the operatic tradition—a work that didn’t focus on women suffering trauma and death, but rather strength and perseverance against the continued societal biases working against us. I’m thrilled that the piece has resonated with so many people. An especially huge thank you to director Joanna Settle, conductor Daniela Candillari, sound designer Rob Kaplowitz, Opera Philadelphia’s Director of New Works Sarah Williams, and the insanely talented cast, chorus, and orchestra—all for their full commitment to our risk-taking and storytelling in bringing this piece to life.”

    Statement from the MCANA Awards Committee:

    “Drawing from reporter Nelly Bly’s exposé of conditions at the insane asylum on Blackwell’s Island (now Roosevelt Island), this searing chamber opera explores how insanity has been used as an operatic trope and as a way to control non-compliant women. The ingenious libretto structures the narrative in reverse: it opens with Bly’s 10th day in the asylum, where she went undercover, and over 90 intense minutes reassembles the disordered elements of her institution-induced breakdown into a recognizable story. Text fragments, choral hazes, and electronics are among the techniques used to unmoor the narrative from rationality; yet the characters remain strong and musically distinctive throughout. Taut, original, and affecting, 10 Days in a Madhouse works on multiple levels – theatrical, thematic, and human.”

    MCANA’s Best New Opera Award

    The year 2024 marks the seventh MCANA Award for Best New Opera. It honours musical and theatrical excellence in a fully staged opera that received its world premiere in North America during the preceding calendar year. The award is one of the few in the world that simultaneously recognize both composer and librettist. 

    After MCANA members submit nominations, the finalists are chosen by an Awards Committee co-chaired by Heidi Waleson, opera critic of The Wall Street Journal, and George Loomis, longtime contributor to the Financial Times and Musical America—alongside MCANA president Arthur Kaptainis, contributor to Ludwig van Toronto and former music critic of the Montreal Gazette; and committee members John Rockwell, former critic and arts editor of The New York Times and a regular correspondent for Opera (UK) and Musical America; and Alex Ross, music critic of The New Yorker. 

    MCANA’s Best New Opera Award has an illustrious track record. The 2017 inaugural award went to Missy Mazzoli (composer) and Royce Vavrek (librettist) for Breaking the Waves; the 2018 Award went to composer-librettist David Hertzberg for The Wake World; the 2019 Award went to Ellen Reid (composer) and Roxy Perkins (librettist) for p r i s m; the 2020 Award went to Jeanine Tesori (composer) and Tazewell Thompson (librettist) for Blue; the 2021 Award went to Raven Chacon (composer), Du Yun (composer), Aja Couchois Duncan (librettist), and Douglas Kearney (librettist) for Sweet Land; and the 2023 Award went to Nicole Lizée (composer) and Nicolas Billon (librettist) for R.U.R. A Torrent of Light.

    Rene Orth

    Rene Orth—“a master composer” with a “sophisticated sound world” (Classical Voice North America)—writes music described as “always dramatic, reflective, rarely predictable, and often electronic” (Musical America). She recently completed a three-year tenure as Composer-In-Residence at Opera Philadelphia.

    Last season, Opera Philadelphia presented the “triumphant world premiere” (Wall Street Journal) of 10 Days in a Madhouse, co-commissioned by Opera Philadelphia and Tapestry Opera. Other projects include a song cycle for Vocal Arts DC and mezzo-soprano Daniela Mack, premiering at The Kennedy Center; a new song, A Prayer, for baritone Will Liverman and mezzo-soprano J’nai Bridges; and an electronics and voice piece for mezzo-soprano Raehann Bryce-Davis’ forthcoming debut album, Stand the Storm. The Chautauqua Institution also premieres Love, Loss, and the Century Upon Us (libretto by Jerre Dye) with a 13-piece orchestra.

    Hannah Moscovitch

    Hannah Moscovitch is an acclaimed playwright and TV-writer based in Halifax, Nova Scotia. She has written sixteen plays, including East of Berlin, Sexual Misconduct of the Middle Classesand This is War, and she’s been honored with numerous awards, among them theGovernor General’s Award, the Nova Scotia MasterWorks Arts Award and the prestigious Windham-Campbell Prize. 

    Hannah’s music-theatre hybrid Old Stock: A Refugee Love Story (co-created with Christian Barry and Ben Caplan) became a Time Out and New York Times Critic’s Pick, winning both the Herald Angel and a Scotsman Fringe First at the Edinburgh Fringe Festival, and receiving six Drama Desk Award nominations in New York. Old Stock: A Refugee Love Story recently crossed the 400 performances line. 

    In television, Hannah is the Co-Creator, Executive Producer and Head Writer of Little Bird alongside showrunner Jennifer Podemski, on CTV/Crave and APTN Lumi in Canada and PBS in the USA. Little Bird has garnered a landslide of awards and critical praise, including the Prix Public or Audience Award at the international TV festival, Series Mania, in Lille, France, and 13 Canadian Screen Award including Best Drama Series. Most recently, Hannah was Co-Executive Producer on Season One and Season Two of AMC’s hit series Interview with The Vampire.

    Tapestry Opera

    Tapestry Opera is an award-winning Toronto-based company dedicated to creating, developing, and performing original Canadian opera. Tapestry is passionate about uniquely Canadian stories, told in innovative settings, unforgettably interpreted by world-class artists. Tapestry supports emerging artists, develops new audiences and brings Canadian opera to the world stage. Founded in 1979, Tapestry is the voice of original contemporary Canadian opera.

    For further information, photos, score/libretto, and to arrange interviews, please contact Aleba & Co. at 212-206-1450 or aleba@alebaco.com

  • Women in Musical Leadership | IWD 2024

    Women in Musical Leadership | IWD 2024

    We dream of a world where leadership is a matter of talent and drive, regardless of identity. Women in Musical Leadership has built pathways to success for exceptional women and non-binary music leaders for generations, overturning a deep and longstanding imbalance.

    Meet the conductors who are changing the podium, the music industry, and the world.

    We asked each conductor to share what excites them, from past performances to future opportunities to hobbies that help them relax while away from the podium.

    Learn more about the Women in Musical Leadership program and sign up for the WML newsletter for updates here: http://tapestry.mrodesign.dev/wml.

    Juliane Gallant

     In 2023, I auditioned as a conductor for the resident conductor position at the Calgary Phil and was offered the role!

    In 2024, I had my first experience of ‘jumping in’ as a conductor and had a great time doing it! The guest conductor meant to lead an all-Spanish program at the Calgary Phil that night became undisposed. With only a few hours notice, I conducted Turina’s Danzas fantásticas without prior rehearsal. Women in Musical Leadership mentor Sarah Ioannides led the rest of the program. 

    Before being part of Women in Musical Leadership, I had never learned an entire symphonic work, let alone stood in front of a full orchestra. I am comfortable now in the symphonic world through score study sessions, masterclasses, and placements with orchestras across Canada.

    I once voiced a cartoon character in Acadieman, an animated series from New Brunswick.

    I love cooking. When I suddenly had tons of free time at the beginning of the pandemic, I cooked my way through at least half of Yotam Ottolenghi’s Plenty.

    Juliane Gallant with Maestro Gimeno at the 2022 TSO Masterclass. Photo by Dahlia Katz
    Juliane on the podium for the Gould's Wall rehearsal. Photo by Dahlia Katz
    Juliane Gallant photo by Dahlia Katz
    Juliane Gallant with Maestro Gimeno at the 2023 TSO Masterclass. Photo by Dahlia Katz

    Jennifer Tung

    In 2023, I conducted two world premiere operas in two weeks:  Show Room by Rodney Sharman and Atom Egoyan and Of the Sea by Ian Cusson and Kanika Ambrose.

    In 2024, I look forward to collaborating with superstar Jeremy Dutcher and the Kamloops Symphony in May.

    As part of Women in Musical Leadership, I have learned I have more to offer others than I initially thought.

    I have two lovely puppies that are the love of my life: 6-year-old Justice, a Husky Golden Retriever mix and my crazy 3-year-old Doberman, Jupiter!! They keep me sane amid the craziness of music-making 

    I love to cook. Especially trying new recipes and making variations on existing recipes.  I am, however, not a baker.

    Jennifer Tung with Maestro Gimeno at the 2023 TSO Masterclass. Photo by Dahlia Katz
    Jennifer at the Of The Sea workshop. Photo by Elana Emer
    Jennifer on the podium for Gould's Wall. Photo by Dahlia Katz.
    The best dogos! Photo by Jennifer Tung

    Maria Fuller

    A highlight of last year was being a finalist (top 6 of 50 competitors) at the 11th Grezgorz Fitelberg International Conducting Competition in Poland. I was awarded a 4000 EURO “Distinction” prize, as well as opportunities to conduct at the Prague State Theatre, coach an opera, and assist a ballet in Łódź, Poland! 

    This is my first season as Co-Founder and Music Director of Ammolite Opera in Calgary! It’s a joy to build this company from the ground up with my Co-Founding partner, Tayte Mitchell.

    My involvement in the Women in Musical Leadership program has been like being an “assistant on steroids.” We assist 25 different orchestras and opera companies from coast to coast, and there is so much to learn and celebrate about each place. My favourite thing is witnessing each orchestral family’s unique spirit and distinct characteristics.

    Something fun (or alarming) people don’t know about me is that I am from a 2000-acre grain farm outside of Earl Grey, Saskatchewan, and have my Hunters Safety License, meaning I own a gun and can hunt.

    Something people might not know about me is that my piano recording, “Der Erlkonig,” with bass-baritone Philippe Sly, has a million views on YouTube and is played at major conservatories worldwide. I receive email requests to perform and teach it, and people recognize me at colleagues and opera companies as the girl who plays it. (All because of a last-minute 3:00 AM recording session!)

    When I can catch a weekend off, my favourite hobbies are composing, learning new instruments, arranging holiday orchestral music, making videos, and editing MIDI tracks in a DAW. I love being with family and friends, and learning new things about my new acquaintances that I meet on the road. My latest ambition is to sing in an opera one day.

    Naomi Woo

    In December 2023, The National Youth Orchestra proudly appointed Naomi Woo as Music Director for its 2024/2025 seasons, marking a historic milestone as the first female Music Director of NYO Canada.

    11 and 12 February 2024 | National Arts Centre Orchestra | Kevin Lau and Jodi Contin: The Spirit Horse Returns

    ​13 February 2024 | Toronto Symphony Orchestra | Lunar New Year Concert featuring soloist Timmy Chooi and presenter Dashan.

    17 and 18 February 2024 | Symphony Nova Scotia | Winter Family Concert. Naomi helped program repertoire for TSO and SNS concerts.

    Naomi had two appearances with the Illinois Symphony Orchestra, where she is a music director finalist.

    The TSO recently interviewed Naomi; please read that here: https://www.tso.ca/noteworthy/lunar-new-year-with-naomi-woo/

    Monica Chen

    2023 was an amazing year filled with new opportunities, starting work with WSO Sistema Winnipeg, and the University of Manitoba Symphony Orchestra and finishing a fulfilling season, having worked intensely with the Vancouver Symphony Youth Orchestra.

    2024 brings new challenges, including continuing some amazing concerts with all three Winnipeg organizations that I work with, such as the Winnipeg New Music Festival, Sistema, St John’s College Benefit Fundraiser, and UMSO’s third concert of the season featuring Schumann’s 4th symphony. There are also new opportunities coming up that will be revealed in due time!

    Working with Opera Kelowna and Rosemary Thompson has taught me much about the first ropes of opera and the beautifully intricate world that it is

    Outside of music, I am actually quite the stationary nerd and have a guilty collection…

    If I ever have a spare moment, food is my next big love, especially dessert!

    Kelly Lin

    In 2023, I had the privilege of participating in the Women in Musical Leadership program. This experience connected me with remarkable mentors and artists. I’m also proud of a successful premiere concert with my non-profit organization, Lagom Music Society. The concert featured 40 talented musicians at the prestigious Chan Centre in Vancouver. Lagom Music Society aims to amplify underrepresented voices in music and create opportunities for young orchestral musicians aspiring to join professional orchestras in Canada.

    Looking ahead to 2024, I am excited about my upcoming engagements, including my debut performances with the Calgary Philharmonic and Freeound Ensemble and my return to the Hatch Festival in July.

    Through the Women in Musical Leadership program, I have learned valuable lessons that have stretched me musically and professionally. This program has equipped me with the skills to lead, influence, and effect positive change within the music community in Canada. I am grateful for the opportunity to refine my conducting skills and study under the guidance of top musicians, which has contributed to my professional growth.

    Beyond music and conducting, I am passionate about exploring new interests and talents. I enjoy experimenting with painting, cooking, learning new languages, and playing different instruments.

    In my free time, I find solace in strength training at the gym after a morning of score study and work. This routine relaxes my mind and enhances my posture and mobility, benefiting my conducting abilities.

    Kelly Lin headshot

    Learn more about the Women in Musical Leadership program and sign up for the WML newsletter for updates here: http://tapestry.mrodesign.dev/wml.

    Thank you to our Lead Partner, Pacific Opera Victoria, our Lead Orchestral Partner, Toronto Symphony Orchestra and all participating organizations nationwide.

  • General Audition Call for Winter 2023

    General Audition Call for Winter 2023

    Tapestry Opera is now accepting submissions for general auditions.

    Deadline December 6, 2023

    Tapestry Opera is accepting general audition submissions for its 2023-2024 and 2024-2025 seasons and beyond. Classically trained singer-actors with professional experience in opera, as well as new music, theatre and music/musical theatre, are invited to apply.

    In order to apply, performers are asked to submit their headshot and resume and to be available for an in-person audition on December 13 or 15 at Array Music. Pianist will be provided. Array Music is a wheelchair accessible venue and we are happy to coordinate virtual callbacks as needed for accessibility. 

    Apply now

    Performers who have previously auditioned for Tapestry may submit an audition but may not be called for a live audition if the company has recently heard them. Tapestry Opera is a Canadian Actors Equity Association company under the Canadian Theatre Agreement. CAEA members will be given priority when scheduling live auditions.

    Tapestry Opera is committed to equity and justice in hiring/casting and invested in diversifying talent on and off stage. We encourage folks from all backgrounds, particularly those from communities of colour, LGBTQ2S, Indigenous, Disabled, and other equity-deserving communities, to apply. 

    General audition submissions close on December 6, 2023.

    Apply now

    If you have questions, please email Artistic Administrator Mélanie Dubois at mdubois@tapestryopera.com with ‘General Audition’ in the subject line.

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    Lead image by Dahlia Katz

  • Rocking Horse Winner | Reviews

    Rocking Horse Winner | Reviews

    First reviews are in, and the response is universally positive!

    Tapestry Opera’s skilfully spare and sensually spooky production

    Drew Rowsome

    Despite invoking dark themes of anxiety and dysfunctional familial relationships, Rocking Horse Winner executes it all gloriously. Tapestry Opera’s Rocking Horse Winner is a sumptuous indulgence of the senses!

    Torontonicity

    Talented vocalists, stunning design, and a mesmerizing score put Rocking Horse Winner several lengths ahead in the race… (t)he vocalists of Rocking Horse Winner are fantastic; their talent shines through every moment of the performance.

    A View From The Box

    Asitha Tennekoon as Paul, Peter McGillivray as Bassett and Keith Klassen as Oscar haven’t changed and are all excellent.  Tennekoon is really good, especially in the crucial final scene… a very successful revival

    Opera Ramblings

    The remarkable eight-member ensemble is the reason to see the production. They are fully committed to telling the story with clarity and dignity while not shying away from the harsh realities of how greed can and will destroy the human soul.

    Our Theatre Voice

    Just six shows left, and tickets are selling fast!

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  • Rocking Horse Winner: A Brief History

    Rocking Horse Winner: A Brief History

    The award-winning production of Rocking Horse Winner is now one of the most-performed Canadian operas!

    How did we get here?

    2009: Librettist Anna Chatterton and Composer Gareth Williams collaborate at the 2009 LIBLAB. 

    2016: Anna and Gareth’s adaptation of D.H. Lawrence‘s short story gallops onto the stage with a fantastic ensemble of mostly unknown designers, performers, and creatives, marking Artistic Director Michael Hidetoshi Mori‘s directorial debut for Tapestry Opera.

    Rocking Horse Winner cast from the 2016 production
    (Photos by Dahlia Katz)

    Asitha Tennekoon as Paul with The House
    (Photo by Dahlia Katz)

    Carla Huhtanen as Ava and  Asitha Tennekoon as Paul
    (Photosby Dahlia Katz)

    2017: A surprise hit, the production earns 5 of 9 Dora Mavor Moore Awards, including Asitha Tennekoon, who wins Outstanding Performance, Male, Opera Division.

    2018: Rocking Horse Winner goes international with a production by Opera Saratoga.

    Christine Suits as Ava and Tyler Nelson as Paul
    (Photo by Gary David Gold)

    2020: The pandemic pauses a planned remount with Crow’s Theatre.  Undeterred, the company pivots, takes advantage of Zoom to hold rehearsals and ultimately releases the cast recording.

    2023: Rocking Horse Winner travels once again with productions by Opera Louisiane and Opera Maine.

    Rocking Horse Winner Cast | Opera Maine
    (Photo by Martha Mickles) 

    November, 2023: Returning to Toronto, Rocking Horse Winner rides again with just eight performances at Streetcar Crowsnest. 

    Rocking Horse Winner
    November 1 – 12, 2023
    The Guloien Theatre at Streetcar Crowsnest

    A Tapestry Opera Production in association with Crow’s Theatre
    Composed by Gareth Williams | Libretto by Anna Chatterton
    Directed by Michael Hidetoshi Mori | Music Direction by Kamna Gupta

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  • Tapestry Opera Shortlisted for International Opera Award

    Tapestry Opera Shortlisted for International Opera Award

    Tapestry Opera has been shortlisted for a 2023 International Opera Award in the Equal Opportunities & Impact category.

    “This year’s International Opera Awards shortlist once again celebrates talent from around the world and proves that opera is truly the most international of artforms. Huge congratulations to all our nominees and I look forward to celebrating with them at the magnificent Teatr Wielki in Warsaw,” said Harry Hyman, founder of the International Opera Awards, in an official press statement.

    Harry Hyman, founder of the International Opera Awards

    Tapestry Opera is honoured to be recognized in a category filled with amazing companies, including Asian Opera Alliance, La Monnaie De Munt, National Opera Studio, Opera for Peace and The Atlanta Opera.

    The International Opera Awards will be held at Teatr Wielki, Polish National Opera, Warsaw on Thursday 9 November. The International Opera Awards celebrate operatic talent from around the world, as well as raising funds and awareness for the Opera Awards Foundation which supports aspiring operatic artists.

  • THE 23/24 SEASON MARKS 10-YEAR EVOLUTION

    THE 23/24 SEASON MARKS 10-YEAR EVOLUTION

    We’re Bringing Back One Of Our Most Successful Productions And Building A New Transformative Arts Facility

    TORONTO – Tapestry Opera celebrates General and Artistic Director Michael Hidetoshi Mori’s 10th year of innovative leadership, helping build the organization into a prolific and influential champion of Canadian artists and works. In the last ten years, the last seven of which were under shared leadership with Executive Director Jaime Martino, Tapestry has premiered 26 productions, including 22 world premieres introducing significant works such as R.U.R. a Torrent of Light, The Overcoat, Oksana G., Shanawdithit, Of the Sea, Gould’s Wall, and Rocking Horse Winner to the Canadian public while building a growing audience base and garnering major local and international awards and acclaim. Tapestry is a leader in the performing arts sector through two new national initiatives, Women in Musical Leadership and the Canadian Opera Resource, using collaboration and innovation to drive positive change. Tapestry Opera has launched a 3 million dollar campaign, in partnership with Nightwood Theatre, to build a new multi-venue arts facility focused on affordable usage for independent artists and companies.     

    (R)evolutionary Programming

    • Award-Winning Production: Rocking Horse Winner – a Tapestry Opera production in association with Crow’s Theatre
    • Concert: Songbook XIII featuring Naomi Woo & Keith Klassen
    • Concert: Le Kitchen Party: An Acadian Celebration of food and music
      Featuring Juliane Gallant (host)
    • Concert: IRON CHEF d’orchestre
      Featuring Jennifer Tung (host and pianist)

    Tapestry’s Artistic and General Director Michael Mori: “As we reflect on 26 productions in the last 10 years, including many incredible artists and works and audiences who have experienced opera for the first time, it is thrilling to open the next chapter by launching a new facility dedicated to fostering new works and artists, not only for Tapestry Opera and our partner Nightwood Theatre but also for the Toronto independent arts community, who are desperate for space to make art. 

    The 2016 production of Rocking Horse Winner marked a dramatic turning point for Tapestry, garnering awards, critical acclaim, new audiences and, as a result, paving the way for the most prolific period in the organization’s 43-year history. It was a dark horse, a show no one expected to hit as hard as it did, but the passion and artistry of the artists involved led to its surprising success. For my tenth anniversary of artistic direction, it is consequential to share and celebrate this beautiful and tragic work as we look ahead to the next exciting chapter.”

    Tickets for Rocking Horse Winner are on sale now!