Search the Archive
Composing Opera: A Backstage Visit to the Composer’s Workshop
Original Content • 4/14/2010
It gives me great pleasure to have the opportunity to speak with you this afternoon. The title of my presentation mentions a backstage visit to the composer’s workshop, and that is precisely where I intend to take you.
So I will start very simply; but we don’t have to start at the beginning. We will get there slowly, anyhow. I would prefer to start with Florencia en el Amazonas, my most recent opera.
Of all my three operas, this was certainly the most enjoyable one to write. From the start, which is finding a libretto to work on, it was a happy experience. But, first of all, how did I decide on the subject? How did I go about composing it? And how on earth did I get to the Amazon?
Support for New Works in Canada
Opera America Magazine • 1/1/1900
Opera.ca recently awarded a total of $185,000
for the development and production of seven
new Canadian operas through the Canadian
Opera Creation Fund. Funding decisions are made by an
independent panel of Canadians; the most recent panel
met in Toronto in November and consisted of Mel Braun,
baritone and educator, University of Manitoba; Sophie
Galaise, general director of Orchestre symphonique de
Québec; Morris Panych, playwright and dramaturge; and
Canadian composers Abigail Richardson and James Rolfe.