INTERMISSION NO. 02

INTERMISSION THE EXCLUSIVE WEBZINE FOR ALL DONORS OF THE OPÉRA DE MONTRÉAL

In the Works

A Foutain of Youth: Opera Creation at the Opéra de Montréal

New Guard: Four Talents to discover at the Atelier lyrique

Claudie Vandenbroucque: 50 years of Makeup at the Opéra

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p. 12

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NO. 02 | MAY 2022 1

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The Opéra de Montréal is the Opera of Tomorrow

BY MICHEL MARC BOUCHARD

I entered the world of opera in 2012, when I was asked to write the libretto for an opera inspired by my play, Les Feluettes. I said yes immediately, because I thought it was fantastic — and rather daring — to produce a contemporary French-language opera featuring a social drama rooted in Quebec history. We were very far from the ramparts of Seville, Italian romances, and Wagnerian mythology!

The opera version of Les Feluettes opened four years later. You may even have been there. Listening to the artists singing my libretto, hearing the audience clapping and cheering as the curtain fell, I said to myself that the Opéra de Montréal had just taken a great leap forward. Someone had been bold enough to suggest themes beyond those dating, for the most part, from the 18th and 19th centuries.

Since then, under the aegis of Patrick Corrigan and Michel Beaulac — with the involvement of many composers, playwrights, directors and scenographers — the Opéra de Montréal has continued to innovate, This bold approach has turned the Opéra de breaking down barriers, and pushing Montréal into one of the great opera companies: the limits as it engages in a dialogue a creative powerhouse that continues to garner with today’s audiences. In between admiration and respect around the world. In classics from the repertoire, it has Quebec, we may not have a grand operatic tradeliberately made room for new works, dition, but we do have a willingness to try new for local artists, for stories in French, things, a natural taste for the eclectic, an inclifor ground-breaking projects, and for nation to explore. Believe me, that is worth all social initiatives. the tradition in the world.

Creating something new always involves risk. This is even more true of opera, where everything is extravagant and excessive. Thank you to the Opéra de Montréal for taking this risk, season after season.

And thank you, dear music-lovers and supporters, for taking the risk of coming along for the ride.

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Table of Content

A Fountain of Youth: Opera Creation at the Opéra de Montréal .............................................................

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Marie-Christine Tremblay and Jacques Marchand: Proud Supporters of Local Artists ...............................................................................................................................................

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New Guard: Four Talents to discover at the Atelier lyrique ...........................................................................

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Claudie Vandenbroucque: 50 years of makeup at the Opéra ....................................................................

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Donor Spotlight ...................................................................................................................................................................................................

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Angels of the Box Office ..........................................................................................................................................................................

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Quiz ...................................................................................................................................................................................................................................

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Operarama ................................................................................................................................................................................................................

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Upcoming Events .............................................................................................................................................................................................

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Credits Writing: Translation: Graphic Design: Photography:

Michel Marc Bouchard, Véronique Gauthier, François Ulrich, Antoine Gervais, Amy Grainger, Jean-Pierre Primiani, Lou Bonnet Sheila Senghal (Artistic Licence) Le trafiquant d’images Brent Calis, Marianne Charland, Anna Eli, Yves Renaud, Tam Lan Truong

Front page image: Manuscript of Michel Marc Bouchard’s libretto for La beauté du monde.

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Being, original production by René-Daniel Dubois and Blair Thomson (rehearsal with the resident artists of the Atelier lyrique)

A Fountain of Youth: The Vision behind the Creation of New Works Since 2016, the Opéra de Montréal has been making room for original productions in its programming. Where does this fresh approach come from? What does it add to the company, to audiences, to artists? Patrick Corrigan, General Director of the Opéra de Montréal, and Artistic Director Michel Beaulac, share their thoughts on this exciting development, which promises the company long-term appeal among contemporary audiences.

Developing New Works for the Opera of Tomorrow Over the past 10–15 years, the opera world has undergone profound change. In Europe and North America alike, large companies are starting to create brand-new works — and the Opéra de Montréal is no exception. Why? “To begin with, it’s a matter of necessity,” says Patrick Corrigan. “The operatic form had become somewhat The coming of digital, which gives everyone access calcified, always involving gigantic specto whatever is happening around the world, shed light tacles with a big orchestra, on a large stage, on financial disparities between opera companies, with massive sets.” and made it essential for companies to diversify in order to set themselves apart. Then there were the audiences, looking for new repertoire to which they could relate.

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For Michel Beaulac, it was important to find an identity for Montréal’s own company. “I call it “Montrealizing” the company, meaning the presentation of works in which our audiences can see themselves — works that help the Opéra de Montréal position itself as both homegrown and international.”

Developing a Taste for It For his first major plunge into developing a new work, Michel Beaulac approached Michel Marc Bouchard in 2012 about adapting his play Les Feluettes — already well known and liked by the public — into an opera. The resulting production The positive upshot for the arts sector is that became a runaway success in 2016. Following this this leads to many more work opportunities baptism by fire, Michel Beaulac wanted just one for artists and musicians. To be sure, the thing: to do it all over again. “We’d caught the bug. creative process eventually results in a single Creating new works becomes a real passion; it’s approach and a single artistic vision, but intoxicating! It’s like a Fountain of Youth, reinvigothe truth is that developing a new project rating the audience-company relationship, as well involves more than hiring creators. It also as the entire Opéra de Montréal team.” translates into additional contracts for the many singers, pianists, musicians and deNew processes were put in place to accommodate signers involved in shaping a project — far similar projects. This was not without its challenges. more than what is required for a traditional “We had ways of working, funding and organizing that work. were well-established for works in our repertoire,” says Patrick Corrigan. “We had to revisit everything.

Developing new works takes years, so we also Diversifying to Connect needed to maintain some kind of cash flow. We with Larger Audiences had to deconstruct our financial structure to allow us to adapt.”

Presenting new works by varying their format, by stepping outside a traditional framework, by using instruments and voices in different ways, and by appearing in different sizes of hall attracts new audiences to opera. “We have broken down the barriers and deve­ loped a whole new way of doing things,” he notes.

Une île de passions, original production by Marie-Claire Blais, Hélène Dorion and Éric Champagne. (From left to right: Michel Beaulac, Éric Champagne, Jean-François Lapointe, Stéphanie Pothier, Hélène Dorion)

Patrick Corrigan feels that this variety of formats will ensure that the opera company’s longevity, while also changing the misconceptions about opera that remain within a certain segment of the population. “Opera is not limited to what was done in the 19th century. It is a highly modern and relevant art form. Our strategy is to strike a balance between works already in our repertoire and new works, as well as between operatic extravaganzas, and more intimate productions.”

When the Stars Align How are new works selected?

The Opéra de Montréal regularly receives project proposals from composers and librettists. The Artistic Director also keeps an eye on the international scene, approaching creatives who may have an interest in opera.

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La beauté du monde, original production

by Michel Marc Bouchard and Julien Bilodeau (Scenery sketch, Prologue)

“We always have our audiences in mind, as well as the circumstances surrounding a new proposal. We then have to evaluate available budgets, what stage the proposed project is at, if its subject matter fits our programming, etc. Beyond the quality and inherent interest of the work itself, several criteria are involved in our decisions. The conditions must be perfect.”

A Spectrum of Veteran Collaborators As it did with Michel Marc Bouchard, Olivier Kemeid, Hélène Dorion and Angela Konrad, the Opéra de Montréal collaborates regularly with accomplished creatives whose practices are deeply rooted in other artistic disciplines. This is a major asset, according to Patrick Corrigan.

“By connecting with them, we are seeking solid new expertise, as well as a novel take on an art form they may not know much about. It’s refreshing. Same thing for the younger companies with which we work — companies that are very different from us — such as BOP (Ballet Opéra Pantomime) and Musique 3 Femmes.

It enriches our offering, and the more opportunities we can provide to young opera artists, the more vital and healthy our milieu remains, because that is where all the excitement and enthusiasm are found.”

A Team Sport from Start to Finish Among the selection criteria for collaborators is their capacity for teamwork. “This is a collective art. It is essential to form creative partnerships, and Michel [Beaulac] is a black belt at that,” says Patrick Corrigan.

“Everything has to work together seamlessly: music, ideas, egos, intentions. These are colossal projects!” says Michel Beaulac, who serves as both navigator and facilitator throughout the process.

“The first thing I do is listen. I’m their first audience — the first feedback creators get on their work. I’m involved in adjustments to librettos, to the dramatic arc, to the structure. I ask questions.

I ensure that the work can achieve the creators’ artistic goals.”

The Fruits of Their Labours It takes around three to five years for a new work to make it to the stage, although each project is different. At the moment, the Artistic Director is overseeing no fewer than five or six projects.

It’s highly demanding work, but also extremely gratifying. Patrick Corrigan agrees. “Seeing something take shape from a simple idea set on its feet — that artists have carried along with their energy, their will and their passion — is so moving.”

“We are witnessing a rebirth of sorts, a spring awakening for opera,” says Michel Beaulac. “Even though it is a species of flower we already know, it is still a new flower growing and waiting to bloom.”

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Marie-Christine Tremblay and Jacques Marchand Champions of local artists

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Jacques Marchand and Marie-Christine Tremblay with mezzo-soprano Florence Bourget (Atelier lyrique, 2020)

Interview with Jacques Marchand With a career in education and fashion, it is hardly surprising that Marie-Christine Tremblay and Jacques Marchand are such passionate individuals and engaged philanthropists. Over the years, they have become very involved in classical music and opera, deepening their interest by sponsoring an artist of the Atelier lyrique and chairing the Talent Gala. For the past year, Marie-Christine and Jacques have directed their support toward the creation of new works.

Where does your passion for music and opera come from?

As for many of my generation, I discovered music at church. I was immediately struck by the human voice, this divine instrument which can truly shine through craftsmanship and hard work. The power, the beauty, and the sheer emotion of the human voice are always what move me first, then at the opera, everything takes on a spectacular dimension, truly the awe-inspiring demonstration of the genius of the human spirit.

Why is it so important for you to support new works at the Opéra de Montréal?

First and foremost, I am deeply committed to helping artists. They are a great richness of our society, and it is our responsibility to develop the musical landscape so that they might continue to flourish and contribute to making Montréal a major cultural metropolis. I highly value the artistic direction of our opera company and the will to bring together multidisciplinary creative forces in a spirit of exploration and collaboration. The economic reality of artists is upsetting, and the support of the private sector is vital. We need substantial investments in creation to develop new works and bring forward bold ideas, otherwise we will never be competitive.

You often speak of the arts in economic terms.

Coming from the world of education and fashion, which parallels do you draw with opera?

Québec is replete with talent in so many fields – from aeronautics to artificial intelligence, to circus, cinema, and fashion… Similarly, music is an economic strength in our society, and it requires investing in human beings, without which talent cannot develop. Education is all about nurturing that talent, and we are lucky to live in one of the great university capitals of the world. Creation is a niche, high-added value market, which generates wealth and allows our artists to shine and to be recognized internationally. There is no shortage of examples of local artistic entrepreneurship having built successful business models which helped put our creative talent on the international map.

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New Guard Four Talents to discover at the Atelier lyrique During the 2021 Talent gala last November, auditions were held for the Opéra de Montréal’s Atelier lyrique.

Nine exceptional finalists succeeded one another onstage at Salle Wilfrid-Pelletier. Four were given the nod by jurors, who felt each had the voice and potential for opera stardom.

Emma Fekete Emma’s big dream is to play the role of Anne Trulove in Stravinsky’s The Rake’s Progress, in Montréal. After five years at the Conservatorium van Amsterdam, where she completed a Master’s degree in Classical Singing and received the prestigious Holland Scholarship and Talent Grant, the 26-year-old soprano is enthusiastic about returning home. “Wilfrid-Pelletier is the stage from my childhood,” she says, “the place I would go to see Les Grands Ballets Canadiens.

And I love what the Opéra de Montréal is becoming, opening up to young people, its contemporary works, its social role. This desire to reinvent itself speaks to me and inspires me.”

Originally from Val d’Or, the avid crosscountry skier was bitten by the musical bug at the age of four, after hearing a neighbour playing the violin. “Once was enough for me to know that music would become my life.” It’s a great message to share with children all over the world.

Emma Fekete, 2021 Talent gala

Mikelis Rogers Jealousy — that’s what led Mikelis Rogers to opera. “I was six years old, and my older sister had just started singing lessons. I wanted singing lessons, too, and my parents said yes.” It was the right thing for them to do because, 20 years later, the Ontario baritone, who completed his Bachelor’s degree in Music at the University of Toronto, is about to enter the Atelier lyrique.

There were a few detours along the way, of course, parti­ cularly into photographic and video production — but music was never very far away. “My mother comes from Lapland and, and although she is not a musician herself, singing is part of her culture. She once took me to a large festival near Riga. There were 40,000 choristers, all connected to one another by song. That magic is part of my heritage.”

The first things he will do after arriving in Montréal? Go to an Alouettes game, and learn French, “so that I’m not an anglophone tourist in Quebec.”

Mikelis Rogers, 2021 Talent gala

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Angelo Moretti He is only 24 years old, but Angelo is already well on his way. In 2014, with a pop group, he made it to the finals of the Canadian television show The Next Star. “Right afterwards, we went on tour. I still remember the concert in Montréal — it was at Club Soda!”

The band’s vocal coach was a soprano who quickly reco­ gnized Angelo’s vocal potential. “She asked me to sing her a classic Italian art song, then offered to prepare me for auditions at the University of Toronto, which were six months away.” That is how he went from pop to opera in record time.

For the Toronto tenor, his musical conversion is, first and foremost, an homage to his origins. “My grandfather was an Italian immigrant who loved to sing, but never had the chance to train. With my Master’s degree, and with this program at the Atelier lyrique, I will be realizing his dream.”

Angelo has also inherited his grandfather’s recordings of Mario Lanza and Luciano Pavarotti. One day, it will be Angelo we applaud following his rendition of Puccini’s “Che gelida manina.”

Angelo Moretti as Almaviva in Rossini’s Barber of Seville, University of Toronto Opera

Karoline Podolak

Born in Toronto, Karoline earned a Master’s in Opera in Katowice, Poland, and has already appeared on major stages in Europe and the United States. There is no doubt that Karoline’s star is on the rise. For this 29year-old soprano, Montréal is the natural next step on this journey, because “when it comes to opera, this is clearly the place to be.

“I come from a musical family in which everyone plays an instrument.

I myself learned the violin and guitar at a very young age, and I’ve always been in choirs.” She was actually at a choir festival in Poland when a teacher spotted her and changed her destiny. “I was 26, and had worked at a radio station in Toronto for four years, but I left it all behind to devote myself to opera.”

Her favourite roles? Lucia (Lucia di Lammermoor), Violetta (La Traviata) and Pamina (The Magic Flute). And, when she’s not rehearsing, Karoline enjoys a bit of fishing on the shores of Lake Ontario. We’re betting that the fishing will be just as good in Quebec!

Karoline Podolak in La Traviata, Bulgaria National Opera of Sofia (photo: Svetoslav Nikolov)

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Claudie Vandenbroucque 50 Years of Opera Makeup The end of the 2021–2022 season will mark an important turning point for the Opéra de Montréal’s production team. After nearly 50 years of dedication and good cheer within our institution, head makeup artist Claudie Vandenbroucque will take her final bow.

Time to meet a creative woman who has always been passionate about stage makeup.

A Stimulating and Constantly Evolving Milieu Children’s television on Radio-Canada, the live broadcast of Bye Bye, highlevel meetings, funny stories, Gemini Awards, community involvement through the CoOpéra project, and a whole host of diverse stage productions: Claudie Vandenbroucque’s talent leaves us with an important legacy.

Since joining the Opéra de Montréal in the 1970s — when the company was known as the Opéra du Québec — the makeup artist has witnessed a major evolution within both the company and her own work.

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“When I arrived, less was asked of makeup artists, and makeup was fairly basic.

We did the artists’ makeup in a small space, whereas now we go to the soloists’ dressing rooms. It creates a nice intimacy, and the relationships I develop with each of them are among the things I love most about my work. That, and the constant evolution in makeup techniques.”

Innovation and Observation: The Keys to Successful Makeup Design Although broad and somewhat coarse makeup was the norm when she started, Claudie Vandenbroucque always added a personal touch to her makeup designs — drawing inspiration from reference books and the singers’ own features to avoid caricature. During pre-production rehearsals, her eagle eye studied the smallest details on singers’ faces. She also noted interesting features in the metro, on the street, and at the grocery store.

“There are many subtleties you can enhance. When you create a character, you have to understand that character, inhabit it, and be daring enough to attempt it more than once. That’s what makeup design is really all about. My makeup techniques have evolved considerably over the years, but my work also evolves from one evening to the next. Between the A Top-Notch Team pre-dress rehearsal and the final performance, I never do the same With The Magic Flute, the makeup artist will take part for thing twice. I continue refining to the a final time in the well-oiled machine unfolding backstage very last second.” and in the wings, where each person plays an important role in the success of the show. “Working with the dressers, hairstylists, technicians and stage managers is such a joy!

We support one another, and have a great deal of respect for one another. Everyone always gives it their best, and everyone remains on their toes.”

Rather than serving the singers, she says it has been more like working in partnership to build a character.

“Makeup is often the final touch before they take to the stage. There is something special that happens, and I love that. We often become friends. Their inner strength and vulnerability is touching. And, once they are onstage, all of their energy, all of their excitement carry right into the wings. As Pierre Lafontaine [head wigmaker at the Opéra de Montréal] and I often say, we are truly lucky to do this job!”

Until We Meet Again It is precisely because Claudie still loves what she does so much that she is hanging up her brushes. “I am very happy, and I never get tired of doing stage makeup. Each opera is important and stimulating. But I have less energy these days. I have been planning my retirement for five years, quietly passing the torch to my daughter Véronique.

I am ready. I am content, and feel I have explored everything I wanted to explore.”

Claudie has promised herself, however, to return to the Opéra de Montréal, this time in the audience. “I love how the Opéra de Montréal reinvents itself, offers original works, and enhances its repertoire. It is new and refreshing!”

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Donor Spotlight Roula Drossis & Mark Roberts How did you discover the art of opera?

Roula: “Through my father who was a fan of classical music, and of Bizet’s Carmen in particular. I also spent 15 years studying piano and learned more about opera through music history classes, then eventually started attending live opera at the Opéra de Montréal.”

Mark: “Also through my father, via his vinyl records of Wagner’s Ring cycle in Sir Georg Solti’s rendition. I was predisposed to enjoy opera because of my prior interest in orchestral music, but my appreciation deepened by attending Met performances during my graduate school years in the US.’’

What’s your best memory in an opera theater?

Roula: “A very memorable presentation of Aida at the Met – I was very impressed by the staging and live horses.”

Mark: “Shostakovich’s Lady Macbeth of Mtsensk, as presented by the Met in 1994, featuring soprano Maria Ewing as the protagonist. I’m a great fan of Shostakovich in general.”

Roula Drossis & Mark Roberts

An opera artist or voice of the past or present that you are crazy about?

Roula and Mark: “Bryn Terfel! For his versatility and range, but especially for the way he engages the audience and draws them into the story and the character.”

Mark: “Also Ben Heppner, for the power of his voice and his ability to channel a character. I have a notable memory of his voice in Peter Grimes, with the Vancouver Opera in 1995.”

Your favorite composer or opera?

Roula: “Still in the process of learning and getting acquainted with the repertoire.”

Mark: “Wagner, particularly his Ring cycle (the power of the music and of the leitmotiv structure). Also, Puccini, especially Turandot.

Why do you think it is important to support your local Opera company?

Roula: “Arts and cultural institutions are essential to society as a whole. It’s important to support upcoming talent and the educational opportunities that enhance one’s appreciation of the art form, such as community outreach programs and open rehearsals.”

Mark: “Any world-class city needs an opera company; the all-encompassing nature of the art form and its ability to explore the human condition and generate empathy should be considered a social good.”

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Katerie Leclerc (centre) with Sue Wehner, Patrick Corrigan, Elizabeth Polese and Jesse Fine-Gagné.

Normand Cardella How did you discover opera?

“On my own, and out of simple curiosity — first with La Bohème in Montréal in the early 1980s. But I’ve always had a general interest in arts and culture, ballet, museums...”

Your favourite opera memory?

“It was the Vienna Opera, during a vacation in Austria. I was still young and, not having a lot of money, I got a ticket in the standing room section in the Orchestra, leaning on the railing. I still remember the airs of the Queen of the Night and their staging of The Magic Flute, with a grand staircase.

The singer you love the most?

“Pavarotti. An incredible sound, which can’t help but bring a tear to the eye. I’ve listened to many tenors, including Gigli and Caruso (although it’s difficult to get an idea of the latter’s true voice, given the quality of the recordings of the time). I also really like Étienne Dupuis in Eugene Onegin.

Katerie Leclerc How did you discover opera?

“My discovery of opera was twofold. First, via baritone Étienne Dupuis, a friend from elementary and secondary school in Repentigny. And then through the encouragement of a singing teacher who was himself part of the Opéra de Montréal’s Atelier lyrique.”

Your favourite opera memory?

“My first visit to the Metropolitan Opera House in New York City, where I could feel the entire history associated with that institution. Otherwise, events for the Opéra de Montréal’s Atelier lyrique, which brings you into contact with the artists in residence — for example, during the Longueuil production of Carmen.”

A favourite composer or opera?

“I don’t have a specific name. I really love the timbres of voices in general, the tenor range especially. As for preferred works, they would be Carmen by Bizet and Faust by Gounod. Their famous arias remind me of my childhood.”

Why support your opera company?

A favourite opera?

“Iphigénie en Tauride is my favourite among the more-than 400 operas I watched online during the pandemic for its story, its drama, the relationship between brother and sister.

I would also add The Queen of Spades , Simon Boccanegra, La Traviata and Cavelleria rusticana (with Tatiana Troyanos, in particular).

Why support your opera company?

“First of all, interest in the artists, and the opportunity to rub shoulders with them. They are always passionate and generous in sharing their experience. And the importance of supporting them, not only with a philanthropic contribution, but also through feedback and appreciation for what they do.

In the absence of a large financial contribution to opera companies, I like to offer my support to artists by going to see them, whether in Montréal, Trois-Rivières or Québec City, by way of Haliburton, New York City or Cincinnati.”

“Because of the moral support provided by opera during the sombre and isolated days of COVID. In particular, the Artist Sponsorship Program, which for me is a kind of homage to my father, who was himself a big fan of The Three Tenors, and to my Italian grandfather, who also had a large collection of opera records.

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Angels of the Box Office Six days a week, they take your calls and provide friendly assistance. Following two years of a pandemic and dozens of cancellations, it’s time to introduce you to the people who bend over backwards to make each show a successful experience. Meet Patricia, Carla, Filémon and Darnyse, angels of the Opéra de Montréal box office.

Team Spirit and Telework As with all client services, the pandemic has been challenging for this foursome.

First, due to telework. “During the crisis, we took our tasks online and worked remotely for months, without being able to meet in person,” recalls Filémon. This did not prevent them from developing strong bonds, however. “We talked to one another, supported one another, helped one another. And we are all passionate about music and opera. It gave us a lot of common ground.”

Another COVID-related challenge: cons­tant programming changes. “Our clients Darnyse Memnon, Manager, Client Services, and passionate showed unbelievable patience. They knew about cultural diversity issues within the arts milieu we were doing the best we could. But I’ll Filémon Brault-Archambeault, Aspiring film producer admit that there were some tough days,” and former student of classical piano says Patricia. “When we had to cancel Patricia Weber, Soprano and singing teacher La beauté du monde , I was pretty discouraged, because we had just finished transferring all of the seats from Salle Wilfrid-Pelletier to Théâtre Maisonneuve. It meant hours of work down the drain.” We know exactly how she feels!

Music and Goodwill

A Dash of Humour

Whether our client services staff work full time or part time, whether they are students or have other demanding outside activities, all of our board members agree: their work involves much more than just selling tickets. “We are there to help musiclovers and fans have a magical evening. It is a privilege. So we take the time to talk about the production, and to help them choose the best seats,” says Carla. “During the pandemic, we also sensed that older clients needed a break from loneliness.

We always offered them a friendly ear.”

For Darnyse, who supervises the team, going back to the office is an oppor­ tunity to reconnect with clients, and with the angels of the box office. “Music is a way to share special moments, personal favourites, feelings.”

Carla Bodo, Passionate music-lover and PhD candidate in cultural mediation studies

Feelings... and some comical moments!

“Knowing that I was also a singer, a client once asked me to sing the role of Pamina to him over the telephone,” says Patricia. “I was caught off guard, but was at the same time very touched and flattered. It’s that rapport that gives our work meaning.”

The Opéra de Montréal box office is open Monday to Friday, 10:00 a.m. to 6:00 p.m., and Saturday, 10:00 a.m. to 4:00 p.m.

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Opera Quiz

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Julie Boulianne, mezzo-soprano, in La Cenerentola (2017)

a. 85 b. 123 c. 170

How many new productions have been presented in the history of the Opéra de Montréal? a. 22 b. 63 c. 74

Marie-Nicole Lemieux and Endrick Wottrich in Samson an Delilah (2015)

Which artist has appeared in the most productions since the Opéra de Montréal debuted in 1980? a. b. c. d.

Diana Soviero Marc Hervieux Étienne Dupuis Claude Grenier

La Bohème by G. Puccini (2017)

ANSWERS 1. c) 170 2. b) 63 3. d) Claude Grenier, chorister/soloist (140 productions and 656 performances in total)

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How many artists have benefitted from the professional springboard offered by the Atelier lyrique, from its founding in 1984 to the present day?

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In pictures Concert in Florida March 2022

Premiere of The Magic Flute May 2022

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Upcoming Events June 12, 2022

Opera Brunch

ESTIATORIO MILOS

August 4 and 6, 2022

Une île de passions Champagne | Blais & Dorion SALLE PIERRE-MERCURE

August 28, 2022

Summertime Concert THE MOUNT ROYAL CLUB

September 10, 2022

Opening Night of Il Trovatore Start of the 2022-2023 Season SALLE WILFRID-PELLETIER

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