Bass Thomas Brosky: featured 2017 Halifax Opera Festival artist

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Superintendant Budd in Britten’s Albert Herring

[/et_pb_slide] [/et_pb_slider][et_pb_testimonial admin_label=”Testimonial” author=”Tom Brosky” url_new_window=”off” quote_icon=”on” use_background_color=”on” background_color=”rgba(244,171,171,0.83)” background_layout=”light” text_orientation=”left” quote_icon_color=”#e02b20″ body_text_color=”#000000″ use_border_color=”off” border_color=”#ffffff” border_style=”solid” body_font_size=”20″ body_font=”Lobster||||”]

“I love Mozart!! There is special kind of joy in his music that only exists in this world because of it. Naturally, I would love to be a Papageno, Figaro, or Leperello in the fullness of time.”

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Where are you from? How did you first get interested in opera or musical theatre? 

I am from Halifax, Nova Scotia. I guess musical theatre came first for me, with plays in elementary school and then high school, doing roles like Sky Masterson in Guys and Dollls, and Bernardo in Westside Story. My parents aren’t particularly enamoured by musical theatre or opera, though they have always supported me no matter what I decide to do.

When did you start studying voice? Where are you studying now?

The best musical education I have received so far was as a choral scholar in the University of King’s College Chapel Choir, where I was a choral scholar for three years under the direction of the 5 time Grammy award winning musician Paul Halley. At the moment I am studying in Jason Davis’ private studio, and I hope to be accepted into a voice program at the university level in September 2018.

What came first for you, theatre or music?

That’s such an interesting question!!! I guess theatre came first for me, since when I was in elementary school all the older kids had to perform abridged Shakespeare plays. I can remember playing Macbeth and also having a minor role in Romeo and Juliet. Most of my musical experience has come from singing in choirs in high school.

What are your dream roles?

I love Mozart!! There is special kind of joy in his music that only exists in this world because of it. Naturally, I would love to be a Papageno, Figaro, or Leperello in the fullness of time.

 What arias, songs or entire roles belonging to other voice types would you like to perform?

Well if i was a tenor I suppose I would love to be able to do those huge show stopping numbers like Nessun Dorma, or Vesti la Giubba

Who are your favourite performing artists?

Bryn Terfel and Dietrich Fischer-Dieskau seem like obvious choices, and when I was growing up I think the only CD I ever had in my discman (I know, I’m old) was an assortment of musical theatre songs sung by Colm Wilkinson. In terms of popular artists, my two favourite would have to be The Tallest Man on Earth, and Robyn.

What’s the most embarrassing song on your phone/tablet/streaming playlist?

Hahaha, I think I might actually have one of Kevin Federline’s singles kicking around in my playlist somewhere, and for this I don’t think I can ever be forgiven.

What are you most looking forward to about this summer?

I most looking forward to meeting other young artists and just having a good time!! The strongest feelings of belonging for me have always been associated with theatre and musical productions, and it’s been far too long since I’ve been a part of one, so I’m just looking forward to savouring the experience.


Thanks, Tom!

Are you a participant or staff member this year? Why not submit your own answers to our questionnaire!

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Soprano Abigail Veenstra: featured 2017 Halifax Opera Festival artist

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Lady Billows in Britten’s Albert Herring

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“This is the first summer I have ever done a singer program, and I’m so honoured to have a role as large as Lady Billows!”

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Where are you from? How did you first get interested in opera or musical theatre? 

My father introduced me to music at a young age, and my mother is a visual artist. When they saw that I wanted to pursue music, they stopped at nothing to give me the training I needed to follow my passion, and I have been taking music lessons since I was 4. When I was 13, I wanted voice lessons but we couldn’t afford both, so my parents bartered to make sure I got my music lessons.

When did you start studying voice? Where are you studying now?

I started studying musical theatre voice at 13, the first year I moved to Canada for Africa. I have been singing in church choirs since I can remember. I started studying classical voice since the age of 16, and am now in my Master’s degree at Western University.

What came first for you, theatre or music?

Music, definitely. I have been in both plays and musicals for a very long time, but as I stated before, I have been studying music since the age of 4.

What are your dream roles?

I love big dramatic roles. Lady Billows actually was on my dream role list, which is exciting! I also would love to be Musetta, Manon, Mikaela, and any role that will have me!

 What arias, songs or entire roles belonging to other voice types would you like to perform?

I would love to do a pants role some day, including Cherubino. I also, if I was a baritone, would love to play Leporello!

Who are your favourite performing artists?

Right now, I am listening to Joan Sutherland and Joyce DiDonato. When it comes to casual music, I love Regina Spektor, Yes, and VV Brown! Any music is great!

What’s the most embarrassing song on your phone/tablet/streaming playlist?

The first ever song I bought on YouTube was TikTok by K$sha, which I now regret as my first legitimate purchase of music online.

How should we as interpretive artists deal with works that are racist and/or sexist? What can be done to make opera relevant to the next generation?:

Well, approaching these with caution always is necessary. Understanding the reality in which these works were created is also vital. Also, challenging views in the opera is a great way to battle these issues.

What are you most looking forward to about this summer?

Being in a professional role and learning the ins and outs of rehearsal, and also living in Halifax!


Thanks, Abigail!

Are you a participant or staff member this year? Why not submit your own answers to our questionnaire!

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Opera by the Harbour: a fundraiser for Halifax Summer Opera Festival

Opera by the Harbour: a fundraising event for Halifax Summer Opera Festival’s Scholarship Fund

Sunday June 25
2 to 4 pm

Offices of BOYNECLARK
99 Wyse Road, Suite 600, Dartmouth

Join us for wine, cheese, great music and the best view of Halifax around: from Dartmouth!  Support scholarships for young local singers at our Spring Fundraiser and spend two pleasant hours in an elegant setting with nibbles, wine and wonderful singing.

 Tickets are $75 each, which includes a $50 tax receipt, and are available at  TicketHalifax.com or you can drop us an email at admin@halifaxsummeroperafestival.com and we’ll put one aside for you to purchase at the door.

(Our special thanks to BOYNECLARK for hosting this event in their beautiful offices!)

Tenor Edward Larocque: featured 2017 Halifax Opera Festival artist

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Egisto in Cavalli’s L’Egisto

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“I am most looking forward to having the chance to focus on my craft and myself as an artist. … I’m also looking forward to drinking beer. Lots of beer.”

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Where are you from? How did you first get interested in opera or musical theatre? 

I’m from Toronto, Ontario, and I have been singing my whole life. I started in children’s choirs, and then I went to an arts highschool for Musical Theatre where I got lots of stage experience. As I continued to train my voice in University, I got hooked on the opera bug. There is such power, beauty, and expressiveness in classical singing that inspired me, and in a certain way I love the challenge of working on classical vocal technique. My voice teachers and directors have been huge influences on me, and I continue to be inspired by the art form.

My mother has a love of music, and she has always supported and guided me along my artistic journey. She would take me to musical theatre shows (she loved Les Miserables), and later opera performances when I got interested in it. She continues to be my biggest fan!

When did you start studying voice? Where are you studying now?

I started voice lessons in highschool with various teachers, and then got my Bachelor of Music at Queen’s University. Since graduating I continue to study privately with my teacher from University, and moved to Toronto where I perform regularly. I continue to do auditions and train as much as I can.

What came first for you, theatre or music?

This is a very tough question, and ultimately I would say both. I do know that it is theatre and drama that drew me to opera and stage performing. That being said I started piano lessons when I was 5 years old, and music has always been a fundamental part of my life.

What are your dream roles?

I am inspired by almost every role I play, and I like to dig into each character I am given. But if I had to choose, I played the title role in “Candide” by Leonard Bernstein, and I always dream about doing that role again. There is so much in that show and that character that I can’t live without: his optimism, his certainty, his love for Cunegonde, and of course beautiful lyrical singing. It is about 7 years since I played Candide, and I know I would present him completely differently both dramatically and vocally.

 What arias, songs or entire roles belonging to other voice types would you like to perform?

In another life I want to be a mezzo. Of course Carmen is such a great character, and I also love the evil ugly roles – like Katisha in The Mikado. The mezzo voice is lucious and full, it totally speaks to me.

Who are your favourite performing artists?

I spend a lot of time listening to great tenors: Nicolai Gedda, Jussi Bjorling, Placido Domingo. But I am totally inspired by Renée Fleming and Kiri Te Kanawa, two of the greatest sopranos with first class voices and technique.

What’s the most embarrassing song on your phone/tablet/streaming playlist?

Justin Bieber’s Purpose. Those songs are so catchy! “Is it too late now to say sorry?”

How should we as interpretive artists deal with works that are racist and/or sexist? What can be done to make opera relevant to the next generation?:

I definitely understand how certain operas and roles are controversial. For example, Puccini’s “Madama Butterfly” and Gilbert and Sullivan’s “The Mikado” are both stereotypical presentations of Japenese culture and are inherently racist. But they are both masterpieces. My feeling is these works should be seen as a testiment to their time, and appreciated for all their beauty as well as their flaws. Although I am not always for it, there is the option to revamp and edit works to take place in a different time/setting, or make adaptations to the staging so that it is less offensive. A classic example of this is Monostatos in The Magic Flute who was originally written as a Moor. In modern productions those lines are often taken out, and he is presented without his association to Moorish culture.

There are infinite ways opera can and will be relevant to the next generation. I am passionate about contemporary music and operas, and there are new works that continue to be composed and performed that are really worth watching andbeing a part of. Moreover, the presentation of opera in unconventional spaces is a great development in opera: performances in bars, churches, old yards. Personally, I think there is a huge space for opera to fill online in videos and social media. Yes the bread and butter of opera must always be in a theatre with a pit orchestra, but there are opporunities for this art form to adapt into the digital age.

What are you most looking forward to about this summer?

I am most looking forward to having the chance to focus on my craft and myself as an artist. So much time and energy as a young artist is spent worrying about auditions, impressions, networking, recording, the whole shabang. This summer will give me the opportunity to rediscover who I am as an actor and singing artist, and I want to dig deep into Egisto and present a full, believable, and emotional character.

I’m also looking forward to drinking beer. Lots of beer.


Thanks, Edward! Are you a participant or staff member this year? Why not submit your own answers to our questionnaire!

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Two Babes and One Piano: a fundraising concert for HSOF

One piano, four amazing hands. Don’t miss this special concert of opera and ballet music by Mozart, Bizet and Berg, with a special performance of Milhaud’s Le Boeuf Sur le Toit! Performed by two of Halifax’s most talented and charming pianists, Jennifer King and Tara Scott, to benefit the Scholarship Fund of the Halifax Summer Opera Festival.

Saturday April 1, 7:30 p.m.
Lillian Piercey Concert Hall
Maritime Conservatory of Performing Arts
6199 Chebucto Avenue, Halifax

Tickets are $25, $10 for youth 16 and under, and will be available at the door or at TicketHalifax.com

Programme:

Overture to Cosi Fan Tutte W.A. Mozart

Overture to The Magic Flute W.A. Mozart

L’Arlesienne- Incidental Music to the Melodrama G. Bizet trans. R. de Vilbac

Variationen aus Lulu A. Berg Trans. H.E. Apostel

Intermission

Le Boeuf Sur le Toit or The Nothing Doing Bar D. Milhaud