? Indie opera is enticing newcomers, but is it enough to keep the genre relevant

‘They can’t work 10 different jobs while also running a small opera company,’ says opera critic

CBC Radio

The founder of an indie opera troupe says people are lining up to attend her free concerts in pubs and bars around Toronto — but not everyone thinks the trend will save Canadian opera.

“A lot of people haven’t seen opera before and it’s just like this friendly easy kind of way in,” said Miriam Khalil, opera singer and co-founder of Against the Grain Theatre.

“A lot of them come back and say, ‘Well, we’re going to come back to one of your shows because this was great. Now I want to see an opera.'”

• A Korean-Canadian opera singer rediscovers her voice in small-town Saskatchewan

The monthly shows organized by Against the Grain attract opera fanatics and newcomers alike because of the unique setting, Khalil told Anna Maria Tremonti on The Current.

“It kind of brings them closer to the action,” she said. “When you’re that close and you’re seeing the facial expressions, you can’t lose the story. It’s really lovely.”

Khalil launched the troupe 10 years ago after graduating from the Canadian Opera Company Ensemble Studio. At the time, she said, work for performers was scarce, and her agent told her to get used to waiting tables.

In recent years, Canadian opera companies have faced financial struggles amidst an aging target demographic and high production costs. 

Lindsay Connolly, an indie opera performer and director, works multiple part-time jobs. (Donald Lee)

Lindsay Connolly, an indie opera performer and director, works multiple part-time jobs. (Donald Lee)

Opera critic Lydia Perović cautioned, however, that while companies like Against the Grain often start strong, they may not maintain the enthusiasm and support in the long run. 

“Where we lose these companies is when they have to move from project-to-project funding to something multi-year, when they can start really planning, have a proper budget, have a proper board of directors,” she said. 

“Our arts funding bodies just don’t have enough of multi-year funding for companies like this.”

The staff for these small companies often rely on other part-time jobs to stay afloat, she argued, which can become too much for some people.

“They burn out! They can’t work 10 different jobs while also running a small opera company.”

To discuss new-age opera and its future in the Canadian arts landscape, Tremonti spoke to:

• Miriam Khalil, opera singer and co-founder of Against the Grain Theatre.
• Lindsay Connelly, opera singer and co-artistic director of 23 Degree Theatre.
• Lydia Perović, journalist and opera critic.

Click ‘listen’  to hear the full conversation.