Substance abuse in the opera industry, yup. But why?

Op-ed

A few articles popped up recently about the problem of anxiety and depression amongst classical musicians. A survey done by Help Musicians UK sampled after 500 working musicians (about 20% of them singers), and found that 60% claimed to have suffered from a psychological concern such as depression and/or debilitating anxiety.

The Opera Workout

Humour

Since we're amongst operaphiles, it's safe to admit that we listen to opera on and off the job. Daily commutes, housecleaning, cooking; they're all better with opera as a soundtrack. So, who here has listened to opera while working out? Hi, nice to meet you.

Forgiving Racism Onstage

Op-ed

Are we a forgiving bunch, us opera-lovers? There's a curious phenomenon of forgiving outdated social mores (racism, for example) in works of theatre and opera that we really like. It seems like fans of opera and musical theatre will look at plenty of bad onstage behaviour in their favourite show, and chalk it up to metaphor or "the way it was back then". It's oddly forgiving in a world which feeds largely upon criticism.

Mewsy goes to the Opera

Humour

This special collaboration between Schmopera and Claryon Fitzgibbon, author of the Erotic Novel in Tweets "Mewsy the Adulteress," is an exclusive preview of the first chapter of Mewsy: Part II, before it is tweeted to the public. Catch up on Part I at MewsyTheAdulteress.com, or follow @MewsyAdulteress on Twitter! Strong Adult Themes and Immodest Filth contained below.

I love this part...oh &#$*

Humour

Let me share what I think is a common source of frustration for pianists learning operas. You're playing along (sight-reading like a pro), maybe missing a few notes here and there, but getting the general sound of the show, and you get to that really famous part in that opera. Like, "Ride of the Valkyries"/"Largo al factotum"/"Toreador Song" famous.

The Big COC Podcast, round three

Editorial

Well, Schmopera is officially a veteran of the Big COC Podcast. Later this week, mark my third appearance on the COC’s official podcast, joining guests Opera Canada editor Wayne Gooding and arts journalist Catherine Kustanczy (Hyperalleric, Torontoist).

Coming up on the big stage

Editorial

This fall at the Canadian Opera Company, the stars come out. First to open on October 3rd will be that great last work of Giuseppe Verdi's, Falstaff. It's a co-pro with The Royal Opera House (Covent Garden), Teatro alla Scala, the Metropolitan Opera and Dutch National Opera; and because it's by Robert Carsen, it means we'll see stark visuals and a stripped-bare style of storytelling.

After the opera: spin-offs we'd go see

Humour

I always love it when a supporting character in an opera steals the show. It's a tip-of-the-hat to the writing of the character, and to the singer/actor pulling it off. Sometimes these characters even stick with me longer than the leads; I imagine what happens to them after the main action has finished.

Meet Maestro Wenarto

Humour

I just want to make sure everyone knows about Maestro Wenarto. He's in Seattle, and he loves to sing on camera; he has a channel on YouTube and Vimeo, and you should go spend some time over there immediately. He's made over 1800 music videos, plenty of them operatic. I wouldn't say he's got a beautiful voice, but he's got determined pipes, and I can't argue with the élan.

Does opera depend on its snobs?

Op-ed

On that old topic of opera's social relevance, I came across an article by Robert Thicknesse of The Guardian, entitled "How I fell out of love with opera". The long-time arts critic argues that the social snobbery that clouds opera will never be shed, since those social snobs are the ones funding it all to begin with. "