Remake of a Perennial Light-Opera Favourite

 
 

“The members of the cast are only in their roles when the director, Peter Monaghan (Henry/Falke) calls them up to stand and deliver one of their musical numbers. Otherwise, they are arts workers dressed in their street clothes, expressing themselves as rehearsing performers, not as the characters they will eventually play in the second act. Connor Hoppenbrouwers (Frank) wore an Oilers jersey to add some local colour to the proceedings.”

A First Night at the Opera: Die Fledermaus

 
 

Don’t get me wrong — opera singers are basically people with a secret singing superpower walking among us, and these are some of the best in the country — it was just a delightful surprise to hear it from people doing that dance with the crooked elbows and little kicks (the Happy Prospector, maybe? I don’t know dance, either).

The show, which was written by Johan Strauss II and premiered in 1874, is an all-time classic, and its accessible frivolity is part of why director Joel Ivany wanted to stage it here.

A new edgy look for Die Fledermaus at Edmonton Opera season opener

 
 

“We thought we would get something that has wonderful melodies, great tunes, and a bit of comedy and joy,” says Joel Ivany, the artistic director of Edmonton Opera who is also taking over as the stage director for Die Fledermaus.

Ivany has taken the show in a more modern direction, setting the operetta as a play within a play and giving some of the scenes a new spin. In this new rendition, a local theatre company is putting together a production of Die Fledermaus with no money and no time, and actors who may not have the best chemistry.

Edmonton Opera brings opera to Yukon schools

 
 

Emerging artists Spencer Kryzanowski, Connor Hoppenbrouwers and Rachael McAuley from the Alberta-based opera company travelled to Carmacks, Carcross, Whitehorse, and Haines Junction to lead arts-based educational programs.

First Nations and Non-First-Nations school pupils participated in classes on the intricacies of vocal production and storytelling through opera.

Edmonton Opera Announces Appointment of New Executive Director: Robin Whiffen

Edmonton, AB – Monday, September 9th, 2024 – Edmonton Opera is excited to announce the appointment of Robin Whiffen as its new Executive Director.

A dynamic leader with a proven track record in arts administration, Robin brings over eight years of experience in the opera sector, a passion for community engagement, and a deep commitment to creating greater representation and sustainability in opera. 

Originally from St. John’s, Newfoundland, Robin most recently served as the General Director of Against the Grain Theatre (AtG) in Toronto, where she led significant growth and innovative projects. Under her leadership, AtG's JUNO-nominated Messiah/Complex garnered international acclaim and won the inaugural OPERA America Digital Excellence Award. Robin’s focus on accessibility and diversity in opera has been central to her work, including producing films such as Sāvitri, BOUND, and Identity: A Song Cycle. 

"We are thrilled to welcome Robin to the Edmonton Opera family," said Joel Ivany, Artistic Director of Edmonton Opera. "Her visionary leadership and deep commitment to both artists and audiences align perfectly with our goals of making opera more accessible and relevant in today's world." 

Robin also served as General Manager of Opera on the Avalon, where she played a pivotal role in expanding opera’s reach by fostering innovative collaborations that engaged new and diverse audiences in Newfoundland and Labrador. 

As a strategic leader, she is recognized for her values-driven approach, fostering collaboration, belonging, and accessibility. 

In addition to her artistic and managerial experience, Robin is an advocate for women in the opera sector and emerging artists. She co-chairs both the Association for Opera in Canada’s Board of Directors and the OPERA America Women’s Opera Network Steering Committee. She is also a candidate for a Master of Business Administration at Memorial University of Newfoundland, complementing her Bachelor of Music in Voice Performance from the University of Toronto. 

“I am honored to join Edmonton Opera and work alongside such talented and passionate individuals,” said Robin. “Together, I am confident we can continue to build on the company's rich legacy and amplify opera’s role in shaping Edmonton’s cultural landscape.” 

Robin’s appointment marks an exciting new chapter for Edmonton Opera, as the company looks ahead to its upcoming season and beyond. Her leadership is poised to enhance the organization’s mission to create transformative opera experiences for diverse audiences across the region. 

“I believe that a vibrant cultural scene is essential to the vitality of any city, and opera has a unique role to play in that,” Robin added. “Through my work at Edmonton Opera, I’m excited to contribute to fostering an inclusive and dynamic arts community that reflects and enriches the lives of its people.” 

For media inquiries, please contact: 

Jelena Bojic, Marketing Consultant  
Edmonton Opera 
Phone: 780.716.4502 
Email: Jelena.bojic@edmontonopera.com 

Edmonton Opera innovates and collaborates to keep costs low

 
 

“This is the first (show) where we’ve kind of looked at our model of how we’ve done business together differently,” Ivany said. “And so we’re both a little bit more invested in the success of how well it goes, meaning we’ve got some different levels of commitment as it relates to how many tickets we sell, for example. So, it’s kind of this shared model of we’re both in this together and we’re both wanting this to succeed.”

Your invitation into a world of dreams: Peter Hinton-Davis directs a chamber version of Das Rheingold at Edmonton Opera

 
 

In Hinton-Davis’s conception, Wotan, the king of the gods, “is a conductor who has a dream of doing the Ring; he’s haunted by it.” His production takes place in a hotel room, “a messy dishevelled hotel room” where in the opening scene Wotan is sleeping in a bed surrounded by scores and take-out containers. “The opera itself is a dream of what he wants to create.” And Wotan has dreams within dreams.

Edmonton Opera presents human side of Wagner’s Das Rheingold

 
 

“You’re always trying to look for images and ways of telling the story that don’t fall into cliches,” he notes. “You want an audience to always be slightly behind. Meaning that they’re always thinking ‘What’s going to happen next? Who is that? What are they going to do?’ It has to be as surprising as it was for audiences in the 19th century when it was first written, but using imagery and language from our own time.”

Edmonton Opera's 'La Bamba' Playoff Anthem