Performance alumnus Marshall Pynkoski discusses the unique celebrations of Opera Atelier's 35th anniversary
Opera Atelier Founding Co-Artistic Directors Jeannette Lajeunesse Zingg and Marshall Pynkoski in Versailles. Photo by Bruce Zinger.
In 2021, Opera Atelier (external link) celebrated its 35th anniversary. We sat down with Marshall Pynkoski, a dancer, School of Performance alumnus and Co-founder of the company with fellow alum Jeanette Lajeunesse Zingg, to hear his experiences of celebrating during the pandemic.
In order to understand the situation presented to Opera Atelier, we must understand the company’s unique circumstances. Unlike theatre shows, performers for opera are booked years in advance instead of months. Finding venues, vocalists and an orchestra is also extremely difficult. Therefore, when everything was shut down during the second rehearsal of Handel the company had a host of complications to handle. How would performers cope with no work? If shows were postponed and re-booked for later dates, there was no guarantee the cast would be available. How was the company going to preserve the invaluable connection with their audience? As the lockdown progressed, Opera Atelier found an innovative solution. They hired Marcel Canzona - a young filmmaker and alumni of Media Production - who they had met while he was still a student, and had previously shot a promotional video for the company.
Bass-Baritone Douglas Williams with Marcel Canzona filming Handel's The Resurrection. Photo by Bruce Zinger.
Marcel had never worked with opera before, instead focusing on music videos, but his aesthetic matched the desires of the company. The plan was simple; to create a film series showcasing arias and dances that dealt with the theme of magic and dreams. The execution of this plan was more complex. Every performer pre-recorded in a studio with Tafelmusik (external link) , a baroque orchestra based out of Toronto. Dancers were required to rehearse with face masks and shields and performers also created a film titled “Something Rich and Strange” which was live-streamed in Koerner Hall, Tellus Center on December 12th, 2020. The film was available virtually until June 10th, 2021 on the Opera Atelier website.
The Artists of Atelier Ballet in Handel's The Resurrection. Photo by Bruce Zinger.
Overall the 2021-2022 season featured a performance of Angel by Edwin Huizinga that had been commissioned by the company and The Resurrection by Handel. Angel, filmed by Marcel, was the first film project handed solely to him. Angel is a project that has been developed over the past four years. Beginning in the Royal Chapel at Versailles as part of the official Canada 150 celebrations in France, Opera Atelier added to the composition on a yearly basis with performances taking place in Toronto (The Elgin Theatre), Chicago (The Harris Theatre For Music and Dance) and Versailles (The Royal Chapel and The Royal Opera House). During this time, Jeannette and Marshall both received the Order of Canada, and this fall both will be inducted as Officers of the Order of Arts and Letters by the French Government. The ceremony will take place on the stage at the Royal Opera House following Opera Atelier’s production of Richard Coeur-de-Lion.
Artist of Atelier Ballet Xi Yi-promotional image for Opera Atelier’s Angel. Photo by Bruce Zinger.
The 35th anniversary season also featured new music written for period instruments and The Resurrection, after being postponed twice, eventually became an ACTRA film. Everyone involved was determined to see it performed. Currently, Opera Atelier plans to return to live performances likely in the Spring 2022 but they intend to keep film in mind when planning performances.
Tenor Colin Ainsworth, Mezzo-Soprano Allyson McHardy and Marcel Canzona filming Handel's The Resurrection. Photo by Bruce Zinger.
Alongside the 35th anniversary, we were also able to discuss the history of Opera Atelier and its place in Toronto. After graduating from university, Marshall and Jeanette never intended to build or end up running an Opera company. As Marshall described in an article by Nigel Hunt (external link) , “It grew on its own and we had no idea how quickly it would grow.” The Co-Artistic Directors travelled to Paris, staying there for a year to conduct research on Baroque pieces and supporting themselves by dancing at the Moulin Rouge. They returned to Canada to showcase their research, beginning with a performance at the ROM to demonstrate dance techniques. Eventually the performance garnered such a large audience through its popularity, that the two were forced to leave and began performing at the AGO. Soon, they were contacted by David Mirvish and added to a season at the Royal Alexandra Theatre. David also helped them build their company until they were able to gain grant funding.
As the years progressed, Opera Atelier began working with international performers, gained international offers and now has the busiest touring schedule out of all theatres in Canada. However, their focus remains on building their company and brand in Toronto. In regards to repertoire, it has expanded to include 19th and 20th century music, but their primary focus is always on the original intention and techniques that may have been lost or forgotten, of the piece. The company also believes that audiences are always searching for something new, and strive to deliver just that. Opera Atelier only produces pieces they truly enjoy and consider important. They tour every other year and require a high level of skill from all singers, dancers and actors. In addition, all performers must have a love for the rehearsal process as it is the longest in North America and the company holds them to a high standard.
While speaking with Marshall, we stumbled upon the topic of accessibility in opera - something that has always been important to Opera Atelier. Marshall described how there is a school of ballet that is run through the company, and through this school he has met students who are Deaf, hard of hearing, or partially sighted. Inspired by watching these students move through a class, the company expanded their educational programs to actively include these groups of people. They were assisted in building the program by Lauren Wu, (external link) who is legally blind and a strong activist in the community. Opera Atelier has also worked with renowned singers Colin Ainsworth (external link) and Measha Brueggergosman (external link) . Colin is the child of two Deaf parents and used this experience to help the company to understand how Deaf people enjoy Opera and how the company can provide a better experience. Measha works with Opera Atelier as an artist in residence, creating educational videos that are more accessible to a younger audience, specifically a BIPOC audience about opera. Marshal emphasized how he believes the issue with accessibility in the arts is rooted in the educational system. A lack of artistic extracurricular activities restricts a number of students from ever being exposed to the arts, and many do not have the opportunity or ability to attend private lessons.
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Co-Artistic Directors Marshall Pynkoski and Jeannette Lajeunesse Zingg conducting a workshop at the W. Ross Macdonald School for the Blind in Brantford, Ontario (2017). Photo by Bruce Zinger.
As a closing note, Marshal wanted to provide some advice to new and future graduates. He spoke of how graduating can very quickly turn into a depressing situation, due to the issues in finding opportunities. Therefore young artists should communicate and reach out to their peers, create something together and be ready to start something yourself. Consider it to be an investment in yourself. You have no idea where it could lead and you are showing people what you are capable of.
Thank you to Marshall Pynkoski for sitting down with us and sharing his memories of this time.