This afternoon we watched the Canadian Opera Company’s closing performance of the Renaud Doucet–André Barbe Don Pasquale at the Four Seasons Centre, bringing their spring season to a boisterous close.

The unexpected adjective I’d apply to the colourful production is “authentic”. Notwithstanding the modern 1960s look of the show, we were firmly grounded in a bel canto sensibility beginning with Conductor Jacques Lacombe’s effortless control of the COC Orchestra, chorus and soloists bringing us a brilliant reading of Donizetti. I was especially grateful for the friendly acoustic of the COC Theatre, enjoying the lyric voices of tenor Santiago Ballerini and baritone Joshua Hopkins, the genuinely buffo stylings of basso Misha Kiria in the title role, alongside the star turn from Simone Osborne as Norina, funny while displaying flawless vocalism.

As I recall the six shows this season and the plans for next year I’m starting to get a sense of General Director Perryn Leech.

I’m a satisfied COC customer as far as performance values, Don Pasquale being the latest in a series of successful productions, with a combination of visual appeal to the design, excellent direction of a strong cast that sang and acted as well as anything we’ve seen in this city. Five of the six shows this season (Don Pasquale & Medea having just finished, after winter productions of Cunning Little Vixen & Don Giovanni, plus Fidelio & La Boheme back in the fall) were new to this city. That follows a 2022-2023 season that might seem conservative, having only the single new production (McVicar’s Macbeth) among five revivals (Egoyan’s Salome, Guth’s Marriage of Figaro, Alden’s Flying Dutchman, Curran’s Tosca and Ivany’s Carmen).

Next season we get five new productions plus one revival. While I’m thrilled to see the Wozzeck co-production that the COC share with The Metropolitan Opera, the Salzburg Festival, and Opera Australia, glad to see the return of Kyle Ketelson as Mephistopheles in Faust, Tamara Wilson’s Abigaille in Nabucco, yet I’m disappointed by the casting of so many imports when there are Canadians who could sing the parts.

Yes I renewed my subscription.

I want to share two recent quotes.

First: a friend drew my attention to something on social media from an anonymous member of their employee group.

“AITA for feeling that COC’s upcoming season is shameful and disgustingly out-of-touch with reality casting-wise?
Sure a couple superstars are good to fill seats but of the approximately 41 roles available, only 18 go to Canadians. Of those roles only 4 lead categorized roles given to Canadians.
3 Russian nationals in lead parts that could easily be cast by Canadians (or Ukrainians).
What are they thinking?”

AITA? If it’s new to you, “AITA” is short for “Am I the asshole”?, as you try to be fair but are exasperated that your point of view isn’t obvious.

ANONYMOUS?
Anonymous because calling out management can have consequences if you’re hoping to be hired.

Of course you don’t expect a truly objective appraisal of a boss from their employees.

Second, here are some words from an anonymous observer.

“Under Hermann Geiger-Torel:
Promotion of Canadian singers.
Under Lotfi Mansouri:
American singers on their way up or on the way down.
Under Brian Dickie:
Brits
Under Richard Bradshaw:
Two for one specials of Russians due to their low fees.
Alexander Neef: Had quite a strong commitment to established Canadian singers, and repatriated some, but I felt he could have and should have done more. 
Perryn Leech: Who knows?”

They continued:

“With Mansouri they brought in mediocre Americans
Dickie brought in Brits
Richard brought in cheap Bulgarians and Russians …
Neef was the best at genuinely trying to hire Canadians since Torel 
Richard got Russians at two for one specials.”

They were laughing at the end, even as they expressed their frustration.

I post this because, as I peruse the next COC Season I wonder whether Mr Leech has any interest in casting Canadians. Is it simply easier to import? Surely Canadians are cheaper. Surely using Canadians helps connect the personnel onstage with the audience.

I saw a piece by Aisling Murphy with the title “For the leadership at Crow’s Theatre, investing in local talent is crucial” just this week that struck a chord for me. I’m citing Murphy’s piece in Intermission Magazine, quoting Paolo Santalucia speaking of Crow’s Theatre, that seems relevant to the COC:

“It’s been really invigorating to see how the public has absorbed and embraced Canadian talent across the last few years,” he said. “I think that’s indicative of the fact that audiences are excited by the talent pool we have here. One thing we can do as a Canadian theatre centre is make strong advocacy for encountering prestige, Canadian talent, and allowing that to meet the public in a vital, exciting way.”

I wish someone would show Santalucia’s words to Perryn Leech.