Opéra de Montréal has announced that its productions of Jenůfa and La traviata, originally scheduled to run from September through November, will be rescheduled to its 2021-22 season. The decision follows the release of CNESST guidelines for performing arts sector health standards, and what they mean for these expansive productions, both involving 200+ artists, technicians, and staff.
“Given the scale of these productions, it would be impossible for us to comply with the public health regulations now in force on stage, in the orchestra pit, and behind the scenes,” says Patrick Corrigan, General Director of Opéra de Montréal. “These large-scale productions require several months of work before the actual performances and it is imperative that we make a decision now rather than later as it would be impossible to respect all the deadlines related to such artistic projects.”
The company’s season still retains four productions in its schedule. The double-bill of La voix humaine and L’hiver attend beaucoup de moi (rescheduled from the 19/20 season) is set to be presented for a small audience in fall of 2020, and March 2021 will mark the premiere of La beauté du monde, by Julien Bilodeau and Michel Marc Bouchard. In May 2020, Montréal will put up Le nozze di Figaro, featuring an all-Canadian cast headlined by Daniel Okulitch in the title role. Later in the month will be Ralph Vaughan Williams’ Riders to the Sea, double-billed with a yet-untitled new work by Hubert Tanguay-Labrosse and Olivier Kemeid.
The cancellations in OdeM’s 2019-2020 season have already left a company loss of $1.1 million in revenue, and the postponement of fall 2020 will no doubt mean a similar decrease.
“Opéra de Montréal is fortunate to have the support of a growing family of donors. Our art form needs these generous individuals who are partners with us in building our artistic momentum,” says Corrigan. “This essential support will allow the company to keep on course for the upcoming season.”
Jenna is the editor and co-creator of Schmopera. She also writes for The Globe and Mail and Opera Canada. She’s a pianist and vocal coach, and working with singers is how she fell in love with opera.
