{"id":104264,"date":"2024-05-16T15:32:24","date_gmt":"2024-05-16T19:32:24","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=104264"},"modified":"2024-05-17T08:00:01","modified_gmt":"2024-05-17T12:00:01","slug":"preview-canadian-childrens-opera-company-remounts-dean-burrys-hobbit-20th-anniversary","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2024\/05\/16\/preview-canadian-childrens-opera-company-remounts-dean-burrys-hobbit-20th-anniversary\/","title":{"rendered":"PREVIEW | The Canadian Children\u2019s Opera Company Remounts Dean Burry\u2019s The Hobbit For Its 20th Anniversary"},"content":{"rendered":"
\"Giles
Giles Tomkins as Gandalf, CCOC Principal Chorus member, Alastair Thorburn\u2010Vitols at Thorin, and CCOC choristers in\u00a0The Hobbit in 2016 (Courtesy of the CCOC)<\/figcaption><\/figure>\n

The Canadian Children\u2019s Opera Company is remounting The Hobbit two decades or so after its premiere. The Tolkien-inspired opera by composer Dean Burry was written for the CCOC back in 2004.<\/p>\n

It involves about 90 cast members between the ages of 7 and 18, and the talents of Canadian baritone Doug MacNaughton,<\/strong> who performs the role of Gandalf and the voice of Smaug, the gold-loving Dragon. Performances take place at Harbourfront Centre from May 31 to June 2.<\/p>\n

We spoke to Music Director and Conductor, Principal Chorus Teri Dunn<\/strong>, director and choreography Allison Grant<\/strong>, and composer Dean Burry<\/strong> about the company and the upcoming show.<\/p>\n

\"L-R:
L-R: CCOC Music Director Teri Dunn conducting rehearsals of\u00a0The Hobbit in 2016 (Courtesy of the CCOC); composer Dean Burry (Photo courtesy of the artist); Director and choreographer Allison Grant leads the Principal and Youth Chorus members in a concept discussion on the first day of The Hobbit rehearsals (2024, courtesy of the CCOC)<\/figcaption><\/figure>\n

The Canadian Children\u2019s Opera Company<\/h3>\n

Opera still has something of a reputation as an esoteric and rarefied art. What do kids get out of the experience, when most are probably too young to know whether they want to be opera singers, or anything else?<\/p>\n

\u201cI would say that the biggest thing is that it teaches the real strength of team work,\u201d says Teri Dunn. \u201cWorking together, you can create really powerful and beautiful things.\u201d<\/p>\n

Along with developing the specific skills required to sing and act the roles, the CCOC\u2019s singers develop a relationship with art itself. Few become opera singers; many more become opera goers.<\/p>\n

\u201c[They learn] the strength of what can be built when you work together,\u201d she adds.<\/p>\n

Dean notes the particular qualities of opera. \u201cIt is the ultimate multimedia performing art,\u201d he says. Teaching after school opera programs in previous years, he points out that an operatic production truly has a role for everyone, with its combination of music, design, dance, construction, and so many other elements that need to come together.<\/p>\n

\u201cEvery part of your brain [is used],\u201d he says, \u201cit really just is a full experience.\u201d<\/p>\n

\u201cI think that, like any theatre experience, what kids get out of it is learning how to communicate,\u201d adds Allison. \u201cIt instills such a love of music.\u201d<\/p>\n

A few may already have a performing career on their minds. \u201cThere are a few that certainly see themselves on that path,\u201d Teri says. Working on a shared goal fosters a sense of achievement, and above all, community, including many friendships that will last a lifetime. \u201cThey really do have to learn how to trust each other.\u201d<\/p>\n

Along with CCOC dedicated productions, the company is often invited to perform with the Canadian Opera Company in children\u2019s roles. \u201cThat\u2019s a really thrilling experience.\u201d Along with the big stage and audience, there\u2019s an opportunity to see how a professional production is put together from backstage.<\/p>\n

Opera becomes accessible.<\/p>\n

\"CCOC
CCOC choristers perform in\u00a0The Hobbit in 2016 (Courtesy of the CCOC)<\/figcaption><\/figure>\n

Allison has spent about 20 years working with the CCOC, and she reports that many of those young singers go on to work in the arts and culture sector as administrators as well as musicians.<\/p>\n

\u201cIt\u2019s extraordinary,\u201d she says. \u201cIt\u2019s a wonderful group of kids. I\u2019m having such a great time with them right now.\u201d<\/p>\n

Dean cautions that it\u2019s a mistake to look at the CCOC as simply an exercise of sorts. \u201cIt\u2019s easy to look at it as an educational thing,\u201d he says. \u201cThey are opera singers \u2014 it\u2019s not a bunch of opera singers in training.\u201d<\/p>\n

Kids progress through five different choirs at the CCOC. As Allison points out, by the fifth stage, they\u2019ve received a great deal of training. They dive into the work and study is seriously, building skills and friendships along the way. Children\u2019s opera isn\u2019t a kiddified version of adult fare.<\/p>\n

\u201cIt\u2019s not a cut down version of Carmen,\u201d Dean says. \u201cIt was written for them.\u201d<\/p>\n

\"Current
Current CCOC Principal and Youth Chorus members rehearse the great fight sequence in\u00a0The Hobbit in 2024 (Courtesy of the CCOC)<\/figcaption><\/figure>\n

Dean Burry\u2019s The Hobbit<\/h3>\n

Tolkien\u2019s The Hobbit deals with several themes through its story of Bilbo\u2019s adventures with dwarves and dragons. Burry\u2019s opera, written under license from Middle-earth Enterprises, LLC, \u00a9 2004, doesn\u2019t water down its principles. Naturally, the story still features Elves, Goblins, wolves, and spiders, the quest to restore Thorn Oakenshield to his dwarven throne, and the dragon Smaug.<\/p>\n

\u201cIt\u2019s one of those iconic stories,\u201d Dean says. \u201cBilbo is Luke Skywalker [\u2026] he\u2019s the underdog.\u201d<\/p>\n

As he points out, one of the issues of children\u2019s opera is who it is written for. Is it an opera to be performed by children for other children? Or, is it opera performed by children to audiences who could be anyone?<\/p>\n

The Hobbit takes the latter approach. Along with the exciting and scary parts that are easy to absorb, he\u2019s built in a recognition of who else might be in the seats. \u201cThere is a very clear, fun story that runs through it as well.\u201d<\/p>\n

Permission from the Tolkien camp came as something of a pleasant surprise. \u201cIt\u2019s not a kiddie opera, he says. \u201cIf you\u2019re a Tolkien aficionado or fan, there\u2019s lots of Easter eggs for adults in the show as well.\u201d<\/p>\n

Allison says the young singers are rapt as they listen to McNaughton\u2019s grey wizard, and by the source material. \u201cThe kids are really taken by the story,\u201d she says. That goes whether they are already familiar with it or not.<\/p>\n

The production uses the original sets and costumes by Julia Tribe, lovingly refurbished. \u201cThey\u2019ve really stood the test of time,\u201d Allisons notes. \u201cIt was beautifully designed.\u201d With no less than 12 different episodes, each in its own specific setting, recreating the sets would have been an enormous task. \u201cIt\u2019s quite elaborate.\u201d<\/p>\n

\u201cThere are puppets involved too,\u201d Teri says.<\/p>\n

\"CCOC
CCOC Principal Chorus member Nicholas Mochocki as Bilbo Baggins, Giles Tomkins as Gandalf, and CCOC choristers in The Hobbit in 2016 (Courtesy of the CCOC)<\/figcaption><\/figure>\n

Barry\u2019s story uses the construct of the Elven Council mentioned in The Hobbit. In the Council scene, Elrond asks Bilbo to create a drama that will tell his tale \u2014 building a play within the play, so to speak. It allows for creative storytelling.<\/p>\n

It\u2019s hard to compete with the movie versions, but the operative version still engages the audience. The last time The Hobbit was on stage was in 2016, and Teri recalls the excited reactions of the audience to the spiders and other fun elements of the show.<\/p>\n

\u201cIt\u2019s so effective,\u201d Teri says. \u201cI think it\u2019s because their imagination is engaged.\u201d<\/p>\n

\u201cIt\u2019s pretty special that it\u2019s the 20th anniversary,\u201d Dean adds. The production has been performed across the United States and in Slovenia. \u201cIt\u2019s so great now to see it interpreted in many different ways.\u201d It will be touring elsewhere in the US later this year. \u201cI think that\u2019s a testament to what a great piece it is.\u201d<\/p>\n