Why isn't anyone asking the hard questions about opera's future? In this riveting conversation, soprano Lucia Cesaroni and Tapestry Opera's Executive Director Jamie Martino challenge the status quo of an art form at a crossroads.

"Wagner ruined opera," declares Cesaroni provocatively, questioning why we still expect modern audiences to sit through four-hour performances in darkened theaters when their lives demand more flexible, social experiences. The pair dive deep into why opera companies across Canada are struggling financially despite passionate dedication from artists and administrators alike.

The conversation ventures beyond simple diagnosis into bold territory: What if opera was more like a comedy club? Why do taxpayer-funded performance spaces sit empty most nights? How might unions and companies collaborate to create sustainable models? And perhaps most importantly, why does the industry remain so resistant to change?

Martino offers a radical reframing that could transform how we approach these challenges: "I am profoundly uninterested in the question 'how do we save opera?' I am interested in what we can do about the ways that we work and the kind of art that we make that will make people's lives better." This shift from institutional preservation to human impact opens new possibilities for reinvention.

Listen to this thought-provoking episode, sponsored by the Lavazza IncluCity Festival.

All episodes of The Opera Glasses podcast are hosted by the editor of Opera Canada, currently Michael Jones after Elizabeth Bowman hosted seasons 1 and 2. Follow Opera Canada on Instagram, Twitter, Facebook and Visit OperaCanada.ca for all of your Canadian Opera news and reviews.

Ever wondered what it takes to succeed in the high-stakes world of international opera competitions? This candid conversation with two rising stars - Sophie Naubert and Ihor Mostovoi - offers a fascinating glimpse behind the curtain of the prestigious Concours Musical International de Montréal.

The two singers provide invaluable insights into competition strategy, from repertoire selection to mental preparation. Sophie emphasizes choosing pieces that showcase her theatrical strengths while avoiding older repertoire that might reveal outdated vocal habits. Ihor describes crafting thematic art song programs built around concepts like "water and fire" or "horror and splendor," balancing technical agility with emotional depth.

Both artists speak candidly about competition's true purpose: beyond winning prizes, these events create crucial industry exposure and performance experience under pressure.

Whether you're an aspiring singer, a devoted opera fan, or simply curious about the artistic journey, listen to understand the strategic thinking, personal sacrifices and pure passion driving these remarkable young artists.

All episodes of The Opera Glasses podcast are hosted by the editor of Opera Canada, currently Michael Jones after Elizabeth Bowman hosted seasons 1 and 2. Follow Opera Canada on Instagram, Twitter, Facebook and Visit OperaCanada.ca for all of your Canadian Opera news and reviews.

Growing up in Toronto with a musical theater obsession sparked by seeing Phantom of the Opera at age five, Charlotte Siegel never imagined herself an opera singer. "I was definitely not that 10-year-old thinking I wanted to be an opera singer," she confesses, "but I always knew I wanted to sing."

Now performing Musetta in Manitoba Opera's La bohème, Siegel finds portraying this extroverted character particularly enlightening as someone naturally introverted. "She's so unlike me... I don't like to be the center of attention, which is funny coming from an opera singer," she laughs. Yet she relishes the challenge, noting how Puccini provides everything needed in the score to bring Musetta's complexities to life.

Siegel's commitment extends beyond performance. Recognizing how subsidized music lessons through Regent Park School of Music shaped her path in life, she co-founded the Marigold Music Program during the pandemic. This initiative provides underrepresented youth with music education access, mentorship and concert opportunities — addressing barriers before university applications. "I know in my bones that I would not be sitting here talking to you if I didn't have access to these kinds of programming when I was younger," she admits.

All episodes of The Opera Glasses podcast are hosted by the editor of Opera Canada, currently Michael Jones after Elizabeth Bowman hosted seasons 1 and 2. Follow Opera Canada on Instagram, Twitter, Facebook and Visit OperaCanada.ca for all of your Canadian Opera news and reviews.