Portrait of a researcher

Operation Opera

Ana Sokolovi膰

FACULTY OF MUSIC

Full professor

Artistic Director of the

According to many historians, the first opera performance was Claudio Monteverdi鈥檚 Orfeo in 1607. More than 400 years later, Orfeo is still performed regularly. Ana Sokolovi膰 has nothing against it. But she would like to see more attention paid to contemporary opera. 鈥淪ince the birth of cinema at the beginning of the 20th century, opera has languished,鈥� says Sokolovi膰. 鈥淭here has been no innovation in the recent past. From the end of the 19th century to the 21^st century, there鈥檚 an operatic vacuum. It鈥檚 time we began filling it.鈥�

Sokolovi膰 is using her Canada Research Chair in Opera Creation to find the answers to some hard questions about where contemporary opera should go: 鈥淲hat contemporary artistic or technological knowledge can we draw on to bring opera into the 21st century? We can鈥檛 keep using the same romantic鈥攁nd often misogynistic鈥攖ropes. Or, if we do, we have to make them relevant to today鈥檚 world.鈥� How can we offer a fresh take on Orpheus in a way that reflects current challenges, such as climate change, the migration crisis, and gender diversity?

Much has changed since Monteverdi. 鈥淭echnology has made it possible for opera to transcend the stage,鈥� says Sokolovi膰. She and her team are working on an audacious new concept: during the 2024鈥�2025 season, the Opra de 91成人 will present five 15-minute operas in virtual reality. Viewers will be able to download an app to their tablet or smartphone, and for a fraction of the cost of a regular ticket, attend the performance virtually. Sokolovi膰鈥檚 guiding principles are modernity, democratization and accessibility. 鈥淚 don鈥檛 mean to imply that the opera house is obsolete,鈥� she says. 鈥淲e just have to find a way to stay relevant in the 21st century. Maybe we鈥檒l invent a whole new art form!鈥�

Where does your passion for opera come from?

I was born in Belgrade, Yugoslavia [now Serbia]. I had a solid education in the arts: four years of classical ballet, then piano, and theatre鈥攁 lot of theatre. Over the years, I鈥檝e tried my hand at everything from acting, costumes, lighting and staging to music. Knowing about every aspect of the performing arts has enabled me to bring a holistic understanding and theatrical vision to opera, which is the total art form.

Unlike countries such as Italy and Germany, Canada is not known as a land of opera. Why create a research chair in opera creation?

It鈥檚 just not true! We perform to sold-out houses. People are curious. And especially in Montreal, we have a unique concentration of artists. They are among the best directors, lighting designers, costume designers and stage techs in the world. We also have plenty of amazing voices in Quebec. If we can connect all of these people and funnel all of this talent into making opera contemporary and relevant, the results will be fantastic!