Opera in Montreal and Toronto: a study of performance traditions and repertoire

This thesis presents a study of the traditions of opera performance in Montreal and Toronto, and to a lesser degree, Quebec City. In addition, a commentary is offered on selected operas written and produced in the two main centres. Points of reference in exploring the subject are: the formation of the local amateur stock company, the strolling players occasionally forming seasonal stock companies to augment the efforts of the amateurs, the rise of the star system, the resident and/or touring company, the consolidation of the combination system culminating in the syndication of large touring monopolies, the eventual decline of the touring phenomenon, and the developements which came about as compensation for the loss of the tours, namely, the revival of the resident company and the growth of a national repertoire. Further subjects are the morality of opera, theatres, standards of production, opera in the vernacular, standard vs. novel repertoire, opera at popular prices, and funding for performance and later for composition. Part I deals with the dominance of the operatic touring phenomenon and its eventual decline in the mid-1960's. Developments discussed include opera as "afterpiece" to a play, "costumed" concerts, unstaged opera with piano accompaniment, fully staged performances of opera with modest and later complete production accessories. In addition, the contribution of the first resident operatic associations in Montreal and Toronto is assessed. Part II deals with the formation of various performing associations in the post-1918 period until 1980. These have ranged from local stock companies performing light opera to stock/star ensembles producing grand opera. In addition, smaller alternative associations were founded after 1945 to present chamber opera and new music theatre as well as opera in concert and on tour. Schooling for opera and the contribution of the Canadian Broadcasting Corporation since the 1940's are topics also examined. Part III discusses operas composed in Montreal and Toronto, and concludes with studies of five operas written and produced there: Charles A.E. Harriss' Torquil (Montreal, 1896), Healey Willan's Deirdre (Toronto, 1944-46, rev. 1951, rev. 1962, 1964-65), John Beckwith's Night Blooming Cereus (Toronto, 1953-58), Jean Vallerand's Le Magicien (Montreal, 1961), and Harry Somers' Louis Riel (Toronto, 1964-67)