Massey Music Salon – Opera in the 21st Century: Tapestry Opera’s vision for beautiful and provocative musical theatre
with Michael Hidetoshi Mori and Midori Marsh
Join the Massey Music Salon on Wednesday, October 6 from 7:45-9:00pm ET live and in person or via livestream.
Founded in 1979, Tapestry Opera is the only Canadian company solely dedicated to the creation, development, and performance of original Canadian opera. In its 40+ years it has earned a reputation for creating powerful opera that reflects – and changes – the world around us. It has produced numerous award-winning premieres of full-length Canadian operas, and has pioneered short-form works and other innovative projects that bring together art forms, creators, and communities to create boundary-pushing art. Its mission is to incorporate progressive storytelling with pressing issues of the 21st century, in new work that is as thrilling as it is thought-provoking.
Artistic Director Michael Hidetoshi Mori will share his vision of revitalizing opera, and talk about the latest world premieres for the upcoming Tapestry Opera season – including a thrilling examination of artificial intelligence in a new work by Québec composer Nicole Lizée and librettist Nicolas Billon. He will be joined by rising star Midori Marsh, who will showcase arias from Tapestry Opera’s collection of recent Canadian opera, as well as traditional repertoire that has established her as a soprano of note.
Massey College is committed to the safety of its staff and residents while continuing to pursue its mission of nourishing learning and serving the public good.
In accordance with provincial regulations, all people who come into Massey College premises, must now be fully vaccinated against COVID-19 and are required to provide proof of vaccination.
Proof of vaccination may be a photocopy of a paper vaccination receipt for your second vaccination, or an electronic receipt presented to the Porter upon arrival to the College. The College will not copy nor retain any official health records of our residents nor visitors.
Guests to the College must complete a self-assessment, providing an email address and telephone number, to assist in contact tracing.
MASSEY MEMBERS: Please login using your registered Massey email to receive applicable discounts and offers.
Speakers
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Michael Hidetoshi Mori
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Midori Marsh
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Hannah Chan-HartleyQuadrangle Society Member, Massey College; musicologistHannah Chan-Hartley is a musicologist who specializes in communicating about music to audiences in rigorous, engaging, and innovative ways. Often acting as a bridge between the classical music industry and academic settings, she is active as a writer, speaker, program book editor, content producer, and instructor with various organizations, including Canada’s National Arts Centre Orchestra, Detroit Opera, and the Barnes Foundation in Philadelphia. She has been Musicologist in Residence at the Verbier Festival since 2018, and was previously Managing Editor and Musicologist at the Toronto Symphony Orchestra. She is a member of the Quadrangle Society at Massey College.
She is the creator of the award-winning Visual Listening Guides (symphonygraphique.com), a new kind of graphic listening guide for symphonic music. Since their launch in 2015, hundreds of thousands in 22 countries worldwide have used and enjoyed the Guides – in print with concert programs in Canada, Australia, Finland, Singapore, the UK, and the USA; through talks and workshops including at the Verbier Festival; and as individual publications online. Chan-Hartley contributed a chapter about the Visual Listening Guides for The Oxford Handbook of Public Music Theory (2022), edited by J. Danny Jenkins. At the Verbier Festival in July 2023 she debuted a companion augmented reality app for the Guides, which effectively melds the printed guide with digital content to create a powerful audience engagement tool for orchestras.
She holds a Bachelor of Music Honours in violin performance from McGill University, a Master of Philosophy in musicology and performance from the University of Oxford, and a PhD in musicology from the University of Illinois at Urbana-Champaign. She has performed professionally as an orchestral violinist and loves to play chamber music. Her research interests include the social and cultural history of music and music institutions, as well as the performance and reception history of opera and orchestral music, about which she has written and presented at major conferences.
