Sex, booze, magic and politics all feature in Canadian Opera Company production

L’Orchestre symphonique de Montréal (OSM) donnait jeudi son second concert au Festival d’Édimbourg. Tout en acceptant de coller au fil rouge thématique autour des Amériques, à l’occasion du 250e anniversaire des États-Unis, la soirée fut un vrai postulat artistique identitaire, comme un écho à la soirée de la veille, la résurrection de l’œuvre The Song of Hiawatha (Le chant de Hiawatha), de Coleridge-Taylor.

Brave is probably the word for the Montreal Symphony Orchestra’s second International Festival concert (a bravery that may also have accounted for the rather meagre attendance). That’s brave in going for an all-21st-century opening half, and brave, too, in airing Canada’s dirty laundry to an international audience.

The first half opened with sopranos Emma Pennell and Elisabeth St-Gelais joining the orchestra for two new vocal works confronting history, memory and the lived experience of indigenous communities in Canada today. ‘You Can Die Properly Now’ was sung in Mi’kmaq with English surtitles. Pennell, also a noted librettist, has controlled power and range. She evoked the tragi-beauty of this short, captivating piece by Ana Sokolović and Michelle Sylliboy with real presence.

Two Indigenous poets. Two composers. This is the story how the first half of Voices of Canada came together, where Indigenous artists and voices take centre stage. Orchestre Symphonique de Montréal's Head of Programming, Ronald Vermeulen, shines a light on the creative journeys behind the music, from a mourning song for lost children to a celebration of Indigenous women's resilience.

Empire of Wild; music by Ian Cusson, libretto by Cherie Dimaline, is based on the latter’s novel of the same name and will feature as part of the COC’s main stage season in May 2027.