The Pride of Reaching and drinking an "Ugly Stepsister"
It’s a vocally challenging and intricate piece, but one that is filled with roles well suited for young voices.
by Estelle Rosen
German born mezzo-soprano Kathrin Welte has been singing for ten years on stages across Canada and internationally. After receiving training at Mount Allison University in New Brunswick, the Mozarteum conservatory summer academy in Salzburg, Austria, and a master’s degree in voice performance from McGill University, she has been regularly involved with a number of Montreal musical organizations. In 2011 she co-founded and became artistic co-director of Opera da Camera, a company based on the concepts of accessibility for all audiences and to the creation of opportunities for local talent.
CHARPO: The original intent of Opera da Camera was to make opera more accessible by combining classical and musical theatre genres. Last year Opera de Camera presented a complete opera. This year an operatic fairy tale - Cendrillon (Cinderella) by composer Jules Massenet. Why Cendrillon?
WELTE: I recall that shortly after closing last year’s Nozze di Figaro we gathered over a large supper – the de facto corporate boardroom of our company – and assessed how our inaugural operatic production had fared. Amidst the excitement of the great reviews, the relief of the show’s success, and a long list of mistakes we wanted to never repeat again, one thing stood out among all others: how loudly our message of accessibility had resonated with our audiences. As we talked to our public after each show, and received messages in the week that followed, one thing was clear: we had managed to attract so many people to their first opera (40%, as our audience surveys later showed), and they loved it! As that was one of the founding principles of the company, it also became our proudest achievement, and we vowed to do all in our power to reach the same goal with the opera selection for 2014.
