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Tag: City Opera Vancouver

Music to build bridges

Music to build bridges

On Nov. 29, sopranos Jaclyn Grossman, left, and Miriam Khalil will perform Salam-Shalom: Echoes of Home, a program they put together in an effort “to build bridges between our communities.”

“Salam-Shalom: Echoes of Home grew out of countless conversations between Miriam and me over the past few years – conversations that gave me a lot of hope during a difficult time,” Jaclyn Grossman told the Independent about her upcoming concert with fellow soprano Miriam Khalil.

“We shared what we were each experiencing, what our communities were going through, and how we might better understand and support one another,” said Grossman. “We both felt a deep need to do something meaningful and to use our voices and our art to foster empathy, connection and healing. This project is deeply meaningful to me because I hope it can create a space for reflection, healing and understanding for our communities, and for anyone who connects with its themes of home, acceptance and belonging. I truly believe we are stronger when we stand together, and I hope this concert helps build bridges that make that possible.”

Grossman and Khalil will be accompanied on piano by Gordon Gerrard, artistic director of City Opera Vancouver, which is presenting the concert. Idan Cohen (Ne.Sans Opera & Dance) will lend his experience in stage and movement, and Avideh Saadatpajouh has created projections that, among other things, highlight some of the textual elements.

“Jaclyn is a beautiful person and has always been someone that I have connected with,” said Khalil about why she wanted to be involved with the production. “Through many of our conversations, our shared dialogue grew and became something we realized we both needed in order to find healing. Jaclyn had mentioned that she had spoken to Gordon about the possibility of creating something together. What made this project so special was our dialogue from the very beginning. Through numerous meetings, we spoke about finding a way through song, language and poetry to create a space for healing and shared empathy and, most importantly, to build bridges between our communities. We longed for the same thing, peace and human connection – this recital is an extension of that longing and an expression of hope.”

As for his participation, Gerrard said he became interested after a conversation with Grossman more than a year ago. “I was distressed to hear that she had had several concert appearances canceled over recent months,” he said. “It seemed to me that many organizations seemed hesitant to present Jewish and Arab artists out of fear of controversy. The program was suggested by Jaclyn as a direct way to counteract this.”

photo - Pianist Gordon Gerrard, artistic director of City Opera Vancouver
Pianist Gordon Gerrard, artistic director of City Opera Vancouver. (photo from City Opera Vancouver)

About the risk of City Opera Vancouver being “canceled” for presenting Salam-Shalom, Gerrard said, “Certainly, we have committed to this special event after careful consideration of the charged environment that we are all a part of right now. We wanted to be sure that we acted responsibly, and that we would be able to create a respectful space for everyone involved. Because I trust Jaclyn, Miriam and Idan entirely, we’ve been able to have many helpful conversations about this event and how to go about it. This has given us at City Opera confidence that we are doing something that intends to create better understanding and, for us, this remains the priority.”

“Our goal with this project is to create a space for nuanced dialogue, where all voices can be heard and where empathy and understanding can grow,” said Grossman. “While this kind of work isn’t always easy, I believe it’s essential. In times like these, it’s more important than ever for communities to come together, listen to one another, and foster compassion. To me, standing together in empathy and respect for all people feels like the only path forward.”

“My concern,” said Khalil, “is that we have a responsibility to one another. If we keep being afraid, then no change will ever take place. We must unite and listen to each other. As Jaclyn mentioned, without compassion and empathy, the way forward feels unattainable. There is great growth in seeing and appreciating one another’s perspective.”

Grossman and Khalil chose the repertoire, and the result will be a concert of “beautiful and seldom performed works entirely curated by the two of them,” said Gerrard.

The hour-long program comprises melodies from myriad musical heritages, including Arabic, Hebrew, Ladino, Spanish and Yiddish. The concert’s press release highlights “Eli, Eli,” an arrangement of a poem by Jewish-Hungarian resistance fighter Hannah Szenes during the Second World War; “Mermaid Songs” by Palestinian-American composer Felix Jarrar; “Ukolebavka,” a lullaby by Jewish composer Ilse Weber, who wrote and performed songs to comfort children when she was interned in Terezín; “Ayre,” by Argentine Jew Osvaldo Golijov, which explores the themes of exile and belonging using the words of a Hebrew prayer and those of Palestinian writer Mahmoud Darwish; and “The New Colossus,” a setting of Emma Lazarus’s poem (inscribed on the Statue of Liberty) by pianist and composer Nate Ben-Horin, who is part of Grossman’s duo, the Likht Ensemble. Another of the songs on the program is “Mi Lo Yeshalach,” by contemporary Israeli composer Hana Ajiashvili. The complete repertoire, with all the lyrics, has been posted on cityoperavancouver.com.

“To me, Salam-Shalom: Echoes of Home is an urgent expression of a voice that feels increasingly silenced,” said Cohen. “I believe the growing calls to silence or divide rather than engage in dialogue are deeply troubling. When Jaclyn, Miriam and Gordon reached out, I immediately said yes. 

“This project also speaks to my responsibility to uphold these values and address the horrors we are living through, through art,” Cohen added. “It’s easy to see conflict in simple opposites – right and wrong, us and them – but true understanding asks us to face complexities.

“Art,” he said, “should remain a space for reflection and critical thought, not moral posturing. I believe in its power to unite, to reveal our shared humanity, and to keep hope for peace alive.”

For tickets to Salam-Shalom, go to cityoperavancouver.com. 

Format ImagePosted on November 7, 2025November 6, 2025Author Cynthia RamsayCategories MusicTags City Opera Vancouver, dialogue, Gordon Gerrard, Idan Cohen, Jaclyn Grossman, Miriam Khalil, peace, Salam-Shalom
Opera based on true stories

Opera based on true stories

Arya Yazgan plays young Sophia in Sophia’s Forest, a chamber opera by composer Lembit Beecher and librettist Hannah Moscovitch, which is at SFU’s Goldcorp Centre for the Arts until June 1.  (photo by Anya Chibis)

City Opera Vancouver (COV) presents the Canadian premiere of Sophia’s Forest, a chamber opera by composer Lembit Beecher and librettist Hannah Moscovitch, on stage until June 1 at Studio T at SFU’s Goldcorp Centre for the Arts.

Directed by Julie McIsaac, under the baton of COV artistic director Gordon Gerrard, the one-act opera explores various themes through the story of a young girl, Sophia, who flees civil war and settles in a new country.

“In a time when it’s easy to feel overwhelmed by global conflict, Sophia’s Forest invites us to connect to the individual stories behind the headlines,” said Gerrard. “Composer Lembit Beecher and librettist Hannah Moscovitch have created a deeply resonant story – one that speaks to empathy, resilience and the enduring capacity for hope amidst even the darkest circumstances.”

While Sophia’s Forest is not based on a single true story, it draws inspiration from the lived experiences of many who have endured war, loss and displacement. Through the fractured lens of Sophia’s memory, the chamber opera speaks to the human cost of conflict and the strength required to overcome adversity. Its intimate setting and small ensemble help to magnify the emotional intensity, offering audiences a space for reflection and deeper understanding.

The production integrates live performance with projections by Wladimiro Woyno and an array of mechanical sound sculptures, created from bike wheels and wine glasses, that are controlled remotely in real time by the composer Beecher. These sounds and images – accompanied by a live string quartet – conjure memories and dreams from Sophia’s past: the ring of a wine glass becomes a child’s voice; the whirr of a bike wheel evokes fluttering wings.

For its Canadian premiere, Sophia will be performed by soprano Elena Howard-Scott, Anna (Sophia’s mother) by Adanya Dunn and Wes (Anna’s partner) by Luka Kawabata. Young Sophia will be performed by Arya Yazgan and Emma (Sophia’s sister) by Audrey Gao, both members of the Vancouver Bach Family of Choirs. The chamber opera will include sound design by Richard Berg with costumes by Alaia Hamer.

Sophia’s Forest is COV’s first project in a multi-year initiative that aims to showcase and explore the stories and experiences of newcomers to Canada, including celebrating artists who contribute to Canada’s cultural diversity. For tickets and information, visit cityoperavancouver.com. 

– Courtesy City Opera Vancouver

Format ImagePosted on May 30, 2025May 29, 2025Author City Opera VancouverCategories Performing ArtsTags childhood, City Opera Vancouver, Hannah Moscovitch, Lembit Beecher, Sophia’s Forest, war
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