Gould’s Wall is a fascinating piece that delves deeply into an artist’s path. It explores how we grow as creators in a bold singular fashion. For all of us that struggle is truly real. And that is as it should be.

It seems to be quite odd to have a chance to debut in a new form at this point in my career, but for me it is about continually exploring and learning a new kind of language. Every art form has its idiosyncrasies and opera is no stranger to that, but truly the commonalities outweigh the differences. It is a pleasure to have this opportunity for all of us in the rehearsal hall to learn from each other, because in the end there is a story to be told with truth and clarity, and new/old tools by which to tell it. Which leaves me in much the same position as our climber, and that is really exciting.

- Philip Akin, Director

Since the beautiful new Royal Conservatory building was completed in 2009, the inner Atrium wall has been crying out to become the setting of a vertical opera. Huge thanks to librettist Liza Balkan and Tapestry’s Artistic Director Michael Mori for creating such a wonderful theatrical premise to fit the site.

It takes an army of dedicated individuals to create a work like this and I can’t tell you how grateful I am to every one of them. Our goal through this project is nothing less than to inspire a city, at a time when we could all use a little inspiration.

Thank you, Glenn, for showing us the way.

- Brian Current, Composer

 

“An artist is a person who lives in the triangle which remains after the angle, which we may call common sense, has been removed from the four-cornered world.”

- Natsumo Soseki, The Three Cornered World (Kusamakra)

I came upon Soseki’s book while doing research for this opera work. The quote is from one of Glenn Gould’s favourite books in the latter part of his life. I return often to this quote from the and its contents: creativity, structure, freedom, pursuit.

The release from common sense.

Gould’s Wall is a metaphysical meditation about art, music, creation, rigour and discovery.

It is about what emanates and resonates within, on, around, and through this wall,
and this building.

It is about what emanates and resonates within, on, around, and through this wall,
It holds magic, history and art.

This meditation is vertical and horizontal, but not linear.
The Wall is just that: foundation.
It holds magic, history and art.
It is challenge.
It is surprise.
It is struggle.
It is humour.
It is flight.
It is fall.
It is quest.
It is past and present.
It is practice.

Much of the text is informed and inspired by Gould’s own words.

Thank you to Brian Current, Tapestry Opera, and The Royal Conservatory for inviting me to collaborate on this momentary climb within the artists’ “triangle.”

- Liza Balkan, Librettist

“The site-specific charmer is a meditation on the rigour of artistic creation, set to a nimble, dynamic score by Brian Current that empathizes, dazzles and sometimes threatens vertigo.”

- The Globe and Mail

“electrifying”

- Barcza Blog

“beautifully executed”

- Opera Ramblings

"Visionary and hyper-charged. A soaring 3D ballet-opera of convention-defying proportions"

- Opera Going Toronto

Program

Tapestry Site