About Us…

“Tapestry has not only established a trend and pointed the way, it is also unique in combining an equal commitment to text and music that allows the two to meld inseparably – a rare alchemy. Many are willing, but Tapestry is one of the few companies capable of envisioning and guiding this creative marriage.”
…Ann-Marie MacDonald, librettist, Nigredo Hotel

“This year again, The Peer Assessment Committee (PAC) recognized the important role played by Tapestry New Opera Works in the development and production of new works. The PAC also acknowledged the essential role played by the company and its commitment to artists and the art form…In all aspects of outreach, Tapestry’s achievements were considered phenomenal, considering the size of the company.”
…The Canada Council for the Arts

“Tapestry embraces the theatre model of development – of using textual and musical dramaturgy to get the best out of the creators and performers. Wayne Strongman is almost unique in the world in this…there are not many who do what Wayne does. I recently sat on a panel for Opera America and we reviewed all applications for new work development. Our American colleagues were blown away by the Canadian submissions – our work is edgier, more experimental and more interesting from conceptual and design points of view – and of course, Tapestry leads the field in North America.”
…Tom Diamond, director

“Working from/with the living source (librettist and composer) is both inviting and risky. Although I sing what is traditional, or on the page, sometimes the ‘outtakes’ bring interesting developments and stick. This acceptance gives way to freedom – the risk has somehow paid off in the most natural and unexpected way possible.”
…Carla Huhtanen, soprano

About Our Productions…

Opera to Go

“Tapestry’s Opera to Go series is one of the most anticipated events of the musical year. These seven short new Canadian works demonstrate how exciting new opera can range far a field in subject matter…This program is not to be missed.”
…Paula Citron, Classical 96.3 FM

“Thanks so much for the experience of working with all of you through this journey. I couldn’t believe my fortune as I watched everything come together in the last few rehearsals and the show opening. It really hit me on opening night just how fantastic this ensemble of people was, and how fortunate I am to have been a part of this process. Throughout the development of “She sees,” the careful guidance I received from everyone was eye-opening for me not only as a composer, but as an artist and person in general. It was truly inspiring to collaborate as a creative artist beyond the boundaries of “composer.” … Opera to Go brings out and fosters all the talents we have that lie beyond our limited title. My boundaries have been pushed, my knowledge deepened, and I am inspired in new directions. Thank you.”
…Craig Galbraith, composer “She sees her lover in the light of morning”

“…where the future of Canadian opera is being made today.”
…John Terauds, Toronto Star

“A thousand thanks for such superior opera. I was deeply moved by the themes, story-lines, characters, and above all… the music and the singing. Several pieces were so poignant that I couldn’t applaud immediately. Struck motionless. Didn’t stop me from bravo and brava at the very end, of course. But in between…. Oh, my! such heart-stopping sorrow and beauty. Thank goodness for a few laughs, no matter how ironic or rueful. I particularly enjoyed the staging of the works. And what a pleasure the acoustics were. I’ve been telling friends to be sure to experience these new works. I am profoundly glad to have discovered Tapestry through your Iron Road a while ago. It is such a pleasure and a privilege to be in the presence of excellence.”
…Jane Coryell, Toronto

“I felt proud sitting out in the audience this evening – proud and humbled. The creation of new work is a precarious and risky endeavour at best. Many artistic institutions and funding agencies in theatre, music, opera, and dance talk about supporting new work but they are often terrified of actually doing it. The familiar is safe, the imitation even safer. Tried and true…and often tired. Tapestry, to its great credit, actually does it…and does it beautifully…the attention to detail that Wayne and Tom, the designers and the musicians give each moment on every piece is stunning.”
…Colleen Murphy, librettist, The Enslavement and Liberation of Oksana G

“Like the Ring Cycle, but much shorter…”
…J.Kelly Nestruck, National Post

Dark Star Requiem

“Striking, beautiful, and wonderfully weird.”
…Arts & Culture Maven

“For anyone who cares about this 20th century tragedy, it should not be missed.”
…La Scena Musicale

“An ambitious work with a noble aim” which “provides a valuable jolt out of complacency.”
…The Baltimore Sun

“Astonishing”, “captivating”, and “all handled with great dignity.”
…Positive Lite

The Shadow

“…a splendidly theatrical piece, one of the strongest developed by Tapestry.”
…Wayne Gooding, Opera Canada

“…one of the most successful of the recent commissions by Tapestry New Opera Works. Daniel showed real talent as an opera composer, while Poch-Goldin created a story that combined humor with ever-increasing tension. The full house at the opera’s final performance (seen May 30) and the work’s enthusiastic reception suggested that this new opera definitely has a future..”
…Christopher Hoile, Met Opera News Online

“A clever mix of comic opera and high melodrama, this humorous and heightened world premiere seems designed to be enjoyed by opera aficionados and lay-folk alike.”
…Byron Lavoilette, EYE Weekly

“There’s no shadow of a doubt that this production, in development for seven years, was worth the time and effort.” …Glenn Sumi, NOW Magazine

“The recession has done no harm to debt collectors, whose booming business gives an unforeseen timeliness to The Shadow , the new opera by composer Omar Daniel and librettist Alex Poch-Goldin. This engrossing 90-minute piece, which was performed for the first time on Thursday, tells the story of a postman who borrows too much money in order to deceive and impress a bored upper-class woman he meets on his route.”

“…[The Shadow] was the guy who crashed the party with the ugly truth, and had a great time doing it. So did all of us, watching him .” …Robert Everett-Green, Globe and Mail

Sanctuary Song

“They say an elephant never forgets, and I’ll bet that any child you take to the new family opera Sanctuary Song won’t soon forget the strong production.” …Jon Kaplan, NOW Magazine

“Richardson’s music literally speaks volumes as a tone poem of a life’s journey.” …Paula Citron, Globe and Mail

Nigredo Hotel

“…Highly evocative music theatre…”                                                                                                                                                                                                                          …Glenn Sumi, NOW Magazine

“Nigredo Hotel is still timely, and still dramatically effective. Its central issue – the spiritual famine at the heart of modern technological society – is as pertinent now as it was when the opera was written.”
…Robert Everett Green, Globe and Mail

“Blazingly visual…an extraordinary work…beautifully performed.”
…The Scotsman, Glasgow

Iron Road

“…a treasure…exquisitely acted and sung by soprano Zhu Ge Zeng…a musically rich experience…innovative, imaginative…superb theatre.” …John Coulbourn, Toronto Sun

“A haunting mixture of Asian and Western musical instruments…beautiful effects…spectacular design for the work-camp in the mountains made most visions of La Fanciulla del West look like an anthill.”
…Urjo Kareda, Opera News

“If Louis Riel turned out to be the archetypal opera for the Canada of two cultures, Iron Road turned out to be the archetypal opera for the multicultural Canada of today…and in the end there was nothing for the audience to do save cheer.”
…William Littler, Toronto Star

“…gorgeous accessible…magnificent libretto…everything one wants in an opera…a Canadian triumph and should not be missed.”
…Paula Citron, Classical 96 FM

“A powerful pageant of hope and tragedy…translucent music…great operatic moments…the sonorities brighten and bloom into a glittering, full-orchestra sunrise.”
…Robert Everett-Green, The Globe and Mail

“What a great piece of work! Not only a compelling piece of music but an inspired concept about how we as Canadians can…trasnform our brief history into a process of bonding and healing our present. Bravo!”
…Christos Hatzis, Composer

“Tom Diamond is an extraordinary director. This is simply the best Canadian opera since Louis Riel”
…Nichola Goldschmidt, impresario

“Thank you so much for your wonderful gift and the joy of experiencing a stellar piece of work. I was both moved and humoured.”
…Nathan Gilbert, Laidlaw Foundation

Elsewhereless

“Daring, original, and thought provoking.”
…Musicworks

Still the Night

“Still the Night is the most scorchingly honest and life-affirming performance I have ever seen about that dark time…”
…Michele Landsberg, Toronto Star

“An unbelievably moving piece of theatre.”
…Calgary Sun

No No Miya

“A powerhouse of implied and spoken images in which story, music and staging weave a tale of love, murder and guilt.”
…The Province, Vancouver

“The score is absorbing: sometimes passionate; at other times lyrical and filled with space, like the swirling mist in the landscape paintings of feudal Japan”
…The Sun, Vancouver

“I have rarely performed in a modern opera which had such immediate audience appeal.”
…Judith Forst