I think last night’s virtual conference with Michael Mori and Jaime Martino of Tapestry marks the first real announcement of intention for the 2021/22 season by any Canadian company and it offers insight into what may and may not be possible in the next year to eighteen months.  Tapestry adapted quickly and creatively to COVID conditions and so I think their read on the future is important.  So here’s my take on what was said.

They are planning for live performances with an audience from January 2022.  That sounds about right to me.  In their case they are looking at two site specific works.  Gould’s Wall by Brian Current; libretto by Lisa Balkan, is to be performed at the Royal Conservatory.  I thought this was a great idea when I first heard about it from Brian four years ago and I’m really looking forward to it.  The other piece, to be performed at OCAD, is Nicole Lizée’s Rossum’s Universal Robots with libretto by Nicolas Billon.  I think this originated in the LibLab in November of 2014.  There are a number of other new works in the pipeline for future seasons.

Shorter term it’s a more mixed story.  The Harbourfront extravaganza Dragon’s Tail has been postponed.  Apparently it’s likely not going to be feasible to stage large outdoor events in Toronto this summer.  I think that’s unfortunate.  The indications are that outdoor gatherings can be held safely and I think people need the safety valve.  Better that tings are organised properly rather thasn driven underground.  The better news is that an extensive series of box concerts is planned and that in the on-line world there will be a Sketch Opera Singers 3.

In the shorter term there’s SOS2 next Thursday and the Adam Sherkin postponed show to look forward too.  The new normal is slowly emerging I guess.