By Elke Porter, Founder of Westcoast German News and Arts Blogger
City Opera Vancouver Artistic Director Gordon Gerrard spoke virtually via Zoom with Elke Porter, the founder and blogger of Westcoast German News. During their conversation, they discussed various topics related to Vancouver City Opera, including its programming focus and recent projects. They also talked in detail about the upcoming project, Sophia’s Forest, which is set to have its Canadian premiere. The interview provided insights into Gerrard’s approach to programming, his connections to German musical traditions, and how the opera aims to resonate with diverse audiences, especially those with ties to post-war migration stories.
Question 1:
Your European debut was at Kama Opera, Schloss Reinsburg, in Germany, in 2016. Can you share how this experience shaped your approach to conducting and your connection to German musical traditions?
Answer:
Oh, wow! That’s great. I spent about seven weeks in Reinsburg, which has a great tradition of opera dating back to the Crown Prince of Prussia. The festival at Reinsburg is at his former castle, with an outdoor amphitheater built for baroque operas of the 17th century. During my time there, we did a production of Tosca, which is not German or baroque, and we made it work with an international cast. It was interesting to bring together artists from Canada, Germany, Russia, and others, all speaking the language of music. It was stressful but also allowed me to practice my German and deepen my love for Germany. I hope to return someday to make more music there.
Question 2:
Growing up in Manitoba, what early childhood experiences or influences sparked your passion for music, particularly in piano and later opera? Were there any German composers who inspired you?
Answer:
Yes, I grew up on a farm in Manitoba, which is quite unusual for someone with a career in music. My parents wanted my siblings and me to have music lessons, so I started playing piano at around age seven and never really stopped. I was captivated by the magic of creating music. Regarding German composers, Beethoven, Bach, Brahms—all of them were part of my early musical upbringing. I especially love Brahms’s late piano music; it’s my “desert island” music.
Question 3:
You trained at the Manhattan School of Music and worked with Canadian opera companies. What was one of your favorite memories from this period?
Answer:
Going to grad school in New York City was life-changing. Manhattan School of Music is exceptional, and I met many colleagues from around the world. Moving to New York two weeks before 9/11 was a profound experience; it opened my eyes to the importance of community and resilience. The international student community at Manhattan was a gift, and my time there remains very special. Later, working with opera companies across Canada, I was fortunate to meet wonderful people, including Bramwell Tovey, who became my boss at Vancouver Symphony. The Canadian music community is full of generous, talented people.
Question 4:
Did you ever know someone named Win Rompf?
Answer:
I did not—(Elke Porter) He played piano at weddings & funerals, teaching himself and playing up to four hands at once. He was a beloved figure in the local music scene. Sadly, he passed away during COVID.
Question 5:
As artistic director of City Opera Vancouver, you’re leading the Canadian premiere of Sophia’s Forest. How do you see this work resonating with German-Canadian or other audiences who have ties to post-war migration stories?
Answer:
City Opera Vancouver aims to choose operas that reflect the world around us. I believe many contemporary operas, including Sophia’s Forest, have relevance to current events and history, particularly stories of displacement and resilience. This piece, about a family displaced by war, is especially timely considering ongoing conflicts like in Ukraine. For Europeans or Germans, the story feels closer and more tangible. I hope it sparks conversations and empathy among audiences.
Question 6:
Did you choose Sophia’s Forest yourself, or was it part of a broader programming decision?
Answer:
Yes, I select the programming for City Opera Vancouver. We focus on smaller works, which allows us to explore new stories and ideas that are often Canadian-related or have Canadian creators involved. For instance, while the composer is Estonian-American, the librettist, Hannah Moskovich, is Canadian.
Question 7:
German opera has a rich tradition, from Wagner to modern works. How do you balance innovation with tradition in your programming? Are there German composers or operas you hope to bring to Vancouver someday?
Answer:
Since City Opera Vancouver emphasizes chamber opera and smaller productions, we don’t typically do grand blockbusters like Wagner’s Ring Cycle. This makes it easier to focus on contemporary works or those with a smaller scale. As for German composers, my priority is finding Canadian connections—such as Canadian librettists or artists. However, I admire the boldness in Germany to reinterpret classic repertoire with contemporary relevance, and I look forward to exploring more German works that bridge tradition and innovation.
Question 8:
Your work with the Regina Symphony Orchestra included the Forward Currents Festival addressing social issues. Are there parallels in Germany’s art scene, particularly in how opera or music tackles contemporary challenges that you drew inspiration from?
Answer:
Germany is much more adventurous in reimagining standard repertoire, often presenting works in ways that connect deeply with contemporary society. They tend to interpret classics with new perspectives, sometimes intentionally shocking, but always with a purpose—bringing stories closer to our current time. Here in Canada, I strive to do the same by bringing more immediate and relevant themes into our programming, trying to make our work reflect the world we walk in.
Question 9:
City Opera Vancouver emphasizes chamber opera and stories of newcomers. Do you plan to incorporate themes reflecting German-Canadian or Mennonite heritage, or cross-cultural narratives from Europe in future productions?
Answer:
Yes, that’s a great question. We are always planning ahead, considering projects for the next 3-5 years. While funding and logistics are uncertain, we aim to include stories of newcomers, highlighting the journeys of people from Germany or other European countries, including Mennonites, and explore cross-cultural narratives in future productions.
Question 10:
Germany has a rich opera tradition, from Wagner to modern works. How do you balance innovation with tradition in your programming? Are there German operas or composers you hope to bring to Vancouver someday?
Answer:
Since City Opera Vancouver focuses on smaller works, we don’t usually do the large-scale productions like Wagner’s Ring Cycle. This allows us to prioritize newer or more intimate pieces, making it easier to balance innovation with tradition. Regarding German composers, I prioritize works that have a Canadian connection in some way, such as librettists or creative teams. That said, I admire Germany’s bold approach in reinterpreting classic repertoire to make it relevant today, and I look forward to incorporating German works that bridge tradition and innovation.
About The Author
