Transcript: Michael Schade | Feb 04, 1997

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of
Richard Ouzounian and his guest sitting by a countertop in a bar: “Michael Schade. Tenor.”

Then, Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a beige suit, white shirt, and striped gray and black tie.

He says WELCOME TO DIALOGUE.
I'M RICHARD OUZOUNIAN.
IF YOU'RE LIKE ME,
SOMETIMES YOU HAVE TROUBLE
PLANNING AHEAD WHAT
YOU'RE DOING NEXT WEEK.
WELL, WAIT UNTIL YOU
MEET THIS GENTLEMAN.
HE HAS HIS CAREER MAPPED
OUT INTO THE MILLENNIUM.
THAT'S BECAUSE HE IS A VERY
POPULAR AND VERY SUCCESSFUL
YOUNG TENOR, AND TO TOP IT
ALL OFF, HE'S CANADIAN.
THIS
DIALOGUE
IS
WITH MICHAEL SCHADE.

Michael is in his thirties, clean-shaven, with short wavy red hair. He’s wearing a cream suit and a red shirt with prints.

Richard continues MICHAEL, THAT'S ONE
OF THE FIRST THINGS
I WANTED TO
START OUT WITH.
DOES IT EVER BOTHER YOU
KNOWING THAT YOU'RE GOING
TO BE DOING
MEISTERSINGER
THREE
YEARS FROM NOW SOMEWHERE?

Michael says IT'S A NICE
PROBLEM TO HAVE.
HOWEVER, I LOOK
AT IT THIS WAY:
I'M A FREELANCING
MUSICIAN,
AND SAY IF YOU
WERE THE CHAIRMAN
OF A COMPANY OR
SOMETHING OF THAT SORT,
YOU WILL PROBABLY KNOW
THAT FIVE YEARS FROM NOW,
YOU SHOULD STILL
HAVE THE SAME JOB
UNLESS SOMETHING
GOES WRONG.
SO, FOR US TO KNOW THAT
WE ARE BOOKED THREE,
FOUR YEARS IN ADVANCE
IS A GOOD THING.
AND THE OTHER THING
TOO IS THAT I KNOW
WHEN MY HOLIDAYS ARE
THREE YEARS FROM NOW.

Richard says THAT'S GOOD.
I WANT TO START WAY
BACK, BECAUSE YOUR DAD
LIKED MUSIC AND, IN FACT,
WAS A WONDERFUL SINGER.
I REMEMBER READING ONCE
YOU SAID THAT IF YOUR DAD
HAD PUT HIS MIND TO IT, HE
COULD HAVE HAD A MAJOR CAREER.

Michael says YES, I THINK HE WOULD HAVE
GIVEN FRITZ WUNDERLICH
A RUN FOR THE BUCK.

Richard says SO, WHAT DO YOU REMEMBER
ABOUT YOUR DAD IN MUSIC
WHEN YOU WERE GROWING UP?

Michael says MOM AND DAD, WHO ARE BOTH
VERY MUCH INVOLVED IN MUSIC,
ARE STILL IN THE MENDELSSOHN
CHOIR HERE IN TORONTO.
IN FACT, ALL OF US KIDS -
I HAVE AN OLDER BROTHER,
JOHANNES, AND A
YOUNGER SISTER, ISABELLE.
AND MUSIC HAS ALWAYS
BEEN SOMEHOW
PART OF THE FAMILY,
CERTAINLY THE VOCAL SCENE.
WE USED TO SING
MADRIGALS AND THINGS.
AS I SAID ONCE, WE'RE
A LITTLE BIT LIKE
THE VON TRAPP FAMILY, BUT
NOT QUITE SO COMMERCIAL.
WE'VE JUST HAD A LOT OF FUN,
AND SINGING AND CHORAL MUSIC
HAS ALWAYS BEEN PART OF
THE GERMAN FOLK SONG.
THESE ARE THINGS THAT
ARE BASIC NATURE TO ME.

Richard says WAS IT SOMETHING THAT WAS
DONE LIKE MERELY AROUND
RELIGIOUS HOLIDAYS,
OR FAMILY OCCASIONS?

Michael says I WOULD SAY CERTAINLY
AROUND CHRISTMAS AND ANY
TIME THAT THE FAMILY WENT
OUT EITHER ON A CAR TRIP
OR JUST TO GO HIKING.

Richard says WAS THERE EVER A TIME WHEN
ONE OF THE LITTLE SCHADES
DIDN'T WANT TO SING?
COME ON, IT COULDN'T
HAVE BEEN ALL THAT...

Michael says OH, ABSOLUTELY, YES.
I CERTAINLY WAS
ONE OF THEM.
IT WAS VERY
EMBARRASSING.
I REMEMBER MY FATHER,
WHO WORKED WITH INCO
AT THE TIME, HAD, I THINK,
BASICALLY THE COMPANY PARTY
AT OUR HOUSE, AND MY
PARENTS DECIDED THAT
IT WOULD BE
JUST A GREAT THING,
SINCE WE HAD JUST
COME FROM GERMANY,
TO DO LITTLE MADRIGALS FOR
THE ENTIRE INCO BOARD,
WHO WERE INVITED
TO OUR HOUSE.
I WAS SINGING
SOPRANO, MOM ALTO,
ISABELLE WAS STILL TOO
SMALL, MY DAD TENOR,
AND MY BROTHER BASS.
WE HAD TO PERFORM AROUND
THE POOL, AND I WAS 12,
AND I DIDN'T FIND THAT
COOL AT ALL BECAUSE
I JUST THOUGHT IT
WAS EMBARRASSING.
WE WERE A BIG HIT.

Richard says AND THEY MADE
YOU DO IT.
NORTH AMERICANS HAVE NOT
REALLY EMBRACED MUSIC,
OTHER THAN POP MUSIC,
WITH THE FERVOUR
THAT IT WAS EMBRACED
IN AREAS OF EUROPE.
WAS THAT A REAL
CRISIS FOR YOU?
TO DEAL WITH THE FACT
THAT THE NORTH AMERICANS
WOULDN'T THINK OF
SINGING A MADRIGAL;
THEY WOULDN'T THINK
OF SINGING...

A caption appears on screen. It reads "Michael Schade. Tenor."

Michael says I DON'T THINK WE SHOULD
GENERALIZE LIKE THAT.
I THINK, AGAIN, BECAUSE
NORTH AMERICANS,
WE'RE LOOKING AT
SO MANY PEOPLE.
I HAPPEN TO THINK - AND
I'D LIKE TO MAKE IT
MY OWN PERSONAL GOAL...
HOW DO MOST PEOPLE GET
INVOLVED THESE DAYS IN OPERA?
CERTAINLY, LET'S TALK
ABOUT THE NORTH AMERICANS.
HOW DO MOST PEOPLE GET
INVOLVED IN OPERA?
IT'S MORE THAT SOMEONE
says, HEY, BY THE WAY,
YOU SHOULD COME WITH ME.
BECAUSE PROBABLY THE AVERAGE
PERSON DOES NOT HAVE
A BACKGROUND WHERE SOMEONE
IN THEIR FAMILY SAID,
YOU MUST LISTEN TO
CLASSICAL MUSIC.
IT PROBABLY IS BECAUSE
YOU SOMEHOW FELL INTO IT,
AND INDEED THAT'S
WHAT I DID;
EVEN THOUGH I HAD ALL
THIS MUSIC IN MY FAMILY,
WE HAD CHORAL MUSIC,
NOT SO MUCH OPERA.
HAVING BEEN INVOLVED
IN A HIGH SCHOOL PLAY
AND SEEING THE MAGIC, THE
FEVER BACKSTAGE - THE MAKEUP,
THE LIGHTS - IT'S SHOW
BUSINESS AND IT'S CATCHY.

Richard says DID YOU DO MUSICALS
IN HIGH SCHOOL?

Michael says YES, I DID
SOUND OF MUSIC
AND
THE FIDDLER ON THE ROOF.

Richard says IT'S CURIOUS, I
WONDER IF THESE PEOPLE
WHO WORKED WITH
YOU BACK THEN,
DID ANYONE EVER COME
UP TO YOU AND SAY,
WOW, WHAT A VOICE!
YOU OUGHT TO BE
SINGING HERE OR THERE!
OR DID THEY THINK YOU WERE
JUST ANOTHER TEENAGE KID
WHO HAD PRETTY
GOOD PIPES?

Michael says IT'S A VERY INTERESTING
QUESTION BECAUSE I THINK
EVENTUALLY IF YOU'RE A
PROFESSIONAL SINGER,
THE REASON YOU ARE A
PROFESSIONAL SINGER
IS BECAUSE SOMEWHERE DOWN
THE ROAD IN THE PAST,
SOMEONE HAS COME UP
TO YOU AND SAID, WOW,
YOU DO HAVE A
GREAT VOICE.
WHY DON'T YOU THINK
ABOUT THIS AND THAT?
IN A SENSE, IT'S A JOB FULL
OF HONOUR BECAUSE PEOPLE
HAVE ASKED YOU; IT'S NOT
NECESSARILY THAT YOU'VE
WOKEN UP ONE DAY AND
SAID, I MUST BE A SINGER.
IT'S MORE SO THAT
PEOPLE HAVE ASKED YOU.
SO, IT CARRIES WITH IT A
CERTAIN RESPONSIBILITY.

Richard says BUT WITH ALL OF THIS
BACKGROUND - THE FAMILY THAT
LIKED TO SING AND DOING
THE MUSICALS AND THAT -
YOU DIDN'T RIGHT AWAY
GO OFF TO MUSIC SCHOOL.
IN FACT, YOU WERE GOING INTO
VETERINARY STUDIES, RIGHT?

Michael says I WOULD HAVE LOVED TO
HAVE BEEN A VETERINARIAN.
I LOVE ANIMALS DEARLY;
I'M STILL A BIRDWATCHER.
I LOVE TO GO OUT
INTO THE ROCKIES.
MY WIFE IS FROM CALGARY; WE
LOVE TO BE OUT IN NATURE.
AND YES, I HAD MUSIC
EVERY DAY AS A KID LIKE
OTHER PEOPLE HAVE HOCKEY.
AND IT WAS JUST
SECOND NATURE TO ME,
SO I DIDN'T REALLY REALIZE;
I ALWAYS THOUGHT YOU
HAD TO BE SOME SORT OF
REALLY EXTRAVAGANT.

Richard says YOU HAD TO BE WEIRD.

Michael says YEAH, WELL, JUST SORT
OF BIGGER THAN LIFE;
I THOUGHT OPERA SINGERS
WERE ALL BIGGER THAN LIFE.
NOT ONLY BIGGER IN GIRTH,
BUT BIGGER THAN LIFE.

Richard says BUT THERE YOU ARE IN THE
UNIVERSITY OF WESTERN ONTARIO.

Michael says I WENT TO STUDY
SCIENCES THERE, AND,
JUST BECAUSE OF
A FRIEND OF MINE,
WAS IN THE FACULTY
OF MUSIC SINGERS,
WHICH WAS THE TOP CHOIR.
I DECIDED TO KEEP MY
SINGING UP JUST FOR FUN,
AND THEN SOMEBODY
ASKED ME TO DO A DUET,
AND THAT'S HOW I MET MY
FIRST SINGING TEACHER,
AND THEN THE WHOLE
THING JUST SNOWBALLED.
I AUDITIONED THE FOLLOWING
YEAR TO DO A SCHOLARSHIP
TO SEE IF I COULD GET SOME
MONEY FOR ENTERING UNIVERSITY,
AND SURE ENOUGH,
IT WORKED OUT,
AND IT'S JUST SORT OF ONE
AUDITION AFTER THE NEXT.

Richard says WERE YOU STUDYING IN
THE STATES BY NOW?

Michael says NO, I DID MY UNDERGRADUATE
AT THE UNIVERSITY OF WESTERN
ONTARIO FOR FOUR YEARS,
AND THEN I DID MY MASTERS
AT THE RENOWNED CURTIS
INSTITUTE OF MUSIC,
AND I HAD LESSONS
IN NEW YORK.
AND TO A CERTAIN EXTENT,
THAT REALLY HELPED ME QUITE
A BIT BECAUSE HAVING
BEEN AWAY FROM TORONTO
AND WINNING THE NEW YORK
ORATORIO COMPETITION
AND DOING THE ODD
THING BACK HERE,
AND WINNING SECOND
PRIZE AT THE TIME,
I WAS THE YOUNGEST
COMPETITOR AT THE NATIONAL
VOCAL COMPETITION - I THINK
IT WAS IN '87 OR SOMETHING,
I WAS 22 AT THE TIME.
AND TO ACTUALLY THEN COME
BACK FROM SUCH A RENOWNED
SCHOOL, HAVING WON A MAJOR
ORATORIO COMPETITION,
HAVING THE CHANCE TO
SING AT CARNEGIE HALL,
THEN COMING BACK - SO
I THINK COMING BACK
HAS ALWAYS JUST BEEN
PART OF MY NATURE.

Richard says AND WHEN YOU DID COME BACK, YOU
WERE STILL A SINGER, PRIMARILY.
I BELIEVE IT WAS PACIFIC
OPERA, WASN'T IT,
THAT GAVE YOU
YOUR FIRST BREAK?

Michael says I WAS VERY LUCKY.
WHAT HAPPENED WAS THAT WHEN
I WON THIS COMPETITION,
TIMOTHY VERNON, THE HEAD
OF THE PACIFIC OPERA
IN VICTORIA, HEARD ABOUT ME AND
OFFERED ME A JOB AS JAQUINO.
AND I WAS STILL IN FOURTH
YEAR UNDERGRADUATE, ACTUALLY.
THEN THE UNIVERSITY WAS
KIND ENOUGH TO LET ME GO
FOR A WHOLE MONTH
OF UNIVERSITY.
I HAPPENED TO DO THIS,
WHICH WAS TELEVISED ON PBS
ALL OVER THE UNITED
STATES, AND ELMER ISELER
HAPPENED TO SEE IT,
INVITED ME TO DO A MESSIAH
IN QUEBEC CITY, WHICH WAS
THE ONE MESSIAH BROADCAST
THAT THEY ALWAYS DO
ON CHRISTMAS DAY.
AND THAT, IN TURN, GOT MY
NAME ALL AROUND CANADA,
SO THIS IS ALL ABOUT
LUCKY BREAKS AS WELL,
AND BEING READY FOR
THE LUCKY BREAK.
THE OTHER THING THAT
HAPPENED TO ME LATER
ON A MUCH BIGGER SCALE WAS THE
AUDITION ON SEPTEMBER 1ST, 1991
I THINK, YES - AT
THE VIENNA STATE OPERA.
AND I CAME ONSTAGE, AND AS
I WAS SINGING THE AUDITION,
THE DIRECTOR OF THE OPERA
CAME UP TO ME AND SAID,
THIS IS VERY GOOD; WHAT ARE
YOU DOING TOMORROW NIGHT?
AND I JUMPED IN THE
FOLLOWING NIGHT AT THE VIENNA
STATE OPERA TO DO
THE BARBER OF SEVILLE,
AND THAT MADE MY
INTERNATIONAL CAREER OVERNIGHT.

Richard says I'VE HEARD A STORY, AND I
WANT YOU TO TELL ME THIS
BECAUSE I DON'T
BELIEVE IT'S TRUE,
THAT WHEN YOU FIRST APPEARED
AT THE METROPOLITAN OPERA,
YOU ACTUALLY HAD NEVER HAD
A CHANCE TO SET FOOT
ON THE STAGE BEFORE
THE PERFORMANCE.

Michael says JUST ABOUT.
THE ONLY TIME I'D ACTUALLY
BEEN ON THE ACTUAL STAGE
WAS WHEN I DID MY
AUDITION A YEAR BEFORE.
SO, I HAD A SENSE OF WHAT
THE ACOUSTIC WAS LIKE,
BUT THE ACTUAL REHEARSALS
AND EVERYTHING TOOK PLACE
IN A ROOM NOT MUCH BIGGER
THAN WHERE WE'RE SITTING NOW.

Richard says SO, YOU'RE DOING, IT WAS
FIDELIO, I BELIEVE, SOMETHING
OF THAT SIZE AND SCOPE,
COSTUMES, SETS, LIGHTING,
AND YOU HAD NO IDEA
WHAT IT WOULD BE LIKE
'TIL YOU GOT OUT THERE?

Michael says BUT IT'S THE
SAME IN VIENNA.
WHEN WE DO
MAGIC
FLUTE
IN VIENNA,
IT'S A COMPLETELY DIFFERENT
SYSTEM THAN WE HAVE HERE,
WHEN WE DO
MAGIC
FLUTE
IN VIENNA.
BECAUSE IT IS A PIECE THAT
IS SET AS PART OF THEIR
REPERTOIRE, YOU HAVE TWO
DAYS' REHEARSAL IN ANOTHER
ROOM, AND WHEN YOU GO ON
TO DO THE ACTUAL SHOW,
YOU HAVE NOT SUNG A NOTE
WITH THE ORCHESTRA.
MIND YOU, WITH THE
VIENNA PHILHARMONIC,
WHO ARE IN THE PIT, IT'S
BETTER THAN MOST PLACES
WHERE YOU HAVE 12 REHEARSALS
BECAUSE THEY'RE
JUST SO ATTUNED TO...
BUT IT CAN ALSO BE
A DANGEROUS THING.

Richard says I WAS GOING TO
SAY, BECAUSE,
OF COURSE - ESPECIALLY IN
THE WORLD OF THEATRE -
THIS WOULD BE UNTHINKABLE
BECAUSE WE'RE ALL ENCOURAGED
TO THINK OF TEAMWORK
AND WORKING TOGETHER.

Michael says IN THIS CASE, YOU SEE,
AT THE METROPOLITAN,
IT HAPPENED TO BE THAT THEY
HAD DONE THE PIECE EARLIER
IN THE SEASON ALREADY
WITH ANOTHER CAST.
BUT IT WAS KIND OF AN
IMPORTANT THING BECAUSE
I GOT TO DO ONE OF
THESE FAMOUS BROADCASTS
ON SATURDAY AFTERNOON, ONE
OF THE TEXACO BROADCASTS.
AND IT WAS LIVE
ALL OVER THE WORLD.
WHEN YOU DO A MET BROADCAST,
I HAD CALLS FROM FRIENDS
OF MINE WHO WERE
CALLING ME FROM LONDON,
WHO HAD JUST HEARD
ME LIVE ON THE RADIO.
SO, IT'S AN IMPORTANT
THING, BUT AGAIN, THERE,
THE CONCENTRATION
HAS TO BE DIFFERENT.
AGAIN, IT'S NOT SO MUCH,
SHOULD I BE THINKING ABOUT
HOW GREAT THIS MOMENT IS?
SHOULD I BE THINKING, WHAT
A MONUMENTAL OCCASION
THIS IS FOR ME AS A SINGER?
I HAVE MADE IT TO THE MET?
NO, YOU HAD BETTER NOT
BE THINKING ANYTHING
ALONG THAT LINE.
WHAT YOU REALLY HAVE TO BE
THINKING ABOUT THAT MOMENT IS,
OKAY, YOU HAVEN'T
SEEN THE ORCHESTRA,
YOU'VE WORKED ON NOT THE
ORIGINAL SET BUT, NORMALLY,
THEY WILL PUT TWO CHAIRS
BESIDE EACH OTHER
TO REPRESENT A BENCH.
SO, SITTING ON A BENCH IS
DIFFERENT THAN SITTING
BETWEEN TWO
CHAIRS, OBVIOUSLY.
SO, AGAIN, YOU JUST HAVE TO
SORT OF DIVORCE YOURSELF
FROM THAT MOMENT, AND IT
SORT OF BECOMES SURREAL,
THE WHOLE THING.

Richard says WHAT DO YOU LEAN ON?

Michael says CHARACTER.

Richard says CHARACTER, AND TO THE MUSIC
OF BEETHOVEN, IN THIS CASE?
IT'S INTERESTING; AGAIN,
IN THE THEATRE TRADITION,
EVERYBODY EVOLVES THEIR
CHARACTERIZATION
WITH THE DIRECTOR AND WITH
THE CAST AND ALL TOGETHER.
BUT YOU PICK UP A SCORE
AND YOU KNOW YOU'RE GOING
TO BE DOING A PART - HOW DO YOU
GET TO YOUR INTERPRETATION
OR UNDERSTANDING OF IT?

Michael says THERE'S SEVERAL
THINGS I DO.
FIRST OF ALL, I'VE SUNG
ENOUGH NOW TO LOOK AT
THE SCORE AND TO THINK,
THIS SHOULD LIE WELL.
THEN I TRY IT OUT; I
WORK IT OUT WITH COACHES,
OPERA COACHES.
THESE ARE PEOPLE WHO
ARE EXCELLENT PIANISTS;
THEY'RE ALMOST LIKE
SINGING TEACHERS.
THEY HAVE EXCELLENT EARS,
THEY WILL BE ABLE TO TELL YOU
HOW AND WHAT YOU MIGHT
BE DOING A LITTLE BIT WRONG.
VOCALLY, I TAKE
IT TO MY TEACHER.
AND MORE THAN THAT, AFTER
I'VE LEARNED THE NOTES,
I WILL LISTEN TO CERTAIN
RECORDINGS OF IT,
NOT TO IMITATE, BUT TO
UNDERSTAND A CERTAIN TRADITION.
BECAUSE, SAY, IF YOU
DO THE MAGIC FLUTE,
THERE'S CERTAIN TRADITIONS,
THERE'S CERTAIN SINGERS,
SUCH AS FRITZ
WUNDERLICH, WHO DID IT;
LEOPOLD SIMONEAU, ONE
OF THE GREATEST EVER
MOZART SINGERS,
A CANADIAN.
I WILL LISTEN TO PETER
SCHREIER, IN MY FIELD.
BUT IT'S ALSO VERY DANGEROUS
TO LISTEN TOO MUCH TO THESE,
BECAUSE IF YOU END UP
LISTENING TOO MUCH TO PAVAROTTI,
YOU START WANTING
TO SOUND LIKE HIM,
AND AGAIN, IT'S
NOT A POSSIBILITY
TO EVER SOUND LIKE
SOMEONE ELSE.
YOU HAVE TO DEVELOP
YOUR OWN ART,
YOUR OWN WAY OF
INTERPRETING YOUR OWN GIFT,
AND TO LEAVE YOUR OWN
MARK ON THE SYSTEM.

Richard says WHAT DO YOU DO TO FIND
THE PERFORMANCE IN YOU?
LIKE, WE'VE TALKED NOW ABOUT
HOW YOU APPROACH THE MUSIC
AND YOU GET A
SENSE OF THE STYLE,
BUT THERE'S GOT TO COME THAT
MOMENT WHERE IT CEASES BEING
YOU AT THE PIANO, AND IT'S
GOT TO BE YOU ON THE STAGE,
AND IT'S NOT YOU JUST
SINGING THE ARIA
BUT IT'S YOU BEING
THE CHARACTER.

Michael says AND IT'S ACTUALLY A
VERY IMPORTANT THING;
IT'S A WHOLE PROCESS
THAT HAPPENS,
BETWEEN THE MOMENT THAT YOU
GET THE OFFER AND YOU LOOK UP
THE PIECE AND YOU THINK
ABOUT WHETHER OR NOT YOU
SHOULD ACCEPT A ROLE, TO
ACTUALLY THE MOMENT THAT
YOU HAVE OPENING NIGHT.
NOW, IF IT'S A PIECE THAT
IS COMPLETELY NEW TO ME -
I WOULD NEVER ACCEPT, SAY, A
ROLE AT THE METROPOLITAN
THAT I HAD NOT SUNG
SOMEWHERE ELSE BEFORE,
UNLESS IT WAS A
NEW PRODUCTION.
IF A NEW PRODUCTION
HAPPENS, THEN YOU GET TIME
WITH THE ORCHESTRA, THEN
YOU GET TIME TO DEVELOP
THE ROLE IN REHEARSAL.
WHEREAS A REPERTOIRE
PIECE YOU MUST HAVE DONE
SOMEWHERE BEFORE.
SO, FOR INSTANCE, THE
JAQUINO AT THE MET,
I HAD DONE BEFORE.
SO, AGAIN, WHEN YOU'VE
DONE A ROLE A FEW TIMES,
YOU BASE YOUR
INTERPRETATION A LITTLE BIT
ON WHAT HAPPENED BEFORE.
YOU TAKE IT FURTHER THAN
WHAT YOU HAD LAST TIME,
AND HOPEFULLY YOU HAVE
A VERY GOOD DIRECTOR
WHO HELPS YOU OUT.
I'VE HAD EXCELLENT
DIRECTORS,
I'VE HAD VERY POOR
DIRECTORS WORKING WITH ME -
STAGE DIRECTORS.
THESE ARE THE PEOPLE THAT
ESSENTIALLY DO - BESIDES THE
BASIC TRAFFICKING OF WHO
GOES WHERE - THESE ARE
THE PEOPLE THAT HELP YOU
UNDERSTAND THE DEPTH OF
A CHARACTER, THAT
HELP YOU UNDERSTAND
THE MEANING OF AN OPERA.
THEY MIGHT, IN FACT, GIVE
YOU SOMETHING TO THINK
ABOUT THAT YOU'VE
NEVER THOUGHT ABOUT,
AND MAYBE EVEN
DON'T AGREE WITH,
AND THEN YOU HAVE TO FIND
THE WAY BETWEEN THEM
AND YOU, TO GIVE SOMETHING
TO THE AUDIENCE - BECAUSE
THE PEOPLE WHO ARE SITTING IN
THE SEATS ARE THE PEOPLE
THAT DESERVE A
GENUINE PERFORMANCE
OF SOMEONE WHO'S ONSTAGE.
IF I'M DOING TAMINO, I HAVE
TO BE THE YOUNG PRINCE
WHO'S LOST WHO NEEDS
TO FIND HIS WAY.
IF I'M DOING COS FAN TUTTE,
I HAVE TO BE THE LOVER
WHO IS FOOLISHLY CONFIDENT.
IF I DO NEMORINO, I HAVE TO
BE THE YOUNG LOVESICK PUPPY
WITHOUT MAKING IT OVERBOARD.
THESE ARE ALL THINGS THAT
YOU LEARN YEAR AFTER YEAR,
AND IT DOESN'T
ALWAYS WORK.
THERE ARE EVENINGS WHEN
YOU JUST COME OFFSTAGE
AND YOU THINK, JEEZ.
AND THEN THERE'S THE
DIRECTORS WHO JUST ASK
TOO MUCH AND GET AWAY FROM THE
MUSIC, WHICH IS A PROBLEM.
AND THEN THERE'S PEOPLE WHO
JUST DEMAND SUCH ATTENTION
TO THE MUSIC THAT IT BECOMES
ALMOST LIKE AN ORATORIO,
THAT IT'S NOT STAGED ENOUGH.

Richard says HAVE YOU EVER ENCOUNTERED
ONE OF THE BIZARRE PETER SELLERS
KIND OF PRODUCTIONS,
WHERE IT'S IN A PERIOD
YOU DIDN'T THINK
IT WORKED IN?
HE'S DONE PRODUCTIONS OF
COS WITH THE JET SET,
AND HE'S DONE
RIGOLETTO'S IT ITALY.

Michael says WITH HIM, IT'S SORT OF
A THING THAT HE INDEED
DOES DO PRODUCTIONS AND
PURPOSELESSLY PUTS THEM OUT
OF THE TRADITIONAL,
SHALL WE SAY.
WHETHER OR NOT I AGREE WITH
NOT ONLY HIM OR OTHER PEOPLE
WHO PUT THINGS
OUTSIDE OF THE PERIOD
THAT IT WAS MEANT TO, IT
HAS TO BE REALLY GOOD.
IT'S LIKE MUSIC IN
GENERAL; FOR ME,
IT'S NOT JUST CLASSICAL
MUSIC THAT COUNTS,
IT IS THE QUALITY OF MUSIC.
SO, YOU CAN HAVE GREAT
QUALITY IN ROCK;
YOU CAN HAVE IT IN
RENAISSANCE MUSIC AND JAZZ.
AND IT'S THE SAME
WITH STAGE DIRECTORS;
YOU DON'T HAVE TO PUT A
PIECE IN AN OLD PERIOD
JUST TO GIVE SHOCK VALUE.
HOWEVER, IF YOU REALLY
HAVE SOMETHING TO SAY,
AND IF YOU MOVE YOUR
AUDIENCE WITH IT,
THEN I'M ALL FOR IT.
BUT YOU HAVE TO BE
REALLY GOOD TO DO IT.

Richard says WE TALKED ABOUT THE PROBLEM YOU
CAN RUN INTO WITH A DIRECTOR.
I ALSO WONDER ABOUT YOUR
FELLOW CAST MEMBERS.
YOU CAN BE DOING AN OPERA IN
REPERTOIRE AND YOU MAY BE
AT THE SAME OPERA HOUSE WITH
THE SAME SET ORCHESTRA
AND LIGHTS AND YOU'VE
GOT A DIFFERENT PARTNER
TWO NIGHTS APART.

Michael says YES, OF COURSE, YES.

Richard says AND OFTEN, ESPECIALLY IF
WE'RE TALKING SOPRANOS -
I WON'T SAY ANYTHING
ABOUT MEZZOS BECAUSE
YOU'RE MARRIED TO A MEZZO -
BUT SOMETIMES SOPRANOS -
HOW CAN I PUT THIS
ARE ERRATIC.

Michael says ALL TENORS ARE
TOO, YOU KNOW.
[chuckling]
NO, IT'S A VERY
STRANGE THING.
I'VE HAD DIFFERENT
EXPERIENCES OF RUNNING
INTO FELLOW SINGERS
WHO JUST...
I DON'T KNOW.
OH, I'VE HAD A SITUATION
WHERE I WAS ONSTAGE AND
THE SINGER I SANG WITH
COMPLETELY BLANKED OUT.
HE WAS COMPLETELY LOST.
HE HAD NO IDEA
WHAT CAME NEXT,
AND IT WAS VERY QUICK
DIALOGUE BACK AND FORTH;
IT WAS A RELATIVELY
MODERN PIECE.
AND THERE, YOU REALLY
START THINKING BACK
TO YOUR IMPROVISATIONAL
CLASSES THAT YOU HAD
IN ACTING CLASS
AT UNIVERSITY.
BUT I THINK THE DAYS
OF DIVAS AND DIVOS,
SURELY THERE STILL ARE
SOME, AND THERE'S SOME VERY
IMPORTANT PEOPLE AND SOME
PEOPLE WHO THINK THEY'RE
MORE IMPORTANT THAN
THEY ACTUALLY ARE IN
ANY BUSINESS, NOT
JUST OUR BUSINESS.
BUT I THINK IT'S MORE
AND MORE A FAMILY NOW.
AND I THINK PEOPLE TRY
TO HELP ONE ANOTHER,
AND THAT CERTAINLY
IS MY PHILOSOPHY,
AND I THINK IF YOU CAN'T
GET ALONG ON STAGE,
WHAT THE HECK ARE
YOU DOING?

Richard says ARE THERE ANY OF THESE
NAMES WHO YOU'VE WANTED
TO WORK WITH YET,
OR HAVEN'T?

Michael says THERE'S CERTAINLY LOVELY
PEOPLE THAT I HAVEN'T WORKED
WITH YET, BUT THERE'S ALSO
PEOPLE THAT I HAVE WORKED WITH.
ONE OF MY IDOLS HAS
BEEN PLACIDO DOMINGO,
AND I'VE BEEN LUCKY ENOUGH
TO BE ON A RECORDING WITH HIM.
I'VE WORKED WITH PEOPLE
LIKE THOMAS ALLEN,
I'VE MET CARRERAS,
PAVAROTTI - THESE ARE ALL
PEOPLE THAT I NOW KNOW.
BUT IF THERE'S ONE THING
THAT I FIND THESE DAYS
IS THAT WE'RE APPROACHING
A WHOLE NEW ERA.
THERE IS SOME EXCELLENT
YOUNG SINGERS.
FOR INSTANCE, PEOPLE MIGHT
NOT KNOW BRYN TERFEL,
AS WELL AS OTHER SINGERS.
BUT THIS IS A SINGER WHO,
TO ME, IS A PHENOMENA.
HE'S A BASS BARITONE WHO IS
GOING TO BE WORLD FAMOUS.
HE ALREADY IS IN EUROPE.

Richard says OBVIOUSLY, THERE'S
SOMETHING PARTICULAR
ABOUT THIS PERSON
THAT EXCITES YOU.

Michael says HIS SINGING IS
JUST SO INCREDIBLE,
AND HIS WHOLE
STAGE PRESENCE,
HE JUST REALLY
EXCITES AUDIENCES.
AND I'VE SUNG
CONCERTS WITH HIM,
AND I'VE SUNG WITH
CECILIA BARTOLI,
AND I KNOW THAT SHE'S
EFFERVESCENT AND BUBBLY
ON STAGE AND
REALLY WONDERFUL.
IT WAS A BIG THRILL TO BE ON
STAGE WITH CECILIA BARTOLI,
IT REALLY WAS.

Richard says I'VE BEEN TALKING MAINLY
ABOUT ACTUAL STAGED OPERA
PRODUCTIONS, BUT YOU ALSO
DO A LOT OF CONCERTS,
AND YOU DO ORATORIOS.
NOW, OBVIOUSLY, THEY STILL
HAVE A GREAT ATTRACTION FOR YOU.

Michael says I'VE ALWAYS MAINTAINED
THAT FOR ME AS A SINGER,
NOT ONLY IS IT VOCALLY
HEALTHY TO DO DIFFERENT
THINGS, NOT ONLY OPERA
AND OTHER THINGS,
BUT TO BE ABLE TO DO ART
SONG AND RECITALS -
SMALL, INTIMATE PLACES,
200 PEOPLE, MAYBE;
NOT THE MET, NOT 3,000.
OR ORATORIOS, WITH NOT
ONLY THE MENDELSSOHN CHOIR
IN TORONTO OR THE
MUSIQUE FINE IN VIENNA
WITH ALL KINDS
OF PEOPLE.
I FIND THE MESSIAH JUST AN
INCREDIBLY THRILLING THING;
THE PASSIONS OF
BACH TO ME ARE...
I'M EXTREMELY PLEASED THAT
I'M DOING IT NEXT YEAR
IN KITCHENER WITH
HOWARD DYCK.
I'M SO EXCITED ABOUT
BRINGING THIS STUFF BACK.
I THINK THERE'S MUSIC THAT
REACHES THE SOUL DEEPEST,
IT WOULD BE THE
BACH PASSIONS.
AND IF PEOPLE SAY,
THIS IS BORING BECAUSE
THERE IS JUST FOR SOLOISTS
AND AN ORCHESTRA, WELL,
THEN THEY OBVIOUSLY
DON'T GET IT.
AND I CHALLENGE THEM TO
COME AND TRY IT AGAIN,
BECAUSE ORATORIO, TO ME,
IS WONDERFUL STUFF.

Richard says AGAIN, MANY PEOPLE WHO
ARE IN THE MUSIC BUSINESS
SHARE THAT FEELING, BUT
IT IS A VERY HARD SELL.

Michael says COME ON, BEETHOVEN
NINE IS NOT A HARD SELL.
WE HAVE TO MARKET
THEM DIFFERENTLY.
I'M CONVINCED THAT WE
CAN DO A LOT BETTER.

Richard says OKAY, YOU'RE GOING TO BE IN
CHARGE OF GETTING PEOPLE
TO COME TO HEAR THE BACH
PASSION; WHAT WOULD YOU DO?

Michael says FIRST OF ALL, I WOULD PLAY
IT A LITTLE BIT MORE
ON RADIO STATIONS.
I THINK THAT YOU HAVE
TO HAVE ADVERTISING
AND MARKETING THAT
IS PROMOTIONAL.
TELL YOU WHAT, BEN
HEPPNER DID A CONCERT
WITH THE VANCOUVER
OPERA A FEW YEARS BACK.
I HAPPENED TO BE IN
VANCOUVER AT THE SAME TIME;
I WAS SINGING.
AND THIS WAS BASICALLY ONE
OF BEN'S FIRST CANADIAN
APPEARANCES AS A SOLO TENOR
WITH AN ORCHESTRA DOING,
IN THIS CASE, OPERA ARIAS.
BUT THE WAY THEY MARKETED
THAT WAS SO INCREDIBLE.
BEN IS A GOOD
FRIEND OF MINE;
HE CAME AND SANG
AT OUR WEDDING.
AND IT WAS AT ALL THE
BUS STOPS IN VANCOUVER,
AND IT WAS NEAR THE
HOCKEY PLAYOFFS, I THINK.
AND IT WAS A LITTLE
BIT LIKE: HE SHOOTS,
HE SCORES - WITH OUR GREAT
CANADIAN HOCKEY CULTURE,
WHICH IS GREAT.
THEY HAD THIS THING: HE
KILLED THEM IN SALZBURG;
HE KNOCKED THEM
DEAD IN CHICAGO;
THE MET HASN'T BEEN THE SAME
EVER SINCE HE SUNG THERE.
AND NOW, HE'S
COMING TO YOUR TOWN.
GO LISTEN TO HIM.
AND PEOPLE WERE WONDERING,
WHAT THE HECK IS THIS?
AND THEN THIS CANADIAN
AUDIENCE CAME INTO THIS HALL
AFTER HAVING HAD ALL THIS
STUFF IN THEIR EARS,
AND YOU COULD SEE THEM
COMING IN VERY POLITELY,
AND THEY SAT DOWN, AND BEN
DID THE FIRST THREE PIECES.
AND WITH EVERY PIECE, THEY
WERE STARTING TO APPLAUD
MORE AND GETTING INTO IT,
LIKE A EUROPEAN AUDIENCE.
BY THE END OF THE EVENING,
PEOPLE WERE CHEERING,
CELEBRATING THE FACT
THAT WE HAD OUR
OWN CANADIAN PAVAROTTI.
HE'S AS BIG AS PAVAROTTI,
HIS VOICE IS AS BIG.
AND THERE'S A WHOLE NEW
GENERATION OUT HERE
OF INCREDIBLE
YOUNG CANADIANS.
YOU SEE, THE THING THAT I'M
MENTIONING WHEN I MENTIONED
THAT, FOR INSTANCE, BEN
WAS MARKETED SO WELL
IS A THING THAT IS
VERY IMPORTANT TO ME.
I, TOO, AM NOW ON THE
RELEASED RECORDING
OF
FIDELIO
WITH HIM.
THAT IS GOING TO BE
RELEASED ALL OVER CANADA,
AND THESE RECORD COMPANIES
HAVE A BIG RESPONSIBILITY
TO TRY TO PROMOTE NOT ONLY
THEIR PRODUCT FOR PROFIT,
BUT ALSO, I SEE IT AS
THEY'RE AMBASSADORS
FOR CLASSICAL MUSIC.
FOR INSTANCE,
CECILIA BARTOLI,
WHO IS A GREAT SINGER,
AND SHE'S, AS I SAID,
EFFERVESCENT, BUBBLY ON
STAGE, SHE'S JUST LOVELY.
WHEN SHE CAME OUT - I MEAN,
I'M NOT SAYING THAT SHE'S
NOT A GREAT SINGER, BUT WHAT
HAPPENED IS THAT SHE WAS
SUPPORTED SO WELL BY THE
ADVERTISING AGENCIES,
BY THE RECORD COMPANIES, AND
ONE OF HER FIRST PIECES
WAS A RECORDING OF
ANCIENT ITALIAN SONGS.
NOW, THESE ANCIENT ITALIAN
SONGS ARE THE BASIC
BREAD AND BUTTER OF
EVERY STARTING SINGER.
SO, IT WAS A VERY
SMART MARKETING THING,
AND SHE SANG BEAUTIFULLY
THESE VERY EASY PIECES
THAT MANY, MANY PEOPLE
KNOW WHO SING,
AND THEY ARE JUST
BEAUTIFUL PIECES.
AND BECAUSE OF
THIS MARKETING,
SHE HAS GROWN BIGGER AND
BIGGER, AND WITH THAT,
THE LOVE FOR MUSIC AND THE
FOLLOWING SHE HAS CREATED,
NOT ONLY FOR HERSELF,
BUT THE WHOLE THING,
IT JUST SNOWBALLS.
AND I THINK WE HAVE A
HUGE OPPORTUNITY HERE
WITH THE VAST POOL OF
YOUNG CANADIAN TALENT.

Richard says WHAT ABOUT, THERE ARE
PEOPLE WHO OFTEN SAID, YES,
THE REST OF THE WORLD
HAS THEIR THREE TENORS,
BUT CANADA HAS OUR THREE
TENORS: WE HAVE BEN,
WE HAVE RICHARD,
AND WE HAVE MICHAEL.
NOW, IT'S INTERESTING;
I HAVE HEARD THAT BEN
HAS RESISTED ATTEMPTS TO MARKET
THE THREE OF YOU TOGETHER.
DO YOU THINK IT
WOULD BE A GOOD IDEA
TO PUT THE THREE
OF YOU IN CONCERT?

Michael says IN FACT, I DO, BUT I DO
AGREE WITH BEN ON ONE THING.
I THINK THE REASON
BEN HAS NOT -
FIRST OF ALL, BEN'S
A BUSY GUY, AND HE'S
ONE OF THE NICEST
GUYS IN THE WORLD.
BUT I THINK BEN IS A
LITTLE HESITANT ABOUT
DOING THE THREE
TENOR THING.
AND I'VE TALKED TO
RICHARD ABOUT IT AS WELL;
IN FACT, I JUST HAD
A MEETING WITH HIM
ABOUT THIS A MONTH AGO.
BEN IS WORRIED THAT
THE WHOLE THING
IS GOING TO BECOME TACKY,
ARTISTICALLY SPEAKING.
SO, YOU HAVE A
RESPONSIBILITY AS AN ARTIST
TO NOT GO OVERBOARD
WITH THE ADVERTISING,
WITH THE CROSSOVERS.
IF YOU FEEL IT GOES
AGAINST YOUR ARTISTIC...
IF YOU FEEL THAT YOU'RE NOT
GOING TO BE GENUINE ANYMORE
AS AN ARTIST, IF IT'S JUST
GOING TO BE CHEAP, THEN,
AGAIN, IT REDUCES THE
QUALITY OF MUSIC.
AND I'M TRYING TO MOUNT
SOMETHING HOPEFULLY WITH BEN
AND RICHARD AND OTHER
GREAT CANADIAN SOLOISTS,
BECAUSE THE THING IS, WE
ARE NOW IN AN ERA WHERE
I CAN NAME AT LEAST 15
INTERNATIONALLY BUSY,
SUPERB CANADIAN SINGERS WHO
ARE SINGING ALL OVER THE
WORLD, AND WE SHOULD MOUNT A
MASSIVE GALA THAT SHOULD BE
SPONSORED BY BIG COMPANIES,
BECAUSE IT COULD BE LIKE
FIGURE SKATING ON TV.
IT COULD BE BIG BUCKS,
BECAUSE WE HAD BIG,
BIG BUCKS OFFERED TO US FOR
THIS CRAZY TOUR WITH
THE THREE CANADIAN TENORS;
IT WAS GOING TO GO TO JAPAN.
RICHARD WAS TELLING
ME ABOUT THE OFFER,
AND IT SPEAKS A LOT FOR BEN
THAT HE'S ACTUALLY STILL
FIGHTING IT; HE'S NOT
DOING IT FOR THE MONEY.
AND NONE OF US ARE
DOING IT FOR THE MONEY.
MONEY IS OBVIOUSLY
VERY NICE,
BUT NONE OF US WENT INTO
THE THING FOR MONEY.
AND THE REASON I SAY,
BIG AND BIG COMPANIES
AND MORE IS NOT FOR MY WALLET
OR FOR OUR COMMUNAL WALLET,
IT'S FOR THE WALLET
OF ART ITSELF.
BECAUSE I REFUSE TO ACCEPT
THAT IT'S NOT EXCITING.

Richard says HOW DO WE GET AROUND THE
PERCEPTION THAT OPERA
IS FOR OLDER PEOPLE
AND FOR RICH PEOPLE
AND SNOB ENTERTAINMENT?

Michael says IT AIN'T.

Richard says WELL, YOU BELIEVE THAT, I
WOULD LIKE TO BELIEVE THAT,
BUT HOW DO WE TELL
PEOPLE OUT THERE...

Michael says BY DOING WHAT WE'RE
DOING RIGHT NOW,
WHICH IS WHY I'M DOING
THIS WHOLE THING.
IT'S NOT ABOUT ME.
THIS IS NOT ABOUT ME; THIS
IS ABOUT KEEPING THIS
AND MAKING IT MORE EXCITING,
BECAUSE I THINK IT'S GREAT.

Richard says NOW, I HOPE THIS NEXT
QUESTION ISN'T DIFFICULT,
BUT I WAS LOOKING OVER YOUR
SCHEDULE FOR THE NEXT COUPLE
OF YEARS, AND IT'S
INCREDIBLY IMPRESSIVE,
AND IT'S GOT THE MAJOR
OPERA HOUSES OF THE WORLD,
BUT THERE AREN'T A
LOT OF - IN FACT,
IF ANY - CANADIAN
APPEARANCES.

Michael says OH, NO, NOT
TRUE, NOT TRUE.
I HAVE MADE
EVERY EFFORT.
YOU SEE, THIS IS AN
INTERESTING QUESTION.
I THINK FOR EVERY ARTIST
TO BE... WHAT'S THAT SAYING
ABOUT BEING A PROPHET
IN YOUR OWN HOMETOWN?

Richard says EVERY PROPHET IS WITHOUT
HONOUR IN HIS OWN COUNTRY.

Michael says RIGHT, AND I THINK THE ONLY
WAY YOU CAN HAVE HONOUR
IN YOUR OWN COUNTRY
IS TO GO...
WHAT DO WE DO AS KIDS?
WE LEAVE HOME, WE GO OUT,
AND WE TRY TO SHOW MOM
AND DAD HOW GREAT WE ARE,
AND THEN WE COME HOME.
WHY DO WE DO IT?
TO GET RESPECT.
AND THE THING IS THAT I'VE HAD
LOVELY EXPERIENCES IN VIENNA.
I'M GOING TO BE
SINGING AT LA SCALA;
I'M GOING TO BE
SINGING AT THE MET;
I'M GOING TO BE SINGING
WITH BEAUTIFUL, SMALL,
INTIMATE RECITAL
GROUPS IN AUSTRIA.
I'VE SUNG IN VANCOUVER, I'VE
SUNG IN WONDERFUL PLACES.
BUT I FEEL THAT I
HAVE GAINED SOMETHING
FROM HAVING TAKEN THE
TIME TO HAVE GONE OUT,
JUST LIKE I DID MY STUDIES
IN THE STATES TO COME BACK.
I WASN'T SAYING THAT THE
CANADIAN INSTITUTIONS
WEREN'T AS GOOD TO
HAVE AN EDUCATION IN.
I'M BRINGING
SOMETHING BACK NOW.
WHY AM I LIVING
IN CANADA?
IF I WAS LIKE SO MANY OF MY
COLLEAGUES, I WOULD SAY,
I WILL MAYBE HAVE A LITTLE
COTTAGE UP IN GEORGIAN BAY
AND KEEP MY HOME IN MONTE
CARLO - TAX EVASION.
NO, NOT ME.
WHY?
BECAUSE I LIKE IT HERE, I
LIKE THE PHILOSOPHY OF BEING
A CANADIAN, A GERMAN
CANADIAN, AND I THINK NOW,
WE HAVE A BABY GIRL, WE HAVE
THE OPPORTUNITY TO CALL
THIS OUR HOME, AND I'M
GOING TO TRY TO MAKE MANY,
MANY MORE APPEARANCES.
AND SO, I'M APPEARING WITH
EVEN SMALLER CHAMBER GROUPS
IN TORONTO THIS YEAR.
I WILL BE COMING TO SING AN
OPERA WITH A CANADIAN OPERA
COMPANY NEXT YEAR.
BUT MY DREAM HAS BEEN TO BE
AN INTERNATIONAL SINGER,
AND YOU DON'T HAVE AN
INTERNATIONAL CAREER
WITHOUT GOING ABROAD,
BEING AWAY FOR A WHILE.
BUT MY INTENTION IS
ABSOLUTELY - AND I WILL
PROVE IT NEXT YEAR - TO
COME BACK AS MUCH AS I CAN.

Richard says ONCE YOU'RE HERE, HAD YOU
EVER THOUGHT OF PLAYING
THE GAME ALMOST TOTALLY BY THE
WAY YOU WOULD LOVE TO DO IT,
AND TO GET A COMPANY
TOGETHER THAT WOULD PRESENT
MUSIC, IN AS POPULIST
A WAY AS POSSIBLE?
AND NOT HAVING THE
BOARDS OF DIRECTORS
AND ALL OF THAT
OTHER STUFF?

Michael says YOU NEED THE
BOARDS OF DIRECTORS.
WE HAVE TO DREAM AND
YET WE HAVE TO HAVE
TWO FEET ON THE GROUND.
AND WE NEED THE GUY WITH
THE FINANCIAL WALLET,
WE NEED THE SPONSORS,
BECAUSE OUR GOVERNMENT
HERE DOESN'T GIVE
US ENOUGH.
YOU SEE, WHAT WE HAVEN'T
FIGURED OUT IN CANADA IS,
FOR INSTANCE, WHAT
THEY DO IN VIENNA.
THE VIENNA STATE OPERA IS
FILLED EVERY NIGHT TO THE BRIM,
AND THEY REALLY DO
PLAY JUST ABOUT EVERY DAY.
AND THE REASON THEY'RE
FILLED TO THE BRIM
IS BECAUSE YOU CAN'T GO
ANYWHERE IN VIENNA
WITHOUT RUNNING
INTO MOZART.
IN A SENSE, THEY'VE
MARKETED HIM; SALZBURG,
WHY IS THERE A SALZBURG
FESTIVAL WHERE JAPANESE
TOURISTS COME AND SPEND
BILLIONS OF BUCKS,
AND THROW THE MONEY
BACK INTO THE ECONOMY?
THIS LAST YEAR, THE
ONTARIO ART MUSEUM,
AT THE ONTARIO
GALLERY OF ART,
WE HAD THIS INCREDIBLE
EXPOSITION THAT PUMPED
BIG BUCKS INTO
THE LOCAL ECONOMY.
THE RESTAURANTS DO
WELL, SINGERS DO WELL.
THE STRATFORD FESTIVAL
IS THE SAME THING.
PEOPLE COME FROM
UPSTATE NEW YORK
TO COME AND SEE
THESE THINGS.
IF YOU HAVE QUALITY,
YOU'VE GOT THE DOLLAR.

Richard says MICHAEL, YOU SAID
SOMETHING WONDERFUL,
WHICH WAS: YOU HAVE
TO HAVE DREAMS,
BUT YOU ALSO HAVE BOTH
YOUR FEET ON THE GROUND.
AND FOR THE TIME BEING,
I AM VERY GLAD AT LEAST
THAT YOU'VE GOT ONE OF
THOSE FEET HERE IN CANADA.
MICHAEL, THANK
YOU VERY MUCH.

Michael says THANKS VERY MUCH INDEED.

Richard faces the screen and says
FOR DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOODBYE FOR NOW.

Music plays as the end slate reads “Special thanks to Colori Trattoria. Toronto.”

Dialogue.

A production of TVOntario. Copyright 1996, The Ontario Educational Communications Authority.

Watch: Michael Schade