Musical works

ABOUT THE OPERA
Based in part on real events and historical figures, the action of the opera takes place in Montreal in October 1970. The plot focuses on the relationship between two journalists: a young anglophone named Mary Vance, and the older, seasoned francophone reporter Sylvain Leclerc. The two reporters end up collaborating closely on coverage of the kidnapping of James Cross by the FLQ. Parallel to the events of the October Crisis, Mary is living her own personal crisis, as she is seeking to terminate an unwanted pregnancy, which was illegal in 1970.

“There is a recurrent character, a central link, in all four operas of the cycle : the Time Traveller. As a theatrical device, time travel allows us to explore a global vision of contemporary society,” explains Tim Brady.

The Time Traveller reappears this time in the form of a Russian ballerina who hopes to defect from the USSR after her performances in Montreal. The dancer predicts many events of the October Crisis to Mary, who is then torn about what to do: should she use her work as a journalist and this Time Travel knowledge to change the course of history?

As the personal struggles of the characters seamlessly intertwine with tumultuous historical events, the opera serves as a lens through which to witness political violence, the impact of abortion rights, and the control of information. However, it is through the prism of time travel that the opera delivers a profound reflection on how these issues relate to broader societal challenges, delving deep with unapologetic vulnerability into the inherent struggles of power, autonomy, and human rights, and their profound impact on the human experience.

INFORMATION : Montréal Oct. 1970 carries forward the dreamlike sensibility of the previous opera in the cycle, Backstage at Carnegie Hall. And as before, we are confronted with a work that fearlessly deals with the past in order to shine a light on the present.

WORDS AND MUSIC
Brady’s dramatically radiant, transparent and hybridised musical language, combines brilliantly with Lavigne’s haunting, atmospheric and emotionally resonant voice. 

The bilingual libretto is by francophone playwright Mishka Lavigne, who writes in both official languages. A two-time Governor General Award winner, she bridges English and French through her substantial body of work. She creates immersive worlds with seamlessly shaped narratives that blur reality and imagination. Her emotionally resonant writing is raw with unflinching honesty. Her characters grapple with dilemmas and existential questions to extreme depths of despair and resilience. Her profound examination of identity, memory, human emotion, and relationships challenges readers to reconsider their perceptions of the world and the human experience.

"I am interested in the humanity of my characters, their emotions, thoughts, loneliness, and distress. I choose to delve into the intimacy and interiority of the characters to have them discuss things bigger than themselves. I want the humans in the audience to recognize what is human on stage because it is by accessing this humanity that the audience undergoes a transformation." — Mishka Lavigne

The music is by one of Canada's leading composers, Tim Brady, who is also recognized as "one of the 30 most important guitarists for the future of the instrument" (Guitar Player). Those words hold true even after 25 years. The nature of the guitar is deeply ingrained in his music. Brady's never far from his instrument; it influences everything he composes. Structure is also central to his practice. Organising the fundamental elements, such as large-scale harmony, makes his music truly communicate. His unique musical language embodies a highly personal synthesis of contemporary classical, jazz, rock and electro-acoustic influences. He believes that contemporary concert music is not a "style," but should rather be an honest reflection of the totality of the composer's musical and personal experience. 

Tim Brady thinks big. He is drawn to long-form music, ranging from concert-length pieces for solo guitar or chamber ensemble to orchestral symphonies and operas. This allows him to explore human emotions and societal themes at their most intense and complex moments. His vocal writing reveals a deep appreciation for words: a syllabic text setting, a keen grasp of temporal space, balancing instrumental texture and vocal delivery. It's all about ensuring that the words are not only heard but also understood. His music is dramatic, compelling, and emotionally charged, yet also grounded. A universal quality resonates with listeners, allowing them to immerse fully in a sound that is open to the world.

HOPE (AND THE DARK MATTER OF HISTORY)
Information : Montréal Oct. 1970 is the second opera of a tetralogy entitled Hope (and the Dark Matter of History). The cycle of four operas is being presented in stages from 2022 to 2028. The first opera, Backstage at Carnegie Hall, was presented in 2022 at Centaur Theatre. A multiracial opera that explores racism as seen through the eyes of legendary jazz guitarist Charlie Christian, with a libretto by Audrey Dwyer. The cycle will be completed in the coming years by The Mars Project (libretto by Alexis Diamond) and Sophia (libretto by Yvette Nolan), operas currently in development.

The four operas are linked by a central character that recurs in each one: the Time Traveller. This allows us to visit four different eras: 1939 (New York City), 1970 (Montreal), 2040-41 (Mars) and 2056 (somewhere on Earth). The third opera is about the colonization of Mars. In the last opera, artificial intelligence confronts humans after a climate catastrophe.

Creative artistic work connects with the audience emotionally, making it a powerful way to identify and confront the problematic sides of social, cultural, political, religious, economic and industrial practices. These operas aim to do just that. May they provoke a flood of emotions that lead to empathy and reflection. May they help us question our values and beliefs and give us hope. May they motivate us to figure out how to do better – and to do better!