ADDRESSING THE NEED

"Is it possible yet for a Canadian to manage an international career out of Toronto or Vancouver, or say, Brandon? It is important to us because we have largely paid for their education and training and if they continue to leave, it's a cultural and financial investment down the drain" .

- Globe and Mail

With orchestras, opera companies and concert societies booking almost two years in advance, the IRCPA keeps artists focused in order to bridge the gap between graduation and full employment.

The crucial period for the performing artist's career comes after the completion of training but before a national or international reputation has been earned. Training must concentrate on artistic concerns, but artists must still prepare for the business and professional aspects of their careers. Without the knowledge, artists have either had to leave the country or have simply never realized their full potential.

Major employers plan their seasons several years in advance, so new artists need advice on how to survive and stay focused in the interim. With help, the IRCPA artists can be based at home while enjoying an international career.

Each Fall and Spring, "Encounters with Employers" and "Business in Performing" workshops are scheduled in Toronto, as funds permit. A National Network was created with a grant in 1989 with short, basic sessions in Vancouver, Calgary, Regina, Brandon, Montreal, and Halifx. Scholarships were granted in each city to enable artists to participate in the Toronto season.

Experienced mentors give their time to advise "fellows" in career decisions, strategic planning, business and artistic choices.

Founded in 1984, incorporated in 1985, the International Resource Centre's "Careers in Focus" program has helped classical performers stay connected to the industry after graduation from formal training programs, and to bridge the gap between school and steady employment.

For several years, "Singing Stars of Tomorrow" concerts were produced in Toronto's Glenn Gould Studio following the sessions.

A Singers Round Table was created for artists to practice performing in auditoriums, rather than small studios.

Round Table discussions were organized for parents of gifted children. Parents of Karen Kain, Veronica Tennant, Ofra Harnoy, and Shawna Farrell shared their experiences.

Balletto Classico, a group of 6 classical ballet dancers was organized for performances in Italy for the Music and Architecture Festival dedicated to Canadian artists. On their return to Canada, they requested to continue performing together. Vanessa Harwood became the artistic director. For several years, Balletto Classico performed the grand pas de deux, and solos of the traditional repertoire and produced new works for audiences in communities unable to afford large companies. The dancers included members of the National Ballet of Canada and the Royal Winnipeg Ballet. Several young dancers also made their first performances together with these outstanding professionals. Their last performances were with the Kitchener-Waterloo Symphony in several sold-out performances in Centre in the Square, and in Toronto at Roy Thomson Hall.

To celebrate the careers of prominent Canadian singers, and to showcase young artists, Sumptuous Sunday Brunches were organized in 1999. Clarice Carson, Louis Quilico, Mary Morrison, and Ermanno Mauro, were honoured for the contribution to Canada's reputation and prestige, and two sopranos, two baritones, a tenorand mezzo-soprano were showcased.

In his recent television special, Ben Heppner described his "desert years" before steady employment was possible. The goal of the IRC programs is to keep artists connected to the industry, once their formal training is completed and they are looking for work.

"I would like to thank you for your recommendation that I audition for Bramwell Tovey. Due to that audition, I now have my first contract."
--Hugh Russell, Baritone

"The Centre's session were a turning point for me in many ways...they put me on the right path in several aspects for which I'm most grateful. I completed my B.Mus and performed in Edmonton, Vancouver and Toronto. I have this year been part of the International tour of "Phantom" in Singapore and Hong Kong. This steady work has certainly helped me pay my education-related debts. Thank you for your attention, for your hard work and for bringin Joan Dornemann to Vancouver."
--Lee Jameson, bass baritone

"...you can see the rush of 'enlightment' cross the faces as they encounter - many for the first time - the data, tools requirements and techniques that are not only important for young artists to know, but to learn it is actually expected of them. The work you are doing is very, very important and I was particularly pleased to see how much the quality of the seminarians has grown from year to year."
-- Richard E. Adams,
Manhattan School of Music