Pauline: Artists' Notes

Judith Forst
Being a Canadian woman and artist able to play a Canadian woman and artist is very important to me.

To have the opportunity to sing a text by Margaret Atwood - what better could there be? Concerning Christos Hatzis? It is a very exciting time to be able to work with a composer of his stature.

Margaret Atwood
Pauline Johnson has interested me for a long time. It was I who restored her to the 'canon' after a period of eclipse -- I included her in my edition of The Oxford Book of Canadian Verse in English, back in the early 80s. I felt she really deserved to be there, as she is such an iconic figure -- and so far ahead of her times -- in so many ways.

The opera weaves Pauline's conflict with her sister in and out of her interactions with the phantom of her lover, as cancer and morphine contribute to the mix. The main arias use Pauline's own words, from her poems. I am proud to be a part of this production.

Christos Hatzis
Margaret Atwood's uncanny ability in creating vivid characters for her novels finds here a new forum on the operatic stage. Pauline has already a very strong voice in the pages of the libretto and one can only imagine what further strength this character will attain through the magnificent vocal instrument of Judith Forst, one of Canada's vocal treasures.

Canadian opera on Canadian subjects has been having a renaissance in recent years and this will build upon this growing legacy. It will be my first attempt at this genre, but I have been eager for a while to find a good libretto so that I can get creatively involved with this medium.

“This is the opportunity I have been waiting for. I am sure that, with your meticulous development of this project through all stages of pre-production and production, this will be a project the impact of which will be felt across Canada and internationally.