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We had the pleasure of sitting down with Jonathan Kravtchenko, the mastermind and composer behind the sensational new Canadian opera, "Tango for Two." In this exclusive Q&A session, Kravtchenko shares insights into his creative process, the inspiration behind the opera, and what audiences can expect from this groundbreaking production.
Q: What inspired you to create "Tango for Two"?
A: "Tango for Two" was born out of a desire to explore the complexities of love and sacrifice in a fresh and innovative way. I've always been fascinated by the power of music and dance to convey emotion, and I wanted to create a piece that would showcase the synergy between these art forms. The idea of a sailor torn between his duty and his heart seemed like the perfect vehicle to explore these themes.
Q: How does "Tango for Two" differ from traditional operas?
A: One of the most significant differences is the central role that dance plays in "Tango for Two." While music and vocals are still integral to the production, dance serves as a powerful storytelling tool, allowing us to delve deeper into the emotions and relationships of the characters. It's a more immersive and dynamic approach that I believe adds a whole new dimension to the opera experience.
Q: How does "Tango for Two" differ from traditional operas?
A: One of the most significant differences is the central role that dance plays in "Tango for Two." While music and vocals are still integral to the production, dance serves as a powerful storytelling tool, allowing us to delve deeper into the emotions and relationships of the characters. It's a more immersive and dynamic approach that I believe adds a whole new dimension to the opera experience.
Q: What's next for "Tango for Two"?
A: We're thrilled to be taking "Tango for Two" on the road for a national tour, bringing this uniquely Canadian opera to audiences across the country. It's an exciting opportunity to share our passion and creativity with a wider audience and to showcase the incredible talent we have here in Canada. After that, who knows? I'm always eager to explore new ideas and push the boundaries of what opera can be.