Avery Lafrentz’s most recent opera performance was a unique and challenging experience, but it once again showcased her range and musical skill.
The former Estevan resident is currently studying at McGill University in Montreal as she continues to work on her master’s degree. Her most recent production saw her play The Governess in Opera McGill’s production of The Turn of the Screw, an English opera by Benjamin Britten. She was selected after a virtual audition process that took place in June 2020.
“This opera recounts the story of a young and innocent governess employed at a secluded country manor as acting guardian to two orphan children,” Lafrentz said in an email to the Mercury. “She begins to encounter ghostly reincarnations of a former governess and valet, who she believes are returning to corrupt the children in ways that remain unclear to the audience.”
The majority of The Governess’ time is spent probing the reluctant housekeeper for information about the past and obsessing over the felt presence of the former governess and valet. The character creates an increased sense of duty in a time of utter upheaval, both emotional and mental, after she is informed both the governess and valet are deceased.
“Through each scene we begin to question the good intentions behind the Governess' behaviour towards the children and housekeeper. She views herself as the heroine, even if the audience may not. After putting immense expectations on herself she begins to crumble under the weight of her task.”
The Turn of the Screw was performed on YouTube on Feb. 27, and many people from Estevan signed on to watch the livestream.
“In addition to my surprise, I was also touched that so many people used their Saturday to check out the opera and support what I've been doing out east,” said Lafrentz.
The process of auditions, rehearsals and performance all occurred during the COVID-19 pandemic, creating an experience unlike anything she has been through before.
“The mechanics of the rehearsal process remained the same with the addition of masks, Plexiglas walls and disinfectant protocols. We were further apart than pre-COVID rehearsals,” said Lafrentz.
The director used Zoom to call into rehearsals and staged the show from his home 142 kilometres away.
“We were very lucky to have Patrick Hansen (director) and Stephen Hargreaves (conductor) devise a way for us to even put on an opera during the city-wide curfew in Montreal,” she said.
“Their leadership and perseverance are what made this entire production happen. I am very grateful to everyone involved with the entire show for their willingness to participate in difficult circumstances. I can't believe it actually happened; the odds were so against us.”
The production was rehearsed and filmed during the Level 4 - maximum alert pandemic restrictions, which included an 8 p.m-5 a.m. city-wide curfew. The Government of Quebec allowed, if necessary, for student attendance in labs or classrooms for practical training on specific equipment, should a program or the competencies to be developed.
They were able to create and perform this production in the Schulich School of Music's Pollack Hall because McGill University has designated music ensembles as labs. Government regulations for personal protective equipment were closely observed and followed from the rehearsal room to hall.
Lafrentz said she is certain she will look back on this opera as one of the formative experiences of her musical life.
“It was very taxing to emotionally portray a woman living in isolation and fear in the midst of our global pandemic. The music itself is incredibly complex and non-intuitive, but the real effort was allowing this character's pain and anxiety to enter my own life during our time filled with uncertainty.”
The performance was part of the completion of her master’s degree at McGill. Lafrentz will be graduating this term.
“It has been surreal to finish this degree; it has been a long-term goal of mine for years.”
Lafrentz has started a small voice studio through Zoom and is excited to be exploring the musical development of singers of all ages and styles. Right now, she is able to teach all across Canada, provided singers are interested in online learning.
“After all, I came into music as a musical-theatre lover and surprisingly found myself in opera, but I hope to continue performing in many styles.”
