childhood

Opera based on true stories

Arya Yazgan plays young Sophia in Sophia’s Forest, a chamber opera by composer Lembit Beecher and librettist Hannah Moscovitch, which is at SFU’s Goldcorp Centre for the Arts until June 1. (photo by Anya Chibis)

City Opera Vancouver (COV) presents the Canadian premiere of Sophia’s Forest, a chamber opera by composer Lembit Beecher and librettist Hannah Moscovitch, on stage until June 1 at Studio T at SFU’s Goldcorp Centre for the Arts.

Directed by Julie McIsaac, under the baton of COV artistic director Gordon Gerrard, the one-act opera explores various themes through the story of a young girl, Sophia, who flees civil war and settles in a new country.

“In a time when it’s easy to feel overwhelmed by global conflict, Sophia’s Forest invites us to connect to the individual stories behind the headlines,” said Gerrard. “Composer Lembit Beecher and librettist Hannah Moscovitch have created a deeply resonant story – one that speaks to empathy, resilience and the enduring capacity for hope amidst even the darkest circumstances.”

While Sophia’s Forest is not based on a single true story, it draws inspiration from the lived experiences of many who have endured war, loss and displacement. Through the fractured lens of Sophia’s memory, the chamber opera speaks to the human cost of conflict and the strength required to overcome adversity. Its intimate setting and small ensemble help to magnify the emotional intensity, offering audiences a space for reflection and deeper understanding.

The production integrates live performance with projections by Wladimiro Woyno and an array of mechanical sound sculptures, created from bike wheels and wine glasses, that are controlled remotely in real time by the composer Beecher. These sounds and images – accompanied by a live string quartet – conjure memories and dreams from Sophia’s past: the ring of a wine glass becomes a child’s voice; the whirr of a bike wheel evokes fluttering wings.

For its Canadian premiere, Sophia will be performed by soprano Elena Howard-Scott, Anna (Sophia’s mother) by Adanya Dunn and Wes (Anna’s partner) by Luka Kawabata. Young Sophia will be performed by Arya Yazgan and Emma (Sophia’s sister) by Audrey Gao, both members of the Vancouver Bach Family of Choirs. The chamber opera will include sound design by Richard Berg with costumes by Alaia Hamer.

Sophia’s Forest is COV’s first project in a multi-year initiative that aims to showcase and explore the stories and experiences of newcomers to Canada, including celebrating artists who contribute to Canada’s cultural diversity. For tickets and information, visit cityoperavancouver.com.

– Courtesy City Opera Vancouver

Chicken soup and life

I don’t know what the reason is, but I note a change in my attitudes, ideas and emotional makeup. Could it be my advancing age, or was what I’m feeling always there, hidden under the impedimenta of getting through life?

We all start out, when getting on our feet, stumbling about – in choosing our direction, determining a focus, finally forging the path or paths that will be the ones we follow through most of our lives. Our background cannot help but be important in that process and, for some people, it is the essence of who they are. For me, I never felt it was of much matter.

These days, however, as I advance toward the final curtain, with a burgeoning altered perspective, I become more and more certain that I am all about what I was when I started. This may mean nothing to so many of you out there who have re-made yourselves into the images of what you wanted to be, rather than that what you were, but this seems to be the truth for me. I am extremely conscious of this because I had a spouse who totally remade herself into what she wanted to be by conscious effort, but I find now that that was not to be for me.

I know that I am being arbitrary by appropriating the “chicken soup” theme as an ethnocentric symbol of my Jewish background. Surely it is available and present in the culinary arrays offered by so many cultural groups. Nevertheless, I have seized on it because of what it means to me and to so many of my co-religionists. How often was it a centrepiece of the Sabbath meal, when chicken was the only meat offering even in a spare week’s diet, in the shtetl and on the tables of recently arrived immigrants in the “new world”?

For me, no matter how important the item was in the diet, making the sparse stretch so much further, it has a context for me that goes much further, even beyond its important role as “Jewish penicillin.” For me, it speaks of home and hearth. For me, it speaks of a mother’s love for her children, her family and her home. It speaks to me of taking something small and making it into something big that had ramifications for a person all of their lives.

For many us, our lives are shaped by the happenstance of our early experiences. Child psychologists can confirm that the impressions we absorb in our early days can have important implications for the people we become in our later years. I believe that one of the important things parents can offer their children is to provide evidence to them of unconditional love. We absorb that into the essence of our beings unconsciously and it can set us up well for life.

Chicken soup speaks to me of unconditional love. Whoever we are, whatever it is, that love can impart a sense of self-confidence that can otherwise take years of positive experience to generate. It can give us the strength to try, and fail, and try again and again until we succeed, or choose to move on.

For me, the humble chicken soup speaks of that unconditional love. For me, in the Jewish home of my upbringing, that was the message I received. So, now, after many decades of pursuing a life in nonsectarian environments – for the most part, a Jew among non-Jews – I trace back my capacity to arrive and thrive, to the original environment from which I drew my strength.

Am I being too ethnocentric? Surely, working in an environment that was much more merit-based than the one my grandfather and father were born into made an enormous difference? All too true! And yet, for me, I feel the difference of how I grew up.

Whatever your background, from where do you draw the drive that powers you through life? Mine leads back to chicken soup.

Max Roytenberg is a Vancouver-based poet, writer and blogger. His book Hero in My Own Eyes: Tripping a Life Fantastic is available from Amazon and other online booksellers.

Memoir goes beyond borders

Many Jewish Independent readers will be familiar with the name Mira Sucharov. Whenever the paper ran her op-eds, at least one passionate letter to the editor could be expected. Agree with her or not on the topic of the Israeli-Palestinian conflict, she makes you think. And her latest book, Borders and Belonging: A Memoir, offers insight into how her mind works and how she has come to form her continually evolving ideas on the controversial subject.

But it’s not all politics and there’s no academic speak, though Sucharov is well-trained and has much experience in these areas – she is a professor in Carleton University’s department of political science and is University Chair of Teaching Innovations; she has developed courses for the university and has won teaching awards; she has multiple writing and editing credits. Borders and Belonging explores Sucharov’s political views and their development, but gives more time to childhood experiences, both happy and anxiety-ridden, including being a child of divorce, past romantic crushes, tales from Jewish summer camp, insights gained from living on a kibbutz, and more. It is an at-times cringeworthingly open coming-of-age story.

“I gave my dad and my mom parts to read, and I checked the scene about my daughter with her, as I did want at least their tacit blessing that this memoir wasn’t going to cause pain,” said Sucharov when the Independent asked about her candidness. “As for other family members, I basically let the chips fall where they may. I did make an effort to generally not try to ‘score points’ regarding other family members, for the most part. There’s a maxim in writing creative non-fiction (memoir), one that my writing mentor emphasized to me as well: write from scars, not wounds. Not only did I not try to actively make my family and friends appear in a bad light, I tried, most of the time anyway, to spotlight my own foibles and vulnerabilities. I think it makes for a more interesting read anyway. No one wants to read a memoir written by a narrator who is defensive and who is unaware of her own flaws.”

And Sucharov reveals many of her perceived flaws. She has dealt with high levels of anxiety her whole life, it seems, and, in many an instance, her stomach flips or lurches from feelings of rejection, excitement over a boy, worry over being among kids she doesn’t know, pleasure at being in beautiful surroundings, or tension at being confronted by someone who disagrees with her.

In addition to the sometimes-brutal self-assessment, readers will also be struck by Sucharov’s memory. The details – books read, games played, reimagined conversations, etc. – are noteworthy. And Sucharov did take notes, she said. She kept a journal for a couple of summers when she was a camp counselor and when she was in Israel in the early 1990s. But, she said, “I remember a lot. For some childhood scenes, I juxtaposed memories of objects I knew I owned (specific toys, games, clothing and books) with particular events I recall occurring. So, for example, when ‘Leah’ sleeps over, I don’t recall if I read Roald Dahl on that particular night, but I do know that I read lots of Roald Dahl at that point in my life, so I inserted it as a period detail.

“Same with the Archie comic being read in the cabin while I inadvertently undress in front of a boy, causing me great embarrassment. I don’t know for certain whether we were reading Archie comics on that particular day, but I do know that we read Archie comics during that time in our life. Adding these details is a way of setting scene and drawing the reader into a world, rather than writing, ‘we used to read Archie comics.’ I treasured my toys, books and games. I’m still trying to forgive my mom for selling my remote-controlled R2-D2 robot toy at a garage sale for five bucks one summer, while I was away at camp.”

By way of another example, Sucharov said, “As for the separation scene that takes place before I’ve even turned 4: my own memory is that my parents asked me to pick toys to place in one house and in another. Recently, though, my dad gave me a different account: he said that he and my mom took me into their bed, placed me between them and broke the news. I do not recall this. So, instead, I used the memory that I did have, even if it had been partly of my own creation. In that case, it may not have been totally accurate, but it succeeds at capturing the emotional dynamics of the event – me having to cope with my parents’ separation, which was traumatic.”

Other aspects, such as exactly which scary Disney movie she watched at her dad’s, were verified with one of her “all-time favourite tools: IMDb!” And some instances she recounts are composites of multiple moments.

Sucharov has no regrets about laying so much out there publicly. “I’m a firm believer in modeling vulnerability,” she said.

“In writing and in teaching, it creates a crucial connection between writer or professor/instructor and reader or student,” she added. “By introducing our backstage selves, it can help others better learn how to soar. It is an ethic of generosity.”