I am not Canadian, but I’ve known lots of Canadians and I like to think I have many Canadian friends. Though we share a common language, I find there are more deeply rooted cultural differences than we Americans commonly see.  One huge difference, I think, is that outside our North American continent, a Canadian is much more likely to be assumed to be American than the reverse.  So when you hear about an English-speaking summer opera program in Italy, and it’s for 30-50 up-and-coming young singers, you might likely assume it’s American.  Well, that’s where you would be wrong.

COSI (come on now, that is clever!) is the acronym for the Center for Opera Studies in Italy.  And, just like you were probably surprised to read that it is specifically there for young Canadian singers, you may have to check your map to find Sulmona.  A small community of just 25,000 residents, it is nestled in the heart of the Abruzzo region, and, prior to becoming the host of COSI, was best know as the home of Ovid.

Over the last several years the regional government has begun seeking tourists’ attention and so has particularly welcomed COSI since 2007 for over a month during the summer when they are in residence.  Darryl Edwards is the godfather and Director of the program. “For us,” he says, “it’s not just about ‘having a fun experience,’ though of course it is a lot of fun.  It’s about developing professional-level opera singers and staging  professional-level operas.”  This summer’s season will be the third for COSI;  the 2009 season had to be canceled due to the devastating earthquake in L’Aquila, just 40 kilometers away.

The idea for the program started taking shape about six years ago when Darryl realized that while several successful programs were in operation for American students (Oberlin in Italy, Opera Festival in Lucca to name just a couple), there was no equivalent program in Italy to feature young Canadian talent.  And why Sulmona?  Connections, really.  It was recommended by the father of one of Darryl’s students, who originates from a small town called Raiano not far from Sulmona, and was able to make the initial contact.  Darryl then traveled and spent some time in the area, and quickly began to formulate how this program would be structured.  He decided that he didn’t want to limit the program exclusively to Canadian students, since the interaction between them and their international counterparts would undoubtedly benefit all parties, but he knew that placing the focus on Canadians would fill the distinct gap to foster young Canadians opera talent.

COSI, like other similar programs, doesn’t come cheap.  Especially during these tough financial times, it’s harder than ever to find enough singers who can afford to pay the cost of tuition or gain support from outside funders.  COSI has been extremely lucky to have received the support of the Bel Canto Foundation for Italian-Canadian Heritage and Opera who have hosted several fundraisers and provided the financial stamina for the program.  The Foundation usually attracts around a thousand donors to its gala each year.  This year the guest of honor will be internationally-acclaimed tenor Salvatore Licitra.
 The funds raised by the Foundation have allowed Darryl to hire world-class teachers, coaches, directors, and conductors to travel to Italy and work with the students as well as conduct auditions across all of Canada in search of the very best of the country’s young talent. The foundation’s support has also enabled him to provide significant scholarships to students wishing to study but unable to afford the tuition.  “Four thousand Canadian dollars is a lot for anyone,” says Darryl, “especially when you consider that an entire year’s tuition at a school like the University of Toronto costs between six and seven thousand Canadian dollars.  The fact is this is a huge percentage of students’ allotted funds.”

Darryl must be doing something right, because in just three seasons, he hasn’t come up short in student talent, faculty notoriety, or the quality of the directing staff he has been able to hire. In fact, plans are already in full swing for the 2011 season!  He boasts several voice teachers who have performed (or still do perform) at the world’s leading opera houses, among them Wendy Nielsen and Patrick Raftery, Metropolitan opera coach Carol Isaac, and Rachel Andrist, principal coach for the Young Singers Project for the Salzburg Festival.  Last year Darryl was even able to secure James Marvel, one of the most in-demand stage directors both in the U.S. and abroad, to direct La bohème.  “James can create a show with a stick and a sheet.  I don’t know how he does it!” Darryl says laughing, “but he just has a way with young singers.  He guides them just far enough and then entices them to explore the rest on their own, bringing them back to center if they stray, but allowing them to experiment and create compelling characters and stories.  Luckily James has accepted an invitation to direct L’Elisir d’Amore in Sulmona in 2011, and, of course Darryl says he is “delighted that James is so enthusiastic about returning.”

And who wouldn’t be, really!  Day-to-day life there sounds like an absolute dream.  “Everyone lives in the center of town during their stay in Sulmona because we really want them to have the ideal Italian experience day in and day out,” says Darryl.  The students live in B&Bs and dormitories—oftentimes convents—in single or double rooms.  They all eat meals together at a restaurant that has been hired to cater for them (that’s the mascarpone part!). “I know it sounds hokey,” Darryl comments with a smile, “but we really are just like one big, happy family.
The students’ day begins with Italian language classes, in the afternoons they either have a coaching or a voice lesson, and in the evenings they rehearse the opera or opera scenes.  “Unlike the Italians, we don’t take a siesta,” Darryl jokes.  “We probably should, but since we have to put both the opera and the opera scenes up in less than a month, we need to plough right through.”  Unlike some other programs in Italy, COSI students are guaranteed at least four lessons or coachings per week. “It really is an intensive training program, and we want to make sure that the students get what they deserve—and what they’ve paid for—from us.”

COSI provides something else rare in the burgeoning opera student experience: the chance to sing with a full orchestra.  In previous years Darryl has employed the Razgrad Philharmonic Orchestra of Bulgaria while it has been on tour, but this year he told me excitedly that the Toronto-based Aradia Ensemble (Kevin Mallon, conductor) will be in residence for the production of Handel’s Giulio Cesare.  I asked why he chose this opera, which seemed an interesting choice given that the two previous productions (Le nozze di Figaro and La bohème) as well as the upcoming 2011 season (Don Giovanni and L’Elisir d’amore) showcase more mainstream romantic Italian operas.  “There was really one main reason,” says Darryl.  “It is ultimately a noble opera, and in a region that has undergone such recent catastrophe (referring to the earthquake around L’Aquila), a reminder of integrity and nobility will be heartening.”  Because not all the students can be given roles in the operas, Darryl carefully selects a number of opera scenes for that season so that each student is able to showcase his or her talent and gain valuable stage experience.  The scenes then go on the road to neighboring towns and villages and each student is guaranteed several performances.

All events are free, of course (listen up, USA!), since the Italian government, like many European governments, heavily subsidizes the arts.  “Nobody would come if we charged admittance,” Darryl tells me, so unfortunately they cannot rely on ticket sales to boost their revenue.  “We know that’s how it works, though,” says Darryl, “and the local government and people are so generous with their in-kind payments.  We receive rehearsals space for free, and performance space, too.  All we pay for, really is our lodging and food.  Most people in the town know us now,” says Darryl.  “We’re friendly with all the folks in the local gelaterias, and we’ve made friends with the members of the local government, which helps of course.”

Four new components are in hand for those who successfully audition for COSI 2011: The COSI Opera Festival Voice Competition, which will give out sizeable financial awards, an Academy of Singing for gifted and advanced undergraduate and graduate-level singers, a Professional Development Program for Voice Teachers who want to grow their Italian skills and engage in COSI’s “peak performance” resources, and perhaps most interesting to many -- agent auditions -- in which COSI participants may perform for and receive feedback from prominent and influential European conductors and agents.
There must be a downside here somewhere…but no.  How can you find any faults with about three to four dozen wonderfully talented and energetic young opera singers coming into a small town for a few weeks, getting in no one’s way, and presenting top-notch opera at the end of it.  So if you’re passing through Italy this year, whether with a backpack or a Louis Vuitton case, see if your plans can’t be changed to take you through Sulmona.  It’ll be worth your while.  And if you are a Canadian singer (or you’d like to feel like one), it’s probably a good idea to contact the program: www.co-si.com.