First off, what inspired you to write this story? And Second, why an opera?

KYLE: I was reading a history of the third Crusade – which is one of the most impressive and intense campaigns in history with two of the most titanic leaders, Richard I and Saladin – and after these two Kings had battled each other into a stalemate (almost friendship even), it was time for Richard to go home. He met with more adventures on the way home which ended up seeing him imprisoned in Austria, then Germany for some of his antics during the campaign. This is the period that Robin Hood explores – King John seized the throne in the Lion Heart’s absence and ran the place into the ground.

During this period there was a bunch of legends that sprung up about the Lion Heart: that his minstrel, Blondel, sang through the countryside in an attempt to locate him, that he played Pluck Buffet (exchanging punches) with a Duke’s mighty son, and weathered the affections of a young noblewoman. The most impressive of all was an account of him fighting a lion! Here was a story that was intimate enough for the stage and didn’t require the effects of a film, but was inherently musical, so, I decided to make it an opera. Musical Theatre just wouldn’t have been the right fit with the poetry. It was my first opera.

COREY: I had always dreamed of writing operas, but it was always difficult to know where to begin, nevermind face up to the task of creating something that could compare to the brilliance and complexity of my favourite operas. When Kyle brought this to me, I had already written a few musicals, done some orchestration for jazz bands, and done some arranging for various church functions, but I still wasn't sure what I wanted to do about this. He was very persistent, checking in though I often hadn't touched it. Though initially I felt really ouut of place, as my musical imagination grew and matured, inspired by an increasing familiarity and appreciation for the text, it became clear that this was something I was meant to do.

You said Kyle brought you the project: when and how did that happen?

COREY: We were singing on a production of Tosca in Ottawa and we had a lot of backstage time, so we got to talking.

KYLE: I noticed how exceptional a musician he was, so I thought he’d be right guy for the job. Plus, at that point, the libretto (script) had been sitting around on my shelf for over 10 years!

What makes The Lion Heart different from other operas?

COREY: I always knew that if I wrote an opera, I would want to bring all of my love of opera to a modern audience by allowing my musical imagination to combine opera and modern film/video game scores. Musically I’ve tried to tap into the motifs and feel of modern movie scores, but, I’ve also been careful to avoid making the voice just another instrument, which so often happens in a lot of new operas: the singer will either be drowned out by competing orchestration, or will blend in to a sound scape without direction or melody. Kyle was adamant about writing music that people could easily hum after leaving the show. 

KYLE: That’s right. The orchestration is still complex and nuanced, but it sounds like it’s simple, and that’s the true challenge. This opera is also different because it’s in English! No sur-titles needed. I also believe we have the only lion fight in the canon, though, an opera historian might be able to set the record straight on that.

So, what can people expect when they come to the show?

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KYLE: First of all, they can expect to have fun: the show moves quickly and the characters are charming – no crooning here. They can also expect to be moved to compassion, and hope: the latter is especially needed these days. So much of the work out there is dystopian and drab, but we’ve decided to reinvigorate the scene with something triumphal and full of hope.

We’re starting out with an in-concert performance: we want to hear audience feedback before we start moving towards a full production. If we can entrance our audience with just the music and acting, then we know we’re on to something. So, they can expect delightful performances by some of Toronto’s most dedicated up and coming, and established, singers.

COREY: They can also expect an orchestra! Thanks to a generous grant from the Canadian government, we’re going to be able to perform the piece with the full 40 piece orchestra envisaged in my orchestration.