The Resurrection: expressing human exuberance with a catalyst for immoral behaviour

25 Mar 2023 - Production photos by Bruce Zinger

Handel's The Resurrection was first staged in 1708 in Rome. Unfortunately there was a papal edict against opera being performed, because it was a "catalyst for immoral behaviour." Handel and his patron, the Marchese Francesco Ruspoli, devised a workaround and labelled The Resurrection an oratorio. "A sacred oratorio," notes Gerard Gauci who designed the set for Opera Atelier's production of The Resurrection. And instead of staging The Resurrection in a theatre or opera house, the elaborate set, singers, dancers and 40-plus orchestra performed in the ballroom of the prince's palace. "Our production is off site as well," says Gauci. "Our home is the Elgin Theatre. Koerner Hall is a concert hall, it doesn't have a proscenium or a fly system." But what it does have is "acoustics. Finally we have great acoustics. The Elgin is . . . challenging. For the singers and orchestra it is thrilling."

Gauci too is excited, even though the new venue presented many challenges. "This is the largest set ever installed in Koerner Hall. They do have a loading dock but not a large elevator. We had to design in component pieces" and one of those had to be cut in half and reassembled. The staircases and varied playing spaces are partially dictated by The Resurrection being set both in heaven and hell, but also by Gauci's determination to give director Marshall Pynkoski opportunity for visual as well as aural excitement. "As an audience member I'm frequently bored by the 'park and bark' experience with very little movement. It becomes a musical experience instead of a theatrical one. Marshall was a dancer, he has a fantastic sense of staging." Gauci also notes that this The Resurrection will include a "full corps de ballet." As well as two pulpits, one adorned with a dragon, the other an eagle, from which Lucifer and an arch angel debate in arias.

Gauci also had to adapt to what he calls Koerner Hall's "personality. It has tremendous presence with the undulating ceiling of honey-coloured wood. The wood that surrounds the stage to keep the sand even throughout the house. Rather than fight it, I decided to complement the house rather than dropping something foreign on stage. Instead of the elaborate painting I usually do, we're painting the set to match the wood. Make the stage the way the music sounds." This is a departure for Gauci whose previous set designs for Opera Atelier have leaned heavily into his natural affinity for Baroque painting. "It expresses human exuberance," he says. "The ultimate expression of over the top. It's so joyful and engaging. That elaborate complexity is endlessly fascinating." But "my job is to enhance, to create something attractive to the eye but not distracting. A clever idea can overwhelm or fight against he music. And this music is magnificent."

It was Gauci's fascination with Baroque art that got him his position with Opera Atelier. He graduated from OCAD as an illustrator and was commissioned to by the CBC Radio Guide to do a cover that "included a Baroque dancer. Marshall and Jeanette Lajeunesse Zingg were just starting the company and they kept that cover on a bulletin board." Gauci was called to "contribute some props, then more elaborate work for the next show. It was seat of the pants, learning on the job. We were fated to meet. Our interests are very parallel, an aesthetic vocabulary. It makes working together very enjoyable. It's not often you stay in a position for almost 40 years." Especially as Gauci is much in demand both as a fine art painter and as a curator of gallery and museum exhibits. "A painting is a physical object that will hopefully outlast you," says Gauci. "Theatre is intrinsically fleeting. It's a great deal of work and expense for three nights but I do get to see my work come to life." Gauci notes that opera is the most expensive art form but, "I would love to see a couple more nights."