Echoes of Bi-Sotoon is a new opera based on the work of seven BIPOC composers from around the world. The title comes from a historical site in present-day Iran with a history that dates back thousands of years.
The performance takes place June 6 at Toronto’s Array Music Space. Partners and funders in the production include the Iranian Female Composers Association (IFCA), and Array Music.
Bi-Sotoon, also called Bisotun or Bisutun, is a UNESCO World Heritage Site, and was part of the ancient trade route that linked the empires of Persia and Mesopotamia.
Bi-Sotoon
The word comes from the Old Persian language, and means “the place of god”. There is archaeological evidence that the region has been inhabited for at least 40,000 years.
The high plateau region located at Mount Behistun in the Kermanshah Province in western Iran is the site of a large bas relief carving. King Darius the Great, or Dariush Achaemenashi, whose reign lasted from about 522 to 486 BC, is depicted in the bas relief with his boot on his enemies.
The inscription underneath the carving contains about 1,200 lines, and is written in cuneiform in three different languages: Old Persian, Elamite, and Bablyonian, and was ordered by Darius himself. Its creators took advantage of a smooth limestone precipice, and covered an area about 15 metres high, 25 metres wide, and 100 metres long. A copy was found translated into Aramaic in Egypt during the reign of Darius’ successor.
It begins with a short autobiography, and then pieces together the story of how Darius re-established the Persian Empire during a period where he had to put down 19 armed rebellions in a single year. The conspirators and imposters who led those rebellions are the small, subjugated figures in the rock wall carving.
It is considered a holy mountain among Iranians, and has been witness to many dynasties and stories throughout history, and inspired folk music as well as literature. The inscription inspired Persian poets such as Nizami Ganjavi, who lived in the 13th century.
With its connections to Kurdish culture, the site has been subject to conflicts over the years, and its connections to a rich past are being forgotten.
The Opera
The opera takes its inspiration from the site and its significance throughout history, incorporating themes of peace, and the preservation of ancient historical sites, along with the challenges presented in the Middle East, where such sites are often lost to war and other conflict. What does it mean to lose heritage sites with such deep roots?
The multimedia opera incorporates the music of seven emerging composers with diverse backgrounds, all scored for voice, electronic music (modelled after Middle Eastern Instruments), and piano.
The Composers
- Negin Zomorrodi/ Spain
- Mojgan Misaghi/ Texas/ USA
- Rachel McFarlane/ Boston/ USA
- Arghavan Niroumand/ Tehran/ Iran
- Sina Fallah/Toronto/ Canada
- Nasim Nabavi/ Tehran/ Iran
- Neda Edalatjoo/Tehran/ Iran
Cultureland is an opera collective with a goal of creating accessible operas that offer cultural awareness and education along with beautiful music. The organization works with emerging artists to help develop skills alongside working professionals.
We asked Dr. Afarin Mansouri, Cultureland’s Artistic Director, a few questions about the production. Mansouri is a composer, producer, and opera artist whose practice connects her roots in Iranian culture with Western training and aesthetics. The multi-award winning composer’s work has been performed by the Toronto Symphony Orchestra, and the Prague Metropolitan Orchestra, the latter of which was broadcast on CBC Radio and Radio Farda in support of the women’s rights movement in Iran in 2022.
Dr. Afarin Mansouri: The Q&A
How did Cultureland come together as an organization, and what has been your experience with local audiences so far?
Opera is a genre that is prohibited in certain Middle Eastern countries, where women are not allowed to sing in public. As a composer, I have always been drawn to storytelling through music, thus making opera became particularly fascinating art form for me. In 2016, I was selected as the only female composer for LIB LAB, an intensive opera workshop organized by Tapestry Opera, a leader in the realm of new and innovative operatic works in Canada. My collaboration with Tapestry Opera continued after with production of Forbidden and it fuelled my ambition to establish the Cultureland Opera Collective, with the purpose of creating operas and operatic works inspired by Middle Eastern culture. One of our goals is to offer a platform for artists who come from backgrounds where opera has been restricted due to political or religious constraints or have not been exposed to opera as much.
With the steadfast support of my colleagues and mentors, I expanded our collective and enlisted esteemed advisors within the field. Finally in 2022 through a year-long mentorship program facilitated by the Association of Opera in Canada and Opera and Renaissance, I was able to develop our collective’s website, enhancing visibility and awareness of our mission and values to both our audience and artists.
Grateful for the unwavering support from all resources including Toronto, Ontario and Canada Arts council, our collective has successfully engaged a diverse array of artists, instruments, and storytelling themes, culminating in enriching experiences. Last year saw the completion of the initial phase workshop for The Refugees opera, a strikingly contemporary piece exploring the rights of refugees, the responsibilities of democratic nations, and the intricate landscape of international humanitarian efforts — narrated through the voices of a chorus of exiled women.
This year, our focus lies on the production of a scaled-down operatic presentation titled The Echoes of Bi-Sotoon. This project which is directed by Renee Salewski, features music co-created by seven BIPOC composers from around the world, showcasing the talents of over 10 opera artists and cast members. Generously funded by the Toronto Arts Council and produced in collaboration with Array Music and the Iranian Female Composers Association, this production promises to be a vibrant celebration of artistic diversity.
How did Echoes of Bi-Sotoon come together in terms of the music and story/concept? What inspired you to create this piece?
I selected the Bi-sotoon as it stands as one of the oldest historical sites globally, yet remains relatively unknown to many, especially in Western communities. Translated as the “place of gods,” Bi-sotoon boasts a history spanning more than 4,000 years and is situated in the province of Kermanshah, Iran. Throughout the ages, this region captured the interest of numerous monarchs seeking to establish their grandeur and authority. The mountain is home to a multitude of historical landmarks and stone inscriptions, with the inscription of Dariush Achaemenashi — known as DNa — recognized as its most prominent feature, earning a spot on UNESCO’s World Monuments list in 2013 (We will be hearing its text in English in one of the scenes of the production).
Beyond its historical significance, Bi-sotoon has greatly influenced Middle Eastern literature and art, revered as a sacred space. This breathtaking site has borne witness to countless dynasties, conflicts, and events, preserving an array of folk tales and anecdotes that serve as a wellspring of inspiration for artists across all mediums. One of the goals of this production is emphasizing the importance preserving historical sites, which we are trying to do through art.
One of the primary objectives of Cultureland Collective is to provide a platform for composers and artists who have had limited exposure to opera or who strive to explore operatic realms. In pursuit of this mission, we initiated a call for scores, inviting composers to submit proposals inspired by the story of the Bi-sotoon mountain. Collaborating with the Iranian Female Composers Association (IFCA), boasting members from diverse corners of the globe, we received submissions from numerous composers representing various nationalities. Following a meticulous adjudication process by a panel of experts, seven finalists were chosen.
In my role as the Artistic Director, I undertook the task of weaving together these stories to create a cohesive narrative that evokes a sense of journey and interconnectedness — truly embodying the essence of opera. Through this collaborative effort, we aim to present a timeless and poignant performance that delves into the depths of the human experience, exploring themes of love and truth across the ages.
The composers come from literally across the world — how were they chosen?
We selected the composers based on their proposal and the story they selected and then ranked them according to their musical experience and style. We aimed to work with composers who were at a stage in their career where they were ready to create their own librettos and set them to vocal music, while also being open to collaboration in building an operatic show while are open to collaborate with others. It is no so common that composers create a work together. We sought composers who were not overly experienced in writing for opera so that they could learn and challenge themselves to grow their skills.
The selected composers were not all familiar with each other; perhaps one or two of them had previous connections. We conducted online meetings, one-on-one discussions, and group emails, with me personally leading the way in guiding them. Specifically, composers were encouraged to share musical motifs and plan the beginnings and endings of their pieces to ensure a cohesive music.
What can you tell me about the music? Were there guidelines for composition, or are they written in multiple diverse styles/genres?
The music featured in our project is truly captivating, showcasing a beautiful blend of various colours and styles that seamlessly harmonize to create a unique and mesmerizing experience. It is fascinating how everything came together so superbly, especially considering that this was our inaugural endeavour in such a collaboration. The language used adds another layer of richness and depth to the project, with a captivating mix of Farsi, English, and even elements of the ancient Old Persian language. This linguistic diversity not only enhances the overall experience but also serves as a testament to the richness and complexity of the cultural tapestry that inspired this innovative fusion.
Who will be performing?
We are very grateful to be working with such an amazing team of artists.
The show will be directed by Renee Salewski, who has conducted extensive research on the Persian Transitional storytelling genre known as Naghalli. She will be blending this style with a Western operatic musical setting in a modern and new way.
Personnel
Renee Salewski (Director and Dramaturg) works as a director, performer (including singer/actor/voice over artist), writer, voice teacher and acting coach. She has performed roles with companies such as The Savoy Theatre D’Oyly Carte Opera Company, and English Touring Opera. She has created and directed original opera productions, and has worked as a teaching artist at the Canadian Opera Company.
Setareh Delzendeh contributes to the design elements, which include video art, costumes, and stage design, with Amir Parsa creating the lighting design.
Cast & Performers
Soprano Kathryn Rose Johnston takes the role of Persian Princess Shirin. Kathryn was recently named First Prize Winner in the American International Vocal Competition in Cleveland, Ohio.
Baritone Alexander Hajeck performs Simorgh. The busy vocalist performs often in Europe and North America, including a recent engagement as Lt. Gordon in SILENT NIGHT with the Atlanta Opera.
Mezzo-soprano Maria Soulis sings the intriguing role of BlackFish. She is a principal artist with the Regensburg Opera in Germany.
Gabriel Sanchez-Ortega, bass baritone, performs the role of Farhaad, who carves the bas relief. He recently sang the role of Colline in Opera York’s production of La Bohème, and made his Toronto City Opera debut in the role of Bartolo (The Marriage of Figaro).
British-Canadian baritone Alexander Dobson performs the key role of Darius the Great. He has a busy career performing across North America and Europe, including notable engagements with Théâtre du Nouveau Monde and Orchestre Métropolitain, conducted by Yannick Nézet-Séguin.”
Tenor Alexander Cappellazzo takes on the role of Kin Khosrow Parviz. Alex’s repertoire includes a variety of roles, including Tamino, Lensky, Acis, Don Ottavio, and Oronte, among others, performed with opera companies across Canada.
Vocalist, music teacher and sound therapist Maryam Toumrai Sunuzi performs the role of Courtier. She holds a Bachelor’s degree from York University, and studied vocal performance at the Royal Conservatory of Music.
Toronto-based pianist and music director Cheryl Duvall is a noted interpreter of contemporary music, and co-founder of the Thin Edge New Music Collective, an organization which has commissioned more than 70 new works.
Dr Rob Simms (Performer/ Tanbour) is an ethnomusicologist and multi-instrumentalist specializing in Middle Eastern andWest African traditions. Professor Simms joined the faculty in York University’s Department of Music in 2000.
Note: The June 6 event is sold out. Stay in touch with Cultureland and their future projects [HERE].
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Anya Wassenberg is a Toronto City Editor at Ludwig Van. She is an experienced freelance writer, blogger and writing instructor.
