Mr. Neef, I just read your interview in Opera News in which you say people in the rest of Canada are underexposed to opera. Perhaps you should cancel one of your many trips to NY and come to Victoria in a couple of months' time to hear Erin Wall in Capriccio, in an all-new production led by our brilliant artistic director, Timothy Vernon. Of course, all productions at Pacific Opera are all-new, so that when we see and hear a Boheme it's not a warmed-over production from almost two decades ago. And we have easy access to Vancouver, where we can see Nixon in China in March of this year, eleven months before you present it in Toronto. And saw Richard Margison in Norma, just before Christmas, although I doubt Vancouver Opera programs as far in advance as you say is necessary to secure great Canadian artists. Last year of course, we opera-lovers in Victoria were a ferry-ride away from Seattle Opera's glorious Ring Cycle, and some of us even made it to Oregon, for Portland Opera's "Turn of the Screw" directed by the ever-fascinating Nic Muni. True, we can't just jump on the subway to attend at a wonderful new opera house, but we certainly aren't starved for opera here, or dependent on your CBC broadcasts for a taste of great art.

Victorian, I would like to make a difference between "underexposed to opera" and "starved for opera", as you put it. Even though you are in a very lucky position in Victoria with access to your own and a few other companies, wouldn't you like to see more performances of more operas throughout Canada? More opera of any kind could only benefit the development of the art form and make it more accessible for everybody.

I regret your hostile comments about my trips to New York and our CBC broadcasts and would like to invite you to have a look at my travels to Vancouver and Calgary here on the blog. I will be the first to acknowledge that these companies and many others in Canada do great work that's hugely beneficial for the art form—that's why I'm writing about it!

Unfortunately, my obligations here in Toronto won't allow me to come for a performance of Capriccio in Victoria, but you can be sure that I am well aware of Tim Vernon's work and will come to Victoria for a performance as soon as my schedule allows.

Mr. Neef, thank you for taking the time to respond, and indeed to write this blog. It is good to see you engaging in discussion with Canadians, and I'll answer you in turn. More opera performances right across the country would be great, of course, and meanwhile the CBC initiative will be well-received by opera lovers everywhere, including those of us in Victoria. I'm sorry you found my comments "hostile": I was simply suggesting you might adjust your travel schedule a little so you could see more of what is going on elsewhere in Canada. Your recently unveiled season shows a greater commitment to Canadian singers than we have seen in years, and this is encouraging. But what about Canadian conductors, directors and designers? Your production this season of "The Nightingale" showed yet again that Canadians can dazzle the world with innovation and beauty. M. Lepage and Robert Carsen enjoy international careers and it is great to see their work on your stage. But the COC has tremendous resources - the opera house itself, your larger budgets, and your orchestra and chorus - that most Canadian creative artists seldom enjoy elsewhere. So why is Diane Paulus, an American director, being given your new production of "The Magic Flute"? To give just one example, if you had seen Glynis Leyshon's production of "The Rake's Progress" in Victoria last November you would know that she is a major talent, with years of experience in companies across the country. I hope that as you learn more about our country and its great wealth of talent we will see the Canadian Opera Company increasing its role as our national opera company, introducing many more of our artists - singers, conductors, directors and designers - to the world's stages. Best wishes.