Almost overnight, the COVID-19 crisis had a devastating impact on the performing arts sector, disrupting plans for creative artists round the globe. Deeply concerned about the enormous challenge artists were facing, NACO Music Director Alexander Shelley, NACO Managing Director Arna Einarsdóttir, and Creative Producer Donna Feore came together to create a project that would give voice to artists in an “undisrupted” way.
Through UNDISRUPTED, the NAC Orchestra (NACO) is throwing open the doors to the symphonic experience. This four-episode series takes the audience on a musical and visual journey with powerful, diverse and contemporary stories. Visionaries Measha Brueggergosman, Ana Sokoloviċ, Nicole Lizée and Shawnee Kish were each invited to draw on their own unique experiences using NACO as a megaphone to share their stories – stories that come to virtual life with the inclusion of mixed reality visual designs created by Montreal’s Normal Studio.
These four leading artists were offered a blank canvas to curate their 30-minute episode in which they each explored compelling narratives, offering unique and personal perspectives of the world. They were each empowered to collaborate with a wide variety of performing and visual artists to amplify their stories.
More than a filmed performance, UNDISRUPTED immerses the audience with the orchestra and the concert hall with multiple camera angles captured by audiovisual production company ProdCan Inc. and mixed reality effects created by Montreal-based Normal Studio. Normal merges the real and the virtual worlds together to bring NAC’s Southam Hall to life in a way that has never been done before. UNDISRUPTED shows a reconfigured orchestra with conductor Alexander Shelley and musicians on risers placed overtop sections of the audience seating. This repositioning allowed for the nine cameras to capture unique viewpoints, thus inviting the audience to experience the Orchestra up close and personal.
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Former Managing Director, NAC Orchestra Arna EinarsdóttirFeaturing Arna Einarsdóttir
Arna Kristín Einarsdóttir has been at the forefront of the Iceland Symphony Orchestra since 2007. She first served as the orchestra’s concerts director, and in 2013 was appointed as managing director. In that role, she has been responsible for the organization meeting its overall artistic and financial goals and objectives. The Iceland Symphony Orchestra is the national symphony orchestra of Iceland and the only professional orchestra in the country. It employs more than 110 individuals and performs more than 100 concerts and activities per season. In 2011, the orchestra moved into a new concert hall, Harpa, which has become one of Reykjavík’s landmarks and has more than two million visitors a year. Before moving into management, Arna played second flute with the orchestra from 2000–2004 and had a successful career as a flutist, both in Iceland as well as in England. Arna holds a master’s degree in Cultural Management from Bifröst University in Iceland; a Soloist Performance Exam from Reykjavík Music College in Iceland; a Postgraduate Diploma from Royal Northern College of Music in Manchester, England; and a Professional Performance degree from Indiana University in Bloomington, Indiana. Arna has three children aged 26, 14 and nine and is married to graphic designer Hilmar Þorsteinn Hilmarsson.
Arna Kristín Einarsdóttir joue un rôle central à l’Orchestre symphonique d’Islande (ISO) depuis 2007. D’abord embauchée comme gestionnaire des concerts, elle a été nommée directrice administrative de l’ISO en 2013. À ce titre, elle était responsable de l’atteinte des objectifs artistiques et financiers de l’ensemble. L’ISO est l’orchestre symphonique national de l’Islande et le seul orchestre professionnel du pays. Il emploie plus de 110 personnes et présente une centaine de concerts et d’activités chaque saison. En 2011, l’ensemble a emménagé dans une nouvelle salle de concert, l’Harpa, qui est aujourd’hui un point d’intérêt de Reykjavík et accueille plus de deux millions de visiteurs chaque année. Avant d’être gestionnaire, Mme Einarsdóttir a été seconde flûte au sein de l’ISO de 2000 à 2004 et a mené une fructueuse carrière de flûtiste en Islande et en Angleterre. Elle détient une maîtrise en administration culturelle de l’Université de Bifröst (Islande), un diplôme d’études supérieures du Royal Northern College of Music de Manchester (R.-U.) et un diplôme en interprétation de l’Université de l’Indiana à Bloomington (Indiana), en plus d’avoir réussi son examen de soliste au Collège de musique de Reykjavík (Islande). Elle a trois enfants de 26, 14 et 9 ans, et est mariée au concepteur graphique Hilmar Þorsteinn Hilmarsson.
NAC media featuring Arna Einarsdóttir
“This project was born out of the desire to respond to these times of disruption, by pushing the boundaries and exploring the digital medium to present orchestral music in a completely new and unexpected way. UNDISRUPTED is an important step in fulfilling our commitment to engage with audiences across multiple platforms and work with artists from diverse backgrounds. UNDISRUPTED perfectly captures the collaborative nature of our Orchestra, which strives to explore and expand diversity in our musical genre.”
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Featuring Alexander Shelley
Alexander Shelley succeeded Pinchas Zukerman as Music Director of Canada’s NAC Orchestra in September 2015. The ensemble has since been praised as being “transformed... hungry, bold, and unleashed” (Ottawa Citizen) and Shelley’s programming credited for turning the orchestra into “one of the more audacious in North America” (Maclean’s).
Shelley is a champion of Canadian creation; recent hallmarks include the multimedia projects Life Reflected and UNDISRUPTED,and three major new ballets in partnership with NAC Dance for Encount3rs. He is passionate about arts education and nurturing the next generation of musicians. He is an Ambassador for Ottawa’s OrKidstra, a charitable social development program that teaches children life skills through making music together.
Alexander Shelley is also the Principal Associate Conductor of London’s Royal Philharmonic Orchestra and, starting with the 2024–2025 season, Artistic and Music Director of Artis-Naples and the Naples Philharmonic in Florida, USA. In the spring of 2019, he led the NAC Orchestra on its critically acclaimed 50th Anniversary European tour, and in 2017, he led the Orchestra in a tour across Canada, celebrating Canada’s 150th anniversary. Most recently, he led the Orchestra in its first performance at New York’s Carnegie Hall in 30 years.
He has made eight recordings with the NAC Orchestra, including the JUNO-nominated New Worlds, Life Reflected, ENCOUNT3RS, The Bounds of Our Dreams, and the acclaimed Clara, Robert, Johannes four-album series, all with Canadian label Analekta.
The Music Director role is supported by Elinor Gill Ratcliffe, C.M., O.N.L., LL.D. (hc)
Alexander Shelley a reçu le titre de directeur musical de l’Orchestre du CNA en septembre 2015. Depuis, l’ensemble a été qualifié de « transformé », « passionné », « ambitieux » et « déchaîné » (Ottawa Citizen), et classé parmi les plus audacieux en Amérique du Nord (magazine Maclean’s) pour sa programmation.
Champion de la création au Canada, Shelley a signé récemment le projet multimédia Réflexions sur la vie, INCONDITIONNEL et RENCONTR3S, une collaboration avec Danse CNA comportant trois nouveaux ballets d’envergure.
Shelley s’attache à cultiver les talents de la relève : il est notamment un ambassadeur d’OrKidstra, un programme de développement social qui, à travers la musique, aide les jeunes d’Ottawa à acquérir des compétences essentielles.
Alexander Shelley est également premier chef d’orchestre associé du Royal Philharmonic Orchestra de Londres, et, à partir de la saison 2024-2025, directeur artistique et musical d’Artis-Naples et de l’Orchestre philharmonique de Naples en Floride (États-Unis). Il a dirigé l’Orchestre du CNA au printemps 2019 à l’occasion d’une tournée européenne très applaudie soulignant le 50e anniversaire de l’ensemble et, en 2017, dans le cadre d’une tournée aux quatre coins du Canada pour célébrer le 150e anniversaire du pays. Plus récemment, l’Orchestre a donné, sous sa baguette, son premier concert en 30 ans au Carnegie Hall de New York.
Shelley a fait paraître huit enregistrements avec l’Orchestre du CNA, dont Nouveaux Mondes (finaliste aux prix JUNO), Réflexions sur la vie, RENCONTR3S, Aux frontières de nos rêves, ainsi que la série louangée par la critique de quatre albums Clara, Robert, Johannes, tous parus sous l'étiquette canadienne Analekta.
Le poste de directeur musical bénéficie du soutien d’Elinor Gill Ratcliffe, C.M., O.N.L., LL.D. (hc).
NAC media featuring Alexander Shelley
“We wanted to create a project that engages in a profound way with the Canadian public and demonstrates how a symphony orchestra can become a vehicle for powerful storytelling and a tool for social inclusion. Our society has been confronted with fundamental questions about equity, representation, accessibility, and we at the NAC were interested in how an orchestra can be driving forward the conversation and become a catalyst for change. UNDISRUPTED serves to underscore the strength, the breadth and diversity of creative voices in this country.”
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Creative producer Donna Feore
Donna Feore is one of Canada’s most versatile creative talents and has been highly praised for her work with the Stratford Festival. She directed and choreographed last season’s smash hit, The Sound of Music, which enjoyed an extended run. This came on the heels of her 2014 production of the popular and critical hit Crazy for You, which itself followed her hugely acclaimed production of Fiddler on the Roof.
She returns to the NAC, having recently acted as Creative Producer & Director for the NAC-commissioned Dear Life and Director for Mendelssohn’s A Midsummer Night’s Dream. Other directing credits include Tom Stoppard’s Rock & Roll and It’s a Wonderful Life for Canadian Stage, and Lecture on the Weather by John Cage and A Soldier’s Tale with F. Murray Abraham for the Detroit Symphony.
Selected opera credits include staging and choreography for the Canadian Opera Company’s Siegfried, which she remounted for the Opéra National de Lyon. Also for the COC: Tosca, Red Emma and Oedipus Rex, which earned her a Dora Mavor Moore Award for Best Choreography.
Selected film and television credits include Mean Girls, Eloise, Treading Water, Politics is Cruel, Martin and Lewis and Stormy Weather. In 2016, Ms. Feore will direct and choreograph a completely reimagined version of A Chorus Line for the Stratford Festival.
Talent créateur parmi les plus polyvalents au pays, Donna Feore a été chaudement applaudie pour ses réalisations au Festival de Stratford. Elle a signé la mise en scène et la chorégraphie du très populaire The Sound of Music – qui a tenu longtemps l’affiche la saison dernière. Elle a présenté, en 2014, Crazy for You, succès retentissant acclamé par la critique et le public, tout comme Fiddler on the Roof, qui l’a précédé.
Pour l’Orchestre du CNA, elle a assuré récemment la production du contenu créatif et la mise en scène (m.e.s.) de Dear Life, une commande du CNA, ainsi que la m.e.s. du Songe d’une nuit d’été de Mendelssohn. Toujours à titre de metteure en scène, elle a contribué aux productions Rock & Roll (Tom Stoppard) et It’s a Wonderful Life pour Canadian Stage, et collaboré avec F. Murray Abraham à Lecture on the Weather de John Cage et A Soldier’s Tale pour l’Orchestre symphonique de Detroit.
Sur la scène opératique, elle a été metteure en scène et chorégraphe dans la production de Siegfried de la Canadian Opera Company (COC), qui a ensuite gagné la scène de l’Opéra National de Lyon. Pour la COC, elle a aussi monté Tosca, Red Emma et OEdipus Rex, qui lui a valu un prix Dora dans la catégorie Meilleure chorégraphie.
Aux petit et grand écrans, elle a collaboré notamment à Mean Girls, Eloise, et Treading Water, Politics is Cruel, Martin and Lewis et Stormy Weather. En 2016, elle assurera la m.e.s. et la chorégraphie d’une version réinventée de la pièce A Chorus Line pour le Festival de Stratford.
NAC media featuring Donna Feore
“This project has been specifically developed for a digital platform because the audience could not physically be present in the hall. The intent was to keep their seats warm and to bring Southam Hall to them with a virtual experience. We wanted to offer these artists complete artistic freedom, and it feels wonderful to give them the space and resources to bring their visions to life. It’s a collaboration in its highest form, working with so many artists, technicians and disciplines to make this large-scale project a success.”