Canadian country music star celebrates 100 years of Grand Ole Opry
This year marks the centennial of the famed show out of Nashville, Tenn., and country musicians are reflecting on its legacy. Among them is Medicine Hat's Terri Clark, the Opry's only female Canadian member.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Winnipeg Free Press
17 minutes ago
- Winnipeg Free Press
Career coda
Rocking out on a kid-friendly guitar as a four-year-old Elvis wannabe, Larry Desrochers could never have imagined he would go on to helm one of North America's leading regional opera companies for a quarter-century. The arts leader announced today he'll be stepping down in May 2026 as Manitoba Opera's general director and CEO after 25 years. He's Canada's longest-serving general director and one of the longest-serving general directors on the continent. His tenure includes producing and casting over 50 productions showcasing nearly 400 artists — more than 90 per cent Canadian with a 'Manitobans first' policy — with world-class performances grounded in savvy, eclectic programming. RUTH BONNEVILLE / FREE PRESS Manitoba Opera's Larry Desrochers is Canada's longest-serving general director. 'Not in a million years did I ever think I would be working in the arts. It never crossed my mind at all; however, I think it all worked out just fine,' says the famously down-to-earth director, 66, who studied theatre at the University of Winnipeg during the mid-1980s and once nursed a passion to become a journalist. Upon recommendation of an ongoing leadership transition committee, his dual roles will be divided into two distinct full-time positions: artistic director and executive director. Desrochers, who hails from Baldur (population: 320), is currently putting the finishing touches on the 2026/27 season. He will become interim artistic director in early August, working in tandem with the company's newly appointed executive director, whose name will be revealed in July, while continuing to support the 52-year-old company until his successor is in place. A new artistic director will be announced next season following an extensive search, with Desrochers taking his final curtain call when his five-year contract officially expires on May 31, 2026. 'This is a pivotal moment in the evolution of Manitoba Opera,' MO board of trustees chairwoman Judith Chambers says in a press release. 'For 25 years Larry Desrochers has led with vision, creativity and a deep commitment to our community, helping to elevate the company's standing as one of Canada's leading opera companies. 'The new leadership model builds on the strong foundation Larry has established, and we are confident it will bring a reinvigorated focus, new ideas, and will position the company to grow and thrive in a changing arts landscape.' Desrochers's multifaceted 40-plus-year career has spanned opera, theatre and film as both artist and administrator. He's served as associate artistic director for the Royal Manitoba Theatre Centre, was the founding executive producer of the Winnipeg Fringe Theatre Festival and executive director of the Winnipeg Film Group. JEFF DE BOOY / FREE PRESS FILES Larry Desrochers was the executive producer of the Winnipeg Fringe Festival in 1988. Among the many feathers in his cap is producing and directing the opening and closing ceremonies for the 1999 Pan American Games, watched by a live stadium crowd of 30,000 and a televised audience of 1.93 million. For the games' grand finale, he helped organize a reunion of legendary Winnipeg band the Guess Who — there's that rock influence again — that also featured the Winnipeg Symphony Orchestra and Royal Winnipeg Ballet. His numerous awards and accolades include the University of Winnipeg's Distinguished Alumni Award (2000), Opera America's Distinguished Service Award (2010), Lifetime Honorary Membership from the Winnipeg Film Group (2011), and the Winnipeg Arts Council's Making a Difference Award (2012). His departure has already garnered fond words from colleagues: 'A steady, generous and wise presence in the Canadian opera sector for over two decades' said Association for Opera in Canada (AOC) executive director Christina Loewen, while Opera America president and CEO Marc Scorca called him a 'great colleague and cherished friend.' Desrochers admits he only planned to lead the company for an initial five years after being invited in early 2000 to help brainstorm ways to help the then-struggling troupe, which had a skeletal six-member board and ballooning deficit. Under his watch, Manitoba Opera currently boasts a $2.9-million operating budget and a healthy subscriber base of 1,842, with the decades-old deficit retired in 2019. His Midas touch has also been instrumental in raising money for a $10-million endowment fund that will help ensure the organization's future in perpetuity. 'Even though I listened to opera when I was studying theatre in university, I didn't really know the repertoire, or singers and their voice types and all that. That became a real challenge for me,' he says of the steep learning curve after he was appointed to his position in 2000. 'During those earliest years I just dug in as hard as I could, and saw as much opera as I could, travelling across Canada and throughout North America to build up my knowledge of the art form. I also learned how to manage the risks in keeping patrons engaged, which is particularly important in a two-show season.' JEFF DE BOOY / FREE PRESS FILES Larry Desrochers with Royal Winnipeg Ballet students during rehearsals for the Magic Flute in 2001. Asked for his personal highlights, he mentions the war-torn production of children's opera Jason and Hannah staged in 2008, Fidelio (2014) and the company's inaugural commissioned opera The Transit of Venus (2007), penned by Manitoba playwright Maureen Hunter and composer Victor Davies. He also notes Susannah (2019), which saw award-winning composer/librettist Carlisle Floyd, who has since died, in the house opening night. Another is last season's groundbreaking world première of Li Keur: Riel's Heart of the North, featuring a libretto by Métis poet Suzanne Steele, and co-composed by Alex Kusturok and Neil Weisensel. 'Li Keur was significant for us because of Riel's importance to Manitoba, as such a foundational piece of the province's history. If this opera was going to be done anywhere in the country, it needed to be done here, so that's why we worked so hard to make it happen,' he says of the first all-Indigenous led opera performed on a Canadian mainstage, a $1.1-million production that also led to Manitoba Opera becoming a signatory to the Winnipeg Indigenous Accord in 2024. Desrochers is also rightfully proud of navigating — and surviving — the global pandemic, during which so many arts organizations around the world shuttered their doors forever. Manitoba Opera pivoted to livestreamed performances, including the Sopranos of Winnipeg recital celebrating Manitoba's treasure trove of internationally acclaimed vocal artists. Those years also saw the launch of its hugely successful and nationally recognized Digital Emerging Artist Program. His intuitive leadership approach has forged a robust legacy of flourishing community education and outreach programs, with the company hosting an ongoing series of talks and panel discussions focused on such pertinent social issues as mental health and global strife as reflected in opera, making the centuries-old art form relevant for 21st century audiences. When it comes to his next act — and his own swan song with the company he's called home for a quarter-century — Desrochers says he's keeping his options open for now. ROBERT TINKER PHOTO Li Keur was the first all-Indigenous led opera performed on a Canadian mainstage. Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. 'I don't look back very much, but prefer to look forward, ' he says, adding that future plans might potentially include directing, teaching or continuing to serve in his various advocacy and advisory roles. Opera buffs might even spot Desrochers and his writer/producer wife, Laurie Lam in the audience after next May — that early Elvis fan now a diehard devotee of the 'glory of opera' for life. 'Opera creates a transcendent experience, and there will always be a place for that,' he says about the future of the art form. 'While it's always evolved and styles have changed, it creates an immensely human experience, which is why it's so important to see it performed live, and especially in the 21st century. There's nothing like being in the audience. You're all laughing together. You're all crying together, and the interaction between the performers, orchestra and audience becomes a powerful, enriching experience that touches people on such an incredibly deep level.'
Winnipeg Free Press
17 minutes ago
- Winnipeg Free Press
‘You cannot game it': Celine Song unpacks algorithm-era love with ‘The Materialists'
For Celine Song, some things in life can't be strategized; they must play out on their own terms. The Korean-Canadian filmmaker says 'The Materialists,' the star-studded follow-up to her Oscar-nominated debut 'Past Lives,' wasn't the product of a calculated career move. She'd already begun writing it before her first film even hit theatres. 'I wish I could game it like, 'Oh man, I made 'Past Lives,' what's my next move?'' Song says on a virtual call from her New York home. But the writer-director says the new A24 rom-com was born out of restless energy while waiting for 'Past Lives' to premiere at Sundance in 2023. 'There was a funny six-month period where I was going a little bit crazy. I thought, 'I actually need to use this time to do something productive with my life' because I was just waiting for my movie to come out. So I wrote this thinking about the time that I was a matchmaker.' In her early 20s, while trying to make it as a playwright in New York, Song worked at a matchmaking agency to pay the bills. What started as a side gig became an unexpected window into the spreadsheet logic of modern love. 'When you're talking about dating and who you're looking for as your partner, the list is about height, weight, income, job — all the things you can imagine that are in the specs,' says Song. 'And then you realize none of those things actually have anything to do with what it's like to be in love. I wish it did so that you could game it like you game everything else, but the truth is you cannot game it. Love is just going to be something that happens to you. It's as ancient and holy as it always has been.' In 'The Materialists,' out Friday, Dakota Johnson plays Lucy, a matchmaker catering to wealthy New Yorkers with hyper-specific criteria. When she meets Pedro Pascal's Harry, a rich, charming private equity manager, she sees a dream match — for someone else. But Harry sets his sights on Lucy, wining and dining her with extravagant ease. Things get complicated further when her ex, Chris Evans' John, a struggling actor who still understands her deeply, reenters the picture. Song says the film is partly a commentary on today's swipe-driven approach to dating. 'It's scary!' she exclaims about dating apps. 'It's getting more gamified by the day.' Song sees herself as an old-school romantic. She explains 'The Materialists' explores the tension between checkbox compatibility and that deeper, inexplicable feeling that says, 'I think this is a person that I want to grow old with.' 'Love is the one great mystery of human life that we cannot solve, and we cannot turn it into an algorithm no matter how hard we try.' Song was born in South Korea and moved to Markham, Ont., with her family when she was 12. She relocated to New York in 2011 to pursue an MFA in playwriting, and says she was struck by the city's straight-shooting dating scene. 'The culture of New York City dating is just different than Canada's. And I loved it. It is very blunt and it's not very polite,' she says. Turns out that no-filter attitude was right up her alley. 'I was not polite and it got me into a lot of trouble when I was in Canada,' she laughs, noting she had a propensity for swearing. 'Everybody was like, 'You should watch your language.'' In New York, she not only found the freedom to curse — she also found her husband, screenwriter Justin Kuritzkes, whom she met at 24. She recalls feeling like an outlier among her career-focused circle of friends in the city. 'I was the youngest person in my friend group to get married. And it was years before the second wedding. Most of my friends were having their first child approaching 40,' says Song, now 36. 'In New York, because of how hard it is to pay rent here, I think it is just not tenable to have a casual relationship with your work. It has to be that your work is your life.… Lucy is so obsessed with her work, too, which I think is relatable for so many working people.' Beyond depicting a hustle-happy bachelorette in her mid-30s, Song says 'The Materialists' reflects real life by placing financial considerations at the heart of modern dating. Lucy speaks directly about being money-conscious. 'I feel like so much media is so polite about money, so it was really important to me that in the movie we know what everybody makes, and what kind of place they own,' she says. 'Those numbers are there so that we can talk in the way that modern people actually talk.' Still, despite the film's title, Song views the materialistic approach to love as ultimately 'flawed.' 'There's no amount of money you can throw at it. It's an impossible situation in a way. The only thing that works is the same thing that works in religion, which is it's got to be a leap of faith,' she says. 'You have to jump every day. And it is just a completely beautiful and very brave thing that a person can do.' This report by The Canadian Press was first published June 12, 2025.
Cision Canada
2 hours ago
- Cision Canada
Just Vertical and GlobalMedic Launch Moldova Indoor Farm to Support Ukrainian Refugees and Local Communities
Vertical indoor farm in Eastern Europe will provide year-round fresh produce in a region plagued by security concerns and inadequate growing conditions. TORONTO, June 12, 2025 /CNW/ - A Canadian-built indoor farm is now feeding refugees and local families in Rîșcova, Moldova—offering a sustainable food solution amid war and food insecurity. The initiative, led by Just Vertical and GlobalMedic, marks the first time hydroponic technology has been deployed for humanitarian aid in the region. The farm, which is able to grow more than 1,000 plants at once, is now fully operational, providing year-round access to fresh, culturally significant crops in an area where farming is restricted by extreme climate conditions. Conflict, climate, and economic instability have made it increasingly difficult for communities to access fresh food. Post this Located in Eastern Europe, Moldova borders Ukraine and Romania. While historically an agricultural nation, the country faces harsh winters, economic constraints, security concerns, and logistical disruptions that make the supply of fresh produce almost impossible throughout the year. Since the onset of the war in Ukraine, over 1.9 million Ukrainian citizens have passed through Moldova, with around 127,000 currently residing in the country. This influx has significantly increased the demand for food and resources in stressed and vulnerable communities. This project provides an immediate food security solution while demonstrating how indoor farming technology can be applied in long-term humanitarian efforts. Award-Winning Documentary Captures the Impact A short documentary chronicling the project—"Moldova Feeds," directed by Just Vertical's Conner Tidd and Christopher Di Grazia —was recently awarded Best Short Documentary – Advertising at the 2025 Niagara Canada International Film Festival. The film features powerful visuals and first-person accounts of the farm's development, community impact, and refugee support. It was edited by Andrew King, a Toronto-based video editor with more than 15 years of experience in reality and non-scripted television in both Australia and North America. King's past work earned him a Canadian Screen Award nomination. Quotes "Conflict, climate, and economic instability have made it increasingly difficult for communities to access fresh food," said Conner Tidd, co-founder and CEO of Just Vertical. "By implementing hydroponic technology in Moldova, we're giving people the tools to grow their own food—helping to create long-term stability in an unpredictable world." "Food insecurity isn't just about access—it's about control," said Rahul Singh, executive director of GlobalMedic. "In Moldova, families who fled the war in Ukraine are trying to rebuild their lives while local communities face the strain of supporting them. This project ensures that refugees and their hosts have a sustainable, local food source, reducing dependence on unstable supply chains and foreign aid." Project Highlights First-of-Its-Kind Humanitarian Hydroponic Farm – The Moldova farm features 1,024 plant ports, each serving as a dedicated growing site, enabling year-round fresh produce production in a compact, resource-efficient system. Direct Support for Ukrainian Refugees and Local Communities – The farm grows culturally significant crops, ensuring the produce aligns with local diets and traditions. Technology-Driven Resilience – The green wall system optimizes space and efficiency, allowing communities to grow fresh, pesticide-free produce with minimal inputs. Award-Winning Storytelling – The farm's development and human impact are documented in an acclaimed short film, offering a rare window into how Canadian-led innovation is changing lives abroad. Global Humanitarian Collaboration – Made possible through a partnership between: Just Vertical – Provider of indoor farming technology GlobalMedic – Humanitarian aid partner Katalyst Kitchens – Local Moldovan implementation partner The Myhal Foundation – Project funder and philanthropic partner Expanding Impact in Eastern Europe – This is Just Vertical's first major project in Eastern Europe, setting the stage for future food security initiatives in vulnerable regions. About Just Vertical As the demand for sustainable food production continues to rise, Just Vertical is providing scalable solutions through its cutting-edge indoor vertical hydroponic farming systems. Designed for both commercial and consumer markets, the company's systems are changing how businesses, institutions, and consumers grow fresh produce in any space. Just Vertical's systems empower organizations to meet sustainability goals by producing fresh, local, and pesticide-free food all year round, using 95 per cent less water and significantly less land than traditional agriculture. Learn more at About GlobalMedic Founded in 2002, GlobalMedic (The David McAntony Gibson Foundation) is a Canadian charity committed to providing rapid and effective humanitarian aid to communities affected by poverty, disaster, and conflict. Driven by a team of professional humanitarians and dedicated volunteers, GlobalMedic ensures that critical aid reaches those who need it most—efficiently and effectively. Through innovative programs like the award-winning RescUAV initiative, the organization continuously improves aid delivery while maximizing impact and cost efficiency. Learn more or support GlobalMedic's mission, visit About Katalyst Kitchens Katalyst is a Moldovan initiative that empowers communities through entrepreneurship, food security, and education. By building commercial kitchens and training centers, it fosters local innovation, supports small businesses, and promotes self-sufficiency. Katalyst integrates social impact with sustainable development, helping individuals turn ideas into action and build stronger, more resilient communities. Learn more at About Myhal Foundation The Myhal Family Foundation, led by Rayla and George Myhal, advances healthcare, education, and humanitarian aid. Their contributions include a $10 million matching gift to St. Joseph's Health Centre, support for the Myhal Centre for Engineering Innovation at the University of Toronto, and a $6 million pledge to the Canada-Ukraine Foundation. The foundation emphasizes community impact, sustainability, and long-term development.
