Compared to our neighbours to the south, we have a small population and a strong commitment to the arts. That means private fund raising. We do manage to have a few performing arts centres and many of them are only partially, if at all, publicly funded. The Canadian Opera Company, based in Toronto, finally was able to build a new house but only in conjunction with the National Ballet of Canada, and they share the facility. The main stage opera season, spread throughout the year in short spurts, is shared with ballet productions. The main model for the auditorium was based on the Vienna State Opera with modifications to improve acoustics by the architect. I didn't get to go to the opening series which was a complete performance of Wagner's Ring. Sold out, period.
Other cities have important houses as well, like the National Arts Centre at Ottawa, which is also a ballet house, and the Royal Winnipeg Ballet. The size of this country with the scatter of the population, keeping classical arts going is an ongoing struggle, but we do it. Most companies tour because it is sort of a requirement of any grants they get. Lots of excitement in the object cities, so we try to keep things in the popular selections.
However, in Toronto I have attended main stage productions of selections like Wozzek, Lulu, and Candide (even Candide is pushing it in Goshwhattaplace, Newfoundland). The Ensemble did Peter Grimes one year, and it was very well received despite some of the strange stuff (to many people) in Britten's score. One year, the opening season production was Dierdra (Healy Willan). It is 12 tone. I've no idea what Dr. Willan was thinking when he wrote this. At the time he was a professor at the Faculty of Music at the University of Toronto.
U of T has an Opera School in cooperation with the Royal Conservatory of Music at Toronto, and most Canadian singers of note have passed through these. A notable exception is Jon Vickers (who passed away last week). He was discovered when he was clerking in a grocery store, was given a scholarship to RCMT, but very quickly arrived on the main stage. A strict Christian, Mr. Vickers refused to appear in productions such as Tannhauser. The critics called him the voice of God. I only heard him once, and I'll never forget it. Florestan in Fidelio. Sublime. A definitive performance. From all reports, he was very popular at Bayreuth after his debut as Sigmund in Die Valküre.
We may not have the tax load you have in the Scandinavian countries, but we have the income to support things that we like, and often do so. More and more funding is now coming from estate foundations, but it is still not enough. We struggle to keep the lights on. So far, so good.