The Canadian Opera Company brings Queen Elizabeth I’s later years to life in Roberto Devereux at Toronto’s Four Seasons
Roberto Devereux by Gaetano Donizetti tells the story of the tragic end to the celebrated rein of Elizabeth the First. The set for the Canadian Opera Company’s 2014 production is a reconstruction of the historic Globe Theatre. During the overture, surtitles were used to provide the audience with historical context and the audience was treated to a charming tableau wherein Shakespeare directs the Queen herself in a production of A Midsummer Night’s Dream. Continue reading Review: Roberto Devereux (Canadian Opera Company)→
Great for opera aficionados, the COC’s Hercules is playing at Toronto’s Four Seasons Centre
Hercules, by G.F. Handel is a “moment after” style narrative. In the Canadian Opera Company’s modernized production, Hercules has returned home from the completion of his legendary twelve labours which culminated in the sacking of the state Oechalia and the seizing of her beautiful, young princess. While Hercules is celebrated as a hero by all, he is deeply conflicted about his reintegration into society. Continue reading Review: Hercules (Canadian Opera Company)→
Introducing new audiences to contemporary opera, Tapestry hosted Songbook in Toronto
On February 1, Tapestry hosted Songbook, a program of operatic excerpts and shorts. Tapestry is an opera company devoted the performance of new works. Pieces on this program were written within the last fifteen years. Songbook is the culmination of New Opera 101, a training program offered by Tapestry that provides emerging singers and collaborative pianists the opportunity to work with some of the leading experts in the field of contemporary opera. Participants in this year’s two-day intensive worked with Kristina Szabό, Dr. Christopher Foley and Michael Mori. Continue reading Review: Songbook (Tapestry)→
Stunning voices and exceptional talent take the stage in A Masked Ball at Toronto’s Four Seasons
Since the use of sound is so central to our expectations of an opera, Jossi Wieler and Sergio’s choice to use silence at the opening of COC’s 2013-2014 production of Un Ballo in Maschera (A Masked Ball) by Giuseppe Verdi was arresting. It is hard to say exactly how long the page Oscar, played by Simone Osborne, took a leisurely stroll around the stage before the opening strains of the overture began; the silence was pregnant with possibility and anticipation.
Atom Egoyan brings Mozart’s Così fan tutte to vivid life at the Canadian Opera Company
A larger than life reproduction of The Two Fridas by Frida Khalo commands the stage during the overture of Atom Egoyan’s highly symbolic interpretation of Mozart’s Così fan tutte. The opera’s title can be loosely translated as “they are all like this” and it’s a battle-of-the-sexes play wherein a cynical bachelor sets out to prove that all women are too fickle to be capable of fidelity. Continue reading Review: Così fan tutte (Canadian Opera Company)→
