Hearing Familiar Music with New EarsBy COC StaffPosted in 18/19
Right from its premiere in 1790, Mozart’s Così fan tutte has proven to be a vexing one for operagoers.
First sparking criticism for its scandalous immorality, now interrogated for the way it paints its female leads, the opera continues to be a springboard for conversation. With the piece making a high-profile return to the Four Seasons Centre for the Performing Arts this winter, we wanted to dig deeper with musicologist Margaret Cormier to get her take on some of the more intriguing – and perennially problematic – aspects of the opera.[READ MORE]
Director's Notes: James Robinson on ElektraBy James RobinsonPosted in 18/19
What a difference 20 years makes. I had the great pleasure of making my Canadian Opera Company debut with this production of Elektra in 1997 at the invitation of the late Richard Bradshaw. It was his idea to pair two great Strauss one-acts, Elektra and Salome, using many of the same physical elements but with two very different directors.
Director's Notes: Atom Egoyan on Così fan tutteBy Atom EgoyanPosted in 18/19
For those familiar with Così fan tutte, this production will be immediately surprising in two ways. (…) In Così, librettist Lorenzo da Ponte shows us that while reason and clear thinking is to be held above all else, it is often made unreliable because of shifting emotion.[READ MORE]