COC Media Releases

4/12/2017

DIALOGUE ON USE OF INDIGENOUS SONGS IN CANADIAN COMPOSITIONS HOSTED BY COC

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Toronto – On April 19, 2017, the Canadian Opera Company is hosting a meeting at the Four Seasons Centre for the Performing Arts, organized by Dr. Dylan Robinson of Queen’s University, to discuss First Nations song protocol and the use of Indigenous songs in Canadian compositions, such as Harry Somers’ Louis Riel.

Those who have been invited to the April 19 gathering are members of the Nisg̱a’a, Métis and other First Nations arts and music communities, members of the 2017 Louis Riel production, representatives from the Canadian Opera Company, National Arts Centre, Canadian Music Centre, and Canada Council for the Arts, as well as advisors and executors to the estates of Louis Riel’s composer Harry Somers and librettist Mavor Moore.

“One intention of the gathering is to begin the process of developing policy related to Indigenous protocol for new music involving Indigenous participants, and music that misuses Indigenous song,” says Dr. Dylan Robinson, Assistant Professor and Canada Research Chair in Indigenous Arts. “This work of creative repatriation is essential in the ongoing process of reconciliation.”

The score of Somers’ Louis Riel includes the “Kuyas” aria, which opens Act III and is sung in Cree by the artist in the role of Marguerite Riel, Louis Riel’s wife. The music for the “Kuyas” aria was based on a Nisg̱a’a mourning song called “Song of Skateen” that was recorded by Marius Barbeau and transcribed by Sir Ernest MacMillan on the Nass River in 1927.

“The COC is in a unique position to use its presentation of Louis Riel to discuss the issues arising from a longer history of colonialization and appropriation,” says COC General Director Alexander Neef. “These are complicated issues and we hope it leads to a future that takes into consideration the aesthetic, spiritual, cultural and educational ways forward.”

The “Song of Skateen” is one of hundreds of First Nations songs collected by ethnographers during the early 20th century, shared with the understanding that it was to keep them safe for future generations. Many agreed to have their songs recorded believing that the Indian Act’s censorship of performing their songs and dances would result in their eventual loss, unaware that these materials may one day be used in contemporary compositions without their consent. The “Song of Skateen”, a Nisg̱a’a mourning song, was used by Harry Somers without knowledge of Nisg̱a’a protocol that dictates that such songs must only be sung at the appropriate times, and only by those who hold the hereditary rights to sing such songs. To sing mourning songs in other contexts is a legal offence for Nisg̱a’a people and can also have negative spiritual impacts upon the lives of singers and listeners.

“Given that this particular song was made available through ethnographic recording/transcription currently held within a museum collection, it is also our hope that we may think about new possibilities and creative projects for music organizations to support the work of reconnecting Indigenous songs with Indigenous artists,” adds Robinson.

With respect to both the Nisg̱a’a and Métis peoples and in recognition of how the songs of one nation are not the same as another’s, the COC and NAC co-production of Louis Riel acknowledges the current holder of the hereditary rights to this song: Sim'oogit Sg̱at'iin, hereditary chief Isaac Gonu, Gisḵ'ansnaat (Grizzly Bear Clan), Gitlax̱t'aamiks, B.C.

In recognition of the Nisg̱a’a people and to correct the attribution of “Song of Skateen,” the COC’s opening night performance of Louis Riel on April 20 will begin with an oratory and musical address from G̱oothl Ts'imilx Mike Dangeli and Wal’aks Keane Tait of the Nisg̱a’a First Nation with the Git Hayetsk and Kwhlii Gibaygum Nisg̱a'a Dancers, two internationally renowned dance groups from Vancouver, B.C.

The purpose of the April 19 consultation event is not to reach a conclusive decision, but to open a dialogue between relevant parties and organizations that will clarify these issues in the future.

About Dylan Robinson
Professor Dylan Robinson is a scholar of Stó:lō descent who holds the Canada Research Chair in Indigenous Arts at Queen’s University, located on the traditional lands of the Haudenosaunee and Anishinaabe peoples. His research has been supported by national and international fellowships at the Faculty of Music at the University of Toronto, in the Canadian Studies Program at the University of California Berkeley, the Indigeneity in the Contemporary World project at Royal Holloway University of London, and a Banting Postdoctoral fellowship in the First Nations Studies Program at the University of British Columbia. His most recent book, the edited collection Arts of Engagement (Wilfrid Laurier University Press, 2016) examines the role that the arts and Indigenous cultural practices played in the Truth and Reconciliation Commission on the Indian Residential Schools. His forthcoming book, Hungry Listening, focuses on collaboration between Indigenous performers, composers and artists and classical music ensembles.

About the Canadian Opera Company
Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and one of the largest in North America. The COC enjoys a loyal audience support-base and one of the highest attendance and subscription rates in North America. Under its leadership team of General Director Alexander Neef and Music Director Johannes Debus, the COC is increasingly capturing the opera world’s attention. The COC maintains its international reputation for artistic excellence and creative innovation by creating new productions within its diverse repertoire, collaborating with leading opera companies and festivals, and attracting the world’s foremost Canadian and international artists. The COC performs in its own opera house, the Four Seasons Centre for the Performing Arts, hailed internationally as one of the finest in the world. Designed by Diamond Schmitt Architects, the Four Seasons Centre opened in 2006. For more information on the COC, visit coc.ca.

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For more information, please contact:
Jennifer Pugsley, Media Relations Manager, tel: 416-306-2303, e-mail: jenniferp@coc.ca

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3/24/2017

FREE EVENTS IN TORONTO IN APRIL EXPLORING MÉTIS HISTORY, CULTURAL TRADITIONS AND CANADIAN OPERA COMPANY’S LOUIS RIEL

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Toronto – In conjunction with the Canadian Opera Company’s new production of Harry Somers’ Louis Riel, FREE events are taking place in Toronto throughout the month of April, allowing the general public to discover this uniquely Canadian contribution to the opera world, as well as the Métis history and cultural traditions that inspired the operatic tale of the Métis leader and Canada’s westward expansion.

Métis artists appear in performance with the COC’s popular Free Concert Series in the Richard Bradshaw Amphitheatre at the Four Seasons Centre for the Performing Arts (145 Queen St. W.):

• On April 13, from 12 – 1 p.m., the V'ni Dansi's Louis Riel Métis Dancers bring the rhythms and images of the Métis spirit alive through traditional and contemporary styles of Métis dance and music. The Vancouver-based company is dedicated to sharing the dances, stories and culture of the Métis and, on April 13, performs in the Free Concert Series for the first time in celebration of the Métis people.

• On April 20, the Métis Fiddler Quartet comes to the Free Concert Series from 12 – 1 p.m., presenting a musical voyage that travels the trade routes of the Northwestern frontier. Born in Winnipeg, the four Delbaere-Sawchuk siblings: Alyssa, Conlin, Nicholas and Danton, of the Métis Fiddler Quartet, perform Métis fiddle music passed down by their elders, while drawing on their diverse backgrounds in classical music, jazz and beyond. On April 20, audience members are encouraged to clap, jig and sing along with this award-winning group and discover the history of the Métis people in Canada through fiddle tunes and songs.

Audiences of all ages can also participate in multiple community outreach events:

• On April 12, the COC hosts Rebel Without a Chance: Louis Riel at the Toronto Public Library – Don Mills location (888 Lawrence Ave. E.) as part of its Opera Talks series. In this free and interactive session, Opera Canada editor Wayne Gooding offers a multi-media exploration of the theme of opera and revolution by examining how the opera Louis Riel tells the story of this important historical figure. Rebel Without a Chance: Louis Riel takes place at 7 p.m. No advance registration is required.

• On April 13, the COC’s Youth Opera Lab series explores the traditional music of the Métis people in a workshop led by musician and educator Conlin Delbaere-Sawchuk of the Métis Fiddler Quartet. This free workshop for teens and young adults ages 16 to 24 takes place from 5 – 9:30 p.m. at Toronto’s Four Seasons Centre for the Performing Arts (145 Queen St. W.) and includes the opportunity to observe an on-stage rehearsal of the COC’s production of Louis Riel. Youth Opera Lab spaces are free but advance application is required to secure one of the 25 spots available. Applications are available at coc.ca/YOL and are being accepted as of March 20, 2017.

• On April 21, the free, day-long symposium Hearing Riel explores the complex biographical, historical and political terrain of Harry Somers’ landmark Canadian opera. Symposium presenters include Beverley McLachlin, Chief Justice of Canada; John Ralston Saul, author of A Fair Country; Métis activist and lawyer Jean Teillet, grand-niece of Louis Riel; Adam Gaudry, Métis Assistant Professor, Faculty of Native Studies, University of Alberta; and Peter Hinton, director of the COC’s new production of Louis Riel. This special, one-day-only event is presented by the COC in partnership with the University of Toronto’s Faculty of Music and the Humanities Initiative of the Munk School of Global Affairs. The symposium runs from 9 a.m. – 5 p.m. at Innis Town Hall (2 Sussex Ave., St. George Campus, University of Toronto). Admission is free and tickets can be reserved in advance as of April 4 by visiting coc.ca/HearingRiel or by calling the COC Box Office at 416-363-8231. There is a limit of one ticket per person.

The 2017 production of Louis Riel is made possible through the financial support of individuals, corporations and charitable foundations and trusts. The COC gratefully acknowledges its underwriters: The Catherine and Maxwell Meighen Foundation, Philip Deck and Kimberley Bozak, Asper Foundation, and The Max Clarkson Family Foundation in honour of Harry Somers; with additional support from Mark and Gail Appel, Margaret Harriett Cameron, Catherine Fauquier, Sally Holton, Michiel Horn and Cornelia Schuh, Michael and Linda Hutcheon, The Michael and Sonja Koerner Charitable Foundation, Peter Levitt and Mai Why, John D. McKellar, Trina McQueen, Roger D. Moore, Sue Mortimer, Dr. Shirley C. Neuman, Tim and Frances Price, Dr. Joseph So, Philip Somerville, Françoise Sutton, Dr. John Stanley and Dr. Helmut Reichenbächer, The Stratton Trust, and John Wright and Chung-Wai Chow. Louis Riel has also been made possible by generous donors to the National Arts Centre Foundation, who believe in investing in Canadian creators, including Kimberley Bozak and Philip Deck, Earlaine Collins and TD Bank Group.

Louis Riel was composed by Harry Somers for Canada’s centennial in 1967. Louis Riel is sung in English, French, Michif and Cree with English, French, Michif and Cree SURTITLESTM.

The COC presents seven performances of Louis Riel on April 20, 23, 26, 29, May 2, 5, 13, 2017 at Toronto’s Four Seasons Centre for the Performing Arts. The 2017 production is a co-production with the National Arts Centre in Ottawa, where Louis Riel will be performed in June 2017.

For more information on the COC’s production of Louis Riel and the various events taking place in conjunction with its Toronto presentation, visit coc.ca.

ACKNOWLEDGEMENTS
BMO Financial Group: Season Sponsor
Mercedes-Benz Canada: Official Automotive Sponsor of the COC at the Four Seasons Centre for the Performing Arts
TD® Aeroplan® Visa Infinite Privilege*: Preferred Credit Card
TD Bank Group: Presenting Sponsor Opera Under 30

About the Canadian Opera Company
Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and one of the largest in North America. The COC enjoys a loyal audience support-base and one of the highest attendance and subscription rates in North America. Under its leadership team of General Director Alexander Neef and Music Director Johannes Debus, the COC is increasingly capturing the opera world’s attention. The COC maintains its international reputation for artistic excellence and creative innovation by creating new productions within its diverse repertoire, collaborating with leading opera companies and festivals, and attracting the world’s foremost Canadian and international artists. The COC performs in its own opera house, the Four Seasons Centre for the Performing Arts, hailed internationally as one of the finest in the world. Designed by Diamond Schmitt Architects, the Four Seasons Centre opened in 2006. For more information on the COC, visit coc.ca.

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For more information or to request photography, please contact:
Jennifer Pugsley, Media Relations Manager, tel: 416-306-2303, e-mail: jenniferp@coc.ca
Kristin McKinnon, Publicist, tel: 416-306-2383, e-mail: kmckinnon@coc.ca


Posted by Public Relations / in Press Releases / comments (0) / permalink

3/20/2017

CANADIAN OPERA COMPANY ASSEMBLES ALL-CANADIAN CAST FOR LOUIS RIEL

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Renewing Opera’s Original Spirit with Contemporary Perspectives for 2017 Revival

Toronto – The Canadian Opera Company has brought together an all-Canadian cast, led by renowned Canadian baritone Russell Braun in the title role, for its highly anticipated revival of Harry Somers’ Louis Riel. This new production of Louis Riel is co-produced with the National Arts Centre in anticipation of Canada’s sesquicentennial and runs for seven performances by the COC on April 20, 23, 26, 29, May 2, 5, 13, 2017 at Toronto’s Four Seasons Centre for the Performing Arts. This production will have its premiere in Ottawa by the NAC on June 15 and 17, 2017.

Composed by Harry Somers for Canada’s centennial in 1967, Louis Riel is a uniquely Canadian contribution to the opera world about Métis leader Louis Riel and Canada’s westward expansion. Telling the history of Louis Riel is ever more important in this period of Truth and Reconciliation.

“Perhaps the most considerable challenge in staging this opera is the Eurocentric tradition of opera as a form and its collision with the voice, culture and representation of indigeneity in this history,” says Louis Riel director Peter Hinton. “It is a delicate balance of renewing the original spirit of the opera with contemporary perspectives in order to revise the opera’s colonial biases and bring forward its inherent strengths and powers.”

A group of Indigenous men and women have been cast as a physical chorus known as the Land Assembly. On stage throughout the opera, the Land Assembly is a silent chorus in protest, and stands for the people for whom the opera has not provided a voice. The Land Assembly shift and transform in response to the actions on stage and are a constant, physical representation of the Indigenous men and women who are directly affected by the outcomes, victories and losses of Riel. Among the individuals joining the Land Assembly for the Toronto presentation is acclaimed theatre creator and artistic leader Cole Alvis of Métis-Irish/English heritage from the Turtle Mountains in Manitoba.

Thirty-five members of the COC Chorus will take on the role of the Parliamentary Chorus and represent a group of settler and immigrant men and women. The Parliamentary Chorus sings and is seen but does not participate in the physical action of the narrative, only commenting and debating on what should take place. They serve as a modern-day Greek Chorus while also representing the functions of Members of Parliament who legislate and validate the struggles of all Canadians in Ottawa. An additional five members of the COC Chorus will be members of the Métis Nation.

Louis Riel features 39 named characters portrayed by 30 artists, listed here in order of approximate first vocal appearance.

Cole Alvis is the Land Assembly leader and takes on the created role, the Activist, delivering the Land Acknowledgement as the opera unfolds and setting the tone for interpreting the action playing out on stage.

Juno Award-nominated multidisciplinary artist Jani Lauzon, of Métis heritage from East Kootenay, B.C., makes her COC debut in the newly created role of The Folksinger, delivering the first vocal line of Louis Riel. Where previously delivered in the styling of a classically trained operatic voice, it will now be heard in the style of a contemporary Métis singer. Lauzon also takes on the roles of Elzéar Lagimodière, a follower of Riel, as well as the Clerk of the Court and the Prison Guard.

Baritone Doug MacNaughton, a graduate of the COC Ensemble Studio who has gone on to sing throughout Canada, the United States and Europe, is William McDougall, the Canadian lawyer and politician turned away from Fort Garry by Riel. He also sings the role of the Judge.

Ensemble Studio tenor Charles Sy, a young artist praised for his “pleasing, sweet timbre, and innate musicality” (Musical Toronto), is Ambroise Lépine, a farmer and leader of the Métis people.

Tenor Keith Klassen is first heard as a British Soldier and then as a Hudson’s Bay Scout.

Tenor Michael Colvin, an Ensemble Studio graduate who has appeared on opera and concert stages throughout Canada and abroad, sings the role of Thomas Scott, the Protestant Orangeman executed on orders from Louis Riel.

In the roles of Louis Riel’s fellow Métis, present at the trial of Thomas Scott, are five singers from the COC Chorus: baritone Bruno Cormier is Joseph Delorme; baritone Jan Vaculik is Janvier Ritchot, bass-baritone Michael Downie is Elzéar Goulet; tenor Vanya Abrahams is André Nault; and tenor Taras Chmil is Baptiste Lépine.

Singing the title role for the first time is internationally renowned Canadian baritone Russell Braun. He brings the full force of his celebrated vocal and dramatic prowess to embody Louis Riel, one of the most pivotal figures in Canadian politics of the 19th century.

As Dr. Schultz and Charles Mair, leading opponents of Louis Riel’s provisional government, are rising Canadian opera singers baritone Andrew Love and tenor Thomas Glenn.

Ensemble Studio alumnus bass-baritone Neil Craighead takes on the roles of O’Donaghue, a Fenian Irishman banished from Canada alongside Louis Riel, and B. B. Osler, Canadian lawyer and prosecutor in the Riel trial.

Ensemble Studio graduate bass Alain Coulombe, one of the most commanding and exciting singers of his generation, returns to the COC as Bishop Alexandre-Antonin Taché, the Roman Catholic bishop who served as an intermediary between Riel’s provisional government and Sir John A. Macdonald’s cabinet.

Baritone James Westman, a graduate of the Ensemble Studio, now brings his passion and musicianship to the role of Canada’s first Prime Minister, Sir John A. Macdonald.

Ensemble Studio tenor Aaron Sheppard appears in two roles: as Donald Smith of the Hudson’s Bay Company, sent to Fort Garry to assist in settling the terms of a union with Louis Riel’s provisional government, and as Sir Frederick Middleton, the British commander that led the attack on the Métis stronghold of Batoche, Sask., and captured Louis Riel.

Ensemble Studio graduate tenor Jean-Philippe Fortier-Lazure returns in the roles of Canadian statesman Sir George-Étienne Cartier, an intermediary with Canada’s government at the time of the Red River Resistance in 1869-1870, and Father André, Louis Riel’s spiritual adviser before his execution.

Ensemble Studio graduate Allyson McHardy’s mezzo-soprano has been described as radiant, dusky, incandescent, and sumptuous, complemented by a noble and spell-binding presence. She returns to the COC as Julie Riel, Louis Riel’s mother and confidante.

Making her COC debut as Sara Riel, Louis Riel’s sister, is soprano Joanna Burt. A Métis/Saugeen Ojibway artist from Lindsay, Ont., Burt is currently completing the Artist Diploma program of The Glenn Gould School of Music at The Royal Conservatory of Music.

Ensemble Studio graduate baritone Peter Barrett is Colonel Garnet Wolseley, who led the military force to capture Fort Garry.

Ensemble Studio alumna soprano Simone Osborne is quickly establishing herself as one of the most exciting emerging artists in the opera world and returns to the COC in the role of Marguerite Riel, Louis Riel’s wife.

Unique to the score of Louis Riel and the role of Marguerite Riel is the “Kuyas” aria, which opens Act III and is sung in Cree. The music for the “Kuyas” aria was based on a Nisg̱a’a mourning song called “Song of Skateen” that was recorded by Marius Barbeau and transcribed by Sir Ernest MacMillan on the Nass River in 1927. The words for “Kuyas” were selected by Somers from Cree Grammar by Rev. H. E. Hivers and the English-Cree Primer and Vocabulary by Rev. F. G. Stevens, as well as from a story told by Coming Day to Leonard Bloomfield on the Sweetgrass Reserve in Saskatchewan. The composer was further assisted in ascertaining pronunciation and feeling for the language by Mrs. Lou Waller of Cree descent from Alberta, to whom Somers dedicated the “Kuyas” aria. With respect to both the Nisg̱a’a and Métis peoples and in recognition of how the songs of one nation are not the same as another’s, the COC and NAC’s co-production of Louis Riel acknowledges the current holder of the hereditary rights to this song: Sim'oogit Sg̱at'iin, hereditary chief Isaac Gonu, Gisḵ'ansnaat (Grizzly Bear Clan), Gitlax̱t'aamiks, B.C.

The delegation that travelled to Montana to bring Riel back to Canada was originally written by Somers and librettist Mavor Moore for three singers although historically it was a four-man envoy. The 2017 revival of Louis Riel has taken this into consideration by making minor adjustments to reflect the historical account of this pivotal meeting. Acclaimed stage, film, and television actor and playwright of Cree descent, Billy Merasty, makes his COC debut as the Plains Cree chief Poundmaker. Ensemble Studio baritone Bruno Roy takes on the newly introduced role of Louis Schmidt, who was Riel’s friend and secretary of the provisional government during the Red River Resistance. Roy also appears in the additional role of Dr. François Roy, who testified at Riel’s trial. Ensemble Studio alumni, tenor Andrew Haji and baritone Clarence Frazer, appear in the roles of Métis leaders Gabriel Dumont and James Isbister, respectively.

Cree bass-baritone Everett Morrison, originally from Moosonee, Ont., makes his COC debut as Cree war chief Wandering Spirit, who joined with Louis Riel leading up to the events of 1885.

Baritone Dion Mazerolle, praised for a wide range of operatic roles and concert performances, makes his COC debut as F. X. Lemieux, Louis Riel’s lawyer.

Making his COC debut as the Buffalo Dancer is Justin Many Fingers (Mii-sum-ma-nis-kim). A singer, actor and dancer from the Lavern Kainai Blackfoot Reserve in southern Alberta, Many Fingers performs two dance sequences entitled “Buffalo Hunt,” in the last scene of Act II of Louis Riel, intended as a reenactment of a Métis buffalo hunt.

The 2017 production of Louis Riel is made possible through the financial support of individuals, corporations and charitable foundations and trusts. The COC gratefully acknowledges its underwriters: The Catherine and Maxwell Meighen Foundation, Philip Deck and Kimberley Bozak, Asper Foundation, and The Max Clarkson Family Foundation in honour of Harry Somers; with additional support from Mark and Gail Appel, Margaret Harriett Cameron, Catherine Fauquier, Sally Holton, Michiel Horn and Cornelia Schuh, Michael and Linda Hutcheon, The Michael and Sonja Koerner Charitable Foundation, Peter Levitt and Mai Why, John D. McKellar, Trina McQueen, Roger D. Moore, Sue Mortimer, Dr. Shirley C. Neuman, Tim and Frances Price, Dr. Joseph So, Philip Somerville, Françoise Sutton, Dr. John Stanley and Dr. Helmut Reichenbächer, The Stratton Trust, and John Wright and Chung-Wai Chow. Louis Riel has also been made possible by generous donors to the National Arts Centre Foundation, who believe in investing in Canadian creators, including Kimberley Bozak and Philip Deck, Earlaine Collins and TD Bank Group.

Louis Riel was the first opera written by a Canadian to be presented by the COC, and the COC is the only professional opera company to date to have ever performed it. Louis Riel is sung in English, French, Michif and Cree with English, French, Michif and Cree SURTITLESTM.

The NAC presents Louis Riel on June 15 and 17, 2017 as part of its Canada Scene festival in Ottawa. For more information on the NAC’s performances of this production of Louis Riel, please visit www.nac-cna.ca.

TICKET INFORMATION
Single tickets for Louis Riel range from $35 – $235 and box seats, when available, are $350. Tickets are now on sale, available online at coc.ca, by calling 416-363-8231, or in person at the Four Seasons Centre for the Performing Arts Box Office (145 Queen St. W.). For more information on specially priced tickets available to young people under the age of 15, standing room, Opera Under 30 presented by TD Bank Group, student groups and rush seating, visit coc.ca.

ACKNOWLEDGEMENTS
BMO Financial Group: Season Sponsor
Mercedes-Benz Canada: Official Automotive Sponsor of the COC at the Four Seasons Centre for the Performing Arts
TD® Aeroplan® Visa Infinite Privilege*: Preferred Credit Card
TD Bank Group: Presenting Sponsor Opera Under 30

About the Canadian Opera Company
Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and one of the largest in North America. The COC enjoys a loyal audience support-base and one of the highest attendance and subscription rates in North America. Under its leadership team of General Director Alexander Neef and Music Director Johannes Debus, the COC is increasingly capturing the opera world’s attention. The COC maintains its international reputation for artistic excellence and creative innovation by creating new productions within its diverse repertoire, collaborating with leading opera companies and festivals, and attracting the world’s foremost Canadian and international artists. The COC performs in its own opera house, the Four Seasons Centre for the Performing Arts, hailed internationally as one of the finest in the world. Designed by Diamond Schmitt Architects, the Four Seasons Centre opened in 2006. For more information on the COC, visit coc.ca.

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For more information or to request photography, please contact:
Jennifer Pugsley, Media Relations Manager, tel: 416-306-2303, e-mail: jenniferp@coc.ca
Kristin McKinnon, Publicist, tel: 416-306-2383, e-mail: kmckinnon@coc.ca

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