COC Media Releases

3/17/2017

CANADIAN OPERA COMPANY’S 2017 REVIVAL OF LOUIS RIEL FEATURES VOICES NOT HEARD BEFORE

Read the PDF version here.

A Uniquely Canadian Contribution to Opera Revisited for the 21st Century

Toronto – Louis Riel, composed by Harry Somers with libretto by Mavor Moore, is a uniquely Canadian contribution to the opera world. First performed in 1967 and last performed by the COC in 1975, Louis Riel returns to the stage in 2017 in a new co-production between the COC and National Arts Centre (NAC) that works to revise the opera’s colonial biases and bring forward its inherent strengths and power. Louis Riel 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 before making its way to Ottawa to be presented by the NAC on June 15 and 17, 2017.

Somers’ Louis Riel is the epic presentation of an intensely contentious moment in Canada’s political history dramatizing the story of the Métis leader, Louis Riel, and Canada’s westward expansion, while also being a landmark work in the canon of Canadian opera. At its 1967 world premiere, the Globe and Mail announced that with Louis Riel “[Canadian opera took] its first gigantic step forward,” Time magazine declared it an “undeniably masterful score,” and Opernwelt deemed the libretto “a masterpiece of dramatic concentration.” Its subsequent revival in 1975 at Washington’s Kennedy Center was met with the pronouncement of being “one of the most imaginative and powerful scores to have been written in this century” (Washington Star).

“Even 50 years after its creation, Louis Riel still hits us with its bold and commanding vision. Somers and Moore created a unique, powerful and daring statement that makes the piece rank amongst the most important and interesting works of music theatre of the last century,” says COC Music Director Johannes Debus, who conducts the COC Orchestra when Louis Riel is presented in Toronto.

In reviving the opera for 2017, the COC/NAC co-production confronts the traditions and demands of an art form that make Louis Riel a dynamic and compelling opera and its collision with the voice, culture and representation of indigeneity. This production uses historical research and multiple community perspectives to expose the lines between truth and mythology and co-existing perspectives of settler and indigenous stances as Riel’s story is told and retold.

“The challenges are many and well worth the undertaking. We’re looking at this opera from a more inclusive perspective,” says Louis Riel director Peter Hinton. “We’re not changing the intentions of the piece, but revisions are being made that honour the virtuosic complexity of the music, while allowing for the introduction of voices that have not been heard before.”

“We have an opportunity here to give the performance history of Louis Riel a new point of reference,” adds Debus. “We want to make sure that this striking piece of music theatre is done right to see its importance and continued relevance.”

Louis Riel distinguishes itself from other operas with its musical diversity. In addition to incorporating original folk music and traditional melody lines, Somers wrote in an abstract atonal orchestral style which heightens the dramatic intensity and sets the orchestra entirely apart from the singing. Electronic music also comes into play, creating at times an auditory surrealism that mirrors the distortion and confusion of events unfolding in the narrative.

Louis Riel demands singers to demonstrate a range of vocal techniques and dramatic intonation, sometimes in harmony with the orchestra and sometimes in conflict, and other times delivering gripping musical lines with the voice completely laid bare to scrutiny and unsupported by the orchestra. An orchestra of 67 musicians, including strings, woodwinds, brass, piano, and large percussion ensemble requiring six players, accompanies the cast and chorus.

Unique to the score of Louis Riel is 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 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.

For the 2017 production, Louis Riel will continue to be sung in English, French and Cree, however, it will now feature a new translation of the Cree and include spoken dialogue in Michif, the official language of the Métis that would have been spoken in the 19th century, in select scenes between Métis characters. The new Cree translation is by Manitoba-born actor and writer Billy Merasty, who is of Cree descent, and the Métis dialogue is translated by Norman Fleury, a Métis elder, Michif language expert and translator, professor, and historian. The 2017 production of Louis Riel will also feature English, French, Cree and Michif SURTITLESTM.

The role of the chorus in Louis Riel has also been redesigned. The original opera called for a single large chorus to act and sing a variety of groups and assemblies in the narrative. For the 2017 revival, there will be two choruses performing in contrast to the historical figures represented by the principal cast, representing the modern dynamic of debate and protest that continue of this history, both in the houses of parliament and on the land.

The COC Chorus takes on the role of the Parliamentary Chorus and represents 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. Additional members of the COC Chorus will be members of the Métis Nation.

A group of Indigenous men and women will be cast as the 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. The players in the Land Assembly will be announced at a later date as part of the COC’s complete casting release for Louis Riel.

New characters have been introduced to bring Indigenous voices into the opera as well as present a more informed history of the Métis and Indigenous peoples in Riel’s history. The previously unattributed opening vocal line is now delivered by a character known as The Folksinger, to be sung by a contemporary Métis singer. The role of The Activist, to be played by a Métis actor, will deliver the Land Acknowledgement as the opera unfolds, setting the tone for interpreting the action playing out on stage. The artists in these roles will be announced at a later date as part of the COC’s complete casting release for Louis Riel.

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. Somers and Moore were commissioned in 1966 by the Floyd S. Chalmers Foundation to write an opera to commemorate the centennial of Canada, and it was subsequently performed by the COC in 1967 and 1975.

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

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

3/10/2017

TOSCA’S TALE OF LOVE, LUST, PASSION AND BETRAYAL RETURNS TO CANADIAN OPERA COMPANY

Read the PDF version here.

Two of Opera’s Great Divas—Adrianne Pieczonka and Keri Alkema—Star in Title Role

Toronto – The Canadian Opera Company closes its 2016/2017 season with Puccini’s beloved Tosca. A tense drama of passion and betrayal, Tosca returns in a COC production performed with two of today’s great divas in the title role: internationally renowned Canadian soprano Adrianne Pieczonka and critically acclaimed American soprano Keri Alkema. Tosca runs for 12 performances at the Four Seasons Centre for the Performing Arts on April 30, May 4, 6, 7, 9, 11, 12, 14, 17, 18, 19, 20, 2017.

Set in Rome amid the turbulence of the Napoleonic Wars, Tosca’s story is a melodramatic tale of love, lust, corruption and betrayal as opera singer Floria Tosca fights to save her lover from a blood-thirsty chief of police. The COC revives its lavish production by award-winning Scottish director Paul Curran, with sumptuous costumes and stunning sets of chapels, palaces and fortresses of 19th-century Rome by designer Kevin Knight, and atmospheric lighting design by David Martin Jacques. Conducting the COC Orchestra, COC Chorus and cast through some of Puccini’s most deeply felt and dramatic melodies is Canadian Keri-Lynn Wilson. A regular guest conductor at leading international opera companies and orchestras, Wilson makes her COC debut with one of the most popular and performed operas in the world.

The title role is one of Puccini’s most complex and fascinating heroines and an unforgettable theatrical showcase for a great dramatic soprano, shared in the COC’s production by Adrianne Pieczonka and Keri Alkema. Celebrated on the leading opera and concert stages of Europe, North America and Asia, Pieczonka has been described as “simply magnificent” (The Independent) and “a revelation, with a lavishly creamy voice” (The Financial Times). She returns to the role of Floria Tosca at the COC after delivering a “luminous performance” (Globe and Mail) with the company in 2012. Alkema returns to the COC after sharing her “rich, full vocal presence that caresses the score to perfection” (Toronto Star) in 2013’s La clemenza di Tito and bringing a “sensuality and a strong presence” (NOW) to 2012’s The Tales of Hoffmann. Her engagement at the COC comes on the heels of her Tosca debut with English National Opera last fall where she was met with lavish praise: “compelling…. Passionate, teasing, vulnerable, full of love, stirred to vengeful rage and desperate measures, Alkema gets to the heart of Tosca, giving us a poised ‘Vissi d’arte’ on the way” (The Times).

Making their COC debuts as Tosca’s lover, Mario Cavaradossi, are exciting young Argentine tenor Marcelo Puente and heroic Bulgarian tenor Kamen Chanev. German bass-baritone Markus Marquardt, a sought-after interpreter of the Italian repertoire, makes his Canadian debut as the evil police chief, Scarpia. He shares the role with young American bass-baritone Craig Colclough who makes his COC debut and is reunited with Alkema, having sung Scarpia to her Tosca with ENO in fall 2016.

South African bass-baritone Musa Ngqungwana, praised for his “rich, glowing voice and elegant legato” (New York Times) makes his Canadian debut as the escaped political prisoner Angelotti. Italian bass Donato di Stefano (2011’s La Cenerentola) returns to the COC as the Sacristan. The role of Spoletta is sung by American tenor Joel Sorensen, in his COC debut.

Canadian-British bass-baritone Giles Tomkins sings Sciarrone, in his company debut, and COC Ensemble Studio baritone Bruno Roy is the Jailer.

Last performed by the COC in 2012, this production of Tosca is a COC co-production with the Norwegian National Opera and Ballet. Tosca is sung in Italian with English SURTITLES™.

Tosca premiered to mixed reviews in Rome in 1900, but this thrilling melodrama, with its all-consuming power to stir passion, has since become a staple of the operatic repertoire.

TICKET INFORMATION
Single tickets for Tosca 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
This production of Tosca was originally made possible by Delia M. Moog.
CIBC: Production Sponsor
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

3/7/2017

LOUIS RIEL RETURNS TO CANADIAN OPERA COMPANY WITH INCLUSIVE AND EXPANSIVE HISTORY RESTORED

Read the PDF version here.

A Contentious and Provocative Celebratory Work to Honour Canada’s History

Toronto – Canadian history comes to life on the stage of the Four Seasons Centre for the Performing Arts this spring when Harry Somers’ Louis Riel returns to the Canadian Opera Company. A new production of this uniquely Canadian contribution to the opera world is being conceived by one of Canadian theatre’s most acclaimed and inventive directors, Peter Hinton, with the COC’s celebrated music director, Johannes Debus, conducting. This production of Louis Riel is proudly presented by the COC and its co-producer, National Arts Centre (NAC), in anticipation of Canada’s sesquicentennial and the 50th anniversary of the opera’s premiere. Louis Riel is sung in English, French, Michif and Cree with English, French, Michif and Cree SURTITLESTM, 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. It will premiere in Ottawa by the NAC on June 15 and 17, 2017.

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.

Composed by Harry Somers for Canada’s centennial in 1967, Louis Riel was described as “big, efficient, exciting” (Toronto Evening Telegram) when the COC gave the opera its world premiere. Louis Riel, and its story of the Métis leader and Canada’s westward expansion, went on to be called “one of the most imaginative and powerful scores to have been written in this century” (Washington Star) after its 1975 US premiere at the Kennedy Center. More recently, on the occasion of its 2011 DVD release, it was hailed as “both a personal story and a national epic…the libretto is as taut and thrilling as a well-written play” (Globe and Mail).

Telling the history of Louis Riel is ever more important in this period of Truth and Reconciliation. It is the COC’s intention that an inclusive and expansive history shall be restored with the 2017 production. Throughout the conceptualization of the 2017 production of Louis Riel and in preparation for the rehearsal period, Hinton and his creative team have followed the guidance and wisdom of members of the Indigenous community.

“What struck me from the very beginning about this piece is the motivation for its creation. It is a contentious and provocative ‘celebratory’ work,” says Louis Riel director Peter Hinton. “When composer Harry Somers and librettist Mavor Moore were commissioned in 1966 by the Floyd S. Chalmers Foundation to write an opera to commemorate the centennial of Canada, Somers and Moore chose the subject of Louis Riel. Their choice to show Canada’s history of struggle and representation in the west, against colonialist and centralist objectives, is not only a metaphor for the conflicts which forged the idea of confederation, but also serves as a challenge for present and future understandings of our country.”

“We asked Peter Hinton to direct this production of Louis Riel because of his long-standing relationship and involvement with Indigenous artists and his knowledge and experience in mounting a theatrical project of this scale,” says COC General Director Alexander Neef. “His involvement brings an informed and culturally sensitive approach to the interpretation of Louis Riel that we are sharing on the stage.”

“The National Arts Centre is thrilled to be the co-producer of Louis Riel. It’s one of the great Canadian operas— an epic story about our country,” says Peter Herrndorf the President and CEO of the National Arts Centre. “When Alexander Neef approached us a number of years ago about a partnership, our immediate answer was ‘yes’, and we both agreed that Peter Hinton had the sensitivity and vision to bring this story to the stage as our director.”

Since 1985, Peter Hinton has directed over 75 productions of new plays, classical texts and operas as well as written the librettos for two operas with composer Peter Hannan, working across Canada and with many theatre companies. He has been the associate artistic director at Theatre Passe Muraille and the Canadian Stage Company in Toronto, artistic director of the Playwrights Theatre Centre in Vancouver, the dramaturg-in-residence at Playwrights’ Workshop Montréal, and artistic associate of the Stratford Festival. From 2005 to 2012, he was artistic director of English theatre at the National Arts Centre, where he created a resident English theatre company, with actors from across the country, and programmed the NAC’s first season of Canadian plays. It was in this role at the NAC where Hinton initiated a commitment to producing the work of Indigenous theatre artists every season during his tenure. Hinton’s directorial work has included premiere works by Métis playwright Marie Clements, as well as producing plays by Kevin Loring, Waawaate Fobister, Yvette Nolan and George Ryga. In 2012, he directed an adaptation of Shakespeare’s King Lear with 40 First Nations/Métis actors and starring August Schellenberg in the title role. He has directed works by Tomson Highway and, in the fall of 2017, Hinton directs the world premiere of City Opera Vancouver’s much anticipated production of Missing by Brian Current, with a libretto by Marie Clements about the Highway of Tears.

“Our challenge is taking an artifact from the 1960s and reviving it for today within a contemporary and inclusive practice,” adds Hinton. “It is a delicate balance of renewing the original spirit of the piece with contemporary perspectives in order to revise the opera’s colonial biases and bring forward its inherent strengths and power.”

Working alongside Hinton is assistant director Estelle Shook, a Métis artist from British Columbia. Artistic director of Caravan Farm Theatre from 1998 to 2010, and current interim artistic and managing director, she recently directed the Dora Award-winning Sunday in Sodom for Canadian Stage. Shook is also a descendant of Saskatchewan pioneer Thomas McKay, who testified at the trial of Louis Riel in 1885. Shook makes her opera debut with Louis Riel, bringing personal, professional and cultural perspectives to the production.

Santee Smith makes her COC debut as the choreographer for Louis Riel. Smith is a member of the Mohawk Nation, Turtle Clan from Six Nations of the Grand, Ont. One of Canada’s most exciting choreographers, she is the founding artistic director/choreographer for Kaha:wi Dance Theatre and has propelled her company to international acclaim. In Louis Riel, she re-imagines and re-stages a number of dances, including the Buffalo Hunt.

Canadian Michael Gianfrancesco, who previously designed sets and costumes for COC school tour productions of The Magic Flute, La serva padrona and The Barber of Seville, makes his COC mainstage debut as the set designer for Louis Riel. His work has been seen across Canada in productions of theatre, opera and dance, with the Stratford and Shaw festivals, Canadian Stage, Neptune Theatre, Theatre New Brunswick, Theatre Passe Muraille, Theatre Aquarius and Pleiades Theatre, among others.

In Louis Riel, Gianfrancesco has created a single set with the flexibility to convey the epic-scale of the events being told as well as the more intimate moments of quiet reflection. The physical space sits atop a solid wood floor into which the topography of the Red River Valley has been carved. Set pieces will come in and out as needed to suggest interior and exterior spaces, transporting the audience from the Parliament Buildings of Ottawa to Fort Garry in Manitoba to Riel’s home in exile in Montana.

Dora Award winning Canadian designer Gillian Gallow makes her COC debut as the costume designer for Louis Riel. Her work in set and costumes has been seen across Canada in productions for Thousand Islands Playhouse, the Stratford Festival, Theatre Calgary, Vancouver Playhouse, Soulpepper and National Arts Centre, to name but a few.

Gallow’s costume design for Louis Riel is inspired by the drive for historical authenticity while also communicating a modern-day sensibility. The resulting aesthetic realizes the visual contradiction between truth and misconception and what is being lived out in the East versus in the West, as well as offers an opportunity for audiences today to see themselves reflected back in the onstage action.

Canadian lighting designer Bonnie Beecher returns to the COC with Louis Riel, last with the company in the 2008 Ensemble Studio double-bill presentation of Giuseppe Gazzaniga’s Don Giovanni and Igor Stravinsky’s Renard. A multiple Dora Award winner and frequent nominee, Beecher’s work has lit the stages of theatres across Canada, including the Shaw and Stratford festivals, Opera Atelier, Soulpepper, National Arts Centre, National Ballet of Canada and Tarragon Theatre, as well as internationally for the Dutch National Ballet, American Ballet Theatre, Glimmerglass Opera, The Royal Shakespeare Company, New Zealand Opera, Stuttgart Ballet and Kevin O'Day Ballet. The lighting design for Louis Riel will serve the range of experiences and spaces playing out on stage, from epic and intimate, to interior and exterior, to realistic and magical.

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.

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.

Additional information about the libretto and score of Louis Riel, as well as complete casting, and a series of public education and outreach events will be forthcoming in separate press materials issued in the coming weeks.

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

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

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