By Gianmarco Segato, Adult Programs Manager
Roberto Devereux is the final instalment in Gaetano Donizetti’s “Tudor Trilogy” which also includes Anna Bolena and Maria Stuarda. Central to each of these operas is a soprano role which stretches the singer to the limits of her technical and dramatic capabilities. It’s generally agreed that the role of Elisabetta in Roberto Devereux represents the summit of these prima donna (principal female) roles with regards to difficulty.
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For the past month we've followed director Peter Sellars, conductor Harry Bicket and the cast of Hercules as they rehearsed together for the first time in three years to recreate Sellars' emotional production of Handel's great opera. During rehearsals we had the opportunity to chat with bass-baritone Eric Owens (Hercules), mezzo-soprano Alice Coote (Dejanira), countertenor David Daniels (Lichas), soprano Lucy Crowe (Iole) and tenor Richard Croft (Hyllus) about the artistic process as they step back into the shoes of the complex characters they brought to life in Chicago in 2011.
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On Friday, April 4, join us as we explore Hercules and examine music’s role, both historical and contemporary, in the rehabilitation and re-integration of those touched by war. At this special Opera Exchange, Peter Sellars will be joined by former CBC war correspondent Brian Stewart, musicologists Kip Pegley and Susan McClary, 18th-century literary/drama scholar Brian Corman as well as veterans from World War II and the wars in Korea, Bosnia, and Afghanistan.
This special Opera Exchange may be over, but you can watch the events unfold in the video below, you can also view the #OperaExchange hashtag to see what kind of conversations we had throughout the day.
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Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001