The Canadian Opera Company's popular Inside Opera video series is back, this time with a look at our final production of the spring season, Dialogues des Carmélites.
In our latest Inside Opera video, meet three talented Canadian artists starring in Robert Carsen's production of Poulenc's Dialogues des Carmélites. Sopranos Isabel Bayrakdarian, Adrianne Pieczonka and mezzo-soprano Judith Forst discuss the power and strength found in the music of Poulenc's masterpiece, and discuss how the unique staging elements heighten the anxiety and fear in their performances.
Catch up with the last Inside Opera video, Salome, Playing with Shadows and explore our production of Donizetti's Lucia di Lammermoor with: Creating Lucia Part One,Creating Lucia Part Two and William Zeitler and the Glass Armonica.
Posted by Danielle D'Ornellas / in 2012/2013 / comments (0) / permalink
Storified by CanadianOperaCompany· Mon, Apr 29 2013 13:22:27
"Hanna Schwarz gives much more life to Herodias than one normally sees. She is fussy, self-important and the only character given to exaggerated gestures. She is clearly outraged that she must be seen to submit to a man she knows is weaker than she is. Although her lines sound a note of constant complaint, Schwarz never loses dark beauty of her lush voice and thereby makes Herodias an even more imposing figure." - Christopher Hoile, Stage Door
Posted by Danielle D'Ornellas / in 2012/2013 / comments (2) / permalink
By Nikita Gourski, Development Communications Officer
Imagine the choreographer who turns to the libretto of Salome for the first time, looking for insight on the famous Dance of the Seven Veils. They find only the briefest and most general of instructions to guide their work: “Salome dances the Dance of the Seven Veils.” For a pivotal scene, it’s not much to go on.
Yet that brevity opens up the performance to a multitude of possible and legitimate interpretations. By saying next to nothing about how the dance should look, the libretto seems to recognize that an elusive and indefinable quality is woven into the dance… a quality that might resist pre-determined charting precisely because it originates from a mysterious place of self-expression.
Salome by Paul Klee, 1920 and The Dance of Salome by Benozzo Gozzoli, 1462
Salome was adapted from Oscar Wilde’s one-act play, in which the author omits specific choreographic instructions with the very same phrase that the opera’s libretto echoes, unchanged, 13 years later. Things only get more puzzling when we read Wilde’s personal inscription to illustrator Aubrey Beardsley. “For Aubrey,” Wilde wrote, “the only artist who, besides myself, knows what the dance of the seven veils is, and can see that invisible dance.”
Posted by Danielle D'Ornellas / in 2012/2013 / comments (1) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001