It's clear that Violetta and Alfredo are very much in love in our current production of La Traviata, but did you know that for singers Ekaterina Siurina and Charles Castronovo this love extends beyond the stage? We caught up with the married duo to find out more about the pair behind the performance. Check out our Q&A with them below, and don't miss seeing La Traviata before it's gone on November 6, 2015!
A documentary film maker
An architect, historian, and/or poet
Either very dark chocolate or Old Amsterdam gouda
Coming back a couple times because I forgot something
He is very generous, sweet-hearted and a super handsome man!
Roméo et Juliette's duet (Gounod)
Water. And excellent wine
Spend it with the kids
Being Russian which includes, but not limited to: sarcasm, negativity, worrying, complaining and passion! ;-) Haha!
Baby supplies and my opera score
Opera scores, Nutcracker piano for kids, postcards and an empty cup of tea from previous coaching
All jazz standards
Joan Sutherland and Richard Bonynge
Pitt and Jolie
Words are silver, silence is gold (my grandma always said this, I wish I could follow it better!)
Sleep, eat, warm up, hot tea, stay quiet, and then sing!
Supportive and understanding
The Czarina Katerina :-)
Fly home to LA, unpack and repack for concerts in Russia. Then getting ready for big trip to Australia with the whole family! Very excited!
Staying on my own small island with my family for two weeks!
To learn more about La Traviata and to buy tickets, click here.
Charles Castronovo as Alfredo and Ekaterina Siurina as Violetta in the COC’s production of La Traviata, 2015. Photo: Michael Cooper.
Posted by Kiersten Hay / in La Traviata / comments (0) / permalink
Out of a pool of 120 aspiring opera singers from across the country, eight were selected to compete at Centre Stage: Ensemble Studio Competition on November 3, 2015, our annual celebration of the next generation of opera stars selected from nationwide auditions for the COC Ensemble Studio—Canada’s premier training program for young opera professionals. The competition features the young singers vying for cash prizes ranging in value from $1,500 to $5,000. We interviewed our eight young finalists to learn more—check out all of the interviews, linked by name as they become available, here (or here if on a mobile device).
Montreal-born baritone Bruno Roy is currently studying for his master of music performance at McGill University, where he also received his bachelor’s degree. His recent operatic credits include Count Almaviva in The Marriage of Figaro (Opera McGill); Matt in Crush (Banff Centre); L’Horloge/Le Chat in L’enfant et les sortilèges (Opera on the Avalon); Papageno in The Magic Flute (Blooming Voce Summer Opera Workshop); Masetto in Don Giovanni (FAVA Opera); and Raoul de Gardefeu in La Vie Parisienne (Opera Without Fences). In 2016, he appears as John Brooke in Little Women and Belcore in L’elisir d’amore at Opera McGill.
From a very young age, I was involved in choirs and other vocal ensembles. My mother always had a subscription to the opera and I would often accompany her during these formative years. It created in me a deep appreciation for this repertoire and it is why I decided to make it my course of study.
It is an art form that I find fascinating; it melds drama, literature and music all into one and by juxtaposing it with the power of the human voice, provides us with a unique sensory experience. It has the capacity to make us laugh, cry and reflect, and the composers, stage directors and musicians wanting to share these emotions are what keep this art form going.
I am a big foodie. When it comes to coffee, wine and good food, I always go for the best that a city has to offer. You will also find me behind the counter, whipping up a nice meal for some friends.
Lastly, I must admit that I am often a victim of vanity; I love shopping for nice shoes and I’m always on the lookout for a new hair pomade.
The title role in Debussy’s Pelléas et Mélisande is one that I hold near and dear to my heart. It is a beautiful work in which the characters intentions and emotions are expressed with a unique colour palette where the orchestra expertly supports the prose-like vocal line and where suggestion is just as powerful as action. A highly symbolic opera, it is one that produces in me a new reflection on every listen.
Follow Bruno on Twitter at @brunobeloinroy
For more information and to purchase tickets, visit COCCentreStage.ca, call COC Ticket Services at 416-363-8231 or visit the Four Seasons Centre Box Office (145 Queen St. W.).
To buy competition tickets, click here.
To buy Under 30 competition tickets sponsored by TD, click here.
For more information about the the Centre Stage Dinner event and how to purchase tickets, please contact the PC Office at 416-363-5801
Photo Credit: Stephane Poirier
Posted by Kiersten Hay / in Centre Stage / comments (0) / permalink
Stratford, Ontario native and soprano Eliza Johnson studied at the University of Toronto, where her roles included Governess in The Turn of the Screw, Adina in L’elisir d’amore, Despina in Così fan tutte, Rob Ford’s Mother in Rob Ford: The Opera and Lucy in The Telephone. Additional credits include Susanna in The Marriage of Figaro (Highlands Opera Studio); Berta in The Barber of Seville and Soeur Valentine in Dialogues des Carmélites (Opera Theatre of St. Louis); Pamina in The Magic Flute (Opera Lyra’s Opera Studio); and concert appearances with the University of Toronto and Stratford symphony orchestras, and Stratford Summer Music. Recently, Ms. Johnson won First Prize in the Brian Law Opera Competition with the National Capital Opera Society and was a finalist for the Ryan Center at the Lyric Opera of Chicago.
Is this a trick question? I am literally obsessed with opera and honestly can’t imagine myself doing anything else. If my passion for anything else were equal to or greater than my passion for opera, I definitely would not have chosen this career or invested so much in it!
That said, if I had all the luxury of living multiple lives, I think I would pursue a career as a painter. When I was younger, it was a constant toss-up between art and music. I still work when I can, but paints and canvases are not very compact for a travelling opera singer; gowns and shoes take up a lot of space! I’d love to see what would happen if I devoted myself fully to painting, but for now that’s a question that will remain unanswered!
I love to paint and love to cook. I love reading and feeding myself artistically from a variety of mediums. I love to travel and learn about other cultures and communities. I love to bike and move my body! I love my friends: musicians and non-musicians (whose perspectives and ideas can be very refreshing!).
There are so many! The repertoire is so vast and each piece is so unique. In a way, any role that is a good vocal fit is a "dream role" since any opportunity to sing is exciting and rich.
If I have to choose, I think my absolute favorite opera of all time (for now) is Benjamin Britten’s The Turn of the Screw. I had the opportunity to sing the role of Governess when I was studying at the University of Toronto and the experience has yet to be topped. I would love to perform this role again!
I’m also very interested in working with living composers and developing new works. I hope I am able to experience more of this process throughout my career.
Learn more about Eliza at elizajohnson.ca or follow her on Twitter at @ElizaJohnsonSop or on Instagram at @elizajanejohnson
Posted by Kiersten Hay / in Centre Stage / comments (1) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001