Parlando: The COC Blog


Devereux Dream Team: A Stellar Cast Brings Elizabethan Court To Life

By Gianmarco Segato, Adult Programs Manager

Leonardo Capalbo and Sondra Radvanovsky in Roberto Devereux

Bel canto (literally, “beautiful singing”) is an elusive term. It is most often used as a convenient, catch-all phrase referring to the early 19th-century period in Italian opera dominated by Rossini, Bellini and Donizetti. But it also denotes a singing style, the hallmarks of which are beauty of tone, wide range, extreme flexibility and expressive utterance of text. For this spring’s Roberto Devereux, the COC has assembled an ace team of highly trained vocal athletes who are ready to meet bel canto’s extreme demands in Donizetti’s great historical drama about the last days of England’s “Virgin Queen,” Elizabeth I (Elisabetta).

In that pivotal role, superstar soprano Sondra Radvanovsky makes her hotly anticipated return to the COC after bringing down the house as Aida in 2010. While her career has mainly been centred on core, late-Romantic Italian roles such as Leonora in Verdi’s Il trovatore, Radvanovsky’s exploration of earlier 19th-century bel canto heroines like Anna Bolena and Maria Stuarda (who together with Elisabetta make up Donizetti’s “Tudor Trilogy”) is much more recent. The soprano’s account of the path that led her to bel canto is fascinating and frankly revealing. In 2002, a polyp (caused by a botched childhood intubation) was removed from her vocal chords. “I had to learn how to sing all over again. It opened up a whole new world for me, a world I never thought or imagined musically I would be singing in.” Radvanovksy credits her voice coach Tony Manoli with steering her in this new direction. Despite her many accomplishments as a Verdi singer, he was convinced she had the potential to be even greater in the bel canto repertoire. Together, they re-worked her technique post-surgery and in the process, she feels she became “a better singer. It was a godsend. No one else heard it; [Manoli] was the only one.” The ultimate affirmation of this vocal transformation was her recent fall 2013 Metropolitan Opera Norma (the summit of all bel canto roles) – “it was a huge success… HUGE!”

Sondra Radvanovsky in Roberto Devereux

Radvanovsky notes that elsewhere in his Tudor Trilogy “Donizetti chose to highlight earlier stages of the Queens’ lives whereas Elisabetta is at the end and she’s worn down; she’s a broken woman. She was a very strong Queen, as we know, but here she’s angry a lot and it shows in the vocal writing Donizetti gave her. If you look at the length of the role, Elisabetta is the shortest, especially compared to Anna Bolena which is a marathon. In fact, Elisabetta doesn’t appear in quite a bit of the opera but she has the key moments and by far the hardest music. In terms of vocal range, hers is the widest with a great amount of dramatic coloratura that is just unrelenting.”

Roberto Devereux’s title role will be shared between two debuting artists, Italian-American tenor Leonardo Capalbo and Italian tenor Giuseppe Filianoti

Leonardo Capalbo comes to Toronto fresh from his fall 2013 success as Roberto Devereux with Welsh National Opera where his performance was praised for its “power and elegance” (The Guardian). A tenor on the rise, since debuting in 2004 Capalbo has performed across the world for companies like the Welsh National Opera, Oper Leipzig, Teatro dell’Opera di Roma, Opéra de Lyon and the Lyric Opera of Chicago. Capalbo sings Devereux on April 25, 29 and May 3. 

Giuseppe Filianoti is a regular at Europe’s leading opera houses, North American audiences will know him best for his riveting portrayal of the Emperor Tito in the recent Metropolitan Opera HD transmission of Mozart’s La clemenza di Tito. “From the start, Roberto knows there is no escaping the jealousy of the 63-year-old queen, wounded in her pride and in her love,” says Filianoti. “[He] represents the typical romantic hero: young, attractive, ambitious, valorous and merciful in war but, unfortunately, in love with the wrong woman. He hopes until the end to be able to save himself from an unjust death sentence and to redeem the honour of his beloved Sara. Although his execution inevitably takes place, we at least get to hear his final appeal in one of the most beautiful arias Donizetti wrote for the tenor voice, “Come uno spirito angelico” (“Like an angelic spirit”). Filianoti sings Devereux on May 10, 15, 18 and 21.

Allyson McHardy as Sara, Russell Braun as Nottingham

The third member of this tragic love triangle is Sara, Duchess of Nottingham sung by COC favourite, Canadian mezzo-soprano Allyson McHardy. “Sara is an opera singer’s dream,” enthuses McHardy. “She lives a tortured life married to someone she doesn’t really love [the Duke of Nottingham]. She feels a certain allegiance to Elizabeth and therefore, must hide her feelings for Devereux. She fights through the entire opera to save him and do the right thing no matter what the consequences are for her. This is beautifully laid out in Donizetti’s music: moments of torture, love, tenderness and desperation.” McHardy concurs with the generally held opinion that Roberto Devereux’s success is largely due to Salvatore Cammarano’s superior libretto with its strong command of text and clear storyline. “The characters are so real and so complete. Their interactions are intense, complex and so wonderfully nuanced. It takes English history and sets it on fire!”

The fourth player in the drama is Sara’s husband, the Duke of Nottingham. In general, bel canto opera does not bestow the same gifts on baritones that it does on sopranos and tenors, however, Nottingham is an exception to this rule, blessed as he is with one of the opera’s great melodies, “Forse in quel cor sensibile” (“Perhaps in that sensitive heart”). This isn’t lost on Canadian star baritone Russell Braun: “His music is wonderful and the character is very mature actually. He’s very ordinary at the beginning but what happens to him as the result of jealousy, and through the sense of a loss of power is what makes the drama. Because he’s so human at the beginning I feel his transformation is believable and really shows what actually can happen to each and every one of us in this situation.”

Roberto Devereux runs from April 25 to May 21 at the Four Seasons Centre for the Performing Arts. For tickets and more information, click here


Photos: (top) Leonardo Capalbo as Roberto Devereux and Sondra Radvanovsky as Elisabetta; (middle) (far right) Sondra Radvanovsky; (bottom) Allyson McHardy as Sara and Russell Braun as Nottingham. All photos from the Canadian Opera Company’s Roberto Devereux, 2014 by Michael Cooper.

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An emotional response to Hercules

Corporal Romeo Daley

On April 3, 2014, the Canadian Opera Company invited veterans groups and their families to the BMO Financial Group Student Dress Rehearsal of Peter Sellars' production of Handel’s Hercules. See what they had to say about this moving production and watch as they share their experiences with us.

Learn more about Hercules here:

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Not to Perish: Peter Sellars on Hercules, Handel's poignant examination of psychic breakdown

By Nikita Gourski,  Development Communications Officer

“We have art so that we might not perish from the truth.” Friedrich Nietzsche

“There’s an idea that opera is some useless entertainment for rich people and has no larger civic function,” notes American director Peter Sellars. “And for me it’s really the opposite.”

Born in Pittsburgh, Pennsylvania and educated at Harvard University, Sellars first captured the public’s attention with a 1981 production of Handel’s Orlando, which he set in the milieu of the U.S. space program on Cape Canaveral. Two years later he was awarded the MacArthur Fellowship, colloquially known as the “Genius Grant.” He was 25 years old.

Since then, Sellars, who in addition to directing opera, theatre and film, is a professor in UCLA’s World Arts and Culture Department, has fascinated North American and European audiences with his unorthodox stagings. Some of his early efforts – notably the trilogy of Mozart/ Da Ponte operas (Don Giovanni, Così fan tutte, and Le nozze di Figaro) which he set, respectively, in a New York City ghetto, a seaside diner, and Trump Tower – were viciously attacked by certain operagoers and critics.

But the passage of time has allowed for a more thoughtful, and overwhelmingly positive, assessment of his work to emerge. “That people seemed eager to write off Sellars as an enfant terrible attempting to shoehorn opera into a pair of Nikes,” wrote Adam Wasserman in Opera News two years ago, “was likely the result, I think, of his ideas hitting uncomfortably close to home.”

But if Sellars has sought to put audiences in touch with the moral tensions and social problems of their day, it’s because his overarching ambition has been to rejuvenate theatre as an arena for political consciousness, to let opera speak to our society with the same invigorating immediacy as Greek drama did for the ancient Athenians. In the words of scholar Julian Young, the tragic festival in ancient Greece “was a sacred occasion on which the community was gathered into a clarifying affirmation of its fundamental ethos – that which made it the community it was.” You did not, in other words, attend the theatre to escape the world, but to see it more clearly; not to forget yourself, but to discover your membership in the political body; not to divert your attention from problems, but to participate in the search for answers.

With the new COC production of Handel’s Hercules, built in collaboration with Lyric Opera of Chicago, Sellars is as adventurous as ever in pursuing that project. He sees in Hercules an examination of what we now call post-traumatic stress disorder; in less medically precise terms, the heartbreaking tangle of problems faced by returning soldiers and their families. He invites modern reality into the opera house, not to give the production a novel gloss, but to release the universal elements of Handel’s work within a grid of contemporary signs: battle fatigues; Abu-Ghraib orange jumpsuits; flagdraped coffins – and to emphasize that the social and psychological toll of warfare isn’t a bygone relic but an everyday reality.

“We’re now beginning to talk about this, because the situation in the United States is that one out of three homeless persons is a veteran,” Sellars says. “You have people whose lives have been so destroyed, whose capacity to live a meaningful life has been so devastated, who have everything stacked against them, even though they served [their country].”

Handel’s opera is based largely on Women of Trachis, a tragedy by Sophocles who, in addition to being a first-rate dramatist, was also a war general. He brought a rare insight to the emotionally intense – even dangerous – landscape that soldiers and their families had to navigate after reuniting. More than 2,000 years later, in 1745, Handel tackled the material with Hercules, an oratorio-opera hybrid he, himself, labeled a “musical drama.”

In the opera, Hercules returns triumphant after a prolonged war in a foreign city, but his loving wife Dejanira is caught off-guard by her husband’s relationship with a mysterious prisoner of war, a princess named Iole. Dejanira is soon plunged into an intensely felt jealousy. And though Hercules appears every bit the proud and honourable hero, his wartime experiences have left him fundamentally displaced from his past life, and equally unprepared for what awaits in the civilian world. “The god of battle quits the bloody field,” he sings, “And useless hang the glitt’ring spear and shield,” but the deeds committed in combat, including the likelihood of sexual infidelity, persist as an unacknowledged minefield between Hercules and his wife. They fight bitterly, he retreats into incommunicative silence, and she grows suicidal. Before long, the situation explodes.

“When everyone’s back together again [after a military deployment],” Sellars explains, “there’s a whole lot of things that neither side knows about the other, that have been covered up – for positive reasons maybe – but that end up becoming deadly fault lines.

“For Handel, as for Sophocles, it was this image of the most powerful person on earth, the strong man, being unbelievably vulnerable. And, in fact, being in denial about a lot of the deepest points of vulnerability.”

The genius of Handel is in finding a musical language commensurate to the psychological experience of post-traumatic stress. In Hercules, Handel uses da capo arias, which have a cyclical structure whereby the singer returns to a previous section of music, following an A-B-A pattern, as if haunted by a previously recurring experience. (Translated from Italian, da capo means, literally, “from the head.”)

Singing a da capo aria is a structural analogue “of what it means to work through your issues,” Sellars says. “You can’t just say, ‘okay, now you’re fine,’ but, in fact, you have to go back and work on it. And you have to dig out all of this emotional stuff that has been locked up and has been denied… it’s what’s involved in these extreme vocal melismas that Handel writes, where a single word will have 150 notes. And that’s because in one word – for most people it’s just a word – for [a veteran] there’s a roller coaster of emotions; there is an entire set of experiences that flash inside that one word.”

Alongside the personal excavation undertaken in the arias, Handel “places the huge choruses, where you get the power of citizens, and you say, ‘wait a minute, our whole society is in danger!’ You can’t just pathologize that person who just screamed in pain in the last aria.”

Though Sellars readily admits that the subject matter is challenging, he also emphasizes that “Handel believed that the first way to go into a difficult or dangerous place is with a lot of beauty. So the music is just ravishingly beautiful. It transmutes the suffering into another place and you don’t run away from it, but you go towards it.” In this way, Handel’s opera succeeds both as a precise, mimetically accurate diagnosis of the experience, and as a vehicle of the healing process itself.

Hercules runs until April 30 at the Four Seasons Centre for the Performing Arts, click here for tickets and more information.


Photos: (top) Alice Coote as Dejanira; (middle) (l-r) David Daniels as Lichas (in background), Richard Croft as Hyllus, Lucy Crowe as Iole and Kaleb Alexander as Soldier; (middle) Richard Croft and Lucy Crowe; (bottom) (at left) Alice Coote and Richard Croft. All production photos from the Canadian Opera Company’s Hercules, 2014 by Michael Cooper. Photo of Peter Sellars by Ruth Walz.

Posted by Danielle D'Ornellas / in Hercules / comments (0) / permalink

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Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001

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