As our production of The Magic Flute closes, we wanted to share some life-changing operatic moments our patrons have had with the great Mozart, and more! From The Marriage of Figaro to The Magic Flute, where would the opera world be without this masterful genius?
Our most memorable so far: The Magic Flute, Wolfgang Amadeus Mozart, at the Vienna State Opera (Staatsoper) a few years ago. The music, acting and singing were superb. The costumes were fairly traditional: Papageno and Papagena in their usual feathered suits, Sarastro in a white flowing gown, and so on. The staging was unusual—the sets were almost surrealistic, but appropriate. For instance, the “cave” in the last act was a big cube box on a skewed angle, with entrance and exit on two opposing sides, flanked by sloping ramps on which the guards stood. Altogether, it was an inspiring and uplifting experience for the pair of us.
The first opera I ever attended was The Magic Flute in Vienna on my 20th birthday (in 1981) during a year-long, post-secondary European trek. I knew nothing about opera but was mesmerized by the Queen of the Night and the ensemble singing. I became an instant, life-long fan of Mozart's operas. When I moved to Toronto that same year to attend university my sister was working for the costume department at COC. Through her I was able to attend Jenůfa in 1982 which was staged in English (these were pre-SURTITLESTM days!) The opera spoke to me in a profound way. I became a devotee of opera in general and of the Eastern European composers in particular. I have been able to see Jenůfa at least one more time since then; it was just as powerful as I remembered it to be.
I have been attending COC productions ever since and am a subscriber now. Thanks for the opportunity to share my story.
At 15 years old, I did not have too much of an idea what opera was. My friend from Catholic school played for me some beautiful arias, so at a Sunday matinee I got a stand-up ticket in the fourth ring. There were no subtitles at that time. It was The Marriage of Figaro with Victoria de Los Angeles and Christa Ludwig still singing in my mind.
The opera that stood my hair up was Turandot with Montserrat Caballé and Birgit Nilsson. After that I spent the rest of my teen years and youth at the theatre—on my feet. I also spent a few years studying classical dance with one of the maestros of this opera house. I can't live without music and am now taking vocal lessons at the age of 67—discovering my strong bass. I have been a COC subscriber for a long time.
Above: Montserrat Caballé singing "Signore ascolta" from Turandot during a 1975 concert at the Gran Teatre del Liceu.
Photo credits (top - bottom): Owen McCausland and Kirsten MacKinnon in The Magic Flute (COC, 2017), photo by Michael Cooper; Jacqueline Woodley and Joshua Hopkins in The Magic Flute (COC, 2017), photo by Michael Cooper; Ambur Braid in The Magic Flute (COC, 2017), photo by Gary Beechey.
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By Kristin McKinnon, Publicist & Publications Co-ordinator
This season marks the 65th anniversary of the COC's very first presentation of The Magic Flute. Since 1952, the COC has presented at least seven productions of Mozart's final and most popular opera, including an exclusive Ensemble Studio production and a school tour adaptation for young people. Join us for a trip down memory lane as we revisit some of the COC's most memorable Magic Flute moments.
The COC's first ever production of The Magic Flute took place in February 1952 at the Royal Alexandra Theatre as part of the company's third season, back when it was known as the Opera Festival Association of Toronto. Directed by the COC's co-founder and, later, artist director Herman Geiger-Torel, the opera was sung in English and starred Mary Morrison as Pamina, Robert Price as Tamino, and Lois Marshall as the Queen of the Night. Don Garrard, one of the high priests, would also go on to enjoy an international career.
Left: the Three Ladies played by (l-r) Jean MacPhail, Carol Anne Curry and Claudette Leblanc, were an imposing presence in the COC's 1977 production directed by Bliss Herbert. Right: Peter Barcza's Papageno in 1977 was especially bird-like, while Patricia Wells' Pamina radiated 1970s glamour. Both photos are by Robert C. Ragsdale.
Celebrated illustrator Maurice Sendak, best known for the classic children's story Where the Wild Things Are, co-created the whimsical set and costume designs for the COC's 1982 production. This production also marked Ben Heppner's COC debut, then a member of the Ensemble Studio, as the First Armed Man. Left: Claudia Cummings as the Queen of the Night and Costanza Cuccaro as Pamina. Right: Theodore Baerg as Papageno with Shawna Farrell as Papagena and the Three Spirits. Both photos are by Robert C. Ragsdale.
This COC production was directed by Lotfi Mansouri, the company's then-general director, with majestic sets and costumes designed by Thierry Bosquet. This photo is by Michael Cooper.
This 1993 incarnation, directed by Martha Clarke, proved to be one of the COC's more polarizing productions, but brought together two long-time COC favourites, then at the beginning of their careers: tenor Michael Schade and baritone Russell Braun (far left), playing Tamino and Papageno. Also pictured are (l-r) Tanya Parrish, Norine Burgess and Monica Whicher as the Three Ladies, and Valerie Gonzalez (background) as Papagena. This photo is by Michael Cooper.
The 2005 Ensemble Studio production, which commemorated the 25th anniversary of the prestigious training program, got a little wild with a lion-taming Tamino, played by tenor Victor Micallef (now one of the three "Tenors"). At the time, this was the program's largest production to-date. It was directed by Andrew Porter, and performed in the MacMillan Theatre at the University of Toronto. This photo is by Michael Cooper.
After the 1993 production, The Magic Flute was not seen on the mainstage again until 2011, with Michael Schade returning to reprise the role of Tamino in the company's new production by Diane Paulus, revived this season. It was the first Flute to grace the stage at the Four Seasons Centre for the Performing Arts. This photo is by Michael Cooper.
The Magic Flute is on stage at the Four Seasons Centre until February 24, 2017. Click here for more information and tickets.
Banner photo: Owen McCausland as Tamino and Kirsten MacKinnon as Pamina in The Magic Flute (COC, 2017), photo by Michael Cooper.
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On February 13, the rising stars of the Ensemble Studio competed in the fourth biennial Christina and Louis Quilico Awards. The singers were accompanied by Ensemble Studio pianists/intern coaches Hyejin Kwon and Stéphane Mayer, and the evening was judged by COC General Director Alexander Neef, COC Chorus Master Sandra Horst, and internationally acclaimed soprano Adrianne Pieczonka. Mezzo-soprano Emily D'Angelo and soprano Danika Lorèn shared the top prize, taking home $4,000 each, while tenor Charles Sy won $2,000. The event took place in the Richard Bradshaw Amphitheatre at the Four Seasons Centre for the Performing Arts as a part of the Free Concert Series. Here are some of our favourite photos from the evening!
Emily D'Angelo – Mezzo-Soprano
Emily D'Angelo, accompanied here by Stéphane Mayer, sang "Non piú mesta" from Rossini's La Cenerentola and "Coeur sans amour" from Massenet's Cendrillon.
Danika Lorèn, accompanied here by Hyejin Kwon, sang "Il primo ardor" from Handel's Ariodante and "Caro nome" from Verdi's Rigoletto.
CHARLES SY – TENOR
Charles Sy, accompanied here by Stéphane Mayer, prepared "I must with speed amuse her" from Handel's Semele and "Ah! Lève-toi, soleil!" from Gounod's Roméo et Juliette.
Lauren Eberwein – Mezzo-soprano
Lauren Eberwein, accompanied here by Hyejin Kwon with Stéphane Mayer page-turning, prepared "Wie du warst" from Strauss' Der Rosenkavalier and "Sgombra è la sacra selva" from Bellini's Norma.
Bruno Roy sang "Oh! Oh! Qu'est-ce que c'est?" from Debussy's Pelléas et Mélisande and "Lieben, Hassen, Hoffen, Zagen" from Strauss' Ariadne auf Naxos.
This year's competition was generously supported by Burgundy Asset Management and Gluskin Sheff Asset Management and was administered by the Ontario Arts Foundation.
Banner photo: (l-r) Ontario Arts Foundation Executive Director Alan Walker, Christina Petrowska Quilico, Charles Sy, COC Chorus Master Sandra Horst, Danika Lorèn and Emily D'Angelo, Adrianne Pieczonka, and COC General Director Alexander Neef. All photos by Chris Hutcheson.
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Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001