Parlando: The COC Blog

9/15/2016

Politics and Love: An Introduction to Norma

Norma, a druid priestess, is torn between love for those she leads, and a secret passion for Pollione, the Roman enemy of her people. She bears him two children before discovering he has begun an affair with her younger acolyte, Adalgisa. From the entangled storylines of Norma, Pollione, and Adalgisa, to the underlying conflict between the Druids and the Romans, Norma is all about relationships. Join us as we introduce you to some helpful background information on this masterpiece, and give you an inside look at the complicated love triangle.


History Behind the Story: Druids Vs. Romans

The Druids during the Iron Age were members of the educated, professional class among the Celtic peoples of Britain, Ireland, and Gaul (modern-day France). Druids included doctors, healers, poets, and most importantly, religious leaders. Unfortunately for us, the Druids believed firmly in oral traditions of passing along knowledge, and left the modern world with the task of piecing together their history through Greek and Roman writings. 

Norma takes place in Gaul around 50 BCE, shortly following the Gallic Wars (58-51 BCE), where Julius Caesar successfully annexed the tribal chiefdoms as part of the Roman Empire. Following this, the Druids first endured suppression from the Romans, followed by a total prohibition of their religious practices. To learn more about the Druids, click here. To learn more about Gaul under Roman rule, click here.


The Love Triangle: A Timeline

This simplified timeline depicts the entanglement of Norma, Pollione, and Adalgisa that persists the entire length of the opera. Click here for a full synopsis of Norma


Photo credit: Marco Berti as Pollione and Sondra Radvanovsky as Norma in Norma (San Francisco Opera, 2014), photo: Cory Weaver

Posted by COC Staff / in Norma / comments (0) / permalink

9/8/2016

The Opera That Changed My Life: Field Trips

Interacting with opera from a young age has proven to be an important factor in developing a lifelong relationship with the art. A person's first opera experience, whether as a family outing or a school field trip, should be profound and memorable.


Margarete wolfram

Growing up in a tiny hamlet in post-war Germany, I was fortunate enough to have had a teacher who took the initiative of bringing art to our rural community. He founded a "cultural society," invited itinerant theatre groups to perform in our gym, and organized trips to visit the opera house in the nearest city. I was eight years old when I first attended Wagner's The Flying Dutchman, an experience that ignited in me a passion for opera that I later passed on to my children. I remember attending a performance of Hansel and Gretel at Harbourfront with the three of them. I left the performance temporarily because my youngest, who was only a babe in arms at the time, insisted on joining the vocalization he heard coming from the stage. About nine years later, he joined the singers as a member of the Canadian Children's Opera Chorus [Ed. Note: Now the Canadian Children's Opera Company], and in 1993 he was given the role of the second boy in the COC production of The Magic Flute. He has always remained an ardent opera fan. I consider him a good example that one cannot start early enough sowing the seeds of appreciation for the arts. 

 

Above: a scene from the COC's 2016 production of Carmen featuring the Canadian Children's Opera Company


Gail Rutenberg

It happened when I was still in public school...probably the late 1940s. Our school took us to a concert version of La Traviata at Massey Hall. We hadn't had any experience with live operatic voices but I was taking piano lessons and loved serious keyboard music. When I heard what I now know was the aria "Sempre Libera," I was entranced, and carried the song in my memory for years. I am now a devoted opera fan, and have enjoyed the COC's productions for years, have been to operas in many countries, and seek out concerts and recitals featuring operatic voices. I count myself as most fortunate to have had this gift which continues to enrich my life.

Above: a scene from the COC's 2015 production of La Traviata


Tell us about The Opera That Changed Your Life by e-mailing socialmedia@coc.ca your own 100 to 200 word story. It may be featured in an upcoming Parlando post! Learn more here (here for mobile version).

Photo credits (top - bottom): a scene from Carmen (COC, 2016), photo: Gary Beechey; Roberto Gleadow as Dr. Grenvil and Ekaterina Siurina as Violetta in La Traviata (COC, 2015), photo: Michael Cooper

Posted by COC Staff / in TOTCML / comments (0) / permalink

9/1/2016

The Opera That Changed My Life: BACK TO SCHOOL

 

School starts next week (or may have already started for some), and a course in French literature at Queen's University started a "lifetime joy" of opera for one person. 


M.L. Thurling

When I was attending Queen’s University in about 1960 I took a course in French Literature from the late Dr. Shortliffe who was a wonderful teacher. He was playing La Bohème one day when we walked in for his lecture. It was beautiful and he responded to our interest by telling us about the opera, describing the characters and pointing out the recurrent musical themes. It was transporting, unforgettable. Now I am a psychiatrist, and finding the themes of opera everywhere in the stories I hear. I attend the COC as a loyal subscriber and make trips to the Met as well to listen to what I love. It’s a lifetime joy. 

Above: A scene from the COC's 2013 production of La Bohème 


Tell us about The Opera That Changed Your Life by e-mailing socialmedia@coc.ca your own 100 to 200 word story. It may be featured in an upcoming Parlando post! Learn more here (here for mobile version).

Photo credits (top - bottom): A scene from ​La Bohème (COC 2013), photo: Chris Hutcheson

Posted by COC Staff / in TOTCML / 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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