Parlando: The COC Blog


Opera and the need for interpretation

Recently, the National Post published two opposing opinion pieces regarding the relevance of opera today and, in particular, the Canadian Opera Company’s role in that discussion: one was published on February 22 by Terence Corcoran, and one by Robert Cushman which ran on March 1. We have truncated them both below with links to the full pieces for your perusal.

Keeping in mind that all opinions are important to us, we appreciate Mr. Cushman’s ability to articulate in print what we strive so hard to illustrate on stage – that the very nature of the performing arts is one of constant mutability, one that responds to an ever-changing cultural landscape and social environment, and one that is the result of the inevitability of interpretation.

A philosophy central to the Canadian Opera Company’s artistic mandate is not to simply accept the status quo, but to find meanings in these great works of art that haven’t been found before, and, by gathering together the world’s finest artists, we strive to contribute to a continuously evolving engagement with these profound explorations of the human condition.


Posted by Danielle D'Ornellas / in Opera Appreciation / comments (1) / permalink


Parlando Asks: What is your favourite Valentine's Day aria?

It's Valentine's Day! We thought about some of our favourite romantic arias or duets for the holiday and discovered that picking romantic music isn't always so easy in opera!

Gianna Wichelow, Senior Communications Manager, Creative - My choice is less about sentiment, more about seduction: I’m a sucker for a bass-baritone voice. Ruggero Raimondi as Don Giovanni sings the serenade, “Deh vieni alla finestra” with that unique voice of his, redolent of dark, spiced chocolate. His “non esser gioa mia con me crudele” (Do not, my joy, be cruel to me) has a slight hint of menace. Of all the versions I’ve heard of this, he brings to it the greatest sense of the Don as a seducer. Watch it here.

Bearitone Bear, Social Media Engagement Officer  - Anything from Walton's The Bear.

Claire Morley, Communications Assistant -  For me, it’s a tie. The final duet in Der Rosenkavalier, “Ist ein Traum / Spür nur dich” when Sophie and Octavian are finally able to be together (and for me, nothing beats Barbara Bonney and Anne Sofie von Otter’s rendition here) is heavenly. And “Che farò senza Euridice” from Orfeo ed Euridice, especially when sung by countertenor Andreas Scholl, is heartbreaking in its simple longing for one’s beloved. Listen to it here.

Cameron McPhail, baritone, Ensemble Studio member - That's easy. My choice would be "Within this frail crucible of light" from The Rape of Lucretia, because when you're an opera singer and away from your wife on Valentine's Day, you're bitter, lonely and wish everyone was feeling like you! ;) Hypothetically!


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


La clemenza di Tito: A Roman soap opera!

Posted by Danielle D'Ornellas / in 2012/2013 / comments (1) / permalink

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



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