Parlando: The COC Blog


Photographing Cinderella

[This is a guest post by Gianna Wichelow, senior communications manager, creative]

There has been a stunning group of entries for our Cinderella Outfit Challenge, which is now in its final stages of judging. While we await the outcome, here’s the story behind the COC’s Cinderella doll!

When we were preparing the Canadian Opera Company’s 2010/2011 season brochure, we took as our theme the idea of “found objects.” Each opera was represented by something that you might find in an old box in your attic, or on a shelf, something with a personal touch that would resonate with a theme from the opera.

The creative team consisted of Mark Olson, photographer; Rita Poole, producer; Jeffrey Halcro, creative director at Endeavour Marketing (the COC’s agency of record); and Genevieve Wiseman, props stylist. The COC team consisted of Jeremy Elbourne, director of marketing, and me, senior communications manager, creative.


Posted by Gianna Wichelow / in 2010/2011 / comments (2) / permalink


Scaramuccio Backstage and Onstage

As we saw in the previous blog post about the costumes in Ariadne auf Naxos, many of the characters are seen in two modes: "backstage," waiting to perform their roles, and "onstage," in the context of the play-within-a-play. The Prologue of the opera (which takes place backstage at a theatre) is set in the present day, while the opera proper is set in a theatrical dream world. In these photos we can see how that contrast plays out for the character of one of the opera's comic performers, Scaramuccio. Scaramuccio will be played by Ensemble Studio member Christopher Enns, who most recently performed the role of Tamino in our Ensemble Studio special performance of The Magic Flute. The sketch for one of Scaramuccio's costumes is at the top left. All designs here were created by Ariadne's set and costume designer, Dale Ferguson.

Director Neil Armfield imagined the troupe of comic performers as having met and gotten their start performing at University. Here's Scaramuccio's "backstage" outfit, which wouldn't be out of place for a University student.  


Posted by Cecily Carver / in 2010/2011 / comments (1) / permalink


Lighting up the Stage: The Wally Russell Internship

[This is a guest post by Wendy Greenwood, lighting co-ordinator at the Canadian Opera Company. For more information on the Wally Russell Internship, click here]

In my final year of university one of my professors offered me the opportunity to take an Independent Study with the Canadian Opera Company as an apprentice lighting design assistant. I was ecstatic. I had only discovered lighting design while in my first year, and I loved it. I loved light. The way it moved, the way it evoked or manipulated emotion, what it revealed—or hid . . .  I couldn’t believe the opportunity before me. That season the productions were Don Pasquale and Il Re Pastore at the Elgin Theatre in Toronto. It was also my first introduction to Rep (running more than one show at a time on the same stage). That opportunity turned out to be everything I could have hoped—I was working with a large opera company alongside two very different yet equally talented lighting designers. I learned so much over the course of that apprenticeship, consciously and unconsciously, lessons that helped shape who I became as a lighting designer and my career path as a lighting professional. The COC has experienced incredible growth since then—we produce seven mainstage productions a year in our own opera house—and there have been many mentors and influences in my life since that first apprenticeship, but the COC will always be there at the start of it all.


Posted by Wendy Greenwood / in COC History / comments (3) / permalink

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



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