Opera Under 30 tickets for Lucia di Lammermoor, Salome and Dialogues des Carmélites go on sale Saturday, April 6 at 10 a.m. Read on to learn more about one of our Opera Under 30 ambassadors and improve your opera knowledge. Never miss a sale by signing up for our special Opera Under 30 email list.
Lyndsay Promane, 20
Student at University of Toronto, Faculty of Music
1. What was your first introduction to opera?
When I began classical vocal training, I found a recording of Beverly Sills as Rosina singing “Una voce poco fa” from The Barber of Seville and was blown away. My next discovery was Kathleen Battle and Wynton Marsalis’ album “Baroque duets”. Those artists acted as a springboard for me to discover opera and art song.
2. How did you find out about the Opera Under 30 program?
My brother took me to my first COC opera (Stravinsky’s The Nightingale and Other Short Fables) and he purchased our tickets through the Opera Under 30 program. I’ve continued to buy tickets this way ever since.
3. How many COC performances have you seen?
I’ve seen all the performances from the 2012-2013 season so far.
Posted by Danielle D'Ornellas / in Opera Under 30 / comments (0) / permalink
Artistic inspiration comes from many sources, and when Lucia di Lammermoor director David Alden and set designer Charles Edwards first discussed their concept for the opera, they decided to set it in the early Victorian period. And as the opera is loosely based on Sir Walter Scott’s The Bride of Lammermoor, Scottish and Gothic influences came into play as well.
In Edwards’ travels, he came upon an English manor home, Normansfield, and knew instantly that this would be the source of inspiration for the set. Dr. John Langdon Down and his wife Mary founded a private hospital in the building after purchasing it in 1868.
Down studied and classified a condition that later became known as Down’s syndrome and he lived and worked in the building, converting it to an asylum for patients with Down’s syndrome and various mental health challenges.
Posted by Suzanne Vanstone / in 2012/2013 / comments (0) / permalink
For Episode 10, the “Cancellitis” edition, we welcome back opera journalist Joseph So as well as Opera Canada editor, Wayne Gooding. Joining us for the first time is Alia Rosenstock, Associate Artist Manager with Dean Artists Management. Gianmarco Segato, the COC’s Adult Programs Manager is your host.
Recently, Antonio Pappano, Music Director of Royal Opera in London, made some controversial statements regarding the high number of cancellations among the current crop of opera stars, which inspired a flurry of high-profile commentary on various classical music blogs like Norman Lebrecht's Slipped Disc. Our panel gives their take on “Cancelgate” as well as the myriad of other issues facing the opera world that the discussion brought to the forefront. (At 02:08) We also analyze the COC and Metropolitan Opera's new co-production of Parsifal, both from an HD, and live point of view (at 21:45) and finally, deal with the Met's General Director Peter Gelb’s assertion that the HD transmissions are “cannibalizing” his own live audience. (At 30:15)
Are you out there listening? Do you like our new introduction? What would you like us to talk about next? Let us know by sending us your ideas/comments by commenting here, on Facebook, Twitter or by e-mail (firstname.lastname@example.org).
Posted by Gianmarco Segato / in The Big COC Podcast / comments (0) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001