For the past six months, the production department of the Canadian Opera Company has been buzzing in anticipation of our brand new production of Così fan tutte and, step-by-step we were there! Watch our three Inside Opera videos and go behind-the-scenes as we bring this new production of Mozart's wry comedy to life. Learn about the creation of the crisp prep school-inspired costumes, the gorgeous cotton-candy blue ship-wigs, the creation of our curio cabinet and, finally, watch it all come together with the music during rehearsal!
Posted by Danielle D'Ornellas / in Cosi fan tutte / comments (0) / permalink
By Gianmarco Segato, Adult Programs Manager
In an age in which superlatives such as “unforgettable,” “legendary” and “greatest” are thrown about indiscriminately, few would argue Sir Thomas Allen’s status as the pre-eminent lyric baritone of his generation. He has earned this title most especially for his iconic interpretations of Mozart’s Don Giovanni, Count Almaviva, Figaro, Papageno, Guglielmo and Don Alfonso, both onstage and in the recording studio. Following his appearances at the Glyndebourne Festival in Sir Peter Hall’s legendary production, EMI recorded his Don Giovanni in 1984 – now considered the definitive account of Mozart’s notorious womanizer. For close to four decades he has been the baritone of choice for star conductors such as James Levine, Riccardo Muti, Georg Solti, John Eliot Gardiner, Colin Davis and Simon Rattle. Allen has not only mastered the fine balance between singing and acting needed to be a great opera singer, but stands as a master interpreter of the art song, especially in the English and French repertoire. He now passes on his expertise to the next generation of artists, giving masterclasses worldwide including, since 1996, at his own Samling Academy, located in Allen’s beloved native country in North East England.
By Claire Morley, Associate Manager, Editorial
Setting the scene: In Mozart’s wry comedy, Così fan tutte, two soldiers, Ferrando and Guglielmo, are challenged to test the fidelity of their fiancées, sisters Dorabella and Fiordiligi. Ferrando and Guglielmo disguise themselves and woo the sisters, who, although perfectly aware they are being deceived, nevertheless grapple with strong emotions that make us all wonder: When it comes to the laws of attraction, how much are we really in control of ourselves?
It’s no secret that director Atom Egoyan’s experience lies in exploring characters and stories that are often psychologically probing and can be deeply dark (like his remounting of Salome at the COC this past spring). Although his Così will certainly pose some very serious questions by delving into a close examination of love, fidelity, and what happens when we are tested by these forces, Egoyan is thrilled to explore the comedy in Mozart’s sparkling and beautiful work.
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001