Out of a pool of 120 aspiring opera singers from across the country, eight were selected to compete at Centre Stage: Ensemble Studio Competition on November 3, 2015, our annual celebration of the next generation of opera stars selected from nationwide auditions for the COC Ensemble Studio—Canada’s premier training program for young opera professionals. The competition features the young singers vying for cash prizes ranging in value from $1,500 to $5,000. We interviewed our eight young finalists to learn more—check out all of the interviews, linked by name as they become available, here (or here if on a mobile device).
Qualicum Beach, BC native, mezzo-soprano Lauren Eberwein studies at the Curtis Institute of Music and is a member of Opera Philadelphia’s Emerging Artist Program. Her credits include Baba the Turk in The Rake’s Progress, The Composer in Ariadne auf Naxos, Zita in Gianni Schicchi, Tisbe in La Cenerentola, Mère Marie in Dialogues des Carmélites, Second Lady in The Magic Flute, and Dido inDido and Aeneas (Curtis Opera Theater), as well as Sorrel and Dodo in Double Exposure with Opera Philadelphia. She was a featured soloist with the Curtis Baroque Ensemble, and the Curtis and Maryland symphony orchestras. She also began her residency at The Marlboro Music Festival this summer. This season, she appears at Opera Philadelphia as Olivia in Cold Mountain and Clairon in Cappriccio, and makes her Carnegie Hall debut singing Handel's Israel in Egypt with the New York Choral Society.
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By Christopher Alden
A new Canadian opera, Pyramus and Thisbe by Barbara Monk Feldman, receives its world premiere today (appearing along with Monteverdi's Lamento d’Arianna and Il combattimento di Tancredi e Clorinda). This modern triple bill not only features a striking new opera, but manages to cover almost the entire span of operatic history throughout its three parts. Director Christopher Alden expands on some of the historical and thematic ties between these pieces in his program notes.
During the past 400 or so years since it was first “invented” in Renaissance Italy, the operatic art form has always had an intriguingly schizophrenic nature. On one hand, it has always depended for its survival on the support of the rich and powerful patrons for whom a night at the opera is just as much a social as it is an esthetic experience. But on the other hand, with its magically alchemical mingling of words and music, opera has managed to penetrate into dark, mysterious and even painful realms of human experience, soothing its audience with sweet sounds while it tells its subversive stories.
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A fresh take on Verdi's timeless classic La Traviata opened at the Four Seasons Centre to thunderous applause and praise from both critics and patrons alike. Take a look at the beauty and tragedy that has made our current production so enchanting through the reviews and social media posts gathered in our latest Storify!
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Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001