Parlando: The COC Blog


Aida is Taking Shape

I recently had the chance to look at some of the sets, costumes and props for Aida up close, and what I saw was intriguing. Because the production is new for the 2010/2011 season, we're keeping the details under wraps for nowbut that doesn't mean I can't share a few hints!

1. This Amneris is a very glamourous and stylish woman.

2. A few of the costumes are appropriately macabre.


3. There will indeed be flora and fauna on stage–but not necessarily at the times you expect.

4. The Egyptian characters understand the art of hosting a good party.

Posted by Cecily Carver / in 2010/2011 / comments (0) / permalink


Death in Venice at Aldeburgh

The production of Death in Venice that the COC is mounting this fall was first seen at the Aldeburgh Festival in 2007. The festival was founded by Benjamin Britten himself, and the opera premiered there in 1973. The production garnered virtually unanimous critical praise for its minimalist and evocative staging, deceptively simple direction, and emotional impact. Alan Oke, who played Aschenbach in that production and will be reprising his performance for the COC, also was highly acclaimed in that role. This will be my first time seeing Death in Venice, and this version promises to be an excellent introduction. Here are some snippets from the reviews!

From Anthony Tommasini of the New York Times:


Posted by Cecily Carver / in 2010/2011 / comments (0) / permalink


Another Reason to Look Forward to Aida

Metropolitan Opera regular Sondra Radvanovsky, who will be sharing the title role in Aida with Michele Capalbo at the COC this fall, has been scooping up accolades from all over the world for her stage performances, recitals, and new recital disc of Verdi arias. Some critics believe that she is one of the finest Verdi sopranos working today.

For example, here's Joshua Kosman of the San Francisco Chronicle on Radvanovsky's Leonora: 

"Even if nothing else happens during the rest of the San Francisco Opera's 2009 fall season, soprano Sondra Radvanovsky has already provided us with at least one extraordinary and indelible musical memory.

It came during the last act of Friday's potent season-opening performance of Verdi's Il Trovatore at the War Memorial Opera House, and even in the context of a generally strong evening, Radvanovsky's account of the aria 'D'amor sull'ali rosee' stood out as a beacon of probing musicality."


Posted by Cecily Carver / in 2010/2011 / comments (5) / permalink

Previous << 11 12 13 14 15 16 17 18 19 20  >> Next 

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



Subscribe to the COC e-mail newsletter.
Contact Tanner
Have a question? Want to share a link? Submit a comment!