Tonight, we'll be presenting the Canadian premiere of Kaija Saariaho's Love from Afar!
Posted by Cecily Carver / in 2011/2012 / comments (0) / permalink
Now there's a reason to see Tosca twice (if Puccini's beautiful music wasn't reason enough). Alternating with Adrianne Pieczonka and Carlo Ventre as the doomed lovers are soprano Julie Makerov, last seen at the COC as Senta in The Flying Dutchman, and tenor Brandon Jovanovich, who recently sang the roles of Froh and Siegmund in the San Francisco Opera's Ring Cycle.
In this interview with the Toronto Star, Makerov tells the story of a Tosca-related wardrobe malfunction and says of Tosca that “She is an enigma. She is an idealist in every sense of the word.”
These photos show Makerov and Jovanovich in action. We're sure you'll want to see them for yourself!
Brandon Jovanovich as Cavaradossi, Julie Makerov as Tosca and Mark Delavan as Scarpia in the Canadian Opera Company production of Tosca, 2012. Photos: Chris Hutcheson
Posted by Cecily Carver / in 2011/2012 / comments (1) / permalink
[This is a revised article by Suzanne Vanstone (our senior communications manager, editorial) that appeared in the Winter 2008 issue of our magazine Prelude]
In 2007 the COC’s production of Shostakovich’s Lady Macbeth of Mtsensk received great critical acclaim and late General Director Richard Bradshaw won a Dora Mavor Moore Award for Outstanding Musical Direction. The production featured the dynamic team of Paul Curran (director), Kevin Knight (set and costume designer) and David Martin Jacques (lighting designer). They return for the COC’s production of Puccini’s Tosca. Knight was very proud of the work they had done on Lady Macbeth and says, “I think it was one of those occasions in life when all the planets just lined up – it was a great piece and such a great cast.
“It was a great privilege to be asked by a company like [the COC] to design a Tosca for them and I wanted to try and give them something that wouldn’t last just one season. Paul and I both wanted to make it as sumptuous, beautiful and intelligent as possible.”
Early on, Paul and Kevin discussed an interesting aspect – the opera is set in June. In production photographs that Knight had seen, the clothes that people were wearing didn’t completely tell the truth in terms of the climate outside the church. “I started to become interested in the idea that churches are incredibly cool, dark, sacred places, but then I loved the idea that the people who were entering were escaping from the heat and that the clothes and the fashion would be one of extreme temperature outside. That gave us this balance of having the cool, greyness of the inside of the church contrasted against the wonderful sepia, beige, creamy, peachy tones of the clothes that people are wearing.”
Posted by Suzanne Vanstone / in 2011/2012 / comments (2) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001