Our previous coverage of Sondra Radvanovsky has focused on outside publications, including her interviews with other blogs and the critical acclaim for her performances. Now that she's in Toronto rehearsing Aida, we don't have to rely on what others have written—we can talk to her ourselves!
Our General Director Alexander Neef spoke to her recently about her role preparation process, which act of Aida is her favourite, and what it's like to be working with the COC for the first time. Watch the video below for a taste, then click over to our podcast page to listen to the entire audio interview. The interview includes a track from her new Verdi Arias CD, which you'll be able to buy at the COC Opera Shop.
Posted by Cecily Carver / in 2010/2011 / comments (0) / permalink
We talked about the critical acclaim for Sondra Radvanovsky's Verdi performances in an earlier post (she will be sharing the role of Aida with Michele Capalbo), but today I'll highlight some places around the web where she speaks for herself!
Last fall she did a Q&A with the popular West Coast opera blog, The Opera Tattler. She believes that technology is important to bringing opera to a larger crowd:
"Yes, we are going to launch a new web site with all the bells and whistles, and I am just starting out with Facebook too. Technology is part of it, like with the Met in movie theaters, and the SF Opera simulcast of Il Trovatore. Opera is not just for elitists, and it should be brought to as many people as possible, like the Opera in the Park that SF Opera did last month. Opera also needs to be modernized, has to speak to the younger people, and be believable to them."
Posted by Cecily Carver / in 2010/2011 / comments (6) / permalink
Yoshi Oida will be directing our Death in Venice this fall, a production for which he has received considerable acclaim. Oida is also highly acclaimed in the theatre world as an actor on both stage and film, particularly for his collaborations with the noted director Peter Brook. He was born in Japan and now resides in France, and much of his work brings an Eastern sensibility to Western works and art forms. He has authored a book on the craft of acting titled The Invisible Actor, in which he discusses the need for actors to conceal from the audience the workings of their craft, and describes how techniques from Classical Japanese theatre may be useful to Western actors.
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001