As our production of The Magic Flute closes, we wanted to share some life-changing operatic moments our patrons have had with the great Mozart, and more! From The Marriage of Figaro to The Magic Flute, where would the opera world be without this masterful genius?

---

Ernst Eder

Our most memorable so far: The Magic Flute, Wolfgang Amadeus Mozart, at the Vienna State Opera (Staatsoper) a few years ago. The music, acting and singing were superb. The costumes were fairly traditional: Papageno and Papagena in their usual feathered suits, Sarastro in a white flowing gown, and so on. The staging was unusual—the sets were almost surrealistic, but appropriate. For instance, the “cave” in the last act was a big cube box on a skewed angle, with entrance and exit on two opposing sides, flanked by sloping ramps on which the guards stood. Altogether, it was an inspiring and uplifting experience for the pair of us.

 

---

Tereza Coutinho 

The first opera I ever attended was The Magic Flute in Vienna on my 20th birthday (in 1981) during a year-long, post-secondary European trek. I knew nothing about opera but was mesmerized by the Queen of the Night and the ensemble singing. I became an instant, life-long fan of Mozart's operas. When I moved to Toronto that same year to attend university my sister was working for the costume department at COC. Through her I was able to attend Jenůfa in 1982 which was staged in English (these were pre-SURTITLES​^TM days!) The opera spoke to me in a profound way. I became a devotee of opera in general and of the Eastern European composers in particular. I have been able to see Jenůfa at least one more time since then; it was just as powerful as I remembered it to be. 

I have been attending COC productions ever since and am a subscriber now. Thanks for the opportunity to share my story.

 

---

Leandro Pinero

At 15 years old, I did not have too much of an idea what opera was. My friend from Catholic school played for me some beautiful arias, so at a Sunday matinee I got a stand-up ticket in the fourth ring. There were no subtitles at that time. It was The Marriage of Figaro with Victoria de Los Angeles and Christa Ludwig still singing in my mind.

The opera that stood my hair up was Turandot with Montserrat Caballé and Birgit Nilsson. After that I spent the rest of my teen years and youth at the theatre—on my feet. I also spent a few years studying classical dance with one of the maestros of this opera house. I can't live without music and am now taking vocal lessons at the age of 67—discovering my strong bass. I have been a COC subscriber for a long time.

 

Above: Montserrat Caballé singing "Signore ascolta" from Turandot during a 1975 concert at the Gran Teatre del Liceu.  

---

Photo credits (top - bottom): Owen McCausland and Kirsten MacKinnon in The Magic Flute (COC, 2017), photo by Michael Cooper; Jacqueline Woodley and Joshua Hopkins in The Magic Flute (COC, 2017), photo by Michael Cooper; Ambur Braid in The Magic Flute (COC, 2017), photo by Gary Beechey.