• Hearing Familiar Music with New Ears

    By COC Staff

    Right from its premiere in 1790, Mozart’s Così fan tutte has proven to be a vexing one for operagoers.

    First sparking criticism for its scandalous immorality, now interrogated for the way it paints its female leads, the opera continues to be a springboard for conversation. With the piece making a high-profile return to the Four Seasons Centre for the Performing Arts this winter, we wanted to dig deeper with musicologist Margaret Cormier to get her take on some of the more intriguing – and perennially problematic – aspects of the opera.

    Posted in 18/19
  • Director's Notes: James Robinson on Elektra

    By James Robinson

    What a difference 20 years makes. I had the great pleasure of making my Canadian Opera Company debut with this production of Elektra in 1997 at the invitation of the late Richard Bradshaw.  It was his idea to pair two great Strauss one-acts, Elektra and Salome, using many of the same physical elements but with two very different directors. 

    Posted in 18/19
  • Director's Notes: Atom Egoyan on Così fan tutte

    By Atom Egoyan

    For those familiar with Così fan tutte, this production will be immediately surprising in two ways. (…) In Così, librettist Lorenzo da Ponte shows us that while reason and clear thinking is to be held above all else, it is often made unreliable because of shifting emotion.

    Posted in 18/19

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