COC16/17 announced

Keri-Lynn-WilsonThe Hurrahs:

The podium sausage fest spell broooooo-ken! Keri-Lynn Wilson will conduct the Tosca revival. The production is underwhelming, Ramón Vargas is an unusual choice for Cavaradossi, but on the upside, Adrianne Pieczonka returns in the role, and KLW makes her COC debut. I hear she is one of the best Puccini conductors around, male or female. Can’t wait.

Bernard Labadie’s COC conducting debut in Mozart’s The Magic Flute (albeit in the YA-tailored Diane Paulus production).

The Dutch-Aix-COC co-pro Ariodante by Richard Jones is a-coming this side of the Atlantic.

The phenomenal Varduhi Abrahamyan will role-debut Polinesso in the same opera and make her Canadian debut.

Die Goerke returns for Götterdämmerung

Sondra Radvanovsky and Isabel Leonard will sing together “Mira, o Norma” and be a hot pair in the SFO-Liceu-LOC-COC Norma by Kevin Newbury that incorporates, we are told, elements of sci-fi.

Harry SomersRiel in a spanking new production by Peter Hinton. I am not too familiar with Hinton’s work, but I liked what he said in the video (too bad he wasn’t on stage to talk about the production–I suppose it’s still too early?). To the effect that the production won’t be of the “preserved in aspic” kind but will directly engage with the state of Canadian polity, AD 2017. I can’t wait for this one. Allyson McHardy is in it, Russell Braun takes the title role. Note: for a crash course on Riel, you could do worse than Chester Brown’s Louis Riel: A Comic Strip Biography. A few random panels from it:

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The Okay, That’s Enough of That:

Nationalist rhetoric. It’s getting a bit much. Who still needs to be appeased? Who needs to be convinced? Certain journalists who raised the same question about “the lack of Canadian content at the COC” over and over at press conferences? (Meaning, only and always, the composers–as if, say, a Mozart or a Verdi put together by cast and creative that are 95 percent Canadian isn’t a Canadian piece in every conceivable way.) Certain clueless musicians who did the same through the social media? It looks like the pearl-clutching nationalists finally shut up and found other things to pearl-clutch about, a couple of seasons ago. So, can the brags like “the cast in such-and-such a production is entirely Canadian”(!?) be dropped? Can I come out of the closet and say that I don’t care what ethnicity or citizenship papers my opera artists have?

The One Big Nooooooooooo:

Alice Coote takes the title role in Ariodante. She has a considerable chunk of ardent fans, and she’s done some really interesting programs (the trouser role-themed program with Ali Smith in the UK, for example), but all I see and hear in Alice Coote is effort…effort, strain, discomfort, with singing, acting, and even being in a body. It’ll be tough without Sarah Connolly in this role. (Or Allyson McHardy, whom I dream-cast the other day. Naughty, naughty COC clues.)

The Yeah That’s A Good Idea

Instead of presenting an Ensemble Studio production, this year the young talent will be showcased in a concert of as yet to be determined scenes from operas alongside the full COC orchestra.

But there’s much of COC15/16 left to go. More on that soon.

 

2 thoughts on “COC16/17 announced

  1. phew, i read the big “noo” and thought they were bringing in a CT… I heard AC recently in the BBC radio broadcast, her händel recital, and it was very good! and you have to give them the credit here for having 2 mezzos!!! (i’ll spy on the schedule.. might even break the border to hear this🙂 )

  2. I was at the original Being Both concert in Brighton, and a discussion on stage afterwards was most interesting, but AC focussed more on her transgendered brother (shouldn’t that be sister?) even though the concert programme spelt it out as an exploration of same-sex elements caused by having female singers play male roles. It didn’t really add anything to the concert.
    The Aix production suffered a little from the industrial relations issues at the time, its a pity thay didn’t bring Sonia Prina, who kinda stole THAT show? Agreed RE the vocal strain of AC showing through at times, which is a pity, as her voice is very rich – I’d rather hear her as Klytemnestra or even Princess Eboli than in Handel now though.

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