It’s been a while since we’ve reported on the honeybees that live on the roof of the Four Seasons Centre for the Performing Arts, but that doesn’t mean they haven’t been as busy—really, really busy.
All that hard work has paid off and it’s official: COC bees produce the best honey!
Fred Davis, beekeeper to the hundreds of thousands of bees who live on our roof, entered this season’s harvest into the Royal Agricultural Winter Fair amber honey competition. The honey took first prize, with a score of 96 points out of a possible 100!
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Single tickets for the Canadian Opera Company performances are easier to purchase than ever before with our free new app, just in time for the spring 2016 productions of Carmen and Maometto II!
The Canadian Opera Company app is now available in Apple’s App Store and Google’s Google Play. “Our vision for the Canadian Opera Company app is to create a platform for sustained engagement with the company’s work,” says COC Chief Communications Officer Steve Kelley. “In its current form, the app gives us a basic way for users to connect with the COC via their mobile device and elevate the already rich online COC experience. Features and objectives for the app will continue to evolve as we anticipate the needs of mobile patrons of the COC.”
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By: Gianmarco Segato
Claus Guth’s production of The Marriage of Figaro has had a lengthier gestation period than most. It premiered at the 2006 Salzburg Festival, was quickly revived there in 2007 and 2009, and culminated in the German director staging all three of Mozart’s collaborations with librettist Lorenzo da Ponte at the 2011 festival (Don Giovanni being added in 2008 and Così fan tuttein 2009). Initially, Guth resisted Mozart’s iconic comedy, questioning whether it was possible for him to confront the dangerous elements in a work whose music he had enjoyed with “uncontrolled excess”* while growing up. It was the Salzburg production’s first conductor, Nikolaus Harnoncourt, who managed to shift Guth’s focus away from Figaro’s distractingly glittery musical delights towards its intelligent, witty exploration of real, human relationships—the very elements that pushed comic opera beyond its more formulaic, slapstick Italian commedia dell’arte roots.
From this emerged an interpretation that relocates the action from 18th-century Andalusia to fin-de-siècle Central Europe by way of the intense, modernist stage dramas of Ibsen and Strindberg, and the films of Ingmar Bergman.
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Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001