My mom and I went to see Don Giovanny last weekend and it was a delight! We were blown away by the set design, the combination of "photo projection" lighting with the decorations created very special effect. The voices were great, we especially liked Donna Elvira, El Commendatore, and Masetto voices. I am not sure about the two story stage setup, when the singers were singing from the 2nd floor gallery, the sound was certainly worse. Still was a great experience! read more

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I've even here a few times for some shows but can't believe I haven't reviewed it before! Throughout the year ( check website for dates) they have a free lunch series - Tuesday/Thursday and a Wednesday after work free performance! I finally managed to take advantage of one of the free lunch performances and it was awesome! Now they do the performances on the small area by the stairs - so you are sitting on the steps to watch (important to note if you are wearing a dress lol). There are a few chairs set up, but not too many. I arrived at around 11:50am for the noon performance and it was already packed! So try and arrive a little earlier than I did. Staff were really nice and made everyone squeeze closer together so everyone could enjoy the singing. What a great opportunity to check out the COC! If you've never experienced Opera, I'd highly suggest checking out their free performances for a taste! read more

I love widening my horizons, and have never been to an opera, so when I heard that Die Fledermaus was going to be there, I thought it was time to give opera a try. I'll admit, I had no idea what Die Fledermaus was about but had recognized the name from an episode of Friends. A friend was going to see it with his German mother and told me a bit about the story and it sounded interesting! He indicated that it was actually an Operetta which has subtitles. (After viewing the COC website it looks like all of their shows have subtitles). I was expecting to spend about $50-$75 for cheap seats but was pleasantly surprised that the COC has an Under 30 special where they reserve some seats in every performance for people under 30 for $22 ($35 if you want to be bumped up to a better seat day of if available). Great idea in my opinion to get younger people involved. And it sure seemed to work b/c I saw a lot of younger people at the show. The seats were in Ring 5. And while high up, there was still lots of room, you could see the stage and orchestra well and had a good view of the subtitles. In fact, since I went on a Tuesday there were actually a lot of empty seats up on the 4th and 5th ring and after the intermission my friend and I moved down to better seats without a problem. It looked like a lot of other people did too. Drinks and snacks were a bit pricey. And I was surprised at only 1 intermission when there were 3 acts. However, the 2nd and 3rd acts went quicker than I thought. They scare you a bit by saying that you may not be allowed in if you're late, and can't leave the show b/c it disturbs the performers. Since I have a small bladder I didn't drink anything so was a little parched, but then saw a few people being seated after the show started, so I guess the rule isn't adhered to strictly. While I don't think I'm going to be seeing a ton of operas now, I really enjoyed myself and the beautiful theatre. I would come back if there was a show that tickled my fancy and would like to see a ballet here. read more

I have been a subscriber to the COC for 8 years now and it has been an interesting journey. The highpoint was certainly securing tickets to the Ring Cycle at opening for the new Four Seasons Centre. The orchestra, the vocals, and the set design all made for a magical combination that brought tears to my eyes at the final act. The selection goes from excellent to so-so, but for the most part, the company selects good quality material. What throws me off sometimes though, is their "modern" interpretations for their set design. The most recent production of Aida comes to mind. Additionally, I think they really need to do something about the audience themselves. I know that Torontonians are, on the whole, a casual crowd, but if I see another person in baggy jeans and an untucked shirt, i'm going to scream. On the whole though, the organization is definitely a win for the city (and country), and I will continue to renew by subscription. read more

Thanks to the Under 30 which allows me go snag tickets for about $22, I have been to a few of the productions put on by the CoC at the Four Seasons Centre for the Performing Arts. I have seen: La Bohème, Rigoletto, Aida, Orfeo ed Euridice, and just this past weekend - Tosca. Of the 5, I hated 1, loved 1, and felt meh about the other 3. There was a point when I started thinking I'd stop going to the proudctions put on by the COC and opt for smaller scale productions put on by the Opera Atelier (I saw their rendition of Don Giovanni). However, I absolutely loved Tosca. The music is very heavy, passionate and powerful and I definitely didn't doze off (as I have a few times in other operas). I think I know where modern day soap operas get their inspiration from now. A story above love, betrayal, jealousy, lust, and vengeance - that ends sadly as the female lead jumps to her death. Move aside Romeo. The costumes were elaborate, and with such sombre themes the comic relief is always a nice pause from all the eyeybrow-creasing, tear-jerking moments. The 2012-2013 season looks promising, and Il Trovatore is definitely on my list of must-sees. I don't think I will opt for Ring 5 tickets next time though, as even I, a girl of 5'7 had to lean over to see the stage (which can tire out your back). Thank God for the double intermission! read more

I am definitely a fan. Of course, it helps that they hired my brother to sing Talbot in Maria Stuarda, recently. That's the reason we went to Toronto in the first place. Fortunately for us and for Toronto, the Canadian Opera Company has come to play, seriously. The production itself was simple and beautiful to look at (aside from a raised platform and some curtains that had to be opened and closed by cast members). The performers were good and strong, very professional overall. There was a spirit in the house and amongst the cast that you see in A level companies. And since I got backstage and met many of the faces behind the scenes, I can say from experience, it's no wonder that the company is so strong. These are good people and they really care about their art and it shows. Unlike some cities which try relentlessly to be like or compete with New York, the Canadian Opera Company knows exactly what/who they are. They throw themselves into their work and that is a very good thing. read more

Tonight we took in the new COC production of Gluck's Iphigenia in Tauris. Directed by Robert Carsen we knew to expect a minimalist staging and after the amazing success of season's Orpheo et Eurydice there was a lot of expectation. The stage is framed by a raised set that is defined by slabs of dark, chalk-like black slates that transform from out the piece from private spaces of terror, to a prison cell and the Temple of Diana on Tauride. It was a beautiful set made more graphic and intense by the beginning. Iphigenai lit from the front of the stage making her shadow the largest thing in the background, letting us know the importance of lighting, design and shadows for the acts to come. There chorus were split with the women as Diana's fellow priestess all dressed in simple black modern-dance inspired dresses and the men as Scythian soldiers working for Thoas the King who depends on Iphigenia to carry out the murders of any who are shipwrecked on the shores of Tauride. We know from a musical interlude at the beginning of a storm which is effectively portrayed through the writing of the names of tragedy on the slate black walls in chalk. The chorus synchronistically writes on one wall Iphigenia, Ageamenon and Clymenstra and the name of Orestes on the floor. Their murders are then acted out by the chorus in a highly theatrical form of Martha Graham-like modern dance as we see the murder of Iphigena, then the murder of Ageamenon and finally the murder of Clymenstra by Orestes. The starkness of the set and the materials used to convey the drama were nothing less than amazing. We have the sleek black panels used as blackboards, giving the psychological effect of imprisonment and trauma. The immediacy of the chalk lines and how they are splashed with water/blood to make them drip in an eerie manner speaks to the acts that occur. Then there are the lights and shadows that truly were the stars of the show. At times there was more action between the shadows and the singers and I found myself thinking would they somehow take on a life of their own and move independently. It created a stage filled with larger than life dramatic tension. But there was something missing. The music itself is light, airy, resplendent, filled with joy and frivolity. It is pretty and at times the movement and direction on the stage competed with, rather than enhancing the musical narrative. I adore Carsen's minimalist take and I applaud his use of materials but at times was scratching my head for how the setting and movement related to the music. I missed the lavish, flourish both in vocal gymnastics and movement that would accompany Gluck's music. Could there have been more traditional florid body motion, matching the singing? Or could some of the costumes been a little more florid expanding on the loveliness of the music? read more

I love the opera! I've been coming to see the COC for a very long time. I joined the COC's opera club, which is a young patron program for their ensemble studio program. They always do a spectacular job. I can't get enough:) read more

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Stellar facility and hopefully a great performance to go with it. The Four Seasons Center is superb. Had seats on the upper balcony and still had great views and the sound is impeccable. Having been to the Met in NY and the Chandler Pavillion in L.A. I would say that the C.o.C. has the best performance venue. Have seen Peter Sellars' Tristan & Isolde and Atom Egoyan's Cosi Fan Tutte which were incredibly different and equally brilliant. read more

Venue is beautiful. Have been before and saw another show. First time at opera. Was with wife and another couple. Watches marriage of figaro. It was torture. Suppose to be 3.5 hrs!!! We walked out after 2 hrs. Plot was not going anywhere. My friend is Italian speaker and she says she couldn't understand the vocals cause music was too loud. Regardless here it is - This day and age, 2 hrs is max attention span for all movies, shows, musicals, Broadway etc. I love classical music, attend many venues and different style of entertainment. This was awful. We all thought same and we are all young in our early 40's, highly educated and we're very much open to the idea of first cool experience at the opera. This was definitely not the case! read more

Excellent for Opera Under 30 plus. Booked the tickets back in January at 35 per person. We were seated right at Orchestra level in what would have been $200+ seats! I was truly delighted with the view and the performance (Barber of Seville). I also highly recommend pre-ordering for intermission and ensuring that you arrive at least 45 minutes before to take advantage of the pre-opera talk. It helps set the mood for the performance and allows you to truly immerse yourself in the music while paying attention to important notes by the lecturer. read more

The COC really struggles with the visual part of performances - many classic operas are staged with either industrial simple "grey-black & red spot" or pale brownish (also simplistic background). One might wonder if the decorators have only 2 options in mind. Occasionally for model operas, the director goes wild and over-decorates everything, so I wonder if there is hate to classics here. My favourite opera, Barber of Seville suffered there not only from the lack of practically any decor (COC put this Barocco-times opera into an empty grey space with just red grand-piano on the stage) but also from brutal handling of its beautiful music. Last Saturday they had an Italian female over-caffeinated conductor that seemed like worrying about attention to herself, considering over-gesturing than about the quality of music. She runs all music almost twice faster than it should be so poor professional (and usually great) orchestra barely had time to play complex passes. Singers had to mumble and not sing the music, as it was simply no time. The opening scene didn't come with much voicing as the singer was not up to the job, and the key Rosina's aria at the 2nd act. was rather mumbled as well. And this is what they do to the best opera ever... Very disappointing... read more