30-day opera

Entries from April 2013

See-it-again opera

Thursday, April 25. 2013

Inspired by the 30-Day Opera Challenge done by Austin Lyric Opera, the staff at Edmonton Opera have taken on a 30-question challenge of their own. Each week, we'll post answers from staff members about various aspects of opera, whether it's their favourite aria,  an opera house they'd like to visit, or an open-ended question about what they would do if they could sing, conduct, direct, etc., an opera.
We welcome your comments with your own opinion on the question, either on the blog or via social media.

Which is the opera you've seen the most often?

Mickey Melnyk, stewardship officer: Carmen. At least three times.

Amanda MacRae, education & community outreach manager: Tales of Hoffmann. When we presented it in February I saw it four times. The singing was wonderful!

Jeff McAlpine, assistant technical director: La bohème.

On Twitter, Aida got a mention as the most-viewed opera, because "our opera house loved producing it ... plus, the triumphal march is the music played at our graduation ceremonies. It just means a lot. I was happy to see it in #yeg."

Love at first aria

Thursday, April 18. 2013

Inspired by the 30-Day Opera Challenge done by Austin Lyric Opera, the staff at Edmonton Opera have taken on a 30-question challenge of their own. Each week, we'll post answers from staff members about various aspects of opera, whether it's their favourite aria, an opera house they'd like to visit, or an open-ended question about what they would do if they could sing, conduct, direct, etc., an opera.
We welcome your comments with your own opinion on the question, either on the blog or via social media.

What was the first aria you fell in love with?

Rebecca Anderson, box office supervisor: Mozart's Magic Flute Queen of the Night aria. I ran around the house as a kid squeaking and mimicking that song. (There was a popular film in the '80s about Mozart and that was on the soundtrack.) I loved the craziness of it all. This woman was magnificent. And the fairy-tale-like story of that opera was very appealing to a kid in Grade 1.

Sandra Gajic, CEO: For me it was Vesti La Giubba at the end of the first act of Pagliacci. I couldn't have been more than three years old when my grandmother played it for me, sung it and cried as I sat under her piano full of wonderment. Maybe that's why I cry at so many of emotionally strong operatic performances — came to it honestly.

On Twitter, users mentioned that the Flower Duet from Lakme and Carmen's Habanera ("I still remember where/when/who/why details first time hearing it like a first kiss.") were some of their favourites.

Eugene Onegin moments

Thursday, April 11. 2013

Inspired by the 30-Day Opera Challenge done by Austin Lyric Opera, the staff at Edmonton Opera have taken on a 30-question challenge of their own. Each week, we'll post answers from staff members about various aspects of opera, whether it's their favourite aria, an opera house they'd like to visit, or an open-ended question about what they would do if they could create, sing, conduct, etc., an opera. 
We welcome your comments with your own opinion on the question, either on the blog or via social media.

What's your favourite moment in Eugene Onegin?

Ha Neul Kim, company and stage manager: I love Act 2, Scene 1 when Lenski gets so mad and sad about Olga dancing with Onegin. It's so sad to watch.

Mickey Melnyk, stewardship officer: One of my favourite moments in Eugene Onegin is Tatiana's yearning theme in her letter during her aria in Act 1 — one of the most powerful solo scenes for the soprano voice. However, my heart breaks for the young poet, Lenski, when he sings Kuda, kuda in Act 2.

Jelena Bojic, director of community relations:  Definitely when Onegin falls in love with this beautiful woman, and then realizes it's someone who loved him and he rejected her years ago. I just it's the first moment he regrets rejecting Tatiana's love.

Sandra Gajic, CEO: My favourite moment in this opera is when Lenski waits for an hour for Onegin to show up for the duel. In that winter scene of desolation when Lenski sense that his life has come to an end and those first few notes that will open his aria Kuda, kuda — a sense of wasted youth, life right there in those moments.