Wednesday night I attended the second performance of the current run of Verdi’s Rigoletto at the COC. This is a revival of the Christopher Alden production first seen in 2011 (first cast, second cast) and again in 2018. So the basic concept is the same. All the action is played out, quite publicly, in the “gaming room” of a Victorian gentlemen’s club. I think the production has grown on me over time. I felt the tweaks in 2018 were improvements and I suspect some more tweaks this time. Certainly from where i was sitting in the Orchestra the set seemed bigger than I remember. It’s huge and very painterly. It also has great acoustics.
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Egoyan’s Così – brunette edition
The COC season continued last night with Atom Egoyan’s production of Mozart’s Così fan tutte, first seen in January 2014. There are some changes from the previous outing but most of what I had to say about the production holds good still. This time there have been cuts. The show now runs as two ninety minute acts plus an interval and it feels tighter and doesn’t drag so much in the second act. In the process some of the heavy handed symbolism has been discarded; fewer pinned butterflies. I think the physical comedy may have ratcheted up just a touch but maybe that’s me misremembering. And the girls are brunettes, rather than redheads, but still well matched enough to look like sisters. Musically, I think it’s been lightened up somewhat. Bernard Labadie, something of a period specialist, conducts and Michael Shannon accompanies the recits on a fortepiano. But, still, fundamentally the same show.

