The Canadian Opera Company’s (COC) spring season is upon us, ushering in some brighter, better weather and an impressively diverse suite of operatic favourites.
First up is Alban Berg’s Wozzeck (1925), the strange, grim, if sporadically (darkly) comic masterpiece, adapted from German playwright Georg Büchner’s unfinished play Woyzeck (1836-37).
Centering on the woeful life and existence of the title character, a barber, it depicts his nigh-endless suffering at the hands of the inhabitants of the military town where he lives. (The first aria, “Yes sir, Captain!” – Wozzeck’s refrain in response to mounting insults from a soldier – gives you a flavour.) The unremitting mockery and scorn of those around him – not least, the woman with whom he has a child, and who can barely tolerate Wozzeck’s presence – would almost be too much to bear for an audience, if not for the fascinating, penetratingly deep psychological study the opera embarks upon, about the consequences of all this cruelty. And, of course, the eerie, beautiful music
German baritone Michael Kupfer-Radecky stars as the title character, with soprano Ambur Braid as the cruel Marie and well-liked Canadian tenor Michael Schade as the sadistic captain. The extraordinary production, previously mounted at the Salzburg Festival, Metropolitan Opera, and Sydney Opera House, is by visionary artist William Kentridge.
Alexander Pushkin’s 19th century “novel in verse” Eugene Onegin is a classic of Russian literature – and mainstay of undergrad Lit. courses worldwide – but it might even be better known in its operatic format, this Tchaikovsky masterpiece, which premiered in 1879.
What’s most fascinating about Onegin, tiptoeing around spoilers, is how willing it is to interrogate the actions and motivations of its title character. While Onegin appears at first blush to be your typical romantic hero, as the story unfolds – all to Tchaikovsky’s mesmerising score – you come to realise there is something far more interesting going on, involving what today we might call toxic masculinity.
Onegin is also a wonderful, lyrical showcase for its stars, with highlights such as Onegin’s Aria and Tatyana’s Letter, which remain a mainstay of the repertoire (and conservatory auditions). The COC production features bass-baritone Andrii Kymach in the title role, with Australian soprano Lauren Fagan as Tatyana, and U.S. tenor Evan LeRoy Johnson as Onegin’s friend Lensky.
Finally, the COC is treating Toronto audiences to a one-off: an in-concert, fully orchestrated performance of Mascagni’s Cavalleria rusticana (1890). This one-act opera, typically staged alongside Leoncavallo’s sad clown fable Pagliacci, depicts (as the COC describes it) “an explosive love triangle”, set against an Easter weekend in a Sicilian village. Odds are, you’ll recognise its famed “Intermezzo” from the midpoint of the opera. While this in-concert version will sadly not benefit from the lovely production design associated with its setting, this 80-minute classic is well worth your time.
The COC’s Cavalleria borrows its cast from a mix of recent and upcoming performances, including bass-baritone Andrii Kymach (also starring as Onegin this season) and tenor Russell Thomas (who will star as Werther next season). Our only complaint? One performance isn’t enough!
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Wozzeck runs now through May 16, 2025, at the COC (Four Seasons Centre for the Performing Arts).
Eugene Onegin runs May 2-24, 2025.
Cavalleria rusticana-in-concert plays for one night only, May 23, 2025.
