Opera travelling : Toronto - GötterDämmerung @ the canadian opera company

Last weekend, I went to Toronto for the first time since 2014, when I attended the best Cosi Fan Tutte I have ever seen, featuring soprano Layla Claire as Fiordiligi and directed by none other than Atom Egoyan. I remember telling myself that I had to come back to see more operas at the Canadian Opera Company, but also to discover the indie opera companies of Toronto! Thing is, I live in Montreal and I've got to make the trip worth it since I can't come every other weekend.

Travelling in Canada pretty much boils down to three options when you're on a budget like me. Drive, bus, or car share. When I realized in January that I had no plans from February 2 to February 5, I booked a seat on a MegaBus (I'm that 25 y/o who still can't drive) and got tickets for Gotterdammerung and The Magic Flute presented by the Canadian Opera Company in the beautiful Four Seasons Centre for the Performing Arts. That's the beauty of the COC: each season, they present two different operas, and alternate between both for a few weeks. For someone from out of town, it's perfect because you can plan a short trip to the The Six every season and get two different performances!

This is the kind of trip that would want to plan a few weeks in advance if you want to save money on the travelling costs. That way, you can still get good seats to the opera (if it's not sold out of course) and bus tickets are soooo cheap. Round-trip cost me $45! I also booked an airbnb a few blocks away from the Four Seasons so that I wouldn't have to get public transit passes. I was literally right in the middle of downtown, and could easily walk to the Eaton Centre or to Chinatown.

Une photo publiée par ChatdOpera (@chatdopera) le 2 Févr. 2017 à 21h51 PST

Why the COC is so awesome

The day before Gotterdmmerung's premiere, I received an email from the ticket office that offered a complementary seat upgrade. Considering that I had bought my ticket in the last row of Ring 5 (that is the absolute last row in the hall), any other seat would be an upgrade really. So I immediately emailed them back and got my tickets changed, free of charge. Best part, they seated me in the 2nd row of the Orchestra level!  I could have extended my arm and touch Johannes Debus conducting the opera in the pit. I didn't, but I physically could have.

Now because Wagner's last Ring cycle opera lasts just over 5 hours long including both intermissions, it began at 6 p.m. whereas other operas usually begin at 7:30 p.m.. Because of this, leaving on the day of the performance was not the best idea I'll admit. I arrived in Toronto at 6:30 p.m. and still had to drop my suitcase at the airbnb I was renting. Good thing I was staying a few blocks from the bus station and from the opera house! The COC didn't allow late seating BUT they have a large TV screen on the 3rd floor where you can watch the live performance, which is better than nothing. AND you can have a glass of wine, which you can't if you're in the hall. So all in all, not a bad situation. I had Bob's Bearded Red, a collaboration with Millstreet Brewery and opera singer Robert Pomakov, who is interpreting Alberich in Gotterdammerung! It could not have been more appropriate, really.

The Highlights

Ain anger (Hagen) and Christine goerke (Brunnhilde)

Robert Pomakov (Alberich) and Ain Anger (Hagen) - Photo: Michael Cooper (2017)

Powerful, imposing, fearsome, Ain Anger was THE perfect Hagen. His deep rich voice made me tremble in my seat. Clearly, a character you shouldn't mess with. As soon as he entered on stage, you could feel his dark presence even though he didn't make a sound. Amazingly well done for a COC debut! And Christine Goerke made you feel Brunnhilde's pain and sadness. Although I was sitting very close to the stage and I could see her facial expressions (for once I didn't need my opera glasses!), it's her voice and body that carried the carefully nuanced emotions throughout the hall. It felt so real, as if Goerke was experiencing Brunnhilde's story and misery. And remember, this is a demanding opera, vocally and physically, not only by its length, but also the vocal range (notes and nuances) that it requires.

Christine Goerke as Brunnhilde - Photo: Michael Cooper (2017)

The Men's Chorus

If you know me at all, then you know I'm a sucker for a good men's chorus. And what a treat! Each of the singers took their individual characters to the next level, truly. Wherever you would look, each singer was perfectly in the moment of what was happening on stage, always adding to the emotion. And it's always nice to see a few familiar faces in the crowd! (Hi Keith! Hi Dylan!)

Photo: Chris Hutcheson (2017)

Been rehearsing since Dec for tonight's opening. This sums up my experience: making faces w @HeldenMommy. @CanadianOpera #COCGötterdämmerung pic.twitter.com/pbyhWFEgD0

— Keith Lam (晃太郎) (@baritonekeith) February 3, 2017

Brass section of the cOC orchestra

Props to all the musicians of the orchestra (and special props to those playing in The Magic Flute too!) who for the duration of the opera, performed almost without interruption (looking at you violin section!). An opera by Wagner can often times feel overall loud and it is one of the reasons I have some reservations about attending this one. I don't know what Johannes Debus did, but this production of Gotterdammerung was completely the opposite of what you would typically expect. And my favourite part, the brass section. Whether backstage or in the pit, their clear strong sound was thoroughly on point.

I am so happy to have overcome my initial resistance of watching a Wagnerian opera. This production is memorable from beginning to end and raises the bar. It's opera like you'd imagine opera to be, except better.

Gotterdammerung runs through February 25, 2017 at the four seasons centre for the performing arts. Tickets here.