RUFUS WAINWRIGHT'S OPERA 'HADRIAN' HAS ITS EUROPEAN PREMIERE IN MADRID

IN it's European premiere, a concert production of Rufus Wainwright's award-winning opera HADRIAN is being staged tonight at the Teatro Real in Madrid.

The production will feature illustrations by Robert Mapplethorpe. 

Thomas Hampson will sing the title role as he did at the world premiere of the opera in Toronto in 2018. Antinous will be sung by tenor Santiago Ballerini.

The opera's world premiere on 13 October 2018 at the Canadian Opera Company got a standing ovation during repeated curtain calls from a sold-out capacity audience at the Toronto opera house.

In the audience were a number of followers of Antinous and one of them posted this notice to us:

"Sold out house. Audience rapt for the entire performance, barely moved. The libretto is such a fascinating story. I was moved several times. Sets and costumes are effective. Performances outstanding. There's a curious feeling in this production as if you're looking at the ancient world from their standpoint, not ours looking back. It really grew on me. Some of it is so sublime. The past really is a foreign country."

Peter Hinton directed a cast that included baritone Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

Over four acts and three locations ... Hadrian’s villa, Greece, and Egypt ... the opera "is a surreal romp through time and space, mixing true occurrences with complete fabrication in order to illustrate a vivid 'creative snapshot' of what the end of the Classical era may have felt like," Wainwright says.

It opens on the last night of Hadrian's life in 138 AD. He wants to know the truth about Antinous' mysterious death eight years earlier in October of the year 130 AD.

Was it an accident? Or murder? The plot twists, political deals are struck amidst power struggles, deceptions, and visiting ghosts. And then it ends where it started.

But not before a love scene: "I realized that there are no sex scenes written into opera," Wainwright tells The New York Times, "let alone anal sex scenes. I think for some people it will be powerful to see gay love represented in the larger-than-life fashion that only opera can provide," he adds.

"When I first read the fabulous "Memoirs of Hadrian" by Marguerite Yourcenar, a novel which inspired at least three generations of gay men, I was instantly struck with the idea of transforming this historical subject into operatic form," Wainwright says.

HERE'S YOUR CHANCE TO SEE RUFUS WAINWRIGHT'S OPERA 'HADRIAN' IN A FREE ONLINE WATCH PARTY

FOR the first time ever, audiences around the world will have a special opportunity to watch the Canadian Opera Company's 2018 world premiere production of Rufus Wainwright's award-winning opera HADRIAN in an online watch party. 

On Monday, August 10, at 6:30 p.m. Eastern Time, in partnership with Montréal Pride Festival, the COC is hosting a free, one-night-only digital stream of the modern grand opera. 

The Hadrian Watch Party is free, but you must REGISTER HERE to take part in this historic event.

The Hadrian Watch Party helps kick off one week of virtual Pride events and will feature a live Q&A session with both the composer and celebrated singer-songwriter Rufus Wainwright and librettist Daniel MacIvor, a giant in Canadian theatre.

"This is the first time that Hadrian is being shared in its entirety online and the first time that the COC is presenting one of our operas using high-quality digital footage," says COC General Director Alexander Neef. 

"It feels particularly fitting for a production that was also the first COC-commissioned opera to debut on our stage at the Four Seasons Centre for the Performing Arts."

The opera's world premiere on 13 October 2018 at the Canadian Opera Company got a standing ovation during repeated curtain calls from a sold-out capacity audience at the Toronto opera house.

In the audience were a number of followers of Antinous and one of them posted this notice to us:

"Sold out house. Audience rapt for the entire performance, barely moved. The libretto is such a fascinating story. I was moved several times. Sets and costumes are effective. Performances outstanding. There's a curious feeling in this production as if you're looking at the ancient world from their standpoint, not ours looking back. It really grew on me. Some of it is so sublime. The past really is a foreign country."

Peter Hinton directed a cast that includes baritone Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

Over four acts and three locations ... Hadrian’s villa, Greece, and Egypt ... the opera "is a surreal romp through time and space, mixing true occurrences with complete fabrication in order to illustrate a vivid 'creative snapshot' of what the end of the Classical era may have felt like," Wainwright says.

It opens on the last night of Hadrian's life in 138 AD. He wants to know the truth about Antinous' mysterious death eight years earlier in October of the year 130 AD.

Was it an accident? Or murder? The plot twists, political deals are struck amidst power struggles, deceptions, and visiting ghosts. And then it ends where it started.

But not before a love scene: "I realized that there are no sex scenes written into opera," Wainwright tells The New York Times, "let alone anal sex scenes. I think for some people it will be powerful to see gay love represented in the larger-than-life fashion that only opera can provide," he adds.

"When I first read the fabulous "Memoirs of Hadrian" by Marguerite Yourcenar, a novel which inspired at least three generations of gay men, I was instantly struck with the idea of transforming this historical subject into operatic form," Wainwright says.

Here is an exclusive excerpt from the opera's tender love scene between Hadrian and Antinous:

RUFUS WAINWRIGHT'S OPERA 'HADRIAN' NAMED OUTSTANDING NEW OPERA OF 2018

IT has just been announced that Rufus Wainwright's opera about Antinous and Hadrian has been named the Outstanding New Opera of the year.

The opera by Wainright and Daniel McIvor, entitled HADRIAN, was honored at the 40th Anniversary Dora Mavor Moore Awards in Canada.

"Hadrian" had been nominated in seven categories, including outstanding new opera production along with "Outstanding Performance of an Individual" nominations for baritone Thomas Hampson in the role of Hadrian and coloratura soprano Ambur Braid in the role of Empress Sabina, as well as outstanding costume design by Gillian Gallow.

The Doras were bestowed June 25 at the Sony Centre for the Performing Arts in Toronto.

The opera's world premiere on 13 October 2018 at the Canadian Opera Company got a standing ovation during repeated curtain calls from a sold-out capacity audience at the Toronto opera house.

"Finally, after hundreds of years of doomed heterosexual love on the Opera stage, Rufus Wainwright and the Canadian Opera Company gave us some doomed homosexual love to enjoy. Thanks, Hadrian!" critic Christopher Butcher tweeted on Twitter.

"Just came back from Hadrian and I am SHAKEN that was so amazing and Thomas Hampson was perfect in the role as Hadrian. And as always Rufus Wainwright wrote a phenomenal score. I'll never forget it," another reviewer tweeted.

In the audience were a number of followers of Antinous and one of them posted this notice to us:

"Sold out house. Audience rapt for the entire performance, barely moved. The libretto is such a fascinating story. I was moved several times. Sets and costumes are effective. Performances outstanding. There's a curious feeling in this production as if you're looking at the ancient world from their standpoint, not ours looking back. It really grew on me. Some of it is so sublime. The past really is a foreign country."

The most gushing praise came from arts critic Leslie Barcza, who wrote: 

"There are some wonderful performances, great moments to report.

"First and foremost, the love story between two men presented on the opera stage brought an eruption of applause early in Act III ... While we were presented with a homosexual encounter, everything was tasteful, discreet.

"I was intrigued that Ambur Braid (as Empress Sabina) effortlessly stole the show, in a character who is far more sympathetic than one might expect. The jealous wife of a gay man, she has the two most dynamic moments musically, a pair of arias that, for whatever reason, are the moments of greatest inspiration & commitment from Rufus Wainwright. In this respect perhaps Wainwright is being truly Canadian, in being so self-effacing."

The opera, which explores the relationship between Roman Emperor Hadrian and the young Antinous, runs October 13–27 at Toronto’s Four Seasons Center.

Peter Hinton directed a cast that includes baritone Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

Over four acts and three locations ... Hadrian’s villa, Greece, and Egypt ... the opera "is a surreal romp through time and space, mixing true occurrences with complete fabrication in order to illustrate a vivid 'creative snapshot' of what the end of the Classical era may have felt like," Wainwright says.

It opens on the last night of Hadrian's life in 138 AD. He wants to know the truth about Antinous' mysterious death eight years earlier in October of the year 130 AD.

Was it an accident? Or murder? The plot twists, political deals are struck amidst power struggles, deceptions, and visiting ghosts. And then it ends where it started.

But not before a love scene: "I realized that there are no sex scenes written into opera," Wainwright tells The New York Times, "let alone anal sex scenes. I think for some people it will be powerful to see gay love represented in the larger-than-life fashion that only opera can provide," he adds.

"When I first read the fabulous "Memoirs of Hadrian" by Marguerite Yourcenar, a novel which inspired at least three generations of gay men, I was instantly struck with the idea of transforming this historical subject into operatic form," Wainwright says.

Here is an exclusive excerpt from the opera's tender love scene between Hadrian and Antinous:

RUFUS WAINWRIGHT'S OPERA 'HADRIAN' IS NOMINATED FOR MAJOR AWARDS

IT has just been announced that Rufus Wainwright's opera about Antinous and Hadrian has been nominated for major awards.

The opera by Wainright and Daniel McIvor, entitled HADRIAN, has been nominated in seven categories for the 40th Anniversary Dora Mavor Moore Awards in Canada.

"Hadrian" is up for outstanding new opera production along with "Outstanding Performance of an Individual" nominations for baritone Thomas Hampson in the role of Hadrian and coloratura soprano Ambur Braid in the role of Empress Sabina, as well as outstanding costume design by Gillian Gallow.

The Doras will be bestowed June 25 at the Sony Centre for the Performing Arts in Toronto.

The opera's world premiere on 13 October 2018 at the Canadian Opera Company got a standing ovation during repeated curtain calls from a sold-out capacity audience at the Toronto opera house.

"Finally, after hundreds of years of doomed heterosexual love on the Opera stage, Rufus Wainwright and the Canadian Opera Company gave us some doomed homosexual love to enjoy. Thanks, Hadrian!" critic Christopher Butcher tweeted on Twitter.

"Just came back from Hadrian and I am SHAKEN that was so amazing and Thomas Hampson was perfect in the role as Hadrian. And as always Rufus Wainwright wrote a phenomenal score. I'll never forget it," another reviewer tweeted.

In the audience were a number of followers of Antinous and one of them posted this notice to us:

"Sold out house. Audience rapt for the entire performance, barely moved. The libretto is such a fascinating story. I was moved several times. Sets and costumes are effective. Performances outstanding. There's a curious feeling in this production as if you're looking at the ancient world from their standpoint, not ours looking back. It really grew on me. Some of it is so sublime. The past really is a foreign country."

The most gushing praise came from arts critic Leslie Barcza, who wrote: 

"There are some wonderful performances, great moments to report.

"First and foremost, the love story between two men presented on the opera stage brought an eruption of applause early in Act III ... While we were presented with a homosexual encounter, everything was tasteful, discreet.

"I was intrigued that Ambur Braid (as Empress Sabina) effortlessly stole the show, in a character who is far more sympathetic than one might expect. The jealous wife of a gay man, she has the two most dynamic moments musically, a pair of arias that, for whatever reason, are the moments of greatest inspiration & commitment from Rufus Wainwright. In this respect perhaps Wainwright is being truly Canadian, in being so self-effacing."

The opera, which explores the relationship between Roman Emperor Hadrian and the young Antinous, runs October 13–27 at Toronto’s Four Seasons Center.

Peter Hinton directed a cast that includes baritone Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

Over four acts and three locations ... Hadrian’s villa, Greece, and Egypt ... the opera "is a surreal romp through time and space, mixing true occurrences with complete fabrication in order to illustrate a vivid 'creative snapshot' of what the end of the Classical era may have felt like," Wainwright says.

It opens on the last night of Hadrian's life in 138 AD. He wants to know the truth about Antinous' mysterious death eight years earlier in October of the year 130 AD.

Was it an accident? Or murder? The plot twists, political deals are struck amidst power struggles, deceptions, and visiting ghosts. And then it ends where it started.

But not before a love scene: "I realized that there are no sex scenes written into opera," Wainwright tells The New York Times, "let alone anal sex scenes. I think for some people it will be powerful to see gay love represented in the larger-than-life fashion that only opera can provide," he adds.

"When I first read the fabulous "Memoirs of Hadrian" by Marguerite Yourcenar, a novel which inspired at least three generations of gay men, I was instantly struck with the idea of transforming this historical subject into operatic form," Wainwright says.

Here is an exclusive excerpt from the opera's tender love scene between Hadrian and Antinous:

THE BIGGEST ANTINOUS NEWS OF 2018 WAS THE TRIUMPHANT WORLD PREMIERE OF RUFUS WAINWRIGHT'S OPERA 'HADRIAN'

THE biggest Antinous-related news in 2018 was the triumphant world premiere of Rufus Wainwright's long-awaited opera about Antinous and Hadrian at the Canadian Opera Company in October.

The opera by Wainright and Daniel McIvor, entitled HADRIAN, got a standing ovation during repeated curtain calls from a sold-out capacity audience at the Toronto opera house.

"Finally, after hundreds of years of doomed heterosexual love on the Opera stage, Rufus Wainwright and the Canadian Opera Company gave us some doomed homosexual love to enjoy. Thanks, Hadrian!" critic Christopher Butcher tweeted on Twitter.

"Just came back from Hadrian and I am SHAKEN that was so amazing and Thomas Hampson was perfect in the role as Hadrian. And as always Rufus Wainwright wrote a phenomenal score. I'll never forget it," another reviewer tweeted.

In the audience at the world premiere on October 13th were a number of followers of Antinous and one of them posted this notice to us:

"Sold out house. Audience rapt for the entire performance, barely moved. The libretto is such a fascinating story. I was moved several times. Sets and costumes are effective. Performances outstanding. There's a curious feeling in this production as if you're looking at the ancient world from their standpoint, not ours looking back. It really grew on me. Some of it is so sublime. The past really is a foreign country."

The most gushing praise came from arts critic Leslie Barcza, who wrote: 

"There are some wonderful performances, great moments to report.

"First and foremost, the love story between two men presented on the opera stage brought an eruption of applause early in Act III ... While we were presented with a homosexual encounter, everything was tasteful, discreet.

"I was intrigued that Ambur Braid (as Empress Sabina) effortlessly stole the show, in a character who is far more sympathetic than one might expect. The jealous wife of a gay man, she has the two most dynamic moments musically, a pair of arias that, for whatever reason, are the moments of greatest inspiration & commitment from Rufus Wainwright. In this respect perhaps Wainwright is being truly Canadian, in being so self-effacing."

The opera, which explores the relationship between Roman Emperor Hadrian and the young Antinous, runs October 13–27 at Toronto’s Four Seasons Center.

Peter Hinton directed a cast that includes baritone Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

Over four acts and three locations ... Hadrian’s villa, Greece, and Egypt ... the opera "is a surreal romp through time and space, mixing true occurrences with complete fabrication in order to illustrate a vivid 'creative snapshot' of what the end of the Classical era may have felt like," Wainwright says.

It opens on the last night of Hadrian's life in 138 AD. He wants to know the truth about Antinous' mysterious death eight years earlier in October of the year 130 AD.

Was it an accident? Or murder? The plot twists, political deals are struck amidst power struggles, deceptions, and visiting ghosts. And then it ends where it started.

But not before a love scene: "I realized that there are no sex scenes written into opera," Wainwright tells The New York Times, "let alone anal sex scenes. I think for some people it will be powerful to see gay love represented in the larger-than-life fashion that only opera can provide," he adds.

"When I first read the fabulous "Memoirs of Hadrian" by Marguerite Yourcenar, a novel which inspired at least three generations of gay men, I was instantly struck with the idea of transforming this historical subject into operatic form," Wainwright says.

Here is an exclusive excerpt from the opera's tender love scene between Hadrian and Antinous:

And here are more photos from the gala premiere night:

STANDING OVATION AND RAVE REVIEWS FOR RUFUS WAINWRIGHT'S OPERA 'HADRIAN'

THE reviews are in and Rufus Wainwright's long-awaited opera about Antinous and Hadrian was a triumph this weekend at the Canadian Opera Company.

The opera by Wainright and Daniel McIvor, entitled HADRIAN, got a standing ovation during repeated curtain calls from a sold-out capacity audience at the Toronto opera house.

"Finally, after hundreds of years of doomed heterosexual love on the Opera stage, Rufus Wainwright and the Canadian Opera Company gave us some doomed homosexual love to enjoy. Thanks, Hadrian!" critic Christopher Butcher tweeted on Twitter.

"Just came back from Hadrian and I am SHAKEN that was so amazing and Thomas Hampson was perfect in the role as Hadrian. And as always Rufus Wainwright wrote a phenomenal score. I'll never forget it," another reviewer tweeted.

In the audience were a number of followers of Antinous and one of them posted this notice to us:

"Sold out house. Audience rapt for the entire performance, barely moved. The libretto is such a fascinating story. I was moved several times. Sets and costumes are effective. Performances outstanding. There's a curious feeling in this production as if you're looking at the ancient world from their standpoint, not ours looking back. It really grew on me. Some of it is so sublime. The past really is a foreign country."

The most gushing praise came from arts critic Leslie Barcza, who wrote: 

"There are some wonderful performances, great moments to report.

"First and foremost, the love story between two men presented on the opera stage brought an eruption of applause early in Act III ... While we were presented with a homosexual encounter, everything was tasteful, discreet.

"I was intrigued that Ambur Braid (as Empress Sabina) effortlessly stole the show, in a character who is far more sympathetic than one might expect. The jealous wife of a gay man, she has the two most dynamic moments musically, a pair of arias that, for whatever reason, are the moments of greatest inspiration & commitment from Rufus Wainwright. In this respect perhaps Wainwright is being truly Canadian, in being so self-effacing."

The opera, which explores the relationship between Roman Emperor Hadrian and the young Antinous, runs October 13–27 at Toronto’s Four Seasons Center.

Peter Hinton directed a cast that includes baritone Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

Over four acts and three locations ... Hadrian’s villa, Greece, and Egypt ... the opera "is a surreal romp through time and space, mixing true occurrences with complete fabrication in order to illustrate a vivid 'creative snapshot' of what the end of the Classical era may have felt like," Wainwright says.

It opens on the last night of Hadrian's life in 138 AD. He wants to know the truth about Antinous' mysterious death eight years earlier in October of the year 130 AD.

Was it an accident? Or murder? The plot twists, political deals are struck amidst power struggles, deceptions, and visiting ghosts. And then it ends where it started.

But not before a love scene: "I realized that there are no sex scenes written into opera," Wainwright tells The New York Times, "let alone anal sex scenes. I think for some people it will be powerful to see gay love represented in the larger-than-life fashion that only opera can provide," he adds.

"When I first read the fabulous "Memoirs of Hadrian" by Marguerite Yourcenar, a novel which inspired at least three generations of gay men, I was instantly struck with the idea of transforming this historical subject into operatic form," Wainwright says.

Here is an exclusive excerpt from the opera's tender love scene between Hadrian and Antinous:

And here are more photos from the gala premiere night:

OPERA'S FIRST-EVER ON-STAGE SEX SCENE IN RUFUS WAINWRIGHT'S 'HADRIAN'

THE long-awaited opera by Rufus Wainwright about Antinous and Hadrian will feature the first-ever on-stage sex scene in the history of opera.

And it will be a gay sex scene that audiences see when the curtain goes up this weekend on the world premiere of the Canadian Opera Company production.

The opera by Wainright and Daniel McIvor, entitled HADRIAN, which explores the relationship between Roman Emperor Hadrian and the young Antinous, will run October 13–27 at Toronto’s Four Seasons Centre.

Peter Hinton will direct a cast that includes Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

Over four acts and three locations ... Hadrian’s villa, Greece, and Egypt ... the opera "is a surreal romp through time and space, mixing true occurrences with complete fabrication in order to illustrate a vivid 'creative snapshot' of what the end of the Classical era may have felt like," Wainwright says.

It opens on the last night of Hadrian's life in 138 AD. He wants to know the truth about Antinous' mysterious death eight years earlier in October of the year 130 AD.

Was it an accident? Or murder? The plot twists, political deals are struck amidst power struggles, deceptions, and visiting ghosts. And then it ends where it started.

But not before a love scene: "I realized that there are no sex scenes written into opera," Wainwright tells The New York Times, "let alone anal sex scenes. I think for some people it will be powerful to see gay love represented in the larger-than-life fashion that only opera can provide," he adds.

"When I first read the fabulous "Memoirs of Hadrian" by Marguerite Yourcenar, a novel which inspired at least three generations of gay men, I was instantly struck with the idea of transforming this historical subject into operatic form," Wainwright says.

Hadrian was a master builder, the legacy of which we still marvel over today.

"But he is mostly unknown for what might be his greatest legacy, his having lived openly as a homosexual and his deep, unshakable love for another man, Antinous," the opera's librettist Daniel MacIvor writes.

"Homoerotic relationships were acceptable within the Roman nobility at the time .... Antinous was treated by Hadrian as an equal partner in their love."

They were together for six years before Antinous' mysterious drowning in the Nile while travelling on a barge with the Emperor in Egypt.

Hadrian was so heartbroken that he deified Antinous and built close to 30 temples around the empire to honour him.

There were also thousands of sculptures depicting his young, beautiful lover. About 115 survive today ... including at least 20 found at Hadrian's villa, where some think Antinous might be entombed.

Here is a sneak preview of the opera's musical score:

SAINT OF ANTINOUS FREDDIE MERCURY REUNITED WITH MONTSERRAT CABALLÉ

ADIOS la superba diva Montse ... Montserrat Caballé, who has died at 85, bridged opera with new music styles but especially with new audiences. A whole new generation discovered opera via her duet with FREDDIE MERCURY (Saint of Antinous!) for the 1992 Barcelona Olympics. They are now reunited aboard the Antinous Barque of Millions of Years, where they perform nightly: 

TORONTO HADRIAN CONFERENCE EXPLORES OPERA'S PLACE IN THE 21st CENTURY

TICKETS are now available for Hearing Hadrian: An Opera for Our Time, a conference on Sunday, October 14, 2018. 

Just one day after Rufus Wainwright's HADRIAN, with libretto by Daniel MacIvor, receives its world premiere, the Canadian Opera Company will host a day-long series of panels and guest speakers dedicated to exploring the themes found in the opera and its broader operatic context.

Hearing Hadrian aims to bring the long-buried relationship between the Roman Emperor Hadrian and his lover, Antinous, to the forefront of public knowledge and discussion.

It also examines Hadrian's place within the larger context of 21st-Century opera and queer storytelling. Who was Hadrian and what makes his story a timeless classic for a modern audience? What does it mean to write an opera in the 21st Century? And how can traditional art forms, like opera, be reimagined to tell marginalized stories?

COC Associate Director of Education and Outreach Katherine Semcesen points to Hadrian's complex layers of themes and visual cues as an excellent catalyst for engaging discussions. "By providing a space and a forum for these types of meaningful conversations to occur, I hope that participants will develop a deeper connection with the piece and with one another."

Linda Hutcheon, of the University of Toronto, is one of the event's organizers. She says "With the premiere of Hadrian, the time has come to explore the recent and welcome changes in opera that have now made this art form more musically accessible, more technologically dazzling, and more socially provocative-and relevant."

Discussions will be guided by some of Canada's top experts in musicology, gender studies, and classics and held at The 519, a City agency located in Toronto's Church and Wellesley neighbourhood that is dedicated to the advocacy and inclusion of LGBTQ2S communities. 

Hearing Hadrian is co-produced by the Canadian Opera Company, the Mark S. Bonham Centre for Sexual Diversity Studies, the Faculty of Music at University of Toronto, and the Humanities Initiative of Munk School of Global Affairs & Public Policy.

The program features the following panels and discussions:

"Have No Fear: Opera in the 21st Century"

Linda and Michael Hutcheon, provide an opening overview of the evolution of contemporary opera and Hadrian's place within it, chaired by Katherine Semcesen, COC Associate Director of Education.

Speakers:

Linda Hutcheon, Professor Emeritus of English and Comparative Literature, at UofT

Michael Hutcheon,Professor of Medicine at UofT

"21st-Century Technological Revolutions"

What happens when tradition meets technology? This panel, moderated by Laurie-Shawn Borzovoy, Projection Designer for Hadrian, looks at the future of opera and virtual reality experiments.

Panelists:

Michael Mori, Artistic Director of Tapestry Opera

Rorik Henrikson, Innovator: Human Computer Interaction, Stereoscopy, and Virtual Reality

Jake Gow, COC Associate Technical Director

"Queer Storytelling from Screen to Stage"

In this talk, chaired by Don McLean, Dean of Music at the UofT, music history scholar Lloyd Whitesell explores how contemporary storytelling mediums are being used to represent the queer experience.

Speaker:

Lloyd Whitesell, Professor of Music History at McGill University

Pop-up Concert in Barbara Hall Park, Presented in Partnership with the Church-Wellesley Village BIA's Music in the Park Series

Weather permitting, enjoy an open-air performance, just outside The 519, by artists of the COC Ensemble Studio. The Ensemble Studio is one of Canada's most prestigious opera training programs and attracts some of country's best emerging opera talent.

"A Grand Opera for the 21st Century: The Music and Creation of Hadrian"

Introduced by Wayne Gooding, opera scholar and former editor of Opera Canada, Cori Ellison provides insights into the diverse inspiration for Hadrian's unique sound world in this work that bridges classical and pop traditions.

Speaker:

Cori Ellison, Dramaturg for Hadrian

"Sexualities in Ancient Rome"

Dive into the fascinating history of cultural perceptions of sexuality with classical studies scholar Kelly Olson. This lecture is chaired by Scott Rayter, Associate Director of the Mark S. Bonham Centre for Sexual Diversity Studies at UofT.

Speaker:

Kelly Olson, Professor of Classical Studies at Western University

"History of Hadrian's Rule"

Historically, Hadrian's legacy has been deeply divisive. In this lecture, chaired by Caryl Clark, Professor of Music History and Culture at the UofT, classics scholar Andreas Bendlin examines the clashes of political and religious conflicts that form the backdrop for the opera.

Speaker:

Andreas Bendlin, Professor of Classics and Roman History at UofT

Roundtable of Hadrian Creative Team and Artists

The team behind Hadrian's world premiere shares how and why they got involved with the production, the creative challenges of creating a brand new opera, and reflect upon the experience of seeing Hadrian and Antinous on stage.

Panelists:

Rufus Wainwright, Composer

Daniel MacIvor, Librettist

Peter Hinton, Director

Isaiah Bell, Tenor singing role of Antinous

Gillian Gallow, Costume Designer

Cori Ellison (moderator), Dramaturg

TICKET INFORMATION

Admission to Hearing Hadrian is free but requires a ticket. Tickets are available at coc.ca/HearingHadrian or by calling 416-363-8231. Please note seating is limited.

SNEAK PREVIEW OF COSTUMES AND MUSIC OF RUFUS WAINWRIGHT'S HADRIAN OPERA

HERE's a sneak preview of the costumes ... and the music ... from long-awaited opera about Antinous and Hadrian by Rufus Wainwright which will have its world premiere 13 October 2018 with the Canadian Opera Company in Toronto.

A little Versace beach wear, some Klimt-inspired gold, and the bursting colours of Minoan frescoes ... and royal purple from Tyre snails ... these are the costumes.

"They're definitely Roman-inspired," says award-winning Canadian designer Gillian Gallow of the costumes she has conceived. "But there is also an extremely theatrical and modern perspective to it."

Guided by a strong belief that the opera stage requires a heightened sense of reality ... a visual language of grand gesture that communicates as effectively to the audience in the fifth balcony as it does to those in the front row .. Gillian has designed costumes she calls "dramatically Roman."

The garments are rooted in historical detail, pattern, and colour, but they’re also scaled to the opera stage, carefully tailored to meet the dramatic and emotional demands of the world’s biggest performing art form.

"Versace did a runway show in 2015 that was very Greek-inspired and Hadrian himself was known for his love of Greek culture, for referencing Greek art and customs, and for championing a Hellenic revival in Rome. So when it came time to imagine Antinous, we were inspired by Versace’s melding of this contemporary aesthetic with the period look."

The opera by Wainright and Daniel McIvor, entitled "HADRIAN," which explores the relationship between Roman Emperor Hadrian and the young Antinous, will run October 13–27 at Toronto’s Four Seasons Centre.

Peter Hinton will direct a cast that includes Thomas Hampson as Hadrian and renowned tenor Isaiah Bell as Antinous, with Karita Mattila as Plotina.

The opera tells the story of the Roman emperor and his young lover Antinous, who was deified after his mysterious and premature death. Wainwright has offered the promise of something provocative:

"I think in our modern world," he says, "among younger audiences especially, there's a hunger for a sort of spectacle that the opera world thinks is no longer relevant."
What attracted him to Hadrian was the power of the story Wainwright wanted to tell.

Certainly the story of the Emperor Hadrian has plenty to offer contemporary audiences. Quixotic, domineering and visionary, Hadrian represented the end of the Classical era in Roman history, a fascinating period when the influence of Greek ideas began to predominate in Roman society, changing its political landscape in significant ways.

Wainwright adds, "And then there's Antinous, essentially the male equivalent to Helen of Troy ... though we know he actually existed and exactly what he looked like. At one point he was neck and neck with Christ in terms of cult status after disappearing in the Nile. Imagine what a different world that would have been if he had lived!"

Here is an exclusive sneak preview of the musical score:

And here are more costume designs:

RUFUS WAINWRIGHT'S OPERA FETE ABOUT HADRIAN AND ANTINOUS

ANY story about a Roman emperor turning his star-counting lover into a god deserves a next level party. 

So the Canadian Opera Company is charting a constellation of fashion, art, and opera for Operanation 2018, a mega-bash inspired by the upcoming world premiere of Rufus Wainwright's "Hadrian" Opera. 

Now in its 14th year, Operanation will transform the Toronto opera house on May 17 into an ancient Roman celebration, with pitchers of wine (there'll be cocktails at the open bar), flowing lute music (Toronto's coolest DJs), and the bountiful riches of the harvest (midnight snacks deluxe). 

So don’t rest on those laurels: shake your stardust, love like Cupid, and party like Bacchus on May 17!

'ANTINOUS AND HADRIAN' OPERA SUITE GETS MAY 5 WORLD PREMIERE IN NEW YORK

WE are proud to announce that the world operatic premiere of the "Antinous and Hadrian Suite" will be May 5th at the Church of the Holy Apostles in New York City.

The music is from the world's first opera about Antinous which has won the prestigious QUEER URBAN ORCHESTRA COMPOSITION CONTEST for 2018.

This ground-breaking opera, ANTINOUS AND HADRIAN, which premiered in 2013, was written by composer CLINT BORZONI with a libretto by EDWARD FICKLIN.

CLICK HERE for exclusive excerpts from the opera.

Those duets from were performed as part of the SOUND DEPARTURES 2017 in New York.

Borzoni's award-winning music reflects his passion for lyricism and functional harmony. He has written over sixty pieces, including a full length opera, two one act operas, a piano concerto, percussion quartet, piece for orchestra, two string quartets, several works for chamber orchestra, and many art songs. 

Ficklin has composed and written librettos for various forms of music-theater. He has realized his works in a number of unusual venues, like a store window near Grand Central Station and a vacant bank lobby near the World Trade Center (with the support of the Lower Manhattan Cultural Council and the September 11th Fund). His work has also been presented by numerous opera companies across the United States and Europe.

He describes "Antinous and Hadrian" as truly "grand opera," a hugely ambitious project.

"Rome wasn't built in a day," says Ficklin. "When embarking on something large, we're often given that sage, if cliche, advice. Having recently laid down on paper, finally, the first few lines a new libretto destined to be a grand opera, I find that I need to remind myself of this. Indeed, large endeavors always require a large perspective.

'ANTINOUS AND HADRIAN' OPERA SUITE SET FOR WORLD PREMIERE IN NEW YORK

WE are proud to announce that the world operatic premiere of the "Antinous and Hadrian Suite" will be May 5th at the Church of the Holy Apostles in New York City.

The music is from the world's first opera about Antinous which has won the prestigious QUEER URBAN ORCHESTRA COMPOSITION CONTEST for 2018.

This ground-breaking opera, ANTINOUS AND HADRIAN, which premiered in 2013, was written by composer CLINT BORZONI with a libretto by EDWARD FICKLIN.

CLICK HERE for exclusive excerpts from the opera.

Those duets from were performed as part of the SOUND DEPARTURES 2017 in New York.

Borzoni's award-winning music reflects his passion for lyricism and functional harmony. He has written over sixty pieces, including a full length opera, two one act operas, a piano concerto, percussion quartet, piece for orchestra, two string quartets, several works for chamber orchestra, and many art songs. 

Ficklin has composed and written librettos for various forms of music-theater. He has realized his works in a number of unusual venues, like a store window near Grand Central Station and a vacant bank lobby near the World Trade Center (with the support of the Lower Manhattan Cultural Council and the September 11th Fund). His work has also been presented by numerous opera companies across the United States and Europe.

He describes "Antinous and Hadrian" as truly "grand opera," a hugely ambitious project.

"Rome wasn't built in a day," says Ficklin. "When embarking on something large, we're often given that sage, if cliche, advice. Having recently laid down on paper, finally, the first few lines a new libretto destined to be a grand opera, I find that I need to remind myself of this. Indeed, large endeavors always require a large perspective.