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Amplified Opera Named Disruptor-in-Residence at the Canadian Opera Company

Amplified Opera Named Disruptor-in-Residence at the Canadian Opera Company

The Canadian Opera Company welcomes Toronto-based Amplified Opera to the COC Academy as part of the company’s newly developed Disruptor-in-Residence program. The two-year residency will offer resources and support to the emerging opera company during the critical transition period from start-up to established organization, as well as share valuable learnings about digital content creation in the current cultural climate. The artistic collaboration aims to support increased equity, diversity, and inclusivity within the arts through workshops and training for fellow artists and activities that foster greater community engagement.

“The idea for this program evolved organically from the COC’s Company-in-Residence,” says COC Deputy General Director Christie Darville. “We are proud to support emerging opera creators through our COC Academy. As a national performing arts organization, it is our responsibility to boost the voices of those that regularly challenge artistic norms, practices – and us. In naming Amplified Opera our Disruptor-in-Residence, we are

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Theater Notebook: San Diego Rep’s ‘Before Fiddler’ takes Felder and company on the road to Italian Riviera

On Sunday, San Diego Repertory Theatre will host the world premiere of “Before Fiddler — Live from Florence,” Hershey Felder’s sixth music-filled play streamed live from his home in Florence, Italy, since last May.

Fans accustomed to the playwright/actor’s solo shows expect to see him playing piano as he tells the story of a famous composer. But “Before Fiddler” is a first in many ways. Streaming live at 5 p.m. Sunday, Feb. 7, is about the famous 19th-century Yiddish author and playwright Sholem Aleichem, who was known in his day as the “Jewish Mark Twain.” Several of his semi-autobiographical stories about Tevye the milkman inspired the Broadway musical “Fiddler on the Roof.”

Felder will portray Aleichem, but for this production, most of the music will be performed by Klezmerata Fiorentina, a klezmer quartet of symphony musicians who live in Florence. And for the first time the play will not take

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‘Ma Belle, My Beauty’ Review: Can Three Be Company Once Again?

When Lane arrives at a train station in southern France in “Ma Belle, My Beauty,” she’s greeted by Fred. Clad in the casual uniform of late summer — shorts, sandals, a breezy cotton shirt — he gives her a little smile. Lane, on the other hand, looks from the start like something is weighing on her, and it’s not just her oversized backpack. “Do you think she’ll want to see me?” she asks, with a wary note and pensive brow. Turns out Fred is springing Lane on his wife in hopes of rekindling their threesome, not so much for himself as for wife Bertie.

While its polyamorous triangle might sound edgy to some, first-time feature director Marion Hill’s romantic drama — which had its world premiere at the Sundance film festival — was in line with other 2021 Sundance selections that depict underrepresented characters and their experiences by way of

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New poetry from Sharon Tracey, a book about singer-songwriter Elliott Smith, and a publishing company based in Somerville that makes children’s books celebrating South Asian culture.

Art in verse

In her new collection of poetry “Chroma” (Shanti), Sharon Tracey responds to 47 works of art by women artists whose work spans five centuries and 25 countries. In these ekphrastic poems, she is an astute and sensitive reader of paintings. She acts as a sort of visual translator, creating atmosphere and image, making us alert to the relationships at play: viewer with viewed, poet with painting with painter. Her language is fresh and lush. She writes of “paper-flat fields, pearled”; a waterfall is a “lithological myth-maker.” And it’s beautiful to the ear. Listen: “the shapes I love: / ligulate, spikelet, awn. / On the kitchen wall I hang / the sheath and blade.” The collection is broken into four “galleries” which move through time and place, with responses to Agnes Martin and Etel Adnan, and a number of lesser known artists, some of whom are

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