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COR
COR
  • Home
  • About COR
    • About COR
    • How To Use COR
    • FAQ – For Users
  • Operas
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  • Submit Your Work
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    Canadian Opera Resource
    Canadian Opera Resource
    COR
    Operas
    Pomegranate
    On a fateful school trip to the ruins of Pompeii, the fantasies of smitten teenagers Suzie and Cass are ignited. They are transported from 1977 to 79 AD, where they discover romantic freedom in the looming shadow of Mount Vesuvius – but not for long. The timeline shifts to 1981 and the Fly by Night, a Toronto lesbian bar, in the aftermath of the...
    Composer: Kye Marshall
    Librettist: Amanda Hale

    Pomegranate
    Dark Star Requiem
    Content warning: illness, death, HIV/AIDS

    Dark Star Requiem is a poetic chronicle of the 25 years (as of 2010) of HIV-AIDS, reflecting the many faces of the disease and those affected by the pandemic.
    Composer: Andrew Staniland
    Librettist: Jill Battson

    Dark Star Requiem
    Elsewhereless
    Content warning: genocide, colonialism, death, gun violence, death of a child, violence against animals

    “Nothing is as comforting as captivity.”

    Beth, a young diplomat, and her husband Andrew are stationed at a Canadian Embassy in Africa. They are troubled by news of political upheaval, forced migrations and indiscriminate slaughter. They ...
    Composer: Rodney Sharman
    Librettist: Atom Egoyan

    Elsewhereless
    The Perfect Match
    Two sock puppets long for something more than their dreary lives. They bump into each other on the street, and it doesn’t take long for them to recognize they’re each other’s perfect match!
    Composer: Anthony Young
    Librettist: Krista Dalby

    The Perfect Match
    The Last Life
    A farmer lovingly takes care of his brown cow, not knowing he and the cow have met before in past lives, once in the 18th century and again in the 20th.
    Composer: Katya Pine
    Librettist: Sharon Bajer

    The Last Life
    Ashlike on the Cradle of the Wind
    Content warning: AIDS, death, illness

    The interior of a thumping, vibrating gay nightclub with obligatory disco ball and coloured strobe lights. A middle-aged gentleman is sitting at the bar, back to the audience, lost in his thoughts and seemingly oblivious to his surroundings. The truth is he isn't used to going to clubs, or hasn't since th...
    Composer: Andrew Staniland
    Librettist: Jill Battson

    Ashlike on the Cradle of the Wind
    TAP:EX Forbidden
    Content warning: sexual violence, incarceration, religious abuse, homophobia, conversion therapy

    Through several vignettes, Forbidden examines the idea of rules and taboos. Do they protect people, or do they control them? Are they of any value, or do they simply exploit the powerless?

    A young girl, punished with repetition of religious tex...
    Composer: Afarin Mansouri
    Librettist: Donna-Michelle St. Bernard

    TAP:EX Forbidden
    COR
    Excerpts
    Elsewhereless – Scene 8: “This country is at the threshold of great change”

    Malcolm works on his university application; Eugene is sick. Antoine arrives telling them he has been promoted to ambassador, but that they will remain in the country they are currently stationed in.

    The Perfect Match – Exterior

    Tam and Pal spot each other- the only single socks in the park- speak, and fall in love.

    The Perfect Match – Interior

    Two sock puppets wake up alone and lonely.

    The Last Life – The Last Life

    Former lovers are reincarnated and reunited, but this time around one is a farmer and one is his cow.

    TAP:EX Forbidden – Act 1, Scene 4: “Stay, Still, Forever”

    A cleric prepares for confessional. Someone enters the booth. The cleric realizes it’s a man with whom he shared a mutual attraction. The man has recently finished gay conversion therapy and wishes to resume some kind of a relationship.

    Elsewhereless – Scene 11: “We’re frightened”

    Beth and Andrew demand Antoine that they be allowed to leave. He will keep them there forever because he wants to see them all become heroes and redeem his initial banishment with Eugene. Antoine grabs the dead monkey and begins to dance with it. A bullet explodes through the window, hitting Antoine and he falls to the ground.

    Elsewhereless – Scene 10: “What about these things”

    Eugene is dying. He has left some of his and Antoine's things for Malcolm, but Malcolm is growing angrier at Antoine who still will not write him a letter of recommendation.

    Elsewhereless – Scene 7: “Good evening Malcolm”

    The action continues from scene 3. Beth and Andrew are waiting for their guest, Duncan, but Antoine arrives instead and cuts into the live monkey's skullcap without hesitation. He recounts how he almost wrote Malcolm a letter of recommendation.

    Elsewhereless – Scene 6: “You’re a good dancer” (duet)

    Malcolm and Eugene are dancing, but we quickly learn that they are practicing English. Malcolm asks if Antoine has written the letter of recommendation yet. Eugene tells him he is not ready yet. Malcolm grows frustrated.

    Elsewhereless – Scene 4: “You must knock”

    Malcolm tells Eugene and Antoine that he wants to go to university and asks for a letter of recommendation. Antoine tells him that he should stay in the house with the people who love him.

    Elsewhereless – Scene 2: “It needs rugs”

    Some years prior, Eugene and Antoine enter the residence, Malcolm, their new houseboy (who does not speak much English) helps them unpack. Antoine and Eugene ask Malcolm if he is married, and he replies that he wants Eugene to be his girlfriend. Malcolm asks Eugene to teach him words.

    Ashlike on the Cradle of the Wind – Scene 3

    Two male lovers come to terms with the fact that one of them is dying of AIDS.

    Ashlike on the Cradle of the Wind – Scene 2

    An intimate encounter between two gay men.

    Ashlike on the Cradle of the Wind – Scene 1

    The interior of a thumping, vibrating gay nightclub. A middle-aged gentleman sips his drink and turns to watch the dancers on the dance floor. Under the disco ball a young man, stripped to the waist, is dancing with abandon. The young man approaches and establishes immediate physical contact, which is uncomfortable. The older man needs more p...

    COR

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