Abstract
“The Spectre of Louis Riel: Opera, Archive, and the Silent Witness” is a critical review of the Canadian Opera Company’s (COC) 2017 revival of Mavor Moore and Harry Somers’s 1967 production Louis Riel. The essay considers director Peter Hinton’s prompt for audiences to “question why we need to keep re-telling our history” by further questioning the COC’s use of Louis Riel as its subject when commemorating Canada and its use of the production’s original colonial structure in an attempt to demonstrate the concept of reconciliation.
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