Yearly Archives: 2018

The Truth About Love

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Yesterday’s lunchtime recital in the RBA featured Claire de Sévigné and Rachel Andrist with Huw Montague Rendall chipping in with readings.  The theme, naturally enough, was Love.  It was a carefully curated program taking us through Passion, The Bond, Pain, Memory and, finally, The Truth.  Along the way we got Poulenc, Fauré and Debussy; Wolf and Liszt; Schubert and Schumann; even some Strauss and Weill before The Truth was revealed in English language texts set by Hughes, Previn, Copland and Bridge.  Make of that last what you will.

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Alagna and Gheorghiu in L’elisir d’amore

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Shortly after their marriage in 1996 Angela Gheorghiu and Roberto Alagna appeared together in Donizetti’s L’elisir d’amore at Opéra de Lyon.  At the time she was 31 and he was 33 so pretty much ideal for the roles.  The production was directed by Frank Dunlop.  It’s straightforward, set in the 1920s and essentially traditional though there are a few nice touches.  It’s what the recent COC production might have been if the asinine attempts to be “relevant” had been ditched.

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Plug in

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I went to see Esprit Orchestra’s show Plug in at Koerner Hall last night.  I don’t often go to purely orchestral concerts but Jenn Nichols was dancing and I have this feeling that I ought to listen to more contemporary music.

The first piece; Symphonie minute by José Evangelista, is a highly compressed “symphony” in four movements.  Each movement only lasts a couple of minutes and it uses a large orchestra.  It’s intriguing that in such a short time each movement has a clearly defined character.  It’s quite dissonant but very easy to listen to and doesn’t outstay its welcome.

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Straightforward Otello from the Met

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In 2015 the Metropolitan Opera premiered a new production of Verdi’s Otello directed by Bartlett Sher.  It was broadcast in the Met in HD series and subsequently released on Blu-ray and DVD.  It’s a bit hard to judge the production on video because of the video direction.  I don’t think there are any big ideas but it’s decorative enough with arrangements and rearrangements of plexiglass wall/rooms and some effective video projections for things like the storm scene.  Only Act 4 breaks the mould with a sparse stage with just a bed and a few chairs.  I strongly suspect though from the occasional wide angle shot that there was a lot more going on visually than one sees on the video.  Costumes are 19th centuryish and quite decorative.

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There are no words

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Krystyna Zywulska was a Polish resistance fighter who was captured and sent to Auschwitz.  She took to writing lyrics and setting them to an eclectic mix of tunes as a way of coping with the horror of the camp.  Somehow this was pleasing to the powers that be and she found herself with a relatively soft job processing the possessions of arriving prisoners.  She survived to write a number of memoirs about her experience.  The story is oddly similar to that of Zofia Posmysz, who inspired Weinberg’s The Passenger.  This time the opera is Another Sunrise; a collaboration of Gene Scheer and Jake Heggie commissioned by Music of Remembrance and premiered in 2012.  There’s a companion piece by the same team; Farewell Auschwitz, which sets some of the Zywulska texts, in translation and reworking by Scheer, to a wide range of the kinds of music that Zywulska used.  Last night both pieces got their Canadian premiers in a production by Electric Bond Ensemble at Beth Tzedec directed by Aaron Willis.

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Into the back half of February and beyond

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eded64_558606377878465db0281238f5aa4ea9Here is what’s coming up.  Valentine’s day sees two vocal recitals.  At noon in the RBA there’s Clare de Sévigné and Rachel Andrist with The Truth about Love; the story of a young woman’s love gone awry.  At 8pm Ian Bostridge has an all Schubert program at Koerner Hall.  Thursday is also busy with members of the Ensemble Studio in a Russian program in the RBA at noon, a Johannes Debus masterclass at UoT at 2pm and Opera Trivia at the Four Seasons Centre at 7pm.  Then on Friday at 7.30pm in Walter Hall there’s a free concert; Vocalini, from the undergrads of the UoT Opera.  Also Thursday and Friday MYOpera have a couple of opportunities to see emerging artists.  There’s a public masterclass with Philip Morehead at 6pm Thursday at the Edward Jackman Centre and a concert at 7.30pm Friday at the Vandenberg House.

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Tap:Ex Forbidden

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Tapestry’s new experimental show opened last night at the Ernest Balmer Studio.  It’s a “mash up” of Persian classical music and hip hop around the theme of The Child and The Stranger, who turns out to be Lucifer.  Lucifer seeks to show the child that authority and rules serve only to allow the powerful to abuse and punish others.  This is explicated in six short scenes using the various musical resources and styles available.

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The Ballad of East and West?

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Wajdi Mouawad’s production of Mozart’s Die Entführung aus dem Serail, originally seen in Lyon, opened last night at the COC with Valérie Négre as revival director.  The piece has been somewhat restructured and the spoken dialogue changed to explode the idea that the piece is “about” some kind of crude juxtaposition of the “West”; Enlightened, civilized etc, and the “East”; obscurantist, cruel, barbarian etc.  To this end Mouawad has inserted a prologue before the overture where Belmonte’s father is holding a party to celebrate the return of his son and the others where he makes the above comparison in extremely crude terms and then invites his guests to play la tête du Turc, a game that involves hitting a Turk’s head with a sledgehammer.  The guests wade in with drunken abandon, except for Konstanze and Blonde who are clearly revolted by the idea.  This leads to a conversation around who changed and how while they were in captivity and so to telling the whole story in flashback.

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I due Figaro

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Mercadante’s I due Figaro(1) is one of a number of operas that continue the story of Figaro, Almaviva etc into a third instalment.  It sets a libretto by Felice Romani based on Les deux Figaro by Honoré-Antoine Richaud Martelly.  It premiered in Madrid in 1835 but was lost for many years before being rediscovered in 2009 and given at the 2011 Ravenna Festival.  Yesterday in got its Canadian premier at VOICEBOX:Opera in Concert.

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GGS Vocal Showcase in Mazzoleni Hall

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It’s that mid point of the academic year when the GGS puts on a recital programme that features a fairly full selection of the available singing talent at the Conservatory.  This means one sees everything from first year undergrads to singers in the final stages of a master’s degree, who may already be singing professionally, so it’s a constant exercise in recalibration.  It wasn’t helped last night by the fact that I had serious TTC problems causing me to miss the first three numbers on the programme plus feeling a bit frazzled for the rest.  So, in no particular order, I’m going to write about what I particularly enjoyed.  Omission should not be over-interpreted.

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