There was a time when site specific productions were very much part of the Toronto opera scene but, like much else, they seemed to disappear with the pandemic. So it was especially pleasing to see Tapestry Opera, Luminato and Metropolitan United Church combining for just such an event.
Queen of the Night Communion is part staged concert, part ritual in which the Queen; Krisztina Szabó, presides over a band of hooded and masked followers. The staging, by Michael Mori, uses the vast space of Metropolitan United in some very creative ways. Some scenes are performed in front of the choir while others use the space in less conventional ways. For example the “Flower duet” from Lakmé is performed as a sort of antiphon with singers on either side of the church while “Der Hölle Rache” is arranged for eight voices led by Krisztina who, joined closely together, process down the aisle like a sort of weird bug. In keeping with the spirit of the thing most of the time the church is very dark with a hand held spot used to illuminate singers (which also made for some very impressive shadows!).
Which brings me to musical arrangements by Kathleen Allan. Much of the repertoire performed is conventional enough but, like “Der Hölle Rache”, many solo numbers use multiple voices and most of the accompaniment is by Jonathan Oldengarm on Met’s fabulous organ. Familiar pieces sound fresh and surprising as a result.
There are eight singers involved; sopranos Kathleen Allan and McKenzie Warriner, mezzos Krisztina Szabó and Alex Hetherington, tenors Ryan Downey and Mishael Eusebio and baritones Alex Hajek and Justin Welsh. That’s a pretty impressive line up.
The repertoire is extremely varied with works ranging from Hildegard von Bingen; O Ignis Spiritus sung as a sort on introit, through Purcell; Krisztina made her entrance to Dido’s lament and the Evening Hymn rounded the evening off, to Verdi (the malediction scene from Rigoletto), Strauss, McKenzie and Alex with the Presentation of the Rose accompanied by Hyejin Kwon on piano, Berg; “Lied der Lulu” brilliantly sung by McKenzie again with Hyejin on piano to Britten; “Now the Great Bear” with stunning high notes from Ryan. And there was more, lots more.
So, really good singing and piano/organ playing, brilliant use of the gorgeous space with its impressive decor and fabulous acoustics, surprising and intriguing arrangements and a genuine air of something special going on. Also another step along the way in Jonathan Oldengarm’s most excellent work to bring Met back into Toronto’s musical mainstream. If you haven’t tried their Thursday recital series maybe you should!
There’s one more performance tonight (Saturday) at 8.30pm.
operaramblings 
Loved many bits of this for ex the choral “Der Hölle Rache”, but was confounded by some other bits. Why the Zorro masks and the capes over regular street clothes? Why not an aria from Verdi rather than that scene? Kate Soper?? Female composers shoed in just so we can have some female composers? The Rose duet from the Rosenkavalier? La Habanera? There was no discernible red thread.
The basic concept was that the performance was a meeting or ritual of some sort of sect or secret society revolving around the QotN. I think that explains the hoods and masks. Choice of rep I think was driven by two things; one dramaturgical, one prectical. I think as far as possible people were singing music they already knew for obvious reasons. Also certain scenes should/coud be seen as o”offerings” to the queen by her disciples. I would put the extracts from Rosenkavalier and Rigoletto into that category. But I don’t think there was meant to be a musical narrative as such.