The season finale for the Music Garden this summer was a performance of Alec Roth’s Songs in Times of War. These are settings of poems by Du Fu translated by Vikram Seth. Du Fu was a Chinese court poet who lived through times (8th century CE) when millions died or were displaced by rebellion and civil war. Although more allusive than direct (most of the time), the poems are grim but have an elusive beauty which is reflected in Roth’s setting. Originally scored for tenor, guitar, harp and violin we got to hear a new version (by the composer) with violin replaced by erhu; a two stringed bowed instrument. Tnere’s no doubt in my mind that the erhu adds a really effective cross-cultural timbre that the violin version can’t quite match.
Author Archives: operaramblings
Tanya’s Secret
Tanya’s Secret is a queer-trans adaptation of Tchaikovsky’s Eugene Onegin. It’s a production by Opéra Queens who seem to be a Montreal based group created during the pandemic and doing their first show in Toronto; in this case at the Betty Oliphant Theatre. Actually it’s not a particularly radical adaptation compared to, say, some of Against the Grain’s transladaptations. It’s sung in Russian (with some Ukrainian interpolations including a Lysenko art song) with subtitles on screens either side of the stage). The plot isn’t really changed at all though the ball scene in Act 3 gets a sort of drag queen competition element. The big change is that some roles are assigned to the “wrong” gender. Tatiana is sung extremely well and acted even better by Mike Fan. Catherine Carew is a strongly sung and impressive Gremin doubling as the very different Madame Larina. Christina Yun’s Lensky is ardent and she makes a nice fist of “Kuda, kuda”. (Who needs tenors?) Oddly this doesn’t really come across as all that radical. The necessary transpositions occasionally create the odd awkward high note but it’s very singable and generally well sung.

Sir John Eliot Gardiner’s Poppea
In 2017 Sir John Eliot Gardiner, the English Baroque Soloists, the Monteverdi Choir and a rather distinguished group of specialist baroque singers toured semi-staged versions of the three main Monteverdi operas, which were also recorded for video. Being a bit skeptical about the idea of videoing semi-staged performances I decided to take a look at L’incoronazione di Poppea (because it’s my favourite of the three) before committing to the trio. Bottom line, despite some stylish singing, good acting and excellent playing I can’t really see the point. There are good fully staged versions of all three operas available on video and, for me, especially watching at home, it’s hard for a semi-staged version to fully engage my attention.

Born
Born is the latest album from Philadelphia based choir The Crossing conducted by Donald Nally. There are three pieces on the album. Two works by Michael Gilbertson book end the line up. The first, Born, sets words by Wisława Szymborska translated by Stanislaw Baranczak and Clare Cavanagh. It deals in a very allusive way with the relationship between a man and his mother. The music is intricate but still sounds a bit “church choiry” for my taste. There’s nothing wrong with it. It’s well crafted and beautifully performed but not really my thing.
Season announcements
There are a few season announcements piling up in the in box….
First up is the always interesting Confluence Concerts series. It’s an eight show line-up:
- September 24th at 3pm and 8pm at 918 Bathurst the awesome trio of Marion Newman, Patricia O’Callaghan and Suba Sankaran have a recital including a new piece by Ian Cusson and André lexis called The Drawing Room and featuring a possibly recognisable trio of sisters.
- October 12th at .7:30pm at St. Thomas’ Church, 383 Huron Street, Cellist Elinor Frey brings a group of virtuoso musicians from Montreal and Europe for music by Luigi Boccherini and contemporaries.
- November 23rd and 24th at 7:30pm at Heliconian Hall, Suba Sankaran curates an 80th birthday concert for master drummer Trichy Sankaran featuring the man himself and many of his students.
- December 5th at 7:30pm at The Atrium at Shaftsbury Place, the walter Unger salon will feature A Confluence Christmas.
- Sometime in February next year at a time and place yet to be determined Marion Newman will present Tłabat’si (Copper Box) featuring Indigenous classical musicians from across Turtle island in a series of concerts, panels and other events.
- April 7th and 8th at 7:30pm at Heliconian Hall, Andrew Downing will present Songs of Syria; a program of the music of Syria, featuring members of the Canadian Arabic Orchestra.
- May 26th and 27th at 7:30pm at Heliconian Hall will see the season finale, All the Diamonds, featuring words and music inspired by the night sky.
Late August/early September
I
t’s still pretty quiet but there are some things still going on:
August 16th to 20th, the National Ballet has free performances at Harbourfront incorporating a number of partners and an eclectic mix of dance styles. Details.
August 28th at pm in the Music Garden at Harbourfront Lawrence Wiliford and PhoeNX Ensemble are performing Alec Roth’s Songs in Time of War. This one is free and outdoors so “weather permitting”. Continue reading
Falstaff as farce
Verdi’s Falstaff, of course, is a farce so there’s no reason why a director shouldn’t treat it as one but all three of the other productions I’ve seen in the last few years have transposed it to the 1950s and put a spin on it. Sven-Eric Bechtolf, in his production for the 2021 Maggio Musicale Fiorentino, just doesn’t do that. It’s a 1590s (ish) setting and it’s played very broad. There are big costumes, big gestures, entrances and exits and characters “hidden in plain view”. It could be Dario Fo or Brian Rix.

Gould’s Wall
It was March 2017 and I was interviewing composer Brian Current over lunch. He mentioned having seen Geoff Sirett bouldering on the wall of the Royal Conservatory atrium and how he had an idea for a site specific opera based on the life of Glenn Gould. Eventually this became Gould’s Wall with a libretto by Liza Balkan. Announced and rescheduled more than once due to COVID it premiered last night under the auspices of Tapestry Opera and the conservatory’s 21C series.

600
It’s taken from late October 2018 to move from 500 video recordings in the archive to 600. So that’s 2-3 recordings per month which sounds about right. It’s slower than in the past for two reasons. There just isn’t as much historic material I haven’t already seen and the rate of new releases, unsurprisingly, slowed down quite a bit during the pandemic.

Make Brabant Great Again
Yuval Sharon’s Lohengrin in 2018 at the Bayreuth Festival was the first production there by an American director and, perhaps unsurprisingly, there are echoes of contemporary events in the US in the show. Specifically Sharon’s Brabant is a conformist theocracy in which society has regressed technologically. Some of the action takes place in and around a prominently placed disused electrical installation of some kind. The Brabanters are cowardly and subservient, initially to Telramund and then, equally, to Lohengrin. The advent of a charismatic leader. does not necessarily equate to liberation or full citizenship. Sharon also claims in his director’s notes that the real dissenter is Ortrud and that it is her actions that liberate Elsa and Gottfried. Whether the staging supports this is, I think, questionable.
