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About operaramblings

Toronto based lover of opera, art song, related music and all forms of theatre.

Isis and Osiris – Gods of Egypt

I caught the second and final performance of Isis and Osiris – Gods of Egypt presented by Voicebox:Opera in Concert yesterday.  It’s a new piece with a libretto by Sharon Singer and music by Peter-Anthony Togni.  It tells the story of mythical ancient Egypt under the rule of sibling consorts Isis and Osiris and there struggle with their brother Seth who embodies violence and chaos.  In the process Seth disposes of Osiris in fourteen pieces but Isis manages to gather up all save the phallus.  A golden replacement is made, Osiris is revived and the cosmic order restored.  It’s quite a promising premise but it never really comes off.

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Travelogue

Last night was the one of only two chances to see Bicycle Opera Project in Toronto this year.  (The other is tonight).  It was a show in collaboration with Toy Piano Composers’ Collective called Travelogue and featuring four new works around the broad them of travel. The show was run without an interval but with each composer introducing their own work by reading, e.g., post cards from their travels or, hilariously, in the case of the absent Tobin Stokes, recordings of the voicemails he left apologising for not having finished the piece yet.  Staging was, in the BOP way, minimalist but effective.

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Fashion first at the COC

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Intellectual and Germanic

Observers of the Toronto opera scene will have noted the creeping influence of facial hair in the industry locally.  Perhaps it didn’t start with COC General Director Alexander Neef’s intellectually Germanic goatee but who could deny that it had a profound impact.  Earlier this week the four tenors of the Ensemble Studio appeared together sporting face rugs in varying stages of development and the scene is replete with other notable beardies.  Geoff Sirett, Robert Gleadow, Greg Finney and Alexander Dobson come to mind.  It’s almost compulsory, it seems, for baritones.   Continue reading

Opera Access for New Canadians

helloIt’s the logical follow up to Alexander Neef’s speech on the opening night of The Marriage of Figaro run.  The COC has announced  the creation of Opera Access for New Canadians, a community outreach and engagement initiative. It will offer newcomers to Canada, including immigrants and refugees, and new Canadian citizens access to dress rehearsals and selected performances. The first phase begins this spring with the COC joining the Institute for Canadian Citizenship’s Cultural Access Pass (CAP) program, which offers new Canadian citizens one year of complimentary admission to more than 1,200 cultural attractions across the country.  (There are 1,200 cultural attractions in Canada, who knew?) Continue reading

The four (bearded) tenors

Ensemble Studio tenors, like saints’ noses, only seem to come in multipacks these days.  There are four of them until the end of the season and today they were all on show in the RBA.  It was clearly a popular move as the good folks were lined up outside almost to Richmond Street before the doors opened and they didn’t all get in.  Maybe it was the beards.  Are bearded tenors the new black?  The program was fairly predictable.   Andrew Haji , Jean-Philippe Fortier-Lazure and Aaron Sheppard each gave us a well known and popular aria, with two from Charles Sy, before we got to the inevitable arrangements for four voices of three Neapolitan songs and, of course, the encores.

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Poisson d’avril

osolemeowAs we approach All Fools Day the calendar starts to get busier.  On Tuesday 29th March there’s a concert at lunchtime in the RBA called The Four Tenors.  In this case it’s Andrew Haji (lucky St. Louis folks can see him as Rodolfo next season), Jean-Philippe Fortier-Lazure, Charles Sy, and Aaron Sheppard.  The program is a bit predictable and, yes, there are Neapolitan songs, though not, at least according to the on-line version O sole mio.  Also no Nessun dorma so I think we have a handle on the possible encores.

Then it’s on to April 1st itself and here the gods are laughing.  At 5pm, at the McMillan Theatre, UoT Opera are doing the The Art of the Prima Donna; a selection of staged and costumed scenes from classic operas.  Parts of this were performed in the RBA in October last year.  Then at 8pm at the Arts and Letters Club, Bicycle Opera Project and the Toy Piano Composers’ Collective have a show called Travelogue featuring short operas about travel.  This one is repeated on the 2nd.  Finally, Voicebox:Opera in Concert are premiering Isis and Osiris by Peter Anthony Togni and Sharon Singer.  This one is at 8pm at the Jane Mallett Theatre and it’s sponsored by the Egyptian Tourist Authority who can probably use all the help they can get right now (and no jokes about pyramid marketing schemes please).  This one is repeated at 2.30pm on Sunday 3rd April.

Schoenberg meets Mahler

Megan-Quick-Headshot-240x300At Walter Hall last night to see the Faculty Artists Ensemble with Megan Quick and Andrew Haji conducted by Uri Mayer perform the chamber versions of Das Lied der Waldtaube from Schoenberg’s Gurrelieder and Mahler’s Das Lied von der Erde in the Schoenberg arrangement.  The main reason for going was to get as chance to hear Megan in something more substantial than the things I’ve seen her in with UoT Opera.  Plus, a chance to hear Andrew is always very welcome.

The orchestration for both these pieces may be chamber scale but it’s heavy on the winds and it takes a fair bit of power to deal with that in a space like Walter Hall.  It was clear in Das Lied der Waldtaube that Megan has that.  Her instrument is a rich, darkish mezzo with significant beauty of tone and she has great control.  If I were to be picky, I’d say she has a tendency to focus on producing beautiful sounds at the expense of the text to some extent but I’d say that about a lot of successful singers.  It’s a matter of taste and maybe something she will feel differently about after a spell with the Ensemble Studio.  The basics are there for sure and the piece left me wanting to listen to Gurrelieder in full again.  It’s been a long time.   Continue reading

As a Stranger

stranger2On the face of it the idea of reorganising Schubert’s Winterreise for three female voices and staging it as a kind of allegory isn’t an obvious one but Collectìf’s As a Stranger worked remarkably well.  The arrangement and distribution of the numbers was judicious; most of the songs went to a single singer, some were split and occasional and effective use was made of two or three voices in unison.  The idea behind the split being to make mezzo Whitney O’Hearne the narrator/traveller while sopranos Jennifer Krabbe and Danika Lorèn embodied the malign and benign aspects/characters of the story.  Heliconian Hall doesn’t offer a lot in the way of staging possibilities but well thought out costumes, a few props and a considerable, and quite sophisticated, video element added up to a pretty satisfying experience.  In the last number Jennifer relieved Tom King at the piano to allow the Leierman to stagger off into the wintry night.  All well thought out and well executed.

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Coming up

strangerWith Easter almost upon us it’s not surprising that the upcoming week is a bit light.  Tonight Danika Lorèn and friends at Collectìf have a show at Heliconian Hall at 7.30pm.  It’s called As a Stranger and is their take on Schubert’s Winterreise.  I’ve been quite taken by this young group’s efforts to date.  Tickets are available here.  Then tomorrow night Andrew Haji, Megan Quick and a chamber orchestra drawn from the university faculty have a concert in Walter Hall at 7.30pm.  Featured works include Schoenberg’s Die Waldtaube from Gurrelieder and Mahler’s (arr. Schoenberg) Das Lied von der Erde.  Tickets from the MacMillan box office.

 

Wozzeck in Moscow

In 2010 Berg’s Wozzeck was produced in Russia for the first time since 1927.  The production, at the Bolshoi, was directed by Dmitri Tcherniakov.  Few people familiar with his work will be surprised to learn that Tcherniakov does not see Wozzeck as a  down trodden and impoverished soldier.  In fact he doesn’t see him as downtrodden and impoverished at all (unlike, say Calixto Bieito who transplants the action to a chemical plant but leaves the power relationships pretty much intact).  Rather, Wozzeck is a sort of 21st century salaryman leading a life of modest prosperity but crushing boredom with Marie and their son in a city inhabited entirely by other such families.  What’s missing is anything that resembles sensation or “life”.

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