The recently announced death of Jon Vickers has had me thinking a lot about connections. Vickers sang the title role in the second opera I saw live; Peter Grimes at Covent Garden in July 1975. Oddly, the first was The Rhinegold, at ENO, conducted by Reginald Goodall who also conducted the premiere performance of Peter Grimes in 1945. The summers of 1975 and 1976 were the first real chance, and the last for a while, that I had to see opera live. I worked those summer vacations in banks in central London which meant that I could use my lunchbreak to get a rush ticket for the evening performance. Living thirty miles out with a train to catch meant it wasn’t something I could do often but I did catch a couple of performances in each of those summers and, as I look back, there are so many beginnings and endings and connections.
Author Archives: operaramblings
More summer music
There may not be a lot of opera per se in Hogtown during the summer but there’s a fair amount of music of interest to the likes of us.
Toronto Summer Music Festival has some interesting offerings. The opening night concert, Americans in Paris, features Measha Brueggergosman in works by Gershwin, Bolcom and copland as well as instrumental pieces. And pretty much closing the festival out is a Karita Mattila recital with Bryan Wagorn on piano, on August 7th in a recital that includes works by Strauss, Sibelius and Sallinen. Details at www.torontosummermusic.com.
Toronto Summer Opera
There’s not a lot of opera in Toronto in the summer but Summer Opera Lyric Theatre has announced it’s 29th season of performances by young and emerging artists in Toronto. This season there are three offerings:
- First up is Marschner’s Der Vampyr. There are four performances on July 31st (8pm), August 2nd (2pm), 5th (2pm) and 8th (8pm).
- Ambitiously enough, this is followed by Strauss’ Ariadne auf Naxos on August 1st (2pm), 4th (8pm), 6th (8pm) and 8th (2pm).
- And finally, another rarity, von Flotow’s Martha. Again four performances on August 1st (8pm), 5th (8pm), 7th (8pm) and 9th (2pm).
All three shows are directed by Bill Silva-Marin and will be performed in the Robert Gill Theatre at the University of Toronto. Single tickets are $28 ($22 students/seniors) or $60 for the lot. Tickets are available by phone at 416-366-7723 or online at www.stlc.com.
A weirdly eclectic Fidelio
I’m really not sure what to make of Jürgen Flimm’s 2004 production of Fidelio for the Zürich Opera House. It’s not offensive and it doesn’t really get in the way of the story but it seems quite devoid of originality beyond mixing styles in a way one might describe as anachronistic if one could figure out when synchronistic would be. Rocco wears a sort of frock coat with, apparently, goatskin pants, Marzellina’s dress looks probably 20th century, bolt action magazine fed rifles are apparently muzzle loaded and metal cartridge cases filled by hand. Then to cap it off when Don Fernando shows up he looks like he’s stepped straight out of a Zeffirelli production of Der Rosenkavalier. So “nul points” for coherence. For once one rather appreciates that so much of the action takes place in the dark.
A Chair in Love
OK everything about this has me intrigued. Opera by Request are putting on a semi-staged version of John Metcalf and Larry Tremblay’s A Chair in Love. It’s about an angsty film director who falls in love with a chair despite his dog’s best efforts to avoid disaster. It’s on Friday July 17th @ 7:30pm at the Array Space (155 Walnut Avenue), and features William Shookhoff (music director and pianist), Abigail Freeman (Chair), Michael Robert-Broder (Truman), Gregory Finney (Dog), and Kim Sartor (Dogtor/Doctor). Tickets are $20 and available here. Despite Metcalf’s heritage I don’t think it’s in Welsh though the chance to see Greg bark in Welsh would be worth the price of a ticket.
Abstract Freischütz
Nikolaus Harnoncourt has long been one of my favourite conductors, particularly for pieces that require a strong sense of period. The same goes for the wonderful Zürich Opera House Orchestra who, uniquely as far as I know, can change up their instruments to suit the piece. For Weber’s Der Freischütz, recorded in 1999, they use valveless brass but, as best I can tell, modern woodwinds and it all sounds great especially in the many hunting scenes.
Gounod’s Mireille
Gounod’s Mireille is a bit of a rarity and with good reason. It’s got everything that modern audiences find hard to take in 19th century French opera. It’s revoltingly wholesome with a bit of the supernatural, some patriarchal nastiness and a whole lot of Catholic schmaltz thrown in culminating in a final scene where the dying heroine (of course the heroine dies!) is carried off to heaven by angels while everybody else is suitably pious. It also has some pretty good tunes and a fiendishly difficult soprano lead part.
A Modest Proposal
I got a last minute invite to a workshop of Lisa Codrington and Kevin Morse’s WIP A Modest Proposal at Tapestry yesterday evening and I am really glad I could drop everything and go. It’s based on the Swift essay; updated to a modern city where the mayor fears defeat at the upcoming election if something isn’t done about the poor who are swarming the streets. It’s kind of reminiscent of when Toronto was “terrorized” by squeegee kids. Anyway the mayor’s staff come up with the response that you’ve already guessed and the first victim is the pregnant beggar who has been bugging the mayor. There’s also a street meat salesman who is having an affair with the mayor, of which more later. Fast forward a year to where the newly reelected mayor is giving a press conference and eating tasty baby treats provided by the succesful babybites entrepreneur and former street vendor that she’s doing in the loading bay. There’s one of those giant cheques for ten grand (of the kind that Sick Kids, ironically, is so fond of) for the public spirited former beggar and child donor. The former beggar is, unsurprisingly, not happy about the situation and when the mayor is discovered to be carring Mr. Babybites’ child and disgraced she is the one who shops her as a poor person in posession of an illegal baby…
Opera meet up
Apocalypsis was actually my second show yesterday. Earlier in the day I was at an opera “meet up” organised by Alaina Viau of LooseTEA Music Theatre. This was held at a bar on Bloor Street (actually inside the Intercontinental Hotel) and featured a performance of Love in the Age of AutoCorrect; an adaptation by Alaina and Markus Kopp of Mozart’s Bastien et Bastienne which first saw the light at Rosemarie Umetsu’s last August.
It was an interesting experience. Being in a bar not closed off for the event meant that people wandered in from the hotel not expecting to be caught up in an opera performance (and they did look like typical weekend denizens of a luxury hotel). It also meant that the performances were not exactly listened to with Mahlerian dedication. There was a fair amount of chatter and it can’t have been easy for the trio of Greg Finney, Keenan Viau and the ridiculously cute Whitney Mather. The acoustic wasn’t great either but these three were very funny and sang rather well and the piece is more fun Mozart’s original!
It’s a pretty cool idea really and I enjoyed it. I wonder if it would work in a pub with decent beer rather than a bar with overpriced cocktails and crap wine?
A haunt of demons now
I suppose it’s appropriate that R Murray Shafer’s Apocalypsis should be in part based on the Revelations of St. John. Is Revelations divinely inspired genius or the drug addled ravings of a half starved monk? I find myself asking similar questions about Shafer’s massive stage piece.



