Author Archives: operaramblings

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About operaramblings

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

Where would you go to see opera in cinema?

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party2So further to my rant the other day about the ROH and ENO approach to their cinema broadcasts in Canada and the Met’s lock up with Cineplex Odious…

Suppose one were responsible for marketing the Royal Opera or ENO’s product in Canada what would you do?  Personally I wouldn’t worry about signing up loads of suburban and small town fleapits.  I’d go for the where the opera audience is in the downtown areas of the cities that have opera companies and maybe university towns.  I’d also go for the upscale theatres with decent sound and bars with decent beer and that sort of thing.  In Toronto that would be the TIFF Lightbox and Bloor Hot Docs.  Elsewhere I don’t know but I’d like to push the idea with the ROH marketing folks so any ideas on the “right” cinemas in Montreal or Vancouver or even Hamilton would be most welcome.

Brueghelland

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ETA 6th December 2019:

Rewatching Le Grand Macabre after four years has rather changed my opinion.  It still seems weird and sometimes hard to watch but I think I see a certain logic in it now that completely escaped me before.  So the End of the World is approaching and all the Powers that Be can do is squabble, exchange scatological insults and get very, very drunk while the one sane (if rather weird) character (Gepopo) can’t find a language to communicate the enormity of what’s happening to them.  Sound vaguely familiar?  (Coincidentally, I’m writing this on the day that Andrew Scheer said that the Federal Government should give more heroin to the addicts in Alberta because otherwise they’ll get in a snit).  Of course, in Ligeti’s version Death gets so drunk that he screws up terminating the space-time continuum but we probably won’t be so lucky.  So yes the fart jokes and the raccoon on bins orchestra is still there but it now seems to me in service of something rather more profound than I previously gave it credit for.  Also, Hannigan is not just brilliant vocally.  It’s also, even by her standards, an amazing physical performance. (Original review under the cut).

gepopoprince

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So much for competition

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I have now received the cinemaHD line ups from the Royal Opera House and the ENO.  Basically if you live in Canada you are probably screwed.  The baleful effects of the Met’s exclusive with Cineplex Odious are all too apparent.  If one compares the ROH ballet line up with opera it’s clear.  Whereas you can catch the ballet in just about every major population centre, the opera coverage is, at best, spotty.  There’s nothing at all in Quebec and Ontario is represented by four screens in Waterloo, Kingston, Whitby and Orleans.  It’s not much better elsewhere.  And ENO apparently hasn’t figured out that Canada exists which sucks because I really want to see my favourite crazy lady’s Queen of the Night.

I really wonder about the Met’s motivation.  They talk a great game about extending the audience for opera but then put barriers in the way of anything except their own rather boring product.  I also wonder why on earth Cineplex agreed to an exclusive.  When you pretty much have a monopoly you don’t need to take that shit from the Met.  Without Cineplex they are screwed too.  So it goes.

A bicycle opera in a bicycle shop

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I was back last night to see Bicycle Opera Project’s Shadowbox again.  This time it was in the more intimate, and highly appropriate, setting of a bicycle shop; Curbside Cycle on Bloor Street.  Minus the high roof of the Davenport-Perth Community Centre it was much easier to understand the sung text which is pretty important with this show. The show is an interesting concept.  It’s still a series of scenes by different composers and librettists but they are linked thematically by the common idea of memory and dramatically by the auction of objects that set up each scene  The auctioneer is rather brilliantly played by Chris Enns who, curiously, seemed quite sinister at Davenport-Perth (like something out of a German Expressionist movie perhaps) but seemed quite avuncular close up.

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In solidarity with Bicycle Opera Project

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sweatyThe Humidex is in the high 30s today but Bicycle Opera Project had a lunchtime show today and it was the only one I would be able to cycle to so I went.  I’m going again tomorrow night so I’ll hold off on the full review until then.  Enough for now to say it’s well worth catching if you can.  So, this year’s BOP tour has been notorious for its many mechanical problems; broken spokes, jammed pedals, bent wheels and who knows all what else.  On the way home today my bike decided on sympathetic action.  While negotiating the weird and wonderful passages required to get from the bottom of Roncesvalles to the Martin Goodman two chain links managed to jam themselves between two of the sprockets on the front gear.  Fortunately I carry an emergency tool kit but it’s more geared to replacing a tube or tightening a loose nut than unjamming rather solid metal.  I did manage to kluge a solution using chain lube and one of the Allen wrenches on a multi-tool but it wasn’t ideal and was accomplished only with even more sweat and a certain amount of blood (and much cursing).  I think I’ll take the TTC tomorrow.

Exciting 2015/16 season from Tapestry Opera

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Michael-ADphoto1-e1420089983184-209x300The competition to be the most interesting and innovative indie opera company in Toronto is fierce and Tapestry Opera’s season announcement definitely places them as one of the leading contenders.  As well as the usual interesting line up of workshops etc there are two brand new fully staged works and a collaboration with a punk band.  Details under the cut.

This year’s Tap:Ex is titled Metallurgy and features experimental punk band Fucked Up together with COC regulars Krisztina Szabó and David Pomeroy.  This one runs November 19th to 21st at the Ernest Balmer Studio.  Details here.

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A lunchtime of Mozart, Strauss and Dvořák

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Rachel_KrehmSo there’s another free (well almost, $5 suggested donation) lunchtime concert series.  It’s Music Mondays at The Church of the Holy Trinity in Trinity Square (A most worthwhile institution which has long taken a leading role in the fight for social justice in Toronto and, on top of that, I used to play rugby with a former incumbent).  As it happens yesterday saw the last concert of the 2015 season featuring the Canzona Chamber Players, conductor Evan Mitchell, and soprano Rachel Krehm.  The Canzonas are a pretty big band, 53 players yesterday, for a chamber group (I guess they have big chambers in Canzona) and could be very loud in the rather resonant church acoustic.

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More details from Toronto Operetta Theatre

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Charlotte-Knight_Soprano_Headshot_2014-(1)Subscriptions are now on sale for Toronto Operetta Theatre.  The line up has changed from the original spring announcement.  There are still three shows but the run of Candide previously announced has been replaced with a single concert performance, with piano accompaniment of Gilbert and Sullivan’s HMS Pinafore.  It’s at 3pm on November 1st.  The main attraction (pun absolutely intended) is probably Greg Finney as Sir Joseph Porter KCB.  There’s also Charlotte Knight as Josephine.

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September approaches

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Rachel-66-pinwheel2It’s almost September which means there may even be stuff to write about soon.  Here’s what’s in my calendar so far.

August 31st at 12.15 pm there’s a concert in the Music on Mondays series featuring soprano Rachel Krehm and an orchestra conducted by Evan Mitchell performing Dove sono by Mozart, selections from Strauss Op 27 and Dvorak’s 8th Symphony.  It’s at Holy Trinity Church near the Eaton Centre. PWYC suggested $5.

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