Norbert Palej’s new piece East o’the Sun and West o’the Moon, commissioned by the Canadian Children’s Opera Company opened at the Enwave Theatre at Harbourfront last night. It’s based on a Norwegian folk tale and tells the story of a girl, Rose, who does a deal with a magic white bear to feed her starving family. The bear, of course, is really a prince who has been cursed by a witch. Rose tricks the witch and marries the prince. There are also trolls. Lots of them.
Author Archives: operaramblings
In the summer of seventeen hundred and ninety seven
Billy Budd is the second of Britten’s large scale operas. Originally envisaged as a four act piece with prologue and epilogue it was later reorganised into two acts and that’s the version the BBC recorded and broadcast in 1966. That broadcast has now been released on DVD. Technically it shows it’s age. The picture is 4:3 black and white though there’s a remastered, and very decent, LPCM mono sound track. There’s also an enhanced Dolby mono track. The video too has been restored and looks pretty decent.
Opera in June
There are a few operatic events coming up in June although, as usual things are slowing down a bit.
On June 1st at 7pm, Russian baritone Dmitri Hvorostovsky has a recital at Koerner Hall singing works by Tchaikovsky, Rachmaninoff, Medtner and Liszt. Ivari Ilja will accompany on piano.
Brian Current’s new opera Airline Icarus will open at 8pm on June 3rd at Ada Slaight Hall in the Daniels Spectrum complex. The piece stars Krisztina Szabó and Alexander Dobson, among others. Tim Albery directs. The show runs until June 8th. Tickets are $20-$75 and are available here.
Blah, blah, blah, blah
The final show of the season for the Talisker Players, at Trinity St. Paul’s last night, was titled A Poet’s Love and featured baritone Alexander Dobson and actor Stewart Arnott in the usual Talisker format of alternating music and readings on a theme. The first musical piece was John Beckwith’s Love Lines which took five pieces ranging from Handel’s Where’er you walk to Gershwin’s Blah, Blah, Blah and presented them with the vocal line cleaving straightforwardly to the melody with the accompaniment “deconstructed” into “fragments” for violin, viola, cello and double bass. It’s a rather disturbing piece, especially when one knows the source material well. I’d like to hear it again. It was given an honest and engaging presentation by Dobson and the strings.
The Seven Vices
The last of this season’s Recitals at Rosedale was on the theme of the the Seven Deadly Sins. It was an interesting and enjoyable afternoon, perhaps notable as much for what it had to say about the state of the industry as for the music making. The format was four singers moving fairly rapidly between short (more the most part) songs linked by a one or two sentence chosen text. The effect was to keep things moving along swiftly and even to generate a kind of narrative arc. There was no time for applause between numbers for example. It was a very different feel from the traditional art song recital where one or two singers sing sets of related songs. It was also quite operatic. All the singers chose to act physically and with the voice. Again, a far cry from the art song tradition where a raised eyebrow is considered over acting. Overall I thought it worked and in a city where the music commentariat has been lamenting the death of the art song recital for years somebody has to try something!
Cecilia and Bryn
Cecilia and Bryn at Glyndebourne is the DVD recording of a concert from 1999 featuring two of those singers who prove you don’t have to be dead skinny to be a great singer and have a commanding stage presence. It’s great fun, focussing on the lighter end of the repertoire for the most part. It’s mostly Mozart with some Rossini, Donizetti, Haydn and Handel thrown in. There are a couple of overtures and a few arias but the greatest pleasure comes in the duets. For the second time in a week I got to see Lá ci darem la mano sung by singers of extremely contrasting heights and where else is one going to see Mr. Terfel and Ms. Bartoli sing the Pa-pa-pa-pa duet from Die Zauberflöte. As ever Ceci’s coloratura is a thing of wonder and Bryn is no slouch. The accompaniment is ably provided by Myung-Whun Chung and the London Philharmonic. It’s the perfect antidote to a week of watching Wozzeck.
Summer festival carpools/rideshare
So I’m one of those people who doesn’t run a car. I’m a bike, transit, Autoshare kind of guy. This does sometimes present issues though when it comes to getting to places like Westben and the Stratford Festival. I hadn’t thought about it much but yesterday I got an email from someone called Mike asking if I would be willing to post a request for a rideshare. He’s specifically looking for a ride to Westben for the July 5th Dido and Aeneas. Come to think of it, I wouldn’t mind seeing that too!
So, I’m offering the comments to this post as a place to request or offer rides to Westben, Stratford etc. I’m not offering to organise anything but I’m happy for people to use this mechanism if it helps.
Faster Still Anaïs Nin
This concert at Koerner Hall was the second in this summer’s Twenty-First Century Music Festival. It advertised works by Christos Hatzis, Brian Current, R. Murray Schafer and Louis Andriessen. In fact we kicked off with a short bonus selected from Youtube entries to make up 21 premieres for the C21. Unfortunately I didn’t catch composer or title and it lasted less than two minutes. Continue reading
La voix humaine
Poulenc’s La voix humaine is as a rather peculiar little piece. It’s only 40 minutes long and it features a single singer, a soprano. It’s not exactly a monologue as what we hear is one end of a telephone conversation with implied contributions from the woman’s lover, the telephone operator, the lover’s manservant etc. A lot of what happens is an artefact of the French telephone system at the time (1928) that Cocteau wrote the play that supplies the libretto with operators, party lines, dropped calls etc.
Continue reading
A partridge without orange
It’s that time of year which marks the passing of the baton at the COC Ensemble Studio which is traditionally marked by a lunchtime farewell concert by some of the graduates. Today’s Les Adieux featured soprano Sasha Djihanian, baritone Cameron McPhail and pianist Michael Shannon.



