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About operaramblings

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

A statistical round up of 2013

jane_tixOperaramblings closed out 2013 with 70323 hits, up 47% from 2012.  Every month was busier than its equivalent in 2012 with a record high 7050 hits in October.  The busiest day was December 15th with 761 hits boosted by traffic related to Against the Grain’s Messiah.  I’ll be interested to see if this upward trend continues.  Personally, I think we are close to plateauing but at a level I would have regarded as completely unattainable when I started this little venture.

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Blogs I read

I do read other people’s opera related blogs. Here are a few of the ones I read fairly regularly:

Mostly about the Toronto scene but worth reading anyway

Musical Toronto – Perhaps the most comprehensive blog covering the Toronto classical music scene.  John Terauds is a former music critic of the Toronto Star and it was, in large part, his removal from that role (and its elimination) that “inspired” me to write How to write an opera review for a Toronto newspaper.

Definitely the Opera – Lydia Perović’s blog is perhaps not updated as often as one might wish but what is there is always worth a read.  This is the only place I know when you can get just about every opera in town dissected through the lens of gender theory, with a distinct queer bias.  She’s not a bad novelist either.

barczablog – Leslie Barcza is a self described Pollyanna.  If it’s possible to find good in a performance he will.  This is not to say he’s not insightful.  He is, often brilliantly so.  It’s just that he prefers not to dwell on the negative.  I’ve learned a lot from him especially when I have found myself reviewing pieces I wouldn’t have chosen to buy tickets for.  It may not be my thing but that doesn’t make it bad or wrong.  More than a few professional critics could usefully take lessons from this blog.

Random friends in the blogosphere

The Earworm – A very personal, quirky blog written by a young American academic.  It contains good thoughtful reviews of performances, mainly at the Met, and detailed dissections of video recordings; mainly baroque and classical and often in several instalments.  Also dreams and stuff.

Regie or not Regie – Contains links, information and analysis of just about anything operatic being live streamed anywhere in the world.  Also lots of pointers to Youtube clips.  For giggles there are also compendia of “stupid reviewer comments” mostly from amazon.com.

Opera Obsession – Another opera blog from a young American academic currently in Germany.  It’s very erudite in a good way.  I wish I wrote as well as Lucy.

Intermezzo – One of the great news, rumour and gossip sites of the opera world and not nearly as unpleasant as the other one.  I don’t know how she does it.

Third Floor Republic – A Boston based opera, music and theatre blog.  Quite eclectic, always intelligent and has cats.

Likely Impossibilities – A good place to find long, thoughtful reviews of performances mainly at the Metropolitan Opera.

Land of Smiles

Lehár’s Das Land des Lächelns must have seemed old fashioned even when it opened in 1929 in a Berlin that had already seen Wozzeck and Die Dreigroschenoper.  With its waltzes and gentle chinoiserie it looks back rather than forward musically and makes few demands on its listeners.  Similarly, the plot; a bittersweet romance between an Austrian aristocrat and a Chinese prince had nothing in it to disturb contemporaries though modern audiences might find the cultural appropriation a bit hard to take.  However, if Turandot doesn’t bother you this likely won’t either.

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Where’s the Champagne?

It’s really hard to know where to start with Hans Neuenfels’ Die Fledermaus.  It’s a prodcuction that enraged the more conventional patrons when it opened at the Salzburg Festival in 2001.  It even provoked a “false pretences” lawsuit!  There is so much going on that it almost seems to call for a catalogue raisonnée of the various scenes though one fears that would actually be both tedious and unhelpful.  Let’s try instead to explore it thematically.  Neuenfels takes very considerable liberties with the libretto.  A lot of dialogue is cut, a lot is added and numerous non-canonical characters are inserted.  That’s just a start.

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David Alden’s Poppea

I’m never quite sure what to expect from David Alden.  Some things are predictable; striking images, bold colours and a degree of vulgarity, but beyond that it’s hard to be sure.  Sometimes he seems to be trying to be deep (his Lucia for example), sometimes more kitschy (Rinaldo) and there’s always a slight undercurrent of him thumbing his nose at the audience.  His production of L’incoronazione di Poppea at Barcelona’s Liceu is a curious combination of all these things and I think it works pretty well.

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Just for laughs

Canadian tenor Jamie McLennan has a video blog.  As he puts it, “It’s just me, my iPhone, a $40 mic and whoever I can grab to work the camera.”  Below you can see him at work during rehearsals of Verdi’s Falstaff in Hamilton(*).  It’s worth watching just to see Sasha Djihanian twerking.

(*)For non Canadians, Hamilton, ON is a sort of Canadian Scunthorpe or Redcar. Not, perhaps a typical opera venue.

Best of 2013

So what was I most impressed with on the opera and related scene in in 2013?

Big house opera

frau1The COC had a pretty good twelve months.  I enjoyed everything I saw except, maybe, Lucia di Lammermoor.  Making a choice between Christopher Alden’s probing La Clemenza di Tito, the searing opening night of Peter Sellars’ Tristan und Isolde; the night when I really “got” why people fly across oceans to see this piece, Robert Carsen’s spare and intensely moving Dialogues des Carmélites or Tony Dean Griffey’s intense and lyrical portrayal of the title character in Peter Grimes is beyond me.  So, I shall be intensely disloyal to my home company and name as my pick in this category the Metropolitan Opera’s production of Die Frau ohne Schatten.  Wernicke’s production is pure magic and Anna Schwanewilms was a revelation.

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Quirky Idomeneo

Dieter Dorn’s production of Idomeneo, filmed at the Bayerisches Staatsoper in 2008 has some interesting ideas and some arresting images but ultimately it’s hard to figure out where he is trying to go.  There’s a lot to like.  He clearly places Elettra as a member of the House of Atreus which makes her more believable.  He also creates credible personalities for Ilea, Idamante, idomeneo and Arbace.  No mean feat.  Some of the images are quite arresting too.  There is lots of blood and plenty of stage action.  The sets are chaotic piles of stuff.  Idamante gets a killer sea monster hunting rig.  Then there is the ending.  Instead of finishing on the “final chorus” the chorus drape the set with white sheets and for ten minutes the orchestra play what is listed in the booklet as a ballet but there is noone on stage and nothing is happening.  Going out on ten minutes of the most boring music in the opera is just bizarre.

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Upcoming shows

totFirst up is Toronto Operetta Theatre’s annual holiday offering.  This year it’s Lehar’s Land of Smiles and the cast includes Adam Fischer, Curtis Sullivan, Ernesto Ramirez and Lara Ciekiewicz.  Guillermo Silva-Marin directs and Derek Bate conducts.  There are eight performances between December 27th and January 5th including a gala performance and dinner/dance on New Year’s Eve.  Venue is the St. Lawrence Centre for the Arts and tickets are available here.

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