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About operaramblings

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

Christmas at Casa Diva

Invitation Dec 3Want a Christmas CD with a difference?  Christmas at Casa Diva may be what you are looking for.  It’s a collaboration between Canadian opera singers lyric soprano Virginia Hatfield, dramatic soprano Joni Henson and mezzo Megan Latham with collaborative pianist Pieter Tiefenbach.  While some of the tracks are fairly traditional sounding versions of standards like White Christmas most are clever, almost cheeky, arrangements or even mash ups.  Born is the King, for example, is a really cool mash up of Lo, How a Rose E’er Blooming, The First Noël and Silent Night that had me grinning like a loon when I heard it at the CD release party (OK the rather good mulled wine probably helped).  Most of the tracks are also quite “modern” sounding.  The arrangements make no concessions to the sort of soupy sentimentality found on so many seasonal offerings.

The music making throughout is unashamedly the work of serious, classically trained musicians (albeit SCTMs with a sense of humour) so it might not be an ideal gift for friends/relatives who are allergic to that kind of thing.  For most readers of this blog though that will hardly be a deterrent.  I have never heard a Christmas record remotely like this and it’s growing on me with each listening.  You can buy the CD at Atelier Gregorian or online at jonihensonsoprano.com

Renée and her frocks

John Cox’s production of Massenet’s Thaïs at the Metropolitan Opera is probably most remembered for the rather extraordinary collection of Christian Lacroix frocks that Met perennial Renée Fleming gets to wear.  It’s rather more than that.  In fact it’s a pretty good example of what the Met does best.  It’s sumptuous and spectacular and has a pretty much ideal cast which, together, go a long way toward making this curious piece rather enjoyable.

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A couple of interesting crowd funding projects

The first project is to make a recording of Vincent Ho’s concerto for percussion and orchestra, The Shaman, with percussionist Dame Evelyn Glennie and the Winnipeg Symphony Orchestra conducted by Alexander Mickelthwate.  This piece has been seen in Winnipeg, Toronto and taipei and has received a lot of positive reviews.  Full details are here.

In 1937 La Scala held a contest for a new opera. The winning opera should have been La Serenata al Vento composed by Aldo Finzi, a young, but already successful composer.  It never played during his lifetime.  Finzi was Jewish and the regime wasn’t prepared for a Jew as the heir of Verdi and Puccini.  It wasn’t until 2012 that the work premiered at Bergamo.  Now Croatian director Sanela Bajric wants to make a documentary about Finzi and his music and, of course, needs to raise the necessary.  Full details are here.

A static Tristan

Dieter Dorn’s production of Tristan und Isolde for the Metropolitan Opera is one of the most interesting from a design point of view that I have seen from the Met.  If only the direction of and acting of the principals in this recording (made in either 1999 or 2001; sources differ) was up to the same standard!

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Alexander’s big gay Canadian opera

hadrian_antinousSo today’s Globe and Mail carries the news that the Canadian Opera Company has commissioned its first new work since 1999.  A piece based on the life of the emperor Hadrian will headline the company’s 2018 season.  Now Hadrian may be best known for a chunk of masonry in the north of England but he’s also almost as well known for deifying his lover Antinous.  Since the music and book for the new work are to be by Rufus Wainwright and Daniel McIvor I think we can safely say that that side of things will feature more prominently than fortification construction.  Continue reading

The ceremony of Innocence is drowned

Jonathan Kent sets his 2011 Glyndebourne production of The Turn of the Screw in the 1950s.  It’s effective enough especially when combined with Paul Brown’s beautiful and ingenious set and Mark Henderson’s evocative lighting.  The set centres on a glass panel which appears in different places and different angles but always suggesting a semi-permeable membrane.  Between reality and imagination?  Knowledge and innocence?  Good and evil?  All are hinted at.  A rotating platform allows other set elements to be rapidly and effectively deployed.  There’s also a very clever treatment of the prologue involving 8mm home video.

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Centre Stage

Last night saw the latest evolution of the COC’s Ensemble Studio competition; a competition for cash prizes functioning as well as final auditions for next year’s Ensemble Studio.  This year, for the first time, it was packaged as Centre Stage; a gala event featuring a cocktail reception and black tie dinner as well as the competition itself.  Added to that, the singers got to perform with the COC orchestra under Johannes Debus on the main stage rather than in the RBA with piano accompaniment.

Finalists with Rufus Wainwright

Finalists with Rufus Wainwright

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Moby Dick

Jake Heggie’s Moby Dick has been successful in a way few contemporary operas are.  Since its Dallas premiere in 2010 it has been given in Adelaide, Calgary, San Diego and, most recently, San Francisco where it was recorded in 2012.  It’s not hard to see why it has been a success.  The subject is dramatic and has been skilfully compressed into a little over two hours by librettist Gene Scheer and the score steers the fine line between accessibility and triviality.  Add to that a visually appealing production and it’s a winning package.

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Die Frau ohne Geisterwelt

Christoph Loy, in his 2011 Salzburg production of Richard Strauss’ Die Frau ohne Schatten, avoids the problem of how to represent the Spirit World by essentially eliminating it.  Instead we get a Konzept based on Böhm’s first recording of the work in Vienna’s Sofiensalle in 1955.  Vienna is still recovering from the war and the hall is unheated and the singers unpaid.  The Empress is rising star Leonie Rysanek and the Nurse is long time favourite Elisabeth Höngen.  They represent the generations separated by the war.  The Emperor is an American singing in Europe for the first time and, crucially, Barak and his wife are a real life married couple.  Initially we see a lot of recording studio action as singers are moved about by actors in this experiment in early stereo.  Then the action, particularly the Barak/Wife interaction slips more and more off stage.  For the finale, we get a sort of celebratory concert in evening dress.  It’s not a bad concept and this cast handles it very well but I fancy it’s a tough introduction to this far from straightforward opera and it does lose the magic of the Spirit World. (In other words I’m glad I saw the Met production before this one.)

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