Writing a review for a print publication rather than for this blog was an interesting process. I think three things were weighing on my mind. First was the sense that I needed to be, in some sense, “objective”. Inevitably a review expresses a personal opinion but I felt a greater need to be “fair”. In that respect I was very glad it was a good performance because I would not have been able to do my usual thing of just ignoring or skating over sub-par performances. I also felt that I needed to avoid quirky observations and to stay on topic rather than wander where my interest and inclination led. Finally there was this word limit thing; 375-400 words. My initial reaction was how was I going to find that much to say about a performance that was basically a concert without sets or scenery, though there was some rudimentary blocking. After all, I usually I devote at least as much space to the dramatic aspects as compared to the musical. In the event the opposite was very much the case. It proved horribly difficult to condense down to the required length. All discussion of the “production” went by the board. All I had room for was a brief discussion of how the piece had been cast from a voice type perspective, commentary on the singers’ performances as vocalists (not actors) and a brief note on the size and sound of the band. And that was my word limit gone.
Author Archives: operaramblings
In which I go over to the Dark Side
Regular readers will know that I’m not always as deferential to critics of the print media persuasion as they think I ought to be. Well strange things happen. Today, no doubt on account of the fact that anybody remotely qualified to review opera was at the opening performance of COC’s La Clemenza di Tito, I saw Opera in Concert’s production of Handel’s Orlando on Opera Canada magazine’s dime. My review will presumably appear there at some point if it isn’t completely awful.
Précis… it was really rather good.
Chen Kaige does Turandot
Zubin Mehta seems to be making a habit of teaming up with Chinese film directors to stage Turandot. This time the director is Chen Kaige (Farewell My Concubine) and he chose Liu King and Chen Tong Xun to do the sets and costumes. The production in question took place at Valencia’s I Festival del Mediterrani in 2008. It’s actually in an opera house rather than on location in the Forbidden City but this production ends up having a rather similar look and feel to Zhang Yimou’s earlier one.
Ever wanted to be a nun or an executioner?
Then read on…
COC FILLING OVER 100 “Super” roles for spring productions
Toronto – On Saturday, February 16, 2013, the Canadian Opera Company will hold an open call to fill the 117 supernumerary roles needed for its three productions presented this spring: Lucia di Lammermoor, Salome and Dialogues des Carmélites. Supernumeraries, a.k.a. supers, are the extras of the opera world and play a variety of non-singing roles. They are vital to enhancing the operatic experience presented on stage. The COC encourages adults between the ages of 18 and 65 to attend this open call, taking place from
Highest, purest joy
After seeing Peter Sellars on Monday night I decided that (a) I had to see Ben Heppner as Tristan and (b) I couldn’t wait until next Friday when I have tickets to see Michael Baba in the role. So, I skipped out of the office yesterday morning and with a little help (thanks Sergey!) scored a standing room ticket for last night’s opening. (At $12 for nearly five hours music this was a remarkable bargain!). I’m back at my desk on five hours sleep and I’m still in shock. This will go down in legend.
I’d only seen Tristan und Isolde once before, in a disastrous MetHD broadcast, which had been so irritating that the music left little impression. Other times I’d attempted it on DVD I couldn’t get past the nothinghappensness of it. Last night I finally got it. In Sellars’ production not much happens on stage. The singers, in non descript monochrome outfits, come and go or stand around in square light spots. They gesture in characteristically Sellarian fashion but it’s almost classic “park and bark”. But, and it’s a huge but, behind them there is a giant screen on which videos by Bill Viola play more or less continuously and through them he evokes time and place and we see the inner journeys of the characters. It’s really hard to describe but it works brilliantly. To counterpoint the long meditative sections, when there is action it often happens off stage. The chorus sing off stage from various parts of the house and characters, too, appear on the orchestra apron or high up in the Rings. These action moments are often accompanied by lighting that encompasses the auditorium and implicates us in the action (but not the dark inner journey of Tristan and Isolde). It’s great. (1)
Come and see Clemenza – You might like it
The opera audience is weird; at least here in Toronto. While Tristan und Isolde is all but sold out La Clemenza di Tito isn’t doing at all well. The net result is that there are lots of tickets available, discounting has started and all the usual cheap ticket strategies should be in play plus prices have already been cut for the February 11th performance. So for anyone reading who thinks COC is just too expensive here’s your chance to check it out on the cheap.
Death, the Universe and Everything
Last night Peter Sellars, in town directing Tristan und Isolde at the COC, made an appearance at the Toronto Reference Library. It was billed as an interview with The Star‘s Richard Ouzounian but bar a couple of questions at the end and a brief set up by Ouzounian it was pretty much a 75 minute monologue by Sellars. Like the man himself it was fascinating but very hard to pin down.
Fifty shades of Braun
This afternoon’s Off Centre concert at the Glenn Gould Studio was structured around three pairs of composer friends; Mozart/Haydn, Schumann/Brahms and Wolf/Mahler. It was a mix of lieder, opera excerpts and piano pieces and was pleasantly varied.
Things kicked off with Russell Braun singing a number of songs from Schumann’s Liederkreis accompanied by his partner, Carolyn Maule on the piano. This was maybe the third time that I’ve heard Russell in recital and he really is impressive. He has a really good command of a wide range of dynamics and tone colour and lovely floaty high notes. If I was being hyper critical I’d say I think there’s a point in the middle voice though that can’t quite sustain the volume he sometimes tries to get. He has quite an operatic approach to lieder (compared to, say, DFD) but that’s quite fun in its own way.
Wild Thing
So I thought the obvious antidote to Robert Carsen’s Dialogues des Carmélites would be the recording of Ollie Knussen’s Where The Wild Things Are and Higglety, Pigglety, Pop that was sitting in my ‘to watch’ pile. It’s a 1985 Glyndebourne recording and the Associate Director is one Robert Carsen, assisting Frank Corsaro. So it goes. Actually it was rather fun, if a bit irritating in the way that children’s literature written for kids with ADD seems to be. The music is terrific and not at all dumbed down. The sets and designs, as well as the libretto, are by Maurice Sendak himself and there’s some pretty neat lighting by Robert Bryan. The Wild Things are really cool and almost make up for the fact that Max (played here by Karen Beardsley) is an appalling little s$%t who needs a good kick in the backside. HHP is a bit more restrained and simultaneously manages to be less fun but also less annoying. It has a rather splendid lion and Cynthia Buchan does rather well as, to the best of my knowledge, the only Sealyham terrier in opera. Knussen conducts the London Sinfonietta and they sound really good. Continue reading
Revelatory Carmélites from La Scala
I was somewhat underwhelmed by my first encounter with Poulenc’s Dialogues des Carmélites. Watching this recording of a 2004 La Scala production by Robert Carsen really opened my eyes. It’s the conducting that makes it I think, Riccardo Muti seems to find much more in the score than Jan Latham-Koenig. There are passages of great meditative beauty interspersed with quite shocking violence, all within an essentially tonal framework. It’s very striking. He’s helped by the sound on the DVD which is exceptionally vivid and three dimensional, even using the LPCM stereo option, though the Dolby 5.1 track is even better.



