There was a certain amount of anticipatory buzz about Michael Ross Albert’s The Bidding War, directed by Paolo Santalucia, that opened at Crow’s Theatre on Wednesday night. Crow’s has built rather a reputation for punchy, darkly humorous, Toronto-centric plays. This time it’s basically a satire on the Toronto real estate market and the sharp practices of the real estate and property development industries and for the most part it hits the mark.
There can be few poets whose work resonates as widely as that of the Ayrshire ploughboy and philanderer Robert Burns. His influence has been felt from Bengal to Massachusetts and beyond. Celebrating that influence was the the point of Confluence Concerts’ Robert Burns – A Passion for Freedom curated by Alison Mackay which played at Heliconian Hall on Friday and Saturday evenings.
The Bee’s Knees is a new play with music, written and directed by Judy Reynolds, that opened at The Theatre Centre on Friday night. It’s set during and after WW1 and the main theme is women getting involved in politics in Canada and the often bizarre (by contemporary standards) opposition to that. It’s pure coincidence that it premiered a few days after the biggest setback for women’s rights in the western world in decades.
Today’s noon hour concert at Metropolitan United Church featured soprano McKenzie Warriner and pianist Christine Bae. Ellita Gagner was also scheduled to sing but, unfortunately, she was not able to do so due to illness. So we got a hastily reorganised programme.
The 2025 edition of the 21C festival of contemporary music at the Royal Conservatory of Music basically runs from January 18th to 25th next year with an outlier in May. As usual it’s heavy on premières; World, North American and Canadian and there’s an intriguing mix of genres.
The Redwood Theatre was packed on a wet Sunday evening for the latest gala from Opera Revue. This time the theme was circus with guests Kalen Davidson juggling and setting things on fire, Haley Shannon on aerial silks, Ambur Braid doing Ambur things and Walter Bowen Braid jumping through hoops. The usual gang; Danie Friesen, Alex Hajek and Claire Elise-Harris were of course also clowning it.
Horizon is a choral work in seven movements by Croatian composer Dalibor Bukvić. Scored for (mostly) unaccompanied female voices, it’s meant to evoke the ambiance of the prehistoric Vučedol culture, which flourished between 3000 and 2200 B.C. in what is now (mostly) Croatia which could stand in this context for the ritual side of any pre-literate culture.
There is text; Croatian (I think) and Latin, whispered, declaimed and sung but there’s more vocalise and some recorded bird song plus, on a couple of tracks quite sparse and sometimes atonal piano accompaniment. It does evoke a sense of ritual, mystery and connection to Nature and it’s enjoyable to listen to.
My review of The Mata Hari Songbook by John Burge and Craig Walker, performed by the composer and Patricia O’Callaghan, is now available at La Scena Musicale.
Catalogue information: Centrediscs CMCCD 34424
My review of Palazetto Bru-Zane’s new video recording of Bizet’s Carmen aimed at recreating the original staging of 1875 is now available at La Scena Musicale.
Catalogue information: Bru-Zane BZ3001
Samuel D. Hunter’s play The Case for the Existence of God, in a production directed by Ted Dykstra, opened at Coal Mine Theatre on Thursday night. It’s a story about the somewhat unlikely friendship between two would be single fathers in a small town in Idaho. It’s mostly pretty sad but with some really funny moments. We can come back to the God thing.
operaramblings 