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About operaramblings

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

What one calls a happy marriage

Richard Strauss’ Intermezzo is a very strange semi-autobiographical piece apparently dealing with the married life of Richard and Pauline Strauss thinly disguised as Court Composer Robert Storch and his wife Christine.  What is really a bit weird is how these two characters are presented.  Herr Storch is a bit stuffy and self absorbed but Frau Storch is just awful.  She is rude to everyone, especially her long suffering maid and other servants, and she overreacts bizarrely to just about everything.  She’s spoiled, self-centred, vain and generally a giant PitA.

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Mass for the Endangered

Soundstreams’ opening concert of the season at Trinity St. Paul’s on Saturday evening featured Sarah Kirkland Snider’s Mass for the Endangered and an intriguing selection of 20th and 21st century music on related ecological themes.

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In Search of Youkali

In Search of Youkali is a sort of journey through the theatre music of Kurt Weill performed by soprano Mary Bray supported by Murray Grainger (accordion), Marianne Schofield (double-bass) and William Vann (piano).  For me, it’s a bit of a mixed bag.  The German songs; “Barbarasong” and “Berlin im Licht” are quite nicely done but with (mainly) a bright, operatic kind of sound where I would prefer something more cabaret style.  The accompaniments work well though.

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Unfulfillment

Abe Koogler’s The Fulfillment Centre opened last night in a production directed by Ted Dykstra.  It’s the story of four people in a small town dependent on some sort of giant fulfillment centre; an all too common fate for small town America.  In a post-industrial USA it’s that or a prison.

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Who’d have thought that snow falls

A few months ago I reviewed a recording of Morton Feldman’s Three Voices which I had never heard “live”.  On Sunday evening I got the chance to hear Lindsay McIntyre perform it at Arrayspace.  It’s a roughly one hour long piece in which the soprano performs with two tracks that she has recorded in advance.  It was really interesting to hear the nuances of two recorded voices versus live which, of course, doesn’t really come across the same way on a recording, however good.  It’s the subtlest of textural difference but it’s definitely there.

Soprano

Two pre-recorded tracks

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Blondel steals the show

Opera in Concert opened their season at Trinity St. Paul’s on Saturday with the Canadian premiere of André Grétry’s 1784 opéra comique Richard Coeur-de-Lion.  This is very loosely based on the story of Richard’s imprisonment by Leopold of Austria while returning from the Third Crusade.  Richard’s man Blondel; disguised as a blind minstrel, discovers Richard’s place of imprisonment by playing a tune that Richard wrote.  He then enlists the help of the Countess of Flanders, in love with Richard, (which would have come as a surprise to Berengaria of Navarre) and a Welsh knight; improbably styled Sir Williams, who his now (also improbably) running an inn in Austria and his daughter, Laurette.  The governor of the castle where Richard is imprisoned, Florestan, in turn in love with Laurette, is tricked and Richard is freed to great rejoicing. (As opposed to a whopping ransom being paid!)

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CanCon at the Grammys

I don’t usually take much notice of awards like the Grammys but this year there is an odd coincidence.  As usual, CanCon is in very short supply across the 95 categories of awards but the three that I could find were all familiar to me.

In Category 89 “Best Opera Recording” there are two nominees with Canadians in the leading role.  Mary Kouyoumdjian’s Adoration has Mirian Khalil as its leading lady and Royce Vavrek as librettist and it’s based on an Atom Egoyan film.  It’s pretty good. Continue reading