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About operaramblings

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

Lively Pirates at TOT

Toronto Operetta Theatre opened a run of Gilbert and Sullivan’s The Pirates of Penzance at the Jane Mallett Theatre last night.I think it’s got everything one could expect from a modest budget G&S production and maybe a bit more.  Bill Silva-Marin’s production is energetic with a lot of stomping, marching and mincing going on which makes the small stage (even smaller than usual as the band is on stage) look lively and busy.  The chorus is good and sings idiomatically.  The principals also appear to understand the genre and there’s some good acting and good, at times excellent, singing.

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Der Schatzgräber

Franz Schreker’s Der Schatzgräber premiered in Frankfurt in 1920.  It was his last and most successful opera but it disappeared from the repertory under the Nazis and performances have been rare since WW2.  Christof Loy directed it for Deutsche Oper Berlin in a new production in 2022, marking the 100th anniversary of the first performance in Berlin.  It was also a continuation of Loy’s project of bringing less well known opera with “strong female characters” to DOB, following his production of Korngold’s Das Wunder der Heliane and Zandonai’s Francesca di Rimini.

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WILDWOMAN

WILDWOMAN, by Kat Sadler (who also directed), is part of the {{her words}} festival at Soulpepper and I attended the first preview performance on Thursday night at the Young Centre. It’s not usual to review previews but I’m out of the country for most of the run proper so there it is.   It’s an interesting piece.  It weaves together two (more or less) real stories that are quite tenuously related into a single integrated narrative that explores humanity, power and the role of women in society.

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Jonelle Sills debuts in La Bohème at the COC

It wasn’t supposed to happen for another couple of weeks but Jonelle Sills jumped into the COC’s production of Puccini’s La Bohème as Mimi on Sunday afternoon, replacing an indisposed Amina Edris.  It added some spice to a production I’ve seen rather a lot of times before.  I don’t have a lot to say about the production that I haven’t said before.  It’s still efficient and serviceable and it’s always looked a bit (not inappropriately) down at heel.  If it’s now a bit more worn and faded t doesn’t detract from that.  If you want more detail here’s a link to my May 2019 review.

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Sumptuous Il ritorno d’Ulisse in patria from I Gemelli

ilritornoI use the word sumptuous in at least two senses.  This is a really good recording with a fine period instrument ensemble and voices carefully matched to parts.  It’s also very carefully researched in the quest to get as close as what Monteverdi’s audience heard as possible.  It’s also sumptuous in presentation.  It’s a beautiful hardback book with 3 CD slots built in.  The binding and printing are Folio Society quality.  It’s sumptuous also in terms of book content.  The English language version has 165 pages of explanatory essays plus libretto and translation!  There is a wealth of information on what was happening in Venetian theatre , as well as influences from further afield.  There’s a section on how discoveries in the sciences were reshaping perspectives on art and aesrthetics and there’s a load of detail on the links between the commedia dell’arte and the opera stageFor a music loving bibliophile it’s a real treat.

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Heroes of the Fourth Turning

Will Arbery’s Heroes of the Fourth Turning opened last night in a production by the Howland Company in the Studio Theatre at Crow’s.  This is a play about a group of people who have assembled in the wilds of Wyoming for the inauguration of a new President at a small, extremely conservative, Catholic university.  All of them, to greater or lesser extent, buy into the mix of ideas; an essentially pre-Vatican II Catholicism, traditional American Conservatism rooted in an idea of “Western Civilization:” and a kind of neo-Spartan survivalism, taught at the university in question.  The play is a long (over two hours without a break) conversation between these characters about ideas and values.  I strongly suspect these ideas and values are not shared by the author or the director (Philip Akin). but they are treated in the play on their own terms with no attempt at satire or parody.  I don’t share those values either but I shall try in this review to keep my own feelings out of it as well.

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Israel in Egypt

israelinegyptHandel’s Israel in Egypt is one of the less well known of his English language oratorios.  It’s also got a bit of an ofdd performance history with the first of the three acts often omitted.  The new recording from period instrument ensemble Apollo’s Fire includes all three acts but omits some numbers and shortens others in a selection made by music director Jeannette Sorrell.  This appears not to be uncommon.  A quick scan of available recordings revealed performance durations of anywhere from 75 minutes to 150 minutes.  This one comes in right on the bottom end of that range.

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Sundry season announcements

Some organisations hold off on their season announcements later than others!  Two came in today.

tapestryTapestry Opera announced a season that includes:

  • A remount of Rocking Horse Winner at Crow’s Theatre from November 1st to 12th 2023.
  • Songbook XIII at the Redwood Theatre on March 28th 2024.  It’s a lovely, restored theatre with a really good beer selection.  There will be music too.  Keith Klassen and Naomi Woo headline.
  • Juliane Gallant hosts Le Kitchen Party; a celebration of Acadian music and culture and, it says, food.  That’s me in then.  It’s on May 21st 2024 ant TBD.
  • And the following night Jenn Tung hosts Iron Chef d’Orchestre also at TBD.  Also involves food.  I scents a theme here.

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Roméo et Juliette at the Liceu

I’m actually not sure where to start with Stephen Lawless’ production of Gounod’s Roméo et Juliette recorded at the Liceu in 2018.  The production is a bit weird but then so is the libretto.  It follows the basic plot of Shakespeare’s play but weakens it dramatically in all the wrong places which appears to be why Lawless made some of his, to my mind, less felicitous decisions.

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Topdog/Underdog

Topdog/Underdog by Suzan-Lori Parks, which is currently running at Canadian Stage’s Berkeley Street Theatre has garnered impressive accolades since its 2001 New York debut.  It’s won a Pulitzer and been named, in 2018, as “the greatest American play of the last 25 years” by the New York Times.  It’s well written, dramatically well crafted and often very funny but, to be perfectly honest, I wasn’t deeply engaged by it.

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