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About operaramblings

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

There is nothing like a dame

favourite english songsBrowsing the back catalogue for fun stuff a few days ago I came across a record of English song featuring Dame Felicity Lott and pianist Graham Johnson.  It’s called Favourite English Songs and was released in 2006 so. at the height of the singer’s interpretative powers and with the voice still in excellent shape.  It’s an interesting mix of the very familiar; Vaughan Williams’ :High Noon” and some of the Britten folk song arrangements for example, and the less familiar with songs by Maude White, Cecil Gibbs and Gerald Tyrwhitt-Wilson among the composers I’ve never heard of.

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A murder at Crow’s

True Crime, a Castleton Massive production, by Torquil Campbell and Chris Abraham opened at Crow’s Theatre last night.  It’s essentially a one man show featuring Campbell (not quite… composer Julian Brown provides musical backing throughout).  It’s certainly a tour de force by Campbell who is on stage continually for 90 minutes and it’s hard to tell when he’s on script and when he’s improvising.  He plays a raft of characters from himself, to his father and wife, an imprisoned con man, several dogs and a bunch of others.  And he does it very well.  He also sings (and barks).

1.TrueCrime-photobyDahliaKatz-1581

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New

New, written by Pamela Mala Sinha and directed by Alan Dilworth, is a production by Necessary Angel Theatre Company in association with Canadian Stage and the Royal Manitoba Theatre Centre.  It’s currently playing until May 14th at the Berkeley Street Theatre.  Now deals with the lives of Bengali immigrants in Winnipeg in 1970/1.  The lives of three very different couples are turned upside down by the arrival of the young bride arranged for one of the men by his mother in India.

1. The cast of NEW_Necessary Angel Theatre Company 2023_Dahlia Katz

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Samuel Mariño with Tafelmusik

Yesterday I saw the second of two performances by Venezuelan male soprano Samuel Mariño with Tafelmusik at Trinity St. Paul’s. The programme was a mixture of virtuoso baroque arias by various composers interspersed with relatively short instrumental pieces.

Samuel Mariño with Tafelmusik Baroque Orchestra. Photo by Dahlia Katz.

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Sardanapalo

sardanapaloHave you ever asked yourself “What if Liszt had written an opera?”.  I hadn’t either.  But he did start one; Sardanapalo.  It’s based on a Byron poem and tells the story of Sardanapalus, king of Assyria, who met a rather grisly end with his favourite concubine Myra after his subjects revolted, objecting to his decadent lifestyle.  The libretto is by an unknown hand and it seems only Act 1 ever got written.  Liszt made a start on setting that, leaving just about enough material for Cambridge scholar David Trippett to produce a performable version.  This was duly performed and recorded in Weimar in 2018.

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Heretic Threads

Heretic Threads (Cover)I’ve been listening to an intriguing new album.  It’s called Heretic Threads and it contains a most unusual treatment of three keyboard works by Haydn.  The three works are:

  • Sonata in F Major for fortepiano Hob XVI 23
  • Sonata in E Minor for fortepiano Hob XVI 34
  • Fantasia in C Major Hob XVI 4

The treatment is that each is first played on fortepiano by Boyd McDonald.  Then there’s a version for accordion by Joseph Petric.  Finally composer and recording engineer Peter Lutek has created an electronic piece by sampling and processing excerpts from the fortepiano and accordion versions.

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May 2023

wordcloudmay23Things happening next month…

But first this month… on April 27th to 29th male soprano Samuel Mariño is appearing with
Tafelmusik in a programme titled Higher Love: Virtuoso Arias.  Details here.

Crow’s Theatre has a couple of shows.  True Crime opens on the 2nd.  It’s a short run.  Preview on the 1st then closes on the 7th.  It’s basically a one man, semi-improvised show about an imprisoned con man.  The Chinese Lady, which runs 5th to 21st (previews 2nd to 4th) in the smaller Studio Theatre tells the story of the first Chinese woman in the USA.  Written by Lloyd Suh and directed by Marjorie Chan it should be interesting.  There’s also Boom X.  Rick Miller plays over a hundred characters to narrate events from 1969 t0 1995.  It runs from the 10th to the 28th.  More details at crowstheatre.com.

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La Vie Parisienne Complete

La Vie Parisienne isn’t my favourite work by Offenbach by a long shot.  The plot is absurd and the music, while not without wit (for example Bobinet;’s entrance in Act 5 is signalled by the Commendatore’s theme from Don Giovanni) and invention, mostly sounds like stuff one has heard before.  I was intrigued though by a recent production in Paris that used an attempt to reconstruct the score as Offenbach and his librettists Meilhac and Halévy might have wished it in1866.  As it happened a combination of censorship and the inability/reluctance of the cast (singing actors rather than opera singers) to tackle the more challenging music led to cuts throughout the rehearsal process and the virtual evisceration of acts 4 and 5.  Now scholars at that most interesting organisation the Palazetto Bru Zane have gone back to the autograph materials used in that first run to try and reconstruct a “complete” version.

1.station

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From Strauss to the Orient

Last night’s concert at Trinity Saint Paul’s by the Amici Ensemble and friends. was titled From Strauss to the Orient.  Unsurprisingly, the first half of the concert was Strauss.  The first piece was the Duett Concertino for clarinet, bassoon, strings and harp; arranged by Serouj Kradjian with piano replacing harp.  Besides the Amicis (Serouj – piano, Joaquin Valdepeñas – clarinet and David Hetherington – cello) were guests Kathleen Kajioka and Timothy Ying – violins, Barry Shiffman – viola, David Lalonde – bass and Michael Sweeney – bassoon.  It’s an interesting piece.  The clarinet and bassoon basically carry on a conversation across three movements with the strings and piano as a sort of “backing band”.  The overlapping ranges but very different colours of the two woodwind instruments are both pleasing and intriguing.  It was nicely done.  It’s always a delight to watch a chamber ensemble that is obviously communicating and having fun!

amicij1

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