Following a decade of declining ticket sales and revenue the Canadian Opera Company has decided that the logical step is to go in search of a new audience. As General Director Alexander Neef puts it “We’ve tried everything in the playbook to build a new audience in Toronto; discounts for seniors, discounts for under 30s, community outreach, the lot and nothing has really worked so the board decided that if the audience won’t come to us, we must go to the audience. So we are moving lock, stock and barrel to Frankfurt. There’s a great audience there, as well as most of our singers. Besides it’s not like we will no longer be accessible to our existing audience. Air Canada has three direct flights per day from Pearson to our new home.”
It’s that time when I go through the ultimately pointless exercise of trying to predict what the COC season for 2019/20 will be. In some ways it’s an interesting intellectual enterprise not unlike what an Intelligence Officer would do. What do past patterns reveal? What can we glean from published sources? What have prisoners told us? (No I don’t really interrogate captured opera singers tempting as it might be).
Yesterday the lemur and I ventured out to Roy Thomson Hall for Tafelmusik’s Singalong Messiah. I did this with some trepidation. There were reasons for this. First, I’m not a great sight reader; I sorta, kinda get by but I’m much more comfortable in the middle of a group of better singers that I can key off. But there’s the rub, I’m a tenor. I did this gig before in 2003 and there were like a million sopranos and seven tenors. See first point. It ain’t happening.(*). Finally, I had been fighting a cold/cough all week and feared that my voice would be better suited to Aristophanes than Handel. Fools tread boldly etc.
Certain people will probably be amused that our team for Opera Trivia last night christened itself “Berenice’s Potato”. We won too… just!
Now that Against the Grain are in the process of completing their da Ponte trio with A Little Too Cozy enquiring minds want to know where the genre of site specific updating goes next. And who better to do this than the formidable combined artistic brain power of my loyal readers (even the Bolshie ones). Your challenge, should you choose to accept it, is to outline (in the Comments) a possible scenario for a site specific updating of a canonical opera. Here’s mine: Continue reading
I’ve always been a fan of those BBC Radio 4 programs where people have to do silly things so I was naturally drawn to LooseTEA’s fundraiser “Whose opera is it anyway?” in which a select band of singers (Greg Finney, Whitney Mather, Michael York, Charlotte Church, Fabian Arcineagas and Kijong Wi) got to do silly things bid on by the audience. Some of the silly things even involved members of the audience. Asa Iranmehr was on the keyboards and comedian Andrew Johnston, despite almost total ignorance of anything operatic, MC’d.
It was great fun and much funnier than the average bel canto “comedy”. Highlights included Sit, Stand Lie where Michael, Greg and Fabian had to perform La mia Dorabella with one of them in each position at any one time, Moving People where Greg and Whitney were “manipulated” by Aria Umezawa, Michael Mori, Katja “polkadots” Juliannova and Rachel Krehm while singing the Papageno/a duet. The best/weirdest singing was probably a couple of “in the style of”s. I was really impressed by Whitney’s Deh vieni non tardar in the style of Miranda Sings. It takes real talent to sing that badly! Greg’s Catalogue Aria in the style of (a very lugubrious) Vladimir Putin was a hoot too. My sunglasses came in handy in “Props”.
The snacks were decidedly better than they often are at these events too. Really good pizza! So, a good time was had by all. More people should come to these things. Have a few drinks, meet fun people, see just how multi-talented some of our singers are and have fun. Why not?
Sorry about the photo quality. Taken by me on my phone.
How scary is this?
And if you haven’t figured it out go look here. There are a few, a very few, tickets left.
Photo: Darryl Block