There’s a unit set; some marble flags, a few broken columns surrounding a “fire pit”. Even this is stripped down for much of Act 2 which takes place on the stage apron in front of a plain curtain. There are five singers, a chorus and an orchestra. That, plus Peter Sellars, is all it takes to produce an extraordinary piece of music drama.
Once a year the COC Ensemble Studio get to show their talents on the big stage with a fully staged performance of a current production. This year’s choice of Atom Egoyan’s production of Così fan tutte was a good one. It showcased the talents of the singers really well and by using a different quartet of lovers in each act they were able to provide substantive roles for all the singers of the ensemble. I won’t dwell on the production as I have already reviewed it. The only changes I noted were a few change ups on the visual gags and that the “Albanians” kept their disguises on for quite a lot longer than with the main cast. So, how about the performances?
The Canadian Opera Company’s new production of Verdi’s Un ballo in maschera is based on an intriguing concept that adds insight in many places but comes a bit unstuck in others. Coupled to some superb performances, it makes for an enjoyable and intriguing night at the theatre that will have the more adventurous busily and happily dissecting the piece for hours and the die hards reaching for their Zeffirelli pills.
I was back at the Four Seasons Centre last night for another look at the COC’s new production of Così fan tutte. Broadly speaking, I stand by what I wrote about Saturday’s opening performance. There were a few things I noticed or paid more attention to this time though.
Photo credit: Michael Cooper
Atom Egoyan’s new production of Mozart’s Così fan tutte opened at the Four Seasons Centre last night. It’s a visually appealing production with an interesting concept and some glorious singing and acting. One may question aspects of the concept but nowhere does it do serious violence to da Ponte’s libretto and the end result, coupled with some outstanding performances makes for a most enjoyable evening.
Photo credit Michael Cooper
Last night saw the latest evolution of the COC’s Ensemble Studio competition; a competition for cash prizes functioning as well as final auditions for next year’s Ensemble Studio. This year, for the first time, it was packaged as Centre Stage; a gala event featuring a cocktail reception and black tie dinner as well as the competition itself. Added to that, the singers got to perform with the COC orchestra under Johannes Debus on the main stage rather than in the RBA with piano accompaniment.
Finalists with Rufus Wainwright
For my second look at La Bohème at the COC I caught the first night of what is, effectively, the third cast. This is actually the first cast but with Eric Margiore replacing Dmitri Pittas as the third Rodolfo of the run. So, how did it compare to Wednesday night’s effort?
Joyce El-Khoury as Musetta – Photo:Michael Cooper
La Bohème has been running at the COC for a couple of weeks now but last night was the first performance for the second cast. There are some new faces; Michael Fabiano comes in as Rodolfo with Simone Osborne as Musetta, Tom Corbeil as Colline and Cameron McPhail as Schaunard. There are also some change ups. Joyce El-Khoury swaps Musetta for Mimi and Phillip Addis swaps Schaunard for Marcello. I’ll be back Friday to see the opening night cast with the exception of Eric Margiore coming in as Rodolfo.
It was back to the Four Seasons Centre last night for a second look at the COC’s Peter Grimes. This time Ben Heppner was singing the titled role as scheduled. Everything else was much the same as opening night and so I’ll just focus on the differences between Tony Dean-Griffey and Ben. In many ways their interpretations are similar. They both come across as “gentle giants”; alienated and outside Borough society but not really “brutal and coarse” as the libretto has it. In both cases the violence offered to Ellen in Act 2 seems to come from nowhere. The big difference, it seems to me, is that Dean Griffey has the voice to sing that interpretation. He can float the high notes in Now the Great Bear and Pleiades and What Harbour Shelters Peace in the disturbing and otherwordly manner of a Pears or a Langridge. Perhaps Heppner once had that quality but if he did it has gone. What Heppner does have is great acting powers. The prologue and the final scene were nuanced and compelling and worth the price of admission. In between he had his moments but he clearly isn’t over the problems that kept him out of opening night and there were a couple of quite jaw dropping moments in the scene in his hut. None of this stopped the Four Seasons crowd from giving him a rapturous reception.
Photo: Michael Cooper courtesy of the COC
Peter Grimes remains a great show with brilliance from the orchestra and chorus, a very fine Balstrode from Alan Held and strong performances from the other soloists. I’m glad I saw the show with both tenors and I would certainly recommend it highly with either. There are four more performances between now and October 26th.
Readers of this blog will likely know that Peter Grimes is a very special opera for me. I’ve watched it live and on recordings a lot. I think about it a lot troo so the chance to see it live is rather special. It’s even more special when it’s done as well as at the Four Seasons Centre last night in the opening performance of a new run of Neil Armfield’s much travelled production, revived here by Denni Sayers.
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