Un giorno di regno

Belle Cao2023

Belle Cao

VOICEBOX:Opera in Concert opened their 50th anniversary season at the Jane Mallett Theatre with the first of three Verdi rarities.  Un giorno di regno was Verdi’s second opera and it premiered at La Scala in 1840 to no great acclaim.  It’s a curiously old fashioned piece for its time.  Perhaps the fact that it sets a libretto written over twenty years earlier accounts for some of that.  It’s very much a bel canto work.  It’s sort of a comedy though it’s not actually all that funny; being largely concerned with machinations about who marries whom played around a somewhat implausible impersonation of the King of Poland by a minor French aristocrat.  It’s no sillier than many Donizetti operas but perhaps by 1840 that formula was wearing rather thin. Continue reading

Rocking again

Seven years ago Tapestry Opera premiered Gareth Williams and Anna Chatterton’s Rocking Horse Winner at the Berkeley Street Theatre.  Last night they opened an eight show re-run at Crow’s Theatre, once again directed by Michael Mori.  There are lots of similarities and a some differences between the productions and I’m going to concentrate on the latter so if you aren’t familiar with the piece you might want to read my 2016 review.

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Restrained Orphée

There’s quite a lot to like in Opera Atelier’s current production of Gluck’s Orphée et Euridice currently running at the Elgin Theatre.  It’s elegant and refined with some pretty good singing but maybe it’s a bit too refined.  It’s at its best in things like “The Dance of the Blessed Spirits” where there’s an effective pas de deux danced in pointe shoes though I’m not sure it was really necessary to use enough “smoke” to fill the entire auditorium!  Unfortunately, the production doesn’t make much of the potentially more dramatic moments.  Orphée’s confrontation with the Guardians of Hell is pretty low key.  The demons are just dancers in slightly stripey body stockings and there’s no sense of menace.  It’s all a bit Robert Wilson.  Until the ending, which suddenly switches aesthetic with glitter and streamers and dancers with a Scrabble set.

Anna-Julia David as Amour, Colin Ainsworth as Orpheus. Photo by Bruce Zinger

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O Fortuna

I attended the second of two performances of their season opener by the Toronto Mendelssohn Choir at Roy Thomson Hall last night.  It was an enjoyable and well constructed programme.  It opened with two pieces by composer in residence Tracy Wong.  Patah – Tumbuh (Broken – Renewed), for choir and children’s choir (Toronto Children’s Chorus) riffs off Malaysian proverbs and gamelan.  It’s an upbeat, rhythmic piece that got a really nice performance, especially from the children.  Then they got their own place in the sun for a medley of Malaysian folksongs; which was also fun.  Was this the first time Malaysian music has been performed at Roy Thomson?

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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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We’re Late!

werelateThe Happenstancers latest concert We’re Late! happenstanced on Saturday evening at Redeemer Lutheran.  It was a typical Happenstancers sort of event with chamber music works for various forces split up into their movements with the components then rearranged to make an interesting line up.

Lukas Foss’ Time Cycle provided the opening piece which also provided the title for the concert as a whole.  It’s a setting of Auden for soprano and chamber ensemble and begins “Clocks cannot tell our time of day”.  Which was pretty much the theme for the evening.  This was followed by Toshi Ichiyangi’s Music for Electric Metronomes which had the whole ensemble banging things rhythmically and making stylsed gestures.  Then came the first of three parts of rather a good musical joke; John Cage’s 4’33” arranged into three movements for different forces. which as might be expected cropped up at intervals during the show.  For the record the movements were scored for piano and percussion, conductor and oboe and percussion.

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In Time

Friday night saw the first concert of the Toronto Mendelssohn Singers’ 2023/24 season at Jeanne Lamon Hall.  It was an intriguing programme both in the choice of music and in the use of dance in the presentation.  The bookends were two works written in 1707 by two 22 year olds; JS Bach and GF Händel.  The sandwich filling, as it were, was To the Hands by Caroline Shaw.

Bach’s Christ lag in Todesbanden BWV 4 takes us on a journey from dark to light with each movement or verse being a variation on the basic Lutheran hymn from which the text is taken.  It uses choir, strings, harpsichord and rgan to good effect.  The bonus here was a black clad Laurence Lemieux dancing an expressive, if somewhat lugubrious, choreography on the stage behind the musicians.

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The Enticing Sky

rkrehmSaturday afternoon at 27 North Sherbourne Rachel Krehm and Janelle Fung presented an art song recital entitled The Enticing Sky.  The material chosen was interesting with a heavy bias to women composers, living composers and Canadian composers; sometimes all three at once.

We got extracts from Come Closer; settings of the poetry of Elizabeth Krehm by Ryan Trew, Ethel Smyth’s Three Songs of the Sea, Dorothy Chang’s Songs of Wood and Water, Anna Pidgorna’s Amphráin Eibhlín (the only non English language text) and Cecilia Livingston’s luna premit. Continue reading

Canoe

Canoe; libretto by Spy Dénommé-Welch, music by the librettist and Catherine Magowan, had its world premier at Trinity St. Paul’s on Friday evening.  It’s a complex work and adopts some interesting approaches to telling an Indigenous story within the conventions of European opera.  It’s effectively directed, on quite a minimal but functional set (Lindy Kinoshameg), by Dénommé-Spy and Moynan King.

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(L-R): “Gladys” Nicole Joy-Fraser, “Debaajimod” Michelle Lafferty, “Tree Spirit” Conlin Delbaere-Sawchuk, “Constance” Kristine Dandavino

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Ukrainian Art Song Project – round 5

Sunday afternoon in the Temerty Theatre the participants in this year’s Ukrainian art song intensive presented the results of their efforts during the week.  There were eight singers (nine if one adds in mentor Benjamin Butterfield who came in for a couple of numbers).  Steven Philcox and Leanne Regehr shared the piano parts.

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