Bandits in the Valley

Bandits in the Valley opened yesterday at Todmorden Mills.  It’s a site specific comic opera with words by Julie Tepperman and music by Benton Roark.  The time is 1880.  Sir George Taylor is the owner of the most productive paper mill in the British Empire but he wants more.  Specifically he wants to convert the entire Don Valley to paper thus depriving the pesky bandits thereof of cover.  He also wants Lily Pollard, the comely soprano lead of the travelling company he has engaged to stage The Pirates of Penzance as part of the mill’s 25th anniversary celebrations.  He’s not the only one after Lily.  She’s also the target of the female head of the troupe, Henri, and of Jeremiah, the bandit chief who is trying to obtain his inheritance.  He in turn is pursued by the house maid (and his cousin) Birgitta and, in a purely brotherly way of course, another bandit, Freddy.  In proper comic opera fashion a birthmark, naturally enough on Jeremiah’s buttock, is involved.  Mayhem ensues.

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Sweat, Sweat, Sweat

Back to see Bicycle Opera Project’s production of Sweat last night as it opened a run of four performances in Toronto on a suitably diaphoretic Toronto evening.  This time we were at the Aki Studio in the Daniels Spectrum complex.  It’s quite a small theatre but has the proper complement of lighting and so on to permit a richer staging than when I saw it in Hamilton.  Other than to note that proper lighting definitely helps the atmospherics I haven’t got much to add to my review of the show at WAHC.  I guess with three weeks touring the show has got a little more polished but it’s fine detail stuff.  So, to summarise, it’s an excellent piece with a well crafted libretto and a sophisticated score which is realized expertly despite the significant amount of movement that has to be synched with the music.  It’s a real step up in ambition and execution for BOP.  You should see it if you can.

Whose opera is it anyways?!

Whose opera is it anyways?! is a comedy-improv-opera show from LooseTEA Theatre’s Alaina Viau.  Last night saw the second in what is being projected as a monthly series at the Comedy Bar on Bloor West.  So how does it work?  The “games” and associated players are decided in advance but each usually requires some kind of audience input such as a place or a mood or even the messages on someone’s phone.  The team then act out and sing a sketch on the prescribed lines.  Natasha Fransblow provided accompaniment on keyboards, though how much of that was planned and how much improvised I couldn’t tell.  In between numbers Jonathan McArthur MC’d accompanied by really obnoxiously loud pop music (not helped by the speaker basically being in my left ear).

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Artsong ReGENERATION 2

Yesterday we got the second recital by the song fellows of the Toronto Summer Music Festival.  In the week since the first concert they have been working with mentor Soile Isokoski and it showed in the programming.  There was quite a bit of Strauss and more Finnish and Swedish music than I have ever heard in such a recital.  Among other things this highlighted just how difficult Strauss songs are to sing well.  They are exceedingly tricky yet have to sound absolutely effortless.  Three of the four sopranos on show tried.  None of them succeeded completely(*).  So it goes.  And so to the details.

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Soile Isokoski in recital

Last night, at Walter Hall, Finnish soprano Soile Isokoski and pianist Martin Katz gave a recital as part of the Toronto Summer Music Festival.  The programme of Schumann, Wolf, Strauss and Sibelius was an object lesson in restraint and elegance.  There were no histrionics or gimmicks, just very fine, subtly expressive singing and brilliantly supportive pianism.

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Sweat

Yesterday I finally managed to do something bike related in conjunction with Bicycle Opera Project’s current tour of Sweat.  I got an early train out to Aldershot, biked to Hamilton and joined up with the bike tour of historic Hamilton organised by the Workers Arts and Heritage Centre to complement the opera, before seeing the afternoon performance of Sweat at WAHC.  I’ll add some bikey/historical observations at the end but since this is an opera blog let’s cut to the chase.

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Artsong ReGENERATION 1

Toronto Summer Music Festival has two “apprenticeship” programmes; one for chamber musicians and one for singers and collaborative pianists.  The latter is directed by Martin Katz and Steven Philcox.  On Saturday afternoon in Walter Hall we got our first chance to see this year’s young artists.  Eight singers and four pianists were on show.  The singers were a mix of those who are well known to anyone who follows student opera in Toronto and newcomers.  The pianists were all new to me.

Art Song reGENERATION July 15

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St. Lawrence String Quartet

The St. Lawrence String Quartet opened this year’s Toronto Summer Music Festival with a really interesting programme.  They kicked off with the Haydn String Quartet No. 25 in C Major.  This very much belied the idea that Haydn is a skilful but not especially inventive composer.  It’s full of invention; especially rhythmic and really suited the intensely physical style of the St. Lawrences; especially the hyperkinetic first violin, Geoff Nuttall, who also contributed a rather extraordinary pair of socks to the evening’s festivities.  Watching, too, is a different experience from listening and here pointed up the extent to which chamber music like this is a conversation between the players rather than a regimented or choreographed thing.

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Suffragette

Opera 5’s double bill of Ethel Smyth one acters, Suffragette, opened last night at Theatre Passe Muraille in productions by Jessica Derventzis. The second piece, The Boatswain’s Mate, was in every way the more successful of the two. It’s a straightforward enough story.  Mrs. Waters is a widow and landlord of The Outlaw (renamed in deference to the production’s beer sponsor).  She is being very unsuccessfully courted by retired boatswain Harry Benn.  Mrs. Waters doesn’t want or need a husband but Benn decides that by enlisting a casual acquaintance, the former soldier Ned Travers, as a fake burglar from whom he can “rescue” the hapless landlady, he can impress her sufficiently.  Much mayhem ensues but the upshot is that Mrs. Waters takes a shine to the hunky soldier and they, at least, live happily ever after.

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Moscow Virtuosi

The Moscow Virtuosi Chamber Orchestra and their conductor, Vladimir Spivakov, played Roy Thomson Hall last night.  The first part of the concert was all instrumental and rather fine.  I was struck by the small band’s ability to vary the weight and richness of their sound to match the mood of the music.  Their treatment of Mozart’s Divertimento No.1, for example, was quite lean and sinewy.  On the other hand the string sound, especially the cellos, was much richer in a very moving and idiomatic account of the Shostakovich Chamber Symphony in C minor.  Things got even richer for Bruch’s Kol Nidrei where the orchestra was joined by 14 year old Israeli cellist Danielle Akta.  The orchestral sound was sumptuous here but the real star was Ms. Akta.  One expects virtuosity from the sort of young musician who tours with a major orchestra but one does not necessarily expect the kind of intensity that we got from Ms. Akta.  She played as if she had the sort of life experience one would simply not wish on a young girl.  Her instrument, an Orselli loaned by Dr. Moshe Kantor, was rather wonderful too.  She can do virtuoso too as she showed in the Popper Concert Polonaise that closed a very satisfying first half.

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