Poulenc’s La voix humaine is a monodrama for voice and rather large orchestra based on a play by Jean Cocteau. There’s just the one character “Elle” and all we, the audience, hear, is one end of a telephone conversation between Elle and her, recently, ex-lover. It’s a highly emotionally charged piece and not easy to pull off. Last night, Christina Campsall and Brahm Goldhamer presented it in piano arrangement at Mazzoleni Hall with Oliver Klöter directing. It’s a piece that needs directing too as, in a sense, not a lot happens. It’s just a telephone call!
FAWN Chamber Creative’s latest project is an opera called The Harvester. The libretto is adapted by Paul van Dyck from his own play of the same name and the music is by Aaron Gervais. The genesis (and we’ll come back to that) of the piece lies in the mind of soprano Stacie Dunlop who wanted a reduced orchestration version of Schoenberg’s Erwartung and a one acter that could be performed with the same band to form a double bill with it. Van Dyck’s play seemed to have the right stuff and Aaron was up for both parts of the project. Co-opting Kevin Mallon and his Aradia Ensemble and Amanda Smith to direct rounded out the project.
I’ve spent a fair chunk of time this week following Barbara Hannigan’s stint as Stratton Visiting Artist in Music at the University of Toronto. I went to a lecture on Tuesday, a masterclass on Thursday and a concert yesterday. Twice already I have sat at the keyboard to try and document my impressions and failed miserably. It’s rare that I’m lost for words but Ms. Hannigan is really hard to describe. This time I shall apply myself with the sort of iron will that she exudes.
Talisker Players latest show, High Standards, was a bit different from previous efforts of theirs that I have attended. This was all about the music. There were no prose or poetry readings. The music was a selection from what might be considered the “golden age” of the Broadway musical. The time period covered being the four decades from 1933 to 1973 or, roughly, Showboat to A Little Night Music. I’m not an expert in Broadway theatre but I was struck by how the music remained remarkably similar over that period while the lyrics got, generally, more sardonic. That’s pretty curious when one reflects on the changed in classical music, and even popular music over that time period. Where the music did seem to be rather different was when there was an “intervention” from someone with a foot in another camp. There were selections here from Gershwin and Bernstein that did sound different. The latter in particular playing with tonality in a way that seemed very daring by comparison, though tame of course by classical music standards. I’m sure proper musicologists would have much more to say about this. 
Oddly enough, what Toronto Operetta Theatre does best is operetta and the production of Romberg’s The Student Prince that opened yesterday afternoon is a pretty good example of why. I suppose, technically, that it’s a Broadway musical but everything about it, down to the humour and sentimentality seems Teutonic enough. Anyway, there’s a solid trio in the lead roles, the key back ups are thoroughly professional and the minor roles and chorus are filled out by talented and enthusiastic young singers. The band is big enough to cover all the colours of the score and the staging is appropriate and not overly ambitious. The piece gets to do its tuneful, rather bittersweet thing.
operaramblings 