Another chance to hear Sir Thomas Allen

Having seen him sing Don Alfonso in the COC’s Così fan tutte three times as well as having attended his RBA lunchtime recital and having interviewed him one would be forgiven for thinking that I might have had my fill of Sir Thomas Allen.  But no, Durham University organised a reception on Thursday evening for alumni at which Sir Thomas was the guest of honour in his capacity as Chancellor.  It was one of the filthiest nights of a filthy winter and a very nasty walk from the conference I was attending to the Music Room at Hart House but around fifty people turned up.  They were mostly Durham grads but the Dean of Music from UoT was there, as was the Chancellor of Queen’s (which was rather a surprise).  It was basically a drinks and canapés do but our esteemed Chancellor was prevailed on to sing a few numbers with the help of Rachel Andrist.  We got a ballad I didn’t recognise, Deh vieni alla fenestra, The Foggy Dew (arr. Britten) and Cole Porter’s Miss Otis regrets.  Fun, and a very welcome opportunity to hear something from Don Giovanni from a master of the role.

I had an interesting conversation with Sir Tom and Rachel about music in hospitals and now have a “to do” to sort out who to talk to at Sick Kids.  Oh yes, and to cap a filthy night, the lemur and I were engulfed in a tidal wave of filthy slush on our way to the subway and home.

Don Giovanni at the cinema

DG projectionsWe got to see Kasper Holten’s new Don Giovanni from the Royal Opera House in Toronto yesterday.  It wasn’t live but I really don’t think that matters.  I’m not going to dwell too much on production or performance because it’s already been extensively reviewed elsewhere.  I concur with the general tenor of the reviews that the singing and acting is extremely strong.  Certainly Holten got a more intense performance out of Mariusz Kwiecien than Michael Grandage did at the Met and Veronique Gens was a very fine Donna Elvira.  There really weren’t any weak links.

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Beggars in York

I managed to catch the end of the run of York University’s production of The Beggars Opera this afternoon.  It’s a hugely ambitious concept with a couple of hundred people involved.  The basic concept is that John Gay’s piece is being performed by inmates in a prison as part of their rehabilitation.  Layered onto this is an obnoxious talk show host who is commenting on the proceedings from a sort of gutter conservative perspective.  Add to this interpolations based on Lady Gaga, blues harmonica, ukulele and even a bit of Britten.  Fights break out between the cast and have to be dealt with by the prison warden and staff.  Equally, they intervene in over enthusiastic sexual encounters.  It’s brave but it rather tends to overwhelm the piece at the centre.BeggarsOpera-Lucy Lockit1 by Jeremy Mimnagh-233 Continue reading

Embroidered by blind nuns in Tuscany

Encounters was a one hour programme of short opera scenes by student composers to libretti by Michael Albano.  It’s the latest in a series of fully staged shows by student composers from the UoT Faculty of Music’s composition programme which has been running since 1997 and has included, for example Rob Ford, the opera.  It’s quite shocking that when that showed two years ago, as Dean Don McLean reminded us, the big Rob Ford story was about library closures.  Anyway, only one of yesterday’s five pieces featured Mr. Ford.

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Land of Smiles

Lehár’s Das Land des Lächelns must have seemed old fashioned even when it opened in 1929 in a Berlin that had already seen Wozzeck and Die Dreigroschenoper.  With its waltzes and gentle chinoiserie it looks back rather than forward musically and makes few demands on its listeners.  Similarly, the plot; a bittersweet romance between an Austrian aristocrat and a Chinese prince had nothing in it to disturb contemporaries though modern audiences might find the cultural appropriation a bit hard to take.  However, if Turandot doesn’t bother you this likely won’t either.

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AtG’s Messiah

Expectations could hardly have been higher for last night’s first performance of Against the Grain’s new production of Handel’s Messiah.  By and large they were met.  It’s become quite the thing to stage Handel’s oratorios and, for the most part, that’s fine.  They are really operas in disguise and work well when liberated from the concert setting.  Messiah is trickier.  Rather than a linear narrative there are a series of Biblical texts selected by librettist Charles Jennens to promote a literal and conservative evangelical Christianity.  There is no obvious staging solution.  One possibility is to invent a narrative and spin the story around it as Claus Guth did at Theater an der Wien in 2009.  AtG’s Joel Ivany’s solution is to stage it as a choreographed performance and use movement to bring depth to the words.  Here he is aided and abetted by choreographer Jennifer Nichols who has created a movement language tailored to the abilities and limitations of the singers.

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Chestnuts roasting on an open fire

margison090122Well there wasn’t actually an open fire at Koerner Hall last night, though one would have been very welcome on a very cold Toronto evening, but there were plenty of old chestnuts at the Great Songs of Italy concert given by the Ontario Philharmonic Orchestra under Marco Parisotto with tenor soloist Richard Margison.  The concert consisted of a mixture of opera extracts; vocal and instrumental, a couple of Neapolitan songs and Tchaikovsky’s Capriccio Italien.  It was a bit like eating one of those giant Toblerone bars all at once but I don’t suppose anyone really expected it to be any different and the audience for the most part loved it.

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Innovation

Needing something suitable to celebrate Britten’s 100th birthday I decided to go and see the National Ballet’s new show Innovation which premiered last night and included a piece set to the Four Sea Interludes from Peter Grimes.  A Pergolesi Stabat Mater with Emma Kirkby and Daniel Taylor was a considerable additional attraction.  I’m not a dance expert so take any comments on that subject that follow as the impressions of a complete non-expert.

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Die Frau ohne Schatten at the Met

We caught Richard Strauss’ Die Frau ohne Schatten at the Met on Wednesday night.  Expectations were high.  It’s Strauss, and rare Strauss at that.  It was our first time at the Met.  The on-line opera world was abuzz with Christine Goerke’s performance as the Dyer’s Wife.  By and large we weren’t disappointed.

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