Livening up

8769_clementine_margaineI didn’t do a preview post on Sunday so let’s remedy that with one covering the balance of this week and next week.  Carmen continues at the COC with the first chance to see the second cast tomorrow evening.  There’s also a slew of lunchtime concerts in the Richard Bradshaw Amphitheatre:

  • Russell Thomas, Don José in Carmen, is on Thursday 21st with a program of that includes Schumann’s Dichterliebe.
  • The next day, Clementine Margaine, the second cast Carmen, performs French and Spanish love songs.
  • On Tuesday 26th, Simone Osborne, the first cast Micaëla, has a program including Debussy’s Ariettes oubliées as well as works by Matthew Emery, Mozart and Cole Porter.
  • Thursday 28th sees the annual collaboration between the Ensemble Studio and their counterparts from Montreal.

All of these are at noon and are free.

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Toronto Summer Music Festival

There’s quite a lot for the vocal music fan in this year’s Toronto Summer Music Festival though the only operatic opening is getting a bit Twilight Zone.  How often does an opera like Britten’s Rape of Lucretia get done in Toronto?  Well for now the answer is twice in quick succession because besides the MYOpera production later this month we are also getting a “semi-staged” version on July 22nd at 7.30pm at the Winter Garden Theatre.  It is a transplant from Banff originally created by Joel Ivany and Topher Mokrzewski but to be directed here by Anna Theodosakis.  The cast includes Emma Char (Lucretia), Peter Rolfe Dauz (Junius), Beste Kalender (Bianca), Jasper Leever (Collatinus), Iain MacNeil (Tarquinius), Ellen McAteer (Lucia), Owen McAusland (Male Chorus), and Chelsea Rus (Female Chorus).  That’s a pretty good cast but it does seem an odd choice.  Is the King Street streetcar contagious?

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Schubert in the spring?

ollarsaba.jpgOff Centre Music Salon concluded their 2015/16 season with their 21st annual Schubertiad concert.  It kicked off, in normal OC style with young artists.  In this case Kallas and Vikas  Chari with a very competent rendering of the Allegro vivace from the Marches Militaires.  Then it was onto the main event; tenor Jeffrey Ollarsaba and Boris Zarankin performing Die Schöne Müllerin.  It was good.  Ollarsaba has quite a light, bright, rather pretty tenor and he can float  rather beautiful high notes.  I don’t know how it would go in a big opera house but it was well suited to the music and the relatively intimate Trinity St. Paul’s.  His diction and phrasing were close to ideal and his vocal acting was appropriately expressive without getting histrionic.  Some would consider him a bit over demonstrative in the hand and face gestures department but that rather seems to be the American way with lieder.  Zarankin accompanied sensitively.  He can play quite beautifully but he was also quite aggressively percussive in the more dramatic sections.  All in all most satisfying.  The concert concluded with Ilana Zarankin and clarinetist Colleen Cook joining Boris for Der Hirt aus dem Felsen.  It’s a curious work; somewhere between a lied and a concert aria with it’s many repeated sections and variations.  There was some really beautiful clarinet playing here which worked very well with Ilana’s bright timbre.  So, a pleasant way to spend an April Sunday afternoon but a bit of a downer to head out of a concert that pretty much concludes with “Der Frühling will kommen, Der Frühling, meine Freud'”into a snowstorm.  Some Frühling!

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Last week of winter?

6The coming week may be the last quiet one before May madness sets in.  This afternoon Off Centre Music Salon have their 21st annual Schubertiad.  Ilana Zarankin and Jeffrey Ollarsarba will sing Die Schöne Müllerin and Der Hirt auf dem Felsen with Boris Zarankin and Ina Perkiss at the piano.  It’s at 3pm at Trinity St. Paul’s.  Apart from that there’s really only (only!) the opening of the COC’s production of Bizet’s Carmen on Tuesday.  That, of course, is at the Four Seasons Centre.

 

Peepshow

I find it somewhat ironic that while “traditionalists” want to return to the opera house experience of the 1950s, there are younger, more radical, groups that look more to the opera audience experience of the 1750s.  The argument goes “Young people don’t come to the opera house because of the experience.  It’s a stuffy crowd.  You have to sit still and quiet for hours in the hushed, darkened auditorium.  You can’t get trashed, just maybe a glass of wine at the interval if you are lucky”.  Thank you Mahler and Wagner with your Holy Temple of the Arts!  Whatever happened to going to the opera house to hang out with your friends, play cards and bonk that rather cute countess in the discretely dark recesses of her box?

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Some announcements

pearleharbourFor those of you who were wondering “whatever happened to Opera 5?” they are back, and with some pizzazz (and possibly some pizza).  Their upcoming show is an “immersive” version of the Johann Strauss classic Die Fledermaus.  In act 2 patrons will be encouraged to interact; to dance with the cast, gamble at the tables, snort coke with Prince Orlofsky (ok I made that up) etc.  The cast includes Michael Barrett, Rachel Krehm, Julie Ludwig and Erin Lawson with drag queen Pearle Harbour as Ivan and emceeing.  Aria Umezawa and Jessica Derventzis direct with Patrick Hansen conducting.  It plays at 8pm on June 8th to 11th at 918 Bathurst Street.  Tickets at www.opera5.ca.

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Fashion first at the COC

neefbeard

Intellectual and Germanic

Observers of the Toronto opera scene will have noted the creeping influence of facial hair in the industry locally.  Perhaps it didn’t start with COC General Director Alexander Neef’s intellectually Germanic goatee but who could deny that it had a profound impact.  Earlier this week the four tenors of the Ensemble Studio appeared together sporting face rugs in varying stages of development and the scene is replete with other notable beardies.  Geoff Sirett, Robert Gleadow, Greg Finney and Alexander Dobson come to mind.  It’s almost compulsory, it seems, for baritones.   Continue reading →

Opera Access for New Canadians

helloIt’s the logical follow up to Alexander Neef’s speech on the opening night of The Marriage of Figaro run.  The COC has announced  the creation of Opera Access for New Canadians, a community outreach and engagement initiative. It will offer newcomers to Canada, including immigrants and refugees, and new Canadian citizens access to dress rehearsals and selected performances. The first phase begins this spring with the COC joining the Institute for Canadian Citizenship’s Cultural Access Pass (CAP) program, which offers new Canadian citizens one year of complimentary admission to more than 1,200 cultural attractions across the country.  (There are 1,200 cultural attractions in Canada, who knew?) Continue reading →

Poisson d’avril

osolemeowAs we approach All Fools Day the calendar starts to get busier.  On Tuesday 29th March there’s a concert at lunchtime in the RBA called The Four Tenors.  In this case it’s Andrew Haji (lucky St. Louis folks can see him as Rodolfo next season), Jean-Philippe Fortier-Lazure, Charles Sy, and Aaron Sheppard.  The program is a bit predictable and, yes, there are Neapolitan songs, though not, at least according to the on-line version O sole mio.  Also no Nessun dorma so I think we have a handle on the possible encores.

Then it’s on to April 1st itself and here the gods are laughing.  At 5pm, at the McMillan Theatre, UoT Opera are doing the The Art of the Prima Donna; a selection of staged and costumed scenes from classic operas.  Parts of this were performed in the RBA in October last year.  Then at 8pm at the Arts and Letters Club, Bicycle Opera Project and the Toy Piano Composers’ Collective have a show called Travelogue featuring short operas about travel.  This one is repeated on the 2nd.  Finally, Voicebox:Opera in Concert are premiering Isis and Osiris by Peter Anthony Togni and Sharon Singer.  This one is at 8pm at the Jane Mallett Theatre and it’s sponsored by the Egyptian Tourist Authority who can probably use all the help they can get right now (and no jokes about pyramid marketing schemes please).  This one is repeated at 2.30pm on Sunday 3rd April.

Coming up

strangerWith Easter almost upon us it’s not surprising that the upcoming week is a bit light.  Tonight Danika Lorèn and friends at Collectìf have a show at Heliconian Hall at 7.30pm.  It’s called As a Stranger and is their take on Schubert’s Winterreise.  I’ve been quite taken by this young group’s efforts to date.  Tickets are available here.  Then tomorrow night Andrew Haji, Megan Quick and a chamber orchestra drawn from the university faculty have a concert in Walter Hall at 7.30pm.  Featured works include Schoenberg’s Die Waldtaube from Gurrelieder and Mahler’s (arr. Schoenberg) Das Lied von der Erde.  Tickets from the MacMillan box office.