The Devil Inside

I met with Tapestry Artistic Director Michael Mori earlier today to talk about the upcoming co-production with Scottish Opera of Stuart MacRae and Louise Welsh’s new opera The Devil Inside.  I’m not familiar with the work of either composer or librettist but each are well regarded in their own spheres; Welsh having made a name for herself with a number of psychological crime novels.  And that seems like a good background for adapting Robert Louis Stevenson’s The Bottle Imp on which the opera is loosely based. The story itself is extremely creepy.  Right up there in fact with, say, James’ The Turn of the Screw, which got turned into a pretty decent opera!

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A Little Too Cozy

So the cat’s out of the bag.  The long awaited where, when and who of Against the Grain’s Toronto run of A Little Too Cozy have been revealed.  A Little Too Cozy is the third and final instalment in a trilogy of Mozart “transladaptations” developed by AtG, which place the works in appropriate, non traditional opera, venues and which use English language librettos by Joel Ivany bringing the stories into a contemporary context.  The first two instalments; Figaro’s Wedding and #UncleJohn, sold out their Toronto runs.

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Another cinema experiment

Last night I ventured forth to experience another way of presenting “opera” at the cinema.  It was a film called Jonas Kaufmann – An evening with Puccini and was based around a recording of a concert Herr Kaufmann gave at La Scala last year with the Filarmonica della Scala conducted by Jochen Rieder.  The full program is here.

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Toy pianos on a bicycle

On April 1st and 2nd Bicycle Opera Project will present Travelogue; four new operas that explore travel by bicycle, car and rocket ship. It’s part of Toy Piano Composers’ inaugural Curiosity Festival

The four operas are:

April by Monica Pearce
Cycling up the Don Valley Trail, a young woman grapples with a decision she cannot put off any longer.

Road Trip by Elisha Denburg
What you’d expect from two guys on a road trip. Until it’s not.

My Mouth on Your Heart by August Murphy-King with a libretto by Colleen Murphy
Liam encounters Life and Death as he travels to the spot where his girlfriend died.

Waterfront by Tobin Stokes
On the shuttle to Mars, scientists dispute their quest. The perfect espresso? Or something else entirely?

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Ensemble Studio Marriage of Figaro

Once a season the young artists of the COC’s Ensemble Studio get to perform one of the company’s productions on the main stage of the Four Seasons Centre.  Last night it was the Claus Guth production of The Marriage of Figaro.  I’ve said enough about the production already here and here so let’s cut to the chase.

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Dmitri Hvorostovsky at Koerner Hall

20110128_dmitri-hvorostovksy-2A packed out Koerner Hall just saw something half way between an art song recital and a revivalist meeting.  To say that Mr. Hvorostovsky has a fan club would be a gross understatement.  He was greeted by cheers, every song got prolonged applause (alas for those of us who prefer some continuity in a set), there were more flowers than at Princess Di’s funeral and about the only thing missing was that, mercifully, no underwear got thrown on stage.  Oh, and, despite the requests to the contrary, the whole show was “artfully” lit by the constant flashes from phone cameras.  He also sang some songs.  In fact it was a nicely chosen mixture of Glinka, Rimsky-Korsakoff, Tchaikovsky and Strauss.  Full details are here.

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And rounding out February

2422-hvorostovsky_1The next couple of weeks have some items of interest. Tonight at 7pm Dmitri Hvostorovsky is singing at Koerner Hall with a program of Russian songs plus some Strauss.  This recital has been getting very good reviews in the US.  On Wednesday there is, after a fashion, a chance to see Jonas Kaufmann in concert.  It’s a cinema broadcast of a La Scala concert from last June and it’s an all Puccini program.  Curiously it’s directed by Brian Large who I had long since thought retired.  It’s being distributed by Arts Alliance who are the folks who do the ROH cinema broadcasts but the Met doesn’t seem to have got heavy on this so you can see it at your local Cineplex.  Full dates and listings are here.  Most Cineplex Odeon’s in the Toronto area have it at 7pm on Wednesday with a lunchtime repeat on March 20th.

The Marriage of Figaro continues at the COC.  Tomorrow night sees the Ensemble Studio performance, which is always fun, with the main cast on stage Tuesday, Thursday and Saturday (4.30pm show and pretty much sold out; as in there are 8 seats going at a lowest price of $258!).

Barbara Hannigan – Concert Documentary

The Hannigan obsession continues.  This time I’ve been looking at a DVD, Barbara Hannigan – Concert Documentary.  It’s in two parts.  There’s a recording of Hannigan as soloist and conductor with the Mahler Chamber Orchestra at the 2014 Lucerne Festival and there’s a documentary, I’m a creative animal, looking at her life and work.

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Another look at the Guth Figaro

Back at the Four Seasons Centre last night for another look at the current Claus Guth production of The Marriage of Figaro.  It was a somewhat different experience than opening night.  The timing and physical comedy seems to have crisped up and the audience seemed more relaxed.  There was a lot of laughter.  A lot.  I could see why too, although I have never thought of this as a “funny” production.  Indeed the 2006 Salzburg original earned its reputation as “the darkest Figaro ever”.  Interval conversation suggested that the production has been progressively “lightened up” in its various Salzburg revivals and maybe this was just the next step in that progression.  There seemed to be fewer dead birds too.  One effect of the shift was to bring the character of Figaro more to the fore.  I thought Joseph Wagner was a bit anonymous on opening night but he impressed me last night.

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Making sense of La Sonnambula

I’m not a huge bel canto fan so it’s probably no surprise that I had, previous to this DVD, only seen Bellini’s La sonnambula once.  That was in Mary Zimmermann’s messy production at the Met which had left me with the impression that it was a rather feeble comedy with formulaic music and not much improved by Zimmermann’s attempts to sex it up.  I did wonder if it might be improved by the full on Regie treatment and so I was quite happy to have a chance to see the DVD of Jossi Wieler and Sergio Morabito’s 2013 Stuttgart production, especially as it had played to significant critical acclaim and won a bunch of awards.  I was surprised and impressed.  Far from being a cavalcade of extraneous elements (the usual charge levelled at Regie), this production probed the libretto and the source materials in a highly intelligent way to produce something really rather moving.  The music is still what it is; tuneful, well crafted but hardly deep, but there you go.

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