Upcoming events – mostly November

Posted on October 23, 2015 by operaramblings

As ever there’s no shortage of announcements of new and interesting stuff in the Toronto area. Here are a few from the inbox. Next week, there’s a premiere of David Warrack’s oratorio Abraham. It’s a multi-faith event in aid of the Syrian Refugee Program at Metropolitan United Church. It’s on Wednesday, October 28th at 8 p.m. at Metropolitan United Church, 56 Queen Street East, Toronto. Richard Margison stars as Abraham and joining him are five principal vocalists; Ramona Carmelly, Meredith Hall, Hussein Janmohamed, George Krissa and Theresa Tova, three choirs: the Elmer Iseler Singers, the Jarrahi Sufi Choir with Whirling Dervishes,and the Bach Children’s Chorus David Warrack will be at the piano. Whirling Dervishes? Get in! It’s a good cause. General admission tickets are $54; $36 for students. $75 VIP tickets offer reserved seating and an invitation to the post-concert reception. Tickets and more information at www.abrahamoratorio.ca. Continue reading →

Opera Atelier at 30

Posted on October 23, 2015 by operaramblings

Opera Atelier opened their 30th season last night with Lully’s Armide. It’s hard to think of a work that better encapsulates what Opera Atelier is and has always aspired to be. It’s French, it’s 17th century and it’s heavily dependent on ballet, and ballet of an aesthetic that pretty much defines Opera Atelier. The whole Opera Atelier aesthetic package is there in spades. Bare chested male dancers in tights that leave little to the imagination, heaving bosoms, ladies twirling prettily in full skirts, castanets and finger cymbals, chorus singing off stage, camp “baroque” acting, tight buttocked homoeroticism, singers cast as much for eye candy value as vocals, a tendency to play for laughs,Tafelmusik. To be fair, there were a few innovations. I think I heard a more “realistic” vocal style. The singers were prepared to make ugly sounds when the emotional context demanded it, rather than an endless flow of prettiness. The homoeroticism got a BDSM twist in Act 3. Still, this was very much “by the book” Opera Atelier and if that’s your bag you’ll love it.

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A worthy cause

Posted on October 21, 2015 by operaramblings

This just in. Apparently Dean Burry doesn’t drink enough beer to generate a sufficient supply of bottle caps to make himself an Ugly Stick. I find this hard to believe and probably puts his Newfoundland citizenship at risk but there you go. So, he wants your bottle caps and he wants them by November 15th. Send your bottle caps via post (apparently this still exists) to Toronto Masque Theatre, 383 Huron Street, Toronto M5S 2G5. For larger donations (Robert Pomakov are you reading this?) and alternative delivery methods, please call TMT on 416 410 4561.

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Pyramus and Thisbe – a world premiere

Posted on October 21, 2015 by operaramblings

The new COC creation Pyramus and Thisbe with music by Monteverdi and Barbara Monk Feldman opened last night at the Four Seasons Centre. I was expecting abstract and cerebral, which it is, but I was rather expecting that I might admire it more than enjoy it. As it turned out it was a remarkably satisfying show on many levels.

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Five operas from the last fifty years

Posted on October 20, 2015 by operaramblings

Lisa Hirsch asked on Twitter the other day for suggestions for the five most important operas written since 1965 (i.e. in the last fifty years). It’s a really interesting question and I pinged off a quick, semi-considered response. Thinking about it some more I think I would stick with my choices. (Obviously I haven’t seen every eligible opera but it surprises me a bit how many I have seen live or on DVD). So here are my picks:

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Coming up

Posted on October 18, 2015 by operaramblings

There are a couple of opera openings next week. Pyramus and Thisbe; the Barbara Monk Feldman, Monteverdi, Chris Alden creation, opens at the COC on Tuesday 20th for a run of seven shows and Opera Atelier are opening a run of six shows of Lully’s Armide at the Elgin starting on Thursday evening. Both shows are very much a case of Canadian talent on display with no big international names. La Traviata continues at the COC in tandem with Pyramus and Thisbe.

There’s one interesting new announcement for the following week. Amanda Smith and Alaina Viau are collaborating on a show called Toronto Darknet Market. It’s inspired by those parts of the internet that even I don’t know about and will run as a sequence of three performances on the 29th starting at 8pm. It’s at 8-11 which is at 233 Spadina (south of Dundas). It’s a PWYC fundraiser for a chamber production of Médée by Marc-Antoine Charpentier next year. Toronto needs more staged baroque opera that’s not Opera Atelier so this initiative deserves support. There will be good young singers on display with music by Purcell, Berg and Cage among others.

Line up for Centre Stage announced

Posted on October 16, 2015 by operaramblings

So we now know who will be singing at Centre Stage, the COC’s gala competition for aspiring young singers with both cash prizes and places in the Ensemble Studio up for grabs. There are, I think, only two that I’m at all familiar with; soprano Eliza Johnson who was a finalist last year and baritone Zachary Read who was a rather good Sid in UoT Opera’s Albert Herring a couple of years ago. The other six are mezzo-sopranos Emily D’Angelo, Lauren Eberwein, Marjorie Maltais and Pascale Spinney, soprano Samantha Pickett and baritone Bruno Roy. Wow! Four mezzos so the mezzo mafia will likely be ecstatic. No tenors but with four already in the Ensemble Studio that’s probably a good thing. Centre Stage is on November 3rd at 5.30pm at the Four Seasons Centre with a cocktails (well wine mostly) and rather good snacks before the competition itself. Tickets are $100 from the COC box office or coc.ca.

Innocence/Experience

Posted on October 16, 2015 by operaramblings

American mezzo-soprano Jennifer Rivera, with pianist Myra Huang, has recently released a CD of songs by contemporary American composers titled Innocence/Experience. There are four , fairly contrasting, sets of songs by different composers. The first group are settings of texts by Garrison Keillor with music by Robert Aldridge. The texts are predictably sentimental and the music is rather retro. It sounds like it might have come from a musical comedy in the 1940s. It’s not inappropriate for the texts but seems a little out of time. It suits Rivera’s voice though. Her strength is definitely in the lower register where there is a pleasing smokey tone.

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Diva, diva, diva

Posted on October 15, 2015 by operaramblings

Danika Loren

Today’s lunchtime concert in the RBA featured the assembled students of UoT Opera in a staged programme called The Art of the Prima Donna. It was a sequence of mostly ensemble numbers drawn from the core 19th century rep. Verdi, Tchaikovsky, Puccini, Donizetti, Bellini, Bizet and Rossini all featured with works made famous by the great divas of the era’ Patti, Pasta, Malibran etc. Linking narrative, which skipped over who slept with Rossini, was provided by Michael Albano who directed the staging with Anna Theodosakis. Sandra Horst headed up the musical side and accompanied with help from Sue Black, Kate Carver and Ivan Jovanovic. Continue reading →

None so blind

Posted on October 14, 2015 by operaramblings

So Opera Lyra in Ottawa has closed down. Here’s the announcement. I’m a little sad that the performance opportunities for hard working but under employed Canadian singers have been reduced but that’s pretty much the extent of it. I’ve watched Opera Lyra as they have lurched along, season after season, with traditional productions of the most mainstream of mainstream operas. Carmen has followed Traviata has followed Figaro. All in the very expensive National Arts Centre; fully staged with a big, expensive orchestra even as their finances have tanked. The strategy has shown all the imagination of a British general on the Western Front in 1916.

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