A glorious romp

Posted on April 18, 2015 by operaramblings

The COC’s new production of Rossini’s The Barber of Seville opened last night at the Four Season’s Centre. The production is by the Catalan collective Els Comediants, the same team who did La Cenerentola a few seasons back, with direction by Joan Font and designs by Joan Guillén. It’s a riot in a good way. It’s bold, colourful and very well choreographed. There are giant props; for example a huge guitar from which Almaviva sings his serenade and a giant pink piano which serves for all kinds of shenanigans. A lot of the “sung action” is doubled by actors in a sort of on stage projection cube. Scene changes are “on the fly” and the curtain only comes down for the interval and the end. Bold, clever, slick.

Alek Shrader as Count Almaviva. Photo: Michael Cooper

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Toronto Summer Music and more

Posted on April 17, 2015 by operaramblings

For those of you who won’t be glued to the underwater cycling at the Pan-Am games there is actually music on in Toronto over the summer. The tenth Toronto Summer Music Festival features a wide range of events in many genres. The ones likely to be of most interest to AR readers follow.

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Song for Athene

Posted on April 17, 2015 by operaramblings

Last night’s Soundstreams concert at Trinity St. Paul’s was devoted to works by John Tavener and people who were close to him. The principal performers were soprano Patricia Rozario, Choir 21 and the Toronto Children’s Chorus joined, as needed by Christopher Dawes on piano and organ and Erica Goodman on harp. Conducting duties were split between Elise Bradley and David Fallis. There was plenty of explanatory material from artistic director Lawrence Cherney plus some from Ms. Rozario as well as taped comments from Tavener to set up the pieces.

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The Met’s Maria Stuarda on DVD

Posted on April 16, 2015 by operaramblings

Donizetti’s Maria Stuarda featured in the MetHD series in January 2013 and has now been released on DVD. My review of the cinema broadcast is here. It’s always a bit different watching the DVD rather than the cinema version but in this case I think my somewhat different reaction has a lot to do with having recently seen various versions of the other Schiller/Donizetti Tudor queen operas, especially Stephen Lawless’ Roberto Devereux at the COC.

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Opera Atelier reverts to style

Posted on April 10, 2015 by operaramblings

Opera Atelier’s spring production; Gluck’s Orphée et Eurydyce, opened last night under most unspringlike conditions. Much had been made in the run up to the opening of the use of Berlioz’ 1859 performing edition, representing Tafelmusik’s deepest push into the 19th century and I think many of us were wondering how far this somewhat different sensibility would be reflected in the staging. In the event it was a non event. Connoisseurs of 19th century brass instruments might just have been able to hear a difference between the cornets à piston used in place of the natural instruments but nobody I talked to could. The staging too was a remount of a previous production in classic Opera Atelier style though some of the dance numbers did feature point shoes and a more athletic style; notably the pas de deux in the closing ballet which was surely the terpsichorial highlight of the evening.

Mireille Lebel (Orpheus), Peggy Kriha Dye (Eurydice) and Meghan Lindsay (Amour). Photo by Bruce Zinger.

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Calgary Opera announces 2015/16 season

Posted on April 9, 2015 by operaramblings

Calgary once again offers three main stage performances. The season opens with Delibes’ Lakmé. It’s a Tom Diamond production so probably not very Regie. Aline Kutan, seen as Queen of the Night in Toronto not so long ago, sings the title role with Andrea Hill as her sidekick Mallika. Lakmé’s paramour, the handsome British officer Frederic, is sung by Canadian opera’s current answer to Rudolph Valentino, Cam McPhail. Gordon Gerrard conducts. There are three performances on November 21st, 25th and 27th.

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Poetic Love

Posted on April 9, 2015 by operaramblings

Today’s lunch time concert in the RBA was a lieder recital by two Ensemble Studio members; bass-baritone Gordon Bintner and tenor Andrew Haji. Both singers sang settings of texts by Heinrich Heine. Bintner, accompanied by Jennifer Szeto kicked off with selections from Schubert’s Schwanengesang to be followed by Haji and Liz Upchurch with Schumann’s Dichterliebe.

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Béatrice and Bénédict

Posted on April 9, 2015 by operaramblings

Here’s another listing I missed in the chaos of moving back into the Kitten Kondo. Metro Youth Opera have a run of three performances of Berlioz’s Béatrice and Bénédict at the Daniels Spectrum (Aki Studio). The shows are on April 24th and 25th at 7.30pm and the 26th at 2.30pm. Alison Wong directs with Natasha Fransblow as Music Director. The cast includes Simone McIntosh as Béatrice and Asitha Tennekoon (Paris in the recent GGS La belle Hélène) as Bénédict. Full details and tickets are available here.

Katerina Izmailova

Posted on April 9, 2015 by operaramblings

Shostakovich’s The Lady Macbeth of the Mtsensk District has become a modern classic but only after it was the cause, or at least purported cause, of his disgrace under Stalin in which the work was criticised both for the subject matter and the “bourgeios formalism” of the music. A revised version of the work was made into a film under the title Katerina Izmailova in 1966 as part of Shostakovich’s formal rehabilitation in the Soviet Union.

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More contemporary music

Posted on April 3, 2015 by operaramblings

Andrew Ager’s Führerbunker is coming to Toronto under the auspices of the Centre for Opera Studies in Italy. It plays at the Tranzac Club on May 1st and 2nd at 7.30pm. It’s a one hour piece, in German, dealing with the last days of the Hitler regime. There’s an article about it at Musical Toronto. Tickets are available here.

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