Adam Paolozza’s Last Landscape opened at Buddies in Bad Times on Tuesday night. It’s an experimental piece about environmental collapse. It’s not exactly a “play”. There are no words. What there are are puppets, movement and sound.
Sunday afternoon saw VOICEBOX:Opera in Concert’s first performance in their new home; Trinity St. Paul’s. The offering was Gluck’s Alceste in the French language 1776 Paris version. Lauren Margison sang the title role with Colin Ainsworth as Admète. Guillermo Silva-Marin directed.
Trinity St. Paul’s has advantages and (perhaps) disadvantages over the Jane Mallett. It’s significantly better acoustically but much harder to do much in the way of staging. It’s a church and it looks like one with lots of carved wood and stained glass! I’m not sure that this is a disadvantage though. Rudimentary blocking with entrances and exits for the principals and concert wear is fine with me given that in either venue full staging wasn’t/isn’t very practical. The value proposition is more around getting to hear operas live that no-one else in Toronto is likely to do. I’m fine with that. Continue reading
Le Tre Soprano is an intriguing album based on the careers of the Three Ladies of Ferrara; three virtuosi who served as Ladies in Waiting to the young Duchess of Ferrara in the late 16th century and became sufficiently renowned as musicians that Tasso wrote poems about them and Monteverdi, Strossi and others wrote music for them.
The music on the album is all from that period, so it often sounds surprisingly “modern”.. It’s quite varied musically and very well performed by three excellent singers; sopranos Amanda Forsythe and Amanda Powell and mezzo Amanda Crider along with members of the American period ensemble Apollo’s Fire and their leader Jeannette Sorrell who is also responsible for the arrangements. The band consists of Francisco Fullana and Emi Tanabe – violin, Andrew Fouts – violin and viola, René Schiffer – cello, William Simms and Brian Kay – archlute, theorbo, and guitar, Parker Ramsay – baroque triple harp and Anthony Taddeo – percussion with Sorrell on keyboards.
The latest Opera Vision Youtube recording to catch my attention is a recording from L’opéra nationale de Paris of Spontini’s La Vestale. Productions of La Vestale are rare and most Opera Vision streams come from considerably less prestigious houses so this is particularly welcome. I reviewed a Palazetto Bru-Zane audio recording of this work in 2023 and I’m not going to repeat what I wrote about the performance history and the plot. Here I shall concentrate on the Paris performance.
My review of the Versailles video recording (DVD/Blu-ray) of André Grétry’s La caravane du Caire is now available at Opera Canada.
Back in 2013 I reviewed a 2009 DVD from La Scala of Donizetti’s Le convenienze ed inconvenienze teatrali and I was not impressed. However, having read several rave reviews for last year’s production at the Wexford Opera Festival currently being streamed on the Opera Vision channel on Youtube I decided toi check it out. I was pleasantly surprised. It’s still very silly but Orpha Phelan’s production with an excellent cast is actually amusing enough to carry two hours of video and was probably even more fun in the theatre.
George is a new CD from soprano Sonya Yoncheva and friends made up of music George Sand would have listened to and some readings fro her works. There’s a particular emphasis on Pauline Viardot; close friend of Sand and sister of Maria Malibran.
The music includes Chopin piano pieces played by Olga Zado, who also accompanies the songs. His Casta diva, based on the Bellini aria, is particularly interesting. There are songs by Leoncavallo, Delibes, Offenbach, Tosti and Liszt as well as piano music and songs by Viardot. On two of the songs Yoncheva is accompanied by mezzo Marina Viotti and Zado is joined by violinist Adam Taubitz for a Viardot Romance.
The Palazetto Bru-Zane’s video recording of Bizet’s Carmen; reviewed by me here, is going to be streamed (free) on the Opera Vision Youtube channel from January 10th.
This year’s New Year offering from Toronto Operetta Theatre is Imre Kálmán’s 1924 work Countess Maritza presented in Nigel Douglas’ English language version. It’s a pretty typical TOT offering. The work itself is a rather silly love story full of just about every cliché about central Europe bar vampires but it’s tuneful and the ten piece orchestra conducted by Derek Bate provides colour and volume enough for the Jane Mallett Theatre.
Resphigi’s 1931 work Maria Egiziaca was originally conceived as a concert work but very early on it became more common to perform it fully staged. That’s how it’s presented in a production earlier this year from Venice’s Teatro La Fenice though it actually took place in the smaller Teatro Maliban. It’s quite a short work; a little over an hour, and as the composer’s description of it as a “symphonic triptych” suggests it takes place in three scenes.
operaramblings 