Love is stronger than death

The 1996 Glyndebourne Theodora, featuring Dawn Upshaw as Theodora and David Daniels as DidymusPeter Sellar’s production of Handel’s Theodora has long been one of my favourite video recordings of opera.  It’s brilliant in so many ways and I don’t think I’ve ever made it through the whole thing without tearing up. It’s now been remastered from the original tape and reissued on Blu-ray.  The video and sound quality are distinctly better than previous DVD releases though not, inevitably, in the same class as the best modern recordings.  It’s also still a depressingly bare bones release with no extras and minimal documentation but don’t let that put you off.

My original review is here.  I thought about rewriting it but for the most part I stand by my original comments.  The only judgement I’d change is that, on greater experience, I do think this is one of Handel’s best works.

Nihilist Night at the Opera

punchLater this month I’ll be attending a double bill of Barber’s A Hand of Bridge and Jean-Paul Sartre’s Huis Clos.  The latter, for those who don’t know the play, is the one with the famous line “L’Enfer; c’est les autres”.  I posted the details earlier.  Anyway, this led me on a train of thought that ended with the idea of Nihilist Night at the Opera; a sort of antidote to Rossini.  Ideally Nihilist Night would feature a double or triple bill of unrelievedly depressing operas and should leave the audience with no hope at all for humanity.

What might qualify?  Wozzeck coupled with Moses und Aron seems just about ideal.  Want something more contemporary?  How about Turnage’s Greek coupled with Birtwistle’s Punch and Judy?

The lines are open.

And now for something completely different

It’s March break in Toronto which means lots of children friendly activities.  Yesterday’s lunchtime concert at the Four Seasons Centre was one of them.  It was a session/performance by soprano/educator Kyra Millan together with sidekicks baritone Jesse Clark and pianist Christina Faye.  There were lots of kids, mostly quite young, there.  Some had even brought their parents.

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Catholic kitsch

Don Giovanni is one of the most fascinating operas in part because it can be reinterpreted in so many different ways.  There’s also the tension between a story with elements of murder, rape, revenge and damnation and broad humour.  It’s tricky to find a balance.  There’s also a decision to be made between a concept based production and a more laissez faire approach.  Francesca Zambello’s production for the Royal Opera House, recorded in 2008 doesn’t really have a concept and sort of goes with the flow mixing very broad humour with lots of Catholic kitsch and some flamboyant stage effects.  As a production I find it distinctly underwhelming.

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Upcoming shows

bridgeThree shows that might be worth a look are coming up in the GTA.  Essential Opera are doing a show called Two Weddings and a Funeral which pairs Puccini’s Gianni Schicchi with Donizetti’s Il campanello.  It’s at Heliconian Hall on March 15th at 7.30pm.  It will be semi-staged with piano accompaniment.  Soup Can Theatre are also presenting a double bill of Barber’s A Hand of Bridge and Sartre’s No Exit (in English translation).  The former will be accompanied by a 14 piece band and the latter, no doubt, by wailing and gnashing of teeth.  The show runs March 28th to 30th at the Tapestry Opera Studio in the Distillery district.  Finally, Opera Hamilton are presenting Bizet’s Les pêcheurs de perles at the Dofasco Theatre in Hamilton.  This is a fully staged show with full orchestra and features Virginia Hatfield and Brett Polegato.  There are four shows from March 9th to 16th.  At time of writing no sopranos had been injured by falling scenery.

Campy Clemenza

1.sestovitelliaBesides the production of La Clemenza di Tito still in repertory at the Met, Jean-Pierre Ponelle also made a film of the piece.  It was shot among the ruins of ancient Rome in 1980 and is one of those lip synched opera films popular in that era.  The forces involved are eclectic.  James Levine conducts the Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsopernchor with mainly American soloists.  Continue reading →

Finding the Holy Grail

Yesterday’s Met Live in HD broadcast of Parsifal was one of the best I’ve seen.  The production is highly effective, the starry cast lived up to the hype and the video direction was sensitive and true to the staging.  Any reservations I have about the experience are due to the work itself but that may be matter for another day.  It certainly reinforced my belief, consolidated by seeing Tristan und Isolde twice recently that these big Wagner operas are high risk, high reward.  When they come off they are incredible.  When they don’t it’s six hours of one’s life gone missing.

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Kurtág and Janáček at the Extension Room

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Joel Ivany

Against the Grain Theatre have another hit on their hands.  Joel Ivany once again successfully combines young talent, unusual repertoire and a funky performance space to create a brilliant evening of song and story.  This time the space was a yoga studio on Eastern Avenue and the works on offer were the Kafka-Fragments op. 24 by György Kurtág and The Diary of One Who Disappeared by Leoš Janáček.  Neither work was written for the stage but both were well suited to Ivany’s sensitive direction and Michael Gianfrancesco’s minimalist “sets”.  Continue reading →

The Giacomo Variations

giacomoMichael Sturminger and John Malkovich are bringing their latest collaboration The Giacomo Variations to Toronto.  I really liked their earlier piece, The Infernal Comedy and this new one seems to be similar in concept; blending Malkovich monologues with Mozart’s music.

The Giacomo Variations plays at the Elgin Theatre June 7th to 9th.  Montrealers can catch it at the Place des Arts on the 4th and 5th.