An anti-Valentine

selig_franz_josefToday’s lunchtime recital in the Richard Bradshaw Amphitheatre was a recital of Schubert and Strauss songs on the theme “Love’s Dark Shore”.  The performers were German bass Franz-Josef Selig, in town singing King Marke in Tristan und Isolde, and the COC’s own Rachel Andrist at the piano.  There wasn’t much about “Love” in the pieces chosen but there was plenty of death, depression and despair.  One might think it would be a complete downer but nobody could possibly be depressed witnessing the artistry of Selig.

Those who have heard Selig in Tristan know that he has a massive voice.  It was fascinating to hear him turn it to lieder.  He is a very German lieder singer in the best possible way.  He enunciates with great clarity and gets full value out of the meaning of every phrase.  He clearly loves the texts.  He also manages his huge voice wonderfully.  Mostly he sang quite quietly with beautiful legato and perfect control but when he wanted volume it was there in abundance and without strain.  He also has a real range of tone colour and sheer beauty of tone.  Often he sounded more like a baritone than a bass but he could get almost tectonically low when he needed to.  It was very impressive.  Rachel’s accompaniment was perfectly fine too though I think most of the audience was focussed on the voice.

I did hear a few grumbles about the unrelieved darkness of the material but I felt the works suited the singer and it was, as these things are, a fairly short programme so the lack of variety didn’t really bother me.  All in all, a very worthwhile way to spend one’s lunch break.

Stop Press

Jusimone_sst in!  Soprano Simone Osborne replaces Layla Claire in the Coast Salish themed Magic Flute at Vancouver Opera opening March 9th.  Simone will sing five of the six performances with Rachel Fenlon singing the final show.  Simone’s recent stay in Scotland should have got her suitably acclimatized to lots of grey, rainy days.  It’s apparently sung in English and hən̓q̓əmin̓əm̓ so I hope her hən̓q̓əmin̓əm̓ is in good shape.

She’ll join, among others, recent Met debutante Joshua Hopkins as Papageno, Teiya Kasahara as the Queen of the Night and the guaranteed to be hilarious Michael Barrett as Monostatos.

Back to Tristan

Last night the lemur and I braved the biggest snow storm in several years to catch Tristan und Isolde at the Four Seasons Centre.  It was the same production I saw last Tuesday but with Michael Baba and Margaret Jane Wray replacing Ben Heppner and Melanie Diener in the title roles.  I was also sitting at the front of the Orchestra Ring which is a very different sight line than the back of Ring 3.  There’s no way to avoid saying this, it was hugely disappointing and especially so as it was the first time the lemur had seen the show and I had been talking it up excitedly since Tuesday.  Baba and Wray sounded underpowered and under-rehearsed.  The big Act 2 duet, O sink’ hernieder, Nacht der Liebe, that had left me literally shaking on Tuesday merely left me shaking my head.  What had been a glorious, transcendent, hypnotic wave of sound had turned to mush.  It was a relief when Franz-Josef Selig, King Marke, took over.  At last we got some Wagnerian singing of style and class.  Act 3 wasn’t much better.  To be fair, the rest of the cast was just as good as on opening night and the orchestra deservedly got the loudest and longest applause of the night.  But Tristan und Isolde needs, as Isolde points out, Tristan and Isolde.

Tristan und Isolde - 0013 - Credit Chris Hutcheson

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Opera Atelier announces 2013/14 season

abductionToronto based Opera Atelier have announced their 2013/14 season.  The Fall production is a revival of the company’s 2008 Abduction from the Seraglio sung in German with English dialogue (groan).  Casting is Lawrence Wiliford as Belmonte, Ambur Braid as Konstanze, Carla Huhtanen as Blondie, and Adam Fischer as Pedrillo and Gustav Andreassen as Osmin.  A no doubt bare chested Curtis Sullivan will play the non-singing role of Pasha Selim.  It’s an interesting cast especially considering the impact Ambur has been making recently and I’ll more than likely take a look.  Continue reading →

Sic Semper Tyrannis

12-13-E-04-MC-D-0071 Last night saw the COC Ensemble Studio’s annual main stage performance.  This year it was Mozart’s La Clemenza di Tito in a Christopher Alden production.  It’s a somewhat quirky production that I haven’t fully digested yet and may need to wait until after seeing the main cast on the 22nd to come to a more considered view.  My initial reaction is that it has a lot of interesting ideas, maybe one or two misguided ones and that the whole thing, while interesting, isn’t completely coherent.  That said, Alden productions often seem more coherent second time around.  And whatever I might think of the production, it didn’t distract from some very fine performances.

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On the tyranny of word limits

scribeWriting a review for a print publication rather than for this blog was an interesting process.  I think three things were weighing on my mind.  First was the sense that I needed to be, in some sense, “objective”.  Inevitably a review expresses a personal opinion but I felt a greater need to be “fair”.  In that respect I was very glad it was a good performance because I would not have been able to do my usual thing of just ignoring or skating over sub-par performances.  I also felt that I needed to avoid quirky observations and to stay on topic rather than wander where my interest and inclination led.  Finally there was this word limit thing; 375-400 words.  My initial reaction was how was I going to find that much to say about a performance that was basically a concert without sets or scenery, though there was some rudimentary blocking.  After all, I usually I devote at least as much space to the dramatic aspects as compared to the musical.  In the event the opposite was very much the case.  It proved horribly difficult to condense down to the required length.  All discussion of the “production” went by the board.  All I had room for was a brief discussion of how the piece had been cast from a voice type perspective, commentary on the singers’ performances as vocalists (not actors) and a brief note on the size and sound of the band.  And that was my word limit gone.

In which I go over to the Dark Side

Regular readers will know that I’m not always as deferential to critics of the print media persuasion as they think I ought to be.  Well strange things happen.  Today, no doubt on account of the fact that anybody remotely qualified to review opera was at the opening performance of COC’s La Clemenza di Tito, I saw Opera in Concert’s production of Handel’s Orlando on Opera Canada magazine’s dime.  My review will presumably appear there at some point if it isn’t completely awful.

Précis… it was really rather good.

Chen Kaige does Turandot

Zubin Mehta seems to be making a habit of teaming up with Chinese film directors to stage Turandot.  This time the director is Chen Kaige (Farewell My Concubine) and he chose Liu King and Chen Tong Xun to do the sets and costumes.  The production in question took place at Valencia’s I Festival del Mediterrani in 2008.  It’s actually in an opera house rather than on location in the Forbidden City but this production ends up having a rather similar look and feel to Zhang Yimou’s earlier one.

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Ever wanted to be a nun or an executioner?

Then read on…

COC FILLING OVER 100 “Super” roles for spring productions

Toronto – On Saturday, February 16, 2013, the Canadian Opera Company will hold an open call to fill the 117 supernumerary roles needed for its three productions presented this spring: Lucia di Lammermoor, Salome and Dialogues des Carmélites.  Supernumeraries, a.k.a. supers, are the extras of the opera world and play a variety of non-singing roles.  They are vital to enhancing the operatic experience presented on stage.  The COC encourages adults between the ages of 18 and 65 to attend this open call, taking place from

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