The COC Annual Report 2011/12

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The Canadian Opera Company’s Annual report is out. You can find it here.  It not unreasonably lauds the COC’s considerable artistic achievements over the last year as well as its extensive and commendable outreach activities.  It also contains, albeit in no great detail, the financials.  Now, as a former management consultant, I know that’s the one bit of an Annual Report that’s hard to spin though most CFOs will try.  Being the analyst that I am I ran a few numbers and the results were a bit disturbing.  It was obvious that the financial position had deteriorated though the extent only revealed itself when I looked back to 2009/10 as a comparator.  Here are a few statistics comparing 2011/12 with 2009/10.

  • Capacity (i.e. seats to be sold): up 7% (this is approximate and calculated from ticket sales and reported capacity figures)
  • Seats sold: down 8%
  • Average price per seat sold: down 10%  (From $97.97 to $87.86; which seems quite low really)
  • Leading to a drop in ticket revenue of 18%

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Rigoletto in Zürich

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This is another of those Arthaus Blu-ray disks that’s sold at a silly cheap price as a carrier for two hours of trailers from the Arthaus catalogue.  That said, it’s very high quality indeed.  GIlbert Deflo’s production is, in the end, quite conventional though with careful and effective Personenregie.  He does trick us a bit at the start.  The scene opens with what is, apparently, a rather louche 16th century court entertainment/orgy.  There are bare breasted women and dancers of both sexes dressed as Satanic imps.  Everyone is in period costume including Rigoletto with jester hat, bells etc.  The scene is, perhaps, what we expect.  The “ladies” are very receptive to the duke’s advances.  The men are resentful but not actively so.  Then in comes Monterone in mid 19th century dress to denounce the proceedings and we, perhaps slowly, realise that this is a costume party.  From there on there’s nothing very tricksy.  The story gets told effectively and straightforwardly.  We have been pulled, effortlessly, from the time of the libretto to the time of first performance and the parallels are drawn.

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Good news!

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Intermezzo reports that Harrison Birtwistle’s 1991 (revised 1994) opera Gawain is to be performed at the 2014 2013 Salzburg Festival.  I saw this when originally broadcast on TV in the UK and really want to see it again.  I’m hoping that there will be a DVD release as it’s unlikely(!) that I will make it to Salzburg.  I’m half surprised that it hasn’t been performed again or spread beyond Covent Garden (same is true of The Minotaur of course).  But only half surprised.  There seems to be a real reluctance currently to produce work that is seen as less “accessible”.  There are exceptions of course.  Saariaho seems to be quite fashionable for example but overall, and especially on this side of the Atlantic, the modernist tradition seems to have been firmly rejected.

The dream is over but the night not yet

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So closes Aribert Reimann’s 2010 opera Medea.  It’s a two hour piece in four “pictures” that premiered at the Wiener Staatsoper in 2010 and the Blu-ray/DVD recording is taken from that initial run.  Actually there’s a good deal more nightmare than dream in this version as, I suppose, there is in just about any version of the Medea story.  This one draws on Franz Grillparzer’s version for the libretto and is entirely concerned with events after Jason and Medea reach Corinth.  It’s unusually sympathetic to Medea herself with Jason and Kreon very much the villains.

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A journey through space and time?

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Tan Dun’s Marco Polo is hugely ambitious. He uses Marco Polo’s legendary journey as a metaphor for Space and Time.  He fuses a range of Western musical styles with Chinese, Tibetan and Indian instruments and vocal styles.  Although most of the work is sung in English there are sections in Italian and Chinese and other bits in a sort of random polyglot.  The cast includes a range of real, allegorical and psychological figures.  Marco and Polo are in fact two characters; one representing action and the external and the other the psychological and internal.  Kublai Khan, Dante, Shakespeare, Sheherazada and Mahler put in appearances and much of the narrative is carried by a Chinese opera singer playing the part of Rustichello; “the questioner”.  To be honest, despite having read the booklet, watched Reiner Moritz’s “Making of” documentary and studied the chart below, most of the time I had no idea what was actually happening.  It’s really all too abstract and involved to really work as music drama.

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Traditional Traviata

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The 2007 recording of Verdi’s La Traviata from Milan’s Teattro alla Scala is extremely traditional but very satisfying.  Liliana Cavani’s production is set in the mid 19th century with entirely conventional sets and costumes (with the obligatory cleavage) and nothing in the direction that adds up to an original concept or idea.  Act 1 is set in a glitzy ballroom.  Act 2 scene 1 takes us to a slightly odd sort of country house bedsit with billiard table  In Act 2 scene 2 we are back with the glitz with actual gypsies and bare chested matadors. Act 3 is set in a suitably dark invalid’s bedroom.  Angela Gheorghiu’s Violetta goes from ballgown to nightdress to ballgown to nightdress while maintaining Ange levels of, you guessed it, cleavage.  The guys are all in evening dress or operetta dress uniforms.  It’s all pretty and doesn’t distract from the music.
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Another Big COC Podcast

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A couple of weeks ago we recorded another Big COC Podcast.  It’s now available on the COC website and from iTunes.  This time the panel was myself, Wayne Gooding from Opera Canada magazine and Gianmarco Segato and Gianna Wichelow from the COC.

Topics covered included Robert Everett-Green’s Globe and Mail article on Il Trovatore and the persecution of the Roma, upcoming opera productions across Canada (mostly Verdi!), an interview with Marilyn Gronsdal on her Montreal remounting of Christopher Alden’s production of Der Fliegende Holländer; seen at the COC in 2010, and that hardy perennial, HD cinema transmissions of opera with especial emphasis on the Met.

Heading into winter

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The leaves have turned and the Canadian Opera Company Season is underway so winter can’t be far away.  I’ve now seen both the COC fall productions so I need to find alternative fare between now and February when things kick off again.  So far I’ve found two live shows of interest in town.  At the end of October Opera Atelier is putting on Weber’s Der Freischütz.  This is a departure for OA who have previously (bar once) not put on anything later than Mozart and that in a rather idiosyncratic style.  I think it’s an interesting move and I hope it stimulates the creative juices at OA and sparks some of the innovation that made OA such an exciting company ten or twenty years ago.  If it turns into an exercise in persuading us that 19th century Romanticism is really just an extension of the Baroque I shall probably be feeling like the guy in the picture.  The other live show is Essential Opera’s The Threepenny Opera being presented in concert at Heliconian Hall on November 7th.  Essential Opera I suppose is a semi-pro outfit operating on very small budgets and The Threepenny Opera seems like a good fit.  I felt that last year’s attempt at something grander was rather a case of biting off more than they could chew.  Continue reading →

L’Elisir di Steakhouse

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Today was the first MetHD broadcast of the season and we got Bartlett Sher’s new production of Donizetti’s L’Elisir d’Amore.  It’s what I would call a “steakhouse production”.  It’s like a meal in a top end steakhouse.  Your steak is a fine piece of meat, they don’t mess it up and ditto your baked potato.  And it’s all served in luxurious surroundings with attentive service.  It’s a terrific steak dinner but it costs the same as the tasting menu at a place with two Michelin stars and it’s still just a steak dinner.

So, a brilliant cast; Netrebko, Polenzani, Kwiecien and Maestri, singing and acting up a storm in a production that was pretty much devoid of ideas beyond a few odd costuming choices.  Since when did Italian peasant girls get to dress like they are attending a ball in a Jane Austen novel?  Still the girl singing Nanetta was cute and had the best dress.  Gary Halvorson’s video direction was about par for the course in terms of virtually incessant close-ups.  Not a bad way to spend a Saturday afternoon but ultimately forgettable.

Die Fledermaus redux

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Mireille Asselin as Adele – Photo: Michael Cooper

I was back at the Four Seasons Centre last night for another look at the new Die Fledermaus; this time with Mireille Asselin as Adele.  There were a number of things about the production that I noticed more on a second look.  The most notable was the lighting (by Paul Palazzo).  It’s superb.  It’s atmospheric without falling into the trap of being so dark one can’t see anything.  Obviously too I saw the kind of prefiguring that goes on throughout the production differently knowing where things were going to go.  It’s clever and insightful without being too intrusive.  I also noticed one or two bits of comic business that either passed over me on opening night or have been added since.  Was the Fidelio joke there on opening night?  My overall verdict hasn’t changed.  It’s a funny, sexy production that can be enjoyed on many levels and one of the best things I’ve seen in ages.

So how was Mireille?  She was very good and very different from Ambur Braid.  Mireille is pretty much your classic soubrette; what I guess we are now calling an -ina voice.  It’s not a particularly big voice but she’s accurate and musical.  She’s also a very decent actress.  One feels that she’d be an ideal Adele in a perfectly conventional Fledermaus.  For this rather spikey, edgy version though I’d go with Ambur.  Her bigger, almost abrasive, voice and her more flamboyant acting (considerably helped by her rather striking appearance) really fit this production.  I’m glad I got a chance to see both of them.

Full review of the opening night with Ambur Braid as Adele