The Wrong Bashir

The Wrong Bashir by Zahida Rahemtulla is currently playing at Crow’s Theatre in a production directed by Paolo Santalucia.  The story is set in the Isma’ili community in Toronto and all the families concerned were among those kicked out of Uganda by Idi Amin.  Quite a lot of the story concerns Isma’ili religious institutions and practices about which I am woefully ignorant.  Not knowing doesn’t detract from the experience of seeing the play and I have used circumlocutions below rather than try and figure out the technical terms used in the play

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Gory Guelphs and Ghibellines

Throughout the history of Italian opera the long running feud between the Guelphs and the Ghibellines has provided composers and librettists with endless opportunities for pointless revenge killings and other assorted mayhem.  They werer still doing it in 1907 when Frencesco Cilea premiered his short three act opera Gloria.

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Iron Chef d’Orchestre

The second Tapestry show this week which played Wednesday night at Theatre Passe Muraille was Jennifer Tung’s Iron Chef d’Orchestre.  Knowing Jennifer’s kitchen prowess I expected this to be at least as food inspired as the previous night’s Le Kitchen Party but it wasn’t.

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Le Kitchen Party

On Tuesday night Theatre Passe Muraille hosted the first of two “music and food” shows curated by members of the Women in Musical Leadership programme under the auspices of Tapestry Opera.  Juliane Gallant trawled her Acadian roots to create Le Kitchen Party.fun.

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What’s on in June?

junebugHere’s an events listing for June as it currently stands:

  • Canadian Children’s Opera Company are doing Dean Burry’s The Hobbit at Harbourfront Centre on May 31st through June 2nd.
  • June 6th at 7.30pm at Arrayspace there’s Echoes of Bi-Sotoon; short operatic works by seven composers inspired by the ancient site of Bi-Sotoon (which) means the place of the gods).

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A life-long engagement with Tippett

childofourtimeThe late Sir Andrew Davis was a life-long advocate for the music of Sir Michael Tippett so it’s fitting that one of his last recordings (perhaps the last?) should be of that composer’s A Child of Our Time.  It’s an unusual piece in many ways.  It’s an oratorio for solo quartet, chorus and orchestra and its structure reflects both Messiah and the Bach Passions.  The subject matter is anti-Semitism in Germany as a specific example of “man’s inhumanity to man” more generally. 

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Windows, windows, windows

Bygone Theatre’s production of The Rear Window; written and directed by Emily Dix, opened at Hart House Theatre on Friday night.  It riffs off the Hitchcock film, or rather its source material, but really doesn’t manage to create a sense of menace or foreboding that would make such an adaptation worthwhile.

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Seven Methods of Killing Kylie Jenner

Apparently Kylie Jenner is one of those people who is famous for being famous which is usually a guarantee that I’ve never heard of him/her/they.  But she’s famous enough to have inspired Jasmine Lee-Jones use her as a hook for a play; Seven Methods of Killing Kylie Jenner, that opened in the Studi Tneatre at Crow’s on Thursday night in a co-production between Crow’s and Obsidian Theatre.

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Simone Osborne and Rachael Kerr in the RBA

DI-01761Wednesday’s lunchtime recital in the RBA featured Simone Osborne; currently appearing as Norina in Don Pasquale, and pianist Rachael Kerr.  It was a well curated selection of songs apparently, at least partially, inspired by sleep deprivation singer and pianist both have small children!).  There were three sets of four songs.  One in each set was by a Canadian composer backed up by two others that were thematically related.

So the first set featured birds.  Godfrey Ridout’s arrangement of She’s Like The Swallow was supported by Viardot’s Grands oiseaux blancs and Grieg’s “Ein Schwan” from Sex digte af Henrik Ibsen.  It worked.  The Ridout got a reasonably folk song like treatment, the Viardot was dramatic and the Grieg was just beautiful.  A good start. Continue reading →

Excellent Don Pasquale from the Ensemble Studio

Tuesday night at the Four Seasons Centre it was the turn of the Ensemble Studio cast to give us Donizetti’s Don Pasquale.  It’s the same Barbe et Doucet production of course but director Marilyn Gronsdal, conductor Simone Luti and an excellent cast definitely gave it their own twist.  Everybody seemed to have their own bit of business that we didn’t see on opening night and they all worked.

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