L’aio nell’imbarazzo (A tutor in a jam) is a Donizetti comedy that was popular in its day; both in its original version and revised as Don Gregorio. It’s now received a new scholarly edition that attempts to get back as far as possible to the original. That edition was used for a production directed by Francesco Micheli at the Teatro Donizetti in Bergamo in 2022 and filmed for video release.
I don’t think it’s a big secret that I’m a fan of furry felines so I’m probably predisposed to like Barbe & Doucet’s cat themed production of Donizetti’s Don Pasquale for the COC which opened at the Four Seasons Centre on Friday night. It starts with a projected comic book type prologue during the overture. Malatesta discovers that cat lover Pasquale is allergic to them so the old man has to ditch his actual furry friends for a series of statues that then crop up all over the Pensione Pasquale. Yes B&D have set another opera in a hotel! It’s clever because it makes us a little more sympathetic to the old man who isn’t the nicest guy as written.
Games of the Night Wind is a record of nocturnally inspired piano music played by Christina Petrowska Quilico. Much of the record is taken up by twelve nocturnes from Ontario composer David Jaeger. They are interspersed with pieces in similar mood by Polish composers Alexandre Tansman and Henryk Górecki and there is also a solitary piece by Tōru Takemitsu.
The Jaeger pieces were each inspired by a different piece of poetry dealing with some aspect of nocturnal experience. What they have in common is an abstracted, dreamy quality. Some are darker than others, some gentler and more lyrical and they are all interesting. Listening I was reminded of a comment of Brian Current’s to the effect that sometimes listening for things like melody, harmony and rhythm is less useful than listening for texture and I think that’s true of these pieces. They are all deeply textured but in different ways. They are played with great sensitivity.
The Enchantress (sometimes translated as The Sorceress) is a rather infrequently performed 1887 opera by Tchaikovsky. It got a production in Frankfurt in 2022 with an interesting cast. Asmik Grigorian plays the title character; Kuma or Nastasya, and Iain MacNeil, late of this parish, is Prince Nikita. It’s the first time I’ve come across him since he moved to Germany.
It’s coming towards the end of the traditional “season” but there’s sill plenty happening. Here’s how I see may shaping up at present (I expect more theatre listings will come in. They tend to be somewhat less notice!):
It’s pretty difficult to judge whether or not a high concept production of Wagner’s Ring cycle is going to work or not just from Das Rheingold but I thought Dmitri Tcherniakov’s production for Staatsoper unter den Linden recorded in 2022 was pretty promising. His world is a large research complex designated ESCHE for reasons that aren’t clear. The time period seems to be 1970s or thereabouts. The research is essentially psychological and the characters are variously executives, scientists and experimental subjects.
I went to Opera Revue at Castro’s on Sunday afternoon. It’s the first time I’ve been to a regular Opera Revue show in a while because of geographic and scheduling constraints plus, of all their locations, I prefer Castro’s and they haven’t been there in a while.
The Met HD in cinemas line up has been announced for 2024/25 so here’s my take on it. The first thing to notice is that there are only eight shows. There have been ten per season since 2012/13 and twelve before that. This is likely a reflection of the problems with audience numbers that all North American opera companies have been having. In the same time period the COC has cut back from 65-70 main stage performances per year to 42 and the Met’s “in house” audience problem has been well publicised. So what does that leave us with?
Barbara Hannigan’s latest recording project is a CD of Messiaen’s vocal music with pianist Bertrand Chamayou. It’s very much an equal partnership with some superb musicianship on display. It starts off with two cycles written for/inspired by Messiaen’s first wife. Chants de Terre et de Ciel celebrates the marriage and the birth of their young son. There’s some very dramatic singing here but what really stood out for me was Hannigan’s ability to float a note with perfect control and apparent ease. It works beautifully with the more delicate parts of the piano part.
Woking Phoenix is a play developed and performed by Silk Bath Collective. It opened at Theatre Passe Muraille on Thursday night. It deals with that perennial Canadian issue; the immigrant experience. In this case it’s essentially a single Chinese mother with three children running a Chinese restaurant in small town Ontario. So one has the usual dynamics of kids growing up coupled with being “different” in a very homogenous community. It’s a co-creation of Aaron Jan and Gloria Mok , who also co-directed, and Besse Cheng who appears in the play as the elder daughter.
