Threepenny Submarine is a nine episode puppet animation series of videos on Youtube inspired by the idea that most of us got at least some of our exposure to classical music as kids from Looney Tunes and other cartoons. It’s produced by Opera 5 and Gazelle Automations and concerns an underwater journey by the submarine Threepenny Submarine investigating a mysterious sound coming from the equally mysterious Salieri Sector. The sub is commanded by a cockatiel called Iona (voiced by Lindsay Lee and sung by Caitlin Wood) assisted by a fox called Lydian (voiced and sung by Rachel Krehm). They befriend a “sea monster” called Flute, represented, appropriately enough, by Amelia Lyon on flute. Various adventures take place punctuated by well known arias using new text by Rachel Krehm. For example, the first episode features “Una voce poca fa” and “Dich, teure Halle” in arrangements for string quartet. There are also classical instrumentals used as incidental music. It’s all arranged by Trevor Wager and directed by Evan Mitchell.
Here’s what I’m looking forward to in a busy November.
Dean Burry’s setting of Alfred Noyes’ The Highwayman has now been released on CD. I think it’s the same performance that was previously released on Youtube by Queen’s University. If it’s not the same performance then it’s certainly the same performers and I really don’t have more than a few incidental thoughts to add to 
I use the word sumptuous in at least two senses. This is a really good recording with a fine period instrument ensemble and voices carefully matched to parts. It’s also very carefully researched in the quest to get as close as what Monteverdi’s audience heard as possible. It’s also sumptuous in presentation. It’s a beautiful hardback book with 3 CD slots built in. The binding and printing are Folio Society quality. It’s sumptuous also in terms of book content. The English language version has 165 pages of explanatory essays plus libretto and translation! There is a wealth of information on what was happening in Venetian theatre , as well as influences from further afield. There’s a section on how discoveries in the sciences were reshaping perspectives on art and aesrthetics and there’s a load of detail on the links between the commedia dell’arte and the opera stage. For a music loving bibliophile it’s a real treat.
Handel’s Israel in Egypt is one of the less well known of his English language oratorios. It’s also got a bit of an ofdd performance history with the first of the three acts often omitted. The new recording from period instrument ensemble Apollo’s Fire includes all three acts but omits some numbers and shortens others in a selection made by music director Jeannette Sorrell. This appears not to be uncommon. A quick scan of available recordings revealed performance durations of anywhere from 75 minutes to 150 minutes. This one comes in right on the bottom end of that range.
operaramblings 