Dido and Aeneas preview

meghanlindsayWednesday’s RBA concert was a preview of Opera Atelier’s upcoming production of Purcell’s Dido and Aeneas.  Something between a performance of excerpts and a working rehearsal it featured Marshall Pynkoski introducing a series of excerpts for both singers (in rehearsal dress) and dancers (in costume).  He provided a good linking narrative situating each excerpt in the context of the work together with some general remarks about the nature and origin of the piece.

We got Meghan Lindsay (Dido) and Mireille Asselin (Belinda) with the opening duet.  They wre joined by Colion Ainsworth (Aeneas) for “see, your royal guest appears” followed by the triumphing dance by two members of the OA ballet.  There was some serious witchiness from Danielle MacMillan and Cynthia Smithers, more dance and Mireille with “Thanks to these lonesome vales” before a very dramatic account of the final confrontation between the lovers and Dido’s famous lament. Continue reading

Angel

Opera Atelier’s new film Angel premiered last night.  It consists of six scenes which, we are told, can be performed as a sequence or individually.  There’s a basic theme of “angels” and the texts are drawn from Milton and Rilke (in translation).  The score is by Edwin Huizinga and Christopher Bagan with some of the dance music being actual baroque works.

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Opera Atelier’s Resurrection

Opera Atelier’s webstream of Handel’s The Resurrection premiered on Thursday evening and will be available until this coming Thursday.  It’s ticketed and you can buy an access code from the RCM box office.  It’s the first Opera Atelier show conceived for webstreaming as opposed to filming a stage performance.  The action was filmed in St. Lawrence Hall and the music was recorded at Koerner.

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Something Rich and Strange

Opera Atelier’s fall show Something Rich and Strange was originally conceived as a show that could be given before a (limited) live audience as well as via web stream. That’s obviously constraining compared to a show that is created without a fourth wall and can include location filming. All the other constraints of these strange times had also to be observed. Despite this there was much to like in a show that presented a number of scenes from the 17th and 18th century repertoire plus a couple of “neo-baroque” pieces composed by Edwin Huizinga.

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Frustrating Idomeneo

Opera Atelier’s current production of Mozart’s Idomeneo is frustrating, especially given their recent run of good form.  It, unfortunately, combines a fussy, rather pointless production with histrionic antics and uneven singing.  It’s just not good enough.

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Opera Atelier 2019/20

Opera Atelier has announced its 2019/20 season.  As usual there are two main stage shows.  The first is a revival of their 2011 production of Mozart’s Don Giovanni.  It runs from October 31st to November 9th, 2019, in the Ed Mirvish Theatre.  It’s a production that plays up the comedy and the elements of the commedia dell’arte in the piece while pretty much eschewing anything deeper or darker.  The cast includes Douglas Williams as the Don with Stephen Hegedus as Leporello, Colin Ainsworth, as Don Ottavio, Meghan Lindsay as Donna Anna, Carla Huhtanen as Donna Elvira, Mireille Asselin as Zerlina, Olivier Laquerre as Masetto, and Gustav Andreassen as Commendatore. beautiful Ed Mirvish Theatre.  David Fallis conducts.

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Actéon et Pygmalion

Opera Atelier’s french double header opened last night at the Elgin Theatre.  It was, bar the occasional twist, classic Opera Atelier.  They presented two French baroque operas in their distinctive style with a little humour and none of the excesses that have sometimes crept in.

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Opera Atelier 2018/19 season

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Measha Brueggergosman.
Photo by Bruce Zinger.

Opera Atelier have announced their 2018/19 season.  As usual, there are two shows.  In the Fall there is a double bill of Charpentier’s Actéon paired with Rameau’s Pygmalion (Oct. 25 – Nov. 3, 2018).  Colin Ainsworth, who has also been named as OA’s first “artist in residence”, features in both title roles with Mireille Asselin as Diana and Amour and Allyson McHardy as Juno and Céphise.  The supporting cast includes Jesse Blumberg, Christopher Enns, Meghan Lindsay, Cynthia Smithers and Anna Sharpe. Pygmalion will be prefaced by Opera Atelier’s first Canadian commission for solo baroque violin and contemporary dancing, entitled Inception.  It will be performed by composer/violinist Edwin Huizinga and choreographer/Artist of Atelier Ballet, Tyler Gledhill. Following its Toronto dates, the show will tour to the Royal Opera House in Versailles.

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Afghanistan: Requiem for a Generation

Last night’s TSO program started off with a sort of Remembrance Day pot pourri; pipes, bugles, a bit of poetry, an excerpt of Vaughan Williams in between and finally a rather beautiful account of The Lark Ascending with Jonathan Crow playing the solo from high up in the Gallery.  Once upon a time the TSO would do Remembrance Day by performing an appropriate work or works, Britten’s War Requiem for example.  I think that might actually be a more effective way of remembering.

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Opera Atelier’s Médée

There are umpteen operas based more or less closely on the legends surrounding Medea, Jason, the Golden Fleece and the events afterwards in Corinth.  Marc-Antoine Charpentier’s 1693 version to a libretto by Corneille deals with the events in Corinth subsequent to Jason and Medea’s return with the fleece.  The plot, in essentials, is simplicity itself.  Jason is scheming to secure his future, and that of his children, by ditching Médée and marrying the king’s daughter Créuse.  Médée is not having this and wreaks revenge on just about everybody else in the piece.  Somehow Charpentier and Corneille string this out over five acts and the obligatory prologue glorifying Louis XIV, wisely omitted by director Marshall Pynkoski.

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