Another chance to hear Sir Thomas Allen

Having seen him sing Don Alfonso in the COC’s Così fan tutte three times as well as having attended his RBA lunchtime recital and having interviewed him one would be forgiven for thinking that I might have had my fill of Sir Thomas Allen.  But no, Durham University organised a reception on Thursday evening for alumni at which Sir Thomas was the guest of honour in his capacity as Chancellor.  It was one of the filthiest nights of a filthy winter and a very nasty walk from the conference I was attending to the Music Room at Hart House but around fifty people turned up.  They were mostly Durham grads but the Dean of Music from UoT was there, as was the Chancellor of Queen’s (which was rather a surprise).  It was basically a drinks and canapés do but our esteemed Chancellor was prevailed on to sing a few numbers with the help of Rachel Andrist.  We got a ballad I didn’t recognise, Deh vieni alla fenestra, The Foggy Dew (arr. Britten) and Cole Porter’s Miss Otis regrets.  Fun, and a very welcome opportunity to hear something from Don Giovanni from a master of the role.

I had an interesting conversation with Sir Tom and Rachel about music in hospitals and now have a “to do” to sort out who to talk to at Sick Kids.  Oh yes, and to cap a filthy night, the lemur and I were engulfed in a tidal wave of filthy slush on our way to the subway and home.

Grimes on the Beach

A performance of Peter Grimes in Aldeburgh to celebrate the Britten centenary seems loike one of those things that had to happen. The snag, of course, being that none of the performance venues there is remotely suitable.  The idea of staging it on the beach was a brilliant, if problematic, idea and it’s good that it was captured on film and is now available on DVD and Blu-ray.
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A School for Lovers

Atom Egoyan’s new production of Mozart’s Così fan tutte opened at the Four Seasons Centre last night.  It’s a visually appealing production with an interesting concept and some glorious singing and acting.  One may question aspects of the concept but nowhere does it do serious violence to da Ponte’s libretto and the end result, coupled with some outstanding performances makes for a most enjoyable evening.

0884 - Guglielmo_Ferrando_Dorabella_Fiordiligi - credit Michael Cooper

Photo credit Michael Cooper

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An interview with Sir Thomas Allen

Sir Thomas Allen, noted baritone and Chancellor of Durham University, is in town rehearsing Don Alfonso in the COC’s new production of CosÌ fan tutte.  Yesterday evening, between rehearsals, he was kind enough to spend half an hour answering some questions.  We talked about his career, about his role as Chancellor of Durham University and about the new production of Così.  I’ve detailed some of the highlights below as well as embedding the full interview as a four part audio file at the end.

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The ceremony of Innocence is drowned

Jonathan Kent sets his 2011 Glyndebourne production of The Turn of the Screw in the 1950s.  It’s effective enough especially when combined with Paul Brown’s beautiful and ingenious set and Mark Henderson’s evocative lighting.  The set centres on a glass panel which appears in different places and different angles but always suggesting a semi-permeable membrane.  Between reality and imagination?  Knowledge and innocence?  Good and evil?  All are hinted at.  A rotating platform allows other set elements to be rapidly and effectively deployed.  There’s also a very clever treatment of the prologue involving 8mm home video.

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The price is right

simoneThe best bargain of the Toronto music season is the free lunchtime concert series at the Four Seasons Centre.  The 2013/14 line up was announced today.  Opera and vocal highlights include recitals by Sir Thomas Allen (Songs of the Sea, which sounds rather excellent), Simone Osborne, Robert Pomakov with The Gryphon Trio, Tracey Dahl, Russell Braun and Paul Appleby.  Somewhat off the beaten track, there will be a performance of Gagliano’s La Dafne by Capella Intima and the Toronto Continuo Collective and the Canadian Art Song project will be premiering a new commission by a Canadian composer.  There will also be the usual (and very popular) sessions from the COC Ensemble Studio (including two Britten themed concerts), the students of the University of Toronto opera division and the young artists of the Atelier lyrique de l’Opéra de Montréal.

For the less vocally inclined there is also a full line up of piano, chamber music, world music, jazz and dance.  Here’s the full PDF brochure.

Spreading the goodness

220px-Sir_Thomas_AllenWhen I learned that Sir Thomas Allen was going to be singing at the COC I decided that I really ought to try and get something organised for/by Durham alumni/ae in Toronto.  Step 1 is now complete.  There will be a party of 11 (so far!) at the opening night of Cosi to see Sir Tom’s Don Alfonso.  We’ll see what else we can manage… For me, this will be the second time I have seen him live; the first being in 1975!  Got a great price on the tickets too.

Thomas Allen and Eva Jenis in The Cunning Little Vixen

Once in a while a video recording comes my way that’s just pure delight.  The 1995 recording of Janáček’s The Cunning Little Vixen from the Théâtre du Châtelet is one.  The creative team of director Nicholas Hytner (director), Bob Crowley (designer), Jean-Claude Gallotta (choreagrapy) and Jean Kalman (lighting) created a spectacle that is as much ballet as opera with vivid costumes and simple sets  It’s a rather splendid and touching adult fairy tale. Continue reading

Chacun à son goût

There’s lots to like in the 2003 Glyndebourne recording of Die Fledermaus.  Let’s start with Stephen Lawless’ production.  It’s attractively designed, quite slick and has a few good new gags without going overboard.  The sets are designed with striking diagonals and staircases and gantries.  Rotation is used both as a device to change the setting and as an element in the scene composition.  The overall effect is that the scene changes from drawing room to a sort of “gilded cage” for Orlofsky’s party – which opens out to create space for the action – to a prison with minimum disruption to us or the action.  Spots are used to create stagey effects and at one point Jurowski in the pit ostentatiously upstages the actors on stage.  Lawless never lets us forget this is a “show”.  Continue reading