Glenn Gould School’s Die Fledermaus

Die Fledermaus offers a lot scope for reinterpretation.  Like so many works involving spoken dialogue there is a tradition of reworking that dialogue to work in contemporary humour and geographic relevance to the point where there is no canonical version though there’s probably a set of general expectations.  Joel Ivany’s production for the Glenn Gould School, which opened last night at Koerner Hall, goes further than most to create a “play within a play” dynamic riffing to some extent on the difficulty of staging an opera in a concert hall.  He also makes the decision to use English dialogue but have the sung text in the original German (except for the finale).

GGS Opera 2018 Die Fledermaus #1; Lisa Sakulensky Photography

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Bandits in the Valley

Bandits in the Valley opened yesterday at Todmorden Mills.  It’s a site specific comic opera with words by Julie Tepperman and music by Benton Roark.  The time is 1880.  Sir George Taylor is the owner of the most productive paper mill in the British Empire but he wants more.  Specifically he wants to convert the entire Don Valley to paper thus depriving the pesky bandits thereof of cover.  He also wants Lily Pollard, the comely soprano lead of the travelling company he has engaged to stage The Pirates of Penzance as part of the mill’s 25th anniversary celebrations.  He’s not the only one after Lily.  She’s also the target of the female head of the troupe, Henri, and of Jeremiah, the bandit chief who is trying to obtain his inheritance.  He in turn is pursued by the house maid (and his cousin) Birgitta and, in a purely brotherly way of course, another bandit, Freddy.  In proper comic opera fashion a birthmark, naturally enough on Jeremiah’s buttock, is involved.  Mayhem ensues.

Bandits-photobyDahliaKatz-1271

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