Against the Grain Theatre’s Orphée+; a burlesque inflected version of Gluck’s Orphée, opened a three show run last night at the Fleck Dance Theatre at Harbourfront. There are many, many things I want to say about this show and the challenge is going to be to present them in some kind of orderly sequence. First off there are expectations for an AtG show in Toronto that probably weren’t present when it opened in Columbus (It’s a co-pro with Opera Columbus and the Banff Centre). We have come to associate AtG with various kinds of “doing differently”; transladaptations, site specific stagings, staged art song and so on. In that context this is a rather conservative show. It’s a production of a canonic opera in a conventional theatre. It’s not a traditional production and would likely shock at the Met or the Lyric but would probably raise only half an eyebrow in Berlin or Barcelona. So I’m inclined to treat it as if I had seen it in Europe.
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.
Opera Atelier’s remount of Mozart’s The Marriage of Figaro opened last night at the Elgin. It’s a curious production made up of parts that don’t really fit together, hence the review title. At the core is a rather elegant traditional production. It’s wigs and crinolines and might have been seen almost anywhere almost any time in the last fifty years or so. Most of the excessive baroque gesturing is gone and the acting is stagey but no more so than in many opera productions.
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.
Last night saw the Ensemble Studio’s big main stage performance. Rather than perform one of the COC’s current productions (hard to imagine how they could cast one from the current line up) we got scenes from three operas; two of them from the COC’s current season. They were performed with the orchestra on stage in front of the backdrop to the opening scene from the current Die Zauberflöte and in concert dress rather than costume (more or less, there were some nods to the roles in question) and with some blocking as far as limiting movement to the front of the stage permitted.
Season announcements, it seems, are like the King Street streetcar(1). You wait for ages then three come along at once. This time it’s Opera Atelier announcing the 2017/18 season. As ever there are two productions. A remount of Mozart’s The Marriage of Figaro runs October 26th to November 4th. The cast icludes Douglas Williams, making his Opera Atelier debut, in the title role, with Mireille Asselin (Susanna), Stephen Hegedus (Count Almaviva), Peggy Kriha Dye (Countess Almaviva), Mireille Lebel (Cherubino), Laura Pudwell (Marcellina), Gustav Andreassen (Bartolo), Christopher Enns (Basilio/Don Curzio), Olivier Laquerre (Antonio), and Grace Lee (Barbarina). This one will be sung in English.
Opera Atelier’s production of Mozart’s Lucio Silla opened last night at the Elgin. This is, more or less, the production that played at the Salzburg Festival and, later, at La Scala to considerable critical acclaim. It’s not hard to see why. It’s much the best thing Opera Atelier has done in a while. It’s more restrained than recent shows and trimmed of excess the familiar approach looks quite fresh again.