It’s September and the long, slow awakening after the annual aestivation begins. There’s not a lot on yet but what there is is interesting. The middle of the month sees Native Earth’s production of I Call myself Princess at the Aki Studio; previews from 9th to 12th September with official opening on the 13th and then shows until the end of the month. My interview with playwright Jani Lauzon is here. Also opening on the 13th is Tapestry Briefs at the Ernest Balmer Studio. Hear the product of the LibLab, hear Stephanie Tritchew, Teiya Kasahara, Peter McGillivray and Keith Klassen and eat tapas. It runs until the 16th.
This just in:
The fall season will open with Tchaikovsky’s Eugene Onegin in the Carsen production as predicted yesterday. The (pleasant) surprise is that Gordon Bintner will sing the title role. Joyce El-Khoury sings Tatiana and Joseph Kaiser is Lensky. Johannes Debus conducts.
And in the week ahead…
There are still tickets available for Erin Wall and Asitha Tennekoon at Mazzoleni on Sunday.
On Monday evening at 7.30pm in Walter Hall veteran Canadian mezzo Judith Forst is giving a free master class.
Thursday is the big day. At lunchtime in the RBA you can catch Simone Osborne and Gordon Bintner, currently headlining in L’elisir d’amore on the COC main stage, accompanied by Liz Upchurch (free of course). Later, at 8pm there’s A Tribute to Maureen Forrester at the Symphony. That program features, inter alia, Michael Schade and Susan Platts in Mahler’s Das Lied von der Erde. The program will be repeated on Friday at 7.30pm. Last I checked there were still $25 tickets available.
Photo courtesy of the lady herself.
James Robinson’s production of Donizetti’s L’elisir d’amore was designed for various American regional houses. It has been updated to 1914ish and been given “regionalization” tweaks in the towns in which it has appeared. The version that opened at the COC last night has been transported to small town Ontario, Niagara on the Lake perhaps, during a Fall Fair. There’s a bit of a problem. The iconography; Kitchener recruiting posters, steel helmets etc, clearly place the action during, rather than before, WW1. Maybe an American director just doesn’t get, or doesn’t care about the implications but Adina buying Nemorino out of the army for example would hardly have been seen as virtuous in the white feather infested British Empire of 1914. Fortunately most of the audience either didn’t get it or didn’t care either and frankly even persnickety me was prepared to let it go and just enjoy the rather silly romp that we got. After all, this is not the other opera about love potions!
Here’s a preview of things to see/listen to next week. It’s Met in HD season again and the next two Saturdays have broadcasts. On the 7th it’s Bellini’s Norma with Sondra Radvanovsky and Joyce DiDonato. It’s a David McVicar production and no prizes for guessing what happens when you cross McVicar and druids. On the 14th it’s Die Zauberflöte with the Resident Groundhog conducting. It’s the Julie Taymor production but given in full in German rather than the abridged ‘for kids” version. The best thing about the cast is René Pape’s Sarastro.
Once a season the young artists of the COC’s Ensemble Studio get to perform one of the company’s productions on the main stage of the Four Seasons Centre. Last night it was the Claus Guth production of The Marriage of Figaro. I’ve said enough about the production already here and here so let’s cut to the chase.
Today’s lunchtime concert in the RBA involved members of the cast of the Ensemble Studio performance of Marriage of Figaro in a semi-staged series of excerpts from the opera. The Ensemble Studio annual stage performance is always worth seeing and this year I think it’s going to be a real treat. Highlights today included Gordon Bintner’s Count. The guy can sing but here there was a swagger that should be just perfect for the Guth production. Jacquie Woodley’s Cherubino was utterly brilliant. Aviva Fortunata nailed Porgi amor, so often a disappointment I find. And I really liked Karine Boucher’s Susanna. She’s not always been a favourite of mine but her slightly dark for a soprano tone seemed really well suited to this music and blended especially well with Aviva. Ian MacNeil impressed too as Figaro, though it’s a role that’s a bit downplayed by this production, and I shall be curious to see what he does with it in the full version. Megan Latham, Jean-Philippe Fortier-Lazure and Aaron Sheppard rounded out today’s cast with the indefatigable Hyejin Kwon on piano. If you don’t yet have tickets for the performance on the 22nd I strongly suggest getting some. They are only $22 or $55 for the best seats. As Claire Morley said in her introduction this could be an event that’s talked of for years to come.