The Angel Speaks got its North American premiere last night at the Royal Ontario Museum. It’s a new piece born out of Opera Atelier’s collaboration with the Chapel Royal at Versailles and represents something of a new direction for the company. Structurally I suppose one could describe it as a cantata with dance for baroque instruments. It combines works by Purcell (and a little William Boyce) with two new works by Edwin Huizinga to create a loose plot line around the Archangel Gabriel and the Annunciation of the Virgin. It incorporates Huizinga’s Inception, first seen in Toronto as a sort of entr’acte to OA’s Pygmalion show last October. But at the core of the piece is a new Huizinga composition; Annunciation, for baritone, soprano and small ensemble, setting text by Rilke.
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.
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 Actéonpaired 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.