Is it all?

Anna Theodosakis’ production of Britten’s Rape of Lucretia for MYOpera updates the piece from proto-historical Rome to somewhere in the mid 20th century which is fine but doesn’t seem, of itself, to add any layers of meaning to the narrative.  There are neat visual touches in a simple but effective set design and the nature of and relationships between the characters are deftly drawn.  The rape scene manages to be disturbing without being gratuitously graphic.  It’s skilful theatre.  But is that enough?

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Collaborations

Lunchtime saw the annual concert featuring visiting members of the Atelier lyrique de l’Opéra de Montréal.  It turned into something of a Donizettifest.  First up was soprano Cécile Muhire with Adina’s aria Prendi, per me sei libero.  This was quite competently sung though she seemed very nervous.  The nerves seemed to vanish though when she was joined by her Nemorino, Jean-Philippe Fortier-Lazure, for the duet when he tries the elixir.  One of the things that has always struck me about the Ensemble Studio is how quickly it teaches singers to have stage presence.  J-P was a very funny, rather drunk, Nemorino and his swagger seemed to rub off on Cécile who looked much more at home in this number.

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Toronto Summer Music Festival

There’s quite a lot for the vocal music fan in this year’s Toronto Summer Music Festival though the only operatic opening is getting a bit Twilight Zone.  How often does an opera like Britten’s Rape of Lucretia get done in Toronto?  Well for now the answer is twice in quick succession because besides the MYOpera production later this month we are also getting a “semi-staged” version on July 22nd at 7.30pm at the Winter Garden Theatre.  It is a transplant from Banff originally created by Joel Ivany and Topher Mokrzewski but to be directed here by Anna Theodosakis.  The cast includes Emma Char (Lucretia), Peter Rolfe Dauz (Junius), Beste Kalender (Bianca), Jasper Leever (Collatinus), Iain MacNeil (Tarquinius), Ellen McAteer (Lucia), Owen McAusland (Male Chorus), and Chelsea Rus (Female Chorus).  That’s a pretty good cast but it does seem an odd choice.  Is the King Street streetcar contagious?

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I am Way, I am Act

This spring’s main opera production from UoT Opera is Britten’s Paul Bunyan.  It is a really peculiar work.  The libretto is by WH Auden and is, well, weird.  It mixes up the (apparently) profound with the absurd and the downright silly.  There’s a Swedish lumberjack fish slapping dance, talking cats and dogs, trees that aspire to be product and a philosophical accountant (*).  There are also countless pronouncements from the off stage voice of Bunyan along the lines of the closing:

Where the night becomes the day, Where the dream becomes the fact, I am the Eternal guest, I am Way, I am Act

Walt Whitman meets Dr. Seuss meets a lot of drugs?  One of those 1970s English public schoolboy prog rock bands?

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Le travail du peintre

Yesterday’s concert in the Songmasters Series at Mazzoleni Hall featured Mireille Asselin and Brett Polegato with Peter Tiefenbach and Rachel Andrist in a program of songs more or less related to painting and painters.  The first half of the program was all French; Fauré and Debussy.  Mireille and Peter gave us two songs from Fauré’s Cinq mélodies de Venise plus three pieces from Debussy’s Fêtes galantes and Pantomime from Quatre chansons de jeunesse.  I thought the Debussy generally suited Mireille’s voice rather better than the Fauré.  The first three songs were beautifully and charmingly sung while Pantomime gave full rein to Mireille’s considerable comedic talents.  The highlight of the first half for me though was Brett’s singing of the Poulenc work that gave the concert its title.  Seven songs by Paul Eluard; each a brief portrait of a painter.  Written at the same time as Dialogues des Carmélites, these pieces have the same sort of intensity and drive (and decided non trivial piano parts!).  They were most expertly sung with fine diction and legato and a keen sense of the varied moods of each piece.

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Coming up

letravail_365sqIt’s getting a bit busier again.  This afternoon there are a couple of concerts.  At 2pm in Mazzoleni Hall you can catch Mireille Asselin and Brett Polegato with Peter Tiefenbach and Rachel Andrist in a painting themed program of lieder, artsongs and chansons called Le travail du peintre.  At 4.30pm at Metropolitan United Church Bach’s Mass in B Minor meets German film maker Bastian Clevé’s film The Sound of Eternity.  The soloists are Marjorie Maltais, Geoff Sirett, Jennifer Krabbe and Charles Sy plus the Orpheus Choir, Chorus Niagara and the Talisker Players.  I suppose it would just about be possible to do both…

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News from MY Opera

applinTwo announcements from MY Opera at their fundraiser yesterday.  First, they have rebranded from Metro Youth Opera to MY Opera.  I guess everybody is getting a little older!  More exciting, their spring 2016 production will be Britten’s The Rape of Lucretia which is a definite departure into much darker territory for this company and a chance to see a work that isn’t performed too often.  Dates and casting TBA.

The fundraiser itself was fun with some fine singing from, among others, Stephanie Tritchew, Lyndsay Promane, Asitha Tennekoon and Kelsey Vicary with Natasha Fransblow on keyboards.  There was beer and silly hats and a vast quantity of rather good chicken wings.  There was also a raffle and a photo booth thingy.  And did I remember to mention the chicken wings.

The Diary of The One Who Didn’t Disappear

The on/off saga of the Ensemble Studio’s promised Janáček’s The Diary of One Who Disappeared came to an apparent conclusion yesterday.  It had been postponed at least once and even this morning the COC website is advertising a complete performance with two soloists and a small chorus.

cocIt didn’t happen.  What we got was a recital by Owen McAusland singing some excerpts from the Janáček plus Vaughan William’s The House of Life and Britten’s Les Illuminations.  It was his last performance as a member of the Ensemble Studio during which time, among many other things, he sang several main stage performances as Tito covering for a sick Michael Schade.

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History’s worst fifty years in song

tumblr_m3nd5oo7XK1qjsaf0o1_400I guess it’s a good thing when one’s emotional and intellectual reactions to a program threaten to overwhelm one’s ability to listen analytically and evaluate.  That’s what art is for isn’t it?  Anyway that’s pretty much what happened to me today listening to a program called Songs of Love and War in the Richard Bradshaw Amphitheatre.  The songs were all pieces more or less inspired by the catastrophes of the first half of the twentieth century; the wars, the rise of Nazi power, the occupation of France.  These are all events that have many layers of meaning for me.  I have studied them and the music and literature they generated for decades.  I have known, often well, people who played roles in these events.  I have deeply held views.  You have been warned!

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