The Magic Flute at the GGS

I went into last night’s Glenn Gould School performance of Mozart’s The Magic Flute at Koerner Hall with all kinds of questions buzzing around in my head; partly because of an earlier conversation with director Joel Ivany and partly, well, Magic Flute – that most enigmatic of operas.  If only one could go back (more than forty years) to seeing it for the first time!

Photo: Nicola Betts

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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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In which the dogs don’t really get let out

Tap:Ex METALLURGY is the second experiment by Tapestry Artistic Director Michael Mori in engineering a collaboration between  opera people and an alien musical form; in this case punk experimentalists Fucked Up.  The program consistec of two pieces.  Metallurgy A was written by Fucked Up’s Jonah Falco to a dense libretto by Mike Haliechuk and David James Brock.  In half an hour it tells the story of a mother and father trying, unsuccessfully, to come to terms with the death of their young daughter.  Dramatically it’s quite clever.  There’s dialogue and then the performers (the musicians are on stage with the singers) leave one by one until only the mother (Krisztina Szabó) and the violinist (Yoobin Ahn), representing the ghost of the daughter, are left on stage to play out a final duet.

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