Divine Monster

Divine Monster, by Elena Kaufman, directed by Mary Dwyer, is currently playing in the RBC Finance Studio at Soulpepper as part of the Fringe.  Martha, a young, lesbian Canadian rock singer has just split up with her girlfriend on the Paris leg of a backpacking trip.  She finds herself in Père Lachaise, chez Sarah Bernhardt, late at night.  It’s one of the rare nights when an ancient ritual might free Bernhardt from her incorporeal existence if the right “victim” can be found.  Martha, who has basically decided that she is a failure with no future might be the ideal candidate.  At least she can see and talk to Sarah though not the other ghosts who lurk around.

Continue reading

Leaving Home

Leaving Home is a 1972 play by David French set in Toronto in the 1950s and centring on a Newfoundland family that migrated to Toronto at the end of the war.  It originally played at Tarragon Theatre and it’s now playing at Coal Mine Theatre in a production by Halifax’ Matchstick Theatre.

Continue reading

A murder at Crow’s

True Crime, a Castleton Massive production, by Torquil Campbell and Chris Abraham opened at Crow’s Theatre last night.  It’s essentially a one man show featuring Campbell (not quite… composer Julian Brown provides musical backing throughout).  It’s certainly a tour de force by Campbell who is on stage continually for 90 minutes and it’s hard to tell when he’s on script and when he’s improvising.  He plays a raft of characters from himself, to his father and wife, an imprisoned con man, several dogs and a bunch of others.  And he does it very well.  He also sings (and barks).

1.TrueCrime-photobyDahliaKatz-1581

Continue reading

Samuel Mariño with Tafelmusik

Yesterday I saw the second of two performances by Venezuelan male soprano Samuel Mariño with Tafelmusik at Trinity St. Paul’s. The programme was a mixture of virtuoso baroque arias by various composers interspersed with relatively short instrumental pieces.

Samuel Mariño with Tafelmusik Baroque Orchestra. Photo by Dahlia Katz.

Continue reading

Unruly Sun

Matthew RickettsUnruly Sun is a song cycle in 19 parts with music by Matthew Ricketts (left) and words by Mark Campbell (below).  It’s inspired by Derek Jarman’s Modern Nature and was performed last night in Mazzoleni Hall by tenor Karim Sulayman accompanied by piano and string quintet.  I was much more affected by this piece than I expected to be.  The text covers a lot of ground; Jarman’s cottage at Dungeness with it’s bleak shingle beach and nuclear power station, AIDS and the loss of friends, a bad porn movie and, of course, Jarman’s garden (which also of course inspired Tm Albery’s Garden of Vanished Pleasures), and anger at Thatcher’s Britain and her indifference to those suffering from AIDS (c.f. Jarman’s The Last of England).  These ideas are linked together by sections about plants and flowers and quotes from (I think) John Donne.  So, the AIDS crisis and the burning tire fire of Thatcherism meets the Georgian tradition that links the Elizabethans to Edmund Blunden and beyond.  It’s beautifully constructed and the somewhat minimalist, evocative and rather beautiful music supports without imposing itself.  And the performance was stunning; beautiful singing, beautiful playing and cool projected images. Continue reading

Bach cello suites II


The second of three concerts of the Bach cello suites prresented by Confluence Concerts and the Toronto Bach Festival is now up on Confluence’s Youtube channel.  There’s an hour or so of really nice cello playing with Kieran Campbell playing the Suite no.4 and Eleanor Fry performing the Suite no.6.  The most interesting segments though are hearing the musicians talk about their rather unusual instruments.  Kieran was playing an early 18th century instrument that is quite a bit larger than a modern cello and has no spike at the foot.  It’s strung with gut of course though two of the strings are metal wrapped.  Eleanor’s instrument is a modern reproduction of a baroque five stringed cello.  I had no idea such a thing existed!  As with all the Confluence streams, technical quality is impeccable.  Definitely worth a look.

5stringcello

Sounding Thunder

Perhaps the most interesting concert of the Toronto Summer Music festival so far took place at Walter Hall last night.  The main event was the presentation of Sounding Thunder; a work about the life of Francis Pegahmagabow, Canadian war hero and First Nations activist.

sounding thunder

Continue reading

Beggars in York

I managed to catch the end of the run of York University’s production of The Beggars Opera this afternoon.  It’s a hugely ambitious concept with a couple of hundred people involved.  The basic concept is that John Gay’s piece is being performed by inmates in a prison as part of their rehabilitation.  Layered onto this is an obnoxious talk show host who is commenting on the proceedings from a sort of gutter conservative perspective.  Add to this interpolations based on Lady Gaga, blues harmonica, ukulele and even a bit of Britten.  Fights break out between the cast and have to be dealt with by the prison warden and staff.  Equally, they intervene in over enthusiastic sexual encounters.  It’s brave but it rather tends to overwhelm the piece at the centre.BeggarsOpera-Lucy Lockit1 by Jeremy Mimnagh-233 Continue reading

Joan Sutherland on form

A while back I reviewed the train wreck that is the CBC recording of Joan Sutherland in Norma. Three years later the Canadian Opera Company and the CBC tried again with a recording of Donizetti’s Anna Bolena. As a recording and a production it has its limitations but it’s not a disaster and is enjoyable in many ways.

Continue reading

Giulio Cesare in Australia

Opera DVDs from Australia are as rare as Canadian ones and for the same reason. The national broadcaster’s approach to the arts would put the Philistines to shame so opera broadcasts from which DVDs can be produced are passing rare. The one under review here is a 1994 production of Handel’s Giulio Cesare from the Sydney Opera House.

There’s a lot to like about it. The stage production by Francisco Negrin is fairly conventional but attractive to look at and contains some very effective touches. He makes good use of an apron in front of the pit and he uses the rather minor character of Nireno to some effect as a sort of silent chorus on the action. Costumes are sort of 1900ish with odd touches like breastplates and Egyptian dancers and supers in white body and face make up. Sets are mostly simple with typical Egyptian iconography. Cleopatra is naked in her bath when she receives Caesar which would probably be too much for the more staid North American houses today, let alone twenty years ago. The choreography by Gregory Nash makes very effective use of a talented group of dancers. Best if all from the point of view of watching on DVD the video direction by Peter Butler is very respectful of Negrin’s intentions and gives us a real good view of all of the action.

On top of that there is some excellent singing especially by Graham Pushee in the title role. Not everyone likes to see a countertenor in this role but Pushee makes a good case for it. He’s fuller toned than most and has excellent control of his coloratura and ornamentation. He’s also a very good actor. Overall, he may be the best in this role that I have seen. The Tolomeo of Andrew Dalton makes a good foil. He’s a reedy, nasal counter tenor of an older type but that works quite well for the weak and scheming character he portrays. The Achilla of Stephen Bennett is also top notch building to a fine climax in Act 3 with “In tal’ modi si premia”. Rodney Gilchrist as Nireno doesn’t have a lot to do vocally but he’s present and contributing so much of the time that he deserves a special mention. The orchestra under Richard Hickox uses modern instruments but doesn’t go heavy or mushy.

I was initially somewhat ambivalent about Yvonne Kenny’s Cleopatra. I’ve got used to this role being sung by much younger singers than the 44 year old Kenny and it has to be that she looks and sounds very mature for Cleopatra. That said she sings with great gusto and bold coloratura. She acts well too but she does struggle a bit to be the sex kitten who seduces the stuffy Caesar. Despite this by the third act and, especially, her really committed “Da tempeste il legno infranto” I was pretty much won over by her sheer enthusiasm. There’s something of the same problem with Rosemary Gunn’s Cornelia. It’s hard to think of Ms. Gunn as the bombshell who has half of Egypt lusting after her, despite a pretty decent performance overall..

What’s not to like? Not too much really. Elizabeth Campbell’s Sesto is a bit shrill and generally not very convincing dramatically. The biggest negative though is the technical quality of the disk which scarcely does justice to Butler’s efforts. The sound, Dolby 2.0, is OK but the 4:3 picture really isn’t all that great. There’s no way one can fit 207 minutes of opera onto a single DVD9 and have great video quality. 4:3 doesn’t help either as the stage is the sets are wide but not very high (so I guess an extra bonus point for avoiding the close up trap). The subtitles are English only and the documentation is limited to a chapter list. Bottom line, a good effort rather spoiled by el cheapo production for disk(1).

This version does have the merit of being inexpensive but it’s up against strong competition from Copenhagen and Glyndebourne. Both houses offer much more recent productions at much higher technical quality. At a price.

fn1. This performance appears to be available in a different package outside North America. It has Dolby 5.1 and DTS sound tracks and, I suspect, is spread across two disks. Certainly the track numbering n the version I watched and the way it behaves if played with vlc suggests two VIDEO-TS folders crammed onto one disk.