UoT’s La finta giardiniera

I don’t think I’m ever going to love Mozart’s La finta giardiniera.  It has some pleasing music, though oddly the two principal characters don’t get much of it, but the plot is ridiculous and it really outstays its welcome.  That said, Michael Patrick Albano’s production for UoT Opera in the MacMillan Theatre at least makes the complexity clear.  We never lose sight of who is who; even if the other characters do, and what logic there is in the plot comes through clearly enough.  Albano sets it entirely realistically in 18th century dress with set elements efficiently dropped in from the fly loft or carried around by a small band of liveried servants.  There’s a fair bit of “park and bark” but then there’s a lot of prosy explaining going on.

Cairns Finta

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Who killed Adriana?

whokilledadrianaThe annual Student Composer Collective opera at UoT is, as far as I know, unique.  A libretto is written.  The work is divided up and student composers write music for their assigned section(s).  The finished work is presented fully staged with orchestra.  In recent years the libretto and direction has come from Michael Patrick Albano, as was the case with this year’s effort presented in the MacMillan Theatre yesterday afternoon.  Who Killed Adriana riffs off Cilea’s Adriana Lecouvreur.  Adriana Amaro, a very divaish diva, is making her Covent Garden debut as Adriana.  In the first half of the show, set backstage between Acts 2 and 3, we see her waspishly putting down all the other characters before making her grand entrance.  This time though the poisoned violets of the final scene are just that and the second part is a whodunnit search for the murderer. Along the way no stock opera joke is left unused.  Tenors are neurotic, understudies insecure, managers harassed, fans obsessive, there are fake Italians and so on.  But in typical Albano style it works and provides a coherent, and at times very funny, plot line for the composers to work with.  And some of the jokes were new.  Adriana’s chauffeur, Umlaut, is revealed as the answer to every Austrian’s prayer; the inventor of musical strudel.

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From Mozart to Verdi

My first chance to take a look at this year’s UoT Opera Program came up on Sunday night in a concert staged jointly with the UoT Symphony and the MacMillan Singers.  It was a series of opera orchestral pieces and ensembles kicking off with the overture from Die Zauberflöte, where the orchestra was Klemperer sized but the tempo distinctly quicker.  The evening proceeded via more Zauberflöte, Don Pasquale, Cavelleria Rusticana, Die Meistersinger and Carmen to the party scene in La Traviata.

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Ein Reich, ein Volk, ein König

In many ways Meyerbeer’s Les Huguenots is a typical mid 19th century French grand opéra.  It takes a sweeping, epic story; in this case the St. Bartholomew’s Day Massacre, and grafts onto it the elements the paying public demanded; spectacle, ballet, showpiece arias etc.  The result is unwieldy and, when applied to such grim subject matter, almost grotesque.  The 1991 Deutsche Oper production by John Dew (performed in German as Die Hugenotten) takes these disparate elements and works with them; mixing laugh out loud and extremely grim to create a piece of music theatre that is truly disturbing.

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