Carried by the River

Diana Tso’s Carried by the River is currently playing in the Extraspace at Tarragon Theatre in a production directed by William Yong for the Red Snow Collective.  It’s the story of a Chinese girl, Kai, who is abandoned by her birth mother because of the “one child policy”, adopted by a Hong Kong mother and brought to Canada as a baby.  When she’s about twenty her mother dies unexpectedly leaving her with many unanswered questions.  She travels to the province of her birth in search of.. do we ever know what we “are in search of”?

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Identität/個性

Wednesday’s lunchtime concert in the RBA was given by Ensemble Studio graduates Samuel Chan and Rachael Kerr, reuniting for the first time since ES days.  Nowadays Sam is Fest at Theater Kiel and the recital was built around his attempt to probe his identity as a Chinese-Canadian performing Western opera for (mostly) Germans.  Sam is a pretty deep, thoughtful kind of guy so it wasn’t surprising that this was an unusual and carefully curated recital.  It was also quite wonderfully performed.

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Traditional Butterfly at the COC

The Canadian Opera Company opened it’s “new to Toronto” production of Puccini’s Madama Butterfly on Friday night.  It’s a production that’s been around for a while having premiered in Houston in 2010.  It’s almost entirely traditional.  The one concession to critics of Puccini’s rather sordid tale is that Butterfly’s age is raised from fifteen to eighteen. The original concept was Michael Grandage’s but it’s revival directed here by Jordan Lee Braun. Continue reading

Walt vs. the lemmings

A Public Reading of an Unproduced Screenplay About the Death of Walt Disney by Lucas Hnath opened last night at the Young Centre in a production by Outside the March and Soulpepper.  It’s one of those pieces that is perhaps easier to admire than enjoy.  Technically, everything about it is excellent but sitting through ninety minutes of egotistical bullying is not a whole lot of fun.

Death of Walt Disney 2. Katherine Cullen, Diego Matamoros, Tony Ofori and Anand Rajaram. Lighting by Nick Blais. Set by Anahita Dehbonehie. Costumes by Niloufar Ziaee. Photo credit Dahlia Katz

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Chinatown

chinatownChinatown; music by Alice Ho, words by Madeleine Thien and Paul Yee, is a multilingual opera about the Chinese immigrant experience in British Columbia.  It ws commissioned by Vancouver City Opera where it played in 2022.  It’s now been recorded for CD by the original cast.

Like some of Alice Ho’s previous work (The Monkiest King, The Lesson of Da JI) Chinatown is cross cultural in many ways.  It combines Western and Chinese instruments, musical styles and vocal styles and in this case it uses three languages; Hoisan dialect, Cantonese and English.  Unlike the previous two operas though this one isn’t based in myth and legend.  Rather, it’s a gritty and moving story that doesn’t shy away from confronting the brutal institutional racism that Chinese people faced in BC well into the 20th century. Continue reading

November gigs

november24Here’s what I’m looking forward to in a busy November.

  • The reprise of Tapestry’s Rocking Horse Winner at Crow’s Theatre.  That’s November 1st to 12th.
  • The Glenn Gould School’s fall opera offering.  It’s a presentation of five of Tapestry’s short operas from the 2000s.  November 3rd and 4th in Mazzoleni Hall.
  • Voicebox are doing Verdi’s Un giorno di regno at the St. Lawrence Centre on the 5th.

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A Woman’s Voice

A Woman's VoiceConfluence Concerts’ show last night at Heliconian Hall was titled A Woman’s Voice.  It was, after a fashion, a CD release concert in two halves.  The first half featured music by Alice Ping Yee Ho from the album A Woman’s Voice and featuring the same performers; Vania Chan, Katy Clark, Alex Hetherington, Maeve Palmer and Jialiang Zhu.  I’ve already reviewed the album and I don’t think last night changed my opinion much so I’ll not do a detailed rundown.  What I can say is that last night it was mostly opera excerpts; Lesson of Da Ji, Chinatown, The Imp of the Perverse, and a live concert gave an opportunity for a bit of staging which was definitely an enhancement, especially in The Imp of the Perverse scene.  “Café Chit Chat” and “Black” also benefitted from visual interaction between the singers.  I like the CD a lot.  Getting a chance to see some of the music live was great. Continue reading