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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Golden Age of Opera

Such was the title of yesterday’s performance by the UoT Opera ‘s performance in the RBA.  Now personally I don’t subscribe to the notion of the 19th century (ugh!) as a “golden age” of anything but yesterday suggested that the UoT program, if not quite in golden age territory is going through a bit of a purple patch.  This was, I think, the best student performance overall that I have heard in the last two or three years.

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