My predictions were rubbish but we’ll come back to that. There are two new productions in the upcoming season; Parsifal, which had already been announced and Janáček’s Káťa Kabanová in a David Alden production with Amanda Majeski in the title role. This is great. It’s been far too long since Janáček featured at the COC.
Yesterday’s lunchtime concert in the RBA consisted of four pieces for voice, tuned percussion and assorted other instruments by percussionist and composer Bob Becker. Apparently the tonal palette for all four was taken from the North Indian rag; Rag Chandrakosh. This is the sort of information I wouldn’t even be able to process without the help of the Wunderlemur.
The COC unveils its 2020/2021 season next Monday so, as in previous years I took a go at predicting what it might look like. This year operaramblings has abandoned traditional predictive methods such as animal sacrifice and hallucinogenic drugs in favour of handing all the data over to Cambridge Analytica. That didn’t work too well as they predicted a new opera based on Brexit and Putin being elected President of the USA. So it was back to the methodology we data scientists call “small data” where basically we make stuff up based on far too few data points. Here’s what emerged.
The main purpose of yesterday’s RBA concert was to showcase the prodigious talents of the five members of the COC’s Orchestra Academy; Isabel Lago and Ah Young Kim (violins), John Sellick (viola), Mansur Kadirov (cello) and Peter Eratostene (bass). The first half of the programme was the Allegro from Dvorák’s String Quintet No. 2 in G Major. This was very nicely done and served as a satisfying prelude to the main event.
February always seems to be a busy month and the first half is shaping up that way. Things kick off on the 1st with the Sellars staging of di Lassus’ Lagrime di San Pietro at Koerner. On the 3rd Danika Lorèn is curating a concert at Heliconian for UoT Music. It’s called A Few Figs from Thistles, it’s at 7.30pm and it’s free. We are promised new songs by Danika based on poems by Edna St. Vincent Millay, Tekahionwake (E. Pauline Johnson) and Lorna Crozier.
Catalan collective Els Comediants’ production of Rossini’s The Barber of Seville is back at the COC in a revival of the 2015 production. Five years ago I described it as a “glorious romp” and, based on yesterday’s performance, I see non need to amend that judgement. It may be even better this time. It still has Joan Guillén’s wonderfully colourful and silly costumes and sets and it still has Joan Font’s inspired directing; perhaps even crisper this time. Once again it has a wonderful cast of international and Canadian singers including a reprise of Bartolo by the admirable Renato Girolami.