Opera Atelier has announced its 2016/17 season. The fall production will be Purcell’s Dido and Aeneas. It isn’t clear whether this is a new production or a revival. The company has done the piece before; at the MacMillan Theatre in 1989 and 1994, in 2005 at the Elgin and in sundry tour venues. It’s not paired with anything so it’s either a very short show or there is a lot of interpolated dance. Wallis Giunta and Chris Enns play the lovers with a supporting cast that includes Meghan Lindsay, Laura Pudwell, Ellen McAteer, Karine White and Cory Knight. Nice to see Karine getting a chance on a professional stage. There are six shows at the Elgin between October 20 and 29, 2016.
Tag Archives: enns
Heil dir, Sonne!
François Girard’s Siegfried, a revival of his 2006 production, opened last night at the COC. Despite using the same basic set concept as Atom Egoyan’s Die Walküre, Girard’s Siegfried, has a rather different look and feel. The fragments of Valhalla and the remains of Yggdrassil are still there but they are supplemented in imaginative fashion by a corps of supers and acrobats who play a key role in shaping the scenes. For example, in the opening scene we have Yggdrassil festooned with bodies, as if some enormous shrike were in residence. Some of these are dummies and some aerialists who come into the drama at key points. The flames in Siegfried’s forge are human arms. Acrobats make a very effective Fafner in the Niedhöhle scene and the flames around Brünnhilde’s rock are human too. Most of the characters are dressed in sort of white pyjamas which makes for a very monochromatic effect on the mostly dark stage. The one visual incongruity is the “bear” who is present, tied to Yggdrassil, throughout Act 1. Frankly it looks less like a bear than John Tomlinson after a night on the tiles. Still, all in all, the production is effective without being especially revelatory.

A bicycle opera in a bicycle shop
I was back last night to see Bicycle Opera Project’s Shadowbox again. This time it was in the more intimate, and highly appropriate, setting of a bicycle shop; Curbside Cycle on Bloor Street. Minus the high roof of the Davenport-Perth Community Centre it was much easier to understand the sung text which is pretty important with this show. The show is an interesting concept. It’s still a series of scenes by different composers and librettists but they are linked thematically by the common idea of memory and dramatically by the auction of objects that set up each scene The auctioneer is rather brilliantly played by Chris Enns who, curiously, seemed quite sinister at Davenport-Perth (like something out of a German Expressionist movie perhaps) but seemed quite avuncular close up.
Opera on wheels
Yesterday saw the 21st and final performance for this season for the Bicycle Opera Project; the conclusion of a five week, fourteen city trip around Ontario. Fittingly for an eco-opera venture it took place at the Evergreen Brickworks in a bare brick and sheet metal industrial setting.The programme consisted of seven pieces; short works or excerpts from longer ones, all by contemporary Canadian composers and scored or rescored by them for the unusual ensemble of keyboards, flute and clarinet that accompanied the singers.
First up was an excerpt from Brian Current’s Airline Icarus. They played the scene where the passengers and stewardess are expressing their hopes and, more vehemently, fears. It’s an uncomfortably funny scene and it was played here in a more broadly comedic manner than in Tim Albery’s original staging. That proved very effective as a stand alone especially with most of the audience up so close. Fine performances from all four singers with Chris Enns as an extremely angsty academic, Stephanie Tritchew flirtatiously displaying her considerable charms and some neat eye rolling from Larissa Koniuk and all anchored by Geoffrey Sirett reprising the role of the Businessman. I was reminded too what a fine score this is, even in the reduced arrangement used here. Continue reading
Opera Atelier does it again
I had planned on giving Opera Atelier’s production of Lully’s Persée a miss but early reviews were positive and, more importantly for me, suggested there was something new and a bit different about the piece this time around. This production has been around since 2000 and was recorded for DVD four years later so I knew pretty much what to expect and to be honest that’s what we got last night. If there were changes, they were very minor. If anything it’s got even camper and I do wonder whether OA is in danger of becoming a sort of parody of itself. And it’s still three hours of OA doing Lully and if that’s your thing you will not be disappointed. If you are expecting anything else you won’t get it.
Searing Carmélites from COC
Poulenc’s Dialogues des Carmélites is a strange and compelling piece. Dramatically it is very “slow burn” with a narrative arc that builds over almost two hours to a final scene of searing intensity. Without that final scene the piece would have no reason but it justifies all and only one “fit for treasons, stratagems, and spoils” could possibly leave the theatre unmoved. It’s not just moving, done well it’s emotionally devastating. And that’s the state I left the Four Seasons Centre in last night after a near perfect performance of Robert Carsen’s extraordinary production.
Opera Atelier announces 2013/14 season
Toronto based Opera Atelier have announced their 2013/14 season. The Fall production is a revival of the company’s 2008 Abduction from the Seraglio sung in German with English dialogue (groan). Casting is Lawrence Wiliford as Belmonte, Ambur Braid as Konstanze, Carla Huhtanen as Blondie, and Adam Fischer as Pedrillo and Gustav Andreassen as Osmin. A no doubt bare chested Curtis Sullivan will play the non-singing role of Pasha Selim. It’s an interesting cast especially considering the impact Ambur has been making recently and I’ll more than likely take a look. Continue reading
Sic Semper Tyrannis
Last night saw the COC Ensemble Studio’s annual main stage performance. This year it was Mozart’s La Clemenza di Tito in a Christopher Alden production. It’s a somewhat quirky production that I haven’t fully digested yet and may need to wait until after seeing the main cast on the 22nd to come to a more considered view. My initial reaction is that it has a lot of interesting ideas, maybe one or two misguided ones and that the whole thing, while interesting, isn’t completely coherent. That said, Alden productions often seem more coherent second time around. And whatever I might think of the production, it didn’t distract from some very fine performances.
New additions to the COC Ensemble Studio
The COC today announced six new singers will join the Ensemble Studio for the 2013/14 season. If you read my review of the Ensemble Studio competition in November you’ll not be surprised. The three prize winners; bass-baritone Gordon Bintner, tenor Andrew Haji and mezzo Charlotte Burrage are among the six as is my pick, dramatic soprano Aviva Fortunata. The remaining two are baritone Clarence Frazer and mezzo Danielle MacMillan who were also quite impressive in the competition.
The Ensemble Studio is losing Mireille Asselin, Neil Craighead, Rihab Chaieb, Chris Enns and Ambur Braid as well as both pianists; Timothy Cheung and Jenna Douglas, at the end of this season though all of them can be seen in some capacity in La Clemenza di Tito next month. Rihab is also appearing in Dialogues of the Carmelites in the spring. There’s no word on new non-singing talent for Ensemble. I’m going to be really interested to see what’s next for these guys. We’ve had some good times together.
The Enslavement and Liberation of Oksana G.
Last night saw the first of two workshop performances of Act 2 of The Enslavement and Liberation of Oksana G., a new full scale opera with music by Aaron Gervais and libretto by Colleen Murphy. Act 1 was similarly workshopped last year. It’s being produced by Tapestry New Opera in the Ernest Balmer Studio at The Distillery. The second performance is tonight.
The piece is about sex trafficking. Oksana is a Ukrainian girl tricked, raped and forced into an Italian brothel controlled by Russian organized crime. At the beginning of Act 2 she has escaped and is living at a refugee shelter run by a Canadian priest in Brindisi. The story concerns her relationship with the priest, her desire to return to her family and her pimp’s determination to get his hands on her again. It’s dramatic, emotionally charged and ends badly. It’s neither overly melodramatic nor crushingly intellectual and it works very well as an opera libretto. Somewhat oddly it’s written in four languages; English, Italian, Russian and Ukrainian, apparently for essentially “naturalistic” reasons. I think the logic is off but it didn’t reduce my enjoyment of the piece. Continue reading


