Opera in Concert opened their season at Trinity St. Paul’s on Saturday with the Canadian premiere of André Grétry’s 1784 opéra comique Richard Coeur-de-Lion. This is very loosely based on the story of Richard’s imprisonment by Leopold of Austria while returning from the Third Crusade. Richard’s man Blondel; disguised as a blind minstrel, discovers Richard’s place of imprisonment by playing a tune that Richard wrote. He then enlists the help of the Countess of Flanders, in love with Richard, (which would have come as a surprise to Berengaria of Navarre) and a Welsh knight; improbably styled Sir Williams, who his now (also improbably) running an inn in Austria and his daughter, Laurette. The governor of the castle where Richard is imprisoned, Florestan, in turn in love with Laurette, is tricked and Richard is freed to great rejoicing. (As opposed to a whopping ransom being paid!)
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The Gondoliers
Toronto Operetta Theatre opened the concluding show of their 2024/25 season at the Jane Mallett Theatre on Friday evening. It’s Gilbert and Sullivan’s The Gondoliers directed and choreographed by Guillermo Silva-Marin. It’s pretty decent and, besides, TOT is about the only chance to see G&S in Toronto; whatever one thinks of their approach. For those who have seen TOT’s G&S before it’s fair to say this is a very typical TOT G&S production.
GGS Carmélites delivers
Poulenc’s Dialogues des Carmélites is a very unusual opera. It breaks all the rules and yet, done well, is an immensely compelling piece of music theatre. There are no show stopper arias. The ensemble numbers are mainly drawn from Catholic liturgy. And yet it maintains a coherent and compelling narrative arc that builds steadily to an emotionally devastating conclusion. The Glenn Gould School’s current production at Koerner Hall directed by Stephen Carr gets all the elements right and makes for a memorable evening at the opera.

Tapestry x GGS
The Glenn Gould School’s Fall Chamber Opera offering this year was four short pieces from Tapestry Opera’s back catalogue. First up was Ice Time by Ka Nin Chan and Mark Brownell. It’s the story of a has been ice skater and her futile attempts to get her daughter, who wants to be a civil engineer, to follow in her footsteps (or icy equivalent). The music is in much the same vein as other works by this composer such as Dragon’s Tale. It’s a pretty light hearted piece and it got a lively and credible account from Emma Pennell as the daughter and Alexa Frankian as the mother. As with the other pieces direction was by Dana Fradkin with accompaniment by chamber ensemble conducted by Peter Tiefenbach.


