Last night’s virtual salon by Confluence; Let’s Stay Together, featured an extremely, if unsurprisingly, eclectic selection of music and poetry and some serious techno-wizardry. Two numbers featuring Suba Shankaran and her technical whizz husband Dylan Bell exemplified the techy side. Come Together was an overdubbed. live looped, east meets west version of the Lennon and McCartney number in which the pair built up layers of sound incrementally. Meditation Round, which rounded out the evening, was a moving new work by Suba dealing with how we need to move forward, not back, as life, perhaps, returns to some sort of normality. There was an almost 16th century quality to the music and the performance in which pretty much everyone took part remotely. Brilliant mixing and post production here backing up an extremely affecting work.
Loose Tea Music Theatre’s Carmen #YesAllWomen has been in the works for three years. It went “live” this week with a production at Heliconian Hall. It’s an intriguing show. Dramatically and musically it’s recognisably based on Bizet’s Carmen but only just. In Alaina Viau and Monica Pearce’s version the principal male character is one John Anderson, an Afghanistan vet with PTSD, his rival for Carmen is a rapper, Maximillian aka Hot God, and Michaela is Anderson’s estranged wife.
Toronto City Opera’s latest show, at the Al Green Theatre, is Offenbach’s Tales of Hoffmann. It’s a pretty good choice for TCO since, even with cuts, there’s plenty of fun stuff for the chorus to do and Jessica Derventzis’ production keeps a good chunk of them on stage pretty much throughout. The production concept is straightforward. It gets a late 19th century setting and the three acts are framed as presenting Hoffmann’s story to the group of drunken students. It’s unfussy and works.
Last night LooseTEA Theatre presented a work-in-progress version of their reimagined Carmen. Director and librettist Alaina Viau promised a “a radically envisioned” Carmen and she wasn’t kidding. Apart from the fact that Ricardo (Escamilio) and John Anderson (Don José) are rivals for Carmen’s affections and there’s a woman, Michaela, with a prior attachment to John and, of course, that John kills Carmen there’s not a whole lot left of Mérimée’s story. We are in Toronto. John is a vet suffering from PTSD who has left his wife (Michaela) and kids. Carmen manages a bar but is about to open her own place with the help of investment banker Ricardo. She comes across as an everyday working girl rather than someone whose life is a serial process of picking up and discarding men. Episodes that fit the big numbers of the score are quite cleverly crafted together to weave a narrative that works but rather relies on John’s PTSD to explain the two murders. Woven into the opera are videos by Darren Bryant that contain some of the characters’ back stories. Music is a mix of a conventional keyboard reduction played by Natasha Fransblow and live electronics from sound artist SlowPitchSound. The use of electronics brings a grittiness that feels like an essential way of undermining the “prettiness” of the score. Running around 55 minutes all told it feels a bit episodic and I hope (and expect) that the final version will seem more continuous. Certainly there’s already more than just the basis for a very interesting piece of music theatre.
Off Centre Music Salon’s opening concert of the season featured a largely Russian, largely 19th century program. There were plenty of songs by Glinka, Tchaikovsky and the like sung by an interestingly contrasted mix of Ilana Zarankin, Joni Henson and Ryan Harper with Inna Perkis and Boris Zarankin accompanying. It was good to hear Joni in this program in the warm acoustic of Trinity St. Paul’s. I think I’ve mostly heard her in the RBA which is notoriously hard on dramatic sopranos. Here the combination of the acoustic and Russian vowel sounds resulted in a very pleasing richness of tone rather than stridency. She also blended well with Harper’s very tenorish tenor and made an interesting contrast with the much lighter, brighter Zarankin. Nice work all round.
It’s a curious thing how some works get over recorded and others are almost entirely neglected. For example, there’s only one video recording of Weill’s Die Dreigroschenoper and that a 1931 film that omits huge chunks of the stage work. It’s inspiration fares little better. There’s only one video recording of The Beggar’s Opera by Johann Pepusch and John Gay. It’s a 1963 BBC TV production of Benjamin Britten’s reworking of the piece for the English Opera Group based on a stage production by Colin Graham. [ETA: There are actually two other versions; a 1953 movie version with Lawrence Olivier and a 1980s version with Roger Daltrey and John Eliot Gardiner].
Various thoughts about the Channel 4 film of Britten’s Owen Wingrave led to me seeking out the original BBC TV version from 1970, now available on DVD. It’s extremely interesting and worthwhile. Britten himself conducts and the cast includes many of the people involved in the first productions of many other Britten operas. They include Peter Pears (General Wingrave/Narrator), John Shirley-Quirk (Coyle), Benjamin Luxon (Owen), Janet Baker (Kate), Heather Harper Mrs.Coyle) and Jennifer Vyvyan (Mrs. Julian). The quality of the music making is superb and I found myself constantly surprised and delighted by details brought out by Britten supported by the excellent English Chamber Orchestra. At the same time, the fluent and idiomatic singing pointed up the excellence of Myfanwy Piper’s libretto. This really is Britten at his best.
There’s another indie opera company in town; Loose Tea Music Theatre. They are going to be putting on a crowd source funded transladaptation of Carmen called La tragédie de Carmen at Buddies in Bad Times on September the 6th, 7th and 8th. Details of the show are here and the crowd source funding page is here. This is no amateur effort. It’s directed by Alaina Viau who has worked at the ROH. The title role will be sung by Cassandra Warner, last seen in Opera Atelier’s Magic Flute, and the Don José is Ryan Harper, previously a Rodolfo for Against the Grain’s Tranzac La Bohème.
In 1969 the BBC’s new Director of Music and recording producer of genius, John Culshaw, contrived to align the heavens to permit the recording and broadcast for television of Britten’s Peter Grimes with Peter Pears in the title role and Britten conducting. What’s more it was recorded on a stage set (at The Maltings) with the orchestra in the same room as the singers who sang ‘live’. So, unusually for the time there was neither a double studio set up nor a studio audio recording that was lip synched to the stage performance. There’s a great little essay in the DVD booklet that explains how this all came to pass.
All that said, it’s a 1969 TV broadcast and I expected it to be of largely historic interest. I didn’t expect to get completely sucked in which is what happened. The design and production is very literal. The Boar is a pub. Grimes’ hut is a hut and so on. The people of the Borough are dressed in a range of working class clothes of sometime in the 19th century. They don’t look like a flock of crows on a telephone wire. Oddly, this makes their conformity all the more telling. The direction is a collaboration between Joan Cross who, we are told, directed the singers and Brian Large (who must have been about twelve at the time) who directed the cameras. As you would expect for a 1969 TV production there are lots of close ups which is fine as there was no “house view” here. The orchestral interludes are played out to either abstract patterns (which sometimes look a bit like those gel slides popular in discos of the period) and continuity shots. We don’t see the orchestra or, worse, a heavily perspiring conductor. It’s all straightforward but effective. There are some interesting interpretative nuances. For example in the storm scene in the pub I’ve never seen Grimes’ otherness so well brought out. Also, it’s absolutely starkly clear that Ellen and Balstrode have given up on Peter during Act 2 Scene 1 but he persists most compellingly in his hope until the ‘prentice falls at the end of the act. Pears’ reading of the part at this point is so hopeful that I had to go back and check that the bit where he accuses the boy of betraying him hadn’t been cut.
The performances are mostly strong. Pears’ Grimes is what it is. It’s beautifully sung and the lyrical passages like “Now the Great Bear and Pleiades” are gorgeous. It’s not totally convincing though. When he punches Ellen it comes out of nowhere. This dreamy, haunted Grimes just doesn’t have the violent side that the Borough and, ultimately Ellen, see. Heather Harper’s Ellen is gorgeous. She sounds younger and sweeter than in the later Vickers recording. Bryan Drake’s Balstrode is well sung but he’s more of the Borough and less the more broadly travelled and worldly wise character than others make of him. Both Gregory Dempsey as Bob Boles and Elizabeth Bainbridge as Auntie are more delineated than is often the case and Ann Robson gives a decidedly sinister Mrs. Sedley. Other supporting roles are perfectly adequate. Britten conducts the LSO and gives, especially, in the interludes, an even more taut and compelling reading than on the audio recording with the ROH Orchestra ten years earlier. This, for sure, is definitive.
Technically this disc is amazingly good. The 4:3 picture is a bit soft grained but amazing for 1969 TV. The sound is “enhanced Dolby mono” and while, obviously, it doesn’t produce any width or depth it’s clear and bright. (There’s also LPCM mono but its not nearly as good). There are English, French, German and Spanish subtitles.
All in all this is so much more than “just” a historical document. In every way it’s a performance worth watching.
When the Royal Opera House mounted a new production of Britten’s Peter Grimes in 1975 with Canadian heldentenor Jon Vickers in the title role it was controversial. Whatever else one could say about it Vickers’ interpretation of Grimes was very different from that of Peter Pears for whom the part was written. Britten, it was said, hated it. I saw it that summer and was pretty impressed but then seventeen year olds impress easily. I certainly never expected that the young baritone singing Ned Keene would end up as a knight and Chancellor of the university where I began my degree a few weeks later. When the production was revived in 1981 there were some significant cast changes. Norman Bailey had replaced the retired Geraint Evans as Balstrode, Philip Gelling was in for Thomas Allen as Ned Keene and one John Tomlinson had taken over as Hobson the carter. The incomparable Heather Harper remained as Ellen Orford. It’s the revival cast that was recorded and broadcast by the BBC and which is available on DVD from Kultur in the Americas and Warner Video elsewhere.