Rufus Wainwright’s Hadrian

I finally got to see Rufus Wainwright’s new opera Hadrian, to a libretto by Daniel Macivor, at the Four Seasons Centre last night.  There’s been a lot of hype around it and I was interested; the few bits of music from it that I had heard intrigued me but I’m no fan of his earlier work Prima Donna.  One thing was certain.  The piece does not lack ambition. There are four acts totalling something like 160 minutes.  There’s a large cast, a large orchestra, a large chorus and an epic storyline.  It’s clearly an attempt to produce a “grand opera” for our times.  Does it succeed?

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Cold Mountain

CD-Cold-Mountain-CDThis review first appeared in the print edition of Opera Canada.

Jennifer Higdon’s Cold Mountain, which premiered at Santa Fe in 2015, is an example of what seems to be becoming the standard American formula for new opera. It takes a story from a best selling book that has already been made into a Hollywood film and turns it into an opera. Add to that that it’s a melodrama set in the currently fashionable Civil War South. Melodramatic it certainly is. Within five minutes Owens (Robert Pomakov) has been stabbed and buried alive and his son (Adrian Kramer) bound, gagged and dragged off to the army. A little later our hero, a Confederate deserter played by Nathan Gunn, rescues Laura (Andrea Nūnez) from being thrown from a cliff by her preacher boyfriend (Roger Honeywell). He ends up as part of a heap of chained together corpses. This production is rough on Canadian singers. There’s much more in the same vein with summary executions, baby torture, a choir of dead soldiers and the hero dying with the last shot of the piece. All of this is spun around the romance between the hero, Inman, and his classy but clueless girlfriend Ada (Isabel Leonard) who is busy dodging the attentions of the creepy and repulsive Teague (Jay Hunter-Morris) with the help of the sassy but practical Ruby (Emily Fons).

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What harbour shelters peace?

Readers of this blog will likely know that Peter Grimes is a very special opera for me.  I’ve watched it live and on recordings a lot.  I think about it a lot troo so the chance to see it live is rather special.  It’s even more special when it’s done as well as at the Four Seasons Centre last night in the opening performance of a new run of Neil Armfield’s much travelled production, revived here by Denni Sayers.

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