There was a two part session with Barbara Hannigan at UoT yesterday.The first part consisted of an open rehearsal/masterclass for the Contemporary Ensemble conducted by Wallace Halladay with Maeve Palmer as soloist of Ligeti’s Mysteries of the Macabre.The piece is a mash up of three areas for the character Gepopo from the opera Le Grand Macabre. The basic premise is that Gepopo, the head of the secret police, is trying to warn her boss that the Earth is about to be hit by a comet. Unfortunately Gepopo has spent so long in the underworld of spooks and spies that she’s utterly paranoid and can only speak in broken fragments and secret codes. It’s weird and surreal and often funny in a disturbing way. It’s a piece very much associated with Hannigan who has sung it many times and worked on it with the composer.
I reviewed Brett Dean’s Hamlet when it was first broadcast from Glyndebourne on the BBC in 2017. Somehow I managed to miss the subsequent DVD/Blu-ray release but I’ve now been able to get hold of the DVD and can provide some further insights. As far as the work itself, the production, the performance and the video direction I don’t have anything much to add to my original review.
A new opera by Australian Brett Dean based on Shakespeare’s Hamlet premiered at Glyndebourne this summer. A recording of it was broadcast on BBC television on 22nd October. I’ve now had a chance to watch it in full. I wasn’t sure what to expect as it get somewhat mixed reviews. I was impressed. Very impressed. First off, Matthew Jocelyn, who wrote the libretto, and Dean know how to turn a play into an opera. They understand that it’s not just about taking a bunch of dialogue and giving it a soundtrack. What they do is very clever. All the text is Shakespeare but it’s split up and moved around. There’s repetition and sometimes words are reassigned to different characters. Characters sing parallel lines. Then, of course, there’s a chorus. A good example is when the players appear before performing The Death of Gonzago. They get lines taken from various of Hamlet’s soliloquies chopped up and rearranged. It’s effective and allows the main elements of the story to be told in under three hours of opera. The main bit that’s missing is the whole Fortinbras and the Norwegians thing but that often gets cut anyway.
Just been checking out the Glyndebourne 2017 season announcement. Not that I’ll be going or anything but one production did catch my eye. There’s a new Hamlet opera from Brett Dean and Matthew Jocelyn to be directed by Neil Armfield and conducted by Vladimir Jurowski which sounds promising enough but look at this cast: Allan Clayton (Hamlet), Sarah Connolly (Gertrude), Barbara Hannigan (Ophelia), Rod Gilfry (Claudius), Kim Begley (Polonius), John Tomlinson (Ghost of Old Hamlet). There had better be a DVD.
Oh yes and they’ve unearthed yet another previously (more or less) unheard of Cavalli.
We are remarkably lucky in Toronto to get as much contemporary opera as we do. Courtesy of groups like Tapestry and Soundstreams , it seems that two or three new pieces get performed every year. They tend to be home grown, which is fine but does mean we don’t often get a glimpse into what’s happening with new work in Europe. In fact, in the last few years, I think the only European contemporary piece I’ve seen in Toronto was Saariaho’s L’Amour de Loin. So, I was really pleased, courtesy of Soundstreams and CanStage to be able to see Philippe Boesmans’ Julie which opened last night at the Bluma Appel theatre.
The casting for Philip Boesmans’ chamber opera Julie, to be staged by Soundstrams and Canadian Stage in November has been announced. The title role will be sung by London, Ontario mezzo Lucia Cervoni. I’ve not seen her but judging by reviews she seems to be very much in the same space; physically and vocally, as Malena Ernman who premiered the role. Jean, her feckless lover, well be sung by Clarence Frazer. He’s been on terrific form lately and seems a good pick, though it’s a rather thankless role. The toughest sing in the piece is probably Christine, Jean’s fiancée and a servant in the household. This goes to Ottawa’s Sharleen Joynt. She really impressed me as Zerlina in Against the Grain’s #UncleJohn and I’m really intrigued to see what she does with a high coloratura role which is, I believe, her normal turf. Continue reading →
The Canadian Stage season brochure for 2015/16 landed in my mailbox yesterday. I was intrigued to see that, among the ten productions on offer, there was an opera and a contemporary one at that. Julie is a 2005 adaptation of Strindberg’s 1888 play Miss Julie with a libretto by Luc Bondy and music by Belgian Philippe Boesmans. Matthew Jocelyn directs. There will be eight performances at the 867 seat Bluma Appel Theatre from November 17th to November 29th 2015. More details here.
It seems like the Toronto contemporary opera scene is coming to life. As well as Tapestry’s ongoing efforts we had Airline Icarus, Shelter and When the Sun Comes Out this summer and who knows what’s to come. It almost makes up for the COC commemorating the 100th anniversary of the start of WW1 by programming nothing written since then.