So, after the rather scattered events of the summer last night’s fundraiser for Opera 5 at Atelier Rosemarie Umetsu felt like the start of a new season. It was well attended and organised in an intriguing and fun format. Basically, Team Day and Team Night were competing to see who could raise the most money. There were four rounds in which a singer from each team presented an aria, song or MT number. The one with the most pledges got to sing his or her “show off” aria. For an additional donation, the loser got to do the same. Given that some of the city’s best young singers were performing it was to be expected that it was a good show.
This year’s opera offering from the Glenn Gould School at the Royal Conservatory is Janáček’s Cunning Little Vixen. It’s a pretty good choice for a student production with a wide variety of roles and it’s a great vehicle for showing off the excellent Royal Conservatory Orchestra. The school has chosen to present the work in English translation which probably makes sense given the difficulties of training a whole new cast in Czech even though it somewhat undermines the composer’s extremely tight linkage of text and music.
Last night saw the first of two performances of Don Giovanni by the students of the Glenn Gould School at Koerner Hall. Koerner Hall isn’t the easiest venue to do fully staged opera since it is basically a concert hall with very limited lighting and stage facilities. Ashlie Corcoran and Camellia Coo pulled off perhaps the most inventive staging I have seen there by using a giant staircase to link the part of the gallery that wraps around the stage to the stage itself. Within this basic configuration they deployed a few bits and pieces of furniture, mostly couches. It made a very serviceable unit set for the various scenes. The production was set in the 1960s and seemed to revolve around the basic idea of Don Giovanni as a “chick magnet”. All the usual suspects are clearly attracted to him. There’s no hint of coercion in the opening scene with Donna Anna and Zerlina is a very willing seductee. The idea is reinforced in “Deh vieni” when, as Don Giovanni is serenading Donna Elvira’s maid, five or six women make their way to the staircase and down to the man himself.