We went to see the opening performance of FAWN Chamber Creative’s new show Pandora at Geary Lane last night. There’s a lot to like but it’s a dense and in some ways confusing show so I’d suggest that if you plan to go you do your homework. So, don’t expect anything closely related to any of the many versions of the Greek legend. That’s just a jumping off point to explain how both evil/malice and hope came into the world. A very brief prologue in which a character discovers Pandora’s box (or jar or whatever) after centuries and releases Hope into the world sets up three scenes which each, in their own way, reflect the duality of Good/Evil, Despair/Hope or however you want to characterise it. I strongly suggest reading the Director’s Notes and the Libretto before the show to understand what the three scenes are and where the transitions are. There are no surtitles (money!) and not many of us can read a printed libretto in the dark. Also, cast members change character sometimes without change of costume. It’s helpful to know when that’s happening! While there’s only one librettist, David James Brock, there are three composers but stylistic differences between them aren’t so obvious that one realises there has been a transition.
There’s been a lot of new opera in Toronto at the moment and a lot of it has had either an Indigenous or a Queer angle; likely reflecting funding bodies trying to encourage diversity of various types. The latest one to come my way is Pomegranate which will play at Buddies in Bad Times from June 5th to 9th. It’s a lesbian chamber opera from librettist Amanda Hale and composer Kye Marshall and it’s a first opera for both of them.
Tongue in Cheek’s latest show, Democracy in Action, took place at the Lula Lounge last night. The concept was pretty straightforward. There were eight (almost) singers and a pianist. Each singer offered up five numbers ranging from opera through art song to musical theatre and pop. Advanced on-line polling had selected one song per singer. Polling of the audience in the house produced the other two. The in house polling was supported by really rather well done videos in which the “composers” tried to persuade the audience to vote for their stuff.
The concluding concert of this year’s International Centre for Performing Artists Singing Stars program for this year took place last night at 96.3FM. For the eleven singers it was the culmination of a day working with Adrianne Pieczonka and a lot of practice and I think that came through on the night. In the various interviews during the show (it was being broadcast live), many of the singers remarked on Adrianne’s advice to be an artist, not just a singer (or something to that effect). Certainly I felt there was less strictly correct singing and more effort to get inside the music and words than one often hears in competitions.
The current Tapestry Briefs is one of the most satisfying I have attended. Briefs is the performance edition of the LibLab; an intense where composers collaborate with librettists to create new opera scenes. Some of these disappear and some go on to be the starting point for new operas. The current crop is strong. There were eleven scenes in the show; sung by various combinations of Teiya Kasahara, Stephanie Tritchew, Keith Klassen and Peter McGillivray with Jennifer Tung at the piano and other keyboards. As a bonus, at intervals Keith appeared to sing a parody of a famous aria describing the tasty little tapas which were offered around.
It’s September and the long, slow awakening after the annual aestivation begins. There’s not a lot on yet but what there is is interesting. The middle of the month sees Native Earth’s production of I Call myself Princess at the Aki Studio; previews from 9th to 12th September with official opening on the 13th and then shows until the end of the month. My interview with playwright Jani Lauzon is here. Also opening on the 13th is Tapestry Briefs at the Ernest Balmer Studio. Hear the product of the LibLab, hear Stephanie Tritchew, Teiya Kasahara, Peter McGillivray and Keith Klassen and eat tapas. It runs until the 16th.
So you have sung the Queen of the Night exactly 2,327 times; high Fs and all, and you are sick to death of it and the Misogyny it rode in on. What do you do? Well, obvs you create a one woman show that teeters between mocking opera stereotypes of women and something much darker. At least that’s what Teiya Kasahara did as part of Tapestry Opera’s Tap This: A Queerated Opera Series presented in conjunction with Pride.
So our favourite inked butch dyke coloratura comes on in a foofy dress complete with Dollarama coronet and wand and starts to sing the heck out of that aria – you know, the one they sing at weddings. But then it rapidly morphs into a diatribe; first in German, then in heavily accented English, about the role, how women are portrayed in opera, occasionally veering into how women; sopranos in particular, are seen/treated in the opera world(*) before switching up into dress pants and a wing collared shirt with studs (despite pianist David Eliakis’ increasingly frantic pleas of “no pants”). Along the way there are jokes, some killer singing and some very sharp reminders of what it’s like to be a strong, athletic, queer woman in a world that expects its sopranos to behave as if they are romantically dying of TB on-stage and off. It’s a very moving and rather disturbing 45 minutes that I really can’t do full justice to. It’s a very brave show and I hope Teiya puts it on again. More people need to see it.
(*)It’s odd that it should come just after I first encountered Kiri Te Kanawa live for surely few sopranos have been as sexually objectified. I don’t know how many people remember Bernard Levin’s Times column written after her ROH debut in 1971 but it’s probably the only time the Thunderer was printed using drool.