The seven finalists for the COC’s Centre Stage have been announced. Centre Stage is a singing competition and gals that serves as a sort of final audition for the following year’s Ensemble Studio, a contest for cash prizes and a beano for the rich. This year it’s being held on November 3rd when, unfortunately, I shall be overseas. So, no report here. The finalists are baritone Samuel Chan (Calgary); soprano Maria Lacey (St. John’s, N.L.); soprano Myriam Leblanc (Saint-Lazare, Que.); soprano Andrea Lett (Prince Albert, Sask.); mezzo-soprano Simone McIntosh(Vancouver); soprano Andrea Núñez (Markham, Ont.); and baritone Geoffrey Schellenberg (Vancouver).
The Fatal Gaze is, in a way, a follow up to last year’s UoT Opera show Last Days in that it consists of a staged performance of pieces of vocal music to a theme. This time the theme is the dangers of seeing or being seen and there’s quite a lot to unpack. The music all lies on an arc from Monteverdi to Gluck and the stories are all taken from classical mythology or thee Bible with some commentary from more modern figures.
Yesterday afternoon I went to see the UoT Opera program’s show Brush Up Your Shakespeare. It was substantially the same as the program they gave six months ago in the Richard Bradshaw Amphitheatre so I ‘m just going to comment on changes of one kind or another.
There were a few extra numbers. Danika Lorèn sang the Poison Aria from Gounod’s Roméo et Juliette. It’s an interesting voice. There’s lots of power but maybe isn’t quite fully under control yet. Still, easier to refine a powerful basic instrument than get anywhere with a small one. One to watch. William Ford sang Macduff’s O figli mie! from Verdi’s Macbeth. That’s a pretty bold call for a student and he wasn’t bad at all. This time we also got a sort of catalogue raisonnée of the program from director Michael Patrick Albano with contextual information on each number.
Today’s free concert in the Richard Bradshaw Amphitheatre was given by the University of Toronto’s Opera Program. It was a semi staged assortment of songs and excerpts from operas, operettas and musicals based on the works of Shakespeare with a distinct leaning to the operetta/musical theatre side of things. That’s understandable enough with young singers but it does make the game we all play (at least I do) of trying to guess who the next Jonas Kaufmann or Anna Netrebko is that much harder. Not that I’m very good at it. I’m far more able to predict what a newly bottled Bordeaux will taste like in ten years time than whether the young soprano I’m listening to might go on to sing Siegfried or Turandot at the Met!