Jonathan Dove’s Mansfield Park opened last night at UoT Opera in a production by Tim Albery. It’s a really interesting show that builds up in “layers” to a very satisfying whole. The Austen novel, of course, is very self consciously a novel. There’s no pretence at “immersion”. The author is both telling the story and commenting on it for the benefit of you, the reader. Librettist Alasdair Middleton both builds on this and does a quite brilliant job of compression to bring in a condensed, and only slightly simplified, version of the story in under two hours.
UoT Opera’s fall production is Mozart’s The Marriage of Figaro which opened last night at the MacMillan Theatre. It’s a period production directed by Michael Patrick Albano set in the “Opera 18th Century”; more Chatsworth than palace near Seville, but it looks pretty, the action is skilfully composed and the physical comedy works.
I don’t think I’m ever going to love Mozart’s La finta giardiniera. It has some pleasing music, though oddly the two principal characters don’t get much of it, but the plot is ridiculous and it really outstays its welcome. That said, Michael Patrick Albano’s production for UoT Opera in the MacMillan Theatre at least makes the complexity clear. We never lose sight of who is who; even if the other characters do, and what logic there is in the plot comes through clearly enough. Albano sets it entirely realistically in 18th century dress with set elements efficiently dropped in from the fly loft or carried around by a small band of liveried servants. There’s a fair bit of “park and bark” but then there’s a lot of prosy explaining going on.
This year’s fall production by UoT Opera is Kurt Weill’s Street Scene. It’s a tricky piece in many ways. It’s part opera, part Broadway musical. The moods range from light comedy to something very much darker and lurking treacherously at its core is a sentimental streak that can easily overwhelm its merits. Michael Patrick Albano’s production, coupled with Anna Theodosakis’ energetic and varied choreography, managed to keep the focus on the strengths of the piece and deliver a very satisfying evening at the theatre.
There are some pretty silly opera plots. Donizetti’s Emilia di Liverpool comes to mind but the Gershwin’s Of Thee I Sing probably tops even the thundering torrents of the Mersey as it descends from the Cheshire Alps for silliness. Basically one John P. Wintergreen is a candidate for POTUS. His campaign gimmick is that he will marry whoever wins a beauty contest, held naturally enough, in Noo Joysy. Unfortunately(?) he falls in love with the homelier corn muffin maven Mary Turner and marries her instead. He duly gets elected but diplomatic complications with the French follow when it is revealed that the pageant winner; Diana Devereaux of Louisiana is the “illegitimate daughter of the illegitimate son of the illegitimate nephew of Napoleon”. Impeachment proceedings follow but, of course, there’s a happy ending. Along the way almost every US institution and region gets gently pilloried and the jokes are even funnier because what might have seemed risque in 1930 seems “business as usual” now, as when three White House interns sing about how the Presidential Mansion is the safest place in America for a young girl…
Imeneo is one of Handel’s less well known operas; perhaps deservedly so. The plot and the libretto are weak and the music pretty variable. Charles Jennens, the librettist for Messiah, descibed it as “the worst of all Handel’s compositions”. It does have the merit of being short. Most recent recordings come in around two hours and this UoT Opera production, rearranged and cut by Tim Albery, comes in at 100 minutes spread over two acts.
French operetta is notoriously difficult to get right. The genre treacherously combines a kind of humour that doesn’t always translate well in time or language, difficult music to sing and a need to be as “naughty” as the original seemed without being crass. It’s a huge credit to Michael Patrick Albano and his student cast that they pretty much pulled off all of that last night with their new production of Offenbach’s Orpheus in the Underworld. One could nit pick details (I shall) but overall it was a well paced show with some good singing and acting and it was genuinely funny. Unsurprisingly the audience lapped it up. Continue reading
This spring’s main opera production from UoT Opera is Britten’s Paul Bunyan. It is a really peculiar work. The libretto is by WH Auden and is, well, weird. It mixes up the (apparently) profound with the absurd and the downright silly. There’s a Swedish lumberjack fish slapping dance, talking cats and dogs, trees that aspire to be product and a philosophical accountant (*). There are also countless pronouncements from the off stage voice of Bunyan along the lines of the closing:
“Where the night becomes the day, Where the dream becomes the fact, I am the Eternal guest, I am Way, I am Act“
Walt Whitman meets Dr. Seuss meets a lot of drugs? One of those 1970s English public schoolboy prog rock bands?
UoT Opera’s fall production opened last night at the MacMillan theatre. It’s a double bill of Menotti works; The Telephone and The Medium. The former was cleverly updated by Michael Patrick Albano to reflect the age of the smartphone. It actually seems more relevant than ever and, slight as it is – an extended joke about a girl who won’t get off the phone long enough for her fiancé to propose – it was wryly amusing. The Medium I’m not so sure about. It’s a contrived piece written in the 1940’s but set a few years earlier about a fake medium and her deluded clients. It seems dated, not so much in the sense that seance attendance is pretty unusual today, but in the extent to which the characters are clichéd, cardboard cut outs even. The medium herself is bad enough but her sidekicks are her rather dippy, if kind, daughter and a boy who is mute (k’ching), Gypsy (k’ching) and “found wandering the streets” (k’ching, k’ching) “of Budapest” (k’ching, k’ching, k’ching). The first act in which the fake seancery goes on isn’t bad but then the medium gets a shock; a real or imagined cold hand on her throat (probably imagined as she is a raging alcoholic) and decides to go straight. The second act is pure bathos. I can see why it was a Broadway hit in the 1940s but I think tastes have moved on. And who the heck calls their daughter “Doodly”?