A vocalist accompanying himself on the guitar (or one of it’s predecessors) is one of the oldest and most prevalent tropes in western music. From Blondel to Billy Bragg it’s always been with us but it’s quite rare in the world of modern art music where the roles of singer and accompanist are trades as rigidly delineated as anything in a Clydeside shipyard. Doug MacNaughton breaks the rules by playing a variety of kinds of guitar and singing in a range of styles. For that question of style is vital too. The mechanics of doing two jobs simultaneously affect singing style and centuries of performance history offer a bewildering range of stylistic choices. It’s an issue I examined once before when reviewing a Bud Roach CD for Opera Canada.
Not so much on this week. Tuesday COC chorus member and guitarist Doug MacNaughton, currently appearing as Antonio in Marriage of Figaro, has a noon hour concert on Tuesday in the RBA featuring a new piece by Dean Burry and other works ranging from John Rutter to Donald Swann. Then on Friday CASP have an evening recital at the Enoch Turner Schoolhouse featuring Philip Addis and Emily Hamper.
Siegfried and Marriage of Figaro continue at the COC. The last performance of the former is today at 2pm while the latter plays Wednesday and Friday at 7.30pm.
Claus Guth’s production of Mozart’s Le Nozze di Figaro, first seen at Salzburg in 2006, opened last night at the COC. I was curious to see how it would be received because, while by no means an extreme production by European standards, it’s well beyond the 1970s aesthetic beloved by sections of the Toronto audience. The aesthetic is Northern European; a Strindberg play or a Bergmann film perhaps. It’s monochromatic, quite slow and focusses on the darker side of the characters’ psyches. It’s the antithesis of Figaro as Feydeau farce. There’s also a non-canonical character, Cherubim. He’s a winged doppelganger of Cherubino and seems to be a cross between Cupid and Puck. Pretty much omnipresent he manipulates scenes and characters though with a power that falls well short of absolute. Perhaps the whole production is best summed up in the final ensemble. Cherubim visits each couple in turn and is brusquely rejected. Only Cherubino is still subject to his power and that seems to have become destructive. Perhaps the message is “Now we are married forget this love nonsense and let us get back to our drab lives of quiet despair”.