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.
The Ensemble Studio Competition again last night. Seven singers were competing with Ben Heppner’s jokes for cash prizes, champagne and, possibly, a place in the COC Ensemble Studio. There’s one thing I think is vital to understand about the Ensemble Studio Competition. The judges have been working with the singers for a week. The audience gets to hear them sing one aria. It’s easy to see why there isn’t always concurrence between the hall and the judging table. (That’s my excuse anyway).
The contestants with Alexander Neef and Johannes Debus
The students of the post graduate program at UoT Opera were on show in the RBA yesterday with a show made up of staged opera excerpts curated and directed by Michael Patrick Albano. It’s right at the beginning of the academic year and these sorts of concerts are a bit of a calibration exercise for those of us who follow the progress of young singers. The starting point this year is decidedly high.
The Canadian Opera Company’s ninth annual Ensemble Studio Competition is being held on October 30, 2019 at the Four Seasons Centre for the Performing Arts. The 2019 finalists are: sopranos Kirsten LeBlanc (Moncton, NB), Midori Marsh (Cleveland, Ohio), and Charlotte Siegel (Toronto, ON); mezzo-soprano Sarah Bissonnette (Boucherville, QC); tenor Marcel d’Entremont (Merigomish, NS); bass-baritone Alex Halliday (St. John’s, NL); and bass Brenden Friesen (Langham, SK).
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.
The annual Student Composer Collective opera at UoT is, as far as I know, unique. A libretto is written. The work is divided up and student composers write music for their assigned section(s). The finished work is presented fully staged with orchestra. In recent years the libretto and direction has come from Michael Patrick Albano, as was the case with this year’s effort presented in the MacMillan Theatre yesterday afternoon. Who Killed Adriana riffs off Cilea’s Adriana Lecouvreur. Adriana Amaro, a very divaish diva, is making her Covent Garden debut as Adriana. In the first half of the show, set backstage between Acts 2 and 3, we see her waspishly putting down all the other characters before making her grand entrance. This time though the poisoned violets of the final scene are just that and the second part is a whodunnit search for the murderer. Along the way no stock opera joke is left unused. Tenors are neurotic, understudies insecure, managers harassed, fans obsessive, there are fake Italians and so on. But in typical Albano style it works and provides a coherent, and at times very funny, plot line for the composers to work with. And some of the jokes were new. Adriana’s chauffeur, Umlaut, is revealed as the answer to every Austrian’s prayer; the inventor of musical strudel.
My first chance to take a look at this year’s UoT Opera Program came up on Sunday night in a concert staged jointly with the UoT Symphony and the MacMillan Singers. It was a series of opera orchestral pieces and ensembles kicking off with the overture from Die Zauberflöte, where the orchestra was Klemperer sized but the tempo distinctly quicker. The evening proceeded via more Zauberflöte, Don Pasquale, Cavelleria Rusticana, Die Meistersinger and Carmen to the party scene in La Traviata.