Here’s the news that’s arrived in my inbox this week.
Toronto Alliance for the Performing Arts announced that from 2019 the DORA awards will be gender neutral. In categories where there has traditionally been “Best Performance by a Male” and “Best Performance by a Female” there will now be a single “Best Performance” award.
Tapestry’s new experimental show opened last night at the Ernest Balmer Studio. It’s a “mash up” of Persian classical music and hip hop around the theme of The Child and The Stranger, who turns out to be Lucifer. Lucifer seeks to show the child that authority and rules serve only to allow the powerful to abuse and punish others. This is explicated in six short scenes using the various musical resources and styles available.
Looking at a (perhaps inadequate) sample of video recordings from La Scala I begin to come to the conclusion that there is a pretty strong pattern in what they do well, and not so well. 1800-1920 Italian classics with strong casts in visually attractive but not overly deep productions seems to be the sweet spot. Stray far from this and the wheels tend to come off. Fortunately this week I’ve seen two of the good ones recorded 30 years apart. A couple of days ago I posted a review of the recent I due Foscari and now I’ve jumped in the Tardis to watch a 1986 recording of Puccini’s Madama Butterfly. The similarities are striking.
Here’s the blurb for a new piece being presented in Toronto this Thursday…
In 1885 Louis Riel proclaimed, “My people will sleep for one hundred years, but when they awake it will be the artists who give them their spirit back.” And so we bring you Voice of a Nation, an interdisciplinary concert featuring dance, orchestra, and theatre. Presented by Ontario’s première touring ensemble, the Toronto Concert Orchestra led by Kerry Stratton, in recognition of Canada’s 150th year, concert highlights include a new orchestral song-cycle based on the Métis poet Marilyn Dumont’s A Really Good Brown Girl, composed by Métis composer Ian Cusson, directed by Michael Mori, and sung by Métis Mezzo-Soprano Rebecca Cuddy; a reimagining of Stravinsky’s L’Histoire de Soldat by First Nations choreographer Aria Evans featuring the shapeshifting Trickster; and Perspectives, a new text by the Scarborough youth collective Couronne du Canada also composed by Cusson.
It’s at Grace Toronto Church on Jarvis at 7.30pm. Ticket details here here.
Bandits in the Valley opened yesterday at Todmorden Mills. It’s a site specific comic opera with words by Julie Tepperman and music by Benton Roark. The time is 1880. Sir George Taylor is the owner of the most productive paper mill in the British Empire but he wants more. Specifically he wants to convert the entire Don Valley to paper thus depriving the pesky bandits thereof of cover. He also wants Lily Pollard, the comely soprano lead of the travelling company he has engaged to stage The Pirates of Penzance as part of the mill’s 25th anniversary celebrations. He’s not the only one after Lily. She’s also the target of the female head of the troupe, Henri, and of Jeremiah, the bandit chief who is trying to obtain his inheritance. He in turn is pursued by the house maid (and his cousin) Birgitta and, in a purely brotherly way of course, another bandit, Freddy. In proper comic opera fashion a birthmark, naturally enough on Jeremiah’s buttock, is involved. Mayhem ensues.
Naomi’s Road; music by Ramona Luengen, lbretto by Anne Hodges,has been around as an opera for ten years or so and it got its Toronto premier last night at St. David’s Anglican Church in a production directed by Michael Mori for Tapestry Opera. It’s based on Joy Kogawa’s novel for children of the same name which tells the story of Naomi and her brother Stephen; Japanese-Canadian children torn from a comfortable middle class Vancouver home by the WW2 era Canadian government’s policy of interning Canadians of Japanese descent as “enemy aliens”. It’s a shameful story and one that Canadians need to know about in an era when fear of the “other” is being stoked on all sides. Perhaps we like to look down our noses at the antics of our neighbours to the south but our own history has its dark side and we need to remember.
Rocking Horse Winner; music by Gareth Williams and libretto by Anna Chatterton, opened last night at the Berkeley Street Theatre. It’s based on the short story by DH Lawrence and is a co-commission of Tapestry Opera and Scottish Opera. There are some changes from the original story. Here Paul is a developmentally challenged adult (on the autism spectrum) rather than a child. The gardener is replaced by his personal care worker who moonlights as a caller at the local racetrack. This has a couple of advantages. It provides something of a rationale for Paul hearing the “voice” of the house and for his apparently inexplicable intuition about race winners and it also means that Paul can be cast as a tenor rather than having to make an awkward choice between a boy soprano or a pants role. As Paul is one of, perhaps the main, character, this simplifies casting considerably. The work is also gently updated. So gently in fact that it’s barely perceptible.