Last night Pomegranate; music by Kye Marshall, words by Amanda Hale, opened at Buddies in Bad Times. Inspired by the Villa of Mysteries in Pompeii, it tells the story of two lesbian lovers. Cass has broken up with Suzy in 1980s Toronto. She visits Pompeii as a tourist and is carried back in time to meet her lover in a previous incarnation in the Temple of Isis. There’s a whole act dealing with the Mysteries, Cassia and Suli’s burgeoning relationship and the attempt by the Roman state to suppress the religion. Then Vesuvius erupts. Fast forward to Act 2 in a lesbian bar in Toronto. Suzy, an immigrant from some unspecified war zone is pressured by her family to break up with Cass. There’s a slightly surreal byt dramatically satisfying epilogue where modern Cass reunites with Roman Sulli in the ruins of Pompeii.
We went back last night for a second look at Shanawdithit. We were sitting up much closer to the stage area this time and that did bring out some things I hadn’t noticed so much before. It also made the role of the chorus much clearer. That said I don’t think I’d write anything much different to my original review if I were doing so again. But there are some additional thoughts that I want to share:
There’s been a lot of new opera in Toronto at the moment and a lot of it has had either an Indigenous or a Queer angle; likely reflecting funding bodies trying to encourage diversity of various types. The latest one to come my way is Pomegranate which will play at Buddies in Bad Times from June 5th to 9th. It’s a lesbian chamber opera from librettist Amanda Hale and composer Kye Marshall and it’s a first opera for both of them.
The ninth edition of Tapestry’s celebration of their back catalogue happened last night in the Ernest Balmer Studio. This year’s mentors are Jacqueline Woodley and Andrea Grant. The emerging artists are Elisabeth Boudreault, Lindsay Connolly, Brianna DeSantis, Ryan Downey, Gabrielle French, Rebecca Gray, Lauren Halász, Rachel Krehm, Brittany Rae, Anne-Marie Ramos and Jennifer Routier with pianists Qiao Yi Miao Mu and Ryoko Hou.
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.