Last night saw the first performance of a run of eleven in Against the Grain Theatre’s revival of their 2013 hit Figaro’s Wedding. It’s essentially the same show. Director/librettist Joel Ivany has made a number of tweaks and updates but the main differences lie in what the singers bring to their characters.
I chatted this morning with Rachael Kerr; music director of Against the Grain’s upcoming Figaro’s Wedding. I saw the original version back in 2013 and was wondering what might be different this time. I also wondered whether there might be some insights to be gained by approaching it from the perspective of the music rather than the libretto. Hence my decision to talk to Rachael rather than other members of the team.
I think I lucked in. It proved to be a most interesting conversation which ultimately turned on why this would be an engaging show and how that turned on “intimacy”. So first let’s review the elements of the show: Continue reading →
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.
Last night’s final Koerner Hall event in Toronto Summer Music started off with Mozart’s Violin Concerto No. 5 in A Major. It’s a tuneful, well constructed piece which in places riffs off Romany music, hence its nickname “Turkish”. Jonathan Crow was the soloist with a small orchestra drawn from all the area’s major orchestras plus TSM Fellows. Gemma New conducted. It was very satisfying. The orchestra was excellent and the interplay between solist and orchestra worked very well. It’s quite a demanding piece for the soloist and I really enjoyed the sound that Jonathan produced. He plays an instrument with a rather distinctive timbre which worked well here. I’m curious about the first movement cadenza. I don’t know the work well enough to knoew what the options are but this one was very virtuosic though sounding distinctly post-Mozartian.
There are a couple of interesting concerts coming up in the last week of the Toronto Summer Music Festival. On the 24th at 7.30pm in Walter Hall you can see Collectìf in a “spooky” programme. Collectìf is a group started by Danika Lorèn and friends. They do shows that incorporate staging, art song and video and they are never boring. (They also do adult cabaret but that’s another story!). Wednesday’s show is called Beyond Perception: What Haunts Us Now and features three sections. The first is built around the theme of La Dame Blanche, the second features Mahler’s Kindertotenlieder and the last deals with the myth of Daphne and Apollo. Recommended. And as an added incentive for operaramblings readers there’s a discount code OR10 which will get you $10 tickets. Tickets from the Royal Conservatory Box Office online, in person or by phone.
Last night saw the first concert of this year’s Toronto Summer Music Festival. The theme was “Beyond Borders” with most of the works presented; a mixture of piano, violin and vocal, having been influenced by other cultures/places or written in exile.
The 2018 Salzburg Festival production of Die Zauberflöte really pushes the envelope of reenvisioning the piece. Is there anything to say about this piece that hasn’t already been said? Lydia Steier thinks so and goes some considerable way tp making her point. So what’s the big idea here? Essentially the kicking off points are that it’s about (in a sense) a dysfunctional family and it’s a fairy tale. So we open on the dining room of a rather depressing bourgeois Austrian family in the mid 1930s sitting down to dinner. There’s the mother, the father, the grandfather and three boys; all rather formally dressed. A portrait of a bride hangs behind the table. The father has a hissy fit and storms out. The mother, who appears to drink, starts breaking things. The grandfather takes the boys off to the nursery to read them a bedtime story.