Carmen on the planet of the Amazons

So last night at the Tranzac, as part of Against the Grain’s Opera Pub, Queen Hezumuryango and Ryan Nauta did a version of the “Seguidilla” from Bizet’s Carmen but with the roles reversed. It was the Pride Edition after all. Turns out it’s not the first time I’ve heard Carmen gender bent. Not so long ago I heard Korin Thomas-Smith sing the “Habanera”.

So what, I asked myself, would a completely gender bent Carmen look like and would it work. Set it in some female led society and i think you can swap all the roles pretty easily. Michaele would be sort of like Werther; a bit of a mummy’s boy. Escamilla would still be a bullfighter. A cowfighter would be silly! The rest of the characters work with minimal adjustment I think. And for once it woudn’t be the soprano who got the chop.

BTW, the rest of Opera Pub was pretty good too with even more gender bending as Ryan also sang “Quondo men vo”. There was a really nice account by Queen of “Printemps qui commence” from Saint-Saëns’ The Barber of Gaza Samson et Dalila. There was Mozart and art song and lots of musical theatre numbers. And Greg Finney got in some G&S (try stopping him!).

And that’s a wrap on Opera Pub for 2025/26 but it will be back at the Tranzac in the Fall.

Don Giovanni and domestic violence

The first production by Benevolence Opera Project took place on Friday evening at the Redwood Theatre. It was a benefit for the Redwood Shelter for women and children fleeing abuse. One could argue that the choice of Mozart’s Don Giovanni was a bit odd in the circumstances but it certainly got conversation going around the issues!

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Leandra Dahm at Mazzoleni Hall

Student recitals are another great opportunity to hear great music for free. On Sunday I attended soprano Leandra Dahm’s recital at Mazzoleni Hall. It was a caredfully curated programme lasting just over an hour and it was really good.

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Opera 5 interns in the RBA

Opera 5’s interns for their Toronto Operas Festival gave a recital in the RBA on Monday.  It was a varied mix f opera, song and musical theatre; from Mozart and Strauss to Camelot and Spamalot.  Both the rep and the performances demonstrated the emphasis that the Schulich School; with which all the performers are affiliated, puts on musical theatre compared to some of its competitors.

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A special shout out

Don Giovanni!

I wanted to give a shout out to a one off performance of Mozart’s Don Giovanni coming up later this month as it’s in support of a good cause; the Redwood Women’s Shelter.  Appropriately the show is at the Redwood Theatre on Gerrard East (an interesting space with an excellent bar if you haven’t been there before.)  It’s on May 22nd at 8pm with a talk by Michael Jones of Opera Canada at 7.15pm.

It’s piano accompaniment (Brahm Goldhammer) and I suspect it’s basically arias with narration format but it’s an excellent cast headed up by Alex Hajek as the Don.  Tickets start at $50 and are available at:
https://www.theredwoodtheatre.com/event-details/don-giovanni
And there’s early bird discount code DG2026 for 20% off tickets.

The full details including casting are in the linked document

Don Giovanni PR

Simply Mozart

Thursday’s noon hour in the concert was a really great idea; combine the COC Ensemble Studio with the COC Orchestra for an all Mozart concert.  Mozart’s Symphony No.35 in D major (Hafner) was split into into its four movements with pairs of arias inserted between the movements to create what Johannes Debus, conducting, described as an opéra imaginaire.  It worked really well.

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Ensemble Studio do the standards

Last Tuesdays’s concert in the RBA featured four singers and two pianists from the Ensemble Studio in a concert of highly recognisable opera arias.  I guess with Barber of Seville and Rigoletto coming p on the FSC stage that was a bit inevitable.  It was though very well done with all four singers not only singing well but really conveying a sense of character.

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Rainelle Krause’s Queen of the Night

In my review of Opera Atelier’s production of The Magic Flute I had this t say about Rainelle Krause’s Queen of the Night… “Her coloratura was powerful and pinpoint, and as the applause died down she reappeared and reprised the most spectacular section with additional stratospheric high notes.”

Now you can see the reprise for yourself on Instagram.  I wasn’t kidding.