Le miracle d’une voix is a compilation of scenes from various recordings in which Natalie Dessay featured made between 1993 and 2003. It’s especially interesting in that a couple of pieces feature more than once. There are three Les oiseaux dans les charmilles; Olymia’s aria from Les contes d’Hoffmann and two Grossmächtigen Prinzessin from Ariadne auf Naxos. Thrse demonstarte what I have always believed to be Dessay’s greatest strength; her ability to recreate a character to fit in a particular production. The two Zerbunetta arias illustrate this perfectly. In the first, a Salzburg production from 2001, Zerbinetta is a depressed, heavy drinking, prostitute who celebrates a kind of deeply sad sisterhood with Ariadne before being dragged off by a very sleazy Russell Braun. In the second, from the Palais Garnier in 2003, she’s a bubble headed tourist in bikini and wrap who pesters poor Ariadne all around what looks like a Mediterranean building site. They are completely different characterisations but both highly effective. The same is true of the three Olympias who range from very conventional doll to inmate in some sort of asylum or home.
Tag Archives: mozart
Autocorrect Opera
Loose TEA Theatre’s new show Autocorrect Opera opened last night on the steamy outdoor patio of Atelier Rosemarie Umetsu. It’s a double bill of one acters adapted for the age of the smartphone and the text message. The first piece; Sravinsky’s Mavra was played fairly straight. The young girl Parasha does open the piece with a lament about her boyfriend not texting her and the final denouement is brought on by a missed text but otherwise the plot isn’t much altered though we get a neat updating to the home of a contemporary, status conscious bourgeois with references to the price of Ferrari tyres etc. Good performances all round with Morgan Strickland as a well sung, angsty Parasha, Greg Finney, with his characteristic power and comic timing, as the rich and rather obnoxious father. Keenan Viau, coming in at short notice for an indisposed Daniel Wheeler, was the convincingly annoying neighbour and Justin Stolz was excellent as the extremely unconvincing cross dressing pizza boy, boyfriend, maid. So, good fun but maybe not taking the theme of the evening as far as it might have gone.
Dark but straightforward Zauberflöte
The 2003 Royal Opera House recording of Die Zauberflöte has a terrific cast and it has Sir Colin Davis conducting. The production is by David McVicar and it’s one of those that make one wonder how he ever got a “bad boy” reputation. It’s perfectly straightforward though rather dark (emotionally and physically) and has a vaguely 18th century vibe. In places it seems a bit minimalist, as if the director couldn’t really be bothered with things like the Trials. The interview material rather suggests that McVicar was a bit overawed by doing Mozart with the great Sir Colin and tried very hard to match his rather old fashioned theatrical sensibilities.
WTF SRSLY!
The latest offering from Loose Tea Theatre is a show called AuroCorrect Operas. Basically it’s Mozart’s Bastien et Bastienne and Stravinsky’s Mavra updated for the internet age. I seem to have seen a lot of internet themed opera recently ranging from cyberbullying to screaming goats. Perhaps it’s a meme? The show runs August 21st to 24th at the Navillus Gallery on Davenport. Loose Tea’s previous effort; La tragédie de Carmen, was well worth seeing so this is probably one to see.
More details and tickets here.
For pity’s sake
I’ve been involved in a lot of on-line discussions about various productions; live and DVD, of La clemenza di Tito. Oddly perhaps, none of them have ever referenced the 2005 Zürich recording with Jonas Kaufmann in the title role. Today I think I found out why. Basically it’s rather dull, except where it’s unintentionally funny.
Never mind the murder; that’s a detail
The Real Don Giovanni is an extremely quirky 1998 docu-drama starring Sir Thomas Allen. It’s set during a work when he is singing the Don at the Stavovské divadlo; site of the opera’s 1787 premier. He’s also investigating his theory that Don Giovanni was based on Giacomo Casanova who was, indeed, he claims, much involved in the creation of the opera. He pursues his research in various archives, including Duchkov Castle, ladies’ bedrooms and through an interesting encounter with two tarts in a graveyard..
Fan – tastic
It was during the recent run of Cosí fan tutte at the COC that I realised that I really needed to get my hands on the M22 recording (Salzburg 2006). Specifically it was discussing the Salzburg reading of Ursel and Karl-Ernst Herrmann with Thomas Allen and Rachel Andrist; who is the on stage continuo player in the Salzburg recording. It sounded like there might be interesting parallels. And parallels there are. In both cases the girls are aware of the “plot” (in every sense). In both cases four attractive young singers have been cast as the lovers and Don Alfonso and Despina made much older and more cynical. There I think the parallels end. Egoyan’s vision is essentially a positive one about relationships. The Herrmans, I think, are more interested in exploring the psychologically destructive power of love and desire.
Inspired by Love
Once in a while it’s fun to go to something almost entirely undemanding (for the audience at least!). So, yesterday afternoon I attended a concert of classical “lollipops” given by the TSO under the baton of young Portugese conductor Joana Carneiro. The chief attraction for me was that recent Ensemble Studio graduates Simone Osborne and Wallis Giunta were also performing. Things got going with the overture from Il Nozze di Figaro. It was a brisk and stylish performance with Ms. Carneiros displaying a very physical conducting style.
Another chance to hear Sir Thomas Allen
Having seen him sing Don Alfonso in the COC’s Così fan tutte three times as well as having attended his RBA lunchtime recital and having interviewed him one would be forgiven for thinking that I might have had my fill of Sir Thomas Allen. But no, Durham University organised a reception on Thursday evening for alumni at which Sir Thomas was the guest of honour in his capacity as Chancellor. It was one of the filthiest nights of a filthy winter and a very nasty walk from the conference I was attending to the Music Room at Hart House but around fifty people turned up. They were mostly Durham grads but the Dean of Music from UoT was there, as was the Chancellor of Queen’s (which was rather a surprise). It was basically a drinks and canapés do but our esteemed Chancellor was prevailed on to sing a few numbers with the help of Rachel Andrist. We got a ballad I didn’t recognise, Deh vieni alla fenestra, The Foggy Dew (arr. Britten) and Cole Porter’s Miss Otis regrets. Fun, and a very welcome opportunity to hear something from Don Giovanni from a master of the role.
I had an interesting conversation with Sir Tom and Rachel about music in hospitals and now have a “to do” to sort out who to talk to at Sick Kids. Oh yes, and to cap a filthy night, the lemur and I were engulfed in a tidal wave of filthy slush on our way to the subway and home.
Don Giovanni at the cinema
We got to see Kasper Holten’s new Don Giovanni from the Royal Opera House in Toronto yesterday. It wasn’t live but I really don’t think that matters. I’m not going to dwell too much on production or performance because it’s already been extensively reviewed elsewhere. I concur with the general tenor of the reviews that the singing and acting is extremely strong. Certainly Holten got a more intense performance out of Mariusz Kwiecien than Michael Grandage did at the Met and Veronique Gens was a very fine Donna Elvira. There really weren’t any weak links.




