I am really intrigued by how Amplified Opera’s shows this week at the Museum of Contemporary Art are going to work and so I spoke to both Marion Newman and Topher Mokrzewski about them and what the audience might expect. Despite several hours on the phone I’m still not sure I know and that’s probably a good thing. It’s pretty fluid and experimental and I don’t think we’ll know exactly what we are getting until we get it. I do know that we can expect music and talk and discussion with the audience around the themes being explored in each half of the double header.
The COC’s latest on-line offering is now available on-line. It’s called Voices of Mountains and the video is just shy of an hour long. Only about half of that is music though. The rest is introductions, artist statements and a 10 minute piece about the Land Acknowledgement installation created for the lobby of the Four Season Centre by Rebecca Cuddy and Julie McIsaac. It looks very interesting but, of course, one can’t visit it.
The COC/AtG film of Mozart’s Requiem is now available for viewing. It’s free but requires either registration with AtG or a (free) COC digital membership. Directed by Joel Ivany, it’s essentially cast as a reflection on what we lost during the pandemic and as a statement of hope as, maybe, we reach the end.
Here are a few things I’ve noticed on the web recently:
There’s a workshop from the Isabel Bader Centre at Queens called Echo:Memories of the World which looks at cultural memory and cultural transmission from both a Western and an Indigenous perspective. It features Marion Newman and the Gryphon Trio among others. It’s fascinating but I found parts of it quite triggering. I don’t know how ong this is going to be available. For now it’s free. Note that while the Vimeo version of the performance works the Youtube doesn’t.
The Domoney Artists Youtube channel has new Opera Breaks from Natalya Gennadi and Asitha Tennekoon.
Also on Youtube there’s a new piece from Opera Revue which may be even dafter than their previous efforts, which set a pretty high bar for daftness.
There’s an interesting new project on Youtube from Natalya Gennadi and Catherine Carew. It’s called HBD! Project and the idea is to produce a short themed video each month featuring composers whose birthdays fall in that month. The February pilot is online and it’s a bit different from other “shows” in similar vein that I’ve come across. This one features a song by Alban Berg sung by Natalya with a fluffy puppy, music for cello and piano by Jean Coulthard played by Alice Kim and Hye Won Cecilia Lee and Rodney Sharman’s Tobacco Road sung by Catherine. So what’s new you ask (apart from the puppy)? It’s the graphics with Mozart in a party hat, animated Emily Carr paintings and a look for the Sharman that could double as the witches’ scene in Macbeth. Yes it’s a bit weird but oddly compelling.
Mandala – the Beauty of Impermanence is the latest on-line offering from Confluence Concerts. It’s curated by Suba Sankaran and should have seen the light as a live show last May. The programme is as eclectic as one has come to expect from Confluence and lots of fun. In the spirit of impermanence it will be available on the Confluence channel on Youtube only until February 10th.
There was a really interesting announcement from the COC earlier today. To cut a long story short it announced that the four principals of Amplified Opera; Teiya Kasahara, Marion Newman, Asitha Tennekoon and Aria Umezawa, would become “Disruptors in Residence”. I think this is a very positive move. Many of us have been following the various conversations about evolving opera beyond being the preserve of (almost) dead white people to being an art form that more fully reflects the diversity of our communities. I have to admit to being somewhat sceptical about how much of the energy and goodwill that has been generated will survive the return to some sort of post-covid normality. It.’s surprisingly hard to make change in large, hierarchical organisations go viral.
Confluence Concerts have announced a five concert and two special event virtual 2020/21 season with their usual eclectic and enticing mix of repertoire.
September 23rd 2020 – Something to Live for; A Billy Strayhorn Celebration
A detailed look at the story of the great 20th century classical and jazz pianist and composer. Best known for his long-time collaboration with Duke Ellington, Strayhorn composed Take the A Train, Lush Life, Something to Live For, Chelsea Bridge, and A Flower is a Lovesome Thing.
Curated and arranged by Andrew Downing
Featuring Larry Beckwith, Alexa Belgrave, Leighton Harrell, Aline Honzy, Drew Jurecka, Marion Newman, Patricia O’Callaghan, Alex Samaras, Suba Sankaran and more.
Last night’s virtual salon by Confluence; Let’s Stay Together, featured an extremely, if unsurprisingly, eclectic selection of music and poetry and some serious techno-wizardry. Two numbers featuring Suba Shankaran and her technical whizz husband Dylan Bell exemplified the techy side. Come Together was an overdubbed. live looped, east meets west version of the Lennon and McCartney number in which the pair built up layers of sound incrementally. Meditation Round, which rounded out the evening, was a moving new work by Suba dealing with how we need to move forward, not back, as life, perhaps, returns to some sort of normality. There was an almost 16th century quality to the music and the performance in which pretty much everyone took part remotely. Brilliant mixing and post production here backing up an extremely affecting work.
The Dora award nominations are in. The most interesting thing is that the COC doesn’t dominate the Opera category this year. In fact Tapestry has most nominations with thirteen. In general, it was really nice to see new “committed” opera dominating the list rather than the usual stuff. Indigenous themes did very well too which is very pleasing. Loads of nominations for Shanawdithit, including Best Performer in a Leading Role for Marion Newman, which pleases me greatly. Good to see FAWN’s Pandora and Soundstreams’ Two Odysseys: Pimooteewin / Gállábártnit featuring along with LooseTea’s Singing Only Softly/The Diary of Anne Frank: Operas from the Secret Annex. There was one surprise in the list of COC nominations. I’m actually quite shocked that Speranza Scappucci didn’t get nominated for her conducting of Barber of Seville; a really remarkable performance. And one non-surprise; multiple nominations for Rusalka which might just be the best thing the COC have done in quite a while.
So now we can all speculate on who the eventual winners will be.