Soundstreams last night presented an intriguing double bill of works in Indigenous languages on Indigenous themes at, appropriately, the Daniels Spectrum. First up was Pimoteewin; music by Melissa Hui, words by Tomson Highway. This piece uses English narration with the singing in Cree. It tells the story of the Trickster and the Eagle going to find out where people go when they die. To quote him “Why are my people always disappearing like this?” The Trickster’ tries unsuccessfully to bring the spirits back to the land of the living and finally realises that that’s not such a good idea. Musically it had almost a liturgical or meditative quality with a lot of fairly hushed choral singing behind strong solo performances by Bud Roach and Melody Courage.
Yesterday’s free concert in the RBA featured mezzo Marion Newman with pianist Adam Sherkin and violinist Kathleen Kajioka in a programme of contemporary Canadian works (all the composers were in the room!) mostly connected in some way with Canada’s First Nations and Inuit peoples. First up was Ian Cusson’s setting of E. Pauline Johnson‘s A Cry from an Indian Wife. It’s a long, highly emotional but not, I think, especially well crafted, text about an Indian woman sending her husband off to war (the language reflects the usage of its day) and the words are not easy to set or sing. Cusson’s setting is appropriately intense with a blistering piano part and a tough vocal line. It’s deeply affecting but hardly comfortable especially when sung in a manner that clearly (and rightly) privileged text and emotion over beauty of sound.
The Tcherniakov Don Giovanni that I just finished watching on Blu-ray is a Canadian Opera Company co-production so, sooner or later, it should end up in Toronto. That will be interesting. There’s a very conservative streak in the Toronto audience and, especially, among the critics for the major newspapers. These are people who are disturbed by Robert Carsen and go apopleptic over Chris Alden. It will be most interesting to see what the reaction is to something like Tcherniakov’s interpretation, even though it’s not that radical by European standards.
Dmitri Tcherniakov’s Don Giovanni recorded at the 2010 Aix-en-Provence festival is full on Regie. He takes the characters and story of Mozart/DaPonte and recasts them quite radically. Zerlina is Donna Anna’s daughter. Donna Elvira, Donna Anna’s cousin, is married to Don Giovanni. Leporello is a family member too. The sense is of one extended, conventional, bourgeois family in which Don Giovanni is a fatally disruptive intrusion. Tcherniakov changes the time line too. Instead of taking place over a 24 hour period the story plays out over many weeks.