The Met’s Prince Igor

Earlier this year the Metropolitan opera staged Borodin’s Prince Igor for the first time in nearly a hundred years with an HD broadcast and a DVD/Blu-ray release to boot.  It’s an odd work.  It’s quite long; a prologue and three acts running over three hours and it’s very episodic.  The prologue takes place in Ptivl; the principality of which I gor is prince.  He’s about to lead his army against the invading Polovtsians.  There are dark omens.  The next thing we see, as Act 1 opens, is that Igor is defeated and a captive of Khan Konchak who’s daughter is now in love with Igor’s son.  It’s all just happened.  Cue lots of exotic Polovtsiania.  In Act 2 we are back in Ptivl where Galitsky is making trouble for his sister, Igor’s wife, who has been left as Regent.  Mostly the trouble seems to be drunken partying and when the Polovtsian army arrives at the gates the brother, Galitsky, drops dead.  In Act 3 the city has been sacked and everybody is kind of mooning around in the rubble until a pretty depressed Igor shows up and implores the other Russian princes to get off their arses and do something (unspecified).  All the important stuff happens off stage and there really isn’t any resolution.  There is some great music though.

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The Cousin from Nowhere

The Cousin from Nowhere is a German operetta by Eduard Künneke that premiered in Berlin in 1921.  Last night it received its Canadian premier, in English translation, at Toronto Operetta Theatre.  It’s a light, charming romcom with few pretensions but much to enjoy.  The plot is simple in outline though convoluted in almost Gilbertian way.  Julia is an heiress under the guardianship of her aunt and uncle and about to come of age and, thus, come into the fortune that hitherto the older couple have been able to enjoy.  She is in love (or thinks she is) with her third cousin twice removed Roderich, who left to make his fortune in the East Indies seven years ago.  Aunt and uncle scheme to marry her to their nephew August.  Various more or less improbable plot twists involve August impersonating Roderich and successfully winning the heart of Julia while Roderich returns and falls instantly in love with Hanna, Julia’s bestie.  It all ends happily.  The music is not unlike Viennese operetta with some nods to jazz and popular post war dance music but if you are expecting pre echoes of Berg or Weill you are going to be disappointed.  It’s quite conventional but essentially well crafted light entertainment.

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