The latest Happenstancers gig, which took place at 918 Bathurst on Thursday evening, was an exploration of the death of Ophelia and related ideas with works for assorted chamber ensembles plus/minus voices. Ten composers; all of whom could at a stretch be considered “contemporary”, were featured in a programme that, with interval, lasted two and three quarter hours. That’s a feat of stamina for performers and audience alike as none of the music performed was “easy” and no notes or introductions were provided.
Each half of the programme started off with a piece by Linda Catlin Smith, who was in the audience. Stare at the River for piano, string bass, trumpet, clarinet, violin and percussion was quite sparse and open textured while The River was more obviously lyrical with guitar, cello and Danika Lorèn replacing piano, trumpet and bass.
Rossini’s Otello is an interesting piece with a completely different plot to the Shakespeare/Verdi version. It’s entirely set in Venice for a start. For more details on the plot and the not insignificant casting demands you might find the first few paragraphs of 
Oddly enough, what Toronto Operetta Theatre does best is operetta and the production of Romberg’s The Student Prince that opened yesterday afternoon is a pretty good example of why. I suppose, technically, that it’s a Broadway musical but everything about it, down to the humour and sentimentality seems Teutonic enough. Anyway, there’s a solid trio in the lead roles, the key back ups are thoroughly professional and the minor roles and chorus are filled out by talented and enthusiastic young singers. The band is big enough to cover all the colours of the score and the staging is appropriate and not overly ambitious. The piece gets to do its tuneful, rather bittersweet thing.
operaramblings 