Tag Archives: relyea

1649 And All That

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Bellini’s I Puritani is one of those 19th century operas that dishes out a version of 16th or 17th century English history that’s all but unrecognisable to anyone with any actual knowledge of the subject.  In this case we are in Cromwell’s Commonwealth and the nasty Puritans want to off anyone with a Stuart connection including the widowed queen Henrietta.  Various implausibly named Puritan colonels (everyone in the New Model apparently holds that rank) feature as well as a Royalist earl who is, of course, in love with the Roundhead commander’s daughter.  Immediately prior to marrying her though he decides to save Henrietta from execution and escapes with her thus triggering the obligatory mad scene, which is probably the main reason for watching this thing at all.  Finally Arturo (the earl) returns, is captured and, inevitably, sentenced to death.  As he is being led to the block Cromwell’s messenger arrives with the second most improbable reprieve in all of opera.  The Stuarts have been defeated and everyone is pardoned.  A happy ending with fortissimo soprano high notes ensues.

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Very traditional Don Giovanni from the Metropolitan Opera

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The 2000 Metropolitan Opera recording of Mozart’s Don Giovanni is based on Zeffirelli’s 1990 production somewhat modified by director Stephen Lawless.  It’s an entirely traditional “breeches and boobs” affair with baroque painted flats, tricorne hats etc.  Blocking is mostly very basic with a lot of “park and bark” just livened up with a bit of prop twiddling.  It works because it has a superb cast who sing and act (within the limits of the production) extremely well.

At the core is Bryn Terfel in the title role.  You get what you expect; a big voice that can be scaled back to quite beautiful, menace, physical presence and a touch of humour when required.  If you have seen his more recent Scarpia or Mephistopheles you know what to expect.  He’s backed up Ferruccio Furlanetto in a rather broadly comic take on Leporello which, though I find it unsubtle, isn’t inappropriate in this production.  The Terfel/Furlanetto relationship is very much master/servant.  No ambiguity about two sides of one character here! Continue reading →

Tales of Hoffmann at Canadian Opera Company

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Last night saw the third performance in the current run of Offenbach’s Les Contes d’Hoffmann at the Canadian Opera Company.

It’s a peculiar work.  It was Offenbach’s first and only foray into grand opera and he didn’t live to complete it.  This leaves all sorts of performance issues regarding orchestration, sequence of the acts and spoken dialogue vs accompanied recitatives among others.  The COC version uses the conventional act order; Olympia, Antonia, Giulietta, and recitatives with orchestral accompaniment which makes for a long night but is probably the best fit with director Lee Blakeley’s take on the piece, previously seen at Vlaamse Opera in 2000.

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Spring in Toronto

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It’s Spring in Toronto. The Canadian Opera Company has three productions in rehearsal and load ins and set building have started once more at the Four Seasons Centre. Here’s my take on what’s coming up.

Offenbach – Tales of Hoffmann April 10th to May 14th

Photo Credit: Kurt Van der Elst © 2000

This is a house debut for British director Lee Blakeley who brings his production previously seen at Vlaamse Opera.  The production looks on the face of it fairly conventional but word from the rehearsal studio is that it’s fairly “out there”.  The casting is a typical mix of “A list” talent, local favourites and Ensemble Studio members.  Probably the biggest draw is local boy John Relyea who is playing the four villains.  American tenor Russell Thomas sings the title role.  The four main female roles will be sung by Andriana Chuchman, Erin Wall, Keri Alkema and Lauren Segal; all familiar faces to Toronto audiences.  Johannes Debus conducts. More information.

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