This was the seventh time I’ve seen Soundstream’s Electric Messiah. It’s different every time of course but some things stay, more or less, as features. The biggest change this year is the shift from the Drake Underground to Crow’s Theatre. It’s staged as a conventional proscenium arch type show with the audience sitting in tiered rows facing the stage rather than being set up night club style. There’s no bar in the actual performance space but you can still take a drink to your seat. The drinks are cheaper than at the Drake too!
It’s the fifth year that Soundstreams has put on Electric Messiah which I guess means it’s pretty much becoming a holiday tradition. This iteration may just be the best yet. This version seemed quite stripped down compared to some years and all the better for it. It’s centred around rearranged (and shortened) excerpts from the Handel work supplemented with some personal touches for the cast. This time the “band” was Wesley Shen on harpsichord, Joel Visentin on keyboards and electric organ, Joel Schwartz on assorted acoustic and electric guitars and Adam Scime directing from the (laptop) keyboard which controlled lots of effective electronics. SlowPitchSound was there on turntables with Lybido dancing.
Soundstreams’ Electric Messiah is back for a fourth outing, again under the musical direction of Adam Scime. The formula is basically the same as previous years.
Take excerpts from Handel’s Messiah
Add some new music
Arrange for small chamber ensemble, electronics and turntables (Sarah Svendsen, analog and electric harpsichord; Joel Schwartz, electric guitar; Jeff McLeod, electric organl; SlowPitchSound, turntablist)
Take a quartet of singers from different vocal traditions (Jonathan MacArthur, Katherine Hill, Aviva Chernick and Alex Samaras)
Throw in a dancer (Lybido)
Have some of the text sung in a language relevant to the singer (Gaelic, Hebrew, Swedish this time)
Stage it at Drake Underground
This year in addition there was some interpolated music not directly derived from Messiah; to whit, a gospel piece for Samaras called “Personal Jesus” and a harpsichord solo.
April just keeps getting busier. On April 12th The Women’s Musical Club of Toronto are presenting soprano Sylvia Schwartz with pianist Olivier Godin in a German and Spanish program. It’s a t Walter Hall at 1.30pm. Tickets are $45. The following evening at 8pm the remarkable 13 year old violinist and composer Alma Deutscher is appearing at Koerner Hall. She’ll be joined by pianist Angela Park and singers Adanya Dunn and Andrew Haji who will perform excerpts from her opera Cinderella which premiered to some acclain in Vienna.
It comes as no surprise that an opera by Atom Egoyan comes across as somewhat cinematic but it’s hard not to use the term of his production of Richard Strauss’ Salome at Canadian Opera Company. It’s quite a spare production. There’s a raked stage; the raised end providing a sort of dungeon for Jochanaan and the back and side walls used for projections, especially of a giant mouth prophesying (shades of Big Brother here) and shadow puppets. Costumes are simple and in shades of red, white and green. The concept is based on the idea that Salome is a very young girl who has a history of sexual abuse at the hands of Herod that explains her “monstrousness”. It’s most vividly explored during the dance of the seven veils where Salome rises above the stage on a swing and her robes form a scrim on which a video is projected. It starts with a very young girl in a garden and gets progressively darker until it finishes up with today’s Salome being raped by her stepfather’s entourage. Fittingly, the opera ends with Herod himself strangling Salome, perhaps more to silence her than out of disgust.