Upcoming events

Ridiculously short notice I know but VOICEBOX/Opera in Concert’ are closing their season with Verdi’s Stiffelio this afternoon at the St. Lawrence Centre.  This 1850 workconcerns an adultery in the house of a Protestant minister and was so severely censored by the Italian authorities that Verdi withdrew it in 1856 and it’s rarely seen.  VOICEBOX will present the scholarly edition prepared from the Carrara family MS in the early 90’s.  It’s a concert performance with piano accompaniment featuring Ernesto Ramirez,  Laura Albino and Geoffrey Sirett.

On Wednesday there’s a rare performance of Gagliano’s La Dafne by Capella Intima and the Toronto Continuo Collective.  An ensemble of dramatic voices accompanied by lutes, theorbos, harpsichord and viola da gamba will present Ovid’s tale of Apollo and Daphne.  It’s at noon and forms part of the COC’s free concert series in the Richard Bradshaw Amphitheatre.

Finally, on March 3rd Toronto Masque Theatre is presenting a soirée on the history of the masque form.  There will be panel discussions and performances by soprano Patricia O’Callaghan, guitarist Ken Whiteley and others.  It’s at 7.30pm at  21 Shaftesbury Avenue, Toronto.  Tickets are by donation ($20 suggested) and seating is limited so registration is required either online at torontomasquetheatre.com or by calling 416-410-4561.

 

AtG’s Messiah

Expectations could hardly have been higher for last night’s first performance of Against the Grain’s new production of Handel’s Messiah.  By and large they were met.  It’s become quite the thing to stage Handel’s oratorios and, for the most part, that’s fine.  They are really operas in disguise and work well when liberated from the concert setting.  Messiah is trickier.  Rather than a linear narrative there are a series of Biblical texts selected by librettist Charles Jennens to promote a literal and conservative evangelical Christianity.  There is no obvious staging solution.  One possibility is to invent a narrative and spin the story around it as Claus Guth did at Theater an der Wien in 2009.  AtG’s Joel Ivany’s solution is to stage it as a choreographed performance and use movement to bring depth to the words.  Here he is aided and abetted by choreographer Jennifer Nichols who has created a movement language tailored to the abilities and limitations of the singers.

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Opera Five gala

opera5So Toronto’s weather took a weird twist pushing the Humidex into the 40s just in time for the Opera Five movie themed fundraiser at Atelier Rosemarie Umetsu last night.  And some people still managed to wear suits and ties and stuff.  Made of sterner stuff than me I tell you.  And even more props to the ladies who were sporting Rosemarie’s creations.  They looked great but some of them must have been hell in the heat.

It was an interesting format with seven singers and two pianists appearing in various combinations and guests having an opportunity to sponsor a singer to sing their “feature” aria.  It was fun and there were some fine singers on display.  Two I’ve seen and enjoyed in the past were baritone Geoffrey Sirett and coloratura soprano Teiya Kasahara.  Both were on good form with some fine Escamillo from Geoffrey and the mad scene from Lucia from Teiya in a rather good arrangement for voice, flute and piano.  The other five were new to me but I’d happily go see any of them.  Favourite moments for me would be some fine Carmen from the unpronounceable Olenka Harasymowycz (who looks disturbingly like Maria Ewing), a very cute “Poor Wandering One” from Caitlin Wood and a very fine “Ebben…” (from Catalani’s La Wally) from Calgary’s Krista de Silva.  Accompaniment was from music director Mai Nash and Jo Greenaway on piano with flautist Amelia Lyon.

So, a fun event which seemed to be raising quite a bit of much needed cash.  The first show it will be helping fund is In Pace Requiescat; a trio of one act operas based on Edgar Allen Poe stories.  There will be The Cask of Amontillado by Daniel Pinkham, La Chute de la Maison d’Usher by Claude Debussy and the world première of The Masque of the Red Death by Cecilia Livingston.  Performances will be at the Arts and letters Club on Elm Street on the 27th, 30th and 31st of October.  Tickets are available from 05inpace.eventbrite.ca and are $30 ($25 concessions).

Summer is icumen to an end

opera5It may still be 90%+ humidity and hot as hell in Toronto but the signs of things to come are piling up.  I have a stack of tickets for fall events at various venues and the smaller opera groups are starting to announce their seasons.

The latest news is from Opera 5 who are launching the year with a Hollywood Glam Gala at Atelier Rosemarie Umetsu.  It’s a fundraiser with an “Opera in Hollywood” theme.  Performers will include Teiya Kasahara (probably not with the butch lesbian routine), Elizabeth MacDonald, Graham Thompson, and the increasingly visible Geoffrey Sirett among others.  Toronto photographer, Emily Ding will be on hand for Hollywood glam photos with food and alcohol provided by Fionn MacCool’s, notorious hangout of the COC Chorus.

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Ruth

ruthLast night Tapestry and the Wilfred Laurier University Faculty of Music co-presented a workshop of Ruth, a new piece by Jeffrey Ryan to a libretto by Michael Lewis MacLennan.  It’s not exactly an opera, perhaps more like one of Britten’s Church Parables.  It is quite short; one act of nine scenes, six of which were given in full last night with a read through of the three not yet set.  The whole piece lasted maybe an hour.  The emphasis is very much on the voices; three soloists and the choir.  Last night it was given with piano accompaniment but the composer suggested that it would work for either organ and/or a small ensemble.

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Fairest Isle

Toronto Masque Theatre’s latest effort is a Purcell show called Fairest Isle.  It’s semi-staged performance of excerpts from Purcell works, mainly the four stage works; Dido and Aeneas, The Fairy Queen, The Indian Queen and King Arthur (Wot! No Diocletian you cry) interspersed with readings from the plays and a narrative about Purcell’s life performed by actors Derek Boyes and Arlene Mazerolle.  The staging involves frequent short dance pieces, in a recognisably period style (heels, long skirts, arms never above the shoulder) by Marie-Nathalie Lacoursière.  The six singers, costumed throughout in dark suits or dresses, mostly sang from music stands though some pieces were blocked.  There was an eight piece ensemble; two violins (Larry Beckwith/Kathleen Kajioka), viola (Karen Moffat), two oboes (John Abberger/Gillian Howard), cello (Margaret Gay), lute/guitar (Lucas Harris) and keyboards (Christopher Bagan) directed by Beckwith.  Continue reading