Loose Tea Music Theatre’s Carmen #YesAllWomen has been in the works for three years. It went “live” this week with a production at Heliconian Hall. It’s an intriguing show. Dramatically and musically it’s recognisably based on Bizet’s Carmen but only just. In Alaina Viau and Monica Pearce’s version the principal male character is one John Anderson, an Afghanistan vet with PTSD, his rival for Carmen is a rapper, Maximillian aka Hot God, and Michaela is Anderson’s estranged wife.
Whose opera is it anyways?! is a comedy-improv-opera show from LooseTEA Theatre’s Alaina Viau. Last night saw the second in what is being projected as a monthly series at the Comedy Bar on Bloor West. So how does it work? The “games” and associated players are decided in advance but each usually requires some kind of audience input such as a place or a mood or even the messages on someone’s phone. The team then act out and sing a sketch on the prescribed lines. Natasha Fransblow provided accompaniment on keyboards, though how much of that was planned and how much improvised I couldn’t tell. In between numbers Jonathan McArthur MC’d accompanied by really obnoxiously loud pop music (not helped by the speaker basically being in my left ear).
I just listened to my new copy of An AIDS Quilt Songbook:Song for Hope and I’m in a bit of a state of shock. It’s nearly 80 minutes of music featuring many of America’s best singers and musicians singing songs inspired by AIDS along with some poetry readings. Participants include Yo Yo Ma, Joyce DiDonato, Tony Deane-Griffey, Matthew Polenzani, Isobel LeonardSharon Stone and many more. All profits go to amFAR; the Foundation for AIDS Research. www.amfar.org
A new recording of Britten’s Gloriana is to be welcomed, even when it’s less than perfect. It’s an unusual work for Britten. It’s very grand. The orchestra is large and the music doesn’t seem to be as transparent and detailed as much of his work. This is especially true in Act 1 where I almost wondered whether Britten was sending up “grand opera”. It’s also a grand opera sort of plot. The libretto is based on Lytton Strachey’s Elizabeth and Essex and deals with the late life romance between the queen and the young Robert Devereux, earl of Essex and deputy in Ireland. It has some fine moments; notably the lute songs in Act 2 and the choral dances in Act 2. Act 3 is also dramatically quite effective; dealing with Essex’ abortive rebellion and execution. Curiously, in the final scene, Britten resorts to a lot of spoken dialogue, as he does briefly with Balstrode’s admonition in Peter Grimes. It’s almost as if he has no musical vocabulary for the highest emotional states; a sort of anti-Puccini.
Opera Five’s schtick is that they satisfy all five senses. In their current show that means matching a food offering with each of the three short operas on display. It’s a neat idea. In the current show a palindromic skewer of sausage, pickle and cheese is matched with the palindromic Hindemith work Hin und Zurück, assorted Russian pasty like objects are paired with Rachmaninov’s Aleko and some sort of chocolate on a stick thing with Milton Granger’s 1999 piece Talk Opera.