Tongue in Cheek’s latest show, Democracy in Action, took place at the Lula Lounge last night. The concept was pretty straightforward. There were eight (almost) singers and a pianist. Each singer offered up five numbers ranging from opera through art song to musical theatre and pop. Advanced on-line polling had selected one song per singer. Polling of the audience in the house produced the other two. The in house polling was supported by really rather well done videos in which the “composers” tried to persuade the audience to vote for their stuff.
So, by a perhaps odd coincidence, various singers from Kathy Domoney’s stable are involved in productions of Rossini’s Le comte Ory at assorted Canadian houses in the near future; either as principals or understudies, so why not pull together some sort of performance of the work? That happened last night at Trinity St. Paul’s in a “narrated production” by François Racine. I had some ida what to expect as I had talked to François earlier in the week.
How, collectively, we remember is a cultural act defined by both choices and the general milieu in which the remembering takes place(*). Sometimes this results in stories being distorted and “misremembered”. The story of Shanawdithit, the last survivor of the Beothuk people is, perhaps, one such story. Her life and death, the final act in the campaign of genocide against her people is still “remembered” in Newfoundland culture but how much do we really know? The “evidence” boils down to a handful of sketches by Shanawdithit, annotated by one William Cormack; pretty much the only white person to show her any kindness or to display any interest in her people. Dean Burry and Yvette Nolan’s new opera; a co-production of Tapestry Opera and Opera on the Avalon asks what we know and how we know it. I attended a workshop presentation of the incomplete work yesterday.
So back to Walter Hall at 4pm for the last of the Regen concerts featuring song. This time Renee Fajardo and Jinhee Park kicked things off with a very fine set starting with Herr Schumann’s sinister Die Soldat and Frau Schumann’s Die Lorelei. This was all smoothly and elegantly sung bar a slight tendency to push high notes. There was some very impressive pianism here too. The set concluded with Schoenberg’s Galathea; a bold and interesting choice, where Renee managed to create an almost cabaret timbre without ever sacrificing accuracy. Nicely done!
So it was back to Walter Hall at 7.30pm for Saturday’s second instalment. This time the programme kicked off with the Schumann Piano Quartet in E flat Major Op. 47 before the singers. The first singer up was mezzo Danielle Vaillancourt with pianist Jing Lee Park. They gave us just two songs. The first was Fauré’s Il pleure dans mon coeur followed by Duparc’s Au pays où se fait la guerre. Vaillancourt has excellent French diction, a really interesting timbre and plenty of power. This was pretty fine singing. Jing Lee Park made the most of her chance to shine in the rather lovely piano part in the Duparc. Continue reading →
New comic operas are rare. New comic operas that are actually funny are vanishingly rare. The Overcoat: A Musical Tailoring is such a beast. It’s a new piece with music by James Rolfe and a libretto by Morris Panych derived from his twenty year old stage adaptation of Gogol’s short story. Originally commissioned by Tapestry Opera, the Toronto staging was under the joint auspices of that company and Canadian Stage with the work also to be staged by co-producer Vancouver Opera as part of their summer festival.
Casting has now been announced for The Overcoat: A Musical Tailoring; an opera by Morris Panych and James Rolfe based on Gogol’s short story by way of Panych’s 1990s theatrical version. The opera is a co-production of Vancouver Opera, Tapestry Opera and Canadian Stage and will premiere in Toronto’s Bluma Appel Theatre (March 29th to April 14th) before heading to the Vancouver Playhouse (April 28th to May 12th).