Yesterday’s review of the Glyndebourne Ravel double bill prompted a question from a regular reader as to why that particular combination wasn’t performed more often.  That meshed with some thoughts I’ve been having about why combinations of shorter operas aren’t programmed more often in major houses.  They are pretty much a staple of the indie companies in Toronto, especially where contemporary works are concerned but much less featured by the larger companies.  For example, in the eight completed or planned COC seasons I have data readily to hand for, four of fifty four slots were/will be filled by such combinations.  For the record, The Nightingale etc in 2009/10 (a show that sold out and had an extra performance added), Gianni Schicchi and A Florentine Tragedy in 2011/12, Duke Bluebeard’s Castle and Erwartung this season and Pyramus and Thisbe etc next season.  The last time Opera Atelier did anything comparable was, I think, a pairing of Dido and Aeneas and Blow’s An Ode on the Death of Mr. Henry Purcell but that was a very long time ago.

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