April shows

butterfly-square… plus a late March addition…

March 29th and 30th Tapestry are doing the Songbook thing again.  This is the show where an established singer; Jacqueline Woodley this time, works with emerging artists and a pianist (Andrea Grant) plus director Michael Mori to create a show based on Tapestry’s back catalogue.  There are three shows at the Ernest Balmer Studio in the Distillery; Friday at 8pm and Saturday at 4pm and again at 8pm.

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Perchance to Dream

Ivor Novello’s Perchance to Dream opened in London in April 1945.  It’s fluffy, romantic and nostalgic.  It has a ridiculous plot, some great tunes (A Woman’s Heart, We’ll Gather Lilacs etc) and lots of eye candy.  It’s probably exactly what people needed after nearly six years of an exceptionally weary, dreary war.  It ran for a thousand performances.  Approached in the right frame of mind it’s still a very enjoyable, escapist way of spending a couple of hours.

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Looking forward to March

Commandatore imageUsually things slow down a bit at the end of February but not, it seems, this year.  First a notice for this month.  Sara Schabas and Daniel Norman present a recital of music by Bernstein, Mozart, Schubert, Alma & Gustav Mahler & more.  It’s at the Church of the Redeemer on Bloor at 7.30 pm on February 27th.  Tickets here.  The first weekend of the month is busy with a “semi-staged” Le comte Ory at Trinity St. Paul’s on Saturday March 2nd at 7.30pm.  The production is by François racine and the cast includes Asitha Tennekoon, Marjorie Maltais and Caitlin Wood.  On Sunday at 3pm Toronto Operetta Thaetre are presenting Ivor Novello’s Perchance to Dream.  That’s at the St. Lawrence Centre for the Arts.  Also on Friday night and Sunday afternoon Opera York are doing Don Giovanni.  The Donnas are Natalya Gennadi and Beste Kalender. That’s at the Richmond Hill Centre for the Arts.

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Who knew Frosch could be funny?

Toronto Operetta Theatre opened a run of Strauss’ Die Fledermaus at the St. Lawrence Centre last night.  It’s a will crafted production; basically traditional as to costumes and sets and with a generous amount of more topical jokes added to the dialogue (both dialogue and musical numbers are performed in English).  The one thing about it that is a bit different and much to be praised is that the jailer Frosch, played by director Bill Silva-Marin, is actually funny and sings pretty well for a guy who doesn’t sing a lot anymore.  The schtick is that he is obsessed with singing and insists on singing lessons from Alfred (or here Alfredo) when he appears in the jail in place of Eisenstein.  The singing lessons are kind of a parody with plenty of jokes about vocal production and a fair bit of physical humour.  All this is actually set up from the beginning by making Alfred a rather larger role than usual with a fair amount of interpolated snatches of Verdi and Puccini.  It may not sound that radical but it does liven up the third act which all too often can be pretty dull and anti-climactic.

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Tidings

jpeg14Here’s what’s coming up over the holidays and into January.

Toronto Operetta Theatre’s seasonal production this year is Strauss’ Die Fledermaus.  It runs December 28th through January 2nd at the St. Lawrence Centre for the Arts.   The cast includes Lara Ciekiewicz as Rosalinde, Adam Fisher as Eisenstein and Caitlin Wood as Adele. Derek Bate conducts the TOT orchestra and Guillermo Silva-Marin directs.

The 21C Music Festival runs from January 16th to 20th. This time it will celebrate the American minimalist composer Terry Riley, with his music being performed in three of the concerts, including one that he will headline, titled Terry Riley: Live at 85!  Full details at rcmusic.ca.

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Toronto Operetta Theatre 2018/19

fledermaus-121-motivsticker-sticker-aufkleberToronto Operetta Theatre have released preliminary information on their 2018/19 season.  There are three main stage productions at the Jane Mallett Theatre.  First up is Die Fledermaus by Johann Strauss which runs December 28th, 2018 to January 2nd, 2019.  There’s been no shortage of Fledermice in Toronto in recent years with Christopher Alden, Aria Umezawa and Joel Ivany all contributing quite individual productions.  I imagine Guillermo Silva-Marin’s treatment will likely be designed to appeal more to the traditionalists!

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Beautiful Helen

Offenbach’s La belle Hélène, given in English translation, opened at Toronto Operetta Theatre last night.  The production by Guillermo Silva-Marin is an uncomplicated and fast paced romp.  There a few cuts.  The scene with Orestes and his girls for instance is gone and the dialogue, as is the norm, is gently updated with a Facebook reference and an allusion to a certain orange real estate magnate.

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