Last night Pomegranate; music by Kye Marshall, words by Amanda Hale, opened at Buddies in Bad Times. Inspired by the Villa of Mysteries in Pompeii, it tells the story of two lesbian lovers. Cass has broken up with Suzy in 1980s Toronto. She visits Pompeii as a tourist and is carried back in time to meet her lover in a previous incarnation in the Temple of Isis. There’s a whole act dealing with the Mysteries, Cassia and Suli’s burgeoning relationship and the attempt by the Roman state to suppress the religion. Then Vesuvius erupts. Fast forward to Act 2 in a lesbian bar in Toronto. Suzy, an immigrant from some unspecified war zone is pressured by her family to break up with Cass. There’s a slightly surreal byt dramatically satisfying epilogue where modern Cass reunites with Roman Sulli in the ruins of Pompeii.
There’s been a lot of new opera in Toronto at the moment and a lot of it has had either an Indigenous or a Queer angle; likely reflecting funding bodies trying to encourage diversity of various types. The latest one to come my way is Pomegranate which will play at Buddies in Bad Times from June 5th to 9th. It’s a lesbian chamber opera from librettist Amanda Hale and composer Kye Marshall and it’s a first opera for both of them.
The current Tapestry Briefs is one of the most satisfying I have attended. Briefs is the performance edition of the LibLab; an intense where composers collaborate with librettists to create new opera scenes. Some of these disappear and some go on to be the starting point for new operas. The current crop is strong. There were eleven scenes in the show; sung by various combinations of Teiya Kasahara, Stephanie Tritchew, Keith Klassen and Peter McGillivray with Jennifer Tung at the piano and other keyboards. As a bonus, at intervals Keith appeared to sing a parody of a famous aria describing the tasty little tapas which were offered around.
It’s September and the long, slow awakening after the annual aestivation begins. There’s not a lot on yet but what there is is interesting. The middle of the month sees Native Earth’s production of I Call myself Princess at the Aki Studio; previews from 9th to 12th September with official opening on the 13th and then shows until the end of the month. My interview with playwright Jani Lauzon is here. Also opening on the 13th is Tapestry Briefs at the Ernest Balmer Studio. Hear the product of the LibLab, hear Stephanie Tritchew, Teiya Kasahara, Peter McGillivray and Keith Klassen and eat tapas. It runs until the 16th.
Opera 5 opened a run of Rossini’s The Barber of Seville at the Factory Theatre last night. It’s arguably the most conventional thing Opera 5 have done. It’s a (very) mainstream piece. There was no accompanying themed food or drink (a glass of Rotsina?). There was no audience participation. There weren’t even Aria Umezawa’s characteristically minimalist touches. What there was a carefully constructed Barber for reduced forces directed by new Artistic Director Jessica Derventzis and conducted by Evan Mitchell.
June is kind of quiet but first there’s yet another show to mention for the busy last weekend of May. David Fallis is conducting his last performances as Music Director of the Toronto Consort. It’s Monteverdi’s Orfeo and it’s at Trinity St. Pauls at 8pm on the 25th and 26th and 3.30pm on the 27th. Besides David it features Charles Daniels in the title role, Kevin Skelton as Apollo, Laura Pudwell as Messagiera with Jeanne Lamon on first violin plus Montreal’s premier cornetto and sackbut ensemble La Rose des Vents.
Bandits in the Valley opened yesterday at Todmorden Mills. It’s a site specific comic opera with words by Julie Tepperman and music by Benton Roark. The time is 1880. Sir George Taylor is the owner of the most productive paper mill in the British Empire but he wants more. Specifically he wants to convert the entire Don Valley to paper thus depriving the pesky bandits thereof of cover. He also wants Lily Pollard, the comely soprano lead of the travelling company he has engaged to stage The Pirates of Penzance as part of the mill’s 25th anniversary celebrations. He’s not the only one after Lily. She’s also the target of the female head of the troupe, Henri, and of Jeremiah, the bandit chief who is trying to obtain his inheritance. He in turn is pursued by the house maid (and his cousin) Birgitta and, in a purely brotherly way of course, another bandit, Freddy. In proper comic opera fashion a birthmark, naturally enough on Jeremiah’s buttock, is involved. Mayhem ensues.
Yesterday I finally managed to do something bike related in conjunction with Bicycle Opera Project’s current tour of Sweat. I got an early train out to Aldershot, biked to Hamilton and joined up with the bike tour of historic Hamilton organised by the Workers Arts and Heritage Centre to complement the opera, before seeing the afternoon performance of Sweat at WAHC. I’ll add some bikey/historical observations at the end but since this is an opera blog let’s cut to the chase.
I’ve seen opera in a lot of venues in Toronto, including several pubs, but last night was my first time at the Amsterdam Bicycle Club; the occasion being the first pub night hosted by Against the Grain Theatre. There was a pretty decent crowd and, somewhat to my surprise, a couple of decent beers on tap. There was also singing with Topher Mokrzewski at the keyboard of a piano almost as grotty as the one he made his AtG debut on. Perhaps unsurprisingly the line up was pretty impressive; Clarence Frazer, Stephanie Tritchew, Aaron Durand, Cait Wood and John Brancy plus a bonus drop in by no less than Krisztina Szabó. Rossini, Puccini, Donizetti, Bernstein and others all got a look in. It was loud, it was fun and the audience, not all of whom I suspect knew what they were in for, stayed. Further sessions are planned for the first Thursdays in November and December at the same venue.
Two announcements from MY Opera at their fundraiser yesterday. First, they have rebranded from Metro Youth Opera to MY Opera. I guess everybody is getting a little older! More exciting, their spring 2016 production will be Britten’s The Rape of Lucretia which is a definite departure into much darker territory for this company and a chance to see a work that isn’t performed too often. Dates and casting TBA.
The fundraiser itself was fun with some fine singing from, among others, Stephanie Tritchew, Lyndsay Promane, Asitha Tennekoon and Kelsey Vicary with Natasha Fransblow on keyboards. There was beer and silly hats and a vast quantity of rather good chicken wings. There was also a raffle and a photo booth thingy. And did I remember to mention the chicken wings.