But first this month… on April 27th to 29th male soprano Samuel Mariño is appearing with
Tafelmusik in a programme titled Higher Love: Virtuoso Arias. Details here.
Crow’s Theatre has a couple of shows. True Crime opens on the 2nd. It’s a short run. Preview on the 1st then closes on the 7th. It’s basically a one man, semi-improvised show about an imprisoned con man. The Chinese Lady, which runs 5th to 21st (previews 2nd to 4th) in the smaller Studio Theatre tells the story of the first Chinese woman in the USA. Written by Lloyd Suh and directed by Marjorie Chan it should be interesting. There’s also Boom X. Rick Miller plays over a hundred characters to narrate events from 1969 t0 1995. It runs from the 10th to the 28th. More details at crowstheatre.com.
I spent three hours earlier today listening to three panel discussions about the issues involved in presenting Puccini’s Madama Butterfly. The overall event was titled Grappling with Madama Butterfly Today: Representation, Reclamation, Re-imagination. They were three very different panels as we shall see. But first some context. The event was co-presented by Confluence Concerts, Amplified Opera, the Canadian Opera Company, the Faculty of Music at the University of Toronto, and the Humanities Initiative at the Munk School of Global Affairs and Public Policy at the University of Toronto. One of the “triggers” for the event was the planned revival of Madama Butterfly at the COC (now to be done as an “on-line” event of some description) though one might have listened to the discussions without actually realising that.
The first panel consisted of COC boss Perryn Leach with soprano Teiya Kasahara, soprano Jaclyn Grossman and Boston Lyric’s Jessica Johnson Brock. I expected it to tackle the problematic nature of Madama Butterfly head on, as indeed the other two panels did, but it didn’t. It got sidetracked into essentially blind alleys about whether the work should be performed at all and whether one should always cast Asians in Asian roles and such. I got the strong feeling that no-one involved wanted to touch the issue of why, in 2022, the COC had planned to present a thoroughly unreflective, indeed deeply racist and sexist, production of the work. And that in the context of a season of three problematic operas presented in equally unambitious productions. Indeed, so unambitious that Leech’s deputy has described Mozart’s The Magic Flute as a “whimsical comedy”. Brigid Brophy must be gyrating in her crypt. Why was the discussion so anodyne? I think it comes down to power dynamics. Perryn Leech advanced views that I think can be summed up as “as long as we present enough new work (preferably short stuff on small stages) and do a few token events like this one it’s OK to give the bougie donors their fix. Even if that fix is racist and misogynist. Nobody challenged this. After all, if you are a young woman trying to make her way in the deadly world of opera why would you call out the most powerful person in Canadian opera?
Yesterday saw the pre-recorded webstream of the annual recital by the winners of the Norcop Song Prize and the Kodolfsky Prize in accompanying. The winners; mezzo Alex Hetherington and pianist Dakota Scott-Digout had put together a well curated and ambitious programme.
On the 14th at 1.30pm in Walter Hall Jane Archibald and Liz Upchurch are giving a recital under the auspices of the Women’s Musical Club of Toronto (so this isn’t a free concert). The 15th sees the opening of a run of a “play with music” from Theatre Gargantua called The Wager which will run at Theatre Passe Muraille from the 14th (preview) to the 30th. It promises to be a “bold and irreverent investigation into the strange things that people believe”. It’s written by Michael Spence and directed by Jacquie PA Thomas and the cast includes Teiya Kasahara.