CanCon at the Grammys

I don’t usually take much notice of awards like the Grammys but this year there is an odd coincidence.  As usual, CanCon is in very short supply across the 95 categories of awards but the three that I could find were all familiar to me.

In Category 89 “Best Opera Recording” there are two nominees with Canadians in the leading role.  Mary Kouyoumdjian’s Adoration has Mirian Khalil as its leading lady and Royce Vavrek as librettist and it’s based on an Atom Egoyan film.  It’s pretty good. Continue reading

Jacqueline redux

Most new Canadian operas get an initial run (if they are lucky) and then disappear.  Luna Pearl Woolf and Royce Vavrek’s Jacqueline is unusual in that following it’s premiere at Tapestry Opera in Toronto in 2020 it also played in San Francisco in 2024 and is now back in Toronto for a revival at Tapestry; once again directed by Michael Mori.  There’s even, we are told, a fourth run at a yet to be disclosed company in the works.  In some ways it’s not such a surprise.  In these cash strapped times the appeal of a very good full length opera that only requires two soloists; no orchestra, no chorus, ought to be obvious!

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News and stuff

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Roiyce Vavrek. Photo by Ser Amantio di Nicolao

Today’s big news is that Against the Grain Theatre have announced the appointment of a new Artistic Director and it’s Royce Vavrek.  He’s probably best known to opera audiences as a librettist.  He has written the libretti for 23 operas including a bunch with Missy Mazzoli of which perhaps my favourite is Proving Up, done in Calgary recently by Ammolite Opera.  He’s also the writer for Ian Cusson’s Indians on Vacation and Luna Pearl Woolf’s Jacqueline which features in Tapestry’s recently announced season and is just out on CD.   So not dead yet then!

And talking of Tapestry, they announced their season today.  With the new space at 877 Yonge almost ready they have emerged from semi-hibernation.  As implied above the first show is Luna pearl Woolf’s Jacqueline in The Betty Oliphant Theatre in February .  I’m assuming it’s essentially the same show as five years ago (see Opera Canada Summer 2020).  There’s also a venue launch concert for the new home on March 22nd.  The first Tapestry show at the new venue will be Sanctuary Song; music by Abigail Richardson, libretto by Marjorie Chan, which, apparently, is about an elephant.  Which may be an operatic first. Continue reading

Angel’s Bone

Angel’s Bone; music by Du Yun, libretto by Royce Vavrek, is an interesting concept.  It deals with human trafficking through the medium of two angels who fall to earth and find themselves in the hands of a couple; one of them a formerly trafficked person, who exploit them for sexual/commercial purposes.  It’s dramatically quite effective, well constructed and the libretto has a certain poetry to it.  It played at Harbourfront Theatre this last weekend in a co-pro by Sound the Alarm Music Theatre, Loose Tea Music Theatre and Array Music.

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Indie Operas

angelsboneComing up later this month is Angel’s Bone; an opera with music by Du Yun and a libretto by the amazing Royce Vavrek.  It’s a chamber opera for amplified voices and small ensemble.  The plot concerns two angels who fall to earth and are ruthlessly exploited by otherwise unremarkable people.  It’s a commentary on human trafficking and the exploitation of youth.  There’s a really good looking cast and it will play at Harbourfront Centre March 22nd to 24th.  It’s already attracted largely positive reviews in New York and Vancouver.  More details including casting and ticketing here. Continue reading

How do you murder a sound?

Mizzy Mazzoli’s latest opera The Listeners is now available on the OperaVision channel on Youtube.  It’s a Den Norske Opera production recorded in Oslo a couple of months ago and it’s very interesting.  There are several short trailers etc on the channel that you can use to get an idea of what it’s about and what it sounds like.

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Cigarettes and anisette

songfromtheuproarMissy Mazzoli and Royce Vavrek’s opera Song From the Uproar: The Lives and Deaths of Isabelle Eberhardt is based on the journals of Isabelle Eberhardt; a Swiss explorer, mystic and writer who roamed the deserts of North Africa before her untimely death at the age of 27.  It was conceived as a multi-media opera and staged as such at The Kitchen in New York in 2012.  A studio CD recording was made by the original cast soon after.  One can get a s sense for the look and feel of the stage piece from the trailer for the original show which is still available on Youtube.

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Proving Up

provingupMissy Mazzoli’s Proving Up is an 80 minute opera consisting of a prologue, six scenes and an epilogue. The libretto is by Royce Vavrek after a short story by Karen Russell. It was recorded after a production at Opera Omaha in 2018. One might perhaps expect an opera about homesteading in Nebraska to be a worthy piece of uplifting Americana but nothing could be further from the truth here. The Prologue, it’s true, is based on a 19th century popular song Uncle Sam’s Farm which appears to offer the American Dream to all comers but after that we get a surrealistic tale of drought, despair, drinking and death all based on the search for an elusive glass window that will allow the Zegner family to “prove up” and gain title to their land under the 1862 Homestead Act. What then, of the American Dream?

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Jacqueline

Jacqueline is a new opera by librettist Royce Vavrek and composer Luna Pearl Woolf.  It will premiere at Tapestry next month.  It deals with the life and career of cellist Jacqueline du Pré.  Du Pré was a celebrity in her own life time.  She made her Wigmore Hall debut at age 16 in 1961 and quickly established herself as one of the all time greatest exponents of her instrument with a rather special relationship with the Elgar concerto.  Marriage to Daniel Barenboim, conversion to Judaism and “membership” in the rather remarkable circle of musical Jews in New York followed.  Her physical ability to play the cello though began to decline in 1971 and a formal diagnosis of multiple sclerosis was made in 1973.  She lived for another 14 years but never played again in public.

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