The Met HD in cinemas line up has been announced for 2024/25 so here’s my take on it. The first thing to notice is that there are only eight shows. There have been ten per season since 2012/13 and twelve before that. This is likely a reflection of the problems with audience numbers that all North American opera companies have been having. In the same time period the COC has cut back from 65-70 main stage performances per year to 42 and the Met’s “in house” audience problem has been well publicised. So what does that leave us with?
Tag Archives: verdi
La battaglia di Legnano
Verdi’s 1849 opera La battaglia di Legnano is loosely based on a battle that took place in 1176 between the forces of Frederick Barbarossa and those of the Lombard League; just one episode in the interminable struggle between Guelfs and Ghibellines. By Verdi’s time the battle had been appropriated by Italian nationalists (at least in northern Italy) as symbolic of the Italians struggle against the Austrian occupiers and that’s pretty much where Verdi is at.
La France au printemps
Thursday’s concert by members of the Ensemble Studio in the RBA was an all French affair (at least as far as language went) and it was rather good. Karoline Podolak iniated proceedings with Mattia Senesi at the piano with Kurt Weill’s “Youkali”. Now I’ve heard this sung by everybody from Barbara Hannigan to Benjamin Appl and I’d have to see that Ms. Podolak is right up there. There was no male stripper though.
Korin Thomas-Smith has something of a penchant for the bizarre and I think that’s a fair description of two sets drawn from Apollinaire’s Bestiaire. There were five of the Poulenc settings (about as far from Dialogues of the Carmelites as one could imagine) and six from Rachel Laurin’s more atonal and abrasive settings. I would probably sing these songs if I had four dromedaries and could sing. Fine work from Brian Cho at the piano. Continue reading
COC 2024/25
The COC has just announced it’s 2024/25 season. It’s a mixed bag. There are some very welcome examples of operas not seen in Toronto for a long time and a new co-commission. There’s a perhaps surprisingly earlier than expected remount of Eugene Onegin plus Madama Butterfly yet again but at least it’s a “new to Toronto” production. There are no new/new productions and no COC Theatre production though there’s one performance of a concert version of Cavalleria Rusticana at the Four Seasons Centre. It’s a bit light on star power too though there are plenty of opportunities for home grown favourites.

A scene from William Kentridge’s Wozzeck – photo: Ruth Walz
Looking ahead to March
First some additional February shows
- On the 23rd at Harbourfront Centre Art of Time Ensemble are presenting Music from the Weimar Republic.
- On the 25th VOICEBOX have a concert performance of Verdi’s Ernani at the St. Lawrence Centre.
Opera
- Opera York are presenting Verdi’s Rigoletto at the Richmond Hill Centre for the Performing Arts on March 1st and 3rd.
- March 14th to 17th UoT Opera are doing Massenet’s Cendrillon at a to be determined location.
- March 20th and 22nd at Koerner Hall, the Glenn Gould School spring opera is Poulenc’s Dialogues of the Carmelites. That one has me excited!
A more mature Siurina
I first came across Russian soprano Ekaterina Siurina as Zerlina in the 2008 video recording of Mozart’s Don Giovanni from Salzburg. She had had plenty of success already in coloratura roles such as Gilda and Adina and was, I thought, the best Zerlina I had come across. Fast forward to 2015 and she sang a very fine Violetta at the Four Seasons Centre opposite her husband Charles Castronovo. A few years on and it’s not terribly surprising that she’s starting to venture into slightly heavier lyric-dramatic territory. This is reflected in her recent album Where is My Beloved? recorded in 2022 with the Kaunas Symphony Orchestra conducted by Constantin Orbelian. Continue reading
Un giorno di regno

Belle Cao
VOICEBOX:Opera in Concert opened their 50th anniversary season at the Jane Mallett Theatre with the first of three Verdi rarities. Un giorno di regno was Verdi’s second opera and it premiered at La Scala in 1840 to no great acclaim. It’s a curiously old fashioned piece for its time. Perhaps the fact that it sets a libretto written over twenty years earlier accounts for some of that. It’s very much a bel canto work. It’s sort of a comedy though it’s not actually all that funny; being largely concerned with machinations about who marries whom played around a somewhat implausible impersonation of the King of Poland by a minor French aristocrat. It’s no sillier than many Donizetti operas but perhaps by 1840 that formula was wearing rather thin. Continue reading
Ernani
Ernani is an early Verdi opera (1844) and it’s not performed that often (16th most performed Verdi opera according to Operabase). It was given at the Maggio Musicale Fiorentino in 2022, in a production by Leo Muscato, which was recorded for video release. How you react to it may partly depend on how you feel about bel canto operas on (more or less) serious themes. This is an opera about unrequited love and revenge (lots of revenge) but, in typical bel canto style, the music doesn’t always fit the mood. So here we open on a prelude where Ernani’s bandit gang are sorting out the corpses from their latest skirmish while the orchestra plays a rather jolly tune, then they break into a drinking song and then Ernani enters and sings a rather lovely cavatina. There are places where the music is darker and some of it is really rather good. In particular there are some strong duets for Ernani and his (everyone’s) love interest Elvira. Overall, I rather liked it musically.

News
VOICEBOX:Opera in Concert announced their 2023/24 season. It’s quite interesting; three Verdi rarities:
- Un giorno di regno on November 25th 2023
- Ernani on February 25th 2024
- La battaglia di Legnano on April 7th 2024
And for something completely different, Alice Ho’s The Phantom Bird of Han, performed by Symphony Nova Scotia, is now available on Youtube. Definitely worth a listen!
The (evil) life of a baritone
English baritone Roland Wood, accompanied by Simone Luti, gave a rather unusual, themed, recital n the RBA on Tuesday lunchtime. It was structured around the typical career path of a baritone and was narrated engagingly by Wood with lots of fun being had with the traditional rivalry between tenors (useless wimps who always get the girl) and baritones (evil sociopaths who never do).
