Where there’s a Will

So the Toronto Summer Music Festival continued last night with a Shakespeare themed show called A Shakespeare Serenade.  Curated and directed by Patrick Hansen of McGill it fell into two parts.  Before the interval we got Shakespeare scenes acted out and then the equivalent scene from an operatic adaptation of the play.  After the interval it was a mix of Sonnets and song settings in an overall staging that was perhaps riffing off The Decameron.  Patrick Hansen and Michael Shannon alternated at the piano.

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Vecchio Chris

Richard Jones chose to set his 2009 production of Verdi’s Falstaff in Windsor in 1946.  I suspect it’s driven by similar reasoning to Robert Carsen’s 1950s production.  Falstaff plays out very nicely as a conflict between an older order of things and a more thrusting kind of bourgeoisie and 1940s/50s England works well for that.  The “just after the war” setting also allows Jones to present Fenton as a G.I. which adds another twist to Ford’s distrust of him.  Although the jumping off point for Jones and Carsen is the same the results are quite different.  Jones seems to be operating in the traditions of English farce, à la Brian Rix, or maybe Carry on films,which works pretty well.  Falstaff is a farce rather than a comedy of manners.  So, besides the obligatory entrances and exits, couples caught in flagrante etc we also get a certain geometric precision in the blocking that borders on choreography.  In Act 1 Scene 2, for instance, the ladies rather military perambulation in a garden of very precisely aligned cabbages is doubled up by Brownies and a rowing four countermarching.

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Russell Thomas in the RBA

American tenor Russell Thomas, currently singing Don José in the COC’s Carmen, gave the lunchtime recital in the RBA yesterday.  The main item on the program was Schumann’s Dichterliebe; a setting of sixteen poems by Heinrich Heine and one of the great test pieces of the classic German lieder repertoire.  It was a red-blooded, operatic account.  Purists might think too much so but I enjoyed the sheer power and beauty of it, even at the expense of the (incredibly wonderful) text not getting the sort of attention it might get from someone like Ian Bostridge.  There was plenty of variation of tone and colour, some real virtuosity and even some humour in, for example, Ein Jüngling liebt ein Mädchen but the the most impressive and striking thing was the ability to effortlessly project a lot of rather beautiful sound.  Liz Upchurch’s accompaniment was very much in synch emotionally and musically.

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Traviata redux

Nederland, Amsterdam, 02-05-2013. Muziektheater, DNO: La Traviata voorgenerale orkest.Last night we saw the last performance of the current COC run of La Traviata, this time with the alternate cast.  Joyce El-Khoury, Andrew Haji and James Westman came in for Ekaterina Siurina, Charles Castronovo and Quinn Kelsey.  We were also sitting in Ring 3 rather than lower down which gave a rather different perspective; perhaps not showing off the clever lighting for the intimate scenes quite as well but much more effective, by giving greater depth, for the party scenes.

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Suirina, Castronovo and Kelsey rock Traviata

There’s a lot to like in the COC’s production of Verdi’s La Traviata that opened at The Four Seasons Centre last night.  Arin Arbus’ production; a co-production with Chicago Lyric Opera and Houston Grand Opera avoids the cloying sentimentality of many productions of this piece and, without being in any way gratuitous, deals very directly with the world Verdi wanted us to see; a world of hypocrisy, sex for sale and early, pointless death.

0097 – (in foreground) Roberto Gleadow as Dr. Grenvil and Ekaterina Siurina as Violetta in the COC’s production of La Traviata, 2015. Conductor Marco Guidarini, director Arin Arbus, set designer Riccardo Hernandez, costume designer Cait O’Connor, and lighting designer Marcus Doshi. Photo: Michael Cooper Michael Cooper Photographic Office- 416-466-4474 Mobile- 416-938-7558 66 Coleridge Ave. Toronto, ON M4C 4H5

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Grumpy Otello

Verdi loved Shakespeare and tried to reflect the psychological depth of his characters in the operas he based on the bard.  You really wouldn’t know that watching the 2008 Salzburg Festival production of Otello.  There’s a lot to like in both production and performance but the emotionally monochromatic performance of the title role by Aleksandrs Antonenko, who can do every mood from fairly grumpy to furious, and the moustache twirling Jago of Carlos Álvarez rather reduce the piece to pathologically jealous nutter with anger management problem kills wife.

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Majesty, Murder and Madness

Friday night I went to see Teiya Kasahara and Stephanie Yelovich’s recital at First Unitarian.  Unusually for a voice and piano (Mark-Anthony Del Brocco) recital it was essentially all bel canto; a mix of Bellini and Verdi songs with some Donizetti opera excerpts (plus a duet from Norma as an encore).  It would be unusual programming for almost anyone and I was frankly a bit surprised because I don’t think of either singer as a bel canto specialist and, Teiya’s Lucia aside, a bel canto singer at all really.

I know that the event was a fundraiser to help pay for their summer in Italy studying mainly this rep and I guess, wherever one is headed as a singer, being able to sing bel canto well is an asset.  So maybe, to use a rugby analogy, it wasn’t so surprising that this felt a bit more like the training field than a competitive game; especially when the duets were both mezzo/soprano pieces being sung by two sopranos.

Both these young ladies have big voices.  Teiya in particular has real power, as well as coloratura chops, so perhaps she’s on the way to being that rare voice that can sing Norma and the Tudor queens.  Who knows?  Stephanie’s future probably lies north of the Alps though and it’s potentially a bright one.  I’ve seen these two ladies separately and together in contemporary works and they were really, really good.  Bel canto‘s not my sweet spot so maybe that’s part of the problem but I’m really not convinced it’s theirs either.

Andrew Davis and the Verdi Requiem

It’s forty years since Sir Andrew Davis first conducted the TSO and to celebrate the fact the TSO programmed a run of Verdi Requiems with Sir Andrew conducting.  I caught the last performance last night.  It’s in some ways a curious piece; very operatic and not especially liturgical but it does have its subtleties; the very quiet opening and the tenor solo Ingemisco for example but there’s also some moments of drama that are far from subtle.  The Dies irae is appropriately loud, even terrifying and it’s used as an accent before the Lacrymosa and during the Libera me.  It’s quite a compelling 90 minutes or so.

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High contrast Traviata

The starting point for Peter Mussbach’s 2003 production of La Traviata for the Aix-en-Provence festival is his knowledge, as one trained as a medical doctor, of the effects of TB on a person’s appearance.  He argues that the disease produces a strange kind of beauty with the skin translucent and pale.  So, here Mireille Delunsch, as Violetta, wears a white dress, a platinum wig and very pale powder throughout while everyone else is dressed in black.  Couple this with a high contrast and highly dramatic lighting plot and very sparse sets and you have the essence of the “look”.  The blocking and Personenregie reinforces this with Violetta often appearing to be an ethereal, not quite solid, presence surrounded by a rather coarse material world.

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Canadian Opera Company announces rather more than just the 2015/16 season

Last night was the “event” at which the COC brass and guests, with a bit of help from Brent Bambury, announced the upcoming season to a packed house of subscribers and friends.  What struck me was how much news was packed in.  It was far more than the usual schedule presentation with announcements of several major new projects.  But first the season.   Continue reading