The line up for Voicebox: Opera in Concert has been announced for the 2019/20 season. There are four shows:
The season opens on Sunday, October 20, 2019, with a double bill by Maurice Ravel, L’enfant et les sortileges and L’heure Espagnole. It’s a common pairing and often a very funny one. It’s piano score with Suzy Smith playing., The cast includes Holly Chaplin, Anika-France Forget, Danlie Rae Acebuque and Joshua Clemenger.
Sunday, December 1st, 2019 sees some welcome Janáček. We don’t see near enough of his work in Toronto. This time its Katya Kabanova. It’s not the jolliest of pieces but it’s musically and dramatically top drawer. The cast includes Lynn Isnar, Emilia Boteva, Michael Barrett and Cian Horrobin with Jo Greenaway at the piano.
There’s a remount of Charles M. Wilson’s Kamouraska, premiered by OiC in 2009, on Sunday, February 16th, 2020. It’s based on Anne Hebert’s novel about a tumultuous love triangle that plays out near a village in Quebec, with tragic consequences. The cast includes Jennifer Taverner , Aaron Dimoff and Matt Chittick. Robert Cooper leads the orchestra, cast and chorus.
The season closes on Sunday, April 5, 2020, with snobbery with violets in the form of Cilea’s Adriana Lecouvreur. The cast includes Sally Dibblee, Romulo Delgado aand Geneviève Lévesque Narmina Afandiyeva at the piano.
Here are a couple more listings for March. VOICEBOX are doing Kurt Weill’s Rise and Fall of the City of Mahagonny on March 30th at 8pm and March 31st at 2.30pm. The cast includes Beste Kalender, Michael Barrett and Elizabeth DeGrazia. It will be piano accompaniment with Narmina Afandiyeva at the keyboard.
Toronto City Opera are performing Verdi’s La Traviata at the Al Green Theatre on March 28th and 29th at 7.30pm and the 31st at 2,30pm. Alaina Viau directs with a musical team of Ivan Jovanovic and Jennifer Tung. The cast is headed up by Beth Hagerman, Kijong Wi and Handaya Rusli. Apparently it’s a “modern, Toronto setting”. I’m curious to see how the ideas of “a fallen woman”, “family honour” and “arranged marriage” play out.
The Art Song Foundation of Canada has launched a new free on-line magazine called, somewhat unsurprisingly, Art Song Canada. The first issue has three articles including a very interesting one by Gerald Finley. You can sign up for it and see the first issue here.
A listing I missed on the weekend… On November 25th at 2.30pm in the Jane Mallet Theatre, VOICEBOX:Opera in Concert are presenting Massenet’s Werther with Matt Chittick in the title role, Isabel Bayrakdarian as Charlotte and Brett Polegato as Albert. Narmina Afandiyeva directs from the piano.
Things are starting to liven up again in the Toronto scene. Here’s a look ahead to the balance of September and the first half of October. This week sees a performance of Weill’s Little Mahagonny by VOICEBOX at Gallery 345. That’s on Tuesday 25th at 7.30pm and will be followed by a wine and cheese reception. Tickets are available at Eventbrite.
The COC season opens on the 30th with Tchaikovsky’s Eugene Onegin featuring Gordon Bintner, Joseph Kaiser and Joyce El-Khoury. There are eight performances ending on 3rd Novemeber. The companion work is the premier run of Rufus Wainwright’s Hadrian which opens on October 13th. It’s a starry cast including Thomas Hampson and Karita Matilla. There are seven performances ending October 27th.
Victor Davies’ The Ecstasy of Rita Joe opened last night in a production by Guillermo Silva-Marin at the Jane Mallett Theatre. It’s based on the play by George Ryga that caused a stir when it opened in Vancouver in 1967. The play was described as indirect and allusive with no clear narrative thread by the critics back then and was praised perhaps more for tackling the subject than for its intrinsic merits which were far from universally appreciated. Interestingly, as is so often the case in Canada, although rarely performed it has attained “classic” status. One word Victor Davies uses to describe the play is “expressionistic” but curiously rather than taking that as a jumping off point for the music (as Strauss and Berg did) he decides it’s an inappropriate idiom for “the lyric approach needed for the melody to unfold”. Why one needs “melody to unfold” in a disturbing tale of a young native woman’s descent into a hell of sexual abuse, alcohol, drugs, prison and, ultimately, her murder and why that melody should be couched in 1940s jazz/swing terms wasn’t obvious to me.
VOICEBOX:Opera in Concert announced their 2018/19 season last night. There are three main stage shows. Two of them, alas, I can’t muster much enthusiasm for; Massenet’s Werther (November 25th 2018) and Schubert’s Fierabras (February 3rd 2019). The first features Goethe’s version of Fotherington-Thomas and the latter is one of the most confused and implausible messes ever to “grace” an opera stage. I’m much more up for the third show; Weill’s The Rise and Fall of the City of Mahagonny (March 30th/31st 2019). No details on casting or anything else but I assume the first two will be piano score and the last a chamber ensemble. There are also two shows at Gallery 345; Little Mahagonny: a Tribute to Weill (September 25th 2018) and Viva Verdi (April 3rd 2019).
Not much sign of spring as we move into the second half of the month but there are some things musical to enjoy while we await the return of the sun. On March 18th at 2pm in Mazzoleni Hall there is You’re Welcome Rossini with the glamorous duo of Allyson McHardy and, the not seen often enough in Toronto, Lucia Cesaroni. This one is officially sold out but there may be rushes. Ten bucks says they do the Cat duet. Continue reading →