Old Times by Harold Pinter is currently playing at Soulpepper in a production directed by Peter Pasyk. It premiered in 1971 in London and i’s very much an artefact of its time and place besides being decidedly weird in a Pinteresque way. A well off married couple living somewhere fairly remote on the English coast are being visited by the woman who, twenty years earlier, was the wife’s roommate when they were both young “secretaries” in London but who is now married to a Sicilian aristo.
Crow’s Theatre opened the season last night with a production of Ibsen’s Romersholm in an adaptation by Duncan Macmillan directed by Chris Abraham. It’s not perhaps Ibsen’s best known play but it’s powerful and somewhat topically relevant and the production at Crow’s is excellent in every way.
Saturday evening, at Redeemer Lutheran, the Happenstancers offered up a palindromic tribute to Pascal Dusapin. As it was a palindrome I shall review it from the middle outwards. Let us take the interval as t=0. Then at t=+/-1 we heard Two Walkings from singers Danika Lorèn and Hilary Jean Young. Two songs; “How Many Little Wings” and “Kiss My Lips She Did” came before the break and the rest; “May June”, “A Scene in Singing” and “It Seems To Be Turning Music” after. And, of course the singers swapped positions at the break! This is extremely interesting but fiendishly difficult music with the unaccompanied singers trading snatches of phrases and half thoughts in a complex atonal musical language. I’m actually in awe that anybody can actually perform a work like this but they did, and very well.
At t=+/-2 we got works for clarinet (Brad Cherwin of course), cello (Peter Eom) and singer. At t=-2 it was Danika with the evocative Canto and at t=+2 an equally effective account of Now the Fields from Hilary. It’s always interesting to hear art song with something other than piano especially when the works are as complex and challenging as these. Continue reading
Previous concerts from the Happenstancers have typically featured fairly conventional chamber music either arranged or combined in unusual ways; sometimes mixed with more modern/contemporary material. Saturday night’s concert at Redeemer Lutheran was a bit different. Titled Future Pastorale it was built around Claude Vivier’s 1968 work Ojikawa plus the text of Psalm 131 (also used, in French, by Vivier) and text from the “Introduction” to Blake’s Songs of Innocence; “Piping down the valleys wild. Piping songs of pleasant glee” etc with lambs, shepherds and clouds.
Performing were Brad Cherwin on clarinet, Louis Pino on percussion and soprano Hilary Jean Young. All three were also heavily involved with the plentiful electronics and the performance was significantly enhanced by Billy Wong’s imaginative lighting and there was some interesting stage business for some numbers.
Medusa’s Children is a location shot opera film recently released by Opera Q; a Toronto based collective “dedicated to amplifying queer and trans voices”. I think this is the company’s second production following the live staged Dido and Belinda in 2019. This new piece; music by Colin McMahon, text by Charlie Petch, is also on a classical theme. In fact it follows Ovid pretty closely (at least for the back story) and of course there’s a queer twist.
It’s not often that I’m completely baffled by an opera production but Frank Castorf’s 2018 production of Janáček’s From the House of the Dead (Z Mrtvého Domu) at the Bayerische Staatsoper comes pretty close. Since I really can’t explain what’s going on I’ll try to describe the various elements.
Pfitzner’s Palestrina has had some pretty extravagant claims made for it. Bruno Walter said “The work has all the elements of immortality”. I’m not so sure. The music is very appealing but it’s structurally problematic. It’s ostensibly about Palestrina and the struggle to convince Pius IV that polyphony had a legitimate place in church music but while the first and third acts are just that they frame a second act that’s about the various squabbles at the Council of Trent, of which the question of music was but one. I think it’s meant to be a satyr on church politics of the time but it feels heavy handed, overly long and introduces a vast number of minor characters. These are not only confusing but probably make the work unstageable for all but the very richest houses. There are over 40 named solo parts but only one is a woman (and she’s dead) so major Bechdel fail here too. I think if one took a chainsaw to Act 2 a pretty decent opera might come out of it because the human story is quite affecting and the music is distinctive and rather good. Although premiered in 1917 it’s stylistically anti-modern and would likely appeal to a lot of people who are not normally drawn to 20th century opera.
Aribert Reimann’s Lear is a pretty good example of how to create a thoroughly modern opera within a thoroughly traditional framework. It’s a classic story of course. Here librettist Claus Henneberg has taken the classic German translationof the Shakespeare play and condensed it in a highly intelligent fashion; retaining all the emotional drama while sacrificing some fairly peripheral narrative. Reimann’s score is modern though not strictly twelve tone. He creates a distinct musical voice for each character; speech/Sprechstimme for the Fool, weird coloratura for General etc. This is reinforced by many of the characters having a tone row that serves as a sort of leitmotiv. Atonality and quarter tones are used for varying effects from the violence of the Blasted Heath scene; apparently inspired by the composer’s experience, as a nine year old, of the bombing of Potsdam, to the shimmering, ethereal quarter tones of Lear’s final monologue. For anyone with even a vague tolerance for “modern” music it’s a fascinating listen.
operaramblings 