dreams-bend

dreamsbendTo the intimate (i.e. tiny) Array Space last night for a concert by the Happenstancers who, in this iteration, consisted of Brad Cherwin – clarinet, Madlen Breckbill – viola and Micah Behr – piano. and, in the first number, viola.

Part 1 of the programme was called Dream Images and was intended to evoke the discontinuous and illogical.  It began with Du Yun’s dreams-bend for taped speech, two violas and clarinet as a sort of intro to the main event.  This consisted of Schumann’s Fairy Tale Narrations and Kurtág’s Hommage à R. Schumann; these being two of the very few works for clarinet, viola and piano.  Added to these was a new work; Abstractions by Nahre Sol.  The pieces were played with the movements in the right order but with the composers mixed up so, for example, the first four movements went Kurtág, Sol, Schumann, Kurtág and so on.  I like this approach.  The styles contrast.  The Kurtág is spikey and dissonant, the Schumann structured and Romantic and the Sol playful, tonal (mostly) and rhythmically varied.  Listening to them interspersed somehow focusses attention on their particular qualities and has a kind of focus that the conventional way of doing things doesn’t.

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Tanya’s Secret

Tanya’s Secret is a queer-trans adaptation of Tchaikovsky’s Eugene Onegin.  It’s a production by Opéra Queens who seem to be a Montreal based group created during the pandemic and doing their first show in Toronto; in this case at the Betty Oliphant Theatre.  Actually it’s not a particularly radical adaptation compared to, say, some of Against the Grain’s transladaptations.  It’s sung in Russian (with some Ukrainian interpolations including a Lysenko art song) with subtitles on screens either side of the stage).  The plot isn’t really changed at all though the ball scene in Act 3 gets a sort of drag queen competition element.  The big change is that some roles are assigned to the “wrong” gender.  Tatiana is sung extremely well and acted even better by Mike Fan.  Catherine Carew is a strongly sung and impressive Gremin doubling as the very different Madame Larina. Christina Yun’s Lensky is ardent and she makes a nice fist of “Kuda, kuda”.  (Who needs tenors?)  Oddly this doesn’t really come across as all that radical.  The necessary transpositions occasionally create the odd awkward high note but it’s very singable and generally well sung.

Copia de TanyasSecret.byElanaEmer.9EE08126

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