Abstract Fidelio

Fidelio is an interesting piece.  The music is great and it has a powerful, very straightforward, plot.  There are no convoluted subplots here.  But there is a lot of spoken dialogue which slows things down.  Is it necessary?  Claus Guth doesn’t think so and in his 2015 Salzburg production he replaces the dialogue with ambient noise and also doubles up Leonora and Don Pizarro with silent actor “shadows”; the former using sign language in the manner of the narrator character in Guth’s Messiah.  It works remarkably well.  The ambient noise sections are quite disturbing and the “shadows” add some depth, especially the frantic signing in the final scene.  Perhaps worth noting that the “noise” contains a lot of very low bass and precise spatial location.  It may need a pretty good sound system to have the intended effect.

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Indie Opera Toronto

So it’s happened.  Indie Opera Toronto is a go.  Eleven companies have got it together to create a website showcasing all the upcoming shows and, mirabile dictu, they are going to co-ordinate schedules so I can stop trying to be Schrödinger’s critic.  The new website is http://indieoperatoronto.ca

And here’s the intro video featuring more of my favourite people in sixty seconds than you can possibly imagine.

Alcina in Aix

Katie Mitchell’s production of Handel ‘s Alcina recorded at Aix-en-Provence in 2015 is extremely interesting.  It’s almost complete with maybe twenty minutes of the ballet music cut.  None of the ballet is actually staged as such.  It’s also a Mitchell special multi-space set (like Written on Skin) with the lower level having Alcina/Morgana’s boudoir, drawing room or whatever at any given moment flanked by two smaller spaces which are the “personal” spaces of the two sisters.  When the ladies withdraw from the public/enchanted space they are replaced by actresses who look decades older.  Only late in the piece as Alcina’s magic fades do the two worlds get confused.  The upper level of the set is taken up with the giant machine that turns Alcina’s victims into taxidermied animals.  The overall aesthetic is upscale modern with lots of actors as very competent servants.

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Ossian meets Anne of Green Gables

Rossini’s La Donna del Lago is based on the Walter Scott poem, itself a deliberately romantic view of Scottish history, simplified until not much is left but the rivalry for the heroine’s hand by her three suitors and a completely unexplained war between the king of Scotland and the Clan Alpine.  Dramatically it’s thin indeed but it’s Rossini so there is crazy virtuosic music and it’s very hard to cast.  One needs two mezzos; one a mistress of Rossinian coloratura, the other more dramatic, and two tenors; both of which can do the crazy high stuff.  The supporting roles aren’t easy either.  Realistically only a major house could cast this adequately.

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The clutter of bodies

The latest Handel oratorio to be given the operatic treatment by Glyndebourne is Saul, which played in 2015 in a production by Australian Barrie Kosky.  It’s quite a remarkable work.  The libretto, as so often the work of Charles Jennens, takes considerable liberties with the version in Samuel and incorporates obvious nods to both King Lear and Macbeth as well as more contemporary events.  David’s Act 3 lament on the death of Saul, for instance, clearly invokes the execution of Charles I.  What emerges is a very classic tragedy.  Saul, the Lord’s anointed, is driven by jealousy and insecurity deeper and deeper into madness and degradation and, ultimately, death.  This is the basic narrative arc of the piece.

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UoT 2016/17

UoT Faculty of Music have just announced their 2016/17 season.  It’s the usual broad range of performances so I’ll highlight the opera and vocal music contributions.

UoT Opera is offering four shows.  The fall main production is Offenbach’s Orpheus in the Underworld with new English dialogue and stage direction by Michael Patrick Albano.  Choreography i by Anna Theodosakis and Russell Braun makes his podium debut.  There are four performances November 24th to 27th.  Spring sees a Handel rarity; Imeneo.  Tim Albery directs and Daniel Taylor is in charge of the music.  This one runs March 16th to 19th.  Both shows are in the MacMillan Theatre.

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Last year’s student composed opera; The Machine Stops

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