Tim Albery’s production of Richard Strauss’ 1933 opera Arabella, first seen at Santa Fe in 2012, finally made it to Toronto last night. It’s, I believe, a Canadian premiere for the piece, which is a bit shocking for an important opera by a major composer. It’s not a perfect piece. The librettist, the incomparable Hugo von Hofmannsthal, died before he and Strauss could revise the second and third acts and there are places where it feels a bit unfinished but it’s still an impressive work. The plot’s a bit contrived perhaps, though no more so than many more famous operas, but there’s real depth of humanity and Mandryka, the landowner/tribal chief from the southern fringes of the Habsburg empire, is a really fascinating study.
Imeneo is one of Handel’s less well known operas; perhaps deservedly so. The plot and the libretto are weak and the music pretty variable. Charles Jennens, the librettist for Messiah, descibed it as “the worst of all Handel’s compositions”. It does have the merit of being short. Most recent recordings come in around two hours and this UoT Opera production, rearranged and cut by Tim Albery, comes in at 100 minutes spread over two acts.
Last night the COC began its run of Götterdämmerung, the last and longest opera in Wagner’s epic tetralogy at The Four Seasons Centre. It’s very different from Die Walküre and Siegfried. The visual elements that tied them together; tottering Valhalla, disintegrating world ash, gantries, dancers, heaps of corpses are mostly gone. In Tim Albery’s production the visuals are spare almost to abstraction. The Gibichung Hall is a CEO suite with computer monitors and red couches, both Brünnhilde’s rock and the Rhinemaidens’ hang out look improvised, almost like squatters’ camps. Costuming, apart from an occasional flashback, as in Waltraute’s scene, is severely modern business; grey suits, black dresses. Only Siegfried himself in tee shirt and leather jacket stands out from the corporate crowd. Dancing flames are replaced by red lights. Everything that can be understated is and the world ends not with an overflowing Rhine and collapsing Valhalla but a stately pas de quatre between Brünnhilde and the Rhinemaidens.
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.
Last year’s student composed opera; The Machine Stops
The Fatal Gaze is, in a way, a follow up to last year’s UoT Opera show Last Days in that it consists of a staged performance of pieces of vocal music to a theme. This time the theme is the dangers of seeing or being seen and there’s quite a lot to unpack. The music all lies on an arc from Monteverdi to Gluck and the stories are all taken from classical mythology or thee Bible with some commentary from more modern figures.
This afternoon at 3pm, at Trinity St. Paul’s, Off Centre kick off their season, Geoff Sirett, Nathalie Paulin and others offer an all Russian programme.
Super Tuesday is a ridiculously busy day. At noon in the RBA Array Music is presenting Love Shards, a program of music by contemporary women composers. The full programme is here. In the evening Adrianne Pieczonka and Kristina Szabó are singing works by Crumb and Berio at Koerner Hall. There’s also a fundraiser for Opera 5 at The Extension Room. I’m sorry to be missing that one as the last couple have been a blast. Definitely worth going to if you are not going to Koerner.
Thursday there is a PWYC show by UoT Opera at The Black Box Theatre at 7.30pm. Tim Albery and David Fallis, creators of last season’s evocative Last Days, have created The Fatal Gaze, an exploration of the dangers of looking too long or too closely, inspired by the Baroque repertoire. Last days was really good so I have high expectations for this one. It’s also on on Friday.
M’dea Undone; music by John Harris , libretto by Marjorie Chan, opened in the Holcim Gallery at the Evergreen Brickworks last night in a production by Tim Albery. My review, still a WIP, will appear in Opera Canada in due course though it has triggered some more general thoughts about “new opera” that I might explore here. It’s worth seeing just to experience the unconventional performance space. There are three more performances tonight, tomorrow and Friday. Here’s a photograph.