Wajdi Mouawad’s production of Mozart’s Die Entführung aus dem Serail, originally seen in Lyon, opened last night at the COC with Valérie Négre as revival director. The piece has been somewhat restructured and the spoken dialogue changed to explode the idea that the piece is “about” some kind of crude juxtaposition of the “West”; Enlightened, civilized etc, and the “East”; obscurantist, cruel, barbarian etc. To this end Mouawad has inserted a prologue before the overture where Belmonte’s father is holding a party to celebrate the return of his son and the others where he makes the above comparison in extremely crude terms and then invites his guests to play la tête du Turc, a game that involves hitting a Turk’s head with a sledgehammer. The guests wade in with drunken abandon, except for Konstanze and Blonde who are clearly revolted by the idea. This leads to a conversation around who changed and how while they were in captivity and so to telling the whole story in flashback.
The COC has announced four additions to the COC Ensemble Studio for 2018/19. I don’t think there any surprises. The three prize winners from last season’s Centre Stage are joined by Lauren Margison, daughter of Richard and currently with the Atelier Lyrique in Montreal. Just for fun I researched how long the four had been on the OR radar. The most recent is Montreal based soprano Anna-Sophie Neher who was unknown to me until Centre Stage. Next would be mezzo Simona Genga; UoT graduate and top prize winner at Centre Stage. She first appeared in these pages in a review of a UoT concert in 2016. Bass-baritone Joel Allison has been on the watch list for a while. He first showed up in a review of a Talisker Players concert in March 2015 and I’ve followed him closely ever since, including his Norcop Prize winner recital. But by far the longest history goes to soprano Lauren Margison who I first wrote about as a 19 year old singing with her dad in the RBA in 2011! I wonder whether that record, seven years from first appearing in OR to joining the Ensemble Studio, will ever be broken. For the record, graduating this summer are Samantha Pickett, Megan Quick, Bruno Roy and Toronto’s favourite naked soprano Danika Lorèn.
If anybody is wondering why I haven’t yet posted a review of the Rigoletto that opened at the COC on Saturday it’s because, for the first time, I was reviewing for Bachtrack; a London based classical music site. The teaser is:
Christopher Alden’s production of Verdi’s Rigoletto returned to Toronto tighter, more focussed and with fewer dramatic incongruities. Add to this that every aspect of the music making was top notch and it made for a fine evening at the theatre.
To the Four Season’s Centre last night to check out one of the COC’s adult education events. This time it was about the baritone voice in all its aspects and featured Liz Upchurch at the piano and, mostly, doing the talking with Ensemble Studio members Sam Chan and Bruno Roy plus ES graduate Neil Craighead back in Toronto to sing Ceprano (not soprano) in Rigoletto doing some singing.
Besides the singing, of which more later, I think there were two takeaways from the evening though it was not actually divided up that way. One, fascinating, dealt with the development of the voice and the sheer number of years it takes for bigger voices to more or less grow up. Also, how do you develop and stretch the voice while staying vocally healthy. Neil is 34 and his voice is really just beginning to get where one can see it going, which is likely big to very big. Sam and Bruno, much younger, are still going through the process of figuring out what Fach (see below) they really are. This seems to happen to everyone except maybe genuine basses, high sopranos and the really obvious tenors. It was pretty cool for instance to heat Bruno sing a tenor aria though not, of course, something like Pour mon âme.
February is going to be really busy so I think I’ll take the previews in chunks. First up though one event in January I haven’t yet had opportunity to mention. This coming Sunday 21st Fawn Chamber Creative have a PWYC fundraiser for their in process opera-ballet project. It’s from 2-6pm at The Smiling Buddha. It will be party, silent auction and some performance. Previous ones have been fun but I’m booked Sunday. Details at: http://www.fawnchambercreative.com/events/upcoming/. Also in January and missed off the radar, on the 28th at 3pm at Mazzoleni Hall,the Amici Ensemble have a Strauss inspired concert featuring the lovely but tiny Sasha Djihanian who is current holder of the loudness to weight record for a soprano.
The fall season will open with Tchaikovsky’s Eugene Onegin in the Carsen production as predicted yesterday. The (pleasant) surprise is that Gordon Bintner will sing the title role. Joyce El-Khoury sings Tatiana and Joseph Kaiser is Lensky. Johannes Debus conducts.
So it looks like there is not going to be a glitzy season announcement this year but an announcement is, apparently, imminent. So here, as has become tradition are my prognostications based on even fewer hard facts than usual.