How it Storms; music by Allen Cole, libretto by Maristella Roca, is a chamber opera for four soloists and gamelan ensemble. It was premiered last night at the Array Space and is co-production of Array Music and the Evergreen Club Contemporary Gamelan. It’s a really interesting piece. The libretto is allusive (at times even elusive) rather than being a straight forward linear narrative. There’s a soon to be wedded couple, her sister and a very strange beggar. There’s a hunting scene and a curse but what’s really going on is never entirely clear. The libretto is beautiful to listen to with repetitive elements and non-English elements. It’s clearly as much the work of a poet as a playwright(1). Using gamelan to accompany this makes so much sense. The instruments mirror, amplify and transcend the rhythmical, shimmering nature of the words. The solo vocal parts too give the singers an opportunity to sing beautifully as well as tell the story.
June is still a bit quiet but I have had word of a few more performances around the city. On the 13th Lindsay Promane, Daevyd Pepper and pianist Natasha Fransblow; all seen recently at either Metro Youth Opera or various UoT events, have a recital at Islington United Church. Featured composers include Ravel, Tosti and Saint-Saens. It’s at 7.30pm and it’s Pay What You Can.
On the 17th and 18th at 8pm Array Music are presenting How it Storms. It’s an opera for gamelan ensemble by Allen Cole. The singers will be Salzburg and Zürich bound Claire de Sévigné, Danielle MacMillan (where’s she been this year?), Chris Mayell and Keith O’Brien. This one is at The Array Space, 155 Walnut Ave and admission is $15.00.
Then on the 21st there’s a concert performance of Le Nozze di Figaro at St Simon-The-Apostle Anglican Church. It’s at 7pm and it’s Pay What You Can.
Finally, you can catch the broadcast of the Royal Opera’s recent production of Weill’s Mahagonny at the Bloor Hot Docs on the 28th at noon.
So, after the rather scattered events of the summer last night’s fundraiser for Opera 5 at Atelier Rosemarie Umetsu felt like the start of a new season. It was well attended and organised in an intriguing and fun format. Basically, Team Day and Team Night were competing to see who could raise the most money. There were four rounds in which a singer from each team presented an aria, song or MT number. The one with the most pledges got to sing his or her “show off” aria. For an additional donation, the loser got to do the same. Given that some of the city’s best young singers were performing it was to be expected that it was a good show.
On April 11th FAWN Opera is workshopping L’Homme et le Ciel; music by Adam Scime and libretto by Ian Koiter. It’s PWYC and it’s at the Ernest Balmer Studio at 8pm. Partrick Murray conducts, Amanda Smith directs and the singers will be Giovanni Spanu, Larissa Koniuk and Adanya Dunn. I wish I could go but I can’t.
On the 26th at 8pm the Aradia Ensemble, conductor Kevin Mallon, will be joined by Claire de Sévigné and Maria Soulis for a programme of Vivaldi’s sacred music. It’s at St. Anne’s Anglican church on Gladstone Avenue which sounds worth a visit in itself. Apparently there is a Byzantine dome and decoration by members of the Group of 7. Tickets are $35 ($20 seniors).
I only managed to get to the first half of yesterday’s Ensemble Studio lunchtime concert. It was Brahm’s Liebeslieder-Walzer Op. 52 performed by Claire de Sévigné, Charlotte Burrage, Andrew Haji and Gordon Bintner with Liz Upchurch and Michael Shannon providing the four handed accompaniment. I’m not a huge Brahms fan and this was pretty much that late 19th century sentimental stuff I don’t really get; somewhat schmaltzy waltz rhythms setting somewhat schmaltzy texts. It was well done though. Haji, in particular, sang with a fine attack and the different voice combinations made interesting contrasts. I thought the music came off best when the girls sang together and when the guys sang together. Both pairs have voices quite different in timbre and blended to good effect. The more complex four voice sections seemed to come a bit unstuck in the RBA. I’m 99% sure it was the acoustic not the singers but certainly textures got quite muddy at times. The accompaniment was, unsurprisingly, very good indeed. Work pressures meant I had to leave before the second half of the programme which featured John Greer’s Liebesleid-Lieder.
Once a year the COC Ensemble Studio get to show their talents on the big stage with a fully staged performance of a current production. This year’s choice of Atom Egoyan’s production of Così fan tutte was a good one. It showcased the talents of the singers really well and by using a different quartet of lovers in each act they were able to provide substantive roles for all the singers of the ensemble. I won’t dwell on the production as I have already reviewed it. The only changes I noted were a few change ups on the visual gags and that the “Albanians” kept their disguises on for quite a lot longer than with the main cast. So, how about the performances?
Today’s lunchtime concert in the Richard Bradshaw Amphitheatre featured members of the COC Studio Ensemble performing extracts from Act 1 of Così fan tutte as a teaser for their performance of Atom Egoyan’s production on February 7th. This promises to beeven more confusing than usual as the young lover roles are all being shared to accommodate everyone. Today, Clraence Frazer and Danielle MacMillan being sick we had but one Guglielmo, Cameron McPhail, and one Dorabella, Charlotte Burrage. Andrew Haji and Owen McAusland alternated as Ferrando and Sasha Djihanian and Aviva Fortunata doubled Fiordiligi (those two, at least, are easy to tell apart). Gordon Bintner sang Don Alphonso and Claire de Sévigné played Despina.