Here is what’s coming up. Valentine’s day sees two vocal recitals. At noon in the RBA there’s Clare de Sévigné and Rachel Andrist with The Truth about Love; the story of a young woman’s love gone awry. At 8pm Ian Bostridge has an all Schubert program at Koerner Hall. Thursday is also busy with members of the Ensemble Studio in a Russian program in the RBA at noon, a Johannes Debus masterclass at UoT at 2pm and Opera Trivia at the Four Seasons Centre at 7pm. Then on Friday at 7.30pm in Walter Hall there’s a free concert; Vocalini, from the undergrads of the UoT Opera. Also Thursday and Friday MYOpera have a couple of opportunities to see emerging artists. There’s a public masterclass with Philip Morehead at 6pm Thursday at the Edward Jackman Centre and a concert at 7.30pm Friday at the Vandenberg House.
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.
This just in:
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 last night was this year’s iteration of the COC’s glitzy competition with cash and places in the Ensemble Studio at stake. It’s a bit of a weird thing to write about because the public, and this year the media, only see a fraction of what the judges are judging. We saw each singer do one aria. There had been a closed round earlier in the day to which, unlike in previous years, the media were not invited. Then there’s what the judges have seen in rehearsal, reputation etc. All in all what happens on the night influences the outcome about as much as at an Olympic figure skating event. So, in many ways it’s surprising that my picks were as close to the judges as they were.
So here is the promised review of last night at the Four Seasons Centre. I have to phrase it that way because it was more than Somers’ opera Louis Riel though that of course was the major event. The evening kicked off with a performance in the RBA by the Git Hayetsk Dance Group. This is a west coast group and I’m not going to try and get into the complexities of nation, lineage and clan involved but it was a moving performance of traditional songs and dance with a brilliantly witty piece involving the trickster raven and a lot of stolen handbags. This was also the beginning of the public conversation about the use of the Nsga’a mourning song in Louis Riel. That conversation continued when the same group made a brief appearance on the main stage immediately before the opera performance. I understand that the intent is for the leader of the dancers to report back to the matriarch of the clan that owns the song on what happened and for the conversation to continue from there.
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.
What are we to make of Handel’s Ariodante? The plot centres on the notion that female chastity is the be all and end all of life. It’s not a notion that would find much support in 21st century Toronto, even among a Sunday afternoon audience at the Four Seasons Centre. Ginevra, princess of Scotland and heir to the king, is betrothed to Ariodante. Ariodante has a rival, Polinesso who is loved in a besotted kind of way by Ginevra’s maid, Dalinda. Polinesso claims to have slept with Ginevra and offers to prove it to Ariodante. He drugs Ginevra and gets Dalinda to put on Ginevra’s clothes and invite him into her room. Ariodante disappears, apparently having committed suicide in a fit of despair. On the flimsiest of evidence Ginevra, who has no idea what happened, is condemned to death. Her accusers, including her father, don’t even bother to ask who the man in her room was. Polinesso tries to remove the now inconvenient Dalinda from the scene but fails and when Ariodante shows up again she spills the beans. Polinesso is killed by Ariodante’s brother in a duel but not before confessing. All is forgiven and everyone carries on as if nothing in the least traumatising just happened. So, what to do with this?