The current Tapestry Briefs show presents work from the 2016 LibLab. It’s all new and, inevitably, very mixed. It started very strongly with a scene, The Call of the Light (Imam Habibi/Bobby Theodore) based on the 1984 attack on the Quebec National Assembly. The combination of an assault rifle carrying camo clad Alex Dobson , the rest of the cast (Jacquie Woodley, Keith Klassen, Erica Iris) writhing on the floor and dissonant extended piano from Michael Shannon was genuinely disturbing. Having a gun pointed straight at you from a few feet away doesn’t happen often at the opera.
Yesterday’s VOICEBOX presentation was Handel’s Rodelinda. It was given in their usual style. No sets (bar the odd projection), minimal props, concert wear and the singers mostly in front of an onstage orchestra. The main attraction was the “all star” cast. To have Christina Haldane, David Trudgen, Charles Sy and Alex Dobson in the principal roles is something of a luxury. The two young mezzos rounding out the cast; Gena van Oosten and Meagan Larios weren’t half bad either.
The decision by Toronto Masque Theatre to pair Purcell’s miniature opera, Dido and Aeneas, with James Rolfe and André Alexis’ piece on the lovers’ inner thoughts, Aeneas and Dido, paid off last night. It produced an evening of just the right length with two contrasting but complementary pieces working really well together.
Bandits in the Valley opened yesterday at Todmorden Mills. It’s a site specific comic opera with words by Julie Tepperman and music by Benton Roark. The time is 1880. Sir George Taylor is the owner of the most productive paper mill in the British Empire but he wants more. Specifically he wants to convert the entire Don Valley to paper thus depriving the pesky bandits thereof of cover. He also wants Lily Pollard, the comely soprano lead of the travelling company he has engaged to stage The Pirates of Penzance as part of the mill’s 25th anniversary celebrations. He’s not the only one after Lily. She’s also the target of the female head of the troupe, Henri, and of Jeremiah, the bandit chief who is trying to obtain his inheritance. He in turn is pursued by the house maid (and his cousin) Birgitta and, in a purely brotherly way of course, another bandit, Freddy. In proper comic opera fashion a birthmark, naturally enough on Jeremiah’s buttock, is involved. Mayhem ensues.
The TSO’s Decades project has now reached the 1930s; very much home ground for me musically. Last night’s program explored different aspects of the music making of the period, including serialism, in a varied show of why this is not “music to be scared of”. It was also Sir Andrew Davis’ first appearance in his role of interim music director and supreme leader for life of the TSO.
Tomorrow (Sunday) is a busy day. There’s a matinée of Götterdämmerung at the COC with a few tickets still available. UoT Opera is doing their annual student composer piece. This year it’s called Prima Zombie and it’s based on the premise that a cabal of disgruntled music critics, disenchanted with the current state of opera, unearth and electrify the corpse of the celebrated 19th century diva Nellie Melba. Mayhem ensues. This one is in the MacMillan Theatre at 2.30 pm and it’s free.
This time last year I attended a workshop performance of a work in progress; Aaron Gervais’ The Harvester. That time it was in piano score but semi staged. Last night it was presented, at Gallery 345, in concert format but with chamber orchestra. I’m not going to recap the plot etc because it’s all in last time’s review. Let’s start by saying it’s coming along and I really look forward to seeing a fully staged version.
So, back to last night. The concept is of a double bill of Schoenberg’s Erwartung in a chamber reduction followed by The Harvester so last night we started with half the Schoenberg (up to the discovery of her lover’s body). The chamber reduction (by Aaron Gervais) for piano, three woodwinds, strings, horn and percussion works remarkably well. The effect is similar (ironically) to Schoenberg’s chamber versions of Mahler’s songs. Textures are clearer, if less lush, and the singer is less pushed for sheer volume which allows for a bit more subtlety. It’s different but it works. On this scale it’s a good fit for Stacie Dunlop; one of those singers who is an excellent musician and interpreter but is not a huge voice.