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.
Coleman, Lemieux et Compagnie’s Against Nature presented last night at The Citadel, is another show combining vocal music and dance. It combines two baritones; Geoff Sirett and Alexander Dobson with a dancer, Laurence Lemieux, playing a female servant. Funny how things tend to coevolve in the arts world. Combining vocal music with dance, once not so common, is now almost ubiquitous with productions from the likes of CASP, Against the Grain and FAWN among others.
Observers of the Toronto opera scene will have noted the creeping influence of facial hair in the industry locally. Perhaps it didn’t start with COC General Director Alexander Neef’s intellectually Germanic goatee but who could deny that it had a profound impact. Earlier this week the four tenors of the Ensemble Studio appeared together sporting face rugs in varying stages of development and the scene is replete with other notable beardies. Geoff Sirett, Robert Gleadow, Greg Finney and Alexander Dobson come to mind. It’s almost compulsory, it seems, for baritones. Continue reading
FAWN Chamber Creative’s latest project is an opera called The Harvester. The libretto is adapted by Paul van Dyck from his own play of the same name and the music is by Aaron Gervais. The genesis (and we’ll come back to that) of the piece lies in the mind of soprano Stacie Dunlop who wanted a reduced orchestration version of Schoenberg’s Erwartung and a one acter that could be performed with the same band to form a double bill with it. Van Dyck’s play seemed to have the right stuff and Aaron was up for both parts of the project. Co-opting Kevin Mallon and his Aradia Ensemble and Amanda Smith to direct rounded out the project.
Adam Scime’s L’Homme et le Ciel opened last night at The Music Gallery in a production created by FAWN Chamber Creative. The story of a 2nd century BCE slave’s struggle between his spiritual aspirations and his less spiritual attraction to his beautiful owner might seem a bit obscure for a modern audience but it does provide a framework for exploring human emotions free of the need to rush on with a linear narrative. So, perhaps rather like Pyramus and Thisbe at the COC this is a piece that explores and questions human motivations and emotions rather than focussing on telling a story.