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.
The first performance of Against the Grain Theatre’s Bound took place at the Jackman Studio at the COC. It’s the first public airing of the piece in piano score, as a workshop, so it’s not the finished product. The performance was followed by a lively discussion about the work’s potential and future avenues to explore.
I think it’s fair to say that Bound ventures into more serious territory than we have yet seen from this company, dealing as it does with the fraught relationship between the state and the individual in an age when the state, egged on by the right wing media, uses fear of terrorism to suppress “dissidents”.
The space where the audience assembles before the show is liberally decorated with propaganda for The State of the “fear anything that looks different” variety. In the performance venue itself the audience is ranked either side of a space that contains the piano and, at intervals around the large empty floor, seven chairs; one for each detainee. The detainees are all being held for things which aren’t actually crimes but bring them under suspicion; wearing a hijab, having a Nazi great-uncle, wanting to emigrate to Sri Lanka, converting to Islam, having a terrorist brother, protesting immigration restrictions, being transgendered. They are posed essentially unanswerable Kafkaesque questions by the State interrogator (Martha Burns) sitting off in one corner with a microphone. The only answer is to express frustration and despair and, occasionally, defiance and hope in arias using Handel’s music and words by either Handel’s librettist or Joel Ivany. Some of the music has been somewhat reshaped by Kevin Lau who also wrote/arranged the final ensemble number.
Against the Grain Theatre have announced the line up for their 2017/18 season. First up is a workshop of a Handel mash up called BOUND. It’s a collaboration with composer Kevin Lau and will explore aspects of the refugee crisis through Handel’s music as well as contemporary real life stories. It’s the beginning of a three year concept to production cycle. The workshop cast will include soprano Danika Lorèn, tenor Asitha Tennekoon, counter-tenor David Trudgen, baritone Justin Welsh, bass Michael Uloth, mezzo-soprano Victoria Marshall and soprano Miriam Khalil. It will play at the COC’s Jackman Studio on December 14, 15, and 16, 2017.
It’s that time of year when it’s traditional to do best of the year lists. Fortunately this is all about music because in most other respects 2016 was a bit of a horror show. So here goes. As far as opera proper was concerned it was a pretty good year. There were no real howlers in the COC’s season. It was solid and, at its best, better than that, For me, Ariodante was the standout; an intelligent, thought provoking production backed up by extremely good acting and singing. I was really expecting to like the Claus Guth Marriage of Figaro more than I did. I enjoyed it but I was a bit perplexed by the lightening up that had taken place since Salzburg in 2006. Opera Atelier had their best show in quite a while with Lucio Silla but even Wallis Giunta couldn’t save a misconceived Dido and Aeneas.
Against the Grain Theatre’s latest production, Ayre, continues their run of innovative, site specific shows. This time it was a presentation of four works by Argentinian Jewish composer Osvaldo Golijov at the Ismaili Centre; part of the Aga Khan complex on Wynford Drive. The “appetisers” were three short works presented in three of the public spaces of the Centre. Yiddishbbuk, for string quartet (Jennifer Murphy, Barry Shiffman, Laila Zakzook, Drew Comstock), was inspired by apocryphal psalms and is a fractured piece employing a lot of extended techniques to create a three movement work “in the mode of Babylonic Lamentations”. Lua Descolorida, with Adanya Dunn as soprano soloist, sets a 19th century text in Gallego. It’s a folksy, Arab inflected piece over a kind of string “ground” with pizzicato cello. Short but rather beautiful. For Tenebrae the quartet was joined by clarinetist Brad Cherwin and soprano Ellen McAteer. It’s a beautiful piece with a melismatic vocal line culminating with multiple repeats of the single word “Jerusalem”.
A bunch of announcements today; most of them from Against the Grain Theatre. The big one I suppose is the announcement of a formal arrangement with the COC which sees a two year “company in residence” arrangement whereby AtG will be based at the COC’s Front Street offices and where COC execs will mentor their AtG equivalents. The relationship has been going on for a while so it’s not terribly surprising that they have decided to shack up together.
Against the Grain Theatre revived their 2013 choreographed Messiah last night Harbourfront Centre. It’s quite heavily reworked from the 2013 edition and I think the changes are an improvement. The creative team of Topher Mokrzewski (Music), Joel Ivany (Stage direction) and Jenn Nichols (choreography) remains the same as does the overall “look and feel”. The soloists are supported here by a 16 strong chorus and 18 instrumentalists.