Over 200,000 women from across Asia were conscripted into sexual slavery by the Japanese army in WW2. They were euphemistically described as “comfort women”. In 2009 playwright Diana Tso met some of the survivors, heard their stories and wrote a play based on their testimony. The result was Comfort, currently playing at the Aki Studio in a production directed by William Yong with music by Constantin Caravassilis.
I went to the first show of Soup Can Theatre’s presentation of Brecht and Weill’s The Threepenny Opera at the Monarch Tavern yesterday. It was an interesting take. Three performers took all the roles in a much shortened concert version. Quite a few numbers were cut and the dialogue was replaced by a very compressed spoken linking narrative. This was a fund raiser and I think it’s fair to say that there was probably minimal if any rehearsal involved which showed in a presentation that had some nice individual touches but not a lot of cohesion.
The Toronto Summer Music Festival opened last night with a predominantly strings concert. The theme this year is “London Calling” so we got a programme of iconic 20th century English works. Things got off to a good start with the Festival Strings under conductor Joseph Swensen giving a lively and witty account of Holst’s St. Paul’s Suite with some excellent solo work by concert master Shane Kim.
I found it a bit shocking that John Adam’s Nixon in China wasn’t released on DVD until after the MetHD broadcast in 2011. I was even more shocked when I found out that the original 1987 Houston production had been recorded and broadcast on PBS. Just recently, thanks to a kind reader of this blog, I’ve been able to watch that original broadcast. It’s TV from 1988 recorded on VHS and then digitized so the picture quality isn’t state of the art but the sound is surprisingly good. Continue reading
Laurent Pelly’s 2013 production of Offenbach’s Les Contes d’Hoffmann at the Liceu is one of those productions that’s a bit hard to take in at first go. Part of it is the performing edition used (Michael Kay and Jean-Christophe Keck) which seems to have added a lot of dialogue compared to any version I’ve seen before and includes Hoffmann killing Giulietta in Act 3. This produces a constant sense of “where they heck are we in the piece”. It doesn’t help that the DVD package contains no explanatory material at all. There are no interviews on the disks and the documentation is sub-basic.
In 2012 Glyndebourne staged an interesting and contrasting double bill of Ravel one-acters in productions by Laurent Pelly. The first was L’heure espagnole. It’s a sort of Feydeau farce set to music. The plot is classic bedroom farce with the twist that most of the doors the lovers come in or out of belong to clocks. Concepción is the bored wife of a nerdy clockmaker. She’s not overly impressed by her two lovers; a prolix poet and a smug banker, who show up while hubby is out doing the municipal clocks. She’s much more taken by the slightly simple but very muscular muleteer who spends most of his time lugging lover infested clocks up and down stairs for her. Pelly wisely takes the piece at face value and brings off a mad cap forty five minutes timed to the split second. Continue reading
I despair. I really do. Yesterday’s MetHD broadcast of Verdi’s Un ballo in maschera had so much going for it. The singing was brilliant and David Alden’s production seemed to have plenty of interesting ideas. I say “seemed” because we only got the briefest of brief glimpses of it in between the succession of close ups served up by video director Matthew Diamond. On the odd occasions we got to see more than a head or a body it was usually from a weird angle. It’s particularly irritating because the two elements of the production that seemed to be most important were the ones most ruthlessly undermined. Alden’s movement of chorus, supers and dancers and the contrast between what they do and what the principals do seems to be important but who knows? Similarly his use of contrasting spaces, especially in Act 3, is obviously important but when the viewer gets only a couple of seconds to establish the context before the camera moves in and loses it the effect is fatally weakened.