UoT’s Imeneo

Imeneo is one of Handel’s less well known operas; perhaps deservedly so.  The plot and the libretto are weak and the music pretty variable.  Charles Jennens, the librettist for Messiah, descibed it as “the worst of all Handel’s compositions”.  It does have the merit of being short.  Most recent recordings come in around two hours and this UoT Opera production, rearranged and cut by Tim Albery, comes in at 100 minutes spread over two acts.

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UoT Opera’s Orpheus in the Underworld

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Brittany Cann

French operetta is notoriously difficult to get right.  The genre treacherously combines a kind of humour that doesn’t always translate well in time or language, difficult music to sing and a need to be as “naughty” as the original seemed without being crass.  It’s a huge credit to Michael Patrick Albano and his student cast that they pretty much pulled off all of that last night with their new production of Offenbach’s Orpheus in the Underworld.  One could nit pick details (I shall) but overall it was a well paced show with some good singing and acting and it was genuinely funny.  Unsurprisingly the audience lapped it up.  Continue reading

I am Way, I am Act

This spring’s main opera production from UoT Opera is Britten’s Paul Bunyan.  It is a really peculiar work.  The libretto is by WH Auden and is, well, weird.  It mixes up the (apparently) profound with the absurd and the downright silly.  There’s a Swedish lumberjack fish slapping dance, talking cats and dogs, trees that aspire to be product and a philosophical accountant (*).  There are also countless pronouncements from the off stage voice of Bunyan along the lines of the closing:

Where the night becomes the day, Where the dream becomes the fact, I am the Eternal guest, I am Way, I am Act

Walt Whitman meets Dr. Seuss meets a lot of drugs?  One of those 1970s English public schoolboy prog rock bands?

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The Telephone and The Medium

UoT Opera’s fall production opened last night at the MacMillan theatre.  It’s a double bill of Menotti works; The Telephone and The Medium.  The former was cleverly updated by Michael Patrick Albano to reflect the age of the smartphone.  It actually seems more relevant than ever and, slight as it is – an extended joke about a girl who won’t get off the phone long enough for her fiancé to propose – it was wryly amusing. The Medium I’m not so sure about.  It’s a contrived piece written in the 1940’s but set a few years earlier about a fake medium and her deluded clients.  It seems dated, not so much in the sense that seance attendance is pretty unusual today, but in the extent to which the characters are clichéd, cardboard cut outs even.  The medium herself is bad enough but her sidekicks are her rather dippy, if kind, daughter and a boy who is mute (k’ching), Gypsy (k’ching) and “found wandering the streets” (k’ching, k’ching) “of Budapest” (k’ching, k’ching, k’ching).  The first act in which the fake seancery goes on isn’t bad but then the medium gets a shock; a real or imagined cold hand on her throat (probably imagined as she is a raging alcoholic) and decides to go straight.  The second act is pure bathos.  I can see why it was a Broadway hit in the 1940s but I think tastes have moved on.  And who the heck calls their daughter “Doodly”?

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