Wajdi Mouawad’s production of Mozart’s Die Entführung aus dem Serail, originally seen in Lyon, opened last night at the COC with Valérie Négre as revival director. The piece has been somewhat restructured and the spoken dialogue changed to explode the idea that the piece is “about” some kind of crude juxtaposition of the “West”; Enlightened, civilized etc, and the “East”; obscurantist, cruel, barbarian etc. To this end Mouawad has inserted a prologue before the overture where Belmonte’s father is holding a party to celebrate the return of his son and the others where he makes the above comparison in extremely crude terms and then invites his guests to play la tête du Turc, a game that involves hitting a Turk’s head with a sledgehammer. The guests wade in with drunken abandon, except for Konstanze and Blonde who are clearly revolted by the idea. This leads to a conversation around who changed and how while they were in captivity and so to telling the whole story in flashback.
Opera Atelier have announced their 2018/19 season. As usual, there are two shows. In the Fall there is a double bill of Charpentier’s Actéonpaired with Rameau’s Pygmalion (Oct. 25 – Nov. 3, 2018). Colin Ainsworth, who has also been named as OA’s first “artist in residence”, features in both title roles with Mireille Asselin as Diana and Amour and Allyson McHardy as Juno and Céphise. The supporting cast includes Jesse Blumberg, Christopher Enns, Meghan Lindsay, Cynthia Smithers and Anna Sharpe. Pygmalion will be prefaced by Opera Atelier’s first Canadian commission for solo baroque violin and contemporary dancing, entitled Inception. It will be performed by composer/violinist Edwin Huizinga and choreographer/Artist of Atelier Ballet, Tyler Gledhill. Following its Toronto dates, the show will tour to the Royal Opera House in Versailles.
Anna Teresa De Keersmaeker is a well known, rather avant garde Belgian choreographer and not, perhaps, the obvious choice to direct an opera production but that’s the assignment she took at Opéra nationale de Paris in 2017 with Mozart’s Così fan tutte which was recorded at the Palais Garner. Her approach is to double each of the six characters with a dancer and develop an elaborate, largely abstract and severely modern choreography for all twelve players though, naturally enough, with the more technical dance elements going to the dancers. The choreography, as is apparently often the case with De Keersmaeker is explicitly geometric. The stage is marked with circles and other geometric figures which inform or constrain the choreography. Much of the time this results in a lot of running round in circles or standing in semicircles swaying backwards and forwards. Indeed right up to Ah, guarda, sorella that’s pretty much all that happens though as things hot up emotionally the dancers get more to do with most of the big arias being paired with a dance solo and so on.
I just got my hands on the La Scala recording of Mozart’s Lucio Silla. It’s the Marshall Pynkoski production that was done at Salzburg, then La Scala, then in somewhat modified form at Opera Atelier in Toronto, which I saw. It has provoked lots of thoughts about the work itself, how well the OA aesthetic transfers to another house and how seeing a production on video differs from seeing it live.
The Opera Division’s fall production this year is Mozart’s Don Giovanni in a production by Marilyn Gronsdal. Let’s start with the production. The sets are all paper and boxes with a few props and the costuming is 1940s. The aesthetic is film noir. There are trilbies and Don Ottavio is packing a piece in a shoulder holster. It set, for me and my companion at least, an expectation that this would be a “film noir production” but although there were nods in that direction; Leporello as the comic sidekick, statuette of the Commendatore as the murder weapon for example, the idea wasn’t really developed at all. Instead we got a very straightforward narrative with the a few twists. Gronsdal included a chorus of silent women who comment on the action (didn’t she do this in Saskatoon as well?) and Don Giovanni isn’t dragged down to Hell.
The Met’s abridged version of Mozart’s The Magic Flute, in English, got an HD broadcast in 2006 and a subsequent DVD release. It’s Julie Taymor’s production and it’s visually spectacular with giant sets, loads of very effective puppets and very good dancers (I wish every opera company used dance as effectively as the Met. Too expensive I guess). It’s more something one might expect to see at Bregenz than at the Four Seasons Centre. Costuming is sometimes a bit weird. The Three Ladies have removable heads and the chorus of priests look like origami angels but it’s never less than interesting visually. There’s nothing about the cuts (it comes in at about an hour and threequarters) that changes the plot in any way that makes it obviously kid friendly beyond being shorter and there’s no attempt to make it anything other than a pretty fairy tale. If one wants a Flute with deep meaning this isn’t it.
UoT Opera’s fall production of Don Giovanni will open in three weeks time. Today, in Walter Hall we got a few hints on what we may be seeing plus some semi staged excerpts.
For director Marilyn Gronsdale one way into Don Giovanni (and she accepts that there are many) is to see it as being about how the actions of the powerful impact the lives of the many. In a sexual context it’s clearly of relevance to our times with a serial groper in the White House, a British cabinet minister out on his ear for sexual impropriety and one of Hollywood’s most powerful figures rapidly being cast into outer darkness. One technique to be used to emphasise this is a silent chorus of women who will witness/bear witness to the action. Maybe this is something like the Land Assembly in Peter Hinton’s take on Louis Riel? We also learned that the design aesthetic will be stylized 1940s film noir and that we may be in for a surprise with the ending.
Act 2 sextet: Brendan Friesen, Matthew Cairns, Alyssa Durnie, Jamie Groote, Sarah Abelard, Alex Halliday (I think)