Suffragette

Opera 5’s double bill of Ethel Smyth one acters, Suffragette, opened last night at Theatre Passe Muraille in productions by Jessica Derventzis. The second piece, The Boatswain’s Mate, was in every way the more successful of the two. It’s a straightforward enough story.  Mrs. Waters is a widow and landlord of The Outlaw (renamed in deference to the production’s beer sponsor).  She is being very unsuccessfully courted by retired boatswain Harry Benn.  Mrs. Waters doesn’t want or need a husband but Benn decides that by enlisting a casual acquaintance, the former soldier Ned Travers, as a fake burglar from whom he can “rescue” the hapless landlady.  Much mayhem ensues but the upshot is that Mrs. Waters takes a shine to the hunky soldier and they, at least, live happily ever after.

O5-The Boatswain's Mate #3

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Looking ahead to June

Suffragette-Banner-4-e1486152573698Usually this is when things start to quieten down. Not so much this year.  On the opera front it does go a bit flat though Opera 5 have their Ethel Smythe double bill opening at Theatre Passe Muraille on the 22nd.  There’s also an evening of opera improv; Whose opera is it anyways?! at the Bad Dog Theatre on the 16th organised by Loose TEA theatre.  And there’s quite a bit more of interest.  Continue reading

Opera 5’s Ethel Smyth double bill

SUFFDetails are now available for Opera 5’s double bill Suffragette featuring the works of Dame Ethel Smythe.  The show will feature two works; Fête Galante, a rather grim “dance dream”, in a somewhat Stravinskian style, and the feminist opera The Boatswain’s Mate, which makes extensive use of folksong tunes.  In her day Smythe tended to be written off by the critics for being too masculine so it will be interesting to see how the works have fared with time.

The cast features Sri Lankan tenor Asitha Tennekoon, mezzo-soprano Eugenia Dermentzis, soprano Alexandra Smither and tenor Kevin Myers. The show is being led by an all-women production team, headed by Opera 5 Production Manager and Stage Director, Jessica Derventzis (absolutely not to be confused with Dermentzis); Production Designer Erin Gerofsky; and Lighting Designer Jennifer Lennon. Evan Mitchell will conduct with a chamber orchestra performing composer-original reductions.

Suffragette will play at Theatre Passe Muraille, Mainspace – 16 Ryerson Ave, Toronto on June 22-24 at 7.30pm and June 25 at 6pm.

Tickets: At the door, online: www.opera5.ca/suffragettetix or phone: 416-504-7529.
More Info including complete cast and production team: www.opera5.ca/suffragette

Opera 5 have created some of the most interesting and innovative low budget opera in the city in the last few years so I would definitely recommend trying to see this show.

Best of 2016

anthraxIt’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.

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Next week

uglyMessiah season gets underway with Soundstreams’ Electric Messiah on Monday.  On Wednesday night, Opera 5 have a seasonal fundraiser at the Extension Room including an ugly sweater comp (Greg Finney at very short odds).  Then on Saturday owing to bizarre scheduling you can take your pick from the ROH’s Così at Bloor Hot Docs or the Met’s L’Amour de Loin at just about any Cineplex Odeon.  Both essentially at lunchtime, for some value of lunchtime.

Three Bats on a Chest of Drawers

Opera 5’s interactive production of Johann Strauss II’s Die Fledermaus opened last night in the Great Hall at 918 Bathurst.  It’s an intriguing but, above all, fun show.  I think it’s fair to say that presented straight Die Fledermaus has more than a few elements of meta-theatricality.  Here it’s central to the plot from MC Pearle Harbour’s initial apology for the lack of a fourth wall because “we can’t afford one” through a whole series of “interventions” by various characters.  Unpacking it all would probably make as much sense as Umberto Eco’s Three Owls on a Chest of Drawers and I’m not as clever as the late Professor Eco and, in best Fledermaus tradition, it’s the morning after and I’ve only had five hours sleep.  So, I’ll avoid the meta and try and describe the show.

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Last “upcoming” post before the summer

illumin.jpgThings are really starting to slow down so this will be the last “upcoming” post before the summer lull when this feature will go on hiatus.  Next week there’s the final vocal concert of the season in the RBA.  It’s on Tuesday at noon when Karine Boucher will perform Ravel’s  Shéhérazade with Charles Sy joining in with Britten’s Les Illuminations.  On Sunday 21st at 5pm in Mazzoleni Hall, Christina Campsall has a recital of 20th century works including the challenging Messiaen piece, Poèmes pour Mi.  It’s free.

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