On Monday LooseTEA have another Whose Opera is it Anyway? show. It’s at 9.30pm at Comedy Bar, 945 Bloor West. Alaina Viau directs with hosting by Greg Finney, Natasha Fransblow at the piano and Jeff Boyd, Amanda Cogan, Adanya Dunn, Gillian Grossman, Rachel Krehm, Jonathan MacArthur, Erin Stone, and Lindsay Sutherland Boal doing silly things.
On Tuesday Lauren Eberwein and the Rosebud Quartet have a noon time concert in the RBA including the fascinating and very difficult Schoenberg String Quartet No.2. Barbara Hannigan was the last person to do that in the RBA so no pressure.
Wednesday evening is Centre Stage, the COC’s Gala/Singing Competition/Audition for the Ensemble Studio. Things kick off with booze and snacks at 5pm. It’s at the Four Seasons Centre of course.
Thursday, UoT Opera are previewing their Don Giovanni in a free concert at 12.10pm in Walter Hall. Later, at 9pm, it’s AtG’s Opera Pub Night at the Amsterdam Bicycling Club.
In the continuing runs department, Arabella closes out tomorrow at the COC but The Elixir of Love runs through the 4th. Soundstreams’ Müsik für das Ende, which opens tonight, runs all week at Crow’s Theatre and Opera Atelier’s The Marriage of Figaro also runs through the 4th.
Opera Atelier’s remount of Mozart’s The Marriage of Figaro opened last night at the Elgin. It’s a curious production made up of parts that don’t really fit together, hence the review title. At the core is a rather elegant traditional production. It’s wigs and crinolines and might have been seen almost anywhere almost any time in the last fifty years or so. Most of the excessive baroque gesturing is gone and the acting is stagey but no more so than in many opera productions.
It’s a bit of a crazy week coming up. On Monday at 8pm there’s the first in a series of young artists concerts presented by Atelier Rosemarie Umetsu and Yamaha Canada. This one features pianist Cindy Liu in an all Prokofiev program. It’s at Rosemarie’s atelier at 310 Davenport Road and tickets are $20 ($10 student).
Tuesday is a double header with Erin Wall performing at noon in the RBA in a program of Korngold, Debussy and Duparc. Then at 5.30pm at the Canadian Music Centre there’s a CD launch concert for Sing Me at Midnight; the latest recording from CASP featuring songs by John Greer. Both these events are free.
There are umpteen operas based more or less closely on the legends surrounding Medea, Jason, the Golden Fleece and the events afterwards in Corinth. Marc-Antoine Charpentier’s 1693 version to a libretto by Corneille deals with the events in Corinth subsequent to Jason and Medea’s return with the fleece. The plot, in essentials, is simplicity itself. Jason is scheming to secure his future, and that of his children, by ditching Médée and marrying the king’s daughter Créuse. Médée is not having this and wreaks revenge on just about everybody else in the piece. Somehow Charpentier and Corneille string this out over five acts and the obligatory prologue glorifying Louis XIV, wisely omitted by director Marshall Pynkowski.
March was a curiously quiet month. April starts to look busier, at least once we get past Easter. Tonight, Against the Grain have their monthly pub night at The Amsterdam Bicycle Club. Snow is forecast so you should all stay away and then maybe I’ll be able to get in. On Saturday at 4pm there’s a free (or PWYC) recital in Ernest Baumer Studio featuring soprano Stephanie Nakagawa and pianist Peemanat Kittimontreechai. They will be performing arias from contemporary Canadian operas. On Thursday 13th Philippe Jaroussky and Les Violins du Roy will be appearing at Koerner Hall. It’s at 8pm and features mainly fairly obscure Handel material.
Season announcements, it seems, are like the King Street streetcar(1). You wait for ages then three come along at once. This time it’s Opera Atelier announcing the 2017/18 season. As ever there are two productions. A remount of Mozart’s The Marriage of Figaro runs October 26th to November 4th. The cast icludes Douglas Williams, making his Opera Atelier debut, in the title role, with Mireille Asselin (Susanna), Stephen Hegedus (Count Almaviva), Peggy Kriha Dye (Countess Almaviva), Mireille Lebel (Cherubino), Laura Pudwell (Marcellina), Gustav Andreassen (Bartolo), Christopher Enns (Basilio/Don Curzio), Olivier Laquerre (Antonio), and Grace Lee (Barbarina). This one will be sung in English.
Patrick Jang, Carla Huhtanen and Phillip Addis in “The Marriage of Figaro” (2010). Photo by Bruce Zinger.
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.