The Killing Flower is an opera by Salvatore Sciarrino. Both Italian and English versions exist and it was the latter that was given, in semistaged form, at Walter Hall as part of the Toronto New Music Festival last night. It’s a very distinctive work and not easy to form a full appreciation of on a single hearing. The plot is straightforward enough. There’s a duke and duchess. She falls in love with a guest. They are betrayed by a servant. He kills the guest and then her. But all this happens in a highly abstracted way (made even more abstract by not being fully staged). As the composer puts it:
My theatre is ‘post cinema’ theatre, beginning with the way the scenes are laid out – they proceed by dry blocks that ‘subtract’ in order to get the point across.
Got that? Nor me but what I saw was a succession of scenes in which two characters exchanged fragments of text repeated multiple times. This was actually quite useful as there were no surtitles and it made it easier to grasp what the (very few) words actually were.
We are moving into busy season for the next two or three weeks. Next week, Tuesday sees a lunchtime recital in the RBA by Phillip Addis with song cycles by Maurice Ravel and Erik Ross. Wednesday sees a concert staging of Salvatore Sciarrino’s The Killing Flower (Luci mie traditrici). It tells the story of Carlos Gesualdo’s murder of his wife and lover. Performers include Shannon Mercer, Geoffrey Sirett, Scott Belluz and Keith Klassen. It’s at Walter Hall at 7.30pm with a pre-show with the composer at 6.30pm. Sciarrino is involved in other events connected with the New Music Festival all week. Thursday is opening night for the COC’s Götterdämmerung at the Four Seasons Centre with an early kick off time of 6pm. Alternatively the TSO are doing the Fauré Requiem with Karina Gauvin and Russell Braun on both Wednesday and Thursday evenings.
Music Theatre Wales’s touring production of The Killing Flower at Buxton Festival. Photograph: Clive Barda
Toronto Masque Theatre have announced their 2016/17 season. There are two main stage productions and three salon concerts. First of the main stage shows is a double bill of Handel’s dramatic cantata Apollo and Daphne with Jacqueline Woodley and Geoffrey Sirett and dancer Stéphaie Brochard, directed and choreographed by Marie-Nathalie Lacoursière paired with Richard Strauss’s Enoch Arden based on the epic poem by Tennyson, performed by actor Derek Boyes and pianist Angela Park. This one is at 8:00 pm on November 17th, 18th and 19th with a pre-show event at 7:15 pm each evening at the Enoch Turner Schoolhouse.
UoT Faculty of Music have just announced their 2016/17 season. It’s the usual broad range of performances so I’ll highlight the opera and vocal music contributions.
UoT Opera is offering four shows. The fall main production is Offenbach’s Orpheus in the Underworld with new English dialogue and stage direction by Michael Patrick Albano. Choreography i by Anna Theodosakis and Russell Braun makes his podium debut. There are four performances November 24th to 27th. Spring sees a Handel rarity; Imeneo. Tim Albery directs and Daniel Taylor is in charge of the music. This one runs March 16th to 19th. Both shows are in the MacMillan Theatre.
Last year’s student composed opera; The Machine Stops
Coleman, Lemieux et Compagnie’s Against Nature presented last night at The Citadel, is another show combining vocal music and dance. It combines two baritones; Geoff Sirett and Alexander Dobson with a dancer, Laurence Lemieux, playing a female servant. Funny how things tend to coevolve in the arts world. Combining vocal music with dance, once not so common, is now almost ubiquitous with productions from the likes of CASP, Against the Grain and FAWN among others.
Last night was the one of only two chances to see Bicycle Opera Project in Toronto this year. (The other is tonight). It was a show in collaboration with Toy Piano Composers’ Collective called Travelogue and featuring four new works around the broad them of travel. The show was run without an interval but with each composer introducing their own work by reading, e.g., post cards from their travels or, hilariously, in the case of the absent Tobin Stokes, recordings of the voicemails he left apologising for not having finished the piece yet. Staging was, in the BOP way, minimalist but effective.
Observers of the Toronto opera scene will have noted the creeping influence of facial hair in the industry locally. Perhaps it didn’t start with COC General Director Alexander Neef’s intellectually Germanic goatee but who could deny that it had a profound impact. Earlier this week the four tenors of the Ensemble Studio appeared together sporting face rugs in varying stages of development and the scene is replete with other notable beardies. Geoff Sirett, Robert Gleadow, Greg Finney and Alexander Dobson come to mind. It’s almost compulsory, it seems, for baritones. Continue reading →