Tapestry’s new experimental show opened last night at the Ernest Balmer Studio. It’s a “mash up” of Persian classical music and hip hop around the theme of The Child and The Stranger, who turns out to be Lucifer. Lucifer seeks to show the child that authority and rules serve only to allow the powerful to abuse and punish others. This is explicated in six short scenes using the various musical resources and styles available.
February is going to be really busy so I think I’ll take the previews in chunks. First up though one event in January I haven’t yet had opportunity to mention. This coming Sunday 21st Fawn Chamber Creative have a PWYC fundraiser for their in process opera-ballet project. It’s from 2-6pm at The Smiling Buddha. It will be party, silent auction and some performance. Previous ones have been fun but I’m booked Sunday. Details at: http://www.fawnchambercreative.com/events/upcoming/. Also in January and missed off the radar, on the 28th at 3pm at Mazzoleni Hall,the Amici Ensemble have a Strauss inspired concert featuring the lovely but tiny Sasha Djihanian who is current holder of the loudness to weight record for a soprano.
Tapestry’s upcoming show TapEx: Forbidden features music by Iranian-born composer Afarin Mansouri with a libretto by Afro-Caribbean hip hop artist Donna-Michelle St. Bernard. Four vocalists are featured; Neema Bickersteth, soprano; Shirin Eskandani, mezzo-soprano; Alexander Hajek, baritone; and Saye Sky, Farsi rapper and spoken-word artist. I have a long standing interest in blending western classical music with other cultures and genres, partly at least because I get to hear a lot of North Indian music, and I’ve been intrigued by other “fusion”projects such as Alice Ping Yee Ho’s The Lesson of Da Ji and some of the cross-cultural experimentations in dance such as Esmerelda Enrique and Joanna Das’ collaborations. All of this is a long intro to saying that before Christmas I got the chance to put some questions to Afarin Mansouri about the upcoming show. Her responses are enlightening and intriguing. So here’s the exchange: Continue reading →
It’s that time of year when one reflects on the good and the not so good. What one would like to see more of and not. What seemed significant about the year. As I look back over my writings for the last twelve months one clear theme stands out, Reconciliation. There was the COC’s very thoughtful and thought provoking remount of Somers’ Louis Riel in April and all the fascinating events that went on around that. There were attempts by the TSO to incorporate Indigenous themes; the Tanya Tagaq concert in March and Adizokan with Red Sky in October. Neither of these quite came off but the intent was good. Then there was a really fine recital of works by Indigenous composers by Marion Newman at the beginning of the year. Then, of course, the Clemence/Current piece Missing, about murdered and missing Indigenous women, which premiered in British Columbia and which I haven’t seen yet but really, really want to. 2017 was also the year when Land Acknowledgements went mainstream in the Toronto arts world. I guess there’s some tokenism here but there does seem to be far more engagement with Reconciliation in the arts world than in, say, the political mainstream which is unfortunate because opera isn’t going to produce clean drinking water. We have to start somewhere I guess.
The current Tapestry Briefs show presents work from the 2016 LibLab. It’s all new and, inevitably, very mixed. It started very strongly with a scene, The Call of the Light (Imam Habibi/Bobby Theodore) based on the 1984 attack on the Quebec National Assembly. The combination of an assault rifle carrying camo clad Alex Dobson , the rest of the cast (Jacquie Woodley, Keith Klassen, Erica Iris) writhing on the floor and dissonant extended piano from Michael Shannon was genuinely disturbing. Having a gun pointed straight at you from a few feet away doesn’t happen often at the opera.
This week we have VOICEBOX’s presentation of Handel’s Rodelinda. It’s a great cast with Christina Haldane, Charles Sy and Alex Dobson among others. Also it’s chamber orchestra not piano. That’s on Sunday at 2.30pm at the Jane Mallett Theatre. On Thursday the noon concert in the RBA is McGill’s Schulich Singers. They will present works by Henk Badings, Eric Whitacre, John Corigliano, Dan Forrest, and others. Not sure that’s my thing but each to his/her own. That evening at 8pm in the Dancemakers’ Studio at the Distillery it’s Tapestry Briefs: Winter Shorts. This is a show of excerpts from concepts and works in progress. It’s always interesting and often very funny. I think the opening show is probably sold out but there are further performances on Friday and Saturday at 8pm and Saturday and Sunday at 4pm (for those brave enough to face the Christmas Market hordes).
I guess it’s starting to quieten down a bit. Next week there are a couple of things of interest. On Monday the Faculty Artists at UoT have a concert in Walter Hall with Uri Mayer conducting. It’s an all Mahler program with the Lieder eines fahrenden Gesellen and the Fourth Symphony. The vocal soloists are Monica Whicher and Darryl Edwards. Later in the week the UoT Opera has its main fall production. This time it’s Don Giovanni conducted by Uri Mayer and directed by Marilyn Gronsdale. That’s in the MacMillan Theatre at 7.30pm on Thursday, Friday and Saturday with a matinée on Sunday. There will, as usual be two casts; one on Thurs/Sat and the other Fri/Sun. On Friday there’s another Whose Opera is is Anyway? from LooseTEA Theatre; Toronto’s opera improv. That’s at 7.30pm at the Comedy Bar. They are moving from there (good!) to Bad Dog Theatre for their December show on the 20th which should also be hosting a monthly show in 2018.