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.
The Royal Conservatory of Music announced their 2017/18 concert season last night. There are over 100 concerts spread across just about every genre. I think the following are likely of most interest to Operaramblings readers.
November 10th 8pm Koerner Hall – Barbara Hannigan with Reinbert de Leeuw in all Second Vienna School concert. The pick of the season for me.
February 14th 8pm Koerner Hall – Ian Bostridge with Julian Drake in an all Schubert program.
April 22nd 3pm Koerner Hall – Gerald Finley with Julius Drake with a mix of art song and British and American folksong.
April 6th 2018 8pm Koerner Hall – Bernstein@100; a celebration of Lenny with the ARC Ensemble, Sebastian Knauer and the lovely Wallis Giunta.
Details 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.
Niccolò Piccinni’s La Cecchina or La buona figliuola is an opera buffa in two acts written for the Teatro delle Dame in Rome where it premiered in 1760. The libretto is by Carlo Goldini and, while said to have been inspired by Richardson’s Pamela, is actually a fairly straightforward masters and servants story of a similar nature to Pergolesi’s La serva padrona or even Mozart’s La finta giardinera; all, of course, firmly rooted in the conventions of the commedia dell’arte. Being written for Rome it was, originally, played by an all male cast. Last night at Koerner Hall the Glenn Gould School Opera presented it with female singers in the high roles.
Kendra Dyck as Sandrina and Asitha Tennekoon as the Marchese
Tomorrow (Sunday) is a busy day. There’s a matinée of Götterdämmerung at the COC with a few tickets still available. UoT Opera is doing their annual student composer piece. This year it’s called Prima Zombie and it’s based on the premise that a cabal of disgruntled music critics, disenchanted with the current state of opera, unearth and electrify the corpse of the celebrated 19th century diva Nellie Melba. Mayhem ensues. This one is in the MacMillan Theatre at 2.30 pm and it’s free.
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.
Last night ten singers who had taken part in an intensive class/coaching with Sondra Radvanovsky showed us what they could do. The program was organised and presented by the International Resource Centre for Performing Artists at the Alliance Française. It says quite a lot about the current state of supply and demand in the opera world that nine of the ten singers were female and seven were sopranos. We were given one aria per singer and a lot, inevitably I suppose, of Donizetti, Bellini and Rossini with one aria apiece for Verdi and Puccini.