A preview look at the UoT’s Don Giovanni

UoT Opera’s fall production of Don Giovanni will open in three weeks time.  Today, in Walter Hall we got a few hints on what we may be seeing plus some semi staged excerpts.

For director Marilyn Gronsdale one way into Don Giovanni (and she accepts that there are many) is to see it as being about how the actions of the powerful impact the lives of the many.  In a sexual context it’s clearly of relevance to our times with a serial groper in the White House, a British cabinet minister out on his ear for sexual impropriety and one of Hollywood’s most powerful figures rapidly being cast into outer darkness.  One technique to be used to emphasise this is a silent chorus of women who will witness/bear witness to the action.  Maybe this is something like the Land Assembly in Peter Hinton’s take on Louis Riel?  We also learned that the design aesthetic will be stylized 1940s film noir and that we may be in for a surprise with the ending.

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Act 2 sextet: Brendan Friesen, Matthew Cairns, Alyssa Durnie, Jamie Groote, Sarah Abelard, Alex Halliday (I think)

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Porgi amor

 

UoT’s show Porgi amor consisted of a series of staged and costumed scenes from Mozart operas with linking commentary, all designed by Michael Patrick Albano.  The operas ranged from La finta giardiniera to La clemenza di Tito with all the major bases in between covered off.  The emphasis was on ensemble numbers and providing opportunities for as many singers as possible so there was a cast of thousands.  It was well structured, quite slick and there was some very decent singing.  One expects a reasonably high standard from UoT Opera and we got it.  As I usually do with this kind of show I’ll refrain from a play-by-play and just talk about a few highlights and do some “talent spotting”.

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Later this week and beyond

1617-Baroque-Diva-updatedThursday 23rd at 8pm, Karina Gauvin is performing with Tafelmusik at Koerner Hall in a concert called The Baroque Diva.  Details are here.  This will be repeated on Friday and Saturday evenings and on Sunday at 3.30pm.  Sunday at 3.30pm Voicebox are presenting Mussorgsky’s Khovanshchina.  I’m not sure where it will fall on the semi-staged to concert spectrum but it’s definitely piano accompaniment (Narmina Afandiyeva) and the cast is headed up by Andrey Andreychik.  This is a piece that played in full runs over three hours so it will be interesting to see what they choose to include, or not.

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UoT’s Imeneo

Imeneo is one of Handel’s less well known operas; perhaps deservedly so.  The plot and the libretto are weak and the music pretty variable.  Charles Jennens, the librettist for Messiah, descibed it as “the worst of all Handel’s compositions”.  It does have the merit of being short.  Most recent recordings come in around two hours and this UoT Opera production, rearranged and cut by Tim Albery, comes in at 100 minutes spread over two acts.

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Coming up

Here’s a round up of upcoming performances of interest over the next week or so.  Sunday at 3.15pm TIFF are showing Jean-Marie Straub and Danièle Huillet’s films Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene” and Moses and Aaron.  The films will be preceded by a live performance of a Schoenberg piece by Adanya Dunn and Topher Mokrzewski.  More details here.

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The week in prospect

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.

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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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