This year’s Toronto Summer Music Festival runs from July 12th to August 4th and, in commemoration of the 100th anniversary of the end of WW1 is war themed, though to be honest it wears it pretty lightly. As always there is one big vocal star. This year it’s German tenor Christoph Prégardien. He has a recital at Walter Hall with Julius Drake at 7.30pm on July 17th. He also pops up on the 20th at the same time and place to sing Schubert’s Die Forelle with Stephen Philcox in a program that features chamber music by Schubert, Shostakovich and Rachmaninoff. There’s no word on public masterclasses but he’s around for a few days so I suspect that something will emerge.
Last night’s Whose Opera is it Anyway? from LooseTEA Theatre featured Alana Viau MCing, Natasha Fransblow on keyboards, Rachel Krehm, Michael York, Gillian Grossman and Amanda Kogan improvving and a thirteen year old kid called Alex (or possibly Alice) stealing the show. The format was the usual. Games where the audience supplies some key element e.g. a place – a launderette and designated cast members turn it into a sketch. Best of the night I think was the “breakfast food” sketch with Michael and Amanda which went from a surprisingly filthy “left over pizza” to “left over pizza backwards” to “left over pizza in the Dark Ages”, mostly in Pig Latin. There was also a very creepy “execution” sketch where Rachel gleefully cut body parts off a recumbent Michael. Do not upset this chick!
There was lots more and of course it’s very silly. That’s the point! But it’s good fun and worth a look. The next edition is at Bad Dog Theatre at 8pm on December 20th.
Whose opera is it anyways?! is a comedy-improv-opera show from LooseTEA Theatre’s Alaina Viau. Last night saw the second in what is being projected as a monthly series at the Comedy Bar on Bloor West. So how does it work? The “games” and associated players are decided in advance but each usually requires some kind of audience input such as a place or a mood or even the messages on someone’s phone. The team then act out and sing a sketch on the prescribed lines. Natasha Fransblow provided accompaniment on keyboards, though how much of that was planned and how much improvised I couldn’t tell. In between numbers Jonathan McArthur MC’d accompanied by really obnoxiously loud pop music (not helped by the speaker basically being in my left ear).
Hausmusik is Tafelmusik’s less formal concert series. It’s not exactly a concert; more an “event”. Last night director Alaina Viau mixed music (woodwind trio, harpsichord, soprano (Ellen McAteer) and electronics from SlowPitchSound) with film projections by Darren Bryant and dance by Libydo to create quite a varied series of effects but all, musically, (just about) within the range one would expect from Tafelmusik.
There are a few things I didn’t mention in my back half of April post. Century Song opened a couple of nights ago at Crow’s Theatre. It’s a live performance hybrid, inspired in part by Virginia Woolf’s Orlando and Alice Walker’s In Search of Our Mother’s Gardens, Soprano Neema Bickersteth melds classical song (music by Sergei Rachmaninoff, Oliver Messiaen, John Cage, Georges Aperghis and Reza Jacobs) and movement to inhabit a century of women whose identities are contained within a single performer. Details here.
Last night LooseTEA Theatre presented a work-in-progress version of their reimagined Carmen. Director and librettist Alaina Viau promised a “a radically envisioned” Carmen and she wasn’t kidding. Apart from the fact that Ricardo (Escamilio) and John Anderson (Don José) are rivals for Carmen’s affections and there’s a woman, Michaela, with a prior attachment to John and, of course, that John kills Carmen there’s not a whole lot left of Mérimée’s story. We are in Toronto. John is a vet suffering from PTSD who has left his wife (Michaela) and kids. Carmen manages a bar but is about to open her own place with the help of investment banker Ricardo. She comes across as an everyday working girl rather than someone whose life is a serial process of picking up and discarding men. Episodes that fit the big numbers of the score are quite cleverly crafted together to weave a narrative that works but rather relies on John’s PTSD to explain the two murders. Woven into the opera are videos by Darren Bryant that contain some of the characters’ back stories. Music is a mix of a conventional keyboard reduction played by Natasha Fransblow and live electronics from sound artist SlowPitchSound. The use of electronics brings a grittiness that feels like an essential way of undermining the “prettiness” of the score. Running around 55 minutes all told it feels a bit episodic and I hope (and expect) that the final version will seem more continuous. Certainly there’s already more than just the basis for a very interesting piece of music theatre.
There are a couple of opera openings next week. Pyramus and Thisbe; the Barbara Monk Feldman, Monteverdi, Chris Alden creation, opens at the COC on Tuesday 20th for a run of seven shows and Opera Atelier are opening a run of six shows of Lully’s Armide at the Elgin starting on Thursday evening. Both shows are very much a case of Canadian talent on display with no big international names. La Traviata continues at the COC in tandem with Pyramus and Thisbe.
There’s one interesting new announcement for the following week. Amanda Smith and Alaina Viau are collaborating on a show called Toronto Darknet Market. It’s inspired by those parts of the internet that even I don’t know about and will run as a sequence of three performances on the 29th starting at 8pm. It’s at 8-11 which is at 233 Spadina (south of Dundas). It’s a PWYC fundraiser for a chamber production of Médée by Marc-Antoine Charpentier next year. Toronto needs more staged baroque opera that’s not Opera Atelier so this initiative deserves support. There will be good young singers on display with music by Purcell, Berg and Cage among others.