Aaron Gervais’ and Colleen Murphy’s Oksana G. finally made it to the stage last night after a most convoluted journey. It’s being produced by Tapestry at the Imperial Oil Theatre with Tom Diamond directing. The wait, I think has been worth it. The story, set in 1997, of a naive country girl from the Ukraine who gets caught up in sex trafficking is dramatic and the it convincingly depicts the sleazy underworld of southern and eastern Europe created by the collapse of the USSR, the civil wars in the Balkans and the pervasive official corruption in countries like Ukraine, Greece and Italy. It’s gritty and, at times, not at all easy to watch.
The COC Orchestra Academy program is a mentorship scheme for young orchestral musicians providing a bridge between student and professional life somewhat akin to the Ensemble Studio for singers and pianists. Today at noon in the RBA we gort the chance to see the current crop in action in all baroque program featuring Jacqueline Woodley as soprano soloist.
Things are still a bit quiet on the vocal music front (the lull before the storm judging by my agenda) but there are a couple of free concerts of interest at noon in the RBA next week. On Tuesday, bass Goran Jurić, currently singing Sarastro at the COC, is teaming up with Anne Larlee in an all Russian program featuring works by Rachmaninov, Tchaikovsky and Spiridov. Then on Thursday there’s a concert in the chamber music series featuring the members of the COC orchestra academy. But once again, the chamber series deceives because half of the program (at least) features soprano Jaqueline Woodley in a series of Handel arias. Later, at 7pm at The Fifth Pubhouse, the COC is hosting Opera Trivia Night with trivia master Russell Harder. It’s free but ticketed. Tisckets from coc.ca or the Four Seasons box office. The COC’s Magic Flute continues with the first chance to see the alternative cast on Sunday afternoon (29th) at the Four Seasons Centre, which is pretty close to sold out. No doubt the matinee show will be a lot of kids’ first opera.
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.
Once a season the young artists of the COC’s Ensemble Studio get to perform one of the company’s productions on the main stage of the Four Seasons Centre. Last night it was the Claus Guth production of The Marriage of Figaro. I’ve said enough about the production already here and here so let’s cut to the chase.
Canadian Art Song Project has just issued its second CD; Cloud Light. It’s a collection of four contrasting works by Polish-Canadian composer Norbert Palej. The first, Three Norwegian Songs (2011) was composed for baritone Peter McGillivray, who sings them here. The settings are of English translations of Norwegian texts. Maybe it’s because the texts are translations or maybe because this seems the most American/Broadway inflected piece on the disk I found it the least effective but, as we shall see, it has serious competition. In any event Peter sings it very well even when it goes cruelly high. Continue reading →
Today’s lunchtime concert in the RBA involved members of the cast of the Ensemble Studio performance of Marriage of Figaro in a semi-staged series of excerpts from the opera. The Ensemble Studio annual stage performance is always worth seeing and this year I think it’s going to be a real treat. Highlights today included Gordon Bintner’s Count. The guy can sing but here there was a swagger that should be just perfect for the Guth production. Jacquie Woodley’s Cherubino was utterly brilliant. Aviva Fortunata nailed Porgi amor, so often a disappointment I find. And I really liked Karine Boucher’s Susanna. She’s not always been a favourite of mine but her slightly dark for a soprano tone seemed really well suited to this music and blended especially well with Aviva. Ian MacNeil impressed too as Figaro, though it’s a role that’s a bit downplayed by this production, and I shall be curious to see what he does with it in the full version. Megan Latham, Jean-Philippe Fortier-Lazure and Aaron Sheppard rounded out today’s cast with the indefatigable Hyejin Kwon on piano. If you don’t yet have tickets for the performance on the 22nd I strongly suggest getting some. They are only $22 or $55 for the best seats. As Claire Morley said in her introduction this could be an event that’s talked of for years to come.