To pay homage and celebrate the final Cesare sung by Sarah Connolly–possibly the final mezzo Cesare on a major stage, as the CTs have just about completely taken over the role–a few of us made the trip to that little opera house on private property in Lewes. National representation, l-r: UK, Finland, Canada, Australia.
Back to us on a picnic blanket, minus the UK, who took the photo
Not a review – it’s video direction vs. stage direction with these things, and I only got the video – but a few thoughts.
This wasn’t a catastrophe, as many people led me to believe! It had some brilliant moments, some WTF moments, and some moments where it felt the director just couldn’t be bothered. Overall, though, the chutzpah tips the scales: it’s a wildly imaginative production–a bold and flawed (but which one is perfect) attempt to do something new with a popular classic that resists radical re-reading. It’s also one that goes deep into the score and connects it directly to dance (tons of dance) and movement of the actors, often at the expense of the textual layer of meaning.
Namely, in most of the scenes with more than one person, Kosky and his choreographer Otto Pichler find the rhythm, the clang, the pulsing brass, the percussion and make that the currency of communication, while text may or may not be in accord. If it’s not, then tant pis for the text. And it’s kind of all right – the scenes work all the same. For example, the scene in which Carmen dances for Jose, first time after he’s out of jail and comes looking for her, is unlike anything usually seen in Carmen productions. Ordinarily, we’d see a scene of seduction, more or less explicitly acted, but here Carmen (Anna Goryachova) barely moves while following the percussion beat with her hands on her hips. In a way, there’s not much happening other than Carmen enjoying the beat on her own. She is being watched while she’s busying herself with her own pleasure.
In the scene of arrival of Don Escamillo (Kostas Smoriginas), the man gets three male background dancers who amplify, mime or make fun of his statement. In the scene of cigarette girls and ogling soldiers, female chorus is on the left, male on the right, and the men are slowly creeping towards the women and get stuck in various positions on first contact, as the female chorus is not at all permeable. Near the end, as the various ranks of the corrida are introduced before the grand entrance by Escamillo, nothing really changes with the staged tableau other than choreography by the handful of dancers higher up on the stairs, and the jumping up and down of the crowd.
The one scene which was destroyed for me by this supremacy of choreography over text was the quintet of the three women with the smugglers at Lillas Pastia’s. It’s delivered as an absurd Rossinian act finale, with three dancers in between the line of singers, each person popping up and down in the game of whac-a-mole precisely to the rhythm in the music.
I did not mind that there’s not much of a set apart from that Busby Berkeley staircase. I did not miss the mountain and smugglers’ camp in Act 3, most of all, nor the pre-corrida parade.
Score-wise, this version is not the one with spoken dialogues, unfortunately, but some of the recits have been cut and replaced by female voice-over reading from Prosper Mérimée‘s novel. I really like how this connected the scenes, and sometimes revealed what a character was actually feeling, or some background information usually not available in the opera (for ex that Carmen had a mother in a distant city who depended on her for financial support).
Another interesting contribution to the meaning of Carmen: Goryachova dressed as a female toreador is present in all the early scenes, even before her scheduled grand entrance. The opera opens with her, thusly clad, seated on the staircase, while the voice-over is reading a description of what the ultimate fantasy woman looks like, “according to the Spaniards”. The voice takes its time going part by part of the female body, as the character starts slowly descending, with a knowing, almost “whatever, this is a game” smirk. She stays on for the early scenes as the fantasy that everybody there, men, women, need – and briefly disappears and reappears for the Habanera. She is dressed butch for the aria (don’t ask me to explain the minute inside the gorilla costume) and is also dressed butch in the scene of the fight with that other cigarette girl whose name escapes me. The other cigarette girl however wears an ultra femme gown, and is dragged and kicked by the much more aggressive Carmen. There’s a possible subtext here, but which one precisely, up to you (is she repudiating femininity? interesting that in later Acts she sartorially embraces it. Or is this just a measure-for-measure, if you clap, I clap back one-off violence?) Elsewhere in the opera, she is one of the girl gang and it’s possible that both Mercedes and Frasquita are or have been sexual liaisons too (for what’s a little sex among friends?).
The voiceover in the smuggling-in-the-mountain scene informs us that Don Jose has been treating her badly, there’s a hint that he’s been violent to her, and she won’t take it anymore. She won’t take any crap from men, type thing.
The big emo solo arias are largely left intact (Micaela’s in Act 3, the big Don Jose aria at Lillas Pastia) as they’re musically pretty much unassailable.
Micaela (Kristina Mkhitaryan) is, interestingly, something of a girlish, pre-sexual, flustered, innocent white-dress-wearing version of Carmen herself.
Goryachova’s voice is OK if a bit monocromatic at times, under-inflected and under-nuanced. There’s a certain range of a dark bass-y drone that feels like a default place of her voice where it likes settling itself, and though it’s full and beautiful, there’s such a thing as too much of a good thing. She gave it a workout in the “Pres des ramparts de Seville” and it was wonderful; most of the opera though the voice stayed in its default setting.
I’m not entirely sure what to make of the final shrug. So Don Jose stabs Carmen, she falls and (for all intents and purposes) dies; he sings what’s left for him to sing, Arrest me, I killed her, etc, and disappears off stage. Carmen, only her body visible in the spotlight of the dark stage, then gets up, dead serious, and looks straight into audience. And the she shrugs and smirks. I was expecting something more poignant, more… sisterhood. WHAT WAS THAT ABOUT??
I’m sure I’ll remember several more things I wanted to add the moment I post this, but right now, that’s all I can think of. It’s a carefully thought-out production with some fascinating moments; Kosky deconstructs the work into unexpected pieces (beat-cum-body units) and reconstructs it back, with text re-wiring itself into a different kind of dramatic coherence.
And I’m now pretty sure Margaret Atwood phrased the famous line “Men are afraid that women will laugh at them; women are afraid that men will kill them” right after coming out of the final act of Carmen. Could be legit used as the subtitle of the work, en fait.
Because my credits here are sporadic, full list here.
Here’s my March art song column in this month’s Whole Note.
It looks better in print, as always, so do grab a copy somewhere. It is, as usual, free and priceless.
+ + +
On a pleasantly cold February evening, Toronto Masque Theatre held one of its last shows. It was a program of songs: Bach’s Peasant Cantata in English translation, and a selection of pop and Broadway numbers sung by musician friends. An actor was on hand to read us poems, mostly of Romantic vintage. The hall was a heritage schoolhouse that could have passed for a church.
The modestly sized space was filled to the last seat and the audience enjoyed the show. I noticed though what I notice in a lot of other Toronto song concerts – a certain atmosphere of everybody knowing each other, and an audience that knows exactly what to expect and coming for exactly that.
I was generously invited as a guest reviewer and did not have to pay the ticket, but they are not cheap: $40 arts worker, $50 general audience, with senior and under-30 discounts. And the way our arts funding is structured, this is what the small-to-medium arts organizations have to charge to make their seasons palatable. Now, if you were not already a TMT fan (and I appreciate their operatic programming and will miss it when it’s gone), would you pay that much for an evening of rearranged popular songs and a quaint museum piece by Bach?
The stable but modest and stagnating audience is the impression I get at a lot of other art song concerts in Toronto. Talisker Players, which also recently folded, perfected the formula: a set of readings, a set of songs. Some of their concerts gave me a lot of pleasure over the last few years, but I knew exactly what to expect each time. Going further back, Aldeburgh Connection, the Stephen Ralls and Bruce Ubukata recital series, also consisted of reading and music. It also folded, after an impressive 30-year run. It was largely looking to the past, in its name and programming, and it lived in a cavernous U of T hall, but it could have easily continued on and its core audience would have continued to come. Stable audience, yes, but also unchanging.
The issue with a stable and unchanging audience is that the programming will suffer. It’ll go stale, ignore the not already converted, abandon the art of programming seduction. And the ticket will still cost at least $50.
I’ve also sat in the Music Gallery’s contemporary music recitals alongside the audience of eight so it’s not entirely the matter of heritage music vs. new music. Empty halls for contemporary music concerts are as depressing as book events in Toronto, to which nobody, not even the writer’s friends, go. (I know this well; don’t ask me how.)
So, where is art song performance in Canada’s largest city going?
Due to the way they’ve been presented for decades now, there’s a not-negligible whiff of Anglican and Methodist churchiness to Toronto’s art song concerts. They usually take place in a church (Trinity-St. Paul’s, Rosedale United, Trinity Chapel, St. Andrew’s, etc) or a place very much like a church (Heliconian Hall). They are often programmed as an occasion for personal edification – as something that’ll be good for you, that will be a learning opportunity. Why are we being read to so much in recitals – instead of, for example, being talked to and with? Does anybody really enjoy being read to in a music concert?
I sometimes wonder if the classical music infrastructure of concertgoing, its comportment etiquette, regulation of space, fussy rituals of beginning, presentation, breaks and ending wasn’t built to control and disguise classical music’s visceral power over humans? And to keep tame its community-expanding, boundary-blurring potential?
In other words, getting out of the church and the U of T will benefit Toronto’s art song performance. Classical music, including art song, is a pleasure, not homework; it’s inviting the stranger over, not getting together with the same group each time. Some of those who program art song and chamber music in Toronto are already grappling with these questions, fortunately.
Among them is the ensemble Collectìf, consisting of three singers and a pianist: Danika Lorèn, Whitney O’Hearn, Jennifer Krabbe and Tom King. They scour the city for locations and choose places off the beaten path. They held a recital in an Adelaide St. W. loft, and a raucous songfest at an old pub in Little Italy. For a Schubert Winterreise, performed in the more familiar quarters of Heliconian Hall, Danika Lorèn had prepared video projections to accompany the performance and the singing was divided among the three singers, who became three characters. For an outing to the COC’s free concert series, they created their own commedia dell’arte props and programmed thematically around the poets, not the composers who set their poems to music. Collectìf is a shoestring operation, just starting out, yet already being noticed for innovation. Lorèn is currently member of the COC’s Ensemble Studio, which is why the Collectìf somewhat slowed down, but when I spoke to her in Banff this summer, she assured me that the group is eager to get back to performing. Winterreise toured last fall to Quebec and an art song program around the theme of nightmares returns to the same festival later in the year.
Another group that caught my eye did not even have a name when I first heard them in concert. They are now called Happenstance, the core ensemble formed by clarinettist Brad Cherwin, soprano Adanya Dunn and pianist Nahre Sol. That’s an obscene amount of talent in the trio (and check out Nahre Sol’s Practice Notes series on YouTube), but what makes them stand way out is the sharp programming that combines the music of the present day with musical heritage. “Lineage,” which they performed about a year ago, was an evening of German Romantic song with Berg, Schoenberg, Webern and Rihm and not a dull second. A more recent concert, at the Temerty Theatre on the second floor of the RCM, joined together Françaix, Messiaen, Debussy, Jolivet and Dusapin. The evening suffered from some logistical snags – the lights went down before a long song cycle and nobody but the native French speakers could follow the text – but Cherwin tells me he is always adjusting and eager to experiment with the format.
Cherwin and I talked recently via instant messenger about their planned March concert. As it happens, both the pianist and the clarinettist have suffered wrist injuries and have had to postpone the booking for later in March or early April. Since you are likely reading this in early March, reader, head to facebook.com/thehappenstancers to find out the exact date of the concert.
In the vocal part of the program, there will be a Kurtág piece (Four Songs to Poems by János Pilinszky, Op.11), a Vivier piece arranged for baritone, violin, clarinet, and keyboards, and something that Cherwin describes as “structured improv involving voice”. “It’s a structured improv piece by André Boucourechliev that we’re using in a few different iterations as a bridge between sections of the concert,” he types.
I tell him that I’m working on an article on whether the art song concert can be exciting again, and he types back that it’s something they’ve been thinking about a lot. “How can we take everything we love about the chamber music recital and take it to a more unexpected place. How can repertoire and presentation interact to create a narrative/context for contemporary music. How can new rep look back on and interact with old rep in a way that enhances both?”
He tells me that they’re looking into the concert structure at the same time – so I may yet live to see recitals where the pieces are consistently introduced by the musicians themselves.
Will concerts continue to involve an entirely passive audience looking at the musicians performing, with a strict separation between the two? There were times, not so long ago, when people bought the published song sheets to play at home and when the non-vocational (better word than amateur) musicianship enhanced the concert-goers’ experience of music. Any way to involve people in the production of at least a fraction of the concert sound or concert narrative?, I ask him, expecting he’ll politely tell me to find a hobby.
“We’ve thought a lot about that actually,” he types back. “It’s a difficult balance. Finding a way to leave room for collaboration while also having a curated experience.” Against the Grain Theatre, the opera company where he now plays in the permanent ensemble, also wants to push in that direction, he tells me.
There is a corner of the musical avant-garde, it occurs to me as I thank him and log off from our chat, that actively seeks out non-professional participation. There are Pauline Oliveros’ tuning meditations, of course, but more locally there is also Torontonian Christopher Willes, whose various pieces require participation and are fundamentally collective and collaborative. Though he isn’t a musician, Misha Glouberman’s workshops in social behaviour, like Terrible Noises for Beautiful People, are arguably a process of music-making.
But how to achieve an active audience in the small, chamber or lieder situations? It’s easier with choruses and large production, where sing-alongs are possible – some smaller opera houses are already doing it, for example Opéra-Comique in Paris. The Collectìf trio did get the audience to sing at the Monarch Tavern that one time (the Do Over, January 2016) but the experiment hasn’t been repeated in Toronto.
Speaking of pub recitals, Against the Grain’s Opera Pub is a glorious project (first Thursday of every month at the Amsterdam Bicycle Club), but it’s more operatic than art song, at least for now. ClassyAF are a group of instrumentalists who perform in La Rev and The Dakota Tavern, no vocals. Drake One Fifty restaurant in the Financial District has just started the Popera Series with opera’s greatest hits performed in a restaurant full of people, but again, it’s opera, the more glamorous and easier-to-sell sibling to the art song.
Will Happenstance, Collectif and similar innovative upstarts, and their more established peers like Canadian Art Song Project, endure over the years, obtain recurring arts council funding and renew art song audience?
With that goal in mind, my immodest proposal for the present and future art song presenter: move out of the churches and university halls. Musicians, talk to people, introduce the pieces. Program the unfamiliar. Always include new music, maybe even by composers who can be there and say a few words. If the music is danceable, allow for concerts with audience dancing. (I’m looking at you, Vesuvius Ensemble.) Engage the people. If live music is to be different from staring at the screen, make it different from staring at the screen.
Some March highlights
Meanwhile, here are my March highlights, which are of the more traditional Toronto kind, though still of interest.
March 19 at 7:30pm, Canadian Art Song Project presents its 2018 commission, Miss Carr in Seven Scenes by Jeffrey Ryan. Miss Carr is Emily Carr, and the song cycle, based on her journals, was written for Krisztina Szabó and Steven Philcox. At (alas) U of T’s Walter Hall.
March 4, as part of Syrinx Concerts Toronto, mezzo Georgia Burashko will sing Grieg’s Lieder with Valentina Sadovski at the piano. Baritone Adam Harris joins her in Schumann duets for baritone and mezzo, whereas solo, he will sing Canadian composer Michael Rudman’s The City.
March 11 at Temerty Theatre, Andrea Botticelli will give a lecture-recital (I like the sound of this) on the Koerner collection, “Exploring Early Keyboard Instruments.” Vocal and keyboard works by Purcell, Haydn and Beethoven on the program with tenor Lawrence Wiliford singing. The only U of T chapel to which I will always gladly return, the Victoria College Chapel, hosts the Faculty of Music’s Graduate Singers Series, also on March 11.
Finally, if you are in Waterloo on March 7 and up for some Finnish folk, the U of W’s Department of Music presents the EVA-trio (cellist Vesa Norilo, kantele player Anna-Karin Korhonen and soprano Essi Wuorela) in a noon-hour concert.
It’s called Alto, it’ll cover music and literature and occasionally other stuff too and it’ll drop last Thursday of every month. The first episode is right here and on the Soundcloud, & can be streamed or downloaded. Guests Jenna Douglas Simeonov of Schmopera, John Gilks of Opera Ramblings, Joseph So of Ludvig Van and Opera Canada, and Sara Constant of The WholeNote and I talk about the good, the bad and the WTF of the year that was.
I’m still getting the hang of the technical side of things so don’t judge my sound equalization, clip quality or my anti-radio voice too harshly. For now.
I also realized while I was editing the audio file that there’s not a lot from my own list in the mix, but that’s just fine, there was so much to talk about that I never got around to going down my own list. I did point out my Greatest Disappointment, so there’s that. Here’s the run-down of some of the Best of… choices but for the Worst of… (and we were all much naughtier than our writing voices) you’ll have to listen in.
John of Opera Ramblings, Best Shows:
Neema Bickersteth’s Century Song at The Crow’s Theatre
Toronto Symphony with Against the Grain: Seven Deadly Sins, staged for concert
The Ana Sokolovic Dawn Begins in the Bones recital 21C Festival at Koerner Hall
The Vivier show, Musik fur das Ende, by the Soundstreams
Category: Reconciliation : COC Louis Riel, the symphony putting on shows with First Nations content; Brian Current & Marie Clements’ opera Missing which opened in BC; land acknowledgements in the arts world.
Sara Constant, Digital Media at the WholeNote:
The Soundstreams Vivier show
Intersections Festival hosted by Contact Contemporary Music (Jerry Pergolesi’s ensemble) – immersive event at Allan Gardens
My own addendum to this:
Soundstreams doing R Murray Schafer Odditorium
PLUS Judy Loman in anything
Joseph So, a long-time opera critic (Opera, Ludvig Van, Opera Canada):
Category: Event – the Trio Magnifico concert at the Four Seasons Centre (Netrebko, Hvorostovsky, Eyvazov)
Toronto’s best operatic performance: COC’s Gotterdammerung
COC’s Arabella (even though he describes it as a “German Harlequin novel” – or maybe because of that exactly?)
Best recital: Barbara Hannigan & Reinbert de Leeuw recital: “Like Melisande is singing Berg, Schonberg, Webern and Zemlinsky”
Best singing performance in an opera: Andrew Haji singing Nemorino in COC’s Elixir d’amore
Best opera seen abroad: Goetz Friedrich’s Ring in Deutsche Oper Berlin – the farewell performance.
Jenna Simeonov (Schmopera):
Absolute top of the chart: ROH Rosenkavalier directed by Robert Carsen with Renee Fleming, Alice Coote and Sophie Bevan.
The Depraved Appetite of Tarrare the Freak – an opera with puppets by Wattle and Daub at Wilton’s Music Hall in London.
Katie Mitchell’s production of Written on Skin at ROH with the original cast
A Schmopera interview highlight of the yer: Dr. Paul E. Kwak on vocal health of singers.
+ + +
For detailed info on the musical tidbits in the podcast, head here.
My own Best of 2017 coming out before end of year.
British conductor Matthew Halls was unknown to me until last night, but I’ll be following his career from now on with interest since he liberated Toronto’s biggest Messiah from Andrew Davis’ vision and made it exciting again. Thanks also go to those who booked Halls for this run of The Messiah concerts in December (there are four left to go) and to whoever decided–I expect it was Halls himself–to move the Toronto Mendelssohn Choir from the crescent of the back balcony down to the concert stage. Five rows of about 28 singers each are a concentrated, powerful force. The inner intricacies of the sound sculpting among the voices are much more easy to follow too, and the contrasts are easier to spot. After this experience, I can’t see why any conductor would put the choir anywhere but on stage.
Halls also reduced the orchestra to the Mozart era size and skipped all the extraneous instruments that Davis is so fond of. The choir never overpowered the instruments, however. Balance was good throughout. There was the odd moment when this or that soloist was being covered by the orchestra, but they didn’t last long and the scale settled back into balance quickly.
There was opera and mélodies in Karina Gauvin’s solo arias. I don’t think Come unto Him and How beautiful are the feet ever sounded that lush and sensuous–more like Les chansons de Bilitis than religious worship, but you didn’t see me objecting for one second. Mezzo Krisztina Szabo was most impressive in He was despised, which more than made up for the occasional drops in volume power earlier in the oratorio. Tenor Frederic Antoun had the volume and coloratura galore, and an unusually dark timbre to boot–or did I get used to the thinned out near-falsetto hautes contres tenors that keep being asked to sing this? Another welcome change, in any case. Bari Joshua Hopkins completed this quartet of capable soloists that left nothing to be desired.
An even bigger draw for me have always been the choruses, and I can report that my favourites (And He shall purify, For unto us, His yoke, Behold the Lamb, All we like sheep, He trusted in God, The Lord gave the word, and Amen — ok, just about all by three) have been handled well. Well worked out tempi, nothing bizarre; limpid sopranos, velvety altos, bright tenors and dark but not too heavy as to sound Orthodox church basses were on at all times. Sometimes the middle alto-tenor section get smudged in complex choruses, but none of that here. (Noel Edison is the TMC’s artistic director and I presume he rehearsed the TMC until it was time for the tutti rehearsals.)
I finally got the chance to see one of Tafelmusik’s “alternative” concerts, the November edition of the series known as Haus Musik. It took place at the Great Hall’s Long Boat venue, on Queen and Dovercourt. This is a series of non-traditional chamber-size concerts by Tafelmusicians in venues like night clubs, preceded and followed by a DJ set.
I somehow thought that the concert would be a conversation between electronic and baroque music, but the two stayed safely apart and what we had was a traditional concert (if shorter) alongside a kind of a staging with a dancer, video and, um, curated smell: envelopes with dried lavender were handed to each of the audience member, which connected to some of the shots of lavender fields that we saw in video projections. The DJ Andycapp DJ’d before and probably after (I didn’t hang out for long).
There were no chairs about, hey this is an alternative concert in a club, but people clearly needed them because 20 minutes into the concert much of the audience on the ground level sat on the floor. I don’t think anything will be lost by adding some chairs to the Haus Musik formula? There are no chairs in clubs because people dance in clubs, but there was no opportunity for the audience to dance to baroque here. So: which it is going to be, the chairs or the dancing? that is the question. No chairs and no dancing is the worst combination possible.
The pieces heard were short and well varied – a concert for two violins (Patricia Ahern and Genevieve Gilardeau), a solo piece for the harpsichord (Charlotte Nediger) and another for viola da gamba (Felix Deak), and some pieces that asked for all four musicians. Beside Couperin, Rameau and Marais, two composers who are new to me were played: Jean-Marie Leclair and Louis Constatin.
I feel it would be bitchy and beside the point to “review” this performance and to comment on whether the ensemble sounded under-rehearsed etc. Too, the staging-mit-choreography by Jennifer Nichols wasn’t quite… there. The story unfolding while the music is playing was of two couples, one from the time when the music was composed, one contemporary — and they could be one and the same couple. The contemporary couple has split and we only see the man of the pair (dancer Jack Rennie), struggling with memories or dreams or visions (projected on video; Patrick Hagarty is credited as the filmmaker). There is great potential in this idea of the present, the past and the future disturbing each other’s domains and melding before our eyes, but the thing never really got off the ground. A pre-recorded male voice read a poem in French by “J. Nichols” (Jennifer?) in between the segments, which did not add much to the piece. The props making up the man’s atelier were the familiar scruffy Toronto indie opera no-budget props.
The audience, though, was MUCH younger than one sees in regular Tafelmusik concerts, and the drinks were being carried all around this licensed venue. However, unless tweaked (dancing or chairs?), this kind of a do is not exactly my thing. Especially now that that I live in east end. Dovercourt-Queen is now far west for this autumn cyclist.
The Emerging Art Critic Program is in its fourth year, with two additional organizations in the mix and an expanded mission. I first heard of the program when John Coulbourn mentioned it in our long conversation in 2015, and promptly put it out of my mind thinking it was bound to stay a dance criticism training ground only. This year, however, the Wholenote magazine joined the Dance Current on the media side, and the Toronto Symphony Orchestra joined the National Ballet of Canada on the arts organization side to make the training program about music criticism as well.
And that’s a good development. There are rumours of orgs in other art disciplines expressing interest — and next year may bring an even bigger program.
This year, the plan is to train all the candidates in music writing (David Perlman and Sara Constant will work with writers on those reviews, which will be published in the Wholenote) and dance performance (John Coulbourn and Megan Andrews, TDC founding editor, guiding and TDC publishing). Each gets assigned two things to review. There are workshops and guest speakers and outings. This was the call that appeared on the TSO website, which joins the National Ballet call.
John, with whom I spoke on the phone this morning, tells me the level of quality and enthusiasm is high. Many of the young writers are just recently out of school, with degrees in Dance, Music or English.
This is happening in very unfavourable conditions for arts journalism in Canada. Neither the Sun, the Post, the Star or the Globe has a permanent writer on the music beat. The Rogers magazines like Macleans and Chatelaine continue to reduce arts coverage. The CBC Music website as a depressing joke. (While the NYT and the Guardian are actually expanding music coverage.) How will the emerging arts writers monetize their skill in Canada? Well, that is a $50,000 question that will need dealing with later. For now – let’s enjoy the news that there are a good number of young people eager to write about arts each year. Arts journalism, in this one way, is on the renewal trajectory.
And now, the drum roll please: here is the Class of 2017, with Twitter handles embedded for those who are on Twitter:
One week late (due to technical difficulties at The Wholenote blog, where this appears originally), here are my thoughts about Against the Grain’s pairing up with Kyrie Kristmanson. ‘Twas good.
Who knew that an album launch could become a unique theatrical experience? Yes, all right, the stars of pop music with mega-budgets and production companies do, but experimental mixed genre pop singers and small opera production companies don’t usually seek each other out for projects. Singer Kyrie Kristmanson invited the team of Against the Grain Theatre to create a theatrical component to the Canadian launch of her songs from Modern Ruin, and Friday night’s delightful do “Une rêverie musicale,” at the small theatre space at the Alliance Française, was the result.
Amanda Smith directed the first act. The little fantasy with a dancer (Mary-Dora Bloch-Hansen, in her own choreography) and a baritone (Adam Harris) had few props – some chairs covered with shiny metallic paper and some balloons. Music was a combination of purely instrumental and vocal, mostly French except for a bit near the end from Philip Glass’ Glassworks. It all sounded like one atmospheric piece thanks to the instrument that carried it all, marimba (Nathan Petitpas). Satie’s Gymnopedie 1 started the proceedings, and we got to meet the androgynous dancer (with glorious face make-up) first. The baritone entered as a late audience member and joined her onstage. Their interaction had, refreshingly, nothing to do with a potential seduction or couple formation. They were, more imaginatively, like two creatures from different planets trying to communicate through play.
Petitpas also played Satie’s Gnossiennes 2, 3 and 5, and accompanied Harris in Poulenc’s Hôtel and the final Après un rêve by Fauré, which I’ve never before heard in baritone register. A lot of sopranos perform this song, but it’s obvious to me now that it’s more appealing in a lower voice. Marimba added a dream-like quality.
It’s how opera as an art form began, really – as an intermedio between something else, between the acts of a theatre play for example. “Une rêverie” reminded us that it can still work perfectly fine like that – in this case, as an album launch with an operatic interlude of its own.
The second half of the show was Kyrie Kristmanson’s set. Kyrie Kristmanson is a new artist to me, but I’m glad I discovered her. The labels “folk” or “pop” or “baroque” don’t quite do her justice. Friday night she performed a set with the amplified Warhol Dervish string quartet. Among her singer-songwriter interests are recomposing and arranging what’s left of the songs of the trobairitz, the Occitan female version of the troubadours, and some of the songs in the program did have a distant medieval musical ring to them. Mostly the numbers they performed were musically more complex than medieval music, and more complex than any of the stuff performed by folk or pop or cabaret musicians. Few songs had a predictable danceable beat prevalent in pop concoctions. At first I thought I had finally found a Canadian version of what Rosemary Standley does in her baroque/folk work, but the music that Kyrie and the Warhol Dervish quartet play is more contemporary instrumental, with none of the simple and immediate appeal of pop songs. Kudos to them for smuggling in quite a bit of demanding listening into the popular song form and taking the road less travelled but more adventurous.
Kyrie Kristmanson, the Warhol Dervish quartet and artists from Against the Grain Theatre presented “Une rêverie musicale” on Friday, October 13 at Alliance Française, Toronto. Kristmanson’s next concert is at the NAC in Ottawa (October 19), after which she is off to Regina, Montreal and to a festival in France.
Kurt Weill and Bertold Brecht’s The Seven Deadly Sins is a strange creature. A 40 minute long communist morality play in the form of a ballet with singing to a full orchestra was never going to be easy to stage. To this day it’s more often recorded than performed, and the TSO programming it and hiring Joel Ivany to stage it–as much as the Roy Thomson Hall allows for any staging–was a fresh and bold move. To quote Nicole Paiement, the 20th and 21st century pieces are more easily accepted by today’s audience if there’s a scenic component added to the mix, and this is probably going to be a growing practice around the presenting of the 20thC works. There’s a good expression in French: mise en espace (while full-on staging is mise en scène), making the most of whatever the available space happens to be to dramatize the performance. Sometimes a scenic component is added to the originally non-scenic, “pure music” work, and sometimes a thoroughly scenic work is intentionally reduced to a mise en espace. There have been some good cases lately (for example the 2016 Lucio Silla by Rita Cosentino, the precise opposite of Opera Atelier’s approach) and we’ll be seeing more.
Joel Ivany and choreographer Jennifer Nichols, who also danced as Anna II, opted for what could be described as elegant minimalism in this Sins production. The TSO conducted by Peter Oundjian was moved to the back of the stage, the front stage covered by the black, dancer-friendly flooring. Two video screens above the orchestra showed both the supertitles and, in interludes between the themed numbers, pre-recorded black-and-white videos of the two principals, Anna I (Wallis Giunta) and Anna II (Nichols). Videos are simple–close ups, mirroring and merging of the two faces, a female figure walking on the train tracks at the beginning and the end. Nichols and Giunta on stage wear similar dresses and hair (Nichols had to dance and be carried around the stage while wearing a long Giunta-lookalike wig). Movement-wise, Nichols opted for fairly modern choreography delivered however en pointe: an interesting choice, perhaps meant to add to the constraints that the character of Anna II is under in the piece.
The Seven Deadly Sins is probably the most overtly feminist thing that Weill and Brecht created together, which is not to say that it’s an uncomplicated call to arms for the cause of sisterhood. Anna I and II are two sides of the same character that is sent across the mythical Weill-Brecht America (always in the primitive accumulation of capital stage, ever the Wild West) in pursuit of success and money and the American Dream business. There’s an all-male chorus, the “family” that comments on the action and eggs her on. They’re also the ones naming Anna II’s actions as sins while also benefiting from them and expecting to benefit even more in the future.
The split Anna character is an intriguing interpretive challenge. Only Anna II goes places, does things, commits sins, lives the impure, while the singing, analyzing Anna II comments, justifies, shrugs off. It’s possible that Anna I-II is an image of woman’s life under patriarchal capitalism: we will be asked to sacrifice so others could benefit, for which we will be condemned too (Anna II); we will see clearly that this is the case and will be able to do nothing about it and may even become articulate in the oppressive vernacular (Anna I, but also the Mother of the chorus).
Ivany, I think wisely, leaves it to the viewer to wrangle these questions and clears up and simplifies the proceedings as much as possible. The male chorus sings from the aisles and the wings as well as on stage, and is given dance-like movements by Nichols to great effect. They’re all dressed in black and white with suspenders and fedoras as the only accents (costumes are by Krista Dowson). Isaiah Bell (Father), Owen McCausland (Brother), Geoffrey Sirett (Brother) and Stephen Hegedus (Mother) sounded like a madrigalist ensemble at times, they were that polished and multi-coloured. All singers, including Giunta, were miked, which was surprising to hear at first, but kinda understandable later on: a noisy orchestra, RTH acoustics, lots of movement for singers and small- to medium-size voices all around is a combination begging for voice microphones.
Music was of the familiar Weill-Brecht sort, noisy, brassy and clangy that plays with then twists and abandons anything smacking of lyricism. The Sins were part of the TSO’s Decades project, which joins together wildly disparate works from the shared decade in the same concert. It was premiered in 1930s, as was Samuel Barber’s Adagio for Strings (TSO’s was a subtle take on the old hit) and Bartok’s Music for Strings, Percussion and Celesta (utterly sui generis, wouldn’t sound out of place at the New Creations Festival). It worked great in this case: the three works couldn’t have been more different, yet the program cohered.