The year is not over yet! The new Conversations about Canada just dropped.
Multi-talented actor, sketch & improv comedian and boy band drag king Monica Garrido talks about:
– why she decided to move to Canada (hint: Degrassi High)
– her early obsession with Marina Abramovic and Matthew Barney
– when not to tell your parents everything
– if we immigrate in order to put big enough distance between us and our parents & community– and then realize we overdid it?
– if it’s easier to make friends with other immigrants than with the locals
– why she is still a little freaked out by the widespread recreational use of drugs in wealthy societies (me too!)
– falling for a local WASP girl
and much more!
Next month, it will be 20 years since I first moved to Canada. This anniversary got me thinking… about many things. And I decided to talk to people, Canadians old and new, and long-time Canadian residents, about this country that I feel I know less now than I thought I did a decade ago. I have been trying to fend off a feeling that I belong less to it now than years ago, when I had just moved to Toronto from Nova Scotia. Everything seemed possible back then. Now, twenty years later, perhaps I have hit enough walls to start noticing them and a different map of the possible territory of life here begins to take shape.
But these conversations are meant to be more about other people – and how they live here and how they make sense of Canada.
My first interlocutor is TV critic and author John Doyle, who grew up in Ireland and moved to Canada by the same method as I (an MA scholarship). Some of the topics that we cover:
– Canadian TV
– whether Canadians should be less nice and more raucous
– whether we are now practically an American cultural province
– privatized vs public medicare (I had no idea that Ireland switched from latter to former)
– if literary publishers today expect the novel to be more like TV
– whether the CBC cancels all the best dramas, and
– how is it possible that Netflix and Amazon Prime streaming services manage to avoid sales tax.
How accurate are the arts about mental health issues? I got thinking about this while working on the September piece for the Wholenote, which is an interview with soprano Monica Whicher about the concert series organized each year at the U of T during the Suicide Prevention Week. It’s a good occasion to talk about mental health issues in university context, and remind people what services there are for those who may need them. In the article, I leave the university grounds and look at the availability of talk therapy for general population. It’s not great.
There was no room for this sidebar, so here it is. Some recent creations and two old ones, which approach mental health problems in intelligent ways:
Flowers(British TV Series, 2016-2018). The two-season Channel 4 / Netflix series looks inside a family in which the father is struggling with depression and – in the following season – the young daughter with bipolar disorder. Somehow it manages to be a comedy while also being devastating. Stars Olivia Colman and Harriet Walter, but entire cast is brilliant.
Maria Bamford’s stand-up. Bamford has been very open about her own life with mental illness, both in her standup and in media interviews. It’s not always easy to watch her – she is not a polished communicator always in control, she is visibly struggling but just about functioning while also creating smart and funny material and living her life and staying in a relationship. Respect.
Imagine Me Gone, a 2016 novel by Adam Haslett. Story of a family which loses one member to suicide, and another, gradually, to a multifaceted, elusive psychological distress which often appears as… being extremely good and alert to injustices in the world. All the characters are drawn out in subtle detail, as are their sufferings and joys. At the end, the family reconstitutes after the losses as best they can.
Virginia Woolf – the 1926 essay on ‘On Being Ill’ and the 1925 novel Mrs. Dalloway, which has a character trying to live with what we would now call post-traumatic stress disorder. His experience of the city of London and of being in the world in the 1920s after the Great War is entirely different from those that the central, well-off characters of the novel have, including the lovely and yet thoroughly oblivious Mrs. Dalloway herself.
Homer’s Iliad, any translation: the section The Grief of Achilles and the New Armour Made Him by Vulcan. As we’ve known at least since Homer, the problem with the dead is that they never die.
Last night at the TSMF, Art of Time did that thing that they always do well: a concert of popular songs in classical arrangements for a chamber orchestra with a piano. I’m always curious about the arrangements side of things: the composers that the AoT engages for this purpose come from a variety of backgrounds and styles, and the combinations are sometimes quite inventive. There was a Leonard Cohen song arranged by British composer Gavin Bryars, and I remember hearing Kevin Lau’s name in one of the songs (full list of arrangers updated below).
The traffic went the other way too: pop singer-songwriters taking over classical pieces and making them their own. Projects like this one are among the beacons of this approach, and I’m always on the lookout of good treatments of the classics by the musicians of other genres. Singer-songwriter Sarah Slean has been one of those musicians for a while now, at least since she decided to take a turn from the pop stardom business to classical, chamber orchestras, piano-with-live strings, and smaller venues. Her song Lonely Side of the Moon is a direct response to Schubert’s piano trio op. 100, the movement Andante con moto. In the concert, the two were played side by side. First the AoT artistic director Andrew Burashko (piano) played the trio with Yehonatan Berick (violin) and Rachel Mercer (cello). Slean followed, explaining what she changed (the meter in the opening bars on the piano, as you’ll spot!) and what she developed.
The song can of course stand on its own: we have a very German Romantic preoccupation that is the Nature here revived as a song topic, through an environmentalist perspective. I think she’s onto something. We already have the novel of the climate change and perhaps trad Romanticism will see a revival thanks to the poetry of the climate change?
Slean was also excellent in Leonard Cohen’s rearranged Anthem and Take This Waltz. While Cohen himself was around to perform these songs, what he’s saying and how was of greatest interest (as you can read in the recently published Nick Mount’s Arrival: The Story ofCanLit, Cohen started out as part of the early CanLit poetry contingent and published in small presses before he decided to move to the all-powerful melting pot of American song and become a star). His songs can be read from the page as poems and not a whole lot would be lost (OK! the spoken poetry people will disagree; yes, the delivery etc, but let’s move on). The luxurious arrangements that add layering to the musical side of his songs are therefore a pretty exciting thing to discover. Slean also did a solid job with Brel’s Ne me quitte pas and almost almost managed to make Queen’s spectacular The Show Must Go On intimate.
Singer-songwriter John Southworth was also in the program, performing some of George Gershwin and Cohen songs. He happens to be not the most communicative of performers. I was trying to understand his low-key, coarse-voiced, dispassionate approach and the best I could come up with is: imagine if the characters from Beckett’s Waiting for Godot decided to take up singer-songwriting? That. It’s certainly an original mode to operate in but I have yet catch the bug. Here’s a sample from his songbook.
AoT return to the TSMF for the reGeneration concert with young musicians of the song academy this Saturday July 27, Walter Hall. AoT were, beside Burashko, Berick and Mercer, Peter Lutek at woodwinds, Rob Piltch on electric guitar, and Joe Phillips on double bass.
Edited to add: Here’s the full list of pieces and composers with (in most cases) arrangers:
Old Photographs by Christos Hatzis
Anthem by Leonard Cohen was arranged by Andrew Downing
Who Cares by George and Ira Gershwin arranged by Andrew Downing
Hey, That’s No Way to Say Goodbye – Leonard Cohen, arranged by Gavin Bryars
Darkness – Leonard Cohen, arranged by Kevin Breit
Man I Love – George & Ira Gershwin, arranged by Kevin Lau
Swanee – George & Ira Gershwin, arranged by Shelley Berger
Take This Waltz – Leonard Cohen, arranged by Bryden Baird
Schubert’s Piano Trio No. 2 in Eb major, ii. Andante con moto
Good Mourning by John Southworth
Lonely Side of the Moon by Sarah Slean
The Partisan – Anna Marly, arranged by Bryden Baird
Ne Me Quitte Pas – Jacques Brel, arranged by Jim McGrath
Dance Me to the End of Love – Leonard Cohen, arranged by Andrew Downing
The Show Must Go On – Queen, arranged by Rob Carli
Le Figaro reports, pretty unequivocally and quoting sources close to the current director Stéphane Lissner, that Neef is getting the job.
First, let me bask for a minute in Lokalpatriotismus. How cool is this? *Basking, with sunglasses on. Basking, basking, basking*
Congratulations to Neef on this not at all small accomplishment. We haven’t always agreed on details, but I generally agreed with his approach to programming opera, from that notorious Tim Albery Aida a decade ago on. What I think about his decade at the COC I wrote in 2017 in this piece for the Globe and Mail.
On a personal note: we are precisely the same age. Good to see a GenXer take this important position in the opera world. We’re talking about a house that was founded by Louis XIV.
Now. According to the Figaro, Neef won’t take on the role until June 2022 and Lissner is to continue in this transition period. The paper (and ForumOpera agrees) is not too happy that some of the labour reforms announced will now have to be done by a lame-duck director, and how much authority will he have to execute those, they wonder. I’d speculate that Neef needed a sufficient withdrawal period to wrap up the COC projects – but I don’t know. A lot of drive-by-appointed CEOs in Toronto’s cultural life simply do a runner and announce they’ll be gone next season, period. This won’t be the case here, and I think that’s good. (Maybe the Santa Fe festival will also benefit from this slow shift.)
End of an era. Who will come after? Send in those bets.