The COC’s nine-year-old production of Stravinsky’s shorts, The Nightingale and Other Short Fables directed by Robert Lepage has aged well — as family entertainment. It sells well, it brings children and rookies to the opera house, and this time around it put to work much of the COC Ensemble Studio.
For those of us who have seen it when it opened, the excitement has subsided. The production stitches together a selection of Stravinsky songs and instrumental pieces with the short opera The Nightingale into a puppetry-themed revue. While the children may rejoice the shadow puppetry illustrations during Pribaoutki and The Fox, the adults may wonder why this modernist composer is being given the Russian folklore treatment. In the pre-Nightingale pieces all the singers wear peasant clothes, and while this makes sense for Four Russian Peasant Songs (women of the COC Chorus, underpowered on the opening night), it does not for Two Poems of Konstantin Balmont (Danika Loren, bright-voiced and exquisite in Russian language) or Three Pieces for Solo Clarinet (the very engaging Juan Olivares).
The Nightingale itself is a strange bird, and Stravinsky thought so too. He composed Acts 2 and 3 after he had completed The Rite of Spring and Petrushka, thanks to a commission he couldn’t refuse, and Act 1 does remain stylistically apart. The opening song of the Fisherman and some of the surrounding woodwinds could have come from the Russian nineteenth-century opera, whereas the rest of the work fits in better with the invention, the sharp edges, the crafted-ness of Stravinsky’s mature oeuvre.
The story is, fittingly, bizarre. In the libretto by Stepan Mitussov based on H.C. Andersen, the courtiers of the Chinese Emperor are taken out into the nature to hear the nightingale. The cow and the frog confuse them at first, as they’ve never heard any sounds from the nature, but the live nightingale is finally found and they invite it to court. The Emperor is moved when the bird sings at his quarters, yet the Japanese visitors interrupt the jam with their gift, a mechanical nightingale, which also impresses the Emperor. The real nightingale leaves unnoticed and is subsequently banned for disobedience but returns for Act 3 to negotiate the Emperor’s release from death throes. Morning dawns, Emperor is alive and well, Death chased away with song.
Parable on the supremacy of nature over artifice? Not so fast. The music Stravinsky gives to the Nightingale is a whole lot of beautiful but also rather cool and detached coloratura atop of the text describing wet foliage in the night. Yet to the stilted and ceremonious figures of the imperial court—and to Death—it sounds extraordinary, perhaps because free. Free from emoting too, as will operatic expression attempt to free itself from voicing and enticing straightforward emotion for much of the rest of the twentieth century to come, excepting Puccini. “For me, music is reality… and like Baudelaire, but unlike Messiaen, J’aime mieux une boîte à musique qu’un rossignol,” Stravinsky said in his Dialogues with Robert Craft (’82).
Robert Lepage and his collaborators in Ex machina intuited exactly right this artificial, laboured over and crafted nature of everything in this piece, and gave every character a puppet double to speak through – except, again, the Nightingale, whose mechanical double flies around as it pleases (on a long stick supported by a handler disguised in black). This is a perfect role for Jane Archibald who, when not holding the bird, roams freely among the characters and supplies self-contained coloratura utterances. Other principals are all in the pool of water occupying the orchestra pit, while the orchestra is on stage, behind the action. The original Dyagilev production designed by Alexandre Benois also played with upstairs-downstairs, and placed the Nightingale and the Fisherman inside the orchestra pit.
While he was barely heard in Part 1 as one of the quartet of The Fox, Oleg Tsibulko got back the volume by the time he returned on stage as the Emperor in Part 2. Lauren Eberwein as the Cook and Lindsay Ammann as Death in a large crowd of small roles had a bit more substance to work with and they managed to leave mark with what they had. Owen McCausland secure, full tenor was very distinct in Part 1 and returned in Part 2 as the Fisherman. He was comfortable in Russian, and vocally even throughout the range. Occasionally a bit more inflection and nuance was called for: there’s certainly sufficient force there, but there’s also a certain over-relying on the oomph of the voice, whereas sometimes modulation is what’s needed in the text or the scene. It will be interesting to watch his voice as it likely grows more dramatic with years.
The crown achievement of the evening is Stravinsky’s music itself, incapable of dullness if honoured properly, and the COC Orchestra conducted by Johannes Debus honoured its crispness and animation. From the Ragtime which served as the overture (and which could have been written yesterday, by John Adams) to the last bars of the rising sun of The Nightingale, the lucid and nimble orchestra kept the evening, potentially weighed down by dolls, gallons of water and crowds of courtiers, in swift and steady motion.
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.
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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.
I’m really liking the number of the TSO conducting debuts in the new concert season announced yesterday. Han-Na Chang, Trondheim Symfoniorkester’s Chief Conductor is coming to Toronto next season, and so is Hamilton Philharmonic’s Gemma New. Barbara Hannigan and Tania Miller return. Melanie Leonard, the Sudbury SO’s MD, debuts with an, alas, Fred Penner program, mais bon.
Among the notable non-returns this season, Keri-Lyn Wilson. I was hoping she was on the list of potential MDs, but maybe she is indeed but the scheduling just couldn’t be worked out this season.
Among notable returns, the TSO regulars Juanjo Mena, Andrey Boreyko, Thomas Dausgaard, Donald Runnicles. TSO regulars who are otherwise engaged this season: Stephane Deneve, Hannu Lintu and Gianandrea Noseda, and that is just fine. It’s good to mix it up.
Because the conductors we don’t usually see on the TSO roster who will be there next season: Louis Langree, the French-born, Cincinnati SO MD, Karl-Heinz Steffens, German-born MD director of the Oslo Opera, Aurora Orchestra’s Nicholas Collon and Kirill Karabits, Bournemouth SO’s and Staatskapelle Weimar’s MD. Interestingly, Aziz Shokhakimov, known to the readers of this blog the very young, underdog candidate from the documentary Dirigenten! that I recently reviewed, will also have his TSO debut.
Not a whole lot of new in the soloists department – a lot of names we see just about every year (Zukerman, Lisiecki, Goodyear, Josefowicz). Repertoire-wise, the interim era in an orchestra’s life is not usually time to experiment and try out new programming visions, so the war horses it’ll be. An extremely modest sprinkling of Debussy and Ravel, exactly one Stravinsky and one Berlioz, zero R Strauss and Scriabin, and not much past early 20th century. New Creations Festival is usually announced much closer to the date of the festival, and there is a chunk of empty dates in early March so I’m hoping it’ll return. New Creations Festival, it has been confirmed, is cancelled for good. BTW, the TSO website now has a nifty search engine for the 2018-19 season, worth spending some time with.
And what’s ahead for Peter Oundjian? His tenure as the MD of the Royal Scottish National Orchestra too ends this year, Thomas Søndergård taking over (also one of the regulars returning for a TSO gig next season). Oundjian’s agency website offers the following on the artist’s page: Oundjian was recently named Artistic Advisor for the Colorado Music Festival, and this season he returns to the Baltimore, Atlanta, and NHK Symphonies, and the Los Angeles Chamber Orchestra. Maybe a few years of freelancing after two busy MD-ships, I am guessing.
This and next season’s Interim MD will be Andrew Davis. As Opera Ramblings put it in his recent post, he won’t be “hogging the podium”, which is an excellent thing for an interim MD to do.
Really eager for some TSO news soon, though.
(And let’s hope for no more program copy faux pas like the unfortunate Ligeti graf that went globally viral-ish on Twitter. I found myself having to explain to Twitter friends from Seattle and Paris that no, the TSO is not usually terrified of the twentieth century and new music and that no, we don’t usually print warnings in programs and that I’d attribute the graf to a distracted program editor rather than read too much into it etc etc. )
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.
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For detailed info on the musical tidbits in the podcast, head here.
My own Best of 2017 coming out before end of year.
went to the Opera Atelier and actually found myself enjoying their Figaro. The dance is used in the usual OA fashion (corps de ballet with men in tights and women in hoop skirts show up, do what they do in every production), but there was not a lot of it, and I decided not to comment on it in the review. The stock gestures would appear in the odd solo aria, and it wasn’t too in-yer-face. All in all, Figaro as commedia dell’arte rather worked for me.
A q & a with Barbara Hannigan, which we did over email. I sent her over a few questions, she sent back the replies, so it’s not the most dynamic of conversations, but it’s still very revealing of some of her attitudes, I thought. What and who is being praised, what and who are deemed not good enough, or ‘more accessible’. Including Alma Mahler in the recital program, then explaining that she is not as good as the men on the program, and that she’s included essentially because she was a lover to some of the male geniuses is… interesting. Also, between you (a handful of my faithful readers) and I, not sure if I’ll be going to this recital at all. I listened to all the songs while writing this piece, some in multiple versions, and I can’t imagine them ever being the most exciting of programs, sung one after another, by the same voice. Though Hannigan insists the Schoenberg and the Webern sets are inherently dramatic, she just needs to embed and do justice, rather than interpret, as an audience member I must disagree. Everything depends on the singer. For instance, I’ve listened to two or three versions of Berg’s Sieben frühe Lieder while researching, and none compares with a von Otter recording of the cycle. A singer needs to give life to these things, otherwise – zzzzz. Here by the way is the program with Reinbert de Leeuw, an eminence grise of the Dutch new music circles.
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.
[I liked it but didn’t love it, is how I’d sum it up in one sentence. Here’s the review that was just published in the Globe online. What I’d like to add as there wasn’t much space to analyze smaller roles: Michael Brandenburg’s Matteo needs to have more appeal. A better mustache, a less whiney personality? Something. As it is now, it’s not clear why Zdenka would wreck her life for him.]
– Tim Albery’s Arabella –
Arabella is a money story more than a love story, I realize halfway through Tim Albery’s elegant production that opened at the Canadian Opera Company Thursday, and the last of the Strauss-Hofmannsthal creations reveals itself as an unexpectedly sombre enterprise.
Money is its core, and also an escape from a troubled family, as there is no other way to account for the heroine’s decision to marry a rural landowner with a short temper and shifting moods and leave Vienna and everybody she knows for the countryside at the edge of the empire. Much is made in the libretto of the difference between the sophisticated but corrupt metropolis in decline and the moral simplicity of rural life, but Vienna to which the landowner from a far-flung province arrives to search for his bride is a rather civilized place where a woman can date three people at once, or live dressed as a man and date nobody. Once married off to the dark stranger, Arabella will be, as she herself sings in Act 2, obedient as a child.
Albery’s approach is as directorially neutral as they come, with sets in grey, costumes largely white and black in fin-de-siècle tailoring (both by Tobias Hoheisel). He lets the libretto breathe, and lets Arabella be a conflicted story of a frantic search for The One amidst a family solvency crisis. The Waldners are a titled family trying to fend off debtors and marry off Arabella, the reluctant older daughter, when the wealthy but uncouth Count Mandryka of the South Slavic lands arrives. Arabella and Mandryka are not the most logical of matches as they differ in just about everything, and she is after sincerity (or is it his fortune?) while he is struck by her beauty (or is it the insider Viennese glamour he is after?), but they are certain they are meant to be. Arabella’s younger sister, Zdenka, lives as a man as a money-saving measure, but also because she enjoys it – she will rather remain a boy, she tells her choosy sister right at the beginning, than be a woman like her: “proud, coquettish and cold.”
Some resplendent music is given to the sisters in the intimate Act 1 – the conversations, Arabella’s aria Er ist der Richtige für mich and the concluding monologue in which she considers whether to settle for Count Elemer, one of her other suitors. The strings are used to flirt with but promptly unsettle any outpouring of lyricism in Mein Elemer. If there is one certain thing, it’s that the sisters love and protect one other. Zdenka is a peculiar character, gender-defying while also being highly sexual: She is in love with her pal Matteo, who is also one of Arabella’s suitors, and lures him to Arabella’s bedroom by pretending to be her. The resulting confusion – Mandryka has overheard something about another man getting hold of Arabella’s bedroom key – almost wrecks Arabella’s engagements to Mandryka. Almost. After an agonizing Act 3 argument among the principals which wakes up other hotel guests at an ungodly hour, matters get solved. Mandryka trusts Arabella again, she forgives him his distrust and Matteo seems to be finally taking interest in Zdenka.
It’s Erin Wall who gives Arabella coherence and depth amid her contradictions. She is exquisitely melancholy in her first amorous duo with Mandryka in which she foresees the time when she will call him master. There are subtlest hints of regret in her individual farewells with the favourite Viennese suitors, and her request to Mandryka to have one more hour of dancing at the ball before she is his and his only. There is emphatically not to be any dancing with other men from then on. It’s no coincidence that pure spring water works as an important symbol in the opera.
Jane Archibald is a sweet and more-boyish-than-masculine Zdenko. Archibald’s voice, with its bright and secure high notes, easily soars above all the duos and group scenes. Both Wall and Archibald are apt operatic conversationalists in this, Konversationsstück genre and it’s to their and Albery’s credit that parts of Arabella feel like naturalist straight theatre. The COC orchestra under Patrick Lange is nimble in its tempos alongside the goings-on on stage, often sounding like a much lighter orchestra. It’s well-balanced, brass well reined in.
Bass-baritone Tomasz Konieczny gives Mandryka the required rough edge and abruptness. His timbre is fairly bright for a baritone, while his vocal heft is Wagnerian, which makes Mandryka stand out from the Viennese crowd. I’m all in favour of South Slavs, imaginary or historical, appearing in Austrian and German opera and operetta, as I’m from that part of the world myself, but I just couldn’t warm up to the man. He easily seduces the elder Waldners, however, with his plain talk and ostentatious spending. There is a darkly comic scene in Act 1 in which he literally opens his wallet for Count Waldner (excellent John Fanning) to help himself with whatever he needs to settle his gambling debt of the day. Strauss distances us from the ugliness of the situation with the cheery melody given to the returning line, “Teschek, bedien dich!” – “Help yourself!” – and by turning Waldner into an overall comic character, but the discomfort lingers on.
Strauss wanted to repeat some of the success of DerRosenkavalier, but those of us who are fans of DerRosenkavalier will find it hard to love Arabella, a piece with less dazzling music and fewer dramatic layers. Strauss taunts us a little in Arabella‘s score, too, with Rosenkavalier motifs wiggling their way into the sisters’ conversation about the roses, and those soaring moments when it sounds like one or both sopranos are about to take a turn into some version of the final trio of the Rosenkavalier. Still, there is much to appreciate about Arabella – its knowingness about the ways of the world and the female lot, and that sublime soprano music most of all.
Head over the Globe to read my article on Tim Albery’s COC-Santa Fe-Minnesota produced Arabella which will open at the COC next week. I look at the politics and geography of Hofmannsthal’s libretto — it concerns me not only as a lover of Strauss-Hofmannsthal collabs but personally as well, as I am South Slav, like Mandryka. South Slavs appear in Austrian and German opera and operetta with some regularity, and I’m all in favour. The Merry Widow, for example, both lampoons and celebrates Montenegrin culture, and I can’t really muster any amount of cultural appropriation outrage (actually these cultural crossings are crucial if humanity is to progress and de-parochialize, but that’s a topic for another post. Cultural theft is also another, and very different topic).
Strauss consulted South Slav folk song sources and gave Mandryka some of the stuff, if of course Straussified and deconstructed. But the text to “I went through the wood” sounded familiar, and after some memory refresher journey through YouTube, I remembered and tracked down the actual song that still exists and is still being performed in various musical arrangements in Montenegro, Serbia and Bosnia. The text is utterly absurd, and perhaps an allegory for proposing or propositioning or getting married:
I went through the wood, I don’t know which one
I met a girl, don’t know whose daughter
I stepped on her foot, don’t know which one
She screamed, no idea why.
which is almost word for word (with one extra line added) what Mandryka says:
Gieng durch einen Wald, weiss nicht durch welchen
Fand ein Mädchen, weiss nicht, wessen Tochter!
Trat ihm auf den Fuss, weiss nicht auf welchen,
fieng es an zu schrein, weiss nicht warum doch:
seht den Wicht, wie der sich denkt die Liebe!
Now, stepping on somebody’s foot is odd, but there’s a slang expression to step on a crazy rock, stati na ludi kamen that means to get married, to get hitched, so maybe it’s connected. I also read in a Balkan folkie forum that in some parts of Serbia this version of the song is usually sung at weddings. (There’s another version of I walked through the wood, in which there’s no stepping on feet but in which the man and the woman come across each other and just know they’re meant to be.)
I think Hofmannsthal and Strauss knew a thing or two about the Balkans. There are clues that Arabella and Mandryka are meant to be, and this song appears as one of those clues, I think. I don’t think it’s there to illustrate how bizarre those “Slavonian” songs are, though that’s a legit surface read too. It’s both a clue, and something that’ll sound absurd to the Viennese.
Another thing also intrigued me. Zdenka (a Slav name, by the way) lives as a man Zdenko because the family can’t afford the dresses, the balls, the accoutrements required to bring another daughter into the high society. This is also what has been happening in some impoverished families in rural, mountainous parts of Montenegro, Dalmatia, Bosnia and Albania. There is no money to raise a daughter, so she is raised as a boy – and will later dress as a man, work as a man, run the farm or the household as a man. In order to be able to live as a man, though, she can never marry — or even date. Did Hofmannsthal know about the Balkan sworn virgins (virdzinas)? I wouldn’t be surprised. (Croatia and Bosnia don’t have them any more, the last one in Montenegro died recently, but Albania still has a couple of dozen, to the delight of western documentary filmmakers, journalists and novelists.)
A few interesting things coming up in September. In my new The Wholenote article, I go on a bit about the Sept 23 recital (see below), but there will be more concerts of interest. For ex:
10 September 2017, 12 PM: University of Toronto Faculty of Music. World of Music: Mysterious Barricades. A cross-Canada concert in honour of World Suicide Prevention Day. Lorna MacDonald, soprano; Nathalie Paulin, soprano; Monica Whicher, soprano; Russell Braun, baritone; Judy Loman, harp; Carolyn Maule, piano; Tracy Wong, conductor. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-408-0208. Free. [I may write about this one.]
19 September 2017, 12:10 PM: Rising Stars Recital. Students from the Glenn Gould School. Nine Sparrows Arts Foundation/Yorkminster Park Baptist Church. Yorkminster Park Baptist Church, 1585 Yonge St. Free; donations welcomed. [Still no info about who is singing and what.]
25 September 2017, 7:30 PM: Canada in Words and Music. Toronto Masque Theatre Salon Series. Shaftesbury Atrium, 21 Shaftesbury Ave. $25.
Now, though, more on the Imperfect Recital – – – – – – – – – –
There are several song events worth your time this month, but the one that stands out will require a trip to upper Parkdale and Gallery 345, an unusually shaped space that’s becoming the recital hub of West Toronto. On the program for “The Imperfect Art Song Recital” (September 23 at 6pm), conceived by the soprano Lindsay Lalla, there is music by two living composers – Toronto’s Cecilia Livingston and Brooklyn-based Christopher Cerrone – as well as Strauss’ Mädchenblumen, an Anne Trulove recitative and aria from Stravinsky’s The Rake’s Progress, and a brief musical theatre set with Carousel and Showboat songs.
The imperfect as a recital theme may sound unusual, but it’s a question as old as the arts. It’s also a personal notion that kept Lalla focused on teaching and the vocal health of her students and at a distance from performing and concert stage. “My strong technical focus in my teaching carried over to my singing and I felt almost paralyzed trying to find perfection,” she explained when I asked what the story was behind the title. After years of working on other singers’ voices, the minutiae of their development, health and rehabilitation, the goal of perfection struck Lalla as a little overbearing. What if she created a whole program around the fact that there’s no such thing as perfect singing, a perfect lover, a perfect human?
The theme of imperfection runs loosely – er, imperfectly – through the texts of the pieces on the program. “The Strauss songs compare women to flowers and to me represent ‘old school’ classical music where perfection is an appreciated aesthetic,” she says. Livingston’s songs “explore the theme of an absent lover, and I find it really interesting that absent lovers are always perfect.” The character of Penelope, that mythical perfect wife of antiquity, appears in a Livingston song as well as Lalla’s own drawings (she admits to something of an obsession about Penelope) which will be on display at the gallery along with art by clarinetist Sue Farrow created during rehearsals.
Then there’s the Cerrone song cycle on the poetry of Tao Lin. The 18-minute piece for soprano, clarinet, percussion and piano, I Will Learn to Love a Person, can be found in its entirety on the composer’s website; on first listening it sounded to me like plainchant meets American minimalism, with shades of Ann Southam. Its engagement with text is fascinating – and I don’t use this word lightly. Lin is now primarily known as a novelist – Shoplifting from American Apparel, Taipei, Eeeee eee eeee – but he had published poetry as a young writer and Cerrone made a selection of poems that rang particularly true to his experience. The composer’s own statement highlights Lin’s accuracy about “millennial lives” and Lalla agrees, but this Gen X-er can tell you that Cerrone’s piece, like any good music, speaks to all cohorts. (Some of Lin’s fiction, Shoplifting for example, a novella of young impecunious lives in NYC’s emerging ‘creative classes’ flowing on vegan smoothies, band following, brand savvyness, internet, psychological opaqueness of characters and overall scarcity of explicit feeling will remind of Douglas Copeland, who’s probably an ancient writer to the millennials.) Lin made a selection of his poems available online, and I’d recommend listening to I Will Learn to Love a Person alongside the poem i will learn how to love a person and then i will teach you and then we will know to appreciate fully how they enhance one another.
The first piece by Cerrone that Lalla ever heard was this song cycle, and it impressed immediately. To wit: “It hit me hard!” She decided to do the chamber music version and invited two of her best friends, husband and wife Brian Farrow (percussion) and Sue Farrow (clarinet). The pianist and Lalla’s accompanist in other songs on the program, Tanya Paradowski, happens to be their niece. “We’ve been rehearsing up at their cottage, with the sounds of vibraphone over the lake… I can’t imagine what the neighbours must think.
“Because there is so much repetition on just a few notes, the focus goes to the text,” she says of the inner mechanism of the cycle. “Just like in the recitative of an opera, it’s now about the words, and the emotion behind the words. And the accompanying instrumental part is very repetitive, so you instinctively listen to the words to find out what’s going on. So, over top of this unconventionally textured background (quite an unusual mix of instruments!), you get just words. And they happen to be on notes. I think this is a brilliant way that Cerrone is highlighting the directness of Tao Lin’s text.”
It was actually composer Cecilia Livingston who first recommended Cerrone among a few other composers to Lalla (the two women have known each other from high school). Livingston’s own songs, too, Penelope, Kalypso and Parting, are going to be in the recital. Livingston’s website lists an impressive number of commissions, collaborations and fellowships – including a recent research fellowship at King’s College in London with one of the most interesting Verdian thinkers today, Roger Parker – but also an array of publications and papers both academic and journalistic, including her U of T PhD thesis on “the musical sublime in 20th-century opera, with a particular focus on the connections between the sublime, the grotesque, minimalism and musical silence.” There are also audio files of her work, including a good number of songs. I was eager to ask this vast and curious creative mind about her work.
In which art song features prominently, it turns out. “I just finished a commission for the Canadian Art Song Project, which reminded me that art song is one of my favourite things to write, period! It calls for this very strange close reading: scrutiny of a text combined with a huge, bird’s-eye view of its emotional terrain,” Livingston says. “Northrop Frye wrote about this, and he titled his book from Blake: The Double Vision – seeing a text both for what it is, and for what it can be in the imagination. And then also – for a composer – in the musical imagination, in the ear.”
Her three songs in the Imperfect recital explore a style that she describes as “somewhere between art song and torch song. Penelope and Kalypso are both portraits of Homer’s characters, of women who are waiting; both songs have weird, dark middle sections: one is sort-of-aleatoric and one isn’t, and I can see I was working out different solutions.” With Kalypso, Livingston was looking for a new way to write for coloratura soprano and ended up thinking about scat singing and the Harold Arlen songs she loves, like Stormy Weather. “I think Duncan [McFarlane]’s lyrics for Kalypso are one of the most extraordinary texts I’ve ever worked with: beautiful, intricate layers of language; so much that the music can shade and shadow and shape.”
A pianist by training, Livingston composes by singing as she writes: “It helps me build on the natural prosody of the language and makes sure the vocal line is comfortable: that there’s time for breath, that it’s well supported musically, that it sits comfortably in the tessitura, etc. – even when it’s challenging.” The process of finding a text that will lead to a song is more intuitive, harder to pin down. “I’m looking for something that catches my inner ear: an image, mood, the sound of a phrase. When I come across that, I can sort of hear the music for it, and then I know I can work with it. I don’t hear actual music yet, but I can hear the intensification that music can bring. Which sounds slightly bizarre; it’s probably easier to say I get a particular feeling in the pit of my stomach.”
She doesn’t entirely buy the argument that simple, unambitious or bad poetry makes better (because easier) text to set to music. “Look at the riches of Alice Goodman’s libretti, or the ways that Britten illuminated all sorts of texts. If a writer savours language – its sounds and its meanings – then I’m interested.”
Among the larger projects on Livingston’s agenda, there’s a full-length opera in the works for TorQ Percussion Quartet and Opera 5, with the world premiere in Toronto scheduled for the 2018/19 season and a European premiere in 2020. “I’ve admired TorQ Percussion Quartet’s musicianship since we met in 2008, and I wanted to write an opera with them the moment I saw their incredible performance of John Luther Adams’ Strange and Sacred Noise,” says Livingston. “They have a dramatic physicality to their performances that is perfect for contemporary opera.” And Opera 5 produced her first chamber opera: “We built the kind of really supportive friendship that I wish all young composers could have.”
And what does her music feel like to a singer? Let’s let Lindsay Lalla have the last word: “I adore how lyrical and melodic Cecilia’s songs are. I feel that they were written like mini operas, with so much emotion to explore in once piece… One of her musical instructions in the Kalypso (over the introductory coloratura) says: “Ella-Fitzgerald-meets-Chopin, vocalise-meets-scat.” As a singer, I fell in love with her just from that.”
The COC-co-produced Wozzeck (with Salzburg, Met, and Opera Australia) directed by William Kentridge will be streamed on Medici TV this Sunday at 2PM Eastern. Watch it here. Medici will ask you to create a free account with a working email after a couple of minutes, so you might want to do that in advance.
I read somewhere that the Met will have it in 2019, so I doubt we’ll get it in the 18-19 season, but maybe the Met will have it in the Fall of 2019, which leaves a slight possibility that we may get it before NYC. We’ll stay tuned.
Here’s a short Salzburg Fest video with Kentridge talking about his ideas for the production: