In review: Songbook VII at Tapestry Opera

Review

For the last few years, one of my favourite events is the Songbook series presented by Tapestry Opera. It's one of my favourite events because it's something I believe we should see more of here in Toronto. As Artistic Director Michael Mori pointed out in his preamble speech, the unfortunate thing that often happens in Canada with new works is that they only get heard once.

Talking with singers: Alessandro Fisher

Interview

"This is my first project with them, however I've been wanting to work with them for ages because I've not only loved their productions and recordings, but have also only ever heard positive things about the rehearsal and production process. It’s all very well putting on a beautiful piece of music, but the atmosphere that is created in the rehearsal room is absolutely crucial in developing a positive, friendly working environment."

At arm's length: Goerne & Hinterhäuser in recital

Review

Not only did Hinterhäuser make for an uncomfortable start to a recital, but he seemed to behave it poor, selfish taste. Goerne seemed prepared to continue singing, even if Hinterhäuser needed to scramble to save the missed page-turn; yet this pianist decided to stop the whole thing entirely, draw attention to the human error that may have happened beside him, and force Goerne to restart.

In review: An Evening with the Ensemble Studio

Review

With the incredible COC Orchestra on stage surrounded by the set of their current production of Mozart's The Magic Flute, the night opened with the overture and first five scenes of Mozart's La finta giardiniera, then the stunning Norma/Adalgisa duet scene from Norma. After intermission they closed out the night with the final string of scenes from Handel's Ariodante.

Don't miss: Lieder, Leaders, and Lovers

News

Sunday’s program will feature a broad range of music from from Tchaikovsky to Madeleine Dring, and it's not often one is treated to traditional Maori hunting music in the same setting as songs by Kurt Weill. Leo Doulton, who organizes the event, recognizes that unconventional nature of this program. "Absolutely, Kurt Weill almost certainly never heard Maori music, but that doesn't matter - they’re both dead."

Riders of the Purple Sage: meet Lassiter

Interview

"It's a rare thing to get to see a world premiere opera inspired by our local culture and history, and featuring a gorgeous set by Ed Mell that celebrates the Southwest landscape. I think audiences will find the story accessible, the scenes familiar, and the music incredibly expressive and moving."

An open letter to a rude bunch of operagoers

Humour

Maybe you were dragged to the opera against your will. Maybe you were guilted into seeing the show, because you knew someone in it. Maybe you were hangry, or maybe your ass fell asleep. Or maybe Occam's Razor applies to you and your disruptive crew, and you're rude, phone-addicted people who can't read the room.

In review: Snow

Review

"The absence of the narrative episode in which Snow White is bewitched into suspended animation by her jealous stepmother leaves a tantalizing question about how our heroine comes to be interred in a casket," writes Hurley in his director's notes. "Snow White's implied death became the conceptual starting point for approaching the three operas as a through-drama; a young woman at the end of her life searches her past for clues to her tragedy."

Riders of the Purple Sage: meet Jane

Interview

"Lassiter enters Jane's life and turns everything upside down. She is intrigued by and attracted to him, but also knows that he is outside her faith and his anger and hatred for the church is unsettling for her. However, he is the only man in the opera who affirms and admires her strength, while lovingly pushing back against her long-held beliefs."

Diegetic music in opera: 3 ways to use it

Humour

One of the most moving examples of this diegetic music technique is in that shattering finale of Poulenc's Dialogues des Carmélites. The nuns sing the "Salve regina" as they are led hopelessly to the guillotine; one by one, the voices peter out, and Poulenc even adds the horrific sound of a guillotine, as though he wants to make you wince and weep.