January 2001 - Nr. 1
Seasonal Delights
Next to the special foods of Christmas there is something else that nourishes us. After the body delighted in traditional delicacies and unusual treats the spirit too demands to have its cravings fulfilled. Nothing accommodates the need for beauty and aesthetics like music, especially if it is well performed and delivered in fine and appropriate surroundings.
Handel’s Messiah is one of those musical marvels that enjoy tremendous favour with vast audiences. Though originally not written as Christmas music, performances in Canada are preferred at his time, rather than Easter.
This time we heard the Messiah in the heart of Hamilton. The Centenary United Church, often used for concert purposes, was an appropriate setting for this sacred music, which was offered in honour of one of Hamilton’s most beloved citizens, Sister Maria Cordis, who has done a lot for music in this town. She was offered praise, thanks and flowers before the concert started under the direction of Boris Brott.
As first the National Academy Orchestra filed in and tuned
their instruments, followed by the Vox Nouveau Singers, so wonderfully
guided and strengthened by the Elmer Iseler Singers, and then the four
soloists found their places on the dais of the church near the altar, an
animated audience eagerly awaited the beginning. Depending where one was
sitting in the overcrowded church the sound was either magnificent or at
least mostly so. Under the balconies the orchestras sound did not travel as
well as in other locations, but soloists and choirs were heard loud, crisp
and clear, as was apparent as soon as 
Tenor
Mark DuBois delivered his first entry to the string of musical pearls.
Knowing that he likely sang this part around 700 times during his singing
career we were amazed at how new and fresh it sounded. We asked him about
this phenomenon. He admitted that he sings this part every time just a
little different. This way it is always fresh for him. No doubt the
certainty of being able to do it any which way he likes at any given time
allows him to create freely on a masterpiece without having any attention on
any of the mechanics of singing. His diction is always good, but simply
outstanding here. Every syllable can be understood with extraordinary
clarity. His voice, devoid of any vibrato whatsoever, masters even the
difficult coloratura stretches with a precision seldom mastered by others.
And despite this technical brilliance, or perhaps because of it, the
emotional impact of the message communicates even more.
Much the same can be said about the quality of the other soloist. Monica Wicher’s Soprano is equally pleasing and clear to the ear. Sandra Graham’s Mezzo-soprano astounds with an extraordinary rich range, and Baritone Mark Pedrotto balances the score with his rich and warm voice.
The audience’s appreciation was clearly demonstrated with rich and well deserved applause for such a fine performance of one of the most beloved of all annual musical traditions.
A Truly Merry Widow
The Toronto Operetta Theatre offered after 5 years another Merry Widow by Lehar. This time it was a much merrier and younger widow that sparkled on the stage; in fact the whole story line appeared to be fresher and younger than in a long time anywhere. It certainly did not hurt to have the much-touted Barbara Hannigan play this very charming widow in search of a suitor.
It
appears that every once in a while the powers that are decide on a new
favourite on the classical music horizon and Barbara Hannigan is its current
choice. Not that she does not deserve it, au contraire. She combines all the
desirable qualities in one so young. She can sing off the sheet almost
anything, she is willing and able to interpret totally modern musical
efforts and gets invited to sing the world premieres of such works; she has
excellent acting skills and moves generally well on stage. Her voice is
clear and very well controlled even in the high registers. Add to that very
becoming looks, a willingness to learn, and experiment, and a natural charm
and you have a winner.
The rest of the cast is also benefiting from a variety of interesting performers, which make the traditional operetta almost a whole new genre. In North America theatrical performers have a tradition of training in more than one genre. The lighter muse easily mixes in with the more serious one. Thus we have produced here stage performers who can act, sing and dance, and that in more than one style. This concept of education is still relatively new in Europe and perhaps it is the reason why some of our performers here do so well overseas. It is also the reason why the operetta in North America is taking on a variation in style due to these types of performers. Here operetta is no longer a little opera, presented in a more playful manner than its more serious relative. It also is not a musical in the popular North American tradition. It has become a crossover, a blend of all these different styles and probably deserves a new name.
In any event, this years offering of the Merry Widow sparkled in a totally new light, causing salvo after salvo among the audience, the likes have not been heard in a while in any theatre. Just imagine a chorus line made up of the male contingent of the cast, or another such dancing line up of wives, not dancing girls, at Maxims. The libretto seems to have experienced an overhaul most becoming to it.
Even though the performers were well chosen for all their parts and young and newer talent also was given a chance to perform, we liked some of them especially. Our attention was drawn to a wonderful young Buffo by the name of Elisabeth Beeler. This versatile performer sang and acted herself light-footedly into the hearts of the onlookers in the role of Valencienne, the respectable wife, the "anständige Frau" of the ambassador. She also has the timing of a good comedian. Fred Love brought a natural elegance to his Danilo, which played well with Barbara Hannigan’s Anna Glawari. Gregori Cross, which we have seen before at the TOT, again brought his great sense of theatrical presence to the stage. Here is a performer who does not mind being bigger than life in every sense.
All other performers did just as well, there were no distractions. Costumes and other stage accoutrements were chosen according to existing budget and worked out well. The only thing that could and should be improved more is the actual dancing choreography. Not so much that we miss the skill, but we do realise that the styles of dances are a mix of not all together accurate or appropriate choices on occasion. It is hard to imagine that we are to walk away with the feeling that everything in this production was meant to come across in the manner of vaudevillian persiflage.
This was an enjoyable evening at the theatre, good entertainment and certainly good value for the money.
Next the TOT presents Mark DuBois in a tribute to Ivor Novello in "A King’s Rhapsody". Call 416-366-7723 to make your reservation for this romantic presentation on February 4 at 2:00pm at the Jane Mallet Theatre.
Comments to: sfr@echoworld.com
