April, 2005 - Nr. 4
Opera York presents
a strong La Bohème
Sybille Forster-Rentmeister
Earlier in the season the Canadian Opera Company presented, as usual, a strong one/two program: Wagner’s Siegfried and Puccini’s La Bohème. We reported on both those productions.
After having enjoyed the COC’s lush Bohème presentation I was most curious to experience another version, one of a true community oriented opera company, namely Opera York. Since its inception 10 years ago by co-founders Philip Trow and Joan A. Sax Opera York has undergone many changes and experienced a steady growth rate in professionalism and popularity, the latter no doubt because of the steady learning curve and betterment. This is also what makes it so fascinating being part of a community oriented arts organisation. It is exciting to be part of a group that finds its members, players and volunteers over time, all with the same purpose in mind: enhancing the quality of life for a community by employing the resources so abundantly available to us- the arts.
In our hectic world the arts are a necessity like our daily bread. We should not be without. The respite that is afforded us through the joy that creativity produces has been widely recognised even in political and business circles alike. The therapeutic value cannot be overlooked. The benefits are manifold.
Opera York isolated specific needs for the culturally broad based Region of York, which have made the organisation so popular. Concerts for seniors has become a very successful model to make opera available to people that cannot sustain a full visit to an opera but enjoy a shorter sojourn into the world of musical make-believe.
The school program for students of varying ages has taken on new dimension by being available in French and English, thus being truly Canadian.
By offering performance opportunities for young and coming talent and mixing it with more seasoned and experienced performers the Opera York is offering career opportunities to our wonderful talent. No wonder then that the list of sponsors and supporters is growing. Recently Opera York was awarded 360 thousand dollars towards funding for specialized equipment in the construction of a new theatre being build in the St. Elizabeth High School for the Arts, an important development partner for the community and Opera York. Some of the young students have been already performing in the last 2 opera productions as part of a chorus.
This last performance was yet another stepping-stone in expansion. Instead of one performance the demand has grown to 2 performances.
La Bohème was simply wonderful! What surprised most was the tremendous energy the performers brought to the stage. The enthusiasm was palpable from beginning to end. About Mirela as Mimi - last seen in Carmen - it has to be said that the emotional output was genuine and very strong. Her sweet voice mastered the role well; she was in command and interacted fabulously with Rodolfo, the jealous poet. Tenor Mario Zhang’s robust voice is reminiscent of the best of Italian traditions and has been hailed as Pavarotti-like, something that was recognized and appreciated by the audience.
Scenes
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Andrew Tees as Marcello has become a crowd pleaser no matter which role he sings. He engages the audience with a flamboyant style of acting and a warm and rich baritone.
Janet Catherine Dea as Musetta is well known for her sparkly voice and personality, but came across a bit less than French in her Scottish looking outfit, yet somehow mashed well with Tees, who carried her around like a doll. Jay Stephanson as Schaunard, and Jan Vaculik as Colline complemented the other players as fun-loving but sincere friends.
Douglas Tranquada doubled as Benoit and Alcondoro, looking very distinguished at times.
There were Jonathan Lee, Franco Arturi, Herbert Hess and Bruno Trimmeliti to round out the cast and the Opera Chorus of cause, fleshed out by the young singers from St. Elizabeth School.
The action took place in a sparsely decorated stage space that was smartly defined by a huge picture like frame and few furnishings, as is to be expected in the Latin Quarter among starving artists. Even a bed was reduced to being a chair, in which Mimi lives her last moments.
The many arias were sung with much expression and especially the last scenes offered strong communication, extracting tears from the audience.
The orchestra under the baton of Geoffrey Buttler accompanied the story in such a way that the music always fit perfectly in, never stood out like a soloist.
All in all it was a most interesting and pleasing production. One must wonder what these people could do if given bigger financial support.
A fundraising gala will take place under the motto: Jewels of the Opera May 7th, 2005, at 6:30 pm at the Famee Furlane in Woodbridge. For tickets contact 905-763-7853 or email info@operayork.com. See you there!
