November, 2005 - Nr. 11
Musical Notes
SFR. The performance season started some time back in September with opening concerts and good opera. Via Salzburg got off to a great star with guest artist Eliot Fisk, a world-renowned classical guitarist.
We can hardly wait for the next concert.
The
Toronto Symphony has been full of surprises since opening the season and
continues to walk new avenues with verve. The tried and true are not
forgotten, such as Ottawa’s fabulous National Art Centre Orchestra with
Pinchas Zuckerman conduction. And if that was not enough, we got to hear him
play Beethoven’s Violin Concerto with himself as the soloist while
conduction the orchestra.
How sweet it was! I have never heard a tenderer version. Nothing was miked and he really insisted that the audience reach for the music, every note of it. He was conducting the entire room totally without any effort whatsoever. This was an amazing demonstration of total control of time and space. This was the creation of new inner and outer spaces; the kind of moment Schiller speaks of when he says that true art can set us free.
To find your favourite composer, conductor or soloist
playing with the TSO or another fabulous visiting orchestra go to
www.tso.ca. You’ll be amazed what the TSO
has to offer in performances, education and opportunities for young
musicians!
Waiting for Wagner’s Ring Cycle
The first leg of the Canadian Opera’s performance schedule concluded with Handel’s Rodelinda after Macbeth and Carmen had made a good splash. This light-hearted playful opera I had reserved for myself to review. It was a great choice for balance, knowing that in the new year Wagner’s Ring Cycle will come to a glorious end before being resurrected in full for the opening season in the new Opera House in the following year.
The Italian plot is somewhat tedious, not as well developed dramatically as a Shakespeare play would have been, but it has a similar flavour story wise, such as feuding families, threats of death, and dying and so on. Except in Rodelinda the sway is comical and the one plotting villain everyone seems to fall for is the only well deserved victim in the end, giving the audience a great feeling of satisfaction. Much like children express their sentiment in a movie when they see the villain’s demise on screen the audience breathed a sigh of approval.
Of course this is all presented totally in a straight way and as a drama, but nevertheless comes across as a light-hearted soap.
All parts were more than well cast, certainly brilliantly sung in Italian. The often endless seeming arias demanded amazing vocal skills no one fell short of.
Danielle de Niese did not only master the singing with much ease, but was also very attractive to look at. Her acting skills enhanced the part and enraptured the audience.
Gerald Thomson gives proper pathos to his role of the betrayed Bertarido.
Michael Colvin as the current despotic Duke of Milan, Bertarido, is not such a tyrant as one would hope for, but balances his singing well with his emotional dichotomies.
The evil Marie-Nicole Lemieux, as the sister, anchors the proceedings with a weighty contralto voice. Self-serving advisor Garibaldo is sung quite traditionally by Peter Savidge. Daniel Taylor as the old serving friend to Bertarido, and alternating William Colucci and Kurtis Leon Baker as Rodalinda’s son round out the plot being used to forward the story and make it believable.
The one scene set was simply inspired, as were the costumes, both by Dany Lyne. Lightting desing separated the spaces well and the direction by Tim Albery made more than singers out of the performers.
Harry Bicket led the orchestra with a light touch through the score. This was a perfect ending to the early part of the COC’s Season. We are now awaiting the conclusion of Wagner’s Ring Cycle in the new year.
For much more information go to www.coc.ca.
