December, 2005 - Nr. 12
Mozart chuckles in Toronto
SFR. While the world prepares for Wulfi’s 250th birthday in January of 2006, some parties are already underway. Opera York was one of the earlier congratulants with a 3 day production run of The Magic Flute. One of the performances took place in the familiar Markham Theatre location, and the two others in the new and future home of the popular opera company. This amazing new venue has been built by Diamond and Schmidt, the same architects that are also responsible for the design of The Canadian Opera Company’s new building on University Avenue. At one of the COC presentation the firm’s research into the best opera houses on the planet was explained. This vast body of knowledge and understanding of technical intricacies in regards to sound and performance spaces is also incorporated into this incredible, yet much smaller venue. Born as a tool to teach and interact with communities the St. Elizabeth Performing Arts Building is adjoining a catholic school by the same name.
It must have been very exciting for the members of Opera York to create in this innovative space.
The result was startling. There is not a bad seat in the house. Even in the last row of the balcony as little as a wrong breath can be heard and except for about four seats in the back the view of the stage is equally good. Mozart’s Zauberfloete - Magic Flute - found a multicultural homage paid to itself, and I think that Mozart would have chuckled at the unique way the various cultures were included in the production. Far eastern sentiments were woven cleverly into the fabric of the story with visual aids.
Scenes from the Magic Flute
The rules explained
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Interpreting the rules
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Suicidal notion
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United
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Being
a traditionalist myself I would have preferred a classical approach to the
theme, Freemason’s symbolism and all, but that would be a bit much to hope
for in a burgeoning opera company that so strongly encourages newer talent.
Besides, that original version they only dared to produce once at the MET,
or so I heard. That is why it is so acceptable to experiment a bit with
variations on a theme for the sake of the actual cultural mix of the
audiences in the vast stretch that makes out the Region of York.
The production was well designed and structured with a simple but effective set of 6 tall columns of staggered height. They could be rearranged easily to shape different spaces, especially when the lighting design added its special touch to create the right mood in reflection of the action. From the hallowed halls to the feeling of underworldly darkness when meeting with the Queen of the Night we feel and experience the different flows of good and evil, bright and brilliant, playful and simple or plotting and conniving.
Supporting what was happening on stage was the orchestra, which sounded very rich and crisp from its sunken pit. It was clear that the musicians revelled in the superbness of the sounds that can be produced in that theatre space. It was also the first time the audience could fully appreciate the professionalism of Opera York’s orchestra. With Geoffry Buttler’s sensitive artistic and musical direction the best possible version was created of this most ambitious project. The experienced Penelope Cookson lend all her considerable skills to the technical management of the performance and made it run like clockwork, which left the singers on stage to shine.
Keith
Klassen as Tamino cut a fine figure on stage. He was very in command of his
part. He appears to be a good team player. Still in the developing stages of
his career he does not have to settle yet on a particular genre a
nd
can still develop his voice into any direction. We will be much interested
to follow his future appearances and to see if his voice will gather depth
and strength and loose the current tremolo.
Pamina
was sung by Arlene Alvaro, a little lady with a very big voice. Her soprano
is as clear as a silver bell and very rich. She sang her part without any
effort and brought nice emotional depth to her role. She is definitely one
to watch closely!
Eva Rachel McLeod as Queen of the Night created her role with a cutting edge to the voice and a demeanour reminiscent of a Cruella.
Kenneth Baker as Sarastro commandeered his part beautifully with good stage presence and a pleasant bass voice.
Julien Patenaude, baritone, delighted with his great sense of humour as Papageno and his Papagena, Tonia Cianciulli was equally playful.
All
other characters served well to round out the cast, proving once again that
a fledging opera company can achieve great effects. Offering a training
ground for students and newcomers, keeping artists working and developing,
making opera available to a large contingent of the population, and that now
in a setting with superior technical options is a vital part of any society.
Finale
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The next project in late December is Humperdinck’s Hansel and Gretel, an all time family favourite. Order your tickets soon at 905-763-7853.
