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December, 2006 - Nr. 12


The Editor
Reason for the Season
Friedliche Weihnacht
Christbaum für alle
A Christmas Dream
An den Christbaum
Die Weihnachtsbäume
10th Christkindl Market Kitchener
Opera York's 10th
K-W & Beyond
Neuer Pastor...
Mozart Celebrations
Der November Vortrag
Remembrance Day in Kitchener
Martini Tanz
Carnival is Back
Dick reports...
Sybille reports
Ham Se det jehört?
Hausmann's New Film
Films Germans are watching
Deutsche Kultur...
National Ballet of Canada
Canada's Postal Elves
Private Schools in Germany
Cardiovascular Disease
Fuel Cells by VW
Mexico Honors Beckenbauer
Klinsmann Not Coaching
Blackout Baby Boom
Identity Theft
Ontario Human Rights
Ontario Benefits from Skills

Opera York’s 10th Season
Starts Strong

Sybille Forster-Rentmeister

Full houseThe performance of "The Marriage of Figaro" was exactly the reason why people go the opera. It was fun for the whole family!

The entire incredible effort that went into producing this Mozart favourite for just 2 performances is to be applauded by all involved. Good ensembleOne imagine a full production in Italian with subtitles in English, nine soloists and a chorus, an orchestra, an artistic director and conductor, a set designer and stage manager, someone to look after costumes and lighting, and , and…and they are all having fun! Just like Mozart intended!

Great acting

When all the technical aspects come together beautifully with the artistic perspectives, when the talent is happy and able, when the theatre is full as it was, then enthusiasm develops that is like a wave, which sweeps across the audience and carries it away onto a sea of pure pleasure that goes beyond spectatorism. One becomes part of the proceedings on stage, is part of the cast, and knows when something is moving well and deserves extra applause or is asking for a pregnant pause in anticipation of the plot development. One gives in to the rhythm of the music, to its alluring qualities, to its counterpoint concoctions. One waits for the next funny moment like one waits for a bonbon to melt in one's mouth, and when it happens one is happy that one did not miss the moment.


Such moments were created with the Marriage of Figaro. Especially Lucia Cesaroni as Susanna, being almost non-stop present, brought to the stage an incredible energy. She sparkled in the chemistry that developed between her and Andrew Tees as Figaro. Her effervescent personality, her fabulous soprano, reminding me a little of a Callas colouration, totally commandeered the plot. Fabulous chemistryHer acting ability set the standard for this production and every other performer outdid him or herself, perhaps because of it.

Andrew Tees was his usual onstage extrovert. We have come to love his big gestures and big strides on stage, and his pleasant baritone voice booms with quality precision through the theatre. He and Lucia Fine plot!Cesaroni had excellent timing between each other, as did the rest of the cast, which is very important to deliver potentially funny lines.

The character of Cherubino, a "Hosenrolle", was acted well by Adriana Albu, even though the freshAnimated performance young voice was perhaps a bit too feminine. Such parts are always difficult to balance and portray, but are nevertheless great fun and add to the confusion of the plot, if involuntarily.

The pompous and philandering Count Almaviva was made to be very authentic by Matthew Zadow, baritone, a protégé of Bruce Kelly.

Mounting Tensions

Stacy Carmona, another fine soprano voice, sang the Countess Almaviva. Her ability to portray the prim and proper wife, bemoaning her husband’s straying ways, gave Final resolutionthe whole plot a believable anchor.

Ramona Carmelly, mezzo Soprano, as Marcellina manages quite well to turn herself from besotted bride to adoring mother, and Gerrit Theule and Joseph Antonio both perform dual roles and filled in the ensemble extremely well.

Geoffrey Buttler managed the talent of these fine performers as well as the orchestra very well, allowing them their personal temperamental choices to strengthen the plot. Madeline Young made sure that everything ran smoothly as stage director and the set design of Frank Pasian allowed free movement to flow on stage. Conflict and agreementIt was nice to see those columns from the Magic Flute back on stage. It shows that the company is developing a good base of props and elements for future productions.

We can hardly wait for the next offering, which will be Verdi’s La Traviata in March with Sinead Sugrue as Violetta, Sabatino Vacca conductor and Artistic Director. Go to to find out more.

Big Curtain Call

Next for us before Christmas is Via Salzburg with a seasonal offering at the Glenn Gould Studio, Toronto, on December 14 and 15. More under .


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