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Urban Shocker's Neighbourhood Watch

I'm not a pot head ( honest ... ) but there are days when I can't stop eating either, slim and lovely though I may be. Last night, after a late supper ( salad! ) I made for the President's Choice vanilla ice cream that I'd already been dipping into for a few days. After scooping it demurely from a bowl for a while I thought fuckit and just ladled it out of the carton ... until it was all gone! I had about 3,000% of my weekly trans fat allowance in one sitting. EPIC!!!

Ambrose put up with me for 18 years, and it was definitely "opposites attract" with us too. We met shopping ... near Holts. Oddly, he was the butterfly in our relationship.

I heard an earlier version of the 5th - which didn't include the six chords - on the radio a few weeks ago, recorded by the Lahti Symphony Orchestra. I was startled by their absence, but the different version worked beautifully, I thought.
 
The final installment of the TSO's Sibelius Festival (Dausgaard) has left me very surprised.

I liked the two serenades with Pekka Kuusisto, they were an excellent start to the concert. I was more impressed that Pekka Kuusisto took a seat in the violin section during the 5th Symphony that followed.

The 5th Symphony: dashed is the word I will use to describe my reaction to those early applause types in the audience -- they killed the dramatic effect of the last six chords of the 5th Symphony. I was enraged. The orchestra played this work beautifully, I thought.

The biggest surprise is the effect that the 6th and 7th Symphonies had on me; they're absolute beauties, each in their own way. I thought that the 5th set the table (compositionally) for these two last symphonies. All three symphonies had a different story to tell, still, each was a Nordic story. Dausgaard has one of the very best string abilities of any conductor around today, I will look forward to his Bruckner next season. In all frankness, Dausgaard's mastery of the entire orchestral sound is just splendid.

I wish I could hear this festival again.

-- Dausgaard -- he does consistently excellent work with the TSO. We should make him a Torontonian.
 
My baritone friend was furious at the Moronic Clappers, too. Why do they let these people out in public, unattended and with their hands untied?

Up until that point the third movement held me in that wonderful zone where all that exists is the music - the experience of communing that's the best you can hope for when you encounter any work of the imagination, not only music. All else melts away - orchestra, audience, hall - and you mainline the composer's soul.

The serenades were gorgeous. I particularly enjoyed the second. And how different each symphony was, and how much sense it makes to hear them all, in sequence, in a vast undertaking like this. Bravo TSO! Bravo Maestro Dausgaard!

We will be able to hear it all again - thanks to the CBC.
 
... and The Flying Dutchman's singing was uniformly good, particularly Julie Makerov as Senta, who went from strength to strength. The chorus - especially the women in the "spinning" number, which they performed with an emphasis that eventually bordered on malevolence - were right on. And the orchestra under Debus were a joy, though at times I missed how effective Bradshaw had been when conducting Wagner, cranking up the volume until the hall vibrated. Mostly, I was carried along by the intermission-free production.

The minimalist set was striking, and versatile enough - a big grey box with a stage jauntily raked and descending from left to right. From orchestra level, the contrast with the horizontal pit gave the impression that the Four Seasons Centre was tipping slightly to the left, like the Titanic. This unsettling effect matched the staging in general, which was a bit of a mess at times and threatened to undermine the performers. During the last fifteen minutes the hall was unusually bright due to the lighting - I became as aware of the audience sitting in front of me as I was of the performers on stage and it had a de-energizing effect on the drama.

In general, though the design captured a 1920s German Expressionist feeling - Max Beckmann, Otto Dix, George Grosz - at times it came across as a bit campy especially when someone ascended the spiral staircase and began singing. When Mats Almgren did so, wearing a long black leather trenchcoat and little peaked cap, it felt like a cross between Das Boot, bad Fassbinder and Cabaret. And did his character have to light a cigarette every time he came on stage? The Dutchman's outfit and generally larval onstage persona was pure Nosferatu The Vampire, and when he reached into his tattered coat, pulled out jewellery, and slung it across the stage at Almgren's Daland ( Senta's father ) it looked like he was slinging octopii at a Red Wings game.
 
^ Thanks for this, Shocker, we're going on Thursday .. we've had to trade off our regular tickets *, and have ended up in Ring 5 for this production. But even Ring 5 is good in Toronto's opera.

The plot of this opera, well, it could only be a Wagner plot!!

I do wonder if the writer of the the movie Speed was inspired by this Wagner work. Of course the redemption idea in the movie is vastly different, but both plots have the almost perpetual motion thing in them.

* our series has 3 operas on 3 consecutive Tuesdays in May. We plan to be away the first two weeks, so we've traded for alternate dates for Dutchman and Maria Stuarda. Next year's Tuesday series has the same thing -- three in a row in May. We don't like that a bit -- and have complained! The early part of the season so sparse, and then they cram so much toward the end of the season. We might just do a pick 4 instead, next season.

I've been told by the COC that starting in 2011/12, they hope to spread the season out more, as there have been a lot of complaints of a nature similar to mine.
 
I asked for Tuesday nights next season, in Ring 3, but was so specific in my seat/row request I'll be back at orchestra level if they can't fit me in.

Thank goodness my former seatmates - the wheezy, snuffly, belchy, garlicky guy and his stoic minder - were at a safe distance on Saturday ... and will be for the rest of the season.

After the opera, to Woody's for a stag ... to celebrate the upcoming marriage of a couple of Urban Toronto lovebirds ... with quite a few forum members in attendance. Home by one thirty, caught up on some reading, fast asleep by three o'clock.

......................................................................................

I believe CBC Radio 2's In Concert will be broadcasting some ( all?) of the Sibelius festival starting next Sunday, though I can't find a listing for it. They did a nice job yesterday featuring Chopin - I fitted it in with the gardening and a trip up to Bill's Garden Centre on Pape to buy a few more perennials. Always room for a bit more ground cover.
 
I have OA's Marriage of Figaro tonight, and the COC's Flying Dutchman tomorrow night. Between this and my cat's recent fondness for howling, it will be an operatic week.

And apparently I'll be all horned up after tonight:

It’s true that comedies are ruled by eros, but to have erogenous zones continually fondled to shrieks and squeals, as Pynkoski demands, and to treat every rigid object as phallic soon becomes tiresome from repetition.
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... and if, in your priapic state, you can manage to sit at a computer ... and review both outings for Neighbourhood Watch ... our dear readers would be forever in your debt, I'm sure, Roy.
 
The Marriage of Figaro
Opera Atelier

(Un)fortunately the reviewer I had quoted must have missed the Elgin Theatre, and mistakenly slipped into Remington's, because he could not have been more off with his complaints. Perhaps he was undersexed, and his epic case of blueballs could not handle mundane events like an usher pointing out his seat with his large, rigid, throbbing flashlight.

Let's start with the music and singing. Tafelmusik was, as usual, solidly conducted by David Fallis (another phallis!), with my only complaint being that I could see my reflection in his head. And alas, it's Mozart, so you know you can sit back and enjoy the sounds if the production turns to shite. Fortunately, it didn't. Wallis Giunta, playing a very androgenous Cherubino, definitely stood above the rest, with her powerful, yet nuanced, soprano voice. It was a big voice that didn't sound big. She also showed her acting chops, bounding about the stage with youthful energy. Carla Huhtanen and Peggy Dye provided some nice balance, not showing each other up as Susanna and the Countess, with Huhtanen really selling the role with her facial expressions. The men acted well, but their voices were a bit underwhelming. Olivier Laquerre was his usual "hugable" self. Always adorable, but lacking a star quality.... his bass-baritone was constantly being drowned out by the music and other singers. Phillip Addis played the Count quite well.

Thankfully, the production was both fun, and fresh. When staging an over-staged piece such as this, it's essential to bring an air of freshness, because nothing is worse than a pedestrian production of an opera you have seen 40 times before (See COC's Carmen). The direction was a bit erratic at times, but the costumes and sets were beautiful. However, I did find that the Count looked a little young... There was much less dancing in this piece, and the boys were wearing more clothes than ever, much to the chagrin of a few guys in the row behind me. The single most imporant bit of freshness was the wonderful translation of the libretto. Yes, this production was completely in English, which may have disturbed some purists, but I doubt purists go see OA. I don't know if the translation was done in house, but it was wonderful, witty, and not awkward in the least.

Another good one from Opera Atelia.

ps. No priaprism for me. And I tried hard, but a table is just a table.
 
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Wagner, The Flying Dutchman - COC, Wed April 28, 2010

We attended on Wednesday (not Thursday as per previous post!).

The night at the opera was a great one! I can only do a brief post this morning (and fortunately, others have laid down extensive writings on this production anyway):

The leads - Evgeny Nikitin took top honours as The Dutchman. I wanted to sit and hear him sing his role again, when it was all over. Julie Makerov (Senta) seemed to have a slow start, picked up steam when she needed it and absolutely blazed in the final scene, a true Wagnerian soprano. Robert Kunzli (Erik) struck me as a very beautifully gifted singer.

The orchestra under Debus had a slightly sloppy start and recovered quickly to their usual excellent standard. I am not so sure that Debus’ talents matched those of some great guest conductors I’ve heard at the opera lately.

We sat in Ring 5 (substitute seats), smack in the middle, where I first sat when the opera house opened. I had a splendid reminder of how fabulous the Four Seasons’ acoustics are, even in Ring 5. We’ve gotten lucky with this facility. By the way, upon entry, the greened-up springtime views out of the City Room just made things more enjoyable, great to say ‘bye’ to the wintry landscapes. And the City Room is a gorgeous setting for the photographic exhibit currently on. Simplicity works.

Wagner’s musical score is a feast, and the singing top notch. At the end of the evening I was thinking to myself “this is why I go to the operaâ€. I’d love to see this again, I repeat, myself I know.

Sure there were quibbles about the production’s staging. There were a couple of serious flaws, as others have noted, but there were effects that I truly loved and understood (such as the slanted floor, for its significance), and the entire set looked as though it was designed to appeal from Ring 5 - and that is refreshing.
 
I am in agreement with both of your reviews. The singing was great, with Kunzli and Makerov really surprising me. Almgren surprised me too, in a not-so-good way. He looked like he found the magic door that separates the Black Eagle dark room from the Four Seasons stage, and sounded like he was giving birth to each word (which were unintelligible). I wanted to climb up on stage and put him out of his misery. The Dutchman did a splendid job commanding our ears and eyes, and was definitely channelling Dracula. However, his striped sailor outfit really seemed to mortalize him and rob him of his stature. I didn't like learning that underneath his menacing frock, he was just a pleb of sorts. When he was boasting about striking fear into the hearts of sailors, it was hard to believe him.

Can someone explain to me the significance if the steersman? He seemed to be ominously brooding-about in every scene, which led me to anticipate some sort of upcoming cathartic act on his part... but then he just brooded until the curtain came down. I'm afraid he's still there. He was likely a symbol or metaphor, but for what? It didn't come across clearly enough in the direction.

The set was amazing. Loved it. The choruses brought a Broadway feel, and weren't simply used as singing props. Good direction there. Although I would have loved to see the undead-crew faceoff against the living crew and get all West-Side Story on me, but c'est moi.

I liked the music, and am not qualified enough to comment on Debus' efforts.

Overall, a good one for the COC. Yes, I just like to complain.
 
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Count the neophyte in with those who enjoyed the evening, and I pretty much want to affix stars to various bits of your reviews above where I agree:
Yes on Makerov, Kunzli, & Nikitin.
Yes on what the hell was going on with the vampy streersman?
Yes on the Dutchman's striped prison undergarments, and since we're talking clothes, what was up with Makerov's potato sack dress? When Pa tells the Dutchman that she's as true as she is beautiful it was all I could do not to embarrass the 4th ring by screaming "Fly! Fly! Hoist the sails!" It did bring to mind TV's What Not To Wear, which would make a fine subject for a composer and librettist to tackle, and the COC to mount.

It all started to click for me when the women's chorus started their spinning song (and that's without having read your fine reviews until now, gentlefolk). What kept me at a bit of a distance throughout much of the work, however, was the nagging thought that I was watching yet another 'Scenes from the Asylum', a name I have retitled more than one opera. I'm trying to learn this art form, really, I am, and I don't know why I'm still surprised each time I think 'that character is insane, that character is insane, that character, etc.), but I still am.

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interchange42 said:
...
It all started to click for me when the women's chorus started their spinning song (and that's without having read your fine reviews until now, gentlefolk). What kept me at a bit of a distance throughout much of the work, however, was the nagging thought that I was watching yet another 'Scenes from the Asylum', a name I have retitled more than one opera. I'm trying to learn this art form, really, I am, and I don't know why I'm still surprised each time I think 'that character is insane, that character is insane, that character, etc.), but I still am.

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You catch on well. The entire theme of this production (right down to the front cover of the program -- the woman looking through a haze) is the unhinged thing. These people aren't well. Even poor Erik is driven to a crazy crime of passion.

It's a very valid opinion.
 
Talking of nutzoid ... Julie Makerov looked like a cross between Baby Jane Hudson and the Marchesa Casati.

I always look forward to hearing ( and seeing ) Mats Almgren when he's with the COC. That scene in Götterdämmerung where, as Hagen, he gets the male chorus - dressed as spear-carrying businessmen - agitated and jumping around on the huge boardroom table will always be with me.

Don't believe interchange - he's no neophyte, and has been going to the opera for longer than I have.
 
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