Tag: drama

Virtuosi

On June 9, 2017

Vladimir Spivakov and Hibla Gerzmava with the Moscow Virtuosi at Roy Thomson Hall. Photo: Vladimir Kevorkov for Show One Productions

Is this the year of great singers making their Canadian debuts? Perhaps.

Soprano Anna Netrebko and husband, tenor Yusif Eyvazov, appeared in Toronto this past April (along with baritone Dmitri Hvorostovsky), as part of a concert co-presented by the Canadian Opera Company and Show One Productions. This past Thursday, (8 June) soprano Hibla Gerzmava made her debut in the city, joined by conductor Vladimir Spivakov and the Moscow Virtuosi Chamber Orchestra, who has led the ensemble since formation it in 1979.

Gerzmava, who hails from Abkhazia (located on the eastern coast of the Black Sea), is a singer of some acclaim. I’ve been following Gerzmava’s work for a number of years, particularly her annual gala concerts (called “Hibla Gerzmava Invites”) that feature a who’s-who of great classical-world talent. She’s a singer with a laser-pointed tone and a warm, textured sound. I had the chance to see her live last fall in Don Giovanni (not shocking to those of aware of my fascination with that work) at the Metropolitan Opera in New York, with famous baritone Simon Keenlyside in the lead; Gerzmava’s Donna Anna was pleading, angst-filled, guilt-wracked. Her performance of “Non Mi Dir” was lovely, with Gerzmava shaping her rolled consonants and luxurious vowels into a rapturous embrace.

Paul Appleby as Don Ottavio, Hibla Gerzmava as Donna Anna, and Simon Keenlyside in Mozart’s Don Giovanni.
Photo: Marty Sohl/Metropolitan Opera

Aside from that memorable voice, what makes Gerzmava interesting to me is that the same year she graduated from the Moscow Conservatory, in 1994, she became the first singer — and the sole woman ever — to earn the prestigious Grand Prize in the prestigious International Tchaikovsky Competition. Since then, she’s appeared on some very notable opera stages, including the Wiener Staatsoper (Vienna), the Bayerische Staatsoper (Munich), Bavarian State Opera, Opéra National de Paris, the Royal Opera House Covent Garden, the Met of course, and the Teatro dell’Opera di Roma, among many others. This past spring she sang the title role in Donizetti’s dramatic opera Anna Bolena (part of his Tudor trilogy) at Teatro Alla Scala Milan (opposite venerable Italian bass Carlo Columbara as Enrico / Henry), one of the most challenging of roles within the repertoire, both musically and dramatically.

(via Melodiya)

Gerzmava’s recent albums, Hibla Gerzmava, Soprano (Melodiya), released in 2014) and Opera. Jazz. Blues. (Melodiya), from 2016, explore an array of sounds, with the latter focusing on jazzy forays into traditionally classical repertoire (with arrangements by Daniel Kramer), and the former an impressive live recording of a concert she gave in Moscow with Spivakov and the National Philharmonic Orchestra of Russia in 2013. She gives thrilling readings of many opera classics on this album, every piece full of laser clear tone and dramatic verve; it’s a highly listenable album, and I think it works really well as an introduction to opera overall, offering a nice selection of well-known favorites, wonderful interpretations (including a lively rendering, together with baritone Arsen Sogomonian, of the duet between the main female character and the charlatan-doctor character in Donizetti’s L’elisir d’Amore, or The Elixir of Love, another huge favorite of mine), and the sparky dynamism of live performance. Consider that a recommendation for those of you who are a bit nervous about sticking your toe into the opera ocean; trust me, this is a nice bubbly jacuzzi best enjoyed with a good cold glass of rose.

Currently on tour with the Moscow Virtuosi Chamber Orchestra through North America, Gerzmava made her Canadian debut Thursday night at Toronto’s Roy Thomson Hall (the regular home of the Toronto Symphony Orchestra), offering a highly eclectic program featuring works by mainly French and Italian composers. After a first half that featured Spivakov leading the Ensemble in an a wide array of works (including Mozart, Shostakovich, Bruch), as well as a sparky performance by young cellist Danielle Akta, Gerzmava appeared, splendid in a grand, floor-sweeping red/blue/gold dress, with long hair neatly pinned up, and launched straight into one of the best-known arias within the operatic repertoire (also featured on her live album), “Casta Diva”, from Bellini’s Norma. It could well be suspected that Gerzmava was facing a few challenges (she appeared to be sucking on some kind of lozenge or candy at several points), what with some uneven moments vocally, and a gradually diminishing volume throughout the concert that left her with a small but very sweet tone for the evening’s encores, the famous “O Mio Babbino Caro” (from Puccini’s Gianni Schicchi) and Strauss’ ethereal “Morgen“, also featured on her live album. Whatever vocal color she may have been lacking, Gerzmava made up for with brilliant flashes of the muscular tone for which she’s rightly celebrated, particularly in the middle portion of the program. Her renderings of the showpiece stretto aria from Verdi’s I Masnadieri (The Robbers) and “Ecco… Io son l’umile ancella” (“I am the humble servant) from Cilea’s Adriana Lecouvreur were standouts for their tonal clarity, light if well-considered vibrato, and the fierce dramatic heft of their delivery.

Vladimir Spivakov and Hibla Gerzmava with the Moscow Virtuosi at Roy Thomson Hall. Photo: Vladimir Kevorkov for Show One Productions.

Gerzmava showed herself so deeply cocooned within the music she was performing at points as to be acting out the parts to and with various orchestra members, who gamely played to her, along with conductor Spivakov; it would have all come off unbearably corny but for the fact that Gerzmava, and her fellow musicians, were so very clearly committed to the music, and to the moments of both intimacy and grandeur within the music. Some pieces were more like duets, which made Gerzmava’s and the Virtuosi’s connection with the music that much more touching. Here’s to many more appearances by Gerzmava in Canada in the future, and fingers crossed for not only some Russian repertoire in that program, but some Mozart, too.

No Happy Endings

By Catherine Kustanczy

On October 24, 2015

In opera

Peggy Kriha Dye as Armide. Photo by Bruce Zinger.

Happy endings don’t always happen; happy endings can’t always happen. Happy endings shouldn’t always happen.

These thoughts ran through my mind driving home Thursday evening after seeing Opera Atelier’s sumptuous Armide, directed by co-Artistic Director Marshall Pynkoski. A tragic love story with great outfits and delicate court dancing, the 1686 Lully work, while highly mannered and fantastical, has many rich opportunities for deep emotion and gripping drama. As the Globe and Mail’s Robert Harris writes, Baroque opera “was and is a fascinating amalgam of ballet, drama, comedy, luscious costumes, extravagant sets and an overall dedication to theatrical opulence.” Opera Atelier, dedicated to preserving the art and integrity of the form, lovingly caters to each and every element with scintillating detail.

Set during the First Crusade, Armide (Peggy Kriha Dye), a powerful Muslim warrior-priestess partially modelled on Homer’s Circe, traps Renaud (Colin Ainsworth), a Christian knight; she knows she should kill him, but finds she can’t because she’s developed feelings. So she casts a spell that makes him love her back (and one that would make it much easier to murder him, since she recognizes her equal in a combative sense) — but she remains haunted by the fact Renaud’s love isn’t real, and she moves between wallowing in feelings, and swallowing them. Though she calls on Hatred (Daniel Belcher) to assist her in erasing her feelings, it doesn’t work. Before she can return to her beloved, two of Renaud’s soldiers, Chevalier Danois (Aaron Ferguson) and Chevalier Ubalde (Olivier LaQuerre) appear and break Armide’s spell. Renaud prepares to leave, but not before Armide returns and begs him to stay or take her with him; he refuses and departs, and Armide is left alone.

Peggy Kriha Dye as Armide and Colin Ainsworth as Renaud. Photo by Bruce Zinger.

There is a recognizable Orientalism at work, with Lully and librettist Philippe Quinault casting their sights on the world of the near East and its perceived exoticism. It’s of particular interest that the opera is based on a tale contained within 16th century writer Torquato Tasso’s poem La Gerusalemme liberata (Jerusalem Delivered); I recently saw another (shorter) opera by Monteverdi based on the same work, Il combattimento di Tancredi e Clorinda (The Battle of Tancredi and Clorinda) at the Canadian Opera Company, and Orientalist elements aside, in that work, as well as with Armide, there’s a horrible cloud of despair hanging above the would-be lovers. The idea of different cultures coming together awkwardly, clashing, melding, and clashing again runs like a fine (if hard) gold thread throughout Lully’s work; it’s as if the realities of the outer world — outside of magic and other fantastical situations — are too difficult to be surmounted. That’s awfully gloomy, but somehow, sadly precise, because it’s a tacit acknowledgement of the harsh geopolitical situations that prevent so much true understanding between cultures, not to mention the deep sociocultural chasms that exist between men and women. Though Tasso’s work ends with its dubious heroines converting to Christianity (surely a mark of the Europe in which it was written, one that perhaps hasn’t changed much), it’s interesting Quinault felt the need to end the opera where he did, with Renaud’s departure and Armide’s devastation.

Peggy Kriha Dye (Armide) and Tyler Gledhill (Love). Photo by Bruce Zinger.

So of course, the soldier-sorceress has no happy ending. Why would she? How could she? Not only would Tasso’s 16th century never allow it, but a picture-perfect ending would be too saccharine, and frankly disingenuous to the overall sour tone of the piece. Sure, there is the comedic relief of the soldiers (Ferguson and LaQuerre make an immensely likeable pair onstage, channeling Laurel-and-Hardy-style buddy humor) and the lovely dancing of the Atelier Ballet (choreographed by co-Artistic Director Jeannette Lajeunesse Zingg); there is also the winged presence of Love (Tyler Gledhill), a stretching, leaping, embracing figure who silently entreats the titular magician to follow a softer path.

But, ultimately, as the final notes sound and designer Gerard Gauci’s set reveals hotly-colored flames surrounding a solo Armide, we know the butter-soft visuals and languid scenes of romance that have gone before are a ruse; Lully’s music has darkness in buckets, and it’s the perfect complement to Philippe Quinault’s libretto and Tasso’s wrenching poem. More cynical (or perhaps over-romantic) types would argue the ending can’t be good: Armide is alone and devastated, and she has to live with a love that can never be satisfied or consummated. But there’s a strange freedom in that isolation. Keeping her power (limited as it may be) and sense of independence within the borders of her homeland, close to family and trusted peers feels like a better (less exciting, probably more adult) option than traveling to another country and a culture that would undoubtedly be hostile toward and ultimately reject her, or keeping her lover in a land where he might experience the same treatment.

Colin Ainsworth (Renaud) and Peggy Kriha Dye (Armide). Photo by Bruce Zinger

What’s more, keeping Renaud in a haze of love isn’t love at all — it’s manipulation, a nasty form of control, domination, and possessiveness, behavior that surely drives love (the real kind) away very quickly. Besides, there’s something strangely satisfying about the woman not getting the man at the end and living happily ever after, and about the disruption to the cliched princess fairytale that too often dominates cultural depictions around women and love.

Armide still lives in love at the end, just not with a love that is incarnated within the physical form of Renaud. The ending strips away the bullshit romance aspects of the story to reveal something far more interesting and human: vulnerability. That quality is precisely what powers this production, and indeed, so much great art. Staring at the abyss and letting the world see our raw, naked, true selves is frightening — even moreso when we have to do it alone. But do it we must. The question is, will we move forwards, vulnerable and exposed, in love, or in hate?

Daughters, Not Victims

By Catherine Kustanczy

On April 26, 2009

In opera

Last week I had the distinct and awesome privilege of seeing Simon Boccanegra onstage at the beautiful Four Seasons Centre. The last few years, I’ve developed a wholly new appreciation for an artform that I wasn’t entirely sure I liked, even though it was thoroughly entrenched in my upbringing from childhood. Hmm, maybe it’s a sign of maturity, or the fact I cover arts and culture for a living, or the fact that I’ve worked in theatre, and know how much time, effort, and skill goes into a production. And maybe it also has to do with the fact that I simply adore the work of the COC. Classy, musical, and deeply thought-full -just some of the ways I’d describe past performances (make that experiences) -and Verdi’s Simon is no exception.

In a nutshell, the story can be reduced to a very simple equation: politics = family, and family is always political. Duh. Seems like that’s the case with much of Italian opera. I’m still on the fence about it all, really; the entirely-gorgeous, crazily-romantic music has a way of drawing me in its spell, even if librettos are frequently ridiculous and maudlin. I mean, come on, throwing babies into fires? Magical love potions? Bitchy Ital-oriental women? That’s not the composers’ fault -obviously -and I realize grand opera, like romantic fiction, was the escapism of its day (and it’s not like Wagner ever attempted realism -or social commentary -either). I tend, like many I suppose, to sit back and enjoy the marriage of music and mise-en-scene, and let the rest go.

But Rigoletto, easily one of the most famous operas ever written (as well as being my own mother’s personal favourite) has always, always grated on me. Yes, the music is breathtaking. But the story… leaves me cold. The idea of Gilda, the title character’s naive, shuttered daughter, being so naive, weak, and idiotic, and so willingly controlled by men… ugh. I know, sign of its time, victim-mindset, etcetcetc. Whenever it comes to shut-in daughters -and indeed, whenever I see or hear Rigoletto on radio or television -I always think of Shylock’s Jessica, who, like Gilda, escapes her father’s stern rules to go out and play.

But unlike Gilda, Jessica knowingly defies her father -for love, but also, we suspect, out of revenge. Shakespeare has it right: young women, especially those who feel their their freedom has been denied (or has, in fact, had it denied) by family or authority figures, are going to go out and find it themselves, in the most rebellious, dangerous, and irresponsible of fashions. So it makes sense that Gilda would take off with her nocturnal madrigal; the fact she’d be actually surprised -and then protest -at her kidnapping, however, is hilarious. The fact she’d be all good-girl over it, and protest his advances -when she probably had the hots for him all along -is beyond the pale. And then later telling daddy all about being … uh, raped? N-O.

Maybe it’s my modern sensibility. But even as a kid, never, for a second, did I ever buy it. The fact she’s pining for the miscreant Duke later on, while perhaps characteristic of a woman who’s been abused by her partner, remains, to my mind, woeful -and sexist. The Duke was never her partner -he was just that guy in the street she sadly trusted. The fact remains that neither she, nor her seemingly-heroic-meets-inept father see the truth of the sickly-karmic world they’ve created; Cordelia she is not. And why does that Duke wind up getting the best tunes, if he’s such a dickhead?

Simon Boccanegra presents another kind of daughter: one who, though committed to her father, nonetheless stands up for her own choices. Okay, so she says she’d die for her man before she’d let her father harm him -*cue eyeroll* -but the fact she’s essentially telling him, “Look, I love this person, and I really don’t care what you think, or whether you like him or not” -is brave, and it was refreshing to see. The fact that, unlike Rigoletto, the daughter in Simon doesn’t actually know her father until she’s an adult does, of course, make a difference in their interaction -it changes the mindset of the character -but unlike Gilda, Amelia never comes off as a victim, despite having been denied knowing her father, and only meeting him later in life.

That sort of reunion holds personal resonance for me. The scene between Amelia and Simon, as they stare at one another for the first time, comprehending everything, was, in the COC production I saw, handled beautifully, with just the right amount of delicacy and drama. Unsure whether to hug, stare, or be with their own thoughts, the pair just gaze in wonder and awe. I know what that feels like. Sometimes opera isn’t so fantastical after all -sometimes, it’s just life, with a beautiful soundtrack.

Soulpepper Loves The Magyars

By Catherine Kustanczy

On November 20, 2008

In music

Miklos Laszlo, Ferenc Molnar, Laszlo Marton. What’s up with Soulpepper and the Hungarians? Is it the drama? The comedy? Perhaps the strange sense of isolation some (me) argue the country has from its European brethen?

Whatever the case, Albert Schultz & Co. seem quite enamoured with my kinsman’s theatre artists. Marton, a Soulpepper favourite, will be returning to Toronto to direct Molnar’s The Guardsmen, a play about deception, fidelity and the sometimes-complicated world of male-female relationships. It runs late August through the fall.

Parfumerie, by Miklos Laszlo, was used as the basis for both the musical She Loves Me and the film You’ve Got Mail. It will be performed November through late December, providing a fascinating contrast to much of the city’s annual December fare.

I don’t have a lineage of theatre artists I hail from –or at least none that I am aware of –but I vividly (and fondly) remember my first taste of theatre. It was at the Stratford Festival, where I sat, an enthralled grade-school kid, through the ramblingly surreal Rosencrantz and Guildenstern Are Dead, one of Stoppard’s great works. Up until then, my life had mainly been coloured through the lens of music. My father’s position as a musician was the catalyst for my first forays into culture; operas and symphonies were just the norm for me growing up. I still love music, but theatre, more than any other art form, has been what’s inspired me, called me back, and seduced me time and time again over the years.

It will be interesting to note the musicality of translation in the Laszlo and Molnar works, as well as the ways in which director Marton will utilize actual music in the latter. His productions of Uncle Vanya and Three Sisters were notable for the ways they used their scores to highlight the most tender, inexpressible moments. While markedly different, what each work shares is an interestingly harmony of high and low notes. The dark subtext of each provides a satisfyingly nasty edge. It’s like eating a rich goulash with a huge dollop of sour cream: all smooth and creamy on the top, with a rich, meaty interior. Comedy with drama, that leaves you full and nourished by the end.

Kind of reminds me of Soulpepper’s production of The Odd Couple this past season, actually. You think it’s a comedy, but… think again. That, to me, is the magic of doing works like The Guardsman and Parfumerie. Forget the Hungarian Suicide Song; this is the real thing.

Leaves

By Catherine Kustanczy

On October 18, 2008

In art, artwork, interviews, writing

Leaves, originally uploaded by catekustanczi.

Years ago, I decided to explore the one art I hadn’t yet tried: drawing.

After drama, music, dance and photography, learning the basics of good drawing is a logical step, after all. I tend to be one of those people who strongly believes in a balanced diet of exposure to all things; art is, for me, a big, madly delicious buffet of experiences and expressions. A little bit of this, a scoop of that… Jill of all trades, master of none, but happy. Once you find the right dish, you never run out of ways to improve it, or want to stop experimenting with the ways in which it matches up with other tastes.

I’m more conscious of my visual side lately, noting the beauty of theatrical design in various productions I’ve attended; the costumes, lighting, props, and set all started out as ideas first done in drawing. My own initial work with pencil, charcoal, conte, and watercolour years ago lead to one of my great passions: oil painting. I painted with mad passion for years, and found much solace and calm through my work with brushes, palette, and a bare canvas. At times it was my greatest comfort, at others an utter torment -but it was always there.

Alas, life being cyclical, I’ve moved away from painting and back to my earlier love of photography. Looking through recent shots, I was struck by their painterly qualities. Amazing, how some arts naturally integrate themselves within artistic expression and form. Does this mean I’ll be doing any free-form features in my arts writing? Doubtful. But it does mean I might trust in my subconscious instincts a bit more, without trying to fit into a mold of how I think I “ought” to sound. Writing is, for me, a careful balance of research, reason, observation, and experience; that doesn’t, however, mean it should lack passion or personality.

In that vein, the next Play Anon interview will hopefully be published this week. I recently met with a painter who thinks the Canada Council should be abolished; before you get your shoulders up, take a deep breath. He dislikes government -period. It was one of the most enlightening conversations about art that I’ve ever had. I hope you’ll enjoy it. Stay tuned.

Now get outside and enjoy the splendor of autumn. Take your camera, your pencil, your paintbrush.