November sees the continuation of the large scale operas that opened in October from the Canadian Opera Company and Opera Atelier and adds to the mix fully staged operas from smaller companies and opera schools. Enriching the month still further is the impressive number and variety of operas in concert — some with orchestra, some with piano.

The operas continuing from October are Johann Strauss’s Die Fledermaus and Opera Atelier’s period instrument production of Carl Maria von Weber’s Der Freischütz, both of which conclude on November 3. For a fully staged professional opera production the next option is Opera York’s staging of Verdi’s La Traviata on November 1 and 3 at the Richmond Hill Centre for the Performing Arts ( Mirela Tafaj is Violetta, Ricardo Iannello is Alfredo and Jeffrey Carl is Germont. Sabatino Vacca conducts and Penny Cookson directs. The wood-lined auditorium of the Richmond Hill Centre seats only 600 and makes an ideal venue for opera.

25-26onoperaggsOpera Schools: For other fully staged opera performances one has to look to the various opera schools busy preparing the stars of tomorrow. The University of Toronto Faculty of Music Opera Division ( is presenting Gaetano Donizetti’s L’Elisir d’amore from November 22 to 25. The work, one of the most popular of all comic operas, hasn’t been seen fully staged in Toronto since 1999. It tells of the naive peasant Nemorino, who attempts to woo a wealthy young woman with the help of a love potion (only alcohol) bought from a visiting charlatan. Sandra Horst, best known as the chorus master for the COC, is the conductor; Michael Patrick Albano directs.

25-25onoperahorst-copyOver at the Royal Conservatory, the Glenn Gould School ( has quite an unusual double bill on offer. On November 16 and 17 the students present Three Sisters Who Are Not Sisters (1968) by American composer Ned Rorem (born 1923) and Le Lauréat (1906) by Québécois composer François-Joseph Vézina (1849-1924). For Three Sisters, a 1943 play by Gertrude Stein provides the libretto. The work is a nonlinear murder mystery about three sisters (who are not sisters since they are orphans) and two brothers (who are brothers) who decide to play a game of murder. During the course of the 35-minute work, four of the five characters are killed or found dead, yet at the end the voices of all five are heard. They wonder, “Did we act it? Are we dead?” Coincidentally, or not, the only character to remain alive tells the others that it is time to sleep, raising the question of whether the action we’ve seen is real or imagined.

Le Lauréat is one of three opéras comiques along with Le Rajah (1910) and Le Fétiche (1912) that Vézina completed before his death. Vézina is perhaps best known as the conductor of the first-ever performance of “O Canada” in 1880. The libretto by Félix-Gabriel Marchand (the 11th premier of Quebec) concerns the love of Paul and Pauline, who are about to graduate from university. Pauline however, is penniless, and Paul’s uncle threatens to disinherit him should he marry her. The situation is saved by a deus ex machina in the form of a letter containing new information about Pauline. For both works Peter Tiefenbach is music director and Ashlie Corcoran is the stage director.

In Concert(1): For those who enjoy operas in concert with orchestra, there are two attractive choices. On November 1 and 3, the Toronto Symphony Orchestra ( presents the hour-long, one-act opera La vida breve (1913) by Manuel de Falla (1876–1946) in Spanish with English surtitles. The all-Spanish cast includes mezzo-sopranos Nancy Fabiola Herrera, Cristina Faus and Aidan Ferguson, along with flamenco musicians and dancer Núria Pomares. The libretto written by Carlos Fernández-Shaw in Andalusian dialect concerns the gypsy Salud (Herrera) who is in love with the wealthy man Paco. He has led her on, not telling her he is already engaged to be married to a woman of his own class. Salud’s uncle and grandmother know Paco’s secret and try to dissuade Salud from interrupting Paco’s wedding. But all is in vain and tragedy results. The conductor is Rafael Frühbeck de Burgos. The program also includes Beethoven’s Symphony No.8.

Those who seek out new music need look no further than the Canadian premiere of Airline Icarus by award-winning composer Brian Current on November 25. Co-presented by the Royal Conservatory, where Current has been a faculty member since 2006, Airline Icarus is an opera-oratorio about the intersecting thoughts of passengers on a flight aboard a commercial airline. It is scored for nine musicians and nine singers. In 2005 it won Italy’s international Premio Fedora Award. Last year Current conducted the first fully staged performance in Verbania, Italy. The Toronto performance will include such well-known singers as Carla Huhtanen, Krisztina Szabó and Alexander Dobson. Jennifer Parr is the stage director and Current conducts. The Canada Council and the Ontario Arts Council will help fund a recording of the work.

In Concert(2): This month opera in concert with piano accompaniment is especially well represented.Those who seek out rarities by well-known composers should head to the performance of Rossini’s Armida (1817) by VOICEBOX: Opera in Concert ( on November 25. Toronto opera-goers are probably most familiar with the story from the presentations of Lully’s French baroque opera Armide (1686) staged by Opera Atelier earlier this year and in 2005. The plot of Rossini’s Armida is inspired by the same sections of Torquato Tasso’s epic poem Gerusalemme Liberata as Lully’s Armide. It should be fascinating to see how Rossini approaches the material. The work fell into neglect until 1952 when Maria Callas appeared in its first modern production. Since then June Anderson and Renée Fleming have sung the title role. For VOICEBOX, Raphaëlle Paquette takes on Armida, Edgar Ernesto Ramirez sings Rinaldo, Christopher Mayell is Goffredo and Michael Ciufo is Genardo. Michael Rose is the music director and pianist. Robert Cooper directs the chorus.

While Opera In Concert has been around since 1974, Toronto Opera Collective ( will embark on its first season with a performance of Beethoven’s Fidelio on November 10 at the Bloor Street United Church. Kristine Dandavino sings the title role, Jason Lamont is Florestan and Michael Robert-Broder is the villainous Don Pizarro. Nichole Bellamy is the pianist and conductor.

For quite a different style of German opera, Essential Opera ( begins its third season on November 7 with The Threepenny Opera by Kurt Weill and Bertolt Brecht. Jeremy Ludwig sings Macheath, Maureen Batt is Polly, Erin Bardua is Lucy, David Roth is Peachum, Heather Jewson is Mrs. Peachum and James Levesque is the Narrator. Cathy Nosaty is the music director, pianist and accordionist. The performance in German and English takes place at Heliconian Hall in Yorkville.

Finally, Opera by Request (, where the singers choose the repertory, has a wide range of operas in concert on offer. On November 3 it presents Donizetti’s L’Elisir d’amore, on November 9 Mozart’s Don Giovanni, on November 16 and 25 Tchaikovsky’s Eugene Onegin and on November 17 Bizet’s Les Pêcheurs des perles. All performances, except Onegin on the 16th, take place at the College Street United Church and are conducted by the indefatigable William Shookhoff from the piano. 

Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at

One of the most notable developments in Toronto’s opera scene this season is Opera Atelier’s first-ever production of an opera from the 19th-century — Der Freischütz (“The Marksman”) from 1821 by Carl Maria von Weber (1786–1826). Even though the opera is standard repertory in central Europe, it has never had a fully staged professional production in Toronto as far as anyone can determine. The OA production will be the work’s first period production in North America.

on opera pages 34-35der freischutzWhat marks Der Freischütz as the first important Romantic opera is its use of local folk legend as the subject matter, as opposed to classical history or mythology, and local folk music as inspiration for many arias and themes. Set in Bohemia near the end of the Thirty Years’ War in 1648, the story centres on the forester Max (Krešimir Špicer), who loves Agathe (Meghan Lindsay) and is set to succeed her father Kuno (Olivier Laquerre) as head forester if he can pass a test in marksmanship. During practice, however, Max continually fails and his fear of losing brings him under the influence of the malevolent Kaspar (Vasil Garvanliev), whose soul is already forfeit to the Devil and who hopes to substitute Max in his place. Max persuades Kaspar to cast seven magic bullets for him to use in the contest. This occurs in the mysterious Wolf’s Glen where Kaspar calls upon the infernal spirit Samiel (Curtis Sullivan) for assistance in the midst of frightening images and demonic sounds. Meanwhile, Agathe, filled with foreboding, is consoled by her friend Ännchen (Carla Huhtanen). The contest itself brings a series of unexpected mishaps but concludes with the advice of a wise hermit (Gustav Andreassen) on how to cope with the outcome.

In a telephone interview with OA co-artistic director Marshall Pynkoski, I learned how OA came to make this leap into the 19th century and how it came to choose Weber’s opera as its first experiment. Pynkoski says, “For a long time Jeannette [Lajeunesse Zingg] and myself and our designers had talked about the concept of a ‘period production.’ It’s hard to believe now, but our first conflict on this point came when we announced we were going to do a period production of The Magic Flute [in 1991]. People told us the idea was ridiculous, that the work was standard repertory and asked why we would do this. We had to draw a line in the sand and say, ‘No, we think there is a very important and legitimate statement to be made by hearing Mozart on period instruments and looking at a period-sensitive production that is unique and has not been said in a long time.’ Now no one even thinks there’s anything odd about Mozart on period instruments.

Freischütz simply takes the basic concept of Flute and pushes the envelope farther which we’ve wanted to for some time. It’s been a long time since we’ve used the word ‘baroque’ in our company description. We call ourselves a ‘period opera and ballet company’ and our point now is that a ‘period production’ can be a reference to any period. That’s what fascinates. Of course, our initial focus was the baroque and that remains our first love, particularly the French baroque. But it is only natural as you start to explore these things that it keeps pushing you into new directions. It pushes you back and it pushes you forward, into earlier repertoire and into later repertoire. I think it’s a natural progression. The whole reasoning behind it is, ‘What was the original intention of the composer, of the librettist, of the designers? Where does it sit musically, dramatically, politically, artistically? What have we lost touch with over time? Have we lost anything worthwhile that is worth coming back to re-examine and that can challenge us in a new way?’

“I don’t want to do a museum production of Freischütz and I don’t think Freischütz will ever have looked like what we are doing. What we are doing is a Freischütz that explores all the possibilities that would have been open to performers in the early 19th century. Those ‘restrictions’ for want of a better word, have become the most thrilling take-off point, just as they were with Flute, and it has made us make huge jumps musically, dramatically and in terms of design. It’s taken us in directions we never dreamed we were going to go.

“Just to take one example: For the famous Wolf’s Glen scene, full of those wonderful, frightening satanic visions, there is no record of how they were created at the time. My first impulse was that they must have used a cyclorama, a huge painting that passed by on rollers. But such a technique would be far too expensive nowadays. Of course, we have our dancers and they are a tremendous asset. We thought of the magic lantern coming into use at the time, but slide shows have a negative resonance for us today that they did not have in the period. Then we thought if we use images what would they be of? Samiel is referred to as the ‘Black Huntsman’ so images of the hunt seemed natural. I looked at Géricault with his violent scenes of lions and cheetahs tearing animals apart, but they were too exotic. Then I thought of the crazy painting ‘The Nightmare’ by the Swiss-born British painter Henry Fuseli [1741–1825], an exact contemporary of Weber. The more I looked through his catalogue of works, the more I realized his visions of horror were a perfect match for the atmosphere Weber conjures up in the Wolf’s Glen. So it will be images from Fuseli that we will project on stage during that scene in the mode of a period phantasmagoria. We will be doing nothing that was not available to artists in the early 19th century. We will just be using 21st century technology to recreate it.”

How did OA come to choose Der Freischütz as its first foray into a new period? Pynkoski had considered doing a 19th century work for some time and had first considered Beethoven’s Leonore (1805), as the first version of his Fidelio is called. But it was conductor David Fallis, who suggested about three years ago that he and Jeannette Lajeunesse-Zingg have a look at Der Freischütz. What galvanized their attention happened in April last year when Krešimir Špicer was singing the title role in La Clemenza di Tito. Pynkoski, wondering when he and Špicer might ever work together again, said, “Kreš, tell me something you’re dying to do. We’ll do it for you. We just want you to come back. And he said instantly, ‘Well, I think you should be doing Freischütz and I should be singing Max.’” Pynkoski and Zingg went home, immediately listened to the CDs Fallis had given them, were overwhelmed by the work and told Špicer the next day they would be doing it — they didn’t know when — but they would be mounting it as a vehicle for him.

The 19th century may be new territory for Opera Atelier, but it is not for their orchestra, Tafelmusik. Tafelmusik has already played Beethoven’s symphonies to great acclaim and has programmed Chopin for next year. The most practical challenge is that the opera requires a 40-piece orchestra and David Fallis is still trying to figure out where to fit everybody in and around the pit at the Elgin Theatre.

Meanwhile, Pynkoski was bubbling over with news on a completely different topic. Two weeks after Freischütz closes, he and Zingg fly off to Salzburg to begin rehearsals for Mozart’s early opera Lucio Silla (1772), written when he was only 17. As it happens early music conductor Marc Minkowski has become the head of the Mozarteum in Salzburg. Ever since Minkowski first conducted for OA, he, Pynkoski and Zingg have longed to work together again, but Minkowski’s growing fame made scheduling trips to Toronto too difficult. Now he has asked the OA co-artistic directors to direct for him in Salzburg. Lucio Silla will premiere at the Mozarteum during Mozart Week on January 24, 2013, then travel to Bremen and Halle before returning to Salzburg in the summer.

But before that happens, Pynkoski and Zingg are focussing on Der Freischütz. Like The Magic Flute it is a singspiel, with spoken dialogue and sung arias. For Freischütz, the dialogue will be spoken in English and the arias sung in German with English surtitles. Flute and Freischütz make an excellent pairing. Both deal with the supernatural and both move from darkness to light, but Mozart’s focus is on the rational while Weber’s is on the irrational that lies just below the surface in everyday life. Der Freischütz runs from October 27 to November 3 at the Elgin Theatre. For tickets and more information visit

Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at

The 2012/13 season has a more conservative aura than have the past several seasons. For the large companies, this is likely a result of the perception four to five years ago when choices were made, that patrons with tighter resources would be less inclined to be adventurous. Nevertheless, while there is more standard repertoire on offer, there are still enough small companies in the city to offer the diversity we have grown used to.

COC:Compared to the past few seasons the upcoming choices of the Canadian Opera Company ( are decidedly mainstream. The fall season opens Verdi’s Il Trovatore, not seen at the COC since 2005. The production from L’Opéra de Marseilles runs September 29 to October 31, 2012, and stars Ramón Vargas as Manrico, Elza van den Heever as Leonora, Elena Manistina as Azucena and Russell Braun as the Conte di Luna; Riccardo Massi sings Manrico on October 28 and 31. Marco Guidarini conducts and Charles Roubaud directs.

36 opera amburbraid and mireilleasselin  2 photo by sn biancaAlternating with Il Trovatore is a new COC production of Die Fledermaus by Johann Strauss, Jr. The operetta was once one of the COC’s most performed works with eight productions between 1955 and 1991, but neither it nor any other operetta has been staged by the COC since then. The fact that the COC has commissioned its own new production suggests that we will be seeing Die Fledermaus more often. Michael Schade sings Gabriel von Eisenstein, Tamara Wilson is Rosalinde, Ambur Braid and Mireille Asselin alternate as Adele, Peter Barrett is Dr. Falke and, following tradition, Prince Orlofsky is played by a woman, Laura Tucker. The production is directed by Christopher Alden, who has directed the COC’s Der fliegende Holländer and last year’s Rigoletto. Johannes Debus conducts.

The winter season brings the first staging of Wagner’s Tristan und Isolde by the COC since 1987. It runs from January 29 to February 23. Ben Heppner is scheduled to sing Tristan with Burkhard Fritz taking over on February 8 and 23. Melanie Diener will sing Isolde with Margaret Jane Wray taking over on February 8 and 23. Famed director Peter Sellars will recreate his production for L’Opéra national de Paris that makes extensive use of video by Bill Viola. Renowned Czech conductor Jiří Bělohlávek will wield the baton. In repertory with Tristan, from February 3 to 22, 2013, is Mozart’s La Clemenza di Tito, not seen at the COC since 1991. Michael Schade sings the title role in Christopher Alden’s production created for the Chicago Opera Theater. Johannes Debus conducts.

In the spring season we have Donizetti’s Lucia di Lammermoor, not seen since 2004, running from April 17 to May 24, and starring Anna Christie in the title role. In repertory with Lucia is a revival of Atom Egoyan’s staging of Salome, not seen since 2001, running from April 21 to May 22. Erika Sunnegårdh sings the title role with Richard Margison as Herod. In May the two operas are joined by Poulenc’s Dialogues des Carmélites, not seen since 1997, which runs from May 8 to 25. Isabel Bayrakdarian sings Blanche de la Force with Judith Forst as Madame de Croisy. The production from De Nederlandse Opera is directed by Robert Carsen.

36 opera vasil garvanliev  credit phil crozierAtelier: In 2012/13 Opera Atelier ( breaks exciting new ground with its first-ever production of a 19th-century opera, Der Freischütz (1821) by Carl Maria von Weber. Even though the opera is standard repertory in central Europe, it has never been staged by the COC. The OA production will be the work’s first period production in North America. While the 19th century may seem a stretch for OA, it is not for the Tafelmusik Baroque Orchestra that has already played Beethoven’s symphonies to great acclaim and has programmed Chopin for next season. Der Freischütz, running October 27 to November 3, stars Krešimir Špicer as the title marksman Max, with Vasil Garvanliev as the villain Kaspar and soprano Meghan Lindsay as Max’s beloved Agathe, whom he hopes to win as his bride in a contest of marksmanship. As usual Marshall Pynkoski directs and David Fallis will conduct Tafelmusik.

In the spring, OA revives its beloved production of Mozart’s The Magic Flute, running April 6 to 13. Since both Der Freischütz and The Magic Flute are singspiele (using spoken dialogue instead of recitative) and since both involve the supernatural, they make a fine pairing — Mozart emphasizing the triumph of reason over the irrational and Weber portraying just the opposite. The Magic Flute features many OA favourites including Colin Ainsworth, Olivier Laquerre, Ambur Braid and João Fernandes.

TOT: Toronto Operetta Theatre ( will present only two works this season. The end-of-year treat is Franz Lehár’s The Merry Widow from December 28, 2012, to January 6, 2013, starring Leslie Ann Bradley, Elizabeth Beeler, Adam Luther and Keith Klassen. In the spring, TOT has Offenbach’s 1866 operetta La Vie parisienne, not seen at the TOT since 1992, which runs from April 30 to May 5. It features Elizabeth DeGrazia and Lauren Segal, and is conducted by Larry Beckwith.

Beckwith is also the artistic director of Toronto Masque Theatre ( From May 10 to 12, TMT will present a operatic double bill combining new and old, East and West. The first work will be Venus and Adonis (1683) by John Blow. The second will be the world premiere of The Lesson of Da Ji by Toronto composer Alice Ping Yee Ho to a libretto by Marjorie Chan based on the Ming Dynasty fantasy novel The Investiture of the Gods. Beckwith will lead an orchestra of combined baroque and Chinese instruments.

OH:For further fully staged operas, Torontonians will have to take a trip down to Hamilton. Opera Hamilton (, which now performs in the more congenial Dofasco Centre rather than in Hamilton Place, will present Verdi’s Rigoletto on October 20, 23, 25 and 27, 2012, and Bizet’s The Pearl Fishers on March 9, 12, 14 and 16. OH has Jason Howard and Simone Osborne lined up for the Verdi and Brett Polegato and Virginia Hatfield for the Bizet.

In concert: Operas presented in concert help give breadth to the season. On November 1 and 3, the Toronto Symphony Orchestra ( will present a double bill of Beethoven’s Symphony No.8 with Manuel de Falla’s one-act opera La Vida breve (1913) with a cast of singers and flamenco dancers from Spain conducted by Rafael Frühbeck de Burgos. On February 15 and 16 the Toronto Consort will present the Canadian premiere of The Loves of Apollo and Daphne (1640) by Francesco Cavalli with Charles Daniels, Katherine Hill and Laura Pudwell.

Opera in Concert ( which is rebranding itself as “Voicebox,” has scheduled the Canadian premiere of Rossini’s Armida (1817) for November 25, 2012, Handel’s Orlando (1733) for February 3 accompanied by the Aradia Ensemble, and Massenet’s Thaïs (1894) for March 24, starring Laura Whalen. Meanwhile, Opera by Request ( has immediate plans for Umberto Giordano’s Andrea Chenier (1896) on September 22 and Wagner’s Die Walküre (1870) on September 29 with Rachel Cleland as Brünnhilde.

June opera: June was once devoid of opera — but no longer. Sometime in June the upstart company Against the Grain (, known for staging opera in non-traditional venues, plans to present a new version of Mozart’s Le Nozze di Figaro titled Figaro’s Wedding, rescored for piano and string quartet. And also sometime during the month Tapestry New Opera ( will present the Toronto premiere of Shelter by Juliet Palmer to a libretto by Julie Salverson about “a nuclear family adrift in the atomic age” with a child who glows in the dark. Tapestry will also present a workshop production of Ruth by Jeffrey Ryan to a libretto by Michael Lewis MacLennon based on the book in the Old Testament but applying the moral “your people shall be my people” to contemporary Canadian society.

And coming full circle: Speaking of Tapestry New Opera, too late to deal with fully in this column, but just in time for this note, this September 21 to 23 will be the presentation of Tapestry’s 12th annual “Opera Briefs,” featuring the best of the new works arising from its invigorating annual summer composer-librettist workshop affectionately known as the “LibLab.” See the listings, and the Tapestry website, for details. 

Christopher Hoile is a Toronto-based writer on opera and theatre.  He can be contacted at

For toronto opera-goers, summer is usually a time to leave town to sample the myriad musical festivals outside Canada. Yet there are a number of intriguing productions to see in Toronto over the next two months and at festivals nearby.

For staged operas with piano accompaniment, Summer Opera Lyric Theatre has been an oasis for opera since 1986. This year SOLT ( offers an especially interesting program by presenting operas based on all three Figaro plays by Pierre-Augustin Caron de Beaumarchais (1732–99). Everyone knows the first two of the Figaro trilogy. Beaumarchais wrote The Barber of Seville 1773 and it served as the basis of Rossini’s opera in 1816. Beaumarchais wrote the sequel to Barber, The Marriage of Figaro, in 1778, which became the basis of Mozart’s opera in 1786. Other composers used the plays as plots for their own operas such as the Barber by Giovanni Paisiello in 1782 or the Marriage of Figaro by Gaetano Rossi in 1799, but time has crowned Rossini’s and Mozart’s versions as the most successful operatic treatments of their respective sources.

Less known both in the theatre and on the opera stage is the third part of Beaumarchais’s Figaro trilogy, La Mère coupable (The Guilty Mother) written in 1792. If you thought that The Marriage of Figaro revealed the relationship of Count Almaviva and his Rosina as rather less than happy, La Mère coupable goes even further. Set 20 years after the previous play, it appears that the Countess did have a relationship with Cherubino and that the product was a son, Léon. Meanwhile, the Count, although he has had an illegitimate child of his own named Florestine, is intent on punishing the Countess for her betrayal and prevent Léon from inheriting a sou. Figaro and Susanna are still happily married but must solve this problem, especially when they discover that Léon and Florestine have fallen in love with each other.

There are two main contenders for operatic treatments of the third Figaro play. The first is La Mère coupable by Darius Milhaud from 1966. The second is The Ghosts of Versailles by John Corigliano of 1980 which includes a performance of the third play as a part of a larger plot set in the afterlife. SOLT has chosen the Milhaud which has a Canadian connection. It was Louis Quilico who created the role of Milhaud’s Count Almaviva at the world premiere in Geneva.

SOLT is thus offering what is likely the first chance ever in Canada to see operas based on the entire Figaro trilogy in repertory. The Barber of Seville will be performed in English on July 28, 31, August 2 and 4 with Maika’i Nash as music director. The Marriage of Figarowill be performed in English July 27, 29, August 1 and 4 with Jennifer Tung as music director. And La Mère coupablewill be performed in French July 28, August 1, 3 and 5 with Nicole Bellamy as music director. All performances take place at the intimate Robert Gill Theatre on the University of Toronto campus.

For another French rarity in concert, Opera by Request (www.­ will present Léo Delibes’ Lakmé (1883), famed for its “Flower Duet” and the “Bell Song”, on August 10 at the College Street United Church. Soprano Allison Arends sings the title role, tenor Christopher Mayell is her British lover Gerald, and baritone Michael York is Nilakantha the High Priest who disapproves of their love. William Shookhoff is the pianist and music director.

For fully-staged opera, Torontonians will have to wait until August 20 to 31 when the renowned Volcano Theatre (www.­ teams up with music director Ashiq Aziz and his Classical Music Consort (a period instrument band) to present A Synonym for Love at the Gladstone Hotel. Synonym is in reality the 1707 cantata Clori, Tirsi e Fileno by George Frederic Handel given a modernized English libretto by Deborah Pearson. Rather than a love triangle of two shepherds and a shepherdess, Pearson has turned it into a triangle among three guests at the hotel and the audience will follow the singers as their drama moves through hallways and bedrooms of the hotel.

The score of the cantata was thought to be lost until 250 years later a single copy was discovered in Germany. This will be the first fully-staged production of the work in Canada. Soprano Emily Atkinson, countertenor Scott Belluz and soprano Tracy Smith Bessette will be the singers, Ross Manson will direct and Ashiq Aziz will conduct. 

The Shaw Festival ( has presented both musicals and operettas in the past, but this year it is presenting its first opera, the one-acter Trouble in Tahiti by Leonard Bernstein from 1952. The 45-minute opera with a libretto by Bernstein depicts a day in the life of a typical suburban couple who suspect that their perfect life is missing something. Meanwhile, a Greek-style chorus comments on the action. Mark Uhre plays the husband Sam and Elodie Gillett his wife Dinah. Jay Turvey directs and Paul Sportelli conducts. The opera runs as a lunchtime show at the Court House Theatre July 7 to October 7.

Further afield, the Westben Arts Festival ( in Campbellford opens its season with the world premiere of The Auction with music by John Burge to a libretto by Eugene Benson. Based on the children’s story of the same name, the opera tells of how a grandfather explains to his grandson (and himself) why he has to sell the family farm and why things must change. The seven-member cast includes Bruce Kelly, Kimberly Barber and Keith Klassen. Philip Headlam conducts the Westben Chamber Orchestra and Allison Grant directs. The premiere is June 30 followed by only one more performance on July 1. Let’s hope for a revival in the future.

Just as a reminder, fans of Opera Atelier may wish to head down to Cooperstown, New York, to cheer on the company. OA has been invited to stage its highly acclaimed production of Lully’s Armide as one of the four offerings of music theatre at Glimmerglass Opera ( this summer. Armide, with the same cast that played in Toronto last April, runs in repertory with Verdi’s Aida, Weill’s Lost in the Stars and Willson’s The Music Man July 21 to August 23.

Have a great summer! 

Christopher Hoile is a Toronto-based writer on opera and theatre.
He can be contacted at

opera_robertwilson_and_philipglass_photo_by_lucie_janschThe operatic highlight of the year arrives this June as part of Luminato. It’s the Canadian premiere of Philip Glass’ iconoclastic 1976 opera Einstein on the Beach in its first new production in 20 years. The New York-based organization Pomegranate Arts premiered the new production in Montpellier, France, with the express purpose of touring it to places where it had never before been seen. As a seminal creation that redefined what opera is, it is the one work this year that no lover of modern opera can afford to miss.

Einstein on the Beach resulted from the collaboration of composer Philip Glass, director Robert Wilson and choreographer Lucinda Childs. The notion was to create a plotless, image-driven, multimedia exploration of the world-changing ideas of one great man. The title itself combines the name of the subject with the title of Nevil Shute’s 1957 novel On the Beach, about the end of life on earth due to a nuclear holocaust.

Einstein on the Beach breaks all of the rules of conventional opera, including the relationship among the work’s creators. Robert Wilson did not write a traditional libretto but rather created a series of storyboards suggesting structure and designs that inspired Glass’ music. Non-narrative in form, the work uses the development of powerful recurrent images as its main storytelling device in juxtaposition with abstract dance sequences created by Lucinda Childs.

opera_einsteinonthebeach_2_photo_by_lucie_janschEinstein on the Beach is structured in four acts connected by five danced “knee plays.” The four acts of the opera –Train, Trial 1 & 2 and Field/Spaceship — refer to Einstein’s theories of relativity and his hypothesis of unified field theory, with the “Trials” focussed on the misuse of science as implied in the second half of the title. Instead of a traditional orchestral arrangement, Glass composed the work for his own amplified ensemble consisting of three reed players — flute (doubling piccolo and bass clarinet), soprano saxophone (doubling flute), tenor saxophone (doubling alto saxophone); solo violin (played by the non-singing character Einstein on stage) and two synthesizers/electronic organs. The cast requires two females, one adult male and one male child in speaking roles with a 16-member chorus with one male and female soloist. Because of its nearly five-hour length, there are no traditional intervals. Instead, the audience is invited to enter and exit at liberty during the performance.

Einstein on the Beach was Glass’ first opera and the first collaboration between Glass and Wilson. For the new production, they are working with a number of their long-time collaborators, including Lucinda Childs, who will serve as choreographer, as she did for the original production and for the revivals in 1984 and 1992. All of these artists are now in their 70s, with this production the cornerstone of Glass’ 75th birthday year.

Speaking of the new production, Glass has said, “For Bob and me, the 2012-13 revival of Einstein on the Beach will be a most significant event, since in all likelihood, this will be the last time that we will be together and able to work on the piece. For audiences, few of whom have experienced Einstein apart from audio recordings, this tour will be a chance finally to see this seminal work.

“In this production, my composition will remain consistent with the 1976 original. The technology of theatre staging and lighting has improved to such an extent that it will be interesting to see how Bob uses these innovations to realize his original vision.”

Wilson has said, “Philip and I have been always been surprised by the impact that the opera had and has. I am particularly excited about this revival, as we are planning to re-envision Einstein with a new generation of performers, some of whom were not even born when Einstein had its world premiere. Aside from New York, Einstein on the Beach has never been seen in any of the cities currently on our tour, and I am hoping that other cities might still be added. I am very curious to see how, after nearly 40 years, it will be received by a 21st century audience.”

Einstein on the Beach is the first of what later came known as Philip Glass “portrait operas,” each centred on a man who changed the world not through force but through the force of his ideas. Einstein was followed by Satyagraha (1980) about Mahatma Gandhi and Akhnaten (1984) about the Egyptian pharaoh (14th century BC) who was the first man in recorded history to promote monotheism. In all, Glass has written 13 full-scale operas and five chamber operas, of which only one has ever been seen in Toronto — La Belle et la Bête (1995), one of his trilogy of Jean Cocteau film operas.

Glass’ musical style has been called “minimalist,” a term he dislikes, preferring to call it “music with repetitive structures.” Notable features include a prominent steady pulse, consonance (rather than dissonance) and repetition leading to the gradual additive transformation of musical phrases. Glass’ early works like Einstein feature near constant arpeggiation of each note of the melodic line. As Glass explains it, “My main approach throughout has been to link harmonic structure directly to rhythmic structure, using the latter as a base. In doing so, easily perceptible ‘root movement’ (chords or ‘changes’) was chosen in order that the clarity of this relationship could be easily heard. Melodic material is for the most part a function, or result, of the harmony.” Once a minority style in the 1960s, then still dominated by serialism, it has now become the most popular experimental style in classical music as represented by such different composers as Steve Reich, John Adams, Michael Torke, Michael Nyman, and the so-called spiritual minimalists Henryk Górecki, Arvo Pärt, Sofia Gubaidulina and John Tavener. For more information and tickets visit

Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at

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