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Volume 23 Issue 6 - March 2018

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In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.

FEATURE Geoffrey Sirett

FEATURE Geoffrey Sirett GOGOL’S OVERCOAT REVISITED AND REINVENTED JENNIFER PARR DAHLIA KATZ There is a bubbling excitement in every conversation I am having with members of the creative team for The Overcoat: A Musical Tailoring, which will have its world premiere on March 29 at Toronto’s Bluma Appel Theatre in an epic three-way co-production between Tapestry Opera, Canadian Stage and Vancouver Opera. This excitement, from all accounts, was there from the very beginning of the project, although in the words of Tapestry’s artistic director Michael Mori, it began “almost by accident” at Tapestry’s annual new opera incubator, the composer librettist laboratory (LibLab). Each summer four composers and four librettists are brought together for the LibLab, and over the course of about ten days go through an operatic speed dating process, each creating with different partners four brand-new mini-operas no longer than about five minutes in length. At the 2014 LibLab, award-winning Canadian composer and former LibLab participant James Rolfe was acting as mentor to that summer’s composers when for the first time ever, a composer had to drop out due to a musical emergency back home. Rolfe, who had been – in Michael Mori’s words – “feeling funny about just observing and not taking part,” now had his chance to jump into the mix, and as chance would have it, one of the librettists he was partnered with was two-time Governor General’s Award-winner and prolific playwright and director, Morris Panych. They hit it off immediately. At the LibLab, pressure is high and time is short to find good ideas to base a new opera upon, and as Panych put it to me: “Let’s be honest, you start to run out of ideas and I thought, hey, The Overcoat, that could be interesting, because I’m always trying to think when I develop those little scenarios, could this be expanded into a full opera... and as a short story and not a novel (which are really hard to adapt) it already has a lot of the storytelling elements that you want.” At that point, though, he wasn’t really thinking yet about a full opera but about a particular scene “which I thought would be a charming scene to do with James, where the tailor and his wife measure (the main character) Akaky for a new coat” – the overcoat of the title. The project had begun. To see where this new theatre piece is headed, it’s helpful to look back at where it has already been. Gogol’s famous 1842 short story The Overcoat, about an ordinary man whose life is turned upside down by first acquiring and then losing a wonderful new overcoat, has already had a long and successful theatrical life in the groundbreaking physical theatre production created by Panych with Wendy Gorling in 1998. Originally an experimental production for the students at Studio 58 theatre school in Vancouver, then a full-fledged professional production that took Vancouver and Toronto by storm, it travelled around the country and then the world, garnering great acclaim and many repeat engagements. The extraordinary thing about this earlier production was that it was performed without words. The storytelling was all done through movement, created collaboratively by the 8 | March 2018 thewholenote.com

company under the guidance of Panych and Gorling, but also very tightly choreographed to carefully chosen and shaped musical selections from the works of Russian composer Dmitri Shostakovitch. This first production was so quintessentially wordless, and so successful in its physical storytelling, that my first question to Panych about the new Overcoat was where the inspiration came from to do – in effect – the opposite, putting words back into the mix. His answer was that the experiment at the LibLab lit the spark but that once it did, the opportunity was there to explore a “whole different idea for the show than it originally had” in that there had to be “a development of intellectual ideas because now there were words” – something he had, in fact, long been contemplating. The original version had been a thrilling and very successful experiment, but a new opportunity had now arisen – going back to Gogol’s original story and exploring it again from the point of view of philosophical and intellectual ideas that could be brought out through the new libretto and new score, to be expressed and explored by the singers with the audience. As Panych explained, they went back to the leading character Akaky being an accountant (as he is in the short story) and “I came up with this idea of singularity and numbers, of people counting and not counting, which developed through into the piece as an idea about human value and existentialism and what the coat actually means in terms of its intrinsic social and moral value.” Back at the LibLab when the Overcoat scene was presented, it immediately struck a chord with both singers and audience. Mori says that Panych had very quickly written a very clever mini-libretto for the scene of the tailor and his wife creating the coat for Akaky “based on how deeply he knows the story and the interplay between the characters, and I think James was intrigued and wrote the music very Thursday, March 15 at 8pm PENDERECKI QUARTET Unity, polish and expressive flexibility. Pre concert talk at 7:15pm “The music is a twisted circus,” Panych says. “It’s acrobatic, you feel its tunefulness, you feel the beat of it.” quickly. We heard it and said ‘It’s almost Gilbert and Sullivan in a way’ – not because it was British, it was very Morris – but because it was so fast and the energy was really exciting.” Almost immediately after the LibLab and the success of the presentation of the scene to an invited audience (including an intrigued Mathew Jocelyn, artistic director of Canadian Stage), Tapestry found the funding for a libretto workshop and the development snowballed from there, moving very quickly through two more workshops to reach the point where it is now about to go into rehearsal for the full production. Vancouver Opera joined in along the way, as co-commissioner of the piece, as did Canadian Stage, as a season presenter. Both Panych and Rolfe commented upon the speed of this process, Panych writing the libretto very quickly as he knew the story already so intimately, and Rolfe connecting so quickly to the material that the score was also completed very fast. In Panych’s words: “I wrote the libretto and James took it, and I emailed and called him a few times and said ‘Any changes?’ and he said ‘Not really, it’s perfect,’ and he wrote the score. We did the first and second workshops and staged it [so that we would have a] template for working on the show, then see where to go from there.” When I asked Panych and Rolfe about the original use of Shostakovitch and if it had any bearing on the new music, both said that it was really just a starting point and that Rolfe’s music is completely new and original, although “very Russian in feeling,” and that this was both right and exciting. The cast has been cut down to 11 from 23, although there is still a “mad chorus” and ensemble numbers that Rolfe says he is excited by (as well as by the character interaction Tuesday, March 27 at 8pm DÉNES VÁRJON Grandeur, clarity and incisive virtuosity. See our 2018-2019 season at www.music-toronto.com 27 Front Street East, Toronto Tickets: 416-366-7723 | www.stlc.com thewholenote.com March 2018 | 9

Volumes 21-25 (2015-2019)

Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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