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Volume 24 Issue 5 - February 2019

  • Text
  • February
  • Toronto
  • Jazz
  • Arts
  • Theatre
  • Musical
  • Performing
  • Orchestra
  • Symphony
  • Composer
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.

that will translate

that will translate beyond anything you could technically accomplish.” The whole process of creation on Annunciation, as it was with Inception, seems to have been very free and collaborative. As Huizinga started work on Annunciation with Blumberg’s voice in mind, and “falling in love with the poem and understanding it more and more,” he recalls approaching Opera Atelier director Marshall Pynkoski: “I felt there were moments in the poem where I thought there was a dialogue in the Angel Gabriel’s mind and I was wondering if I could turn that into a real physical thing and have two singers.” Pynkoski agreed immediately and suggested that Mirellle Asselin could be part of Annunciation as well as Inception. “I was thrilled” says Huizinga. “Being able to weave her voice in adds so much, as for me there is very little that is more powerful than two artists trying to tell a story together.” Rilke’s poem The Annunciation is a strange, mystical, almost surreal, evocation of the arrival of the Angel Gabriel on earth to find the Virgin Mary and tell her that she has been chosen to give birth to the son of God. It is far from a straightforward telling, as the angel seems to have forgotten his mission at first, and does not recognize Mary or possibly even know she is real. He (almost) seems to be in conflict with himself which gives rise to internal tension in the musical scene and the choreography created to go with it. Asselin, in this section, is no longer the Virgin Mary, as she was in Inception, but more, as Huizinga puts it, “an apparition, or avatar, of what is going on in the Angel Gabriel’s mind” conveying what he is yearning and searching for and trying to understand. He continues: “I’ve had so many thoughts and discussions about the idea of an avatar and how that’s one of the (both modern and age-old) concepts that we use to describe the transfer of consciousness and energy into another being. We had to find a way to give Jesse that responsibility as he and Tyler are both aspects of the Angel Gabriel.” This concept leads to a beautiful choreographed interaction as Annunciation begins. Huizinga himself is not as much part of the choreography in Annunciation, deciding instead to “lead the band” so as to be able to observe and be part of the development of all the moving parts of this much more complex piece that includes two singers, six instrumentalists and five dancers (and Baroque as well as contemporary choreography). As he says: “I’m treating it as a chance to see what it’s like to be writing a dramatic cantata today in the 21st century.” One moment in the process so far really stands out for him: “I had written an incredibly calm moment right near the end of the piece – a long meaningful chord – and [director] Marshall had the two dancer couples lean in towards each other and hold this moment of repose and beauty and connection, and it blew my mind. I left that rehearsal basically speechless because I had never talked to him before about how I felt about that moment, but I saw I had been completely understood.” In this new version of the project I first witnessed in Versailles in 2017, titled The Angel Speaks, the various pieces are interwoven. Annunciation, telling the story of Gabriel’s arrival on earth and struggle to understand his mission, comes first, followed by Purcell’s The Blessed Virgin’s Expostulation, interwoven with Inception, with the sweet voice Tyler Gledhill as the Angel Gabriel and Edwin Huzinga BRUCE ZINGER of Huizinga’s violin answering from above Mary’s cries to Gabriel. The Angel Speaks will be performed in the Royal Ontario Museum’s Samuel Hall Currelly Gallery for one performance only on February 21. Interestingly it was at the ROM that Opera Atelier first began presenting Baroque performances in 1985, so it seems extra fitting that they should debut what feels like a new phase of creation in the same setting. Already, though, the team are looking ahead to the next expansion of the project which will begin with another mystic Rilke poem, The Annunciation to Mary, in another wonderful translation by Grace Andreacchi. At this point, as Huizinga says, they are “just scratching the surface” exploring the meaning of the poem and looking at possibilities of setting it for a singer or possibly for an actor to speak over music. “The next question for me, for Marshall and OA, is eventually what is this going to turn into?” Huizinga sees it as “eventually having less [musical] support from the godfathers of Baroque music, and Marshall has indicated that he would like to see it become a one-hour piece that can stand on its own.” Asked if he could imagine having undertaken The Angel Speaks without benefit of all the many different things that he has in his musical career, Huizinga replied: “The short answer is that it is impossible to separate anything that I do in my life from the music that I write. Initially when I was starting to write this piece I was listening to and performing a lot of Heinrich Biber. One of the things I love most about him is that he inspires the performer to improvise, and my life has been guided by my desire to also improvise and be able to feel freedom in music. True freedom where you are really being allowed to speak your own voice in what you do.” In composing Annunciation, for example, he “wrote three very short moments of improvisation. I asked each performer individually ‘Would you be interested in doing this? Does it excite you? Because, if not, I am happy to write it out completely.’ And I would maybe not have had the courage to follow that path with my new piece without having had opportunities of shredding and improvising in studios as a studio musician, and then as a band member, or asking my kids at the summer camp that I run to forget everything they have learned and just improvise a piece for me using three notes A, C and E. So, everything in my life so far is, I feel, definitely being brought out in this world of writing.” I suggest to him, as our conversation draws to a close, that, along with the exhilaration of composing and creating these new works, it must be a real blast for a musician with his physicality to actually be on stage, with permission to be part of the scripted visual action. “Absolutely a blast, and also hard to believe, to be honest,” he replies. Opera Atelier’s The Angel Speaks will be performed in the Royal Ontario Museum’s Samuel Hall Currelly Gallery for one performance only at 8pm on February 21. Toronto-based “lifelong theatre person” Jennifer (Jenny) Parr works as a director, fight director, stage manager and coach, and is equally crazy about movies and musicals. 14 | February 2019 thewholenote.com

2018-2019: The Colours of Early Music LOVE, REMIXED FEBRUARY 15 & 16 at 8pm Artistic Direction by David Fallis & Katherine Hill Join us as we reinterpret, remix, and rediscover our love of Early Music, featuring James Rolfe’s Juno-nominated Breathe. FOUR QUARTERS OF JERUSALEM MARCH 8 & 9 at 8pm Guest Artistic Director Nina Stern, with Rose of the Compass Celebrating the musical diversity of the City of Jerusalem. 416-964-6337 | TorontoConsort.org An agency of the Government of Ontario Un organisme du gouvernement de l’Ontario

Volumes 21-25 (2015-2019)

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

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)