Luminato Competition & Tapestry Opera/Queen of the Evening Communion, created and directed by Michael Hidetoshi Mori, music route and preparations by Kathleen Allen, with Dr. Jonathan Oldengarm, organ, and Hyejin Kwon, piano, Metropolitan United Church, June 6 & 7.
Within the YouTube teasers that creator Michael Hidetoshi Mori made to pique curiosity on this progressive opera live performance, he dropped tantalizing hints that the efficiency can be about secret societies and ritual ceremonies, and much more intriguing, private grievances and riot.
This was, in spite of everything, the Queen of the Evening Communion, so it made sense that it was this specific operatic girl who was assembling this clandestine gathering as a result of nobody else may presumably have a higher axe to grind then she did.
As Mori instructed us in each these teasers and the press materials, this was opera that was going to be elemental, uncooked, pressing and transformative. For this communion, the queen was going to assemble collectively the mad, the misunderstood and the magnificent.
Subversive Singing Souls
I’m calling these communion attendees broken but offended and even subversive souls. They included matched pairings: two Mezzo Sopranos, Krisztina Szabo and Alex Hetherington (with Szabo in control of the lot), two Sopranos, Kathleen Allan and McKenzie Warriner, two Tenors, Mishael Eusebio and Ryan Downey, and two baritones, Alexander Hajek and Justin Welsh.
At this level let me say that this octet turned out to be a really spectacular group of singers with full wealthy voices that carried superbly to the impossibly excessive ceilings of the resplendent Metropolitan United Church. Extra to the purpose, and fortunately so, they had been all excellent singing actors which was an necessary necessity on this program.
Now Mori credit himself as director, however fairly frankly, there was treasured little directing occurring, and I’m wondering what a very skilled director would have carried out with the fabric. The motion was fairly minimal, in truth.
The Repertoire
The place Mori did cowl himself with glory was in selecting the extremely imaginative repertoire. The viewers was handled with an astonishing combine of non secular anthems, opera arias, lieder, and artwork songs, some well-known, others not.
Additionally, fascinating had been Allen’s preparations that I promise you had been completely unique, even bordering the weird, as a result of solely often did the music get carried out because it was supposed.
Take the “Habanera”, for instance, which was sung by all eight singers as an ensemble.
Are you able to additionally imagine that the organ accompanied the arias for essentially the most half, with the piano often supporting the artwork songs? Think about the “Habanera” sung to an organ?
But the Communion was in a church, so one way or the other the organ contributed to the strangeness of the gathering, including gravitas to what could possibly be an in any other case amusing idea.
Nobody was laughing, nevertheless.
The night started with the singers within the church balcony. First, there was the majestic organ “Recessional” by Karg-Elert, then the ardent music of Hildegard von Bingen. It was the “Flower Duet” that introduced the singers all the way down to the entrance stage by way of the aspect aisles previous the heavy columns illuminated in purple.
The Setting
In truth, the church was fairly darkish for this efficiency with minimal lighting. It was arduous to see the faces of the singers which made it troublesome to know who was singing, however which added to the thriller I suppose. They had been additionally carrying cloaks with hoods which additionally obscured who they had been and a few even had masks.
All 4 girls had been singing the “Flower Duet”, and I believed I may even hear some males. It was completely beautiful, as a result of it was like stereo coming from either side of the church.
Now if a duet from Delibes’ Lakmé appears a may tame for a Queen of the Evening Communion, bear in mind the Datura flower lurks dangerously shut within the jungle.
Themes
Despite the fact that Mori’s repertoire groupings had been scattered all through the night, looking back you could possibly see the cleverness within the programming if one adopted his unique thought.
We definitely had real insanity represented in Ophelia’s hysterically rendered “Mad Scene” from Thomas’ Hamlet the place the younger singer actually needed to be calmed down. “Now the good Bear and Pleiades” from Britten’s Peter Grimes could be very a lot considered an indication of Peter being unstable, and it was additionally included.
One other grouping had been the choices exposing these decided to be intentionally provocative which may definitely trigger injury, just like the aforementioned “Habanera” from Bizet’s Carmen, and “Lied der Lulu” from Alban Berg’s eponymous opera.
Alternatively, “O Sailor” from Kate Soper’s opera “Right here be Sirens” is fascinating as a result of the ladies do query why they’re stranded on a rock having to lure males to their demise.
For expression of id disaster and internal turmoil, Mori made some nice decisions.
Each baritones as Rigoletto bitterly mirrored in “Pari siamo” from the Verdi opera that the jester is similar because the murderer Sparafucile who kills together with his dagger, whereas Rigoletto kills together with his savage tongue.
The troubled younger man within the aria “Final Evening” from Gregory Spears’ opera Fellow Travellers is a religious Catholic agonizing over a gay encounter.
In Schubert’s “Der Doppelganger”, a person is caught within the psychological trauma of seeing a picture of himself locked prior to now of unrequited love. Mori successfully staged this by having a male forged member standing on a mounted block within the centre of the church, moaning in agony, his physique twisted in ache because the singer, pushed with ardour, pointed to him in horror.
After which there was the morbid crowd obsessive about demise. Useless “When I’m laid in earth” from Purcell’s Dido and Aeneas was on this system, as was Rebecca Clarke’s haunting music “The Seal Man” the place an harmless younger woman is lured to her demise by love and drowns at sea.
The environment did start to lighten as angers dissipated and feelings calmed The charming “Presentation of the Rose” scene from Richard Strauss’ Der Rosenkavalier led to {couples} dancing, some heterosexual, some not.
A Meditative Conclusion
So the place on this principally darkish opera expertise did we lastly see our misfits and malcontents discover their Moxy?
Properly, that occurred simply earlier than the non secular ending, when, in tight formation, the octet marched defiantly down the center aisle of the church belting out the Queen of the Evening’s “Der Holle Rache” from Mozart’s The Magic Flute, the organ thundering in accompaniment.
It was fairly a second listening to that iconic aria as a combined opera refrain.
The meditative ending included the gorgeous “Regina coeli Laetare” from Mascagni’s Cavalleria Rusticana and Purcell’s reflective “Night Hymn”.
The fantastic organ Postlude by Charles_Marie Widor and the non secular ending took us full circle again to the organ Recessional and Hildegard von Bingen,
Why the non secular bookends? These contributors within the communion is perhaps towards the powers that be, and the injustices they trigger, however they’re not towards the inherent goodness of God, or so I feel.
Last Ideas
For the sheer glory of it, allow us to reward Dr. Jonathan Oldengarm and the magnificent organ at Metropolitan United Church, the most important instrument of its sort in Canada, and the majesty that it delivered to the Queen of the Evening Communion.
As I sat by way of this system, I noticed on simply what number of ranges I used to be having fun with the expertise — the superb singing, the weird selection of repertoire and the much more uncommon means it was carried out, the very shocking use of the organ, and extra to the purpose, the originality of the idea behind the live performance.
Maybe the most important takeaway from the Queen of the Evening Communion is the crucial function that Tapestry Opera is taking part in within the creation of thrilling new opera experiences.
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Paula Citron is a Toronto-based freelance arts journalist and broadcaster who hosts her personal web site, paulacitron.ca. For over 25 years, she was senior dance author for The Globe and Mail, affiliate editor of Opera Canada journal, arts reviewer for Classical 96.3 FM, and dance previews contributor to Toronto Life journal. She has been a visitor lecturer for varied cultural teams and universities, significantly on the function of the critic/reviewer, and has been a panellist on COC podcasts. Earlier than assuming a full-time journalism profession, Ms. Citron was a member of the drama division of the Claude Watson Faculty for the Arts.
