On operas new and less new

Remembrance Day 2016 was an important date for me. I completed the orchestration of a 20-year old opera, Merry Christmas Stephen Leacock, set to a Stephen Leacock short story that is 100 years old. I wanted to celebrate, and texted my longtime friend (and opera-writing partner) Michael Cavanagh, who directs Verdi’s opera Falstaff for Manitoba Opera. We decided to watch the Jets game together after his rehearsal, and so I asked if I could see some of the rehearsal that evening before the game. He replied, “of course.” I’m so glad I went.

As luck would have it, I arrived at the rehearsal hall just as they were about to run the second act. I greeted the conductor, Ty Paterson, and the rehearsal pianist Tad Biernacki, as they are also friends and colleagues, and met the cast. I was invited to sit directly behind Mike as he was directing, just to the left of Ty the conductor.

Even though I’m an opera buff, I had not done any research into the plot of this opera, sung entirely in Italian. (Manitoba Opera uses surtitles, English translations of the sung text projected above the stage in performances, but that setup is not present in the rehearsal hall). So with the Italian I had learned during my days as a vocal coach and from an Italian-Canadian girlfriend long ago, I hunkered down to take in the proceedings.

I was immediately overwhelmed by so many things as once. Firstly, here were some of the finest operatic voices on the continent, mere feet from me, in all their glorious, high-decibel glory. Todd Thomas plays Falstaff, Greg Dahl is Ford, Monica Huisman plays his wife Alice Ford,  Fenton is portrayed by Kevin Myers, Nannetta is Sasha Djihanian, Lauren Segal plays Meg Page, Lynne McMurtry is Dame Quickly, James McLennan is Bardolfo,Tyler Putnam is Pistola and Chris Mayell is Dr. Caius.
You can see a synopsis of the plot to the opera here

Cavanagh’s intricate staging, (or “gags”, depending on your point of view) is the result of his creative take on the clever adaptation of the libretto (script) from three Shakespeare plays by the Italian writer (and composer!) Arrigio Boito. This staging resulted in some seriously slapstick comedic moments. It’s amazing how funny it was, when I had only a passing idea of what was actually going on, which is a tribute both to the composer and to Cavanagh’s clever staging. Tad the pianist was playing ferociously fast 16th notes, some of the fastest notes available to a Romantic composer, for pages and pages on end, seemingly effortlessly, while Ty the conductor kept singers in far-away corners of the room exactly in time with the music. In the “offstage” part of the rehearsal space, three stage managers kept a close eye on the stage area, bringing in or removing props and benches as needed, and also standing in for chorus members (who were not called that night). The stage managers also had their music scores mounted on music stands with wheels, so they can give cues to the singers when it’s their time to enter the stage area, as the singers are doing their singing and staging entirely from memory.

Finishing orchestrating my own opera, Merry Christmas Stephen Leacock, was a fascinating and highly satisfying experience, but also exhausting and intense, a seemingly never-ending process of finer and finer detail work. How nice to walk into a run-through of one of the cornerstones of the operatic literature, so amazingly sung and acted, in the rawness of a rehearsal hall with no costumes, sets, lighting or makeup. And it was still overwhelming! To try and listen to the amazing vocal prowess of the principals, or to watch Ty’s highly complex and seemingly mysterious (to the layperson) arm-wavings, to hearing Tad play the amazingly difficult score, to watching all the slapstick antics the singers were getting up to – what a sensory overload feast!

A bit of history about Falstaff: Shakespeare’s The Merry Wives of Windsor (upon which the librettist Boito based Verdi’s Falstaff) was previously set by:

Carl Ditters von Dittersdorf (1796 – what a great composer name)
Antonio Salieri (1799, nobody had heard of him before the film Amadeus,  after which everyone hated the poor guy)
Adolphe Adam (1856 – most famous composition is the Christmas song O Holy Night – the closest thing to a Christmas aria)

Verdi first received the draft libretto by Boito in early July 1889. He wrote to Boito in August 1889 telling him that he was writing a fugue: “Yes, Sir! A fugue … and a buffa fugue.” The first act was completed by March 1890. The rest of the opera was not composed in chronological order, as had been Verdi’s usual practice. La Scala in Milan, Italy (one of the most renowned opera houses in the world) could present the premiere during the 1892–93 season, but Verdi would retain control over every aspect of the production. The premiere performance took place on 9 February 1893

There are some interesting (if tenuous) parallels between the source material of my opera, Merry Christmas Stephen Leacock, and that of Falstaff, namely Mr. Shakespeare. As I was researching Leacock’s life and reading his biography, I came across a stunning fact: in the early part of the 20th century, Stephen Leacock was the most widely-read English-language writer in the world. Yes, even more popular than Shakespeare, apparently, was our humble Canuck humourist (even though he was born in England). This got me thinking, so here’s some Opera by the Numbers (with my apologies to Harper’s Magazine)

Opera by the Numbers
Number of years since Leacock
wrote his short story Merry Christmas                              almost 100

Number of years since Verdi’s Falstaff
premiered at Milan’s La Scala                                                  113

Age of my grandfather, Napoleon Miron,
when Falstaff was premiered                                                    9

Number of years the literary character
Sir John Falstaff has existed                                                      414 (approx.)

Number of principal singers in
Manitoba Opera’s Falstaff                                                           10

Number of singers in my opera
Merry Christmas Stephen Leacock                                           3

Number of notes in my opera
Merry Christmas Stephen Leacock                                            34, 316

Number of notes in Verdi’s
Falstaff                                                                                   > 151, 580

Number of string players in Falstaff                                        25

Number of string players in Leacock opera                            5

Number of plays written by
Shakespeare                                                                                      37

Number of operas written by Verdi                                           26

Number of operas written by Verdi
based on Shakespeare plays                                                         3

Number of operas written by Weisensel                                  7

Number of of opera written by Weisensel
based on Shakespeare plays                                                          0

Total number of Shakespeare plays
turned into operas                                                                           >300

Total number of Stephen Leacock
works turned into operas                                                                 1

In closing, let me apologize for the extreme tardiness of this preview. I had a concert the same day as Falstaff opened, and as a result could not get this onto my blog any earlier. There are two performances of Falstaff remain gin – Tuesday Nov. 22nd at 7 p.m. and Friday. Nov. 25th at 7:30 p.m. I strongly encourage you to see this hilarious, extremely well-sung and deftly directed production that Manitoba Opera is presenting – you’ll be glad you did. You can find out about tickets here or call the MOA box office at 204-957-7842.

Merry Christmas Stephen Leacock opens Dec. 1st at the Laudamus Auditorium at Canadian Mennonite University, Grant at Shaftesbury. More more information go to www.littleopera.ca

Paul Steenhuisen open letter to CBC/CLC

The following is a thoughtful, articulate and timely letter posted by my fellow composer and colleague Paul Steenhuisen, concerning some issues important to those who value contemporary music as a means of expression in our society. It’s worth a read and a think.

CLC = Canadian League of Composers

CBC – Canadian Broadcasting Corporation
“Following up on my recent FB post, I’ve written a letter to the Canadian League of Composers. I include the letter here in order that others can read it, and perhaps add their comments. The letter was addressed to CLC President Brian Harman and the Head of the Advocacy Committee, Ian Crutchley. Others cited in my original FB post were Christien Ledroit, David Pay, and David Jaeger. Hopefully good things will happen.
“As a former longtime Canadian League of Composers Council Member, past ISCM Canadian Section President, composer, and contemporary music and public broadcasting advocate, I am requesting that the CLC, in its role as representative of Canadian composers, direct resources toward renewing its working relationship with the Canadian Broadcasting Corporation, for the benefit of the status of the artist in Canada.
The past decade has seen the removal of the CBC’s composer commissioning program, the demise of the CBC Vancouver Radio Orchestra, the cancellation of Two New Hours (the primary broadcast venue), the abandonment of recording of Canadian contemporary music, the end of the Young Composers Competition, and removal of other Classical Music radio programming. The accumulation of these actions amounts to the decimation of all resources previously, historically, and successfully devoted to Canadian contemporary music by the CBC, and the severance of the relationship between our flourishing field and the public broadcaster. While in some areas the CBC has diversified its programming, with the absence of Canadian composers and Classical music programming, it has moved toward significantly more commercial programming, at the expense of its responsibilities to the 1991 Broadcast Act. The Broadcast Act states that the CBC is mandated to provide programming that is “distinctively Canadian,” “actively contribute(s) to the flow and exchange of cultural expression,” to “make maximum use of Canadian creative and other resources in the creation and presentation of programming,” to “safeguard, enrich and strengthen the cultural, political, social and economic fabric of Canada,” and serve as “a public service essential to the maintenance and enhancement of national identity and cultural sovereignty.” Over the course of just over a decade, the CBC has perpetrated significant, quantifiable cultural and economic damage to the fields of Contemporary and Classical music in Canada.
In addition to developing and maintaining regular dialogue with the CBC to regenerate their investment in Canadian contemporary music through recordings, broadcasts, and commissions, etc., it would be prudent to determine the formal process for how new programs are proposed and developed, create a list of producers amenable to new programming initiatives, determine ways in which composers work could be included in current programming, and compile a set of resources that would assist CLC constituents in establishing meaningful communication with the CBC regarding our shared musical interests. More specifically, I am also requesting that the CLC, in combination with the organizers of the ISCM World New Music Days (Vancouver 2017), work towards securing national broadcast commitments by the CBC. The ISCM World New Music Days is an important international festival that will showcase top-level music, performers, and composers, and is an ideal opportunity for the CBC to be reminded of the quality, interest, and value of artists and individuals contributing to this wide-ranging field of creative music. While various other new media is available for making concerts available, nothing can currently match the awareness and exposure that can be obtained through the radio and television resources of Canada’s longstanding public broadcaster.
Please note that in discussion with the CBC, some individuals are inclined to distort and manipulate important terminology required for the presentation and understanding of accurate broadcast statistics. While demonizing art music as elitist, they have simultaneously sought to co-opt the term composer to apply to singer-songwriters and anyone who makes music. They have also attempted to transform the terms contemporary music and new music to mean anything recent, and inclusive of anything, such as commercial, pop, rock, hip-hop, electronica, and other forms of musical expression. By doing so, they will argue that they play more contemporary music by Canadian composers than they ever have, while knowing that this is untrue based on historically accepted definitions of the terms. Meanwhile, the CBC’s inclusion of composers associated with the Canadian Music Centre, including electroacoustic music, is near zero. The CBC is mandated to be an alternative to commercial interests, driven by cultural responsibilities rather than commercial ones.
With a new government that has stated its commitment to restoring the CBC, and new funds being promised to the public broadcaster, it is critical for the Canadian League of Composers to devote significant and ongoing resources to forging a meaningful role for Canadian art music at the CBC. There is a wealth of wonderful music being made and performed by artists of the highest level in Canada, and the field has expanded and changed – it is a cultural loss to Canadians that the CBC is currently not part of it. My hope is that with the advocacy of the CLC (perhaps in combination with the Canadian New Music Network), the current circumstance will change and our collective, active role in Canadian culture will once again be reflected by our public broadcaster.”

Review of The Trials of Patricia Isasa

Friday night, at the historic Monument-National theatre in Montreal,  a new opera was premiered  by composer/performer Kristin Nordeval and librettist Naomi Wallace, based on the true story of Patricia Isasa. Patricia was kidnapped at 16 in her native Argentina, tortured, raped, and held for two years without charge. She is one of the rare survivors of the 30,000 who were “disappeared” during the military Junta that ruled the country from 1976 to 1983. After 33 years, she managed to get her abusers convicted to hefty jail terms.

The opera opened with a dialogue between present day Patricia (voiced with great passion by the composer, Kristin Nordeval) and her 16-year old self (Rebecca Woodmass, in a stunning performance). As we see a spectacular three-dimensional architect-style drawing of a library appear on a scrim (young Patricia want to be an architect and, indeed, fulfills that dream), the two Patricias argue about her time in the Junta’s grip. Young Patricia demands that her story be told, while the older version of herself tries to make peace with her past. As the opera proceeds, Patricia’s abusers appear, in her dreams or thoughts, as she remembers the horrors she suffers. Eventually three men, all complicit in her abuse and that of countless others, appear in a trial setting and spout absurd defenses. These three characters were given fine voice and dramatic appeal by Dion Mazerolle (Mayor Eduardo Ramos), Vincent Ranallo (Former Detention Center Commandant Mario Facino) and Daniel Pincus (Judge Victor Hermes Brusa).

The music employs a wonderfully diverse set of instruments,  including the bandoneon, (an expressive accordian-like made famous by Argentinian son Astor Piazolla), electric guitar, percussion, and some amazing pre-recorded soundscapes combined with the live instrumentation. Beautifully written, this music made the most of the fine voices in the cast, especially Woodmass whose clarity of tone and childlike stage presence was mezmerizing. A fusion of “new music” Argentinian folk music, soundscape and contemporary operatic writing, the music supported the story with dramatic changes of colour, mood, and intensity. The voices, gently and superbly amplified in this space to properly balance with the orchestra, navigated some challenging coloratura with grace and fire. Nordeval, in her double role as composer and lead performer, was onstage almost the whole of the opera, which must have been exhausting. But what a thrill, to sing such beautiful music that she herself created, in such a glorious production!

The lighting and projections added a major element to the visual appeal of the opera. When the chorus first appeared (from under an ancient, noisy scrim) they were lit in such a way that they looked underwater. This striking effect was somewhat diffused due of the length of time it was used. At the back of the stage, behind the chorus (who were excellent, directed by Tiphaine Legrand) were rows of stacked boxes representing the mountain of files that were kept (or not) on the prisoners. These boxes were at times overlaid with the photographs of faces of the “disappeared”, and these images were then taken away, a chilling and extremely effective idea.

This was almost a metaphysical story in some ways, with not a lot of action onstage which resulted in the pace dragging at some points. Performed in two acts, I felt like an intermission would have been a good idea, as the subject matter is so dark that a break would have been appreciated. The production was directed by Pauline Vaillancourt, the Artistic Director of venerable arts institution Chants Libre. Overall, the elements of video, music, soundscape, projections and lighting came together to form a compelling whole. I felt, however, that the lack of action onstage made the performance feel very long.

I wholeheartedly applaud Chants Libre for taking on this project. The subject of torture and human-rights abuses is unfortunately still very pertinent today. Composer Nordeval mentions in her notes that Patricia’s torturers were trained at the School of the Americas, a US Department of Defense military training school. The real Patricia Isasa, who appeared on film at the end of the opera, and live onstage to accept tumultuous applause for her courage, spoke of having endured the same treatment as did prisoners at the infamous Abu Ghraib prison in Iraq and the US detention centre at Guantámo Bay, Cuba. Holding a light, such as this compelling new work, to such darknesses of the worst of human behaviour will hopefully cause us all to keep human-rights abuses top of mind.



Happy to say I have the good fortune to

Happy to say I have the good fortune to be married to this woman. A moving Remembrance Day tribute by World Village Gospel Choir Co-director Rachel Landrecht, to all who served our country, and the veterans who are still with us. May this new government provide you with what you need to live a dignified and comfortable life – it’s the very least we can do. http://ow.ly/Uusj0

More photos from @dumpstermusical record

More photos from @dumpstermusical recording session Thursday. This show, written and performed by Vancouver street-involved youth, opens TONIGHT 8 p.m. at the Waterfront Theatre on Vancouver’s Granville Island. We had a good crowd for our preview Wednesday, come on out and show your support for these courageous and talented youth. My role as Composer-in-Residence was to help develop the songs and orchestrate for a chamber orchestra. We have fine players from the @VancouverOpera Orchestra sharing the stage with these unique performers. http://ow.ly/Ulad7 http://ow.ly/i/ehms5 http://ow.ly/i/ehmxX