Rainbow Stage’s production of Rogers and Hammerstein’s Cinderella is rich, lush and sumptuous at every turn.

Rainbow Stage’s Cinderella – Preview Performance Tues. Aug. 13th

Directed by Rob Herriot

Conducted by Paul De Gurse

Choreographed by Alexandra Herzog

(Full Creative Team credits here)


Cinderella: Colleen Furlan

(Prince) Topher – Darren Martens

(Fairy Godmother) Marie – Paula Potosky

(Full Cast credits here)

Promo trailer viewable here

Rainbow Stage’s production of Rogers and Hammerstein’s Cinderella is rich, lush and sumptuous at every turn. The score, by one of the top (if not the top) American music theatre composers, Richard Rogers, is an absolute gem. As there were only a few pieces I recognized, this is not one of their more famous shows, but I am absolutely in love with this classic score after one listening. It was in fact enlightening to go see a show whose music I didn’t know very well, and to just let the whole experience wash over me. I was totally captivated by the top-notch acting, singing and dancing in this show.

This is Cinderella before she was “Disney-fied”. The smart, updated script had a few cliff hangers (as much as “Cinderella cliff-hanger” sounds like euphemism) and provided more than a few laugh-out-loud moments. As Cinderella’s stepmother Madame, Melanie Whyte was over-the-top evil, extravagant and larger than life. As Jean-Michel, Aaron Hutton was wonderfully extravagant, complex and compelling. Colleen Furlan as (Cinder)Ella and Darren Martens as (Prince)Topher were a wonderfully matched pair, both in their stellar vocal delivery and their mutual attraction as star-crossed lovers. The Town Crier/Lord Pinkelton (Nelson Bettencourt) had my teenage daughter and her friend in stitches with his panache, expressivity and hilarious sight gags.

Bravo to Rainbow Stage for giving this production the orchestra it needed – a crack 15-piece ensemble conducted by Paul De Gurse. Their playing was smart, insightful and well-balanced, and the various elements of folksiness that peeked through the texture were charming. The piece, although in reality quite long, is kept moving by the action in the script, and is propelled by the music – like a masterclass in how to best serve a smart script (tastefully updated by Douglas Carter Beane) with some archetypal music theatre orchestral textures.

(Spoiler alert!) The dress changeovers were nothing short of miraculous, and literally took my breath away and had my heart in my throat. Besides the amazing dress transformation, the other costumes used in the production looked beautiful and the formal wear was especially opulent. If music theatre always looked and sounded like this, people would continue to show up in droves like they did at this preview – almost a full house.

I’m very proud of Rainbow’s all-local casting. Why fly in Toronto musical theatre performers when we have the same high calibre of performers here? Not only does it make economic sense, it’s very smart in terms of community engagement, plus it builds capacity for our thriving arts scene. Speaking of building capacity, there is one person in this city who has done more than anyone to provide us with a wealth of top-notch music theatre performers, and that person in Donna Fletcher. When I look at the names and backgrounds of so many of tonight’s performers, I see that Fletcher’s tutelage, as a voice teacher and also director of the fabulous Musical Theatre Ensemble at the University of Manitoba (which I had the pleasure of working with a few years back) has dramatically increased the quality and quantity of musical theatre performers in this city. And this is a scene that thrives against the odds, providing income for artists, and generating a tremendous amount of money ($1.4 billion a year, according to Economic Development Winnipeg) for our local economy, despite the feeble support from our stingy Provincial government.

With such an honest and luxurious production as Cinderella, Rainbow Stage is doing a huge service to the genre of music theatre, and indeed to our city. We are lucky to have a company the calibre of Rainbow Stage as part our community, putting on such compelling shows with exceptional performers, musicians, and technical personnel, all in a lovely family-friendly outdoor venue. But can we talk about those women’s bathroom lineups…?



Strike! Rainbow Stage review

You can read my review of Rainbos Stage’s production of Strike! the musical in the Globe an Mail here: https://www.theglobeandmail.com/arts/theatre-and-performance/reviews/article-compelling-strike-the-musical-embodies-the-essence-of-all-forms-of/

or here:

The musical Strike!, which just opened at Winnipeg’s Rainbow Stage, is about a lot of things – immigrants, power, love, hate, relationships, the “other”, and is one of those rare works that helps us learn something about our shared past while keeping us entertained. The Winnipeg General Strike of 1919, in which 30,000 union and non-union workers brought Canada’s 3rd largest city to a standstill, proved to be a pivotal moment for Canada. Lasting for 6 weeks, during which the governments of the day spread lies and calumny about the protesters and passed unfair laws, the strike galvanized the working class across the country, and its aftermath helped contribute to social democratic politics in Canada (Medicare, old age pension, etc.).


Women are the main protagonists here, and indeed are the work’s social conscience. With compassion, resoluteness, and strength , they help the male characters develop and even transform. Male aggression and dominance, of woman but also of other, younger men, was initially tolerated by the female characters until the tide turned. Duncan Cox, as Ukrainian immigrant son Stefan Sokolowski, combined powerful and heart-wrenching singing and acting with stellar guitar playing. As Mike Sokolowski (Stefan’s father), Cory Wojcik’s singing was honest and had emotional depth, and as an immigrant badly needing work but not believing in the strike, he provided some of the main tension in the piece. His character’s ignorance and despair were fully believable and fleshed out through his body language and tone of voice. Elena Howard-Scott gave us a rich and complete embodiment of her character, moving seamlessly between acting, singing and violin playing as Rebecca Almazoff, a young Jewish woman with an overbearing brother (Josh Bellan, in fine voice and displaying a suitably huffy personality). As Emma Jones, housekeeper to one of the leaders of the “Citizens Committee” which opposed the strike, Maiko Munro’s soulful vocals and passionate delivery brought her character close to us emotionally, and indeed helped bring this piece to another level. It was also gratifying to find Gabriel Chartrand as a nuanced and important Indigenous character, acted with finesse and beautifully sung by Nick Nahwegahbow. The three young Newsies (Malacai, Jonah and Shiloh Hiebert) were equal parts master string players, boisterous headline-shouters and charming ragamuffins.


Composer Schur knows how to pen a pop song that draws you in, but he’s not a one-trick pony either – jaunty klezmer-style music reflecting the piece’s Jewish characters was enhanced by a cast member playing clarinet. Another strong factor is how some of the musicians are in fact cast members embedded into the texture of the piece. The standout music director (Jesse Grandmont) was also part of the cast, morphing into different characters so discreetly that you could have easily missed how integral he was. Every instrument and voice could be heard distinctly, and the music well balanced with pristine tuning – quite a challenge for instrumentalists in an outdoor venue.


Strike! is one of the best new musicals I have seen onstage. My deep engagement with this piece was the result of a well-constructed and compelling dramatic arc. I really cared about the people onstage, and was emotionally invested in seeing their outcomes. That, for me, is the essence of all forms of theatre.





Gisela in her Bathtub at Kent State University

here’s the link to the article, on our brand spanking new Middle Distance Creations website – all you ever wanted to know about the operas of Michael Cavanagh and Neil Weisensel! http://www.middledistancecreations.com/?p=202


Presented by Flipside Opera, in the Great Hall at Canadian Mennonite University, Winnipeg Canada, Fri. Feb. 24th

Ruminations by Neil Weisensel

The first (of many) things I liked about this performance of Manitoba-born composer John Greer’s songs, was the venue. The Great Hall at Canadian Mennonite University (full disclosure: I teach theory and composition at CMU) is warm and inviting, with a beautiful “oldness” and a certain stature about it. I was able to snag one of the coveted “comfy chairs” at the back. I listened to this concert in the most comfortable plushness imaginable.

Everyone at Flipside Opera is to be commended for this performance. There is so much good to say, I don’t know where to start. As a composer, I listen to music differently than most people, and I will get to the music, but first I must congratulate the Flipside Artistic Triumverate of Judith Oatway, Dawn Bruch and Lisa Rumpel. There are many, many fabulous songs by John Greer to choose from, but I really felt that the songs chosen were so suited to each performer, like a glove. So bravo for that, and also for choosing such a lovely space, and for making the intermission a real pleasure with homemade goodies to savour!

Every one of the performers was a standout, IHMO (warning: this might sound like a gush). Right off the mark, the velvety sound of Jessica Kos-Whicher matched the plump plushness of my comfy chair. Ms. Kos-Whicher, besides having a very beautiful and controlled voice, is also a gifted actor. She wrung every bit of (melo)drama our of Mr. Greer’s songs, set to devastatingly clever texts of Sarah Binks (herself an invention of novelist Paul Hiebert) referencing pig calls, lamenting a lost calf (way funnier than it sounds), a horrendous mistranslation of Heinrich Heine, and a square dance.

Judith Oatway was next, with a very different set of three songs with mid-19th century texts by Anna Bromwell Jameson. Ms. Oatway’s instrument is so polished, so beautiful, that she can seemingly do anything with it, always at the service of the music. Such a combination of richness and superb control is not often found – her diminuendo to nothingness on a high note had me and my professional tenor seatmate nodding in admiration. These songs were powerful, dramatic, and profound.

Mr. Greer possesses a full palette of harmonies, textures, literary and musical borrowings and puns that he uses in his songs, and an amazing craft when it comes to writing for the voice. Part of the reason the singers sounded so good, was that the music is so well written. His often technically challenging accompaniments, whether for one pianist or two, always set the perfect mood. More on the pianists, Lisa Rumpel and Laura Loewen, later.

Matthew Pauls, who premiered the role of Father Christmas in my most recent opera Merry Christmas Stephen Leacock, was next to take the stage. He presented three songs on texts from the First World War poet Wilfred Owen, whose writings were immortalized in Benjamin Britten’s colossal War Requiem. However, this was a lighter, more playful side of Owen, one song about children “romping” in and out of love, the other (Song of Songs) expressing thoughts about either a day, or a lifetime. These two songs were very different, but both handled very ably by Mr. Pauls. A voice professor at CMU, Mr. Pauls possesses a very rich and agile baritone, matched by an expressive presentation and impeccable diction. Another sign of good writing and good singing – I understood almost every sung word. (Flipside had also thoughtfully included a lyric sheet with the program.)

Next came Liebeslied-Lieder, a musical and literary pun on Brahms’ famous Liebeslieder Waltzes for piano 4-hands and 4 voice parts. Here, Mr. Greer’s invention was in full swing – from waltz to ragtime to schottische to tango to bolero to ländler, with some saucy textual turns: “Miss Twye was soaping her breasts in the bath” and witty rhyming schemes.

Mr. Greer’s eye for poetry is a fine one – he remarked in a pre-concert interview that he can tell within moments if a poem is speaking to him to be set to music. He has chosen some very fine poetry here, and much of his music has echoes of Canadian folksongs. It’s so fascinating to hear slight, subtle references to tunes you vaguely recognize, or when he wittily borrows music from himself (from another of his song cycles, it seemed…), or you think you hear a tune from Strauss’ Der Rosenkavalier. Or did you…?

No matter, the point is that this combination of craft and creativity is the reason that Mr. Greer is one of Canada’s most esteemed composers. With a career teaching at some of the best institutions in North America (including the Eastman School in New York City), we Manitobans are glad to claim him as “from here.” The prairies and Canada have obviously left an indelible mark on him, and we are glad of it, because I think art is at its best when it reflects us back at ourselves.

I won’t bore you with the scrumptiousness of the tasty treats on offer at the intermission. Suffice it to say that the large crowd at CMU’s Great Hall included a number of the city’s best singers – they knew what a treat they were in for.

The second half commenced with Aquatic Songs of the Canadian People, Old and New, including iconic tunes by Stan Rogers, Joni Mitchell, Allister McGillivary and Wade Hemsworth, featuring Ms. Oatway, Mr. Pauls and a new singer to my ears, Elizabeth Hoty-Surdhar, who played violin as adeptly as she sang. These songs, arranged adroitly by Mr Greer, absolutely shone in the hands (voices) of this group.

The Listener, set to a poem of Walter de la Mare, was one of the (many) highlights of the evening for me. Tenor Aaron Hutton has it all – good looks, fine acting chops, a great voice, and presence. I was so totally enraptured by the story he was telling, I forgot it was a song. It wasn’t really a song – it was more like an epic music-drama for one person. This was, I thought, Mr. Greer at his most personal, providing some of the most dramatic music of the night. (If this is a hint of what Mr. Greer’s operas are like, I’m already a fan!) Even though I was totally swept away by the performance, the analytical/composer side of me was still marvelling again at how well Mr. Greer writes for the voice, in this case in particular, writing for the lower register of the tenor. Mr. Hutton’s entire voice is strong, but especially in his lower regions, he had a resonance that was admirable. Ms. Loewen matched his intensity and depth of delivery every step of the way, it was a seamless presentation of “pianovoicesound.”

It’s difficult for me to sometimes succeed in combining a description of the artistry of the moment, with the technique that makes it possible. Mr. Hutton delivered a superb performance of an extremely difficult song, even though most probably wouldn’t have realized that (except nerds like me) because the difficulty factor wasn’t even an issue for him, and therefore not an issues for us in the audience. We just gilt to sit and take it all in. How much fun to be the composer in attendance, hearing your music sung with such transcendence? That moment, ladies and gentlemen, is why we do what we do.

I wouldn’t have wanted to follow that performance. But Ms. Hoyt-Surdhar rose to the challenge admirably. She set out with another strong song, the first set to Kahlil Gibran’s On Children (from Houses of Tomorrow). Ms. Hoyt-Surdhar is a young singer, but possessing a captivating stage presence, beautiful presentation and a quick vibrato that is often a harbinger of an even more beautiful voice to come as her instrument matures. She certainly held her own in the ensemble work with the more experienced singers, and it was nice to see her shine on her own. Her performance of Midnight Prayer was striking in her development of the songs, the pacing, and the different colours she brought to the voice. It was so powerful, so profound, that I personally would have like to have a let a little more time elapse before launching into the last piece, a child’s rhyming song.

Last on the program was All Around the Circle, a Canadian Folksong Suite. This rollicking piece with the full complement of singers, and which featured the two pianists again sharing the piano bench (what fun that must be!), driving the songs through well-known Canadian treasures as I’s the Bye who Builds the Boat and Morning Dew.

(Kudos as well to dramatic consultant Keri-Lynn Friesen, who helped shape the big picture of the evening, and had a sure but invisible hand in making this so much more than just singers singing songs.)

It was in this last piece that I really was cognizant of how amazing the collaborative piano element had been in this concert. The textures, the sheer flood of notes, arpeggios, huge chords, massive scales, everything that Mr. Greer could think of, was handled with aplomb and incredible accuracy by Ms. Rumpel and Ms. Loewen. As a collaborative pianist myself, I know just how challenging it can be to play such a huge program. Never mind that the composer, a brilliant pianist himself, is sitting a few feet away – no pressure!

Even more amazing, Saturday night at the Winnipeg Art Gallery at 7:30 pm will see Ms. Loewen again at the piano, again performing a concert of all of Mr. Greer’s music. This time her collaborative piano partner will be Mr. Greer himself, and an amazing cast of top-drawer Winnipeg singers including Monica Huisman, Mel Braun, Sara Jo Kirsch, James McLennan, Donna Fletcher, Robert MacLaren, Lois Watson-Lyons, and Rosemarie van der Hooft. This is the World Premiere of “A Prairie Boy’s Life“, a musical (and visual apparently!) homage to William Kurelek.

WHAT. A .CAST. I’m jealous. Haha – no I’m not. Yes, I am. But mostly, I’m glad to see the best artists Winnipeg has to offer celebrating the music of John Greer last night and tonight, because I believe his music is a treasure. The pure Canadian-ness of his music, the artistry and technique, the style and knowledge of the voice that is evident in his music, demands the best performers to bring it to fruition. Last night was a demonstration of that. Tonight promises to be a huge vocal treat as well. I hope to see you there!

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.