Reviews 2001
Reviews 2001
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by Benjamin Britten, directed by Maria Lamont
University of Toronto Opera Division, MacMillan Theatre, Toronto
November 14-17, 2001
“A May King Celebration”
Toronto opera-lovers have long taken to supplementing their diet of professional opera with the offerings of the University of Toronto's acclaimed Opera Division. First of all, the Opera Division often produces works that have seldom of never been produced by Ontario's larger opera companies. Second, the shows often give patrons a first glimpse of the stars of tomorrow: Frances Ginzer and Measha Bruggergosman are only two of a host of illustrious alumni. And third, tickets cost only a fourth of top-price tickets to the COC and frequently deliver productions as much or more enjoyable than those of Canada's largest opera company. A longer rehearsal period results in acting that is much more detailed than one usually finds in opera and the enthusiasm of singers essaying roles for the first time results in greater cohesion of ensemble and a higher level of commitment to the production.
All these factors are evident in the Opera Division's production of Benjamin Britten's comic masterpiece "Albert Herring" (1947). In 1964 the work was chosen to inaugurate the University of Toronto's new 815-seat MacMillan Theatre, one of the best venues for opera in the province, and was reprised in 1977. "Albert Herring" concerns the preparations for and celebration of May Day in the fictional village of Loxford in Sussex. The local worthies of the town meet at Lady Billows to decide which girl with most immaculate character should be chosen as May Queen. Unfortunately, this year no suitable female can be found. In desperation the idea is floated of a "May King", whereupon the hard-working, virginal Albert Herring becomes the obvious choice. Albert, though still tied to his mother's apron strings, is coming to realize that there is a whole world of pleasure that his friends like Sid and Nancy enjoy but that life in his mother's grocery store has so far prohibited. Sid and Nancy play a trick on Albert at the May Day feast that ultimately causes Albert to break from the limitations of his life.
Eric Crozier's libretto is exceptionally witty and Britten's matches its wit through onomatopoeia and a host of sly musical allusions to other styles of opera, operetta and oratorio. With good reason the work is counted as one of the greatest English comic operas ever written. Conductor Stephen Ralls studied with Crozier and his wife, who created the role of Nancy, and with Sir Peter Pears. He brings out the full humour of the piece as well as the beauty of its scoring for chamber orchestra. His pacing of the nonet in Act 3, "in the midst of life is death", is just one highlight of many.
Contrary to what one so often sees nowadays, director Maria Lamont has not imposed a concept on the work but pays minute attention to the words and music. Indeed, Britten's score so clearly supplies its own dramaturgy--clocks chiming, doors handles opening, people yawning, whistling, drinking--that to ignore it would be foolish. Under Lamont, all the action on stage from movement of groups to small gestures and facial expressions is so wedded to the music that the everything on stage seems to flow naturally from it. Fred Perruzza has designed the attractive sets, the square for the village fête being especially effective. For the interludes that cover scene changes a large clock-face with moving hands is projected onto the scrim. It reinforces the theme of the passing of time that concerns all the characters--the old fear their ways are dying out, the young feel they must live now before they become old.
The opening night cast was excellent. Colin Ainsworth is an ideal Albert. His pure, clear tenor and subtle acting makes him a natural for this and all the other roles Britten wrote for Peter Pears. Other standouts include Phillip Addis (Sid) with a rich baritone and natural talent for acting and Michèle Bogdanowicz (Nancy) with a lovely, ringing mezzo. Playing the older generation, Janet Harach (Lady Billows) musters an imperious, dark-toned soprano and Virginia Hatfield (Miss Wordsworth) a bright, agile soprano. Mezzo Gaynor Jones, an Opera Division alumna, joins the cast to give a fuller-than-usual portrait of Albert's mother. The opening-night cast plays again on November 16; an alternate cast plays on November 15 and 17.
"Albert Herring" was last seen in Toronto in a Canadian Opera Company production at the Elgin Theatre in 1991. The smaller MacMillan Theatre is an even more suitable venue for this chamber opera. When as well sung, acted, conducted and directed as here, this piece would make a perfect introduction to Britten's operas and to the abilities of the University of Toronto Opera Division.
©Christopher Hoile
Photo: Colin Ainsworth. ©2000 Colwell Arts Management.
2001-11-17
Albert Herring