{"id":94321,"date":"2024-11-28T00:02:41","date_gmt":"2024-11-28T05:02:41","guid":{"rendered":"https:\/\/operawire.com\/?p=94321"},"modified":"2024-11-27T09:04:04","modified_gmt":"2024-11-27T14:04:04","slug":"torontos-opera-revue-2024-review-ruckus-at-the-redwood","status":"publish","type":"post","link":"https:\/\/operawire.com\/torontos-opera-revue-2024-review-ruckus-at-the-redwood\/","title":{"rendered":"Toronto’s Opera Revue 2024 Review: Ruckus! At The Redwood"},"content":{"rendered":"
(Photo credit: Ryan Harper)<\/h6>\n

Opera Revue<\/a> is a company made of three talented individuals: soprano Danie Friesen<\/a>, baritone Alexander Hajek<\/a>, and the sonic backbone of it all, pianist Elise Harris<\/a>.<\/p>\n

Their mission, they say, is to introduce opera to newcomers and deliver a fresh way to experience it for veterans in a relaxed environment at an affordable price.<\/p>\n

My attitude towards opera has primarily been informed by Wayne Koestenbaum who, in his book “The Queen\u2019s Throat,” wrote: \u201cOpera has the power to warn you that you have wasted your life. You haven’t acted on your desires. You’ve suffered a stunted, vicarious existence. You’ve silenced your passions\u2026and your throat is closed.\u201d<\/p>\n

Which is to say on a recent, rainy November night, at the Redwood Theatre in Leslieville, the question on everyone\u2019s mind was: could Opera Revue open our throats?<\/p>\n

Illuminating Production<\/h3>\n

The show\u2014circus-themed\u2014began with a joke of sorts. Hajek, who also served as the main tone-setting emcee, explained that the city had not granted them the permits to use a tiger and a lion, but that they always have a back-up plan: which was for him and Friesen to put on ears and tails and get up onto stools, where they performed Rossini\u2019s \u201cCat Duet,\u201d jumping through hoops and coughing up hair balls, until their voices collided to create a harmonious meow.<\/p>\n

The laughs from the audience were elicited from the sheer ridiculousness of how seriously they were taking themselves. Those who couldn\u2019t get in on the joke, chuckled in unease.<\/p>\n

Throughout the show there were gags, ranging from a missing Burmese python to pulling out a bazooka from a pant pocket, or imitating a juggler on a motorcycle to Freisen throwing a pie in Hajek\u2019s face to punctuate Harris\u2019 ending note. But this sense of disorientation is part of the genius of Opera Revue\u2019s project: to upend one’s expectations by throwing you off your little pedestal so that they can put you onto something else. This is their vaudevillian way of things.<\/p>\n

When the introductory remarks were over, and the house lights went down, Hajek turned on a small lamp light above his head to sing an aria \u201cSi Pu\u00f2,” from Leoncavallo\u2019s “Pagliacci,” which, in the classical nature of his voice and sheer emotive power, allowed listeners to ascend with it. Just as he was about to end, Hajek rose his hand so that he could turn off the light along with the last note, which, even in it\u2019s scaled-down form, produced the intense, dramatic moment we were longing for.<\/p>\n

Later on in the show, during a medley to celebrate the Puccini\u2019s centenary, Hajek was joined by one of the night\u2019s three guests: the aerial silk artist Haley Shannon, who, in black-and-white striped pants, shimmied her way up two white silks that she spun in and hung from. Part of the wonder of watching her get herself into a knot and perform a series of moves so that she could secure her feet without the use of her hands, is the grace with which she performed it, the seeming calm and ease, as though, for her, to become one with the rope is as natural as it is for us to breathe. The art of aerial silk lies in the fact that it is about using the constraints of life to create a momentary balance that happens to be beautiful, trusting the whole of your body to suspend disbelief with pure belief. At one point Shannon had managed to maneuver herself into a harness so that the silks were on other sides of her, so that when she flapped them we suddenly found ourselves having witnessed a human become a bird\u2014no: an angel.<\/p>\n

Towards the end of their performance, Hajek joined in singing \u201cAlidoro’s Aria\u201d from “La Cenerentola,” which at the moment that it crescendoed, Shannon juxtaposed it by dropping down from the top of the crane spinning, so that\u2014for a brief, shining moment\u2014we believed that she might crash into the ground. After all, what is a show without a few risks?<\/p>\n

The audience gasped then applauded.<\/p>\n

\u201cWow,\u201d the man sitting behind me said. \u201cThat\u2019s all I have to say.\u201d<\/p>\n

More Production & Cast Highlights<\/h3>\n

Another guest of the night, Kalen Davidson<\/a>, a circus artist who is fresh off performing with Cirque Du Soleil, performed two sets: both of which were about balance and risk, which he did, he repeatedly said, for our entertainment. In the first, in which he feigned nervousness, he juggled pinballs that glowed red and, with the help of an audience member, Shannon, whose hair, it was noted, smelled of cinnamon, spun plates on machetes while balancing on a big red ball.<\/p>\n

In the second set he played with fire, creating two whirling balls of fire that became one circle of hell, and then taking a large metal square with various flames and balancing it in his mouth. It was here, as the audience applauded and couldn\u2019t keep their eyes off him, that Davidson\u2019s face, glowing with the light of the fire, beamed with the pleasure of knowing its holding an audience rapt.<\/p>\n

But the standout was the two appearances from the Canadian soprano Ambur Braid<\/a>, who audiences may know from her titular role in the Canadian Opera Company\u2019s production of “Salome.” In the first, singing \u201cBarak, main Mann,\u201d from Strauss\u2019s “Die Frau Ohne Schatten,” she appeared on the high stage barefoot, wearing a silver sequin dress that reminded one of the undulating surface of the lake when summer sun shines directly onto it, and immediately entered into character, an empress of two minds who lives in fear of what will become of her.<\/p>\n

Here was the diva I was waiting to encounter, who causes one to reconsider the power of a voice, filling a room. \u201cThe volume, height, depth, lushness, and excess of operatic utterance reveal, by contrast, how small your gestures have been until now,\u201d writes Koestenbaum: “How impoverished your physicality; you have only used a fraction of your bodily endowment.\u201d<\/p>\n

As Braid crossed and then uncrossed her legs, her voice silenced every train of thought, her voice demanded you pay attention to it, to your puniness. As Hajek said early on, Opera Revue liked to break the rules, meaning that for her second performance Braid had changed into a red pantsuit with a white ruffle collar\u2014to fit in with the clown theme\u2014where she performed \u201cIl Va Venir\u201d from Hal\u00e9vy\u2019s \u201cLa Juive.\u201d But before she began, she said that she was told a black panther\u2014the \u201cil\u201d in \u201cil va venir\u201d\u2014would be joining her on stage and\u2014in a call back to the lion, the tiger and the permits\u2014there was no expectation that the panther would appear, so when she signalled that it was time for his entrance\u2014and we expected Hajek or nothing at all\u2014it was the black dog named Walter appearing and jumping through a hola hoop for the treat that Braid kept in her pocket and howling as her voice trembled.
\nWhat is an opera performance if not a series of tricks\u2014where the sound and the sight, which, for some time, run parallel to each other, suddenly, briefly collide to create a moment\u2014that are given to the audience along the way to keep them engaged, an audience of opera hounds.<\/p>\n

Surprising Elements<\/h3>\n

The surprise of the show, though, was Danie Friesen, whose sections, at first, I didn\u2019t quite understand. In her first solo, she dressed herself as a clown-meets-fraulien, who sings \u201cI Want Magic\u201d from “A Streetcar Named Desire,” singing “Real? Who wants real? I want magic. That’s what I want. That’s what I try to give to people.\u201d She drew red circles on each of her cheeks with nail polish; donned a cone-shaped hat with a white pom-pom atop it and a ruffly skirt and a corset. When she reappeared towards the end of the show, singing \u201cVesti La Giubba\u201d from “Pagliacci,” her tune changed and she threw away the hat, taking off the armour with which she\u2019s equipped herself with, undoing the very thing that she\u2019d created over the course of the show\u2014this happy clown turned sad\u2014after which an emptiness follows liberation.<\/p>\n

The fool is the one that feels the deepest and Freisen\u2019s modesty belies her operatic ambitions.<\/p>\n

In the last number, each member of Opera Revue donned a black clown nose, performing a rendition of Sondheim\u2019s \u201cSend in the Clowns\u201d and near the end, Freisen enchantingly turned the microphone towards Harris so that she could deliver the volta of the standard.<\/p>\n

\u201cDon\u2019t bother,\u201d she said of the clowns: \u201cThey\u2019re here.\u201d<\/p>\n

\u201cI digress,\u201d Hajek chided early on in the night; and throughout the night that is what Opera Revue did, each digression allowed them to exhibit another aspect of their personality, one which, historically, doesn\u2019t have place in the opera halls, which, gradually, told its own story.<\/p>\n

It was quite a throat-opening ruckus indeed.<\/p>\n","protected":false},"excerpt":{"rendered":"

(Photo credit: Ryan Harper) Opera Revue is a company made of three talented individuals: soprano Danie Friesen, baritone Alexander Hajek, and the sonic backbone of it all, pianist Elise Harris. Their mission, they say, is to introduce opera to newcomers and deliver a fresh way to experience it for veterans in a relaxed environment at an affordable price. My attitude {…}<\/p>\n","protected":false},"author":74,"featured_media":94406,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8,73],"tags":[18310,6424,18309,24502,24503,24504,18311],"class_list":["post-94321","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-review","category-stage-reviews","tag-alexander-hajek","tag-ambur-braid","tag-danie-friesen","tag-elise-harris","tag-haley-shannon","tag-kalen-davidson","tag-opera-revue"],"acf":[],"yoast_head":"\nToronto's Opera Revue 2024 Review: Ruckus! 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