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Tears and laughter at UBC Opera
It had been a long day. Two press
conferences, a tour, three stories to write, a photo shoot at the Sharing Farm,
then a rush home for a quick supper before heading out to the Old Auditorium at
UBC for the School of Music’s latest opera evening. My companion came along
reluctantly, after his work day and an hour struggling to put together a
second-hand greenhouse in the heat. It did not bode well. Opera is not his
favourite.
The first surprise was how close the parking
was, a half block walk. The second surprise was the revamped Old Auditorium. It
is now a proper theatre with high-backed seats and the best leg room I have
ever encountered.
Students in costume wandered the lobby
offering 50-50 tickets. It was a warm evening. The UBC Opera hoodies sales were
poor but the fizzy Italian orange drinks sold briskly.
Then the anticipation started as the
professional Vancouver Opera Orchestra tuned up, the director Nancy Hermiston
spoke, and the overture commenced.
The set for Il Tobarro (The Cloak), Paris
early 1900s, was a river barge tied to both shores. In opera, as in most
dramas, the audience needs to suspend their disbelief. Thus begins the tragic
tale of love lost and forbidden love.
One love lost is the dead child of the young
wife Giorgetta, sung by Gwendolyn Yearwood, and her much older barge-owning
husband Michele, sung by Jason Klipperstein. The other love lost is that of the
wife for her elderly spouse. The forbidden love is the young wife’s for the
handsome young deckhand, Luigi, sung by Turgut Akmete in a stand-out
performance with a commanding presence and a rich, clear voice.
For Giorgetta and Luigi, their passion is
clear. Their path is not.
Even coming up for air with small breaks for
comic relief, including the Mindinettes who include Richmond resident Tessa
Waddell, and with a song about the benefits of drinking at the end of a day of
hard labour on the docks, “Happiness lies at the bottom of a glass,” the drama
runs apace.
Though written before movies had sound, let
alone music tracks, the device of violins playing repetitive high notes to let
the audience know something nefarious is afoot, comes alive under Puccini’s
pen. The tension builds as Luigi brings a knife, intent on killing his love’s
husband, so she can belong to him. (Again, suspend disbelief. Feminism wasn’t a
thing then. It’s opera. Anything can happen.)
Spoiler alert: Old age and treachery beat
youth, as Michele ends up killing Luigi, then hiding him under a great cloak.
When Giorgetta arrives try to restart their marriage, after a brief musical
discussion, Michele opens his cloak, revealing Luigi’s body.
It is engrossing and gripping, even for those
who don’t think they like opera. Live opera bears little resemblance to the
clips seen on TV or apps. The whole experience envelops the audience with music
and spectacle. The costumes are spot on, setting the mood as much as the
scenery, the orchestra, the lighting and the voices.
At the intermission, we tried to see the
write-ups on each of the performers. The posters around the lobby were too hard
to get to though. It would have been nice to have everyone’s bio in the program
but, in a student production, cost is always a factor. It was the only time the
issue of student versus professional came into play. All of the opera-goers
asked raved about the quality of production. This is not Mrs. Klopushak’s
elementary, or even high school, kids’ concert. It is professional in quality.
After going through the emotional wringer, we
took a deep breath as the music started for the second opera, Gianni Schicchi (“Johnny
Skeeky”) also penned by Puccini. Tessa Waddell, when interviewed, had claimed
it was laugh-out-loud funny. It was. The scene opens in a luxurious home in
Florence in 1299, with a dead person lying in an elaborate bed. Everyone tries to
outdo themselves with their shows of grief, including the drunken scheming
uncle running around in rags, pocketing valuables throughout the entire
opera.
The vast cast featured many stand-out
performances but what stands out most in memory is the laughter. The audience
couldn’t help itself. Seeing roots of pantomime and even the political satire
of Gilbert and Sullivan, Puccini’s comic opera is rollicking good fun. If you
are sure you hate opera, give this a try. It’s full of naughty jokes that
remind one of Shakespeare’s naughty bits or the ribald humour of BBC’s upper
class quiz show, QI.
The story line in Gianni Schicchi starts with
the death of a wealthy Florentine, his family’s discovery that he has left all
his money to the church, and the family’s determination to fake a new will
where they will divide up the spoils by having a local wheeler-dealer, Gianni
Schicchi, impersonate the dead man to authorize a revised will.
This opera contains surprises. When taken in
context, the gorgeous love song often sung as a moving solo, “O mio babbino
caro” is actually a daughter saying the horrible things she will do to herself
if her father, sweetly entreated, will not let her marry the man she loves. So
too is the song that, on the surface, sounds like an ode to Florence when in
context, it tells of the raw justice to be suffered if anyone reneges on the
crooked deal the assembled family is cooking up; they will be exiled from their
beloved Florence, after some particularly gruesome physical punishment. All the
while, the ne’er do well wanders about, like a scruffy Johnny Depp in a pirate
movie, nicking the candlesticks and other finery.
It all ends in a mad romp.
We left UBC’s Old Auditorium upbeat and
reinvigorated. It was a joy. If you have ever laughed at antics on screen or in
a play, if you have ever taken delight in poking fun at the elite, or if you
have ever enjoyed an evening out at the theatre, give these UBC Opera
performances a try. You won’t be sorry.
Performances continue through Sunday
afternoon, June 24. Tickets: click or phone
604-822-6725 or in person at the Old Auditorium box office.