ARTS AND CULTURE
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HERITAGE WEEK: FEBRUARY 20-26 2012
Energy in B.C.
A Powerful Past, A Sustainable Future
The Village of Anmore story of Margaret Lally and George Murray (20-02-12) Click Here
Mary Did You Know? A Tribute to mothers and their sons (21-12-11) Click Here
Anmore's Allegro goes to the Nutcracker
The Centre December 13th 2011
Allegro and partner were the appreciative recipients of tickets from the Royal Bank of Canada tonight to the preview of the GOH Ballet production of the Nutcracker, by Pyotr Ilyich Tchaikovsky. As we walked up to the theatre a poster proclaimed that we would be witnesses to a “stunning” visual experience.
Based on a fairy-tale story by E.T.A. Hoffman, “The Nutcracker and the Mouse King”, this ballet became a staple of the Christmas entertainment scene from its debut in 1892. While Tchaikovsky’s librettist adapted the original story with considerable poetic license, so it has become common for modern-day productions to extend that liberty even further.
Thus in this production the ‘Toymaker’ is not just a municipal councillor disguised as a simple yet talented artisan; he is portrayed as a mysterious conjourer, with a magic wand and all manner of tricks in the folds of his cape. Allegro and partner have never seen him portrayed in this way before, but it works splendidly.
As the story opens it is Christmas Eve at the palatial home of Herr and Frau Silberhaus, their daughter Clara and son Fritz. Decoration of a magnificent Christmas tree is nearing completion and friends and their children are arriving for aparty. The Toymaker/Conjourer arrives with even more gifts, among which is a nutcracker carved in the shape of a toy soldier. Clara is immediately enchanted by the toy, but the rambunctious Fritz promptly breaks it. Responding to Clara’s disappointment the Toymaker/Conjourer magically repairs him and returns the toy to her care.
As the first of the two acts draws to a close the guests depart and the Silberhaus household retire to their bedrooms. However Clara comes back to retrieve her nutcracker-soldier and lies down on the couch where she falls asleep with him in her arms.
Act 2 comprises, for the most part, Clara’s wild and fantastic dreams that take place in the Land of Sweets. They involve toys that come to life, gingerbread soldiers and mice that try to eat them, tin soldiers, and of course a Prince and the Sugar Plum Fairy.
This production lived up to the claim of being visually stunning. The sets are dazzling, while re-creating many of the elements of the original by Konstantin Ivanov. Similarly the costumes were rich in colour and design. Use of lighting and other stage effects was of an exceptional standard. Add to this mix what appears to be a cast of ‘thousands’, and you have one of the most sumptuous productions of the season.
A ballet is, of course, about the dancing – and the music. The tunes of Act 2 have endured themselves to listeners for several generations. This is not ‘great’ or ‘profound’ music, but festive fun. But they still deserve to be played with proper musical attention to phrasing and dynamics. What a pity then that, the members of the Vancouver Opera orchestra under the baton of Leslie Dala, played with as much subtlety as a back yard biffy. (More on this below).
The ballet was well choreographed and executed. Here Allegro must give special mention to the children – over 50 of them on stage! They were well rehearsed and performed expertly. Another special mention goes to Chihoro Abe, who was captivating as the young Clara. She danced with grace and poise, and has a stage presence that guarantees her a great future as a performer.
Although the musicians may be more accustomed to the less dynamic accoustic of the larger, QE II theatre, this seems a poor excuse. This is music which is meant to danse and to be dansed to; yet there was a distinct absence of delicacy or cadence. Dala’s reading seemed heavy and pedestrian.
The score calls for an orchestra which may seem a little unbalanced by ‘symphonic’ standards: large woodwind, brass and tympani sections against only 2 violins, violas, ‘cellos, basses and harps. In The Centre the strings are easily overpowered by the rest of the orchestra. Worse yet, several of the instruments were having tuning problems.
In years past Allegro has had the privilege and pleasure to perform on quite a number of occasions with members of the the Vancouver Opera Orchestra, and has thereby developed great affection and respect for them. This was not, however, their finest two hours.
Overall though this is too good a production to miss. It’s heart-warming for both adults and children alike. There could be no finer introduction to children of almost any age to the perfroming arts. And nothing is better suited to put one in the spirit of Christmas. Performances are on December 17 and 18 2011.
Allegro
Tweeted tips on how to keep warm in winter wonderland (12-12-11) Click Here
Take a Virtual Tour of the Sistine Chapel
To view every part of Michelangelo's masterpiece, just drag the arrow around in whatever direction you which to examine. This is an amazing bit of technology that allows you see what you never could in person, as you would never be alone in the chapel.
In the lower left corner, click on the plus (+) to move closer, on the minus (-) to move away. The Choir is thrown in free.
It was made by Villanova at the request of the Vatican. Click Here
Joanne Frembd (06-12-11)
Anmore's Allegro Reviews Shakespeare’s play, Romeo and Juliet
Shakespeare’s play, Romeo and Juliet has never endeared itself to Allegro, who is inclined to see it as the 16 century equivalent of a ‘chick flick’. (Although it does prove the point that theatrical sex and violence is by no means a phenomenon limited to the 21 century). Similarly Allegro is not generally a fan of French music, with several notable exceptions (say - Berlioz, Satie, and Piaf). To read the full article Click Here (28-11-11)
