Canadian Opera Company: September - October 2011

Monday September 26, 2011

COC's Iphigénia in Tauris: A Masterpiece of Staging

by Brian Hay

This production is a masterpiece of stagecraft. Tobias Hoheisel's set design consists of a dark grey receptacle constructed of uniform rectangular pieces. The floor and ceiling are set on a slight incline. The one prop incorporated into it is an altar that appears and vanishes very subtly. From there everything is achieved through lighting, choreography and impeccable stage management. The piece opens with 'Iphigénia's' name and those of her parents scrawled in graffiti like fashion on the three walls of the set. Stains, symbolic of the blood on her hands, are shown above her name. The lighting effects, designed by Director Robert Carsen and Peter Van Praet, play over her to create this symbol and then magnify her turmoil through use of shadows. It's just one of many such effects created for this staging.

The darkness of the set creates a sense of being in an abyss. The use of uniform tiling lends an institutional feel that suggests madness or being driven to it. Ingenious use of lighting keeps the viewers eyes tied firmly to both the primary and secondary action. The choreography, set up by Philippe Giraudeau, works within the framework created by the set and the lighting. Sequences involving large amounts of movement between groupings of people always make sense because the lights keep the eye trained firmly to the right spots. Movement by solitary figures is set to cast shadows needed to create effects that are completed by the lighting. Those effects are often enhanced by the inclines of the floor and ceiling. The scene transitions set up by Stage Manager Stephanie Marrs flow so smoothly the viewer scarcely realizes they've occurred. The removal and appearance of the altar is handled in such a way that one isn't aware of it until the scene progresses. This is an astonishing piece of sleight of hand, and I'm not saying how it's done. It needs to be seen to be believed.

The grace within Gluck's beautiful score casts a sense of redemption against the horror the characters have found themselves in. Conductor Pablo Heras-Casado led the COC Orchestra and Chorus through an interpretation filled with lyricism, grace, drama, and occasionally, irony brought out by the very human way the drama was portrayed. He punctuated the turmoil the characters found themselves in and brought their pathos to the surface without losing touch with the element of redemption that's a constant within the music. Chorus Master Sandra Horst kept the work of the COC Chorus restrained but impassioned. That restraint, combined with the acoustic properties of the Four Seasons Centre, created an effect that was celestial. It sounded as if the chorus was coming from above when, in fact, they were under the stage behind the orchestra.

The cast was balanced well. The young singers in the ensemble, Mireille Asselin, Ambur Braid, Jacqueline Woodley and Lauren Segal, matched the work of the principle players impeccably. The smaller roles were sung with confidence. Mark S. Doss brought a strong sense of authority to the role of the Thoas. Robert Pomakov cast a strong presence as the aging servant. Joseph Kaiser, also a member of the COC, proved that he's come of age. His treatment of the character, Pylades, was a revelation. He captured the nuances as if born to them. He has a beautiful voice which is always important for a singer but he also has the ability to find a character from within the music in the way that a writer would.

Russell Braun's performance was everything that could be expected from one of COC's favourite alumni. His baritone voice continues to shine and time has only added to the poise he has on stage. His portrayal of 'Orestes' captured the pathos, self-loathing and inherent nobility of the character beautifully. Susan Graham was astonishing. Her voice is sumptuous and rich and she defined the character of Iphigénia through an array of tonal shadings that she made seem effortless. She also has the ability to do absolutely nothing if that's what the moment demands. One of the best bits of sleight of hand worked as well as it did simply because she didn't move.

Director Robert Carsen has moved Gluck's tale out of mythology to an abyss created by corruption and lust for power. His pacing and use of lighting insure the story never lags. His symbols are clear and easy to interpret. The modern dress of the men and the stark shifts worn by the women designed by Tobias Hoheisel remove the story from any specific period of time and keep the focus on its elements of horror and redemption. The music is a highlight from start to finish. Together this group has taken a masterpiece and created one with it.It doesn't get any better than this.

This performance took place at The Four Seasons Centre in Toronto, Ontario on Sunday September 25, 2011. This write-up was written to convey an impression of what it was like to be there.

Canadian Opera Company's Production of 'Iphigénia in Tauris runs on Wednesday.September 28 at 7:30 p.m., Saturday October 1 at 4:30 p.m., Tuesday October 4 at 7:30 p.m., Friday October 7 at 7:30 p.m. and Wednesday October 12 at 7:30 p.m. and Saturday October 15 at 7:30 p.m. Katherine Whyte plays the role of 'Iphigénia' on October 15.

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