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O•S•C•A•R© Fida's Pizza Changes Hands - Old Ottawa South

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MAY 2010<br />

By Michael Preuss<br />

In the April edition of OSCAR, we<br />

could take a closer look at the OOS<br />

Neighbourhood Profile. It tells us<br />

nothing about crime rates. What if I<br />

tell you that one of our neighbours<br />

killed a Scottish general? He stabbed<br />

him, together with 7 other criminals.<br />

Infamous, bloody deed! If that ever<br />

happens again, the neighbourhood<br />

health outcome will drop drastically,<br />

respectively Canadian-Scottish<br />

relations. Doesn’t that sound like an<br />

Italian Opera – and in fact, the Italian<br />

composer Giuseppe Verdi made one<br />

out of that story. He did so long ago,<br />

in the mid 19 th century. What a genius!<br />

How could he know about OOS crime<br />

rates?<br />

OK, the story is a little bit<br />

different: Verdi got it’s libretto for<br />

his opera MACBETH from two<br />

librettists, Piave and Maffei, in the<br />

1840s. MACBETH was first staged<br />

in 1847 in Venice. As we all know,<br />

the plot of that opera is arranged<br />

around a cruel couple. OPERA LYRA<br />

OTTAWA staged MACBETH four<br />

times in late March and early April<br />

2010, and I had a ticket for the March<br />

31 performance.<br />

I like modern opera productions,<br />

intelligently enriched with videos<br />

and stuff like that (e.g. like Bill<br />

Viola’s Tristan did), but I don’t like<br />

modern productions which give<br />

you every second the sense that the<br />

whole production team brutally tries<br />

to convince you that an opera bears<br />

some meaning for us now (like Wotan<br />

with briefcase, Nabucco with military<br />

tanks, and stuff like that).<br />

The OLO MACBETH followed<br />

neither approach. The bad news for<br />

some opera friends (not for me, as I will<br />

explain later) – it was conventionally<br />

staged. I heard someone saying that<br />

night “utterly conventionally” (the<br />

stage design was rented from New<br />

Orleans Opera Association). The good<br />

news – the whole team was really<br />

blessed with theatrical aptitude, that<br />

means with a good sense for dramatic<br />

timing and an impressive presence<br />

of the whole cast on stage. Also the<br />

OOS resident, Rick Chataway, did<br />

a great job in stabbing Banquo with<br />

highly theatrical gestures in half-light<br />

scenery (he also acted in three other<br />

little roles).<br />

I know only a very few<br />

conventionally staged productions<br />

which do not degenerate to stiff trash.<br />

The OLO MACBETH did not at all.<br />

The OSCAR - OUR 37 th YEAR<br />

Every moment was full of theatrical<br />

drama and passion. Coherent changes<br />

of scenes made the plot of the<br />

Shakespearean drama shine through.<br />

Together with the wonderfully<br />

played and sung music, that made the<br />

ingredient for simply a great Verdi<br />

night. Greer Grimsley as Macbeth<br />

and Brenda Harris as Lady Macbeth<br />

gave stirring performances, both with<br />

significant vocal stamina. But for me<br />

the most convincing scene was the<br />

beginning of Act IV “Patria oppressa”.<br />

Scottish fugitives (i.e. the OLO<br />

Chorus) mourn their lost homeland. A<br />

feeling modern migrants all too often<br />

share with Verdi’s lameting score of<br />

that key scene.<br />

Shortly after that outburst of<br />

compassion in the pit, a future<br />

tenor star was born, as Luc Robert<br />

performed a stunning rendition<br />

of Macduff’s aria “Ah, la paterna<br />

mano”. And a few musical moments<br />

before Macbeth dies on stage, Harris<br />

was best at being Lady Macbeth<br />

the somnambulist, and Grimsley<br />

at Macbeth’s aria “Pietà, rispetto,<br />

amore” (here Verdi foreshadowes a<br />

similar scene of isolated Philip II. in<br />

Don Carlo).<br />

The bonus star for this very solid<br />

production goes to both stage director<br />

Joseph Bascetta (together with lighting<br />

designer Harry Frehner), and skliful<br />

chef d’orchestre Tyrone Paterson,<br />

who created dark and tragic sounds<br />

with his band. True Verdian Italianità,<br />

as heard in OLO’s MACBETH, is<br />

really rare these times. Even stellar<br />

conductor Leonard Slatkin had to<br />

pull back from La Traviata at the<br />

MET (see New York Times coverage<br />

Page 21<br />

Breaking News:<br />

Neighbourhood Thriller – Scottish General Killed by OOS Resident<br />

Tell OSCAR Readers<br />

about your travel<br />

or your interests.<br />

Send text and photos to<br />

oscar@oldottawasouth.ca<br />

OOS resident, Rick Chataway stabbing Banquo. Photo courtesy of Opera Lyra <strong>Ottawa</strong><br />

of that story). But guess what, you<br />

can find true Verdian Italianità here in<br />

<strong>Ottawa</strong>! I must be on to every dodge if<br />

I would not go to one of the next OLO<br />

productions. You becha!

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