O•S•C•A•R© Fida's Pizza Changes Hands - Old Ottawa South
O•S•C•A•R© Fida's Pizza Changes Hands - Old Ottawa South
O•S•C•A•R© Fida's Pizza Changes Hands - Old Ottawa South
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
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!