Hey there, Schmop-Tops!

So I’m back at the COC to check out the spring season offerings, and first up is a double-bill of Bartók’s Bluebeard’s Castle and Schöenberg’s Erwartung. The remount of this double-bill originally directed by Robert Lepage (who famously had two productions cancelled in 2018 due to acts of cultural appropriation) this time helmed by François Racine, pairs the stories of two women battling for their lives and sanity. In Bluebeard’s Castle we find Judith is newly married to Bluebeard himself and brought by him to her new home. There are mysterious doors she’s instructed not to open, but curiosity bests her and things get dark. In Erwartung, we follow a woman’s journey of expectation travel through anxiety then horror then desperation as she searches for her lover. It really is a clever pairing of one-acts.

First up, let’s talk about Bluebeard.

As the titular Duke Bluebeard himself, bass-baritone Christian Van Horn commands the stage with ease and almost a predatory confidence. The singing was top notch, and his chemistry with Judith was clear and connected. His large, warm tone filled the hall easily, and the Hungarian was spot on. There was a darkness that was both scary and intriguing in both his characterization and his vocal delivery.

Singing the role of Judith is Scottish mezzo-soprano Karen Cargill, and what a singer she is. Judith is a very rangy role requiring a strong middle and an incredible ear. Cargill has both. She was a great match to Van Horn’s Bluebeard in that you felt her genuine attraction and affection for him, the age-old tale of “I can change him” shining bright in her eyes as she asks for the keys to each door. We see her struggle with yearning for the garden and the jewels, but also her fear in realizing how Bluebeard’s vast extravagance must have been obtained.

The two of them together are a great pair, and leaves you wanting a prequel to see how it was that Judith left her father, family, and fiancé to be whisked away to this dark castle surrounded by fear and rumour. Rumours which turn out to be true.

After a nice pause and glass of brut in the lobby while we caught our breath, we took our seats for the second half of the program, Erwartung.

As “The Woman”, German soprano Anna Gabler handled Schoenberg’s atonal and athematic material brilliantly while also giving a layered dramatic presentation. Her brilliant vocals married well and were supported by the heightened emotional drama she was experiencing, it was a great expression of the union in acting and singing. It showed how full commitment to your character’s emotional arc can actually free the instrument and allow it to blossom more fully. Despite its atonal nature, the inherent musicality in Gabler’s singing lent an almost more tonal, melodious feel to the score as a whole.

The actors Jordan Gasparik, Noam Markus, and Mark Johnson also deserve a special shout-out. Their stylized movements and impressive physicality brought The Woman’s inner thoughts, fears, and demons into fully realized 3D representations.

The productions are led from the pit by the one-and-only Johannes Debus. Neither of these scores are a walk in the park for any of the musicians involved, but the COC Orchestra shows once again why they are among the best around. Their handling of both scores was deft and cinematic.

The only issue was that of balance with the singers. I found that the set design may have subconsciously contributed to this. Michael Levine’s sets for both shows sees the proscenium arch framed in gold tile-break-leaf so as to resemble a painting frame from an art gallery. The action all took place behind a scrim onto which the media effects designed by Laurie-Shawn Borzovoy. These projections added a layer of depth and ambiance to the overall darkly-lit production (this is not a complaint) by Robert Thomson, but the tangible, physical boundary of the scrim may have played some mind games to both the player and the listener.

All in all - it’s an incredible night of theatre and music. Intense emotions, thick with ambiance, and incredible production value. The double bill runs until May 16, and if you’re in the mood for something different at the opera - this could be right up your alley.