I like chamber music.
I like opera.
Apple pen. Chamber opera.
This Hallowe’en (technically Oct. 30) was my first City Opera Vancouver event and first chamber opera, even though I do like both chamber music and opera and it makes sense to like this, too. I guess it’s a little off-putting that they hold their events at churches… But how often do you get the chance to hear Mozart’s “lost” or unfinished operas? I didn’t realise any existed! So B-cat and I headed downtown to the varnish fume-filled Christ Church Cathedral for his month-early birthday.
It’s likely all artists have half-finished work somewhere, but according to the essay [that I just realised was written by my old opera prof!] in the programme, Mozart was fairly happy with the music he had in these fragments — i.e. it wasn’t like sitting down to read someone’s first draft. Like you’re doing now. I’m so sorry. The music is distinctively Mozart, and while the second act’s Zaide (first performed on what would’ve been the composer’s 110th birthday) is the most complete and therefore most absorbing, the story Maria Reva wrote to weave three operas into one is excellent. The company seems to do clever things with a small wardrobe as well, and Vancouver Symphony Orchestra’s conductor Bramwell Tovey, whom I thought was there in a cameo, is fun to see in the main non-singing role.
Good music, good voice, good acting. City Opera Vancouver’s next production runs from November 1 to 11, unless you have money to blow on the ferry to Victoria.
I figured that was it for Hallowe’en, but on the 31st, B-cat took me on the “Lost Souls of Gastown” walking tour… despite being on double crutches himself. We were lucky it wasn’t raining, because the lovely maple and ginkgo leaves everywhere did make the ground slippery.
Like the COV opera, this tour links a multitude of pieces — here, BC history — with a skillfully written frame story. It is not at all cheesy: the struggles and sorrows of Vancouverites past are what will haunt you.