Toronto Operetta Theatre/Countess Maritza, composed by Imre Kalman, English e-book and lyrics by Nigel Douglas, directed by Guillermo Silva-Marin, carried out by Derek Bate, Jane Mallett Theatre, performances Jan. 3 and 4. Tickets right here.
The operettas that debuted at Vienna’s Theater an der Wien — the apogee of operetta — have been pure schmaltz and that’s why we love them.
The English model of Countess Maritza that TOT is utilizing is by Nigel Douglas, which premiered at Sadler’s Wells Theatre in 1983, and was an excellent success for the New Sadler’s Wells Opera. It has grow to be the mainstay of English performances of Countess Maritza ever since.
Fortunately, Douglas captured the essence of Viennese operetta by together with humorous parts amid the primary romance.
The fundamental operetta plot may be described this fashion: boy can’t get lady due to varied issues, however love wins out in the long run. Within the meantime, we’ve been handled to an avalanche of tuneful melodies as we watch the twists and turns of the plot as they play out.
Imre Kalman’s Countess Maritza debuted at Theater an der Wien 100 years in the past in 1924, and the music nonetheless captivates.
Kalman was Hungarian, and despite the fact that the unique libretto by Julius Brammer and Alfred Grunwald was in German, Countess Maritza is stuffed with parts of gypsy rhythms and vibrant Magyar people tunes that imbed Hungarian all around the operetta. Kalman by no means forgot his roots.
Evidently, the operetta is about in Hungary, and in reality, the male lead, Rely Tassilo, even will get to bop a czardas, however extra about that latter.
The Story
Rely Tassilo (Scott Rumble) has been working incognito because the supervisor of the property of Countess Maritza (Holly Chaplin). Because of the misplaced household fortune, he’s working to earn cash for a dowry for his sister Lisa (Patricia Wrigglesworth).
When the Countess returns to the property to do away with all the lads pursuing her for her wealth, Tassilo is shocked to search out his sister Lisa amongst her associates, however Tassilo will get Lisa to swear to maintain his secret. He tells her he’s incognito due to a guess.
To lastly do away with her so-called admirers, the Countess pronounces she is engaged to a fictional Baron Zsupan. The title got here to her after seeing a efficiency of Johann Strauss’ The Gypsy Baron (which premiered the place in 1885). In that operetta, there’s a comedian character referred to as Kalman Zsupan, a rich pig farmer. It’s the composer’s inside joke — Kalman/Kalman — get it?
To Maritza’s shock, an actual Baron Zsupan (Joshua Clemenger) reveals up, having seen the engagement introduced within the paper, so the Countess is compelled to play alongside. Within the meantime, the Baron slowly falls for — who else however Lisa?
Maritza, for her half, is an increasing number of involved in her property supervisor, who doesn’t appear involved in her. She and her visitors catch him singing and dancing the czardas, and when she orders him to bop it once more, he refuses, and she or he fires him.
After all she apologizes, and the 2 develop nearer and after a number of later issues, they marry as do Lisa and the Baron.
Different characters embrace slimy Prince Populescu (Sebastien Belcourt), a suitor to the Countess, who unveils Tassilo’s disguise, and Tassilo’s and Lisa’s historical aunt, Princess Bozena (Meghan Symon) who comes to save lots of the clan, having discovered oil on her property. Her companion Penizek (Austin Larusson) is a talking position, and the comedian character quotes Shakespeare to explain any state of affairs.
The Singers
In any operetta, it’s all concerning the singing actors. The artists have to have the ability to create character. TOT is thought for that includes rising expertise and that was very evident on this solid.
Tenor Rumble might be essentially the most professionally superior of the singers, with some pan-Canadian performances to his credit score. He has a transparent commanding voice that may attain the cash notes with ease. However extra to the purpose, he injects ardour into each his singing and character portrayal which makes him an thrilling artist to look at.
Additionally, Rumble carried out a first-class czardas that he apparently created himself. Knee slaps, heel slaps, jumps, turns and a cultured ending on one knee earned him a rousing spherical of applause. And keep in mind, he additionally needed to sing through the quantity. He executed a really brave theatrical flip certainly.
Soprano Chaplin is a lyric coloratura soprano with a fulsome voice and a ringing prime. It’s the type of vocal instrument that has all of the potential to be thrilling within the bel canto repertoire, and she or he has received a number of awards acknowledging her expertise. Chaplin is the one which critics keep watch over as she climbs the skilled ladder. She additionally has a really nice method on stage.
Tenor Clemenger had plenty of enjoyable taking part in the blustering Baron Zsupan whereas displaying a good singing voice and glorious appearing abilities. Wrigglesworth was essentially the most pure actor on stage. She additionally has a really fairly gentle soprano that may present properly in Mozart and Handel.
I’ve loved baritone Belcourt earlier than. He’s a pure actor with a really engaging tone to his voice. Mezzo-soprano Symon had little to do however confirmed a pleasing voice in her small half, whereas Larusson solely obtained to point out off his huge baritone sound within the finale. His talking position was actually infused with power. (Symon and Larusson have been cleverly hidden within the refrain earlier than their solo components which got here on the finish.)
The position of Manja, the housekeeper and gypsy fortune teller, was performed by Lori Mak, who didn’t get a bio in this system. Nonetheless, she has a candy, small voice that would go someplace.
The Orchestra and Refrain
What I like about conductor Derek Bate is that he eeks out all of the romantic schmaltz he can from the rating. His ten-member ensemble moved simply from lilting songs to vibrant waltzes, to poignant laments, and oh, these trembling gypsy strings.
Bate additionally obtained a gorgeous sound out of the 11-member refrain, which confirmed fairly beautiful work within the varied harmonies.
The Manufacturing
Director Guillermo Silva-Marin, who additionally occurs to be the creative director of TOT, has been mounting these operettas for 40 years, so he’s a previous grasp as to what’s wanted.
Way back he discovered you scatter some well-appointed chairs, surrounded by engaging lamps and huge basket of flowers, and voilà, you’ve gotten your set. And it really works.
He may also transfer massive quantities of individuals across the stage with nothing trying awkward. Through the years, he’s grow to be an achieved director at producing naturalism in his solid. He’s additionally normal dogsbody like, on this case, lighting designer, which was fairly efficient, notably within the cabaret scene.
Then there may be the motion for which I await in gleeful anticipation. As a choreographer, Silva-Marin has his favorite restricted repertoire which all the time features a cancan, however a TOT operetta wouldn’t be the identical with out it.
Diction
I’ve complained about this perpetually.
Rumble was the most effective at being understood when he sang, together with Belcourt, and to some extent Clemenger, however everybody else, together with the refrain was mush. They may as properly have been singing within the unique German. Most often, you needed to guess about what the tune was about by hoping to choose up a phrase or two.
Fortunate the music was so interesting.
Final Phrase
There’s a very huge downside with operettas, and that’s, you may’t get the rattling songs out of your head.
For me proper now it’s “Play Gypsies, Dance Gypsies”……
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Paula Citron is a Toronto-based freelance arts journalist and broadcaster who hosts her personal web site, paulacitron.ca. For over 25 years, she was senior dance author for The Globe and Mail, affiliate editor of Opera Canada journal, arts reviewer for Classical 96.3 FM, and dance previews contributor to Toronto Life journal. She has been a visitor lecturer for varied cultural teams and universities, notably on the position of the critic/reviewer, and has been a panellist on COC podcasts. Earlier than assuming a full-time journalism profession, Ms. Citron was a member of the drama division of the Claude Watson College for the Arts.
