Toronto Operetta Theatre/Countess Maritza, composed by Imre Kalman, English guide and lyrics by Nigel Douglas, directed by Guillermo Silva-Marin, performed 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 incredible success for the New Sadler’s Wells Opera. It has change into 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 principle romance.
The essential operetta plot might be described this fashion: boy can’t get woman due to numerous issues, however love wins out ultimately. 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 regardless that the unique libretto by Julius Brammer and Alfred Grunwald was in German, Countess Maritza is full of parts of gypsy rhythms and vibrant Magyar folks tunes that imbed Hungarian all around the operetta. Kalman by no means forgot his roots.
For sure, the operetta is about in Hungary, and actually, the male lead, Depend Tassilo, even will get to bounce a czardas, however extra about that latter.
The Story
Depend Tassilo (Scott Rumble) has been working incognito because the supervisor of the property of Countess Maritza (Holly Chaplin). As a result of 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 boys pursuing her for her wealth, Tassilo is shocked to seek out his sister Lisa amongst her buddies, however Tassilo will get Lisa to swear to maintain his secret. He tells her he’s incognito due to a wager.
To lastly do away with her so-called admirers, the Countess broadcasts she is engaged to a fictional Baron Zsupan. The identify got here to her after seeing a efficiency of Johann Strauss’ The Gypsy Baron (which premiered you realize the place in 1885). In that operetta, there’s a comedian character known 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) exhibits 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 increasingly concerned with her property supervisor, who doesn’t appear concerned with her. She and her company catch him singing and dancing the czardas, and when she orders him to bounce it once more, he refuses, and he or she 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 avoid wasting the clan, having discovered oil on her property. Her companion Penizek (Austin Larusson) is a talking function, and the comedian character quotes Shakespeare to explain any state of affairs.
The Singers
In any operetta, it’s all in regards to the singing actors. The artists have to have the ability to create character. TOT is understood for that includes rising expertise and that was very evident on this solid.
Tenor Rumble might be probably 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 an aesthetic ending on one knee earned him a rousing spherical of applause. And bear in mind, he additionally needed to sing throughout the quantity. He executed a really brave theatrical flip certainly.
Soprano Chaplin is a lyric coloratura soprano with a fulsome voice and a ringing high. It’s the sort of vocal instrument that has all of the potential to be thrilling within the bel canto repertoire, and he or she has received a number of awards acknowledging her expertise. Chaplin is the one which critics control as she climbs the skilled ladder. She additionally has a really nice method on stage.
Tenor Clemenger had a variety of enjoyable taking part in the blustering Baron Zsupan whereas displaying a good singing voice and wonderful performing expertise. Wrigglesworth was probably 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 enticing tone to his voice. Mezzo-soprano Symon had little to do however confirmed a nice voice in her small half, whereas Larusson solely obtained to indicate off his large baritone sound within the finale. His talking function was actually infused with power. (Symon and Larusson have been cleverly hidden within the refrain earlier than their solo elements which got here on the finish.)
The function 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 fantastic sound out of the 11-member refrain, which confirmed fairly beautiful work within the numerous 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 enticing lamps and enormous basket of flowers, and voilà, you’ve got your set. And it really works.
He may transfer massive quantities of individuals across the stage with nothing trying awkward. Over time, he’s change into an completed 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’s the motion for which I await in gleeful anticipation. As a choreographer, Silva-Marin has his favorite restricted repertoire which at all times features a cancan, however a TOT operetta wouldn’t be the identical with out it.
Diction
I’ve complained about this endlessly.
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 could as properly have been singing within the authentic German. Typically, 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 large downside with operettas, and that’s, you’ll be able to’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 numerous cultural teams and universities, notably on the function 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 Faculty for the Arts.