Reseñas de producciones pasadas
2Claude Vivier’s Kopernikus (1979-1980), one of his last works written before his untimely death in 1983, seems at first glance to be the perfect futuristic opera/theatre piece, both for our times and perhaps, even possibly, for five hundred years from now. Vivier’s chamber opera slotted perfectly into the newly retooled, contemporary-culture focused Banff Centre for Arts and Creativity, where it found new life in the Open Space: Opera in the 21st Century program with several excellent performances this past weekend, all of which conveyed the work’s unvarnished power and intimacy.
Max Van Wyck was a vocally rich Marcello—his acting and facial expressions were on point. Van Wyck’s and Rupolo’s sensitive vocal phrasing and blending in the duet “O Mimì tu più non torni” was a highlight of Act IV. Micah Schroeder was a gregarious Schaunard who enhanced the comedic scenes in the garret. Chelsea Rus sparkled as Musetta and was simply delightful to watch in Act II. Brenden Friesen was an excellent Colline in both casts—his “Coat Aria” showcased a powerful and sonorous bass tone. He also has a commanding stage presence making him a singer to watch in the future.
