THE MARRIAGE OF FIGARO - REVIEW OF 2025 BROADCAST LIVE FROM THE MET

Reviewed by James Karas

New York’s Met Opera has broadcast the 2014 production of The Marriage of Figaro to movie theatres around the world. Directed by Richard Eyre, this is an outstanding and I dare say extraordinary production of one of the best operas ever composed. Is that enough superlatives? Stay tuned.

Eyre is a consummate man of the theatre and he directs this Figaro as if it were a play at a major theatre. I have seen the production before and this time I paid more attention not just to the singers but to the person that she or he was singing to or was with. In the theatre the reaction or facial expression of the listener is of the utmost importance. It is equally importance in an opera but when you are watching and listening to the tenor or the soprano trying to reach for the stratosphere vocally, your attention to the person being addressed may waiver.

Let’s start with Eyre’s theatricality during the overture, before the plot begins to unravel. Eyre starts the action during the breathless opening music and gives us a better understanding of the plot that follows. A young, pretty and scantily dressed woman runs onto the stage and hurriedly tries to put some clothes on. We then see a young man (Count Almaviva as it turns out) putting on his robe. He is self-satisfied and happy. He just had sex with one of his servants and when he tries to seduce Suzanna, Figaro’s intended wife, we know what type of man he is. The scene is a marvelous preview of the plot. Credit is due to revival stage director Jonathon Loy. 

Olga Kulchynska as Susanna, Sun-Ly Pierce as Cherubino, and 
Federica Lombardi as Countess Almaviva. 
Photo: Evan Zimmerman / Met Opera

Then, there is the scene of the Countess and Suzanna listening to the testosterone-driven  Cherubino expressing his massive sexual urges to the two ladies. We know his hormonal urges but if we watch the facial expressions of the Countess and Suzanna, we see that they are infected by his enthusiasm, or more bluntly they too are aroused.

It is worthwhile paying attention to such details as you listen to and watch the opera. I hasten to add that the luxury of seeing details like that are almost certainly not available in a huge theatre like Lincoln Centre and perhaps from many seats in  smaller venues. The live transmission and judicious handling of the camera shots makes it all possible. And it is a bonus to see the production in a movie theatre. Who can afford to go and see it in New York anyway?

Another virtue of the production is the revolving stage by Set Designer Rob Howell. It is monumental in size and resembles a medieval cathedral but you see different rooms such as the Countess’s bedroom, Figaro and Suzanna’s room and the garden. The big advantage of the revolving set is the seamless continuity between scenes. No curtain. No furniture, nothing needs to stop or delay the continuity of the plot. Howell designs the costumes for 1930’s Seville where the wealthy men wear handsome three-piece suits, the women are adorned with elegant gowns and the lower orders are attired modestly.

The Met provides some young, talented and attractive singers for most of the roles. Staring with the central role of Suzanna, we have Ukrainian soprano Olga Kulchynska with a lovely voice and lively acting in the biggest role in the opera. Bass-baritone Michael Samuel as Figaro is the schemer-in-chief and the deliverer of some of the best melodies such as ”Se vuol ballare”  “Non piu andrai farfallone amoriso” and much more.

Canadian baritone Joshua Hopkins is the suave, jealous, philandering Count Almaviva. All his sins are absolved near the end of the opera when he sings the two words “Contessa, Perdono.” With resplendent sonority and emotion, he seeks benediction from his wife which she readily grants.

The noble countess is sung by soprano Federica Lombardi who sings the gorgeous “Dove sono” and “Porgi amor” in a ravishing voice that expresses loss, longing and resolution. Mezzo-soprano Sun Ly-Pierce as the young, pursuer of sex is on the opposite side of the scale as his body and voice tremble when his being is under the influence of Eros which happens to be all the time.

Conductor Joana Mallwitz in her debut at the Met set a brisk pace and gave a wonderful performance. Yes, she is a woman conductor and I hope this is the last time I feel the necessity of mentioning the gender of the conductor.
This is an exemplary production and a display of what is being done to bring first class opera around the world.
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The Marriage of Figaro (Le Nozze di Figaro) by W A. Mozart was shown Live in HD from the Metropolitan Opera at select Cineplex theatres across Canada on April 26, 2025. It will be shown again at select theatres on May 10, 2025. For more information including dates for reprises go to: www.cineplex.com/events

James Karas is the Senior Editor, Culture of The Greek Press

JOB – REVIEW OF 2025 COAL MINE THEATRE PRODUCTION

Reviewed by James Kara 

Job, the three-letter title of Max Wolf Friedrich’s play is not helpful. Initially I thought it would be a play about the much abused and suffering Job of the Old Testament. Then I realized it refers to what people do for a living but that was not very helpful. It is about two people who earn their daily bread one as a therapist and the other as an employee at an unnamed tech company where she watches and vets nightmarish posts.

Jane (Charlotte Dennis) has had a meltdown and a video of her screaming and screeching has gone viral. She has been put on leave and will be able to continue working if she can get a doctor’s letter confirming that she can do her job.

Lloyd (Diego Matamoros) is one of the best therapists around and she consults him to get the letter that she needs. Note, he is not a psychiatrist. The two-hander play lasts 80 minutes and we are treated to extensive information about the patient and the therapist, The piece  does veer into minor longueurs but by the end we are sitting on the edge of our seats with our jaws dropping to the ground. We have witnessed outstanding acting and a plot that may have fooled us completely. The word “thriller” may be used to describe the play but that makes it sound like an ordinary whodunnit and this play is much, much more than that.

Jane is a deeply troubled young woman whose description of the posts that she has witnessed on social media are too horrible to describe let alone being exposed to them daily. She is young and attractive but has had a checkered background and is quite passionate about everything.

Charlotte Dennis and Diego Matamoros in Job. Photo: ElenaEmer

Lloyd is a calm, urbane and methodical therapist who needs to decide if he can recommend that Jane can resume her job. He discloses that he is separated from his wife with whom he had two children, a son, and a daughter who committed suicide at age thirteen.

In the opening scene in the therapist’s office, Jane is holding a gun to the doctor and the lights go off momentarily and we hear a bang. No, she does not shoot the therapist and she eventually puts the gun in her purse. We are not sure if we are watching a therapy session or a holdup but the calm and professional therapist seems to control the situation as he digs deep into Jane’s past and her recent breakdown. This is a clearly troubled woman and he tries to get to the bottom of her trouble to decide if she is sufficiently recovered to return to her job.

I do not want to give any further information and spoil the plot. Suffice it to say that once you have seen the play you will not soon forget the plot and will go over its details with fascination, disbelief and shock.

Jane and Lloyd represent two generations. He is a product of the sixties and she is a  product of the social media generation. You may find their approaches interesting.

The entire action takes place in a modestly furnished office and the drama is accentuated in the small theatre-in-the-round Coal Mine Theatre.  Nick Blais is the set designer.

There is extensive use of lighting by designer Wesley Babcock and sound by designer Michael Wanless. There are moments when lights flash on and off and sounds are heard. You may wish to decide what they indicate when you see the play or when you think about it afterwards.

Charlotte Dennis gives a powerful performance as a complex but troubled young woman who has seen humanity at its most depraved. A bravura performance that demands stamina, ability and just plain talent.

Matamoros is a veteran of Toronto theatre and across Canada. He gives a superb, nuanced performance as a complex man and therapist. He draws us into complacency. Outstanding work.

David Ferry directs the complex plot with superb control. It needs perfect timing and control of the detailed development and emotional wavelength of the play. Superb directing.

It is theatre at its best.

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Job  by Max Wolf Friedrich continues until May 18, 2025, at the Coal Mine Theatre, 2076 Danforth Ave. Toronto, (northwest corner of Woodbine and Danforth). www.coalminetheatre.com/

 James Karas is the Senior Editor, Culture of The Greek Press

FLEX - REVIEW OF 2025 PLAY BY CANDRICE JONES AT CROW’S THEATRE

Reviewed by James Karas

What comes to your mind when you hear the word raptor? If you think of a bird of prey that lived around 70 million years ago, you are not likely to enjoy Flex, Candrice Jones’ play now showing at Crow’s Theatre. If your mind leaps to the Raptors, Toronto’s basketball team, and you have seen a few games, you are in luck. Flex is about a girls’ basketball team in Arkansas and specifically in 1998 when the high school seniors of a small town are competing against other teams (and each other) for a state championship.

They have won the regional championship and are preparing for the big one, the state competition where the scouts are and a chance for the players to be given a scholarship. It is a ticket out of the dusty hellhole in Arkansas that all of them want to get out of. It is the driving force that impels them to work as a team to win but personal ambitions intervene and those ambitions supersede the all-important team effort, the esprit de corps  that will compel them to victory.

The first part of the play is set in half a basketball court where the girls are practicing and talking. It is a fast-paced scene where they talk fast as they practice shooting. Their individual characters start emerging. They have attended the same school and known each other for most of their lives. Starra (Shauna Thompson) considers herself the leader and she is considered as such by the rest of the girls. Cherise (Trinity Lloyd) is deeply religious and wants the other girls to be baptized. Sidney (Jasmine Case) is the new girl from California. The coach has made it clear that she does not want pregnant players and April (Jewell Bowry) is pregnant. What is to be done about her?

The religious Cherise is also gay and kisses Donna (Asha James) on the lips. She has issues with her feelings and is baptized more than once to cleanse herself of her sin.

Trinity Lloyd, Asha James, Shauna Thompson, Jasmine Case 

and Jewell Bowry. Photo: Roya Del Sol

Starra plays dirty and her character develops around her ambition and ruthlessness. She even tried to get Sidney (Jasmine Case) pregnant. She found condoms in Sidney’s locker and pricked holes in them! Cherise tells Starra that she knows about the holes in the condoms. Sidney is the golden girl from California and Starra is from the dirt courts of Arkansas.

Flex is a beautifully written play that dramatizes the plight of young girls in the American south.  The only way for these young people to get out of that rathole is by excelling in basketball and getting a scholarship. There is jealousy, treachery and decency. The actors who make up the team and Coach Francine (a superb Sophia Walker) make not only an outstanding basketball team but also a magnificent acting ensemble. Give the actors a standing ovation. The Creative Team lists a Basketball Captain (Jasmine Case), and a Basketball Coach (Alex Johnson). Between them they produced a highly credible team of basketball players.

Dialect Coach Peter N. Bailey trained the actors to speak in an accent, which may represent the patois of rural Arkansas, but at the speed at which they spoke combined with their abuse of the rules of grammar and nuanced pronunciation, I admit that I could not always follow what they were saying.

The set by Ken Mackenzie shows an impressive half of a basketball court and the scenes that do not take place there are done with a minimal number of props. The emphasis on the court is appropriate and impressive.

Director Mumbi Tindyebwa Out seems to have her work cut out for her. With an extensive Creative Team and a tough play, she was able to keep her eye on the ball (pardon the metaphor) and bring forth a stunning production. The only prescription is for you to go and see it and applaud loudly.

And the Raptors can use the discipline and esprit de corps of the girls from Arkansas without worrying about one of them getting pregnant. And seeing a play about basketball and much, much more may prove far more uplifting and civilized than the game itself.  

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Flex  by Candrice Jones, in a Crow’s Theatre and Obsidian Theatre co-production, will run until May 18, 2025, at the Guloien Theatre, Crow’s Theatre, 345 Carlaw Avenue, Toronto, Ontario.  http://crowstheatre.com/

James  Karas is the Senior Editor, Culture of The Greek Press

BENEVOLENCE – REVIEW OF 2025 KEVIN MATTHEW WONG PLAY AT TARRAGON THEATRE

Reviewed by James Karas 

Benevolence is an eighty-minute  one-man show by Kevin Matthew Wong who is listed as the creator, writer, video and projection designer. The play is about the Hakka, a Chinese subgroup that is dispersed around the world and may have about 35,000 people in Canada. 

Wong in a hyper-kinetic and exuberant performance tells a personal story about his experience as a Canadian of Hakka origin and gives us some information about the group. The play is built around the World Conference of Hakka that is to take place in Toronto and it is to be attended by some 3000 people. Wong, a man of the theatre, is asked to write a show for the elderly to be performed during the conference.

He knows he is Hakka because his grandmother told him so, but he does not know much more and he speaks with other people including his one-hundred-year-old grandmother trying to come up with ideas and substance for the show. We see a touching video of his interview with his grandmother in Vancouver as well as other videos of his visit to Hakka centers in British Columbia.

Kevin Matthew Wong in Benevolence. Photo: Jae Yang

In the video of the interview with his grandmother we learn that she remembers very little about her life in China and in the end is coached by her daughters to give some sort of replies that are not satisfactory but they are funny. But she has lived through 18 presidents and 14 prime ministers and we find her sympathetic and humorous without being too informative.

Wong is a talented mimic and he imitates the speech of the people that he encounters to humorous effect. Sonia, the woman who asks him to write a play is a  Chinese-Hakka-Jamaican-Canadian and Wong imitates her accent to good effect. 

In Victoria and Vancouver there are pockets of Hakka immigrants and Wong shows us videos of the places that he sees and describes some of the people that he meets but he is the only one who speaks to us and imitates what he hears.

When Wong enters the playing area to begin the show, he bangs what look like pot lids loudly (Chinese instrument?) and invites three members of the audience to join him doing the same thing and dancing around. He is good at involving the audience and garners excellent reactions and laughter.

Wong tells the hilarious story about a Hakka mathematician asked to say something with “three”. (I have forgotten the exact question.) He draws a palm tree and  answers in his accented English: “Palm tree.” He is given the number 33. He draws two palm trees and replies that he has palm tree, palm tree.

Trying to stump him, he is given the number 100. How do you get that? He draws three partial trees with “dirt” underneath and replies that he has a dirty tree and a turd three tines which of course makes 100. I butchered the joke but you should go and see the show and get its hilarious impact.

Benevolence gives us some fascinating information about the Hakkas who apparently migrated to America in 200 BCE and have settled in many parts of the world. This is a fun way of getting some history gratis. Go see it.

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Benevolence by Kevin Matthew Wong in a premiere production by Tarragon Theatre in association with Why Not Theatre and Broadleaf Creative will run until May 4, 2025, at the Tarragon Theatre Extraspace, 30 Bridgman Ave. Toronto, Ontario.  www.tarragontheatre.com

James Karas is the Senior Editor, Culture of The Greek Press

COCK – REVIEW OF 2025 TALK IS FREE THEATRE PRODUCTION

Reviewed by James Karas 

Cock is the brash and highly suggestive title of Mike Bartlett’s play now playing at Artists Play Studio in the  Carlaw Industrial Centre, Toronto. It is a fine, emotionally charged play that does not need the charged sexual reference of its title but so be it.

Cock is essentially about the fight for John’s soul, body and love. He is a diffident, indecisive gay man who is living with M in a homoerotic relationship for seven years. John (Jakob Ehman) is the only named character in the play. He is living with M (Mickael Torontow) and falls in love with W (Tess Benger), a woman. F (Kevin Bundy) is M’s father.

The play opens on a high emotional pitch as the sensitive John tells M that their relationship is not working out and they should separate. M is in love (with?) John and he tries to patch things up but, the real issue arises. John who has never been attracted to women had met the attractive W and had enjoyable sex with her. Sex with a woman and inherent indecisiveness can be a recipe for the breakup of a long relationship.

There are variations in the emotional levels of the discussions among the four people, but the high passions felt by them are intense almost throughout. The central issue is always John, what he wants, what he is and what can persuade or force him to decide who or what he is. The father, M and W try to get to John’s mind or soul or his identity to convince him to go past his indecision but no one can reach him.

The cast of Cock. Photo: Dahlia Katz

Tess Benger has physical attraction and sexual allure to sway him but she is unsuccessful. Berger gives an intense performance in the role. M, a muscular man who does not understand what John is doing and cannot find satisfactory arguments to rekindle John’s love for him, gives a splendid performance.

Bundy as M’s father is a gruff, no-nonsense man who tries to mediate or perhaps push the situation forward in the face of John’s indecisiveness. Superb performance. All eyes are on on Ehman who struggles with his own crisis while buffeted by arguments from his lovers and the Father. A marvelous performance as a pathetic young man that is forced to see himself, his souls and come to terms with himself.

The play is performed in an empty space and acts like undressing and having dinner are mimed and the rest is left to the imagination.

The play is directed by Dylan Trowbridge who keeps an even keel as the arguments and high emotions come through. He keeps the arguments coming and never lets us take sides.  A tough job well done.

The play is performed in  the Artists Play Studio of the  Carlaw Industrial Centre at 388 Carlaw Avenue, Toronto. You follow a red line for some distance and see a couple of dozen people in a hall. Where is the theatre? It’s a surprise, we are told. It is a room of about 15 by 30 feet (I am guessing) with about two dozen folding chairs  in the perimeter. That is all and the seats and audience watching the performance. There are no other props  except for several lamps that the actors turn on and off by stepping on switches.

Cock was first produced in 2009 at the Royal Court Theatre in London and has been revived many times in England and North America. The surprise is that no other company in Ontario had got wind of it until Talk Is Free Theatre produced it for us.
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Cock by Mike Bartlett continues until May 2, 2025, at Artists Play Studio, Carlaw Industrial Centre, 388 Carlaw Avenue, Toronto. https://www.tift.ca/

James Karas is the Senior Edior Culture of The Greek Press

MAHABHARATA - REVIEW OF 2025 PRODUCTION OF EPIC PLAY AT BLUMA APPEL THEATRE

Reviewed by James Karas 

Mahabharata is theatre on a grand scale. It is played in two parts titled Mahabharata: Karma. The life We Inherit for Part 1 and Mahabharata: Dharma. The Life We Choose for Part 2 for a total of about five hours. The play is based on an ancient Sanskrit epic that may go back as many as 4000 years.

The full surviving version seems to have been composed or put together based on the oral traditions between 400 BCE and 400 CE Its first English translation was in the 19^th century and was published in 5000 pages. A Critical Edition was produced in the 20^th century and ran to 13,000 pages in 19 volumes. 

In the 21^st century, Carol Satyamurty composed  a “Modern Retelling” of the epic in 843 pages of blank verse. It is this version that Ravi Jain and Miriam Fernandes used to adapt and write the script of the production which was presented at the Shaw Festival in 2023  and is now revived at the Bluma Appel Theatre in Toronto. The production is by Why Not Theatre and Canadian Stage.

Part 1

 The complex story goes over numerous generations of kings, queens, princes and princesses, lesser mortals and gods. There are two closely related feuding families, the Pandavas and the Kauravas, first cousins who engage in an epic dynastic war. The Storyteller (Miriam Fernandes) narrates much of the tale as we meet the ambitious cousins, the fights for kingship, the marriages, the offspring and much more.

The Storyteller advises us “not be confused by the plot” and if you can do that, I tip my hat to you. I was not so much as confused as I did not know in what generation the story was taking place and who was doing what to whom. To me, the unlettered, in Sanskrit script and culture, the names alone were murder. Dhritarashtra, Duryohana, Yudhishthira, Bishma, Bhima were not always easy to distinguish. I need more exposure to the names and the mythology behind them. 

The cast of Mahabharata (Shaw Festival, 2023). Photo: Michael Cooper

An issue for me was the presence of a band on stage that played throughout the performance. All the characters had to speak over the background music which included chanting, humming and playing music. The music did not sound bad at all. The original music and sound designers are John Gzowski and Suba Sankaran with Hasheel Lodhia as traditional music consultant. Do you pay attention to the dialogue and dismiss the music as something in the background or do  you pay attention to the music and of course miss some of the dialogue?  I have no idea what the purpose of continuous background music was and at times I found it downright annoying. 

Shiva (Jay Emmanuel) performs a lengthy and athletic dance routine with some familiar poses but aside from that, I understood very little of the purpose of the segment. The choreography for the play is by Brandy Leary with contributions from Jay Emmanuel and Ellora Patnaik. Emmanuel’s talent and endurance are admirable.

The final scene brings the story together with the two factions of warring cousins facing off against each other and agreeing to settle everything by throwing dice. It is a high stakes match that has the advantage of clarity of plot and high drama. The Dharma King Yudhishthira gambles and loses everything, his city, wealth, kingdom, his brothers, himself, even his beautiful wife Queen Draupadi. (She has five husbands) They all become slaves of Duryodhana, the eldest son of King Dhritarashtra and the leaders of the Kauravas. They proceed by ritually undressing and humiliating Draupadi in an amazing scene.

The generous Dhritarashtra grants clemency to all the Pandavas and releases them. But there is a final toss of the dice. The losers will relinquish their kingdom to the winner and live in exile in the forest for twelve years. They will live incognito in public for one year after that and if they are not recognized, their kingdom will be returned to them.

Duryodhana wins and rejoices.  Bhima the Pandava warrior vows to kill him and slaughter his ninety-nine brothers. Ajuna the greatest archer vows to kill Karna, the son of the sun god and great Pandava warrior. Draupadi vows that thirteen years hence the Kauravas women will be smeared with the blood of their slaughtered sons.

A blood curdling end of part 1.

The set by Lorenzo Savoini shows a large red circle on the stage and much of the action takes place in it. Beyond that circle sat the band who of course stayed and played for the duration of the performance. The lighting by Kevin Lamotte, like the stage design was dramatic, as becomes an epic story.

Part 2

There is a dramatic shift in plot development and tone in Part 2. The band is silenced and there is extensive use of projections, television monitors and a sense of modern times. The embittered Pandavas have endured their exile in the forest and are now appearing in public but fear being recognized and so sent back into exile for another dozen years.

But it seems that they have completed their sentence and according to the wise Bishma and the decent Dhritarashtra they are entitled to the return of their kingdom. The hot-blooded and ambitious Duryodhana states that he has found them which means they have breached the terms of their exile. He is ready to go to war. 

The cast of Mahabharata (Shaw Festival, 2023). Photo: Michael Cooper

The Pandava leader Yudhishthira wants to negotiate peace but his chief warrior Arjuna is prepared to fight. The positions are drawn up and negotiations are bound to prove fruitless. Dynastic arguments of who is right and who is wrong continue but we know that war is inevitable. But there are complex revelations about origins and parents that delay the inevitable bloodshed. Karna, for example, is revealed to be the son of the god sun and in fact a Pandava! Arjuna is fighting against his own family members. The slaughter goes on for twenty days. 

In Part 2, there is an extended opera aria sung by soprano Meher Pavri as the voice of Krishna. The role of Krishna is played by Neil D’Souza. It contains moral and philosophical wisdom. It is beautifully sung in Sanskrit with English surtitles.

I have not given credit to the international cast of artists, many playing numerous roles in what is already a complex story. In no particular order I applaud Miriam Fernandes as the sprite Storyteller who takes on other roles as well; Anaka Maharaj-Sandu as the great archer Arjuna; Ravin J. Ganatra as Dhritarashtra; Shawn Ahmed as Yudhisthira; Darren Kuppan as Duryodhana; Goldy Notay as Draupadi and Gandhari; Ellora Patnaik as Kunti  and Drona; Jay Emanuel in four roles including Drupada and Shiva; Navtej Sandu as Karna;   Sukonia Venugopal as Bhishma.

Writers Ravi Jain and Miriam Fernanes advise us in a note in the program that they carved ploughed and weeded through the epic myths for ten years. That is an epic in itself.

My reaction to the two-part production of Mahabharata is one of admiration, frustration and perplexity. I need a lot more knowledge of the original epic and the cultural background to understand and enjoy the production fully.

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Mahabharata: Karma. The life We Inherit, Part I and Mahabharata: Dharma. The Life We Choose Mahabharata, Part 2 written and created  by Ravi Jain and Miriam Fernandes from Carole Satyamurti’s retelling of the myth continues until April 27, 2025 at the Bluma Appel Theatre, St. Lawrence Centre for the Arts, 27 Front Street East, Toronto, Ontario. www.canadianstage.com

James Karas is the Senior Editor, Culture of The Greek Press 

 

DAVID AND JONATHAN - REVIEW OF 2025 OPERA ATELIER PRODUCTION

Reviewed by James Karas

The cover of the program of Opera Atelier’s production of Marc-Antoine Charpentier’s  David and Jonathan shows a shot of Michelangelo’s statue of David,  surely the ultimate definition of male beauty and virility. David is best known as the slayer of the brute Goliath and as one of the early kings of Israel. The opera has almost nothing to do with the fight with the Philistine  Goliath but that seems to be the reason for the unknown David gaining a position in the royal household and developing a strong friendship with Saul’s son Jonathan.

Marshal Pynkoski and Jeannette Lajeunesse Zingg, the artistic directors of Opera Atelier have done a brilliant job of recreating the opera and providing us with a stunning production. They have included the Artists of the Atelier Ballet and the Tafelmusik Chamber Choir (and of course the Tafelmusik orchestra) to enrich the production. Ms Lajeunesse Zingg’s judicious and splendid choreography introduces almost a ballet performance and the Chamber Choir adds a gorgeous vocal pleasure.

The biblical story from the book of Samuel involves the complex psychological story of King Saul (baritone David Witczak) who takes the unknown David (tenor Colin Ainsworth) into his household for the good reason that he killed Goliath. David develops a deep and everlasting friendship with Saul’s son Jonathan (soprano Mireille Asselin).

Baritone David Witczak as Saul and tenor Colin Ainsworth as David in 

Charpentier's David and Jonathan. Photo by Bruce Zinger

Saul becomes jealous of David’s popularity and in the Prologue to the opera consults the witch Pythonisse (mezzo-soprano Mireille Lebel) about his future. She conjures up the ghost of Saul’s predecessor Samuel (bass-baritone Stephen Hegedus) who prophesies that Saul will lose everything.

The Pynkoski-Zingg team waste no time in setting a brisk pace with Saul running frantically around a lively witch and her demons commanding the stage for the duration of her presence.

David goes back to the Philistine ranks. Joabel (tenor Antonin Rondepierre), the leader of their army wants war while Saul and King Achis (baritone Christpher Dunham) of the  Philistines negotiate peace. Joabel finds a way to inflame Saul’s anger, mistrust and jealousy against David and an inevitable explosion occurs. The opera has an astonishing web of emotional entanglements that add to its fascination. Saul loves his son and David but then he hates the latter and is upset with the former. There is emotional stress and psychological uncertainty among the characters.

Artists of Atelier Ballet in production of Charpentier's 

David and Jonathan. Photo by Bruce Zinger

The emotional and political intrigues come to a head when the Israelites and the Philistines go to all-out war. David and Jonathan, the best and most faithful friends in the world, part. Jonathan and Saul are seriously wounded. Jonathan dies in the arms of his friend while Saul falls on his sword. Amid the horror and the slaughter, there is a glimpse of good news. David is proclaimed King of Israel. The Pynkoski-Zingg fertile imagination, their sense of theatre and their inventiveness create a stunning opera. Some directors feel that deep friendship between two men must have a homoerotic element to it. Pynkoski, to his credit, does not fall for that trap.

The production is a continuous visual and vocal delight. There are gorgeous ballet sequences at regular intervals and the Chamber Choir, I repeat,  is an aural splendor. The costumes by Michael Gianfranco are a colorful pleasure to behold. The set by Gerard Gauci in the reconfigured stage of Koerner Hall is an added bonus.

Ainsworth and Asselin are Opera Atelier stars whereas Witczak and Dunham are with the company for the first time. Hegedus, Lebel and Rondepierre have sung various roles with Opera Atelier. Kudos to exceptional performances.

David Fallis conducted the Tafelmusik orchestra impeccably and they and the cast provided a superb evening at the opera.      

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David and Jonathan by Marc-Antoine Charpentier opened on April 9 and will continue until April 13, 2025, at Koerner Hall, TELUS Centre for Performing Arts, 273 Bloor St. West, Toronto, Ont.   

James Karas is the Senior Editor, Culture of The Greek Press