By James Karas
August
Strindberg’s 1888 one–act tragedy Miss Julie has inspired numerous adaptations
and productions including several operas. Belgian composer Philippe Boesmans
composed a one-act chamber opera in 2005 based on a libretto by Swiss director
Luc Bondy and director and playwright Marie-Louise Bischofberger which was
produced in a number of European cities with considerable success.
That did not put
it on the radar of any North American opera or theatre company except for
Matthew Jocelyn, Canadian Stage’s Artistic and General Director. Jocelyn has
made it his mission to expand Torontonians’ theatrical horizons, come hell or
high water and he has seen both over the last five years. But he has not lost
his nerve and is forging full speed ahead.
Lucia Cervoni and Clarence Frazer in Julie. Photo: Cylla von Tiedemann
Julie, as the opera is called, has now received its North American
premiere at the Bluma Appel Theatre in a production by Canadian Stage in
association with Soundstreams, a major presenter of new Canadian music.
The interaction
among the three characters of the play has many layers and complex motivations
but the central issue is sexual attraction. Julie (Lucia Cervoni) is the daughter
of a Count and she is sexually attracted to Jean (Clarence Frazer), the valet.
Jean has a relationship with the servant Christine (Sharleen Joynt) and we have
a ménage á trois with a difference.
Boesmans’
avant-garde music shapes and punctuates the dialogue of the three characters
and it is shaped by it. There is obviously a large variety of musical phrases
but the diction of the dialogue is maintained. Mezzo soprano Cervoni, baritone
Frazer and soprano Joynt handle their roles vocally with ease and their
characterization is sound.
Jean and Julie
consummate their relationship with utter good taste without allowing their lust
to shock the censors and cause them to forbid public performances as it did when
the play was first produced. As may be expected, the relationship does not work
out, and in the play Jean gives Julie a straight razor and she goes off the
stage with it in her hand. In the opera he gives her an extension cord and in
the final tableau we see her in silhouette wrapping the cord around her neck.
Very effective.
Sharleen Joynt and Clarence Frazer in Julie. Photo: Cylla von Tiedemann
Musical Director
Leslie Dala conducts the 18-piece chamber ensemble adroitly through Boesmans’
largely unfamiliar musical style where what we associate with traditional opera
is left out completely. Don’t look for Puccini or Verdi, in other words.
Set Designer Alain
Lagarde provides a black curtain for background which acts as a mirror as well.
The kitchen set is good and it provides the “naturalism” that Strindberg wanted
without being slavishly realistic.
The driving
force behind the production is Matthew Jocelyn for bringing a work that has the
familiarity and approachability of a play that was written in 1888 with the
unknownness of a recent, avant-garde work that is being produced here for the
first time.
Do you want to
compliment or criticise him for this or just leave it hanging?
______
Julie by
Philippe Boesmans (music), Luc Bond and Marie-Louise Bischofberger (libretto)
adapted from August Strindberg play, opened on November 17 and will run until November
29, 2015 at the Bluma Appel Theatre, St. Lawrence Centre for the Arts, 27 Front Street East , Toronto , Ontario
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