MONTREAL — Arguably the most pictorially lavish of all operas, at least when spared the indignities of a postmodern refit, Turandot might seem an offbeat choice for concert presentation. Of course, much of the splendor is in Puccini’s music, as the Orchestre philharmonique et choeur des mélomanes (OPCM for short) reminded us in the second of two sold-out weekend performances in the Maison symphonique.
This ensemble under the baton of 29-year-old Francis Choinière is one of a few startups challenging the major leaguers in music-mad Montreal. A product of McGill University, Choinière has corralled his fellow alumni (as well as graduates of the comparably productive orchestral training programs of the Conservatoire de Montréal and the Université de Montréal) to create a high-energy group of young professionals who perform dozens of film screenings and concerts a year.
The afternoon of May 10, it was hard to think of what more an established presenter could have offered. Here were rich instrumental colors, powerful choruses, vivid ensembles, and confident arias all propelled with vitality by a conductor who clearly knew the score. If the audio perspective was a little more weighted in favor of the orchestra than is common, what of it? We could always hear the soloists amid the glorious hubbub.
It should be stressed that this was not simply a stand-and-deliver concert performance. The Maison symphonique is outfitted with a sophisticated lighting array that can be used to good atmospheric effect. True, we had to do without the sharpening of the executioner’s sword, the perp walk of the unlucky Prince of Persia, and, most unfortunately, the introductory appearance of the title character, whose presence in Act 1 had to be inferred from the bedazzled reaction of Calaf, the pleas of the people of Beijing for pietà, and the flood of silvery light. The entry of the Emperor on the stage-left side of the choir loft was also a tad anticlimactic after such a majestic musical build-up (including brass stationed on the opposite side). Perhaps the central organ console would have made a better imperial platform, but this perch is hard to reach.
Rest assured, however, that Calaf had a downstage gong to strike when he made his fateful decision to answer the riddles. There was also enough of a stage apron to allow the soloists (all in concert dress) to indulge in some basic dramatics. To hear Turandot (the lustrous American soprano Marcy Stonikas) sing “In questa reggia” as part of a relatively close-knit ensemble lent an extra touch of humanity to the story of her murdered ancestress and realism to her ruthless misandry.
Other principals made a similarly sympathetic impression: the bright-voiced Canadian soprano Sydney Baedke as Liù (who was tasked with an onstage suicide) and the dark-voiced Chinese-American bass Colin Ramsey as Timur (strongly projecting the frailty of an elderly man, if such a thing can be). Mikelis Rogers (Ping), Spencer Britten (Pong), and Sam Champagne (Pang) were energetic as the comic functionaries, and tenor John Mac Master sounded suitably distinctive and unearthly as the Emperor. Canadian bass Matthew Li was our solid Mandarin.
Of course, the male role that matters most is Calaf, a heroic step up for the lyric tenor Andrew Haji and one that this Canadian accomplished with aplomb. His “Nessun dorma” was ardent, gleaming, and perfectly in tune. A confident actor, Haji also convinced us of Calaf’s regret over the fate of Liù (which the prince does not trouble himself to prevent). Opinions differ on the merits of the standard Alfano completion, but I am used to it.
The adult chorus of about 100 (including 20 stabilizing professionals) made impressive sounds, and Les Petits Chanteurs du Mont-Royal (a noted boys’ choir linked to St. Joseph’s Oratory) were sweet and lucid. Add a big orchestra (including the kinetic spectacle of percussionists rushing from instrument to instrument) and a spotlight trained on a conductor with a natural and fluid podium style, and you have a concert Turandot with considerable visual impact.
It might be hard to believe that all this could be achieved without the good graces of a stage director — the cast worked out the semi-staging collaboratively — but another potential conclusion is that the duties of the director in opera these days are grossly inflated. Another lesson from the OPCM success is the potential of opera to attract new followers if marketing is gauged to the digital sources that can reach them. The demographically varied (and enthusiastic) crowd on this occasion probably included many people who had attended live-music film presentations (for which the OPCM is styled the FILMharmonique).
The question arises as to whether new orchestras and companies drain sales from the established providers. The answer will vary according to the community. In Montreal, there is always room for more. The next OPCM presentation (Dec. 12) is Brahms’ A German Requiem. Bring it on.
