OVERVIEW
Role | Voice Type | Range ? | Character Description |
---|---|---|---|
Trish | high | Bb3-Db6 | A young girl, heartbroken |
Gina | middle-high | F#3-A5 | Trish's friend |
Ralph | middle | E3-Bb4 | Trish's ex-boyfriend, rides a bicycle |
SYNOPSIS
A comedy. Trish laments her breakup with Ralph. She is desolate and considers suicide. Gina scolds Trish for over-dramatization and urges her to move on in her life. She succeeds in getting Trish to agree to go out for a drink at a bar nearby. They are intercepted by Ralph (on his bicycle) carrying a box of chocolates and hoping to make up. The rendezvous does not go well, Ralph leaves, and Trish is even more forlorn. Gina ruefully notes at the end that she is also without a partner.
The opening scene is an extended “soap opera” lament for Trish that could have been inspired by Gershwin’s “My man’s gone now.” Gina convinces Trish to forget the lout and go barhopping. At the premiere at the Enwave Theatre, this scene was sung from the first balcony above the stage. Then, while singing one of the complex vocal percussion sections, the singers had to rapidly descend a metal staircase in their high-heeled platform pumps, thereby creating another layer of percussion to the orchestration.
There is an iconic “Titanic” moment derived straight from the film, and identified by the composer in the score, where Trish is at the prow of the ship, her hair and dress caught in the force of an off-stage turbo-fan, while singing rapturously. All does not end well, but the audience has had a marvellous time getting there. The only tears are from laughter.
PREMIERE PRODUCTION INFORMATION
Role | Name |
---|---|
Trish | Carla Huhtanen |
Gina | Jessica Lloyd |
Ralph | Keith Klassen |
Role | Name |
---|---|
Music Director | Wayne Strongman |
Director | Tom Diamond |
CREATION
DEVELOPMENT
Anna Chatterton and Andrew Staniland met at the 2009 LIBLAB. Supported by a special grant from the TAC, this laboratory brought three Canadian artists, graduates of previous LIBLABS, together with three artists representing Scottish Opera in Glasgow. This international cooperation seeded several fruitful collaborations that resulted in new opera productions.
Comedy in opera, but particularly in contemporary opera, is very rare. Chatterton’s wit matches Staniland’s precise musical timing, while demanding bravura rhythmic interplay of the two female leads. They are sometimes required to be a vocal percussion section. The effect is hilarious.
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