Eleven years ago, I met a young Toronto vistual artist called Rob Elliott, who had just opened a place called the Swizzle Gallery on what was then the Western edge of artsy civilization at College and Dufferin. The whimsy in his work is what I found the most endearing.
- Classical Music 101: What Does A Conductor Do? - June 17, 2019
- Classical Music 101 | What Does Period Instrument Mean? - May 6, 2019
- CLASSICAL MUSIC 101 | What Does It Mean To Be In Tune? - April 23, 2019
Like many artists, Elliott has been chased out of the city by, among other things, its prohibitive rents. But the whimsy is still there.
Back in February, I posted his visual response to the typical Toronto Symphony Orchestra audience here.
Now he is taking on opera in a new show that opens on December 1 in in the Denis Tourbin Gallery at the Niagara Artists Centre in downtown St Catharines.
Most of us won’t be able to leave town to see the sketches in person, so Elliott happily sent a sampling of his gouache-and-ink illustrations for what he calls Designs for an Unwritten Opera.
I leave the explanations in Elliott’s very capable hands:
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The unwritten opera is oddly beginning to write itself. Themes are emerging, though they are so diverse only a Tales of Hoffman-type of treatment would unite them.
The two types of theatre design I enjoy most are either extremely baroque or “beggar’s operas.” With regards to the latter, I saw Tom Wilson’s production of Tom Waits’ The Black Rider in Los Angeles and it was astounding. I also caught the Punch-and Judy like production of Shockheaded Peter at the 2000 World Stage in Toronto.
The lead in my imagined opera is a little known Habsburg emperor. While the Habsburg family has left a rich legacy of opera houses around Europe, their stories are scantly represented on the stage.
Maximillian, a latecomer in the Habsburgs’ diminishing legacy, would make a great opera character. A naval officer and amateur botanist who was pressed by the French court as a figurehead to represent their interests in Mexico, Maximillian instead turned out to be a liberal reformer. In the face of forces fighting for a Mexican republic, he refused to abdicate the throne and was shot by a firing squad.
There’s also an underwater theme emerging, which might accompany Maximillian’s early life on the sea. I’m picturing a great aquatic ballroom scene, with the dancers wearing archaic deep sea helmets that give the figures a Henry Moore quality.
On another tangent, I have a whole forest idea emerging: Huntsmen, ogres, ancient trees. Undoubtedly, this is where my roots in British Columbia, Victorian history degree and love of “junk operas” is converging.
When I’m doing the forest stuff I’m often thinking of “Who Will Love me Now?,” a song sung by PJ Harvey. The greatest ogre song ever. I was not surprised at all to discover it was written by a playwright and artist named Philip Ridley, whose work I want to explore deeper.
I’m running iTunes on shuffle while I work, and that means everything from classical to old country to disco to punk is coming up throughout the day. Lots of ideas are percolating from songs and lyrics.
I do think about the staging and how one piece fits in with another (or doesn’t) while I’m working on a new drawing.
As far as music goes, my imaginary opera would err on the side of excess.
The sad numbers (the Emperor’ wife went insane after he was executed) would be overstuffed with minor keys and cellos. The dramatic scenes taking on a martial quality not unlike the final five minutes of a Shostakovich symphony.
Is the Red Army Chorus still touring? I’d like to get them on stage for the finale. An expensive thing to do for one number, but this is an imagined opera.
Rob Elliott
- Classical Music 101: What Does A Conductor Do? - June 17, 2019
- Classical Music 101 | What Does Period Instrument Mean? - May 6, 2019
- CLASSICAL MUSIC 101 | What Does It Mean To Be In Tune? - April 23, 2019
