The Killing Flower (Luci Mei Traditrici)
80 Queens Park Crescent, Walter Hall, Faculty of Music
Time: Feb 1st, 7:30 pm End: Feb 1st, 10:00 pm
Interest Categories: Music, Faculty of , Medieval Studies (FAS), Italian Studies (FAS), Drama, Theatre, Performance Studies (FAS), 2000-, 1500-1800
North American premiere of opera by Salvatore Sciarrino
The JHI Program for the Arts on Time, Rhythm and Pace is pleased to support this event.
The University of Toronto Faculty of Music and Toronto' New Music Project present an opera in concert:
THE KILLING FLOWER (Luci mie traditrici) by Salvatore Sciarrino, 2017 Roger D. Moore Distinguished Visitor in Composition
The Canadian premiere of Sciarrino’s opera that has been produced over 100 times, including at Lincoln Center, New York, and the Staatsoper Berlin. Haunting, riveting, and concise, the opera is a “wonderfully intense drama” in which “no single morsel of drama or text is wasted.” (The Guardian)
Love, infidelity and murder are captured in Sciarrino’s now iconic drama, based on the story of late 16th century composer Carlo Gesualdo, the count who murdered his wife and her lover.
Pre-concert talk with composer Salvatore Sciarrino, hosted by Catherine Moore, Renaissance Musicologist and UofT Faculty. With the UofT Theatre for Early Music Madrigalists performing Gesualdo madrigals Walter Hall Lobby 6:30pm
CAST Shannon Mercer – La Malaspina Geoffrey Sirett – Il Malaspina Scott Belluz – a guest Keith Klassen – a servant And the voice of Nathalie Paulin in the Prologue: an Elegy of Claude Le Jeune (1608)
CREATIVE TEAM Producer: Wallace Halladay Conductor: Chad Heltzel Stage Director/Set Designer: Amanda Smith Lighting Designer: Noah Feaver Projection Designer: Aaron Bernstein Videographer: Alison Gray Madrigals coach: David Fallis
Salvatore Sciarrino on The Killing Flower (Luci mie traditrici): “Luci mie traditrici was meant to be a statement on the reform of theater. The use of the voices, the invention and maturation of the vocal style allow us to delve once again into the realm of theater rather than simply putting vocalists on stage and having them sing, which is something I’ve never really been interested in. My theater is ‘post-cinema’ theater, beginning with the way the scenes are laid out – they proceed by dry blocks that ‘subtract’ in order to get the point across. [It] is an opera in the fullest sense of the term. It doesn’t go back to pre-existing models, nor is it sullied by cheap rhetoric. Its strength lies in the expression of song, in the creation of a vocal style – a newly invented style.”
With the support of the Istituto Italiano di Cultura Toronto, and the Jackman Humanities Institute Programme for the Arts.