{"id":130889,"date":"2020-12-11T06:12:49","date_gmt":"2020-12-11T03:12:49","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/an-online-messiah-rises-to-the-occasion\/"},"modified":"2020-12-11T06:12:49","modified_gmt":"2020-12-11T03:12:49","slug":"an-online-messiah-rises-to-the-occasion","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/an-online-messiah-rises-to-the-occasion\/","title":{"rendered":"#An online Messiah rises to the occasion"},"content":{"rendered":"<p>&#8220;<strong>#An online Messiah rises to the occasion<\/strong>&#8221;<\/p>\n<div>\n                                                                        Near the end of Part I of George Frideric Handel\u2019s oratorio\u00a0<i>Messiah<\/i>, a singer urges listeners to spread the good <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">news<\/a> of Christ\u2019s birth. \u201cOh Thou that tellest good tidings to Zion,\u201d she sings, \u201cGet up into the high mountains.\u201d<\/p>\n<p>In any production, much depends on accidents of timing and place. In the extraordinary version of the\u00a0<i>Messiah<\/i>\u00a0that Toronto\u2019s Against The Grain Theatre will reveal this weekend in a free webcast, the soloist for Oh Thou That Tellest is Diyet van Lieshout, a member of Kluane First Nation in southwest Yukon. She was filmed at the edge of the Kluane Icefield, the world\u2019s largest non-polar ice field, a shelf of ice thousands of square kilometres in size. The high mountains are present, too, in the form of the Saint Elias range, home to Mount Logan, the highest mountain summit in Canada.<\/p>\n<p>Diyet doesn\u2019t quite sing the precise lyrics Handel set, because in translating them into Southern Tutchone with the help of her 91-year-old grandmother Lena Tulhas\u00e8n, she preferred to capture the gist of the song rather than its specifics. \u201cIt\u2019s more of a retelling,\u201d she said in a telephone interview this week. \u201cThe news is that the creator has made all this for us.\u201d<\/p>\n<p>Since \u201call this\u201d includes a lake of ice and the highest mountains, \u201cthere\u2019s this sense of awe and wonder and joy,\u201d Diyet said.\u00a0\u00a0\u201cI wanted to keep that sense of joy and excitement. So the words have that feeling built into them, just of wonder and awe at being given such a gift.\u201d<\/p>\n<p>Some gifts take more work. Diyet is a successful folk-pop singer with a degree from the University of Victoria in vocal music, but she hasn\u2019t sung classically in 20 years. She likened prepping for the Messiah to \u201crunning a marathon.\u201d<\/p>\n<p>Against the Grain\u2019s new production is pieced together from performances recorded in every part of the country. The title for the production is\u00a0<i>Messiah\/Complex<\/i>, which is both neat wordplay and the simple truth. Diyet recorded her voice in a Whitehorse studio, over a recorded performance of the Toronto Symphony Orchestra. Then an associate shot a video of her at the edge of the ice field, lip-synching to the sound of her voice, which came from a smartphone tucked into her pocket.<\/p>\n<p>But the hardest work is mental and, if you will, spiritual. \u201cSome red flags came up as soon as I heard [that some people in Toronto wanted her to perform]\u00a0<i>Messiah<\/i>,\u201d she said. \u201cMy own coming to terms with my history and my connection to a colonial past. And to religion, you know? My mom survived residential school. So it\u2019s still really close. And I\u2019m still trying to reconcile those feelings. So I don\u2019t know. I love the music, I really do. I wasn\u2019t sure it was going to be a proper fit for me.\u201d<\/p>\n<p><iframe loading=\"lazy\" title=\"Messiah\/Complex (Official Trailer)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/W8NNNun8OBk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>What attracted Diyet to the task was the prospect of finding her own relationship to the material. She could work with her grandmother, one of the last surviving speakers of their specific dialect of the Southern Tutchone language. She could find ways to put the words into the right order, so the tonal nature of the language\u2014a given syllable can mean different things, depending on whether it rises or falls in pitch from the previous syllable\u2014fit well with the contours of Handel\u2019s melody.<\/p>\n<p>What clinched it all for her, Diyet said, was the way Joel Ivany, the director of Against the Grain Theatre and co-director of <em>Messiah\/Complex<\/em>, embraced all that she had in mind for the piece. \u201cTalking with Joel, I said, \u2018Would you be okay if I just took this and made it something a little bit different, in my language?\u2019 And I couldn\u2019t see him, but I could see his ears, like, perking up. Over the telephone. He was in it 100 per cent from the beginning. \u2018Yeah, do that.\u2019\u201d<\/p>\n<p>It\u2019s possible for any work of art to fall into routine. With Handel\u2019s\u00a0<i>Messiah<\/i>, it\u2019s practically an occupational hazard. In most years, performances of the Messiah, written in 1741 for soloists, choir and a small orchestra by a German who\u2019d moved to London in his 20s, are as common in any large Western city as fruitcake, and sometimes harder to digest. It\u2019s easy to find three or four productions in every city, some by professional orchestras, many by church choirs, some light, some rather burdensome.<\/p>\n<p>But this is no ordinary year, and Joel Ivany resists routine by nature. He\u2019s become one of Canada\u2019s most audacious and\u2014increasingly, almost despite himself\u2014respected opera directors. He was going to direct\u00a0<i>Carmen<\/i>\u00a0at the Canadian Opera Company this winter, before the coronavirus wiped out so many artists\u2019 plans. But he\u2019s also taken <em>La Boh\u00e8me<\/em> on a national tour of Canadian bars and saloons, and staged Gluck\u2019s <em>Orfeo<\/em> in Banff with a chorus in drag. He\u2019s staged <em>Messiah<\/em> in 2013 at The Opera House, which is not an opera house, and again at Harbourfront Centre in 2015. This year he planned a third production.<\/p>\n<p>\u201cAnd then COVID hit. And it was like, \u2018Okay. So what do we do now?\u2019 It was like every arts organization facing that predicament of, \u2018Are we just waiting this out, or are we moving online?\u2019 We\u2019ve been producing digital content, with interviews and concerts from people\u2019s living rooms, which we\u2019re good to do but which weren\u2019t necessarily the most enticing for people to watch.\u201d<\/p>\n<p>The good thing about a digital production is that you can measure audience engagement. Every time somebody closes a browser window, it\u2019s recorded. \u201cYou don\u2019t really have data when people fall asleep in the concert hall.\u201d<\/p>\n<p>The bad news is that in Against The Grain\u2019s early experiments in lockdown-era virtual theatre, a lot of browser windows were closing. \u201cPutting a camera on what we love doesn\u2019t equate to the same experience.\u201d<\/p>\n<p>So maybe pack it in until a vaccine saves the day? \u201cI just can\u2019t do that, personally. I\u2019m stubborn.\u201d<\/p>\n<p>Pretty soon the decision was: Go big or go home. Actually, this being 2020, they\u2019d have to do both. Handel wrote for four soloists. <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">Trip<\/a>le that number and you\u2019d be close to the number of provinces and territories in Canada. The summer of Black Lives Matter was raising desperately overdue questions about representation in the performing arts. The hashtag #OperaIsRacist was showing up on <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">Twitter<\/a>, and as is often the case, people had a point.<\/p>\n<div id=\"attachment_1214591\" style=\"width: 2058px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" data-sizes=\"auto\" class=\"size-full wp-image-1214591 lazyload\" src=\"https:\/\/www.macleans.ca\/wp-content\/uploads\/2020\/12\/DIYET-MESSIAH-WELLS-DEC10.jpg\" alt=\"Diyet (Courtesy of Alistair Maitland\/Against the Grain Theatre)\" width=\"2048\" height=\"1363\"\/><\/p>\n<p class=\"wp-caption-text\">Diyet (Courtesy of Alistair Maitland\/Against the Grain Theatre)<\/p>\n<\/div>\n<p>So Ivany teamed with Reneltta Arluk, the Director of Indigenous Arts at the Banff Centre, to co-direct a national Messiah\/Complex with a dozen soloists, each Indigenous, Black or a person of colour. Ten camera crews spread out across the country to record the soloists, the Toronto Symphony, the Toronto Mendelssohn Choir and smaller vocal ensembles.<\/p>\n<p>\u201cWe\u2019re in Toronto and we\u2019re a small organization,\u201d Ivany said. \u201cBut this meant our audience could be national. It could be global.\u201d<\/p>\n<p>So. National scope, cinematic ambition, bold diversity in interpretation \u2014the soloists sing in half a dozen <em>languages\u2014and<\/em> a frank meeting between ancient art and the tough questions it raises in today\u2019s world. The next step was to give it away. When Messiah\/Complex starts webcasting on Sunday, it will be free, as the company\u2019s website puts it, \u201cto any soul in need of a musical lift.\u201d Viewers are encouraged to make a donation. No sum is suggested. You pay what you can, if you want.<\/p>\n<p>\u201cWe had roughly estimated $20,000 in ticket sales\u201d before deciding to give it away, Ivany said. \u201cWe\u2019ve already surpassed that in donations, without showing a clip of the film.\u201d<\/p>\n<p>Production was a trip. Opera and oratorio are usually live theatre, with soloists and chorus and orchestra within sight of one another, reacting to each other\u2019s cues. This was more like movie production. \u201cIt\u2019s not done how we\u2019ve been trained. It\u2019s not done how you\u2019d want to do it. It\u2019s ass-backwards.\u201d The Toronto Mendelssohn Choir recorded the Hallelujah Chorus in five shifts, in a rented building, each singer in stalls with shower curtains, the conductor surrounded with plastic, only his baton peeking above the enclosure. Then they lip-synched to their own voices for cameras in a park outside Roy Thomson Hall. \u201cThat\u2019s the weirdness of what we\u2019re all going through, but the resiliency of everyone is amazing as well.\u201d<\/p>\n<p>In this new context of a montage recorded across a continent, some of the lines really jump out. Diyet\u2019s high mountains, for one. Or an aria close to the start of the whole thing, \u201cEvery Valley Shall Be Exalted.\u201d It\u2019s about big change coming, the valleys lifted, the hills brought low, \u201cthe crooked straight and the rough places plain.\u201d Tenor Spencer Britten sings it in front of the rainbow sidewalk in Vancouver\u2019s Davie Street Village, dashing in a tux and spike-heel boots.<\/p>\n<p>In the end, Diyet feels that her involvement with Messiah\/Complex helped her resolve some of the questions she had at the outset. \u201cThe process itself was a little bit of my own work in decolonizing myself as an Indigenous woman musician. I think many Indigenous artists who live in a very Western artistic world, it can be hard to reconcile the things that you love and their connection to your history. You know what I mean? You\u2019re always questioning and wondering. \u2018If I do this, does it perpetuate a problem or does it release me from that?\u2019<\/p>\n<p>\u201cAnd my own experience with this particular piece has somehow\u2014I\u2019ve been able to look at it from a different place but with my own traditional and spiritual values. And it works. So that tells me that there is an incredible universal consciousness that we all tap into, no matter who you are and where you\u2019re from and what century you\u2019re born into.\u201d<\/p>\n<p><i>\u2022 Messiah\/Complex will be streamed online by Against The Grain Theatre, from Dec. 13 to Jan. 7, at\u00a0<\/i><a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"http:\/\/atgtheatre.com\/\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/atgtheatre.com&amp;source=gmail&amp;ust=1607728090113000&amp;usg=AFQjCNH664mQ8BeviGyxawOBnajHFAOVXQ\"><i>atgtheatre.com<\/i><\/a><i>. Performances are free; spectators are encouraged to make a donation.<\/i><br \/>\n<span class=\"ctx-article-root\"><!-- --><\/span><\/p><\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. 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