The Canadian Institute for Czech Music (CICM) and Opera by Request (OBR) collaborated to present Antonín Dvořák’s opera Jacobin in a concert performance with orchestra at Jeanne Lamon Hall Friday September 13th.

Produced by Professor John Holland of CICM, conducted by Bill Shookhoff of OBR, it was a labour of love as part of the Year of Czech Music (an international event celebrated in every year that ends in a “4”). CICM and OBR have offered a festival of three operas culminating with Jacobin.

I know Bill must have been working hard to get the orchestra to play so well in a score that’s new to everyone. Bill walked with a painful limp, worrying me because he’s irreplaceable. I hope he’s okay although he seemed to conduct with energy and verve. I suspect that Bill seemed tired having worked around the clock to ensure that Jacobin was properly prepared for the singers chorus and orchestra.

Let me repeat, the orchestra sounded wonderful. I want to mention them by name.

Natalie Wong ———-Violin I
Amma Protasova——Vioin II
Fanny Tang————-Viola
Hyemee Yang———-Cello
Jamie Zhang————Flute 1
Katie Kirkpatrick——Flute II
Le Lu——————–Clarinet
Hazel Boyle————Oboe
Paolo Rosselli———-French Horn
Todd Holland———-Trumpet
Aaron James———–Organ
Narmina Afandiyeva–Piano

There are several solos for the winds, who played boldly and with an idiomatic sound. Shookhoff also kept the chorus tightly together, as well as a children’s chorus directed by Erin Armstrong.

I don’t know Czech but observed that the singers sounded right to my ear, their accents well coached by whoever was responsible for coaching their delivery of the libretto, perhaps John Holland.

Count Vilem of Harasov — Dylan Wright
Bohul, his son ————– Michael Robert-Broder
Julie, Bohul’s wife ——— Cristina Pisani
Benda schoolmaster ——- Alexander Cappellazzo
Terinka, his daughter——- Grace Quinsey
Jiri, a young gamekeeper– David Walsh
Filip, Burgrave ————- John Holland
Adolf the Count’s nephew- Alasdair Campbell
Lotinka, keeper of keys—- Erin Armstrong

I was reminded of Fidelio, another opera containing a rescue and political themes plus a romantic story. Unlike Beethoven’s opera, this work seems much more firmly in the comic realm, while the political content is minimal even though the title might lead you to expect more. I wonder if that genre question might be one reason why this tuneful piece hasn’t yet caught on around the world. We watched the opera presented in concert, singers in formal attire portraying their part from a music stand. Perhaps next time CICM will give us something staged with costumes and sets.

Dvořák’s score is full of melody but more difficult than one might expect due to his tendency to modulate. I came out of Jeanne Lamon Hall humming the tunes that were humming in my head. The audience gave the cast and participants a strong ovation in appreciation for their hard work and their committed performances.