This website is devoted to Doug Jamieson‘s opera Jorinda. It has been set up as a blog where each section of the opera is a post and includes a section of the synopsis and a demo recording. To play the MP3 recordings, there is an embedded Microsoft player. Since computers are complex—and querulous when it comes to how to get the job done—there is a second option which is a link for streaming each MP3. Comments are welcome.
Jorinda was premiered in Nelson, BC in November 2015. Nelson is a city of only 10,000 residents, but it punches way beyond its weight in the arts. Many fine performers and a talented production team came forward to meet the complex challenges of staging this multi-genre work. The cast featured some of Nelson finest vocalists, with Bessie Wapp singing the part of The Witch, Allison Girvan singing the part of Jorinda , Roger Ley singing the role of Jaren and Sydney Black singing the part of Grungella.
The Production Team was a highly-talented Nelson crew: Stage Director Geoff Burns, Producer Marty Horswill, and Choreographer Slava Doval; Simone Varey (with help in the early stages from Rose Blanche-Hudon) created the Masks and Puppets; Dave Ingraham was Lighting Designer and Doug Scott was Set Designer. The composer and librettist of the work, Doug Jamieson, was Music Director.
The accompaniment was arranged for a sextet, a scaled-down rendering of the chamber orchestra. The talented sextet was comprised of Nicola Everton, clarinet; Wendy Herbison, violin; Jeff Faragher, cello; Rob Fahie, double-bass; Susanne Ruberg-Gordon, piano and synthesizer; and John Galm, drums and percussion.
Links to recordings from the premiere have been added to this blog.
The earlier demo recordings also featured a talented cast: mezzo-soprano Laura Pudwell as The Witch, soprano Kesia Whonder as Jorinda, tenor Thomas Sharpe as Jaren, Linda Hendry as Grungella, the Guelph Youth Singers (directed by Linda Beaupré and Dominic Gregorio) as the Flock of Birds. and Giulia Mandolesi as Blott.
Since these earlier recordings were for demo purposes, they relied upon a midi (computer-generated) orchestra, since—alas—the human variety was out of budget. However, to add a touch of human virtuosity in key places, the recordings featured the talents of Maria Pelletier, flute, and Jerry Robinson, bassoon, in scenes 5, 11 & 13e and Sarah Boyer, violin, in scenes 3, 5, 7a & b, 9 and 11.