Last night, at the Ernest Balmer Studio, we got to see somewhat more developed versions of the works presented earlier in the week in the RBA but this time in staged format. I’m not sure my opinions changed much as a result though I think I’m even more convinced that here we have five pieces of substance that deserve to be seen in fully realised form. So, some brief thoughts on each. Note that, except for Book of Faces we only saw extracts from pieces that are still WIP. Continue reading
Terezín/Theresienstadt is a CD of music composed in the concentration camp at Terezín in what was then Czechoslovakia. Virtually the entire Czech intelligentsia; certainly those of Jewish or Communist persuasion, were imprisoned in a kind of “show camp” to demonstrate to the world that the Nazis weren’t as bad as made out. Nine of the ten composers featured on the disc ended up on a “Polentransport”; a one way ticket to Auschwitz. No story is more poignant than that of Ilse Weber, a nurse in the hospital. She chose to accompany the sick children of the camp on their final journey and reportedly sang to them in the gas chamber.
I went into last night’s Glenn Gould School performance of Mozart’s The Magic Flute at Koerner Hall with all kinds of questions buzzing around in my head; partly because of an earlier conversation with director Joel Ivany and partly, well, Magic Flute – that most enigmatic of operas. If only one could go back (more than forty years) to seeing it for the first time!
Yesterday’s concert in the RBA was a sneak preview of the material for a longer workshop/performance in the Ernest Balmer Studio on Saturday night. The five works involved and the background are covered in this post.
We got excerpts from all five works with Jennifer Szeto at the piano and various combinations of Suzanne Rigden, Kristin Hoff and Lindsay Connolly singing. There were also brief introductions to each piece from the creative teams. What struck me most was how different the pieces were but how they seemed to reflect regional differences in musical expectations across Canada. For example, the two works from Quebec both used extended/prepared piano with a bunch of extended vocal techniques in Margareta Jeric’s Suites d’une ville morte. Laurence Jobidon’s L’hiver attend beaucoup de moi was perhaps more conventionally lyrical but it wasn’t a sound world one hears much in Toronto (at least in opera).
Catching up here on the news from Soundstreams.
On April 3rd at 6.30pm at Osgoode Hall there’s a “Musical Moot”. It’s a fundraiser and preview for the Seven Deadly Sins show upcoming (see below). It features singer/sinners Chloe Charles and Aviva Chernick, Cynthia Dale and Eric Petersen from CBC’s Street Legal plus former mayor (and one time rugby player) David Miller. Is this even legal?
… plus a late March addition…
March 29th and 30th Tapestry are doing the Songbook thing again. This is the show where an established singer; Jacqueline Woodley this time, works with emerging artists and a pianist (Andrea Grant) plus director Michael Mori to create a show based on Tapestry’s back catalogue. There are three shows at the Ernest Balmer Studio in the Distillery; Friday at 8pm and Saturday at 4pm and again at 8pm.
I don’t think I’m ever going to love Mozart’s La finta giardiniera. It has some pleasing music, though oddly the two principal characters don’t get much of it, but the plot is ridiculous and it really outstays its welcome. That said, Michael Patrick Albano’s production for UoT Opera in the MacMillan Theatre at least makes the complexity clear. We never lose sight of who is who; even if the other characters do, and what logic there is in the plot comes through clearly enough. Albano sets it entirely realistically in 18th century dress with set elements efficiently dropped in from the fly loft or carried around by a small band of liveried servants. There’s a fair bit of “park and bark” but then there’s a lot of prosy explaining going on.