Yesterday’s concert in the RBA was dedicated to the late Stuart Hamilton, founding director of the COC’s Ensemble Studio. Current members, mezzo Emily D’Angelo and baritone Bruno Roy, each gave us two sets of French songs accompanied respectively by Hyejin Kwon and Stéphane Mayer. Ms. D’Angelo gave us Débussy’s Chansons de Bilitis and the curiously Débussy like Trois Mélodies by Messiaen. Both sets are quite meditative and impressionistic and Ms. D’Angelo’s very beautiful voice suited them well. There’s more there than beauty of tone. She’s showing some interesting, very mezzoish, colours in the voice now and there’s clearly plenty of power in reserve as she showed on a couple of occasions. It’s so easy to forget how young she is when a performance is this accomplished. Ms. Kwon was a sympathetic accompanist.
And so to the boys who gave us Poulenc’s La fraîcheur et le feu and Ravel’s Don Quichotte à Dulcinée. The Poulenc piece rather races along with the piano part, impressively played by Mayer, often much more interesting than the vocal line. Roy was at his best in the more hectic passages where his diction and command of French were at a premium. When the music became more expansive he didn’t quite seem able to expand with it; the voice lacking bloom in both upper and lower registers and with no real sense of some underlying power. This was more of a handicap in the Don Quichotte songs. Roy managed some decent physical and vocal acting, especially in the drinking song, but there just wasn’t enough heft to put in the swagger required in these pieces.
Prior to the performances, the COC’s Janet Stubbs made a short speech in memory of Stuart which managed, in a very brief span, to convey both the impact he had on the Canadian and wider opera scene and a sense of his more endearing eccentricities.
Photos if and when.