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About operaramblings

Toronto based lover of opera, art song, related music and all forms of theatre.

Krehm memorial concert

Inevitably, this year’s Krehm memorial concert was presented virtually. It premiered last night and is available on the Canzona Chamber Players Youtube channel.  It’s in two parts.  In the first Rachel Krehm is the soloist in the Schoenberg arrangement of Mahler’s Lieder eines fahrenden Gesellen.  I initially thought that Evan Mitchell’s tempi were on the slow side but they grew on me and Rachel sings expressively and rather beautifully.  I like the chamber arrangement of these pieces precisely because the singer doesn’t have to force her voice over a big orchestra and can be more Lieder like.

rk - mahler

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how do I find you?

1_SashaCooke_HDIFY_Cover smallAmerican mezzo Sasha Cooke’s reaction to the endless cancellations and disappointments of 2020 was to get seventeen pairs of composers and writers to each create a song that encapsulated 2020 for them.  She recorded the results with pianist Kirill Kuzmin to create the album how do I find you?  As we come to the end of 2021 I find myself reflecting on how we have coped so far and what’s to come.  Other people’s experience expressed in music perhaps helps. Continue reading

Best of 2021

1.boulotte sm2021 was another year of parts.  Pretty much no live indoor performances before September then a few chances to get to the theatre and now, well who knows?  So what stood out for me in 2021?  Here’s a round up by category.

Live Shows

Not much of course but there were some good shows, though opera didn’t really figure.  The Home Project from Native Earth and Soulpepper was a thought provoking look at the the idea of “home”.  MixTape at Crow’s Theatre explored the variegated nature of relationships through the medium of the once ubiquitous mix tape.  And on a more conventional note there was a rearranged at short notice recital at Koerner hall that showcased the extremely talented Davóne Tines. Continue reading

In Winter

In Winter is the latest digital offering from the COC and is available free until June.  Described by the COC as a concert that “explores and celebrates winter” it’s more a Eurocentric potpourri of seasonal fare with a decidedly Christmas twist.  It’s a cut above “Christmas’ Greatest Hits” though a John Rutter arrangement of Deck the Halls and I’ll be Home for Christmas are in that vein and even the exuberance and lovely voice of Midori Marsh can’t make more of The Twelve Days of Christmas than is there to be had.

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Bits and Pieces

or1221The annus horribilis of 2021 seems to be going out with a whimper rather than a bang; at least musically in Toronto.  Much of the streamed content on offer consists of repeats which is, I suppose, a holiday tradition.  In this category we could include Against the Grain’s Messiah:Complex showing on Youtube and at TIFF and Essential Opera’s December.  There’s still some new stuff appearing.  Opera Revue have a rather good short piece about the exorbitant cost of aviaries in Toronto on Youtube.  (They also have a live show coming up this weekend at the Emmett Ray.  The COC have a show I(n Winter coming up this weekend on the COC web site featuring music by, among others, Vivaldi and Ian Cusson.  There are also a couple of very short concerts from the RBA on the COC’s Youtube channel.  Also, this year the annual Krehm memorial concert in aid of St. Mike’s ICU is on Youtube at 5.30pm on Boxing Day.  Rachel Krehm is singing Mahler’s Lieder eines fahrenden Gesellen in the Schoenberg arrangement and that will be followed by a chamber reduction of Beethovens Symphony No.7.  Evan Mitchell conducts the Canzona Chamber Players.  For live, Tafelmusik have a sort of Christmas “greatest hits” concert and the TSO have a much shortened Messiah.  Apart from that the holiday season is looking like booze and booster shots.

LoveMozart

Last night saw the third and final concert in the inaugural West End Micro Music Festival.  Sadly we had missed number two because of TTC snarl ups but we got there fine last night.  The first half of the programme was Mozart and Stravinsky but presented in an unconventional and very effective way.  The movements of Stravinsky’s Three Pieces for Clarinet and Three Pieces for String Quartet were alternated with an arrangement for clarinet and string trio of Mozart’s adagio from K370 and two of the fragments from K516.  It was really cool; one each of the  Stravinsky clarinet and string pieces, followed by some Mozart.  Rinse and repeat!  There were a couple of fairly dark pieces but mostly this is quite playful music and the musicians; Emily Kruspe and Eric Kim-Fujita (violins), Maxime Despax (viola), Sebastian Ostertag (cello) and Brad Cherwin (clarinets) were obviously having a lot of fun.

redeemerlutheran

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Good news, bad news

LT-New-Team-LargeTwo interesting and very different news items about the Toronto arts world appeared yesterday.  The first is essentially good news.  Loose Tea Music Theatre announced the hiring of a General Manager (Tim Crouch), a Director of Marketing (Rochelle Smith) and a Director of Development (Francesco Corsaro).  This is a pretty big move for what has been, for as long as I can remember, pretty much a one woman band.  Loose Tea is pretty much the only company in town that’s focussed on politically committed music theatre so this could presage some interesting developments.  More on this here.

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Live from Salzburg

00028948619290-CvrLive from Salzburg is a new CD featuring music recorded live at Salzburg during the pandemic.  The performers are Elīna Garanča, The Vienna Philharmonic and Christian Thielemann.  There are two sets of songs; Wagner’s Wesendonck Lieder (recorded in 2020) and Mahler’s Rückert Lieder (recorded in 2021).  Both recordings were made during live performances in the Großesfestspielhaus.

I like Garanča a lot in this music.  Sometimes I find her a bit “cold” but here there’s a really nice balance of emotion and clarity.  Her articulation of the text is excellent and she sounds good throughout her range.  The lower and middle ranges have a kind of burnished quality; not really dark but definitely not soprano like , while her upper register is controlled and smooth.  The low end is perhaps best heard in Um Mitternacht where she shows real power and depth of emotion.

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Requiem for a pandemic

The COC/AtG film of Mozart’s Requiem is now available for viewing. It’s free but requires either registration with AtG or a (free) COC digital membership.  Directed by Joel Ivany, it’s essentially cast as a reflection on what we lost during the pandemic and as a statement of hope as, maybe, we reach the end.

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String theories

Last night the first of three concerts at Lutheran Redeemer Church in the West End Micro Music Festival took place.  It was an exploration of the boundaries and possibilities of the string quartet and proved most interesting in that regard.  The use of extended technique has long been part of the string quartet repertoire but in the first part of last night’s programme two works by Nicole Lizée explored much further than that using additional “instruments”; whirly/whizzy things, strange blue/purple contraptions that made their own sounds and were also used as bows and sheets of paper rustled in front of fans.  Norma Beecroft’s Amplified Quartet with Tape augmented the four instruments with recorded electronicsWhether this was all pre-recorded or processed as the performance proceeded (or both) I couldn’t say. One has to admire the versatility of the interro quartet (Steve Sang Koh and Eric Kim-Fujita – vilolins, Maxime Despax -viola and Sebastian Ostertag – cello) in handling all the requirements.  It also really made me glad to be back listening “live”.  This kind of music demands a kind of distraction free attention that’s really hard to conjure up in one’s own living room.

wemmf1

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