And that wasn’t just the weather that went from balmy to barmy round about verse five of Fauré’s Dans le forêt de Septembre as a cold front hit Mazzoleni Hall with, literally, a bang. Meanwhile the sheltered audience was being treated to a skilfully curated program of art song on the theme of the four seasons sung by Erin Wall and Asitha Tennekoon with Rachel Andrist and Robert Kortgaard at the piano. There were French chansons, German lieder and English songs with a decent injection of CanCon, with Derek Holman, John Greer, Jean Coulthard and Matthew Emery all represented.
Author Archives: operaramblings
Modern Ruin
There’s always something a bit new and different from Against the Grain Theatre and often it’s a pleasant surprise. So I was prepared to take a punt on a collaboration between them and “baroque-pop” artist Kyrie Kristmanson around the launch of her new CD Modern Ruin.

Contestants for Centre Stage announced
The contestants for this years Centre Stage; the competition for places in the COC’s Ensemble Studio have been announced. They are bass-baritone Joel Allison (Ottawa); tenor Matthew Dalen (Grande Prairie, Alta.); mezzo-soprano Simona Genga(Woodbridge, Ont.); soprano Natalie Image (Tsawwassen, B.C.); soprano Chelsea Rus (Abbotsford, B.C.); soprano Anna-Sophie Neher (Gatineau, Que.); and baritone Jonah Spungin (Ottawa). I’ve seen a fair bit of Allison, Rus, Dalen and Genga and I am absolutely not surprised at all that they are competing. They are all very promising young singers. I’m looking forward to hearing the others.
This year the judging panel includes regulars Alexander Neef, Roberto Mauro, Liz Upchurch, Wendy Nielsen and Nina Draganić but this year they will be joined by the extraordinary Mary Morrison, whose talent spotting credits include one Barbara Hannigan. Centre Stage is at the Four Seasons Centre on November 1st with the reception at 5.30pm and the competition starting at 6.30pm.
Announcements round up
Wow! There’s a stack of season and other announcements in my inbox. Apologies for any redundancy from earlier posts but here’s stuff you might want to know. In no particular order…
On November 6th at 7.30pm in the Conservatory’s Temerty Theatre Happenstance, made up of clarinettist Brad Cherwin, pianist Alice Hwang and singers Adam Harris and Whitney Mather, are giving a free concert. Adam will be singing a set by Jean Francaix, promised to be “hysterical”, with bass clarinet, and Whitney will be singing Messiaen’s Resurrection with Alice and a duo for soprano and clarinet, Pascal Dusapin’s To God. I would be all over this but I’m tied up that night.
Coming right up
And in the week ahead…
There are still tickets available for Erin Wall and Asitha Tennekoon at Mazzoleni on Sunday.
On Monday evening at 7.30pm in Walter Hall veteran Canadian mezzo Judith Forst is giving a free master class.
Thursday is the big day. At lunchtime in the RBA you can catch Simone Osborne and Gordon Bintner, currently headlining in L’elisir d’amore on the COC main stage, accompanied by Liz Upchurch (free of course). Later, at 8pm there’s A Tribute to Maureen Forrester at the Symphony. That program features, inter alia, Michael Schade and Susan Platts in Mahler’s Das Lied von der Erde. The program will be repeated on Friday at 7.30pm. Last I checked there were still $25 tickets available.
Photo courtesy of the lady herself.
Piano, piano, piano
News just in that Tapestry Opera have acquired a 9.5-foot Imperial Bösendorfer 290 Concert Grand Piano, courtesy of a gift from Clarence Byrd and Ida Chen. This beast is valued at $225,000 so it’s quite a gift. One could buy an apartment for that, though in the Distillery it might be smaller than the piano. To inaugurate the instrument and celebrate its public debut, Tapestry Opera will present two concerts on the evening of October 25th to benefit disaster relief efforts around the world, specifically those underway in Puerto Rico, Dominica, Mexico and India. All proceeds will be donated to Medecins san Frontieres (Operaramblings’ charity of choice) and Global Medic, who are working to rescue, support and rebuild the lives of millions affected by recent extreme weather events.
Musica e parole
Yesterday’s lunchtime recital at Walter Hall was a collaboration between the Faculty of Music and the Department of Italian studies and explored the links between the source texts for various Italian operas and arias drawn from them. So each aria was paired with a reading (by Paolo Frascà and Sara Galli) plus an introduction on the literary context by Sara Maida-Nicol who curated the program. It was an interesting idea that turned out to be rather enjoyable. Plus, none of the singers had appeared in Tuesday’s show so it was a chance to take a look at a less familiar bunch.

Elixir in Niagara?
James Robinson’s production of Donizetti’s L’elisir d’amore was designed for various American regional houses. It has been updated to 1914ish and been given “regionalization” tweaks in the towns in which it has appeared. The version that opened at the COC last night has been transported to small town Ontario, Niagara on the Lake perhaps, during a Fall Fair. There’s a bit of a problem. The iconography; Kitchener recruiting posters, steel helmets etc, clearly place the action during, rather than before, WW1. Maybe an American director just doesn’t get, or doesn’t care about the implications but Adina buying Nemorino out of the army for example would hardly have been seen as virtuous in the white feather infested British Empire of 1914. Fortunately most of the audience either didn’t get it or didn’t care either and frankly even persnickety me was prepared to let it go and just enjoy the rather silly romp that we got. After all, this is not the other opera about love potions!

Golden Age of Opera
Such was the title of yesterday’s performance by the UoT Opera ‘s performance in the RBA. Now personally I don’t subscribe to the notion of the 19th century (ugh!) as a “golden age” of anything but yesterday suggested that the UoT program, if not quite in golden age territory is going through a bit of a purple patch. This was, I think, the best student performance overall that I have heard in the last two or three years.
Adizokan
Adizokan is a collaboration between indigenous production company Red Sky and the TSO. The program last night kicked off with a “sesquie”. This time it was Blood Echo by Carmen Braden. It was about as memorable as most of the sesquies have been. This was followed by Fara Palmer singing her own composition My Roots about the residential school system and cultural survival. It’s in a pop idiom with native drumming and while musically it’s not my thing it had to be there.
