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About operaramblings

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

The week in prospect

russian-salonTomorrow (Sunday) afternoon Off Centre Music Salon opens its 2016/17 season at 3pm at Trinity St. Paul’s.  It’s an all Russian show called Four Seasons or Mother Russia.  It will feature songs by Prokofiev’s The Ugly Duckling and songs byTchaikovsky, and Rachmaninoff, as well as Arensky’s Piano Trio in D minor (op. 32).  The highlight is the Toronto premiere of Valery Gavrilin’s song cycle Seasons inspired by Northern Russian folklore and chanting traditions.  Performers include cellist Igor Gefter, pianists Inna Perkis and Boris Zarankin, violinist Mark Skazinetky and singers Joni Henson and Ryan Harper.

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Viardot’s Cendrillon

330px-salon_of_pauline_viardot_-_gallicaPauline Viardot is one of those names that crops up quite a bit when one is researching the opera of the late nineteenth and early twentieth centuries.  She was a mezzo-soprano of some note, friend (at the least) of both Turgenev and Chopin, hosted a notable Parisian salon and composed; though, being female, she was not taken entirely seriously by the musical establishment of the time.  Among her compositions is a “chamber operetta”, Cendrillon, designed for performance at her salon and written when Viardot was already in her eighties.  It’s going to be performed again this fall in Mazzoleni Hall at the Royal Conservatory and I sat down yesterday with director Joel Ivany to talk about the issues involved in staging such an unusual piece in a venue that’s not entirely opera friendly.

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Deb Voigt in recital

Deborah Voigt appeared with Brian Zeger at Koerner Hall last night.  I guess I was expecting something rather more ebullient from Ms. Voigt but what we got was a perfectly decent, slightly low key, recital with a heavy emphasis on American repertoire and very little banter, though she did unwind a bit toward the end of the program.

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Deb Voigt and Brian Zeger at Carnegie Hall 2007

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An evening with Osvaldo Golijov

Against the Grain Theatre’s latest production, Ayre, continues their run of innovative, site specific shows.  This time it was a presentation of four works by Argentinian Jewish composer Osvaldo Golijov at the Ismaili Centre; part of the Aga Khan complex on Wynford Drive.  The “appetisers” were three short works presented in three of the public spaces of the Centre.  Yiddishbbuk, for string quartet (Jennifer Murphy, Barry Shiffman, Laila Zakzook, Drew Comstock), was inspired by apocryphal psalms and is a fractured piece employing a lot of extended techniques to create a three movement work “in the mode of Babylonic Lamentations”.  Lua Descolorida, with Adanya Dunn as soprano soloist, sets a 19th century text in Gallego.  It’s a folksy, Arab inflected piece over a kind of string “ground” with pizzicato cello.  Short but rather beautiful.  For Tenebrae the quartet was joined by clarinetist Brad Cherwin and soprano Ellen McAteer.  It’s a beautiful piece with a melismatic vocal  line culminating with multiple repeats of the single word “Jerusalem”.

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Happy birthday to Mary Morrison

marymMary Morrison, one of the true greats of Canadian opera, turns ninety today.  In her day she was a most distinguished soprano soloist who was also an advocate for 20th century music; especially Canadian.  She performed in at least a score of new Canadian works, few of which, sadly, made it to record but you can catch her in the DVD of Harry Somers’ Louis Riel, being reprised this season at the COC.  Perhaps, though, her greatest legacy will prove to be as a teacher.  In her thirty plus year teaching career she has influenced (not nearly strong enough a word) many young singers including Adrienne Pieczonka and Barbara Hannigan.  More information from the Canadian Encyclopedia here.

Arias and Maqams

To the Aga Khan Museum last night for a program of Syrian and Western music by Lubana Al Quntar and friends; Eylam Basaidi on violin and April Centrone on oud and percussion..  It was my first time at the museum and the auditorium there is just gorgeous.  In a city with some pretty spectacular performance spaces this may just be the most beautiful.  It’s just a pity it’s so hard to get to on the TTC.  The program was distinctly heavy on the “Syrian” side of “Syrian and Western”.  There were Syriac hymns, muwasshahat, specifically waṣla of Aleppo and Syrian folk songs in a tradition sung by the women of Damascus (I believe).  I’m no expert in this music but it was possible to hear developments and continuities.  The hymns (in Aramaic) clearly influenced the later classical music though the former were basically modal while there was a lot more tone bending in the later pieces.  I hesitate to speculate on the relationship between the waṣla and the folk songs.  I know from my own experience with the folk music of the British Isles how influences go back and forth and how folk songs sung by a classically trained singer may not always reflect how they sound when performed more demotically.  Still, the audience lapped this bit up with much singing along and clapping accompaniment.

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Various announcements

toronto-masque-theatre-apollo_et_daphne-fullHere are details on some forthcoming new and/or amended shows.  November 17th – 19th Toronto Masque Theatre are performing a double bill of Handel’s Apollo and Daphne featuring Jacqueline Woodley & Geoffrey Sirett performing alongside Montreal dancer Stéphaie Brochard. Larry Beckwith will lead a period instrument orchestra.  It’s coupled with Richard Strauss’ Enoch Arden for spoken voice and piano.  It will be performed by actor Frank Cox-O’Connell & pianist Angela Park.  That one is at the Enoch Turner Schoolhouse at 8pm.  Tickets and details here.

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The next couple of weeks

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Yes, I know that’s not Marjorie…

I’m out of town for the first week of November or so so this week’s preview will actually cover two weeks.  Lots of endings coming up with the last OA Dido and Aeneas this afternoon and the COC’s fall season closing with Ariodante on Thursday and Norma on Friday.  There’s also Centre Stage on Wednesday.  I shall be curious to see what people think.

On to next weekend and there are a couple of items of interest.  Saturday at 7.30pm and Sunday at 3pm at Grace Church on the Hill Bicycle Opera Project are collaborating with Pax Christi Chorale in performances of Mendelssohn’s Elijah.  Here’s the blurb:

In this unique presentation of a classic oratorio, Bicycle Opera’s singers will shed formal concert format in favour of a dramatic exploration of Elijah, while staying true to our intimate and accessible style.

Soloists are Geoff Sirett, Chris Enns, Marjorie Maltais and Larissa Koniuk.

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Norma encore

Back to the Four Seasons Centre last night for a second look at Norma.  This time with Elza van den Heever singing the title role.  Van den Heever has a more conventional voice than Sondra Radvanovsky.  It’s perhaps not as dramatic and distinct but it’s an accurate, flexible instrument with plenty of colours and big enough for the role.  She’s also every bit as good as an actress so I don’t think the production suffers from losing its “headliner”.  Russell Thomas impressed again.  He’s so much better as Pollione than he was as Don José.  The acting is convincing and he really gets the chance to let rip here with what is a truly glorious tenor voice.  All the obvious comparisons suggest and are not ridiculous.  Isabel Leonard was also very fine last night and the duets with van den Heever were perhaps the highlight of the show.  Hat tip too to Charles Sy who never sounded out of place even when Thomas was singing all guns blazing,  It’s only two years since he was singing in a student production of HMS Pinafore.

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Adled

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Aria with Maika’i Nash and Rachel Krehm. Photo – Denise Grant

Last time I spoke to Opera 5’s Aria Umezawa she was about to head off to San Francisco to join SFO’s Merola program.  Now she’s been named as an Adler Fellow for 2017; the first stage director since 2002 to be named to the program.  She’ll be joined by pianist/coach Jennifer Szeto, also of this parish, and another Canadian; Vancouver soprano Sarah Cambridge.  I have greatly enjoyed Aria’s work with Opera 5 and hope that this is a step on the road to a major career as an opera director.  The full story on this year’s Adlers is here.