As has become the norm, UoT Opera opened their concert season with a free “preview” of their spring show in the RBA at noon today. It was a series of Mozart scenes which were given semi-staged today but will, in the fullness of time, form a staged and costumed performance. It’s always an interesting event because it’s so early in the academic year. It’s the first chance to try and talent spot and see how things develop over the rest of the cycle. As such, it’s often a bit rough but today really wasn’t. It was a surprisingly high quality across the board effort which augurs well. That said, it was all ensembles and nobody was asked to pull out vocal fireworks so maybe not the sternest test imaginable which makes star picking that bit trickier.
UoT Opera season opener
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Saturday at 8pm the Aga Khan Museum there’s a concert fusing western classical and Arabic maqam music. The featured artists are opera singer (Syria’s first) Lubana Al Quntar and composer and oud virtuoso Issam Rafea. I do feel this is the sort of thing we need more of in Toronto. There have been some interesting fusions of western and Chinese classical such as The Legend of Da Ji. Let’s see what this one can offer. You may even be able to see the show for free. The organisers have offered a lucky Operaramblings reader a pair of tickets. If you would like to enter the draw, comment here with contact details. We’ll do the draw at 5pm on Thursday. If you prefer to buy a ticket, details are 
The first concert in this season’s Mazzoleni Songmasters series featured sopranos Nathalie Paulin and Monica Whicher with pianists Peter Tiefenbach and Robert Kortgaard in an eclectic program of English and fFrench songs on the theme of coming and going. First up was a set of Purcell songs which is always going to score brownie points with me. I’ve never heard Sound the Trumpet or Be Welcome, Then, Great Sir sung by female voices so that was interesting. The duet was really nice and Nathalie sang quite beautifully in the welcome ode. Monica followed up with fine versions of Dear Pretty Youth and An Evening Hymn. 
The Mazzoleni Songmasters series opens this afternoon at 2pm in, surprise, Mazzoleni Hall at the conservatory. Nathalie Paulin and Monica Whicher present Welcome and Adieu; a program of English and French songs and duets. Collaborative pianists are Robert Kortgaard and Peter Tiefenbach.
November 14th will see the fourth annual Elizabeth Krehm Memorial Concert. The concert raises money for the St Michael’s Hospital ICU, where Liz spent the last 30 days of her life. This year the program will start with the Bach Double Violin Concerto; a piece played by Liz. It will be performed by Yosuke Kawasaki and Jessica Linnebach, who are the concert master and associate concert master of the National Arts Centre Orchestra in Ottawa. Rachel Krehm will be singing 2 arias and a song by Mozart, Dvorak and Strauss. Finally we will get Beethoven’s Eroica Symphony. Evan Mitchell will conduct a volunteer orchestra. As well as being in aid of a good cause these memorial concerts have featured exceptionally good performances and are definitely worth going to. It’s at Metropolitan United Church (56 Queen St E) on Monday November 14th at 7:30pm. Admission is by donation to St. Mike’s with a suggested minimum of $20.
Jordan de Souza, late of the COC and Tapestry, continues to make news. Having recently joined the Komische Oper Berlin as Studienleiter, he will, from the 2017/18 season, be the Kapellmeister (but not GMD). I think (my knowledge of German musical semantics being imperfect) that this represents a step up from Assistant Conductor to Chief Conductor with a policy role but stops short of implying overall control of musical policy. Apparently the Komische is still looking for a GMD. For those who might be able to wring more out of it than I, here is the article from 
The Canadian Opera Company issued its Annual Report and Financials for 2015/16 today. As far as ticket sales go it was fairly flat in terms of tickets sold and revenues. Subscription sales were down a bit but single ticket sales were up. That’s probably the Carmen effect. That all equates to around 91% capacity sold which isn’t bad. Tickets to people under 30 are still less than 10% of tickets sold (and probably way, way less than 10% of box office revenue). Clearly there’s no magic bullet for replacing an aging subscriber base. Individual donations and government grants were both down by about 5%. That’s being spun as largely a loss of one time grants and extraordinary gifts but down is still down and the reduction in Ontario Arts Council funding can’t be spun. Still, one way or another it was finagled into a break even year which is not too shabby for any arts organization. Endowment performance was steady.
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