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About operaramblings

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

Mi País

Mi_pais_square_coverMi País: Songs of Argentina is a CD from bass-baritone Federico de Michelis and an ensemble that includes Steven Blier on piano, Shinjoo Cho on bandoneon, Sami Merdinian on violin and Pablo Lanouguere on bass.  The songs are basically from the middle decades of the 20th century and mostly by classically trained composers such as Carlos Guastavino and Carlos López Buchardo.

I think I was expecting something more like 20th century art song but the material on the disc is more popular with strong tango influences and hints of the Great American Songbook.  It’s all completely tonal and really doesn’t go anywhere unexpected.  It’s all very competently done and de Michelis has an excellent voice but it’s not really my thing.  YMMV.

It was recorded earlier this year at Big Orange Sheep in Brooklyn and the recording is perfectly fine.  It’s available as a physical CD or a digital download from NYFOS Records (no catalogue number).  The packaging includes notes on the songs but no texts.

Tapestry x GGS

The Glenn Gould School’s Fall Chamber Opera offering this year was four short pieces from Tapestry Opera’s back catalogue.  First up was Ice Time by Ka Nin Chan and Mark Brownell.  It’s the story of a has been ice skater and her futile attempts to get her daughter, who wants to be a civil engineer, to follow in her footsteps (or icy equivalent).  The music is in much the same vein as other works by this composer such as Dragon’s Tale.  It’s a pretty light hearted piece and it got a lively and credible account from Emma Pennell as the daughter and Alexa Frankian as the mother.  As with the other pieces direction was by Dana Fradkin with accompaniment by chamber ensemble conducted by Peter Tiefenbach.

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Le astuzie femminili

Domenico Cimarosa’s 1794 Commedia per musica; Le astuzie femminili, is extremely silly.  It’s like an early Rossini farsa but a full two acts running almost three hours.  There’s a girl called Bellina, who bears a more than passing resemblance to Rossini’s Rosina.  She has been left a fortune by her father contingent on her marrying a dude from Naples called Don Giampaolo Lasagna.  But she is in love with the penniless Filandro.  Worse, her guardian, the notary Don Romualdo also wants to marry her despite having promised to marry his housekeeper Leonora.  There’s also Ersilla, a friend of Bellina, who doesn’t seem to be in love with anybody.

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Rocking again

Seven years ago Tapestry Opera premiered Gareth Williams and Anna Chatterton’s Rocking Horse Winner at the Berkeley Street Theatre.  Last night they opened an eight show re-run at Crow’s Theatre, once again directed by Michael Mori.  There are lots of similarities and a some differences between the productions and I’m going to concentrate on the latter so if you aren’t familiar with the piece you might want to read my 2016 review.

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Orchestrated Schubert Lieder

Appl - Schubert: Lieder with OrchestraBenjamin Appl’s latest CD is a selection of Schubert Lieder arranged for orchestra.  Most of the arrangeents are by Max Reger or Anton Webern but there are a few surprising ones like an arrangement of “Ständchen” by Jaques Offenbach.  The songs themselves are a mix of the very familiar; “Die Forelle”, “An die Musik”, and the less well known such as “Gruppe aus dem Tartarus” but, to be honest, it’s mostly Schubert’s Greatest Hits.

The performance is about what one wold expect.  Appl is a really excellent Lieder singer and he’s very much on home ground here.  It’s nuanced, precise, beautiful artsong singing with sensitive accompaniment by the Münchner Rundfunkorchester conducted by Oscar Jockel.  It’s a studio recording made in Munich in 2022 and it’s nicely balanced and clear.  It’s available as a physical CD, MP3 and CD quality and 96kHz/24 bit FLAC.  I listened to the hi-res version.

There’s a good booklet that contains, among other things, Appl’s justification for performing these orchestral versions.  I think they work pretty well.

Catalogue number: BR Klassik 900346

Lakmé

I’m probably not the only person who knows Delibes Lakmé only by the famous duet “Viens, Malika”, nor did I realise it actually comes about ten minutes into the first act.  So, I was curious to explore the recent (2022) recording from the Opéra Comique where the work premiered in 1882.

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Dancing with Love

CMCCD 31923_Album Cover copyDancing with Love is a new CD of music by Afarin Mansouri on the theme of “love” in its many variants from the erotic to the transcendent. Eleven of the twelve tracks set Persian/Farsi poetry, from the 12th century CE to the present. The twelfth is a lament for solo flute. The musical style varies a lot with traditional Persian influences combining with modern Western compositional techniques in different ways. It leads to interesting results. Just to pick a few tracks, “Unattainable” for mezzo-soprano and piano sounds rather like a French chanson whereas a track like “Pain (Sorrow)” for mezzo-soprano, clarinet, piano, tar, cello and udu sounds much more like traditional Persian music. Other tracks incorporate electronics or jazz elements. One thing almost all the tracks have in common is that there’s a lot of melodic invention which makes it a very easy, as well as a very varied, listening experience.

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Restrained Orphée

There’s quite a lot to like in Opera Atelier’s current production of Gluck’s Orphée et Euridice currently running at the Elgin Theatre.  It’s elegant and refined with some pretty good singing but maybe it’s a bit too refined.  It’s at its best in things like “The Dance of the Blessed Spirits” where there’s an effective pas de deux danced in pointe shoes though I’m not sure it was really necessary to use enough “smoke” to fill the entire auditorium!  Unfortunately, the production doesn’t make much of the potentially more dramatic moments.  Orphée’s confrontation with the Guardians of Hell is pretty low key.  The demons are just dancers in slightly stripey body stockings and there’s no sense of menace.  It’s all a bit Robert Wilson.  Until the ending, which suddenly switches aesthetic with glitter and streamers and dancers with a Scrabble set.

Anna-Julia David as Amour, Colin Ainsworth as Orpheus. Photo by Bruce Zinger

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O Fortuna

I attended the second of two performances of their season opener by the Toronto Mendelssohn Choir at Roy Thomson Hall last night.  It was an enjoyable and well constructed programme.  It opened with two pieces by composer in residence Tracy Wong.  Patah – Tumbuh (Broken – Renewed), for choir and children’s choir (Toronto Children’s Chorus) riffs off Malaysian proverbs and gamelan.  It’s an upbeat, rhythmic piece that got a really nice performance, especially from the children.  Then they got their own place in the sun for a medley of Malaysian folksongs; which was also fun.  Was this the first time Malaysian music has been performed at Roy Thomson?

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10th Annual Centre Stage Competition

Thursday night at the Four Seasons Centre saw the tenth iteration of the COC’s Centre Stage: Ensemble Studio Competition.  It’s a competition for young singers for cash prizes and, more opaquely, potential places in the COC’s Ensemble Studio.

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L-R: Duncan Stenhouse, Emily Rocha, Elisabeth St-Gelais

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