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About operaramblings

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

Dissonance

ALPHA COVER-ITUNES- SEPT.inddDissonance is a new CD of Rachmaninov songs from Lithuanian pair Asmik Grigorian and Lukas Geniušas.  Regular readers will know Ive been getting quite excited by Ms. Grigorian’s opera performances so I jumped at the chance to hear her sing art song; especially paired with Geniušas who is more of a concert pianist than an accompanist.

The result is very pleasing.  The songs, drawn from throughout Rachmaninov’s career are quite varied.  There’s definitely a bias towards fin de siècle tristesse and, indeed, some of the songs sound quite French but there is plenty of contrast though.  The song that opens the recital and gives it its name; Dissonance Op.34 No.13 is long and has a very assertive piano part played boldly by Geniušas. They Answered Op.21 No.4 is a rather dramatic call and response number based on a poem by Victor Hugo.  What Happiness Op.34 No.12 is actually a bit demented, putting heavy demands on both singer and pianist while Let Us Rest Op.26 No.3 sets the closing lines of Chekhov’s Uncle Vanya and is achingly beautiful.

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Butterfly at Bregenz

Puccini’s Madama Butterfly is an opera I really have trouble with.  Done “straight” it’s just a horrible mixture of cultural appropriation and just plain ick.  It does have some good music though and opera companies insist on doing it roughy every five minutes so it would be really nice to find a production that worked dramatically.  The lake stage at Bregenz is just about the last place I’d expect to find that so I was pleasantly surprised that Andreas Homoki’s 2022 production is maybe the most interesting I’ve seen.1.arrival

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Classy singing from the Rebanks fellows

Yesterday’s free concert in the RBA featured the vocalist Rebanks fellows from the Glenn Gould School.  There was some very classy and very powerful singing.  We heard Hannah Crawford, fresh off her second place at Centre Stage, sing a couple of arias; “Pleurez, plearez mes yeux” from Masenet’s Le Cid and “Come Scoglio” from Cosí.  There was some very considerable power on display here as well as accuracy and emotion.  Definitely one to watch.

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What a Ruckus

Ruckus at the Revival from Opera Revue lived up to the billing.  It was informal, it was fun, there was booze and the average age of the audience was about COC-30.  The usual suspects were joined by Liliane Brooks, Ryan Downey and Dylan Wright (looking FABULOUS darlings) and some dude called Mike with an electric guitar.  Plus your favourite Warner Bros characters.ruckus4

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Venus and Adonis

This year’s fall opera production from the Glenn Gould School is John Blow’s 1683(?) masque Venus and Adonis.  For those not familiar with the genre the masque was a court entertainment combining music, dance, poetry and drama.  Here the framing story is the brief love affair between Venus and handsome young Adonis who is unfortunately gored to death by a boar.  The main sub plot concerns Venus giving sage advice to Cupid and his band of little cupids.  In between there are hunting choruses, dance and extracts from Romeo and Juliet and A Midsummer Night’s Dream.

Venus & Adonis 2022 - Photo #1

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Three Sisters

A version of Chekhov’s Three Sisters opened last night in a collaboration between Hart House Theatre and the Howland Company.  It’s described as “Adapted and directed by Paolo Santalucia after Chekhov” .  What this means is that is given a contemporary Canadian setting with changed character names and so forth.  The structural purpose of each scene, pretty much each speech, remains the same but the words are not a literal translation.  And, Alex Vershinin is a woman lieutenant colonel in the RCAF which gives a very different spin to her “affair” with Masha.

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Fuoco Sacro

Fuoco Sacro is a film by Jan Schmidt-Garre.  It’s subtitled “A Search for the Sacred Fire of Song” and was inspired by Schmidt-Garre’s passion for Italian singing of a slightly earlier era rekindled when he heard Ermonela Jaho on his car radio.  This led him to explore how certain singers create something more than “just singing”.  In the film he does this by following the lives of three singers; all women (he clearly doesn’t believe that men have this elusive “sacred fire”) and all very different.  They are Ermonela Jaho (of course), Barbara Hannigan and Asmik Grigorian.  Now these are all singers about whom I have strong opinions and that may colour my view of the film.  You have been warned.  What follows concentrates on what I think the film tells us about its three principals.  The film does this more by show than tell with lots of performance and rehearsal footage as well as interviews.

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Les shorts qui chantent

Tapestry Briefs: Les shorts qui chantent opened last night at the Alliance Française.  It’s a twist on the traditional Tapestry Briefs show.  This time it’s bilingual with the twelve sketches emanating from a bilingual LibLab held in Toronto in conjunction with Opéra de Montréal and Musique Trois Femmes.  The short scenes are directed by Tim Albery and make really interesting use of video projections in the very Intimate theatre at the AF.

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Philippe Jaroussky and the Ensemble Artaserse

I suppose it’s fair to say that Philippe Jaroussky is a singer who divides opinion; you either love his light bright “soprano” sound or you prefer something more muscular (Sesto vs. Cesare perhaps).  He has a cult following and he knows it.  That side of things was very much on display at Koerner Hall last night when he appeared with the Ensemble Artaserse in a programme of arias from18th century Italian opera.  It was clear that a goodly section of the audience had travelled from out of town for the concert and knew exactly what to expect.  This was exemplified by the three encores leading up to Handel’s “Lascio ch’io pianga” which the hard core fans had been shouting for and weren’t going to go home without hearing!

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