The Whole Gang and Then Some

heliconian-club-2022-4-1024x768The final programme of Confluence Concerts season took place at Heliconian Hall on Wednesday night.  It was billed as The Confluence Songbook and, if there was a theme, it was about doing live versions of music that had been streamed during the Plague.  But really by the time we saw it it had outgrown that.  For, in addition to the full line up of Confluence artistic associates there was a raft of guests which resulted in a fairly lengthy and very eclectic programme. Continue reading

Iron Chef d’Orchestre

The second Tapestry show this week which played Wednesday night at Theatre Passe Muraille was Jennifer Tung’s Iron Chef d’Orchestre.  Knowing Jennifer’s kitchen prowess I expected this to be at least as food inspired as the previous night’s Le Kitchen Party but it wasn’t.

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Le Kitchen Party

On Tuesday night Theatre Passe Muraille hosted the first of two “music and food” shows curated by members of the Women in Musical Leadership programme under the auspices of Tapestry Opera.  Juliane Gallant trawled her Acadian roots to create Le Kitchen Party.fun.

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A Prism of Sound

Saturday night’s concert by the Cantabile Chamber Singers, with their conductor Cheryll J. Chung, at Church of the Redeemer; entitled A Prism of Sound, was the last of their 2023/24 season and, I think, the first time I’ve seen this particular choir.  It was an all Canadian programme.  The first part consisted of works by various choral composers like Matthew Emery and Peter Togni and it was all tonal works for unaccompanied choir on, basically, liturgical texts.  It was pleasant enough but, for me at least, after a while one Ave Verum Corpus sounds much like the rest.  I surprised myself by really quite liking Emery’s Sweetest Love which was quite complex and rather overturned my previous impressions of his music.  I also enjoyed Eleanor Daley’s setting of an extract from the Song of Solomon; Upon Your Heart.  But maybe that’s because the text has special resonance for me.  No complaints about the performance though.  They are a very good choir.

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Cervantes finds a plot

Jacinto Guerrero’s El huésped del Sevillano (The Guest at the Inn) is a zarzuela that premiered in Madrid in 1926.  It’s a light hearted musical romp and the soprano doesn’t die at the end.  I caught the last of three performances given by Toronto Operetta Theatre at the St. Lawrence Centre directed by Guillermo Silva-Marin.

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Dichterliebe: Whose Love?

I caught the second performance of Teiya Kasahara and David Eliakis’ Dichterliebe: Whose Love at Heliconian Hall on Saturday evening.  It was part of the Confluence Concerts series and not untypical of the eclectic nature of that series.  Also it was a logical continuation of these two partnering on shows that question gender norms in the classical music industry.

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Verdi Requiem with The TMC

I caught the Toronto Mendelssohn Choir’s second performance of Verdi’s Messa da Requiem at Koerner Hall on Tuesday evening. It’s a piece that’s deservedly famous but I think that this was my first time seeing it live.  It’s an interesting piece.  It’s not a conventional requiem but nor would I call it “operatic”.  It’s far more dramatic than any other mass setting I can think of (even Britten’s War Requiem) but in its own way.  Part of it is structural.  Verdi keeps bringing back the “Dies Irae” text and music; even right down to. the final “Libera Me”.  As his setting for the “Dies Irae” is extremely dramatic (I want to say gonzo but that doesn’t seem very ecclesiastical!) it injects a degree of drama where the core text doesn’t really call for it.  FWIW the setting is very loud with choir and orchestra going full out and the timpani being almost scary.  It’s particularly so first up where it segues straight into the “Tuba Mirum” with trumpets up on either side of the choir loft.

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Diasporic Bridges

Diasporic Bridges, at Trinity St. Paul’s on Sunday afternoon, was the Amici Chamber Ensemble’s final concert of the season.  It celebrated the way that music binds emigrant communities together and provides a link to “home”.  Most, though not all, of the pieces performed were by composers of diverse styles and backgrounds living and working in Canada and the live music was preceded by an excerpt from Amici’s upcoming film on the same topic.  I’ll save writing about that until I’ve seen the whole thing.

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Opera Revue at Castro’s

I went to Opera Revue at Castro’s on Sunday afternoon.  It’s the first time I’ve been to a regular Opera Revue show in a while because of geographic and scheduling constraints plus, of all their locations, I prefer Castro’s and they haven’t been there in a while.

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All is Love

All is Love, which opened Thursday night at Koerner Hall, is a remount of the 2022 Opera Atelier show which, for various reasons, nobody much saw.  It’s a staged series of quite eclectic (mosly) opera and ballet excerpts around the theme of “love”; which means pretty much anything goes.

Soprano Meghan Lindsay as Mélisande with Artists of Atelier Ballet in Act One of Debussy’s Pelléas et Mélisande in Opera Atelier’s fully-staged production of ALL IS LOVE. Photo by Bruce Zinger-2

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