Elisabeth St-Gelais at Walter Hall

Tuesday night’s Toronto Summer Music concert in Walter Hall featured Quebec soprano Elisabeth St-Gelais with Louise Pelletier on piano.  The first part of the concert consisted of songs by Brahms and Strauss.  I’m not a huge fan of Brahm’s Zigeunerlieder, Op.103 which are very much an example of Germans misunderstanding just about everything about Hungarian folk music let alone gypsies.  The texts are cliché ridden and the music isn’t much better.  Ms. St-Gelais sang then with a full pleasant tone and some attention to the text but she really needs to work on her German diction.

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Schmaltz and Pepper

Schmaltz and Pepper is a comparatively newly formed band (November 2023) but it contains quite a few familiar faces; Rebekah Wolkstein (vocals, violin) and Drew Jurecka (vocals and assorted instruments) from Payadora, Eric Abramowitz (clarinet) from the TSO plus multitalented Jeremy Ledbetter (piano) and Michael Herring (double bass).  Between them they have backgrounds in classical, klezmer, tango, calypso, Yiddish swing, jazz and much more.  The focus of the new band appears to be klezmer and Yiddish swing but since most of their material is original there are lots of influences.

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Breathings

Monday night’s Toronto Summer Music concert in Walter Hall was a cross-cultural exploration of Nature, Heartbeat and Breathing.  It featured an instrumental ensemble of Persian and Western instruments and two Indigenous vocalist/drummers; one Mi’kmaq, one Inuit.

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The Tortured Poets Department

alexhWednesday evening’s Shuffle Hour concert at Toronto Summer Music was given by mezzo Alex Hetherington and pianist Vlad Soloviev in Heliconian Hall and carried the curious moniker The Tortured Poets Department. It kicked off with the letter aria from Massenet’s Werther and let’s face it if anyone deserves torturing it’s some combination of Werther himself and Goethe for inventing him (and possibly Massenet for prolonging the life of a character who might otherwise have fallen into obscurity).  Whatever, Alex gave a fine, impassioned reading of the aria which set the stage well for what was to follow. Continue reading →

Connolly and Middleton

This year’s art song mentors for Toronto Summer Music; Dame Sarah Connolly and Joseph Middleton, gave the traditional recital in Walter Hall on Tuesday evening.  Those who braved flooded streets and spotty TTC service enjoyed a treat.  It was a carefully curated and beautifully performed collection of songs.

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Dreams, Death and the Maiden

Monday night in Walter Hall Toronto Summer Music continued with a concert by the new Orford Quartet (Jonathan Crow and Andrew Wan – violins, Sharon Wei – viola, Brian Manker – cello).  I was there primarily to hear the première of Ian Cusson’s Dreams which was bookended on the programme by “Death and the Maiden” themed quartets in D minor by Mozart and Schubert.

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Premarital sextet

The string sextet is an unusual combination of instruments and there aren’t that many works for it.  But one, Schoenberg’s Verklärte Nacht, Op. 4, has almost cult status and is performed fairly often.  It does though need a companion to make up a concert programme.  On Friday night at Toronto Summer Music in Walter Hall the chosen accompanying piece was Brahms’ Sextet No.2 in G Major, Op. 36.

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Streetwise Fairy Queen delights

William Christie and Les Arts Florissants kicked off Toronto Summer Music on Thursday evening at Koerner Hall with a version of Purcell’s The Fairy Queen which is currently on a sort of world tour.  This production, conceived by Christie and Paul Agnew is quite radical.  Let’s look at what they have done.

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McGill interns Turn the Screw

The second performance of Opera 5’s production of Britten’s The Turn of the Screw on Thursday night was sung by the “apprentice” cast drawn from Opera McGill.  Curiously, it was an all female cast with women singing both Miles and Peter Quint.

Opera 5, The Turn of the Screw, Emily Ding Photography (Patricia Yates_ Peter Quint, Bri Jones_ Miss Jessel)

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A cunning Turn of the Screw

It’s always been a bit of a mystery to me why Britten’s chamber operas are not done more often by smaller opera companies.  They use a modest orchestra (13 players for The Turn of the Screw), have equally modest sized casts, no chorus and they are in English.  They offer the chance to perform a work as written at much lower cost than grand opera and without the compromises inherent in downscaling works written on a larger scale.

Opera 5, The Turn of the Screw, Emily Ding Photography (Asitha Tennekoon_ Peter Quint_Prologue)

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