Deantha Edmunds in the Music Garden

1.treeIt was National Indigenous People’s Day so what better way to celebrate/commemorate than go listen to an Indigenous artist perform in the music garden ; where the trees almost stand in the water.

We got an hour of music from Inuk soprano Deantha Edmunds; mostly from her CD Connections.  These songs are reflections; some in English, some in Inuktitut, on aspects of life as an Indigenous person in contemporary society and sit somewhere between art song and singer/songwriter territory.  Subject matter ranges from traditional Indigenous children’s games , to the Northern landscape, to the spirits of Rain and Thunder and, inevitably and very, very sadly to Residential Schools and Murdered and Missing Indigenous Women and Two Spirited People.  They are varied, skilful and heartfelt. Continue reading

Just another Saturday in Toronto…

mariafullerJust another Saturday in Toronto?  Not really.  I was at two shows/events a few blocks apart; one in the morning, one in the evening, and the experiences were very different.  In the morning I was at Roy Thomson Hall for a “conducting masterclass” under the auspices of the Women in Musical Leadership programme.  I don’t think such events are at all common and it was certainly a first for me.  The set up was that four young women conductors (Maria Fuller, Jennifer Tung, Naomi Woo and Juliane Gallant) got to rehearse the TSO in standard repertoire with principal conductor Gustavo Gimeno providing feedback and suggestions.  Two of the ladies worked on Brahms’ First Symphony and the other two on Tchaikovsky’s Fifth. Continue reading

Dragon’s Tale

Dragon’s Tale; music by Chan Ka Nin, text by Mark Brownell,  premiered at Harbourfront last night.  It’s a rather clever mash up of two stories which, taken together, address how we face the future without abandoning the past or, alternatively, getting stuck in it.  The first story concerns a young Chinese Canadian woman in Toronto, Xiao Lian, whose widowed father is dying.  She is torn between her desire to “get a life” and his obsessive insistence that the “old ways”, meaning essentially here looking after him, come first.

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Baroque plus on Market Street

It’s officially summer and Market Street is pedestrian only again.  That means it’s possible to stage music performances there and yesterday Opera Atelier had the noon to two spot.  I arrived a few minutes late so missed Maeve Palmer’s first aria but it did mean I walked in on the opening of my all time favourite Handel aria; “As with rosy steps the morn”, sung quite beautifully by Anna Sharpe.  There were three sets and it was pretty varied; Handel, Gluck, Mozart, Haydn, Monteverdi, Rossini Purcell and Delibes, that I remember.  Besides Maeve and Anna we got baritone Chris Dunham and countertenor Ryan McDonald accompanied by Chris Bagan on keyboards, Felix Deak on cello and Arlan Vriens on violin.

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Debauchery at the Dakota

collarSo on a grungy corner of Dundas and Ossington lies a grungy cellar dive; the Dakota Tavern.  It’s not an obvious place to do opera though a mash up of opera and burlesque is more plausible.  And so that’s what we got from the Opera Revue crew (Alexander Hajek, Danie Friesen and Claire Harris) and four burlesque dancers.

The music was appropriately chosen; some Phantom, Don Giovanni, Carmen, some Weill plus show tunes.  Basically mine the repertory for stuff that is a bit edgy and plays with ideas of sexual consent or lack of it.  Ironically the goody bag that was raffled off at the interval include, apparently, an Armadildo.  I say ironically because I had spent my lunchtime with the cast and crew of Colleen Wagner’s new play Armadillos which is also (at least in part) about sexual consent or lack of it. Continue reading

Leipzig cantatas

The final concert of this year’s Toronto Bach Festival took place at Eastminster United Church yesterday afternoon.  It offered two of the cantatas Bach wrote in Leipzig in 1723; Die Elenden sollen essen and Die Himmel erzählen die Ehre Gottes  Each is written in two parts which, originally would have bookended a sermon (mercifully absent yesterday).  Each begins with a choral setting of a biblical verse and proceeds via recits on arias on related texts.  The second half of each starts with a Sinfonia and finishes with a chorale based on a Lutheran hymn.

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All the Diamonds

Confluence Concerts last show of the season; All the Diamonds, was dedicated to the night sky.  It’s not easy to find new things to say about Confluence, unless there’s a new work or sometging on the programme.  Every show is different but there are elements in common.  The styles of the music vary from pop, to singer-songwriter, to jazz to classical to spoken word and the performance styles are equally varied and not always what one expects for the piece in question.  So for instance, Don McLean’s “Starry Night” got the Suba Sankaran/Dylan Bell two part a cappella treatment and the traditional Ladino number “Yo menamori d’un aire” got full on jazz vocals from Patricia ‘Callaghan with instrumentals from Larry Beckwith n violin and Andrew Downing on bass.  It was fun, varied and joyous and no two bits of the 23 item line up was quite like anything else.

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Haydn’s Orfeo at the MacMillan Theatre

orfeoposterLast night saw the first of two performances of Haydn’s rarely performed 1791 work Orfeo: L’anima del filosofo.  I know how much effort and indeed passion went into creating this production and the singing is pretty good.  I wish I could say I enjoyed it but I can’t.  There were just too many issues.

Let’s start with the opera itself.  Maybe it was never completely finished as it was shut down by the authorities during rehearsals in London.  Maybe that’s why it feels horribly unbalanced.  The first half (two acts) tell us of Eurydice being betrothed, against her will, to her father, King Creonte’s, rival Arideo.  She runs off into the forest where she is about to be devoured by beasts when the news is brought to Orfeo who then sings at length before “rushing” off to rescue Euridice.

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Lonely Child

I sort of remember when I saw an early stage workshop of soprano Stacie Dunlop’s interpretation of Claude Vivier’s Lonely Child.  I think it was back in 2019 and I remember it was in a grungy former industrial space on Sterling Road.  There’s a video of/about that performance. Time has passed and the work has now been fully realised and it’s available as a 17 minute film which I’ve had a chance to watch the latter.  There’s more work going on to make it the core of a longer live show.

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La Verbena de la Paloma

Yesterday I caught the last of three performances of Tomás Bretón’s La Verbena de la Paloma given by Toronto Operetta Theatre at the St.Lawrence Centre.  It’s a zarzuela.  What’s that you may ask.  In short it’s the native Spanish form of operetta.  Based on what I saw yesterday it has the following elements; a love story with a complication that resolves happily, spoken dialogue, musical numbers including traditional Spanish folk/dance pieces and elements of the commedia dell’arte.  These latter included an older man lusting after a much younger girl )actually a pair of them), a jealous lover who is tested by his sweetheart and a bumbling policeman.

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