Bullet Train/Witch on Thin Ice

Another unusual and interesting show from Larry Beckwith’s Confluence Concerts last night at the Aki Studio.  The first half of the programme was a reading of Madeleine Thien’s short story Bullet Train.  It’s sort of a double coming of age story that also looks at what we hang onto and what we don’t as we move through life.  It was beautifully read by Courtney Ch’ng Lancaster with cunningly chosen piano interludes played by Gregory Oh.

imagine

After the interval it was Alice Ping Yee Ho’s Yoko Ono inspired piece; Witch on Thin Ice.  At it’s centre was virtuoso percussionist  Beverly Johnstone who displayed great skill on a range of untuned and tuned percussion while executing parts of Melissa Bettio’s choreography and producing all but indescribable vocals!  She was supported by soprano Vania Chan and dancer Jessica Mak with a rap number by Gregory Oh.  Playing over all of this were really rather striking videos and electronics designed by Alice.  It was a bit overwhelming really.  Maybe like being in the middle of an immersive video game and a very complex percussion piece at the same time.  Anyway, great fun and totally unexpected!

There’s another chance to catch this programme tonight at 8pm at the Aki Studio.

Glenn Gould School Vocal Showcase

The GGS Vocal Showcase is an opportunity to see all the current vocal students at the school in recital.  It’s interesting because it’s an opportunity to “talent spot” and to see how one’s favourites from previous years are progressing.  But it’s important to calibrate.  The talent on show ranges from first year undergrad to post grads.  That’s a six year span; enough university to take one from A levels to PhD when I was a lad.  Nobody should expect the standard to be even.

ggs2020

Continue reading →

FirstFigSongbook

To Heliconian Hall last night for a short concert of songs by Danika Lorèn.  It was thoroughly enjoyable.  The songs were split up into sets of one or two and sung/accompanied by UoT grad students.  The standard of performance was pretty decent but it was very noticeable that when Danika and Stéphane Mayer inserted themselves into the proceedings everything got turned up a couple of notches.  As Danika said to me “not a student anymore” while hinting at a significant numerological event.

figs.JPG

The gang minus the composer

Continue reading →

Lagrime di San Pietro

Lagrime di San Pietro is the final masterpiece of Renaissance composer Orlando di Lasso.  It sets 21 poems by Luigi Tansillo on the general theme of Peter’s regret at betraying Christ and his lifelong regret for that.  They also deal with the end of life when the nearness of death and the pain of living make one long for death.  There’s even one poem where Peter regrets that he, who has seen Christ raise the dead and heal the lame, can no longer remember it happening.  Unsurprisingly they were banned by the Catholic Church and so di Lasso can have had no expectation that the work, composed in the last weeks of his life would ever be performed.  Structurally the work is seven part polyphony sung a capella.  There are 20 eight line madrigals plus a motet.

lagrime1

Continue reading →

This Is How We Got Here

This Is How We Got Here is a play by Keith Barker that opened at the Aki Studio last night.  It’s about grief and how an event can affect multiple relationships at multiple levels.  It’s very cleverly crafted with a non linear time line so I am going to be somewhat evasive about the plot because spoilers would spoil it.

TIHWGH_James Dallas Smith _ Kristopher Bowman_pc_Christie Wong_8

Continue reading →

Sirens

Yesterday afternoon I attended the first concert of the year for the Mazzoleni Songmasters series with Leslie Ann Bradley, Allyson McHardy and Rachel Andrist presenting a programme entitled Sirens; structured around the Four Elements.  There was a strong slant towards women composers with the programme anchored around four duets from Elizabeth Raum’s Sirens cycle.  Unsurprisingly perhaps a lot of the material was quite unfamiliar with a sprinkling of more familiar fare from the likes of Schumann.

sirens

Continue reading →

Winterreise 2020

I’m a big fan of taking classic song cycles and giving them a treatment other than the very formal Liederabend approach; fond as I am of that!  So I was intrigued to see what Philippe Sly and Le Chimera Project would make of Schubert’s Winterreise.

Philippe Sly Winterreise

Continue reading →

Golijov at Koerner

The opening concert of the 21C festival featured an all Osvaldo Golijov programme presented by Against the Grain Theatre.  It was preceded by a very informative conversation between Joel Ivany and the composer.  My main takeaway from that is that Golijov writes for people not instruments.  If the people he has in mind for a piece play a certain combination of instruments that’s what he will write for and if circumstances demand it he will readily make changes.  We saw that last night when cantor Alex Stein was unable to perform in K’vakaret (for cantor and string quartet) and Juan Gabriel Olivares stepped in on clarinet instead.

gk-marimba

Continue reading →

Crowded, dirty, dangerous

The Ward Cabaret, which opened at Harbourfront last night, is an exuberant celebration of the Ward; a Toronto neighbourhood that once covered the area bounded by Queen and College and Yonge and University.  From the mid 1800s until well into the 20th century it was far from the highly respectable quartier it’s become.  It was the first landing place for immigrants; Irish, Jews, Chinese, fugitive slaves, Italians.  A neighbourhood of low rent housing, cheap restaurants, the factories that fed Mr. Eaton’s catalogue and a bunch of rather more dubious businesses.  The City Fathers hated it but it had a life of its own that David Buchbinder (he of Yiddish Glory) and his team have turned into a spectacular evening of theatre/cabaret.

The Ward-Cabaret-04682 photo by Ed Hanley

Continue reading →