From Severn to Somme

maltmanLast night at Walter Hall, as part of the Toronto Summer Music Festival,  Chris Maltman and Graham Johnson gave a recital that explored the experience of war through song.  It was a long and varied programme with twenty two songs in four languages commemorating most of the great empires that went to war in 1914 though many of the songs were from earlier periods.  At the core of the programme were early 20th century settings of English pastoral poems.  Butterworth’s settings of Houseman were there but, sneakily, we got Somervell’s much less well known setting of Think no more lad.  In a similar vein there were Gurney and Finzi.  The Americas were represented in a characteristically rambunctious Ives setting of a horribly jingoistic McCrae poem; He is there. McCrae may be the only well known war poet who managed to survive until 1918 without developing any sense of irony.  Beyond the English speaking world there were songs by Mussorgsky, Mahler, Fauré, Schumann, Wolf and Poulenc.

Continue reading

LibLab reading

A few weeks ago I wrote about the Tapestry LibLab; a structured creative collaboration between composers and librettists.  Yesterday we got a preview of the results.  Twelve works created in this year’s programme were given a run through by the previously announced performers plus singer/dance Eva Tavares.  The works will form the basis of this year’s Tapestry Briefs show in November when they will be fully staged.

Continue reading

When the Sun Comes Out

tkIt’s World Pride Week in Toronto and as far as I know Tamar Iveri isn’t in town.  What is, is the Toronto premier of When the Sun Comes Out by Leslie Uyeda and Rachel Rose presented by Queer Innovative Theatre; a group of LGBTTIQQ2SA (WTF BBQ!) performers.  Unsurprisingly the piece treats of same sex relationships.  It’s a love triangle with a twist.  Solana (Teiya Kasahara) is a foot loose wandering lesbian who has fallen in love with a married woman, Lilah (Stephanie Yelovich) who, unfortunately, lives in a dystopia where same sex relationships are a capital offence.  Their relationship, and their lives, are threatened by Lilah’s jealous husband Javan (Keith Lam).  But he too has a secret in his past.  They also have a daughter who neither will give up making simple resolution of the relationship issues impossible.

Continue reading

Pelléas et Mélisande in the Tanenbaum Courtyard Garden

Hidden away up an alleyway behind the COC’s ioffice and rehearsal complex is a very beautiful garden.  I say hidden because I lived less than 200m away for 10 years before I discovered it.  Last night it made a rather magical setting for Against the Grain Theatre’s new production of Debussy’s Pelléas et Mélisande.  The piece is set in a gloomy castle and surrounding forest in Brittany.  The high, ivy covered walls and ironwork of the performance space, enhanced by Camelia Koo’s fractured flagstones forming patterns on the grass, evoked the essentially sunless world of Maeterlinck’s poem.  Costuming in the style of the period’s composition meshed nicely with the aesthetic of the roughly contemporary space.

blockd-3031 Continue reading

Shelter

Shelter; music by Juliet Palmer, libretto by Julie Salverson, has been ten years in the making.  It premiered in Edmonton a couple of years ago, finally, got its Toronto premiere at the Berkeley Street Theatre  last night under the auspices of Tapestry.  It’s a complex and eclectic piece dealing with what it is to be human in a nuclear age.  There are two parallel plots which intersect in a way that makes dramatic sense but violate conventional notions of synchronicity.  This is, after all, a piece rooted in post Einsteinian physics.  The first concerns Austrian Jewish physicist Lise Meintner, one of the discoverers of nuclear fission.  She has been forced into exile by the Anschluss and is seen here refusing to work on the Manhattan project.  The second plot concerns a highly stereotypical 1950s American couple Thomas and Claire who meet at a social, marry and quickly produce a child; Hope.  Their “American Dream” is shattered when it turns out that the baby glows!  Fast forward 21 years and Hope is demanding her freedom in a world from which she has thus far been sheltered.  Reenter Meintner, engaged by Thomas to be Hope’s tutor, and still obsessing about the Manhattan project.  The final twist comes with the arrival of the Pilot, in WW2 Army Air Corps uniform, who uses a Geiger counter to find his prey.  He fails to convince Meintner to change her mind but does persuade Hope to fulfill her destiny as He pilots the Enola Gay to 31,000 feet and a clear sky.  It’s weird, disturbing and powerful.

Shelter-KZ5 Continue reading

Cleveland or bust

In concept/development/workshop since 2001, Brian Current and Anton Piatigorsky’s chamber opera, Airline Icarus, got its first complete, staged performance last night in a production directed by Tim Albery in the Ada Slaight Hall at the Daniels Spectrum.  It’s an ambitious work taking us on a journey into the minds of the passengers and crew on a flight to Cleveland.  It explores fear and desire and our need, as a society, to reach for ever greater heights regardless of cost.  Hence the title.  It only runs 60 minutes or so but it covers a lot of ground.  More in fact than I could fully grasp without a copy of the libretto or surtitles.  It’s also, refreshingly, not afraid to be funny in places.

Airline Icarus Soundstream Continue reading

East o’the Sun and West o’the Moon

Norbert Palej’s new piece East o’the Sun and West o’the Moon, commissioned by the Canadian Children’s Opera Company opened at the Enwave Theatre at Harbourfront last night.  It’s based on a Norwegian folk tale and tells the story of a girl, Rose, who does a deal with a magic white bear to feed her starving family.  The bear, of course, is really a prince who has been cursed by a witch.  Rose tricks the witch and marries the prince.  There are also trolls.  Lots of them.

East_West-0052 Continue reading

Blah, blah, blah, blah

Alex Dobson_spring 2014The final show of the season for the Talisker Players, at Trinity St. Paul’s last night, was titled A Poet’s Love and featured baritone Alexander Dobson and actor Stewart Arnott in the usual Talisker format of alternating music and readings on a theme.  The first musical piece was John Beckwith’s Love Lines which took five pieces ranging from Handel’s Where’er you walk to Gershwin’s Blah, Blah, Blah and presented them with the vocal line cleaving straightforwardly to the melody with the accompaniment “deconstructed” into “fragments” for violin, viola, cello and double bass.  It’s a rather disturbing piece, especially when one knows the source material well.  I’d like to hear it again.  It was given an honest and engaging presentation by Dobson and the strings.

Continue reading

The Seven Vices

amburThe last of this season’s Recitals at Rosedale was on the theme of the the Seven Deadly Sins.  It was an interesting and enjoyable afternoon, perhaps notable as much for what it had to say about the state of the industry as for the music making.  The format was four singers moving fairly rapidly between short (more the most part) songs linked by a one or two sentence chosen text.  The effect was to keep things moving along swiftly and even to generate a kind of narrative arc.  There was no time for applause between numbers for example.  It was a very different feel from the traditional art song recital where one or two singers sing sets of related songs.  It was also quite operatic.  All the singers chose to act physically and with the voice.  Again, a far cry from the art song tradition where a raised eyebrow is considered over acting.  Overall I thought it worked and in a city where the music commentariat has been lamenting the death of the art song recital for years somebody has to try something!

Continue reading

Faster Still Anaïs Nin

rcm_21c_webpage-icon_final2-2This concert at Koerner Hall was the second in this summer’s Twenty-First Century Music Festival.  It advertised works by Christos Hatzis, Brian Current, R. Murray Schafer and Louis Andriessen.  In fact we kicked off with a short bonus selected from Youtube entries to make up 21 premieres for the C21.  Unfortunately I didn’t catch composer or title and it lasted less than two minutes.  Continue reading