This year’s opera offering from the Glenn Gould School at the Royal Conservatory is Janáček’s Cunning Little Vixen. It’s a pretty good choice for a student production with a wide variety of roles and it’s a great vehicle for showing off the excellent Royal Conservatory Orchestra. The school has chosen to present the work in English translation which probably makes sense given the difficulties of training a whole new cast in Czech even though it somewhat undermines the composer’s extremely tight linkage of text and music.
Category Archives: Performance review – miscellaneous
How sweet to be a sloth
Yesterday’s Talisker Players concert Creature to Creature was a well balanced selection of music and readings inspired by the idea of a bestiary.
First up was a set of Poulenc settings of Apollinaire texts. These songs, for mezzo, string quartet, flute, clarinet and bassoon, are very short and deceptively simple being both textually and musically many layered. They were very beautifully sung by Norine Burgess. Her fairly bright mezzo seemed well suited and there was sensitive accompaniment from the band among whom clarinetist Peter Stoll was particularly impressive. Continue reading
Maria Callas is Medea
Pasolini’s Medea, which I saw at the very comfortable TIFF Bell Lightbox on Thursday evening, is a striking and unusual film. Visually, throughout, it is painterly in an almost surrealistic way. Locations and costumes combine to provide a weird and disturbing visual language which is never less than beautiful even when the most violent and brutal acts are being portrayed. The visuals were helped by the really good job that had been done on restoring the original print.
Ash Roses release concert
The Ash Roses CD that I referred to a few days ago was officially launched at the Canadian Music Centre last night. Lawrence Wiliford, Mireille Asselin, Sanya Eng and Liz Upchurch performed all the music on the album in the presence of the composer and his wife, assorted Toronto music glitterati and even more assorted others, like me. It’s a very intimate setting and well suited for small scale art song recitals; especially when the complimentary wine and beer (Black Oak Chocolate Cherry Stout – recommended) is rather good.
Photographs
I posted a few days ago about the Durham alumni reception with Sir Thomas Allen. The university had a photographer there and so I thought I’d entertain you with a couple of snaps from the event.
Another chance to hear Sir Thomas Allen
Having seen him sing Don Alfonso in the COC’s Così fan tutte three times as well as having attended his RBA lunchtime recital and having interviewed him one would be forgiven for thinking that I might have had my fill of Sir Thomas Allen. But no, Durham University organised a reception on Thursday evening for alumni at which Sir Thomas was the guest of honour in his capacity as Chancellor. It was one of the filthiest nights of a filthy winter and a very nasty walk from the conference I was attending to the Music Room at Hart House but around fifty people turned up. They were mostly Durham grads but the Dean of Music from UoT was there, as was the Chancellor of Queen’s (which was rather a surprise). It was basically a drinks and canapés do but our esteemed Chancellor was prevailed on to sing a few numbers with the help of Rachel Andrist. We got a ballad I didn’t recognise, Deh vieni alla fenestra, The Foggy Dew (arr. Britten) and Cole Porter’s Miss Otis regrets. Fun, and a very welcome opportunity to hear something from Don Giovanni from a master of the role.
I had an interesting conversation with Sir Tom and Rachel about music in hospitals and now have a “to do” to sort out who to talk to at Sick Kids. Oh yes, and to cap a filthy night, the lemur and I were engulfed in a tidal wave of filthy slush on our way to the subway and home.
Don Giovanni at the cinema
We got to see Kasper Holten’s new Don Giovanni from the Royal Opera House in Toronto yesterday. It wasn’t live but I really don’t think that matters. I’m not going to dwell too much on production or performance because it’s already been extensively reviewed elsewhere. I concur with the general tenor of the reviews that the singing and acting is extremely strong. Certainly Holten got a more intense performance out of Mariusz Kwiecien than Michael Grandage did at the Met and Veronique Gens was a very fine Donna Elvira. There really weren’t any weak links.
Beggars in York
I managed to catch the end of the run of York University’s production of The Beggars Opera this afternoon. It’s a hugely ambitious concept with a couple of hundred people involved. The basic concept is that John Gay’s piece is being performed by inmates in a prison as part of their rehabilitation. Layered onto this is an obnoxious talk show host who is commenting on the proceedings from a sort of gutter conservative perspective. Add to this interpolations based on Lady Gaga, blues harmonica, ukulele and even a bit of Britten. Fights break out between the cast and have to be dealt with by the prison warden and staff. Equally, they intervene in over enthusiastic sexual encounters. It’s brave but it rather tends to overwhelm the piece at the centre.
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Embroidered by blind nuns in Tuscany
Encounters was a one hour programme of short opera scenes by student composers to libretti by Michael Albano. It’s the latest in a series of fully staged shows by student composers from the UoT Faculty of Music’s composition programme which has been running since 1997 and has included, for example Rob Ford, the opera. It’s quite shocking that when that showed two years ago, as Dean Don McLean reminded us, the big Rob Ford story was about library closures. Anyway, only one of yesterday’s five pieces featured Mr. Ford.
Land of Smiles
Lehár’s Das Land des Lächelns must have seemed old fashioned even when it opened in 1929 in a Berlin that had already seen Wozzeck and Die Dreigroschenoper. With its waltzes and gentle chinoiserie it looks back rather than forward musically and makes few demands on its listeners. Similarly, the plot; a bittersweet romance between an Austrian aristocrat and a Chinese prince had nothing in it to disturb contemporaries though modern audiences might find the cultural appropriation a bit hard to take. However, if Turandot doesn’t bother you this likely won’t either.