Micah Schroeder in recital at the Tranzac

Baritone Micah Schroeder and pianist Stéphane Mayer gave a recital on Saturday night at the Tranzac called Everlastingness.  It was a carefully curated mix of song recital classics, works by contemporary Canadian composers and some Armenian influences.  The balance was such that a two hour plus recital seemed to fly by.  I rather like the Tranzac for this kind of event.  The acoustics are fine and the comparative intimacy of it gives a vibe somewhere between a concert hall and, say, Opera Pub.  It’s certainly difficult to imagine anyone (furries aside) wearing tails there.

And so to the music… Matters kicked off with Danika Lorèn’s setting of Edna St.Vincent Millais’ Recuerdo no. 7 – A Few Figs From The Thistle.  It’s a gentle setting of an appealing text and was a good atmosphere setter.  Next was a foray into Ich bin ein ernsthafter deutscher Bariton territory with Schumann’s Lieder und Gesänge aus Wilhelm Meister.  This was very nicely done with excellent diction, measured singing; balancing the dramatic and the sensitive aptly, and was beautifully accompanied.  Proper Lieder singing in fact. Continue reading

The Two Deaths of Ophelia

The latest Happenstancers gig, which took place at 918 Bathurst on Thursday evening, was an exploration of the death of Ophelia and related ideas with works for assorted chamber ensembles plus/minus voices.  Ten composers; all of whom could at a stretch be considered “contemporary”, were featured in a programme that, with interval, lasted two and three quarter hours.  That’s a feat of stamina for performers and audience alike as none of the music performed was “easy” and no notes or introductions were provided.

Each half of the programme started off with a piece by Linda Catlin Smith, who was in the audience.  Stare at the River for piano, string bass, trumpet, clarinet, violin and percussion was quite sparse and open textured while The River was more obviously lyrical with guitar, cello and Danika Lorèn replacing piano, trumpet and bass.

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An Oak Tree

Tim Crouch’s An Oak Tree has been around for 20 years and has been performed about 400 times and it still feels very experimental and rather weird in a good way.  It mucks about with time and space and identity while layering on multiple meta-theatrical elements that create an experience that is simultaneously engrossing and somewhat disorienting.

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Celebrating Kurt Weill

Saturday night Confluence presented a concert curated by Patricia O’Callaghan of a selection of works by Kurt Weill.  Now I have.a bit of a love/hate relationship with Weill which will likely colour this review.  Broadly speaking I love his earlier work, especially the collaborations with Brecht, but I’m just not into the Broadway stuff at all with a few exceptions such as Street Scene which has at least a bit of an edge.  I also thoroughly dislike some of the American translations of the Brecht pieces that do all they can to take the edge off. Continue reading

Come Closer

Come Closer; libretto by Rachel Krehm, music by Ryan Trew, is a two act chamber opera about Rachel’s relationship with her younger sister Elizabeth who died as a consequence of heroin addiction.  Some of it is based on Rachel’s memories and much on the writing and drawings that Elizabeth left.  It premiered on Friday night and is currently playing in an Opera 5 production at Factory Theatre.

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Opera 5 gala

Opera 5 opened the first Toronto Opera Festival last night at Factory Theatre with a gala featuring Greg Dahl and the singers from their intern programme; most of whom have McGill connections..  It was basically a concert of opera arias and scenes and musical theatre numbers in about equal shares.  It was quite varied ad theire was some excellent singing supported with versatility and flair by Nate Ben-Horin on a slightly battered looking piano (it sounded fine though!).

Nate Ben-Horin, piano; Gregory Dahl, baritone

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Immersed

Immersed is an audio-visual performance piece created by Justin Gray.  There are visuals but the raison d’etre of the piece is recorded music.  The whole thing was written to be recorded and then played back using Dolby ATMOS to create a three dimensional moving soundscape.  I got to experience it on Saturday night in the TD Music hall at Massey Hall which has a thirty eight speaker array for doing just this kind of thing.  It was playing as part of Luminato.

There were thirty eight musicians involved in the project…

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Queen of the Night Communion

There was a time when site specific productions were very much part of the Toronto opera scene but, like much else, they seemed to disappear with the pandemic.  So it was especially pleasing to see Tapestry Opera, Luminato and Metropolitan United Church combining for just such an event.

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Nigamon/Tunai

Nigamon/Tunai is part ritual, part performance, part narrative.  It’s based around the fight of an Indigenous group in the Colombian Amazon to prevent a road being built through their land in order to exploit a copper deposit but it interweaves this with water lore and creation myths from all over the Americas.  It’s playing in the Ada Slaight Hall at the Daniels Spectrum as part of Luminato.

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