Empire of Wild; music by Ian Cusson, libretto by Cherie Dimaline, is based on the latter’s novel of the same name and will feature as part of the COC’s main stage season in May 2027. Last Wednesday the COC orchestra with soloists performed five excerpts from the opera in the RBA. The summary version is that it’s most unusual. It’s very grand, it’s tonal, it has numbers yet there is something very modern about it. I suppose one could just say it’s very Ian Cusson!
How many singers can you fit in a clown car one hour lunchtime recital in the RBA? Opera 5 managed eighteen ranging from Krisztina Szabó and Greg Dahl to a whole posse of interns plus Trevor Chartrand at the piano. Besides material obviously related to the upcoming (June 3rd to 14th) festival at Theatre Passe Muraille there was Mozart, Strauss (R), musical theatre and Die Fledermaus. It was all really well done but I’m just going to talk about the material that’s most relevant to the festival.
As has become the custom, the two members of the Ensemble Studio completing their stints at the end of this season gave a “Les adieux” recital in the RBA on Tuesday. It was time to say goodbye to Emily Rocha and Duncan Stenhouse with Liz Upchurch as our stalwart accompanist.
Emily chose a programme of mostly French chansons which was really rather lovely. She sang smoothly and expressively in Bizet’s Chanson d’avril and with a rather elegant languor in Paladilhe’s Psyché. There was more of the same in songs by Debussy and Poulenc; beauty, control, expressiveness! The one venture intoi opera was “Prendi, per me sei libero” from Donizetti’s l’elisir d’amore reminding us that she will be singing Adina at the COC next season. Elegant singing here too, coupled with plenty of heft.
Continue readingTwenty eight years ago Liz Upchurch, Alain Coulombe and Michael Colvin joined the COC’s Ensemble Studio at a time when Richard Bradshaw led the COC.. Yesterday they gave a recital in the eponymous amphitheatre. It was pretty impressive.
Opera 5’s interns for their Toronto Operas Festival gave a recital in the RBA on Monday. It was a varied mix f opera, song and musical theatre; from Mozart and Strauss to Camelot and Spamalot. Both the rep and the performances demonstrated the emphasis that the Schulich School; with which all the performers are affiliated, puts on musical theatre compared to some of its competitors.
Room of Keys is a short monodrama written for actor/pianist Adam Sherkin by David James Brock. It had a short run a couple of weeks ago in a production directed by Tom Diamond at the Nanostage on Bloor which I missed (due to getting stuck on the TTC) and was reprised on Thursday in the RBA at lunchtime; though how far they were able to reproduce the staging I’m not sure.
Thursday’s RBA concert featured members of the Ensemble Studio singing German Lieder. First up were tenor Angelo Moretti and pianist Kimly Wang with Beethoven’s An die ferne Geliebte. Although this is probably the first true “song cycle” in German I feel it doesn’t get done nearly as often as the better known Schubert and Schumann cycles and it’s really pretty interesting. I think it was also my first time hearing Angelo sing in German and he’s really very good. This was a well articulated, rather beautifully sung set with equally skilled accompaniment. Continue reading
Back in December 2012 I reviewed the 500th performance of Dean Burry’s opera for children, The Brothers Grimm. On Wednesday I went to the 25th anniversary performance in the RBA. It was packed; with loads of kids, some quite young.
Tuesday’s concert in the RBA was given by students from the France-Canada Academy of Vocal Arts currently being hosted by the UoT Faculty of Music. The music was a range of mélodies, all in French, by French and Canadian composers.
Next month the opera programme at the Glenn Gould School will be offering a double bill of Rossini’s La cambiale di matrimonio and Puccini’s Gianni Schicchi.. On Tuesday there was a concert of excerpts from the two operas in the RBA.
operaramblings 