Lunchtime with Tracy Dahl

Dahl, Tracy (c)Kevin ClarkI’ve attended many very good concerts in the Richard Bradshaw Amphitheatre but I’m not sure I’ve ever attended one as intense as Tracy Dahl and Liz Upchurch’s Songs from the Heart recital today.  Tracy really is a rather extraordinary artist.  She is the antithesis of the lieder singer who stands demurely by the piano and Schuberts mellifluously.  She throws every fibre of her being into the performance.  It’s not campily histrionic but voice, facial expression and gesture are all used to the full whether she’s  hiccupping a drunken Harlequin or sibilantly suggesting a slithery singing snake.

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Così preview

Today’s lunchtime concert in the Richard Bradshaw Amphitheatre featured members of the COC Studio Ensemble performing extracts from Act 1 of Così fan tutte as a teaser for their performance of Atom Egoyan’s production on February 7th.  This promises to beeven more confusing than usual as the young lover roles are all being shared to accommodate everyone.  Today, Clraence Frazer and Danielle MacMillan being sick we had but one Guglielmo, Cameron McPhail, and one Dorabella, Charlotte Burrage.  Andrew Haji and Owen McAusland alternated as Ferrando and Sasha Djihanian and Aviva Fortunata doubled Fiordiligi (those two, at least, are easy to tell apart).  Gordon Bintner sang Don Alphonso and Claire de Sévigné played Despina.

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Love and Life

Songs of Life&Love HR (4 of 25)Anne Larlee and Simone Osborne brought their Maureen Forrester recital tour to Toronto today, courtesy of Jeunesses Musicales Canada and the COC’s free lunchtime concert series.  The programme featured works by Bellini, Schumann, Hahn and Richard Strauss plus two specially commissioned pieces from Brian Current.

I particularly enjoyed the Schumann and Strauss pieces.  Simone’s interpretation of the Frauenliebe und -Leben showed a very wide range of emotion and tone colour and exceptionally good German diction.  The three Strauss songs also displayed considerable power.  This was very classy lieder singing.

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English Song

Yesterday’s free concert in the Richard Bradshaw Amphitheatre featured three members of the Ensemble Studio singing 20th century English language songs.  The concert opened and closed with Vaughan Williams.  Baritone Clarence Frazer gave us five songs from Songs of Travel (texts by Robert Louis Stevenson) and Cameron McPhail sang three songs from The House of Life (texts by Dante Gabriel Rossetti).  These are some of my favourites and I must have almost worn out my CD of Thomas Allen singing them (On the Idle Hill of Summer on Virgin Classics).  So, I don’t know whether that made me more or less critical but I thoroughly enjoyed both performances.  Clarence sang strongly, straightforwardly and with very fine diction while Cam was more overtly emotional.  Both approaches worked.

Clarence Frazer

Clarence Frazer

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Robert Pomakov with members of the Gryphon Trio

Yesterday’s lunch time concert featured bass Robert Pomakov accompanied by members of the Gryphom Trio.  The programme kicked off with two songs by Glinka with Bob accompanied by Roman Borys on cello and Jamie Parker on piano.  The first piece was called Lullaby but it’s hard to imagine anyone sleeping through Bob’s powerful rendering.  The second piece, Doubt, showcased some lovely playing by Borys.

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Poetic Echoes: A Britten Celebration

Yesterday’s free concert in the Richard Bradshaw Amphitheatre saw four members of the Ensemble Studio singing contrasting works by Benjamin Britten.  First up was bass-baritone Gordon Bintner with excerpts from Tit for Tat; settings of works by Walter de la Mare.  These were full blooded performances and Bintner gave full reign to his powerful and flexible voice.  It’s a terrific instrument but I would have preferred a little more restraint and subtlety, especially in something as intimate as these pieces.  Next up was tenor Andrew Haji with excerpts from Seven Sonnets of Michelangelo.  It was rather a similar story.  He has a fine, operatic voice and gave the songs a rather operatic treatment.  It was good singing but not in the idiom one is accustomed to hearing this music sung in.

Photo: Karen Reeves

Photo: Karen Reeves

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Here we go again

Yesterday saw the first of this season’s free concerts in the Richard Bradshaw Amphitheatre.  As has become the norm it featured the singers of the COC’s Ensemble Studio.  This year it was dedicated to the memory of the late Lotfi Mansouri and included a couple of short tributes to him.

Six of the Ensemble’s singers are new this year, as is the sole pianist, so these were mostly singers I haven’t heard a lot of.  I’ve also observed how much members of the Ensemble Studio develop in the programme and last year we had a solid group of third years with a few new entrants.  The balance has shifted to the other extreme and so no surprise that yesterday we heard more potential than polish.

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Front (l – r): Clarence Frazer, Sasha Djihanian, Danielle MacMillan, Michael Shannon
Middle (l – r): Gordon Bintner, Aviva Fortunata, Claire de Sévigné, Cameron McPhail
Back (l – r): Andrew Haji, Charlotte Burrage, Owen McCausland
Photographer: Karen Reeves

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Bel Canto bliss

annachristycdarioacostaIt’s one of the nicer things about Toronto that from time to time  a visiting star at the COC will agree to do a free lunchtime recital in the Richard Bradshaw Amphitheatre.  Today was the turn of American coloratura Anna Christy who is currently singing the title role in Lucia di Lammermoor.  It was an exceptionally fun sixty minutes.

I was a little worried when she and accompanist Liz Upchurch just took their places and started.  I need not have been.  We got a set of three bel canto art songs that were full of virtuosity and personality.  The sheer technical skill was obvious but so was the range of tone colour.  Those doomandgloomists who think modern singers can’t act with the voice should listen to Ms. Christy.  It’s all there.  After that opening she did open up and explain the middle part of her set; pieces by Bolcom and Copland that she sees as natural successors to bel canto.  Sung with exquisite attention to the texts one can see her point.  She was also very funny and very human.  I do like modern divas so much more than the one’s who get in a snit because the caviar isn’t the right temperature.

She finished up with arias by Rossini, Handel and Donizetti, all sung stylishly and with tasteful ornamentation.  It was really classy.  And to round things out her parents were there and it was her dad’s seventieth and there are no prizes for guessing how things finished up.

Figaro’s Prenup

Today’s free lunchtime concert in the Richard Bradshaw Amphitheatre was a preview of Against the Grain’s upcoming Figaro’s Wedding.  Its got a brand new English libretto by director Joel Ivany very much along the lines of the La Bohème they did at the Tranzac a few years back; setting the story in today’s Toronto but keeping the basic plot line roughly similar.  Today’s show featured excerpts from the piece plus interviews with the characters by Joel.  I don’t want to do spoilers but let’s just say it’s very clever and very funny.  It’s got a great cast of young local singers and it’s been arranged for piano and string quartet by the amazing Topher Mokrzewski. This is going to be really, really good and I’ve never heard anything get such an enthusiastic reception in the RBA.

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The full show is going to play at a real wedding hall, The Burroughes Building at 639 Queen Street West on May 29-31 and on June 2.  There’s no show on June 1 because the venue is booked for a wedding!  Tickets and more details are available at http://www.againstthegraintheatre.com.  Be warned, opening night is already sold out and I expect the remaining nights will also sell ahead of time.  This is going to be a hot ticket.

Sorry about the iPhone photo.  Expect better ones in due course.