Quilico Awards 2013

Last night, for the second time (the first was in 2011) the singers of the COC Ensemble Studio competed for the Christina and Louis Quilico Awards; a prize competition created by Christina in memory of her husband, baritone Louis.  It was the usual competition format; the singers offer three arias, they sing one and then the judges choose which of the remaining two they will sing.  It being the Ensemble Studio on show the standard was extremely high.  Nine singers and eighteen arias is too much to report in detail so I’ll concentrate on the winners.

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Alan Walker of the Ontario Arts Foundation, Christina Quilico and the Ensemble Studio

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Sérénade Française

John Terauds may have proclaimed the death of the art song recital in Toronto, and he may even have a point about recitals with high ticket prices, but the line up outside the Four Seasons Centre yesterday for a recital of French chansons rather suggests that the taste for the form has not gone away.  The admirably chosen programme of songs, mainly by Poulenc with some Ravel and Milhaud thrown in, was performed by members of the COC’s Ensemble Studio.

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Farewell Queen of Puddings

Lorca-horizontalChris Paul Harman’s La selva de los relojes (The Forest of Clocks) had its premier at the Four Seasons Centre at lunchtime today.  It’s a setting of some very beautiful texts from Lorca’s Suites scored for mezzo, harp, piano/celeste, flute, clarinet, cello, percussion and tape.  The tape consists of sections of the texts read by Martha de Francisco.  Sometimes the text comes from the tape, sometimes it’s sung by mezzo, sometimes it’s spoken by the mezzo and at other times they overlap.  The accompaniment is mostly very spare but occasionally becomes surprisingly dense with lots of work for tuned percussion.  There are also some unconventional roles for the instruments, especially the flute, and there is a whistled passage for the singer near the end.  All in all it’s very 21st century; decidedly modern but quite approachable.  And did I say the texts are gorgeous?  Continue reading

Song and scrunchions

So, apparently Toronto has three opera singers from the otherwise unremarkable town of Corner Brook, Newfoundland.  Today they (Michael and Peter Barrett and Adam Luther) together with Doug Naughton on guitar, Andrew Grimes on bhodran and, the definitely not from Newfoundland, Sandra Horst on piano produced a fun recital of arrangements of more or less traditional songs from Newfoundland and the British Isles together with a few pieces that aren’t actually traditional but people think they are.  And actually, of course, a lot of the time differentiating between a traditional Newfoundland song and a traditional British song is a bit fraught.

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Canadian Art Song Project again

Today saw the premiere of the Canadian Art Song Project’s second annual commission (My review of last year’s effort).  This time it was Norbert Palej’s Small Songs; a setting of ten texts from Jan Zwicky’s Thirty-seven Small Songs & Thirteen Silences.  It’s an ambitious piece drawing on a wide range of vocal and piano colours and occasionally on non-standard technique.  That said, although sounding like a work from the 21st century it’s really quite accessible to anyone with any familiarity at all with modern art song.  Some passages were really lovely.  I especially like the haunting and clever setting of Small song on being lost which evokes the loneliness of the sea and the self.  The piece that followed; Small song for the moon in the daytime was also rather special ending movingly on “the wind is   nowhere   to be found”.  All in all, great integration of text and music as art song should be.  The composer “warned” us up front that the music was extremely difficult to perform because he was writing it for two very fine musicians.  They didn’t disappoint.  Tenor Lawrence Wiliford used all of his range; dynamically, colourwise and pitchwise to give a very text sensitive reading and he was very well accompanied by long time collaborator Steven Philcox at the piano.

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The French connection

Today’s free lunchtime concert in the RBA was given by Topher Mokrzewski wearing his pianist hat; as opposed to his conductor, accompanist, music director, vocal coach or tap dancing hat.

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Photo credit: Chris Hutcheson

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And now for something completely different

It’s March break in Toronto which means lots of children friendly activities.  Yesterday’s lunchtime concert at the Four Seasons Centre was one of them.  It was a session/performance by soprano/educator Kyra Millan together with sidekicks baritone Jesse Clark and pianist Christina Faye.  There were lots of kids, mostly quite young, there.  Some had even brought their parents.

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Vive l’amour

Every year the COC Ensemble Studio engages in an exchange programme with the Atelier Lyrique of L’Opéra de Montréal.  Each year that results in a joint lunchtime recital in the Richard Bradshaw Amphitheatre.  It seems to be a popular gig.  The doors were closed today at 11.40 for the noon performance (it’s first come, first served).  Thankfully, writing this stuff gets me a reserved seat or I would have missed out.  The show is always worth seeing because it’s not at all unusual for the best singers from the Montreal programme to move onto the Ensemble Studio.

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An anti-Valentine

selig_franz_josefToday’s lunchtime recital in the Richard Bradshaw Amphitheatre was a recital of Schubert and Strauss songs on the theme “Love’s Dark Shore”.  The performers were German bass Franz-Josef Selig, in town singing King Marke in Tristan und Isolde, and the COC’s own Rachel Andrist at the piano.  There wasn’t much about “Love” in the pieces chosen but there was plenty of death, depression and despair.  One might think it would be a complete downer but nobody could possibly be depressed witnessing the artistry of Selig.

Those who have heard Selig in Tristan know that he has a massive voice.  It was fascinating to hear him turn it to lieder.  He is a very German lieder singer in the best possible way.  He enunciates with great clarity and gets full value out of the meaning of every phrase.  He clearly loves the texts.  He also manages his huge voice wonderfully.  Mostly he sang quite quietly with beautiful legato and perfect control but when he wanted volume it was there in abundance and without strain.  He also has a real range of tone colour and sheer beauty of tone.  Often he sounded more like a baritone than a bass but he could get almost tectonically low when he needed to.  It was very impressive.  Rachel’s accompaniment was perfectly fine too though I think most of the audience was focussed on the voice.

I did hear a few grumbles about the unrelieved darkness of the material but I felt the works suited the singer and it was, as these things are, a fairly short programme so the lack of variety didn’t really bother me.  All in all, a very worthwhile way to spend one’s lunch break.

First of the year

Cameron McPhail - Photo by Chris Hutchson- Jan 8 2013Yesterday saw the first free lunchtime concert of 2013 at the Four Seasons Centre.  Five singers from the COC’s Ensemble Studio gave us a programme of works by Mozart and Salieri, mostly comparative rarities.  I enjoy hearing the singers of the Ensemble Studio because it’s not just a chance to hear some good singing but also to see how voices are developing and make some guesses about whether one is seeing a future star.

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