The Glenn Gould School gave the first of two performances of Mozart’s Die Zauberflöte at Koerner Hall on Wednesday evening. The production is directed by Allison Grant and is pretty straightforward, though quite heavily cut. The “look” is maybe Miyazaki animation (costumes by Alex Amini) with a minimalist backdrop (Kim Sue Bartnik) which is enlivened by interesting projections by Nathan Bruce and quite striking lighting by Jason Hand. There’s a sort of dumb show during the overture that the Director’s Notes imply is something to do with the opera being about a dysfunctional family (what opera family isn’t?) but the idea isn’t developed at all.
Category Archives: Performance review – RCM
The Journal of Helène Berr
Helène Berr was a student at the Sorbonne in the 1940s. She was musical, well read and kept a journal. One looks at her photograph and one sees exactly what one expects; regular features, not too much makeup, nicely cut hair. All in all a typical young middle class Parisienne of the period. But she was Jewish and, ultimately deported to Auschwitz and then Bergen-Belsen, where she was killed just days before British troops liberated the camp on 15th April 1945.
Late night in Temerty
Always one of my favourite concerts, the annual late night one in Temerty Theatre which forms part of the 21C festival. As usual on Saturday night Brian Current was conducting the GGS New Music Ensemble. This time it was two new Canadian works plus a 1994 piece by Luca Francesconi. Continue reading
Imani Winds and Michelle Carr
The opening concert of this year’s 21C festival was given by the Imani Winds (Brandon George Rule – flutes, Toyin Spellman-Diaz – oboe, Mark over – clarinet, Kevin Newton – horn and Monica Ellis – bassoon) and pianist Michelle Carr in Mazzoleni Hall on Saturday evening. It was a programme of 20th and 21st century works with a kind of French/jazz theme.
Barbara Hannigan with Bertrand Chamayou at Koerner Hall
Thursday evening saw one of Barbara Hannigan’s comparatively rare Toronto appearances. This time it was part of a ten city tour with pianist Bertrand Chamayou. It was a three part programme with no intermission. First up was Olivier Messiaen Chants de terre et ciel. Like the better known Poèmes pour Mi these are reflections on family and religion.

Double bill from the Glenn Gould School
Friday night the Glenn Gould School presented a pair of French chamber operas in Mazzoleni Hall. The pieces were Ravel’s L’enfant et les sortilèges and Debussy’s Prodigal Son with a new English language libretto by Ashley Pearson. Pearson’s libretto concerns a gay man estranged from his family so director Mabel Wannacott’s linking idea is that the principal character in both is the same person as a child and twenty years later.

Les Violons du Roy
Quebec based Les Violons du Roy performed on Sunday at Koerner Hall with soprano Karina Gauvin and contralto Marie-Nicole Lemieux. The music was all drawn from Handel’s English language oratorios and featured orchestral pieces and a number of arias and duets. These works are some of my favourites so I was a bit surprised that I didn’t enjoy the concert as much as I expected.

Ema Nikolovska comes home
Mezzo-soprano Ema Nikolovska made her Koerner Hall recital debut on Sunday afternoon just twenty-six years after first enrolling at the Royal Conservatory of Music. It was clearly an emotional occasion for her and justified the barely choked back tears in her introduction. The emotion though did not negatively affect her singing which was notable for, among other things, great control; emotionally and technically.

GGS Carmélites delivers
Poulenc’s Dialogues des Carmélites is a very unusual opera. It breaks all the rules and yet, done well, is an immensely compelling piece of music theatre. There are no show stopper arias. The ensemble numbers are mainly drawn from Catholic liturgy. And yet it maintains a coherent and compelling narrative arc that builds steadily to an emotionally devastating conclusion. The Glenn Gould School’s current production at Koerner Hall directed by Stephen Carr gets all the elements right and makes for a memorable evening at the opera.

Music to Accompany a Departure
Heinrich Schütz’s 1636 work Musikalische Exequien is sometimes described as the “first German requiem”.. It was performed last night at Koerner Hall by the excellent LA Master Chorale and their conductor Grant Gershon in a staged version directed by Peter Sellars; following up on their 2020 performance of the Lagrime di San Pietro.



