Last night’s TSO performance of Britten’s War Requiem was a bit of a mixed bag. There were things to like but, overall, I was not greatly moved; which I expect to be by this work, and it seemed like a very long evening for one work of modest length.
Let’s start with the positives.Tatiana Pavlovskaya was as good a soprano soloist as I have heard in this piece. She sang with enough power to be a distinct voice in all but the very densest sections of the music while maintaining an admirable sweetness of tone without the almost customary screechiness. The Toronto Children’s Chorus was excellent. Toby Spence’s diction was top notch with every word clear. There was some really nice playing from the chamber orchestra, especially the strings. The last fifteen minutes from the blood curdling Libera Me to “let us sleep now” had the right balance of terror and lyricism though, even here, there could have been more drama. Where was the frisson at “I am the enemy you killed my friend”? Continue reading →
Wouldn’t that make a really good title for a pipe tune? But that aside Peter Oundjian is marking the end of his long run as Music Director of the TSO with a series of three Beethoven 9ths with Kirsten MacKinnon, Lauren Segal, Andrew Haji, Tyler Duncan and the Toronto Mendelssohn Choir joining the TSO. I caught the second yesterday evening. It’s always a bit odd listening to a piece one has been familiar with for years. Will I hear or learn something new tonight? Will this performance probe the nature of the piece like I have never heard it probed? The Tafelmusik performance and recording of this piece did just that. I felt I was hearing it for the very first time. Alas, the only new thought I had last night was about how repetitive certain sections are. So there it was, an OK run through but no more. The soloists were fine, though perhaps possessing a weight of voice better suited to Tafelmusik at Koerner than the TSO in full cry in the unforgiving sonic deserts of Roy Thomson. I did think Ms. MacKinnon and the sopranos of the choir managed the fiendishly high setting of their part (probably a good job that Beethoven didn’t have to listen to complaints from his sopranos) very well. Nice work from the piccolo accompanying them too. Otherwise it was a bit unremarkable though that didn’t stop the obligatory idolatry from the RTH audience. Heaven knows what would happen if they ever heard a truly great performance…
I went to Roy Thomson Hall last night to hear an all Vaughan Williams program conducted by Peter Oundjian. It’s not really my thing but there was a fine quartet of soloists lined up for the Serenade to Music.
Things got going with the Fantasia on “Greensleeves” which was perfectly OK if a bit hackneyed. There was a decent account of the Concerto for Oboe and Strings with Sarah Jeffrey as the soloist. Then there was the Serenade. For some reason the soloists were lined up with the choir (the Elmer Iseler singers) behind the orchestra. The result was sonic mush and textual porridge. I caught exactly one word of the text; “stratagems” for what it’s worth. The rest was not recognisable as English, let alone understandable. And, of course, it was too dark to read the supplied text. This despite soloists; Carla Huhtanen, Emily D’Angelo, Lawrence Wiliford and Tyler Duncan, who are consistently excellent with text. This is becoming very annoying. As often as not when I go to see the TSO do vocal works the soloists are either inaudible or incomprehensible. I know the hall is difficult but the performance of the Ryan Requiem last week showed that it is possible to showcase singers. I think it’s really unfair to audiences and singers alike. Anyway, I was so fed up that I left at the interval.
Last night’s TSO program started off with a sort of Remembrance Day pot pourri; pipes, bugles, a bit of poetry, an excerpt of Vaughan Williams in between and finally a rather beautiful account of The Lark Ascending with Jonathan Crow playing the solo from high up in the Gallery. Once upon a time the TSO would do Remembrance Day by performing an appropriate work or works, Britten’s War Requiem for example. I think that might actually be a more effective way of remembering.
Last night’s TSO concert was billed as a Tribute to Maureen Forrester with Ben Heppner MCing. Inevitably the main even was Mahler’s Das Lied von der Erde but first there was a sesquie and the premiere of a new piece; L’Aube, for mezzo and orchestra by Howard Shore (he of Lord of the Rings etc). This was a setting of five poems by Elizabeth Cotnoir. It was retro, lush, tonal and, in a sense, well crafted but with very little variation between the movements, all of which were very slow. Susan Platts rich mezzo added to the rather soporific effect. Call me an unreformed modernist if you like but I’m really not sure what a piece like this adds to the symphonic repertoire.
Adizokan is a collaboration between indigenous production company Red Sky and the TSO. The program last night kicked off with a “sesquie”. This time it was Blood Echo by Carmen Braden. It was about as memorable as most of the sesquies have been. This was followed by Fara Palmer singing her own composition My Roots about the residential school system and cultural survival. It’s in a pop idiom with native drumming and while musically it’s not my thing it had to be there.
It was an unusual double bill at the TSO last night; the premiere of Alexina Louie’s Triple Violin Concerto and Brahms’ A German Requiem. The concerto is an interesting piece. It’s got a layered, shimmery quality that sounds quite modern without going off into territory that would frighten the punters. It also makes excellent use of the three virtuoso soloists for whom it was written; Jonathon Crow, Yosuke Kawasaki and Andrew Wan; concertmasters respectively of the the TSO, the NAC Orchestra and l’Orchestre Symphonique de Montréal. It clever plays the combinations of having soloist dialogue with soloist and soloists dialoguing individually and collectively with the orchestra. Very enjoyable.