The Pilgrim’s Way

Saturday night saw the inaugural concert of the Toronto Mendelssohn Singers; the professional core of the much larger Toronto Mendelssohn Choir, at Trinity St. Paul’s with Jean-Sébastien Vallée conducting.  There were four pieces on the programme; one very substantial and three shorter works.  Things kicked off with a pleasant but essentially conventional arrangement by Dierdre Robinson of Steal Away. This was followed by an Arabic piece by composer-in-residence Shireen Abu-Khader called I Forgive where the choir was joined by soloist Raneem Barakat.  This dealt with the short life and death of Egyptian LGBTQ activist Sarah Hegazi and was rather beautiful with intriguing Arab influences especially in the solo part.  Then came Elgar’s Lux Aeterna arranged for choir by John Cameron.

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Lionel Daunais – mélodies.songs

Daunais - Mélodies - SongsThis recent Centrediscs release contains 27 songs (a generous 76 minutes of music) written by Québecois singer and composer Lionel Daunais in the mid 20th century. The songs really fall into two distinct groups. Some are art songs written for concert hall performance while others are works in a more popular style written for a wider audience. The art songs are very French; the others distinctly of Quebec.

The art songs set quite a wide range of texts but there’s a definite leaning towards the symbolist poets of the early 20th century. There’s some Tristan Klingsor and more Paul Fort; a poet rather under-represented in song given his stature and huge output. There’s even one text in similar style written by Daunais himself. Besides the symbolists there’s some Ronsard and Boileau and even a translation of a 13th century Arabic text. There’s some variation in these songs but a strong tendency to languorous settings of poems about unrequited love though sometimes the subject matter becomes more surreal as in Fort’s “Le diable dans le nuit” or the setting more up tempo as in the anonymous “L’innocente”. In many ways these Daunaissongs are not very different from much of the output of composers like Poulenc or Duparc. Fans of that style of chanson will likely enjoy these songs too. Continue reading

The Gods look down

Robert Carsen’s 2021 production of Monteverdi’s Il ritorno di Ulisse in patria was recorded at the Teatro della Pergola during the Maggio Musicale Fiorentino. The theatre, opened in the 1660s and very much a “renaissance theatre”, is very much part of the production; the loge boxes are used during the prologue, entrances are made through the unusual parterre (individual chairs not rows of seats) and the gallery behind the stage is used by the gods to observe the action below. Monteverdi used three distinct styles of music for gods, royals and lesser folk, Carsen mimics this by giving the three orders distinct costume and acting styles. The gods (and there is the full pantheon, not just the ones who appear in the opera, each with his or her distinctive emblem), costumed in opulent crimson 16th century style costumes, act in a stylised manner. The royals get smart modern dress and naturalistic acting while the others are scruffier and act more broadly.

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Truth and Reconciliation at Koerner Hall

Yesterday was the second National Day for Truth and Reconciliation.  The Royal Conservatory and Koerner Hall marked it with a free concert curated by Denise Bolduc, Mervon Mehta and Sarain Fox who doubled up as an extremely engaging host for the evening.

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Up next…

More shows to enjoy…

  • hr_BengalTigerWebBannerOctober 11th to November 6th at Crow’s Theatre it’s Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo.  “During the chaos of the 2003 American occupation of Iraq the lives of two American marines intersect with an Iraqi gardener as they search through the rubble of war for friendship, redemption, and a toilet seat made of gold.”
  • Jarrousky1October 26th at 8pm at Koerner Hall Philippe Jaroussky is appearing with Ensemble Artaserse.  It’s a rare chance to hear somewhat controversial countertemor Jaroussky sing with orchestra in an ideal venue.  The concert includes works by a range of baroque composers.  Some of the material is relatively familiar; “Cara sposa” from Rinaldo for example, but much is by less well known composers such as Hasse and Ferrandini.  Artaserse Ensemble is a leading period instrument band that, besides Jaroussky, has appeared with such singers as Cecilia Bartoli and Andreas Scholl.
  • October 27th – 30th at Alliance Française it’s Tapestry’s Tapestry Briefs: Les Shorts qui chantent.  This will showcase scenes created at the very first bi-lingual LibLab.  Direction is by Tim Albery.
  • October 26th to November 12th at Hart House Theatre, Howland Company and Hart House Theatre have a modern adaptation by Paolo Santalucia of Chekhov’s Three Sisters.
  • November 3rd at 5.30pm it’s Centre Stage at the Four Season’s Centre, live for the first time in a while.  It’s the usual format; cocktails and snacks, a competition for aspiring voices and, for the well heeled, an on-stage dinner.

If you are buying tickets look out for deals.  There’s a fair bit of discounting going on.  Some shows have clearly sold very well but others not so much.  The post pandemic bounce back looks a bit anaemic right now.

Opera Sustenida’s Il Trovatore

Opera Sustenida was started during the pandemic and came to my attention because of a couple of well produced on-line shows.  Feeling very strongly that it’s time to move back to live performance, and not seeing much yet from the smaller opera companies, I could hardly overlook Opera Sustenida’s show, even if I might not have chosen Verdi’s Il Trovatore for my first go at a live production.

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The Drawing Room

Confluence Concerts opened their season yesterday at 918 Bathurst with a concert featuring a new work by Ian Cusson and André Alexis.  We’ll come to that because before it there was about 45 minutes of music doing what Confluence does; the relatively unexpected.  There were arrangements for various combinations of voices and instruments of songs by the likes of Kate Bush, Coldplay and Neil Young.  There was an instrumental version of Bruce Cockburn’s Pacing the Cage (Larry Beckwith – violin, Andrew Downing – bass) and a Mozart violin sonata (Beckwith and Cusson) plus an intriguing percussion solo by Bevis Ng and more.  It featured the usual suspects; Larry Beckwith, Andrew Downing, Suba Sankaran, Dylan Bell and Patricia O’Callaghan plus Messrs Cusson and Ng and it was fun.

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Choral Splendour

Soundstreams opened their season on Wednesday night at Koerner Hall with a concert of modern music for string orchestra, electronics, percussion and chorus.  The first, and most substantial work, was Paul Frehner’s LEX, being given its world premiere.  It sets diverse texts; quotes from Einstein, Newton’s laws of motion in the original Latin[1}, fragments of the Old testament in Hebrew, extensive passages from Michael Symmons Roberts’ Corpus etc.

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The Golden Cockerel

Rimsky-Korsakov’s The Golden Cockerel is a pretty weird opera.  It’s a satire on Nicholas II’s performance as tsar written just after the disastrous 1905 war with Japan and due to entirely unsurprising trouble with the censors it wasn’t performed in the composer’s life time.  As you may imagine, a production of it by Barrie Kosky doesn’t make it any less weird.  Kosky’s production was recorded at Opéra de Lyon in May 2021 and there are still some COVID artefacts.  The chorus, for instance, is masked.  But mostly it feels like a “normal” production.

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