Welcome Party is a new record of music by British-Armenian composer Cevanne Horrocks-Hopayian. Much of it is inspired by her residency with the LSO at 575 Wandsworth Road. That house, now a National Trust property, was the home of Kenyan born polymath and poet Khadambi Asalache, who decorated it with his own wood carvings and murals. Asalache’s poetry provides the texts for several pieces and others are inspired directly by the house and its contents. The house is also a factor in the composer’s visual scores which sometimes use visual elements in the house to shape the music and inspire the improvisatory passages. COVID looms large on the album too; from personal tragedy to the conditions under which many of the recordings were made. Continue reading
Mozart is Dead
As live music slowly rises from the tomb in Toronto we greet any new initiative with enthusiasm. When it comes from the fertile creative imagination of Brad Cherwin and friends we get even more excited. Mozart is DEAD aka the West End Micro Music Festival is a series of three concerts at the Redeemer Lutheran Church at 1691 Bloor Street West (close to Keele subway). The concerts are at 7.30pm on three successive Fridays; November 26th, December 3rd and 10th. In the first the Interro Quartet reinvent the string quartet, in the second we are promised “thickets of cables” transforming “single voices into otherwordly and ethereal choruses” and in the last we get a fresh take on music by Mozart, Stravinsky and Francaix.
More details and tickets are available here. It’s free for students and about $20 per or $50 for all three for grown ups.

Bach III
The third and final concert in Confluence Concerts and the Toronto Bach Festival’s presentation of the Bach cello suites is now on line. It features Andrew Downing playing the Suite No.2 in D minor BWV1008 on double bass and Ryan Davis playing the Suite No.5 in C minor BWV1011 on viola. Both pieces were recorded in front of a live audience at Heliconian Hall.

TCO’s Nabucco
Toronto City Opera performed a concert version of Verdi’s Nabucco at St. Andrew’s church on King Street yesterday afternoon. It was strictly a concert version with the principals singing off music stands with no attempt at interaction. The principals were costumed, which helped keep straight who was who and recitative was eliminated in favour of a spoken summary before each scene. That made sense as there were no surtitles. Accompaniment was piano.

Act 1 Finale. L to R. Lauren Estey (Anna), Cristina Pisani (Abigalille), Lillian Brooks (Fenena), Corey Arnold (Ismaele), Michael Robert-Broder (Nabucco), Dylan Wright (Zaccaria), with the TCO Chorus
MixTape
MixTape opened at Crow’s Theatre last night. It’s a one woman show conceived, written and performed by Zorana Sadiq. It’s a complex show and I describe it with some trepidation a i think the whole is considerably greater than the sum of the parts into which I must decompose it. Structurally it’s a mixture of story telling, stand up comedy, recital and recorded music facilitated by Sadiq’s training as a classical singer; Master of Music as she half proudly, half tongue in cheek informs us at one point. The music is eclectic; ranging from Neil Diamond and Michael Jackson to Messiaen and Nusrat Fateh Ali Khan. It all points to life stages and life events and to a growing realisation that music, and indeed sound, can be much more than we imagine in our first explorations of it. Some of the music is recorded but much is performed, expertly, by Sadiq. There are also, of course, references to the infamous “mx tape” and the limitations of cassette tape technology.

Cigarettes and anisette
Missy Mazzoli and Royce Vavrek’s opera Song From the Uproar: The Lives and Deaths of Isabelle Eberhardt is based on the journals of Isabelle Eberhardt; a Swiss explorer, mystic and writer who roamed the deserts of North Africa before her untimely death at the age of 27. It was conceived as a multi-media opera and staged as such at The Kitchen in New York in 2012. A studio CD recording was made by the original cast soon after. One can get a s sense for the look and feel of the stage piece from the trailer for the original show which is still available on Youtube.
Transcendent
Transcendent is a CD from the Asia/America New Music Institute (AANMI). It features works by six American and Asian composers performed by Davóne Tines, Matthew Aucoin and members of the AANMI Ensemble in various combinations.
The first set is two settings of Walt Whitman by Matthew Aucoin for baritone and piano (. The poems are The Sleepers and A clear Midnight. They alternate a sparsely accompanied lyrical vocal line, beautifully sung by Tines, with much denser passages for the piano, played here by the composer. It’s interesting music and supports the text well.
Glenn Gould School’s Svadba
My review of the Glenn Gould School’s production of Ana Sokolović’s Svadba is now up on Opera Canada.

On Stage, Left to Right: Camila Montefusco, Maria Milenic, Elena Howard-Scott,
Chelsea Pringle-Duchemin, Mélissa Danis, Katelyn Bird. In Front: Peter Tiefenbach. Photo: Kjel Erickson
Palej premiere
This one’s a bit different. COSA (Centre for Opera Study and Appreciation) have a stream of a new opera by Norbert Palej coming up. It’s called The Art of Love and it’s drawn from various works by Ovid including the obvious one but also, as best I can tell, Medicamina Faciei Femineae and Metamorphoses. It’s sung in Latin (there are subtitles for those whose Latin is less than fluent) with animations by Sean Stanley. There are two overlapping casts with some very decent singers including Ryan Downey and Alex Hajek. It’s playing tonight and the next three nights at 7.30pm with alternating casts.

Oldest living Tosca
The recently released recording of Puccini’s Tosca from the Wiener Staatsoper was recorded in 2019 but, as best I can tell, the production, by Margarethe Wallmann, dates back to 1957 and it feels that old. It’s entirely literal and, beyond basic blocking, the singers appear to have been left to their own devices as far as acting goes. It also clearly was not designed with video in mind. Cavaradossi’s execution is quite remarkably unsanguine.
