Saturday’s concert at Koerner Hall featuring Stewart Goodyear and others has been rescheduled for the usual reason. The new date is February 9th next year; same time, same place.
Stewart Goodyear concert postponed
Reply
Toronto Operetta Theatre announces live season
So the latest Toronto organisation to announce a return to “live” is Toronto Operetta Theatre. There are three shows:
- Oscar Straus’ A Waltz Dream will play December 29th, and 31st and January 2nd and 4th. The cast includes Andrea Nuñez, Scott Rumble, Elizabeth Beeler, Keith Klassen and Greg Finney. Derek Bates conducts.
- Offenbach’s Orpheus in the Underworld will be presented on February 16th, 18th, 19th and 20th. The cast includes Vania Chan, Tonatiuh Abrego, Ryan Downey and Rosalind McArthur with Derek Bates again conducting.
- Finally, there’ll be the premiere of Michael Rose’s musical, A Northern Lights Dream. This will play May 5th, 6th and 7th with Natalya Gennadi, Karen Bojti, Ian Backstrom, Daniela Agostino and Stephanie O’Leary.in the cast. Suzy Smith conducts.
All three shows will play at the St. Lawrence Centre. At time of writing two shows in each run will be restricted to 50% capacity though I imagine that could change before May.
Lise Davidsen sings Luonnotar
My main reason for getting my hands on a new CD of mainly orchestral music by Sibelius featuring the Bergen Philharmonic and Edward Gardner was to listen to the couple of tracks that feature soprano Lise Davidsen. I first saw her with the TSO in 2019 and I thought she was great.
The most substantial piece is Luonnotar which is drawn from the Kalevala and tells the often told story of the universe being created from an egg. This is big orchestra Sibelius ad Gardner is not afraid to go to the extremes in the contrasts of dark and light and, of curse, volume. Davidsen sings with great beauty and no sign at all of stress all through her range, even over a sometimes very loud orchestra. It’s all super smooth and really impressive.
Lovesongs
Soundstreams’ on-line concert, Lovesongs, recorded in Koerner Hall and streamed (access codes are PWYC, min $7) features three works; two by and one “in homage” to Claude Vivier with an intro by Lawrence Cherney and David Fallis who conducts on the first and third pieces.
Cathedral City
Cathedral City was the (2010) debut album of Missy Mazzoli’s ensemble Victoire. All the tracks are music composed by Mazzoli and give a pretty good feel for her non-operatic output. It’s been described as a “distinctive blend of post-rock dreamscapes and quirky minimalism” and that seems as good a description as any. Virtuosic instrumental playing is mixed with live vocals, electronics and distorted recorded speech fragments. Often the material is looped and the basic acoustic changed to create a different sound scape. The music is by turns, drivingly energetic, brutal and gently lyrical. It’s like the work of no other composer I know and I find it really compelling.
Welcome Party
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.
operaramblings 