Soundstreams 21/22 season

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In what seems to becoming the pattern, Soundstreams has announced a 21/22 season which is virtual for the balance of this year with a possible return to “live” early next year.

The digital performances include a new film, Garden of Vanished Pleasures, directed by Tim Albery with music by Cecilia Livingston and Donna McKevitt inspired by Derek Jarman and his garden.  That’s in September.  Ironically I might see it before Jarman’s own film about his garden which I have had on hold at the TPL since January!

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The Snow Maiden

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Rimsky-Korsakov’s The Snow Maiden is a rather odd opera.  It’s set in some sort of idyllic pre-Christian Russia where the tsar is approachable, just and benevolent and the people spend most of their time drinking and having sex.  Into this world comes Snow Maiden, the fifteen year old daughter of Winter and Spring.  Her parents have various things to do and so decide to park the girl with the local peasantry.  Various romantic complications ensue involving a rather nasty, rich merchant Mizguir and the mysterious Lel, who may be a shepherd but likely isn’t mortal either.  The mating behaviour of the locals confuses Snow Maiden as she is incapable of falling in love.  Eventually Spring grants her that faculty and she gives herself to Mizguir, while really wanting Lel, but the rays of the sun on the first day of summer melt her. The natives ignore her death and get on with singing and dancing.

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Season announcements

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A couple of “season” announcements have come in.  Inverted commas because it’s all rather provisional with more details to come. Opera Atelier is offering a virtual summer/fall season with a reprise of Handel’s Resurrection from July 29th through August 12th.  This time there is a Standard Audio Description; a tool for blind and partially sighted people.  The fall sees the final version of Edwin Huizinga’s Angel released as a film that will stream October 28th through November 12th,  The cast includes Measha Brueggergosman, Colin Ainsworth,  Mireille Asselin, Jesse Blumberg, Meghan Lindsay, John Tibbetts (Opera Atelier debut), and Douglas Williams.  An announcement about a return to in theatre perfomances will be made in January.

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Photo credit: Bruce Zinger

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More online goodies

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The most substantial offering I’ve seen this week is a concert from Toronto Summer Music that aired last night.  It was a song recital by four of the Toronto’s better known young singers with Steven Philcox on piano.  Simona Genga sang some Mahler and some interesting songs by the Basque composer Jésus Gurudi (new to me!).  Clarence Frazer gave us excerpts from Die Schöne Müllerin plus three songs by Butterworth.  No prizes for guessing which three but they were well done.  Jamie Groote sang a set of Jake Heggie songs plus Strauss’ Beim Schlafengehen.  Always excellent to hear Strauss sung well.  Asitha Tennekoon rounded things off with a set from Wolff’s Mörike Lieder and songs by Holman (Fair Daffodils; obligatory CanCon), Gurney and Finzi.  It’s all high class stuff and there’s about 90 minutes of singing.  The platform is Vimeo and it looks and sounds good.  It’s free and available here.

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Bartoli in a trouser role

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Christof Loy’s production of Handel’s Ariodante premiered at the Salzburg Whitsun Festival in 2017 and was reprised later in the year at the Haus für Mozart where it was filmed. It’s notable for marking Cecilia Bartoli’s first appearance in a breeches role. Loy uses this, and the gender ambiguity that abounds in the source material, in a most interesting way. He’s also very fluid about period; modern and 18th century costumes plus 15th century armour are mixed with gay abandon. Using very spare monochrome sets, often backed by 18th century style genre paintings, he creates a very open space within which the details of the production play out.

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One swallow and all that

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Faint signs of something approaching normality are in the air.  Following on from the TSO’s season announcement which promises shows with a live audience (unknown terms and conditions apply), Toronto Summer Music has announced that concerts in the third week of the festival will also have live listeners (as well as live streaming).  There’s a lineup of nineteen concerts at Grace Church on the Hill and tickets are on sale now at $50/each.

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Music for our (grim) times

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In streaming news Soundstreams has added a lovely concert of Ian Cusson’s  Five Songs on Poems of Marilyn Dumont and Raven Chacon’s Ella Llora.  The performers are mezzo Rebecca Cuddy and pianist Gregory Oh.  I really urge people, Canadian or otherwise, to take a look at this.  The news, as it pertains to Indigenous people in Canada, has been really grim in recent weeks and I don’t know anything quite like Dumont’s verse for conveying certain aspects of the Indigenous experience.  She combines, sadness, anger and disarming humour in a way that touches me deeply and Ian’s settings intensify that.  I’ve written about these songs before but never at such a moment.

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In which I review a live concert

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Little did I suspect on March 12th 2020, as I attended UoT Opera’s Mansfield Park, that I would not review another live concert until July 14th 2021 but that’s how the COVID crumbled.  Today I made it to one of Tapestry’s Box Concerts at CAMH on Queen Street.  It was much more fun than my last visit which was for a meeting on infection control in the basement of the dreary old building, now demolished.

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The Csárdás Princess

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Toronto Operetta Theatre’s latest offering is a webstream of Emmerich Kálmán’s 1915 operetta The Csárdás Princess (Die Csárdásfürstin) presented here in English with the usual minor tweaks to the dialogue including obligatory Rob Ford jokes, which have become something of a TOT tradition.  The plot turns on the fact that an Austro-Hungarian aristo, let alone a second cousin of the Emperor, can’t marry someone with fewer than 64 quarterings on their coat of arms, let alone a cabaret singer.  Implausible impersonations etc abound and love triumphs in the end.  It’s all entirely harmless for heaven forfend that anything satirical might have made it past the Vienna censorship, especially in wartime.  And there’s no sex because this isn’t France.  The humour mostly turns on Hungarian antipathy for their Austrian masters.  It’s light hearted and very tuneful fun.

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