I think my best recent discovery on the web has been Wigmore Hall’s Youtube channel. There’s a wealth of material in various genres but, from my point of view, the real glory are the song recitals. I’ve seen particularly good ones from Gerry Finley and Sarah Connolly and, more recently, really well thought out programmes from Allan Clayton and Stephanie Wake-Edwards and from Ema Nikolovska. Many readers will remember her “virtual” Toronto Summer Music recital a few months ago. This one is just as good!
No substitute for “live”
My contribution to Opera Canada‘s Critical Response COVID Q&A series is now up on their website. It’s the second in the series with an earlier contribution by Lydia Perovic.
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Rota double bill
Nino Rota was a composer and academic perhaps best known for his film music. He wrote the scores for all of Fellini’s films and for the first two Godfather movies. He also wrote several operas; most of them comic. Two of his one actors were performed and recorded at the 2017 Reate Festival.
Covid fan tutte
Covid fan tutte is the best opera thing I’ve seen come out of the pandemic yet. It’s from Finnish National Opera and it uses the music of Così fan tutte (mostly) and a new libretto (in Finnish natch) to poke fun at every aspect of the current situation. To quote the blurb:
On stage, singers are rehearsing Die Walküre, when they are suddenly interrupted. As management has been laid off and the news of a global virus spreads rapidly, the Wagnerians are suddenly instructed to perform a modern satire on the situation.
It’s fully staged with a socially distanced orchestra and a virtual chorus. There appears to have been some sort of live audience in the house. They weren’t mucking about here. Both Karita Mattila and Esa-Pekka Salonen are involved. Bottom line; it’s very well done and genuinely funny with a few really sad bits like where a man sings an aria to his mother to the closed window of the old people’s home. There are subtitles for those whose Finnish isn’t up to it.
You can find it on Youtube on the Operavision channel. Brexit supporters should stay away as Operavision is funded by those nasty cultured foreigners, the EU.

Tcherniakov’s psychiatric take on Pelléas et Mélisande
How much of Pelléas et Mélisande did Maeterlinck or Debussy intend to be taken literally? Probably not much and that’s certainly where Dmitri Tcherniakov is coming from in his 2016 production for Opernhaus Zürich. In this version Golaud is a psychiatrist who has brought his patient; the deeply disturbed Mélisande, to live in the Arkel family home. It’s a typical Tcherniakov construct in some ways; a multi-generational haut bourgeois family living in some considerable style but where nothing is quite what it seems to be.

More season announcements
I’ve just received news of programming into the fall and beyond from Tapestry, Toronto City Opera and Loose Tea Music Theatre.
Tapestry have announced three livestream concerts to be shown on their Youtube channel.
- October 24th 8pm: jazz pianist Robi Botos will be improvising on Tapestry’s amazing Bösendorfer Imperial Grand in live collaboration with an Art Battle Toronto artist, creating something new and unique.
- November 7th: The first episode of S.O.S. Sketch Opera Singers. It’s a collection of short opera sketches like the LibLab with an amazing line up of composers, librettists and performers. Check out the details.
- November 28th at 8pm there’s a collaboration between husband and wife duo soprano Xin Wang and saxophonist Wallace Halladay directed by Michael Mori and featuring the music of Ana Sokolovic.
Tapestry have also introduced a free “membership program” to create added value for their audience. Details here.

Sad news
The death of Canadian soprano Erin Wall at the far too young age of 44 from complications due to metastatic breast cancer was announced a couple of days ago. She was a regular performer in Toronto with both the TSO and the COC, as well as internationally, and a well respected colleague respected for her supportive attitude to younger singers.
Take the Dog Sled
And now, as they say, for something completely different. Take the Dog Sled is a short piece in eight movements by Canadian composer Alexina Louie scored for instrumental ensemble and Inuit throat singers. The movements have titles like Bug Music and Sharpening the Runners on the Dog Sled. The style is mostly a kind of high energy playful minimalism with quite a lot of percussion and percussive effects from other instruments. It’s often quite onomatopoeic. There are also some quite beautifully, hauntingly evocative passages. The throat singers are used sparingly but to good effect.
The least unexpected news ever
The official press release announcing the cancellation of the balance of the COC’s “in person” season just arrived in my mailbox. My initial reaction was “this is news?” and then I realised that, yes, this was the first time the official decision had been announced although it was pretty obviously coming when I interviewed Alexander Neef back in July. So there it is. No live opera at the COC until fall 2021. The previously announced virtual fall season goes on as announced and the Ensemble Studio, Orchestra Academy and Artist in residence programs also continue. So it goes.
Alexander Neef and the COC
I’m quite disturbed by some of the things I’ve been reading in the wake of Alexander Neef’s departure from the COC. Much of it seems driven by a kind of cultural chauvinism that I find as unpalatable as other kinds of chauvinism. There’s an underlying (or not so underlying) assumption that a Canadian GD would have looked out for the COC while Neef was just looking out for himself. I have two problems with this. One is the rather obvious point that if you hire someone who is on a career trajectory they are going to devote some time and energy to their career. It doesn’t mean they won’t get the job done for you (and likely better than a mediocrity) because if they don’t that career trajectory will disappear rather rapidly. ny organization hiring a high flyer knows this..