Summer Night

summernightSummer Night is a CD of songs by Healey Willan produced by the Canadian Art Song project and due to be released on the Centrediscs label next month.  Willan is best known as a composer of church and choral music but he also wrote over 100 songs and song arrangements, many of which have not been published, let alone recorded.  There are 28 songs on the CD ranging in composition date from 1899 to the late 1920s.  Most are original settings of the text though a few are arrangements of existing songs; either traditional or by Burns.

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Ensemble Studio Competition 2019

The Ensemble Studio Competition again last night.  Seven singers were competing with Ben Heppner’s jokes for cash prizes, champagne and, possibly, a place in the COC Ensemble Studio.  There’s one thing I think is vital to understand about the Ensemble Studio Competition.  The judges have been working with the singers for a week.  The audience gets to hear them sing one aria.  It’s easy to see why there isn’t always concurrence between the hall and the judging table.  (That’s my excuse anyway).

contestants

The contestants with Alexander Neef and Johannes Debus

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Old Songs, New Songs

Yesterday Matthew Cairns and Rachel Kerr performed an unusually wide range of songs in the Richard Bradshaw Amphitheatre.  It’s part of Matthew’s prep for his CBC recording session which was part of the prize at last year’s Centre Stage and which will be broadcast in the new year.  They kicked off with a contrasting pair of Duparc song’s.  First came the almost dreamy L’invitation au voyage with it’s arpeggio accompaniment followed by the much more dramatic Le manoir de Rosemonde.  These really set the tone for the recital.  There was power where it was needed but also considerable delicacy from both singer and pianist.

Matthew Cairns Rachel Kerr -5895

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Komitas at Koerner

Last night’s concert at Koerner Hall was a celebration of the life and work of Armenian composer and song collector Komitas on the occasion of his 150th birthday.  Unsurprisingly Koerner was packed with members of Toronto’s Armenian community.  Sometimes I feel uncomfortable at events like this; unable to really appreciate what the music means in its home culture, but last night what I felt was joy and inclusion.  It was an extremely well curated concert of rather beautiful music extremely well performed.

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King Arthur recreated

king arthur gabrieliPurcell’s King Arthur is a problematic work.  It was originally written as a sort of praise poem for Charles II showing the inevitable ascent to glory of the Stuarts from earliest days.  Unfortunately Charles died and his brother lost his job before the piece could be given.  The staunchly Protestant court of William and Mary wasn’t much in favour of a celebration of crypto-Catholic Charles by openly Catholic Dryden and it wasn’t until Dryden and Purcell needed a new commercial project that it reemerged with various cuts, insertions and reworkings to get it past the censorship.  No reliable record exists of what was actually performed in that first commercial run so for their new CD release Paul McCreesh and the Gabrieli Consort have used a mixture of considerable erudition plus impressive musical nous to reconstruct something that is plausibly like what audiences in the 1690s might have heard.

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The Palace of the Dreamking

potdkPeter Greve is a Dutch composer of works for various forces all of which could, I suppose, be considered tone poems as they all have thematic/storyline elements.  The “stories” for the pieces on the CD can be found here.  Stylistically Greve is eclectic but very satisfying to listen to.  The Palace of the Dreamking, perhaps unsurprisingly, has a Nordic feel to it particularly in the opening passages.  It’s tonal and almost Sibelius like but then it gets agitated, percussive and more dissonant but for returning to a more elegiac mood.  He has a real gift for melody too.

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First half of November

I think it’s time to get back to doing two listing posts per month as the schedule is getting pretty busy.

On November 1st at 8pm Karina Gauvin is appearing at Koerner Hall with the Pacific Baroque Orchestra in a programme of opera arias from 18th century St. Petersburg.  The following night at 7.30pm, in Mazzoleni Hall, the Glenn Gould School has its fall production.  This time it’s Jonathan Dove’s Siren Song.  Curiously UoT Opera is also doing a work by Dove this season.

Karina_Gauvin

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News, news, news

Various new production and season announcements…

LooseTEA Theatre have announced their season.  November 2nd to 4th, at Heliconian Hall, there’s a double bill of Anne Frank operas.  Singing Only Softly music by Cecilia Livingston, libretto by Monica Pearce and Alaina Viau will be presented with The Diary of Anne Frank by Grigory Frid.  The singers are Sara Schabas and Gillian Grossman and Cheryl Duvall will be at the piano.  Alaina Viau directs.  December 3rd to 5th , also at Heliconian, they will present the production version of Carmen #YesAllWomen.  (My thoughts on a 2016 WIP version).  This version will combine voices (Erica Iris and Keith Klassen), chamber orchestra and turntables (SlowPitchSound).  The libretto is by Alaina VIau and Monica Pearce, the music by Samuel Bisson.  Alaina Viau directs and Scott Christian conducts.  Tickets for both shows are available at www.looseteamusictheatre.com.

loosetea

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Rusalka – Dream or Nightmare?

David McVicar’s production of Dvořák’s Rusalka opens with a prelude while the overture plays.  We see the Foreign Princess and the Prince.  She appears to be upbraiding him and he is drinking hard.  Are we seeing a failed/forced marriage that in reality the Prince made rather than some preferred alternative?  Is what we see over the next three and half hours some dream version of what might have been?  In this most Freudian of operas, why not?

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