And on other media…

220px-Podcasting_icon.svgCanadian Art Song Project has just brought out a podcast on the important issue of how Ingigenous stories and music are represented in Western art music.  Besides regulars Lance Wiliford and Steven Philcox, the podcast features mezzo-soprano Marion Newman and composer Ian Cusson.  You can listen to or download the podcast here

Then on October 13th at 7:30 pm the CBC will livestream Against the Grain’s La Bohème from the Tranzac Club directly to your personal devices via CBC Gem.

Also… Turandot at the COC. My review will be up on Bachtrack once it’s through the editorial process.  I’ll post links.

A couple more things to do

Confluence_Concets_Toronto_Music_Larry_Beckwith_Masque_Unique_ConcertImages-09September 28th is shaping up as a bit daft from a scheduling point of view.  I’ll be at the opening of Turandot at the COC but there are at least two other options.  Confluence have a celebration of Clara Schumann at St. Thomas’ Church on Huron Street at 8pm.  It features pianists Angela Park and Christopher Bagan, soprano Patricia O’Callaghan, actor Alison Beckwith, and violinist Ellie Sievers.  The same day at 4pm Toronto Operetta Theatre have their season opener; Viva la Zarzuela.  It’s at the St. Lawrence Centre and features tenor Rómulo Delgado.  I guess one could just about do that and one of the evening shows.

MIR trio

The MIR trio; Mark Skazintetsky (violin), Igor Gefter (cello) and Rachel Kerr (piano) played a programme of music by Jewish composers in the RBA at noon yesterday.  Most of the music was by contemporary composers but the opening set was the Three Nocturnes of Ernest Bloch.  This is superb music and it was beautifully played.  The first movement; Andante, is quite elegiac but things really kick in with the Andante quieto, which contains a quite lovely melody for the cello before the final Tempestoso which fully lives up to its marking.

COC FCS MIR Trio Marketing-1393 copy

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A Mexican and French afternoon

We went to a recital of French and Mexican vocal music at Heliconian Hall yeaterday.  It was given by soprano Renée Bouthot and pianist Ana Cervantes.  Far the most interesting part sof the programme were the Mexican pieces.  Federico Ibarra’s 1988 setting of Tres Canciones by Lorca was really fine.  The three pieces were quite varied.  Canción has a complex piano part, an interesting vocal line and quite playful interaction between the two.  By no means always to be found in modern art song.  Canción de Cuna has a less interesting, kind of scoopy vocal line but a really virtuoso piano part while the final Canción de la muerte pequeña blends a wildly percussive piano part with dance rhythms in the vocal line.  All three texts are really interesting too.

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What’s on in October

rusalka-1-1I can’t believe an October preview post already.  But here it is.  So what’s on?  Against the Grain’s Opera Pub kicks off again on the 5th at the Amsterdam Bicycle Club.  It’s the usual 9pm start but come really early if you want a table.  The 10th to the 12th sees Amplified Opera’s series of three shows at the Ernest Balmer Studio.  The 11th is the first Toronto date for Against the Grain’s La Bohème tour.  That’s 7.30pm at the Tranzac.  Other dates and other city information here.  The 12th is opening night for Dvořák’s Rusalka at the COC.  Full details on dates, cast, tickets etc here.  On the 19th UoT’s Early Music programme are doing Handel’s Acis and Galatea at the Heliconian Club at 2pm.

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Hannigan at UoT 2019 edition

There was a two part session with Barbara Hannigan at UoT yesterday.  The first part consisted of an open rehearsal/masterclass for the Contemporary Ensemble conducted by Wallace Halladay with Maeve Palmer as soloist of Ligeti’s Mysteries of the Macabre.  The piece is a mash up of three areas for the character Gepopo from the opera Le Grand Macabre.  The basic premise is that Gepopo, the head of the secret police, is trying to warn her boss that the Earth is about to be hit by a comet.  Unfortunately Gepopo has spent so long in the underworld of spooks and spies that she’s utterly paranoid and can only speak in broken fragments and secret codes.  It’s weird and surreal and often funny in a disturbing way.  It’s a piece very much associated with Hannigan who has sung it many times and worked on it with the composer. 

mysteries

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Here we go again

Yesterday, as has become customary, the 11th season of free concerts in the Richard Bradshaw Amphitheatre began with a concert given by the COC Ensemble Studio.  It’s always interesting as there are always new members; some of whom I will be familiar with from UoT or the Conservatory and some not.  It’s also a “level setter” to see how much progress people make during the year because there are usually one or two singers who still seem to be finding their way into their voice.  I really didn’t see any of that yesterday.  I think what I saw and heard was the strongest line up I’ve seen yet with no obvious weak links.

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Hannigan and Storgårds

The TSO’s opening concert of the season at Roy Thomson Hall was quite boldly conceived.  Basically hand the evening over to the powerhouse duo of soprano/conductor Barbara Hannigan and violinist/conductor John Storgårds and see what they come up with.  It was an excitingly eclectic programme which produced some great performances but a sadly disappointing turn out.

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Barbara Hannigan in conversation

Barbara-Hannigan-07750-photocredit-MarcoBorggreveLast evening I attended a session with Barbara Hannigan under the auspices of the IRCPA.  The format was an interview with William Littler followed by audience Q & A.  In many ways it was typical Hannigan.  She came across as smart, incredibly driven, analytical and with quite a wicked sense of humour.  This I have seen before and there wasn’t much about her work methods that added to the information in I’m a Creative Animal.

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Mysterious Barricades

lighthouseMysterious Barricades is a coast to coast series of concerts live streamed throughout the day in aid of Suicide Awareness and Prevention.  I don’t know if there is anyone who has not been affected by someone taking their own life or has been close to it themselves.  I do know that if such a person exists it’s not me.  So attending a concert such as yesterday’s is hard and certainly not conducive to thinking in the way necessary to write a review.  Let’s just say that the programme curated by Monica Whicher was appropriate; from the land acknowledgement by Don McLean that reminded us that suicide amongst Indigenous People is an even bigger problem than in the settler community to the finale chorale.  Comforting too to think that I had friends taking part as far away as Halifax and Kelowna.  But, for all that, a tough day at the office.

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