Monica and Judy

Yesterday’s Mazzoleni Songmasters recital featured the relatively unusual combination of soprano Monica Whicher accompanied by Judy Loman on harp.  It was a very well constructed and executed afternoon of song.  Each set had something to offer.Th first set was of English songs of the 16th and 17th centuries including the very lovely O Death Rock Me Asleep attributed, almost certainly inaccurately, to Anne Boleyn.  All very touching and harp seeming very appropriate for songs which were likely intended for lute accompaniment.

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More Lessons in Love and Violence (and frustration!)

I requested a review copy of the Blu-ray release of George Benjamin’s Lessons in Love and Violence when it came out in December.  There was a bit of a hiatus in supplies from them which resumed again recently but when several packages arrived without the Benjamin piece I decided I was out of luck so I wrote a review based on a copy of the BBC’s broadcast of the work.  That was two days ago.  Today the Blu-ray arrived!  I’ve watched enough of it to convince myself that I only need to make minior changes to the review which I have done.  The revised review is here.

Les Adieux: A Poetic Diary

This was baritone Sam Chan and pianist Stéphane Mayer’s farewell to the Ensemble Studio.  It was an all Schubert program; Poetisches Tagebuch (Schulze), the Impromptu in G flat and the Goethe Lieder.  It was a very classy performance by any standards.  There was no need here to make allowances for “young artists”.  One would have been happy to pay Koerner Hall prices to hear a recital of this quality.

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Stéphane Mayer and Samuel Chan performing in the Canadian Opera Company’s Free Concert Series in the Richard Bradshaw Amphitheatre, photo: Dan Truong

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Lessons in Love and Violence

George Benjamin’s latest opera Lessons in Love and Violence debuted at Covent Garden last year.  It was broadcast on the BBC and is still available on the web from Arte and has also been released on DVD and Blu-ray.  This review is based on the Blu-ray version.

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Soundstreams’ Seven Deadly Sins

Humans seem to have a deep need to classify things.  Why else would one try to summarise the totality of human failings into a sevenfold taxonomy but Pope Gregory’s list of “Deadly Sins” seems to have the enduring ability to inspire artistic endeavour.  Weill’s ballet chanté and Anthony Powell’s description of a louche evening at Stourwater (The Kindly Ones) being but two of the most memorable.

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Frustrating Idomeneo

Opera Atelier’s current production of Mozart’s Idomeneo is frustrating, especially given their recent run of good form.  It, unfortunately, combines a fussy, rather pointless production with histrionic antics and uneven singing.  It’s just not good enough.

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Innocent revels

purcellWhat do you get when you take nine multi-talented musicians from a variety of musical backgrounds and give them a Purcell toy box to play in?  You get the latest concert in the Confluence series; ‘Tis Nature’s Voice: Henry Purcell Reimagined.  It’s an amazingly fun evening that completely blows the cobwebs off the often stuffy Toronto baroque music scene.  I can’t do a number by number account because I completely lost track.  I was having way too much fun.

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L’Enfance du Christ

enfanceduchristI got hold of the recent Chandos recording of Berlioz’ L’Enfance du Christ largely because I wanted to take a look at the Super Audio CD format.  On that subject my thoughts are here.  But it was also a chance to listen to a piece I was entirely unfamiliar with.  I’m glad I did.  It’s quite beautiful music; lyrical rather than dramatic, except perhaps in the early sections where Herod is having a hissy fit.  I can see why it’s not done very often though.  It calls for seven soloists plus chorus and a big orchestra.

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The actual Paris Orphée

Gluck’s Orfeo/Orphée is one of those works where things get a bit complicated because an Italian and a French version wre produced and then all kinds of mash ups of the two versions.  It’s a bit like Don Carlo/Don Carlos or Guglielmo Tell/Guillaume Tell.  The original Orfeo ed Euridice, which premiered in Vienna is quite short and has Orfeo written for a castrato.  The Paris version spreads the piece out over three acts, adds both new vocal music and lots more dance music and has Orphée written for haut-contre.  Today, when people do the French version they usually cut some of the new music and use the higher Orphée music; casting either a mezzo or a counter-tenor.  This is true of both recordings  (Paris 2000 and Munich 2003) which have come my way in the past.

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