In my review of Opera Atelier’s production of The Magic Flute I had this t say about Rainelle Krause’s Queen of the Night… “Her coloratura was powerful and pinpoint, and as the applause died down she reappeared and reprised the most spectacular section with additional stratospheric high notes.”
Now you can see the reprise for yourself on Instagram. I wasn’t kidding.
The first concert in Soundstreams’ Encounters series took place at Hugh’s Room on Tuesday evening. It was a presentation of Andrew Balfour’s L’Empire Étrange which is a sort of meditation on the idea of Louis Riel. It begins “Comment chanter Louis Riel, Do you know me?” and that’s the only time his name appears so it’s not, in any way, a narrative of Riel’s life and it’s not hagiographic.
New York Polyphony are a quartet of singers; Geoffrey Williams – counter-tenor, Steven Caldicott Wilson and Andrew Fuchs – tenors and Craig Phillips – bass. On Sky of My Heart they mostly sing unaccompanied but are joined by the LeStrange Viols (Loren Ludwig and John Mark Rozendaal – treble viol, Kivie Cahn-Lipman – tenor viol, Zoe Weiss and Douglas Kelley – bass viol).
The album is a mix of Renaissance and contemporary pieces; most of the latter composed for NYP. They are very good singers with terrific control and a very clean largely vibrato free sound that works well for most of the music on the disk. Some of the material is religious; William Byrd’s setting of Ecce quam bonum, Becky McGlade’s setting of Prudentius’ Of the Father’s Love Begotten and Ivan Moody’s settings of three excerpts from the Song of Songs. All of these are unaccompanied in a churchy sort of style. Continue reading
Sometimes opera directors come up with a twist to a plot hat is illuminating without requiring pretzel logic to actually align it with the libretto. I think Jossi Wieler and Sergio Morabit’s production of Wagner’s Lohengrin for the Wiener Staatsoper in 2024 manages that pretty well.
Toronto Operetta Company’s season opened with a run of a “modified” version of Gilbert and Sullivan’s The Mikado. It had the by now traditional updates predictably featuring numerous references to Mango Mussolini and the odd dig at Metrolinx but the bigger change, and a sensible one I think, was to peel away the the fake japonerie that must have seemed a bit lame in 1885 and is as intolerable as a “traditional” Madama Butterfly today.
On Thursday evening at the Canadian Music Centre soprano Maeve Palmer and pianist Jialiang Zhu gave a recital that explored Irish song in many of its aspects from traditional sean-nós to English language art songs for voice and piano and points in between. I don’t know if there is another country where traditional music and composed contemporary music co-exist in quite the same way, and produce such interesting fusions, so it was really interesting.
Here’s what’s coming up next month as best I know.
Miecysłav Weinberg’s The Idiot, based on the Dostoevsky novel, was composed in 1986/7 but didn’t get a full premiere until 2013 in Mannheim. The neglect of Weinberg’s music in USSR/Russia is probably explained by him being a Polish Jew but why he’s so little known elsewhere is a bit of a mystery as The Idiot shows that The Passenger wasn’t a fluke. Anyway, The Idiot got a second outing at Salzburg in 2024 in a rather complex production by Krysztof Warlikowski.
Some time ago I reviewed Leslie Ting’s CD set What Brings You In; noting that it was music “that was composed for performance as part of an art installation or a site specific performance or as therapy rather than a conventional concert hall experience”. On Sunday I got to hear it as part of Leslie’s show at Theatre Passe Muraille.
It’s always interesting when a top notch baritone (especially a native German speaker) and a first rate concert pianist get together to do Schubert’s Winterreise, which is, I suppose, the pinnacle of the Lieder repertory. That’s what we got at Koerner Hall on Thursday with a performance by Matthias Goerne and Daniil Trifonov.
operaramblings 