It’s seven years since Elizabeth Krehm died and last night we heard the seventh memorial concert organised by her sister Rachel at Christ Church Deer Park. As ever I was amazed and delighted at the resources the extended Krehm family can draw on. The Canzona Chamber Players Orchestra is essentially a scratch operation but in the hands of conductor Evan Mitchell it’s always a pleasure to listen to.
There’s something very special about a song recital by a really good singer at the top of his/her game in a space conducive to song. The stars conjoined yesterday to yield a recital by Adrianne Pieczonka with pianist Rachel Andrist in the song friendly acoustic of Mazzoleni Hall, as part of the Mazzoleni Songmasters series.
Toronto City Opera’s latest show, at the Al Green Theatre, is Offenbach’s Tales of Hoffmann. It’s a pretty good choice for TCO since, even with cuts, there’s plenty of fun stuff for the chorus to do and Jessica Derventzis’ production keeps a good chunk of them on stage pretty much throughout. The production concept is straightforward. It gets a late 19th century setting and the three acts are framed as presenting Hoffmann’s story to the group of drunken students. It’s unfussy and works.
UoT Opera’s fall production is Mozart’s The Marriage of Figaro which opened last night at the MacMillan Theatre. It’s a period production directed by Michael Patrick Albano set in the “Opera 18th Century”; more Chatsworth than palace near Seville, but it looks pretty, the action is skilfully composed and the physical comedy works.
So finally to see a show I’ve been thinking about a lot; TapEX:Augmented. It’s simultaneously a show about technology and about using technology in the opera house. The plot concerns the product launch of Elysium; a cloud based afterlife using machine learning to curate (and augment) the customer’s best memories and create their ideal eternity.
Last night various bits of the early music side of the UoT Faculty of Music, plus guests, put on a performance of Purcell’s King Arthur at Trinity St. Paul’s. I’m pretty familiar with the piece from both audio and video recordings (though this was my first time live) but it was clear last night that most people really don’t know the work and I suspect that the way the work was presented was not especially helpful for them.
The program contains detailed notes by director Erik Thor about his thoughts on presenting a “problem piece” without really explaining why King Arthur is a problem or why he made the choices he made. We are told it’s about conquest and erasure but not how and why it differs from what most people seem to expect when they see the title King Arthur. In short, it’s a highly fictionalised version of the very old Welsh stories about the resistance of the (Christian) Britons to the (Pagan) Saxons. Forget Geoffrey of Monmouth, Tennyson, TE White and Monty Python. Oddly, Merlin, perhaps the one character anyone would recognise, is cut here. The work itself is also a bit incoherent largely because Dryden (the librettist) tried to recast what was originally a court spectacular to the glory of Charles II as something that would work in the theatre and pass the censorship under William and Mary!
The latest release on the Chandos label from Sir Andrew Davis consists of three works by Sir Arthur Bliss; The Enchantress, Meditations on a Theme by John Blow and Mary of Magdala.
The Enchantress was written for Kathleen Ferrier and premiered in 1951. The text is a free adaptation of the Second Idyll of Theocritus by playwright Henry Reed. The preface to the score tells us that: