Across the Channel

Having been tipped off that yesterday’s RBA noon concert was to be a vocal recital rather than, as previously billed, a chamber concert I made the trip through the snow to catch it.  Three of the Royal Conservatory’s Rebanks fellows were singing with Helen Becqué at the piano and assorted staff and alumni added for the final number.  Attendance was a bit sparse perhaps unsurprisingly given the weather and the evident confusion.  That was a shame because it was an interesting, varied and well presented concert combining well known works with some much less well known fare.

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Tafelmusik – Beethoven Symphony No.9

Beethoven9thThis review first appeared in the print edition of Opera Canada.

Tafelmusik Baroque Orchestra’s Beethoven cycle with conductor Bruno Weil concludes with a recording of the 9th Symphony recorded live at Koerner Hall in February 2016. It’s very much a period instruments recording. This is most noticeable in the strings where the sound is softer than a modern orchestra with less “attack” and significantly less dynamic variation. No doubt the fairly small forces used reinforce this. There are slightly more than 50 instrumentalists in total. Overall, it’s an almost Mozartian sound.

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Haruspication

The usual haruspication ahead of the COC 2017/18 season announcement has been taking place at the Kitten Kondo.  Frankly the giblets are downright confusing this year.  There are some hot rumours and a lot of much less hot stuff leading to much speculation based on the shape of the season and past patterns.  Here’s some of the more probable stuff.  It’s well known that the COC picked up the Carsen Eugene Onegin when the Met was about to bin it so presumably they intend to actually mount it some time.  It’s got to the point where names have been associated with it in multiple places.  Braun, Radvanovsky and El-Khoury have all been mentioned.  Now, having been at the Dima concert at Koerner where the Russian chapter of Hell’s Grannies just about tore the place apart I reckon it should sell like hot blinis so a longish double cast run seems highly plausible.

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The week ahead

There are a couple of events of interest in the coming week.  On Tuesday the free concert in the RBA has been switched from the originally announced chamber concert to a vocal concert featuring the Rebanks fellows at the Glenn Gould School.  It’s a very varied programme including Barber’s Dover Beach with string quartet accompaniment.  The full line up is here.  It’s free and at noon of course.

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Der Freischütz in Dresden

At first blush Axel Köhler’s 2015 production of Weber’s Der Freischütz for Dresden’s Semperoper seems entirely traditional but as it unfolds it reveals some real depth that pretty much restores the sense of horror that the original audience felt.  It’s set in an indeterminate time period in the aftermath of war.  The first act looks quite conventional but there’s a very tense air to it with both sexuality and violence just below, and occasionally above, the surface.  The atmosphere is greatly enhanced by our first look at Georg Zeppenfeld who is a very fine and rather plastic Kaspar.  There are echoes here of his König Heinrich in Bayreuth.

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Mahler; arr. Schoenberg

mahlerschoenbergsongsThis review first appeared in the print edition of Opera Canada.

Schoenberg’s reductions of Mahler’s two great orchestral song cycles; Lieder eines fahrenden Gesellen and Das Lied von der Erde, were made for his “Society for Private Musical Performance” which flourished briefly in post WW1 Vienna. Essentially the orchestral score is reduced to one instrument per part with a few other minor changes. The results are intriguing. Unquestionably some of the grandeur of Mahler’s massive orchestration is lost. This is especially noticeable in Das Lied von der Erde. On the other hand the instrumental textures are greatly clarified and there is much less sense of the singers straining to make themselves heard against a large orchestra. There are still fifteen instrumentalists so the singers are pushed well beyond lieder singing but it does allow for a somewhat more nuanced approach to the text.

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Reconciliation

Yesterday’s free concert in the RBA featured mezzo Marion Newman with pianist Adam Sherkin and violinist Kathleen Kajioka in a programme of contemporary Canadian works (all the composers were in the room!) mostly connected in some way with Canada’s First Nations and Inuit peoples.  First up was Ian Cusson’s setting of E. Pauline Johnson‘s A Cry from an Indian Wife.  It’s a long, highly emotional but not, I think, especially well crafted, text about an Indian woman sending her husband off to war (the language reflects the usage of its day) and the words are not easy to set or sing.  Cusson’s setting is appropriately intense with a blistering piano part and a tough vocal line.  It’s deeply affecting but hardly comfortable especially when sung in a manner that clearly (and rightly) privileged text and emotion over beauty of sound.

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Mother of Light

motheroflightThis review first appeared in the print edition of Opera Canada.

Mother of Light contains a series of works in praise of the Virgin Mary from Isabel Bayrakdarian’s Armenian Church tradition. Origins range from the 5th century to the early 20th. They are performed here in arrangements by Bayrakdarian’s husband Serouj Kradjian for soprano (Isabel Bayrakdarian), cello (Ani Aznavoorian) and female choir (Coro Vox Aeterna conducted by Anna Hamre).

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A Play of Passion

playofpassionThis review first appeared in the print edition of Opera Canada.

The latest CD release from the Canadian Art Song Project features four works by Derek Holman. Three song cycles are performed by tenor Colin Ainsworth with Stephen Ralls at the piano. This team presented all three works in a very fine concert at the Four Seasons Centre in October 2014. For the CD Ralls is joined by Bruce Ubukata for the piano duet, Variations on a Melody by Dr. Arne.

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An experiment

cansI live with a musician.  In an apartment.  My partner practices, as musicians do.  I work at home a lot; both for my day job and my music related writing.  Neither of these are particularly easy to focus on when someone is tuning, playing scales, etc and listening to (other) music is close to impossible.  I’m sure quite a few people reading this face a similar situation.  My situation is further complicated by needing to review Blu-ray/DVD from far enough away from a large screen; which would involve either a ridiculously long (and cat vulnerable cable) or wireless.  Was there a listening solution that would provide sound isolation and decent quality sound?  Ideally, I also wanted something that could double up on a plane as I had found getting anything done on my recent Australia trip close to impossible.

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