Singer songwriter sorta

st1Thursday night’s Conflunce Concerts show at Heliconian Hall was titled Songs from Toronto and consisted of songs by Toronto singer-songwriters arranged for a larger ensemble by Andrew Downing.  And by larger ensemble I mean various combinations of string trio, double bass, guitars of sundry varieties, vibraphone and piano.  To further spice things up some of the songs were sung by Teiya Kasahara who is a rather different Fach than the average singer in this genre.

I have very limited exposure to Toronto’s singer-songer writer community (I didn’t even know it was a “thing”) and so it’s hard to assess where last night departed from some sort of norm or not or to assess whether arranging for a larger ensemble enhanced the experience or detracted from the intimate nature of someone singing their own stuff in their own way.  FWIW I do have a fair bit of experience with singer-song writer music from the British isles and Atlantic Canada and I know that can work pretty well with a band.  Think Liza Carthy or Billy Bragg for example.

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Staircases

Staircases is an unusual and interesting show currently being presented at Trinity St. Paul’s by Tafelmusik.  The show is the brainchild of Alison Mackay collaborating with baritone Jonathan Woody.  Who knew a “simple” set of stairs could carry so many meanings?  We are taken from ceremonial staircases at Versailles and the Vatican to the banks of the frozen Thames to the hidden meanings of the Monument to the Great Fire and more to a most surprising conclusion.  All of this rooted in the idea of the rock staircase on Mount Parnassus that leads to the home of Apollo and the Muses.

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Norcop and Koldofsky Prize recital 2024

Thursday lunchtime in Walter Hall saw the 2024 edition of the annual recital by the winners of the Norcop Prize in Song and the Koldofsky Prize in Accompanying.  This year’s winners are mezzo-soprano Nicole Percifield and pianist Minira Najafzade.

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GGS Carmélites delivers

Poulenc’s Dialogues des Carmélites is a very unusual opera.  It breaks all the rules and yet, done well, is an immensely compelling piece of music theatre.  There are no show stopper arias.  The ensemble numbers are mainly drawn from Catholic liturgy.  And yet it maintains a coherent and compelling narrative arc that builds steadily to an emotionally devastating conclusion.  The Glenn Gould School’s current production at Koerner Hall directed by Stephen Carr gets all the elements right and makes for a memorable evening at the opera.

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April preview

april24Here are some upcoming shows for April:

Music

  • First, a late March Show.  Yu Dun and Royce Vavrek’s Pulitzer winning opera Angel’s Bone, about human trafficking, comes to Harbourfront Centre Theatre March 22nd to 24th.  More information here.
  • On the 6th the Happenstancers have a concert; Being Pascal Dusapin, at Redeemer Lutheran.  We are promised a “a portrait concert in palindromic form” featuring music by Dusapin, Kaija Saariaho and Samy Moussa.

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No One’s Special at the Hot Dog Cart

Charlie Petch’s No One’s Special at the Hot Dog Cart is a one man show about his experiences as a hot dog vendor in Toronto and his subsequent life working as a 911 dispatcher, on the front desk of an ER and as a hospital bed allocator.  It’s currently being presented by Theatre Passe Muraille and Erroneous Productions.

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Collage and poster design by Emily Jung | Pictured: Charlie Petch

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Winterreise with the Toronto Mendelssohn Singers

I’ve seen Schubert’s Winterreise done many ways.  There’s the classic one with baritone and piano and more rarely soprano (including a memorable performance by Adrienne Pieczonka as a passing cold front battered the hall!).  I’ve seen it done with projections and three singers and I’ve seen made into a film.  So there’s nothing particularly outré about arranging it to add a choir to baritone and piano.  The choir can function as Greek chorus or alter ego or whatever.  Any way that’s what Gregor Meyer did and what the Toronto Mendelssohn Singers conducted by Jean-Sébastian Vallée performed when they joined forces with Brett Polegato and Philip Chiu at Trinity St. Paul’s on Saturday night.

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Maeve Palmer’s Met debut

Metropolitan United Church that is.  Not the other place.  Anyway, it was a very pleasant Thursday lunchtime recital in which Maeve was accompanied on piano by Helen Becqué.  It was essentially a “turn of the century” (as in around 1900) programme.

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The first set was Debussy’s Ariettes Oubliees.  The six songs are very Debussy.  Maeve sang them idiomatically, in excellent French and with a fair amount of variation in emotional intensity from quite restrained to exuberant.  She does “exuberant” rather well.  Equally excellent and idiomatic playing from Helen who also provided a bit of a break between song sets with pieces drawn from the Preludes Op. 12 of Luise Adolpha Le Beau.

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Dana H

Dana H, by Lucas Hnath, is a rather unusual piece of theatre.  The sole actor, Jordan Baker, lip synchs to tapes of Dana Higginbotham (Lucas’ mother) being interviewed by Steve Cosson.  In these interviews she relates the events of five months of her life where she was kidnapped and held prisoner by a psychotic member of a racist criminal gang.

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Satisfying Cendrillon from UoT Opera

UoT Opera’s spring production; Massenet’s 1899 opera Cendrillon, has been transferred to the Elgin Theatre with the MacMillan currently out of commission.  They have made some sensible accommodations to the rather unfriendly Elgin acoustic.  The orchestra is reduced to about thirty players and placed at floor level in front of the stage.  Almost all the stage action takes place right at the front which helped significantly with voice projection.

Pandolfe & Servants

Pandolfe & Servants

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