As tradition dictates the opening concert of this year’s free concert series in the Richard Bradshaw Amphitheatre was given bt the singers and pianists of the COC’s Ensemble Studio. It was reasonably well attended but the days when people queued around the block for this concert are long gone, which is symptomatic of the general state of the classical music world post COVID.
First up was Queen Hezumuryango with Sesto’s aria “Svegliatevi nel core” from Handel’s Guilio Cesare. All the fire required for a revenge aria was there and some interesting dark colours in the lower end of the voice. I’m not convinced though that it’s a voice I would cast in this role. The darkness of the voice, appealing as it is in many ways, is likely not what Handel; writing for a soprano, had in mind.
Korin Thomas-Smith; last seen by me in his Norcop prize winner recital, gave a very smootgh and polished version of Malatesta’s aria “Bella siccone un angelo” from Don Pasquale. I want to see more of him in opera because he’s a very fine Lieder singer.
Probably pretty much everyone is familiar with Géricault’s painting Le Radeau de la Méduse, depicting scenes of horror after a shipwreck. The story behind it is much less well known. The year is 1816 and a French expedition is off to reoccupy Senegal which had been occupied by the British during the recent wars. The flagship of the expedition is the frigate La Méduse, which carries the governor and his staff and so on. Well ahead of the rest of the flotilla, and out of sight, La Méduse runs aground and is eventually abandoned. The governor, the officers and other nobs take to the boats towing the rest of the crew (154 men and boys) on a hastily improvised raft. Finding progress too slow after 24 hours they cut the raft adrift. When the raft is finally spotted fifteen men are still alive. A fitting allegory for the Bourbon restoration perhaps. 
Here are a few shows that didn’t make it into earlier listing posts:
On Saturday evening the COC presented a teaser concert for their 2023/24 season on the outdoor stage at Harbourfront. The weather stayed fair and there was no more than the usual aural background to distract a little from the music. The full orchestra under Johannes Debus was on display along with half a dozen members of the Ensemble Studio.
So, you may ask, what is Opera Ramblings doing reviewing a recording of Rodgers & Hammerstain’s Oklahoma!? Well, it’s a project in the same vein as my reviewing the Bru-Zane recordings of more or less forgotten late 18th and 19th century French operas. It’s an attempt to put the piece in the context of its early performances and also to look at how it was originally performed for, like many early 19th century French operas, if and when Oklahoma! does get performed it’s usually in a style very different from the original The occasion for doing so is a new Chandos recording that attempts to reconstruct the sound of the original 1943 Broadway run. That the recording is very high definition and released in SACD format only increased my interest.
Saturday afternoon at 27 North Sherbourne Rachel Krehm and Janelle Fung presented an art song recital entitled The Enticing Sky. The material chosen was interesting with a heavy bias to women composers, living composers and Canadian composers; sometimes all three at once.
operaramblings 