How to portray a group of people obsessed with music in a rather formalistic and rules driven way like the characters in Wagner’s Die Meistersinger von Nürnberg? The directorial team of Jossi Wieler, Sergio Morabits and Anna Viebrock, for their production at t6he Deutsche Oper Berlin in 2022, decided that the answer was to set it in a Conservatory.
Wednesday’s lunchtime concert in the RBA featured three faculty members and two students from the Schulich School’s early music programme. It was quite a varied programme. It started with Dario Castello’s (1602-1631) Sonate concertate in stile moderno, Prima Sonata à due soprani which is a very early example of the sonata form played here by two violins (presumably the due soprani) with harpsichord and cello continuio. Quite interesting and very well played. Another very esarly piece followed; Frescobaldi’s Partita sopra la Follia for solo harpsichord. Again, unusual, interesting and very well done.
The second concert in this year’s West End Micro Music Festival took place at Redeemer Lutheran Church on Friday night. Titled Alchemical Processes it featured a mix of early and modern works written or arranged for some combination of string quartet (Jennifer Murphy, Madlen Breckbill – violins, Laila Zakzook – viola, Philip Bergman – cello), harpsichord (Alexander Malikov) and clarinet or bass clarinet (Brad Cherwin).
It started out with Bach’s Concerto in A Major BWV 1055 arranged for string quartet, harpsichord and clarinet. It was enjoyable. Originally written for harpsichord and string orchestra, any loss of richness in the strings by only having one player on a part was compensated by the additional colours of the clarinet.
Il cappello di paglia di Firenze is a farce by Nino Rota, probably better known as a composer of film music particularly associated with Fellini. It’s playing right now at UoT Opera in a production directed by Jennifer Tarver. It’s an ambitious show. There’s a clever two level set, designed by Michelle Tracey,; indoors on an upper level and outdoors at stage level, and clearly a lot of thought and work has gone into both sets and costumes. The direction and choreography (Anna Theodosakis) is involved and makes use of the full space of the MacMillan Theatre with comings and goings all over the place energetically executed by quite a large cast. Continue reading
So you are a nerdy kid who lives next to a weird family. So weird in fact that they eat “naked spaghetti” and one day the police show up to find that your contemporary has dismembered his father alive with a hacksaw (a joint Christmas present from their mother/wife) and put the bits in a cardboard box labelled “Some Assembly Required” to a repeated sound track of “Raindrops keep falling on my head”. That’s how Monster by Daniel Macivor starts and it’s an unforgettable image that recurs as recollection, dream and film scene throughout a 75 minute one actor tour de force by Karl Ang in the Studio at Factory Theatre.
Last night saw the first of two performances of Purcell’s Dido and Aeneas at Trinity-St. Paul’s. It was a collaboration between the UoT Schola Cantorum and the Theatre of Early Music though where one starts and the other ends I’m none too sure! Before the Purcell we got a fine performance of an early solo violin piece; Heinrich Ignaz Franz von Biber’s Passacaglia in G Minor played by Adrian Butterfield.
Once in a while one comes across a really impressive new opera and I would put The Lord of Cries; music by John Corigliano, text by Mark Adamo, into that category. It’s an example of how opera is good at telling “big stories”. In this case the base material is Euripides’ Bacchae but Adamo has relocated it to 19th century London and very cleverly layered onto it the core elements of Bram Stoker’s Dracula to create a multi-layered and subtle psychological thriller.
Continue readingSo here goes with a video recording of one of those 19th century Paris operas that nowadays, if they get done at all, tend to get done in an inferior Italian version. We are talking Donizetti’s 1840 opera La favorite written for l’Opéra de Paris. The recording is of a production given at the Teatro Donizetti in Bergamo in 2022 and it’s clear that both director and conductor have gone to some lengths to get as close to the spirit of the work as possible. I think by and large they succeed.
Slow Rise Music (Tristan Zaba and McKenzie Warriner) presented a concert called here be sirens on Saturday night at the Tranzac. Apparently it’s their third concert but they are new to me and I’m really happy to find a new collaboration of young musicians putting on quite experimental shows of the kind I saw last night. It’s something that was common enough before the plague but has been slow making a comeback.
First some late calls for November:
