Falling into September

Life slowly returns to some version of normal.. Here’s what I’m seeing so far for Sptember.

  • 5th September – Apocryphonia have a PWYC concert at St. Thomas’ Huron Street featuring music from the Hundred Years War.
  • 11th September – Lucy Kirkwood’s The Welkin opens at Soulpepper.  Previews are the 4th to the 10th with the  run extending to October 5th.
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Brews, Beauties and Brawlers

So on Saturday night at St.Olave’s CE I finally managed to catch a concert in the Apocryphonia series.  It was titled Brews, Beauties and Brawlers and was billed as “classical” meets “punk”.  It was a collection of pieces for piano, solo voice and/or choir and organiser Alexander Capellazzo had recruited four voices of each type with soloists coming from the group.  Narmina Afaniyeva was at the piano.  Everybody (and some of the audience) had dressed for the occasion!

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March 2025

So what looks fun in March?

  • March 1st (Dydd Gŵyl Dewi Sant) Apocryphonia have a “classical meets punk” concert called Brews, Beauties and Brawlers at St. Olave’s Anglican Church at 7.30pm.  PWYC.
  • March 5th Canadian Art Song Project have their annual gig at noon in the RBA.
  • Crow’s Theatre have a new adaptation of Measure for Measure in the Studio Theatre.  Previews on the 6th and 7th, opening on the 8th and running to March 16th.

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Sing to Me Again

Apocryphonia has been around for three years or so but Sunday evening at Heliconian Hall was the first time I managed to catch one of their concerts.  I like that they don’t do mainstream repertory, rather seeking out much less well known works, and Sunday was no exception.  It was actually a collaboration with Syrinx Concerts and the show was in two parts.  The first part featured baritone John Holland and tenor Alexander Cappellazzo with pianist Ivan Estey Jovanovic performing 20th century songs mostly from Eastern Europe and the Caucasus while the second featured works from the same area arranged for oboe (Caitlin Broms-Jacob) and piano (Madeline Hildebrand).  I say “mostly” because each half included a piece by Toronto’s Srul Irving Glick.

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