Song of the Earth

Last night’s final Koerner Hall event in Toronto Summer Music started off with Mozart’s Violin Concerto No. 5 in A Major.  It’s a tuneful, well constructed piece which in places riffs off Romany music, hence its nickname “Turkish”.  Jonathan Crow was the soloist with a small orchestra drawn from all the area’s major orchestras plus TSM Fellows.  Gemma New conducted.  It was very satisfying.  The orchestra was excellent and the interplay between solist and orchestra worked very well.  It’s quite a demanding piece for the soloist and I really enjoyed the sound that Jonathan produced.  He plays an instrument with a rather distinctive timbre which worked well here.  I’m curious about the first movement cadenza.  I don’t know the work well enough to knoew what the options are but this one was very virtuosic though sounding distinctly post-Mozartian.

sote1

Continue reading

Coming Up

There are a couple of interesting concerts coming up in the last week of the Toronto Summer Music Festival.  On the 24th at 7.30pm in Walter Hall you can see Collectìf in a “spooky” programme.  Collectìf is a group started by Danika Lorèn and friends.  They do shows that incorporate staging, art song and video and they are never boring.  (They also do adult cabaret but that’s another story!).  Wednesday’s show is called Beyond Perception: What Haunts Us Now and features three sections.  The first is built around the theme of La Dame Blanche, the second features Mahler’s Kindertotenlieder and the last deals with the myth of Daphne and Apollo.  Recommended.  And as an added incentive for operaramblings readers there’s a discount code OR10 which will get you $10 tickets.  Tickets from the Royal Conservatory Box Office online, in person or by phone.

July-24-Collectif

Continue reading

The conclusion of the aria prelims

Last night the final eight aria contestants performed.  Canadian mezzo Marie-Andrée Mathieu was up first.  Meyerbeer’s Nobles seigneurs, salut! showed genuine mezzo colours, good control and some dramatic flair.  Parto! Parto! was pleasant but not as dramatic as one might expect.  Certainly the range of emotion on display was markedly less than Emily D’Angelo the day before.  Amour, viens rendre mon âme from Gluck’s Orphée showed she could handle long runs.  So it was a solid performance but maybe not at the level needed against this field.

AriaQuarterFinalsII-3.jpg

Continue reading