Yesterday Matthew Cairns and Rachel Kerr performed an unusually wide range of songs in the Richard Bradshaw Amphitheatre. It’s part of Matthew’s prep for his CBC recording session which was part of the prize at last year’s Centre Stage and which will be broadcast in the new year. They kicked off with a contrasting pair of Duparc song’s. First came the almost dreamy L’invitation au voyage with it’s arpeggio accompaniment followed by the much more dramatic Le manoir de Rosemonde. These really set the tone for the recital. There was power where it was needed but also considerable delicacy from both singer and pianist.
Driftwood Theatre’s Bard’s Bus Tour touched down at Withrow Park yesterday evening in near perfect conditions for their lightly updated musical version of A Midsummer Night’s Dream. D. Jeremy Smith’s production is cleverly constructed to cover off all the bases with a cast of only eight and with the minimal staging possible for an outdoor touring production. The updating makes the Mechanicals into Oshawa auto workers. The music is largely integral; parts of the text being set to music by Kevin Fox and Tom Lillington further adapted and performed by Alison Beckwith with support from various members of the cast. There are cuts and the whole piece runs about an hour and forty five minutes without an interval.
It was the last concert of Confluence’s inaugural season last night. The theme was “At the River” and the venue the rather splendid (if somewhat popish) St. Thomas’ Anglican on Huron Street. It rather epitomized what I have come to expect, and love, from this series. The musical styles on display were eclectic; classical, folk song, pop/rock, jazz with East and South Indian, Middle Eastern and Indigenous elements all well to the fore. There was also some poetry including an unintentionally hilarious piece in praise of the idyllic Don River. There was also a large and accomplished ensemble and a lot of joy and sheer fun.
What do you get when you take nine multi-talented musicians from a variety of musical backgrounds and give them a Purcell toy box to play in? You get the latest concert in the Confluence series; ‘Tis Nature’s Voice: Henry Purcell Reimagined. It’s an amazingly fun evening that completely blows the cobwebs off the often stuffy Toronto baroque music scene. I can’t do a number by number account because I completely lost track. I was having way too much fun.
Larry Beckwith’s innovative new series of concerts, Confluence, has just announced an addition to the season.
The first is a salon concert; Music Has No Borders: In Memory Of Walter Unger on March 4, 2019 at 7:30 pm. It will take place at 7:30 pm on Monday March 4th in The Atrium at 21 Shaftesbury Avenue and will feature lectures and performances by Canadian composers John Beckwith and Alice Ping Hee Ho, pianist Gregory Oh, bassist Andrew Downing and clarinetist Majd Sekkar. Tickets are available at the door and at bemusednetwork.com for $25.
Last night’s Confluence concert in the intimate space of the Ernest Balmer Studio; Sovereignty Voiced, was a fascinating mix of material celebrating various aspects of Indigenous culture and its interplay with Western arts. Marion Newman and Ian Cusson performed excerpts from two of his song cycles; Five Orchestral Songs on Poems of Marilyn Dumont and A Breakfast for Barbarians. Marion also gave us a few of her own songs including the wicked Appropriation Aria and the Kinanu, which she wrote for her sister; given here with Marion on hand drum, Larry Beckwith on violin and Ian at the piano.
But this was much more than a concert of Indigenous themed art song, enjoyable though that part was. There was also singer and drummer Aqua Nibii Waawaaskone with some of her own songs and actor Cole Alvis with stories about discovering his Métis roots. Poet Armand Garnet Ruffo read from his poems inspired by the paintings of Norval Morrisseau.
If the rest of the Confluence series is this thought provoking it will be a notable addition to the Toronto music and arts scene.
The demise of Toronto Masque Theatre was never likely to lead to the retirement of Larry Beckwith from the Toronto scene and it hasn’t. He’s back with a new concert series called Confluence that describes itself as a “a new interdisciplinary, cross-cultural multi-media (many-hyphened) project”. There’s a Pay What You Can kick off next Sunday, 16th September, at St. Thomas’ Church at 383 Huron Street at 2.30pm where there will be performances and readings featuring many of the season’s artists plus food and drink.