There were, of course, many Beethoven 250 events planned for 2020 and few of them happened. One, planned for Vienna, was to stage all three versions of Beethoven’s only opera; Leonore (1805), Fidelio (1806) and the final form that modern audiences mostly know, Fidelio (1814). As far as I know the only one that went ahead was a production of the 1806 version at the Theater an der Wien that was filmed in an empty house and has just got a release on Blu-ray and DVD. Now, it happens that the 1805 Leonore was staged and recorded by Lafayette Opera in New York the year before. So we can look at all three versions and the evolution of the piece despite the Vienna cancellations. For those who want more details on the New York production, it was reviewed by Patrick Dillon in the summer 2020 edition of Opera Canada and there will be a review, by myself, of the recording in a future edition (probably soon).
Last night Koerner Hall live streamed a concert by the COC orchestra conducted by Johannes Debus with guest soloist Adrienne Pieczonka. It was a mostly Beethoven concert bookended by the Egmont Overture and the Symphony No.2. In between came a set of more Beethoven, Schubert and Wagner sung by Adrienne.
To quote an opera by a rather different composer; “it is a curious story”. It’s the 1810s and in Edinburgh one George Thomson (not the one who became a European commissioner!) had a cunning plan to get various composers to do settings of Welsh, Scottish and Irish folksongs for the domestic amateur music making market. One of the composers he engaged was Beethoven (Haydn and Weber were also involved at various times) and a selection of the songs he produced are recorded on a recently issued Naxos disk.
Larry Beckwith of Confluence Concerts has been using the plague quarantine to listen to the Beethoven string quartets. He’s written up his thoughts on each piece and linked to his chosen recording on Youtube. Here’s what he had to say:
Beginning on Friday, March 20, 2020 and continuing for seventeen days in succession – as the city was shut down due to the COVID-19 pandemic – I turned to a project I intended to engage in at some point in 2020: listening to and reflecting upon the magnificent string quartets of Ludwig van Beethoven, who was born 250 years ago. Those reflections can be found on the Confluence Concerts Blog at https://www.confluenceconcerts.ca/new-blog
It’s as thoughtful as anyone who knows Larry would expect and the blog post for each quartet includes links to the appropriate Youtube recording.
Toronto Summer music has announced the line up (most of it anyway) for this year’s edition on the theme “Beethoven Unleashed”; it being the 250th and so on. The theme has been interpreted to mean Beethoven; those who influenced him and those he influenced, which really doesn’t exclude anybody!
A comparatively rare excursion into purely instrumental music for me last night but the prospect of Sir Andrew Davis conducting Beethoven’s seventh symphony was irresistible.
The “garage piece” was the overture to King Stephen. Probably the most notable thing about this is that it was composed for a play by von Kotzebue who had just turned down Beethoven’s idea of writing the libretto for an opera on the life of Attila the Hun. It’s not a fabulous piece but it was efficiently despatched.
The TSO’s opening concert of the season at Roy Thomson Hall was quite boldly conceived. Basically hand the evening over to the powerhouse duo of soprano/conductor Barbara Hannigan and violinist/conductor John Storgårds and see what they come up with. It was an excitingly eclectic programme which produced some great performances but a sadly disappointing turn out.
The main stage concert for TSM at Koerner Hall last night was given by the Art of Time Ensemble with vocalists John Southworth and Sarah Slean. It’s my first encounter with Art of Time have been around for about ten years and specialise in cross genre collaborations inspired by their founder, pianist Andrew Burashko.
Last night was classical meets singer songwriter. There was an introductory piece by Christos Hatzis, some Schubert, plenty of Gershwin and lashings of Leonard Cohen plus much more (there was no set list and I didn’t take notes). It’s rather out of my usual zone but I enjoyed. Southworth is a really quirky vocalist, exemplified by a rather weird version of The Old Folks at Home; which needed to be weird! Slean is quite a performer; good voice, very funny, great mover. The ensemble was terrific across the board. I’m sold. There are lots of reasons to stretch the boundaries of classical performance. Larry Beckwith does it very well with his Confluence series. Here’s another example.
The late show, also at Koerner, featured Jonathan Crow, Katya Poplyansky, Minkyoung Lee and Allison Rich in a performance of Beethoven’s String Quartet No. 12 in B-flat Major Op. 130 but with a twist. They played the full original version in which the Grosse Fuge Op. 133 forms the finale. So, basically, an hour long string quartet! It was very well done though I confess late Beethoven at 10.30 pm was straining the grey matter.
Wouldn’t that make a really good title for a pipe tune? But that aside Peter Oundjian is marking the end of his long run as Music Director of the TSO with a series of three Beethoven 9ths with Kirsten MacKinnon, Lauren Segal, Andrew Haji, Tyler Duncan and the Toronto Mendelssohn Choir joining the TSO. I caught the second yesterday evening. It’s always a bit odd listening to a piece one has been familiar with for years. Will I hear or learn something new tonight? Will this performance probe the nature of the piece like I have never heard it probed? The Tafelmusik performance and recording of this piece did just that. I felt I was hearing it for the very first time. Alas, the only new thought I had last night was about how repetitive certain sections are. So there it was, an OK run through but no more. The soloists were fine, though perhaps possessing a weight of voice better suited to Tafelmusik at Koerner than the TSO in full cry in the unforgiving sonic deserts of Roy Thomson. I did think Ms. MacKinnon and the sopranos of the choir managed the fiendishly high setting of their part (probably a good job that Beethoven didn’t have to listen to complaints from his sopranos) very well. Nice work from the piccolo accompanying them too. Otherwise it was a bit unremarkable though that didn’t stop the obligatory idolatry from the RTH audience. Heaven knows what would happen if they ever heard a truly great performance…
This afternoon I saw Gerry Finley and Julius Drake in recital at Koerner Hall. In other words, two supreme exponents of the art of lieder at the top of their game in a hall with near perfect acoustics. They performed Beethoven and Schubert settings of Goethe texts, some Tchaikovsky and some Rachmaninoff, which gave Julius ample opportunity to show off. They finished up with settings of folky things by Copland, Barber, Respighi and Britten. The last was The Crocodile; a very silly and funny piece I hadn’t heard before. The encore was by Healey Willans and Gerry gave a very nice plug for the Canadian Art Song Project. Insert standard list of adjectival phrases describing top notch singing and accompaniment. My humble scribing is not worthy.