Last night Confluence Concerts streamed their latest offering; a tribute to Henry Purcell, preceded by a pre-show interview between Larry Beckwith and Andrew Parrott. There was beautifully played instrumental music from Victoria Baroque, songs from Lawrence Williford and Lucas Harris recorded at the Elora Festival and a couple of interesting takes on If Music Be the Food of Love plus Two Daughters of this Aged Stream featuring Daniel Taylor, Rebecca Genge and Sinéad White plus instrumentalists from the UoT Faculty of Music Historical Performance Department. I was less taken with Duo Serenissima (Elizabeth Hetherington, soprano and David Mackor, theorbo). I can’t tell whether it was the recording acoustic or a diction issue but the words were pretty much unintelligible which is a big problem with Purcell!.
Last night’s virtual salon by Confluence; Let’s Stay Together, featured an extremely, if unsurprisingly, eclectic selection of music and poetry and some serious techno-wizardry. Two numbers featuring Suba Shankaran and her technical whizz husband Dylan Bell exemplified the techy side. Come Together was an overdubbed. live looped, east meets west version of the Lennon and McCartney number in which the pair built up layers of sound incrementally. Meditation Round, which rounded out the evening, was a moving new work by Suba dealing with how we need to move forward, not back, as life, perhaps, returns to some sort of normality. There was an almost 16th century quality to the music and the performance in which pretty much everyone took part remotely. Brilliant mixing and post production here backing up an extremely affecting work.
This year the TSO used the Mozart arrangement for Handel’s Messiah (though, naturally enough, with the original English text). I have mixed feelings about it. It’s not hugely different in sound to whichever of Handel’s versions one is used to and it’s definitely not one of those 20th century versions for 100 piece orchestra and massed choirs but I’m hard pressed to see what the point is other than it’s Mozart.
Loose Tea Music Theatre’s Carmen #YesAllWomen has been in the works for three years. It went “live” this week with a production at Heliconian Hall. It’s an intriguing show. Dramatically and musically it’s recognisably based on Bizet’s Carmen but only just. In Alaina Viau and Monica Pearce’s version the principal male character is one John Anderson, an Afghanistan vet with PTSD, his rival for Carmen is a rapper, Maximillian aka Hot God, and Michaela is Anderson’s estranged wife.
Samuel Barber’s Vanessa doesn’t get performed much and the recently released recording of the 2018 Glyndebourne production is the only video version available. It’s pretty interesting, if perplexing at times, and I’m not as convinced as many of the people interviewed in the “extras” portion of the disk that this is an “under-rated masterpiece”.
This is what would happen if the opera singing love child of Noel Coward and Sylvia Plath was encouraged by his therapist to perform on “Grownups Read Things They Wrote as Kids”. – Isaiah Bell
Isaiah Bell’s The Book of My Shames has something in common with Teiya Kasahara’s Queer of the Night. Both are one queer shows dealing very directly and honestly with aspects of being queer and both are very impressive singers. There perhaps the comparison pretty much ends for while Teiya’s show was about the tribulations of being gay in the opera world Isaiah’s piece is about growing up gay in a seriously dysfunctional environment.
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.
Opera Atelier has announced its 2019/20 season. As usual there are two main stage shows. The first is a revival of their 2011 production of Mozart’s Don Giovanni. It runs from October 31st to November 9th, 2019, in the Ed Mirvish Theatre. It’s a production that plays up the comedy and the elements of the commedia dell’arte in the piece while pretty much eschewing anything deeper or darker. The cast includes Douglas Williams as the Don with Stephen Hegedus as Leporello, Colin Ainsworth, as Don Ottavio, Meghan Lindsay as Donna Anna, Carla Huhtanen as Donna Elvira, Mireille Asselin as Zerlina, Olivier Laquerre as Masetto, and Gustav Andreassen as Commendatore. beautiful Ed Mirvish Theatre. David Fallis conducts.
I finally got to see Rufus Wainwright’s new opera Hadrian, to a libretto by Daniel Macivor, at the Four Seasons Centre last night. There’s been a lot of hype around it and I was interested; the few bits of music from it that I had heard intrigued me but I’m no fan of his earlier work Prima Donna. One thing was certain. The piece does not lack ambition. There are four acts totalling something like 160 minutes. There’s a large cast, a large orchestra, a large chorus and an epic storyline. It’s clearly an attempt to produce a “grand opera” for our times. Does it succeed?
Tapestry Opera is collaborating with Toronto Pride Week to put on a “queerated opera series” called Pride Toronto, Tap This. There are three shows:
Cocktales with Maria showcases Drag Chanteuse / Contralto Profundo Maria Toilette (Joel Klein) and her small motley crew (the Gutter Opera Collective). They will present Isaiah Bell’s settings of Cocktales: rapacious and tender 1st person retellings of early sexual experiences. June 8th and 9th at 9pm.
Queer of the Night features Soprano Teiya Kasahara subverting the tropes of women in opera with her trademark butch couture and powerful coloratura in cooperation with collaborative pianist, David Eliakis. June 7th at 9pm and June 9th at 4pm.
Tap This: Queers Crash the Opera is a selection of queer-themed opera curated by David Eliakis. It features selections from the classics as well as Tapestry original works. June 7th and 8th at 8pm.
All shows are at the Ernest Balmer Studio. More info and tickets here.