Last Wednesday’s lunchtime recital was given by soprano Lauren Fagan; currently appearing as Tatyana in the COC’s Eugene Onegin, and pianist Rachael Kerr. Things kicked off with a selection of three songs from Berg’s Sieben Frühe Lieder. What struck me here, apart from some really nice expressive singing, was Lauren’s ability too spin a line out coherently.
On Wednesday evening I went back to the Four Seasons Centre for another look at the COC’s production of Berg’s Wozzeck. I was really impressed with the show on opening night (my review on bachtrack.com) and was interested to see whether a second look would give some insights into a production that is visually fascinating almost to the point of overload.
Michael Kupfer-Radecky as Wozzeck and Anthony Robin Schneider as the Doctor
My review of the COC’s production of Berg’s Wozzeck that opened on Friday is now up at bachtrack.com.
Wozzeck continues at the Four Seasons Centre until May 16th.
Photo credit: Michael Cooper
#bachtrack
Wednesday’s lunchtime concert in the RBA was given by Ensemble Studio graduates Samuel Chan and Rachael Kerr, reuniting for the first time since ES days. Nowadays Sam is Fest at Theater Kiel and the recital was built around his attempt to probe his identity as a Chinese-Canadian performing Western opera for (mostly) Germans. Sam is a pretty deep, thoughtful kind of guy so it wasn’t surprising that this was an unusual and carefully curated recital. It was also quite wonderfully performed.
This year’s art song mentors for Toronto Summer Music; Dame Sarah Connolly and Joseph Middleton, gave the traditional recital in Walter Hall on Tuesday evening. Those who braved flooded streets and spotty TTC service enjoyed a treat. It was a carefully curated and beautifully performed collection of songs.
Rose in Bloom is a new recital CD from coloratura soprano Erin Morley accompanied by Gerald Martin Moor. It’s a bit of a mixed bag. There’s some really nice singing and playing but some of the music choices leave me a bit cold.
Saint-Saëns “La libellule” is a good start. It’s quite dramatic with opportunties for Morley to show off her considerable coloratura chops. It’s followed by Rimsky-Korsakoff’s “The Rose Enslaves the Nightingale” which is quite exotic with oriental touches and allows Morley to display a more lyrical side. Berg’s “Die Nachtigall” shows she can sing classic German Lieder with style and feeling and then there’s a bit of a chance to show off with Saint Saëns four minute long vocalise “Le Rossignol et la Rose”.
The COC has just announced it’s 2024/25 season. It’s a mixed bag. There are some very welcome examples of operas not seen in Toronto for a long time and a new co-commission. There’s a perhaps surprisingly earlier than expected remount of Eugene Onegin plus Madama Butterfly yet again but at least it’s a “new to Toronto” production. There are no new/new productions and no COC Theatre production though there’s one performance of a concert version of Cavalleria Rusticana at the Four Seasons Centre. It’s a bit light on star power too though there are plenty of opportunities for home grown favourites.
A scene from William Kentridge’s Wozzeck – photo: Ruth Walz
Tuesday’s lunchtime recital at the Four Seasons Centre was given by soprano Sara Schabas and pianist Isabelle David backed up by some (mercifully concise) musicological/historical background from Robin Elliott. The concert was in two parts. The first celebrated the work of Austrian-Jewish composers active in Vienna in the first third of the 20th century. The second was a song cycle in Yiddish celebrating the Jewish immigrant experience in New York.
Infinite Voyage is billed as the final album from the Emerson Quartet capping a long and illustrious career. It’s also a collaboration with Barbara Hannigan so it’s perhaps not surprising that it includes music by Berg, Schoenberg and Hindemith though Chausson’s Chanson perpétuelle belongs to a rather different style.
The disk starts with Hindemith’s Melancholie, Op.13. It’s quite a sparsely scored piece and Hannigan’s treatment of the text is interesting and quite individual. There’s a rhythmic flexibility, almost caressing the words. It’s especially marked in the third stanza “Dunkler Tropfe”. I’m not familiar enough with the piece to judge how unusual Hannigan’s treatment is or isn’t but I think it really works.
Sehnsucht is the title of a new CD from Barbara Hannigan and friends. It features three works in new arrangements for voice and chamber ensemble. Hannigan sings Berg’s Sieben frühe Lieder in an arrangement by Reinbert de Leeuw. Baritone Raoul Steffani sings the Vier Gesänge Op.2 in an arrangement by Henk de Vlieger. There’s also a performance of Mahler’s Symphony No.4 in an arrangement by Erwin Stein. The eleven member Camerata RCO is conducted by Rolf Verbeek.
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