Fantastique

tsofantastiqueThe Toronto Symphony have a new CD out.  It’s a couple of Berlioz works recorded under the baton of Sir Andrew Davis at Roy Thomson Hall in September 2018.  The first piece is the rarely heard Fantaisie sur la Tempête de Shakespeare for which the orchestra is joined by the Toronto Mendelssohn Choir.  It’s an early piece inspired by one of Berlioz’ unrequited passions (like everything else by Berlioz!) and was considered daringly modern in its day.  It’s said to be the first piece to introduce a harp to the symphony orchestra and it also includes piano four hands.  It’s very colourful and rather brash which is territory that Sir Andrew excels in.  There’s great clarity to both the singing and the playing.

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L’Enfance du Christ

enfanceduchristI got hold of the recent Chandos recording of Berlioz’ L’Enfance du Christ largely because I wanted to take a look at the Super Audio CD format.  On that subject my thoughts are here.  But it was also a chance to listen to a piece I was entirely unfamiliar with.  I’m glad I did.  It’s quite beautiful music; lyrical rather than dramatic, except perhaps in the early sections where Herod is having a hissy fit.  I can see why it’s not done very often though.  It calls for seven soloists plus chorus and a big orchestra.

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SACD?

1200px-SACDlogo.svgMy recently acquired media player plays SACD disks.  I recently acquired a review copy of one such.  It’s the Chandos recording of Berlioz’ L’enface du Christ recorded by Andrew Davis and the Melbourne Symphony.  It comes with three “tracks”; standard (more or less) CD which will play on a CD player and both stereo and surround tracks in SACD format.  Now “standard CD” for Chandos is a bit higher definition than most CDs.  24 bit at 48kHz versus 16 bit at 44.1 kHz.  Is there a detectable difference?

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More than the kitchen sink

I’m a bit surprised that Berlioz’ 1838 opera Benvenuto Cellini hasn’t come my way before. It’s got all the operatic elements; romance, politics, murder (and the Pope) etc and some really rather good music.  There’s a lovely duet between Cellini and his girl, Teresa, in the first act and Cellini’s aria Sur les monts les plus sauvages is long and demanding in the way that Rossini writes long and demanding tenor arias.  The plot maybe has a few holes.  One might expect that after the pope has decreed that Cellini will be hanged if he doesn’t finish a statue by nightfall that he might just get on with it rather than running around fighting duels and stuff but there you have it.  It’s French opera after all.

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The Norcop prize recital

It’s that time of year again at UoT when the respective winners of the Norcop song prize and the Williams Koldofsdky prize for accompanying collaborate in a lunchtime recital.  This year’s winners were mezzo Simona Genga and pianist Jialiang Zhu who gave us a program of songs by Schoenberg, Freedman, Berlioz and Santoliquido.  The Vier Lieder Op. 2 of Schoenberg are extremely lyrical though with a rather complex and involved piano part.  They played to the strengths of both musicians.  Taken at fairly slow tempi they allowed Simona to show off the beauty and ease of her voice all through the registers combined with terrific breath control and spot on German diction while Jialiang had something fairly virtuosic to display her skills.

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It’s pure madness!

That’s what Laurent Pelly said about the idea of a Frenchman directing a French opera adaptation of a Shakespeare play for an English audience during Shakespeare 400.  Maybe he has a point but I think his 2016 production of Berlioz’ Béatrice et Bénédict probably gets as much as there is to be got out of a curiously uneven work.

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AtG season announcement

Against the Grain Theatre have announced the line up for their 2017/18 season.  First up is a workshop of a Handel mash up called BOUND.  It’s a collaboration with composer Kevin Lau and will explore aspects of the refugee crisis through Handel’s music as well as contemporary real life stories.  It’s the beginning of a three year concept to production cycle.  The workshop cast will include soprano Danika Lorèn, tenor Asitha Tennekoon, counter-tenor David Trudgen, baritone Justin Welsh, bass Michael Uloth, mezzo-soprano Victoria Marshall and soprano Miriam Khalil. It will play at the COC’s Jackman Studio on December 14, 15, and 16, 2017.

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