Golden Age; the CD

Being distinctly impressed by Erin Morley and Lawrence Brownlee’s performance at Koerner Hall las month, I got my hands on the CD on which the tour is based. It’s much the same material but with orchestra which really changes things up a bit. It’s a different order too. They begin with six numbers in French starting with comic duets from La fille du régiment and Le comte Ory. It’s very playful but backed up by exquisite technique. There’s no sense of strain despite some serious high notes and some exacting coloratura passages for Morley. The orchestra; the Múncher Rundfunkorchester conducted by  Ivan Repušić sounds great too.

Continue reading

24 carat Golden Age

It’s not often that one attends a recital that is so stunning that one struggles to find words to describe it but The Golden Age recital given by soprano Erin Morley, tenor Lawrence Brownlee and pianist Malcolm Martineau at a packed Koerner Hall on Thursday evening, as part of Toronto Summer Music, was in that class. Most of the rep was drawn from the Golden Age album released last year with a few change ups. It’s basically all highly virtuosic material in the bel canto style (plus a couple of piano pieces).

Continue reading

Carmen on the planet of the Amazons

So last night at the Tranzac, as part of Against the Grain’s Opera Pub, Queen Hezumuryango and Ryan Nauta did a version of the “Seguidilla” from Bizet’s Carmen but with the roles reversed. It was the Pride Edition after all. Turns out it’s not the first time I’ve heard Carmen gender bent. Not so long ago I heard Korin Thomas-Smith sing the “Habanera”.

So what, I asked myself, would a completely gender bent Carmen look like and would it work. Set it in some female led society and i think you can swap all the roles pretty easily. Michaele would be sort of like Werther; a bit of a mummy’s boy. Escamilla would still be a bullfighter. A cowfighter would be silly! The rest of the characters work with minimal adjustment I think. And for once it woudn’t be the soprano who got the chop.

BTW, the rest of Opera Pub was pretty good too with even more gender bending as Ryan also sang “Quondo men vo”. There was a really nice account by Queen of “Printemps qui commence” from Saint-Saëns’ The Barber of Gaza Samson et Dalila. There was Mozart and art song and lots of musical theatre numbers. And Greg Finney got in some G&S (try stopping him!).

And that’s a wrap on Opera Pub for 2025/26 but it will be back at the Tranzac in the Fall.

Tea For Two

Last Friday’s lunchtime concert in the RBA was given by the France-Canada Academy of Vocal Arts at the University of Toronto.  That mouthful is the moniker of a collaboration between the Faculty of Music and the Académie Francis Poulenc.  So this last week members of the AFP had been in Toronto working with students and faculty here on French chansons and canadian art song.  Fridays concert showcased six singer/pianist teams singing French song rep from both sides of the Canadian Channel.

Continue reading

The Ensemble Studio kicks off a new season

Wednesday lunchtime saw the members of the COC’s Ensemble Studio kick of the free concert series season in the RBA.  It was good.  Pianists Brian Cho and Mattia Senesi started off in fine style with a four hands version of the overture to The Barber of Seville and then it was on to the singing.

all

Continue reading

Elisabeth St-Gelais at Walter Hall

Tuesday night’s Toronto Summer Music concert in Walter Hall featured Quebec soprano Elisabeth St-Gelais with Louise Pelletier on piano.  The first part of the concert consisted of songs by Brahms and Strauss.  I’m not a huge fan of Brahm’s Zigeunerlieder, Op.103 which are very much an example of Germans misunderstanding just about everything about Hungarian folk music let alone gypsies.  The texts are cliché ridden and the music isn’t much better.  Ms. St-Gelais sang then with a full pleasant tone and some attention to the text but she really needs to work on her German diction.

esg2

Continue reading

Adieu to Alex and Ariane

Alex Hetherington and Ariane Cossette’s last recital as members of the Ensemble studio happened on thursday lunchtime in the RBA.  It was charming.  We got a varied selection of art songs bookended by a couple of opera duets.  They opened with “Miro O Norma… Si, fino all’ora estreme”.  They blended well with Ariane, as Norma, displaying considerable power and richness of tone without overwhelming her Adalgisa.

DI-03727 Continue reading