Artsong reGENERATION

The Academy Program is an important part of the Toronto Summer Music Festival.  It allows selected young artists; singers, collaborative pianists and chamber/orchestral musicians, to work with experienced professionals in an intensive series of coachings, masterclasses etc culminating in a concert series.  This year the mentors for the vocal/collaborative piano component were pianist Craig Rutenberg, who has worked everywhere and with everybody, and mezzo-soprano Sasha Cooke; a last minute replacement for an indisposed Anne Schwannewilms.  I didn’t make it to any of the masterclasses, though word on the street is that they were exceptional, but I did make it to yesterday’s lunchtime concert in Walter Hall.

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The Hungarian-Finnish connection

Stephen HegedusThe last Songmasters concert of the season featured a selection of works that sorta kinda had a Finnish or Hungarian connection.  The first part of the prgram featured songs by Sibelius, all but one to Swedish texts, and piano pieces by Selim Palmgren, whose music sounds like a sort of cross between Debussy and Sibelius.  The songs were sung Stephen Hegedus with plenty of power and quite a bit of subtlety.  We had been told he was quite ill but one wouldn’t have known it.  Fine, delicate work at the piano by Robert Kortgaard.   Continue reading

Quinn Kelsey singing from the heart

KLP151027-_DSC7440Baritone Quinn Kelsey, currently singing Germont père in La Traviata at the COC stepped down off the big stage today to give a recital, with Rachel Andrist at the piano, in the more intimate RBA.  As befits the venue, he gave us a more intimate program.  Ralph Vaughan Williams Songs of Travel and the less frequently heard Gerald Finzi cycle, Let Us Garlands Bring sandwiched three songs by Brahms.

The Vaughan Williams is a pretty well known work, almost a recital warhorse.  Kelsey showed considerable sensitivity in, mostly, dialling his big voice back for it.  He is extremely expressive, occasionally I thought maybe just a touch too much so, and he has a surprisingly wide range of colours at his disposal.  The contrast between the light, bright tone he used for The Roadside Fire and the much darker (and louder) approach to Youth and Love was quite striking.  And that’s just an arbitrary comparison of two songs that follow one another.  The rest of the set was equally varied.  This guy is a lot more than “just” a big, Italianate Verdi baritone!  And Rachel Andrist is so much more than “just” an accompanist.  She brings a complimentary personality to every song with some real detail in the piano part that makes it seem quite fresh.

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Masterclass with Soile Isokoski

Ms. Isokoski looking less down to earth than this morning

Ms. Isokoski looking less down to earth than this morning

This was a really interesting morning.  The TSMF runs a “fellow” program for singers and collaborative pianists and this morning, as part of that program, there was a masterclass with Finnish soprano Soile Isokoski.  There were eight singers and four pianists with seven German songs (Strauss, Schubert and Wolff) and one in Finnish prepared (and preparing a Finnish piece for an Isokoski masterclass reminds me of that Youtube thing of the kitten walking down a line of Alsatian guard dogs).  It was classic masterclass format.  Each singer sang their piece and then went over fine points; diction, legato, phrasing, breathing, emotion, colour, at Ms. Isokoski’s direction.  It was fascinating.

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Adieu to Charlotte and Clarence

Each year, round about now, the COC stages a lunchtime concert or two featuring departing members of the Ensemble Studio singing music that has special meaning for them.  Yesterday we heard Clarence Frazer and Charlotte Burrage with Jennifer Szeto at the piano.

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Of love and longing

allysonMcHardy200x250Allyson McHardy’s lunchtime recital in the Richard Bradshaw Amphitheatre today was unusual and effective; combining contrasting works by Brahms, Robert Fleming and Britten.  Accompanied by Liz Upchurch on piano throughout, she was joined for the first set; Brahms’ Two Songs for Alto, Viola and Piano, Op. 91 by the COC’s principal violist, Keith Hamm.  They were rather beautifully sung and played and were true to music and text; both of which are a bit too German Romantic for my taste. Continue reading

Liebeslieder-Walzer

I only managed to get to the first half of yesterday’s Ensemble Studio lunchtime concert.  It was Brahm’s Liebeslieder-Walzer Op. 52 performed by Claire de Sévigné, Charlotte Burrage, Andrew Haji and Gordon Bintner with Liz Upchurch and Michael Shannon providing the four handed accompaniment.  I’m not a huge Brahms fan and this was pretty much that late 19th century sentimental stuff I don’t really get; somewhat schmaltzy waltz rhythms setting somewhat schmaltzy texts.  It was well done though.  Haji, in particular, sang with a fine attack and the different voice combinations made interesting contrasts.  I thought the music came off best when the girls sang together and when the guys sang together.  Both pairs have voices quite different in timbre and blended to good effect.  The more complex four voice sections seemed to come a bit unstuck in the RBA.  I’m 99% sure it was the acoustic not the singers but certainly textures got quite muddy at times.  The accompaniment was, unsurprisingly, very good indeed.  Work pressures meant I had to leave before the second half of the programme which featured John Greer’s Liebesleid-Lieder.

Upcoming events

There’s quite a lot happening before the COC season kicks off again with the opening of Handel’s Hercules on April 5th.  Here are some of the highlights including several rarities.

On March 22nd at 7:30pm and 23rd at 3pm the Cantemus Singers are putting on a concert performance of Purcell’s The Fairie Queene at the Church of the Holy Trinity. The cast includes Iris Krizmanic, soprano (Juno); Maria Soulis, soprano (Mopsa); and Michael Pius Taylor, tenor (Phoebus).  Tickets are $20; $15(sr/st); $10(child).

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Transfigured: Transcribed

Yesterday’s Amici Ensemble concert featured four works transcribed for different combinations of instruments than the composer originally intended.  First up was Berg’s Adagio for violin, clarinet and piano.  This is from the Kammerkonzert originally scored for violin, piano and thirteen assorted wind instruments.  Unsurprisingly it doesn’t get played often in that arrangement.  It’s pretty typical second Vienna school; twelve tone but quite accessible and very pleasant to listen to.  It was expertly played by Serouj Kradjian (piano), David Hetherington (cello) and Joaquin Valdepeñas (clarinet).

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Fifty shades of Braun

russellThis afternoon’s Off Centre concert at the Glenn Gould Studio was structured around three pairs of composer friends; Mozart/Haydn, Schumann/Brahms and Wolf/Mahler.  It was a mix of lieder, opera excerpts and piano pieces and was pleasantly varied.

Things kicked off with Russell Braun singing a number of songs from Schumann’s Liederkreis accompanied by his partner, Carolyn Maule on the piano.  This was maybe the third time that I’ve heard Russell in recital and he really is impressive.  He has a really good command of a wide range of dynamics and tone colour and lovely floaty high notes.  If I was being hyper critical I’d say I think there’s a point in the middle voice though that can’t quite sustain the volume he sometimes tries to get.  He has quite an operatic approach to lieder (compared to, say, DFD) but that’s quite fun in its own way.

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