Today saw a dawn to dusk livestream of concerts from St. John’s to Victoria; presented as Mysterious Barricades, aimed at raising awareness about suicide, suicide prevention and mental health generally. I doubt there’s anybody whose life has not been touched by this issue, certainly not mine. Anyway I made it out to Walter Hall for Toronto’s sixty minute contribution organized by Monica Whicher. It was heartening to see so many artists of the highest calibre making their talents available for the cause. So, not a review but heartfelt thanks to John Gregg, Russell Braun, Carolyn Maule, Nathalie Paulin, Norine Burgess, Judy Loman, Marie Bédard, Steven Philcox, Turkwaz, Andrea Levinson and the Mysterious Barricades Toronto Chorale and, of course, Monica for organizing. One day perhaps…
It’s September and the long, slow awakening after the annual aestivation begins. There’s not a lot on yet but what there is is interesting. The middle of the month sees Native Earth’s production of I Call myself Princess at the Aki Studio; previews from 9th to 12th September with official opening on the 13th and then shows until the end of the month. My interview with playwright Jani Lauzon is here. Also opening on the 13th is Tapestry Briefs at the Ernest Balmer Studio. Hear the product of the LibLab, hear Stephanie Tritchew, Teiya Kasahara, Peter McGillivray and Keith Klassen and eat tapas. It runs until the 16th.
Yesterday’s Mazzoleni Songmasters concert featured Russell Braun and Caolyn Maule in a generous and varied program anchored on Schumann’s Dichterliebe; a setting of sixteen poems by Heine. It was framed by three Mendelssohn songs and a varied and intriguing second half program.
Russell is a singer at the height of his powers. He has a lovely instrument and perfect control of pitch, dynamics and tone colour. He’s also a sensitive and musical human being. Throw all that at text and music as rich as Dichterliebe and the result is inevitably quite wonderful. One could just luxuriate in an emotional journey through the highs and lows of romantic love and a physical one up and down that magical river, the Rhine. The Mendelssohn was rather lovely too.
This just in:
The fall season will open with Tchaikovsky’s Eugene Onegin in the Carsen production as predicted yesterday. The (pleasant) surprise is that Gordon Bintner will sing the title role. Joyce El-Khoury sings Tatiana and Joseph Kaiser is Lensky. Johannes Debus conducts.
2017 draws to a close and we haven’t had a nuclear war (yet). So it’s time to look ahead to what’s coming up opera and concertwise in January 2018. But first, there’s one show still to catch in 2017. Toronto Operetta Theatre opens a run of Bernstein’s Candide tomorrow night at the Jane Mallett. It stars Tonatiuh Abrego, Vania Chan, Elizabeth Beeler and Nicholas Borg. There are shows at 8pm on December 28th and 30th and January 5th and 6th with matinées on New Year’s Eve and January 7th. For the shows on 28th, 5th and 6th you can use code CANDIDE30 to get a 30% discount. All is for the best in the best of all possible worlds!
That’s the title of a new CD from soprano Kira Braun and pianist Peter Krochak. Yesterday I got to hear them perform music from it at Rosemarie Umetsu’s new digs on Davenport. This is a great venue for small scale concerts and recitals and has a really good Yamaha piano. It’s also less awkward to get to than, say, Gallery 345 so check out their website and facebook page to see what’s happening.
It was an unusual double bill at the TSO last night; the premiere of Alexina Louie’s Triple Violin Concerto and Brahms’ A German Requiem. The concerto is an interesting piece. It’s got a layered, shimmery quality that sounds quite modern without going off into territory that would frighten the punters. It also makes excellent use of the three virtuoso soloists for whom it was written; Jonathon Crow, Yosuke Kawasaki and Andrew Wan; concertmasters respectively of the the TSO, the NAC Orchestra and l’Orchestre Symphonique de Montréal. It clever plays the combinations of having soloist dialogue with soloist and soloists dialoguing individually and collectively with the orchestra. Very enjoyable.