Last night’s concert at Koerner Hall was a celebration of the life and work of Armenian composer and song collector Komitas on the occasion of his 150th birthday. Unsurprisingly Koerner was packed with members of Toronto’s Armenian community. Sometimes I feel uncomfortable at events like this; unable to really appreciate what the music means in its home culture, but last night what I felt was joy and inclusion. It was an extremely well curated concert of rather beautiful music extremely well performed.
September starts the slow ramp up to the new season. The first thing in my calendar is Mysterious Barricades on September 14th from 1pm to 2pm in Walter Hall. This is a series of coast to coast, dawn to dusk concerts in aid of Suicide Awareness. Russell Braun, Monica Whicher and Nathalie Paulin are all involved. It’s free but ticketed. Check the link for details.
Hell’s Fury(*) is a two man show about Hanns Eisler conceived and created by Tim Albery. It’s focussed on his time in the United States and, somewhat, on his return to the DDR. It combines songs from the Hollywood Songbook (poems by Brecht and others set by Eisler), dialogue and projections to tell the story of Eisler’s arrival in Hollywood, his work in the US, his deportation as a result of the “work” of the House Un-American Activities Committee and his return to the GDR and struggles to come to terms with the Stalinist culturecrats leading ultimately to drink, depression and death.
I don’t think I’m ever going to love Mozart’s La finta giardiniera. It has some pleasing music, though oddly the two principal characters don’t get much of it, but the plot is ridiculous and it really outstays its welcome. That said, Michael Patrick Albano’s production for UoT Opera in the MacMillan Theatre at least makes the complexity clear. We never lose sight of who is who; even if the other characters do, and what logic there is in the plot comes through clearly enough. Albano sets it entirely realistically in 18th century dress with set elements efficiently dropped in from the fly loft or carried around by a small band of liveried servants. There’s a fair bit of “park and bark” but then there’s a lot of prosy explaining going on.
The COC season continued last night with Atom Egoyan’s production of Mozart’s Così fan tutte, first seen in January 2014. There are some changes from the previous outing but most of what I had to say about the production holds good still. This time there have been cuts. The show now runs as two ninety minute acts plus an interval and it feels tighter and doesn’t drag so much in the second act. In the process some of the heavy handed symbolism has been discarded; fewer pinned butterflies. I think the physical comedy may have ratcheted up just a touch but maybe that’s me misremembering. And the girls are brunettes, rather than redheads, but still well matched enough to look like sisters. Musically, I think it’s been lightened up somewhat. Bernard Labadie, something of a period specialist, conducts and Michael Shannon accompanies the recits on a fortepiano. But, still, fundamentally the same show.
There are a few interesting items in the initial announcement of the RCM’s 2019/20 season:
The Amici Chamber Ensemble with Russell Braun and the Elmer Iseler Singers offer a celebration of the 150th birthday of Armenian composer Komitas Vardapet. That’s on October 25th 2019.
Karina Gauvin and the Paciifica Baroque Orchestra have a programme called Russian White Nights: Opera arias from 18th century St. Petersburg. That’s on November 1st 2019.
Phillipe Sly and Le Chimera Project are presenting a staged version of Schubert’s Winterreise with chamber ensemble. That’s on January 17th 2020.
Perhaps the biggest deal of all is Peter Sellars directing the Los Angeles Master Chorale in a staged performance of Orlando di Lasso’s final work, Lagrime di San Pietro; 27 madrigals sung a cappella in seven parts by 21 singers. That’s on February 1st and 2nd 2020.
And after all the fancy stuff there is a classic Liederabend with Matthias Goerne and Jan Lisiecki in an all Beethoven programme on April 24th 2020.
Last night’s TSO performance of Britten’s War Requiem was a bit of a mixed bag. There were things to like but, overall, I was not greatly moved; which I expect to be by this work, and it seemed like a very long evening for one work of modest length.
Let’s start with the positives.Tatiana Pavlovskaya was as good a soprano soloist as I have heard in this piece. She sang with enough power to be a distinct voice in all but the very densest sections of the music while maintaining an admirable sweetness of tone without the almost customary screechiness. The Toronto Children’s Chorus was excellent. Toby Spence’s diction was top notch with every word clear. There was some really nice playing from the chamber orchestra, especially the strings. The last fifteen minutes from the blood curdling Libera Me to “let us sleep now” had the right balance of terror and lyricism though, even here, there could have been more drama. Where was the frisson at “I am the enemy you killed my friend”? Continue reading →