Anthony Dean Griffey and Warren Jones’ TSMF recital at Walter Hall last night was an all English language affair with offerings from both sides of the pond. IT kicked off with Frank Bridge’s Three Songs for voice, viola and piano with the viola part played on the cello by David Heiss. These might better be billed as for “Viola, piano and voice” as the viola part is much, much more interesting than the vocal line. Really it felt more like a piece of chamber music that happened to include a vocalist. Heiss played beautifully as did Jones and Griffey did what was to be done with the vocal line.
Today’s lunchtime recital in the RBA was really quite exceptional. Simone McIntosh and Stéphane Mayer offered up a really well chosen program and executed it extremely well. Grieg’s Sechs Lieder is a lovely and varied setting of six German texts. Poulenc’s Banalités sets texts by Apollinaire in a way that reflects their essential weirdness. Berg’s Sieben frühe Lieder are as good examples as one can get of how the Second Vienna School, despite its scary reputation, is really all about lush and approachable and the closing set of Frank Bridge songs showed that he was a heck of a lot more than Britten’s composition teacher.
Yesterday afternoon’s Mazzoleni Songmasters concert featured local tenor Andrew Haji and Welsh baritone Jason Howard in a program somewhat loosely linked to England. Neither singer was, I think, 100% well (Haji’s cold was announced, Howrad’s merely obvious!) but both battled through manfully and gave us some fine singing. There were some interesting contrasts especially in the first half of the program. Andrew kicked off with Francesco Santoliquido’s I canti della sera. I’m no expert on Italian art song but these did sound like songs rather than opera arias, at least in the hands of Andrew and Rachel Andrist. In contrast, Jason’s set (Tosti’s L’ultima canzone, Respighi’s Nebbie, Tosti’s L’ideale and Verdi’s In solitaria stanza), with Robert Kortgaard sounded distinctly operatic and suited Jason’s darkish voice rather well.
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.
A concert of contemporary works for accordion? Why not! Well it was more of a concert of contemporary works for fixed reed instruments with, ironically, Trinity St. Paul’s most impressive fixed reed instrument forming an unused but imposing backdrop to the proceedings. Things started off conventionally enough with Soundstreams’ Artistic Director Lawrence Cherney on stage with three players of different instruments describing their histories and properties and then mild Hell broke loose as a curiously clad Joseph Macerollo burst into the auditorium, ejected Lawrence and friends and launched into R. Murray Schafer’s performance piece La Testa d’Adriane; the tale of a head mystically preserved between life and death. At this point the purpose of the rather bizarre contraption on stage was unclear but soon enough the cloth was pulled back to reveal Carla Huhtanen, or her head at least. More accordion and speech from Macerollo and a bizarre collection of grunts, squeaks, shrieks and gurning from Carla followed. Madness or genius? It’s Schafer. The question is unanswerable.
Yesterday afternoon saw the final concert of the season for Off Centre Music Salon; the concert series organised by Boris Zarankin and Inna Perkis at the Glenn Gould Studio. This one, as the title suggests, celebrating philanthropy in music by putting together a concert of works by composers who were supported by patrons. It was very much salon style with many short sets by various combinations of performers. There was some instrumental music; an impressive performance of Khachaturian’s Toccata in E flat minor by twelve year old William Leathers, reprised later on accordion by Michael Bridge. Jacques Israelievitch and Boris Zarankin collaborated on a bravura rendition of Stravinsky’s Suite Italienne and Zarankin and Perkis gave their traditional one piano/four hands performance, this time an arrangement of Beethoven’s Egmont overture, which was received with enthusiasm.