Exceptional musicianship from Moser and Rzazade

Winners of the Eckhardt Grammatée competition, soprano Aemilia Moser and pianist Sabina Rzazade, gave a recital in Walter Hall on Tuesday at lunchtime. It was unusual! The material was all contemporary, much of it Canadian, and almost all of great difficulty. It was also divided into sets with the components of each set run without a break. Fortunately Aemilia’s program notes were excellent!

The first set started with Harry Somers’ Loon Cry, Night Call which evokes loon calling across a lake and was followed by Kaija Saariaho’s difficult and dramatic setting of one of Ariel’s speeches from The Tempest. Cecilia Livingston’s setting of Whitman’s The Dismantled Ship completed the watery theme with a piece that combined a sustained vocal line with some very sparse but intricate piano. What was obvious by the end of the first set was that this was going to be as much a dramatic performance as an art song recital.

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Indigenous female representation in opera

It’s that time of year when we reflect on the intersection of Truth and Reconciliation with opera. So yesterday I attended a lecture/recital by young Métis singer and scholar Camryn Dewar in the RBA at lunchtime. The title was The Evolution of Indigenous Female Representation 1879-Present and the domaine was Canadian opera; so no room for La fanciulla del West or Doctor Atomic. In fact, truth to tell, there Wasn’t much Indigenous female presence in Canadian opera until quite recently. There’s the really awful colonialist Canada’s Welcome by Dixon and Clappé which was dealt with. Somers’ Louis Riel which got a brief mention but doesn’t have much in the way of female characters. Victor Davies’ The Ecstasy of Rita Joe which didn’t get (or deserve) a mention. Perhaps Jani Lauzon’s I Call myself Princess might have deserved a mention even if it’s about opera rather than being an opera.

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21C Afterhours

The annual GGS New Music Ensemble 21C Afterhours concert, with Brian Current conducting, of course, took place late on Saturday in the Temerty Theatre.  This year it consisted of three concerti; two of them world premieres.  Besides the soloists 26 musicians were used in various combinations during the evening. Continue reading →

Coming up at Toronto Summer Music – MISSING

I’ve been following the development of MISSING; an opera with text by Marie Clements and music by Brian Current since early 2017. There’s an article principally about the project in the Summer 2017 edition of Opera Canada. But I’ve yet to see the opera on stage. It’s had multiple productions in Western Canada but this July will see it’s first performance east of the Lakehead when Toronto Summer Music present it in concert format. That’s at Koerner Hall on July 24th.

Marion Newman in MISSING at Pacific Opera Victoria – Photo: Dean Kalyan

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TSM sneak preview

Last Tuesday lunchtime in the RBA we got a sneak preview of some of the music that will feature at this year’s 20th anniversary Toronto Summer Music.

There was soprano Caitlin Wood with Philip Chiu performing three French chansons; at least one of which will feature in Mary Bevan and Roger Vignoles’ Walter Hall recital.  Cait herself will be performing as part of the cast of Brian Current’s opera Missing during the festival.

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Volpini, Varèse, Iannotta

Tuesday evening in Temerty Theatre Brian Current and the GGS New Music Ensemble presented a three work programme that covered more or less the whole time span of composers writing “sounds rather than notes”; which is an interesting and useful way of thinking about this particular type of music. Continue reading →

Late night in Temerty

Always one of my favourite concerts, the annual late night one in Temerty Theatre which forms part of the 21C festival.  As usual on Saturday night Brian Current was conducting the GGS New Music Ensemble.  This time it was two new Canadian works plus a 1994 piece by Luca Francesconi. Continue reading →