James Coole-Stevenson and Vlad Soloviev

Thursday Noon at Met recital was given by baritone James Coole-Stevenson accompanied by Vlad Soloviev. The first part of the recital was all Canadian art song. Jocelyn Mortlock’s Involuntary Love Songs; which are varied in mood and quite lyrical, Ian Cusson’s “You Held Out the Light” from Breakfast for Barbarians which is short and very Ian Cusson., with a shimmering piano part and finally James Rolfe’s Moths. This is a very complex cycle about light and dreaming and very varied from the boomy “night is a river” to the delicate “The river of dreams” and much more. It was all sung with great attention to text backed up by impeccable diction and sharp characterisation. As is usually the case with contemporary song the pianist has a lot to do and Vlad did it really well. It’s good to see someone programme so much contemporary Canadian song.

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How many Indigenous artists does it take to make an opera Indigenous?

How many Indigenous artists does it take to make an Opera Indigenous? That was one of many questions up for discussion at Stories Don’t Die presented by the Artists of Indians on Vacation at the Terminal Theatre on Saturday afternoon. The backdrop to all this of course is the withdrawal of Edmonton Opera from their role in the creation and presentation of Ian Cusson and Royce Vavrek’s Indians on Vacation in February following the not entirely unexpected “revelation” that Thomas King; author of the novel on which the opera is based, is not Indigenous as he had long claimed. Edmonton Opera chose, unilaterally, to pull out after a protest by a small group of Indigenous activists in Edmonton. To the protesters, the false claim by Thomas King was reason enough to cancel an opera they hadn’t seen but is it? The Artists of Indians on Vacation clearly believe otherwise and Stories Don’t Die makes a strong case for its survival and further development.

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Coming up in May 2026

Coming up… music etc

  • May 2nd.  The Artists’ Studio of the Canadian Children’s Opera Company are presenting Judith Weir’s The Black Spider.  It’a very rare chance to see a Judith Weir opera in Toronto.
  • There are two free shows on the 4th.  At noon Opera 5’s interns are performing in the RBA and in the evening it’s AtG’s Opera Pub at the Tranzac.
  • On the 5th there’s a sneak preview of Toronto Summer Music in the RBA at noon.
  • On the 6th Jane Archibald has a recital at Koerner Hall.

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Music for Reconciliation

Tuesday was the National Day for Truth and Reconciliation and the COC programmed Innu soprano Elisabeth St-Gelais, with pianist Louise Pelletier, for the lunchtime concert series.  They began very appropriately with Ian Cusson’s Le Récital des Anges; settings of two elegiac poems by Émile Nelligan about death and childhood.  They are very beautiful and deeply sad songs that seemed just right for the occasion.

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Ancestral Voices

The last concert of Soundstreams 2024/25 season took place at Hugh’s Room on Wednesday evening.  Marion Newman and Angela Park gave a recital called Ancestral Voices which premiered the piano version of the Bramwell Tovey song cycle of that name.  I had heard the orchestral version with Marion singing and Bramwell conducting the VSO at Roy Thomson Hall when the orchestral version was new.  It’s just as powerful in piano score; maybe more so as the singer can more easily convey the nuances of the text.  The selection of texts is clever; tracing an arc from an imagined Eden via environmental destruction and the Residential School system to, maybe, the seeds of Reconciliation.  The setting serves the text well and Angela made a really good substitute for an orchestra!

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Elisabeth St-Gelais at Walter Hall

Tuesday night’s Toronto Summer Music concert in Walter Hall featured Quebec soprano Elisabeth St-Gelais with Louise Pelletier on piano.  The first part of the concert consisted of songs by Brahms and Strauss.  I’m not a huge fan of Brahm’s Zigeunerlieder, Op.103 which are very much an example of Germans misunderstanding just about everything about Hungarian folk music let alone gypsies.  The texts are cliché ridden and the music isn’t much better.  Ms. St-Gelais sang then with a full pleasant tone and some attention to the text but she really needs to work on her German diction.

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Dreams, Death and the Maiden

Monday night in Walter Hall Toronto Summer Music continued with a concert by the new Orford Quartet (Jonathan Crow and Andrew Wan – violins, Sharon Wei – viola, Brian Manker – cello).  I was there primarily to hear the première of Ian Cusson’s Dreams which was bookended on the programme by “Death and the Maiden” themed quartets in D minor by Mozart and Schubert.

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Adieu to Alex and Ariane

Alex Hetherington and Ariane Cossette’s last recital as members of the Ensemble studio happened on thursday lunchtime in the RBA.  It was charming.  We got a varied selection of art songs bookended by a couple of opera duets.  They opened with “Miro O Norma… Si, fino all’ora estreme”.  They blended well with Ariane, as Norma, displaying considerable power and richness of tone without overwhelming her Adalgisa.

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Simone Osborne and Rachael Kerr in the RBA

DI-01761Wednesday’s lunchtime recital in the RBA featured Simone Osborne; currently appearing as Norina in Don Pasquale, and pianist Rachael Kerr.  It was a well curated selection of songs apparently, at least partially, inspired by sleep deprivation singer and pianist both have small children!).  There were three sets of four songs.  One in each set was by a Canadian composer backed up by two others that were thematically related.

So the first set featured birds.  Godfrey Ridout’s arrangement of She’s Like The Swallow was supported by Viardot’s Grands oiseaux blancs and Grieg’s “Ein Schwan” from Sex digte af Henrik Ibsen.  It worked.  The Ridout got a reasonably folk song like treatment, the Viardot was dramatic and the Grieg was just beautiful.  A good start. Continue reading