My predictions were rubbish but we’ll come back to that. There are two new productions in the upcoming season; Parsifal, which had already been announced and Janáček’s Káťa Kabanová in a David Alden production with Amanda Majeski in the title role. This is great. It’s been far too long since Janáček featured at the COC.
Explore the score is an initiative from the TSO. It’s a session where we, the audience, get to see Gary Kulesha rehearsing the orchestra in four new short pieces selected for the occasion. Each piece gets about half an hour of work with an opportunity for the composer to have his/her input.
The latest concert in the Confluence series featured Marion Newman and friends addressing the question “What is Indigenous classical music?” through a carefully curated programme of works; all of which featured words by Indigenous women. We began with Marion singing Barbara Kroall’s Zasakwaa (There is a Heavy Frost) with words in Odawa describing the earth going to sleep for the winter with flute accompaniment by Stephen Tam. It was followed by Rebecca Cuddy singing three of the Five Songs on Poems by Marilyn Dumont by Ian Cusson. These are really fine settings of interesting, pithy, angry texts that have a wicked humour to them. I particularly like Letter to Sir John A. Macdonald which I’ve written about before.
Tapestry and the COC collaborated for yesterday’s concert in the RBA. The performers were members of the Ensemble Studio. The material was a mix of numbers from the Tapestry back catalogue plus a couple of songs by COC composer in residence Ian Cusson.
Two years ago when Harry Somers’ Louis Riel was revived in Toronto, Ottawa and Quebec there was considerable debate about the appropriation of a traditional Nsga’a morning song; the Kuyas. Basically in the culture the song comes from transmission and use of songs are regulated by the traditional owners. This particular music had been used to set the text of a lullabye that Riel’s wife sings to their child, originally without attribution. In 2017 the decision was made to use it again though not without consultation, debate and acknowledgement. See my comments about the issue on opening night here.
It’s fair to say that I don’t think anybody thought the status quo was really acceptable and a great deal of discussion has gone on leading to an announcement this morning that the music will be replaced in the opera by new music composed by Ian Cusson, who is of Métis and French-Canadian descent. The whole story; whats, whys and wherefores, is contained in the linked COC press release. It’s the right thing to do and it’s the right composer.
It was the last concert of Confluence’s inaugural season last night. The theme was “At the River” and the venue the rather splendid (if somewhat popish) St. Thomas’ Anglican on Huron Street. It rather epitomized what I have come to expect, and love, from this series. The musical styles on display were eclectic; classical, folk song, pop/rock, jazz with East and South Indian, Middle Eastern and Indigenous elements all well to the fore. There was also some poetry including an unintentionally hilarious piece in praise of the idyllic Don River. There was also a large and accomplished ensemble and a lot of joy and sheer fun.
Ian Cusson, soon to be composer in residence at the COC, is one of Canada’s most interesting composing talents. Yesterday we got to see both sides of his heritage; Métis and French-Canadian, displayed in a lunchtime concert in the RBA. The first piece up was Five Songs on Poems by Marilyn Dupont. I had heard some of these in a version for piano and voice before but this was the first time I had heard the whole piece in an arrangement for voice and piano quintet. Marion Newman was again the singer with the composer on piano and Amy Spurr, Sarah Wiebe, Emily Hiemstra and Alice Kim on strings. I really like this piece. I find Dumont’s spiky, bitterly ironic poems very thought provoking and moving (though clearly not designed to be sung). Cusson’s accompaniment is fascinating. My overall impression is that he doesn’t write notes that don’t need to be there. If the instrumental playing is sometimes dense, at others it’s sparse to non-existent. He’s especially restrained with the piano. There’s a lovely passage at the beginning of “Helen Betty Osborne” where the low strings create an atmosphere before the violins and then the voice come in. The vocal line is singable, just, which is in itself skilful given how difficult to set the words are. The performances were terrific by all concerned. Look at the words for yourself. At the end of this post I’ve reproduced the words of the first poem; “Letter to Sir John A. MacDonald”.