The Americas

Last night’s Toronto Summer Music offering in Walter Hall was American themed in the broadest sense.  The New Orford Quartet kicked things off with three pieces for string quartet.  The first was Piazzolla’s Tango Ballet in Bragato’s arrangement for string quartet.  It’s kind of tango/jazz fusion and great fun.  Jessie Montgomery’s Strum is a sort of homage to the southern American tradition of a different kind of string instrument.  Lots of complex pizzicato and other effects.  Carmen Braden’s Raven Conspiracy is a three movement work for spoken voice and quartet dealing with both the mythical and biological raven.  It’s playful and extremely virtuosic.  I was struck by the fact that the New Orfords are not just a very fine ensemble but a very flexible one.  Nothing seems to faze them!

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Music Garden

Rebecca Cuddy-p-500Today at 4pm in The Music Garden (Harbourfront) there’s a free concert of music by Métis composers performed by Rebecca Cuddy and the Wood and Wire Quartet.  Here’s the full program:

N. Weisensel, Three Songs from Li Keur: Riel’s Heart of the North, book and text by SM Steele

“The Mending of Violence Song”
“Beneath the Endless Azure Sky”
“You Come and Go”

T. Patrick Carrabré, Métis Songs (2022)

Chanson de la Gornouillèr (from a song by Pierre Falcon)

My People Will Sleep… (story chosen by the soloist)

Since When (poem by Gregory Scofield)

I. Cusson, Five Songs on Poems of Marilyn Dumont (2017) (new arrangement for voice and string quartet)

Letter to Sir John A. MacDonald
The Red & White
Helen Betty Osborne
Half-Human/Half Devil (Halfbreed) Muse
The Devil’s Language

Sorry for the short notice but I only just heard about it.

Songs From the House of Death

Songs From the House of Death is a new song cycle for mezzo-soprano and orchestra by Ian Cusson.  It was premiered in April by Krisztina Szabó and the Vancouver Symphony Orchestra.  It’s a setting of three texts from Joy Harjo‘s How We Became Human.  Ian has a knack of finding really strong texts by Indigenous poets and these are no exception.  The longest (13 minutes of the 23 minute work) is “Songs From the House of Death; Or How to Make it Through the End of a Relationship”. This is an evocation of death and impermanence and memory.  The setting is very varied.  The opening pizzicato strings are barely audible but it rapidly builds to blend densely orchestrated (it’s a big orchestra) and very high energy music with much gentler and more lyrical passages; sometimes using the concert master as a soloist.  This fits the changing moods of the text and, as I’ve come to expect with Ian, the music is always rooted in the text.

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#weirdopera

Ian Cusson and Colleen Murphy’s Fantasma opened at the Canadian Opera Company Theatre last night.  It’s billed as an opera for younger audiences though I think there were more composers than kids in the theatre last night!  It’s a ghost story.  Two fifteen year old girls and their mother are visiting an old fashioned carnival which is struggling financially.  There’s a “ghost” who is employed to scare patrons and generate social media coverage.  Then the girls find a real, rather sad, little ghost and things happen.  Or maybe they don’t.  And the opera ends.  Or maybe it doesn’t.  It’s surprisingly complex for a 45 minute piece for kids and raises issues about what we see and what we think we see; why adults do and don’t believe kids and so on.  When the (virtual) curtain came down rather abruptly I didn’t think I’d be thinking so much about it the next morning.  But I am.

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Vladimir Soloviev as Dante and Vartan Gabrielian as Tino

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Leaping (or not) ahead to March

gloriaThere’s not exactly a flood of events in my calendar for march yet but there are a few.  Running March 1st to 20th at Crow’s Theatre is Branden Jacobs-Jenkins’ satirical play Gloria about a Manhattan magazine staff seeking fame and glory as the internet turns the industry upside down.  It’s not an opera but it’s directed by the very talented André Sills which is reason enough for me.

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Voices of Mountains

The COC’s latest on-line offering is now available on-line.  It’s called Voices of Mountains and the video is just shy of an hour long.  Only about half of that is music though.  The rest is introductions, artist statements and a 10 minute piece about the Land Acknowledgement installation created for the lobby of the Four Season Centre by Rebecca Cuddy and Julie McIsaac.  It looks very interesting but, of course, one can’t visit it.

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In Winter

In Winter is the latest digital offering from the COC and is available free until June.  Described by the COC as a concert that “explores and celebrates winter” it’s more a Eurocentric potpourri of seasonal fare with a decidedly Christmas twist.  It’s a cut above “Christmas’ Greatest Hits” though a John Rutter arrangement of Deck the Halls and I’ll be Home for Christmas are in that vein and even the exuberance and lovely voice of Midori Marsh can’t make more of The Twelve Days of Christmas than is there to be had.

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Music for our (grim) times

In streaming news Soundstreams has added a lovely concert of Ian Cusson’s  Five Songs on Poems of Marilyn Dumont and Raven Chacon’s Ella Llora.  The performers are mezzo Rebecca Cuddy and pianist Gregory Oh.  I really urge people, Canadian or otherwise, to take a look at this.  The news, as it pertains to Indigenous people in Canada, has been really grim in recent weeks and I don’t know anything quite like Dumont’s verse for conveying certain aspects of the Indigenous experience.  She combines, sadness, anger and disarming humour in a way that touches me deeply and Ian’s settings intensify that.  I’ve written about these songs before but never at such a moment.

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Our Song d’Hiver

Our Song d’Hiver is Tapestry Opera’s latest on-line offering.  It’s a little over an hour long and features Mireille Asselin exploring French-English bilingualism and biculturalism as it manifests itself from l’Acadie to the Ottawa valley with a bit of Provence thrown in for good measure.  It’s very cleverly done and the production values are high.  In places it’s very funny and in others impossibly sad.  There are lovely performances by Mimi and pianist Frédéric and guest appearances from guitarists Maxim and Gervais Cormier, poet Élise Gauthier and composers Ian Cusson and Marie-Claire Saindon.

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