I went to Roy Thomson Hall last night to hear an all Vaughan Williams program conducted by Peter Oundjian. It’s not really my thing but there was a fine quartet of soloists lined up for the Serenade to Music.
Things got going with the Fantasia on “Greensleeves” which was perfectly OK if a bit hackneyed. There was a decent account of the Concerto for Oboe and Strings with Sarah Jeffrey as the soloist. Then there was the Serenade. For some reason the soloists were lined up with the choir (the Elmer Iseler singers) behind the orchestra. The result was sonic mush and textual porridge. I caught exactly one word of the text; “stratagems” for what it’s worth. The rest was not recognisable as English, let alone understandable. And, of course, it was too dark to read the supplied text. This despite soloists; Carla Huhtanen, Emily D’Angelo, Lawrence Wiliford and Tyler Duncan, who are consistently excellent with text. This is becoming very annoying. As often as not when I go to see the TSO do vocal works the soloists are either inaudible or incomprehensible. I know the hall is difficult but the performance of the Ryan Requiem last week showed that it is possible to showcase singers. I think it’s really unfair to audiences and singers alike. Anyway, I was so fed up that I left at the interval.
So after a bit of a hiatus the Toronto music scene is coming back to life. The Toronto Summer Music Festival has kicked off and the main interest for followers of the vocal arts lies in the Art Song fellows project with concerts at 1pm on each of the next two Saturdays in Walter Hall (free but tickets required). Then the vocal highlight of the festival; Soile Isokoski in recital with Martin Katz at 7.30pm on the 18th at Walter Hall. The programme includes the Schumann Mary Stuart songs, the Strauss Ophelia songs plus some Wolf and, of course, Sibelius. Ms. Isokoski is also giving a public masterclass in Walter Hall on the 23rd at 2pm.
The Canadian Art Song Projects sesqui commission premiered today in the Richard Bradshaw Amphitheatre. It’s a piece by Ana Sokolović for soprano, mezzo, tenor, baritone and pianist and today, as was always intended, it got its first outing from members of the COC Ensemble Studio. It was billed as a “song cycle” and, while it’s certainly a setting of poems to music, that description really doesn’t do it justice. Sokolović’s music always seems to have dramatic potential and here that was realised extremely effectively by Anna Theodosakis to create a piece of performance art with many dimensions.
May continues to be a busy month. There are a couple of interesting concerts at noon in the RBA next week. On Wednesday 17th there is the unveiling of the annual Canadian Art Song project commission. This year it’s extremely ambitious. It’s a cycle of sixteen songs by Ana Sokolović setting texts drawn from right across Canada. It’s called dawn always begins in the bones and will be performed by Danika Lorèn, Emily D’Angelo, Bruno Roy and Aaron Sheppard with Liz Upchurch at the piano. (You can also hear this work in the Temerty Theatre at the Conservatory at 7.30pm on Thursday May 25th along with Andrew Staniland’s Peter Quince at the Clavier and Lloyd Burritt’s Moth Poem). On Thursday 18th tenor Charles Sy and pianist Hyejin Kwon bid farewell to the COC Ensemble Studio with a performance of Schubert’s Die schöne Müllerin. It should be a real treat.
Yesterday’s concert in the RBA was the annual collaboration between members of the COC Ensemble Studio and members of the Atelier Lyrique de l’Opéra de Montréal. Danika Lorèn, Emily D’Angelo and Stéphane Mayer represented the COC with Baritone Geoffroy Salvas, tenor Keven Geddes, mezzo Caroline Gélinas and pianist Carol-Anne Fraser up for the visitors. It was very much a program of “opera pops” but the quality of the performances was consistently more than decent and it made for a fun hour.
The line up for this year’s Toronto Summer Music Festival, the first with Jonathan Crow as Artistic Director has been announced. It’s the usual mix of orchestral, chamber, piano and small scale vocal music for the most part. This being the sesquicentennial year it’s heavy on CanCon and, as in previous years, there are academy programs for both singers and instrumentalists.
The Christina and Louis Quilico Awards are a singing competition for members of the COC’s Ensemble Studio. This year’s edition took place early yesterday evening in the RBA. Only five members of the Ensemble Studio were competing. Megan Quick and Sam Pickett were not for reasons that I don’t think were announced and Aaron Sheppard was sick. So it was a pretty brief affair. The format as usual was that each contestant offered three arias and got to sing the one of their choice with the judges choosing which of the other two they should sing.