Artsong reGENERATION

The Academy Program is an important part of the Toronto Summer Music Festival.  It allows selected young artists; singers, collaborative pianists and chamber/orchestral musicians, to work with experienced professionals in an intensive series of coachings, masterclasses etc culminating in a concert series.  This year the mentors for the vocal/collaborative piano component were pianist Craig Rutenberg, who has worked everywhere and with everybody, and mezzo-soprano Sasha Cooke; a last minute replacement for an indisposed Anne Schwannewilms.  I didn’t make it to any of the masterclasses, though word on the street is that they were exceptional, but I did make it to yesterday’s lunchtime concert in Walter Hall.

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Fruitful and Sacred Ground

Yesterday’s recital in the RBA was given by soprano Simone Osborne and the very busy pianist Stephen Hargreaves.  The program began with three Mozart songs that I was not familiar with; Oiseaux, si tous les ans, Dans un bois solitaire and An Chloe.  They were unfamiliar to me but Mozartian in a pleasing, intimate way; very much songs rather than concert arias.  They got a clean, rather dramatic reading with real feeling from both parties.  Next came the Ariettes oubliées of Debussy.  Here we have texts by Verlaine of a mostly languorous ecstasy variety with a complex, very impressionistic piano part.  Indeed they really do sound like pieces composed by someone who prefers writing for the piano and Stephen brought out their somewhat ethereal qualities nicely.  Still the soprano gets to spin some very beautiful languorously ecstatic lines and there’s even one piece; Chevaux de bois, where the mood changes and the singer can have some fun.  Which Simone did.

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Le travail du peintre

Yesterday’s concert in the Songmasters Series at Mazzoleni Hall featured Mireille Asselin and Brett Polegato with Peter Tiefenbach and Rachel Andrist in a program of songs more or less related to painting and painters.  The first half of the program was all French; Fauré and Debussy.  Mireille and Peter gave us two songs from Fauré’s Cinq mélodies de Venise plus three pieces from Debussy’s Fêtes galantes and Pantomime from Quatre chansons de jeunesse.  I thought the Debussy generally suited Mireille’s voice rather better than the Fauré.  The first three songs were beautifully and charmingly sung while Pantomime gave full rein to Mireille’s considerable comedic talents.  The highlight of the first half for me though was Brett’s singing of the Poulenc work that gave the concert its title.  Seven songs by Paul Eluard; each a brief portrait of a painter.  Written at the same time as Dialogues des Carmélites, these pieces have the same sort of intensity and drive (and decided non trivial piano parts!).  They were most expertly sung with fine diction and legato and a keen sense of the varied moods of each piece.

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Moving into February

footstepsIt’s getting pretty busy in Toronto.  Here are a few upcoming things of interest that I haven’t already mentioned.

This year, the Faculty of Music’s annual student composer project is a co-production with Campbell House Museum, the 19th century home of Sir William Campbell, Chief Justice of Upper Canada. Footsteps in Campbell House is a series of pieces by student composers to words by Michael Albano.  The audience moves around the house exploring the lives of those who livedd there.  There are five performances on January 30th and 31st and February 1st.  Each performance is limited to 35 people.  Tickets are $20 and available here.  I’m really intrigued by this but there’s no way I can go.   Continue reading

Anne Sofie von Otter and Angela Hewitt at Koerner Hall

hewittI don’t usually give colloborative pianists headline billing but last night’s packed Koerner Hall recital certainly had an element of “They came for Ms. von Otter but stayed for Ms. Hewitt”.  Hewitt was phenomenal in a program that interspersed solo piano pieces with sets of songs.  In the songs she was simultaneously an individual voice and supportive of her colleague while the solo piano pieces were breathtaking; elegant Scubert and Brahms before the interval, staggeringly virtuosic Chabrier after.  She’s also fascinating to watch.   Continue reading

Pelléas for dummies

The most obvious feature of Sven-Eric Bechtolf’s Pelléas et Mélisande is the use of dummies to double up the characters.  Much of the time these doubles are lying around or being pushed around the set wheelchairs by the singers.  Most of the time the singers address themselves to one of the dummies even when the “real” version of the person they are addressing is on stage.  I guess it’s designed to create a kind of emotional distancing or dehumanising that does seem in keeping with the piece and, when the convention is broken, ie; characters interact directly, that seems to heighten the drama at that point.

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Pelléas et Mélisande in the Tanenbaum Courtyard Garden

Hidden away up an alleyway behind the COC’s ioffice and rehearsal complex is a very beautiful garden.  I say hidden because I lived less than 200m away for 10 years before I discovered it.  Last night it made a rather magical setting for Against the Grain Theatre’s new production of Debussy’s Pelléas et Mélisande.  The piece is set in a gloomy castle and surrounding forest in Brittany.  The high, ivy covered walls and ironwork of the performance space, enhanced by Camelia Koo’s fractured flagstones forming patterns on the grass, evoked the essentially sunless world of Maeterlinck’s poem.  Costuming in the style of the period’s composition meshed nicely with the aesthetic of the roughly contemporary space.

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Opera in June

icarus-concert-imageThere are a few operatic events coming up in June although, as usual things are slowing down a bit.

On June 1st at 7pm, Russian baritone Dmitri Hvorostovsky has a recital at Koerner Hall singing works by Tchaikovsky, Rachmaninoff, Medtner and Liszt. Ivari Ilja will accompany on piano.

Brian Current’s new opera Airline Icarus will open at 8pm on June 3rd at Ada Slaight Hall in the Daniels Spectrum complex.  The piece stars Krisztina Szabó and Alexander Dobson, among others.  Tim Albery directs.  The show runs until June 8th. Tickets are $20-$75 and are available here.

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A partridge without orange

It’s that time of year which marks the passing of the baton at the COC Ensemble Studio which is traditionally marked by a lunchtime farewell concert by some of the graduates.  Today’s Les Adieux featured soprano Sasha Djihanian, baritone Cameron McPhail and pianist Michael Shannon.

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Lunchtime with Tracy Dahl

Dahl, Tracy (c)Kevin ClarkI’ve attended many very good concerts in the Richard Bradshaw Amphitheatre but I’m not sure I’ve ever attended one as intense as Tracy Dahl and Liz Upchurch’s Songs from the Heart recital today.  Tracy really is a rather extraordinary artist.  She is the antithesis of the lieder singer who stands demurely by the piano and Schuberts mellifluously.  She throws every fibre of her being into the performance.  It’s not campily histrionic but voice, facial expression and gesture are all used to the full whether she’s  hiccupping a drunken Harlequin or sibilantly suggesting a slithery singing snake.

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