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.
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.
Voice of a Nation is a Métis inspired collection of works that has been touring Ontario as part of the Canada 150 thing. Last night the Toronto leg of the tour happened at Grace Toronto Church. There are three pieces in the program. Different Perspectives is a setting by Ian Cusson of a text synthesized from the sometimes surprising reactions of a group of young people asked “what Canada meant to them”. It was designed to be sung by community choirs on the tour and last night was given by three (uncredited) female singers accompanied by the thirteen player Toronto Concert Orchestra under Kerry Stratton.
The current Canadian Children’s Opera Company show; Brundibár, represents something of a new direction from the company. Previous shows, at least those I’ve seen, have been quite light and based, typically, on fantasy, fable or popular history. The current offering is altogether more serious. At its core is Brundibár, a children’s opera written by Hans Krása for a Prague orphanage in 1939 and subsequently performed over fifty times in the “showcase” concentration camp at Terezin. Continue reading →
Thomas Adès’ 2004 opera The Tempest was given at the Metropolitan Opera in 2012 in a new production by Robert Lepage. It got an HD broadcast and a subsequent DVD release. It’s an interesting work which, on happening, was compared to Peter Grimes as the “next great English opera”. Whether this early hype will turn into a sustained place in the repertoire is yet to be seen. Musically it’s not easy to characterize. Adès very much has his own style; mixing lyricism with atonality and, in this piece, setting one of the roles, Ariel, so high it’s surprising anyone has been found to sing it. Certainly it’s a more aggressively modern style than most of the work currently being produced in North America. The libretto two is unusual. Shakespeare’s own words were, apparently, considered too difficult to sing though, of course, Britten famously set great screeds of unadulterated bard in A Midsummer Night’s Dream. For the Tempest, Meredith Oakes has rendered the text into couplets; rhymed or half rhymed. It works quite well with only the occasional touch of Jeremy Sams like banality.
I think it’s only with the final instalment of the Kupfer/Barenboim Ring that its true power is apparent. The first three instalments are very fine but Götterdämmerung is devastating. All the elements that have been progressively introduced are seamlessly combined. Add to that extraordinarily intense performances from Siegfried Jerusalem (Siegfried), Philip Kang (Hagen) and, above all, Anne Evans (Brünnhilde) and one has something very special indeed.
We seem to be in some kind of post apocalyptic wasteland. Mime’s hut looks like a re-purposed storage tank but the bear and the forest are more or less realistic. It’s all very dark and there’s quite a lot of use of pyrotechnics. This is also our first look at Siegfried Jerusalem’s Siegfried and he is very good indeed. He captures the hero’s youthful vigour and arrogance extremely well. There is a strong performance too from a rather manic Graham Clark as Mime and John Tomlinson continues as a reckless and wild Wanderer.
The Kupfer/Barenboim Ring continues very strongly with the second instalment, Die Walküre. It opens in quite a straightforward, more or less realistic way. Hunding’s hall is slightly abstracted with a recognizable tree. It’s quite spare though which creates space for the strong interpersonal dynamics between Siegmund and Sieglinde. Poul Elming is a very physical, almost manic Siegmund and Nadine Secunde’s Sieglinde is almost as physical. It’s all very intense and beautifully sung. Matthias Hölle as Hunding is no slouch either.