British soprano Mary Bevan and pianist Roger Vignoles gave a recital of French chansons in Walter Hall on Monday night. The concept was that the songs were paired; one being a setting of Baudelaire by a male composer and the other song by a female composer of the the same period. With two exceptions all the composers were French and with one exception from roughly the fin de siècle. So Duparc, Déodat de Séverac, Fauré Debussy and de Bréville were paired variously with the predictable; les sœurs Boulanger and Pauline Viardot, and less predictable; Mel Bonis, Marguerite Canal, Amy Beach (American) and Jeanne Landry (Canadian and much later).
Tag Archives: faure
Fauré music for the stage (mostly)
This recording from the National Symphony Orchestra of Ireland and their conductor Jean-Luc Tingaud contains 65 minutes of music; mostly written for the stage, though there are some songs for voice and orchestra.
The first set is based on the incidental music that Fauré wrote for an English language production of Maeterlinck’s Pelléas et Mélisande given in London in 1898. There’s a four movement suite and a bonus in “Mélisande’s song” from Act III Scene 1 sung here by Tara Erraught. It’s really tuneful, pleasant music that evokes the piece well. I particularly liked the third movement “Sicilienne” which features a wistful harp melody and the song which is sung with beauty and clarity. Continue reading
Ryan Davis and friends
To another excellent Confluence Concerts production last night at Heliconian Hall. This one was curated by Confluence’s Young Artistic Associate Ryan Davis; composer, violist and electronic Wunderkind. He was joined by a very talented group of young musicians; Kevin Ahfat (piano), Bora Kim (violin), Daniel Hamin Go (cello) and Jonelle Sills (soprano) plus the vocal talents of Confluence stalwart Suba Sankaran. The programme was built around English and French romantic music plus Ryan’s own compositions influenced by that tradition.

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.

Cantilena
Cantilena is a CD of art songs by various composers arranged for soprano, harp and cello. It’s an interesting twist on music that one is likely to be fairly (sometimes very) familiar with in the usual voice and piano format. It’s a generous disk with nineteen songs in all. The composers featured are Debussy, Duparc, Fauré, Massenet, Tosti, Tedeschi, Richard Strauss, Gregory and Villa-Lobos. The performers are soprano Gillian Zammit, harpist Britt Arend and cellist Frank Camilleri. Arend and Camilleri are principals with the Malta Philharmonic Orchestra.
Arts Anyway – Dinosaur Edition
The latest Arts Anyway webstream is up on Youtube. This edition features two varry varry posh dinosaurs introducing Alexander Hajek singing Fauré and Rebecca Cuddy singing two of Ian Cusson’s settings of texts by Marilyn Dumont. I think this is the kind of music and the kind of engagement that I miss most hunkered down here in the KittenKondo. I can live without Mozart or Wagner (just about) but artsong, especially artsong that speaks to what matters to us most today… not having that hurts. Keith Lam’s interviewee is also Rebecca Cuddy.

The Way I See It
The first of Amplified Opera’s series of three shows in the Ernest Balmer Studio took place last night. The series explores the idea of “otherness” in opera. The Way I See It , directed by Aria Umezawa, explores how the opera and wider world treat the visually impaired and how we (in the broadest sense) can not just accommodate but incorporate their insights and perspectives into our performance practice.

Russell Braun and Carolyn Maule at Mazzoleni Hall
Yesterday’s Mazzoleni Songmasters concert featured Russell Braun and Caolyn Maule in a generous and varied program anchored on Schumann’s Dichterliebe; a setting of sixteen poems by Heine. It was framed by three Mendelssohn songs and a varied and intriguing second half program.
Russell is a singer at the height of his powers. He has a lovely instrument and perfect control of pitch, dynamics and tone colour. He’s also a sensitive and musical human being. Throw all that at text and music as rich as Dichterliebe and the result is inevitably quite wonderful. One could just luxuriate in an emotional journey through the highs and lows of romantic love and a physical one up and down that magical river, the Rhine. The Mendelssohn was rather lovely too.
Osborne and Haji
Yesterday’s free lunchtime concert should have been the first opportunity to see Simone Osborne and Gordon Bintner in recital together but, sadly, Gordon had the lurgy so, if you want to see them perform together you will just have to go and see L’elisir d’amore at the COC. Fortunately Andrew Haji was able to jump in at short notice. Not such a bad guy to have on the bench!
Andrew started out with Santoliquido’s I canti della sera. I had heard him sing these before at Mazzoleni but it was good to hear them again. Genuine Italian art song isn’t all that common and these show the voice off nicely. There was both some lovely limpid singing and plenty of power when needed. He’s a pretty good story teller too. He also gave us the three Duparc songs that he and Liz Upchurch, once again at the piano, gave us earlier in the year. Again the standout was Le manoir de Rosemonde, a most beautiful and haunting song given the full treatment here.
Songbird
Layla Claire is one of a handful of young Canadian singers making something of a splash on both sides of the Atlantic with major roles in Glyndebourne, Zürich, Toronto and Salzburg and an upcoming Pamina at the Met. Her debut recital CD Songbird, with pianist Marie-Eve Scarfone, was recently issued on the ATMA Classique label. It’s an interesting and varied collection of songs though never straying very far from familiar recital territory. It’s tilted towards French (Gounod, Chausson, Debussy, Fauré, Bizet) and German (Wolf, Strauss, Brahms, Liszt) repertoire but there’s also Quilter, Barber, Argento and Britten (the comparatively rare Seascape which is, oddly, omitted from the CD liner).
