Tag Archives: feldman

Who’d have thought that snow falls

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A few months ago I reviewed a recording of Morton Feldman’s Three Voices which I had never heard “live”.  On Sunday evening I got the chance to hear Lindsay McIntyre perform it at Arrayspace.  It’s a roughly one hour long piece in which the soprano performs with two tracks that she has recorded in advance.  It was really interesting to hear the nuances of two recorded voices versus live which, of course, doesn’t really come across the same way on a recording, however good.  It’s the subtlest of textural difference but it’s definitely there.

Soprano

Two pre-recorded tracks

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A couple more interesting things this week

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I’ve only just found out about a couple of events this week that may be of interest.

Soulpepper has a free showing of Ingmar Bergman’s 1957 masterpiece The Seventh Seal.  It’s on Wednesday, November 12th at 7pm and it’s free.  If you have seen The Comeuppance and the movie you’ll get the connection!  If you haven’t seen the movie I would say it’s one of the most important post war films.  It has a fantastic performance by Max von Sydow as a world weary crusader and an equally fine one by Bengt Kerot as Death.  The cinematography, by Gunnar Fischer is exceptional.  No gimmicks.  No special effects.  Just a very beautiful and moving film.

Then on Sunday November 16th at 7.30pm at Arrayspace Lindsay McIntyre is performing and producing Morton Feldman’s Three Voices in which the live singer works with two pre-recorded vocal tracks.  It’s a most interesting hour long piece.  I recently reviewed a recording of it by Dory Hayley for La Scena Musicale.  Tickets for that are “at the door” or here.

The Bright Divide

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Soundstreams’ concert on Friday evening in the new TD Music Hall at Massey Hall was inspired by the Rothko Chapel in Houstion, Texas.  It featured two works; Morton Feldman’s Rothko Chapel, commissioned for the opening of the chapel, and Cecilia Livingston’s mark, commissioned for Friday’s concert.  Both featured chorus (Soundstreams Choir 21), viola (Steven Dann), celesta (Gregory Oh) and percussion (Ryan Scott).  mark also featured baritone Alex Samaras).  Both were staged by Tim Albery with lighting by Siobhán Sleath and projections by Cameron Davis.

The Bright Divide/ Soundstream

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Soundstreams 2023/24

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soundstreams2324Soundstreams has announced the line up for the 2023/24 season.  First up, and very exciting, is The Bright Divide, which will play Nov 10th and 11th at the TD Music Hall (the new performance space at Massey Hall).  It’s a staged show, directed by Tim Albery and featuring two works inspired by the work of Mark Rothko.  There’s Morton Feldman’s Rothko Chapel for viola, timpani and choir and a new work by Cecilia Livingston; mark for viola and voice.

Electric Messiah is back.  This time it’s at Theatre Passe Muraille from December 14th to 17th.  Adam Scime is in charge again for the Messiah where you don’t know what to expect.

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Is it all?

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Anna Theodosakis’ production of Britten’s Rape of Lucretia for MYOpera updates the piece from proto-historical Rome to somewhere in the mid 20th century which is fine but doesn’t seem, of itself, to add any layers of meaning to the narrative.  There are neat visual touches in a simple but effective set design and the nature of and relationships between the characters are deftly drawn.  The rape scene manages to be disturbing without being gratuitously graphic.  It’s skilful theatre.  But is that enough?

TROL1

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The Devil it is

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Boito’s Mefistofele is a rather odd work.  It’s truer to the original Goethe than other operatic versions of the Faust legend which means it’s very episodic and focuses on the Faust/Mefistofele relationship rather than on Margherita.  In fact she’s dead with an act and an epilogue still to go.  It’s hard to categorize musically too.  Some parts are rather bombastic, vulgar even, yet at other times we seem to be drifting into bel canto territory.  So it’s a bit uneven; listenable enough but not very memorable.

1.mefistofele

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Dessay is a spectacular Zerbinetta

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A recording featuring Deb Voigt and Natalie Dessay, both high on my list of singers I’d like to party with, obviously has to be seen.  They feature in a 2003 recording of Ariadne auf Naxos from the Met.  It’s a Moshinsky production, directed for this run by Laurie Feldman.  It’s pretty traditional in most respects though there are some interesting touches in the second act.  We are squarely in the house of the richest man in Vienna c. 1750.  No Konzept here.  In fact, the first act is traditional too in that the acting is broad, going on coarse grained.  Dessay brings a touch of distinction, managing to effectively portray the more vulnerable side of Zerbinetta.  Voigt too is very fine, and very much with the overall mood, as a completely over the top stroppy diva.  She’s definitely playing for laughs.  Susanne Mentzner’s Composer and Wolgang Brendel’s Music Master are both quite competent but suffer a bit from the pantomime acting the director appears to want.

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