Show Me The Way is a new double CD from baritone Will Liverman, pianist Jonathan King and various collaborators featuring vocal works by female American composers. It draws on a wide range of influences from Ella Fitzgerald to Will’s mother.
There are several song cycles; some composed for the album or not previously recorded. There’s A Sable Jubilee with music by Jasmine Barnes and text by Tesia Kwarteng. It’s a celebration of “blackness” in various moods incorporating jazz influences into a complex tonal structure. It’s beautifully sung by Liverman and very skilfully accompanied by King on piano. Continue reading
Known to Dreamers: Black Voices in Canadian Art Song is a new CD from Centrediscs and the Canadian Art Song Project containing Canadian art songs composed by or setting lyrics by Black Canadians, sung by Black Canadians. The first set on the disk is Robert Fleming’s The Confession Stone (Songs of Mary) which sets texts by Owen Dodson’s texts about the life of Christ from his mother’s point of view. It’s a very beautiful piece and must be in the running for the most performed Canadian song cycle of all time! Curiously though it’s only been recorded commercially once before (by Caroline Gélinas on ATMA Classique). The singer here is Measha Brueggergosman-Lee. She wouldn’t be my first choice for this piece but she sings it pretty well. I find her style a bit mannered but she’s accurate and her diction is good. Steven Philcox accompanies with great skill (as he does on all the tracks).
Yesterday’s lunchtime recital in the RBA featured three current members of the COC Ensemble Studio. First up was tenor Aaron Sheppard making his adieux with Finzi’s A Young Man’s Exhortation; a setting of texts by Thomas Hardy. It’s an interesting cycle; quite spare with, despite its lack of density, an intricate piano part that reveals some interesting chromaticism. The vocal line calls for great delicacy and control with occasionally injections of power. We got all that in a very fine performance by Aaron, and by Stéphane Mayer at the piano. It was probably the best performance I’ve heard from Aaron. He’s always had a rather beautiful, but perhaps too delicate voice. Here the control, phrasing and emphasis was all there but so was some oomph when needed. His performance was very true to the texts which have that same quality that Houseman exudes; Merry England with Death just peeking in from around the corner when one least expects it. Good stuff.
Renée Fleming’s new CD Distant Light is quite unusual for a “diva disc”. It’s definitely not “Opera’s Greatest Hits” territory. Rather, it’s in three quite contrasting parts though all are linked by the idea of “emotional landscapes”. It starts off with Samuel Barber’s Knoxville: Summer of 1915, follows it with settings of Mark Strand poems by Anders Hillborg and finishes up with arrangements of Björk songs. She’s accompanied throughout by the Royal Stockholm Philharmonic Orchestra with Sakari Oramo conducting.
This looks like the week the season really starts. The big event is the season opener at the TSO on Wednesday where Renée Fleming is featured. There’s Ravel’s Shéhérazade plus Puccini, Walton and others finishing up with three numbers from The King and I. This one’s at Roy Thomson Hall at the slightly unusual time of 7pm. The next night at the Alliance Française there’s a show called Singing Stars of Tomorrow. It features ten young singers who will have been engaged in a day long workshop with Sondra Radvanovsky. It’s organised by the IRCPA. Tickets are $25 from 
operaramblings 