On-line roundup

Music-for-Self-Isolation_Horvat-620x670Ontario’s state of emergency seems to have slowed the production of on-line content to a trickle.  The only new things I’ve seen recently are from the ever reliable Opera Revue and Alexander Hajek.

Opera Revue’s eighth isolation production features five pieces from Frank Horvat’s Music for Self Isolation; a set of thirty one short pieces for one or two musicians written last spring.  The concert features the five pieces with a vocal part.  I have to say I liked the texts; taken from various sources, more than the music.  The music is sort of “singer sonwriterish”; simple, tonal, melodic, a bit repetitive.  It’s fine of its type but it’s not my bag.  Performances by various combos of sopranos Emily Ding and Dani Friesen, pianist Claire Harris and guitarist Michael McKenzie are very nice though and the recording; despite being done via Zoom, is perfectly acceptable.  The music may not be entirely my thing but I’m delighted that someone is doing projects like this.  You can find it on Opera Revue’s channel on Youtube.

Alex Hajek’s contribution is another intriguing Toronto based film this time featuring Der Doppelgänger from Scubert’s Schwanengesang.  It’s beautiful to look at and beautiful to listen to and, again, featurers Claire Harris on piano as well as Alex’ lovely baritone.  This one’s on Youtube too.  The channel is Alexander Hajek.

A few thoughts on web content

I last saw a live show in a theatre on March 13th.  Eight months later I’ve watched a lot of web content as well as continuing to review commercial opera recordings.  A month ago I wrote in Opera Canada that “there’s no substitute for live” and I stand by that view.  I do think though that there’s an opportunity and a need to rethink how opera and song is produced for webstreaming.

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Streams and things

A quick reminder that tonight, tomorrow and Saturday see new streams from AtG (A Little Too Cozy prequel), The GGS Fall Opera (Seven Deadly Sins and Lucrezia) and Confluence (Purcell).  There’s also new content on the appropriate Youtube channels from Domoney Artists and Alex Hajek.

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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.

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Alexander Hajek webstreams

Alexander’s recording of yesterday’s livestream is up on his Facebook page.  It’s a compilation of Italian songs from the renaissance on down and he accompanies himself on piano.  The video quality is not great but the sound is fine and it’s fine singing.  If you scroll down a bit there’s also another stream of him singing Schubert’s Winterreise.

For technical reasons these are NOT on Youtube.

Democracy in Action

Tongue in Cheek’s latest show, Democracy in Action, took place at the Lula Lounge last night.  The concept was pretty straightforward.  There were eight (almost) singers and a pianist.  Each singer offered up five numbers ranging from opera through art song to musical theatre and pop.  Advanced on-line polling had selected one song per singer.  Polling of the audience in the house produced the other two.  The in house polling was supported by really rather well done videos in which the “composers” tried to persuade the audience to vote for their stuff.

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Tap:Ex Forbidden

Tapestry’s new experimental show opened last night at the Ernest Balmer Studio.  It’s a “mash up” of Persian classical music and hip hop around the theme of The Child and The Stranger, who turns out to be Lucifer.  Lucifer seeks to show the child that authority and rules serve only to allow the powerful to abuse and punish others.  This is explicated in six short scenes using the various musical resources and styles available.

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Oksana G.

Aaron Gervais’ and Colleen Murphy’s Oksana G. finally made it to the stage last night after a most convoluted journey.  It’s being produced by Tapestry at the Imperial Oil Theatre with Tom Diamond directing.  The wait, I think has been worth it.  The story, set in 1997, of a naive country girl from the Ukraine who gets caught up in sex trafficking is dramatic and the it convincingly depicts the sleazy underworld of southern and eastern Europe created by the collapse of the USSR, the civil wars in the Balkans and the pervasive official corruption in countries like Ukraine, Greece and Italy.  It’s gritty and, at times, not at all easy to watch.

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