Yesterday saw the first free concert of the season in the Richard Bradshaw Amphitheatre. It was a chance to see the 2015/16 Ensemble Studio; two new singers, one new pianist and six singers and a pianist from last year. The format was one aria per singer with few surprises. We also got to hear the core quartet casting for the Ensemble Studio performance of Le Nozze di Figaro later in the season. No surprises there either; Il Conte – Gordon Bintner, Iain MacNeil – Figaro, La Contessa – Aviva Fortunata, Susanna – Karine Boucher. That leaves four tenors for the other roles…
Tag Archives: haji
Ensemble Studio Barber
The Ensemble Studio got to do their thing last night with their annual main stage performance; this year, of course, Joan Font’s production of The Barber of Seville. This year only one role was split; Andrew Haji singing Almaviva in Act 1 with Jean-Philippe Fortier-Lazure coming off the bench for the second half. The other main roles went to Clarence Frazer as Figaro, Charlott Burrage as Rosina, Iain McNeil as Doctor Bartolo, Gordon Bintner as Don Basilio and Karine Boucher as Berta. Ringer Jan Vaculik sang both Fiorello and the Officer.
The Futile Precaution
Yesterday lunchtime the Ensemble Studio gave us a preview of their upcoming performance of the Barber of Seville. The production, of course, will be the one currently on stage at the Four Seasons Centre and there were clear echoes of that in the way yesterday’s event was put on though they also played with the fact that Almaviva will be split between Andrew Haji and Jean-Philippe Fortier-Lazure with much pulling and pushing into place.
Poetic Love
Today’s lunch time concert in the RBA was a lieder recital by two Ensemble Studio members; bass-baritone Gordon Bintner and tenor Andrew Haji. Both singers sang settings of texts by Heinrich Heine. Bintner, accompanied by Jennifer Szeto kicked off with selections from Schubert’s Schwanengesang to be followed by Haji and Liz Upchurch with Schumann’s Dichterliebe.
France Bellemare; a soprano to watch
Today saw the annual lunchtime concert in the RBA in which members of the COC Ensemble Studio collaborate with visitors from the Atelier lyrique de l’Opéra de Montréal. There were three singers from each program but rather unusually only one of them was female; soprano France Bellemare. Naturally I was rather focussed on the visiting singers as the three Toronto participants; Gordon Bintner, Clarence Frazer and Andrew Haji are very much known quantities. Of the visitors it was very much Ms. Bellemare who shone. She has a very accurate, lovely rich voice with perhaps still some work to do on the top of her range but very easy to listen to and she’s musically and dramatically convincing too. Her version of Micaëla’s Je dis que rien ne m’épouvante was very competent though I’m not sure it’s ideal rep for her. The Song to the Moon from Rusalka though fitted her like a glove. This was really lovely singing. She also did very well in duet with Clarence Frazer in Lippen schweigen from Die Lustige Witwe or The Merry Widow or La Veuve Joyeuse as all three languages were used! She can waltz too though perhaps not as well as Clarence. Ladies, if you need a dance partner consider Mr. Frazer. She also shone in the final number; the Libiamo from La Traviata. I confess when I saw the program and saw that she would be partnered by Andrew Haji I rather expected her to be sung off the stage. She wasn’t. She held her own with a tenor who will sing this role on the COC’s main stage next season. No mean feat. This young lady is definitely one to watch.
History’s worst fifty years in song
I guess it’s a good thing when one’s emotional and intellectual reactions to a program threaten to overwhelm one’s ability to listen analytically and evaluate. That’s what art is for isn’t it? Anyway that’s pretty much what happened to me today listening to a program called Songs of Love and War in the Richard Bradshaw Amphitheatre. The songs were all pieces more or less inspired by the catastrophes of the first half of the twentieth century; the wars, the rise of Nazi power, the occupation of France. These are all events that have many layers of meaning for me. I have studied them and the music and literature they generated for decades. I have known, often well, people who played roles in these events. I have deeply held views. You have been warned!
Here we go again
Yesterday lunchtime saw the first free lunchtime concert of the season in the Richard Bradshaw Amphitheatre. Following tradition, it was presented by the members of the Ensemble Studio. Or, to be more accurate, by six of the nine as an unprecedented three singers had fallen victim to the virus that is apparently sweeping the Toronto opera world (HighCbola?).
More “oy vey” than “¡Olé!”
First a disclaimer, I’m not a huge Massenet fan and even among his works Don Quichotte would rate pretty low with its cheesy melodies and faux Spanoiserie. However, a good production has the potential to liven it up and a stellar cast is always a plus. The run that opened at the Canadian Opera Company last night certainly had the latter in Ferruccio Furlanetto, Quinn Kelsey and Anita Rachvelishvili. Unfortunately Linda Brovsky’s production looked and felt like one of Mr. Peter Gelb’s attempts to get the Broadway audience into the Met. It was cluttered, unfocussed, pretty much devoid of ideas and didn’t even really make best use of the acting talents of the principals though Rashvelishvili did her best to inject some life into it. It’s exactly what I feared when I heard they were going to use a real horse and donkey (later replaced by a mule in one of the more recent of the season’s casting problems at COC). For me, one of those productions almost best listened to with eyes closed.
Of love and longing
Allyson McHardy’s lunchtime recital in the Richard Bradshaw Amphitheatre today was unusual and effective; combining contrasting works by Brahms, Robert Fleming and Britten. Accompanied by Liz Upchurch on piano throughout, she was joined for the first set; Brahms’ Two Songs for Alto, Viola and Piano, Op. 91 by the COC’s principal violist, Keith Hamm. They were rather beautifully sung and played and were true to music and text; both of which are a bit too German Romantic for my taste. Continue reading
Liebeslieder-Walzer
I only managed to get to the first half of yesterday’s Ensemble Studio lunchtime concert. It was Brahm’s Liebeslieder-Walzer Op. 52 performed by Claire de Sévigné, Charlotte Burrage, Andrew Haji and Gordon Bintner with Liz Upchurch and Michael Shannon providing the four handed accompaniment. I’m not a huge Brahms fan and this was pretty much that late 19th century sentimental stuff I don’t really get; somewhat schmaltzy waltz rhythms setting somewhat schmaltzy texts. It was well done though. Haji, in particular, sang with a fine attack and the different voice combinations made interesting contrasts. I thought the music came off best when the girls sang together and when the guys sang together. Both pairs have voices quite different in timbre and blended to good effect. The more complex four voice sections seemed to come a bit unstuck in the RBA. I’m 99% sure it was the acoustic not the singers but certainly textures got quite muddy at times. The accompaniment was, unsurprisingly, very good indeed. Work pressures meant I had to leave before the second half of the programme which featured John Greer’s Liebesleid-Lieder.






