Yesterday Matthew Cairns and Rachel Kerr performed an unusually wide range of songs in the Richard Bradshaw Amphitheatre. It’s part of Matthew’s prep for his CBC recording session which was part of the prize at last year’s Centre Stage and which will be broadcast in the new year. They kicked off with a contrasting pair of Duparc song’s. First came the almost dreamy L’invitation au voyage with it’s arpeggio accompaniment followed by the much more dramatic Le manoir de Rosemonde. These really set the tone for the recital. There was power where it was needed but also considerable delicacy from both singer and pianist.
Handel’s Arminio was written for Covent Garden and while admired by the cognoscenti at the time it wasn’t a commercial success. It’s a well worked three act opera seria with nothing much to distinguish it from others of its ilk. For what it’s worth it’s set during Augustus’ attempt to conquer the land between the Rhine and the Elbe but its themes of death or glory and love versus duty, all with an impausible reconciliation ending, could easily be set anywhere. Actually it almost wilfully ignores history as the libretto claims it happened in 9AD when the real Arminius (Hermann the Cherusker) decisively defeated Varo (also in the opera) in the Teutoburger Wald ending Roman hopes of extending the Empire beyond the Rhine.(*)
Off I went to the Four Seasons Centre to see Samuel Chan and Stéphane Mayer perform some Schubert. Sadly Sam was indisposed so what we got was a hastily, but very well, constructed program featuring some of the other singers in the Ensemble Studio.
Things kicked off with the increasingly impressive Anne-Sophie Neher in an accomplished rendering of Mozart’s “show off” piece Exsultate jubilate, in which she showed very decent control in the rather fiendish runs. She was back later with “The Presentation of the Rose” from Der Rosenkavalier which sounded suitably Straussian and sufficiently girlish at the same time. Nicely done. She made a third appearance with one of Adèles’s arias from Le comte Ory. This didn’t quite do it for me but it was fun to hear Stéphane playing around with the very Rossiniesque accompaniment.
Opera Atelier has announced its 2019/20 season. As usual there are two main stage shows. The first is a revival of their 2011 production of Mozart’s Don Giovanni. It runs from October 31st to November 9th, 2019, in the Ed Mirvish Theatre. It’s a production that plays up the comedy and the elements of the commedia dell’arte in the piece while pretty much eschewing anything deeper or darker. The cast includes Douglas Williams as the Don with Stephen Hegedus as Leporello, Colin Ainsworth, as Don Ottavio, Meghan Lindsay as Donna Anna, Carla Huhtanen as Donna Elvira, Mireille Asselin as Zerlina, Olivier Laquerre as Masetto, and Gustav Andreassen as Commendatore. beautiful Ed Mirvish Theatre. David Fallis conducts.
Yesterday’s concert in the RBA, the first I’ve been to in a while, featured the five members of the Orchestra Academy; violinists Joella Pinto and Gloria Yip, violist Carolyn Farnand and cellists Erin Patterson and Alison Rich, with Joel Allison and Samuel Chan and Rachael Kerr on keyboards. It was an interesting concert in many ways. We don’t get to see the young instrumentalists much nor do we often see Ensemble members sing with a chamber ensemble. It was also interesting to hear the contrast between Joel’s dark toned bass-baritone, often singing in a very low tessitura, with Sam’s much brighter, lighter baritone which sometimes was well up in tenor territory.
Yesterday the lemur and I ventured out to Roy Thomson Hall for Tafelmusik’s Singalong Messiah. I did this with some trepidation. There were reasons for this. First, I’m not a great sight reader; I sorta, kinda get by but I’m much more comfortable in the middle of a group of better singers that I can key off. But there’s the rub, I’m a tenor. I did this gig before in 2003 and there were like a million sopranos and seven tenors. See first point. It ain’t happening.(*). Finally, I had been fighting a cold/cough all week and feared that my voice would be better suited to Aristophanes than Handel. Fools tread boldly etc.
There’s much to like in this year’s unfussy TSO Messiah. It’s not bloated. For most of the piece conductor Johannes Debus deploys around thirty strings, chamber organ, harpsichord, oboes and bassoon. Trumpets and timpani are added for the grand moments later in the piece. He even manages to get quite a delicate sound out of the largish (100+) Toronto Mendelssohn Choir. The delicacy is a recurrent thread. That and a really bouncy sense of rhythm. One could dance to Debus’ Handel.