Sometimes the Canadian Opera Company gets it right and the current production of Janáček’s Cunning Little Vixen is a good example. It’s got all the things that might help boost a flagging audience. It’s not over familiar. Nobody is going to be complaining that they have seen the same old boring production five times already. It’s a brilliant score. The production is intelligent with enough for those who want more than a costume drama while not doing anything to shock the pearl clutchers. It’s well sung; with a goodly quantity of local talent, and the orchestral playing and conducting is exemplary. What more could one ask for? One could I suppose add that it’s an opera one could happily take children to.
My usual reaction to holiday season concerts is (polite version) “Bah humbug”. The less polite version involves reindeer placement. That said Thursday’s concert from the COC Ensemble Studio was really rather enjoyable.
Tuesday’s lunchtime concert in the RBA consisted of works by Cecilia Livingston chosen and performed by members of the COC’s Ensemble Studio. It was a fairly varied programme considering it was all works by one composer.
On Saturday evening the COC presented a teaser concert for their 2023/24 season on the outdoor stage at Harbourfront. The weather stayed fair and there was no more than the usual aural background to distract a little from the music. The full orchestra under Johannes Debus was on display along with half a dozen members of the Ensemble Studio.
…let me explain is a new CD of Canadian art song (mostly) from soprano Christina Raphaëlle Haldane. The first set consists of three arrangements of Acadian folk songs by by Carl Philippe Gionet. The three are quite different. L’Escaouette is fast, high, rhythmic and very high energy. Tout Passe is much more elegiacal while Wing Tra La is very playful. They are sung quite beautifully with piano accompaniment from the arranger. Ahania’s Lament is a longish piece in which Blake’s text is set by Samy Mousa. It’s a tough sing with a lot of high exposed passages against a minimal accompaniment. It’s a piece that it’s easy to get drawn into. It’s a good vehicle for Haldane’s crystalline upper register. Piano accompaniment by M.Gionet again.
operaramblings 