Last night, at Walter Hall, Finnish soprano Soile Isokoski and pianist Martin Katz gave a recital as part of the Toronto Summer Music Festival. The programme of Schumann, Wolf, Strauss and Sibelius was an object lesson in restraint and elegance. There were no histrionics or gimmicks, just very fine, subtly expressive singing and brilliantly supportive pianism.
So after a bit of a hiatus the Toronto music scene is coming back to life. The Toronto Summer Music Festival has kicked off and the main interest for followers of the vocal arts lies in the Art Song fellows project with concerts at 1pm on each of the next two Saturdays in Walter Hall (free but tickets required). Then the vocal highlight of the festival; Soile Isokoski in recital with Martin Katz at 7.30pm on the 18th at Walter Hall. The programme includes the Schumann Mary Stuart songs, the Strauss Ophelia songs plus some Wolf and, of course, Sibelius. Ms. Isokoski is also giving a public masterclass in Walter Hall on the 23rd at 2pm.
The line up for this year’s Toronto Summer Music Festival, the first with Jonathan Crow as Artistic Director has been announced. It’s the usual mix of orchestral, chamber, piano and small scale vocal music for the most part. This being the sesquicentennial year it’s heavy on CanCon and, as in previous years, there are academy programs for both singers and instrumentalists.
Ms. Isokoski looking less down to earth than this morning
This was a really interesting morning. The TSMF runs a “fellow” program for singers and collaborative pianists and this morning, as part of that program, there was a masterclass with Finnish soprano Soile Isokoski. There were eight singers and four pianists with seven German songs (Strauss, Schubert and Wolff) and one in Finnish prepared (and preparing a Finnish piece for an Isokoski masterclass reminds me of that Youtube thing of the kitten walking down a line of Alsatian guard dogs). It was classic masterclass format. Each singer sang their piece and then went over fine points; diction, legato, phrasing, breathing, emotion, colour, at Ms. Isokoski’s direction. It was fascinating.
Katherina Thoma not unreasonably chooses to set her 2013 Glyndebourne production of Ariadne auf Naxos in a country house in the south of England (though I suppose equating the Christies with a rather boorish Viennese bourgeois might be thought a touch unkind). She also chooses to set it in 1940 which sets us up for an almost Marxian dialectic not just between high art and low art but between art and life; especially where life and death are concerned.