Last night saw the first concert of this year’s Toronto Summer Music Festival. The theme was “Beyond Borders” with most of the works presented; a mixture of piano, violin and vocal, having been influenced by other cultures/places or written in exile.
The RCM 2019/20 season has been announced. It’s the usual mix of chamber, orchestral, piano, jazz, world music, the completely indefinable and, of course, vocal. There are 91 concerts in total. With such a wide range of material it’s hard to imagine anybody being interested in all of it or, conversely, anybody unable to find something to their taste. My tastes, of course, run largely to classical vocal music so what follows is what I find most interesting: Continue reading →
Last night Thomas Hampson, his son in law Luca Pisaroni and pianist Vlad Intifca appeared at Koerner Hall. It was a curious program. The first half was made up of opera arias and excerpts. There was a sequence of Conte/Figaro and Leporello/Don G numbers. They were, of course, very well sung. Both singers are noted exponents of these roles but I really didn’t see the point. They were pieces I’m sure pretty much every audience member has seen with orchestra, on stage, multiple times. With piano accompaniment it all seemed a bit pointless. There followed two longish scenes; the Riccardo/Giorgio confrontation from I Puritani and the scene from Don Carlo where Posa pleads with the king for a change in policy in the Netherlands. These worked better; perhaps because they are less familiar but more likely the fact that each featured Pisaroni in a genuine bass role. This allowed for more variation of timbre and colour than the Mozart pieces.
I went into last night’s Glenn Gould School performance of Mozart’s The Magic Flute at Koerner Hall with all kinds of questions buzzing around in my head; partly because of an earlier conversation with director Joel Ivany and partly, well, Magic Flute – that most enigmatic of operas. If only one could go back (more than forty years) to seeing it for the first time!
I sat down a couple of days ago with Joel Ivany to discuss his upcoming production of Mozart’s Die Zauberflöte at the Royal Conservatory. Here are some of the things we talked about.
What’s Die Zauberflöte “about”?
This opera has had whole books written about it but no-one seems to agree on what’s at the core of it. Is it a simple fairy tale? Is it an allegory of Reason versus The Church? Is it a Coming of Age story? Unsurprisingly we didn’t come to firm conclusions here but it’s clear that Joel wants to particularly explore some of the aspects of gender raised by the piece; especially the apparent misogyny of the piece. There’s potentially more to Pamina than being the bait to trap Tamino or, alternatively, his completion. What is her roles in the Trials? What happens to either of them if they fail? If Tamino needs to be “completed” what are we to make of the unpartnered Sarastro? But, if Pamina has strength what kind of agency does she have? The other female character are equally problematic. How does one humanize the Queen of the Night? Who, or what, is Papagena? Neither of us think there are easy answers here and I’m looking forward to seeing how Joel’s take pans out. What we could agree on is that even if the simple equation of male = good/rational and female = irrational/disposable worked in 1791 (if, indeed, it did), it won’t work in 2019.
There are a few interesting items in the initial announcement of the RCM’s 2019/20 season:
The Amici Chamber Ensemble with Russell Braun and the Elmer Iseler Singers offer a celebration of the 150th birthday of Armenian composer Komitas Vardapet. That’s on October 25th 2019.
Karina Gauvin and the Paciifica Baroque Orchestra have a programme called Russian White Nights: Opera arias from 18th century St. Petersburg. That’s on November 1st 2019.
Phillipe Sly and Le Chimera Project are presenting a staged version of Schubert’s Winterreise with chamber ensemble. That’s on January 17th 2020.
Perhaps the biggest deal of all is Peter Sellars directing the Los Angeles Master Chorale in a staged performance of Orlando di Lasso’s final work, Lagrime di San Pietro; 27 madrigals sung a cappella in seven parts by 21 singers. That’s on February 1st and 2nd 2020.
And after all the fancy stuff there is a classic Liederabend with Matthias Goerne and Jan Lisiecki in an all Beethoven programme on April 24th 2020.
The 2018 Ashkenaz Festival opened last night at Koerner Hall with a concert titled Yiddish Glory. The background can be found in my preview post about it. So last night four vocalists and an assortment of instrumentalists performed nineteen numbers from the collection. They date from 1942; when the outcome of the Great Patriotic war was far from certain, to 1947; when it was already won. The bulk date from 1944/5; when the outcome was clear though maybe not the costs still to be borne.