Today’s RBA lunchtime concert featured the three tenors; Kammersinger Michael Schade, currently appearing as Aegisth in the COC’s Elektra, Irish tenor Mick O’Schade and Scottish folksinger Michael McSchade. They were most ably supported by COC Concertmaster Marie Bérard and Sandra Horst at the piano. The concert was billed as a tribute to John McCormack and Fritz Kreisler but sad events had morphed it into also being a tribute to the CBC’s Neil Crory. I hope, and believe, that he would have appreciated the combination of whimsy and serious music making.
Yesterday’s lunchtime concert was my second chance in just over a week to see Erin Wall in recital, in a completely different program from the Mazzoleni gig. There were three sets. First up were Korngold’s Three Songs Op.22. I’m all for more German songs in recitals, especially someone other than the Schus, but I wasn’t really taken with these. They seem closer to the later film music in style than to, say Die tote Stadt. They got the operatic treatment from Erin which is probably not a bad thing here.
So the Toronto Summer Music Festival continued last night with a Shakespeare themed show called A Shakespeare Serenade. Curated and directed by Patrick Hansen of McGill it fell into two parts. Before the interval we got Shakespeare scenes acted out and then the equivalent scene from an operatic adaptation of the play. After the interval it was a mix of Sonnets and song settings in an overall staging that was perhaps riffing off The Decameron. Patrick Hansen and Michael Shannon alternated at the piano.
Calgary once again offers three main stage performances. The season opens with Delibes’ Lakmé. It’s a Tom Diamond production so probably not very Regie. Aline Kutan, seen as Queen of the Night in Toronto not so long ago, sings the title role with Andrea Hill as her sidekick Mallika. Lakmé’s paramour, the handsome British officer Frederic, is sung by Canadian opera’s current answer to Rudolph Valentino, Cam McPhail. Gordon Gerrard conducts. There are three performances on November 21st, 25th and 27th.
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!
Kasper Holten shows his customary inventiveness in his production of Korngold’s Die Tote Stadt, recorded at Finnish National Opera in 2010. He places the whole opera inside Paul’s “Marie museum” with a chaotic, higgledy, piggledy model of the the city of Brugge as a back wall. He emphasises the dream elements of acts 2 and 3 through devices such as having the troupe of players and their boat emerge through Paul’s bed or assorted ecclesiastics popping up randomly in the “city model”. He also inserts a non-speaking Marie who is present throughout the piece, often to very interesting effect.
My acquaintance with Korngold’s Die tote Stadt has been pretty much limited to recital and competition performances of Glück, das mir verlieb, better known as Marietta’s Lied and, apparently, the last opera aria to become a hit single and Fritz’ act 2 piece Mein Sehnen, mein Wähnen. So, I was quite glad to get my hands on a complete recording of this lushly lyrical and rather weird piece. The “dead city” of the title is Brugge and the story concerns a wealthy man, Paul, who has turned his house, and his life, into a shrine to his dead wife Marie. He encounters a dancer, Marietta, who very closely resembles his late wife. What follows is wild and chaotic and is, ultimately, revealed to be a dream. Paul realises that only in the next world can he be reunited with Marie.