And so the final act. First on stage was Emily D’Angelo; the only lady left in the competition. It was an accomplished and varied set. She started with a characterful and technically proficient Una voce poco fa followed by an appropriately lyrical Must the winter come so soon? Coeur sans amour from the Massenet Cendrillon showed off excellent French before a suitably dramatic rendering of the Komponist’s aria from Ariadne. Pretty much all the mezzo bases covered there and covered very well.
So I guess I wasn’t that impressed with the first session in the aria competition; too much loud, technically correct, but dull singing. Things were much better in the evening though. First up was Russian mezzo Alexandra Yangel. She was very personable and fun to watch but a bit wayward vocally. Nobles seigneurs, Salut! from Les Huguenots was dramatic and lyrical in places but her upper register gets quite squally. This was even more noticeable in the aria from La Cenerentola that followed. I liked the passion and the vocal acting ability in her Smanie, implacabili though.
Yesterday we got the second recital by the song fellows of the Toronto Summer Music Festival. In the week since the first concert they have been working with mentor Soile Isokoski and it showed in the programming. There was quite a bit of Strauss and more Finnish and Swedish music than I have ever heard in such a recital. Among other things this highlighted just how difficult Strauss songs are to sing well. They are exceedingly tricky yet have to sound absolutely effortless. Three of the four sopranos on show tried. None of them succeeded completely(*). So it goes. And so to the details.
Toronto Summer Music Festival has two “apprenticeship” programmes; one for chamber musicians and one for singers and collaborative pianists. The latter is directed by Martin Katz and Steven Philcox. On Saturday afternoon in Walter Hall we got our first chance to see this year’s young artists. Eight singers and four pianists were on show. The singers were a mix of those who are well known to anyone who follows student opera in Toronto and newcomers. The pianists were all new to me.
Season announcements, it seems, are like the King Street streetcar(1). You wait for ages then three come along at once. This time it’s Opera Atelier announcing the 2017/18 season. As ever there are two productions. A remount of Mozart’s The Marriage of Figaro runs October 26th to November 4th. The cast icludes Douglas Williams, making his Opera Atelier debut, in the title role, with Mireille Asselin (Susanna), Stephen Hegedus (Count Almaviva), Peggy Kriha Dye (Countess Almaviva), Mireille Lebel (Cherubino), Laura Pudwell (Marcellina), Gustav Andreassen (Bartolo), Christopher Enns (Basilio/Don Curzio), Olivier Laquerre (Antonio), and Grace Lee (Barbarina). This one will be sung in English.
Patrick Jang, Carla Huhtanen and Phillip Addis in “The Marriage of Figaro” (2010). Photo by Bruce Zinger.