Wednesday’s concert in the RBA was a challenging programme of song by contemporary women composers presented by soprano Ariane Cossette and pianist Brian Cho. Kaija Saariaho’s Quatre instants sets four related poems by Amin Maalouf. In some ways it’s in the same sort of psychological space as their L’amour de loin; love at a distance, love requited and unrequited, love sensual and quasi-spiritual, but musically it’s very different. It’s much more abrasive and (mostly) less lyrical. Sometimes its really busy and quite angry. It’s also very, very complex and often quite loud, demanding great skill and stamina from both performers. The piano part features loads of trills and arpeggiation and the vocal line has awkward intervals and even screaming. It was handled really well.
I guess I’ve learned never to expect the predictable from Emily D’Angelo (except for the black clothes and boots). Her new album; freezing, is as unexpected as 
Wednesday’s lunchtime recital in the RBA featured Simone Osborne; currently appearing as Norina in Don Pasquale, and pianist Rachael Kerr. It was a well curated selection of songs apparently, at least partially, inspired by sleep deprivation singer and pianist both have small children!). There were three sets of four songs. One in each set was by a Canadian composer backed up by two others that were thematically related.
It’s coming towards the end of the traditional “season” but there’s sill plenty happening. Here’s how I see may shaping up at present (I expect more theatre listings will come in. They tend to be somewhat less notice!):
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.
operaramblings 