Stéphane Mayer’s Les Adieux recital yesterday in the Richard Bradshaw Amphitheatre was definitely out of the ordinary. Rather than a concert or recital format we got a fully staged and costumed version of two Oscar Wilde related works. First up was Saint Saëns’ version of The Nightingale and the Rose with Matt Pilipiak reading the story, Danika Lorèn as the Nightingale and Stéphane at the piano. It was well done and a reminder of what a truly lovely voice Danika has.
Liz Upchurch has now been head of the COC Ensemble Studio for twenty years. To put that in perspective, Alain Coulombe was an Ensemble Studio member back then. So Liz has deeply influenced a whole generation of Canadian singers and it was fitting that there should be a concert in her honour in the Richard Bradshaw Amphitheatre. It’s named for the man who brought her to the COC and it’s been the venue for countless concerts by the Mama Bear’s cubs.
Sirènes is an album of pieces by Montreal composer Ana Sokolović. The first pice, which gives the album its title, is written for six unaccompanied female voices. It’s performed here by the vocal ensemble of Queen of Puddings Music Theatre conducted by Dáirine Ní Mheadhra. The six ladies in question are Danika Lorèn, Shannon Mercer, Magali Simard-Galdès, Caitlin Wood, Andrea Ludwig, and Krisztina Szabó. It’s an interesting piece and very Sokolović. The text is bent and twisted into sound fragments which are “sung” using an array of extended vocal techniques. The overall effect is of a shimmering, fluttery and quite absorbing sound world.
So it looks like January is finally over and that means we can look ahead to next month. Things are definitely winding down. There’s the last Opera Pub of the season on the 3rd at the Amsterdam Bicycle Club. The Vancouver Symphony is appearing with Bramwell Tovey at Roy Thomson Hall on the 26th with the highlight being Marion Newman singing Ancestral Voices; a piece Tovey wrote for her. Also that evening the Canadian Children’s Opera opens a two performance run of Alice Ping Yee Ho’s new piece The Monkiest King. That’s at the Toronto Centre for the Arts.
The COC’s revival of Robert Lepage’s 2009 production of Stravinsky’s The Nightingale and Other Short Fables, revived by Marilyn Gronsdal, is a delightful mix of witty and clever stagecraft coupled with some fine music making. It’s very much a work of two contrasting halves. The first is a carefully constructed program of shorter Stravinsky vocal and instrumental works; all from the period 1911-1919 and all with a sound world reminiscent of The Firebird or Petrouchka rather than The Rite of Spring or the Dumbarton Oaks Concerto. The full line up was:
For the last few years the COC has had a fairly glitzy evening at which the next season is announced and there are interviews, a few performances etc. This year, for whatever reason, the two elements were divorced. The season was announced in a press release win January with no fanfare; not even a press conference. The glitzy bit happened last night with a cocktail reception and a stage event hosted by Brent Bambury.
The full Ensemble Studio was on display yesterday for an all Russian lunchtime concert. First up was Megan Quick with a couple of Rachmaninov songs. Megan’s timbre is very dark and it seems to be a natural fit for those Russian vowels. She was followed by Bruno Roy with a couple of Tchaikovsky numbers. He’s come on a lot in his time in the Studio. There’s some heft to the voice now and some quite impressive top notes. Good stuff.