There are three new Youtube videos that aren’t performances but may be of interest. On the Confluence Concerts channel there’s the John Beckwith Songbook Lecture. I was expecting the usual sort of pre-show thing ahead of this weekend’s concert but it wasn’t that at all. What we get is Bradley Christensen explaining his doctoral thesis research on developing an interpretive and pedagogical guide to Beckwith’s songs. One might expect this to be rather dry and in a way it is but dry like a certain kind of British (or I guess Kiwi) humour. It’s a sort of “Note the sheep do not so much fly as plummet” performance. No sheep though. One would have thought a Kiwi could have fixed that. I shouldn’t joke really. It’s a perfectly serious and valuable project but the deadpan delivery is curiously compelling.
Elliot Madore’s recital with Rachel Andrist was supposed to have happened at Mazzoleni all with a limited live audience last weekend but that didn’t happen and the programme was recorded in an empty Koerner Hall and streamed last night. The programme’s first half was all French and the second half English.
There are schedule changes to the RCM’s line-up of webstreams. The key ones are that last weekend’s recital with Elliot Madore and Rachel Andrist that went ahead without an audience will be streamed at 8pm tomorrow and it’s free.
The December 3rd concert with Adrianne Pieczonka, assorted vanishing tenors, Johannes Debus and the COC Orchestra will go ahead sans tenors. That one is ticketed ($50 I think) and streams live at 8pm.
Unsurprisingly the programme at the RCM is in a state of flux as they try to cope with the gyrations of the provincial government so do check anything and everything close to the expected date.
The line up for next season’s Songmasters series in Mazzoleni Hall has been announced.
November 22nd 2020 sees baritone Elliot Madore and pianist Rachel Andrist in a program called Troubled Times with music by Adams, Britten, Higdon and Musto. It really is about time Mississauga boy Elliot was heard in Toronto. he must have sung just about everywhere else by now!
In 2012 Glyndebourne staged an interesting and contrasting double bill of Ravel one-acters in productions by Laurent Pelly. The first was L’heure espagnole. It’s a sort of Feydeau farce set to music. The plot is classic bedroom farce with the twist that most of the doors the lovers come in or out of belong to clocks. Concepción is the bored wife of a nerdy clockmaker. She’s not overly impressed by her two lovers; a prolix poet and a smug banker, who show up while hubby is out doing the municipal clocks. She’s much more taken by the slightly simple but very muscular muleteer who spends most of his time lugging lover infested clocks up and down stairs for her. Pelly wisely takes the piece at face value and brings off a mad cap forty five minutes timed to the split second.