More farewells

The first of this year’s Les Adieux concerts for departing members of the Ensemble Studio took place Tuesday lunchtime in the RBA.  It was supposed to feature Brian Cho, Mattia Senesi, Korin Thomas-Smith and Karoline Podolak but Karoline was indisposed so Emily Rocha (not leaving) jumped in at the last minute.

The rearranged programme worked pretty well with maybe a bit more opportunity for the pianists.  Sio, Mattia  played the Intermezzo from Brahms’ Op 118. No. 2, which was very nicely done and Brian closed things out with just the piano part from Schumann’s Widmung which works surprisingly well, at least if one is familiar with the song. Continue reading

COC announces 2025/26 season

Without notice or fanfare the COC season announcement landed in my email inbox at 11.30 this morning.  I kind of miss the old 10am press conference which at least offered an opportunity to ask about the rationale of some of the decisions.  I guess though that the number of people writing about opera in Toronto these days would fit in a phone box so maybe it’s too much to hope for.  There are some mildly surprising aspects to the announcement.  There’s no Mozart or Puccini nor, more consequential, any sign of the various new opera projects that COC has/had under development which do have a bit of a habit of disappearing without trace.  There’s also no “second stage” production.  I guess that experiment is done.  So it’s six main stage productions in the traditional three pairs. Continue reading

The Tortured Poets Department

alexhWednesday evening’s Shuffle Hour concert at Toronto Summer Music was given by mezzo Alex Hetherington and pianist Vlad Soloviev in Heliconian Hall and carried the curious moniker The Tortured Poets Department. It kicked off with the letter aria from Massenet’s Werther and let’s face it if anyone deserves torturing it’s some combination of Werther himself and Goethe for inventing him (and possibly Massenet for prolonging the life of a character who might otherwise have fallen into obscurity).  Whatever, Alex gave a fine, impassioned reading of the aria which set the stage well for what was to follow. Continue reading

Satisfying Cendrillon from UoT Opera

UoT Opera’s spring production; Massenet’s 1899 opera Cendrillon, has been transferred to the Elgin Theatre with the MacMillan currently out of commission.  They have made some sensible accommodations to the rather unfriendly Elgin acoustic.  The orchestra is reduced to about thirty players and placed at floor level in front of the stage.  Almost all the stage action takes place right at the front which helped significantly with voice projection.

Pandolfe & Servants

Pandolfe & Servants

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Ariane

Massenet - arianeAriane is a late opera (1906) by Jules Massenet.  Now largely forgotten it has recently been recorded by the Palazzetto Bru Zane in their admirably produced series of French rarities.  Unfortunately, unlike some of their other rediscoveries I wasn’t much taken with it.

The plot is an odd take on the Theseus and Ariadne story.  Ariadne helps Theseus defeat the Minotaur then sails away with him to Naxos taking her sister Phaedra with them.  Phaedra and Theseus fall in love and Ariadne is devastated.  When Phaedra learns what effect she has had she curses Aphrodite and attacks a statue of Adonis with a rock.  Aphrodite causes the statue to fall on and kill her.  This is rather more revenge than Ariadne wants so she goes down to the Underworld and trades a bunch of roses to Persephone for Phaedra.  On returning to the light Phaedra vows to give up Theseus but it doesn’t stick and she and Theseus set off for Athens.  Ariadne drowns herself. Continue reading

Les adieux – Midori Marsh and Alex Halliday

It’s that time of year when departing members of the COC Ensemble Studio give their farewell recitals in the RBA.  On Tuesday it was the turn of Midori Marsh and Alex Halliday and they did it in style.  The programme was interesting and the music making excellent.  Although they alternated sets it’s probably easy to deal with each singer in turn.

2023-02-21-COC-Adieux-028 1 Continue reading

Classy singing from the Rebanks fellows

Yesterday’s free concert in the RBA featured the vocalist Rebanks fellows from the Glenn Gould School.  There was some very classy and very powerful singing.  We heard Hannah Crawford, fresh off her second place at Centre Stage, sing a couple of arias; “Pleurez, plearez mes yeux” from Masenet’s Le Cid and “Come Scoglio” from Cosí.  There was some very considerable power on display here as well as accuracy and emotion.  Definitely one to watch.

hannah

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In which I review a live concert

Little did I suspect on March 12th 2020, as I attended UoT Opera’s Mansfield Park, that I would not review another live concert until July 14th 2021 but that’s how the COVID crumbled.  Today I made it to one of Tapestry’s Box Concerts at CAMH on Queen Street.  It was much more fun than my last visit which was for a meeting on infection control in the basement of the dreary old building, now demolished.

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Cantilena

cantilena - cover_sCantilena is a CD of art songs by various composers arranged for soprano, harp and cello.  It’s an interesting twist on music that one is likely to be fairly (sometimes very) familiar with in the usual voice and piano format.  It’s a generous disk with nineteen songs in all.  The composers featured are Debussy, Duparc, Fauré, Massenet, Tosti, Tedeschi, Richard Strauss, Gregory and Villa-Lobos.  The performers are soprano Gillian Zammit, harpist Britt Arend and cellist Frank Camilleri.  Arend and Camilleri are principals with the Malta Philharmonic Orchestra.

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