The Two Deaths of Ophelia

The latest Happenstancers gig, which took place at 918 Bathurst on Thursday evening, was an exploration of the death of Ophelia and related ideas with works for assorted chamber ensembles plus/minus voices.  Ten composers; all of whom could at a stretch be considered “contemporary”, were featured in a programme that, with interval, lasted two and three quarter hours.  That’s a feat of stamina for performers and audience alike as none of the music performed was “easy” and no notes or introductions were provided.

Each half of the programme started off with a piece by Linda Catlin Smith, who was in the audience.  Stare at the River for piano, string bass, trumpet, clarinet, violin and percussion was quite sparse and open textured while The River was more obviously lyrical with guitar, cello and Danika Lorèn replacing piano, trumpet and bass.

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Sighs Too Deep For Words

Friday evening at Heliconian Hall saw the second of two performances of Confluence Concerts’ Sighs Too Deep For Words: A Canadian Valentine.  It was an all Canadian concert featuring songs and spoken word including two world premieres and a performance of Omar Daniel’s 2005 piece Neruda Canzones.

The spoken word pieces, read beautifully by Alison Beckwith, ranged from Lucy Maud Montgomery to Margaret Atwood.  Some pieces straightforwardly celebrated romantic love and others came at it a bit sideways!  Songs by Canadian composers were well represented With Derek Holman, Jeffrey Ryan and John Beckwith all represented.  Anaïs Kelsey-Verdecchia performed (with Christopher Bagan) her own setting of “The Lark in the Clear Air” and Patricia O’Callaghan gave us her setting of “Some by Fire” with Chris again at the pianio, Andrew Downing on bass and a backing group.  So many styles!  No-one could say that Canadian music is samey or boring. Continue reading

L’amante anonyme

Voicebox: Opera in Concert’s most recent production is Joseph Bologne, Chévalier de St, Georges’ 1780 opéra comique, L’amant anonyme.  It was given in OiC’s usual style; i.e concert dress but some blocking, a few props and no music stands.  The dialogue was given in English with the musical numbers in French with surtitles.  Accompaniment was a 10 piece chamber reduction of the original score by Stephen Hargreaves.  David Fallis conducted.

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Found Frozen

CMCCD 30222_Found Frozen_Album CoverFound Frozen is a new CD from Centrediscs featuring songs by Jeffrey Ryan.  The centrepiece of the disc is his Miss Carr in Seven Scenes.  It’s a setting of extracts from Emily Carr’s notebooks for mezzo-soprano and piano performed here by Krisztina Szabó and Steven Philcox.  I’ve heard them do the piece twice live, including the premier, and I really don’t have much to add to what I wrote then.  It’s a terrific piece.

The first set on the disc though is Found Frozen.  It’s a setting of three poems by Helen Hunt Jackson about Death and Remembrance.  It’s scored for soprano and piano and sits quite high much of the time.  The piano part is busy and somewhat minimalistic.  It’s sung by Danika Lorèn with Steven Philcox again at the piano.  It’s very good singing indeed.  There are long sustained notes that are navigated with aplomb and her diction is excellent, even in the very high passages.

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DAM’s Le comte Ory

So, by a perhaps odd coincidence, various singers from Kathy Domoney’s stable are involved in productions of Rossini’s Le comte Ory at assorted Canadian houses in the near future; either as principals or understudies, so why not pull together some sort of performance of the work?  That happened last night at Trinity St. Paul’s in a “narrated production” by François Racine.  I had some ida what to expect as I had talked to François earlier in the week.

DAMcomte

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