Soundstreams’ Electric Messiah is back for a fourth outing, again under the musical direction of Adam Scime. The formula is basically the same as previous years.
Take excerpts from Handel’s Messiah
Add some new music
Arrange for small chamber ensemble, electronics and turntables (Sarah Svendsen, analog and electric harpsichord; Joel Schwartz, electric guitar; Jeff McLeod, electric organl; SlowPitchSound, turntablist)
Take a quartet of singers from different vocal traditions (Jonathan MacArthur, Katherine Hill, Aviva Chernick and Alex Samaras)
Throw in a dancer (Lybido)
Have some of the text sung in a language relevant to the singer (Gaelic, Hebrew, Swedish this time)
Stage it at Drake Underground
This year in addition there was some interpolated music not directly derived from Messiah; to whit, a gospel piece for Samaras called “Personal Jesus” and a harpsichord solo.
Soundstreams Electric Messiah 3 opened last night at the Drake Underground. Some things have changed from last year. There’s no chorus, the soloists are new, the instrumentation has changed. There’s now a harpsichord (Christopher Bagan) and an electric organ (Jeff McLeod) for instance. Some things are the same. There’s still extensive use of electric guitar (John Gzowski). Dancer Lybido and DJ SlowPitchSound are still there, as is Adam Scime as music director and electro-acoustical wizard. There’s still a mobile phone schtick. It feels both familiar and quite different.
The four new soloists each bring something of themselves to the piece. A kilted Jonathan MacArthur (getting ready for Yaksmas perhaps?) sings partly, and very beautifully, in Scots Gaelic. Adanya Dunn brings a fresh sound and Bulgarian. Elizabeth Shepherd brings jazz, French and a really effective “lounge jazz” He was despised accompanying herself on organ. Justin Welsh adds some Afro-Canadian touches. Most of the numbers are shared between the singers; moving and singing from different parts of the small space. This is exemplified by the opening Comfort ye, begun by Jonathan in Gaelic with singer and language and location constantly shifting. With no chorus, there’s much more space (and it’s easier to see). The visual and aural textures seem cleaner. The unconventional combination of instruments and electronics works really well. There’s enough Handel there but also much else to think about and enjoy.
hymns of heaven and earth is a Centrediscs CD featuring three works by Halifax based Peter-Anthony Togni. I have limited experience with Togni. I thought his Responsio (reviewed for Opera Canada) was inspired but was less impressed with his Isis and Osiris – Gods of Egypt. Perhaps unsurprisingly I found the new CD most interesting when it leaned towards Togni’s liturgical/spiritual side and less so when he seemed to be teetering on the edge of pastiche. The title piece; a string quartet in four movements, is lyrical and rooted in the idea of “light”. It’s essentially tonal with minimalist elements; repeated figures etc, and a distinctly liturgical feel. I enjoyed it a lot and it gets a really good performance from Ilana Waniuk and Suhashini Arulanandam on violins, Rory McLeod on viola and Dobrochna Zubek on cello.