Last night’s Toronto Summer Music concert at the Church of the redeemer was headlined by Daniel Taylor, Charles Daniels and Steven Philcox but, somewhat to my surprise, also featured multiple fellows from both the art song and chamber music programmes.
The “headliners” kicked things off with Britten’s canticle Abraham and Isaac, based on one of the Chester Mystery Plays. I thought I knew this piece but soon realised I was confusing it with the setting of Owen’s The Parable of the Old Man and the Young in the War Requiem! It’s an interesting piece with a very medieval Catholic take on an Old Testament story. It was performed here with the delicacy and attention to detail I’d expect from these performers.
David Fallis’ last show after 28 years as Artistic Director of the Toronto Consort is, perhaps appropriately, the earliest opera in the repertoire; Monteverdi’s Orfeo. The first performance of three was last night at Trinity St. Paul’s. It’s a concert performance with surtitles and some interesting orchestration. The expected strings and woodwinds are supplemented here by the sackbuts and cornettos of Montreal based La Rose des Vents as well as triple harp and an assortment of keyboards including, I think, two different organs. Continue reading →
June is kind of quiet but first there’s yet another show to mention for the busy last weekend of May. David Fallis is conducting his last performances as Music Director of the Toronto Consort. It’s Monteverdi’s Orfeo and it’s at Trinity St. Pauls at 8pm on the 25th and 26th and 3.30pm on the 27th. Besides David it features Charles Daniels in the title role, Kevin Skelton as Apollo, Laura Pudwell as Messagiera with Jeanne Lamon on first violin plus Montreal’s premier cornetto and sackbut ensemble La Rose des Vents.
Here’s the news that’s arrived in my inbox this week.
Toronto Alliance for the Performing Arts announced that from 2019 the DORA awards will be gender neutral. In categories where there has traditionally been “Best Performance by a Male” and “Best Performance by a Female” there will now be a single “Best Performance” award.
Season announcements, it seems, are like the King Street streetcar(1). You wait for ages then three come along at once. This time it’s Opera Atelier announcing the 2017/18 season. As ever there are two productions. A remount of Mozart’s The Marriage of Figaro runs October 26th to November 4th. The cast icludes Douglas Williams, making his Opera Atelier debut, in the title role, with Mireille Asselin (Susanna), Stephen Hegedus (Count Almaviva), Peggy Kriha Dye (Countess Almaviva), Mireille Lebel (Cherubino), Laura Pudwell (Marcellina), Gustav Andreassen (Bartolo), Christopher Enns (Basilio/Don Curzio), Olivier Laquerre (Antonio), and Grace Lee (Barbarina). This one will be sung in English.
Patrick Jang, Carla Huhtanen and Phillip Addis in “The Marriage of Figaro” (2010). Photo by Bruce Zinger.
Joyce DiDonato’s latest CD In War and Peace is a compilation of baroque arias on the theme of war and peace, apparently prompted by the terrorist attacks in Paris. The arias are divided, apparently, into the two categories and while I get that Handel’s Scenes of Sorrow, Scenes of Woe from Jeptha is “war” I’m not at all sure how Purcell’s Dido’s Lament finds itself on that side of the balance sheet. No matter there’s lots of Handel; very well done, and quite a bit of Purcell, some of it quite little known; even better, with some Leo, Jommelli and Monteverdi along the way.
The 2010 Oslo recording of Monteverdi’s L’incoronazione di Poppea is one of the strangest opera videos I have ever seen. Besides having an almost complete set of the characteristics that critics pejoratively assign to Regietheatre it also has a very unusual video treatment that goes well beyond quirky camera angles and overly intrusive close-ups. So the box is being entirely accurate when it states “Based on a performance directed by Ole Anders Tandberg. Adapted and filmed by Anja Stabell and Stein-Roger Bull”.