Sumptuous Il ritorno d’Ulisse in patria from I Gemelli

ilritornoI use the word sumptuous in at least two senses.  This is a really good recording with a fine period instrument ensemble and voices carefully matched to parts.  It’s also very carefully researched in the quest to get as close as what Monteverdi’s audience heard as possible.  It’s also sumptuous in presentation.  It’s a beautiful hardback book with 3 CD slots built in.  The binding and printing are Folio Society quality.  It’s sumptuous also in terms of book content.  The English language version has 165 pages of explanatory essays plus libretto and translation!  There is a wealth of information on what was happening in Venetian theatre , as well as influences from further afield.  There’s a section on how discoveries in the sciences were reshaping perspectives on art and aesrthetics and there’s a load of detail on the links between the commedia dell’arte and the opera stageFor a music loving bibliophile it’s a real treat.

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L’Orfeo in Paris

The last time I reviewed a recording of Monteverdi’s L’Orfeo was ten years ago and it included Jordi Savali with La Capella Real de Catalunya and Le Concert des Nations.  Oddly enough they also figure in a recording made last year at the Opéra Comique in Paris.  Pauline Bayle’s production though is very different from the very HIP Liceu version.

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VOCES8 at St. James

UK based vocal octet VOCES8 sang Tuesday night at St. James Anglican Cathedral.  The whole thing was arranged by Daniel Taylor of the Theatre of Early Music at the UoT and marked VOCES8’s Canadian debut.  I confess to a weakness for choral music in the Anglican tradition so this was a welcome opportunity to hear some very highly regarded performers.  They didn’t disappoint.  They are a finely tuned and highly skilled group.

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Miles Mykannen in the RBA

Tenor Mlles Mykannen, currently on the COC main stage as Steuermann in Der fliegende Holländer performed in the RBA on Tuesday accompanied by Sandra Horst.  It was a bit unusual.  There was no published programme and Mykannen talked a lot.  Also a quiz at the end (really).  He’s extremely engaging, even funny, and an excellent singer.  His opera choices were unusual; Arnalta’s lullabye from L’incoronazione di Poppea, an “aria” from Silent Night and “Miles, Miles” from The Turn of the Screw.  The last was particularly good with maximum spookiness achieved (though not for the first time I noticed just how “wrong” TotS sounds on piano!)

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Voices Across the Atlantic

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.

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Ending with a beginning

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David Fallis

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

Looking ahead to June

Orfeo-Website-ImageJune 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.

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Assorted news and signal boosts

genderneutralHere’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.

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Like the 504 streetcar

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.

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Patrick Jang, Carla Huhtanen and Phillip Addis in “The Marriage of Figaro” (2010).  Photo by Bruce Zinger.

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In War and Peace

in-war-and-peaceJoyce 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.

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