What I really like about the Confluence concert series is that sometimes they do music that I love and sometimes they do stuff that’s completely unfamiliar to me and which I almost invariably enjoy. Last night’s streamed concert came into the second category. It was curated by Patricia O’Callaghan and featured the music of Astor Piazzolla who reinvented the tango and the Andean roots influenced music of Mercedes Sosa. Tangos are great fun of course but I was more struck by the music of Sosa who spoke for the voiceless and oppressed of dictatorship Argentina in the same way that Victor Juara spoke for the Chilean underclass. Fortunately for her she didn’t share his fate though she was forced into exile. The music was interwoven with spoken texts from the likes of Borges read by Diego Matamoros and the visual art of Kevork Mourad. All in all a very intriguing program.
This will be a bit of an “odds and sods” round up. First off, check out Natalya Gennadi and Catherine Carew’s latest offering on Natalya’s Youtube channel. The music is very good but the animated effects are amazing. Over at Against the Grain you can see Joel Ivany interviewing HE Adrienne Clarkson who is always interesting to talk to.
Does creativity follow an arc with age? Is a period of peak creativity followed by inevitable decline or is there, perhaps, a qualitatively different, kind of creativity in the later years of life? Linda and Michael Hutcheon; literary scholar and physician, explored this in their book Four Last Songs, which looked at the later works of Verdi, Strauss, Messiaen, and Britten. Last night they appeared in the Confluence Concerts Salon series to provide further thoughts with reference to the works of Messiaen and Leonard Cohen. Their thoughts were interwoven with performances of works by Messiaen and Cohen performed by Robert Kortgaard, Patricia O’Callaghan and Larry Beckwith. There’s no need to read my description of the show. It’s freely available on Youtube.
Last night Confluence Concerts streamed their latest offering; a tribute to Henry Purcell, preceded by a pre-show interview between Larry Beckwith and Andrew Parrott. There was beautifully played instrumental music from Victoria Baroque, songs from Lawrence Williford and Lucas Harris recorded at the Elora Festival and a couple of interesting takes on If Music Be the Food of Love plus Two Daughters of this Aged Stream featuring Daniel Taylor, Rebecca Genge and Sinéad White plus instrumentalists from the UoT Faculty of Music Historical Performance Department. I was less taken with Duo Serenissima (Elizabeth Hetherington, soprano and David Mackor, theorbo). I can’t tell whether it was the recording acoustic or a diction issue but the words were pretty much unintelligible which is a big problem with Purcell!.
Confluence Concerts have announced a five concert and two special event virtual 2020/21 season with their usual eclectic and enticing mix of repertoire.
September 23rd 2020 – Something to Live for; A Billy Strayhorn Celebration
A detailed look at the story of the great 20th century classical and jazz pianist and composer. Best known for his long-time collaboration with Duke Ellington, Strayhorn composed Take the A Train, Lush Life, Something to Live For, Chelsea Bridge, and A Flower is a Lovesome Thing.
Curated and arranged by Andrew Downing
Featuring Larry Beckwith, Alexa Belgrave, Leighton Harrell, Aline Honzy, Drew Jurecka, Marion Newman, Patricia O’Callaghan, Alex Samaras, Suba Sankaran and more.
Last night’s virtual salon by Confluence; Let’s Stay Together, featured an extremely, if unsurprisingly, eclectic selection of music and poetry and some serious techno-wizardry. Two numbers featuring Suba Shankaran and her technical whizz husband Dylan Bell exemplified the techy side. Come Together was an overdubbed. live looped, east meets west version of the Lennon and McCartney number in which the pair built up layers of sound incrementally. Meditation Round, which rounded out the evening, was a moving new work by Suba dealing with how we need to move forward, not back, as life, perhaps, returns to some sort of normality. There was an almost 16th century quality to the music and the performance in which pretty much everyone took part remotely. Brilliant mixing and post production here backing up an extremely affecting work.
It was the last concert of Confluence’s inaugural season last night. The theme was “At the River” and the venue the rather splendid (if somewhat popish) St. Thomas’ Anglican on Huron Street. It rather epitomized what I have come to expect, and love, from this series. The musical styles on display were eclectic; classical, folk song, pop/rock, jazz with East and South Indian, Middle Eastern and Indigenous elements all well to the fore. There was also some poetry including an unintentionally hilarious piece in praise of the idyllic Don River. There was also a large and accomplished ensemble and a lot of joy and sheer fun.
What do you get when you take nine multi-talented musicians from a variety of musical backgrounds and give them a Purcell toy box to play in? You get the latest concert in the Confluence series; ‘Tis Nature’s Voice: Henry Purcell Reimagined. It’s an amazingly fun evening that completely blows the cobwebs off the often stuffy Toronto baroque music scene. I can’t do a number by number account because I completely lost track. I was having way too much fun.
Ridiculously short notice I know but VOICEBOX/Opera in Concert’ are closing their season with Verdi’s Stiffelio this afternoon at the St. Lawrence Centre. This 1850 workconcerns an adultery in the house of a Protestant minister and was so severely censored by the Italian authorities that Verdi withdrew it in 1856 and it’s rarely seen. VOICEBOX will present the scholarly edition prepared from the Carrara family MS in the early 90’s. It’s a concert performance with piano accompaniment featuring Ernesto Ramirez, Laura Albino and Geoffrey Sirett.
On Wednesday there’s a rare performance of Gagliano’s La Dafne by Capella Intima and the Toronto Continuo Collective. An ensemble of dramatic voices accompanied by lutes, theorbos, harpsichord and viola da gamba will present Ovid’s tale of Apollo and Daphne. It’s at noon and forms part of the COC’s free concert series in the Richard Bradshaw Amphitheatre.
Finally, on March 3rd Toronto Masque Theatre is presenting a soirée on the history of the masque form. There will be panel discussions and performances by soprano Patricia O’Callaghan, guitarist Ken Whiteley and others. It’s at 7.30pm at 21 Shaftesbury Avenue, Toronto. Tickets are by donation ($20 suggested) and seating is limited so registration is required either online at torontomasquetheatre.com or by calling 416-410-4561.