The concluding concert of this year’s International Centre for Performing Artists Singing Stars program for this year took place last night at 96.3FM. For the eleven singers it was the culmination of a day working with Adrianne Pieczonka and a lot of practice and I think that came through on the night. In the various interviews during the show (it was being broadcast live), many of the singers remarked on Adrianne’s advice to be an artist, not just a singer (or something to that effect). Certainly I felt there was less strictly correct singing and more effort to get inside the music and words than one often hears in competitions.
This review first appeared in the print edition of Opera Canada.
Adrianne Pieczonka has released a second disk of Strauss and Wagner pieces, this time with piano accompaniment provided by Brian Zeger. Two sets of Strauss songs sandwich the Wagner Wesendonck-Lieder, the only piece in common with her earlier disk with Ulf Schirmer and the Munich Radio Symphony Orchestra.
Paul Curran’s production of Tosca, seen in 2008 and 2012, opened at the COC yesterday afternoon. It didn’t feel like a routine revival production of a warhorse. In fact it felt much fresher and focussed than last time around. Perhaps Mr. Curran, who is again directing, found some new insights or, more likely, the chemistry between the principals is better this time. The result is a very satisfactory show.
The Christina and Louis Quilico Awards are a singing competition for members of the COC’s Ensemble Studio. This year’s edition took place early yesterday evening in the RBA. Only five members of the Ensemble Studio were competing. Megan Quick and Sam Pickett were not for reasons that I don’t think were announced and Aaron Sheppard was sick. So it was a pretty brief affair. The format as usual was that each contestant offered three arias and got to sing the one of their choice with the judges choosing which of the other two they should sing.
Schubert’s Winterreise is sometimes described as the Everest of lieder singing and, as such, is something of a rite of passage for baritones. It’s much rarer to hear it sung by a soprano but today, on a day when there was more snow in Toronto than one encounters these days on the Hillary step, Adrianne Pieczonka, accompanied by Rachel Andrist, offered it up in the intimate Mazzoleni Hall. It took me two or three songs to get into it. The colours of the soprano voice are so not baritonal that the music sounded unfamiliar and disconcerting. By Der Lindenbaum though I was won over. Here was singing of a limpid beauty few baritones could match and from then on I was revelling in the new perspectives that hearing a soprano sing this music brings. I think it was greatly helped by Adrianne’s approach which definitely favoured bringing out the drama and the emotion of the text rather than wallowing in beautiful tone. That was there when she wanted it but there was much else besides. It was an emotional roller coaster from the (relative) optimism of Die Post through to the devastating last couple of numbers. By the end of Der Leiermann I was a puddle but possibly not quite as damp and deep as the critic sitting next to me (whatever Twitter might report). Rachel’s work at the piano was equally illuminating. This is a show they need to take to a much larger audience.
Late notice I guess but Adrianne Pieczonka and Rachel Andrist are performing Schubert’s Winterreise at Mazzoleni Hall this afternoon. It’s sold out anyway. Later, at 7.30pm, UoT Early Music is presenting a concert version of Purcell’s Fairy Queen in Trinity College Chapel. Tomorrow at the relatively unusual time of 5.30pm the members of the Ensemble Studio will be competing for the Quilico awards. That’s in the RBA and free. Also in the RBA, at noon on Tuesday, you can catch Andrew Haji singing a very varied Valentine’s Day program. Then on Thursday, same time, same place, Elena Tsallagova, Pamina in the COC’s current Magic Flute, presents a Russian and French program. The Magic Flute and Götterdämmerung continue at the COC.
Patrice Chéreau’s last major opera production was of Strauss’ Elektra for the 2013 Aix-en-Provence Festival where it was recorded. It later appeared with a different cast at the Met and was broadcast in HD but that performance has not yet been released on disk. It’s a very good example of Chéreau’s work. The towering, blocky sets recall his From the House of the Dead and are equally dark and grey. The interest is all in the characters.