German tenor Christoph Prégardien and English pianist Julius Drake teamed up at Walter Hall last night for one of the finest Liederabends that I have ever been privileged to hear. The first set was all Mahler; six songs from Das Knaben Wunderhorn plus one from the Rückert-Lieder. It started strongly with three essentially comic songs; all donkeys, geese and magic rings. The teamwork between the musicians was exemplary. and the attention to text by both parties penetrating. And then it was the little things that raised the bar from excellent to exceptional; the use of a pause, the slight lingering on a syllable, the accelerando into a comic line.
This year’s Toronto Summer Music Festival runs from July 12th to August 4th and, in commemoration of the 100th anniversary of the end of WW1 is war themed, though to be honest it wears it pretty lightly. As always there is one big vocal star. This year it’s German tenor Christoph Prégardien. He has a recital at Walter Hall with Julius Drake at 7.30pm on July 17th. He also pops up on the 20th at the same time and place to sing Schubert’s Die Forelle with Stephen Philcox in a program that features chamber music by Schubert, Shostakovich and Rachmaninoff. There’s no word on public masterclasses but he’s around for a few days so I suspect that something will emerge.
The Opéra national de Paris 2005 production of Mozart’s La Clemenza di Tito is very fine. Ironically it’s actually quite a conventional production overall though one scene, the one where Tito makes his first appearance, is so weird that it provides the generic name used in some circles I frequent for an entirely inexplicable production element (see below).