tripudiis sonis variis

I don’t often listen to CDs released on Australian jazz labels but I did come across tripudiis sonis variis from the Melbourne trio Hyperbaroq and was quite intrigued. It’s a set of performances of, mainly, Italian baroque music. Composers such as Monteverdi, Scarlatti and Strozzi feature but there are also a couple of earlier pieces in Latin and Galician and two English songs; one by Henry Purcell and a Robert Johnson setting of Ben Jonson.

This is not your typical HIP baroque performance. Hyperbaroq’s style is highly improvisatory and incorporates a lot of atypical instruments as well as pre-recorded electronics. The results are interesting but the dominant style seems to be a kind of cool jazz sound. This is very evident in their version of Scarlatti’s O Cessate Di Piagarmi; which features saxophone and electric guitar along with vocals. Some other tracks are rather different though. Monteverdi’s Lamento Della Ninfa gets a much more experimental feeling treatment with lots of electronics and the 13th century Galician Ay Ondas Que Eu Vim Veer makes interesting use of nature sounds and electronic effects. There’s also a weirdly boppy but rather enjoyable version of Purcell’s Music for a While. It’s pretty varied though I think I could have used more up tempo, high energy material as it mostly feels pretty relaxed.

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Nobody expects… Ryan McDonald

My second Walter Hall DMA recital on Tuesday featured one of Toronto’s most interesting, and least predictable, musical talents; countertenor Ryan McDonald.  Having seen Ryan perform as Dido and as a rather menacing nightmare figure in Rebecca Grey’s Bus Opera (as well as in several more conventional capacities!) I was expecting the unexpected.  The presence on stage of a drum kit rather reinforced that.

So, no big surprise that the opening number was “Mon coeur s’ouvre à ta voix” from Saint Saêns’ Samson et Delila (with Ivan Estey Jovanovic at the piano).  It was some gorgeous singing as long as one wasn’t distracted by the shiny back outfit topped by a transparent rain cape (really sorry there are not more photos!).  Then after a quick change to something that looked a like a very shiny vampire impersonating a boy in the lower school at Eton, we got a lovely account of John Dowland’s If my complaints could passions move which was bookended by electronics and some vocalising into the piano.  This was followed by a straightforwardly lovely version of Schumann’s “Der Nussbaum”.  And so to “Dido’s lament”.  I did mention that I’d seen Ryan sing the role some years ago in Opera Q’s gender bending Dido and Belinda. Continue reading →

Disappointing Dido and Aeneas from Versailles

The latest video recording of Purcell’s Dido and Aeneas is from Versailles.  It’s a 2024 recording using the same production, by Cecille Roussat and Julien Lubek, as the 2014 Rouen recording and, like that one, there’s a lot of additional instrumental/dance music consistent with the idea that the piece was conceived as a court entertainment in the French style.  There’s not much point in repeating what I said back then about the production.  Check out the earlier review.

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Hail! Bright Cecilia

Château de Versailles Spectacles have produced a really classy period instruments recording of Purcell’s Hail! Bright Cecilia with a bonus of Blow’s Welcome Every Guest.  The band s La Poème Harmonique under the direction of their founder Vincent Dumestre.  It’s a very authentic period sound and the small chorus is precise and sings in excellent English.

The Blow piece is short but but interesting and it gets a sprightly and almost jazzy reading.  Both baritone Tomáš Král and teHugo Hymas are excellent and have perfect English,  “The sacred Nine” is particularly enjoyable.

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Interesting arrangements of Dowland And Purcell

Songs of Passion is a new recording from mezzo-soprano Lea Desandre with the Jupiter Vocal and Instrumental Ensemble and their director and lutenist Thomas Dunford.  It’s ninety minutes of music by John Dowland and Henry Purcell arranged for various combinations of voices plus the instruments; violins, viola, double bass, viola da gamba, recorders, lute, harpsichord and organ.  They are interesting and varied arrangements and suit the range of emotions of the music well. Continue reading →

Young artists do Dido and Aeneas

This week the Young Artists Studio at the Canadian Children’s Opera Company gave two performances of Purcell’s classic Dido and Aeneas.  The YAS is a new initiative designed to give young singers (16-19) additional opportunities to the CCOC’s usual fare and maybe provide a pathway to serious professional study.

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Brews, Beauties and Brawlers

So on Saturday night at St.Olave’s CE I finally managed to catch a concert in the Apocryphonia series.  It was titled Brews, Beauties and Brawlers and was billed as “classical” meets “punk”.  It was a collection of pieces for piano, solo voice and/or choir and organiser Alexander Capellazzo had recruited four voices of each type with soloists coming from the group.  Narmina Afaniyeva was at the piano.  Everybody (and some of the audience) had dressed for the occasion!

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Identität/個性

Wednesday’s lunchtime concert in the RBA was given by Ensemble Studio graduates Samuel Chan and Rachael Kerr, reuniting for the first time since ES days.  Nowadays Sam is Fest at Theater Kiel and the recital was built around his attempt to probe his identity as a Chinese-Canadian performing Western opera for (mostly) Germans.  Sam is a pretty deep, thoughtful kind of guy so it wasn’t surprising that this was an unusual and carefully curated recital.  It was also quite wonderfully performed.

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freezing

freezingI guess I’ve learned never to expect the predictable from Emily D’Angelo (except for the black clothes and boots).  Her new album; freezing, is as unexpected as enargeia was four years ago.  This album is even less “classical”.  The seventeen tracks cover a range of genres.  I think I’d classify them as contemporary art song, traditional folk song, singer/songwriter covers and English renaissance.  All in all there is a total of 47 minutes of music. Continue reading →