Games of the Night Wind

NV6630_Games-of-the-Night-Wind smallGames of the Night Wind is a record of nocturnally inspired piano music played by Christina Petrowska Quilico.  Much of the record is taken up by twelve nocturnes from Ontario composer David Jaeger.  They are interspersed with pieces in similar mood by Polish composers Alexandre Tansman and Henryk Górecki and there is also a solitary piece by Tōru Takemitsu.

The Jaeger pieces were each inspired by a different piece of poetry dealing with some aspect of nocturnal experience.  What they have in common is an abstracted, dreamy quality.  Some are darker than others, some gentler and more lyrical and they are all interesting.  Listening I was reminded of a comment of Brian Current’s to the effect that sometimes listening for things like melody, harmony and rhythm is less useful than listening for texture and I think that’s true of these pieces.  They are all deeply textured but in different ways.  They are played with great sensitivity.

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Bartoli’s Rosina

It’s a bit hard to believe, but, as far as I can tell, the only available video recording of Cecilia Bartoli singing Rosina in Rossini’s Il barbiere di Siviglia is a 1988 recording made at Schwetzingen when she was 22 years old.  It’s pretty typical of Michael Hampe’s productions of that period; traditional, elegant, symmetrical and generally well composed, but nothing terribly insightful.  It’s also rather dark and grey in places which taxes the recording technology of the period sorely.

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Quilico Awards

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.
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Quilico Awards 2015

Last night in the Richard Bradshaw Amphitheatre the singers of the COC Ensemble Studio competed for the Quilico awards for the third time in this format.  Owen McAusland was off singing in Lucia di Lammermoor in Victoria and Andrew Haji was down with the flu so seven singers actually sang.  As usual the standard was very high and it can’t have been easy for the judges.  Jean-Philippe Fortier-Lazure and Ian MacNeil had a bit of an off night but that left five singers who I has extremely close on my notes.  No permutation of three from five would have particularly surprised me.

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Iain MacNeil, Aviva Fortunata, Jean-Philippe Fortier-Lazure, Karine Boucher, Clarence Frazer, Charlotte Burrage, Gordon Bintner, Jennifer Szeto and Michael Shannon

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Moving into February

footstepsIt’s getting pretty busy in Toronto.  Here are a few upcoming things of interest that I haven’t already mentioned.

This year, the Faculty of Music’s annual student composer project is a co-production with Campbell House Museum, the 19th century home of Sir William Campbell, Chief Justice of Upper Canada. Footsteps in Campbell House is a series of pieces by student composers to words by Michael Albano.  The audience moves around the house exploring the lives of those who livedd there.  There are five performances on January 30th and 31st and February 1st.  Each performance is limited to 35 people.  Tickets are $20 and available here.  I’m really intrigued by this but there’s no way I can go.   Continue reading

Quilico Awards 2013

Last night, for the second time (the first was in 2011) the singers of the COC Ensemble Studio competed for the Christina and Louis Quilico Awards; a prize competition created by Christina in memory of her husband, baritone Louis.  It was the usual competition format; the singers offer three arias, they sing one and then the judges choose which of the remaining two they will sing.  It being the Ensemble Studio on show the standard was extremely high.  Nine singers and eighteen arias is too much to report in detail so I’ll concentrate on the winners.

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Alan Walker of the Ontario Arts Foundation, Christina Quilico and the Ensemble Studio

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Pavarotti and Freni in La Bohème

The audience at this 1988 San Francisco Opera production of La Bohème clearly thought very highly of it.  There is even some applause for the scenery.  I’m less impressed.  Seen as a star vehicle for Pavarotti and Freni it’s quite adequate, though both are decidedly on the mature side for Rodolfo or Mimi.  Other than that it’s rather dull, the video direction doesn’t help it any and the technical quality is no more than adequate.  Continue reading

A rather straightforward Cenerentola

Rossini’s La Cenerentola takes almost three hours to tell a very straightforward version of the Cinderella story.  Generally directors, despairing of the this, either camp it up (for example the Els Comediants production seen, inter alia, in Houston and Toronto in recent years) or they try to find a few more layers of meaning as in Ponnelle’s film version.  Michael Hampe does neither in his 1988 Salzburg production, preferring to tell the story as a straightforward morality tale.  I guess if one really loves the music and it’s really well sung this could work but, ultimately, I found it rather dull.  Continue reading