Season’s end

The final concert of the year involving members of the Ensemble Studio took place yesterday in the RBA.  First up were Charles Sy and Hyejin Kwon with Britten’s Les Illuminations.  This is a formidable challenge for both singer and pianist and we were treated to a performance of real intensity and maturity.  Charles seemed to be sufficiently in technical command of the material to let himself go a bit and have some fun with the more ironic bits of Rimbaud’s rather extraordinary text.  His French diction was more than good enough for this, even in the places where the notes pretty much fall over themselves.  There were some very pretty sounds where needed and real intensity, particularly in Parade.  Hyejin was excellent too.  The piano part is no mere support in this piece.  It’s challenging and demands real partnership with the singer.  All in all, it was a performance that made one forget that these two have only been in the program for a year.

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Over the rush

babi-yar-kiev-056-718x905The crazy late April/early May rush seems to be pretty much over.  This coming week there are only a few performances of note.  On Tuesday in the RBA at noon Aviva Fortunata and Iain MacNeil perform Strauss’ Four Last Songs and Vaughan Williams’ Songs of Travel.  Thursday sees the opening of Against the Grain’s A Little Too Cozy at the CBC’s Studio 42.  Then on Friday 13th, the TSO are doing, appropriately enough, Shostakovich’s 13th Symphony which sets Yevtushenko poems about the Babi Yar massacres.

Carmen and Maometto II continue at the COC, as does Against Nature at The Citadel.

CASP 2016

It’s been four years since the initial Canadian Art Song Project concert in the RBA.  Since then they’ve commissioned a number of works and started a recital series that has included innovative presentations such as the performance of Brian Harman’s Sewing the Earthworm given in November.  A work premiered that night; Erik Ross’ The Living Spectacle formed the conclusion to yesterday’s concert but first came a series of works performed by students from the University of Toronto.

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Georgian Romance

Hearing Anita Rachvelishvili sing Carmen on the main stage of the Four Seasons Centre, it was obvious that she had a huge voice with really interesting colours.  The full scope only became apparent to me hearing her in recital in the RBA today.  It’s an extraordinary instrument that can go from a very delicate pianissimo to very loud indeed  without any obvious change in quality.  There’s no steeliness or squalliness as the volume ramps up.  Just the same colours and rich tone.  A blow by blow account of a concert that included music in Georgian by Tabidze, Russian by Rachmaninov, French by Fauré and Spanish by de Falla seems superfluous.  There was delicacy.  There was drama.  There was humour.  There was playfulness.  All in less than an hour.  And to cap it off there were encores; Mon cœur s’ouvre à ta voix from Samson et Delilah and, perhaps inevitably, the Seguidilla from Carmen.  Stephen Hargreaves was at the piano.  One wonders if he actually lives at the hall.  He covered a wide range of material from the delicate to the impressively percussive with his customary skill.

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Photo credit: Lara Hintelmann

More spring fever

3b3790d131e56a6498103d0c82f97e9bThe very busy spring season continues for another couple or three weeks before we head into the summer lull.  This afternoon sees the final Songmasters concert of the season at the Royal Conservatory with the Hungarian-Finnish connection.  Soprano Leslie Ann Bradley, bass-baritone Stephen Hegedus, pianists Rachel Andrist and Robert Kortgaard and violinist Erika Raum will perform Kaija Saariaho’s Changing Light as well as works by Liszt, Bartók, Sibelius, and others.  That’s at 2pm in Mazzoleni Hall.

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Collaborations

Lunchtime saw the annual concert featuring visiting members of the Atelier lyrique de l’Opéra de Montréal.  It turned into something of a Donizettifest.  First up was soprano Cécile Muhire with Adina’s aria Prendi, per me sei libero.  This was quite competently sung though she seemed very nervous.  The nerves seemed to vanish though when she was joined by her Nemorino, Jean-Philippe Fortier-Lazure, for the duet when he tries the elixir.  One of the things that has always struck me about the Ensemble Studio is how quickly it teaches singers to have stage presence.  J-P was a very funny, rather drunk, Nemorino and his swagger seemed to rub off on Cécile who looked much more at home in this number.

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Fruitful and Sacred Ground

Yesterday’s recital in the RBA was given by soprano Simone Osborne and the very busy pianist Stephen Hargreaves.  The program began with three Mozart songs that I was not familiar with; Oiseaux, si tous les ans, Dans un bois solitaire and An Chloe.  They were unfamiliar to me but Mozartian in a pleasing, intimate way; very much songs rather than concert arias.  They got a clean, rather dramatic reading with real feeling from both parties.  Next came the Ariettes oubliées of Debussy.  Here we have texts by Verlaine of a mostly languorous ecstasy variety with a complex, very impressionistic piano part.  Indeed they really do sound like pieces composed by someone who prefers writing for the piano and Stephen brought out their somewhat ethereal qualities nicely.  Still the soprano gets to spin some very beautiful languorously ecstatic lines and there’s even one piece; Chevaux de bois, where the mood changes and the singer can have some fun.  Which Simone did.

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Beware of the leopard!

Clémentine Margaine prowled the RBA like an exotic and rather dangerous feline.  A total stage animal, she created a stunning series of female personae, from the virginal to the very much not, to bring to life a well curated selection of Spanish and French pieces.  She started with the 7 Canciones populares Españoles of de Falla which set the tone as they communicate a wide variety moods and temperaments in a very short space of time.  Each little song was fully invested with its own drama. And her eyes.  Incredible!  Granados’ La maja dolorosa followed.  By this point I was really beginning to understand why Ms. Margaine is so sought after.  It’s a big, dark, sexy voice.  I would probably have realised the sheer size of the voice more on Wednesday if I hadn’t been comparing her to the absolutely enormous sound of Anita Rashvelishvili.  It’s a wonderfully expressive instrument perhaps lacking a really strong upward extension but, overall, lovely to listen to.

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Russell Thomas in the RBA

American tenor Russell Thomas, currently singing Don José in the COC’s Carmen, gave the lunchtime recital in the RBA yesterday.  The main item on the program was Schumann’s Dichterliebe; a setting of sixteen poems by Heinrich Heine and one of the great test pieces of the classic German lieder repertoire.  It was a red-blooded, operatic account.  Purists might think too much so but I enjoyed the sheer power and beauty of it, even at the expense of the (incredibly wonderful) text not getting the sort of attention it might get from someone like Ian Bostridge.  There was plenty of variation of tone and colour, some real virtuosity and even some humour in, for example, Ein Jüngling liebt ein Mädchen but the the most impressive and striking thing was the ability to effortlessly project a lot of rather beautiful sound.  Liz Upchurch’s accompaniment was very much in synch emotionally and musically.

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Livening up

8769_clementine_margaineI didn’t do a preview post on Sunday so let’s remedy that with one covering the balance of this week and next week.  Carmen continues at the COC with the first chance to see the second cast tomorrow evening.  There’s also a slew of lunchtime concerts in the Richard Bradshaw Amphitheatre:

  • Russell Thomas, Don José in Carmen, is on Thursday 21st with a program of that includes Schumann’s Dichterliebe.
  • The next day, Clementine Margaine, the second cast Carmen, performs French and Spanish love songs.
  • On Tuesday 26th, Simone Osborne, the first cast Micaëla, has a program including Debussy’s Ariettes oubliées as well as works by Matthew Emery, Mozart and Cole Porter.
  • Thursday 28th sees the annual collaboration between the Ensemble Studio and their counterparts from Montreal.

All of these are at noon and are free.

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