Contemplating another production of “Carmen”
First a couple of 21C concerts inadvertently omitted from my January listings post. On the 19th in Koerner Hall there’s Fazil Say and friends (including Beste Kalender) in a programme of mostly Turkish music and in the late show in Temerty Theatre the following night Brian Current presents and conducts a concert titled Indigena.
So to February: Continue reading
Tuesday’s lunchtime recital at the Four Seasons Centre was given by soprano Sara Schabas and pianist Isabelle David backed up by some (mercifully concise) musicological/historical background from Robin Elliott. The concert was in two parts. The first celebrated the work of Austrian-Jewish composers active in Vienna in the first third of the 20th century. The second was a song cycle in Yiddish celebrating the Jewish immigrant experience in New York.
Here’s a look at the start of 2024 in Toronto.
On the 7th and the 9th OPUS chamber music, who feature some of Canada’s best young chamber musicians, have a pair of concerts. The first is at Trinity St. Paul’s and features music by Rebecca Clarke, Leo Weiner, Anton Webern and Robert Schumann. The second is at the Arts and Letters Club and includes music by Tcherepini, Klein, Wegener and Beethoven.
My usual reaction to holiday season concerts is (polite version) “Bah humbug”. The less polite version involves reindeer placement. That said Thursday’s concert from the COC Ensemble Studio was really rather enjoyable.
It opened with Brian Cho and Mattia Senesi doing a four hands version of “Dance of the Sugar Plum Fairy”. Regrettably they didn’t dance. I guess Korin Thomas-Smith could have filled that role as later in the day he showed some very cool moves but that’s another story.
There was Handel of course; Queen Hezumuryango with “O Thou that Tellest Good Tidings to Zion” and Wesley Harrison with “Ev’ry Valley”. Both of those featured later in the day too. But that’s another story.
Tuesday’s lunchtime concert in the RBA consisted of works by Cecilia Livingston chosen and performed by members of the COC’s Ensemble Studio. It was a fairly varied programme considering it was all works by one composer.
Quieen Hezumuryango and Mattia Senesi kicked things off with Give Me Your Hand which sets a Duncan McFarlane text exploring aspects of Lady Macbeth. It uses extended piano technique and suits the dark colours of Queen’s voice. It was followed by Moon; an evocative solo piano piece played by Brian Cho. Not the only time the moon would figure in the programme.
Monday’s concert in the RBA was made up of two song cycles for four voices with one piano played by four hands. The first piece was the Brahms Liebeslieder Waltzes Op.52 which sets eighteen short folk songs and love poems from Georg Friedrich Daumer’s collection Polydora. The second was John Greer’s 2001 piece Liebeslied-Lieder Op.20 which sets various playful texts exploring the foibles of love and romance by Dorothy Parker and others.
First some late calls for November:
Tuesday’s free lunchtime concert in the RBA came courtesy of the German Consulate who had flown in baritone Samuel Chan and pianist Constanze Beckmann from Kiel to perform a recital of songs by Walter Braunfels and Hanns Eisler; both composers driven from public life in Germany by the Nazis.
Here’s what I’m looking forward to in a busy November.
UoT Opera presented a show of mostly Mozart arias/scenes in a semi staged fashion directed by Mabel Wonnacott in the RBA on Wednesday. Although each scene was credited in the programme the parts weren’t specified and since I don’t know this new group of students I’m only gong to name names where I’m sure!
operaramblings 