Yes, a real live concert at Koerner Hall; the first of 2022. Owing to the current restrictions it was quite a short concert with no interval (although the time it took the stage crew to set up for the second half there could have been!). The first piece was the premier of Goodyear’s Piano Quintet. It’s a very complex piece riffing off Beethoven’s Ninth Symphony. Stewart describes it better than I ever could:
“My piano quintet was commissioned by the Penderecki String Quartet (who played it with Stewart last night – JG) and the Canada Council for the Arts. It was composed in 2020 and pays homage to the spirit of Beethoven. The first movement is a passacaglia on the almost atonal eleven-note sequence from the finale of Beethoven’s Ninth Symphony. The second movement is a Ländler, fused with gestures of rhythm and blues and calypso. The third movement is a fast toccata, sampling themes of Beethoven similarly to a hip-hop track. The last movement starts as a lament and ends with a glimmer of hope, the inspiration directly taken from the challenges of the pandemic and the need for Beethoven’s spirit during these tumultuous times.”
It’s a highly virtuosic piece requiring a lot of extended technique from the players and it’s pretty demanding on the listener. I would need to listen to it a couple more times to really “get” it.
So what do the first couple of weeks of 2020 hold. First up Toronto Operetta Theatre their traditional Mew Year run. his year it’s Johann Strauss’ The Gypsy Baron and there are five shows between December 28th and January 5th. The cast includes Michael Barrett, Meghan Lindsey and Beste Kalender. It plays at the St. Lawrence Centre.
If you can even contemplate the thought of another late night drinking Against the Grain’s Opera Pub is on at 9pm on January 2nd at the Amsterdam Bicycle Club. The following night tenor Zach Rioux has a free recital of mostly Italian rep in Mazzoleni Hall at 7.30pm (ETA CANCELLED).
I went into last night’s Glenn Gould School performance of Mozart’s The Magic Flute at Koerner Hall with all kinds of questions buzzing around in my head; partly because of an earlier conversation with director Joel Ivany and partly, well, Magic Flute – that most enigmatic of operas. If only one could go back (more than forty years) to seeing it for the first time!
The concluding concert of this year’s International Centre for Performing Artists Singing Stars program for this year took place last night at 96.3FM. For the eleven singers it was the culmination of a day working with Adrianne Pieczonka and a lot of practice and I think that came through on the night. In the various interviews during the show (it was being broadcast live), many of the singers remarked on Adrianne’s advice to be an artist, not just a singer (or something to that effect). Certainly I felt there was less strictly correct singing and more effort to get inside the music and words than one often hears in competitions.