Stellar singing in Rigoletto revival

Wednesday night I attended the second performance of the current run of Verdi’s Rigoletto at the COC.  This is a revival of the Christopher Alden production first seen in 2011 (first cast, second cast) and again in 2018.  So the basic concept is the same.  All the action is played out, quite publicly, in the “gaming room” of a Victorian gentlemen’s club.  I think the production has grown on me over time.  I felt the tweaks in 2018 were improvements and I suspect some more tweaks this time.  Certainly from where i was sitting in the Orchestra the set seemed bigger than I remember.  It’s huge and very painterly.  It also has great acoustics.

Continue reading

Simply Mozart

Thursday’s noon hour in the concert was a really great idea; combine the COC Ensemble Studio with the COC Orchestra for an all Mozart concert.  Mozart’s Symphony No.35 in D major (Hafner) was split into into its four movements with pairs of arias inserted between the movements to create what Johannes Debus, conducting, described as an opéra imaginaire.  It worked really well.

Continue reading

Ensemble Studio do the standards

Last Tuesdays’s concert in the RBA featured four singers and two pianists from the Ensemble Studio in a concert of highly recognisable opera arias.  I guess with Barber of Seville and Rigoletto coming p on the FSC stage that was a bit inevitable.  It was though very well done with all four singers not only singing well but really conveying a sense of character.

Continue reading

Ensemble Studio kick off

The free concert series in the RBA kicked off on Wednesday with, as usual, a performance by the artists of the COC’s Ensemble Studio.  Owing to illness only five singers performed and only one of those, Emily Rocha, was a returnee.  The other four singers and both pianists were newcomers.  It was short but enjoyable.

Continue reading

More farewells

The first of this year’s Les Adieux concerts for departing members of the Ensemble Studio took place Tuesday lunchtime in the RBA.  It was supposed to feature Brian Cho, Mattia Senesi, Korin Thomas-Smith and Karoline Podolak but Karoline was indisposed so Emily Rocha (not leaving) jumped in at the last minute.

The rearranged programme worked pretty well with maybe a bit more opportunity for the pianists.  Sio, Mattia  played the Intermezzo from Brahms’ Op 118. No. 2, which was very nicely done and Brian closed things out with just the piano part from Schumann’s Widmung which works surprisingly well, at least if one is familiar with the song. Continue reading

Homage to Shostakovich

Dmitri Shostakovich died on 9th August 1975; the day after my 18th birthday and I remember the feeling of sadness and hurt I felt when I heard the news.  The 50th anniversary is being celebrated by a fair number of concerts featuring the great man’s works including one given my members of the COC Ensemble Studio in the RBA on Thursday.

The material featured was comparatively unknown even by the standards of Shostakovich songs which are, in general, much less well known than his symphonic and chamber works.  Matters started playfully enough with a four hands arrangement of Waltz No.2 played with appropriate whimsy by Brian Cho and Mattia Senesi  It was followed by the first of two sets by Duncan Stenhouse; two of the songs from Four Romances on Poems by Pushkin, Op.46.  Using text by Pushkin allowed the composer to express sentiments about authority that would otherwise have been very risky and these pieces are sombre.  They were very solidly sung with some impressive floaty high notes, variation of colour and fine work by Senesi.  Shostakovich rarely lets one forget he started out as a pianist! Continue reading

The Christina and Louis Quilico Awards – 2025 edition

Tuesday evening in the RBA members of the COC Ensemble Studio competed for the biannual Christina and Louis Quilico Awards.  These days every time I attend a singing competition, which I have been doing much less of, I ask myself why.  There are really three reasons:

  • The music to faffing about ratio is pretty low,
  • If one knows the contestants one has a pretty good idea what they are going to sing and one has probably heard it before,
  • The judges give no reasons for their decisions which are as often as not inscrutable.

Continue reading

The Ensemble Studio kicks off a new season

Wednesday lunchtime saw the members of the COC’s Ensemble Studio kick of the free concert series season in the RBA.  It was good.  Pianists Brian Cho and Mattia Senesi started off in fine style with a four hands version of the overture to The Barber of Seville and then it was on to the singing.

all

Continue reading

10th Annual Centre Stage Competition

Thursday night at the Four Seasons Centre saw the tenth iteration of the COC’s Centre Stage: Ensemble Studio Competition.  It’s a competition for young singers for cash prizes and, more opaquely, potential places in the COC’s Ensemble Studio.

COC-CS-0349-344

L-R: Duncan Stenhouse, Emily Rocha, Elisabeth St-Gelais

Continue reading

It was the best of times…

UoT Opera Division’s production of Arthur Benjamin’s A Tale of Two Cities, currently playing at the MacMillan Theatre, is really rather good.  Its partly the work itself which surely deserves to be better known.  It’s a 1950 work to a libretto by Cedric Cliffe.  It was written for the Festival of Britain and was considered a success at the time.  It is in many ways typical of mid 20th century English opera (though Benjamin was a peripatetic Australian rather than a Brit).  It’s colourful and uses a large orchestra with lots of brass and percussion and combines lyricism with some fairly heavy dissonance.  It also includes a few good arias, notably one for Lucie Manette, the romantic female interest.

ATOTC - Sc 1

Dr. Manette (Burak Yaman), Lucie Manette (Emily Rocha)

Continue reading