So last night was this year’s iteration of the COC’s glitzy competition with cash and places in the Ensemble Studio at stake. It’s a bit of a weird thing to write about because the public, and this year the media, only see a fraction of what the judges are judging. We saw each singer do one aria. There had been a closed round earlier in the day to which, unlike in previous years, the media were not invited. Then there’s what the judges have seen in rehearsal, reputation etc. All in all what happens on the night influences the outcome about as much as at an Olympic figure skating event. So, in many ways it’s surprising that my picks were as close to the judges as they were.
The contestants for this years Centre Stage; the competition for places in the COC’s Ensemble Studio have been announced. They are bass-baritone Joel Allison (Ottawa); tenor Matthew Dalen (Grande Prairie, Alta.); mezzo-soprano Simona Genga(Woodbridge, Ont.); soprano Natalie Image (Tsawwassen, B.C.); soprano Chelsea Rus (Abbotsford, B.C.); soprano Anna-Sophie Neher (Gatineau, Que.); and baritone Jonah Spungin (Ottawa). I’ve seen a fair bit of Allison, Rus, Dalen and Genga and I am absolutely not surprised at all that they are competing. They are all very promising young singers. I’m looking forward to hearing the others.
This year the judging panel includes regulars Alexander Neef, Roberto Mauro, Liz Upchurch, Wendy Nielsen and Nina Draganić but this year they will be joined by the extraordinary Mary Morrison, whose talent spotting credits include one Barbara Hannigan. Centre Stage is at the Four Seasons Centre on November 1st with the reception at 5.30pm and the competition starting at 6.30pm.
Chelsea Rus is a recent graduate of the Schulich Scool of Music at McGill University and winner of the Wirth Vocal prize. Today, along with pianist Marie-Ève Scarfone, she gave a recital in the Richard Bradshaw Amphitheatre. I like that it was all song bar the opening number; “Je veux vivre” from Gounod’s Roméo et Juliette. Hearing young singers belt out the same few Mozart and bel canto standards gets a bit tedious. Anyway this was one of those recitals that started quite well and just got better as things progressed. Poulenc’s Fiançailles pour rire are, I suppose, a bit of fluff but they allowed Chelsea to show off a rather lovely middle voice and good French diction, though the registers are still not fully integrated. Even better was Liszt’s Oh! quand je dors. Here she showed just how expressive she can be.
Next week is a bit quiet. The lull before Messiah madness perhaps There are though three shows on Thursday December 1st. You can see soprano Chelsea Rus in recital with Marie-Ève Scarfone at lunchtime in the RBA. She will be performing the program that won her the inaugural Wirth Vocal Prize at the Schulich School of Music at McGill.
In the evening FAWN Chamber Creative has a “drop in style event” and fundraiser where they will be announcing their plans for Synesthesia IV. There will also be performances by Jenn Nicholls, Adam Scime and Adanya Dunn among others. It’s at Electric Perfume on the Danforth at 7.30pm and 9pm. PWYC. Details.
Also, as the 1st is the first Thursday of the month it will be Pub Night with Against the Grain at the Amsterdam Bicycle Club. That doesn’t start until 9pm so one could just about catch the first set at Electric Perfume and then head down to The Esplanade.
The Toronto Summer Music Festival continued last night with a one off performance of Britten’s The Rape of Lucretia at The Winter Gardens, the upstairs part of the Elgin Theatre that I had never before been in. The production originated in a Banff Centre/Against the Grain/COC joint project directed by Paul Curran but was recreated here in semi-staged form by Anna Theodosakis. It was on the “quite close to staged” end of the spectrum so, although the band was on stage behind the action and there was no scenery or curtain it came off as much more than a concert in costume.