Wednesday’s concert in the RBA was a challenging programme of song by contemporary women composers presented by soprano Ariane Cossette and pianist Brian Cho. Kaija Saariaho’s Quatre instants sets four related poems by Amin Maalouf. In some ways it’s in the same sort of psychological space as their L’amour de loin; love at a distance, love requited and unrequited, love sensual and quasi-spiritual, but musically it’s very different. It’s much more abrasive and (mostly) less lyrical. Sometimes its really busy and quite angry. It’s also very, very complex and often quite loud, demanding great skill and stamina from both performers. The piano part features loads of trills and arpeggiation and the vocal line has awkward intervals and even screaming. It was handled really well.
Saturday evening, at Redeemer Lutheran, the Happenstancers offered up a palindromic tribute to Pascal Dusapin. As it was a palindrome I shall review it from the middle outwards. Let us take the interval as t=0. Then at t=+/-1 we heard Two Walkings from singers Danika Lorèn and Hilary Jean Young. Two songs; “How Many Little Wings” and “Kiss My Lips She Did” came before the break and the rest; “May June”, “A Scene in Singing” and “It Seems To Be Turning Music” after. And, of course the singers swapped positions at the break! This is extremely interesting but fiendishly difficult music with the unaccompanied singers trading snatches of phrases and half thoughts in a complex atonal musical language. I’m actually in awe that anybody can actually perform a work like this but they did, and very well.
A couple more things coming up this month.
Last night the Happenstancers presented another intriguing concert of chamber music titled Chimaera. This time it was in the excellent hall at 918 Bathurst. It was a clever conceit. There were three “sets” with each consisting of two contrasting works that were combined in different ways.
operaramblings 