What do you get when you take nine multi-talented musicians from a variety of musical backgrounds and give them a Purcell toy box to play in? You get the latest concert in the Confluence series; ‘Tis Nature’s Voice: Henry Purcell Reimagined. It’s an amazingly fun evening that completely blows the cobwebs off the often stuffy Toronto baroque music scene. I can’t do a number by number account because I completely lost track. I was having way too much fun.
Soundstreams’ Electric Messiah is back for a fourth outing, again under the musical direction of Adam Scime. The formula is basically the same as previous years.
- Take excerpts from Handel’s Messiah
- Add some new music
- Arrange for small chamber ensemble, electronics and turntables (Sarah Svendsen, analog and electric harpsichord; Joel Schwartz, electric guitar; Jeff McLeod, electric organl; SlowPitchSound, turntablist)
- Take a quartet of singers from different vocal traditions (Jonathan MacArthur, Katherine Hill, Aviva Chernick and Alex Samaras)
- Throw in a dancer (Lybido)
- Have some of the text sung in a language relevant to the singer (Gaelic, Hebrew, Swedish this time)
- Stage it at Drake Underground
This year in addition there was some interpolated music not directly derived from Messiah; to whit, a gospel piece for Samaras called “Personal Jesus” and a harpsichord solo.
So, my second DMA recital of the week. This time that fine collaborative pianist Lara Dodds-Eden. Walter Hall was alive with sound before the recital proper started with Ben McCarthy’s electronic piece menagerie playing over the speakers; birdsong, rainforest and crackly vinyl. The first piece on the program proper was Fauré’s La chanson d’Ève sung by Danika Lorèn. These songs are a good showcase for Danika’s many excellent qualities. It was all there. The diction, the easy upward extension, the beautiful and varied colours. Nice! And a good start for Lara showing her sympathetic qualities in classical artsong.
Next up was Alex Samaras with Ned Rorem’s As Adam Early in the Morning. Alex is an interesting singer with a background in a variety of styles of which classical tenor probably isn’t one so it was a very different take on the Rorem than I might have expected. This was proving to be quite an enterprising program. Szymanowski’s Mythes for violin (Sheila Jaffé) and piano was also an enterprising choice. It’s a good piece for showing off musicianship and sensitivity to the modern idiom and good to have a chance for Lara to show a skill other than accompanying a vocalist.