Last night was the last performance at Heliconian Hall of Loose Tea Music Theatre’s double bill of Anne Frank operas. The first half of the show centred on Grigori Frid’s monodrama for soprano and chamber ensemble (given here in piano score) The Diary of Anne Frank. It’s a work in 21 scenes of which 15 were performed last night. For a Soviet work of the 1970s it’s surprisingly modern in style with some interesting music for the piano. The vocal part though is pretty unsympathetic and although Gillian Grossman managed it pretty well a lot of it lies too high for comfort or even comprehension.
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.
Yom HaShoah; the Day of Remembrance for the victims of the Holocaust (and maybe the survivirs are victims in their own way too) started at sunset last night. Earlier in the day Sara Schabas, Laura D’Angelo and Geoffrey Conquer presented a concert of Holocaust related music in the Richard Bradshaw Amphitheatre.
Krystyna Zywulska was a Polish resistance fighter who was captured and sent to Auschwitz. She took to writing lyrics and setting them to an eclectic mix of tunes as a way of coping with the horror of the camp. Somehow this was pleasing to the powers that be and she found herself with a relatively soft job processing the possessions of arriving prisoners. She survived to write a number of memoirs about her experience. The story is oddly similar to that of Zofia Posmysz, who inspired Weinberg’s The Passenger. This time the opera is Another Sunrise; a collaboration of Gene Scheer and Jake Heggie commissioned by Music of Remembrance and premiered in 2012. There’s a companion piece by the same team; Farewell Auschwitz, which sets some of the Zywulska texts, in translation and reworking by Scheer, to a wide range of the kinds of music that Zywulska used. Last night both pieces got their Canadian premiers in a production by Electric Bond Ensemble at Beth Tzedec directed by Aaron Willis.
I was at a really rather nicely programmed recital at Rosedale Presbyterian yesterday afternoon. Rachel Andrist, who played piano throughout, had lined up a really interesting selection of singers. Some were known to me, some were new. Some were fresh out of college and some had quite a bit of experience. The programme was in two halves. In the first half each of the six singers got to do two or three songs while in part two there were some opera numbers and some seasonal stuff arranged for various combinations of voices.
Bandits in the Valley opened yesterday at Todmorden Mills. It’s a site specific comic opera with words by Julie Tepperman and music by Benton Roark. The time is 1880. Sir George Taylor is the owner of the most productive paper mill in the British Empire but he wants more. Specifically he wants to convert the entire Don Valley to paper thus depriving the pesky bandits thereof of cover. He also wants Lily Pollard, the comely soprano lead of the travelling company he has engaged to stage The Pirates of Penzance as part of the mill’s 25th anniversary celebrations. He’s not the only one after Lily. She’s also the target of the female head of the troupe, Henri, and of Jeremiah, the bandit chief who is trying to obtain his inheritance. He in turn is pursued by the house maid (and his cousin) Birgitta and, in a purely brotherly way of course, another bandit, Freddy. In proper comic opera fashion a birthmark, naturally enough on Jeremiah’s buttock, is involved. Mayhem ensues.
Last night ten singers who had taken part in an intensive class/coaching with Sondra Radvanovsky showed us what they could do. The program was organised and presented by the International Resource Centre for Performing Artists at the Alliance Française. It says quite a lot about the current state of supply and demand in the opera world that nine of the ten singers were female and seven were sopranos. We were given one aria per singer and a lot, inevitably I suppose, of Donizetti, Bellini and Rossini with one aria apiece for Verdi and Puccini.