Tag Archives: segal

Another one for the diary

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Coming up on Sunday 28th April at 2pm at the Glenn Gould Studio is Celebrating Philanthropists in Music whereby Off Centre Music Salon concludes its 18th season, paying tribute to the philanthropists who stood in the shadows behind some of the greatest composers and supported their careers. The program will includes a variety of vocal solos and duets, 1 piano, 4 hands, and violin and piano, performing repertoire by: Beethoven, Tchaikovsky, Rachmaninov, Poulenc, Debussy, Chabrier, Ravel and Stravinsky.

Performers include 12 year old pianist William Franklyn Leathers, baritone Peter McGillivrey, soprano Ilana Zarankin, mezzo soprano Lauren Segal, violinist Jacques Israelievitch and accordionist (I kid you not) Joseph Macerollo. They will be accompanied by pianists Inna Perkis and Boris Zarankin.

For more details contact vciarlo@ciarlo.ca

Kurtág and Janáček at the Extension Room

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ivany

Joel Ivany

Against the Grain Theatre have another hit on their hands.  Joel Ivany once again successfully combines young talent, unusual repertoire and a funky performance space to create a brilliant evening of song and story.  This time the space was a yoga studio on Eastern Avenue and the works on offer were the Kafka-Fragments op. 24 by György Kurtág and The Diary of One Who Disappeared by Leoš Janáček.  Neither work was written for the stage but both were well suited to Ivany’s sensitive direction and Michael Gianfrancesco’s minimalist “sets”.  Continue reading →

Tales of Hoffmann at Canadian Opera Company

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Last night saw the third performance in the current run of Offenbach’s Les Contes d’Hoffmann at the Canadian Opera Company.

It’s a peculiar work.  It was Offenbach’s first and only foray into grand opera and he didn’t live to complete it.  This leaves all sorts of performance issues regarding orchestration, sequence of the acts and spoken dialogue vs accompanied recitatives among others.  The COC version uses the conventional act order; Olympia, Antonia, Giulietta, and recitatives with orchestral accompaniment which makes for a long night but is probably the best fit with director Lee Blakeley’s take on the piece, previously seen at Vlaamse Opera in 2000.

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