The Colour of Joy

The Canadian Art Song Project presented their latest commission in the RBA on Wednesday lunchtime.  But first we got Jorelle Williams and Steven Philcox with four songs by iconic Canadian/American composer R. Nathaniel Dett.  I confess that early 20th century American song is rarely to my taste and the first three Dett songs I found workmanlike but not especially interesting.  The fourth though; The Winding Road to a text by Tertius Van Dyke I found much more interesting.  It seemed that Dett had allowed himself to be more “American”.  There were influences from both “Negro music” and marching band here with an overall effect not unlike some of Charles Ives’ songs.  I can’t knock the performance though.  It did full justice to the songs; especially the last.

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Known to Dreamers

Known-to-dreamersKnown to Dreamers: Black Voices in Canadian Art Song is a new CD from Centrediscs and the Canadian Art Song Project containing Canadian art songs composed by or setting lyrics by Black Canadians, sung by Black Canadians.  The first set on the disk is Robert Fleming’s The Confession Stone (Songs of Mary) which sets texts by Owen Dodson’s texts about the life of Christ from his mother’s point of view.  It’s a very beautiful piece and must be in the running for the most performed Canadian song cycle of all time!  Curiously though it’s only been recorded commercially once before (by Caroline Gélinas on ATMA Classique).  The singer here is Measha Brueggergosman-Lee.  She wouldn’t be my first choice for this piece but she sings it pretty well.  I find her style a bit mannered but she’s accurate and her diction is good.  Steven Philcox accompanies with great skill (as he does on all the tracks).

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A very merry Widow

Toronto Operetta Theatre opened a production of Frank Lehár’s A Merry Widow at the Jane Mallet Theatre last night.  It’s in some ways very much the TOT package one expects; English translation with a few gently updated jokes, a small pit orchestra, lots of movement and a cast of young, up and coming singers (for the most part).  There were no real surprises.  It was just done rather well.

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Jonelle Sills debuts in La Bohème at the COC

It wasn’t supposed to happen for another couple of weeks but Jonelle Sills jumped into the COC’s production of Puccini’s La Bohème as Mimi on Sunday afternoon, replacing an indisposed Amina Edris.  It added some spice to a production I’ve seen rather a lot of times before.  I don’t have a lot to say about the production that I haven’t said before.  It’s still efficient and serviceable and it’s always looked a bit (not inappropriately) down at heel.  If it’s now a bit more worn and faded t doesn’t detract from that.  If you want more detail here’s a link to my May 2019 review.

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Ryan Davis and friends

To another excellent Confluence Concerts production last night at Heliconian Hall.  This one was curated by Confluence’s Young Artistic Associate Ryan Davis; composer, violist and electronic Wunderkind.  He was joined by a very talented group of young musicians; Kevin Ahfat (piano), Bora Kim (violin), Daniel Hamin Go (cello) and Jonelle Sills (soprano) plus the vocal talents of Confluence stalwart Suba Sankaran.  The programme was built around English and French romantic music plus Ryan’s own compositions influenced by that tradition.

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Rebanks fellows

Last night at Mazzoleni Hall we were entertained by the Royal Conservatory’s Rebanks fellows.  The programme was, to say the least, varied and very enjoyable.  It began with a movement from Mozart’s Piano Quartet in G minor played by Isobel Howard – violin, Caleb Georges – viola, Joanne Yesol Choi – cello and Sejin Yoon – piano.  It was a pleasant, if conventional, start to the evening.  There were rather more fireworks in the “Allegro ma non troppo” from Strauss’ Violin Sonata in E flat major.  There was some seriously virtuosic playing here from Aaaron Chan – violin and Ben Smith – piano.

1. Group Photo

from L to R: Michael Bridge, accordion; Caleb Georges, viola; Isobel Howard, violin; Sejin Yoon, piano; Hannah Crawford, soprano; Daniel Hamin Go, cello; Tim Beattie, guitar; Jonelle Sills, soprano; Aaron Chan, violin.

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Classy singing from the Rebanks fellows

Yesterday’s free concert in the RBA featured the vocalist Rebanks fellows from the Glenn Gould School.  There was some very classy and very powerful singing.  We heard Hannah Crawford, fresh off her second place at Centre Stage, sing a couple of arias; “Pleurez, plearez mes yeux” from Masenet’s Le Cid and “Come Scoglio” from Cosí.  There was some very considerable power on display here as well as accuracy and emotion.  Definitely one to watch.

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Gloria

Brandon Jacobs-Jenkjins’ play Gloria, directed by André Sills is currently playing at Crow’s Theatre.  It’s a hard play to describe as spoilers must be avoided and it works at many different levels.  The initial setting is the offices of a New York “culture” magazine where we meet various members of the highly dysfunctional workforce.  A shocking event happens and the rest of the play explores how various parts of the media industries relate to such events in the internet age along with issues related to who really “owns” an experience and in what sense does that “ownership” validate or privilege their version of events versus any other.  One of the ideas here is that the “product” has become in every way secondary.  The magazine is little more than a prop for blog posts.  Book publishing is largely geared around selling the movie or TV rights.  Movie and TV production is largely about providing a package for prefabricated celebrities to feature in.  The irony of a print and internet reviewer writing about all this is not lost on me!

athena kaitlin trinh and Nabil Traboulsi in GLORIA_photo by Jeremy Mimnagh

athena kaitlin trinh and Nabil Traboulsi

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Leaping (or not) ahead to March

gloriaThere’s not exactly a flood of events in my calendar for march yet but there are a few.  Running March 1st to 20th at Crow’s Theatre is Branden Jacobs-Jenkins’ satirical play Gloria about a Manhattan magazine staff seeking fame and glory as the internet turns the industry upside down.  It’s not an opera but it’s directed by the very talented André Sills which is reason enough for me.

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