Opera in Concert opened their season at Trinity St. Paul’s on Saturday with the Canadian premiere of André Grétry’s 1784 opéra comique Richard Coeur-de-Lion. This is very loosely based on the story of Richard’s imprisonment by Leopold of Austria while returning from the Third Crusade. Richard’s man Blondel; disguised as a blind minstrel, discovers Richard’s place of imprisonment by playing a tune that Richard wrote. He then enlists the help of the Countess of Flanders, in love with Richard, (which would have come as a surprise to Berengaria of Navarre) and a Welsh knight; improbably styled Sir Williams, who his now (also improbably) running an inn in Austria and his daughter, Laurette. The governor of the castle where Richard is imprisoned, Florestan, in turn in love with Laurette, is tricked and Richard is freed to great rejoicing. (As opposed to a whopping ransom being paid!)
Tag Archives: smith
The Two Deaths of Ophelia
The latest Happenstancers gig, which took place at 918 Bathurst on Thursday evening, was an exploration of the death of Ophelia and related ideas with works for assorted chamber ensembles plus/minus voices. Ten composers; all of whom could at a stretch be considered “contemporary”, were featured in a programme that, with interval, lasted two and three quarter hours. That’s a feat of stamina for performers and audience alike as none of the music performed was “easy” and no notes or introductions were provided.
Each half of the programme started off with a piece by Linda Catlin Smith, who was in the audience. Stare at the River for piano, string bass, trumpet, clarinet, violin and percussion was quite sparse and open textured while The River was more obviously lyrical with guitar, cello and Danika Lorèn replacing piano, trumpet and bass.
Come Closer
Come Closer; libretto by Rachel Krehm, music by Ryan Trew, is a two act chamber opera about Rachel’s relationship with her younger sister Elizabeth who died as a consequence of heroin addiction. Some of it is based on Rachel’s memories and much on the writing and drawings that Elizabeth left. It premiered on Friday night and is currently playing in an Opera 5 production at Factory Theatre.
A Public Display of Affection
A Public Display of Affection is currently being presented by Studio180Theatre in the Studio at Crow’s Theatre. Jonathan Wilson plays himself in monodrama-documentary directed by MarkMcGrinder about Gay life in Toronto before, during and after AIDS.
Alceste in concert
Sunday afternoon saw VOICEBOX:Opera in Concert’s first performance in their new home; Trinity St. Paul’s. The offering was Gluck’s Alceste in the French language 1776 Paris version. Lauren Margison sang the title role with Colin Ainsworth as Admète. Guillermo Silva-Marin directed.
Trinity St. Paul’s has advantages and (perhaps) disadvantages over the Jane Mallett. It’s significantly better acoustically but much harder to do much in the way of staging. It’s a church and it looks like one with lots of carved wood and stained glass! I’m not sure that this is a disadvantage though. Rudimentary blocking with entrances and exits for the principals and concert wear is fine with me given that in either venue full staging wasn’t/isn’t very practical. The value proposition is more around getting to hear operas live that no-one else in Toronto is likely to do. I’m fine with that. Continue reading
A cunning Turn of the Screw
It’s always been a bit of a mystery to me why Britten’s chamber operas are not done more often by smaller opera companies. They use a modest orchestra (13 players for The Turn of the Screw), have equally modest sized casts, no chorus and they are in English. They offer the chance to perform a work as written at much lower cost than grand opera and without the compromises inherent in downscaling works written on a larger scale.

Show Me The Way
Show Me The Way is a new double CD from baritone Will Liverman, pianist Jonathan King and various collaborators featuring vocal works by female American composers. It draws on a wide range of influences from Ella Fitzgerald to Will’s mother.
There are several song cycles; some composed for the album or not previously recorded. There’s A Sable Jubilee with music by Jasmine Barnes and text by Tesia Kwarteng. It’s a celebration of “blackness” in various moods incorporating jazz influences into a complex tonal structure. It’s beautifully sung by Liverman and very skilfully accompanied by King on piano. Continue reading
What Brings You In
What Brings You In is an album of music for violin and electronics that consists mostly of work that was composed for performance as part of an art installation or a site specific performance or as therapy rather than a conventional concert hall experience. It features violinist Leslie Ting and various collaborators on percussion and live electronics. It’s one of the most “experimental” records I’ve listened to. There are five tracks and I’m going to describe each piece as best I can. Conventional music vocabulary; melody, harmony, rhythm etc isn’t much help! Continue reading
Ecstatic Science
Ecstatic Science is the fourth album from New York sextet yMusic. They are a young group of really excellent instrumentalists noted for their collaborations with composers who defy easy classification. There is plenty for a composer to work with in terms of palette. The group consists of Alex Sopp – flute, Mark Dover – clarinet, CJ Camerieri – trumpet and horn, Rob Moose – violin and guitar, Nadia Sirota – viola and Gabriel Cabezas – cello. The music on the record is all by young(ish) American composers noted for their eclectic styles. So everybody involved is a first rate classically trained musician who isn’t afraid to go to non-traditional places. Continue reading
Opera 5 are turning the screw
Those who know me are probably fed up of hearing me lament how slow the indie opera scene in Toronto has been to recover post plague. Well here’s some good news on that front. Opera 5 will be mounting a fully staged version of Britten’s The Turn of the Screw with the proper thirteen piece chamber orchestra at Theatre Passe Muraille in June next year. Yea!



