June is kind of quiet but first there’s yet another show to mention for the busy last weekend of May. David Fallis is conducting his last performances as Music Director of the Toronto Consort. It’s Monteverdi’s Orfeo and it’s at Trinity St. Pauls at 8pm on the 25th and 26th and 3.30pm on the 27th. Besides David it features Charles Daniels in the title role, Kevin Skelton as Apollo, Laura Pudwell as Messagiera with Jeanne Lamon on first violin plus Montreal’s premier cornetto and sackbut ensemble La Rose des Vents.
Last night’s Soundstreams concert at Trinity St. Paul’s riffed off the basic idea of Bach’s Musical Offering; getting musicians to create music on a theme with a high improvisory element. The line up was the Gryphon Trio (Roman Borys, cello; James Parker, piano; Annalee Patipatanakoon, violin), SlowPitchSound (aka Cheldon Paterson); turntables, Dafnis Prieto; drum kit, Scott Good; trombone, conductor and Roberto Occhipiniti; bass. Things started out with SlowPitchSound remixing prerecorded fragments of the Musical Offering with live interventions by the trio. It was interesting and fun though whether it revealed “secret messages” I really couldn’t tell. The turntables reappeared between items in the rest of the program in very short fragments that seemed too cursory to have much to say.
April just keeps getting busier. On April 12th The Women’s Musical Club of Toronto are presenting soprano Sylvia Schwartz with pianist Olivier Godin in a German and Spanish program. It’s a t Walter Hall at 1.30pm. Tickets are $45. The following evening at 8pm the remarkable 13 year old violinist and composer Alma Deutscher is appearing at Koerner Hall. She’ll be joined by pianist Angela Park and singers Adanya Dunn and Andrew Haji who will perform excerpts from her opera Cinderella which premiered to some acclain in Vienna.
Soundstreams have announced their 2018/19 season. There’s an intriguing mix of concerts at a wide range of venues. The two shows that particularly caught my attention were, firstly, Seven Deadly Sins; a show featuring singer songwriters Lizabeth Shepherd, Aviva Chernick and Robin Dann with composers Christopher Mayo and Analia Llugdar being sinful. This one plays at The Great Hall on April 9th to 11th next year.
Then, perhaps even more intriguing, is an opera; Hell’s Fury, featuring the combined talents of Russell Braun, Serouj Kradjian, Tim Albery and Michael Levine based on music written in exile by Hanns Eisler setting texts by Brecht, Goethe and Shakespeare. This one is in conjunction with Luminato and plays at Harbourfront from June 19th to 23rd next year.
Electric Messiah at Drake Underground is back but with a new, yet to be revealed, twist and there is plenty more to like from the Rolston Quartet, the Latvian Radio Choir and a bunch of pianist/percussionists. Details, ticket information and so forth at soundstreams.ca.
Tan Dun’s Water Passion After St. Matthew, given last night by Soundstreams at Trinity St. Paul’s is very Tan Dun. The work is in nine movements and scored for chorus, soprano and bass-baritone soloists, violin, cello, electronics and lots of percussion. And bowls of water and rocks. The texts broadly follow the Passion story finishing with a final Resurrection movement in which water is the symbol of rebirth, recycling and spiritual completeness. There are also ritual elements. Bowls of water laid out in a cruciform pattern are lit from beneath. The musicians change position and the players, especially the percussionists, perform hieratic gestures with the water bowls and their contents. It also involves a complex and dramatic lighting plot.
Here is what’s coming up. Valentine’s day sees two vocal recitals. At noon in the RBA there’s Clare de Sévigné and Rachel Andrist with The Truth about Love; the story of a young woman’s love gone awry. At 8pm Ian Bostridge has an all Schubert program at Koerner Hall. Thursday is also busy with members of the Ensemble Studio in a Russian program in the RBA at noon, a Johannes Debus masterclass at UoT at 2pm and Opera Trivia at the Four Seasons Centre at 7pm. Then on Friday at 7.30pm in Walter Hall there’s a free concert; Vocalini, from the undergrads of the UoT Opera. Also Thursday and Friday MYOpera have a couple of opportunities to see emerging artists. There’s a public masterclass with Philip Morehead at 6pm Thursday at the Edward Jackman Centre and a concert at 7.30pm Friday at the Vandenberg House.
It’s that time of year when one reflects on the good and the not so good. What one would like to see more of and not. What seemed significant about the year. As I look back over my writings for the last twelve months one clear theme stands out, Reconciliation. There was the COC’s very thoughtful and thought provoking remount of Somers’ Louis Riel in April and all the fascinating events that went on around that. There were attempts by the TSO to incorporate Indigenous themes; the Tanya Tagaq concert in March and Adizokan with Red Sky in October. Neither of these quite came off but the intent was good. Then there was a really fine recital of works by Indigenous composers by Marion Newman at the beginning of the year. Then, of course, the Clemence/Current piece Missing, about murdered and missing Indigenous women, which premiered in British Columbia and which I haven’t seen yet but really, really want to. 2017 was also the year when Land Acknowledgements went mainstream in the Toronto arts world. I guess there’s some tokenism here but there does seem to be far more engagement with Reconciliation in the arts world than in, say, the political mainstream which is unfortunate because opera isn’t going to produce clean drinking water. We have to start somewhere I guess.