The COC announcement of the 2026/27 season dropped this morning with zero fanfare; not even an embargoed presser in advamce. It’s pretty mixed and, rather to my surprise not far off what I predicted; at least in my more pessimistic version. So…
On Thursday evening soprano Reilly Nelson and composer/keyboardist Friedrich Kern presented an intriguing programme based around songs by Kurt Weill. Songs were interleaved with composed passages for electronics based on glass harmonica and texts in English and German. It was a “celebration” of impermanence and of the never quite dying hope that there is something more substantial out there somewhere.
The songs were a mix of the familiar; Youkali, Surabaya Johnny, and the less familiar; Und was bekam des Soldaten Weib? and Ballade vom ertrunkenen Mädchen, for example. All of it was sung in the original language (French or German) with keyboard accompaniment and Reilly made no attempt to make it lovely. This was Weill at his cabaret rawest which is just the way I like it; gritty not pretty Crooned, bowdlerized English translations be damned! Continue reading
Soprano Lise Davidsen recently gave a recital at the Metropolitan Opera with pianist James Baillieu. The live recording of that gig is now being released by Decca in various formats. My gut reaction was to think that a piano recital at the Met is not such a great idea but the recording turns out to be terrific.
It starts out with a couple of opera arias, There’s a powerful but very beautiful account of “Vissi d’arte” and a very stylish account of “Morrò, ma prima in grazia” from Verdi’s Un ballo in maschera. In this one she shows some interesting colours as well as terrific, clean, high notes. Continue reading
Last Tuesdays’s concert in the RBA featured four singers and two pianists from the Ensemble Studio in a concert of highly recognisable opera arias. I guess with Barber of Seville and Rigoletto coming p on the FSC stage that was a bit inevitable. It was though very well done with all four singers not only singing well but really conveying a sense of character.
Richard Strauss’ Intermezzo is a very strange semi-autobiographical piece apparently dealing with the married life of Richard and Pauline Strauss thinly disguised as Court Composer Robert Storch and his wife Christine. What is really a bit weird is how these two characters are presented. Herr Storch is a bit stuffy and self absorbed but Frau Storch is just awful. She is rude to everyone, especially her long suffering maid and other servants, and she overreacts bizarrely to just about everything. She’s spoiled, self-centred, vain and generally a giant PitA.
The last Koerner Hall concert of this year’s Toronto Summer Music riffed off the Vienna Phil’s traditional New Year extravaganza with lots of Johann Strauss waltzes and the cheesiest fake Magyar (mezzo) soprano arias from operetta. I was skeptical when I first saw the programme but it turned out to be extremely enjoyable; partly on account of excellent musicianship and partly because everyone involved was having so much fun.
My review of Chandos’ SACD release of Strauss’ Salome with Malin Byström in the title role and Edward Gardner conducting is now available on the La Scena Musicale website. Terrific conducting and great work by the recording engineers.
For many years Bavarian State Opera used a production of Johann Strauss’ Die Fledermaus that was created by Otto Schenk and Carlos Kleiber back in the 1980s. It was replaced in 2023 with a new production by Barrie Kosky and Vladiimir Jurowski which was issued on video.
Atom Egoyan’s 2023 film Seven Veils filmed at the Canadian Opera Company and featuring members of the cast of that season’s run of Strauss’ Salome is getting a theatrical release on March 7th. I can’t find exact details on whe and where it’s showing but at least some Cineplex and Landmark cinemas will have it. I saw it pre-pre-release at the Four Seasons Centre in September 2023. My thoughts are here.
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Tuesday’s RBA concert with members of the Ensemble Studio was themed around composer rivalries though not the really toxic ones. No Mozart/Salieri or Wagner/Meyerbeer here! The most convincing as a rivalry was the first; Berlioz vs Rossini. So Queen Hezumuryango sang “Le spectre de la rose” with some sensitive handling of the text and a pretty fiery “Cruda sorte” from L’Italiana in Algeri with plenty of emotion. I definitely like her voice more when she’s going for drama as she’s got plenty of power and expressiveness.
Next up was Duncan Stenhouse with four pieces that illustrated the complex relationship between Brahms, Wagner and Dvořák. “Der Tod, das ist die kühle Nacht” from the Vier Lieder Op. 96 and “Při řekách babylonských” from the Biblické písně were sung with excellent control and expressiveness but if there’s a connection it’s not obvious to me. The two operatic pieces though; “Běda!, Běda!” from Rusalka and “Abendlich strahlt der Sonne Auge” from Das Rheingold have, I think, more obvious affinities; both dramatically and musically. Both were very well sung. It’s so good to have a genuine bass in the Ensemble again! Continue reading
operaramblings 