Yesterday’s Mazzoleni Songmasters recital featured the relatively unusual combination of soprano Monica Whicher accompanied by Judy Loman on harp. It was a very well constructed and executed afternoon of song. Each set had something to offer.Th first set was of English songs of the 16th and 17th centuries including the very lovely O Death Rock Me Asleep attributed, almost certainly inaccurately, to Anne Boleyn. All very touching and harp seeming very appropriate for songs which were likely intended for lute accompaniment.
Terezín/Theresienstadt is a CD of music composed in the concentration camp at Terezín in what was then Czechoslovakia. Virtually the entire Czech intelligentsia; certainly those of Jewish or Communist persuasion, were imprisoned in a kind of “show camp” to demonstrate to the world that the Nazis weren’t as bad as made out. Nine of the ten composers featured on the disc ended up on a “Polentransport”; a one way ticket to Auschwitz. No story is more poignant than that of Ilse Weber, a nurse in the hospital. She chose to accompany the sick children of the camp on their final journey and reportedly sang to them in the gas chamber.
Off I went to the Four Seasons Centre to see Samuel Chan and Stéphane Mayer perform some Schubert. Sadly Sam was indisposed so what we got was a hastily, but very well, constructed program featuring some of the other singers in the Ensemble Studio.
Things kicked off with the increasingly impressive Anne-Sophie Neher in an accomplished rendering of Mozart’s “show off” piece Exsultate jubilate, in which she showed very decent control in the rather fiendish runs. She was back later with “The Presentation of the Rose” from Der Rosenkavalier which sounded suitably Straussian and sufficiently girlish at the same time. Nicely done. She made a third appearance with one of Adèles’s arias from Le comte Ory. This didn’t quite do it for me but it was fun to hear Stéphane playing around with the very Rossiniesque accompaniment.
Today’s RBA lunchtime concert featured the three tenors; Kammersinger Michael Schade, currently appearing as Aegisth in the COC’s Elektra, Irish tenor Mick O’Schade and Scottish folksinger Michael McSchade. They were most ably supported by COC Concertmaster Marie Bérard and Sandra Horst at the piano. The concert was billed as a tribute to John McCormack and Fritz Kreisler but sad events had morphed it into also being a tribute to the CBC’s Neil Crory. I hope, and believe, that he would have appreciated the combination of whimsy and serious music making.
Richard Strauss’ Elektra opened last night in a revised version of James Robinson’s 2007 production. The setting is fairly straightforward and a bit drab; vaguely Victorian, or perhaps Gormenghast, which seems about right for the hagridden House of Atreus. The stage is severely raked; back to front. and stage left to right. There are a couple of walls with entrances. There’s a strange little hut which, it turns out, forms a sort of trap door to the palace. Costumes are either shapeless (ladies) or vaguely reminiscent of evening wear (gentlemen). In this setting the action plays out convincingly enough with even difficult scenes like Elektra’s “death dance” well handled. The tricky scenes between Elektra and Klytämnestra and Elektra and Orest have the appropriate degree of tension and suspense.
Toronto Operetta Theatre opened a run of Strauss’ Die Fledermaus at the St. Lawrence Centre last night. It’s a will crafted production; basically traditional as to costumes and sets and with a generous amount of more topical jokes added to the dialogue (both dialogue and musical numbers are performed in English). The one thing about it that is a bit different and much to be praised is that the jailer Frosch, played by director Bill Silva-Marin, is actually funny and sings pretty well for a guy who doesn’t sing a lot anymore. The schtick is that he is obsessed with singing and insists on singing lessons from Alfred (or here Alfredo) when he appears in the jail in place of Eisenstein. The singing lessons are kind of a parody with plenty of jokes about vocal production and a fair bit of physical humour. All this is actually set up from the beginning by making Alfred a rather larger role than usual with a fair amount of interpolated snatches of Verdi and Puccini. It may not sound that radical but it does liven up the third act which all too often can be pretty dull and anti-climactic.
Toronto Operetta Theatre have released preliminary information on their 2018/19 season. There are three main stage productions at the Jane Mallett Theatre. First up is Die Fledermaus by Johann Strauss which runs December 28th, 2018 to January 2nd, 2019. There’s been no shortage of Fledermice in Toronto in recent years with Christopher Alden, Aria Umezawa and Joel Ivany all contributing quite individual productions. I imagine Guillermo Silva-Marin’s treatment will likely be designed to appeal more to the traditionalists!