How to present a mostly forgotten composer to a modern audience is an interesting conundrum. Reviving a four hour opera seria about Marcus Aurelius likely isn’t the answer and just sticking a few pieces in an otherwise mainstream program is unlikely to have much impact either. Better by far, I think, is the approach Ivars Taurins has taken in Tafelmusik’s current run of concerts of music by the Venetian Agostino Steffani (1654-1728) at Trinity St.Paul’s.
Last night’s early evening free “shuffle” concert at Heliconian Hall featured Krisztina Szabó and Stephen Philcox. They started out with Xavier Montsalvatge’s Cinco canciones negras; a lively collection of Spanish songs featuring scenes from Cuban life. The songs, very much French influenced, varied in mood from quite sombre to wild and were presented with skill and wit. The main event though was the reprise of two works that Philcox and Szabó premiered in March at Walter Hall; Miss Carr in Seven Scenes by Jeffrey Ryan and Four Short Songs by John Beckwith. I reviewed that March performance here and really don’t see any reason to revise my opinion about the works or the performances except to note that last night, of course, Krisztina sang all the Beckwith songs.
Last night, at Walter Hall, the Canadian Art Song Project presented their latest commission; Miss Carr in Seven Scenes by Jeffrey Ryan. The overall standard of the CASP commissions since Lawrence Wiliford and Steven Philcox launched the endeavour has been very high. The Ryan piece maintains that.
Not much sign of spring as we move into the second half of the month but there are some things musical to enjoy while we await the return of the sun. On March 18th at 2pm in Mazzoleni Hall there is You’re Welcome Rossini with the glamorous duo of Allyson McHardy and, the not seen often enough in Toronto, Lucia Cesaroni. This one is officially sold out but there may be rushes. Ten bucks says they do the Cat duet. Continue reading →
The decision by Toronto Masque Theatre to pair Purcell’s miniature opera, Dido and Aeneas, with James Rolfe and André Alexis’ piece on the lovers’ inner thoughts, Aeneas and Dido, paid off last night. It produced an evening of just the right length with two contrasting but complementary pieces working really well together.
Yesterday’s lunchtime concert in the RBA featured members of the Esprit Orchestra and Krisztina Szabó. Two instrumental pieces kicked things off. There was an Andrew Staniland composition for snare drum and electronics; Orion Constellation Theory, played by Ryan Scott. This was quite witty and inventive. Very Staniland in fact. Then came a three movement work for solo harp; Alexina Louie’s From the Eastern Gate played by Sanya Eng. For two movements it was light and bright using mainly the upper end of the harp’s range. It was engagingly tuneful too though not in any kind of conventionally tonal way. The third movement was darker, louder and more dramatic, brooding even, and using a far wider range of the instrument’s capabilities. All up, an interesting piece.
Aaron Gervais’ and Colleen Murphy’s Oksana G. finally made it to the stage last night after a most convoluted journey. It’s being produced by Tapestry at the Imperial Oil Theatre with Tom Diamond directing. The wait, I think has been worth it. The story, set in 1997, of a naive country girl from the Ukraine who gets caught up in sex trafficking is dramatic and the it convincingly depicts the sleazy underworld of southern and eastern Europe created by the collapse of the USSR, the civil wars in the Balkans and the pervasive official corruption in countries like Ukraine, Greece and Italy. It’s gritty and, at times, not at all easy to watch.