Sirènes is an album of pieces by Montreal composer Ana Sokolović. The first pice, which gives the album its title, is written for six unaccompanied female voices. It’s performed here by the vocal ensemble of Queen of Puddings Music Theatre conducted by Dáirine Ní Mheadhra. The six ladies in question are Danika Lorèn, Shannon Mercer, Magali Simard-Galdès, Caitlin Wood, Andrea Ludwig, and Krisztina Szabó. It’s an interesting piece and very Sokolović. The text is bent and twisted into sound fragments which are “sung” using an array of extended vocal techniques. The overall effect is of a shimmering, fluttery and quite absorbing sound world.
Sirènes
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This year’s featured composer in UoT’s New Music Festival is Toshio Hosokawa. Last night saw performances of two of his one act operas in Walter Hall in productions by filmmaker Paramita Nath, with the composer in the hall. The first was a monodrama setting of Poe’s The Raven featuring Kristina Szabó and a student ensemble conducted by Gregory Oh. It’s an interesting piece. Hosokawa’s sound world combines the European avant-garde with Japanese elements so it’s unlike anything I’ve heard from a North American composer. It’s dramatic and atmospheric and works really well with fevered nature of Poe’s text. He also writes well for the voice with a variety of demands from whispering, through speech to full on singing. All of this coped with admirably by Szabó who, as ever, seemed perfectly at home with whatever the composer threw at her.
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.
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.
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