Thirteen songs in search of an audience

This morning I went to the COC website to see what Josh Hopkins would be singing at lunchtime.  Bottom line, he wasn’t.  His recital had been replaced by a hastily put together program of pieces to be sung by Owen McCausland, Karine Boucher and Aviva Fortunata.  Given that Liz Upchurch said it was pieces they were looking for an audience for I’d guess it’s audition/competition rep that they are working on and therefore, to some extent, work in progress.

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The Futile Precaution

Yesterday lunchtime the Ensemble Studio gave us a preview of their upcoming performance of the Barber of Seville.  The production, of course, will be the one currently on stage at the Four Seasons Centre and there were clear echoes of that in the way yesterday’s event was put on though they also played with the fact that Almaviva will be split between Andrew Haji and Jean-Philippe Fortier-Lazure with much pulling and pushing into place.

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Poetic Love

Today’s lunch time concert in the RBA was a lieder recital by two Ensemble Studio members; bass-baritone Gordon Bintner and tenor Andrew Haji.  Both singers sang settings of texts by Heinrich Heine.  Bintner, accompanied by Jennifer Szeto kicked off with selections from Schubert’s Schwanengesang to be followed by Haji and Liz Upchurch with Schumann’s Dichterliebe.

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Adieu to Charlotte and Clarence

Each year, round about now, the COC stages a lunchtime concert or two featuring departing members of the Ensemble Studio singing music that has special meaning for them.  Yesterday we heard Clarence Frazer and Charlotte Burrage with Jennifer Szeto at the piano.

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France Bellemare; a soprano to watch

Today saw the annual lunchtime concert in the RBA in which members of the COC Ensemble Studio collaborate with visitors from the Atelier lyrique de l’Opéra de Montréal.  There were three singers from each program but rather unusually only one of them was female; soprano France Bellemare.  Naturally I was rather focussed on the visiting singers as the three Toronto participants; Gordon Bintner, Clarence Frazer and Andrew Haji are very much known quantities.  Of the visitors it was very much Ms. Bellemare who shone.  She has a very accurate, lovely rich voice with perhaps still some work to do on the top of her range but very easy to listen to and she’s musically and dramatically convincing too.  Her version of Micaëla’s Je dis que rien ne m’épouvante was very competent though I’m not sure it’s ideal rep for her.  The Song to the Moon from Rusalka though fitted her like a glove.  This was really lovely singing.  She also did very well in duet with Clarence Frazer in Lippen schweigen from Die Lustige Witwe or The Merry Widow or La Veuve Joyeuse as all three languages were used!  She can waltz too though perhaps not as well as Clarence.  Ladies, if you need a dance partner consider Mr. Frazer.  She also shone in the final number; the Libiamo from La Traviata.  I confess when I saw the program and saw that she would be partnered by Andrew Haji I rather expected her to be sung off the stage.  She wasn’t.  She held her own with a tenor who will sing this role on the COC’s main stage next season.  No mean feat.  This young lady is definitely one to watch.

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Quilico Awards 2015

Last night in the Richard Bradshaw Amphitheatre the singers of the COC Ensemble Studio competed for the Quilico awards for the third time in this format.  Owen McAusland was off singing in Lucia di Lammermoor in Victoria and Andrew Haji was down with the flu so seven singers actually sang.  As usual the standard was very high and it can’t have been easy for the judges.  Jean-Philippe Fortier-Lazure and Ian MacNeil had a bit of an off night but that left five singers who I has extremely close on my notes.  No permutation of three from five would have particularly surprised me.

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Iain MacNeil, Aviva Fortunata, Jean-Philippe Fortier-Lazure, Karine Boucher, Clarence Frazer, Charlotte Burrage, Gordon Bintner, Jennifer Szeto and Michael Shannon

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Poèmes pour Mi

duworsYesterday’s lunchtime concert in the Richard Bradshaw Amphitheatre consisted of early works by Olivier Messiaen written for his wife, the violinist and composer Claire Delbos.  The first piece was the Theme et variations for violin and piano of 1932.  Like much of Messiaen’s music this piece represents two contrasting moods, likely rooted in Messiaen’s Catholicism.  It’s either deeply meditative or ecstatic, almost manically so, with not much in between.  It’s also very hard to play!  Here it was presented with great skill and conviction by violinist Kerry DuWors and pianist Liz Upchurch.   Continue reading

History’s worst fifty years in song

tumblr_m3nd5oo7XK1qjsaf0o1_400I guess it’s a good thing when one’s emotional and intellectual reactions to a program threaten to overwhelm one’s ability to listen analytically and evaluate.  That’s what art is for isn’t it?  Anyway that’s pretty much what happened to me today listening to a program called Songs of Love and War in the Richard Bradshaw Amphitheatre.  The songs were all pieces more or less inspired by the catastrophes of the first half of the twentieth century; the wars, the rise of Nazi power, the occupation of France.  These are all events that have many layers of meaning for me.  I have studied them and the music and literature they generated for decades.  I have known, often well, people who played roles in these events.  I have deeply held views.  You have been warned!

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Born out of Wenlock

Ever since they were first published the poems that make up AE Housman’s A Shropshire Lad have exerted a fascination over English composers.  Today in the Richard Bradshaw Amphitheatre we heard two first year members of the Ensemble Studio give performances of two settings that take quite different approaches to the texts.

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Here we go again

Yesterday lunchtime saw the first free lunchtime concert of the season in the Richard Bradshaw Amphitheatre.  Following tradition, it was presented by the members of the Ensemble Studio.  Or, to be more accurate, by six of the nine as an unprecedented three singers had fallen victim to the virus that is apparently sweeping the Toronto opera world (HighCbola?).

Credit: (l-r) Jennifer Szeto, Andrew Haji, Karine Boucher, Charlotte Burrage, Clarence Frazer, Jean-Philippe Fortier-Lazure, Iain MacNeil. Photo: Karen Reeves

Credit: (l-r) Jennifer Szeto, Andrew Haji, Karine Boucher, Charlotte Burrage, Clarence Frazer, Jean-Philippe Fortier-Lazure, Iain MacNeil. Photo: Karen Reeves

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