The Deeps Have Music

The Deeps Have Music is a new record from mezzo Beth Taylor; a Cardiff Singer of the World finalist in 2023, and pianist Hamish Brown. It’s distinctly sea themed with songs predominantly in English with a few French and German numbers for variety.

It starts off with Hamilton Harty’s arrangement of My Lagan Love which is a rather lovely introduction to Taylor’s flexible but generally fairly dark mezzo. She is very versatile though as the next set; Hedwige Chretien’s Petits Poèmes du bord de L’Eau, demonstrates. These six short songs show that Taylor has a considerable palette of colours and moods. There’s some nice precise piano playing from Brown here too.

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siofra lacks horror and doesn’t have much else to offer

 síofra, by Natalia Bushnik and Kathleen Welch, is Act II of the ‘Dark Mother Trilogy’, a series of three horror-theatre plays exploring fertility and motherhood through the folklore of three different countries: Romania (SAMCA), Ireland (síofra), and Germany (spilleHOLLE). It’s presented by Spindle Collective at the diminutive Red Sandcastle Theatre. I didn’t see SAMCA but it got good reviews so I was well prepared to give siofra a shot. Frankly I was quite disappointed and I shall attempt to explain why.

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Satisfying Theodora from UoT

Handel’s Theodora may just be his best oratorio, even if nowadays it’s better known in fully staged versions.  On Friday night it was presented by a combination of the Schola Cantorum, The Theatre of Early Music and assorted guests under the direction of Daniel Taylor at the Church of St. Mary Magdalene.

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Fauré Requiem at Metropolitan United

Last Thursday lunchtime’s Noon at Met concert was given by the UoT’s Schola Cantorum conducted by Daniel Taylor with Jonathan Oldengarm at Met’s very impressive organ. The music was Fauré’s rather unusual Requiem op.45.  I say unusual because it’s much more gentle and lyrical  than most, not least because there’s no Dies Irae.  That’s cut except for the Pie Jesu section.  Also it finishes with the hopeful In Paradisum from the Burial Service.  Apparently this is because Fauré was most definitely not an orthodox Catholic rather lying somewhere on a spectrum from theist to agnostic but obviously still aware that we all die and we all grieve.

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An Ode to James Bowman

bowman4Iconic British countertenor James Bowman passed away last March.  On Sunday night at Trinity-St. Pauls the Early Music folks at UoT presented a tribute to the man and his career.  It was very well done.  Music associated with Bowman; mostly Purcell and Britten, was interspersed with video and personal recollections/testimonials that fully reflected the considerable influence Bowman had on the English music scene and on the more widespread acceptance of the countertenor voice in the classical music world generally. Continue reading →

Dido danced

Last night saw the first of two performances of Purcell’s Dido and Aeneas at Trinity-St. Paul’s. It was a collaboration between the UoT Schola Cantorum and the Theatre of Early Music though where one starts and the other ends I’m none too sure! Before the Purcell we got a fine performance of an early solo violin piece; Heinrich Ignaz Franz von Biber’s Passacaglia in G Minor played by Adrian Butterfield.

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Leipzig cantatas

The final concert of this year’s Toronto Bach Festival took place at Eastminster United Church yesterday afternoon.  It offered two of the cantatas Bach wrote in Leipzig in 1723; Die Elenden sollen essen and Die Himmel erzählen die Ehre Gottes  Each is written in two parts which, originally would have bookended a sermon (mercifully absent yesterday).  Each begins with a choral setting of a biblical verse and proceeds via recits on arias on related texts.  The second half of each starts with a Sinfonia and finishes with a chorale based on a Lutheran hymn.

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VOCES8 at St. James

UK based vocal octet VOCES8 sang Tuesday night at St. James Anglican Cathedral.  The whole thing was arranged by Daniel Taylor of the Theatre of Early Music at the UoT and marked VOCES8’s Canadian debut.  I confess to a weakness for choral music in the Anglican tradition so this was a welcome opportunity to hear some very highly regarded performers.  They didn’t disappoint.  They are a finely tuned and highly skilled group.

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Uncle Vanya

Chekhov’s Uncle Vanya is the sort of play that makes one wonder why the Russian Revolution didn’t happen much sooner.  If the land owning class were living such miserable lives it must have been absolute hell for the peasants.  Maybe they just couldn’t afford a guillotine?  Anyway it’s playing at Crow’s Theatre right now in a production directed by Chris Abraham which runs until October 2nd.

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Confluence’s Purcell

Last night Confluence Concerts streamed their latest offering; a tribute to Henry Purcell, preceded by a pre-show interview between Larry Beckwith and Andrew Parrott.  There was beautifully played instrumental music from Victoria Baroque, songs from Lawrence Williford and Lucas Harris recorded at the Elora Festival and a couple of interesting takes on If Music Be the Food of Love plus Two Daughters of this Aged Stream featuring Daniel Taylor, Rebecca Genge and Sinéad White plus instrumentalists from the UoT Faculty of Music Historical Performance Department.  I was less taken with Duo Serenissima (Elizabeth Hetherington, soprano and David Mackor, theorbo).  I can’t tell whether it was the recording acoustic or a diction issue but the words were pretty much unintelligible which is a big problem with Purcell!.

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