More farewells

The first of this year’s Les Adieux concerts for departing members of the Ensemble Studio took place Tuesday lunchtime in the RBA.  It was supposed to feature Brian Cho, Mattia Senesi, Korin Thomas-Smith and Karoline Podolak but Karoline was indisposed so Emily Rocha (not leaving) jumped in at the last minute.

The rearranged programme worked pretty well with maybe a bit more opportunity for the pianists.  Sio, Mattia  played the Intermezzo from Brahms’ Op 118. No. 2, which was very nicely done and Brian closed things out with just the piano part from Schumann’s Widmung which works surprisingly well, at least if one is familiar with the song. Continue reading

Tapestry officially opens 877 Yonge Street

Tapestry Opera and Nightwood Theatre’s new digs at 877 Yonge Street are now officially open.  I was unable to attend Saturday nignt’s opening gig and party but I did get to attend the free concert for the local community in the afternoon and get a tour of the premises.

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The Christina and Louis Quilico Awards – 2025 edition

Tuesday evening in the RBA members of the COC Ensemble Studio competed for the biannual Christina and Louis Quilico Awards.  These days every time I attend a singing competition, which I have been doing much less of, I ask myself why.  There are really three reasons:

  • The music to faffing about ratio is pretty low,
  • If one knows the contestants one has a pretty good idea what they are going to sing and one has probably heard it before,
  • The judges give no reasons for their decisions which are as often as not inscrutable.

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The Ensemble Studio kicks off a new season

Wednesday lunchtime saw the members of the COC’s Ensemble Studio kick of the free concert series season in the RBA.  It was good.  Pianists Brian Cho and Mattia Senesi started off in fine style with a four hands version of the overture to The Barber of Seville and then it was on to the singing.

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Excellent Don Pasquale from the Ensemble Studio

Tuesday night at the Four Seasons Centre it was the turn of the Ensemble Studio cast to give us Donizetti’s Don Pasquale.  It’s the same Barbe et Doucet production of course but director Marilyn Gronsdal, conductor Simone Luti and an excellent cast definitely gave it their own twist.  Everybody seemed to have their own bit of business that we didn’t see on opening night and they all worked.

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La France au printemps

france 2Thursday’s concert by members of the Ensemble Studio in the RBA was an all French affair (at least as far as language went) and it was rather good.  Karoline Podolak iniated proceedings with Mattia Senesi at the piano with Kurt Weill’s “Youkali”.  Now I’ve heard this sung by everybody from Barbara Hannigan to Benjamin Appl and I’d have to see that Ms. Podolak is right up there.  There was no male stripper though.

Korin Thomas-Smith has something of a penchant for the bizarre and I think that’s a fair description of two sets drawn from Apollinaire’s Bestiaire.  There were five of the Poulenc settings (about as far from Dialogues of the Carmelites as one could imagine) and six from Rachel Laurin’s more atonal and abrasive settings.  I would probably sing these songs if I had four dromedaries and could sing.  Fine work from Brian Cho at the piano. Continue reading

Winter Celebrations

DI-08628My usual reaction to holiday season concerts is (polite version) “Bah humbug”.  The less polite version involves reindeer placement.  That said Thursday’s concert from the COC Ensemble Studio was really rather enjoyable.

It opened with Brian Cho and Mattia Senesi doing a four hands version of “Dance of the Sugar Plum Fairy”.  Regrettably they didn’t dance.  I guess Korin Thomas-Smith could have filled that role as later in the day he showed some very cool moves but that’s another story.

There was Handel of course; Queen Hezumuryango with “O Thou that Tellest Good Tidings to Zion” and Wesley Harrison with “Ev’ry Valley”.  Both of those featured later in the day too.  But that’s another story.

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Hallelujah! x 8

The eighth iteration of Soundstreams’ Electric Messiah opened last night at Theatre Passe Muraille.  Like last year at Crow’s it’s staged fairly conventionally with the players facing the audience though some use was made of the galleries at TPM.  I do kind of miss the club atmosphere of the earliest versions but it still has lots to offer.

Electric Messiah 2023/ Soundstreams

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Songs of Cecilia Livingston

DI-06213Tuesday’s lunchtime concert in the RBA consisted of works by Cecilia Livingston chosen and performed by members of the COC’s Ensemble Studio. It was a fairly varied programme considering it was all works by one composer.

Quieen Hezumuryango and Mattia Senesi kicked things off with Give Me Your Hand which sets a Duncan McFarlane text exploring aspects of Lady Macbeth. It uses extended piano technique and suits the dark colours of Queen’s voice.  It was followed by Moon; an evocative solo piano piece played by Brian Cho.  Not the only time the moon would figure in the programme.

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Four voices, four hands

Monday’s concert in the RBA was made up of two song cycles for four voices with one piano played by four hands.  The first piece was the Brahms Liebeslieder Waltzes Op.52 which sets eighteen short folk songs and love poems from Georg Friedrich Daumer’s collection Polydora.  The second was John Greer’s 2001 piece Liebeslied-Lieder Op.20 which sets various playful texts exploring the foibles of love and romance by Dorothy Parker and others.

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