Verdi Requiem with The TMC

I caught the Toronto Mendelssohn Choir’s second performance of Verdi’s Messa da Requiem at Koerner Hall on Tuesday evening. It’s a piece that’s deservedly famous but I think that this was my first time seeing it live.  It’s an interesting piece.  It’s not a conventional requiem but nor would I call it “operatic”.  It’s far more dramatic than any other mass setting I can think of (even Britten’s War Requiem) but in its own way.  Part of it is structural.  Verdi keeps bringing back the “Dies Irae” text and music; even right down to. the final “Libera Me”.  As his setting for the “Dies Irae” is extremely dramatic (I want to say gonzo but that doesn’t seem very ecclesiastical!) it injects a degree of drama where the core text doesn’t really call for it.  FWIW the setting is very loud with choir and orchestra going full out and the timpani being almost scary.  It’s particularly so first up where it segues straight into the “Tuba Mirum” with trumpets up on either side of the choir loft.

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TSO and VOICEBOX 2024/25

annaprohaskaThe Toronto Symphony’s 2024/25 season is the usual mix of mainstream symphony/concerto rep, Pops, film music, kids’ concerts etc.  My sense is that it has got more “popular” since the pandemic and that therefore there’s been less that’s caught my eye.  That’s my story anyway!

There are some concerts of interest to me though in the 2024/24 season though; curiously mostly in November.  The four that caught my eye were the following: Continue reading

April preview

april24Here are some upcoming shows for April:

Music

  • First, a late March Show.  Yu Dun and Royce Vavrek’s Pulitzer winning opera Angel’s Bone, about human trafficking, comes to Harbourfront Centre Theatre March 22nd to 24th.  More information here.
  • On the 6th the Happenstancers have a concert; Being Pascal Dusapin, at Redeemer Lutheran.  We are promised a “a portrait concert in palindromic form” featuring music by Dusapin, Kaija Saariaho and Samy Moussa.

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Looking ahead to March

march2024First some additional February shows

  • On the 23rd at Harbourfront Centre Art of Time Ensemble are presenting Music from the Weimar Republic.
  • On the 25th VOICEBOX have a concert performance of Verdi’s Ernani at the St. Lawrence Centre.

Opera

  • Opera York are presenting Verdi’s Rigoletto at the Richmond Hill Centre for the Performing Arts on March 1st and 3rd.
  • March 14th to 17th UoT Opera are doing Massenet’s Cendrillon at a to be determined location.
  • March 20th and 22nd at Koerner Hall, the Glenn Gould School spring opera is Poulenc’s Dialogues of the Carmelites.  That one has me excited!

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Into December

dec23First some late calls for November:

  • The Early Music folks at UoT are doing Purcell’s Dido and Aeneas at Trinity St. Paul’s on the 21st and 22nd.
  • November 22nd and 23rd there’s a 20th anniversary concert for Autorickshaw at Heliconian Hall presented by Confluence Concerts.
  • Amici Chamber Ensemble have an afternoon concert on the 26th at Trinity St. Paul’s called The Winds of Time featuring chamber music for wind instruments from the 18th to 21st centuries.

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O Fortuna

I attended the second of two performances of their season opener by the Toronto Mendelssohn Choir at Roy Thomson Hall last night.  It was an enjoyable and well constructed programme.  It opened with two pieces by composer in residence Tracy Wong.  Patah – Tumbuh (Broken – Renewed), for choir and children’s choir (Toronto Children’s Chorus) riffs off Malaysian proverbs and gamelan.  It’s an upbeat, rhythmic piece that got a really nice performance, especially from the children.  Then they got their own place in the sun for a medley of Malaysian folksongs; which was also fun.  Was this the first time Malaysian music has been performed at Roy Thomson?

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Stewart Goodyear at Koerner

Yes, a real live concert at Koerner Hall; the first of 2022.  Owing to the current restrictions it was quite a short concert with no interval (although the time it took the stage crew to set up for the second half there could have been!).  The first piece was the premier of Goodyear’s Piano Quintet.  It’s a very complex piece riffing off Beethoven’s Ninth Symphony.  Stewart describes it better than I ever could:

“My piano quintet was commissioned by the Penderecki String Quartet (who played it with Stewart last night – JG) and the Canada Council for the Arts. It was composed in 2020 and pays homage to the spirit of Beethoven. The first movement is a passacaglia on the almost atonal eleven-note sequence from the finale of Beethoven’s Ninth Symphony. The second movement is a Ländler, fused with gestures of rhythm and blues and calypso. The third movement is a fast toccata, sampling themes of Beethoven similarly to a hip-hop track. The last movement starts as a lament and ends with a glimmer of hope, the inspiration directly taken from the challenges of the pandemic and the need for Beethoven’s spirit during these tumultuous times.”

It’s a highly virtuosic piece requiring a lot of extended technique from the players and it’s pretty demanding on the listener.  I would need to listen to it a couple more times to really “get” it.

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Mozart’s Messiah

This year the TSO used the Mozart arrangement for Handel’s Messiah (though, naturally enough, with the original English text).  I have mixed feelings about it.  It’s not hugely different in sound to whichever of Handel’s versions one is used to and it’s definitely not one of those 20th century versions for 100 piece orchestra and massed choirs but I’m hard pressed to see what the point is other than it’s Mozart.

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Fantastique

tsofantastiqueThe Toronto Symphony have a new CD out.  It’s a couple of Berlioz works recorded under the baton of Sir Andrew Davis at Roy Thomson Hall in September 2018.  The first piece is the rarely heard Fantaisie sur la Tempête de Shakespeare for which the orchestra is joined by the Toronto Mendelssohn Choir.  It’s an early piece inspired by one of Berlioz’ unrequited passions (like everything else by Berlioz!) and was considered daringly modern in its day.  It’s said to be the first piece to introduce a harp to the symphony orchestra and it also includes piano four hands.  It’s very colourful and rather brash which is territory that Sir Andrew excels in.  There’s great clarity to both the singing and the playing.

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O Fortuna!

At Roy Thomson Hall last night for the TSO playing Carl Orff’s extravaganza Carmina Burana.  It was fun.  I don’t think it’s a piece to over-intellectualize.  Big orchestra, enormous choir (Toronto Mendelssohn Choir augmented by the Toronto Youth Choir plus the Toronto Children’s Chorus), bawdy Latin lyrics and so on.  It’s big, brash and mostly quite loud though I think Donald Runnicles did a fine job of balancing orchestra and voices, especially when the soloists or the children were singing.

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