There have been a lot of announcements in the last few days. Tapestry announced that they had two companies “in residence” for next season at their new home at 877 Yonge Street. They are Opera Q ;led by Ryan Macdonald and Camille Rogers, who produced the pandemic video Medusa’s Children and Cultureland which is led by Afarin Mansouri and was responsible for Echoes of Bi-Sotoon. Continue reading
Toronto Summer Music has announced the line up for 2025; the last festival with Jonathan Crow in the driving seat. As ever there’s lots to like. There are two operas in concert. The big opening night gig is a concert performance in Koerner Hall of one of the very best early operas which, inexplicably, is not performed as often as the boring repertory staples. It’s Monteverdi’s The Coronation of Poppea in a touring production conducted by Leonardo García-Alarcón at the helm of Cappella Mediterranea. Poppea will be sung by Sophie Junker and Nerone by Nicolò Balducci. That’s at Koerner Hall on July 10th. Continue reading
Saturday night Toronto Summer Music closed out with a final concert in Walter Hall showcasing the many and various aspects of the festival. It’s a pretty good solution to the problem of how to wrap up such a diverse set of programmes.
So, we got a few numbers from the Community Choir. There was some nicely sung Vivaldi and Brahms and an arrangement by Kathleen Allan of “Come and I Will Sing You” that was firmly in the more fun to sing than to listen to genre.
Schmaltz and Pepper is a comparatively newly formed band (November 2023) but it contains quite a few familiar faces; Rebekah Wolkstein (vocals, violin) and Drew Jurecka (vocals and assorted instruments) from Payadora, Eric Abramowitz (clarinet) from the TSO plus multitalented Jeremy Ledbetter (piano) and Michael Herring (double bass). Between them they have backgrounds in classical, klezmer, tango, calypso, Yiddish swing, jazz and much more. The focus of the new band appears to be klezmer and Yiddish swing but since most of their material is original there are lots of influences.
Monday night’s Toronto Summer Music concert in Walter Hall was a cross-cultural exploration of Nature, Heartbeat and Breathing. It featured an instrumental ensemble of Persian and Western instruments and two Indigenous vocalist/drummers; one Mi’kmaq, one Inuit.
Wednesday evening’s Shuffle Hour concert at Toronto Summer Music was given by mezzo Alex Hetherington and pianist Vlad Soloviev in Heliconian Hall and carried the curious moniker The Tortured Poets Department. It kicked off with the letter aria from Massenet’s Werther and let’s face it if anyone deserves torturing it’s some combination of Werther himself and Goethe for inventing him (and possibly Massenet for prolonging the life of a character who might otherwise have fallen into obscurity). Whatever, Alex gave a fine, impassioned reading of the aria which set the stage well for what was to follow. Continue reading
This year’s art song mentors for Toronto Summer Music; Dame Sarah Connolly and Joseph Middleton, gave the traditional recital in Walter Hall on Tuesday evening. Those who braved flooded streets and spotty TTC service enjoyed a treat. It was a carefully curated and beautifully performed collection of songs.
Monday night in Walter Hall Toronto Summer Music continued with a concert by the new Orford Quartet (Jonathan Crow and Andrew Wan – violins, Sharon Wei – viola, Brian Manker – cello). I was there primarily to hear the première of Ian Cusson’s Dreams which was bookended on the programme by “Death and the Maiden” themed quartets in D minor by Mozart and Schubert.
The string sextet is an unusual combination of instruments and there aren’t that many works for it. But one, Schoenberg’s Verklärte Nacht, Op. 4, has almost cult status and is performed fairly often. It does though need a companion to make up a concert programme. On Friday night at Toronto Summer Music in Walter Hall the chosen accompanying piece was Brahms’ Sextet No.2 in G Major, Op. 36.
William Christie and Les Arts Florissants kicked off Toronto Summer Music on Thursday evening at Koerner Hall with a version of Purcell’s The Fairy Queen which is currently on a sort of world tour. This production, conceived by Christie and Paul Agnew is quite radical. Let’s look at what they have done.
operaramblings 