The Harlequin Salon

05-harlequin-750x397-extended-rightThe idea of recreating an accademia musicale (private concert) at the home of Roman artist/patron Pier Leone Ghezzi in 1723 and putting on works that might have been played at such an event is an intriguing one.  Add to that that we were promised caricatures; Ghezzi being a noted pioneer of the form.  Marco Cera, who conceived the show, seemed to be onto a good thing.

What we actually got wasn’t exactly what I expected.  There were the musicians, including noted baroque soprano Roberta Invernizzi, impersonating Ghezzi’s guests; from Vivaldi to Farinelli, with Cera himself as Ghezzi.  But there was also Ghezzi’s servant, played as Harlequin, acted by Dino Gonçalves.  The show was heavy on Harlequin’s cheeky chappy clowning which was, as the lemur put it, like “watching Jerry Lewis channelling Roger Rabbit”.  Not really my thing.

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The valley of lost things

How to present a mostly forgotten composer to a modern audience is an interesting conundrum.  Reviving a four hour opera seria about Marcus Aurelius likely isn’t the answer and just sticking a few pieces in an otherwise mainstream program is unlikely to have much impact either.  Better by far, I think, is the approach Ivars Taurins has taken in Tafelmusik’s current run of concerts of music by the Venetian Agostino Steffani (1654-1728) at Trinity St.Paul’s.

1714_circa_Gerhard_Kappers,_Agostino_Steffani,_oil_on_canvas,_89_x_69_cm

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Ending with a beginning

David Fallis2

David Fallis

David Fallis’ last show after 28 years as Artistic Director of the Toronto Consort is, perhaps appropriately, the earliest opera in the repertoire; Monteverdi’s Orfeo.  The first performance of three was last night at Trinity St. Paul’s.  It’s a concert performance with surtitles and some interesting orchestration.  The expected strings and woodwinds are supplemented here by the sackbuts and cornettos of Montreal based La Rose des Vents as well as triple harp and an assortment of keyboards including, I think, two different organs. Continue reading

Freddy’s Tune

phrygiangateLast night’s Soundstreams concert at Trinity St. Paul’s riffed off the basic idea of Bach’s Musical Offering; getting musicians to create music on a theme with a high improvisory element.  The line up was the Gryphon Trio (Roman Borys, cello; James Parker, piano; Annalee Patipatanakoon, violin), SlowPitchSound (aka Cheldon Paterson); turntables, Dafnis Prieto; drum kit, Scott Good; trombone, conductor and Roberto Occhipiniti; bass.  Things started out with SlowPitchSound remixing prerecorded fragments of the Musical Offering with live interventions by the trio.  It was interesting and fun though whether it revealed “secret messages” I really couldn’t tell.  The turntables reappeared between items in the rest of the program in very short fragments that seemed too cursory to have much to say.

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Water Passion

WaterPassion-v3Tan Dun’s Water Passion After St. Matthew, given last night by Soundstreams at Trinity St. Paul’s is very Tan Dun.  The work is in nine movements and scored for chorus, soprano and bass-baritone soloists, violin, cello, electronics and lots of percussion.  And bowls of water and rocks.  The texts broadly follow the Passion story finishing with a final Resurrection movement in which water is the symbol of rebirth, recycling and spiritual completeness.  There are also ritual elements.  Bowls of water laid out in a cruciform pattern are lit from beneath.  The musicians change position and the players, especially the percussionists, perform hieratic gestures with the water bowls and their contents.  It also involves a complex and dramatic lighting plot.

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Renaissance Splendours

I think I may have been missing out a bit with the Toronto Consort.  I’ve been to the odd show that’s been identifiable as music theatre such as their excellent Play of Daniel but until I sat down with David Fallis and Laura Pudwell a few weeks ago I didn’t really have a clear sense of what they are about.  Last night’s concert, Renaissance Splendours, at Trinity St. Paul’s, gave me a pretty good idea of what I’ve been missing and how it fits into my musical universe.

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(Dido and Aeneas)x2

The decision by Toronto Masque Theatre to pair Purcell’s miniature opera, Dido and Aeneas, with James Rolfe and André Alexis’ piece on the lovers’ inner thoughts, Aeneas and Dido, paid off last night.  It produced an evening of just the right length with two contrasting but complementary pieces working really well together.

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