Next week is rather back end loaded. There’s not much on early in the week but then things hot up. On Thursday Against the Grain host the monthly opera pub night at The Amsterdam Bicycle Club at 9pm. This time we are promised Topher and present and past members of the Ensemble Studio. That evening is also the opening of the Canadian Children’s Opera Company show Brundibár which I previewed last week and which runs until March 5th. Also on Thursday there’s the opening of R. Murray Schafer’s Odditorium, presented by Soundstreams at the Crow’s Theatre. That one runs until the 5th. Finally, on Saturday the amazing Inuit throat singer Tanya Tagaq is appearing with the TSO at Roy Thomson Hall in a concert that features two world premiers and a Canadian premier.
Into March
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Hot on the heels of the RCM, the Toronto Symphony has announced its 2017/18 season, whih will be Peter Oundjian’s last as Music Director. There’s lots of sesquicentennial stuff of course but here’s a summary of the interesting vocal stuff (rock and roll and other children’s music omitted).
It’s that time of year when it’s traditional to do best of the year lists. Fortunately this is all about music because in most other respects 2016 was a bit of a horror show. So here goes. As far as opera proper was concerned it was a pretty good year. There were no real howlers in the COC’s season. It was solid and, at its best, better than that, For me, Ariodante was the standout; an intelligent, thought provoking production backed up by extremely good acting and singing. I was really expecting to like the Claus Guth Marriage of Figaro more than I did. I enjoyed it but I was a bit perplexed by the lightening up that had taken place since Salzburg in 2006. Opera Atelier had their best show in quite a while with Lucio Silla but even Wallis Giunta couldn’t save a misconceived Dido and Aeneas.
As things will soon slow down for the holidays I am going to do one listings post from now through to the New Year. There are of course still the 
It’s that time of year when one ponders the vexed question of how many Messiahs, and which ones, one is going to see this year. For Torontonians there seem to be four principal contenders; two fairly conventional and two less so. At the conventional end of things there’s the TSO of course. This year it’s back to the usual performing edition though fans of Sir Andrew’s “Big Fat Messiah” as heard last year can now acquire it on CD from the Chandos label. Baroque specialist Nicholas McGegan conducts so it’s probably as close to HIP as the TSO are ever going to get. Soloists are Yulia Van Doren, Abigail Levis, Isaiah Bell and Daniel Okulitch. I’m not familiar with either of the ladies but the guys are top notch. As ever the orchestra will be joined by the Toronto Mendelssohn Choir. There are five performances at Roy Thomson Hall on the 18th at 3pm and the 19th, 20th, 21st and 23rd at 8pm.
Over 200,000 women from across Asia were conscripted into sexual slavery by the Japanese army in WW2. They were euphemistically described as “comfort women”. In 2009 playwright Diana Tso met some of the survivors, heard their stories and wrote a play based on their testimony. The result was Comfort, currently playing at the Aki Studio in a production directed by William Yong with music by Constantin Caravassilis.
The lunchtime concert series in the Richard Bradshaw Amphitheatre kicks off on Tuesday with the traditional opener; a concert by the members of the COC Ensemble Studio. It’s always a good opportunity to level set for the season ahead. Noon in the RBA. Then on Wednesday and Thursday at 8pm the TSO are doing Mahler 3 with Jamie Barton as soloist. I was tremendously impressed with 
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