Les adieux – Emily and Duncan edition

As has become the custom, the two members of the Ensemble Studio completing their stints at the end of this season gave a “Les adieux” recital in the RBA on Tuesday. It was time to say goodbye to Emily Rocha and Duncan Stenhouse with Liz Upchurch as our stalwart accompanist.

Emily chose a programme of mostly French chansons which was really rather lovely. She sang smoothly and expressively in Bizet’s Chanson d’avril and with a rather elegant languor in Paladilhe’s Psyché. There was more of the same in songs by Debussy and Poulenc; beauty, control, expressiveness! The one venture intoi opera was “Prendi, per me sei libero” from Donizetti’s l’elisir d’amore reminding us that she will be singing Adina at the COC next season. Elegant singing here too, coupled with plenty of heft.

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Von ewiger Liebe

I suppose one of the most well known “relationship” stories in classical music history is the one concerning the marriage of Robert and Clara Schumann, his illness and death and the role that Johannes Brahms played in Robert’s last years and Clara’s subsequent life.  So why not create a song recital programme around that theme using songs by all three composers?  That’s what Liz Upchurch and Jane Archibald have done and they presented it in Temerty Theatre on Wednesday evening.

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Adieu to Alex and Ariane

Alex Hetherington and Ariane Cossette’s last recital as members of the Ensemble studio happened on thursday lunchtime in the RBA.  It was charming.  We got a varied selection of art songs bookended by a couple of opera duets.  They opened with “Miro O Norma… Si, fino all’ora estreme”.  They blended well with Ariane, as Norma, displaying considerable power and richness of tone without overwhelming her Adalgisa.

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Fairytales and Lullabyes

Yesterday’s lunchtime concert in the RBA was the last for the year in the vocal series and featured members of the Ensemble Studio.  Rachael Kerr was scheduled to do about half the accompanying but illness prevented her from playing so some hasty reprogramming meant that what we got differed somewhat from the printed programme but it was still a very well put together effort.

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Into the second half of of November

Here’s what’s coming up…

On the 14th at 1.30pm in Walter Hall Jane Archibald and Liz Upchurch are giving a recital under the auspices of the Women’s Musical Club of Toronto (so this isn’t a free concert).  The 15th sees the opening of a run of a “play with music” from Theatre Gargantua called The Wager which will run at Theatre Passe Muraille from the 14th (preview) to the 30th.  It promises to be a “bold and irreverent investigation into the strange things that people believe”.  It’s written by Michael Spence and directed by Jacquie PA Thomas and the cast includes Teiya Kasahara.

The Wager

The cast of The Wager. Photo:Michael Cooper

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The Way I See It

The first of Amplified Opera’s series of three shows in the Ernest Balmer Studio took place last night. The series explores the idea of “otherness” in opera.  The Way I See It , directed by Aria Umezawa, explores how the opera and wider world treat the visually impaired and how we (in the broadest sense) can not just accommodate but incorporate their insights and perspectives into our performance practice.

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Foresight

laurierubinI met with Laurie Rubin today to talk about her upcoming show with Liz Upchurch and Amplified Opera; The Way I See It. Laurie is a mezzo-soprano and she’s been blind since birth. All she can perceive visually is dark and light.  We talked about her life growing up and as a professional singer and the upcoming show.

The bio is interesting going from a fairly toxic high school environment in Los Angeles where music was pretty much her salvation, to Oberlin where she first appeared on stage in actual opera to Yale Opera, which took her on the strength of her voice and then didn’t cast her in anything in her two years there (which clearly still hurts), and on to a professional career based in New York.  She’s done a lot of new music including creating the role of the voice/witch in Lisa Bielawa’s episodic opera, Vireo, written for broadcast which aired in June 2017 on KCET Los Angeles and creating, with her wife Jenny Taira, an arts program in Hawaii; Ohana Arts, which in turn led to the creation of a musical Peace on Your Wings, about the life of a young Japanese girl who suffered from the Hiroshima bomb, which toured the Hawaiian islands and the US west coast.  If all this, and performances too numerous to list, weren’t enough she wrote a book, Do You Dream in Color? Insights From a Girl Without Sight, which in turn became a one woman show.  She has also recently become a mother.

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A Few of Liz Upchurch’s Favourite Things

Liz Upchurch has now been head of the COC Ensemble Studio for twenty years.  To put that in perspective, Alain Coulombe was an Ensemble Studio member back then.  So Liz has deeply influenced a whole generation of Canadian singers and it was fitting that there should be a concert in her honour in the Richard Bradshaw Amphitheatre.  It’s named for the man who brought her to the COC and it’s been the venue for countless concerts by the Mama Bear’s cubs.

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