Into the back half of February and beyond

eded64_558606377878465db0281238f5aa4ea9Here is what’s coming up.  Valentine’s day sees two vocal recitals.  At noon in the RBA there’s Clare de Sévigné and Rachel Andrist with The Truth about Love; the story of a young woman’s love gone awry.  At 8pm Ian Bostridge has an all Schubert program at Koerner Hall.  Thursday is also busy with members of the Ensemble Studio in a Russian program in the RBA at noon, a Johannes Debus masterclass at UoT at 2pm and Opera Trivia at the Four Seasons Centre at 7pm.  Then on Friday at 7.30pm in Walter Hall there’s a free concert; Vocalini, from the undergrads of the UoT Opera.  Also Thursday and Friday MYOpera have a couple of opportunities to see emerging artists.  There’s a public masterclass with Philip Morehead at 6pm Thursday at the Edward Jackman Centre and a concert at 7.30pm Friday at the Vandenberg House.

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Don’t take that baritone with me!

baritone-hearts-women-s-v-neck-t-shirt

Probably not

To the Four Season’s Centre last night to check out one of the COC’s adult education events.  This time it was about the baritone voice in all its aspects and featured Liz Upchurch at the piano and, mostly, doing the talking with Ensemble Studio members Sam Chan and Bruno Roy plus ES graduate Neil Craighead back in Toronto to sing Ceprano (not soprano) in Rigoletto doing some singing.

Besides the singing, of which more later, I think there were two takeaways from the evening though it was not actually divided up that way.  One, fascinating, dealt with the development of the voice and the sheer number of years it takes for bigger voices to more or less grow up.  Also, how do you develop and stretch the voice while staying vocally healthy.  Neil is 34 and his voice is really just beginning to get where one can see it going, which is likely big to very big.  Sam and Bruno, much younger, are still going through the process of figuring out what Fach (see below) they really are.  This seems to happen to everyone except maybe genuine basses, high sopranos and the really obvious tenors.  It was pretty cool for instance to heat Bruno sing a tenor aria though not, of course, something like Pour mon âme.

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Osborne and Haji

SONY DSCYesterday’s free lunchtime concert should have been the first opportunity to see Simone Osborne and Gordon Bintner in recital together but, sadly, Gordon had the lurgy so, if you want to see them perform together you will just have to go and see L’elisir d’amore at the COC.  Fortunately Andrew Haji was able to jump in at short notice.  Not such a bad guy to have on the bench!

Andrew started out with Santoliquido’s I canti della sera.  I had heard him sing these before at Mazzoleni but it was good to hear them again.  Genuine Italian art song isn’t all that common and these show the voice off nicely.  There was both some lovely limpid singing and plenty of power when needed.  He’s a pretty good story teller too.  He also gave us the three Duparc songs that he and Liz Upchurch, once again at the piano,  gave us earlier in the year.  Again the standout was Le manoir de Rosemonde, a most beautiful and haunting song given the full treatment here.

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dawn always begins in the bones

The Canadian Art Song Projects sesqui commission premiered today in the Richard Bradshaw Amphitheatre.  It’s a piece by Ana Sokolović for soprano, mezzo, tenor, baritone and pianist and today, as was always intended, it got its first outing from members of the COC Ensemble Studio.  It was billed as a “song cycle” and, while it’s certainly a setting of poems to music, that description really doesn’t do it justice.  Sokolović’s music always seems to have dramatic potential and here that was realised extremely effectively by Anna Theodosakis to create a piece of performance art with many dimensions.

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The rest of May

Ana_Sokolovic_2May continues to be a busy month.  There are a couple of interesting concerts at noon in the RBA next week.  On Wednesday 17th there is the unveiling of the annual Canadian Art Song project commission.  This year it’s extremely ambitious.  It’s a cycle of sixteen songs by Ana Sokolović setting texts drawn from right across Canada.  It’s called dawn always begins in the bones and will be performed by Danika Lorèn, Emily D’Angelo, Bruno Roy and Aaron Sheppard with Liz Upchurch at the piano.  (You can also hear this work in the Temerty Theatre at the Conservatory at 7.30pm on Thursday May 25th along with Andrew Staniland’s Peter Quince at the Clavier and Lloyd Burritt’s Moth Poem).  On Thursday 18th tenor Charles Sy and pianist Hyejin Kwon bid farewell to the COC Ensemble Studio with a performance of Schubert’s Die schöne Müllerin.  It should be a real treat.

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Russell Thomas in the RBA

American tenor Russell Thomas, currently singing Don José in the COC’s Carmen, gave the lunchtime recital in the RBA yesterday.  The main item on the program was Schumann’s Dichterliebe; a setting of sixteen poems by Heinrich Heine and one of the great test pieces of the classic German lieder repertoire.  It was a red-blooded, operatic account.  Purists might think too much so but I enjoyed the sheer power and beauty of it, even at the expense of the (incredibly wonderful) text not getting the sort of attention it might get from someone like Ian Bostridge.  There was plenty of variation of tone and colour, some real virtuosity and even some humour in, for example, Ein Jüngling liebt ein Mädchen but the the most impressive and striking thing was the ability to effortlessly project a lot of rather beautiful sound.  Liz Upchurch’s accompaniment was very much in synch emotionally and musically.

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Christopher Purves in the RBA

British baritone Christopher Purves was the lunch special at the Four Seasons Centre today.  Along with the amazing Liz Upchurch he gave us a most enjoyable program of Handel, Duparc and Mussorgsky.  The two Handel arias were drawn from Handel’s two very different takes on Ovid’s Acis and Galatea.  The first from the later (1718) English version “I rage, I melt, I burn!… O ruddier than the cherry tree” is a mostly comic furioso recitative and aria sung with great drama and not a little comedy by Chris but it was rather eclipsed by the next number taken from the earlier (1708) Aci, Galatea e Polifemo.  Polyphemus’ aria “Fra l’ombre e gl’orrori” is just nuts but very beautiful.  It ranges from the D below the bass staff to the A above it and is a continuous series of insane intervals accompanied by a really simple and very beautiful piano part.  It’s amazing anybody can sing it all let alone as well as it was done here.

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