Almost six years to the day since his last appearance Bryn, now Sir Bryn, Terfel made it back to Koerner hall for a much anticipated recital; this time accompanied by Annabel Thwaite. The first set, partly setting up a Shakespeare theme for the evening, consisted of four songs by Schubert including “Trinklied” and “An Silvia”. It was followed by three of the the Quilter Shakespeare settings; “Come Away, Come Away, Death”, “O Mistress Mine” and “Blow, Blow Thou Winter Wind”. The first half concluded with the Vier ernste Gesänge of Brahms. I think it’s fair to say that what we were hearing was not the Bryn that his considerable following in the hall expected. The artistry of interpretation was still there but something was up with the voice. It didn’t have the bloom I remembered and in places, especially with high notes, it just wasn’t happening. Was he a bit under the weather or was it the toll of the years and lots of Wagner? I don’t know but I really hope it was the former.
The main purpose of yesterday’s RBA concert was to showcase the prodigious talents of the five members of the COC’s Orchestra Academy; Isabel Lago and Ah Young Kim (violins), John Sellick (viola), Mansur Kadirov (cello) and Peter Eratostene (bass). The first half of the programme was the Allegro from Dvorák’s String Quintet No. 2 in G Major. This was very nicely done and served as a satisfying prelude to the main event.
The second set of reGENERATION concerts of the Topronto Summer Music Festival took place yesterday at Walter Hall. The song portion, unusually, consisted of 100% English language rep, mirroring the Griffey/Jones recital earlier in the wee. The first concert kicked off with tenor Eric Laine and pianist Scott Downing with five songs from Finzi’s setting of Thomas Hardy; A Young Man’s Exhortation. It was good. Laine has a nice sense of style and very good diction. The high notes are there though sometimes, especially at the end of a line, they don’t sound 100% secure. There was some quite delicate accompaniment from Downing too.
Last night’s Toronto Summer Music Festival offering was Tears of Exile; a series of settings of the Lamentations of Jeremiah, sung by the Studio de musique ancienne de Montréal. There were excerpts from Renaissance era settings by Tallis, Lassus and Morales together with VaughanWilliam’s O vos Omnes and Mauersberger’s Wie liegt die Stadt du wüst; the last two riffing off the ancient theme to “lament” respectively the Great War and the destruction of Dresden in 1945.
I went to Roy Thomson Hall last night to hear an all Vaughan Williams program conducted by Peter Oundjian. It’s not really my thing but there was a fine quartet of soloists lined up for the Serenade to Music.
Things got going with the Fantasia on “Greensleeves” which was perfectly OK if a bit hackneyed. There was a decent account of the Concerto for Oboe and Strings with Sarah Jeffrey as the soloist. Then there was the Serenade. For some reason the soloists were lined up with the choir (the Elmer Iseler singers) behind the orchestra. The result was sonic mush and textual porridge. I caught exactly one word of the text; “stratagems” for what it’s worth. The rest was not recognisable as English, let alone understandable. And, of course, it was too dark to read the supplied text. This despite soloists; Carla Huhtanen, Emily D’Angelo, Lawrence Wiliford and Tyler Duncan, who are consistently excellent with text. This is becoming very annoying. As often as not when I go to see the TSO do vocal works the soloists are either inaudible or incomprehensible. I know the hall is difficult but the performance of the Ryan Requiem last week showed that it is possible to showcase singers. I think it’s really unfair to audiences and singers alike. Anyway, I was so fed up that I left at the interval.
Todays concert in the UoT’s Thursdays at Noon series at Walter Hall was given by baritone Giles Tomkins, soprano Elizabeth McDonald, pianist Kathryn Tremills, clarinettist Peter Stoll and cellist Lydia Munchinsky. The music they played was sometimes in familiar combinations of players and sometimes very much not. Hence the title.
The Thursday concert at UoT yesterday was a recital by Joel Allison and Mélisande Sinsoulier, respective winners of the Norcop song prize and Koldofsky prize in accompanying. It was a very satisfying performance. Loewe’s Tom der Reimer set the tone with fine singing from Allison and quite inspired pianism from Ms. Sinsoulier. Allison displayed power and agility plus an ability to sing quite elegantly when required though perhaps he does occasionally “push” the drama a bit further than the text really needs.
I usually only review CDs on first release but I came across one on the weekend that I need to rave about. I guess it’s not exactly a secret that I’m a huge fan of early 20th English art song. So, when I found a CD with most of favourites sung by one of my all time favourites it was pretty much bound to be a hit. It’s a 20 year old recording by Bryn Terfel and Martin Martineau and it’s called The Vagabond and other songs. The disc includes Vaughan Williams Songs of Travel, Finzi’s Let Us Garlands Bring, both of Butterworth’s Housman cycles and three settings of John Masefield texts by John Ireland. The young Bryn’s voice is a touch lighter than today but it’s still a brooding dark thing though with delicacy enough for, say, Is my team ploughing? Martineau is a most skilled accompanist and the recording, made in Henry Wood Hall, is very good indeed. I can see this getting played a lot!
Baritone Quinn Kelsey, currently singing Germont père in La Traviata at the COC stepped down off the big stage today to give a recital, with Rachel Andrist at the piano, in the more intimate RBA. As befits the venue, he gave us a more intimate program. Ralph Vaughan Williams Songs of Travel and the less frequently heard Gerald Finzi cycle, Let Us Garlands Bring sandwiched three songs by Brahms.
The Vaughan Williams is a pretty well known work, almost a recital warhorse. Kelsey showed considerable sensitivity in, mostly, dialling his big voice back for it. He is extremely expressive, occasionally I thought maybe just a touch too much so, and he has a surprisingly wide range of colours at his disposal. The contrast between the light, bright tone he used for The Roadside Fire and the much darker (and louder) approach to Youth and Love was quite striking. And that’s just an arbitrary comparison of two songs that follow one another. The rest of the set was equally varied. This guy is a lot more than “just” a big, Italianate Verdi baritone! And Rachel Andrist is so much more than “just” an accompanist. She brings a complimentary personality to every song with some real detail in the piano part that makes it seem quite fresh.
The on/off saga of the Ensemble Studio’s promised Janáček’s The Diary of One Who Disappeared came to an apparent conclusion yesterday. It had been postponed at least once and even this morning the COC website is advertising a complete performance with two soloists and a small chorus.
It didn’t happen. What we got was a recital by Owen McAusland singing some excerpts from the Janáček plus Vaughan William’s The House of Life and Britten’s Les Illuminations. It was his last performance as a member of the Ensemble Studio during which time, among many other things, he sang several main stage performances as Tito covering for a sick Michael Schade.