This year’s art song mentors for Toronto Summer Music; Dame Sarah Connolly and Joseph Middleton, gave the traditional recital in Walter Hall on Tuesday evening. Those who braved flooded streets and spotty TTC service enjoyed a treat. It was a carefully curated and beautifully performed collection of songs.
Monday night in Walter Hall Toronto Summer Music continued with a concert by the new Orford Quartet (Jonathan Crow and Andrew Wan – violins, Sharon Wei – viola, Brian Manker – cello). I was there primarily to hear the première of Ian Cusson’s Dreams which was bookended on the programme by “Death and the Maiden” themed quartets in D minor by Mozart and Schubert.
The string sextet is an unusual combination of instruments and there aren’t that many works for it. But one, Schoenberg’s Verklärte Nacht, Op. 4, has almost cult status and is performed fairly often. It does though need a companion to make up a concert programme. On Friday night at Toronto Summer Music in Walter Hall the chosen accompanying piece was Brahms’ Sextet No.2 in G Major, Op. 36.
Thursday lunchtime in Walter Hall saw the 2024 edition of the annual recital by the winners of the Norcop Prize in Song and the Koldofsky Prize in Accompanying. This year’s winners are mezzo-soprano Nicole Percifield and pianist Minira Najafzade.
TSM Wednesday night in Walter Hall featured the Isidore Quartet (Adrian Steele and Phoenix Avalon – violins, Devin Moore – viola and Joshua McClendon – cello). The first half of the programme featured two new works plus the first four fugues from Bach’s Art of the Fugue.
Wednesday night’s main event in Toronto Summer Music was Teiya Kasahara’s The Butterfly Project performed at Walter Hall. Teiya’s introduction was most interesting. For them, the project is about exploring their Japanese-ness. As the child of a Japanese father and a German mother growing up in Vancouver that’s inevitably a complex thing. When it gets combined with opera and, specifically, Puccini’s “Japanese” travesty Madama Butterfly it gets really complicated. So The Butterfly Project raises some really interesting questions; for Teiya ones related to being a to-some-extent-Japanese performer of works like MB, for me ones related to why this opera fascinates people like Teiya when, frankly, I’d be happy to bin it.
Toronto Summer Music isn’t afraid to offer the unusual or unexpected, which is admirable. Last night’s short performance at Walter Hall; Parting Wild Horse’s Mane, paired contemporary music for string quartet with moves from Tai Chi Chuan. It was OK but I’m not convinced that was much synergy between music and movement.
Soprano Ana María Martínez gave a recital last night at Walter Hall with pianist Craig Terry as part of Toronto Summer Music. Ana’s background is Cuban and Puerto Rican and, of course, linguistically Spanish. So it felt appropriate to have a programme in two halves. One devoted to Spain and one to the trans-Atlantic diaspora (if we can call it that).
Thursday’s concert in the Music in the Afternoon series at Walter Hall was curated by Marion Newman and featured herself, soprano Melody Courage, baritone Evan Korbut and pianist Gordon Gerrard. It featured some classic opera duets and trios ranging from the Flower Duet from Madama Butterfly to an exuberant “Dunque io son” from the Barber of Seville along with Berlioz’ “Vous soupirer” from Beatrice et Bénédict (which sounded like title should translate as “you will be immersed in warm soup”). These numbers were all very well done and there were a couple of solo pieces too with Melody singing the Poulenc La Fraicheur et le Feu with great verve and Evan chipping in with an exuberant “Sit down, you’re rocking the boat” from Guys and Doills.
Thursday lunchtime in Walter Hall saw the winner of the 2023 Norcop Song Prize, Jamal Al-Titi give his prizewinner recital accompanied by Koldolsky Prize winner Indra Egan. It was an interesting selection of material for baritone in English, French, Italian and Russian. Starting off with Butterworth’s Loveliest of Trees and Vaughan Williams’ Silent Noon was bold. The standard for these songs is particularly high and I don’t think they are Al-Titi’s sweet spot. We would see laster in the recital a leaning towards a very operatic approach that didn’t work so well here.
operaramblings 