The final concert of this year’s Toronto Bach Festival at Saint Barnabas Anglican Church featured two of the little performed Latin masses written for Leipzig (or possibly for Count Franz Anton von Sporck of Lysá. Sources vary). In any event they are unusual for liturgical music. Based on previously written cantatas for the most part, they incorporate elements not much seen in church music.
The fourth annual Toronto Bach Festival runs May 24th to 26th. There are four concerts and a lecture. Here’s the line up:
Friday, May 24th at 8pm – Brandenburg Five
The program includes two cantatas: the early Tritt auf die Glaubensbahn, and Du wahrer Gott und Davids Sohn, plus Julia Wedman as soloist in Bach’s Concerto in A minor for violin. A brilliant night of illuminating music. Soloists for the cantatas are Hélène Brunet, Daniel Taylor, Nick Veltmeyer and Joel Allison. John Abberger directs the Toronto Bach Festival Orchestra.
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.
This review first appeared in the print edition of Opera Canada.
Zachary Wadsworth’s The Far West is a setting for tenor, chorus and strings of texts by poet/priest Tim Duglos, who died of AIDS in 1990. These are very personal and curiously optimistic texts. In G-9 for example death is described as “a great adventure” that will end “in just the right place”. Only in Parachuteis there much in the way of anger. Here AIDs is “an insatiable and prowling beast with razor teeth and a persistent stink”
Canadian Art Song Project has just issued its second CD; Cloud Light. It’s a collection of four contrasting works by Polish-Canadian composer Norbert Palej. The first, Three Norwegian Songs (2011) was composed for baritone Peter McGillivray, who sings them here. The settings are of English translations of Norwegian texts. Maybe it’s because the texts are translations or maybe because this seems the most American/Broadway inflected piece on the disk I found it the least effective but, as we shall see, it has serious competition. In any event Peter sings it very well even when it goes cruelly high. Continue reading →
‘Tis the season to Hallelujah in Toronto and Handel’s Messiah is everywhere. Last night was the first performance of the biggest of them all, the Toronto Symphony and the Toronto Mendelssohn Choir at Roy Thomson Hall. Traditionally this is Toronto’s equivalent of John Barbirolli and the Huddersfield Choral Society so I was surprised to see a set up for a rather small orchestra. In fact about thirty instrumentalists were used, playing modern instruments of course, with about 150 choristers. It was something of a sign of things to come as conductor Grant Llewellyn took us through the piece quite briskly and rhythmically with even some ornamentation in the da capo repeats. It’s becoming more common I think for conductors to get something approaching an HIP sound out of a modern orchestra as we’ve seen with Harry Bicket in various opera houses. The orchestra and chorus responded pretty well to the less staid approach with the sopranos sounding particularly spritely and incisive.
November 17th sees the second annual Elizabeth Krehm memorial concert. It’s at Metropolitan United Church at 8pm and will feature Beethoven’s 9th sympony. The soloists will be Rachel Krehm, Erin Lawson, Adrian Kramer and Jeremy Bowes with the Canzona Chamber Players and a choir drawn from the Univox Choir and friends of the Krehm family. Evan Mitchell conducts. Admission is by tax receiptable donation to St. Michael’s Hospital where Elizabeth spent the last month of her life.
On 28th November, at Runnymede United Church a starry cast are donating their services for a charity performance of Bach’s Weinachtsoratorium. The beneficiaries will be the Toronto Symphony Volunteer Committee Education Program and Open Table Community Meal at Runnymede United Church. Johannes Debus will conduct the Bach Consort with soloists Monica Whicher, Vicki St. Pierre, Lawrence Wiliford, Colin Ainsworth and Russell Braun. Tickets are $50 in advance or $60 on the door.
October is the month things usually really get going again in Toronto and this year is no exception. The calendar for the first third of the month is very busy. Highlights include three free concerts in the Richard Bradshaw Amphitheatre, the opening of two productions at the Canadian Opera Company and Nuit Blanche events at the Canadian Music Centre and the UoT Music Department.
This review first appeared in the print edition of Opera Canada.
O Gladsome Lightis a collection of sacred songs, hymns and meditations by Ralph Vaughan Williams, Gustav Holst and his pupil Edmund Rubbra. They are performed by various permutations of Lawrence Wiliford, tenor, Stephen Philcox, piano and Marie Bérard and Keith Hamm, respectively Concertmaster and Principal Violist of the COC Orchestra.
The Ash Roses CD that I referred to a few days ago was officially launched at the Canadian Music Centre last night. Lawrence Wiliford, Mireille Asselin, Sanya Eng and Liz Upchurch performed all the music on the album in the presence of the composer and his wife, assorted Toronto music glitterati and even more assorted others, like me. It’s a very intimate setting and well suited for small scale art song recitals; especially when the complimentary wine and beer (Black Oak Chocolate Cherry Stout – recommended) is rather good.