Façades is a new CD of music by William Walton and Constant Lambert; much of it comparatively unknown. It’s a mix of songs for tenor and piano and music for piano duet. The disk begins with Lambert’s Trois pièces négres for two pianos. The bookends are fairly up tempo jazz inflected numbers with a perhaps Poulenc influenced slow middle section. Curiously only the white notes of the pianos are used. It’s the first touch of what I tend to feel about Lambert’s music; clever, well crafted but, in the last analysis, not very interesting.
The line up for next season’s Songmasters series in Mazzoleni Hall has been announced.
November 22nd 2020 sees baritone Elliot Madore and pianist Rachel Andrist in a program called Troubled Times with music by Adams, Britten, Higdon and Musto. It really is about time Mississauga boy Elliot was heard in Toronto. he must have sung just about everywhere else by now!
The ninth edition of Tapestry’s celebration of their back catalogue happened last night in the Ernest Balmer Studio. This year’s mentors are Jacqueline Woodley and Andrea Grant. The emerging artists are Elisabeth Boudreault, Lindsay Connolly, Brianna DeSantis, Ryan Downey, Gabrielle French, Rebecca Gray, Lauren Halász, Rachel Krehm, Brittany Rae, Anne-Marie Ramos and Jennifer Routier with pianists Qiao Yi Miao Mu and Ryoko Hou.
Staging art song and chamber works happens in Toronto but not a lot. Over the last few years I’ve seen interesting shows from Against the Grain, Collectif and UoT Opera among others. As it’s something I tend to enjoy I was pleased to catch the opening performance of Opera 5’s Hindemith and Shostakovich program; itself the first in a proposed series called Open Chambers.
The current Tapestry Briefs show presents work from the 2016 LibLab. It’s all new and, inevitably, very mixed. It started very strongly with a scene, The Call of the Light (Imam Habibi/Bobby Theodore) based on the 1984 attack on the Quebec National Assembly. The combination of an assault rifle carrying camo clad Alex Dobson , the rest of the cast (Jacquie Woodley, Keith Klassen, Erica Iris) writhing on the floor and dissonant extended piano from Michael Shannon was genuinely disturbing. Having a gun pointed straight at you from a few feet away doesn’t happen often at the opera.
The decision by Toronto Masque Theatre to pair Purcell’s miniature opera, Dido and Aeneas, with James Rolfe and André Alexis’ piece on the lovers’ inner thoughts, Aeneas and Dido, paid off last night. It produced an evening of just the right length with two contrasting but complementary pieces working really well together.
Aaron Gervais’ and Colleen Murphy’s Oksana G. finally made it to the stage last night after a most convoluted journey. It’s being produced by Tapestry at the Imperial Oil Theatre with Tom Diamond directing. The wait, I think has been worth it. The story, set in 1997, of a naive country girl from the Ukraine who gets caught up in sex trafficking is dramatic and the it convincingly depicts the sleazy underworld of southern and eastern Europe created by the collapse of the USSR, the civil wars in the Balkans and the pervasive official corruption in countries like Ukraine, Greece and Italy. It’s gritty and, at times, not at all easy to watch.