This afternoon I saw Gerry Finley and Julius Drake in recital at Koerner Hall. In other words, two supreme exponents of the art of lieder at the top of their game in a hall with near perfect acoustics. They performed Beethoven and Schubert settings of Goethe texts, some Tchaikovsky and some Rachmaninoff, which gave Julius ample opportunity to show off. They finished up with settings of folky things by Copland, Barber, Respighi and Britten. The last was The Crocodile; a very silly and funny piece I hadn’t heard before. The encore was by Healey Willans and Gerry gave a very nice plug for the Canadian Art Song Project. Insert standard list of adjectival phrases describing top notch singing and accompaniment. My humble scribing is not worthy.
Looks like I missed a couple of things. Tapestry has Songbook VII running May 10th to 12th at the Ernest Balmer Studio. Tickets are $25 from tapestryopera.ca. There’s also a show presented by Continuum by a Montreal based outfit called ECM. It’s a “multimedia opera” called Hockey Noir at the Jane Mallett on May 10th and 11th. It’s about crime and the hockey rivalry between Montreal and Toronto apparently. Apart from that, I know nothing about anybody involved except I’m told that the singers are well regarded in Montreal. Details here.
Last night’s Soundstreams concert at Trinity St. Paul’s riffed off the basic idea of Bach’s Musical Offering; getting musicians to create music on a theme with a high improvisory element. The line up was the Gryphon Trio (Roman Borys, cello; James Parker, piano; Annalee Patipatanakoon, violin), SlowPitchSound (aka Cheldon Paterson); turntables, Dafnis Prieto; drum kit, Scott Good; trombone, conductor and Roberto Occhipiniti; bass. Things started out with SlowPitchSound remixing prerecorded fragments of the Musical Offering with live interventions by the trio. It was interesting and fun though whether it revealed “secret messages” I really couldn’t tell. The turntables reappeared between items in the rest of the program in very short fragments that seemed too cursory to have much to say.
So it looks like January is finally over and that means we can look ahead to next month. Things are definitely winding down. There’s the last Opera Pub of the season on the 3rd at the Amsterdam Bicycle Club. The Vancouver Symphony is appearing with Bramwell Tovey at Roy Thomson Hall on the 26th with the highlight being Marion Newman singing Ancestral Voices; a piece Tovey wrote for her. Also that evening the Canadian Children’s Opera opens a two performance run of Alice Ping Yee Ho’s new piece The Monkiest King. That’s at the Toronto Centre for the Arts.
My review is up on Bachtrack.
Dmitri Tcherniakov is an interesting and controversial director. He’s not afraid to take a very radical approach to a work and that method tends to produce uneven results. At it’s best, as in his Berlin Parsifal, it’s extraordinary and sometimes; his Wozzeck for example, interesting but perhaps not exactly revelatory, and,again, sometimes; as in his Don Giovanni, polarising. That said he never does anything merely to shock or show off. There’s always a logic to what he does and that’s certainly true of his quite radical version of Verdi’s Il Trovatore filmed at Brussels’ La Monnaie in 2012.
The 2016 production of Mozart’s Le nozze di Figaro from La Scala had me really puzzled after three acts. There’s nothing to help with the production in either the booklet or on the disk so I went looking on line. According to the Financial Times, Frederic Wake-Walker’s production replaced a much revered version by Girgio Strehler and is a sort of homage to him filled with references to other of his productions.