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.
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.
My review is up on Bachtrack.
Last night the RCM celebrated the 100th anniversary of Leonard Bernstein’s birth with a suitably themed concert at Koerner Hall. The first half consisted of a performance of all the Anniversaries. These are short piano pieces; only a minute or two long, that Bernstein composed late at night. Each is dedicated to a friend or family member and many were reused later in longer works. There are somewhere between 20 and 30 of them and last night they were played in sets of three, four or five with introductions before each set by the composer’s eldest daughter Jamie complete with photos etc. The playing by Sebastian Knauer was idiomatic, virtuosic and sensitive. The introductions were informative, engaging and mercifully short. The music covered a vast range of moods and styles though all of it very Bernstein; that is to say tonal and obviously American. I was particularly struck by the brooding piece he wrote for his younger daughter some years after the death of her mother and by the earlier piece, dedicated to his wife Felicia Montealegre, that had Copland all over it and was none the worse for that. It was actually a rather brilliant way to showcase the man in a 45 minute or so concert segment.
New comic operas are rare. New comic operas that are actually funny are vanishingly rare. The Overcoat: A Musical Tailoring is such a beast. It’s a new piece with music by James Rolfe and a libretto by Morris Panych derived from his twenty year old stage adaptation of Gogol’s short story. Originally commissioned by Tapestry Opera, the Toronto staging was under the joint auspices of that company and Canadian Stage with the work also to be staged by co-producer Vancouver Opera as part of their summer festival.
It’s that time of year again at UoT when the respective winners of the Norcop song prize and the Williams Koldofsdky prize for accompanying collaborate in a lunchtime recital. This year’s winners were mezzo Simona Genga and pianist Jialiang Zhu who gave us a program of songs by Schoenberg, Freedman, Berlioz and Santoliquido. The Vier Lieder Op. 2 of Schoenberg are extremely lyrical though with a rather complex and involved piano part. They played to the strengths of both musicians. Taken at fairly slow tempi they allowed Simona to show off the beauty and ease of her voice all through the registers combined with terrific breath control and spot on German diction while Jialiang had something fairly virtuosic to display her skills.
For the last few years the COC has had a fairly glitzy evening at which the next season is announced and there are interviews, a few performances etc. This year, for whatever reason, the two elements were divorced. The season was announced in a press release win January with no fanfare; not even a press conference. The glitzy bit happened last night with a cocktail reception and a stage event hosted by Brent Bambury.