Yesterday I finally managed to do something bike related in conjunction with Bicycle Opera Project’s current tour of Sweat. I got an early train out to Aldershot, biked to Hamilton and joined up with the bike tour of historic Hamilton organised by the Workers Arts and Heritage Centre to complement the opera, before seeing the afternoon performance of Sweat at WAHC. I’ll add some bikey/historical observations at the end but since this is an opera blog let’s cut to the chase.
Toronto Summer Music Festival has two “apprenticeship” programmes; one for chamber musicians and one for singers and collaborative pianists. The latter is directed by Martin Katz and Steven Philcox. On Saturday afternoon in Walter Hall we got our first chance to see this year’s young artists. Eight singers and four pianists were on show. The singers were a mix of those who are well known to anyone who follows student opera in Toronto and newcomers. The pianists were all new to me.
So after a bit of a hiatus the Toronto music scene is coming back to life. The Toronto Summer Music Festival has kicked off and the main interest for followers of the vocal arts lies in the Art Song fellows project with concerts at 1pm on each of the next two Saturdays in Walter Hall (free but tickets required). Then the vocal highlight of the festival; Soile Isokoski in recital with Martin Katz at 7.30pm on the 18th at Walter Hall. The programme includes the Schumann Mary Stuart songs, the Strauss Ophelia songs plus some Wolf and, of course, Sibelius. Ms. Isokoski is also giving a public masterclass in Walter Hall on the 23rd at 2pm.
The St. Lawrence String Quartet opened this year’s Toronto Summer Music Festival with a really interesting programme. They kicked off with the Haydn String Quartet No. 25 in C Major. This very much belied the idea that Haydn is a skilful but not especially inventive composer. It’s full of invention; especially rhythmic and really suited the intensely physical style of the St. Lawrences; especially the hyperkinetic first violin, Geoff Nuttall, who also contributed a rather extraordinary pair of socks to the evening’s festivities. Watching, too, is a different experience from listening and here pointed up the extent to which chamber music like this is a conversation between the players rather than a regimented or choreographed thing.
One rather gets the feeling that the 2016 Glyndebourne production of Rossini’s Il barbiere di Siviglia was built around the lady of the house. It makes a lot of sense. There may have been better singers in the role of Rosina but I doubt there has ever been a better mover than Danielle de Niese. She’s matched move for move, eye candy for eye candy by the guys; Björn Burger as Figaro and Taylor Stayton as Almaviva. There’s more mature comedy from the always fantastic Alessandro Corbelli as Bartolo and the irrepressible Janis Kelly as Berta.
There are some seriously obscure Rossini operas and Il signor Bruschino is one of them. It’s scarcely an opera at all really. It’s a one act farsa running about an hour and a quarter. By the time he wrote this one at age twenty Rossini has already had several hits in the genre and knew how to pull out a crowd pleaser but oddly Il signor Bruschini was a colossal flop. The plot was too convoluted and the music too advanced for the tastes of the farsistas. If one wanted to think about the plot one went to a proper opera house like La fenice rather than the fairly obscure Venetian theatre where the work premiered. It even offended the critics by, horror of horrors, asking the second violins to tap on their music stands with their bows during certain passages of the sinfonia.
Rossini’s Maometto II is one of those pieces that has a somewhat complex performance history. The recent David Alden production seen at Santa Fe and the COC was a carefully reconstructed edition of the original Naples production of 1820 which was considered musically radical at the time. Two years later, for Venice, Rossini produced a new version with cuts, new music and borrowings from other works. He also changed the ending to a happy one. The net effect is a far more conventional bel canto opera. That Venice version forms the basis of the only video recording in the catalogue, recorded at La Fenice in 2005.