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.
Yesterday at noon Ileana Montalbetti, currently appearing in the COC’s Götterdämmerung and pianist Rachel Andrist gave a recital in the RBA. It was five years to the day since they last performed together in that space. Then she was a promising young singer, now she comes over as a considerable interpretative artist. The voice is even bigger (and for a piano recital in the small and not very friendly to dramatic sopranos RBA(*) that was a bit of a challenge) but what’s notable is how much more drama and meaning there is in each number.
Fidelio is an interesting piece. The music is great and it has a powerful, very straightforward, plot. There are no convoluted subplots here. But there is a lot of spoken dialogue which slows things down. Is it necessary? Claus Guth doesn’t think so and in his 2015 Salzburg production he replaces the dialogue with ambient noise and also doubles up Leonora and Don Pizarro with silent actor “shadows”; the former using sign language in the manner of the narrator character in Guth’s Messiah. It works remarkably well. The ambient noise sections are quite disturbing and the “shadows” add some depth, especially the frantic signing in the final scene. Perhaps worth noting that the “noise” contains a lot of very low bass and precise spatial location. It may need a pretty good sound system to have the intended effect.
I’m really not sure what to make of Jürgen Flimm’s 2004 production of Fidelio for the Zürich Opera House. It’s not offensive and it doesn’t really get in the way of the story but it seems quite devoid of originality beyond mixing styles in a way one might describe as anachronistic if one could figure out when synchronistic would be. Rocco wears a sort of frock coat with, apparently, goatskin pants, Marzellina’s dress looks probably 20th century, bolt action magazine fed rifles are apparently muzzle loaded and metal cartridge cases filled by hand. Then to cap it off when Don Fernando shows up he looks like he’s stepped straight out of a Zeffirelli production of Der Rosenkavalier. So “nul points” for coherence. For once one rather appreciates that so much of the action takes place in the dark.
I don’t usually give colloborative pianists headline billing but last night’s packed Koerner Hall recital certainly had an element of “They came for Ms. von Otter but stayed for Ms. Hewitt”. Hewitt was phenomenal in a program that interspersed solo piano pieces with sets of songs. In the songs she was simultaneously an individual voice and supportive of her colleague while the solo piano pieces were breathtaking; elegant Scubert and Brahms before the interval, staggeringly virtuosic Chabrier after. She’s also fascinating to watch. Continue reading →
Last night was the second annual fundraiser for St. Michael’s ICU in memory of Elizabeth Krehm. The work for the evening was Beethoven’s 9th symphony; an ambitious project for what amounts to a pick up orchestra and chorus with minimal rehearsal time. The orchestra, most competently conducted by Evan Mitchell did not disappoint. Ensemble was excellent and the sound at times thrilling. The choir sang with great enthusiasm and obvious enjoyment but the sound was a little “churchy” where something richer might have been preferred, though maybe in not in the resonant church acoustic. In any event that’s a nit in the overall scheme of things. The quartet of soloists was very good indeed. The guys get the exposed bits and both bass Jeremy Bowes and tenor Adrian Kramer sang out clearly and powerfully with excellent diction. The ladies too; soprano Rachel Krehm and alto Erin Lawson, clearly projected their lines over and through the orchestra and chorus. All in all it was most impressive and enjoyable. It was also well attended so hopefully the goal of raising lots of money for St. Mike’s was achieved.
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.