We are moving into busy season for the next two or three weeks. Next week, Tuesday sees a lunchtime recital in the RBA by Phillip Addis with song cycles by Maurice Ravel and Erik Ross. Wednesday sees a concert staging of Salvatore Sciarrino’s The Killing Flower (Luci mie traditrici). It tells the story of Carlos Gesualdo’s murder of his wife and lover. Performers include Shannon Mercer, Geoffrey Sirett, Scott Belluz and Keith Klassen. It’s at Walter Hall at 7.30pm with a pre-show with the composer at 6.30pm. Sciarrino is involved in other events connected with the New Music Festival all week. Thursday is opening night for the COC’s Götterdämmerung at the Four Seasons Centre with an early kick off time of 6pm. Alternatively the TSO are doing the Fauré Requiem with Karina Gauvin and Russell Braun on both Wednesday and Thursday evenings.
Hot on the heels of the RCM, the Toronto Symphony has announced its 2017/18 season, whih will be Peter Oundjian’s last as Music Director. There’s lots of sesquicentennial stuff of course but here’s a summary of the interesting vocal stuff (rock and roll and other children’s music omitted).
September 27,28 and 30, 2017: Brahm’s German Requiem with Erin Wall and Russell Braun.
October 19 and 20, 2017: Mahler’s Das Lied von der Erde with Susan Platts and Michael Schade. This is billed as a Maureen Forrester commemoration.
November 9 and 11, 2017: Jeffrey Ryan’s Afghanistan:Requiem for a Generation with Measha Brueggergosman, Alysson McHardy, Colin Ainsworth and Brett Polegato.
December 16, 19, 20, 22 and 23, 2017: Handel’s Messiah with Karina Gauvin, Kristina Szabó, Frédéric Antoun and Joshua Hopkins.
April 26 and 28, 2018: A concert performance of Bernstein’s Candide with Tracy Dahl, Judith Forst, Nicholas Phan and Richard Suart.
June 2 and 3, 2018: A concert called Water Music with Leslie Ann Bradley singing Dvorak, Schubert and Mozart.
June 28 and 29, 2018: Peter Oundjian signs off with a Beethoven 9. Soloists tba.
Full details here.
French operetta is notoriously difficult to get right. The genre treacherously combines a kind of humour that doesn’t always translate well in time or language, difficult music to sing and a need to be as “naughty” as the original seemed without being crass. It’s a huge credit to Michael Patrick Albano and his student cast that they pretty much pulled off all of that last night with their new production of Offenbach’s Orpheus in the Underworld. One could nit pick details (I shall) but overall it was a well paced show with some good singing and acting and it was genuinely funny. Unsurprisingly the audience lapped it up. Continue reading
There’s a lot on today. Handel’s Ariodante opens at the COC at 2.30pm. There’s also a concert featuring Russell Braun with the Amici Ensemble at 3pm in the Mazzoleni Concert Hall at the Conservatory. The Elmer Iseler Singers and the Toronto Mendelssohn Choir also have concerts. Thursday sees the opening of Purcell’s Dido and Aeneas at Opera Atelier with Wallis Giunta and Chris Enns as the lovers which promises both eye and ear candy. That’s at the Elgin at 7.30pm. Then on Saturday there’s Singing Stars of Tomorrow, the result of a Sondra Radvanovsky intensive, at the Alliance Française at 7.30 pm. The line up is Valerie Belanger,soprano; Stephanie De Ciantis, soprano; Natalya Gennadi, soprano; Beth Hagerman, soprano; Jessica Scarlato, soprano; Sara Schabas, soprano; Caitlin Wood, soprano; Danielle MacMillan, mezzo-soprano; Marjorie Maltais, mezzo-soprano; Asitha Tennekoon, tenor. Quite a mix, from people I’ve never heard of to one who has already made her COC debut.
In other news, the COC and Show One Productions have announced a gala concert to take place at the Four Seasons Centre on April 25th next year. It’s billed (modestly) as Trio Magnifico: The Ultimate Opera Gala and the big draw is the Canadian debut of Anna Netrebko. She will appear with her husband tenor Yusif Eyazov and baritone Dmitri Hvorostovsky. They will be accompanied by the COC Orchestra conducted by Jader Bignamini. Given that Dima alone turned Koerner Hall into a frenzy of screaming Russian grannies, this could get interesting.
UoT Faculty of Music have just announced their 2016/17 season. It’s the usual broad range of performances so I’ll highlight the opera and vocal music contributions.
UoT Opera is offering four shows. The fall main production is Offenbach’s Orpheus in the Underworld with new English dialogue and stage direction by Michael Patrick Albano. Choreography i by Anna Theodosakis and Russell Braun makes his podium debut. There are four performances November 24th to 27th. Spring sees a Handel rarity; Imeneo. Tim Albery directs and Daniel Taylor is in charge of the music. This one runs March 16th to 19th. Both shows are in the MacMillan Theatre.
The TSO’s New Creations Festival wrapped up last night at Roy Thomson Hall with a concert featuring Brett Dean’s suite Knocking at the Hellgate, drawn from his 2004 opera Bliss. But first came a piece by Radiohead guitarist Jonny Greenwood. Water is a tone poem (if one can still use that term) inspired by soome lines from Philip Larkin:
If I were called in
To construct a religion
I should make use of water.
Written for a chamber orchestra including two tanpuras and amplified piano, it’s an atmospheric piece mixing elements of minimalism and dissonance with extended techniques in the strings and note bending in an extremely competent way. A fairly gentle introduction to what was to follow!
Claus Guth’s production of Mozart’s Le Nozze di Figaro, first seen at Salzburg in 2006, opened last night at the COC. I was curious to see how it would be received because, while by no means an extreme production by European standards, it’s well beyond the 1970s aesthetic beloved by sections of the Toronto audience. The aesthetic is Northern European; a Strindberg play or a Bergmann film perhaps. It’s monochromatic, quite slow and focusses on the darker side of the characters’ psyches. It’s the antithesis of Figaro as Feydeau farce. There’s also a non-canonical character, Cherubim. He’s a winged doppelganger of Cherubino and seems to be a cross between Cupid and Puck. Pretty much omnipresent he manipulates scenes and characters though with a power that falls well short of absolute. Perhaps the whole production is best summed up in the final ensemble. Cherubim visits each couple in turn and is brusquely rejected. Only Cherubino is still subject to his power and that seems to have become destructive. Perhaps the message is “Now we are married forget this love nonsense and let us get back to our drab lives of quiet despair”.