Opera Atelier have announced their 2018/19 season. As usual, there are two shows. In the Fall there is a double bill of Charpentier’s Actéon paired with Rameau’s Pygmalion (Oct. 25 – Nov. 3, 2018). Colin Ainsworth, who has also been named as OA’s first “artist in residence”, features in both title roles with Mireille Asselin as Diana and Amour and Allyson McHardy as Juno and Céphise. The supporting cast includes Jesse Blumberg, Christopher Enns, Meghan Lindsay, Cynthia Smithers and Anna Sharpe. Pygmalion will be prefaced by Opera Atelier’s first Canadian commission for solo baroque violin and contemporary dancing, entitled Inception. It will be performed by composer/violinist Edwin Huizinga and choreographer/Artist of Atelier Ballet, Tyler Gledhill. Following its Toronto dates, the show will tour to the Royal Opera House in Versailles.
Last night’s TSO program started off with a sort of Remembrance Day pot pourri; pipes, bugles, a bit of poetry, an excerpt of Vaughan Williams in between and finally a rather beautiful account of The Lark Ascending with Jonathan Crow playing the solo from high up in the Gallery. Once upon a time the TSO would do Remembrance Day by performing an appropriate work or works, Britten’s War Requiem for example. I think that might actually be a more effective way of remembering.
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.
There Toronto Summer Music Festival, inevitably Americas themed this year, opened with a concert called Americans in Paris featuring music by Copland, Gershwin and Bolcom. It was a pretty mixed bag. It opened with Copland’s Appalachian Spring played by 13 members of the TSMF Ensemble and conducted by Tania Miller. It’s not a work I’m particularly fond of but here it was particularly unfocussed and soporific.
Toronto Summer Music Festival has some interesting offerings. The opening night concert, Americans in Paris, features Measha Brueggergosman in works by Gershwin, Bolcom and copland as well as instrumental pieces. And pretty much closing the festival out is a Karita Mattila recital with Bryan Wagorn on piano, on August 7th in a recital that includes works by Strauss, Sibelius and Sallinen. Details at www.torontosummermusic.com.
For those of you who won’t be glued to the underwater cycling at the Pan-Am games there is actually music on in Toronto over the summer. The tenth Toronto Summer Music Festival features a wide range of events in many genres. The ones likely to be of most interest to AR readers follow.
The 2010 La Fura dels Baus Madrid production of Weill’s The Rise and Fall of the City of Mahagonny is much the best version of the piece I’ve seen on DVD. The production starts and ends on a rubbish dump and the dump and its people, curiously reminiscent of the vegetarian terrorists in Delicatessen, are present pretty much all the time. It doesn’t pull any punches and tackles Brecht’s characteristically unsubtle parody of commodity capitalism straight on and without sentimentality or apology. Perhaps the most effective scene is the sort of “orgy by Frederick Taylor” that accompanies Second comes the loving match in Act 2 but there are lots of telling moments from the widow Begbick first appearing from a derelict fridge to the pyre of mattresses on which Jim is executed. Curiously perhaps the piece is given in Michael Feingold’s English translation but it’s a very good translation and little or nothing is lost.