Layla Claire is one of a handful of young Canadian singers making something of a splash on both sides of the Atlantic with major roles in Glyndebourne, Zürich, Toronto and Salzburg and an upcoming Pamina at the Met. Her debut recital CD Songbird, with pianist Marie-Eve Scarfone, was recently issued on the ATMA Classique label. It’s an interesting and varied collection of songs though never straying very far from familiar recital territory. It’s tilted towards French (Gounod, Chausson, Debussy, Fauré, Bizet) and German (Wolf, Strauss, Brahms, Liszt) repertoire but there’s also Quilter, Barber, Argento and Britten (the comparatively rare Seascape which is, oddly, omitted from the CD liner).
Yesterday’s lunchtime concert in the RBA featured mezzo Lauren Eberwin, soprano Danika Lorèn and pianists Hyejin Kwon and Stéphane Meyer. Lauren and Hyejin were first up with Schumann’s Frauenliebe und -leben. I’ve rarely seen this sung by a singer so obviously “in” the story. There was a real sense of first person storytelling as well as rather good singing. I thought Lauren sounded surprisingly sopranoish in the first seven numbers but they are optimistic and happy and a bright coloured voice seems apt. She certainly darkened it nicely for the final grim song. Hyejin was a most sympathetic partner.
The Academy Program is an important part of the Toronto Summer Music Festival. It allows selected young artists; singers, collaborative pianists and chamber/orchestral musicians, to work with experienced professionals in an intensive series of coachings, masterclasses etc culminating in a concert series. This year the mentors for the vocal/collaborative piano component were pianist Craig Rutenberg, who has worked everywhere and with everybody, and mezzo-soprano Sasha Cooke; a last minute replacement for an indisposed Anne Schwannewilms. I didn’t make it to any of the masterclasses, though word on the street is that they were exceptional, but I did make it to yesterday’s lunchtime concert in Walter Hall.
Hearing Anita Rachvelishvili sing Carmen on the main stage of the Four Seasons Centre, it was obvious that she had a huge voice with really interesting colours. The full scope only became apparent to me hearing her in recital in the RBA today. It’s an extraordinary instrument that can go from a very delicate pianissimo to very loud indeed without any obvious change in quality. There’s no steeliness or squalliness as the volume ramps up. Just the same colours and rich tone. A blow by blow account of a concert that included music in Georgian by Tabidze, Russian by Rachmaninov, French by Fauré and Spanish by de Falla seems superfluous. There was delicacy. There was drama. There was humour. There was playfulness. All in less than an hour. And to cap it off there were encores; Mon cœur s’ouvre à ta voix from Samson et Delilah and, perhaps inevitably, the Seguidilla from Carmen. Stephen Hargreaves was at the piano. One wonders if he actually lives at the hall. He covered a wide range of material from the delicate to the impressively percussive with his customary skill.
Photo credit: Lara Hintelmann
Yesterday’s concert in the Songmasters Series at Mazzoleni Hall featured Mireille Asselin and Brett Polegato with Peter Tiefenbach and Rachel Andrist in a program of songs more or less related to painting and painters. The first half of the program was all French; Fauré and Debussy. Mireille and Peter gave us two songs from Fauré’s Cinq mélodies de Venise plus three pieces from Debussy’s Fêtes galantes and Pantomime from Quatre chansons de jeunesse. I thought the Debussy generally suited Mireille’s voice rather better than the Fauré. The first three songs were beautifully and charmingly sung while Pantomime gave full rein to Mireille’s considerable comedic talents. The highlight of the first half for me though was Brett’s singing of the Poulenc work that gave the concert its title. Seven songs by Paul Eluard; each a brief portrait of a painter. Written at the same time as Dialogues des Carmélites, these pieces have the same sort of intensity and drive (and decided non trivial piano parts!). They were most expertly sung with fine diction and legato and a keen sense of the varied moods of each piece.
The Hannigan obsession continues. This time I’ve been looking at a DVD, Barbara Hannigan – Concert Documentary. It’s in two parts. There’s a recording of Hannigan as soloist and conductor with the Mahler Chamber Orchestra at the 2014 Lucerne Festival and there’s a documentary, I’m a creative animal, looking at her life and work.
So, my second DMA recital of the week. This time that fine collaborative pianist Lara Dodds-Eden. Walter Hall was alive with sound before the recital proper started with Ben McCarthy’s electronic piece menagerie playing over the speakers; birdsong, rainforest and crackly vinyl. The first piece on the program proper was Fauré’s La chanson d’Ève sung by Danika Lorèn. These songs are a good showcase for Danika’s many excellent qualities. It was all there. The diction, the easy upward extension, the beautiful and varied colours. Nice! And a good start for Lara showing her sympathetic qualities in classical artsong.
Next up was Alex Samaras with Ned Rorem’s As Adam Early in the Morning. Alex is an interesting singer with a background in a variety of styles of which classical tenor probably isn’t one so it was a very different take on the Rorem than I might have expected. This was proving to be quite an enterprising program. Szymanowski’s Mythes for violin (Sheila Jaffé) and piano was also an enterprising choice. It’s a good piece for showing off musicianship and sensitivity to the modern idiom and good to have a chance for Lara to show a skill other than accompanying a vocalist.