The aria finals

And so the final act.  First on stage was Emily D’Angelo; the only lady left in the competition.  It was an accomplished and varied set.  She started with a characterful and technically proficient Una voce poco fa followed by an appropriately lyrical Must the winter come so soon?  Coeur sans amour from the Massenet Cendrillon showed off excellent French before a suitably dramatic rendering of the Komponist’s aria from Ariadne.  Pretty much all the mezzo bases covered there and covered very well.

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The aria competition heats up

So I guess I wasn’t that impressed with the first session in the aria competition; too much loud, technically correct, but dull singing.  Things were much better in the evening though.  First up was Russian mezzo Alexandra Yangel.  She was very personable and fun to watch but a bit wayward vocally.  Nobles seigneurs, Salut! from Les Huguenots was dramatic and lyrical in places but her upper register gets quite squally.  This was even more noticeable in the aria from La Cenerentola that followed.  I liked the passion and the vocal acting ability in her Smanie, implacabili though.

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Osborne and Haji

SONY DSCYesterday’s free lunchtime concert should have been the first opportunity to see Simone Osborne and Gordon Bintner in recital together but, sadly, Gordon had the lurgy so, if you want to see them perform together you will just have to go and see L’elisir d’amore at the COC.  Fortunately Andrew Haji was able to jump in at short notice.  Not such a bad guy to have on the bench!

Andrew started out with Santoliquido’s I canti della sera.  I had heard him sing these before at Mazzoleni but it was good to hear them again.  Genuine Italian art song isn’t all that common and these show the voice off nicely.  There was both some lovely limpid singing and plenty of power when needed.  He’s a pretty good story teller too.  He also gave us the three Duparc songs that he and Liz Upchurch, once again at the piano,  gave us earlier in the year.  Again the standout was Le manoir de Rosemonde, a most beautiful and haunting song given the full treatment here.

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Elixir in Niagara?

James Robinson’s production of Donizetti’s L’elisir d’amore was designed for various American regional houses.  It has been updated to 1914ish and been given “regionalization” tweaks in the towns in which it has appeared.  The version that opened at the COC last night has been transported to small town Ontario, Niagara on the Lake perhaps, during a Fall Fair.  There’s a bit of a problem.  The iconography; Kitchener recruiting posters, steel helmets etc, clearly place the action during, rather than before, WW1.  Maybe an American director just doesn’t get, or doesn’t care about the implications but Adina buying Nemorino out of the army for example would hardly have been seen as virtuous in the white feather infested British Empire of 1914.  Fortunately most of the audience either didn’t get it or didn’t care either and frankly even persnickety me was prepared to let it go and just enjoy the rather silly romp that we got.  After all, this is not the other opera about love potions!

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Next week…

440x360_normaHere’s a preview of things to see/listen to next week.  It’s Met in HD season again and the next two Saturdays have broadcasts.  On the 7th it’s Bellini’s Norma with Sondra Radvanovsky and Joyce DiDonato.  It’s a David McVicar production and no prizes for guessing what happens when you cross McVicar and druids.  On the 14th it’s Die Zauberflöte with the Resident Groundhog conducting.  It’s the Julie Taymor production but given in full in German rather than the abridged ‘for kids” version.  The best thing about the cast is René Pape’s Sarastro.

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CCOC 2017/18

monkiestThe Canadian Children’s Opera Company have announced their 50th anniversary season.  The big news is that the main production will be a new piece by Alice Ping Yee Ho and Marjorie Chan (the team behind The Lesson of Da Ji).  The new piece is called The Monkiest King and is based on the legendary (and comic book) character the Monkey King.  Like the earlier work it will fuse western opera and traditional Chinese music techniques and instruments.  It will play at the Lyric Theatre at the Toronto Centre for the Arts May 25-27 2018.

There is also going to be a celebratory concert hosted by Ben Heppner on October 26 2017 at the Four Seasons Centre.  Besides performances by the current CCOC there will be appearances from Richard Margison, Krisztina Szabó, Simone Osborne and Andrew Haji and a choir of CCOC alumni.

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Howard and Haji

Yesterday afternoon’s Mazzoleni Songmasters concert featured local tenor Andrew Haji and Welsh baritone Jason Howard in a program somewhat loosely linked to England.  Neither singer was, I think, 100% well (Haji’s cold was announced, Howrad’s merely obvious!) but both battled through manfully and gave us some fine singing.  There were some interesting contrasts especially in the first half of the program.  Andrew kicked off with Francesco Santoliquido’s I canti della sera.  I’m no expert on Italian art song but these did sound like songs rather than opera arias, at least in the hands of Andrew and Rachel Andrist.  In contrast, Jason’s set (Tosti’s L’ultima canzone, Respighi’s Nebbie, Tosti’s L’ideale and Verdi’s In solitaria stanza), with Robert Kortgaard sounded distinctly operatic and suited Jason’s darkish voice rather well.

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