Soundstreams Electric Messiah 3 opened last night at the Drake Underground. Some things have changed from last year. There’s no chorus, the soloists are new, the instrumentation has changed. There’s now a harpsichord (Christopher Bagan) and an electric organ (Jeff McLeod) for instance. Some things are the same. There’s still extensive use of electric guitar (John Gzowski). Dancer Lybido and DJ SlowPitchSound are still there, as is Adam Scime as music director and electro-acoustical wizard. There’s still a mobile phone schtick. It feels both familiar and quite different.
The four new soloists each bring something of themselves to the piece. A kilted Jonathan MacArthur (getting ready for Yaksmas perhaps?) sings partly, and very beautifully, in Scots Gaelic. Adanya Dunn brings a fresh sound and Bulgarian. Elizabeth Shepherd brings jazz, French and a really effective “lounge jazz” He was despised accompanying herself on organ. Justin Welsh adds some Afro-Canadian touches. Most of the numbers are shared between the singers; moving and singing from different parts of the small space. This is exemplified by the opening Comfort ye, begun by Jonathan in Gaelic with singer and language and location constantly shifting. With no chorus, there’s much more space (and it’s easier to see). The visual and aural textures seem cleaner. The unconventional combination of instruments and electronics works really well. There’s enough Handel there but also much else to think about and enjoy.
Yesterday’s VOICEBOX presentation was Handel’s Rodelinda. It was given in their usual style. No sets (bar the odd projection), minimal props, concert wear and the singers mostly in front of an onstage orchestra. The main attraction was the “all star” cast. To have Christina Haldane, David Trudgen, Charles Sy and Alex Dobson in the principal roles is something of a luxury. The two young mezzos rounding out the cast; Gena van Oosten and Meagan Larios weren’t half bad either.
This week we have VOICEBOX’s presentation of Handel’s Rodelinda. It’s a great cast with Christina Haldane, Charles Sy and Alex Dobson among others. Also it’s chamber orchestra not piano. That’s on Sunday at 2.30pm at the Jane Mallett Theatre. On Thursday the noon concert in the RBA is McGill’s Schulich Singers. They will present works by Henk Badings, Eric Whitacre, John Corigliano, Dan Forrest, and others. Not sure that’s my thing but each to his/her own. That evening at 8pm in the Dancemakers’ Studio at the Distillery it’s Tapestry Briefs: Winter Shorts. This is a show of excerpts from concepts and works in progress. It’s always interesting and often very funny. I think the opening show is probably sold out but there are further performances on Friday and Saturday at 8pm and Saturday and Sunday at 4pm (for those brave enough to face the Christmas Market hordes).
Against the Grain Theatre have announced the line up for their 2017/18 season. First up is a workshop of a Handel mash up called BOUND. It’s a collaboration with composer Kevin Lau and will explore aspects of the refugee crisis through Handel’s music as well as contemporary real life stories. It’s the beginning of a three year concept to production cycle. The workshop cast will include soprano Danika Lorèn, tenor Asitha Tennekoon, counter-tenor David Trudgen, baritone Justin Welsh, bass Michael Uloth, mezzo-soprano Victoria Marshall and soprano Miriam Khalil. It will play at the COC’s Jackman Studio on December 14, 15, and 16, 2017.
Last night’s concert by the UoT Fall Baroque Academy was more Sesto in a Sauna then Giulio Cesare in Egitto. The music was all from Handel’s arguably greatest opera but the great man himself went unrepresented. Various mezzos and sopranos plus a counter tenor got through pretty much all of Sesto’s arias, Cleo’s big three arias were all presented and there was a smattering of Cornelia, Tolomeo and one aria from Achilla,the only low voice on display. The venue was Trinity College Chapel, notably not only for lack of air conditioning (on the hottest day of the year) but also for an acoustic that is kind to instrumental ensembles but tends to suck voices up into the high vaulted roof. Some singers coped better than others.
Last night Philippe Jaroussky appeared with Les Violins du Roy and conductor Matthieu Lussier in a mostly Handel program at Koerner Hall. It was a very good evening. Les Violons du Roy is a pretty small band; less than twenty including continuo, but they manage to produce quite a big sound while remaining elegant and flexible in a thoroughly idiomatic baroque way. The instrumental component consisted of a Handel overture, Fux’ Ouverture in D minor and Johann Gottlieb Graun’s (not the better known Carl Graun who was apparently his brother) Symphony in B Flat Major. It was a pretty good sampling of what one might have heard in the courts of Germany in the early 1700s and rather enjoyable.
Imeneo is one of Handel’s less well known operas; perhaps deservedly so. The plot and the libretto are weak and the music pretty variable. Charles Jennens, the librettist for Messiah, descibed it as “the worst of all Handel’s compositions”. It does have the merit of being short. Most recent recordings come in around two hours and this UoT Opera production, rearranged and cut by Tim Albery, comes in at 100 minutes spread over two acts.