The Royal Conservatory has just announced its Koerner Hall line up for the 2017/18 season. There are 23 classical and 6 jazz concerts. This doesn’t include the Glenn Gould School or concerts in the RCM’s other halls. Highlights from a vocal point of view are as follows:
November 10th 2017 at 8pm: Barbara Hannigan with Reinbert de Leeuw in a mainly Second Vienna School programme. Not to be missed if that’s your thing and it’s certainly mine.
February 14th 2018 at 8pm: Ian Bostridge with Julius Drake in an all Schubert programme.
April 6th 2018 at 8pm: Bernstein@100; a tribute to Lenny featuring, among others, Wallis Giunta.
April 22nd 2018 at 3pm: Gerald Finley with Julius Drake in a varied program of art and folk songs.
April 27th 2018 at 8pm: The Amici Ensemble with Isabel Bayrakdarian and the winners of the GGS chamber music competition. The vocal part of the programme is all Bernstein.
May 10th 2018 at 8pm: Not typical Opera Ramblings fare but worth a mention; Jodi Sarvall, Hespèrion XXI and Galician pipes specialist Carlos Núñez in a program of pipe music from around the western fringes of Europe.
It’s that time of year when it’s traditional to do best of the year lists. Fortunately this is all about music because in most other respects 2016 was a bit of a horror show. So here goes. As far as opera proper was concerned it was a pretty good year. There were no real howlers in the COC’s season. It was solid and, at its best, better than that, For me, Ariodante was the standout; an intelligent, thought provoking production backed up by extremely good acting and singing. I was really expecting to like the Claus Guth Marriage of Figaro more than I did. I enjoyed it but I was a bit perplexed by the lightening up that had taken place since Salzburg in 2006. Opera Atelier had their best show in quite a while with Lucio Silla but even Wallis Giunta couldn’t save a misconceived Dido and Aeneas.
Just been checking out the Glyndebourne 2017 season announcement. Not that I’ll be going or anything but one production did catch my eye. There’s a new Hamlet opera from Brett Dean and Matthew Jocelyn to be directed by Neil Armfield and conducted by Vladimir Jurowski which sounds promising enough but look at this cast: Allan Clayton (Hamlet), Sarah Connolly (Gertrude), Barbara Hannigan (Ophelia), Rod Gilfry (Claudius), Kim Begley (Polonius), John Tomlinson (Ghost of Old Hamlet). There had better be a DVD.
Oh yes and they’ve unearthed yet another previously (more or less) unheard of Cavalli.
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.
I suppose it’s a bit odd to go out to a symphony concert on a cold night out of interest in one twenty minute piece on the program but that’s what I did last night. The item of interest was Henri Dutilleux’ Correspondances and the attraction was that the soloist was Barbara Hannigan. It’s an unusual piece. The five texts include, conventionally enough, three poems; two by Rilke and one by Prithwindra Mukherjee. The two longer texts are letters; one from Solzhenitsyn to the Rostropoviches and one from Vincent Van Gogh to his brother. The music is atmospheric and covers a wide range of moods from ecstatic to despairing. It’s heavy on percussion and makes considerable demands on the vocal soloist. Parts of it lie very high and it really needs the exquisite attention to each syllable of the text that is Hannigan’s trademark. Little shifts in the vowels, the occasional drop into something approaching Sprechstimme and so on. I thought the TSO and Peter Oundjian were really quite impressive here too. The piece got the clarity and transparency it needs. That said, it’s one of those pieces that few people, I think, will fully appreciate on one hearing. Fortunately there is a very good recording of Hannigan singing it with the Orchestre Philharmonique de Radio France and Esa-Pekka Salonen.
The piece was bookended by Sibelius’ Swan of Tuonela and Berlioz’ Symphonie Fantastique. The Sibelius was extremely well played with some lovely playing in particular from the cor anglais. The Berlioz isn’t a piece I much care for and both of us were a bit under the weather so we skipped out after the Dutilleux. If you missed last night’s performance it’s on again tonight at 8pm.
It’s another pretty busy week. There are two student shows today, both free. At 2.30pm in the MacMillan Theatre there’s a performance of a new opera based on EM Forster’s The Machine Stops. It’s by Patrick McGraw, Robert Taylor and Steven Webb. Sandra Horst conducts and Michael Albano directs. Then at 8pm in Mazzoleni Hall, Christina Campsall is performing Poulenc’s La Voix Humaine with Brahm Goldhammer providing piano accompaniment.
I’ve spent a fair chunk of time this week following Barbara Hannigan’s stint as Stratton Visiting Artist in Music at the University of Toronto. I went to a lecture on Tuesday, a masterclass on Thursday and a concert yesterday. Twice already I have sat at the keyboard to try and document my impressions and failed miserably. It’s rare that I’m lost for words but Ms. Hannigan is really hard to describe. This time I shall apply myself with the sort of iron will that she exudes.
Iron will? It’s the thing that seems most striking about the woman but it’s iron will coupled to something approaching an absence of ego and coupled to an essential kindness I think. It’s a really rare combination. I’ve worked with many strong willed people; CEOs, ministers of the crown and the like. There “will” is almost always coupled with a planet sized ego and a near total indifference to people who aren’t useful to them. Classic sociopathy in fact. It’s at the core of our political and economic systems. Hannigan is not a sociopath.