It’s that mid point of the academic year when the GGS puts on a recital programme that features a fairly full selection of the available singing talent at the Conservatory. This means one sees everything from first year undergrads to singers in the final stages of a master’s degree, who may already be singing professionally, so it’s a constant exercise in recalibration. It wasn’t helped last night by the fact that I had serious TTC problems causing me to miss the first three numbers on the programme plus feeling a bit frazzled for the rest. So, in no particular order, I’m going to write about what I particularly enjoyed. Omission should not be over-interpreted.
Yesterday’s Amici Ensemble concert in Mazzoleni Hall was an all Richard Strauss program featuring an array of guests. First up was the Duett Concertino where regulats Joaquin Valdepeñas (clarinet), David Hetherington (cello) and Serouj Kradjian (piano) were joined by violinists Timothy Ying and Jennifer Murphy, violist Keith Hamm, Theodore Chan on bass and Michael Sweeney on bassoon. It’s a program piece in which the clarinet represents a princess and the bassoon, a bear, who eventually, of course, transforms into a handsome prince. There are lots of dance rhythms from the strings and some sly quotations from Der Rosenkavalier along the way. It’s fun and it was very well played. I almost wonder if it was too smooth. The bear certainly seemed very suave and his transformation was not terribly abrupt. Still, bear!
Yesterday’s Mazzoleni Songmasters concert featured Russell Braun and Caolyn Maule in a generous and varied program anchored on Schumann’s Dichterliebe; a setting of sixteen poems by Heine. It was framed by three Mendelssohn songs and a varied and intriguing second half program.
Russell is a singer at the height of his powers. He has a lovely instrument and perfect control of pitch, dynamics and tone colour. He’s also a sensitive and musical human being. Throw all that at text and music as rich as Dichterliebe and the result is inevitably quite wonderful. One could just luxuriate in an emotional journey through the highs and lows of romantic love and a physical one up and down that magical river, the Rhine. The Mendelssohn was rather lovely too.
The Glenn Gould School’s fall opera production this year is Humperdinck’s Hansel and Gretel given in Brent Krysa’s English language, highly condensed version, originally created for the COC Ensemble Studio School Tour. It really is condensed. There’s no chorus and it comes in at just over the hour mark. The main plot elements are retained but I think quite a bit of the darkness, and most of the religiosity, are gone, though the latter isn’t eliminated entirely. After all, the Evening Prayer and the final chorus are musical highlights and pretty much have to be there. It doesn’t leave any room for the director to explore ideas like child abuse or addiction and pretty much forces, for better or worse, a straightforward emphasis on the basic story.
The Royal Conservatory of Music announced their 2017/18 concert season last night. There are over 100 concerts spread across just about every genre. I think the following are likely of most interest to Operaramblings readers.
- November 10th 8pm Koerner Hall – Barbara Hannigan with Reinbert de Leeuw in all Second Vienna School concert. The pick of the season for me.
- February 14th 8pm Koerner Hall – Ian Bostridge with Julian Drake in an all Schubert program.
- April 22nd 3pm Koerner Hall – Gerald Finley with Julius Drake with a mix of art song and British and American folksong.
- April 6th 2018 8pm Koerner Hall – Bernstein@100; a celebration of Lenny with the ARC Ensemble, Sebastian Knauer and the lovely Wallis Giunta.
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.
Schubert’s Winterreise is sometimes described as the Everest of lieder singing and, as such, is something of a rite of passage for baritones. It’s much rarer to hear it sung by a soprano but today, on a day when there was more snow in Toronto than one encounters these days on the Hillary step, Adrianne Pieczonka, accompanied by Rachel Andrist, offered it up in the intimate Mazzoleni Hall. It took me two or three songs to get into it. The colours of the soprano voice are so not baritonal that the music sounded unfamiliar and disconcerting. By Der Lindenbaum though I was won over. Here was singing of a limpid beauty few baritones could match and from then on I was revelling in the new perspectives that hearing a soprano sing this music brings. I think it was greatly helped by Adrianne’s approach which definitely favoured bringing out the drama and the emotion of the text rather than wallowing in beautiful tone. That was there when she wanted it but there was much else besides. It was an emotional roller coaster from the (relative) optimism of Die Post through to the devastating last couple of numbers. By the end of Der Leiermann I was a puddle but possibly not quite as damp and deep as the critic sitting next to me (whatever Twitter might report). Rachel’s work at the piano was equally illuminating. This is a show they need to take to a much larger audience.