Not a relation of JS, CPE or PDQ but the venue for today’s lunchtime presentation of two JS Bach cantatas by mezzo Lauren Eberwein and organist Hyejin Kwon with violinists Liz Johnston and Rezan Onen-Lapointe, violist Keith Hamm, cellist Paul Widner, bassist Robert Speer and oboeist Mark Rogers. The two pieces were Ich habe genug, BWV 82 and Vergnügte Ruh, beliebte Seelenlust BWV 170; both works about the approach of death and the soul’s yearning for rest and salvation.
Even by the standards of Rossini comedies The Italian Girl in Algiers is a bit daft. Mustafà, bey of Algiers, is tired of his wife and plans to get rid of her by marrying her off to his Italian servant Lindoro. He wants an Italian girl because well squire, nudge nudge. He instructs his sidekick and commander of the galleys Haly to procure one or be impaled (a somewhat pointed joke that runs through the piece). He shows up with Isabella and her sidekick Taddeo. Isabella just happens to be Lindoro’s squeeze. She immediately starts to plot their escape and persuades Mustafà that to succeed with Italian girls he must become a Pappatacci which involves eating enormous amounts of food and not getting upset when his beloved gets off with other men. With Mustafà in a pasta induced near coma the lovers escape and Mustafà reconciles with his wife. Got that?
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.
As has become the norm, UoT Opera opened their concert season with a free “preview” of their spring show in the RBA at noon today. It was a series of Mozart scenes which were given semi-staged today but will, in the fullness of time, form a staged and costumed performance. It’s always an interesting event because it’s so early in the academic year. It’s the first chance to try and talent spot and see how things develop over the rest of the cycle. As such, it’s often a bit rough but today really wasn’t. It was a surprisingly high quality across the board effort which augurs well. That said, it was all ensembles and nobody was asked to pull out vocal fireworks so maybe not the sternest test imaginable which makes star picking that bit trickier.
UoT Opera’s fall production opened last night at the MacMillan theatre. It’s a double bill of Menotti works; The Telephone and The Medium. The former was cleverly updated by Michael Patrick Albano to reflect the age of the smartphone. It actually seems more relevant than ever and, slight as it is – an extended joke about a girl who won’t get off the phone long enough for her fiancé to propose – it was wryly amusing. The Medium I’m not so sure about. It’s a contrived piece written in the 1940’s but set a few years earlier about a fake medium and her deluded clients. It seems dated, not so much in the sense that seance attendance is pretty unusual today, but in the extent to which the characters are clichéd, cardboard cut outs even. The medium herself is bad enough but her sidekicks are her rather dippy, if kind, daughter and a boy who is mute (k’ching), Gypsy (k’ching) and “found wandering the streets” (k’ching, k’ching) “of Budapest” (k’ching, k’ching, k’ching). The first act in which the fake seancery goes on isn’t bad but then the medium gets a shock; a real or imagined cold hand on her throat (probably imagined as she is a raging alcoholic) and decides to go straight. The second act is pure bathos. I can see why it was a Broadway hit in the 1940s but I think tastes have moved on. And who the heck calls their daughter “Doodly”?
So it’s early November and a recital titled Songs of Remembrance. One might of expected something like the program Chris Maltman presented just down Philosophers’ Walk last year but no, Monica Whicher and Rachel Andrist’s program was gentler. Dare we say “more feminine”? This concert was about remembrance of childhood and love; happy and not so happy. Framed by Roger Quilter’s settings of Blake we got two “concocted cycles” drawn from very diverse sources; English, French and German texts; art song and popular song; composers from Schubert to Richard Rogers and Hans Eisler. It was effective.
Lunchtime today at the RBA saw members of the COC orchestra get together with soprano Sasha Djihanian for a concert of works by Handel and Albinoni. I realised that I really don’t listen to enough baroque chamber works. The first work on the program was Handel’s Trio Sonata No.2 in D Minor. It’s compact, playful and doesn’t overstay its welcome. I stupidly didn’t make a note of who played on what piece so I’ll just credit the ensemble at the end of the post. The other chamber work on the program was Albinoni’s Sonata à cinque in C major. This was fun too with lots of fugue elements and dance rhythms and some serious toe tapping by violist Keith Hamm.