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.
2017 draws to a close and we haven’t had a nuclear war (yet). So it’s time to look ahead to what’s coming up opera and concertwise in January 2018. But first, there’s one show still to catch in 2017. Toronto Operetta Theatre opens a run of Bernstein’s Candide tomorrow night at the Jane Mallett. It stars Tonatiuh Abrego, Vania Chan, Elizabeth Beeler and Nicholas Borg. There are shows at 8pm on December 28th and 30th and January 5th and 6th with matinées on New Year’s Eve and January 7th. For the shows on 28th, 5th and 6th you can use code CANDIDE30 to get a 30% discount. All is for the best in the best of all possible worlds!
Last night, at Walter Hall, Finnish soprano Soile Isokoski and pianist Martin Katz gave a recital as part of the Toronto Summer Music Festival. The programme of Schumann, Wolf, Strauss and Sibelius was an object lesson in restraint and elegance. There were no histrionics or gimmicks, just very fine, subtly expressive singing and brilliantly supportive pianism.
Today’s RBA recital was Allyson McHardy and Rachel Andrist in a program called Women on the Edge. What we got was a sampler from what will eventually be a longer show. First up was Schumann’s Poèmes de Marie, Reine des Écossais. It’s a very late Schumann work and, I think, one of his best vocal works. But there’s some history here. Schumann set German translations of five poems by Mary in French plus a Latin prayer Mary’s Latin is very classically elegant). The original French was subsequently rearrranged by Bernard Diamant for Maureen Forrester and that’s the version Allyson sang today. But wait, there’s a snag. The second piece Après la naissance de son fils is a bit of an anomaly. There is no French text by Mary Stuart or anyone else. The text is Scots and probably not by Mary at all. Some sources suggest it was actually graffiti in Edinburgh castle. How/why did Diamant render it into French? Who knows. Scholarly quibbling aside these are really gorgeous works and beautifully suited to Allyson’s voice. She has a really beautiful voice and it seems to be gravitating to contralto territory as she (tries desperately to find appropriately not ungallant phrase). Anyhow it was very fine.
The third concert in the Heliconian Hall series from Adanya Dunn, Brad Cherwin and Alice Hwang was titled Intersections and was designed to explore “the sphinx like mind of Robert Schumann” through his own music and music inspired by him. First up was Kurtàg’s Hommage à Robert Schumann featuring Alice and Brad and guest violist Laila Zakzook. This is a complex and difficult piece. Some sections consist of short fragments of “conversation” between the instruments. At other times there is a more obvious line and it varies in mood from extremely violent to almost lyrical. It’s an interesting exploration of Schumann’s various musical personalities through a completely different sound world.
Yesterday’s lunchtime concert in the RBA featured mezzo Lauren Eberwin, soprano Danika Lorèn and pianists Hyejin Kwon and Stéphane Meyer. Lauren and Hyejin were first up with Schumann’s Frauenliebe und -leben. I’ve rarely seen this sung by a singer so obviously “in” the story. There was a real sense of first person storytelling as well as rather good singing. I thought Lauren sounded surprisingly sopranoish in the first seven numbers but they are optimistic and happy and a bright coloured voice seems apt. She certainly darkened it nicely for the final grim song. Hyejin was a most sympathetic partner.
The Academy Program is an important part of the Toronto Summer Music Festival. It allows selected young artists; singers, collaborative pianists and chamber/orchestral musicians, to work with experienced professionals in an intensive series of coachings, masterclasses etc culminating in a concert series. This year the mentors for the vocal/collaborative piano component were pianist Craig Rutenberg, who has worked everywhere and with everybody, and mezzo-soprano Sasha Cooke; a last minute replacement for an indisposed Anne Schwannewilms. I didn’t make it to any of the masterclasses, though word on the street is that they were exceptional, but I did make it to yesterday’s lunchtime concert in Walter Hall.