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.
Richard Strauss’ Die Liebe der Danae is one of his least performed operas so it’s not very familiar to most opera goers. I wrote about its performance history and provided a plot summary in my review of a 2011 recording at the Deutsche Oper, which is the only video recording besides the 2016 Salzburg one which forms the subject of this post.
Layla Claire is one of a handful of young Canadian singers making something of a splash on both sides of the Atlantic with major roles in Glyndebourne, Zürich, Toronto and Salzburg and an upcoming Pamina at the Met. Her debut recital CD Songbird, with pianist Marie-Eve Scarfone, was recently issued on the ATMA Classique label. It’s an interesting and varied collection of songs though never straying very far from familiar recital territory. It’s tilted towards French (Gounod, Chausson, Debussy, Fauré, Bizet) and German (Wolf, Strauss, Brahms, Liszt) repertoire but there’s also Quilter, Barber, Argento and Britten (the comparatively rare Seascape which is, oddly, omitted from the CD liner).
Yesterday at noon Ileana Montalbetti, currently appearing in the COC’s Götterdämmerung and pianist Rachel Andrist gave a recital in the RBA. It was five years to the day since they last performed together in that space. Then she was a promising young singer, now she comes over as a considerable interpretative artist. The voice is even bigger (and for a piano recital in the small and not very friendly to dramatic sopranos RBA(*) that was a bit of a challenge) but what’s notable is how much more drama and meaning there is in each number.
Last night the Canadian Opera Company announced the line up for the 2017/18 season. It was all pretty much as predicted. My predictions post got five out of six right and Dylan was right on the money down to timing. So what do we get?
The fall season features, finally, Tim Albery’s production of Strauss’ Arabella first seen at Santa Fe. Erin Wall, as expected, takes the title role while Jane Archibald, in one of three season appearances, sings Zdenka. The Mandryka will be one of the few high profile imports, Tomasz Konieczny. There are welcome appearances for David Pomery as Matteo and Claire de Sevigné as Flakermilli. It’s a season full of Ensemble Studio graduates. Patrick Lange conducts. Partnering Arabella is Donizetti’s L’elisir d’amore in a production by James Robinson adapted to set the piece in pre WW1 Niagara on the Lake. Simone Osborne and Andrew Haji play Adina and Nemorino with Gordon Bintner as Belcore. This is, I think, the first time I’ve seen husband and wife as soloists at the COC though the Pomeroys have been seen on stage together quite a few times. Brit Andrew Shore rounds things out as Dulcemara. Yves Abel makes his COC debut in the pit.
Patrice Chéreau’s last major opera production was of Strauss’ Elektra for the 2013 Aix-en-Provence Festival where it was recorded. It later appeared with a different cast at the Met and was broadcast in HD but that performance has not yet been released on disk. It’s a very good example of Chéreau’s work. The towering, blocky sets recall his From the House of the Dead and are equally dark and grey. The interest is all in the characters.
Chelsea Rus is a recent graduate of the Schulich Scool of Music at McGill University and winner of the Wirth Vocal prize. Today, along with pianist Marie-Ève Scarfone, she gave a recital in the Richard Bradshaw Amphitheatre. I like that it was all song bar the opening number; “Je veux vivre” from Gounod’s Roméo et Juliette. Hearing young singers belt out the same few Mozart and bel canto standards gets a bit tedious. Anyway this was one of those recitals that started quite well and just got better as things progressed. Poulenc’s Fiançailles pour rire are, I suppose, a bit of fluff but they allowed Chelsea to show off a rather lovely middle voice and good French diction, though the registers are still not fully integrated. Even better was Liszt’s Oh! quand je dors. Here she showed just how expressive she can be.