February is going to be really busy so I think I’ll take the previews in chunks. First up though one event in January I haven’t yet had opportunity to mention. This coming Sunday 21st Fawn Chamber Creative have a PWYC fundraiser for their in process opera-ballet project. It’s from 2-6pm at The Smiling Buddha. It will be party, silent auction and some performance. Previous ones have been fun but I’m booked Sunday. Details at: http://www.fawnchambercreative.com/events/upcoming/. Also in January and missed off the radar, on the 28th at 3pm at Mazzoleni Hall,the Amici Ensemble have a Strauss inspired concert featuring the lovely but tiny Sasha Djihanian who is current holder of the loudness to weight record for a soprano.
I guess it’s starting to quieten down a bit. Next week there are a couple of things of interest. On Monday the Faculty Artists at UoT have a concert in Walter Hall with Uri Mayer conducting. It’s an all Mahler program with the Lieder eines fahrenden Gesellen and the Fourth Symphony. The vocal soloists are Monica Whicher and Darryl Edwards. Later in the week the UoT Opera has its main fall production. This time it’s Don Giovanni conducted by Uri Mayer and directed by Marilyn Gronsdale. That’s in the MacMillan Theatre at 7.30pm on Thursday, Friday and Saturday with a matinée on Sunday. There will, as usual be two casts; one on Thurs/Sat and the other Fri/Sun. On Friday there’s another Whose Opera is is Anyway? from LooseTEA Theatre; Toronto’s opera improv. That’s at 7.30pm at the Comedy Bar. They are moving from there (good!) to Bad Dog Theatre for their December show on the 20th which should also be hosting a monthly show in 2018.
The decision by Toronto Masque Theatre to pair Purcell’s miniature opera, Dido and Aeneas, with James Rolfe and André Alexis’ piece on the lovers’ inner thoughts, Aeneas and Dido, paid off last night. It produced an evening of just the right length with two contrasting but complementary pieces working really well together.
Wow! There’s a stack of season and other announcements in my inbox. Apologies for any redundancy from earlier posts but here’s stuff you might want to know. In no particular order…
On November 6th at 7.30pm in the Conservatory’s Temerty Theatre Happenstance, made up of clarinettist Brad Cherwin, pianist Alice Hwang and singers Adam Harris and Whitney Mather, are giving a free concert. Adam will be singing a set by Jean Francaix, promised to be “hysterical”, with bass clarinet, and Whitney will be singing Messiaen’s Resurrection with Alice and a duo for soprano and clarinet, Pascal Dusapin’s To God. I would be all over this but I’m tied up that night.
Bicycle Opera Project and Toronto Masque Theatre have announced plans for their upcoming seasons. BOP will be touring Juliet Palmer and Anna Chatterton’s Sweat across Ontario in July and August (details in May). It’s a work about sweatshop labour in the garment industry and is scored for nine voices and no instruments. Sweat will be directed by Banuta Rubess, conducted by Geoffrey Sirett and designed by Sonja Rainey. The cast includes: Catherine Daniel, Caitlin Wood, Stephanie Tritchew, Christopher Enns, Larissa Koniuk, Justine Owens, Emma Char, Alexandra Beley and Cindy Won. For more information, visit bicycleopera.com
Here’s a round up of news and announcements from my mail box.
April 8th, at Roy Thomson Hall at 8pm, Show One productions have a show with the Moscow Virtuosi Chamber Orchestra, soprano Hibla Gerzmava and cellist Daniella Akta in a varied program including Mozart’s Divertimento No.1 in D major, K. 136, Shostakovich’s Chamber Symphony in C minor Op. 110 and arias from Norma, I Masnadieri, and Adriana Lecouvreur.
Effective the end of the, not yet announced, 2017/18 season Larry Beckwith will step down as Artistic Director of Toronto Masque Theatre and with his going the company will pack up its tents. It’s unfortunate because TMT filled an interesting niche but fifteen years of organising, directing, administering and fund raising (especially the last) is a pretty long innings. TMT has done a lot of innovative stuff over the years but I’ll remember them as a company that was not afraid to experiment with ideas and elements from outside the Western Classical tradition as exemplified by Alice Ping Yee Ho’s The Lesson of Da Ji and their upcoming show The Man Who Married Himself. Toronto, of all cities, needs to find ways to incorporate the different cultural and musical traditions we come from into new art. Larry and his collaborators did that.