The TSMF performance of Das Lied von der Erde in the Schoenberg/Riehn reduction was a mixed bag last night, with orchestral side coming through and the vocal one much less so. The usually very capable mezzo Rihab Chaieb appeared a fish out of water in the Mahler. There was no requisite volume or colour in mid and lower ranges, and what in the critics’ parlance is known as the ‘purity of tone’ was MIA. The text was mangled on occasion. Whose bright idea was it to cast her for Das Lied, one wonders – the repertoire which she may, who knows, end up singing well some time, but for which she is at present not ready.
Young tenor Mario Bahg showed more promise, but he had much much less to do in his three short songs. Short but dastardly – with the chiroscuro of the highs and lows that need to appear seamless, logical and easy to do. Maybe one day.
All the drama of the Abschied therefore had to be provided by the chamber-size orchestra comprised of the TSO principals and non-TSO freelancers under Gemma New’s baton (the first piece in the program, Mozart Violin Concerto 5 with Jonathan Crow, was largely played by the young TSMF Academy fellows). In this they succeeded, with Keith Hamm (viola), Emmanuelle Bealieu-Bergeron (cello), Kelly Zumba (flute), Michael Sweeney (bassoon), Sarah Jeffrey (oboe) and Jonathan Crow as first violin in particular leading the charge. The work the reduced orchestra is expected to do is the work of an entire Mahlerian orchestra, but nothing seemed to be lacking last night, all the solos and accents in the right places. Watching Gemma New conduct was watching an extremely committed, attuned, energetic musical interpreter in action. She’s all-in in Mahler. I can already see more trips to Hamilton on my agenda next season.
When she joined the TSO, Loman was by no means the only woman, she tells me; while some of the internationally prominent orchestras to this day struggle with the issue of too few women in the ranks, she wasn’t an oddity in the TSO of the 1960s. Though she did help set a positive precedent that eventually changed a particular bit of orchestral culture that will sound unusual to us today. “Well, a funny story. If a female player got pregnant,” Loman says, “she was expected to stop playing in the orchestra as soon as the pregnancy was beginning to show. But what happened with me is that I stayed for as long as I could comfortably embrace the instrument, because there weren’t many harpists that the TSO could hire while I’m away on maternity leave for months. So I played through pregnancy, and after that, other women in the orchestra could too.”
Music-wise, this is what stood out, locally and internationally.
TOP FIVE: In Toronto, Han-na Chang guest-conducting the TSO in Mahler 5 was an experience out of the ordinary. Nicole Lizee’s Tables Turned at Tapestry/Luminato, though small in scale and budget, was large in innovation and theatre magic. Tafelmusik’s Safe Haven, programmed around the themes of refugees and immigration from baroque onward was a musical statement that we all needed. I went to Hockey Noir, an opera by Andre Ristic, not expecting much as I’ve no great interest in hockey, but I was hooked immediately. Fun Home, a musical based on Alison Bechdel’s graphic novel, was joy and tears from start to finish.
At home, the most significant event in large scale opera was arguably Rufus Wainwright and Daniel McIvor’s Hadrian. It looks like of all the Toronto-area opera critics I’ve liked it the most? Which is not to say I was a fan, but its ambition, I have to say, appealed, and the fact that it engaged the brain as well as the raw emotion. McVicar’s Glyndebourne revival of Cesare, which is a hit after hit after hit and which I own on DVD, tops my Big Opera list, as does Opera Comique’s revival of the bizarre Gounod werk, La Nonne sanglante. The staging by David Bobee is a lesson in how to salvage a work with a smart production. In Munich, I saw Castorf’s From the House of the Dead, and while the production did not engage, the BSO’s orchestra under Simone Young was this opera’s Technicolor dream coat and worth the price of admission. For the brazen deconstruction of Carmen that paid off, the ROH cinemacast of Barrie Kosky’s production is definitely among the highlights of the year. The biggest opera disappointment this year was, in a highly competitive field, Ivo van Hove’s Boris Godunov at the Bastille. It was “people in suits, singing before some video projections” concept. And I paid E100 for the pleasure of squinting from the Bastille balcony. I am not going back; I’m taking the Bastille only in streaming from now on.
Also worth mentioning this year: Picnic in the Cemetery at Canadian Stage, Soundstreams presents Andre Ristic, Juliet Palmer & Steve Reich in Six Pianos, and the very last edition of New Creations Festival at the TSO.
Coming up tomorrow: 2018 in theatre, visual arts and film
Every now and again, I get to do an interview where there’s no BS, where what you hear is just about all straight-up truth-telling. When that happens, you try to do your best to do the encounter justice. I hope I managed to do that in this interview with Erin Wall who talked to me last month about how she is trying to balance medical treatment and its demands, with having a busy singing career and a family.
Wall will sing (with Carolyn Maule on piano) the following program in Picton, Prince Edward County, on Sept 14:
Sarah Connolly sings Das Lied von der Erde with Chicago Symphony Orchestra, c. James Conlon. I went to Chicago for this; sadly the TSO’s own Erde was a wreck this year.
Adrianne Pieczonka sings Winterreise, Rachel Andrist @ piano
Soundstreams presents R. Murray Schafer’s Odditorium
Canadian Art Song Project + 21C Music Festival: the all-Ana Sokolovic recital with Danika Loren, Emily d’Angelo, etc
Mozart’s Piano – Kristian Bezuidenhout & Tafelmusik.
Vivier’s Kopernikus in Banff, Against the Grain & Banff Centre
Met in HD: Der Rosenkavalier (dir Carsen, with Fleming, Garanca, etc)
Arabella at the COC
Toronto Consort’s Helen of Troy (aka Cavalli’s Elena) – in concert.
The Youth-Elders Project @ Buddies in Bad Times. Much of this was unscripted: half participants in their twenties, half past their sixties, all bent, some homosexual, some queer (and there is a generational divide with terminology too), talk about their lives and experiences.
What Linda Said by Priscila Uppal @ Factory Theatre. Late Linda Griffiths appears to her friend (based on Uppal) who is now herself sick and undergoing treatment for cancer. They talk about life, love, writing, dying.
Kiinalik: These Sharp Tools by Evalyn Parry & Laakkuluk Williamson Bathory @ Buddies. Second half was as close as I ever came to witnessing a shamanic ritual. Laakkuluk donned an animist persona/mask and went straight into the audience. Crawled over and between the rows, ground against people, grabbed, handled, dry-humped. All kinds of boundaries got crossed. It was fantastic.
Unholy by Diane Flacks, Buddies & Nightwood Theatre. A panel of four women (an Orthodox Jew, a Muslim, an atheist and a Catholic nun) debate whether women should abandon religion altogether. Further complications ensue after the atheist and the Muslim fall for each other.
Young Marx via National Theatre Live (Yonge-Bloor Cineplex). Young Marx lives in London, throws (and throws off) communist meetings, has no money, has a wealthy loyal friend in Engels, one wife, one servant-lover, many children, police always on his tail for one reason or another. A laugh out loud farce and the best piece of left propaganda (I mean this as a compliment) I’ve seen in performing arts in a long time.
The Bakkhai at Stratford Festival on the other hand disappointed – chiefly due to music which was sugary musical theatre fare.
Fire at Sea, an Italian documentary about the locals of the southernmost Italian island Lampedusa and the African migrants making the treacherous journey across the Mediterranean into the EU.
Angry Inuk, a Canadian documentary about a handful of seal hunters in Nunavut who are barely making ends meet vs. the PR-savvy, big budget environmentalist organizations campaigning against seal hunting.
The Lives of Thérèse, a French doc about feminist activist Thérèse Clerc. Here’s a clip in which she tries to explain to her granddaughter that lesbianism is the sexual arm of feminist politics, and that heterosexuality is like sleeping with the occupier.
Dish: Women, Waitressing and the Art of Service, a Maya Gallus doc about women around the world who wait tables.
Agnes Varda & DJ: Faces, Places. Outstanding docu-fiction reminding us that there is no such thing as insignificant lives.
Sieranevada, a Romanian feature film about a Bucharest family preparing for the wake for its deceased patriarch. From the director of The Death of Mr. Lazarescu.
Those Who Make Revolution Halfway Only Dig Their Own Graves, a Quebec feature film which walks the esthetic and political avant garde side of the street. It imagines a radical left splinter group coming out of the Quebec anti-tuition fee protests from a couple of years ago which continues the fight in a more direct action mode (destruction of property, theft, and some violence against humans too). Refreshing, bizarre, Godard-ian, frustrating, but provocative and smart for its entire three hours. The movie that shifts the treatment of politics in Quebec’s engaged art – after this film, Robert Lepage’s play-pic 887 at CanStage, which still circles around the October unrest and the Quiet Revolution, seems dated.
It’s called Alto, it’ll cover music and literature and occasionally other stuff too and it’ll drop last Thursday of every month. The first episode is right here and on the Soundcloud, & can be streamed or downloaded. Guests Jenna Douglas Simeonov of Schmopera, John Gilks of Opera Ramblings, Joseph So of Ludvig Van and Opera Canada, and Sara Constant of The WholeNote and I talk about the good, the bad and the WTF of the year that was.
I’m still getting the hang of the technical side of things so don’t judge my sound equalization, clip quality or my anti-radio voice too harshly. For now.
I also realized while I was editing the audio file that there’s not a lot from my own list in the mix, but that’s just fine, there was so much to talk about that I never got around to going down my own list. I did point out my Greatest Disappointment, so there’s that. Here’s the run-down of some of the Best of… choices but for the Worst of… (and we were all much naughtier than our writing voices) you’ll have to listen in.
John of Opera Ramblings, Best Shows:
Neema Bickersteth’s Century Song at The Crow’s Theatre
Toronto Symphony with Against the Grain: Seven Deadly Sins, staged for concert
The Ana Sokolovic Dawn Begins in the Bones recital 21C Festival at Koerner Hall
The Vivier show, Musik fur das Ende, by the Soundstreams
Category: Reconciliation : COC Louis Riel, the symphony putting on shows with First Nations content; Brian Current & Marie Clements’ opera Missing which opened in BC; land acknowledgements in the arts world.
Sara Constant, Digital Media at the WholeNote:
The Soundstreams Vivier show
Intersections Festival hosted by Contact Contemporary Music (Jerry Pergolesi’s ensemble) – immersive event at Allan Gardens
My own addendum to this:
Soundstreams doing R Murray Schafer Odditorium
PLUS Judy Loman in anything
Joseph So, a long-time opera critic (Opera, Ludvig Van, Opera Canada):
Category: Event – the Trio Magnifico concert at the Four Seasons Centre (Netrebko, Hvorostovsky, Eyvazov)
Toronto’s best operatic performance: COC’s Gotterdammerung
COC’s Arabella (even though he describes it as a “German Harlequin novel” – or maybe because of that exactly?)
Best recital: Barbara Hannigan & Reinbert de Leeuw recital: “Like Melisande is singing Berg, Schonberg, Webern and Zemlinsky”
Best singing performance in an opera: Andrew Haji singing Nemorino in COC’s Elixir d’amore
Best opera seen abroad: Goetz Friedrich’s Ring in Deutsche Oper Berlin – the farewell performance.
Jenna Simeonov (Schmopera):
Absolute top of the chart: ROH Rosenkavalier directed by Robert Carsen with Renee Fleming, Alice Coote and Sophie Bevan.
The Depraved Appetite of Tarrare the Freak – an opera with puppets by Wattle and Daub at Wilton’s Music Hall in London.
Katie Mitchell’s production of Written on Skin at ROH with the original cast
A Schmopera interview highlight of the yer: Dr. Paul E. Kwak on vocal health of singers.
+ + +
For detailed info on the musical tidbits in the podcast, head here.
My own Best of 2017 coming out before end of year.
What do you call a Das Lied von der Erde with inaudible soloists? Das Lied ohne Erde.
Sorry, could never resist a bad joke.
I am also trying to cheer myself up after a Das Lied von der Erde with Michael Schade and Susan Platts, neither of whom had a voice big and flexible enough to deliver the songs comfortably. Neither was audible in anything a bit louder, anything with brass or in any of the tutti. When the orchestra thins out and voices are paired with a small group or one other instrument, then and only then the verses were being heard.
Luckily, some chunks of Der Abschied are chamber-like, so there was at least that. The Toronto Symphony Orchestra under Peter Oundjian saved (some of) the day, because the musicians came through and gave a solid read of this Mahler masterwork. But trying to listen to your favourite song cycle with singers under duress is not an experience I would recommend to anybody.
There was also world premiere on the program, a song cycle by Howard Shore to the words (an ode to nature) by Elizabeth Cotnoir. That was a snooze, I’m sorry to report, a musically static New Age-y set of poems about the plants, animals and “ancestors”.
It’s rare that I get out of a concert having disliked almost everything on the program (but a hat tip to the TSO). Forgive my grumpiness. I hate writing bad reviews, so I’ll leave it at this.