Gerald Finley has a baritone which casts a bass shadow. A voice dark and ripe and opulent that doesn’t lighten gladly, but the ear won’t mind two hours of it because Gerald Finley the dramatic interpreter and wizard of inflection comes with it.
Finley and one of the most in-demand accompanists today, Julius Drake, presented a German and Russian program at Koerner Hall this past Sunday, April 22. The first part assembled poems by Goethe set to music by Beethoven and Schubert, two almost exact contemporaries (the older man died 1827, the young one the year after) whose songs however belong to two different eras. Beethoven is not known for his vocal music and next to Schubert’s songs his come across as plainer, simpler melodies, playful or curious rather than stirring. In Finley’s hands the songs grew to become little scenes, delivered smoothly in his precise enunciation.
Schubert’s Goethe was a different Goethe. The set was capped with arguably the best known Schubert song, the infanticidal Erl King, but began with the long Prometheus lied, D 674. The Prometheus of this poem is defiant, not yet punished by Zeus, proudly creating humans after his own image. At the time of its creation the song could have signified political rebellion against the powers of the state, or personal rebellion of young creative men against their fathers, but the text has lost much of its resonance for audiences of our time and is potentially overlong and self-important. Not here: again, Finley worked his magic with the text and the song became a meaningful cri de coeur.
An den Mond (To the Moon) stood out from the set by its languid pace and silvery lyrics, while An Schwager Kronos (To Coachman Chronos) swept though in a gallop.
The secondhalf, all-Russian, was shared between Tchaikovsky and Rachmaninoff. Tchaikovsky’s four songs came out as positively moderate next to the Rachmaninoff set. Rachmaninoff gives the pianist a lot to do, and is no stranger to a sweeping cinematic statement. An orchestra might have been present in the downers-with-high-dramatic-peaks O nyet, molyu, ne ukhodi! (Oh No, I Pray, Don’t Leave), O, dolgo budu ya (In the Silence of the Night), and Na smert chizhika (On the Death of a Linnet) but it was indeed just these two men onstage. A lot of chiaroscuro is required there, which Finley created through sensitivity to the text rather than vocal timbre (which stayed consistently as dark as plush velvet). Julius Drake from the keyboard supplied Romantic excess where Rachmaninoff calls for it.
One number in the Rachmaninoff set was actually fun: Sudba (Fate) – a song in which the singer voices more than one persona, in the vein of Schubert’s Erlkönig – had Finley (and us with him) delighting in the onomatopoeic sound of fate knocking on various people’s doors. The final song in the official program was the astonishing and astonishingly exaggerated Vesennye vody (Spring Streams), which starts by cranking up to 10 and stays there for its remaining two minutes. But Finley and Drake made it sound almost natural.
The encore was reserved for songs in the English language – Barber, Copland, Healey Willan, and a Britten arrangement of The Crocodile, a folk song recounting how a man ended up eaten up by the gigantic reptile and spent ten years inside it, “very well contented.”
As was the audience on this night.
Gerald Finley and Julius Drake presented a recital program on April 22, at Koerner Hall, Toronto. They continue to tour this program to Washington DC, Georgia and NYC. Finley will have an extra stop in Montreal, with pianist Michael McMahon (Info).
Here’s my March art song column in this month’s Whole Note.
It looks better in print, as always, so do grab a copy somewhere. It is, as usual, free and priceless.
+ + +
On a pleasantly cold February evening, Toronto Masque Theatre held one of its last shows. It was a program of songs: Bach’s Peasant Cantata in English translation, and a selection of pop and Broadway numbers sung by musician friends. An actor was on hand to read us poems, mostly of Romantic vintage. The hall was a heritage schoolhouse that could have passed for a church.
The modestly sized space was filled to the last seat and the audience enjoyed the show. I noticed though what I notice in a lot of other Toronto song concerts – a certain atmosphere of everybody knowing each other, and an audience that knows exactly what to expect and coming for exactly that.
I was generously invited as a guest reviewer and did not have to pay the ticket, but they are not cheap: $40 arts worker, $50 general audience, with senior and under-30 discounts. And the way our arts funding is structured, this is what the small-to-medium arts organizations have to charge to make their seasons palatable. Now, if you were not already a TMT fan (and I appreciate their operatic programming and will miss it when it’s gone), would you pay that much for an evening of rearranged popular songs and a quaint museum piece by Bach?
The stable but modest and stagnating audience is the impression I get at a lot of other art song concerts in Toronto. Talisker Players, which also recently folded, perfected the formula: a set of readings, a set of songs. Some of their concerts gave me a lot of pleasure over the last few years, but I knew exactly what to expect each time. Going further back, Aldeburgh Connection, the Stephen Ralls and Bruce Ubukata recital series, also consisted of reading and music. It also folded, after an impressive 30-year run. It was largely looking to the past, in its name and programming, and it lived in a cavernous U of T hall, but it could have easily continued on and its core audience would have continued to come. Stable audience, yes, but also unchanging.
The issue with a stable and unchanging audience is that the programming will suffer. It’ll go stale, ignore the not already converted, abandon the art of programming seduction. And the ticket will still cost at least $50.
I’ve also sat in the Music Gallery’s contemporary music recitals alongside the audience of eight so it’s not entirely the matter of heritage music vs. new music. Empty halls for contemporary music concerts are as depressing as book events in Toronto, to which nobody, not even the writer’s friends, go. (I know this well; don’t ask me how.)
So, where is art song performance in Canada’s largest city going?
Due to the way they’ve been presented for decades now, there’s a not-negligible whiff of Anglican and Methodist churchiness to Toronto’s art song concerts. They usually take place in a church (Trinity-St. Paul’s, Rosedale United, Trinity Chapel, St. Andrew’s, etc) or a place very much like a church (Heliconian Hall). They are often programmed as an occasion for personal edification – as something that’ll be good for you, that will be a learning opportunity. Why are we being read to so much in recitals – instead of, for example, being talked to and with? Does anybody really enjoy being read to in a music concert?
I sometimes wonder if the classical music infrastructure of concertgoing, its comportment etiquette, regulation of space, fussy rituals of beginning, presentation, breaks and ending wasn’t built to control and disguise classical music’s visceral power over humans? And to keep tame its community-expanding, boundary-blurring potential?
In other words, getting out of the church and the U of T will benefit Toronto’s art song performance. Classical music, including art song, is a pleasure, not homework; it’s inviting the stranger over, not getting together with the same group each time. Some of those who program art song and chamber music in Toronto are already grappling with these questions, fortunately.
Among them is the ensemble Collectìf, consisting of three singers and a pianist: Danika Lorèn, Whitney O’Hearn, Jennifer Krabbe and Tom King. They scour the city for locations and choose places off the beaten path. They held a recital in an Adelaide St. W. loft, and a raucous songfest at an old pub in Little Italy. For a Schubert Winterreise, performed in the more familiar quarters of Heliconian Hall, Danika Lorèn had prepared video projections to accompany the performance and the singing was divided among the three singers, who became three characters. For an outing to the COC’s free concert series, they created their own commedia dell’arte props and programmed thematically around the poets, not the composers who set their poems to music. Collectìf is a shoestring operation, just starting out, yet already being noticed for innovation. Lorèn is currently member of the COC’s Ensemble Studio, which is why the Collectìf somewhat slowed down, but when I spoke to her in Banff this summer, she assured me that the group is eager to get back to performing. Winterreise toured last fall to Quebec and an art song program around the theme of nightmares returns to the same festival later in the year.
Another group that caught my eye did not even have a name when I first heard them in concert. They are now called Happenstance, the core ensemble formed by clarinettist Brad Cherwin, soprano Adanya Dunn and pianist Nahre Sol. That’s an obscene amount of talent in the trio (and check out Nahre Sol’s Practice Notes series on YouTube), but what makes them stand way out is the sharp programming that combines the music of the present day with musical heritage. “Lineage,” which they performed about a year ago, was an evening of German Romantic song with Berg, Schoenberg, Webern and Rihm and not a dull second. A more recent concert, at the Temerty Theatre on the second floor of the RCM, joined together Françaix, Messiaen, Debussy, Jolivet and Dusapin. The evening suffered from some logistical snags – the lights went down before a long song cycle and nobody but the native French speakers could follow the text – but Cherwin tells me he is always adjusting and eager to experiment with the format.
Cherwin and I talked recently via instant messenger about their planned March concert. As it happens, both the pianist and the clarinettist have suffered wrist injuries and have had to postpone the booking for later in March or early April. Since you are likely reading this in early March, reader, head to facebook.com/thehappenstancers to find out the exact date of the concert.
In the vocal part of the program, there will be a Kurtág piece (Four Songs to Poems by János Pilinszky, Op.11), a Vivier piece arranged for baritone, violin, clarinet, and keyboards, and something that Cherwin describes as “structured improv involving voice”. “It’s a structured improv piece by André Boucourechliev that we’re using in a few different iterations as a bridge between sections of the concert,” he types.
I tell him that I’m working on an article on whether the art song concert can be exciting again, and he types back that it’s something they’ve been thinking about a lot. “How can we take everything we love about the chamber music recital and take it to a more unexpected place. How can repertoire and presentation interact to create a narrative/context for contemporary music. How can new rep look back on and interact with old rep in a way that enhances both?”
He tells me that they’re looking into the concert structure at the same time – so I may yet live to see recitals where the pieces are consistently introduced by the musicians themselves.
Will concerts continue to involve an entirely passive audience looking at the musicians performing, with a strict separation between the two? There were times, not so long ago, when people bought the published song sheets to play at home and when the non-vocational (better word than amateur) musicianship enhanced the concert-goers’ experience of music. Any way to involve people in the production of at least a fraction of the concert sound or concert narrative?, I ask him, expecting he’ll politely tell me to find a hobby.
“We’ve thought a lot about that actually,” he types back. “It’s a difficult balance. Finding a way to leave room for collaboration while also having a curated experience.” Against the Grain Theatre, the opera company where he now plays in the permanent ensemble, also wants to push in that direction, he tells me.
There is a corner of the musical avant-garde, it occurs to me as I thank him and log off from our chat, that actively seeks out non-professional participation. There are Pauline Oliveros’ tuning meditations, of course, but more locally there is also Torontonian Christopher Willes, whose various pieces require participation and are fundamentally collective and collaborative. Though he isn’t a musician, Misha Glouberman’s workshops in social behaviour, like Terrible Noises for Beautiful People, are arguably a process of music-making.
But how to achieve an active audience in the small, chamber or lieder situations? It’s easier with choruses and large production, where sing-alongs are possible – some smaller opera houses are already doing it, for example Opéra-Comique in Paris. The Collectìf trio did get the audience to sing at the Monarch Tavern that one time (the Do Over, January 2016) but the experiment hasn’t been repeated in Toronto.
Speaking of pub recitals, Against the Grain’s Opera Pub is a glorious project (first Thursday of every month at the Amsterdam Bicycle Club), but it’s more operatic than art song, at least for now. ClassyAF are a group of instrumentalists who perform in La Rev and The Dakota Tavern, no vocals. Drake One Fifty restaurant in the Financial District has just started the Popera Series with opera’s greatest hits performed in a restaurant full of people, but again, it’s opera, the more glamorous and easier-to-sell sibling to the art song.
Will Happenstance, Collectif and similar innovative upstarts, and their more established peers like Canadian Art Song Project, endure over the years, obtain recurring arts council funding and renew art song audience?
With that goal in mind, my immodest proposal for the present and future art song presenter: move out of the churches and university halls. Musicians, talk to people, introduce the pieces. Program the unfamiliar. Always include new music, maybe even by composers who can be there and say a few words. If the music is danceable, allow for concerts with audience dancing. (I’m looking at you, Vesuvius Ensemble.) Engage the people. If live music is to be different from staring at the screen, make it different from staring at the screen.
Some March highlights
Meanwhile, here are my March highlights, which are of the more traditional Toronto kind, though still of interest.
March 19 at 7:30pm, Canadian Art Song Project presents its 2018 commission, Miss Carr in Seven Scenes by Jeffrey Ryan. Miss Carr is Emily Carr, and the song cycle, based on her journals, was written for Krisztina Szabó and Steven Philcox. At (alas) U of T’s Walter Hall.
March 4, as part of Syrinx Concerts Toronto, mezzo Georgia Burashko will sing Grieg’s Lieder with Valentina Sadovski at the piano. Baritone Adam Harris joins her in Schumann duets for baritone and mezzo, whereas solo, he will sing Canadian composer Michael Rudman’s The City.
March 11 at Temerty Theatre, Andrea Botticelli will give a lecture-recital (I like the sound of this) on the Koerner collection, “Exploring Early Keyboard Instruments.” Vocal and keyboard works by Purcell, Haydn and Beethoven on the program with tenor Lawrence Wiliford singing. The only U of T chapel to which I will always gladly return, the Victoria College Chapel, hosts the Faculty of Music’s Graduate Singers Series, also on March 11.
Finally, if you are in Waterloo on March 7 and up for some Finnish folk, the U of W’s Department of Music presents the EVA-trio (cellist Vesa Norilo, kantele player Anna-Karin Korhonen and soprano Essi Wuorela) in a noon-hour concert.
Toronto Masque Theatre is playing its third last show ever at the historical Enoch Turner House Feb 8-10 and I was there last night. (There’s still the Shaftesbury Avenue salon on April 23 and the final celebration on May 12.) Here comes a wee photo reportage, as it was my first time in this cozy heritage building which should def be used more for concerts and book launches.
Patricia O’Callaghan and Giles Tomkins sang Bach’s The Peasant Cantata – We Have a New Governor Cantata Burlesque, in English. Belonging to the less known goofy side of Bach’s output, the piece involves a visit to the pub, imbibing, the praising (ironic and not) of the peasant’s feudal master, and the grousing about tax collectors. It ends in good spirits.
The small orchestra on period instruments accompanying the shenanigans: Larry Beckwith (violin), Kathleen Kajioka (viola), Margaret Gay (cello), Sibylle Merquardt (flute), Scott Wevers (horn) and Christopher Bagan (harpsichord). Stage direction by Guillermo Silva-Marin.
A couple of photos from the intermission.
Second part had an amplified band — Bagan back at the piano, with Ed Reifel on percussion, John Gzowski electric guitar, Andrew Downing double-bass, with mezzo Marion Newman and Larry Beckwith joining the quartet of singers as the tenor of the group. This was a mix of songs (cabaret, Broadway, pop, a couple of Lieder and a lullaby composed by Marion Newman) on the theme of dark nights and bright stars. Actor Martin Julien read poems by Dickinson, Shelley, Byron, Sara Teasdale, et al.
First guest is Victorine de Oliveira, contributing writer @ Philosophie Magazine in France, who talks about her opera and classical highlights this season, books she’s been reading and also the French opposition to the MeToo. (Recorded on Skype, please forgive the extraneous sounds) People mentioned: Lea Desandre, Claus Guth, Kaija Saariaho, Terry Gillian, Paris opera loggionisti, Sarah Bakewell, a historian of the May ’68 Ludivine Bantigny, sociologist Eva Illouz, Virginie Despentes, Catherine Millet & the signatories of the PasMois letter.
Song: Emoke Baráth with Emese Virág on piano, Debussy’s “Nuit d’etoiles” (Hungaroton label, May 2017)
Followed by the conversation with opera director Christoper Alden on directing Rigoletto at the COC, the figure of the “Fallen Woman” in Verdi, working on a Peter Pan play via Leonard Bernstein and Nina Simone, whether his (rent-controlled) apartment in NYC is more Zeffirelli or minimalism, what his worry would be if the Met ever came calling, and what is opera to do in the age of Trump and the internet domination of culture.
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.
Against the Grain’s new Handel concoction, Bound, is still very much a work in progress. Last night, we had a chance to see the first version of the three-year process of developing a production, and the final version may end up being completely reinvented.
The founding idea is good: 7 characters who are confined due to a brush with the immigration law sing Handel arias about their condition. The spoken bits connect the arias – the Stage (voiced by Martha Burns, in a dark far away corner of the COC’s Jackman Studio) interrogates each inmate in a weary and slightly menacing tone through a glitchy microphone.
The Handel aria texts (Cara sposa, Ombra mai fu, Iris hence away and Ah mio cor I did manage to recognize) are discarded and new words written to build the stories for these specific characters. Music is often rearranged as well (Topher Mokrzewski @ piano) – sometimes to the detriment, when the coloraturas are sacrificed, and sometimes the arrangements indeed enrich the song, as when Arabic-inflected singing is added to Miriam Khalil’s character take on Ah mio cor.
The cast of young singers are good actors to one though neither is exactly a fireworks Handelian voice. The vocal side would matter much less if the dramatic core of the piece solidified — which is still not entirely the case. Is the State specifically Canadian, or is it American, or an abstract cross-cultural entity? Is the State meant to be uniformly oppressive? In which case, the individual stories need to be revised and made more specific. In one case, a man was asked about a German relative of his who’s had ties to the Nazi party. Sadly, Nazis are back in the news and I wasn’t entirely sure if the libretto was suggesting that the relatives of Nazis or the Nazis themselves have been in the past or are being today unfairly prosecuted or harassed by association?
Another character is sister of a man who committed I presume one of those white terrorism acts: lots of innocent people are killed, is all I gathered; and the man’s name is Liam, the name which, when sung out in a plaintive aria, sounds almost comical. She is being interrogated, I presume, as is customary to talk to family members of mass murderers? I am not entirely sure that that too is an extremely oppressive act.
Perhaps the main dramatic problem is that the reason why these characters are being interrogated remains unknown? More detail would help clarify the absurdity of the charge – the vagueness doesn’t help. Perhaps Joel Ivany should look at some of the news stories and work them in, with changed names? One of the characters wears a hijab, and is questioned by the State about it – but the exchange just doesn’t sound credible. Since we don’t have all the other information on why she’s being detained, it sounds like she is being given extra hard time because of the hijab? The hijab question is also a bit more complicated than that. If the State was Iranian or Saudi Arabian the woman harassed would be the one without a hijab or niqab. I kept thinking of Zhara Kazemi, who was an Iranian-Canadian photographer apprehended on false charges and beaten to death in a jail in Iran. Might be wise to take a wider look at what some other States are doing as well when it comes to women and how they dress.
Left as vague as this, neither of the character stories actually work. The one thing that is clear is that they are all massively incovenienced. A big crime in Canada, I know… But silliness aside, if the libretto is to stay Canada-specific, the stories should be more specific. A clear cut case that Ivany could have used is toddlers being stopped at border crossings because their names appear on do-not-fly lists, for instance. Or live-in caregivers being denied family sponsorship visas because their children have medical conditions which would be “a burden to Canadian health care system”. Or the live-in care-givers themselves. There is much to be mined from the actual news – no need to invent vague unspecific instances of what we are told is oppression.
This show can be much better. Meet you same place, next year?
Kristian Bezuidenhout has added a great deal not only to the HIP circles but to the whole of this music field that we call classical. He is a fortepianist, an occupation probably even more niche than a harpsichordist, but as such has become a one-man movement for period piano. I can’t think of another equally busy fortepianist today; let’s hope the gate is now open for others and that he won’t remain an exception.
What he’s best known for is his recordings and performances of Mozart’s keyboard music, which indeed sounds much different on a fortepiano vs modern piano. It’s almost a transladaptation, Mozart on a fortepiano – though one returning to Mozart-era technology of sound-making. Chamber music in particular, including of the vocal kind, is an inventive field: Classical and early Romantic Lieder to fortepiano, anyone? Why, yes: KB and Mark Padmore recorded two discs of select Mozart, Beethoven, Haydn and Schumann songs for harmonia mundi, and KB also did a disc for the Canadian label ATMA, a Schoene Muellerin with tenor Jan Kobow back in 2003. All worth sampling.
Bezuidenhout made his Tafelmusik debut in 2013, and returns this year for four performances of the program titled Mozart’s Piano (Nov 9, 10, 11 and 12, Trinity St-Paul). In the first half, he kind of conducted from the fortepiano without much playing it – just from time to time seeking a chord or a few bars as part of his conducting. This was a new thing for me, silent fortepiano conducting, but there’s a first for everything, I suppose. First two symphonies, by two of the junior Bachs, Johann Christian and CPE, were fine and pleasant, if a little same-y. Mozart’s S29 livened things up: it’s a varied, rich piece, with inner unfolding drama of (I’m only ever slightly exaggerating) Beethoven’s Pastoral. There was a lot there to keep you interested through its entire length.
Second part was of course why most of us came – and let me tell you, I’ve rarely seen TSP that full. To the rafters. Tafel-subscribers know their stuff and come out, -10C degrees or not. The audience was also tilting a bit older than usual, which was good too–no Toronto mandatory standing ovation here, ladies and gents, and no rushing to get to the parked car. Second part beginning, Bezuidenhout came back to the emptied stage and did a memorable Mozart Rondo in A Minor for solo piano K511. Too bad there was no possibility of an encore–while some European concert halls allow it, here it wasn’t really an option. I would have happily sat in my crammed seat surrounded by other people’s winter coats for two or more solo encores.
The final piece was a Mozart piano concerto with Tafelmusicians back on stage – the no. 12 in A Major. Solo fortepiano alternated with orchestral sections, and although the piece kind of paled in comparison with no. 29, there was some extraordinary concertare happening.
In short – Bezuidenhout is becoming one of those soloists whom it’s not wise to miss. If he passes through your fair town, don’t idle.
I loved loved loved this Sarah Connolly masterclass from a couple of years ago at Royal College of Music. It’s a crying shame that she still hasn’t had her Canadian debut while she’s in the US at least once a year.
went to the Opera Atelier and actually found myself enjoying their Figaro. The dance is used in the usual OA fashion (corps de ballet with men in tights and women in hoop skirts show up, do what they do in every production), but there was not a lot of it, and I decided not to comment on it in the review. The stock gestures would appear in the odd solo aria, and it wasn’t too in-yer-face. All in all, Figaro as commedia dell’arte rather worked for me.
A q & a with Barbara Hannigan, which we did over email. I sent her over a few questions, she sent back the replies, so it’s not the most dynamic of conversations, but it’s still very revealing of some of her attitudes, I thought. What and who is being praised, what and who are deemed not good enough, or ‘more accessible’. Including Alma Mahler in the recital program, then explaining that she is not as good as the men on the program, and that she’s included essentially because she was a lover to some of the male geniuses is… interesting. Also, between you (a handful of my faithful readers) and I, not sure if I’ll be going to this recital at all. I listened to all the songs while writing this piece, some in multiple versions, and I can’t imagine them ever being the most exciting of programs, sung one after another, by the same voice. Though Hannigan insists the Schoenberg and the Webern sets are inherently dramatic, she just needs to embed and do justice, rather than interpret, as an audience member I must disagree. Everything depends on the singer. For instance, I’ve listened to two or three versions of Berg’s Sieben frühe Lieder while researching, and none compares with a von Otter recording of the cycle. A singer needs to give life to these things, otherwise – zzzzz. Here by the way is the program with Reinbert de Leeuw, an eminence grise of the Dutch new music circles.
One week late (due to technical difficulties at The Wholenote blog, where this appears originally), here are my thoughts about Against the Grain’s pairing up with Kyrie Kristmanson. ‘Twas good.
Who knew that an album launch could become a unique theatrical experience? Yes, all right, the stars of pop music with mega-budgets and production companies do, but experimental mixed genre pop singers and small opera production companies don’t usually seek each other out for projects. Singer Kyrie Kristmanson invited the team of Against the Grain Theatre to create a theatrical component to the Canadian launch of her songs from Modern Ruin, and Friday night’s delightful do “Une rêverie musicale,” at the small theatre space at the Alliance Française, was the result.
Amanda Smith directed the first act. The little fantasy with a dancer (Mary-Dora Bloch-Hansen, in her own choreography) and a baritone (Adam Harris) had few props – some chairs covered with shiny metallic paper and some balloons. Music was a combination of purely instrumental and vocal, mostly French except for a bit near the end from Philip Glass’ Glassworks. It all sounded like one atmospheric piece thanks to the instrument that carried it all, marimba (Nathan Petitpas). Satie’s Gymnopedie 1 started the proceedings, and we got to meet the androgynous dancer (with glorious face make-up) first. The baritone entered as a late audience member and joined her onstage. Their interaction had, refreshingly, nothing to do with a potential seduction or couple formation. They were, more imaginatively, like two creatures from different planets trying to communicate through play.
Petitpas also played Satie’s Gnossiennes 2, 3 and 5, and accompanied Harris in Poulenc’s Hôtel and the final Après un rêve by Fauré, which I’ve never before heard in baritone register. A lot of sopranos perform this song, but it’s obvious to me now that it’s more appealing in a lower voice. Marimba added a dream-like quality.
It’s how opera as an art form began, really – as an intermedio between something else, between the acts of a theatre play for example. “Une rêverie” reminded us that it can still work perfectly fine like that – in this case, as an album launch with an operatic interlude of its own.
The second half of the show was Kyrie Kristmanson’s set. Kyrie Kristmanson is a new artist to me, but I’m glad I discovered her. The labels “folk” or “pop” or “baroque” don’t quite do her justice. Friday night she performed a set with the amplified Warhol Dervish string quartet. Among her singer-songwriter interests are recomposing and arranging what’s left of the songs of the trobairitz, the Occitan female version of the troubadours, and some of the songs in the program did have a distant medieval musical ring to them. Mostly the numbers they performed were musically more complex than medieval music, and more complex than any of the stuff performed by folk or pop or cabaret musicians. Few songs had a predictable danceable beat prevalent in pop concoctions. At first I thought I had finally found a Canadian version of what Rosemary Standley does in her baroque/folk work, but the music that Kyrie and the Warhol Dervish quartet play is more contemporary instrumental, with none of the simple and immediate appeal of pop songs. Kudos to them for smuggling in quite a bit of demanding listening into the popular song form and taking the road less travelled but more adventurous.
Kyrie Kristmanson, the Warhol Dervish quartet and artists from Against the Grain Theatre presented “Une rêverie musicale” on Friday, October 13 at Alliance Française, Toronto. Kristmanson’s next concert is at the NAC in Ottawa (October 19), after which she is off to Regina, Montreal and to a festival in France.