Angela Hewitt in Goldberg Variations

Angela Hewitt playing Goldberg Variations at Toronto Summer Music Festival at the Koerner Hall. Photo by James Ireland

There is a scene in Ian McEwan’s Saturday in which Angela Hewitt makes an appearance — indirectly, in a recording. The protagonist, an haute bourgeois surgeon Dr Perowne, likes listening to classical music in his operating theatre, and on one such occasion he puts on Bach’s Goldberg Variations on modern piano, played by Angela Hewitt. (McEwan has since shared in many interviews why he prefers Hewitt’s Bach best; Saturday is not among best books, but given that he’s written a lot of novels that take place in the past before Hewitt, the possibilities of placing her in other novels I suspect weren’t many.) Goldberg Variations has had an eventful career in literature. There is the Nancy Huston’s eponymous novel, and Gabriel Josipovici’s Goldberg: Variations. Thomas Bernhard also uses it in his bizarre Americanized fantasy of Glenn Gould, The Loser. McEwan however seems to have been gently–and rightly–insisting on decoupling the Goldberg from its most legendary proponent, Gould, and hearing it as very much an open, contemporary, everybody’s (not GG’s) work of art, and not an insurmountable massif.

The association it gives it in Saturday — with upper middle classes with refined leisure pursuits — is less fortunate and echoes the one that’s followed the Variations since the beginning. For the longest time it was accepted as true that Bach composed the work so an anxious insomniac noble could have his late nights and early mornings filled with entertainment, but that theory has since been demoted as apocryphal. It’s not certain who or why commissioned it and whether Johann Gottlieb Goldberg was in fact its first performer, but the piece was published mid-18th century and a few first edition copies still exist in the world. Its description was Keyboard exercise, consisting of an Aria with diverse variations for harpsichord with two manuals. The playing of a piece written for an instrument with upper and lower keyboards on a modern single-manual piano is fascinating to watch too, as hands do an incredible amount of crossing and fluttering about.

What struck me the most in Hewitt’s performance is the humanity of it. I expect the two extremes in the interpretation of the Variations on modern piano are 1 – the mechanical, super-precise, unsentimental roll-out (and the emotion will, proponents of this approach would tell you, communicate itself and take care of itself), and 2 – a post-Romantic take with a whole gamut of idiosyncrasies of what Gould mocked while commenting on his 1980s recording of Variations as a lot of piano-playing (eg. rubato, extreme contrasts, open sentiment, intimacy). Hewitt was closer to the 2, and I’m glad of it. There’s a huge difference between a live Goldberg and a recorded one, and not only because the recorded ones will be unrealistically polished: there’s a body present in a live concert and observing it negotiating the work’s twists and turns becomes an important dimension of the work itself. Hewitt’s nods, bright smiles, frowns, the raising of eyebrows, all added a dimension to the music.

Hewitt held the reins securely. In a couple of tangled spots the hold on the the ultrasonic speed of beat was tenuous — but mostly she was one with the piece, which she’s recorded and performed many times and plays from memory. Aria that opens the work was calm and embellished in moderation; when it returned at the end, it came more daringly ornamented, with appropriately messy hair after a wild ride.

The piano nerdery that accompanies the Goldberg can enhance the listening but is not essential. Here’s some of it. The initial Aria is the base from which variations are supposed to ensue, but only the baseline (left hand, lower pitch part of score) of the Aria is used for that purpose, not its melody – so what follows are variations only loosely. Soon enough Bach starts playing with the canon format – a unison canon on one keyboard (when the melody and its echo barging in are on same notes, octave up or down) at No. 3, Canon from the second (two notes difference between initial canon and its echo) in 6, Canone alla terza (a third up) at 9 et cetera with the gradual progression to nine notes distance and a switch to a new thing altogether, a quodlibet that quotes from the songs that the listeners of the era would have recognized, before finishing with the Aria. Each of these is followed by further variations, some specified for 2 keyboards, some for 1. None of this the listener needs to know to enjoy the piece. About 80 percent of Goldberg does not sound at all like a keyboard exercise, and the 20 percent that does is sandwiched amidst so much trippy beauty that you easily don’t notice it.

What’s the future of the Goldberg Variations? Not a huge number of pianists, harpsichordists and fortepianists are its advocates today, perhaps believing that it doesn’t need advocating what with the Gould colossus still casting its shadow. It is not often performed in Canada (I expect neither in the US) as it usually demands a concert with nothing else on the program and a passionate performer-advocate, not to mention a crowd of devoted Goldbergphiles who will come out for this work specifically. Perhaps future concerts will include video projections, lighting design, choreography, or choral transcriptions in the style of Accentus? Multiple performers on different keyboards? Why has this not happened yet? Perhaps because while preserved in aspic of admiration in recordings and literature, Goldberg Variations live performance is not on the up? I am surprised by how few people love it (while many more easily declare admiration).

In any case, Angela Hewitt is doing her part (and how) in keeping the GV alive and circulating, especially among the more easily distracted anglophone populations. Should she come with a Goldberg to a hall near you, don’t miss it.

Source and inspiration of a Saturday: a bit more Sarah Slean

Sarah Slean / photo Art of Time website

Art of Time Ensemble’s AD Andrew Burashko prepared another concert for the TSMF this year, a mid-day do at Walter Hall this Saturday, the time slot usually reserved for the song or chamber music academy boys and gals. This was different: instead of a master class or a young talent showcase, Burashko, the Rolston String Quartet and the guest singers gave us a sample of songs that have come out the AoT Banff residence created to get composers/arrangers, popular singers and classical instrumentalists to re-work some of  the classical chamber pieces into something new and their own.

Some years before the Banff collab, Burashko had commissioned 4 singer-songwriters to do something with the Schubert piano trio (discussed in the previous post on this blog and performed on July 25 in Koerner Hall). 9 new popular songs came out of the Trio and ended up being recorded on different albums. Burashko repeated this experiment with a Schumann piano quintet and a Korngold piece, at which point Banff asked him to do the program under their auspices. And soon enough, 6 singer-songwriters and 6 composers met in Banff Centre for a three-week collaboration on making new pop songs with elaborate musical tapestries based on a piece out of the classical canon.

Sarah Slean and John Southworth mentored the singers in Banff, and for this concert on Saturday they sang some of what came out of those three weeks. They were joined by two other singers whose names I didn’t manage to write down correctly and could not find online after. One was possibly Neil Hannon, Northern Irish singer-songwriter? Another one, who also arranged one of the songs, had the first name of Kelsey? Alas, AoT doesn’t print detailed programs in advance (they do post them after – this is a good archive of past performances), and as long as that’s the case, the info that I can share about their concerts will unfortunately have to be partial.

Among the singers, La Slean stood out again – not least because her lyrics are unusually clearly enunciated, whereas I missed most of the lyrics in songs performed by other singers. I promise you it’s not my classical art song snobbery talking; I genuinely couldn’t understand what was said and some of those lyrics are probably quite good. Second song of the two that Slean did she explained that she wrote for Rilke – specifically in solidarity to his claim that he communicated with the supernatural. Slean really has the Romantic mythemes down pat, doesn’t she? There are often interesting stories behind her songs; she really is a delightful song artist.

Rolston Quartet, after it accompanied all the singers and Burashko at the piano in the song program, was then joined by pianist Todd Yaniw for an energetic Dvorak’s Piano Quintet No. 2 Op 81. Some of the preceding songs, it became clear, had recognizable affiliation with the Quintet.

TSMF continues apace; I will report on at least two other concerts coming up next week.

Art of Time in Schubert, Hatzis, Cohen, Brel, Gershwin and Freddie Mercury

Sarah Slean (singing), l-r Berick, Mercer, Burashko

Last night at the TSMF, Art of Time did that thing that they always do well: a concert of popular songs in classical arrangements for a chamber orchestra with a piano. I’m always curious about the arrangements side of things: the composers that the AoT engages for this purpose come from a variety of backgrounds and styles, and the combinations are sometimes quite inventive. There was a Leonard Cohen song arranged by British composer Gavin Bryars, and I remember hearing Kevin Lau’s name in one of the songs (full list of arrangers updated below).

The traffic went the other way too: pop singer-songwriters taking over classical pieces and making them their own. Projects like this one are among the beacons of this approach, and I’m always on the lookout of good treatments of the classics by the musicians of other genres. Singer-songwriter Sarah Slean has been one of those musicians for a while now, at least since she decided to take a turn from the pop stardom business to classical, chamber orchestras, piano-with-live strings, and smaller venues. Her song Lonely Side of the Moon is a direct response to Schubert’s piano trio op. 100, the movement Andante con moto. In the concert, the two were played side by side. First the AoT artistic director Andrew Burashko (piano) played the trio with Yehonatan Berick (violin) and Rachel Mercer (cello). Slean followed, explaining what she changed (the meter in the opening bars on the piano, as you’ll spot!) and what she developed.

From this (by a different trio, not AoT):

https://www.youtube.com/watch?v=e52IMaE-3As

…to this:

https://www.youtube.com/watch?v=mlADcEegX9Q

The song can of course stand on its own: we have a very German Romantic preoccupation that is the Nature here revived as a song topic, through an environmentalist perspective. I think she’s onto something. We already have the novel of the climate change and perhaps trad Romanticism will see a revival thanks to the poetry of the climate change?

Slean was also excellent in Leonard Cohen’s rearranged Anthem and Take This Waltz. While Cohen himself was around to perform these songs, what he’s saying and how was of greatest interest (as you can read in the recently published Nick Mount’s Arrival: The Story of CanLit, Cohen started out as part of the early CanLit poetry contingent and published in small presses before he decided to move to the all-powerful melting pot of American song and become a star). His songs can be read from the page as poems and not a whole lot would be lost (OK! the spoken poetry people will disagree; yes, the delivery etc, but let’s move on). The luxurious arrangements that add layering to the musical side of his songs are therefore a pretty exciting thing to discover. Slean also did a solid job with Brel’s Ne me quitte pas and almost almost managed to make Queen’s spectacular The Show Must Go On intimate.

Singer-songwriter John Southworth was also in the program, performing some of George Gershwin and Cohen songs. He happens to be not the most communicative of performers. I was trying to understand his low-key, coarse-voiced, dispassionate approach and the best I could come up with is: imagine if the characters from Beckett’s Waiting for Godot decided to take up singer-songwriting? That. It’s certainly an original mode to operate in but I have yet catch the bug. Here’s a sample from his songbook.

A  very lively opener started the proceedings: a piece by Christos Hatzis from Constantinople. I believe it was this one: https://youtu.be/o3aUenb2xz0?t=26

AoT return to the TSMF for the reGeneration concert with young musicians of the song academy this Saturday July 27, Walter Hall. AoT were, beside Burashko, Berick and Mercer, Peter Lutek at woodwinds, Rob Piltch on electric guitar, and Joe Phillips on double bass.

Edited to add: Here’s the full list of pieces and composers with (in most cases) arrangers:

Old Photographs by Christos Hatzis
 
Anthem by Leonard Cohen was arranged by Andrew Downing
 
Who Cares by George and Ira Gershwin arranged by Andrew Downing
 
Hey, That’s No Way to Say Goodbye – Leonard Cohen, arranged by Gavin Bryars
 
Darkness – Leonard Cohen, arranged by Kevin Breit
 
Man I Love – George & Ira Gershwin, arranged by Kevin Lau
 
Swanee – George & Ira Gershwin, arranged by Shelley Berger
 
Take This Waltz – Leonard Cohen, arranged by Bryden Baird
 
Schubert’s Piano Trio No. 2 in Eb major, ii. Andante con moto
 
Good Mourning by John Southworth
 
Lonely Side of the Moon by Sarah Slean
 
The Partisan – Anna Marly, arranged by Bryden Baird
 
Ne Me Quitte Pas – Jacques Brel, arranged by Jim McGrath
 
Dance Me to the End of Love – Leonard Cohen, arranged by Andrew Downing
 
The Show Must Go On – Queen, arranged by Rob Carli
John Southworth with Berick, Mercer, Burashko and Phillips. Photo: Art of Time

Toronto Summer Music Festival 2019

There are a few things of interest at the TSMF this summer and I think the festival is going to be more exciting than the last year’s.

Rihab Chaieb is singing Das Lied von der Erde with a chamber group of musicians from the TSO in the Schoenberg-Riehn version. Gemma New conducts, Mario Bahg sings the tenor songs. Also in the program, Mozart’s Violin Concerto No. 5 in A Major, K. 219 “Turkish” with Jonathan Crow as the soloist. August 1, Koerner Hall. More & tickets.

By the way, I profiled Gemma New for the summer issue of the Wholenote here. She and the Hamilton Philharmonic have some excellent ideas about how to rethink the traditional concert format.

To me not particularly known, American tenor Anthony Dean Griffey is the lead song artist in this year’s Academy. His American-British recital program with Warren Jones at the piano however is intriguing: at least two men in the program were gay (Samuel Barber and Charles Tomlinson Griffes); another one, Frank Bridge, though hetero, was Benjamin Britten’s teacher and friend. One is a folkie (John Jacob Niles). There is also Charles Ives, Gerald Finzi and one woman, the prolific US composer Lori Laitman and her Four Dickinson Songs. Which is timely, as Emily Dickinson is having a Cultural Moment, it seems: Terence Davies’ black biopic A Dark Passion has recently had a wacky, joyful rejoinder in Madeleine Olnek’s Wild Nights with Emily:

In other words: I like the Crazy New Englander streak in this program. It’s promising. July 16, Walter Hall (alas).

Then there’s Angela Hewitt playing Goldberg Variations at Koerner Hall. July 30. Nothing else need be added.

There are a bunch of string quartet repertoire concerts and the reGeneration recitals – and I’ll need to have a closer look and make my choices.

Opening night looks like a good pick-and-mix. Not sure why there’s a radio host in there? Anyway – beside said radio host, there are three pianists, one violin soloist, one string quartet, and soprano Adrianne Pieczonka in a program consisting of a Mozart piano sonata, Ravel’s Cinq mélodies populaires grecques, Sarasate’s Zigeunerweisen, Kreisler’s selections for violin and piano, a Chopin Ballade and Strauss Four Last Songs in the arrangement by Canadian composer John Greer. The Strauss and the Ravel are the only two vocal pieces.

Art of Time Ensemble will be performing an unspecified program with Sarah Slean, pop musician who is gradually returning to her original love (and training), classical music. Another singer-songwriter is in the show, John Southworth. The title, From Franz Schubert to Freddie Mercury, is all we have to go by for now. Koerner Hall, July 25.

 

The Liz Upchurch magic

My Liz Upchurch profile is now online and of course in physical copy wherever you pick up the Wholenote magazine.

I’d like to share here this bit that I had to leave on the cutting room floor, as the space was limited.

+ + +

What about the visual ‘packaging’ of female singers in competitions and concerts? It seems to me they’re all in prom dresses, have long locks, makeup, all are presenting in the high femme style? When somebody like Emily D’Angelo appears, who already has her own very elegant and not at all highly sexed up style, one notices.

It’s changing. The next wave of singers will reject it. You know those recordings from the 1960s where everybody’s got the same up-do, everybody’s wearing the same neckline? I think the millennials are our true leaders at this point. They are going to show us what should have happened one way or the other, and quite right too, there’s a lot of change that needs to come.

But then, there are a lot of archetypes in the opera world.

Yes… Singers kinda have to create a fantasy, or speak to a fantasy. Female singers, that is. Men get to wear a uniform, and be sexy without ever changing it.

Imagine being a high high voice playing all the fluttery silly soubrettes and being one of the most serious people in the world.

But you’re an actor. And if you’re an actor, an actor would say That’s my character, that I have to figure out and understand.

There are certain expectations, yes. But I’m not a big media fan, I don’t have enough time to follow it. All I’m interested in is, can you sing well. And that they are prepared, that they become better artist, have the opportunity to do that. And don’t show up with jeans with the great big holes – unless the piece is written like that. It’s up to them; they are their own agents, at the end of the day.

It’s interesting to think how things have changed over the years. Beginning of every rehearsal at the COC now, and I think this is a direct result of the #MeeToo awareness, somebody will get up and talk about the policies that are in place in the company, who to go to if there are issues, where the information is, etc. Two years ago that wasn’t even there.

I was happy to see that a recent run of Hadrian, which had an “intimacy coach”, also had a seriously erotic sex scene. Not an operatic love scene: a properly sexy sex scene.

Yes, good point. This new awareness won’t abolish eroticism on stage – on the contrary.

Verbotenlieder, or women take over men’s repertoire

Marcello & Rodolfo aka Vanessa Oude-Reimerink & Alexandra Beley

After an all-male, all-baritone and crowded Die Winterreise this summer, baritones Aaron Durand and Michael Nyby a.k.a. the Tongue-in-Cheek Productions decided in the interest of fairness and variety to throw an all-female do. Verbotenlieder, or the Forbidden Songs, came together as a program for the sopranos and mezzos who always wanted to sing certain arias, duos or songs that remained off limits because they were written for and exclusively performed by men.

It’s a brilliant idea that was only half executed with the December concert at Lula Lounge. A wide mix of singers and songs followed one another with no introduction, and no reason offered why those choices and not others. The repertoire that is never sung by women or specific voice types is vast. Was the choice random, or did it always mean something special for the singer? Nyby and Durand and one or two singers did manage to say a few words here and there, but all this just made obvious one big lack in the programming: a cabaret style MC who can talk competently, succinctly and with humour about these songs and spin the show’s red thread.

Another thing that was missing and that usually comes with real cabaret: naughtiness. Raunch. Some of the men-narrated songs in the program are love songs for women. There is a long and honourable tradition of women singing pants roles and pants Lieder and mélodies. As the societies of origin liberalized in the twentieth and twenty first centuries, so did cultural interpretations of these songs. There are now lively interpretive cultures of this rep for which, say, a male POV German Lied written for a mezzo is not a mezzo voicing a guy, but a mezzo voicing women-to-woman love of some sort, or in some cases explicitly lesbian desire.

This remained underexplored, but it did make an appearance.

For example in the transposed for soprano Lensky aria from Eugene Onegin, exquisitely rendered by Natalya Gennadi with Natasha Fransblow on piano. This Lensky’s farewell to youth and life is brought about by the love of his life Olga flirting with Onegin at the ball. Gennadi additionally honoured the trouser role tradition by wearing an elegant pant suit and camouflaging her long hair into a modest bob.

Or in the tenor-baritone duo from The Pearl Fishers ‘Au fond du temple saint’, which got a lavish and genuinely new take by soprano Jennifer Taverner and mezzo Beste Kalender (Elina Kelebeeva on piano). In it, the two men reminisce on the moment they first saw the woman they both fell in love with, a veiled Brahmin priestess, but rush to give up the phantom in favour of their own mutual bond before the song is over. An intriguing twist, to see this ode to bro-hood sung by women and effectively turned into a song about bond between women who are resisting the lures of a fantasy.

Soprano Vanessa Oude-Reimerink and mezzo Alexandra Beley (Natasha Fransblow,  piano) took on the Marcello-Rodolfo duo from La Bohème, in which they gossip and pine after Mimi and Musetta. There was some awkward stage movement at the beginning, and it appeared to me that the chuckles from the audience indicated that most of us weren’t sure if the women were singing to each other. The surtitles cleared up some of the confusion, but again, a good intro, even by the singers themselves, would have made all the difference.

Lauren Margison

And then there’s Lauren Margison. First, accompanied by Natasha Fransblow, she took on ‘Addio, fiorito asil’, unofficially known as the Bastard is Leaving, from Madama Butterfly. Puccini gives Pinkerton this manipulatively beautiful and highly emotional tenor aria while he is secretly running off and leaving Butterfly to face ignominy. Margison somehow managed to sing this aria in a pissed off manner and still gloriously—exactly the right formula. Her second one was ‘Nessun dorma’ and it too came with the right attitude and glorious top notes. The attitude was, If you think Pavarotti is the last word in this department, I have a soprano to show you. At one point she invited the audience to fill in a couple of verses of the aria, which we happily did. Already during the Pinkerton aria, people got engaged and rowdy almost immediately, and a loud Brava flew her way at the right place during the aria—something you rarely hear Toronto opera audiences do. But that’s the virtuous circle that comes with a good performance: the more daring a singer is, the more reactive the audience.

On the other hand, there was stuff that didn’t light the spark. It wasn’t clear to me why ‘O sole mio’, Ravel’s Don Quixote songs to Dulcinea and one of Vaughan Williams’ Songs of Travel were in the program. They’re all fine songs, but why should we hear women singing them? What do women add to them that’s missing? I have my theories, but I was more interested in hearing the singers’, and the performances themselves did not make strong enough case. Elsewhere in the program, the soprano version of the Count’s aria from Marriage of Figaro, in which he plots the destruction of Susanna’s announced wedding out of jealousy, was delivered in English and adapted—I am guessing, I could not hear everything clearly and there were no surtitles for songs in English—as Susanna’s resistance song of sorts? The Great Inquisitor scene from Don Carlo with two mezzos taking their low notes for a wild ride is a great idea, but the performance was hampered by Leah Giselle Field’s mocking and hammed-up take on the Inquisitor. Catherine Daniel sang King Philip in earnest—no panto and no distancing, she really played a king, and it was a pleasure to watch.

The evening ended with the ironic takeover of the men’s chorus singing about the trickiness of women from The Merry Widow.

All in all: an excellent concept delivered as a disjointed hodgepodge of highs and huhs. But the gents of the TICP have my attention.

The gang

Review originally written for the Wholenote and published here.

Joyce El-Khoury and Beste Kalender in recital

A few (belatedly posted) thoughts on the Joyce El-K and Beste K recent concert at the RCM, on the Wholenote website.

Art songs delivered in a full-on operatic register within a small resonant space such as Mazzoleni Hall can be hard to take, I’ve learned last Sunday.

On the program at the RCM’s intimate, chapel-like hall were French a few of the mélodies with an Orientalist flair, as well as a selection of Lebanese and Turkish folk songs in new arrangements chosen by the two singers, soprano Joyce El-Khoury and mezzo Beste Kalender. Robert Kortgaard and Rachel Andrist accompanied from the piano, and for one Ravel cycle Nora Shulman (flute) and David Hetherington (cello) joined the mezzo onstage. It was a well-programmed concert, diverse and thematically unified at the same time.

Joyce El-Khoury (c) Fay FoxEl-Khoury, Lebanese-Canadian soprano highly in-demand internationally as Violetta and Mimi, is a singer of exceptional glamour and stage presence. Her voice is opulent, with a beautiful upper top, but it did not seem like El-Khoury recalibrated it for the more contained, subtle and withholding recital genre. Most of the singing, whether that was the intention or not, came through as fairly loud—and I was seated in the last row. On that level, Ravel’s ‘Asie’ from Shéhérazade sounds almost irate. ‘Île inconnu’ from Berlioz and Gautier’s masterwork Les nuits d’été was a very loud statement, rather than a cheery invitation to voyage that leaves a lot of questions unanswered. But things changed in part two of the concert, in El-Khoury’s program of Lebanese songs which she introduced and which are personally meaningful to her. As if by a magic wand, there it was: the real song intimacy. As if a camera zoomed in to a private moment between friends. This was an entirely different singer, very much capable of pianissimi, full of thoughtful inwardness, implicit rather than explicit, and generous.

Beste Kalender. Photo by Codrut ToleaMezzo Beste Kalender was more consistent. A fine French diction and rich dark timbre enhanced every song. Seductive and mischievous in ‘Les roses d’Ispahan’ by Fauré, Kalender added some wicked castanets playing to her gamut in Ravel’s ‘Zaïde: Boléro’. She was particularly memorable in Ravel’s Chansons madécasses, alongside the flute and the cello. ‘Nahandove’ is unusually sensuous, even for a French song, and it would be fair to describe it as, in fact, sexual (‘Arrête, ou je vais mourir / Meurt-on de volupté’). It, and the third song ‘Il est doux’, are voiced by a male narrator. He greets the female lover in the first, and orders female servants gently about in the third, but the middle song ‘Awa!’ is an outburst and a warning against such men. ‘Do not trust the white men’ is its refrain, and the verses explain what will happen when they arrive on distant shores and settle.

In part two, Kalender presented a selection of Turkish songs. One among them, ‘My Nightingale is in a Golden Cage’, she explained, was Kemal Ataturk’s favourite, so she would sing it in homage to the Turkish statesman—the modernizer and secularizer of Turkey after the end of Ottoman Empire and the republic’s first president. *

The two women finished the program with Delibes’ mega hit from opera Lakmé, The Flower Duet.

. . . . . . . . . .

*which I thought was interesting, bc he wasn’t exactly a democrat. What is Ataturk’s status currently, in the Turkey of Erdogan?

New songsters on the block

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Anna Theodosakis photo by Dahlia Katz

A whole bunch of us missed the Muse 9 staging of Dominick Argento’s song cycle From the Diary of Virginia Woolf because it took place on the night of the Nightingale premiere at the COC. There’s a chance to see the same cast in a more or less concert version of the piece coming up at the RBA on November 13. I talked with the director Anna Theodosakis (pictured above) about what the Muse 9 Productions is, and how they ended up working on this particular piece. She’s one of the bright young things in Toronto’s opera world that give me great hope. Read the profile here.

Another new thing that piqued my interest, as you’ll see in the Wholenote article, is the recently created song series The Linden Project, based in Hamilton. Singer-spouses Julie and Jeremy Ludwig have announced the inaugural two-concert series, and have expansion plans and some really good ideas about the presentation and *purpose* of song recitals. The first concert took place earlier in the month, the second one is booked for early spring.

And here are my Quick Picks for November. The endemic Toronto problem of people not publicizing (deciding on) the program until close to the performance day persists, so I’m not sure what’s going to be heard in some of these, but the blurb copy sounds intriguing enough.

Truth-telling

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:

More info and tickets: http://www.pecmusicfestival.com/erin-wall/

reGeneration, part the final – Nostalgic Romanticism

And so the Art of Song Academy concerts come to an end. Today I managed to get to the final one, the mostly German program with a Chausson piano quintet thrown in for a change of scenery.

Renee Fajardo with Janhee Park on piano sang Schumann’s Der Soldat, Clara Schumann’s Die Lorelei and Schoenberg’s Galathea, the last song standing out as the most intriguing and accomplished of the three. Meave Palmer with Leona Cheung sang Wolf’s Kennst du das Land? and what felt like a scene by Strauss, Säusle, liebe Myrthe – Rustle, dear Myrtle, with lots of onomatopoeic effects of cooing, rustling and crickets. Again, the dramatic commitment was unreserved with Palmer, for which kudos; there is perhaps an over-reliance on feminine fragility in her choice of songs and expression. I’d love to see this singer stretch her talent into other moods in art song rep. I am sure the voice will sound differently then too, not as pure and child-like as it does now.

Danielle Vaillancourt (+ Frances Armstrong, piano) did a Wolf song (finely) before an Alma Mahler three-song set with Die stille Stadt, Laue Sommernacht and Bei dir ist es Traut. There is great beauty of tone in this dark mezzo voice, but also perhaps a certain uniformity of colour where a wider palette would be welcome. Tenor Asitha Tennekoon sang his beloved Der Doppelgänger, a Wolf and a couple of other talky Schuberts, and his precision and gusto with the text were out of ordinary. He did not interpret as much as inhabit the songs–just like Palmer did earlier in the concert.

All of the singers obviously worked hard on the German text and engaged intensely with it. If I had to pick at something, it’s that frequently there was a certain naturalness with it lacking across the board–because the preparedness and hard work was still visible. I would however gladly see each of these singers again.

Chausson’s Chanson perpetuelle was also on the program, with mezzo Lyndsay Promane, Steve Sang Koh and Julia Mirzoev (violins), Julia Swain (viola), John Belk (cello) and Alexey Pudinov (piano), but for some reason it did not engage me at all. The Chamber Music fellows with mentor Yehonatan Berick rounded the evening with Dohnanyi’s overlong Piano Quintet No. 2.

Now, song academy is over but the song is not: Steven Philcox and Krisztina Szabo are scheduled to perform a yet undisclosed program of songs by Canadian composers on July 24 at 5pm at Heliconian Hall. It’s a free (sponsored) series and I hope it gets a solid turnout, unusual start time notwithstanding. Also in this series, Alice Ping Yee Ho’s opera in concert, Your Daughter Fanny.