Views
4 years ago

Volume 21 Issue 8 - May 2016

  • Text
  • Toronto
  • Jazz
  • Festival
  • Arts
  • Symphony
  • Quartet
  • Choir
  • Theatre
  • Musical
  • Bach
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.

Boston-based Irina

Boston-based Irina Muresanu in a solo violin recital, “Four Strings Around the World,” featuring music by Prokofiev, Enescu, Paganini, Kreisler, O’Connor, Piazzolla and more. May 20, the K-WCMS brings the Xia Quartet (Edmonton Symphony Orchestra concertmaster Robert Uchida, TSO violinist Shane Kim, TSO assistant principal viola, Theresa Rudolph, and TSO principal cello, Joseph Johnson) to their music room in program of Schubert, Bartók, Debussy and John McPherson. May 15: The Windermere Quartet’s latest recital includes Schubert’s greatest quartet, Quartet in D Minor D. 810 “Death and the Maiden.” May 16: Xia Quartet members cellist Joseph Johnson, violinist Shane Kim and violist Theresa Rudolph put on their TSO hats when they join concertmaster Jonathan Crow and pianist Angela Park for an Associates of the TSO concert that includes music by Dohnányi, Schumann and Prokofiev. May 18: Toronto Summer Music artistic director Douglas McNabney previews TSM’s upcoming “London Calling: Music in Great Britain” program with a COC free noontime concert at the Richard Bradshaw Ampitheatre. May 21 Shannon Mercer, soprano, Andrew Burashko, piano. Yehonatan Berick, violin, and Rachel Mercer, cello, perform Shostakovich’s Trio No.2 and Seven Romances on Poems by Alexander Blok Op.127 in Hamilton’s 5 at the First Chamber Music series’ final concert of the season. May 26: James Ehnes brings his 40th Birthday Tour to London under the auspices of Jeffery Concerts. Four days later, May 30, he and his collaborative pianist, Andrew Armstrong, continue the tour for Bravo Niagara! May 29 and 30: The Canzona Chamber Players present two pillars of the chamber music repertoire, Beethoven’s Septet in E-Flat Major Op.20 and Schubert’s Octet in F Major D803. Paul Ennis is the managing editor of The WholeNote. Beat by Beat | On Opera Making Things New & Making New Things CHRISTOPHER HOILE Opera this May is about making things new and making new things. Not only will Tapestry Opera stage the world premiere of a Scottish/Canadian collaboration but two other companies will provide new librettos to well-known works. First up is Against the Grain Theatre’s production of A Little Too Cozy. The production, workshopped at the Banff Centre last year, reimagines Mozart’s 1790 opera Così fan tutte as a television game show. This will complete AtG’s series of “transladaptations” of the three Mozart/Da Ponte operas after Figaro’s Wedding in 2013, with the audience conceived of as wedding guests, and #UncleJohn, staged in 2014 as the wedding reception for Zerlina and Masetto. Like the previous two, AtG artistic director Joel Ivany has provided Mozart’s opera with a new English-language libretto. Ivany is not the first to write a new libretto for Così fan tutte. The work was unpopular when it first premiered and had only ten performances in Mozart’s lifetime. In 1791, Friedrich Schröder called Da Ponte’s libretto “a miserable thing, that debases all women.” In 1875, critic Eduard Hanslick made the famous statement that “the boundless triviality of the libretto everywhere deals a death blow to Mozart’s lovely music.” Because of this attitude, which many people still hold, there were several unsuccessful attempts to rewrite the libretto. Only after the Glyndebourne Opera revival in 1934 did the work with Da Ponte’s libretto become standard repertoire. In Ivany’s adaptation, the audience becomes the studio audience for a live taping of the final episode of a reality show called “A Little Too Cozy.” The show asks its contestants, “Can you fall in love with someone you’ve never met?” The opera will be presented in a real TV studio, CBC Toronto’s Studio 42 at 25 John Street. Before the show begins, the final four contestants have already found their match, but as the final test of the show, the women have to meet an additional set of people before they’re finally allowed to be with their fiancés. After that, the women must then decide if they still love their fiancés – whom they have never met in person – since from the start the men and women have been separated by the so-called Wall of Love. As Ivany says, “These four contestants go on the show because they’re tired of this superficial way that relationships are presented now, and they’re looking for something more authentic, more real, more rooted in our being. But then over the course of the show, they get messed around and played with.” The two female contestants are Felicity (i.e. Fiordiligi) sung by soprano Shantelle Przybylo and Dora (i.e. Dorabella) sung by mezzosoprano Rihab Chaieb. The two male contestants are Fernando (i.e. Ferrando) sung by tenor Aaron Sheppard and Elmo (i.e. Guglielmo) sung by baritone Clarence Frazer. Baritone Cairan Ryan plays the host of the show, Donald L. Fonzo (i.e. Don Alfonso), and soprano Caitlin Wood is his lovely assistant Despina. As with AtG’s previous productions conductor Topher Mokrzewski has also arranged the music The opera runs from May 12 to 21. Toronto Masque Theatre: A second opera in May also has a libretto that has impeded its regular performance. This is The Fairy Queen from 1692 by Henry Purcell. As many people will know from recordings, the work contains some of the loveliest theatre music Purcell ever wrote. The problem is that this music what was called a “semiopera” of the same name, adapted by an anonymous author from Shakespeare’s A Midsummer Night’s Dream. Purcell’s music is concentrated in five masques, related only thematically to the play, each following one of the play’s five acts. The adaptation of the play is generally deemed to be dreadful and to perform it with Purcell’s music would take up to six hours. 22 | May 1, 2016 - June 7, 2016 thewholenote.com

Ever since the score was rediscovered in the early 20th century, the question has been how to redeem Purcell’s music from its original context. Various solutions have been adopted: having actors play selected scenes from Shakespeare’s original comedy before the five masques; or having a narrator recount the action of the play, rather than subjecting the audience to it. Toronto Masque Theatre has come up with a far more ingenious solution – to do away not merely with the play but with the spoken word entirely. Director/choreographer Marie-Nathalie Lacoursière has reconceived the work in such a way that it consists solely of Purcell’s music but will still tell a story. Lacoursière’s starting point is the first lines of the first air: “Come, come, come, let us leave the Town / And in some lonely place, / Where Crowds and Noise were never known / Resolve to spend our days.” Rather than an arcadian scene, Lacoursière imagines nine singers and two dancers as vaguely contemporary people waiting at a train station. The scenario follows the individuals as they seek love, happiness and meaning in life. To tell the new story Lacoursière has had to reorder the musical numbers. In a telephone interview, TMT artistic director, Larry Beckwith, was reluctant to reveal too many details about the new story so that they will come as a surprise. He did say, though, that the figure of the Drunken Poet sung by Alexander Dobson, would feature prominently. Besides Dobson, the cast includes sopranos Juliet Beckwith, Vania Chan, Charlotte Knight and Janelle Lapalme; alto Simon Honeyman; tenors Cory Knight and Jonathan MacArthur; baritone Graham Robinson and dancers Stéphanie Brochard and Lacoursière herself. Beckwith conducts a seven-member baroque ensemble from the violin. Performances take place at the Arts and Letters Club May 27 to 29. Tapestry’s Winner: In addition to presenting old operas in new ways, May also brings the world premiere of an opera co-commissioned by Toronto’s Tapestry Opera and Scottish Opera. This is Rocking Horse Winner by Irish- Scottish composer Gareth Williams, with a libretto by Canadian Anna Chatterton. When asked how this collaboration came about, Chatterton wrote: “Gareth and I met in the 2009 Tapestry Lib Lab (a ten-day “speed dating” program for composers and writers to collaborate together by writing a five-minute opera in 48 hours). We really enjoyed working together and recognized a similar aesthetic and appreciated each other’s artistic style. Gareth also has a great sense of dramatic form, which is fantastic for collaborating on new ideas. We wanted to write something longer together and Gareth suggested adapting D.H. Lawrence’s haunting short story, Rocking Horse Winner.” Lawrence’s short story was first published in 1926 and was made into a classic British film in 1949. The story focuses on a young boy, Paul, who lives in a family that feels it is dogged by bad luck. The A Little Too Cozy j uly 15 th – a ugust 7 th , 2016 Parry s ound ClassiCal music jazz • cruises • films 60 events • 50 musicians • 20 ensembles festivalofthesound.ca 1.866.364.0061 Top 100 FesTivals & evenTs For 2016 — FesTivals & evenTs onTario thewholenote.com May 1, 2016 - June 7, 2016 | 23

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020
Volume 26 Issue 3 - November 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)