Quantcast
Channel: La Scena Musicale
Viewing all 585 articles
Browse latest View live

This Week in Montreal: June 9 to 15

$
0
0
The 103rd Edition of the Prix d’Europe

Since 1911, the Prix d’Europe has developed the careers of young classical musicians, singers and instrumentalists both, by helping them perfect their art and giving them the opportunity to continue their studies outside of Quebec. This year, you can hear contestants in the semi-finals, which take place June 8 to 12 at the Chapelle du Bon-Pasteur. The finals will be held on June 13, and the gala concert, featuring competition winners and guests of honour Charles-Richard Hamelin (pianist, Prix d’Europe 2011) and Victor Fournelle-Blain, (violinist, Prix d’Europe 2012), will be held on June 15 at 2:30 pm at Bourgie Hall, under the auspices of the Honourable Judge John Gomery. During the evening, the Académie de musique du Québec will award various scholarships totaling more than $50,000, including the coveted Prix d’Europe, worth $25,000. The 2014 jury includes Gabrielle Lavigne, mezzo-soprano; Zofia Wislocka, conductor (Belgium); Carol Bergeron, musicologist and journalist; Yegor Dyachkov, cellist; and David Jalbert, pianist. 514-528-1961, www.prixdeurope.ca

World Premiere: The Esther Diaries

Soprano Sharon Azrieli Perez sings Esther, Queen of Persia and a biblical character, in a new song cycle by Canadian composer Haralabos Stafylakis on an Ellen Frankel text. The McGill Chamber Orchestra, under the direction of Boris Brott, accompanies. The Esther Diaries will be created in a concert entitled Klez-Kabaret that will highlight the unique colors of Jewish music. Contemporary dancer Roger Sinha takes on the role of the scribe to whom Esther dictates her diary. The concert will feature another creation: Tur Malka by Henri Oppenheim, performed by the Montreal group Magillah. Maison symphonique - June 10. www.ocm mco.org
 - Justin Bernard

Festival International Montréal en Arts (June 11 – 15)

The 15th annual Festival hosts over 120 visual artists and craftspeople. The large, open-air gallery that is Rue Sainte-Catherine between Berri and Papineau enables visitors to meet artists, both professional and emerging ones, from all different art disciplines. Accueil Bonneau, the organization works towards the social reintegration of homeless people, is a special invited guest. www.festivaldesarts.org
 - Hassan Laghcha

Yannick Nézet-Séguin; Hélène Grimaud

The Metropolitan Orchestra closes its 33rd season, with an encounter between Yannick Nézet-Séguin and international star pianist Hélène Grimaud in two performances of Brahms’s Piano Concerto # 1 and Bruckner’s Symphony # 3. The June 12 concert is a benefit for the Metropolitan Orchestra. Note: the June 13 concert begins with a performance of Brahms’s Academic Festival Overture by students from the Joseph-François Perreault School, directed by Nézet-Séguin. Benefit tickets will go towards financing the school’s new concert hall project. Maison symphonique. www.orchestremetropolitain.com
 - Justin Bernard

Suoni per il Popolo 2014

Pushing Boundaries In 2001, the Casa del Popolo launched its festival, the Suoni per il Popolo. The first edition was a bold undertaking due to the fact that it focused entirely on avant-garde music and lasted no less than five weeks. Since then, it has scaled down its time frame to two and a half weeks while drawing steady support from a younger audience attracted to musical experimentation. This year’s edition, like all of its predecessors, runs for 18 days, from June 4 to 22. But that doesn’t mean it is simply content with the status quo. A look at its program reveals that is expanding in all directions. True to its mission, the Suoni will be stretching its boundaries by exploring the cutting edge of rock and punk, electronic, experimental, contemporary classical, folk and avant-pop. Not to be overlooked either is its jazz and improvised music content, but there will also be a focus on media arts and interactive technologies. All told, there are 68 shows on tap—several include two or more groups—and eleven film programs. Six workshop sessions are also scheduled, hosted by guest performers of all musical stripes, some of which allow amateur musicians to join in. This year, new activities have been added. First, the festival, in conjunction with the Bozzini Quartet, has put together a conference around the life and work of visionary British composer Cornelius Cardew, including a performance of his masterwork “Treatise”. Another first is Cartel MTL, an international symposium of new music presenters with some thirty delegates. Hosted by the festival, this event is aimed at networking contacts and is sponsored by the local new music umbrella organization le Vivier, with added support from the Huddersfield Festival in England. The Suoni will be more visible than ever within the community in that its events will take place in 17 venues, the result of may new co-production agreements, including some unusual ones like that of the Jewish General Hospital and its ten-day satellite festival running from June 9-19. As for jazz, it is but one facet of the whole. But its choices are quite enticing for the venturesome. Most concerts slated here will go down at the Café Résonance, 5275-A Parc Avenue (at Fairmount). Of note will be a new quartet lead by alto saxophonist Yves Charuest with Catalonian pianist Augusti Fernández (June 17); drummer Harris Eisenstadt’s Golden State Quartet (20)—see CD review— and lastly, a half-Scandinavian, half-German group called the Deciders (22). On the local front, alto saxman Eric Hove’s tentet will tackle his compositions of striking originality (21). If you like music in your face, no one does it better than the blustery German saxman Peter Brötzmann, and ditto for his American counterparts William Parker and Hamid Drake (Sala Rossa, 10). Online Information and Tickets: www.casadelpopolo.com/suoniperilpopoloOnline Downloadable Program: suoniperilpopolo.org/programme-suoni-2014 - Marc Chénard

FrancoFolies (June 12-22)

The 26th annual FrancoFolies includes a tribute to Serge Fiori in Salle Wilfrid-Pelletier, Place des Arts. Other concerts of note feature Stromae, the Boulay Sisters and the Grand Corps Malade. A few other highlights are Malajube’s lead Julien Mineau’s return to the stage and a concert with Ingrid St-Pierre, accompanied by I Musici. The festival offers 70 indoor shows and 180 free outdoor concerts. www.francofolies.com 
 - Hassan Laghcha St-Ambroise Montreal FRINGE Festival (June 2-22) The 24th Fringe Festival is held in a variety of venues around Plateau Mont-Royal, Montreal. There are shows co-presented by Indie Montréal and Culture Cible au Divan Orange and, among others, Hey Ocean, Miracle Fortress, Chic Gamine, APigeon, The Zolas, Lakes of Canada, The Beatdown, Buddy McNeil & The Magic Mirrors, Sultans of String, Pif Paf Hangover. www.montrealfringe.ca
 - Hassan Laghcha

This Week in Toronto (June 9 - 15)

$
0
0
My Toronto concert picks for the week of June 9 to 15

Joseph So

This week Toronto Symphony Orchestra is presenting in its Masterworks Series Beethoven Piano Concerto No. 3 with the brilliant Chinese virtuoso Yuja Wang on June 11 and 12 8 pm at Roy Thomson Hall. But as they say, the best laid plans of mice and men... it was announced a few days ago that Ms. Wang has suffered an injury, to her hand presumably. Replacing her is fast-rising Canadian pianist Stewart Goodyear. I have heard him a number of times, including the Beethoven Marathon last year.  He's a fine pianist in possession of a brilliant technique and uncommon sensitivity.  Also on the program is Weber's Overture to his opera Oberon, as well as  Shostakovich's Symphony No. 5, which also appears on TSO Late Night Saturday June 14th at 10 pm, in conjunction with the Luminato Festival 2014. The Orchestra gives a free concert at the David Pecaut Square (right next door to RTH) on June 15th 7 pm, the closing night of Luminato, playing Music of the Americas. It features music of Copland and Bernstein to John Estacio (his Frenergy is just the right piece to open the proceedings!) and Astor Piazzolla, plus others.   TSO music director Peter Oundjian is at the helm for all events. For details go to http://tso.ca/en-ca/Home.aspx

Pianist Stewart Goodyear (Photo: Anita Zvonar)

A major presence in Luminato is Canadian singer-songwriter Rufus Wainwright - remember his opera Prima Donna and his several one-man shows?  Well, he is back with the cleverly titled If I Loved You - Gentlemen Prefers Broadway. It's billed as an evening of love duets, and Wainwright will bring his gay sensibilities to these old standards. If you haven't, be sure to read the interview he gave to Martin Knelman at the Toronto Star last week. http://www.thestar.com/entertainment/2014/05/30/rufus_wainwrights_if_i_loved_you_dont_expect_solemnity.html  Wainwright will be joined by a stellar cast of musical luminaries including Josh Groban and Boy George! It's at the Sony Centre on June 14th at 7:30 pm.  http://luminatofestival.com/festival/2014/if-i-loved-you


Singer-songwriter Rufus Wainwright

Opera By Request, the grass-roots, artist-driven opera group, is presenting Berlioz's Beatrice et Benedict on Wednesday June 11 at 7:30 pm at College Street United Church. It's a piece based on Shakespeare's Much Ado About Nothing. I saw the Berlioz opera twice in quick succession, first at the Santa Fe Opera in the late 90s and then at the Canadian Opera Company with pretty much the same cast. There are some lovely music in the score - I particularly like the Ursule-Hero duet. (Here is a recording of this duet, gorgeously sung by American soprano Sylvia McNair and Canadian mezzo Catherine Robbin. https://www.youtube.com/watch?v=JtZleGpT9Gk ) This performance on Wednesday stars two talented singers, mezzo soprano Michele Bogdanowicz (Beatrice) and tenor Ernesto Ramirez (Benedict).  They are a couple in real life and in art. Ramirez had an auspicious debut in the title role of Roberto Devereux at the COC just last month. Bogdanowicz is a former member of the COC Ensemble Studio. This performance is, as usual, with piano accompaniment by William Shookhoff. http://operabyrequest.ca/wordpress/?p=220

Mezzo-soprano Michele Bogdanowicz


Tenor Ernesto Ramirez

Canadian pianist Helena Bowkun is giving a rare public performance on Tuesday June 10 7:30 pm at Yorkminster Park Baptist Church 1585 Yonge Street.  This will be Bowkun's first Toronto recital in 10 years.  She had a major career in the 1970s onwards but as I understand it she scaled back her performing activities due to ill health. On her program this Tuesday are works by Beethoven, Chopin and Rachmaninoff. This is a benefit concert for the Benevolent Fund of the Yorkminster Park Baptist Church. You can find out more about Ms. Bowkun at http://about.me/helena_bowkun

Pianist Helena Bowkun







This Week in Montreal: June 16 to 22

$
0
0
The Montreal Baroque Festival Goes Green

From June 19 to 22, nature is the theme! Chosen by artistic co-directors Susie Napper and Matthias Maute, the 12th edition of the festival will be presented on McGill University’s verdant campus. In addition to Redpath and Pollack Halls, audiences will have the opportunity to listen to music in sites that, while non-traditional for concerts, have stunning acoustic qualities and singular architectural elements.
On Thursday the 19 at 7 pm, Vivaldi e la natura brings together violinist Davide Monte and tenor and guitarist Nils Brown with l’Harmonie des Saisons. At 9 pm, sonatas and Venetian canzonas are presented by the Pallade Musica ensemblethe Pallade Musica ensemble presents sonatas and Venetian canzonas.
Friday the 20, three masterclasses are offered during the day. At 7 pm, a new opera-ballet, Les Indes mécaniques, highlights the 250th anniversary of Rameau’s death. With Les Jardins chorégraphiques and Marie-Nathalie Lacoursière.
Saturday the 21, the day begins at 9 am with breakfast on the lawn and troubadour songs, featuring violas da gamba and recorders. In the afternoon, make way for songs about medieval hunts and fantasies for six violas da gamba. At 7 pm, the winners of the Bruce Haynes International Competition, accompanied by the Bande Montréal Baroque, perform Bach cantatas. A treasure hunt at 9 pm completes this busy day.
Sunday the 22 is devoted entirely to Beethoven. Various ensembles performing one after the other make a pianothon in two parts until the Grand Finale at 7 pm, which makes a beautiful finish to the great annual celebration of early music: Symphony Nno. 6 (Pastorale) and Piano Concerto Nno. 4 with Tom Beghin at the piano and Ensemble Caprice under the direction of Matthias Maute. www.montrealbaroque.com
 - Renée Banville

Suoni per il Popolo 2014: Pushing Boundaries

In 2001, the Casa del Popolo launched its festival, the Suoni per il Popolo. The first edition was a bold undertaking due to the fact that it focused entirely on avant-garde music and lasted no less than five weeks. Since then, it has scaled down its time frame to two and a half weeks while drawing steady support from a younger audience attracted to musical experimentation. This year’s edition, like all of its predecessors, runs for 18 days, from June 4 to 22. But that doesn’t mean it is simply content with the status quo. A look at its program reveals that is expanding in all directions. True to its mission, the Suoni will be stretching its boundaries by exploring the cutting edge of rock and punk, electronic, experimental, contemporary classical, folk and avant-pop. Not to be overlooked either is its jazz and improvised music content, but there will also be a focus on media arts and interactive technologies. All told, there are 68 shows on tap—several include two or more groups—and eleven film programs. Six workshop sessions are also scheduled, hosted by guest performers of all musical stripes, some of which allow amateur musicians to join in.
This year, new activities have been added. First, the festival, in conjunction with the Bozzini Quartet, has put together a conference around the life and work of visionary British composer Cornelius Cardew, including a performance of his masterwork “Treatise”. Another first is Cartel MTL, an international symposium of new music presenters with some thirty delegates. Hosted by the festival, this event is aimed at networking contacts and is sponsored by the local new music umbrella organization le Vivier, with added support from the Huddersfield Festival in England. 
The Suoni will be more visible than ever within the community in that its events will take place in 17 venues, the result of may new co-production agreements, including some unusual ones like that of the Jewish General Hospital and its ten-day satellite festival running from June 9-19.
As for jazz, it is but one facet of the whole. But its choices are quite enticing for the venturesome. Most concerts slated here will go down at the Café Résonance, 5275-A Parc Avenue (at Fairmount). Of note will be a new quartet lead by alto saxophonist Yves Charuest with Catalonian pianist Augusti Fernández (June 17); drummer Harris Eisenstadt’s Golden State Quartet (20)—see CD review— and lastly, a half-Scandinavian, half-German group called the Deciders (22). On the local front, alto saxman Eric Hove’s tentet will tackle his compositions of striking originality (21). If you like music in your face, no one does it better than the blustery German saxman Peter Brötzmann, and ditto for his American counterparts William Parker and Hamid Drake (Sala Rossa, 10).
Online Information and Tickets: www.casadelpopolo.com/suoniperilpopolo
Online Downloadable Program: suoniperilpopolo.org/programme-suoni-2014
- Marc Chénard

St-Ambroise Montreal FRINGE Festival (June 2-22)

The 24th Fringe Festival is held in a variety of venues around Plateau Mont-Royal, Montreal. There are shows co-presented by Indie Montréal and Culture Cible au Divan Orange and, among others, Hey Ocean, Miracle Fortress, Chic Gamine, APigeon, The Zolas, Lakes of Canada, The Beatdown, Buddy McNeil & The Magic Mirrors, Sultans of String, Pif Paf Hangover. www.montrealfringe.ca
 - Hassan Laghcha

FrancoFolies (June 12-22)


The 26th annual FrancoFolies includes a tribute to Serge Fiori in Salle Wilfrid-Pelletier, Place des Arts. Other concerts of note feature Stromae, the Boulay Sisters and the Grand Corps Malade. A few other highlights are Malajube’s lead Julien Mineau’s return to the stage and a concert with Ingrid St-Pierre, accompanied by I Musici. The festival offers 70 indoor shows and 180 free outdoor concerts. www.francofolies.com
 - Hassan Laghcha

This Week in Toronto (June 16 - 22)

$
0
0
My Toronto Concert Picks for the week of June 16 to 22*

Joseph So

*This post concludes This Week in Toronto Blog for the concert season of 2013-14. It will resume in September to coincide with the start of the new season. There will be one more posting in mid July - a preview of the Toronto Summer Music Academy (July 22 - August 12), plus an interview with the TSMF Artistic Director, Douglas McNabney. 


American composer George Gershwin


Now that it's mid June, the 2013-14 concert season is coming to an end and the summer festival programming hasn't yet begun. Top on my list this week is the Gershwin program at the Toronto Symphony Orchestra.  Conductor Bramwell Tovey makes a welcome return to the TSO to conduct highlights from Gershwin's famous American folk opera, Porgy and Bess. The performance practice of this work is complex. Last year I wrote a short article on this work in conjunction with the Opera de Montreal staging of this masterpiece, published in the December 2013 issue of La Scena Musicale. www.scena.org/lsm/sm19-4/sm19-4_porgy&bess_en.html  Gershwin drew his inspiration from a 1924 novel, Porgy by DuBose Heyward, a resident of South Carolina. The character is based on a local handicapped black man who was indicted for a crime of passion. The novel inspired a play and Gershwin's opera. It was finished in 1934 as a three-act grand opera with 19 principal characters and a large symphonic orchestra. Due to financing difficulties, the work was scaled back and closed after only 124 performances. A revival took place in 1942 as a much abbreviated Broadway musical, reduced to two acts with spoken dialogue. In 1952, an attempt to present it in its original operatic form starring the young Leontyne Price as Bess was met with mixed success. In the 50's and 60's, P&B was presented by jazz singers the likes of Louis Armstrong and Ella Fitzgerald. The 70's saw a resurgence of this work as an opera with the studio recording conducted by Lorin Maazel. It was subsequently presented as an opera in Houston, the Met, Glyndebourne, New York City Opera, LA Opera and elsewhere.

American soprano Marquita Lister as Bess (Photo: Devon Cass)

The TSO performances on June 20 7:30 pm and June 21 8 pm feature a cast of African American singers with eminent operatic credentials - sopranos Marquita Lister and Lisa Daltirus, contralto Gwendolyn Brown, tenor Jermaine Smith, and baritone Alfred Walker. Lister, Walker and Smith are famous for their portrayl of Bess, Porgy and Sporting Life in opera houses around the world. Joining them is the Toronto Mendelssohn Choir. Given that the complete version last over three hours with two intermissions, the TSO is presenting only highlights, together with two symphonic works, the Cuban Overture and American in Paris.  Performances at the usual TSO venue of Roy Thomson Hall. http://tso.ca/en-ca/Home.aspx

Baritone Alfred Walker as Porgy (Photo: Walter Hill)

A second important event this week is the presentation of Debussy's Pelleas et Melisande by the Against the Grain Theatre. It stars Quebec baritone Etienne Dupuis as Pelleas, and soprano Miriam Khalil as Melisande. Gregory Dahl is Golaud and Alain Coulombe sings Arkel. The event takes place at the courtyard garden of the Tannenbaum Opera Centre, the home of the Canadian Opera Company. Joel Ivany is the stage director and Julien Leblanc the pianist. Performances on June 19, 21, 23, 25. This is quite an audacious undertaking by AtG, but they have the talents, the voices and the imagination to succeed. 
http://www.againstthegraintheatre.com/

Baritone Etienne Dupuis as Pelleas 



Bernard Labadie In Munich

$
0
0



It was recently announced that Quebec conductor Bernard Labadie would step down from his post as music director of Les Violons du Roy. He will become founding director, presumably a title which suggests far less conducting than in the past. Now comes an announcement this past week that Labadie has cancelled all conducting engagements through the rest of 2014 "for health reasons."

In the past few seasons Labadie has become incredibly busy as a guest conductor with orchestras around the world. He is an authority of historical performance practice and a very welcome guest conductor wherever he goes. We understand that Labadie is being treated in Germany for an undisclosed illness. This is sad news and we wish him every success with his treatment. We look forward to seeing him back on the podium early in 2015.

In our video this week Bernard Labadie conducts the Bavarian Radio Symphony in C.P.E. Bach's Symphony in E flat major Wq 179. The performance was recorded in concert just a few months ago.


Paul E. Robinson

Luminato 2014 ends with Triumphant Gender-bending Song Fest

$
0
0
If I Loved You: Gentlemen Prefer Broadway
An Evening of Love Duets

Rufus Wainwright
Josh Groban
Brent Carver
David Byrne
Boy George
Ezra Koenig
Steven Page
Brennan Hall
Steven Oremus, Music Director
June 14th, 2014  7:30 pm
Sony Centre, Toronto

The electronic billboard of If I Loved You in the lobby of Sony Centre



For my money, Luminato 2014 saved its best for last - well, not quite the last but the pentultimate day of the Festival - with Rufus Wainwright's If I Loved You: Gentlemen Prefer Broadway.  It was billed as an evening of love duets with a twist - Broadway show tunes meant for heterosexual romance are sung here by men and for men. Who could be more appropriate to create such a show than the inimitable Canadian singer-songwriter Rufus Wainwright?  After all, he told Martin Knelman of the Toronto Star that his boyhood dream was to play Annie on Broadway. For this show, he has gathered an "A list" of male singers to appear with him - Josh Groban, Brent Carver, and Boy George among them. It was sold out, no mean feat given the cavernous size of the Sony Centre.

Rufus Wainwright

The pre-show atmosphere was electric, with a a real sense of occasion.   Right after the orchestra's introductory medlay, Wainwright came on and sang "I hate Men" from Kiss Me Kate.  Well that sure got everyone's attention! The first half ended with "If I Loved You" from Carousel.  In between, there were many memorable moments, such as the nice duet between Wainwright and David Byrne of "People Will Say We're in Love" from Oklahoma, even if Byrne had a bit of an off night vocally. It was great to see (and hear) Brent Carver as a late replacement for Andrew Rennalls, singing a song from Funny Girl.  It was a glitzy evening that could become rather stiff and overblown, but that didn't happen thanks to the warmly funny and endearingly relaxed Wainwright and the good will from the audience.  For me, the true highlight was the duet between Wainwright and Josh Groban in "If I Loved You" - hearing all eight vocalists back to back, it was obvious that Groban has the most amazing set of pipes among them - Bravo!


(l. to r.) Steven Page, Josh Groban, Boy George, Brent Carver, Brennan Hall, David Byrne, Rufus Wainwright

The set was simple but it did the job, with four floor-mounted columns and twelve squares of LED lights suspended from the top.  The staging was also quite minimal - basically everyone just stood and sang, which was enough for the highly appreciative audience. Technically it went well except for one instance - in the "Wunderbar" duet between Wainwright and countertenor Brennan Hall, Hall's mike wasn't on. They started again from the beginning and it sailed through without any further glitches.  I had not heard Brennan Hall before, but I've heard plenty of countertenors in opera. I must say Hall has just a remarkable and very beautiful countertenor, and I would love to hear him on the opera stage in the future, without amplification. 


Final Bows (l. to r.) Ezra Koenig, Steven Page, Josh Groban, David Byrne, Rufus Wainwright, Brent Carver, Boy George, Brennan Hall

I was curious about Boy George, who was of course a mega-star from the 80's and is apparently still going strong. Based on this evening, the voice itself was sounding a little tired and grainy - possibly from jet-lag - but his out-sized personality was much in evidence and his "My Man's Gone Now" was a highlight.  Of course one of the funniest moments was Wainwright and George in Cole Porter's "You're the Top." Wainwright said to the audience that the other singers didn't want to do this number with him, and Boy George dead-panned "I'm versatile!" This was also Boy George's birthday, and a small cake was wheeled on stage and the audience joined the singers on stage for a round of "Happy Birthday".
Boy George having his Cake and Eat it too!

A touching moment was the singing of "Somewhere" from West Side Story with the whole cast - it was as close to a political statement as it got in the whole show.  (In the TimesTalks interview, Wainwright expands on his thoughts about the significance of this show in gay culture and politics.) The guests were mostly great, but it really was Wainwright's show and he shone, particularly in "Can't Stop Loving that Man". The large orchestra under the inspired musical direction of Stephen Oremus was fine. This show is supposed to be repeated in the future, and I am sure the various agents and presenters are feverishly working on it right now. Incidentally, someone at TimesTalks interview I attended the next day asked if a soundtrack would be released from the show.  Wainwright replied a future performance may be taped for release but not the Toronto show - too bad.  

TimesTalks (l. to r.) Josh Groban, Rufus Wainwright, Jon Pareles

Based on the comments from the interview, those people who missed the show may be able to catch it in the future, likely in New York or London.  And if you missed the interview - well, you are in luck! It has been posted on Youtube in the Luminato channel, at  https://www.youtube.com/watch?v=jkSsQgrxoIc  Enjoy!

- Joseph So

This Week in Montreal: June 23 to 29

$
0
0


Concerts Populaires Celebrates 50 Years

In June 1964, at the initiative of mayor Jean Drapeau, the first event of the Concerts Populaires took place: a homage to Vienna with the Orchestre Symphonique de Montréal under the baton of Alexander Brott. This year, the Orchestre Métropolitain, directed by Julian Kuerti, will performs an integral reproduction of the 1964 inaugural concert with soprano Aline Kutan. Six concerts will be presented between June 26 and July 31 at the Centre Pierre-Charbonneau, Thursdays at 7:30 pm. www.concertspopulairesdemontreal.com
 - Renée Banville

Muti in Chicago

$
0
0

Photo by Todd Rosenberg

Schubert: Symphony No. 6 in C major D.589 (1818)
Mozart: Bassoon Concerto in B flat major K. 191 (1774)
Schubert: Symphony No. 1 in D major D. 82 (1813)

David McGill, bassoon
Chicago Symphony/Riccardo Muti

Orchestra Hall, Chicago
Tuesday, June 17, 2014

Many years ago Riccardo Muti recorded all the Schubert symphonies with the Vienna Philharmonic. The recordings were widely praised for their elegance and warmth. Now Muti has brought his authority in Schubert to Chicago. Over the course of the 2013-2014 season he has been presenting all eight symphonies. There are other symphonic movements and unfinished fragments but Muti has chosen to ignore them and concentrate on the acknowledged canon. This latest installment in the Chicago series showed that Muti’s approach has not changed much over the years in spite of major developments in our understanding of performance practice in Schubert’s time.

Muti is not playing the symphonies in chronological order. The “Great” C major, so-called because of its length and power, has already been played. The “Little” C major is a much slighter work and often ignored by conductors because it suffers by comparison. In its own right, however, it is modestly grand and contains its share of inspired Schubertian melody. Muti used a reduced orchestra and made sure that the essential classical restraint of the work was honored. This meant that the fortes were never pushed, tempos were moderate, vibrato was limited and phrasing tasteful rather than romantically inflated.

For some listeners the overall effect might have been boring. To my ears, however, what Muti and his players did was prepared with the most careful attention to detail and beautiful in every respect. I was struck by Muti’s handling of the softer passages. There is a lot of repetition in Schubert and orchestral players tend to play this music at a mezzo forte volume from beginning to end – and this is where the boredom sets in. Muti demanded soft playing from the strings – often giving the effect of a musical whisper - that forced the listener to pay attention.

Muti’s approach to the very early Symphony No. 1 was similar, except that he managed to breathe more life into this slight work than I had ever heard before. The “inside” parts in the slow movement were a revelation. While attention is rightly focused on the melodies – usually in the winds – Muti brought out other lines in the music that changed the mood, often making the overall effect a little darker. But the conductor did this in a way that was not the least bit exaggerated; the conductor’s art indeed!

The last movement is by its very nature exuberant but Muti made the music even more joyous. Here the secret was crispness of articulation. But Muti also showed real mastery in balancing the classical orchestra. The Schubert First is scored for strings, a handful of winds and trumpets and timpani. The two trumpets can easily drown out the small string section. But there are moments when they need to be heard, at something close to full power. Muti got it exactly right. The trumpets mostly blended into the orchestral texture but in the final movement when their moments came they burst forth splendidly. This was no accident and it needs to be judged with great care. Fine playing and masterly conducting. I’ll have more to say about Muti and historically-informed performance practice in the next two articles in this series.

Photo by Todd Rosenberg
The other work on the program was Mozart’s Bassoon Concerto, undoubtedly the finest concerto yet written for the instrument. It is always a pleasure to hear it but this was a special occasion. David McGill (photo: left), a beloved Chicago Symphony principal player was retiring from the orchestra to take a full-time teaching position at Northwestern University. McGill has held principal positions in the Toronto Symphony and the Cleveland Orchestra but Chicago was the place he stayed for the longest time – seventeen years - and it was in Chicago that he chose to end his orchestral career.

McGill is one of the finest bassoonists to ever take up the instrument and on the evidence of this concerto performance he is going out at the very top of his game. McGill is the kind of bassoonist who makes the opening of le sacre du printemps sound angelic rather than strangled. In the Mozart, no matter what register he was playing in, the sound was beautiful and totally under control. The Mozart Bassoon Concerto is in no sense a “technical” piece and yet the composer made sure that only the finest players could meet the challenges he set them.

McGill composed his own cadenzas for this performance and there were stylistically appropriate and just the right length. Muti and McGill’s CSO colleagues accompanied with perfection. The ovation at the end, from audience members and players alike was extraordinarily heartfelt.

In the next article in this series on “Muti in Chicago,” I will review the last Muti-CSO concert of the current season, devoted to Schubert and Mahler. The final article will offer an account of the remarkable meeting held recently in Chicago between Muti and members of the Music Critic’s Association of North America (MCANA). 

Paul Robinson
 
is the author of Herbert von Karajan: the Maestro as Superstar, and Sir Georg Solti: His Life and Music. For friends: The Art of the Conductor podcast, “Classical Airs.”




This Week in Montreal: June 30 to July 6

$
0
0
Concerts Populaires Celebrates 50 Years:

In June 1964, at the initiative of mayor Jean Drapeau, the first event of the Concerts Populaires took place: a homage to Vienna with the Orchestre Symphonique de Montréal under the baton of Alexander Brott. This year, the Orchestre Métropolitain, directed by Julian Kuerti, will performs an integral reproduction of the 1964 inaugural concert with soprano Aline Kutan. Six concerts will beare presented between June 26 and July 31 at the Centre Pierre-Charbonneau, Thursdays at 7:30 pm. www.concertspopulairesdemontreal.com
 - Renée Banvillee

Davies, Dompierre, Pauk, Finley and Long Awarded Order of Canada

Muti in Chicago (second in a series of three articles)

$
0
0

Photo of Maestro Riccardo Muti conducting the CSO by Todd Rosenberg

Schubert: Symphony No. 5 in B flat major D. 485 (1816)
Mahler: Symphony No. 1 in D major

Chicago Symphony/Riccardo Muti

Orchestra Hall, Chicago
Thursday, June 19, 2014

Since the days of Sir Georg Solti – music director 1969-1992 – the Chicago Symphony has been known as a great Mahler orchestra. But it is astonishing to look into the archives and see just how often his music has been played and recorded. The Symphony No. 1 is a particular favorite. It has been recorded no fewer than seven times by Solti, Giulini, Abbado, Tennstedt, Boulez and Haitink. And this list is a veritable who’s who of most of the leading Mahler conductors of the past 50 years. And now comes the current music director, Riccardo Muti, a conductor renowned for his Verdi but not for his Mahler. To my knowledge, he has only conducted two of the ten symphonies in his entire career. This week he conducted the Mahler First in Chicago for the first time. How would he compare with the giants of the past who have stood on the same podium and conducted the same music? Forget the comparisons. This was perhaps the finest live performance of the piece I have ever heard.

The tempo Muti chose to begin the first movement was daringly slow but absolutely ideal for capturing the sounds of nature Mahler had embedded in his score. Against a background of barely audible string harmonics the bird calls each had a special character. The offstage trumpets sounded far, far away, just what Mahler must have imagined. The effect was magical. I suspect that this perfection of balance was achieved only by trial and error and by Muti’s insistence on getting it right. Years ago CSO principal trombonist Jay Friedman wrote that “no one, in my experience, has yet captured the stillness (Mahler’s word) of the opening pages.” (1993) I have no idea what Mr. Friedman thought of the opening pages in this performance but for me it felt just right.

Gradually, the music unfolded organically and almost imperceptibly took on a tempo that began to move the music forward.

The second movement scherzo managed to be heavy-footed and playful at the same time, and the eight horns lined across the stage made a glorious sound.
The third movement funeral march was profoundly beautiful from the opening bars. Muti set the tempo for the timpani (David Herbert) then hardly conducted at all until the end of the double bass solo. And what playing in the solo! Alexander Hanna, in only his second season with the CSO, played with enormous authority and beauty of sound. At the end of the performance Muti made a special point of walking into the orchestra to shake Mr. Hanna’s hand. He deserved it.

There has been some confusion over the years about whether this solo should be played by one player or the entire section. Sander Wilkens published a book in 1992 in which he argued that Mahler’s preference was for the entire section to play it. Muti did some research on the subject that included the examination of scores used for the first performance and early reviews. He concluded that there was no doubt that Mahler wanted just a single player.

The last movement of the symphony is the longest and contains a vast range of emotion and dynamics. Muti and the CSO got to the heart of the matter time and again with perfectly-gauged crescendi, hair-trigger precision from trumpets and trombones, and a stunning range of colors and dynamics from the percussion. It was overwhelming.

I must confess that in the past I have often been disappointed by the acoustics of Orchestra Hall. Too often this great orchestra has been seen but not heard. Softer passages had no substance, upper strings were frequently hard-edged and in full cry the orchestra often sounded flat when it should be three-dimensional. But not on this night. From my seat in row G on the right side of the lower balcony I was amazed at the warmth and clarity of the timbre of each instrument, and the transparency even in the loudest passages. I had two recurring thoughts as the performance unfolded: Mahler would have loved it, and members of the audience, hearing an orchestra live for the first time, must have been thrilled by the experience.

Each member of the orchestra rose to the occasion. Christopher Martin leading the trumpet section proved a worthy successor to the late Adoph Herseth. Leading the enlarged horn section, Daniel Gingrich was especially good in the softer solo passages. It is rumored that principal flute Mathieu Dufour recently won an audition to become principal flute of the Berlin Philharmonic. That would be a great loss for the CSO. In both concerts I heard, he was wonderful.

Before intermission Muti and the CSO concluded their Schubert Symphony Cycle with the charming Symphony No. 5. Once again, Muti showed that in matters Schubertian there is a lot to be said for the Viennese style. Sing these great tunes with love and warmth and the music almost plays itself. But beneath the surface of the apparent naiveté of the music there is more to it than that. Schubert songs are at first appearance strophic in form and within the technical grasp of many amateurs, but great artistry is required to really capture their essence.

Muti’s affinity for Schubert came out in the way he handled the slow movement. It can easily become tiresome if the tempo is too slow. The music is achingly beautiful but it doesn’t get more beautiful by playing it slower. Its true character is only revealed when the music moves forward. However, toward the end of the movement Schubert introduces several mood-changing colors that are often missed if a conductor maintains too quick a tempo all the way to the end. Muti’s insight was to slow up just a little in these final pages so that the touch of melancholy could register.  

In my last article in the series “Muti in Chicago”, I will report on a fascinating session between Riccardo Muti and the 30+ members of the Music Critics Association of North America (MCANA) in town to attend their annual meeting. Muti was very generous with his time and with his thoughts about life and music. He expounded at length on what matters most to him – Italian opera and using music to bring people together – and also revealed an earthy sense of humor. Approaching the age of 73 Riccardo Muti is one of the greatest conductors alive and a lively and compelling interlocutor.


Paul Robinson is the author of Herbert von Karajan: the Maestro as Superstar, and Sir Georg Solti: His Life and Music. For friends: The Art of the Conductor podcast, “Classical Airs.”

This Week in Montreal: July 7 to 13

$
0
0
Festival de Musique de Lachine:

From July 5 to 19, the Festival presents an opening concert featuring violinist Alexandre Da Costa and the Acacia Ensemble. They will peform Vivaldi’s Four Seasons and arrangements from operas. Two solo pianists are featured in the festival’s program: renowned performer André Laplante and young prodigy Daniel Clarke Bouchard. Myriam Farid and Olivier Godin perform a four-hands piano.
Notable in chamber music is the duo of violonist Kerson Leong and pianist Philip Chiu, the Trio Triple Forte with pianist David Jalbert, violinist Jasper Wood, and cellist Yegor Dyachkov, as well as Flûte Alors!, a recorder ensemble that proves to be a veritable journey into history. As far as vocal arts, the ensemble Vivavoce performs motets from the Renaissance through contemporary music. The Découvertes concert introduces the Quatuor Fandango Quartet, a young guitar quartet formed in 2009. The Sinfonietta du Festival and its conductor Vincent Lapointe present Mendelssohn’s Octet in E-flat major and Tchiakowvsky’s Serenade for Strings. Concerts take place at L’Entrepôt Performance Hall or Saints-Anges Church in Lachine. www.concertslachine.ca
 - Renée Banville

Longueuil International Percussion Festival (July 6-13):

This one-of-a-kind percussion festival in Quebec presents over 600 artists on 7 stages. Events of note are the carnival parade, family days and numerous percussion workshops.
www.percussions.ca
 - Hassan Laghcha

Concerts Populaires Celebrates 50 Years:


In June 1964, at the initiative of mayor Jean Drapeau, the first event of the Concerts Populaires took place: a homage to Vienna with the Orchestre Symphonique de Montréal under the baton of Alexander Brott. This year, the Orchestre Métropolitain, directed by Julian Kuerti, will performs an integral reproduction of the 1964 inaugural concert with soprano Aline Kutan. Six concerts will beare presented between June 26 and July 31 at the Centre Pierre-Charbonneau, Thursdays at 7:30 pm. www.concertspopulairesdemontreal.com
 - Renée Banville

Alice Through the Looking-Glass

$
0
0


Story by Lewis Carroll
Adaptation for the stage by James Reaney

Director: Jillian Kelley
Choreographer: Dayna Tekatch
Designer: Bretta Gerecke
Composer: Jonathan Munro
Sound Designer: John Gzowski

Alice: Trish Lindström
Red Queen: Cynthia Dale
White Queen: Sarah Orenstein
Humpty Dumpty: Brian Tree

Stratford Festival 
Avon Theatre
June 21, 2014

It is one of the great mysteries of genius how a shy, stammering Oxford mathematics professor came to create the most enchanting children’s books in the history of the genre; not only that, but how these same stories about a young girl and her adventures with a vast panoply of absurd characters are so intellectually clever as to continue to challenge great minds more than 150 years after they were written! The “Alice” stories not only turned out to be imaginative and compelling, but also philosophical textbooks that found new ways to frame the basic questions about our very existence.

Charles Lutwidge Dodgson (photo: right) spent most of his life teaching at Christ Church College, Oxford, but he found time to write both Alice and Wonderland (1850s) and Through the Looking Glass (1871) under the pseudonym Lewis Carroll. Apparently, his inspiration was the children of Henry Liddell, Dean of Christ Church. Liddell had three children, all girls: Lorina, Edith and Alice. It appears that Dodgson was particularly attracted to 11-year-old Alice. Not only did ‘Alice’ become the heroine of the two books, but rumor has it that Dodgson even planned to marry her.

The Stratford Festival is best known for its Shakespeare productions, but it has always offered a full range of plays and musicals or operettas. Year after year, its seasons mix plays from different centuries and from many different genres. To be so consistently successful in all these ventures requires imaginative and capable leadership – Antoni Cimolino at the moment – and a strong company of actors, singers, dancers and technicians. Alice Through the Looking Glass was a fine example of a company production. The Reaney adaptation was a huge success in 1994 and twenty years later it is still an impressive achievement. The new production, directed by Jillian Kelley in her Stratford debut is wonderfully entertaining, and not only for children.

James Reaney (1979)
It is difficult to praise too highly what the late James Reaney did, to bring Lewis Carroll’s children’s classic to the stage. For a start, he was faithful to the original material in the sense that he closely followed Carroll’s story, resisted the temptation to bring in material from the earlier and more popular Alice in Wonderland, and did not attempt to add his own thoughts about the material, the characters or the author. Reaney understood that Alice Through the Looking-Glass is quite strong enough on its own, with its clever story line and original characters.

Then it was up to the director and her team to breathe life into the play. Kelley and her colleagues get it right in one scene after another.

Lewis Carroll was especially clever in using the game of chess as a metaphor for Alice’s coming of age. The rules of chess work as the unseen and little understood actions of invisible forces moving individuals through life. Many of the leading characters in Alice Through the Looking Glass are chess pieces come to life; among them are the Red and White Kings and Queens, and the Red and White Knights. Early on Alice gets what it’s all about:

It’s a great huge game of chess that’s being played – all over the world – if this is the world at all, you know. Oh, what fun it is! How I wish I was one of them! I wouldn’t mind being a pawn, if only I might join – though of course I should like to be a Queen best.

Trish Lindström
And so it goes. Alice does become a Queen. Trish Lindström as Alice was wide-eyed and likeable, and a whole host of Stratford stalwarts popped in and out throughout the show. It was luxury casting with Cynthia Dale, no less, as the Red Queen and Tom McCamus as the March Hare. Brian Tree, in his 25th Stratford season, almost stole the show as Humpty Dumpty, pontificating magnificently from atop his enormous egg body with assistants working his floppy arms.

Mike Nadajewski and Sanjay Talwar deserve special kudos for their well-drilled and funny Tweedledum and Tweedledee. The costumes added immensely to the success of this scene and to most others. Bretta Gerecke was the wizard at work here, aided by choreographer Dayna Tekatch.

And did I mention audience involvement? Children running up and down the aisles are usually the bane of an actor’s existence - not so on this occasion; here, they were positively encouraged to be off and running when jelly beans starting falling from the sky, and from the actors on stage.

Music was used sparingly in this show but always seemed just right. Jonathan Monro composed the music and recorded it too, using only keyboards. While the music was vaguely contemporary, it was never at odds with the period style of the play, nor did it ever fall back on all too familiar nursery rhyme versions of the songs.

The good news from Stratford is that at least one of the ‘Alice’ stories is as fresh and timeless as ever. If you enjoyed it as a child, come to the festival this summer and bring your kids. They’ll fall in love with it too, and you yourself will have another chance to ponder the great existential questions raised with incomparable cleverness and imagination so long ago by that shy Oxford mathematics professor.

For something more…

If your copies of the Alice fantasies are by now too dog-eared to pass muster, look no further than the internet. Free replacements are readily available at www.gutenberg.org.

Since 1969, American composer David Del Tredici has spent much of his time writing pieces that are Alice-related, and many of them are superb. Del Tredici often sets Carroll’s text to music but he also probes deeply into the layers of meaning, the real character of Alice and the relationship between Alice and the author. In addition, he fully enters into the spirit of the word games, and creates a few of his own. To learn more about this wonderful music visit the composer’s website at www.daviddeltredici.com.

Paul Robinson is the author of Herbert von Karajan: the Maestro as Superstar, and Sir Georg Solti: His Life and Music. For friends: The Art of the Conductor podcast, “Classical Airs.”



Don Quixote Rides Again at Stratford

$
0
0

Man of La Mancha
Written by Dale Wasserman with music by Mitch Leigh and Lyrics by Joe Darion

Director: Robert McQueen
Choreographer: Marc Kimelman
Musical Director: Franklin Brasz
Miguel de Cervantes/Don Quixote: Tom Rooney
Sancho Panza: Steve Ross
Aldonza: Robin Hutton

Stratford Festival
Avon Theatre
June 20, 2014

Man of La Mancha opened on Broadway in 1965 and quickly entered the ranks of the classics of the American musical theatre. It is an inspired treatment of Cervantes’ Don Quixote story and continues to delight audiences all around the world. More than that, it is recognized as part of a genre that was created with commercial success in mind but is now taken seriously by non-profits far beyond Broadway. The Stratford Festival has been taking the American musical seriously for decades, but so too are opera companies everywhere. Chicago Lyric Opera, for example, presents a Rogers and Hammerstein musical every season. Can the Met be far behind?

Major composers over the years have taken an interest in the demented figure of Don Quixote, a man who believes he can right wrongs and defeat all the bad guys in this world. Richard Strausswas particularly successful with his tone poem Don Quixote, in which a cello soloist takes the role of “the knight of the woeful countenance.” The best-known operatic treatment is Don Quichotteby Jules Massenet. It is rarely performed but recently got an airing by the Canadian Opera Company(COC). Man of La Mancha has enjoyed success far greater than either one of them. Undoubtedly, one of its greatest assets is the hit tune “The Impossible Dream,” in which both words and music capture the very essence of the man Don Quixote and lend themselves to being repeated throughout the show as a leitmotif.

Dale Wasserman
The other compelling ingredient is the book, the way in which Miguel de Cervantes’ early Seventeenth Century novel has been transformed into a stage play. It was Dale Wasserman’s invention to imagine a play within a play. We don’t know much about Cervantes life but Wasserman invents one that is highly credible. He imagines that Cervantes has been travelling through Spain with a small theatrical troupe when he is arrested and thrown into prison for something he did in his former line of a work as a tax collector. Cervantes is then set upon by the other prisoners and his magnus opus – the novel about Don Quixote, of course – is stolen. To save it from the flames, Cervantes improvises versions of the tales told in his novel to entertain his tormentors.
Cervantes ultimately wins over his fellow inmates and gets his manuscript back, but more than that, he inspires them to identify with Don Quixote and dream the impossible dream.

For some observers this is pure hokum and diminishes the literary quality of Cervantes’ original novel. Many critics feel that the message of the novel is far darker than that of the musical. Cervantes’ novel, they say, is really about a mentally ill old man who sets out on a fool’s errand. He understands nothing about what is really happening in the world around him and as he confronts supposed adversaries, he is repeatedly humiliated. It is a sad story that ends badly.

Stratford has produced Man of La Mancha before. It was done in 1998 at the Festival Theatre with Juan Chioran remembered as a superb Cervantes/Don Quixote, but this latest version is altogether worthy of the nearly 50 years history of the show.

The sets by Douglas Paraschuk are massively conceived and suitably menacing for a musical that takes place entirely within the confines of a Seventeenth Century Spanish prison. In the background, we see the blades of a windmill turning slowly. They remind us of Don Quixote’s tilting at windmills, but also of the cruelty of the Spanish Inquisition, in which men are inexorably ground down, as millwheels grind grain to dust.

In front of the windmill is a raised drawbridge leading up to some massive doors. From time to time during the play, the doors are flung open at the top of the stairs, the drawbridge is lowered with the hideous sound of chains clanking, and soldiers descend into the prison to take away more wretches for torture and execution.

Tom Rooney as Miguel de Cervantes/Don Quixote
in Man of  La Mancha. Photo by Erin Samuell.
The dual roles of Cervantes and Don Quixote are an extraordinary challenge for any actor. Time and again, he must pass convincingly and almost imperceptibly from one personage to the other. He must be not only a superb actor but also a singer of some stature. Tom Rooney was ideal in the role. His acting was strong but never over the top and his singing was wonderful. As both actor and singer he makes a beautiful sound with his voice, but more than that, he is able to express both the heroic aspirations of the two characters and the melancholy of their ultimate failure.

Steve Ross as Sancho Panza provided an excellent foil for his two masters, and Robin Hutton as Aldonza captured all the earthiness the part requires. Throughout the play Don Quixote has mistaken her for his beloved Dulcinea and by the end she has come to almost believe it herself. Hutton’s transformation is touching.

Director Robert McQueen’s production was excellent in all the myriad details that make a group of actors a real ensemble. There were only two scenes I found unconvincing. The first comes at the end of Act I. The gang rape of Aldonza was unnecessarily cruel and violent, and left several audience members – myself included - with a serious case of nausea as they headed out for intermission. The scene was obviously Wasserman’s idea, but it was director McQueen who made it so graphic in this production. 

The second comes near the end of the show.  As the play unfolds, it is very clear that Don Quixote is a Christ-like figure, at least in Wasserman’s conception, but for his death scene we don’t need Don Quixote to mime a crucifixion pose. We get it without the underlining. Again, in my estimation, director McQueen went too far.

Paul Robinson is the author of Herbert von Karajan: the Maestro as Superstar, and Sir Georg Solti: His Life and Music. For friends: The Art of the Conductor podcast, “Classical Airs.”



Muti in Chicago (last in a series of three articles)

$
0
0

Muti with members of MCANA: Photo by Todd Rosenberg 

“At my age I don’t care what critics write anymore but I do care about presenting Italian opera the way the composer intended and I do care about using music to bring people together.” – Riccardo Muti (2014)

The Music Critics Association of North America (MCANA) held its annual meeting in Chicago this year between June 17-19. The featured concerts were two performances by the Chicago Symphony Orchestra (CSO) led by its music director Riccardo Muti. In the first two articles in this series of three, I reported on these excellent concerts. As part of the MCANA activities, the group of about 30 critics also attended a rehearsal led by Muti, followed by a Q and A session with the illustrious Italian maestro. This session turned out to be a memorable experience.

With the members of MCANA, Muti was initially somewhat defensive and prosecutorial; perhaps he felt the need to establish who was boss when members of the CSO were behind him on the stage. After the orchestra members had left and Muti came down off the stage to greet the  critics at close quarters – several hugs for members of the local press – the Italian conductor was much more relaxed and friendly. For over an hour, he stood amongst the critics speaking his mind and answering questions with amusing stories and thoughtful analysis.

Riccardo Muti will be 73 next month and on the evidence of what we saw in Chicago, he appears healthy and full of energy. The same could not be said when he took up his post in 2010. He suffered a series of illnesses that had him canceling more concerts than he conducted in Chicago. There was some doubt whether he would be able to continue. Fortunately, these medical misfortunes are very much in the past and Muti has become a beloved figure for the members of the Chicago Symphony and for the Chicago public.

Riccardo Muti has had, to put it mildly, a major career. He led La Scala for 19 years; he has been music director of the Philadelphia Orchestra and the Philharmonia Orchestra; and he was on the short list to succeedHerbert von Karajan as head of the Berlin Philharmonic. That post went to his contemporary and sometime rival Claudio Abbado.

In 1991, Norman Lebrecht painted a portrait of Muti in The Maestro Myth that emphasized how seriously he took his work, while making clear that Muti was also far more extroverted than the low-key Abbado. Muti’s great mission then, as it is now, was to preserve and disseminate Italian operas, exactly as their composers intended. This meant removing all the excesses introduced by egocentric tenors such as Pavarotti: if there are no high C’s or fermatas on high C’s written by the composer, singers in Muti-conducted opera performances will not be allowed to add them. Period! In other words, Muti is dedicated to doing
for 19th Century Italian opera what the historically-informed specialists have done for 18th Century music. How ironic, then, that in the session with our critics group in Chicago, Muti saved his most vitriolic comments for these folks; Nikolaus Harnoncourt was singled out as the worst offender.

Muti had the critics in fits of laughter as he imitated Pavarotti stretching the top note on “Vincerò” in the aria “Nessun Dorma” to interminable lengths. He also ridiculed the sound produced by members of the Arnold Schoenberg Choir in Vienna – Harnoncourt’s favorite chorus – as totally sexless and nonsensical in Bach’s B minor Mass. “Bach had nine children,” Muti shouted. He even resorted to scatological images to remind us that Bach loved nothing better than playing the organ – his own and the one in his church. The original instrument conductors are the “vegetarians of music,” Muti declared. “They are the fundamentalists.”

But aren’t conductors like Harnoncourt and John Eliot Gardiner simply doing for Bach and Mozart what Muti is doing for Verdi? Surely they are all trying to figure out what the composer intended and to give historically accurate performances. While Muti didn’t specifically address this question, he would undoubtedly have argued that the “fundamentalists” go too far, and often leave out the most human elements of musical expression.

Muti’s views on performance practice became the focus of the session with the critics when I asked him about his approach to the Schubert symphonies. Having heard him rehearse and conduct Schubert over the past several days, it was clear to me that his considered approach was very much in the tradition of conductors such as Bruno Walter, Karl Böhm and Herbert von Karajan. Some would call it old-fashioned. I suggested to him that much work has been done on Schubert in the past 25 years and many scholars and conductors believe Schubert should be played in a manner best described as “historically informed.”

Muti responded by saying that while no one really knows how this music would have been played in Schubert’s time, we do have some powerful evidence. It is the way the Vienna Philharmonic Orchestra (VPO) plays today. The VPO’s style of playing has been carefully and deliberately preserved by the players themselves over the past 200 years. Muti noted that he has been working with the VPO for more than 40 years. Players change. They continue to come and go, but the VPO style of playing remains the same. The current players are the teachers of the next generation, and so on. For Muti, this means that we need look no further than the current incarnation of the Vienna Philharmonic to know how Schubert was played in 1820. Toscaninifamously said that “tradition is the last bad performance.” Obviously, Muti has a more positive view of the meaning of “tradition,” especially where the Vienna Philharmonic is concerned.

Muti also noted that the second performance of Haydn’s oratorio Die Schöpfung was conducted bySalieri, with an orchestra and chorus numbering nearly 1,000, suggesting that for early music specialists to state unequivocally that classical symphonies need to be played by small orchestras is misleading. Haydn, Mozart, Beethoven and Schubert were often limited by the numbers of players available, but welcomed the opportunity to hear their music played by large orchestras.

For the record, during the two concerts I heard during my visit to Chicago, Muti conducted Schubert’s Symphonies Nos. 1, 5 and 6 with the CSO and they demonstrated careful preparation and genuine love of the music. Muti used an orchestra of about 50 players. There were certainly echoes of Bruno Walter but there was also a lightness in the phrasing and the bowing and a restraint in the vibrato that suggested Muti has paid more attention to the “fundamentalists” than he lets on. Timpanist David Herbert even brought along a set of drums that wouldn’t have been out of place in Schubert’s orchestra.

Muti’s other “mission” in life is to use music to further the cause of world peace. He founded the Luigi Cherubini Youth Orchestrain 2004 to give concerts in places where there have been recent hostilities or people suffering. Muti and the orchestra visit prisons and hospitals, and places such as Sarajevo, Yerevan, Damascus and Nairobi. The project is called Le vie dell’Amicizia (The Paths of Friendship). Other conductors have committed themselves to peace projects – Leonard Bernstein, Sir Georg Solti and Daniel Barenboim come to mind – but in Muti’s case the mission is usually carried out away from the major musical capitals of the world. Muti goes where famous conductors are seldom seen or heard. He even finds time to visit prisons in the Chicago area.

In a lifetime of watching great conductors, I have seldom met a maestro of Muti’s stature who seemed so genuinely interested in what mere critics had to say. At his age, he doesn’t have to prove anything anymore. He certainly doesn’t have to ingratiate himself with several dozen critics who will have little effect on his reputation or his legacy. For those of us fortunate enough to be in Chicago’s Orchestra Hall this wonderful June afternoon, Muti left an indelible impression on us as a dedicated musician and a caring multi-dimensional human being.


Paul Robinson is the author of Herbert von Karajan: the Maestro as Superstar, and Sir Georg Solti: His Life and Music. For friends: The Art of the Conductor podcast, “Classical Airs.”


Le Festival de Lanaudière du 8 juillet au 10 août

$
0
0
par Justin Bernard

Pour cette 37eédition, le pianiste Alain Lefèvre, ambassadeur artistique du festival, fera le concert d’ouverture. Au programme, une œuvre de Bach transcrite par Liszt, une sonate de Haydn et une autre de Rachmaninov, les 24 préludes de Chopin et La Valse de Ravel. 8 juillet.

Pour souligner le 150e anniversaire de naissance de Richard Strauss, trois des œuvres du compositeur seront interprétées : le poème symphonique Don Quichotte avec solistes,accompagnés par l’Orchestre du Festival, que l’on pourra entendre dans un autre poème symphonique, Don Juan,et dans la suite orchestrale extraite du Chevalier à la rose. À la direction, Jean-Marie Zeitouni. Solistes : Stéphane Tétrault, violoncelliste, et Brian Bacon, altiste. 12 juillet.

Les Violons du Roy, dirigés par Bernard Labadie, seront présents au festival avec un programme qui comblera les amateurs de musique baroque : une cantate en compagnie de la soprano Sophia Brommer et deux suites orchestrales de Bach ainsi que le motet Sileti venti de Haendel. 19 juillet.

Après Beethoven et Schumann, c’est Brahms que la Deutsche Kammerphilharmonie de Brême mettra à l’honneur dans deux concerts très attendus. Sous la direction de Paavo Järvi, les deux premières symphonies, deux concertos et deux solistes : le pianiste Lars Vogt et le violoniste Christian Tetzlaff.2 et 3 août.

Yannick Nézet-Séguin dirigera l’Orchestre Métropolitain dans la Symphonie no 8 de Beethoven, la Siegfried Idyll de Wagner, le Prélude de Tristan et Isolde et, enfin, une version orchestrale du Liebestod. 6 août.

Pour la dernière soirée classique, Kent Nagano dirigera l’OSM dans la Symphonie no 2 « Résurrection » de Mahler. Solistes : Erin Wall, soprano, et Susan Platts, mezzo-soprano. 9 août.


Le Nouvel ensemble vocal - enfin un chœur a capella juste!

$
0
0
Par Marc-Olivier Laramée

En juin, un nouvel ensemble vocal fit son apparition sur la scène montréalaise de la musique classique. Le chant choral occupe une place de plus en plus importante au Québec, mais peu de chœurs peuvent se prévaloir du titre de chœur professionnel. L’Orchestre symphonique de Montréal, avec son nouveau chœur de chambre professionnel ou bien le Studio de Musique ancienne en sont de bons exemples.

Ce nouveau chœur est formé de chanteurs provenant des universités McGill, Concordia et de l’Université de Montréal d’où provient justement le chef de chœur Pascal Germain‑Berardi. Le chœur est aussi soutenu par plusieurs anciens Petits Chanteurs du Mont-Royal, ensemble dont M. Germain‑Berardi a aussi fait partie.

Ce concert avait pour objectif de lancer ce nouveau projet, d’établir des bases en vue de prochains concerts. « J’étais entouré de jeunes musiciens de qualité ne demandant qu’à avoir des occasions pour performer… » dit le chef. Ces chanteurs ont répondu présent, donnant ainsi une performance a cappella d’une justesse rarissime dans le chant choral. Avec des effectifs restreints de quatre chanteurs par voix, le résultat est fort surprenant.

Pour débuter le programme, une œuvre sortant des classiques du chant choral, Mirages sur le désert de Gobi, de Se Enkhbayar. Cette œuvre tire son inspiration de la musique orientale de la Mongolie. Le public fut transporté dans un univers contradictoire par les effets sonores du chœur et méditatifs du désert, cet univers accompagné d’une voix fraîche parfaite d’une soprano, l’audience se sentait transportée tout droit en Mongolie.

Par la suite, un vent estival emplit la salle avec l’interprétation des 3 Chansons de Charles d’Orléans de Claude Debussy. Bien que l’arrimage des différentes voix ne fut pas à son meilleur, la troisième chanson fut la mieux réussie.

S’ensuivirent deux compositions. Lève-toi, une pièce inspirée du Cantique des Cantiques, une œuvre originale du chef lui-même. Cette pièce rendue sous la forme d’un motet était d’une pureté et finesse cristallines. Les qualités vocales du chœur furent mises à l’honneur. Une justesse parfaite! La deuxième composition, T’en souviens-tu Godin? de Jean‑Christophe Arsenault, un jeune compositeur québécois, est inspirée de l’œuvre du très connu ministre de l’immigration et écrivain Gérald Godin. On peut percevoir toute l’envergure du travail fait par Godin. L’histoire du Québec, ses échecs et ses défis. Pour terminer la première partie, le Magnificat d’Avro Pärt ainsi qu’une œuvre du pédagogue de la musique hongroise, Evening Song de Zoltán Kodály.

La deuxième partie, elle, était dédiée aux compositeurs des 18e et 19esiècles. Tout d’abord, le Miserere Mei de l’italien Antonio Lotti. Le chant sacré est souvent bien chanté mais encore plus souvent mal interprété. Heureusement, ce nouveau chœur a réussi à marier les deux. Le style, l’ambiance, le sens de l’œuvre et encore une fois l’élément le plus important la justesse, tout y était!

Vient ensuite mon coup de chœur, le Concerto pour Chœur de Sergeï Rachmaninoff. Cette œuvre est complète. Que ce soit ici la légèreté et agilité des voix de femmes dont c’était la meilleure performance ou bien la profondeur et la solidité des hommes. Le sérieux de la religion orthodoxe et le souci de l’équilibre des voix étaient extraordinaires. Les 16 chanteurs ont tout donné et tout fait pour créer un amalgame équilibré tel un bon vin.

Pour terminer le concert, le Pater Noster de Giuseppe Verdi ainsi que trois motets d’Anton Bruckner. Le Pater Noster tout comme le Magnificat de Pärt manquaient tous deux de coordination. Les tempi semblaient vagues. Dans le cas des motets, parmi Locus Iste, Vexila Regis et Os Justi, le deuxième remporta le prix d’interprétation. Même les silences chantaient!

On peut dire que dans l’ensemble, la justesse est l’élément fondamental qui distingue ce chœur des autres. Malgré quelques faux pas, avec un travail de cohésion entre les membres et une attention plus particulière à regarder le chef pendant le concert, ces chanteurs pourraient devenir un incontournable parmi les chœurs professionnels.

Concert inaugural du Nouvel ensemble vocal
Direction : Pascal Germain-Berardi
Samedi 14 juin 2014, 20h00
Paroisse de la Nativité de la Sainte-Vierge, 3200 Ontario, Montréal 

As Long As There Are Songs / Stephanie Blythe (CD Review)

$
0
0

As Long As There Are Songs

Stephanie Blythe
Craig Terry, piano
INNOVA 875  (55min 32sec)  www.meyersound.com
****



There have been plenty of opera divas over the years trying their hand at pop. Just because these ladies are wonderful in opera doesn’t always mean success as the two genres pose totally different technical and stylistic demands.  Singing intimate pop songs in an operatic fortissimo, with excessive vibrato, rigid rhythm and a general lack of “swing” are surefire reasons for unidiomatic results.  The best ones, Eileen Farrell of the past comes immediately to mind, sing naturally, without any hint of operatic artifice.  Based on this disc of 14 popular American songs, mezzo-soprano Stephanie Blythe qualifies as a fine pop singer. From Irving Berlin to Harold Arlen to George Gershwin, Blythe sings “naturally” with clear diction, capturing the spirit of each song. Personally I prefer the sad songs, which she sings in an exquisite half voice, like ‘Always’ and “When You Wish Upon a Star.’ For the upbeat songs, she brings her chest voice to the very top – totally verboten in opera – and its creates a certain "Ethel Merman forcefulness" to these numbers. The disc uses Meyer Sound’s new “Constellation Acoustic Technology” creating a very natural ambiance, as if the listener is in the room with the singer. Given this realistic acoustic, one wish there were an audience complete with applause. As it stands, it's just odd that there's dead silence after the end of a song. Here is a video clip where Blythe talks about the recording process - http://meyersound.com/multimedia/?m_id=177#179   Recommended for fans of Blythe and for opera fans who want to venture into old standards.  JOSEPH SO 

Russian Songs / Yuri Gorodetski, tenor (CD Review)

$
0
0

Russian Songs

Yuri Gorodetski, tenor
Tatiana Loisha, piano
ATMA Classique ACD2 2690
****      




I first heard Belarusian tenor Yuri Gorodetski at the Queen Elisabeth Competition (Belgium) in 2008 where he won Fifth Prize.  My impression at the time was a very nice lyric tenor, used with taste and sensitivity, as evidenced in a most poetic and heart-felt ‘Kuda, kuda’ from Eugene Onegin. At the end, he had tears welling up in his eyes. Four years later, he reprised this aria at Chant 2012 in Montreal. While he didn’t win the grand prize – that was won by Canadian baritone Philippe Sly – Gorodetski received the ATMA Classique Prize. This disc, recorded in Salle Françoys-Bernier, Domaine Forget in April 2013, is the result of that award. The program of Russian songs by Tchaikovsky and Rachmaninoff was a natural choice. These mostly familiar pieces are strong on melancholia – even the happy ones seem to be tinged with traces of sadness. Gorodetski, with his plaintive tone and a well-developed mezza voce in the middle register, is an ideal interpreter of these pieces. There is however a fly in the ointment - his tendency to sing the extreme top notes too “open” as in the high B in the famous ‘Spring Waters’ by Rachmaninoff (Track 12). This unfortunately gives his singing a strident quality. When he attacks a top note with too much force, as in the high C at the end of “Davni l’ moj drug” (Track 20), the line is distorted. Interestingly, I never noticed this technical issue in  the QE Competition back in 2008. These quibbles aside, there is still much to enjoy on this debut album. The well-produced booklet has an essay by Irene Brisson on Russian songs, artist bios, and song texts in Russian, French and English. The recorded sound is clean and warm.  A special kudos to Belarusian pianist Tatiana Loisha, who is supportive of the singer and technically up to the demands of the bravura piano accompaniment, especially in the Rachmaninoff. Recommended for fans of the Russian song repertoire. JOSEPH SO

This Week in Montreal: July 14 to 20

$
0
0
Festival de Musique de Lachine From July 5 to 19, the Festival presents an opening concert featuring violinist Alexandre Da Costa and the Acacia Ensemble. They will peform Vivaldi’s Four Seasons and arrangements from operas. Two solo pianists are featured in the festival’s program: renowned performer André Laplante and young prodigy Daniel Clarke Bouchard. Myriam Farid and Olivier Godin perform a four-hands piano. Notable in chamber music is the duo of violonist Kerson Leong and pianist Philip Chiu, the Trio Triple Forte with pianist David Jalbert, violinist Jasper Wood, and cellist Yegor Dyachkov, as well as Flûte Alors!, a recorder ensemble that proves to be a veritable journey into history. As far as vocal arts, the ensemble Vivavoce performs motets from the Renaissance through contemporary music. The Découvertes concert introduces the Quatuor Fandango Quartet, a young guitar quartet formed in 2009. The Sinfonietta du Festival and its conductor Vincent Lapointe present Mendelssohn’s Octet in E-flat major and Tchiakowvsky’s Serenade for Strings. Concerts take place at L’Entrepôt Performance Hall or Saints-Anges Church in Lachine. www.concertslachine.ca 
 - Renée Banville

Just for Laughs (July 12-26) Big names at this year’s galas include Andy Samburg, Aziz Ansari, Russel Peters, Jim Gaffigan, and Seth Rogan. If you can’t make it to a gala show, you can still see Nick Offerman at Club Soda or your favourite funny Canadians at Homegrown, hosted by Debra DiGiovanni at l’Astral. Just for Laughs, with 1,700 artists from 19 countries, will offer 1,600 shows of which 1,200 will be free outdoor venues. www.hahaha.com 
 - Hassan Laghcha

Julian Kuerti

Concerts Populaires Celebrates 50 Years In June 1964, at the initiative of mayor Jean Drapeau, the first event of the Concerts Populaires took place: a homage to Vienna with the Orchestre Symphonique de Montréal under the baton of Alexander Brott. This year, the Orchestre Métropolitain, directed by Julian Kuerti, will performs an integral reproduction of the 1964 inaugural concert with soprano Aline Kutan. Six concerts will beare presented between June 26 and July 31 at the Centre Pierre-Charbonneau, Thursdays at 7:30 pm. www.concertspopulairesdemontreal.com 
 - Renée Banville
Viewing all 585 articles
Browse latest View live


Latest Images