La Scena Musicale

-->

Jean-Willy Kunz

Le Cirque du Soleil célèbre ses 30 ans avec une série de concerts où les musiques les plus connues des 35 spectacles du Cirque seront interprétées par un chœur, un orchestre et... un orgue. En tant qu'organiste, claveciniste ou pianiste, je me suis impliqué dans plusieurs projets très originaux depuis quelques années et j'ai hâte de participer à celui-ci ! Du 13 au 28 décembre, église Saint-Jean-Baptiste. Renseignements : www.cirquedusoleil.com/fr/shows/30-anniversaire-concert/default.aspx
- Jean-Willy Kunz

Le Messie de Haendel, l’œuvre phare du temps des fêtes
L’Orchestre de chambre McGill et le Chœur de la cathédrale Christ Church, sous la direction de Boris Brott, présenteront à leur tour Le Messie, avec la soprano Aline Kutan, la mezzo Mireille Lebel, le ténor Michael Colvin et le baryton Peter McGillivray. Le directeur musical du chœur de la cathédrale, Peter Wedd, qui a préparé les chanteurs, accompagnera également les récitatifs au clavecin. Le concert sera précédé d’une causerie à 18 h 30. Cathédrale Christ Church – 15 décembre, 19 h 30. www.ocm-mco.org
Dirigé par Michel Brousseau, le Chœur philharmonique du Nouveau Monde présentera également les plus beaux moments du Messie avec plus de 200 choristes sur scène, sans les parties solistes. Église Saint-Germain, Outremont, 19 h 30.

Changement de programme a l’OSM
L’Orchestre symphonique de Montréal poursuit le temps des fêtes avec un concert unique, un récital avec la mezzo Susan Graham et le ténor Michael Fabiano. Ils interpréteront notamment des œuvres de Massenet, Puccini et Schubert. Ce programme remplace celui qui était prévu avec le ténor italien Vittorio Grigolo, qui a annulé sa visite à Montréal. Maison symphonique de Montréal – 16, 18 décembre, 20 h.

Nouveau chef en tournée en décembre avec l'OM et Stéphane Tétreault
Kensho Watanabe, qui remplacera Alexandre Bloch, fera la tournée de trois arrondissements avec l'Orchestre Métropolitain, en compagnie du violoncelliste Stéphane Tétreault. Soirs d'hiver, un programme tout en contrastes qui débute avec le Concerto grosso, op. 6 no 8 de Corelli et enchaîne avec les redoutables Variations sur un thème rococo et la Symphonie no 1 de Tchaïkovski. Verdun (17) – Hochelaga-Maisonneuve (18) – Saint-Léonard (20). www.orchestremetropolitain.com

I Musici – un Noël à la flûte
Pour réinventer Noël, I Musici a invité le groupe Flûte Alors ! Sous la direction du chef en résidence Jean-Michel Malouf, on entendra des arrangements pour quatre flûtes à bec et orchestre d'œuvres de Bach, Corelli, Vivaldi, Haber et Charpentier. Selon la critique, ces quatre amoureux de la flûte à bec, d'une virtuosité spectaculaire, ont développé entre eux « une mécanique musicale d'une précision d'horloge ». Chapelle historique du Bon-Pasteur, 18 au 20 décembre. www.imusici.com

Noël à Dresde
Les ensembles VivaVoce et La Rose des vents s’unissent pour présenter « Noël à Dresde » un concert mettant en vedette la tromboniste Catherine Motuz et le cornettiste Matthew Jennejohn. Ils joueront des œuvres de Praetorius, Scheidt, Schein et Schütz pour chœur et ensemble de vents ainsi que des noëls traditionnels. Salle de concert Redpath, 21 décembre, 15 h. www.aramusique.org

by Paul E. Robinson

Conspirare Christmas with Special Guest Ruthie Foster

Conspirare Company of Voices/Craig Hella Johnson

Long Center for the Performing Arts

Austin, Texas

Who knew that “I Could Have Danced All Night” was the quintessential Christmas song? Craig Hella Johnson, that’s who, and my guess is that a growing number of listeners agree with him.

It has become a tradition for Conspirare Company of Voices to perform their special version of this Lerner and Loewe classic from My Fair Lady as the finale of their annual Christmas concert. In a quiet, slow and hypnotic rendition, Conspirare gave us words and music to reflect on before returning to everyday life. The performance again was magical, as it was last year.

Conspirare’s Christmas concert is given seven times within a week, with performances in Victoria, Houston and at two different venues in Austin. The last performance this year was presented at the Travis County Correctional Facility. Each concert is about 90 minutes long, is presented without intermission, and includes seven groups of songs, with each group relating to a general theme: “Dear Heart”, “Love Bade Me Welcome”, “Just Come” and so on. There is no narration during the concert, but it is clear that the audience is encouraged not only to enjoy the music but also to think about the words of the songs and the ideas they convey.

One of these ideas is “unity in diversity.” Craig Hella Johnson juxtaposes Christian liturgical music, popular songs, gospel music, opera, African folk music and Christmas carols. On one level it is a demonstration that beautiful music can be found in many unexpected places; on another, Conspirare is attempting to bring its listeners together by means of such an eclectic mix.

Soloist Ruthie Foster

Blues singer Ruthie Foster, a featured soloist at Conspirare’s Christmas concert last year, returned again this year and she was better than ever. She sang some of her own songs accompanied by the choir, but she also led some exciting rafter-raising gospel music.

As usual, conductor Craig Hella Johnson was seated at the piano, his back to the audience, as he led his fine professional choir through this varied and thoughtful program. He even took one of the solos himself. What a fine voice he has! Even in “pop” songs, he is able to bring each note and word to life in the manner of a great lieder singer. Amazing!

For Something More…

Conspirare just released a CD of their Christmas concert from last year. Titled Unclouded Day, it is available through their website at www.conspirare.org. Earlier in the year Conspirare released a CD of The Sacred Spirit of Russia, documenting one of the finest concerts I have ever heard from them. Available from Harmonia Mundi (HMU 807526), it is has been nominated for a Grammy.

My Toronto Concert Picks for the Holiday Season (Dec. 22 to Jan. 4)

- Joseph So

Now that we are really into the heart of the Christmas Season, concerts scheduling grinds to a halt to make way for family gatherings and church services etc. Interestingly, in other big cities the likes of New York, London and Vienna where I've visited at Christmas time in years past, there are still plenty of musical events going on. Okay, except on Christmas Eve when it's dark at the Wiener Staatsoper, and Christmas Day and Boxing Day at Covent Garden. At the Met this year, the house is dark on both Christmas Eve and Christmas Day - didn't use to if I remember correctly. At the Bastille in Paris, there's even a performance of Nutcracker on Christmas Day! I'm rather torn when it comes to this. I certainly don't begrudge musicians taking time off to be with their families, but when gigs are so hard to come by these days, surely there are musicians who would be willing to work, as they say, "the show must go on"?

Tenor Adrian Kramer is Nanki-Poo for Toronto Operetta Theatre's The Mikado

Anyway, Toronto's professional classical music scene is totally quiet this week except for a few organ recitals and carol sings in your local churches. It restarts with Toronto Operetta Theatre's The Mikado on December 27 for a run of six performances to January 4, including a New Year's Eve Gala. I'll be attending the opening, as I'm curious to hear the Nanki-Poo of tenor Adrian Kramer. The last time I heard him, he was a member of the COC Ensemble Studio, as a baritone. He's certainly not the first to move up - former Ensemble baritone Joseph Kaiser made the switch a few years ago. Singing Yum Yum is soprano Lucia Cesaroni. Katisha is mezzo Mia Lennox. Derek Bate conducts. All performances at the Jane Mallett Theatre, St. Lawrence Centre. http://www.torontooperetta.com/shows.html

Baritone Brett Polegato (Photo: www.brettpolegato.com)

For those suffering from opera withdrawal, a good choice is Bravissimo! - the annual New Year's Eve opera gala at Roy Thomson Hall, presented by Attila Glatz Concert Productions. http://www.glatzconcerts.com/ It's format is simple - bring together four soloists (a mix of international singers and Canadians), a pick-up orchestra and chorus made up mostly of local musicians, in a program of opera arias and duets augmented by orchestral selections. The selections are quite predictable - it invariably ends with Libiamo, libiamo from La traviata! Start time is 7 pm and everything is finished no later than 9:30 pm, early enough for New Year's Eve festivities. I've heard some wonderful soloists in Bravissimo that we normally wouldn't get to hear in Toronto. This year the quartet of singers is made up of Russian soprano Natalia Ushakova, Hungarian mezzo Viktoria Vizin, German tenor Andreas Schager, and Canadian baritone Brett Polegato. Of the four artists, I've heard in person many times the excellent Canadian of course. And I recall fondly the beautiful voice of Hungarian mezzo Viktoira Vizin, who sang Marchesa Melibea in a wonderful production of Il Viaggio a Reims at the Canadian Opera Company a dozen years ago. The other two I have yet to hear in person. According to her website < http://ushakova.com/ > Ushakova sings a hugely varied repertoire, from Queen of the Night at the Wiener Volksoper to Amelia in Un ballo in maschera in the opera house in Ljubljana, ie from coloratura to spinto! Clips of her singing are available on her website. It's an exciting voice for sure. German tenor Andreas Schager < http://www.andreas-schager.com/ > is that rare breed, a heroic tenor singing the most demanding repertoires of Wagner and Strauss. He made international headlines when he stepped in to sing Act One of Siegfried at the Berlin Staatsoper in April 2013, replacing Canadian tenor Lance Ryan who couldn't get from Vienna to Berlin in time for the early (4 pm) start! The conductor of Bravissimo is the dynamic Italian Francesco Lanzillotta < http://www.francescolanzillotta.com/wp/ >

Hungarian mezzo Viktoria Vizin returns to Toronto in Bravissimo (Photo: www.viktoriavizin.com)

On New Year's Day is another annual musical tradition, Salute to Vienna, also presented by Glatz Concert Productions. This marks the 20th anniversary of this show. On the program are operettas, Viennese waltzes, ballet and orchestral selections. Natalia Ushakova and Andreas Schager from Bravissimo the previous evening also appear as soloists here, joined by Hungarian soubrette Katalin Benedekffy and Hungarian tenor Szabolcs Kadar. Also appearing are the Hamilton Children's Choir as well as Dancers from Vienna Imperial Ballet and International Champion Ballroom Dancers. A late addition is young Hungarian pianist Gyongyosi Ivett, a winner of the classical music competition Virtuozok. Another pickup orchestra, the Strauss Symphony of Canada is led by Austrian conductor Christian Schulz.

Salute to Vienna (Photo: Chris Lee)

Toronto Operetta Theatre's Mikado a lively Holiday Romp

Joseph So

Gilbert and Sullivan: The Mikado
Nanki-Poo - Adrian Kramer
Yum-Yum - Lucia Cesaroni
Pooh-Bah - David Ludwig
Ko-Ko - Joseph Angelo
Pish-Tush - Gregory Finney
Katisha - Mia Lennox
Mikado - Giles Tomkins
Pitti-Sing - Brittany King
Peep-Bo - Daria Bukhman

Derek Bate, conductor
Guillermo Silva-Marin, stage director
Jane Mallett Theatre, 8 pm, December 27, 2014.

Giles Tomkins as The Mikado (Photo courtesy of Toronto Operetta Theatre)

To celebrate its 30th anniversary season, Toronto Operetta Theatre is presenting for a run of six performances a perennial crowd favourite, Gilbert and Sullivan's The Mikado. Last performed by TOT in 2008, this G&S warhorse has pride of place in the hearts of many operetta fans. It's often performed by troupes large or small, amateur or professional. The last time I saw this was some years ago in a student production, so it's nice to see a professional presentation by the TOT. The intimate Jane Mallett Theatre was very full on opening night, and the audience was very appreciative. Judging by the enthusiastic reception at the end, everybody had fun. Now that Christmas is over, the music scene is slowly coming back to life, and this Mikado is one of the very first things on the calendar and well worth seeing. It runs until January 4, including a gala New Year's Eve performance. For details, go to http://www.torontooperetta.com/

The team of librettist W.S. Gilbert and composer Arthur Sullivan, affectionately known as G&S to their devotees, created many works that have remained staples of the operetta repertoire to this day. Easy, accessible melodies sung in English, fun-filled if improbable scenarios in colourful settings, and a well honed sense of wit are all strengths of G&S. In the case of The Mikado, its madcap silliness and what passes for the exotic Orient (as seen through the lens of late Victorian English society) do seem awfully quaint by 21st century standards. This piece really has little to do with things Japanese and everything to do with a spoof on English society at the time; certainly there's nothing remotely Japanese about the music! But that doesn't stop the naysayers out there, particularly in the media and in academia, from taking the position that this piece is so hopelessly dated if not downright racist, that it should be permanently shelved. It would be inappropriate to launch into a discussion on the merits of The Mikado in 21st century. Suffice to say that a true understanding and appreciation of a period piece is best seen in proper historical and social perspectives. Composers and librettists are understandably products of their own culture, and their creations reflect the worldview of the larger society of their time. It serves little purpose to take too seriously the trappings of 19th century Eurocentrism and try to gauge it with 21st century sensibilities. A de facto banning of a work would only be untenable and ultimately self-defeating. Wouldn't we also have to shelve Madama Butterfly, Turandot, L'oracolo, or even Shakespeare's Merchant of Venice simply because we don't agree with how the "ethnographic other" is portrayed? The past can teach us a great deal about the present and help us anticipate the future. There's really no problem with a piece as long as it is staged sensitively, as in the TOT's The Mikado.

Adrian Kramer (Nanki-Poo) and Lucia Cesaroni (Yum- Yum)

Given the very small stage of Jane Mallett Theatre and the lack of an orchestra pit, staging is by necessity simple - four poles with clusters of umbrellas, a two-step raised platform upstage with a lovely bonsai prominently displayed, plus a few props here and there. The rented costumes from Malabar look beautiful. No projections and simple lighting cues. In any case, this show really isn't so much about sets and costumes as about the quality of the singing and the acting. I am happy to say the ensemble cast was fully up to the task on opening night (Dec. 27). Top vocal honours went to baritone-turned-tenor Adrian Kramer. A former member of the COC Ensemble Studio, Kramer was noted for his beautiful, compact-sized lyric baritone and vivid stage presence - I recall a very fine Papageno in the Ensemble performance of Magic Flute during his time there. Now a tenor, his sound is rich, ringing, and robust, this last no doubt a remnant of his baritonal past. The upper register really isn't tested in Nanki Poo's music, other than a single high note in the Act 1 duet which he handled well. I look forward to hearing Kramer in a more vocally challenging role. In any case he sang beautifully and his engaging stage persona shone through. His love interest, Yum-Yum, was soprano Lucia Cesaroni, who incidentally is also Kramer's real life partner. She has a pleasant lyric soprano with an unusually dark timbre that's perhaps not ideal for the essentially soubrette role of Yum-Yum, but Cesaroni sang very well and her pert stage presence was a pleasure. Their Act 1 duet, "Were you not to Ko-Ko plighted" was a highlight.

(l. to r.) Domenico Sanfilippo (Pish-Tush), Joseph Angelo (Ko-Ko), David Ludwig (Pooh-Bah)

The rest of the cast was equally strong, with great acting and some good singing. David Ludwig was really impressive as Pooh-Bah, dominating the stage. Together with Gregory Finney (Pish-Tush) and Joseph Angelo (Ko-Ko), the three of them made a great comedic trio. There were local references in the updated dialogues, done with taste and restraint. Mia Lennox was a very fine Katisha, usually assigned to a low mezzo or contralto. Lennox acted and sang well, without excessive histrionics and she refrained from truck driver chest tones one sometimes encounters in this role. In the short title role of the Mikado, bass-baritone Giles Tomkins gave an impressive performance and acted up a storm - his Mikado is good natured and without undue exaggeration. Despite the occasional plodding tempi, the chamber orchestra of 12 musicians under the direction of COC conductor Derek Bate did better than one would have thought possible given its diminutive size. Guillermo Silva Marin, the artistic director of TOT, had just the right balance of slapstick and wit, without vulgarity. All in all, a fun-filled evening in the theatre and a highly welcomed Holiday tonic.

Bravissimo! 2014 Lives Up to its Name (Review)

Joseph So

Natalia Ushakova, soprano
Viktoria Vizin, mezzo
Andreas Schager, tenor
Brett Polegato, baritone
Opera Canada Symphony & Chorus / Francesco Lanzillotta, conductor
Surprise Guest: Roger Honeywell, tenor
MC: Rick Phillips
December 31st 7 pm Roy Thomson Hall, Toronto

Overture to Don Giovanni
Champagne Aria / Don Giovanni / Polegato
Smanie implacabili /Cosi fan tutte / Vizin
Vesti la giubba / Pagliacci / Schager
Mad Scene from Lucia di Lammermoor / Ushakova & Chorus
Anvil Chorus / Il Trovatore / Chorus
Drinking Song / Hamlet / Polegato & chorus
Che gelida manina / La boheme / Schager
Si, mi chiamano Mimi / La boheme / Ushakova
O soave fanciulla / La boheme / Ushakova & Schager

-Intermission-

Bacchanale / Samson et Dalila
E strano - sempre libera / La traviata / Ushakova
Nessun dorma / Turandot / Schager
Chorus of Cigarette Girls / Carmen / Chorus
Habanera / Carmen / Vizin & Chorus
Flower Song / Carmen / Honeywell
Toreador Song / Carmen / Polegato & Chorus
Les tringles des sistres tintaient / Carmen / Vizin
Triumphal March / Aida / Chorus

Encores:
Barcarolle / Hoffmann / Ushakova & Vizin
Au fond du temple saint / Pearl Fishers / Honeywell & Polegato
Libiamo, libiamo / La traviata / Honeywell / Ushakova + cast
Auld lang syne

(l. to r.) Rick Phillips, Roger Honeywell, Natalia Ushakova, Francesco Lanzillotta, Viktoria Vizin, Andreas Schager, Brett Polegato (Photo: Joseph So)

Now that Christmas 2014 is history, the music scene is coming alive again. Two of the highlights are the New Year's Eve Opera Gala Bravissimo! and the New Year's Day Salute to Vienna, both presented by Attila Glatz Concert Productions. For opera fans, Bravissimo! is a good opportunity to hear voices that Toronto audiences don't usually get to hear. The soloists this year are Russian soprano Natalia Ushakova, Hungarian mezzo Viktoria Vizin, German tenor Andreas Schager, and Canadian baritone Brett Polegato. Before last evening I was only familiar with Polegato, who has made an enviable career both at home and abroad. I also recalled fondly the voice of mezzo Viktoria Vizin, who was a fine Marchesa Melibea at the COC's Viaggio a Reims a dozen years ago. The other two singers I had not heard live before. Schager is that rare breed, a heldentenor - and a Daniel Barenboim protege - singing the heaviest repertoires of Wagner and Strauss, while Ushakova is a dramatic coloratura who sings a wide-ranging repertoire from the stratospheric Queen of the Night to the spinto soprano role of Amelia in Un ballo in maschera. Incidentally, Schager made international headlines in April 2013 when he stepped in to sing Act One of Siegfried at the Berlin Staatsoper replacing the regularly scheduled Siegfried, Canadian tenor Lance Ryan, who couldn't get from Vienna to Berlin in time for an unusually early curtain of 4 pm! The conductor of Bravissimo was Italian maestro Francesco Lanzillotta.

(l. to r.) Natalia Ushakova, Francesco Lanzillotta, Viktoria Vizin (Photo: Joseph So)

Roy Thomson Hall, while not sold out, was very full. A quick glance of the program showed plenty of warhorses - the concert is billed as "Opera's Greatest Hits" after all! Verdi, Puccini, Donizetti, Bizet, Leoncavallo - nothing too adventurous or too unfamiliar. Canadian baritone Brett Polegato started off with a nicely sung Champagne Aria from Don Giovanni. At two minutes one of the shortest of arias, and the audience was slow to applaud, as if to say, "Huh? That's it?" It was followed by mezzo Viktoria Vizin's gleaming account of Dorabella's aria from Cosi. Mozart is usually the "starter" in these shows, and let's face it, it just doesn't raise the temperature like the "blood and guts" of verismo. That was supplied by heldentenor Andreas Schager's Vesti la giubba from Pagliacci. He has a powerful voice with surprisingly bright tone, not often the case with dramatic tenors in Wagner. He also has an impressive top, which explains why he's sought after as Siegfried, Florestan, and Bacchus. He took Canio's aria extremely slowly, the slowest I've ever heard it. This was also true in Nessun dorma from Turandot in the second half. Taking a piece so slowly requires a great deal of breath reserve, and it also gives the singing a rather stentorian, sluggish feel. For his efforts, he earned the first genuine ovation of the evening. Things heated up some more with Russian Ushakova's abridged Mad Scene from Lucia di Lammermoor. Hers is a powerful dramatic coloratura capable of a big E-flat, and when it's coupled with a beautiful face and figure, it's no wonder the audience took to her immediately. The first fortissimo high E, and she was interrupted in mid-aria by vociferous applause. Yes, enthusiasm is great, but I so wish the audience would wait until the aria is finished...

(l. to r.) Viktoria Vizin, Andreas Schager, Brett Polegato (Photo: Joseph So)

Concluding the first half was three pieces from La boheme. (The fourth piece, the quartet from Act 4 was cut) I must say I was not expecting a heroic tenor to take a stab at Che gelida manina, but Schager not only sang it, he sang it well, and in the original key up to a ringing high C. Ushakova was less successful with Si, mi chiamano Mimi. Her voice is like an inverse pyramid, big up top and almost inaudible in the lowest reaches. There wasn't much mezza voce, and she went sharp several times in the upper middle. Also one would have liked a bit more legato and the use of portamento in Puccini. That said, it was uncommon and undeniably exciting to have two big voices in this music, especially O soave fanciulla at the end.

(l. to r.) Roger Honeywell, Brett Polegato, Andreas Schager (Photo: Joseph So)

At the beginning of the second half, MC Rick Phillips announced the surprise addition of Canadian tenor Roger Honeywell. He sang the Flower Song from Carmen, originally assigned to Schager, with a nice combination of head voice and ringing forte. Perhaps due to insufficient rehearsal, there seemed to be some disagreement with tempo which appeared to be uncomfortably slow for Honeywell. Later, the tenor joined forces with baritone Brett Polegato in a mellifluously sung Pearl Fishers Duet, which also had a few tentative moments. Polegato did his best singing of the evening in an excellent Toreador's Song, with plenty of swagger and bite. Vizin was also at her best as a vocally and dramatically riveting Carmen. Ushakova sang Violetta's big scena in Act 1 La traviata with great high notes, although one would have liked more chiaroscuro. The formal part of the evening ended with the Triumphal March from Aida with the forty-member chorus doing yeoman service. There were three encores - the aforementioned Pearl Fishers Duet, and the Barcarolle from Tales of Hoffmann with Ushakova (Giulietta) and Vizin (Nicklausse). Through it all, conductor Francesco Lanzillotta in his Toronto debut led the pickup orchestra with a firm hand. No New Year's Eve concert was complete without Libiamo, libiamo from La traviata, and of course, a rousing rendition of Auld lang Syne with the audience joining in.

Soprano Natalia Ushakova tosses her bouquet to the audience (Photo: Joseph So)

My Toronto Concert Picks for the Week of Jan. 5 to 11

Joseph So

The music scene is slowly coming back to life in the first full week of 2015. While the Toronto Symphony and Canadian Opera Company are still in hiatus, there are several other interesting offerings well worth checking out. One of them is the return of mezzo Anne Sofie von Otter to Koerner Hall as part of its vocal series. It's hard to think of a classical artist more eclectic than von Otter in choice of repertoire. She is of course internationally renowned in concerts and opera, a celebrated Carmen and Octavian, among other roles. In 2011, von Otter appeared at Koerner jointly with jazz pianist Brad Mehldau. Now she is returning with Canadian pianist Angela Hewitt, in a completely, and surprisingly traditional, classical program of works by Beethoven, Schubert, Brahms, Chabrier, Faure, and Chaminade. < https://performance.rcmusic.ca/event/von_otter_hewitt > I think the mezzo has recorded all of these pieces over her long career. This concert is top on my list this week. Friday Jan, 9th 8 pm at Koerner Hall.

Pianist Angela Hewitt and Anne Sofie von Otter (Photo: www.rcmusic.ca)

New Orford String Quartet

This is an active week on the chamber music front. The New Orford String Quartet gives a recital on Tuesday Jan. 6th 7 pm at Walter Hall (Edward Johnson Building) on the campus of University of Toronto. This ensemble is made up of four brilliant Canadians - violinists Jonathan Crow and Andrew Wan, violist Eric Nowlin and cellist Brian Manker. On the program are works by Beethoven and Brahms, plus the premiere of a new piece by Canadian composer Gary Kulesha. http://performance.rcmusic.ca/event/u-t-faculty-music-new-orford-string-quartet

Juilliard String Quartet (Photo: juilliardstringquartet.org)

The internationally renowned Juilliard Quartet (violinists Joseph Lin and Ronald Copes, violist Roger Tapping, and cellist Joel Krosnick) is coming to Toronto under the auspices of Music Toronto, on Jan. 8th 8 pm at the Jane Mallett Theatre. They are playing a challenging program of Beethoven, Webern and a contemporary work by Shulamit Ran. http://music-toronto.com/quartets/Julliard.htm

Tenor Bud Roach in Talisker's Puttin' on the Ritz (Photo: www.budroach.com )

Talisker Players

The members of the chamber ensemble, Talisker Players, are resident musicians of Massey College at the University of Toronto. This group specializes in collaborations with singers. To kick off the new year, they are presenting Puttin' on the Ritz, an exploration of the songs of Irvin Berlin. Soloists are soprano Whitney O'Hearn and tenor Bud Roach. Two performances - Sunday Jan. 11 3:30 pm and Tuesday Jan. 13 8 pm at the Trinity St. Paul Centre. There is a pre-concert chat before each show. http://www.taliskerplayers.ca/puttinontheritz.html

The brilliant young Canadian pianist and Steinway Artist Leonard Gilbert is giving a free recital on Sunday Jan. 11 3 pm at Steinway Music Hall at Euromusic Centre in Markham. Gilbert was a past winner of the Canadian Chopin Competition and represented Canada at the Warsaw Competition. Despite studying in law school at the University of Toronto, he maintains an active career as a pianist. He has given recitals at the Westben Festival, Hart House, George Weston Hall in North York, and the Richard Bradshaw Amphitheatre in the Four Seasons Centre. On the program are works by Bach, Beethoven, Chopin, Liszt and Ravel. To attend this free recital, call the phone number provided in the poster above. http://www.leonardgilbert.com/

par Claudie Provencher

Le 26 décembre dernier, le gouverneur général a révélé les nomminations au sein de l’Odre du Canada. La Scena Musicale tient à féliciter tout particulièrement les candidats en arts et en musique, et leur souhaite une bonne continuation.

Depuis sa création en 1967 par la reine Elizabeth II, plus de 6 000 personnes ont étés investies de l’Ordre. Toutes ont contribué, d’une manière ou d’une autre, à la construction de la nation.

L’Ordre comporte trois catégories, soit Compagnon (reconnaissance à l”international), Officier (reconnaissance au niveau national) et Membre (reconnaissance au niveau régional ou local, ou dans un domaine particulier).

Voici donc les récipiendiaires de l’Ordre du Canada dans le milieu de la musique et des arts:

COMPAGNONS DE L’ORDRE DU CANADA

James Douglas Fleck, C.C.
Toronto (Ontario)

Pour sa contribution soutenue et son leadership stratégique en tant que mécène de premier plan au Canada et pour avoir doté nos établissements culturels nationaux, en alliant notamment les affaires et les arts.

Il s’agit d’une promotion au sein de l’Ordre.

OFFICIERS DE L’ORDRE DU CANADA

Eleanor Wachtel, O.C.
Toronto (Ontario)

Pour avoir créé des liens entre les lecteurs canadiens et la communauté littéraire internationale et pour nous avoir éclairés dans l’appréciation de la littérature contemporaine.

Il s’agit d’une promotion au sein de l’Ordre.

MEMBRES DE L’ORDRE DU CANADA

Denis Brott, C.M.
Saint-Sauveur (Québec)

Pour ses réalisations en tant que violoncelliste et pédagogue, et pour le rôle qu’il a joué dans la mise en place de la Banque d’instruments de musique du Conseil des arts du Canada.

Brenda Clark, C.M.
Port Hope (Ontario)

Pour sa contribution en tant qu’illustratrice, en particulier pour avoir donné vie à Benjamin la tortue, et pour son appui à l’alphabétisation.

Conrad Charles Daellenbach, C.M.
Toronto (Ontario)

Pour avoir popularisé la musique classique, notamment comme cofondateur de Canadian Brass, l’un des groupes de musique classique canadiens les plus connus dans le monde

Louise Dupré, C.M.
Montréal (Québec)

Pour son apport à la littérature québécoise en tant que poète, romancière, dramaturge, essayiste et professeure.

Simon Durivage, C.M.
Montréal (Québec)

Pour sa contribution en qualité de journaliste-présentateur et animateur des plus respectés.

Charles Foran, C.M.
Toronto (Ontario)

Pour son travail acclamé en tant que journaliste littéraire, biographe et romancier, ainsi que pour son appui indéfectible aux auteurs canadiens.

Julia E. Foster, C.M.
Toronto (Ontario)

Pour avoir bénévolement promu les arts et la culture canadienne.

John Grew, C.M.
Montréal (Québec)

Pour avoir insufflé une nouvelle énergie à la musique d’orgue au Canada en tant qu’interprète et éducateur.

Joan Ivory, C.M.
Westmount (Québec)

Pour son engagement inébranlable dans les secteurs culturel et éducatif de Montréal.

Chantal Kreviazuk, C.M. et Raine Maida, C.M.
Los Angeles (Californie, États-Unis d’Amérique) et Toronto (Ontario)

Pour leurs réalisations en tant que musiciens canadiens et pour leur travail caritatif et humanitaire considérable.

John Barker Lawson, C.M.
Toronto (Ontario)

Pour avoir encouragé la transformation, en tant que bénévole ayant appuyé plusieurs ensembles musicaux et organismes artistiques prestigieux de Toronto.

Suzie LeBlanc, C.M.
Montréal (Québec)

Pour sa contribution à l’épanouissement de la musique ancienne et de la culture acadienne en tant que chanteuse et enseignante.

Grégoire Legendre, C.M.
Québec (Québec)

Pour son apport au développement culturel et musical de sa ville, notamment à la direction de l’Opéra de Québec.

Jens Lindemann, C.M.
Pacific Palisades (Californie, États-Unis d’Amérique) et Edmonton (Alberta)

Pour ses talents de trompettiste soliste de renommée mondiale et pour son appui aux musiciens et étudiants en musique canadiens.

Michael I. M. MacMillan, C.M.
Toronto (Ontario)

Pour avoir promu sans relâche les talents cinématographiques d’ici et pour sa détermination à accroître l’engagement civique au Canada.

John G. McAvity, C.M.
Ottawa (Ontario)

Pour sa contribution à la préservation du patrimoine culturel du Canada, notamment comme directeur général de longue date de l’Association des musées canadiens.

Dan Needles, C.M.
Nottawa (Ontario)

Pour avoir célébré nos communautés rurales en tant que dramaturge de la série Wingfield Farm, des comédies très appréciées, et pour avoir soutenu les arts dramatiques en dehors des grands centres canadiens.

John R. Porter, C.M., C.Q.
Québec (Québec)

Pour sa contribution à la muséologie et au développement des connaissances de l’art du Québec.

Lorraine Vaillancourt, C.M.
Montréal (Québec)

Pour son apport à la musique contemporaine en tant que chef d’orchestre, professeure et pianiste.

Eric Robert Walters, C.M.
Mississauga (Ontario)

Pour sa contribution en tant qu’auteur de littérature pour enfants et jeunes adultes dont les histoires aident les jeunes lecteurs à saisir des enjeux sociaux complexes.

by Claudie Provencher

On December 26^th, Governor General David Johnston announced new appointments for the Order of Canada. La Scena Musicale congratulates the winners in music and the arts.

Since its creation in 1967 by Her Majesty Queen Elizabeth II, more than 6,000 Canadians have been nominated. They all contributed in some way into building Canada.

The Order has three distinct categories. The Companion for the international achievement, the Officer for the national achievement, and finally the Member for the contribution in the regional or local level or in a special field of activity.

Here are the nominees in the fields of music and the arts:

COMPANIONS OF THE ORDER OF CANADA

James Douglas Fleck, C.C.
Toronto, Ontario

For his enduring contributions and strategic leadership as one of Canada’s leading arts patrons, and for endowing our national cultural institutions, notably by partnering business with the arts.

This is a promotion within the Order.

OFFICERS OF THE ORDER OF CANADA

Eleanor Wachtel, O.C.
Toronto, Ontario

For connecting Canadian readers with the worldwide literary community and for her insightful contributions to our appreciation of contemporary literature.

This is a promotion within the Order.

MEMBERS OF THE ORDER OF CANADA

Denis Brott, C.M.
Saint-Sauveur, Quebec

For his achievements as a cellist and pedagogue, and for his role in establishing the Canada Council of the Arts’ Musical Instrument Bank.

Brenda Clark, C.M.
Port Hope, Ontario

For her contributions as an illustrator, notably as the artist behind Franklin the Turtle, and for her support of literacy.

Conrad Charles Daellenbach, C.M.
Toronto, Ontario

For popularizing classical music, notably as a founder of the Canadian Brass, one of our nation’s most internationally renowned classical music groups.

Louise Dupré, C.M.
Montréal, Quebec

For her contributions to Quebec literature as a poet, novelist, playwright, essayist and professor.

Simon Durivage, C.M.
Montréal, Quebec

For his contributions as a highly respected journalist-news anchor and television program host.

Charles Foran, C.M.
Toronto, Ontario

For his acclaimed work as a literary journalist, biographer and novelist, and for his staunch support of Canadian writers.

Julia E. Foster, C.M.
Toronto, Ontario

For her voluntary service in promoting the arts and Canadian culture.

Chantal Kreviazuk, C.M. and Raine Maida, C.M.
Los Angeles, California, United States of America and Toronto, Ontario

For their achievements as Canadian musicians and for their extensive charitable and humanitarian work.

John Barker Lawson, C.M.
Toronto, Ontario

For his transformative contributions as a volunteer in support of many of Toronto’s most important music ensembles and arts organizations.

Suzie LeBlanc, C.M.
Montréal, Quebec

For contributing to the development of early-period music and Acadian culture as a singer and teacher.

Grégoire Legendre, C.M.
Québec, Quebec

For contributing to the cultural and musical development of his city, notably as director of the Opéra de Québec.

Jens Lindemann, C.M.
Pacific Palisades, California, United States of America and Edmonton, Alberta

For his skill as a world-renowned trumpet soloist, and for his support of Canadian musicians and music students.

Michael I. M. MacMillan, C.M.
Toronto, Ontario

For his tireless promotion of our cinematic talent and for his commitment to enhancing civic engagement in Canada.

John G. McAvity, C.M.
Ottawa, Ontario

For his contributions to preserving Canada’s cultural heritage, notably through his long-standing role as executive director of the Canadian Museums Association.

Dan Needles, C.M.
Ottawa, Ontario

For celebrating our rural communities as the playwright of the much-loved Wingfield Farm series, and for championing the dramatic arts outside of Canada’s major centres.

John R. Porter, C.M., C.Q.
Québec, Quebec

For his contributions to museology and to developing a greater understanding of Quebec art.

Lorraine Vaillancourt, C.M.
Montréal, Quebec

For her contributions to modern music as a conductor, professor and pianist.

Eric Robert Walters, C.M.
Mississauga, Ontario

For his contributions as an author of literature for children and young adults whose stories help young readers grapple with complex social issues.

My Toronto Concert Picks for the week of Jan. 12 to 18

Joseph So

Wolfgang Amadeus Mozart (1756 - 1791)

The Toronto Symphony Orchestra kicks off the new year with its Mozart Birthday Celebrations - Mozart @259. It started with a celebration of the 250th anniversary of his birth and now it's an annual affair, and why not - what better way to lift the spirit from the depth of winter than some Mozart? On Jan. 15, the TSO is presenting Mozart Paris Symphony, a mixed program of Serenade No. 8 K239, Piano Concerto No. 23, Sonata No. 15 for Organ and Strings, and Symphony No. 31. (On Jan. 14, as part of its truncated Afterworks Series, the sonata and serenade are omitted) TSO concertmaster Jonathan Crow, Italian pianist Benedetto Lupo and organist Patricia Krueger are the soloists. For details, go to http://www.tso.ca/en-ca/concerts-and-tickets/Calendar.aspx

Pianist Benedetto Lupo

On Jan. 17 and 18 are two performances billed as Mozart Family Ties, featuring works by Amadeus Mozart and his father Leopold, plus Haydn and Peter Schickele (aka PDQ Bach). British conductor Matthew Halls returns to the TSO for all four performances. These are relatively light programs perfect to introduce young people and those new to the joys of classical music. All performances at Roy Thomson Hall. http://www.tso.ca/

British conductor Matthew Halls

Toronto Masque Theatre is presenting Handel's Acis and Galatea with soprano Teri Dunn and tenor Lawrence Wiliford for three performances Jan. 15 to 17, at the Enoch Turner Schoolhouse, 106 Trinity St. Also in the cast are tenor Graham Thomson and baritone Peter McGillivray. Larry Beckwith conducts.

Tenor Lawrence Wiliford

Finally, I want to mention the COC 2015-16 Season Announcement on Wednesday Jan. 14. This is not a public event as such as it's invitation only. However, I will be reporting on it as soon as I get the press release that evening. I think a relatively safe bet would be Wagner's Siegfried as one of next season's productions, since it's common knowledge that the COC is doing the Ring cycle minus Das Rheingold. Die Walkure is opening in three weeks, and it would seem logical that Siegfried is next. However, the rest of the season's is anybody's guess!

Jean-Efflam Bavouzet

Le pianiste Jean-Efflam Bavouzet – premier récital à Montréal
Nommé « Artiste de l'année » par International Classical Music Awards 2012, le pianiste français Jean-Efflam Bavouzet donnera son premier récital à Montréal à la salle Bourgie. On l'entendra dans la même salle le soir précédent en trio et en quatuor dans le cadre de la série Pleins feux sur Beethoven de la Fondation Arte Musica. 14 et 15 janvier, 19 h 30. www.sallebourgie.ca
- Renée Banville

Ensemble Caprice – nouvelle expérience pour célébrer le 25^e anniversaire
Poursuivant son cycle des symphonies de Beethoven sur instruments d'époque, l'Ensemble Caprice présente avec panache son concert du 25^e anniversaire, en intégrant à la Symphonie no 2 des chorégraphies de Dave St-Pierre. Le célèbre chorégraphe marque le monde de la danse avec ses œuvres audacieuses et évocatrices. Voici ses créations troublantes fusionnées avec la tempête musicale de Beethoven. Salle Pierre-Mercure, 17 janvier, 20 h. www.ensemblecaprice.com
- Renée Banville

Jean-Efflam Bavouzet

Pianist Jean-Efflam Bavouzet's First Recital in Montréal
Named 2012 "Artist of the Year" by International Classical Music Awards, French pianist Jean-Efflam Bavouzet gives his first solo recital in Montréal, the day after he performs within a trio and quartet, as part of Fondation Arte Musica's Spotlight on Beethoven series. Bourgie Hall, January 14-15, 7:30pm. www.bourgiehall.ca
- Renée Banville

A New Experience to Celebrate Ensemble Caprice's 25th Anniversary
Continuing their cycle of Beethoven's symphonies on period instruments, Ensemble Caprice present their 25th anniversary concert with panache by combining choreography by Dave St-Pierre to Symphony No. 2. The famous choreographer has marked the dance world with his bold and evocative works. Here we will have his disturbing creations fused with Beethoven's musical storm. Salle Pierre-Mercure, January 17, 8pm. www.ensemblecaprice.com
- Renée Banville

My Toronto Concert Picks for the Week of Jan. 19 to 25

Joseph So

The much anticipated winter season of the Canadian Opera Company is finally upon us this week, with the opening of Don Giovanni. This is a COC co-production with Teatro Real Madrid, Aix-en-Provence and the Bolshoi Theatre, directed by Dmitri Tcherniakov. It stars Canadian baritone Russell Braun in the title role. He sang his first Don Giovanni 13 years ago for Opera de Quebec. Then he put aside the role until a couple of years ago when he sang in this production in Madrid. The Tcherniakov production is light years away from a traditional take on the piece. Rather than a suave, charming and inherently dangerous womanizer as Don Giovanni is often portrayed, this character as conceptualized by Tcherniakov is broken down, decrepit, self-doubting, gravely ill, vulnerable, and as unattractive as can be. You can get a preview in the commercially available dvd from the Aix-en-Provence performances. The Toronto performances feature a strong ensemble case - soprano Jane Archibald (Anna), soprano Jennifer Holloway (Elvira), Kyle Ketelson (Leporello), tenor Michael Schade (Ottavio), Sasha Djihanian (Zerlina), Zachary Nelson (Masetto), and Andrea Silvestrelli (Commendatore). German conductor Michael Hofstetter makes his COC debut. For the DG cognoscenti, this production will be very different, so come with an open mind. It starts Saturday Jan. 24 at 4:30 pm at the Four Seasons Centre. http://www.coc.ca/Home.aspx

Russell Braun as Don Giovanni from Teatro Real Madrid (Photo: www.coc.ca)

On Thursday Jan. 22 noon hour, there's a free concert by members of the COC Ensemble at the Richard Bradshaw Amphitheatre. The theme is Songs of Love and War. Participating are tenors Andrew Haji and Jean-Philippe Fortier-Lazure, and baritones Iain MacNeil and Clarence Frazer, singing works of Britten, Poulenc, Korngold, Hans Eisler, and Ives. Jennifer Szeto is the pianist. Be sure to line up an hour early for a seat. Program details at http://files.coc.ca/pdfs/concert150122.pdf

Another major news this week is the appearance of Conductor Kent Nagano with the Tafelmusik Baroque Orchestra, in four performances of Beethoven's Symphony no. 5. I believe this is Nagano's first appearance with the Tafelmusik forces and in a work that normally falls outside the typical Tafelmusik repertoire. There's also a fine quartet of soloists, with soprano Nathalie Paulin, mezzo Laura Pudwell, tenor Lawrence Wiliford, and baritone Sumner Thompson. I used to hear Kent Nagano conduct every summer at the Munich Opera Festival, as well as when I visited the MSO. His leaving Munich really left a musical void in that city, to take nothing away from his replacement, Kirill Petrenko. And Nagano's visits to Toronto are comparatively rare, so this is an occasion not to be missed. Performances on Jan. 22, 23, 24, 25 at Koerner Hall. https://performance.rcmusic.ca/event/tafelmusik-presents-beethoven-symphony-no-5

Conductor Kent Nagano (Photo: Wilfried Hosl)

The Toronto Symphony Orchestra continues its annual Mozart birthday bash - this year its Mozart @256 - with a blockbuster, the Great Mass in C Minor K427. It's only an hour but what an impressive hour it is! Am particularly fond of the soprano aria "Laudamus te" with its gorgeously florid vocal writing, here to be sung by a mezzo. The terrific soloists are soprano Helene Guilmette, mezzo Julie Boulianne, tenors John Tessier and Jean-Philippe Fortier-Lazure, and bass-baritone Gordon Bintner. I saw Guilmette with her lovely high soprano as a fabulous Soeur Constance (Dialogues of the Carmelites) in Munich several years ago and she subsequently sang it here with the COC. British conductor Paul Goodwin is a specialist in this repertoire, and joining him and the soloists are the Amadeus Choir and the Elmer Iseler Singers. To flesh out the concert, arias from Lo sposo deluso and Zaide are added onto the program. Performances Jan. 22, 24 and 25 at Roy Thomson Hall. http://tso.ca/en-ca/concerts-and-tickets/2014-2015-Season/EventDetails/Mozart-Mass-in-C-Minor.aspx

Soprano Helene Guilmette (Photo: Julien Faugere)

Violinist Gidon Kremer and pianist Daniil Trifonov (www.rcmusic.ca)

Two great musicians, violinist Gidon Kremer and pianist Daniil Trifonov join forces to give a recital on Tuesday Jan. 20 at Koerner Hall. On the program are works by Mozart, Schubert, Miecyzslaw Weinberg and Rachmaninoff. The concert is already advertised as soldout! But you can also try for returns. https://performance.rcmusic.ca/event/kremer_trifonov

Le NEM

Une relecture du Sacre du printemps Par Le NEM
Pour célébrer l'expressionisme en Allemagne et en France, de 1900 à 1914, sujet de l'exposition en cours au Musée des beaux-arts, le NEM offrira une représentation de trois œuvres marquantes de cette période phare du début du 20^e siècle. Drei Stücke, op. 11 d’Arnold Schoenberg et Konzert, op. 24 d’Anton Webern, viendront contraster avec l'historique Sacre du printemps de Stravinski, réorchestré par François Vallières, altiste du NEM. Salle Bourgie, 21 janvier, 19 h 30. www.lenem.ca
- Renée Banville

Le Pierrot Lunaire de Schoenberg dans la série Tableau en musique
Composée en 1912, l'œuvre emblématique de Schoenberg surprend par son instrumentation singulière et son parlé-chanté (sprechgesang). Le monde fantastique et désespéré de Pierrot sera joué par quatre musiciens de l'OSM (Andrew Wan, Brian Manker, André Moisan, Timothy Hutchins) et la pianiste Louise Bessette. Il sera chanté par la soprano Ingrid Schmithüsen et parlé par le comédien Paul Savoie. Salle Bourgie, 23 janvier, 18 h 30. www.sallebourgie.ca
- Renée Banville

Marie-Nicole Lemieux dans Samson et Dalilaà l’Opéra de Montréal
« Mon cœur s'ouvre à ta voix » est au centre du répertoire de Marie-Nicole Lemieux comme pièce de concours depuis ses années d'étudiante. « C'est un moment magique, musicalement », dit-elle. Quand elle le chantera dans sa première production à l'Opéra de Montréal, « ce sera la première fois que je le chante avec un ténor », dit-elle. Il est rare pour un rôle d'avoir trois grands airs dans un opéra, et Lemieux a hâte de chanter ces trois grands airs. Toutefois, pour elle, le défi est d'aborder le rôle dans son ensemble. « Dalila est sur le côté sombre de la lune. Quand j'entre en scène, j'essaie de lui trouver un côté humain parce que personne n'est complètement noir ou blanc. Au début, malgré les objections de son peuple, elle aime véritablement Samson. Mais il la laisse à trois reprises pour lutter contre son peuple, ce qui la blesse, et elle se bat pour faire amende honorable. Elle n'est pas mauvaise. » Salle Wilfrid-Pelletier, les 24, 27, 29, et 31 janvier. www.operademontreal.com
- Wah Keung Chan

La Fondation Arte Musica reçoit Les Violons du Roy
Dirigés par Matthieu Lussier, les Violons du Roy prennent part à la série de concerts de l’intégrale des cantates de Bach. Après la période de Noël, l’orchestre de chambre interprète quatre cantates de l’Épiphanie :Mein liebster Jesus ist verloren, BWV 154, Meinen Jesum lass ich nicht, BWV 124, Liebster Jesu, mein Verlangen, BWV 32, et Herr, wie du willst, so schicks mit mir, BWV 73. Quatre solistes complètent la distribution : la soprano Shannon Mercer, la mezzo-soprano Mireille Lebel, le ténor Thomas Cooley et le baryton Tyler Duncan.Salle Bourgie, Musée des beaux-arts de Montréal – 25 janvier, 14 hwww.sallebourgie.ca
- Justin Bernard

The NEM

A New Take on The Rite of Spring by NEM
To celebrate Expressionism in Germany and France from 1900 to 1914, which is the subject of the concurrent exhibition at the Museum of Fine Arts, the NEM will present three major works from this important period of the 20th century. Arnold Schoenberg's Drei Stücke, op. 11 and Anton Webern's Konzert, op. 24 will contrast with the historical Rite of Spring by Stravinsky, re-orchestrated by François Vallières, violist of the NEM. Bourgie Hall, January 21, 7:30pm. www.lenem.ca
- Renée Banville

Schoenberg's Pierrot Lunaire in the Musical Canvases Series
Composed in 1912, Schoenberg's iconic work is surprising for its unique instrumentation and its singspeak (sprechgesang). The fantastic and desperate world of Pierrot will be performed by four musicians of the OSM (Andrew Wan, Brian Manker, André Moisan, Timothy Hutchins) and pianist Louise Bessette. It will be sung by soprano Ingrid Schmithüsen and narrated by actor Paul Savoie. Bourgie Hall, January 23, 6:30pm. www.bourgiehall.ca
- Renée Banville

Marie-Nicole Lemieux in Samson et Dalila at the Opéra de Montréal

“Mon cœur s’ouvre à ta voix” has been central to the repertoire of Marie-Nicole Lemieux as a competition piece since her student days. “It’s musically a magical moment,” says Lemieux. When she sings it in her first production at the Montreal Opera, “It will be the first time I sing it with a tenor,” Lemieux says. It’s rare for a role to have three great arias in an opera, and Lemieux is looking forward to those highlights. However, for her, the challenge is to approach the role as a whole. “Dalila is on the dark side of the moon,” says Lemieux. “When I go on stage, I try to find a human side because no one is completely black or white. At the beginning, despite the objections of her people, she genuinely likes Samson. But he leaves her three times to fight against her people. She is wounded by that, and she fights to make amends. She is not evil.” Salle Wilfrid-Pelletier, January 24, 27, 29, and 31, www.operademontreal.com
- Wah Keung Chan

The Arte Musica Foundation Welcomes Les Violons du Roy
Conductor Matthieu Lussier and Les Violons du Roy are also participating in the unabridged series of Bach cantatas. The ensemble performs Mein liebster Jesus ist verloren, BWV 154; Meinen Jesum lass ich nicht, BWV 124; Liebster Jesu, mein Verlangen, BWV 32; and Herr, wie du willst, so schicks mit mir, BWV 73—four Epiphany cantatas. Soprano Shannon Mercer, mezzo-soprano Mireille Lebel, tenor Thomas Cooley and baritone Tyler Duncan round out the show. Bourgie Concert Hall, Montreal Museum of Fine Arts, January 25, 2:00pm. www.bourgiehall.ca
- Justin Bernard

My Toronto Concert Picks for the Week of Jan. 26 to Feb. 1

Joseph So

Die Walkure, the second production of the Canadian Opera Company's winter season opens this week. It was the blockbuster show - Canada's first staged Ring Cycle - that opened the Four Seasons Centre way back in August of 2006. Sadly there won't be a Rheingold this time around, and it's spread over three seasons. On the plus side, we have American soprano Christine Goerke in her first Brunnhilde, even before she sings it for Houston this coming May and at the Met next year - I mean, how cool is that! I first heard Goerke way back in the summer of 1998 in Glimmerglass, in the title role of Gluck's Iphigenie en Tauride. At the time, I would not have guessed in a million years that she would be singing Brunnhilde 16 and a half years later! The COC cast is terrific, with German baritone Johan Reuter as Wotan. Saw him in Munich a couple of years ago and then again as Barak at the Met and I was looking forward to his Sachs at the Met last December, but it was not to be. It's great we'll get to hear his Wotan here. American Clifton Forbis returns to reprise his Siegmund, and American soprano Heidi Melton is Sieglinde in her COC debut. This is an absolute must-see for Wagner fans. For anyone new to Wagner, Die Walkure is one of the most melodic and accessible of his operas. Opening night is Saturday Jan. 31 7 pm at the Four Seasons Centre. Six more performances to follow until Feb. 22.

Soprano Christine Goerke (Photo: Arielle Doneson)

Meanwhile, Don Giovanni opened last Saturday. I was in the audience and it was a grand night of singing, with Russell Braun a totally committed Don Giovanni. Soprano Jane Archibald had a triumph in her first ever Donna Anna - her coloratura in Non mi dir was perfect. I was very impressed with Kyle Ketelson's Leporello, his signature role. Michael Schade, who has sung the heavier Tito and Idomeneo, returns to the more lyrical Ottavio, his head voice was heard to advantage in Dalla sua pace. Jennifer Holloway's high mezzo I heard years ago in Santa Fe as the Prince in Cendrillon, early in her career at the time. Her Elvira was poignant and intense. And it was good to hear bass-baritone Zachary Nelson again after his terrific Escamillo in Semperoper Dresden last November. The production by Dmitri Tcherniakov is not to everyone's taste, but do go and decide for yourself. Performances this week on Jan. 27, 30 and Feb. 1. http://www.coc.ca/Home.aspx

COC Don Giovanni (l. to r.) Jennifer Holloway, Michael Schade, Zachary Nelson, Russell Braun, Jane Archibald, Sasha Djihanian, Kyle Ketelson (Photo: Michael Cooper)

One other interesting event at the opera house is the noon hour concert of a Celebration of Canadian Songs on Jan. 27, featuring the works of Clermont Pepin, Godfrey Rideout, Andre Prevost, and Marjan Mozetich, sung by sopranos Nathalie Paulin and Joni Henson, and mezzo Allyson McHardy. Pianists are Adam Sherkin and Robert Kortgaard. This is part of the Canadian Art Song Project spearheaded by tenor Lawrence Wiliford and pianist Steven Philcox. Recital at the Richard Bradshaw Amphitheatre of the Four Seasons Centre. Be sure to show up an hour ahead to secure a spot. Program details at http://files.coc.ca/pdfs/concert150127.pdf

Soprano Nathalie Paulin

The Amici Chamber Ensemble is presenting Bohemian Contrasts, an afternoon of music of Brahms, Schulhoff, Liszt and Janacek. Clarinetist Joaquin Valdepenas, cellist David Hetherington and pianist Serouj Kradjian will be joined by violist Teng Li. February 1st 3 pm at the Mazzoleni Hall of the Royal Conservatory of Music. http://amiciensemble.com/event/new-orford-string-quartet-bohemian-contrasts/

Amici Chamber Ensemble

As the name suggests, Opera In Concert, also known as Voicebox, specializes in presenting operas in concert or occasionally semi-staged form. Perhaps more importantly is its focus on rarities that audiences are unlikely to see on our opera stages. On Feb. 1 2:30 pm at the Jane Mallett Theatre, Opera In Concert is presenting Kurt Weill's Street Scene. A work from his American period, it makes for compelling drama and rewarding vocally for the principals. I've only seen this staged once, I think in the 90's with Catherine Malfitano as Anna Maurrant. Memory is fuzzy now but I think it was at the Chicago Lyric. Perhaps Street Scene isn't Weill at his very best but it's still a lovely work, with a large cast, well worth seeing with the right singers. OIC has a fine cast with sopranos Monica Whicher and Jennifer Taverner, and tenor Colin Ainsworth. http://www.operainconcert.com/Street_syn.html

Tenor Colin Ainsworth

Marie-Nicole Lemieux

Pleins feux sur Beethoven avec le Nouveau Quatuor à cordes Orford
Reconnus pour leur virtuosité, les membres du Nouveau Quatuor à cordes Orford sont des musiciens solistes des orchestres de Montréal et de Toronto : le violoniste Andrew Wan et le violoncelliste Brian Marker à l'OSM, le violoniste Jonathan Crow et l'altiste Eric Nowlin au TSO. Dans la série sur Beethoven que présente cet automne Arte Musica, ils ont choisi les quatuors no 4 de l'opus 18, no 11, opus 95 et no 15, opus 132. Salle Bourgie, 28 janvier, 19 h 30. www.sallebourgie.ca
- Renée Banville

ECM+ présente l'ensemble instrumental BOP
Véronique Lacroix, directrice de l'ECM+, vous invite à découvrir cette jeune compagnie qui excelle dans la présentation de musiques scéniques. Dirigé par Hubert Tanguay-Labrosse, BOP propose deux œuvres consacrées aux figures de Sappho : Orpheus on Sappho's Shore de Luna Peal Woolf, créé par l'ECM+ en 2004 et, en première canadienne, Five Images After Sappho, du compositeur finlandais Esa-Pekka Salonen. Avec Kyle Bielfield, ténor et Jana Miller, soprano. Salle de concert du Conservatoire, 29 et 30 janvier, 19 h 30. www.ecm.qc.ca
- Renée Banville

Opera McGill présente Les Noces de Figaro
L’atelier d’opéra de l’Université McGill, dirigé par Patrick Hansen, présente sa deuxième production de la saison en janvier et en février prochains. Il s’agit des Noces de Figaro de Mozart, mettant en vedette les étudiants du programme d’interprétation vocale. Gordon Gerrard dirigera l’Orchestre symphonique de McGill. Mise en scène : Nicola Bowie. Salle Pollack, Faculté de musique de l’Université McGill – 29, 30, 31 janvier (19 h 30) et 1^er février (14 h). www.mcgill.ca/music
- Justin Bernard

Récital à la Compagnie Baroque Mont-Royal
En janvier, la compagnie baroque Mont-Royal présente un récital intitulé Amour, tyran des cœurs. Celui-ci met à l’affiche la soprano Kristi Bryson et le ténor David Menzies, également directeur artistique. Ils sont accompagnés au clavecin par Susan Toman et au violoncelle par Kyle Irving-Moroz.Au programme, des airs et des duos du grand répertoire baroque ainsi que des œuvres moins connues. Lieu à déterminer – 31 janvier 2015, 19 h 30. www.cbmroyal.com
- Justin Bernard

Pro Musica - une oeuvre de John Adams en première mondiale
Établi depuis 1989 et présentement en résidence à l’Université Stanford, leQuatuor St. Lawrence a rapidement établi sa notoriété comme un ensemble de musique de chambre de classe mondiale. Le pianiste Serhiy Salov se joint au groupe pour l'interprétation d'un quintette de Brahms et, en première mondiale, d'une œuvre du compositeur américain John Adams. Maison symphonique, 31 janvier, 20 h. www.promusica.qc.ca
- Renée Banville

Marie-Nicole Lemieux

Marie-Nicole Lemieux in Samson et Dalila at the Opéra de Montréal

Spotlight on Beethoven with The New Orford String QuartetKnown for their virtuosity, the members of the New Orford String Quartet are soloists with orchestras of Montreal and Toronto: violinist Andrew Wan and cellist Brian Marker at the OSM, violinist Jonathan Crow and violist Eric Nowlin at TSO. In Arte Musica's fall series on Beethoven, they chose the No. 4 quartets of Opus 18, No. 11, opus 95 and No. 15, opus 132. Bourgie Hall, January 28 7:30pm. www.sallebourgie.ca- Renée Banville

ECM+ Presents BOP
ECM+ director Véronique Lacroix invites you to discover this young company, which excels in presenting theatrical music. Directed by Hubert Tanguay-Labrosse, BOP (which stands for Ballet Opera Pantomime) offers two works devoted to figures of Sappho: Orpheus on Sappho's Shore by Luna Pearl Woolf, created by ECM+ in 2004, and the Canadian premiere of Five Images After Sappho by the Finnish composer Esa-Pekka Salonen. Featuring Kyle Bielfield, tenor, and Jana Miller, soprano. Conservatoire's Concert Hall, January 29 and 30, 7:30pm. www.ecm.qc.ca
- Renée Banville

McGill Opera Presents The Marriage of Figaro
McGill University's opera workshop, directed by Patrick Hansen, presents its second production this season, The Marriage of Figaro, featuring students of the voice program. Gordon Gerrard will lead the McGill Symphony Orchestra; staging by Nicola Bowie. Pollack Hall, January 29, 30, 31 at 7:30pm and February 1 at 2pm. www.mcgill.ca/music
- Justin Bernard

Mount Royal Baroque Company Recital
In January, the Mount Royal Baroque Company presents a recital entitled Amour, tyran des coeurs, featuring soprano Kristi Bryson and tenor David Menzies, who is also the artistic director. They are accompanied by Susan Toman on harpsichord and Kyle Irving Moroz on cello. The program includes arias and duets of the great baroque repertoire as well as lesser known works. Salon Vieux-Montréal, January 31, 7:30pm. www.cbmroyal.com
- Justin Bernard

Pro Musica - World Premiere of a Work by John Adams
Founded in 1989 and currently in residence at Stanford University, the St. Lawrence String Quartet has quickly established its reputation as a world-class chamber music ensemble. Pianist Serhiy Salov joins the group for a quintet by Brahms and the world premiere of a work by American composer John Adams. Maison Symphonique, January 31, 8pm. www.promusica.qc.ca
- Renée Banville

Endrik Wottrich - Samson ; Marie-Nicole Lemieux - Dalila

Marc-Olivier Laramée

Dans le cadre de son 35e anniversaire, l’Opéra de Montréal présente un décor moderne et un nouveau rôle pour Marie-Nicole Lemieux. Les projections vidéo la scène avantgardiste donnent à cet opéra une cure de rajeunissement. Samson et Dalila de Camille Saint-Saëns, présenté à guichet fermé.

La meilleure performance est sans contredit celle des chœurs. Avec des effectifs supplémentaires, cet ensemble vocal a merveilleusement ouvert l’opéra. Non seulement la justesse, mais aussi un jeu et une finesse dans l’interprétation musicale sont les qualificatifs de leur participation. Le premier acte les met presque exclusivement en vedette. Le chœur d’hommes est le plus intéressant dans sa douceur et aussi sa cohésion. C’était une seule voix et non pas un amalgame de voix tentant d’enterrer les uns les autres. Seul bémol est l’arrivée de la basse Alain Coulombe dans le rôle du vieillard hébreu. Bien qu’il possède une étendue vocale impressionnante, la justesse de sa voix ne fait pas le poids.

La contralto Marie-Nicole Lemieux, la tête d’affiche de la production, est le seul rôle féminin. Très attendue par la nouveauté de son rôle dans son répertoire, elle ne fait aucun faux pas. On retrouve sa voix typique toujours aussi riche. Son étendue vocale est bien travaillée. Côté jeu et présence scénique, il serait à développer. Son attention est portée au chant, qui est bien entendu essentiel dans un opéra, mais il y a place à plus. Oui, elle sait incarner son rôle de séductrice, mais sans la présence des choristes comme soutien, elle semble perdue sur scène. Par contre, son interprétation de l’air « Mon cœur est à sa voix » était à point. Le défi scénique de faire cet air en étant par terre est honorable.

Du côté des rôles masculins, des sept, deux sont à noter. Tout d’abord le ténor Endrik Wottrich dans le rôle phare de Samson. Il sait marier chant et théâtre. En vainqueur face aux Philistins tout comme en prisonnier, le résultat est toujours convainquant. Le second chanteur est le baryton Gregory Dahl dans le rôle de grand prêtre. Il joint les rangs des barytons qui réussissent à voler la vedette aux ténors. Dahl chante bien mais surtout, il a réussi à créer un lien avec Dalila. Marie-Nicole Lemieux et lui forment un meilleur duo que le couple Samson et Dalila.

Tout l’ensemble, les décors, les projections vidéo viennent alimenter la beauté de la scène entièrement modulable. Les projections vidéo utilisées font changement des traditionnels panneaux peints. Une touche surprenante, est la présentation vidéo de deux danseurs nus un peu longue illustrant la décadence des philistins. Bonne exécution ici des musiciens de l’OSM sous la direction de Jean-Marie Zeitouni. Un lien plus fort entre les musiciens et les chanteurs aurait été apprécié. Samson et Dalila de Camille Saint-Saëns Opéra de Montréal, Salle Wilfrid-Pelletier, 24, 27, 29, 31 janvier 2015 19h30

http://www.operademontreal.com/fr/programmation/saison-2014-2015/samson-et-dalila

My Toronto Concert Picks for the Week of Feb. 2 to 8

Joseph So

The big news this week continues to be the two productions of the Canadian Opera Company's winter season, Don Giovanni and Die Walkure. The Wagner opened on Saturday at the Four Seasons Centre. It was good to revisit the Atom Egoyan/ Michael Levine production once again. I saw it when it first premiered in 2004, and then again - twice - in 2006 FSC inaugural season. The principals have largely changed in the intervening 11 years with one exception, American tenor Clifton Forbis as Siegmund. The current Brunnhilde, COC's third for this production after Frances Ginzer and Susan Bullock, is American soprano Christine Goerke. I will write a full review soon but for now, I can say she was sensational on opening night, singing the best Hojotoho I've ever heard. The rest of the cast was superb - bass-baritone Johan Reuter (Wotan) and bass Dmitry Ivashchenko (Hunding) were both outstanding. As the Walsung twins, the trumpet-like top of Forbis was most impressive, and Heidi Melton's huge, luscious soprano was ideal as Sieglinde. In his first-ever Die Walkure, conductor Johannes Debus gave an exciting reading of the score. This is a show not to be missed - in fact I'm tempted to go back to see it again. I was a bit sad to see some people leaving at each intermission. Yes, Wagner is an acquired taste, but once you 'get it' it is uniquely rewarding. Most of the principals will appear in a singers' round-table at a meeting of the Toronto Wagner Society on Thursday Feb. 5 8 pm at the Arts and Letters Club on Elm Street in downtown Toronto. Non members are welcome with admission charge. You can find out more at http://torontowagner.org/OurEventsTab.html Performances of Die Walkure continue on Feb. 4 and 7. Don Giovanni performances on Feb 3 and 6 with a fine cast led by Russell Braun. http://www.coc.ca/PerformancesAndTickets/1415Season/DieWalkure.aspx

COC Die Walkure Act 3 Final Scene (Photo: Michael Cooper)

On Feb. 4 8 pm at Roy Thomson Hall, the Toronto Symphony Orchestra continues with its Mozart@259 programming, this time combining Mozart with Chopin. Honens laureate Pavel Kolesnikov and veteran pianist Emanuel Ax are the soloists. On the program are Mozart's Piano Concerto No. 14 K.449, and Chopin's Grande Polonaise. Also on the program is Rachmaninoff's Symphony Dances. TSO Music Director Peter Oundjian conducts. On Feb. 6, Emanuel Ax plays Beethoven's Piano Concerto No. 4, under the baton of Rob Kapilow. Details at http://tso.ca/en-ca/concerts-and-tickets/2014-2015-Season/EventDetails/Mozart-Chopin.aspx

Honens Laureate Pianist Pavel Kolesnikov

This piano-centric week continues on Feb 07 2:00 when the TSO presents Piano Extravaganza: Pianorama. plus Saint-Saëns'The Carnival of the Animals. Peter Oundjian conducts with pianists Emanuel Ax and Pavel Kolesnikov. Also appearing are pianists Patricia Krueger, Richard Chao Gao, Amadeusz Kazubowski-Houston, Kyoko Kohno, Coco Ma, Artun Miskciyan, Marko Pejanovic, Anastasia Rizikov, Anna Vertypolokh, Sunny Zhai, and Annie Zhou. Also appearing is organist David Briggs.

Now, if you want to hear Ax and Kolesnikov for free, you can show up at the COC noon hour concert at the Richard Bradshaw Amphitheater at the Four Seasons Centre on Feb. 5. (Actually I believe Ax is the host and not playing.) Joining Pavel Kolesnikov is pianist Orion Weiss. On the program are Opera Transcriptions for Piano. Be sure to show up an hour ahead for a seat or a standing spot! http://www.coc.ca/Home.aspx

Soprano Karine Boucher

Another interesting free event is the noon hour concert at the RBA on Tuesday Feb. 3. COC Ensemble sopranos Aviva Fortunata and Karine Boucher sing Messiaen's Poemes pour Mi. I heard this once, with Adrianne Pieczonka in Montreal several years ago. It's a cycle well worth experiencing if it's new to you. Also on the program is Theme and Variations for violin and piano, performed by violinist Kerry DuWors and pianist Liz Upchurch. Program details at http://files.coc.ca/pdfs/concert150203.pdf

The singer-driven Opera by Request under the direction of pianist William Shookhoff is presenting Cosi fan tutte on Feb. 7 at 7:30 pm. Soloists are sopranos Jami-Lynn Gubbe and Andrea Nunez, mezzo Melissa Peiou, tenor Jan Nadal, baritone Janaka Welihinda, and bass-baritone Lawrence Shirkie. William Shookhoff is at the piano. This concert takes place at College Street United Church on 452 College Street in downtown Toronto. http://operabyrequest.ca/wordpress/

Revival of Die Walkure a Triumph at the COC (Review)

Joseph So

Christine Goerke (Brunnhilde)
Johan Reuter (Wotan)
Clifton Forbis (Siegmund)
Heidi Melton (Sieglinde)
Dmitry Ivashchenko (Hunding)
Janina Baechle (Fricka)
Rihab Chaieb (Waltraute)
Elaine McKrill (Gerhilde)
Aviva Fortunata (Helmwige)
Lindsay Ammann (Schwertleite)
Mona Somm (Ortlinde)
Laura Tucker (Siegrune)
Megan Latham (Rossweisse)
Charlotte Burrage (Grimgerde)

Johannes Debus, conductor
Atom Egoyan, director
Michael Levine, set/costume designer
Four Seasons Centre, Jan. 31st 2015

Soprano Christine Goerke as Brunnhilde (Photo: Michael Cooper)

Wagnerites rejoice, the Ring is back in town! Well, sort of... After an absence of eight and a half years, the Ring Cycle, albeit minus Das Rheingold and spread out over three seasons, is back at the Canadian Opera Company. The first installment opened last Saturday at the Four Seasons Centre. I recall seeing this production for the first time in 2004. I attended several performances including one of the rehearsals. My companion on that occasion was none other than the late, great comedienne Anna Russell. Who can forget her brilliantly funny Analysis of the Ring? Long retired at the time and living in Unionville in a seniors complex close to her ancestral farm, Anna had not attended a Wagner performance in years. I picked her up and drove her to the Hummingbird Centre. Many of the cast members plus Atom Egoyan came down to meet her at the break. Here's a photo I took of that historic meeting (see below). Of the cast in the photo, only mezzo Laura Tucker is in the current run as Siegrune. The only other holdover is American heldentenor Clifton Forbis reprising his celebrated Siegmund.

A Trip Down Memory Lane: The great Anna Russell meets the cast of the COC Die Walkure in 2004 (back - Adrianne Pieczonka, Frances Ginzer, Laura Tucker; front - Elizabeth Stannard, Anna Russell, Buffy Baggott) Photo: Joseph So

The COC opened the Four Seasons Center with three Ring cycles in August-September of 2006. I managed to see two of the three, and the experience remains as vivid as yesterday. Of the four operas, Die Walkure is arguably the most melodic and accessible of the four. For this revival, the COC has assembled an outstanding cast, with many important Canadian and/or role debuts. German bass-baritone Johan Reuter is a wonderful singer. I heard him in Munich and at the Met as Barak in Die Frau ohne Schatten not too long ago, and I was looking forward to his Sachs last December. Naturally I was disappointed when he withdrew from the Met Meistersinger, but the upside was that it allowed him to concentrate on preparing the Wotan here. American soprano Christine Goerke makes her role debut with this Walkure. I heard her way back in 1998 in Glimmerglass as Iphigenie in Gluck's Iphigenie en Tauride! It boggles the mind to think that 17 years later, a singer with Baroque beginnings is scaling Valhalla as Brunnhilde, one of the most demanding of dramatic soprano roles in all opera. Her Farberin at the Met and Elektra in Detroit last summer were both fantastic. The Walsung Twins are Heldentenor Clifton Forbis and American soprano Heidi Melton. Finally, two more major Canadian debuts, that of Dmitry Ivashchenko as Hunding and Janina Baechle as Fricka.

Siegmund (Clifton Forbis) and Sieglinde (Heidi Melton) Photo: Michael Cooper

Musically there were plenty of highlights on opening night Jan. 31. First and foremost, Goerke as Brunnhilde exceeded my already high expectations. Her Hojotoho was simply the best I've heard - the timbre has the colour of dark mahogany, and it is huge, equal to if not surpassing Gwyneth Jones who had one of the biggest voices I've heard, and better focused than Jones. Goerke's dramatic soprano also reminds me a little of the great Australian Rita Hunter, my first Brunnhilde. Many singers scoop up to the B's and C's, but Goerke attacks these notes with vocal knockout punches. Her characterization of the warrior maiden is sympathetic and heart-felt, capable of both fearsome strength and womanly warmth. Johan Reuter sang with a gorgeous baritone, even from top to bottom, his Abschied supremely moving. I found myself almost in tears at the moment when Wotan took off his coat, rolled it up and tenderly put it under the head of the sleeping Brunnhilde, a brilliant directorial touch by Atom Egoyan. Heidi Melton (Sieglinde) has a huge and luscious soprano with a very big middle voice, ideal for Sieglinde, a soprano role with an unusually low tessitura. She sang very beautifully on opening night, only falling a little short above the stave where the notes were produced with a lot of force. Clifton Forbis has hardly aged since his first Siegmund in 2004 - if anything, his top is more brilliant, focused and trumpet-like than ever. Only the middle and lower notes betray some widening of vibrato. Dmitry Ivashchenko's dark-hued basso was most impressive as Hunding. Janina Baechle doesn't have the sweetest tone -which I suppose is not required in this role! - but she made the most of the short role of Fricka. The valkyries were a combination of COC Ensemble singers and outside guest artists. They all moved well and sounded good, with the exception of the first voice in the Ride of the Valkyries, Gerhilde, who I'm sorry to say sounded strident and wobbly.

Dmitry Ivashchenko (Hunding) and Heidi Melton (Sieglinde) Photo: Michael Cooper

Seeing this production after eight years is like meeting up with an old friend after a long absence - you think of the good times and gloss over the idiosyncrasies. The Atom Egoyan-Michael Levine design for Walkure has a vaguely post-Apocalyptic feel to the strikingly chaotic set. I've often wondered why Levine chooses to make his statement with this visual jumble. Interestingly, this aesthetic is not carried over to the other three operas in the COC Ring, perhaps because this is a "Ring by Committee" with different stage directors responsible for the individual parts. I'd like to think that the physical and visual chaos of Walkure reflect the inner turmoil of the principal characters, particularly Wotan and Brunnhilde, Siegmund and Sieglinde. The rubble in front, framed by the crisscross of cat walks on top and on the sides, contrasts sharply with the enormous, stately white panels at the back, behind which presumably leads to Valhalla, the domains of the gods, On a practical level, it's likely a treacherous set to negotiate for the singers, particularly the women wearing Victorian style long skirts complete with bustle! Indeed there were a few instances of costumes being caught by the various jagged edges onstage. I recall vividly Frances Ginzer slipping on the tree trunk during Todesverkundigung. Even with the physical limitations, Egoyan managed to make it interesting, perhaps not so much Act 1, but I love the staging of Act 3 Scene 1 - the bodies coming down from the flies sure make an impression! If I were to voice one objection, it would have to be the extremely dim lighting of Act 1, for sure one of the murkiest I've ever experienced.

The Valkyries place the magic fire to surround the sleeping Brunnhilde (Photo: Michael Cooper)

COC Music Director Johannes Debus conducted his first performance of Die Walkure in a well paced reading of the score, with a good balance of drama and lyricism. The orchestra, while not quite note perfect as there were a few moments of balance issues, acquitted itself wonderfully. All in all, it was a major achievement all round and bodes well for the Siegfried and Gotterdammerung coming up in the next two seasons. Now with the Company since 2009, Debus really knows how to bring out the best from the orchestra. On this evening, the brass and horns were marvelous. Principal cello Bryan Epperson's brief solo early in the opera was a highlight. Wagner at his best is like an addiction - the more I see, the more I want. This is really a show not to be missed. Six more performances on Feb. 4, 7, 10, 13, 19, 22 at the Four Seasons Centre. http://www.coc.ca/PerformancesAndTickets/1415Season/DieWalkure.aspx

Johan Reuter (Wotan) and Christine Goerke (Brunnhilde) Photo: Michael Cooper

Cette semaine à Montréal : le 15 au 21 décembre

Conspirare Celebrates Christmas for Everyone!

This Week in Toronto (Dec. 22 - Jan. 4)

Toronto Operetta Theatre's Mikado a Rousing Holiday Romp

Bravissimo! 2014 Lives Up to its Name (Review)

This Week in Toronto (Jan. 5 - 11)

Nominations au sein de l'Ordre du Canada

New Orders of Canada Appointments

This Week in Toronto (Jan. 12 - 18)

Cette semaine à Montréal : le 12 au 18 janvier

This Week in Montreal: January 12 to 18

This Week in Toronto (Jan. 19 - 25)

Cette semaine à Montréal : le 19 au 25 janvier

This Week in Montreal: January 19 to 25

This Week in Toronto (Jan. 26 - Feb. 1)

Cette semaine à Montréal : le 26 janvier au 2 février

This Week in Montreal: January 26 to February 2

Samson et Dalila

This Week in Toronto (Feb. 2 - 8)

Die Walkure Revival A Triumph at the COC