TonyV
Senior Member
I should have checked here first! And you would have met my much better half, too!!! We are hearing the Berlioz at the TSO on the forthcoming Saturday, will you be there?
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Urban Shocker
Doyenne
Alas, no.
Sunday afternoon is Queen of Puddings at the Enwave, though.
My next season:
* Sat. Sept. 26 Butterfly
* Sat. Oct. 24 Nightingale
* Thurs. Dec. 3 Dvorak TSO
* Sat. Feb. 6 Otello
* Sat. Feb. 20 Carmen
* Weds. Feb. 24 Yannick! Rotterdam Phil.
* Weds. April 14 Sibelius TSO
* Sat. April 17 Sibelius TSO
* Weds. April 21 Sibelius TSO
* Sat. April 24 Dutchman
* Sat. May 15 Idomeneo
* Sat. May 22 Maria Stuarda
* Sat. June 12 Yannick! TSO
Sunday afternoon is Queen of Puddings at the Enwave, though.
My next season:
* Sat. Sept. 26 Butterfly
* Sat. Oct. 24 Nightingale
* Thurs. Dec. 3 Dvorak TSO
* Sat. Feb. 6 Otello
* Sat. Feb. 20 Carmen
* Weds. Feb. 24 Yannick! Rotterdam Phil.
* Weds. April 14 Sibelius TSO
* Sat. April 17 Sibelius TSO
* Weds. April 21 Sibelius TSO
* Sat. April 24 Dutchman
* Sat. May 15 Idomeneo
* Sat. May 22 Maria Stuarda
* Sat. June 12 Yannick! TSO
Benc7
Active Member
Cecilia Bartoli-Roy Thomson Hall
I went to hear Cecilia Bartoli in concert this afternoon at Roy Thomson Hall, and if there's anything to take the chill out of the air then it would be the sound of her voice. Accompanied by Orchestra La Scintilla of the Zurich Opera (playing on period instruments) she paid homage to Maria Malibran, a mezzo-soprano born in 1808, whose voice was reputed to be colourful, powerful and flexible, as is Cecilia's. It was a nicely constructed programme: an orchestral work by a composer (mostly early 19th century) followed by a vocal piece by the same composer. Bartoli herself is a presence on stage; a set of pipes that are rich and vibrant, packaged in a voluptuous body. As she came on stage after the intermission, someone shouted "Toronto loves Cecilia!" I couldn't agree more.
I've meant to ask the regulars that contribute to this thread about their thoughts on the renovation of Roy Thomson Hall. It's a project that's rarely mentioned when people talk of the "cultural renaissance" that's happened over the last few years in this city. Have the acoustics improved? I can speak only of the vocal performances I've heard there and, frankly, I wish they'd been held at the new Opera House instead. With orchestral works, have you noticed a difference?
I went to hear Cecilia Bartoli in concert this afternoon at Roy Thomson Hall, and if there's anything to take the chill out of the air then it would be the sound of her voice. Accompanied by Orchestra La Scintilla of the Zurich Opera (playing on period instruments) she paid homage to Maria Malibran, a mezzo-soprano born in 1808, whose voice was reputed to be colourful, powerful and flexible, as is Cecilia's. It was a nicely constructed programme: an orchestral work by a composer (mostly early 19th century) followed by a vocal piece by the same composer. Bartoli herself is a presence on stage; a set of pipes that are rich and vibrant, packaged in a voluptuous body. As she came on stage after the intermission, someone shouted "Toronto loves Cecilia!" I couldn't agree more.
I've meant to ask the regulars that contribute to this thread about their thoughts on the renovation of Roy Thomson Hall. It's a project that's rarely mentioned when people talk of the "cultural renaissance" that's happened over the last few years in this city. Have the acoustics improved? I can speak only of the vocal performances I've heard there and, frankly, I wish they'd been held at the new Opera House instead. With orchestral works, have you noticed a difference?
Urban Shocker
Doyenne
Thanks for your impressions of the Bartoli concert.
I think the sound at RTH is much better since the reno. But there are also "dead spaces" - if you sit beneath the overhang of the Mezzanine or the Balcony - where the sound disappears ( well, okay, maybe I'm being a little uncharitable ... you can still hear it ... but not as clearly as in other parts of the hall). Since the reno, I've subscribed for a couple of seasons at the front of the Mezzanine and found it wonderful, and in the Balcony, which was excellent too. At the moment I'm in the Orchestra, about half way from the front, an enjoy the sound there also.
If the opera house offered a vocal recital series I'd subscribe. I haven't been to any of RTH's vocal series, ever, because I don't think it's a great hall to hear the voice. That said, I saw the opera in concert Magic Flute there in January and had a good time - though the variability of the sound, as the soloists sang from different parts of the stage ( and in the loft ) was noticeable.
I think the sound at RTH is much better since the reno. But there are also "dead spaces" - if you sit beneath the overhang of the Mezzanine or the Balcony - where the sound disappears ( well, okay, maybe I'm being a little uncharitable ... you can still hear it ... but not as clearly as in other parts of the hall). Since the reno, I've subscribed for a couple of seasons at the front of the Mezzanine and found it wonderful, and in the Balcony, which was excellent too. At the moment I'm in the Orchestra, about half way from the front, an enjoy the sound there also.
If the opera house offered a vocal recital series I'd subscribe. I haven't been to any of RTH's vocal series, ever, because I don't think it's a great hall to hear the voice. That said, I saw the opera in concert Magic Flute there in January and had a good time - though the variability of the sound, as the soloists sang from different parts of the stage ( and in the loft ) was noticeable.
Urban Shocker
Doyenne
On Sunday afternoon, just as Benc7 was being let out of Roy Thomson Hall, Urban Shocker entered the Enwave to see the last of five performances of the new opera Inês. I assume it'll tour - perhaps eventually to Covent Garden, like their The Midnight Court did. It ought to, though I think it still needs a bit of work on the staging of the conclusion.
A great small cast, familiar to Torontonians - Shannon Mercer, Giles Tomkins, Elizabeth Turnbull and Thomas Goerz - and fado singer Inês Santos, who was miked, gave beautiful performances. It updated the story of Inês de Castro, transposed to Toronto's Portugese immigrant community in the 1960s as a story of obsessive love versus duty to the family and the stresses of poverty. Tightly written, with a small orchestra of five, it was a real gem, more like a cabaret than what might normally be thought of as opera. It embraced the melodrama of the story and challenged the audience to do the same - which most did.
Despite very good houses ( almost full when I went ) in this small venue, there couldn't have been more than a thousand people who saw the run. On such productions, however, is Toronto's reputation as a centre of creativity and excellence based.
A great small cast, familiar to Torontonians - Shannon Mercer, Giles Tomkins, Elizabeth Turnbull and Thomas Goerz - and fado singer Inês Santos, who was miked, gave beautiful performances. It updated the story of Inês de Castro, transposed to Toronto's Portugese immigrant community in the 1960s as a story of obsessive love versus duty to the family and the stresses of poverty. Tightly written, with a small orchestra of five, it was a real gem, more like a cabaret than what might normally be thought of as opera. It embraced the melodrama of the story and challenged the audience to do the same - which most did.
Despite very good houses ( almost full when I went ) in this small venue, there couldn't have been more than a thousand people who saw the run. On such productions, however, is Toronto's reputation as a centre of creativity and excellence based.
TonyV
Senior Member
Nice that you got to hear Cecilia Bartoli. I would have loved that but my calendar is so booked up.
I tend to agree with Urban Shocker's response about Roy Thomson Hall's renovations in general.
A dear friend of mine (now deceased), a serious concert goer, observed the renovations carefully. His opinion about the final product was that the effort smacked of gun-shyness (edit) and that the hall should have been reduced in size much more. In reality, that would have cost a lot more than twenty millions dollars. It has been said by critics that the hall could have been made smaller by drawing the sides in .. but a few hundred seats would have been sacrificed around the perimeter. In general it has been observed that the biggest winner with this reno is the TSO, as they can really hear one another onstage now.
My own sentiment is that prior to the reno, it wasn't a case of bad acoustics, it was a case of no acoustics at all, and now there are some. The hall could indeed be made smaller yet, for better sound. Who knows, maybe some year they'll suck it up and do it.
The irony of this is that Cecilia Bartoli was engaged to promote the fundraising effort for this fix!
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TonyV
Senior Member
Charles Dutoit & TSO in The Damnation of Faust (Berlioz) on Saturday night (with a very large additional cast on stage and in choirlofts) --
This was really excellent music making. I've got to admit that I don't actually like this particular Berlioz piece very much. I went to hear it partially because it was in my subscription package (could have traded the tickets) and partially because I know Dutoit is really adept at this stuff.
There are wonderful passages in The Damnation of Faust, and also some passages with a certain "ick" factor to them, to my taste. Given all that, it requires absolute orchestral committment and great soloists to bring it off, and three choirs. So at the end of the evening, I was musically satisfied, as everything was in place. Three soloists really stole the night away -- Susanne Mentzer (mezzo), Gregory Kunde (tenor) and Sir Willard White (bass-baritone). To my ears, the Mendelssohn Choir seemed a bit under rehearsed.
Teng Li, lead violist, was singled out for her wonderful accompaniment of Susan Mentzer ("Marguerite") in a solo.
This was really excellent music making. I've got to admit that I don't actually like this particular Berlioz piece very much. I went to hear it partially because it was in my subscription package (could have traded the tickets) and partially because I know Dutoit is really adept at this stuff.
There are wonderful passages in The Damnation of Faust, and also some passages with a certain "ick" factor to them, to my taste. Given all that, it requires absolute orchestral committment and great soloists to bring it off, and three choirs. So at the end of the evening, I was musically satisfied, as everything was in place. Three soloists really stole the night away -- Susanne Mentzer (mezzo), Gregory Kunde (tenor) and Sir Willard White (bass-baritone). To my ears, the Mendelssohn Choir seemed a bit under rehearsed.
Teng Li, lead violist, was singled out for her wonderful accompaniment of Susan Mentzer ("Marguerite") in a solo.
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Benc7
Active Member
A dear friend of mine (now deceased), a serious concert goer, observed the renovations carefully. His opinion about the final product was that the effort smacked of gun-shyness (edit) and that the hall should have been reduced in size much more.
The irony of this is that Cecilia Bartoli was engaged to promote the fundraising effort for this fix!
Thanks, gentlemen. I agree with your sentiments, Urban Shocker; if I had my druthers I'd go to hear song sung in the only hall worthy of it. However, Battle, Bartoli, Cabell and Fleming are warbling at Roy Thomson and there I will be. I suppose if they were singing at the sewage treatment plant I'd go there too. Crap! (LOL) To out myself as a complete homo (as if that were necessary) I will admit to following Ms. Streisand to the AC Centre, a basketball/hockey rink complex that I've never been to before or since. Obsession has its price.
TonyV, thanks for sharing your late friend's observations on the renovations. The hall to me looks half finished, as if they'd run out of wood and/or money before completion. It's a vast improvement over what it was but no where near what it could be. I didn't know about the Bartoli connection and find the irony....delicious.
I just watched on BRAVO (for the fourth or fifth time) "Raising Valhalla", the documentary on the building of "The Four Seasons Centre". I'm still thrilled that it was ACTUALLY built and that it's so GOOD and that I get to sit in it.
TonyV
Senior Member
Thanks, gentlemen. I agree with your sentiments, Urban Shocker; if I had my druthers I'd go to hear song sung in the only hall worthy of it. However, Battle, Bartoli, Cabell and Fleming are warbling at Roy Thomson and there I will be. I suppose if they were singing at the sewage treatment plant I'd go there too. Crap! (LOL) To out myself as a complete homo (as if that were necessary) I will admit to following Ms. Streisand to the AC Centre, a basketball/hockey rink complex that I've never been to before or since. Obsession has its price.
TonyV, thanks for sharing your late friend's observations on the renovations. The hall to me looks half finished, as if they'd run out of wood and/or money before completion. It's a vast improvement over what it was but no where near what it could be. I didn't know about the Bartoli connection and find the irony....delicious.
I just watched on BRAVO (for the fourth or fifth time) "Raising Valhalla", the documentary on the building of "The Four Seasons Centre". I'm still thrilled that it was ACTUALLY built and that it's so GOOD and that I get to sit in it.
You are very welcome Benc7.
I am off to the TSO Thursday night and looking forward to it immensely. I never have allowed a slightly not-up-to-par venue deter me from a great night out. Here's a "preview" ....
http://www.thestar.com/Entertainment/article/596085
TonyV
Senior Member
Thursday night’s (March 5, 2009) TSO concert, first of the "New Creations Festival" offerings, was a great experience.
Tan Dun, just about the most famous Asian composer in the world at this time, was on hand to conduct two pieces, one by Toru Takemitsu ("A String Around Autumn") and his own awesome composition, "The Map". The concert opened with Peter Oundjian conducting Frederic Schipizky's "Odyssey".
The best part of the concert was Dun's The Map. All sorts of musical effects not normally made by a symphony orchestra, an absolute dream of a piece, lasting about 1 hour. The full title of this piece is “Concerto for Cello, Video and Orchestraâ€. The cellist was Anssi Karttunen (a glorious musician). Electronic amplification was used sparingly and to good effect. Video was used to inject recorded performances of traditional Chinese music making. The orchestra was required to contribute many unusual effects, to be sure!
In the Takemitsu piece, principal violist Teng Li once again got a chance to shine as a soloist. The essence of the Takemitsu piece is a type of serenity.
I liked the Schipizky piece (Canadian composer – who was on hand) very much, the guy in the Star was dismissive of the composition, that’s a shame.
The hall was 100%.
I’ve been going to the New Creations Festival for two years now. Last year, they paid tribute to the famous French composer Olivier Messiaen. This year the theme is Asian creations. Next year the theme will be Latin American. I will keep on going to the TSO’s New Creations programs. A music lover can’t keep hearing just the “old chestnutsâ€. I feel compelled to close by saying that the TSO has become a hugely impressive orchestra, they really put on a gorgeous concert Thursday night.
Tan Dun, just about the most famous Asian composer in the world at this time, was on hand to conduct two pieces, one by Toru Takemitsu ("A String Around Autumn") and his own awesome composition, "The Map". The concert opened with Peter Oundjian conducting Frederic Schipizky's "Odyssey".
The best part of the concert was Dun's The Map. All sorts of musical effects not normally made by a symphony orchestra, an absolute dream of a piece, lasting about 1 hour. The full title of this piece is “Concerto for Cello, Video and Orchestraâ€. The cellist was Anssi Karttunen (a glorious musician). Electronic amplification was used sparingly and to good effect. Video was used to inject recorded performances of traditional Chinese music making. The orchestra was required to contribute many unusual effects, to be sure!
In the Takemitsu piece, principal violist Teng Li once again got a chance to shine as a soloist. The essence of the Takemitsu piece is a type of serenity.
I liked the Schipizky piece (Canadian composer – who was on hand) very much, the guy in the Star was dismissive of the composition, that’s a shame.
The hall was 100%.
I’ve been going to the New Creations Festival for two years now. Last year, they paid tribute to the famous French composer Olivier Messiaen. This year the theme is Asian creations. Next year the theme will be Latin American. I will keep on going to the TSO’s New Creations programs. A music lover can’t keep hearing just the “old chestnutsâ€. I feel compelled to close by saying that the TSO has become a hugely impressive orchestra, they really put on a gorgeous concert Thursday night.
Benc7
Active Member
I've got to find the time (and the cash) to take in some performances of the TSO this season. They've certainly gone out of their way to make it easier to become a subscriber. I don't want to keep hearing or seeing the "old chestnuts" either, and the series you describe is just up my alley.
You might be interested in picking up the April issue of "Toronto Life". There's an article in it entitled "The Resurrection" by Gerald Hannon giving an overview of the trials and tribulations of the TSO and its triumphant...well, resurrection.
Urban Shocker
Doyenne
Dear Gerald triumphantly resurrected himself - in his 40s and 50s he worked as a gay prostitute.
I don't mind seeing old chestnuts ... as long as they're done in a new way. L'il Pekka did that at the TSO earlier this season with the Vivaldi. But, yes, it's exciting to see something totally new that you can't prepare for. In that light, I keep meaning to hear the Esprit Orchestra ... but haven't, yet.
http://www.espritorchestra.com/index.php?option=com_content&task=section&id=3&Itemid=29
I don't mind seeing old chestnuts ... as long as they're done in a new way. L'il Pekka did that at the TSO earlier this season with the Vivaldi. But, yes, it's exciting to see something totally new that you can't prepare for. In that light, I keep meaning to hear the Esprit Orchestra ... but haven't, yet.
http://www.espritorchestra.com/index.php?option=com_content&task=section&id=3&Itemid=29
Benc7
Active Member
Nicole Cabell-Roy Thomson Hall
Good god, I remember his stint as a rent boy(man?), or at least the article he wrote detailing his exploits. Way too much information! Way too much! Wasn't he a prof at Ryerson? Is he still?
Speaking of old chestnuts ( and I too don't mind them at all) I wish Nicole Cabell had sung a few in the first part of her concert instead of saving them for her encores. I knew nothing of her before yesterday, so one or two of the standard arias I've heard sung by her more famous colleagues would have served as a good introduction, a yard stick as it were, against which to measure her talent. And talented she is, no doubt about that. To a half-full hall she sang songs by Liszt, a series of Spanish songs, a selection from Bernstein and then the highlight of the day for me, a few songs from "Genius Child" a modern work I know nothing about(note how complete and perfect is my ignorance of so many things!). It was during those songs that her beautiful vocal instrument channelled such beautiful emotion, more so than the spirituals she used to close her programme. The encores that featured "O mio babbino caro" and the "Song to the Moon" were the cherries on a sundae. I wish they'd been more evenly distributed. But then, in the end, she converted this poor stupid listener into a fan.
Rats! The Esprit Orchestra is just another thing I'd love to hear. Is there such a thing as starving to death from too much choice?
Good god, I remember his stint as a rent boy(man?), or at least the article he wrote detailing his exploits. Way too much information! Way too much! Wasn't he a prof at Ryerson? Is he still?
Speaking of old chestnuts ( and I too don't mind them at all) I wish Nicole Cabell had sung a few in the first part of her concert instead of saving them for her encores. I knew nothing of her before yesterday, so one or two of the standard arias I've heard sung by her more famous colleagues would have served as a good introduction, a yard stick as it were, against which to measure her talent. And talented she is, no doubt about that. To a half-full hall she sang songs by Liszt, a series of Spanish songs, a selection from Bernstein and then the highlight of the day for me, a few songs from "Genius Child" a modern work I know nothing about(note how complete and perfect is my ignorance of so many things!). It was during those songs that her beautiful vocal instrument channelled such beautiful emotion, more so than the spirituals she used to close her programme. The encores that featured "O mio babbino caro" and the "Song to the Moon" were the cherries on a sundae. I wish they'd been more evenly distributed. But then, in the end, she converted this poor stupid listener into a fan.
Rats! The Esprit Orchestra is just another thing I'd love to hear. Is there such a thing as starving to death from too much choice?
Urban Shocker
Doyenne
Never a dull moment in our town.
Did you go to the Colloquium last Friday? I caught the last two talks - how early Peruvian cultures are defined through their influence as much as by the land they occupied, and the historical context and conservation of the Book of the Dead that's now on display.
Then Alexandra Palmer gave this year's Vaughan lecture - on Christian Dior ( a potboiler for a book she's written that's coming out later this year, apparently ). She gives good lecture.
Did you go to the Colloquium last Friday? I caught the last two talks - how early Peruvian cultures are defined through their influence as much as by the land they occupied, and the historical context and conservation of the Book of the Dead that's now on display.
Then Alexandra Palmer gave this year's Vaughan lecture - on Christian Dior ( a potboiler for a book she's written that's coming out later this year, apparently ). She gives good lecture.
Benc7
Active Member
No, I didn't go, but I have been following the discovery and conservation of the Book of the Dead. It makes me wonder what other treasures are still buried and forgotten inside the ROM. I mean, if they can misplace the remains of one of the largest dinosaurs that ever lived, not know they had a good section of the Book of the Dead in their vaults for a hundred years, perhaps they'll discover they've been using an unknown Da Vinci as a place mat,or a Fabergé egg as a doorstop. I'm sorry I missed Alexandra Palmer; I remember the exhibit she currated a few years ago on Dior and that was an education.
I'm going to visit the ROM this week, before the hoards of March Break descend on the city and keep me a shut-in.