The latest recording of Australian composer Brett Dean’s music on the BIS label contains three quite substantial pieces. The first is a violin concerto in three movements; The Lost Art of Letter Writing which is played by Frank Peter Zimmermann with the Sydney Symphony conducted by Jonathan Nott. The four movements are each inspired by a 19th century letter (the details can be found here). Collectively they form a fairly conventional concerto structure; a fast movement, a slow movement, a sort of scherzo and a very fast, busy and insistent conclusion. It’s complex, dense and chromatic music that sometimes builds tension much in the manner of Shostakovich though Dean’s way of resolving that tension is very different. It’s a really rewarding piece. Continue reading
Coming up in May 2026
- May 2nd. The Artists’ Studio of the Canadian Children’s Opera Company are presenting Judith Weir’s The Black Spider. It’a very rare chance to see a Judith Weir opera in Toronto.
- There are two free shows on the 4th. At noon Opera 5’s interns are performing in the RBA and in the evening it’s AtG’s Opera Pub at the Tranzac.
- On the 5th there’s a sneak preview of Toronto Summer Music in the RBA at noon.
- On the 6th Jane Archibald has a recital at Koerner Hall.
A most unusual recital
Thursday lunchtime at Metropolitan United was, I think, the first time I’ve attended a recital of music for soprano and clarinet. The performers were soprano Noelle Slaney and clarinettist Matheus Coelho. Most of the music was performed “as written” with a few pieces rearranged by Noelle.
La pièce écossaise
There’s a French version of Verdi’s Macbeth dating from 1865 and based on the 1847 Italian version. It was performed at the Verdi festival in Parma in 2024 and recorded for video. It’s not enormously different from the original though, unsurprisingly, there’s more ballet (at the beginning of Act 3). The ending is just as weirdly abrupt at least (*). In 1847 this was a transitional work with Verdi moving away from bel canto but here’s there’s still lots of rather jolly music accompanying either sinister or bloody scenes. By 1865 that must have sounded a bit odd.
Mary, Mary, Mary, Mary is an interesting concept that doesn’t really come off
Erin Shields’ Mary, Mary, Mary, Mary is currently playing at Crow’s theatre in a production directed by Ellen McDougall. It aims to shed new light on the Gospel stories by seeing them through the eyes of four Mary’s; the mother of Jesus (Michelle Monteith), Mary Magdalene (Sabryn Rock), Lazarus’ sister (Belinda Corpuz) and the mother of James and Joseph (Nancy Palk). It doesn’t really provide much illumination.
Golijov at last
The 21C concert of music by Osvaldo Golijov, postponed on account of the January blizzard, finally got presented at Mazzoleni Hall on Sunday afternoon. There was a varied line up of professional musicians, GGS students and members of the taylor Academy on display fro the various numbers; all of which were contextualized historically and musically by Barry Shiffman.
Room of Keys
Room of Keys is a short monodrama written for actor/pianist Adam Sherkin by David James Brock. It had a short run a couple of weeks ago in a production directed by Tom Diamond at the Nanostage on Bloor which I missed (due to getting stuck on the TTC) and was reprised on Thursday in the RBA at lunchtime; though how far they were able to reproduce the staging I’m not sure.
Bread and Buddha?
Clyde’s, currently playing at the Bluma Appel Theatre, is so much more than a play about ex-cons making sandwiches. There are layers of meaning here that I’m only beginning to unpack. But let’s take a step back and summarize. Lynn Nottage’s play is set in the kitchen of a truck stop owned by Clyde; a woman with a short fuse, a sharp tongue and a thoroughly jjaundiced view of the human condition. The kitchen is led by the enigmatic Montrellous who seeks to create the perfect sandwich and is making progress. His calm enthusiasm captivates the three other ex-cons who work the kitchen and who aspire to meet Monty’s standard of sandwich excellence while coping with their fractured lives and keeping out of reach of Clyde’s wrath.
A Night in Venice
Toronto Operetta Theatre’s last show of the season is Johan Strauss II’s A Night in Venice with the libretto lightly updated by Guillermo Silva-Marin; who also directs. It opened on Friday evening at the Jane Mallett Theatre. Loyal fans will not be disappointed. It’s a typical frothy, colourful TOT offering with chamber ensemble and singing that ranges from very decent to really rather good.
Dance Nation is a grimly hilarious look at competitive pre-teen dance culture
Clare Barron’s Dance Nation is a grimly hilarious examination of how cut-throat competition culture affects the lives of children in small town America. It’s currently playing at Coal Mine Theatre in an Outside the March production directed by Diana Bentley.








