Lysistrata or, The Nude Goddess; music and libretto by Mark Adamo, is very loosely based on the play by Aristophanes. It’s not a simple farce or anti-war propaganda piece. Rather it’s a complex interrogation of various dualities; male/female, peace/war, eros/thanatos, lust/love and, perhaps above all, everything that’s implied by the duo Ares/Aphrodite. So, although we are still in Athens during the Peloponnesian war and there’s still a sex strike it’s not Aristophanes. If there’s an overarching idea it’s that we all want love and we all want peace but on what/whose terms?
Opera Sustenida at the Tranzac
Opera Queens have a six month residency at the Tranzac and they handed over their slot this Saturday to Opera Sustenida who put on their show Women in Arms. It’s a series of “chapters” each of which features a few arias illustrating a typical female role in opera e.g. sisters, lovers, queens etc. The singing is shared between coloratura soprano Nicole Dubinsky and her dramatic colleague Stephanie DeCiantis; with several duets, plus Suzanne Yeo on the piano. They also included two of their short films from the COVID era.

Brilliantly sung Lucia from la Scala
The 2023 video recording of Donizetti’s Lucia di Lammermoor from Milan’s La Scala is quite interesting. The production is not especially exciting but the singing; especially the partnership of Lisette Oropesa, as Lucia, and Juan Diego Flórez as Edgardo is. The rest of the singing is excellent as is the orchestral playing. It’s also given without the usual cuts.

Beethoven and Shostakovich
Wednesday’s lunchtime concert at Heliconian Hall; part of Toronto Summer Music, featured two pieces of chamber music by Beethoven and Shostakovich. The first was the third movement of Beethoven’s String Quartet No. 15 in A minor, Op.132. It was played by Justin Saulnier, Ashley Tsai, Bill Ko and Claire Park. It’s an unusual movement, especially taken out of context. It intersperses intricate, very slow passages where phrases are passed between the players without too much in the way of obvious clues for where the music is going. It’s profound and quite ethereal. These sections arr interwoven with livelier sections where the “cues” are more obvious. I would think it’s difficult to get just right at the best of times and for what amounts to a “scratch” quartet to handle it as well as they did is admirable. It feels like the sort of music that one needs to play with the same colleagues for twenty years! Incidentally, the same team is playing all four movements of this work tomorrow at noon.




Council
Once in a while it’s good to take a chance on a concert or play that’s outside one’s normal sort of thing. Sometimes that turns out really well. For example, I’m no great fan of musicals but I loved Tiger Bride at Soulpepper. So t was in that spirit that I went to see Council at Walter Hall on Monday evening.

Looking ahead to a quiet August
Musically August is pretty quiet in Toronto. Opéra Queens have a PWYC concert; Sisters in Arms, at the Tranzac on the 1st (5-7pm). Confluence Concerts emerging artists programme has a concert called Side-by-Side at Heliconian Hall on the 20th and that’s about it. There’s a bit more happening in the theatre world. Summerworks runs from the 6th to the 16th with 27 works in the programme at various venues but mainly at The Theatre Centre. It’s heavy on dance but there are half a dozen or so one act plays too. CanStage’s Twelfth Night continues in High Park until September 6th.
Twelfth Night in the park
This year’s CanStage Dream in High Park presentation is Twelfth Night adapted and directed by Gregory Prest. He takes a pretty straightforward approach. He has added a sort of prologue in which Feste speaks of the relationship between Love and Madness (and makes a few jokes about the audience and their picnics). The Love and Madness thing seems to be the central concept as far as there is one. The first two scenes are reversed too. We first meet Viola on the beach before Orsino gets to make his famous “If music be the food of love” speech. And, of course, there are cuts to fit it into the Dream time slot of 90-100 minutes. None of this really makes a whole lot of difference. The show comes across as a well acted, crisply directed, perfectly intelligible comedy and hurrah for that!

24 carat Golden Age
It’s not often that one attends a recital that is so stunning that one struggles to find words to describe it but The Golden Age recital given by soprano Erin Morley, tenor Lawrence Brownlee and pianist Malcolm Martineau at a packed Koerner Hall on Thursday evening, as part of Toronto Summer Music, was in that class. Most of the rep was drawn from the Golden Age album released last year with a few change ups. It’s basically all highly virtuosic material in the bel canto style (plus a couple of piano pieces).

The Imagined
The Imagined is a new album of piano music by Alice Ping Yee Ho played by Christina Petrowska Quilico. There are four works. The first is Pictures from an Imagined Exhibitiion which riffs off pictures by Hong Kong ink master Wesley Tongson and Christina Petrowska Quilico herself. There are four movements. “Free Strokes” is kind of minimalist with arpeggios and repeated figures. It sounds weird to say it but it sounds “watery”. “Distant Drums” is similar in some ways but faster and with some much darker passages. “Mystical Mountains” by contrast is slower and darker with a kind of doom-laden quality. Finally “Dancing Colours” is bright and playful with, I think, some modal elements. It’s all quite virtuosic with occasional distinctly “non-western” touches.
Of Thee I Sing
This year’s mentors for Toronto Summer Music’s Art of Song programme are mezzo Sasha Cooke and pianist Warren Jones. On Monday evening they teamed up to give an American themed recital in Walter Hall.
