GentleFreak’s Slaying My Demon Lover

I’ve been complaining fior ages that the sort of curated artsong concert by young singers disappeared with COVID.  Monday night gave me cause for hope.  The first concert in Tapestry Opera’s Free Underground Concert series was given on Monday evening by a new initiative called GentleFreak.  It’s led by Danika Lorèn who has form in this area.

Slaying My Demon Lover is a concept by Daevyd Pepper and consists of readings and music around the idea of loss or break up (romantic or otherwise).  Monday’s show was a cut down version of the whole thing which can be seen on the evening of the 15th at Arrayspace (tickets here).  It’s very varied with some very lyrical pieces like Hahn’s L’heure exquise (sung beautifully by Queen Hezumuryango) and much mor abrasive material like Weill’s Je ne t’aime pas (sung forcefully by Reilly Nelson).  There was musical theatre material on the same theme; for example Sondheim’s Losing My Mind (Danika) and some weirder or more playful numbers like George Aperghis Récitation 14 (Danika) and Vernon/Ivor’s 715 CRΣΣKS sung into the piano by Daevyd.  Accompaniment throughout was by Claire Harris on piano.  Bottom line it all worked and came together to make a most satisfying and very welcome show.

Tapestry’s Free Underground Concerts programme runs on selected Monday evenings from 6pm to 7pm at the Nancy and Ed Jackman Performance Centre.  Next up on the 23rd is a preview concert of Kevin Wong’s new musical In Real Life.

Witch! What? Why?

In 1621 one Elizabeth Sawyer, inevitably a poor, old woman, was hanged as a witch in London.  A play, The Witch of Edmonton, loosely based on the trial and events leading up to it, hit the boards shortly after.  It was a popular success.  Now Jen Silverman has taken the framework of that Jacobean tragicomedy and grafted onto it a critique of late stage capitalism.  The result is Witch, currently playing at Soulpepper in a production directed by Courtney Ch’ng Lancaster.

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Silver Thread at Met

Silver Thread are an a cappella vocal groiup (Rayna Crandlemire, Emily Parker,Ineza Mugisha, Sarah Mole,Anika Venkatesh, Nathan Gritter,JJoshua Sutherland, Kai Leungg and Martin Gomes) founded last year by young professional singers in Toronto.  This Thursday they opened a new year of the Noon at Met series of Thursday lunchtime concerts at Metropolitan United.

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It’s my decision

Erin Shields You, Always opened at the Berkeley Street Theatre on Wednesday night in a production directed by Andrea Donaldson.  It’s the story of the rlationship between two sisters.  The elder, Liz (Maev Beaty), is a high achiever; solid academics, law school, husband and two children.  The younger, Delia (Liisa Repo-Moretell), is a college dropout, singer songwriter and a vigorously promiscuous Lesbian (or maybe bisexual) even though there’s only one orgy in Brazil.  In spite of, or because of their differences they are very close.

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Toronto City Opera’s Macina Voice competition

Toronto City Opera’s third annual Macina Voice Competition is set for February 21, 2026 at Church of the Redeemer. The finalists are:

  • Camila Montefusco – Mezzo-Soprano
  • George Theodorakopoulos – Baritone
  • Hillary Tufford – Mezzo-Soprano
  • Jaclyn Grossman – Soprano
  • Jamal Al Titi – Baritone
  • Marion Germain – Soprano
  • Nicholas Kluftinger – Tenor
  • Olivia LaPointe – Soprano

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Couperin’s Leçons de Ténèbres

Leçons de Ténèbres is a genre that became popular in France in the 17th and 18th century.  It’s a set of texts from the Vulgate version of the Book of Jeremiah to be sung on Wednesday, Thursday and Friday of Easter week.  Over time setting these texts became something of a competitive exercise as they came to play a similar role to Handel’s oratorios in 18th century England.  They were musical works that one could listen to during Lent when most other musical outlets were unavailable.  The fashionable set would roam from church to church in search of the finest settings and the finest singers. Continue reading

Songs of Glass and Iron

On Thursday evening soprano Reilly Nelson and composer/keyboardist Friedrich Kern presented an intriguing programme based around songs by Kurt Weill.  Songs were interleaved with composed passages for electronics based on glass harmonica and texts in English and German.  It was a “celebration” of impermanence and of the never quite dying hope that there is something more substantial out there somewhere.

The songs were a mix of the familiar; Youkali, Surabaya Johnny, and the less familiar; Und was bekam des Soldaten Weib? and Ballade vom ertrunkenen Mädchen, for example.  All of it was sung in the original language (French or German) with keyboard accompaniment and Reilly made no attempt to make it lovely.  This was Weill at his cabaret rawest which is just the way I like it; gritty not pretty  Crooned, bowdlerized English translations be damned! Continue reading