Lunchtime Treats

A Tuesday afternoon is usually an odd time for a concert, isn’t it? The answer is yes, but that doesn’t mean it’s a bad time. The Glenn Gould School’s New Music Ensemble certainly provided worthwhile listening this afternoon, when they tackled three contemporary works from American and Canadian composers.

Brian Current led the ensemble through a work by Montreal-based composer John Rea titled Accident, Tombeau de Grisey (2004), while composer Scott Good conducted his own piece, a work titled Three Movement for Chamber Orchestra (2013) which was a mish-mash of different styles. American Martin Bresnick also had a work on the program. The poignant My Twentieth Century (2002) for six players, and incorporating a bit of acting and narration.

My favourite work of the afternoon belong to Bresnick. A very passionate piece, written in the aftermath of the September 11th attacks, the work at first made me lower my guard with its pleasant tonalities and catchy rhythms, reminiscent of Reich, mixed with Glass, and tossed around in a bowl of something else thoroughly American in style. Each of the musicians in turn, as the piece was being played, would come up to a pair of microphones in front of the audience, and recite a line of poetry about an event that occurred. Each line ended with “….in the twentieth century”. A very passionate piece that had more depth than one would be able to hear in one listening, this is a piece I would very much like to hear again.

Scott Good’s piece Three Movement for Orchestra was also very charming in its own way. Each movement had a completely different feeling from the last, and so the movements didn’t blend together as seamlessly as one would think (or in my case like), but the result was still impressive. The first movement was a dense, almost aleatoric trip through dense sounds and clusters of notes. The second was a very Steve Reich-esque (the composer admitted that Reich was his influence with this movement) straight line, driving towards a final point. The third movement had a rich, lush, almost Neo-Romantic sound that took influences from Indian raga.

Rea’s piece Accident…. was good, however I felt that it was too long, dragging in the middle, and the final minutes of the piece just didn’t have the payoff I felt was necessary fort sitting through a piece of this length or style. From a technical standpoint, it was very well done. It contained fantastic uses of the instruments, and the piano and percussion acted as shading to the already present picture. Too often, composers feel obliged to overuse these two sets of instruments. Their use in and of itself is not a bad thing, but having them dominate a 13-instrument ensemble seems like a waste sometimes.

Here I must make a quick note: I really enjoyed the venue and casual atmosphere of this concert. A lunchtime concert in the Four Seasons Centre, where one could watch the concert, but also glance out and see the traffic, people, and everything else that goes on on University Ave. really made the experience for me. I wish more concerts could be like this. Maybe I’ll have to write another article on this issue.

I enjoyed the concert quite a bit. I advise you to go to another noontime concert at the COC or see the GGS New Music Ensemble in concert. They’re well worth it.

– Paolo Griffin

COC’s New Opera: Hadrian, Coming in 2018/2019.

The official announcement is tomorrow, but today, there was a generous amount of news spilling forth about the Canadian Opera Company’s first new opera commission in years. Canadian-American singer, songwriter, and composer Rufus Wainwright, along with Canadian playwright Daniel MacIvor, have been commissioned to a new opera for the COC’s 2018/2019 season titled ‘Hadrian’.

I’m going to hold any judgement until I’ve heard more about the venture, however it will be interesting to see if Wainwright (who is known more for his pop and songwriting than his composing) and MacIvor can breathe some life into the new opera scene in Toronto. Yes, we have Tapestry Opera, a group that does brilliant work involving emerging and established Canadian composers. We also had, until August 31st of this year, the Queen of Pudding Music Theatre. However main stage opera in Canada seems to be a rarity. The COC’s last production was James Rolfe’s Swoon (2006).

So, as I said, I’m withholding judgement until I hear more about the project, but in the meantime, let’s sit and watch what happens.

– Paolo Griffin

One Month

When I returned from Europe a month ago, I decided to start this blog both as a hobby, and as a way to keep those who love new music informed about the events happening around Toronto.

After a month, I can proudly say that my blog has achieved over 1000 hits. That’s an amazing number and it’s more than I thought I was going to get in many months, so thank you all. Thank you for reading my blog, and thank you for keeping me motivated to do this work.

While I was in Europe, I had the opportunity to sample the new music scenes of a few different cities, and what I found is that Toronto has far and away the richest and most active music and new music scene I’ve yet to encounter. We in Toronto have over ten different organizations dedicated to new music. We have an orchestra that holds a 3-concert new music festival every year and an orchestra dedicated to new music. We have a number of opera companies dedicated to both old and new music. We have organizations that have been around for over 40 years, and those that have been around for five. We’ve got seasoned professionals and newcomers advocating for new music and we have new music concerts that are sold out. Our community is active, energetic, and friendly, and I look forward to attending many more concerts in this and future seasons.

Thank you again.

– Paolo Griffin

Review – Opera 5 Delivers a Spooky Show

Opera 5 made a wise move when they asked Cecilia Livingston to write an opera for them. Not only because she is a talented composer, but because the product of their collaboration – a short opera based on Edgar Allen Poe’s short story of the same name: The Masque of the Red Death (2013) was the definite highlight of Sunday’s show. That’s not to say Opera 5’s other productions weren’t thoroughly entertaining in their own right. The Cask of Amontillado (2001) by Daniel Pinkham, an American composer, was an interesting ride through a story of a man bent on the downfall of his best friend as revenge for wronging him, and La Chute de la Maison Usher (The Fall of the House of Usher) (1917) is an unfinished opera by Claude Debussy (and really, who doesn’t love some Debussy), were both enjoyable journeys through the Poe stories, also of the same name. However, the star really shone for Livingston and her opera.

Sleek, sexy, and spooky, this opera was exactly what this time of year called for. The story, in which a prince (played by the very impressive David Tinervia) battles the spread of the plague ‘the Red Death’ by gathering a thousand people from knights and royalty in his palace and sealing them off from the outside world, and, at the same time, throwing a party. The party is interrupted by a new guest who reveals himself to be the Red Death, and kills everyone at the party.

Cecilia Livingston has quite a talent when it comes to writing vocal music (her compositions include multiple commissions for choirs, and many songs), and her abilities certainly showed here. While the other two pieces contained more serious music, The Masque… began with a fantastic jazz-like number that definitely seized the attention of every person in the theatre. The rest of the piece alternated between this more upbeat style, and a more bleak representation of the seriousness of the situation. My highlight of the piece, and the moment I knew that I had really enjoyed this piece more than the other two, was in the closing minutes, when the Red Death has killed everyone in the hall, and the percussion enters to great effect, adding to the mood of the scene. It’s a very haunting scene, and one that took a great deal of skill to pull off effectively, but Livingston did just that.

Credit also has to go to Opera 5’s cast and crew, who’s work on the costumes and the staging made the three works really come to life. I’ve never been a big zombie person, and I usually think dressing in zombie-esque attire can be a bit kitsch, however this was a situation where the zombie style of makeup really enhanced the scenes. The set too, with its many (and I mean many) alcohol bottles placed around to make it seem as if the world’s greatest party had come and gone, worked as an all purpose set. In The Casque, it was an appropriate abandoned cellar. In La Chute… it worked as a rundown house, and in The Masque… it worked fantastically has a place where a party was currently going on.

This was Opera 5’s first full main stage production since their inception almost two years ago, and I can’t wait for their next show.

There are two more showings of this performance: Wednesday, October 30th, and Thursday, October 31st. If you aren’t too busy, I highly suggest you go to see one of these performances.


– Paolo Griffin

Interview: Opera 5 and In Pace Requiescat

Opera 5 is a relatively new non-profit opera organization that’s all about having fun. Their sets, music direction, and staging are all meant capture the audience’s attention and pull them in. What better way to do that than with a Halloween themed performance? This Sunday, Wednesday, and Thursday, Opera 5 will be performing three short operas all based on Edgar Allen Poe stories. The Cask of Amontiallado by American composer Daniel Pinkham, La Chute de la Maison Usher (The Fall of the House of Usher) by Claude Debussy (an unfinished opera), and a world premier, written by Toronto composer Cecilia Livingston: The Masque of the Red Death.

I interviewed Opera 5’s Stage Director, Aria Umezawa, General Director, Rachel Krehm, and composer Cecilia Livingston earlier this week, and we discussed their reasons behind this production, as well as some of the challenges and perks of producing horror opera. Here are some snippets from that interview:

P: You’ve obviously got a spooky theme going on for this concert set. Why did you choose opera based on stories by Edgar Allen Poe?

R: Actually yes. We had a fundraising event of March 17th and it was at the Arts and Letters Club, and we were sitting, while the show was going on, at the bar, and Aria and I were like: “This would be the best haunted house!”, and then we came up with the idea of: “Well, there’s got to be Poe opera out there. Let’s look around.” and Mai Nash, our music director, knew about the Debussy, and he said it was really cool music, so we thought we could build something around that. And then Aria got really excited about it, and then I came into the conversation, so we found a couple of opera that we were interested in, and then we decided that one of them was really awful, so we thought ‘well, what about hiring a composer for a new piece?’, and  that’s where Cecilia came in. So with two months, or two and a half months until rehearsals started, my Mai e-mailed Cecilia, frantically asking if she wouldn’t mind composing a thirty minute opera in less than two months. It was two and half months before rehearsal started, but to get it done….Cecilia basically wrote the opera in a little over a month.

C: I took a couple of weeks off for the Tapestry Opera LibLab, but yes. It was very intense.

R: And you worked really well under pressure, which was amazing.

C: I do work really well under pressure.

P: I myself am a big Poe fan, so I know his stories are very well written, and very atmospheric, and I know that they give you this sense of creeping horror that many stories and movies don’t give you today. So because of that, I think that the horror set you have created is going to be very effective.

A: It was something different. Different from your typical spooky opera. For instance, you think about Don Giovanni, or Turn of the Screw, or you think of any of the typical horror operas, and we just thought we could think outside the box and find something that would be intensely intriguing and equally horrifying as the classic horror operas.

P: Obviously the commissioning thing is something a lot of composers would like to do, but they often get hired through knowing other musicians. How do you know Cecilia, or, how did you first get introduced to her?

R: Mai, our music director, played in one of Cecilia’s recitals.

C: Yes, he actually played in my Doctoral recital last spring.

R: he really enjoyed the music. So when we were going around the idea of ‘what do we do about the third piece?’, because we really didn’t like what we had, and we needed something, Mai said he knew this really great composer whose work he’s been involved with before and he really liked her music, so we thought we’d see if she was interested. And we were very lucky she was interested.

P: So then, in this case, because you had so little time, who chose the story The Masque of the Red Death? Was it Cecilia? Or was it you guys?

A: We had some discussion, but we pretty much left it up to Cecilia which opera she wanted to compose, because we were giving her such  a short  time frame that we just needed the inspiration to come. SO I think I had thrown in Ligeia as a suggestion.

C: Yes, you suggested Ligeia and The Telltale Heart. And you said obviously not to do the other ones you were already planning on doing.

A: Masque was on the table from the beginning as well, but I was envisioning an onstage costume chance for Ligeia which was really the only reason I thought that might be fun too, but I’m so thrilled with Masque. It’s definitely the right choice for this.

R: The way that we managed to do the story with Masque works so well, I can’t imagine anything else with it now.

C: It seems very organic now. Having seen all three pieces together now, as a show, it really flows. And the other thing I liked about Masque is that it hadn’t been treated operatically as much as the other stories so I felt I could stake out a little bit of new territory that way.

R: Were you able to find any Masque works?

C: I wasn’t able to find any in a relatively cursory search on my part, but I did find other works for Telltale Heart, and Ligeia.

P: Was there a period where you looking at other short stories? The Pit and the Pendulum is one of those classics.

C: That period lasted really only about 24 hours.

A: We did say that we didn’t want the Raven.

C: Yes, you did, I could do anything, but not the Raven. But I had to make a decision very quickly, so as Aria says, I was looking for the one that kind of fit me.

P: So Cecilia,  you wrote opera in, really, under six weeks. Were there any other factors that you were thinking of adding to, and maybe writing something involving dance, because this is a story that takes place at a party.

C: Yes, I liked the party idea right away. I think there’s something very sinister about having a party going on and having Death stalk from room to room. But I wanted to leave open opportunities for onstage excitement, but I knew Aria would have all the best ideas for that. I didn’t want to shove anything in the piece that she might feel differently about.

A: We ended up with a zombie dance party.

C: Which is not what I envisioned but it totally works! It was great.

P: Cecilia, I’ve heard your previous vocal work, and it’s quite beautiful, and very organic. Was writing a horror/mystery a departure? was it difficult?

C: No, not at all. I wrote the main theme of it, and then I wondered what I would do for the party itself…to achieve that party atmosphere. Then as soon as I hit on this burlesque…kind of Gilbert and Sullivan, show tune..thing, I thought, well at least I have some music, so I went from there. And it’s not a departure, stylistically, for me. I’ve done a lot of creepy music earlier. It was a nice chance to do some fun stuff again, and vocally, I think it’s actually very lyrical.

R: What I appreciate about the piece, and the production too is that they [the pieces] are in very different styles, but it feels like one piece. I’ve done a couple of modern operas like this as well, and sometimes everyone does something different, and it becomes very choppy, but Cecilia managed to pack in a bunch of different things, and keeping it lyrical throughout the whole thing, which is great. It does feel like one piece, which is what you want as an opera.

P: Aria, you did the work on the set, and the costumes, and all those things, so did you decide to make the costumes faithful to the Poe era?  Or did you go modern?

A: It’s sort of…outside of time. It was very important to me that all three stories live in the same world, so we don’t get this feeling of starting and stopping. They are three operas, but together. So talking to Matthew Vale, our production designer, this was one of the things I came to the table with: These three operas are in the same world, so we need to work backwards from Cecilia’s piece. So Cecilia’s piece was driving the drama for the other pieces. We started discussing the elements of the show. Elements of budget, elements of what we wanted to see on stage. So we decided to go outside of time and have a sort of punk rock theme to feel very gritty, very dirty, very spooky, but have elements of peoples costumes that would relate back to Poe’s era. So people would be wearing neckerchiefs or Poe-style jackets, over top of printed band t-shirts. Our soprano is wearing a huge cage skirt which she is wearing over a very modern slip, and she’s sporting a very punk Goth outfit. So there are elements of the era woven into it, but it’s very much outside the time.


Opera 5’s new show: In Pace Requiescat begins tonight. 7:30 PM at the Toronto Arts & Letter’s Club (14 Elm Street Toronto, ON M5G 1G7). Arrive early and check out their haunted house and Halloween themed treats. Tickets are $30 and $25 for students.


– Paolo Griffin

Preview: Weekend of Oct. 25th – 27th

The fast approaching weekend has another slew of events happening. Here’s what’s on in Toronto!

Friday, October 25th: Thin Edge New Music Collective presents ‘6 Degrees of Separation‘.

The Thin Edge New Music Collective gives  their first concert of their 2013/2014 season. This unique and talented group of musicians will put on a concert that attempts to establish the sonic link between composer, ensemble and audience through their performance. Pieces by composers  John Zorn, Allison Cameron, Peter Hatch, Louis Andriessen will be performed as well as a new commission by Toronto-based composer and saxophonist Kyle Brenders. It’s all going down at Gallery 345 at 8 PM, so get over there and see some music.

Saturday, October 26th: The Art of the Piano: Katarzyna Musial.

Polish-Canadian pianist Katarzyna Musial puts on a solo piano concert featuring music by great composers of the 20th century (and Chopin). Music by Messiaen, Lutoslawski, and Gorecki, just to name a few, will be played with the impressive virtuosity that Musial is known for.

This concert is also held at Gallery 345 at 8 PM. If you’re interested in music that pushes sonic borders, this show is for you.

Sunday, October 27th: Two events happening in Toronto on Sunday.

4 PM: Expressions Concert: The Dim Sum Ensemble is a Chinese/Canadian music project that is dedicated to commissioning and performing new works for Chinese instruments. Founded by composer Tony K.T. Leung, this groups concerts promise interesting and enlightening views of traditional Chinese instruments. If you have any interest in Chinese art music, or if you’re a composer looking for inspiration, I urge you to see this concert.

7:30 PM: In Pace Requiescat: Opera 5, the Toronto-based opera troupe begins their season with a spooky offering. Three nights, three short operas based on the short stories of Edgar Allen Poe. Operas by Debussy, American composer Daniel Pinkham, and a new work by Toronto composer Cecilia Livingston (and based on one of my favourite Poe stories) will be performed at the Toronto Arts & Letters Club. Here’s hoping for a terrifyingly entertaining night.

– Paolo Griffin