Review: Thaïs

Ian Ritchie, Opera Going Toronto. Marshalling a prodigious display of orchestral and vocal resources, the Toronto Symphony Orchestra treated near sold out audiences to an all too brief two-night run of landmark concert performances conducted by Sir Andrew Davis. Partnered by a phalanx of one hundred plus choristers courtesy the Toronto Mendelssohn Choir directed by David Fallis, a succession of enthusiastic soloists and ensemblists provided proof positive of the intensely emotional, grandly operatic tale’s abiding power to seduce.
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Categories: 2019-2020 Season and Media Reviews.

A stellar cast and brilliant orchestral playing result in a remarkable performance by the Toronto Symphony Orchestra!

Dave Richards, Toronto Concert Reviews. Last night’s foréee into grand opera by the Toronto Symphony Orchestra at Roy Thomson Hall was indeed very special. It is rare to attend concert versions of grand opera with full orchestra. (I haven’t been a fan of the scaled-down piano accompanied versions). TSO’s Interim Music Director Sir Andrew Davis led an outstanding cast in a dramatically and musically charged performance of Massenet’s Thaïs that kept me riveted for the full two and a half hours. That the performance was being recorded for the Chandos recording label meant that orchestra, soloists and chorus were all fully prepared to make it a memorable night.
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Categories: 2019-2020 Season and Media Reviews.

Sir Andrew Davis And The TSO Offer Rare Treat In Massenet’s Thaïs

Stephan Bonfield, ludwig van Toronto. The TSO, under the baton of Sir Andrew Davis, the Toronto Mendselssohn Choir, and a talented cast of singers, treat Toronto to a lively, nuanced performance in the nineteenth-century French grand opera tradition.
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Categories: 2019-2020 Season and Media Reviews.

Massenet’s Thaïs loses its impact in transition from opera to concert stage

John Terauds, Toronto Star. Thaïs Grand Opera in Concert. 3 stars out of 4. The playwright George Bernard Shaw enjoyed playing music critic. He described French opera master Jules Massenet as “one of the loudest of modern composers.” The Toronto Symphony Orchestra, hosting a rare concert performance of an opera on Thursday night, proved Shaw’s point.
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Categories: 2019-2020 Season and Media Reviews.

Toronto Mendelssohn Choir celebrates singing through three centuries with a gala concert to launch its 2019/20 season

The TMC celebrates its 125th anniversary in 2019 with a gala concert with the Toronto Symphony Orchestra at Koerner Hall. The Choir was founded in 1894 by conductor Augustus Vogt and had its first concert on January 15, 1895 in Massey Hall.  The Choir has performed in the 19th, 20th and 21st centuries, as Toronto went from a city of 200,000 to the Greater Toronto Area of over 6 million. A lot has changed over the years, but the Choir continues to hold annual auditions for all choir members, a practice started by founder Augustus Vogt.The Gala Concert will take place Sunday, October 20, 2019 at 3:30 pm at Koerner Hall. The Choir will be joined by the Toronto Symphony Orchestra, long-time musical partners with the TMC and a youngster at only 97 years old. TMC Conductor David Fallis has put together a program that brings together the three centuries in three major works: Gabriel Fauré’s Requiem, composed in the late 1880s and re-orchestrated by him in 1894, the year of the founding of the TMC; Igor Stravinsky’s Symphony of Psalms, composed in 1930 and one of the greatest choral-orchestral works of the 20th century; and for the 21st century a new commission by acclaimed Cree composer Andrew Balfour. Andrew’s commission for the TMC will set one of the Biblical psalms in Cree, interwoven with words by Indigenous poet Karen Vermette.
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Categories: 2019-2020 Season and Media Releases.

Toronto Symphony–Mendelssohn Choir Messiah

Leslie Barcza, barczablog. Toronto is Messiah town, as I’ve joked before. Handel’s most popular Biblical oratorio is everywhere at this time of year. Tonight I took in the second of six offered this week by the Toronto Symphony, the Toronto Mendelssohn Choir and soloists under the baton of Johannes Debus, the Music Director of the Canadian Opera Company. We’ve heard him lead operas at Four Seasons Centre, I wondered what he’d be like leading an oratorio down the street with the TSO & TMC. And in fact it was the cleanest clearest Messiah I’ve heard at Roy Thomson Hall.
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Categories: 2018-2019 Season and Media Reviews.

Toronto Mendelssohn Choir Makes Handel’s Messiah Shimmer With The TSO

Arthur Kaptainis, ludwig Van Toronto. The Toronto Symphony Orchestra presents Handel’s greatest hit every December, generally with a new conductor. Our Messiah maestro this year is both familiar and surprising: Johannes Debus. On Monday, the music director of the Canadian Opera Company oversaw a performance in Roy Thomson Hall that was agreeable in particulars but lacking something in drama. The stars of the show, numbering about 110, were in the loft. Clearly, the Toronto Mendelssohn Choir has not lost interest in this annual assignment. “For unto us a Child is born” was exuberant and the stresses of “Let us break their bonds asunder” were spot-on. Sections were perhaps not of exactly equal strength — we all know which letter comes first in SATB — but counterpoint was vigorous and the tone was lucid at all dynamic levels. This great institution seems to be thriving under the interim supervision of David Fallis.
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Categories: 2018-2019 Season and Media Reviews.

Coming Together through Toronto’s Beloved Messiah

Brian Chang, Choral Scene, The Wholenote. Toronto Symphony Orchestra CEO Matthew Loden and I are chatting about the beloved cultural phenomenon that is Messiah in Toronto. Sitting in his office overlooking Roy Thomson Hall, I can see the iconic webbing of the edifice, a physical nest that cradles the music hall. In a few weeks, the Toronto Symphony Orchestra and guests, under the baton of Johannes Debus, will present a major six-performance run of Handel and Jennens’ masterpiece.. (Full disclosure: as regular readers of this column know, I sing in the Toronto Mendelssohn Choir and will be on stage for these performances.) “We live in a very disjointed and fractured time right now. I think that the human condition is to long for a kind of togetherness, to find your place with people,” says Loden, speaking about the need for a space for an event like Messiah. “Increasingly, we keep finding ways to disintegrate relationships. When you have a moment where you can come together collectively and still have an individual experience while feeling the music coming off the stage with a couple thousand other people – that is really powerful.” With these TSO performances alone, 15,000 people will experience the majesty of the most iconic of Toronto classical-music traditions.
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Categories: 2018-2019 Season and Media Reviews.

“Catharsis” is the wrong word: Britten’s War Requiem

Jenna Simeonov, Schmopera. There was a moment of particular vitriol in Bramwell Tovey's brief remarks before giving the Toronto Symphony Orchestra its downbeat for Britten's arresting War Requiem. He said, "When the sun goes down, and when the sun comes up - and in the rain - we shall remember." It was a pointed, verbal bite directed at a US President who, 100 years after the official end of WWI, was too small and weak to pay an in-person visit to an American military cemetary outside Paris; he cited rain as his excuse, which is in horrific taste even as it is thinly-veiled code for pouting and narcissism. There was bile on Tovey's tongue that rang into Roy Thomson Hall, and its effect lingered long enough to dovetail into the first bars of the War Requiem. I have always found something magnetic and charismatic about Tovey, and as silly as it may sound, to hear him indulge in a brief moment of personal feelings about the meaning of war and commemoration felt akin to hearing a friend's firsthand experience with tragedy.
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Categories: 2018-2019 Season and Media Reviews.

Benjamin Britten’s War Requiem: A monumental commemoration of the WWI Armistice, November 11, 1918

David Richards, Toronto Concert Reviews. Amid the ominous chimes cutting through the languid sounds of lower strings and percussion, came the words of the Latin mass for the dead, “Requiem aeterna”. The unmistakable musical reference to  death and destruction was palpable. As the intensity of the orchestra and voices increased to a climactic cry of pain, an angelic choir of children sang out a prayerful warning “Te decet hymnus…” Such was the beginning of the powerful War Requiem by Benjamin Britten. The Toronto Symphony Orchestra, Toronto Mendelssohn Choir and Toronto Children’s Chorus, over 300 performers in all, came together for a monumental production of Britten’s 1962 masterpiece of remembrance of the horrors of war. Conducted by Bramwell Tovey, it featured soloists well-prepared for their roles, each having performed it with major orchestras and choirs recently. Indeed, the vision of Britten in having Russian, German and English soloists share the same stage was brought to fruition in this performance, something Britten himself couldn’t quite accomplish for the work’s première when soprano Galina Vishnevskaya couldn’t get an exit permit from the U.S.S.R. In last night’s performance it was the Russian soprano Tatiana Pavlovskaya, British tenor Toby Spence, and Canadian/German baritone Russell Braun. .... The Toronto Mendelssohn Choir for its part had some exemplary moments of great drama as well as reflective singing. The a cappella singing of “Pie Jesu Domine” was riveting.  “Libera me” with tenor drum and rumbles from the slow march of the bass drum began as a sorrowful lament that built to a frightening vision of judgment by fire. 
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Categories: 2018-2019 Season and Media Reviews.