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Music Toronto: Celebration of Small Ensembles. SHHH!! Ensemble and the Obsidiana Duo, April 6, 2024. The Aperture Room, Toronto. Two extra concert events within the sequence Could 4 & June 1; tickets right here.
This previous Saturday afternoon, I discovered my strategy to the Aperture Room to attend Music Toronto’s first live performance of Celebration of Small Ensembles (COSE) sequence. It’s a sequence aimed toward presenting chamber music differently. On the venue, snacks and drinks can be found for buy, and some high-top tables have been organized on the again. It was a really relaxed affair, however make no mistake, the music making was skilled.
Two ensembles, which each occur to be duos, introduced lovely and thoughtfully curated applications. The SHHHH!! Ensemble, consisting of percussionist Zac Pulak and pianist Edana Higham, carried out first with a program that explored the celestial cosmos. The Obsidiana Duo, consisting of pianist Yolanda Tapia and singer Camila Montefusco, carried out after intermission with a program that explored the human expertise. It was an ideal pairing.
SHHHH!! Ensemble assembled a fairly small variety of percussion devices that nonetheless made an unlimited array of sounds. Aside from one piece, the music introduced was composed particularly for SHHHH!! Ensemble; three particularly stood out for me. In Jocelyn Morlock’s Spirit Gradient, pointillistic glowing sounds advanced into completely different textures and patterns. Monica Pearce’s rem musically evoked the scientific circadian rhythms of sleep interspersed with lullaby-like moments. Pulak invited the viewers to rise up shut for Paolo Griffin’s Resonant Our bodies in House. On this piece, Higham positioned an e-bow on the strings of the piano that created a continuing drone that had a really pure sound. Then Pulak and Higham every bowed a cymbal at completely different speeds and pressures that created a dynamic spectrum of sounds. Controlling the resonance gave the music ahead movement. This duo carried out with readability and cohesion, with nice consideration to the musical impact of the soundscape.
Obsidiana Duo’s presentation was greater than only a recital of songs. In impact, with the addition of costumes and choreography, it was a theatrical piece that was delivered with operatic depth and depth. Pre-recorded audio parts served as interludes between sections, and helped seamlessly tie your entire presentation collectively. The efficiency musically described the non-public tales of Montefusco and Tapia.
This system began from Canada with songs by Alice Ho and Ian Cusson, and traveled again in time to attach with their respective grandmothers from Ibero-America, with songs by Xavier Montsalvatge and Alberto Ginastera. From the franticness of Canto Negro to the tenderness of Canción de cuna para dormir a un negrito, Montefusco demonstrated nice dexterity in how she makes use of her wealthy mezzo-soprano voice. Tapia, an equal associate on the piano, additionally lent her voice at sure occasions which created a lovely impact.
My solely quibble was that the textual content of the songs was not offered. Sadly, my 219 days of Duolingo Spanish was inadequate to cipher the intricacies of textual content. Nonetheless, their efficiency conveyed the theme and essence of the songs.
These two inventive ensembles are at simply the beginning of their careers, and I’ll maintain an ear out for his or her subsequent musical endeavors.
Music Toronto has two extra concert events on this yr’s version of COSE on Could 4 and June 1; every live performance options two completely different ensembles and repertoire. Particulars right here.
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