A Beautiful Finale: Chris Trakas Performs Spanish Songs and Ariettas

Good day all!

Well, the final day of ChamberFest, very sadly has arrived. The final concert would be wrapping up by now at Dominion-Chalmers. I finished off my ChamberFest schedule by attending Songs and Ariettas, a concert of Spanish vocal music presented by Chris Trakas (baritone) and Simon Wynberg (guitar). It was held at 3pm today at First Baptist. Regrettably, I missed the first half, but I busted my hump to get there for at least the second half. I couldn’t imagine a better way to wrap up things up this week than to sit comfortably in a church listening to the quiet stylings of voice and guitar. It’s not a combination I’ve heard too often in concert where it wasn’t pop of folk.

My experience of Trakas in particular was greatly informed by his performance last night at D-C (I blogged about this, you should check it out!). His ability to switch between styles so fluidly is quite amazing. Kudos to him as an artist for taking on such diverse programs literally back to back. The overall ambiance today was informal and rather light. If anything, I wish this atmosphere could’ve been explored even more. Occasionally Trakas would make comments between pieces, (and again, I only heard the second half), but it was very hard to hear them from the back of the church. I wish they could have anticipated the style of the delivery and set up a microphone for the dialogue. The audience was certainly receptive to his commentary and we wanted to hear what he had to say.  I would think that the repertoire was unfamiliar to most people, myself included, and it would have added to the concert greatly if short explanations had come before the songs. If anything, the duo was more than prepared to speak about the pieces as Wynberg had in fact transcribed many of them to suit Trakar’s vocal type. I’m not sure of the extent of their project or how it came about (perhaps it was addressed at the beginning), but I for one would like to know more about it. Anyone else attend this afternoon? Any more details?

There was a rough program laid out in advance, which didn’t seem to be followed. Translations were provided upon entry, but weren’t too useful to me as nothing was really announced, that I could hear in the back that is. Again, while I enjoyed the off-the-cuff style greatly, if it had been planned out slightly in advance, the audience could at least follow along with the texts.

Trakas’ performance once again was excellent. I believe that he knew every word he was singing. Naturally expressive and extremely comfortable on stage, Trakas is such a joy to watch and I think he finds great joy in performing. He was so gracious toward the audience, acknowledging the applause between each piece with a huge smile on his face. While he was reading off of music, you could tell it was more of a reference for him; he was in no way bound to the score. The language has such fluidity for singing and Trakas expressed it beautifully. Once again, a stellar performance put forth by this excellent baritone.

As a collaborative effort, there was a sense of ease between Trakas and Wynberg. I have no idea what their rehearsal timeline was, but they were able to just go with it and quite successfully. While I am not familiar with Spanish vocal repertoire, you could hear where the difficulty lies in the preparation and performance. The guitar has a lot of plucked chords, so a more disjointed melodic line, whereas the voice is quite lyrical, flowing, with lots of rubato, slides and trills. Not easy to keep together! The music was absolutely lovely and seemed to be just what people were looking for to end off the festival.

I hope that everyone has enjoyed their time at ChamberFest. I know that I have immensely. Until next year!

A Celebration of Schumann

Hello all!

I just returned from the Celebrating Schumann concert at Dominion-Chalmers. I arrived at 6:30, which I thought was early, but people were lined up around the block! While the venue was not quite as packed as the Faust/Melnikov concert I attended Wednesday evening, people were still eager to get in early and grab a seat.

While I won’t go through all of the performances and performers, there were a few whom I thought were outstanding. The first of whom was Charles Hamann, prinicipal oboist of the NAC orchestra.

If you’re not familiar with him, you must check out his bio, the link is taken from the NAC’s website:

http://www.nac-cna.ca/en/naco/about/musicians/woodwinds.cfm#hamann

Hamann performed Schumann’s Three Romances for oboe and piano, Op. 94. I must admit, before this evening I had never experienced a solo oboe performance of any length. I think the most oboe I have heard would be a short solo in a large-scale orchestral work. Hamann made me a believer in the absolute breadth of musical possibility for the oboe. His tone is breathtaking; starkly clear and yet it possesses such warmth. This could be what surprised me the most, the lyrical and expressive abilities of such a narrow, sharp sounding instrument. His dynamic range this evening was broad, which gave the performance such polish and a high level of professionalism. The audience knew they were experiencing the work of a seasoned professional and happy to be taking it all in. I also enjoyed Hamann’s physical movements, which were subtle throughout, but at times dramatic. He would sometimes lift the bell of the instrument, which often indicated a quick change in tempo. Hamann was the highlight of my evening and I will be sure to make it a point (and soon!) to see him perform again.

Chris Trakas took the stage last this evening, performing Schumann’s famed Dichterliebe.

http://www.chamberfest.com/dotnetnuke/LinkClick.aspx?fileticket=OzfY–rztf0%3d&tabid=58

The word dynamic comes to mind when describing Trakas’ performance. While his voice is beautiful (and I do not mean to downplay this!) it was his physical performance that caught my attention this evening. He was spirited and not afraid to bring physicality to his delivery by way of arm movements, hand gestures, and even small steps forward and backward from the crook of the piano. Trakas was exciting to watch; however, I did not feel that his gestures took anything away from the vocal delivery. While some may have found it distracting, I found that his physical movements merely augmented the passion of his singing and also made it a memorable performance. His performance wasn’t polite, in fact, at times I found he was unabashedly emotional and I loved it! He was not afraid to step outside of the box that we singers sometimes create for ourselves when performing art songs. We often hang onto this idea that we must be stately and statuesque. I believed Trakas, every word that he sang. I believed that he knew every word he was singing and that he was doing his very best to bring out the sheer emotion of the text. I thank him for this and I was appreciative of the enormous amount of energy he gave to the audience. Bravo!

Last, but not least, I come to pianist Erika Switzer. Now to begin, I must admit that I’m not 100% sure that this is her name, which is an absolute shame. She is not written in the little leaflet program I have and she does not have a bio online. However, her name is  listed on the website as one of the performers for this evening. If I’m wrong about this, please correct me!  Switzer was the glue that held everything together this evening. She accompanied everyone, meaning she put a solid hour and a half on the piano tonight with four different performers, including three different instruments. Switzer is an extremely expressive pianist with a face that emotes just as often and as effectively as the vocalists. I was sitting there this evening thinking that she is the epitome of the term “collaborative pianist”. She contributed to every performance in such a way that the evening would be dramatically altered had she not been there encouraging, supporting, and listening to each performer at every note. Switzer was an absolute star, albeit a humble star, on the stage this evening.

As a general comment, I wish there had been translations made available for the vocal performances.  Given that everything was in German, I personally feel that there was a lot to be gained from knowing the subject matter of the music. It would’ve been interesting to do a poll this evening asking the questions about translations like: When given translations for a performance, do you read them? Do you find your experience is greatly enhanced by reading them? I for one, and perhaps it is because I am a singer, prefer to know what’s going on. Sure, I can still be moved by the music, but I find it harder to understand the rationale behind the singers actions. I like to judge the performance based upon the success of sharing a story and I find that mighty difficult when I do not understand the story being told. Any feedback on this?

Overall, it was a wonderful evening of discovery and absolute enjoyment. What more can you ask for?!

Schumann! Songs! and Page Turning!

One of my earlier blogs was entitled: "The Value of the Page Turner." I would like to subtitle this blog the same, for it became clear to me that we page turners are a VERY necessary part of live performance as the A/C did it’s work once again at Dominion Chalmers United Church this eve…

The audience took their places while I waited backstage with a surprisingly calm group of musicians preparing to present a recital of Schumann’s music. Canadian pianist Erika Switzer really had her work cut out for her this evening! She and horn player Lawrence Vine opened with Schumann’s Adagio and Allegro. Next up was Martha Guth with a very dignified Mary, Queen of Scots. Then, oboist Charles (Chip) Hamann and Switzer presented a very moving Three Romances, and, to close the first half, Guth rejoined Switzer for an intensely moving Frauenliebe und Leben. There was something intensely powerful about a very pregnant woman (due in three weeks!) singing this cycle of found love, marriage, childbirth, and finally, devastation and anger at the loss of her true love. She cried, and frankly, so did I! Or, at least I tried not to, for after the third song, Switzer had to stop and call out: "I’m terribly sorry for the interruption, but I’m going to need Jackie (me) to come back up here again!" The A/C was particularly devilish this evening, and I had to stand and hold the music still for the remainder of the movements, all while trying not to bawl with sorrow at the anticipation of that traumatic last song!

After requesting that the A/C be shut off for the second half…..I settled in with the audience to watch Chris Pedro Trakas and Switzer perform Schumann’s monumental Dichterliebe, his best known cycle. Wow. This was a particularly moving rendition of "A Poet’s Love", and, at the end, as he put himself ‘in the coffin’, I felt as such, totally heartbroken. All in all, a fantastic evening, and I’m sorry for those who were unable to share in it!

Jacqueline Woods (lover of intensely sad Schumann cycles, and of page turners combating aggressive A/C!)

Wonderful New Music!

Monday was another fantastic Chamberfest day – made me sad I had missed the weekend! I thought it was rather fitting to mark my return to the festival with my return to St. Brigid’s. SB’s is one of my favourite concert venues, despite the horrifically uncomfortable pews made for little people of past days, and the lack of A/C on oppressively hot days (like yesterday). I must admit that there were a few times when I felt like following the host’s directions: “raise your hand if you feel faint and one of the volunteers will come and get you”. I love the addition of a barbeque outside! I hate the omission of beer inside. Hmmm.

I managed to hit the 130, 3 and 1030 concerts. I had planned on the 8pm, but after being so stimulated by new music at 130 and 3, and tired from the heat, I simply couldn’t fathom sitting through the Tchaikovsky trio. (Why didn’t the 8pm concert fit the new music marathon theme?) Percussion? Now, that I could have done! 130’s concert featured the incredibly talented Penderecki String Quartet, trumpeter Amy Horvey and accordionist Joseph Petric performing works by Giacinto Scelsi, Juliet Palmer, Glenn Buhr, Marzan Mozetich. Palmer and Buhr were in attendance.

Horvey’s Scelsi was fantastic! I have to admit, I wasn’t much of a fan of Palmer’s piece, although I think it was more the performance of it that bothered me. There was all this head bobbing during the rests, and the phrase was constantly lost. It would have benefited from more rehearsal, and overall investment into the performance process. That said, this is often the case with ‘world premieres’ – the kinks are still being worked out. Buhr’s quartet was next, interesting although not terribly original. And it was the same for the Mozetich – this one sounded a bit like Holocaust movie music mixed with Steve Reich’s pulsing patterns. Throughout this concert, I was impressed by the musicians. It’s wonderful to see such committed performances of new music.

After a CMC-provided reception in the basement, the Ottawa New Music Creators presented a concert featuring a variety of genres from string quartet, to harp, clarinet (with acting) and saxophone. I love the feel of this community in Ottawa and look forward to seeing them in action over the next years. We are lucky to have so many creators right here in the capital!

Toca Loca and DJ P-Love closed off the day for me, and what an awesome finisher it was! I adore seeing contemporary performances that incorporate video and ‘urban’ sounds like turntables and such. There was even one piece with karaoke! The first piece was a twisted take on Hitchcock’s The Birds and Psycho. It was like chamber music for piano and video. It’s made my list for future projects, for sure! Toca Loca is a top notch ensemble, and this was a top notch performance. I only wish there had been more people there to enjoy such a one-of-a-kind experience!

I missed the last three days – came down with a bit of something, and after my own few hours of practice after work simply didn’t have anything left! Sad, too, for I was really looking forward to young violin sensation Isabelle Faust and Angele Dubeau with La Pieta! Tonight, I’m headed over to Dominion Chalmers to turn pages for the Schumann celebration, and looking super forward to it. This is it, people! We’ve got today and tomorrow – get out there and enjoy the close of the 2010 Chamberfest season!

Jacqueline Woods (disappointed in her inability to be as hardcore a Chamberfester as in previous years…)

Faust and Melnikov’s Ottawa Debut

Hi there everyone!

To echo the sentiments of my fellow bloggers, I too have been experiencing some  “technical” difficulties. I have a blog which should’ve been posted last weekend on Stewart Goodyear, in which I introduce myself as a latecomer into the Chamberfest blogging game lol So I will attempt to recover that one soon and get it posted. But to re-introduce myself, I am very excited to finally be joining in on the conversation. Originally from the East Coast, this is my first time at Ottawa’s world renowned chamberfest. How lucky we are to have such world-class talent such a short drive, bus ride, bike ride or walk away. Phenomenal way to spend a couple of weeks during such a glorious summer!

I just returned from an evening concert presented by the outstanding violin and piano duo, Isabelle Faust and Alexander Melnikov. Before tonight, I was unfamiliar with the pair, so here are links to their bios on the chamber fest website, beginning with Faust:

http://www.chamberfest.com/dotnetnuke/LinkClick.aspx?fileticket=LqfD6qo62b0%3d&tabid=58

http://www.chamberfest.com/dotnetnuke/LinkClick.aspx?fileticket=54WVIEmiFw4%3d&tabid=58

Their collaboration tonight was absolutely outstanding as they wowed the audience with two Beethoven sonatas for violin and piano,  Sonata No.4 and Sonata No. 10, and concluded after the intermission with Busoni’s Sonata No.2. Melnikov appeared to be suffering from back pain this evening as he was seen grabbing his back during the performance, and for the second half, switched from a piano bench to a pile of two chairs with high backs. This gave him the opportunity to rest if he had a spare bar, which did not happen often. I would say the pain in no way hindered his performance. He somehow found the strength to play through the pain, and powerfully at that.

Watching a duo perform Beethoven sonatas was at first quite a contrast to my concert-going experience with Stewart Goodyear last week; however, as the first piece got going, I was increasingly impressed by each consecutive bar. I grew up playing sonatas on the piano, so the piano was my frame of reference for this performance. It was as if the sonata were being played with four hands on the keys. The level of communication between Faust and Melnikov was so strong and yet so subtle. From where I was sitting, she seemed to be positioned beside him, in such a way that she was not in his sight line. Very rarely did they glance at one another, except for the occasional nod to begin a movement. The conversation and the chemistry between the two of them was captivating and does justice to their blurb in the program which states;  “Having mesmerized European audiences with their brilliant performances…this dynamic duo makes its highly anticipated debut.” Their music-making is a beautiful, organic event to witness. The music just flows between the two of them so flawlessly.

Dominion-Chalmers was packed to the rafters this evening, with an audience consisting people 50 and over, but there was of course a smattering of younger folk like myself and even some kids behind me. The audience went wild after each performance and graciously invited them back for 2 curtain calls to conclude. Ottawa was on their feet for this pair, so I feel I can confidently name it an overwhelmingly successful debut.

If you did not have a chance to check out this concert, it was recorded by the CBC and will be broadcast at two separate dates in August; once on Julie Nesrallah’s Tempo, and the other (I think) on In Concert with Bill Richardson. Be sure to have your ears peeled for these broadcasts. They are a duo not to be missed!

Music Marathon!

Well, my internet has been down for two days, and I have since been to about six concerts, all of which I have enjoyed very much.
It all started with the New Music Marathon. I wasn’t able to hear the last two on tuesday’s roster, which was upsetting. but monday’s concerts proved successful and invigorating. I really enjoyed almost every piece and was impressed with all the performers.

I reallly love hearing things I’ve never heard before and listening to how different composers use the resources to create their desired effect. This is always unique, but with new music, the differences tend to be far more obvious then with your traditional repertoire. One program can span quite a variety of subjects, moods, techniques, etc. Since Joannie gave such a detailed description of these concerts, I think I will focus today on the concert that I saw today before ing off to work, and that was A Transatlantic Journey.

Baritone, Brett Polegato and Robert Kortgaard gave a lovely recital this afternoon, presenting songs in English from England, from the ship, then from America. It really was an enjoyable journey. I went because they were doing Ivor Novello’s ‘And Her Mother Came To’, which I heard on the movie ‘Gosford Park’. I enjoyed the live version a lot better and finally heard the punchline of the whole song, which was grand. I also really enjoyed his version of Copland’s folk song settings and the Charles Ives’ Charlie Rutlage. In these pieces, Mr. Polegato stepped out of the box a little, with a bit of a yelp.

What a great voice. I don’t attend a lot of vocal recitals, but it was the perfect concert for me as it gave me an opportunity to reflect on some of the stories told. Thanks for another great chamberfest offering.

I’ve got four concerts planned tomorrow: Musical Musings – Harry Halbrecht will speak about one of my favourite contemporary composers, Giacinto Scelsi; Then I am going to Discover the Viola (where I will discover what a chalumeau is); I won’t miss Angele Dubeau & La Pieta: they are playing a nice selection with a lot of new pieces – promises to be fantastic!) and I will (if I have any steam left) see the Late Night Show at St. Brigid’s, where flutist Chris Norman and his group will likely rock the house.

Can’t Wait!

❤ Aura

chamberfest post

Joannie (finally) Blogs!

Posted on August 4, 2010 by Joa~

Hey Friends =)

I’m in Ottawa for the week to … well, to listen, learn, and ENJOY the wide program of chamber music before me. I’ve had some frustrating tech troubles posting blogs as I attend concert after concert, so here are … 5 days worth of postings in one big big big post from most recent to least. Thanks for reading! May it add some colour and dimension to your aesthetic thoughts, and if you’re in town, COME OUT AND ATTEND this feast for the ears.

Cheers, Joannie~

Aug 2/3 New Music Marathon ~ The Value of Contemporary New Works

Thoughts on New Music In General

As one who studied composition, works of new music hold very dear to my heart though justifying this to many peers in my age demographic (I am in my late-twenties) has been a never-ending challenge. What is the value of such works? What does one listen for? How on earth does one call this ‘music’?

For those who might be new to new music, here are some thoughts to keep in mind: this is often ‘music’ that does not have a memorable or lyrical melody I can sing or imitate back to you; it is often technically-challenging and surprising; and it is not always a pleasant experience to the ears. That being said, it is still a valuable experience because of the emotional response and/or awakening it invokes in the listener. I believe it is best experienced live and I urge one to come with an open mind.

How to Respond to New Music

In my experience, the typical layperson’s response to new music is, “it’s good, I like it” and “it’s bad, I don’t like it.” I urge one to consider one of five responses:

1) It’s good, and I like/agree with it.

2) It’s good and I don’t like/agree with it.

3) It’s not good, but I enjoy it.

4) It’s not good, and I don’t like it.

5) I’m not sure what to make of it at the moment…

The main point to be made here is that the quality of a work lies independent of one’s subjective opinions: that is, the artistic value (intrinsic to its form and the experience it offers) and its instrumental value (relating to one’s tastes and affect) are separate entities.

In a phone conversation with one of my favourite Canadian composers, Alexina Louie, “good” is distinguished from what is merely “entertaining”:

There is a difference between good and entertaining. I would say a lot of popular music is more entertaining than good. “Entertaining” has more to do with being flashy, though it can still be musical and well-written as a piece. With “good”, however, there is an essence of depth to it: it is profound and the listener is won over by its artistic merit and content matter.

I think that to say music is good suggests something about its very composition, its form, and that of its content, as well as the experience it offers and the emotional response it invokes – all of this as a whole in good music suggests that it is something worthy of one’s undivided attention.

If one comes expecting a pleasant experience, or an entertaining one, one might be extremely disappointed in the new music experience. Instead, one ought to come with a willingness to be pleasantly surprised. American contemporary composer Joshua Fineburg writes that art is not about giving people what they want, but rather, about giving them something they didn’t know they wanted.

The 2-Day New Music Marathon at Chamberfest

It’s been nearly 8-hours of new music and I can’t even begin to digest the immensity of each work: they’re all unique in themselves and the (sometimes) brief explanation and background given by host Gary Kulesha helped place each work in context. Whether it was learning about Glenn Buhr’s inspiration behind String Quartet No. 4, The Seasons, or the use of Irish folk tunes in Juliet Palmer’s Evening Rode Tenderly, 9 Dances for Flute and Accordion, I really appreciated it when the composer was present and commented on the work, and/or if the performer(s) spoke beforehand as it brought a more personal connection and understanding to music that is unfamiliar if not entirely brand new.

The quality of the music, and particularly the quality of performance was simply outstanding. New music is difficult – the immensely technical demands render it a feat for only very skilled performers, which I had the blessed opportunity to experience over the last two days. I loved Marjan Mozetich’s Hymn of Ascension for Accordion and String Quartet,with its unusual instrument combination and his lovely lyrical lines that simply dazzled in the depths of my heart. The audience gave a standing ovation for Alexina Louie’s Take the Dog Sled, a seven-movement work written for two Inuit Singers and Ensemble, which I’d heard for the second time (once in Toronto a few months ago). From the playful singing over rhythmic percussive sections from “Tundra”, to the delicate lullaby of “Cradle Song” inspired by a black-and-white photograph of a grandmother blowing warm breaths over her grandchild, to the comical fly-swatting in “Mosquito/Bug Music”, Louie not only painted a vivid picture of the Inuit but simply took the audience there to a different culture and time – and it was definitely a wonderful experience. The Swiss Piano Trio had noteworthy performances of unfamiliar contemporary works inspired by poetry, and the other standout performance for me was John Novacek’s intense and passionate performance of Elliot Carter’s Piano Sonata (1945-6) – it makes me want to sit at the piano and practice scales and technique for eight hours so I can even dream of one day attempting such a phenomenally interesting and exciting piece.

Sun. Aug. 1st: A Portrait of Schumann

It was a delightful day in head of Robert Schumann (1810-1856). The afternoon began with The Schumann Letters, a dramatically narrated tale of the Romantic composer’s life, detailing his complicated relationship with Clara Wieck as well as his struggle with alcoholism and establishing himself as a serious composer in his day. One is enlightened with intimate details of Schumann’s life, from the death of his father and sister to his glorious “Year of Song” in 1840 where he composes over 160 lieder (German art songs for voice and piano), which included Myrten, Op. 25, a collection of 26 songs dedicated to the composer’s wife, Clara Schumann on her wedding day. Myrthen, or myrtles, are European evergreen shrubs with white or rosy flowers that are often used to make bridal wreaths. One of my favourites, Widmung (Dedication) opens the collection with text by poet Friedrich Rückert (1788-1866):

You my soul, you my heart,
You my bliss, o you my pain,
You the world in which I live;
You my heaven, in which I float,
O you my grave, into which
I eternally cast my grief.

You are the rest, you are the peace,
You are the heaven upon me bestowed.
That you love me makes me worthy of you;
your gaze transfigures me;
you raise me lovingly above myself,
my good spirit, my better self

In a love letter from Robert Schumann to his beloved Clara, he writes of passion at the piano and how “music is, above all, the language of the soul.” The program cleverly ties in various excerpts of piano and vocal works that correspond with events in his life as it is narrated by Colin Fox, with an absolutely delicious voice for drama and detail. Soprano Susan Gilmour Bailey brings the work to life with lovely lines that include intense passionate lines contrasting with beautiful control in the soft subtle moments while pianist Michael Kim presents sheer elegance in his sensitive accompaniment.

A few hours later, my ears were treated with a program with the Schumann Quartets, performed by the Penderecki String Quartet, with a program that included String Quartet # 1, 2, and 3. I don’t know the works intimately, but in performance, they were emotional, passionate, lyrical and very, very romantic. There was an undeniable intensity and depth in the music that words cannot articulate but the heart fully embraces.

Sat. July 31st: Beethoven Bonanza

Power. Thunder. Glorious. These are the adjectives that come to mind when I think of Beethoven. Last night was the grand finale of a nine-saga series featuring all of the thirty-two Beethoven piano sonatas, given by phenomenal pianist Stuart Goodyear. The entire feat is quite remarkable: I can barely play ONE of them well – how on earth does one play all thirty-two of them, and memorized? It seems hardly human!

I only had the chance to hear the last two of the nine concerts, featuring Piano Sonatas 26 through 32. There was a Musical Musings session in the morning that explained some of the intricate details of the piano forms as well as Beethoven’s shift in style toward less tonally-centered works. It’s impossible to summarize the complexities of Beethoven, though I think the ear senses them and the heart enjoys them — even if the brain cannot articulate them precisely. My favourites were Goodyear’s performances of the No. 29 in Bb-major, the famous Hammerklavier, as well as the closing No. 32 in C-minor: I felt the romanticism and grace of some of the most sublime sections really stood out in these works though they were all performed with immense power and skill.

Bravo Stuart on accomplishing a feat that is hardly human: thanks for bringing Beethoven to life and allowing us a glimpse through an intense, emotional journey where one could not only listen but also feel through these difficult but beautifully rewarding works.

Friday July 30: A Journey to Ottawa to Journey through Constantinople

Epic. Intensity. Passion. These are the first four adjectives that come to mind upon attending the Friday evening performance of Christos Hatzis’ Constantinople, the contemporary aesthetic creation which encompasses visual art with instrumental and vocal performance. The 85-minute work is performed in 8 segments which includes among them “Creeds”, surrounding the intertwining of Christianity and Islam in the ancient city of Constantinople; “Odd World”, linking modern images of Istanbul with those of the past with an irresistible forward motion in the music; and “Alleluia” — in my mind, a poignant cry to God in religious fervour in a universal struggle for peace and purpose.

Maryem Hassan Tollar reveals a rich, deep tone which complements the pure sound of Patricia O’Callaghan. The fantastical musicality of the Gryphon Trio binds the voices and vivid visuals in a delightful journey to an ancient world as conceived by Hatzis: one not only hears or sees the rich and mysterious Constantinople, but the work essentially takes the mind there and allows it to dwell and explore. I really enjoyed the rich symbolism in the real objects on stage: 12 bowls with water, which I can only guess symbolize life, renewal, baptism, or perhaps even elements of death and burial rituals. It was deeply mysterious and haunting.

I had travelled all the way from Toronto on Friday afternoon and endured a stressful five-hour commute before winding through the streets of Ottawa to attend Constantinople, which was featured at the Museum of Civilization, a fitting venue choice given the subject matter. This was was something ten years in the making, and needless to say, it was a journey that was well worth the effort.