Ensemble Classico-Moderne delivered on its promise of combining classic favorites and contemporary music during the first stop on its Toronto-Montréal-Quebec City tour. The ensemble presented Rachmaninoff’s Piano Concerto No. 2, featuring pianist Jean-Philippe Sylvestre, and premiered excerpts from Jaap Nico Hamburger’s new opera, Ariella.
In the Rachmaninoff concerto, Sylvestre contrasted moments of tactful sensitivity with instances of great power. He successfully conveyed the nuanced melodies in each movement, simultaneously depicting multiple unique characters, while maintaining a sense of overall cohesion.
Conducted by Francis Choinière, the orchestra was equally thoughtful in their delivery, paying careful attention to the push-and-pull embedded in the musical writing. Alongside Sylvestre, they expertly communicated the story of the struggling artist. The Rachmaninoff’s themes, centered around emerging from darkness into light, served as a fitting backdrop for the opera that followed.
The second half of the concert was equally captivating. Ariella, based on the novels of Ariella Kornmehl, details the emotional turmoil of a family grieving the loss of its matriarch. Aline Kutan sang the role of Sarah (mother); Myriam Leblanc, Ariella (daughter); Eric Laporte, David (father); and Enzo Sabbagha, Ezra (son). Hamburger successfully communicates intense emotion, and demonstrates the many facets of grief through his music, which toys with spatial and temporal boundaries.
The line between life and death was drawn down the middle of the stage. The voice of the mother travelled across the stage to the living, reminding them that despite the pain of her absence, she was with them in spirit.
The opera utilized pre-recorded sounds, and featured a spoken-word section about death and grief. These experimental musical techniques only enhanced the opera, infusing the classical form with a modern touch: exactly what the ensemble had set out to do.
Soprano Aline Kutan took on the role of the mother. Despite being physically separated from the rest of the ensemble (to represent her being a spirit rather than a living being), her voice provided a sense of comfort and relief, speaking to the nature of her matriarchal character. In contrast, Eric LaPorte managed to convey a strong sense of grief and yearning in his role as the father. The duet between him and Kutan in the music room was particularly touching, as he called to his late wife after entering her musical domain for the first time since her death.
Of the four vocalists, Enzo Sabbagha was the only one singing from memory. Although the opera is new, more music sung by memory would have allowed for enhanced dramatic interpretation, so as to further convey storyline. Sabbagha’s ability to connect directly with the audience during his spoken-word interlude about grief was clear evidence of this.
Ariella undoubtedly represents the future of opera. Its timeless material, combined with contemporary compositional techniques, tells a story that is at once heart-wrenching, captivating, and relatable. When Ariella premieres in full in 2024 (with the Israel National Opera – October 2024 and in Lincoln Center, New York – November 2024), those in attendance will surely be in for a splendid performance.
Concert repeats in Montreal (Oct. 28) and Quebec City (Oct. 29).
