Toronto Review: Heinrich Schutz's 'Christmas Story' at Trinity-St. Paul's Centre
Dave Rabjohn, Associate Toronto Critic
A beautiful evening of Christmas music was delivered to December 15 by The Toronto Consort in the acoustically wonderful Jeanne Lamon Hall at Trinity-St. Paul’s Centre in Toronto. Since 1972, The Toronto Consort has dedicated itself to preserving the richness of medieval, renaissance and early baroque music. This is quite a task – instruments such as a dulcian or a sackbut may not resonate at the Grammies, but the Consort has embraced the classical music and medieval instruments and proven their beauty to a contemporary audience. The heart of this evening’s fare was a grand telling of the Christmas Story by seventeenth century German composer Heinrich Schutz.
The magnificent space in the original United Church serves as an optimal backdrop to the music and the story. The heavy utilitarian architecture (not taking away from its beauty) acts as a solid base for the refined music. The unique partnerships in this building include the continuing work of the church, artistic endeavours, and community work space. Prefacing their mission statement, the centre’s clarion call is “Faith – Justice – Arts.” What a perfect place to celebrate Christianity’s seminal moment of spiritual awakening.
The internationally acclaimed British tenor, Charles Daniels, was the mainstay of a highly talented cluster of singers and musicians, ably conducted by Toronto’s David Fallis, a member and leader of the Consort since 1979. At first, Daniels’ singing was overwhelmed by strings – a more prominent position on stage might have mitigated the issue. However, the problem was short-lived as his moments with harpsichord and bass alone let him soar with some stunning clarity of tone. In Act 2, as Schutz’s Evangelist in the Story, Daniels was magnificent, especially working with the splendid soprano, Katherine Hill playing the angel. Other solid performances came from bass Joel Allison as Herod and a soaring soprano – Toronto’s Michele Deboer.
As mentioned, the Consort not only celebrates renaissance music, but also the ancient instruments of the time. This conscription of the very technology used by original musicians and composers offers credence and integrity to the programming. Some examples: a dulcian is a woodwind predecessor of the bassoon expertly performed by Dominic Teresi. A sackbut is an ancient form of the trombone performed by Peter Christensen and Catherine Motuz. Most visually striking (but also musical) were two theorboes, overly large stringed instruments from the lute family. At centre stage, they clearly dominated the ancient collection and gave a bold aesthetic to this celebration of the past – performers included Lucas Harris and Esteban La Rotta.
Coming back to Mr. Fallis, his versatility is displayed as he acts as both artistic director and conductor. His musical leadership came from, at times, a podium, a riser or from his position at the harpsichord. His artistic dexterity is most necessary for the challenges of bringing the 17th century music to a modern audience. This was also recently seen in his conducting of Opera Atelier’s ‘Don Giovanni’.
Other observations include the experience of enjoying the richness of the music without the need of electronic or digital enhancement. The church’s historic time worn aging of the original wood offered not only a warm setting, but also probably contributed to the former mentioned acoustic veracity. Early Baroque music perhaps claims a niche audience, but this observer was surrounded by a large group of eager enthusiasts some deep in the programme’s German text and others simply riveted to the luscious music. The Consort is fulfilling its mandate to elevate an ancient gem.
CHRISTMAS STORY
By Heinrich Schutz adapted and performed by The Toronto Consort
Featured performers: Charles Daniels, Tenor. Joel Allison, Bass. Michele DeBoer, Soprano. Katherine Hill, Soprano.
Production: David Fallis, Artistic Director. Gorden Peck, Technical Director. Gorden Baker, Stage Manager.
The production has now closed.
Photo credit Bruce Zinger