Blink and you might miss this little gem about the creative process that is in the cinematic roman à clef family alongside Almost Famous. Inspired by journalist/author Jon Ronson’s experience as a keyboardist with the Frank Sidebottom band at 20 in 1987, Frank follows a present day naive cubicle-dwelling office worker with pop music dreams as he immerses himself in the strange world of a band with the unpronounceable name “Soronprfbs.”
In his introduction to the third concert of the Toronto Summer Music Festival last night, artistic director Douglas McNabney noted that the program the audience was about to hear had nothing in it related to the festival’s theme “The Modern Age,” but that he just couldn’t pass up the opportunity to program the two signature piano quintets of the 19th century. It became clear once pianist Peter Serkin and the Orion String Quartet began to play Brahms Piano Quintet in F Minor, Op.34, however, that the rearview mirror of history was at work, setting a context for what would come in the century that followed.
Italian-born pianist Beatrice Rana, winner of the Silver Medal and Audience Award at last year’s Van Cliburn competition, brought a nearly full Walter Hall to its feet last night with a heartfelt, technically gripping performance of Prokofiev’s Sonata No 6 in A Major, Op.82. The 20-year-old took the Toronto Summer Music Festival clearly into the modern age with the Russian composer’s chromatic melody-maker that was soul food for the age of anxiety in which it was written.
The latest edition of the Toronto Summer Music Festival (TSM) got off to a rousing start before a near-capacity Koerner Hall Tuesday evening with a scintillating performance by the Emerson Quartet appearing here for the first time since the arrival of cellist Paul Watkins in May of last year. With him, the venerable Emerson, now in its 37th year, has an added degree of warmth to go along with their impeccable sense of ensemble and steel-trap technique, all of which came together brilliantly in the splendid finale of Schubert’s String Quartet in D Minor, D810, “Death and the Maiden,” the final piece of an ambitious program.