Magic sparked through the air as Harry Potter fans crowded into the Sony Centre for the Performing Arts on November 15 to experience Patrick Doyle’s soundtrack from Harry Potter and the Goblet of Fire, the fourth installment from the film series, performed live by the Toronto Symphony Orchestra.

Hogwarts took over the Sony Centre, as the crowd proudly showed off their Hogwarts house colours with bright red, green, yellow and blue scarves and robes. Fans young and old gathered in the lobby, some even flocking to the merchandise table to purchase authentic Harry Potter-themed snacks like Bertie Bott’s Every Flavour Beans.

As everyone settled in their seats in the packed theatre, Evan Mitchell, the conductor, encouraged the crowd not to hold back, and to cheer, laugh, and cry at our favourite scenes and characters. The audience proved throughout the night to be fiercely passionate and lively at all the right moments.

The lights dimmed, and the movie began. Goblet of Fire – based on the fourth book in J.K. Rowling’s renowned Harry Potter fantasy novels – follows Harry as he embarks on his fourth year at Hogwarts School of Witchcraft and Wizardry, where, as the school year progresses, a school tournament takes a sinister turn. With the first haunting notes of the opening piece, “The Story Continues,” the orchestra set the tone for the film, a much darker, more mature story than its predecessors: a rich, dark build of woodwinds and percussion, overlaid almost instantly by a shrill melody from the violins that left a sinister chill lingering in the air.

Goblet of Fire has one of the most diverse scores of the series, especially due to many pieces that exist within the film’s world which add opportunity to layer in unusual and surprising sounds. Much of this music is from the Yule Ball, the school dance that the students attend: “Potter’s Waltz,” “Do the Hippogriff,” and “Hogwarts Fanfare.” “Potter’s Waltz,” performed whimsically by the TSO musicians, complemented the glittering winter transformation of the Hogwarts Great Hall on-screen, while the other pieces contrasted the rest of the film’s score, with upbeat themes that played to the youth of the characters. In particular, “Do the Hippogriff,” a raucous rock song performed in the film by the wizard band The Weird Sisters, set up a chaotic on-screen scene, complete with mosh pit and crowd-surfing teacher—though this song was not performed by the live orchestra and simply played as a recording.

Another piece from within the film’s world is a march performed by the Hogwarts brass band, just before the third task of the school’s Triwizard Tournament. The piece is cheerful and animated – and yet when Harry returns at the end of the task and the march is reprised, the loud brass instruments seem to mock the audience, who have just seen Cedric Diggory, an innocent student, murdered. The orchestra performed an understated version of this march that blended seamlessly into the film while helping to accentuate the emotions onscreen – particularly the harrowing cry of Cedric’s father, who realizes what had just happened and rushes forward to clutch his son.

Throughout the film, the TSO had to strike a steady balance between the strength with which they performed certain music while keeping other moments quiet or understated, allowing the content of the film to speak for itself. Overall, though certain parts felt empty of musical presence, they managed to maintain this balance well. Some pieces also required more force – particularly the “Durmstrang Entrance,” when the students of a Bulgarian wizarding school enter the Great Hall with chants, stomps, and even a student who breathes fire from their wand into the shape of a phoenix. The Durmstrang students had all eyes on them from the Hogwarts students and Sony Centre audience alike, but the live orchestral rendition felt slightly lacking the same power and vigour that captured the audience’s attention onscreen.

In this performance, the music was brought to the forefront of the film, allowing audiences to hear little, often-overlooked details. These musical snippets were synchronous to some corresponding visuals, like the way an enchanted pen moved, or a flicker of fire reflected in Harry’s glasses – adding a new layer to the way the audience experienced Harry’s world.

While much of the audience filed out of the theatre during the closing credits, those who stayed behind were treated to the TSO briefly revisiting some of the notable pieces from the film without the distraction of watching the movie. This provided one last opportunity to appreciate the presence of the orchestra and the experience of hearing a beloved score performed live, in a theatre full of affectionate – and thoroughly enchanted – fans.

The Sony Centre for the Performing Arts and Attila Glatz Productions presented CineConcerts and Warner Bros.’ production of Harry Potter and the Goblet of Fire In Concert from November 15 to 17, 2018, with live music by the Toronto Symphony Orchestra.

Jaimie Nackan is currently studying media at the University of Guelph-Humber. She is a pianist and former ballet dancer, with further passions in literature, writing, and film. She is pursuing a career in critiquing the arts, while also working on her first novel.

Art songs delivered in a full-on operatic register within a small resonant space such as Mazzoleni Hall can be hard to take, I’ve learned this Sunday.

On the program at the RCM’s intimate, chapel-like hall were French the mélodies with their Orientalist flair, as well as a selection of Lebanese and Turkish folk songs in new arrangements chosen by the two singers, soprano Joyce El-Khoury and mezzo Beste Kalender. Robert Kortgaard and Rachel Andrist accompanied from the piano, and for one Ravel cycle Nora Shulman (flute) and David Hetherington (cello) joined the mezzo onstage. It was a well-programmed concert, diverse and thematically unified at the same time.

El-Khoury, Lebanese-Canadian soprano highly in-demand internationally as Violetta and Mimi, is a singer of exceptional glamour and stage presence. Her voice is opulent, with a beautiful upper top, but it did not seem like El-Khoury recalibrated it for the more contained, subtle and withholding recital genre. Most of the singing, whether that was the intention or not, came through as fairly loud—and I was seated in the last row. On that level, Ravel’s ‘Asie’ from Shéhérazade sounds almost irate. ‘Île inconnu’ from Berlioz and Gautier’s masterwork Les nuits d’été was a very loud statement, rather than a cheery invitation to voyage that leaves a lot of questions unanswered. But things changed in part two of the concert, in El-Khoury’s program of Lebanese songs which she introduced and which are personally meaningful to her. As if by a magic wand, there it was: the real song intimacy. As if a camera zoomed in to a private moment between friends. This was an entirely different singer, very much capable of pianissimi, full of thoughtful inwardness, implicit rather than explicit, and generous.

Mezzo Beste Kalender was more consistent. A fine French diction and rich dark timbre enhanced every song. Seductive and mischievous in ‘Les roses d’Ispahan’ by Fauré, Kalender added some wicked castanets playing to her gamut in Ravel’s ‘Zaïde: Boléro’. She was particularly memorable in Ravel’s Chansons madécasses, alongside the flute and the cello. ‘Nahandove’ is unusually sensuous, even for a French song, and it would be fair to describe it as, in fact, sexual (‘Arrête, ou je vais mourir / Meurt-on de volupté’). It, and the third song ‘Il est doux’, are voiced by a male narrator. He greets the female lover in the first, and orders female servants gently about in the third, but the middle song ‘Awa!’ is an outburst and a warning against such men. ‘Do not trust the white men’ is its refrain, and the verses explain what will happen when they arrive on distant shores and settle.

In part two, Kalender presented a selection of Turkish songs. One among them, ‘My Nightingale is in a Golden Cage’, she explained, was Kemal Ataturk’s favourite, so she would sing it in homage to the Turkish statesman—the modernizer and secularizer of Turkey after the end of Ottoman Empire and the republic’s first president.

The two women finished the program with Delibes’ mega hit from opera Lakmé, The Flower Duet.

The Royal Conservatory presented “Mazzoleni Songmasters: L’invitation au voyage,” featuring soprano Joyce El-Khoury and mezzo Beste Kalender, on November 11, 2018 at Mazzoleni Concert Hall, Toronto.

Lydia Perović is an arts journalist in Toronto.

Digital organs are a contentious topic amongst pipe organ aficionados. Until recently, the term “electronic organ” was unlikely to imply a high-quality instrument, and digital instruments were scorned as poor substitutes for the grandeur and acoustic superiority of an authentic pipe organ. In recent years, however, rapid advances in digital sampling quality, memory capacity, and processing speeds have made electronic organs a more viable substitute for their acoustic counterparts, giving these digital instruments an increasingly prominent place in music programs around the world. Frequently considered by churches facing the renovation or restoration of an existing, ailing pipe organ, the quality and affordability of digital instruments make them practical alternatives for large cathedrals and smaller churches alike.

Such is the case at St. Timothy’s Anglican Church, which recently installed one of Canada’s largest digital organs as a replacement for their 70-year-old pipe organ. The new instrument, built by Phoenix Organs, is described by director of music Edward Connell as “a masterpiece of modern organ technology,” for it contains three renowned pipe organs in one: the Willis organ of Hereford Cathedral, the Cavaillé-Coll organ of Notre-Dame de Metz, and the Müller organ of St. Bavo. Rather than being approximate reproductions of these magnificent historical instruments, the Phoenix organ is loaded with digital samples, recordings of each note of each pipe from the original organs themselves (tens of thousands of individual sounds), which are arranged and manipulated by the digital processor within the organ. These sound samples are integrated into the organ’s mechanical console so that the performer can control individual pipes through the same methods that one finds on an authentic pipe organ.

And who better to play this new instrument’s inaugural recital than one of the finest organists in the country? On October 30, St. Timothy’s welcomed Matthew Larkin as he played a wide-ranging program intended to display the international capabilities of the organ. With works by Bach, the English composers Howells and Elgar, the French organists Franck, Vierne, and Duruflé, and the Ottawa-based Andrew Ager, Larkin’s virtuosity and musicianship were on display as much as the new instrument itself. Maurice Duruflé’s Prélude et Fugue ‘sur le nom d’Alain’ was particularly thrilling, as the opening prelude’s fast fingerwork and clearly-presented thematic material (Duruflé quotes Jehan Alain’s famous organ work Litanies) paired beautifully with the increasingly dramatic fugue, all of which was brought to life through the sounds of the Notre-Dame de Metz pipe organ.

William Boyce was a student of Handel in London, and his Voluntary in D Major was the vehicle for exploring the Willis tubas of Hereford Cathedral. An opening adagio played on flutes gave way to a Da capo-style trumpet tune, displaying the impact and breadth of sound present in the Willis’s high-pressure reed pipes. The one disappointment of the evening was that we were unable to hear the Müller organ of St. Bavo, in the Netherlands. This instrument, built in 1738, received complimentary reviews from none other than Handel, Mozart, and Mendelssohn, and the opportunity to hear Bach played on this historical organ sound set was enticing. Unfortunately, a computer error resulted in only a partial load of the data, so that we heard the modified mean-tone temperament of St. Bavo and the equal-tempered organ of Hereford simultaneously. This technical error (and its corresponding cacophony) could not be remedied despite numerous memory resets and reboots of the system, so Larkin continued with Bach on the Hereford organ sound bank. Although a different timbre and temperament than originally intended, the Bach was very well done, particularly the articulation and phrasings within the chorale trio Herr Jesu Christ, dich zu uns Wend.

Although the new digital organ at St. Timothy’s has some technical issues that still need to be resolved, it should soon be a worthwhile addition to the Toronto organ scene. And despite the curveballs thrown his way by the organ’s computer, Matthew Larkin demonstrated that he is indeed a master of his craft; his ability to create maximum impact through technical interpretation and instrumental manipulation is second to none, and he was able to adapt and give a performance that was convincing from beginning to end.

St. Timothy’s Anglican Church (North Toronto) presented organist Matthew Larkin in concert on October 30, 2018.

Matthew Whitfield is a Toronto-based harpsichordist and organist.

The score of Merrily We Roll Along is considered one of Stephen Sondheim's best – and yet when the show debuted on Broadway in 1981, it was a notorious flop, lasting for only 16 performances. There were probably several reasons why the show didn't work, but most importantly in the opinion of most critics and scholars was the decision of Sondheim and director Hal Prince to cast very young performers, performers too young to have the experience and skills to play characters who start in their 40s and finish in their early 20s. For Merrily (and the original play of the same name by earlier Broadway legends Moss Hart and George Kaufman, on which it is based) begins at the end of the story of three showbiz friends, disillusioned in their financial success, and goes back in time 20 years by stages to the moment when they started off in New York, idealistically full of hopes of dreams.

Revivals, from concerts to full productions, have usually reversed the original casting scheme,  casting instead older performers of the right age for the beginning of the show who are able to navigate the journey back to their youthful selves. Toronto Musical Concerts did the same in their concert staging at the Al Green Theatre on October 17, and it works. Even with the performers using scores on music stands with only limited staging and bits of choreography, the show comes alive. The brilliant witty book by George Furth (who had earlier collaborated with Sondheim on the hit Company), interwoven with Sondheim's music and lyrics, combines cynical comedy with trenchant social observation as well as the ins and outs of both romantic love and the love between great friends.

Michael De Rose as Franklin Shepard stood out with his strong rich voice and presence. Ryan Kelly was appealing as his writing partner Charley Kringas, with his comic timing and great ability to 'youthen' over the course of the play. Lizzie Kurtz as Mary Flynn, the third of the central trio, captures the warm but acerbic Dorothy-Parker-meets-Carrie-Fisher quality of the girl in the trio and her journey from alcoholic disillusionment spiced with unrequited love for Frank back to excited, unblemished hope and ambition.

The concert, an Equity collective, was a bit rough on the opening night with the sound not balanced until partway through, and performers not always certain how best to position themselves to be amplified by the microphones positioned in front and overhead. The petite Lana Carillo as Gussie, Franklin's Broadway star wife, was often particularly hard to hear. On the other hand, the energy and commitment of the company was unquestioned and by the second half all was coming together, with songs such as “Old Friends,” “Franklin Shepard, Inc,” and “Opening Doors” sounding particularly strong.

The wonderful 2016 documentary about the original production of Merrily We Roll Along—called Best Worst Thing That Ever Could Have Happened—left me hoping to see a new production of the full show in order to explore its full potential. This TMC concert confirm the quality of the book and score and that the backward story arc is not only intriguing but an effective storytelling technique. In doing so, it whets the appetite even more for a full production of this brilliant but rarely seen musical.

Toronto Musical Concerts presented Merrily We Roll Along in concert on October 17 and 18, at the Al Green Theatre, Toronto.

Toronto-based “lifelong theatre person” Jennifer (Jenny) Parr works as a director, fight director, stage manager and coach, and is equally crazy about movies and musicals.