Alexa Frankian, sop., Geo Chobanov, bass-bar., Kindred Spirits Orchestra, Kristian Alexander, conductor. George Weston Recital Hall, December 28, 2024.

For music lovers, one of the joys of the Holiday Season is the many concerts being presented at this time of year. In addition to the pre-Christmas Messiahs and other religious programming, one can look forward to a feast of alternative musical genres in between Christmas and New Year.

I attended my first on December 28, at the acoustically friendly George Weston Recital Hall. It was “Salute to 2025,” an opera concert presented by the Kindred Spirits Orchestra. It featured fast-rising Canadian soprano Alexa Frankian, whom I first heard when she was a student at the Glenn Gould School, as Madame Lidoine in Dialogues of the Carmelites. Even then, one could tell she had what it takes for a fine career.

This evening, she shared the stage with Bulgarian bass-baritone Geo Chobanov. I confess I was unfamiliar with this artist. Went to his website which contains an impressive dossier, listing many engagements in European opera houses singing roles as diverse as Dutchman in Die fliegende Hollander and title character in Don Pasquale. I wonder if this concert marked his Canadian debut. I’m sure we’ll hear from him again!

Kicking off the proceedings were 96.3 FM radio personality Mark Wigmore and Aurenda Foundation director Emiliana Blagoeva, welcoming the audience and giving brief introductions of the performers. Under the expert baton of Maestro Kristian Alexander, the concert got underway with several Mozartian gems from Le nozze di Figaro and Don Giovanni. Chobanov sang Figaro’s signature aria “Non piu andrai” with mellow tone, followed by a lively Catalogue Aria by Leporello in Don Giovanni.

Alexa Frankian opened with the Contessa’s showstopping “Dove sono,” an ideal aria that shows off her big, bright full lyric soprano, with its surfeit of squillo. She followed with “Ebben, ne andro lontana” from the rarely staged Catalani opera La Wally, capped by a thrilling B natural at the climax. Then it was Mimi’s Act 3 “Donde lieta usci” and Musetta’s Waltz, impressing the audience with the contrasting tones of gentleness and flamboyance.

The first half ended with the Papageno/Papagena duet from Die Zauberflöte. A bit of a silly piece, but these two were perfectly game to turn up a notch on the ham metre. In fact, Chobanov’s instrument is more of a character baritone to my ears, more ideally suited to Leporello and Pasquale than the straightlaced Don Giovanni. The two of them sang the funny Zauberflöte duet with relish. A great end to the first half.

The second half opened with a rousing performance of the overture to Carmen, showing off what this fine orchestra can do. Kristian Alexander and his band later offered a typical Christmas holiday piece, the “Valse des fleurs” from the Nutcracker, a highlight of the evening, with a lovely harp solo. Chobanov took on the Devil in “Veau d’or” from Gounod’s Faust, musically done, if a bit short on the blood and thunder menace of a basso profundo. In fact, to my ears he’s more of a baritone than a true bass, evidenced in his firm top notes in the aria from Ernani.

The formal program concluded with the lovely Don Giovanni-Zerlina duet, “La ci darem la mano.” The audience gave the singers and orchestra sustained applause, and they were rewarded with another typical Holiday fare, in the form of the Radetzky March, with the audience joining in with the rhythmic clapping. By then, the audience was really in a celebratory mood, and they enjoyed the final encore, the lovely “Lippen schweigen” from Lustige Witwe.

All in all, a marvellous start to the Year End festivities. Bravi tutti!

Are you looking to promote an event? Have a news tip? Need to know the best events happening this weekend? Send us a note.

#LUDWIGVAN

Get the daily arts news straight to your inbox.

Sign up for the Ludwig Van Toronto e-Blast! — local classical music and opera news straight to your inbox HERE.

• Author
• Recent Posts

Joseph So

Joseph So is Professor Emeritus at Trent University and Associate Editor of Opera Canada.He is also a long-time contributor to La Scena Musicale and Opera (London, UK). His interest in music journalism focuses on voice, opera as well as symphonic and piano repertoires. He appears regularly as a panel member of the Big COC Podcast.He has co-edited a book, Opera in a Multicultural World: Coloniality, Culture, Performance, published by Routledge (Taylor & Francis Group).

Latest posts by Joseph So (see all)

• SCRUTINY | Bravissimo! and Salute to Vienna Ring In 2025 In Grand Fashion - January 3, 2025
• INTERVIEW | Tenor Kang Wang Talks About His Return To Toronto - January 3, 2025
• SCRUTINY | Soloists And Orchestra Shine In The Salute To 2025 Opera Concert - December 30, 2024