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Daniel will be singing in a double-bill concert in Montreal on March 16, 2016 at 19:00 Le Gesù: 1200 de Bleury, Montréal. Original music by composer Francis Perron. Here is the French description:
CHANTS DÉROBÉS présente un éditeur qui va trahir son auteur favori en révélant publiquement certains passages inédits de son plus récent livre. Un monologue théâtral et un récital de chants se partagent le récit de cette étrange affaire. – Texte et livret Augustin Rioux, musique originale et piano Francis Perron, contre-ténor Daniel Cabena, jeu Jean Marchand
Here’s an interview with Daniel about his upcoming work with Vancouver’s Turning Point Ensemble ‘air india [redacted]. Click here to view full interview + here’s a snippet:
“I think it is significant that the principal narrative voice has been written for a countertenor. Jürgen Simpson, the composer, could certainly speak more fully to that point; but I’ll take the liberty of making at least a couple of observations. For one, I think the lines that I sing in an objective mode, the ones that speak directly to the audience, commenting on the action, have a real authority. And it strikes me as uniquely affecting to have such morally important moments curated in the more ambiguous, less traditionally authoritative tone of a countertenor. Maybe this softens the edges of the thing; or maybe it sharpens them: I’m not sure. But it’s strong and touching.”
Formal performances will take place November 6, 7, 8, 10 & 11, 2015!
Daniel was interviewed in advance of his final recital of his ‘Sanctuary in Song’ tour. CLICK HERE to read the full interview.
Here’s one of the Qs:
MC: How do you find performing a recital with an accompanist, such as Stephen Runge, in comparison to an opera role?
DC: The process of performing a recital with a single accompanist is, I’m sure, quite different from that associated with an opera role. But what strikes me most just now is the similarities between the two. By that I mean especially that the feeling of collaboration can be equally strong in both instances and that there’s a great seeking after character and narrative clarity in both cases. I do, however, love the intimacy of recital. I love being so close to my accompanist, such that one can very spryly, instantaneously pick up the physical and musical hints left by the other. I also love the proximity of the audience and being able to see them and receive their reactions. But I also love a part of the recital work that happens long before singer or pianist gets near the stage, and that’s the work of creating a program. I imagine it to be akin to the work of a curator; in any case it’s certainly an opportunity to interpret or maybe just come to terms with the music and texts that have touched me, made me who I am. I find that to be an immensely enriching process, and it’s one that I cherish.
Daniel Cabena was featured in both the Waterloo Record and the Guelph Mercury in a lovely piece by Valerie Hill. The piece highlights two upcoming engagements Daniel has. Daniel sings with the Spiritus Ensemble (Nov 30 4pm tickets & info here) and the Nota Bene Baroque Players (Dec 13 & 14 tickets & info here).
Canadian countertenor Daniel Cabena is highly regarded in both Canada and Europe for prize-winning performances ranging from baroque to contemporary repertoire, described as “very classy, with his freely flowing slender, well-sustained alto voice”. He shares so much in these answers – from personal to professional. Here’s a little snippet:
“I love live performances on the radio. I love radio documentaries and interviews, and I suppose that what I listen to most are those sorts of things. Garrison Keillor’s broadcasts are among my favourites; and I also like programs like “This American Life.” But I simply adore ‘my’ CBC programs – ” Writers in Company,” “Ideas,” “The House”…. I also really love what public radio stands for; and I’m fascinated and inspired by its history. I wish we were, in Canada, more protective of that tradition and more imaginative about all that it can and could be. And I can’t help but be upset by what’s becoming of CBC2, both in terms of its gradual commercialization and in terms of its programming.”