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Volume 15 Issue 7 - April 2010

  • Text
  • April
  • Toronto
  • Concerts
  • Choral
  • Choir
  • Quartet
  • Jazz
  • Orchestra
  • Programme
  • Musical

SingLIFEforA fund

SingLIFEforA fund raising concert for thePaediatric Diabetes Clinicof Trillium HospitalCecilia Richards, sopranoPERFORMERSBrad Hoover, baritoneSue Crowe Connolly, contraltoCat Pickup, pianoPlamen Slovenian Women's Vocal EnsembleVeronica McNamee and Friends (Brazilian Music and Song)Michael Holt Ensemble with Pattie KellyShaydaSunday, May 2nd, 5:00 p.m.Church of the Holy Trinity(beside the Eaton Centre, downtown Toronto)Tickets available at the doorFor more information contact 905-271-6896SPONSORSGeorge Civello Cecilia Richards onsite images photography (Marty O'Malley)Vocal Sense Studio Claim Your Voice Studios

Photo Bernice WelchCatherine Magowan andSpy Dénommé-Welch,composers of Giiwadin.deadlines, because we always had tostay aware of each other’s progress.SDW: Sometimes we’d question eachother’s musical decisions or lend newideas so as to find ways to enhancethe musical lines or passages that wewere writing. We simply acceptedthe fact that no matter how the workturned out, it would reect on us both.This allowed us to concentrate onjust telling the story in the best waypossible.CM: This way all of our music was developed in a constant feedbackloop, which helped to combine our musical voices, makingit pretty much indistinguishable who wrote what, even to us. Becausewe were equally involved in our roles as composers we had alot of inuence on each other’s process, which we know is unusualbecause traditionally librettists and composers work separately. Sohaving multiple composers on a project like this is probably evenmore unusual. It has really helped us to tell a story as layered asGiiwedin, having more tools at our combined disposal.The press release says that the opera “blends baroque andtraditional Indigenous music and aesthetics.” How so?SDW: The primary aesthetics used in the opera come from Baroqueand First Nations traditions, but as the work progressed we decidedto bring other genres and styles into the piece. These choices werealways deliberate and agreed upon after discussion and sometimeslively debate.CM: As a result of this variety we feel that we have developed awork that bridges cultural aesthetics, and creates a work that is relevantto a whole new generation of music lovers. While we do usetwo older musical traditions, we incorporated modern idioms to supportthe underlying themes of industrialization, which is a drivingforce behind the story-line.The opera is scored for violin, cello, archlute and harpsichord.First Nations mezzo-soprano Marion Newman sings the roleof Noodin-Kwe. She is joined by Ryan Allen, Gilbert Anderson,Neema Bickersteth, Catharin Carew, Lawrence Cotton, Nicole Joy-Fraser, Jessica Lloyd and James McLennan in ten other roles as humansand animals. For tickets and more information visitwww.anindienrightsreserve.com or phone 416-504-7529.More OperaAs I mentioned at the top of this column, there’s lots more operahappening at this time of the year. This month sees the CanadianOpera Company revive its 1996 production of Wagner’s Der fiegendeHolländer April 24-May 20 with Evgeny Nikitin as theDutchman and the COC’s new music director Johannes Debus onthe podium. And opening on May 1, the COC’s production of MariaStuarda (Donizetti), brings soprano Serena Farnocchia to Torontoin the title role, with staging by COC veteran Stephen Lawless.Opera Atelier stages a new production of Mozart’s The Marriageof Figaro April 24-May 1 with Olivier Laquerre as Figaro andDavid Fallis conducting. Opera Hamilton is presenting Puccini’s LaBohème April 22 and 24 with Roger Honeywell as Rodolfo and MiriamKhalil as Mimi. Toronto Operetta Theatre brings us Gilbertand Sullivan’s The Pirates of Penzance, April 27-May 2, with DavidLudwig and Jean Stilwell.As well, on the 22nd, Aradia presents Polly, an 18th-centuryEnglish opera by Samuel Arnold, at the Richard Bradshaw Amphitheatre(part of the COC’s free concert series). And Opera by Requestgives a concert performance of Verdi’s La Forza del Destinoon April 30, led by music director William Shookhoff.Christopher Hoile is a Toronto-based writer on opera. He can becontacted at: opera@thewholenote.com.April 1 - May 7, 2010 www.thewholenote.com 13

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
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Volume 25 Issue 9 - July / August 2020
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