Born october 10, 1813, Verdi was, in a word, theright man for the right time. Italy had been a verymusical nation from time immemorial. As early as the16th century opera was “invented” by an Italian, Monteverdi,albeit in a primitive form, but it continued to bedeveloped by a succession of composers who glorifiedthe singing voice through a style called “bel canto.” Bythe early 19th century there were masters like Bellini andDonizetti and countless lesser composers, now forgotten,who became great celebrities providing the finest musicaltheatre entertainment the Italian public craved. Theywere followed by Gioachino Rossini, a musical wunderkindwho took the helm and became enormously richwith some 60 very successful operas. However, afterthe death of his wife in 1845, Rossini retired from theopera scene, Bellini was dead and Donizetti in an insaneasylum, so there was a vacuum ready to be filled. And itwas this country boy, this Giuseppe Verdi who filled it.Not all were big successes, but Verdi always tried somethingnew and different and even his worst effort wasbetter than some other composers’ best. By 1847 he wasready to tackle Shakespeare whose plays he had admiredsince childhood. For Florence he wrote Macbeth basedon the play but with much more complex characters andthe misty, ghost-ridden milieu of Scotland, altogether anew challenge for Verdi. Although he succeeded withwonderful music well-adapted to his characters andtheir obsessed ambition and murderous cruelty, especiallywith Lady Macbeth, the star soprano, Italians werenot ready for the opera, nor even for Shakespeare’s playsat this time. But Verdi was not concerned. By then he hadbigger fish to fry.An appreciation by Janos GardonyiWho was GiuseppeVerdi and whatmakes him unique anddifferent from that otherfellow born in the sameyear of 1813 — RichardWagner? Verdi was fromItalian peasant stock andtherefore strong, healthy,tough and stubborn,and lived a long life of88 years (unlike Wagnerwho was plagued withill health throughout hislife and died before theage of 70). This toughness,coupled with greatambition, enormoustalent, almost boundlessenergy and shrewd businessacumen, enabledhim to write ten operasin just seven years, onefor each major operahouse in Italy; and bythe age of 40 he becamethe talk of his nation,rich and respected. Hewas also a pleasant manwho was kind to hisparents and his wife,but also a bit shy andwary of publicity. He wasno egotist, womanizeror debt-ridden spendthriftlike Wagner, butrather a patriot and greatsupporter of a unifiedItaly who shared hiswealth generously andwas charitable to theless fortunate.He started from nothing. A barefoot little boy, a selftaughtchurch organist in his village of Le Roncole,near Busseto in the Duchy of Parma, Northern Italy, hewas viciously kicked down a flight of stairs by a priest.Aching in body and soul he never forgot this incident andremained suspicious of the clergy all his life. Later, whenhe applied to the Conservatory of Milan he was promptlyrejected. Verdi never forgave the Conservatory; in fact,when much later the elders of the school tried to changeits name to Giuseppe Verdi, he would not allow it. Hisfirst success grew out of a life-shattering tragedy, somethingthat would have destroyed a lesser man: losing hiswife and two children in quick succession. Providencehowever intervened and in 1842 the enormous successof his third opera for La Scala of Milan, Nabucco (see listof recommended recordings below) instantly made hisname. Nabucco was altogether new, fresh and bold witha melodic richness never heard before and a subject withwhich the public could identify. The immortal chorus“Va pensiero!” became an unofficial national anthem.Verdi at 29 was on his way. La Scala had a winner andwouldn’t let him loose. The next year I Lombardi wasan even bigger success.Now, at this time there was no such thing as Italy. Thepeninsula was scattered with city states dating back tothe Middle Ages, all of them under the foreign dominationof Austria and France. Nevertheless, each had anopera house of architectural splendour, the pride andjoy of the populace, where no expense was spared. Verdiquickly realized that he had to conquer each and everyone of them to be considered a success in the eyes of hisnation. The first step was Venice in 1844, with La Fenice,an opera house that surpassed even La Scala. The operawas Ernani, based on a Victor Hugo play with a tempestuouslove quadrangle among three men (tenor, baritone,bass) fighting for a woman. Verdi struck gold again withthis red-blooded opera throbbing with passionate ariasand ensembles full of beautiful melodies, plus somerousing choruses. The Venetians loved it. Thus began aperiod Verdi later referred to as his Galley Years, crisscrossingthe peninsula– Rome, Naples, doubling back toMilan, Trieste, a new work for each, at least one per year.While Verdi was working with the Grand Opera inParis in 1848, revolutions broke out all over Europe,reached Milan and Rome and the grand patriotic movementcalled the Risorgimento (Resurgence) began inearnest. The story goes that Verdi’s name soon becamean acronym and a rallying cry (although some recentresearch views this as apocryphal): Vittorio EmanueleRe D’Italia, based on the name of the King of Piemonte(Piedmont), the only state that was independent at thetime, in whom the Italians laid their hope for a unitedItaly. The prime minister of Piemonte was Count Cavour,a brilliant statesman who became the architect of a long,laborious process that finally succeeded around 1865.Verdi was nowhere near the fighting since he was notsuited to be a foot-soldier, but supplied a rousing, patrioticopera instead, La Battaglia di Legnano, perfect forthe occasion, for Rome in 1849. It was earth-shatteringlysuccessful. Although the movement failed at this time, allthe excitement must have given the composer new inspirationbecause he scored a triple whammy with three newoperas written in a quick succession, all masterpieces.Rigoletto (Venice 1851), Il Trovatore (Rome 1853) and LaTraviata (Venice 1854) suddenly crystallized his style andhis experimentation (including his trials and errors) intoa brilliant new synthesis where everything just clicked.Verdi was on the road to world fame.All of Europe wanted him now and he soon becamevery wealthy, but he was shrewd and invested his moneywisely. Thinking of his retirement, he bought a largeproperty at St. Agate in the countryside of his birthplaceand started farming, his favourite hobby. He alsobuilt a manor house where he settled with his newlywedded wife, a beautiful opera star, the soprano GiuseppinaStrepponi, his steady companion since his years inMilan. As the world took notice, orders were pouringin. First for Paris he wrote Les vêpres siciliennes (1855,translated to Italian as I Vespri Siciliani in 1861), a grandopera with ballet, over five hours long. Then back toVenice with Simon Boccanegra (1857), a searing dramaof a Genoese Doge of lowly origins and the murderousinfighting between social classes ending with the tragicassassination of the hero. This | continued on page 6810 | October 1 – November 7, 2013 thewholenote.com
1314 .season of eventsUTSODavid Briskin conducts the U of TSymphony Orchestra in works byGrieg, Nielsen, Vaughan Williamsand Britten.thUrsday, october 37:30 PM, MacMillan theatreMartinScherzingerkenneth Peacock visitorGradUate colloQUiUMthUrsday, october 103:30 PM, rooM 130. freeU of T WindSymphonyFeaturing works by Wagner,Applebaum, Dello Joio and others.friday, october 117:30 PM, MacMillan theatreUTJOGordon Foote directs the U of TJazz Orchestra in concert withsaxophonist Mike Murley, markingthe launch of the UTJO’s new CD.thUrsday, october 247:30 PM, walter hall. freeFilm Screening:A Late QuartetAdmission with the Oct 28 BrentanoQuartet concert ticket.friday, october 257:00 PM, walter hallCelebratingAlice ParkerU of T and guest choirs performthe works of Alice Parker.sUnday, october 273:00 PM, MacMillan theatreBrentanoString QuartetFeaturing Beethoven’s Opp. 95and 131 quartets.Monday, october 287:00 PM, walter hallMusic CareConferencesatUrday, noveMber 9edward Johnson bUildinGinfo: 905-852-2499www.musiccareconference.caNimmons N’90A musical bash to celebrate the 90 thbirthday of Phil Nimmons, featuringthe UTJO, David Braid and Nimmons.thUrsday, noveMber 147:30 PM, walter halladMission by donation’Vijay IyerThe Grammy-nominated composer/pianist/bandleader is the Wilma andClifford Smith Visitor in MusicthUrsday, noveMber 217:30 PM, walter hall. freePutu EvieSuyadnyani andVaughan HatchWorld Music Visitors in ConcertthUrsday, noveMber 257:30 PM, walter hall. freeOpera:Don PasqualeFaculty of Music PremierenoveMber 28-30, 7:30 PMdeceMber 1, 2:30 PMMacMillan theatreweston faMily box office416.408.0208The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors.University of toronto, facUlty of MUsic, 80 QUeen’s Park. www.MUsic.Utoronto.ca
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
