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Volume 19 Issue 8 - May 2014

  • Text
  • Choir
  • Toronto
  • Jazz
  • Arts
  • Concerts
  • Theatre
  • Musical
  • Choral
  • Singers
  • Festival
Includes the 2014 Canary Pages directory of choirs.

V. TONY HAUSERWeisbrodt

V. TONY HAUSERWeisbrodt Continued from page 10food and music experience, The LostTrain, that has an audience of eightin a secret location. And then thereare the free events at the Hub whichare open to everyone. There is alsoa balance between free and ticketedevents, but this does not mean adivide between high and low art. Idon’t believe in the existence of highand low art. There is only good artand bad art. The emphasis is on theexperience for the audience.You seem to be heading in a moreexperimental direction than inpast seasons. I believe in taking theaudience by the hand and leadingthem to new stuff, but we have tobuild up trust so they will follow.On the other hand, we also have toprogram the recognizable, like PinaBausch, Daniel Lanois and the maleduet evening put together by RufusWainwright. Another way of introducingthe new and the differentis taking a well-known personalitylike Isabella Rossellini, whoseexperimental theatre piece GreenPorno will lead the audience intothe unknown.On the subject of RufusWainwright, is he in the festivalbecause he’s your husband? The question has to be asked. Nepotismworks if the idea is a good one. Rufus came to me first with theconcept of If I Loved You: Gentlemen Prefer Broadway – An Eveningof Love Duets. His twist was that these famous love songs fromBroadway musicals would all be sung by and to men. He put thegreat line-up together – Boy George, Steven Page, Josh Groban anda host of others. It’s a unique concert. What was really funny is thatthe first four guys to confirm were all straight, so he had to find somegay singers. This is not a camp show. Rufus just wants the songs to beheard in a different way.I’m pleased to see that there is more dance this season. I’m proudof this programming. On one hand we have the Pina Bausch companymaking its first appearance in Toronto in 30 years. She represents adance heavyweight. We also have Louise Lecavalier, a great Canadianicon. Finally there is Lemi Ponifasio from New Zealand who isworking with ten Maori women who are not trained dancers. Theyalso sing songs of protest. He was inspired by the myth that a womancreated the earth. The show is beautiful and moving. So we have oldschool, avant-garde and new world traditions.Your association with the TorontoSymphony seems strong. For the thirdyear in a row, they are giving the finaloutdoor concert at the Hub. In honourof the upcoming Pan-American/ParapanGames, the TSO will feature a travelogueof music from the Western Hemisphere.Their TSO Goes Late Night concert showcasesShostakovich’s Symphony No. 5.Something new this season is TheCopycat Academy. Can you explain thisconcept? I had the idea when I first cameto the festival. It’s a project by HannahHurtzig from Berlin. Her field of expertiseis modes of knowledge transfer. Wehad 70 applications from all over theworld and accepted 20 participants fromall fields and backgrounds. The academyis a week-long curriculum for emergingartists. We give them tools to growin their art. This is a rethink about howartists are educated. You could call it amaster class without a master. At thecentre is a great artist to copy – and ourfirst master is the Toronto-based artists’collective General Idea who were pioneersof early conceptual and media-basedart. The faculty helps the participants todeconstruct the themes of General Idea.It’s a parasitic relationship. By inhabitingGeneral Idea, the students learn the toolsof the master. Then they have to find theirown voice. We’ve shown them the way upthe mountain, but they jump off on their own. The audience connectionis the evening talks that are open to the public.After having this conversation with you, I’m coming away withthe impression that you really want to instil a larger presence for thefestival in the city. That’s true. Luminato is one festival of many forces,each pushing their own footprints. What I want is for people to say“I went to Luminato and saw such-and-such,” and not “I went to theBluma Appel Theatre and saw such-and-such.” I want Luminato to beconsidered an indispensible part of this city – like TIFF is. I want theexcitement about Luminato to wrap around Toronto. I want the taxidrivers and the kiosk owners to be proud of Luminato. I want to fillthe name Luminato with emotion and meaning. I can feel that thingsare changing. We will get there.Do you have any final remarks? The festival itself is a work of art.The Luminato Festival runs from June 6 to 15. For details visitluminatofestival.com.Paula Citron is a Toronto-based arts journalist. Her areas of specialinterest are dance, theatre, opera and arts commentary.HalfTones keeps going right though the summer!For the news as it breaks, updates, listings and special offers:Sign up for HalfTonesThe WholeNote’s mid-month e-letter.Scan the code or go to thewholenote.com/halftones to register.You can also get HalfTones by following @TheWholeNote on twitteror ‘Liking’ The WholeNote at facebook.com/LikeTheWholeNote.Dates with HalfTonesVol. 1 #9: ThursdayMay 15 2014Vol. 1 #10: TuesdayJune 17 2014Vol. 1 #11: MondayJuly 7 2014Vol. 1 #12: TuesdayAugust 12 201486 | May 1, 2014 – June 7, 2014 thewholenote.com

2014 ~2015 Subscription Series43rd SeasonGREAT CHAMBER MUSICQUARTETS 3, 1ST. PETERSBURGQUARTETTh. Oct. 9PIANO 19, $199JANINAFIALKOWSKATu. Oct. 28BELCEA QUARTETTh. Oct. 23vSIMON TRPCESKITu. Nov. 25JUILLIARD QUARTETTh. Jan. 8GRYPHON TRIOTh. Feb. 26DAEDALUSQUARTETTh. Nov. 20ST. LAWRENCE QUARTETTh. Jan. 29DISCOVERYBARBARAPRITCHARDTu. Jan. 20DÉNES VÁRJANTu. Feb. 17TRIOD’ARGENTOTh. Dec. 11TILL FELLNERTu. Mar. 10All seats ELIAS QUARTETTh. Mar. 19BERTOLI-MARLEYN DUOTh. Feb. 12LAFAYETTE QUARTETTh. Apr. 16ELLIOT MADOREbaritoneTh. Mar. 26Full season of 16 concerts 1, 5.Other combinations available.Subscription prices include Handling Charges and HST416-366-7723 1-800-708-6754order online at www.stlc.comAll concerts at 8 pmCanadianHeritagePatrimoinecanadienONTARIO ARTS COUNCILCONSEIL DES ARTS DE L’ONTARIO50 YEARS OF ONTARIO GOVERNMENT SUPPORT OF THE ARTS50 ANS DE SOUTIEN DU GOUVERNEMENT DE L’ONTARIO AUX ARTS

Volume 26 (2020- )

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