at 7:30pm at St. Thomas’s Anglican Church. The York Mystery playswere a series of performances based on bible stories ranging from theGenesis creation to the Passion of Jesus that were performed in thecity of York around the 14th century; some were centred around thebiblical story of Christmas. Each guild in town was responsible fora specific performance (based around a Christian divine miracle ormystery, hence the name). The mystery plays seem like a particularlyinsightful view into what life was like in the Middle Ages, given thatthe typical medieval European was a devout Christian and a memberof a guild of some kind, but couldn’t read the bible (or even his ownname) and depended on dramatizations like the York Mystery Playsto understand what he was supposed to be believing. In any case, thePoculi Ludique Societas are all medieval scholars from the Universityof Toronto and can probably explain all of this much better than Ican. Plus, the music is under the supervision of Larry Beckwith ofToronto Masque Theatre, so the musical part of the production is incapable hands. As an unusual form of entertainment that neverthelesscaptures the original meaning of Christmas, this may be exactly whatthe Christmas season needs.Tafel’s Quest: But if you’re looking for good live music, there’s noneed to limit yourself to holiday-themed entertainment in the comingweeks. For example, Tafelmusik’s musical quest for a new artisticdirector, featuring the most outstanding violinists they can find,continues in the beginning of December. Amandine Beyer, a virtuosoviolinist from France, will lead the ensemble in an all-French programat Trinity-St. Paul’s Centre on December 4 to 7. It looks to be a killerprogram of French composers, including Rameau, Corrette, Campraand Rebel. Beyer herself will attempt to wow the crowd with a Leclairconcerto, and we’ll see once and for all if the orchestra can put ona sublime performance of French baroque repertoire. It’s all veryexciting, as you can probably guess.Scaramella: Another Toronto group that’s keeping busy overthe holiday season is Scaramella, led by Joëlle Morton. They’ll beplaying a concert devoted to the English composer William Laweson December 6 at Victoria College Chapel at 8pm. As a gamba-basedensemble, doing a concert devoted to Lawes just makes sense – he wasgreat composer of music for everything viol, from duets to consortsof four, five and six gambas. As a figure from music history, he’s evenmore compelling, living as he did during the period of the EnglishRenaissance and taking the laws of composition (sorry, couldn’tresist) to strange and unusual places. His music is both engaging andintelligent, but his approach to tonality is at times either extremelyliberal or extremely strange. If you don’t manage to catch their Lawesconcert, Scaramella is also doing a program of 17th-century Germancomposers in Victoria College Chapel on January 31 at 8pm. This timethe group will be joined by countertenor Daniel Cabena – this concertcould be worth a look as well.Out of the ordinary: If you’re looking for something to do over NewYear’s Day, you might want to drop by Heliconian Hall at 2:30, wherethe Musicians in Ordinary will be playing their annual New Year’s Dayconcert. They’ll be joined by Christopher Verrette and Patricia Ahernof Tafelmusik as well as Boris Medicky on harpsichord for a mixedprogram including Scarlatti, Vivaldi and Corelli. The Musicians haveput together a solid lineup of players to play some decent repertoirefor this concert.Finally, there are a couple of other concerts worth mentioningas we get into the coldest days of winter: Toronto Masque Theatrewill be performing Handel’s Acis and Galatea at the Enoch TurnerSchoolhouse on January 15, 16 and 17 at 8pm. And a group of sixyoung Toronto-based violinists are taking an encyclopedic approachto concert programming and tackling all six of Bach’s unaccompaniedsolo violin partitas in one go. That concert will include Tafelmusikviolinists Julia Wedman, Cristina Zacharias and Aisslinn Nosky, as wellas Elyssa Lefurgey-Smith of Aradia. You can catch it all at MetropolitanUnited Church on January 9 at 7:30pm.David Podgorski is a Toronto-based harpsichordist, musicteacher and a founding member of Rezonance. He canbe contacted at earlymusic@thewholenote.com.Beat by Beat | On OperaOf Partnerships,Productions &Other DiversionsCHRISTOPHER HOILEThe two largest-scale operaproductions for the period fromDecember 1 to February 7 are thoseof the Canadian Opera Company’s winterseason. Taken together they provide anexample of the two models that the COCis currently following: partnering andproduction.From January 24 to February 21, thecompany presents Mozart’s Don Giovanni,a co-production with Festival d’Aix-en-Provence, Bolshoi Theatre and Teatro RealMadrid. This production is an exampleof what the COC calls partnering: thecompany contributes money toward theproduction, but there is little or no COCinput in the design or direction. So,much depends upon choosing one’s partnerswisely.Cameron McPhailas Uncle John in theBanff, 2014 production.Don Giovanni had its premiere at the Festival d’Aix-en-Provencein 2010, directed by acclaimed Russian director Dmitri Tcherniakov.The most controversial aspect of the production is that Tcherniakovhas replaced Da Ponte’s original scenario with his own. He reimaginesMozart’s characters as the neurotic members of one present-daybourgeois family. Zerlina is now Donna Anna’s daughter from her firstmarriage, while Leporello is “a young relative of the Commendatore’s,living in his house.” Don Giovanni is presented as unhappily marriedto Donna Elvira. In the new plot Don Giovanni does not destroyhimself, rather, his relatives combine to destroy him. The productionhas been around long enough that it is already available on DVDand in excerpts on YouTube for anyone who wishes to see whetherTcherniakov’s concept works or not.For the COC, Russell Braun sings Don Giovanni, Kyle Ketelsen isLeporello, Jennifer Holloway is Donna Elvira, Jane Archibald is DonnaAnna and Michael Schade is Don Ottavio. Michael Hofstetter conducts.In terms of COC original productions, from January 31 toFebruary 22 it presents Die Walküre, a production designed anddirected by Canadians and owned solely by the COC. This COCproduction of Wagner’s Die Walküre had its premiere in 2004 and wasrevived in 2006 as the second opera of Wagner’s complete Ring Cycle.This will be the first time it has been revived on its own. Atom Egoyandirects, Michael Levine is the designer and Johannes Debus conducts.Of particular note is that renowned German soprano ChristineGoerke will be making her role debut in Toronto as Brünnhilde.Clifton Forbis, who sang Siegmund in this production in 2004 and2006, returns to sing the role again. Sieglinde, Siegmund’s sister andlover will be sung by Heidi Melton; Wotan is Johan Reuter; Hunding,Sieglinde’s brutal husband is Dimitry Ivashchenko; and Fricka,Wotan’s implacable goddess-wife is Janina Baechle. For more informationabout both productions, visit coc.ca.Crunching the numbers: At the end of October this year the COCheld its Annual General Meeting covering the 2013/14 fiscal year andreported “an impressive average attendance of 94 percent (an increaseof 4 percent over last season),” a figure that was duly disseminated in30 | December 1 2014 - February 7, 2015 thewholenote.com
the media. By comparison in 2012/13 the COC had90 percent attendance.Digging deeper into the numbers is interestingthough: in 2012/13 the company presented61 performances totalling 114,133 tickets sold.In 2013/14 it had 94 percent attendance for 58performances totalling 111,421 tickets sold. Thusthe percentage “increase” of 4 percent at eachshow had as its corollary a 2.4 percent decline inoverall attendance.Worrying is that the numberof tickets sold has now declined for the fifth yearin a row. Average attendance of 94 percent pershow is indeed impressive, but not if the onlyway to achieve those numbers is by decreasingthe number of productions, and the number ofperformances of thoseproductions.Other diversions:The COC winterseason only beginsat the end of January,but there are manyoperatic diversions inDecember. The starriestof these is a concert productionRussell Braunas Don Giovannifrom 2013 TeatroReal Madridproduction.with orchestra of Gioacchino Rossini’slast, and, many would say, greatest opera,Guillaume Tell (1829). It is based onFriedrich Schiller’s play Wilhelm Tell(1804) about Switzerland’s struggle forindependence from the Habsburg Empirein the 14th century. The most famousepisode is when the Habsburg tyrantGessler demands proof of Tell’s skill as amarksman by having him shoot an appleoff the head of Tell’s own son. Musically, the opera is best known forits overture, which despite the fame accruing to it from its use in TheLone Ranger and in countless cartoons, in fact provides a précis of theentire action of the opera.The single performance on December 5 is part of a North Americantour of the Teatro Regio Torino with its full orchestra and chorus. Theopera-in-concert will be presented in its Italian version (from 1833)with English surtitles and will be conducted by the company’s famedmusic director Gianandrea Noseda. Featured among the all-Italiancast are baritone Luca Salsi as Guglielmo Tell, mezzo-soprano AnnaMaria Chiuri as his wife Edwige, soprano Marina Bucciarelli as his sonJemmy and bass Gabriele Sagona as the villainous Austrian governorGessler. The running time is approximately four hours. Consult theToronto Symphony Orchestra website (tso.ca) for more information.Next in December is another reimagining of Mozart’s DonGiovanni, this time as #UncleJohn by Toronto’s small but feistyAgainst the Grain Theatre which produced a highly successful Pelléaset Mélisande outdoors earlier this year. Director Joel Ivany’s notionis to change the period to the present and to set the entire action atthe reception for the marriage of Zerlina and Masetto. There is nostage. Instead, the singers mingle with and sing from the audience asinvited members of the reception. Ivany has translated and updatedDa Ponte’s libretto so that Leporello’s famous catalogue aria nowcounts up Uncle John’s social network followers. Ivany’s version wasdeveloped in conjunction with the COC at Banff and had its highlypraised premiere there in August 2014.Cameron McPhail sings Uncle John, Neil Craighead is Leporello,Miriam Khalil is Donna Elvira, Betty Waynne Allison is Donna Annaand Sean Clark is Don Ottavio. The design is by Patrick Du Worsand the accompaniment is by a piano quintet with conductor MilošRepický at the piano. #UncleJohn plays at The Black Box Theatre,December 11, 13, 15, 17 and 19.December and January also hold offerings for those seeking musictheatre written before Mozart or after Rossini. Toronto OperettaTheatre presents Gilbert and Sullivan’s ever-popular The MikadoDecember 27, 28 and 31, 2014, andJanuary 2, 3 and 4, 2015. The productionfeatures Joseph Angelo, Lucia Cesaroni,Adrian Kramer, David Ludwig and GilesTomkins. Derek Bate conducts andGuillermo Silva-Marin directs.From January 15 to 17 Toronto MasqueTheatre presents a new production ofHandel’s Acis and Galatea (1718) at theEnoch Turner Schoolhouse. LawrenceWiliford sings Acis, Teri Dunn is Galatea,Peter McGillivray is Polyphemus andGraham Thomson is Damon. LarryBeckwith conducts a seven-memberperiod instrument band from the violin.Daniel Taylor’s Schola Cantorum will bethe chorus.Meanwhile Opera by Request is busywith Humperdinck’s Hansel and Gretel(1893) on December 7, Moreno Torroba’szarzuela Luisa Fernanda (1932) onDecember 10, the Canadian premiereof Danish composer August Enna’sThe Princess and the Pea (1900) onJanuary 11 and Mozart’s Die Entführung aus dem Serail on January 24.All performances are in concert at the College Street United Churchwith William Shookhoff as pianist and music director.Finally, on February 1, Voicebox: Opera in Concert presentsKurt Weill’s Street Scene (1946) with Jennifer Taverner and ColinAinsworth. Robert Cooper is the conductor and pianist.Christopher Hoile is a Toronto-based writer on opera andtheatre. He can be contacted at opera@thewholenote.com.JAVIER DEL REALBRENT CALISthewholenote.com December 1 2014 - February 7, 2015 | 31
July/August issue is now available in flipthrough HERE, bringing to a close 25 seasons of doing what we do (and plan to continue doing), and on stands early in the week of July 5. Not the usual bucolic parade of music in the summer sun, but lots, we hope, to pass the time: links to online and virtual music; a full slate of record reviews; plenty new in the Listening Room; and a full slate of stories – the future of opera, the plight of small venues, the challenge facing orchestras, the barriers to resumption of choral life, the challenges of isolation for real-time music; the steps some festivals are taking to keep the spirit and substance of what they do alive. And intersecting with all of it, responses to the urgent call for anti-racist action and systemic change.
"COVID's Metamorphoses"? "There's Always Time (Until Suddenly There Isn't)"? "The Writing on the Wall"? It's hard to know WHAT to call this latest chapter in the extraordinary story we are all of a sudden characters in. By whatever name we call it, the MAY/JUNE combined issue of The WholeNote is now available, HERE in flip through format, in print commencing Wednesday May 6, and, in fully interactive form, online at thewholenote.com. Our 18th Annual Choral Canary Pages, scheduled for publication in print and flip through in September is already well underway with the first 50 choirs home to roost and more being added every week online. Community Voices, our cover story, brings to you the thoughts of 30 musical community members, all going through what we are going through (and with many more to come as the feature gets amplified online over the course of the coming months). And our regular writers bring their personal thoughts to the mix. Finally, a full-fledged DISCoveries review section offers cues and clues to recorded music for your solitary solace!
After some doubt that we would be allowed to go to press, in respect to wide-ranging Ontario business closures relating to COVID-19, The WholeNote magazine for April 2020 is now on press, and print distribution – modified to respect community-wide closures and the need for appropriate distancing – starts Monday March 30. Meanwhile the full magazine is right here, digitally, so if you value us PLEASE SHARE THIS LINK AS WIDELY AS YOU CAN. It's the safest way for us to reach the widest possible audience at this time!
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.
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!).
