"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!
CONVERSATIONS AT THE
CONVERSATIONS AT THE WHOLENOTE Sondra Radvanovsky Comes Home DAVID PERLMAN Making our way to Sondra Radvanovsky’s rural Caledon, Ontario home, on this particular October day, takes us down a blazing gold avenue to the side door of a spacious country house on ten hilly acres, about an hour and a half’s drive from Toronto’s Four Seasons Centre for the Performing Arts. Nice thing about arriving at the side door is it takes one into the house through a light-filled informal side room, past an upright piano laden mostly with opera scores, and lumped in among them an oversize box of Crayola crayons. The wall behind the piano is covered with posters for various operas. The posters collectively supply a snapshot of contemporary opera’s greats – its greatest singers, conductors, directors and opera houses. Radvanovsky’s name is nestled in among them in each poster. I’m already mumbling my (only partially sincere) apologies for the intrusion as I sidle in the door. True, I am disrupting one of a few precious days of “down home” time for Radvanovsky before she and husband/manager Duncan Lear must hit the road again. She has just completed five Donizetti Anna Bolenas at the Met, as well as a glittering New York appearance at the annual Park Avenue Armory Gala (alongside electropop duo The Young Professionals). From here it’s on to Berlin for Manon Lescaut and Tosca. And it’s only October. This season, by the time it’s over, will see her achieve the almost unthinkable feat of performing Donizetti’s “Three Queens” at the Met in a single season. A veritable operatic grand slam, for those of you who don’t mind a sporting metaphor or two. (After all, it was just the fact of taking on Roberto Devereux, Maria Stuarda and Anna Bolena that Beverly Sills described as shortening her operatic career by at least five years.) So, it’s a season that promises to put paid, once and for all, to the lingering label of Radvanovsky as “the greatest Verdi soprano you’ve never heard of” that has inexplicably dogged her career. Best news of all from a Toronto perspective is that, courtesy of Show One Productions and the Royal Conservatory, we will have the opportunity, sooner rather than later, to hear Radvanovsky in the relatively intimate context of a solo recital, December 4 at Koerner Hall, with pianist Anthony Manoli, who, perhaps more than any other musician, has helped to shape her career. (This is why my apology as I enter the side door of her Caledon home is only partly sincere. This is the story I am here to get, and she, being a consummate musical professional in the modern sense of the word, understands that interviews like these are an integral part of the job.) Anthony Manoli: Her professional relationship with Anthony Manoli goes back a very long time. “Twenty years!” she says. “I know; I call him my first husband!” It’s a particularly interesting association in the context of the Three Queens Met marathon now under way. Because it was Manoli, as she explains, who put her on the path of going beyond Verdi - the composer with whose work her career had become inextricably linked - to Donizetti. “He’s the one who heard it” she says. “He heard it in my voice. I had no idea; this was a whole new world that opened up to me. I wasn’t all that familiar with the bel canto repertoire, and we started with Lucrezia Borgia, actually; that was my first foray into the bel canto. And then the Met approached me with the Three Queens, and I said, ‘I’m not so familiar with those. Let me go home and look at them first.’ I knew Bolena, but Maria Stuarda: no. And Devereux: really no ... So we took some time and looked through them and I said, ‘Yes, absolutely. I want to embrace it and take the challenge’.” Asked what she thinks it was Manoli heard in her voice at that moment, she becomes reflective. “You know, my voice is a very unique voice – and not saying that egotistically – but it’s … voices fit into boxes, and mine doesn’t really seem to fit into a conventional box. I would say that it’s a large instrument, but it’s not thick. It’s not like a Deborah Voigt, who has a very thick voice, you know, a dramatic voice. Mine is loud, yes, and it confuses people sometimes because they think, ‘Wow, it’s so loud that you should sing Turandot and all the dramatic soprano roles’; but ... I [also] have that agility and I think it really fits more into that category of soprano d’agilità, like Maria Callas in many ways. And it took a long time to really find that niche for me. So I started out with more of the big, full Verdi and then we found this flexibility.” Curiously, the turning point came at a moment in her career that could have been devastating – 2003, after she had vocal cord surgery. “I think that’s where it all came from because I was starting with a clean slate and I didn’t have this impediment that was constantly blocking my voice. And we found this agility in the voice and thought, ‘Wow! Use it!’” I ask her about Beverly Sills’ comment about the Three Queens taking five years off her performing life. “I would call her – she was probably a coloratura soprano, and I think I have a little more weight in my voice, so that the Anna Bolena, which is probably the heaviest of the three, really doesn’t weigh me down, the dramatic demands of that role. Whereas I think that probably weighed her down a lot. I’m sure Roberto Devereux for her was easy! Which for me is going to be probably the most challenging.” We’ve heard her rise to the challenge of Devereux already here, at the COC about a year and a half ago. But there will be differences this time round. “It’s going to be a new production by Sir David McVicar again ... The Anna Bolena was done for Anna Netrebko, four years ago; then we go onto the Maria Stuarda that was done for Joyce DiDonato, probably about two years ago; and then mine will be the new, the last new one. And that will complete the whole cycle.” And down the road? “Well, we do have some new roles coming up. Honestly, I’m very happy singing what I’m singing now. And as long as I can keep singing the bel canto, it keeps the voice young, fresh, flexible, all of that. Mozart didn’t work for me as medicine for the voice. It just didn’t. So this is my medicine for the voice: the bel canto, the early Verdi. Maybe a few later Verdi works will be coming in – some bigger, more spinto roles. Maybe some Russian repertoire will be coming in. And maybe some German repertoire.” “I notice you’ve got some Strauss art song in your December 4 recital,” I say, fishing. “Baby steps!” she replies. “Is that a clue?” I ask, and she relents, slightly. “It probably will be a bit of Strauss and it might be some Korngold in the mix, in the operatic repertoire, and Russian, might be some Tchaikovsky, so yeah, baby steps. You know I think I don’t want to get too dramatic too soon, if I don’t have to. Because I think once you go down that path, there’s no turning back. So I think the voice, more than anything, will tell us when it’s ready to do that. And I think it’s starting to say, ‘Why not?’ I did the Four Last Songs last year, here with the Toronto Symphony, and that was a lot of fun. So ...” In Recital: The program for her December 4 recital is a combination of arias and art song that seems to be the way these days. “Aria in recital is an odd one for me, as an audience member,” I challenge. “It’s like figure skating [replays] where all they show you are the triple axels - all arias without the recitative and without the build.” She has clearly thought about it. “You know, I think nowadays the whole context of recital has changed,” she says. “I think the audience wants to see kind of a snapshot of who you are. My last Koerner Hall recital [Toronto Summer Music, July 31, 2014] was just that, a snapshot: I talked to the audience. I think that’s what they want. They want to know who I am, not only as a singer but as a person. And I am an opera singer. I don’t call myself a recitalist. So this program kind of displays who I am musically. I try to give a snapshot of where I’ve come from – so Rusalka is there. And La Mamma Morta is where I’m going. And I do have Chénier scheduled in the future. So to show people, kind of, this is what I do vocally. But also the language of the 8 | Nov 1 - Dec 7, 2015 thewholenote.com
METROPOLITAN OPERA Sondra Radvanovsky in Roberto Devereux recital is definitely art song .. so I want to give them both, a little bit of both, but definitely more art song than aria, to kind of end it with a bit of a ‘Wow!’ ... Everything on this recital is music that I love. Because Renata Scotto told me, ‘If you don’t love it, they’ll know it, so don’t do it.’ So everything on this, I love. And it relates to me in one way or another and when they come to the recital, they’ll see how it all relates to me.” Toronto Masterclass: Along with the December 4 Koerner concert, Radvanovsky will also give a masterclass December 1 at 2pm in Walter Hall at the University of Toronto Faculty of Music. It’s a side of her that we have not seen much of before, but from what she says, this is something that is sure to change. “Everywhere I go in the world, I teach masterclasses, usually for free. And I think that will be my passion once I decide to retire from this crazy world, just to keep passing it along. It’s my real passion. It’s passing on that knowledge that I’ve acquired over 20-some years of doing this trade ... passing it on to the new generation, because I felt that I was given so much information along the road, being in the Lindemann Young Artist [Development] Program, and working with the greats, with Renata Scotto, with Régine Crespin, having a close relationship with all these people, picking their brains–this is my 20th year of singing at the Metropolitan Opera. Hearing these people and passing that on: I think it’s my duty and my job to help young kids because if I don’t, what’s going to happen to opera? Next year, and the year after ... It’s a comfortable hour and a half drive from the Four Seasons Centre for the Performing Arts at University and Queen to that country house in the Caledon Hills, with its basement home gym for the opera singer who fully understands that she is an athlete, and its upright piano covered with thumbedthrough scores, marked up with Crayolas. The journey to and from the FSCPA is not one that she has made often enough for some of us, I tell her. “I know I can’t ask what it is,” I say. But will there be news, at the Canadian Opera Company 2015/16 launch this coming January to change that situation? thewholenote.com Nov 1 - Dec 7, 2015 | 9
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!
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!).
