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Volume 22 Issue 2 - October 2016

  • Text
  • October
  • Toronto
  • Choir
  • Jazz
  • Orchestra
  • Symphony
  • Concerts
  • Arts
  • November
  • Musical
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!

soloists. So BO is going

soloists. So BO is going to animate it in that way and we have a lighting designer. We are just trying to break down some of the conventions of oratorio that are maybe strange to a younger audience. Bicycle Opera will do this because they will really bring it off the page. So it’s a little bit of a different approach.” The four soloists in the Pax Christi production are Bicycle Opera’s four core singers: “Geoff Sirett is our Elijah, Christopher Enns is our tenor; Larissa Koniuk (BO’s artistic director) is the soprano, and Marjorie Maltais is the mezzo. So we’ve hired the entire company…they are used to working together; they can spin ideas and when someone does something they can react because they know and trust each other very well on stage.” The collaboration will extend to a few kinetic elements for the choir as well. “The choir’s going to try to break a few oratorio conventions. They won’t be wearing black, they’ll be dressed a little differently so the lights will reflect off them nicer, and a group of them will be doing a bit of action – not over the top but just to bring it a little bit closer to our audience, to break down that fourth wall a bit.” Attempts to overlay operatic elements on orchestral or stand-andsing repertoire can fail spectacularly unless the work in question suggests the need for them. There is little chance of that happening here. From the earliest days of the oratorio’s gestation, Mendelssohn appears to have been inspired precisely by the story’s most intensely dramatic elements. According to a lovely detailed preface to the New Novello Choral Edition Mendelssohn Elijah, as early as 1836 Mendelssohn was grumbling in a letter to a friend, Karl Klingemann (who was busy arranging a performance of Mendelssohn’s St. Paul in Liverpool), that he wished Klingemann “would give all the care and thought you now bestow on ‘St. Paul’ to an ‘Elijah’ or a “St. Peter,’ or even an ‘Og of Bashan’.” And as momentum on the work built over the ensuing decade, one finds Mendelssohn’s librettist, the Rev. Julius Schubring admonishing Mendelssohn that “the thing is becoming too objective – an interesting, even a thrilling, picture…we must diligently set to work to keep down the dramatic and raise the sacred element.” To which Mendelssohn responds: “I figure to myself Elijah as a thorough prophet, such as we might again require in our own day…in opposition to the whole world and yet borne on angels’ wings…I would fain see the dramatic element more prominent, as well as more exuberant and Noel Edison defined – appeal and rejoinder, question and answer, sudden interruptions etc., etc.” Edison concurs. “The principles of oratorio, chorus, soloists, orchestra, recits, arias, are all there, but for me it’s not an oratorio, it’s an opera – it is Mendelssohn’s opera. It’s throughcomposed, it never stops except at intermission. It chugs right along, it tells the biblical story, it’s got hellfire and brimstone, it’s all Old Testament, Book of Kings, the Psalms, the resurrection of a dead youth, the ascension of Elijah in a fiery chariot, all the components of an opera. There are love duets, like the one between the Mother and the bass, the heavenly choir and the earthly chorus…In its scope, within its oratorio confines, it’s quite operatic.” Cooper is even more emphatic: “I’ve always had a passion for things operatic. When I was at the CBC, as you may or may not know, I created the show called Saturday Afternoon at the Opera which I produced for 30-plus years, and I’ve been with Opera in Concert for over 30 years and I’ve always loved working in the theatrical world. But when you look at that score, it’s very clear, that feeling of being throughcomposed. It may have 41 [separate] numbers but it’s not 41 numbers, it’s little dramatic choral scenas and they go lambasting the one into the other and that makes it hard to conduct. You really have to be on your toes and know what’s coming next to get all the transitions and the tempos. And interestingly for an oratorio of this period, you have scenes where you have the soloist with these dramatic little recitatives and arias interspersed with little choral moments of four or five measures, so it’s quite clear that Mendelssohn meant this to have the thrust and parry of an opera…it’s meant to go attacca…bang, bang, bang.” Assembling the forces: “Bang, bang, bang” certainly describes how the first Birmingham performance must have gone, based on the forces assembled for it: an orchestra of 125 and a choir of 271 (79 sopranos, 60 male altos, 60 tenors and 72 basses). “Pax Christi has 100 singers,” Stephanie Martin says, “but we’d never accommodate an orchestra that big (mostly because it would cost a great deal). But you see a lot of those Victorian oratorios where you do see an optional group doubling and playing to get a really huge sound. Ours will be a little bit scaled back from that, but really with modern instruments the balance is better with a smaller orchestra. In 1846, those people would probably still have been playing on gut strings, trombones with smaller bores. That makes a huge difference because Elijah is often accompanied by a chorus of trombones MUSIC FROM 5,000 YEARS OF CIVILIZATION ONE CONCERT ONLY BOOK NOW! • Original scores inspired by ancient Chinese civilization • Western classics from composers like Beethoven, Tchaikovsky, Dvořák & more • Ancient Chinese instruments accentuated by a full Western orchestra • Award-winning Chinese vocal and instrumental soloists Roy Thomson Hall, Toronto Sunday, October 23, 2PM Tickets: - 9 Box Office: 60 Simcoe Street, Toronto Presenter: 1-855-416-1800 shenyun.com/symphony Concert Hall: 416-872-4255 roythomson.com Listen to Carnegie Hall Recordings at shenyun.com/music 16 | October 1, 2016 - November 7, 2016 thewholenote.com

– modern trombone just blows the singer away. The 1846 orchestra would have been just a little bit lighter, so you could accommodate a few more players. And a lot of those back bench players would only have played at a few very climactic points when everyone is playing and it’s very exciting and the big Birmingham Town Hall organ would have been screaming away and it would have been quite grand. On our tour this summer, Pax Christi visited Birmingham because it was such a hotbed for oratorio composition and it was great to be there and see where Mendelssohn premiered Elijah, where [Hubert Parry’s] Judith was premiered, where [Elgar’s] Dream of Gerontius and Apostles were premiered…it was an amazing centre for innovation at the time.” Edison expands: “Back in 1846 everything was much grander then, even the work itself speaks to that Victorian sentiment of grandiosity. Messiah performances were often hundreds, even thousands of people, a city endeavour where everyone was involved. So that was the thinking and the makeup of the performances back in that generation. Stephanie referred already to the development of the modern instrument; but there’s also the development of the modern singer. They are much stronger, more focussed, more educated…and I think generally more equipped as artists in a singing ensemble. Mendelssohn’s Elijah or any of those big Victorian works – they do require a certain force in order to come off the page, I mean you can’t scale it down like you’re doing a Bach motet but you don’t need quite the grand numbers that they once did. I think our orchestra for this performance is about 50 and the choir is 120, 130. But I work hard to make sure that they are thin and refined and disciplined not lazy overly cholesterol-ridden, vocally. Otherwise this Victorian writing can turn into sentimental garbage really quickly and become very saccharine. Because it’s one bloody nice tune after another. I remember Bramwell Tovey once said to me ‘I don’t know why you like this piece, Noel. It’s like God is in every bar.’” For Cooper’s Chorus Niagara the scalability of the piece offers some extra challenges and opportunities this time round. “Well it’s a 2016-2017 Travels Through Time Friday, October 28, 2016, 8:00 pm A Time for Looking Back: Embracing our Choral Heritage Friday, December 9, 2016, 8:00 pm A Time for Celebration: A Canadian Christmas Friday, March 24, 2017, 8:00 pm A Time For Praise: Music to Uplift the Spirit Friday, May 26, 2017, 8:00 pm A Time for Looking Forward: Music of Young Composers For tickets or more information: 416-971-9229 www.exultate.net an Ontario government agency un organisme du gouvernement de l’Ontario challenge for us in the Niagara region because you know for 27 years we’ve been singing in churches and we’ve always been thrilled to have our place packed, but now we’re in an 800-seat performing arts centre which requires more singers on the stage and a much larger orchestra to really give the room the velocity and the volume of the sound that you want. So we have a chorus of 100-plus at Chorus Niagara but I am also bringing in a group from Redeemer College, which is a very important Bible college down in the Niagara region with a very good music program, so they are bringing more singers to join us as well…” QUICK PICKS Nov 5 7:30: Toronto Mendelssohn Choir. Elijah. Mendelssohn. Noel Edison, conductor. Lesley Bouza, soprano; Christina Stelmacovich, mezzo; Michael Schade, tenor; David Pittsinger, bass-baritone; Festival Orchestra. Koerner Hall. Nov 5 7:30: Chorus Niagara. Elijah. Mendelssohn. Robert Cooper, conductor. Russell Braun, baritone; Leslie Ann Bradley, soprano; Anita Krause, mezzo; Adam Luther, tenor; Niagara Symphony Orchestra; Redeemer College Alumni Choir. FirstOntario Performing Arts Centre, St. Catharines. Nov 5 7:30 and Nov 6 3:00: Pax Christi Chorale. Elijah. Mendelssohn. Stephanie Martin, conductor. Guest: The Bicycle Opera Project (Geoff Sirett, baritone; Christopher Enns, tenor; Larissa Koniuk, soprano; Marjorie Maltais, mezzo.) Grace Church on-the-Hill. David Perlman can be reached at publisher@thewholenote.com. Elijah! Toronto Mendelssohn Choir celebrates Noel Edison’s 20 th season Experience Felix Mendelssohn’s grand oratorio in the acoustically-magnificent Koerner Hall. David Pittsinger, bass-baritone Lesley Bouza, soprano Christina Stelmacovich, mezzo-soprano Michael Schade, tenor Festival Orchestra Sat, Nov 5 at 7:30 pm Koerner Hall, Telus Centre for Performance and Learning Tickets start at , VoxTix for 30 years and under. Tickets: 416-408-0208 or www.tmchoir.org Noel Edison’s photo by Brian Summers David Pittsinger’s photo by Christian Steiner thewholenote.com October 1, 2016 - November 7, 2016 | 17

Volumes 21-25 (2015-2019)

Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
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Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
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Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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