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Volume 24 Issue 1 - September 2018

  • Text
  • September
  • Jazz
  • Toronto
  • Musical
  • Symphony
  • Quartet
  • Orchestra
  • Festival
  • Theatre
  • Violin
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.

Beat by Beat | On Opera

Beat by Beat | On Opera she approaches her touch on the keyboard as being like Zen meditation. “The fluidity comes from the fingertip – that’s where you have to focus your energy. All extra movements such as in the elbows take away from the energy you need to play a line. The body needs to be aligned, and you need to be both flexible and strong at the same time.” Another important aspect that she learned early on was the importance of maintaining the electrical current within the music itself, a current that begins with the first note and continues up until the last one. Keeping the energy moving requires focus on the melodic line. “No matter how many chords and notes, what is important is the melodic line.” All the training, practice and inner focus come together for the performance – and these two new CDs will be a welcome addition to her ongoing contribution to Canadian musical life. Hadrian Heads Up a Season of Premieres and Rare Treats MARTIN REIS IN WITH THE NEW QUICK PICKS Brodie West Quintet !! SEP 8, 7:30PM: CMC Centrediscs, Bekah Simms’ impurity chains CD launch, Canadian Music Centre. In the spirit of celebrating new CDs by women creators, this launch marks the first recording of Simms’ music that abounds with the sounds of 21st-century chaos. Combining both acoustic and electroacoustic soundworlds, Simms weaves references to diverse traditions, from folk to concert. !! SEP 12, 8PM: Guelph Jazz Festival. SUNG RA, Guelph Little Theatre. Rory Magill’s take on the legendary Sun Ra with his own Rakestar Arkestra combined with Christine Duncan and the Element Choir. !! SEP 16, 8PM: Guelph Jazz Festival. Allison Cameron and Ben Grossman, Silence. These two eclectic composers join forces to perform improvisations on a wide array of instruments and objects, percussion, and electronics. !! SEP 21, 6PM & 8PM: Music Gallery and Musicworks, The Brodie West Quintet “Clips” album release + Wow And Flutter. Join hosts Fahmid Nibesh and Joe Strutt for an interactive look-back at the 40-year legacy of Musicworks magazine & CD, to be followed by the music of the Brodie West Quintet for their Clips album release and the improvisations of the Wow & Flutter trio !! SEP 27, 12PM: Canadian Opera Company, Awasaakwaa (Beyond, on the Other side of the Woods), Richard Bradshaw Amphitheatre. A solo recital by acclaimed Odawa First Nation composer and performer Barbara Croall, presenting her own compositions for voice and pipigwan (Anishinaabe cedar flute). Croall is currently preparing for a major performance piece about Saint Kateri Tekakwitha, a Mohawk woman who was made a saint. More details about that coming later this fall. !! OCT 6, 8PM: New Music Concerts, Linda Bouchard’s Murderous Little World, Betty Oliphant Theatre. NMC begins its new season with this music and theatre performance work, directed by Keith Turnbull with texts by Anne Carson. Combining an electronic score with live performers who double as actors, this event promises an emotional experience full of artistic electricity and intellectual prowess. Wendalyn Bartley is a Toronto-based composer and electrovocal sound artist. sounddreaming@gmail.com. CHRISTOPHER HOILE Judging from the playbills that opera companies have announced so far, the 2018/19 season looks to be an exciting one. Nearly every company, large or small, has a rarity or world premiere on offer to spice up the year. Hadrian: The most anticipated of these is the world premiere of Hadrian by Rufus Wainwright to a libretto by Daniel MacIvor. This is the first new opera that the Canadian Opera Company (COC) has commissioned for the main stage since The Golden Ass in 1999 by Randolph Peters to a libretto by Robertson Davies. Strangely enough, Hadrian also has a Roman theme, in that it focuses on how the grief of the Emperor Hadrian (reigned 117-138AD) for his lover Antinous begins to distract him from affairs of state. For the premiere, the COC has assembled a starry cast that includes Thomas Hampson as Hadrian, Isaiah Bell as Antinous, Karita Mattila as Plotina, the widow of Hadrian’s predecessor, and Ben Heppner as Dinarchus. Johannes Debus conducts and Peter Hinton directs. The opera runs from October 13 to 27. The COC fall season begins with the Canadian debut of Robert Carsen’s production of Tchaikovsky’s Eugene Onegin. Gordon Bintner sings the title role and Joyce El-Khoury the role of Tatyana, the young woman infatuated with Onegin. Johannes Debus conducts the opera, which runs from September 30 to November 3. The COC’s remaining operas are standard repertory but with some spicy casting – Richard Strauss’ Elektra running January 26 to February 22, Mozart’s Così fan tutte running February 5 to 23, Puccini’s La Bohème running April 17 to May 22 and Verdi’s Otello running April 27 to May 21. Elektra will be of special interest since it stars two former COC Brünnhildes – Christine Goerke as the vengeful Elektra and Susan Bullock as her hated mother Klytämnestra. Otello should also be exciting with Russell Thomas in the title role and with Gerald Finley as Iago. Daniel MacIvor, librettist of Hadrian GUNTAR KRAVIS 30 | September 2018 thewholenote.com

MATTHEW WELCH Rufus Wainwright, composer of Hadrian Opera Atelier begins its season with two one-act operas it has never paired before. The first is Actéon (1683) by Marc-Antoine Charpentier and the second is Pygmalion (1748) by Jean-Philippe Rameau. Colin Ainsworth sings both title roles, Mireille Asselin sings Diana in the first and Amour in the second and Allyson McHardy sings Juno in the first and Céphise in the second. The double bill runs from October 25 to November 3 in Toronto and will later tour to Chicago and Versailles. OA’s spring opera is Mozart’s Idomeneo (1781), but the draw for many people will be the return of soprano Measha Brueggergosman to the Toronto stage after a ten-year absence to sing the role of Elettra as she did when OA premiered this production in 2008. The rest of the cast is just as noteworthy. Colin Ainsworth sings Idomeneo, Wallis Giunta is Idamante, Meghan Lindsay is Ilia and Douglas Williams is Neptune. As usual Marshall Pynkoski directs and David Fallis conducts the Tafelmusik Baroque Orchestra. The opera runs from April 4 to 13, 2019. Tapestry Opera has much in store. From September 13 to 16 it presents Tapestry Briefs, in which four singers present short operas by four composers and four librettists. On March 29 and 30 it presents Songbook IX, a collection of highlights from Tapestry’s 39 years of opera creation. Tapestry also will present two new full-length operas. The first is Hook Up by Chris Thornborrow to a libretto by Julie Tepperman, running from January 29 to February 9. The opera looks at the difficulties encountered by three friends when they discover sexual freedom at university, along with questions of shame and consent. The opera features three singers best known for work in musicals rather than opera – Alicia Ault, Nathan Caroll and Jeff Lillico. The second is Shanawdithit by Dean Burry to a libretto by Yvette Nolan. The opera tells of Shanawdithit (1801-1829), who was the last recorded surviving member of the Beothuk Nation in Newfoundland. In the last months of her life she created a series of drawings that expressed the loneliness of survival and her lost history. Kwagiulth and Stó:lo First Nations, English, Irish and Scottish mezzo-soprano Marion Newman sings the title role, with the rest of the cast and the performance dates in May 2019 to be determined. Toronto Operetta Theatre presents two of operetta’s greatest hits with Johann Strauss, Jr.’s Die Fledermaus running from December 28, 2018, to January 2, 2019, and Franz Lehár’s The Merry Widow running from April 23 to 28, 2019. In between these blockbusters, 2018 2019 SUNDAY OCTOBER 21 Comedy Unbound! A Tribute to Stuart Hamilton SUNDAY NOVEMBER 25 Werther by Jules Massenet SUNDAY FEBRUARY 3 Fierrabras by Franz Schubert SATURDAY MARCH 30 & SUNDAY MARCH 31 The Rise and Fall of the City of Mahagonny by Kurt Weill Guillermo Silva-Marin General Director EXTRA EVENTS TUESDAY SEPTEMBER 25, 2018 Little Mahagonny A tribute to Kurt Weill WEDNESDAY APRIL 3, 2019 Viva Verdi A tribute to Giuseppe Verdi Information: Call 416-922-2147 or e-mail admin@operainconcert.com Visit www.operainconcert.com thewholenote.com September 2018 | 31

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 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
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
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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