8 years ago

Volume 9 Issue 4 - December 2003

  • Text
  • Toronto
  • December
  • Jazz
  • Theatre
  • January
  • Symphony
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  • February
  • Musical
  • Arts

Give the gift of music.

Give the gift of music. Treat yourself, friends and family to great concerts with the TSO. Susan Graham Angela Hewitt Nicholas McGegan, conductor Angela Hewitt, piano Weber: Overture to Oberon Schumann: Piano Concerto in A Minor Mozart: "Chaconne" from Ballet Music from Idomeneo Beethoven: Symphony No. 1 Wed. Dec. 10 at 8 pm Thurs. Dec. 11 at 2 pm Tickets to Dec. 10 include a post-concert reception Tickets: Evening: - Matinee: - AIM Tri mark December Concert Series f~J AIM TRIMARK Choral Splendour Helmuth Rilling, conductor Simone Nold, soprano Anke Vondung, mezzo-soprano Fredrika Brillembourg, mezzo-soprano James Taylor, tenor Michael Dean bass-baritone University of 'roronto MacMillan Singers with the Elmer Iseler Singers Bach: Magnificat, BWV 243 Mozart: Mass in C Minor, l

COVER STORY: SNAPSHOTS compiled anil edited by David Perlman As always these three interviews, conducted by e-mail, commenced with the the same three-part request: Say who you are, as if for someone who doesn't know you; say something about what you 're doing now; say something about what you 're working on in the longer term. Follow-up was then as varied as the initial responses. Meet Gabrielle Mcwughlin; Howard Dyck; anil Johanne Goyette. SNAPSHOT #1 We are I FURIOSI Baroque Ensemble. We consist of two violins, cello and soprano and we focus primarily on the Baroque period, but like to mix it up with "crossover" pieces, sometimes pop, sometimes jazz, sometimes traditional. You may recognize us as the ; group in the leather. We wear a lot of leather I~ and PVC and try to resuscitate some of the r~J sex appeal of the Baroque era that has been " lost in academia. We tend to perform pieces that are rarely heard on stage, and look for appropriate visual accompaniment in our attire. Our members: me, Gabrielle McLaughlin, soprano; Aisslinn Nosky, violin; Julia Wedman, violin; Felix Deak, violoncello. At the moment we have just begun our 2003/2004 season. We are hoping our audiences will throw themselves into our somewhat more daring themes of the year: Italian Psycho (January 7) focusses on DonCarlo Gesualdo - a composer known also for having been quite a ruthless murderer. Instruments to Plague Us will feature music from the times of great plagues, and a new piece written in the time of SARS. Gloriously Drunk looks unabashedly at alcohol and complete, unadulterated intoxication thereby. Longer term: Several tours are in the works right now, as is a recording. We plan to continue our Toronto concert series and also to perform many concerts in places we have never been. We have toured parts of the United States and Great Britain, and have interest from other, warmer areas of the earth which we plan to explore in great detail. We are working on total world domination, but it seems it might be at least another few months. We'll let you know. FOLWW-UP: One of your concert releases afew seasons ago talked about your approach as "brazen refinement" - to deal with baroque's contradictions. You called it "an age in which the tenuous marriage between the Sacred and the Profane scandalized and intoxicated the European Nations." Are "scandalize anil intoxicate" still achievable? If so, how, if not, then what saves the "sex-and leather" from being dismissed as just a stunt? Scandal and intoxication are certainly still achievable. By placing the music into the appropriate contexts, it can be as scandalous and exciting as it was meant to be when it was written. Early Music tends to be linked with dried fruit and Birkenstocks in many people's minds, whereas a lot of it was written in very vivacious times when figures of power were throwing people's senses of morality and acceptability into a tailspin. Sex and leather is only one way in which our society today tries to continue to stretch the limits of moral acceptance. We seem to forget that sex was a tool used to grasp curiosity long before the 20th century, and it's only by updating that tool that I FURIOSI can reveal the tantalising nature of many of the works of the past. -"'7U2! makes this the right music for your instrument (your voice)? Partly it is simply the nature of my instrument itself, being straighter and more inclined toward word colouration than toward large, operatic, vibratic tone. I also have such a passion for the music that what makes it right for my voice is my love of it and my desire to perform it so that people will love it as much as I do. -How do your concert themes emerge? Choosing music for themes, or finding themes in the chosen music? Themes emerge from any one member's inspiration about things we find we are relating with on a daily basis. When planning a season, we find we have been harbouring certain themes that we are desperate to do because there is so much great music CONTINUES GREAT CHAMBER MUSIC DOWNTOWN GRYPHON TRIO 3 musicians - or an orchestra? Hear big, bold performances of Martinu, Ives and Beethoven Tues., Dec. 2 at 8 p.m. MARC-ANDRE HAMELIN Escape the December weather: Canadian superstar plays an. evening of Spanish composer Albeniz Tyes., Dec. 9 at 8 p.m. sic toronto ST. LAWRENCE STRING QUARTET Ravel - Golijov - Dvorak Adventurous music played with precision, warmth, electricity (NY TIMES) Thurs., Jan. 15 at 8 p.m. DUO TURGEON 2 pianos, 4 hands - the concert version - a wonderful varied programme Tues., Jan. 20 at 8 p.m. BARBARA HANNIGAN Soprano sings world premiere of James Rolfe's Rimbaud Songs Hear the best of the new! Thurs., Jan. 29 at 8 p.m. l+I ==:,no @%AT ~~Jane Mallett Theatre• N TJQ. ~ St. Lawrence Centre for thl' Aris .11 www.stlc.corn· 416-366-7723 • 1-800-708-6754 order online at DECEMBER 1 2003 - FEBRUARY 7 2004 WWW. THEWHOLENOTE.COM 7

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