5 years ago

Volume 10 Issue 7 - April 2005

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'"You have to assess

'"You have to assess your audienc..:e, and you really have to believe in your material, that it really is funny." Nevertheless, she admits, the first performance can be a "white knuckle flight. You don't know until you've done it if people will find it funny." Something she and Peter Tiefenbach have found too is that in rehearsal they can find something uproariously funny because it is clever. However, cleverness does not go far in the context of an entire show. "Humour," she observes, "has to come from something deeper." After the Guelph performances Fallis and Tiefenbach take the show NOT JUST ONE, but two harp­ to Iceland for several performances on May 6 and 7. I don't suppose they will be back in time for Even- sichords, being played by two of Quebec's outstanding harpsong on May 8, (Peter Tiefenbach EARLY Music sichordists - Olivier Fortin is !so a member of the same choir) and Luc Beausejour - in an but am sure their sight-singing skills all-German program of music will survive. After all, Mary Lou by various members of the Fallis is a primadonna who has · Bach family, as well as music learned to do more with less. DtPPING INTO THE LISTINGS ••• John Barnum will conduct the Mississauga Symphony (community orchestra) April 2 and May 7, and the Mississauga Philharmonic (profesional orchestra) April 16. The TSO also has a performance, part of its "New Creations" mini-series, on April 2. The "New Creations" series concludes with performances on April 6 & 7. The TSO has eleven more concerts listed in this issue, including one at the R.OM May 6. On April 21 & 22 the historic Kirov Orchestra, the resident orchestra of St. Petersburg's Mari-· insky Theatre, will bring its magic to Roy Thomson Hall, conducted by Valery Gergiev. We will also benefit from the Kirov's presence on April 24, when the Kirov Orchestra Brass Quintet performs in the Off Centre Music Salon's concert that afternoon (all because, I am told, Gergiev and Off Centre co-artistic director, Inna Perkis, went to music school together). There will also be a number of exciting student and youth orchestra concerts: on April 2 the Kitchener-Waterloo Symphony Youth Orchestra performs at the Centre in the Square; the Royal Conservatory's ARC Ensemble, an orchestra consisting of RCM faculty and senior students, performs music for a screening of The Passion of Joan of Arc on April 8, and two other film-related performances April 9 and 10, all at the Royal Ontario'Museum. The Mooredaie Youth Orchestras will also perform the afternoon of April 10, and the evening of April 9 the U of T Symphony Orchestra under Raffi Armenian will perform, among other things. Stravinsky's Firebird Suite and a concerto with the winner of the Kath.leen Parlow Competition. Another concerto competition winner, Sinfonia Toronto's, will be the soloist at Sinfonia Toronto's concert on April 2. On Friday, April 15 The Royal Conservatory Orchestra has a very interesting concert at Glenn Gould Studio, conducted by Alain Trudel, who is also conducting two other concerts, the U of T Faculty of Music Wind Ensemble on April 2 and the Toronto Symphony Youth Orchestra on May l, a program that includes the Shostakovich Tenth Symphony. The brilliant and versatile Trudel is definitely "one to watch," now and in the future. Violins, violas, cellos, and bows Complete line of strings and accessories Expert repairs and rehairs Canada's largest stock of string music Fast mail order service by Johann Ludwig Krebs and Georg Philipp Telemann. It's April 5, OnStage at the Glenn Gould Studio. Another visitor to our fair City this month is Australian virtuoso violinist Elizabeth Wallfisch (April 6-10,I2), appearing with the Tafelmusik Baroque Orchestra. She will be sharing the spotlight with Tafelmusik's star cellist Christina Mahler in a program that includes many opportunities to display their talents - music by Locatelli, Corelli, Durante, Tartini, and our favourite, Vivaldi. Visit the website: If you prefer to hear the masters of classical style, such as Mozart and Beethoven, the way they may have been heard in their own time, you will definitely enjoy their Viennese q4intets for fortepiano and winds (April 9), lovingly treated by Washington McClain (oboe), Colin Savage (clarinet), Michael McCraw (bassoon), Derek Conrod (horn), and Michael Jarvis (fortepiano). It's part of the Baroque Music Beside the Grange series - a rare opportunity to experience the transparent clarity of the fortepiano combined with the idiosyncratic colours of the historical winds. The SINE NOMINE Ensemble for Medieval Music (Janice Kerkkamp, voice and flute, Bryan Martin, voice and lute, Randall Rosenfeld, gittern, flute, and vielle, Andrea Budgey, voice, harp, and rebec) present The Road to Santiago - Medieval Music for the Pilgrimage to Compostela (April 10). The great church of Santiago (Saint James) at Compostela in the north-western Spanish region of Galicia was one of the most popular pilgrim destinations of the Middle Ages, and, not surprisingly, many pieces were written in honour of the saint and the BY FRANK NAKASHIMA pilgrimage. This ·particular program includes anonymous chant and pilgrim songs, as well as brilliant 13th-century liturgical po- Luc Beausejour lyphony by not-so-well-known composers as Johannes Legalis, Albertus Parisiensis, Goslenus of Soissons, and Ato of Troyes. The full version of this program is presented again later in the month (April 22). Their website is: The Musicians in Ordinary (soprano Hallie Fishel and lutenist John Edwards) take you to the courts of 16th century Tuscany, performing Italian Renaissance song from The Boitegari Lute Book (April 2). You may remember that Cosimo Bottegari was employed by the Medici Grand Dukes of Tuscany in the late 1500s, and his collection included both sacred and secular songs by Cipriano di Rore, Orlando di Lasso and Giaches de Wert and even some early Giulio Caccini, a name that was associated with the birth of the Baroque. You might like to visit the website: www .musiciansinordinary .ea Tafelmusik ends their season with the "premiere" of Handel's magnificent oratorio, Deborah, based on the Old Testament story of the prophetess Deborah (May 5-8). Joining the Tafelmusik Chamber Choir, and an expanded Orchestra on this occasion, is a stunning array of soloists, including soprano Ann Monoyios, countertenor Matthew White, and _baritone Locky Chung. Though not as well knowri as The Messiah, this work clearly higj11ights Handel's creative talents. Frank T. Nakashima ( is the President of the Toronto Early Music Centre, a non-profit charitable organization which promotes the appreciation of historicallyinformed performances of early music - temc APRIL 1 - MAY 7 2005

A Purcell spring feast Elsewhere in the magazine (Choral Scene p.22), Larry Beckwith points out the striking fact of not one, not two, but three productions of Henry Purcell's Dido and Aeneas taking place in the next while. Well, Beckwith 's own company, Toronto Masque Theatre, is doing its bit to keep Purcell in the early music limelight this month. What could be more de- 1 ightful than a masque featuring Henry Purcell's gorgeous music and William Shakespeare's beautiful words? The masque (not the kind used by Zorro or the Lone Ranger), is a combination of drama, music and dance. The. Fairy Queen in particular is often referred to as a "semi-opera" that combines music and spoken word in the way a musical does today. In this version, the Toronto Masque Theatre has replaced Purcell's adaptation of Shakespeare's words with excerpts from A Midsummer Night's Dream, and has added simple lighting, staging, dance, costumes, and accessories. tiny - the founding of Rome. The cast features Monica Whicher, Curtis Sullivan, Nathalie Paulin, The ensemble includes: actor Jennie Such, Laura Pudwell, Viland associate director Derek ma Vitols and Colin Ainsworth. Boyes; baroque dancer/choreog- Acteon, from the court of Loura'pher Marie-Nathalie Lacours- is XIV, is a wrong-place-at-theiere; and singers Daniel Auchin- wrong-time tale taken from closs, Benjamin Butterfield, Dan- Ovid's Metamorphoses and reiel Cabena, Teri Dunn, Jennifer counts the tragic story of Acteon Enns-Modolo, Anne Grimm, who accidentally stumbles upon Daniel Lichti, Peter Mahon, Bri- · the goddess Diana while she is an McMillan, Jason Nedecky and Lenard Whiting. The show plays in Toronto April 26 and 27, and in Guelph, kicking off the Guelph Spring Festival, April 29. Opera Atelier's double-bill of Henry Purcell's Dido and Aeneas and Marc-Antoine Charpentier's Acteon,·promises to be as lavish as Fairy Queen is spare, bringing together two operas that reflect I7th century Europe's fascination with "theatre as storytelling." Dido and Aeneas tells the story of Dido and her ill-fated love affair with Trojan hero, Aeneas. Their relationship ends suddenly when Aeneas is ordered by the gods to leave and fulfill his des- bathing (an easy mistake to make!). I fear that she over-reacted in transforming him into a stag, resulting in his own men and hounds hunting him to death! With the Tafelmusik Baroque Orchestra and Chamber Choir conducted by Daid Fallis as partners, Opera Atelier brings this "comic, ironic, sexy and deeply tragic" story to life. Frank Nakashima Yajelmusih Baroque Summer ItUiitute at the Faculty of Music I Univer sity of Toronto Jeanne Lamon I Music Director lvars Taurins I Director. Chamber Choir HSUC !Wcuri1ies (C:an:11lj) Inc. Mo:mrCIPF fOR ADVANCED STUDENTS, PRE-PROFESSIONAL· AND PROFESSIONAL MUSICIANS. An intensive 14-day residency in baroque period performance with a focus on orchestral and choral performance. Classes offered in voice, flute, oboe, bassoon, trumpet, harpsichord, lute, violin, viola, cello, bass, and viola d'amore. A programme for conductors and directors is also offered. APRIL 1 - MAY 7 2005 416-964-9562 I

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