wholenote· The Toronto Concert-Goer's Guide Volume 11 #10, July 1 - September 7, 2006 Copyright© 2006 WholeNote Media, Inc. 720 Bathurst Street, Suite 503, Toronto ON M5S 2R4 General Inquiries: 416-323-2232 firstname.lastname@example.org concerts I ju ly TUES. JULY 4 I 7:30pm Opera Goes to the Movies Patricia Roach, soprano Pamela MacDonald, mezzo John Tiranno, tenor John Fanning, baritone Alex Reynolds, host Dofasco Centre for the Arts The greatest opera arias used in film . Carmen I Gallipoli, Magnolia La Boheme I Moonstruck Don Giovanni I Don Juan de Marco Tales of Hoffmann I Life Is Beautiful Publisher: Allan Pulker email@example.com Ed itorial Office: 416-603-3786; Fax: 416-603-4791 Editor-in-Chief: David Perlman firstname.lastname@example.org Discoveries Ed itor: David Olds, email@example.com Beat by Beat: Quodlibet (Allan Pulker); Early (Frank Nakashima); Choral (Larry Beckwith); World (Karen Ages); New Music (Keith Denning, Jason van E yk); Jazz (Jim Galloway, Sophia Perlman); Band (Merlin Wiiiams); Opera (Phil Ehrensaft, Christopher Haile); TMA (Brian Blain); Musical Life (mJ Buell); Books (Pamela Margles) Features (this issue): Pamela Margles, KarenAges, David Olds CD Reviewers (this issue): Karen Ages.Alex Baran, John Beckwith, Larry Beckwith, Daniel Foley, Janos Gardonyi, John S. Gray. Richard Haskell, Tiina Kiik, Pamela Margles, Heidi McKenzie, Gabrielle Mclaughlin, Alison Melville, Frank Nakashima, Ted O'Reilly, Jamie Parker, Sophia Perlman, Cathy Riches, Tom Sekowski, Bruce Surtees, Merlin Williams Editorial Assistant: Donald Pulker Proofreaders: Simone Desilets, Karen Ages, Sheila McCoy Advertising, Memberships and Listings: Phone: 416-323-2232; Fax: 416-603-4791 National & retail advertising: Allan Pulker, firstname.lastname@example.org Event advertising/membership: Karen Ages, email@example.com Production liaison/education advertising: mJ Buell, firstname.lastname@example.org Classified Advertising; Announcements, Etc: Simone Desilets, email@example.com Listings co-ordinator : Vanessa Wells/Les Redman, firstname.lastname@example.org Jazz Listings: Sophia Perlman,email@example.com Circulation, Display Stands & Subscriptions: 416-406-5055; Fax 416-406-5955 Circulation Manager: Sheila McCoy, firstname.lastname@example.org Paid Subscriptions (/year + GST) Production: 416-351-7171; Fax: 416-351-7272 Production Manager: Peter Hobbs, email@example.com Layout & Design: Verity Hobbs, Rocket Design (Cover Art) Web/ Systems/Special Projects 416-603-3786; Fax: 416-603-4791 Systems Manager: Paul Farrelly, firstname.lastname@example.org Systems Development: Ji m Rootham, James Lawson Webmaster: Colin Puffer, email@example.com Back to Ad Index brottmusic.com REG I SNR 905.525.7664 x.16 I 888.475. 9377 firstname.lastname@example.org DATES AND DEADLINES Next issue is Volume 12--#-1 covering September 1 - October 7, 2006 Free Event Listings Deadline: 6pm Tuesday August15 Display Ad Reservations Deadline: 6pm \M?dnesday Augus!l6 Colour Ads Deadline: 6pm Thursday August 17 Black and Wh ite Ads Deadline: 6pm Friday August 18 Publication Date: Thursda Au ust 31 Whole Note Media Inc. accepts no responsibility or liability for claims made for any product or service reported on or advertised in this issue. l'.3E.!I CCAB Qua lified Circulation, !j'fpt, March 2005: 33,402 .... Printed in Canada by Couto Printing and Publishing Services .. w Canadian Publication Product Sales Agreement 1263846 ISSN 14888-8785 WHOLENOTE Publications MailAgreement #40026682 Return undeliverable Canadian addresses to: WholeNote Media Inc . 503-720 Bathurst Street Toronto ON M5S 2R4 www.thewholenote.com WWW. THEWHOLENOTE.COM J ULY 1 - SEPTEMBER 7 2006
This month's cover: Sculptor Ruth Abemethy's Glenn Gould bench sits more usually on CBC Toronto's Front Street sidewalk right outside the Glenn Gould Studio. Elliott Carter obliged Andre Leduc with the photo before a concert there during Mr. Carter's recent visit. The building is the former Philipsville Baptist Church about an hour and a quarter west of Ottawa, photo courtesy Toronto harpsichordist Paul Jenkins. Jenkins will flee there after an early July Toronto date with Musica Franca. And for the third year in a row, he will mount the Philipsville Festival. It's definitely not the biggest kid on the festival block! This year it will be only one concert. But Philipsville is close enough to Ottawa to provide a handy stopover for musical pilgrims on the festival trail. (He's snagged Aradia this year, for example, on their way to Ottawa.) He's expecting "mostly local people" in the audience but, hey, who knows? It's the magic of festival time. "Have marimba will travel" Each summer our rural and small town landscape explodes with festival energy, a huge amount of it musical. This has an interesting impact on the bigger cities. Toronto, for example becomes just another port of call for musicians going from one festival to another. We get fine performers from a much wider Canada dropping in because we happen to be halfway. Anne-Julie Caron, the subject of Karen Ages' profile, One to Watch, on page 15, is a good example. The grand opening of the new really truly Opera House Colin Eatock, making a welcome return to the WholeNote fold after a year in the wilds of London (England), saw/heard much of the opening festivities this month, and has a particular point to make in T.0. Musical Diary. I was there too, for a couple of the events - the Sunday morning official ribbon-cutting, and the Friday night second-of-three opening concerts. Oh, and the following weekend I stood on the (woefully inadequate) Richmond Street sidewalk by the stage door to pick up my child who sang in a series of short concerts to inaugurate the House's "city stage" lobby concert area. So what did I think? Well I liked a story the Ontario Minister of Culture and Something told at the ribbon cutting about a rich man giving a hungry youth money then scolding the youth for "wasting" some of the money on a flower ahead of buying food. The youth explained that having the flower was in order to have a reason to want to eat. It was a fine expression of why the seeming extravagance of a for real opera house is really not. (For an opera house launch, though, it was one of the disappointingly few bits of story telling on view.) One thing I didn't I ike was the chairs in the so-called "grand circle". That' s the level above the floor, where the really favoured sit on chairs that actually move around, and have the sanctuary of a little lounge to retreat to when characters in a really long opera are spending an act or so re-introducing themselves to their spouses. But fine wood chair legs groaning loudly and dismally on fme wood floor? Ouch. Dangerous precedent too, to give the loud chairs to the audience members with the greatest opportunity to stray. But I guess that's what concerts like these will help them fmd out and fix. But oh what a pearl of a hall lies nestled inside! There is going to be lovely music made, and heard!, in there. That's far and away the pinnacle of this achievement to date - that the building itself was built to serve the art within, not as the art object itself. j ULY 1 - SEPTEMBER 7 2006 Back to Ad Index David Perlman il'~
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