THE SMARTEST ,, TilVIE TO INVEST IN A STEINWAY IS AL\VAYS THE SA lVlE. TODAY. Steinway Pianos have a legendary record ofjinancial appreciation, increasing in value to many times their original purchase price. lffe i11\lite you to visit us today or call for a complimentary investment brochure. 011tario'., Only Authorized Steinway Gallery and Restoration Centre. www.rernenyi.com On OPERA by Christopher Haile A house for all seasons The dream come true It seems impossible to believe, but it's true. On Sunday, June 11, Toronto's new opera house will open. On that day the Four Seasons Centre for the Performing Arts, the first purpose-built opera house in Canada will have its official ribbon-cutting. The COC has arranged a series of open houses and a host of celebratory events. The ribbon-cutting will symbolically bring to an end the 30 plus years the COC has struggled to have its own opera house. From its beginnings in 1950 the Canadian Opera Company performed at the Royal Alexandra Theatre, despite a pit accommodating at most 30 players. The company remained there until 1961 when it moved to the then new O'Keefe Centre (now the Hummingbird Centre). The O'Keefe, of course, was built as a touring venue not an opera house. There is no side stage or back stage for multiple sets to allow works to run smoothly in repertory. The pit holding at most 76 musicians has meant Wagner and Richard Strauss cannot be performed with full orchestra. The fan-shaped auditorium with 3, 155 seats on two levels was designed for size not intimacy or acoustics. The worst artistic minus is that from 1961 on amplification has had to be used so singers' and actors' voices could fill the hall. The idea that the COC should have its own house surfaced in the 1970s. The Odeon Carlton (now demolished), the Pantages (now the Canon) and the Elgin (where the company staged various productions in 1991-94) were all considered but all lacked sufficient backstage space and a large enough pit. Many will recall the period in the 1980s when the COC held a design competition for a ballet/house and had land designated for the building at Bay and Wellesley. Moshe Safdie won the competition and unveiled a spectacular model in 1989 scheduled to open in 1994. The Liberal government, however, gave priority to building the SkyDome. In 1990 the newly elected NDP government cancelled the government's financial commitment and in 1992 its offer of the land. (It did not go unnoticed that the 3 million the Ontario government lost in sale of the Sky Dome (now the Rogers Centre) in 1994 could have paid for the opera house. Such disappointments in the past make the physical presence of the building at Queen and University and its imminent opening seem all the more unreal. The Four Seasons Centre will not have the two side stages and the two back stages of the Safdie design, but will have one of each to allow three shows to run in repertory. Its pit will hold canary corrections, continued from p.18 offered for children in Grades 3- 6. For more information, call 416-932-8666, ext. 231. i nfo@torontochild renschorus. com www.torontochildrenschorus.com TORONTO WELSH MALE VOICE CHOIR The choir was founded in 1995 to kindle the tradition of four-part Welsh male voice singing. Under the leadership director David Low, associate director Lenard Whiting, and accompanist Kathryn Tremills, the choir has grown to an ensemble of 60 men from many ethnic backgrounds, performing approximately ten concerts a year. Membership requires an elemental audition, and an ear for, and a love of choral music. Repertoire includes: opera choruses, folk songs, show tunes, spirituals, and traditional Welsh music. Practices are held Wednesdays 7: 30-lOpm, September to June at Dewi Sant Welsh United Church, at Yonge/Lawrence. president@twmvc.com 416-410-2254 www.twmvc.com The Choral Canary Pages is available year-round at www.thewholenote.com Phone 416-323-2232 Main Store 210 Bloor St. \X' Toronto Tel 416.961.3111 North 1455 16th Ave. Richmond Hill Id 905 881 3400 ~------------ - -- - - 26 WWW. THEWHOLENOTE.COM ) UNE 1 - ) UL Y 7 2006 Back to Ad Index
Back to Ad Index 80 musicians in the open but can expand under the stage to accommodate up to 105. The auditorium will hold only 2000 on five levels in the time-honoured horseshoe format of the great opera houses of Europe. Unlike the European houses, however, there will be no "restricted-view seats" - all seats are designed to have a clear view of the stage. The ribbon-cutting ceremony on June 11 is an invitation-only event. On June 14 at 7.30pm comes a Fundraising Gala Concert featuring the COC Orchestra and Chorus and a spectacular line-up of Canadian opera stars including Ben Heppner, Adrianne Pieczonka, Gerald Finley and Brett Polegato. A live simulcast of the concert will be shown on large screens in Nathan Phillips Square. Further celebratory concerts follow on June 16 and 17 with the orchestra, chorus and stars. On June 17 and 18 are the first open houses for COC subscribers. Next is the schools' open house on June 23 featuring the first performance of a complete opera in the new house albeit in the main rehearsal hall , not in the auditorium. This is Dean Burry's Isis and the Seven Scorpions. Burry is already the composer of The Brothers Grimm, the most performed Canadian opera ever written, seen as part of the COC Ensemble school tours by over 50,000 schoolchildren since 2001. Isis, directed by Graham Cozzubbo and designed by Brent Krysa, concerns a group of university students who stumble across a lost temple of Isis and learn how the goddess travelled guarded by seven scorpions as she sought to hide her child Horus from the angry god Seth. When Isis seeks shelter in a village a rich woman, frightened by Isis's insect entourage, refuses her entry. A poor woman, however, helps the goddess who later comes to the woman's aid. On June 24 and 25 are the first open houses for the general public during which there will be mini-concerts by the COC Ensemble and further performances oflsis. The Four Seasons Centre is a dream come true not just for Toronto but for the nation. VocalPoint Chamber Choir Ian Grundy, Musical Director Stephen Powell, Interim Conductor Toronto's most dynamic semi-professional Chamber Choir ANNUAL OPEN AUDITIONS JUNE 2006 Experienced choral singers are invited to apply for paid and unpaid positions in the choir for the 2006/07 Season Phone (416) 461-8301 for an audition time index of advertisers WE ARE ALL Music's CHILDREN May's Child was musical theatre's Louise Pitre Louise grew up in Smooth Rock Falls, Ontario, the middle of three children. She began piano at six, and graduated from University of Western Ontario with a B.Mus(ed) en route to a sensible career as a high school music teacher -- except that performing in a revue (Flicks) during her final year at UWO had left her by mJ Buell hooked. She dug in her already elegant heels in the Toronto theatre scene - everything from temp-typing and wedding-singing with the same powerhouse energy that would eventually see her play Fantine in Les Miserables (Montreal, Toronto, Paris), and legendary French singer Edith Piaf in three different productions of Piaf As Donna Sheridan in Mamma Mia! (Toronto, Chicago, L.A., San Francisco) she made her Tonynominated Broadway debut at New York's Winter Garden Theatre. Louise's achievements include three Dora Mavor Moore awards (Mamma Mia!, Piaf, and Blood Brothers). She will receive an honourary diploma at the Humber Lakeshore Campus Nov 4th 2006, and an honourary Doctorate of Music June 12th at UWO. Louise's most recent recording is Shattered, which is her 3rd full-length CD - a "cathartic" journey of musical heartbreak songs. Currently ... ? She is the "Song" half of Song & Dance, the Andrew Lloyd Webber "concert for the theatre" held over for three weeks at the newly re-opened Danforth Music Hall. Song & Dance features Pitre, the Royal Winnipeg Ballet's internationally acclaimed Evelyn Hart and National Ballet of Canada soloist Piotr Stanczyk and a dynamite 6- person dance ensemble. Song and Dance will now run to June 18. CONGRATULATIONS to our winners! Tickets! Carrie Loring and a guest will attend a performance of Song and Dance at the Danforth Music Hall . CDs: Caroline Bonner and Irmgard Upmanis will each receive a copy of Shattered. Thank-you to all our readers who guessed. No June " Child" while we make a list Music's Children is busy making a list of mystery children for the 2006-2007 season! The contest series will relaunch in July/August . . 'Know someone whose photograph should appear on this page? Suggestions are most welcome! Contact musicschildren@thewholenote.com A CROBAT 4 0 Aucirn ARTS CHAMBER M usrc 33 A MADEUS CHOIR 19 AN AlEKTA 54 ASSOCIATES Of THE TSO 3 1 ATMA ClASSIOUE 7, 17, 2 1, 22 BAY BLOOR RADIO 56 BRon M usic FESTIVAL G5 CANClONE SERVICES 40 CARA A DAMS I J USTIN W ELSH 33 CBC RECOROS 47 CHRIST CHURCH DEER PARK J AZZ VESPERS 23 CoLUNGwooo Music FEsTIVAl G3 COSMO M USIC 23 Om SNIDER Music CENTRE 23 DAVID SWAN 32 ELENA C10RICI 40 Eu ANO FRIE NDS /LATIN SoutsTICE 23 ELORA f ESTIVAl Gl 1 ETOBICOKE CENTENNIAL CHOIR 2 0 f ESTIVAl OE LANAUOltRE 3 FESTIVAL Of THE Sourm 11 FESTIVAL WtNO ORCHESTRA 33 GEORGE H EINl 13 GRANO RIVER BAROQUE FESTIVAL 8 HARBOURFRONT CENTRE I ToRoNTO M usic GARDEN 29 HARKNETT M USICAL SERVICES 24 HARlEOUIN SINGERS 20 HEALEY WlllAN SINGERS 20 HEllCO NIAN HAll 40 HIGH PARK CHOIRS 19 I FUHIOSI B AROQUE ENSEMBLE 31 INNERM USICA 3 1 J AN ET CATHERlrlE DEA 32 LOCKRI DGE H1f1 13 LONG & M cOuAOE 38 M AESTRO ENTERPRISES 40 M ARKHAM THEATRE 5 M IKROKOSMOS 40 M oNTREAl BARoou, 8 M usrc FOR YouNG CHILDREN 39 Music IN THE ORCHARD, T ORONTO CULTURE 3 0 M usic M oNOAYS 28 M usic ON THE Hill 28 M usic Ptus 13 M usic ToRONTO 9 M usic, FRANCA 49 NAXOS 43 N,w Mus,c CONCERTS 31 No STRINGS THEATRE PRooucTIONS 36 NORTH 44' ENSEMBLE 20 ONTARIO GUilo Of HANOBEll R1NGERs 22 T AFElMUSIK B,Roou, ORGAN FDR Sm 41 SuMMER INSTITUTE 29 ORPHEUS CHOIR 18 TD CANADA TRUST 0SHAWA·0 URHAM SYMPHONY ORCHESTRA 34 T ORONTO J AZZ fESTIVAl 83 OTTAWA INT't. CHAMBER Music FESTIVAL 4 T ORONTO CHltORENS CHO RUS 19 PASOUAlE BROS . 4 0 TORONTO M ENDELSSOHN CHOIR 18 PETER MAHON 18 TORONTO SUMMER CHAMBER MUSIC PHIUP L. DAVIS, LUTHIER 17 FESTIVAL 2 RCM CoMMUNITY ScHoot 3 7 TORONTO SUMMER Music A cAOEMY REMEN YI HousE Of Mus,c 26 ANO FESTIVAL G6 ROBERT l owREY·s P1ANO EXPERTS 55 ToRONTO SYMPHONY ORCHESTRA 53 SINFONIA TORONTO 15 TRUE NORTH BRASS 30 Sou, o PosT 17 V1cTOmA ScHOlARS 32 SouNoAX1s G7 · G 10 VoCALPOINT 27 SRI CANADA 6 WHOlENOTE M AGAZINE 50. 51 ST. Ros, OF L1MA CHURCH 34 WHOtENDTE MARKETPLACE 39. 4 1 STRmo,o SuMMER Music Gl3 WoMENS Mus1cAt Cw, 16 T AfElMUSIK 52 WYCHWOOO PARK PRODU CTIONS 4 5 JUNE 1 - JULY 7 2 006 WWW.THE WHOLENQTE.COM 27
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Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more. Online in flip through here, and on stands commencing Tues SEP 1.
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.
Alanis Obomsawin's art of life; fifteen Exquisite Departures; UnCovered re(dis)covered; jazz in the kitchen; three takes on managing record releases in times of plague; baroque for babies; presenter directory (blue pages) part two; and, here at the WholeNote, work in progress on four brick walls (or is it five?). All this and more available in flipthrough HERE, and in print Tuesday Nov 3.
In this issue: Beautiful Exceptions, Sing-Alone Messiahs, Livingston’s Vocal Pleasures, Chamber Beethoven, Online Opera (Plexiglass & All), Playlist for the Winter of our Discontent, The Oud & the Fuzz, Who is Alex Trebek? All this and more available in flipthrough HERE, and in print Friday December 4.
July/August issue is now available in flipthrough HERE, bringing to a close 25 seasons of doing what we do (and plan to continue doing), and on stands early in the week of July 5. Not the usual bucolic parade of music in the summer sun, but lots, we hope, to pass the time: links to online and virtual music; a full slate of record reviews; plenty new in the Listening Room; and a full slate of stories – the future of opera, the plight of small venues, the challenge facing orchestras, the barriers to resumption of choral life, the challenges of isolation for real-time music; the steps some festivals are taking to keep the spirit and substance of what they do alive. And intersecting with all of it, responses to the urgent call for anti-racist action and systemic change.
"COVID's Metamorphoses"? "There's Always Time (Until Suddenly There Isn't)"? "The Writing on the Wall"? It's hard to know WHAT to call this latest chapter in the extraordinary story we are all of a sudden characters in. By whatever name we call it, the MAY/JUNE combined issue of The WholeNote is now available, HERE in flip through format, in print commencing Wednesday May 6, and, in fully interactive form, online at thewholenote.com. Our 18th Annual Choral Canary Pages, scheduled for publication in print and flip through in September is already well underway with the first 50 choirs home to roost and more being added every week online. Community Voices, our cover story, brings to you the thoughts of 30 musical community members, all going through what we are going through (and with many more to come as the feature gets amplified online over the course of the coming months). And our regular writers bring their personal thoughts to the mix. Finally, a full-fledged DISCoveries review section offers cues and clues to recorded music for your solitary solace!
After some doubt that we would be allowed to go to press, in respect to wide-ranging Ontario business closures relating to COVID-19, The WholeNote magazine for April 2020 is now on press, and print distribution – modified to respect community-wide closures and the need for appropriate distancing – starts Monday March 30. Meanwhile the full magazine is right here, digitally, so if you value us PLEASE SHARE THIS LINK AS WIDELY AS YOU CAN. It's the safest way for us to reach the widest possible audience at this time!
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest. Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
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.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
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!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).