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Volume 15 Issue 6 - March 2010

  • Text
  • Toronto
  • April
  • Jazz
  • Arts
  • Symphony
  • Orchestra
  • Theatre
  • Recital
  • Concerts
  • Concerto

sackbuts and cornetti,

sackbuts and cornetti, as well as singers (even in works for doublechoir), strings, lutes and keyboards, in music by Praetorius, Schütz,Schein, Bach and others.March 6: The Tallis Choir with its conductor Peter Mahon take us tothe Royal Convent of Madrid during Holy Week, 1611, to hear someof the most glorious polyphonic music ever written for voices. TomásLuis de Victoria’s “Tenebrae for Good Friday” is from a magnificentcollection of music he wrote for this portion of the Christian liturgicalyear – choral music of unparalleled dramatic expressiveness.It will be performed in the enveloping acoustical setting of St. Patrick’sChurch.March 6 and 7: If you seek drama as well as poignant music in there-telling of the Easter story, there’s no better place to find themthan in Bach’s St. John Passion. Chorus Niagara with conductorRobert Cooper presents this trenchant work twice, in Grimsby andin St. Catharines.March 10 to 14: Tafelmusik Baroque Orchestra and Chamber Choirpresent Bach in Leipzig, an imaginative journey to 18th-centuryLeipzig where Bach lived and worked from 1723 till his death. Thisis the latest of several acclaimed presentations designed by Tafelmusik’sown Alison Mackay, and one that is sure to bring to life acolourful array of characters and a vigorous community, as well ashighlighting the variety and breadth of the music Bach composedduring his long tenure in that city.March 14: Toronto Early Music Centre’s Musically Speaking presentationis entitled “The Grand Tour.” This tradition flourished in the1660s as the customary English gentleman’s post-Oxbridge culturaleducation, serving as a rite of passage. You’ll hear music that sucha traveller might have heard during Purcell’s lifetime, taking theGrand Tour from England through France to Italy.March 14: In Port Dover, Arcady and its artistic director RonaldBeckett present “A Baroque Miscellany,” with works by Bach, Sammartini,Handel, Corelli, Telemann and Beckett played on violin, recorderand keyboard.March 21: Aradia Ensemble presents “The English Orpheus.” InGreek mythology, the god Orpheus is credited with being the inspirationfor literature, poetry, drama and music. Who might be hiscounterpart in later times but Purcell, who set poetry to music sobrilliantly and wrote so much wonderful incidental music to plays?Aradia Ensemble under its artistic director Kevin Mallon exploressome of this, presenting the original text alongside the music forplays such as Don Quixote (with excerpts from Thomas D’ Urfey’splay) and for Bonduca, or The British Heroine (with excerpts fromJohn fletcher’s play).March 25 to 30: An enchantress she is, and a passionate explorerof all kinds of repertoire. In Tafelmusik’s programme entitled “Enchantress,”soprano Karina Gauvin displays her lovely virtuosity inmusic by Vivaldi and Handel; the orchestra does the same in complementarypieces by Vivaldi and Locatelli.Opera at the spectacularnew Koerner HallMassenet’s CendrillonThe Cinderella StorySat Mar 20 at 7:30pmSun Mar 21 at 2:00pmTues Mar 23 at 11:00am**Special School PerformanceThurs Mar 25 at 7:30pmUri Mayer, conductorBrahm Goldhamer, artistic directorProduction Team:Graham Cozzubbo, directorBrent Krysa, set and costume designRobert Thomson, lighting designerStudents of The Glenn Gould SchoolVocal ProgramRoyal Conservatory OrchestraMembers of the Operain Concert ChorusSung in French withEnglish Surtitles TMThis performance is generously sponsored by:TICKETS FROM !ORDER NOW rcmusic.ca416.408.0208The TELUS Centre for Performance and Learning273 Bloor Street West. (Bloor & Avenue Rd.)09.10 Season Sponsor:09.10 Season Media Partner:D & T DavisCharitable FoundationMarch 27: If you go to Kingston you can have a crash course in baroquemusic everyone should know, as the Kingston Symphony Orchestrapresents “Classics 101.” You’ll hear such beloved pieces asVivaldi’s Four Seasons, Handel’s Water Music Suite, Pachelbel’sCanon and Bach’s Brandenburg Concerto No.3. Gisèle Dalbec, theorchestra’s concertmaster, is the featured soloist.April 2: Buxtehude’s Passion oratorio Membra Jesu Nostri is anamazingly daring outpouring of grief, seven cantatas each basedon a medieval hymn, that meditate on the feet, knees, hands, side,breast, heart and face of the crucified Christ. Scored generally forfive soloists, choir, two solo violins and continuo, the emotion issoftened by the appearance of a quintet of viols in the sixth cantata,“To His Heart.” Composed forPassion Week of 1680, it willbe presented by the TorontoChamber Choir with its conductorMark Vuorinen.plusTactusVocal EnsembleApril 18th, 3pmThe Registry Theatre,122 Frederick StreetKitchenerfor more infovisit www.nbpo.netfor tickets phone519-578-15701-800-265-8977sponsors:Heffner Lexus ToyotaWaterloo Region RecordOntario Arts CouncilRegion of Waterloo Arts FundThe Trillium Foundation98.5 CKWR FMThe Registry TheatreThe Kitchener & WaterlooCommunity FoundationApril 2: If you go to Kitcheneryou can hear Bach’s monumentalB Minor Mass, performedby the Grand PhilharmonicChoir and the Kitchener-WaterlooSymphony – a performanceespecially notable as it will beone of the last conducted bythe Choir’s director of 38 seasons,Howard Dyck. The featuredsoloists are an impressivequartet of Canadians: sopranoSuzie Leblanc, mezzo LauraPudwell, tenor Michael Schadeand baritone Russell Braun.Simone Desilets is a long-timecontributor to The WholeNotein several capacities, whoplays the viola da gamba.She can be contacted at:earlymusic@thewholenote.com.14 WWW.THEWHOLENOTE.COMMarch 1 - April 7, 2010

Sacred MusicThen and NowBENJAMIN STEINAs I wrote in last month’s column, much Western choral musicdenotes and illuminates the celebrations and rituals of theChristian year. Over a span of many centuries, European temporalpowers employed composers and performers to create thousandsof religious masses and motets giving praise to God.These works reflected the genuine piety of religious and politicalleaders, in a way in which a post-Enlightenment society can scarcelyunderstand. But at the same time, those who commissioned theseworks surely understood the power of art to reinforce their temporalpower. A performance of a mass was more than pleasant musicalsetting of a sacred text. Itwas a statement of culturaland ethnic identity, and apotential rallying point intimes of strife.At the beginning ofthe 21st century, manyfind themselves in the oddposition of encounteringreligious choral musicmost often in the rarifiedatmosphere of the concertsetting, rather than as part ofa sacred service. Althoughwe may come to know muchof this music well, we havelittle knowledge of, or interestin, the societies fromwhich it sprang. We’re morelikely to venerate Mozartthan we are to regard withRobert Cooper leads Chorus Niagarain Bach’s St. John Passion.much interest or respect theautocratic Salzburg Archbishopwho employed him tofill his church with music.Composers’ mass settings had their part to play in the sectarianismand strife of past centuries. But what do they mean to us today,in a society in which religious plurality is buttressed by law, andmulticulturalism is an essential if imperfectly realized aspect ofCanadian identity?A definitive answer to this question is (thankfully) beyond thescope of this article. But upcoming performances of Bach’s St. JohnPassion, given by Chorus Niagara and led by veteran conductor RobertCooper on March 6-7, illuminate this ongoing question. One ofthe most important works of the classical repertoire, the St. JohnPassion can be alarming in its depiction of the Jewish hordes as aPETER MAHONSales Representative416-322-8000pmahon@trebnet.comwww.petermahon.comAmadeus-MozartSaturday, April 10th, 2010, 7:30 p.m.Yorkminster Park Baptist Church 1585 Yonge StreetWe are 35 years old!Help us celebrate this significant birthday, and join us for a programof some of our namesake’s finest choral music. Mozart’s belovedRequiem, and the less well known but equally gorgeous Vespersare presented to you as you enjoy the superb acoustics and beautifulsurroundings of Yorkminster Park Baptist church.Guest Artists:Rebecca Whelan, sopranoChristina Stelmacovich, mezzo sopranoDarryl Edwards, tenorMatthew Cassils, baritoneOrchestraLydia Adams, conductorTickets $ 35.00Lydia Adams,Conductor & Artistic DirectorStudents .00 (at door)For more information call: 416-446-0188or visit us at: www.amadeuschoir.comMarch 1 - April 7, 2010 WWW.THEWHOLENOTE.COM 15

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