7 years ago

Volume 18 Issue 6 - March 2013

  • Text
  • Toronto
  • Jazz
  • April
  • Arts
  • Theatre
  • Quartet
  • Musical
  • Ensemble
  • Symphony
  • Concerts

We think another very

We think another very important achievement has been the internationaltouring we’ve done of new Canadian opera, which hardlyexisted before QoP. That was hugely important to us. Before Dáirinecame to Canada, she had no real impression of what new Canadianmusic was like as it didn’t have a strong profile internationally. Butwe’ve discovered that the best singers in the world live in Canada andthat there’s huge composer talent here too. It has been our mission todeliver this news to the world!For example, we’ve wanted to bring Ana Sokolović’s music backto her Serbian homeland for ten years, and last October we felt suchinordinate pleasure walking down a main street in Belgrade with a bigposter of Ana and Queen of Puddings outside the Atelje 212 Theatreannouncing a performance of Svadba that night. In the performancethe singers sang Serbian so well that we were asked how we evermanaged to find six Serbian-Canadian singers! Shortly afterwards,we brought Svadba to Dublin (Dáirine’s hometown) and theaudience could not believe the virtuosity of the singers and the sheerimagination and verve of the music. But all of this we knew all along,and knew that audiences outside of Canada just needed to hear theseCanadian singers and music, and they would be bowled over. Andthey certainly were.Are you worried that the gap left by the departure of QoPwill leave a gap in the creation of new opera in Canada,or are you confident that QoP’s success as a deficit-free artsorganization has left a model that others can build on?We’d never have the hubris to think that we’d left a gap in newopera in Canada! People are very resilient and if there is a gap, itwould be filled sooner or later. Now the deficit-free business, wellthat’s another story! That was a personal aesthetic — we would havebeen mortified to ever show up at a board meeting announcing thatwe’d gone into deficit. So along with our producer Nathalie Bonjour,we just made sure we never spent more than what we thought wecould fundraise.What will happen to the many works that QoP created?Will other companies have permission to perform them,or will they disappear along with the company?QoP has an excellent track record of repeat performances of newoperas. When we commission a new opera, we have exclusive rightsfor a few years after, but that being said we’ve never turned anyoneaway who wanted to do their own production of a QoP work. That’swhat we all want — more productions of new operas! Just last week,the Peabody Conservatory in Baltimore presented their own productionof Svadba and in fall 2013 there will be another US productionof Svadba. Our 2009 production, Love Songs, has already had threeother versions performed in Canada with a fourth coming up in afew months. And so on. We consider the new operas we have commissionedas living organisms which will continue to be performedwell into the future and form a vital part of the emerging canon ofCanadian opera.What plans do you have for the future?John has a recital with soprano Erin Wall on March 7 at theSt. Lawrence Centre in Toronto and then a BC recital tour with BenHeppner. For Dáirine, she’s been approached about a few projects, butin the short term she’ll probably take a break after August 31st andfuel the imagination with walks in the mountains in County Kerryand long coffees on the Avenida da Liberdade in Lisbon. Then she’llstart having ideas for new projects and be back knocking on someoneelse’s door!Let me give you my deepest thanks for trulyenlivening the world of opera in Canada.We’ve had a marvellous run of 20 years and experienced hugegenerosity, support and warmth from our friends and colleagues inCanada. They’ve all been integral to our work and we couldn’t havegiven the best of ourselves without their belief that we would dono less.Christopher Hoile is a Toronto-based writer on opera andtheatre. He can be contacted at 20 & 22, 2013 7PM KOERNER HALLTHE GLENN GOULD SCHOOL OPERADON GIOVANNIThe extraordinary artists of The Glenn Gould School vocal program and theRoyal Conservatory Orchestra stage Don Giovanni in 1960s “Mad Men” style!Uri Mayer, conductor Brahm Goldhammer, artistic directorAshlie Corcoran, director Camellia Koo, designer Kimberly Purtell, lighting designerD&T Davis Charitable FoundationTICKETS START AT ! 416.408.0208 www.performance.rcmusic.ca273 BLOOR STREET WEST (BLOOR & AVENUE RD.) TORONTO18 March 1 – April 7, 2013

Beat by Beat | Early MusicPower of WomanSIMONE DESILETSSurveying the concert scene this month, I can’t help noticingthat there are several in which the central figure happens to befemale — that’s a good theme, I’m thinking! So here’s my praise tothe Power of Woman.Tafelmusik’s featured guest soloist and directorthis month is the eminent baroque violinistElizabeth Wallfisch, an artist with a vivacious personalityand a sparkling approach to the musicshe plays. Born in Australia into a very musicalfamily — wind players, string players, singers — sheis married to the British cellist Raphael Wallfisch.She’s long been a respected and sought-after leaderand performer in the period performance movement,though she did not enter into this worlduntil her late 20s, when she was handed a baroqueinstrument and bow and asked to play them in aconcert in two weeks —“and I never looked back,”she says. “Suddenly I found myself in the thick of a‘movement’ that was strong and vibrant and had a ‘truth’ to teach me.I am still learning — more and more to tell the truth.” Extremely committedto the nurturing of young artists, she’s been intensely involvedwith many groups such as the Carmel Bach Festival Orchestra andalso has recently formed the Wallfisch Band, an international period-instrumentorchestra in which young musicians play alongsidementors at the top of their profession.The quote above is taken from an interview with Tafelmusik, publishedon their website (you can read the whole interview there).Here’s another Wallfisch quote, from a 2010 interview with JesseHamlin of the San Francisco Chronicle: “Making music defines us. It’snot a job, it’s what makes us tick.”Wallfisch’s Tafelmusik program takes you to Madrid, with musicby composers active in or having some connection to Spain — particularlyBoccherini, who lived in Madrid and whose music is oftenhighly inflected with Spanish rhythm and charm. You’ll hear his Lamusica notturna delle strade di Madrid, which evokes the hustle andbustle of the Spanish capital, and his sizzling Fandango. Wallfischand Tafelmusik are joined by flamenco dancers Esmeralda Enriqueand Paloma CortésElizabeth Wallfisch.from the EsmeraldaEnrique Spanish DanceCompany — a groupdescribed on their websiteas “passionate anddriven,” whose “expressive,powerful dancersperform finely wroughtpieces that hold in perfectbalance traditionand classicism with amodern, contemporaryaesthetic.”“A Night in Madrid” ispresented five times, March 20 to 24 at Trinity-St. Paul’s Centre.English soprano Emma Kirkby has been described as “the artistwho almost single-handedly changed the way we listen to voicesin early music.” Now an icon in the world of period performance, arenowned early music specialist known for her impeccable style andpurity of voice, Kirkby initially spent her musical life singing in choirsand madrigal groups with no thought of making singing a career. In aworld where the big operatic voice reigned supreme, she didn’t fit in,either with vocal equipment or by temperament. Her immense giftsMarch 1 – April 7, 2013 19

Volumes 21-25 (2015-2020)

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)