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Volume 19 Issue 6 - March 2014

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  • Toronto
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JOHN

JOHN LAUENERPianist/composer JohnKameel Farah regardshimself as Burashko’ssuccessor in terms ofworking with Baker. Hewas reached in Berlinwhere he lives for part ofthe year. If Baker’s collaborationwith Burashko wasdiscovering great music,with Farah her focus is ona new choreographic direction. The key word is aleatoric.Says Farah: “The word describes the element of chance, and Peggyis embarking on a series of dances involving chance. Andrea Nannand Sean Ling were given the task of creating solos built on snippetsof Peggy’s choreography, in other words, of pieces of hers that theyhave performed. She then shaped the solos into a duet. During theperformance, I’m improvising on an electric piano, a synthesizer anda computer with samples. There are three distinct sections, cued bythe dance, when I have to do a big shift and change the quality of thesound. My job, overall, is to react to the dancers and bathe them insound.”At 61, Baker has given up performance except for the occasionalappearance. At her March concert, she is performing Paul-AndréFortier’s solo, Box, la femme au carton, because it was a gift from theMontreal choreographer. For Baker, musicians with their instrumentsexude honesty, a quality she tries to emulate. “I want to make thesame sense with my body, or my dancers’ bodies, as the moving bowof a cellist makes sense. There is an authenticity to musicians whenthey play.”(Peggy Baker Dance Projects runs at the Betty Oliphant Theatre,March 28 to April 6.)Paula Citron is a Toronto-based arts journalist. Her areas of specialinterests are dance, theatre, opera and arts commentary.Esmeralda EnriqueDance and Live Music:Flamenco and AfricanSome forms of dance are unthinkable without live music. Forexample, flamenco is forever coupled with guitar and cantaor(singer), while traditional West African rituals are anchored inthe drums (djembe and doundoun). What is fascinating is thatthese two very different genres of dance share a rigid structureof performance.Flamenco is governed by the palo or rhythm. Each palo has aprescribed number of beats or compás. Within the palo, certainbeats have musical accents. For example, in the 12-beat soleá, theemphasis is on beats 3, 6, 8, 10 and 12. In the 8-beat farruca, themusical accents are beats 1, 3, 5 and 7.When the dancer wants to make a change, perhaps to slow downor to speed up, or to bring in the singer, he or she indicates the shiftRobert Cooper, Artistic DirectorEdward Moroney, AccompanistTickets:, , www.performance.rcmusic.ca416 408 0208Koerner Hall Box Office273 Bloor Street Westwww.orpheuschoirtoronto.comDVORAKREQUIEM3:00 p.m. Sunday, May 4, 2014Koerner Hall, TELUS Centre, 273 Bloor Street WestThe Orpheus Choir of Toronto’s 50 th Anniversary Season reaches a dramaticclimax with a rare opportunity to hear Dvořák’s richly expressive Requiem inKoerner Hall. By turns powerful and sublime, Dvořák has created an “especiallyeloquent and moving contemplation of the mystery of human existence.”A stellar solo quartet, the 160 voices of the Orpheus Choir and Chorus Niagaraand the Talisker Players orchestra, all under the direction of Robert Cooper, joinforces for this gala celebration.BMOFinancial GroupJohane AnsellsopranoAdam LuthertenorLauren Segalmezzo-sopranoGiles Tomkinsbass baritoneKoerner HallFinancial GroupOrpheus Choir’s season sponsorBMO Financial GroupThe Jackman Foundation • The Michael and Sonja Koerner Charitable FoundationThe Mary-Margaret Webb Foundation10 | March 1 – April 7, 2014 thewholenote.com

through a pre-arranged llamada or call. A typical llamada might bethree sharp beats in succession, which breaks away from the usualpalo format.Like flamenco, West African dance also has prescribed rhythms,each with a name particular to a tribe. For example, among theSousou people of Guinea, the sofa rhythm originated in the hunt,while the makuru rhythm is associated with celebration. Thenumber of drums is also set by a particular rhythm, and more tothe point, the drums are chosen to produce the correct sound.Nonetheless, within the structure of both dance forms, the dancersand musicians play off each other in a spontaneous artisticsymbiosis.(Compiled from interviews with composer/guitarist RogerScannura and choreographer/dancer Valeria Scannura of RitmoFlamenco, choreographer/dancer Esmeralda Enrique and guitaristNicolas Hernandez of Esmeralda Enrique Spanish Dance Company,Patrick Parson of Ballet Creole and BaKari I. Lindsay of COBA,Collective of Black Artists.)Paula Citronardittiquartetreservations416.366.7723music byElliott CarterHilda ParedesBrian FerneyhoughHelmut Lachenmannthursday march 20 | jane mallett theatreco-produced with Music TorontoNewMusicConcerts.comthewholenote.com March 1 – April 7, 2014 | 11

Volumes 21-25 (2015-2019)

Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
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Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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