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Volume 20 Issue 2 - October 2014

  • Text
  • October
  • Toronto
  • Choir
  • November
  • Concerts
  • Jazz
  • Musical
  • Arts
  • Orchestra
  • Theatre
Includes the 2014 Blue Pages Member Directory

de clavecin en concert,

de clavecin en concert, lovingly arranged for string ensemble,and the young Canadian soprano Hélène Brunet will also singtwo of the composer’s best-known cantatas, Orphée and LeBerger Fidèle, with the band. Two compositions by Rameau’scontemporary Jean-Marie Leclair, Overture Op.13 No.3 and theDeuxième Recréation de Musique, will round out the concert.All of this takes place at the Music Gallery on October 26.Definitely a must-see if you enjoy French music.Cardinal Consort: If you’re at all interested in English musicor viol consort, consider checking out the Cardinal Consortof Viols. Their next concert will feature consort music fromthe English renaissance, including music by Byrd, Gibbons,Holborne and Tomkins. The Conrad Grebel Chamber Choirwill join the Consort for some choral works, and you can catchthem at the Church of the Redeemer on October 5 or at ConradKevin MallonI Furiosi Baroque Ensembleof the 17th century, Monteverdi’s operas are smash hitseven to this day. Besides his dramatic works, his spectacularVespro della Beata Virgine, written for orchestraand choir, is undoubtedly a masterpiece, and his madrigalsare incredibly innovative, intelligent compositions that arewidely performed and enjoyed. This month, the Musicians inOrdinary present still another facet of Monteverdi’s diversebody of work – namely his sacred chamber music writtenfor the archbishops and cardinals of Venice. Monteverdi waskept busy writing music for three concerts a week, so theMusicians in Ordinary had a vast body of work from whichto choose their program. The MIO will be joined once againby Chris Verrette on violin for the Master’s Selva Moralee Spirituale, motets by Monteverdi’s assistant Grandi, andsome canzonas and sonatas for strings by Biagio Marini. Thisconcert promises to be an in-depth look at sacred music byMonteverdi and his circle in Venice in the early 17th century. Catch itat Father Madden Auditorium in Carr Hall at St. Michael’s College onOctober 24.Mallon’s Rameau: Of course, not all concerts this month will bededicated to Italian music. Inveterate nonconformist Kevin Mallon willbe dedicating a concert to Jean-Philippe Rameau along with his bandAradia, and given that the 250th anniversary of the composer’s deathjust passed last month, one hopes for more concerts by Toronto musiciansin honour of the great French harpsichordist, opera composerand father of modern music theory coming up this year. For thisperformance, Aradia will feature two of Rameau’s wonderful PiècesGrebel University Chapel in Waterloo on October 1.I Furiosi: Finally, the always-entertaining I Furiosi ensemble will beperforming at the Calvin Presbyterian Church (26 Delisle Ave, St. Clairsubway) on October 24 in a mixed program of music on the theme ofwork, including compositions by J.S. Bach and Christophe Graupner.I Furiosi has a devoted following, and you can count on them puttingon a virtuosic, fun show with a few pop tunes thrown in.David Podgorski is a Toronto-based harpsichordist, musicteacher and a founding member of Rezonance. He canbe contacted at earlymusic@thewholenote.com.CYLLA VON TIEDEMANNTRINITY-ST. PAUL’S CENTRE,JEANNE LAMON HALLAn intimate concert venue for musicians and music lovers.SPECIAL SERVICES OF MUSIC, 2014/2015SUNDAY, NOV 9, 2014, 10:30AMService of Remembrance:Motets by J.S. Bach, J. Macmillan, R. LangTSP Choir; VIVA! Chamber Youth ChoirSUNDAY, NOV 30, 2014, 10:30AMAdvent Celebration:Cantata, Ich Freue Mich In Dir - J.S. BachTSP Choir and Soloists; Kingsway Chamber Youth Orchestra427 Bloor St. Westtsp@trinitystpauls.ca416.922.8435 x21Last year we brought you improved acoustics.This year: better space. Come in and check it out.SUNDAY, DEC 14, 2014, 7:30PMCarols By CandlelightCelebrating The 50th Anniversary of L’ArcheTSP Choir; VIVA! Main Chorus and Everyone Can Sing ChoirSUNDAY, MARCH 8, 15, 22, 2015, 9PMCompline, TSP Compline Choir and Guest InstrumentalistsGOOD FRIDAY, APRIL 3, 2015, 4PMSeven Last Words From The Cross - James MacmillanKiss On Wood - James MacmillanTSP Choir, VIVA! Chamber Youth Choir, Talisker Players Orchestra32 | October 1 - November 7, 2014 thewholenote.com

Beat by Beat | On OperaUnfamiliarityBreeds ContentCHRISTOPHER HOILEThis month the Canadian Opera Company embarkson a season of greatest hits with operas (and eventhree productions of operas) that it has presentedbefore. Over-familiarity, however, is not a danger, withmany renowned singers making their COC debuts.The COC opens the season with a new productionof Verdi’s Falstaff directed by Canadian Robert Carsen,already acclaimed at the Royal Opera Covent Gardenin 2012 and at the Metropolitan Opera in 2013 (whichbroadcast it live in December that year). Canadian baritoneGerald Finley returns to the COC for the first timein 20 years to sing the title role. The all-Canadian castincludes Simone Osborne as Nannetta, Frédéric Antounas her lover Fenton, Russell Braun as Ford, Marie-NicoleLemieux as Mistress Quickly and Lauren Segal as MegPage. Johannes Debus conducts. Falstaff has sevenperformances from October 3 to November 1.Running in repertory with Falstaff will be Puccini’sever-popular Madama Butterfly in the timeless productioncreated by Brian Macdonald and Susan Benson forthe COC in 1990. The production plays from October 10to 31. The 12-performance run conducted by PatrickLange will necessitate the use of two casts of principals.Sopranos Patricia Racette and Kelly Kaduce, both makingtheir COC debuts, will alternate in the role of Cio-Cio San. TenorsStefano Secco and Andrea Carè, also both making their COC debuts,will alternate as Pinkerton. As Sharpless, Dwayne Croft, makinghis COC debut, will alternate with Canadian Gregory Dahl, whileElizabeth DeShong returns to sing Suzuki in all performances. Thesingers’ scheduled appearances are listed on the COC’s Butterfly page.Czech Gem by Request: For operagoers seeking more unusual fare,one of Toronto’s smaller companies, Opera by Request, has come upwith a real gem – the Canadian premiere of Antonín Dvořák’s Jakobínin the composer’s final version of 1898. Czech opera used to be astaple at the COC under Richard Bradshaw, but the company has notstaged a Czech opera since Dvořák’s Rusalka in the 2008/09 season.That production was the fulfillment of a vow that Bradshaw hadmade to COC co-founder Nicholas Goldschmidt to stage the belovedwork, but, sadly, both had passed away by the time the productionpremiered.Jakobín is the seventh of Dvořák’s 12 operas. Rusalka is the oneopera by Dvořák to join the repertoire outside of the Czech Republic,but according to John Holland, an expert in Czech opera andco-founder of the Canadian Institute for Czech Music, many Czechsregard Jakobín not only as Dvořák’s greatest opera but also as the mostCzech of all his operas. The reason for this is that the opera is set in aCzech village and is permeated with the influence of Czech folksongand dance. In that way Jakobín follows in the tradition of BedřichSmetana’s ever-popular The Bartered Bride (1866), the first Czechopera to enter the international repertoire.The story of Jakobín, however, is quite different from that ofSmetana’s opera. The piece is set in a small Bohemian village in 1794.The date is significant because the action shows how the events ofthe French Revolution, then ongoing, have repercussions in farawayBohemia. We meet the elderly Count Vilém of Harasov, who is aboutto hand over his power and property to his wicked nephew, Adolf.The nephew has convinced the count that his son, Bohuš, who hasbeen living in Paris and is sympathetic to progressive social policies,is in actuality a Jacobin, the name given to supporters of the FrenchRevolution. The fact that Bohuš has a French wife (Julie) makes himeven more suspect. The result is that when Bohuš returns home, thecount disinherits him. How the falsehoods about Bohuš and Julie arediscovered and how the count is reconciled with them form the mainthrust of the action.In the subplot, the count’s self-important burgrave (or châtelain)Filip pays unwanted attentions to Terinka, the daughter of the villagechoirmaster Benda. Terinka is in love with the gamekeeper Jiří, whohelps her fend off the nasty Filip. In a review of a revival of Jakobínat the Buxton Festival this summer, critic Mark Pullinger noted, “Partof the opera’s charm involves a semi-autobiographical portrait; thereare parallels between Jiří, the younggamekeeper, and Dvořák himself.Benda, the kindly schoolmaster,could easily have been modelledon Antonín Liehmann, who taughtDvořák the rudiments of music andalso – perhaps not without coincidence– had a daughter namedTerinka, with whom Dvořák sangin the choir.” Critic George Hall,commenting on the same production,noted that the strengths ofthe story lie in “its emphasis ona community holding on to itsvalues at a time of wider socialupheaval, and a second commentaryon music’s ability to bind peopletogether.”The fact that music binds peopletogether is evident not just inthe opera but in how the Czechcommunity has come togetherDanielle Dudychain supporting this production ofPresents Donizetti’sLucia di LammermoorNovember 6, 2014 – 7:30 pmNovember 8, 2014 – 7:30 pmFeaturing Bass-BaritoneGary RelyeaRichmond Hill Centrefor the Performing Arts10268 Yonge Street, Richmond HillCall 905 787-8811 • Website: http://rhcentre.caTickets: - • Students thewholenote.com October 1 - November 7, 2014 | 33

Volumes 21-25 (2015-2019)

Volume 25 Issue 4 - December 2019 / January 2020
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
Volume 23 Issue 7 - April 2018
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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