Simone Osborne and Karine Boucher alternate as Micaëla. And Americans Christian Van Horn and Zachary Nelson alternate as the toreador Escamillo. Italian conductor Paolo Carignani leads the COC Orchestra and Chorus in 13 performances from April 12 to May 15. Closing the 15/16 season is the COC premiere of Rossini’s rarely performed grand bel canto opera Maometto II (1820), featuring star Italian bass-baritone Luca Pisaroni in his COC debut. The libretto is based on the historical Ottoman Sultan Mehmed II (1432- 81), who set out to conquer the Holy Roman Empire. The production from Santa Fe Opera’s successful 2012 revival is directed by Christopher Alden’s identical twin brother David, who gave us Rigoletto in a men’s club in 2011. Joining Pisaroni are American mezzo-soprano Elizabeth DeShong as the Venetian noble Calbo, American soprano Leah Crocetto as Maometto’s forbidden love Anna and American Bruce Sledge as the Venetian governor Erisso. Baroque and classical specialist Harry Bicket conducts the seven performances from April 29 to May 14. It’s odd that Neef would rehire both Alden brothers after the loud disapproval their work has received here over the past several years (especially in light of a decline of 4924 subscription tickets from 2013 to 2014). Nevertheless, there is very good news in Neef’s reaffirmation of the COC’s commitment to new Canadian operas. Donna, previously commissioned from composer John Rolfe and librettist Anna Chatterton, will have a workshop production at Banff this summer. Hadrian, commissioned from pop composer Rufus Wainwright and playwright Daniel MacIvor, is moving ahead – a first draft of the libretto is at hand. New this year is the announcement of a commission of The Girl King, by Ana Soloković, composer of such hits for the much-missed Queen of Puddings as The Midnight Court in 2005 and Svadba – Wedding in 2011. The libretto will be by Quebecois playwright Michel Marc Bouchard based on his play of the same name about Queen Christina of Sweden (1626-89) that played last year at the Stratford Festival. And also in the works is a revival of Louis Riel (1967) by Harry Somers to star Russell Braun. Soundstreams: It’s important when Canada’s largest producer of opera commits to producing so many new operas over the coming years. Yet, we should not forget that many of Toronto’s smaller companies have always had a commitment to producing new work. One such is Soundstreams. From February 26 to March 1 Above and below: the whisper opera set; four squares around a central hub. Soundstreams hosts the Canadian premiere of the whisper opera (2013) by Pulitzer Prize-winning American composer David Lang. Lang’s libretto is compiled from search-engine responses to such prompts as “When I think of you, I think of …” to explore the tension between our private and online selves. Soprano Tony Arnold and New York’s International Contemporary Ensemble (ICE) have already received acclaim for the piece at Lincoln Center and at Chicago’s Museum of Contemporary Art. The opera is so quiet and so delicate that it can be experienced by only 52 people at a time. For this reason Soundstreams will present it at The Theatre Centre at 1115 Queen Street West, in a configuration never before used there. In order to maximize the closeness of the audience to the performers the playing area consists of four squares around a central hub, with the audience, seated in twos, forming the dividing lines between the squares. In the midst of an overabundance of recorded music, Lang is composing various works that can only be heard live. As he has written, “With the whisper opera I had another of these ideas – what if a piece were so quiet and so intimate and so personal to the performers that you needed to be right next to them or you would hear almost nothing? A piece like this would have to be experienced live. In honour of this, the score to the whisper opera states clearly that it can never be recorded, or filmed, or amplified. The only way this piece can be received is if you are there, listening very very closely.” Listening very closely is, of course, something we all should do at any performance, but at the whisper opera, Lang makes this a virtue one hopes we carry over into other experiences of music. Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at opera@thewholenote.com. ARMEN ELLIOT 20 | February 1 - March 7, 2015 thewholenote.com
Beat by Beat | Art of Song Upside, Downside HANS DE GROOT Off Centre Music Salon 2014 2015 ALL FOLKED UP FEBRUARY 12, 2015 AT 7 PM THE MUSIC GALLERY, 197 JOHN ST ABASTA FOR SONY CLASSICAL Christian Gerhaher (left) and Gerold Huber Even the most cursory look at the listings will show that the upside of living in Toronto is the many concerts that take place here every day. That, of course, is a good thing but the downside is that it is impossible to go to all of them. In December I wrote about the tenor Sean Clark and had every intention of catching him in one of his performances with the Pax Christi Chorale, but, alas, it was not to be. On the Saturday I went to hear Adi Braun sing Kurt Weill; on the Sunday afternoon I heard Daniel Cabena’s recital. While I am glad that I went to these, I regret that I didn’t hear Clark. Much the same thing happened on January 9, when I heard a lovely recital by Anne Sofie von Otter and Angela Hewitt, but this also meant that I could not go the Bach concert at Metropolitan United which featured all six of the Bach solo violin sonatas, or to the plainchants and motets which the Schola Magdalena performed at St. Mary Magdalene. However, this is nothing compared with the choice I have to make for the afternoon of Sunday February 1, when there are four concerts I would like to go to: the recital by Melanie Conly at the Heliconian Hall, which features one of my all-time favourites, Schubert’s The Shepherd on the Rock, with its lovely clarinet obbligato (the concert also includes works by Brott, Purcell and Berlioz); Bach’s second cello suite played by Rachel Mercer at Seicho-No-le Toronto; the VOICEBOX performance of Kurt Weill’s Street Scene at the St. Lawrence Centre with Allison Angelo and Jennifer Taverner, sopranos, and Colin Ainsworth, tenor; and the concert at Mazzoleni Concert Hall given by the Amici Chamber Ensemble and the New Orford String Quartet, which features, among other works, Brahms’ Clarinet Quintet No such problems will interfere with my going to hear the baritone Christian Gerhaher and the pianist Gerold Huber in their performance of Schubert’s Winterreise on February 26 at Koerner Hall. Schubert wrote this work for a tenor voice but it has been successfully performed by baritones, bass-baritones, basses, even sopranos and mezzos. The baritone with whom the work is especially associated is Dietrich Fischer-Dieskau. Views about his singing vary. He always made sure that every detail registered and some listeners find that fussy. Others (and I include myself) feel that, in the words of Keats, he loaded every rift with ore. It will be interesting to hear how Gerhaher’s performance compares. I am also looking forward to the performance by Monica Whicher, soprano, and Russell Braun, baritone, with the pianists Carolyn Maule and Stephen Philcox, of Hugo Wolf’s Italienisches Liederbuch at Walter Hall, February 9. The Faculty of Music in the University of Toronto will present a free workshop for singers, composers and librettists. It will feature the soprano Barbara Hannigan, the composer Hans Abrahamsen (who is the Michael and Sonja Koerner Distinguished Visitor in Composition) dérangé - which derives from the French word for "taken out of line," but is also associated with insanity! - is a two-concert pilot project at the intersection of Canadian Contemporary, Classical, Jazz and Folk Music celebrating a more "out of line," interdisciplinary and creative approach to performing this repertoire. ese concerts are curated by soprano Ilana Zarankin and drummer Nico Dann. www.offcentremusic/derange GENERAL ADMISSION (includes one pre-concert refreshment) STUDENTS & ARTS WORKERS march 1, 2015 2 PM Glenn Gould Studio 250 Front St. West THERE WILL BE AN INFORMAL PRE-CONCERT RECEPTION BEGINNING AT 6:30 PM IN THE LOBBY. & ON OUR MAINSTAGE On Love & Other Difficulties This concert is co-sponsored by KATALIN SCHAFER and NINA & JOHN VARGA for Tickets and Information, please call 416.466.1870 or visit w w w. o f f c e n t r e m u s i c . c o m thewholenote.com February 1 - March 7, 2015 | 21
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!
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!).
