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!
poems and songs in
poems and songs in “Songs of Enchantment: Tales of Wonder, Spells and Transformation.” The concert includes work by Schafer, Purcell, Arnold, Morlock and Louie. The singers are Miriam Khalil, soprano, and Lauren Segal, mezzo; at Trinity-St. Paul’s Centre. Oct 30: Songs from Georgia will be performed by Diana and Madona Iremashvili and Bachi Makharashvili at the Heliconian Club. Oct 31: “Manhattan: Midtown – 42nd Street and Broadway,” the second installment of Soulpepper’s exploration of 20th-century American music, opens on October 31 and runs to November 5. At the Young Centre for the Performing Arts. Nov 1, 2, 3: Music by Queen and David Bowie will be performed by the Acting Up Stage Company at Koerner Hall. Nov 3: The U of T Faculty of Music presents a free lunchtime concert of music inspired by Hamlet and Macbeth. The singers are Monica Whicher, soprano, and Laura Tucker, mezzo. Nov 5: The Toronto Mendelssohn Choir will perform Mendelssohn’s Elijah. The title part will be sung by the bass-baritone David Pittsinger and other parts will be performed by Leslie Bouza, soprano, Christina Stelmacovich, mezzo, and Michael Schade, tenor, at Koerner Hall. Nov. 5 and 6: The Bicycle Opera Project are the guests in Pax Christi Chorale’s performance of Mendelssohn’s Elijah at Grace Church on-the-Hill. And beyond the GTA: Nov 5: Another performance of Elijah, this one featuring Chorus Niagara, takes place in St. Catharines at FirstOntario Performing Arts Centre. Russell Braun (as Elijah), Leslie Ann Bradley, Anita Krause and Adam Luther join Chorus Niagara. Nov 5: Haydn’s Lord Nelson Mass will be performed by the Stratford Concert Choir in St. James Anglican Church, Stratford. The soloists are Catherine Sadler, soprano, Anna Tamm Relyea, alto, Mathias Memmel, tenor, and Gary Relyea, bass. Hans de Groot is a concertgoer and active listener who also sings and plays the recorder. He can be contacted at artofsong@thewholenote.com SONGS OF ENCHANTMENT Tales of wonder, spells and transformation OCTOBER 25 & 26, 2016, 8 PM Miriam Khalil, soprano | Lauren Segal, mezzo soprano | Stewart Arnott, actor/reader Trinity St. Paul’s Centre, 427 Bloor Street West tickets: 416-978-8849 | uofttix.ca www.taliskerplayers.ca Beat by Beat | Early Music Operatic Backwater DAVID PODGORSKI Before George Frideric Handel was hired by King George III, England was in some aspects a cultural backwater, at least as far as music was concerned. The main problem was a lack of patrons. The English court couldn’t spend as lavishly on entertainment on the same scale as, say, Versailles under Louis XIV or Vienna under Leopold I, and the Church of England didn’t exactly have much of a budget either. England was, unfortunately, a musically dull country, but encouraging culture was considered both a worthwhile political goal and a civic duty by liberally minded politicians around the turn of the 18th century. For similar reasons, there was a push in England to both foster a native opera scene and build a national opera house in London – an ambitious project in an age when opera was still less than a century old, and far from the accepted musical institution that it is today. And opera has always been a hard sell for people not already inclined towards music or unwilling to accept the idea of a sung drama. While Italy and countries with an Italian influence on their culture embraced the opera readily, the English in particular didn’t warm to it. Italian opera had been performed in England in 1674; an early 18th-century writer, Colley Cibber, was still protesting that opera was “not a plant of our native growth, nor what our plainer appetites are fond of, and is of so delicate a nature that without excessive charge it cannot live long among us.” But that didn’t stop the most ardent English opera devotees from trying to popularize opera. They successfully had an opera house – the Queen’s Theatre – built in London in 1705, by enlisting several likeminded (and wealthy) patrons and pre-selling subscriptions. And they commissioned an opera with an English libretto. There was just one problem. After rehearsals had started, the backers realized that the opera (Semele, by John Eccles) wasn’t very good. Changing their plans on the fly, they decided instead to make the debut performance at the new opera house the even more forgettable Gli amori di Ergasto, by Jakob Greber. The result was a disaster. For one thing, it was sung in Italian, which few audience members could understand, by Venetian singers who, at least one audience member complained, were “the worst that e’re came from thence.” As a national cultural project, it was also a failure. The national ambitions of English opera also came under fire from critics, as some felt that it was a bad idea to debut a new national opera house with an Italian turkey rather than “a good new English opera.” And of course, with so much political capital riding on the success of the venture, political opponents as well as critics had been busy sharpening their knives. They were merciless, decrying the opera house and its lacklustre start as an example of hubris, and its patrons as “Creators, Givers of Being, and God Almighties.” The fact that the opera was in Italian was a particular problem for the audiences of the day, and an easy target for satirists, who predicted that future historians would be misled into thinking that average 18th-century Londoners understood Italian fluently. With so much jingoistic sentiment lurking in the background, a distinctly anti-opera attitude, a backwater musical community, a dearth of native musical talent, and a composer of any worth seemingly nowhere to be found, English music – and English opera – needed a hero. Surprisingly, they may have already had one in their midst, in the form of Henry Purcell and his epic opera Dido and Aeneas. Purcell’s opera had everything the English were looking for: an all-English text and a talented composer who was able to incorporate French and Italian musical style into a music that was distinctly his own as well as sounding very typically English. Unfortunately for the Purcell opera, its subject matter (a monarch who is led astray by Satan-worshipping witches) made Dido and Aeneas, with its implied indictment of the English monarchy, too politically charged and too inflammatory 26 | October 1, 2016 - November 7, 2016 thewholenote.com
to be performed in a contemporary English opera house. Given Eccles and Greber as the only alternatives, the tragedy of lack of compositional talent on hand to give the English the opera they needed was complete – Purcell having died the previous decade. Comeback: With Dido having been overlooked by its contemporaries, and no other English-language opera able to fill its place, it’s nice to see that it has been making a comeback in recent years. Opera Atelier in particular has chosen it to kick off their 2016/17 season, and it seems that Purcell’s overlooked masterpiece will finally get the treatment it deserves. I Furiosi Baroque Ensemble After some 300 years, the story of an ancestor of Romulus and Remus, founders of Rome, reads more like a foundational myth than an indictment of English royalty today. With a slew of dance numbers, airs and choruses, this is one of a very few operas that’s actually catchy. With a cast of established and rising young stars, top-tier staging and costumes, arguably the best theatre in Toronto, and one of the best opera orchestras in the world, Opera Atelier is the ideal company to be performing this opera. It’s playing this month at the Elgin Theatre from October 20 to 29. Go see it. Music for Bloody Mary: If you’re not much of an opera fan, if you’re more inclined towards choral music, or if you just prefer Renaissance music to the Baroque, English music is once again on the menu with the Tallis Choir’s performance of Music for Bloody Mary, at St. Patrick’s Church on October 15 at 7:30pm. The Tallis Choir is being much kinder to Mary I than most historians – it’s hard to get too nostalgic over a monarch who ruled for just five years and whose main accomplishments were religious purges – but the concert is filled with some forgotten gems of the English Renaissance. Tallis’ glorious Videte Miraculum and Loquebantur Variis Linguis are the highlights here, and you can also get a rare chance to hear a John Taverner Mass and the almost never-heard composer John Sheppard. The Tallis Choir is a solid vocal group who has made Renaissance polyphony their specialty – this group is one of the best early music vocal groups in the city. I Furiosi: Another chamber group in town that I haven’t written enough about is the great I Furiosi Baroque Ensemble. The ensemble was founded in 1999 by cellist/gambist Felix Deak, soprano Gabrielle McLaughlin and violinist Tim Haig. Deak and McLaughlin were joined soon after by violinists Julia Wedman and Aisslinn Nosky, and that core ensemble remains intact almost two decades later. This is a group that stands out for their fun, engaging thematic concerts featuring a potpourri of Baroque instrumental and vocal music (with the occasional pop tease thrown in) featuring blistering performances and spirited interpretations from a top-tier ensemble to boot. This month on October 21 at 8pm, I Furiosi will feature music by Fux, Rameau and Lully, in a concert titled “Both Alike in Dignity” at Calvin Presbyterian Church. The group will also be joined by the Toronto’s reigning baroque bassoon virtuoso, Dominic Teresi, who is the closest thing to technically flawless I’ve ever seen in a bassoon player. Consider checking out this group if you’re a fan of chamber music. David Podgorski is a Toronto-based harpsichordist, music teacher and a founding member of Rezonance. He can be contacted at earlymusic@thewholenote.com. thewholenote.com October 1, 2016 - November 7, 2016 | 27
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
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!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
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!).
