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Volume 22 Issue 8 - May 2017

  • Text
  • Toronto
  • Arts
  • Musical
  • Jazz
  • Festival
  • Symphony
  • Theatre
  • Choir
  • Orchestra
  • Quartet
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!).

If you are working on a

If you are working on a show yourself it becomes even harder. I have been immersed myself in French Baroque music theatre as fight director for Opera Atelier’s production of Charpentier’s 17th-century Medea. One of the fascinating things about this production is the modernity and level of passion in the acting, so much so that director Marshall Pynkoski describes the story as one of “domestic passion similar to that of Who’s Afraid of Virgina Woolf.” From the shows I was able to see over the last month, two that stood out were rarely seen operas steps from each other along Philosopher’s Walk, both with clever and interesting staging experiments by their directors illuminating the stories and making them accessible to the audiences: Marilyn Gronsdal’s production of Niccolo Picinnini’s La Cecchina for the Glenn Gould School at the RCM with the mutli-level permanent set on the Koerner Hall stage and Tim Albery’s setting for the U of T Opera School of Handel’s Imeneo along the full width of the back wall of the MacMillan stage with the audience sat on risers on the stage itself. April also saw the return to Toronto of Garth Drabinksy with Sousatzka, a new musical on a mammoth scale of ambition and sheer size featuring an ensemble of 47 led by three Broadway stars, a multiaward-winning creative team, and a good number of Canadians. Hopes were high for going to Broadway in the fall. As it turned out, the show proved not to be ready yet for that leap. Elsewhere in the city April saw the return of Soulpepper’s popular Spoon River. Sheridan’s Musical Theatre program continued to display the initiative which gave birth to the Toronto and Broadway sensation Come from Away, with the workshop production of a new musical by Neil Bartram and Brian Hill, Senza Luce; and Neema Bickersteth brought her one-woman amalgamation of song, dance and story, Century Song, to the new Crow’s Theatre space under the banner of Nightwood and Volcano. Looking ahead: In May, and beyond, there is much to look forward to, from one-night-only events to long-running shows beginning their season at the big festivals. May 1: One night only at the Atrium: Toronto Masque Theatre makes a specialty of bringing back to life rarities from the past as well as re-interpretations of well-known stories. On this evening they are presenting “The Ben Jonson Project: The Vision of Delight,” a staged reading of Ben Jonson’s Jacobean The Vision of Delight, reimagined and accompanied by an array of musical styles. May 7: One night only at the Panasonic Theatre traditional musical theatre fans will be delighted to hear and see Stephen Schwartz (award-winning composer and lyricist of Wicked, Pippin, Godspell and more) live in conversation interspersed with performances of some of his greatest hits by Cynthia Dale, Chilina Kennedy and more. Opening May 24: Opera as musical theatre: after a long development process with Tapestry Opera, Gervais and Murphy’s Oksana G., a daring new music theatre story of human trafficking gets a full production under the leadership of brilliant stage director Tom Diamond and music director Jordan de Souza. April 18 to May 28 at the Tarragon Theatre, veteran musical theatre performer Tamara Bernier Evans directs the new Midsummer (a play with songs) described as “the hilarious story of a great lost weekend of ill-advised romance.” And a final note: a heads-up for creators of new musical works! May 13 is the deadline to submit for The Aubrey and Marla Dan Fund for New Musicals. The Dan Fund is the first ever fund exclusively for the commissioning of new Canadian musical works. The fund offers financial and dramaturgical support to creators in developing new musicals. Ideas that exemplify the most potential will be awarded an ,000 commission from the Musical Stage Company and a reading or workshop of a draft. Contact the Musical Stage Company for more information. Toronto-based “lifelong theatre person” Jennifer (Jenny) Parr works as a director, fight director, stage manager and coach, and is equally crazy about movies and musicals. Beat by Beat | In with the New Blooming Along with 21C WENDALYN BARLEY The month of May brings a full blooming spring along with a packed 21C Music Festival, now in its fourth year. Running from May 24 to 28, the festival has had a significant impact on bringing new music to a wider audience, with five days of a wide range of musical voices and approaches to sonic experimentation spread over nine concerts, including 31 premieres. One of the themes this year, Canada 150, will be marked through collaborations with the Canadian Opera Company, the Canadian Art Song Project and Soundstreams. Another is the festival’s strong focus on women composers and performers, with Korean-born Unsuk Chin as the featured composer. This focus makes for a perfect follow-up to my last two columns in which I explored stories about how issues of gender, race and musical diversity are impacting both large festivals such as the TSO’s New Creations (March issue) and individual projects, such as the work Century Song (April issue) performed and co-created by Neema Bickersteth. Cecilia String Quartet: One of the 21C concerts that caught my attention is “Cecilia String Quartet Celebrates Canadian Women” on May 25 by the Toronto-based Cecilia String Quartet. In a conversation with the Quartet’s cellist Rachel Desoer, I discovered that the vision for the project began three years ago when the all-female quartet was inspired to encourage the representation of women’s music within their own genre. After looking at some of the existing string quartet repertoire, they decided to get involved in the curating process and commissioned four different composers as a way Rachel Desoer of encouraging these talented women to write for string quartet. The composers they chose were Katarina Ćurčin, Kati Agócs, Emilie LeBel and Nicole Lizée. There has been much conversation over the years around the pros and cons of creating concerts that feature only women composers, but that is not the topic I particularly wish to delve into here. Rather, as I took a look at each piece on this program, I saw something else emerging that I hadn’t noticed so distinctly before in other women composer concerts. The pattern I noticed here was that the focus each composer chose for their piece harkened back to topics that characterized earlier movements of feminist art practice. Back in the 1970s, American women such as visual artist Judy Chicago and performance artist Suzanne Lacy, for example, began creating work organized around specific feminist principles. Their goal was to create work that influenced cultural attitudes so as to transform stereotypes. Strategies they employed included bringing awareness to women’s experience and history, as well as incorporating traditional forms of women’s creativity into their own work. This may seem not so revolutionary now, but at the time it was a bold departure from accepted practices. This movement however did not create strong inroads into the contemporary music world, although there was definitely a movement to research and perform music by women composers from the past. So it was through this lens that I observed that each of the four 28 | May 1, 2017 - June 7, 2017 thewholenote.com

works on the Cecilia String Quartet concert program shared something in common with these earlier feminist practices. When I asked Desoer if the quartet had given any guidelines for the pieces, her response was: “At the beginning of the project we wondered about creating a theme or having another piece of art for the composers to respond to. But instead, we let the artists decide, and were curious about what they would choose.” The quartet was delighted to discover that each composer found their inspiration in other art forms, texts and other women artists without any direct request. Katarina Ćurčin’s String Quartet No.3 is based on a folk-song melody from her Serbian roots. The song tells the story of a young woman who feels trapped inside the house, expressing outrage at her mother for keeping her housebound. In Ćurčin’s quartet, her characteristic vibrant and rhythmic style aptly captures the song’s strong emotional journey, beginning with expressions of anger and finally dissolving into resignation. This work captures well the sense of limitation that has characterized women’s lives over millennia. Kati Agócs’s music has been described as encouraging audience members to listen and be changed. In Tantric Variations, she bases her musical explorations on the word tantric, which means woven together. Using a one-bar motive as the basis, she weaves “a landscape that really goes everywhere you could imagine,” Desoer said. Desoer was originally drawn to Agócs’ music when she performed her Violoncello Duet (I And Thou) and was inspired by all the sounds she didn’t know her instrument could make. Starting with a word referring to the practice of weaving, Agócs is able to both reference the traditional craft as well as evoke the universal idea of weaving strands together to create a unified whole. With Emilie LeBel’s Taxonomy of Paper Wings, we get a glimpse into one aspect of the work of writer Emily Dickinson, who lived a mostly introverted and confined life. Dickinson wrote a series of poems on fragments of used envelopes, using the shape of the paper to influence her placement of words on the page. LeBel uses the shape and structure of one of these envelope poems, which resembles the hinged wings of a bird, to inform the musical structure of her piece. The bird element translates into an ethereal texture in the music and as Desoer describes it, LeBel “explores the subtleties of softer sounds on string instruments in a way that is rare.” Risk-taker and fashion designer Isabella Blow is the figure behind Nicole Lizée’s work entitled Isabella Blow at Somerset House. The composition is a response to a posthumous Blow photo exhibit of disembodied mannequin heads wearing Blow’s designs. These macabre images inspired Lizée to translate techniques from her background in vintage technologies and looping into instrumental gestures that “ride a beautiful line between roboticism and humanity,” says Desoer. This is a rare acoustic work for Lizée and yet she manages to expand the sound world of the string quartet with a few additional sources. For a project that began with a search for repertoire by women, it’s inspiring to see how each of the composers addresses themes important in the early days of feminist art practices. For the quartet, the project has blossomed into something for which “it’s hard to see an end date” Desoer said. It certainly has inspired them with a desire to commission more repertoire for string quartet by women composers and to encourage other quartets to do so as well. (The quartet will also Unsuk Chin be performing both the Lizée and Ćurčin works on May 6 as part of a program presented by the Kitchener- Waterloo Chamber Music Society.) Unsuk Chin: There will be plenty of opportunities at 21C to hear the music of featured composer Unsuk Chin. On May 24, the Canadian Opera Company Orchestra will perform her work snagS&Snarls in Koerner Hall and on May 27, her Piano Étude will be performed in a concert in the Temerty Theatre that also includes works by Alexina Louie, Raphael Weinroth-Browne, Kotoka Suzuki, and Aaron Parker. Chin will also join Canadian composer Chris Paul Harman as mentors for Soundstreams’ Emerging Composers Workshop with the final concert featuring world premieres by the six composers on May 26. The showcase concert of Chin’s work will be on May 28 in a co-presentation with Soundstreams with performances of her Advice from a Caterpillar and Cantatrix Sopranica. (The concert will also include Harman’s works Love Locked Out along with the world premiere of It’s All Forgotten Now.) A major theme that emerges in Chin’s music is her fascination with word play and word games. In a written correspondence, I asked Chin to describe the relationship between the music and the projected text one sees during the performance of C O N T A Q T FEELING.BACKWARD music by Annette Brosin Allison Cameron Julius Eastman Jerry Pergolesi Christopher Reiche Nephenee Rose (re)claiming the past (re)imagining a future Friday, June 2 7:00 pm The 519 519 Church St contactcontemporarymusic.org thewholenote.com May 1, 2017 - June 7, 2017 | 29

Volumes 21-24 (2015-2018)

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
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Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
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Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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