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Volume 25 Issue 6 - March 2020

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FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.

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has been a success these eight and a half years. Certain things get lost in translation … which is not always bad. But we keep working on figuring out the between-the-lines – the unsaid in the said. That took some time.” Kalender will be spending March in Alberta while preparing for the role of the Old Lady in the Joel Ivany-directed Candide at the Edmonton Opera. (“I will actually be singing the line I am so easily assimilated,” she laughs.) Back in Toronto in April, rehearsals, with the same director, begin in a very different project: Against the Grain Theatre’s final version of the Kevin Lau-composed Bound, the story of four characters in a brush with law enforcement and the arbitrary rules at border crossings. Kalender’s character is based on a true story of a professional Middle Eastern woman being asked and refusing to remove her hijab at the point of entry into France. “Border crossings is a topic we don’t talk a lot about in Canada,” she says, “and when I saw an earlier version of Bound I was grateful that these guys decided to tackle it.” Kalender became a Canadian citizen last February, and before that travelled on her Turkish passport as a Canadian permanent resident, which sometimes made things complicated. One year, on her way from Canada to Moscow via Zurich Airport for a singing gig, she was taken out of the queue and held at the airport because the airline staff in charge were not able, or willing, to verify that she did not require a work visa for Russia. When eight hours later they finally realized their mistake – thanks to a network of frantic phone calls between Turkish and Russian consular offices across two continents – she was allowed to board the next available plane to Moscow. She landed in the Russian capital at 4am, and went straight to rehearsals on little or no sleep. The character she will play in Bound is held at a border for a different reason, but she and Kalender have one thing in common: their faith. Kalender is a Sufi Muslim who decided early in life that the headscarf wasn’t for her. There are countries in the world where not wearing a headscarf in public will get a woman in jail: where does she stand on this question? “Actually, when I was university-age, wearing hijabs in places like parliament and school was forbidden by law,” she says. (An aside: I pause here to remind the reader that Turkey’s path to secularization commenced after the demise of the Ottoman Empire and the end of the First World War, under Turkey’s first republican president Kemal Ataturk, and was at times more top-down than it was productive.) “But in my school, Boğaziçi University,” Kalender continues, “our professors didin’t occupy themselves with how you look. So some people would wear a hat over their scarf, for example … and the administration didn’t police clothing. But in other state universities, this rule was enforced. In today’s Turkey, it’s a matter of free choice. You can wear a hijab in school if you wish.” “In my opinion,” she says, “to order a woman to put on a scarf or to take off the scarf, they are the same thing. It means forcing your opinion on them. And it’s generally men who decide this – while I’m happy for women to be able to decide that for themselves. If it’s the government deciding for you, or members of your family, it’s coercion.” Kalender tried a hijab on for the very first time only last year – in preparation for the role in Bound. “I had a relative who wears a hijab visit me recently in Canada. One day we were talking and I told her about this role, and asked her to show me the different ways of doing a hijab. She said, ‘Beste I thought you were against it,’ and I told her, well yes, I don’t think my religion is about that. I am a religious person – but not a conservative person. I really believe in Sufism. I believe that we are all one, and that our differences are only as deep as putting on a label. I don’t believe that I necessarily need a hijab, but if that’s how you feel most comfortable, then why should I try to decide that on your behalf?” There is a lot of the Ottoman Empire in Western European opera – Ottomans held a place of fascination and fear for centuries – and I ask her what she thinks about the increased sensitivity around cultural representation in opera. She’s already sung a Fiorilla aria from Rossini’s Il Turco in Italia at a private concert, she tells me, and had fun with it, but hasn’t yet managed to see an entire traditional production of Mozart’s Die Entführung aus dem Serail. The rewritten Beste Kalender, Against the Grain Theatre’s Opera Pub Night at the Amsterdam Bicycle Club, Toronto (2017) Wajdi Mouawad production at the COC from a few years back she did enjoy. “The COC took a risk, decided to adopt this new angle, and good on them. I had heard the buzz about it, that there was namaz [Islamic prayer] on stage, and all those changes in the production, and I went in and was glad that someone took this approach.” The original Entführung is fiction of course, and when it comes to the life in the Pasha’s harem not exactly accurate.“In Mozart’s opera, the ladies are in control, but in real life, they would not have been,” Kalender says. Mothers would have probably have had more influence on viziers than their harem favourites. As for the stereotypical Turco character in other operas? “When you create a character, you should endow them with a variety of features – they can’t be there just for fun and ridiculing. Something to keep in mind when reviving productions.” In Mouawad’s production, namaz is performed in Arabic. Would Ottomans have worshipped in Arabic? “Yes,” she says, and puts my pedantry to rest. “There were several languages in circulation in the Ottoman Empire, with Arabic and Farsi particularly influential. With the fall of the Ottoman Empire and the coming of Ataturk and the Turkish Republic, the official language was reformed and unified. Up to that point we were using Arabic letters; after Ataturk, we switched to Latin letters. If someone spoke to me in Ottoman today, I would not understand them.” How is the empire looked upon in today’s Turkey? Is it being fantasized about? “Yes. Certain political groups still talk about it. But I think what reignited interest in Ottomans more than anything else is this hugely popular TV show that went on for years. Magnificent Century – a quality, historically informed soap opera set in the court of Suleiman the Magnificent.” I tell her I knew about it even before Elif Batuman wrote a long piece on it in The New Yorker because the show was extremely popular in all the Slav countries in the Balkans – countries that were colonized by the Ottomans, some for several centuries. The mistrust of all things Ottoman/Turkish and the legends of heroes who fought for liberation from the empire were inbuilt in all the national poetries in the region – but this TV show, when it was on, emptied the streets. It was something akin to mania, I tell her. “It was a good show! And wasn’t Suleiman’s main woman of East European origin?” “The lady who designed tiaras for the show designed the tiara for my wedding,” Kalender says. “My big, fat Middle Eastern wedding! No, I don’t do things by halves.” Lydia Perović is an arts journalist in Toronto. Send her your art-of-song news to artofsong@thewholenote.com. DARRYL BLOCK 14 | March 2020 thewholenote.com

KOERNER HALL 2019.20 Concert Season Taylor Academy Showcase Concert SATURDAY, MARCH 14, 4:30PM MAZZOLENI CONCERT HALL Free tickets will be available starting Fri. Mar. 6. The Phil and Eli Taylor Performance Academy for Young Artists presents this concert by the leading young classical musicians in Canada. Hear the stars of tomorrow! John O’Conor and Beethoven SUNDAY, MARCH 15, 2PM MAZZOLENI CONCERT HALL TICKETS: Beethoven specialist John O’Conor, John O’Conor, whose playing “has the kind of flawless touch that makes an audience gasp” (Washington Post), will perform the final three piano sonatas by Beethoven, considered the pinnacle of his works. The Glenn Gould School ChamberCompetition Finals WEDNESDAY, APRIL 1, 7PM KOERNER HALL Free tickets will be available starting Wed. Mar. 25. Hear the talented ensembles of The Glenn Gould School compete for over ,000 in prizes. Presented in honour of R.S. Williams & Sons Company Ltd. Pamela Frank with Emanuel Ax FRIDAY, APRIL 3, 8PM / PRELUDE RECITAL 7PM KOERNER HALL Tickets start at only With Pamela Frank’s artistry, “even single notes don’t leave the strings without meaning” (Philadelphia Inquirer). “Ax’s greatness, his overwhelming authority as a musician, technician, and probing intellect emerges quickly as he plays” (Los Angeles Times) Dang Thai Son SUNDAY, APRIL 5, 2020 1PM MAZZOLENI CONCERT HALL Free tickets will be available starting Mon. Mar. 30. Vietnamese - Canadian pianist Dang Thai Son was propelled to international acclaim in October 1980, when he captured First Prize and Gold Medal at the 10th International Chopin Piano Competition in Warsaw. For this concert, he performs works by Debussy and Chopin. Generously supported by Dorothy Cohen Shoichet Rebanks Family Fellowship Concert WEDNESDAY, APRIL 8, 2020 7:30PM MAZZOLENI CONCERT HALL Free tickets will be available starting Wed. Apr. 1. Hear artists on the cusp of major careers perform solo and chamber works. Generously supported by the Rebanks Family and TICKETS & SUBSCRIPTIONS ON SALE NOW! 416.408.0208 RCMUSIC.COM/PERFORMANCE 273 BLOOR STREET WEST 237 (BLOOR ST. STREET & AVENUE WEST RD.) (BLOOR TORONTO ST. & AVENUE RD.) TORONTO

Volumes 21-25 (2015-2020)

Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 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
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

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)