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Volume 26 Issue 2 - October 2020

  • Text
  • Classical
  • Artists
  • Choral
  • Concerts
  • Performances
  • Choir
  • Jazz
  • Musical
  • Toronto
  • October
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.

Concert Report ALDO

Concert Report ALDO OLIJRHOOK meeting new people, performing, recording albums: these are among the many things that continue to fuel my passion for making music. If part of the job description involves being an ambassador of sorts, I fully welcome the opportunity every time, especially if it has the potential to encourage more young Black individuals to explore a world they may not otherwise know exists, or feel entirely comfortable stepping into at first. It is a wonderful feeling to do what you love, regardless of perception as the next classical unicorn – more important is to focus on being the next wonderful musician and human being. The same sentiments hold true in between performances as well. As an independent artist, I have continued to focus the majority of my waking hours on building the practical component of my career – concerts and international travel to destinations around the world to share my music with others. Simultaneously, though, I have focused on teaching as well – working with students of all ages and abilities – first in Europe, and now in Canada. And here we come back to the question of the chicken and egg again. It has been a longstanding dream of mine (again, no major revelation) to achieve a position within a higher-education institution such as a college or university – working with students who possess the highest level of talent, passion, and dedication to their art the way I also did. It’s incredible, though, how many positions like these continue to be filled with faces and backgrounds which look remarkably the same. How many institutions in this vast expanse of the Great White North employ any teachers/professors/music educators who look anywhere similar to me? How long will this trend continue? Even as recently as a month or so ago, I applied for an associate professorship, at a university not far from where I live, where not only did I meet the qualifications outlined in the job post, but I anticipated that my educational background on multiple continents (in addition to my performance and teaching experience) would have, at very least, warranted a cursory response. Unfortunately, there was not even so much as an acknowledgement to my follow-up, let alone an invitation for a conversation. Gullible, perhaps, yet ever-optimistic, I await the next opportunity. My intention in writing this is to share some of my experiences with those who are willing to read about them; maybe in some way we can relate. Side by side in melody and harmony, let us continue to learn from each other. Our shared love of music is the perfect excuse! Music as a universal language, and classical music as my chosen genre, has no inherent gender, no colour, no race. It transcends time and physical boundaries, and has sustained its international outreach for hundreds of years. It uplifts and allows our imaginations to enter a realm of possibilities we can achieve no other way, if we allow it to. In this way we are all connected. So stay healthy and safe and thank you very much for reading. Award-winning Canadian pianist Luke Welch has performed extensively on the international stage, and his albums have received critical acclaim. He is currently based in Toronto. Box Concerts takes opera outside MARIE TROTTER Midway through his performance of “Una furtiva lagrima” from The Elixir of Love, Toronto tenor Asitha Tennekoon glanced behind him and smiled. In the trees above a makeshift stage, outside Ehatare Retirement Home in Scarborough, unseen birds sang along to Donizetti’s wistful aria, providing a welcome if off-beat accompaniment. This delightful moment was one of many throughout Tennekoon’s afternoon performance on Saturday, September 12, in an outdoor Box Concert jointly presented by Tapestry Opera and Soulpepper Theatre. The two Toronto companies conceived the Box Concerts series as a response to COVID-19 and the cancellation of traditional performances, collaborating to bring live opera and classical favourites to communities around the Greater Toronto Area. Tennekoon and cellist Bryan Holt have each visited hospitals, retirement residences, and even some private homes, performing their repertoire from a “box” stage – a cleverly designed flatbed trailer – all while maintaining a safe distance from their audience, some of whom don’t even have to leave the comfort of their rooms. The Box Concerts offer easy access to live music for those in isolated communities who otherwise might not be able to travel to a traditional concert venue. There’s no price of admission, the set list is only 30 minutes, and attendees can come and go as they like, making for a casual, relaxed experience. At Ehatare Retirement Home, residents enjoyed Tennekoon’s set of opera classics and musical favourites from chairs just outside their building’s front door. Thanks to this informal atmosphere, Tennekoon has been able to socialize with his audiences before and after shows, having conversations which wouldn’t be possible on a normal night at the opera. Concertgoers have shared with him how particular songs remind them of lost loved ones, or simply how excited they are to be able to participate in the communal concert experience during this time of isolation. The physical intimacy of these outdoor shows means that Tennekoon is closer to his audiences than ever before. In broad daylight, he can see attendees mouthing the words to a classic show tune. Tennekoon says the most poignant reactions have come not from 22 | October 2020 thewholenote.com

the Box Concerts’ intended audiences, though, but from passersby caught unawares – people out walking their dogs or going for a run – who stop to listen. “A couple of times, those people who weren’t expecting to hear the live music stayed afterwards,” Tennekoon says. “One gentleman was in tears because he hadn’t realized how much he’d missed having live performances, until he was able to experience that.” To my knowledge, no (visible) tears were shed at the performance I attended, but Tennekoon’s passionate delivery was certainly worthy of such a response. He opened the concert with a joyfully expressive rendition of “Il mio tesoro intanto” from Mozart’s Don Giovanni, smoothly gliding through the aria’s complicated coloratura passages. During both this aria and during Donizetti’s “Una furtiva lagrima”, I was impressed by his dramatic presence and vigour, despite his being somewhat stuck behind the microphone stand – one disadvantage of the small Box Concert stage, and the necessity of creating audible acoustics in an unpredictable outdoor environment. Tennekoon was equally confident with the musical theatre repertoire, following his opera selections with three well-loved show tunes. The romantic “Younger than Springtime” from South Pacific was especially fitting in the outdoor setting, and Tennekoon’s tender interpretation made the afternoon breeze of early fall feel slightly warmer. He next performed “Bring Him Home” from Les Misérables, mastering the song’s powerful dynamic shifts and finding beautiful suspension in the song’s iconic closing high note. The last selection of the afternoon was “Maria” from Leonard Bernstein’s West Side Story, and although Tennekoon’s delivery was solid, it was here I most noticed the Box Concert’s absence of live accompaniment. Tennekoon performed each song with a pre-recorded piano track, but the normally impassioned “Maria” felt sparse without Bernstein’s rich orchestrations. Even with this limitation, the Box Concert I attended was a heartening success, with residents requesting an encore, and lingering after the performance to thank Tennekoon for bringing live music to their doorstep. The concert was a joyful half-hour escape into the world of musical storytelling via the human voice, an experience I’ve deeply missed over these past months. And although the pandemic inspired this series, I believe the Box Concerts will have staying power as a new style of performance beyond COVID-19. Tapestry Opera and Soulpepper have demonstrated the possibilities for live music in easily accessible, outdoor public spaces, and I hope to see them continue this innovation in future. Box Concerts, presented by Tapestry Opera and Soulpepper Theatre, were performed at GTA hospitals, retirement and long-term care facilities, and private homes until October 1. For more information about the series, visit tapestryopera.com/performances/boxconcerts. Marie Trotter is a Toronto-based writer, avid theatregoer and occasional director. She studied Drama and English at the University of Toronto with a focus on directing and production, and recently completed her MA in English Language and Literature at Queen’s University. This concert report appeared first in HalfTones, The WholeNote’s mid-cycle e-letter. DAHLIA KATZ DAHLIA KATZ thewholenote.com October 2020 | 23

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020
Volume 26 Issue 3 - November 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 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)