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Volume 5 Issue 6 - March 2000

  • Text
  • Toronto
  • Theatre
  • Choir
  • Jazz
  • Arts
  • April
  • Musical
  • Glenn
  • Bloor
  • Symphony

TORONTO PHILHARMONIA

TORONTO PHILHARMONIA Executive Director I Orchestra Manager Duties and Responsibilities Manage the human and financial resources of the Toronto Philharmonia in order to achieve the orchestra's mission; build positive relationships with staff, orchestra members, volunteers, sponsors, arts councils and community groups; be responsible and accountable for all aspects of the organization and for implementing policies set by the Board of Directors; coordination of planning, volunteer activities, fundraising, artistic administration, concert preparation, marketing, promotion and administrative duties with the assistance of other staff and volunteers. Qualifications Experience in arts-related positions; affinity for orchestral music; proven success in grant application and development; excellent management skills, highly-motivated with a passion for teamwork. Compensation to be negotiated. The critically acclaimed Toronto Philharmonia, under the direction of its charismatic Maestro Kerry Stratton, is a dynamic, per-service orchestra with a proud history covering three decades. It is the Orchestra-in-Residence at the Ford Centre for the Performing Arts where it presents an annual subscription series of twelve concerts in the George Weston Recital Hall, as well as a number of touring engagements. It performs at a variety of special events including the annual Viennese Ball, and fosters a Partners in Music program for students, including a Youth Orchestra. Its annual budget is approximately 0,000. Mail resume by March 31 to: Chairman of the Board, Toronto Philharmonia, 1210 Sheppard Ave. East, Suite 109, Toronto ON M2K 1E3. Fax to 416-490-9739 or e-mail to hildaw@total.net Please, no phone calls. ancient Greek expression for an art fonn in which music, dance and poetry were inseparable. The name of the March 17 performance is, Uterefore, "MOUS~: Under the Sign of Isadora". TRUMPET, VOLUNTARILY All too rarely do we have Ute opportwJ.ity to hear an entire recital by a trumpeter. March 16 is one such opportunity, when Merrie Klazek, currently principal trumpet with the Thunder Bay Symphony Orchestra, wiUt pianist, Jennifer Snow, presents a recital celebrating the latmch of the duo's debut CD, "Songs to Ute Moon". Only 29 years old, she began playing Ute instrument at the age of 12 and only four years later toured Westem Europe as the featured soloist wiUt "Canadian Youth on Tour", playing Haydn's Concerto in E flat. She later was principal tnunpet in Ute National Youth Orchestra of Canada. A native of Calgary, she has degrees in music from Ute University of Calgary and from Northwestem University. BEACH ARTS On March 25 The Beach Arts Centre presents an interesting array of artists including guitarist, Ewan Dobson, who at Ute age of I 7 was awarded first prize in Ute Ontario Canadian Music Competitions and Hungarian-Gypsy, bass-baritone, Robert Magyar, who, as a young child, studied wiUt Zoltan Kodaly. ZILBERSTEIN PLAYS TANEYEV Taneyev may not be a household world these days, but, as a teacher in pre World War Jl pre "~·v .... .v • ., Russia he influenced a generation of musicians by his teaching and his writing. For anyone interested in deepening their knowledge of 20th Century composition Lilya Zilberstein's March 22 recital, which will include music by Taneyev as well as Rachmaninoff, Medtner and Moussorgsky as well as Ute pre-concert talk by Dr. Mosevich will be events not to be missed. The concert and talk will be at the George Weston Recital Hall at the Ford Centre. The Ford Centre Situation There's a lot of entirely laudable steaming and stewing going on downtown about opera houses past and present. Danger is, that another culturally important battle will be fought and lost at City Hall, before we even notice. In a city with more than its share of acoustically imperfect concert halls, the George Weston Recital Hall, praised for its wonderful acoustics by audiences and performers alike, has been a real treasure for the thousands of patrons who have passed through its doors since its opening in 1993. Many of the artists who have performed on its stage were brought there as part of the Concert Season of the Ford Centre for the Perfonning Arts, organized and administered by Liven! Inc. until its collapse in the fall of 1998, at which point Ute City of Toronto took over its operation. The Ford Centre concert season, with over a hundred concerts a year has been, because ofthe stature oftlte perfonners, a P FoRo I I II I

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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
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Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
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Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
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Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
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Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
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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

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