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Volume 5 Issue 7 - April 2000

  • Text
  • April
  • Toronto
  • Theatre
  • Choir
  • Symphony
  • Bloor
  • Arts
  • Orchestra
  • Singers
  • Musical

48 Apri£AMl&Mai 1

48 Apri£AMl&Mai 1 11)(m=wfiol#Ni)li€ IV.Unclassified. advertising ACCOUNTING AND INCOME TAX · SERVICE for small business and individuals, to save you time and money, customized to meet your needs. Norm Pulker, B. Math. CMA. 905-508-4274. BAROQUE DANCE FOR BEGIN­ NERS DONNA GREENBERG, instructor. Eastminster United Church, 310 Danforth, Thursdays 5:45p.m. - 7:15p.m. New session: May 4 - June 29, 2000. /class. 416-653-0938. CELLIST seeks to form classical trio/ quartet to play for fun (and possibly money!) Serious enquiries only. Call Mandy: (416)486-0423. DIGITAL LOCATION RECORDING SERVICE available. Master compact disk provided. Visa + Mastercard. Call (416)537-6304, or email: bal r@sympatico.ca DR. DAVID W. ROE (DWR MUSIC) Arranger. Composer. Trombonist. Publisher. Available for all your arranging/compositional needs, including lessons. Tel. (905) 726-2152; Fax (905) 726-3043. ';::=====================~ at (416)486-0423. CAMMI= Canadian Amateur Musicians I Musiciens Amateurs du Canada Do you like to make music? Plan a musical vacation! o group instruction o instrumental and vocal o orchestra, band, choir o musical theatre o classical, jazz, world music o professional coaching staff o non-competitve atmosphere o swimming, nature walks Cedar Glen Music Centre for adult amateur singers and instrumentalists (50 minutes north of Toronto) July 30 - August 6, 2000 August 6 - 1 3, 2000 0 over 20 years of music making o programs for adult amateur music makers of all levels For information and brochure: (416) 964-3642 cedar_glen@cammac.ca Visit our website at www.cammac.ca EAR TRAINING, MUSICIANSHIP, SIGHT-SINGING, dictation, rhythmic training, keyboard skills, theory (all Conservatory-type subjects, solfa, jazz). All levels, professional/serious beginners. Detailed study available- J.S.Bach, Renaissance, Jazz. Art Levine, MA, ARCT; Host of "This is Art" on CBC; RCM Professional School Faculty; Instructor, University ofT oronto, etc. 416-924-8613. Visitwebsite: www.artlevine.com FESTIVAL WIND ORCHESTRA seeks new members, especially clarinets, oboes, french horns, percussion and lower brass. Rehearsals: Tuesdays at 7:30. For more info, call Shelley: 416-491- 1683. HAVE YOU EVER WANTED TO SING, thought you wouldn't or couldn't, or do you just want a place to play with the possibilities of your voice. Small groups. 6- . Johanne, 461-8425. IT'S NEVER TOO LATE to learn to play the cello! Perfect your technique, Conservatory exam preparation, recitals. Reasonable rates. If over the age of twelve, call Mandi ca MAUREEN SMITH MUSIC STUDIO, Ongoing Adult Courses. Feldenkrais, Alexander & Mitzvah Technique for RSI, Discover Your Singing Voice, Psychology of Performance, Theory, Harmony & Chords, Piano, Beginning Instrumental Music: Saxophone, trumpet, clarinet, flute. Phone: 416-620-1231 or visit www.globalserve.net/- mebs MERLIN WILLIAMS is available to do digital recordings of your · orchestra, band, choir or chamber group on location. Reasonable rates for archival and demo recordings. For more info, call (416)489-0275 or email: merlinw@netcom.ca MOVEMENT COACHING with DONNA GREENBERG. SINGERS: Need help with auditions or preparing a role? Let your body & movement work for you. Learn to move efficiently with confidence & ease on stage & how gesture & alignment can support your interpretation of character. Over 20 years experience as a dancer/teacher. Currently on faculties of Humber & Sheridan teaching Period movement. Specialist in Renaissance/Baroque/Modern dance. 416-653-0938. MUSIC THEORY FOR BEGIN­ NERS, group or private lessons. RCM exams - reasonable rates. G}llian Fleming, 416-265-5016. MY WAY - Singer of Jazz, Gospel, Ballads, Classical and Country seeking classy club with in house old style big band or trio to rehearse and perform with. Call Miriam at (416)488-5191. m A GOOD TEACHER m REALLY DOES MAKE A DIFFERENCE Violin and Viola Encouraging Music Appreciation and Personal Development liif Cindy Babyn 416-654-0899 vlessons@yahoo.com PLAYOIT FOR A PRO RECITAL? EXAM? AUDITION? Perform a Run-Through for a Professional Musician Includes Video and Adjudication Strings Only Principal Viola of the COC and Santa Fe Opera 416. 737 .6769 vlessons@yahoo.com PIANIST WILL PLAY jazz-flavoured background music free of charge at charitable and non-profit events. Can bring own piano. Call Neville at (905)877-8471. PROFESSIONAL COMPUTERIZED MUSIC COPYING (engraving). Scores and parts. Reasonable prices. Also available free web page design. Tel.(416)635-1420. SINGING LESSONS Experienced, qualified Bae. Music, Classical, Semi-popular. R.C.M. prep., all levels. Central location. Interest in disabilities. 924-3877. TENOR AUDITION: The Church of St. Simon-the-Apostle (Bloor and Sherbourne) is looking for a tenor lead for the Choir of Gentlemen & Boys. Good Pay, Great Choir, Excellent Music. For more informa·­ tion, contact JOHN STEPfiENSON at 923-8714, ext.208. TENOR LEAD POSITION available on or before Sept. 1 for the choir pf Grace Church on-the­ Hill. Thursday rehearsal and Sunday service September-June. Good sight-reading skills are essential, and solo capability is preferred. Tour to England planned in summer, 2001. Please cal I Melva T reffi nger Graham, Director of Music, for information on remuneration or audition. 416- 488-7884. THE PERFORMING EDGE Performance enhancement training in tension management, concentration, goal setting, imagery. Individualized to meet your performance situation. Kate F. Hays, Ph.D., C.Psych., practising clinical and performing arts psychology. 416-961-0487. YO-YO MA TICKETS (2) for sale: Wednesday May 24, mezzanine; or exchange for Thursday night tickets. Catherine (905)333-9875. NORTH TORONTO INSTITUTE OF MUSIC • Private instruction • Instrument rentals • Theory classes • Start any time 5 50 Eglinton Avenue East 416.4882588 •\cs

¢Aprjll 1 -( COVER STORY opera in concert: the chance to shine I a March 20 Globe & Mail review of a New York opera-in-concert production by a group called Collegiate Chorale, (Madcap plot twists snare audience in emotional web), Philip Anson contends that opera in concert as an art form is no mere "poor cousin" of conventional staged opera, but one that is distinctly superior in a number of ways. Among the benefits of opera in concert, he says, are that often the singing is better, the price of admission is lower (because production costs are significantly less), the repertoire is more diverse and exotic, and frequently "you get to hear the hottest new local and foreign singers long before their mainstream debuts." Renowned vocal coach Stuart Hamilton staked his life savings on these very points back in 1973. At that time Hamilton was working with a large number of gifted voice students, and was as frustrated as they were, because they had no place to perform. The Canadian Opera Company could not take the risk of using them, and for good reason, according to BY ALLAN PULKER brought in Ambroise Thomas' Hamlet, planning to do th.e mad scene. Never having played the piece, Hamilton asked to borrow the score to learn the piano part, and, going through it, was astonished to see how terrific the music was. "This got Hamilton. At such Opera in concert me excited, and I an early stage in ... no mere . h their careers they thought I would get my smgers toget er were not ready for , poor cousin for a soiree to do the responsibility of '---------.....J the entire opera. On a lead role in a half million second thought, however, since dollar production. So there was my place would hold only about a big need for a platform for ten people, that didn't seem these young people to prepare quite the right way of going them for that kind responsibility. about it." So he considered In the fall of 1973 renting a room at the university, Richard Bonning -- Joan but the idea of doing all that Sutherland's husband -- came to work for an audience of 35 Toronto to do auditions for the didn't seem quite right either. Vancouver Opera Company, of And at that point he thought of a which he had recently been doing an opera-in-concert appointed director. Hamilton production, "a serious producwas the accompanist for these tion in a real concert hall for a auditions, and one of the singers real audience." His entire life savings at the time amounted to 00. "Why not blow it, I thought, on something that was so needed." So he went ahead, spent his 00 and did a production of Hamlet with his young proteges at the St. Lawrence Centre. Opera in Concert (OiC) was born. That first production was so successful that the various arts councils immediately became very interested and have helped fund OiC ever since. The Canada Council has also used OiC as a model of what can be done with very little money - "one way we kept costs down was by not paying me for the first eight seasons for playing the orchestral part on the piano!" Hamilton wryly commented. History has shown that Hamilton did the right thing. Continues, next page CJi!(~ TORONTO 2000-01 SEASON + CHAMBER MUSIC DOWNTOWN Quartets Oct. 5 Nov. 9 Dec. 7 Jan. 11 Feb. 1 Feb. 15 Mar. 1 Mar. 22 THURSDAYS Emerson Quartet Carmina Quartet Colorado Quartet St. Lawrence Quartet Arnernet Quartet Tokyo Quartet Mir6 Quartet Keller Quartet George Weston Discovery THURSDAYS Jan. 25 Modern Quartet Mar. 8 Duo Turgeon, duo pianists Apr. 19 Daniel Taylor, counter-tenor with Bruce Ubukata, pianist and Sylvain Bergeron, lutenist Ensembles-in-Residence Oct. 17 Gryphon Trio Nov. 28 Jan. 16 Feb. 20 Piano Nov. 14 Dec. 12 ' Feb. 6 Mar. 13 Apr. 24 TUESDAYS with Jean Stilwell, mezzo and Ma1yem Tollar, vocalist Toronto String Quartet Toronto String Quartet Gryphon Trio with Jean Stilwell, mezzo and James Campbell, clarinetist Michel Dalberto David Owen Norris Arthur Ozolins Angela Cheng Grigory Sokolov TUESDAYS AFFORDABLE + ACCESSIBLE + INTIMATE + EXHILARATING GREAT CLASSICAL MUSIC IN A PERFECT SMALL CONCERT HALL DOWNTOWN. SUBSCRIPfIONS FROM

Volume 26 (2020- )

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

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
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Volume 25 Issue 3 - November 2019
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Volume 22 Issue 9 - Summer 2017
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Volume 22 Issue 7 - April 2017
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Volume 22 Issue 4 - December 2016/January 2017
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Volume 21 Issue 9 - Summer 2016
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