April 2006 - The WholeNote

Transcription

Here is an Acrobat PDF Web version of the April 2006 issue of WholeNote Magazine. This Web
version contains the entire magazine, including all advertisements and our WholeNote
Discoveries section containing over 45 CD/DVD reviews.
As our cover photo announces, opera is in the spotlight in the April issue. A good place to
start would be Chris Hoile’s On Opera column on page 34. At the end of that article you will
find links to other opera-related features in our magazine.
You may view our magazine using the Bookmarks at the left of your screen as a guide. Click
on a Bookmark to go to the desired page. Where you see a “+” sign, click on it and you will
find sub-topics underneath.
To view our advertising, click here for a special Index of Advertisers. Then click on the red page
number(s) next to any advertiser to be directed to their ad. To return to the ad index, click the
boxed link at the bottom of the page. For the magazine’s own Table of Contents, click here.
This month we have launched a new advertising feature: WholeNote MarketPlace, where this
month you will find providers of health care, music education and professional services.
For another view of the magazine you may click on the Pages tab at the left for a thumbnail
view of each individual page. When you click on the thumbnail that full page will open.
Selected advertisers or features have hot links to a Web site or email address, for faster access to
services or information. Look for a page, article or advertisement with a red border around it, or an
e-mail address with a red underline, and click this hot link.
Readers are reminded that concert venues, dates and times sometimes change from those shown
in our Listings or in advertisements. Please check with the concert presenters for up-to-date
information.
David Perlman, Editor
WHOLENOTE INDEX OF ADVERTISERS APRIL 1 - MAY 7, 2006
Click Red Page Numbers to go to a specific ad by one of our advertisers.
abc Toronto International Choral Festival 44
Academy Concert Series 49
Acrobat Music 64
Aldeburgh connection 16 50
Alexander Singers and Players 34
All the King’s Voices 49
American Harp Society, Toronto Chapter 49
Amici 44
Analekta 75
ATMA Classique 7
ATMA/Musica Intima 26
Audiolin Music 13
Augustine Simoni 53
Bach Children’s Chorus 24 25
Bach Consort 47
Bay Bloor Radio 80
Camerata Tibia 48
Canadian Children’s Opera Chorus 24
Canadian Sinfonietta 49
Canadian Singers 45
CanClone Services 64
Cathedral Bluffs Symphony Orchestra 45
Centenary Concert Series 57
Children of Chornobyl 8
Christ Church Deer Park Jazz Vespers 31
Cosmo Music 33
Dancemakers 9
Dave Snider Music Centre 36
David Varjabed 60
Eglinton St. Georges United Church 42
Elmer Iseler Singers 25 51
Etobicoke Youth Choir 52
Fanshawe Chorus London 55
George Heinl 22
Harknett Musical Services 33
Heliconian Hall 62
High Park Choirs of Toronto 23
Humbercrest United Church 43 46
Hymn Society, Southern Ontario Chapter 53
International Touring Productions 40
Islington United Church 32
Kammermusik Toronto 24
Kerr Frames 56
Koffler Salon Series 47
Lockridge HiFi 13
Long & McQuade 31
Maestro Enterprises 60
Michael Ierullo 62
Mikrokosmos 66
Mississauga Symphony 52
Mister’s Mastering House 62
Music at Metropolitan 43
Music at St. Mark’s 49
Music for Young Children 61
Music Gallery 30
Music Toronto 11 27 42
Musica Franca 71
Musicians in Ordinary 41
Naxos of Canada 69
New Adventures in Sound 29
New Music Concerts 29 50
Newman Concert Series 41
No Strings Theatre Productions 60
Oakville’s Age of Enlightenment Orchestra 51
Opera Atelier 35
Opera Ontario 34
Opera-IS 35
Orchestra Toronto 42
Organix 06 5
Pasquale Bros. 62
Pax Christi Chorale 53
Penthelia Singers 22
Peter Mahon 26
Phillip L. Davis, Luthier 21
Piano for Hire 62
Random Acts of Music 22
RCM Community School 61
RCM Glenn Gould School 17
Remenyi House of Music 73
Sine Nomine 45
Sinfonia Toronto 15 39
Sound Post 21
SoundaXis 30
Soundstreams Canada 44
SRI Canada 6
St. James’ Cathedral 25 47
St. Rose of Lima Church 61
Studio 92 59
Sunny View Public School 53
Syrinx 40
Tafelmusik 2 51
Temple Sinai 50
Theatre Direct of Canada 46
Toronto All-Star Big Band 32
Toronto Children’s Chorus 25 52
Toronto Choral Society 23
Toronto Consort 48
Toronto Masque Theatre 36
Toronto Mendelssohn Choir 43
Toronto Operetta Theatre 45
Toronto Organ Club 49
Toronto Philharmonia 21
Toronto Symphony Orchestra 2 3 4
Toronto Welsh Male Voice Choir 51
Toronto Wind Orchestra 43
True North Brass 39
U of T Faculty of Music 19 38
Universal Music 79
Viva! Youth Singers 23
VocalPoint Chamber Choir 43
Windermere String Quartet 47
Women’s Musical Club 20 44
WholeNote MarketPlace Advertising Feature 63
Vol 11 #7
TM
www.thewholenote.com
photo: Bruce Zinger
free!
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The Toronto
Symphony Orchestra presents
Symphony
Song & Dance
The perfect concert to enchant and inspire your budding young
musician or dancer featuring some of Toronto’s rising stars in
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Saturday, April 8 at 1:30 & 3:30 pm
Check o
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Rosemary Thomson, conductor
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Canadian Children’s Dance Theatre
call 416.593.4828 or visit www.tso.ca
Concerts at Roy Thomson Hall. Part of the
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Peter Oundjian, Music Director
The Conductors' Podium is
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Purcell Fairy Queen
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Handel Solomon
Baroque Orchestra and Chamber Choir
Jeanne Lamon, Music Director
Ivars Taurins, Director, Chamber Choir
www.tafelmusik.org
Concerts take place at Trinity-St. Paul’s Centre | 427 Bloor Street West
Call the Tafelmusik Box Office today at 416.964.6337
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2006.2007 Season
Presenting Sponsor
A PRIL 1 - M AY 7 2006
TSO
what’s on at the
To ro n t o
Symphony
O rc h e s t ra
HUNGARIAN INSPIRATION:
MAHLER:
Liszt Piano Concerto No. 1
Songs of the Earth
April 6 at 8pm
April 8 at 7:30pm
Peter Oundjian, conductor
Lucille Chung, piano
April 19 at 8pm
April 20 at 8pm
Sir Andrew Davis, conductor
Petra Lang, mezzo-soprano
Clifton Forbis, tenor
April 6 sponsored by
April 8 part of the
Casual Concerts Series
SWING, SWING, SWING!
April 10 & 11 at 8pm
April 11 at 2pm
Jeff Tyzik, conductor
New York Voices
Part of the
CLASSIC BRASS
April 22 at 7:30pm
April 23 at 3pm
Alexander Mickelthwate, conductor
Andrew McCandless, trumpet
Gordon Wolfe, trombone
Mark Tetrault, tuba
Part of the
Light Classics Series
Check out our website for the
Pops Concert Series
call 416.593.4828 or visit www.tso.ca
Concerts at Roy Thomson Hall.
TIPPET-RICHARDSON
CONCERT SEASON
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TSO
The Conductors' Podium is proudly
3
To r o n t o S y m p h o n y O r c h e s t r a
3 Great Canadian Orchestras from
Montreal, Quebec & Ottawa
All 5 Mozart Violin Concerti
All 4 Brahms Symphonies
All 9 Beethoven Symphonies
visit www.tso.ca or call 416.598.3375
Don't miss the TSO's annual Radio Day on April 23 from
9am until 1pm on
! Interviews, prizes, and more!
TIPPET-RICHARDSON
CONCERT SEASON
TSO
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The Conductors' Podium is proudly
A PRIL 1 - M AY 7 2006
A Music Festival unlike any other
April 28, 7:30 p.m.
Dame Gillian Weir
St. Paul’s Anglican Church, 227 Bloor Street East
$20/$15
May 1, 8:00 p.m.
Lew Williams
Casa Loma, One Austin Terrace
$17
May 2, 6:30 p.m.
May 5, 8:15 p.m.
Chronicle of Anna Magdalena Bach – the film
Jackman Hall, Art Gallery of Ontario
Dundas at McCaul Street,
$10
May 3, 6:00 – 6:30 p.m.
A Tribute to Ruth Watson Henderson
Etsuko Kimura – Violin, Bart Woomert – Trumpet
William O’Meara – Organ
St. Basil’s Church, 50 St. Joseph St. at Bay St.
$5
May 6, 10:00 a.m. – 4:00 p.m.
Show and Tell
“See how a pipe organ works along with an
opportunity to play”
Deer Park United Church
129 St. Clair Ave. West at Avenue Road
Free Admission
May 6, 7:30 p.m.
Elke Völker – Organ
Jacques Israelievitch – Violin
Metropolitan United Church, 56 Queen St. East
$20
May 7, 7:30 p.m. (repeat performance)
Orillia Presbyterian Church (St. Andrews)
Peter and Neywash Streets, Orillia, ON
$10/$5
A PRIL 1 - M AY 7 2006
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May 7, 4:00 p.m.
Epistle Sonatas for Organ & Orchestra
Coronation Mass, Vespers - W.A. Mozart
Toronto Classical Singers
Jurgen Petrenko – Conductor
Ian Grundy – Organ
Christ Church Deer Park Anglican Church
1570 Yonge Street, just north of St. Clair Avenue
$25/$20
May 10, 6:00 – 6:30 p.m.
Ryan Jackson - Organ
$5
May 13, 2:00 - 4:00 p.m.
Young Organists Playing Competition
Rosedale United Church, 159 Roxborough Dr.
north of Bloor and Sherbourne
Free Admission
May 17, 6:00 – 6:30 p.m.
Organ & Strings
Andrew Weleschuk – Organ
Thomas Cosbey – Violin
Etsuko Kimura – Violin
Jonathan Tortolano - Cello
$5
May 24, 6:00 – 6:30 p.m.
Four Organists and a Fun-For-All!
$5
May 26, 7:30 p.m. Gala Concert
The French Masters
David Palmer – Organ
St. Thomas Anglican Church Choir
Dr. John Tuttle - Conductor
$25
Featuring Gillian
Weir in our gala
opening event
Friday, April 28, 7:30 p.m.,
Tickets $20/$15
St. Paul's Anglican Church
227 Bloor St. East
Internationally renowned
British organist Gillian
Weir, is one of the
greatest performers of our
time. Dame Gillian
received a rave review
from the Toronto Star at
her last appearance in
Toronto in 2002. You won’t
want to miss this concert.
*A Royal Canadian College of
Organists event.
This is a Benefit Concert to honour Muriel
Stafford, a leader in Toronto’s musical life
for 75 years. All proceeds go to the Muriel
Stafford Fund, Royal Canadian College of
Organists, to provide prize money for its
National Young Organists Competition.
5
99 on the ENTIRE Harmonia Mundi
Catalogue until the end of April!
per CD
Photo: Alvaro Yañez
Photo: Kasskara
Photo: Eric Larrayadieu
Photo: Eric Larrayadieu
Photo: Charles Skillings
19
Yorkville Ave. Toronto • Richmond St. London • Lakeshore Rd. Oakville • www.grigorian.com
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A PRIL 1 - M AY 7 2006
Volume 11, #7, April 1, 2006 – May 7, 2006
10
11
ATMAclassique
Opener, Be our guest (reader poll)
April’s cover
DISCOVERIES
Editor’s Corner
12
On the Record: Eve Egoyan interviewed by David Perlman
14
Recently in Town: Robert Levin by Pamela Margles
16
Opera At Home by Phil Ehrensaft
65
Book Shelf by Pamela Margles
66
The International Label from Canada
YANNICK NÉZÉT-SÉGUIN
conducts
SAINT-SAËNS Organ Symphony
with Philippe Bélanger
BEAT BY BEAT (The Live Music Scene)
18-36 Quodlibet (chamber and orchestral) 18,
Early 20, Choral 22, World 26, New Works 28,
Jazz 31, Band 33, Opera 34
SACD2 2331
DISCS REVIEWED
Choral
68
Classical and Beyond
69
Modern and Contemporary
72
Jazz and Improvised
72
Extended Play: Passover Edition by Phil Ehrensaft
75
Pot Pourri
76
Old Wine in New Bottles by Bruce Surtees
77
Discs of the Month - Opera
78
ORGAN AND ORCHESTRA
RECORDED SIMULTANEOUSLY
CALENDAR (Live Musical Listings)
Concerts: Toronto & nearby
38
Concerts: Further afield
54
Opera, Music Theatre and Dance
58
In the Clubs (Jazz)
59
(rather than the usual post-synchronization
of separate recording sessions).
•
•
•
CD Stereo
SACD High-Resolution Stereo
SACD Surround
MUSICAL LIFE
Contest: Music’s Children
37
Announcements, workshops, etcetera
60
Classified Ads
62
“How I Met My Teacher” goes to the Opera by mJ Buell
63
ACD2 2327
OTHER ELEMENTS
Contact Information and deadlines
08
Index of Advertisers
37
WholeNote’s MarketPlace
63
YANNICK NÉ ZET-SÉGUIN
plays fortepiano with soprano
SUZIE LEBLANC
IN THIS ISSUE
GREAT ARTISTS
GREAT MUSIC
GREAT SOUND
w w w. a t m a c l a s s i q u e . c o m
Pit stop for
Ichkhanian 27
Hunka headlines
Wormwood 28
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Cape Verde’s
Cesaria Evora 26
Music’s Children:
Who are they now? 37
7
The Toronto Concert-Goer’s Guide
Volume 11 #7, April 1 - May 7, 2006
Copyright © 2006 WholeNote Media, Inc.
720 Bathurst Street, Suite 503, Toronto ON M5S 2R4
General Inquiries: 416-323-2232
[email protected]
Publisher: Allan Pulker
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Editor-in-Chief: David Perlman
[email protected]
Editorial Office: 416-603-3786; Fax: 416-603-4791
Discoveries Editor: David Olds, [email protected]
Beat by Beat: Quodlibet (Allan Pulker); Early (Frank Nakashima); Choral
(Larry Beckwith); World (Karen Ages); New Music (Keith Denning, Jason van
Eyk); Jazz (Jim Galloway, Sophia Perlman); Band (Merlin Williams); Opera
(Phil Ehrensaft, Christopher Hoile); TMA (Brian Blain); Musical Life (mJ Buell);
Books (Pamela Margles)
Features (this issue): Pamela Margles, Bruce Surtees, Phil Ehrensaft, Karen
Ages, Jason van Eyk, Paul Farrelly, David Perlman
CD Reviewers (this issue): John Beckwith, Larry Beckwith, Aaron Brock,
Don Brown, Daniel Foley, Jim Galloway, Janos Gardonyi, John S. Gray, Tiina
Kiik, Heidi McKenzie, Gabrielle McLaughlin, Ted O’Reilly, Cathy Riches, Tom
Sekowski, Bruce Surtees, Andrew Timar, Richard Underhill
Proofreaders: Simone Desilets, Karen Ages, Vanessa Wells
Advertising, Memberships and Listings:
Phone: 416-323-2232; Fax: 416-603-4791
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Event advertising/membership: Karen Ages, [email protected]
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Classified Advertising; Announcements, Etc:
Simone Desilets, [email protected]
Listings co-ordinator: Vanessa Wells, [email protected]
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DATES AND DEADLINES
Next issue is Volume 11 #8 covering May 1 - June 7, 2006
Free Event Listings Deadline: 6pm Saturday April 15
Display Ad Reservations Deadline: 6pm Monday April 17
Colour Ads Deadline: 6pm Monday April 17
Black and White Ads Deadline: 6pm Tuesday April 18
Publication Date: Thursday April 27
WholeNote Media Inc. accepts no
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made for any product or service
reported on or advertised in this issue.
CCAB Qualified Circulation,
March 2005: 33,402
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FOR OPENERS ...
Be Our Guest READER POLL
FIRST UP IN THIS MONTH’S OPENER - thoughts from a WholeNote
staffer on the phenomenal amount of building going on these days
on behalf of music and the arts. “A couple of unique visions for
arts education,” she says, “are in contrasting stages of bloom.”
“I was at the late March opening of York University’s
impressive new facility, the Accolade Project -- state-of-the-art
teaching, exhibition and performance facilities in two new
buildings, a 325-seat proscenium theatre with orchestra pit, a 325seat recital hall with integrated recording studio, a 500-seat
cinema-lecture hall, a performance halls lobby, specialized dance
and music studios, dozens of cutting-edge ‘smart’ classrooms,
labs and seminar rooms for general University use, two art
galleries... . Phillip Silver, York’s Dean of Fine Arts, spoke
about ‘tremendous synergy between disciplines,... an accessible,
dynamic Fine Arts cluster integrated within the larger academic
community. ...’”
Perhaps too a greater use of York as a venue by the community
at large. Time will tell.
“Meanwhile, the Royal Conservatory of Music awaits with
great anticipation the completion of its downtown Telus Centre for
Performance and Learning in 2007/08, an impressive complex
which will include a 1,140-seat concert hall, a new-media and
broadcast centre, fully wired practice and teaching studios,
rehearsal, studio and meeting rooms, a comprehensive music
library, lobby with ... .” The list goes on.
“The Centre will bring a welcome resolution to the RCM’s
present struggle to operate under less than ideal conditions while
all the construction is taking place! The recent performances of
Britten’s A Midsummer Night’s Dream by the RCM Glenn Gould
School Opera Ensemble – imaginatively produced and altogether
on a very high artistic level - had to make do in a high school
auditorium, with no orchestra pit and a shallow stage that allowed
for only a minimal set. It’s tantalizing to think what magic those
fairies and elves might have wrought in the facility to come. For
now, the potion still lies within the flower.”
Tapestry New Opera Works’ recent “Opera to Go” evening
took place in an analogous facility -- George Brown College
Theatre School’s Young Centre for the Performing Arts -- part of
the same largely welcome trend.
If only one didn’t have to watch post-secondary proliferation
with the same eyes that are seeing music education in our public
schools (and other community centres) being hacked off at the
knees. A question for the gifted, flocking to our post-secondary
paradise: Where do audiences come from in a society of people
deprived of early exposure to music?
David Perlman, with files from Simone Desilets
The topic this month is
favourite (and least favourite) composers.
XWho are your top three composers?
XWho are three you think are over-rated and
over-exposed?
XWho are your three favourite Canadian
composers?
Complete this survey online at www.thewholenote.com
Or send it in by mail or fax. Four randomly
chosen respondents will each receive a one year
free subscription to WholeNote.
Dispatches from Vacuumland
As could be expected, last month’s reader poll Radio
Listening Habits showed WholeNote readers are avid
radio listeners – particularly to classical music.
The most popular time to tune in is weekend mornings
(72%), followed by weekday mornings (69%),
weekday evenings (62%) and weekend afternoons
(62%), with weekday nights (52%).
Car radios were preferred listening device (85%)
followed by hi-fi system (65%).
Classical music was listeners’ first choice (58%)
compared to 21% for news and information and 17%
for jazz.
And 75% of readers said they confine their listening to
either two or three stations. Said one, “Are there more
than three radio stations in Toronto!!??”
And don’t forget! You can also tell us what you think of
WholeNote in general when you respond to the poll.
We love to have your feedback.
Paul Farrelly
Some of our upcoming editorial features and special directories
May: Choral Music in Ontario:
WholeNote’s annual “Canary
Pages,” an invaluable guide to
the choral scene in the
province.
Features on extra-mural
children’s choirs and the choral
experience in Ontario’s
schools, past and present. Why
did James Rolfe’s school choir
lapse when he was in grade 3?
(See February’s WholeNote,
page 56.)
June: Planning your musical getaway. WholeNote’s annual
“Green Pages” (profiles of summer music festivals in
Toronto, within Southern Ontario, and within easy driving
distance) enable you to plan a musical summer vacation.
July/August: Comprehensive listings for the festivals
profiled in the June issue.
Reach WholeNote’s 100,000+ readers. Get your choir or
your summer festival profile into one or more of these
upcoming issues.
INFO @ THEWHOLENOTE .COM OR
416-323-2232
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A PRIL 1 - M AY 7 2006
April’s Cover
What better photo to anchor our
annual opera issue than La Musica in Monteverdi’s Orfeo, “the
first true opera” some say.
“It’s a brand new image”,
photographer Bruce Zinger explains, “for the upcoming Orfeo.”
I try to persuade Zinger, who
has been photographing for Atelier since 1999, to let me see
other variations of the photo-other poses. “There was truly
just the one”, he says. And then
as if by way of explanation,“It’s
Jeannette in the mask.”
(Dancer Jeannette Zyngg is co-artistic director of Atelier, the
author of the company’s elaborate language of movement -- the
graceful choreographing of gesture that, because it is so formal,
leaves the singers free to inhabit their mighty characters, without
having to worry what their bodies are doing.)
Bruce Zinger’s current
role with the company
goes far beyond what one
would normally think of as
being in the photographer’s purview.
“Marshall (Pynkoski,
Atelier artistic director)
and I have been at it for
abour five years now”
Zinger says, “working on
a more unified look and
feel to the company’s
production photographs. I
think photographs like this
one are very accessible
stuff, reminiscent of paintings in the Louvre -warm tones.”
BE OUR GUEST
An unusual image for
opera, in that Musica,
masked, is voiceless? “If
you think about it,” Zinger
Bruce Zinger
said, “photography is
always like that - voiceless, frozen time. Its counterpart in music is
the moment of ‘rest’ - of significant silence. But it was different, for
sure. It’s the first opera photo I’ve done where I didn’t have to retouch the face... . Well there was one spot in the paint actually ....”
Bruce’s first photos for Opera Atelier in December 1999 were for
Coronation of Poppea. “I had the technical talent,” Bruce says, “and
that was a start. They could relax knowing that we’d always be getting something usable from a shoot -- this was all pre-digital. But
beyond the technical, there’s being adept at the magic - being able to
see the decisive moment.”
“I remember one moment from the Houston Poppea” he says, where
Poppea’s husband is trying to kiss the passion back into their marriage and she hangs there passive in his embrace. Capturing her limp
body hanging there speaks volumes, more than large gestures. Those
are the moments I mean. Marshall and I have a real simpatico. We
understand each other’s take on things. We’re both happy with what
we’re doing.”
David Perlman
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EDITOR’S CORNER
By the time you read this the April 2nd JUNO presentations may have already taken place, but I
want to clarify something we printed last month in the list of nominated Classical recordings.
Anton Kuerti’s recording of Brahms concertos was included but it seems that after we went to
press it was decided that the Analekta disc was not eligible as it was a re-issue of an earlier
recording. Moved up from “also ran” is Arion Ensemble’s Telemann recording “Tutti Flauti”.
Our review appeared in the July 2005 issue (and is of course still available on-line at
www.thewholenote.com).
We missed three of the classical nominees in our coverage over the past 18 months, but that
has been rectified in this issue. Please see John S. Gray’s review of cellist Denise Djokic’s
“Folk Lore”, nominated in the solo and chamber music category, in our Classical and Beyond
section. The other two, nominated in the Best Classical Composition category, are Robert Turner’s Symphony for Strings and Brian Cherney’s Illuminations which both appeared on the
four CD set “Ovation Volume 4” (CBC Records PSCD 2029-4). I have a feeling that the
lock-out at the CBC last summer explains why we did not previously receive this companion
volume to the Centrediscs Canadian Composer Portraits devoted to Turner, Cherney, Ann Southam and Istvan Anhalt (all of which have been reviewed in these pages).
The Turner disc includes three
selections with the CBC Vancouver Chamber Orchestra, including
the nominated Symphony for
Strings, a woodwind quintet and a
piece for winds, strings and piano.
Brian Cherney is represented by
the nominated Illuminations performed by I Musici de Montreal,
Into the Distant Stillness with Esprit Orchestra, a woodwind quintet, a solo piano piece and
a string trio.
It is a bit strange to realize that the JUNO
category of Best Classical Composition is open
to works written anytime over the past half
century. Turner’s string symphony is a classic
work of its time (1960) and genre, with lots of
dark brooding textures and lush timbres interspersed with occasional angular, strident sections. Strong as it is however, it is a dated
work. So is the technology that was used to
record it and unfortunately there is some distortion in the high and loud sections.
Cherney’s work is also for string orchestra,
but it was written in 1987 and is much more
recognizable as music of our own time. The
orchestra is divided in two, with one group
sometimes giving commentary on the other.
The opening reminded me of a forest at dawn,
an aural landscape that gets busier and busier
as the birds awaken on all sides. Recorded in
1992, I Musici is captured in full clarity of
sound.
(Concert Note: Brian Cherney is currently
serving as the Michael and Sonja Koerner
Distinguished Visitor in Composition at the
Univerisity of Toronto. On Wednesday April 5th
he will give a free noon-hour lecture/demonstration and on April 8th the U of T Wind Ensemble will premiere a new work commissioned for the occasion.)
The fourth disc of the “Ovation” set provides the marvelous opportunity to hear three
of Canada’s great singers in
their prime, in the 1976 recording
of Anhalt’s La Tourangelle with
Phyllis Mailing, Mary Morrison
and Roxolana Roslak. This hourlong music theatre piece, one of
Anhalt’s most important works,
also includes “commentary” by
tenor Albert Greer and baritone
Gary Relyea, a large intrumental ensemble
conducted by Marius Constant and tape. The
accompanying work, Cento (Cantata Urbana), is a dramatic setting of Eldon Greer’s
words from “An Ecstacy”, for 12 voices and 2
channels of pre-recorded vocal and electronic
sounds performed by the Tudor Singers of
Montreal.
All in all I think that the gentlemen are very
well served by these recordings. In the case of
Ann Southam however I question the choice to
include only electronic compositions. With the
Centrediscs Portrait focusing exclusively on
the solo piano series Rivers and CBC’s “Ovation” presenting only the tape compositions
written as dance scores, we are given a very
narrow picture of a composer with much
broader interests, even though these are important sides of her creative work. Of course the
excellent documentary that is included with the
Portrait set does give us excerpts from other
aspects of Southam’s work, but snippets hardly
suffice. The choice of sticking exclusively to
the electronic works here could also be disputed on the grounds that four of the five pieces
were already available on the CD “Seastill”
(Furiant FMDC 4604-2). Better they had
mixed things up a little and presented us with,
for instance, Eve Egoyan’s marvelous performance of Southam’s Figures with the strings of
the Toronto Symphony Orchestra from the
broadcast recording of the Massey Hall New
Music Festival performance back in 2001. An
opportunity sadly missed.
12
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Last month’s cover story mentioned Kevin
Mallon’s extensive discography on the Naxos
label. This month brought another two releases
to the table, a pair of discs that illustrate the
faith that Naxos has in Mallon. Pachelbel’s
Canon aside, Handel’s Water Music and
Music for the Royal Fireworks (Naxos
8.557764) likely rival Bach’s Brandenberg
Concertos and Vivaldi’s Four Seasons as the
most recorded works of the baroque era. This
is at least the third
recording on the
Naxos label alone,
following releases
by the Prague
Chamber Soloists
and Capella Istropolitana. Obviously
Naxos founder
Klaus Heymann
must feel that Mallon’s Aradia Ensemble has
something new and important to say about
these works and I must say I agree – these old
warhorses feel fresh and vibrant under Mallon’s baton.
At another end of the spectrum is a CD of
symphonies by a Viennese composer who
flourished in the second half of the 18th century
and who, in spite of several years spent researching the CJRT radio program Music
Before 1800, I must confess is a new one on
me. It seems Karl von Ordonez (1734-1786)
was a nobleman by birth and a musician by
avocation. Among
his distinctions was
being one of the
first members of the
Tonkünstler-Societät, a concert society dedicated to
raising money for
the widows and
orphans of musicians. Ironically, Ordonez spent the last three
years of his life in sickness and poverty and
barely escaped a pauper’s grave. Although he
has remained virtually unknown for two centuries, there is now a collected body of authenticated work that encompasses two operas (one
for marionettes!), 27 string quartets, a violin
concerto and some 73 symphonies. If the five
included in this Toronto Camerata release
(Naxos 8.557482) are any indication of the
level of quality I would venture to say that the
accepted repertoire of the early classical period is about to take a quantum leap, and Mallon
proves himself once again an able and inspired
navigator.
While preparing for this April issue I had the
pleasure of attending the launch of TSO concertmaster Jacques Israelievitch’s new CD
which features a talented young percussionist
who happens to be Jacques’ son Michael.
“Hammer and Bow” (Fleur de Son FDS
57072) was given a celebratory christening
with the help of L’Alliance Française and the
French Consulate at Charles Pachter’s architecturally stunning Pachter Hall and New
A PRIL 1 - M AY 7 2006
Moose Factory
which recently reopened on Grange
Ave. The French
connection is a result
of Israelievitch’s
heritage and the fact
that both he and
Pachter are Chevaliers of France’s
Ordre des arts et lettres, one of that country’s
highest honours. Jacques and Michael performed a number of highlights from the new
CD, including selections from Raymond
Luedeke’s Haiku-inspired Ah, Matsushima,
with Basho’s poetry narrated by Measha Brüggergosman. They also performed several
movements from Christian Woehr’s Djembach: Suite, a virtuosic composition which
calls for djembe (an African drum) and is
loosely based on the idea of a baroque suite of
dances. As the CD does, the ecclectic program
began with an arrangement for violin and marimba of Piazzola’s Bordel 1900 from L’histoire
du Tango originally for flute and guitar, and
ended with Srul Irving Glick’s charming, soulful
and celebratory A Night at Heaven’s Gate: A
Klezmer Rhapsody, written in 2000 and dedicated to Israelievitch and his wife Gabrielle.
For this last selection Jacques and Michael
were (and are) joined by TSO principal cellist
Winona Zelenka.
Concert Note: Jacques and Michael Israelievitch give the Canadian premiere of Isle of
Beautiful Illusion, a work composed for them
by Alexander Levkovich, as part of the Toronto
Symphony’s New Creations Festival on April 5.
Hammer
Passover and Easter are coming up and
later in these pages you will find Phil Ehrensaft’s essay about Argentian composer Osval-
do Golijov who has managed to combine both
in his modern and eclectic setting of the St.
Mark Passion (see Extended Play: Passover
Edition). Two very different discs that tell the
story of Christ on the Cross are Dietrich Buxtehude’s Membra Jesu Nostri (Harmonia
Mundi HMC 901912) and James MacMillan’s Seven Last Words from the Cross (Hyperion SACD 67460).
Buxtehude, the German organist Bach
walked 200 miles
from Arnstadt to
Lübeck to hear
play, wrote seven
interlocking cantatas following the
medieval hymn
cycle Salve mundi salutare, mystical contemplations
of the individual parts of the crucified Christ’s
body. As the cantatas progress our gaze is
gradually drawn upwards from the feet, to
knees, hands, pierced side, breast, heart and
finally to Christ’s countenance. The poetic
medieval texts of each cantata, set as solo
arias, are framed by biblical quotations for tutti
voices and instrumental forces. Buxtehude’s
creation is extremely effective and moving. It
is given a stunning performance by one of
Europe’s most respected early music vocal
ensembles, Cantus Cölln, under the direction of
Konrad Junghänel who founded the group two
decades ago.
Scottish composer James MacMillan first
came to my attention when Evelyn Glennie
was invited by the Toronto Symphony as the
percussion soloist in his 1992 orchestral Veni,
veni Emmanuel. I got hooked, but mostly I
confess by Glennie
(who will return to
perform Chen Yi’s
Percussion Concerto with the TSO on
April 1). MacMillan,
like John Tavener
and Arvo Pärt, is a
deeply religious
composer whose
musical sensibilities can remind us of earlier
periods of musical history. MacMillan’s music
has more of a modern density of texture and
edginess than that of Tavener and Pärt however, and this is well exemplified in Seven Last
Words. MacMillan uses texts from the liturgy
(Good Friday Responsories for Tenebrae and
the like) as commentary on the “last words”
(i.e. Father forgive them, for they know not
what they do; Woman, Behold thy Son!; My
God, my God, why have you forsaken me? et
al) and like Buxtehude, varies the setting from
soloists and small groups to the full forces of
the choir and orchestra. And like Cantus Cölln,
Polyphony, the renowned British choral ensemble featured in this performance, is led by the
man who founded the group 20 years ago,
Stephen Layton. They are joined by the Britten
Sinfonia for this extremely powerful performance. Like Brian Cherney mentioned above,
James MacMillan will be the Koerner Distinguished Visitor in Composition at the University of Toronto next Fall. One of the conditions
of the residency is a commission to compose a
new work for the students. The result is Sun
Dogs for massed choirs which will be performed at the Faculty of Music early in November.
Mac
Speaking of the University of Toronto, I
CONTINUED ON PAGE 14
Lockridge April Promotion
A PRIL 1 - M AY 7 2006
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13
Toronto next Fall. One of the conditions of
the residency is a commission to compose a
new work for the students. The result is Sun
Dogs for massed choirs which will be performed at the Faculty of Music early in November.
Speaking of the University of Toronto, I
managed to find a couple of hours in the midst
of my administrative and editorial commitments recently to take in a lecture by one of
my very favourite writers at the Isabel Bader
Theatre. Richard Powers is the author of a
number of brilliantly challenging novels that
integrate history, philosophy, science, technology and, especially, the arts into elaborately intertwined stories. At the risk of stepping on Pamela Margles’ toes over in the
Book Shelf section, I’d like to draw your
attention to two of Powers’ works that would
be of particular to interest to musicians and
music lovers who like a good read. The Gold
Bug Variations (1991, Harper Collins Canada, 639 pages) interweaves tales of encryption, drawing on Edgar Allen Poe’s “The
Gold Bug”, Bach’s Goldberg Variations (and
specifically Glenn Gould’s famed 1955 recording) and the search for the secret of the
double helix structure of the DNA molecule,
as told through two love stories that take
place 25 years apart.
The Time of Our Singing, Powers’ most
recent novel (2003, Picador, 631 pages), is
again a love story but also the story of the
20th century. When a Jewish German emigré
scientist with a passion for opera meets a
young, black aspiring opera singer in the
interracial crowd of 75,000 that flocks to
Washington for Marian Anderson’s historic
concert from the steps of Lincoln Memorial
on Easter Sunday in 1939, a story that will
take the subsequent turmoil of America’s
latter day coming of age as its backdrop is
born. Somehow, through the trials and tribulations of the dysfunctional but highly creative
family that results from the couple’s decision
to create a “colour blind” union, Powers
manages to take us on an in-depth tour of
European art music of the past millenium
(with particular focus on the development of
the school of historically informed performance practice) and the developments of North
American Afro-centric music from the early
forms of jazz to the current hip-hop scene.
This is a brilliant book about the appropriation
of voice.
On the Record
Eve Egoyan answers questions about a busy month
Your early April CD launch concert and Dancemakers gig at the end of the month make an
interesting pair of parentheses! Say more about either if you like. And what’s in between?
I will be launching two discs at the April 6
concert. Weave will be nationally distributed
after the show and Asking will be on sale only
during the show then internationally released
on the New York-based label Mode Records
in 2007. There is not much time for “inbetween” the launch and the Dancemaker
shows except for rehearsals with Dancemakers and looking after Viva Anoush who turns
two on May 3. There will be active preparations for Easter egg hunting (as well as making
traditional Armenian Easter bread, choereg,
with Viva to send to my parents in Victoria)
and a fun-filled birthday party.
Last cd launch of yours I went to (the Komorous) at the Gould, it seemed that what you
were doing, with the lighting and the feel of the
event, was to try to create as intimate and
personal a space for the listener as possible —
a kind of softly lit glade of sound. The Dancemakers show seems like the antithesis of that
—glare of the spotlight and all that.
I chose that lighting for that particular piece
(as well as for the performance of Linda C.
Smith’s Ballad for cello and piano premiered
at the Gould on Feb. 22) to help my audience
focus their ears. I want them to listen, to still
their sense of sight. I am considering what
lighting will be most appropriate for my disc
launch.
In The Satie Project (two seasons ago?) you
also put yourself in the performance spotlight.
Any way the Dancemakers Absences compares to that?
I haven’t yet had a chance to rehearse Absences. The music is sombre unlike The Satie
Project which had extreme whimsical moments. I love to work with dancers on stage.
We use our bodies to communicate the intangible. We work through time. An intimacy passes
between us - I feel their bodies, breath, and
movement in an extremely sensual way (often I
cannot see them but feel their presence). We
interact through air - vibrations of skin, breath,
and sound.
Eve Egoyan and Viva Anoush
Yes, it is an original score for dance. On
Monday I will meet with the composer for the
first time and learn the technological aspects
of the music. Here is what he tells me: “ the
piano’s sound is amplified and processed via a
Max program. On stage you play an acoustic
piano and control the Max program with the
Laptop which will be right beside you. You
will alter the sound via midi pedals and sometimes with your right or left hand. Throughout
the show the sound will navigate real to unreal
sound always from the same acoustic piano
source”.
It’s not clear from the previous answer
whether you will have discretion in use of the
Max or whether it will be pre-determined.
Can you clarify?
I mailed the composer about your question,
since I haven’t worked with the technology
yet. Here is his reply to me:
“We use sound processing to give different
colours to the natural sound of the piano and
realize a kind of “orchestration” of the piano.
There are lots of unhappy matings of dance and Its function is to create new atmospheres,
feelings, and emotions. We don’t use any tape
music that take place in a concert season —
We welcome your feedback and invite suboften with a polarized audience in attendance, or prerecorded music to stay in direct intimamissions. Catalogues, review copies of CDs the dance crowd like figure skating fans waitcy with the dancers, but with a larger sound
and comments should be sent to: The
universe and a different way of playing. And
ing to applaud the triple salkows, the concert
yes, of course, what you will play will be a
WholeNote, 503 – 720 Bathurst St. Toronto
crowd wincing when the thud of feet or grand
ON M5S 2R4. We also welcome your input
gestures interfere with their listening pleasure. creative reaction to what you receive from
the dancers, and vice-versa. The utilization
via our website, www.thewholenote.com.
Lots of things can go wrong especially if the
event is an arranged “multidisciplinary” mar- of MAX/MSP changes nothing in our interest
to have a dynamic and creative relation beDavid Olds riage. I guess the fact that Chenier’s work is
tween Dance/Music.”
Editor, DISCoveries an original score makes a difference?
David Perlman
[email protected]
14
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A PRIL 1 - M AY 7 2006
2006-2007 Masterpiece Series
Dedicated to our fragile environment
Saturdays, 8 pm, Grace Church-on-the-Hill, 300 Lonsdale Road
Oct 7, 2006
BEETHOVEN’S WORLD
Richard Raymond, Pianist
Chan Ka Nin’s shimmering portrait of our
coasts and forests opens a vista filled by earthy Russian wit
and Beethoven’s magisterial vision of life in a vast universe.
CHAN KA-NIN The Land Beautiful
BEETHOVEN Piano Concerto No. 2
SHOSTAKOVICH Quartet No. 1 orchestral version
BEETHOVEN Grosse Fugue
AUTUMN COLOURS
Nov 18, 2006
Jesus Amigo, Conductor / Etsuko Kimura, Violinist / Angela Park, Pianist
Two superb soloists intertwine lyrical lines by a French master, a Canadian paints an imaginary
world, and Mozart’s last chamber score reveals him at his most mature and profound.
CHAUSSON Concerto for Violin and Piano
HARRY FREEDMAN Fantasy and Allegro
MOZART Quintet in E flat major, orchestral version
Dec 9, 2006 CHRISTMAS FANCIES
Floortje Gerritsen, Violinist / Ballet Espressivo, Donna Greenberg, Choreographer
Corelli’s best-loved work opens a concert with gifts for all -- Mozart’s silvery violin, a playful
scherzo, the Gallant Knight’s adventures brought to life in a vivid ballet, and favourite carols.
CORELLI Christmas Concerto
MOZART Violin Concerto No. 2
ANDRE PREVOST Scherzo
TELEMANN Don Quixote Suite
GADE Children’s Christmas Eve
FEBRUARY HEATWAVE Feb 3, 2007
Giancarlo De Lorenzo, Conductor / Antonio di Cristofano, Pianist
Romance to melt midwinter’s chill… a poem inspired by Yeats,
the bard of Ireland’s green hills; Chopin’s poignant brilliance;
and a dazzling serenade from fin-de-siecle Vienna.
HEALEY WILLAN Poem
CHOPIN Piano Concerto No. 2
FUCHS Serenade
March 10, 2007 WINTER DREAMS
Julian Milkis, Clarinetist
Wood turns to gold as an international virtuoso breathes Brahms’ soaring melodies, above a
sparkling frozen landscape and the fleeting fantasies of Shostakovich’s seven dramatic miniatures.
BRAHMS Clarinet Quintet
JEAN COULTHARD A Winter’s Tale
SHOSTAKOVICH Quartet No. 11 orchestral version
SPRING SONGS April 14, 2007
Rui Massena, Conductor / Mario Carbotta, Flutist
A transcendent prayer, Conway Baker’s lyrical conversation in music, Italian arias sung by the
gleaming bel canto flute, and Beethoven’s vigorous serenade to life.
LISZT Angelus! (Prayer to Guardian Angels)
MICHAEL CONWAY BAKER Flute Concerto
MERCADANTE Flute Concerto in E Minor
BEETHOVEN Serenade
May 5, 2007 SUNSHINE
Aline Kutan, Soprano
Musical rays glow through Cherney’s mystical work, glance between
the clouds in Britten’s settings of poems by Rimbaud, then burst forth
in the full-bodied glory of Dvorak’s joyous folk celebration.
BRIAN CHERNEY Illuminations
BRITTEN Les illuminations
DVORAK Sextet, orchestral version
Series: $169 adult, $149 senior, $79 student & 16-29
A PRIL 1 - M AY 7 2006
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www.sinfoniatoronto.com
416-499-0403
15
recently in town
Robert
Levin
time traveller
interviewed by
Pamela Margles
‘It’s your fantasy,’ American pianist Robert
Levin gleefully told his audience at a recent
Tafelmusik concert in Toronto. ‘Fasten your
seatbelts’. He proceeded to dazzle them with
an exhilarating thirteen minute fantasia, wholly improvised on four themes he had just
chosen from submissions by the audience.
The audience was thoroughly captivated, yet
taken aback by how uncannily it sounded
like Mozart. Levin had already shown what
he could, and would, do with Mozart in a
performance of the Piano Concerto no. 24 in
C-, where he freely improvised the ornaments and cadenzas.
I spoke to Levin during the run of five
sold-out concerts in February, at the downtown home of his cousin, where he was
staying. His aunt, he explained to me, had
married a Canadian – hence the Toronto
family connection. His vitality is irrepressible, his enthusiasm infectious. As a scholar
as well as performer, he seems keener to
explore possibilities than promote ready-made
doctrines. He is passionate about historical
instruments like the fortepiano he was playing with Tafelmusik. But he is also committed to the modern concert grand, on which
he has an equally notable career. The key, he
says, is to fit the instrument to the situation.
‘If I am playing a Mozart piano concerto
with a sixty-piece modern orchestra in a large
hall, then a Steinway is exactly the right
instrument – and it’s a splendid instrument.
But if I’m playing with Tafelmusik in a
smaller venue I’m not going to play a Steinway. Communication is the whole thing.’
‘Nevertheless, I don’t play Mozart on a
Steinway the way I was trained to. Having
spent so much time on a period instrument, I
can transfer many - but not all - of its indigenous sounds to the concert grand, which is
darker, fuller and more powerful. It excels at
singing. It comes to bloom slowly and dies
slowly, whereas a period piano responds
much more quickly, and dies more rapidly. It
is much better at speaking than singing.’
‘Modern pianos have a more brilliant
sound, so they combine perfectly with the
brilliance of the modern orchestra. But the
period piano, with its higher overtone spectrum, balances perfectly with the dark rich
timbres of period wind instruments and gut
strings.’
‘So I play a fortepiano only with other
period instruments, or in solo recitals. It
doesn’t work to have two types of instruments struggling for the same overtone spectrum. The audience will not know much
about those struggles, but they will know
that they’re having trouble hearing the instrument.’
Levin manages three parallel careers,
performing, teaching and research. ‘It’s very,
very difficult to keep them all in balance. My
performance schedule is planned a minimum
of two to three years in advance.’ He is a
professor at Harvard University. ‘I have a
class on Monday night - that’s why I’m
flying back right after the final concert on
Sunday.’ As well, he is a leading musicologist, well-known for his many cadenzas to
Mozart wind and string concertos, written
only, he emphasizes, when requested by
performers and publishers. He is even better
known for his revisions and completions of
Mozart’s unfinished works, including the
Requiem, and, more recently, the Mass in C
minor, which the Toronto Symphony will
perform next year under Helmuth Rilling.
Working with Tafelmusik has been a highlight for him. ‘Performing with them has
been so rewarding. It’s something I’ve wanted to do for a long time. I came within a
hair’s breadth some years ago of recording
Mozart and Beethoven concertos with Tafelmusik and conductor Bruno Weil. I’ve
known Jeanne Lamon since the early seventies. I heard them most recently in a beautiful
collaboration with Malcolm Bilson, who was
responsible for bringing me into the world of
period piano playing.’
‘These musicians are so generous - they
are extraordinarily responsive and completely
empathetic. They play both with ferocity and
with enormous joy. To look at Jeanne’s face
during these performances is a lesson in
participatory emotional hands-on playing. It’s
a rollercoaster ride with her and the whole
orchestra.’ Indeed, to return, he says,
‘would give me immense pleasure.’
Levin is now recording the Mozart piano
sonatas on period instruments, in chronological order. ‘It makes sense to change instruments just as Mozart does, and show the
extraordinary ability of the different instruments he used to achieve different characters.
The sound becomes more mature, powerful,
more plangent, and perhaps more colourful.
When the medium evolves, the message
evolves.’
What he is doing with Mozart, interpolating ornaments and especially improvising
cadenzas, has been seen as presumptuous.
‘But I don’t do anything to this music except
what I find within it. What I am doing is a
literal dramatization of innate contradictions
in the music. I assume that if the rhythms,
articulations and textures are changing every
couple of bars, then the character of the piece
is changing. I’m told I play in a very opinionated way. I admit that. Mozart is sending
ROBERT LEVIN CONTINUES ON PAGE 67
The Greta Kraus Schubertiad
Schubert's Florilegium
C O N N E C T I O N
Celebrating the Art of Song
Shannon Mercer, soprano
Joshua Hopkins, baritone
Stephen Ralls & Bruce Ubukata, piano
Susan Hoeppner, flute
Robert Kortgaard, piano
A Spring garland of Schubert
songs on the theme of flowers
Tuesday, May 9, 7:30 pm
www.aldeburghconnection.org
$50 includes intermission party
with Viennese pastries and wine
Glenn Gould Studio: 416 205-5555
16
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Michael
Schade
tenor
Stephen Ralls
piano
A recital of Lieder by composers
including Wolf, Mendelssohn, Pfitzner
Wednesday, May 31, 8 pm
Walter Hall - $45: 416 735-7982
A PRIL 1 - M AY 7 2006
ORCHESTRA
SHOWCASE
Uriel Segal conductor
Andrew Aarons piano
Celebrating our students
A series of free concerts featuring students from
our brass, woodwind, string, piano, harp and
percussion departments
MOZART Symphony No. 3
PROKOFIEV Piano Concerto No. 2
BARTOK Concerto for Orchestra
FRIDAY, APRIL 21, 8 PM
SATURDAY, APRIL 22, NOON & 2 PM
SUNDAY, APRIL 23, NOON, 2 & 4 PM
The Royal Conservatory of Music
90 Croatia Street (Bloor & Dufferin)
FRIDAY, APRIL 7, 8 PM
Glenn Gould Studio
CBC, 250 Front Street West
Adults $15, Students and Seniors $10
Group rates available
FREE ADMISSION
416.205.5555
416.408.2824, ext.321
G R E AT A R T I S T S
The Tokai String Quartet
Amanda Goodburn violin
Csaba Koczo violin
Yosef Tamir viola
Rafael Hoekman cello
THURSDAY, APRIL 27, 8 PM
RCM Concert Hall
90 Croatia Street (Bloor & Dufferin)
MOZART Quartet in E-Flat Major, K. 428
CHAN-KA NIN Quartet No. 3
MENDELSSOHN Quartet in A Minor
416.408.2824, ext. 321
Adults $15, Students and Seniors $10
Group rates available
www.rcmusic.ca
A PRIL 1 - M AY 7 2006
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17
QUODLibet
by Allan Pulker
ship, inspiration, and a timeless message.”
By composers
as diverse as
Byrd, Purcell,
Lotti, Bruckner,
Stainer, Casals,
Stravinsky, Duruflé and Raminsh, the anthems range
Nexus at St. Paul’s; Good Friday
from as early as
the 16th century
Early in the month
to just a few years ago. Also part
With the coming of spring, the of the beautifully constructed promusic-making continues at full tilt. gram will be two improvisations by
Looking merely at numbers, on Toronto’s NEXUS percussion enSaturday, April 1 there are 24 con- semble. “Regardless of their vincerts listed in Toronto and 11 “fur- tage,” Robertson told me, “these
ther afield.” On Sunday, April 2 Lenten anthems exemplify what is
there are 13 “further afield” and best in our rich musical heritage 19 in Toronto. Monday, tradition- they are works written with skill
ally a “dark” night in concert and and inspiration and are dedicated
recital halls is anything but on April to the glory of God.”
3, with six events in Toronto.
Organix 06
Two prominent Toronto organists,
Benefits
I want to draw attention to three William O’Meara and Gordon
benefit concerts as different from Mansell, have undertaken the ameach other as their causes are. On bitious project of putting together
April 9 at Roy Thomson Hall there a two week celebration of the pipe
will be a concert featuring some of organ. While most of the events
our best musicians to raise funds take place in May, the Festival
to purchase medical equipment to begins on April 28 with a performhelp the victims of the nuclear dis- ance by Dame Gillian Weir at St.
aster in Chornobyl, Ukraine. On Paul’s Anglican Church.
This is a concert not to miss.
April 23 more of our musical best
are donating their services in a fund Dame Gillian Weir has been called
raiser for the Canada Africa Part- “one of the 100 greatest players of
nership on AIDS. On April 28 the the century” and “one of the 1000
Bach Consort, consisting primari- Music-Makers of the Millennium.”
ly but not entirely of Toronto Sym- “On the King of Instruments, Gilphony musicians will perform J.S. lian Weir is the undisputed queen,”
Bach’s Easter Oratorio and other Keyboard Review proclaimed.
By birth a New Zealander, she
works to raise funds for Parkdale’s
Pia Baumann School of Dance, is based in London, England
which for years has been making where she is the Prince Consort
ballet instruction available to eve- Professor of Organ at the Royal
ryone, regardless of their ability to College of Music. Much more
than a music professor, however,
pay.
she has defined an entirely new role
as an ambassador for organ music
Anthems at St Paul’s
On April 14, Good Friday, there through performances with leading
will be numerous musical occa- orchestras and conductors, recital
sions in recognition of this most tours throughout Europe, North
sacred day in the Christian calen- America, Australasia, and Japan,
dar. One of these will be at St. public television programs, interPaul’s Church on Bloor Street East, views, recordings and master classa church gradually coming out of es. Dame Gillian has transformed
almost three years of renovations. the image of organist from esoterEric Robertson, music director at ic musician to beloved celebrity.
the church says of this concert, Performer, scholar and teacher,
“Each of the anthems being sung she has opened the eyes of the world
…possesses qualities found in all to the music of the organ with her
enduring sacred music: craftsman- extensive travels and tours.
Her prize-winning performance
of a work by Messiaen, at the 1964
St. Albans International Organ
Competition, at a time when his
music was little known outside
France, stunned both the audience
and jury, and she became particularly associated with the composer. She has several times performed
the complete works of Messiaen
in series, and her recording of his
complete works has been released
on CD.
She is currently Distinguished
Visiting Artist at the Peabody Conservatory of Music at Johns Hopkins University.
Kerry Stratton on Tour in Ontario with the Vienna ConcertVerein
Kerry Stratton spoke to me from
his hotel room in Vienna, at the
end of a day of rehearsals in the
Brahms Hall of the Vienna MusikVerein with the Vienna ConcertVerein, the chamber orchestra of
the Vienna Symphony.
Besides being the artistic director of the Toronto Philharmonia he
is principal guest conductor of the
Carlsbad Symphony Orchestra in
the Czech Republic, the orchestra
chosen by Dvorak for the European premiere of the New World
Symphony. “My audition for this
orchestra,” he told me “was last
year and I was invited to conduct
Smetana’s Ma Vlast, all of it. When
you stand on the podium there are
two busts: on the left side is Smetana and on the right side is Dvorak.” Stratton is getting quite a lot
of work in Europe these days from
the efforts of his agent in Prague.
“He has been almost too successful. I was away from my family
for five weeks in January and February, which is just too long. I did,
however, work with some wonderful orchestras.”
In early April Stratton is taking
the Vienna Concert-Verein on tour
in Southern Ontario. I asked how
this tour came about. “A couple
of years ago at the end of a tour of
Korea with the Georg Solti Chamber Orchestra of Budapest, I said
that I would like to bring it to Ontario, which I succeeded in doing.”
Subsequently he decided to ask his
contacts in Vienna about bringing
the Vienna Concert-Verein. The
biggest obstacle was scheduling,
but as luck would have it, the orchestra had ten days free right after the concert he was conducting
in Vienna, which is what made the
Canadian tour possible.
He is very excited about this
18
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Kerry Stratton
tour, because when he was growing up in Belleville a now defunct
organization called Community
Concerts brought in amazing performers, including the Prague
Chamber Orchestra. These concerts meant a great deal to him.
On the tour he knows there are
young people on whom the performances will make a similar impression. “I’m really doing it for
them, and that’s why I’m so thrilled
about it.” In general, he told me,
the audiences in the smaller Ontario centres are great to play for,
and remind you of why you are doing this. Happily, one of the concerts on the tour will be Stratton’s
home town of Belleville.
“Further Afield”
The Vienna Concert-Verein’s seven concerts are a significant contribution in terms of quality, but a
small one in terms of numbers, to
the burgeoning live music scene in
the area we refer to as “Further
Afield” in our Listings.
A look at those listings reveals
not only a large number of events
but also a high degree of artistic
maturity, with many if not most
events produced by local talent.
We at WholeNote are aware of
the limitations of our cheerfully
Toronto-centric “Further Afield”
designation. After all, it lumps together, under the one heading,
communities that are as far to the
west of Toronto as others are to
the east -- twice as far from each
other as Toronto is to either.
On the other hand it gets us in
central Toronto gallivanting as
cheerfully off to Cobourg as to
Guelph. So we all benefit.
Seriously, though, we are interested in the geographic groupings
of listings which make best sense
for concert-goers and readers in
various of the places we cover. See
page 57 for details.
A PRIL 1 - M AY 7 2006
A PRIL 1 - M AY 7 2006
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19
EARLY Music
by Frank Nakashima
Stirring the passions
Here’s your chance to
witness the remarkable
instrumental colours of
the 17th century, in a
program featuring sonatas and canzonas from
the Hapsburg court, performed by one of Canada’s newest early music
ensembles, Chiaroscuro
– Kiri Tollaksen (cornetto), Linda Melsted
(violin), Dominic Teresi (dulcian), Greg Ingles
& Erik Schmalz (sackbut), and Borys
Medicky (organ). This
concert (April 21) of
17th century works by
Bertali, Neri, BuonaCalling it quits: pictured here on the cover of
mente and others was
especially designed to WholeNote March 2001, Baroque Music Beside the
“stir the passions and Grange’s Alison Melville, rear, and Colin Savage,
offer compelling theatre along with hurdy gurdy player Catherine Keenan.
in sound!” – and is preEnd of an era
sented by Baroque Music Beside Sadly, this concert also marks the
the Grange in collaboration with the end of an era at Baroque Music
Faculty of Music, University of Beside the Grange, which has proToronto, host this year to the An- duced 22 remarkable seasons of
nual Meeting of the Society for concerts. The artistic directors (AliSeventeenth Century Music. Did son Melville and Colin Savage,
you know that there is a society that also the founders) and the board
is dedicated to the music of the 17th of directors have regretfully decided that they can no longer contincentury?
So what’s so special about the ue the operation of a concert se17th century? Why was such won- ries. Citing reasons of an ever-inderful music created in that time? creasing workload, a steady decline
Well, for one thing, there’s noth- in arts council funding, increasing
ing that can compare to the pleas- competition for funding from othure of playing great music with er sectors, and the resulting finangreat friends (or even family!). cial inability to hire administrative
help, the organization, which has
Ask any musician.
operated almost entirely on a volunteer basis since its inception, is
Musical relationship
For example, Joseph Eybler’s unable to continue. BMBG has
string quartets reveal his great re- been presenting concerts in the hisspect for the style of Mozart and toric Church of St. George the
Haydn, and the musical relation- Martyr since 1984. Its innovative
ship that they shared. Eybler, de- programming of music from the
scribed as a trusted confidante and 14th to 21st centuries has attracted
colleague of Mozart, managed to an enthusiastic and loyal audience,
orchestrate only part of the Requi- while developing a popularity
em after Mozart’s death before he amongst musicians for its willingwas overcome with awe. It seems ness to present concerts of varied
appropriate that his music will share and unusual repertoire on period
a program with one of Mozart’s instruments.
masterpieces, the mellifluous Clarinet Quintet. The final concert of 15th century magnificence
the Baroque Music Beside the The Musicians in Ordinary are
Grange series (April 29) brings joined by Christopher Verrette,
together Aisslinn Nosky & Julia playing early bowed instruments,
Wedman (violins), Patrick Jordan the vielle and the rebec, in music
(viola), Margaret Gay (cello), and by Heinrich Isaac and Alexander
Agricola, both musicians who were
Colin Savage (clarinet).
employed by Lorenzo (the MagWWW . THEWHOLENOTE . COM
20
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A PRIL 1 - M AY 7 2006
PIANO GENIUS:
TORONTO PHILHARMONIA
Korean pianist,
Hong Chun Youn,
back by popular demand!
Experience some of the most romantic
music in the world:
Electric fiddler Oliver Schroer joins Toronto Consort on the Camino
nificent) di Medici (April 8). The
arts thrived in the Medici court
(even Leonardo da Vinci and
Michelangelo were there!), especially when supported by the likes
of Lorenzo who loved to surround
himself with the beauty of music
and art. The MIO salute Lorenzo
(1449-1492) as one of the greatest
patrons of music. Visit the website: www.musiciansinordinary.ca
Atelier Ballet, with the Tafelmusik
Baroque Orchestra and Chamber
Choir, all under the direction of David
Fallis (April 15, 18, 20, 22, 23).
With lute and ud
The Toronto Consort makes a
musical pilgrimage to Santiago
(April 28, 29), the famous town
in northern Spain where, even today, thousands of pilgrims flock
every year. In medieval times, Santiago was just as much a magnet,
and as they walked along the road
to the shrine, the pilgrims enlivened
their travel with songs and dances. With lute and ud, with hurdygurdy and pipe, with voice and
drum, the Consort takes you on a
very unique musical journey
through medieval Europe. Website:
www.torontoconsort.org
Celebrating anniversaries
Celebrating its 20th anniversary
season, Opera Atelier has gathered
some of the finest players of Renaissance instruments to perform in
Claudio Monteverdi’s Orfeo, written in 1607. This celebratory event
also marks the 10th anniversary of
OA’s first production of this work,
and will feature baritone Daniel
Belcher in the title role. Other perFrank T. Nakashima
formers in this production include
Colin Ainsworth, Olivier Laquerre, ([email protected]) is the President of the Toronto Early Music
Stephanie Novacek, Jennie Such,
Curtis Sullivan, Monica Whicher, Centre, www.interlog.com/~temc
Matthew White and the Artists of
Mendelssohn – Piano Concerto in G Minor
Bizet – Symphony in C
Champagne – Danse Villageoise
Thursday, May 18, 8:00 p.m.
George Weston Recital Hall
Toronto Centre for the Arts
5040 Yonge Street
(Yonge north of Sheppard)
For tickets, call
416-870-8000/416-499-2204,
or visit the TCA box office
www.torontophil.on.ca
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A PRIL 1 - M AY 7 2006
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21
CHORAL Scene
by Larry Beckwith
There is an astonishing variety
of choral activity in and around
Toronto this month, from the
heady solemnity of high holy
pieces to lighter celebrations of
the coming of Spring.
I finished up the March column by highlighting a few important early April events: the
Amadeus Choir performance
of Handel’s Messiah with strong
soloists April 1 and the new oratorio by Eyal Bitton, Journey
to Jerusalem, April 3.
Also on April 1, the Bach
Children’s Chorus (recently
featured on CBC Radio 2’s Choral Concert) presents Field of
Wings at the George Weston Recital Hall. The younger singers
will be joined by their older colleagues in the Bach Chamber
Youth Choir for works by Canadians Eleanor Daley and Mark Sirett.
Conductor Linda Beaupré has done
wonderful work for many years both
with the Bach Children’s Chorus and
her similar organization in Guelph
(the Guelph Youth Singers). This is
a concert well worth catching.
Two performances of the wellknown Gloria by Antonio Vivaldi
take place in early April. The first,
April 1, is by the Annex Singers at
St. Thomas’ Church. The second is
April 8 with a performance by the
Oakville Children’s Choir with
guest conductor Ivars Taurins.
Oakville is also the location of an
exciting concert the previous night
(April 7th), by the highly-touted
Vancouver-based choral ensemble
musica intima. This 12-voice, selfdirected group is on an Ontario tour
Vancouver’s musica intima
to celebrate the release of their latest
CD “Forgotten Peoples” - the music of Estonian composer Veljo
Tormis – and has been engaged to
help celebrate the arts at St. Jude’s
Church, joined by the Oakville
Children’s Chamber Choir.
Also on April 8, Sharon Riley and
the Faith Chorale enliven the Newman Centre on the campus of the
University of Toronto.
The following day there are a
number of important choral happenings, beginning with an appropriately large-scale celebration at Metropolitan United Church of the life
and music of John Govedas, the
popular Toronto-area accompanist
and composer who passed away last
year. Several choirs that were associated with John – including the Riverdale Youth Singers, High Park
Choir and the choirs of Howard Park
and Withrow Avenue Public Schools
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A PRIL 1 - M AY 7 2006
The Toronto Choral Society
presents
Youth Singers of Toronto
Resident Youth Choir, Trinity-St. Paul’s
Honorary Patrons, Gary and Anna Relyea
Franz Joseph Haydn’s Choral Masterpiece
Auditions for 2006-2007 begin in May
Contact us to receive an Audition Package
THE CREATION
With soloists
Zorana Sadiq Keith Klassen Bruce Kelly
And accompanied by
The Talisker Players
Preparatory Chorus
Ages 4-6
Wednesday, May 17, 2006 7:30 PM
•
Yorkminster Park Baptist Church
1585 Yonge Street
Just north of Yonge & St. Clair
Tickets $20 from choir members or at the door
Join us for Haydn’s joyful celebration of the mystery of life!
For more information, please visit our website at
www.torontochoralsociety.org
High Park Choirs of Toronto
•
•
•
SPRING AUDITIONS
(April & May 2006)
Basics of choral
singing and musical
notation gently
introduced
Fun, interactive
rehearsals
Small class size
Three in-house
performance
opportunities
annually
Main Chorus II
Ages 11-16
•
•
Accepting New Members:
• Early Bird Choir (ages 5 - 7)
• Training Choir (ages 6 - 11)
• Children’s Choir (ages 9 - 13)
• Senior Choir (ages 12 through Uni)
•
•
• Chamber Choir (selected from the Senior Choir)
Your “Choir around the Corner”
in Toronto’s West End
•
•
•
Structured choral
experience including
theory program and
vocal coaching
Variety of musical
styles and languages
studied
Minimum three
performance
opportunities
annually
S.A.T.B. Youth Choir
Choral experience for
maturing singers
Includes sight-singing
program and vocal
coaching
Challenging, diverse
repertoire
Regular performance
opportunities
•
Main Chorus I
Ages 7-10
•
•
•
For singers
committed to
performing largescale choral works
Previous choral
experience required
Appearance with
Helmuth Rilling in
October, 2006 with
the International
Toronto Bach
Festival
Carol Woodward Ratzlaff, Artistic Director
The children’s choir with the best vocal training
in Toronto under Artistic Director Zimfira Poloz
Sarah Morrison, Susan Suchard, Brad Ratzlaff,
Conductors
Added value with music theory rudiments
Warm, encouraging atmosphere
Voice Teachers to be hired
from Youth Choir.
Our choristers love to sing!
Weekly rehearsals in the High Park area
For more information and
to schedule an audition,
please contact:
(416) 762-0657
[email protected]
www.highparkchoirs.org
A PRIL 1 - M AY 7 2006
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Dr. Elmer Iseler and Dr. Fred Fallis Memorial
Busaries available for singers requiring support.
t: 416.788.8482 f: 416.788.0138
e: [email protected]
www.vivayouthsingers.com
23
AUDITIONS
Established in 1997, Kammermusik Toronto is a notfor-profit chamber choir and orchestra dedicated to
performing and promoting a wide range of music from
medieval to modern. This small SATB chamber
ensemble consists of 22 dedicated and enthusiastic
singers who rehearse Wednesday evenings at
Riverdale Presbyterian Church (Pape and Danforth).
Auditions for all voices will be held in April / May
2006.
Candidates will be asked to sing a brief vocal piece
that they have prepared in advance, to be sung with
or without accompaniment. The audition will also
include sight-reading and an examination of your
vocal range.
To arrange an appointment, please contact:
Keith Müller: [email protected] OR call
(416) 778-1898
– will perform a number of John’s
compositions and arrangements and
the whole event will be hosted by
the genial Giles Bryant.
Also April 9, Roy Thomson Hall
is the setting for a choral commemoration of the 20th anniversary of
the Chornobyl nuclear disaster. Jason van Eyk has all the details on
page 28.
Beginning April 9 there are several special offerings by local church
choirs in anticipation of Easter. Highly recommended are performances by
the choirs of Christ Church Deer
Park April 9 and (all on Good Friday – April 14) Humbercrest United Church Choir, St. Clement’s
Choir, St. Paul’s Anglican Choir and
Metropolitan United Church Choir.
Also on April 14 (a busy choral day
in the city!), the top-notch VocalPoint Chamber Choir gives a concert with a consort – of viols, that is
– performing verse anthems by English Tudor masters; the Cantabile
Chorale of York Region performs
The Rose of Calvary by Joseph Martin; and the Toronto Mendelssohn
Choir offers Requiems by Fauré and
Duruflé.
April is also a great month for
staged works with fantastic choral
ingredients, beginning early in the
month with the COC’s performances of Bellini’s Norma. Later in the
month, Opera Atelier begins a run
of performances of Monteverdi’s
Orfeo, written in 1607 and one of
the first examples of full-fledged
opera. April 21 is the opening night
for both the Scarborough Choral
Society’s production of Fiddler on
the Roof and the Scarborough Gilbert and Sullivan Society’s run of
Yeoman of the Guard. (For fans of
G & S, All the King’s Voices
present an evening on April 29).
Also on stage, the Yorkminstrels
24
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John Govedas
present Oliver! (a musical jam-packed
with catchy tunes if ever there was
one) beginning April 22.
There are a number of newer choral ensembles in Toronto that I have
been meaning to get out to hear –
and I urge WholeNote readers to as
well! – and these include Kevin
Komisaruk’s Studio Sixteen and
Geoffrey Butler’s North 44° Ensemble. The latter present their annual fundraiser at the Arts and Letters Club on April 21 and promise
excerpts from Mozart’s operas and
his celebrated Requiem. The following evening, the Bell’Arte Singers
are in concert with the fine organist
Ian Sadler in a program of 20th century works for choir and organ. Also
on April 22, the beloved Men of
the Deeps – the Cape Breton coal
miners chorus – give a rare Toronto-area appearance at the Markham
Theatre.
The variety continues into the last
weekend of April, where – on April
28 – you can hear the St. James’
Choral Society in performance at
the Cathedral, not exactly stretching
themselves stylistically in a program
entitled An English Country Garden. Old English chestnuts by
CONTINUES
A PRIL 1 - M AY 7 2006
Chorister for a Day
Toronto Children’s Chorus
at the Cathedral Church of St. James • Anglican
Saturday, April 29, 2006 • 3–5:30 pm
For parents: watch a video about the program,
join a Q and A session with existing choir parents
A ministry accessible and open to all and
a wonderful experience for children and parents alike
Contact Michael Bloss, Director of Music
416-364-7865 x 231
[email protected]
The Cathedral Church of St. James
King & Church, Toronto
www.stjamescathedral.on.ca
Auditions
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Boys age 7-11 ane
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An open invitation to youth
aged 6 through university age
Bach Children’s Chorus
Bach Chamber Youth Choir
Linda Beaupré, Music Director
e Known throughout Toronto for its beautiful,
musical sound and professional approach
e Offers a balanced programme of concert
performances, travel, retreat weekends,
workshops with world-renowned conductors
e Comprehensive educational approach ensures
a well-rounded programme of skills-building
for every chorister
e First place in 2005 Provincial Music Festival
e Winner of the 2004 CBC Choral Competition
For more information visit www.bachorus.org
To book an audition call
416-431-0790
A PRIL 1 - M AY 7 2006
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25
Vaughan Williams and Hubert Parry abound. The same night, the
Bach Consort, a group of splendid
TSO and Tafelmusik musicians who
donate their services for charitable
causes, presents the Easter Oratorio
by J.S. Bach, conducted by Ivars
Taurins.
Another charitable enterprise, the
Cantores Celestes Women’s
Choir, sings music by Michael Haydn and Karl Jenkins on April 29,
with proceeds benefiting Free the
PETER MAHON
Sales Representative
416-322-8000
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Children. Two concerts by young
people also take place that same
evening: the Toronto Mendelssohn
Youth Choir, directed by the wonderful Lynn Janes, takes a tour of
the world’s folk musics, and the
Oakville Children’s Choir hosts a
festival of Boys Choirs, with guests
from Hamilton, London, Ann Arbour and Cincinnati.
The beginning of May brings a
run of performances (beginning May
3) of the Mass in B Minor by Bach
– surely one of the greatest choral
works of all time – given by the
Tafelmusik Chamber Choir and
Orchestra, and important concerts
from the Elmer Iseler Singers (a
celebration in honour of Mary Morrison and in memory of her husband, Harry Freedman – May 5) and
the Pax Christi Chorale (a rare
Toronto performance of Mendelssohn’s St. Paul – May 6 -with
superb soloists!). More about those
and other May choral offerings in
next month’s issue: WholeNote’s
annual choral issue. For information
on getting your choir listed in the
Canary Pages, please see details on
page 10.
Another month of city- and community-building choral joy and commitment! Keep it up.
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WORLD View
by Karen Ages
We begin in Cape Verde, an archipelago in the Atlantic west of
Senegal. The island of Sao Vicente is where singer Cesaria Evora was born in 1941, while the
cape was still under colonial rule.
Known as “queen of the morna”,
a mournful blues-like genre in
Creole-Portuguese, she often sings
of her country’s tragic history:
slave trade, isolation and the fact
that almost two-thirds of Cape Verdeans live abroad today. She’ll
perform at Massey Hall April 7.
On a similar theme, to celebrate
the release of his CD “Travels in
Lusomania,” Nuno Cristo
presents an evening of music of
the Portuguese diaspora, including India, Africa and Brazil. Several vocalists and instruments including bagpipes, Portuguese guitar, campaniça, mbira and ukulele
will be featured. (Lula Lounge,
April 12.)
Speaking of India, there are three
concerts this month representing
music of that country. April 7 at
the Heritage Theatre in Brampton,
tabla player Ravi Naimpally and
his group Tasa present traditional
Indian classical music on a variety
of instruments not necessarily associated with this genre. April 22,
Chitralekha Odissi Dance Creations presents an evening of classic Indian dance, at the Toronto
Centre for the Arts. Visit
www.seeodissi.com for more details. And May 6, the Malhar
Group Music Circle, in collaboration with Jhankar Academy of
Performing Arts presents the
South Asian Heritage Music Festival of Hamilton. Visit http://
groups.msn.com/SargamCanada/
festivalhamilton.msnw for full details on the festival.
Celtic music fans will want to
be at Hugh’s Room on April 19
when all-Ireland champion fiddler
Maeve Donnelly performs for the
first time with world-class guitarist Tony McManus. This promises to be a spirited evening of jigs,
reels and airs from the traditions
of County Clare and East Galway,
French-Canadian tunes and more.
In 1990-92, Canadian film-maker Peter Mettler spent some time
on the Indonesian island of Bali,
shooting footage for what would
become his Balifilm. The film had
its premiere April 1997, with live
musical accompaniment by the Evergreen Club Contemporary
26
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Cesaria Evora
Gamelan. They’ll be presenting it
again on April 26 at the Isabel Bader
Theatre, along with the premiere of
another multi-media work on the program, Mind’s Hammer, by the awardwinning dancer/choreographer/composer Peter Chin.
Unlike his last work STUPA (see this
column, Oct and Nov 05) which employed an array of dancers, Chin will
be going solo here. Mind’s Hammer
is his first work composed for the
Evergreen Gamelan’s gamelan degung, and the instrumentation will also
feature pots and pans and other household items. “I have long been deeply
affected by the hammer-like incisiveness of Balinese dance and music,
which at the same time has a remarkable capacity to retain suppleness”, says
Chin. “In Mind’s Hammer I explore
the act of building invisible structures
of energy, sound, movement, intent
and meaning that only become real when
experienced in the mind’s eye. It is a
celebration of the ephemeral qualities
of music, dance and the act of playing
gamelan itself.”
It’s the end of term for most universities and many student ensembles have
their final concerts before breaking till
the fall. York’s department of music
Caribbean Ensemble performs April 3,
and the Cuban Ensemble the next
evening, both at the Recital Hall in the
new Accolade (East) building, the
multi-million dollar state-of-the-art
teaching, exhibition and performance
complex on campus. And April 10, U
of T’s Faculty of Music presents an
evening of Japanese drumming, Balinese gamelan, tabla and vocal music,
at MacMillan Theatre.
Finally, looking into May, the Toronto Finnish choir Vox Finlandiae
presents an evening of light-hearted
music in a program titled Keväthuumaa (Spring Fever), May 6. Please
check the daily listings for details on
all of the above.
A PRIL 1 - M AY 7 2006
From the depths of Middle-Earth….Levon Ichkhanian
interview by Karen Ages
By the time you read this, the new Mirvish
Lord of the Rings will have been playing for
about two weeks. The music is unusual in that
it was composed by three “camps” so to
speak: A.R. Rahman (India), the Finnish
group Vårttinå and British composer Chris
Nightingale, who put it all together. (Tolkien is
thought to have been inspired by Finnish folkepic the “Kalevala” for his story).
I spoke with Levon Ichkhanian, one of the
musicians in the pit orchestra, itself an unusual
combination of instruments and musical personalities. Levon is known to many as guitar sideman with many local and international musicians, including Maryem Tollar and Peter Murphy. Recently, he also travelled with Rings
composer Rahman, one of India’s foremost
film composers, on his “3D World Tour” of
India, Singapore and the UK. “We started rehearsals in Chennai, where we learned 50 or
60 tunes from his movies. On tour, the singers
were the actual singers from the soundtracks,
whom you don’t actually see in the movies, as
the actors are lip-syncing to them. There were
many singers, dancers and musicians on stage
for these shows, with images projected on
huge screens behind them. The audience wore
special glasses to get the 3D effect.”
Levon was born to Armenian parents in Beirut, Lebanon. Three of his uncles were guitarists and his father was the music director for
many middle-eastern singers. He came to Cana-
A PRIL 1 - M AY 7 2006
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da at age 12, and played his first professional gig a year later. Since then (he’ll
be 42 this month) he seems to have led a
charmed life with many musical and creative opportunities coming his way. In addition to his three solo CDs, he has
played on numerous commercial recordings, film soundtracks, (including scoring the music for one of Atom Egoyan’s
early films) and has toured extensively
throughout North America and Europe.
Of his most recent tour, with Rahman, “it
was like going to heaven and back!” he says.
“These singers could sing just one phrase and
make you cry....getting to meet and hang out
with esteemed musicians I’ve long admired, especially in India, and the travel component, and
on top of that, getting paid for it all, it was like
winning the lottery! The whole tour was like
that, one great thing after another.”
And now down in the pit at the Princess of
Wales, he’s excited by this new adventure.
“I’m fascinated by the whole process, it’s my
first time doing anything like this.” He’s part
of the “folk band” component of the orchestra,
which consists of himself on Celtic Bouzouki,
Anne Lindsay (violin, nickel harp, jouhikko)
and Sasha Luminsky (accordion). The rest of
the orchestra consists of a multitude of percussion instruments, brass, strings, keyboards,
and a variety of different flutes played by Les
Alt. I asked him about the music itself, whether it was Rahman for some scenes, Vårttinå for
others (the music was mainly composed by
their bouzouki player), Nightingale, etc. “It’s
very hard to answer”, says Levon. “The music
has been truly married together; it’s kind of like
looking at your kids and seeing a bit of yourself, your spouse, your mother-in-law etc. The
music is a true hybrid and Chris Nightingale
(orchestrator) had the challenge of putting it all
together. We’ve got classical players, folk and
jazz elements, all held together by conductor
Rick Fox”.
I asked Levon if he’d had a chance to see
any of the production. “Yes, sometimes in rehearsal we’d get a chance to go up into the theatre and watch, and it’s really something, the
sets and effects are truly unbelievable! It’s like
there’s this whole other world at the Princess
of Wales theatre; when I go in there, the outside world is shut off and I’m suddenly in
Middle-Earth; it’s such a living thing, and I’m
having so much fun!”
For more about Levon Ichkhanian, visit his
website: levonmusic.com.
27
Wormwood, the death star:
Chornobyl 20 years later
by Jason van Eyk
Moved by the ongoing social and environmental devastation caused
by the 1986 Chornobyl nuclear disaster, more than 250 Canadian
choristers and musicians will take to the stage of Roy Thomson Hall
on April 9 for Chornobyl 20, a memorial fundraising concert. Presented by Children Of Chornobyl Canadian Fund (CCCF), the concert will feature performances by acclaimed bass-baritone Pavlo Hunka, the Gryphon Trio, The Amadeus Choir, The Orpheus Choir,
The Elmer Iseler Singers, Vesnivka Choir, and Toronto Ukrainian
Male Chamber Choir.
A highlight of
the evening will
be the world premiere of Wormwood, a cantata
by acclaimed Canadian composer
Christos Hatzis.
Wormwood has
been commissioned by the
Gryphon Trio,
and will be performed by them,
along with bassbaritone Pavlo
Hunka, child soprano, rap singer, and all five
choirs.
Pavlo Hunka as Hunding in the COC’s
Die Walkure, April 2004. He is here again
with the COC as Wozzeck.
As is usual with Hatzis’ music, many forces came together to shape
the inspiration for Wormwood. The starting point was a conversation
nearly twenty years ago with a young monk in northern Greece.
“Chernobyl was predicted in The Book of Revelation” Hatzis was
told. It made no sense at the time. One day, shortly before starting
the composition, he saw the apocalyptic import of it. He had discussed with Gryphon Trio cellist Roman Borys whether the word
‘Chornobyl’ (the Ukrainian spelling) had any particular Ukrainian
meaning. “Wormwood” Borys said. Hatzis then took the word
Wormwood into Greek, and there it was -- Apsinthos, the ‘death
star’ in the Book of Revelation: hurled to the earth, poisoning the
planet’s waters, causing a great many people to die. Right then he
knew that the passages from Revelation cited by that young monk in
northern Greece would provide the core text for this work. The eerie
coincidence between a two thousand-year-old book and a contemporary catastrophic event was clearly enough to stimulate his musical
motivation.
In developing the nine movement, 45-minute composition, Hatzis
was also very conscious of other “apocalyptic” disasters happening
around the world, from New Orleans to Pakistan and Northern India. If this work was to alert us all to an apocalyptic ‘here & now’,
Hatzis realized that his music would have to urgently invoke not
only music of the past, but also the ‘here & now’ of our current culture. Thus, the various popular music idioms explored in Wormwood, from Gospel to pop and rap, stem from this desire to come to
grips with our contemporary situation, and our need for imminent
human transformation.
For tickets to Chornobyl 20, call the Roy Thomson Hall Box Office
at 416-872-4255 or Ticketmaster at 416-870-8000, or go online at
www.roythomson.com or www.ticketmaster.ca . Tickets to the
post-performance reception are only available by calling CCCF at
416-604-4611.
SOME THING New
by Jason van Eyk
As I browsed through this
month’s listings – a staggering roster of some 400 concerts – I was astounded by
the amount of new music
taking place throughout the
GTA and surrounding areas. Even within the concert
music community we all too
often think of new music as
a specialist niche that appeals
to a select group. Yet opera
companies, choirs, orchestras, ensembles and soloists
of both professional and
amateur status are discovering, commissioning, rehearsing and performing a
wide range of work by CaOttawa-based composer Steven
nadian and international comGellman -- two concerts to go in
posers, and to a broad range
Syrinx’s five concert nod.
of audiences.
I wish I could highlight
April starts out with the frame set
every concert, to emphasize the widely, as Syrinx Concerts
breadth & depth of impact that new presents their penultimate event of
music is making every month. But the season showcasing the work
that would require at least seven- of Canadian composer Steven Gelland-a-half times more space than I man. Each of Syrinx’s first three
already have. So, instead, I’ll let concerts has called on different enthat image speak for itself – a 7,500 sembles to interpret Gellman’s
word column every month to high- music among selections from the
light the range of new music activ- classical repertoire. On April 2 at
ity happening in the GTA and sur- Heliconian Hall, flautist Susan
roundings. That would generate Hoeppner and guitarist Daniel
90,000 words per year, or rough- Bolshoy will perform Gellman’s
ly 82 pages of full text in this mag- work alongside music by Piazzolazine - a complete issue of la and Takemitsu.
WholeNote without a spot of adBased in Ottawa, Gellman is one
vertising in it. It really is quite as- composer from whom we hear very
tounding.
little these days, despite strong creBut that is not my duty to you, dentials. At age 15 he premiered
the reader. Rather, it’s my respon- his first Piano Concerto with the
sibility to delve into those hundreds CBC Symphony. Studies at the
of listings, to search through Juilliard School with Luciano Berwhat’s on offer, to identify con- io, and at the Paris Conservatoire
tinuing and developing trends, and with Olivier Messiaen, solidified
then offer you a glimpse at these his compositional training. In 1970
trends that bind the community to- Gellman won the UNESCO prize
gether. And hopefully this is all for “best work by a composer undone in a way that offers you in- der the age of 25”; and in 1987
sights to enhance your concert-go- was named Canadian Composer of
ing experience.
the Year. So, he’s certainly no underachiever. Our thanks to Syrinx
In my delving this month, and early for bringing back to light the work
May, a trend I noticed last Octo- of this “forgotten” Canadian muber has resurfaced, but in a new sic talent. For more info call 416variation. I’m referring to what 654-0877.
seems to be a rising interest in preIn the middle of the month our
senting concerts that celebrate an “trend lens” narrows. On April 18
individual creator. (In October we at the Glenn Gould Studio, Soundexperienced concerts devoted to the streams Canada offers “Sonic Powork of Steve Reich and Jörg Wid- etry” as part of its continuing Enman.) Over the next four weeks, I counters series. These concerts
see the same thing happening, with provide well-curated juxtaposiwide variations in focus and scale. tions, exposing new voices in a
28
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A PRIL 1 - M AY 7 2006
format that stimulates musical dialogue between Canadian composers and our circumpolar neighbours. The concert title is taken
from a media quote describing the
music of emerging Canadian composer Abigail Richardson, which
will make up half the programme.
Richardson, who will turn 30 this
year, already has an impressive
roster of awards to her credit. The
greatest of these is first prize in
the Under-30 category at the International Rostrum of Composers,
which resulted in broadcasts of her
music all over the world. The other half of the evening’s music
comes from the Russian-born,
Swedish-based Victoria BorisovaOllas, who delivers a similarly
impressive package. She received
second place in the prestigious
2002 Masterprize, resulting in her
music being broadcast in 32 countries. Violinist Michael Schulte,
pianist Andrew Burashko, the
Accordes String Quartet, and clarinettist Joaquin Valdepenas interpret the works, including two premieres. For more info visit
www.soundstreams.ca. For tickets call 416-205-5555.
On April 22, Toronto’s champions of contemporary Italian music
narrow our focus on the individual creator even more tightly with a
concert dedicated to the works of
Franco Donatoni. With the soldout success of last year’s Scelsi
Centenary Project, Artistic Director Wallace Halladay has been inspired to continue his goal of presenting rarely-performed 20th-century Italian masters. Donatoni - like
Scelsi—suffered from depression.
Yet we don’t hear this in his music, which has been described as
compulsively witty and delicately
virtuosic. For this concert at the
Music Gallery, Halladay’s ensemble will perform Donatoni’s later
solo and chamber works. Juan
Trigos, a past student of Donatoni, will conduct. For more info,
visit www.musicgallery.org. For
tickets call 416-204-1080.
Our metaphorical lens pulls in even
tighter still, as the inaugural ORGANIX festival pays tribute to the
organ work of local composer Ruth
Watson Henderson. Henderson is
one of Canada’s leading composers, church musicians, and choral
accompanists, for which she has
received international recognition
and numerous awards, including
an Honorary Fellowship from the
Royal Canadian College of Organists. On May 3 at St. Basil’s
Church, festival Co-Artistic Director William O’Meara will be joined
by guest soloists in an all-Henderson programme of works for solo
organ, organ & trumpet, and a
world premiere for organ & violin. While this particular concert
may seem like a very narrowly
framed celebration, the landscape
opens up when viewed in light of
the 12-concert ORGANIX festival,
which ranges in music from the
Renaissance to works by Canadian contemporaries like John Burge
and Rachel Laurin. For info & tickets visit www.organixconcerts.ca.
Finally, I want to mention the Elmer Iseler Singer’s Celebration: Harry Freedman & Mary Morrison
concert on May 5 at the Glenn
Organist Gillian Weir will open the ORGANIX 06 Festival with a
benefit recital at St. Paul's Anglican Church on April 28 at 7:30 pm,
with proceeds going to the RCCO’s Muriel Stafford Fund.
Gould Studio. Freedman, one of
Canada’s pioneering, most performed and most “Canadian” composers, passed away in September
2005. The music community gave
him a beautiful celebration concert
this past January in this very same
hall. But as Walter Pitman, the author of Music Makers: The Lives
of Harry Freedman and Mary
Morrison, has put it, there was no
Harry without Mary, a highly accomplished vocalist and interpreter of Canadian music. So it is fitting that a concert of Freedman’s
vocal music should focus its frame
on celebrating them both. As part
of the evening, the Canadian Music Centre’s Centrediscs label will
release Harry’s last completed
project, The Tokaido, a CD of his
choral music.
For more info & tickets visit
www.elmeriselersingers.com.
So take this month to explore musical landscapes. Celebrate creativity through some thing new.
(Jason van Eyk is the Canadian
Music Centre’s Ontario Regional
Director. He can be reached at
416-961-6601 x. 207 or
[email protected].)
BALTIC CURRENTS
Sunday April 30 2006 | 7:15 Intro | 8:00 Concert
Glenn Gould Studio | Guest Curator Raminta Serksnyte
Fujiko Imajishi violin | Patricia Green mezzo-soprano
New Music Concerts Ensemble | Robert Aitken director
Box Office 416 205–5555 | $25 adult | $15 senior | $5 student
R. Serksnyte (Lithuania 1975) – Vortex (2004)
M.K. Ciurlionis (Lithuania 1875-1911) – Preludes for piano
A. Martinaitis (Lithuania 1950) – Birds of Eden (1981)
H. Tulve (Estonia 1972) – lumineux/opaque (2002)
A. Dzenitis (Latvia 1978) – Seven Madrigals (2004)
R. Serksnyte – New Work (2005 - NMC commission)
A PRIL 1 - M AY 7 2006
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www.NewMusicConcerts.com
29
torontohearandnow roundup
by Keith Denning
Spring. Rouse from
wintery slumber.
Reconnect with
friends, community,
get out of the house.
Need an incentive?
Here is a roundup of
some of April’s
notable new music.
Percussionist Susie Ibarra pairs up with Lori
Freedman at the Gladstone April 18
TORONTO SYMPHONY ORCHESTRA
The Toronto Symphony Orchestra’s New Creations Festival focuses
this year on the world of the modern concerto. Their first concert of
the month, East to West, features many new (and new to us) works
for solo instrument plus orchestra, including the Canadian premieres
of Hindemith’s Piano Concerto, Op. 29 and Chen Yi’s Percussion
Concerto. Also on the program is the world premiere of Harbison’s
Double Bass Concerto, intriguing at least because the double bass is
a rare lead instrument for a concerto, and John Weinzweig’s
Rhapsody for Orchestra.
On April 5th at 8:00, the festival continues with the concert
entitled Concerto for Orchestra, which features Bartok’s eponymous
piece, as well as two Canadian premieres: Levkovitch’s Isle of a
Beautiful Illusion and Lieberson’s Piano Concerto #3.
Xenakis x Concerts x Sound Installations
Symposia x Exhibits x Screenings
ZZZ VRXQGD[LV FD
.
.
Exploring the interaction and shared
compositional structures between
music and architecture
soundaXis
transforms Toronto into a
playground of discovery
Thematically based on revolutionary thinker
composer, and architect, Iannis Xenakis
soundaXis uncovers the mutual
definition and intimate
interaction between
sound and space
June 1-11, 2006
An initiative of the Coalition of New Music Presenters
MUSIC GALLERY
The Music Gallery has a number of interesting events this month in
a variety of locations, including the Gallery proper. I’m intrigued by
the direction that the Gallery has been taking over the past few
years, exploring experimental directions in pop, jazz and other
musical genres, rather than sticking firmly to a canonical notion of
‘new music’. No musical genre has well-defined edges, and at the
experimental peripheries of jazz, pop, electronic music, new music
and other traditions, we find creators who can collaborate easily and
fruitfully. So do check out the Pop Avant series on April 9th (4pm
and 8pm shows), as well as two events in collaboration with the
Images Festival of Independent Film and Video.
The first of these is on April 18th at the Gladstone Hotel at
9:00, and features percussionist Susie Ibarra and the extraordinary
clarinettist Lori Freedman in the performance of Etudes for
Solitudes, a work which accompanies the installation Duet, by
Vancouver artist Laiwan.
The second collaboration with the Images Festival takes place
at the Vatikan on April 21st at 11:00pm, and is a special live
electronics show featuring three Japanese electronic wizards, curated
by Aki Onda.
It would be remiss of me not to mention the Franco
Donatoni Project, on April 22 at the Music Gallery, featuring
performances by saxophonist Wallace Halladay, pianist Stephen
Clarke, percussionist Ryan Scott and harpist Sanya Eng of works by
what the group calls the ‘underdog’ of contemporary Italian music.
This promises to be a terrific concert, especially considering the topnotch talent assembled on stage.
BALTIC CURRENTS
Finally, on April 30th at 8:00, New Music Concerts’ newest
offering, Baltic Currents, is curated by guest composer Raminta
Serksnyte, who will bring to the Glenn Gould Studio a concert of
works by composers from Lithuania, Latvia and Estonia. This
promises a glimpse into a compositional world that is not often heard
on the Toronto stage.
Explore Toronto’s evolving acoustical and architectural soundscape
30
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A PRIL 1 - M AY 7 2006
Jazz Notes
by Jim Galloway
April Show(er)s
Most of us have memories of an
early experience which made a lasting impression, something that you
look back on for the rest of your
life as having been of real significance. With any luck it is a good
experience. For me it was going
to St. Andrew’s Halls in Glasgow
as a youth to see Sidney Bechet
and marvel at his music. I had listened to his recordings, but was
totally unprepared for the live experience. When he came out on
stage I remember thinking that he
was not a very imposing figure kind of ordinary looking in fact and then he raised his horn and I
was transfixed. I had never before
heard anything so powerful and
moving in my life. I remember
walking out of the building in a
daze, so moved was I by the emotion which poured out of that man
through his instrument. That it had
a lasting effect on me goes without saying and I learned an early
lesson. Nothing can compare to
hearing a live performance.
It is one of the reasons I admire
the aims of Share The Music, an
outreach programme which, since
1999, has given complimentary
tickets for selected concerts at Roy
Thomson Hall and Massey Hall
for underserved youth in the Greater Toronto Area. Through the generosity of supporters of this programme, doors are opened to the
concert stage and ears are opened
to the world of live music, often
for the first time. In conjunction
with these concerts there is an educational component and just prior
A PRIL 1 - M AY 7 2006
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to the performance a lecture/demonstration followed by a question
and answer period, usually conducted by local musicians.
This month, for example, (April
5) Wayne Shorter will appear at
Massey Hall with Danilo Pérez,
piano, John Patitucci, bass, Brian
Blade, drums plus a performance
by Brad Mehldau who will open
the evening. And in the downstairs
lounge just before the concert Share
The Music will hold one of their
presentations before inviting their
young guests to the concert. On
this particular evening David Braid
and I will be conducting the workshop and sharing some of our
musical thoughts and opinions with
the young audience.
Share the Music is produced
by The Corporation of Massey Hall
and Roy Thomson Hall with the
assistance of sponsors, and Inner
City Angels, a charitable arts education organisation. It is a worthwhile endeavour and David and I
are looking forward to it and, of
course, the concert afterwards.
So, what’s even better than hearing music live?
Making music yourself!
In sharp contrast, a few blocks
away from Massey Hall is the
Cabbagetown Community Arts
Centre on Parliament Street. The
centre does wonderful things for
young people in the area. About
300 of them go there to learn about
art and music and about three quarters of these kids come from lowincome families. On any given day
the place is a hive of activity
with young people getting actively involved in the arts - but
a recent article in The Toronto
Star told of financial woes.
Cabbagetown Community Arts
Centre is broke and they have
to find a way of raising funds
or go under. I know the place
well, since I live close by in
Cabbagetown and I know how
dedicated are the people who
work at the Centre. I am there
quite often - I make use of the
rehearsal space regularly and I
feel good vibes every time I
walk in, and realise yet once
more just how important it is
to expose young people to creativity as soon as possible and that the
arts are not a luxury, but a necessity in life. Their fight for survival is an all too familiar story. The
Cabbagetown Centre has to ride out
this storm and in a more perfect
world than this is, they would not
have to fight so hard for survival.
Some other highlights this month
are: The National Jazz Awards at
The Old Mill on April 10th.
Guests include the Roberto Occhipinti Band; Hilario Duran, piano;
David Buchbinder, trumpet; Pat
Labarbera, Mike Murley, saxophones and David Occhipinti, guitar. Russ Little will be in concert
at the Glenn Gould Studio on
Monday the 3rd and Diane Schuur also at the Gould on the 26th.
Also worth noting, at the Montreal Bistro on the 5th, Jaymz Bee
will present Babes In Jazzland, allfemale and all students of Humber, U of T and McGill, who will
be presenting songs from their
upcoming CD. Later in the month
for three nights starting on 20th
Wayne Shorter at Massey, April 5
the Denny Christianson Quintet
will hold forth and on the 6th to
8th Doug Riley and I have our
annual get together with Don Vickery and Reg Schwager. Then April
27 to 29 will be a return visit by
Gene DiNovi and Dave Young.
Let’s hear it for live music.
Sackville salute!
And let’s hear it for the great things
that happen in tandem with a thriving live scene -- like Sackville
Records, for example.
Last month I mentioned the
Classic Jazz Society’s concert featuring Kenny Davern, Trevor Richards and David Boedinghaus.
Kenny Davern is a clarinettist who
has followed his own star throughout his career and is an important
and easily recognisable voice in
jazz. Trevor Richards, born in
England, made his home in New
Orleans as a young man and absorbed the music of that city’s tradition; he plays as closely to the
classic tradition of drumming, personified by Baby Dodds, as anyone I can think of. Pianist Dave
31
Boedinghaus is from a
younger generation but
is another New Orleans
musician steeped in the
tradition with nuances
of Jelly Roll Morton in
his playing.
I wasn’t able to be
there for best possible
reason - I had a gig but I was able to spend
some time with Trevor
Richards whom I’ve
known for many years.
Inevitably the conversation got around to the
recent events in New Orleans. Both
he and David are victims of Katrina. Their homes were flooded and
valued possessions, many of which
were of historical value, were lost
or damaged and neither of them
expects the city will ever return to
what it once was. It adds an air of
poignancy to the music they make,
because they are among the survivors of an age that has gone.
The concert was made possible
by John Norris, a man who for
many years has been a quiet but
oh, so important part of the jazz
community in this city - founder
of Coda Magazine, owner of Sackville Records - and unswerving in
his dedication to jazz.
The afternoon following the concert, the trio went into a studio
along with an invited audience,
Inside the Jazz Listings
by Sophia Perlman
Trevor Richards
some of whom had attended the
concert the night before and were
then able to enjoy the added experience of attending a recording session which will result in a CD to
add to the already impressive Sackville catalogue.
The individuality of the music
made that week-end is something
of a reflection on the individuality
of John Norris himself. He chooses not to be in the mainstream of
today’s music, preferring, like the
musicians he records, to follow
his heart, disregarding fashions and
fads.
This is by way of letting you
know that I have an in depth interview upcoming in WholeNote with
John Norris.’, who has done much
to influence the shape of jazz in
Canada.
Saxophonist Tara Davidson
has earned herself a reputation
across Canada both for her own
ensembles, and those of musicians such as Chris Hunt, Laila
Biali and Mike Murley. This
month, in addition to a performance at the Rex (Apr 8),
she is also the “Artist in Residence and Guest Curator” at the
Red Guitar. Every Thursday in
April, her trio will host a variety of guest musicians, including John Maharaj, Anthony
Michelli, David Occhipinti,
Mike McLennan, Brandi Disterheft and Elie Katzin.
Tara Davidson
Dave Young can be found playing with two very different ensembles this month! On April 13 th and 14 th, catch him at the Rex
with his Octet, which includesVerne Dorge, Rick Wilkins, Perry
White, Kevin Turcotte, Terry Promane, Gary Williamson and
Terry Clarke. Then, from April 27-29, he appears in a duo setting with Gene DiNovi for the three night Duke Ellington Birthday Celebration at the Montreal Bistro.
And finally, the Lula Lounge offers a couple of innovative evenings
of jazz this month.Tim Postgate, Lina Allemano and Rob Clutton
provide the live soundtrack for “City Tales” – an event at the Lula
Lounge which combines jazz and story telling, April 4th. Later in the
month (Apr 11) jazz vocalist Rita DiGhent pairs up with Nick
Brownman Ali and the Sprawl Project for their first performance
since 2004’s Distillery Jazz Festival.
Jazz Club Listings are on page 59. Happy listening!
VENUE SPOTLIGHT : THE REX
Ask someone for a list of jazz venues in the city, chances are the Rex would
be on the top of many lists – and little wonder: with 18 shows a week, it is
one of Toronto’s foremost jazz presenters. The lineup is a mixture of
Toronto’s finest professionals, young up-and coming musicians, and a wide
range of special guests from across Canada and around the world. They
also attract a huge crowd for their Tuesday night jam sessions.
The Rex Hotel Jazz and Blues Bar
194 Queen West 416-598-2475 www.therex.ca
Wheelchair accessibility: One step
to bathroom/back section, can be
avoided by using the St. Patrick St.
entrance.
Age Restrictions: all ages welcome.
Musician Booking Information:
Not available
Other info:
- Cover charge $6-9 for
approx. 5 shows a week
(usually 9:30 show, Thu-Sat.)
- Menu features many
vegetarian options as well as
more standard pub fare.
Dave Snider Music Centre
3225 Yonge St. PH (416) 483-5825
eMail: [email protected] www.snidermusic.com
Music
Lessons
we offer:
Piano
Guitar
Bass Vocal
Sax Flute
Clarinet
Violin/Viola
Cello
Theory
Harmony
32
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One of Toronto’s Oldest Music Stores...
With The Best Selection of Pop, Jazz &
Broadway Sheet Music in the city
- For Beginners and Professionals Come in and browse over 25,000 sheet music publications. We
have a wide array of Woodwind, Brass, Keyboards, Guitars and
Accessories. Music Lessons offered on site.
A PRIL 1 - M AY 7 2006
BAND Stand
The Markham
Concert Band is
celebrating the diversity of their city
with their “East
Meets West” concert on May 7th.
The band and music director Doug
Manning will be
joined by erhu master George Gao at
the Markham Theatre.
by Merlin Williams
I find it baffling when I get listings for April that trumpet “end of
the year” concerts! It seems the
concert season gets shorter and
shorter. Maybe I’m just seeing it
from a skewed perspective, because of the lead time involved in
putting out a magazine, but I have
a hard time thinking in those terms
when winter hasn’t even finished
with us yet.
I’ve tried to make it down to the
Cardinal Saxophone Workshop in
Kentucky every summer. It’s a
week of playing in large saxophone
ensemble (sopranino to bass) combined with chamber music, solos
and a fun atmosphere. I’ve never
found anything quite like it in Canada. I’m going to have to take a
pass on it this year, as I’ll be coming back from the Brampton Concert Band’s trip to Italy and Austria. I strung the two trips together
last year, coming back from Switzerland at 5pm on a Sunday afternoon, and almost immediately heading for Kentucky by car. It was
exhilarating, but exhausting, and I
just don’t think I could pull it off
again. I would like to see some
Canadian representation there
though, so if you’re interested,
drop me a line, and I’ll put you in
touch with the organizers.
The Mississauga Pops Concert
Band’s “Pops Does the Classics”
concert on Sunday April 9 marks
the end of an era. It’s the last formal concert with Denny Ringler,
who has graced the podium with
the band for seventeen years. A
formal search is currently underway for Denny’s successor; info
is available on the MPCB’s website, www.mississaugapops.com
The Pickering Community
Concert Band is presenting a varied program for its April 30th concert. The band and conductor Andrew Locker will be joined by the
Merlin Williams, fourth from left, at last year’s
Cardinal Saxophone Workshop in Kentucky
Mississauga Pops Denny Ringler,
adieu after seventeen years .
Durham Region Chamber Chorus,
trombone soloist Gregg McCabe
and trumpet soloist Steve Petafor.
The selection of works includes the
Concerto for Trombone and Military Band by Rimsky-Korsakov
and American Overture for Band
by Joseph Wilcox Jenkins among
others.
The Toronto Wind Orchestra
has become known for performing new works for wind ensemble. On April 12th, they’ll be presenting a concert of transcriptions
including works by Respighi, Copland and Gabrieli. Music director
Tony Gomes and the TWO will
be joined by flute soloist Carol
Ann Savage in a performance of
Carl Nielsen’s Concerto for Flute,
transcribed by Gomes.
The Northdale Concert Band
pays tribute to one of its former
members, tubist Bob MacLean on
Sunday Apr. 9 with two new compositions commissioned in his
memory. Guest conductor Gillian
MacKay will lead the band in the
new works by Louis Calleja and
John Wilson.
HARKNETT
Musical Services Ltd.
The Plumbing Factory Brass
Band is celebrating its 10th anniversary this spring. Prof. Henry
Meredith and the band will perform music by Handel, Mozart,
von Suppé, Elgar, Brahms and
Shostakovich at Byron United Covenant Church in London, on
Wednesday Apr. 5th. Make sure
to check the band’s website
www.plumbingfactorybrassband.com,
there are some great pictures of
Meredith’s brass instrument collection, which inspired the band’s
moniker.
Make sure you avail yourselves of
the complete listings in this month’s
WholeNote. There’s complete information about these, and many
other band concerts. And, uh…I
think there’s probably some stuff
about orchestras and chamber
groups and choirs too…if you’re
into that sort of thing!
Woodwind doubler Merlin Williams
can be contacted by e-mail,
[email protected] or
phone 416-803-0275, if you would
like an upcoming band event to be
featured in the Bandstand column.
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A PRIL 1 - M AY 7 2006
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33
On OPERA
by Christopher Hoile
This year, as everybody knows, the Canadian Opera Company will be
moving on to a new stage, both physically and metaphorically. Yet,
though the Toronto opera world may concentrate its attention on the
new house this year, many of the area’s other companies are also
going through notable periods of transition. Opera Atelier is soon to
reach an artistic goal it has long prepared for. Tapestry New Opera
Works is regrouping after the departure of Producer and General Manager Claire Hopkinson. Queen of Puddings Music Theatre is about to
make its international debut. Toronto Operetta Theatre and Opera in
Concert are planning significant changes for next season. And David
Speers, the new General Director of Opera Ontario, has plans to reinvigorate the company in many ways.
To start with the COC,
Bellini’s “Norma” (March
30-April 15) and Berg’s
“Wozzeck” (March 31April 13) will be the final
two operas the company
will present at the Hummingbird Centre. To underscore the importance of
this event, the COC has
invited former COC Artistic Director Lotfi Mansouri to return to direct
“Wozzeck”, which he
originally helmed in 1990.
The production is designed
by Michael Levine, now
best known as the designer of the COC’s Ring Cycle. For “Norma”, American soprano June Anderson sings the title role
joined by Attila Fekete as Pollione
and Marianna Kulikova as Adalgisa. François Racine, longtime associate of Robert Lepage, will direct. After a series of inaugural
concerts in June, the COC gives
the new house a sonic workout with
three complete Ring Cycles in September.
This June, Opera Ontario will hold a workshop of the first opera it
has ever commissioned - “Thayendanegea”, about the life of Upper
Canadian Mohawk chief Joseph Brant (1742-1807), composed by
Tomas Dusatko to a libretto by Lisa Van Every of the Six Nations
Writers Guild.
Relations Associate Melissa Than,
the number of COC mainstage productions will slowly increase over
the years from the present six to a
total of nine. General Director Richard Bradshaw has always maintained that it is impossible to
present a “balanced” season with
only six operas. With nine it will
be possible to achieve a balance
not just in terms of period and composer, but also in terms of language, style and size of opera.
One immediate effect will be more
productions of Mozart. Besides
this, the new “Aerial AmphitheaLotfi Mansouri
tre” in the lobby of the Four SeaRunning its own house has many sons Centre will be home to apimplications. Since it is 1000 seats proximately 90 concerts per year
smaller than the Hummingbird Cen- starting this year.
tre, there will be more performances of each opera, including new Opera Atelier, Canada’s Baroque
Saturday matinees. But in the future, opera company, also finds itself at
there will be not only more per- a turning point. As part of the
formances but also more produc- company’s 20th anniversary celetions. According to COC Public brations, OA will present Mon-
34
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teverdi’s “Orfeo” (1607), the work
the company began with all those
years ago in the Walker Court of
the AGO. The new production,
the first in Toronto since 1989,
runs April 15-23 at the Elgin Theatre and features Daniel Belcher as
Orfeo, Carla Huhtanen as Euridice and Curtis Sullivan as Plutone.
This time the work will be sung in
Italian with English and French
surtitles.
Those who have followed interviews in this column with Marshall Pynkoski, OA’s Co-Artistic
Director, will know that OA has
been planning for many years to
move into 18th-century French repertoire. To give the singers (and
the audience) the background to
appreciate this repertoire, Pynkoski has deliberately programmed
works such as Marc-Antoine Charpentier’s “Actéon” and “Médée”
and Lully’s “Persée” and “Armide”, masterpieces in themselves,
A PRIL 1 - M AY 7 2006
but also important antecedents for
the declamatory style characteristic
of the 18th century. All this careful preparation will reach fruition
in the 2007-08 season when OA
presents Jean-Philippe Rameau’s
“Castor et Pollux” (1737, rev.
1754). According to Pynkoski,
OA also has other long-range plans
that promise much excitement.
One is the expansion from two
productions per year to three, the
third being a smaller work to be
staged most likely in the new theatre at the Royal Conservatory of
Music. Another is the expansion
of OA’s repertoire into the 19th
century. After all, Tafelmusik itself has already essayed
Beethoven’s symphonies with results widely hailed as revelatory.
Opera Ontario, Canada’s fourth
largest producer of opera, has had
a new General Director, David
Speers, since July 2004. Speers
spent 22 years at Calgary Opera
followed by five years at Arizona
Opera. There he helped raise the
subscriber base from 8000 to
15,000. In Speers’s view, Opera
Ontario’s position in relation to the
COC is like the New York City
Opera’s in relation to the Met.
Speers seeks to make Opera Ontario a showcase for Canadian talent not just in secondary roles but
in the leads. Next season will see
Lyne Fortin and Sally Dibblee as
Donnas Anna and Elvira, Richard
Margison and Allyson McHardy
as Saint-Saens’s Samson and Dalila and Frances Ginzer as Tosca.
Speers’s plan is to offer two subscription nights per season in Hamilton, rather than the present three,
and two in Kitchener. As the COC
does with favourites like “Turandot” or “La Bohème”, he wants
the flexibility to add to this base a
variable number of non-subscription nights based on a popular
work’s potential drawing power.
Speers plans to maintain the current scheme of one to two concert
evenings, two familiar operas plus
one less familiar one, using that
last slot to explore everything from
lesser-known works of wellknown composers like “La Fanciulla del West” to 20th-century
works like Carlisle Floyd’s “Of
Mice and Men”, in productions that
have proven successful in regional
companies. In a new venture this
June, Opera Ontario will hold a
workshop of the first opera it has
ever commissioned - “Thayendanegea”, about the life of Upper
Canadian Mohawk chief Joseph
Brant (1742-1807), composed by
Tomas Dusatko to a libretto by Lisa
Van Every of the Six Nations Writers Guild.
Many of Toronto’s smaller opera companies are also about to take
exciting new steps. Dairine Ni
Mheadhra, Co-Artistic Director of
Queen of Puddings Music Theatre writes that the company’s trip
CONTINUES
Opera
Atelier
timeless
presents
Orfeo
Claudio Monteverdi
Th e Wo r l d ’ s F i r s t O p e r a !
This production sponsored by
April 15, 18, 20, 22 @ 7:30 pm
April 23 @ 3:00 pm
Elgin Theatre
189 Yonge Street
$107, $79, $62, $30
Call Ticketmaster at
416.872.5555
www.ticketmaster.ca
PHOTO BY: Bruce Zinger PHOTO FEATURING: Jeannette Zingg
SUNG IN ITALIAN WITH ENGLISH
AND FRENCH SURTITLES™.
Conductor: David Fallis
Director: Marshall Pynkoski
Choreographer: Jeannette Zingg
Featuring Tafelmusik Baroque
Orchestra, Jeanne Lamon
Music Director
Tafelmusik Chamber Choir,
Ivars Taurins, Director
and Artists of Atelier Ballet
Please join members of Opera
Atelier’s creative team one hour
prior to each performance for
a pre-performance chat.
www.operaatelier.com
A PRIL 1 - M AY 7 2006
Back to Ad Index
35
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A telephone conversation with
Wayne Strongman, Artistic Director of Tapestry New Opera Works,
came just before company members were to embark on a group
session to clarify their vision of
the company. Claire Hopkinson
had helped form the company so
much in her own image, that with
her departure the company now
wants to determine how best to
prioritize its commitments and focus its energies. Tapestry will
seek to increase its national presence. The recent success of its
third “Opera to Go” series of minioperas is just one aspect of this
since several composer-librettist
pairs who have met under its auspices continue to collaborate. Yet,
Tapestry is also on the verge of
establishing an international pres-
Back to Ad Index
Elizabeth Beeler as Liza Elliott and Stuart Graham
as Kendall Nesbitt in TOT’s February 2006
production of Kurt Weill’s Lady in the Dark
Guillermo SilvaMarin, Artistic Director of Toronto Operetta Theatre
and of Opera in Concert, has revealed that both companies are on
the verge of a new era. This reassessment of position has less to do
with the new opera house than with
the $3,000,000 renovation and upgrade of facilities the St. Lawrence
Centre will soon undergo. In the
immediate future (April 21-30) the
TOT will present “Kismet”, the
1953 musical by Robert Wright and
George Forrest based on the music of Alexander Borodin, that includes such hits as “Stranger in Paradise” and “This is My Beloved”.
The recent success of the TOT’s
Canadian premiere of Weill’s “Lady
in the Dark” has proven to SilvaMarin that Toronto audiences have
a taste for seldom-seen repertoire.
Next year TOT will make the move
from three mainstage offerings to
four, all fully staged with orchestra. As for Opera in Concert, it
will continue to explore risky repertory and serve, as does the TOT,
as a forum for young Canadian
36
GILBERTO PRIOSTE
G F BU V S J O H $PMJO"JOTXPSUI
.JDIFMF%F#PFS
5FSJ%VOO
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+BTPO/FEFDLZ
ence. “Elijah’s
Kite” by James
Rolfe to a libretto
by Camyar Chai is
due to premiere at
the Manhattan
School of Music on
April 9. “Antigone” by Christos
Hatzis to a libretto
by Jocelyn Clarke
and directed by
Anne Bogart of
New York’s famed
SITI Company is
coming up. Both
will later travel to
Toronto. And in
spring 2007 Tapestry is taking Hatzis’s acclaimed multimedia
work
“Constantinople”
to Covent Garden.
PHOTO:
.BZ
in June to Covent Garden “is the
beginning of our short and long
range plans” and its “launch on
the international stage.” She continues, “In five years’ time, we
intend to have gained a foothold
for our all-Canadian opera productions in international festivals and
recognition as a company that is
pioneering a new intercultural opera form. In ten years’ time, we
want to be the company of choice
when international presenters program contemporary chamber opera
and to have established ourselves
as the world leader in intercultural
opera”.
Coming soon is an opera built
around Suba Sankaran, the Toronto-based South Indian classical
singer, to be composed by Michael
Oesterle as kind of inversion of
“Hansel and Gretel”. Next will be
a Portuguese fado opera on the
subject of Ines de Castro built
around the Toronto fado singer
Catarina Cardeal to be composed
by James Rolfe of “Beatrice
Chancey” fame to a libretto by Paul
Bentley, the librettist for “The
Handmaid’s Tale” and “The Midnight Court”.
singers. What will enhance the
experience at Opera in Concert next
season will be OiC’s first-ever use
of surtitles. Silva-Marin also hopes
that funding will be in place to permit more rehearsal time and thus
allow the OiC singers to be less
tied to their scores in order to
present the works more dramatically.
The result of all these new developments in companies large and
small is that Toronto and environs,
already known as a hive of operatic activity in North America, will
soon offer audiences a greater
range of choice than ever before.
Please see also
Opera, Music Theatre,
Dance Listings page 58
How I Met My Teacher
goes to the Opera page 63
Opera at Home page 65
BookShelf page 66
A PRIL 1 - M AY 7 2006
WE ARE ALL MUSIC’S CHILDREN
by mJ Buell
March’s Child …. was David Fallis
“Based on the way the boy cocks
his head to sing, I’m guessing that
this month’s musical child is
DAVID FALLIS.”
(Geoffrey Allen, Toronto)
Conductor DAVID FALLIS is one
of Canada’s leading interpreters of
operatic and choral/orchestral repertoire, especially from the Baroque and Classical periods. As
Music Director for Opera Atelier
he has helped bring that company
onto stages all around the world.
David is Artistic Director of the
Toronto Consort. This chamber
ensemble specializing in the music
of the Middle Ages and Renaissance has more than a thirty year
history with the Toronto concert
season. They have toured extensively across Canada and in Europe, and David has led the ensemble in recordings for Marquis
Classics, Dorian Records and SRI.
ducting.
The other was my piano teacher,
Court Stone. He was a private
man, probably shy, but a great
teacher, encouraging his students to
improvise and compose. He himself
wrote piano music which we
played. I’ve dared to write a couple
of pieces in the last year, one for the
Toronto Consort and one for my
choir, and felt free enough to do it
thanks to the memory of Mr.
Stone’s belief that every musician
should be something of a creator.
Upcoming: David Fallis conducts
Opera Atelier’s Orfeo (Monteverdi) at the Elgin (opens
Apr.15). Final concert of the Toronto Consort season (April 28/
The Toronto Consort also per29) sees funk/folk fiddler Oliver
formed the theme music for
Schroer joining the Consort for
Atom Egoyan’s award-winning
The Journey to Santiago.
film The Sweet Hereafter.
New recordings: Praetorius
David also conducts the ToChristmas Vespers for Marquis
ronto Chamber Choir, a 40voice chamber choir, and teaches Classics and an upcoming ‘07 CD
release based on the Consort proin the Graduate Department of
gram “The Da Vinci Codex”.
the Faculty of Music at the University of Toronto.
CONGRATULATIONS!
I always feel I had two musical
TICKETS WINNER!
mentor/influences as a child …
Geoffrey Allen and a guest will
One was Lloyd Bradshaw, the
attend the “The Journey to
choirmaster at St. George’s Unit- Santiago”(Apr. 28/29).
ed Church in whose “Boy ChorisRECORDINGS!
ters” I first sang. Through him I
became a founding member of the Kate Hays receivesToronto ConCanadian Children’s Opera Cho- sort’s “The Way of the Pilgrim”
and Louie Calleja receives
rus, and had such fun in the
“Mariners and Milkmaids” (balO’Keefe Centre in La Boheme,
Carmen, Turandot etc. A very out- lads, madrigals and dances from
16th and 17th-century England).
going charismatic musician, great
with kids and youth, he was the first Thank you to all our readers who
to suggest I should consider con- guessed.
APRIL’S Child IS ….?
photo taken circa 1946
“Don’t worry…
I can find the light!”
This member of our music community, now more involved with
getting others onto music theatre
stages than occupying the stage
himself, has in his time sung,
danced and pattered with the best
of them - operatic and operettic!
Identify him for a chance to
win tickets or a recording.
Think you know April’s Child?
Send your best guess to
[email protected].
(Winners will be selected by random draw among correct entries
received by April 15th, 2006.)
Know someone whose photograph
should appear on this page? Your
suggestions, sent to
[email protected]
are most welcome!
index of advertisers
abc Toronto International
Choral Festival 44
Academy Concert Series 49
Acrobat Music 64
Aldeburgh Connection 16, 50
Alexander Singers and
Players 34
All the King’s Voices 49
American Harp Society,
Toronto Chapter 49
Amici 44
Analekta 75
ATMA Classique 7
ATMA/Musica Intima 26
Audiolin Music 13
Augustine Simoni 53
Bach Children’s Chorus 24, 25
Bach Consort 47
Bay Bloor Radio 80
Camerata Tibia 48
Canadian Children’s Opera
Chorus 24
Canadian Sinfonietta 49
Canadian Singers 45
CanClone Services 64
A PRIL 1 - M AY 7 2006
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Cathedral Bluffs Symphony
Orchestra 45
Centenary Concert Series 57
Children of Chornobyl 8
Christ Church Deer Park
Jazz Vespers 31
Cosmo Music 33
Dancemakers 9
Dave Snider Music Centre 36
David Varjabed 60
Eglinton St. Georges United
Church 42
Elmer Iseler Singers 25, 51
Etobicoke Youth Choir 52
Fanshawe Chorus London 55
George Heinl 22
Harknett Musical Services 33
Heliconian Hall 62
High Park Choirs of Toronto 23
Humbercrest United
Church 43, 46
Hymn Society, Southern
Ontario Chapter 53
International Touring
Productions 40
Islington United Church 32
Kammermusik Toronto 24
Kerr Frames 56
Koffler Salon Series 47
Lockridge HiFi 13
Long & McQuade 31
Maestro Enterprises 60
Michael Ierullo 62
Mikrokosmos 66
Mississauga Symphony 52
Mister’s Mastering House 62
Music at Metropolitan 43
Music at St. Mark’s 49
Music for Young Children 61
Music Gallery 30
Music Toronto 11, 27, 42
Musica Franca 71
Musicians in Ordinary 41
Naxos of Canada 69
New Adventures in Sound 29
New Music Concerts 29, 50
Newman Concert Series 41
No Strings Theatre
Productions 60
Oakville’s Age of Enlightenment Orchestra 51
Opera Atelier 35
Opera Ontario 34
Opera-IS 35
Orchestra Toronto 42
Organix 06 5
Pasquale Bros. 62
Pax Christi Chorale 53
Penthelia Singers 22
Peter Mahon 26
Phillip L. Davis, Luthier 21
Piano for Hire 62
Random Acts of Music 22
RCM Community School 61
RCM Glenn Gould School 17
Remenyi House of Music 73
Sine Nomine 45
Sinfonia Toronto 15, 39
Sound Post 21
SoundaXis 30
Soundstreams 44
SRI Canada 6
St. James’ Cathedral 25, 47
St. Rose of Lima Church 61
Studio 92 59
Sunny View Public School 53
Syrinx 40
Tafelmusik 2, 51
Temple Sinai 50
Theatre Direct of Canada 46
Toronto All-Star Big Band 32
Toronto Children’s
Chorus 25, 52
Toronto Choral Society 23
Toronto Consort 48
Toronto Masque Theatre 36
Toronto Mendelssohn Choir 43
Toronto Operetta Theatre 45
Toronto Organ Club 49
Toronto Philharmonia 21
Toronto Symphony
Orchestra 2, 3, 4
Toronto Welsh Male
Voice Choir 51
Toronto Wind Orchestra 43
True North Brass 39
U of T Faculty of Music 19, 38
Universal Music 79
Viva! Youth Singers 23
VocalPoint Chamber Choir 43
Windermere String Quartet 47
Women’s Musical Club 20, 44
37
CONCERT LISTINGS
Toronto & nearby
Plans change!
Always call ahead to confirm details
with presenters.
Concerts: Further Afield
PAGE
54
Music Theatre/Opera PAGE 58
Jazz Clubs PAGE 59
Announcements/Lectures Seminars/Etcetera
PAGE
60
— 3:30: Sinfonia Toronto. Mozart at Play.
Informal family Mozart in Jeans series. Mo— 1:00 & 7:30: Mirvish Productions. The zart: Divertimento K 137; Pantalone and Columbine (Music for a pantomime); Elgar: SereLord of the Rings. Lyrics by Shaun McKenna
and Matthew Warchus; music by A.R. Rahman nade; Haydn: Cello Concerto in C, Movement I.
Rafael Hoekman, cello; Stephen LaFrenie,
and Vartinna with Christopher Nightingale.
mime; Nurhan Arman, conductor. Walmer
Princess of Wales Theatre, 300 King St. W.
416-872-1212. $78-$125. For complete run Road Baptist Church, 188 Lowther Ave. 416499-0403. $25, $15(st/child).
see music theatre listings.
— 2:00 & 8:00: City Centre Musical Pro- — 7:30: Amadeus Choir. Handel: Messiah.
ductions. Ragtime. Music by Stephen Flaher- Meredith Hall, soprano; Allyson McHardy,
ty, lyrics by Lynn Ahrens. Meadowvale Thea- mezzo; David Pomeroy, tenor; Sean Watson,
tre, 6315 Montevideo Dr., Mississauga. 905- baritone; Lydia Adams, conductor. Yorkmin615-4720. $21, $19(sr/st). For complete run ster Park Church, 1585 Yonge St. 416-4460188. $45, $35(sr/st).
— 7:30: Annex Singers. Glorious Spring.
— 2:00 & 8:00: Northern Lights Chorus.
Vivaldi: Gloria; selections of world music.
Realtime. Guest: Realtime Quartet. Cringan
Marty Smyth, organ. St. Thomas’s Anglican
Hall, Earl Haig Secondary School, 100 Princess Ave. 866-744-7464. $25, ($15 st 2pm Church, 383 Huron St. 416-968-7747. $15,
$12(sr/st), free(12 & under).
only).
Saturday April 01
— 7:30: Bach Children’s Chorus. Field of
Wings: A Choral Extravaganza. Works by Daley, Sirett, Dalglish & others. Bach Chamber
Youth Choir; Malcolm Dalglish, hammer dulcimer; Eleanor Daley, pianist; six guest youth
choirs; Linda Beaupré, conductor. George Weston Recital Hall, 5040 Yonge St. 416-8708000. $24, $20.
— 7:30: Deer Park Concerts. Saturday
Night Organ Recital Series. Works by
Lefébure-Wély, Handel, Guilmant, Widor, Locklair, Buck & others. William Wright, organ.
129 St. Clair Ave. W. 416-481-2979. $20,
$15(st).
— 7:30: Gilbert & Sullivan Society of
Toronto. G&S Patter Songs. Audience participation. St. Andrew’s United Church, 117
Bloor St. E. 416-221-4864. Free.
— 7:30: Healey Willan Singers. Bach &
Casals. Ron Ka Ming Cheung, artistic director.
Heliconian Hall, 35 Hazelton Ave. 416-5190528. $20, $15(sr/st).
— 7:30: Music on the Donway. I Furiosi
Baroque Ensemble. Donway Covenant United
Church, 230 The Donway W. 416-444-8444.
$15.
— 7:30: U of T Faculty of Music. Symphonic Band. Classics for wind band. Darryl Eaton,
conductor. MacMillan Theatre, 80 Queen’s
Park. 416-978-3744. $13, $7.
— 8:00: 215 Perth Productions. Agnus
Dei: Celebrating the Passion of Christ. Peter
McCutcheon, tenor; Lynne McMurtry, mezzosoprano; Georgetown Bach Chorale; Ron Greidanus, conductor. Glenn Gould Studio, 250
Front St. W. 416-205-5555. $35.
— 8:00: Church of the Holy Trinity. Sacred Music for Lent. Couperin: Leçons de ténèbres pour le mercredy; French Baroque instru-
Symphonic Band Apr 1
Darryl Eaton, conductor
Music by Howard Cable, Karel Husa,
Louis Applebaum and others.
Apr 5
Michael and Sonja Koerner
Distinguished Visitor in Composition
Lecture-demonstration
Brian Cherney
Mayumi Seiler, violin
Apr 6
Music of Beethoven and others.
Walter Delahunt, piano
Apr 8
Gillian MacKay, conductor
Music by Sparke, Bernstein, Shostakovich and the world première of Brian
Cherney’s U of T commissioned work.
Wind Ensemble
38
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mental music. Michele DeBoer, Teri Dunn,
sopranos; Lucas Harris, theorbo; Joëlle Morton, viola da gamba; Borys Medicky, organ. 10
Trinity Square. 647-430-0636. $20.
— 8:00: Curtain Call Players. The Sound
of Music. By Rodgers and Hammerstein. Fairview Library Theatre, 35 Fairview Mall Dr.
416-703-6181. $21. For complete run see
music theatre listings.
— 8:00: Heritage Theatre. The Harlem
Gospel Choir: God Bless the Children. 86 Main
St. N., Brampton. 905-874-2800. $42.50;
$40.50(sr/st).
— 8:00: L’Intemporel Baroque Ensemble.
April Fool’s Bach. Music by J.S. Bach. Mylene
Guay, historical flutes; Laura Jones, gamba/
baroque cello; David Sandall, harpsichord. Kimbourne Park United Church, 200 Wolverleigh
Blvd. 416-657-0076. $20, $15, $10.
— 8:00: Living Arts Centre. The Irish Rovers in Concert. Hammerson Hall, 4141 Living
Arts Dr., Mississauga. 905-306-6000.
$35+.
— 8:00: Mooredale Concerts. Anton Kuerti
Solo. Beethoven: Piano Sonatas #2 in A, Op.
2#2; Op. 81 in E flat (Les Adieux); Mozart:
Fantasy in c K475; Schubert: Sonata in c
D958. Anton Kuerti, piano. Willowdale United
Church, 349 Kenneth Ave. 416-922-3714 ext
103. $25, $20(sr/st).
— 8:00: Riverdale Ensemble. Lord, What
Fools These Mortals Be! Strauss/Hasenöhrl:
Till Eulenspiegel-einmal anders!; Brahms: Horn
Trio; Gál: Divertimento for wind octet; Wagner: Siegfried Idyll. Ellen Meyer, piano; Damian
Rivers-Moore, horn; Stephen Fox, clarinet;
Joyce Lai, violin & others. Music Gallery, St.
George the Martyr, 197 John St. 416-8330251. $20, $15, free(12 & under).
Percussion Ensemble
Robin Engelman, director
Apr 9
World Music Concert Apr 10
Japanese drumming, Gamalan, Tabla and
Vocal Ensembles
Apr 13
Music for solo violin by Bach and Ysaÿe.
Lara St. John, violin
Kurt Weill in America
Apr 22 & 23
A Musical Theatre Entertainment
presented by the Opera Division
Call the Box Office for details
416.978.3744
A PRIL 1 - M AY 7 2006
— 8:00: Royal Conservatory of Music.
Community Concert Series: Seamus Blake &
the Toronto Jazz Orchestra. Josh Grossman,
music director. 90 Croatia St. 416-408-2824
ex321. $15, $10(sr/st), $45(family).
— 8:00: Toronto Symphony Orchestra.
From East to West. Weinzweig: Rhapsody for
Orchestra; Hindemith: Piano Concerto, Op. 29
(Canadian première); Harbison: Double Bass
Concerto (world première); Chen Yi: Percussion Concerto (Canadian première). Leon Fleisher, piano; Evelyn Glennie, percussion; Joel
Quarrington, double bass; Peter Oundjian, host;
Hugh Wolff, conductor. Roy Thomson Hall, 60
Simcoe St. 416-593-4828. $28.50-$110.
performers; Richard Bradshaw, conductor.
6:45: Pre-Performance Opera Chat. Hummingbird Centre for the Performing Arts, 1 Front
St. E. 416-872-2262. $40-$175; $18$88(17 & under). For complete run see music
theatre listings.
— 2:00: Off Centre Music Salon. Doctors
and Music II: “We’ve Got Rhythm”. Bartók:
Sonata for Two Pianos and Percussion; works
by Handel, Gershwin, Stravinsky & Milhaud.
Hélène Couture, mezzo soprano; Inna Perkis,
Boris Zarankin, piano; John Rudolph, Kwasi
Dunyo, Ed Reifel, percussion. Glenn Gould
Studio, 250 Front St. W. 416-466-1870.
$40, $30(sr/st).
— 3:00: Hart House. Chorus Concert. Great
Sunday April 02
Hall, 7 Hart House Circle. 416-978-2452.
— 1:00: Mooredale Concerts. Music &
Free.
Truffles: Beethoven. Anton Kuerti, piano. Chil- — 3:00: Mooredale Concerts. Anton
dren’s concert. Walter Hall, 80 Queens Park.
Kuerti Solo. Walter Hall, 80 Queen’s Park.
416-922-3714 ext 103. $10.
See Apr. 1.
— 1:00: Royal Conservatory of Music
— 3:00: Syrinx. Sunday Salon. Music by
Community School. RCM Guitar EnsemPiazzolla, Gellman & Takemitsu. Susan
bles. Concert Hall, 90 Croatia St. 416-408Hoeppner, flute; Daniel Bolshoy, guitar. Helico2824 ext.321. Free.
nian Hall, 35 Hazelton Ave. 416-699-4949.
— 1:00: ZOOM! Family Sundays. Music
$20, $15(st).
with Bite. An interactive concert for children. — 4:00: Conference of Independent
Guy Few, trumpet/piano/baritone & Joseph
Schools. Music Festival 2006. Roy Thomson
Petric, accordion. Harbourfront Centre, 235
Hall, 60 Simcoe St. 416-872-4255. $25Queens Quay W. 416-973-4000. Free.
$35.
— 1:30: CAMMAC/McMichael Art Gal— 4:00: St. James’ Cathedral. Sunday Aflery. Sunday Concert Series. Wayne Nakamu- ternoon Twilight Recitals. Stainer: The Crucira in concert. 10365 Islington Ave., Kleinburg. fixion. St. James Singers; members of the
905-893-1121. Admission with gallery price: Choir of Gentlemen and Boys. Congregational
$15, $9(sr/st), $25(family).
hymns. 65 Church St. 416-364-7865. Free.
— 2:00: Canadian Opera Company.
— 4:00 & 8:00: Music Gallery. The Hidden
Wozzeck. Music by Berg. Pavlo Hunka, bass- Cameras. St. George the Martyr Church, 197
baritone; Giselle Allen, soprano; Richard Berke- John St. 416-204-1080. $20(in advance).
ley-Steele and Robert Künzli, tenors & other
CARLO PALLESCHI, Conductor
RAFAEL HOEKMAN, Cellist
Saturday, April 8 8 pm
ELGAR Serenade
HAYDN Cello Concerto in C
BARTOK Divertimento
HAYDN Divertimento in D
SCOTT ST. JOHN, Violinist
Saturday, May 6 8 pm
POPOVICI Codex Caioni
SCHUBERT Rondo
SARASATE Zigeunerweisen
HONEGGER Symphony No. 2
MOZART Divertimento K 136
Glenn Gould Studio 250 Front Street West
$40 adult, $32 senior, $21 student
call 416 205 5555 or www.sinfoniatoronto.com
MOZART in JEANS
Saturdays 3:30 - Walmer Centre, 188 Lowther Avenue
Apr 1 - MOZART AT PLAY
Rafael Hoekman, Cello
Stephen LaFrenie, Mime
Mozart’s ‘Pantalone and Columbine’
plus music of Papa Haydn
Apr 29 - MOZART PAST AND FUTURE
Konstantin Popovic, Violin
Andrew Hodwig, Actor
His immortal gifts to future composers
$25 adult, $15 youth/child
Buy at sinfoniatoronto.com or 416 499 0403
A PRIL 1 - M AY 7 2006
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39
director. George Weston Recital Hall, 5040
Yonge St. 416-872-1111. $27-$64, $20$58(sr/st), $15(Face the Musik).
— 2:00: Toronto Senior Strings. A Thursday Afternoon Concert. Mozart: Concerto for
Horn in E flat, K447, movements II and III;
— 5:00: Czech Community Centre at Ma- tra, performers; Eyal Bitton, conductor. 3080
Donizetti: Introduzione per Archi; MacMillan:
Wednesday April 05
saryktown. Concert. Drew Jurecka Trio.
Two Sketches; Grieg: String Quartet in g, Op.
Bayview Ave. 416-221-3433 ex. 354.
— 12:00: Glenn Gould School. Noon Hour 27; Dvorak: String Quartet in G, Op. 77,
Restaurant Prague, 450 Scarborough Golf
$50(reserved), $35(general admission),
Concert. Eleanor James, mezzo-soprano; Judy movements I and II. Joseph Peleg & AlekClub Rd. 416-439-4354. $20, $15.
$30(sr), $20(st).
Loman, harp. Royal Conservatory of Music, 90 sandar Gajic, violins; Anna Barycz, viola; Gre— 7:00: Mississauga Big Band Jazz En— 8:00: Hart House. Chamber Strings ConCroatia St. 416-408-2824, ex. 321. Free.
semble. A Tribute to Frank Sinatra. Glenn
gory Goldberg, cello; Ruth Budd, bass; guest:
cert. Great Hall, 7 Hart House Circle. 416— 12:30: Yorkminster Park Baptist
Chipkar, performer. Royal Bank Theatre, Living 978-2452. Free.
Daniel Lock, french horn. St. Andrew’s PresbyChurch. Noonday Organ Recital. Angus SinArts Centre, 4141 Living Arts Dr., Mississau- — 8:00: Toronto Downtown Jazz—20th
terian Church, 73 Simcoe St. 416-221-6090.
clair, organ. 1585 Yonge St. 416-922-1167.
ga. 905-306-6000. $15.
$12.
Anniversary. Russ Little in Concert. Glenn
Free.
— 7:30: Christ Church Deer Park. Organ
— 6:00: Bata Shoe Museum. Dancing
Gould Studio, 250 Front St. W. 416-870— 7:30: Toronto District School Board
Music and Compline Service. Juha Tikkanen,
Shoes. Highland dance performance with live
8000. $32.50+.
organ. 1570 Yonge St. 416-920-5211. Collec- — 8:00: Toronto Theatre Organ Society. West Region 1. Showcase Concert. George bagpipes. 327 Bloor St. W. 416-979-7799
Weston Recital Hall, 5040 Yonge St. 416tion.
ex.242. Free.
Wurlitzer Pops at Casa Loma. Peter Hansen,
— 7:30: Scarborough North Rotary Club. organ. 1 Austin Terrace. 416-499-6262. $17. 872-1111. $5.
— 8:00: Brampton Music Theatre. Oklaho— 8:00: Massey Hall. Wayne Shorter Quar- ma! By Rodgers and Hammerstein. Lester B.
An Evening with Young Amadeus. Mozart:
Tuesday
April
04
tet. Wayne Shorter, tenor sax; Danilo Pérez,
Concerto #1 in B flat K207; Concerto #21 in C
Pearson Theatre, 150 Central Park Dr.,
K467; Symphonie Concertante in E flat; Sym- — 12:30: York University Department of piano; John Patitucci, bass; Brian Blade,
Brampton. 905-874-2800. $15. For complete
drums; guest Brad Mehldau, piano. 15 Shuter run see music theatre listings.
phony #29 in A K201. Toronto Youth Sinfoni- Music. Medieval Ensemble. Judith Cohen,
St. 416-872-4255. $39.50-$79.50.
etta. Guests: David Lakirovich, Alejandro Val- director. Recital Hall, Accolade East, 4700
— 8:00: Earwitness Productions. Eve
depenas, violins; Adrienne Yang, Joanne Fung, Keele St. 416-736-5186. Free.
Egoyan, CD Launch Concert. Works by Arnold,
Concerto for Orchestra. Levkovitch: Isle of a
piano; Alyssa Delbaere-Sawchuck, viola; David — 1:00: St. James’ Cathedral. Music at
Finnissy, Kondo, Tenney & Alvear. Glenn
Beautiful Illusion (Canadian première); LieberZafer, conductor. George Weston Recital Hall, Midday. John M. Scott, organ. 65 Church St.
Gould Studio, 250 Front St. W. 416-205son: Piano Concerto #3 (Canadian première);
5040 Yonge St. 416-870-8000. $38-$60.
5555. $15, $10(sr/st).
416-364-7865. Free.
Bartok: Concerto for Orchestra. Peter Serkin, — 8:00: International Touring ProducFundraiser for Dignitas International.
— 7:30: Canadian Opera Company. Nor— 8:00: Arabesque Dance Company. Lay- ma. Music by Bellini. Zdenek Plech, bass; Ele- piano; Jacques Israelievitch, violin; Michael
tions. Kerry Stratton Conducts the Vienna
Israelievitch, marimba; Peter Oundjian, conali Arabesque. Traditional acoustic Arabic
Concert-Verein Orchestra. Schubert: Symphona Prokina & Marianna Kulikova, sopranos;
music. Suleiman Warwar, lead dumbek; BasPeter Barrett, baritone; David T. Heusel, conductor/host. Roy Thomson Hall, 60 Simcoe St. ny #5 in B flat; Arnold: Sinfonietta, Op. 48;
sam Bishara, vocals/naye/oude; Sebastian Gat- ductor. Hummingbird Centre for the Perform- 416-593-4828. $28.50-$110.
Mozart: Piano Concerto #14 in E flat K449;
to, katim; George Barbas, dhoholla. Gypsy Co- ing Arts, 1 Front St. E. 416-872-2262. $18Schumann: Arabesque, Op. 18. Alexander
Thursday April 06
op, 815 Queen St. W. 416-920-5593. $10.
Kobrin, piano; Kerry Stratton, conductor.
$175. For complete run see music theatre
— 12:10: U of T Faculty of Music. Thurs— 8:00: Markham Theatre. The Voices of listings.
George Weston Recital Hall, 5040 Yonge St.
days at Noon: Mayumi Seiler, violin; Walter
Showtime: Moments to Remember. Musical
416-872-1111. $30, $60, $90.
— 7:30: Halton Arts Review/Danny GaiDelahunt, piano. Music of Beethoven & others. — 8:00: Mozart Society. Zdenek Plech,
hits of the 50s and 60s. Guest: Peter Applesin. Vienna Chamber Orchestra in Concert.
yard, vibraphone. 171 Town Centre Blvd.,
bass & Amanda Johnston, piano. Works by
Haydn: Overture from La Pescatrici; Schubert: Walter Hall, 80 Queen’s Park. 416-9783744. Free.
Markham. 905-305-7469. $42, $32.
Mozart. First Unitarian Congregation, 175 St.
5th Symphony; Mozart: Violin Concerto #4.
— 8:30: Hugh’s Room. Bill Bourne & Eivor
Clair Ave. W. 416-201-3338. $15(recomKerry Stratton, conductor. Clearview Christian
Palsdottir. 2261 Dundas St. W. 416-531Reformed Church, 2300 Sheridan Gardens
6604. $22, $20.
Drive, Oakville. 905-815-2021. $55.
— 7:30: York University Department of
Monday April 03
Music. Cuban Ensemble. Paul Ormandy, Ru— 7:30: University of Toronto Faculty of ben Esguerra, directors. Recital Hall, Accolade
Music. Chamber Music Series: St. Lawrence East, 4700 Keele St. 416-736-5186. $10,
String Quartet. Thuille: Piano Quintet; Shosta- $5(sr/st).
kovich: Prelude & Scherzo for Octet Op.11.
— 8:00: Festival Wind Orchestra. SpringGuests: James Parker, piano; Tokai String
time Serenade. Works by Weber, Gershwin &
Quartet. Walter Hall, 80 Queen’s Park. 416others. Guest: Pavel Markelov. Christ Church
978-3744. $21, $11.
Deer Park, 1570 Yonge St. 905-881-4255.
— 7:30: York University Department of
$15, $10(st).
Music. Caribbean Ensemble. Lindy Burgess,
— 8:00: Tafelmusik Baroque Orchestra.
director. Recital Hall, Accolade East, 4700
J.S. Bach Wedding Cantata. Also: Concerto for
Keele St. 416-736-5186. $10, $5(sr/st).
harpsichord in d BWV 1052; Concerto for
— 8:00: Beth Tikvah Synagogue. Journey Oboe in E flat BWV 1053; Cantata 51,
to Jerusalem. Oratorio by Eyal Bitton. Cantor Jauchzet Gott BWV 51. Gillian Keith, soprano;
Tibor Kovari, Michele Tredger, Beth Tikvah
Charlotte Nediger, harpsichord; John AbbergChoral Society and Beth Tikvah Gala Orcheser, oboe; Norm Engel, trumpet; Jeanne Lamon,
... CONCERTS: Toronto & nearby
SYRINX SUNDAY SALONS
Susan
Hoeppner
&
Daniel Bolshoy
perform
Piazolla, Gellman,
& Takemitsu
Sunday, April 2, 2006, 3:00pm
Heliconian Hall, 35 Hazelton Avenue
Adults $20 Students $15
For more information, please call 416.654.0877
40
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A PRIL 1 - M AY 7 2006
mended donation); free(members).
J. S. Bach: Wedding Cantata. Also: Concerto
for harpsichord in d BWV 1052; Concerto for
Oboe in E flat BWV 1053; Cantata 51,
Jauchzet Gott BWV 51. Gillian Keith, soprano;
Charlotte Nediger, harpsichord; John Abberger, oboe; Norm Engel, trumpet; Jeanne Lamon,
director. Trinity-St.Paul’s Centre, 427 Bloor
St. W. 416-964-6337. $27-$64; $20-$58(sr/
st), $15(Face the Musik Apr. 6-8).
Hungarian Rhapsody. Kodaly: Dances of Galanta; Liszt: Piano Concerto #1; Bartok: Concerto
for Orchestra. Lucille Chung, piano; Peter
Oundjian, conductor. Roy Thomson Hall, 60
Simcoe St. 416-593-4828. $28.50-$110.
— 8:30: Hugh’s Room. Creaking Tree String
Quartet. 2261 Dundas St. W. 416-531-6604.
$14, $16.
semble. Sparke: Dance Movements; works by — 8:00: Peter Margolian & Friends.
Chamber Music Concert. Works by ChamBernstein, Shostakovich & Cherney (world
pagne, Whittaker, Poulenc, Melartin, Sibelius
première, commission). MacMillan Theatre,
& others. Peter Margolian, piano; Doriann
80 Queen’s Park. 416-978-3744. $13, $7.
— 8:00: Brampton Symphony Orchestra. Forrester, flute; Hazel Boyle, oboe; Ken Fuderich, clarinet; Ken Hodge, bassoon & others
Fiery Finale: Spanish Passion. Bizet: Carmen
Suite #1; Rodrigo: Fantasia para au gentilhom- performers. Washington United Church, 3739
bre; Ravel: Bolero; Rimsky-Korsakov: Capriccio Kingston Rd. 416-250-5475. Free.
— 8:00: Sinfonia Toronto. Carlo Palleschi,
Espagnol. Brampton Heritage Theatre, 86
Main St. N., Brampton. 905-874-2800. $30, conductor; Rafael Hoekman, cello. Haydn:
Cello Concerto in C; Divertimento; Bartok:
$20(sr/st), $5(under 12).
— 8:00: Laudamus Chorus. Easter Concert. Divertimento; Elgar: Serenade. Nurhan Arman,
Dubois: The Seven Last Words of Christ. Bibi- music director. Glenn Gould Studio, 250 Front
St. W. 416-205-5555. $40, $32(sr), $21(st).
ana L’Abbé, director. St. Luke’s Church, 39
Green Lane, Thornhill. 905-780-6753. $20.
— 8:00: Massey Hall. Ron Sexsmith in Con- J. S. Bach: Wedding Cantata. Trinity-St.Paul’s
Centre. See Apr. 6.
cert. 15 Shuter St. 416-872-4255. $29.50— 8:30: Hugh’s Room. Al Stewart. 2261
$34.50.
Saturday April 08
Dundas St. W. See Apr. 7.
— 8:00: Mississauga Philharmonic.
— 11:00am & 2:00: Solar Stage Children’s Broadway & Beyond. Sarah Pacheco, vocals.
Sunday April 09
Theatre. Hansel & Gretel. Musical play for ages Living Arts Centre, 4141 Living Arts Dr., MisFriday April 07
— 11:00am & 2:00: Solar Stage Chilsissauga. 905-306-6000. $35, $45.
3 to 8. 4950 Yonge St. 416-368-8031. $13.
— 7:30: Coffee House. Chris White in Condren’s Theatre. Hansel & Gretel. 4950
— 8:00: Music Gallery. Pop Avant Series:
— 1:30 & 3:30: Toronto Symphony Orcert. Chris White, guitar/vocals. Don Heights
chestra. Symphony Song & Dance. Music and The Group of Sixxx. Andrew Wedman & Paul Yonge St. See Apr. 8.
Unitarian Congregation, 18 Wynford Dr., Suite dance for and by youth. Toronto Symphony
Shrimpton; Todd Stewart; Scott Gray; Gordon — 2:00: Mississauga Pops Concert Band.
103. 416-444-8839. $5.
Pops Does the Classics. Elgar: Pomp & CirAllen; Jeremy Mimnagh. With FABle. St.
Youth Orchestra, Canadian Children’s Dance
— 7:30: Oakville Choral Society. HanTheatre, guests; Rosemary Thomson, conduc- George the Martyr Church, 197 John St. 416- cumstance; Dvorak: New World Symphony
del’s Messiah Parts II and III. Guests: Messiah tor. Recommended for ages 5+. Roy Thomson 204-1080. $10, $7(member), $5(st).
finale; other works. Denny Ringler, musical
Chamber Orchestra and soloists. Glen Abbey Hall, 60 Simcoe St. 416-593-4828. $16,
director (farewell performance). Meadowvale
— 8:00: Musicians in Ordinary. Lorenzo
United Church, 1469 Nottinghill Gate,
Theatre, 6315 Montevideo Rd. 905-615the Magnificent: Music from the Medici
$25.50.
Oakville. 905-845-5359. $22, $17(sr/st),
Court. Music by Isaac, Agricola, Tromboncino 4720. $20, $15(sr/st), $12(grps 10+).
— 2:30: Louis Bégin & Johanne Gauthi$10(12 & under).
— 2:00: Northdale Concert Band. Spring
er. Gamba Duo Concert. Kimbourne Park Unit- & others. Chris Verrette, vielle/rebec; Hallie
— 8:00: Canadian Smooth Jazz Awards. ed Church, 200 Wolverleigh Blvd. 416-760Concert. Louie Calleja, John Wilson: new
Fishel, soprano; John Edwards, lute/guitar.
Award Show 2006 Concert. Bob James, key- 8610. $10. For accompanying workshop, see Heliconian Hall, 35 Hazelton Ave. 416-603works for concert band. Gillian MacKay, guest
board, Warren Hill & Band, Alexander Zonjic
conductor. St. Jude’s Anglican Church, 10
4950. $20, $15(st/sr).
Announcements, Etc.
& Band, Paul Brown, Steve Oliver, The ClayHowarth Ave. 905-886-0858. $10, $8(sr/st),
— 7:30: Long & McQuade. Robert Langevin — 8:00: Newman Centre. Sing Hosanna!
ton-Scott Group & other performers. Hamfree(under 12).
Sharon Riley & Faith Chorale. 89 St. George
in Recital. Flute recital. Guest: Jeanie Chung,
merson Hall, 4141 Living Arts Dr., Mississau- piano. Victoria Chapel, 91 Charles St. W. 416- St. 416-979-2468. $15, $10(sr/st).
— 2:00: RCM. Royal Conservatory Orchestra
ga. 800-805-8888. $50.
Series. Family concert with excerpts from
588-7886. $10.
— 8:00: Heritage Theatre. Tasa: Indian
— 7:30: Oakville Children’s Choir. Music
Classics. World music through new applicafrom the Venetian Ospedali. Vivaldi: Gloria;
(:0$1 21&(57 (5,(6 _
tions of international instruments to traditional other works. Guests: Oakville Chamber OrIndian repertoire. Ravi Naimpally, tabla, &
0$77+(:2772$57,67,&',5(&725
chestra; Charlene Pauls, Jennifer Enns, soloother performers. 86 Main St. N., Brampton.
ists; Ivars Taurins, conductor; Glenda Craw1(:0$1&(175(
905-874-2800. $32.50; $30.50(sr/st).
ford, music director. Evangel Pentacostal
6W7KRPDV$TXLQDV&KXUFK
— 8:00: Massey Hall. Cesaria Evora in conChurch, 1450 Rebecca St., Oakville. 905-3376W*HRUJH6WUHHWDW+DUERUG$YH
cert. 15 Shuter St. 416-872-4255. $40-$60. 7104. $18, $12(sr/child).
— 8:00: Royal Conservatory Orchestra.
— 7:30: Oakville Choral Society. HanSING HOSANNA!
20th Century Masterpieces. Prokofiev: Piano del’s Messiah Parts II and III. Glen Abbey UnitConcerto #2; Estacio: Solaris; Adams: Short
Saturday, April 8, 2006 8:00 p.m.
ed Church. See Apr. 7.
Ride in a Fast Machine; Bernstein: Symphonic — 7:30: Toronto Symphony Orchestra.
Sharon Riley & Faith Chorale
Dances from West Side Story. Guest: Andrew Hungarian Rhapsody. Roy Thomson Hall. See
Tickets: $15.00 adults $10.00 students/seniors
Aarons, piano. Glenn Gould Studio, 250 Front Apr 6. Note this concert: $26.50-$68.50.
This internationally renowned, Juno award-winning,
St. W. 416-205-5555. $15, $10(sr/st).
— 7:30: U of T Faculty of Music. Wind EnGrammy- nominated Gospel group continues to wow
— 8:00: St. Jude’s Anglican Church. Musica Intima Vocal Ensemble. Guests: Oakville
Children’s Chamber Choir. 160 William St.,
Oakville. $27,$25.
J. S. Bach: Wedding Cantata. Trinity-St.Paul’s
Centre. See Apr. 6.
— 8:00: Tamsin Johnston. Oboe Recital.
Tamsin Lorraine Johnston, oboe. Works by
CPE Bach, Vaughan Williams, Morawetz &
others. Victoria Chapel, 91 Charles St. W.
416-922-6014. Free.
— 8:30: Hugh’s Room. Al Stewart. 2261
Dundas St. W. 416-531-6604. $35, $37.50.
— 9:00: Hart House. Jazz Ensemble Concert. Arbor Room, 7 Hart House Circle. 416978-2452. Free.
The Musicians In Ordinary
Lorenzo the Magnificent
~ Music from the Medici Court ~
Hallie Fishel,
Soprano
John Edwards,
Lute
www.musiciansinordinary.ca
Saturday April 8 at 8 pm
´ZKHUH ID LWKDQG PX VLF PHHWµ 1
Chris Verrette,
Vielle and Rebec
Tickets $15 and $20
Heliconian Hall ~ 35 Hazelton Avenue
A PRIL 1 - M AY 7 2006
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&
6
audiences! Their firm grounding in the tradition of gospel
music coupled with their contemporary appeal, sets them apart
from other Gospel groups. Come out for a soul-stirring
JUBILANT BRASS
Sunday, April 30, 2006 2:30 p.m.
Brendan Cassin & Stacy Allison-Cassin, brass
Free-will offering
Celebrate Easter with the glorious sounds of brass!
Expect a wide variety of works, some in conjunction with
PURELY PIANO
Sunday, May 7, 2006
Matthew Otto, piano
Free-will offering
2:30 p.m.
Works by Bach, Beethoven and more, as well as “In
Memoriam to the Victims of Chornobyl” by Toronto composer,
Produced with the assistance of
)257,&.(76,1)250$7,21
9LVLWXVRQOLQHZZZQHZPDQWRURQWRFRPFRQFHUWVHULHVKWP
41
cello and voice. Glenn Gould Studio, 250 Front
St. W. 416-205-555. $20, $10(st).
— 3:00: Mooredale Youth Orchestra
Concert. Rosedale Heights School, 711 Bloor
St. E. 416-922-3714 ext 103. $15.
— 3:00: Orchestra Toronto. An Afternoon
with Berg and Some Other Bs. M. Barnes:
Invocations for Orchestra; Bach: Chorale Es
ist genug from Cantata #60; Berg: Violin Concerto; Beethoven: Symphony #5. Catherine
Manoukian, violin. Errol Gay, music director.
2:15 pre-concert talk. George Weston Recital
Apr. 7 concert. Suitable for ages 5 and up.
Andrew Aarons, piano; Alain Trudel, conductor. RCM Concert Hall, 90 Croatia St. 416408-2824 ex321. $10, $5(sr/st), $20(family). *CANCELLED*
— 2:30: Toronto Early Music. Musically
Speaking: Christopher Verrette, violin. Works
by Pisendel & others. Church of the Holy Trinity, 10 Trinity Square. 416-920-5025. Admission by donation.
— 3:00: Canadian Music Competitions.
Annual Gala Concert. Works for piano, violin,
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Hall, 5040 Yonge St. 416-467-7142. $30,
$25(sr/st), $10(ch/y).
— 3:00: U. of T. at Scarborough Campus.
Year-End Band/Choir Concert. UTSC Concert
Choir & UTSC Wind Ensemble. Academic
Resource Centre, 1265 Military Trail, Scarborough. 416-287-7076. Free.
— 3:30: CAMMAC. Music Camp Participants’
Concert. Great Hall, Arts and Letters Club, 14
Elm St. 416-925-6182. Free; donation.
J. S. Bach: Wedding Cantata. Trinity-St.Paul’s
Centre. See Apr. 6.
— 4:00: Music at Eglinton St. George’s.
The Brothers Haydn. Josef Haydn: Lord Nelson Mass; Michael Haydn: Requiem in c. Choir
of Eglinton St. George’s. Peter Merrick, conductor. 35 Lytton Blvd. 416-481-1141. $25,
$20(sr/st).
— 4:00: St. James’ Cathedral. Sunday Afternoon Twilight Recitals. Couperin: Leçons de
Ténèbres. Kirsten Fielding & Natalie Mahon,
sopranos. 65 Church St. 416-364-7865. Free.
— 4:30: Christ Church Deer Park. Jazz
Vespers. Steve McDade, trumpet; David Restivo, piano; Brian Barlow, drums. 1570 Yonge
St. 416-920-5211. Free; donation.
— 5:30: Riverdale Youth Singers. A Celebration in Song: A Showcase of Music by John
E. Govedas. In memory of the former accompanist. Guests: Choirs of Howard, John Wanless, John Ross Robertson and Withrow Ave.
Public Schools; High Park Choir; Giles Bryant,
host. Metropolitan United Church, 56 Queen
St. E. 416-234-8943. $10. Proceeds to John
E. Govedas scholarship with Kiwanis.
— 7:00: Children of Chornobyl Canadian
Fund. Chornobyl 20. Hatzis: Wormwood
(première); Kozarenko: Blessed is the Man;
Glick: The Hour has Come, A Choral Symphony. Elmer Iseler Singers; Amadeus Choir; Vesnivka Choir; Orpheus Choir; Toronto Ukrainian Male
Chamber Choir; Gryphon Trio; Pavlo Hunka, baritone. Roy Thomson Hall, 60 Simcoe. 416-8724255. $20-$75, $125(with reception). Proceeds
to medical equipment in Chornobyl.
— 7:00: Guildwood Community Presbyterian Church. Easter Cantata. By Mark
Hayes. Senior Choir of Guildwood Presbyterian; orchestra accompaniment. 140 Guildwood
Parkway, Scarborough. 416-261-4037. Free.
— 7:00: St. John’s Chorale and Orchestra. Passiontide Concert. Mozart: Krönungsmesse (Coronation Mass) K317; Bach: Lutheran Mass #4 BMV 236; Albinoni: Adagio for
Strings and Organ. Eve-Lyn de la Haye, soprano; Catharin Carew, alto; Anthony Cavaiola,
tenor; Michael Adair, bass; Christopher
Dawes, organ; Robin Davis, conductor. St.
John’s York Mills, 19 Don Ridge Dr. 416-2256611 ex. 227. $15, $10(st).
— 7:30: Christ Church Deer Park. Choral
Concert and Compline Service. Willan: The
Reproaches; Kodaly: Pange Lingua. The Choir
of Christ Church Deer Park; Bruce Kirkpatrick
Hill, organ/music director. 1570 Yonge St.
416-920-5211. Collection.
— 7:30: University of Toronto Faculty of
Music. World of Music: Percussion Ensemble. Robin Engelman, director. Walter Hall, 80
Queen’s Park. 416-978-3744. Free.
— 8:00: Arabesque Dance Company. Layali Arabesque. Gypsy Co-op. See Apr. 2.
Monday April 10
Music. World of Music: Japanese Drumming,
Gamelan, Tabla & Vocal Ensembles. MacMillan
Theatre, 80 Queen’s Park. 416-978-3744. Free.
42
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— 8:00: National Jazz Awards Canada.
Award Show. Guests: Roberto Occhipinti
Band; Hilario Duran, piano; David Buchbinder,
trumpet; Pat Labarbera, Mike Murley, saxophones; David Occhipinti, guitar & other performers. Old Mill Inn, 21 Old Mill Rd. 416870-8000. $65.
Swing, Swing, Swing! Vocal quartet performs
popular jazz classics. New York Voices, quartet; Jeff Tyzik, conductor. Roy Thomson Hall,
60 Simcoe St. 416.593-4828. $30-$91.
Tuesday April 11
— 2:00 & 8:00: Toronto Symphony Orchestra. Swing, Swing, Swing! Roy Thomson
Hall. See Apr 10. Note Matinée: $25.25-$60.
— 7:30: Toronto District School Board
West Region 2. Showcase Concert. George
Weston Recital Hall, 5040 Yonge St. 416872-1111. $5.
— 8:00: Music Toronto. Nikolai Lugansky,
pianist. Beethoven: Sonata #16; Sonata #17;
Chopin: Prelude in c sharp op 45; Sonata #3.
Jane Mallett Theatre, 27 Front St. E. 416366-7723, 800-708-6754. $39-$43, 18-35
pay your age, $5 (st), accompanying adult ½
price.
— 8:00: Theatre Sheridan. Catch a Rising
Star. A revue by Sheridan performance students. 1430 Trafalgar Rd., Oakville. 905-8154049. $19, $16(alumni/Sheridan f/t st). For
complete run see music theatre listings.
Wednesday April 12
— 12:30: Yorkminster Park Baptist
Church. Noonday Organ Recital. Marty
Smyth, organ. 1585 Yonge St. 416-9221167. Free.
Music. Orchestra Series: U of T Symphony
Orchestra. Brahms: Ein deutsches Requiem.
Guests: MacMillan Singers (Doreen Rao, director); University Women’s Chorus (Robert
Cooper, director); Master Chorale (Brainerd
Blyden-Taylor & Lori-Anne Dolloff, directors);
Raffi Armenian, conductor. MacMillan Theatre, 80 Queen’s Park. 416-978-3744. $17,
$9.
— 8:00: Cristo Nuno. Anima Fado. CD
launch: Travels in Lusomania. Nuno Cristo,
bagpipe/various instruments; Celina Carroll,
vocals/percussion; Aida Jordão, vocals; Larry
Lewis, classical guitar; Anne Stadlmair, adufe;
A PRIL 1 - M AY 7 2006
guest ensembles. Lula Lounge, 1585 Dundas
St. W. 416-588-0307. $10, $20(with cd).
— 8:00: Toronto Wind Orchestra. Transcriptions. Copland: Ceremonial Fanfare;
Nielsen: Concerto for Flute; Respighi: Pines of
Rome; Gabrieli: Sonata Pian’e Forte. Carol Ann
Savage, flute; Tony Gomes, conductor. Laidlaw Hall, Upper Canada College, 200 Lonsdale
Rd. 416-461-6681. $15, $10(sr/st).
— 8:00: Wandering Minstrel CD Shop.
Penderecki String Quartet and Krzegorz Krawiec, guitar. Banasik: Guitar Quintet, The Great
Bridge (première); Mozart: K589 in B flat;
Rodrigo: Sonata Giocosa; Castelnuovo-Tedesco: Guitar Quintet, Op. 143. St. Cuthbert’s
Anglican, 1451 Oakhill Dr., Oakville. 866543-4352. $20, $10(st).
Hall, 80 Queen’s Park. 416-978-3744. Free.
— 8:00: Theatre Sheridan. Falsettos. Music & lyrics by William Finn. 1430 Trafalgar
Rd., Oakville. 905-815-4049. $16, $13(alumni, Sheridan f/t st). For complete run see music
theatre listings.
Friday April 14
—10:30am: St. Olave’s Church. The Cross
of Christ. Meditation in words and music. St.
Olave’s Choir; Tim Showalter, organ. Bloor &
Windermere. 416-769-5686. Contributions
appreciated.
— 11am: Humbercrest United Church.
Good Friday Service. Rutter: Requiem. With
Humbercrest Choir and instrumentalists; Megan Fleet, soprano; David Rosevear, organ;
Melvin Hurst, director of music. 16 Baby Point
Thursday April 13
Road. 416-767-6122. Collection.
— 12:10: University of Toronto Faculty
— 2:00: The Anglican Church of St. Clemof Music. Thursdays at Noon: Lara St. John, ent. The Seven Last Words of Christ: A Cantaviolin. Music by Bach, Ysaÿe & Bartók. Walter ta for Good Friday. Music by Theodore Dubois.
Toronto Wind
Orchestra
Tony Gomes - conductor
Carol Savage - flute soloist
“TRANSCRIPTIONS”
Aaron Copland
Ceremonial Fanfare
Carl Nielsen
Flute Concerto
Ottorino Respighi
Pines of Rome
Tickets at the door
Adults $15
Students/Senior $10
Wed. Apr. 12, 8:00 pm
Laidlaw Hall
Upper Canada College
200 Lonsdale Rd (north of
St. Clair on Avenue Rd.)
St. Clement’s Church Choirs and soloists. 416483-6664. Free; donation.
— 3:00: Vocalpoint Chamber Choir. Verse
Anthems of the English Renaissance. Works
by Gibbons, Tallis, Byrd, Blow, Farrant & others. Coprario’s Musique, viols; Jurgen
Petrenko, organ; Ian Grundy, conductor. Grace
Church on-the-Hill, 300 Lonsdale Rd. 416-4840185. $15, $10(sr/st).
— 4:00: St. Paul’s Foundation for the
Arts. A Mighty Thunder—the Still Small
Voice. Passiontide music. Choir of St. Paul’s
Anglican Church; NEXUS. 227 Bloor St. E.
416-961-8116 ex.251. Free; collection.
— 7:30: Cantabile Chorale of York Region. The Rose of Calvary. Lenten cantata by
Joseph Martin. Lona Richardson, piano; Ethel
Briggs, organ; Robert Richardson, conductor.
Thornhill United Church, 25 Elgin St., Thornhill. 905-731-8318. Freewill offering to support local hospices.
— 7:30: Music at Metropolitan. Fast Falls
the Night: A Good Friday Vigil in Song. Watson
Henderson: From Darkness to Light; Duruflé:
Requiem. Metropolitan Festival Choir; Alison
Roy, Christina Stelmacovich, mezzo-sopranos;
James Baldwin, baritone; Stephen Hegedus,
bass; Ryan Jackson, organ; Patricia Wright,
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TORONTO MENDELSSOHN CHOIR PRESENTS
Requiems
By GABRIEL FAURÉ
& MAURICE DURUFLÉ
Comfort,
Contemplation,
Commemoration:
Jennie Such
Soprano
FRENCH COMPOSERS honour
GOOD FRIDAY with two
MAGNIFICENT REQUIEMS
James Westman
Baritone
Good Friday, April 14, 2006, 8 PM
7:00 PM pre-concert chat with Rick Phillips
Yorkminster Park Baptist Church, 1585 Yonge St.
Tickets: $35-$65
Tickets: 416-598-0422 Ext. 21
Noel Edison
Conductor
www.tmchoir.org
A PRIL 1 - M AY 7 2006
Back to Ad Index
43
conductor. Metropolitan United Church. 56
Queen St E. 416-363-0331. $20.
— 8:00: Toronto Mendelssohn Choir.
Fauré & Duruflé Requiems. Jennie Such, soprano; James Westman, baritone; Jennifer
Enns Modolo, alto; Noel Edison, conductor.
7:00 pre-concert chat with Rick Phillips. Yorkminster Park Church, 1585 Yonge St. 416598-0422. $35-$65; $32-$59(st/sr).
Saturday April 15
Community School. Centre Stage Concert.
Music by Bach. Concert Hall, 90 Croatia St.
416-408-2824 ext.321. Free.
— 7:30: Opera Atelier. Orfeo. By Monteverdi. Carla Huhtanen, soprano; Stephanie Novacek, mezzo; Daniel Belcher, baritone; Colin
Ainsworth, tenor; Olivier Laquerre, bass-baritone & other performers; artists of the Atelier
Ballet; Tafelmusik Baroque Orchestra &
Chamber Choir; David Fallis, conductor. Elgin
Theatre, 189 Yonge St. 416-872-5555. $30$107. For complete run see music theatre
listings.
Sunday April 16
— 1:30: CAMMAC/McMichael Art Gallery. Sunday Concert Series. Paul Pacanowski, clarinet & piano. 10365 Islington
Ave., Kleinburg. 905-893-1121. Admission
with gallery price: $15, $9(sr/st), $25(family).
— 4:00: St. James’ Cathedral. Sunday Afternoon Twilight Recitals: He is Risen: Music
for the feast of Easter. Andrew Ager, organ.
65 Church St. 416-364-7865. Free.
Monday April 17
— 8:00: Sharron Matthews. Sharron’s
Party. Guests: Patrick Burwell, accompaniment; John Alcorn, vocals & other performers. Gladstone Hotel Ballroom, 1214 Queen
St. W. 416-531-4635. $15.
Thursday April 20
— 12:30: Christ Church Deer Park. Noonday Chamber Music Concert. Emma Elkinson,
flute; Bruce Kirkpatrick Hill, piano. 1570
Yonge St. 416-920-5211. Free.
Tuesday April 18
Wednesday April 19
East Region 1. Showcase Concert. George
Weston Recital Hall, 5040 Yonge St. 416872-1111. $5.
Songs of the Earth. Tippett: The Rose Lake;
Mahler: Das Lied von der Erde. Petra Lang,
mezzo-soprano; Clifton Forbis, tenor; Sir Andrew Davis, conductor. Roy Thomson Hall, 60
Simcoe St. 416-593-4828. $28.50-$110.
sonic
poetry
the music of
Abigail Richardson (Canada)
Victoria Borisova-Ollas (Russia/Sweden)
Tues April 18 @ 8pm*
Glenn Gould Studio | 250 Front Street West
Richardson The Pull,
Scintilla (CANADIAN PREMIERE)
Borisova-Ollas
Seven Singing Butterflies (CANADIAN PREMIERE)
Creation of the Hymn (WORLD PREMIERE)
Accordes String Quartet
Joaquin Valdepenas, clarinet
Andrew Burashko, piano
*7 pm Young Artist
Overture sponsored by
TD Canada Trust Music
TICKETS: $25 adult
$20 senior $5 student
GLENN GOULD STUDIO
BOX OFFICE
416.205.5555
Lawrence Cherney, Artistic Director
BARBARA HANNIGAN
SOPRANO
— 1:30: Women’s Musical Club of Toronto. Meredith Hall in Concert. Works by Monteverdi, Schubert, Purcell, Blow, Rapoport
(première) & others. Meredith Hall, soprano;
Bernard Farley, guitar; Sylvain Bergeron, lute.
Walter Hall, Edward Johnson Bldg., 80
Queen’s Park. 416-923-7052. $29.
— 2:00: Northern District Library. Piano
Recital. Works by Beethoven, Liszt & Schoenberg. Hamish Steward, piano. 40 Orchard
View Blvd. 416-393-7610. Free.
— 6:00: Bata Shoe Museum. Dancing
Shoes. Bellydance performance. 327 Bloor St.
E. 416-979-7799 ex.242. Free.
— 8:00: A.C.T. Productions. Man of La Mancha. By Dale Wasserman, Joe Darion & Mitch
Leigh. Heritage Theatre, 86 Main St. N.,
Brampton. 905-874-2800. $35; $33(sr/st);
$28(grp). For complete run, see music theatre
listings.
— 8:00: Justus and Friends. Reminiscing,
Songs of the 70s. Meadowvale Theatre, 6315
Montevideo Dr., Mississauga. 905-6154720. $20, $15(sr/st some performances).
For complete run see music theatre listings.
— 8:00: Markham Theatre. The Way We
Feel: A Concert Celebrating the Songs of Gordon Lightfoot. Various performers. 171 Town
Centre Blvd., Markham. 905-305-7469. $49,
$45.
Songs of the Earth. Roy Thomson Hall. See
FRIDAY APRIL 21 - 8:00PM
GL E N N GO U L D S T U D I O
416-205-5555
WWW.AMICIENSEMBLE .COM
— 8:00: Amici Chamber Ensemble.
Nielsen: Serenata Invano; Knussen: Rosary
Songs; Webern: Five Canons; Berwald: Grand
Septet; other works. Barbara Hannigan, soprano; Linda Ippolito, piano; Michael Sweeney,
bassoon; Gabriel Radford, French horn; Erika
Raum, violin & other performers. Glenn Gould
Studio, 250 Front St. W. 416-205-5555.
$40; $25(sr), $10(st).
— 8:00: Art of Time Ensemble. Dorothy
Livesay: The Woman I Am. Works by Mozart,
Brahms, Ginastera, Scriabin, Albeniz & others. Guests: Andrew Burashko, piano; Jennifer
Dale, actor; Ted Dykstra, director. Harbourfront Centre Theatre, 235 Queen’s Quay
West. 416-973-4000. $35, $25(sr/st/artists).
— 8:00: Baroque Music by the Grange.
Venice North. Works by Buonamente, Bertali,
Neri & Valentini. Chiaroscuro: Kiri Tollaksen,
cornett; Linda Melsted, Patricia Ahern, violins;
Dominic Teresi, dulcian; Greg Ingles, Erik
Schmalz, sackbut; Borys Medicky, chamber
organ. Walter Hall, Edward Johnson Bldg., 80
Queen’s Park. 416-588-4301. $22, $15(sr/
st/unwaged), $12-$15(17th Century Music
Annual Mtg attendees).
— 8:00: Etobicoke Musical Productions.
Chicago. Music by John Kander, lyrics by Fred
abc Toronto International Choral Festival
Presents two exciting choral concerts
* Choir Solomia, Ukraine
* Salinas High School Choir, Salinas, California
* Algoma Conservatory Advanced Choir, Sault Ste Marie
Fri. - April 21, 8 pm - Islington United Church
individual choirs
25 Burnhamthorpe Road, Etobicoke
Sat. - April 22, 8 pm - Holy Trinity Anglican Church
140 Brooke Street, Thornhill
individual choirs & en masse with Conductor Nick Page
Info: 1-800-267-8526, E-mail: [email protected] , Fax: 613-236-2636
or www.abc.ca, click on Arts Bureau for the Continents
Back to Ad Index
Friday April 21
— 7:30: North 44° Ensemble. An Evening
of Wine and Song Annual Fundraiser. Selections from Mozart’s operas and Requiem. Geoffrey Butler, artistic director; Jenny Crober,
asst conductor/accompanist. Arts and Letters
Club, 14 Elm St. 905-764-5140. $35. Proceeds to Street Haven Women’s Choir.
— 1:00: St. James’ Cathedral. Music at
Midday. Music by Bach and Elgar. Andrew
Ager, organ. 65 Church St. 416-364-7865.
Free.
— 8:00: Soundstreams Canada/CBC Radio Two New Hours. Sonic Poetry: The
music of Abigail Richardson & Victoria Borisova-Ollas. Richardson (Canada): Inundation; The
Pull; Scintilla (première); Borisova-Ollas (Russia/Sweden): Seven Singing Butterflies; In
Kloserhofe; new work. Michael Schulte, violin;
Joaquin Valdepeñas, clarinet; Accordes String
Quartet. 7pm: Young Artist Overture: undergrad composition performances. Glenn Gould
Studio, 250 Front St. W. 416-205-5555.
$25, $20(sr), $5(st with i.d.).
“…a passion for an almost erotic game, with
colliding harmonies and extended climaxes”
44
Apr. 19.
A PRIL 1 - M AY 7 2006
Ebb. Burnhamthorpe Auditorium, 500 The
East Mall, Etobicoke. 416-248-0410. $22,
$16(up to 16 yrs), $19(groups of 10+). For
— 8:00: Marion Abbott’s Performing
Arts Studio. The Wizard of Oz. Cyril Clark
Library Theatre, 20 Loafer’s Lake, Brampton.
— 8:00: Performing Arts York Region.
Philip Addis, Baritone. Includes Schumann song
cycle. Thornhill Presbyterian Church, 271 Centre St., Thornhill. 905-881-1941. $25,
$20(sr/st).
Glenn Gould School Showcase. Students of
the brass, woodwind, string, piano, voice, percussion & harp departments of the Glenn
Gould School. 90 Croatia St. 416-408-2824
ex321. Free.
— 8:00: Scarborough Choral Society.
Fiddler on the Roof. Music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein.
Brian Thomas & other performers. Armenian
Youth Centre Theatre, 50 Hallcrown Place.
416-293-3981. $25, $23(sr), $18(youth). For
— 8:00: Scarborough Gilbert & Sullivan
Society. The Yeomen of the Guard. Brian
Farrow, music director; Debbie Yuen, artistic
director; Stan Farrow, piano accompanist.
David and Mary Thomson Collegiate Institute,
2740 Lawrence Ave. E., Scarborough. 416424-1850. $15, $12(sr/ch). For complete run
— 8:00: Sine Nomine. Et Expecto Resurrectionem. Medieval music of spring and new life.
St. Thomas’s Anglican Church, 383 Huron St.
416-638-9445. $15, $10(sr/st).
— 8:00: Toronto Operetta Theatre. Kismet.
Elizabeth de Grazia; Gabrielle Prata; Peter McCutcheon; Keith Savage; Derek Bate, conductor.
Jane Mallett Theatre, 27 Front St. E. 416-3667723. Preview: $35-$55. For complete run see
— 8:30: Hugh’s Room. Pierre Bensusan. 2261
Dundas St. W. 416-531-6604. $25, $22.
— 8:30: Living Arts Centre. Harry Manx.
Cabaret-style concert. RBC Theatre, 4141
Living Arts Dr., Mississauga. 905-306-6000.
$39, $30, $25.
Saturday April 22
— 12:00 & 2:00: Royal Conservatory of
Music. Glenn Gould School Showcase. 90
Croatia St. See Apr. 21.
— 2:00: Christopher Ku. Organ Recital.
Guest: Giles Bryant. St. Paul’s Anglican
Church, 227 Bloor St. E. 416-978-3733. Free.
Community School Showcase. 90 Croatia St.
416-408-2824 ex321. $10, $5(sr/st). Proceeds to the RCM Community School.
— 7:30: Canadian Singers. In Concert.
Works by Cohen, Hatfield, Tyson & McClelland. St. Andrew’s United Church, 32 Main St.
N., Markham. 905-294-0351. $15.
— 7:30: Elmer Iseler Singers. Sing Ye
Praises. Humbercrest United Church, 16 Baby
Point Rd. 416-767-6122. Call for ticket prices.
Classic Brass. Music by Copland, Chopin, Tower, Ginastera. Andrew McCandless, trumpet;
Gordon Wolfe, trombone; Mark Tetrault, tuba;
Alexander Mickelthwate, conductor. Roy
Thomson Hall, 60 Simcoe St. 416-593-4828.
$24.50-$68.
Music. Kurt Weill in America: A Musical TheA PRIL 1 - M AY 7 2006
Back to Ad Index
atre Entertainment. Walter Hall, 80 Queen’s
Park. 416-978-3744. $13,$7. For complete
run see music theatre listings.
— 8:00: abc Toronto International Choral Festival. Gala Concert. Choir Solomia
(Ukraine); Algoma Conservatory Advance
Choir; Salinas High School A Capella Choir
(California); Nick Page, director. Eastminster
United Church, 310 Danforth Ave. 416-4214184. $10.
— 8:00: Acoustic Harvest Folk Club. Ian
Tamblyn in Concert. Birchcliff Bluffs United
Church, 33 East Rd. 416-264-2235. $15.
— 8:00: Art of Time Ensemble. Dorothy
Livesay: The Woman I Am. Harbourfront Centre Theatre. See Apr. 21.
— 8:00: Bell’Arte Singers. Hear the Merry
Pipes! Works by Swayne, Argento, Vaughan
Williams & others. Ian Sadler, organ. TrinitySt. Paul’s Centre, 427 Bloor St. W. 416-6995879. $20, $15.
Call it a new operetta, an American
Musical or a Russian fantasy in the
ancient city of Baghdad. It’s all true!
Guillermo Silva-Marin
General Director
Based on Prince Igor by Borodin …
by WRIGHT
AND FORREST
Saturday April 22 continues
sine nomine
Elizabeth
DeGrazia
Gabrielle Prata
Peter
McCutcheon
Keith Savage
Conductor Derek Bate
Stage Director Guillermo Silva-Marin
Ensemble for
Medieval Music
April 21 (prev.), 22, 28 and 29 at 8 p.m.
April 26 and 30 at 2 p.m.
JANE MALLETT THEATRE
416-366-7723 or 1-800-708-6754
www.stlc.com
Et expecto
resurrectionem
Medieval Music of
Spring and New Life
Friday, April 21, 8 pm
Saint Thomas's Church,
383 Huron Street
Tickets $15 / $10
416-638-9445
[email protected]
Robert Raines
Principal Conductor
"Rach III"
Rachmaninoff Piano Concerto No. 3
Peter Longworth, soloist
Also on the program:
Royer Overture to an Unscripted Movie
Villa Lobos Bachianas Brasileiras No. 5
For details, see listings for April 22
45
— 8:00: CAMMAC. Opus CAMMAC Multimedia Concert. Works by Schubert, Berkeley,
Dorati, Charpentier, Reinecke & Janequin.
Hazel Boyle & other performers. Bayview/
York Mills area. Call 416-250-5475 to reserve, limited seating. $50 includes light supper and $35 tax receipt. Fundraiser for CAMMAC’s new Music Centre.
— 8:00: Cathedral Bluffs Symphony Orchestra. Rach III. Royer: Overture to an Unscripted Movie; Lobos: Bacchanalia; Rachmaninoff: Piano Concerto #3. Peter Longworth, piano. Stephen Leacock Collegiate Institute, 2450 Birchmount Rd. 416-879-5566.
$20, $15(sr/st), free(under 12).
— 8:00: Chitralekha Odissi Dance Creations. Jai Sri Rama. Classic odissi Indian
dance. Studio Theatre, 5040 Yonge St. 416872-1111. $21.50.
— 8:00: Markham Theatre. Men of the
Deeps. Cape Breton coal miners chorus. 171
Town Centre Blvd., Markham. 905-305-7469.
$53, $49.
— 8:00: Music Gallery. The Composer
Now: Collaborations Series—Franco Donatoni
Project. Wallace Halladay, sax/artistic director; Stephen Clarke, piano; Ryan Scott, percussion; Sanya Eng, harp. 7:15 pre-concert talk,
Juan Trigos, conductor. St. George the Martyr
Church, 197 John St. 416-204-1080. $20,
$15(member/sr), $10(st).
Young Artists Performance Academy Showcase. 90 Croatia St. 416-408-2824 ex321.
$10, $5(sr/st).
— 8:00: Wandering Minstrel. Penderecki
String Quartet & Grzegorz Krawiec, guitar.
Banasik: The Great Bridge; Mozart: String
Quartet K589 in B flat; Rodrigo: Sonata Giocosa; Castelnuovo-Tedesco: Guitar Quintet, Op.
143. Glenn Gould Studio, 250 Front St. W.
416-205-5555. $30, $20(sr), $10(st).
— 8:00: Yorkminstrels. Oliver! By Lionel
Bart. Leah Posluns Theatre, 4588 Bathurst St.
416-291-0600. $28.50, $23.50(sr), $21(st
under 19), $23.50(grps 20+). Portion of proceeds toward North York Women’s Shelter.
Non-perishable food item encouraged. For complete run see music theatre listings.
— 8:30: Hugh’s Room. Pierre Bensusan.
2261 Dundas St. W. See Apr. 21.
— 7:30: MusicaNoir/Ensemble Noir. Canada Africa Partnership on AIDS Concert. Works
by Jegede, Ndodana-Breen, Schubert & Schoenberg. Scott St. John, Mark Fewer, Douglas
Sunday April 23
McNabney & Denise Djokic, performers. Win— 12:00 & 2:00 & 4:00: Royal Conservchester Theatre, 80 Winchester St. 416-923atory of Music. Glenn Gould School Show9400. $25(at door). All proceeds to the partnercase. 90 Croatia St. See Apr. 21.
ship.
— 2:00: Toronto Latvian Concert Asso— 8:00: Arabesque Dance Company. Layali
ciation. Piano Duo Concert. Arianna Goldina,
Arabesque. Gypsy Co-op. See Apr. 2.
Remy Loumbrozo, pianos. Glenn Gould StuTuesday April 25
dio, 250 Front St. W. 416-205-5555. $28.
— 2:30: Musicworks. CD Launch Concert:
timefields and maritides. Hosted by MusicMidday. Music by Krebs, Handel & Widor. Wilworks Magazine. John Oswald, Laurel Macliam Wright, organ. 65 Church St. 416-364donald, Phil Strong, Doug Tielli & Anne
7865. Free.
Bourne, performers. Edward Day Gallery,
— 7:30: Brandon Group. Justin Hines &
952 Queen St. W. 416-921-6540. PWYC.
Friends. Studio Theatre, 5040 Yonge St. 416— 2:30: Theatre Direct Canada. Beneath
872-1111. $17.50.
the Banyan Tree. Dance, music and puppetry.
Lata Pada, choreography; Lynda Hill, director;
East Region 2. Showcase Concert. George
Edgardo Moreno, composer. Isabel Bader
Weston Recital Hall, 5040 Yonge St. 416-872Theatre, 93 Charles St. W. 416-978-8849.
1111. $5.
$25, $10(ch). With silent auction.
— 3:00: Schola Cantorum. Austria 3x3: A
Music. World of Music: Felix Galimir Chamber
Musical Journey Through the 9 Provinces of
Music Award Gala Concert. Walter Hall, 80
Austria, Concert #2. Pertaining to Vorarlberg,
Queen’s Park. 416-978-3744. PWYC.
Niederösterreich & Salzburg. Guests: The
— 8:00: Dancemakers. Absences. Serge BenForget-Me-Nots, French horn quartet ensemnathan, artistic director; Eve Egoyan, piano.
ble, baroque ensemble; Ursula Ivonoffski,
Premier Dance Theatre, Harbourfront Centre,
soprano; Willy Platzer, baritone. Japanese207 Queen’s Quay W. 416-973-4000. $21Canadian Cultural Centre, 6 Garamond Court.
$38; $17-$27(sr/st/CADA). For complete run
416-481-8484. $15.
Wednesday April 26
Classic Brass. Roy Thomson Hall. See Apr.
22.
— 4:00: St. James’ Cathedral. Sunday
Noon Hour Concert. Works by Schubert, RachAfternoon Twilight Recitals. Music for East- maninoff, Finzi & Ibert. Joel Katz, voice; Brahm
er. Andrew Ager, organ. 65 Church St. 416364-7865. Free.
— 4:30: Christ Church Deer Park. Jazz
Vespers. Colleen Allen Quartet. 1570 Yonge
St. 416-920-5211. Free; donation.
— 7:00: Kingsway-Lambton United
Church. Song Salon Series Finale. Amy Dodington, soprano; Vojislav Perucica, piano. 85
The Kingsway. 416-231-9120. Freewill offering.
— 7:30: Central United Church. Mozart
Birthday Concert. Requiem Mass; Sinfonia
Concertante for Violin and Viola. Massed
ecumenical choir and festival orchestra; Stuart Beaudoin, conductor. 131 Main St., Unionville. 905-474-0183. Free.
46
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Goldhamer, piano. 90 Croatia St. 416-4085010. Free.
Church. Noonday Organ Recital. Thomas
Fitches, organ. 1585 Yonge St. 416-9221167. Free.
— 8:00: Evergreen Club Contemporary
Gamelan/Tribal Crackling Wind. Mind’s
Hammer. Peter Chin, composer/dance. Isabel
Bader Theatre, 140 Charles St. W. 416-5854523. $20, $10.
— 8:00: Koffler Salon Series Concerts.
Koffler Chamber Music Orchestra with
Jacques Israelievitch, conductor. Leah Posluns
Theatre, 4588 Bathurst St. 416-636-1880.
$20, $15(sr/st).
— 8:00: Roy Thomson Hall. Brian Roman in
Concert. Music of Frank Sinatra, Tom Jones,
Neil Diamond & others. With band and choir.
60 Simcoe St. 416-870-8000. $27.50$57.50. Part of the proceeds to The Children’s
Wish Foundation.
— 8:00: Toronto Downtown Jazz—20th
Anniversary Festival. Diane Schuur in
Concert. Glenn Gould Studio, 250 Front St. W.
416-870-8000. $45+.
Thursday April 27
— 9:30am: Royal Conservatory of Music
Community School. Thursday Morning Musical Interludes. Works by Locatelli, Hindemith, Debussy & Schubert. Yoon Jhon, cello; Minkeyong Kim, violin; Emily Rho, piano.
850 Enola Ave, Mississauga. 905-891-7944.
Free, donations accepted.
— 12:00: Chamber Music Society of Mississauga. Gallery Noon Hour Series: Cellos
Times Six. Art Gallery of Mississauga, 300
A PRIL 1 - M AY 7 2006
City Centre Dr., Mississauga. 905-8965088. Free.
— 12:30: Christ Church Deer Park.
Noonday Chamber Music Concert. Duomusic: Ivan Zilman, guitar; Margot Rydall,
flute. 1570 Yonge St. 416-920-5211. Free.
— 6:30: Steppin’ Out Thursdays. Royal
Conservatory of Music: Quartetto Constanze. Works by Schumann & others. Bata
Shoe Museum, 327 Bloor St. W. 416-9797799 ex.242. Free.
— 8:00: Friendly Rich Show. The Lollipop People. Lula Lounge, 1585 Dundas St.
W. 416-442-2787. $10(advance),
$12(door).
Great Artist Series: Tokai String Quartet.
Works by Schubert, Dvorak & others.
Guests: Marie Bérard, violin; Roberta Janzen, cello. RCM Concert Hall, 90 Croatia St.
416-408-2824 ex321. $15, $10(sr/st).
— 8:00: Spotlight Musical Productions. Anything Goes. By Cole Porter. Fairview Library Theatre, 35 Fairview Mall Dr.
musical theatre listings.
— 8:00: Via Salzburg Chamber Orchestra. A Passion for Piano. Mozart: Rondeau
in A for piano and orchestra; Mozetich:
Postcards from the Sky for string orchestra; Haydn: Concerto in D for piano and orchestra; Mendelssohn: Symphony #8 in D.
André Laplante, piano; Mayumi Seiler, violin. Glenn Gould Studio, 250 Front St. W.
416-972-9193. $50, $45(sr), $25(st).
Friday April 28
— 7:00: Brampton Folk Club. Friday Folk
Night: Bebop Cowboys. Sanderson Hall, St.
Paul’s United Church, 30 Main St. S.,
Brampton. 647-233-3655. $10, $8(sr/st).
— 7:30: Organix 06. Dame Gillian Weir in
Concert. Music by Bach, Buxtehude, Franck,
Dupré, Liszt, Vierne & Lanquetuit. Gillian
Weir, organ. St. Paul’s Anglican Church,
227 Bloor St. E. 416-241-9785. $20,
$15(st).
— 7:30: St. James’ Cathedral Choral
Society. An English Country Garden.
Vaughan Williams: Serenade to Music; Parry: Blest Pair of Sirens. Kathryn Domoney,
soprano; Gaynor Jones, contralto; Lenard
Whiting, tenor; Giles Tomkins, bass; Cathedral Choir of Men & Boys, Andrew Ager,
accompanist; David Low & Michael Bloss,
conductors. 65 Church St. 416-364-7865.
$20, $15(sr/st). See ad next page.
— 7:30: Toronto District School Board.
Panfever! Students of steel pan music and
guest performers. Bickford Centre, 777
Bloor St. W. 416-394-7244. $5.
— 8:00: Bach Consort. Easter Oratorio.
By J.S. Bach. Bach Consort Chorus and Orchestra; YMI Dancing. Eglinton St. George’s
United Church, 35 Lytton Blvd. 416-4811141 ex.250. Call for ticket prices.
— 8:00: Canstage Productions. Hair.
This show to support the Toronto Bay Initiative. Bluma Appel Theatre, 27 Front St. E.
— 8:00: DanceWorks. DW157—Double
Story. Two duets from Kidd Pivot: The
Bouncy Woman Piece & Man Asunder.
Crystal Pite, dance/choreography/artistic
director; Richard Siegal: dance/choreography; Labrosse, composer/performer. Harbourfront Centre Theatre, 231 Queen’s
Quay W. 416-973-4000. $25; $16(sr/st/
CADA/WIFT/SCDS).
— 8:00: Etobicoke Philharmonic Orchestra. Beethoven Celebration.
Beethoven: Overture to Fidelio; Symphony
#1 and #5. Tak Ng Lai, conductor. Kipling
Collegiate, 360 The Westway. 416-2395665. $20, $15(sr/st), free(under 16, accompanied).
— 8:00: Roy Thomson Hall. Yundi Li,
piano. Mozart: Piano Sonata in C; Schumann: Carnaval, Op.9; Chopin: Andante
Spianato et Grande Polonaise Brillante, Op.
22; Liszt: Rhapsodie espagnole. 60 Simcoe
Easter Oratorio j.s.bach
The Bach Consort
...and more
Chorus and Orchestra
with
YMI Dancing
Benefit Concert
Eglinton St. George’s United Church
Friday 28 April 2006, 8:00 pm
For info: www.piabouman.org/bachconsort.html
or call 416-481-1141 ext. 250
AN
ENGLISH
COUNTRY
GARDEN
Friday, April 28, 2006 • 7:30 pm
Great choral music
from the British Isles
including Vaughan-Williams
Serenade to Music and
Parry’s Blest Pair of Sirens
The Cathedral Choral Society
with guest choirs
The Cathedral Choir
of Men and Boys and
the St. James Singers
Guest soloists:
Kathryn Domoney,
Gaynor Jones, Lenard Whiting
and Giles Tomkins
Accompanists: Michael Bloss
& Andrew Ager
Conductor: David Low
Tickets $20
($15 students/seniors)
at the Cathedral Gift Shop
in person or by phone:
416-366-1728
Also available at the door
The Cathedral
Church
of St. James
King & Church, Toronto
416-364-7865
www.stjamescathedral.on.ca
A PRIL 1 - M AY 7 2006
Back to Ad Index
47
$15, $8(ch).
— 7:30: Toronto Symphony Youth Orchestra. Mozart: Symphony # 31 in D, Paris;
Champagne: Il était beau comme Rimbaud;
St. 416-872-4255. $29.50-$59.50
Mov. 1; Popovici: Codex Caioni. Konstantin
— 8:00: Royal Conservatory of Music. Popovic, violin; Andrew Hodwig, actor; Nurhan Bartok: Concerto for Orchestra. Gary Kulesha,
guest conductor. George Weston Recital Hall,
Orff Extravaganza: Carmina Burana. RCM
Arman, conductor. Walmer Road Baptist
5040 Yonge St. 416-872-1111. $20, $15(sr/
Concert Hall, 90 Croatia St. 416-408-2824 Church, 188 Lowther Ave. 416-499-0403.
st), $10(grps 15+).
ex321. $15, $10(sr/st).
$25, $15(st/ch).
— 7:30: Viva Mozart. All Mozart Pro— 8:00: Toronto Consort. The Journey to — 3:30: Toronto Jazz Orchestra. In Congramme. St. John’s Church Vocal Ensemble;
Santiago. Musical pilgrimage to northern
cert. The Rex Hotel, 194 Queen St. W. 416string ensemble; Anita Gaide, organ; Brigita
Spain. David Fallis, director. Trinity899-5299. Call for ticket prices.
Alks, conductor. St. John’s Latvian Lutheran
St.Paul’s Centre, 427 Bloor Street W. 416- — 4:00: Theatre Direct Canada. Beneath
964-6337. $18-$40; $14-$34(sr/st).
the Banyan Tree. Dance, music and puppetry. Church, 200 Balmoral Ave. 416-921-3327.
— 8:00: Via Salzburg Chamber Orches- Lata Pada, choreography; Lynda Hill, director; $20, $10(st), free(under 13).
tra. A Passion for Piano. Glenn Gould Stu- Edgardo Moreno, composer. Mississauga Val- — 8:00: Academy Concert Series. Flight
of Fancy. Schumann: Fantasy Pieces Op. 73
dio. See Apr. 27.
ley Community Centre, 1275 Mississauga
and Op. 88; Three Romances Op. 94; Violin
— 8:00: Windermere String Quartet. In Valley Blvd., Mississauga. 416-537-4191.
Sonata Op. 105 #1; Fairy Tales Op. 132. AlConcert. Mozart Quartet in F K168; Rap$10.
exander Kats, piano; Jani Papadhimitri, violin/
oport: new work; Beethoven: Harp Quartet — 7:00: Oakville Children’s Choir Boyin E flat, Op. 74. Rona Goldensher, Genchoir Festival Concert. Let the Boys Sing! viola; Nicolai Tarasov, clarinet. Eastminster
United Church, 310 Danforth Ave. 416-778viève Gilardeau, violins; Anthony Rapoport, Guests: Cincinnati Boychoir, Amabile Boys
viola; Laura Jones, cello. St. Olave’s
Choir, Boychoir of Anne-Arbour, Hamilton Chil- 0400. $15, $10(sr/st).
Church, 360 Windermere Ave. 416-769dren’s Boychoir; Randall Wolfe, music director. — 8:00: All the King’s Voices. An Evening
7054. $15, $10(sr/st).
Clearview Christian Reformed Church, 2300
Sheridan Garden Drive, Oakville. 905-337Saturday April 29
7104. $10.
— 11am & 2:00: Solar Stage Children’s
— 7:30: Camerata Tibia. German and
Theatre. Little Red Riding Hood. Musical play French Baroque. Works by Bach, Telemann,
for ages 4 to 10. 4950 Yonge St. 416-368Graupner, Marais & others. Janos Ungvary,
8031. $13. For complete run see music thea- Takayo Shimoda, recorders; Iris Krizmanic,
tre listings.
cello/soprano; Dora Krizmanic, harpsichord.
— 3:00: Etobicoke Suzuki School of Mu- First Hungarian Presbyterian Church, 439
sic. Spring Concert. Violin & cello students.
Vaughan Rd. 416-241-5080. $15, $10(sr/st/
Call to confirm: Martingrove Collegiate InstiCAMMAC).
tute, 50 Winterton Dr. 416-239-4637. Free. — 7:30: Music at St. Mark’s. Anne Leder— 3:30: Sinfonia Toronto. Mozart Past and man & Fiddlesong: The Return of the Celts.
Future! A Mozart in Jeans concert. Mozart:
With Tom Leighton, piano/accordion/bodrhan;
Divertimento K136; Vivaldi: Summer from
Ian Bell, guitar/melodeon. St. Mark’s PresbyteThe Four Seasons; Honegger: Symphony #2
rian Church, 1 Greenland Rd. 416-444-6762.
of Gilbert and Sullivan. David J. King, conductor. Willowdale United Church, 349 Kenneth
Ave. 416-225-2255. $15; $10/$5(sr/ch).
— 8:00: Baroque Music by the Grange.
Friends ’til the End: Last Series Concert. Mozart: Clarinet Quintet; Eybler: Quartet in D,
Op. 1 #1; Adagio from Op. 1 #3. Eybler Quartet: Aisslinn Nosky, Julia Wedman, violins;
Patrick Jordan, viola; Margaret Gay, cello;
with Colin Savage, clarinet. St. George the
Martyr Church, 197 John St. 416-588-4301.
$22, $15(sr/st/unwaged).
— 8:00: Canadian Sinfonietta. Romantic
Works for String Orchestra. Sibelius: Romance for Strings in C; Mendelssohn: Concerto for Violin, Piano, and Strings in d; Dvorák:
Nocturne in B; Grieg: Holberg Suite. Michael
Esch, piano; Joyce Lai, violin. Newtonbrook
United Church, 53 Cummer Ave, North York.
905-707-1200. $30, $15-$25(st/sr), $10(under 11).
— 8:00: Cantores Celestes Women’s
Choir. Adiemus & Vespers for the Feast of
Join Oliver Schroer and The Toronto Consort for
THE JOURNEY TO SANTIAGO
April 28 & 29, 2006 at 8:00 pm
In May and June of 2004, Oliver Schroer walked a thousand
kilometres of the famous Camino de Santiago. In his backpack,
he carried his violin, like his own precious relic, and portable
recording equipment. He played his violin in ancient stone
churches along the road - pieces from his life, and pieces
inspired by the journey - and the result is a stunning new CD
Camino.
In the Middle Ages, pilgrims from all walks of life and from all
parts of Europe walked to Santiago, seeking healing, seeking
adventure, seeking miracles. As they travelled, they too wrote
music and sang songs, and the Toronto Consort has searched out these ancient musical treasures, and
brings them to life with ud, hurdy-gurdy, lutes, recorders, and voices. Don’t miss this incredible meeting
of old and new, inspired by one of the world’s great pilgrimages - the Journey to Santiago!
www.torontoconsort.org
For tickets call (416) 964-6337
Trinity-St. Paul’s Centre, 427 Bloor Street West
48
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A PRIL 1 - M AY 7 2006
the Holy Innocents. Michael Haydn: Mass of
the Innocents; Jenkins: Adiemus—Songs of
Sanctuary. Guests: The Emperor String Quartet; Ray Dillard Percussion Trio; Jurgen
Petrenko, organ; Ellen Meyer, piano; Andrea
Budgey, recorder; Janet Anderson, Bardhyl
Gjevori, french horns; Kelly Galbraith, director.
Runnymede United Church, 432 Runnymede
Rd. 416-236-1522. $20. Donation by choir to
Free the Children.
— 8:00: DanceWorks. DW157—Double
Story. Harbourfront Centre Theatre. See Apr.
28.
— 8:00: Toronto Consort. The Journey to
Santiago. Trinity-St. Paul’s Centre. See Apr.
28.
— 8:00: Toronto Mendelssohn Youth
Choir. Four Strong Winds. Folk music from
around the world. Lynn Janes, conductor.
Christ Church Deer Park, 1570 Yonge St.
416-598-0422. $25; $15(sr/st).
— 8:00: Toronto Organ Club. Organ Grinder Night. Don Malcolm & George Heldt, organ.
A PRIL 1 - M AY 7 2006
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St. James United Church, 400 Burnhamthorpe
Rd. 905-824-4667. $20, $10(under 10).
Sunday April 30
— 11am & 2:00: Solar Stage Children’s
Theatre. Ideas that Sing. Kim & Jerry Brodey
provide an interactive musical experience for ages
3 to 8. 4950 Yonge St. 416-368-8031. $13.
— 2:00: John Laing Singers. Potpourri
Entre Amis. Music by Tomkins, Bruckner,
Poulenc, Dett, Sumsion & others. Guests:
Sainte-Anne Singers (Montreal). St. Andrew’s
Church, 47 Reynolds St., Oakville. 905-6285238. $22, $19(sr/st).
— 2:30: Aldeburgh Connection. Lady Blarney. Writer Anna Jameson’s 1830s observations of Upper Canada set with music from
that period. Monica Whicher, soprano; Elizabeth Turnbull, mezzo; Michael Barrett; tenor.
Walter Hall, 80 Queen’s Park. 416-7357982. $45.
— 2:30: Camerata Tibia. German and
French Baroque. Works by Bach, Telemann,
Flight of Fancy
Explore the immense creative
energy, fantasy and power in
the chamber works of
Robert Schumann
Fantasy Pieces (Op. 73 & 88)
Three Romances (Op. 94)
Violin Sonata (Op. 105 No. 1)
Fairy Tales (Op. 132)
and more
Alexander Kats, piano
Jani Papadhimitri, violin/viola
Nicolai Tarasov, clarinet
Saturday, April 29th
8 pm • Eastminster
United Church •
310 Danforth Ave.
$15 • $10 (sr/st)
www.academyconcertseries.com 416-778-0400
49
Graupner, Marais & others. Janos Ungvary,
Takayo Shimoda, recorders; Iris Krizmanic,
cello/soprano; Dora Krizmanic, harpsichord.
High Park/Morningside Presbyterian Church,
4 Kennedy St. 416-241-5080. $15, $10(sr/
st/CAMMAC).
— 2:30: College Street Collective. Love’s
Philosophy. Darryl Burton, baritone; Erin
Bustin, soprano; Melissa Haggart, mezzosoprano; Kristjan Hayden, tenor; Miguel Malaco, saxophone/tenor; Eileen Keown, piano. College Street United Church, 454 College St.
416-732-5667. $10(at door).
— 2:30: Newman Centre. Jubilant Brass.
Brendan Cassin, trumpet; Stacy Allison-Cassin, french horn. 89 St. George St. 416-9792468. Freewill offering.
— 3:00: Bronze Foundation. Handbell Ensemble Concert. J.C. Coolen, music director.
Royal York Road United Church, 851 Royal
York Rd. 905-686-5676. $10.
— 4:00: Jacques Israelievitch & Friends.
The New Arts Trio. Jacques Israelievitch,
violin; Arie Lipsky, cello; Rebecca Penneys,
piano. Temple Sinai, 210 Wilson Ave. 416487-4161. $10(members), $15(non-members).
— 4:00: St. James’ Cathedral. Sunday Afternoon Twilight Recitals. BCC & Youth Festival Singers. 65 Church St. 416-364-7865.
Free.
— 7:30: American Harp Society-Toronto
Chapter. Quartetto Angelico in Concert. Tribute to Milton Barnes, Tibor Polgar & Janos
Tessenyi. Erica Goodman, Susana RemenyPrentice, Liliana Dimitrijevic, Vera Stern,
harps & guests. Armour Heights Presbyterian
Church, 105 Wilson Ave. 416-484-9951.
$20, $15(sr/st).
— 7:30: Les Amis Concerts. Works by
Beethoven, Debussy, Mate & Baker. Winona
Zelenka, cello; Jeanie Chung, piano; Russell
Hartenberger, percussion. Heliconian Hall, 35
Hazelton Ave. 416 929-6262. $20, $15(sr),
$10(st).
— 7:30: Rachel Chong. Songs Evergreen
Vocal Recital. Handel: Ombra Mai Fu; Verdi:
Vissi Darte; Chinese folk songs & other duets;
chorus also. Rachel Chong, soprano; Roy
Cheng, baritone. Good Shepherd Community
Church, 390 Bamburgh Circle, Scarborough.
416-499-4970. $20, $10(st).
— 7:30: Trinity Chamber Ensemble.
Works by Australian and English Composers.
Walters: Divertimento for String Orchestra;
Rawlings: Snow Rising; Beath: Adagio for
Strings (Lament for Kosovo); Parry: Lady Radnor’s Suite. Church of the Transfiguration, 111
Manor Rd. E. 416-533-1947. $15, $12(sr/st).
— 8:00: Arabesque Dance Company. Layali Arabesque. Gypsy Co-op. See Apr. 2.
Monday May 01
Community School. RCM Percussion Ensembles. Paul Houle, director. Concert Hall,
90 Croatia St. 416-408-2824 ext.321. Free.
— 8:00: East York Concert Band. Music
from the Movies! Larisa Renée, songwriter/
vocals. Blue Danube Restaurant, 1686 Ellesmere Rd. 416-266-1958. $12.50.
— 8:00: Toronto Theatre Organ Society/
Organix 06. Wurlitzer Pops at Casa Loma.
Lew Williams, organ. 1 Austin Terrace. 416499-6262. $17.
Tuesday May 02
Midday. Christopher Jacobsen, organ. 65
Church St. 416-364-7865. Free.
— 7:00: Alchemy. An Hour of Chamber Music.
Bach/Gounod: Ave Maria for cello and piano; Saint
Saens: Sonata for bassoon and piano; Bruch: Four
Pieces for clarinet, cello and piano; Bach: Arioso
for cello and piano; Frackenpohl: Two Rags for
cello and bassoon; Mendelssohn: Concertstücke
for clarinet, bassoon and piano. Ronda Rindone,
clarinet; Larkin Hinder, bassoon; Jennifer Brunton,
cello; Marcia Beach and Meri Gec, piano. Belmont
House, 55 Belmont Street. 416-964-231. Free.
Wednesday May 03
Church. Noonday Organ Recital. Sharon Beckstead, organ. 1585 Yonge St. 416-922-1167.
Free.
— 2:30: Alchemy. An Hour of Chamber
Music. Bach/Gounod: Ave Maria for cello and
piano; Saint Saens: Sonata for bassoon and
piano; Bruch: Four Pieces for clarinet, cello and
piano; Bach: Arioso for cello and piano;
Frackenpohl: Two Rags for cello and bassoon;
Mendelssohn: Concertstücke for clarinet, bassoon and piano. Ronda Rindone, clarinet; Larkin
Hinder, bassoon; Jennifer Brunton, cello; Marcia Beach and Meri Gec, piano. Valleyview
Residence, 541 Finch Avenue West. 416-3980555. Free.
Community School. RCM Orff Ensembles.
Allison Kenny-Gardhouse, Catherine West,
directors. Concert Hall, 90 Croatia St. 416408-2824 ext.321. Free.
— 6:00: Organix 06. A Tribute to Ruth
Watson Henderson. Chromatic Partita; Ode to
Newfoundland; Suite for Organ and Violin
(première). Etsuko Kimura, violin; Bart
Woomert, trumpet; William O’Meara, organ.
St. Basil’s Church, 50 St. Joseph St. 416241-9785. $5.
J. S. Bach: Mass in B Minor. Suzie LeBlanc,
Catherine Webster, sopranos; Matthew
White, countertenor; Pascal Charbonneau,
tenor; Nathaniel Watson, baritone; Tafelmusik
Chamber Choir; Ivars Taurins, director. TrinitySt.Paul’s Centre, 427 Bloor St. W. 416-9646337. $36-$75, $29-$65.
— 7:30: Toronto Welsh Male Voice
Choir. Spring Concert. MacMillan Theatre,
Edward Johnson Bldg., 80 Queen’s Park. 416410-2254. $25.
— 8:00: New Adventures in Sound Art. In
Your Ear. Live radio variety-style cabaret, several performers. Drake Hotel, Underground,
1150 Queen St. W. 416-910-7231. $15(at
door), $12(advance/st).
Jacques Israelievitch & Friends presents
— 8:00: New Music Concerts. Baltic Currents. Guest composer Raminta Serksnyte
curates a concert of works by Ciurlionis, Martinaitis, Tulve, Dzenitis & Serksnyte from
Lithuania, Latvia & Estonia. New Music Concerts Ensemble; Robert Aitken, artistic director. 7:15 pre-concert intro. Glenn Gould Studio, 250 Front St. W. 416-250-5555. $25,
$15(sr), $5(st).
THE
www.aldeburghconnection.org
Aldeburgh
Celebrating
the Art of Song
C O N N E C T I O N
The New Arts Trio
at Temple Sinai Congregation of Toronto
210 Wilson Avenue
Sunday, April 30, 2006 at 4.00 p.m.
Jacques Israelievitch
Violin
Arie Lipsky
Cello
Rebecca Penneys
Piano
Lady Blarney
The fascinating story of Irish
writer Anna Jameson’s travels in
1830’s Upper Canada, set within
music she knew and enjoyed.
Monica Whicher soprano
Elizabeth Turnbull mezzo
Michael Barrett tenor
Stephen Ralls and
Bruce Ubukata piano
T
HE NEW ARTS TRIO has
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7LFNHWV0HPEHUVQRQPHPEHUV
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Corinne Langston narrator
SUNDAY, APRIL 30, 2:30
PM
— WALTER HALL
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$VSHFLDOSURMHFWRI7HPSOH6LQDL¶V0XVLFDO/HJDF\6HULHs
T i c k e ts: $45/student rush $10 Call (416) 735-7982
50
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A PRIL 1 - M AY 7 2006
Thursday May 04
— 12:30: Christ Church Deer Park. Noonday Chamber Music Concert. Montgomery
Viol Consort. Works by Jenkins, Coprario, Holborne & others. Valerie Sylvester, Sheila
Smyth, Marilyn Fung & Laura Jones. 1570
Yonge St. 416-920-5211. Free.
Tchaikovsky & Sibelius. Schafer: Scorpius;
Tchaikovsky: Piano Concerto #1; Sibelius:
Symphony #1. Simon Trpceski, piano; Tania
Miller, conductor. Roy Thomson Hall, 60 Simcoe St. 416-593-4828. $26.50-$68.50.
— 8:00: Andrew Lloyd Webber. Song &
Dance. Music by Andrew Lloyd Webber, lyrics
by Don Black. Louise Pitre, Rex Harrington,
Evelyn Hart, performers; Wayne Sleep, choreography; Trudy Moffatt, director/producer.
Danforth Music Hall, 147 Danforth Ave. 416870-8000. $25-$49 (previews). For complete
— 8:00: DanceWorks. DW158—Corpus. Two
is Company, dance duet première. Peter Mundinger, composer; Sylvie Bouchard, David Danzon,
choreography/artistic directors. Harbourfront
Centre Theatre, 231 Queens Quay W. 416-9734000. $25, $16(sr/st/CADA/WIFT/SCDS). For
— 8:00: Drury Lane Theatrical Productions. The Last Resort. A Canadian musical
mystery. Donna Dunn-Albert, music director.
2269 New St., Burlington. 905-637-3979.
$23, $21(sr/st), $15(under 12). For complete
— 8:00: Scarborough Music Theatre.
Cabaret. Music by Kander, lyrics by Ebb. Scarborough Village Theatre, 3600 Kingston Rd.
416-396-4049. $21; $18(sr/st/grps 15+).
J. S. Bach: Mass in B Minor. Trinity-St.Paul’s
Centre. See May 3.
Friday May 05
— 7:00: Oakville’s Age of Enlightenment
Orchestra. Première Concert. Cimarosa:
Double Flute Concerto; Vivaldi: Double Flute
Concerto; Handel: Harp Concerto; Mozart:
Flute and Harp Concerto (Andantino); Bach:
arias. Milan Brunner, Joan Browne, flutes;
Sharlene Wallace, harp; Janet Obermeyer,
soprano; John Laing, organ; Charles Demuynck, conductor. St. John’s United Church,
262 Randall St., Oakville. 905-338-2360.
$25, $15(sr/st).
— 7:30: Elmer Iseler Singers. Celebration:
Harry Freedman & Mary Morrison. Music
includes: Voices; Tokaido; 1838; Valleys &
Shakespare Songs. Guests: Amadeus Chamber
Singers; The Aeolian Winds; Lydia Adams,
conductor. Glenn Gould Studio, 250 Front St
W. 416-217-0537. $35, $30(sr/st).
— 8:00: Earshot Concerts. Kafka Fragmente.
Kurtàg: settings of Kafka’s writings. Kristin Mueller-Heaslip, soprano; Christian Robinson, violin.
Gallery 1313, 1313 Queen St. W. 416-6556556. $15, $10(members/sr), $5(st).
— 8:00: Quodlibet Chamber Choir. The
Sacred Word. Works by Palestrina, Brahms,
Victoria, Biebl, Bruckner & others. Arthur
Wenk, director. St. Leonard’s Anglican Church,
25 Wanless Ave. 416-621-1234. $12,
$10(sr/st).
Centre. See May 3.
J.S.
Bach
Mass in B Minor
Directed by Ivars Taurins
S E A T I N G L I M I T E D – B O O K E A R LY !
Suzie LeBlanc
soprano
Catherine Webster
soprano
Matthew White
countertenor
A
E O
Double Flute Concerto
Oakville’s
ge of Cimarosa:
Vivaldi: Double Flute Concerto
Harp Concerto
nlightenment Bach: AriasHandel:
& Mozart: Andantino
rchestra from Flute and Harp Concerto
Pascal Charbonneau
tenor
Nathaniel Watson
baritone
St. John’s United Church, 262 Randall Street, Oakville
Tickets $25 ($15 Senior/Student) at L’Atelier Grigorian 905-338-2360, or at the door
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Trinity-St. Paul’s Centre
427 Bloor Street West
416.964.6337
www.tafelmusik.org
Charles Demuynck, Guest Conductor
Milan Brunner & Joan Browne, flute
Sharlene Wallace, harp; John Laing, organ
Janet Obermeyer, soprano
Baroque Orchestra
and Chamber Choir
Friday, May 5, 2006 at 7:00 p.m.
A PRIL 1 - M AY 7 2006
Wed May 3 at 7pm
Thurs – Sat
May 4 – 6 at 8pm
Sun May 7 at 3:30pm
HSBC Securities (Canada) Inc.
Member CIPF.
2005/2006 Season
Presenting Sponsor
Jeanne Lamon, Music Director
51
— 8:00: Tempus Choral Society. Swing
into Spring Annual Spring Concert. Jazz, swing
and Broadway classics. Guest: Sophistocated
Swing. St. Volodymyr Cultural Centre, 1280
Dundas St. W., Oakville. 905-845-0551. $20.
Tchaikovsky & Sibelius. Roy Thomson Hall.
See May 4 2:00. Note this performance: $34$115.
Saturday May 06
— 1:30 & 3:30: Toronto Symphony Orchestra. The Mischievous Adventures of the
Rascally Rhythm. An interactive adventure
with rhythm. Works by Beethoven, Tchaikovsky, Khachaturian, & others. Recommended
for ages 5+. Tania Miller, conductor. Roy
Thomson Hall, 60 Simcoe St. 416-593-4828.
$25.50, $16 .
— 7:30: Clarkson Community Concerts.
Peter Appleyard in Concert. Christ Church,
1700 Mazo Cr., Mississauga. 905-855-0112.
$20, $18(sr/st).
— 7:30: Diva! Diva! Diva! Opera Night.
Puccini’s La Boheme with story format. Calvin
Presbyterian Church, 26 Delisle Ave. 416469-3865. $20, $15(sr), $10(st/ch),
$40(fam).
— 7:30: Etobicoke Youth Choir. Spring
Concert. Pascal Du Perron, accompanist; Louise Jardine, music director. Westway United
Church, 8 Templar Ave. 416-231-9120. $10,
free(under 12).
— 7:30: Mississauga Choral Society. O
Clap Your Hands, Too! Parry: I was Glad; Allit-
sen: The Lord is my Light; Wood: Hail, Gladdening Light & other works. St. Patrick’s
Church, 921 Flagship Dr., Mississauga. 416488-1156. $20.
— 7:30: Music at Metropolitan/Organix
06. Music for Organ and Violin. Karg-Elert,
Marchand, Albinoni, Wagner, Mozart & other
works. Jacques Israelievitch, violin; Elke Völker, organ. Metropolitan United Church, 56
Queen St. E. 416-241-9785. $20.
— 7:30: Runnymede United Church.
Spring Rhapsody: Chamber Music for flute,
cello & piano. Works by Haydn, Chopin, Czerny & others. Susan Kutertan, flute; Teimour
Sadykhov, cello; Ilona Beres, piano. 432 Runnymede Rd. 416-766-9959. $15, $10.
— 7:30: Toronto Children’s Chorus.
Fugues, Fleas & Fantasies. Jean Ashworth
Bartle, Teri Dunn, Marie-Claire Gervasoni &
Diane Jamieson, directors. George Weston
Recital Hall, 5040 Yonge St. 416-872-1111.
$18-$30.
— 8:00: Mississauga Symphony. With
Trumpet Blast. Music by Khachaturian, Arutunian, McDougall, Mancini & Mendez. Mike
Herriott, trumpet. Living Arts Centre, 4141
Living Arts Dr., Mississauga. 905-306-6000.
$33.50-$43.50.
— 8:00: North York Concert Orchestra.
Beethoven’s 5th Symphony. Also Weber: Der
Freischutz Overture; Concertino for clarinet
and orchestra. Ricardo Mojica, clarinet; David
Bowser, conductor. Willowdale United
Church, 349 Kenneth Ave. 416-421-4184.
$15, $10(sr/st).
— 8:00: Oakville Chamber Orchestra.
Beethoven’s Thirds. Beethoven: Symphony #3
in E flat Op. 55; Piano Concerto #3 in c Op.
37. Charlene Miffin, soloist; Stephane Potvin,
music director. Central Baptist Church, 340
Rebecca St., Oakville. 905-337-1083. $20,
$15(sr/st), $5(under 12).
— 8:00: Pax Christi Chorale. Mendelssohn’s St. Paul. Meredith Hall, soprano;
Laura Pudwell, mezzo soprano; James McLennan, tenor; Andrew Tees, baritone; Stephanie
Martin, artistic director. Grace Church on-theHill, 300 Lonsdale Rd. 416-494-7889. $25,
$22(sr/st), $5(under 12).
Academy Symphony Orchestra. Joaquin Valdepeñas, conductor. 90 Croatia St. 416-4082824 ex321. $10, $5(sr/st).
— 8:00: Scarborough Philharmonic Orchestra. Tragedy to Triumph. Beethoven:
Coriolan Overture; Bartok: Piano Concerto #3;
Brahms: Symphony #2 in D, Op 73. Shoko
Inoue, piano; Rennie Regehr, guest conductor.
Birchmount Collegiate Institute, 3663 Danforth Ave. 416-429-0007. $25, $20(sr),
$15(youth).
— 8:00: Sinfonia Toronto. Popovici: Codex
Caioni; Schubert: Rondo for Violin and String
Orchestra; Sarasate: Zigeunerweisen (Gypsy
Airs), arr Arman; Honegger: Symphony #2;
Mozart: Divertimento K136. Scott St. John,
violin; Nurhan Arman, conductor. Glenn Gould
Studio, 250 Front St. W. 416-205-5555.
$40, $32(sr), $21(st).
Centre. See May 3.
— 8:00: Vox Finlandiae. Keväthuumaa
(Spring Fever). Light-hearted Finnish music.
Latvian Centre, 4 Credit Union Dr. 416-4836947. $20, $15(sr), $10(st).
— 8:30: Living Arts Centre. Pavlo in Concert. Cabaret-style concert of flamenco, Latin,
classical & Mediterranean guitar. RBC Theatre, 4141 Living Arts Dr., Mississauga. 905306-6000. $25, $30, $39.
Sunday May 07
— 1:00 & 3:00: Living Arts Centre. Hansel &
Gretel. Members of the Canadian Opera Company perform; suitable for ages 4 to 9. RBC Theatre,
4141 Living Arts Dr., Mississauga. 905-3066000. $19, $16(ch).
— 1:30: CAMMAC/McMichael Art Gallery.
Sunday Concert Series. Masi, jazz vocalist.
10365 Islington Ave., Kleinburg. 905-893-1121.
Admission with gallery price: $15, $9(sr/st),
$25(family).
— 2:00: Oakville Chamber Orchestra.
Beethoven’s Thirds. Beethoven: Symphony #3 in
E flat Op. 55; Piano Concerto #3 in c Op. 37.
Charlene Miffin, soloist. Stephane Potvin, music
director. St. Simon’s Church, 1450 Litchfield Rd.,
Oakville. 905-337-1083. $20, $15(sr/st), $5(under 12).
— 2:00: Roy Thomson Hall. Dmitri Hvorostovsky, baritone. Russian and Italian songs. Ivari
Ilja, piano. 60 Simcoe St. 416-872-4255. $35$95.
— 2:30 & 7:30: Scarborough Bel Canto
Choir. Springtime, the Only Pretty Ringtime.
Classical, pops, folk, sea songs, stage and screen
music. Guests: Koruss String Quartet. St. Dunstan of Canterbury Church, 56 Lawson Rd., West
Hill. 416-757-9590. $15. To support The Kids
Help Phone.
— 2:30: Newman Centre. Purely Piano. Matthew Otto, piano. 89 St. George St. 416-9792468. Freewill offering.
— 3:00: Markham Concert Band. East Meets
West. Music to celebrate the city’s “Living Diversity”. Doug Manning, music director. Markham
Theatre, 171 Town Centre Blvd, Markham. 905305-7469. $20; $15(sr/ch).
— 3:00: Mississauga Choral Society. O Clap
Your Hands, Too! Parry: I was Glad; Allitsen: The
Lord is my Light; Wood: Hail, Gladdening Light &
other works. Glenview Presbyterian Church, 1
Glenview Ave. 416-488-1156. $20. Fundraiser
for Evangel Hall mission.
— 3:00: Pax Christi Chorale. Mendelssohn’s
St. Paul. Grace Church on-the-Hill. See May 6.
— 3:00: Syrinx. Sunday Salon. Music by Glick,
!
52
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A PRIL 1 - M AY 7 2006
Gellman & Schubert. Cerberus Ensemble; Erika
Raum, Hiroko Kagawa, violins; David Visentin,
viola; Paul Widner & Cherry Kim, cellos. Heliconian Hall, 35 Hazelton Ave. 416-699-4949. $20,
$15(st).
— 3:00: The Anglican Church of St. Clement. Cellist in Recital: Sara Lovell. Music by Bach,
Kodaly & Reger. With English Baroque Ensemble
and soloists. 416-483-6664. $20, $15(sr/st).
— 3:00: Udo Kasemets. Isaacs Seen and Heard:
“The Liberties” (Travels I) of Susan Howe. Introduction and parts 1 and 2 of the pOemPERA of
Udo Kasemets. Susan Layard, singer/speaker;
Udo Kasemets, piano; Paul Dutton, speaker;
Pierre Tremblay, visuals. Victoria University,
Emmanuel College, 75 Queen’s Park. 416-9295849. Free.
— 3:30: Tafelmusik Baroque Orchestra. J.
S. Bach: Mass in B Minor. Trinity-St.Paul’s Centre. See May 3.
— 4:00 & 7:30: St. John’s Theatre Arts. Musicfest. 110 English handbells & three choirs in
concert, audience participation. 19 Don Ridge Dr.
416-225-6611. $5, $15.
— 4:00: Organix 06. Toronto Classical Singers.
Mozart: Coronation Mass; Vespers, Sonatas for
Organ & Orchestra. Marion Samuel-Stevens,
soprano; Jennifer Enns Modolo, mezzo-soprano,
Stephen McClare, tenor; Gregory Dahl, baritone;
Talisker Players; Ian Grundy, organ; Jurgen
Petrenko, artistic director. Christ Church Deer
Park, 1570 Yonge St. 416-443-1490. $25,
$20(sr), $15(st).
— 4:00: St. James’ Cathedral. Sunday Afternoon Twilight Recitals. Bronwyn Low, soprano;
David Low, piano. 65 Church St. 416-364-7865.
Free.
— 5:30: Koffler Centre of the Arts. Stars of
the 21st Century. Classical and contemporary
ballet program. Main Stage, 5040 Yonge St. 416872-1111. $65.95-$178.30. Benefit for the
Koffler Centre.
— 7:00: Guildwood Community Presbyterian Church. Bells of Guildwood. Guest: Ian Sadler, organ. 140 Guildwood Parkway, Scarborough. 416-261-4037. $10.
— 7:00: TrypTych. O Wee Frolicsome Folk. An
assortment of favourite folklore. Ensemble TrypTych Chamber Choir; Lawrence Green, accompanist; Lenard Whiting, conductor. Trinity Presbyterian Church, 2737 Bayview Ave. 416-763-5066.
$20, $15.
— 7:30: Peel Choral Society. Broadway
Bound II. Emmanuel United Church, 420 Balmoral
Dr., Brampton. 905-961-6444. $15, $12(sr/st),
$5(5-10yrs).
— 7:30: Three of a Kind. Musical Theatre.
Jennifer Friesen, Corinne Lynch & Laura Schatz,
performers. Upper Bluma Cabaret, St. Lawrence
Centre, 27 Front St. E. 905-792-7626. $15.
— 7:30: York Symphony Orchestra. A Night
at the Proms. Classic highlights of the Proms,
including Saint-Säens: Concert Piece for Horn &
Orchestra. Elke Eble-Streisslberger, french horn.
Markham Theatre, 171 Town Centre Blvd.,
Markham. 905-305-7469. $22, $17(sr/st),
$5(under 12).
— 8:00: Royal Conservatory of Music. RCM
Orchestras. RCM Prepatory, Junior, Chamber &
Baroque Orchestras & the Academy Choir. Kelly
Parkins-Lindstrom, Jonathan Craig, Katharine
Rapoport & Markus Howard, conductors. 90
Croatia St. 416-408-2824 ex321. $10, $5(sr/
st), $30(family).
— 8:00: Soundstreams Canada. Cabaret Plus:
The music of Brian Current and H. K. Gruber.
Current: For the Time Being; suite from Airline
Icarus; new work; Gruber: Zeitfluren (Timescapes); Frankenstein. Chamber orchestra; Patricia
O’Callaghan, soprano; Gruber & Current, conductors. Glenn Gould Studio, 250 Front St. W. 416205-5555. $25, $20(sr), $5(st).
AUGUSTINESIMONISTELLANG
CONCERT
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THE FRIENDS OF SUNNY VIEW
‘ALL THAT WE CAN BE’
BENEFIT CONCERT
With guest artists:
Mark DuBois,Tenor
Janet Catherine Dea, Soprano
Saint Michael’s Choir School
The Victoria Scholars
Thursday, May 11, 7:30 p.m.
Rosedale United Church
159 Roxborough Drive,Toronto
4BUVSEBZ.BZBUQN
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For Tickets:
$30 Adults, $20 Students and Seniors
4&/*034456%&/54
Call: (416) 393-9275
$)*-%3&/6/%&3
5*$,&54"/%*/26*3*&4
All proceeds to Sunny View School
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XXXQBYDISJTUJDIPSBMFPSH
A PRIL 1 - M AY 7 2006
Back to Ad Index
Children 12 and under are FREE
A special place for special children
53
CONCERT LISTINGS
Further afield
Plans change!
Always call ahead to confirm details
with presenters.
Concerts: Toronto & nearby PAGE 38
Music Theatre/Opera PAGE 58
Jazz Clubs PAGE 59
Announcements/Lectures Seminars/Etcetera
PAGE
60
In this issue: Ancaster, Arkell, Ajax, Aurora, Barrie, Belleville, Brantford, Brooklin, Caledon East, Cobourg, Dundas, Elora, Georgetown, Guelph, Halton Hills, Hamilton, Kingston, Kitchener, Lindsay, London, Milton, Mono Centre, Newmarket,
Niagara on-the-Lake, Orangeville, Orillia, Oshawa, Owen Sound, Peterborough,
Picton, Port Dover, Port Hope, St. Catharines, Shelburne, Stirling, Stratford,
Uxbridge, Waterford, Waterloo and Woodstock.
Saturday April 01
— 2:00 & 8:00: Scugog Choral Society.
Joseph and the Amazing Technicolor Dreamcoat. By Andrew Lloyd Webber and Tim Rice.
Town Hall 1873, 302 Queen St., Port Perry.
905-985-1965. $20, $14(sr/st).
— 3:00: Port Hope Friends of Music. Vocal
Stars of Tomorrow. Operatic highlights. Introduction by Iain Scott. Rachael Harwood-Jones,
soprano; Philip Carmichael, baritone; Adam
Luther, tenor; Andrea Grant, accompanist. St.
Peter’s Anglican Church, 240 College St., Cobourg. 905-372-3442. $15, $10(st).
— 4:00: Musica St. James. Piano and Flute
Recital. Valerie Tryon, piano; Suzanne Shulman, flute. St. James Anglican Church, 137
Melville St., Dundas. 905-627-1424. $20.
— 7:30: Cantabile Women’s Chorus. Time
for Friends. Guests: Guelph Chamber Choir,
Gerald Neufeld, director; Mark Sirett, director.
Sydenham Street United Church, 82 Sydenham St., Kingston. 613-530-2050. $15,
$12(sr/st/child).
— 7:30: Gerald Fagan Singers. Cabaret
2006: Off-Broadway! Guests: the Jitterbugs;
Jim Swan, M.C.. Centennial Hall, 550 Wellington St., London. 519-433-9650. $35(single),
$60(couple).
— 7:30: Showplace Performance Centre.
Spring Tonic 2006: Maple Sugar. 290 George
St. N., Peterborough. 705-742-7469. $25,
$5(eyeGO).
— 8:00: County Theatre Group. Jesus
Christ Superstar. Music by Andrew Lloyd Webber, lyrics by Tim Rice. Greg Garrett, musical
director. Regent Theatre, 224 Main St., Picton. 613-476-7042. $20. For complete run
— 8:00: Karen Schuessler Singers. Royal
Fireworks. Mozart: Coronation Mass; Ave
Verum Corpus; Handel: Coronation Anthems;
Chandos Anthem #9. With chamber orchestra
and Marion Newman, soprano; Christopher
Fischer, tenor; Daniel Hambly, bass-baritone.
Wesley-Knox United Church, 91 Askin St.,
London. 519-438-4460. $15, $12(sr/st).
— 8:00: Kawartha Jazz Society. Next
Generation of Canadian Jazz Artists! Robi
Botos; Laila Biali Trio. Market Hall, 336
George St., Peterborough. 705-745-1870.
$20(advance).
— 8:00: Kitchener Waterloo Symphony.
Original Masterpiece. Music by Kelly-Marie
54
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Murphy. Stephen Sitarski, violin; David Lockington, conductor. The Centre in the Square,
101 Queen St. N., Kitchener. 800-2658977. $15-$50.
— 8:00: McMaster School of the Arts.
McMaster University Choir. Westdale United
Church, 99 North Oval, Hamilton. 905-5259140 ex.24246. Call for ticket prices.
Sunday April 02
— 1:30: Elora Festival Singers. Tea with
Bach. Bach: St. John Passion (excerpts). Christine Mather, speaker; Noel Edison, conductor.
St. John’s Church, Henderson & Smith St.
Elora. 519-846-0331, 800-265-8977. $25,
$30(with tea).
— 2:00: AGH Performance. Casual Concert
Series. Classical guitar students of Jonathan
Earp. 123 King St. W., Hamilton. 905-5276610 ex.232. Free.
— 2:00: Beth Ezekiel Synagogue. Lachan
in Concert. Guests: Georgian Bay Children’s
Choir. Knox Presbyterian Church, 890 4th
Avenue E., Owen Sound. 519-371-6289.
$20. Benefit for the synagogue.
— 2:00: UWO Faculty of Music. Finalists
for the Concerto Competition. Von Kuster Hall,
1151 Richmond St., London. 519-661-3767.
Free.
— 2:00: Visual and Performing Arts
Newmarket. Quartango in Concert. Music
with violin, bass, piano and bandoneon. Newmarket Theatre, 505 Pickering Cres. 905953-5122. $24, $19, $10.
For the Birds! Part of the Sunday Light Classics Series. Jerzy Kaplanek, violin; Daniel
Warren, conductor. The Centre in the Square,
101 Queen St. N., Kitchener. 800-2658977. $13-$37.
— 2:30: Quinte Symphony Events. European Music. Sibelius: Violin Concerto; Finlandia;
Beethoven: Symphony #8. Tak Kwan, violin.
Empire Theatre, 321 Front St., Belleville.
613-969-0099. $20, $18(sr), $5(youth 6-24).
— 2:30: Riverdale Ensemble. Lord, What
Fools These Mortals Be! Strauss/Hasenöhrl:
Till Eulenspiegel-einmal anders!; Strauss: Andante for horn and piano; Brahms: Horn Trio;
Gál: Trio for clarinet, violin and piano. Ellen
Meyer, piano; Damian Rivers-Moore, horn;
Stephen Fox, clarinet; Joyce Lai, violin; Larkin
Hinder, bassoon; Tim FitzGerald, bass. Market
Hall Performing Arts Centre, 336 George St.
N., Peterborough. 416-833-0251. $15,
$12, free(children 12 & under).
— 3:00: Sundays at Three. Central Presbyterian Church Choir: Evensong. Dyson: Magnificat & Nunc Dimittis in D; Balfour-Gardiner:
The Evening Hymn. Paul Grimwood, director.
Central Presbyterian Church, 165 Charlton
Ave. W., Hamilton. 905-522-9098. Free.
— 7:30: Plumbing Factory Brass Band.
10th Anniversary Celebrations: Festive Brass
Concert Preview. Works by Handel, Mozart,
von Suppé, Elgar, Brahms, Shostakovich and
others. Henry Meredith, conductor. St.
Stephen’s Memorial Anglican Church, 727
Southdale Rd. E., London. 519-659-3600.
$10, $5(st) in advance, $12, $6 at door.
— 8:00: Georgetown Bach Chorale.
Spring Festival 2006: Concert for Violin, Cello
& Piano. Halverson: Duet for Violin & Cello;
Haydn: Piano Trio Hob XV #25; Liszt: Mephisto Waltz; Tchaikovsky: Piano Trio Op.50 in A.
Parmela Attariwala, violin; Mary Katherine
Finch, cello; Ronald Greidanus, piano. Halton
Hills Library & Cultural Centre Gallery, 9
Church St., Halton Hills. 905-877-8321.
$20.
— 8:00: Kitchener-Waterloo Chamber
Music Society. Abegg Trio. Mozart: Trio in
E flat, K. 564; Smetana: Trio in g; Schubert:
Trio in E flat, d.929. KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$25, $20(sr), $15(st).
— 8:00: McMaster School of the Arts.
McMaster University Choir. Convocation Hall,
1280 Main St. W., Hamilton. 905-5259140 ex.24246. Call for ticket prices.
Tuesday April 04
— 12:30: UWO Faculty of Music. Early
Music Studio. Von Kuster Hall, 1151 Richmond St., London. 519-661-3767. Free.
— 8:00: Sanderson Centre/Brantford
Folk Club. Connie Kaldor in Concert. 88 Dalhousie St., Brantford. 519-752-9910. $20.
Wednesday April 05
— 12:15: Centenary United Church. Midday Concert Series. Christina Hutton, piano.
24 Main St. W., Hamilton. 905-526-1147.
Freewill donation.
— 2:00 Sanderson Centre for the Performing Arts. Stardust Follies. Broadwaystyle song-dance and comedy revue with numbers from the ‘20s to the present. John Dimon, director. 88 Dalhousie St., Brantford.
519-758-8090, 800-265-0710. $32.50 For
— 7:30: Kingston Symphony. St. John
Passion. By Bach. Guests: Kingston Choral
Society; Charlene Pauls, soprano; Marion
Newman, mezzo-soprano; Sean Watson, Daniel Hambly, baritones; Glen Fast, conductor.
St. Mary’s Cathedral, 279 Johnson St., Kingston. 613-530-2050. $38, $13(child).
— 7:30: Plumbing Factory Brass Band.
10th Anniversary Celebrations: Festive Brass.
Works by Handel, Mozart, von Suppé, Elgar,
Brahms, Shostakovich and others. Henry Meredith, conductor. Byron United Covenant
Church, 420 Boler Rd., London. 519-4711250. $10, $5(st) in advance, $12, $6 at
door.
Thursday April 06
— 2:00 & 8:00: Sanderson Centre for the
Performing Arts. The Irish Rovers. 88 Dalhousie St, Brantford. 519-758-8090, 800265-0710. $38.
Journey through the Stars. Space-related
theme music. Larry Larson, trumpet/host; David Martin, guest conductor. River Run Centre,
35 Woolwich St., Guelph. 800-265-8977.
$37-$41.
Friday April 07
— 12:30: UWO Faculty of Music. 12:30
Fridays. UWO Singers; Les Choristes. Von
Kuster Hall, 1151 Richmond St., London.
519-661-3767. Free.
Journey through the Stars. Space-related
theme music. Larry Larson, trumpet/host; David Martin, guest conductor. The Centre in the
Square, 101 Queen St. N., Kitchener. 800265-8977. $15-$50.
— 8:00: Milton Concert Presentations.
The Vienna Concert Verein. Chamber Orchestra of the Vienna Symphony plays Haydn &
Mozart. Min-Jeong Suh, violin; Kerry Stratton,
conductor. St. Paul’s United Church, 123 Main
St. E., Milton. 905-878-4732. $30, $25(sr/
st).
— 8:00: Nota Bene Period Orchestra. The
Royal Hunt. Works by Bach, Purcell & Vivaldi.
Linda Melsted, violin; Rob Perrault, natural
trumpet; Christine Passmore & Trevor
Wagler, natural horns. Parkminster United
Church, 275 Erb St. E., Waterloo. 519-8848753. $25, $22(sr), $10(st).
Saturday April 08
— 7:30: Liberation Choir. Benefit Concert.
Sacred, classical, broadway & contemporary
music. Central Presbyterian Church, 165
Charlton Ave. W., Hamilton. 905-528-7625.
$15, $125(grp of 10). Proceeds to Living Rock
Ministries of Hamilton.
— 7:30: Waterford Old Town Hall Assoc/
Brantford Symphony Orchestra. Pop
Goes the Music: Speakeasy Band. Jazz, R&B,
Broadway favourites. 76 Main St., Waterford. 519-443-6598. $20.
— 8:00: Barrie Concerts. Vienna Concert
Verein. Schubert: 5th Symphony, Rondo for
Violin & Orchestra. WhaSu Lee, violin; Kerry
Stratton, conductor. Fisher Auditorium, 125
Dunlop St. W., Barrie. 705-728-1630, 705726-1181. Call for series ticket prices.
— 8:00: Concert Hall at Victoria Hall. An
Evening with Carroll Baker. 55 King St. W.,
Cobourg. 905-372-2210. $30.
— 8:00: Hamilton Philharmonic Orchestra. Great Ladies of Song. Music by Porter,
Weill, Davenport, Hammerstein & Ellington.
Dee Daniels, vocals; Michael Reason, conductor. Hamilton Place, Summers Lane, Hamilton. 905-526-7756. $32-$62, $26-$57(sr),
$10(st 19-29), $5(up to 19).
Journey through the Stars. The Centre in the
Square, 101 Queen St. N., Kitchener. See
Apr 7.
— 8:00: Nota Bene Period Orchestra. The
Royal Hunt. Works by Bach, Purcell & Vivaldi.
Linda Melsted, violin; Rob Perrault, natural
trumpet; Christine Passmore & Trevor
Wagler, natural horns. Guelph Youth Music
Centre, 75 Cardigan St., Guelph. 519-8848753. $25, $22(sr), $10(st).
— 12:30: UWO Faculty of Music. Music in
the Air. St. Cecilia Singers. Von Kuster Hall,
Sunday April 09
1151 Richmond St., London. 519-661-3767.
— 2:30: Buxtehude Choir. In Concert. ThoFree.
A PRIL 1 - M AY 7 2006
mas Foster Memorial, 9449 Regional Rd. Durham 1/Conc.7, Uxbridge. 905-640-3966.
Admission by donation.
Storytellers Series: How the Gimquat Found
her Song. With Platypus Theatre; Daniel Warren, conductor. The Centre in the Square, 101
Queen St. N., Kitchener. 800-265-8977.
$14-$16.
— 2:30: Quinte Symphony Events. The
Vienna Symphony Chamber Orchestra. MinJeong Suh, violin; Kerry Stratton, conductor.
Empire Theatre, 321 Front St., Belleville.
613-969-0099. $50.
— 3:00: Northumberland Orchestra &
Choir. Elijah. Music By Mendelssohn. Guest
Andrew Tees, baritone. Port Hope United
Church, 34 South St. 905-377-8506. $20,
$18(sr), $5(st).
— 3:00: Sundays at Three. Palm Sunday
Concert. Guilmant: Stabat Mater; Dandrieu:
Magnificat; Pärt: Annum per Annum; Franck:
Chorale #1 in E. Paul Grimwood, organ. Central Presbyterian Church, 165 Charlton Ave.
W., Hamilton. 905-522-9098. Free.
Music Society. Penderecki Quartet with
Grzegorz Krawiec, Guitar. Banasik: The Great
Bridge; Mozart: String Quartet in B flat,
K.589; Rodrigo: Sonata Giocosa (guitar solo);
Castelnuovo-Tedesco: Guitar Quintet, Op.
143. KWCMS Room, 57 Young St. W., Waterloo. 519-886-1673. $25, $20(sr),
$15(st).
Isabel Bayrakdarian, soprano; Susan Platts,
mezzo; John Aler & Rufus Muller, tenors;
Gary Relyea, bass-baritone; Peter McGillivray,
baritone; Howard Dyck, conductor. Guests:
KW Philharmonic Children’s Choir; KW Symphony. Centre in the Square, 101 Queen St. N.,
Kitchener. 519-578-1570. $33-$39, $10(st
rush), $5(under 14; eyeGo).
— 8:00: Central Presbyterian Church. St.
John Passion. By Bach, with orchestra. Dennis
Giesbrecht, evangelist; Beverly BrontéTinkew, soprano; Jennifer Wray, mezzo-soprano; David Baldwin, tenor; Rudy Neufeld,
Trevor Bowes, baritone; Central Presbyterian
Church Choir; Paul Grimwood, director. 165
Charlton Ave. W., Hamilton. 905-522-9098.,
$20, $35(for 2 in advance); $10(st/child).
— 8:00: Georgetown Bach Chorale. “Lacrimosa”: Music for Good Friday. Music by
Pergolesi, Mozart & Handel accompanied by
harpsichord, violin & piano. Ronald Greidanus,
conductor. Knox Presbyterian Church, 116
Main St. S., Georgetown. 905-877-8321.
$20.
Monday April 10
Monday April 17
Music Society. Lafayette Quartet. Mozart:
K.575 in D; Ravel: Quartet; Grieg: Quartet.
KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $25, $20(sr),
$15(st).
— 7:30: Arcady. A Baroque Messiah. Ryerson United Church, 265 Wilson St. E., Ancaster. 905-648-2731. $20, $15.
Saturday April 15
— 8:00: Sanderson Centre for the Performing Arts. The Cottars. Youth quartet
plays traditional Celtic music. 88 Dalhousie
St., Brantford. 519-758-8090. $32.
— 8:00: Vital Spark Folk Society. Madviolet in Concert. The Brooks Sisters, openers.
Brooklin Community Centre, 45 Cassels Rd.,
Brooklin. 905-655-4991. $18.
Saturday April 22
— 8:00: Capitol Theatre. The Way We FeelGordon Lightfoot Tribute. Aengus Finnan, Jory
Nash & Terry Tufts, performers. 20 Queen
St., Port Hope. 905-885-1071. $35.
— 8:00: Elora Festival Singers. Gloria.
Handel: Dixit Dominus; Vivaldi: Gloria; Bach:
Magnificat. Ann Monoyios, soprano; Laura
Pudwell, mezzo; Rufus Müller, tenor; Sean
Watson, baritone; Noel Edison, conductor. St.
George’s Church, 99 Woolwich St. Guelph.
519-846-0331, 800-265-8977. $40,$37.
Romantic Virtuoso. The Centre in the Square,
101 Queen St. N., Kitchener. 800-2658977. $15-$50. See Apr. 21.
— 8:00: Lindsay Concert Foundation.
Trillium Brass Quintet. Scott Harrison & Phil
Seguin, trumpets; Christine Passmore, horn;
Cathy Stone, trombone; Karen Bulmer, tuba.
Glenn Crombie Theatre, Fleming College, 200
Albert St. S., Lindsay. 705-878-5625. $25,
$5(youth).
— 8:00: Uxbridge Chamber Choir. Missa
Luba: A Congolese Mass. Arr. Guido Haazen.
Thomas Baker, director. Trinity United Church,
20 First Ave., Uxbridge. 905-852-2676.
$15, $10(sr/st), free(under 12 accompanied).
Sunday April 23
Grzegorz & Andrzej Krawiec: Guitar Duets.
Bach: Partita in B flat BWV 825 (trans. into F);
Chopin: Mazurka in F Op. 68 #3; Mazurka in f
sharp, Op. 6 #1; Mazurka in C, Op. 26 #2;
Kleynjans: 4 Mouvements; Granados: Walses
poeticos; Rodrigo: Tonadilla. St. George’s Memorial, 51 Centre St. S., Oshawa. 866-543-
Wednesday April 19
— 12:15: Centenary United Church. Midday Concert Series. Alena Kratka, organ/piano.
Tuesday April 11
24 Main St. W., Hamilton. 905-526-1147.
— 7:00: UWO Faculty of Music. Electronic Freewill donation.
Music Concert. Von Kuster Hall, 1151 Rich— 8:00: Sanderson Centre for the Permond St., London. 519-661-3767. Free.
forming Arts. Unforgettable…Brothers of
Song. Music of Nat ‘King’ Cole, Louis ArmWednesday April 12
strong, Ray Charles, Sam Cooke, Johnny
— 12:15: Centenary United Church. Mid- Mathis & others. Starring Rudy Mayes;
day Concert Series. Fredric Devries, organ. 24 Selena Gittens, vocals; Unforgettable AllMain St. W., Hamilton. 905-526-1147. Free- Stars. 88 Dalhousie St., Brantford. 519will donation.
758-8090, 800-265-0710. Call for ticket
prices.
Music Society. Alma Petchersky, Piano.
Thursday April 20
Tchaikovsky: Grand Sonata; Ginastera: Sonata; & other works. KWCMS Music Room, 57 — 8:00: Kitchener-Waterloo Chamber
Music Society. Il Dolcimelo. Works by VivalYoung St. W., Waterloo. 519-886-1673.
di & others for recorder, baroque violin, cello
$20, $15(sr), $10(st).
& harpsichord. KWCMS Music Room, 57
Thursday April 13
Young St. W., Waterloo. 519-886-1673.
— 8:00: Hamilton Theatre Inc. My Fair
$25, $20(sr), $15(st).
Lady. Music by Frederick Loewe; lyrics by
Friday April 21
Alan Jay Lerner. Downtown Cultural Centre,
28 Rebecca St., Hamilton. 905-522-3032.
Romantic Virtuoso. Prokofiev: Piano Concerto
$20, $18(sr/st). For complete run see music
#3. Andre Laplante, piano; Simon Streatfeild,
theatre listings.
conductor. The Centre in the Square, 101
Friday April 14
— 7:00: Fanshawe Chorus London/Ger$15-$50.
ald Fagan Singers. Missa Solemnis. Music — 8:00: Wandering Minstrel CD Shop.
by Beethoven. With the Concert Players OrPenderecki String Quartet and Krzegorz Krawchestra; Barbara Livingstone, soprano; Sandra iec, guitar. Banasik: Guitar Quintet, The Great
Graham, mezzo soprano; Darryl Edwards,
Bridge (première); Mozart: K589 in B flat;
tenor; John Avey, bass. Centennial Hall, 550
Rodrigo: Sonata Giocosa; Castelnuovo-TeWellington St., London. 519-433-9650.
desco: Guitar Quintet, Op. 143. Guelph Youth
$25, $15(st).
Music Centre, 75 Cardigan St., Guelph. 866— 7:30: Kitchener Waterloo Philhar543-4352. $20, $10(st).
monic Choir. Bach’s St. Matthew Passion.
A PRIL 1 - M AY 7 2006
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4352. $20, $10(st).
— 2:30: Kingston Symphony. Masterworks 6. Bruch: Kol Nidrei; Dvorak: Concerto
for Violin & Orchestra, Op. 53 in a; Anhalt:
… the timber of those times…(a theogony)
(première). Laurence Kayaleh, violin; Rebecca
Li, cello; Glen Fast, conductor. Kingston Gospel
Temple, 2295 Princess St., Kingston. 613530-2050. $38, $13(child).
— 2:30: Niagara Symphony. Green: An
Earth Day Celebration. Donizetti: Concertino
for Oboe in F; Elgar: Three Bavarian Dances,
op 27; Estacio: A Farmer’s Symphony: The
Harvesters; Goldmark: A Rustic Wedding
Symphony, op 26. Guests, Niagara Youth Orchestra members; Christie Goodwin, oboe.
1:45 pre-concert talk. Sean O’Sullivan Theatre, 500 Glenridge Ave., St. Catharines.
905-688-5550 ex 3257. $25-$37, $10(st).
— 3:00: Brantford Symphony Orchestra.
A Grand Afternoon for Singing. Guests: Chorus
Niagara; Robert Cooper, director; Grand River
Chorus; Richard Cunningham, director; Howard
Cable, conductor. 2:00 pre-concert chat. Sanderson Centre for the Performing Arts, 88 Dalhousie St., Brantford. 800-265-0710. $27$40, $14-$18(st), $5(eyeGO).
— 7:30: Achill Choral Society. On the
Lighter Side. A. Dale Wood, conductor. Mono
Community Centre, 754483 Mono Centre Rd.,
Mono Centre. 519-941-5089. $16, $14(sr/
st under 16).
— 7:30: Arcady. Young Artist Showcase. St.
Paul’s Anglican Church, 302 St. George St.,
Port Dover. 519-759-3805. $10, free(under
12).
— 8:00: Georgian Music. Inna Perkis &
Boris Zarankin: Piano 4 Hands. Brahms: 3
55
... CONCERTS: Further afield
Hungarian Dances & Russian Souvenir; works
by Schubert, Beethoven & Rossini. Collier
Street United Church, 112 Collier St. Barrie.
705-728-1630. Call for ticket prices.
Music Society. Gould String Quartet. Gould:
Quartet; & other works. KWCMS Music
Room, 57 Young St. W., Waterloo. 519886-1673. $20, $15(sr), $10(st).
Monday April 24
— 2:00: Stratford Festival. Oliver! Music
& lyrics by Lionel Bart. Festival Theatre, 55
Queen St., Stratford. 800-567-1600.
$28.75-$117.30. For complete run see music
theatre listings.
Tuesday April 25
— 2:00: Sanderson Centre for the Performing Arts. The Men of the Deeps – 40th
Anniversary Tour. 88 Dalhousie St., Brantford. 519-758-8090. $35.
Wednesday April 26
— 12:15: Centenary United Church. Midday Concert Series. Shawn Grenke, organ. 24
Main St. W., Hamilton. 905-526-1147. Freewill donation.
— 2:00: Shaw Festival. High Society. Music & lyrics by Cole Porter; book by Arthur
Kopit. Camilla Scott, Dan R. Chameroy, Patty
Jamieson, Jay Turvey, performers; Kelly Robinson, director; Paul Sportelli, musical director.
Festival Theatre, 10 Queen’s Parade, Niagara on-the-Lake. $22-$86. 800-511-7429.
Music Society. Canadian Guitar Quartet.
KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $25, $20(sr),
$15(st).
Thursday April 27
— 8:30: Aron Cinema. Josh Finlayson, Dallas & Travis Good & Greg Keelor. In concert
on vocals & guitar with Travis Good also on
fiddle. 54 Bridge St. E., Campbellford. 705653-5446. $20.
Friday April 28
— 7:30: Northumberland Centre of the
Royal Canadian College of Organists.
Lottie Enns-Braun in Recital. St. Mark’s Anglican Church, 51 King St., Port Hope. 905355-3116. Freewill donation.
— 7:30: One Voice Choir. Spring Concert.
Deb Thompson, accompanist; Angela Wakeford, director. St. Paul’s Anglican Church, 59
Toronto St. S., Uxbridge. 905-852-0084.
$12, free(under 12 accompanied).
— 7:30: Victorian Operetta Society. Seussical The Musical. Music by Stephen Flaherty;
lyrics by Lynn Ahrens. Guests: The Big Easy 7
Swing Band. Gillian Snook, director; Florence
Fletcher, producer. Victoria Hall Concert Hall,
55 King St. W., Cobourg. 905-372-2210.
$20, $15(12 & under). For complete run see
— 8:00: Capitol Theatre. Men of the
Deeps. 20 Queen St., Port Hope. 905-8851071. $41.
— 8:00: Intertwine. Woodstock Fanshawe
Singers & Oriana Singers. Works by Grandy &
Smallman. St. David’s United Church, 190
Springbank Ave., Woodstock. 519-5393428. $15.
Celebration Anniversary Concert. Works by
Beethoven with the Beaux Arts Trio, guests;
Raffi Armenian, director. Centre in the Square,
101 Queen St. N, Kitchener. 800-2658977. $45-$65.
— 8:00: Milton Concert Presentations.
Foothills Brass. St. Paul’s United Church, 123
Main St. E., Milton. 905-878-4732. $30,
$25(sr/st).
— 8:00: Showplace Performance Centre. Women’s Blues Revue. Rita Chiarelli,
Serena Ryder & Suzie Vinnick in concert. 290
George St. N., Peterborough. 705-7427469. $32.50, $5(eyeGO).
Saturday April 29
Grzegorz & Andrzej Krawiec: Guitar Duets.
Bach: Partita in B flat BWV 825 (trans. into F);
Chopin: Mazurka in F Op. 68 #3; Mazurka in f
sharp, Op. 6 #1; Mazurka in C, Op. 26 #2;
Kleynjans: 4 Mouvements; Granados: Walses
poeticos; Rodrigo: Tonadilla. St. Paul’s United,
123 Main St., Milton. 866-543-4352. $20,
$10(st).
— 7:30: Arcady. The Transcendent Violin.
Lucy-Ana Gaston, violin; Adam Gesjorskyj,
guitar & Anca Gaston, keyboard. St. Luke’s
Anglican Church, 130 Elgin St., Brantford.
519-759-3805. $20, $15(sr/st).
— 7:30: Dufferin Arts Council. Souvenirs.
Amy Dodington, soprano; Vojislav Perucica,
piano. Grace Tippling Concert Hall, Municipal
Offices, 203 Main St. E., Shelburne. 416231-9120. $15.
— 7:30: King Edward Choir. Night of the
Proms. Guests: Rob Townsend; string quartet.
Collier Street United Church, 112 Collier St.,
Barrie. 705-726-1916. $18, $15(sr/st).
— 7:30: Kitchener Waterloo Philharmonic Children’s Choir. Spring Concert.
Carol Giesbrecht, conductor. Benton St. Baptist Church, 90 Benton St., Kitchener. 800265-8971. $12, $8(sr/st), $5(under 14; eyeGo).
— 7:30: One Voice Choir. Spring Concert.
St. Paul’s Anglican Church. See Apr. 28.
— 7:30: Perimeter Institute. Classical
World Artists Series: Beaux Arts Trio.
Beethoven: Variations on “Ich bin der Schneider Kakadu” in G, Op. 121A; Shostakovich:
Trio #2 in e, Op. 67; Mendelssohn: Trio #1 in
d, Op. 49. Menahem Pressler, piano; Daniel
Hope, violin; Antonio Meneses, cello. 31 Caroline St. N., Waterloo. 519-883-4480. $42,
$30(st).***SOLD OUT***
— 7:30: Quinte Symphony. Elton Joel. With
Quinte Symphony Strings; Marc Dion, vocals.
Stirling Theatre, 41 West Front St., Stirling.
613-395-2100. $25.
— 8:00: Arkell Schoolhouse Concert
Series. Allison Lupton & Band. With Ian Bell,
Anne Lederman, Denis Rondeau & Geoff Somers. 843 Watson Rd. S., Arkell. 519-7637528. $20.
— 8:00: Bell’Arte Singers. Hear the Merry
Pipes! Works by Swayne, Argento, Vaughan
Williams & others. Ian Sadler, organ. First
United Church, 16 William St. W., Waterloo.
416-699-5879. $20, $15.
— 8:00: Folk Under the Clock. The Bills in
Concert. Guests: Marc Atkinson Trio. Market
Hall Theatre, 336 George St., Peterborough. 705-742-9425. $25(advance),
$28(door).
— 8:00: Friends of Music. Les Violons du
Roy. Works by Rossini, Respighi, Puccini &
Verdi. Port Hope United Church, 34 South St.,
Port Hope. 905-885-2393. $30, $15(st).
— 8:00: Intertwine. Woodstock Fanshawe
Singers & Oriana Singers. St. David’s United
Church, Woodstock. See Apr. 28.
— 8:00: John Laing Singers. Potpourri
Entre Amis. Music by Tomkins, Bruckner,
Poulenc, Dett, Sumsion & others. Guests:
Sainte-Anne Singers (Montreal). Christ’s
Church Cathedral, 252 James St. N., Hamilton. 905-628-5238. $22, $19(sr/st).
Orchestra. More Than Mozart. Arriaga: Symphony in D; Cannabich: Symphony #51 in D;
Kraus: Symphony in C Violin Obligato; Martini:
Cello Concerto in D; Mozart: Cosi fan Tutte
Overture. Alan Stellings, cello; Graham Coles,
conductor. Maureen Forrester Recital Hall,
Wilfrid Laurier University, 85 University Ave.
W., Waterloo. 519-744-3828. $19, $14(sr/
st), $5(eyeGO, free(under 10).
— 8:00: Opera Ontario. La Traviata. By
Verdi. Jeanine Thames, Marc Hervieux, John
Fanning, performers; Daniel Lipton, conductor.
Hamilton and Kitchener: for complete info
— 8:00: Peterborough Concert Association. Foothills Brass Quintet. 290 George St.
N., Peterborough. 705-741-0651. Call for
ticket prices.
Sunday April 30
— 2:00 & 7:00: Mélange. Marimba & Piano
Concert. Works by Rimsky-Korsakov, Bach,
Chopin, Prokofiev & others. Yente Kerr, marimba; Marcel Kobielsky, piano. Country Heritage Park, 8560 Tremaine Rd., Milton. 905849-0180. 2pm: $40(family), $15, $10(18 &
under); 7pm: $25, $15(18 & under).
— 2:00: Pickering Community Concert
Band. Spring Concert. Jenkins: American
Overture for Band; Debussy: Reverie; Bernstein: National Geographic Theme; Lloyd Webber: Jesus Christ Superstar & other works.
Guests: Durham Region Chamber Chorus; Andrew Locker, conductor. Forest Brook Community Church, 60 Kearney Dr., Ajax. 905-6839867. $10, $8(sr/st).
— 2:30: Belleville Choral Society. Annual Spring Concert. Guest: Clarion Brass Quin-
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Monday May 01
— 7:30: Performing Arts Bancroft. True
North Brass. Village Playhouse, 5 Hastings St.
N., Bancroft. 613-474-0975. $20.
Tuesday May 02
— 1:00 & 6:30: Sanderson Centre for the
Performing Arts. Hansel & Gretel. Members of the Canadian Opera Company perform
this opera by Engelbert Humperdinck. 88 Dalhousie St., Brantford. 519-758-8090. $12,
$16.
— 7:30: Leisa Way. Sweet Dreams: An
Evening with Patsy Cline. CD release party &
fundraiser for Theatre Orangeville. Leisa Way,
vocals. Orangeville Town Hall Opera House,
87 Broadway, Orangeville. 519-942-3423.
$25.
Wednesday May 03
— 12:15: Centenary United Church. Midday Concert Series. Simon Irving, organ. 24
Main St. W., Hamilton. 905-526-1147. Freewill donation.
— 2:00 Sanderson Centre for the Performing Arts. Stardust Follies. Broadwaystyle song-dance and comedy revue with numbers from the ‘20s to the present. John Dimon, director. 88 Dalhousie St., Brantford.
519-758-8090. $32.50 For complete run see
A masterful & unique blending of the arts…
Melange!
Marimba &
ȱ
Piano Concert
& Art Exhibition
Sunday, Apr il 30 th
Gambrel Barn
Country Heritage Park, Milton
2:00 p.m.
Includes Refreshments
Adult $15.00
Youth $10.00
Family $40.00
7:00 p.m.
Includes Cheese
se & Wine
Adult $25.00
Youth $15.00
Tickets: 905-849-0180
56
tet. Bridge Street Church, 60 Bridge St. E.,
Belleville. 613-962-9178 ex.74. $10.
— 3:00: Centenary Concert Series. Organ
Dances. Chilcott: Organ Dances for Strings,
Percussion & Organ; Bedard: Organ Concerto;
Daley: Trinitas for Organ. Shawn Grenke, organ; Norman Reintamm, conductor. Centenary
United Church, 24 Main St. W., Hamilton.
905-526-1147. $20.
— 3:00: Wellington Winds. Audience
Choice. William Tell Overture, 14th Juillet for
Brass Quintet and Winds & a work by Hindemith. Grandview Baptist Church, 250 Old
Chicopee Dr., Kitchener. 519-579-3097.
$20, $15.
— 7:30: Kitchener-Waterloo Singers.
Spring Concert. Christ the King United Church,
167 Thaler Ave., Kitchener. 519-578-5088.
$8.
Music Society. Foothills Brass. KWCMS
Music Room, 57 Young St. W., Waterloo.
519-886-1673. $20, $15(sr), $10(st).
www.melangeconcert.com
A PRIL 1 - M AY 7 2006
A PRIL 1 - M AY 7 2006
Back to Ad Index
Rethinking “Further Afield”: an invitation
Are you one of the readers less than thrilled by the Toronto-centric
arrangement of these “Further Afield” concert listings?
If so, you will probably be pleased to hear that we do know that
Toronto is not the centre of the universe and are even open to the
possibility that those of us who inhabit the metropolis are not a
superior breed of humanity.
So while referring collectively to communities as different and
remote from each other as, for example, Niagara Falls and Belleville,
London and Lindsay by the same term may appear hopelessly
arrogant, it is more an outgrowth of how we started than a
manifestation of pride.
It’s time to rethink “Further Afield”. Accordingly we invite readers
who live in parts of Southern Ontario other than Toronto to suggest
the geographic arrangement of listings, for concerts not in
Toronto, that best reflects your concert-going habits and
needs. While it seems obvious to us that concerts in London
should not be listed under the same rubric as concerts in Belleville,
it is less obvious to us if London and Hamilton belong together, or
Belleville and Haliburton.
Our aim is to make our listings as user-friendly as possible. We
think we should start with what our readers think.
Please address your comments and suggestions to
listings coordinator Vanessa Wells at
[email protected]
WITH ORGAN
& ORCHESTRA
F E AT U R I N G
Chilcott’s Organ Dances for
Strings, Percussion and Organ
Organ Concerto by Denis Bedard
Eleanor Daley’s Trinitas for Organ
S H AW N G R E N K E , O R G A N I S T
N O R M A N R E I N TA M M , C O N D U C T O R
Sunday, April 30th, 2006
at
3
p.m.
Centenary United Church
24 MAIN STREET WEST, HAMILTON, ON L8P 1H2
NORMAN REINTAMM
flat; Handel: Water Music Suite #1 in F.
With Chamber Orchestra. St. John’s United
Church, 11 Guelph St., Georgetown. 905877-8321. $25.
— 8:00: Kitchener Waterloo SymphoThursday May 04
ny. The Music of Robert Farnon. The Centre
— 8:00: Kitchener Waterloo Symphony. in the Square, 101 Queen St. N., KitchenThe Music of Robert Farnon. Harry Currie,
er. See May 5.
host/co-conductor; Brian Jackson, piano/co— 8:00: Kitchener-Waterloo Chamber
conductor. River Run Centre, 35 Woolwich St., Music Society. Wellington Winds Annual
Guelph. 800-265-8977. $37-$41.
Chamber Concert. Works by Walton, Façade &
Stravinsky. KWCMS Music Room, 57 Young
Friday May 05
St. W., Waterloo. 519-886-1673. $15,
— 7:30: One Voice Choir. Older Songs and $10(sr), $8(st).
Spiritual Music. Angela Wakeford, director.
— 8:00: York Symphony Orchestra. A
Thomas Foster Memorial, 9449 Regional Rd.
Night at the Proms. Classic highlights of the
Durham 1/Conc.7, Uxbridge. 905-640-3966. Proms, including Saint-Säens: Concert Piece
Admission by donation.
for Horn & Orchestra. Elke Eble-Streisslberg— 8:00: Capitol Arts Centre. Michael Kaes- er, french horn. Trinity Anglican Church, 79
hammer & Harry Manx in Concert. Michael
Victoria St., Aurora. 416-410-0860. $22,
Kaeshammer, piano; Harry Manx, Mohan Vee- $17(sr/st), $5(under 12).
na/lap steel/harmonica/banjo. 20 Queen St.,
Sunday May 07
Port Hope. 905-885-1071. $31.
— 8:00: Georgetown Choral Society. Elijah. — 2:30: Kitchener Waterloo Symphony.
By Felix Mendelssohn. Mark Dubois, tenor; Bruce To the Sea. Music by Debussy, R. Strauss,
Kelly, baritone. Georgetown Christian Reformed
Wagner, and Mendelssohn. Joana Carniero,
Church, 11611 Trafalgar Rd., Georgetown.
guest conductor. The Centre in the Square,
905-873-7458. $20, $15(sr/st).
101 Queen St. N., Kitchener. 800-265— 8:00: Kitchener Waterloo Symphony. 8977. $13-$37.
The Music of Robert Farnon. Harry Currie,
— 3:00: Georgetown Bach Chorale. Gala
host/co-conductor; Brian Jackson, piano/coConcert. Bach: Kantata BWV 79, “Gott der
conductor. The Centre in the Square, 101
Herr ist Sonn und Schild”; Mass BWV 27 in F;
Mozart: Piano Concerto K. 499 #14 in E flat;
$15-$50.
Handel: Water Music Suite #1 in F. With
Chamber Orchestra. St. James Anglican
Music Society. Eric Himy, Piano. KWCMS
Church, 6029 Old Church Rd, Caledon East.
Music Room, 57 Young St. W., Waterloo.
905-877-8321. $25.
519-886-1673. $25, $20(sr), $15(st).
— 3:00: La Jeunesse Youth Orchestra.
Sonic Bloom! Addinsell: Warsaw Concerto &
Saturday May 06
other works. Guest: Catherine Wilson, piano.
— 9:15am: Kitchener Waterloo Sympho- Port Hope United Church, 34 South St., Port
ny. Kinderconcert Series. Also 10:15 &
Hope. 905-372-2210. $15, $12(st),
11:15am. The Lobby, The Centre in the
$40(family).
Square, 101 Queen St. N., Kitchener. 800— 3:00: Monday Morning Singers. Wom265-8977. $11-$13.
en’s Work. St. Paul’s Anglican Church, 59 To— 1:00 & 4:00: Theatre Aquarius. Pinocronto St. S., Uxbridge. 905-852-7507. Adchio. Adaptation by Jim Eiler; music by Jim
mission by donation.
Eiler & Jeanne Bargy. 190 King William St.,
— 3:00: Wellington Winds. Audience
Hamilton. 905-522-7529. $11. For comChoice. William Tell Overture, 14th Juillet for
plete run see music theatre listings.
Brass Quintet and Winds & a work by Hin— 4:00 to 10:30: Malhar Group. South
demith. First United Church, 16 William St.,
Asian Heritage Musical Festival of Hamilton. Waterloo. 519-579-3097. $20, $15.
Day of dance, instrumental and vocal recitals. — 7:30: Achill Choral Society. On the
Downtown Arts Centre, 28 Rebecca St.,
Lighter Side. A. Dale Wood, conductor. ShelHamilton. 905-627-7496. $50, $25, $20.
burne Legion, 203 William St. 519-941— 7:30: Chorus Niagara. Primadonna Cho- 5089. $16, $14(sr/st under 16).
ralis. Mary Lou Fallis, performer. 89 Scott St., — 7:30: Kitchener-Waterloo Singers.
St. Catharines. 905-688-5550 ex.3257.
Spring Concert. St. George of the Forest Hill
$30, $28(sr), $15(st).
Anglican Church, 321 Fischer-Hallman Dr.,
— 7:30: Georgetown Choral Society.
Kitchener. 519-578-5088 $8.
Elijah. Georgetown Christian Reformed
— 7:30: Organix 06. Music for Organ and
Church. See May 5.
Violin. Karg-Elert, Marchand, Albinoni, Wagner,
— 7:30: Kitchener Waterloo PhilharMozart & others. Jacques Israelievitch, violin;
monic Chamber Singers. Maureen Forrest- Elke Völker, organ. Orillia Presbyterian Church
er. Stravinsky: Symphony of Psalms; Britten:
(St. Andrew’s), 99 Peter St. N., Orillia. 416Hymn to St. Cecilia; Vaughan Williams: Three 241-9785. $10, $5.
Shakespeare Songs. Howard Dyck, conductor. — 8:00: Symphony Hamilton. The Glory of
Recital Hall, Wilfred Laurier University, 75
Spring. Beethoven: Mass in C Op. 86; SymphoUniversity Ave. W., Waterloo. 800-265ny #6 in F, Op. 64 Pastoral. Mohawk College
8977. $23, $5(under 14; eyeGo).
Singers; Michael Jarvis, director; Carolyn
— 7:30: Musica St. James/Sine Nomine.
Sinclair, soprano; Sophie Roland, mezzo; Todd
Et Expecto Resurrectionem: Music of Spring
Wieczorek, baritone; Torin Chiles, tenor. Cenand New Life. St. James Anglican, 137
tenary United Church, 24 Main St. W., HamilMelville St., Dundas. 905-627-1424. $20.
ton. 905-526-6690. $25, $10(sr/st), $5(ch).
— 8:00: Georgetown Bach Chorale. Gala
Concert. Bach: Kantata BWV 79, “Gott der
Herr ist Sonn und Schild”; Mass BWV 27 in
F; Mozart: Piano Concerto K. 499 #14 in E
SHAWN GRENKE
Canadian Chamber Ensemble Series: Beloved
Serenade. First United Church, 16 William St.
W., Waterloo. 800-265-8977. $12-$26.
TICKETS $20 - LIMITED SEATING - RESERVE EARLY
FOR TICKETS OR INFORMATION CONTACT
905-522-6843 • www.centenaryunited.com
57
LISTINGS
Opera
Music Theatre
Dance
$55(Apr. 21, prev.).
Kurt Weill in America: A Musical
Theatre Entertainment. University of
Toronto Faculty of Music. Apr 22: 7:30,
Apr 23: 2:30. Walter Hall, 80 Queen’s Park.
416-978-3744. $13, $7.
La Traviata. Opera Ontario. Music by
Verdi. Jeanine Thames, Marc Hervieux, John
Fanning, performers; Daniel Lipton,
conductor. Apr. 29, May 4, 6: 8:00: Great
Hall, Hamilton Place, 1 Summers Lane,
Hamilton. $24-$90. May 12: 8:00, May 14:
Performances are listed
2:00: Centre in the Square, 101 Fredrick St.,
by show title
Kitchener. $25-$85. 800-265-8977.
Little Red Riding Hood. Solar Stage
Absences. Dancemakers. Serge Bennathan,
Children’s Theatre. Musical play for ages
artistic director; Eve Egoyan, piano. Apr. 25-29,
4 to 10. Apr. 29, May 6-7: 11am & 2:00.
May 3-6: 8:00. Premier Dance Theatre,
4950 Yonge St. 416-368-8031. $13.
Harbourfront Centre, 207 Queen’s Quay W. 416John
Fanning
is
Germont
in
Opera
Man of La Mancha. A.C.T. Productions.
973-4000. $21-$38; $17-$27(sr/st/CADA).
Apr 20-22, 27-29: 8:00; Apr 23 & 30: 2:00.
Ontario’s La Traviata
Anything Goes. Spotlight Musical
Heritage Theatre, 86 Main St. N., Brampton.
Productions. By Cole Porter. Apr. 27-29:
905-874-2800. $35; $33(sr/st); $28(grp).
Falsettos. Theatre Sheridan. Music &
8:00. Fairview Library Theatre, 35 Fairview
lyrics by William Finn. April 13, 15, 18-22:
Musical
Theatre. Three of a Kind.
Mall Dr. 416-221-3904. $18.
8:00; April 15, 22: 2:00. 1430 Trafalgar Rd., Jennifer Friesen, Corinne Lynch & Laura
Beneath the Banyan Tree. Theatre
Oakville. 905-815-4049. $16, $13(alumni,
Schatz, performers. May 7: 7:30. Upper
Direct Canada. Dance, music and puppetry. Sheridan f/t st).
Bluma Cabaret, St. Lawrence Centre, 27 Front
Lata Pada, choreography; Lynda Hill, director;
St. E. 905-792-7626. $15.
Fiddler on the Roof. Scarborough
Edgardo Moreno, composer. Apr. 23: 2:30:
Choral Society. Music by Jerry Bock, lyrics My Fair Lady. Hamilton Theatre Inc.
Isabel Bader Theatre, 93 Charles St. W. 416by Sheldon Harnick, book by Joseph Stein.
Music by Frederick Loewe; lyrics by Alan Jay
978-8849. $25, $10(ch). With silent auction.
Brian Thomas & other performers. Apr. 21Lerner. Apr. 13-15, 21-22, 28-29: 8:00; Apr.
Apr. 29: 4:00: Mississauga Valley Community
22, 28-29: 8:00; Apr. 22-23, 29-30: 2:00.
23: 2:00. Downtown Cultural Centre, 28
Centre, 1275 Mississauga Valley Blvd.,
Armenian Youth Centre Theatre, 50
Rebecca St., Hamilton. 905-522-3032. $20,
Mississauga. 416-537-4191. $10.
Hallcrown Place. 416-293-3981. $25,
$18(sr/st).
Cabaret. Scarborough Music Theatre.
$23(sr), $18(youth).
Norma. Canadian Opera Company.
Music by John Kander, lyrics by Fred Ebb.
Hair. CanStage. Book & lyrics by Gerome
Music by Bellini. Elena Prokina, Mariana
May 4- 6: 8:00. May 7: 2:00. Scarborough
Ragni and James Rado; music by Galt
Kulikova, Mikhail Agafonov, Zdenek Plech &
Village Theatre, 3600 Kingston Rd. 416-396MacDermot. Various times & dates. Bluma
other performers; David T.Heusel, conductor.
4049. $21; $18(sr/st Th eve and Sun mat
Appel Theatre, 27 Front St. E. 416-368Apr. 4, 7,12,15: 7:30; Apr 9: 2:00. Preonly); $18(grps 15+).
3110. $36-$89, $51(sr), $26(under 30).
Performance Opera Chat, 45 minutes before
Catch a Rising Star. Theatre Sheridan.
each performance. Hummingbird Centre for
Hansel & Gretel. Sanderson Centre for
A revue by Sheridan performance students.
the Performing Arts. Members of the Canadi- the Performing Arts, 1 Front St. E. 416-872Apr. 11-13, 15, 18-22: 8:00; Apr. 15, 22:
2262. $18-$175.
an Opera Company perform this opera by Engel2:00. 1430 Trafalgar Rd., Oakville. 905-815bert Humperdinck. May 2: 1:00 & 6:30. 88 Dal- Oklahoma! Brampton Music Theatre. By
4049. $19-$25, $16(alumni/Sheridan f/t st).
housie St., Brantford. 519-758-8090. $12, $16. Rodgers and Hammerstein. Apr. 6-8, 13-15:
Chicago. Etobicoke Musical
8:00; Apr. 9: 2:00. Lester B. Pearson Theatre,
High Society. Shaw Festival. Music &
Productions. Music by John Kander, lyrics
150 Central Park Dr., Brampton. 905-874lyrics by Cole Porter; book by Arthur Kopit.
by Fred Ebb. Apr 21-22, 28-29, May 5: 8:00;
2800. $15(Apr. 6), $20, $18(sr/st/youth).
Camilla Scott, Dan R. Chameroy, Patty
Apr 23, 30, May 6: 2:00. Burnhamthorpe
Jamieson, Jay Turvey, performers; Kelly
Oliver! Stratford Festival. Music & lyrics
Auditorium, 500 The East Mall, Etobicoke.
Robinson, director; Paul Sportelli, musical
by Lionel Bart. Apr. 24-Oct. 29, various dates
416-248-0410. $22, $16(up to 16 yrs),
director. Previews begin Apr. 26 2:00.
and times. Festival Theatre, 55 Queen St.,
$19(groups of 10+).
Festival Theatre, 10 Queen’s Parade, Niagara Stratford. 800-567-1600. $28.75-$117.30.
Corpus Dance Projects. Danceworks. May on-the-Lake. 800-511-7429. $22-$86.
Oliver! Yorkminstrels. By Lionel Bart. Apr.
4-6: 8:00. Harbourfront Centre Theatre, 235
Jai Sri Rama. Chitralekha Odissi Dance 22, 27-29: 8:00; Apr. 23, 29-30: 2:00. Leah
Queen’s Quay W. 416-973-4000. $16-$25.
Creations. Classic odissi Indian dance. Apr.
Posluns Theatre, 4588 Bathurst St. 416-291Dancing Shoes. Bata Shoe Museum.
22: 8:00. Studio Theatre, 5040 Yonge St.
0600. $28.50, $23.50(sr), $21(st under 19),
Dance performances in different styles. Apr.
416-872-1111. $21.50.
$23.50(grps 20+). Portion of proceeds
6: Highland; Apr. 20: Belly Dancing: 6pm. 327
Jesus Christ Superstar. County Theatre toward North York Women’s Shelter. NonBloor St. W. 416-979-7799, ex.242. Free.
perishable food item encouraged.
Group. Music by Andrew Lloyd Webber,
DW157—Double Story. DanceWorks.
lyrics by Tim Rice. Greg Garrett, musical
Orfeo. Opera Atelier. By Monteverdi. Carla
Two duets from Kidd Pivot: The Bouncy
director. Apr. 1: 8:00; Apr. 2: 3:00. Regent
Huhtanen, soprano; Stephanie Novacek,
Woman Piece & Man Asunder. Crystal Pite,
Theatre, 224 Main St., Picton. 613-476mezzo; Daniel Belcher, baritone; Colin
dance/choreography/artistic director; Richard
7042. $20.
Ainsworth, tenor; Olivier Laquerre, bassSiegal: dance/choreography; Labrosse,
baritone & other performers; artists of the
Joseph and the Amazing Technicolor
composer/performer. Apr. 28-29: 8:00.
Aterlier Ballet; Tafelmusik Baroque Orchestra
Dreamcoat. Scugog Choral Society. By
Harbourfront Centre Theatre, 231 Queen’s
Andrew Lloyd Webber and Tim Rice. Apr. 1, 6- & Chamber Choir; David Fallis, conductor.
Quay W. 416-973-4000. $25; $16(sr/st/
Apr.15,18, 20, 22: 7:30; Apr. 23: 3:00. Elgin
8: 8:00; Apr. 1, 8: 2:00. Town Hall 1873,
CADA/WIFT/SCDS).
Theatre, 189 Yonge St. 416-872-5555. $30302 Queen St., Port Perry. 905-985-1965.
$107.
DW158—Corpus. DanceWorks. Two is
$20, $14(sr/st).
Company, dance duet première. Peter
Pinocchio. Aquarius Theatre. Adaptation
Kismet. Toronto Operetta Theatre.
Mundinger, composer; Sylvie Bouchard, David
by Jim Eiler; music by Jim Eiler & Jeanne
Elizabeth de Grazia; Gabrielle Prata; Peter
Danzon, choreography/artistic directors. May
Bargy. May 6, 7: 1:00 & 4:00. 190 King
McCutcheon; Keith Savage; Derek Bate,
4-6: 8:00. Harbourfront Centre Theatre, 231
conductor. Apr. 21-22, 28-29: 8:00; April 26 William St., Hamilton. 905-522-7529. $11.
Queens Quay W. 416-973-4000. $25,
& 30: 2:00. Jane Mallett Theatre, 27 Front
Ragtime. City Centre Musical
$16(sr/st/CADA/WIFT/SCDS).
St. E. 416-366-7723. $35-$75, $35Productions. Music by Stephen Flaherty,
58
Back to Ad Index
lyrics by Lynn Ahrens. Apr. 1: 2:00 & 8:00.
Meadowvale Theatre, 6315 Montevideo Dr.,
Mississauga. 905-615-4720. $21, $19(sr/st).
Reminiscing, Songs of the 70s. Justus
and Friends. Apr. 20-22: 8:00; Apr. 2223: 2:00. Meadowvale Theatre, 6315
Montevideo Dr., Mississauga. 905-6154720. $20, $15(sr/st some performances).
Seussical The Musical. Victorian
Operetta Society. Music by Stephen
Flaherty; lyrics by Lynn Ahrens. Guests: The
Big Easy 7 Swing Band. Gillian Snook,
director; Florence Fletcher, producer. Apr. 2830, May 4-6: 7:30; Apr. 29-30, May 6: 2:00.
Victoria Hall Concert Hall, 55 King St. W.,
Cobourg. 905-372-2210. Call for ticket prices.
Song & Dance. Andrew Lloyd Webber.
Music by Andrew Lloyd Webber, lyrics by Don
Black. Louise Pitre, Rex Harrington, Evelyn
Hart, performers; Wayne Sleep, choreography;
Trudy Moffatt, director/producer. May 4-7
previews: Thur-Sat: 8:00; Sat 2:00; Sun 3:00.
Danforth Music Hall, 147 Danforth Ave. 416870-8000. $25-$49(previews).
Stardust Follies. Sanderson Centre.
Broadway-style song-dance and comedy revue
with numbers from the ‘20s to the present.
John Dimon, director. April 5, 12, 19, 26,
May 3: 2:00. 88 Dalhousie St, Brantford.
519-758-8090, 800-265-0710. $32.50.
Stars of the 21st Century. Koffler
Centre of the Arts. Classical and
contemporary ballet program. May 7: 5:30.
Main Stage, 5040 Yonge St. 416-872-1111.
$65.95-$178.30. Benefit for the Koffler
Centre.
The Last Resort. Drury Lane Theatrical
Productions. A Canadian musical mystery.
Donna Dunn-Albert, music director. May 4-6:
8:00. 2269 New St., Burlington. 905-6373979. $23, $21(sr/st), $15(under 12). For
The Lord of the Rings. Mirvish
Productions. Lyrics by Shaun McKenna and
Matthew Warchus; music by A.R. Rahman and
Värttinä with Christopher Nightingale. To June
26. Princess of Wales Theatre, 300 King St.
W. 416-872-1212. $78-$125.
The Sound of Music. Curtain Call
Players. By Rodgers and Hammerstein. April
1, 6-8: 8:00; April 2 & 8: 2:00. Fairview
Library Theatre, 35 Fairview Mall Dr. 416703-6181. $21; $19(grps 10+).
The Wizard of Oz. Marion Abbott’s
Performing Arts Studio. Apr. 21-22: 8:00;
Apr. 22: 2:00. Cyril Clark Library Theatre, 20
Loafer’s Lake, Brampton. 905-450-7091. $15.
The Yeomen of the Guard. Scarborough
Gilbert & Sullivan Society. Brian Farrow,
music director; Debbie Yuen, artistic director;
Stan Farrow, piano accompanist. Apr. 21-22,
28-29: 8:00; Apr. 23, 30: 2:00. David and
Mary Thomson Collegiate Institute, 2740
Lawrence Ave. E., Scarborough. 416-4241850. $15, $12(sr/ch).
Wozzeck. Canadian Opera Company.
Music by Berg. Pavlo Hunka, Giselle Allen,
Richard Berkeley-Steele, Robert Künzli;
Richard Bradshaw, conductor. Apr. 5, 8, 11,
13: 7:30; Apr 2: 2:00. Pre-Performance
Opera Chat, 45 minutes before each
performance. Hummingbird Centre for the
Performing Arts, 1 Front St. E. 416-8722262. $40-$175; $18-$88 (17 & under).
A PRIL 1 - M AY 7 2006
LISTINGS
Jazz Clubs
1055 Restaurant and Bar
1055 Yonge St. 416-482-8485
Alleycatz
2409 Yonge St. 416-481-6865
Every Mon Salsa Night. Every Tue Chris
Plock. Every Wed Jasmin Bailey and Co. Every Thu Peppa Seed.
Arbor Room
Hart House @ the University of Toronto, 7 Hart
House Circle. 416-978-2452
Ben Wicks 424 Parliament
416-961-9425 www.benwickspub.com
Black Swan
154 Danforth Avenue 416-469-0537
Every Mon Laura Hubert Band. Every Wed
Mike MacDonald Open Stage Jam. Every Sat
The Happy Pals. Every Sun Nicola Vaughan
Acoustic Jam, The Nationals with Brian Cober.
Apr 1 The Ray. Apr 5 Mack and Hunt. Apr 7
Julian Fauth. Apr 8 Ricky and the Dirt Squirrels.
Apr 12 Mack and Hunt. Apr 13 The Damn
Neighbors. Apr 14 Mike McKenna Birthday
Party. Apr 15 Chris Lord Ideal. Apr 21 Kenny
Brown and the Pervaders. Apr 22 The Fire Numbers. Apr 28 Frankie Foo.
Every Tues. Stacie McGregor. Every Wed
Jim Heinenan Trio. Every Thu Blues Night with
Special Guest Vocalists. Every Fri/Sat All Star
Bourbon Street Band. Every Sun Robi Botos.
Home Smith Bar The Old Mill,
21 Old Mill Road, 416-236-2641
www.oldmilltoronto.com
Apr 7 Bob Brough Trio. Apr 21 Doug Watson
Trio. Apr 28 Peter Smith Trio.
Orbit Room
508A College St. 416-535-0613
Hot House Café, Market Square,
416-366-7800 Jazz brunch
Every Sunday, with the Ken Churchill Quartet.
Hugh’s Room
2261 Dundas W., 416-531-6604
www.hughsroom.com
Odd Socks at Dovercourt House
805 Dovercourt Rd. 416-537-3337
Swing Dances, Lessons and Concerts.
The Old Mill
21 Old Mill Road, 416-236-2641
Apr 7 the Galaxy All-Star Orchestra.
Pilot Tavern
22 Cumberland 416-923-5716
www.thepilot.ca
Jazz every Sunday afternoon – Laila Biali Trio
(twice a month) and others.
Apr 1 Rob Campbell Quartet. Apr 8 Mike Murley Quartet. Apr 15 Barry Elmes Quartet.
The Red Guitar
603 Markham St. 416-913-4586
www.theredguitar.com
Le Saint Tropez
Apr 1 Kirk MacDonald Trio. Apr 2 Shelly Hamil315 King St. W. 416-591-3600
Cameron House
ton . Apr 4 Douglas Cameron, Joni NehRita w/
Live music 7 days a week.
408 Queen St. West. 416-703-0811
Eli Eisenberg. Apr 5 Tania Gill Trio, Anthony
Lula Lounge
C’est What 67 Front St. E.
Michelli Trio Bass-less. Apr 6 Guest Artist/
1585 Dundas W. 416-588-0307
Every Sat (matinee) The Hot Five Jazzmakers
Curator Tara Davidson Trio features John Mahawww.lula.ca
raj and Anthony Michelli, Monks Music and
Chick N’Deli
Apr 1 Cache. Apr 2 Theta. Apr 3 Putumayo
More: Featuring 4 in 1. Apr 8 Monks Music and
744 Mount Pleasant Rd. 416-489-3363
Presents: Brazilian Lounge CD Launch. Apr 4 City More: Featuring Mike Murley Trio. Apr 8 Monks
www.chickndeli.com
Tales and Jazz. Apr 5, 6 Saoco; Reflections of
Music And More: Marilyn Lerner’s Stuck Trio.
Apr 3 The Advocats Big Band. Apr 6, 7, 8 The
Cuban Dance and Music. Apr 7 Mapale. Apr 8
Apr 9 Vincent Wolfe. Apr 11 Romina Di GasbarZoo. Apr 13, 14, 15 Nightfly. Apr 20, 21, 22
Ricky Franco. Apr 11 Rita Di Ghent & the
ro Ensemble. Apr 12 Nate Renner Trio, Nancy
The Nomads.
Sprawl Project Featuring Brownman. Apr 12
Walker Trio. Apr 13 Tara Davidson Trio features
Nuno Cristo: Travels in Lusomania. Apr 13 Kobo- David Occhipinti and Mike McLennan. Apr 14
Le Commensal
town. Apr 14 Bio Ritmo Salsa Machine. Apr 15
655 Bay St. 416-596-9364
Richard Underhill Trio. Apr 15 Graig Earle and
Café Cubano. Apr 19 Red: A Night of Live PerformMusic Fridays & Saturdays
Pet Douglas. Apr 16 Diane Alcorn. Apr 18 Danance. Apr 20 David Buchbinder’s Shurum Burum Big iel Howlett, Lushus. Apr 19 John Russon Quar6:30 pm - 9:30 pm No Cover Charge
Band! Apr 21 Café Cubano. Apr 21 Willie and Lobo. tet, Nehring/Koller & Braid. Apr 20 Guest Artist/
Gate 403
Apr 28 Energia Latina. Apr 29 Cache.
Curator Tara Davidson’s Trio featuring Elie Katzin
403 Roncesvalles 416-588-2930
and Brandi Disterheft. Apr 21 Steve Koven Trio.
Liberty Bistro and Bar
www.gate403.com
Apr 22 Corry’s Rip-Your-Heart-Out Standards
Apr 1 Bill Haffemen and his friends, Sabor Latin 25 Liberty St. @ Atlantic 416-533-8828
Band. Apr 23 Jen Sagar. Apr 25 Michelle RumJazz Band. Apr 2 Marieve Herington Jazz Band. Apr 1 Karen Manion.
ball, Kelly Perras. Apr 26 Jonno Lightstone’s
Apr 3 Manouchka. Apr 4 Julian Fauth/James
Mezzetta
Yiddish Swingtet, Matthew Stevens Quartet.
Thomson Blues Duo. Apr 5 Michael Boguski
681 St. Clair Ave. W. 416-658-5687
Apr 27 Guest Artist/Curator Tara Davidson’s
Piano Solo, Grand Slam Arts Jam Night. Apr 6
“Wednesday Concerts in a Café” Sets at 9 and
Trio features William Carn, David Occhipinti and
Jonathan Kay and the Peddlers. Apr 7 Mr. Sean
10:15. Reservations recommended for first set. John Maharaj. Apr 28 Inside Out Trio Featuring
Singer Art Opening, Jen Sagar Jazz Trio. Apr 8
Lorne Lofsky. Apr 29 David Buchbinder Q-tet.
Bill Haffemen and his Friends, Hogtown Syncopa- Mezzrows
Apr 30 Stephanie Martin.
1546 Queen St. W. 416-658-5687
tors – Jazz Swing and Jump. Apr 9 Cocktail
Parkdale neighborhood pub featuring jazz and
Jazz Band. Apr 10 Thomas Juhas Jazz Band.
The Reservoir Lounge
Apr 11 Julian Fauth/James Thomson Blues Duo. blues on Saturday afternoons, Sunday evenings,
52 Wellington 416-955-0887
and a live jam every other Wednesday.
Apr 12 Michael Boguski Piano Solo. Apr 13
www.reservoirlounge.com
Synthetic Lounge Project. Apr 14 Laura Hubert.
Every Mon Sophia Perlman and the Vipers.
Mod Club Theatre
Apr 15 Bill Haffeman and his Friends, Amanda
Every Tues Tyler Yarema and his Rhythm.
722 College St. www.themodclub.com
Martinez Latin Jazz Duo. Apr 16 Peter Hill Jazz
Every Wed Bradley and the Bouncers.
Duo. Apr 17 Victoria Sanjana Jazz Duo. Apr 18 Montreal Bistro
Every Thu Janice Hagen.
Julian Fauth/James Thomson Blues Duo. Apr 19 65 Sherbourne. 416-363-0179
Every Fri Chet Valiant Combo.
www.montrealbistro.com
Michael Boguski Piano Solo. Apr 20 Jonathan
Every Sat Tory Cassis.
Apr 1 Mark Eisenman Trio. Apr 2 George GrosKay and the Peddlers. Apr 21 Sweet Derrick
The Rex Jazz and Blues Bar
man & Swing Noir. Apr 4 Kinga Gorny w/ Don
Blues Band. Apr 22 Bill Haffemen and his
friends, Ian Lazarus Jazz Trio. Apr 23 Elizabeth Thompson Trio. Apr 5 Babes in Jazzland. Apr 6- 194 Queen St. W. 416-598-2475
www.therex.ca
8 Doug Riley/Jim Galloway Quartet. Apr 11
Shepherd Jazz Duo. Apr 24 Steve Bijakowski
Jazz Band. Apr 25 Julian Fauth/James Thomson John Neudorf Quintet. Apr 12 Julie Mahendran Apr 1 Ed Vokurka Swing Ensemble, Rivethead,
Laura Hubert Trio, Marilyn Lerner. Apr 2 7 o’
Blues Duo. Apr 26 Michael Boguski Piano Solo. Quartet. Apr 13-15 Ian Bargh Trio. Apr 17
Clock Big Band, Excelsior Jazz Band, Kenny KirkMichael Dunston “SPIRIT”. Apr 18 Melissa
Apr 28 Mr. Rick and the Biscuits. Apr 29 Bill
Boyce Quartet. Apr 19 Maureen Kennedy Quar- wood, David Hutchinson Trio. Apr 3 French and
Haffeman and his friends, Sum of 5ive. Apr 30
tet. Apr 20-22 Denny Christianson Quintet. Apr Simao, Humber College Jazz Ensembles. Apr 4
Mark Cashion.
Ross Woolridge Trio, Classic Rex Jazz Jam. Apr
24 Gary Morgan and PanAmericana Big Band.
Graffitti’s Bar and Grill
5 Brandi Disterheft Ensembles, ASJ Quartet.
Apr 25 Sarah Jerrom Quintet. Apr 26 Suzana
170 Baldwin St. 416-506-6699
Da Camara Quintet. Apr 27-29 Gene DiNovi and Apr 6 Kevin Quain, Christine Jensen. Apr 7
Every Wed. 6-8 James and Jay.
Dave Young Duo “Annual Duke Ellington Birthday Artie Roth Trio, Christine Jensen. Apr 8 Ed
Vokurka Swing Ensemble, Swing Shift Big Band,
Bash.” May 1 Julie Michels Trio. May 2 Slide
Grasshopper Jazz and Blues Bar
Hampton & Russ Little Quintet. May 3 Rosanne Laura Hubert Trio, Tara Davidson Quintet. Apr 9
460 Parliament St. 416-323-1210
Youanoo, The Red Peppers, Kenny Kirkwood,
Agasee Quintet.
Grossman’s Tavern
James Brown Quartet. Apr 10 David French
N’Awlins Jazz Bar and Dining
379 Spadina Ave. 416-977-7000
Trio, Humber College Jazz Ensembles. Apr 11
299 King St. W. 416-595-1958
www.grossmanstavern.com
Ross Woolridge Trio, Classic Rex Jazz Jam. Apr
A PRIL 1 - M AY 7 2006
Boiler House
55 Mill St. 416-203-2121
Back to Ad Index
12 Brandi Disterheft Ensembles, Graig Earle
Trio. Apr 13 Kevin Quain, Dave Young Octet.
Apr 14 Artie Roth Trio, Dave Young Octet. Apr
15 Ed Vokurka Swing Ensemble, Chris Hunt
Tentet +2, Laura Hubert Trio, Bernie Senensky
Septet. Apr 16 Youanoo, Club Django, Kenny
Kirkwood, Baldori & Seeley Boogie. Apr 17
French and Simao, Humber College Jazz Ensembles. Apr 18 Ross Woolridge Trio, Classic Rex
Jazz Jam. Apr 19 Brandi Disterheft Ensembles,
CD Release: The Worst Pop Band Ever. Apr 20
Kevin Quain, Kevin Dean’s Big Organ Band. Apr
21 Artie Roth Trio, Kevin Dean’s Big Organ Band.
Apr 22 Ed Vokurka Swing Ensemble, Mike McClennan Octet, Laura Hubert Trio, The Jazz Navigators. Apr 23 Youanoo, Club Django, Kenny
Kirkwood, The Peddlers. Apr 24 French and Simao, John MacLeod’s Rex Hotel Orchestra. Apr
25 Ross Woolridge Trio, Classic Rex Jazz Jam.
Apr 26 Brandi Disterheft Ensembles, Aiseiri
Quintet. Apr 27 Kevin Quain, Mike Murley Septet. Apr 28 Kevin Mannaugh, Mike Murley Septet. Apr 29 Ed Vokurka Swing Ensemble, The
TJO Big Band, Laura Hubert Trio, Stevens and
Reynolds. Apr 30 Youanoo, Freeway Dixieland,
Kenny Kirkwood, Jay Boehmer.
Safari Bar and Grill
1749 Avenue Rd. 416-787-6584
Every Tues Encore Jazz
Sassafraz
100 Cumberland 416-964-2222
Thu-Sun Washington Savage.
Sat, Sun Roy Patterson Trio.
Spezzo Ristorante
140 York Blvd. Richmond Hill,
905-886-9703
Live jazz Every Thursday.
The Trane Club
964 Bathurst St. 416-913-8197
Wolfgang Puck Grand Café
6300 Fallsview Boulevard Niagara Falls
1-905-354-5000
Zazou 315 King St. W.
Live jazz Every Fri and Sat Elizabeth Shepherd/solo piano night
59
ANNOUNCEMENTS, LECTURES,
MASTERCLASSES, ... ETCETERA
MASTER CLASSES
*April 2 2:30: Singing Studio of Deborah Staiman. Master classes in show tunes
interpretation; dramatic workshops in musical
theatre. Yonge & Eglinton area – please call
for exact location. 416-483-9532.
house, University College, 79A St. George St.
ANNOUNCEMENTS
*April 3 2:00: University of Toronto
416-363-8231. $25, $5(full-time st).
*April 6 6:00: Canadian Opera CompaFaculty of Music. Opera master class with
ny. 7th Annual Fine Wine Auction. Cocktails,
Edith Wiens. Torel Room, Edward Johnson
Faculty
of
Music.
Lecture-demonstration
by
7pm live auction; also silent auction. Stephen
Bldg, 80 Queen’s Park. 416-978-3744. Free.
Ranger, auctioneer. Crush Wine Bar, 455 King composer Brian Cherney. Walter Hall, 80
St. West. 416-306-2305, www.coc.ca $35. Queen’s Park. 416-978-3744. Free.
Faculty of Music. Oratorio and lieder master
All proceeds are in support of the COC.
*April 16 11am: Miles Nadal Jewish
class with Edith Wiens. Torel Room, Edward
Community Centre. Great Jewish Compos- Johnson Bldg, 80 Queen’s Park. 416-978*To April 30: Opera Atelier. Setting the
ers
of
Broadway.
Lecture
by
musician/host
Stage: 20 years of Design for Opera Atelier.
3744. Free.
Jordan Klapman, with music by Bernstein and
20th anniversary exhibit featuring the set
*April 7 10am-12 noon & 2:00-4:00: The
Sondheim. 750 Spadina Ave. 416-924-6211
designs of Gerard Gauci and the photography
Glenn Gould School. Piano master class
x133. $5(members), $8(non-members).
of Bruce Zinger. Open to the general public.
with Anton Kuerti. RCM, 90 Croatia St. 416Toronto Reference Library, 789 Yonge St.
*April 20-23: Society for Seventeenth408-2824. Free. *Please call to confirm*
416-703-3767. Free.
Century Music. 14th Annual Conference.
*April 7 2:00: The Glenn Gould School.
Topics include Charpentier; Music and the
*May 1-31: New Adventures in Sound
Sacred across Europe; Music, Dance, and Art Voice master class with Eleanor James.
Art. Deep Wireless Festival: Radio Art
RCM, 90 Croatia St. 416-408-2824. Free.
in Italy; “Li Due Orfei…” Biography and
Installations. Installations include Journée
*Please call to confirm*
Patronage;
Sources
and
Performance.
ParticiSonore: Canal de Lachine by Andra McCartney;
pating speakers include C. Jane Gosine,
*April 8 1:00: Long & McQuade/Altus
(Murmur) and Radio Art Salon curated by
Shirley Thompson, Graham Sadler, Robert
Flutes. Flute masterclass with Robert
Darren Copeland (Drake Hotel); Soundroam
(Toronto to Halifax) by Eleanor King & Stephen Kendrick, Linda Austern, John Hajdu Heyer & Langevin. Victoria College Chapel, 91 Charles
St. West. 416-588-7886. Free.
Kelly (Inter/acces). Drake Hotel: 1150 Queen others. Faculty of Music, Edward Johnson
St. West. Inter/acces: 9 Ossington Ave. 416- Bldg, 80 Queen’s Park. To register & for more *April 8 time tbc: The Glenn Gould
information: www.utoronto.ca/sscm
910-7231, www.deepwireless.ca
School. Solo horn master class with David
*April 24 8:00: Toronto Wagner SocieGriffin. RCM, 90 Croatia St. 416-408-2824.
*May 2 6:30: Organix 06/Cinemateque
Free. *Please call to confirm*
Ontario. Chronicle of Anna Magdalena Bach. ty. The Power of three: Earthdaughters,
Rhinedaughters, and the Ring. Kimberly Canton *April 8 time tbc: The Glenn Gould
Film (1968) by director Jean-Marie Straub,
depicting the last 27 years of Bach’s life, with and Maer Powell, presenters. Arts and Letters School. Horn excerpts master class with
Club, 14 Elm St. 416-924-2483. Members
music played by Gustav Leonhardt. Jackman
David Griffin. RCM, 90 Croatia St. 416-408free; open to non-members for a small donaHall, Art Gallery of Ontario, 317 Dundas St.
2824. Free. *Please call to confirm*
tion
to
the
scholarship
fund.
West. 416-241-9785,
www.organixconcerts.ca $10.
*May 5 8:15: Organix 06. Chronicle of
Anna Magdalena Bach. Jackman Hall, Art
Gallery of Ontario. See May 2 6:30.
*May 6 10am-4pm: Organix 06. Show and
Tell. A chance for you to see up close how a
pipe organ works, and play it too. All ages are
welcome. William Wright, host. Deer Park
United Church, 129 St. Clair West. 416-2419785, www.organixconcerts.ca Free.
*May 6 8:00: Barrie Concerts. The Mark
of Zorro. Blend of comedy & acrobatic athleticism, to marimba/piano accompaniment of
Nicholas Coulter & Graham Hargrove. Fisher
Auditorium, 125 Dunlop St. West, Barrie.
705-728-1630, 705-726-1181.
*Vox Novus. 60x60 Project. Composers are
invited to submit recorded works 60 seconds
or less in length. 60 recorded compositions
will be selected to be performed continuously
in a one-hour concert. Open to composers of
any nationality, age or career stage. Deadline
for submission: May 15, 2006. For more
information: [email protected];
www.voxnovus.com/60x60/Call.htm
LECTURES/SYMPOSIA
M.A.,
Music
and Voice
Pedagogy
Expert Vocal Instruction
• Studied in Siena with
renowned Baritone, Gino Bechi
• 30 years experience as Primo
Baritone with COC Opera,
St. Petersburg, Toulouse,
Monaco, Armenian State Opera
and others
• 25 years experience as a
vocal teacher
Services:
• belcanto technique and
remedial assistance to correct
• vocal instruction and coaching
• preparation for auditions or
competitions (ARCT,
Performers degree)
• building repertoire
• preparation for roles
1-905-417-2802
Back to Ad Index
David
Varjabed
technical problems
*April 1 1:30-5:00: Canadian Opera
Company/Munk Centre for International Studies. Opera Exchange: Wozzeck: Opera
for a Modern Age. Discussions by Modris
Eksteins, Janet Schmalfeldt, William Germano; panel discussion with members of the
COC’s creative team; 7:30pm: screening of
the 2001 filmed version of Woyzeck by
Robert Wilson & Tom Waits. Symposium:
Isabel Bader Theatre, 93 Charles St. West;
film screening: Helen Gardiner Phelan Play60
*April 11 10am: The Glenn Gould
School. Trombone solo master class with
John Kitzman. RCM, 90 Croatia St. 416-4082824. Free. *Please call to confirm*
Trombone excerpts master class with John
Kitzman. RCM, 90 Croatia St. 416-4082824. Free. *Please call to confirm*
*April 15 & 16 7:00: Vocalway Studios.
Voice masterclass with Tom Schilling. Melrose United Church, 86 Homewood Ave.,
Hamilton. 905-546-5671,
www.vocalway.com $35(participants),
$25(participants - Equity/ACTRA members),
$10(auditors), $8(auditors - Equity/ACTRA
members).
*April 18 6:00: Vocalway Studios. Voice
masterclass with Tom Schilling. College
Street United Church, 454 College St. 905546-5671, www.vocalway.com $35(participants), $25(participants - Equity/ACTRA
members), $10(auditors), $8(auditors - Equity/
ACTRA members).
*April 20 10am: RCM Community
School. Master class with pianist Arthur
Ozolins, featuring RCM Community School
students playing advanced repertoire. Concert
Hall, 90 Croatia St. 416-408-2824 x321.
$15,$10.
A PRIL 1 - M AY 7 2006
*April 20 10am-12 noon & 2:00-4:00: The
with Leon Fleisher. RCM, 90 Croatia St. 416408-2824. Free. *Please call to confirm*
*April 21 10am-12 noon & 2:00-4:00: The
with Leon Fleisher. RCM, 90 Croatia St. 416408-2824. Free. *Please call to confirm*
*April 21 10am: The Glenn Gould
School. Trumpet solo master class with
Barbara Butler. RCM, 90 Croatia St. 416-4082824. Free. *Please call to confirm*
Trumpet excerpts master class with Barbara
Butler. RCM, 90 Croatia St. 416-408-2824.
Free. *Please call to confirm*
*April 23 2:00-7:00: Pattie Kelly. Sensible Vocal Training. Master class focusing on
influencing and improving the coordinative
process of the vocal muscles, aiming to bring
them into equilibrium and to eliminate muscu-
lar interference. Participants & auditors
welcome. Church of the Holy Trinity, 10
Trinity Square. 905-271-6896. $60 (participants), $15(auditors).
*April 30 2:30: Singing Studio of Deborah Staiman. Master classes in show tunes
interpretation; dramatic workshops in musical
theatre. Yonge & Eglinton area – please call
for exact location. 416-483-9532.
WORKSHOPS
*April 1 2:00: Long & McQuade. Clinic
with Canadian jazz saxophonist Seamus Blake,
who will bring his own brand of improv and
approaches to jazz. Bring your horn. 925 Bloor
St. West. 416-588-7886. Free.
*April 8 9:30am-1pm: CAMMAC. Barbershop Singing. Workshop led by Steven Armstrong & David McEachern. Topics will
include: a short history of barbershop singing;
introduction to the style & structure; class
CONTINUES
CLASSES & LESSONS
ALL AGES. ALL LEVELS. FOR EVERYONE
Music for Young Children® (MYC®) classes
motivate and empower parents and children, nurturing
family bonds and delivering valuable and thoroughly
enjoyable co-learning experiences. Since 1980, MYC has
remained one of the world’s leading music-learning
systems—the only child-centered program to integrate
keyboard, creative movement, rhythm, singing, ear
training, sight-reading, music theory and composition.
MYC helps enhance children’s social development and
learning skills, improve memory and expressiveness,
and bolster conﬁdence and self-esteem.
If you’re considering music education for your child, take
a look at MYC — the music-learning system of choice for
more than 24,000 students throughout North America,
Asia and New Zealand.
Kimberly Crawford, BA, MBA,
Certiﬁed MYC® Coordinator
[email protected] Tel/Fax: 905.780.6482
Opera Scene Study ~ for adults
Private lessons ~ all ages
Children’s programs ~ newborn and up
Music Theatre Camp ~ ages 8 to 18
Elementary Piano Pedagogy
Vocal Pedagogy
Choirs for men & women
History & Theory ~ all subjects
Small Ensembles, String Quartets
Recorder & Baroque Ensembles
John Capek Songwriting Series
Toronto:
416.408.2825 (Dufferin & Bloor)
Grand Night of Music II
A concert in celebration
of the restoration of St. Rose of Lima Church
3216 Lawrence Ave. E., SCARBOROUGH
(1 block east of McCowan Road)
Saturday, June 24, 2006 at 7:30p.m.
Solo, Choral and Orchestral classical repertoire
with selections from Mozart’s Requiem
For tickets please call (416) 438-6729
All proceeds towards the restoration fund.
Back to Ad Index
•
•
•
•
•
•
•
•
•
•
•
www.rcmusic.ca/summerschool
[email protected]
To learn more, contact your local MYC teacher:
A PRIL 1 - M AY 7 2006
Imagine summer at Canada’s
leading music school
Mississauga:
905.891.7944 (Cawthra & Lakeshore)
61
CLASSIFIED ADVERTISING
ANNOUNCEMENTS, ETCETERA
CONTINUED FROM PAGE 61
singing; video/sound recordings of excellent
examples of performances. Elliott Hall, Christ
Church Deer Park, 1570 Yonge St. 416-9245608, 416-356-9150. $20(members),
$30(non-members).
*April 8, 9:30am-4pm; April 9, 1:30-4:00:
Toronto Early Music Performance
Organization. Spring Weekend with Francis
Colpron, recorder. Lansing United Church, 49
Bogert Ave. 416-778-7777.
*April 8 10:30am: Toronto Mendelssohn
Choir. Singsation Saturday. John Tuttle will
conduct the Fauré Requiem and Cantique de
Jean Racine. Cameron Hall, Yorkminster Park
Baptist Church, 1585 Yonge St. 416-5980422 x24. Pre-registration recommended.
*April 8 12:30: Waterloo Guitar Summit. Jazz guitar workshop (finger-style) with
Margaret Stowe, Bob McLean, Carter Lancaster, Wendell Ferguson. Grand Gallery, Waterloo Community Arts Centre, 25 Regina St.
South, Waterloo. 519-886-4577. $20.
*April 8 4pm-4:45: Toronto Early Music
Centre. Pastime With Good Company. Bow
technique workshop with Louis Bégin. Players
at all levels of experience & on all sizes of
viols are welcome. Preceded by 2:30pm
gamba duo concert (see daily listings).The
afternoon will conclude with an informal
reception & the opportunity to try bows made
by Louis and Emmanuel Bégin. Kimbourne Park
United Church, 200 Wolverleigh Blvd. RSVP:
Joëlle Morton, 416-760-8610. $25 (concert
& workshop).
*April 21 7:30: Recorder Players’
Society. Opportunity for recorder and/or
other early instrument players to get together
in small, informal groups and play Renaissance
& Baroque music. Church of the Transfiguration, 111 Manor Rd. East. 416-224-5830.
*April 23 1:30-4:30: Early Childhood
Music Association of Ontario. Beautiful
Singing For Young Children And Their Teachers. Workshop focusing on exercises &
repertoire that will help the young chorister
develop singing tone and reading skills. Included is a discussion of techniques to help develop
singing technique & deal with tuning problems;
also included: an observation of a Bach Children’s Chorus rehearsal at Washington United
Church (3739 Kingston Rd). Cliffcrest United
Church, 1 McCowan Rd. For further information: 416-240-8573. $35 (before Apr 8,
E.C.M.A. member), $40(door, E.C.M.A.
member), $40((before Apr 8, non-member),
$45(door, non-member).
*April 23 2:00: CAMMAC. Reading for
voices and instruments of opera choruses (or
Carmina Burana), conducted by Colin Clarke.
Elliott Hall, Christ Church Deer Park, 1570
Yonge St. 416-421-0779. $5(non-members).
*April 24 7:30: Toronto Early Music
Centre. Vocal Circle. Recreational reading of
early choral music. Ability to read music
desirable but not essential. 12 Millbrook Cres.
416-920-5025. Members free, $5(nonmembers).
*April 25 8:00: Toronto Folk Singers’
Club. An informal group that meets for the
*April 15 2:00: Long & McQuade. Brass
purpose of performance & exchange of songs.
Concepts. Approaches to preparation, physique Tranzac Club, 292 Brunswick Ave. 416-532and performing. Clinic with solo tubist, mouth- 0900.
piece maker & tuba designer Daniel Perantoni,
*May 7 1:30-4pm: Toronto Early Music
who will hear performances by selected
Performance Organization. Workshop
students and incorporate his concepts. 925
with David Fallis in medieval pilgrim songs, for
Bloor St. West. 416-588-7886. Free.
singers & mixed instruments. Lansing United
*April 19 7:30: Toronto Shapenote
Church, 49 Bogert Ave. 416-778-7777. $20,
Singing from Sacred Harp. Beginners
members free.
welcome. St. Stephen-in-the-Fields, 103
Bellevue Ave. 416- 922-7997 or
[email protected]
Piano For Hire
Yamaha C7 Disklavier Pro 7' 6" Grand
– the best piano in Toronto
MUSICIANS WANTED
CLASSICAL GUITAR LESSONS RCM
trained. Beginners welcome. Walter 416-9242168.
EAR TRAINING, MUSICIANSHIP,
SIGHT-SINGING,
THEORY,
JAZZ
THEORY. All levels, professional/serious
beginners. Art Levine, MA, ARCT. Host. “Art
Music”, CBC. 30 years experience: RCM, UofT,
York. 416-924-8613. www.artlevine.com;
[email protected]
EARLY
CHILDHOOD
MUSIC
SPECIALIST who has teaching experience
with autistic children, also has collaborated and
trained with Kodaly and Orff approaches.
Available to teach piano, woodwinds, and theory.
All ages. Taught by Columbia University/
University of Toronto grad. Call 416-519-8038.
CALL FOR ACOUSTIC
PERFORMERS – Plein Air Salon concert
series invites proposals for our summer salon
concert series, 2006. For more information
please visit www.artistsgardencoop.com
Deadline – April 20/06.
MONTCREST SWING BAND needs 1
trumpet and 2 trombone players. Rehearsals
Wed. 5 - 7, Central/East
www.montcrestband.com Mike 416-804-5161
EVE EGOYAN seeks advanced,
committed piano students
([email protected] or 416-504-4297)
MARC ENKIN is now accepting daytime
students in his west-end studio. Piano, guitar,
bass, voice, banjo, theory, songwriting.
Specializing in jazz, pop styles. 416-763-3516.
Bloor/Jane subway. BFA, York University.
Diploma, Berklee College of Music.
MARILYN LERNER is currently
accepting a limited number of advanced piano
students for lessons in jazz and
improvisational technique. Downtown
location. [email protected] 416-944-2557.
PIANO LESSONS OFFERED by a great
piano teacher – Sheppard/Allen Rd. Very
professional (M.A. piano performance), very
positive and enthusiastic. Jelena 416-6351819.
INSTRUMENTS BOUGHT AND SOLD
FOR SALE: Beautiful American handmade banjo, modern case, excellent condition.
Rich design, perfect tone. Remington
certified. Call 416-784-5988.
FRENCH HORN Must sell, one-of-a-kind,
double horn, by Reynolds. Excellent condition.
Endorsement available. Call Jack at 416-7214940.
HEINTZMAN PIANO upright, circa 1928,
mahogany, good condition, $4,000 or best offer.
416-488-9905.
HUNGARIAN VIOLIN MAKER,
STEVEN KOVACS. Handmade violins with
powerful sound, for professional and student.
Call after 6pm. 905-886-7374 (Thornhill).
Short or
Long Term Rental
available
BARD – EARLY MUSIC DUO playing
recorder and virginal available to provide
background atmosphere for teas, receptions or
other functions – greater Toronto area. For rates
and info call 905-722-5618 or email us at
[email protected]
MUSIC FOR ALL OCCASIONS! Small
ensembles, Dance Band, Big Band; Cocktail
Hour, Dinner music, Concerts, Shows;
Classical, Contemporary, Dixieland, Traditional
and Smooth Jazz! JSL Musical Productions
905-276-3373.
62
Back to Ad Index
TROMBONISTS WANTED!!! Help
raise funds for charity by volunteering
with our big bands. Visit
www.sheratoncadwell.com and call
Andrew today @ 416-712-2555.
TRUMPETERS WANTED!!! Help
raise funds for charity by volunteering
with our big bands. Visit
www.sheratoncadwell.com and call
Andrew today @ 416-712-2555.
VOLUNTEER MUSICIANS &
VOCALISTS WANTED by 3 ProAm
big bands under the Sheraton Cadwell
Group (www.sheratoncadwell.com):
Saxophones/Trumpets/Trombones/Guitar/
Piano/Bass/Drums. Contact Andrew today
@ 416-712-2555.
SERVICES
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. 905-251-0309 or 905-830-2985.
The PERFORMING EDGE Performance
enhancement training in tension
management, concentration, goal setting,
imagery. Individualized to meet your
performance situation. Kate F. Hays,
practising clinical and performing arts
psychology. 416-961-0487,
www.theperformingedge.com
SIMONE TUCCI Piano TunerTechnician – Complete Piano Care
Service - *Concert*Studio*Home*.
Affiliated with The Royal Conservatory of
Music piano service staff. Registered
Craftsman Member of O.G.P.T. Inc.
Associate Member of PTG. Servicing
Toronto and G.T.A. areas. Call: 416-9936332.
MUSICIANS AVAILABLE
Join the list who insist on the best.
Sara McLachlan, Alicia Keys,
Chick Corea, Jamie Cullum,
Michael Kaeshammer,
Stephan Moccio
and others.
Call Wayne Ferguson
at 905-837-8863 or
email: [email protected]
Website: www.tuner1.com
INSTRUCTION
How to get your
Classified Ad into
WholeNote
Use our special
e-mail address:
[email protected]
or phone
Simone Desilets
at 416-323-2232
A PRIL 1 - M AY 7 2006
“How I Met My Teacher” goes to ... the Opera!
edited and compiled by mJ buell
Toronto’s new opera house has done much
already to generate greater public interest in opera. But there is some risk that the fascination
may be only skin deep – part of Toronto’s current love affair with new and renewed public
buildings. It’s also difficult to say whether that
interest will extend to or benefit other opera
companies in the region.
But what a time for a concerted effort from
the entire community to encourage people of all
ages to look at opera. Websites and brochures
reveal after-school, weekend and vacation classes, workshops and camps for children as
young as five, opportunities for young professionals and adults, for aspiring professionals,
as well as for gifted amateurs, to help ensure
not only future generations of performers but
also future generations of audiences.
Enlightened initiatives offer free or discounted tickets to rehearsals and performances
for students.Brave programs bring artists right
into schools, from the larger companies on
down to brave little ensembles like Shoestring
Opera and Opera Everywhere. But parents,
grandparents, teachers, administrators, and education advocates need to know they are available, understand and insist that they are necessary and valuable.
Serious students who “get hooked” as teenagers need to know how and where they can
continue at a post-secondary level. The Royal
Conservatory of Music, The University of
Toronto Faculty of Music Opera Division,
are obvious resources. The COC Ensemble
Studio program serves as a bridge between academic post-secondary programs and the professional world of opera for young Canadian
singers, opera coaches and stage directors.
able to attend every Opera Atelier dress rehearsals free of charge.
Opera Atelier education and outreach has
included collaboration with the Faculty of Music, U of T, The Glenn Gould School and
Young Artists Performance Program, Dare
Arts, Tafelmusik’s Baroque Summer Institute
and George Brown Theatre. Opera Atelier’s
pre-performance lectures provide insight for all
audience members.
The Canadian Opera Company provides at
least twenty education programs: lectures, preperformances chats, backstage tours and discounted dress rehearsal tickets and a wide
range of learning opportunities for adults such
as Opera 101 and , currently, Wagner 101,
201 & 301. They have child/youth programs
and initiatives with engaging names like Opera
for a New Age (ages 18-29), Opera Jam!
(grades 9-12), Operaworks (Grades 6-9), Opera Storytime (kindergarten to grade 5).
Tapestry New Opera’s unique education programs are, like the company, creation-based.
More than a series of demonstrations, lectures
or back stage tours, they embed animateurs,
creative artists, performers and designers in
schools around the province in a hands-on
process that parallels their professional practice.
Hence the name: INside Opera. Since the pilot
project inspired by IRON ROAD (2001), Tapestry has engaged hundreds of young people in
collaborative creations based on the themes surrounding new opera productions and contemporary subject matter
Opera Atelier has noticed a 900% growth in
student attendance at productions and programs. The Making of an Opera program allows school groups a hands-on opportunity to
participate in various facets of opera production, and ensures that up to 1,000 students are
Opera Ontario’s, Young People’s Night at the
Opera enables students 8-18 to attend a final
dress rehearsal ($10/ticket). Opera Look-In,
open to all members of the community, allows
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the audience to view technical facets of making
an opera, including lighting, and costumes.
Two other programs aimed at elementary age
students are OperaLand Express Trunk and
Opera Out Classed. The Trunk travels to
classrooms as a mini-dress rehearsal, In Opera
Out Classsed opera singers, technicians, makeup artists and other production staff travel to
the classroom and demystify their craft
TrypTych offers educational opportunities for
young professional and non-professional singer/actors. Workshops include master classes by
some of Canada’s finest stage directors, conductors, acting coaches, and dance instructors.
The winter opera workshop features a fully
staged opera.. Tryptych produces contemporary
operatic works which are relevant and inspire
interest in a younger audience.
Opera York provides a bilingual program for
elementary and secondary schools located north
of Steeles in York Region, including a visit to
one of three theatres in Vaughan , Markham or
Newmarket for a live, operatic concert. Teachers receive a curriculum based learning guide
with companion CD of “Great Canadian Opera
Performances” for use as a pre and post concert classroom component.
Toronto Operetta Theatre promotes “the advancement of musical education in Canada including, but not limited to the production, presentation and promotion of operetta and light opera; the encouragement and promotion of Canadian musical artists…” and has a 21 year history in the community.
Toronto Opera Repertoire is a communitybased organization that gives trained singers
opportunities to perform major roles in the
standard repertoire, and encourages bathroom
divas” to join the chorus in fully staged, professionally costumed performances of some of
the world’s greatest operas. This venerable organization, will be celebrating its 40th anniversary next year.
So what makes opera “accessible”? Is it affordable opera? Opera in English? Opera with
surtitles and pre-show chats? Is it melodic, familiar music in Italian, German or French?
How much does content matter? To what extent will future audiences demand contemporary
work? How do aspiring composers, librettists,
directors and conductors fit into the picture?
Opera in Concert has promoted the careers of
What works with children and young people?
numerous Canadian singers. The Opera in
The answers to these fundamental quesThe Canadian Children’s Opera Chorus/
Concert Chorus is a major choral ensemble in
Youth Opera Chorus (ages 5-20) offers train- Ontario. OIC has been enriching the opera sea- tions should have far-reaching effects on how
funding is allocated and budgets are made, and
ing and performance opportunities, both in their son since 1974, covering a stylistic gamut of
how we secure the future of opera / lyric theaown productions of commissioned operas for
rarely performed operatic repertoire ranging
tre. Some kind of collaborative advocacy - sharyoung voices through to opportunities in colfrom Rameau’s to Samuel Barber. They present
ing information and resources - is a challenge
laboration with with the COC, Opera Atelier,
four operas per season. Before each opera perto which the opera community should be preU of T Faculty of Music Opera Division, and formance, background information about the
pared to rise, as a new day dawns.
the COC Ensemble Studio.
opera and composer is presented by Iain Scott.
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A PRIL 1 - M AY 7 2006
OPERA at Home
by Phil Ehrensaft
THE Audio and THE Video Norma
Sherlock Holmes so admired one of the only
protagonists that outsmarted him, the actress
Irene Adler, that he thenceforth toasted her as
THE woman. Two landmark performances of
Norma, one of the most demanding soprano
roles in the history of opera, deserve appellations as THE audio and video Normas
respectively: Maria Callas in a 1954 La Scala
studio recording, conducted by Tullio Serafin;
and Montserrat Caballé, playing opposite John
Vickers in full prime, filmed live in 1974 at le
Théâtre antique d’Orange.
The Théâtre antique Norma not only sets
the gold standard for this particular opera, it is
one of the best opera videos ever filmed,
period. And that’s despite just adequate mono
sound and images that are rather soft. It was
originally filmed for French television, and
then issued by VAI first in VHS and then
DVD. For a first experience of Norma at
home, this VAI video is the place to start.
The next step is the 1954 Callas Norma on
disc. Norma had much to do with Callas’ rise
to international divahood. Symbiotically, Callas
had much to do with Norma becoming one of
the most performed Bel Canto works in today’s
international opera repertoire, and with the Bel
Canto revival as well. A young Callas’ tour de
force Norma at the Colon theatre in Buenos
Aires in 1949 was a key step in her becoming
“La Divina.” By 1952, she was THE Norma
at La Scala and Covent Garden. By 1956, she
was Norma at the Met.
Within Italy, Norma achieved permanent
status as a core work in great opera houses
after a peculiarly tepid initial reception at its
premier on December 26, 1831. In the rest of
continental Europe, Norma mostly fell off the
map. The way that Norma was performed in
Italy, however, changed dramatically. Quite
literally. The even, limpid dynamics and
masterfully controlled breathing of Bel Canto
style was replaced by the strong punctuated
dynamics of first, mid-19th Romanticism in full
bloom, and then opera verissimo.
The persistent, timeless attraction of
Norma is evident from the first scene of the
first act. An unremarkable early romantic
play by Alexandre Soumet is transformed
into a remarkable musical drama. A synopsis of the plot, with its conflict between
indigenous Celtic Druids and Roman
occupiers in ancient Gaul, would provide
ample material for a Victor Borge satire. But
the young Vincenzo Bellini and his exceptionally talented librettist, Felice Romani give
us eternal emotional truths of characters that,
like all people, are made of both clay and
A PRIL 1 - M AY 7 2006
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gold: truths delivered with an exceptionally
intimate coordination of words and splendid,
vocally demanding music. As long as fish
gotta swim and birds gotta fly, there will be
forbidden love across chasms like these.
Machiavellian elements? Nope. Characters
fall in love in spite of themselves, with no
harm intended to others, but end up causing
great suffering.
In the two countries whose tastes leaned
most heavily towards Italian opera, the U.K.
and the U.S., Norma also entered the core
repertoire. Rosa Ponselle and Lotte Lenya
pioneered a return to the Bel Canto Norma at
Covent Garden and the Met, but these were
exceptions that proved the verissimo rule.
The post-1949 Callas explosion entirely
transformed the predominant manner of
performing Norma as well as other Bel
Canto period operas. Callas took her Norma
right into the high temple of Italian opera,
and took La Scala by storm. Continental
Europe followed suit.
Until very recently, the gold standard
recording of Callas’ Norma was EMI’s 1997
digital remastering of the 1954 Columbia/Angel
mono LP — unless you are lucky enough to
have a vinyl version that’s in good shape.
Callas is in full prime. The same cannot be
said of her 1960 stereo recording of Norma.
Besides Callas and Serafin, the 1954 featured
Mario Filippeschi as Pollone, Eber Stignani as
Adalgisa, and the Coro del Teatro all Scala in a
work where the chorus is an essential character. At a later point, EMI also issued a 1952
live recording of Callas’ Norma at Covent
Garden. There’s a trade-off here between
prime singing and iffy sound quality.
Given Europe’s 50 year limit on sound
recording copyrights, there’s now a Callas
restoration competition between EMI and
Naxos. It’s a win-win situation for the public.
EMI has possession of the original 1954
master tapes and used new technology to
improve upon the already fine 1997 restoration.
New restorations are available in both EMI’s
Great Recordings of the Century and also the
EMI Historical Classics series.
In contrast, Naxos must work from LPs in
prime condition. But they also have a secret
weapon in the form of Mark Obert-Thorn, an
eminent restoration engineer. Obert-Thorn
usually works with 78s or cylinders, so LPs
are rather a walk in the park. His restoration
of the 1954 Norma is also supplemented by 37
minutes of selected Norma arias dating from
1927-37 recordings, remastered by the grand
wizard of opera restoration, Wade Marston.
Both the new EMI and the Naxos
remastered 1954 Norma can be found at
eminently reasonable prices. Take your pick
and win either way.
Moving up to the DVD era, the Théâtre
antique d’Orange itself is a star in the Caballé/
Vickers Norma. The theatre, located 100
km north of Marseilles, was constructed two
millennia ago and is one of the great surviving architectural and acoustic marvels of the
Roman Empire. It fell into disuse with the
final decline of the Empire at the end of the
fourth century C.E., and was then restored
and revived as an active theatre during the
latter nineteenth century. It is a semi-circular
amphitheatre whose stage is backed by a 4storey, 103 metre wide stone wall. Surrounding hills resonate sound back into the amphitheatre. At the time of the Empire, 10,000 people
filled the radiating stone benches.
Filming Norma during the theatre’s 1974
summer festival resulted in costumes flowing in
the wind of Provence’s mistral, just the ticket
for adding character to an opera about Druids.
It also added a persistent hiss in the microphones. This performance was so successful
and precedent-setting, however, that other
opera houses set up wind machines to reproduce the hissing!
Caballé emerged, by the early 1970’s, as the
very worthy successor to Callas as the
dominant performer of Norma. The Spanish
soprano was, and still is, famous for her
systematic daily breathing workouts that have
much to do with her mastery of the devilishly
demanding Norma role. And also her vocal
longevity: in contrast to Callas’ decade of glory
before marked vocal decline set in, she’s still
onstage at the age of 73.
Live filming as opposed to a studio
production was the optimal way to catch
Caballé, who is markedly inspired by her
audiences. The people on the stone benches
at Orange’s ancient Roman theatre knew that
opera history was being made that evening.
Caballé and Vickers knew that they were
making opera history. The crowd goes visibly
wild after each scene. If I had access to H.G.
Wells’ time machine, the evening of July 20,
1974, at le Théâtre antique d’Orange would
most definitely be a first stop.
65
Murray considers himself
more than a dispassionate observer. He eagerly, and knowledgeably, shares his opinions
about the young singers he is observing. Enrolled in the program
are two Canadians, soprano Erin
Wall and tenor Roger Honeyby Pamela Margles
well. Murray takes particular inWhen soprano Mary Morrison reterest in both. His appreciation of
tired from the opera stage forty
the art of singing means that he
years ago, still in her prime, there the two lives, he maintains a comcan pick up on the insights being
was a sense that opera was a
pelling narrative flow.
passed along, as when the dytroubled art form in Canada.
Pitman depicts Morrison and
namic voice teacher Gianna RoWhile her husband, composer
Freedman not just as icons of
landi says to Honeywell, ‘It’s a
Harry Freedman did write extenCanadian music, but as front-line question of air”.
sively for voice before his death in fighters for Canadian sovereignRemarkable characters continu2005, he never wrote an opera.
ty. Their activities directly inally appear and reappear here. Of
But opera is flourishing today,
volve organizations like the
necessity, Murray’s account
and attracts the most interesting
COC, the CBC, the TSO, the
jumps around. An index would
composers, directors, designers
Canadian League of Composers, have helped track his cast in this
and singers. This month’s books
and the U of T.
affectionate backstage look.
look at Walter Pitman’s important
Pitman himself has had a sig- Erin Wall sings with the Toronto
new biography of Morrison and
nificant impact on Canadian cul- Symphony in Mahler’s Symphony
Freedman, a group of apprentice
ture as a politician, journalist, ad- no. 2 next season
opera singers, the avant-garde
ministrator, and historian. He is
stage designer George Tsypin,
eloquent in conveying the life of
and the first great opera master,
a musician, with both the reMonteverdi.
wards and difficulties involved.
But he also puts the careers of
Music Makers: The Lives of
Morrison and Freedman in their
Harry Freedman & Mary
cultural contexts. Pitman has
Morrison by Walter Pitman
clearly done extensive research,
Dundurn
and provides a detailed bibliog312 pages, photos; $40.00
raphy and index.
Singer Mary Morrison and composer Harry Freedman formed a
remarkable couple, both in their
George Tsypin Opera Factory:
involvement in the contemporary
Building in the Black Void
music scene, and their commitment
By George Tsypin with texts
to Canadian culture. Walter Pitby Julie Taymor and Grigory
man’s innovative dual biography to
Revzin
present their lives works well. He
Princeton Architectural Press
manages to balance detailed ac224 pages; $100.00
counts of the various paths their
individual careers took them on
In the early 1990s, the Canadian
with descriptions of the interests
Opera Company mounted a memothat united them. As Pitman skill- Fortissimo: Backstage at the
rably daring production of Rigofully flips back and forth between Opera with Sacred Monsters
letto. Set designer George Tsypin’s
and Young Singers
stark, angled walls of colour imby William Murray
aginatively evoked the fatalism perCrown Publishers
vading Verdi’s Mantua. Tsypin
289 pages; $34.95
has since become opera’s most biDuring the 2003-2004 opera sea- zarre and fascinating set designer.
This photographic survey of his
son, William Murray followed
around twelve singers enrolled in work is accompanied by four essays, more poetic than descriptive.
the apprentice program of the
His comments range from the
Lyric Opera Centre in Chicago.
Murray starts his engaging re- cryptic ‘Design is the search for
the sculptural melody of the
port by reminiscing about his
own early experiences as a tenor space’, to the insightful ‘Singers
love the floor; they need the cerin New York and Italy, before
tainty of the floor to produce their
he gave up singing to become a
sound.’ Tsypin’s sets directly connovelist and staff writer at the
New Yorker magazine. He offers nect the architecture to the drama
digressions about his encounters as and fantasy on stage, and it’s clear
a journalist with singers such as from his sketches and details of
architectural elements, as well as
Pavarotti, who he presents as a
prime example of the ‘sacred mon- his rich field of references, that he
ster’, an unfortunate creation of the cares deeply about the words and
the music.
opera world.
BOOK Shelf
66
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His Rigoletto is not represented
here, nor his controversial new
Mazeppa which opened at the Met
last month. But included are his
immensely popular Magic Flute
from the Met, directed by Julie
Taymor, the notorious Don Giovanni directed by Peter Sellars, and
the gorgeous Amsterdam Ring cycle.
This book is beautifully produced, from the splendid photographs to the layout, paper and
binding.
Opera’s First Master:
The Musical Dramas of
Claudio Monteverdi
by Mark Ringer
Amadeus Press
358 pages; $38.95
In this study of Monteverdi’s operas, Mark Ringer shows how
they are every bit as psychologically involving as those of Mozart,
Wagner and Verdi. But he goes
further, determined to prove that
the first great opera composer was
also one of the greatest melodists
ever. Even in his recitatives,
which are often misperceived as
being dry, Ringer points out how
he creates ‘a declamation that
seems to flirt continuously with the
contours of arialike melody.’
Ringer even puts Monteverdi forward as anticipating Wagner’s
romantic use of leitmotifs.
Many of Monteverdi’s scores
are lost. But there exist extraordinary documents from his own lifetime. Ringer’s extensive quotations
from Monteverdi’s letters and contemporary reports enrich this book
enormously. He gives lively descriptions of the characters Monteverdi was involved with, the
places where he lived and worked,
and the philosophical background
of his operas. All these, he rightly
emphasizes, are essential for understanding Monteverdi’s work.
Ringer offers a good deal of musical description, though without
illustrations or examples from
scores. The full annotations,
healthy bibliography, detailed index, and reliable discography are
well complemented by the CD of
excerpts conducted by Rene Jacobs
and William Christie.
A PRIL 1 - M AY 7 2006
recently in town
CONTINUED FROM PAGE 16
Robert Levin: time-traveller
interviewed by Pam Margles
me this message, so what do I do about it?
Do not tell me I should be playing twenty
minutes of chocolate sauce!’
‘I am fascinated with the idea of travelling
in time and living within social, aesthetic and
artistic givens. It’s not for everybody. But
students, especially those who want to be
concert musicians, should understand the
language that they are asked to speak. I want
to teach them how to speak Mozart. Mozart’s language can do so many different
things. The way he moves from one moment
to the next makes the audience wonder,
“What’s he going to do now?” - even if
they’ve heard the piece a million times, and
know what is actually going to happen.’
‘To perform a piece of music as if things
could only happen in one way saps it of any
sense of urgency. In a great performance
one has to have the sense of being at a
crossroads. To turn a great work of art into
something comfortable and harmless is a
crime. It’s the beginning of the murder of
civilization. The culture simply gets sandpapered away.’
‘Risk and uncertainty - that’s what I live
for. Some people go mountain climbing …
Well, I go mountain climbing on the stage.
And when the orchestra stops, and I’m left
trying to somehow get to the other side of a precipice - maybe I’ll make it, maybe I won’t.’
Levin is not just improvising cadenzas,
but doing so where cadenzas written by
Mozart actually exist. ‘The purpose of a
cadenza was to test the imagination of the
performer and show their power of fantasy
and invention.Why listen to somebody pretending to make up something that they
haven’t, and you know because you’ve heard
it 175 times before. Besides which, Mozart’s
cadenzas are not in danger of becoming extinct, because just about every other pianist
except me is playing them. So let people
come to my performances and hear for once
something different.’
‘The point is that Mozart did not write his
cadenzas for himself. He always improvised. Mozart’s cadenzas were written for
his pupils and the dedicatees of his piano
concertos. It cannot be more explicit. He
writes a letter to his father, saying, “Tell
my sister I’m sorry that it’s taken me so long
to send her the cadenzas she requested, but
when I play this piece, I always play the first
thing that comes into my head.” The whole
point of a cadenza is that it’s supposed to be
something unforeseen and unknown.’
‘I feel that spontaneity needs to be at the
epicentre of music making. What is said
must seem to come from the mind and the
heart at the very second that it’s said. It
should not sound like something painstakingly practised and polished until nothing can go
A PRIL 1 - M AY 7 2006
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wrong. Above all, it was Mozart’s improvi- life worth living. When I hear the end of the
Chopin B- Sonata, my heart just jumps into
satory power to shake the notes out of his
the air and all of my atoms explode with
sleeve that absolutely enchanted people
ecstasy and I think life is fantastic…If I can
most.’
Levin’s respect for the composer’s text is communicate that to a couple of people now
and then, that’s more than enough recomparamount– but that too belongs in context.
pense for what I do.
‘Every detail in a masterpiece reflects the
‘I was extraordinarily lucky that when I
vision of the genius. I always start by thinkwas very young, just nine, I got to work
ing that I’m a millimetre tall and Bach or
with Stephan Wolpe. He was so full of fanMozart is a mile high, and I go from there.
tasy, imagination, humour and mischief. He
In my cadenzas and embellishments I’m
using only textures, rhythms, and characters could do almost anything. Then I got formal
rigorous training in theory and harmony at
which are to be encountered in the compostwelve, when I started working with Nadia
er’s music. I always tell my students that
Boulanger. So I really got the best of all
performance is a moral act - why you do
possible worlds - I had both my imagination
things is just as important as what you do.
So, if in fact you change what the composer and my discipline accounted for.
‘When I was studying conducting with
has written for the sake of being arbitrary,
that is of dubious morality, whereas if it has Hans Swarowsky, he said that if you’re
going to play Mozart piano concertos you
been thought out very carefully and remains
true to the expression of the moment, then it have to improvise. He told me to listen to
Friedrich Gulda. I listened, and wondered
can be perfectly legitimate.’
‘Take repeats - should you do exactly the what the hell this guy was doing. So I startsame thing as you did before? Probably not. ed reading the source materials and manuscripts, which prove that musicians were
Why do a mechanical replication of someimprovising all the time. So scholarship is
thing you’ve already played? You might
ornament or change the character. You might not rarefied - scholarship bakes the cake. I
didn’t set out to be a professional musicolowell reverse the forte and the piano the second time around. To say that the composer gist. I just wanted to be a better performer.’
‘We cannot assume, as performers used
marked these things - well, yes and no.’
to, that our ideals are eternal. My apprehen‘If we embalm this music by making it lifesions about what kind of a world our kids
less, predictable and familiar, then those who
are going to inherit can make me feel desreject Eurocentrism and all this music by dead
white men might have a point. If this music is perate. But then my idealism brings me back,
ecstatically, to my little moment on the conincapable of getting into our entrails, there is
something wrong. All I have to do is look out cert platform, where I can play a piece by
Mozart and people can understand what life
at the audience in Trinity-St. Paul’s and see
is really about. If you can actually reaffirm
where I need to draw them in, and whether
they’re empathetic to what I’m doing. At that the humanity in your audience, maybe they’ll
moment, I am contributing either to the preser- go out thinking, “Wait a minute, there’s
something about this music that touches my
vation of this culture or to its downfall. If I
life.” Until I find an alternative, I’m going
fail, then Mozart fails. The middle ground is
to continue to stand at the barricades.’
not an option.’
‘I believe in living in the
world of art as if my life depended on it - and as if the
Levin has made a huge number of recordings, including many
culture did too. If people say
of Mozart’s piano concertos with Christopher Hogwood and
that I’m overwrought and
The Academy of Ancient Music (Decca/ L’Oiseau Lyre).
over-the-top, then I say that
With John Eliot Gardiner and the Orchestre Révolutionnaire et
there are plenty of other perRomantique he recorded the five Beethoven Piano Concertos,
formers who are shooting
along with the Choral Fantasy, to which he appended two
alternative improvised introductions (DG/Archiv).
formaldehyde into the veins of
One of his loveliest recordings, and readily available, is
the audience, so it will average
with members of the Academy of Ancient Music playing
out in the end.’
quintets for fortepiano and winds by Mozart and Beethoven
‘I’ve had critics say I’m
(Decca). His completion of the Requiem has been recorded
over-eager. I love that – overnumerous times, notably by Les Violons du Roy under Bernard
eager. I’m playing the SchuLabadie (Dorian). Hänssler has just released the first
mann Concerto, one of the
recording of Levin’s new verion of Mozart’s Mass in Cperformed by the Gächinger Kantorei Stuttgart and the Bachmost ardent, exhilarating piecCollegium Stuttgart under Helmuth Rilling.
es ever written, and they say
it’s too eager. I say that art is
Among his many publications is the fascinating musicological
a design for living. The mesinvestigation Who Wrote the Mozart Four-Wind Concertante?
sage of Tchaikovsky and
(Pendragon Press).
Schubert’s incandescent art
A full list of Levin’s musical activities, including recordings
keeps me up nights. I might
and publications, is given at www.fas.harvard.edu/
wake up at two o’clock in the
~musicdpt/faculty/levin.html
morning and smile and turn
Maestro Rilling will be conducting the Toronto Symphony in a
over and go back to sleep
performance of Levin’s version of the C- Mass, introduced by
thinking how Chopin made my
Levin, next October.
PM
discOgraph
67
DISCS REVIEWED
CHORAL
Gombert - Magnificat I,
Salve Regina
Oxford Camerata;
Jeremy Summerly
Naxos 8.557732
Gombert - Missa Media
Vita In morte Sumus
The Hilliard Ensemble
ECM B0005917-02
When I first heard of Gombert, I
asked whether it tasted best with a
light cracker or a baguette. I made
space for it in my cheese drawer,
next to my Camembert and my Stilton. But no! Upon further inspection Gombert is not a cheese at all,
but a composer. He wrote during the
somewhat mysterious time between
Josquin and Palestrina, and was forgotten by music historians for too
many years. “Why?” you ask. “Is it
because he was arrested for pederasty while serving in the court of
Emperor Charles V of Spain, and
banished to the High Seas?” How
very strange that you should know
that, while here I was thinking he
was a sort of cheese.
These two recordings take on the
daunting task of reviving the works
of Nicolas Gombert for modern audiences. The Oxford Camerata (directed by Jeremy Summerly) brings
to life some of his more luscious
works for eight and more voices.
The direction and quality of the performance is beautiful and easy to
follow. The pieces themselves are
complex in an entirely satisfying and
understandable way.
The Hilliard Ensemble concentrates on Gombert’s works for six
or fewer voices, what with there
only being six members of the group.
The signature sound of this ensem-
Although I was not completely
blown away by the drama and passion of this recording, I was duly
impressed by the musicianship with
which it was executed. The choir
particularly attempts to break out
from beneath the thumb of Mr.
Pearlman, betraying some hidden
emotion behind the words. I would
not be surprised if we were soon to
learn of a choral mutiny in Boston
Baroque.
Gabrielle McLaughlin
ble is so stunning and fitting to this
music that I fear I will never again
be able to hear it any other way. The
ensemble’s bass (Robert Macdonald) has a voice that could non-surgically remove your solar plexus
without you realizing it. I was left
Concert Note: The Oakville Chilbreathless.
Each recording contains an inter- dren’s Choir performs Vivaldi’s Glopretation of Musae Jovis, an epi- ria on April 8.
taph for Gombert’s teacher Josquin
Desprez. Interestingly, in a moment
where the words declare that ‘Josquin speaks,’ the music is suddenly
recognizably eighty to one hundred
years older. There were no flies on
this genius, pederast or no.
So I heartily recommend that you
buy a fresh baguette, dust off your
cheese plate and try a little Gombert with your crackers.
Gabrielle McLaughlin
Mozart - Exsultate Jubilate
Carolyn Sampson; Choir of
King’s Consort; Robert King
Hyperion CDA67560
Vivaldi - Gloria;
Bach - Magnificat
Martin Pearlman;
Boston Baroque
Telarc CD-80651
Boston Baroque consists of some of
the finest instrumentalists in that city.
The singers are of no lower a caliber, and yet the director does not live
up to the same standard. This CD
of some of the most important and
frequently performed music of the
Baroque era does an admirable job
of presenting the pieces. As an exercise in accuracy, it is notable. The
players, the choir and the soloists are
all very good, so I listened to the CD
thinking: “My, they are all very
good.”
With so many recordings of the
Bach Magnificat and the Vivaldi
Gloria to choose from, however,
“My, they are all very good” isn’t
really the most exciting thing to think.
Martin Pearlman has at his behest
some of the most energetic and virtuosic musicians, and yet the disc
boasts only of a good performance.
The vitality of the compositions is
lost in a sea of mannerisms that become staid and predictable.
Just when you thought you might be
all Mozart-fêted out – think again:
the new Hyperion release featuring
Carolyn Sampson with the King’s
Consort under Robert King’s direction is decisively five-star calibre.
Every once in a while a voice comes
along in early Baroque music that
literally penetrates my pores and I
feel as if I could never get enough.
Lucky for me, Sampson has all but
cornered the market on early Baroque repertoire. This is her twelfth
disc on the Hyperion label – she’s
recorded the biggees (Handel, Haydn, Monteverdi, Vivaldi, Rameau)
and ventured into the hard-core aficionado fare with Zelenka and
Schelle.
As someone who grew up as a
chorister in many an Exsultate, jubilate – I’m just thrilled to have a
disc for one-stop listening. I had a
hard time pulling highlights, as every track is truly worthy. The album
is book-ended by Mozart’s two settings of Regina ceoli K108 and
K127 – both written when the great
master was still in his mid-teens. It’s
fun to listen to each, one after the
other – their resemblances tally
more than their differences, but the
subtle changes in instrumentation
and sheer compositional genius are
brilliant.
The other double-set works on the
disc are the Laudate Dominum
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K339 and K321. These couldn’t be
more different in mood, tone, and
technical demands for the soloist.
The first is tempered and sublime
without being sombre, the second
reaches a celebratory note that buoys the soul.
In a word, simply superlative (ok,
two words).
Heidi McKenzie
Hurko - Vespers
Vydubychi Church Chorus; Volodymys Viniar
Right Angel Records
“The landscape of Ukrainian choral
music today is very motley” writes
a prominent Ukrainian academic in
the notes of this new recording.
“The creativity of Roman Hurko fills
a unique, original place in this landscape… [his] creativity safeguards
for us the greatness of tradition”.
Tradition is at the very heart of
this setting of the first part of the
Ukrainian Orthodox Church All
Night Vigil. Canadian born Roman
Hurko makes liberal use of traditional chant and it’s clear that his writing is completely at the service of
the Service and is, at its best, the
beautifully crafted work of an artisan.
There are obvious comparisons to
be made with the famous setting of
the Orthodox Vespers by Sergei
Rachmaninoff, which has somewhat
oddly made its way into the standard repertoire of western choirs and
turns up in performance regularly in
the major choral centres of North
America. While Hurko’s setting is
lush and passionate, it lacks the variety and subtlety of Rachmaninoff.
That being said, there is a lushness
and mesmerising quality to Hurko’s
music that is very attractive if one
shuts one’s brain off and lets the
music connect directly to the soul.
The performance by the Vydubychi Church Chorus of Kiev is committed, polished and technically assured. We are rarely treated to performances by Eastern European
choirs in Toronto, but when we
are, we’re reminded of the freedom and deep connection of the
voice to the rest of the body that
these choristers exemplify. These
A PRIL 1 - M AY 7 2006
qualities are present in this recording in spades. The sound will involuntarily bring the listener to
tears.
Larry Beckwith
Editor’s Note: Roman Hurko’s
CDs are distributed by the
Canadian Music Centre
(www.musiccentre.ca).
CLASSICAL AND
BEYOND
Mozart - Three Violin
Concertos
Andrew Manze; The
English Concert
Harmonia Mundi HMU 807385
Violinist Andrew Manze has
emerged as one of the most exciting period performers on the stage
today. In his formative years, he
studied violin with Marie Leonhardt and Simon Standage, then
spent a number of years as the
Associate Director of the Academy of Ancient Music (injecting
some badly needed energy into
their ranks at the time!). He succeeded Trevor Pinnock as the Director of The English Concert in
2003 and has been taking them
from strength to strength ever since.
At the same time, his recital career
(with harpsichordist Richard Egarr)
and guest directorships of many
ensembles has meant that his special inventiveness and spontaneity
has reached a wide audience.
This new recording of Mozart
violin concertos numbers 3, 4 and
5 (K. 216, 218 and 219) is a superb vehicle for Manze’s talents,
not only as a soloist, but as an
orchestral leader.
In these pieces, the 19-year-old
Mozart displays an astonishing
command of orchestration and
knowledge of the possibilities of
each of the instruments he employs. Unfortunately, modern-day
performers sometimes get impatient with the delicacy and balance
needed to bring off satisfying performances of these works.
A PRIL 1 - M AY 7 2006
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I’m happy to report that Manze
gets it absolutely right at every turn
in this beautiful recording. I so appreciated the special sounds of the
period winds and horns and the
aural colours they create in their
various combinations.
And Manze’s own playing is
beautifully transparent without losing technical assuredness. He takes
wonderful risks with tempo, dynamics and rhythmic accents (especially in the rustic last movement
of K. 219).
Larry Beckwith
Schubert - Symphony No.9
Berliner Philharmoniker; Simon Rattle
EMI 3 39382 2
This is not a symphony about brotherhood or victory. Perhaps it’s a
symphony about music – music, not
just as the “holy art” of the famous
Schubert lied, but as a force that
can both delight and terrify. In recordings past and present, timings
vary from 45'20" to 63'35": a matter of observance or non-observance of repeats, rather than tempo
variance. Rattle’s Berliners give a
generous 57'43"; they include the
long repeat of movement 1 and
most (not all) marked repeats in
movement 3, and ignore the cuts
sometimes made in the finale.
The initial horn passage is suitably inviting, played warmly and
with due attention to its 2-bar pianissimo echo. The oboe solo in
movement 2 has a nice woodsy
acidity. The trombones range from
soft and lyrical to snarly (that unexpected eruption before the long
silence in movement 2). The
strings deliver their core figure in
movement 3 with irresistible crispness.
A couple of seasons ago the
Globe and Mail, reporting on Rattle’s New York appearance, called
him the world’s greatest conductor. The present cover photo seems
to endorse that notion. As to any
live appearance in Toronto, the
Globe stringer said, “Forgeddaboudit.” Those who, like me, paid
an arm and a leg to hear the announced performance of this great
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69
work, in last month’s visit by another European orchestra, were
similarly rebuffed: lower-drawer
Schubert was substituted. The C
major is an exhausting hour’s work
for the players; though a peak of
the classical canon, it doesn’t fit
the festival-ritual role of, say,
Beethoven’s Ninth.
But recordings like this remind
us of its special power.
John Beckwith
The second half of the concert
is devoted to Mendelssohn’s ecclesiastical works, not really fully
characteristic of the composer who
converted to Christianity for career
reasons. The 2nd Symphony,
“Hymn of Praise”, is magnificent
in its orchestral movements, but the
choral finale is sometimes forced
and uninspired. This performance
however, with superb soloists and
Choir, is impressive in its solemnity and the orchestra truly “sings”
as Mendelssohn really should.
Janos Gardonyi
Mendelssohn - Symphony No. 2
Gewandhausorchester Leipzig;
Riccardo Chailly
Euroarts 2054668
The name of Leipzig has been so
synonymous with such giants as
Bach, Mendelssohn, Schumann,
Wagner, Schiller and Goethe that
it has been called the Paris of Germany. Its orchestra, the famous
Gewandhausorchester, is one of the
oldest symphony orchestras in the
world and definitely one of the best.
It was Mendelssohn’s orchestra
from 1835 and subsequently led by
such musical icons as Nikish, Furtwangler, Walter and more recently
Masur and Blomstedt.
This DVD celebrates the new
Music Director, the world famous,
charismatic, ebullient Italian, Riccardo Chailly, with an inaugural
concert devoted almost entirely to
Mendelssohn. Everyone involved
down to the last chorister is full of
inspiration infused with spirit and
dedication. Chailly, like a big teddy bear, propels the ensemble with
his energy and emotion to an articulated, well detailed performance.
Under Chailly the Gewandhaus will
no longer be a museum for tired
old pieces. He champions modern
works like Rihm’s intense, adventurous sound journey Verwandlung
2, included here, and researches
autographic scores of old works
to shed new light on them. Right
at the outset the Midsummer
Night’s Dream overture is played
in its original form, but it has rarely sounded more delicate with
shimmering strings, more hilarious
in its braying “donkey theme” or
more glorious with its brass fanfares.
essays by Rota, Pierné, Fauré and
Murphy. The transcriptions in this
recording include Prokofiev’s surprisingly mellow piano Prelude
Op.10 No.7 (dedicated to a harpist classmate of his) and a dazzling
rendition of the Spanish Dance
from Manuel de Falla’s La vide
breve. Production values are uniformly excellent in these two releases, both recorded at St. John
Chrysostom Church in Newmarket by the golden eared tag team
of Bonnie Silver and Norbert Kraft.
Daniel Foley
Twelfth Van Cliburn
International Competition
Alexander Kobrin,
Gold Medalist
Harmonia Mundi HMU 907404
A Baroque Harp – Judy Loman
performs Bach and Scarlatti
Judy Loman
Marquis 1 81343 2
The Romantic Harp
Judy Loman
Naxos 8.554561
Judy Loman’s sixth solo release
on the Marquis label, A Baroque
Harp, takes us back to her early
childhood in Indiana and the piano
repertoire she once studied with her
father’s teacher, Noble Kreider.
The ingenious asymmetries of CPE
Bach’s Sonata in G Wq 139 that
launches the album is the lone work
originally intended for the harp.
Papa Bach’s French Suite No.1
fares tolerably well on the instrument though at times the counterpoint in the lower registers does
not speak very clearly and the use
of ornaments is functionally limited. Loman is radiant in her selection of 11 Sonatas by Domenico
Scarlatti. The higher tessitura and
lucid textures of these exquisitely
crafted gems allow her to call upon
her tremendous control of dynamics to reveal a realm of expressive
subtleties unknown to the harpsichord.
The Naxos release, The Romantic Harp, finds us on more familiar ground in a programme of typically idiomatic works by past masters of the instrument Grandjany,
Tournier and Salzedo and intrepid
It has been nearly 50 years since a
lanky Texan, Van Cliburn, conquered Russian audiences by winning the most prestigious piano
competition of the world, the
Tchaikovsky. This breakthrough
event in East-West cultural relations
and consequent resurgence of
American pride initiated the Van
Cliburn International Competition
in 1962. Since then it has been held
every 4 years introducing outstanding gold medalists such as Radu
Lupu and Cristina Ortiz. This
year’s winner, 25 year old Russian, Alexander Kobrin, established
himself as an outstanding interpreter of the Romantic repertoire especially Chopin and Rachmaninov.
This live recording begins with
Rachmaninov’s 8 Etudes-Tableaux,
each focusing on one particular
aspect of technique, but also creating romantic mood “paintings” or
tableaux. With his unfailing skill
this work is a perfect vehicle for
Kobrin who captures the varying
moods with a sensitive touch and
romantic imagination. Playing the
full two books of Brahms’ Paganini Variations is no mean achievement and shows, apart from his
brilliant technique, endurance second to none. The Chopin Nocturne
that follows is limpid and understated while the middle section is
appropriately passionate.
Rachmaninov’s masterpiece, the
Sonata No. 2 is like a ship on a
sometimes turbulent, sometimes
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placid sea. Its form seems amorphous but with an underlying firm
structure. The pianist, like a captain of this ship, has to keep the
elusive form under control and be
wary of emotional excesses. While
my favourite, David Helfgott’s
wonderfully balanced, insightful
performance can hardly be surpassed, this is a very satisfying, if
a bit youthful, reading.
Janos Gardonyi
Concert Note: Both Alexander
Kobrin and the renowned Vienna
Concert-Verein Orchestra make
their Canadian debut under the baton of Kerry Stratton at the George
Weston Recital Hall on April 6.
Reflection (R.Schumann;
C.Schumann; Brahms)
Hélene Grimaud
Anne Sofie von Otter;
Truls Mørk;
Staatskapelle Dresden;
Esa-Pekka Salonen;
Deutsche Grammophon 4775719
In her earlier concept album, “Credo”, Grimaud combined unlikely
disc-mates Beethoven, John
Corigliano and Arvo Pärt into a
convincing and successful collection. The connection in “Reflection” is quite obvious, as all three
composers had, for a time, lived
together under one roof.
Grimaud’s playing in every
piece is impressively nuanced and
poetic while retaining that air of
spontaneity that inhabits all her
playing. Where called for she is
introspective, impetuous, or passionate.
Sounding freshly minted, Salonen’s sunny conducting and
Grimaud’s affinity for the music
make this a most refreshing reading of Robert Schumann’s concerto. Jaded listeners will be agreeably surprised.
Clara’s songs are pleasant
enough but don’t linger in the mind,
although von Otter and Grimaud
argue a good case.
The Brahms first cello sonata is
played not as a work for cello with
piano obbligato but as a symbiotic
relationship as each player raises
the other to heightened levels of
beauty and intensity. It almost
A PRIL 1 - M AY 7 2006
sounds like a new work. I have replayed these tracks many times
over the last week.
In the 1947 movie Song of Love,
a young Johannes Brahms (Robert
Walker) comes to Schumann (Paul
Henried) for instruction. “Play
something you’ve written,” says
Robert. Johannes anachronistically tosses off the Rhapsody Op.79,
No.1. Clara (Katharine Hepburn)
rushes to kiss Johannes on both
cheeks and a stunned Robert says
“I wish I could write music like
that. It’s strange. It’s magnificent.” He was right. Both of these
Rhapsodies are magnificent.
Grimaud’s playing confirms it.
Bruce Surtees
Piano Music by
Emmanuel Chabrier
Angela Hewitt
Hyperion SACD67515
Though he adored music from the
age of six, the influential French
composer Emmanuel Chabrier
(1841-1894) spent a painfully dull
two decades of his adulthood as a
civil servant until a revelatory performance of Wagner’s Tristan und
Isolde during a visit to Munich in
1880 compelled him to risk a belated career in music. His first professional composition, the Dix piéces pittoresques (1881), forms the
centrepiece of Angela Hewitt’s insightful new recording. In the little more than a decade remaining
to him he composed feverishly
before succumbing to a complete
mental breakdown - a dismal fate
for a man well known for his sparkling wit and joie de vivre.
Though he is best known today
for his uncharacteristically extroverted orchestral showpiece, España, his influence in his time was
considerable. Ravel and Poulenc in
particular acknowledged their deep
admiration for him. Vincent d’Indy
said at the premiere of the Dix piéces, “We have just heard something
extraordinary. This music links our
time with that of Couperin and
Rameau.” Angela Hewitt, having
recently traversed the works of
these very composers on recent Hyperion releases, is an ideal interpreter for these exquisite miniaA PRIL 1 - M AY 7 2006
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tures, and performs them with a
charming spontaneity, elegance
and tenderness. The disc also includes several of Chabrier’s other
piano works, including a vivacious
performance of the 1891 Bourée
fantasque.
Daniel Foley
Folklore
Denise Djokic; David Jalbert
Endeavour Classic END1013
What can be added to superlatives
already heaped upon cellist Denise Djokic? Decades after her respected Yugoslav parents opted for
the safe existence of professorships
in Halifax, Denise hit the concert
stage with a splash. She surpassed
her teacher Shimon Walt in her
teens, and her meteoric rise continues unabated. Her collaborations
with pianist David Jalbert have culminated in an excellent CD.
The balanced repertoire includes
Six Studies in English Folk Song
by Vaughan Williams, which exists in several arrangements and
has been recorded by many musicians. Putting this at the top of the
programme shows Djokic and Jalbert’s considerable audacity. The
performance is flawless and polished. Following that, they dive
into Stravinsky’s Suite Italienne.
Incorporating themes from Pulcinella heard in Stravinsky’s 1932 arrangement and given the duo’s utmost, this performance very much
deserves hearing. Schumann’s Funf
Stücke im Volkston is a major work,
and admirable respect is given.
Curiously, Janacek’s Fairy Tale
and Cassado’s Suite for Cello (with
Djokic alone) finish the CD. As
Canada spawned such robust talent, a Canadian work (something
by Glick comes to mind) might
have suited.
No studio in Halifax, nor any
Yamaha CF2 there, was sufficient
for Folklore. CBC’s Glenn Gould
Studio and its Steinway fill the bill.
Photographs, as stage-managed as
the young musicians, permit no
blemish, and Djokic wears two
sweaters in her casual back-flap
photo to preserve modesty. Adoring fans will surely snap up this
CD.
John S. Gray
Performance Note: Denise Djok- variety on the disc definitely holds
ic is one of the artists featured at one’s attention.
the Canada/Africa Partnership on
The opening lighthearted work
AIDS Concert on April 23.
by Tarrega has a relaxing ambience that is immediately displaced
by Kleynjans’ haunting programmatic “Dawn of the last day”,
where sound effects and musical
gestures follow the final experiences of a condemned prisoner.
Krawiec delivers a fine reading,
though this piece is certainly most
effective in live performance (and
the guitarist will be performing in
Ontario this month).
The programme also offers some
Journey-Podroz
rarely heard music: a set of variaGrzegorz Krawiec
tions by 19th romantic guitarist/
Ma Records M068A
composer Jan Nepomucen BobroThe debut disc “Journey-Podroz” wicz (a student of Giuliani and confrom the young Polish guitarist temporary of Liszt) and a set of
Grzegorz Krawiec features Euro- six miniatures by the young Polish
pean repertoire of the 19th to 21st composer Sylwester Laskowski (b.
centuries. That the journey bounc- 1973). Also relatively rare to hear
es back and forth between 19th are the Duo Canzoni Lidie by modcentury Romantic and various Mod- ern Italian composer Nuccio
ern styles is somewhat unusual for D’Angelo. The two songs are giva single disc given the trend toward en evocative and colourful perstylistically unified recordings. formances by Krawiec and may be
However on straight through lis- the most satisfying tracks on the
tening the 19th century style pieces disc. The crystal clear recording
give the ear a chance to refresh quality is well suited to Krawiec’s
between bouts of more intense clean and delicate performance.
modern music and the resulting
Aaron Brock
71
Concert Notes: Grzegorz Krawiec performs a number of concerts
with the Penderecki String Quartet
this month culminating in an April 22
appearance at Glenn Gould Studio.
Other April dates include: 5 (London); 6 (Windsor); 7 (Stratford); 8
(Collingwood); 9 (Waterloo); 12
(Oakville); 19 (Deseronto); 20 (Ottawa); 21 (Guelph). Krawiec will
also give solo recitals on April 1
(Rosemount) and 2 (St. Thomas)
and duet performances with his
brother Andrzej April 23 (Oshawa);
26 (Leamington); 27 (London); 28
(Deseronto); 29 (Milton) and 30
(Bayfield).
as referring to this work as “fairly
simple and obvious”. So it is, and this
in itself is no mean feat. The composer is in top form in this, the strongest composition on this release.
The highlight of John Golland’s
Tuba Concerto, Op. 46 is the second movement Adagio where the
tuba is heard against the vibraphone
in an unusual example of musical
colouring.
Good musicianship, solid compositions and an excellent sound quality make “British Tuba Concertos”
a great way to spend a musical hour.
Tiina Kiik
here, features a mysterious-sounding, muted and buzzing, pulsing pizzicato on the low strings of the
(acoustic?) bass, unlike anything I’ve
ever heard before. I like that. It’s an
enigmatically fitting ending to an album replete with multiple mysteries.
Andrew Timar
JAZZ AND
IMPROVISED
theme of the next tune, Rundle. Ian
Froman’s vigorous drumming à la
Elvin Jones is appropriate here.
Trane made a defining version of
Harry Warren’s mid-’40s song I
Wish I Knew yet Murley puts his
own stamp on it, as he always does.
A minor cavil is with the live recording: it rarely seems live, as reaction is only heard in quickly-faded applause at the end of tracks, and
’way off mic at that. I’ve heard this
band, and it’s more exciting than it
seems here. The producers should
have used the audience to enhance
the home-listening experience.
Ted O’Reilly
Performance Note: Mike Murley
is among the featured artists who
will perform at the National Jazz
Awards at the Old Mill April 8.
MODERN AND
CONTEMPORARY
Mnemosyne’s March
Murley Braid Quartet
Cornerstone CRST CD128
Hui - and blue sparks burn
Various Artists
Centrediscs CMCCD 10605
British Tuba Concertos
James Gourlay; Royal Ballet Sinfonia; Gavin Sutherland
Naxos 8.557754
I couldn’t possibly do justice to every one of Melissa Hui’s seven compositions presented with style in this
CD, so I must limit myself to a few
highlights. To my ear, the over-riding musical signature of this composer is steady-handed, mature; an
altogether distinctive musical voice.
The title track, and blue sparks
burn (2002) for violin and piano, the
composer’s personal response to the
9/11 tragedy, is a moving composition. At once succinct yet mysterious, it conveys both mourning and
moments of eerie calm. Marie
Bérard’s elegant violin playing often takes excursions into tricky overtone territory, yet Bérard always
maintains secure pitch and a gently
lyrical, legato melodic line.
Another quiet pleasure was Hui’s
Come as you are (2000), a mysterious-sounding work for pipa (Chinese lute) and nine orchestral instruments. In part a very convincing
evocation of aspects of Gagaku (the
music of the Imperial Japanese
court), I also hear the strong presence of Varèse and other 20th century composers in this work. This
stylistic mélange makes for a
uniquely satisfying musical experience. Gary Kulesha effectively conducts the fine chamber ensemble
comprised of Toronto-based musicians in this and other compositions
on the CD.
In my recent unscientific survey, 100
percent of respondents began to
laugh upon hearing the word tuba.
Why? Does the instrument sound
funny? Does a favourite Monty Python episode come to mind? Or is it
the recollection of one’s first encounter with “Tubby the Tuba”.
“British Tuba Concertos” is no
laughing matter. This is an enjoyable release with a varied program
of four concertos featuring the fine
musicianship of James Gourlay.
Scottish born Gourlay is a master
of his instrument. His pitch, tone and
intonation are perfect as he proves
that the tuba can be more than just
the bottom line in a brass band. He
is able to balance his performance
successfully with the orchestral accompaniment, illuminating that he is
not only a good soloist but also a
careful listener.
Edward Gregson’s Tuba Concerto (1978) is an exuberant work that
focuses on the rhythmic strengths
of the tuba. Based on his three pieces with piano accompaniment, Roger Steptoe’s twelve-tone Tuba Concerto (1983) is more of a tuba solo
with an orchestral background.
Ralph Vaughan Williams composed
his Tuba Concerto in F minor (1954)
at the sprightly age of 82. Vaughan The final movement of Changes,
Williams is quoted in the liner notes Melissa Hui’s earliest composition
I had only a vague thought of what
it meant, so I had to look it up. Now,
I’ll save you the trouble: Mnemosyne (nih-MOSS-in-knee) is a
Greek goddess, the mother of the
muses.
This new release, co-led by reedman Mike Murley and pianist David Braid, features mostly original
compositions. They have called on
Euterpe and Terpsichore, it would
seem, for the music is lyrical and
dancing. And whoever the Muse of
Jazz is, has contributed ‘swinging’,
or perhaps that’s the work of bassist Jim Vivian and drummer Ian Froman.
The first three tunes are by Braid,
surely the most interesting young
pianist in jazz. Say A Silent Prayer
moves in and out of waltz time to
lead us into the set (recorded live at
Toronto’s Montreal Bistro & Jazz
Club). It’s followed by the more
driving Dream Recording and then
the title tune, which is most certainly not a march. Vivian’s out-of-tune
arco bass in the intro is quickly forgotten when Murley’s soprano sax
weaves a lovely musing (dare I say)
melody. Then Vivian’s plucked solo
deepens the ethereally optimistic
feeling.
Mike Murley, half a generation
older than Braid, brings a different
angle to his compositions. It’s lighter, more humourous, and often standards-based, as on Sheep Walking
(from You — or ‘ewe’- Stepped
Out Of A Dream). Cascade has
some of the qualities of John Coltrane, circa early ’60s, unrolling out
of tempo for its entire quarter-hour.
Vivian’s bass solo leads into the
72
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Monk’s Moods (4 CD set)
Thelonius Monk
Proper Records Properbox101
Pianist/composer Thelonious Monk
was one of those artists who seemed
to live in his own musical world, inspired only by jazz itself. Monk’s
music was never easily understood
by the public, nor many musicians.
His (relative) fame came years after his most important contributions
were made, and it’s that 1947-1955
material from his first 13 sessions
as a leader that is featured in this
package.
First recordings of seminal compositions such as Ruby My Dear,
Well You Needn’t, In Walked Bud,
Evidence, Misterioso, Straight No
Chaser and Criss Cross are included. There are two versions of his
famous ‘Round Midnight, which
had already been recorded (by Cootie Williams’ big band) as early as
1944.
Equally fascinating are the pianist’s interpretations of standards
April In Paris, Willow Weep For
Me, Sweet And Lovely. Monk
seems to get deep inside them, and
wash away all the unessential elements.
The best-suited drummer for Thelonious was Art Blakey, and he’s
on most of this, with Shadow Wilson, Max Roach, Willie Jones and
Kenny Clarke also heard. One of
the other greatest interpreters of
A PRIL 1 - M AY 7 2006
Monk is vibraphonist Milt Jackson,
heard on two sessions, and tenor
man Lucky Thompson, who shines
on Let’s Cool One from a session
where trumpeter Kenny Dorham is
also effective.
The great tradition of solo piano
in jazz is highlighted in a 1954 Paris
session, slightly marred by an inadequate instrument.
Thelonious’ trio tribute to Duke
Ellington, his first LP for Riverside
Records (with bassist Oscar Pettiford and Kenny Clarke on drums),
brought Monk’s name to a wider
public. It successfully showed that
the underappreciated musician had
his roots in one of jazz’ great artists.
Proper Records has drawn from
the catalogues of Blue Note, Prestige, a small French label Jazz Legacy, and Riverside for these 69 sides,
and ‘sides’ they were, as most go back
to the days of 78 rpm releases. Alternative takes are included from some
of the Blue Note sessions.
Ted O’Reilly
and standards, including one written
by Ellis (and others): Detour Ahead.
Tidy arrangements lift this out of the
jam session category.
“Good Pickin’s” was recorded in
1959 by Howard Roberts, a solid
guitarist who virtually disappeared
into the recording studios of Los
Angeles. He’d make a record every few years, and appear on hunEllis in Wonderland
dreds of others, but you’d be hardHerb Ellis
pressed to find many who know his
Verve B0005930-02
work, and that’s too bad, as this release shows. He uses the entire inGood Pickin’s
strument, eschewing tricks, and
Howard Roberts
plays with great clarity with the solVerve B0005931-02
id rhythm of Pete Jolly, Red MitchJimmy Raney featuring Bob
ell and Stan Levey. Tenorman Bill
Brookmeyer
Holman is on half the record. StandJimmy Raney
ards dominate the programme, with
Verve B0005954-02
bop tunes like Godchild and RelaxThese days, the guitar is the most in’ At Camarillo and a nice lazy
popular instrument in the world, as blues at the end.
rock music is based on the amplified version, the “2 by 4 with strings
and a pickup”. In the early days of
jazz, the acoustic guitar was heard
mostly as a rhythm instrument, underpinning the rest of the band. It
simply wasn’t loud enough to be
heard in most public performance.
In the late ’30s amplification
brought it to equal status with horns
and the essential influence of Char“Jimmy Raney featuring Bob
lie Christian spread the word, and Brookmeyer” is pretty much selfthe three guitar players heard on explanatory, with the plectrist and
these re-releases heard the mes- the ‘bonist sharing space on this origsage.
inally-Decca album from the east
Blues-infused Herb Ellis came to coast, recorded in the summer of
prominence in the ’50s with Oscar 1956. They each contribute two
Peterson, and the pianist, with trio compositions to go with four clasmate bassist Ray Brown, join him sics by Gershwin, Rodgers, Kern
on “Ellis In Wonderland” recorded and Burton Lane. Piano duties are
in late 1955 and early ’56. Round- handled by Hank Jones or Dick
ing out the rhythm is Alvin Stoller, Katz, and Teddy Kotick is the bassand the horns include Harry ist with the tasty drummer Osie
‘Sweets’ Edison on trumpet, with Johnson moving things along. It’s
Jimmy Giuffre on tenor, baritone and amazing how unchanged Brookmeyclarinet. Altoist Charlie Mariano er’s playing is after 50 years, proving
joins in on the second session. The that unique needs not fashion.
music is a sprightly blend of blues
Ted O’Reilly
A PRIL 1 - M AY 7 2006
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73
Paris24H
Paris Jazz Big Band
Cristal Records CRCD 0401
ed. Not surprisingly, the jazz material is every bit as fresh now as
it was when originally issued. But
the pop sides sound remarkably
dated.
The first recording of what
would become Hancock’s most famous composition, Watermelon
Man, opens the collection. This
1962 performance comes from the
pianist’s debut leader date. His
nominal sidemen on the session,
trumpeter Freddie Hubbard, tenor
saxophone legend Dexter Gordon,
bassist Butch Warren, and drummer Billy Higgins, make up quite
a band for a new young artist’s first
album. Even later, reverting once
again to a sideman role, Hancock
kept fast company. On ’Round Midnight we hear him providing brilliant accompaniment to tenorman
Sonny Rollins. Hancock’s compositional genius is front and center
in such pieces as Cantaloupe Island, Maiden Voyage, and Circle,
the latter from his time with Miles
Davis.
But the problem for this listener
begins with Chameleon. As annotator Bob Belden points out, “most
of Herbie’s work for Columbia
crossed over into the pop market,
there is no real jazz chronology
involved in the music. Instead his
music paralleled the developments
in pop music such as rhythms, vocals and more closed forms.” The
important thing to remember, however, is that Hancock’s forays into
the pop world have never affected
his jazz abilities.
Don Brown
Paris Jazz Big Band was formed
in 1999 by saxophonist Pierre Bertrand and trumpeter Nicolas Folmer, and 11 of the 12 compositions
on this CD were written by them.
The idea was to create images
and impressions of Paris. It’s not
a new concept if you think back to
Scenes In The City by Charles Mingus, New York N.Y. by George Russell, or the tone poems by Duke
Ellington.
There is a very strong rhythmic
pulse throughout, but particularly
evident on Le Cyclopathe, and
Galeries, while the seductive qualities of the city are expressed in
Musée D’Orsay, (with a beautiful
harmonica solo by Olivier Ker
Ourio), Sous Les Toits and Rêve.
Metropolitain, named after the Paris subway system, is a trumpet tour
de force by Folmer and four drummers - Jean, Andre, Jean-Paul and
Regis Ceccarelli! I also especially
enjoyed La Pluie, featuring trumpeter Fabien Mary, pianist Alfio
Origlio and Pierre Bertrand on soprano sax.
If I have one small complaint it
is that there is perhaps too much
emphasis on an eighth-note feel and
I would have loved if just occasionally the band had gone into a
straight ahead 4/4 rhythm. It is also
my guess, listening to these arrangements, that both Bertrand and
Folmer have certainly heard the
work of a certain Mr. McConnell!
If you are not yet familiar with
the music of Paris Jazz Big Band,
Le Passant
this CD is well worth your attenMichel Lambert
tion.
Jim Galloway Jazz from Rant 0529
The Essential Herbie Hancock
Herbie Hancock
Columbia/Legacy 82796 94593 2
This two-disc retrospective covers
Herbie Hancock’s career, as sideman and leader, from 1962 through
2000. The music comes from the
catalogues of Blue Note Records,
RCA, Columbia, Verve, and
Warner Brothers. Both Hancock’s
jazz and pop recordings are includ-
Passant” movement] is a heady conflict between orchestra and improvisers enlisted for the project. Some
of the most defining moments are
heard in the form of the pinnacle of
various sub-conflicts the players
muster themselves. There’s that signature Malcolm Goldstein screeching, scraping, head-on deathly violin
sound that goes head-to-head with the
orchestra, but is then left alone to his
own devices. Ellery Eskelin blows
some nasty, mean passages – especially on Le Choc Spirituel – but
otherwise the movement’s central
aligning force seems to be Goldstein (whose “Hardscrabble
Songs” album was one of the most
defining releases of last year). This
doesn’t mean Lambert doesn’t get
involved. In fact, his percussive
force is everywhere inside the
movement. While he concentrates
on hi-hats, he’s not afraid to let off
steam at will. Duval really shines
in the spotlight as he takes an elongated solo during the latter part of
the movement. The last seven pieces on the record are “improvisations” (as they’re referred to on the
disc itself) between various band
members. Running in the Cave
seems to be the strongest one as
all musicians of the quartet actively take part. It’s a thrill to hear
Goldstein’s violin scrapes rattle
against Eskelin’s sax rallies, while
Duval throws a thick backbone,
together with Lambert’s densely
clattering percussion work. “Le
Passant” may not be an easy listen, but the more time you invest,
the richer your payback.
Tom Sekowski
A far more effective take on the
jazz tradition is “Pee Wee et moi”,
The Feeling of Jazz
Robert Marcel Lepage’s tribute to
Trio Derome Guilbeault Tanguay clarinetist Pee Wee Russell. The
album features 12 wonderful origWith dozens of releases penned to ambiences magnetiques
inals and two Russell tunes arhis name [along with those record- AM 145 CD
ranged for no less than seven clared with various artists], Montreal Pee Wee et moi
inets. And while that may sound
percussionist Michel Lambert has Robert Marcel Lepage
like a jazz nightmare, Lepage’s
now composed a suite entitled “Le ambiences magnetiques
quirky compositions and the fine
Passant” [“The Wanderer”], that AM 144 CD
rhythm section playing of Normand
looks at the conflicting relationship
Guibeault, Pierre Tanguay and
between a small group of impro- Let’s Cool One
René Lussier make for a moody
visers and a large chamber orches- Frederic Alarie; John Gearey
and interesting album that paints a
tra. Recorded with bassist Domin- Fidelio FACD016
vivid tapestry of Russell’s eccenic Duval, violinist Malcolm Gold- Shadows of a Brighter Day
tric character. The songs are
stein and saxophonist Ellery Eske- Tyler Hornby
densely orchestrated often using
lin, the first part of the disc [“Le Roadhouse Records Route 21
CONTINUED PAGE 76
74
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For my debut as a WholeNote CD
reviewer, I was given 4 CDs, 3
featuring Quebec based artists and
a pan Canadian work by drummer
Tyler Hornby. “The Feeling of
Jazz” showcases the work of 3 pillars of the Quebec musique actuelle
scene (Normand Guilbeault on
bass, Pierre Tanguay on drums and
reedman Jean Derome) in a set of
swing jazz standards with a modern twist. Derome attacks Ellington, Cole Porter and Fats Waller
with a gritty tone and adventurous
angular lines while the rhythm section swings freely underneath. The
band draws an immediate comparison to Henry Threadgill’s 1980’s
group Air, as the trio approaches
the tradition with equal parts respect and irreverence. The energy
is infectious, but Derome’s awkward swing feel over the prickly
groove of the rhythm section starts
to wear thin. The saving grace
comes as the band gets down and
dirty on a Misha Mengelberg cha
cha called A Bit Nervous and when
Derome switches to flute on Jitterbug Waltz, but then defeat is snatched
from the jaws of victory when Derome sings, adding high camp to the
already full dance card.
A PRIL 1 - M AY 7 2006
EXTENDED PLAY - Passover Edition
by Phil Ehrensaft
GOLIJOV’S COAT
OF
MANY COLOURS:
From Chassidic Chamber Music to an Afro/Latino/Jewish Passion
v
Osvaldo Golijov:
La Pasión según San Marcos
Luciana Souza; Samia Ibrahim;
Reynaldo González Fernández;
Orquest La Pasión; Schola Cantorum
de Carácas; Cantoría Alberto Gau;
Maria Guinand
Hänssler Classic 98.404
Here’s the New Music dream: instead of
premiers being one-offs that satisfy mission
statements to episodically support living
composers, repeat performances fill major
concert halls. Leading ensembles and soloists commission follow-up endeavours.
Parallel to the first half of the twentieth
century, New Music fascinates innovators
in the literary and visual arts.
This dream is coming true for Osvaldo
Golijov’s La Pasión and subsequent works,
culminating in the Lincoln Center’s recent
Golijov festival. But how come a nice Jewish boy from Argentina is writing a Pasión
según San Marco to commemorate the last
days of Christ between Passover and the
crucifixion? Golijov has created, to my
knowledge, the only Passion that ends with
a Kaddish. Well, why not? Passions are a
major expressive form in Western art music. The International Bachakadamie Stuttgart commissioned four composers to write
Passions in celebration of both the new
millennium and the 250th anniversary of
Bach’s death. Sofia Gubaidulina, Tan Dun,
and Wolfgang Rihm were the other three
invitees. Heady company indeed for a
young composer barely known a decade
earlier.
Osvaldo Golijov - The Dreams
and Prayers of Issac the Blind
Kronos Quartet;
David Krakauer, clarinets
Nonesuch 79444-2
and the virtuosic Krakauer to move forward with Yiddish music, not encapsulate
it in neo-romanticism. This 1997 disc was
also a signal from the Kronos Quartet that
an important new voice had arrived.
Second, Golijov’s mother was an accomplished classical pianist: As a toddler,
Golijov stationed himself under her piano,
fell in love with Bach and, later, Bach’s
ingenious organization of multiple melodic
lines. These interests were deepened by
three rigorous years at the Jerusalem
Academy of Music, and then studies in the
U.S. with George Crumb.
Third, Golijov has a true Argentine love
for the tango, and parallel passions for
Afro-Brazilian and Afro-Cuban music.
His admiration for the Beatles is one part
of a populist stance towards vernacular
music. For somebody who grew up under
Argentina’s military dictatorship, it was a
natural move to reset the downtrodden
Jewish population of ancient Judea as
downtrodden Latinos. Plus the people he
sees in Jerusalem look a lot more like Latinos than do West European paintings of
early Christians.
So yes La Pasión has powerful Latin jazz
brass, rumbas, and the like. The Yorubainfluenced drumming certainly makes us
Golijov stands at the intersection of three
want to get up and dance. But when Golijov
cultures: first, the Jewish liturgical and
wrote these parts, I bet he asked himself
Yiddish music from his Eastern European
what Bach would have done. Golijov also
immigrant parents. Not only the melodies
recognizes that he can go only so far in
and modes, but also musical meta-structures: a seeming anarchy of praying voices using popular singers to express his musical ideas. He turns increasingly to divas
going in all directions turns highly coordinated on short order. These meta-structures like Dawn Upshaw. It’s going to be a real
interesting ride.
permeate Dreams and Prayers, an imporPhil Ehrensaft
tant recording of early efforts by Golijov
A PRIL 1 - M AY 7 2006
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75
rhythmically inventive shout choPOT POURRI
ruses to evoke a 50’s swing feel,
while harmonic and melodic shifts
pull the work into the present. Ironically, the clarinet solos often
begged for the restatement of an
intricately arranged melody and
René Lussier is underused on guitar, with quick glimpses of his
amazing talent often drowned in a
sea of reeds. But these are minor
quibbles on what is a truly original
tribute to an idiosyncratic clarinet
Touch Wood
pioneer.
Mark Duggan
Independent VMCD003
(www.markduggan.com)
“Let’s Cool One” is a duo recording from bassist Frédéric
Alarie and guitarist John Gearey.
Recorded on the premises of Montreal’s Savannah restaurant sans
audience, the CD captures the duo
as they would perform for the Sunday brunch crowd at their regular
gig. The label (Fidelio) proudly
boasts that this is a record for their
soft jazz fans, and the album does
succeed at fulfilling these modest
goals. This is well recorded straight
ahead jazz for the brunch set with
interesting arrangements of standards with the bass often taking the
melodic lead and fine inside the box
soloing from the duo.
Tyler Hornby’s “Shadows of a
Brighter Day” features solid writing and expert playing from a crack
band featuring Canada’s perennial
tenor sax man Mike Murley and
fine Vancouver trumpeter Ingrid
Jensen. Murley is solid and distinctive in his solos, while Jensen’s lyrically melodic yet punchy playing
makes for some fine listening. The
rhythm section is tight with Hornby powering out the arrangements
on drums giving the session an upto-date Art Blakey feel, with strong
melodic compositions and fine aggressive blowing. The weak link
may be in the chordal structure of
the compositions, which can drift
into a vague modal area that leaves
one wishing for the return of the
melody to make sense of it all.
Richard Underhill
This outstandingly well-recorded
CD highlights Mark Duggan’s mastery of the marimba – his nimble
articulation, his sensitive command
of a broad spectrum of timbres.
The repertoire leans towards a
kind of pattern-music whose quirky
ostinatos and droning harmonies
are of South American derivation.
The most developed number in this
category is the title piece, “Touch
Wood.” Its ostinato is immediately engaging, and as its two parts
open into fuller harmony and ignite
a short cadenza you wonder how
two hands are managing all this,
though no overdubbing is cited in
the notes. The vaudeville ending
is neat.
Bill Brennan’s Alegria, calls for
two marimbas (Brennan and Duggan). Its rhythms explore novel
paths: one part keeps going while
the other slows down, speeds up,
or goes briefly and Reichishly outof-phase, yet the music never sheds
its Latin dance character.
Two longer tracks depart into
more complicated territory. The
quartal harmony of bois sculpté establishes quick marimba patterns
and then adds eerie long-held bassclarinet notes – like a close-up superimposed on a crowd scene. Myo
Tokugi bases its fresher harmonies
on oriental models, and offers the
most dramatic work on the disc,
progressive in the sense of constantly pushing forward and making you
wonder what’s next.
For contrast there are four interludes (1 minute or so each)
played by Duggan on Indonesian
percussion, differently tuned. Here
the irregular shivers, shimmers,
spurts, and speech-like phrases feel
freer and more flexible than the
marimba pieces.
John Beckwith
Buscando mi voz
Nicolas Hernandez
Independent NH-2005
Guitarist Nicolas Hernandez is a
true product of his environment.
Born and raised in Canada, he has
absorbed some of the many styles
of music that make up the modern
Canadian musical landscape:
blues, Middle Eastern and, in particular, East Indian scales all show
their influence on his debut recording Buscando Mi Voz. But because
Nicolas was born to Spanish parents, flamenco has made the deepest imprint.
Traditional flamenco has very
rigid parameters that dictate the
songs’ form, and for musicians like
Nicolas who are creating modern
flamenco, these stylistic dicta can
pose a problem: How do you create something new and original that
is still authentic? Nicolas has wellestablished flamenco guitar skills
gained through over 25 years of
studying with Spanish guitar masters and lately playing with Canada’s own guitar phenom, Jesse
Cook, and acting as Musical Director of the Esmeralda Enrique
Spanish Dance Company. Where
he is finding his voice, as the title
of the disc states, is via exploration and collaboration with musicians from a variety of musical traditions. This is best illustrated by
Raga por Bulerias, a haunting blend
of an East Indian melodic phrase
(the raga) and a traditional 12/8 flamenco form (the bulerias) which
features tabla player Ravi Naimpaly.
The eight original songs on the
disc are sparsely populated, sometimes with only percussion and palmas accompanying Nicolas’s lush,
melodic playing. Local “world
music” luminaries Art Avalos and
Ernie Tollar add congas and bansuri (bamboo flute) and Jesse Cook
guests on cajon (box). Violinist
Chris Church, who has apparently
been playing enough flamenco to
earn himself a Spanish nickname ‘El Cri’, plays on two tracks here.
This beautiful disc may be found at
L’Atelier Grigorian or
www.nicolashernandez.com
Cathy Riches
76
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Camino
Oliver Schroer
Big Dog Music BD0601
In 2004, the lanky Canadian violinist Oliver Schroer and several
friends packed their bags and
walked for two months and 1,000
km on the Camino de Santiago.
This “Camino” of the CD title is
an ancient pilgrimage trail that
dates back to the 9th century and
stretches from southern France to
Spain.
Schroer carried his rich-sounding, five-string David Papazian violin in his backpack. He also lugged
two compact mobile recording studios. One was for ambient sounds
– bells, bees, birds, walking feet and the other for recording his violin playing in about 25 churches and
cathedrals along the Camino.
Schroer’s previous CDs seemed
edgier, filled with fast passages in
complex, odd meters. Here, one
hears consonant, slow-moving melodies, no doubt influenced by the
long decay time in the stone churches he found. His unusual and eloquent slow vibrato, which he uses
to fine emotional effect at the end
of phrases, adds extra poignancy.
On repeated listening, distinctly
Bachian layered lines began to
emerge, so I wrote to Schroer, and
asked him. He replied that “I grew
up listening to the Hendryk Szerying recordings of the [Bach] solo
partitas and sonatas. I have sometimes described the style of these
pieces as ‘folk partitas’. The music [recorded on “Camino”] was
my prayer in many ways. It was a
thread stitching together the many
thousands of steps we took on this
trip.”
That accurately sums up the
works of this evocative and meditative CD, which runs a full gamut
from fully pre-composed to inspired improvised material. It was
a pleasure to be an ear-witness on
a part of Schroer’s journey. For
Oliver’s fascinating Camino diary,
complete with photos, visit
www.oliverschroer.com.
Andrew Timar
A PRIL 1 - M AY 7 2006
Concert Note: Oliver Schroer is
the featured guest of the Toronto
Consort in its final program of the
year “The Journey to Santiago” at
Trinity St. Paul’s Centre April 28
and 29.
Gravitas
John Dubinski;
John Kameel Farah
Independent
(www.galaxydynamics.org)
Collaborations between computer
animators and keyboardist/composers are still relatively rare
events. When they do occur, a rich
harvest of sounds and images is expected. Gravitas is not a CD, but a
video DVD. Remember Koyannasqatsi? You cannot just listen to
this as a piece of music; you must
watch images and hear the music
simultaneously. The adventurous
Gravitas project features collaborations between cosmologist/animator John Dubinski and keyboardist/composer John Kameel Farah
(www.johnfarah.com).
There’s a serenity to Dubinski’s
morphing of nebular globs, calculated to simulate the complex interaction resulting when two or
more stellar masses come into
close proximity, just as our own
Andromeda galaxy continues to be
spiraling outwards. For those interested in the short theoretical explanation, Dubinski includes a brief
treatise in the notes.
John Kameel Farah is remembered for his most fiery Music Gallery debut in the late 1990’s when
he gave a performance using Eve
Egoyan’s concert grand. His music for Gravitas is a much different oeuvre: simple structures of
electronic textures which rarely
stray from their opening tonality,
but do not intrude overmuch. The
use of synthetic drum sounds is
questionable, but the percussionless majority is easy on the ears.
Spiral Metamorphosis in particular
owes something to Eno’s collaborations with Robert Wyatt (Music
for Airports). A most collectable
44-minute DVD, but the review
copy as received wouldn’t play in
all DVD players.
John S. Gray
A PRIL 1 - M AY 7 2006
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OLD WINE IN NEW BOTTLES
Fine Old Recordings Re-Released
by Bruce Surtees
I wonder how many of us have attended a performance that transcended all expectations and now
lodges in our memory of unforgettable experiences.
I have only a few to recall but there is no doubt at
all that those who attended a performance of the
Elgar Cello Concerto on the evening of January 3rd
1967 in Prague will never forget what they
witnessed.
orchestra rather than them playing against each
other. The well balanced sound is in the best
Decca tradition.
One of the most soughtafter Sviatoslav Richter
collections was never
available from any of
the usual suppliers.
Here was the 21 year old
Permission to issue any
Jacqueline du Pré with
recordings of the now
her dear friend Sir John
legendary Carnegie Hall
Barbirolli conducting the
concerts from October
BBC Symphony
19 to 30, 1960 was vehemently withheld by Richter
Orchestra playing a score
himself and the only recordings to be heard were
that was close to both
from private sources. A box of six well filled CDs
their hearts. That perforfrom Doremi [DHR 7864-9, mono] contains all
mance was recorded by the BBC and now licensed
there is to be had from those five evenings in
to Testament, who has coupled it with the first and
satisfactory sound… not studio quality but quite
second Bach Suites for unaccompanied cello
acceptable to Richter compleatists. Check the
recorded by Du Pré during January of 1962 [SBT
contents at www.Doremi.com. The enclosed notes
1388].
are by the late cellist Peter Schenkman who
reminisces about his career and Richter’s arrival
This is worlds apart from other cellists energetically
upon the world scene.
playing all the notes in the right order. Here is a
celebration of Elgar, wherein du Pré is playing from
DG has reissued the Beethoven nine symphonies
inside the score, realizing the vision beyond the dots
with Karajan and the Berlin Philharmonic on DVD
on the page. There are some less than perfect
[440 0734107 3DVDs]. This set presents Karajan’s
passages in the orchestra, but this adds to the
way with Beethoven between 1967 and 1972,
excitement and reality of this super-human
predating Sony’s five individual DVDs which
performance. How fulfilling this must have been for
document ‘performances’ during 1982-84. The
all concerned. Of her four available performances of
method of making these videos was for conductor
the concerto, this one is the most powerful.
and orchestra to make a perfect audio recording
Jacqueline du Pré gave her all to whatever she
and then create a video performance to
played and the Bach Suites which accompany the
synchronize with it. In this way close-ups and
concerto on this disc are no less committed and
montages, some of them outrageously artistic, not
individual. Also of interest, there is a very moving
possible to do live, can be created. This said, these
documentary on DVD from OpusArte [CN 0902 D]
are extra-ordinary performances, full of vitality and
entitled Jacqueline du Pré in Portrait which
élan the equal of, or better than, any of Karajan’s
follows her from childhood to post-career teacher
commercial audio-only recordings. The sound, now
and includes a complete Elgar concerto conducted
expanded to 5:1 surround, is far more dynamic and
by her husband and Beethoven’s Ghost Trio with
alive than earlier issues. The three discs are
Barenboim and Zukerman.
available separately as symphonies 1,2,3; 4,5,6; and
It was the 1967 movie,
7,8,9.
“Elvira Madigan” that
introduced the unwashed
masses to Mozart’s 21st
piano concerto, the second
movement of which was
heard throughout the threeKleenex tale of a circus
performer, Elvira Madigan
and her doomed love affair with her army officer.
Geza Anda’s 1961 recording was used in the movie
Note: Sony has a DVD of the Eroica outside of
and DG quickly completed the whole cycle with
their cycle recorded live on the occasion of the
Anda, available now as a boxed set [DG 469510,
Jubilee concert celebrating the orchestra’s 100
8cds]. While there are quite a few sets of pianistyears. The date was April 30, 1982 and this is
directed performances, Perahia, Buchbinder, and
truly a ‘you are there’ live, over the top
Barenboim, it is the Ashkenazy cycle that I enjoy
performance, in stunning sound [SVD 48434]. If
most and it is now in a slim-line box at a special
you never attended a Karajan concert this disc
price [Decca 4768904, 10 CDs]. In these
conveys much of the experience. While only 55
recordings, made with the English Chamber
Orchestra and the Philharmonia from 1966 to 1988, minutes, this is a must have DVD.
Bruce Surtees
there are attractive dialogues between soloist and
77
DISCS OF THE MONTH – OPERA
Ballets takes up a good part of the score of
Rameau’s comédie lyrique, and here the
dancing permeates the whole production with
its witty, virtuosic innovations – hardly surprising since choreographer José Montalvo is
Rameau - Les Paladins
also the stage director, set designer and video
Les Arts Forissants
producer, while his co-choreographer DomiOpusArte OA 0938 D
nique Hervieu also designed the outlandish
costumes. An accompanying documentary,
These two productions of baroque operatic
works could not be more different from each Baroque that Rocks, is interesting, though it
sheds little light on the proceedings.
other. Yet they are both unmistakably the
Many of the fine singers, like the chariswork of early music pioneer William Chrismatic Sandrine Piau and Laurent Naouri, are
tie, whose flair for baroque music remains
long-time Christie regulars. In the pit, Chrisunsurpassed today.
tie, aided by the savvy musicians of his periIn this staging of Handel’s tragic musical
drama Hercules, emotions are bared, where- od instrument ensemble, Les Arts Florisas in Rameau’s playfully mannered Les Pala- sants, as well as the focused camera-work,
dins, it is the bodies (of dancers, not singers) prevents the on-stage mayhem from overwhelming his distinctively elegant, incisive
that are bared.
musical style.
Bringing Handel’s
Pamela Margles
searing musical draHaendel - Hercules
Des Arts Florisants; William Christie
Bel Air Classiques BAC013
ma to the stage,
director Luc Bondy
sets Hercules’ death
at the hands of his
jealous, demented
wife Dejanira in a
Greek amphitheatre,
with high prison-like
walls and a sandcovered floor. The
muted costumes reinforce the contrast between Hercules’ military glory and his emotional failures at home. The music is allowed
to control the action, which is mainly psychological, making for the kind of riveting operatic experience rarely captured on video. The
small cast is electric, with Joyce Didonato as
Dejanira dominating. Her Resign thy club
drips with innuendo. Bondy treats each member of the luminous Les Arts Florissants
chorus as an individual, with his or her own
particular relationship with the principal
singers. This rich dramatic interplay makes it
all the more effective when the whole chorus
launches into the powerful fugue following the
finger-pointing of Jealousy! Infernal pest!
3
this case, her voice is almost too controlled –
though there is no disputing its beauty. The
Lautten Compagney Berlin, under Wolfang
Katschner delivers some of the most translucent period performances, intricate and delicate at once, like a piece of vintage lace.
This is a “concept” album – it works best if
you are willing to listen with compassion to
the mournful tales of a jilted lover, a jealous
wife or an infanticidal sorceress.
Robert Tomas
Opera Recital
Rolando Villazon; Münchner Rundfunkorchester; Michel Plasson
Virgin Classics 6 344733 2
Rolando Villazón’s burnished sound, superb
technique and unusual dramatic intensity
easily place him at the forefront of today’s
crop of tenors. Having previously recorded a
recital devoted to Gounod and Massenet arias, he casts a wider net with this disc, which
Handel - 3 Portraits
covers fifteen arias from ten composers in
of Mezzo-Soprano Heroines
four different languages. Considering the
Maria Riccarda Wesseling
scope and variety, Villazón handles the chalClaves 50-2504
lenges with consistent success, whether tackling the elegant bel canto of Donizetti’s
Mezzo-soprano is considered the “dark
voice”. Just as the “good guys” always wear “Com’è gentil” from Don Pasquale or the
white; it’s the sopranos who sing the virgins, declamatory passion of Giordano’s “Amor ti
the innocents, and the unjustly maltreated. In vieta” from Fedora. Many of the roles surveyed are ones Villazón has not performed on
the operatic tradition that continues to this
stage, and even if he always displays full
day, the mezzo is reserved for madness,
cruelty and tragedy. Fortunately, the sumptu- command of the music and character, the
disc occasionally feels more like a test for
ous tones of the low voice usually emanate
from the characters that are a whole lot more which roles he should add to his growing
repertoire instead of a cohesive and logical
interesting than their milquetoast counterselection of arias. He excels in the lyrical
parts.
Medea,
Eboli,
Azucena,
Carmen
–
Les Paladins shows
roles like Offenbach’s Hoffman, Tchaikothese are the mad, bad, sad and wonderful
how a resolutely
vsky’s Lensky (even if his Russian is impermezzo
roles.
This
voice
is
naturally
more
contemporary stagfect), Bizet’s Nadir, and Strauss’s Italian
ing of an opera from conducive to anguish, anger and despair than Tenor. Roles like Ernani, Cavaradossi, Tuthe
sweetly
toned
soprano.
Among
many
quite another time
riddu, and Don José ideally require more heft
can be outrageously composers to take advantage of this Rossini, than Villazón can provide, but these performVivaldi
and
Handel
stand
out.
provocative, without
Handel in particular endowed many of his ances of excerpted arias give consistent
indulging in on-stage
pleasure. The veteran conductor Michel
female characters with some of the most
violence or gratuiPlasson brings superb orchestral support and
powerful
mezzo
writing.
Take
Medea,
the
tously crude gestormented child- killing avenger, whose terri- structural uniformity.
tures. What we get
The CD is accompanied by a DVD which
ble story is well known through the works of
in this imaginative
shows
off Villazón’s spunky off-stage personmultimedia extravaganza are lots of animals, Cherubini and others. And Dejanira, the
ality and his ability to overcome the superfitragic
wife
of
Hercules.
Or
Radamisto’s
from lions and kangaroos to peacocks and
cial aspects of the recording studio. Highly
rabbits, as well as subway trains and invisible Zenobia – these dames are trouble! The con- recommended for Villazón’s tremendous
trolled
mezzo
of
Maria
Riccarda
Wesseling
trampolines, all embellished with Monty
handles the challenge well, though you might vocal powers, if not for innovative programPython-style animations, and displayed with
ming.
wish she’d let the emotions carry her on. In
Seth Estrin
good-humoured ebullience.
78
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April 2006 - The WholeNote

Transcription

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