Prelude Magazine Winter 2023/2024

Official Program of the Calgary Philharmonic | Music Director Rune Bergmann | Winter 2023/2024 | Volume 48 No. 2

Long-time supporter Jenny Belzberg on building bridges to new audiences Conductor Andrés González on music for social impact Q + A with Concertmaster Diana Cohen

How Canoo is helping Newcomers discover Canada and the performing arts Behind the scenes of an Open Rehearsal

SEE POSSIBILITIES Discover your access to the Phil

Calgary Philharmonic Orchestra 205 8 Ave SE Calgary, AB T2G 0K9 Box Office: 403.571.0849 calgaryphil.com

Devon Klaas Editor Omar Jeha Art Director Janet Bwititi Editorial Advisor

contributors Diana Cohen Kathryn Hawco Stephen Hunt Charlotte Lilley Miranda Martini Stephania Romaniuk David Sussman

from the 04 Message President + CEO

06 Orchestra 09 Chorus feature

Engaging 10 An Presence

12 Handel's Messiah 16 Traditional Christmas conversation with 19 AAndrés González

20 Holiday Cirque

Cpossibilities members Tara, Michael, Stephanie, Victoria, Nicole, and Ryan shot by HarderLee Studios

22 Starman: David Bowie

For advertising inquires, please email Janet Bwititi at jbwititi@calgaryphil.com.

Prelude is published three times a year by the Calgary Philharmonic Society. Copyright 2023/2024

by Calgary Philharmonic Society. No part of this publication may be reproduced without express written consent of the publisher.

+ A with 37 QConcertmaster Diana Cohen

38 Montgomery + Mesa Stage with 40 On Alex Cuba Bash!

42 Birthday Bruckner + Louie

24

30

Goblet of Fire 44 the in Concert

TM

46 Beethoven's Seventh Brown's 48 Dan Wild Symphony feature

Drag Story Time: Peter and the Wolf

26 Spectacular Spanish Guitar Venue Partner

feature

Harry Potter and

feature

on the cover

featured in the cover story on page 30

34

IndigiDivas: Opera Hits + Indigenous Stories

cover story

Cpossibilities: Breaking Down Barriers

A Partnership 51 Canoo: of Lasting Firsts

52 Supporters feature

Open 58 The Dress Rehearsal

We acknowledge that we come together and create music on land known by the Blackfoot name Moh-kíns-tsis, which we also call Calgary. This land is on the traditional territories of the Blackfoot Confederacy (Siksika, Piikani, and Kainai First Nations), the Stoney Nakoda (Chiniki, Bearspaw, and Goodstoney First Nations), and the Tsuut’ina First Nations, as well as the Métis Nation of Alberta, Region 3. We honour this land and all those who share it in a spirit of peace, friendship, and respect.

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Administration

Tianna Therriault Artistic Coordinator

Siân Alcorn Sales Coordinator

Michael Thomson Director, Orchestra Operations

Alysha Armanious Manager, Education + Outreach

Board of Directors

Christopher Butler Digital Marketing Specialist

Michelle Bailey

Janet Bwititi Director, Marketing + Sales Sonny Carmona Marketing + Sales Specialist

Glenn Bontje Erin Burkholder Monica Cheng

Felicia Chow Customer Relations Coordinator

Fern Cyr Finance + Audit Committee Chair

Manisha Dangol Data Management Specialist

Rebecca Finley-Schidlowsky Board Secretary

Andrea Davison Director, Artistic + Education

Corinne Grigoriu Board Chair

Marian Dyck Box Office Support

Samuel Hayes Governance Committee Chair

Dennis Envoldsen Visual Content Specialist

Don Herman

Laura Gillespie Operations Accountant

Dr. John Lacey

Rob Grewcock Music Librarian

Melanie McBride

James Kusie Christine Macnab

Karen Halford-Edwards Intermediate Accountant

Elizabeth Middleton

Courtney Ilie Associate Director, Sales

Tracy Seaman Human Resources Sub-Committee Chair

Omar Jeha Graphic Designer Breanna Kennedy Education + Outreach Coordinator Devon Klaas Interim Communications Manager Lisa Korolyk Events + Volunteer Coordinator Dagny MacGregor Sales Manager Tayla Mapatac Front of House Coordinator Derek Muzyka Director, Finance + Administration Daniel Pelton Operations Assistant Chris Petrik Director, Development Ziga Poromon Box Office Support Kristyna Rempel Grant Writer Megan Robertson Assistant to the President + CEO Ainsley Schaap Sales Assistant Barbara Soles Senior Development Officer Jason Stasiuk Manager, Artistic Operations Marc Stevens President + CEO Jessica Szeto Information Systems + Technology Specialist

Thuy Nguyen

Donovan Seidle Casey Smith Marc Stevens Ex-officio Janet Yuchem Outgoing Board Chair Calgary Philharmonic Foundation Trustees Courtney Burton Secretary Elaine Clark Treasurer Fern Cyr David Daly President Joel Douglas Vice-President Jim Hughes Letha MacLachlan KC Eileen Marikar Assistant Treasurer The Honourable Lois E. Mitchell Byron Neiles Ellen Parker Ryan Stasynec Past President For an up-to-date list on administration, board members, and trustees, visit calgaryphil.com/about

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Hallo everyone, welcome to winter — and the holidays! — with your Calgary Phil. Our hope and aim is that you strongly feel that the Calgary Philharmonic belongs to you, and that people across Calgary agree. The audience is a crucial part of a live performance and we’re enjoying the buzz everyone’s bringing to the hall these days.

As always in the holiday season you’ll find us at Grace Presbyterian Church for Traditional Christmas with Resident Conductor Juliane Gallant, and at the Jubilee for a white-knuckle ride with Troupe Vertigo’s Holiday Cirque. In the new year we can’t wait to partner with some wonderful friends in the community including Calgary Pride for Drag Story Time: Peter and the Wolf, and our friends at One Yellow Rabbit Performance Theatre and their High Performance Rodeo to present the public premiere of IndigiDivas: Opera Hits + Indigenous Stories. It will be an evening of fresh interpretations of opera hits and First Nations composers. From Tchaikovsky’s cello, Dvořák, Bruckner and Mendelssohn, to living composers Alexina Louie and Zosha Di Castri, and Dan Brown’s Wild Symphony, we have something to warm everyone up this winter.

We recently launched our strategic plan, built on the vision that the Calgary Phil Belongs to Everyone. And in our 2023 Impact Report, we shared our progress against our strategic priorities of Trusted Programming, Community Building, and Organizational Wellbeing. Please have a look at these at calgaryphil.com and tell us your thoughts.

Part of our plan must include financial sustainability — like many organizations, the Calgary Phil is not immune to the current economic pressures and increased costs. To perform great music for audiences throughout Calgary, we need and greatly appreciate your support. That support can be expressed in many ways, one of the most significant of which is by attending concerts. Thank you for supporting Your Phil.

Marc Stevens President + CEO

Whether you are new to the Calgary Phil or you've been coming to concerts for years, here are the answers to some frequently asked questions to make your experience as enjoyable as it can be.

What do I wear to the Orchestra?

When do I clap?

Whatever you want! At the Calgary Phil, there is no formal dress code.

We want you to feel happy and relaxed so you can enjoy the performance. Most attendees wear business-casual attire, but you will see everything from jeans to cocktail wear. Dress in your own style and what makes you most comfortable.

This is our most common question.

Traditionally, in classical music culture, audiences hold their applause until the end of an entire piece (there can be multiple movements, with short breaks between them, in one piece). This is intended to respect the performers’ focus and the flow of the music. You’ll know when the piece is finished because the conductor typically puts their arms down completely and turns to the audience.

But, if you do happen to clap before the piece is finished, that’s okay!

The musicians will be happy to know you’re enjoying the performance.

What is your mobile phone policy?

One of the joys of a live concert is you can sit back and experience the music without distractions, but we also know you don’t want to miss an important message or call. So, if you leave your mobile device on, we simply ask that you turn the sound off, turn the brightness down, and be considerate of your neighbours.

Where can I find parking?

There are several parking lots in the area but leave yourself time to find a spot as they fill up fast. Underground parking is available at Arts Commons and the nearby Civic Plaza and TELUS Convention Centre parkades.

If you take the CTrain, the stations are located one block from Arts Commons. Also, bike racks can be found on Stephen Avenue in front of the Jack Singer Concert Hall.

Are drinks allowed in the concert hall?

Yes! All drinks are permitted in the concert hall, with the exception of the occasional concert. Many people arrive early to enjoy a drink in the lobby before the performance. You can also pre-order your drinks before the concert and pick them up from the bar at intermission.

What happens if I’m late?

We realize even the best laid plans sometimes go sideways. Ushers do their best to seat latecomers at appropriate breaks in the performance, but in some cases, this may not be possible until the completion of an entire work. We don’t want you to miss anything, so you can listen to the music and watch the screens in the lobby.

How long is a concert?

Concert length varies, but a typical performance starting at 7:30PM is about two hours long including a 20-minute intermission. Shorter concerts may not feature an intermission. Symphony Sundays for Kids concerts are held on select Sundays at 3PM, and are usually one hour long with no intermission.

For more useful tips, visit calgaryphil.com/plan-your-visit.

Can I take photos in the concert hall?

We'd love for you to share your Calgary Phil experience and capture your favourite moments. For most concerts, you can take a quick photo, but don’t use flash — it can interfere with the musicians’ performance.

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Orchestra Rune Bergmann Music Director

Juliane Gallant

Resident Conductor

Cris Derksen Artistic Advisor

Roberto Minczuk

Music Director Laureate

Hans Graf

Music Director Laureate

Mario Bernardi

Violas

Clarinets

Harp

Laurent Grillet-Kim

Slavko Popovic

Gianetta Baril

Marcin Swoboda

Jocelyn Colquhoun

Principal

Assistant Principal

Arthur Bachmann Jeremy Bauman Peter Blake Michael Bursey Alisa Klebanov Jesse Morrison

Principal

Assistant Principal

Bassoons Antoine St-Onge Principal

Assistant Principal

Cellos

Horns

Cenek Vrba

Arnold Choi

Nikolette LaBonte

Principal

Josué Valdepeñas

First Violins Diana Cohen Concertmaster

John Lowry

Associate Concertmaster

Donovan Seidle

Assistant Concertmaster

Edmund Chung Hangyul Kim Olga Kotova Bonnie Louie Genevieve Micheletti Maria van der Sloot Hojean Yoo Position to be filled Position to be filled

Second Violins Lorna Tsai Principal

Stephanie Soltice-Johnson Assistant Principal

Erin Burkholder Jeremy Gabbert Hyewon Grillet-Kim Craig Hutchenreuther Minnie Min Kyung Kwon Theresa Lane Adriana Lebedovich Steven J Lubiarz

Learn more about our musicians at calgaryphil.com/ musicians

Michael Hope

Conductor Laureate Concertmaster Emeritus

Principal

Principal

Clare Bradford Kathleen de Caen Thomas Megee David Morrissey Daniel Poceta Position to be filled

Position to be filled

Heather Wootton

The Calgary Phil is proud to perform live symphonic music for Alberta Ballet, Calgary Opera, and the Honens International Piano Competition.

Basses

Trumpets

Repertoire often requires extra musicians including:

Assistant Principal

Sam Loeck Principal

Position to be filled Assistant Principal

Matthew Heller Trish Bereti-Reid Patrick Staples Jonathan Yeoh

Flutes Sara Hahn-Scinocco Principal

Gwen Klassen

Assistant Principal

Piccolo Gwen Klassen

Oboes Alex Klein Principal

David Sussman Assistant Principal

English Horn David Sussman

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Jennifer Frank-Umana Associate Principal Assistant Principal

Maxwell Stein

Assistant Principal Assistant Principal

Adam Zinatelli Principal

Miranda Cairns

Assistant Principal

Trombones James Scott Principal

Kristofer Leslie Assistant Principal

Bass Trombone David Reid Principal

Tuba Tom McCaslin Principal

Timpani Alexander Cohen Principal

Percussion Position to be filled Principal

Eric Auerbach, violin Rolf Bertsch, keyboard Jeremy Brown, saxophone Sean Buckley, percussion Stan Climie, clarinet Aidan Dugan, oboe John Feldberg, bassoon Sheila Garrett, bass Gareth Jones, trumpet Janet Kuschak, cello Lidia Haeju Lee, violin Malcolm Lim, percussion Sarah MacDonald, flute Nikki McCaslin, trombone Elisa Milner, violin Emily Phernambucq, flute Richard Scholz, trumpet Eva Sztrain, violin Doug Umana, horn The members of the Calgary Philharmonic Orchestra are members of The Calgary Musicians Association, Local 547 of the American Federation of Musicians of the United States and Canada.

Rune Bergmann Music Director

Juliane Gallant Resident Conductor

Cris Derksen Artistic Advisor

Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic, Artistic Director and Chief Conductor of the Szczecin Philharmonic in Poland, Music Director of the Peninsula Music Festival, and Music Director of Switzerland’s Argovia Philharmonic. Guest engagements in the 2023/2024 Season bring Rune once again to the Baltimore, Colorado, and Utah Symphony orchestras and also for debuts to the Beethoven Orchester Bonn, Buffalo Philharmonic, and Sarasota Orchestra.

Rune’s recent guest engagements include concerts with the Baltimore, Colorado Detroit, Edmonton, Houston, New Jersey, and Pacific symphony orchestras in North America, and the Bergen Philharmonic, Orchestra della Svizzera Italiana, Orquesta Sinfonica Portuguesa, Norwegian National Opera Orchestra, Orquesta de Valencia, Malaga Symphony Orchestra, ADDA Simfonica, Staatskapelle Halle, Wrocław Philharmonic, and the Risor Festival in Europe, to name a few.

Rune has also led performances of Il barbiere di Siviglia and La Traviata at the Norwegian National Opera and he made his US operatic debut in Yale Opera’s production of Benjamin Britten’s A Midsummer Night’s Dream, as staged by Claudia Solti. Previous guest engagements have led him to such auspices as the Oslo Philharmonic, New Mexico Philharmonic, Munchner Symphoniker, Mainfranken Theater Wurzburg, Philharmonie Sudwestfalen, as well as the symphony orchestras of Malmo, Helsingborg, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense.

New Brunswick-born conductor Juliane Gallant is the Resident Conductor of the Calgary Philharmonic, and one of two fellows in the inaugural cohort of Tapestry Opera’s Women in Musical Leadership program. She has appeared as guest conductor with the Okanagan Symphony Orchestra, Kingston Symphony Orchestra, and Symphony New Brunswick, and as assistant and cover conductor with many orchestras and opera companies across Canada. Initially a collaborative pianist, répétiteur, and vocal coach, Juliane began her conducting career in opera. She has led productions of Carmen, La Bohème, Tosca, Eugene Onegin, La Traviata, Don Giovanni, and numerous others, both in Canada and in the United Kingdom. In 2021, she made her Royal Opera House debut in Mami Wata in collaboration with Pegasus Opera. Juliane is a graduate of the National Opera Studio, the Guildhall School of Music and Drama, the Conservatoire de musique et d’art dramatique de Montréal, the University of Ottawa and the Université de Moncton. In London, Juliane was one of only 12 conductors selected for the first Women Conductors Course: Conducting for Opera, run by the Royal Opera House, the National Opera Studio, and the Royal Philharmonic Society, and has received continued support from the Royal Opera House throughout her training.

Juno nominated Cris Derksen is an internationally respected Indigenous cellist and composer. Originally from Treaty 8 in Northern Alberta, she comes from a line of chiefs from North Tallcree reserve on her father’s side and a line of strong Mennonite homesteaders on her mother’s side. She is in high demand as a composer and performer with symphonies and chamber groups across Canada. Cris’ strength lies in her diversity as a composer for all arts fields, including dance, theatre, film and television, animation, fashion, and podcasts. Cris founded the Indigenous Classical Gathering at the Banff Centre for Arts and Creativity, and is Chair of the Equity Committee for Orchestra's Canada, all in hopes of opening doors for other BIPOC composers and performers, asking the question: how do we make classical music look and sound more like Canada? Cris performs nationally and internationally as a soloist and in collaboration with some of Canada’s finest, including Tanya Tagaq, Buffy Sainte-Marie, Naomi Klein, and Laakkuluk WilliamsonBathory, to name a few. Recent concert destinations include Norway, Chile, Hong Kong, Australia, Mongolia, Europe, and a whole lot of Canada: the place Cris refers to as home.

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Theresa Lane Second Violin

Mark Bartel Chorus Director

Your Phil.

Your Style.

Check out our new signature items including sleek and stylish water bottles and caps! Find the perfect gift for the music lover in your life. All proceeds go towards helping us keep the music playing.

Visit calgaryphil.com/shop.

8 | PRELUDE calgaryphil.com | 403.571.0849

Mark Bartel is in demand as a versatile conductor and music educator. He is known for his musical, educational, and community collaborations and has established a reputation as a successful builder of choirs and choral programs. Mark is a passionate advocate of the impact of music on the lives of choristers, audiences, and communities. He has conducted university choirs for over 20 years and has extensive experience leading a wide range of community choirs in both the United States and Canada.

After a 16-year tenure in the US, he returned to Canada in 2019 to join the faculty at Calgary’s Ambrose University as Associate Professor of Music. Since arriving in Calgary, he has also served as Director of the Spiritus Chamber Choir. In addition to his interest in choral-orchestral works and choral music of the baroque era, he brings expertise as a singer and teacher of voice to his work with choirs. His current research focuses on how choirs around the world engage in active peacebuilding through the choral experience. Originally from Niagara-on-the-Lake, Ontario, Mark is a graduate of the University of Winnipeg. He holds Master of Music and Master of Sacred Music degrees from Southern Methodist University in Dallas, Texas, and a Doctor of Musical Arts degree in conducting from the Eastman School of Music in Rochester, New York.

Chorus About the Chorus Established in 1963, the Calgary Philharmonic Chorus is one of only two choruses in Canada that is part of a major professional symphony orchestra.

The Chorus performs a wide variety of repertoire, including oratorio, opera, light classics, contemporary music, pops, and commissioned new works. In a typical season, the acclaimed ensemble is featured in four to eight concerts with the Orchestra. The Chorus is made up of more than 120 dedicated volunteer singers from Calgary and surrounding communities who come from all walks of life. Celebrating its 60th anniversary in 2023, the Chorus delivers excellence in the performance of choral music and promotes the enjoyment and development of choral singing in Calgary communities.

Mark Bartel

| Chorus Director

Evan Mounce

| Assistant Chorus Director

Katt Hryciw

| Chorus Administrator

Sopranos Heather Allen Karine Baumgardner Ellen Borak Michelle Bozynski Section Representative

Tricia Bray Carolyn Byers Christina Candra Twylla Jayne Conn Sheila Cook Laura A Davis Ina Dobrinski Larissa Donnelly Megan Duckett-Sutton Gail Feltham Sue Galcher Sim Galloway Carolyn Hatt Robyn Hauck Rachelle Henkel Dale Hensley Jessica How Melody Littel Freya Melax Alicia Nesbitt Gillian Posey Brier Reid Lisa Schalk Barbara Schneider Lisa Sears-Walsh Joan Simmins Barbara Soles Becky Standing Chantelle Stevenson Crystal Tan Tamara Vardomskaya Norma Webb Chelsea Woodard Principal

Betsy Woolner

Altos

Tenors

Margaret Anderson Susan Bell Heather Benson Barbara Boland Elizabeth Bowers Michelle Cariou Kelsey Chambers Indrani Chatterjee

Tim Ahrenholz Dean Allatt Tim Bell

Section Representative

Tanya Chow Breanne Coady Yvonne Courtney Ruth A Cross Shirley Cumming Rebecca Frederick Racheal Githumbi Hilary Gordon Alexandra Guebert Kay Harrison Pat Heitman Candace Hiebert Helen Isaac Allison Johnson Cynthia Klaassen Heather Klassen Marlene Krickhan Catherine Lasuita Megan Lundrigan Shawna MacGillivary Barbara Mathies Julia Millen Principal

Patty Mino Lucinda Neufeld Britt Odegard Mara Osis Anastasiya Petruk Anne Rodger Liv Sawyer Patti Vaillant Julia Vanden Heuvel

Section Representative

Keevin Berg Philip Dano Pat Favaro Richard Harding Katt Hryciw James Hume Juan Manuel López Eric Ma Abraham Ortega Will Parker Jason Ragan Principal

Peter Rilstone Vitalii Semion Dennis Voth

Basses Archie Adams Aaron Bartholomew Principal

Cam Bischoff Glenn Bontje Ian Charter Chad Conrad Timothy Cooke Kevin Di Filippo Arthur Dick Alan Dornian Mark Dumbrique

Section Representative

John Ghitan Allan Huber Eric Klaassen Drew Kotchan Dave Kroeger Mark Louie David Mark Martin Mobach Keith Odegard Kori Patrick Dave Pattison Dana Salter David Schey Anton Siaotong Albi Sole Daniel Tablazon Greg Wagland Richard Wanner Jim Weisert Keith Wyenberg

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© Sam Obadero

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AN ENGAGING PRESENCE

BY STEPHANIA ROMANIUK

“

I made so many of my friends through my volunteer work,” shares Jenny Belzberg, longtime patron, former board member, and champion donor to the Calgary Philharmonic Orchestra.

In 1971, when Jenny was invited to serve on the board of the Calgary Philharmonic, she was plunged into the heart of a controversy involving the abrupt dismissal of a prominent staff member. The board was divided, as was the local community. Even as a probationary member of the board, she stood her ground on what she felt was right and quickly gained the respect of all parties involved. Both sides nominated her to continue on the board, where she served for 14 years, rising to the position of vice chair in the early 1980s.

Jenny came to the Philharmonic with a strong background in community volunteerism and an early musical upbringing. Born and raised in Calgary, Jenny played piano as a child, and her mother listened to opera broadcasts every Saturday afternoon on the radio. “I didn’t even know I absorbed it” Jenny recalls, chuckling. Her great ability, however, lay in connecting with others, seeking out their strengths, and finding the best place for their talents to serve a larger purpose.

At the Philharmonic, Jenny led fundraising initiatives in an era of remarkable special events, many of which had never been tried before in Calgary. These included Mozart on the Mountain, which had cars lined up for miles into Kananaskis, and the Philharmonic Ball, featuring a live auction with Monty Hall, the celebrity host of the popular television show Let’s Make a Deal. Jenny helped create the Amadeus Patron Program

with its intimate special event series, and she led a unique Christmas tree sale at the Convention Centre with choirs of carollers, an animal petting zoo, and even an indoor train ride for children. Crowds wrapped around the block to support the Orchestra! At the helm of these initiatives, Jenny and her teams of volunteers drew in new patrons, secured vital financial contributions, and opened the Orchestra to a broader community.

ensuring we are reaching people who may have never attended or even know that we exist. We’re working with industry leaders in market research, machine learning tools, and targeted marketing strategies to attract and retain new audiences — and doing so in record numbers.

The Calgary Phil truly belongs to everyone, and through Jenny’s support it will help us demonstrate this to Calgarians.”

To galvanize local support, Jenny sought out those who were not only influential in their own circles, but who were interested in meeting new people and finding ways to contribute their time and skills. “Anyone who volunteers and gives of themselves — they’re the kind of people you want to know,” Jenny affirms. “And by working together, we became very close and still are to this day.”

In the current climate when arts organizations are constantly under financial pressure, the importance of building bridges, welcoming new attendees, and celebrating everyone’s place at the orchestra cannot be overstated. The message of this campaign also reflects a longstanding reality of orchestral music in Calgary. “The Orchestra grew out of the community,” Jenny shares.

“We were smaller back then, but many people wanted to volunteer their efforts to something important.

As Calgary was growing, we were building something fantastic here, too — an orchestra to truly be proud of.”

In addition to her years of service on the board, for over five decades Jenny has been a loyal subscriber, familiar face at Philharmonic events, and champion donor. Her significant contributions to the arts have been recognized with several Queen’s medals, the Alberta Order of Excellence, and the Order of Canada.

Even now, her drive to contribute to her community continues. Most recently Jenny agreed to support the Calgary Philharmonic’s Building New Audiences campaign, an initiative that fits perfectly with her belief in reaching out to others and drawing them in.

“Building New Audiences is an initiative designed to increase awareness of the Calgary Phil across the city and to broaden our audiences,” explains Janet Bwititi, Director, Marketing + Sales. “This is done through careful planning,

“If you believe in something, you want to fight for it,” Jenny states. “It’s hard work, but it enriches your life. I still get excited for every concert.” She adds with a wink, “and I will look for you there now, too!”

Your Phil. Your Music.

Scan to watch

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Messiah, HWV 56

George Frideric Handel (1685 to 1759)

Handel's Messiah Friday 1 December / 7:30PM Saturday 2 December / 2:30PM Jack Singer Concert Hall Specials Supported by Guest Artist Supporter: Naomi + John Lacey Virtuoso Program Chorus Supporter: Borak Forte Program Program Nicholas McGegan, conductor Claire de Sévigné, soprano Georgia Burashko, mezzo-soprano Isaiah Bell, tenor Tyler Duncan, baritone Calgary Philharmonic Chorus Calgary Philharmonic Orchestra

George Frideric Handel

Messiah, HWV 56

Concert includes a 20-minute intermission Program and artists subject to change without notice 12 | PRELUDE calgaryphil.com | 403.571.0849

120'

George Frideric Handel was born in Germany in the late 1600s, but as an adult, the composer built his musical legend composing Italian opera — for London audiences! There were 40 of them that Handel composed between 1711 and the late 1720s.

By 1730, Italian operas hit a slump with the British public and Handel needed a new musical approach. In 1732 Handel presented Esther, an English-language opera originally commissioned by a wealthy opera lover. In 1735, he received English lyrics to a piece called Saul written by wealthy landowner, librettist Charles Jennens, a collaboration that led, in 1841 to a new oratorio that proved to be the first draft of Messiah. Jennens, in a letter to a friend, expressed high hopes for it. “I hope [Handel] will lay out his whole Genius & Skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other subject. “The Subject,” he added, “is Messiah”. ‘Messiah’ is an old Hebrew word that means ‘the anointed one’. Jennens was an Anglican, and his libretto has been described by scholar Richard Luckett as “a commentary on [Jesus Christ’s] Nativity, Passion, Resurrection and Ascension”, beginning with God’s promises as spoken by the prophets and ending with Christ’s glorification in heaven. As for the music, legend has it that Handel wrote Messiah in 24 days. In late 1741, the Duke of Devonshire invited Handel to do a series of concerts in Dublin that led to the 1742 premiere of the oratorio, at a charity concert that raised money for prisoners’ debt relief, the Mercer’s hospital, and a local infirmary. It was first performed 13 April 1842 and raised around 400 pounds for the three charities. In early June, a second performance was held, with all the proceeds going to Handel. Messiah went on to be performed in London in March, 1743, at Covent Gardens, where it was not warmly received by the London critics, who didn’t appreciate that such a spirituallythemed work was being performed in such a secular setting. Handel died in 1759, but Messiah continued to evolve, both musically and in the scale of presentation. A variety of

Program notes by Stephen Hunt © 2023 Calgary Philharmonic Chorus biography on page 9

© Laura Barisonzi

composers, including Mozart added orchestrations and made alterations to Handel’s original composition. The size of choral groups and orchestras performing the piece swelled over the years in England and America but remained relatively restrained on the continent. In 1788, Johan Adam Miller presented Messiah at the Berlin Cathedral with a choir of 259 singers, performing alongside an orchestra.

By the time it was performed in New York, in 1853, Messiah featured a choir of 300 singers, while an 1865 Boston performance featured over 600 in the choir. In 1857, they staged a Great Handel Festival at the Crystal Garden in London, where Messiah was performed with a choir of 2,000 singers and an orchestra of 500 musicians. All of which was a little too large scale for one of the local music critics, George Bernard Shaw, who wrote as a music critic under the pseudonym Corno di Bassetto. The epic scale of Handel’s compositions irked the legendary playwright.

“Why, instead of wasting huge sums on the multitudinous dullness of a Handel Festival, does not somebody set up a thoroughly rehearsed and exhaustively studied performance of the Messiah in St. James Hall with a chorus of 20 capable artists?” Shaw asked. “Most of us would be glad to hear the work seriously performed once before we die.”

Nicholas McGegan Conductor

Claire de Sévigné Soprano

An “expert in 18th-century style” (The New Yorker), Nicholas McGegan is in his sixth decade on the podium.

Following a 34-year tenure as Music Director of Philharmonia Baroque Orchestra and Chorale, he is now Music Director Laureate. Nicholas is also Principal Guest Conductor of Hungary’s Capella Savaria. His approach — intelligent, infused with joy, and never dogmatic — has led to engagements with many of the world’s major orchestras, including those of Cleveland, Chicago, Los Angeles, New York, Philadelphia, San Francisco, Hong Kong, Sydney, London's Royal Opera House, and the Royal Concertgebouw. Nicholas has collaborated with choreographer Mark Morris, and made appearances at BBC Proms and the Edinburgh International Festival. His extensive discography includes more than 100 releases spanning five decades, including more than 40 with Philharmonia Baroque Orchestra and Chorale, and more than 20 with Capella Savaria. His recordings have garnered two Gramophone Awards and two Grammy nominations. He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.”

Nicholas is committed to the next generation of musicians, frequently conducting and coaching students in regular engagements at Yale, Juilliard, Harvard, the Colburn School, Aspen Music Festival, and more.

Named one of CBC’s Top Young Canadian Classical Musicians, soprano Claire de Sévigné was recently nominated for a Classical Album of the Year JUNO award for her Naxos album of Vivaldi Cantatas with Kevin Mallon and the Aradia Ensemble.

Recent successes have come with the Canadian Opera Company, Savonlinna Opera Festival, Opernhaus Zürich, and Théâtre des Champs-Élysées as Blonde in Die Entführung aus dem Serail, in which she was hailed for her “sparkling top notes and vocal brilliance, lightness and finesse”.

Upcoming, Claire looks forward to her San Francisco Opera debut in Saariaho’s Innocence, as well as a debut with Opéra de Toulon for her signature role of Adele in Strauss’ Die Fledermaus. She also returns to Grand Théâtre de Genève for Messaien’s Saint François d’Assise and Opéra Nantes Angers for Die Fledermaus.

On the concert stage, she sings Handel’s Messiah under the baton of Nicholas McGegan with both the Calgary Philharmonic Orchestra and Edmonton Symphony Orchestra. The 2022/2023 Season marked several role and house debuts for Claire, including Pacific Opera Victoria as the Nachtigall in their new production of Braunfel’s Die Vögel, and Opéra national de Montpellier as Erste Dame in Mozart’s Die Zauberflöte.

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© Kristopher Johnson

Georgia Burashko Mezzo-soprano

Isaiah Bell Tenor

Tyler Duncan Baritone

Canadian mezzo-soprano Georgia Burashko has been hailed as “a model of expressiveness” and “emotionally evocative” (Opera Going Toronto).

Based in Den Haag, Netherlands, Georgia is a winner of The Dutch Classical Talent, which earned her a solo recital tour of her own curation through The Netherlands in 2023/2024. This Season, Georgia looks forward to singing Messiah under the baton of Nicholas McGegan with both the Calgary Philharmonic Orchestra and Edmonton Symphony, and making her debut at The Bach Festival in Leipzig with the Netherlands Bach Society. Georgia also joins the cast of Purcell’s The Fairy Queen with Les Arts Florissants, kicking off a global tour of the production, including stops at New York’s Lincoln Centre and Versailles’ Opéra Royal. This past season, she premiered J.S. Bach — The Apocalypse, a joint opera production with De Nederlandse Bachvereniging and Opera2Day which toured the Netherlands. Georgia also recently released her debut album with Italian harpist Michela Amici entitled Dal suono dolcissimo, featuring both 17th century Italian music and new works for voice and baroque harp.

Isaiah Bell performs across North America as a tenor (notably Rufus Wainwright’s Hadrian at the Canadian Opera Company, The Barber of Seville with Vancouver Opera, and Mark Morris’ production of Curlew River at B.A.M.) and complements that practice with composing and writing.

He combines all three disciplines in his solo chamber-opera/cabaret-theatre show The Book of My Shames, a co-creation with director Sean Guist around Isaiah’s words and music. The piece, which has been described as “impossibly beautiful” and a “comic, wrenchingly personal tour-deforce”, has been presented by opera companies and orchestras across Canada. It continues to tour. Recent and upcoming singing projects include the world premiere of La Reine-garçon at Opéra de Montréal, Mendelssohn’s Elijah at Carnegie Hall, and Handel’s Acis and Galatea with Richard Egarr and Philharmonia Baroque at the Tanglewood and Caramoor festivals. He also returns to collaborations with conductor Nicholas McGegan, Opera NUOVA, and the Vancouver Symphony.

Isaiah’s multidisciplinary work can be seen online, including City Opera Vancouver’s film of his original translation/adaption of Poulenc’s solo opera La voix humaine — a “finely tuned performance, so perfectly married to his own sensitive and intelligent adaptation” (Opera Canada), and a program for Early Music Vancouver featuring Baroque arias alongside his own music and poetry.

With a voice described as “honeycoloured and warm, yet robust and commanding” (The Globe and Mail), baritone Tyler Duncan has performed with several leading orchestras, including the New York Philharmonic, San Francisco Symphony, Toronto Symphony Orchestra, Minnesota Orchestra, and the Kansas City Symphony. Tyler recently performed C.P.E. Bach’s Magnificat with the Handel and Haydn Society, Beethoven’s Ninth Symphony with the Vancouver Symphony Orchestra, Bach’s St. John and St. Matthew Passions with the Oregon Bach Festival, and Haydn’s Creation Mass with Music of the Baroque. Other notable engagements include Messiah with Houston Symphony, Theodora with Trinity Wall Street at Caramoor, Handel's Apollo e Dafne and Bach’s Ich habe genug with Tucson Baroque Music Festival, as well as concerts with Bard Music Festival, Brooklyn Art Song Society, and Aspect Chamber Music. In the 2023/2024 Season, Tyler is set to collaborate with Early Music Vancouver for Apollo e Dafne, New Jersey Symphony, Grand Rapids Symphony, Edmonton Symphony, and the Calgary Philharmonic for Messiah, and the Oratorio Society of New York for their 150th Anniversary celebration concert featuring Beethoven’s Ninth Symphony. He will also join the Amadeus Choir for Haydn’s Creation and debut the role of Count Almaviva in Le Nozze di Figaro at Pacific Opera Victoria.

14 | PRELUDE calgaryphil.com | 403.571.0849

for the cla

ssics buff

0s fan 8 e h t for

Beethoven's Seventh 1 + 2 March

for the sci-fi

Totally 80s 8 + 9 March

for the gla for the little

ones

Starman: David Bowie 13 January

Saint-Georges' Sword + Bow 5 May

for the p

fanatic

Star Wars: A New Hope in Concert 17 + 18 May

m-rocker

iano ent

for the fashion forward our Calgary Phil merch collection includes socks, tees, and more!

husiast

A Night in Vienna with Sir Stephen Hough 23 March

over

for the t

heatre k

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The Broadway / Hollywood Songbook 3 + 4 May

ul l e so

for the Calgary Phil superfan

Soulful: Capathia Jenkins 5 + 6 April

a gift card for a concert of their choice!

For more details, visit calgaryphil.com/gift-guide

Traditional Christmas

Cantaré Children’s Choir Ensemble

Tuesday 5 December / 7:30PM Wednesday 6 December / 7:30PM Thursday 7 December / 7:30PM Grace Presbyterian Church Specials Supported by Resident Conductor Supporter: Mary Rozsa de Coquet Program Juliane Gallant, conductor Cantaré Children's Choir Calgary Philharmonic Orchestra Pyotr Ilyich Tchaikovsky

Overture from The Nutcracker

3'

Vijay Singh

Medieval Gloria

2'

Ruth Watson Henderson

Lullaby for the Christ Child

3'

Ralph Vaughan Williams

Prelude on an Old Carol Tune

5'

Mark Sirett

The Stars Point the Way

1'

Ola Gjeilo

Festival Gloria

4'

Samuel Coleridge-Taylor

A Christmas Overture

6'

Gloria Shayne + Noël Regney (arr. Brant Adams)

Do You Hear What I Hear?

4'

Traditional (arr. David Willcocks)

O Come All Ye Faithful from Five Christmas Carols

3'

John Rutter

Angel’s Carol

3'

Kim André Arnesen

Cradle Hymn

3'

Leroy Anderson

Sleigh Ride

3'

Traditional (arr. Lee Kesselman)

Auld Lang Syne

3'

This concert has no intermission Program and artists subject to change without notice 16 | PRELUDE calgaryphil.com | 403.571.0849

Founded in 1997 by Catherine GlaserClimie, Cantaré Children’s Choir is widely known as one of Calgary’s premiere performing arts institutions.

Singers develop a comprehensive musical foundation at an early age so they can thoughtfully engage with numerous musical styles from around the world in their youth. Choristers in Cantaré become comfortable tackling masterworks of the Renaissance, Baroque, and Romantic Periods along with Contemporary gems — including 18 commissioned works.

Cantaré’s award-winning program has received a host of accolades including First Prize in the National Music Festival. In its vibrant musical community, Cantaré is the proud partner of Calgary Opera and the Calgary Philharmonic Orchestra, producing over 60 productions with the two companies in the choir’s 26year history. The choristers are the Resident Artist of the Field Of Crosses Memorial Project, singing on Global TV’s National Remembrance Day Broadcast every year, and stewarding the Act Of Remembrance in their communities. Cantaré continues to nurture a network of alumni excellence across the world in all career fields. Alumni have gone on to sing in the National Youth Choir of Canada, the World Youth Choir, and in a host of amateur and professional choirs across Canada.

Juliane Gallant biography on page 7

2:0

0 FE PM BR MA UA TIN RY ÉE 4 February 3, 4, 7, & 9, 2024

At the Southern Alberta Jubilee Auditorium

calgaryopera.com

April 20, 24, & 26, 2024

At the Southern Alberta Jubilee Auditorium

WINTER 2023/2024 | 17

Jim

MUSICIAN & MUSIC LOVER (still finding joy in every note)

WEEKDAYS 6 - 9

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18 | PRELUDE calgaryphil.com | 403.571.0849

Work and play in perfect harmony Proudly supporting music, arts and culture in our community.

MICHELLE YI, JODI HUGHES, JEFFERSON HUMPHREYS & ADRIANA ZHANG

ANDRES GONZALEZ

BY CHARLOTTE LILLEY

or conductor Andrés González, music and social justice have always gone hand in hand.

Originally from Venezuela, where he received his early training through El Sistema (a program well known for its use of music education as a means of social engagement and development), Andrés is a firm believer in the positive social impact that music can have.

F

“The music basically touched my life and saved my life, otherwise I wouldn’t be able to do what I’m doing right now,” he explained in an interview. “There is no other way that myself or my parents could pay for the educational training I had.

And so I was lucky to be around that program.”

Now an educator himself, these early experiences inform Andrés’ own work, as he recognizes the power of music education to support positive change for individuals and their communities. Whether his students become professional musicians or not, he believes that “they should be able to see the world through the lens of the music, which is different. It’s teamwork, it’s patient, it develops dedication.”

“The ultimate goal is not to create musicians, it’s to improve their lives and improve their skills so they can have a successful life in the future.”

As Andrés supports new generations of up-and-coming music students, he’s also keenly aware of shifts within the broader world of classical music.

Pointing to the trends of ensembles leaning towards shorter repertoire and composers creating works which “reflect a little bit of the crisis that the

world is living right now,” he noted: “I think there is a new era in classical music.”

Much of this new era is rooted in ideas of sustainability and improved accessibility for diverse audiences.

As Andrés explained, “there is some conversation around how the new music could be more sustainable, for the audience [and] for the orchestra — if you have shorter performances [and] we put it together in a streamlined situation, people can feel more involved, more welcome to the halls.”

This February, Andrés will join the Calgary Philharmonic for Montgomery + Mesa, a concert which exemplifies this shift towards sustainability and accessibility. Including performances of works by Iman Habibi, Pyotr Ilyich Tchaikovsky, Antonín Dvořák, and Jessie Montgomery, and featuring cellist Tommy Mesa, the concert invites audiences to consider a question first posed by Montgomery in the program note for her piece Divided: “How do we find beauty among the chaos?”

It’s a concert which speaks to the desire for musicians and audiences alike to respond to current social issues: Habibi’s 2019 composition Jeder Baum spricht (which translates to ‘Every Tree Speaks’) was written as a direct response to the current climate crisis, while Montgomery’s 2022 concerto Divided reflects on wider experiences of social and political unrest.

For Andrés, combining these new compositions with Tchaikovsky’s iconic Variations on a Rococo Theme and Dvořák’s pastoral Symphony No. 8 — each classical staples in their

own right — makes sense. As he explained, “the way that I envision every single program is all these new elements should be attached to what classical music has been. Because we cannot just relegate that, because that’s history as well.”

The accessibility of the concert’s program also goes beyond the pieces themselves. “It’s not only touching those very delicate topics that are around the world right now, but I also think it’s showing more diversity in how we pick the repertoire,” Andrés noted. “I mean, we have Tommy [Mesa], whose parents are from Cuba.

I’m from Venezuela. Iman [Habibi is] from Iran, and Jessie [Montgomery] is a Black woman composer.”

Through the inclusion of more diverse voices alongside musical reflections on themes like social justice and the climate crisis, Andrés sees opportunities, once again, to bring new audience members into the classical music space: “I think, right now, there [are] very good elements, and excuses, for the new generations to get involved in so many different ways.”

As he looks ahead to engaging those audience members at Montgomery + Mesa, Andrés’ main hope is that they will simply enjoy the performance.

“That’s the ultimate goal,” he explained. “I just wish that people can feel my feelings, you know, somehow translate them through the orchestra, and just have fun.”

Andrés González conducts Montgomery + Mesa on 2 February.

Visit calgaryphil.com for tickets.

WINTER 2023/2024 | 19

© Sam Fritch/Play On Philly

M USI C f o r S O C I A L CHA NGE : a C ONVER S A T ION w ith

© Travis Campbell

Julian Pellicano Conductor

Holiday Cirque Saturday 9 December / 11AM + 6PM Southern Alberta Jubliee Auditorium Specials Program Julian Pellicano, conductor Troupe Vertigo, cirque artists Calgary Philharmonic Orchestra Performing music from the list below Bugler's Holiday / Caribbean Sleigh Ride / Carol of the Bells / Fantasia On Greensleeves / Jingle Bells / Polar Express Concert Suite / Sleigh Ride / The Nutcracker Concert includes a 20-minute intermission Program and artists subject to change without notice 20 | PRELUDE calgaryphil.com | 403.571.0849

Known for his versatility across a broad spectrum of genres, dynamic interpretations and meticulous technique, American-Canadian conductor Julian Pellicano is the Music Director and Principal Conductor of Canada’s Royal Winnipeg Ballet and Associate Conductor of the Winnipeg Symphony Orchestra. Bringing an incisive musicality and collaborative spirit to every performance, he has built a wide-ranging international career leading the Winnipeg Free Press to proclaim that “his versatility is truly astonishing.” As a guest, he has conducted orchestras in North America and abroad including the Seattle Symphony, Vancouver Symphony, the National Arts Centre Orchestra, the Orquestra Sinfônica de Porto Alegre, Oklahoma City Philharmonic, and the Vermont Symphony, among others. Upcoming ballet performances include return engagements with the National Ballet of Canada and Orlando Ballet, a debut with Hong Kong Ballet, as well as extensive performing and touring with the Royal Winnipeg Ballet. Julian studied conducting at the Yale School of Music, and the Royal College of Music in Stockholm. His career grew out of unconventional beginnings, performing as a primarily self-taught percussionist, timpanist, drummer, and accordionist. He studied percussion at the Peabody Conservatory, the Royal College of Music in Stockholm, Sweden, and the Yale School of Music.

He also holds a degree in philosophy from The Johns Hopkins University.

World class facilities at your fingertips

Troupe Vertigo Cirque Artists Fusing together elements of cirque acrobatics, classical dance, and contemporary theatre, Troupe Vertigo brings audiences on a spellbinding journey through the world of artistic movement. Consisting of world-class aerial artists, contortionists, and ballet dancers, the Los Angeles based company was founded in 2009 by Artistic Director Aloysia Gavre and Technical Director Rex Camphuis.

Troupe Vertigo, whose “dizzying acts defy gravity and leave its lucky audiences in awe” (Los Angeles Times) has performed with major orchestras across North America. Troupe Vertigo’s recent seasons have brought them to Baltimore, Detroit, Dallas, Fort Worth, Indianapolis, Pittsburgh, San Diego, Oregon, Tucson, Utah, Seattle, Phoenix, Symphony Orchestras, the Florida and Minnesota Orchestras in the US and Vancouver, Winnipeg, Regina Symphony Orchestras, Calgary Philharmonic, and the National Arts Centre Orchestra in Canada. Notable conductors that Troupe Vertigo has performed with include Jack Everly, Jeff Tyzik, Enrico Lopez-Yañez, Stuart Chafetz, Michelle Merrill, Sarah Hicks, Daniel Meyer, Nicholas Hersh, and Norman Huynh. Troupe Vertigo’s facility is also home to Cirque School Los Angeles, which inspires an appreciation for the circus arts for 'Anybody with Any Body.' Cirque School uses training, performance, and community outreach to foster passion for the circus arts in a supportive, noncompetitive environment.

At the SCPA, we bring life to art

Explore our specialized undergraduate and graduate programs scpa.ucalgary.ca

It’s more fun with friends Book your group and save! Enjoy a night out at the Orchestra with friends, entertain clients, inspire your students, or reward your employees by attending a performance together.

Visit calgaryphil.com/deals for details.

WINTER 2023/2024 | 21

the

Golden Years FUN FACTS ABOUT DAVID BOWIE THE BEGINNING OF BOWIE David Bowie was born in London as David Robert Jones. As he began his career as a rock sensation, he changed his name to David Bowie to separate himself from the already established Davy Jones, the lead singer of The Monkees.

FAMOUS FRIENDS As young boys, Bowie struck up a friendship with guitarist and performer Peter Frampton. They even went to the same high school where Peter's dad was Bowie’s art teacher. They shared a bond over music, and remained close friends until Bowie’s death. Later in his teen years, he met Reginald Kenneth Dwight — who would later go by the stage name Elton John. The two future rock icons became fast friends and would frequently get together to talk about music.

TIMELESS TUNES

Starman: David Bowie Saturday 13 January / 7:30PM Jack Singer Concert Hall Specials Program Daniel Wiley, conductor Jean Meilleur, vocals Jeans 'n Classics, band Calgary Philharmonic Orchestra Performing songs from the list below All The Young Dudes / Ashes To Ashes / Blue Jean / Changes / China Girl / Fame / Five Years / Golden Years / Let's Dance / Life On Mars / Modern Love / Rebel Rebel / Sorrow / Space Oddity / Starman / Suffragete City / Young Americans Concert includes a 20-minute intermission Program and artists subject to change without notice 22 | PRELUDE calgaryphil.com | 403.571.0849

In 1969, Bowie released his single Space Oddity. Nine days after its release, BBC ran the song over its coverage of Apollo 11's lunar landing, catapulting the song to become his first big hit in the UK. Many decades later, Space Oddity was the song chosen to play inside the Tesla that Elon Musk launched into space. The dummy inside the rocket was also given the nickname 'Starman' as an ode to Bowie.

REJECTING VOGUE In 1973, Bowie was chosen as the first man to grace the cover of fashion magazine Vogue alongside model Twiggy. When Bowie saw a polaroid of the photo, he convinced photographer Justin de Villeneuve to let him use the photo as the cover of his record Pin Ups instead, to which de Villeneuve agreed. This lead to Vogue never working with de Villeneuve again.

A SNIP WORTH THOUSANDS A few months after Bowie's passing in 2016, a lock of his hair — which had been snipped in the early 80s by a wig mistress — went up for auction and sold for a hair-raising $18,750. The bidding started at $2,000 and was expected to only go as high as $4,000.

Daniel Wiley Conductor

Jean Meilleur Vocals

Jeans 'n Classics Band

Daniel Wiley is quickly becoming a notable young conductor on the rise across North America, having made appearances with the Denali Chamber Orchestra, Meridian Symphony, Boise Philharmonic, Abilene Philharmonic, London Symphonia, Windsor Abridged Opera, University of Windsor’s Wind Ensemble, and the University of North Florida’s Opera Department. Currently, Daniel is Assistant Conductor of the Jacksonville Symphony where he is responsible for conducting a variety of concerts ranging from pops, family, and education, as well as being Music Director for the organization’s six youth orchestras. Prior to his tenure in Jacksonville, Daniel was the Associate Conductor of the Windsor Symphony Orchestra (WSO). In the 2020/2021 Season, Daniel was instrumental in expanding the WSO’s educational footprint by creating a Digital Education Concert Series which includes 10 hours of interactive music curriculum for schools. Lauded as “an exemplar of impassioned and outstanding pedagogy” (Dr. Ken Montgomery, Dean of the Faculty Education, University of Windsor) this program to date, has served over 123,000 students across Canada and the United States.

Jean Meilleur has been a headliner with Jeans 'n Classics for over 20 years. In that time, he has performed with scores of major North American orchestras, lending his distinctive voice to some of the greatest popular music of our time. Originally from Madison, Wisconsin, Jean was born and remains a Green Bay Packer fanatic! He moved to Detroit at a young age. Living in the Motor City helped shape his penchant for the Motown, Soul and R&B sounds of the early '70s. Jean is a prolific songwriter who has been performing professionally for over thirty years. His singing voice can best be described as passionate and provocative, with a robust timbre that is immediately recognizable. His voice stands as a true original. Jean’s voice has been heard over the years on many national radio and television jingles and advertisements. He was recently chosen as the Canadian voice of Jim Beam Kentucky Straight Bourbon Whiskey.

Peter Brennan’s Jeans 'n Classics is a winner! For 23 years, the Jeans 'n Classics approach to combining world-class rock musicians and symphonies has been a game changer for orchestras to attract new and more expansive audiences. Jeans 'n Classics is a group of musicians who understand orchestra culture and are committed to helping build younger, loyal audiences for symphony orchestras across North America.

Jeans 'n Classics appeals to an age group from, but not limited to, 25 to 65. While most definitely not a tribute act, Jeans 'n Classics faithfully interprets the music of legendary rock and pop albums and artists with their own special and signature flair. Symphonies far and wide have heralded the quality of their orchestral scores for providing lush, fully realized arrangements of rock and pop classics for rock band and symphony, and topnotch, easy-to-work-with performers who truly know how to deliver a great rehearsal and live show experience with professionalism, humour, and finesse. Jeans 'n Classics works with over 100 orchestras in venues throughout North America and has created almost 1,000 original rock and pop orchestrations, presented across 45 unique and exciting productions.

WINTER 2023/2024 | 23

Do you have a young music fan on your hands? Symphony Sundays for Kids concerts are about one hour long with no intermission and feature orchestral favourites every child should know.

Drag Story Time: Peter and the Wolf

Arrive early for the Instrument Discovery Zoo in the Jack Singer lobby, where they can visit different stations hosted

by Orchestra musicians. Each station features an instrument or musical activity for children to try!

Presented in partnership with Calgary Pride

Sunday 14 January / 3PM Instrument Discovery Zoo / 2PM Jack Singer Concert Hall Symphony Sundays for Kids

This fun, hands-on experience is the perfect way to indulge your child’s curiosity and excitement about visiting the Orchestra.

Supported by Resident Conductor Supporter: Mary Rozsa de Coquet Program Juliane Gallant, conductor Aida Cupcake, storyteller The Frizz, storyteller Calgary Philharmonic Orchestra

The Instrument Discovery Zoo starts at 2PM and the performance starts at 3PM.

Julius Fučík

Entry of the Gladiators

4'

Gaetano Donizetti

Quanto è bella from L'elisir d'amore

3'

Irving Berlin

Anything You Can Do from Annie Get Your Gun

3'

Georges Bizet

Habanera from Carmen

3'

MIKA

Grace Kelly

3'

Sergei Prokofiev

Peter and the Wolf, Op. 67

25'

This concert has no intermission Program and artists subject to change without notice 24 | PRELUDE calgaryphil.com | 403.571.0849

Juliane Gallant biography on page 7

Hey, Calgary For the latest news, events, restaurants, and hidden gems, we’ve got you.

.com/calgary Aida Cupcake Drag Performer + Storyteller

The Frizz Drag Performer + Storyteller

Aida ('I eat a' — like the Verdi Opera or the Elton John musical), is the star of the award-winning, critically acclaimed show Drag Me to the Opera which toured four fringe festivals across Canada in the summer of 2022 and a sold-out run at the Calgary Fringe 2021. Her background includes a Bachelor of Music in Voice and participating in various opera training programs from Calgary all the way to the Lyric Opera Studio Weimar in Germany. She has been a Royal Reader for just over a year and has also performed with Storybook Theatre's MisCAST, Mandy Morris' Drag for Kids and hosted Family Day at Calgary Pride 2021. You can follow Aida at @aidacupcake.official.

Have no fear — The Frizz is here! They want to help you take chances, make mistakes, and get messy! They are a fun and bubbly monarch, as well as an active performer in Cowtown — especially when it comes to music making. The Frizz loves spending time with loved ones to make sure life is all about fun and trying new things to keep life exciting. They are a creative soul noted for the “size and character of their singing and thoughtful musicality” (classicalottawa.com). The Frizz completed a Master of Music at the University of Ottawa in 2018 and will finish a Master of Counselling at City University in June 2024. The Frizz can be found performing around town with a variety of companies including Calgary Pride and The Fake Moustache Drag Troupe. Searching for wellness through art from coast-to-coast, (and even abroad!)

The Frizz is ever so grateful to be performing today, as they aim to foster expressive spaces and assist in both the performance and creation of Canadian music today.

WINTER 2023/2024 | 25

Preludio de La Revoltosa Ruperto Chapí (1851 to 1909) Ruperto Chapí was a Spanish composer during the late 19th century who was considered one of the masters of the chico genre, which was small-scale, local comedy pieces set in places like Madrid — think Spanish Honeymooners or maybe Three’s Company. Chapí was born in 1851 in Alicante, in southeastern Spain, where the legend is that he learned to play piccolo and cornet and joined a band by the age of nine, which he was in charge of by the age of 15. He composed his first zarzuela: Estrella del Bosque at the age of 12. At 16, his parents sent him to Madrid to study music. The objective of the chico genre was to provide fun entertainment for Spanish audiences. Preludio de La Revoltosa tells the story of a woman named Mari Pepa, and the man who truly loves her, despite having to contend with the efforts of other men in the neighbourhood who also think they’re in love with Mari.

Spectacular Spanish Guitar Friday 19 January / 7:30PM Saturday 20 January / 7:30PM Jack Singer Concert Hall Curated Series 2

Concierto de Aranjuez Joaquín Rodrigo (1901 to 1999)

Supported by Guest Artist Supporter: Naomi + John Lacey Virtuoso Program Program Virginia Martínez, conductor Daniel Bolshoy, guitar Calgary Philharmonic Orchestra Ruperto Chapí

Preludio de "La Revoltosa"

5'

Joaquín Rodrigo

Concierto de Aranjuez I. Allegro con spirito II. Adagio III. Allegro gentile

21'

Intermission

20'

Joaquín Turina

Danzas fantásticas, Op. 22 I. Exaltación II. Ensueño III. Orgía

17'

Manuel de Falla

The Three Cornered Hat, Suite No. 2 The Neighbors Miller's Dance (Farruca) Final Dance

12'

Program and artists subject to change without notice 26 | PRELUDE calgaryphil.com | 403.571.0849

The Aranjuez Concerto was composed for guitar and orchestra by Spanish composer Joaquín Rodrigo in 1939. Rodrigo wrote it in Paris, somewhat distanced from Spain, which was in the final few months of the bitterly-divisive Spanish Civil War, and on the cusp of the Second World War. The Aranjuez Concerto was Rodrigo’s first composition for guitar and orchestra. It’s known for its fluidity and the way in which Rodrigo was able to compose in a style that never loses sight or sound of the guitar, which sparkles during solos against the backdrop of the orchestra.

The Aranjuez Concerto had its world premiere in Barcelona, in November, 1940 followed, a month later, by a concert in Madrid. Written in Paris, the Aranjuez Concerto is intended to reflect the gardens of the Royal Palace of Aranjuez, the spring home of King Phillip II in the 16th century — but by premiering it when he did, in the mid-20th century, Rodrigo was also forced to create a musical work that flattered Franco.

Danzas fantásticas, Op. 22 Joaquín Turina (1882 to 1949) Joaquín Turina was a Spanish composer born in 1882 in Seville. After studying in Seville and Madrid, he spent a decade in Paris, where he fell under the influence of impressionistic French composers such as Maurice Ravel and Claude Debussy. He came home to Madrid in 1914, working as a composer, teacher, and music critic.

He wrote operas, chamber works, as well as pieces for guitar, piano, and songs. Danzas fantásticas, Op. 22 — sometimes known as Fantasy Dances — was Turina’s best-known work. It was written in 1919 for solo piano and later orchestrated, but in fact the orchestrated version was performed first, at the Teatro Price in Madrid, on 13 February 1920. Turina performed the solo piano version later that year in Malaga. Turina died in Madrid, in 1949.

The Three Cornered Hat, Suite No. 2 Manuel de Falla (1876 to 1946) Three-Cornered Hat (Sombrero de tres picos), is what happens when a Spanish composer (Manuel de Falla) meets Russian ballet in the middle of the First World War. It tells the story of a judge who falls in love with a miller’s wife, which was adapted from a novella by Pedro Antonio de Alarcón. The genesis of ThreeCornered Hat was a meeting between Falla and Ballet Russe’s Sergei Diaghilev, who met in an introduction brokered by none other than Igor Stravinsky. Together they created a ballet blending Russian and Spanish dancers, Falla’s composition — and a Spanish artist named Pablo Picasso. The ballet premiered in 1917 at Madrid’s Teatro Eslava. Falla’s composition is rooted in a passion for Spanish Andalusian folk music, which is better-known for its connections to flamenco dance and for being sad in general.

Program notes by Stephen Hunt © 2023

Virginia Martínez Conductor

Daniel Bolshoy Guitar

Principal Conductor and Artistic Director of the Orquesta Sinfónica Región de Murcia and Principal Conductor of the Orquesta de Jóvenes de la Región de Murcia, Virginia Martinez is one of the leading Spanish conductors today. A graduate in piano and harmony, she received a scholarship from the Séneca Foundation of Murcia to continue her studies in orchestra conducting at the City of Vienna Conservatory.

Since then, she celebrated critically acclaimed concerts with orchestras such as the Orquesta Nacional de España, Orquesta Sinfónica de Barcelona, ORF Vienna Radio Symphony Orchestra, Wiener Kammerorchester, Orchestre National du Montpellier, Orquesta de Valencia, Orquesta Sinfónica de Bilbao, Sinfónica del Principado de Asturias, National Orchestra of Brasil and collaborated with renowned soloists like Javier Perianes, Boris Belink, Judith Jáuregui, Fazil Say, María Espada, José Antonio López, Gustavo Peña, José Ferrero, Cristina Faus, María Bayo, Pablo Ferrández, Christian Poltera, Jesús Reina, Gabriela Montero, and Joaquín Riquelme.

She also received the distinction of 'Woman of the Year 2018 in Murcia', awarded by the Autonomous Community. Future highlights will see her debut in Canada with the the Calgary Philharmonic Orchestra and bring her to the Arthur Rubinstein Philharmonic, Orquesta Nacional de Mexico while returning to many Spanish orchestras.

Daniel Bolshoy is an Israeli-Canadian guitarist. He has performed as a soloist with over sixty orchestras internationally. An avid chamber musician, he has performed at numerous chamber music festivals and concert series throughout the world. Daniel appears on seven commercial recordings and two documentary films on Bravo! TV network. His recordings and live performances are often broadcast on CBC Radio, NPR, and various classical music stations. In the last few years, he completed a tour of concerts and master classes in China. Similarly, he has been invited as faculty in residence at the Federal University of Goias in Goiania, Brazil, the Rubin Academy of Music in Israel, the conservatories of Alessandria, Milan, and Turin in Italy. In recent seasons, Daniel has performed in several guitar festivals in the United States and Canada, as well as in Shanghai and Moscow. He performed concerti by Castelnuovo-Tedesco and Podgaits in Bellingham, Nizhny Novgorod, and Moscow, and solo recitals across North America as well as in Europe and Asia. Daniel has adjudicated in many international music competitions and is a Senior Lecturer in the Hugh Hodgson School of Music at the University of Georgia, where he directs the guitar program.

WINTER 2023/2024 | 27

Support Your Phil Every donation to your Calgary Philharmonic makes a difference for the Orchestra and in our communities. We offer a series of donor benefits to demonstrate how grateful we are for your support.

G

grand

F

fanfare

C

celebration

A

applause

D

dynamic

E

ensemble

B

bravo

Donor events take place throughout the season and will give you a deeper understanding of your Calgary Phil and a greater appreciation of orchestral music. Depending on your level of support, you will have the opportunity to attend events with Calgary Phil musicians, exclusive donor rehearsals, donor recitals, our popular music and lecture series Music To My Ears, post-concert receptions, access to the Founders' Room, and more.

Your generosity is at the heart of the Calgary Phil as we ensure your financial support is more impactful than ever. Thanks to your dedication and enthusiasm, the Calgary Phil will continue to connect our communities and celebrate the transformative power of orchestral music.

For more information on benefit details and how you can support your Calgary Phil, visit calgaryphil.com/support.

Helping artists bridge the gap from emerging to established rbc.com/emergingartists

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VPS110866 129105 (01/2023)

National Geographic Film Concert: Secrets of the Whales See the Emmy Award-winning docuseries featuring a live orchestra and conductor Anthony Parnther!

ACP SPECIAL PRESENTATION ENGAGEMENT SPONSOR

Narrator Sponsors Rodney & Karen McCann

With live narration by Jann Arden Public Sector Support

April 21 - 23, 2024

Arts Commons, Jack Singer Concert Hall

Tickets on sale now

403-294-9494 or artscommons.ca/whalesconcert Artist, program, and date subject to change.

WINTER 2023/2024 | 29

BREAKING DOWN BARRIERS WANT TO SEE MORE CONCERTS, BUT DON'T HAVE THE MONEY OR TIME? WHERE THERE'S A PHIL, THERE'S A WAY

BY MIRANDA MARTINI

© HarderLee Studios

hough your days of being ID’d at the bar might be long behind you, if you’re 35 years old or under, the Calgary Philharmonic considers you a young person.

T

CPOSSIBILITIES MEMBER NICOLE WEE ENJOYS INTRODUCING CALGARY PHIL TO HER FRIENDS

In even better news, through their Cpossibilities program, you’re eligible for $15 tickets to almost any Calgary Philharmonic concert — “the cost of a movie ticket before popcorn,” notes Courtney Ilie, Associate Director of Sales for the Calgary Phil.

another Cpossibilities member, who sought out the program upon graduating from university and finding herself with the free time to take in concerts again.

Cpossibilities, which aims to make Calgary Phil concerts more financially accessible to young people, has existed in some capacity for 20 years.

However, in the wake of the COVID-19 pandemic, Calgary Phil realised that many Calgarians who would have taken advantage of the program had aged out of eligibility by the time live programming had resumed.

In order to give those people the chance to experience the Orchestra at a reduced cost, Cpossibilities age range expanded to include 13 to 35 years old. Stephanie Kostiuk and her brother, Ryan, are both Cpossibilities members and enjoy attending concerts together. “My brother and I feel so lucky to have the opportunity to see the talented Calgary Philharmonic regularly with Cpossibilities,” says Stephanie. “It is truly a gift for music-lovers and showcases Calgary’s artistic talents.”

This mindset isn’t exclusive to the under-35 crowd; many Calgarians of all ages have never experienced a show at the Philharmonic, and consequently think of a night at the orchestra as a rarefied experience that isn’t designed for them, even if they do have the money to spend on a ticket — although Nicole suspects this mindset could be evolving. “I think COVID kind of changed things.

People started to look for other things that they can do outside of their normal activities.”

IT IS TRULY A GIFT FOR MUSIC-LOVERS AND SHOWCASES CALGARY’S ARTISTIC TALENTS

Michael Girum, a university student and saxophonist, knows first-hand the difference early encounters with the orchestra can make to young people.

“When I was in high school, the Orchestra came and did a performance in my school gym, which was my first ever introduction to the Phil. It changed my life. I still remember it was Karl Hirzer conducting [Beethoven’s] Coriolan Overture, and it was one of the most amazing experiences I’ve ever had. It unlocked a whole new world of music to me that I had never experienced.”

When he bumped into a former music teacher a year ago and struck up a conversation about their shared love of classical music, Michael mentioned that the only thing preventing him from attending concerts as much as he wanted to was the price. “[My teacher] told me about Cpossibilities,

and I went home and signed up basically right away.”

For Michael, a lifelong fan of the Phil, signing up for $15 tickets was a no-brainer, but for many young people, there are barriers to entry beyond the cost.

“I think everybody assumes that it’s always just going to be Beethoven, Tchaikovsky, etcetera, and nothing beyond that,” says Nicole Wee,

According to Courtney Ilie, who’s worked at the Calgary Phil for 15 years, breaking through the perception of the Philharmonic as an elitist organization in order to attract new patrons is one of the most important roles of programs like Cpossibilities.

“Last season, our audiences were comprised of 63 per cent first time attendees, and so now it’s really critical to maintain that interest.”

CONTINUED ON PAGE 32

WINTER 2023/2024 | 31

SIBLINGS RYAN AND STEPHANIE KOSTIUK ENJOY ATTENDING CALGARY PHIL CONCERTS TOGETHER

or some, maintaining interest is easy. Nicole, for instance, is usually on the Calgary Phil website the day a new season is announced. “I will literally check that day and take note of the titles of concerts, marking down what might interest me. Once tickets go on sale, I try and buy them as quick as I can to get good seats.”

F

While we can all aspire to this level of foresight, for many, time is as precious a commodity as money, and in almost as short supply. Happily, the Phil also has ticket programs designed with last-minute planners in mind. The Flex Pass, a relatively new addition to the Phil’s suite of offers, allows patrons to buy a four or six pack of tickets in advance that they can redeem to attend almost any concert and choose the concert up to an hour before it starts (as well as saving a bit of cash on fees). This flexibility may allow busy orchestra lovers to fit concerts into a packed schedule.

For those who are no longer eligible for Cpossibilities, there are other programs that address financial constraints, including discounts for groups, first responders, veterans and military, to name just a few.

The Phil also makes free tickets available through its HeartStrings program — a partnership with local charities, as well as Canoo, which gives new Canadian citizens and permanent residents free admission to most concerts.

THESE PROGRAMS EXIST TO NOT ONLY INCREASE AWARENESS ABOUT THE ORCHESTRA AND WHAT WE DO, BUT TO IMPROVE ACCESSIBILITY ACROSS THE BOARD TO SERVE OUR COMMUNITY BETTER 32 | PRELUDE calgaryphil.com | 403.571.0849

But making the orchestra truly accessible to all Calgarians requires going deeper than cost, something that Courtney thinks about often. This is one of the chief tasks of the Sales team — to think beyond the obvious barriers to entry, and to be receptive to feedback from patrons about the obstacles that are relevant to them.

This is why, after attending a concert for the first time, new patrons receive a survey asking them about everything involved in the process from buying their tickets to parking their cars.

“People are so desperate for tangible, meaningful experiences coming out of lockdowns,” says Courtney. “The last thing you want is someone to be stuck at a parking machine that would ruin an incredible night of music.”

Relaxed performances have been another way the Calgary Phil has made the orchestra more accessible.

The shows are tailored to the comfort of patrons who are neurodivergent or have sensory concerns, families with young children, or anyone who finds the environment of a typical orchestra performance daunting and its etiquette opaque.

At these shows, says Courtney, “if patrons need to make noise, if they need to move around, if they’re sensitive to light, we try to make the experience as welcoming as possible.”

Programs like these, says Courtney, don’t just bring new audiences to the Orchestra — they demonstrate the Phil’s commitment to evolving to meet the needs of its community.

“I think that these programs exist to not only increase awareness about the orchestra and what we do, but to improve accessibility across the board to serve our community better. Our strategic vision is that the Calgary Phil belongs to everyone, and it’s our job to make sure people feel that.”

Scan the QR code to register or learn more about Cpossibilities

CPOSSIBILITIES MEMBER MICHAEL GIRUM FIRST ENCOUNTERED THE CALGARY PHIL WHEN THE ORCHESTRA PERFORMED AT HIS SCHOOL, NOW HE ATTENDS CONCERTS WITH FELLOW MEMBERS VICTORIA LEE AND TARA JINDAL

WINTER 2023/2024 | 33

A NOTE FROM CONDUCTOR JANNA SAILOR

IndigiDivas: Opera Hits + Indigenous Stories Presented in partnership with One Yellow Rabbit as part of the High Performance Rodeo

Saturday 27 January / 7:30PM Jack Singer Concert Hall Specials Program Janna Sailor, conductor Melody Courage, soprano Rebecca Cuddy, mezzo-soprano Michelle Lafferty, mezzo-soprano Marion Newman, mezzo-soprano Calgary Philharmonic Orchestra Please refer to the separate concert program, featuring the repertoire, guest-artist biographies, and notes about the music. This program will be available in the lobby at IndigiDivas: Opera Hits + Indigenous Stories on 27 January.

Concert includes a 20-minute intermission Program and artists subject to change without notice 34 | PRELUDE calgaryphil.com | 403.571.0849

IndigiDivas is envisioned as a respectful and empowering showcase of female-identifying Indigenous singers, seamlessly weaving together Indigenous traditions and cultures with the operatic and orchestral world. Indigenous-led and realized in collaboration with the Allegra Chamber Orchestra under the direction of Artistic Director Janna Sailor and Allegra’s Indigenous Artist in Residence Melody Courage, this concert features operatic and orchestral works by Indigenous and Canadian composers in an imaginative and impactful way that highlights First Nations stories, languages, struggles, and traditions, putting them front and centre on the concert stage. All of Allegra’s artistic ventures feature a social action mandate, bringing musical and practical elements together to bring healing and understanding to our communities through the organic integration and interaction between the arts and society. The creation of the IndigiDivas has been a multi-year process in which music, language, culture, and tradition has been shared and carefully curated in consultation with Indigenous communities and artists.

Fusing Indigenous culture with the operatic and symphonic tradition is a powerful and symbolic tool of reconciliation in that it brings together colonial and First Nations cultures in a spirit of collaboration, sharing, mutual respect, understanding, and celebration. Celebrating and featuring Indigenous artists is a key aspect of equalizing our stages, giving back sonic space to those whose voices first echoed over our land, and offering First Nations artists autonomy on what has previously been a settler’s stage.

Dramatically transforming Calgary’s creative future The Arts Commons Transformation (ACT) project is breaking down barriers, opening doors, and ensuring equitable access to the arts.

Nearly 40 years ago, Calgary invested in its arts and culture community with the original Arts Commons. Now, with an aging facility and growing programming needs, the time has come to reinvest in our commitment to a city with a vibrant arts and culture sector. ACT will expand the Arts Commons campus with a new 1,000-seat theatre and a 200-seat studio theatre, and will modernize the existing Arts Commons facility, creating more opportunities for citizens and visitors to not just experience the arts – but to experience Calgary.

The future starts now: artscommons.ca/ACT

BE FREE, BE YOU AT THE EDWARD Never stop playing, even in your golden years. Come to the Edward, where the pursuit of one’s passions is celebrated.

I PLAY MORE NOW THAN EVER

Scan to book a tour!

3023 16 Street SW Calgary 403-265-3023 | edwardliving.com Independent Living | Retirement Residence WINTER 2023/2024 | 35

CALGARY’S GUIDE TO GOING OUT SEPTEMBER 2023 ISSUE NO. 35

Cinema City

Calgary International Film Festival keeps candle burning during dark days in local film industry. PAGE 20

WHEN DRINKING CAME OF AGE 8 | ARTS SEASON ROUNDUP 25 | PUNK ICON ART BERGMANN 26

CALGARY PHILHARMONIC’S ANNUAL GALA

A S O I R É E I N S U P P O R T O F M U S I C E D U C AT I O N S AV E T H E D AT E 12 APRIL 2024

36 | PRELUDE calgaryphil.com | 403.571.0849

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FA I R M O N T PA L L I S E R

Q + A with CONCERTMASTER Q Y ou are performing Mendelssohn’s

Violin Concerto on 1 + 2 March. What makes it unique compared to other pieces you've played in the past?

A T he Mendelssohn is one of the

most pure and joyful pieces in the violin concerto repertoire. It has wonderfully virtuosic violin writing and is imbued with youthful love. This piece sings and sparkles in the most touching way. It was also written originally for a concertmaster — Ferdinand David, who was Mendelssohn's childhood friend, and ultimately Mendelssohn's concertmaster at the Leipzig Gewandhaus Orchestra.

Q W ho is your biggest musical influence?

A I have many important musical

influences. I was lucky to have grown up in a family full of incredible musicians — my dad was the longtime principal clarinet of the Cleveland Orchestra and was winner of the Munich ARD Competition — an honour he shared with the great soprano Jessye Norman. My mom was an outstanding bassoonist and leader in the musical community and my brother, Calgary Phil timpanist Alexander Cohen, grew up a drummer and cellist. Now, I'm lucky enough to be able to listen to and play regularly with my husband, pianist Roman Rabinovich. Other influences for me have been lauded chamber musicians that I've gotten to work with over the years including members of the Guarneri, Juilliard, and Dover String Quartets.

DIANA COHEN Q H ow do you prepare for a performance as a soloist?

A P erforming as soloist is

extremely different from leading in the concertmaster position.

While I always have a holistic concept of a piece whether it is an orchestral, chamber, or solo work, playing a concerto really requires the soloist to 'carry the work.' It also requires a different kind of confidence, a different kind of projection on the instrument, and a more extroverted way of musicmaking. I try to run through the work at home as many times as possible and perform it for friends and family. I'm very lucky that my husband is an extraordinary concert pianist. Not only does he make suggestions to me, but because there are piano reductions of all the most famous concertos, he and I are able to rehearse concerti, with me as soloist and him as the 'orchestra'!

This is an extremely helpful part of the process.

Q W hat advice do you have for aspiring musicians?

A I would encourage aspiring

musicians to be as rounded as possible. Of course, we need to play our instruments at the highest level possible, but there is a lot more to music than the playing ... context, history, score study, learning from the masters of the past, and playing as much chamber music with our colleagues as possible. We learn the most from our friends!

Q Y ou’re originally from Cleveland and moved to Calgary to join the Orchestra.

What do you love most about living in this city?

A T here are two aspects of Calgary that have made this place feel like such a

wonderful home. I love the public system of paths and walkways along the beautiful rivers in Calgary, and being near the mountains is a special privilege.

I am also very touched by the people who make up this community and their devotion to public service in its many forms. It feels great to be part of a city where people genuinely want to help others — whether that means helping to support the arts with time or resources, or supporting new immigrants who need a boost. I have seen love and care in so many ways and places, and it really moves me.

WINTER 2023/2024 | 37

Jeder Baum spricht Iman Habibi (b. 1985) Commissioned in celebration of the 250th anniversary of Beethoven’s birth, Jeder Baum spricht is an unsettling rhapsodic reflection on the climate catastrophe, and is written in dialogue with Beethoven’s fifth and sixth symphonies. The piece shifts focus rapidly, and attempts to achieve its goal time and time again through different means, only to be faced with similar obstacles. Like much of Beethoven’s music, this piece accompanies an unspecific narrative and imagery, and ends with a sense of resolve, one that I hope can drive our collective will towards immediate impactful change. Beethoven perceived nature as an image of the divine, if not divinity itself. Jeder Baum spricht durch dich (every tree speaks through you) is a phrase I encountered in his writings, leading me to wonder how Beethoven, clearly an activist himself, would have responded to today’s environmental crisis. Given that both the fifth and sixth symphonies were likely, at least in some capacity, inspired by nature, I am hoping that Jeder Baum spricht can allow us to listen to these monumental works with a renewed perspective: that is, in light of the climate crisis we live in, and the havoc we continue to wreak on the nature that inspired these classic masterpieces.

Montgomery + Mesa Friday 2 February / 7:30PM Jack Singer Concert Hall Curated Series 3 Supported by Concert Supporter: Hayes Family Guest Artist Supporter: Naomi + John Lacey Virtuoso Program

Program note by Iman Habibi © 2023

Program Andrés González, conductor Tommy Mesa, cello Calgary Philharmonic Orchestra

Variations on a Rococo Theme, Op. 33, TH 57 Pyotr Ilyich Tchaikovsky (1840 to 1893)

Iman Habibi

Jeder Baum spricht

6'

Pyotr Ilyich Tchaikovsky

Variations on a Rococo Theme, Op. 33, TH 57

18'

Jessie Montgomery

Divided

12'

Intermission

20'

Antonín Dvořák

34'

Symphony No. 8 in G Major, Op. 88, B. 163 I. Allegro con brio II. Adagio III. Allegretto grazioso –

Molto vivace IV. Allegro ma non troppo Program and artists subject to change without notice 38 | PRELUDE calgaryphil.com | 403.571.0849

Variations on a Rococo Theme was the closest Tchaikovsky came to composing a complete concerto for cello and orchestra. Inspired by Mozart, Tchaikovsky’s role model, it was very much a collaborative effort between Tchaikovsky and German cellist Wilhelm Fitzenhagen, Tchaikovsky’s academic colleague. The piece was written between December 1876 and March 1877, with its premiere in Moscow in late November 1877. The trick with variations is to progress each variation, which was where Fitzenhagenn came into the picture.

After Tchaikovsky delivered the composition, Fitzenhagen shuffled the variations to suit his needs as a cellist and is reported to have beefed up his

cello solos as well. This upset some musical purists, but Fitzenhagen said audiences loved it when he performed the piece at Wiesbaden, in a June 1879 letter to the composer.

Divided Jessie Montgomery (b. 1981)

Program note by Jessie Montgomery © 2023

Symphony No. 8 in G Major, Op. 88, B. 163 Antonín Dvořák (1841 to 1904) Antonín Dvořák grew up in Bohemia.

His career didn’t really take off until he was in his mid-30s. That’s when his compositions, submitted to the Austrian State Prize for Composition, were championed by Brahms, who helped Dvořák find a publisher.

Dvořák’s earlier work, Symphony No. 7, was a stormy, romantic composition, so for No. 8, he decided to try out a different emotional tone: optimism.

Symphony No. 8, which debuted in February 1890, in Prague is cheerful, lyrical — and hopeful. Symphony No. 8, which was well-received right from the start, clocks in at 36 minutes, making it one of Dvořák’s shortest symphonies.

Dvořák eventually made his way to New York, where he was hired in 1892 to become the director of the National Conservatory of Music of America for a sky-high annual salary: $15,000.

Program notes by Stephen Hunt © 2023

© Lisa-Marie Mazzucco

Divided for solo cello and orchestra is a response to the social and political unrest that has plagued our generation in the recent past. Specifically, the sense of helplessness that people seem to feel amidst a world that seems to be in constant crisis, whether it is over racial injustice, sexual or religious discrimination, greed and poverty, or climate change. In a world that is so fast-paced, where all of these desperate realities have been unveiled by the internet with constant visual bombardment to the human psyche, how do we regain control and find beauty among the chaos? How can we stack good actions over the negative reactions that easily emerge out of conflict? The cello is a voice crying out to be heard, in chorus with a few, passionate and unrelenting, with the orchestra performing a gritty accompaniment.

Andrés González Conductor

Tommy Mesa Cello

An exceedingly accomplished musician, Andrés González is a tireless advocate for transformative youth music education and advancement opportunities for young professional musicians, recently recognized by Yamaha Music USA as an outstanding music educator by including him in the prestigious list of '40 Under 40'.

He was trained through the renowned social and musical program in Venezuela, El Sistema founded by his mentor, Maestro José Antonio Abreu.

Throughout his training path as a trumpet player and conductor, he has been tutored by Gary Nuñez, Thomas Clamor, Marc Reese, Rafael Zambrano, Max Sommerhalder, Lukas Beno, Gabor Taerkovi, Tarcisio Barreto, Mario Benzecry, among others. He holds a degree from the University of the Arts in Caracas, Venezuela, and training from the Atlantic Coast International Conducting Academy, and the Simón Bolívar Conservatory. Professionally, Andrés would perform under the baton of Gustavo Dudamel with the Simón Bolívar Symphony Orchestra for thirteen seasons and served on the faculty of the Latin American Trumpet Academy. He served as the Music Director of the José Francisco del Castillo Youth Orchestra in Caracas and as a guest conductor of the Youth Philharmonic Orchestra of Chaco, Argentina. In 2018 was appointed Music Director of Play On Philly. In 2022, Andrés assisted Gustavo Dudamel with the YOLA National Festival Symphony Orchestra in collaboration with the Los Angeles Philharmonic and assisted Rafael Payare with the San Diego Symphony.

Cuban-American cellist Tommy Mesa is established as one of the most innovative and engaging performers of his generation. The recipient of the Sphinx Organization’s 2023 Medal of Excellence, Tommy has appeared with major orchestras such as the Cleveland and Philadelphia Orchestras, Los Angeles Philharmonic, and Indianapolis and New Jersey Symphony Orchestras, among others.

He has also performed as soloist at revered venues and festivals including the US Supreme Court, Academy of Arts and Letters, Metropolitan Museum of Art, California Center for the Arts, Meadowmount School of Music, Perlman Music Program, and major US universities from Columbia to the University of Oregon. In the 2022/2023 Season, Tommy gave the world premiere of Jessie Montgomery’s Cello Concerto with the Sphinx Virtuosi.

Deutsche Grammophon recently released Mesa’s performance, marking his orchestral recording debut. Highlights of the 2023/2024 Season include performances with the Calgary Philharmonic, Columbus, and Knoxville Symphony Orchestras, and the world premiere of a work

by Andrea Casarrubios at Brooklyn’s Bargemusic. This season celebrates several recording releases, including albums with pianist Michelle Cann and with bandoneonist/composer JP Jofre. He also has an album release scheduled with pianist Olga Kern in 2024 and with The Crossing Choir in 2025, following his feature on their Grammy-nominated album, Bonhoeffer.

WINTER 2023/2024 | 39

© Guerin Blask

Alexandra Arrieche Conductor

On Stage with Alex Cuba Presented in partnership with Calgary Folk Music Festival

Saturday 10 February / 7:30PM Jack Singer Concert Hall Specials Supported by Guest Artist Supporter: Naomi + John Lacey Virtuoso Program Program Alexandra Arrieche, conductor Alex Cuba, vocals + guitar Calgary Philharmonic Orchestra Program to be announced from stage Concert includes a 20-minute intermission Program and artists subject to change without notice 40 | PRELUDE calgaryphil.com | 403.571.0849

Working with the most important ensembles and figures in both classical and pop music, Alexandra Arrieche possesses an innate talent for moving adeptly between musical genres.

Currently, Alexandra serves as Music Director of the Henderson Symphony Orchestra, Principal Conductor of the Antwerp Philharmonic Orchestra, and Music Director of the Olympia Symphony Orchestra. As a guest conductor, Alexandra has appeared with some of the finest orchestras, including the Atlanta Symphony Orchestra, Baltimore Symphony Orchestra, the Chicago Sinfonietta, Classical Music Institute, OFUNAM (Mexico) and Mexico National Orchestra, Filarmed (Colombia), and the Orquestra Sinfonica de Porto Alegre (Brazil). Recent collaborations include a series of recordings with the Netherlands Radio Philharmonic featuring Brazilian music arranged

by Roeland Jacobs. Saudade, the first album of the series, won the Edison Prize 2020 — one of the most prestigious music awards in Europe — for best Jazz album of the year.

She has also collaborated with and championed new works by composers including Jennifer Higdon, Mason Bates, Clarice Assad, Kevin Putz, Anna Clyne, John Adams, James Macmillan, Michael Daugherty, John Corgliano, Christopher Rouse, and Jennifer Bellor. Alexandra is featured in The Conductor, a documentary about her mentor Marin Alsop. The documentary was premiered in Tribeca in 2021 with Alexandra opening the screening conducting young female musicians from the New York Youth Symphony.

© Cristina Woerns

Alex Cuba Vocals + Guitar Alex Cuba is a Grammy and Juno award-winning singer, songwriter, producer, and musician. Born Alexis Puentes in Artemisa, Cuba, he now lives in Smithers, British Columbia.

His first musical memory was playing claves (a Cuban rhythm instrument) at the age of four alongside his father on national TV, and went on to study guitar, then electric and upright bass, touring and recording nationally and internationally, before moving to Canada in 1999. His sound is the unique confluence of tradition and global influences in articulate arrangements, conveying emotions through melody and lyric. In 2022, he won a Grammy award for Best Latin Pop Album for Mendó as producer, artist, and engineer — his proudest accomplishment of the 20+ awards and nominations he has received as an independent artist over 9 albums.

His musical evolution for years was all about searching for the simplicity and soul in Cuban music — taking apart the complex arrangements, mixing it with North American influences, adopting the melodic simplicity of pop music, and looking to Cuban folk traditions for inspiration. Alex is always exploring, always creating something fresh and new, and always, it seems, getting it just right.

WINTER 2023/2024 | 41

The Eternal Earth Alexina Louie (b. 1949) The Eternal Earth, a three movement work for large orchestra, is at once my plea for the continuation of life on earth and a celebration of the joys of the universe. Vigorous fanfare-like motifs and thunderous percussion effects including lion's roar, gongs, tam-tams, and Chinese tom-toms characterize the first movement which calls forth the dragon spirit from the bowels of the earth. It is this spirit which Okakura in his book The Awakening of Japan calls “the spirit of change, therefore of life itself.” To the Ends of the Earth, the second movement, is a tranquil, lyrical cradle-song for our world with tender solo passages for cello, piccolo, harp, and celeste. It is meant as a song of solace for the distant, disappearing corners of the world and with them, the ways of life and species of nature which are being lost to us forever.

Included in this movement are some exotic instrumental effects: the rubbing of water-filled crystal wine glasses, a shimmering glissando on the timpani, and a particular 'seagull' glissando performed by the cello section at the end of the movement.

The third movement, The Radiant Universe, which begins with a recall of the opening fanfare motif, is an affirmation of life and a joyful celebration of the oneness of heaven and earth. The creation of The Eternal Earth was documented in 1986 in a Rhombus Media film produced for the National Film Board of Canada.

Immediately following its premiere, the piece was included on the Toronto Symphony's 1986 European tour with Andrew Davis conducting. The Eternal Earth was commissioned by the Toronto Symphony with the kind assistance of the Canada Council.

Birthday Bash!

Bruckner + Louie Friday 16 February / 7:30PM Saturday 17 February / 7:30PM Jack Singer Concert Hall Curated Series 1 Supported by Music Director Endowed Chair Supporter: Ted + Lola Rozsa Program Rune Bergmann, conductor Calgary Philharmonic Orchestra Alexina Louie

The Eternal Earth

14'

Symphony No. 6 in A Major, WAB 106 I. Maestoso II. Adagio: Sehr feierlich III. Scherzo: Ruhig bewegt (etwas gemessen) IV. Finale: Bewegt, doch nicht zu schnell

54'

Anton Bruckner

This concert has no intermission Program and artists subject to change without notice 42 | PRELUDE calgaryphil.com | 403.571.0849

Program note by Alexina Louie © 1996

Symphony No. 6 in A Major, WAB 106 Anton Bruckner (1824 to 1896)

When Anton Bruckner wrote Symphony No. 6, between September 1879 and September 1881, only three of his symphonies had even been performed — and the most recent, Symphony No. 3, had been savaged by the critics, who felt that his strongest musical moments tended to get overshadowed by his musical eccentricities and darkness (Bruckner was known for carrying around a photo of his mother’s corpse). Even weirder, he dedicated Symphony No. 6 to his landlord! Born in Ansfelden, Austria in 1824, Bruckner was a composer and organist — one of the world’s finest — who not only wrote symphonies, but also sacred music, including masses, Te Deum and motets. Ansfelden, where he spent almost all of the first half of his life, was a rural town dominated by the monastery. The oldest of 11 children, Bruckner’s life was turned upside down when his father died when he was 13. He was considered both a musical radical and maddeningly inconsistent-or, as one critic described him, “half-genius, half-simpleton.”

While his musical contemporaries in Vienna in the later parts of the 19th century included Mahler and Strauss, they were considered radicals while Bruckner was considered something else — a blend of tradition and the contemporary. He loved to revise his compositions, and had trouble deciding which draft he preferred.

The first performance of Symphony No. 6 took place two years after he completed it, in 1883. The middle two movements (of four) were performed by the Vienna Philharmonic. No. 6 wasn’t performed in full until 1899, when Gustav Mahler conducted it after making substantial revisions to the score. Bruckner himself described No. 6 as his boldest symphony, but it’s also his least-performed. In musical circles, it’s considered a ‘symphonic stepchild.’

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WINTER 2023/2024 | 43

Evan Mitchell Conductor

Harry Potter and the Goblet of FireTM in Concert Thursday 22 February / 7:30PM Friday 23 February / 7:30PM Saturday 24 February / 7:30PM Southern Alberta Jubilee Auditorium Specials Program Evan Mitchell, conductor Calgary Philharmonic Orchestra Patrick Doyle

Harry Potter and the Goblet of FireTM in Concert (Film with Orchestra)

175'

WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & TM Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s22) Concert includes a 20-minute intermission Program and artists subject to change without notice 44 | PRELUDE calgaryphil.com | 403.571.0849

Evan Mitchell is proving to be one of the ablest and most imaginative conductors in Canada. Mitchell has enjoyed eight triumphant seasons as Music Director of the Kingston Symphony (KSO), garnering praise for his programming, approach, and musical results. Before the pandemic, the past four full seasons’ worth of Masterworks Series performances were sold out under Mitchell’s leadership. Mitchell is a prolific conductor of film scores live in concert, with a repertoire of more than 20 films. Several of these performances have been North American premieres, including Gene Kelly: A Life in Music, a specially curated showcase of the artistry of Gene Kelly, created and hosted by Patricia Ward Kelly, Gene’s biographer and wife. During the 2020 pandemic, Mitchell wrote, produced, directed, and edited several standout digital orchestral initiatives, exponentially increasing the KSO’s online profile viewership. The Kingston Symphony’s isolated digital world premiere of John Estacio’s Domestic Divertimento, their custom-tailored Symphonic Education Partnership digital performance, and the landmark web series for young audiences entitled Harmon in Space, among others, have reached over 100,000 viewers, and have been internationally acclaimed as being the benchmark for digital excellence in innovation.

Your Phil.

Your Deals.

With discounts for groups, $15 tickets for Cpossibilities members, kids tickets, and flex passes that work with your last-minute schedule, it’s never been easier to access your Calgary Phil!

group discounts

rush tickets

Book your group and save! Enjoy a night out with friends, entertain clients, inspire your students, or reward your employees by attending a performance together. Groups of 10 to 34 save 15%, and groups of 35+ save 20%.

For concerts in the Jack Singer Concert Hall (that aren’t sold out), visit the Box Office one hour before the concert starts — we'll get you one of the best remaining seats for just $25.

cpossibilities Are you aged 13 to 35 and want access to $15 tickets to select Calgary Phil performances?

Register online for a Cpossibilities membership — it's free!

flex passes Can't commit? We've got you covered. Our Flex Pass gives you last-minute flexibility and a discount too! Tickets can be redeemed at any time — up to an hour before the concert starts.

heartstrings tickets Each year, we donate over 600 free concert tickets to dozens of local charities to experience live orchestral music.

fee assistance We are a proud partner of the City of Calgary's Fee Assistance Program through Arts Commons.

If you qualify, you'll receive discounts on select Calgary Phil performances.

veteran and military tickets We partner with the Calgary Military Family Resource Centre to provide tickets to families of Canadian military and veterans across Southern Alberta.

first responder discount We recognize the impact our First Responders have on our communities and are pleased to offer 15% off most Calgary Phil concerts.

canoo We partner with Canoo, a free mobile app helping new Canadian citizens and permanent residents by providing free admission to most of our concerts.

To learn more about our deals, scan the QR code or visit calgaryphil.com/deals

Pentimento Zosha Di Castri (b. 1985)

Beethoven's Seventh Friday 1 March / 7:30PM Saturday 2 March / 7:30PM Jack Singer Concert Hall Curated Series 2 Supported by Concert Supporter: Rabinovitz Community Fund Guest Artist Supporter: Naomi + John Lacey Virtuoso Program Program Earl Lee, conductor Diana Cohen, violin Calgary Philharmonic Orchestra Zosha Di Castri

Pentimento

6'

Felix Mendelssohn

Violin Concerto in E Minor, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo – Allegro molto vivace

26'

Intermission

20'

Ludwig van Beethoven

36'

Symphony No. 7 in A Major, Op. 92 I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio

Program subject to change without notice 46 | PRELUDE calgaryphil.com | 403.571.0849

While writing Pentimento, I was reflecting on the idea of perpetual cycles – particularly, the unrelenting circularity of violence. Police brutality, gun violence, the sway of the political pendulum between extremes, and the devastating waves of the pandemic were all on my mind. With each return there is a shock, a sense that this must never happen again, and yet, time marches on, and we settle back into complacency. On a more microcosmic scale, there is the repeat and reset that each day brings. If we could consciously choose to do something over again, how would we go about it differently? In the visual arts, when an artist makes a change during the painting process, it is called a pentimento from the Italian ‘pentirisi’, to repent or change one’s mind. This presence of earlier versions or marks, hidden beneath layers of paint, acts as a snapshot of a work’s earlier stages. Compositionally, I felt drawn to this rich concept, both in terms of the creative process and my approach to multilayered textures.

This piece evolved through multiple iterations — you could imagine a sort of time-lapse showing how the piece has unfolded and changed over time, and the piece reveals its own pentimento. In Pentimento, there are musical ideas that return with a sense of ritualistic inevitability. There are also subtle shifts and variations that occur over the course of the form. One could draw a parallel with the shift of a hand’s positioning in a painting, a change of perspective. The delicate ending, somewhat ambiguous in nature, hints at the possibility of a different future, a way of asking my original question through music: what would we repeat, and what would we change? It does not erase the prior marks, but rather leaves room for hope of a new direction, a different quality of space moving forward.

Program note by Zosha Di Castri © 2021

Violin Concerto in E Minor, Op. 64 Felix Mendelssohn (1809 to 1847) Mendelssohn’s Violin Concerto was his final concerto and when it premiered, in 1845, in Leipzig, the consensus was two thumbs up. Since then, it has

Ludwig van Beethoven (1770 to 1827) Question: What do the films X-Men: Apocalypse, The King’s Speech, The Darjeeling Limited, Zardoz, and the 1934 horror film The Black Cat all share in common? Answer: They all featured parts of Beethoven’s Symphony No. 7.

The symphony, in four movements, was composed between 1811 and 1812 in Teplitz, a resort town in Bohemia.

Europe was in upheaval at the time, with Napoleon, a decade into the Napoleonic Wars, preparing to invade Russia. Beethoven was losing his hearing and antagonistic towards the diminutive French general but his composition skills were strong: he considered Symphony No. 7 to be one of his best works. When it premiered in Vienna in 1813 with Beethoven himself conducting, the audience demanded an immediate encore of the second movement, which was also the movement that so many Hollywood filmmakers made use of decades later.

That triumphant opening night also featured Wellington’s Victory, a direct jab at Napoleon. Symphony No. 7 is less well-known that Beethoven's Fifth or even his Ninth symphonies, but is considered his most relentlessly rhythmic.

Program notes by Stephen Hunt © 2023

© HarderLee Studios

Symphony No. 7 in A Major, Op. 92

© Yunji Ko

become part of the violin repertoire, an essential concerto for aspiring violinists and a staple for more established ones. It wasn’t an easy birth however: Mendelssohn started work on it in 1838. After naming his lifelong friend Ferdinand David as the concertmaster of the Leipzig Symphony, he wrote him a letter saying he was going to write a violin concerto for him. It took six years and substantial rewrites, with David providing significant input. It finally premiered in March 1845, with David as soloist. The reception to the piece, which runs a little under a half-hour, was instantaneously warm. It was considered quite innovative for its time. By the end of the 19th century, Violin Concerto was considered by those in the know to be one of the greatest violin concertos in the repertoire, and it hasn’t slipped in the ensuing 125 years. It’s usually one of the first Romantic concertos violinists learn.

Earl Lee Conductor

Diana Cohen Violin

Winner of the 2022 Sir Georg Solti Conducting Award, Earl Lee is a renowned Korean-Canadian conductor who has captivated audiences worldwide. He is the Music Director of the Ann Arbor Symphony Orchestra and is Assistant Conductor of the Boston Symphony Orchestra. In addition to a full season of concerts with the Ann Arbor Symphony and subscription concerts with the Boston Symphony in Boston and at Tanglewood, Earl’s 2023/2024 Season includes guest conducting engagements with the Vancouver Symphony, Calgary Philharmonic, Winnipeg Symphony, Colorado Springs Philharmonic, and The Florida Orchestra. He has previously appeared with with the New York Philharmonic, San Francisco Symphony, Pittsburgh Symphony, Toronto Symphony, Seoul Philharmonic, and Mostly Mozart Festival Orchestra. Earl’s 2023/2024 programs with the Ann Arbor Symphony Orchestra include contemporary works by John Adams, Brian Raphael Nabors, Joan Towers, Gala Flagello, Jessie Montgomery, and Zhou Tian as well as the first installment of a multi-year Beethoven cycle with Symphonies Nos. 2, 5 and 9. He leads the orchestra in its Detroit Orchestra Hall debut in January 2024 in a concert during the Sphinx Organizations’ annual SphinxConnect convention. Earl studied cello at the Curtis Institute of Music and the Juilliard School and conducting at Manhattan School of Music and New England Conservatory.

Diana Cohen has a multifaceted career as a concertmaster, chamber musician, and soloist. She is the Concertmaster of the Calgary Philharmonic and Founder and Artistic Director of the acclaimed music festival ChamberFest Cleveland. In 2022, Diana and her husband, concert pianist Roman Rabinovich launched ChamberFest West (chamberfestwest.com), an annual international summer chamber music festival bringing the most exciting musicians from around the globe to Calgary. She has appeared as a soloist with numerous orchestras, has performed at some of the most prestigious festivals, and collaborated with renowned artists, including Garrick Ohlsson, Mitsuko Uchida, Jonathan Biss, and members of the Juilliard, Dover, Miró, and Parker string quartets. Diana has toured and recorded with the Grammy Awardwinning Orpheus Chamber Orchestra and performed with the East Coast Chamber Orchestra, Cleveland Orchestra, and New York Philharmonic.

A Cleveland Institute of Music graduate, she studied with Donald Weilerstein and received the Jerome Gross Prize. Last year, Diana received the prestigious Alumni Achievement Award from the Cleveland Institute of Music. Her father, Franklin, was longtime Principal Clarinet of the Cleveland Orchestra, and her brother Alexander is Principal Timpani for the Calgary Phil. Her late mother, Lynette Diers Cohen, was an esteemed bassoonist. Cohen lives in Calgary with her husband and her four-yearold daughter Noa Lynette, who makes music and dances all day long.

WINTER 2023/2024 | 47

Lisette Xavier Narrator CBC Kids TV host Lisette Xavier is your average puppy-loving pop artist who is probably roller skating right now. When she’s not making bops that make you want to move while feeling all the feels, she’s hosting events as Calgary's favourite new emcee, including the 2023 YYC Music Awards, Calgary Jazz Orchestra concerts, and also really bad dinner parties. She is a nine-time YYC Music Award nominee and was one of 49 Canadian artists picked for the RBCxConcert Series. Lisette was awarded the Authentic Sound Humanitarian award in 2018 from the True Beauty Foundation for her countless efforts with local charities.

She successfully launched the Pay it Forward Music Program in the winter of 2020 — a program that provides music lessons to underprivileged youth in the Calgary area. She was a finalist in the RISE-UP songwriting contest in 2022 for her song of the same title and launched an ethical merchandise line using upcycled shirts which are printed and distributed locally.

Dan Brown's Wild Symphony Sunday 3 March / 3PM Instrument Discovery Zoo / 2PM Jack Singer Concert Hall Symphony Sundays for Kids

Juliane Gallant biography on page 7

Supported by Resident Conductor Supporter: Mary Rozsa de Coquet Program Juliane Gallant, conductor Lisette Xavier, narrator Calgary Philharmonic Orchestra Dan Brown

Wild Symphony

This concert has no intermission Program and artists subject to change without notice 48 | PRELUDE calgaryphil.com | 403.571.0849

50'

F I L M W I T H L I V E O R C H E S T R A 17 + 18 May 2024 | Jubilee Auditrium For details and tickets, visit calgaryphil.com

WINTER 2023/2024 | 49

Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music. © 2023 & TM LUCASFILM LTD. ALL RIGHTS RESERVED © Disney

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225 58 Avenue SE • 403-244-5555 10 Royal Vista Drive NW • 587-794-3195 3404 5 Avenue NE • 403-245-3725 sales • repairs • rentals • lessons in-store financing • print music

A P AR T N ER SH I P O F L A S TI N G F I RS TS

BY KATHRYN HAWCO

o you remember the first live performance you went to? Maybe you were a child on a school trip. Maybe you got dragged by your parents or you were the parent dragging your children to a show for 120 minutes of hopeful peace. The velvet seats, the padded quiet of the concert hall, the cacophony of an orchestra asynchronously tuning up, and the lights, dimming. The first time you visit a new place and the excitement of your first live performance make a lasting impression on you. Canoo, an app delivered by the Institute for Canadian Citizenship, a national non-profit, offers these experiences for free to recent immigrants through partnerships with organizations like the Calgary Philharmonic Orchestra.

D

Canoo members are recent Permanent Residents and new Canadian citizens, and in return for their decision to pack up their lives and start anew in Canada, Canoo offers them free and discounted experiences provided by Canadian organizations, in hopes that they choose to stay. Immigrants are becoming disillusioned with Canada.

In increasing numbers, Permanent Residents are choosing not to become Canadian citizens, and many

are choosing to leave. This poses serious challenges to the sustained growth and health of Canada. Canoo’s mission is to reverse this trend with the help of our partners.

Canoo partners are orchestras, ballets, and theatre companies, as well as museums, art galleries, science centres, zoos, and professional sports teams, tourism, retail, hotel, and travel partners, and so much more all over the country. These partners work with Canoo to provide affordable cultural and recreational experiences to newcomers and be the friend that tells you where to go and that you are welcome in a new place. The lasting impact of this is not only a reprieve from the stress and strain of resettling your family, but an increased sense of belonging that makes you want to root yourself here.

Vahit, a Canoo member originally from Turkey was interviewed this summer and said, “I think Canoo is going to give the person a better insight into Canadian culture, lifestyle, history, it's going to help them feel more belonging to this country.” By reducing financial and information barriers, Canoo invites newcomers into the fabric of Canadian culture. Organizations like

Calgary Philharmonic Orchestra offer a ticket there, in a tangible way.

To date, there are over 250,000 Canoo members exploring Canada and having transformational experiences with their families. They’re attending concerts, traveling cross country by train, whale watching, ziplining, visiting national historic sites and museums all with Canoo. They’re forging Canadian identities.

“When you've just come to Canada and you've not been to any of these places,” offers Andrew, a Canoo member from the U.K., “for a lot of people coming here, it's expensive to move to a new country and with Canoo you actually get the ability to go and see things for free and it gives you a bit of an incentive to travel around the country you've just moved to. I think it's a really, really good program.” Canoo and its lasting impacts would not be possible without the contributions from partners like Calgary Philharmonic Orchestra, and we cannot wait to continue growing.

To learn more about Canoo, visit canoo.ca.

WINTER 2023/2024 | 51

Join our community of visionary supporters The Calgary Philharmonic Foundation is the largest annual supporter of your Calgary Phil, exceeding all levels of government support, and ensures the permanence of the Orchestra and that future generations have access to the power of orchestral music.

This program has been bringing world-class artists to perform with your Calgary Phil since 2008, enhancing musical presentations for both audiences and musicians. Many Virtuoso artists also perform at donor recitals or teach masterclasses to aspiring young musicians in our communities.

Founded by Ellen and Allen Borak, this program helps elevate the art of choral music by supporting and nurturing the development of the Calgary Philharmonic Chorus.

This program provides more than 100 volunteer singers with the opportunity to grow in their performance of choral music and promotes the enjoyment of choral singing in our communities.

OPPORTUNITIES FUND

Elaine and Jeremy Clark, along with their daughters Keiko and Chloe, support several projects designed to empower curiosity for the Orchestra in its fullness.

Adult education projects like chamber music recitals, Music To My Ears events, and pre-concert chats are meant to encourage the next generation of enthusiastic Calgary Phil supporters.

Irene and Walt DeBoni created this program to support the commissioning of new Canadian works necessary for the continued development and vitality of orchestral music. Thanks to this program, the Orchestra premieres enticing and trailblazing new works each season.

Celebrating 10 years, the MacLachlan/Ridge Emerging Artist Program helps provide outstanding young Canadian musicians with opportunities to advance their careers by performing with the Orchestra to develop Canada’s next generation of artists.

JOYCE + DICK MATTHEWS PHILANTHROPIC PROGRAM

This philanthropic program was created in memory of Joyce and Dick Matthews, who were dedicated and generous supporters of your Calgary Phil for more than 50 years, providing the opportunity to recognize someone special.

Founded by Judith Kilbourne, PhilKids is an after-school program for students aged 5 to 11, bringing music to the hands and hearts of children who otherwise would not have access to such artistic development, fueling the empowerment of children through the exploration of music.

Support one of these programs that make a difference, or donate to our Greatest Needs fund at calgaryphil.com/support.

Sponsors + Supporters government

foundations

corporate

media

artistic + community

WINTER 2023/2024 | 53

Our Donors Leadership Giving The Calgary Philharmonic expresses its deep gratitude to the passionate and dedicated supporters whose significant lifetime giving to the Calgary Philharmonic Society and Calgary Philharmonic Foundation helps us achieve our vision. $10,000,000 and above Calgary Philharmonic Orchestra Foundation Joyce + Dick Matthews $1,000,000 to $9,999,999 Alberta Foundation for the Arts Calgary Arts Development Authority Canada Council for the Arts Irene + Walt DeBoni John + Ethelene Gareau Government of Canada Dr. John Lacey Morningside Music Bridge Foundation Drs. Ted + Lola Rozsa Estate of Mario James Stella One Anonymous Donor $500,000 to $999,999 Estate of Marjory Barber Irene + Bill Bell Marg + Paul Boëda Cenovus Energy Inc CNOOC (formerly Nexen) Carol + Frank Gray Honens Calgary Philharmonic Society Fund at Calgary Foundation Mary Rozsa de Coquet Robbin Shandel Taylor Family Foundation One Anonymous Donor $250,000 to $499,999 Said Arrata Leslie + David Bissett Ellen + Allen Borak Heather + Ian Bourne Andrea Brussa Calgary Foundation Calgary Herald Norma Carroll Corus Entertainment Heather Edwards Encana Corporation Jan + Larry Fichtner Liz + Tony Fricke Lois + Richard Haskayne Judith Kilbourne KPMG LLP

Estate of Murray Lipsey Letha MacLachlan KC Deborah Yedlin + Martin Molyneaux Palmer Family Foundation Repsol Oil & Gas Canada Inc Rozsa Foundation Muriel Stewart Sunesis Consulting Inc TELUS Corporation TransCanada Pipeline Ltd $100,000 to $249,999 Air Canada ARC Resources Ltd Jeff Arsenych Jenny Belzberg Beverly + Gerald Berkhold BP Petroleum Calgary Shaw Charity Classic Foundation Canada Life Elaine + Jeremy Clark Judith + Terry Dalgleish Dori Wood + James Doleman Enbridge Pipelines Inc Tibor Fekete Estate of Geraldine Fish Glasswaters Foundation Estate of Winnifred Griffith Elizabeth + Wayne Henuset Imperial Oil Ltd Jeanette King Estate of Evelyn Christine Kings HD Klebanoff Memorial Fund Kool 101.5 Sir Jack Lyons Charitable Trust Estate of Mary McIntosh Macquarie Group Foundation Allan Markin Masters Gallery Ltd Meludia SAS Janice + James Morton Nickle Family Foundation John + Jean Partridge Rabinovitz Family Fund RBC Foundation Seagram Company Ltd Clarice Siebens Margaret Southern Carla + Klaus Springer Josie + Trent Stangl Mary Ann Steen TC Energy TD Canada Trust Shirley Zielsdorf Three Anonymous Donors

54 | PRELUDE calgaryphil.com | 403.571.0849

Endowed Chairs Ted + Lola Rozsa Endowed Chair Music Director: Rune Bergmann Mary Rozsa de Coquet Endowed Chair Resident Conductor: Juliane Gallant Ellen + Allen Borak Endowed Chair Chorus Director: Mark Bartel John + Ethelene Gareau Endowed Chair Concertmaster: Diana Cohen Peter + Jeanne Lougheed Endowed Chair Associate Concertmaster: John Lowry Hotchkiss Endowed Chair First Violin Section Member HD Klebanoff Endowed Chair First Violin Section Member: Olga Kotova Esther Violet Hall (née Young) Endowed Chair Principal Second Violin: Lorna Tsai Debbie Lynne Hall (daughter of Esther Violet Hall) Endowed Chair Assistant Principal Second Violin: Stephanie Soltice-Johnson Dennis Sharp + Hélène Côté Sharp Endowed Chair Second Violin Section Member: Craig Hutchenreuther Dalgleish Endowed Chair 66 Second Violin Section Member: Minnie Min Kyung Kwon Eckhardt-Gramatté Foundation Endowed Chair Principal Viola: Laurent Grillet-Kim Naomi Lacey Endowed Chair In Honour of Philip Hansen Principal Cello: Arnold Choi John + Jean Partridge Endowed Chair Cello Section Member: David Morrissey Deborah Yedlin + Martin Molyneaux Endowed Chair Cello Section Member Margaret + Paul Boëda in Memory of Jennifer Boëda-Dahl Endowed Chair Principal Flute: Sara Hahn-Scinocco Bill + Irene Bell Endowed Chair Piccolo: Gwen Klassen Judith + William Kilbourne Named Chair In Recognition of the Kilbourne's long-term support Assistant Principal Horn: Heather Wootton

Frank + Carol Gray Endowed Chair In Memory of Vincent Cichowicz Principal Trumpet: Adam Zinatelli Frank + Carol Gray Endowed Chair in Recognition of Tim Rawlings' 42 years of service to Calgary Phil Principal Percussion Joyce + Dick Matthews Endowed Chair Piano

2022/2023 Donors The Calgary Philharmonic expresses its deep gratitude to the following supporters who made generous gifts to the Calgary Philharmonic Society and the Calgary Philharmonic Foundation between 1 July 2022 and 30 June 2023. For complete listing, visit calgaryphil.com/ support.

G ifts to the Calgary Philharmonic Foundation Ad Astra Campaign 1 0 years or more of lifetime giving 2 0 years or more of lifetime giving

Fanfare: Gifts of $500,000 and above Alberta Foundation for the Arts Canada Council for the Arts Calgary Philharmonic Orchestra Foundation Government of Canada Fanfare: Gifts of $100,000 to $499,999 Estate of Marjory Barber Calgary Arts Development Authority Carol Gray Honens Calgary Philharmonic Society Fund Taylor Family Foundation* Fanfare: Gifts of $50,000 to $99,999 Irene + Walt DeBoni Globe and Mail Government of Alberta Letha MacLachlan KC One Anonymous Donor Fanfare: Gifts of $10,000 to $49,999 Irene Bakker Jenny Belzberg Berkhold Family Foundation

Ellen + Allen Borak Heather + Ian Bourne Brookfield Properties Kim Bruce Calgary Foundation Alan D. Castle Endowment for the Arts CH Financial Community Foundations of Canada Terry Dalgleish Heather Edwards Estate of Jack Ferguson Annie Freeze Liz + Tony Fricke Glasswaters Foundation Jacky + Geoff Granville Ryan Green Jan + Brian Grier Angela + Sam Hayes Denise + Don Herman Juli Hegg + Bill Hogg James Hughes Judy Kilbourne Michael Lipnicki Fine Pianos Sharon Martens The Honourable Lois E Mitchell Janice + James Morton Jill + Brian Neufeld Anne Marie Peterson Legacy Fund Janet Poyen RBC + RBC Foundation Mary Rozsa de Coquet Rozsa Foundation Shaw Charity Classic Foundation Cheryle Sherwood + Sherwood Associates Margaret Southern Claire + Marc Stevens Valerie + Allen Swanson TD Canada Trust Palmer Family Foundation United Active Living Inc Viewpoint Foundation Four Anonymous Donors Ensemble: Gifts of $5,000 to $9,999 Andal Family Foundation Marian + Paul Beer Blakes, Cassels & Graydon LLP BMO Nesbitt Burns Eleanor + Lawrence Bryan James + Patricia Burns Calgary Airport Authority Canadian Natural Resources Ltd Deloitte Consulting Amy Dryer Mary Duthie Franklin Templeton Investments Cristine + Allan Huber Imperial Oil Ltd Keyera Jeanette King Dr. Marilyn Mooibroek + David Lau Masters Gallery

Roderick + Jean McKay Rabinovitz Community Fund Sonia Reynolds Rogers together with Shaw Shine FM Clarice Siebens Joan + Geoffrey Simmins Catherine + Marvin Waiand Welty Family Foundation Michelle Bailey + John Whelan Gloria Wong + Arthur Hibbard Bing Wu Deborah Yedlin + Martin Molyneaux Zenato One Anonymous Donor Dynamic: Gifts of $2,500 to $4,999 Dinesh + Rajendra Agrawal Belinda + Tom Boleantu Brad Boychuk Gloria + Walter Chayka Rae + Phillip Cram Fern Cyr Paula Davies Walter + Ute Dilger Dori Wood + James Doleman Tibor Fekete Mark Ferrier Denis Fonteyne Shirley Foster Joan + Don Greenfield Pamela Grigg Charitable Gift Fund Daniel Heng Herman Family Foundation Valerie + Craig Johnstone Mary Anne Katzenberg Madeleine King + Bob Taylor Dr. John Lacey Anita Loeck Chris MacKimmie Janet + Rick Matthews Rene + Mark McManus Elizabeth + Ross Middleton Rosemary Moore Tae Nosal + John Reid Tim Onyett Joaquina + Fritz Painsi John + Jean Partridge Maureen Payne Phil Chong Flower Bar Leanne Ritter + Peter Paauw Blake Senini Marie + Nathan Smith Agatha Starczyk + Mike Miller Llyn L Strelau James D Ulrich Janet Yuchem Anne + Frank Zinatelli Two Anonymous Donors Celebration: Gifts of $1,000 to $2,499 John Abbott Anne Howard Human Resource Consulting Art Space & Design

Barb Atnikov + Albert Rosengarten Matthew Atwood Roy, Hazel + Nancy Austin Andrew Azmudeh Barbara R Beaton Black Cat Metal John Bonnycastle Adrian Burns Marion R Burrus Eleanor + Richard Byers Centini Restaurant Barbara Chang Monica Cheng Georgina Clark Catherine Glaser-Climie + Stan Climie Côté Sharp Family Foundation Ruth Cross Fund at The United Church of Canada Foundation Dawn + Rao Darsi Alexandra De Freitas Miriam Diamond Ernest Enns Lisa Evren Lawrence Fan Philippa FitzGerald-Finch Stephanie Fowler Galileo Wine & Spirits Ltd Coppi + Seamus Glen & Nancy Charitable Gift Fund Cecilia Gossen Danelle Hames + Matthew Law Harry & Martha Cohen Foundation Lois + Richard Haskayne David Henley J.E. Hodgson Family Fund Joan + Gordon Holland Sandra + Kris Smith Dr. Helen Isaac Carrol Jaques + Bob Loov Arlene + Glen Johnston Eva Kaiser Barbara + Hugh Klaassen Alice de Koning + Yrjo Koskinen Robert Kulhawy Chethan Lakshman Karen Neary + Robert Langill Oscar + Jennifer Larios Ann + Tony Luppino Dr. Jonathan Liu Alison + Andrew Love Diane + David Macdonald Simone MacRae Cynthia Makara Zai Mamdani Patricia + John Martin Laurie Matiation Elizabeth + Gene Maurice Vickie + Russell McKinnon Joan + Dale S. Meister Dorothy + Graydon Morrison Mike Morrow Shelagh + Faiz Nadir Peter Paauw Patricia + Robert Peabody John Steve Poceta Ruth + Garry Ramsden-Wood

Karin Richter Louise + J Norman Rokosh Marley Rynd Foundation Herny Schultz Wendy + Rod Schultz Hedy + Clark Seaborn Dr. Tony Settari Helen Young + Don Smith Alfred Sorensen Spirits with Smoke Ryan Stasynec Betty J Stein Patti Stevenson Barbara Storwick Wood Pittman Fund Susan Swan John W Thompson Nadine Tratch + Tyler Cumberford Heather Treacy KC + Joe Nahman Frank + Cathy Van Humbeck Grant + Rita Vogeli Walsh LLP Julie Westgate Westjet Anne + Terry Wilson Reginald Worsley Maria Wu Four Anonymous Donors Bravo: Gifts of $500 to $999 Gwen + Ian Anderson Rheta Borgal Bridgette Bar Eileen Butler

By Jean Michel Cadillac Fairview Callow & Associates Management Consultants Inc Sandy + Marie Cameron Campbell-Stone United Church Sylvia + Bob Carey Mei Ann Chen Dorothy Chisholm Tom Christie The CORE Tim Crawshaw Daniel Culcea cSPACE David Daly Judy Dofoo Jane Ebbern Fairmont Banff Springs Dianne + Thomas Ferguson Ferrari of Alberta Fortune Industries Ltd Audrey + John Fry Helen Goodman Michele Gunn Dr. David Hanley Ian Hawkins Holt Renfrew Instrumental Society of Calgary Mary Jo Leslie and Joseph Dallaire Endowment Fund CONTINUED ON PAGE 56

WINTER 2023/2024 | 55

Bravo: Gifts of $500 to $999 (cont.)

Marion + Federico Krause Roland Labuhn Loch Gallery Ken Martens Rolf Martin H Matsune Jo-Anne McCulloch Liz McFetridge Chef Darren McLean Kent Milani Kathleen + Keith Nicholson Tatianna O'Donnell Richard Olver Onna Boutique Smita Patel Dan Philips

Anita Poscente Ranchmen's Club River Café Jane Robarts Margaret + Donald Stinton Nick Suche Suncor Energy Foundation Jody Sutherland + Marco Baldasaro Julie + Adam Unick Ingrid Vicas Patricia + Richard Wanner Dixie + Tony Webb Norma + Ron Westcottt Philippa White Renate Willson Agnes + Ray Woods Five Anonymous Donors

Gifts made In Honour of Andrew Azmudeh Mary Bobey Arlene Christie Dawn Darsi Sharon Arelen Jung Joyce + Dick Matthews Nora Morrow Hugh Woolner Gifts made In Memory of Gordon Brown Dawn Darsi Leslie Diamond Susan K Hanley Sharron Arelene Jung Dennis H Sharp Stacey Christina Worsley

We're grateful for the gifts received through: Aqueduct Foundation Benefaction Benevity Calgary Foundation Canada Helps GiftFunds Canada Raymond James Canada Foundation Strategic Charitable Giving Foundation United Church of Canada Foundation United Way of Calgary & Area WCPD Foundation

Our Volunteers These volunteers contributed their precious time in the 2022/2023 Season — we celebrate them and their ongoing dedication.

Mariah Atkinson Cecilia Armada Priscilla Babunga Catalina Barboza Partow Bayzaee Frances Bradley Celia Burns Peggy Chan Carole Clement Steve Clement Maggie Couper Julie Docken James Doney Carole Dunn Graham Edwards Amanda Ferguson Lorna Fulsom Prasad Ganesan David Grant Larry Hamm Gloria Hare Robin Harwig Shane Kidd

Amethyst Klintberg Wendy Kunsman Yuliia Lebid Elizabeth Leitz Shawna MacGillivray Moira MacPherson Marina Milovanova Balmore Ramon John Schlichting Doug Smith Roy Stuart Noah Urquhart Prasad Vishwasrao Larry Wagner Louis Warners Gayna Wong

Cork + Canvas Committee Tim Onyett, Chair Mark Chester Dumbrique Elizabeth Middleton Maydelin Nuñez Allison Onyett Lucy Pei Christy Pierce Lauren Ridge Michelle Yee Yang Zhang

Stakeholder Relations Committee James Kusie, Chair Courtney Cathcart Samuel Hayes Almas Kassam Elizabeth Middleton Colleen Potter

Ad Astra Cabinet Dr. John Lacey, Honourary Chair Elizabeth Evans, Co-Chair Elizabeth Middleton, Co-Chair Michelle Bailey Ann Calvert Ellen Parker Ryan Stasynec

We also thank the Boards of Directors of the Calgary Philharmonic Society and Foundation, and members of the Calgary Philharmonic Chorus, listed on page 4 and page 9 respectively.

Every effort has been made to ensure accuracy on the above lists. Please email any errors or omissions to volunteercoordinator@calgaryphil.com.

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Building to New Heights Together we can strengthen our communities, pursue artistic excellence, and ensure a sustainable future for the Calgary Philharmonic.

Support our Capital Campaign. Learn more at calgaryphil.com/AdAstra.

WINTER 2023/2024 | 57

THE OPEN DRESS REHEARSAL

BY DAVID SUSSMAN assistant principal oboe tudents and Seniors are invited to join us in the Jack Singer Concert Hall at select concerts to experience a full working open rehearsal. For some, this is a wonderful way to access your Philharmonic.

S

What is an Open Dress Rehearsal like?

For starters, unlike theatre presentations, the musicians do not dress in concert attire for a dress rehearsal. The atmosphere is casual and relaxed. The designation ‘Dress’ rehearsal means that we will play through every piece on the program, likely in order and hopefully in their entirety.

For a given program we may have between one and five rehearsals depending on the complexity or familiarity of the program. Not every piece may be rehearsed at every rehearsal. Rehearsals are usually 2.5 hours in duration with a 20-minute break (where musicians head down to the musicians’ lounge to drink coffee or tea, watch sports on the lounge TV, or eat cookies someone is selling as a fundraising item). Music is available a couple of weeks in advance of the first rehearsal for any program and we are expected to know our parts for that first rehearsal.

A rehearsal is not run democratically.

In the interests of efficiency, it is controlled by the conductor.

The audience usually sees the conductor gesticulating on the podium in performance. In an Open Dress Rehearsal, the audience experiences the conductor at work in rehearsal. The conductor decides 58 | PRELUDE calgaryphil.com | 403.571.0849

what will be rehearsed, in what order, and for how long and what aspects of that piece will be worked on.

Some of the things a conductor may choose to work on include the following:

SOUND Musicians can produce an entire palette of tone colours and a conductor may have a specific one in mind for a musical passage.

PHRASING

NOTES AND RHYTHMS Usually the musicians have these learned perfectly. However, sometimes (especially in new works) the printed parts have wrong notes. Even in well known works, there are places where different editions have different notes and a conductor may have a preference.

BALANCE This is to ensure that the melodic lines are not obscured or to give just the right prominence to a specific instrument.

TUNING With 66 musicians playing together, there are at times minor lapses in pitch. Taking a second to isolate these spots allows us to hear if a certain note is too sharp or flat and to correct it.

PACING A piece may be marked 'Allegro', but the exact tempo chosen can be on the faster or slower side of Allegro.

Sometimes a slight quickening of the pace can enhance an exciting moment and a slight relaxation of time can make a tender moment even more poignant.

Where should the wind players breathe, or the string players change the direction of their bows? Are the phrases long or short? Where are the high points?

Most printed music contains rehearsal letters (A, B, C, etc.) spaced throughout, as well as bar numbers to facilitate restarting in the middle of a piece. Conductors efficiently choose their restart places so that little time is wasted in counting.

At a Dress Rehearsal, there is more limited time for rehearsing (since everything is being played) and there is the consideration of endurance if it is a heavy program to be played that very night. A conductor may request that players go a little easy in the rehearsal and not play at full volume.

The Open Rehearsal is a wonderful peek into the musicians’ everyday world of music making. The audience hears the pieces being played but also gets to witness some of the process involved in creating the performance.

For more information on open rehearsals, visit calgaryphil.com/open-rehearsals.

ALBERTA BALLET PRESENTS A DOUBLE BILL FEATURING

The Rite of Spring D Wolf & Der A dark and curious landscape of folklore, forest, and frenzy is set against hard-hitting, visceral scores, including Stravinsky’s groundbreaking masterpiece.

MAY 2 – 4, 2024

Tickets at AlbertaBallet.com Der Wolf image courtesy of Oper Graz Photo Ian Whelan

Heritage Park is 60 and we’re celebrating!

We’ve packed even more fun into our 127 wild and wonderful acres with bold new attractions and ultra-special events for 2024. We’re shining up the midway, polishing the train, and fine-tuning the S.S. Moyie for our most exciting season ever.

Best of all, you’ll get a full year of magic for just $60*. It’s our gift to you. heritagepark.ca/membership *Alberta residents only. Must show proof of residency. Valid on a 2024 General Membership only.