Waltz Magazine

NOV 2014

VOL 01 ISSUE 01

VIVACE FE ATU RE

prized director’s words COC’S JOHANNES DEBUS & ALEXANDER NEEF M E R V O N M E H TA’ S R OYA L M A N DAT E L ASTING LEGACY LOTFI MANSOURI

MUSIC REVIEWS & CONCERT LISTINGS

NOV 2014

PRIZED DIRECTOR’S WORDS

1

THE WALTZ TE MP OS

VIVACE FE ATU RE

28-34

COC’s Johannes Debut and Alexander Neef Paula Citron

36-42

Mervon Mehta’s Royal Mandate Paula Citron

44-51

Lasting Legacy Lotfi Mansouri Pamela Margles

MASTHEAD

5

A letter from the editor

ADAGIO COLUMN

6-7

Ready, Set… NYOC Sara Constant

8-11

Kubrick’s Musical Odyssey: Ears Wide Open Paul Ennis

12-16

Ready, Set… Houselights down Sara Constant

18-21

Music is Focus at the AKM Andrew Timar

22-23

“Hopera” Raises the Operatic Bar? Mirella Amato

24-26

David Dacks and the Music Gallery Andrew Timar

LARGO REVIEWS

54-55

Early, Classical, and Beyond

56-57

Modern and Contemporary

58-59

Jazz and Improvised

60-61

The Comeback

3

ALLEGRO LISTINGS

62-83

GTA (Greater Toronto Area)

MASTHEAD

4

Waltz Magazine 156 Coltrane Drive Vaughan, Canada Tel +01 (416) 799-0672 julialik.es Editor-in-Chief & Publisher

5

Hyojung Julia Seo YSDN 3011 Editorial Design Instructor Paul Sych York University Art Direction & Design Hyojung Julia Seo Inspiration Music visualization video:

The Waltz Magazine sets out to curate the work of today’s mu-

youtube.com/watch?v=LlvUe-

sicians in the world of classical, contemporary, and jazz music.

pMa31o

How can music be curated in the form of print through words and images in a magazine? The Waltz Magazine has been designed to

Content Source

enable the visualization of music and rhythm. It challenges the

All content sources including

reader to read each article, image, and graphic element through

text and images are from the

series of unconventional methods. It takes readers on a journey of

WholeNote magazine:

varying tempos, pauses , crescendo, decrescendo, allegro, largo,

Volume 20 No. 2 & 3, unless

adagio, and vivace. With each page comes a new tune that readers

noted otherwise.

can interpret in their own way.

Subscriptions, Shop Content This magazine is not for sale.

The medium of sound that music lives in forces listeners to rely on their sense of memory to keep the music alive after it has been played. The Waltz Magazine pursues to make this ephemeral me-

Print & Binding

dium tactile without imposing readers to find objective meaning.

York University TEL Building

The role of a reader and listener is fused together.

Fab Lab, Studio Room 1, 2, 3.

This issue of the Waltz Magazine features interviews from Toronto’s music directors of the city’s leading music institutions.

We hear about where they come from, how they achieved the posi-

Thanks to

tions they hold now, and what they hope for the future of pristine

Editorial Design instructor

music in Toronto, Canada.

Paul Sych, Emma Herlick,Skye Zhang, and Sara Constant

Hyojung Julia Seo

ADAGIO COLUMN

Ready, Set… NYOC Sara Constant

If you find yourself in a music school or studio in the coming

The National Youth Orchestra of Canada is not your average musical summer camp. Billed as “Canada’s orchestral finishing school” for ages 16 to 28, the NYOC

months and hear through

recruits members from across the country for its annual program

the walls of a practice room

and tour, coaching participants in chamber music and the orches-

snippets of Holst’s The Planets

tral classics. And with 14-hour days of training, six days a week

or of Strauss’ infamous Dance

from June to August, summer at Laurier University—where the

of the Seven Veils, chances are

program takes up its residency—becomes a veritable hotbed of

that if the musician inside is

musical activity and growth of talent.

under 30 years of age, they have

The preparation process for applicants and admin alike is,

their mind set on summer. Not

understandably, protracted and intense. “I always laugh when

because they are yearning for

people ask me if it’s a full-time job or if I just work in the summer,”

long days and sunny weather alone, but because the National

says Barbara Smith, the program’s executive and artistic director.

“Starting in the fall, once the conductor has been selected, the

Youth Orchestra of Canada is

conductor and I sit down together and determine the repertoire

as usual well under way with

that we’ll be performing that year. We do that as soon as possible

planning its program for the

because once that’s done, the faculty members—the coaches who

summer ahead, and the appli-

will be working with the students—select the audition excerpts

cation process for participants

based on the repertoire. Then, once we have all those excerpts,

has commenced.

they go online, the application goes live and applications start coming in. And that’s where we are right now. We’re getting appli-

6

cations in every day now for next year’s orchestra.”

Those faculty members enforce a high standard, and with good reason; they maintain busy schedules as orchestral performers themselves, with often-formidable resumes. “These are very high-profile professional musicians, people like Jonathan Crow and Mark Fewer,” Smith explains. “Jamie Sommerville is also on our faculty this year.” This year’s conductor, Michael Francis, who follows in the NYOC footsteps of the likes of Alain Trudel (2009, 2012, 2013) and Emmanuel Villaume (2014), has two full seasons as chief conductor and artistic advisor to Sweden’s Norrköping Symphony Orchestra under his belt, and is music director of San Diego’s Mainly Mozart Festival. He also is due to take on the role of music director for the Florida Orchestra next September. The NYOC members, then, are in very good hands.

And in a program whose alumni include 40 percent of professional orchestral musicians in Canada, there’s a good chance that a few years down the road, some of those coaches will be reunited with former participants, not as their students but as colleagues.

“It truly is the best training program, anywhere – certainly in Canada and even internationally,” says Smith. “When I talk to my colleagues in other countries they just shake their heads and can’t believe what it is we do. We’re so excited when our alumni have news to share; we like to celebrate their successes.”

Vanessa J. Goymour is one such success story. A four-time member of the NYOC viola section—first attending the program at age 17—Vanessa now acts as general manager and artistic advisor for Jeunesses Musicales Ontario, the local arm of a Brussels-based organization that works worldwide, through national and international offices to provide performance opportunities for emerging young musicians.

Asked for a favourite NYOC moment, Vanessa reminisces about a far-from-average group of concertgoers. “I remember on several occasions when the orchestra was playing in Grant Hall at Queen’s University, that bats would frequently appear in the hall. They seemed in particular to like the sound of the flute as they would tend to show up when the flutes were playing and would swoop around over their heads!” she recalls.

There’s no doubt that Vanessa’s memorable

7

youth orchestra experience rubs off on her current role with Jeunesses Musicales: “In the NYOC, “I have always enjoyed working with young and emerging artists, as they have such the level was extremely high and no matter how

energy and drive and are not afraid to experiment,” Vanessa continues. “Nothing is

much fun we were having off the stage, when we

more satisfying than watching artists flourish and develop successful careers.”

were rehearsing or performing, we were all after

The NYOC’s 2015 repertoire list, though subject to change, is full of opportunities

one thing—to be the best we could and to play

for orchestra members to exercise that energy and inclination to experiment. In

great music. I think the same is true of artists

addition to the Holst and Strauss works, the season’s repertoire, likely to be spread

working with Jeunesses Musicales and it is won-

across two alternating programs, tentatively includes Bartók’sDance Suite Sz 77,

derful to be able to support such creativity.”

Rachmaninoff’s Symphonic Dances, Prokofiev’s Classical Symphony and a second Strauss offering, his tone poem Don Quixote.

The orchestra will also premiere a newly commissioned work, written by this year’s winner—not yet announced—of NYOC’s annual Emerging Composer-in-Residence position.

For those interested in applying for this year’s NYOC program, applications will still be accepted until December 28; and submitting one before the end of November means a cheaper application fee. The program itself is essentially tuition-free, with all members receiving a $1000 award after completion of the program in the fall.

Opportunities also exist to apply for additional awards, including the prestigious Michael Measures Prize, the winner of which receives a $25,000 award plus a solo concerto performance with the orchestra. All the details for auditions and the orchestra’s student awards program are available on the NYOC website, at nyoc.org.

The orchestra’s coordinators have not yet announced its official tour itinerary for this summer, but some venues, Koerner Hall among them, are perennial favourites and can likely be counted on again for the coming year. In the meantime, the orchestra is due to release the recording from its 2014 session on November 7. Keep an eye out for this disc, and for the announcement of the group’s upcoming tour dates. From the looks of this year’s repertoire and the organization’s reputation, the NYOC’s local concert this summer will be one to watch.

Sara Constant is social media editor and studies music at U of T.

ADAGIO COLUMN

Kubrick’s Musical Odyssey: Ears Wide Open Paul Ennis

Imagine, as you walk through Stanley Kubrick: The Exhibition (October 31 to January 25 at the TIFF Bell Lightbox), that you have an iPod loaded with music from Kubrick’s films. Listening to this music as you stroll would further illuminate the artefacts from the filmmaker’s extensive

FRIED’S SUITE FROM THE EARLY FILMS:

archives that already comprise an extraordinary glimpse into the working habits and intellect of

Your iPod will now be ready to

shuffle on to Gerald Fried’s Suite from the Early

one of the most thorough directorial minds the

Films of Stanley Kubrick. Born in the same year

world of cinema has ever seen.

as Kubrick (1928), at 17 or 18 Fried was a baseball and football-play-

PROKOFIEV’S NEVSKY: 8

The first piece on that iPod, per-

ing pal. He was also a Juilliard-trained oboist who was entrusted

haps surprisingly, would have

with writing the scores for five early Kubrick films, from Day of

to be Prokofiev’s soundtrack to

the Fight (1951) to Paths of Glory (1957). The brashness of 22-year-

Eisenstein’s Alexander Nevsky

olds knew no bounds. The music ranges from big and brassy

(1938), which Kubrick bought

orchestral in Fight to the woodwind-centric atonal lilt of Fear and

after seeing the film with Alexander Singer, a friend from high

Desire; from a typical 1950s B-movie post-romantic Killer’s Kiss to

school (and later a director himself). Kubrick was so obsessed

the busier B-movie palette of The Killing, which Fried called “the

with the record that he played it continually, well over 100 times,

most primal music I could think of.”

so much so that his younger sister, fed up, broke it “in an absolute

The percussive score to Paths of Glory used

rage,” Singer said. “Stanley never got over [the battle on the ice].”

snare drums to set up the rank militarism of the

But it was not only the film’s music that made its mark—it was the

film, but it was the impact of the traditional Ger-

whole working relationship between Prokofiev

man song, “The Faithful Soldier” sweetly sung by

and Eisenstein that fascinated Kubrick. They

Susanne Christian, that underscored the emo-

worked in tandem in the editing room, Eisen-

tional impact of the movie’s anti-war message.

stein sometimes varying his cut to correspond

Christian, whose real name was Christiane Har-

nicely with Prokofiev’s music and the composer

lan, made a lifelong impression on the director.

also occasionally reworking his score to dovetail

She became his third wife shortly thereafter, and

with the director’s wishes.

her brother Jan Harlan became a close confidant

This is precisely the way Kubrick worked with

and executive producer of Kubrick’s films from

Alex North on Spartacus, Wendy Carlos on A

Barry Lyndon onwards. Fried, meanwhile, went

Clockwork Orange, arranger Leonard Rosen-

on to score several movies for Roger Corman

mann on Barry Lyndon and music editor Gordon

(including Jack Nicholson’s debut The Cry Baby

Stainforth on The Shining.

Killer) before concentrating on TV series work, from Gilligan’s Island, Star Trek and The Man from U.N.C.L.E. to Mission Impossible.

We’ll skip by Spartacus (1960) in our exhibition soundtrack.

After Kirk Douglas hired him to direct it, Kubrick never made a film over which he didn’t have complete control. Douglas gave North more than a year to complete the score, so he had ample

time to research ancient Roman music and collaborate with Kubrick, who encouraged him to listen to Prokofiev’s Alexander Nevsky.

North’s lush, suitably epic soundtrack took up over two hours of the film’s 197 minutes and was nominated for an Oscar.

9 MUSICAL ODYSSEY: “Movies present the opportunity to convey complex concepts and abstractions without the traditional reliance on words. I think that 2001, like music… is able to cut directly through to areas of emotional comprehension. In two hours and forty minutes of film there are only forty minutes of dialogue.”—Stanley Kubrick, 1969.

And much more than 40 minutes of music—excerpts from György Ligeti’s Atmosphères, Requiem (Kyrie), Aventures and Lux

LOLITA YA YA:

Lolita (1962)

Aeterna account for 32 minutes alone—from the hushed opening

was Kubrick’s

bars of Richard Strauss’ Also Sprach Zarathustra and Khacha-

last film with

turian’s Adagio from Gayane (deployed on the Jupiter mission)

a traditional

to the ingenious use of Johann Strauss Jr.’s On the Beautiful Blue

score and the

Danube which amounted to a reinvention of the cinematic wheel,

director knew what he wanted it built upon – an unforgettable,

so breathtaking was the footage of the docking of the space shuttle

perfectly apt, bittersweet tune written by his producing partner

it accompanied the first time it was heard.

James Harris’ brother Bob. Knowing this, Kubrick’s first choice,

Astronaut Dave Bowman becomes the Starchild as Kubrick

Bernard Herrmann, refused to do the score, so Nelson Riddle was

brings back Zarathustra. Which is what your iPod should be play-

hired. He ended up writing the

ing as you gaze at it in the exhibit; the “Starchild” is one of the key

iconic “Lolita Ya Ya,” a pop con-

attractions along with the dresses of the ghostly sisters from The

fection that was the ideal match

Shining and the “Born to Kill” helmet from Full Metal Jacket.

for Sue Lyon’s lollipop-licking

Kubrick introduced Ligeti to a massive audience and also used

nymphet. Part of the Kubrick

his music in The Shining and Eyes Wide Shut. The composer

archives but not included in the

was said to have been upset that his pieces weren’t used in their

Lightbox exhibit are outlines for

entirety in 2001 (his publishers negotiated the rights without fully

Lolita’s screenplay, drasti-

informing him according to The New Yorker’s Alex Ross) but as

cally different from the final version and (equally revealing

Ross writes, he “grew to admire Kubrick’s achievement, and not just because it added greatly to his own fame. It is difficult to think of another mainstream picture in which music in

of Kubrick’s obsessiveness)

the classical tradition plays such a dominant role… 2001 is less a dramatic narrative than a concerto

Kubrick’s handwritten draft of

for film images and orchestra.”

Lolita’s letter to Humbert. Cu-

Some trivia: It was Kubrick’s wife Christiane who first brought Ligeti to her hus-

riously, Kubrick played Sinatra

band’s attention. She had discovered it by chance listening to the

albums for Lyon on the set to get

BBC and thought it might work in 2001. Kubrick had hired Alex

her into the mood he wanted.

North to write the score and showed him the film with the temp tracks of Zarathustra, Ligeti, Khachaturian and the Scherzo from

TENDERNESS PLUS:

Mendelssohn’s A Midsummer Night’s Dream to give North an Two songs,

idea of what he was looking for. North scored the picture while

“Try a Little

admitting he was intimidated by the Mendelssohn in particular.

Tenderness”

Kubrick wasn’t satisfied (“it could not have been more alien to the

and “We’ll

music we had listened to”) and given the release schedule reverted

Meet Again,”

to his temp track, with one major change: Strauss’s Blue Danube

bookend Dr. Strangelove (1964), which survives robustly on dialogue apart from a recurring

Waltz replaced the Mendelssohn.

Kubrick revealed his attitude to film music in general in an in-

instrumental trope of “When

terview with noted French critic Michel Ciment: “Unless you want

Johnny Comes Marching

a pop score, I don’t see any reason not to avail yourself of the great

Home.” Listen to them as you

orchestral music of the past and present. This music may be used

gaze at the set of the War Room.

in its correct form or synthesized, as was done with the Beethoven

It was the next film that would

for some scenes in A Clockwork Orange. But there doesn’t seem to

break whatever mould was left

be much point in hiring a composer who, however good he may be,

musically and cinematically.

is not a Mozart or a Beethoven, when you have such a vast choice of existing orchestral music which includes contemporary and avant-garde work. Doing it this way gives you the opportunity to experiment with the music early in the editing phase, and in some instances to cut the scene to the music. This is not something you can easily do in the normal sequence of events.”

ADAGIO COLUMN

PURCELL’S QUEEN MARY:

The choice to use Henry Purcell’s Music for the Funeral of Queen Mary in seven separate scenes of A Clockwork Orange (1971) was an inspired one. Even more inspired was to begin the film with the “March” from that work arranged for Moog synthesizer by Wendy Carlos, who according to the director “has done some-

10

thing completely unique in the field of electronic realization of music—that’s the phrase that they use. I think that I’ve heard most of the electronic music and musique concrète LPs there are for sale in Britain, Germany, France and the United States; not because I particularly like this kind of music, but out of my researches for 2001 and A Clockwork Orange.”

British patriotism is evoked sardonically with the use of the first and fourth marches from Elgar’s Pomp and Circumstance. Rossini’s Overture to the Thieving Magpie makes a great partner to Alex’s ultra-violence while the same composer’s Willliam Tell Overture supports a sadder part of his story. Less than two minutes of Rimsky-Korsakov’s Scheherazade are used to accompany Alex’s Biblical prison fantasies. The unconventional, brilliant use of “Singin’ in the Rain” was a sudden inspiration on Kubrick’s part after three days of rehearsal of the difficult rape scene: “Then suddenly the idea popped into my head—I don’t know where it came from or what triggered it off.”

As for the crucial excerpts of Beethoven’s music, the Ninth Symphony is Alex’s theme song and different parts of it appear in several scenes.

But for pure irony it’s hard to beat the first four notes of the Fifth, the Fate motif, that Alex hears as he rings the doorbell of F. Alexander’s house.

HANDEL AND SCHUBERT:

For the music in Barry Lyndon (1975) Kubrick first wanted André Previn, who was too busy, then Nino Rota, who was concerned— rightly—that the director would want little or no original

composition, bowed out amicably. Typically, the hiring of Leonard Rosenman as musical arranger, turned out splendidly. Not only did he tweak the classical score to make it fit every crevice of Kubrick’s cinematic landscape, he won an Oscar for his efforts.

Kubrick famously wanted nothing in his 18th century drama to be anachronistic, down to the candles that lit the sets after dark. His use of Schubert, the sublime second movement from the Piano Trio Op.100, the German Dance No.1 in C and the first five bars of the Impromptu Op.90 No.1 (to end the first half of the film and begin the second), raised many eyebrows. He had no qualms explaining it to Ciment: “Initially, I thought it was right to use only 18th-century music. But sometimes you can make ground-rules for yourself which prove unnecessary and counter-productive. I think I

The rest of the score conformed to Kubrick’s

had too much baggage and would unduly colour

must have listened to every LP you can buy of

original criteria with material ranging widely

the audience’s perception of the film. He chose

18th-century music. One of the problems which

from Frederick the Great to Mozart, Paisello,

Pierre Fournier’s version of the third movement

soon became apparent is that there are no tragic

Leclair and Bach, with traditional music supplied

of Vivaldi’s Cello Concerto in E minor instead. It

love-themes in 18th-century music. So even-

principally by the Chieftans, all anchored by the

was, of course, from his own collection and illus-

tually I decided to use Schubert’s Trio in E Flat,

Sarabande from Handel’s Suite for Harpsichord

trated (along with choosing Karajan’s versions

Op.100, written in 1828. It’s a magnificent piece of

No.4 in D minor (which appears ten times).

of the two Strauss works in 2001) the mindset of

music and it has just the right restrained balance

Kubrick had originally thought that Vivaldi’s The

someone who would settle only for the best and

between the tragic and the romantic without get-

Four Seasons would play a prominent role, but he

work obsessively to get there.

ting into the headier stuff of later Romanticism.”

dismissed that idea because he thought the piece

DIVERSE PENDERECKI:

Out of all Kubrick’s films, music was arguably used most effectively in The Shining (1980). From the success of A Clockwork Orange, Kubrick continued working with Carlos, who used the Dies Irae melody from the finale of Berlioz’ Symphonie Fantastique as the basis for her music for the first three minutes of the film. In fact she introduced the piece to Kubrick in pre-production; typically he played it more than 100 times before shooting. Carlos added two more themes to the track but the bulk of the score consisted of Ligeti’s Lontano, Bartók’s Music for Strings Percussion and Celesta and selections from nine diverse works by Penderecki, much of which was dissected, reassembled and multi-layered by music editor Gordon Stainforth, whose contribution was essential.

As Christine Lee Gengaro points out in Listening to Stanley Kubrick, her comprehensive guide to the music in his films, music that the characters actually hear in the movie (represented by 1930s popular dance tunes like “Midnight the Stars, and You”) are melodic and friendly while the music that is heard only by the viewer is ominous and a-melodic.

11 SURFIN’ BIRD BY THE TRASHMEN:

ROSENKAVALIER WALTZES:

Full Metal Jacket (1987) has no classical music in its score. What it does have is popu-

By now you will have climbed to

lar music evocative of the Vietnam War era, most

the fourth floor where Kubrick’s

memorably Sam the Sham and the Pharoahs’

photographic career with

“Wooly Bully” and the ineffable “Surfin’ Bird” by

Look magazine is on display.

The Trashmen. Kubrick talked about the latter’s

After eyeballing a selection of

effect in a Rolling Stone interview with Tim

Kubrick’s personal cameras and

Cahill: “What I love about the music in that scene

lenses, you will have reached

is that it suggests post combat euphoria—which

the part of the exhibition devoted to Napoleon,

you see in the marine’s face when he fires at

A.I. and Aryan Papers, three projects Kubrick

the men running out of the building: he misses

worked on but never completed.

the first four, waits a beat, then hits the next

It’s fascinating to see the bookcase with its

two. And that great look on his face, that look

glass doors barely able to contain the hundreds

of euphoric pleasure, the pleasure one has read

of books on Napoleon that Kubrick used for

described in so many accounts of combat. So he’s

research. Even more germane to the nature of the

got this look on his face, and suddenly the music

man’s all-consuming fixation on thoroughness

starts and the tanks are rolling and the marines

is a filing cabinet with cards detailing day by day

are mopping up. The choices weren’t arbitrary.”

and year by year every known fact relating to Napoleon and his whereabouts and activities.

NO SINGLE TRACK serves to exemplify Kubrick’s final film; the underrated

While you take it all in, your iPod is playing

Eyes Wide Shut has his most diverse soundtrack.

a waltz from Richard Strauss’ Der Rosenkava-

Beginning with Shostakovich’s jaunty Waltz

lier, the waltz that Kubrick wanted to use in A.I.

2 from Suite for Variety Orchestra, it moves

Artificial Intelligence, a script he had written

through Chris Isaak’s “Baby Did a Bad, Bad

that was filmed by Steven Spielberg in 2001, two

Thing” (suggested by Nicole Kidman), original

years after Kubrick’s death. John Williams was

music by Jocelyn Pook, orchestral versions

able to quote it for 30 seconds on top of his own

of standards like “I Only Have Eyes for You”

score for the film, a fitting tribute to a man whose

and “Strangers in the Night” (which ironically

approach to cinema was so musical.

comment on the characters’ relationship), jazz by Oscar Peterson and Brad Mehldau, Nuages Gris

by Liszt, “Rex Tremendae” from Mozart’s Requiem and most ominously, the waltz from Ligeti’s Musica Ricercata, with its insistent repetitive semitones, which is used six different times.

Paul Ennis is managing editor of The Waltz.

ADAGIO COLUMN

Ready, Set… Houselights Down Sara Constant

Opening night of a concert season is something of a landmark moment, and one likely to have presenters and concertgoers alike on the edge of their seats. The first show of the year acts as a beginning of sorts, setting the tone for the season ahead.

And yet, a season opener is also in many ways a culmination of the great work of preparation—the not-always-visible efforts of the myriad people who shape a musical project into its final, public form.

We spoke with some of those behind-the-scenes music professionals whose work is just that—to ensure that each concert of the season, for both audience and performers, happens just the way it should. Opening night, when the houselights go down and the curtain rises, is in fact a very different sort of landmark for each individual involved—and for some, just another day on the job.

What follows are conversations with a cluster of industry experts: the acoustician working on the The Isabel, the hall in the new Isabel Bader Centre for the Performing Arts at Queen’s University; the principal Toronto Symphony Orchestra librarian backstage at Roy Thomson Hall; and two individuals whose sets and surtitles respectively, help give opera in Toronto its visual presence. As each prepares in his own way for the onset of another season, they divulge the secrets of the job and reveal just how crucial that behind-the-scenes clockwork can be.

So, as you enjoy your musical firsts of the upcoming concert season, be sure to keep an eye (or an ear) out for the handiwork of some of these industry experts.

While you may not see them onstage under the spotlights, you’ll know just what, at that moment, they might be up to.

Matt Mahon, of Arup, running acoustic tests at the Isabel

12

JOE SOLWAY,Arup Acoustician.As an acoustician for engineering and design firm Arup, Joe Solway has taken on the role of acoustic consultant for the new addition to Queen’s University in Kingston – the 566-seat performance hall at the Isabel Bader Centre for Performing Arts.

WHEN IS THE BUILDING’S BIG REVEAL? The big gala opening [an invitation-only] is on September 20, and Queen’s has a student opening on September 13.

A lot of it is now done. We’ve been coming up to the site throughout the whole construction process, to check on all the different elements, and during the process we’ve been testing the room acoustically. We just had three days this week of testing the acoustics and the audio-visual design.

WHAT DO THOSE TYPES OF TESTS INVOLVE? For the room acoustics test that we do in the performance hall, we have a whole measurement kit. The main sound is a frequency sweep that we play through a loudspeaker and then we capture that using a special microphone called an ambisonic. It catches not only the level of sound but also the direction of where it’s

Joe Solway with colleague Matt Mahon

WHAT IS THE PROCESS FROM YOUR END TO GET READY FOR THAT OPENING?

coming from. It’s not only the level or the frequency balance, but also the spacial components of the sound that is a key part of the design, and a key part of what makes a room special. We also have a starting pistol that we shoot as well, and a static white noise that

IS YOUR JOB DONE NOW?

we play through the loudspeaker, to measure variations in level

Part of the analysis of the data

across the room.

that we just took involved measuring the room. We have

HOW DOES IT ALL START?

acoustical drapery that can be

The process really starts in design. We build a 3D acoustic

deployed at each level in the

computer model of the space, where we input all the acoustical

room to change the acoustics,

properties of the walls and the seats and the ceiling and can simu-

so the final step is to analyze

late in the model how it’s going to sound. We have a space that we

that data and to advise the

built in our office called the SoundLab; it’s a listening room where we can simulate

technical director on how

the acoustics of spaces that we’re designing. A key part of the process for The Isabel

different configurations can be

was to model the space we were designing to simulate the acoustics, and then with

deployed for different kinds of

Queen’s and the architects to listen to that design as we were designing it. The test-

performances.

ing was from the design but then continued into the construction process.

Even though the design is finished, the life of this

HOW WAS YOUR PLANNING FOR THE SPACE INFLUENCED BY THE TYPES OF EVENTS IT WILL HOST? The shape and the form of the

building is just starting – and

room came directly out of the pro-

change over time, so we want

how it actually gets used will

gramming meetings with Queen’s. From the outset of the project, we sat down with

to be there to advise Queen’s as

Queen’s faculty and defined a matrix of usage times. We said the hall would be pri-

those needs and uses change.

marily for chamber groups but still had to accommodate the symphony orchestra

I’ll be back at least for the gala

of the university, and everything from jazz to Brazilian samba to amplified sound

opening on the 20th and for the

use for film. From that, we sketched out what the basic shape and form needed to be

first professional concert on the

for those functions. The architects took those building blocks, if you will, and based

21st, and also to get feedback:

their design on those parameters. I think the reason why we’re so happy with the

on how the building is being

design is that Snøhetta are amazing at taking those design parameters and then ful-

used, and from performers’

ly integrating them into their architectural vision. Really, the acoustical properties

and audiences’ reactions to the

are totally embedded in the architectural design. That doesn’t always happen. You

space. To hear that feedback is

don’t always have such a harmony of architecture and acoustics, but I think here we

essential for closing the loop on

have a design where both are working together.

the design process.

ADAGIO COLUMN

GARY CORRIN, Toronto Symphony Orchestra Principal Librarian

HOW LONG IN ADVANCE DO YOU WORK ON ORGANIZING A CONCERT AND PUTTING IT TOGETHER? I like to make music available to musicians three working weeks before the first rehearsal. That’s just sort of a benchmark … For each concert I load anything

AT THE MOMENT THAT THE CONCERT IS STARTING, IS THERE ANY SENSE OF THE PRESSURE BEING OFF, OR ARE YOU ALREADY JUST THINKING OF ALL THE OTHER THINGS YOU HAVE ON THE GO? It’s really the first rehearsal, because that’s when everybody

necessary to play that concert in a folder, and that folder is available to musicians…

We probably do an average of two shows a week and I have an old

shows up and we’ve got to

set of shelves here that has five slots in it. And basically I just try

have all the parts and the right

to keep them filled. So to summarize it, whether you think of it

editions. So by the time the first

in weeks or not, musicians usually have music available to them

concert shows up, I guess I’m probably the most relaxed person in

about four concerts in advance.

the orchestra. My work is pretty much done by that time. I have some ceremonial tasks for the concert, like putting the conductor’s

I GUESS THAT MEANS, FOR YOU, A GREAT DEAL OF MULTITASKING INVOLVED.

score onstage, setting up the folders and cleaning them up, but

Right. For some concerts I know up to a year in

I’m the guy who by opening night is looking way past opening

advance what the program is going to be and I

night. I’m here and I’m doing stuff that people see, but really my

work on that all different ways. For instance, if

concern is three weeks to three months in the future. That’s what

largely it’s getting through the rehearsal that’s my stressful part.

we have a guest conductor that I see in March

I’m working on, during opening night. I will be sitting here lis-

and I know he’s coming back in February, by

tening to a monitor of the concert and enjoying that, and working

then I’ve already seen what his program is and I can ask him some very specific questions about that … so I tell people I’m working

probably on bowings, or something.

What I like to tell people is that there are 80 to 100 people on

anywhere from three minutes to three years in advance on things

stage and my job as a librarian is to make sure that their time in

in any given day.

rehearsal is spent effectively. That means rehearsing, and not figuring out issues in the printed music. If you back that up, any piece could have a problem that I may need to solve ahead of time.

SO IT REALLY IS A “WEARING MANY HATS AT ONCE” KIND OF THING. Sure. You know, here’s the deal: librarians in an orchestra or opera setting are responsible for anything to do with those printed pages that the musicians are looking at. Now, those printed pages dictate what’s going to go on onstage, because if it isn’t on the page, they don’t play it—hopefully! And so if there’s something wrong with those pages, there’s kind of a mess at the rehearsal. Theres also a lot of information that arises out of those pages, like how many horn players we need, how many trumpet players … that’s one of the first questions that everybody wants to know in their planning. So, many hats? It’s funny—I don’t do all this stuff, but I’m kind of in charge of recruiting people and alerting them, and then I facilitate their work back into mine, in preparing those folders for the stage.

15 GERARD GAUCI, Opera Atelier Set Designer

WHEN IS OPENING NIGHT FOR YOU? Opening night for Opera Atelier’s new production of Handel’s Alcina is October 23.

WHAT TYPE OF PROCESS IS IT FOR YOU TO GET READY FOR OPENING NIGHT OF A SHOW?

HOW LONG IN ADVANCE DO YOU BEGIN THAT KIND OF WORK? WHO DO YOU COLLABORATE WITH TO MAKE IT ALL POSSIBLE? The process I described starts

Preparations for a show begin

about 18 months before opening

long before opening night and

night. Aside from Marshall,

start with in-depth discussions

my most important collaborators are my executive director

with my artistic director Marshall Pynkoski. Armed with

Patricia Barretto, who supports the project and sets the budget, and my production

a recording, a libretto and a

manager Evelyn Campbell, who helps me with the practical aspects of the design,

sketchbook, we sit in my studio

engages the builders and craftspeople and then plans and oversees the installa-

surrounded by inspirational

tion and running of the show. Not to be forgotten are my lighting designer Bonnie

images culled from books, mag-

Beecher, and for the first time in the company’s history, we are excited to be work-

azines and the Internet and dis-

ing with filmmaker Ben Shirinian, who with Krystal Levy Pictures is producing the

cuss the storyline, the concepts

video projections that will make the magical transformations in Alcina come to life.

we want to explore and the overall look of the show. Soon

HOW DID YOU GET STARTED IN THIS LINE OF WORK?

afterwards I create a storyboard

My position in the theatre world is unusual in that I have worked with only one

illustrating the progression of

company for my entire career. I began working with Opera Atelier in 1985 after the

the opera from scene to scene;

co-artistic directors spotted an illustration I created as the cover image for an issue

then over the ensuing months,

of the CBC Radio Guide. They tracked me down and invited me to design some set

dozens of meetings and hun-

pieces for an upcoming production of Handel’s The Choice of Hercules performed

dreds of phone calls, our ideas

at the tiny theatre in the basement of the ROM. As the company grew I honed my

get refined and edited. The

skills, learned the art of stage design and 29 years later find myself designing this

sketches resolve into finished

massive new production of Handel’s Alcina.

renderings and scale models and these in turn are passed on to the painters, carpenters and prop makers who together realize the

WHAT’S THE MOST CHALLENGING PART OF THE JOB?

designs for the stage. Generally the sets can be built in four to six

Far and away the most challenging part of the job is mounting a show of operatic

months and once completed are transported from the shop to the

proportions in the vaudeville-scaled confines of our home stage, the beautiful

theatre, where in seven to nine very long days, carpenters, electri-

Elgin Theatre in downtown Toronto. It always works in the end but it really is like

cians and stage hands set up and rehearse the show.

piecing together an intricate jigsaw puzzle. I love working in this historic theatre but what wouldn’t I give for an extra ten feet upstage!

ADAGIO COLUMN

JOHN SHARPE, Canadian Opera Company Surtitles Operator

WHEN IS OPENING NIGHT FOR YOU PERSONALLY? There are three or four operators who work on the surtitles, and we’re assigned specific operas during the course of the year. I’m doing one opera this year – Die Walküre – but that’s not until the spring season.

HOW DOES IT ALL WORK FOR YOU? I’m calling the show – actually working on each of the performances. My involvement in terms of any individual show normally starts within the

16

last weeks of rehearsal. I actually go to the rehearsals with my score, which is marked with all the cues, just to see the layout of the show and the way the singers are interacting with each other. I get to see one of those rehearsals and I also go to two or three orchestra-cast rehearsals, which are in the Four Seasons Centre with full orchestra and costumes. Those rehearsals give me a chance to prepare in a live setting, because I’m actually calling the show as they’re performing.

SO THEN, THE PRESSURE IS REALLY ON FOR YOU WHEN YOU START TO DO THE LIVE RUNS?

ANY SHOW THAT WAS PARTICULARLY CHALLENGING? I would say the most strenuous one that I ever did

That’s right. A lot of people are under the

was when the COC did the complete Ring Cycle,

misconception that the surtitles that they see

and I had to do all four operas – each of them one

are computer-generated – and in truth, they

or two days apart. The endurance of knowing

are done through a computer, but it doesn’t

that every two days or so I was going to do an-

just happen automatically. Because it’s a live

other opera, five hours in length, was extremely

performance, we have to be aware of the timing,

tiring. I took a little time off from my regular job

and it changes from one performance to the next.

just so I could do that one!

A singer will perform in a slightly different way

Like you said, a lot of people don’t realize that it’s not a computer,

depending on how the tension of the evening

but a human running a computer program.

might be, for example. And in the case of a show

Yes – during a performance I’m there with the

that might have two casts, we have to be aware of

score, and it’s marked with cues in consultation

what the differences between the two casts are.

with the director. It’s a very collaborative thing:

Our ears are our most important tools in all of

creating the text and where it goes. Once the

this. And it really shows what the magic of a live

score gets to me, it’s fully marked and I know

performance is. It’s happening right there, and

where the cues are. I have a set of headphones

almost anything can happen.

with a mic, and next to me is an operator from the union who actually operates the computer

WHICH TRICKS DO YOU USE TO NAIL DOWN THE TIMING?

that projects the image. I’m just giving him the

I’m in a booth on Ring 3, so I can see the whole performance di-

cues – I like to say, I say “go” about 600 times in

rectly in front of me, and I have headphones on, hearing the music

a row! So if you ever peek into the booth, that’s

just a little bit closer than it would be in the house. I also have a

all you’d hear: my voice saying, “go, go, go”...but

monitor in front of me that is focussed on the conductor. I can see

that’s how it all works.

the conductor as he’s conducting and occasionally a conductor will give cues to the singer as to when to go next, particularly if

Sara Constant is social media editor at The WholeNote

its a complicated ensemble or something like that. That also helps

and studies music at U of T.

very much, so that I can watch. There are some times when the singing line is so exposed and there’s almost no musical cue – when the singer actually starts the music off – so I watch very carefully what the singer is doing and I can usually see the person beginning to breathe. But again, it’s completely live, so I have to be very, very careful of those kinds of things.

U of T Music Faculty. Photo by H.J. Seo

17

ADAGIO COLUMN

Music in Focus at the AKM Andrew Timar

In my last column I briefly introduced the new museum in town, one which is positioning itself to be a world music venue and curator: the Aga Khan Museum. Having opened its doors only in late September, its inaugural music festival featured the renowned Yo-Yo Ma and the Silk Road Ensemble, a group which has collaborated since 2000 with the Aga Khan Music Initiative in concerts elsewhere.

Music is one of the prime “focus areas” of the Aga Khan Development Network, the larger entity behind the museum: the proof is that five groups are being presented in November and four in December. But is the museum really positioned to “become both major cultural destination and player in very short order” as touted by James Adams of The Globe and Mail, or “a vital new addition to Toronto’s cultural landscape” as augured by David Dacks of the Music Gallery?

As I promised, I set out to take a closer look at the AKM and its music programming. I arranged an interview and tour with Amir Ali Alibhai, the AKM’s head of performing arts and chief architect of its curatorial vision. I made my trek to the stretch of Don Mills where the museum is sited, north of Eglinton Ave. and between Don Mills Rd. and the D.V.P., on a cool, rainy October weekday afternoon. To a downtowner it may seem “up there” on a mental

18

map, but on an actual map of Toronto, it is not far from the geographic centre of the city. Located on Wynford Dr., the museum is across the street from the notable modernist midcentury Raymond Moriyama-designed Japanese Canadian Cultural Centre where I’ve enjoyed many memorable cultural events, and only a few blocks north and east of the Ontario Science Centre.

Coming face to face for the first time with the imposing white stone-clad AKM building, the new museum on the block’s standards of architectural excellence are self-evident.

The 10,000 square-metre building, the design of prize-winning architect Fumihiko Maki, skillfully melds postmodern and Islamic design elements and aesthetics. The monolithic building itself is set in a formal garden within expansive grounds where multiple black infinity pools form a traditional char bagh, a Persian-style four-part garden. The pools evocatively reflected and reframed the rainy Don Mills sky as I walked up to the museum’s dramatic front entrance.

Amir Alibhai led me directly to the 336-seat auditorium, the primary venue for music performances. With teak floors and stage, graced with a high, multifaceted white dome, it’s one of the architectural focal points of the AKM. “It’s an ideal site to present an intimate and powerful experience for audiences,” he says, where they can look forward to “varied and innovative cultural programs throughout the year, including music, dance, theatre, book readings and films.” I haven’t had a chance to hear music

there yet but the empty space feels intimate and quiet, an acoustic sound-friendly space, underscored by the lack of air ducts in the hall, with ventilation coming from under the seats.

To ward off the early fall chill we sat down for the interview with invigorating cups of dark hot chocolate strengthened with a shot of espresso. The museum’s small café is right next to a square glassedin courtyard through which sunlight (and reputedly moonlight) filters through the beautiful Arabic-inflected mashrabiya patterns etched in the thick glass.

Alibhai has already vetted the courtyard as an alternative performance venue, though with five very hard surfaces it is undoubtedly a reverberant one. He related that a recent performance of Sufi whirling and its accompanying music “worked very well in the glass-walled courtyard, granting both an effective personal ritual space for the performers, as well as allowing the large audience to see the performance thorough the thick glass walls, if they so wished.”

Prior to moving to Toronto to take his AKM position Alibhai was a 40-year Vancouver resident with an extensive career in arts administration—and significant for readers of The WholeNote, a lifetime background in music. He has worked as an exhibited artist, a curator, educator and facilitator of visual and community-based arts for over 20 years. “I was part of the team that initially developed and ran the Roundhouse Community Arts & Recreation Centre” he said, referring to the innovative arts-centric Yaletown, Vancouver organization whose mission is to “celebrate diversity… of people, values, ideas and activities.” He has also developed a national perspective, having served on national arts boards such as the Canada Council for the Arts and the Canadian Conference of the Arts. He has clearly had plenty of opportunity during his career to consider the place of the performing arts in public-access spaces. “It may not be obvious to the core identity of the museum that it may also serve as a venue for a series of live concerts and dance performances. But I’m at the table at every curatorial meeting working to closely integrate my programming with planned exhibits,” he says.

The AKM is the first institution in North America “dedicated to the arts of Islamic civilizations.” It’s a goal clearly reflected in the exhibit halls. Visitors can see it in rare and exquisite editions of the Koran, in the sensuous paintings, illustrations, calligraphy, early scientific instruments, sumptuous silk clothing and carpets, as well as 21st-century artworks confronting and reinterpreting the traditions displayed in galleries closer to the entrance.

ADAGIO COLUMN Its stated Toronto mission as an oasis of diversity and dialogue

Concerts at the Aga Khan Museum: In an earlier interview

is, “to foster a greater understanding and appreciation of the con-

AKM educational consultant Patricia Bentley talked about how Is-

tribution that Islamic civilizations have made to world heritage…

lam has always responded to local traditions.” Alibhai’s program-

through education, research, and collaboration.”

ming choices to date put that vision into action. In November the

I ask where live music fits in. “In terms of [our] music programming the vision is to bring the highest calibre of traditional and

five acts over eight concerts demonstrate an even-handed admixture of Canadian, international and local talent, some embedded

contemporary performing artists from the broad diaspora of

in the global Islamic community, but also some only peripherally

Muslim cultures to audiences. Music is particularly well suited as

engaged with it.

a creative medium that inherently engages artists and audiences in cross-cultural understanding and dialogue.”

The series launches November 1 with the show “Memory and Presence of Rumi: Mystic Music of Iran.” Presented by an international group consisting of a quartet of Persian musicians and a dancer, it is co-led by the prominent kamancheh (bowed spiked lute) player and composer Saeed Farajpouri and the Vancouver tar (plucked long-necked lute) master Amir Koushkani. Siavash Kaveh on the frame drum daf, Araz Nayeb Pashayee on the goblet drum tombak and Farzad AJ dancing the whirling Sama round out

the ensemble. The concert’s theme is the poetry of Rumi, the great 13th century Sufi mystic. His works and ethos still resonate today across centuries and cultures.

November 8, the focus shifts to a local quartet of singers, but one with an international gaze—Nazar-i Turkwaz (My Turquoise Gaze)—a relatively new collective comprising Brenna MacCrimmon, Maryem Tollar, Sophia Grigoriadis and Jayne Brown. For over 30 years they have individually been collecting and performing traditional repertoire from various regions on or inland from the Mediterranean, in groups such as Maza Meze, Mraya, Doula and Altin Yildiz Orkestra, counting several JUNO nominations along the way. In a Facebook chat with MacCrimmon, in Turkey at the time, she confirmed that “the repertoire is a potpourri of Balkan, Greek, Turkish, [Middle Eastern] and beyond… with lots of harmony [in our singing].” I don’t want to wait for the album, but plan to enjoy the sweet harmonies live.

The established local group Autorickshaw mount the AKM auditorium stage on November 15. This award-winning genre-bending group is no stranger to these pages. I gave the group’s terrific new album The Humours of Autorickshaw a resoundingly enthusiastic review on July 8, 2014 in The WholeNote. The lineup this night consists of vocalist Suba Sankaran, Dylan Bell (bass/keyboards), Ben Riley (drums), John Gzowski (guitar) and Ed Hanley (tabla). This is the last chance for Toronto audiences to catch Autorickshaw before their trio configuration heads off to India and

Skipping to November 27 and 28, Toronto

Nepal on an unprecedented two-month subcon-

audiences get another chance to hear one of

tinent-wide tour of ten cities.

today’s stars of world music, DakhaBrakha. They are presented with the support of Small World Music. Founded on solid taproots of Ukrainian village songs (and dress), these Kyivbased performers add musical instruments and vocabularies of other cultures. Moreover they present their songs with the use of popular music microphone techniques, powerfully sung melodies and a theatrical performance art sensibility. It all makes for a striking show, the energy and attitude of which resonates with even those for whom their lyrics are a mystery.

21

Another performer with a growing international reputation is the Pakistani Sanam Marvi,

Shahrokh Yadegari, this “page-to-stage” work explores the trials of Prince Siavash as depicted

emerging as an outstanding singer of ghazal,

in the Persian epic Shah- Nameh (Book of Kings)

Pakistani folk songs and Sufi music. She gives

through storytelling, music and projected imag-

two concerts on November 29 and 30. Marvi,

es. Numerous manuscripts of this popular poem

a student of her father, Fakir Ghulam Rasool,

written by the Persian poet Ferdowsi between

devoted years of study to Sufi poetry and today

977 and 1010, and illustrated over centuries, are

is recognized as one of the leading singers in

on permanent rotational display at the museum.

that tradition from the Sindh. Whether singing

The cast of Siavash features Gordafarid as the

in Urdu, Sindhi or Saraiki, her aim is to “reach

naqal (narrator), Siamak Shajarian (vocalist) and

across generations and cultures” with her songs.

Keyavash Nourai (violin, cello, kamancheh). This

December 5 and 6 the Aga Khan Museum presents its first multimedia performance,

world premiere music theatre work neatly aims to bring centuries-old manuscripts alive on stage.

the world premiere of “Siavash: Stories from the Shah-Nameh.” Written and directed by

Andrew Timar is a musician and music writer who lives

composer and award-winning sound designer

and works in Toronto.

ADAGIO COLUMN

“Hopera” Raises the Operatic Bar? Mirella Amato

When I first launched “Hopera: an evening of local craft beer and song,” people assumed that this was an attempt on my part to elevate beer and make it seem more upscale by pairing it with an art form as grand as opera. This was not the case at all.

As a beer specialist, I don’t feel that this satiating, complex, effervescent beverage needs any kind of elevation—just a little more understanding. People who still think beer is just an easy-drinking vehicle to loutishness need to expand their horizons. If anything, opera could stand to be taken down a notch or two. Having made a career switch from opera singer to beer educator, it never ceases to amaze me how many parallels can be drawn between these two seemingly incongruous fields. Like beer, opera has developed a reputation that isn’t doing it any favours; among the uninitiated, many think of this art form as opulent, humourless and snobbish.

“Hopera” playfully defies these misconceptions by attempting to highlight the sheer enjoyment that can be found in both opera and beer. It consists of a series of operatic excerpts—arias, duets and ensembles—performed live by professional opera singers with piano accompaniment.

Each piece is enjoyed with a sample of beer chosen because its particular character—colour, aroma, flavour and mouthfeel – reflects the mood of the song. Insights are given on the music, beer sample and how the pairing was chosen, inviting a rethinking of both the excerpt and the beverage—all this in a casual pub setting.

22

Make no mistake, seeing an elaborate operatic production in a large house is a wonderful experience. Opera— from its earliest days as royal entertainment—has always been a lavish art form. It stimulates the senses visually with its sets, costumes and light design, and aurally with the orchestra and singers who have trained for years in order to produce a sound that can fill a hall. It also stimulates the brain, which has to keep track of both the action and the text. Beyond this, opera is so involved that its study will reveal endless additional historical, musical and linguistic nuances to those who take the time to learn about it.

Along the way though, perhaps because those who enjoy it like to study it and capture its subtleties, the appreciation of opera, and classical music in general, has also come to include a layer of solemnity. I’ve often observed that while opera patrons in North America will certainly laugh at a joke that is part of the libretto, few, if any, will allow themselves to giggle openly at absurd plot turns or irrational behaviour—both of which are rife

in the operatic repertoire. Somehow audiences

loosens things up, frequently resulting in a more

edition of “Hopera.” It was a performance of “The Barcarolle” from

have become so engrossed in contemplation that

vocally appreciative crowd. Beyond this, being in

The Tales of Hoffman—a light, lilting duet (complemented by a

the atmosphere is much closer to that of a mass

closer quarters with musicians allows a dialogue

Belgian-style wheat beer in which orange peel

than it is to that of a simple show.

to take place, giving the show a much warmer,

and coriander seeds came together in their own

and more personal feel.

delicate and fragrant duo.) Every person in the

Lately, though, a number of organizations have started to move opera and classical music

I was aware of all this when I created “Hopera”;

room froze; never in my seven-year career in

into a more casual setting. This is often an at-

I was equally excited to introduce beer fans to the

beer have I had to remind people to drink what

tempt to draw in a new audience and appeal to a

wonderful world of opera and show them that it’s

was in their hand! In that moment, I realized

younger crowd. It certainly is an effective tactic;

not all inscrutable serious song. What I hadn’t

that even the most experienced operagoers in the

the change in setting already makes the perfor-

anticipated was the response of the seasoned

crowd had not yet had the opportunity to hear

mance seem less highbrow. Presenting classical

opera fans in the group. I will never forget the

opera sung in such an intimate setting.

music and opera in licensed establishments also

crowd’s reaction to the very first song of the first

When you strip opera down to voice and piano, with no sets or costumes, all that’s left is words set to music. In this bare state, the raw emotion of the piece shines. Opera, after all, was written for entertainment. Those who have studied opera intently know how impactful the correct word-setting can be, conveying deep feeling that, when sung out loud, is profoundly—often overwhelmingly—moving. Presenting opera in its simplest form, along with a brief contextualization and explanation of the text, allows beginners to focus on the music without overwhelming their other senses.

The initially stunned reaction to “Hopera” quickly turned to enthusiasm. There was a little grumbling off the top from some of the more serious operagoers who found the ambient noise to be inappropriate, but after a sip or two the whole crowd relaxed into the show. Even seasoned

audience members reported being overwhelmed by the proximity – they could literally feel the operatic voices vibrating in their chest in certain passages. It was an intimate and emotional experience but most importantly, it was fun! Written testimonials from the crowd revealed that many had come in with some skepticism at the notion that “low brow” beer and “high class” opera could be paired successfully. At the end of the evening, no one felt that either had been elevated or brought down. They simply enjoyed. With both tasty local beer and vibrant live opera involved, how could they not?!

The third annual “Hopera” takes place September 17 and 18 at 7pm at Habits Gastropub, 928 College Street. See GTA Listings for details.

ADAGIO COLUMN

David Dacks and the Music Gallery Andrew Timar

What constitutes the musical mainstream, and what’s upstream of that? Who determines what fits into musical categories, into genre streams that guide musicians in their careers, presenters in their programming choices and listeners in their concertgoing? Which music is a legitimate representation of a lineage worth investigating, and what is a marginal, outsider expression?

The Music Gallery (I’m tagging it MG in this story) founded in 1976 by Peter Anson and Al Mattes of the free-improvising group CCMC—originally an acronym for Canadian Creative Music Collective—is a constantly morphing downtown music institution that has valiantly grappled for decades with these and other thorny questions to do with music presentation. During that time it has variously been a venue for rent, a producer and co-presenter, a cultural hub, a rehearsal space and concert home for numerous musicians and ensembles of multiple genre affiliations, an exhibition space for visual art, the home of a record label, and Musicworks magazine’s original incubator.

Had it been situated in Soho, NYC it might have been long ago widely recognized as a key downtown music institution. In Toronto, though terra incognita to most residents, it nevertheless remains a vital venue for edgy performers and adventurous music seekers alike.

THE MUSIC GALLERY IN THE 1970S

Before going further I should state my personal

postmodernist concert music composers like

interest: over the years I’ve been involved in

James Tenney, Udo Kasemets, Iannis Xenakis,

the MG in various capacities. During its earliest

John Cage, David Rosenboom, Pauline Oliveros

years, as an emerging musician, composer,

and dozens of others might lecture, rehearse or

ensemble leader and as editor of Musicworks, I often hung around

lead ensemble renditions of their works. Later

its first location, the loft-ish 30 St. Patrick St. just north of Queen

in the evening when all was dark and quiet, the

St. I hobnobbed and jammed—mostly on bassoon and piano at the

Glass Orchestra might light tea candles, and,

time—with local and visiting musicians I discovered there and

during the course of their generally gentle vitre-

grew to admire, among them American jazz trumpeter Don Cher-

ous music, break a few oversized brandy snifters,

ry and Dutch pianist and composer Misha Mengelberg. Toronto

their shards tinkling in the candlelight.

drummer Larry Dubin (1931-1978), to my mind the person who

Often young Toronto musicians toeing one

most clearly exemplified the foundational CCMC group aesthet-

musical edge or another made the MG the prov-

ic, was often in the house practising with whomever dropped in

ing ground for their early gigs. Until 1980 it even

during the day. For a while he had a sign on the exposed foam-cov-

had a record label, Music Gallery Editions run

ered wall on a piece of cardboard, its casual handwritten scrawl

by Marvin Green, which in just a few ambitious

belying the potency of its message. “No Tunes Allowed” it read, a

years released 33 LPs—an esoteric blend of the

message which still conveys a sense of the rigour of his aesthetic

experimental and vernacular. And each Tuesday

convictions, an intense iconoclastic artistic dedication.

night, regular as clockwork, CCMC the resident

From afternoon jam sessions with Larry I attended, I recall saxists

house band fearlessly explored free improvisa-

John Oswald and Nobuo Kubota, pianists Michael Snow and Casey

tion: music in which form evolved organically

Sokol, bassist Al Mattes and many others adding their voices. It

and process was king. There was one firm rule,

was a lively, generous, open-spirited free music scene.

however: all MG concerts were recorded. The

What was a typical couple of weeks of concerts like at the MG

audio tapes from the first two decades survive,

in the 1970s and 1980s? A bricoleur’s view would have audiences

archived at York University, where an impressive

listening to post-bop free jazz one night, an interspecies ensemble

digitization project has begun.

the next, followed on the weekend by a concert of open-form electroacoustic works accompanied by modern dance, or perhaps Carnatic music. The next week local and visiting modernist and

THE MUSIC GALLERY TODAY: DAVID DACKS, AD That was then. To delve deeper into what the MG is today, I approached David Dacks, its artistic director since January 2012. I met Dacks at the MG booth at the INTERsection “New Music Marathon and Musicircus” staged at Yonge-Dundas Square on September 6. Curious passersby one after another found their way to the Music Gallery table on the south side of the square where Dacks (the webzine Foxy Digitalis called

25

him “downright affable”) and MG executive director Monica Pearce genially guided potential audiences though their inquiries about the MG.

ming, packaging and even promoting concerts. They reflected

Seeking more background on his curatorial ap-

prevailing commercial market models, yet gave programmers

proach, I phoned Dacks at his office on Septem-

and single-genre curators a clear and useful framework within

ber 12. The more we spoke, the more apparent

which to present concerts at the MG over the last decade.

was his intimate familiarity with a wide swath of transnational

By comparison, Dacks’ background as a club DJ and in radio

musical geography. I was aware of his music journalism energiz-

(he began at CIUT in 1986) gave him an outlook which encourages

ing magazines such as Exclaim! and Musicworks, but not so aware

“synthesis, multiple affiliations and opportunities for [genre]

of his music career pre-MG. “I have over two decades of experience

fluidity in music. My work in DJ culture is rooted in [creating]

as a DJ, music programmer, broadcaster and journalist,” said

interesting music mixes and Jamaican dub.”

Dacks. “In 2011 I served on the grand jury for the Polaris Music

Dacks’ keystone MG fall concert-and-critical-conversation se-

Prize and for ten years hosted ‘The Abstract Index,’ a community

ries is titled “X Avant.” Now in its ninth season, there’s plenty of op-

forum for new ideas in music on CIUT FM.”

portunity to explore such genre fluidity, and his theme “Transcul-

Asked about today’s MG audience, he says that they are generally “curious about music and the cultures that make [it].

They appreciate musical virtuosity, whether it be in the form of

turalism: Moving Beyond Multiculturalism” underscores that fact.

“But what does that mean exactly?” I ask. “At its heart,” Dacks says, “it is a challenge to expectations about culturally defined music.”

well-textured noise, a performance by a [West African] griot, or

Dacks goes on to talk about a pivotal 2004 WOMEX award ac-

[embracing] a sacred, or experimental” approach. Dacks sees a

ceptance speech by Marc Hollander, who in Dacks’ words, aimed

healthy “increase in the MG’s audience, an upswing, over the last

to “get away from definitions which were starkly dualistic.” The

few years… and there’s potential for further growth as subway

founder of the boundary-breaking and successful independent

connections to York University and further afield are completed.”

Belgian label Crammed Discs, Hollander used the metaphor of a

How does he define his curatorial aims? “I believe in music

“meadow, not ghetto” to illustrate his label’s “pathologically eclec-

programming which possesses multiple points of interest, and is

tic” music mix. “Instead of multiculturalism (where each group

not necessarily confrontational, but rather fosters a communi-

retreats in its little enclosure),” Hollander said, “let’s have more

ty-building environment.”

inter- or transculturalism… more mixtures.”

How does his approach differ from that of his predecessor, Jon-

Dacks’ X Avant 2014 theme builds on the MG’s (and Toronto’s)

athan Bunce, who put his distinctive brand on the MG from 2002

reputation since the 1970s as a seedbed for such cultural multiplic-

to 2011? “Jonny had different musical tastes [from mine],” Dacks

ity and emerging hybridity. It also emphasizes another over-arch-

says. “They emerged organically from his punk roots,” roots

ing MG goal—to ensure that its concerts are affordable. “We made

which nurtured Bunce’s rebellious instincts. “Jonny proposed

the X Avant festival pass only $40 for five shows, wanting to

pop music as a legitimate form of artistic expression, as well as

ensure a low barrier to entry,” a chuffed Dacks points out.

establishing such music streams at the MG as pop, jazz, world, experimental,” all categories useful in fundraising, program-

ADAGIO COLUMN

LOOKING AHEAD What’s in store for 2015/16, the MG’s 40th anniversary season?

Well, one new direction will be to “eliminate music genre streams.

We feel that this reflects how people consume music today,” said Dacks, echoing the venue’s response to the general trend of “fewer CDs, but more YouTube and streaming audio being consumed.”

Perhaps there’s also an echo here of his DJ background, in which the immense database comprised of all recorded musics over the last 125 years—the field or meadow, if you wish—can theoretically be re-heard, sampled, sequenced, superimposed and mechanically and/or electronically altered in live performance for an audience.

Is the MG “upstream” from “the mainstream?” Perhaps it doesn’t matter much in the end. Yet I can’t help wondering, two generations on, if the incipient de-genrefication of its music programming as articulated by its present AD is not so much ahead of its time as in some ways a return to, or at least a reverberation of, the Music Gallery’s foundational ethos.

Andrew Timar is a Toronto musician and music writer.

26

Macmillan Theatre, U of T. Photo by H.J. Seo

VIVACE FE ATU RE S

COC’s Johannes Debus and Alexander Neef Paula Citron

28

Their birthdays are a month apart. They have just turned 40. They are both German, but they never knew each other in their home country. They also just happen to be the leading lights behind the Canadian Opera Company.

General director Alexander Neef was appointed in 2008, and music director Johannes Debus the following year. Together they represent the wunderkind generation who are the new movers and shakers in the arts.

We three met in Neef’s office for a wide-ranging conversation about the COC in particular, the arts in general, and, of course, living in Toronto. Debus came across as an idealist, Neef as a realist.

Johannes Debus and Alexander Neef in Toronto, Canada

29

VIVACE FE ATU RE S

ALEXANDER, HOW DID YOU END UP AT THE COC? Neef: I didn’t apply for the position. I was first approached by the search committee. There were four days of interviews. It was an

HOW DID YOU TWO MEET? Debus: After Richard Bradshaw died suddenly, I was one of the conductors brought in to replace him. It was October, 2008, at a rehearsal for Prokofiev’s War and Peace at the

important decision for me. Running a company would allow me to

30

THE ARTS

take a major career step out of

Four Seasons Centre.

artistic administration, but it

Neef: We had to find a music director, but we were

had to be the right company. At

going to spend two or three seasons inviting

the same time as the COC came

people to conduct. I was sitting at the War and

calling, I was offered a “B” com-

Peace rehearsal and I felt the strong connection

pany in Germany, but I knew I

between Johannes and the orchestra. His con-

wouldn’t be able to attract the

ducting debut got rave reviews. I thought, why

same quality of artists as the

put him on a list and wait? He might move on. I’m

COC. It was an easy decision

a decisive person. We met for a brief lunch and

to say no, even if the German

I asked him, “How do you feel about becoming

company had a bigger budget.

music director?” The interesting thing is, no one

The COC is a big international

thought I was crazy because Johannes had made

company with high standards.

such a great impression.

It is also a complete package be-

Debus: I was shocked, but in a positive way. It

cause it has its own house. Top

was something that I had never imagined. Con-

artists like Susan Graham and

ducting War and Peace was the best time of my

Sondra Radvanofsky want to

life. The whole thing was like a fairytale. I hav-

come to a quality environment.

en’t regretted coming to the COC for one second.

ARE

Neef: We haven’t had our epic fight yet.

HOW DOES YOUR RELATIONSHIP WORK? Neef: It’s an inspiring relationship. We don’t play

ESSENTIAL

games. We have no factions, because neither of us is a politician. When we have to talk about

FOR HOLDING SOCIETY TOGETHER.

things, we do. We never let things go.

THEY MAKE LIFE

Debus: Alexander is a general director with passion and knowledge. He has good taste and

INTERESTING.

a strong eye. He’s willing to take certain risks and avoid falling into the trap of routine. I’m

THE ARTS ARE

involved in the decision-making about putting together a production team—choosing artists

NOT A LUXURY GOOD.

who have something to say about an opera and the composer. They have to have an affinity for the piece. I’m also learning so much from Alexander about how the art form works.

We have a strong team.

ALEXANDER, WORKING AT THE COC MUST HAVE BEEN A BIG CHANGE FROM THE PARIS OPERA. Neef: The Paris Opera puts on around 20 operas a year. Five could be happening at the same time. You tend to go where there are problems and stay away when things are going well. No conflict means no reason to go. In Paris you never drop in on rehearsals for pleasure. At the COC, I can take personal care of all the operas, attend all the rehearsals, go to concept meetings and spend time with Johannes. I can have a direct communication with what’s happening on stage, and keep a close connection with everything else. It’s an enjoyable experience. I’m also here in the off-season, overseeing administrative work like preparing budgets, and doing social stuff in the community.

WHAT’S THE COC LIKE AS A CORPORATION? Neef: Opera is unbelievably expensive. There are so many people to pay. It’s a big challenge to keep the machine going. Luckily the administrative staff believes in giving the best for the company. It’s like a code of honour. Given the iffy funding we have to face, no one works here for the money. The commitment the staff gives to the COC is extraordinary.

Debus: Even the security guards are committed.

There is a family spirit here that is very special.

JOHANNES, WHAT’S IT LIKE WORKING WITH THE COC ORCHESTRA? Debus: Some European orchestras don’t like to do homework, so you first have to be a bad cop. At the COC, the musicians have a high work ethic. They do prepare at home because they want to perform well, to present themselves in the best way possible. They also love to play opera, and are always focused, which is the best possible music-making, no matter who the conductor or composer. It’s a rare quality. It’s also a form of generosity. They make me a better conductor.

They are sweethearts.

ANOTHER QUESTION FOR YOU JOHANNES. HOW DO YOU DECIDE WHICH OPERAS YOU CONDUCT? Debus: I have a contract to conduct three productions a year.

I like the idea of having guest conductors because it’s good for the orchestra to get inspired by others. When I’m not conducting, I can sit in the audience and observe—see what’s working, and what needs work.

HOW DO YOU BOTH SEE THE STATE OF THE ARTS IN GENERAL?

Debus: It’s true that many more people are interested in hockey, but we have to find a way to influence them. The arts are essential for holding society together. They make life interesting. The arts are not a luxury good. They are an essential experience. We should be thinking about what our art form can offer in the future.

THEY ARE AN ESSENTIAL EXPERIENCE. WE SHOULD BE THINKING ABOUT WHAT OUR ART FORM CAN OFFER IN THE FUTURE.

Neef: European countries have a cultural identity. The arts are official policy. Here in Canada, we should be building an identity that is both national and cultural. But there has been huge progress.

Remember, the COC has just 65 years of history, versus 400 years for some companies in Europe. The arts impact on the community, and we have to do a better job of explaining what we do. I know and love the arts, but many people take the arts for granted. That’s our challenge—to keep the momentum going. We’re still building something here.

VIVACE FE ATU RE S

AND THE FINANCIAL HEALTH OF THE COMPANY? Neef: Nobody has come through the recession unscathed. Our subscriptions have dropped from 75 percent to closer to 70, but it is still the highest in North America. Subscriptions used to be 30 percent of the budget 20 years ago, now they are 16. A board member helped us do market research and we found that if a person subscribes

32

for three years, they stay forever. That means we have to do more grooming of the one-and two-year subscribers to make them stay.

Their renewal rate is around 50 percent. We have a solid young audience under 30, because they can buy discounted tickets, but after 30, when the tickets get more expensive, they stop coming.

People do tend to return in their 40s and we have to encourage that. The Four Seasons Centre is now eight years old, and lower subscriptions and ticket sales probably indicate that the honeymoon with the new house is over. That means we have to rely more on philanthropy. There has been a cultural renaissance in Toronto that is producing big donors.

WHAT ABOUT THE HD PERFORMANCES IN MOVIE THEATRES? Debus: Opera is the greatest art form, but there is a price tag. People ask themselves why should I go to the opera and pay high prices if I can see it on the internet or at the cinema— but it’s a two-dimensional experience. Live opera in the theatre is three-dimensional. Opera needs to be seen in an opera house because of the magnified emotions. Live performance is how the art form was born—as a religious ritual in ancient Greece. Opera is a communal experience.

WHAT’S OPERA LIKE AS A CAREER FOR EMERGING ARTISTS IN CANADA? Neef: It’s a big issue. There is talent but no employment. There are only a handful of companies. It’s also more difficult to go to the States now because companies are closing down. We should be nurturing smaller companies to provide performing opportunities.

HOW ARE YOU FINDING TORONTO? Debus: It is not a shock coming here at all. Afterall, Toronto is a cosmopolitan city.

Neef: It’s not a shock because the German mentality and Canadian mentality are close. There is a seriousness. We’re both a little bit reserved. From an economic point of view, in both Germany and Canada, you don’t spend money you don’t have. And the little things mean a lot. People call me to take me shopping. They offer me their cars. A big shock would be moving to Italy, for example .

Debus: People are kind and I’m well-treated. There’s an honesty here. You can connect to people because they make it easy. They open up. It’s a pleasant life. It feels like home.

Neef: Maybe we haven’t been here long enough for the bad stuff to hit.

ARE YOU ABLE TO SENSE A CANADIAN CHARACTER? Debus: I see an inferiority com-

YOU CAN CONNECT TO PEOPLE BECAUSE THEY MAKE IT EASY.

take pleasure in that.

Neef: It’s interesting that some Torontonians don’t see their own city as a world player. People ask me when I’m moving on.

IT’S A PLEASANT LIFE.

Do I have my eye on New York?

On the Met? People should be

IT FEELS LIKE HOME.

is a failing. There is enormous potential here. People should

THEY OPEN UP.

plex. For me as an artist, that

building up the possibilities of the city, harnessing the energy.

CAN WE TALK ABOUT THE 2014-2015 SEASON? WHY IS IT DOWN TO SIX PRODUCTIONS FROM SEVEN? Neef: Since moving into the new opera house, we’ve done three productions in the spring, but our time is limited by the National Ballet’s dates. We are now reallocating our resources.

Three spring productions curtailed our repertoire options. We couldn’t program any big operas like Walküre, for example. Also, some subscribers didn’t like having to give up three dates in May when they wanted to be at the cottage. Dropping one opera gives us room to create a season we can be happy with. The budget will be close to what it was with seven operas, so the change isn’t due to financial considerations. When the renewal of the agreement with the Ballet comes up, we have a list of things to talk about to make the dates better for everyone.

FOR ME, THE BARBER OF SEVILLE, DON GIOVANNI AND MADAMA BUTTERFLY ON THE SAME SEASON IS BEING POPULIST. MY PREFERENCE IS FOR THE NEW AND THE DIFFERENT. Debus: As for Barber, we haven’t done a pure comedy since La cenerentola in 2011—one where nobody dies, where parents can bring their kids. The Don Giovanni by director Dmitri Tcherniakov is very different than any production that you’ve seen before. It cuts deeply to the core of the piece. Even warhorses can offer something unusual. Both are new productions. Butterfly is a blockbuster—a great cast that features soprano Patricia Racette. People will come out for the voices. There are, of course, financial considerations behind programming Butterfly, but we do have to sell tickets.

Neef: We’ve pushed the rep in the last few seasons, so this year we’re giving the unfamiliar a break to establish balance. We still have to fill 2,000 seats every night.

Programming familiar titles services a wider public, but you can make them interesting by offering new productions or big names.

We have a great house and it’s a very satisfying experience to see a production at the Four Seasons. I’m happy about both the six operas, and the encouraging subscriptions sales.

VIVACE FE ATU RE S

JOHANNES DEBUS / PRE-COC WHERE WERE YOU BORN, AND WAS MUSIC ALWAYS PART OF YOUR LIFE? I was born in Speyer, a city in southwest Germany. I learned to play the recorder in kindergarten, and my teacher told my mother that I seemed to have a passion for music. I joined the cathedral choir, and the choir director was a marvellous music-maker.

WAS IT ALWAYS GOING TO BE A CAREER IN MUSIC? I actually had two plans. If I didn’t get into a conservatory, I was going to go to university and study German and Latin.

BUT YOU DID GET INTO THE HAMBURG CONSERVATORY WHERE YOU STUDIED CONDUCTING. WHERE DID THAT INTEREST COME FROM? For me, the music-maker was the conductor who stood out in front. I wanted to be the music-maker. I studied old videos of conductors and then I’d conduct in front of the stereo. I was very serious about church music and choral conducting.

SO HOW DID YOU DEVELOP AN INTEREST IN OPERA?

Opera, at first, seemed very far away. I though it was artificial and superficial, until a teacher at the conservatory had me prepare La traviata. I started to play through it and I was hooked. The variety of the opera repertoire is enormous. A well-made masterpiece has so many riches to reveal.

After I graduated, I spent ten years at the Frankfurt Opera, starting as a pianist, then coach, then assistant conductor, and finally, resident conductor. My freelance career started after Frankfurt.

ALEXANDER NEEF / PRE-COC WHAT’S YOUR BACKGROUND? I was born in a small village called Rosswälden, just outside Stuttgart. I come from a simple working class background. Languages were easy for me, and I thought I would become a Latin teacher. I have an M.A. in Latin and modern history.

SO WHERE DID OPERA FIT IN? I got hooked on opera when I was eight or nine by listening to the classical music station on the radio. When I was older, I’d go to the opera three or four times a week. At the University of Tübingen, I was dramaturge for a student opera company. I did research, wrote program notes and attended casting meetings. I was able to consult piano scores because I can read music. I started studying piano when I was nine.

HOW DID YOU GET TO THE PARIS OPERA? My friends in university were musicologists. They went to Berlin to start an academy for music theatre and I went to visit them. They invited lecturers, and Gerard Mortier, head of the Salzburg Festival, came. That’s where I met him. He really connected to the group. I didn’t become a teacher because I became an intern artistic administrator at the Salzburg Festival for two years. After that I joined the artistic administration team at the RuhrTriennale, a three-year multidisciplinary festival in Germany’s Ruhr region. When Mortier took over the Paris Opera in 2004, he brought me in as director of casting.

Paula Citron is a Toronto-based journalist. Her areas of special interest are dance, theatre, opera and arts commentary.

Royal Conservatory, Toronto. Photo by H.J. Seo

35

VIVACE FE ATU RE S

Mervon Mehta’s Royal Mandate Paula Citron

36

Koerner Hall is celebrating its fifth anniversary this season. During these years, the beautiful recital hall has become an integral part of Toronto’s cultural life. The man who oversaw the launch of the hall, and who is responsible for its programming, is Mervon Mehta, the Royal Conservatory’s executive director of performing arts.

Mehta, 53, comes from music royalty. He’s the son of famed conductor Zubin Mehta and soprano/voice teacher Carmen Lasky Mehta. Grandfather/conductor/violinist Mehli Mehta was the founder of the Bombay Symphony Orchestra, uncle Zarin Mehta was executive director of the Montreal Symphony, Ravinia Festival and the New York Philharmonic, while cousin Bejun Mehta is an internationally acclaimed countertenor. There are also many Mehta cousins scattered around the world who are engaged in music activity of some sort. Mervon Mehta himself is a man of many talents, first as an actor and later as an arts administrator.

Mehta sat down with Paula Citron for a wide-ranging and candid interview that lasted for over two hours. The following Q&A reflects the who, what and where of Mervon Mehta.

Mervon Mehta, executive director of performing arts at the Royal Conservatory.

VIVACE FE ATU RE S

YOU CERTAINLY HAD A PERIPATETIC EARLY LIFE THAT INCLUDED VIENNA, LIVERPOOL, SASKATOON AND PHILADELPHIA, BEFORE FINALLY SETTLING IN MONTREAL WHERE YOU GREW UP. WHY ALL THE TRAVELLING? My parents met as music students at Vienna’s Hochschule. We left when I was six months old. My dad was appointed assistant conductor of the Royal Liverpool Philharmonic after winning an international conducting competition there. Because my parents had no job prospects and no money when that appointment ended, we went to live with my mother’s parents in Saskatoon.

When it was clear that Saskatoon wasn’t going to jumpstart a career, we moved to Philadelphia to be with my father’s parents. We slept on their couch. My grandfather was a member of the Curtis String Quartet and taught at the University of the Arts. My dad got a lucky break when he was called to replace a conductor at the Montreal Symphony, which led directly to his becoming the music director of the MSO. Maybe the board thought that an Indian conductor was exotic and sexy.

YOUR UNCLE ZARIN, ZUBIN’S BROTHER, IS ALSO YOUR STEPFATHER.

After my parents divorced, my mother married Zarin. It was like Hamlet, only no one got killed. I adored my uncle so it didn’t feel strange when he moved in. I have one full sister and two half-siblings.

WHAT WAS IT LIKE GROWING UP IN A MUSICAL FAMILY?

My family is in the classical music business, so for me, normal was going to a lot of concerts, and being exposed to many different genres of music.

My mother taught her students in the house, so I was surrounded by music, but I never thought my life was special.

AND YET, WHEN IT CAME TO A CAREER, YOU AVOIDED MUSIC.

I did take violin and piano lessons, but I had no musical talent. I went in a different direction by engaging in

SO THAT TOOK YOU TO NEW YORK, AND SANFORD MEISNER AND THE NEIGHBORHOOD PLAYHOUSE.

sports. I played hockey, soccer and tennis. I went to Colgate University in upstate New York

drama, although I was studying

HIS TRAINING WAS BASED ON CONSTANTIN STANISLAVSKI. IS THAT WHAT ATTRACTED YOU?

Russian and political science. I

I liked his organic way of teaching. Like doing scales in music, his

did everything relating to the-

basic training was grass roots, honing in on the body, mind and

atre—acting, directing, writing

instincts. It was all about theatre and acting. He was terrifying,

and producing. I introduced the

always shouting at us that we had no idea about life, which was

drama department to the plays

true. I studied with him for two years.

to get away from Montreal.

That’s where I fell in love with

38

of Michel Tremblay. It was my Colgate theatre prof who said I should go to theatre school.

HOW DID YOUR CAREER AS AN ACTOR TAKE FORM?

I spent six years in New York, doing soap operas, Off-Broadway and summer stock.

I was a singing waiter for three years, which helped pay my way. I came to Toronto in 1985, because I had some high school friends here, and I was looking for a new experience. I got an agent, which led to two glorious years at the Stratford Festival. When I came back to Toronto, I couldn’t get any work because of the belief that once you did Stratford, you couldn’t do TV or stage. So I looked to the States and went to Chicago. There was a lot of acting work, but it paid nothing.

IT WAS ALL ABOUT THEATRE AND ACTING. HE WAS TERRIFYING, ALWAYS SHOUTING AT US THAT WE HAD NO IDEA ABOUT LIFE, WHICH WAS TRUE. I STUDIED WITH HIM FOR TWO YEARS.

AND CHICAGO LED TO RAVINIA WHICH LED TO PHILADELPHIA’S KIMMEL CENTER. My uncle Zarin had left the MSO to become the executive director of the Ravinia Festival. He asked me to babysit the pop concerts. It was supposed to be a temporary position, but then I was asked to program the pop series. I had produced concerts at Stratford and I knew my way around an IATSE contract. I was an expert in nothing, but was knowledgeable about lots of things relating to performance.

Eventually I became director of programming, and then director of production. That’s where I got experience programming classical, jazz, world music, country, pop and music

AND THEN THE ROYAL CONSERVATORY HEADHUNTERS CAME CALLING.

theatre artists. I made the move

I wasn’t interested in a school at all. I had hated

to the Kimmel Center for the

music school when I was there, but because my

Performing Arts in 2002 when I

mother had graduated from the RCM, I gave her a

was offered the position of first

call. I also contacted Janice Price who was head of

vice-president of programming

the Luminato Festival. She had been CEO of the

and education. I really opened

Kimmel Center. In fact, I was her first hire. Both

up the programming to all

of them told me the RCM deserved looking at. It

kinds of diverse artists and

was Janice who introduced me to Peter Simon,

musical genres.

the RCM’s president.

YOU HAD MARRIED CAREY SULEIMAN WHO WAS IN MARKETING AT RAVINIA. HOW DID THESE MOVES AFFECT HER CAREER? She was able to get marketing jobs in every city.

She’s currently vice-president of marketing and communications for the Toronto Symphony.

I’M CURIOUS ABOUT YOUR SON’S NAME, ZED. Because there was Zubin and Zarin, we were looking for a name that began with “Z.” We finally decided, why not Zed? Other names are alphabet letters.

VIVACE FE ATU RE S

DO YOU HAVE AN OVERRIDING VISION FOR YOUR ROLE AT THE RCM?

Before I got here, Peter Simon and the board had envisioned that they were building a palace for music—that they were going to create a great musical dialogue with the audience. That is the mandate I inherited, and I absolutely believe in it. They certainly had their priorities straight by concentrating on the acoustics.

Midori told me that she loves Koerner Hall because you can hear everything. By the same token, she hates Koerner Hall because you can hear everything.

WHY DO YOU THINK THAT KOERNER HALL WAS ABLE TO ESTABLISH ITSELF AS A GO-TO For starters, there were fabulous reviews about the acoustics. Also, PLACE SO artists’ anecdotes and word-of-mouth to agents. For example, QUICKLY? Yo-Yo Ma opened our second season. He had heard about the hall from Midori because they have the same agent. I think we also got

SO LET’S the reputation for offering a different kind of experience.

TALK ABOUT PROGRAMMING AT THE RCM IN GENERAL, AND KOERNER HALL IN PARTICULAR. Programming was always going to be broad-based and of a high quality. That’s what attracted me. We are, however, fairly limited in what we can do because there is no wing space, for example. We can’t do rock concerts because we don’t have the proper sound system. Then there’s logistics and politics. Some top tier artists just don’t want to come to North America. It’s also important to program a significant number of Canadians. We don’t repeat people in consecutive seasons, but there are exceptions. Gidon Kremer cut his fee in half so he could do a warm-up here for his Carnegie Hall concert.

I also look for themes. This season we’re presenting all ten Beethoven violin sonatas. There’s an Italian series featuring baroque, folk, jazz, pop and opera. The 21st century music festival features over 17 premieres. The jazz series is celebrating the musical legacies of Dinah Washington and Sarah Vaughan, both of whom would be turning 90 this year. We did Oscar Peterson a couple of years ago. It’s more fun to do a concentration. I’m actually open to

40

everything. We keep on experimenting—throw something at the wall and see what sticks. In this game, you can’t get complacent.

HAVE YOU HAD PROGRAMMING THAT WAS NOT SUCCESSFUL? The year we featured a baroque series, it didn’t sell. It was a tough lesson. We discovered that the Tafelmusik audience is loyal, and that they won’t go elsewhere. We lost money on every single concert. Also, the vocal series can’t attract an audience, or a sponsor. There doesn’t seem to be star power in vocal except for rare cases. Ian Bostridge sold just 450 seats at Koerner Hall. It was embarrassing.

We thought it would work because he had sold 1,000 seats at Roy Thomson Hall.

András Schiff is one of our biggest sellers for a piano recital, but when he came with a singer, it was half a house. Jazz great Chick Corea is going to attract the same crowd whether he’s a solo, or with a band, yet the opera crowd doesn’t seem to come to recitals. We can’t afford to lose $20,000 on the vocal series. I do have to exercise fiscal responsibility. It is our biggest weakness, but I’m not giving up on it. We’ve moved down to three concerts from four this season. We’re also kind of going at it sideways, by presenting non-traditional recitals, like the Natalie Dessay concert featuring the music of Michel Legrand.

HAVE YOU SHIFTED THE EMPHASIS IN PROGRAMMING OVER THE YEARS? I SEE THAT THE NUMBER OF CONCERTS IS DOWN FROM A HIGH OF 87 IN 2011/12, TO THIS COMING SEASON’S LOW OF 71.

There’s no fixed number of concerts. It depends on who is available. For example, last year there were no African musicians, because no big names were touring, while this year there are four, because they are all coming to North America.

I also only book things that I think will do well, but balance is the key. Admittedly, 87 different concerts just put too many tickets out there. The ideal number is between 75 and 80.

There’s been no appreciable shift in programming. The double mission is still the same given our location—performance and education. Generally speaking, the split is 30% to 40% classical, 20% jazz, with the rest being world music and pop. The faculty concerts are at Mazzoleni Concert Hall, so programming

I THINK THE GENERAL PUBLIC

for that venue is skewed toward classical. The

SEES US AS A CLASSICAL VENUE SO PART OF THE CHALLENGE IS BRANDING—LETTING AUDIENCES

majority of the concert rentals is also classical, like the Mendelssohn Choir. I think the general public sees us as a classical venue so part of the challenge is branding—letting audiences see that there are other types of concerts going on here.

WHAT’S THE AUDIENCE PROFILE?

SEE THAT THERE ARE

Seventy-five per cent is from the GTA, although we also get people from London, Ottawa,

OTHER

Burlington and Oakville. Some come from the U.S. We did get grants to advertise out of town,

TYPES

specifically in Buffalo and Montreal.

OF

HOW ARE YOU MARKETING THE HALL TO BUILD AUDIENCES? We have arrangements with local hotels—the Park Hyatt and InterContinental—for

CONCERTS

packages that include hotel room, dinner and a concert ticket, or just dinner and a concert. We created the Francophone series that brought Montreal artists to To-

GOING

ronto. We partnered with Alliance Française in the Chansongs series that featured singer/songwriters, one Anglophone, one Francophone, in an informal evening of

ON

music and stories in the intimate Conservatory Theatre.

We can also pack Koerner Hall by presenting ethnic artists, like

HERE.

Batuko Tabanka from Cape Verde, but we have to find the right partners who know their communities, and the right convenience stores to post concert flyers. This year we’re partnering with Hot

Mehta at Koerner Hall

Docs on an experiment featuring music documentaries that relate to our season, like Pianomania, about a virtuoso Viennese piano tuner, and Jazz on a Summer’s Day, about the 1958 Newport Jazz Festival. I’m hosting the chats with special guests. We’re also toying with a family series for Saturday afternoons.

YOU’VE ALSO MADE OUTREACH TO ARTISTS FROM OTHER ORGANIZATIONS IN THE CITY. Peter Oundjian had already conducted the Royal Conservatory Orchestra before Koerner Hall was built, but I brought in the COC’s Johannes Debus, along with young Canadian conductors like Julian Kuerti and Jean-Philippe Tremblay.

VIVACE FE ATU RE S

IS THERE A RAPPROCHEMENT WITH OTHER SERIES IN THE CITY? IS THERE A PROBLEM ABOUT STEALING AUDIENCES? THE DONATION POOL IS ALSO SMALL. There’s a gentleman’s agreement between us and Richmond Hill, Brampton, Oakville and Burlington. There is not a big enough audience to sustain performances at all five venues. An artist can do two, but not all five. We talk to each other all the time because we have to be careful. We also work with the TSO, to make sure an orchestral appearance and a recital are spread out. Needless to say, we don’t have bidding wars with Live Nation over rock groups.

WHAT’S YOUR BUDGET? We don’t really have a budget. My priority is to break even and pay our overhead. We bring in whom we can under these conditions.

Along with government support, our revenue from ticket sales and rentals is between $1.5 and $2.5 million. It’s a $5 million department overall. The city didn’t give a dime to build Koerner Hall, but it seems that mayor Rob Ford has turned his head around and now sees that culture means economics and growth.

The Ontario Arts Council gives money to the Glenn Gould School and we get Canadian Heritage money for concerts. We don’t get any Canada Council grants, but the performance division is only five years old and we have to pay our dues. It’s part of the game. We also get revenue from radio broadcasts, but that is down.

The CBC taped ten concerts the first season, and just two last year.

Also, advertisement costs just keep going up, so somewhere down the line, do we stop doing print, and opt only for social media?

I’M CURIOUS ABOUT WHAT YOU MEAN BY RENTALS? ARE YOU JUST REFERRING TO OTHER PERFORMANCE GROUPS RENTING THE SPACE? It means a wide range of renters. In fact, without rentals, we couldn’t survive. We play host to weddings, corporate AGMs, product launches, TIFF parties, etc. We make more money on a wedding than we do on a concert.

AND MY FINAL QUESTION. HOW HAVE YOU ADJUSTED TO LIFE IN TORONTO? It’s a pretty extraordinary city to live in. When people ask me “Why Toronto?” I counter with, “Do you know what you have here?”

Paula Citron is a Toronto-based arts journalist. Her areas of special interest are dance, theatre, opera and arts commentary.

U of T Music Facility. Photo by H.J. Seo

43

VIVACE FE ATU RE S

Lasting Legacy Lotfi Mansouri Pamela Margles

Lotfi Mansouri, who led the Canadian Opera Company from 1976 until 1988, died in San Francisco on August 31 of this year. He left an indelible mark on the COC. When I interviewed him for The WholeNote seven years ago, he said right at the start of our conversation, “Opera really is the most wonderful art form in the world!”. That passion for opera shaped his work, and his life.

In the international opera world Mansouri will be best remembered for inventing Surtitles. The idea of projecting a translation of the libretto during an opera performance, like subtitles on a television broadcast, came to him while he was at home in Toronto with his wife Midge, watching an opera on TV. His idea revolutionized opera-going. It allowed audiences to understand what singers were singing

44

while they were singing. The first outing for Surtitles was on January 21, 1983, during Mansouri’s staging of Elektra for the COC, when they appeared on a screen above the proscenium at the O’Keefe Centre (later renamed the Hummingbird Centre, now the Sony Centre). Opera history was made in Toronto that evening.

Mansouri gave Toronto opera audiences much more than Surtitles. But it’s his work as a stage director that had the most immediate influence on Toronto audiences. In Toronto alone he directed 44 productions, 30 of which were new productions. He had started out in opera as a tenor, and he brought everything he had to offer as a musician as well as a director to his productions. For him it was all about the music, the words, the story, the singers, the chorus, the musicians in the pit and their conductor, and, above all, the audience—not his personal vision.

His direct approach resulted in some exciting productions, especially in modern repertoire.

His remount of Wozzeck for the COC’s final performance in the Hummingbird was stunning in its clarity, stylishness and sheer poignancy—he got right to the heart of the piece.

45

Lotfi Mansouri, former stage director at the Canadian Opera Company.

VIVACE FE ATU RE S

When I talked with Mansouri, he had retired as general director of the San Francisco Opera four years earlier, and was working on his memoirs. I expected a follow-up to the warm-hearted brief memoir he had published during his Toronto years, Lotfi Mansouri: An Operatic Life. But he ended up publishing two remarkably candid books. The first, a fulllength autobiography, Lotfi Mansouri: An Operatic Journey, offers a fascinating description of his early years in Iran, and a controversial look at the difficulties of his final years with the San Francisco Opera. The second, True Tales From the Mad, Mad, Mad World of Opera, offers a sharp, funny collection of anecdotes from his extraordinary career.

Here’s what I wrote at the time:

46

Lotfi Mansouri came to town recently to receive a Ruby Award from Opera Canada magazine, and to give a masterclass at the University of Toronto’s Faculty of Music. Mansouri spent 13 years in Toronto as general director of the Canadian Opera Company, from 1976 to 1988.

During that time he set up the COC Orchestra and Chorus, as well as the Canadian Opera Company Ensemble, where he nurtured a generation of young Canadian singers. He set the ball rolling for the new opera house, and saw through the building of the Tanenbaum Opera Centre. He lured top singers like Joan Sutherland, Elisabeth Söderström, Tatiana Troyanos, Siegfried Jerusalem and James McCracken to Toronto. He invented Surtitles. It is undoubtedly safe to say that the COC would not be standing where it is today without him.

I met with Mansouri at his Toronto hotel just as his wife Midge was going out to have lunch with friends. They both recalled with fondness living in North York and Cabbagetown.

Although they stayed on in San Francisco after Mansouri retired from the San Francisco Opera in 2002, they maintain their strong ties with Toronto. “We still have a lot of connections here, with all the friends, all the lovely people

who mean a great deal to us,” says Mansouri. “So

to the company, ‘Do I lead the torch parade? Let’s

when we come here, it’s like coming home.” Their

put the flames to this dump!’ We had worked for

daughter remained in Canada and works as a

years to build an opera house. We had the land,

doctor in Yellowknife.

we had the architect, Moshe Safdie—and then

Mansouri radiates unbounded enthusiasm and good humour as he recalls how he was here last spring to direct Berg’s Wozzeck. “I

the government pulled the plug.

started my work here in 1977 with Wozzeck. It’s

why

one of my favourite operas. I’ve learned in my

I

career that you always do your very, very de-

left

manding pieces in your honeymoon period with

Toronto.

the board of directors, because later they get very conservative and careful. One of the newspaper critics wrote, ‘Mansouri smiles at the brink of disaster,’ because they didn’t think you could sell six Wozzecks. But we sold them all.”

Mansouri directed Wozzeck again in 1990 during his last season here. It was this production, with sets and costumes by Michael Levine, who designed the recent Ring Cycle, that was revived last season. It turned out to be the final opera performed by the COC in the Hummingbird Centre.

“I never liked that place, even though I worked in it for 13 years. It was just not right for opera.

So it was very ironic that I got a chance to do the very last performance there. Afterwords, I said

“That was one of the major reasons

47

I EVEN INVITED DIRECTORS I MIGHT NOT AGREE WITH PHILOSOPHICALLY, BUT WHOSE WORK OUR COMMUNITY AND THE AUDIENCE NEEDED TO SEE.

house that it deserves.

in the Pavarotti feature Yes, Giorgio and in Norman Jewison’s Moonstruck.

One of his triumphs as a stage director here was Bellini’s Norma with the greatest Norma of her day, Joan Sutherland, and the equally unforgettable Adalgisa of Tatiana Troyanos.

It’s a

“Norma was the first time that I brought Joan here.

big

And Tatiana, wasn’t she superb? The tension, the

success

excitement!” Norma had never been done here, even though it is a mainstay of the bel canto

“When I got the invitation from San Francisco Opera to be their general director, I realized I wanted to finish my career in a real opera house.

But I would have loved to have stayed here and seen the new house built. Finally Toronto has the

—

repertoire. “As a general director of a repertory

it’s

company, I felt that my responsibility was to

excellent.”

introduce the entire gamut of the repertoire.” So they went from the baroque with Monteverdi’s The Coronation of Poppea right up to Britten’s Death in Venice, which had been written just ten years earlier.

When he first came here 30 years ago, he found Toronto rather provincial, and very Anglo-Saxon. “Then all of the sudden things started to explode and the city became wonderfully exciting. It was a very good time to be

“We always had one operetta every year. If the

here and I enjoyed it. I felt like we were in one of

more esoteric critics thought Fledermaus was too

those old Mickey Rooney-Judy Garland films, the

fluffy, I would say, “Then don’t come. People who

let’s-put-on-a-show-in-a-barn kind of thing. We

like it can come.’

just did it.”

Mansouri left his native Iran for Los Angeles to study medicine, or so his devout Muslim father thought. He was actually dreaming of Hollywood. “I had grown up on Hollywood movies.

I’m still a big film fan.” He started a career in opera as “a very bad tenor.” And he did work in a couple of movies, playing Caruso in an early telecast, then directing the operatic segments

“Many times I put on stuff that I didn’t particularly care for. You don’t always do it for yourself, you do it for your audience. If you were running a restaurant, you would never only serve what you liked. You see what I mean? You’re not a hot dog stand serving just hot dogs. I even invited directors I might not easily agree with philosophically, but whose work our community and the audience needed to see.

VIVACE FE ATU RE S

“I was very fortunate because as a young man I had worked with the best conductors. At the Zurich opera I had Otto Klemperer. He drove me nuts, but he was a genius. I did Massenet with the greatest French conductor, Ernest Ansermet. This man was a god. But he was very sweet, a gentleman. He had studied with Claude Debussy, so when we did Pelléas, he would say, ‘Oh, Claude m’a dit…’.

When Ansermet did French repertoire it was so passionate and exciting. When French repertoire is done pastel, it becomes wishy-washy. It needs passion—it’s tricky.

“I had always wanted to do War and Peace, which is a monstrous opera. So in San Francisco, again in my honeymoon period, I said to myself, ‘Lotfi, do it in your first year or two, before the board gets too wise.’ Someone told me about this young Russian

Soon after, he started the COC Ensemble. “I

conductor, Valery Gergiev. I took him to supper in London. In five

was a product of a workshop myself at UCLA.

minutes I was in love with him, so I brought

When I went to work with Herbert Graf, who was

him to America for the first time. He was, of

my mentor, we had started a studio in Zurich,

course, brilliant. But my musicians don’t like

and then in Geneva. Here in Toronto I gave each

him because he makes them nervous. He makes

ensemble member a two-year contract so they

demands, so they can’t just mail it in.”

could concentrate on their careers. I gave them

I mention to Mansouri that Gergiev is going to conduct the Toronto Symphony next February. “When I first came, the Toronto Symphony

roles, covers, and even their own productions.

played for the COC. They were so arrogant. They

Heppner was one of the masters in Meistersinger

actually thought the opera experience would

and ended up being one of the very best Walters.

weaken them. I said, ‘Excuse me, but would you say that about the Vienna Philharmonic?’

“Any time I wanted the TSO conductor An-

Stuart Hamilton, a wonderful coach, and so knowledgeable, was the first music director. Ben

“Artists need the guidance of people they can trust to say, ‘No, no, no—you can’t do that!’ In the past, agents were really impresarios. They didn’t

drew Davis for an opera, the manager, Walter

just make bookings, like today—they created ca-

Homburger, wouldn’t allow it. I finally did get

reers. They put the artists in the right situations

Andrew for the COC—as one of the guest artists

with the right conductor.”

in the second act of Fledermaus! I dressed him up, and he sang ‘I am the very model of a modern

Mansouri does try to advise young singers when he is directing or doing masterclasses.

Major-General.’ But we would have to pay for the

“But, you see, they have to listen to you. You can-

entire Toronto Symphony even if we were doing

not dictate to them. Also, artists must develop

Mozart.” So Mansouri set up a separate COC

their own discernment and their own ears.”

orchestra, which actually worked out to be much cheaper.

49

CANADA IS A LAND OF IMMIGRANTS. A LOT OF PEOPLE COME FROM ITALY AND EASTERN EUROPE, ALL THOSE PLACES, AND THEY BRING THAT CULTURE AND TRADITION WITH THEM. IT’S FABULOUS.

He talks with regret about singers who damage their voices, usually by singing roles that are too heavy for them. “When I work with young singers I want to sensitize them to the fact that you want a lasting career. Look at Mirella Freni—she’s 73 and she’s still singing. Alfredo Kraus sang until his early 70s. He was invited to do Don José hundreds of times. He always turned it down. He knew what was his repertoire, stuck to it, did a magnificent job and had an extended career. But nowadays singers get impatient and want to do everything.

Sadly, they shorten their careers. The voice is very delicate. A unique artist like Plácido Domingo can do just about everything, but he’s one in a million.

“For the number of people in this country, there are a lot of great singers. Canada is a land of immigrants. A lot of people come from Italy and eastern Europe, all those places, and they bring that culture and tradition with them. It’s fabulous.

VIVACE FE ATU RE S

50

“Judy Forst is a model singer. I love Maureen

Many of Mansouri’s innovations at the COC seem inevitable, like scheduling Sunday matinees. “That became one

Forrester. Louis Quilico was absolutely one of the

of our best subscriptions. People started taking buses in from Buffalo, Hamilton, Kingston.” Then there are the CBC

telecasts, which grew naturally out of the radio broadcasts, for which he had made Stuart Hamilton quizmaster. But other moves seem truly daunting, like creating the Tanenbaum Opera Centre, the administrative building on Front Street, which opened in 1985. “I got the

best baritones. There are very good singers of the younger generation, like Ben Heppner, of course.

John Fanning is a lovely artist. Richard Margison is a nice beefy spinto tenor. John Relyea has the voice, and the intelligence, to be the new Sam Ramey. They all just have to be careful.

money from Tanenbaum, we bought the building,

“The COC Ensemble was set up strictly for Canadians, which it should be when you get a

and then we got the government. It’s absolutely

government grant. But the Merola program in

the envy of every opera company, because you’ve

San Francisco is truly international, with Spanish singers, Russians, a lot of young Canadians.

Here, I was always accused of not using enough Canadians—perhaps because I was not a Canadian myself. But I used many more Canadian

THEATRE,

artists of any time before or even after me.”

AND

Then there are the Canadian singers who got away. “I could never get Teresa Stratas. She

THEATRE

is one of those great artists who could do anything. But she is a very complicated person. She

got your administrative offices, your workshops,

FOR ME OPERA IS

a theatre, everything under one roof—and it was originally a canning factory!”

But when it comes to commissioning new operas, Mansouri’s legacy is flimsier, especially when compared to the commissions he later pulled off in San Francisco, like John Adams’ The Death of Klinghoffer, André Previn’s A Streetcar Named Desire and Jake Heggie’s Dead Man Walking. “I couldn’t

IS COMMUNICATION.

do those kinds of commissions here. I tried to. I had wanted to do Streetcar as an opera for years.

came here for the party for my tenth anniversary

Leonard Bernstein loved the idea, but if I had

with the COC. I was dying to work with her here.

brought an American composer here they would

But like a fish, she just slipped out of my hands.

have crucified me. In San Francisco I didn’t have

“I invited Jon Vickers here every season, and I was always turned down. He thought Toronto audiences just weren’t ready for him—they weren’t intelligent enough. But he would go to Guelph for Niki Goldschmidt. I offered him anything. I had directed him elsewhere, and he was a handful, but he was a giant—and very exciting.”

that problem—I could get any composer, without having to face too much criticism.

“We did Murray Schafer’s Patria, and Shafer

anybody was singing about. We were doing The

was just terrible to us. He hated the COC and

Coronation of Poppea, one of my favourite pieces.

bad-mouthed all of us. One of the last things I did

It’s like a Shakespearean play, so you really have

here was to commission Harry Somers’ Mario

to understand every word. And I wanted to do it

and the Magician. This maybe sounds sacrile-

in the original Italian.

gious, but I didn’t really find many composers

“One night I was home watching the Ring Cy-

who excited me. Harry was one of the few. I set

cle from Bayreuth on television with my wife. My

up a composer-in-residence program here, pro-

wife was not a great Wagnerian, but suddenly she

ducing one-act operas. Those were interesting.

said, ‘You know, Lotfi, this really isn’t as dumb

But after I left, Brian Dickie, who took over from

as I thought it was.’ She had been reading the

me, stopped the program. If I had stayed, I would

subtitles on the TV screen. All of a sudden it was

have continued it.”

like the proverbial apple falling from the tree. If

If Mansouri has plans to slow down, they’re not apparent. He is working on a second autobiography. In April he is directing The Merry Widow for the Los Angeles Opera. What isn’t in Mansouri’s plans is to go back to Iran. “I don’t

they could put subtitles on the bottom of the TV

know if they’d let me out. I worked for the Shah,”

“Some directors, like Peter Sellars, use them to write what they want the words to say. I don’t like that. I find it’s not

he reminds me. Indeed, he spent five years as the Shah’s admittedly reluctant opera director.

Of all Mansouri’s accomplishments in Toronto, the one that has had the greatest impact is his idea for Surtitles, now used around the world. “As a stage director I was always frus-

honest. Translate what they

trated when I would work very hard on detailed nuances, but nobody would know what the hell

screen, why couldn’t we put them at the top of the opera stage? And that’s how it all started. At the beginning I was just lacerated. Critics tore me to pieces. An editorial from London called Surtitles ‘the plague from Canada.’ Now, of course, everybody’s using them.

really are saying, especially in Wagner. I don’t like these con-

I WANT TO INVOLVE YOU SO MUCH THAT AT THE END OF IT YOUR RESPONSE IS, ‘ WOW, WHAT

ceptual productions—as if the composer didn’t know what he was doing. For me opera is theatre, and theatre is communication. My job as a stage director is to draw you in emotionally and intellectually. I don’t want you to sit there and think, ‘Oh, that’s a clever idea.’ That means I have not done my job. I want to involve you so much that at the end of it your response is, ‘Wow, what an opera!’”

AN OPERA ! ’

51

U of T Music Faculty Library. Photo by H.J. Seo

52

LARGO REVIEWS

Early, Classical, and Beyond

54

creative pacing and snappy virtuosity give the

and horns of La Nuova Musica. It is a sharp con-

impression that the three of them are actively

trast to the thoughtful, sighing setting of “Tanti

collaborating with Castello as they go; and so it is

affani” from Handel’s Ottone, which follows.

with the rest of the music on this CD.

Despite Handel’s reputation, one of the most moving recordings on the entire CD is Arios-

A must-listen.

ti’s “Spirate, o iniqui marmi” from Coriolano, conveying Coriolano’s anguish at his wrongful imprisonment. In this case, it is the strings which combine with Zazzo’s voice to create the doleful atmosphere.

PERLA BAROCCA EARLY ITALIAN MASTERPIECES / RACHEL PODGER; MARCIN SWIATKIEWICZ; DANIELE CAMINITI

In fact, Bononcini and Handel both end the CD with a flourish, the former with “Tigre piagata” from Muzio Sevola and the latter with “Vivi, tiranno” from Rodelinda. Each piece showcases the sheer skill of Lawrence Zazzo and the demands placed on his voice.

Alison Melville This beautiful disc is a pearl indeed. From the lyrical, improvisatory opening of G.B. Fontana’s Sonata 2 to the final exuberance of Bertali’s Chiacona, Perla Barocca is a delightful exploration of 17th-century Italian violin repertoire, as interpreted by three luminescent players.

Among my personal favourites on this CD are

A ROYAL TRIO / ARIAS BY HANDEL, BONONCINI & ARIOSTI Michael Schwartz

Pandolfi Mealli’s Sonata 6, in which the composer’s theatrical eccentricity and lyricism are

In 1719, Handel had been told by the newly es-

effortlessly captured. Isabella Leonarda’s Sonata

tablished Royal Academy of Music in London to

12 is simply gorgeous, and the fiery passagework

recruit a company of singers, of the calibre of the

of Marco Uccellini’s Sonata overo Toccata “detta

castrato Senesino. Such singers were the mainstay

la Laura rilucente,” isn’t just impressive, it’s

of the Academy, as were Handel and the Milanese

BEETHOVEN DIABELLI VARIATIONS / STEWART GOODYEAR

refreshingly expressive as well. Particularly in

cellist and composer Giovanni Bononcini.

Christina Petrowska Quilico

Biagio Marini’s Sonata 4, Rachel Podger and her

Add a third composer Attilio Ariosti of

colleagues make use of an extraordinary range

Bologna, and you have an operatic power house

Stewart Goodyear has already demonstrated his

of tonal colour and volume, as well as numerous

in London which, along with Lawrence Zazzo’s

maturity and artistic mastery of Beethoven in

special effects described in writings of the time

genius as a countertenor, is the inspiration for

the complete sonata recordings and his mara-

but rarely heard nowadays in performances of

this CD. Indeed, Zazzo’s skills as a countertenor

thon performances of the works. This current CD

this repertoire. Girolamo Frescobaldi is repre-

are immediately displayed with his vigorous

establishes him as one of the premier Beethoven

sented here with the familiar keyboard Toccata

interpretation of Handel’s “Rompo I lacci” from

interpreters today.

1, in which harpsichordist Marcin Swiatkiewicz

Flavio. More sedate but no less intense is his

displays his interpretive mastery, and another

performance of “Cosi stanco Pellegrino” from

a rare degree” and were written in “a rosy mood”

Toccata for “spinettina e violino.” Podger, Camini

Bononcini’s Crispo.

which dispels the belief that Beethoven spent

and Swiatkiewicz give Dario Castello’s Sonata

Handel’s music features in ten of the 18 tracks

The Diabelli Variations “amused Beethoven to

his later years writing in complete gloom. These

2 one of the most thoughtful and inventive

on this CD, “Va tacito” from Giulio Cesare being

variations tease us with incredible humour and

renditions I’ve ever heard, providing inspiration

an entirely suitable selection, not only due to

“funny themes.” Substitute the syllables ha-ha,

for a fresh look at this much-recorded piece.

Zazzo’s enthusiastic performance but because of

hee-hee to the music in Variation 10 which Alfred

Their perfect exploitation of expressive device,

the spirited accompaniment from the woodwinds

Brendel so aptly named “Giggling and neighing”

in his book Music Sounded Out and it will guar-

were a result of Beethoven’s association with

antee a smile and laugh while listening to this

the musical court life in Berlin which not only

extraordinary opus. This is joyful, uplifting music

included the cello-playing King Frederick

and Goodyear has the formidable technique and

Wilhelm II (nephew of, and successor to, the

astute sense of structure to be able to switch from

flute-playing Frederick the Great) but also the

one character to the next. He clearly defines the

Duport brothers—both cello virtuosos. The Qu-

unique personality and mood of each variation.

eyras-Melnikov pairing is a sublime one, their

The extra-musical images and literary

playing elegant and polished, with a wonderful

allusions of the work come alive in Goodyear’s

sense of momentum throughout. The first disc

command of the extreme contrasts and artic-

also includes the delightful Variations on Mo-

ulation of the musical motifs. He brings to life

zart’s Ein Mädchen oder Weibschen from The

tender moments and violent, disjointed musical

Magic Flute and See the Conquering Hero Comes

excursions while sustaining a focus from the

from Handel’s Judas Maccabeus.

beginning to the end of the work. The love and

It was almost 11 years later that Beethoven

joy of playing Beethoven is evident in every nu-

returned to the cello/piano combination with

ance and breath of Goodyear’s performance. The

his Sonata in A Major Op.69, long regarded as

sound of the recording, tempo and timing flows

one of his most renowned in the genre. The

naturally in its expressive and colourful journey.

mood is dignified and majestic and the equal

This is an excellent recording and is highly

partnership of the artists results in a wonderful

recommended. I look forward to Stewart Good-

cohesion of sound, with Queyras’ warm rich

year recording all of Beethoven’s Variations.

tone perfectly complemented by Melnikov’s solid performance. Also included on this disc are the variations on Mozart’s Bei Männern welche Liebe fuhlen from The Magic Flute and the two sonatas Op.102 completed in 1815. Queryas displays a particular tenderness in the slow movement of the second sonata before the two embark on the robust fugal finale, thus bringing the set to a most satisfying close.

Well done, Messrs. Queyras and Melnikov—it’s a classic case of outstanding repertoire superbly played, and we can’t ask any more than that.

LUDWIG VAN BEETHOVEN COMPLETE WORKS FOR CELLO AND PIANO Richard Haskell Having already collaborated on chamber music

by Brahms, Kodály, Debussy and Poulenc, Canadian-born cellist Jean-Guihen Queyras and Russian pianist Alexander Melnikov have now turned their attention to music by Beethoven in this splendid two-disc set.

The music was composed over a 20-year period, from 1796 to 1815. The two sonatas Op.5,

LARGO REVIEWS

Modern and Contemporary

56

(done at the Banff Centre) masterfully captures

nant strings further heighten the movement’s

both instruments in equality. The saxophone and

elegiac mood. Equally elegiac is the brief Largo

piano repertoire will continue to grow as this

for violin, clarinet and piano by Charles Ives.

duo continues to inspire Canadian composers.

Insurance broker by day and composer on the weekend, Ives was very much an individualist.

His approach to music was distinctly American, and I liken the introspective mood of this piece from 1901 to those stark urban landscapes by Edward Hopper created 30 years later. Elliott Carter’s Elegy for viola and piano from 1943 is

METROPOLIS / HARRINGON, LOEWEN DUO

marked by a romantic conservatism that is not seen in his later style.

So it would seem that during the 1930s and

Wallace Halladay

40s, there was more going on musically in New Canadian saxophone music is taking flight

America than the jitterbug and big bands and

recently, much as a result of the commissioning

this CD proves it admirably. Kudos to James

Michael Matthews and Diana McIntosh are fea-

AMERICAN CHAMBER MUSIC / JAMES EHNES; SEATTLE CHAMBER MUSIC SOCIETY

tured on this disc with pianist Laura Loewen.

Richard Haskell

efforts of Winnipeg-based saxophonist Allen Harrington. Prairie composers Gordon Fitzell,

Ehnes and his group from Seattle for bringing to light some treasures that most certainly deserve greater exposure.

Harrington’s debut recording begins with a bang: literally, with the saxophone screeching

In addition to the great European tradition of

and popping whilst the pianist hits the strings

chamber music, American composers have also

with mallets inside the instrument. Fitzell’s Me-

made significant contributions to the genre,

tropolis is a kind of sonic experiment, or lexicon

beginning with the works of Arthur Foote in the

of extended techniques for both instruments; the

19th century. American chamber music is alive

piece is always in motion, despite its fragmented

and well 150 years later, and this recording is a

form and sparse texture.

fine representation of repertoire from the 1930s

I find the crystalline sound and static drama

and 40s with music by Copland, Ives, Bernstein,

of Sudbury composer Robert Lemay’s modern-

Carter and Barber performed by Canadian vio-

ism more successful: this composer has written

linist James Ehnes and musicians of the Seattle

many works for saxophone—and also uses every

Chamber Music Society.

technique available—but Oran always has a clear motivation that we can all learn from.

Harrington and Loewen show their years of

While some of the music on this CD might not

THE TRANSCENDENTALIST Janos Gardonyi

be all that well known, it’s all worth investigating. Copland’s Violin Sonata from 1943 is a study

When it comes to new music the average music

collaboration successfully in the more tradition-

in contrasts, with its buoyant opening move-

lover, including myself, is in an unknown territo-

al works on the disc: Srul Irving Glick’s Sonata

ment, a restrained march and the rhythmical

ry (or downright ignorant) and that can provoke

and Matthews’ The Skin of Night highlight their

finale performed here with much panache

hostility and aversion at times. This new disc by

sensitivity to lyrical passages—his alto saxo-

by Ehnes and pianist Orion Weiss. Leonard

Ivan Ilic, a distinguished American pianist of

phone sound has a warm intensity in the middle

Bernstein was still a student at Harvard when he

Serbian descent, does an immeasurable service

range and she has a dramatic and articulate

composed his Piano Trio in 1937, its exuberance

to smoothen the rocky road to acceptance by the

touch on the piano.

very much the music of a 19-year-old prodigy.

secret back door, so to speak.

Being the only Canadian to place at the Adol-

The most familiar piece on this recording is

Scriabin’s Prelude Op.16, No.1 indeed sounds

phe Sax Competition (in 2006), Harrington is a

surely Barber’s String Quartet, if only because of

a bit like a Chopin Nocturne with a charming

strong soloist. But it is his collaborative efforts

the famous Adagio, most often heard arranged

little melody developed nicely and it’s over in

with Loewen that are impressive; the recording

for string orchestra. Here, the warmly reso-

two minutes. Fine… everyone is happy about

that, but our pianist now presents an early piece

arrives at a final unison elsewhere. Hosokawa

by John Cage, Dream (1948), and we immediately

rejects artifice and architecture, preferring

sense the relationship to Scriabin. The hesitant

the organic. He depicts development, origins,

fragments moving at an even pace like moving

growth. The first piece, Woven Dreams, traces an

in and out of our subconscious, laying out slowly

imaginary passage from the womb. Blossoming

a wonderful oriental landscape, sometimes

II and Circulating Ocean are reflections on the

interrupted by deep and disturbing chords…

natural world. In the liner notes he describes the

yes, indeed, we feel the connection, but also

signature unison openings as fluid, amniotic or

experience the departure into a new world with a

aquatic. One hears birdsong and water droplets,

mesmerizing, hypnotic effect.

earthquakes and storms.

“Transcendental meditation?” The phrase

Though Hosokawa’s forms have curved edges,

here takes on a new meaning under the magic

his orchestral effects often jar. He discovers new

hands of Ilic who is guaranteed to hypnotize

dissonances through note bends and microtonal

you like no other into the mysteries of another

juxtaposition. Deep booming percussion nearly

universe, but at the same time plays Scriabin’s

overwhelms. At times his orchestration reminds

gorgeous D-flat major Prelude Op.31, No.1 so

me of Schnittke, at others of Mahler. He will use

beautifully that you can perhaps endure the

the orchestra as a huge macabre organ and then

vicissitudes of this here universe.

exploit individual instruments for passagework.

Unlike his senior compatriot, Toru Takemitsu, Hosokawa chose to embrace rather than distance himself from his own culture. He often uses canonic melodic entries, often cascades in the treble winds. He refers to this technique as Oibuki, featured in a style of Japanese court music called Gagaku. Where Takemitsu was repelled by the militarism he witnessed as boy, Hosokawa worries his culture is too ready to adopt external models rather than grow from its own roots.

Two different orchestras supply the music, under the able direction of Jun Märkl, whose parents

HOSOKAWA / ORCHESTRAL WORKS 2 Max Christie Toshio Hosokawa is in some way a visual artist disguised as a composer. The three pieces on this collection of orchestral music bear a striking similarity of form; they remind me of St. Exupéry’s descriptions of his childish drawings of boa constrictors who swallowed elephants. The author never succeeded in conveying how fearsome these images were to him; Hosokawa’s music, on the other hand, delivers moments of awe and terror, bordered by serenity and contemplation.

Each work opens with a sustained unison B flat, shimmering and pulsing; eventually each

bridge the east-west musical divide, a German violinist for a father, his mother a Japanese pianist.

LARGO REVIEWS

Jazz and Improvised

58

performed verse) and Hague/Horwitt’s moving

natural movement. Similarly a dialogue of bass

ballad Young and Foolish.

and drums suggests all the creaks and activities of a dockside. There is never any sense here of

This CD is of such a high level of excellence that it

imitative sound, but analogues keep arising for

would be well-served with a Part Two!

Smith’s compelling subject matter.

Like his other recent works, Smith’s Great Lakes Suites explores corresponding processes in music, history and geology. By finding musicians who can also sustain this extended meditation, Smith succeeds brilliantly.

SALOON STANDARD / JOE COUGHLIN & MARK EISENMAN Lesley Mitchell-Clarke With the release of Saloon Standard, veteran BC-based Canadian jazz vocalist Joe Coughlin and skilled pianist/arranger Mark Eisenman triumph of a recording that not only celebrates

THE GREAT LAKES SUITES / WADADA LEO SMITH

the art of vocal jazz, but honours the symbi-

Stuart Broomer

have done the near-impossible—created a

otic relationship between piano and voice, all the while thrilling us with 13 tracks that not

Trumpeter/composer Wadada Leo Smith is one of

only venerate the jazz “standard” but break

the most ambitious and engaged creators in jazz.

our hearts with almost unbearable beauty and

In 2012 he recorded his epic tribute to the Amer-

fathomless emotional subtext.

ican civil rights movement, Ten Freedom Years,

CLARITY MUSIC OF CLARE FISCHER / ROSEANNA VITRO

a four-CD suite for his jazz quintet and chamber

Lesley Mitchell-Clarke

Although Coughlin and Eisenman (who have worked together since their 20s) have created

ensemble that had been over 30 years in the

a program of finely crafted ballads, there is no

making. The same year he recorded Occupy the

With the passing of gifted Los Angeles-based

“pearls before swine” posing here. Whether

World, with the 22-member TUMO improvising

composer/arranger/keyboardist Clare Fischer,

Coughlin is plying his stirring, voluptuous

orchestra. His Great Lakes Suites spans two CDs

not only did El Lay lose one of its top creative in-

baritone to the rarely performed movie theme,

but the manpower is much more concentrated, a

novators, but the international music communi-

The Bad and the Beautiful (a tune that proved too

quartet in which Smith is joined by three mas-

ty also lost an artist who, since his 1962 LP Bossa

vocally difficult for Tony Bennett, by the way) or

ters: Henry Threadgill on reeds, John Lindberg

Nova Jazz Samba with the late Bud Shank, had

plumbing the depths of heartbreak and renewal

on bass and Jack DeJohnette on drums.

consecrated himself to the genres of Afro-Car-

with Michel LeGrand/Alan and Marilyn Berg-

Smith’s interest in the Great Lakes focuses

ribbean, Brazilian and a wide variety of Centro/

man’s You Must Believe in Spring, every note and

on the contrast between their flat surface and

Sul American Musics—notably represented in

every nuance is totally accessible and eminently

their potential turbulence, along with aspects

his 1981 GRAMMY-winning Clare Fischer and

satisfying… no gratuitous scat singing and other

of transportation, communication and wave

Salsa Picante Present 2 + 2.

tasteless vocal grandstanding are welcome in the

formation. The music is fittingly spare, at

“Saloon” tradition of Joe Coughlin.

times unfolding with a declarative simplicity.

jazz vocalist/educator/composer/arranger Rose-

With the release of her latest recording, NYC

Other tasty tracks include Rogers and Hart’s

The emphasis on stark solo voices—whether

anna Vitro (along with producer Paul Wickliffe)

You’re Nearer from the 1940 film Too Many Girls;

Smith’s trumpet or Threadgill’s saxophone or

has not only framed a gorgeous tribute to the

a lilting, almost bluesy take on Bernstein/Com-

flute—conveys the drama of great natural forc-

work of Fischer, but has successfully expanded

den and Green’s Lucky to be Me from the hit Judy

es. We are repeatedly drawn to his subject: an

the jazz canon by deftly mining the exquisite,

Holliday musical Bells Are Ringing; Cole Porter’s

extended passage of rattling percussion in Lake

harmonically complex music that is Clare Fisch-

romantic Dream Dancing (sung with the rarely

Michigan might simply be a consequence of

er’s legacy. The CD includes six of Fischer’s never

previously sung compositions (some with new

the discourse intensifies as it evolves.

original lyrics), and is also the first and only vo-

While Hall gradually defines his parameters

cal book developed by a solo singer of his music.

with tenor and soprano saxophone slurs and

Accompanying Vitro on this remarkable

smears via John Coltrane’s influence, Koenig’s

journey are her longtime collaborators, in-

drum pulses are a bit more rigid, not really com-

cluding pianist/arranger Mark Soskin as well

ing into strong focus until—and perhaps because

as Weather Report percussionist Mino Cinelu.

of—“Time for a Stiff Drink.” Mixing martial-like

Standout tracks include a fresh, percussive,

ruffs with supple rolls, he meets Hall’s mellow

scat-filled take on “Morning” and also “Life’s

elaborations head on and effectively. From

Journey,” which features a complex, rhythmic

then on sound snatches capture a wide-ranging

arrangement and dynamic work by violinist

conversation. Snaky bass flute timbres countered

Sara Caswell and pianist Soskin. One track

by off-centre plops suggest Arabic music on

stands alone in its perfection—the deeply mov-

Trust Me, while rugged reed split tones attain

ing ballad “Sleep My Child,” a flawless musical

screaming heights on “Things Are Looking Up”

diamond around which Vitro wraps her rich,

though the drummer’s carefully paced beats keep

luxurious contralto.

the theme chromatic. Additionally the whap of

Vitro is not only a consumate jazz vocalist,

sticks on Mylar and wood during “Look at Her!”

but through the auspices of this important

insinuate two percussionists at work as Hall’s

artistic project, she has also emerged as a true

altissimo snarls create a fanciful verbalization of

conservateur and curator of jazz.

overbearing Buddy Rich strokes backing “Caravan” played by Albert Ayler.

Like old friends winding down their conversation before they part, the reedist and percussionist save their excursions into chamber jazz for the last few duets. With Koenig’s sparkling vibraphone strokes attaining sonorous swing, the unique multi-colours Hall sources from his flute on tunes such as “I Understand Why You Are So Melancholy” reflect the skills of these sophisticated communicators who can comfortably express emotions instrumentally.

OVERHEARD CONVERSATIONS / GLEN HALL & BERNIE KOENIG

Glen Hall’s Rub out the Word: A William S. Burroughs

Ken Waxman

Centennial Event is at The Music Gallery November 7.

A reflective and comfortable musical conversation between reeds and percussion, the dozen brief duets by Toronto saxophonist/flutist Glen Hall and drummer/vibraphonist Bernie Koenig from London, Ontario have all the hallmarks of overheard dialogue. Some interjections are predictably of paramount interest to those involved; others, which stretch the capacities of the instruments and musicians, are as insightful as discussions from more formally organized sessions. Seemingly recorded in real time, luckily

LARGO REVIEWS

The Comeback Bruce Surtees

60

It seems that every record company of standing is issuing packages of discs selected from their vaults of worthwhile, saleable performances. Of the omnibus editions, the RCA Toscanini Edition on 100 LPs was surely the first. Soon after Karajan’s death, EMI gathered every one of their recordings and issued them in two compact boxes. DG has been assiduously re-mastering their treasured recordings including Karajan’s and issuing them in impressive, well documented editions: Karajan 1960s then Karajan 1970s (Karajan 1980s will appear before Christmas); also Karajan complete analogue recordings of Richard Strauss and Karajan—The Beethoven Digital Recordings. Two unexpected boxes are now on the shelves: Karajan Symphony Edition and from 1963 Beethoven The Symphonies.

The Karajan Symphony Edition (4778005) is an

Beethoven The Symphonies—Karajan’s 1963

extraordinary offering: 38 CDs for no more than

performances are widely considered to be not

Premier Khrushchev and the Soviet Presidi-

$60 retail! Here are the complete Beethoven

only the onductor’s best but the best. DG has

um, the first performance of Shostakovich’s

symphonies (1972 version) + overtures; the four

completely re-mastered the analogue tapes at

Thirteenth Symphony was given in Moscow and

Brahms symphonies + Haydn Variations and

24 bit/96 kHz and has also produced a “Pure

dutifully ignored by the press. The composer had

Tragic Overture, the nine Bruckner sympho-

Audio Blu-ray disc” of the nine plus a rehearsal

set five of Yevgeny Yevtushenko’s poems, includ-

nies, Haydn’s Paris and London Symphonies;

of the Ninth that is included in a limited edition,

ing the recently published Babi Yar, the subject of

Mendelssohn’s five symphonies; Mozart’s late

smartly bound as a hard cover book (94793442,

which was anti-Semitism and the well docu-

symphonies; Schumann’s four symphonies

6 discs). Karajan was a longtime admirer of Tos-

mented, wholesale massacre of Jews in Kiev by

and Tchaikovsky’s six symphonies, etc. All the

canini and preparing for this important cycle, he

the Nazis in WWII. Further performances were

discs reflect the latest remasterings. How is this

studied Toscanini’s recordings. Both conductors’

banned until Yevtushenko altered the text, which

giveaway price possible? There are a few factors

cycles remain in print.

he did, but not before December 20 when there

On December 18, 1962 defying admonitions from

to consider: DG owns the masters; the recording

was a repeat performance with the original text.

sessions are long ago paid for and DG is making

Praga has issued a hybrid SACD of that event

a lot of copies for worldwide distribution. It still

with Kirill Kondrashin conducting the Moscow

is hard to figure out, but who’s complaining?

Philharmonic, two choirs and Vitaly Gromadsky, tenor and speaker (PRD/DSD 350089, texts and translations included). This is the same performance heard on the complete 12CD Russian

set (CDVE04241) but now delivered in a more

Opera Company and this performance presages

The late Claudio Abbado enjoyed a career that

impressive, open and persuasive sound. More

the discipline and vitality of productions to

spanned more than 50 years, during which he

than a performance, this is a declamation. I know

follow, as his many recordings attest. Hearing

conducted the world’s finest orchestras. His last

of no other recorded performance to come even

the voice of the not quite 35-year-old Jon Vickers

recorded concerts, those of August 16 and 17, 2013

remotely close to the intensity and impact of this

as the unfortunate Siegmund in the first act and

were with the Lucerne Festival Orchestra. Accen-

significant and valuable document.

into the second is still, to this day, an electrifying

tus has issued a splendid DVD of the complete

experience. Claire Watson turns in a believable

program of that opening concert of the season,

Prokofiev’s Cantata for the 20th Anniversary of

Sieglinde, the only character to appear in all

comprising Brahms’ Tragic Overture, Schoen-

the October Revolution Op.74. This commemo-

three acts. Brünnhilde is the Finnish Wagnerian

berg’s Song of the Wood Dove from Gurrelieder

rative work was inexplicably unpublished and

soprano Anita Välkki and Wotan is Hans Hotter,

and Beethoven’s Eroica Symphony (ACC20282).

unperformed during the composer’s lifetime.

in whom I was slightly disappointed in the final

I doubt that there could ever be a nobler and

Altogether, this is an outstanding release.

scene where he initially seems to be pushing his

more flowing version of the Tragic Overture

voice. Perhaps he needed a broader tempo but as

than heard here. Gurrelieder, Schoenberg’s great

the opera runs its course he is back on top. The

ultra-Romantic post-Wagnerian masterpiece

whole production is very satisfying with splen-

has been a special favourite of mine since I first

did orchestral sound and no off-mike voices.

heard the Stokowski/Philadelphia recording.

The hybrid SACD includes excerpts from

For me it is a heady experience. The Song of the Wood Dove that brings the news of the death of Tove to King Waldemar stands well on its own, magnificently conveying the enormity of the awful news. The immense augmented orchestra supports the outstanding mezzo-soprano Mihoko Fujimura as the Wood Dove. The very His Decca Ring Cycle was years away in October

fine Eroica is played with total commitment,

of 1961 when Georg Solti conducted a new Die

immaculate in detail and dynamics and enor-

Walküre at Covent Garden. As I recall, it was

mous authority. A well balanced, albeit unusual

Hans Knappertsbusch that Decca originally had

program played with effortless virtuosity and a

in mind for their project. Testament brings us

fine showcase for the late conductor.

that live performance of October 2nd as recorded by the BBC in appropriately dynamic mono sound (SBT4-1495, 4 CDs). Upon the persuasive urging of Bruno Walter, Solti had just accepted the post of music director of the Covent Garden

ALLEGRO LISTINGS

The GTA (Greater Toronto Area)

1

Tap Preview. Classic swing to

7:30 Gallery 345. Britten, Tippett, Greenwood: Angles in War and Peace. Britten: Four Sea Interludes for Brass Quintet

8:00 Arraymusic. Array Session

As Scary As It Sounds! Saint-

contemporary big band, pop, hip-hop and tap dancers. Josh

and Two Percussionists; Tip-

#28. Arraymusic artistic direc-

Dukas: Sorcerer’s Apprentice,

Grossman, conductor. The Rex

pett: Kaleidoscopic Oratorio “A

tor Rick Sack leads an evening

Gounod: Funeral March of a

Hotel, 194 Queen St. W. 416-

Child Of Our Time”; Michael

of improvisation. Toronto and

Marionette; and other works.

899-5299. By donation.

Brooker: Musica Reflecta; and

out-of-town improvisers. Array

Salvation Army Scarborough

4:30 Beach United Church. Jazz

other works. Kliment Krylovs-

Space, 155 Walnut St. 416-532-

Citadel, 2021 Lawrence Ave. E.,

kiy, clarinet; Vanessa Mollard,

3019. Free/PWYC.

Scarborough. 416-429-0007.

1:00 Necessary Angel Theatre Company. What Makes a Man.

and Reflection: Evensong. Kye

violin; Riko Higuma, piano. 345

$30; $25(sr); $15(st); $10(under

Marshall, cello; Don Thompson,

Sorauren Ave. 416-822-9781.

piano. 140 Wineva Ave. 416-691-

$20; $10(st). CANCELLED.

8:00 Necessary Angel Theatre Company. What Makes a Man.

A living portrait of Charles

8082. Freewill offering.

A living portrait of Charles

8:00 TorQ Percussion Quartet.

Aznavour, the life he lived,

Aznavour, the life he lived,

TorQ Turns 10. A milestone cel-

observed, and wrote about in

4:30 Opera Atelier. Canadian

7:30 Performance in the Round.

Benefit Concert. Works by

observed, and wrote about in

ebration of TorQ’s first decade

his lyrics. Created by Jennifer

premiere of Handel’s Alcina.

Estelle, Southam, and Marshall.

his lyrics. Created by Jennifer

together, featuring favourites

Tarver; musical arrangements

Meghan Lindsay (Alcina) and

Janet Catherine Dea, sopra-

Tarver; musical arrangements

from their repertoire. Works

by Justin Ellington. Andrew

Mireille Asselin (Morgana),

no; Kye Marshall, cello; Dora

by Justin Ellington. Andrew

by Cage, Hatzis, Wijeratne,

Penner; Louise Pitre; Saidah

sopranos; Wallis Giunta (Brada-

Krizmanic and Ruth Kazdan,

Penner; Louise Pitre; Saidah

Morphy and others. Walter

Baba Talibah. Berkeley Street

mante) and Allyson McHardy

piano. Heliconian Hall, 35 Ha-

Baba Talibah. Berkeley Street

Hall, Edward Johnson Building,

Theatre, 26 Berkeley St. 416-

(Ruggiero), mezzos; Olivier

zelton Ave. 416-922-3618. $25.

Theatre, 26 Berkeley St. 416-

80 Queen’s Park. 416-788-8272.

368-3110. $30-$49. Also Oct 5,

Laquerre, baritone (Melisso);

In Support of Nazareth House

368-3110. $30-$49. Also Oct 5,

PWYC. Reception to follow.

7-12, 14-19, 21-26, 28-31, Nov

Krešimir Špicer, tenor (Oronte);

Transitional Home for Women.

7-12, 14-19, 21-26, 28-31, Nov

1(eve), 2. Start times vary.

Marshall Pynkoski, director;

1(mat), 2. Start times vary.

2:00 Cantabile Chorale of York Region. Over There. Songs,

Jeannette Lajeunesse Zingg,

7:30 St. John’s United Church.

choreography; Artists of Atelier

Michael Ciufo, Canadian Tenor.

8:30 Soulpepper. Weekly Cabaret Series: Wild Women (Don’t Get The Blues). Exploring

Ballet; Tafelmusik (David Fallis,

solos, & readings in remem-

conductor). Elgin Theatre,

brance of WWI and WWII.

189 Yonge St. 1-855-622-2787.

Audience participation. Robert

$38-$181.

Richardson, conductor, Lona Matthew’s United Church, 333

7:30 Canadian Opera Company.

Falstaff. Verdi. Lauren Segal,

Crosby Ave., Richmond Hill.

SATURDAY NOV.

3:30 Toronto Jazz Orchestra/ Allison Toffan. Big Band

Aga Khan Museum Auditorium, 77 Wynford Drive. 416-6464677. $45-$60.

8:00 Scarborough Philharmonic Orchestra. Scarborough: Not Saëns: Danse Macabre Op.40,

10). Costumes encouraged.

Joshua Tamayo, piano. 2 Nobert

8:00 North York Concert Orchestra. Rule Britannia! Works by

Etta James, Edith Piaf, Ida Cox,

Rd. 416-491-1224. $25.

Lavallé, Elgar, Holst, Vaughan

Janis Joplin, Sylvia Plath. Lor-

7:30 Toronto International Piano Competition. Final round:

Williams, Parry and others.

raine Segato, Lyne Tremblay,

David Bowser, conductor. York-

Miku Graham, Stacie McGre-

minster Citadel, 1 Lord Seaton

gor, Colleen Allen, performers.

Three competitors. Concerti

Rd., North York. 416-628-9195.

Young Centre for the Perform-

with the Toronto Concert

$25; $20(sr); $10(st).

ing Arts, Distillery District, 50

soprano (Meg Page); Simone

Orchestra; Kerry Stratton,

Tank House Ln. 416-866-8666.

905-731-8318. $20.

Osborne, soprano (Nanetta);

conductor. Koerner Hall, 273

8:00 Oakville Symphony.

3:00 Neapolitan Connection.

Marie-Nicole Lemieux, mezzo

Bloor St. W. 416-408-0208. $30

Romance or Rachmaninoff.

(Mistress Quickly); Frédéric

& $40.

Mussorgsky: Night on Bald

Musical Matinées at Mont-

Antoun, tenor (Fenton); Gerald

Mountain; Smetana: Die

gomery’s Inn: Bach to Basics!

Finley, baritone (Falstaff);

8:00 Aga Khan Museum. Memory

Rachel Mercer, cello. Montgom-

Russell Braun, baritone (Ford);

and Presence of Rumi: Mystic

maninoff Piano Concerto No.2.

ery’s Inn, 4709 Dundas St. W.

COC Orchestra and Chorus;

Music of Iran. Ostad Saeed

Alexei Gulenco, piano; Roberto

416-231-0006. $15-$37.99. 2:00:

Johannes Debus, conductor.

Farajpoori, kamancheh; Amir

De Clara, conductor. Oakville

Museum tour. Tea, historical

Four Seasons Centre for the

Koushkani, tar; Siavash Kaveh,

Centre for the Performing Arts,

tour, new information and

Performing Arts, 145 Queen St.

daf; Araz Nayeb Pashayee,

130 Navy St., Oakville. 905-815-

cookies included.

W. 416-363-8231; $22(under 30).

tombak; Farzad AJ, Sama dance.

2021. $51; $46(sr); $26(st).

Richardson, accompanist. St.

Moldau; Ravel: Pavane; Rach-

$20,$15(st).

63

2

2:00 Oakville Symphony. Romance or Rachmaninoff.

2:00 Visual and Performing Arts Newmarket. Trillium Brass

visit to Russia and the Baltics.

will offering. Evensong at 4:00;

Door prizes, silent auction and

concert at 5:00.

reception.

Mussorgsky: Night on Bald

Quintet. Newmarket Theatre,

4:00 St. Philip’s Anglican Church.

Mountain; Smetana: Die

505 Pickering Cres., Newmar-

3:00 Ukrainian Art Song Project.

Moldau; Ravel: Pavane; Rach-

ket. 905-953-5122. $26; $20(sr);

Galicians I: Four Composers

& Mexico Amigo Mariachi

maninoff Piano Concerto No.2.

$10(st). =z3 =cham =othr

from the Western Province of

Band. 25 St. Phillips Rd., Eto-

Alexei Gulenco, piano; Roberto

Nov 02 3:00: Musideum. Don

Ukraine. Works by Barvinsky,

bicoke. 416-247-5181. Freewill

De Clara, conductor. Oakville

Naduriak’s Jambanda - “Party

Liudkevych, Sichynsky and

offering.

Centre for the Performing Arts,

Music”. Suite 133 (main floor),

Turkewich. Monica Whicher,

130 Navy St., Oakville. 905-815-

401 Richmond St. W. 416-599-

soprano; Krisztina Szabó,

4:30 Christ Church Deer Park.

2021. $51; $46(sr); $26(st).

7323. $20.

mezzo; Russell Braun, baritone;

Jazz Vespers. Amanda Tosoff

3:00 Symphony on the Bay. Enig-

Pavlo Hunka, bass-baritone;

Quartet. 1570 Yonge St. 416-

Marie Bérard, violin; Albert

920-5211x22. Freewill offering.

A living portrait of Charles

2:00 Pocket Concerts. Evening in the Afternoon. Ravel: La

ma. Brahms: Double concerto

Krywolt, piano. Koerner Hall,

Aznavour, the life he lived,

Valse; Prokofiev: Violin Sonata

for violin and cello; Ridout: Fall

273 Bloor St. W. 416-408-0208.

8:00 Musideum. Sandra Mogensen

observed, and wrote about in

(selections); Bach: Cello Suite

Fair; Elgar: Enigma Variations.

$40-$80.

- The Book of Sounds. Otte:

his lyrics. Created by Jennifer

No.1 (selections); Bloch: 3

Tom Mueller, cello; Corey

Das Buch der Klänge. Sandra

Tarver; musical arrangements

Nocturnes; Haydn: Piano Trio

Gemmell, violin. Burlington

3:15 Mooredale Concerts. New

by Justin Ellington. Andrew

No.39 “The Gypsy”. Yehonatan

Performing Arts Centre, 440

Orford String Quartet. Ravel:

(main floor), 401 Richmond

Penner; Louise Pitre; Saidah

Berick, violin; Rachel Mercer,

Locust St., Burlington. 905-681-

String Quartet in F; Brady:

St. W. 416-599-7323. $20. =z1c

Baba Talibah. Berkeley Street

cello; Emily Rho, piano. Home

6000. $18–$31.

Journal: String Quartet No.2

=pian =newm

Theatre, 26 Berkeley St. 416-

of Rowley Mossop and Don

(Toronto premiere); Mozart:

368-3110. $30-$49. Also Oct 5,

Melady, 505 Palmerston Blvd.

7-12, 14-19, 21-26, 28-31, Nov 1.

647-896-8295. $40; $25(un-

Start times vary.

der 35); $12(child). Reception

1:15 Mooredale Concerts. Music and Truffles: New Orford String Quartet. Interac-

following.

3:00 Toronto Chamber Choir.

Air, Fire, Earth & Water: The Renaissance Sense of Humour(s). Selection

2:00 Royal Conservatory/Toronto Harp Society. Mazzoleni Mas-

of polyphonic madrigals,

x103. $30; $20(under 30).

chansons and part songs from

tive performance for young

ters: Alice Giles. J.S. Bach: Lute

director: Lucas Harris; guest:

4:00 Cathedral Church of St. James. Organ Recitals. An-

audiences. Guest: Teng Li, viola.

Suite in e BWV996; Saint-Saëns:

R.H. Thomson, reader. Church

drew Ager, organ. 65 Church St.

Walter Hall, Edward Johnson

Fantaisie for Harp in a Op.95;

of the Redeemer, 162 Bloor St.

416-364-7865. Free; donations

Building, 80 Queen’s Park. 416-

Whitehead: Toccata; Salzedo:

W. 416-763-1695. $30; $25(sr);

welcomed.

922-3714 x103. $13(includes a

Ballade for Harp Op.28. Alice

$12.50(under 30). Coffee, tea and

chocolate truffle at conclusion).

Giles, harp. Mazzoleni Concert

home baking follow.

1:30 Kingston Road Village Concert Series. Beaches Reads: An Equal Music. Readings

Hall, 273 Bloor St. W. 416-408-

3:00 Toronto Children’s Chorus Main Choir. Sounds A-Splen-

4:00 Church of St. Mary Magdalene. Warlock’s Capriol Suite.

from Vikram Seth; works by

La Gran Via. Chueca. Margie

Haydn, Beethoven, J.S. Bach and others. Toronto Symphony

SUNDAY NOV. 1:00 Necessary Angel Theatre Company. What Makes a Man.

the age of polyphony. Artistic

String Quintet No.4 in g K516.

Guest: Teng Li, viola. Walter Hall, Edward Johnson Building, 80 Queen’s Park. 416-922-3714

Mariachi Vespers: Jorge Lopez

Mogensen, piano. Suite 133

4

TUESDAY NOV.

Andrew Adair, organ. 477 Man-

12:00 Canadian Opera Company/ Jeunesses Musicales du Canada. Chamber Music

ning Ave. 416-531-7955. Free.

Series: White Night in Russia.

organ; Stan Klebanoff, trumpet;

4:00 St. Olave’s Anglican Church.

exandre Broekaert. Richard

Bernal; Fabian Arciniegas; Pab-

Carole Anderson and Matthew

Choral Evensong for All Saints

Bradshaw Amphitheatre, Four

lo Benitez; Diego Catala; José

Otto, conductors. Calvin

and All Souls. Classical, con-

Seasons Centre for the Per-

Orchestra String Quartet; Tom

Hernández, music director and

Presbyterian Church, 26 Delisle

temporary and popular flute

forming Arts, 145 Queen St. W.

Allen, host. 975 Kingston Rd.

piano. Jane Mallett Theatre, St.

Ave. 416-932-8666 x231. $15-$30.

pieces. City Flutes, Lana Chou

416-363-8231. Free.

416-699-6091. $20; $10(st); free

Lawrence Centre for the Arts,

In support of the Tour Fund

Hoyt, director. 360 Winder-

(under13).

27 Front St. E. 416-366-7723.

for the Chamber Choir’s June

mere Ave. 416-769-5686. Free

0208. $32.

2:00 Toronto Operetta Theatre.

did. Guests: Christopher Dawes,

Marina Thibeault; Michel-Al-

ALLEGRO LISTINGS

12:00 Jeunesses Musicales Ontario. Emerging Artists

8:00 Musideum. Christa Couture &

7:30 Ozere. Ozere plays an

by Rachmaninov, Medtner,

Hillary Grist, singer/songwrit-

evening of chamber folk.

Ravel. Maxim Bernard, piano.

6:30 York University Department of Music. Faculty Spotlight

Concerts on Tour: White Night

ers. Folk, pop, jazz. Suite 133

Jessica Deutsch, violin; Lydia

Richard Bradshaw Amphithe-

Series. Complete Mozart Violin

in Russia. Marina Thibeault,

(main floor), 401 Richmond St.

Munchinsky, cello; Adrian

atre, Four Seasons Centre for

Sonatas (selections). Jacques

viola; Michel-Alexandre Broe-

W. 416-599-7323. $20

Gross, mandolin; Bret Higgins,

the Performing Arts, 145 Queen

Israelievitch, violin; and Chris-

bass; Emily Rockarts, vocals.

St. W. 416-363-8231. Free.

tina Petrowska Quilico, piano.

Charlotte Hale Gallery, 588

Tribute Communities Hall,

8:00 Corporation of Massey Hall and Roy Thomson Hall. Ag-

12:10 University of Toronto Faculty of Music. Thursdays at Noon: Opera Spotlight. A

$10(sr/st). Also Oct 24.

preview of the Opera Division’s

nes Obel. Harbourfront Centre

production of Gilbert and Sul-

7:30 Opera York. Lucia di Lam-

Theatre, 235 Queens Quay W.

livan’s HMS Pinafore. Walter

mermoor. Donizetti. Allison

416-872-4255. $29.50-$39.50.

Hall, Edward Johnson Building,

Arends, soprano (Lucia);

8:00 Royal Conservatory/Small World Music. World Music:

80 Queen’s Park. 416-408-0208.

Gary Relyea, bass (Raimondo

Free.

Bidebent); Guiseppe Macina,

kaert, piano. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231.

Free. Also Nov 7 (eve, Prescott).

12:00 Nine Sparrows/Yorkminster Park Baptist Church. Lunchtime Chamber Music: Rising Stars Recital. Students from

5

WEDNESDAY NOV.

Glenn Gould School. Yorkmin-

Markham St. 647-527-4253. $15.

Hindemith, Scriabin, Fauré and

Accolade East Building, 4700 Keele St. 416-736-5888. $15;

12:30 Yorkminster Park Baptist Church. Noonday organ recit-

Ana Moura. Portuguese fado

12:15 stage director; Sabatino Vacca, Music at Metropolitan. Noon conductor. Richmond Hill

music. Koerner Hall, 273 Bloor

at Met. Matthew Whitfield,

Centre for the Performing Arts,

1:00 Cathedral Church of St. James. Organ Recitals. An-

als. William Maddox, organ.

St. W. 416-408-0208. $35-$80.

organ. Metropolitan United

10268 Yonge St., Richmond Hill.

Church, 56 Queen St. E. 416-

905-787-8811. $40–$50; $25(st).

363-0331 x26. Free.

Also Nov 8.

drew Ager, organ; Emma Culpeper and Emily Wall, sopra-

5:30 Canadian Opera Company.

nos. 65 Church St. 416-364-7865.

World Music Series: Walk to the

12:30 York University Department of Music. Faculty Spotlight

7:30 University of Toronto Faculty of Music. U of T 12TET.

Free; donations welcomed.

Sea. Ensemble of jazz and world

Series. Complete Mozart Violin

Ralph Alessi, trumpet; Terry

7:30 Royal Conservatory. Mazzoleni Masters: Musicians from Marlboro. Haydn: Piano

musicians explore cross-cul-

Sonatas(selections). Jacques

Promane, conductor. Walter

Israelievitch, violin; Christi-

Hall, Edward Johnson Building,

na Petrowska Quilico, piano.

80 Queen’s Park. 416-408-0208.

Tribute Communities Hall,

$20; $10(st).

Trio in e-flat; Britten: String

David Buchbinder, trumpet

Accolade East Building, 4700

Quartet No.3 Op.94; Fauré:

and composer; Hilario Durán,

Piano Quartet No.2 in g Op.45.

Emilie-Anne Gendron, violin;

ster Park Baptist Church, 1585 Yonge St. 416-241-1298. Free.

Donations welcome.

1585 Yonge St. 416-922-1167.

Free.

tural commonalities from their shared Arabic, Roma, Sephardic and North African roots.

6

THURSDAY NOV.

Keele St. 647-459-0701. Free.

8:00 Musideum. Bill Gilliam.

piano. Richard Bradshaw

12:00 Adam Sherkin, piano. In

Also Nov 27.

Experimental. Bill Gilliam,

Amphitheatre, Four Seasons

Concert. Rachmaninoff: Pre-

composer/pianist. Suite 133

Danbi Um, violin; Hsin-Yun

Centre for the Performing Arts,

ludes Op.32 Nos.8-13; Sherkin:

Huang, viola; Gabriel Cabezas,

145 Queen St. W. 416-363-8231.

Preludes of Adlivun. Jane

1:00 Encore Symphonic Concert Band. In Concert. Classics

cello; Angela Park, cello; Ieva

Free.

Mallett Theatre, St. Lawrence

and jazz. John Edward Liddle,

Jokubaviciute, piano. Mazzoleni

Centre for the Arts, 27 Front St.

conductor. Encore Hall, Wilmar

8:00 Thin Edge Music Collective.

E. 416-366-7723. Free.

Heights Centre, 963 Pharmacy

Cuatro Esquinas (Four Corners).

416-408-0208. $32.

7:00 University of Toronto Faculty of Music. John R. Stratton

Ave., Scarborough. 416-346-

Collaborative concert project

8:00

Visitor in Music: Student Vocal-

3910. $10. Includes coffee and

and cultural exchange. Guest

Corporation of Massey Hall and Roy Thomson Hall. Ag-

ists with Catherine Wyn-Rog-

12:00 Canadian Opera Company. Piano Virtuoso Series:

snack.

artist: Laura Ventemiglia, pia-

ers. Walter Hall, Edward

1914–1918: Lest We Forget….

no. Gallery 345, 345 Sorauren

nes Obel. Harbourfront Centre

Johnson Building, 80 Queen’s

Commemoration of the 100th

3:00 Neapolitan Connection.

Theatre, 235 Queens Quay W.

Park. 416-408-0208. Free

anniversary of the start of

Maxim Bernard, Piano. 14 Elm

st/arts worker).

the First World War. Works

St. 416-231-0006. $12.50-$30.

Concert Hall, 273 Bloor St. W.

416-872-4255. $29.50-$39.50.

(main floor), 401 Richmond St. W. 416-599-7323. $20; $15(sr/st).

Ave. 416-822-9781. $20; /$15(Sr/

65

7 FRIDAY NOV.

7:30 Ontario Christian Music Assembly. Christian Festival

Atwood; singers: Thom Allison,

S. Burroughs Centennial Event.

sian); Ravel: 5 Greek Folksongs

Gregory Hoskins, Carla Huh-

Extended multi-media work,

(in Greek); Schubert: 5 Lieder;

tanen; musicians: Andrew Bu-

featuring an actor, 11-piece

Chopin: 2 Ballades. Kira Braun,

Concert 2014. Liselotte Rokyta,

rashko, piano; Barry Shiffman,

orchestra, electroacoustic

soprano; Peter Krochak, piano.

panflute; Andre Knevel, organ;

violin; Andrew Downing, bass;

sound and visual projections.

Calvin Presbyterian Church, 26

OCMA Vocal Quartet; Leendert

John Johnson, saxophone; Ra-

Glen Hall, saxophones, flute,

Delisle Ave. 416-786-3109. $20.

Kooij, conductor and musical

chel Mercer, cello; Rob Piltch,

Kyma X, electroacoustic sound.

director. Roy Thomson Hall,

guitar. Harbourfront Centre

Music Gallery, 197 John St.

60 Simcoe St. 416-872-4255.

Theatre, 235 Queens Quay W.

416-204-1080. $20/$15(adv);

7:00 Counterpoint Community Orchestra. Celebrating the

$25-$50.

416-973-4000. $25-$59. Also

$10(member).

Life of Paul Willis. Massenet:

7:30 Opera by Request. Tsu-

November 8.

8:00 Musideum. Emily Coulston,

Méditation from the Life of

singer/songwriter. Suite 133

violin. St. Luke’s United Church,

12:10 Music at St. Andrew’s. Noon- Ching Yu, soprano: Love Enter-

8:00 Aurora Cultural Centre. Lei-

time Recital: Adam Zukiewicz,

lasting. Works by C. Schumann,

sa Way in Rhinestone Cowgirl:

(main floor), 401 Richmond St.

353 Sherbourne St. Free. 416-

Piano. St. Andrew’s Church, 73

Chaminade, Eric Whitacre,

A Tribute to Dolly Parton. 22

W. 416-599-7323. $20; $15(sr/st).

902-7532.

Simcoe St. 416-593-5600 x231.

Tchaikovsky and others. Wil-

Church St., Aurora. 905-713-

Free.

liam Shookhoff, piano. College

1818. $38/$32(adv).

8:00 Royal Conservatory. Music

12:10 Toronto Reference Library.

Street United Church, 452

Mix: An Evening with Bruce Cockburn. Blend of folk, blues,

ber. Music from the 30s, 40s,

Accordion Duo: Sébastien Ber-

jazz, and rock. Koerner Hall,

50s and 60s. Little Peter and

Future” Tribute to the Big Band

273 Bloor St. W. 416-408-0208.

the Elegants. Shore Grill and

accordions, music for dancing

7:30 University of Toronto Faculty of Music. Paradoxical by

8:00 Etobicoke Community Concert Band. “Swingin’ to the

7:00 Mississauga Big Band Jazz Ensemble. Music to Remem-

Era. Guests: Toronto All-Star

Grotto, 71 Lakeshore Ave. E.,

groups and traditional Breton

Nature. Blend of musical and

Big Band; John Edward Liddle,

8:00 Toronto Consort. Paris

music. 789 Yonge St., Toronto,

theatrical performances with

conductor. Etobicoke Collegiate

Confidential. Music, words and

$25/$20(adv).

On. 416-393-7131. Free.

humour and pathos. Walter

Auditorium, 86 Montgomery

images of 16th-century Paris.

1:10 Gordon Murray Presents.

Hall, Edward Johnson Building,

Rd., Etobicoke. 416-410-1570.

Music by Jannequin, Sermisy,

7:00 Monsoon-Music. Sixth

80 Queen’s Park. 416-408-0208.

$15; $5(st); free(child).

Chardavoine and LeJeune. Trin-

Annual Indo-Jazz Fest: Indian

Piano Potpourri. Classics,

Free.

ity-St. Paul’s Centre, 427 Bloor

Classical Raga. Monsoon Trio;

opera, operetta, musicals,

St. W. 416-964-6337. $21-$54.

Steve Gorn, bansuri. Guest:

the Piano: Mark Pierre Toth.

Also November 8.

Ravi Naimpally, tabla. Small

631-4300. PWYC. Also Nov 14,

8:00 Alliance Française de Toronto. Reconnect: 20th-Century European Composers Discover African-American Music. Diane Roblin, compos-

8:00 Gallery 345. The Art of

Nov 21, Nov 28.

er/piano; Jeff King, saxophone;

$20; /$10(st).

7:30 Brott Music Festival. We Will

Russ Boswell, bass; Roger Travassos, drums; Howard

8:00 Group of 27. World to World.

Rock You! The Music of Queen.

Spring, guitar. 24 Spadina Rd.

Stravinsky: Dumbarton Oaks;

Concert and Craft Beer Tasting.

416-537-4191. $10–$20.

Downing: Nottawasaga; Cop-

Bohemian Rhapsody; Another

land: Appalachian Spring. Eric

One Bites the Dust; Under Pres-

8:00 Art of Time Ensemble. The

sure. Jeans ‘n Classics Revival

Poem/The Song. Music inspired

the Holy Trinity, 10 Trinity Sq.

Band; National Academy Or-

by the poem and poetry in mu-

416-735-3662. PWYC.

chestra. Burlington Performing

sical settings. Works by Liszt/ Petrarch, T.S.Eliot/Lloyd Web-

2:00 Kira Braun/Peter Krochak.

United Church, 432 Runnymede

Arts Centre, 440 Locust St., Burlington. 905-525-7664. $38.

ber; Whitma/Crumb, Cohen

8:00 Music Gallery/Toronto Creative Improvisers Festival.

Recital and CD Release. Rach-

2197. $25; $20(sr/st).

and others. Reader: Margaret

Rub Out The Word: A William

maninoff: 5 Romances (in Rus-

trand & Alain Pennec. Diatonic

ragtime, pop, international and other genres. Gordon Murray, piano. Trinity-St. Paul’s United Church, 427 Bloor St. W. 416-

College St. 416-832-7891. $20.

rEVOLUTION from Pathetique to Hammerklavier - Ludwig!

What have you done? 345 Sorauren Ave. 416-822-9781.

Paetkau, conductor. Church of

8

SATURDAY NOV.

Thaïs. Emma Vachon-Tweney,

Port Credit. 905-274-6131.

World Music Centre, Artscape Youngplace, 180 Shaw St. 416530-2787. $20; $10(st). Nov 15: Monsoon CD Release, Glenn Gould Studio.

7:00 Vesnivka Choir. Remembrance.

Music and poetry of WWI; Lawryshyn: new work. Guests: Toronto Ukrainian Male Chamber Choir; Serhiy Danko and Alex Tyssiak, baritones; Ukrainian Youth Ensembles. Runnymede Rd. 416-246-9880 or 416-763-

ALLEGRO LISTINGS

7:30 Bloordale United Church.

Palestrina, Taverner and others.

Ho Theatre, Chinese Cultural

Julie Michels, Don Francks.

ends and Fairy Tales. Works by

Choir of Schola Cantorum and

Centre of Greater Toronto, 5183

Young Centre for the Perform-

Mahler, Debussy, Szymanows-

Great American Songbook.

Theatre of Early Music; Daniel

Sheppard Ave. E., Scarborough.

ing Arts, Distillery District, 50

ki, Weill, Gershwin and others.

Michael Downie, baritone;

Taylor, conductor. Guests:

416-879-5566. $33-$53; $28-

Tank House Ln. 416-866-8666.

Leslie Ann Bradley, soprano;

Sandi Maxwell, jazz vocals; jazz

Coleman, Lemieux & Company,

$43(sr/st); free(under 12).

$20,$15(st).

Allyson McHardy, mezzo;

trio accompaniment. 4258 Bloor

dancers. Trinity College Chapel, 6 Hoskin Ave. 416-408-0208.

9:30 GUH. GUH with Dale Morn-

Geoff Sirett, baritone; Robert

St. W., Etobicoke. 416-620-5377

8:00 Gallery 345. Mike Downes,

or 416-621-1710. $25. 6:45: Doors

$30; $20(sr); $10(st).

bass and Ted Quinlan, guitar:

ingstar. An eclectic mix of jazz/

piano; Rachel Andrist, artistic

Mastery. Originals and ar-

rock/pop/latin/march/polka/

director; Monica Whicher,

8:00 Aga Khan Museum. Nazar-i

rangments of standards. 345

bop/chant/mayhem/what-was-

artistic advisor. Rosedale

Sorauren Ave. 416-822-9781.

that? The Sister, 1554 Queen

Presbyterian Church, 129 Mt.

Turkwaz. Traditional music

$20; /$10(st).

Street West. 416-532-2570.

Pleasant Rd. 416-921-1931. $35;

from the Middle East, Turkey,

PWYC.

$20(st).

open. Refreshments. Free parking, handicapped accessible.

7:30 Nine Sparrows/Yorkminster Park Baptist Church. A Concert of Remembrance with John

Greece and the Balkans. Brenna

8:00 Musideum. Dorothy Stone and

McDermott. Yorkminster Park

MacCrimmon, Maryem Tollar,

Ori Dagan. Classical and jazz.

Baptist Church, 1585 Yonge St.

Sophia Grigoriadis and Jayne

Suite 133 (main floor), 401 Rich-

416-241-1298. Free. Donations

Brown. Aga Khan Museum

mond St. W. 416-599-7323. $20.

welcome.

Auditorium, 77 Wynford Drive.

7:30 Opera York. Lucia di Lam-

416-646-4677. $25-$35.

8:00 Philip Fournier, Harpsichord. In Concert. Bull:

mermoor. Donizetti. Allison

8:00 Art of Time Ensemble. The

Walsingham; Bach: Partita 4 in

Arends, soprano (Lucia);

Poem/The Song. Music inspired

D Major; Couperin: Suite 21 in

Gary Relyea, bass (Raimondo

by the poem and poetry in mu-

e. Yoga Village, 240 Ronces-

Bidebent); Guiseppe Macina,

sical settings. Works by Liszt/

valles Ave. 416-907-8084. $20

stage director; Sabatino Vacca,

Petrarch, T.S.Eliot/Lloyd Web-

or PWYC.

conductor. Richmond Hill

ber; Whitman/Crumb, Cohen

Centre for the Performing Arts,

and others. Reader: Margaret

10268 Yonge St., Richmond Hill.

Atwood; singers: Thom Allison,

8:00 Royal Conservatory/Batuki Music/Small World Music.

905-787-8811. $40–$50; $25(st).

Gregory Hoskins, Carla Huh-

Also Nov 6.

9

SUNDAY NOV.

Kortgaard and Rachel Andrist,

3:00 Musideum. Don Naduriak: Jambanda. Latin jazz. Suite 133 (main floor), 401 Richmond St. W. 416-599-7323. $20. Also Nov 23 and 30.

3:00 Royal Conservatory. Invesco Piano Concerts: Jeremy Denk.

Janáček: On the Overgrown Path; Schubert: Ländler;

1:00 Royal Conservatory. Mazzo-

Moments musicaux; Grazer

leni Masters: Frank Morelli and

Schumann: Carnaval. Koerner

Friends. Works by Schumann,

Hall, 273 Bloor St. W. 416-408-

World Music: Angélique Kidjo

Villa-Lobos, Coulthard, von

0208. $30-$65.

tanen; musicians: Andrew Bu-

and special guest H’sao. Featur-

Weber, Corrette and Beethoven.

7:30 Toronto Symphony Orchestra. What Makes It Great?®

rashko, piano; Barry Shiffman,

ing Afropop, Afrobeat, reggae,

Susan Hoeppner, flute; Sarah

3:00 Uxbridge Chamber Choir.

violin; Andrew Downing, bass;

gospel, soul, jazz and world

Jeffrey, oboe; Joaquin Valde-

Grant Us Peace: Songs of

John Johnson, saxophone; Ra-

fusion. Koerner Hall, 273 Bloor

peñas, clarinet; Frank Morelli,

Remembrance. Vaughan Wil-

Series: Vivaldi’s Four Sea-

chel Mercer, cello; Rob Piltch,

St. W. 416-408-0208. $35-$85.

bassoon; Gabriel Radford,

liams: Dona Nobis Pacem; In

sons. Vivaldi: Four Seasons

guitar. Harbourfront Centre

Flanders Fields (arr. Daley/Bak-

Theatre, 235 Queens Quay W.

8:00 Toronto Consort. Paris

horn; James Anagnoson, piano;

(“Autumn” & “Winter”).

Jeanie Chung, piano. Mazzoleni

er); Barber: Agnus Dei. Trinity

Chee-Yun, violin; Rob Kapilow,

416-973-4000. $25-$59. Also

Confidential. Music, words and

Concert Hall, 273 Bloor St. W.

United Church (Uxbridge), 20

conductor. Roy Thomson

November 7.

images of 16th-century Paris.

416-408-0208. $32.

First Ave., Uxbridge, On. 905-

Hall, 60 Simcoe St. 416-593-

8:00 Cathedral Bluffs Symphony Orchestra. Subscription

Music by Jannequin, Sermisy,

852-2676. $22; $15(sr/st).

Chardavoine and LeJeune. Trin-

2:00 The Sound Post. Fall Salon

ity-St. Paul’s Centre, 427 Bloor

Concert. Matt Haimovitz, cello.

7:30 University of Toronto Faculty of Music. Path to Paradise.

Concert #1. Beethoven: Triple

St. W. 416-964-6337. $21-$54.

93 Grenville St. 416-971-6990

4:00 Cathedral Church of St. James. Organ Recitals. An-

Concerto in C Op.56; Sym-

Also November 7.

x244. Free. Limited seating, call

drew Ager, organ; Emma Cul-

phony No.7 in A Op.92. Guest:

to reserve. Reception to follow.

peper and Emily Wall, sopra-

Bryar: “Jesus’ Blood Never

TrioEstonia (Arvo Leibur,

8:30 Soulpepper. Weekly Cabaret

nos. 65 Church St. 416-364-7865.

Failed Me;” Allegri: “Miserere;”

violin; Aare Tammesalu, cello;

Series: Five Friends. Featuring

2:30 Recitals at Rosedale. A Walk

Earle: dance; and works by

Norman Reintamm, piano). P.C.

Paul Hoffert, Tony Quarrington,

on the Dark Side: Myths, Leg-

4828; 416-593-0688(Chinese). $29–$79.

Galopp; Mozart: Rondo in a;

Free; donations welcomed.

67

1 11 0

4:00 St. Philip’s Anglican Church.

197 John St. 416-204-1080.

Building, 4700 Keele St. 647-

ements); Ravel: Piano Concerto

$30/$20(adv); $10(st). 7:00: Pre-

459-0701. Free.

in g. Xiaoyu Liu, piano. Koerner

Jazz Vespers: Make Love Songs

show screening of Intangible

Not War. Diana Panton Trio

Asset No.82.

1:00 Cathedral Church of St. James. Organ Recitals. An-

with Reg Schwager & Don Thompson. 25 St. Phillips Rd., Etobicoke. 416-247-5181. Freewill offering.

4:00 Vic Chorus. Fall Concert.

Purcell: Come, Ye Sons Of Art; Bach: Coffee Cantata. Victoria College Chapel, 91 Charles St. W. Free. 416-585-4521.

7:30 University of Toronto Faculty of Music. Coronation of King George II, Vivat Rex. Works by Gibbons, Purcell, Tallis and Handel; trumpet

TUESDAY NOV.

12:00 Canadian Opera Company.

drew Ager, organ. 65 Church St. 416-364-7865. Free; donations welcomed.

7:00 Dmitri Levkovich. Piano Recital. Rachmaninov: Sonata No.2 Op.36; Mozart: Sonata in D K576; Stravinsky: Trois Mouvements de Petrouchka; Bach: Italian Concerto; Chopin: 12 Etudes Op.10. Walter Hall, Edward Johnson Building, 80 Queen’s Park. 416-929-6939. $40; $20(st). Cash only at the door.

1 2

Hall, 273 Bloor St. W. 416-4080208. $25-$85.

Chamber Music Series: Voice

7:30 Orpheus Choir of Toronto.

of the Violoncello. Solo cello

The End of Innocence. Read-

music from the 17th and 18th

ings, music and images in com-

centuries. Works by Dall’Aba-

memoration of the centenary of

Chapel, 6 Hoskin Ave. 416-408-

12:30 York University Department of Music. Music at Midday:

co, Supriani, Vitali, Gabrielli,

the Great War. Bethany Jillard

12:00 Canadian Opera Company. World Music Series: Sub

0208. $30; $20(sr); $10(st).

Classical Instrumental Recital.

Ruvo, Colombi and Galli. Elinor

and Mike Shara, narrators.

Urban Gypsy. Southern Italian

8:00 Musideum. Michael Greil-

Student Soloists. Tribute

Frey, cello. Richard Bradshaw

Grace Church on-the-Hill, 300

repertoire infused with mul-

Communities Hall, Accolade

Amphitheatre, Four Seasons

Lonsdale Rd. 416-420-9660.

ticultural flavours of Toronto.

sammer, electric violin/sing-

East Building, 4700 Keele St.

Centre for the Performing Arts,

$35; $30(sr); $15(st).

Highlights from Comfortably

er-songwriter. Suite 133 (main

647-459-0701. Free.

145 Queen St. W. 416-363-8231.

Mine album. Dominic Man-

floor), 401 Richmond St. W.

7:00 University of Toronto Faculty of Music. Monday Evening

Free.

8:00 Arraymusic. Gerald Barry Returns. Barry: Humiliated and

multi-instrumentalist. Richard

insulted (premiere); Le Vieux

Bradshaw Amphitheatre, Four

Concerts: Cecilia String

12:00 Nine Sparrows/Yorkminster Park Baptist Church. Lunch-

Sourd; Sextet; Low (for bass

Seasons Centre for the Per-

Remembers. Eleanor Daley:

Quartet. Beethoven: String

time Chamber Music. David

clarinet and piano); Steibler:

forming Arts, 145 Queen St. W.

Requiem; works by Whitacre,

Quartet Op.18 No.1; Webern:

Boutin-Bourque, clarinet. York-

Trio for piano, cello and cro-

416-363-8231. Free.

Mealor, Clausen, Gorecki,

Langsamer Satz; Shostakov-

minster Park Baptist Church,

tales. Array Ensemble; Stephen

and Runestad. Craig Pike,

ich: Piano Quintet in g Op.57.

1585 Yonge St. 416-241-1298.

Clarke, piano. Gallery 345, 345

conductor. Metropolitan United

Lydia Wong, piano. Walter Hall,

Free. Donations welcome.

Church, 56 Queen St. E. 416 460

Edward Johnson Building, 80

1585 Yonge St. 416-922-1167.

Queen’s Park. 416-408-0208. $40; $25(sr); $10(st).

8:00 Royal Conservatory. Lu

Free.

ers & seniors); $5(students).

12:30 York University Department of Music. Music at Midday:

/$20(sr/st/arts worker).

1783. $25(adult); $15(arts work-

8:30 Music Gallery. If Volcanoes

York University Chamber

Jia conducts the China NCPA

6:00 St. James Cathedral. Can-

Strings. Jacques Israelievitch,

Orchestra with Xiaoyu Liu.

tatas in the Cathedral. Bach:

Could Sing. Bae Il-Dong,

conductor. Tribute Commu-

Tchaikovsky: Symphony No.5;

“Nur jedem das Seine” BWV163.

voice; Kim Dong-Won, drums.

nities Hall, Accolade East

Qigang Chen: Wu Xing (Five El-

Kirsten Fielding, soprano;

fanfares and drum marches.

Choir of Schola Cantorum and

MONDAY NOV.

Theatre of Early Music; Cristina Zacharias, violin; Daniel Taylor, conductor. Trinity College

416-599-7323. $20.

8:00 That Choir. That Choir

WEDNESDAY NOV.

cuso, singer-songwriter and

12:30 Yorkminster Park Baptist Sorauren Ave. 416 532-3019. $25; Church. Angus Sinclair, Organ.

ALLEGRO LISTINGS

Rob Kinar, tenor; David Roth,

8:00 The Oratory. Oratorium

baritone. 65 Church St. 416-364-

Saeculare. Responsories from

7865. PWYC.

the Office for the Dead. Works

7:30 Organix Concerts. Season

by Victoria, Lassus, Palestrina

Finale Memorial Concert

Whittall, countertenor; Paul

Honouring Massimo Nosetti.

Ziade, tenor; Jamie Tuttle, ten-

Maxine Thévenot, Eugenio

or; Sean Nix, bass; The Oratory

Fagiani, Omar Caputi and

Chant Schola. The Oratory,

Toronto Ecumenical Chorale

Holy Family Church, 1372 King

(Gordon Mansell, conductor).

St. W. 416-532-2879. Free.

St. Paul’s Bloor Street, 227 Bloor $20(st/RCCO, RSCM and AGO

8:00 Toronto Symphony Orchestra. Masterworks: Beetho-

(American Guild of Organist)

ven & The Inextinguishable.

Scott Belluz, counter-tenor;

St. E. 416-769-3893. $30; $25(sr);

and Gregorian Chant. Richard

1 3

4828; 416-593-0688(Chinese). $29–$89. Intermission Chats in the Lobby. Also Nov 12(eve).

5:30 Canadian Music Centre.

CMC on the 13th: La séduction

8:00 Aga Khan Museum. Toronto Reel Asian International Film Festival: Himalaya Song.

de l’incertitude. New music

Gingger Shankar, vocals/dou-

from Québec: works by Giguère,

ble violin; Dave Liang, piano/

Lizeée, Darmoo and others.

electronics; Mridu Chandra,

Brian Harman, curator. 20 St.

video and narration. Aga

Joseph St. 416-961-6601 x201.

Khan Museum Auditorium, 77

$20/$15(adv).

Wynford Drive. 416-646-4677.

7:00: Aprile Millo. Vetere Studio:

$35(includes Gala reception and

Opera Spectacular! Works by Verdi, Strauss, Mozart, Puccini

8:00 Aurora Cultural Centre.

and others. Trinity-St. Paul’s

Great Artist Piano Series:

Centre, Jeanne Lamon Hall, 427

Angela Hewitt. 22 Church

Bloor St. W. 289-213-5636. $25-

St., Aurora. 905-713-1818. $45;

$45; $60(VIP).

$35(sr/st).

8:00 Miles Nadal Jewish Community Centre. Stand by Me: The Music of the Brill Building.

museum access).

members); free(18 and under).

Mozart: Marriage of Figaro

7:30 York University Department of Music. Chamber Choir with

(Overture) K.492; Beetho-

Lisette Canton, conductor.

Inextinguishable”. Jan Lisiecki,

12:15 Music at Metropolitan. Noon

Works by Josquin; Monteverdi;

piano; Thomas Dausgaard,

at Met: Andrew Adair, organ.

Bach; Saint-Saëns; Goodyear.

conductor. Roy Thomson

Metropolitan United Church,

7:30 York University Department of Music. Faculty

Guests: Floydd Ricketts, con-

Hall, 60 Simcoe St. 416-593-

56 Queen St. E. 416-363-0331

Concert Series: Al Henderson

ductor; Ted Mulroney, piano.

4828; 416-593-0688(Chinese).

x26. Free.

Quintet. Original works and

Micah Barnes, Billy New-

Tribute Communities Hall,

$33–$145. Intermission Chats in

new arrangements. Tribute

ton-Davis, Tyrone Gabriel and

Accolade East Building, 4700

the Lobby. Also Nov 13(mat).

Communities Hall, Accolade

Gavin Hope. Al Green Theatre,

Keele St. 416-736-5888. $15;

8:30 Village Concert Series. Isabel

1:30 Women’s Musical Club of Toronto. Dover Quartet.

East Building, 4700 Keele St.

750 Spadina Ave. 416-978-8849.

Works by Haydn, Saariaho, and

416-736-5888. $15; $10(st).

$50(reserved). Proceeds to benefit the MNjcc Music Schol-

$10(st).

THURSDAY NOV.

ven: Piano Concerto No.4; Nielsen: Symphony No.4 “The

8:00 Acting Up Stage Company.

and the Uncommons. Hearts

Beethoven. Joel Link and Bryan

and Arrows CD release. Hugh’s

Lee, violins; Milena Pajaro-van

8:00 Acting Up Stage Company.

UnCovered: Billy Joel & Elton

Room, 2261 Dundas St. W. 416-

de Stadt, viola; Camden Shaw,

UnCovered: Billy Joel & Elton

John. Annual rock and musical

531-6604. $20/$18(adv). 6:00:

cello. Walter Hall, Edward

John. Annual rock and musical

8:00 Tapestry Opera. Tapestry

theatre hybrid concert. Featur-

Doors open. Dinner reserva-

Johnson Building, 80 Queen’s

theatre hybrid concert. Featur-

Briefs: Booster Shots. Works

ing Brent Carver, Jake Epstein,

tions guarantee seating.

Park. 416-923-7052. $45.

ing Brent Carver, Jake Epstein,

by Billon, Panych, St. Bernard,

Sara Farb, Kelly Holiff,

Yee, Barbotin and others. Carla

Chilina Kennedy, Jeigh Madjus,

Huhtanen; Kristzina Szabò;

Jackie Richardson, Jeffery

2:00 Toronto Symphony Orchestra. Matinee Masterworks:

Jackie Richardson, Jeffery

Keith Klassen; Alexander Dob-

Straker; Reza Jacobs, music

Beethoven & The Inextin-

Straker; Reza Jacobs, music

son; and others. Ernest Balmer

direction, vocal arrangements

guishable. Mozart: Marriage

direction, vocal arrangements

Studio, 55 Mill St. 416-537-6066.

& orchestrations; Jamie Drake,

of Figaro (Overture) K.492;

& orchestrations; Jamie Drake,

$35. Also Nov 14, 15 and 16.

Justin Gray, Reza Jacobs, Na-

Beethoven: Piano Concerto

Justin Gray, Reza Jacobs, Na-

talie Wong, musicians. Koerner

No.4; Nielsen: Symphony No.4

talie Wong, musicians. Koerner

Hall, 273 Bloor St. W. 416-408-

“The Inextinguishable”. Jan

Hall, 273 Bloor St. W. 416-408-

0208. $32-$100. Also Nov 13.

Lisiecki, piano; Thomas Daus-

0208. $32-$100. Also Nov 12.

Sara Farb, Kelly Holiff, Chilina Kennedy, Jeigh Madjus,

gaard, conductor. Roy Thomson Hall, 60 Simcoe St. 416-593-

arship Fund.

69

1 4

Choir; Chamber Orchestra;

Kristian Alexander, conduc-

David John Pike, baritone. 65

tor; Boris Brott, host. Flato

Church St. 416-364-7865. $25.

Markham Theatre, 171 Town

7:30 Toronto Symphony Orchestra. Toronto Symphony

Centre Blvd., Markham. 905305-7469. $15-$35.

Youth Orchestra. Tchaikovsky:

8:00 Musideum. Mike Gennaro

Marche Slave; Symphony No.4;

Presents. Experimental. Suite

Fauré: Pelléas et Mélisande.

133 (main floor), 401 Richmond

Shalom Bard, conductor.

St. W. 416-599-7323. $20.

George Weston Recital Hall, 5040 Yonge St. 416-593-4828;

8:00 Royal Conservatory. String

416-593-0688(Chinese). $16-

Concerts: Leonidas Kavakos

$30.

and Yuja Wang. Brahms: Violin

8:00 Arraymusic. Gerald Barry

Sonata No.2; Schumann: Violin

Returns. Barry: Humiliated and

Italienne; Respighi: Violin

Insulted (premiere); Le Vieux

Sonata in b. Koerner Hall, 273

Sourd; Sextet; Low; Steibler:

Bloor St. W. 416-408-0208.

12:10 Music At St. Andrew’s.

Trio. Stephen Clarke, piano;

$45-$100.

Array Ensemble. Gallery 345,

Noontime Recital. Leslie Bickle,

345 Sorauren Ave. 416-532-

8:00 Sinfonia Toronto. Gems Old

soprano. St. Andrew’s Church,

3019. $25/$22(adv); $20(sr/st/

and New. Haydn: Piano Con-

73 Simcoe St. 416-593-5600x231.

arts workers)/$17(adv). 7:00:

Free.

Pre-concert talk.

12:10 Toronto Reference Library.

FRIDAY NOV.

Sonata No.2; Stravinsky: Suite

1 5

SATURDAY NOV.

7:30 Aprile Millo. In Recital. Works

by Donaudy, Strauss, Wolf, Verdi, Bellini and others. Linda Ippolito, piano. Guests: MaryLou Vetere, soprano; Giacomo Folinazzo, tenor; Gustavo Ahaulli, baritone; Merynda Adams, harp. Trinity-St. Paul’s Centre, Jeanne Lamon Hall, 427 Bloor St. W. 289-213-5636. $25$65; $80(VIP).

7:30 Saint Basil’s Catholic Parish.

Bach and the Romantics. Music

by Bach, Beethoven, Chopin, and Rachmaninov. Adam Żukiewicz, piano. 50 St. Joseph St. 416-926-7110. Freewill do-

4:30 Royal Conservatory. Dis-

nation. Proceeds to Saint Basil’s

covery Series: Taylor Academy Showcase Concerts. Young

7:30 Thornhill United Church.

certo in D; Waghalter: Sinfonia

artists of the Phil and Eli Taylor

November Delights. Choirs

Op.3a (North American pre-

Performance Academy. Mazzo-

and instrumental musicians of

miere); Ichmouratov: Chamber

leni Concert Hall, 273 Bloor St.

Thornhill United Church. 25 El-

Symphony No.3. Antonio Di

W. 416-408-0208. Free, ticket

gin St., Thornhill. 905-889-2131.

The Shoeless. Traditional folk

8:00 Fridays @ 8 / RCCO Toronto. Isabelle Demers, Organ.

Cristofano, piano; Nurhan

required.

Freewill offering. Refreshments

songs and original material.

Mendelssohn: A Midsummer

Arman, conductor. Glenn Gould

to follow.

Frank Evans, banjo, Eli Bender,

Night’s Dream (Scherzo &

Studio, 250 Front St. W. 1-866-

7:00 Monsoon-Music. Sixth Annu-

cello; Emilyn Stam, fiddle. 789

Nocturne); and works by Bach,

943-8849. $39; $33(sr); $12(st).

al Indo-Jazz Fest: Monsoon CD

Yonge St., Toronto, On. 416-393-

Macmillan and Laurin. Law-

Release. Release of debut CD

7131. Free.

rence Park Community Church,

8:00 Tapestry Opera. Tapestry

7:30 Toronto Symphony Orchestra. Casual Concerts: Beetho-

Mandala. Monsoon (Jonathan

ven & The Four Temperaments.

1:10 Gordon Murray Presents.

2180 Bayview Ave. 416-489-1551.

Briefs: Booster Shots. Works

Kay, bansuri, saxophones

Beethoven: Piano Concerto

$30; $25(st/RCCO members).

by Billon, Panych, St. Bernard,

and woodwinds; Andrew

No.3; Nielsen: Symphony No.2

Piano Potpourri. Classics,

Free parking; wheelchair

Yee, Barbotin and others. Carla

Kay, saxophone, woodwinds,

“The Four Temperaments”. Jan

opera, operetta, musicals,

accessible.

Huhtanen; Kristzina Szabò;

Tibetan singing bowls and

Lisiecki, piano; Thomas Daus-

ragtime, pop, international and

Keith Klassen; Alexander Dob-

percussion; Justin Gray, basses;

gaard, conductor. Roy Thomson

other genres. Gordon Murray,

8:00 Kindred Spirits Orchestra.

son; and others. Ernest Balmer

Ravi Naimpally, tabla and udu;

Hall, 60 Simcoe St. 416-593-

piano. Trinity-St. Paul’s United

Heavenly Harps. Williams:

Studio, 55 Mill St. 416-537-6066.

Adam Teixeira, drums and

4828; 416-593-0688(Chinese).

Church, 427 Bloor St. W. 416-

“On Willows and Birches” for

$35. Also Nov 13, 15 and 16.

percussion; and others). Glenn

$33–$105. No intermission. Af-

631-4300. PWYC. Also Nov 7,

Harp and Orchestra (Canadian

Gould Studio, 250 Front St. W.

ter-concert party in the lobby.

Nov 21, Nov 28.

premiere); Campbell: Concerto

416-530-2787. $25/$40 w CD;

7:30 St. James Cathedral. Called

for Harp and Orchestra (world

$15(st)/$30 w CD. Nov 8: Indian

8:00 Academy Concert Series.

premiere); Richard Strauss:

Classical Raga, Small World

Celebrating Musical Triumphs

to Serve. Ager: “The Unknown

Symphony No.2. Teresa Suen

Music Centre.

from the First World War. Mac-

Soldier”. St.James Cathedral

and Ann Hobson Pilot, harps;

Catholic Parish music program.

Millan: String Quartet (1917);

ALLEGRO LISTINGS

8:00 Chamber Music Society of Sonata (1915); Elgar: Piano Quin- Mississauga. A Birthday Gift

8:00 Tapestry Opera. Tapestry

zart: Marriage of Figaro(over-

Briefs: Booster Shots. Works

10:30am Lawrence Park Community Church. Brian Barlow Quartet.

tet (1918). Bethany Bergman and

for a Teacher. Mendelssohn:

by Billon, Panych, St. Bernard,

2180 Bayview Ave. 416-489-1551.

new works. Michele Jacot;

Elizabeth Loewen Andrews,

Octet in E-flat Op.20; Haydn:

Yee, Barbotin and others. Carla

Freewill offering. Religious Ser-

Guest: Howard Cable, conduc-

violin; Emily Eng, viola; Kerri

String Quartet Op.76 No.1; three

Huhtanen; Kristzina Szabò;

vice. Free parking; wheelchair

tor. Church of St. Michael and

McGonigle, cello; Leanne Re-

works by Bolt-Martin. Factory

Keith Klassen; Alexander Dob-

accessible.

All Angels, 611 St. Clair W. . $20;

gehr, piano. Eastminster United

Arts String Quartet; Mississau-

son; and others. Ernest Balmer

$10(sr); $5(st/child).

Church, 310 Danforth Ave. 416-

ga Symphony String Quartet.

Studio, 55 Mill St. 416-537-6066.

1:30 Seicho-No-Ie Centre. 6 Cel-

629-3716. $20; $14(sr/st).

Great Hall, Unitarian Con-

$35. Also Nov 13, 14 and 16.

lists, 6 Concerts, 6 Bach Suites.

8:00 Acoustic Harvest. David Ross

gregation of Mississauga, 84

Bach: Suite for unaccompanied

South Service Rd., Mississauga.

8:30 Soulpepper. Weekly Cabaret

4:00 Cathedral Church of St. James. Organ Recitals. An-

cello, No.6 in D (BWV1012). Ariel

drew Ager, organ. 65 Church St.

MacDonald, Acoustic Guitar.

905-848-0015. $85(family); $35;

Series: Down with Love.

Barnes, cello. Seicho-No-Ie

416-364-7865. Free; donations

St. Nicholas Anglican Church,

$30(sr); $15(st).

Material drawn from musical

Toronto, 662 Victoria Park Ave.

welcomed.

1512 Kingston Rd. 416-264-2235.

theatre, jazz, cabaret and

416-690-8686. $20.

$25/$22(adv). Desserts; wheel-

8:00 Gallery 345. The Art of the

4:00 Dim Sum Ensemble. hatch.

chair accessible; free parking.

Piano: Niklas Sivelov. Bach:

=z1e =folk =jazz =voic

Partita No.2; Beethoven: Sonata

2:00 Timothy Eaton Memorial Camilleri, piano. Young Centre for the Performing Arts, Distill- Church. Organ Symphony.

Nov 15 8:00: Aga Khan Museum.

No.30; Scriabin: Sonata-Fantasy

ery District, 50 Tank House Ln.

Saint-Saëns: Symphony No.3

Yangqin, zheng, percussion,

Autorickshaw. Aga Khan Mu-

No.2; Deux Morceaux; Sivelov:

416-866-8666. $20,$15(st).

in c Op.78. Christopher Dawes,

erhu and cello. Agincourt

seum Auditorium, 77 Wynford

8 Preludes. 345 Sorauren Ave.

organ; Sanctuary Choir with

Community Church, 3080

Drive. 416-646-4677. $30-$40.

416-822-9781. $25; $10(st).

Elaine Choi, conductor; Toronto

Birchmount Rd., Scarborough.

8:00 Baroque Music Beside the Grange / Acción Cultural Española. ¡Fandango, Sonata, Bolero! Works by

8:00 Music Gallery/Pinwheel Music. Elizabeth Shepherd. Record

Richards: New WWI-themed

String Quartet; Debussy: Cello

release for The Signal. Music Gallery, 197 John St. 416-204-

Rodriguez de Ledesma, Blas

1080. $30, $20(member/st).

de Laserna, Moretti, Sor, Scarlatti and others. Alison

8:00 Musicians in Ordinary. New,

Melville, traverso; Luisa Mo-

Very Elegant Songs and Dances.

rales, harpsichord; Cristobal

Solo lute music from 16th-cen-

Salvador, dance. Bloor Street

tury France. Works by Des Prez,

United Church, 300 Bloor St.

Lassus, Sermisy and others.

W. 416-588-4301. $25; $15(sr/st);

John Edwards, lute. Heliconian

$10(child).

Hall, 35 Hazelton Ave. 416-535-

8:00 Canadian Music Centre.

9956. $30; $20(sr/st).

Down to Earth. Lachenmann:

8:00 Royal Conservatory. Music of

Salut für Caudwell; Doell: new

the Americas: Diego El Cigala.

work for solo guitar (premiere).

beyond. Robert Cushman; Mark

1 6

SUNDAY NOV.

ture); Gounod: Funeral March of a Marionette(arr. Greaves);

New works by Bai, Koumoulas, Oickle, Oxoby and Van Driel.

Concert Orchestra with Kerry

647-478-4608. $20.

Stratton, conductor. 230 St. Clair Ave. W. 1-888-222-6608.

4:30 Christ Church Deer Park.

$30; $20(sr/st).

Jazz Vespers. Tribute to Zoot

3:00 Royal Conservatory/Music Toronto. Invesco Piano Con-

Sims. 1570 Yonge St. 416-9205211x22. Freewill offering.

certs: Richard Goode. Mozart:

4:30 Trio Arkel. Black Angels.

Adagio in b; Beethoven: Piano

Works by Crumb; Bach(arr.

Sonata No.24; Brahms: 8 Kla-

Sitkovetsky): Goldberg Vari-

vierstücke; Debussy: Children’s

ations(for string trio). Guest:

Corner; Schumann: Humore-

Jonathan Crow, violin. Church

ske. Koerner Hall, 273 Bloor St.

of the Holy Trinity, 10 Trinity

W. 416-408-0208. $35-$85.

Sq. 416-409-6824. $30; $15(st).

3:00 Ton Beau String Quartet.

7:00 Canadian Sinfonietta. A

Premieres. Rowson: String

Visit from Croatia. Casablan-

Quartet; Haydn: String Quartet

cas: Dance, Song and Celebra-

Flamenco interpretations of

10:15am St. John’s United Church.

Op.33 No.3; Puccini: “Crisan-

tion; Pepa: Yakami Variazioni;

Rob MacDonald and Marc-Ol-

Argentinian works by Gardel,

World Music Sunday: Voices

temi”. Heliconian Hall, 35 Ha-

Ivičević: Piece for chamber en-

ivier Lamontagne, guitars. 20

Piazzolla and Yupanqui; classic

of the Earth: Glen Hornblast.

zelton Ave. 416-922-3618. $25;

semble; Šipuš: un breve Viaggio.

St. Joseph St. 416-961-6601 x201.

tango pieces and contemporary

Celebration of the earth’s beau-

$20(sr); PWYC(st/child).

Srebrenka Poljak, harpsichord;

$20; $10(sr/st).

works. Koerner Hall, 273 Bloor

ty, fragility and sacredness. 2

Erika Crinó, piano; Cantus

St. W. 416-408-0208. $40-$105.

Nobert Rd. 416-491-1224. Free.

3:30 Wychwood Clarinet Choir.

Wind Song. Elgar: Nimrod; Mo-

conductor. Glenn Gould Studio,

Ensemble; Ivan Josip Skender,

71

250 Front St. W. 1-866-9438849. $35; $30(sr); $20(st).

12:30 York University Department of Music. R&B Ensemble.

8:00 New Music Concerts. Genera- Mike Cadó, conductor. Martin

Baptist Church, 1585 Yonge St.

tor. Trinity-St. Paul’s Centre,

town Sound; Arbah B’Shir; Two

416-241-1298. Free. Donations

Jeanne Lamon Hall, 427 Bloor

Tenors: Rabbi Moshe Meirovich

welcome.

St. W. 416-964-6337. $37-$89;

and Dr. Albert Weisbrot;

$29-$79(sr); $15-$79(under 36).

Gordon Brown, accompa-

Also Nov 20-23.

nist; and introducing young musicians, JP Saxe and Raphael

tion 2014. Brasset: coup_coupé;

Family Lounge, 219 Accolade

Hall: Object Permanence;

East Building, 4700 Keele St.

1:00 Cathedral Church of St. James. Organ Recitals. An-

Ramon: Labyrinth of light; Tan:

416-736-5888. Free.

drew Ager, organ. 65 Church St.

1 81 9 1 7 Ksana II. L’Ensemble contem-

416-364-7865. Free; donations

7:30: Junction Trio. Autumn Tango. J.S. Gray: Gladstone Frag-

porain de Montréal; Véronique

welcomed.

ments(world premiere); works

0208. $100; $50; $25(age 25 and

Lacroix, conductor. Music Gal-

by Piazzolla and Villa-Lobos.

younger).

lery, 197 John St. 416-961-9594.

8:00 Musideum. Barbara Croall.

$35; $25(sr/arts worker); $10(st).

First Nations/New music. Suite

Mariachi Band. St. Anne’s An-

8:00 Tapestry Opera. Tapestry

133 (main floor), 401 Richmond

glican Church, 270 Gladstone

St. W. 416-599-7323. $20.

Ave. 416-993-5883. PWYC ($20

Guests: ZARI, and Viva Mexico

Briefs: Booster Shots. Works

recommended).

by Billon, Panych, St. Bernard,

Yee, Barbotin and others. Carla

7:30 Opera by Request. Mozart:

Huhtanen; Kristzina Szabò;

Don Giovanni. Giovanni Spanu,

Keith Klassen; Alexander Dob-

baritone (Don Giovanni);

son; and others. Ernest Balmer

Gregory Finney, bass-baritone

Studio, 55 Mill St. 416-537-6066.

(Leporello); Katharine Dain,

$35. Also Nov 13, 14 and15.

soprano (Donna Anna); Kiri

10:15 St. John’s United Church.

Parker, soprano(Donna Elvira);

Voices of the Earth. Glen

TUESDAY NOV.

Hornblast, singer/songwriter. 2 Nobert Rd. 416-491-1224. Free.

piano/music director. College Street United Church, 452 Col-

Hall, 273 Bloor St. W. 416-408-

2 0

12:00 Canadian Opera Company.

lege St. 416-455-2365. $20.

Chamber Music Series: Clas-

sical and New Age Creations.

University of Toronto Faculty of Music. gamUT Ensemble

German Baroque to New Age

Concert. Wallace Halladay,

12:00 Canadian Opera Company.

conductor. Walter Hall, Edward

Chamber Music Series: Cham-

Johnson Building, 80 Queen’s

ber Connections. Music for

music for flute and percussion.

WEDNESDAY NOV.

Works by Telemann, Pärt,

7:30

THURSDAY NOV.

Park. 416-408-0208. Free.

chamber ensemble and voice.

8:00 Nano Stern. Respectful

Chausson: Chanson perpétuelle

Johnston, percussion. Richard

12:30 Yorkminster Park Baptist Church. John Paul Farahat,

Bradshaw Amphitheatre, Four

Organ. 1585 Yonge St. 416-922-

Irreverence Tour. Harbourfront

Artists of The Glenn Gould

Seasons Centre for the Per-

1167. Free.

Centre, 235 Queens Quay W.

School. Richard Bradshaw

forming Arts, 145 Queen St. W.

7:00 Tafelmusik. Theatre of Magic:

416-593-4822 x335. $19.50 -

Amphitheatre, Four Seasons

$39.50.

Centre for the Performing Arts,

12:00 Nine Sparrows/Yorkminster Park Baptist Church. Lunch-

Music of the English Baroque.

time Chamber Music: Rising

Rinaldo; and other works

Stars Recital. Students from

inspired by theatre. Joélle

8:00 145 Queen St. W. 416-363-8231.

Prostate Cancer Canada Free.

Support Committee. ONE-IN- 12:10 SEVEN: A Concert in Support of University of Toronto Prostate Cancer Canada. Jazz to Faculty of Music. Thursdays

University of Toronto Faculty

Harvey, soprano. Guest: Pavlo

opera, barbershop to broadway.

at Noon: Student Chamber En-

of Music. Yorkminster Park

Beznosiuk, violin and conduc-

The Ron Davis Trio; Harbour-

sembles. Walter Hall, Edward

Hatzis and P. Parker. Susan Hoeppner, flute; Beverley

416-363-8231. Free.

MONDAY NOV.

and others; William Shookhoff,

Weinroth-Browne. Koerner

Purcell: The Fairy Queen; Locke: The Tempest; Handel:

for soprano and piano quintet.

ALLEGRO LISTINGS

Johnson Building, 80 Queen’s

133 (main floor), 401 Richmond

Park. 416-408-0208. Free.

St. W. 416-599-7323. $20.

12:15 Music at Metropolitan. Noon

8:00 Tafelmusik. Theatre of Magic:

at Met: Raymond Spasovski,

Music of the English Baroque.

piano. Metropolitan United

Purcell: The Fairy Queen;

Church, 56 Queen St. E. 416-

Locke: The Tempest; Handel:

363-0331 x26. Free.

Rinaldo; and other works

6:00 Canadian Music Centre. Key

inspired by theatre. Joélle

Change Fundraiser. Hilario

Beznosiuk, violin and conduc-

Duran Trio. 20 St. Joseph St.

tor. Trinity-St. Paul’s Centre,

416-961-6601 x201. $150. $125

Jeanne Lamon Hall, 427 Bloor

tax receipt. Refreshments and

St. W. 416-964-6337. $37-$89;

silent auction.

$29-$79(sr); $15-$79(under 36).

6:45 Toronto Symphony Orchestra. Pre-concert Performance:

Also Nov 19, 21-23.

Harvey, soprano. Guest: Pavlo

2 1

7:30 Opera by Request. Puccini:

by Walker, Dillard, Jenkins

Madama Butterfly. Andrea Na-

Direction and others. Corey

ccarato, soprano (Cio-Cio-San);

Butler: keyboard; Daniel Perec-

Paul Williamson, tenor (Pinker-

ki, bass; Kairon Haynes, drums;

ton); Michael Robert-Broder,

Geoff McFarlane, guitar; Daniel

baritone (Sharpless); Sarah

Cowans, organ; Karen Burke,

Steinert, mezzo (Suzuki); and

conductor. Sandra Faire and

others; William Shookhoff,

Ivan Fecan Theatre, Accolade

piano/music director. College

East Building, 4700 Keele St.

Street United Church, 452 Col-

416-736-5888. $15; $10(sr/st).

lege St. 416-455-2365. $20.

Also Nov 22.

7:30 Royal Conservatory. Dis-

8:00 Aga Khan Museum. Oyan!

covery Series: GGS Fall Opera:

Project: Awakening. Reinter-

Dominick Argento’s Postcard

preting mugham traditional

from Morocco. Students of the

improvisation. Franghiz

Glenn Gould School’s vocal pro-

Ali-Zadeh, composer; Sashar

gram; Peter Tiefenbach, music

Zarif, dance/choreography;

director. Mazzoleni Concert

Elnur Mikayilev, kamancheh;

Hall, 273 Bloor St. W. 416-408-

Miralam Miralamov, mugham

0208. $15. Also Nov 22.

singer. Aga Khan Museum Auditorium, 77 Wynford Drive.

with Fellowship Chicago, New

TSO Chamber Soloists. Nielsen

8:00 Toronto Symphony Orchestra. Masterworks: Beethoven &

Wind Quintet (Nora Shulman,

Nielsen. Mozart: Don Giovanni

flute; Sarah Jeffrey, oboe;

(Overture) K.527; Beethoven:

Joaquin Valdepeñas, clarinet;

Piano Concerto No.5 “Emperor;”

12:10 Music At St. Andrew’s.

Noontime Recital. Norman

Neil Deland, horn; and Michael

Nielsen: Symphony No.5. Jan

Brown, baritone; Frederic Lac-

Sweeney, bassoon). Roy Thom-

Lisiecki, piano; Thomas Daus-

roix, piano; Christian Vachon,

son Hall, 60 Simcoe St. 416-593-

gaard, conductor. Roy Thomson

violin. St. Andrew’s Church, 73

7:30 University of Toronto Faculty of Music. University

4828; 416-593-0688(Chinese).

Hall, 60 Simcoe St. 416-593-

Simcoe St. 416-593-5600x231.

of Toronto Concert Orchestra.

Free. 8:00: Masterworks

4828; 416-593-0688(Chinese).

Free.

TBA. Paul Widner, conductor.

Concert follows (see Nov 20

$33–$145. 6:45: free pre-concert performance (Nov 20). Inter-

1:10 Gordon Murray Presents.

Walter Hall, Edward Johnson

listing below).

Building, 80 Queen’s Park. 416-

8:00 Corporation of Massey Hall and Roy Thomson Hall/ Toronto Blues Society. 28th

8:00 Music Toronto. Daedalus

mission chats in the lobby. Also

Piano Potpourri. Classics,

408-0208. Free.

Annual Women’s Blues Revue.

Nov 22.

opera, operetta, musicals,

Massey Hall, 178 Victoria St.

FRIDAY NOV.

416-646-4677. $45-$75. Also Nov 22, 23(mat).

Quartet. Mozart: Quartet in

ragtime, pop, international and

7:30 Windermere String Quartet.

G, K.80; Berg: String Quartet,

other genres. Gordon Murray,

Transitions. Beethoven: Quartet

Op.3; Beethoven: Quartet in

piano. Trinity-St. Paul’s United

in f Op.95 “Serioso”; Mendels-

8:00 Musideum. Lara Solnicki and

B-flat, Op.130 with the Grosse

Church, 427 Bloor St. W. 416-

sohn: Quartet in a Op.13; Rival:

George Koller. Jazz. Suite 133

Fuge in B-flat, Op.133. Min-

631-4300. PWYC. Also Nov 7,

Traces of a Silent Landscape.

(main floor), 401 Richmond St.

Young Kim, violin; Matilda

Nov 14, Nov 28.

Windermere String Quartet;

W. 416-599-7323. $20.

Kaul, violin; Jessica Thomp-

Toronto United Mennonite

son, viola; Thomas Kraines,

7:00 Soundstreams Salon 21. Old

cello. Jane Mallett Theatre, St.

Instruments, New Music. An-

Mennonite Church, 1774 Queen

8:00 Royal Conservatory/Batuki Music/Small World Music.

Lawrence Centre for the Arts,

cient instruments performed in

St. E. 416-769-0952. $40. Pro-

World Music: Idan Raichel

27 Front St. E. 416-366-7723.

contemporary and experi-

ceeds to benefit Aurora House,

and Vieux Farka Touré: The

$55; $50; $10(st); 18 to 35 pay

mental ways. Guests: Toronto

transitional housing for victims

Touré-Raichel Collective. Col-

your age.

Consort. Gardiner Museum,

of human trafficking.

laboration of musical traditions

8:00 Musideum. Matti Palonen and

111 Queen’s Park. 416-504-1282.

7:30 York University Department of Music. Gospel Choir. Works

from Isreal and Mali. Idan Raic-

Sini Erme. Finnish folk. Suite

Free; PWYC.

Church Choir. Toronto United

416-872-4255. $25-$55.

hel, piano; Vieux Farka Touré, guitar. Koerner Hall, 273 Bloor

73

St. W. 416-408-0208. $35-$75.

8:00 Show One Productions.

Anne-Sophie Mutter, violin and Mutter Virtuosi Chamber Orchestra. Mutter Virtuosi Canadian debut. Currier: Ringtones; Mendelssohn: Octet; Vivaldi: Four Seasons. Roy Thomson Hall, 60 Simcoe St. 416-872-4255. $39–$139.

8:00 Tafelmusik. Theatre of Magic: Music of the English Baroque.

Purcell: The Fairy Queen; Locke: The Tempest; Handel: Rinaldo; and other works

2 2

SATURDAY NOV.

7:30 Vivace Vox. Songs of Love.

Sadovski, piano. Parisian music

Schingh plays new solo

from 1885 to 1970. Music by

arrangements of Progressive

Christine Kim, piano; Linda

Roussel, Milhaud, Satie, Boutry

Rock Classics, as well as his

Eyman, conductor. Bloor Street

and Saint-Saëns. 345 Sorauren

own compositions. 555 Dundas

United Church, 300 Bloor St.

Ave. 416-822-9781. $20; $10(st).

St. E. 647-748-0555. $10.

W. 416-455-9238. $20; $15(sr/st);

8:00 Masterworks of Oakville Chorus and Orchestra.

8:00 Royal Conservatory. TD Jazz: A Salute to the Big Bands: Count

Christmas Oratorio Part I, II

Basie Orchestra. Scotty Barn-

and III. Bach. Allison Arends,

hart, music director. Koerner

by Walker, Dillard, Jenkins

soprano; Christy Derksen,

Hall, 273 Bloor St. W. 416-408-

with Fellowship Chicago, New

mezzo; Lenard Whiting, tenor;

0208. $40-$95.

Direction and others. Corey

Jesse Clark, bass. St. Matthew

Butler: keyboard; Daniel Perec-

Catholic Church, 1150 Monks

8:00 Tafelmusik. Theatre of Magic:

ki, bass; Kairon Haynes, drums;

Passage, Oakville. 905-399-

Music of the English Baroque.

Geoff McFarlane, guitar; Daniel

9732. $30; $25(sr); $20(st/child).

Purcell: The Fairy Queen;

Cowans, organ; Karen Burke,

Also Nov 23(mat).

Locke: The Tempest; Handel:

conductor. Sandra Faire and

Rinaldo; and other works

$50(family).

7:30 York University Department of Music. Gospel Choir. Works

East Building, 4700 Keele St.

tor. Trinity-St. Paul’s Centre,

3:00 Neapolitan Connection. Mu-

8:00 Mississauga Symphony Orchestra. Nordic Echoes.

416-736-5888. $15; $10(sr/st).

Sibelius: Karelia Overture;

Beznosiuk, violin and conduc-

Jeanne Lamon Hall, 427 Bloor

sical Matinées at Montgomery’s

Also Nov 21.

Grieg: Piano Concerto; Nielsen:

tor. Trinity-St. Paul’s Centre,

St. W. 416-964-6337. $37-$89;

Inn: The Schumann League.

Jeanne Lamon Hall, 427 Bloor

Angela Park, piano. Montgom-

8:00 Aga Khan Museum. Oyan!

Symphony No.4 in E-flat.

$29-$79(sr); $15-$79(under 36).

Elissa Miller-Kay, piano; Denis

St. W. 416-964-6337. $37-$89;

Also Nov 19, 20, 22, 23.

ery’s Inn, 4709 Dundas St. W.

Project: Awakening. Reinter-

Mastromonaco, conductor.

$29-$79(sr); $15-$79(under 36).

8:00 York University Department of Music. Improv Soiree. Open

416-231-0006. $15-$37.99. 2:00:

preting mugham traditional

Hammerson Hall, Living Arts

Also Nov 19-21, 23.

Museum tour. Tea, historical

improvisation. Franghiz

Centre, 4141 Living Arts Dr.,

tour and cookies included.

Ali-Zadeh, composer; Sashar

Mississauga. 905-306-6000.

Mic. Casey Sokol, host. Sterling Beckwith Studio, 235 Accolade

7:30 Zarif, dance/choreography; Moston Concerts. Liona Boyd: Elnur Mikayilev, kamancheh;

8:00 Toronto Symphony Orchestra. Masterworks: Beethoven &

East Building, 4700 Keele St.

A Winter Fantasy. Holiday

647-459-0701. Free.

inspired by theatre. Joélle

Ivan Fecan Theatre, Accolade

Harvey, soprano. Guest: Pavlo Beznosiuk, violin and conduc-

$20–$62.

inspired by theatre. Joélle Harvey, soprano. Guest: Pavlo

Nielsen. Mozart: Don Giovanni

Miralam Miralamov, mugham

8:00 Music Gallery. Pop Avant:

classics and other songs. Liona

singer. Aga Khan Museum

STILL BOYS ZOO OWL

Piano Concerto No.5 “Emperor;”

8:15 Schola Magdalena. Compline

Boyd, guitar; Michael Savona,

Auditorium, 77 Wynford Drive.

BATAILLE SOLAIRE. 197 John

Nielsen: Symphony No.5. Jan

guitar and vocals. Sharon Hope

416-646-4677. $45-$75. Also Nov

St. 416-961-9594. $15;$12((mem-

Lisiecki, piano; Thomas Daus-

for St. Cecilia. Plainchant and

United Church, 18648 Leslie

21, 23(mat).

ber).

gaard, conductor. Roy Thomson

motets for women’s voices.

Street, Sharon. 1-888-222-6608. $30; $25(st/12 and under).

8:00 Oriana Women’s Choir.

477 Manning Ave. 416-531-7955.

7:30 Royal Conservatory. Dis-

8:00 Alliance Française de Toronto. Trifolia. Jazz concert.

Hall, 60 Simcoe St. 416-593-

Church of St. Mary Magdalene,

Gloria–Voices Raised in Praise.

$33–$145. Intermission chats

Music inspired by the sculptor

Works by Britten, Holst, and

in the lobby. Also Nov 20 (6:45:

covery Series: GGS Fall Opera:

Camille Claudel. Marianne

Vivaldi. Michael Bloss, organ;

free pre-concert performance).

Dominick Argento’s Postcard

Trudel, piano; Patrick Graham,

Maria Jung, piano; Mitchell

from Morocco. Students of the

drums; Etienne Lafrance, bass.

Pady, conductor. 300 Lonsdale

8:30 Soulpepper. Weekly Cabaret

Glenn Gould School’s vocal pro-

24 Spadina Rd. 416-537-4191.

Rd. 416-978-8849. $25; $20(sr/

Series: Three Little Maids.

gram; Peter Tiefenbach, music

$10–$20.

under 35); $10(st).

Struggles and triumphs as

director. Mazzoleni Concert 0208. $15. Also Nov 21.

lievitch, violin, Valentina

8:00 Paintbox Bistro. Denis Schingh, solo piano. Denis

working musical theatre per-

Hall, 273 Bloor St. W. 416-408-

8:00 Gallery 345. Jacques Israe-

(Overture) K.527; Beethoven:

4828; 416-593-0688(Chinese).

formers. Works by Sondheim, Rogers and Hammerstein, Por

ALLEGRO LISTINGS

2 4

3:00 Musideum. Don Naduriak’s:

Briggs, organ. 65 Church St.

operatic duets and trios. Janet

2:30 Georgetown Bach Chorale.

Martin, Debora Joy, Barbara

Handel’s Messiah. Presented

Jambanda. Jazz. Suite 133 (main

welcomed.

Dunn-Prosser. Young Centre

on historic instruments. St.

floor), 401 Richmond St. W.

for the Performing Arts, Distill-

James’ Anglican Church, 6029

416-599-7323. $20. Also Nov 9

5:00 Nocturnes in the City.

ery District, 50 Tank House Ln.

Old Church Rd., Caledon East.

and 30.

Peter Stoll, Clarinet and Adam

416-866-8666. $20,$15(st).

905-584-9635. $35; $10(st). Also

Zuckiewicz, Piano. Works by

Nov 15 (eve, Lakeshore United,

3:00 Penthelia Singers. Northern

Goderich), 29 (eve, Knox Pres-

Landscapes. Snowforms, Let

Schumann. St. Wenceslaus

byterian, Georgetown), 30 (mat,

It Go (from the movie Frozen),

Church, 496 Gladstone Ave.

St. John’s United, Georgetown).

Frobisher Bay, Chasing the

416-481-7294. $25.

3:00 Etobicoke Philharmonic.

Northern Lights and other works. Alice Malach, conductor.

7:00 Musical Arts Academy. The

Family Concert: Klassical Fa-

Rosedale Presbyterian Church,

World of Dance Music. Works

vourites for Kidz. Tchaikovsky:

129 Mt. Pleasant Rd. 647-248-

by Chopin, R. Strauss, Ravel

Swan Lake Suite Op.20(-

5079. $20.

and Piazzolla. Ellen Annor-Ad-

excerpts); Sleeping Beauty

jei, piano; Julian Milkis, clar-

Op.66(waltz); Saint-Saëns:

3:30 Tafelmusik. Theatre of Magic:

Carnival of the Animals(ex-

Music of the English Baroque.

Glenn Gould Studio, 250 Front

cerpts); Prokofiev: Peter and the

Purcell: The Fairy Queen;

St. W. 416-207-0913 or 416-205-

Wolf(excerpts); Mussorgsky:

Locke: The Tempest; Handel:

5555. $40; $20(child).

The Hut of Baba Yaga; Pictures

Rinaldo; and other works

at an Exhibition(Great Gate of

inspired by theatre. Joélle

8:00 Esprit Orchestra. Revealed

Evening Concerts: Shauna and

Kiev); and other works. Guests:

Harvey, soprano. Guest: Pavlo

Time. Yuasa: Revealed Time

Friends. Works by Chan Ka Nin,

Etobicoke Suzuki School of Mu-

Beznosiuk, violin and conduc-

for viola and orchestra; Scime:

Schmidt and others. Shauna

sic; Sabatino Vacca, conductor.

tor. Trinity-St. Paul’s Centre,

Rise(world premiere); Schmidt:

Rolston, cello; Peggy Baker,

Assembly Hall, 1 Colonel Sam-

Jeanne Lamon Hall, 427 Bloor

... just a stranger here...(world

choreography; and others.

uel Smith Park Dr., Etobicoke.

St. W. 416-964-6337. $37-$89;

premiere); Dutilleux: The

Walter Hall, Edward Johnson

416-239-5665. $10.

$29-$79(sr); $15-$79(under 36).

Shadows of Time. Teng Li, viola;

Building, 80 Queen’s Park. 416-

Also Nov 19-22.

Alex Pauk, conductor. Koerner

408-0208. $40; $25(sr); $10(st).

Ensemble Concert. Walter Hall,

3:00 Gallery 345. BOB @ 60.

Hall, 273 Bloor St. W. 416-408-

Edward Johnson Building, 80

Over forty years of contem-

4:00 Amici Chamber Ensemble.

Queen’s Park. 416-408-0208.

porary music creation by Bob

Alla Zingarese: A celebratory

$20–$30(under 30). 7:15

7:30 York University Department of Music. Concert Choir with

Free.

Stevenson. 345 Sorauren Ave.

gala. Gypsy style. Julie Nesral-

Pre-concert chat.

Lisette Canton, conductor.

2:00 Aga Khan Museum. Oyan!

416-822-9781. $20; $15(sr/st/arts

lah, soprano/host; Jonathan

C.P.E. Bach: Magnificat; Handel:

worker).

Crow, violin; Joaquin Valde-

Zadok the Priest; Bach: Meine

Project: Awakening. Reinter-

peñas, clarinet; Neil Deland,

Seel erhebt den Herren BWV10.

horn; David Hetherington,

Ted Moroney, organ. Tribute

improvisation. Franghiz

3:00 Masterworks of Oakville Chorus and Orchestra.

cello; Serouj Kradjian, piano.

Communities Hall, Accolade

Ali-Zadeh, composer; Sashar

Christmas Oratorio Part I, II

Conservatory Theatre, 273

East Building, 4700 Keele St.

Zarif, dance/choreography;

and III. Bach. Allison Arends,

Bloor St. W. 416-408-0208. $80.

416-736-5888. $15; $10(st).

Elnur Mikayilev, kamancheh;

soprano; Christy Derksen,

In support of the annual Amici

Miralam Miralamov, mugham

mezzo; Lenard Whiting, tenor;

Chamber Ensemble’s Young

8:00 Gallery 345. Reverb Brass:

singer. Aga Khan Museum

Jesse Clark, bass. 1150 Monks

Composers Program.

Passages. Contemporary works.

Auditorium, 77 Wynford Drive.

Passage, Oakville. 905-399-

345 Sorauren Ave. 416-822-9781.

416-646-4677. $45-$75. Also Nov

9732. $30; $25(sr); $20(st/child).

21 & 22(eve).

Also Nov 22(eve).

4:00 Cathedral Church of St. James. Organ Recitals. David

ter, Lloyd Webber; parodies of

2 3

SUNDAY NOV. 12:10 University of Toronto Faculty of Music. Percussion

preting mugham traditional

416-364-7865. Free; donations

Dvořák, Fibich, Schubert and

inet; Roman Mekinulov, cello.

0208. $45–$65; $40–$60(sr);

MONDAY NOV. 7:00 University of Toronto Faculty of Music. Monday

$25; $15(sr/arts worker); $10(st).

75

2 5

TUESDAY NOV.

$1,500(dinner); $100(cocktails/

8:00 Musideum. Mike Evin, singer-songwriter. Suite 133 (main

2:30 York University Department of Music. Men’s Choir with

8:00 Toronto Symphony Orchestra. Masterworks: Stravin-

competition). Cocktails: 5:30; following competition dinner held on stage of R. Fraser Elliott

floor), 401 Richmond St. W.

Lisette Canton, conductor.

sky’s Petrouchka. Stravinsky:

416-599-7323. $20.

Works by Fauré, Haydn, Rutter,

Hall.

Pulcinella Suite; Petrouchka

Thompson, Whalum and

(1947); Haydn: Piano Concerto in

7:30 University of Toronto Faculty of Music. Student

8:00 Soundstreams. Vespers.

others. Ted Moroney, piano.

D Hob.XVIII/11; Britten: Soirées

Ancient meets modern in

Tribute Communities Hall,

musicales (after Rossini). Ingrid

celebration of universal spiri-

Accolade East Building, 4700

Fliter, piano; Andrey Boreyko,

Composers Concert. Walter

tuality featuring two Vespers.

Keele St. 647-459-0701. Free.

conductor. Roy Thomson

Hall, Edward Johnson Building,

Tremblay: Les Vêpres de la

Hall, 60 Simcoe St. 416-593-

80 Queen’s Park. 416-408-0208.

Vierge; Monteverdi: Vespro

Free.

della Beata Vergine. Shannon

12:30 Yorkminster Park Baptist Church. Daniel Norman, organ

7:30 York University Department of Music. Jazz Festival. Jazz

Mercer, soprano; Choir 21; Da-

and Lorelle Angelo, soprano.

vid Fallis, conductor. Trinity-St.

1585 Yonge St. 416-922-1167.

9:00 Massey Hall. Kevin Fox at

Paul’s Centre, 427 Bloor St. W.

Free.

the Rivoli. Kevin Fox, cello/

416-408-0208. $20-$67.50. 7:00:

4:00 Canadian Music Centre.

singer-songwriter; guest: Anna

Nonclassical Global. Trans-

strumentalist. The Rivoli, 334

145 Queen St. W. 416-363-8231.

Choirs. Tribute Communities Hall, Accolade East Building, 4700 Keele St. 647-459-0701.

12:10 University of Toronto Faculty of Music. Performance

Free.

Class for Singers: Louis Spohr

8:00 Alliance Française de Toronto. Gerineldo. World

(1784-1859) & His Contemporar-

Music. Judeo-Spanish culture

ies. Students in Collaborative

from North Morocco. Judith

Piano and Voice Studies; Steven

Cohen; Tamar Ilana; Demetrios

Philcox, Head of Collaborative

Petsalakis; Oro Anahory and

Piano. Walter Hall, Edward

others. 24 Spadina Rd. 416-537-

Johnson Building, 80 Queen’s

4191. $10–$20.

Park. 416-408-0208. Free. Pub-

8:00 Music Toronto. Simon Trpčes-

lic welcome.

2 6 Pre-concert chat.

continental live-streamed event in celebration of Gabriel Prokofiev’s alt-classical label Nonclassical. 20 St. Joseph St. 416-961-6601 x201. Free(before 6)/$10(after 6). Over 18 event.

7:30 Moston Concerts. Liona Boyd: A Winter Fantasy. Holiday classics and other songs. Liona Boyd, guitar; Michael Savona, guitar and vocals. Church of St.

4828; 416-593-0688(Chinese). $33–$145. Also Nov 27.

Atkinson, singer/multi-in-

2 7

Queen St. W. 416-872-4255. $20 (general admission, standing).

1:00 Cathedral Church of St. James. Organ Recitals. Thom-

ki, pianist. Schubert: 16 German

as Gonder, organ. 65 Church St.

Theme by Handel, Op.24; Ravel:

416-364-7865. Free; donations

Valses Nobles et sentimental-

welcomed.

es; Poulenc: Trois novelettes;

6:30 Canadian Opera Company.

Poulenc: 15 Improvisations for

12:00 Canadian Opera Company.

Ensembles Concert: Woodwind.

piano (5 selections); Poulenc:

Centre Stage: Ensemble Studio

Toccata from Trois Pièces,

Piano Virtuoso Series: Mists.

Building, 80 Queen’s Park. 416-

Competition Gala. Finalists,

FP48. Simon Trpčeski. Jane

Janáček: In the Mists; On an

408-0208. Free.

selected from nationwide

Mallett Theatre, St. Lawrence

Overgrown Path. Jean-Sélim

auditions, perform from the

Centre for the Arts, 27 Front St.

Abdemoula, piano. Richard

8:00 Musideum. Bill Wood and The

12:10 University of Toronto Faculty of Music. Thursdays at

mainstage for fundraising

E. 416-366-7723. $55; $50; $10

Bradshaw Amphitheatre, Four

Woodies. Roots Rock. Suite 133

Noon: Erika Raum, violin and

gala. COC Orchestra; Johannes

Student tickets; Age 18 to 35 pay

Seasons Centre for the Per-

(main floor), 401 Richmond St.

Lydia Wong, piano. Mozart:

Debus, conductor. Four Seasons

your age.

forming Arts, 145 Queen St. W.

W. 416-599-7323. $20.

Sonata for Violin and Piano in

Centre for the Performing Arts,

Dances, Op.33, D.783; Brahms: Variations and Fugue on a

WEDNESDAY NOV.

416-363-8231. Free.

Aidan’s in the Beach, 70 Silver Birch Ave. 1-888-222-6608. $30; $25(st/12 and under).

7:30 University of Toronto Faculty of Music. Student Chamber Walter Hall, Edward Johnson

THURSDAY NOV.

E-flat K.481; Ravel: Sonata in G.

ALLEGRO LISTINGS

12:10 Music At St. Andrew’s.

mede Rd. 416-593-7769 x358.

Also on Nov 29, 2014 (By Flato

Building, 80 Queen’s Park. 416-

8:00 George Koller. International

$60/$50(adv); $25(st). Proceeds

Theatre, Markham).

408-0208. Free.

Divas II. All acoustic: world,

Noontime Recital. Asher

shared between Toronto Sym-

12:15 Music at Metropolitan. Noon

folk, roots, jazz, classics, singer/

Armstrong, piano. St. Andrew’s

phony Volunteer Committee

8:00 Royal Conservatory. Leon

songwriter. Eliana Cuevas,

Church, 73 Simcoe St. 416-593-

Education Program and Open

Fleisher conducts the Royal

at Met: Thomas Fitches, organ.

Nathalie, Fern Lindzon, Chloe

5600x231. Free.

Table Community Meals at

Conservatory Orchestra. Mo-

Metropolitan United Church,

Charles, Samidha Joglekar,

Runnymede United Church.

zart: Symphony No.39; Walton:

56 Queen St. E. 416-363-0331

Kathryn Rose with their

12:10 Toronto Reference Library.

Partita for Orchestra; Brahms:

x26. Free.

accompanists. Trinity-St.

Tost Quartet. Works by Mozart,

7:00 Village Concert Series.

12:30 York University Department of Music. Faculty Spotlight

Paul’s Centre, 427 Bloor St. W.

Haydn, Schubert, Rachmani-

Giving Bach to the Community.

273 Bloor St. W. 416-408-0208.

866-943-8849. $49; $25(sr/st).

noff and Mendelssohn. 789

J.S. Bach: Christmas Orato-

$25-$55. Prelude Recital: 6:45.

Portion of ticket sales to YWCA.

Yonge St., Toronto, On. 416-393-

rio, Weihnachtsoratorium

Series. Jacques Israelievitch,

7131. Free.

BWV248. Runnymede United

8:00 St. Jude’s Anglican Church.

violin; Christina Petrowska

8:00 Musideum. Lazersuzan. Jazz.

Four hands, four feet. Organ

Suite 133 (main floor), 401 Rich-

416-767-6729. $60/$50(adv);

duets with Simon Walker and

munities Hall, Accolade East

mond St. W. 416-599-7323. $20.

12:30 York University Department of Music. Music at

Church, 432 Runnymede Rd.

Quilico, piano. Tribute Com-

$25(st). Proceeds shared

Andrew Adair. 160 William St.,

Building, 4700 Keele St. 647-

8:00 Toronto Symphony Orchestra. Masterworks: Stravin-

Midday: Brass Ensemble. James

between Toronto Symphony

Oakville. 905 844 3972. $20.

Macdonald, conductor. Tribute

Volunteer Committee Educa-

Communities Hall, Accolade

tion Program and Open Table

8:00 Tempus Choral Society.

sky’s Petrouchka. Stravinsky:

East Building, 4700 Keele St.

Community Meal at Runny-

Songs for a Winter’s Eve.

Pulcinella Suite; Petrouchka

647-459-0701. Free.

mede United Church.

Vaughan Williams: Dona

Sullivan: HMS Pinafore. Mi-

(1947); Haydn: Piano Concerto in D Hob.XVIII/11; Britten: Soirées

Fred Perruzza and Lisa Magill,

musicales (after Rossini). Ingrid

Piano Potpourri. Classics,

7:30 University of Toronto Faculty of Music. Gilbert and

Nobis Pacem (selections);

chael Patrick Albano, director;

1:10 Gordon Murray Presents.

designers; Sandra Horst,

Fliter, piano; Andrey Boreyko,

opera, operetta, musicals,

Sullivan: HMS Pinafore. Mi-

Holly and the Ivy; Sleigh Ride.

conductor. MacMillan Theatre,

conductor. Roy Thomson

ragtime, pop, international and

chael Patrick Albano, director;

Guests: Enchorus Children’s

Edward Johnson Building, 80

Hall, 60 Simcoe St. 416-593-

other genres. Gordon Murray,

Fred Perruzza and Lisa Magill,

Choir; Carol Hill, voice; Four

Queen’s Park. 416-408-0208.

4828; 416-593-0688(Chinese).

piano. Trinity-St. Paul’s United

designers; Sandra Horst,

Over Forty Quartet and others.

$40; $25(sr); $10(st). Surtitles™.

$33–$145. Also Nov 26.

Church, 427 Bloor St. W. 416-

conductor. MacMillan Theatre,

Clearview Christian Reformed

631-4300. PWYC. Also Nov 7,

Edward Johnson Building, 80

Church, 2300 Sheridan Garden

Nov 14, Nov 21.

Queen’s Park. 416-408-0208.

Dr., Oakville. 905-334-9375. $15.

7:00 Bach Consort. Giving

$40; $25(sr); $10(st). Surtitles™.

Also Nov 29(mat). Proceeds to

Also Nov 27, 29, 30(mat).

benefit Tempus Choral Society.

Bach to the Community.

J.S. Bach: Christmas Orato-

8:00 Aga Khan Museum. DakhaB-

rio (Weihnachtsoratorium)

rakha. Ukrainian folk music

BWV248. Monica Whicher,

fusion. Aga Khan Museum

soprano; Allyson McHardy,

Auditorium, 77 Wynford Drive.

mezzo; Lawrence Wiliford,

416-646-4677. $35-$60. Also

tenor; Colin Ainsworth, tenor;

Nov 27.

Russell Braun, baritone; musicians of the Toronto Symphony

8:00 Ontario Philharmonic.

and Canadian Opera Company

Sultans of String and Ontario

orchestras; Mississauga Festi-

Philharmonic. Marco Parisotto,

val Chamber Choir; Johannes

conductor. Regent Theatre

Debus, conductor. Runnymede

(Oshawa), 50 King St. E., Osha-

United Church, 432 Runny-

wa. 905-721-3399 x2. $45–$56.

Walter Hall, Edward Johnson

459-0701. Free. Also Nov 6.

7:30 University of Toronto Faculty of Music. Gilbert and

Also Nov 28, 29, 30(mat).

8:00 Aga Khan Museum/Rock Paper Scissors. DakhaBrakha.

Ukrainian folk music fusion.

Aga Khan Museum Auditorium, 77 Wynford Drive. 416-6464677. $35-$60. Also Nov 28.

8:00 Gallery 345. Duality: One Violist, Two Countries. Solo and amplified viola works of composers from Canada and the U.S. Works by Barone, Healey, Jaeger, Olson; Báthory-Kitsz, Martin, Erik Nielsen, and RossGunn. Elizabeth Reid, viola. 345 Sorauren Ave. 416-822-9781.

2 8 FRIDAY NOV.

Symphony No.3. Koerner Hall,

Lightfoot: Song for a Winter’s Night; Caccini: Ave Maria; The

77

2 9

SATURDAY NOV.

4:00 Canadian Children’s Opera Company. Winter Celebra-

7:30 Achill Choral Society. The

7:30 Georgetown Bach Chorale.

7:30 Opera by Request. Handel:

Glory of Christmas. Puccini:

Handel’s Messiah. Presented

Giulio Cesare. Catharin Carew,

tions. Choral repertoire for the

Messa di Gloria; traditional

on historic instruments. Knox

mezzo (Cesare); Marie Fran-

holidays, including selections

carols and seasonal favour-

Presbyterian Church (George-

ceschini, soprano (Cleopatra);

from the upcoming Lullabies

ites. Christ Church Anglican

town), 116 Main St. South,

Madison Arsenault, mezzo

CD. Ann Cooper Gay and staff,

(Bolton), 22 Nancy St., Bolton.

Georgetown. 905-877-2848.

(Cornelia); Stephanie Code,

conductors; five divisions of

519-939-0020. $25; $10(youth);

$35; $10(st). Also Nov 15 (eve,

soprano (Sesto); and others;

the CCOC, ages 4-20. Rosedale

$5(12 and under). Also Nov

Lakeshore United, Goderich), 23

William Shookhoff, piano/

Presbyterian Church, 129 Mt.

23(St. Timothy Roman Catholic,

(mat, St. James Anglican, Cale-

music director. College Street

Pleasant Rd. 416-366-0467. $25.

Orangeville, mat), Nov 30.

don East), 30 (mat, St. John’s

United Church, 452 College St.

5:00 Alliance Française de Toronto. Christmas with

7:30 Bloor Street United Church.

United, Georgetown).

416-455-2365. $20.

C. P. E. Bach: Oratorio Die Isra-

7:30 Jubilate Singers. World

7:30 Tallis Choir. Purcell’s Messiah.

Mozart. Works of Mozart in a

eliten in der Wüste (The Israel-

Jubilate. Musical settings of

Purcell: Behold I Bring You

child-friendly context. Jacques

ities in the Wilderness). Choir

Jubilate Deo and seasonal

Good Tidings; Te Deum and Ju-

Israelievitch, violin; Valentina

of Bloor Street United Church

songs from around the world.

bilate; Handel: Anthem for the

Sadovski, piano. 24 Spadina Rd.

with orchestra; Emily Ding,

Isabel Bernaus, conductor;

Foundling Hospital(including

416-537-4191. $15, $8(age 7-25);

soprano; Michelle Simmons,

Sherry Squires, piano. St.

Hallelujah Chorus). Guest: The

3:00 Arts and Events Programming at University of Toronto Scarborough. The

free(under 7).

mezzo; Alex Wiebe, tenor;

Simon-the-Apostle Anglican

Talisker Players; Peter Mahon,

5:30 Canadian Children’s Opera Company. Winter Celebra-

Geoffrey Keating, baritone;

Church, 525 Bloor St. E. 416-

conductor. St. Patrick’s Church,

David Passmore, conductor.

485-1988. $25; $20(sr); $15(st).

141 McCaul St. 416-286-9798.

300 Bloor St. W. 416-924-7429

$30; $25(sr); $10(st with ID).

Classical Elements. Classical

tions. Choral repertoire for the

x50. $15-$20.

7:30 Music at Metropolitan. An

and contemporary selections.

holidays, including selections

Evening with Rachmaninoff,

Concert Band, String Orchestra

from the upcoming Lullabies

7:30 Cantemus Singers. Welcome,

and Concert Choir. Academic

CD. Ann Cooper Gay and staff,

Yule. A concert of carols and

Lesley Bouza, soprano with

the Symphony. Collaboration

Resource Centre, University

conductors; five divisions of

Renaissance and early Baroque

James Bourne, accompanist;

with Second City comedy

of Toronto Scarborough, 1265

the CCOC, ages 4-20. Rosedale

motets. Pachelbel: Magnificat

Arthur Ozolins and Matthew

theatre. Colin Mochrie, host;

Military Trail, Scarborough.

Presbyterian Church, 129 Mt.

in D; Flecha: Ensalada “El Jubi-

Coons, piano. Metropolitan

Peter Oundjian, conduc-

416-208-4769. Free. Light

Pleasant Rd. 416-366-0467. $25.

late”. Michael Erdman, conduc-

United Church, 56 Queen St. E.

tor. Roy Thomson Hall, 60

refreshments.

7:00 Eastman School of Music Bach Chamber Orchestra and Soloists. Bach Can-

tor. Church of the Holy Trinity,

416-363-0331 x26. $20; $10(18

Simcoe St. 416-593-4828;

3:00 Tempus Choral Society.

Songs for a Winter’s Eve.

10 Trinity Sq. 416-578-6602.

and under).

416-593-0688(Chinese).

$20; free(under 12). Also Nov

$29–$99. Also Nov 30(mat).

30(mat, St. Aidan’s Anglican

7:30 Oakham House Choir.

Vaughan Williams: Dona Nobis

tatas! Bach: Alles nur nach

Church).

Christmas with Haydn. Works

Pacem (selections); Lightfoot:

Gottes Willen (Everything Following God’s Will Alone)

Caccini: Ave Maria; The Holly

BWV72; Schwingt freudig euch

7:30 Church of St. Aidan in the Beach. Christmas Carols

by Haydn, Rutter, Shaw, Berlin

Song for a Winter’s Night; and the Ivy; Sleigh Ride. Guests:

empor (Soar Joyfully Aloft)

Enchorus Children’s Choir;

BWV36. Paulina Swierczek,

Carol Hill, voice; Four Over

7:30 Toronto Symphony OrchesChopin, Canteloube and Others. tra. Second City Guide to

7:30 University of Toronto Faculty of Music. Gilbert and

and Crocker. Zorana Sadiq,

Sullivan: HMS Pinafore. Mi-

soprano; Adriana Albu, mezzo;

chael Patrick Albano, director;

and Other Welsh Songs. Also

Richardo Iannello, tenor; Mi-

Fred Perruzza and Lisa Magill,

Thomas: A Child’s Christmas in

chael York, bass; Toronto Sin-

designers; Sandra Horst,

soprano; Katie Weber, alto;

Wales (reading). Toronto Welsh

fonietta; Matthew Jaskiewicz,

conductor. MacMillan Theatre,

Forty Quartet and others. 2300

Steven Humes, tenor; Joel

Male Voice Choir. St. Aidan’s

conductor. Calvin Presbyterian

Edward Johnson Building, 80

Sheridan Garden Dr., Oakville.

David Balzun, bass; Jennifer

Anglican Church (The Beach),

Church, 26 Delisle Ave. Annual

Queen’s Park. 416-408-0208.

905-334-9375. $15. Also Nov

Min-Young Lee, conductor. 300

70 Silverbirch Ave. 416-691-

event specials include book

$40; $25(sr); $10(st). Surtitles™.

28(eve). Proceeds to benefit

Lonsdale Rd. 647-808-9787. $25

2222. $25. Proceeds to benefit

signing 416-960-5551. $30/$25

Also Nov 27, 28, 30(mat).

Outreach Programme.

(adv); $15 (st); free(12 and under).

Tempus Choral Society.

ALLEGRO LISTINGS

8:00 Aga Khan Museum. Sanam

8:00 Ontario Philharmonic.

and Toy Piano; Daniel Morphy,

Marvi. Sufi music and Pakistani

Sultans of String and Ontario

and others. Heliconian Hall, 35

folk songs. Aga Khan Museum

Philharmonic. Marco Parisotto,

Hazelton Ave. 647-829-4213.

Auditorium, 77 Wynford Drive.

conductor. Flato Markham

$20/$15(adv); $15(sr/st).

416-646-4677. $45-$55. Also

Theatre, 171 Town Centre Blvd.,

Nov 30(mat).

Markham. 905-305-7469.

8:00 York Symphony Orchestra.

8:00 Gordon Murray Presents.

$54–$59. Also Nov 28 (Regent

Prodigal Artists. Mozart:

Theatre, Oshawa).

Divertimento in D; Liszt:

Piano Soirée: Songs of Love

Piano Concerto No.1; Toten-

and Longing. Grieg: I Love

8:00 Royal Conservatory. Music

You; Lehár: Love Breaks

Mix: Jarvis Church and Ivana

Suite 1919. Michael Berkovsky,

Every Bond(Count of Luxem-

Santilli. Featuring soul, funk,

piano; Denis Mastromonaco,

bourg); Kálmán: Dream Once

pop and R&B music. Koerner

conductor. Trinity Anglican

Again(Gypsy Princess); Rom-

Hall, 273 Bloor St. W. 416-408-

Church (Aurora), 79 Victoria

berg: One Alone, The Desert

0208. $30-$65.

St., Aurora. 416-410-0860. $28;

Song(Desert Song); and other

$23(sr); $15(st). Also November

Gordon Murray, piano. Trini-

8:00 Scarborough Philharmonic Orchestra. In Concert.

ty-St. Paul’s United Church, 427

Chabrier: Joyeuse Marche;

8:30 Soulpepper. Weekly Cabaret

Bloor St. W. 416-631-4300. $15;

Bizet: L’Arlesienne, Suite No.2;

$10(st).

works arranged by Murray.

percussion; Sharon Lee, violin;

tanz; Stravinsky: Firebird

30 (Richmond Hill).

3 0

SUNDAY NOV.

2:30 Georgetown Bach Chorale.

Handel’s Messiah. Presented on historic instruments. St. John’s United Church (Georgetown), 11 Guelph St., Georgetown, On. 905-877-2531. $35; $10(st).

Also Nov 15 (eve, Lakeshore United, Goderich), 23 (mat, St. James Anglican, Caledon East), 29 (eve, Knox Presbyterian Church, Georgetown).

2:30 University of Toronto Faculty of Music. Gilbert and Sullivan: HMS Pinafore. Michael Patrick Albano, director; Fred Perruzza and Lisa Magill, designers; Sandra Horst, conductor. MacMillan Theatre,

Series: Reading the Danger

2:00 Aga Khan Museum. Sanam

Prokofiev: Troika from Lieu-

Tree. Evening of song and story

Marvi. Sufi music and Pakistani

Queen’s Park. 416-408-0208.

8:00: Music in the Barns Chamber Ensemble. In

tenant Kije Suite; Liszt: Fantasy

in commemoration of 100th

folk songs. Aga Khan Museum

$40; $25(sr); $10(st). Surtitles™.

on Hungarian Folk Melodies,

anniversary of the First World

Auditorium, 77 Wynford Drive.

Also Nov 27, 28, 29.

Concert. Beethoven: Piano

for Piano and Orchestra; Pal:

War. Douglas Cameron, musi-

416-646-4677. $45-$55. Also

Sonata “Moonlight” in c-sharp

On the Double (Shopping

cian/composer; David Macfar-

Nov 29(eve).

Op.27 No.2 (Sonata quasi una

Madness); Cable: Compositions

lane, writer. Young Centre for

Fantasia) (1801); Debussy:

ad arrangements: Favourite

the Performing Arts, Distillery

2:00 Markham Concert Band. A

2:30 VOICEBOX: Opera in Concert. La Vida Breve. de Falla.

Isabel Bayrakdarian, soprano;

Sonata for Violin and Piano in

Christmas and Hannukah

District, 50 Tank House Ln. 416-

Seasonal Celebration. Family

Ernesto Ramirez, tenor; José

g L.140 (1917); Dvořák: Piano

Music. Scarborough Philhar-

866-8666. $20,$15(st).

show. Christmas and Chanukah

Hernández, piano; Robert

Quintet in A Op.81 B155 (1888).

monic Orchestra, Ronald Royer

repertoire; sing-along with

Cooper, conductor. Jane Mallett

Carol Gimbel, conductor.

and Howard Cable, conductors;

members of the Unionville

Theatre, St. Lawrence Centre

Guests: Moshe Hammer, violin;

guests: St. Paul’s L’Amoreaux

Theatre Co. Doug Manning,

for the Arts, 27 Front St. E. 416-

Cullan Bryant, piano. Artscape

Youth and Adult Choirs (David

conductor. Flato Markham

366-7723 or 1-800-708-6754.

Wychwood Barns Mainspace,

McCartney, conductor); Mary

Theatre, 171 Town Centre Blvd.,

$40-$52. Reception following.

601 Christie St., Toronto, On.

Kenedi, piano. Salvation Army

Markham. 905-305-7469. $22;

416-807-7771. $35/$30(adv);

Scarborough Citadel, 2021

$17(sr/st).

3:00 Cantemus Singers. Welcome,

$30(sr/st/artist)/$25(adv). Cash

Lawrence Ave. E., Scarborough.

416-429-0007. $30; $25(sr);

wheelchair accessible.

$15(st w.id); $10(child under 10).

2:00 Unitarian Congregation in Mississauga. Carson Freeman

Yule. A concert of carols and

bar & post-concert reception;

8:00 Musideum. Donald Quan: A

8:00 Toy Piano Composers. To

Quartet: Showcasing the Histo-

cat in D; Flecha: Ensalada “El

ry of the Saxophone and time-

Jubilate”. Michael Erdman,

Tribute to the CHUM chart.

Be Announced II. Works by

line. 84 South Service Road,

conductor. Saint Aidan’s Angli-

Vintage pop. Suite 133 (main

Arteaga, Caron, Marwood, Pe-

Mississauga, On. 905-278-5622.

can Church, 70 Silver Birch Ave.

floor), 401 Richmond St. W. 416-

titpas and Simms. Tim Crouch,

$25; $20(sr/st) or PWYC.

416-578-6602. $20; free(under

599-7323. $20.

flute; Anthony Thompson,

12). Also Nov 29(eve, Church of

clarinet; Wesley Shen, Piano

the Holy Trinity).

Edward Johnson Building, 80

Renaissance and early Baroque motets. Pachelbel: Magnifi-

79

3:00 Hart House Singers. Songs

classical to folk melodies with

of Passion, Songs of Grace.

3:00 Toronto Symphony Orchestra. Second City Guide

Dragon Boat; Pipa Nocturne;

8:00 Community Baroque Orchestra of Toronto. In

Works by Monteverdi, Caris-

to the Symphony. Colin

Concierto de Aranjuez; Taras

Concert. Works by Telemann,

408-0208. Free.

simi, Haydn and others. David

Mochrie, host; Peter Oundji-

Bulba Overture; and other

Philidor and Marais. Artscape

Arnot-Johnston, conductor; Jeff

an, conductor. Roy Thomson

works. Wen Zhao, Pipa; Ira Ero-

Youngplace, 180 Shaw St. 416-

Vidov, piano. Great Hall, Hart

Hall, 60 Simcoe St. 416-593-

khina, domra; Roman Smirnov,

929-0125. By donation.

7:30 York University Department of Music. Jazz Festival: Jazz

House, 7 Hart House Circle. 416-

4828; 416-593-0688(Chinese).

classical guitar; Toronto Man-

Orchestra. Mike Cadó, conduc-

978-2452. Free. Food donations

$29–$99. Also Nov 29(eve).

dolin orchestra; Alexander Ve-

8:00 Musideum. Brownman plus 1.

to UofT Foodbank welcome.

prinsky, conductor. Trinity-St.

Jazz. Suite 133 (main floor), 401

Accolade East Building, 4700

3:00 Healey Willan Singers. A

3:00 York University Department of Music. Wind Symphony.

Paul’s Centre, 427 Bloor St. W.

Richmond St. W. 416-599-7323.

Keele St. 647-459-0701. Free.

416-533-2725. $30; $15(st).

$20. Also Nov 9, 23.

Festival runs Dec 1–5(mat and

Garland of Carols. Britten: A

Works by Grainger, Reed,

Ceremony of Carols. Ron Ka

Copland, Shostakovich and

4:30 8:00 St. James Cathedral. Lessons York Symphony Orchestra.

Ming Cheung, conductor; John

MacKey. William Thomas, con-

and Carols for Advent. St. James

Prodigal Artists. Mozart:

Stephenson, piano. Church of

ductor. Tribute Communities

Cathedral Choir. 65 Church St.

Divertimento in D; Liszt:

8:00 Corporation of Massey Hall and Roy Thomson Hall.

St. Martin-in-the-Fields, 151

Hall, Accolade East Building,

416-364-7865.

Piano Concerto No.1; Totentanz;

Itzhak Perlman. Vivaldi: Sonata

Glenlake Ave. 416-519-0528.

4700 Keele St. 416-736-5888.

Stravinsky: Firebird Suite 1919.

in A for Violin and Continuo

$20; $15(sr/st).

$15; $10(sr/st).

7:30 Achill Choral Society. The

Michael Berkovsky, piano; De-

Op.2 Rv31; Schumann: Fanta-

3:00 Musideum. Don Naduriak:

Glory of Christmas. Puccini:

nis Mastromonaco, conductor.

siestücke, Op.73; Beethoven:

Messa di Gloria; traditional car-

Richmond Hill Centre for the

Sonata No.7 in c Op.30; Ravel:

Jambanda. Latin jazz. Suite 133

4:00 Cathedral Church of St. James. Organ Recitals. An-

ols and seasonal favourites. St.

Performing Arts, 10268 Yonge

Sonata for Violin and Piano

(main floor), 401 Richmond St.

drew Ager, organ. 65 Church St.

James Roman Catholic Church

St., Richmond Hill. 905-787-

No.2 in G. Itzhak Perlman, vio-

W. 416-599-7323. $20. Also Nov

416-364-7865. Free; donations

(Colgan), 2118 Adjala-Tecumseth

8811. $30; $25(sr); $15(st). Also

lin; Rohan De Silva, piano. Roy

9 and 23.

welcomed.

Townline, Colgan. 519-939-

November 29 (Aurora).

Thomson Hall, 60 Simcoe St.

3:00 Rezonance Baroque Ensemble. Power and Passion. Works

4:00 St. Olave’s Anglican Church.

0020. $25; $10(youth); $5(12 and

Christmas Lights. Advent

Roman Catholic, Orangeville,

by Bach, Dall’Abaco, Vivaldi,

Choral Evensong followed

mat), Nov 29(Christ Church,

Telemann and others. Joanna

by Christmas Tea; A Child’s

Bolton ).

Marsden, baroque flute; Rezan

Christmas in Wales; works by

Onen-Lapointe, baroque violin;

Vaughan Williams. St. Olave’s

7:30 St. Paul’s Anglican Church.

David Podgorski, harpsichord;

Choir; Olave’s Arts Guild and

Classy Classics and Beautiful

Andrés Tucci-Clarke, cello.

Consort. 360 Windermere Ave.

Broadway. Jennifer Mizzi, so-

Artscape Youngplace, 180 Shaw

416-769-5686. Contributions

prano; Amanda Suzette Jones,

St. 647-779-5696. $20; $15.

appreciated.

mezzo; Manuele Mizzi, tenor;

3:00 Royal Conservatory. Cham-

4:00 St. Philip’s Anglican Church.

Bob Leonard, piano. 227 Church

ber Music: Zukerman Chamber

Jazz Vespers: Chris Donnelly

$20. Wine bar. In support of

12:30 York University Department of Music. Music at Midday:

Players. Schumann: Piano

Trio. 25 St. Phillips Rd., Eto-

SantaFund.

Instrumental Masterclass Con-

Quintet in E-flat; Brahms: Piano

bicoke. 416-247-5181. Freewill offering.

man, violin; Jessica Linnebach,

Ensemble Concert. Walter Hall,

Keele St. 647-459-0701. Free.

Edward Johnson Building, 80

Cheng, piano. 273 Bloor St. W.

4:00 Toronto Mandolin Orchestra/National Shevchenko Musical Ensemble. Kaleido-

7:30 University of Toronto Faculty of Music. Percussion

cert. Patricia Wait, conductor.

Quintet in f. Pinchas Zuker-

416-408-0208. $45-$90.

scope of Strings. Music from

7:30 University of Toronto Faculty of Music. Student Chamber

violin; Jethro Marks, viola; Amanda Forsyth, cello; Angela

orchestral accompaniment.

under). Also Nov 23(St. Timothy

St., Newmarket. 905-853-7285.

Queen’s Park. 416-408-0208.

1

MONDAY DEC.

Tribute Communities Hall,

Ensembles Concert: Brass.

Walter Hall, Edward Johnson Building, 80 Queen’s Park. 416-

tor. Martin Family Lounge, 219

eve).

416-872-4255. $29.50-$129.50.

8:00 Toronto Theatre Organ Society. Dave Wickerham, Wurlitzer organ. Casa Loma, 1

2

Austin Terrace. 416-449-6262. $20.

TUESDAY DEC.

Accolade East Building, 4700

12:00 Canadian Opera Company.

Dance Series: Ballet 360. Classical and contemporary

ALLEGRO LISTINGS

3

6:00 St. James Cathedral. Can-

by Bach, Beethoven and Liszt.

Sultans of String w. Chris

Rossina Grieco, piano. Richard

McKhool, violin. Koerner Hall,

tatas in the Cathedral. Bach:

Bradshaw Amphitheatre, Four

273 Bloor St. W. 416-408-0208.

Wachet! betet! betet! wachet!

Seasons Centre for the Per-

$35-$80.

BWV70. Erin Bardua, soprano;

forming Arts, 145 Queen St. W.

Christina Stelmacovich, mezzo;

416-363-8231. Free.

Charles Davidson, tenor; Graham Robinson, baritone. 65

12:15 Music at Metropolitan. Noon

7:30 Classical Music Artist Management. Clarinet Fantasy.

Gershwin: 3 Preludes for clari-

Church St. 416-364-7865.

at Met: Alexa Wing, sopra-

net; Stravinsky: 3 pieces for solo

no and Peter Bishop, piano.

clarinet; Brahms: Clarinet So-

Metropolitan United Church,

nata No.1; Luigi Bassi: Fantaisie

56 Queen St. E. 416-363-0331

brillante on Verdi’s Rigoletto.

Jazz Orchestra and Vocal

x26. Free.

Yao Guang Zhai, clarinet; Jeanie

piano. Yorkminster Park

12:30 York University Department of Music. Jazz Festival: Vocal

7:30 University of Toronto Faculty of Music. 11 O’clock Jazz Ensemble. Jim Lewis and

Chung, piano. Heliconian Hall,

Baptist Church, 1585 Yonge St.

Ensembles. Mike Cadó, conduc-

Christine Duncan, conductors.

416-241-1298. Free. Donations

tor. Martin Family Lounge, 219

Walter Hall, Edward Johnson

12:30 York University Department of Music. Jazz Festival: Vocal

welcome.

Accolade East Building, 4700

Building, 80 Queen's Park. 416-

Ensembles. Richard Whiteman,

12:10 University of Toronto Faculty of Music. Performance

Keele St. 647-459-0701. Free.

408-0208. Free.

conductor. Martin Family

Festival runs Dec 1–5(mat and

Lounge, 219 Accolade East Building, 4700 Keele St. 647-

Music Ensembles. Raigelee

Class for Singers: Songs of the

459-0701. Free. Festival runs

Alorut, World Music Artist in

Combos. Kelly Jefferson,and

Dec 1–5(mat and eve).

Residence. Walter Hall, Edward

Johnson Building, 80 Queen’s

12:30 Yorkminster Park Baptist Church. Andrew Adair, Organ.

7:30 York University Department of Music. Jazz Festival: Jazz

7:30 University of Toronto Faculty of Music. World

Park. 416-408-0208. Free. Pub-

1585 Yonge St. 416-922-1167.

lic welcome.

Free.

7:30 University of Toronto Faculty of Music. Guitar Orchestra.

2:00 York University Department of Music. Ahmed Dickin-

Jeffrey McFadden, conductor.

ballet. Highlights from Cinderella, Nutcracker, A Canadian Tradition and Desrosier’s Bouffonia. Ballet Jörgen. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. Free.

12:00 Nine Sparrows/Yorkminster Park Baptist Church. Lunchtime Chamber Music. Alheli Pimienta, flute; Adam Sherkin,

Season! Walter Hall, Edward

WEDNESDAY DEC.

eve).

12:30 tin Family Lounge, 219 Accolade York University Department East Building, 4700 Keele St. of Music. Music at Midday: Kevin Turcotte, directors. Mar-

647-459-0701. Free. Festival

Classical Piano Showcase.

runs Dec 1–5(mat and eve).

Christina Petrowska Quili-

35 Hazelton Ave. 647-201-9776. $20; $10(st).

Johnson Building, 80 Queen’s Park. 416-408-0208. Free.

7:30 York University Department of Music. Jazz Festival: Jazz Combos. Anthony Michelli and

son Cardenas, guitar. Cuban.

8:00 co, piano/conductor. Tribute Musideum. Jonathan Feldman. Communities Hall, Accolade

Walter Hall, Edward Johnson

William Thomas, conductor.

Jazz. Suite 133 (main floor), 401

East Building, 4700 Keele St.

tin Family Lounge, 219 Accolade

Building, 80 Queen’s Park. 416-

Martin Family Lounge, 219

Richmond St. W. 416-599-7323.

647-459-0701. Free.

East Building, 4700 Keele St.

408-0208. Free.

Accolade East Building, 4700

$20.

647-459-0701. Free. Festival

7:30 York University Department of Music. Jazz Festival: Jazz

Keele St. 647-459-0701. Free.

1:00 Encore Symphonic Concert Band. In Concert. Classics

Combos. Artie Roth and Mark

5:30 Canadian Opera Company. Jazz Series: Ripple Effect.

Eisenman, conductors. Martin

Jazz standards and original

Family Lounge, 219 Accolade

music. Highlights from Ripple

East Building, 4700 Keele St.

Effect album and upcoming

647-459-0701. Free. Festival

recording. Mike Downes, bass;

runs Dec 1–5(mat and eve).

Larnell Lewis, drums; Robi

8:00 Arraymusic. Array Session

Botos, piano. Richard Bradshaw

#29. An evening of improvi-

Centre for the Performing Arts,

sation. Rick Sack, conductor.

145 Queen St. W. 416-363-8231.

4

THURSDAY DEC.

Amphitheatre, Four Seasons

Array Space, 155 Walnut St.

12:00 Canadian Opera Company. Piano Virtuoso Series:

416-532-3019. Free.

Virtuoso Masterworks. Works

Frank Falco, conductors. Mar-

runs Dec 1–5(mat and eve).

conductor. Encore Hall, Wilmar

7:30 York University Department of Music. Symphony

Heights Centre, 963 Pharmacy

Orchestra. Works by Wagner,

Ave., Scarborough. 416-346-

Berlioz, Sibelius, Haydn and

3910. $10. Includes coffee and

Tchaikovsky. Tribute Com-

snack.

munities Hall, Accolade East

7:00 Royal Conservatory/Canadian Arab Institute/Small World Music. Sultans and

Building, 4700 Keele St. 416-

Divas. Julie Nesrallah, mezzo;

curated by Melody McKiver:

Miriam Khalil, soprano; Bas-

Clarinet Panic Deluxx Cris

sam Bishara, oud; Okotécho;

Derksen. Cris Derksen, cello,

and jazz. John Edward Liddle,

736-5888. $15; $10(sr/st).

8:00 Music Gallery. Emergents I,

81

looper, drum machines, keys

Penny Music. Tony Gomes,

Anglican Church, 383 Huron

Grace Church on-the-Hill, 300

and vocals; Cory Latkovich, cel-

conductor. MacMillan Theatre,

St. 416-971-9229. $25; $20(sr);

Lonsdale Rd. 416-256-0510. $25;

4:30 Beach United Church. Jazz

lo; Karen Ng, saxophone; Sebas-

Edward Johnson Building, 80

$10 (st).

free(child & high school).

and Reflection: Jazzy Christ-

tian Shinwell, guitar; D. Alex

Queen’s Park. 416-408-0208.

Meeks, percussion. 197 John St.

$30; $20(sr); $10(st).

8:00 Gallery 345. Chelsea Mc-

416-961-9594. $12;$8((member).

Bride’s Socialist Night School

8:00 Tafelmusik. The French Con-

7:30 York University Department of Music. Jazz Festival: Jazz

nection. Rebel: Les Éléments;

Combos. Roy Patterson, Jim

arrangements influenced by

and works by Campra, Corrette,

Vivian and Lorne Lofsky, con-

socialism, ECM-style jazz, pop

Leclair and Rameau. Amandine

ductors. Martin Family Lounge,

and nature. Chelsea Mc-

Beyer, violin and conductor.

219 Accolade East Building,

Bride, composer/director. 345

Trinity-St. Paul’s Centre, Jeanne

4700 Keele St. 647-459-0701.

Sorauren Ave. 416-822-9781.

Lamon Hall, 427 Bloor St. W.

Free. Festival runs Dec 1–5(mat

$20; S10(st).

416-964-6337. $37-$89; $29-

and eve).

Dec 5, 6, 7(mat). =z1c =orch

8:00 Aga Khan Museum. Siavash:

2:00 Mississauga Festival Choir.

banjo and guitar; John Show-

$79(sr); $15-$79(under 36). Also

8:00 Royal Conservatory. Canadian Brass. Featuring recent

Jingle Jazz. Berlin: White

Kelly Galbraith, conductor.

Dec 05 7:30: Sony Centre For the

Stories from the Shah-Nameh.

CD release: Christmas Time

Christmas, Guaraldi: A Charlie

Runnymede United Church, 432

Performing Arts/Attila Glatz

Multi-media world premiere.

is Here. Coletti: Bach’s Bells;

Brown Christmas, and other

Runnymede Rd. 416-236-1522.

Concert Productions. Gladiator

Shahrokh Yadegari, composer;

Dedrick: Angel Choir and the

traditional and jazz selections;

$25. Annual donation of $1,000

Live. Film with live music.

Gordafarid, naqal; Siamak

Trumpeter; Kenton: Angels We

sing-a-long. Guest: Shannon

to Romero House.

Clara Sanabras, vocals; Motion

Shajarian, vocals; Keyavash

Have Heard on High; and other

Butcher Trio. RBC Theatre,

Picture Symphony Orchestra;

Nourai, violin, cello and ka-

works. Koerner Hall, 273 Bloor

Living Arts Centre, 4141 Living

Tallis Choir of Toronto; Justin

mancheh. Aga Khan Museum

St. W. 416-408-0208. $45-$90.

Arts Dr., Mississauga. 905-306-

7:30 Counterpoint Community Orchestra. A Joyful

Freer, conductor. Sony Centre

Auditorium, 77 Wynford Drive.

6000. $30; $28(sr/st); $25(child).

Noise. New Canadian works;

For The Performing Arts, 1

416-646-4677. $50-$75. Also

8:00 Tafelmusik. The French Con-

Also 8:00.

Tchaikovsky: Symphony No.5;

Front St. E. 1-855-872-7669.

Dec 6.

nection. Rebel: Les Éléments;

Holst: Jupiter, the Bringer of

$47-$97.

8:00 Elmer Isler Singers. Handel:

and works by Campra, Corrette,

2:00 Royal Conservatory. Family

Leclair and Rameau. Amandine

Concerts: Stewart Goodyear.

Strings Waltz. St. Luke’s United

Messiah. Guests: Virginia

Beyer, violin and conductor.

Nutcracker Suite (piano solo

Church, 353 Sherbourne St. $20;

Hatfield, soprano; Marion New-

Trinity-St. Paul’s Centre, Jeanne

version). Stewart Goodyear,

$15(students with ID); $10(under

man, mezzo; David Pomeroy,

Lamon Hall, 427 Bloor St. W.

piano; dancers from Canada’s

12). 416-902-7532.

tenor; Giles Tomkins, bass;

416-964-6337. $37-$89; $29-

National Ballet School and

Amadeus Choir; Lydia Adams,

$79(sr); $15-$79(under 36). Also

Ballet Creole; singers from

7:30 Etobicoke Centennial Choir.

conductor. Metropolitan United

Dec 4, 6, 7(mat).

Toronto Children’s Chorus.

Sacred Traditions. Handel: Mes-

Church, 56 Queen St. E. 416-217-

8:00 Upper Canada Choristers.

Koerner Hall, 273 Bloor St. W.

siah(part 1); seasonal carols and

416-408-0208. $25-$35. 75-min-

songs. Carl Steinhauser, piano;

8:00 Exultate Chamber Singers.

Winter Fanfare. Rutter: Blow,

ute concert.

Henry Renglich, conductor.

Blow Thou Winter Wind;

Humber Valley United Church,

7:30 University of Toronto Faculty of Music. Wind Symphony.

A Canadian Noël. Works by

Jenkins: Stella Natalis (Celebro

3:00 Arraymusic. Udo Kasemets,

Canadian composers; Christ-

and Wintertide); Sevivon and

Uncompromising Experimen-

416-769-9271. $25.

mas stories from singers in

We Are Lights; and other works;

talist, Day One. Array Space, 155

Cable: Ontario Pictures; Henze:

the ensemble; audience carol

audience sing-along. Natasha

Walnut St. 416-532-3019. . Also

7:30 Pax Christi Chorale. Winter

Ragtimes and Habaneras; Chil-

sing-along. Hilary Apfelstadt,

Farnsblow, piano; Cantemos

Dec 7. See Section D, The ETCet-

Nights. J.S.Bach: Christmas

dren’s March; Copland: Down A

conductor. Guests: Mississau-

a capella Latin Ensemble;

eras, under Screenings.

Oratorio Part II; Nun komm der

Country Lane; Chance: Incan-

ga Children’s Chorus (Caron

Laurie Evan Fraser, conductor.

Heiden Heiland; Martin: Winter

tation and Dance; Weill: Three

Daley, conductor). St. Thomas’s

Guest: Mark Ruhnke, baritone.

Nights. Michele Bogdanowicz,

5 FRIDAY DEC.

0537. $55; $50(sr); $20(st).

Big Band. 18-piece big band.

Original compositions and

6

SATURDAY DEC.

mas. Bill MacLean, vocals; Brian Stevens, piano. 140 Wineva Ave. 416-691-8082. Freewill offering.

7:30 Cantores Celestes Women’s Choir. An Appalachian Christmas. Walker: Appalachian Carols; Bass: Gloria; Caccini: Ave Maria; and other works.

Trillium Brass; Tom Power, man, violin; Ellen Meyer, piano;

Jollity; Dvořák: Serenade for

76 Anglesey Blvd., Etobicoke.

ALLEGRO LISTINGS

mezzo; Sean Clark, tenor;

This Day. Jeffrey Reynolds,

mancheh. Aga Khan Museum

monic Orchestra; Tallis Choir of

Doug MacNaughton, baritone.

conductor. MacMillan Theatre,

Auditorium, 77 Wynford Drive.

Toronto; Arnie Roth, conductor.

2:00 Off Centre Music Salon.

Grace Church on-the-Hill, 300

Edward Johnson Building, 80

416-646-4677. $50-$75. Also

Sony Centre For The Perform-

Russian Salon: St. Petersburg,

Lonsdale Rd. 416-786-2509. $35;

Queen’s Park. 416-408-0208.

Dec 5.

ing Arts, 1 Front St. E. 1-855-872-

Petrograd, Leningrad ... St. Pe-

$30(sr); $25(st). Also Dec 7(mat).

$30; $20(sr); $10(st).

7669. $30-$115.

tersburg. Stravinsky: L'histoire

7:30 Royal Conservatory. Mazzo-

7:30 Village Voices. Christmas

8:00 Greater Toronto Philharmonic Orchestra. Joy to the

8:00 Tafelmusik. The French Con-

de soldat; other works. Marie

leni Masters: Speak Low. Cab-

Joy. Seasonal music for choir

World. Randall Thomson:

nection. Rebel: Les Éléments;

soprano; Erica Iris Huang,

aret evening: Weill and Lenya’s

and brass. Works by Pinkham,

Nativity according to St. Luke;

and works by Campra, Corrette,

mezzo; Inna Perkis and Boris

musical journey from Berlin to

Chatman and Willcocks.

Reed (arr.): Greensleeves; Shari

Leclair and Rameau. Amandine

Zarankin, piano; William Web-

Broadway. “Speak Low”; “Sep-

Guests : Brass A Peal. Markham

(arr.): Carol of the Bells. Lenard

Beyer, violin and conductor.

ster, actor. Glenn Gould Studio,

tember Song,” “Schickelgruber,”

Missionary Church, 5438 Major

Whiting, conductor; University

Trinity-St. Paul’s Centre, Jeanne

250 Front St. W. 416-466-1870.

“Nanna’s Lied,” and other songs.

Mackenzie Dr. E., Markham.

of Scarborough Concert Choir;

Lamon Hall, 427 Bloor St. W.

$60; $50(sr); $25 (age13-25);

Adi Braun, vocals; Dave Res-

905-294-8687. $20; $10(st).

Ensemble TrypTych Chamber

416-964-6337. $37-$89; $29-

$15(child).

tivo, piano; Pat Collins, bass;

Choir. Calvin Presbyterian

$79(sr); $15-$79(under 36). Also

Daniel Barnes, drums. Conser-

7:30 VOCA Chorus of Toronto.

Church, 26 Delisle Ave. 647-

Dec 4, 5, 7(mat).

2:00 Royal Conservatory. Mazz-

vatory Theatre, 273 Bloor St. W.

Winter North & South. Rogers:

478-6122. $25; $20.

Northwest Passage; Gjeilo:

7:30 St. Michael’s Choir School.

Northern Lights; Susa: Carols

8:00 Mississauga Festival Choir.

8:00 Voices Chamber Choir. A

oleni Masters: John O’Conor &

416-408-0208. $32.

Garland of Carols. Vaughan

Fields and Chopin; Beethoven:

& Lullabies: Christmas in the

Jingle Jazz. Berlin: White

Williams: Fantasia on Christ-

Cello Sonata No.3; Schumann:

St Michael’s Choir School

Southwest; and other works.

Christmas, Guaraldi: A Charlie

mas Carols; Holst: Christmas

Piano Quintet. John O'Conor,

at Massey Hall. Christmas

Jenny Crober, conductor; Eliza-

Brown Christmas, and other

Day; works by Phllips, Rutter,

piano; Desmond Hoebig, cello;

Concert. Jerzy Cichocki, Teri

beth Acker, piano. Guests: Lori

traditional and jazz selections;

Chilcott and others. Ron Ka

guests, other members of RCM

Dunn and Kathleen Allan,

Gemmell, harp; William Beau-

sing-along. Guest: Shannon

Ming Cheung, conductor; John

Faculty. Mazzoleni Concert

conductors; William O’Meara,

vais, guitar; Les Allt, flute/tin

Butcher Trio. RBC Theatre,

Stephenson, piano. Church of

Hall, 273 Bloor St. W. 416-408-

accompanist; guests: True

whistle/pan pipes; Ray Dillard,

Living Arts Centre, 4141 Living

St. Martin-in-the-Fields, 151 G

0208. $32.

North Brass; Schola Cantorum

percussion. Eastminster United

Arts Dr., Mississauga. 905-306-

Strings. Massey Hall, 178 Victo-

Church, 310 Danforth Ave. 416-

6000. $30; $28(sr/st); $25(child).

ria St. 416-872-4255. $20-$50.

947-8487. $25; $20(sr); $10(st).

Also 2:00.

7:30 Toronto Beach Chorale. In

7:30 York Chamber Ensemble.

8:00 Scaramella. Lawes Unto

Concert. Rutter: Magnificat;

Winter Concert. Vivaldi:

Himself. Lawes: Harp Consorts.

other seasonal favourites.

Winter; Britten: St Nicolas;

Julia Seager-Scott, harp; Paul

Alexa, soprano. Kingston Road

Tchaikovsky: The Nutcracker

Zevenhuizen, violin; Joelle

United Church, 975 Kingston

Suite; other works. Guests:

Morton, bass viol; Madeleine

Rd. 416-699-6634. $25/$20(adv);

Trinity Festival Chorus. Trinity

Owen, theorbo. Victoria College

$12(youth 7-18)/$10(adv);

Anglican Church (Aurora), 79

Chapel, 91 Charles St. W. 416-

free(under 7). Cash only at the

Victoria St., Aurora. 905-727-

760-8610. $30; $25(sr); $20(st);

door.

6101. $20; $15(sr/st).

free(14 and under).

7:30 University of Toronto Faculty of Music. Wind Ensemble.

8:00 Aga Khan Museum. Siavash:

7

SUNDAY DEC.

Bérard, violin; Ilana Zarankin,

Desmond Hoebig. Nocturnes by

2:30 Bel Canto Singers. The Most Wonderful Time of Year.

Jacqueline Mokrzewski, piano; Linda Meyer, conductor. St. Dunstan of Canterbury, 56 Lawson Rd., Scarborough. 416286-8260. $15. Also 7:30.

2:30 University of Toronto Faculty of Music. Choirs in Concert:

1:15 Mooredale Concerts. Music

Gloria! Young Voices Toronto

and Truffles: Jalbert and Song.

MacMillan Singers, Men’s Cho-

Interactive performance for

rus, Women’s Chamber Choir

Stories from the Shah-Nameh.

8:00 Sony Centre For the Performing Arts. Distant Worlds:

young audiences. David Jalbert

and Women’s Chorus; André

Bryant: Ecstatic Fanfare;

Multi-media world premiere.

music from Final Fantasy.

and Wonny Song, pianos.

Heywood, conductor. MacMil-

Copland: Emblems; Chan Ka

Shahrokh Yadegari, composer;

Videos and art stills of the

Walter Hall, Edward Johnson

lan Theatre, Edward Johnson

Nin: Memento Mori; Estacio:

Gordafarid, naqal; Siamak

games with live music. Music

Building, 80 Queen's Park. 416-

Building, 80 Queen's Park. 416-

Frenergy; Gillingham: Be Thou

Shajarian, vocals; Keyavash

by Uematsu. Susan Calloway,

922-3714 x103. $13(includes a

408-0208. $30; $20(sr); $10(st).

My Vision; Maslanka: Give Us

Nourai, violin, cello and ka-

vocals; Distant Worlds Philhar-

chocolate truffle at conclusion).

(Zimfira Poloz, conductor),

83

3:00 Arraymusic. Udo Kasemets,

3:00 Pax Christi Chorale. Winter

3:15 Mooredale Concerts. Piano

8:00 Musideum. Steve Koven and

Uncompromising Experi-

Nights. J.S.Bach: Christmas

Dialogue with David Jalbert

Jayson Dale. Jazz. Suite 133

mentalist, Day Two. Musical

Oratorio Part II; Nun komm der

and Wonny Song. Music for two

(main floor), 401 Richmond St.

tribute to one of Toronto's

Heiden Heiland; Martin: Winter

pianos. Beethoven: Moonlight

W. 416-599-7323. $20.

most respected thinkers and

Nights. Michele Bogdanowicz,

Sonata; Poulenc: Les soirées

composers. Array Ensemble.

mezzo; Sean Clark, tenor;

de Nazelles; Ravel: Ma Mère

Array Space, 155 Walnut St. 416-

Doug MacNaughton, baritone.

l’Oye "Mother Goose" M.60;

532-3019. $15. 2:00: Pre-concert

Grace Church on-the-Hill, 300

Schubert: Fantasie in f D940

talk. Reception to follow. See

Lonsdale Rd. 416-786-2509. $35;

Op.103; Rachmaninoff Suite

also Dec 6.

$30(sr); $25(st). Also Dec 6(eve).

No.2 Op.17. David Jalbert and

3:00 Harmony Singers. It's the

3:00 St. Michael’s Choir School.

Wonny Song, pianos. Walter

Holiday Season! Cool Santa,

St Michael's Choir School

80 Queen's Park. 416-922-3714

Winter Wonderland, Christ-

at Massey Hall. Christmas

x103. $30; $20(under 30).

mas in Killarney, The Secret

Concert. Jerzy Cichocki, Teri

of Christmas and other songs.

Dunn and Kathleen Allan,

3:30 Tafelmusik. The French Con-

Guest: Etobicoke School of

conductors; William O'Meara,

nection. Rebel: Les Éléments;

the Arts scholarship winner.

accompanist; guests: True

and works by Campra, Corrette,

Humber Valley United Church,

North Brass; Schola Cantorum

Leclair and Rameau. Amandine

76 Anglesey Blvd., Etobicoke.

Strings. Massey Hall, 178 Victo-

Beyer, violin and conductor.

416-239-5821. $20; $15(sr/st).

ria St. 416-872-4255. $20-$50.

Trinity-St. Paul's Centre, Jeanne

3:00 Opera by Request. Humper-

3:00 Symphony on the Bay.

Lamon Hall, 427 Bloor St. W.

dinck: Hansel and Gretel.

Christmas Treats. Corelli:

$79(sr); $15-$79(under 36). Also

Sarah Helmers, mezzo (Hansel);

Christmas Concerto; Reed:

Dec 4-6.

Brittany Stewart, soprano

Russian Christmas Music; Baer:

(Gretel); Roz McArthur, mezzo

God Bless Us Everyone (narra-

4:00 Church of St. Mary Magda-

(Witch); Austin Larusson,

tion by Burlington’s Gregory

lene. Organ music for Advent.

baritone (Father); and others;

Cross); carol sing-along. Guests:

Andrew Adair, organ. 477 Man-

William Shookhoff, piano/

Burlington Civic Chorale Choir

ning Ave. 416-531-7955. Free.

music director. College Street

(Gary Fisher, musical director).

United Church, 452 College St.

Burlington Performing Arts

4:30 Christ Church Deer Park.

416-455-2365. $20.

Centre, 440 Locust St., Burling-

Christmas Vespers. Barlow

3:00 Orchestra Toronto. The

ton. 905-681-6000. $18–$31.

Brass and Drums. 1570 Yonge St. 416-920-5211x22. Freewill

Snowman. The Snowman (an-

3:00 Syrinx Concerts Toronto. A

imated short film nomination)

Celebration of Canadian Com-

w. orchestral and choral ac-

posers. Kodály: Duo for violin

7:30 Bel Canto Singers. Little

companiment; Burry: A Hockey

and cello; Cherney: "Stillness of

Drummer Boy; The Pentavo-

Cantata (world premiere); Plau:

the 7th Autumn"; Schubert: Trio

cals. The Most Wonderful Time

Concerto for Tuba and Strings.

No.1 in b for pianzo, violin and

of Year. Jacqueline Mokrzewski,

Jarrett McCourt, tuba; guests:

cello. Patricia Parr, piano; Erika

piano; Linda Meyer, conductor.

Bach Children’s Chorus. To-

Raum, violin; Alexander Win-

St. Dunstan of Canterbury, 56

ronto Centre for the Arts, 5040

ona Zelenka, cello. Heliconian

Lawson Rd., Scarborough. 416-

Yonge St. 855-985-2787. $43;

Hall, 35 Hazelton Ave. 416-654-

286-8260. $15. Also 2:30.

$37(sr); $15(OTopus, child).

0877. $25; $20(st).

Hall, Edward Johnson Building,

416-964-6337. $37-$89; $29-

offering takes place.

84

U of T Music Faculty. Photo by H.J. Seo

86

U of T Music Faculty Library. Photo by H.J. Seo

WALTZ MAGA ZINE NOV 2014