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What impact does music have on a child’s developing brain?

Research reveals links between music and cognitive skills

BY PAUL SINKEWICZ

The power of music to nurture the soul has always been known. Its power to shape the mind is something we are only really beginning to understand.

Tap a beat on a baby’s back, sway with your child to a simple tune or expose toddlers to rhythms and rhymes, and you are forging connections in their brain.

Help that child continue on a musical journey as they grow, and they will thrive in other areas of their development — areas like perception, language, creativity and memory.

Dr. Sean Hutchins is Director of Research at the Royal Conservatory of Music (RCM) and is delving into the mysteries of music and the mind. A musician himself, Hutchins is an accomplished neuroscientist fascinated with the effects that music can have on development. “ There’s always been quite a bit of hype around music and the mind,” says Hutchins. “Over the past 20 years or so there have been numerous studies and

claims about this type of thing… and what we want to do here is make sure that everything we are talking about with music and the mind is really grounded in solid scientific evidence.”

The RCM has had a research centre since 2014, which works closely with the Marilyn Thomson Early Childhood Education Centre, Glenn Gould School, Royal Conservatory School, and other Royal Conservatory initiatives to better understand the effect that music can have on the brain. “ We’ ve been running full-scale research studies involving hundreds of children now, to try and get to the heart of this,” said Hutchins. “We’ve also been running other studies using the adult students at the Glen Gould School to assess what the outcomes of music education can be.”

One of the most important things that this research has found is that simply listening to music isn’t really enough, according to Hutchins.

“The benefits that we’re seeing from music come from practice and come from actually learning and training on music. When you are practising music you are engaging a whole host of skills that you’re not fully engaging just by perceiving music. These are things like recognizing and

being able to perform very subtle timing differences, for example, which are skills that are useful in music, but are also useful in language.

Musicians also need to practise attention and memory skills, and these are things that are applicable to other walks of life.”

RCM recently hosted a conference which brought together some of the leading researchers in the field of music and cognition.

Dr. Ben Zendel outlined his work studying how music in youth can affect perceptual abilities as people age. He found that older musicians could do better at things like speech and noise tests and that musicians who were 70 performed at the same level as non-musicians who were about 50.

Dr. Virginia Penhune is researching the effects early childhood music training can have on development and looks at neurological differences between musicians and non-musicians.

Her work shows effects in areas such as motor co-ordination and language skills.

“Our own work here has been looking at the development of language skills for very young children who are taking music lessons. This involves our Smart Start program which is music lessons for children between the ages of 0 and 6,” says Hutchins. “And we’re mea-

Neuroscientist Dr. Sean Hutchins, Director of Research at the Royal Conservatory of Music, says that playing music helps to shape and forge connections in a child’s developing brain.

GET T Y IM AGES

suring both their linguistic and musical development as they progress through our program and our research has been seeing benefits to things like vocabulary size, to things like pre-reading abilities, as well as associated musical benefits.

“We see quite a bit of evidence that musicians perform better at a whole host of cognitive and perceptual and linguistic tasks than non-musicians, and there have been a number of studies linking these directly to music training.”

His research also seems to indicate the earlier the better when it comes to taking up music. “So far we haven’t found a lower limit for beginning. All the evidence that we have shows that the earlier a child starts their musical training, the more benefit we can see. So that’s age-appropriate musical lessons, even for our youngest students.”

Hutchins hopes his research will help parents and educators gain an appreciation for the importance of music in a well-rounded

education, as well as assist parents to find ways to encourage their children to stay involved in music.

He suggests that parents let the child explore types of music they might be more interested in. It’s also important for the child, the teacher and parents to establish a good working relationship.

“Music can be a very personal type of experience, and part of what makes music effective is the fact that it is generally fun,” says Hutchins.

Music, brain.

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Season 15 offers repertoire ‘from the heart’: The University of Saskatchewan Amati Quartet performs on four rare string instruments crafted in Italy in the 17th century by members of the Amati family. Experience these exquisite Amati instruments in the spectacular setting of Knox United Church on October 9, January 13, March 17, and April 28. The musicians of the Amati Quartet – Marla Cole (violin), Rudolf Sternadel (violin), Geoff Cole (viola), and Terence Sturge (cello) – are now in their 15th season.

On Sunday afternoon, September 17 (location to be announced), the Amati Quartet will launch its second CD called ‘From The Heart,’ a collection of evocative slow movements

• • •

from the string quartet repertoire.

Featured throughout the season is repertoire that can also be found on the Quartet’s first CD: ‘Passion for Haydn’ containing ten individual string quartet movements by Joseph Haydn as well as the Piano Trio in G, the ‘Gypsy Rondo’ with pianist Samuel Deason. Tracks from their newly released second CD, ‘From the Heart,’ also will be programmed throughout the season for an exciting taste test.

■ “The Best of the Best” Season 15 begins with the fourth annual Thanksgiving Monday concert on October 9 devoted to showcasing sensational young musicians in

Saskatoon, as well as Amati Quartet alumni: Evan Barber (violin), Carmen Cole (viola), Hans Deason (cello), Solveig Deason (violin), Emmett Fortosky double bass) Brandon Johnson (violin), Zaide Masich (cello), Samuel Milner (violin), as well as Renée de Moissac (harpsichord and piano). This traditionally Baroque concert will feature Bach in one of his most famous works – the Brandenburg Concerto No. 3, as well as the Mendelssohn Octet.

■ “Something A Little Different’ On January 13, Amati Quartet will lift your spirits with some humorous short, contemporary pieces by modern composers including Schnittke,

Glass, Shostakovich, Jenkins, Kaplan, Tavener, Part and a few more surprises. This concert will delight you with incredible music that you haven’t heard while tickling your funny bone.

■ “A Golden Moment” On March 17, ‘A Golden Moment’ will include two tracks from the quartet’s ‘From the Heart’ CD, the Dvorak Cypresses, as well as Cherubini’s String Quartet No. 1. This quartet is considered one of Amati’s golden moments in life, a best performance ever moment.

■ ‘From the Beginning’ On April 28, Amati Quartet will revisit fabulous favourites from its 2003 debut concert: Haydn’s String Quartet Op. 74, No. 3, ‘The Rider’; Turina’s The

The University of Saskatchewan Amati Quartet has a heartfelt repertoire of new offerings and memorable favourites for Season 15. SUPPLIED PHOTO

Bullfighter’s Prayer; and the ever popular String Quartet Op. 96, ‘American’ by Dvorak.

Concerts are at 2:00 p.m. and at 7:30 p.m. at Knox United Church. Tickets available from the Remai Arts Centre box office: (306) 384-7727 or at www.

persephonetheater.org. For more details, visit www.amatiquartet.usask.ca. (All dates, repertoire, and artists are subject to change.)

THIS ARTICLE WAS CONTRIBUTED BY MARLA COLE, UNIVERSITY OF SASKATCHEWAN AMATI QUARTET.

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Saskatchewan Express helped launch Dalmeny student’s theatre studies in Britain HILARY KLAS SEN

Getting accepted into the Guildford School of Acting (GSA) in England is the stuff of dreams for Kenni Chomyn.

It’s the exciting next step in her passionate pursuit of musical theatre.

The Dalmeny resident likely cannot remember a time when she didn’t love performing.

Since her first singing gig in church at age four, that love has blossomed and expanded into many more opportunities.

Chomyn sang at weddings, funerals and school musicals.

She sang for Dalmeny Fury hockey games and then for the Saskatoon Blades in the WHL. In 2012, Chomyn was a dancer for the Canadian Country Music Awards and sang in the CBC Christmas special with The Tenors and Beverley Mahood. “I started performing more and more and I absolutely fell head over heels in love with it!” Chomyn says. Her path led to various opportunities for learning as well.

Now 21, Chomyn is completing a two-year undergrad program at Randolph Academy for the Performing Arts in Toronto and will begin studies at the GSA in London in September.

A very significant part of her journey was the opportunity to join the Saskatchewan Express Music Theatre Studio (SE) in Saskatoon, which laid the foundation for everything that followed.

“At Saskatchewan Express, I learned so much that I hear said at Randolph and they’re like, ‘Oh that’s so smart’. And I’ve grown up with these values,” says Chomyn. She learned many team and family aspects about performance at SE, how to manage call times and how to behave backstage. “It’s not about you, its about the show.

Its about the audience.”

Competitions were a big part of the SE experience and Chomyn says her love of performance was nurtured there.

“You learn to be friendly to other people because you nev-

er know who you’re going to work with one day. And also just to be a decent human being. Competition was always about having fun for us and just getting another chance to perform. I think that instilled a love of performing for me instead of being uptight.” She knows of other schools where competition can be a terrifying experience.

Over the years, Chomyn has made many friends and connections. “I’ve been so fortunate that every company I’ve worked with, I’ve come out of it not only with connections but also life long friends.

With SE especially, I have people from there that I know for a fact that I will be friends with probably until the day I die.” Lorna Batycki, the director at SE in Saskatoon for the entire time Chomyn was part of it, and others, were exceptional mentors.

After being a performer for most of her life, Chomyn decided to take a summer off, to see if performing was really her

thing. She had a part time job, a boyfriend, she was hanging out with friends, and she didn’t perform at all or take any classes or camps. “I was trying to be a regular non-performing teenager, but by the end of the summer I was going stir-crazy.

I realized I can’t not be a performer.” Right after that, she attended a “Jersey Boys” show in Saskatoon with her mom.

Afterwards, she looked at her mom through her tears and said, “I have to try.”

Batycki helped her find Randolph, and Randolph helped her find the Guildford School of Acting. Chomyn encourages students who are interested in theatre to get as involved as they can. “Do research – there’s so much online – go to shows, get a good support system, watch other actors, listen to theatre and don’t give up.” She talks about the importance of self-care, understanding your emotions, eating right and believing in yourself.

Chomyn enjoys solid sup-

Dalmeny’s Kenni Chomyn developed a passion for performance as part of the Saskatchewan Express and will begin studies toward an MFA in the Masters of Musical Theatre program at the Guildford School of Acting in England this fall.

M ELIS SA WEIR PHOTO GRA PHY

port from her family. “My mother is wonderful and the most hard-working woman I know. She’s absolutely amazing!”

As a musical theatre student, Chomyn does singing, dancing and acting, what Randolph calls the triple threat.

She’s excited about the England adventure but she’s also nervous. “It’s going to be scary going to a new place and having to start over mostly.” Two other girls from Randolph are going to GSA as well.

GSA has an agreement with London’s West End which will see her working on a show before she graduates. She’s keen to discover the culture and make new connections, and welcomes the opportunity to learn and grow and share her art.

“I would love to be on Broadway or in a West End show or a national tour – those are the dream. I’d love to experiment with TV and film if I could. Everything I’ve dipped my toe into I like a lot.”

Registered Music Teachers uphold high standard of music education The Saskatoon Registered Music Teachers’ Association (SRMTA) is an organization of professional, dedicated, energetic and qualified teachers within your community. RMTA members teach a variety of instruments and related theoretical subjects, from beginner to the most advanced levels.

Each Registered Music Teacher (RMT) holds at least one degree or diploma from

a University, Conservatory or recognized school of music.

RMT members are also committed to continuous professional development. The Association’s objectives include promoting progressive ideas in music education, encouraging professionalism in the art of teaching and stimulating a high standard of music and culture.

The student of a Registered

Music Teacher benefits from a variety of performing opportunities, workshops and recitals with visiting artists, and opportunities for awards and scholarship support.

The Association’s 2017 – 2018 season features many fabulous events planned for RMTs, students and the community. The Saskatoon Branch is very proud to present the Young Artist Concert in Oc-

tober. On March 18, students and exam medalists will be showcased at the RMT Spring Recital.

While not hosting this year, the Saskatoon Branch always has a strong representation at the Provincial Registered Music Teachers’ Association Convention, to be held in Yorkton in October. There are also many other student performances throughout the year.

In November, there are numerous events planned as part of Canada Music Week. In May of 2018, RMT members will play a huge role in supporting many students entered in the Saskatoon Music Festival and other competitions.

For monthly meetings, workshops focussed on professional development are offered to Registered Music Teachers. The Association offers a

THIS STORY WAS PROVIDED BY THE SASKATOON REGISTERED MUSIC TEACHERS’ ASSOCIATION.

network of highly qualified instructors providing expertise in a wide variety of musical performance and instruction.

It is a very exciting schedule designed to provide educational and performance opportunities for both teachers and students!

To find a teacher in your area, or to learn more about Registered Music Teachers, visit www.srmtasaskatoon.com.

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n your arabout Reghers, visit n.com.

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BY JEANNIE ARMSTRONG

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areas of the city. Jillian took over ownership and management of the store in 2012, after Joanne lost her battle with cancer.

“Dancewear has definitely come a very long way,” says Novakovski-Vetter, citing an explosion of new colours and technologically advanced fabrications.

“Everyone likes to be unique. You don’t want to go into a class where everybody is wearing the same thing, especially at auditions and dance camps, where students want to stand out.”

Among the leading brands in dance fashion featured at Dance Street are Bloch, Mirella, Capezio, So’ Dança and the leading Canadian supplier, Mondor.

Trends in mainstream fashion often cross over into dancewear, says NovakovskiVetter. For example, among the big trends for this year are the use of mesh and lace, fabrics that have dominated fashion runways in recent seasons.

“A lot of the major dancewear brands are hiring designers now. As well, famous ballerinas, including Misty Copland and Isabella Ciaravola, are designing their own dancewear lines, either for major companies or on their own,” she says.

“With social media, and TV shows like So You Think You Can Dance, it’s so easy to follow your favourite dancer and copy what they’re wearing. Many of our customers will see something that other dancers are wearing and come into the store, asking us to bring it in. We place special orders for people all the time.”

Not only should dancewear be stylish, it needs to be functional. “It has to work with them. It has to breathe.

It has to stretch. It has to fit.

There’s a lot to a bodysuit that most people don’t consider,” says Novakovski-Vetter.

“When a dancer feels good, it reflects in their dancing.”

Technology has greatly enhanced the selection of fabrics used in dancewear.

“They’re breathable, wickable and stay in place. The new trend towards mesh and lace is also a benefit to dancers because it’s more open, more breathable.”

Even dance shoes are evolving, thanks to the introduction of stretch fabrications. “The technology has become more advanced. For ballet slippers and jazz shoes, the cool new thing is stretch canvas. It hugs your foot so nicely; you can see every articulation of the dancer’s foot,” she explains.

“There is also stretch now in pointe shoes. That’s the new big thing. The shoe hugs the foot perfectly; there’s no bagginess. A lot of brands are bringing that in.”

The proper fit is essential, especially when it comes to dance shoes. “Our staff receive extensive training so they know how to fit every shoe properly, and what makes our shoes better. It can be dangerous to dance in illfitting shoes, especially pointe shoes. We pride ourselves on

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Moving in style

It’s never been easier for dancers to express their individual style and creative spirit, says Jillian NovakovskiVetter, owner of Dance Street Dancewear in Saskatoon.

When Novakovski-Vetter was a dance student in the rfor1990s, the choice of dancebegin wear wasn’t nearly as varied atre as it is today. d this fall. “When I was little, I had the same bodysuit in six different colours. Today at ment withDance Street, we have over which will200 styles of body suits,” says a show be-Novakovski-Vetter.

She’s keen For over two decades, lture andDance Street has brought the ions, andlatest styles in dancewear, rtunity toshoes and accessories to Sasshare herkatoon. Joanne Novakovski founded the business in 1994, to be oninspired by her experiences West Endas a dance mom to Jillian and ur – thoseher sister Karlee. By 2009, a ove to ex-second Dance Street location nd film if Iopened in downtown Saskave dippedtoon, to provide convenient service to customers in all t.”

ualified inexpertise f musical struction. schedule de educance opporchers and

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At Dance Street Dancewear, Jillian Novakovski-Vetter (left) and her team stay on top of the constantly evolving trends in dancewear. JEFF LYONS

our customer service.”

To stay on top of the constantly evolving dancewear trends, Novakovski-Vetter attends two major industry shows a year. “It’s where you see all the new and great things. I also follow all of the principal dancers on Instagram and Facebook,” she says.

“As well, I talk to the teachers from the major dance studios several times a year to see what they need and what they like. It’s important to have good relationships with them and make sure we’re

carrying what they like. That has a huge impact on what we have in our store.”

Dance Street also features attire for gymnasts and figure skaters, in addition to a full line of theatrical make-up and accessories.

Before another season of dance classes begin, check out the newest trends in dancewear, shoes and accessories at Dance Street, with locations at 1020 Louise Avenue, just off 8th Street, and downtown at 16 – 23rd Street East.

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Yamaha Piano Centre keeps tempo with changing times

BY RYAN HALL

The piano has been called the king of instruments for its deep tone, wide range of notes, and limitless potential.

These attributes allow it to convey a variety of emotions, from the soft and subtle, to the majestic and powerful.

For over 37 years, Roger and Marie

Jolly at Yamaha Piano Centre have been providing quality service and instruments to Saskatoon piano aficionados and newcomers alike.

Since they first opened their shop in 1980, at 1011 Broadway Avenue, the Jolly’s have witnessed a variety of changes to the local music scene.

Two of the biggest are the decreasing

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number of stores, and the shift in demand from organs to pianos. At the start, they were one of nine in the city, yet of those original shops only theirs survived.

“We’ve seen every one of them come and go – the casualties of changing times,” says Roger Jolly. One such evolution has been the move away from organs in favour of pianos, a preference that continues to this day.

“When we first started, organs were very much in fashion; they were everywhere and organ clubs were extremely popular,” said Marie Jolly.

“Over time, that has shifted, and today pianos are what everyone wants.”

However, even within pianos themselves, there have been many changes. For example, 30 years ago, the demand for upright pianos was high, yet today the pendulum has swung towards grand pianos. To Roger, that can partly be explained by economic factors, as “in the 1980s, the cost of a grand piano was perhaps 30 to 40 per cent of a family’s yearly income. Today, due to multi-income households, it might only be 15 per cent which makes them more affordable and attractive.”

Also popular are pianos that incorporate modern technology, such as player pianos which are capable of recording and playing back in real time. Some models even include live streaming which allows a performance to take place in one location while students listen to or view it in another. This has become increasingly popular with professional musicians, who can take part in master classes held around the world, without ever leaving their own front room.

Along with these changes, there have been some constants, such as the customers’ desire to receive a top quality product that they can rely on.

Roger and Marie Jolly have kept pace with the changing music scene since opening the Yamaha Piano Centre in 1980. While exploring the latest trends and technologies at the Piano Centre on Broadway Avenue, customers benefit from the knowledge and expertise that comes with the Jolly’s 37 years of experience in the industry. JEFF LYONS

This is one of the chief reasons Yamaha Piano Centre has been able to outlast other providers, as they believe in knowing their products, offering good advice, and then standing behind them.

For customers, this means when they buy a piano, they are getting more than just an instrument. They get the combined experience, knowledge, and support that comes from over 37 years in the business.

This is especially helpful for first time shoppers who are looking to buy a piano. “In those cases, one of the questions we often get is ‘should we buy new or used?’,” says Roger. “My response is always the same: quality is what matters. Getting a deal on a used piano that requires $2,000 worth of work isn’t good value, no matter how low the original price.” With that in mind, every piano sold by Yamaha Piano Center, whether new or refurbished, has been fully checked, approved and comes with a warranty.

This means that customers can be confident that they will go home with a high-quality instrument.

For those who already own a piano, Yamaha Piano Centre provides a

wide range of services. Every piano needs regular care and attention, as key compression causes the cushions to harden, and the piano begins to play louder. While individuals have their own preferences, a professional setting can help soften the tone and bring out the full depth of the instrument. “While technique and repertoire vary between musicians,” says Roger, “nearly every pianist I’ve talked to has come to appreciate a softer tone.”

With a lifetime of experience in the piano industry, the Jolly’s are also active in the music community. Yamaha Piano Centre provides care and maintenance to instruments at a variety of venues around Saskatoon, including the pianos showcased at TCU Place, the Bassment, and Jazzfest. Additionally, for those interested in learning to play the piano, adult lessons are run twice yearly out of the Yamaha Piano Centre, providing an opportunity for new students to learn the basics.

For more information about Yamaha Piano Centre, their products, or their services, visit the store located at 1011 Broadway Avenue or visit www. yamahapianocentre.ca.

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o Sophie McBean among bright stars competing at national festival P OSTMEDIA CONTENT WORKS

of Bonnie Nicholson, longtime teacher and accompanist and a member of the Saskatchewan Music Festival Association’s board of directors.

Nicholson says “Sophie’s piano playing is passionate and electric. It doesn’t seem to matter that her frame is small because every note comes from her physical core. The sense of forward momentum in her performances can border on the dangerous and is most exciting.”

Music runs in the McBean family. Katie, 25, played piano and sang through high school days and her main instrument is viola. She just completed an undergraduate degree, with double major in French and music performance with viola at Western Ontario University.

Emily, 23, is a cellist who has just finished her degree at the Conservatory in Quebec City where she now lives. Charles, 18, plays double bass, guitar

and mandolin and his other main interest in Saskatoon is in film editing.

Winning the trip to Ottawa was one of Sophie’s accomplishments at the provincial finals. She was a provincial winner and scholarship recipient in the Wallis Memorial senior Beethoven class and the Gale Glenn Memorial senior 20th or 21st Century Canadian piano class.

She advanced to the Grand Award finals where she won the Blanche Squires Memorial bronze award of $500 and the Anna Klassen Memorial piano award of $400.

Others on Team Saskatchewan going to the national festival are bass-baritone Joshua Hendrickson from Regina in the voice category; violinist Joanne Peng from Moose Jaw in the strings category; alto saxophonist Cole Knutson from The Battlefords in the woodwinds category; trombonist Dominic Ghi-

Saskatoon pianist Sophie McBean, 21, is taking aim at the best of two career opportunities.

As a major player at the Saskatchewan Music Festival Association finals in Saskatoon, McBean will represent Team Saskatchewan in the national finals in Ottawa from Aug. 10-12. In doing so, she is following in the footsteps of her sister, Katie, who grew up in Saskatoon and was studyery pianoing in London, Ont. in 2016 ention, aswhen she competed for One cushionstario and earned third place begins toin the strings division. uals have Music has been McBean’s ofessionalcalling for several years but tone andher other happy news this he instru-summer is that, after four nd reper-years at the University of Sasans,” sayskatchewan, she has been act I’ve talk-cepted to study in the College te a softerof Medicine.

McBean has been a student ence in the re also acCome Join! y. Yamaha and mainSaskatoon Lions Band Marching Band Program variety of Celebrating 63 Years! including CU Place, • Band Program includes - Uniform, music and instruction.

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glione from Regina in the brass category; Louren Sazon from Moose Jaw in musical theatre; and Trio Rustico (Josias Sanchez, Charlee Wielgoz and Danielle Guina) of Humboldt in the chamber group section. The Campbell Collegiate Choir of Regina will also be judged in the choral class, which is adjudicated by tapes.

In the Grand Award finals, Emma Johnson of Regina, a vocalist, won the Sister Boyle gold award of $1,000, and Peng took the Wallis Memorial award of $750. Silas Friesen gave Saskatoon a second winner at the final concert, taking the Guy Few brass honours.

Saskatoon took a fair share of the prizes in the provincial finals.

Kiaotong Wang won as the most outstanding intermediate pianist and took the intermediate 20th or 21st Century Canadian music prize. Jayden Burrows was also a double winner, taking the senior B

Sophie McBean received the Anna Klassen Memorial piano award from SMFA board member, Bonnie Nicholson, at the Saskatchewan music finals. PHOTO BY STEPHEN NICHOLSON

Grade male voice award and intermediate musical theatre ballad scholarship.

Other Saskatoon winners were Jordan Dornn in Senior Grade A male voice; Olivia Guselle in Grade B female voice; Annika Tupper in intermediate female voice; Gabriel Benesh in senior Grade A concert group; Brianna Penner in senior Grade B concert group; Thomas Hu in senior Chopin

piano; Matthew Praskas in senior French music; Brianna Ai in intermediate guitar; Carl Hofmeister in senior woodwinds; Kara Daviduik in intermediate woodwinds; and Silas Friesen in senior brass concert.

There were over 260 performances at the U of S from artists who came from 47 district playoffs, with $30,000 in scholarships on the line.

SASKATOON SASKAT OON

LIONS BAND

306-249-5013 • www.saskatoonlionsband.org

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The Pavlychenko Folklorique Ensemble (PFE) celebrates its 50th anniversary with a special gala at TCU Place on October 7. The company is currently touring Eastern Europe, but will return to Saskatoon to entertain audiences at Folkfest. SU PP L IED PH O T O

BEAUTY AND POWER:

Celebrating 50 years of Pavlychenko

BY RYAN HALL

Dance is one of the most powerful forms of human expression. It’s ability to convey emotion makes it timeless and communal. For 50 years, the Pavlychenko Folklorique Ensemble (PFE) has been using this medium to share Ukrainian culture in Saskatoon, and around the world.

The PFE was established in 1967 by Miss Lusia Pav-

lychenko, a nationally renowned pioneer of dance.

Originally created to reflect Ukrainian culture and tradition through the performing art of dance, the ensemble’s uniqueness was derived from its marriage of the Canadian experience with traditional Ukrainian roots.

From inception, the PFE has been characterized by its troupe of young, dedicated dancers who expertly weave

nostalgic spells with their intricate high velocity footwork and stunning lyrical quality.

However, while the overall vision has remained unchanged over the years, the execution has changed. “You can see evolution in the choreography of dances, the costuming, the music and in the scale of the performances,” says Raynelle Chriest, former president of the PFE.

FOR 2017-2018 PERFORMING SEASON

AUGUST 22, 2017

The Saskatoon Children’s Choir offers young singers a rich and challenging experience.

Phoebe Voigts, Artistic Director Michelle Aalders, Accompanist

All young people who enjoy singing are welcome to audition.

Preparatory Choir: Ages 7-9 Apprentice Choir: Ages 8-13 Concert Choir: Ages 11-16

FOR MORE INFORMATION OR TO BOOK AN AUDITION, PLEASE CALL 306-249-3927 OR VISIT WWW.SASKATOONCHILDRENSCHOIR.ORG SAS00376648_1_1

Part of these changes can be traced to the growing international reputation the ensemble has garnered, which “led to choreography that is now focused on stories with a strong sense of Canadiana, while still retaining knowledge of Ukraine’s historical and ethnographical influences,” explains Nina Koroliuk, an Instructor at Saskatoon School of Dance.

It is this amazing sense of pride and identity with Western Ukrainian culture that brings the troupe together, and builds the camaraderie among the ensemble and alumni. “The communal aspect is empowering,” says Chriest, “and allows the PFE to translate their pride and passion into staged dance.”

The person in charge of channeling that passion is current artistic director Serhij Koroliuk, who says the mission of the Pavlychenko Folklorique Ensemble has expanded since its founding.

“We are not only preserving, but also developing Ukrainian culture. We are taking it from the ‘museum’ and bringing it to modern life in a way that people can relate to.”

Over the past 50 years, the PFE has had the opportunity to share their incredible gifts with a wide range of audiences. Whether it is performances at Expos’ ’67 and ’80, dancing at the 1978 Commonwealth Games, taking part in Saskatoon’s 100th Birthday in 1982, or celebrating the millennium with Brazilian Ukrainians in Brazil, the ensemble has had the chance to perform for prime ministers, princesses, and all lovers of the arts and Ukrainian culture.

One performance stands out for many PFE members and that was their 2003 trip to the ‘homeland’ of Ukraine.

“Reconnecting with the people who live the culture we nostalgically have emotional ties to was unbelievably powerful,” says Lana Niland, former PFE member.

The PFE equally cherishes local celebrations such as Folkfest, Vesna, and Ukrainian Day in the Park where they can join with the rest of Saskatoon. Lana explains, “That which remains memorable occurs less because of where we were, perhaps, and more because of who we were with.”

To celebrate their anniversary, the PFE has a full slate of events planned. On July 31, the company launched an Eastern European tour with stops in Croatia, Bosnia and Herzegovina, Hungary, and Ukraine. Their repertoire will feature several unique pieces including a multicultural suite “Canadian Kalei-

doscope” which celebrates Canada’s 150. They will also perform “Baba’s Trunk,” a dance composition telling the story of Ukrainian settlement in Canada; “Departing Kozak,” a tribute to fallen Ukrainian soldiers protecting Ukraine against Russian aggression; and “Holubka,” a modern energetic dance for a typical Ukrainian-Canadian party – with a Saskatchewan style.

Once they return, the PFE will be performing at Folkfest, before preparing for their 50th anniversary weekend performances.

There will be a social gathering titled “Warm-up at the Barre” taking place at The Bassment on Friday, October 6, including a performance by the Papa Duke Band featuring Ukrainian-Canadian violin virtuoso Vasyl Popadiuk.

The next evening, Saturday, October 7, the PFE’s 50th Celebration will be held at TCU Place. Audience members will have the opportunity to meet five decades of PFE members, and enjoy a performance by the current cast with special guests – the Lastiwka Ukrainian Choir & Orchestra of Saskatoon – plus the Pape Duke Band from Toronto. “It’s going to be a great celebration with some memories and nostalgia, good times with old and present friends, some “Budmo!’s” (cheers), songs, music and, of course, lots of dance!” says Serhij.

For more information about the Pavlychenko Folklorique Ensemble, visit www. pfedance.com. Tickets for the PFE 50th anniversary celebration can be purchased from the TCU Place box office at www.tcutickets.ca.

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SSO Season 87 all about northern exposure

elebrates will also Trunk,” a n telling ian settleDeparting to fallen

BY PAUL SINKEWICZ s protectt Russian olubka,” aJust mention hockey and Eric Paetance for akau’s ears perk up.

Canadian Start to talk about spending part atchewanof the summer with a line in the water at a northern lake, and he’s alurn, theready smiling. rming at This man is as Canadian as they reparingcome, and a fiercely proud Prairie niversaryboy through-and-through. mances. Need more proof ? Take a look cial gath-at the line-up the conductor of the -up at theSaskatoon Symphony Orchestra has ce at Thecrafted for the upcoming season. y, October Each of the six Masters Series conformancecerts features home-grown talent by Band fea-Canadian composers and soloists.

Canadian Homecoming is a perfect example. syl Popa-The Jan. 20, 2018 concert will feature Saskatoon’s own Tania Miller ng, Satur-as guest conductor and trumpeter PFE’s 50thGuy Few, another high-profile prode held atuct of the Bridge City, playing a new nce mem-concerto written by Canadian John opportu-Estacio in honour of Canada’s 150th ecades ofbirthday celebrations. d enjoy a “We feel very strongly about e currentshowcasing Canadian talent, but ests – themore specifically Prairie talent,” says an ChoirPaetkau. “There are a lot of people askatoonwho grow up on the Prairies and uke Bandhave great musical development, going toand then go elsewhere to get further tion withtraining, and then live in other cities and nos-and countries and have a very sucwith oldcessful career. To invite those musids, somecians back is not only wonderful for s), songs,the audience, but also for the soloists se, lots ofthemselves.”

Canadian talent is extraordinary, rmationsaid Paetkau. He says having lived nko Folk-in larger centres, and having had the visit www.chance to travel the country, he has ets for theseen the high level of musical talent sary cel-we have across Canada. urchased “For example, we’re bringing in ce box of-Pascale Gigeure for our first baroque concert. I have a feeling that maybe ets.ca.

a few people might know her name in Saskatoon. Most probably don’t.

She is the concertmaster of a worldrenowned chamber orchestra in Quebec called Les Violons du Roy, and it’s a fantastic chamber orchestra – world renowned – and she is one of the most extraordinary violinists in Canada,” says Paetkau.

“She is an exceptional soloist, and I know the Saskatoon audience will just be blown over by her performance. She has this energy that’s extraordinary.”

Season 87 opens Sept. 23 with James Ehnes, one of the world’s great violinists. “He is one of the most wellknown performing violinists in the world today, without a doubt, and he’s from Brandon. He’s a Prairie boy, and a wonderful guy, at that,” says Paetkau.

And then there are the Canadian composers. Paetkau often finds himself torn by the choices out there.

There’s so much Canadian talent that he wants to showcase, in a limited amount of concerts.

“I want to support Canadian composers, but it’s more than that. I love their music. I think it really has something to say and I think the audience will connect with that. And we’ve proven that in the past few years,” says Paetkau.

A Mass for Peace, on Feb. 10, features Exaudi by Manitoba-born Jocelyn Morlock, an award-winning composer based in Vancouver. Then in March, the SSO will be joined by the Saskatoon Youth Orchestra to play Canadian composter Airat Ichmouratov’s Youth Overture, which premiered in 2016.

Other Canadian works this coming season include those written by Christos Hatzis, Kevin Lau and David L. McIntyre.

“I love how the Saskatoon audi-

ence welcomes and trusts us. I think we’ve built a great relationship with the audience so there is a trust. When they come to a concert, they’re expecting an excellent experience and something that will move them, whether it’s a Brahms symphony or a new Canadian work that has never been performed before. And that’s really exciting. That is something that I don’t think every city gets… it’s one of the more thrilling parts of the job,” Paetkau says.

The process of programming a season is complicated and long, says Paetkau. Often, soloists have to be booked two to four years in advance.

“So, it’s a big puzzle and a wonderful juggling act,” Paetkau says.

“Obviously you can’t do everything

LYNNE’S MUSIC Lessons on Acoustic Guitar, Violin/Fiddle All ages welcome Have fun while learning!

Call Lynne at:

(306) 668-6181

lynne_warrior_princess@hotmail.com SAS00378382_1_1

The Wilson School of Highland Dance offers a wide variety of Highland Dance classes which include instruction for dancers as young as 3 years of age through to adult. There are classes for competitive, recreational and professional performance level dancers.

For more information or to register please contact us at: wendy@wshd.ca

Studio Location 3521 8th Street East SAS00377319_1_1

The Saskatoon Symphony Orchestra has invited musicians with prairie roots to return to our city to perform as special guests during Season 87. SUPPLIED PHOTO

you want to do, but when that final season product comes out, it’s a very exciting moment.”

It’s even exciting enough to com-

pete with hockey and fishing to get a Prairie boy’s heart pumping. To learn more about Season 87, visit www.saskatoonsymphony.org.

Recreational & Performance & Competitive Dance Classes for kids and Adults.

Absolute beginners to Advance level. * Performance classes end in year end showcase.

Take advantage of the 2 for 1 offer for adults and kids *Limited space*

We are offering our popular two for one deal. Register for a class and bring a friend with you for free (please provide friend/spouse name). Note: Friend/Spouse/Co worker must attend same class you are registered in. This offer is for kids & Adults.

Dance Classes: kids & Adults (starting from 2 years old)

*Salsa *Dominican Bachata *Hip Hop *Argentine Tango *Kizomba * All Ladies Choreography classes (Various Dance styles). * Latin Dance Genres (various styles) *New Ballet *New Jazz *New Lyrical

Spanish classes: Kids & Adults (Ages 7 and up) Polynesian-Tahiti dance classes for kids & Ladies

Register online: www.danzamorena.com 306-491-9866 info@danzamorena.com IN PERSON REGISTRATION: August 23- September 14th in person registration from 7 pm to 8:30 pm.

Exhibition Area - corner of Prairieland Park.

2333 Herman Avenue (the courts of praise building) SAS00378409_1_1

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A culture of collaboration is bringing Saskatchewan singer-songwriters together

BY MIKE SHIPLACK

Twice a week, Édouard Manet would meet his friends at Café Guerbois to discuss everything from art to politics.

Meetings like this were typical for Paris in the late 19th century, however, these conversations between friends often led to collaborations and new ideas. Manet’s friends included artists like PierreAuguste Renoir, Edgar Degas and Claude Monet and their collaborations would define an era of impressionism that affected both art and culture around the world.

But what does this have to do with Saskatchewan singersongwriters?

Fast forward 150 years.

Then travel just across the pond, over the hills and far away where chapters of the Regional Writers Group (RWG) meet in Regina and Saskatoon to listen, learn, collaborate, and offer constructive criticism to help grow Saskatchewan’s music scene.

Created and supported by

the Songwriters Associations of Canada, both RWG locations in Regina (Sask Music Office, third floor 1831 College Avenue) and Saskatoon (Studio XII Music & Dance Studio, #9-1025 Boychuck Drive) meet once a month to learn from professional musicians, industry insiders and even academics.

And what’s price of admission?

Simply show up, bring some songs, and be willing to collaborate on ideas. Basically, RWG offers an advanced music education for singer-songwriters free of charge.

“I think most importantly it’s just casual and welcoming, and we try to do our best to make people feel comfortable and be open minded. It’s a safe environment for people to feel a bit vulnerable,” says Micheal Lander, owner of Studio XII Music & Dance Studio and cocoordinator for RWG Saskatoon with Jay Semko from the Northern Pikes.

Every month aspiring and established songwriters learn

new skills, present their latest songs, and learn from local musicians about how to write inspiring and impactful songs.

Songwriters of various genres from pop, folk, country, metal and hiphop have all walked away discovering a little bit more about the depths of the songwriting process.

Between Regina and Saskatoon, the RWG has brought in a slew of guest Saskatchewan musicians such as: Jason Plumb, Poor Nameless Boy: Joel Henderson, Jeffery Straker, Belle Plaine and Blake Berglund, Meghan Nash, Alex Runions, Alexis Normand, Scott Patrick, and Ross Neilsen.

“Michael Lander and the Studio XII team went above and beyond to arrange informative, experienced songwriters as guests. The sessions were wonderful for networking and co-writing with new creative friends not only demonstrated how much songwriting talent there is in our city, but it was loads of fun and an inspiration. So grateful for

“We Not Only Care About How To Dance, We Care About Who We Are” • BALLET (R.A.D.) • JAZZ • LYRICAL • HIP HOP • TAP • UKRAINIAN (adults too) • IRISH Ages 3 and up Beginner to Advanced - all genres

The Regional Writers Group (RWG) is helping to grow Saskatchewan’s music scene, by bringing singer-songwriters together to listen, learn and collaborate. The Saskatoon RWG chapter meets the first Sunday of every month at 1 p.m. at Studio XII Music & Dance Studio. SUPPLIED PHOTO)

repetition. All kinds of stuff like that,” explains Andrews.

“I think as new songwriters we feel like we have to always prove ourselves to the listener with something new and interesting. Neil [Dierks, a teacher at Berklee] often talked about how repetition is the most overlooked strategy and if you give them too much new stuff then the listener can’t make sense of it.”

No matter the genre, level of experience or natural talent, the art of collaboration has proven itself to help stimulate and grow not just indi-

vidual artists but entire communities across the world. So if you have a passion for songwriting, then contribute your talent to help Saskatchewan’s music culture grow. It doesn’t even cost a thing.

RWG Regina meets every third Thursday at 7 p.m. and RWG Saskatoon meets the first Sunday of every month at 1 p.m. Dates and times may change, so visit their Facebook pages for details. Some age restrictions may apply.

Learn more about songwriters across Canada at www.songwriters.ca.

Oriental Dance Arts (Multicultural Bellydance)

FALL REGISTRATION

Instruction for adults and youth in middle eastern dance arts, since the 1980’s in Saskatoon area.

Tuesday & Wednesday August 29th & 30th 4:30 - 8:00 pm Classes start the Tuesday after Labour Day, September 5th.

Fun thing for teens/preteens.

Age-defying creative outlet for confidence & self-esteem, independent of shape, skill level, gender.

Culturally sensitive and spiritual roots.

Flexible attendance options for unusual work schedules.

Emphasis on fun, fitness, socializing, recreation, stress release.

Respectful honour of body, mind, emotions, individual spirit.

Evening classes. Give it a try!

407 Cumberland Ave. S

DIRECTOR: NINA KOROLIUK L.R.A.D., LICENTIATE REGISTERED TEACHER OF THE ROYAL ACADEMY OF DANCE C.D.T.A. Lifetime Member, Jazz, Ukrainian FOUNDER: LUSIA PAVLYCHENKO Hon. Life R.A.D., C.D.T.A., Hon. Memb.

PFE ARTISTIC DIRECTOR: Serhij Koroliuk

the thoughtful work and effort put into convening these monthly meetings!” comments Trish Cameron from Saskatoon.

In Regina, co-coordinators Wanda Gronhovd and Scott Anthony Andrews offer a similar format but with an academic twist. As a professor of education at the University of Regina, Andrews recently completed his songwriting certificate from Berklee College of Music in Boston.

Combined with Gronhovd’s passion for music and her organizing prowess, Regina songwriters get an advanced education in music theory once a month.

“There is a lot of information from the songwriting certificate program that is applicable in terms of exercise and skill building activities.

This includes looking at and identifying rhyme schemes, when to use perfect and imperfect rhymes, and melodies like open and closed phrasing.

There is also cadence, and how to emphasize a title and use

Home of Pavlychenko Ukrainian Dance Ensemble

www.pfedance.com

Registration: call or visit

306-653-4031

306-374-7745

orientaldancearts.com Free annual Open House Sept 13th, 7:00 pm Luther Special Care Home (1212 Osler St)

ssd.nin@sasktel.net www.ssdance.ca

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Performers available SAS00378383_1_1

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Children’s Choir returns from epic journey to Italy P OSTMEDIA CONTENT

WORKS Saskatchogether hapter Every time the Saskatoon Childio XII dren’s Choir goes travelling, magical things happen.

Much of the magic on the rentire com-cent tour of Italy happened at the world. SoRavenna, Italy, festival in a glorin for song-ous building, Basilica di San Vibute yourtale. tchewan’s Rita McLeod, general manager It doesn’tof the choir, said, “The venue itself was like magic, the acoustics ets everywere beautiful and all of us on the p.m. andtrip think the choir never soundmeets theed better. From the first song ry monthuntil the end, the audience imes mayclapped with enthusiasm. After eir Face-we had done two encores, the auails. Somedience got up and gave us a standay apply.ing ovation and we sang two more ngwriterspieces.” ww.song- The headline in the next day’s Ravenna Spettacolii, when translated, said: “The voices of Phoebe – young and determined.”

T h e ult imat e co mp liment came from the artistic director of Ravenna’s festival, who told the choir, “We must have you come back again.” He showed up the next afternoon when the choir was supposed to do an outdoor concert but a storm chased them into another theatre, which McLeod described “just as magical as the Basilica.”

The Saskatoon choir also sang at the Musica Eterna Roma International Choir Festival where they took second place in the children’s choir division and fourth in the

gospel division. In Rome, the Canadians were also asked to compete in the opening concert and then shared a Friendship concert with choirs from South Africa and Indonesia.

The choir also sang in Naples and Pompeii. And at Pompeii, there was another surprise.

“On our schedule, Pompeii was supposed to be a visit to a historic site. Someone heard our choir was at the site and Italian National Television was there doing a documentary. The TV people asked if we could sing in the amphitheatre, and we did. Incredible things just take place,” said McLeod.

Artistic director Phoebe Voigts has been taking her choirs on major excursions since 1998 when they represented Saskatchewan at the Unison Festival at the National Arts Centre in Ottawa on Canada Day. The most convincing argument for travel came with participation at the International Kathaumixw Festival in Powell River, B.C., a festival they visited in 2000 and again in 2004.

“Powell River gave us a real taste of the humanitarian feeling among international singers. We were in mass choirs, all singing beautifully, the voices so unique, the performances were powerful and we truly understood the ability to sing global music together,” said Voigts. The Canadian theme of Hymn To Freedom was a key performance.

The trip to South Africa in 2011

gave choristers a major push in the path of social justice. And just as they had carried stones to the Apartheid Museum in South Africa, they also carried stones to the Education Centre at BergenBelsen in Germany in 2015. Voigts said, “Our choristers are committed to joining the world’s voices for global understanding and peace.”

The Children’s Choir visited Spain in 2002, Hong Kong in 2005, Vienna in 2009 and Ireland, Wales and England in 2013.

“If you have an interest in music,” said Voigts, “you need to go to Europe. Their music history is rich, the architecture of the buildings is outstanding, and when you get a chance to sing in some classic churches and halls, you get a special feeling.”

Another highlight in 2017 was working with Eleanor McCain, a Toronto singer, who recorded a double CD celebrating Canada 150. In all, the talented Toronto artist worked with 14 arrangers, 28 guest artists and 10 Canadian symphony orchestras. She visited Saskatoon in April to record with the Children’s Choir. The True North: Canadian Songbook comes with a 220-page bilingual hardcover coffee table book, including exquisite landscape works by 22 Canadian photographers. For McCain, it was a matter of fulfilling a multi-year passion project, which she considers a touching tribute to Canadians and the nation’s musical artists.

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The Saskatoon Children’s Choir recently performed at music festivals in Italy, where they garnered glowing reviews. JENNY CARBONI/RAVENNA FESTIVAL

Jaspar Academy of Dance

2917 Early Drive, Saskatoon, Sask. S7H 3K5 955-0030 • www.jasparacademyofdance.ca

Yvonne Jaspar A.R.A.D.

“. . . where the inner growth of each individual child is encouraged and enhanced.”

Classes available in: Classical Ballet Ages 5 years and up Basic Movement Ages 3 and 4 years

Registration

Tuesday September 5th, 2017 3:00-6:00pm SAS00377323_1_1

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Jazz Society’s new season includes duelling pianos P OSTMEDIA CONTENT WORKS

Artistic director Don Griffith says the availability of two grand pianos in The Bassment has made it easy to land two of the best early season attractions.

Booked for a Sept. 30 performance by the Saskatoon Jazz Society are Kenny (Blues Boss) Wayne and David Vest and signed for Oct. 12 are The Piano Chameleons, Matt Herskowitz and John Roney.

“The two pianos were a pre-requisite in getting both acts,” says Griffith “and both acts are going to give us some star power we wouldn’t have otherwise been able to acquire.”

Wayne learned much of the piano trade in New Orleans and he’s been influenced by many artists, including Nat (King) Cole, Fats Domino, Ray Charles and Big Joe Turner.

He’s been hailed as a rollicking blues player and a boogie-woogie artist.

He has settled in Canada and won a 2006 Juno award for his Let It Loose

Register Now

for September

Tunes for Twos Age 2 Music Wonderland Ages 3 & 4

Called “the most gifted jazz singer of her generation,” Champian Fulton will perform at The Bassment on Dec. 1. SUPPLIED PHOTO

album. Vest is originally from Huntsville, Ala. but has also settled in Canada and his album, Devastating Rhythm, sums up that he’s a player of the first order.

Wayne hasn’ t played T he Bassment before; Vest has been here once. Griffith said, “Their long years in the business, the way they play off each other, give us every reason to think we’ve got a hot show on our

Junior Music Course Ages 4 & 5 Young Musicians Course Age 6 - 9

Saskatoon Concert Band

Piano Centre

Making Music Since 1949

1011 Broadway Ave

Concert Band and

(Corner of Broadway & 8th)

Auxiliary Band

665-0213

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hands.”

The Chameleons are also considered a rare treat because they tackle some classical piano favourites, enhance the music with improvised variations worthy of the jazz masters, and according to critics “reach peaks of intensity in their playing, performing like a high-wire act.”

The two pianos will also get their annual test from four Saskatoon pianists – Griffith, Kim Salkeld, Ray Stephanson and Brett Balon – in a show called The Piano Men on Oct. 7. After each takes solo turns, they accentuate the pace with four-handed efforts and ultimately, all four cut loose on eight-handed works.

One of the season’s top prizes is Champian Fulton, who performs on Dec. 1. The daughter of a noted jazz trumpeter Stephen Fulton, she has made her own mark with swinging style and charismatic performances.

The Detroit Free Press once called

her “the most gifted jazz singer and pianist of her generation.”

David Braid, a piano regular at The Bassment since the facility opened in 2009, will return on Nov. 11, sharing the stage with saxophonist Mike Murley, and featuring works from The North.

Griffith has blended the import jazz artists, the folk and roots performers, and the reliable homegrown talent into a program that may reach 135 paid shows this season.

Diana Panton, a Juno award winner, will headline on Oct. 1. Her version of Fly Me To The Moon has reached 1.25-million hits on the website, her two versions of Moon River accumulated more than 1.65-million hits. Two other popular vocalists are coming back. Laila Biali, who thrilled audiences on a Sunday afternoon on short notice last season, is back on Nov. 9. Eliana Cuevas, called the Canada’s emerging queen of Latin music, is returning Nov. 18.

Other returnees are David Francey, the storyteller and singer who released Empty Train since his last visit (Oct. 16); Donny Parenteau, Saskatchewan’s engaging fiddlersinger (Oct. 27); and Jack Semple, Saskatchewan’s dynamic blues guitarist and singer (Nov.16-17).

The kick-off to the season happens Sept. 8 with Saskatoon singerpianist Neil Currie recreating his tribute to Billy Joel. The Stone Frigate Big Band will appear on Sept. 9.

Heidi Munro and the RealGroovyBand take the stage Sept. 16.

Christmas with Solstice, Saskatoon’s vocal jazz stars, is scheduled on Dec. 16 and an import act, Sultans of Swing, will deliver their Christmas caravan on Dec. 20. The traditional New Year’s Eve party will again feature Griffith and his bands. Among the signings for January are the Gerard Weber Quartet, the BC Read Big Band, Martin Janovsky’s orchestra and piano artist Jeffery Straker.

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In the spotlight: Soprano Whitney Mather

egular at

BY JENNIFER after all her friends were getting their e facility JACOBY-SMITH calls with offers to be part of the chon on Nov. rus, Mather didn’t get one. axophonInstead, she got an email offer for ing worksThis past April, Saskatoon-born soprano Whitney Mather debuted with the role of Cupidon in Medea.

“Obviously, they had a lot of people he importToronto’s Opera Atelier in the role of roots per-Cupidon in their production of Me- audition and to be asked to sing a role le home-dea. The small role was a big step for out of a general call is pretty cool,” Mather says. ram thatMather.

Her other credits include Marie s this sea- As one of the youngest in the cast, Mather says she found herself both in La fille du régiment (Vera Causa ward win-in awe of the talented people she Opera), Chorus in Messiah (Against ct. 1. Herwas working with and an affirming the Grain Theatre), Queen of the Moon hassense that she was right where she Night and First Lady in The Magic Flute (Indian River Festival, Stratford n the web-belonged. oon River “[I thought] I’m going to be so Summer Music Festival), Bacchis in 65-millionmuch further behind them in terms La Belle Hélène (The Glenn Gould vocalistsof my development, but in that first School), and Lady with a Hand MirBiali, whorehearsal (I thought), ‘I can do this. I ror in Postcard from Morocco (The Glenn Gould School). nday after-am at this level,’” says Mather.

Mather has also performed conseason, is The entire experience was a convas, calledfidence booster for the young singer certs with the Regina Symphony Oren of Lat-– even how she got the part was un- chestra Chamber Players and the Sasusual. Mather responded to an open katoon Symphony Orchestra. Mather 18. e Davidaudition for the on-stage chorus for also appeared in productions by the nd singerOpera Atelier’s spring 2016 produc- Saskatoon Opera: Dortchen Wilde in since histion of Mozart’s Lucio Silla. During Brothers Grimm in 2014 and Rosina Parenteau,her audition Marshall Pynkoski, co- in The Barber of Sevelle in 2016.

Mather grew up in Saskatoon. Afg fiddler-artistic director of the company, took k Semple,the time to coach her through her ter graduating from Western Christian High School in Regina, she atblues gui-piece.

“Which is kind of cool and not very tended the University of Saskatch). ason hap-common for an audition setting,” ewan, graduating with a Bachelor’s on singer-noted Mather. She left the audition of Music degree in Vocal Performance ating hisfeeling really good about it. However, with great distinction in 2013. tone Frign Sept. 9. alGroovy6. ce, Saskacheduled ct, Sultans Christmas raditional again feas. Among re the GeC Read BigMather performs in The Glenn Gould School production of Postcard from orchestraMorocco, one of many performance opportunities she enjoyed while studying there. NICOLA BETTS aker.

She then went on to study at the Glenn Gould School of Music in Toronto. Mather completed an Artist Diploma in 2015, an experience she described as “amazing.”

“It created a lot of opportunity for me to meet people – other performers and the faculty members – and create those connections to work in the city,” says Mather. “And they definitely paid off.”

Glenn Gould School employs many up-and-coming opera directors to guide the school productions. Mather has continued to work with some of those directors.

As for what’s next, Mather says she’s focused on finishing the last year of her Masters at the University of Toronto. “And with that comes lots of performing and learning which is amazing,” adds Mather.

She has a Christmas chorus booked with Jurgen Petrenko, but says, “The thing that I’ve found is that gigs come up on short notice all the time. They tend to just happen.”

Mather hopes she can work with Opera Atelier again. “They’re a wonderful company and I know that they work with people over and over again. I hope that means that it will turn into something in the future. I would love to work with them again.

They are an amazing, amazing production staff and artistic team.”

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Whitney Mather grew up in Saskatoon and now lives in Toronto where she is finishing her Masters Degree at the University of Toronto in Voice Performance.

WHITNEY TAYLOR/EN VOGUE PHOTOGRAPHY

Saskatoon Registered Music Teachers’ Association Our teachers are experienced, professional, and dedicated! Each of us holds at least one degree or diploma from a University, Conservatory, or recognized School of Music.

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Alma Flamenca Music & Dance 306.715.8223 albaflamencos@gmail.com Schedule on Facebook page.

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Please check out our website for a teacher in your area.

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Lyell Gustin recitals will showcase outstanding artists

For its 14th season, the Lyell Gustin Recital Series proudly presents artists from national and international stages: pianist Catherine Vickers, coming from Germany; the Chooi Brothers, Canadian violinists, performing with pianist Philip Chiu; and New York soprano Leslie Ann Bradley with pianist Rachel Andrist.

“These amazing musicians bring us wonderful solo and ensemble music through which we hear the great composers speak intimately, in a very

personal manner,” says Karen Sterner, Gustin House president. “That’s why a recital performance can touch us so deeply: it’s music heart-to-heart!”

On Friday, January 12, distinguished pianist Catherine Vickers opens the Centenary celebrating Claude Debussy (1862-1918). The French Impressionist composer, a highly significant figure who was a catalyst for new musical ideas in the late 19th and 20th centuries, explored piano sonorities and colours

as did none before him. Debussy’s late masterpiece, the extremely demanding set of “Twelve Etudes,” will be the centerpiece of Ms. Vicker’s recital. A Saskatchewan-born prodigy, the artist performed across the province before winning accolades on world stages; a champion of modern music, she teaches and publishes on contemporary piano technique.

Brilliant, versatile violinists Nikki and Timothy Chooi will give a recital on Thursday, March 15. Nikki Chooi holds the prestigious post of concertmaster of the Metropolitan Opera Orchestra; Timothy Chooi has won coveted awards, including in the International Yehudi Menuhin Competition.

The Vancouver-born brothers, often engaged individually by orchestras around the globe, perform together in an extraordinarily rich partnership.

Their superb ensemble pianist, Mon-

Saskatoon Philharmonic Orchestra A Community Orchestra providing opportunity and enriching culture saskatoonphilharmonicorchestra.com saskatoonphilharmonicorchestra@gmail.com (306)242-3916 facebook.com/groups/ saskatoonphilharmonicorchestra SAS00378404_1_1

The Saskatoon Men’s Chorus

is a community group that practices on Tuesday evenings, and sings at a number of concerts and community events throughout the year.

New singers are welcome; contact Deborah Buck (306-652-0379), Lynn Driedger (306-220-0812) or our website at www.saskatoonmenschorus.ca for more information.

Stellar international artists, (left to right) violinists Nikki and Timothy Chooi and pianist Philip Chui, will perform Thursday, March 15, 2018 in the Lyell Gustin Recital Series. SUPPLIED PHOTO

treal-based Philip Chiu, is one of Canada’s leading musicians of the new generation. This recital, featuring music of the Romantic era along with modern and jazz-influenced compositions, is co-presented with Prairie Debut.

In the 2018 summer recital, Tuesday, August 21, soprano Leslie Ann Bradley will perform a broad array of song from lieder to opera arias. About her, the Toronto Star writes, “She brings the stage to life whenever she sets foot into the spotlight!” Following graduate studies in Toronto, Ms. Bradley attended Académie International de musique Maurice Ravel in France, where she won the Académie voice competition and received the Prix du chant Pierre Bernac. She has sung opera roles across Canada and abroad, including in Saskatoon Opera productions. The pianist for this recital is Rachel Andrist, originally from Saskatchewan and now of Toronto, known for her extensive work as collaborative artist and vocal coach in European opera circles.

Meanwhile, one recital remains in the 2017 Series: gifted sibling duo, cellist Oleksander Mycyk and pianist Sofia Mycyk perform on Tuesday, August 22, in a recital the artists describe

as “in the style of the Golden Era of string playing . . . [in the spirit of ] looking-back for Canada’s 150th.” The program comprises music by Bach, Brahms, Paganini, Popper and Penderecki. Oleksander Mycyk has appeared in concert in North America, Israel, and Scandinavia, and is guest orchestral cellist with the Chicago Symphony Orchestra. Like her brother, Sofia Mycyk was raised in Saskatoon. Both artists began studies with members of the local music community and now hold multiple music degrees, and both are pursuing doctoral studies in performance in the USA. Concerts in the Lyell Gustin Recital Series are at St. Andrew’s Presbyterian Church, 436 Spadina Cres. East, 7:30 p.m., with pre-concert talks at 6:45. A season pass is available for all three recitals of 2018, with single tickets separately priced; children 12 and under are free if accompanied by an adult.

Season passes/tickets are available at McNally Robinson, Yamaha Piano, Saskatoon Music Academy, Gustin Committee, or at the door. Tickets for the August 22 cello-piano recital are also available at locations above. For information, call (306) 653-8889, or visit www.gustinhouse.ca.

THIS STORY WAS PROVIDED BY JOAN HALMO, GUSTIN HOUSE. SAS00378099_1_1

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MusiCounts puts instruments in hands of children

BY PAUL SINKEWICZ

Kristy Fletcher knows where the magic is.

It’s in the hearts and minds of children when they get a chance to express themselves. All they need are the tools and a little support.

T h at ’s w h e r e Mu s i C o u n t s comes in. It puts those tools into the hands of children in the form of instruments, and offers support to teachers and students of music, in the form of awards and hooi scholarships.

Fletcher is guiding the prol Gustin gram through its 20 th year of supporting musical magic. den Era of In 1997, the Canadian Academy spirit of ]of Recording Arts and Sciences 50th.” Thesaw a huge windfall through the

by Bach,sale of a box set of music from its and Pen-annual Juno Awards. k has ap- “Our board of directors decidAmerica,ed they wanted to funnel these d is guestproceeds into a music program e Chicagothat would benefit kids, underher broth-standing that the benefits of a in Saska-music education have been so esudies withtablished and documented that c commu-they knew they wanted the area music de-of focus to be,” said Fletcher. “As g doctorala result, our Band Aid program e USA. was developed, and that’s how we tin Recitalprovide musical instruments to esbyterianschools in need.”

East, 7:30 Schools across the country at 6:45. Ahave the chance to apply for fundll three re-ing each year to fill a need in their kets sepa-music programs. and under “We always like to say in a peran adult.fect world, if schools and commuavailablenity programs were funded apaha Piano,propriately, MusiCounts wouldn’t my, Gustinneed to exist,” said Fletcher. “But Tickets forwe know that’s not our current recital arestate, and that the reality is that above. Formusic education, sadly, is in dan3-8889, orger in a number of communities and schools across our country.

And, as a result, the current generation of students are missing

out on this profound value of learning and creating music.”

What MusiCounts does is try to fill in the gaps when cutbacks impact music programs. Since 1997, it has supported over 850 schools and community programs in 115 communities, and has donated just over $10 million in musical instruments and equipment. It has also given out 370 scholarships and has recognized 12 special teachers.

In March, the Clavet school and l’Ecole canadienne francaise in Saskatoon were among 88 schools awarded $720,000 for new instruments or equipment.

“The need really varies from school to school. We have an adjudication process so schools apply to receive instruments and through that application process we get a very good understanding of their current musical instrument list and what they need.”

Some of the applications are specific to the skills of teachers and program history of the schools. So a teacher with a penchant for teaching percussion will apply for funding for more drums, she said. And individual schools also know in which direction they want their musical program to go.

“We’re noticing now that teachers are starting to incorporate more technology into their music programs, so that can often be an area of need for them. We will do musical instruments and equipment,” said Fletcher. “There are a lot of schools now that want to do a rock band program, because they feel that’s a stronger way to engage, and keep kids engaged, by performing music that is more relevant in the kids’ eyes.”

The money comes from a number of fund-raising programs MusiCounts runs throughout the year, including its leadership

circle of individual donors, support from broadcasters across the country, and corporate partners.

“We also execute an incredible program with TD called the MusiCounts TD Community Music Program which provides musical instruments and equipment to community centres, after-school programs and other community non-profit organizations.”

The Teacher of the Year Award is sponsored and presented by well-known musicians each year.

Past supports include Michael Buble, Celine Dion and Blue Rodeo. “ The hardest job for us is choosing just one because there are so many exceptional music teachers across the country, and the applications are so compelling and the stories are so inspiring,” said Fletcher.

The winning teacher is awarded $10,000, and their school music program is also awarded $10,000, so it’s a real game-changer for a lot of lives, and an incredible testament to the impact a teacher can have.

The Band Aid submission process starts on Sept. 6 this year.

“We encourage all schools in need of instruments or musical equipment to apply, and all of that information can be found on our website (musicounts.ca) and the same information can be found for our teacher of the year applications, and that will typically open in November,” said Fletcher.

She wants to increase awareness of the MusiCounts programs so support can grow and more schools can be served.

“Our mission is to ensure that all kids in Canada have access to a music program. It’s a job that we’re passionate about. Right now we can fill one out of every three or four applications, and we would love to see that grow.”

For 20 years, MusiCounts has been providing musical instruments to schools in need through its Band Aid program. SUPPLIED PHOTO

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Festival competition is life-changing

BY SILAS FREISEN Silas Friesen is the 2017 Kinsmen Competition instrumental winner.

Music festivals are instrumental (pun intended!) proving grounds for young and aspiring musicians. I first experienced the thrill of music festival in Edmonton, having been encouraged to take part by my teacher, former ESO principal trumpet Alvin Lowrey. A fantastic musician, he gave me the skills and the confidence to take on the challenge of festival per-

formance. After experiencing success that first year I had to go back, and when my family moved to Saskatchewan in 2011, I quickly sought out the Saskatoon Music Festival. I have participated in festival every year since then, and the experience – like many other things – improves with age.

The experience of preparing for and performing in this public setting has had wide-ranging impacts on my musical development. It is one thing to perform for peers, friends,

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and family; quite another to perform for strangers and for evaluation. Not that the festival audiences or adjudicators have had anything less than my success in mind; however, I have found that the peculiar mix of physiological stresses stemming from performance stimulates both physical and creative growth in an extremely effective manner.

Though I was a fairly introspective child, playing for others brought out a more confident side, one which has continued to develop through my performance degree at the University of Saskatchewan and my many years at music festival.

The possibility of successes and failures also influenced my practice habits, increasing my efficiency and objectivity with regards to musical problem-solving. As a young trumpeter, this was invaluable in making the most of limited practice time and addressing physical difficulties.

I am also continually (and pleasantly) surprised at how well performing at music festival serves to illuminate the flaws and the strengths in my own playing. There is something about the act of performing, especially in a rigorous event like the Kinsmen Competition, that pushes my musicality to a new level – perhaps in a new concept or strong emotional image of a certain phrase. This is aided by the formidable range of young musicians the Saskatoon

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The Saskatoon Music Festival’s annual Kinsmen Competition involves performers chosen by the adjudicators who have not already won in their category in previous Kinsmen Competitions. All these performers receive scholarships. Pictured from left to right are the 2017 Kinsmen Competition winners: Hannah Lissel DeCorby (strings), Thomas Hu (piano winner), Stephen Davis (instrumental - guitar), Matthew Praksas (piano), Gabriel Benesh (voice), Brandon Johnson (strings winner), Silas Friesen (instrumental winner – trumpet), Danielle Sanche (voice winner) .

STEPHEN J. NICHOLSON

Music Festival brings together every year; a wonderful confluence which, like summer music programs or honour bands or jazz intensives or youth orchestras, provides a rich and active cradle for musical innovation.

I am thankful for opportunities to learn from these musical colleagues, and from the many accomplished adjudicators. One of my most treasured festival experiences took place the spring after I had suffered a lip injury (not ideal for a brass player!) and was feeling sceptical of my ability to participate. I found out in short order that my adjudicator – the renowned Guy Few – had also experienced some intense physical obstacles to playing. His feedback helped me make immediate and effective changes, just as I was feeling completely unprepared for the challenge of music festival and the responsibility of playing first chair in the National Youth Band a week later, and

was one of the primary factors for my desire to pursue a masters degree.

Lastly, I offer my profuse gratitude to the tireless leaders, volunteers, teachers, and musical community that support the Saskatoon Music Festival through hours of work and generous donations. As I have expressed to my scholarship donors over the years, the recognition of years of preparation through a range of awards is nothing short of inspiring. These scholarships are essential in supporting our future development as musicians: I can say with confidence that my years at the Saskatoon Music Festival have helped make possible my recently completed Bachelor of Music at the U of S and my upcoming graduate studies in trumpet at the University of British Columbia.

I look forward to the performance opportunities these next years will bring!

THIS STORY WAS PROVIDED BY THE SASKATOON MUSIC FESTIVAL.

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Benefits of dance education last a lifetime

BY DARLENE P OLACHIC

Donna Fehr established Pure Energy Dance Company 41 years ago. Her aim was to have a dance studio built on strong family values, one that would be warm and welcoming and where each student was taught with respect and care. Today “Miss Donna”, as she is known to her staff and students, still teaches classes and even dances in annual dance recitals. Her daughters, Coralee McNarland and Karrie-Ann Puderak, have joined her in the business located on Fairlight Drive. The studio teaches over 100 classes a week to 450 students.

Pure Energy Company teaches a full range of dance disciplines including ‘pointe’ or ballet, tap, jazz, musical ors for mytheatre and hip hop, as well degree. as acrobatic dance (gymnasgratitudetics for dancers) and aerial olunteers,silk and aerial trapeze. mmunity Fehr is a staunch believer on Musicin the lifelong benefits of work anddancing. “It keeps a person have ex-mentally and physically fit,” p donorsshe says, “and studies have nition ofshown that dancing can degh a rangelay the onset of dementia beof inspir-cause it requires you to use e essentialdifferent parts of your brain develop-at the same time.” say with For children, the benefits at the Sas-are much more far-reaching. ve helped“Dance fosters self-expression ntly com-and develops self-confidence, t the U ofresilience and perseverance,” ate studiessays Coralee McNarland. “It ty of Brit-teaches management of emotions in a productive way. As formancewell, students learn how to years willrespond to constructive criticism. These are valuable life skills. And when a child participates in dance group, they

learn to cooperate, to encourage one another and develop strong relationships.”

Karrie-Ann Puderak says dance gives children a strong sense of belonging. “Parents love knowing their children are safe, active, and gainfully occupied. Kids in dance feel the studio is a place where they belong. Their best friends are probably there.”

As for the physical benefits, dance develops body awareness, good coordination, and awareness of how the body moves in a given space. Fine and gross motor skills are more advanced in dancers, and the importance of things like good nutrition and good bedtime routines are stressed.

Thirty years ago, Madame Juliette Perrey-Perez established Juliette’s Dance Centre on Second Avenue across from Earl’s. Today, Lisa Williams and Melissa Sabin own the business, but until this year, Madame Juliette has remained active in the role of artistic director.

Williams and Sabin see dance as providing valuable structure for children of all ages. “There’s a discipline to the art that is very beneficial,” Williams says. “Memory work is involved, and that’s key for children. Behaviour-wise, there is protocol to follow, and we try to build a team approach.”

Also, she says, the syllabus is in French, another benefit for students.

Is there an optimum age for starting dance? Juliette’s Dance Centre starts three year-olds in ballet and jazz.

Age four and up add hip hop, lyrical contemporary dance,

Dance fosters self-expression and develops self-confidence, resilience and perseverance, say Coralee McNorland and Kerri-Ann Puderak with Pure Energy Dance Company. SUPPLIED PHOTO

tap and the acro-dance program. Students 12 and up can take the studio’s modern program as well.

Pure Energy Company starts dancers as young as 16 months. The little ones learn about waiting their turn, listening to instruction and following directions, McNarland says.

“We offer a four-day dance camp where new students can try out all the different dances we teach. By the end of the week, it will be pretty evident which type of dance is most suited to the student.

It hinges on their degree of passion. They need to be enjoying it. That’s a big deal for kids.”

And as for future opportunities for dancers, Lisa Williams from Juliette’s Dance Centre says the choices are vast today.

“With social networking, dancers can start very young participating in professional auditions if they’re interested in a professional dance ca-

reer. Colleges of performing arts across Canada always have auditions open. And then there are the opportunities to dance with professional companies who come to town like Royal Winnipeg Ballet and National Ballet of Canada. Moscow also comes through often. Twenty-seven of our kids performed with them this past winter.”

McNarland says various shows on television have put dance in the spotlight. As a result, there are many more stage opportunities, as well as involvement like university-level dance programs, commercial dancing, even entertaining on cruise ships.

She says, “Several of our students have roles in upcoming movies and on television.

And even if they don’t opt for a dance career, the work ethic students learn is huge. Take a 17-year-old doing eight or nine hours of dance per week, remembering the choreography, and you’ll see positive results academically, as well.”

Skilled students will find there are numerous opportunities to dance with professional companies, say Melissa Sabin and Lisa Williams, with Juliette’s Dance Centre. Here, Hannah Sabin performs a ballet solo. SUPPLIED PHOTO

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Latin dance offers social, health benefits

BY MAYGEN KARDASH

For most people, fitness occupies a different realm than friendships, entertainment, and creativity, but for some in Saskatoon, it all comes together on the dance floor. And for the city’s premiere Salsa dance school, Saskatoon Salsa, the burgeoning social dance scene has meant two things: the school has grown dramatically and students are seeing their lessons pay off. It’s an exciting time for the dance scene and according to Saskatoon Salsa owner, Kimberly Parent, it’s the perfect moment for newcomers to join the excitement.

Social dances happen locally

several times a month thanks to community members and schools — in fact, Saskatoon Salsa has been bringing them to life for 12 years and counting. So why has Saskatoon’s social dance scene only recently soared in popularity? Parent has a theory. “Unlike Cuba,” she explains, “where dance is woven into the social fabric, people in Saskatoon didn’t necessarily grow up dancing. It’s only when a person discovers the many benefits of Latin dance that they are hooked.”

And the benefits are many: beyond improving physical health, it can enhance a current relationship, offer a creative outlet, and widen your social

circle. Parent herself has witnessed countless friendships born on the dance floor, and she’s even seen a few love connections blossom.

Saskatoon Salsa student Cairo Olver met her match through Salsa. “I started social dancing in Saskatoon six years ago when I was going through a hard time in my life,” she recalls. “Salsa dancing gave me something to look forward to and be passionate about. I made amazing friends and met the man who would become my husband and the father of our beautiful baby girl! This community not only changed my life but helped bring me the life I’ve always dreamed

of.” Social worker Tala Tootoosis heralds the healing power of dance. Dealing with trauma, housing concerns, culture loss, and addictions issues every day, Tootoosis sees dance as an outlet for her stress and anxiety.

“My job does hurt day to day, but I can count on going to Salsa socials to dance my sorrows away. I have no anxiety there and everybody makes me feel welcome.”

It might seem daunting to jump into the Latin dance scene but Saskatoon Salsa aims to make your journey easy with their welcoming spirit. “Everyone starts out nervous and awkward in Salsa social dance,” confesses student Paula Ghi-

Saskatoon’s social dance scene is burgeoning, as more people discover the social and health benefits of Latin dance at Saskatoon Salsa. JON MILLER

glione, “but the classes are fun and friendly, slowly building your confidence.”

Social dancing is best started with formal lessons not just because they provide a solid, safe foundation for dance but also because there is a social dancing etiquette that, unless you

are taught, can be difficult to navigate.

Saskatoon Salsa offers lessons from beginner to enthusiast so you will certainly gain confidence and meet other dancers at the same level as you, with whom you will soon be social dancing!

THIS STORY WAS PROVIDED BY SASKATOON SALSA.

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A Kids of Note – Notations concert is an unforgettable, uplifting experience.

GEORGE CHARPENTIER

Kids of Note, Notations offer a unique performing experience use there etiquette education last a lifetime

benefits of

e taught, Kids of Note’s next season of muvigate. offers les-sic and performance for children to enthu-with and without disabilities will ainly gainbegin September 13. The young eet othersingers (ages 7 to 16) present annual e level asChristmas and Spring concerts to will soonfull houses at Grosvenor Park United Church, which has partnered with Kids of Note to make this terrific community program possible.

New members are now being registered to participate in the choir’s to accept13th season. hese skills The Notations (ages 16 to 30) is isingly ba-also looking for new members as it lated intokicks off its ninth season. Sharing of my life,concerts with Kids of Note, The Nohas taughttations provides a unique performhe founda-ing and social experience where do. On topyoung adults with a range of abilities estival hashave a great time singing together – made someusually pop, jazz or rock music. The g relation-Notations would especially welcome a few more singers who are “typical” d general-and who enjoy entertaining a big d throughcrowd. s. She was Kids of Note and The Notations o the UofSare non-auditioned and aimed at children and young adults who love sor, volun-to sing. Practising at home is a neceser, and/orsity with the aid of CDs provided by the program.

Fans of the choirs say that attending a Kids of Note – Notations concert is “an unforgettable, uplifting experience.” Comments about their highly entertaining productions can be found at KidsofNote.com, where you’ll also find detailed information about how the choirs are run, and important dates for the upcoming season. Their Facebook page is full of photos and further rave reviews.

To prepare for two major concerts and up to two smaller community outreach events, both groups hold rehearsals on Wednesdays from 5:00 to 6:00 p.m. at Grosvenor Park United Church, 407 Cumberland Ave. S. beginning on September 13.

This year’s Christmas concert will take place on December 3. Rehearsals resume in January, ending with an April 29 concert. The fee is $200, or $175 each for siblings.

Kids of Note is directed by Brenda Baker with pianist Penny Rosten.

The Notations is directed by Jean Currie with pianist Sheldon Corbett.

Their manager is Jewel Kelly. To register or be placed on the waiting list, please contact Brenda Baker by email at director@kidsofnote.com, or call (306) 653-3245.

THIS STORY WAS PROVIDED BY BRENDA BAKER, KIDS OF NOTE/NOTATIONS.

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306-260-9114 • info@danceink.ca

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Fireside Singers prepare for another entertaining season The Saskatoon Fireside Singers have entertained, delighted and touched the hearts of Saskatoon audiences with their powerful, choral singing for 45 years. Each year the fan base continues to grow. They attribute their consistently sold out houses at TCU Place to their appealing, varied programming and the quality of amazing talent showcased throughout each performance.

Highlights from the Fireside Singers’ 2016 season include the Saskatoon Symphony Orchestra “On Broadway” performance, Christmas Memories 2016 and a fantastic production of the Broadway Musical “Pippin”, all staged at TCU Place.

The Fireside Singers are now making final preparations for another season of performances. The 45th An-

niversary Celebration will joyfully herald in the spirit of Christmas with their Christmas Memories Production, December 21 and 22, 2017.

All former Fireside Singers are welcomed to join in this special performance. If you live away from Saskatoon or your family and career responsibilities prohibit total commitment to the rehearsal schedule you may prefer to participate in only a few, or select sections of the program.

Specific rehearsal times will accommodate this involvement.

The choir is comprised of present and former students from the Whitehead Vocal Studio as well as many gifted auditioned members. The 100-voice choir offers an evening of best-loved Christmas repertoire from classical to contemporary genres, in-

cluding grand orchestral and choral arrangements of traditional carols and seasonal favourites. Many up-tempo selections are enhanced with energetic choreography. The program also incorporates several selections with inspiring texts praying for peace, acceptance and generosity.

These programs also feature many of Saskatoon’s renowned soloists, supported by a refined orchestra of internationally acclaimed instrumentalists.

Artistic director Marilyn Whitehead says, “We are pleased to announce that Arthur and William Boan as well as Sam and Solveig Deason will be joined with our family members as our featured guest artists this Christmas.”

Returning artists include Guy Few, Kerry DuWors, Allen Harrington, Randi Nelson,

The Saskatoon Fireside Singers’ 45th anniversary season is sure to entertain, with performances including their annual Christmas Memories production and the musi cal production of Disney’s The Hunchback of Notre Dame. STEPHEN J. NICHOLSON

Terry Sturge, Darrell Bueckert, Brent Blazieko, Doug Gilmour, Martin Janovsky and Sophie McBean. Contributing their skills and talent once again are orchestral director Bonnie Nicholson, pianist Albert Couture, and stage director and choreographer Kelsey Stone.

Audiences have made these eclectic Christmas Memories productions a family tradition.

Disney’s Hunchback of

Notre Dame will be staged at TCU Place, May 30 and 31. The Fireside Singers’ outstanding Broadway musicals have drawn tremendous acclaim for their powerful performances, featuring compelling, gifted lead actors and an outstanding chorus with dynamic choreography. Producing shows of this magnitude require the support of a huge volunteer base behind the

scenes. The Fireside Singers sincerely appreciate the dedication of the many individuals who have generously shared their time and talents.

An enthusiastic Fireside Chorus promises to offer Saskatoon audiences yet another season of inspiring and memorable productions.

- THIS ARTICLE WAS CONTRIBUTED BY THE SASKATOON FIRESIDE SINGERS.

Think dance classes are just for kids? Think again!

Formed in 1995, Free Flow Dance Theatre Company is currently in its 23rd season.

Founded by choreographer Jackie Latendresse in Kitchener/Waterloo, Ontario, the not-for-profit professional contemporary dance company has since found a formal home in Saskatoon at the Free Flow Dance Centre in Caswell Hill.

Free Flow’s instructors have been teaching professionally for many years, specializing in movement classes for adults.

This fall, classes are offered in Contemporary, Ballet, Tap, Belly Dance, Acro Yoga, Body

Conditioning, Burlesque and Chakradance. The dance centre caters to beginner adults through to experienced professionals and many of their classes include mixed levels.

No expensive costumes, dance recitals, public performances or participation in competitions are required.

Free Flow’s focus is to create a stress-free body positive zone for adults who love to move!

For those who are looking to get on stage, performance opportunities can arise through the professional company. On the first Saturday of the month, a lesson followed

by a dance with the Saskatoon Lindy Hop Society takes place at the dance centre.

Free Flow is also host to the Works In Progress New Dance Series showings and the Rosebud Burlesque Club Variety Nights. Throughout the year, many other special courses and workshops – such as the free Brain Body Connection professional development series, West Coast Swing weekend and Tango workshops – are also on offer.

The dance centre provides unique related training workshops such as stage makeup application, crafting nights,

THIS STORY WAS PROVIDED BY FREE FLOW DANCE THEATRE COMPANY

pin-up hair lessons and photography workshops by local professionals. The dance centre is available to rent for your special event, class or workshop. Accessible to the local community, the centre has hosted everything from weddings to family reunions as well as poetry readings, small music ensembles, variety nights, fund-raising events and more.

For more information on the professional company, visit http://freeflowdance.com.

For details on the dance centre, visit https://freeflowdancecentre.wordpress.com.

Jennifer Bezaire, Karla Kloeble, Sarah Rutley and Rachel Saufert are members of Free Flow Dance Theatre Company. KEN GREENHORN

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CCMA AWARDS RETURN

Country music shines again in Saskatoon

BY MIKE SHIPLACK

For the second time in just five years, the Canadian Country Music Association (CCMA) Awards are returning to Saskatoon, and it’s going to be a week-long party. Kicking off with the Potashcorp Country Music Week (Sept. 7-10), the whole thing comes to an epic conclusion on Sunday night when Canada celebrates the best country music in the business.

“With us being traveling musie Singerscians we are always passing by each the dedi-other, so it’s nice being at the same ndividualsplace at the same time. It’s a big ly sharedfamily reunion,” explains Saskatchs. ewan’s own Jess Moskaluke, Female FiresideArtist of the Year three years in a row offer Sas-(2014-2016), and a nominee again et anotherthis year. and mem- Despite this only being the second time since Canadian Country Music S CONTRIB-Week started back in 1977, SaskaOON FIRE-toon holds a lot of firsts. In 2012, Saskatoon first introduced the Friday night CCMA Rock’N Country Cabaret and the John Deere Green Carpet. It was also the first time tickets for the CCMA Awards went on sale before Christmas and they sold more than 10,000 seats.

“Saskatoon’s passionate country music fan base is undeniable,” says Tracy Martin, CCMA interim president. “The fans, the energy, the host committee and the volunteers that we experienced in 2012 and are again experiencing in 2017 are incredible. The country music scene and Potashcorp Country Music Week itself has really evolved in the five years since we were last in Saskatoon. It was time to come back and celebrate country music, and the great year that’s been in Canadian country music.”

Potashcorp Country Music Week features events and seminars for

a free event where fans get to meet their favourite artists; the Countdown Concert to kick-off the awards show; the John Deere Green Carpet; and, of course, the CCMA Awards.

“The biggest names in Canadian country music will be here.

Announced for our CCMA Awards Show so far: Dean Brody, James Barker Band, Brett Kissel, Jess Moskaluke, and Dallas Smith. We’re also

Saskatchewan’s own Jess Moskaluke was named Female Artist of the Year for a third consecutive year at last year’s Canadian Country Music Awards. She’s a nominee again this year. CCMA

artists, industry professionals and country music fans.

For those in the country music business, there a whole host of seminars and mentoring opportunities throughout the week. For example, Jess Moskaluke is once again being a mentor to the next generation of young female country music artists.

“It’s a fantastic networking opportunity for anyone who wants to make more connections, and this is also where those ideas on collaborations start,” says Moskaluke.

“This year, I know they are focusing on a mental health seminar,” says Dawn Woroniuk, Chair of Potash Corp Country Music Week, winner of six CCMA awards and celebrating her 24th Country Music Week.

“There is a lot of pressure and a lot of stress in the music business, so I think for them to be able to hear stories from industry professionals and find out where to get help is really important.”

Fans of country music are in for a week-long treat. Every day features a new opportunity to listen to the best country music artists in Canada. This includes the CCMA Songwriters’ Series; the CCMA Legends

Show: A Tribute to Yesterday & Today, which brings together aspiring artists and legendary performers on one stage; the CCMA Rock’N Country Cabaret; the full-day FanFest,

Ben Schenstead Music Studio

• Special Beginner Courses

Learn to Play Guitar!

Experienced teacher, Relaxed environment

• All guitar styles, acoustic/electric

bringing in one of the biggest names in the genre – Blake Shelton. We’re pulling out all the stops to show Saskatoon a good time,” says Martin.

For tickets to the CCMA Award Show and for more details on dates and times on how Saskatoon country music fans can take part in all the excitement during Potashcorp Country Music Week go online: www. ccma.org.

306-966-1001

306-966-1001

Visit our website: www.recservices.usask.ca and click on our Fall/Winter Activities Guide

REGISTRATION begins Monday, August 14th, 2017 by telephone (306) 966-1001 or in person Room 222 PAC. Office hours are Monday to Friday 8:30 am to 4:30 pm Come in and see our facility.

Visit http://www.beactive.usask.ca for online registration.

R.A.D. BALLET, JAZZ, TAP, HIGHLAND, HIP HOP, CREATIVE DANCE, MUSICAL THEATRE, DANCE FOR SPECIAL NEEDS

• Rock-Blues-Jazz-LatinClassical-Folk, etc.

• Fun & Progressive approach • Student talent shows, RCM grades • Professional learning environment • 8-wk Trial Period

• Free Consultation

To register, call 306-220-8424 www.benschenstead.com

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Celebrating 40 years, Chamber Singers’ season is themed “Worth a Repeat”

This season marks the 40th anniversary of Saskatoon Chamber Singers.

The choir is an auditioned group of between 28 to 35 singers, directed by James Hawn and accompanied by Rod Epp. Past directors have included Robert Solem, Patricia Jamison and Duff Warkentin. To mark this anniversary, the entire season will be called “Worth a Repeat.” With the help of suggestions from singers, past

and present, and audience members, the music that the choir will sing this season has all been selected from the over 800 pieces the choir has performed since its inception 40 years ago.

As in the past, this season will consist of four concerts. They will all be held at Knox United Church and each concert is performed twice, once at 2:00 and then again at 7:30 p.m.

In celebration of its 40th season, Saskatoon Chamber Singers will perform favourites from the over 800 pieces the choir has performed over the past four decades. SUPPLIED PHOTO

For more than half of its 40 years, Saskatoon Chamber Singers has begun its season with a Remembrance Day concert on November 11. This year’s concert is entitled Retrospection and Reflection. It was not surprising that the most suggestions for repeats came for this concert. The most frequently requested pieces were Remember (Stephen Chatman), In Remembrance (Eleanor Daley) and Kontakion (Rupert Lang), all by Canadian composers. Contrition by Ola Gjeilo will be performed at this concert as will Healey Willan’s How They So Softly Rest and Srul Irving Glick’s Avinu Malkeinu. David MacIntyre (professor at Simon Fraser in Vancouver but formerly from Yorkton) has been commissioned to write a piece for this concert to commemorate our anniversary. As usual, there will be appropriate readings and the traditional Ceremony of Remembrance.

Rejoice in the Lamb is the name of the Sunday, December 17 concert. Rejoice in the Lamb was written in 1943

by Benjamin Britten, who set his music to a text by Christopher Smart. It is a 16-minute work for choir and organ with soprano, alto, tenor and bass so-

loists. The main theme of the text is the worship of God, by all created beings and things, each in its own way.

Although this is not a Christmas concert per se, there will be music appropriate to the season, namely Poulenc’s Four Motets for Christmas. Also on this concert will be Jonathan Dove’s Bless the Lord O My Soul which has a fiendishly difficult organ part that will be played by Janet Wilson. There will also be works by Healey Willan (Canadian), Morten Lauridsen (American), and Allan Bevan (Canadian).

On Sunday, March 11, the choir will present All Around the Circle. One of the featured works on this concert is John Greer’s All Around the Circle, a pastiche of Canadian folksongs arranged in a challenging and musically interesting way. The other featured work is French-Canadian composer Lionel Daunais’ Figures de Danse which, in a humorous way, looks at six figures from the world of dance. Both will be accompanied on the piano by Rod Epp. Over the years the choir has presented several concerts with music set to texts by Shakespeare. Continuing this practice, the choir will perform Four Ballads of Shakespeare by Finn-

ish composer Juhani Komulainen and Matthew Harris’ Where the Bee Sucks. Where You Begin Like Rivers was commissioned in 2007 to celebrate the choir’s 30th anniversary. It was composed by Regina composer David McIntyre and we are delighted to perform it once again. Other works on this concert are two pieces each by American composer Randall Thompson and Canadian composer Imant Raminsh.

The last concert of the season is on Sunday, May 6 and is entitled In Paradisum. It will feature only two works: the Fauré Requiem and the Duruflé Requiem. Fauré composed his Requiem in 1886-87 in memory of his father, but it did not receive a public performance until 1936. Fauré does not always follow the traditional text of the Mass, but at times incorporates texts from the Order of Burial.

Duruflé’s Requiem, written in 1947, is, in many ways, reminiscent of Fauré’s, and for that reason makes for a perfect concert pairing. Both have soprano and baritone soloists, although these solos can be sung by their respective sections. Janet Wilson will again be at the organ.

Inquiries about auditions are always welcome; contact James Hawn (jhawn@shaw.ca) or call (306) 2493398. There are not always openings, but having a list of prospective singers makes the selection process easier and faster when vacancies arise.

Please mark our concert dates on your calendars. Ticket information and more information about each concert will be available at www.saskatoonchambersingers.ca. Season passes are also available online or by mail (visit the website for details). We look forward to seeing you and having you spread the word about us in this celebratory year.

THIS STORY WAS PROVIDED BY JAMES HAWN, DIRECTOR OF THE SASKATOON CHAMBER SINGERS. SAS00378386_1_1

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Saskatoon Youth Orchestra celebrates 60 years of musical excellence

mulainenThe Saskatoon Youth Orchestra re the Bee(SYO) will celebrate its 60th anike Riversniversary this coming season with 07 to cel-a spring gala and a chance for versary. Italumni to return to the stage and composerplay with members of the current delightedorchestra. her works “We want to honour our history, es each byhave some fun together and hopell Thomp-fully listen to some stories about ser Imantpast trips, performances and what it was like to work with inspiraseason istional leaders like Murray Adaskin ntitled Inand Dr. David Kaplan,” says Richonly twoard Carnegie, current SYO Music m and theDirector. “I expect it to be a fantascomposedtic celebration.” n memory The ensemble began in 1958 unreceive ader the guidance of Adaskin – also 936. Fauréthe head of the Saskatoon Symphoraditionalny – as a mean of developing young s incorpo-orchestral musicians. of Burial. The Saskatoon Kiwanis Club in 1947, is,provided the seed money for the of Fauré’s,formation of the orchestra, and it for a per-was at one of its regular meetings h have so-in May of 1958 that the Saskatoon , althoughJunior Symphony first performed. y their re- Later that season, the group ilson willplayed for 1,600 enthusiastic patrons in the University Gymnans are al-sium. mes Hawn Over the years, countless young 306) 249-players have experienced the joy of openings,achieving a high level of musicianctive sing-ship in the ensemble, and many cess easierwent on to careers in music, either as performers or as music teachers. rise. t dates on The modern era of the group ormationbegan in 1983 when it was reorbout eachganized as the Saskatoon Youth www.sas-Orchestra, under the tutelage of a. SeasonMusic Director Wayne Toews and nline or byAssociate Music Director George etails). WeCharpentier. The duo guided the u and hav-SYO together for the next 25 years, bout us inand celebrated its 50th anniversa-

“For me, the SYO is about providing opportunities for young people to excel,” says Carnegie.

“It’s by challenging them to try big things that they thrive and push their own boundaries. That could be while performing a solo piece, learning their part for a difficult composition like Tchaikovsky’s Symphony No. 4, or by coming out of their shell to socialize with oth-

ers during our annual retreat in Rosthern. The SYO is about growth and nurturing, and helping to shape young players into the best people they can be.”

Alumni from the Saskatoon Junior Symphony or the Saskatoon Youth Orchestra who are interested in receiving information about the 60th Anniversary Gala are invited to contact info@syo.ca.

SYO Music Director Richard Carnegie congratulates student conductor Jerry He at a rehearsal this past season on being awarded the baton to conduct a movement of Beethoven’s Symphony No. 5 in the spring concert. SUPPLIED PHOTO

ry in 2008 with a gala dinner and performance, which drew alumni from all over North America.

The next season Richard Carnegie took over the reins of the orchestra, vowing to continue its tradition of musical excellence while always promoting the work of Canadian composers.

Carnegie has also started new traditions, with competitions held in alternating years for conducting and composition, with the winner featured in the SYO spring concert.

There is also an annual Concerto Competition, which sees a young player compete in the spring for the chance to be featured in the upcoming season.

For this 60th anniversary sea-

son, two soloists have been chosen.

Violinist Hannah Lissel-Decorby will perform Ravel’s Tziganein the spring concert, and percussionist Fraser Krips will perform Sejourne’s Concerto for Marimba and Strings with the SYO Chamber Orchestra in the New Year.

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THIS STORY WAS PROVIDED BY PAUL SINKEWICZ WITH THE SASKATOON YOUTH ORCHESTRA.

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Wilton Academy offers youngsters a great foundation of music education

Wilton Academy of Music is entering its third year as its own business and doing very well, says founder Nicole Wilton. “We left the University of Saskatchewan in 2015 and started on our own, after being housed there for almost 30 years. CMEP was a thriving early childhood music education program and I had added the components of private instrumental lessons over the past decade of my tenure there as the Program Manager.

When the U of S was undergoing structural changes, rather than seeing it close, I decided to take the program off campus into the community it had always served. My staff came with me and they are the ones that make this program what it is.”

Securing venues proved to be the most difficult challenge, but it has all worked out quite well.

Rather than signing longterm leases, the academy operates in three different spaces and both the staff and clients seem to really like where they are. One venue is the Albert Community Centre (for weekday early childhood classes).

“This is actually where the program began back in 1988.

The U of S rented rooms from the centre. It continues to be a very good central location with excellent large classrooms,” says Wilton.

They also use The Montessori Children’s House on weekends and weeknights for various instrumental classes and their busy Saturday music classes.

A third site is Wilton’s private studio, which is used for many private instrumental lessons.

“Currently we teach approximately 500-plus students a week with all our offerings,

including our outreach to various preschools & daycare/ childcare centres around the city. We know that not everyone can come to us, so we go to them, bringing music education into their facilities once a week. We actually have a few openings this year for new daycares,” says Wilton.

“What sets us apart from other early childhood music programs is the quality of our instruction and the level of education and expertise the instructors have. All are musicians having various degrees in music and/or education and a high level of experience with children and early childhood music.

“Our educational programs are based on a curriculum that was developed and refined over many years of collaboration with the University of Alberta music department. Children who stay in our program

until its completion (age six) will be musically literate and able to start any instrument with a great foundation of music understanding.”

On the instrumental side of things, Wilton Academy also has highly experienced and educated teachers, with both Suzuki and traditional piano, guitar and violin options. They currently have the only Suzuki guitar program in Saskatchewan. (Wilton herself is one of five Canadian teachers who is a certified Suzuki Piano Teacher Trainer).

“We look forward to our next year and are currently accepting registrations for the fall. We are also very proud to be able to offer bursary options for those who cannot afford the full tuition,” says Wilton.

Please visit www.wiltonmusic.com to see all programs and registration information.

The Wilton Academy of Music provides over 500 students a week with early childhood music programs. ““What sets us apart from other early childhood music programs is the quality of our instruction and the level of education and expertise the instructors have,” says academy founder Nicole Wilton. Pictured here are four of the Wilton Academy’s early childhood music educators: (left to right) Sky Lennox, Nicole Wilton, Jeannette Gross and Ruth Phipps. SUPPLIED PHOTO

THIS STORY WAS PROVIDED BY THE WILTON ACADEMY OF MUSIC.

Saskatoon Philharmonic: 20 years of orchestral performances Established 20 years ago in 1997, the Saskatoon Philharmonic Orchestra is an adult community group that provides an experience for those who are interested in orchestral playing. It is a full orchestra, with a full complement of strings, winds and percussion.

Players bring a strong desire to play well, whatever their level of playing, as well as a commitment to rehearse and perform.

The music is selected so that

all players can be involved.

The Saskatoon Philharmonic Orchestra is a non-profit organization and is operated by a Board of Directors. George Charpentier conducts the group.

The Saskatoon Philharmonic Orchestra rehearses on Monday evenings, from 7:30 p.m. to 9:30 p.m., at the Saskatoon Concert Band Hall, 238 Avenue V North. Rehearsals will begin on Monday, Septem-

ber 11, 2017. Two concerts are scheduled for the 2017 – 2018 season: January 27 and May 5.

The group has been very successful since it started, performing two or three concerts a year. The repertoire includes orchestral standards, light classics, popular music, as well as contemporary compositions and arrangements. Canadian, Saskatchewan, and Saskatoon composers and arrangers have been featured many

times. The orchestra regularly accompanies local musicians as soloists, and has toured out of the city.

There are openings in all string sections of the orchestra. Winds and percussion should contact the orchestra about openings. There is a membership fee. New members are welcome throughout the year. There is no formal audition. Prospective members are also welcome to join the

The Saskatoon Philharmonic Orchestra has entertained audiences for two decades, performing two or three concerts per year. SUPPLIED PHOTO

Philharmonic for a rehearsal.

For more information, email saskatoonphilharmonicorchestra@gmail.com, or

THIS STORY WAS PROVIDED BY GEORGE CHARPENTIER, CONDUCTOR, SASKATOON PHILHARMONIC ORCHESTRA.

call (306) 242-3916. More details are available at www.saskatoonphilharmonic.com or on Facebook.

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Saskatoon Concert Band offers variety of performance opportunities

If you are looking for an opportunity to play challenging and interesting music, thinking of picking up your instrument again, or are an adult beginner, one of the Saskatoon Concert Bands may be the place for you. Our groups are inclusive. Bring a commitment to playing and performing well, and we would be happy to have you as a member.

The Saskatoon Concert Band has been a part of the music community of Saskatoon for over 65 years.

The band started in 1949 as the 23 Wing Band of the RCAF. In 1959, it became the Kinsmen Concert Band. a week In the mid 1960’s, part of the band rt from formed the H.M.C.S. Unicorn Band. r instruc- We became the Saskatoon Concert rs have,” Band in 1982. John Schoen was the ur of the founder of the group and conducted o right) it until 1996. In addition to many, ps. SUP- many concerts, the group has performed at many special community events, including Royal visits. It has showcased local, national, and international performers. The band has commissioned a number of works for concert band.

The Concert Band will perform on October 21, February 3, and April 28, at Victory Church of Saskatoon, and our outdoor concert will be June 13.

We will also be performing at Sundog Handcraft Faire. Auxiliary Band concerts will be held on December udiences 3 and June 3, at Grace-Westminster ar. SUP- United Church.

We rehearse at the John Schoen Rehearsal Hall, 238 Avenue V North.

More de-We have a dedicated rehearsal space, www.sas-designed and equipped for music ic.com orgroups. Our space is available for

rentals, both occasional and ongoing.

The Concert Band rehearses on Wednesday evenings, from 7:30 p.m. to 9:30 p.m. The group serves many of Saskatoon’s finest community musicians. This group performs a wide variety of challenging band repertoire, ranging from orchestral transcriptions, to contemporary wind music, to light, easy listening. Local performers are regularly featured as soloists with the Concert Band. This group gives four concerts a year, and performs at other events and festivals. George Charpentier is the conductor.

The Auxiliary Band rehearses on Tuesday evenings, from 7:30 p.m. to 9:30 p.m. It is for players who are looking for a less intensive schedule, are adult beginners, or are returning to playing after a time away. This group also performs a wide variety of musical genres. This group gives two concerts a year. Nick Todd is the conductor.

Rehearsals begin Tuesday, September 5 for the Auxiliary Band, and Wednesday, September 6 for the Concert Band.

There are openings in both groups, in all sections. There is a membership fee, and members also volunteer for other band related activities, including serving on the board of directors. New members are welcome throughout the year.

For more information, call (306) 242-3916, or email saskatoonconcertband@gmail.com. Learn more by visiting www.saskatoonconcertband.ca or connect on Facebook.

THIS STORY WAS PROVIDED BY GEORGE CHARPENTIER WITH THE SASKATOON CONCERT BAND.

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Saskatoon Opera showcases Saskatchewan talent

Since its beginnings, Saskatoon Opera (SO) has striven for professional quality. The company now hires professionals at all levels of production, especially those from Saskatoon or who are Saskatchewan-based whenever appropriate, regardless of where they currently reside. For example, Saskatchewan singers Andrea Lett, Chelsea Mahan, Spencer McKnight, Brenden Friesen, Emma Johnson, Allison Walmsley, Chris Donlevy and Jordie Hughton were all cast this past season. The orchestral musicians and chorus contracted for the main stage production live and work in Saskatoon. SO production personnel are professionals who live and work in the Saskatchewan arts community.

Saskatoon Opera’s 20162017 season began with the second annual ‘Home for the Holidays’ concert. Six-

teen emerging professional singers and accompanists performed well-known opera arias, generously donating their performances to Saskatoon Opera. As part of the Saskatoon Symphony’s January Mozart Festival, SO presented ‘LovePlay.’ Four singers and a pianist performed arias and ensembles in a small space surrounded by the audience seated at bar tables. Great singing and amusing staging in an intimate setting showed that there are many ways to do opera!

Since 2001, Saskatoon Opera in Schools has performed for over 75,000 elementary and high school students and staff. In May 2017, in celebration of Canada’s 150 th Birthday, the company went on tour with the show, The Bremen Town Musicians, by Canadian composer Dean Burry.

Directed by Charlie Peters

(Embrace Theatre), this entertaining and heartfelt show delighted young audiences.

In June, Saskatoon Opera’s main stage production, Don Giovanni, was set in the 1940s, in ‘film noir’ style, giving an eerie perspective to Mozart’s dark comedic masterpiece. Maestro Eric Paetkau conducted an exciting all-Canadian cast of future opera stars, the Saskatoon Opera Orchestra and Chorus.

Saskatoon Opera’s 20172018 season includes some exciting debuts. The season begins with ‘Home for the Holidays’ when Saskatoon’s opera singers will perform some of opera’s greatest hits.

Saskatoon Opera in Schools 2018 debuts The Seven Scorpions, a one-act opera by Dean Burry. In the Egyptian desert, three young archeologists save their professor by understanding the

ancient myth of the Isis. A cast of four and pianist and will be directed by Saskatoon actor/director, Emma Thorpe. Elementary school performances will take place in Saskatoon and area in May 2018.

Saskatoon Opera’s biggest annual event is a fully staged opera with orchestra and a cast of some of Canada’s finest emerging opera stars in the Remai Arts Centre.

Stay tuned for this season’s announcement in September!

Saskatoon Opera’s audience is growing and, with popular works like Don Giovanni, the productions are appealing to all ages.

Saskatoon Opera board chair Lynn Ewing was enthusiastically applauded as she welcomed the audience before every performance with this phrase, “Let’s keep Live Opera alive in Saskatoon!”

In June, Saskatoon Opera wowed audiences with its main stage production of Don Giovanni. The title role was played by Iain MacNeil.

Regina-born Emma Johnson played the role of Zerlina. STARPHOENIX/MICHELLE BERG

THIS ARTICLE WAS PROVIDED BY BARBARA MONTALBETTI, SASKATOON OPERA.

Love singing?

Join The Cecilian Singers The Cecilian Singers is a community choir based in Saskatoon with members from surrounding communities as well.

We perform choral music in a wide variety of styles, including sacred and secular classical music, jazz, spirituals and folk songs. Some highlights from recent seasons include performing “The Ground” by Ola Gjeilo with a string quartet;

“Sure on this Shining Night” by Morten Lauridsen; Elgar’s “the Marksman,”; the guys’ rendition of “For the Longest Time”

by Billy Joel; and, as always, a healthy dose of J.S. Bach.

The Cecilian Singers are directed by Graham Codling, who has a Masters of Music in Choral Conducting from the University of Saskatchewan.

Our accompanist is Diane

Bestvater.

The choir’s main focus is the production of two concerts a year in Saskatoon: one in December and one in April. New members that love singing and can read music are welcome.

Anyone interested should visit our website at http://ceciliansingers.ca/. Rehearsals are held Wednesday evenings.

Come sing with us!

Drawn together by a love of music, the Cecilian Singers perform a varied repertoire of choral music at two concerts every year. SUPPLIED PHOTO

THIS STORY WAS PROVIDED BY THE CECILIAN SINGERS.

FALL MUSIC & DANCE

&

FALL MUSIC DANCE

T H U R S D A Y, A U G U S T 1 0 , 2 0 1 7

We have you covered from your first class to your last performance and every step along the way

HOWARD GILES

Saskatoon Men’s Chorus always in harmony and French.

The Saskatoon Men’s Chorus is delighted to announce that the Bridge City Brass Band will join them for their Christmas concert on December 10; their Spring concert will be held on April 22. Both performances are at Grace Westminster Church. On October 28, the Chorus will be special guests at a gala commemorating the 500th anniversary of the Lutheran Reformation, hosted by the Lutheran Ministry in Hospitals (LuMinHos) at the Western Development Museum.

New members of all ages are always welcome to join the Chorus. Visit www.saskatoonmenschorus.ca for contact information, the upcoming fall schedule and other details. If singing in the Chorus interests you, call Deborah Buck (306-652-0379) or Lynn Driedger (306-220-0812).

THIS STORY WAS PROVIDED BY THE SASKATOON MEN’S CHORUS

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The Saskatoon Men’s Chorus appears in concert with accompanist Karen Reynaud.

stage pro- The Saskatoon Men’s Chorus MacNeil. has been bringing together lovers ARPHOE- of four-part male harmony since 1980, and has built a reputation for its rich sound and varied and accessible repertoire. Singers from Saskatoon and surrounding communities meet for Tuesday evening rehearsals from September to April.

The Chorus performs concerts in December and April, also appearing as guests for various community functions.

Under the direction of Deborah Buck and Lynn Driedger, the Chorus performs a wide variety of repertoire, from traditional — such as sacred classical works, folk songs and spirituals — to contemporary Canadian arrangements, music theatre and popular music. While most of the repertoire is in English, the Chorus sometimes sings in other languages such as Latin, German

S A S K AT O O N S TA R P H O E N I X

•Tap • Jazz • Ballet • Lyrical • Modern • Acro • Theater • Gymnastics • Skate • Ballroom

DANCE STREET 2 Locations!

1020 Louise Avenue

16 23rd Street East

Ph: 955-2808

Ph: 955-5277

8th & Louise

23rd & Wall

www.dancestreetfashions.com

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THURSDAY, AUGUST 10, 2017

SASKATOON STARPHOENIX

REGISTER NOW Call (306) 373-7260

23rd Season

CLASSES COMMENCE SEPTEMBER 4TH, 2017

WHY CHOOSE STUDIO ONE? • Over 4500 square feet of studio space over 4 studios.

• Studios equipped with hardwood sprung and Marley floating floors which help reduce the risk of injury and allow students to dance longer without getting tired.

• Mirrors that start at floor level so dancers can see their feet from any place oon the dance floor.

• Desk staff available to assist you during all teaching hours.

• All costumes for recital are sewn or purchased for you.

• On site parking and filtered drinking water.

• Parent and student lounge with microwave, fridge, and television.

• Separate room for students to focus on homework between classes.

• Located in residential area with access to major bus routes.

AGES 2 & UP BALLET TAP JAZZ CONTEM MPORARY HIP-HOP LYRICAL MUSICAL THEATRE FL LAMENCO

REGISTRATION

August 24th, 2017 / 10am to 2pm & 4pm to 8pm August 30th, 2017 / 10am to 2pm & 4pm to 8pm

STUDIO ONE

1821 Jackson Avenue

www.STUDIO1RPDANCE.com

ACRO

STUDIO TWO

1203 9th Street East SAS00377324_1_1