February 3 & 4, 2017
2016-2017 Season Sponsor Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor St. West
salutes
Ann H. Atkinson for her generous support of this production
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The Pluralism Fund for their generous support of this production
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Planting the tree of peace Honour Song Migizi Honour Song
George Paul
Coming by canoe
Lintuwakon ciw Oqiton (Song of the Canoe) Dans les prisons de Nantes La belle a pris l’épée Le Prince Eugène
A meeting of nations
All Nation Song Kondiaronk le chef huron
Georges Sioui
Death of a leader
Lintuwakon ciw Mehcinut (Death Chant) Renaud Ornate aras
Moving onward
Lintuwakon ciw Esuwonikahattitit (Trading Song) Niigaaniin (Moving Forward) Etsondénon ni Atakwen Georges Sioui
INTERMISSION Please join us for refreshments and the CD Boutique in the Gymnasium.
Wendake/Huronia
John Beckwith 1. Raquettes (Snowshoes) 2. Champlain 3. Le Canotage (Canoeing) 4. La Grande Fête des Âmes (The Festival of Souls) 5. Lamentation, 1642 6. À l’avenir (To the future)
TONIGHT’S PERFORMERS ARE: Michele DeBoer, soprano David Fallis, tenor, conductor Ben Grossman, hurdy-gurdy, percussion Katherine Hill, soprano, viola da gamba Paul Jenkins, tenor, chamber organ Terry McKenna, lute, mandolin, guitar Alison Melville, flute, recorder John Pepper, bass Laura Pudwell, mezzo-soprano
WITH SPECIAL GUESTS
STAFF & ADMINISTRATION David Fallis, Artistic Director Michelle Knight, Managing Director Adam Thomas Smith, Marketing Director Nellie Austin, Bookkeeper Kiran Hacker, Graphic Designer Yara Jakymiw, Season Brochure Graphic Designer Martin Reis, Derek Haukenfreres & Ruth Denton, Box Office Peter Smurlick, Database Consultant Gordon Baker, Stage Manager Cecilia Booth, Front of House & Volunteer Coordinator Gordon Peck, Technical Director Sam Elliott, Intermissions & Receptions Margaret Matian, CD Sales and Event Assistant Heather Engli, Touring
Georges Sioui, narrator, singer Jeremy Dutcher, vocal artist Marilyn George, singer, drummer Shirley Hay, singer, drummer Toronto Chamber Choir, Lucas Harris, Artistic Director Members of the Brookside Music Association, John French, Artistic Director
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Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Photo Credit: Paul Orenstein
Since its founding in 1972, The Toronto Consort has become internationally recognized for its excellence in the performance of medieval, renaissance and early baroque music. Led by Artistic Director David Fallis, nine of Canada’s leading early music specialists have come together to form The Toronto Consort, whose members include both singers and instrumentalists (lute, recorder, guitar, flute, early keyboards and percussion). Each year The Toronto Consort offers a subscription series in Toronto, presented in the beautiful acoustic of the recently-renovated 700seat Jeanne Lamon Hall, at the Trinity-St. Paul’s Centre in downtown Toronto. The ensemble also tours regularly, having been to Europe and Great Britain four times, and frequently across Canada and into the US.
The Toronto Consort has made recordings for the CBC Collection, Berandol, SRI, Dorian, and currently Marquis Classics, with 10 CDs to its credit, two of which have been nominated for Juno awards. The most recent recording (Navidad) was released in 2012; in 2014, the group re-released its popular Christmas recording The Little Barley-Corne. Recently, the ensemble has been called upon to produce music for historical-drama TV series, including The Tudors, The Borgias and The Vikings, all produced by the cable network Showtime. The Toronto Consort recorded the soundtrack for Atom Egoyan’s award-winning film The Sweet Hereafter.
PROGRAM NOTES Welcome to Kanatha/Canada: First Encounters. This evening, an unusual one for the Toronto Consort, has had a long period of gestation. It began in 2014 when the Consort was asked to participate in the world premieres of John Beckwith’s Wendake/Huronia in the summer of 2015. This piece forms the second part of our program; more detailed notes about it follow.
collection of traditional songs of the Wolastoqiyik (Maliseet people). After visiting the Museum of Canadian History in Gatineau, listening to old wax cylinder recordings of songs and stories from some of his Wolastoq ancestors, and with the help of modern speakers, he clothes these songs in new colours. As he explains, “My project hopes to make these traditional Wolastoq songs a part of our communities again.”
The experience of working on a piece which included native singers Marilyn George and Shirley Hay, and included settings of text by the Wendat scholar and tradition carrier Georges Sioui, was a moving one for all of us, and we resolved to present the “choral documentary” on a series concert in Toronto. The sesquicentennial of Confederation allowed a certain rightness to having the concert in 2017, while at the same time highlighting the idea that Canada is much older than 150 years. (It was Jacques Cartier, in the report on his second voyage in 1535/36, who first wrote the word “Canada” to describe an area near the Saguenay on the north shore of the St. Lawrence, saying later, in a brief but fascinating list of native words, that canada means town.)
For the first half of the program we wanted to find a way to respectfully and genuinely combine the songs and voices of all the artists. The “Great Peace” of Montreal proved to be an interesting take-off point. The historian Gilles Havard, in his book Montreal, 1701: Planting the Tree of Peace, gives an introduction to this remarkable event in Canadian history:
We met Jeremy Dutcher in another musical encounter, and not only loved his singing, but learned about his fascinating project called Wolastoqiyik Lintuwakonawa, a
In the heat of the summer of 1701, hundreds of Native people paddled their birchbark canoes down the Ottawa River, through the vast forests of the Laurentian basin. Shooting the rapids, avoiding the rocks, they made their way towards Montreal, towards the rising sun. The impressive flotilla was made up of delegations from many nations of the Great Lakes region. They came from Michilimackinac (Odawas, HuronPetuns), Green Bay (Potawatamis, Sauks, Menominees, Winnebagos), the area south of Lake Michigan (Mascoutens,
Miamis) and the shores of Lake Superior (Crees, Ojibwas). Converging on Montreal from other directions were ambassadors of the Iroquois League, an Abenaki delegation from Acadia, and delegates from the mission villages within the French colony. In total, about 1,300 Native delegates, representing 39 nations, would gather in the little colonial town. Their purpose was to participate in a general peace conference – or, to use one of their metaphors, to “bury the hatchet deep in the earth” – in order to put to an end decades of warfare between the Five Nations Iroquois on one side and the French and their Native allies on the other. One of the most important native delegates was a Wendat named Kandiaronk. Born in Wendake (Huronia) just before the dispersal of the Wendat at the hands of the Iroquois, renowned for his intellect, wit and eloquence, he became a critical ally of the French in arranging for so many delegates to come to Montreal, and was a respected and eloquent promoter of the peace. In the middle of the conference, he caught a violent fever (probably the same disease which had already killed many Natives) and died. The conference came to a halt, and he was given funeral rites by both Natives and the French. French and Iroquois attended the hut of the Huron chief, and Native orators spoke at length about the deceased, followed by the condolence ceremony – the drying of tears, the opening of the ears, the opening of the throat to pour in “a sweet medicine”
intended to restore the grieving Wendats. The funeral procession arranged by the French was led by 60 troops, followed by Huron warriors wearing long beaver pelts, their faces blackened in mourning. Then came members of the clergy, followed by six war chiefs carrying the coffin. Next came the family (Kandiaronk’s brother and children), followed by numerous Huron and Odawa leaders. Finally came the wife of the French intendant, and the governor of Montreal. Following a Catholic service, Kandiaronk was buried in Notre Dame Church in Montreal. Some scholars have suggested that the death of Kandiaronk contributed to reconciliation between the various sides, and helped lead to the signing of the peace treaty. Shortly afterwards, the peace treaty was signed by all the leading delegates, followed by general feasting, celebration, and further time to engage in trade (a constant feature of any such gathering at the time). The music in the first half has been arranged and inspired by this meeting of nations which took place in Canada so many years ago: honour songs to welcome and greet; canoeing songs from both native and voyageur traditions; music to ease the passing of a leader, including a piece found in the collections of 17th-century sacred music in the Ursuline convent in Quebec; songs of trading and walking together. – David Fallis
COMPOSER NOTES on Wendake/Huronia Late in 2013, John French, founder and artistic director of the Brookside Music Association in Midland, conceived the idea of commissioning a special work to commemorate the 400th anniversary of Samuel de Champlain’s voyage to the region of Huronia (known as Wendake to the natives), the first encounter of First Nations people with European explorers in what is now Ontario. The commission was supported by the Ontario Arts Council and I was asked to take it on. I decided to compile a text from various sources, aiming for a sort of chronological summary of the Wendat experience, before and after Champlain. It is mostly in French, with a few insertions in Wendat. The result is a “choral documentary” for choir, alto soloist, narrator, and an early-instrument ensemble including First Nations drums. The six movements evolved as follows: 1. Raquettes (Snowshoes). For a prologue suggesting “pre-contact” I chose a feature that the French visitors found novel and remarkable: snowshoes. Against percussion and choral noises imitating the sound of this mode of travel, individual voices shout out, as in a roll-call, the names of various Wendat clans. The words were provided by the linguist John Steckley, the leading authority on the Wendat language, who also kindly supplied me with a prayerlike text to be sung by the alto soloist.
2. Champlain. Champlain’s published account of his travels (1619) includes in its second edition (1632) a poetic epigraph written by a fan, Pierre Trichet. It employs the then-brand-new terms “Canada” and “la Nouvelle France,” and elaborately extols Champlain, his ventures, and his writings. I decided to set three of its four stanzas, in a contrapuntal choral style that might sound “European” after that prologue. 3. Le Canotage (Canoeing). Like snowshoes in winter, canoes in summer were new and fascinating to the French, who admired both the vessels and their adroit management by the natives. My third panel is an instrumental evocation of canoeing, accompanying extracts from contemporary descriptions chanted by the chorus (they are from the travel writings of a missionary, Gabriel Sagard). Individual voices shout Wendat terms associated with canoeing, again contributed by John Steckley. 4. La Grande Fête des Âmes (The Festival of Souls). I first read of the traditional “Feast of the Dead” in Olive Dickason’s ground-breaking study Canada’s First Nations. The aboriginal term is “Feast of Souls.” Once a decade or so, villagers would disinter their deceased and transport their remains to an agreed central place where in a
week-long ceremony of dancing and chanting they would rebury them in a common plot, with furs, food, ceramics, and other artifacts. The early French observers all mention this festival, including Champlain, Sagard (copying Champlain almost word for word), and the later Jesuit missionary Jean de Brébeuf. I felt a musical depiction of the Feast was essential. Extracts from Brébeuf’s text are spoken by a narrator against instrumental and choral soundillustrations, ending with a traditional First Nations mourning song. 5. Lamentation, 1642. Bruce Trigger’s The Children of Atahentsic (1976) and Georges Sioui’s Les Wendats (1994) are the most profound studies of the Wendat history. As an appendix to Les Wendats, Sioui published a paper he gave at Laval University in 1992 on the 500th anniversary of another famous voyage, that of Columbus. It imagines the life-patterns of Wendats in the years 992, 1492, and 1642. His picture of the state of Huronia a century and a half after Columbus affected me deeply. He imagines a young Wendat, having lived through the crisis of European “takeover,” the drastic epidemics and warfare, calling on the Great Spirit to restore his people to their former dignity. 6. À l’Avenir (To the future). “But,” Georges Sioui advised me, “don’t end there.” He thought the angry lament should be followed by more optimistic
sentiments reflecting today’s efforts towards reconciliation of aboriginal and settler cultures. In his most recent book of poems, Seawi (2013), I found an English-language poem addressed to his infant nephew, expressing hopes of a more peaceful future, and with his permission used a French version of it for the work’s finale. Among the Consort’s available instruments, I chose those most suited to a 17thcentury Canadian setting: recorders, lute, mandolin, viola da gamba, chamber organ, and – for percussion – drums, rattles, sticks, and scrapers. I felt I should avoid metal percussion but on learning that small bells were favoured at that time as trade items allowed myself a hand-bell. Wendake/Huronia was first performed in Midland, Parry Sound, and Meaford in the summer of 2015, under David Fallis’s direction. – John Beckwith
DAVID FALLIS, ARTISTIC DIRECTOR David Fallis has been a member of the Toronto Consort since 1979 and its Artistic Director since 1990. He has led the ensemble in many criticallyacclaimed programs, including The Praetorius Christmas Vespers, The Play of Daniel, all three of Monteverdi’s operas in concert, Cavalli’s La Calisto and Carissimi’s Jephte, among many others. He has directed the group in its many recordings and tours, and has conceived and scripted many of their most popular programs, such as The Marco Polo Project, The Queen, and The Real Man of La Mancha. He is also one of Canada’s leading interpreters of operatic and choral/ orchestral repertoire, especially from the Baroque and Classical periods. He is Music Director for Opera Atelier and has conducted major operatic works by Mozart, Monteverdi, Purcell, Lully and Handel in Toronto and on tour to France, the US, Japan, Korea and Singapore. He has conducted for the Luminato Festival, Houston Grand Opera, Wolf Trap Theatre, Utah Opera, Orchestra London, Symphony Nova Scotia, the Windsor Symphony, Festival Vancouver, the Singapore Festival, the Elora Festival, and the Elmer Iseler Singers. He is also the director of Choir 21, a vocal ensemble specializing in contemporary choral music, and has led them in performances for Soundstreams, Continuum, The Art of Time Ensemble and the TIFF series at the Bell Lightbox. He was the Historical Music Producer for two Showtime historical dramas: The Tudors and The Borgias.
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JOHN BECKWITH John Beckwith, composer, music educator, and writer, was born in Victoria, British Columbia, in 1927. He received his musical education in Toronto (1945-50) and Paris (1950-52). He was associated with the Faculty of Music, University of Toronto, from 1952, serving as dean 1970-77 and as first director of its Institute for Canadian Music from 1985 until his early retirement in 1990. His more than 160 compositions include four operas, a dozen orchestral works, chamber and solo works, songs, and works for chorus. In an active career of over sixty years, his music has attracted commissions and performances by leading ensembles and solo artists. Most of his major instrumental, choral, and vocal works are available on compact disc and on the internet listening sources. Beckwith has edited or co-edited ten books, including volumes 5 and 18 of The Canadian Musical Heritage. He is the author of Music Papers: articles and talks by a Canadian composer, 1961-1994 (Ottawa, 1997), In search of Alberto Guerrero (Waterloo, 2006), and Unheard Of: Memoirs of a Canadian Composer (Waterloo, 2012). He is a former music columnist and reviewer for the Toronto Star and script writer and program planner for CBC Radio, and has contributed articles and reviews to musical journals in Canada, Britain, and the United States. He is a member of the Order of Canada, holds honorary degrees from five Canadian universities, and is an honorary member of the Canadian University Music Society and the Société québécoise de recherche en musique. He received the Canadian Music Council “Composer of the Year” award (1984), the Toronto Arts Award for music (1994), the diplôme d’honneur of the Canadian Conference of the Arts (1996), the “Friends of Canadian Music” award (2010), and the SOCAN Foundation Award of Excellence for Research in Canadian Music (2014). For more info visit www.individual.utoronto.ca/john_beckwith
Celebrating a Canadian music icon! The Toronto Consort wishes a very happy 90th birthday to John Beckwith in March!
GEORGES PAUL EMERY SIOUI Georges Sioui is a Huron-Wendat. At 18 years old, he was the personal fishing guide of the Prime Minister of Quebec and of the country’s official guests at Expo ’67. He did classical studies in Quebec and in Nova Scotia and studied liberal arts and languages at Université Laval and Ottawa University. He has been Editor-in-chief of the Kanatha magazine, in Wendake, and of the Tawow magazine at the Department of Indian Affairs, in Ottawa. In 1980, he became Assistant Director General and Corporate Secretary of the Cree Board of Health and Social Services of James Bay. In 1987, Georges Sioui obtained, at Université Laval, an MA and, in 1991, a Ph. D, both degrees in History. To date, he has published three landmark books on Amerindian history and philosophy: For an Amerindian Autohistory (1992), Huron-Wendat: The Heritage of the Circle (1999) and Histories of Kanatha seen and told (2008). In 2013, he published a book of poetry at Lavender Ink Press (New Orleans, USA). The title is Seawi. He has recently completed an autobiographical essay on the history and the deeper philosophical nature of Canada. He is presently compiling his musical works for future recordings. Georges Sioui has taught First Nations Studies at universities in Canada and the United States. He has been Dean of Academics at the Saskatchewan Indian Federated College, at the University of Regina (1993-1997), and President of the Institute of Indigenous Government, in Vancouver (1990-2000). Georges Sioui is also an activist. In 1982, he initiated and successfully co-defended with his four brothers the now famous Sioui Case (Supreme Court of Canada), a case of territorial and religious rights. In 2003, Georges Sioui became Head of Research at the Indian Claims Commission, in Ottawa. From 2004 to 2012, he was the Coordinator of the Program of Aboriginal Studies at the University of Ottawa. He recently retired from his position of Full Professor and now dedicates himself to writing and lecturing. Georges Sioui is polyglot, poet, essayist, songwriter and world-renowned speaker on the history, philosophy, spirituality and education of Aboriginal peoples.
JEREMY DUTCHER Jeremy Dutcher is an emerging Toronto-based composer and vocal artist. His music merges two worlds, that of the classical and traditional, operatic power and tuneful melodies of his Wolastoq (Maliseet) Nation. Jeremy’s forthcoming release, Wolastoqiyik Lintuwakonawa, is part composition, part musical ethnography, part linguistic reclamation. The Photo: John Paille melodies come from the oldest known field recordings of the indigenous peoples along the St. John (Wolastoq) river basin, and are arranged for voice, piano and string quartet. Jeremy is also prioritizing the Wolastoqey language in his music in hopes of inspiring other young Maliseets to learn this endangered language. Dutcher’s style is hard to define, as it blends distinct musical aesthetics into something entirely new, shapeshifting between classical, contemporary, traditional and jazz. Jeremy was the winner of Opera New Brunswick’s Young Artist Award in 2012 and most recently a recipient of the Canada Council for the Arts’ Aboriginal Music Award. He studied classical music at Dalhousie University and spent time learning from Passamaquoddy song carrier Maggie Paul. Jeremy has also been a featured soloist with the Mississauga Chamber Choir and Soundstreams Canada. For more info visit jdutchermusic.com
MARILYN GEORGE Marilyn George is an Ojibway woman from the Serpent River First Nation. Her Native name is Naatwekakatusahke, which means “Bright Star” in the Lakota language. She feels connected to her name, believing in the law of attraction and not promotion of herself. Marilyn resided on the Serpent River First Nation until the age of 18 when she left to attend college. She is the mother of four children, and has three grandchildren. Marilyn was taught her love of Native crafts at the age of eight. She is a traditional PowWow dancer and shares her Ojibway cultural teachings and knowledge through facilitating workshops involving Native crafts, artwork, songs and drumming.
SHIRLEY HAY Shirley Hay is a status member of the Wahta Mohawk First Nation and lives on Territory. She is of the Turtle clan and her Native name is Tekahontakwa, meaning “picking up the field.� Shirley has over 40 years of experience in the corporate, business, publishing, tourism, band governance, criminal justice system and social services field. She is a registered Social Services Worker and compassionate in her work assisting Aboriginal offenders in the criminal justice system. Shirley, a member of the Kanenhiio Singers, has travelled worldwide singing with the four-woman hand drum group from Wahta.
BROOKSIDE MUSIC ASSOCIATION Brookside Music Association is a music-presenting organization in Midland, Ontario, which was founded by John French in 2010. It presents largely classical music concerts and school presentations throughout the year as well as a summer festival known as Festival of the Bay. In 2013, in anticipation of the activities commemorating the 400th anniversary of the arrival of Champlain in the region, Mr. French, through Brookside Music Association, commissioned an original composition by John Beckwith, Wendake/Huronia, with funding from the Ontario Arts Council. The work was premiered in the 2015 Festival of the Bay with a choir composed of singers from several regional choirs. Among those performing in the premiere, the following have joined the choir for this performance: Bob Bruer, tenor Adele Hines, soprano Ken MacDonald, tenor Angela Monoghan, soprano Mary Skinner, soprano
TORONTO CHAMBER CHOIR The Toronto Chamber Choir has presented a subscription concert series of early music in the city for the past 48 years. Directed by lutenist Lucas Harris since 2014, the TCC has a longstanding relationship with David Fallis, who was its conductor for over twenty years. The choir has performed several times in the Toronto Consort’s well-known Praetorius Christmas Vespers program, and is now pleased to be collaborating with the Consort in John Beckwith’s new work Wendake/Huronia. Upcoming TCC concerts include a performance of sacred choral music by Heinrich Ignaz Franz Biber, now considered to be the seventeenth century’s most phenomenal violinist. The concert will take place on Saturday, March 18, at 8:00pm, and will feature a pre-concert chat with violinists Julia Wedman and Christopher Verrette at 7:15pm. See www.torontochamberchoir.ca for details.
SOPRANOS
ALTOS
TENORS
BASSES
Emma Campbell * Mairi Cowan Tara Dhar * Leslie Fradkin Natalie Griller Nancy Martin Christine McClymont Julia Morson + Annick Morin Mary Thomas Nagel Miriam Nisonen Oliver *
Sharon Adamson Ainslee Beer Rebecca Claborn + Linda Deshman Wendy Donaldson Stacey Kendall * Lesia Komorowsky Mary Ella Magill Sarah Namer Ada Spanjaard Corrie Tuyl
David Barber Lyle Clark Andrew Donaldson Bill Fallis Michael Finn Francesco Gagliardi Jean-François Roy Ralf Staebler Martha Ter Kuile Andrew Walker +
Don Barber Jonathan Deshman Matthew Li + Conan MacLean John Scopis Don Sinclair Peter Thompson Eric Walberg Sean Walker *
* Rosedale School for the Arts apprentice members + Toronto Chamber Consort section leads
THANK YOU The Toronto Consort gratefully acknowledges the generous ongoing support of Trinity-St. Paul’s Centre, our sponsor and foundation partners, our long-time government funders and our many wonderful dedicated volunteers.
CORPORATE & COMMUNITY SUPPORTERS
FOUNDATION SUPPORTERS The J.P. Bickell Foundation, The Lloyd Carr-Harris Foundation, The McLean Foundation, The Keith Foundation at the Strategic Charitable Giving Foundation, The F.K. Morrow Foundation, The Catherine & Maxwell Meighen Foundation, The Ed Mirvish Family Foundation, Audrey S. Hellyer Charitable Foundation, The Mary Margaret Webb Foundation
SPECIAL THANKS Many thanks to John Steckley (Wendat linguist), Alex McKay at the Centre for Indigenous Studies at the University of Toronto, Jeff Burnham of GoodMinds.com, and Greig Dunn
2016–17 DONORS GOLD RENAISSANCE CIRCLE ($5,000 and above) Ann H. Atkinson Tom Bogart & Kathy Tamaki Greig Dunn & Robert Maclennan Jane & Al Forest Estate of Patricia Hosack John & Maire Percy Vivian E. Pilar Joan E. Robinson ($2,500 – $4,999) Estate of Norman John Cornack Fred & Ursula Franklin Tiit Kodar, in memory of Jean Kodar ($1,000 – $2,499) C. Bergeron Marie Campbell Michael Clase Jane Couchman & Bill Found David Fallis Kevin Finora Chester & Camilla Gryski A. L. Guthrie Glen Hutzul John Ison William & Hiroko Keith Gerhard & Louise Klaassen Oleg Kuzin, in memory of Betty Kuzin Marion Lane & Bill Irvine Dr. Margaret Ann Mackay Ann F. Posen Ted Sharp Heather Turnbull Guy Upjohn Jane Witherspoon & Brian Stewart Berta Zaccardi & Craig Robertson
IN MEMORY OF URSULA & FRED FRANKLIN
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Thank You for Your Support! On December 19th, 2016 in Kitchener-Waterloo, at Wilfred Laurier University’s Maureen Forrester Recital Hall, The Toronto Consort settled in for an intensive three-day recording session, which we’re happy to say went very well!Over the next five months we’ll be reviewing and editing the recordings as we work towards a manufacturing deadline in early July and release date in November 2017. The Toronto Consort is grateful to the following donors who supported The Italian Queen of France CD Recording Project: RENAISSANCE CIRCLE
($500 and above) Tom Bogart & Kathy Tamaki Elan Dresher Tiit Kodar Oleg Kuzin John & Maire Percy Jean Patterson Edwards Ted Sharp
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PATRON
($125 – $499)
Matthew Airhart Nellie Austin Edward & Jocelyn Badovinac Anne & Dave Bailey J. Douglas Bodley Harry & Helen Bowler Marcus Butler Michael & Catherine Clase Amy Coulson Jane Couchman & Bill Found Tedd Dillon & Katie Engels Michael Disney Colin R.C. Dobell Richard Earls Lee Emerson Sherri Erlichman Kevin Finora Katalin Gallyas Joan Garner David & Joan Gilbert Chester & Camilla Gryski A.L. Guthrie Pauline S. Hill
($10 – $124) Anya Humphrey John Ison Ray Kinoshita Michael Lerner Susan Middleton & Christopher Palin Alec & Joyce Monro Elizabeth Mowat Vivian Pilar Ruth Pincoe D. Powell Wells John Reid Morden Joan Robinson Katalin Schafer Erik Schyer Judy Skinner Gary Smith Janet Wood Berta Zaccardi & Craig Robertson
Alison Booz Ruth Comfort Isabelle K. Gibb Jacqueline Jimenez Verica Ketko Frances Maccusworth Margaret Magee Mary Ella Magill Catherine Pepper Norman Perrin Jean Podolsky Trixie Postoff Margaret Rogow Alan Rosenthal David Saunders Imogene Walker Sharon Walker Listing includes donations received up to January 15, 2017. Please let us know if we missed you or made an error. Call 416-966-1045.
IN CONVERSATION with Laura Pudwell TC: When did you get into music? LP: When did I get into music? Hm, is that like getting into pyjamas? Um. I apparently sang Swingle Singers in my crib to put myself to sleep. I can’t remember not being into music. Having said that, I did not study music, and didn’t take my first voice lesson until I was 26. TC: How about early music? LP: Well, I vaguely remember my audition for the Toronto Consort, at some point early in 1986. I had discovered the Feather on the Breath of God recording of Abbess Hildegard von Bingen and thought it was the most beautiful music I had ever heard. I decided to sing some of that for my audition for David. I guess I did OK. But really, having sung in church choirs from before I can remember, and having a mother who is a church organist, I have always sung lots of early music. TC: What was your first “professional” performance? LP: Probably a wedding my Mum made me sing at as a child or something. But I certainly remember the performance that changed the direction of my life. I was working at the Canadian Council of Churches in 1985, specifically with the Interchurch Coalition for Refugees. Whenever I wasn’t at the office, I was usually rehearsing or performing. That Christmas, I had my first full length Messiah as soloist, with orchestra and the whole works. Very exciting. My boss and her husband chose that Messiah as their Christmas concert that year, not knowing that I was singing the alto solos. After the performance, they came backstage and offered to house me on their third floor for a year, with the understanding that I would pursue a career in singing. I haven’t regretted taking them up on their generous offer.
TC: When did you join The Toronto Consort? LP: I joined the Consort in the fall of 1986. That is a very long time ago … TC: Do you have a memorable performance or moment? LP: Many of us in the Consort will remember a candle lit Christmas tour, in Northern Ontario, when during intermission the wax from the candles dripped onto the set of recorders, and the tenor recorder caught on fire. The phrase “Maman, maman, la flute s’enflamme” is indelibly etched in my memory. TC: What do you like to do before a show to get ready? After a show? LP: The only thing I really need to do before a concert is brush my teeth. I cannot sing with dirty teeth… But otherwise, a little warm up, some nice clothes, a bit of lipstick… I’m good to go. I have to make sure to keep hydrated, and not eat too much salt, but surely that’s true for all of us? TC: Where can we find you next, outside of The Consort? LP: After the Consort programme, I will head down to DC to sing DuFay and Binchois at the National Gallery with Blue Heron, out of Boston. Then I’ll head back to Boston with the boys for an all Ockeghem project. I will likely teach my studio in Montreal several times between February and May, I’m singing a St. John Passion in Kitchener/Waterloo in March, and then in April I will sing Dido in Dido and Aeneas with Pacific MusicWorks in Seattle, Washington.
Mozart's Operatic Masterpiece Amici performs portions of a rarely heard version of Mozart’s famous opera Don Giovanni by Joseph Triebensee, featuring the superlative wind players from the Toronto Symphony Orchestra and surprise guests.
Feb. 19, 2017 • 3PM
The Toronto Consort is a Proud Member of
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Win a trip for Two to Florence, Italy! Grand Prize includes round-trip tickets from Toronto and a 5-night stay at a 5-star Florence hotel Purchase your raffle ticket by March 4, 2017 and qualify for the Early Bird draw for: A set of 6 Zalto Stemware & a $300 LCBO Gift Card
Raffle tickets are $50 (Only 400 tickets will be sold)
The Early Bird draw will be held on March 4, 2017 at the close of the concert at 10pm. The Grand Prize draw will be held on May 14, 2017 at the close of the concert at 6pm. Both draws will be held at Trinity-St. Paul’s Centre, 427 Bloor Street West, Toronto Lottery License no. M789846 Raffle proceeds support The Toronto Consort
COMING UP NEXT IN 2017
Welcome internationally-acclaimed Belgian Renaissance vocal ensemble Cappella Pratensis for their Canadian premiere of a program centered on the fantastical imagery of artist Hieronymus Bosch, with music by Pierre de la Rue, Clemens non Papa and Jean Mouton.
Box Office: 416-964-6337 Online: TorontoConsort.org Trinity-St. Paul’s Centre, 427 Bloor St. W.