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Newsroom -
Features
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Written by Deanna Yerichuk
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Echo Women’s Choir - Photo Credit - Katherine Fleitas, Peace Photo
If you have a desire to sing, you’d be hard-pressed not to find a place for your voice these days. I’ve been studying community music in Toronto, and my sneak peek at The WholeNote’s 2012 Canary Pages confirmed my own sense of the many opportunities open to singers of all ages, abilities and interests. And that’s just what’s listed in these pages. If the Canary Pages are the tip of a singing iceberg, then there are likely hundreds of places to sing in Southern Ontario. And by all accounts, Ontarians are singing.
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Beat Columns -
Art of Song
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Written by David Perlman
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Christian Gerhaher at Koerner Hall. Photo Credit - ALEXANDER BASTA
It was back in the late fall that we decided, here at The WholeNote, that a case could be made for a regular beat column covering the art of song, focussing not on choirs but on voice as a solo instrument. This column has been the result, and judging by the amount of material that leaps to hand each month, the decision was the right one. So count on it being a regular feature of the magazine, although likely under some other columnist’s tender loving care. (And if that sounds to you like an invitation to apply for the job, you may contact me at the email address listed at the end of the column and argue your case.)
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Newsroom -
Features
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Written by Paula Citron
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Here’s a riddle for you. By day they are lawyers, paramedics, marketing mavens, music students, teachers, bus drivers, office managers, dentists and various retirees. By night, they transform themselves into gypsies, peasants, soldiers, courtesans, nuns, prisoners, factory workers, heavenly angels and the demimondaine. Who are they? And the answer is, a typical opera chorus.
On our cover: Ken Watson, longtime Opera Hamilton chorus member in dress rehearsal for Barber of Seville. Photo Peter Oleskevich
That they are indispensible to an opera is a given. “The chorus represents the community or society that the principal characters inhabit,” explains stage director Tom Diamond. And Opera Hamilton chorister Dorothy O’Halloran adds: “We are part of the on-going story. We react to the main characters. In fact, we collectively are a character in the opera.”
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Newsroom -
Features
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Written by Paula Citron
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artists of the Ballet in Polovetsian Dances from Prince Igor. Gene Draper and John Grange
The national ballet of canada orchestra is coming out of the pit. As part of the National’s 60th anniversary season festivities, the orchestra will give a concert at Koerner Hall on April 3. While the orchestra loves the acoustics at the Four Seasons Centre, being in the pit is not the same as being on stage. The Koerner Hall concert in a prestigious recital hall is a very big deal. Says David Briskin, music director and principal conductor since 2006: “The concert celebrates the fact that the National Ballet has had a commitment to live music from the very beginning of its existence.”
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Newsroom -
Features
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Written by Adam Weinmann
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 In our February 2011 issue, The WholeNote’s publisher David Perlman interviewed, for our cover story, the seven winners of the 2011 Toronto Sinfonietta Concerto Competition. These talented teenagers had a variety of musical backgrounds, but shared a common focus, drive and passion for performing classical music.
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Beat Columns -
Music Theatre and Dance
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Written by ROBERT WALLACE
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Saidah Baba Talibah and Nicole Brooks; at b current’s Wychwood Barns studio. Photo Credit - SN BIANCA
Until the last few years, musical theatre buffs in Toronto and the GTA had to rely on commercial theatres to satisfy their tastes, looking to companies like Mirvish Productions to keep them up-to-date with Broadway and West End hits. Today, things have changed to the point where musical theatre regularly appears in the city’s not-for-profit (NFP) theatres in forms new and old. And performers who cut their teeth in shows produced by Mirvish, Dancap and (the now-defunct) Livent Corp. are achieving marquee status with new and different audiences.
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