Do-It-Yourself Baroque Seminar
March boasts fine selection of 17th-century greats

By Sarah B. Hood

Opera, oratorio, cantata, sonata, concerto: this mellifluous list embodies the contribution of the Baroque era (roughly the period from 1580 to 1730) to the world's musical repertoire. Toronto being relatively well endowed with exponents of Baroque music, performances of Baroque stage works - even on period instruments and with period tuning - are hardly a rarity here. That having been said, this month offers a particularly rich selection: almost a "self-directed tour" of the era.

The earliest composer represented is Claudio Giovanni Antonio Monteverdi, who lived from 1567 to 1643; (in a sense, he saw the Baroque era in). Monteverdi was an Italian violinist who became court musician to the Duke of Mantua and later Maestro di Cappella at St. Mark's in Venice. Toronto Consort is offering two performances of his The Return of Ulysses, complete with a 17th-century orchestra under the direction of David Fallis, on April 5 and 6 at Trinity-St. Paul's Centre. The vocalists are the always-entertaining Laura Pudwell and David Hite.

English composer Henry Purcell lived right through the heart of the Baroque era, from 1659 to 1695. There are not one but two opportunities this month to hear his only full opera Dido and Aeneas. On March 13 the York University Department of Music presents an opera-in-concert version of  the complete work: an always-welcome chance to hear a live rendition of one of the most luscious songs in the entire Baroque repertoire, "When I am laid in earth". Also known as "Dido's Lament", it is sung by the betrayed and lovesick queen of Carthage who, preparing to die in her shame and sorrow, begs her followers to "remember me but (ah!) forget my fate".

Then, on March 23 and 25 the Royal Conservatory of Music "Opera Night" presents selections from Dido and Aeneas, along with the not-at-all Baroque Trouble in Tahiti by Leonard Bernstein, at Ettore Mazzoleni Concert Hall (273 Bloor St. West).

Michel Pignolet (1667 to 1737) was born a poor weaver's son in a small French town, but daringly added the noble-sounding "de Mont‚clair" to his name (after a local fortress) and set off for the bright lights to become a member of the Paris Opera orchestra. Under the service of the Prince de Vaud‚mont he traveled to Italy, and also achieved great renown in his time as a music teacher.

Undeservedly, many details of his life have been lost to the historical record, but you should think of him when you hear almost any symphonic recording, for it was he who thought to add the double bass to the orchestra. I Furiosi Baroque Ensemble is presenting a staged performance of cantatas by Mont‚clair and Johann Sebastian Bach on March 15 and 16 at  Artword Theatre, featuring bass baritone Brian McMillan.

Bach of course needs no introduction, but it's interesting to note  that he was so precisely a contemporary of George Frederick Handel (whom he never met). They were born in the same year, 1685, (as was Domenico Scarlatti), and died only a few years apart (Bach in 1750 and Handel in 1759, well past the end of the Baroque age). Handel's Semele is being performed by Opera In Concert on March 16 and 17 at the Jane Mallett Theatre with a wonderful cast: Tracy Dahl, Catherine Robbin, John Tessier, Alain Coulombe and Giles Tomkins, among others. The Aradia Ensemble under Kevin Mallon provides the instrumentals. To top off your Baroque tour, take advantage of Iain Scott's pre-concert discussion 45 minutes prior to either performance.

OSCAR WINNER
When once I visited the grave of Oscar Wilde in Paris there were fresh gladiolas on the stone. Although he has now been dead for just over a century, the wit of the man born under the name of Fingal O'Flaherty Wills continues to fascinate and delight readers of his work. For a surprisingly fresh glimpse at the swathe he cut across late Victorian society, you need look no further than Patience, Gilbert and Sullivan's thinly-veiled satire of the aesthetic movement. Wilde himself is gently lampooned as the velvet-clad and lily-wielding Bunthorne who spurns his "twenty lovesick maidens" to court Patience, a simple shepherdess. ("Do you ever yearn?" he questions her, to which she responds "I yearn my living.") The North Toronto Players present Patience from March 1 to 3 at the Leah Posluns Theatre.

COME TO THE CABARET
Two of Toronto's most popular annual events fall in March; both are cabarets that mix comedy, music and the impossible-to-categorize, and both feature all-female lineups.

First, Nightwood Theatre presents its beloved benefit FemCab: The Five-Minute Feminist Cabaret on March 10 at the Bluma Appel Theatre. Usually a quick sell-out, this year's edition features a packed bill including Salome Bey, Peggy Baker, Taiko drummers and Jackie Richardson. For tickets, call 416-944-1740.

Next up is the 9th annual March of Dames, the yearly cavalcade of funny females. The talent includes Barbara Barsky, Linda Kash, Kristeen Von Hagen and Trisha Williams, among many others. In honour of their own "nine lives", the Dames are donating a portion of proceeds to Toronto Cat Rescue. March of Dames runs March 20 to 24 in the Tims Sims Playhouse at The Second City. For tickets, call 416-343-0011.

SONGS THEY HAVE SUNG FOR A THOUSAND YEARS?
Until March 21, The Sing-A-Long Sound of Music offers die-hard fans a chance to cheer, boo, and even compete in a pre-show costume contest. (Fancy yourself as "Ray, a Drop of Golden Sun"?) And  if you're  a little low on lederhosen, present your advance ticket at Malabar Ltd. (14 McCaul Street) for a 10% discount on costume rentals.The show runs at the soon-to-close-forever Eglinton Theatre. Call TicketKing at 416-872-1212; a portion of proceeds goes to United Way.

Sounds like a perfect cue for me to sign off this month's column - "So long, farewell, auf Wiedersehen, adieu!"

Sarah B. Hood is the editor of Performing Arts in Canada magazine.