What is a song? When I started these columns, I realized that I had to make some attempt to decide what to include and what to exclude. I decided that opera, whether staged or in concert, was not part of my beat, although I could include vocal recitals that contained arias as well as songs. Similarly with choral music: it belongs in Benjamin Stein’s column, but I might talk about vocal soloists in such concerts (and have done so). Yet it was clear to me that the main emphasis should fall on songs (Purcell, Britten), lieder (Schubert, Wolf), chansons (Fauré, Poulenc).

The Aldeburgh Connection: We are lucky in Toronto to have the Aldeburgh Connection, an organization founded and led by Stephen Ralls and Bruce Ubukata, pianists who first met when they coached at the Britten-Pears School in Aldeburgh on England’s east coast. Subsequently, they founded the Aldeburgh Connection, which had its first concert in 1982. Over the years many distinguished singers have performed with the group and many young singers have sung there at an early stage in their careers. The performers have always been Canadians. Programs are never a series of individual items thrown together; they are always carefully constructed around a central theme. This season begins with “The Lyre of Orpheus: Robertson Davies and Music,” a program of works that Davies referred to in his novels or that he liked to sing and play. The soloists will be Miriam Khalil, soprano, Allyson McHardy, mezzo-soprano, and Geoffrey Sirett, baritone at Walter Hall, Edward Johnson Building, October 21.

We can also look forward to their concerts later this season: “Madame Bizet” in December, “Valse des fleurs: Music in Imperial Russia” in January and the annual Greta Kraus Schubertiad in March.

One of the singers who has performed with the Aldeburgh Connection is the soprano Shannon Mercer. You will be able to hear her this month in a concert of contemporary music given by Soundstreams, in which she will sing Analia Llugdar’s Sentir de Cacerolas and Fuhong Shi’s The Mountain Spirit at Koerner Hall. This may be your last chance to hear Mercer in 2012, since, immediately after this concert, she will start a European tour with the Queen of Puddings Music Theatre in a series of performances of Ana Sokolovic’s Svadba (The Wedding). Butshe will be back in the spring and one of the events in which she will sing is a Benjamin Britten concert with, you guessed it, the Aldeburgh Connection, May 7; it’s part of a series of three concerts titled “A Britten Festival of Song.”

Canadian Voices: Although it is regrettable that Koerner Hall no longer has a vocal series, we can welcome “Canadian Voices,” a series at the Glenn Gould Studio mounted by Roy Thomson Hall, now in its second year. These concerts are designed to showcase young Canadian singers and are therefore a perfect complement to the series presented by the Aldeburgh Connection, although they would seem to be concerned more with singers who have an established reputation. By contrast, Ralls and Ubukata are always careful to balance well-known singers with emerging talents.

art of song phillip addis option 2The first concert in the “Canadian Voices” series will be performed on October 28 at 2pm by Phillip Addis, baritone, and Emily Hamper, piano. The program includes Ravel’s Histoires naturelles, Vaughan Williams’ Songs of Travel, four songs from Op.38 by Tchaikovsky, Fauré’s L’Horizon chimérique and three folksong arrangements by Benjamin Britten. Addis is coming off a very busy and very successful season: in September 2011 he performed Count Almaviva in Mozart’s The Marriage of Figaro with l’Opéra de Montréal; this was followed by a performance of the title role in Mozart’s Don Giovanni for Opera Atelier in Toronto in October; in March he sang Roderick Usher in Debussy’s Fall of the House of Usher in Paris and this was followed by another Debussy role, that of Pelléas in Pelléas et Mélisande, in a concert performance in London. That was in July and in that month he also sang Demetrius in Britten’s A Midsummer Night’s Dream in Rome.

There will be three further concerts in this series later this season: David Pomeroy, tenor, will sing on February 24 and he will be followed by two mezzo-sopranos, Wallis Giunta, on March 24 and Allyson McHardy on April 14. These three singers are all former members of the Canadian Opera Company Ensemble Studio. Like Addis, they are largely known for their work in opera and it will be interesting to hear them in recital. Pomeroy is world famous for his portrayal of the leading tenor roles in 19th century opera: Hoffmann (Offenbach), Faust (Gounod), Alfredo and the Duke of Mantua (Verdi), Rodolfo and Cavaradossi (Puccini). But he has also performed in lesser known works such as The Two Widows by Smetana and The House of the Dead by Janáček (in a memorable production mounted by the COC in February 2008). Giunta sang Cherubino in Mozart’s The Marriage of Figaro in Fort Worth last year and she will be singing the role of Annio in another Mozart opera, La clemenza di Tito, for the COC later this year. I first heard McHardy in 1997, as the Drummer Girl in Ullmann’s The Emperor of Atlantis, a performance of which I have a very vivid memory. Last year she sang Juno and Ino in Handel’s Semele for the COC. She also performed the title role in Bizet’s Carmen for Pacific Opera in Victoria. (Now that is something I would like to have seen!) In December she will sing the alto part in the Tafelmusik Messiah.

Other events in the GTA: On two consecutive Thursdays the University of Toronto, Faculty of Music, will present two performance classes for singers at Walter Hall. On October 11 at 12:10pm soprano Elizabeth MacDonald and pianist Steven Philcox perform “Women on the Verge,” with music by Mozart, Liszt, Schubert, Duparc and Libby Larsen. On October 18 in the Music Room, Hart House, there will be two performances of “Opera Scenes: Songs of Love and War” at 1pm and 7:30pm. Leigh-Anne Martin, mezzo-soprano, will be one of the soloists in a concert given in memory of Gustav Ciamaga, also at Walter Hall. Admission to these events is free.

The Canadian Opera Company has announced three events for October in its Vocal Series: on October 3 Sandra Horst and Michael Albano offer a preview of the 2012/13 season of the University of Toronto’s Opera Division; on October 11 members of the COC Ensemble Studio will perform highlights from Johann Strauss’ Die Fledermaus; on October 16 Ileana Montalbetti, soprano, Peter Barrett and James Westman, baritones, and Robert Gleadow, bass, all former members of the COC Ensemble Studio, will perform. These free concerts are in the Richard Bradshaw Amphitheatre at the Four Seasons Centre at noon

On October 11 Tafelmusik will team up with the Vesuvius Ensemble in “Bella Napoli,” a combination of refined concertos and traditional Southern Italian music. Francesco Pellegrino will be the tenor soloist at Trinity-St Paul’s Centre at 8pm; to be repeated on October 12 and 13, also at 8pm, and on October 14 at 3:30pm.

The Royal Conservatory presents a series of seven concerts in Koerner Hall called “Montréal à Toronto” (MàT). The first of these, one of three in a mini-series titled in impeccable Franglais, “Chansongs,” is given by two Canadian singer-songwriters, francophone Mario Chenart and anglophone Elizabeth Shepherd, on October 12 at 8pm. Next in the MàT series, on October 28 at 3pm, is a recital by Marie-Josée Lord, a soprano born in Haiti who grew up in Lévis and now lives in Montreal.

Two vocal concerts have been announced at Gallery 345, 345 Sorauren Ave.: on October 12 at 8pm Donna Linklater, soprano, is the soloist in a program of music by Weill; on November 2 at 8pm Leigh-Ann Allen, soprano, and Michelle Garlough, mezzo-soprano, will sing in “Lovers and Coquettes: An Evening of Opera and Song.”

On October 14 the Off Centre Music Salon kicks off its season with its “Annual Schubertiad.” Soloists Allison Angelo, soprano, and Lawrence Wiliford, tenor, perform at Glenn Gould Studio at 2pm.

Several of the “Music at Midday” concerts at York University will feature vocal music. In “Singing our Songs,” arias and lieder are performed by classical voice students, October 23, 25, 30, and there is a masterclass with James Westman October 26. These free events are in the Tribute Communities Recital Hall, Accolade East, at 12:30pm.

On October 30 the Talisker Players will present a concert of music by Barab, Füssl, Handel, Plant, Rubbra and Weill with soloists Anita Krause, mezzo-soprano, and Lawrence Williford, tenor, at Trinity-St. Paul’s Centre, 8pm; the concert is repeated on November 1.

And beyond the GTA: The “Music at Noon” series at Wilfred Laurier University’s Maureen Forester Recital Hall includes three free vocal concerts: Kimberly Barber will be the soloist in the first two on October 4 and 11; Jennifer Enns-Modolo will perform in the third on the 18th.

Penelope, a song cycle based on the Odyssey, composed by Sarah Kirkland Snider and with lyrics by Ellen McLaughlin, will be performed by the Kitchener-Waterloo Symphony with soloist Shara Worden, at the Conrad Centre for the Performing Arts, October 11 and 12 at 7:30pm.

On October 24 at 8pm, arecital by Suzie LeBlanc, soprano, and Robert Kortgaard, piano, “‘Tis the Last Rose of Summer,” consisting of music ranging from Schubert to Gershwin, will take place in the Kitchener-Waterloo Chamber Music Society Music Room, Waterloo.

A postscript: A few weeks ago my 11-year-old daughter Saskia (herself a singer and a member of the Canadian Children’s Opera Company) dragged me off to a pop concert sponsored by KiSS 92.5. Although I disliked the way the DJs whipped up the audience — mainly very young girls — into a frenzy, I found that I actually liked some of the songs. They certainly represent a different take on the Art of Song. 

Hans de Groot is a concert-goer and active listener who also sings and plays the recorder. He can be contacted at artofsong@thewholenote.com.

September is never the best month for vocal concerts: the summer festivals have come and gone and the regular series that take place in the fall may not have started yet. Nevertheless there are some interesting concerts coming up:

COC Vocal Series:The 2012/2013 free lunchtime concerts at the Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, will begin on September 18. The first, kicking off the Vocal Series, will be given by members of the Canadian Opera Company Ensemble Studio who will be singing their favourite arias. For the second concert in that series, artists of the U of T Opera Division will perform highlights from some of the best-loved operas by Britten, Donizetti, Offenbach and von Flotow on October 3.

At the festivals:On September 21 at 8pm, a concert will be given as part of the SweetWater Music Festival at Leith Church, in the hamlet of Leith near Owen Sound. The concert is billed as “Early Music” and will include music by Biber and Telemann, but also Dover Beach, the song cycle for medium voice and string quartet which Samuel Barber composed in 1931, to the text of Matthew Arnold’s poem of the same name. Over the years the baritone part has been sung and recorded by many distinguished singers such as Thomas Allen, Gerald Finley, Thomas Hampson and Thomas Stewart. Barber himself was a baritone and his recording of the work is also available on CD. The baritone soloist at Leith will be Philippe Sly, who is at present a member of the Ensemble Studio of the Canadian Opera Company. He is to sing Guglielmo in Mozart’s Così fan tutte for the San Francisco Opera next June.

artofsong virginiahatfield photo  2 courtesy of domoney artistsThe tenth Colours of Music festival kicks off in Barrie on September 21 and includes several vocal concerts. On September 22 at 7:30pm, Virginia Hatfield, soprano, Kristina Szabó, mezzo-soprano, and Giles Tompkins, baritone, are the soloists in “Night at the Opera,” featuring music by Mozart, Puccini and Gershwin; on September 27 at 2:30pm, mezzo-soprano Leigh-Anne Martin will be the soloist in a concert of music by Mozart, Brahms, Spohr and Gershwin; and on the 30th at 7:30pm, there will be a concert of music by Ivor Novello and Noel Coward with soprano Hatfield and baritone James Levesque. All these concerts will take place at Barrie’s Burton Avenue United Church.

At Picton’s Prince Edward County Music Festival, soprano Ellen Wieser will perform another Barber work, the Hermit Songs of 1953, a setting of English translations of Irish medieval songs. The concert, which is on September 22 at 7:30pm, at the Church of St Mary Magdalene. will also include works by César Franck and Marjan Mozetich. If you want to sample Wieser’s voice, go to YouTube where you can hear her perform Atys by Schubert and Nuit d’étoiles by Debussy.

Back in Toronto … :A performance will be given of Claudio Monteverdi’s great Vespers of 1610, also at 7:30pm on the 22nd, at Toronto’s Metropolitan United Church on Queen St. E. There have in recent years been several performances of this work in Toronto but this one is going to be different. There will be no chorus; instead the whole work will be performed one on a part. This is a great chance to hear experienced choral singers performing as soloists or as part of small ensembles. The singers are: Ariel Harwood-Jones and Gisele Kulak, soprano; Christina Stelmacovich and Laura McAlpine, alto; Charles Davidson, Cian Horrobin, Robert Kinar and Jamie Tuttle, tenor; John Pepper and David Roth, bass.

On September 23 at 8pm, (with a pre-concert talk at 7:15), New Music Concerts’ “Cellos Galore” at the Betty Oliphant Theatre will include Winter Words, a commissioned work by James Rolfe for tenor and eight cellos. The soloist will be Lawrence Wiliford.

There will be a concert dedicated to the music of Claude Debussy at the Heliconian Club on September 28 at 8pm. Many of the selections will be instrumental, including a great deal of piano music and the late sonata for violin and piano, but there will also be two of the song cycles: Ariettes oubliées (set to texts by Verlaine and composed between 1885 and 1887) and Proses Lyriques (settings of Debussy’s own texts and composed between 1892 and 1893). The singers will be sopranos Barbara Fris and Janet Catherine Dea.

On September 29 at 8pm, in the Glenn Gould Studio, Kerry Stratton will conduct the Grand Salon Orchestra in “Tribute to Edith Piaf.” The Acadian singer Patsy Gallant will be the soloist.

And down the road: If these concerts, while interesting, seem rather few in number, do not lose heart. There are plenty of exciting singers coming in the course of the year: Colin Ainsworth, Allison Angelo, Françoise Atlan, Alexandru Badea, Isabel Bayrakdarian, Isaiah Bell, Scott Belluz, Gordon Bintner, Lesley Bouza, Leslie Ann Bradley, Adi Braun, Russell Braun, Measha Brueggergosman, Benjamin Butterfield, Lucia Cesaroni, Ho-Yoon Chung, Layla Claire, Neil Craighead, Gregory Dahl, Elena Dediu, Alexander Dobson, Klara Ek, Gerald Finley, Hallie Fischel, Gordon Gietz, Carla Huhtanen, Joseph Kaiser, Miriam Khalil, Emma Kirkby, Marie-Josée Lord, Allyson McHardy, Amanda Martinez, Angela Meade, Shannon Mercer, Ileana Montalbetti, Nathalie Paulin, Ailyn Perez, Sophia Perlman, Sandrine Piau, Susan Platts, Brett Polegato, Robert Pomakov, Shenyang, Geoffrey Sirett, Annalisa Stroppa, Daniel Taylor, Erin Wall, Monica Whicher and Dave Young. Stay tuned!

Two postscripts:We mourn the death and celebrate the life of Jay Macpherson: poet, scholar, teacher, political activist, colleague, friend. There was some fine music at a service of remembrance on June 11: we sang two hymns that Jay had herself chosen, and listened to Teri Dunn’s performance of Houses in Heaven (words by James Reaney, music by John Beckwith), one of Jay’s political poems (sung by Mary Love) and Sarastro’s aria “O Isis und Osiris” from The Magic Flute (sung by Michael-David Blostein). The last selection was especially apt as Jay had, in the last years of her life, been working on the Masonic background of the opera. The bass voice is rare; it is even more rare to hear it fully developed in as young a singer as Blostein; he is still a student (he studies with Adi Braun) and can probably be called pre-professional. We shall hear more of him.

One of the best things in a Toronto summer is the Summer Opera Lyric Theatre and Research Centre. Each year the company performs three operas with young talented singers who are given extensive coaching. This year, all three Figaro operas based on the plays by Beaumarchais were performed: The Barber of Seville (Rossini), The Marriage of Figaro (Mozart) and La Mère Coupable (Milhaud). The last-named is very rarely done and is, as far as I know, only available in an unofficial recording. In 60 years of opera-going I had not come across it. The standards were very high with an especially outstanding performance by the soprano Elisabeth Hetherington as Countess Almaviva. The pianist, Nicole Bellamy, was also brilliant.

Hans de Groot is a concert-goer and active listener who also sings and plays the recorder. He can be contacted at artofsong@thewholenote.com.

There was a time, not so very long ago, when Toronto in the summer was a cultural desert and if one wanted to see or hear anything, one had to go to the Shaw Festival at Niagara-on-theLake or to Stratford for either the Stratford Shakespeare Festival or Stratford Summer Music. That changed when Soulpepper began its summer season and when the Toronto Summer Music Festival opened. This year the festival will present two outstanding singers: the bass-baritone Gerald Finley and the tenor Colin Ainsworth.

Finley has sung in opera and in concert in many cities: he is especially well known as a Mozart singer, particularly in the role of Count Almaviva in Le Nozze di Figaro and the title role in Don Giovanni, both of which he has performed in many of the world’s leading opera houses. He has also sungthe title role in Tchaikovsky’s Eugene Onegin at the Royal Opera House, Covent Garden, and Hans Sachs in Wagner’s Die Meistersinger at Glyndebourne. As a recitalist he is especially well known for his performance of Schumann’s Dichterliebe. In recent years he performed in Toronto twice: in May 2010 he gave a recital with the pianist Julius Drake (Schumann, Ravel, Barber, Ives) and last February he took part in the Aldeburgh Connection’s 30th anniversary gala. Finley’s recital for this year’s Toronto Summer Music is on July 18 at 7:30pm (Koerner Hall, Royal Conservatory) when he and pianist Stephen Ralls will perform a recital that begins with Carl Loewe and ends with Benjamin Britten. Finley will also give a masterclass (July 19 at 10am, Walter Hall, U of T Faculty of Music). He will sing baritone arias at Westben in Campbellford on July 22 at 2pm. He has made a number of CDs and DVDs. I would particularly recommend the DVD of the Helsinki production of Kaija Saariaho’s L’amour de loin. This opera was done by the COC last season (the baritone part was taken by Russell Braun). Although musically the Toronto performance was also very good, it was hampered by too busy a production; by contrast the Helsinki production by Peter Sellars was much sparer and that brought out the tragic quality of the story much better. Finley will be back in Toronto in May 2013 to sing in Brahms’ German Requiem with the Toronto Symphony.

Read more: Song Aplenty

In the may 2012 issue of The WholeNote, editor David Perlman announced that this particular beat column was here to stay, and invited contributors. I feel very much like the proverbial “new kid on the block” but I am beginning to find my way and I think I shall enjoy the work.

Few artists have done as much for the art of song and for the development of Canadian talent as Stephen Ralls and Bruce Ubukata, the pianists who direct the Aldeburgh Connection. For many years they have presented an annual program in Toronto and a few years ago they added an annual summer program at Bayfield, on the shores of Lake Huron. This year’s program looks especially enticing: on June 8 at 8pm, Adrienne Pieczonka, soprano, and Laura Tucker, mezzo-soprano, present a recital with works ranging from Alessandro Scarlatti to Richard Strauss; on June 9, also at 8pm, Alexander Dobson, baritone, sings Schumann, Vaughan Williams and Ivor Novello; on June 10 at 2:30pm, a vocal quartet (Andrea Cerswell, soprano; Alexandra Beley, mezzo-soprano; Andrew Hadj, tenor; David Roth, baritone) will celebrate Queen Elizabeth II’s Diamond Jubilee by presenting a varied repertoire ranging from Handel to John Beckwith.

Readers who, like me, have a special fondness for the soprano Meredith Hall will have two chances to hear her this month. On June 17 at 2pm, as part of Music at Sharon’s summer series held at Sharon Temple, she will be singing Dido in a concert performance of Henry Purcell’s Dido and Aeneas with the baritone Todd Delaney as Aeneas. They are accompanied by the Toronto Masque Theatre, directed by Larry Beckwith. Hall is especially well known for her performances of early music, from medieval plainchant to the operas of Mozart, and also for her recording of Scottish songs (Robert Burns and others) with the ensemble La Nef. On June 29, however, she and the pianist Brahm Goldhamer will move into different territory with a program consisting entirely of the songs of Franz Schubert, at 8pm at the Heliconian Club, 35 Hazelton Ave.; admission is pay-what-you can. Hall tells us that she has been a lover of Schubert’s songs ever since her student days, that she and Goldhamer have been singing and playing a large number of Schubert songs during the last year and that the recital on June 29, entitled “Oh, for the love of Schubert,” will give us a selection of these. Hall and Goldhamer will be joined by Bernard Farley, guitar.

artofsong_franknakashima2_photo_by_chris_frampton_1Frank Nakashima used to be a counter-tenor; he has sung with the Toronto Consort and with The Gents. I have a reason to know this since, many years ago, he gave me a series of lessons. He is now a tenor and will be performing Elizabethan music (Byrd, Holborne, Dowland, Gibbons, Bull) with the Cardinal Consort of Viols in a concert organized by the Toronto Early Music Centre, St. David’s Anglican Church, 49 Donlands Ave., on June 17 at 2:30pm. Well, voices change: David Daniels moved the other way since he began as a tenor and became a counter-tenor early on; Placido Domingo started out as a baritone, became a world-famous tenor, and is a baritone again, at least part of the time; I myself, to compare great with small (as Milton would have said), started off as a baritone, had a stint as a tenor (a mistake), then a counter-tenor and now I am a baritone once more.

From July 4 to July 15, Music and Beyond will be held in Ottawa. There will be further details in our July issue but here are some details about a concert on July 5 at 8pm: Wallace Giunta, mezzo-soprano, John Brancy, baritone, and Peter Dugan, piano, will perform “A Lover and his Lass,” a concert which will include music by Mozart, Schumann, Britten, Rossini, Vaughan Williams and Bernstein. Giunta is an exciting singer. She is primarily known for her work in opera: she was a member of the COC Ensemble Studio and will sing Annio in the COC production of La Clemenza di Tito in February 2013. The Ottawa concert will give us another chance to hear her in recital (she was at Music Toronto in March) at the Dominion-Chalmers United Church.

Later in July it will be time for the 2012 Toronto Summer Music Festival. The July issue of The Wholenote will provide a detailed account but here is an advance notice: the line-up includes two outstanding singers, Colin Ainsworth, tenor, and Gerald Finley, bass-baritone.

Here are details for some other events taking place in June or early July:

June 3 at 5pm: Hallie Fischel, soprano, and John Edwards, lute and guitar, will also celebrate Queen Elizabeth II’s Diamond Jubilee with a concert featuring music from the time of Queen Elizabeth I, at St. Olave’s Church, 36 Windermere Ave.

June 7 at 12:15pm: Marina Tchepel, soprano, and Patricia Wright, piano, will give a recital at Metropolitan United Church, 56 Queen St. E.; admission is free.

June 8 at 7pm: the Swedish Women’s Educational Association will present Josefine Anderson, mezzo-soprano, and Nigar Dadascheva, piano, in a concert of music by Grieg, Stenhammar, Sibelius, Schumann, Schubert, Mendelssohn and others, at Agricola Lutheran Church, 25 Old York Mills Road.

June 8 at 7:30pm: Guy Moreau and Pamela Hyatt will present “Cabaret a la Franglaise” at The Annex Live, 296 Brunswick Ave.

June 12 at 12:10pm: the University of Toronto Community will present a program entitled “Music and Dance for Haiti.” Singers include Laura Hare, soprano, and Sam Broverman, baritone. The concert takes place in the Music Room at Hart House, 7 Hart House Circle.

June 13 at 7:30pm: in a concert presented by the Danish and Swedish Consul Generals and the Icelandic Consul, the Nordic Singers (Randi Gislason and Cecilia Lindwall, sopranos; Magnus Gislason, tenor; Hans Lawaetz, baritone), who last performed in Toronto in 2012, will sing Scandinavian music, Nielsen to ABBA, at the Danish Lutheran Church, 72 Finch Ave. W. Most of the group are members of the Royal Danish Opera.

June 14 at 12:10pm: Claudia Lemcke, soprano, and Christopher Dawes, piano, will perform at Christ Church Deer Park, 1570 Yonge St.; admission is free and donations are welcome.

July 2 at 12:15pm: as part of the Musical Mondays series, Kristine Dandavino, mezzo-soprano, and William Schookhoff, piano, will perform a program which will range from Saint-Saëns to Gospel at the Church of the Holy Trinity, 10 Trinity Sq.

Postscript: As I was about to send this off to the publisher, I read the sad news of the death of Dietrich Fischer-Dieskau. It was my good fortune that I heard him twice in concert in the early 60s: once with Elisabeth Schwarzkopf, once in a program that consisted of the complete Mörike Lieder by Hugo Wolf. He has left a very extensive legacy of recordings. I particularly prize his 1955 performance of Schumann’s opus 39 Liederkreis and his 1971 performance of Schubert’s Die Winterreise, both with the incomparable Gerald Moore.

Hans de Groot taught English Literature at the University of Toronto from 1965 until the spring of 2012, and has been a concert-goer and active listener since the early 1950s; he also sings and plays recorder. He can be contacted at artofsong@thewholenote.com.

11-12_gerhaher-photo2It 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.)

Read more: Here To Stay (the Column)
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