Classical and Beyond

On February 22, in response to the continuing uncertainty about when the Ontario government would ease the COVID-19 lockdown protocols disproportionately affecting the live performing arts, the Toronto Alliance for the Performing Arts (TAPA), which represents 164 professional theatre, dance and opera companies, sent Lisa MacLeod, Minister of Heritage, Sport, Tourism and Culture Industries “an urgent plea requesting regulatory fairness with the television and film industry.” 

The letter continues: “Restrictions preventing professional theatre, dance and opera companies from doing the same [as TV and film companies] threaten the survivability of our sector. We are planning to return to engaging our communities in our theatre venues when it is safe to do so. In the meantime the creation of digital content has become the only form of artistic practice for the professional theatre, dance and opera industry in Toronto, and our members have found new and creative ways to continue to operate and connect with our audiences.” 

Meanwhile, even though many TAPA member companies have temporarily shifted to hybrid theatre, dance and opera models that include livestreaming, pre-recorded film and digitization, “entertainment concert venues, theatres and cinemas (includes drive-in or drive-through events) [are] closed for all purposes, including rehearsing or performing a recorded or broadcasted event, artistic event, theatrical performance or other performance.” However, the letter points out, the Businesses Permitted to Open and Sector Specific Restrictions (14) have allowed film and television to continue to operate: commercial film and television production, including all supporting activities such as hair, makeup and wardrobe.”

On January 14, the Herculean efforts of The Royal Conservatory to save as much of their extensive 2020/21 concert season as possible suddenly turned Sisyphean when the Ontario government extended and tightened restrictions for everyone in the province. It was a cruel act of whiplash, after the RCM had managed to slow-walk a schedule that included four remarkable mid-December concerts (which I had the good fortune to attend virtually) celebrating Beethoven’s 250th birthday.

In a subsequent press release detailing the postponement and rescheduling of all concerts and livestreams until February 11, RCM added that because of the restrictions they were no longer able to have artists or production staff create livestreams. “This is a profoundly disappointing blow to all of us at The Royal Conservatory and to our artists who were so looking forward to performing.”

I contacted Mervon Mehta, RCM’s executive director, performing arts, to share his perspective with WholeNote readers. He confirmed that everything had changed since January 14. “We cancelled 18 days of concert livestreams, rehearsals and recordings from January 14 to February 11… Our entire 21C Festival has been postponed.” Is the RCM lobbying the government, I wanted to know. “Yes,” he said. “Us along with many others.”

As Beethoven’s 250th birthday approaches – thought to have been born on December 15 or 16 he was baptized on December 17, 1770 – there are several notable chamber music concerts being livestreamed from December 5 to December 13, the last remnants of what was to have been a year-long celebration that was curtailed by the pandemic.

Goodyear and Ehnes

Internationally acclaimed superstar and Canada’s preeminent violinist, James Ehnes, will be joined by virtuoso pianist Stewart Goodyear for a complete traversal of the ten sonatas for violin and piano in three recitals – to be livestreamed from Koerner Hall December 11, 12 and 13. Goodyear is celebrated for prodigious pianistic feats like performing all 32 of Beethoven’s piano sonatas on the same day. 

Despite the marathons and the prodigious technique and memory that they require, the basis for Goodyear’s appeal is his empathetic relationship with the music he performs and his ability to communicate that to an audience. 

“There’s nothing like the sound of 2,000 people applauding,” said Matthew Loden, Toronto Symphony Orchestra CEO, on September 23, as he welcomed back TSO new music director, Gustavo Gimeno, and principal flutist, Kelly Zimba, during the TSO’s Virtual Opening Night event. A video of Ravel’s Daphnis et Chloé Suite No.2, conducted by Gimeno from October 2019, had just finished its online broadcast and Loden was in the process of re-introducing Zimba and Gimeno to viewers for a virtual conversation. 

“I find it uncomfortable to watch myself,” said the conductor – from his home in Amsterdam – in answer to a question by Loden. “My analytic mind wonders ‘Could I have done something different?’ – but the music is moving and emotionally powerful… the human being can’t stop the emotion… I got goosebumps right away... It’s simply wonderful to see the faces of the musicians around me and the audience.”

That October 2019 performance of the Ravel Daphnis and Chloé was Gimeno’s third time conducting the TSO and Loden asked whether it felt different. Gimeno said that he felt a connection to the orchestra within the first half of the first rehearsal he ever had with them. “With the atmosphere, with the sound and the way of making music, I felt in the right place.” And the TSO still feels like his musical family, but now that he’s no longer a guest conductor “the analysis goes much further and deeper.” 

“We were all very excited to work with Gustavo,” Zimba said. “The energy that was onstage was really strong and palpable… We really trusted Gustavo’s musical vision.”

Of all the musical events I’ve taken in online recently, the highlight was watching new TSO music director Gustavo Gimeno in Amsterdam conducting the regathered Concertgebouw, the orchestra in which he played percussion for 11 years beginning in 2001. 

Both Beethoven’s Seventh Symphony (recorded June 2 and broadcast June 3) and Dvořák’s Symphony No.8 (livestreamed on June 5) are now available on YouTube. The Dvořák, its live aura palpable, struck special notes of smooth and sweet, its dance movements floating effortlessly. The musicians observed quite distinct social distancing rules, with the strings separated by 1.75 metres, the winds and brass by two metres, which led to many members being placed on the steps behind the stage.

I was in the midst of a telephone conversation with TSO concertmaster and Toronto Summer Music artistic director, Jonathan Crow, when I wondered. Had he seen it? Yes, he had. Wasn’t it extraordinary, I asked rhetorically.