Classical and Beyond

Toronto’s music-presenting scene could be described as being like a good hockey team – having depth, and with strength in all areas. The Toronto Symphony Orchestra and Canadian Opera Company are both thriving; Tafelmusik is one of the best baroque orchestras in the world; in Sinfonia Toronto and the Esprit Orchestra we have two other professional orchestras, one focussed on the chamber orchestra repertoire and the other on contemporary repertoire. There’s great contemporary music strength in Toronto: Soundstreams consistently gives us innovative programming, as also do New Music Concerts, the Music Gallery, the Art of Time Ensemble, Continuum and Arraymusic.

At the presenter end of the spectrum, Music Toronto brings some of the world’s best chamber music and pianists to the city; the Aldeburgh Connection maintains a high level vocal recital series; and Roy Thomson Hall brings some of the world’s best singers, pianists and orchestras to its stage; Off Centre and the Women’s Musical Club also present chamber music at a very high level. While we have lost the influx of performers brought here when Livent was alive and well, others – such as a newly invigorated Mooredale Concerts under Anton Kuerti’s direction and the RCM’s new Koerner Hall series – have moved in to take up the slack.

page 18 Svetlana Dvoretskaia Karolina BalashAnother relatively new presenter is Show One Productions, founded and run by Russian-born “superwoman,” Svetlana Dvoretskaia. As I write she is busy in Montreal, where she’s presenting the Rotterdam Philharmonic Orchestra, which, as you’ll know if you read my column last month, performs in Toronto on February 24. On March 20 she is putting together on the stage of Roy Thomson Hall the remarkable combination of baritone Dmitri Hvorostovsky, soprano Sondra Radvanovsky and l’Orchestre de la Francophonie with guest conductor Constantine Orbelian.

A relatively new company, Show One first stepped into Toronto’s cultural scene in 2004, presenting  Vladimir Spivakov and the Moscow Virtuosi at the George Weston Recital Hall. In the early days, most of the audiences at Show One productions were from the Russian community; but now, according to Dvoretskaia, “It’s totally different. Russians are still supporting me a lot, but I would say they’re about 30-35 percent of my patrons now.” Encouraged by the success of her Weston Recital Hall concerts, she knew she wanted to move to a downtown location. At that time (a little over two years ago) there was nothing downtown comparable in size to the Weston so she took the risk and presented a recital by Hvorostovsky at Roy Thomson Hall, with more than twice the seating. “Of course it was a big risk on my part, but so is our business – always a big risk!” That concert was a great success, so concerts by the Moscow Virtuosi and the Moscow Soloists followed, and now the March 20 concert.

This collaboration between Hvorostovsky and Radvanovsky is one of many. They’ve performed together in Russia and Europe, as well as in productions by the San Francisco Opera and the Metropolitan Opera. Orbelian is a frequent collaborator with “Dima” (as Dvoretskaia refers to Hvorostovsky) – and a fortuitous meeting with Jean Philippe Tremblay, conductor of L’Orchestre de la Francophonie, led to its involvement.

To say that Svetlana Dvoretskaia is enthusiastic about the show, which is also being done in Montreal, would be an understatement: “Italian opera is very dramatic – especially when it’s performed by such superstars.” Kudos to Svetlana for her courage and willingness to take risks! Toronto, as well as Montreal and Vancouver, are the richer for what she is doing.

Now let’s look beyond the Greater Toronto Area, where, if you look at our listings, you’ll see there is no shortage of music. There are ten listings this month for the Kitchener-Waterloo Chamber Music Society. If you have never been to one of their concerts, you really must, as the venue – a large (22- by 32-foot) living room that seats 85 in the home of Jan and Jean Narveson in Waterloo – is ideal for listening to chamber music. The society, which was founded in 1974, began presenting its concerts in local churches and other public venues, but in the 1980-81 season chose to present all its events in the “Music Room.” What struck me as I read the society’s listings this month was the variety: two string quartets, a piano trio, as string trio, a quartet of ancient Chinese instruments, two pianists, a guitarist and a saxophone, viola, piano trio.

The Kitchener-Waterloo Symphony Orchestra is also very active. Pushing the envelope of the pops concert tradition, it will present three concerts celebrating St. Patrick’s Day (two in Kitchener, one in Guelph), entitled “From the Rock,” acknowledging the Irish presence in Newfoundland, with guest soloist, accordionist Bernard Philip.

March is really the last full month of the academic year, and so is a busy time not only for student ensemble concerts and solo recitals but also for concerts and recitals by the professional musicians who are on faculty. This is as true at McMaster University and the University of Western Ontario as it is at the universities in Toronto, so you may want to look at their listings. Something that caught my utist’s eye was a performance of Howard Hanson’s Serenade for flute, Harp and Strings with the McMaster Chamber Orchestra – a wonderful work that’s not often enough performed, especially in its orchestrated version, although I have heard it with flute and piano.

page 20 Three CantorsIf you live in Toronto but don’t have the time or energy to break through the city’s force of gravity, all is not lost: music from beyond the GTA is coming to town, in the form of “The Three Cantors,” three singing Anglican clergymen and their organ- and piano-playing accompanist, from London, Ontario. For the last dozen or so years, they’ve been charming audiences all over the country – and in so doing have raised over $1 million for The Primate’s World Relief and Development Fund. In other words, their audiences love them not only because their voices blend, but also (according to their website) because their concerts “are a tour-de-force of everything from beloved music of the church, contemporary anthems, spirituals, and new, original compositions, to folk songs and the best of Broadway.” They will be in Toronto at St. Anne’s Church on March 26.

Finally, this year is the 200th anniversary of the birth of Frédéric Chopin – in fact my Grove Dictionary indicates, with a question mark, that his birthday may have been March 1, so look for concerts featuring his music – there are quite a few!

Allan Pulker is a flautist and a founder of The WholeNote who currently serves as Chairman of The WholeNote’s board of directors. He can be contacted at classicalbeyond@thewholenote.com.


This year is the two hundredth anniversary of the births of both Frédéric Chopin and Robert Schumann – a fact that hasn’t gone unnoticed by music presenters. On February 4 Music Toronto will present soprano Susan Gilmour Bailey, pianist Michael Kim and actor Colin Fox in “The Schumann Letters,” chronicling the composer’s troubled life through readings and song. And just two days later, the bicentenary of both Schumann and Chopin will be celebrated by soprano Donna Bennett and pianist Brian Finley, in a programme presented by the Lindsay Concert Foundation.

P14aIn the last week of February there are several concerts featuring very accomplished women singers. The young but already well-regarded Canadian mezzo Wallis Giunta will perform with guitarist Jason Vieaux, in a Mooredale Sunday afternoon concert on February 21 – and again on February 24, with Amici Chamber Ensemble and American superstar soprano Dawn Upshaw. Upshaw will be performing with the Toronto Symphony Orchestra the next evening, on February 25. Both the Amici and the TSO concert programmes will include music by the Argentinean composer Osvaldo Golijov. (In preparing this column I discovered the website, forum-network.org, which has interviews with both Upshaw and Golijov.)

Continuing with singers in the final week of February, in the afternoon of February 25 the Women’s Music Club presents a concert by soprano Isabel Bayrakdarian at Koerner Hall. Right next door, in Walter Hall at 12:10, soprano Monica Whicher will be performing music by the 20th-century English composer William Walton. On the same day at the same time but in Guelph, soprano Sarah Kramer will give a solo recital with pianist, Anna Ronai. On the last day of the month, mezzo and CBC Radio host Julie Nesrallah will give the 639th Sunday concert at Hart House. You might also want to get a ticket to the Toronto Symphony Orchestra’s March 3 concert, which will be a rare opportunity to hear Canadian soprano-in-exile extraordinaire Barbara Hannigan, in a programme that includes music by Golijov.

I was shocked when I read the last sentence of the following press release, sent to me early in January: “Violin/Piano duo returns to Toronto after eleven years to honour former patron: The international Violin/Piano Duo of Ariadne Daskalakis and Miri Yampolsky will give a concert at the Royal Conservatory of Music, Toronto on March 6, 2010…to honour the memory of Susan Alberghini.”

There are, of course, two stories here. The first is Susan Alberghini, who was among the first people I met through The WholeNote (it was called Pulse, in those days), a person who really “got” what the magazine was all about, and encouraged us during times when it was easy to get discouraged. One of Kenneth Mills’ circle of devotees, and a supporter of his Star Scape Singers, she was an arts administrator, the co-founder of the Huntsville Festival of the Arts and, up to the time of her untimely death in January 2009, the executive director of the Guild of Canadian Film Composers. Personally I felt she tried in her life to bridge art and life, to bring beauty into her life and the lives of others and to infuse art with vitality.

The other story is the Daskalakis/Yampolsky recital on March 6. Originally scheduled by Alberghini for 2009, she passed away before the arrangements were put in place. Judging by Elissa Poole’s enthusiastic review of the duo’s last Toronto concert in February 1999, we can look forward to some very fine music-making on March 6.


P14bP14cThere are many, many more interesting concerts both in Toronto and in a good many other Southern Ontario centres in February. Indeed, I was particularly impressed by the “Beyond the GTA” listings, not just their quantity, but also their programming, sometimes very unusual and ambitious. For instance, there’s the “The Attar Project,” at the University of Western Ontario on February 26, and the Peterborough Symphony Orchestra’s February 13 programme, which includes the Fifth Symphony of Dmitri Shostakovich.

Allan Pulker is a flautist and a founder of The WholeNote who currently serves as Chairman of The WholeNote’s board of directors. He can be contacted at classicalbeyond@thewholenote.com.

This month’s column is all about singing!

Two names jump out at me because of their involvement in four different events. They are Shannon Mercer and Carla Huhtanen, both young sopranos already with a wealth of experience behind them – and, I suspect, brilliant careers ahead. Of Mercer, Toronto composer and organist Andrew Ager says, “She is a true artist for whom I have unbounded admiration. What I like most is her consistent commitment to delivering the meaning of the text with an instrument of great flexibility and beauty, always with an unusual intensity of expression.” As for Carla Huhtanen, Boris Zarankin, co-artistic director of the Off Centre Salon, had only to hear her once (at last year’s Soulpepper Cabaret Festival) to know that she met the exacting standards of his highly respected concert series.

The two sopranos appear together in Queen of Puddings’ November 12 performance of Swedish composer Karin Rehnqvist’s Puksånger-Lockrop, a category-defying composition described in Queen of Puddings’ press release as “a fearless, hair-raising, primal and exhilarating tour-de-force for two female singers and timpani inspired by Swedish folk music and herding calls.”

13a_huhtanen Huhtanen admires Queen of Puddings directors in general for their challenging repertoire choices, and says that this piece is challenging not only to the performers but also to the audience, in a way that engages rather than alienates the listener. Rehnqvist, she says, does this by using contrast as a musical development strategy, varying colours and textures, moving from passages that are almost hypnotic to gradual accelerations to traditional Swedish folk music techniques. These include the raucous and penetrating “kulning,” formerly used out of doors for herding cattle and communicating over long distances – Huhtanen calls it a “sung shout.”

On November 29 Huhtanen will join pianists Inna Perkis and Boris Zarankin, mezzo Krisztina Szabó and baritone Jesse Clark in Toronto’s longest running Schubertiad (their 15th!) at Glenn Gould Studio. The programme for this concert is of particular interest because it was all composed in the last year of Schubert’s all too short life. While it will include well known masterpieces, such as Shepherd on the Rock, and the posthumously compiled song cycle Schwanengesang, it will also include less known lieder.

“While I really enjoy doing contemporary music, I also love to sing lieder,” commented Huhtanen, “which is like a yoga class for the voice. With Schubert it is all about telling a story, communicating the words, it all starts with the words, with simplicity. It is so simple and so intimate; it’s just being there with the pianist and the audience. It has also been almost a discovery, after not singing any German repertoire for some time, to experience how good it feels to come back to singing in German.” Zarankin also looks forward to working with Clark and Szabó – and with flutist Robert Aitken, who will perform Schubert’s very last song, “Tauben Post,” as a solo flute piece.

13b_mercer The third concert, on November 22, St. Cecilia’s Day (Cecilia being the patron saint of music) and also Benjamin Britten’s birthday, is called simply “Blessed Cecilia.” It’s the Aldeburgh Connection’s second Sunday concert of the season and will mark the 350th anniversary of the birth of Henry Purcell and the 96th of Benjamin Britten. The Aldeburgh Connection at this event, according to their website, will “seize the opportunity of celebrating the songs of two English masters,” and will “acknowledge the healing and sustaining power of music.” The soprano soloist in this concert will be Shannon Mercer, who will share the stage with tenor James McLean, and bass-baritone Giles Tomkins.

The fourth event is Toronto New Music Projects’ December 6 performance at the Music Gallery of Philippe Leroux’s “Voi(REX)” for six instruments, electronics and soprano. Carla Huhtanen, the soprano in this performance, describes the work as “difficult,” but also “fun and witty.” Leroux, who was associated for many years with Pierre Boulez’s IRCAM in Paris, is not yet well known in Canada, but his works are performed around the world.

The singers I’ve written about are of the rising generation of Canadian vocal artists whose talents are in demand, not just at home but abroad as well. In fact, at the time of writing, Mercer was in London rehearsing Eric Idle’s comic oratorio Not the Messiah – she performed in its world premiere in Toronto in 2007 – and Szabó was in Ireland performing in the Wexford Opera Festival.

They, of course, are the latest in a long line of internationally renowned Canadian singers, the first of whom was probably Emma Albani, whose career began around 1870 – eight years before the birth of the legendary Canadian tenor, Edward Johnson, who not only sang at New York’s Metropolitan Opera but later became its director. Since then many more Canadian singers have performed on opera and recital stages around the world.

Two of the greatest artists in our long tradition of vocal artistry were soprano Lois Marshall, and contralto Maureen Forrester. The two did a tour together in 1973, which will be commemorated by soprano Lorna MacDonald, and mezzo Kimberly Barber, in a special recital, “Celebrating Marshall and Forrester” on November 10 in the Maureen Forrester Recital Hall at Wilfrid Laurier University, where Barber is the co-ordinator of vocal studies, and on November 19 in Walter Hall at the University of Toronto, where MacDonald is the head of vocal studies. I see this not only as a tribute to two great singers of the past but also as a celebration of the singing tradition, to which these two great Canadians added so much.

I’m reminded of something one of our great Canadian singers, Richard Margison, said to me a dozen or more years ago: “I like The WholeNote because it covers the local scene, and that’s where we all start our careers.” How true! So keep in mind that great talent may be found even at small events in humble venues. By all means, do go and hear the great ones in our midst, but also get out and support a smaller event in a smaller venue as well. It’s rewarding to be able to say – as I can of bass Robert Pomakov, whom I heard sing in a gymnasium at University Settlement House 15 years ago – that you heard so-and-so before he/she was famous!

Allan Pulker is a flautist and a founder of The WholeNote who currently serves as Chairman of The WholeNote’s board of directors. He can be contacted at classicalbeyond@thewholenote.com.

 

10One of the more unusual concerts of the month – perhaps of the season – is the Halloween “monster concert” on October 31, organized by pianist and educator Mary Kenedi. “Monster concert,” for the record, is a term referring to a concert performed on ten pianos by as few as ten and as many as 30 pianists.

The idea goes back well over a century and a half, when the famous Austrian pianist, composer and educator Carl Czerny organized the first monster concert ever in the 1830s to raise money to help the victims of the flooding of the Danube River. More recently, Kenedi herself performed in a monster concert in Toronto conducted by William Shookhoff, who himself once organized, at Rosalyn Carter’s (Jimmy Carter’s wife) request, a monster concert at the White House.

As this appears to be one of Shookhoff’s specialties, Kenedi has enlisted him as the conductor of her concert on October 31. Among other performers joining Kenedi for the occasion are composers Abigail Richardson, Gary Kulesha and Larissa Kuzmenko, as well as piano teachers from Kenedi’s North Toronto Institute of Music and 30 of their students, who will play, three to a piano, the prelude to Bizet’s Carmen and three songs from the Harry Potter movies, arranged by a North Toronto Institute student.

All the performers will wear costumes, and Cadbury has donated the content of loot bags to be given out to children attending the event.

To add some contrast, Saint-Saëns’ Carnival of the Animals will be played by two pianists on two pianos, and Kenedi will perform Liszt’s Mephisto Waltz. The concert will take place at Massey Hall between 3:00 and 5:00 on Halloween, so there will be no conflicts with the important business of trick-or-treating.

Minsoo Sohn

11A charming and somewhat off-the-beaten-track venue is the lobby of Classical 96 FM on Queen St. E. It is not large – perhaps 30 feet square, two stories high, with a long staircase leading up to a mezzanine on the floor above. Beneath the stairs sits a small grand piano, which was the focus of a noon-hour concert I attended recently. The performer was the Korean-born, 33-year-old pianist and Honens First Prize Laureate (2006) Minsoo Sohn, who will be back in Toronto on October 3 for his Glenn Gould Studio debut recital and again on January 14 to perform with Canadian cellist, Rachel Mercer, for Music Toronto.

From my vantage point on the stairs I got a wonderful view of Sohn’s hands on the keyboard – their strength and the sureness, economy and ease with which they moved. Best of all, I could hear the piano extremely well from this unusual position and appreciated his sound, which belied its percussive origin and seemed to float with the fluidity of a violin or a flute.

The whole scene below me – Sohn at the piano and perhaps 40 people sitting around it – made me think of a drawing I’ve seen of Liszt playing in a salon. In it, each person in the audience seems to reveal his innermost self through posture and expression. Salons don’t seem to be part of our experience these days, so kudos to Classical 96 FM for keeping the tradition alive. The only big difference between this and Liszt’s salon was the presence of a video camera on a long boom and several robotic cameras that captured the occasion for web broadcasting.

After the concert Sohn, Honens executive director Stephen McHolm and I went upstairs to talk about Sohn’s life as a musician and the Honens Competition. “Were you born into a family of musicians?” I asked. “Not really. My mother was a singer but stopped singing when I was born. And my father wasn’t a musician but loved music, especially the music of Rachmaninoff. I don’t know how many times I heard recordings of Rachmaninoff’s Second Piano Concerto while I was still a kid. It was a lot!”

I went on to ask Sohn about how he started playing the piano at the age of three, and what motivated him to practise. “I’ve wondered about that too!” he commented. “I don’t remember that time in my life. All I know about it is what my mother has told me, which is that I would stay at the keyboard for three hours at a time, as if there was something fascinating about it for me.”

I was interested in how he found a balance, in learning repertoire, between the demands of technique and the demands of understanding the message of the music. “They’re not really separate. Facility needs to be there, of course, and everything can come together when I’m practising and trying to find the meaning of the music. It is a struggle and doesn’t always happen, but when it does, I feel like a sculptor, giving form, shaping sound.”

Could he say what it is that changes when this occurs? “It’s as if I come to a very fundamental place in myself where I can become the music and the music becomes me.” Does playing for an audience help? “Playing for an audience is great and sometimes it seems to bring waves and layers of emotion, but for me the real work of searching for the music occurs when I’m alone with the piano. It’s this search that makes it worthwhile and which keeps me interested and motivated.”

Minsoo Sohn’s fascination with the meaning of the music he plays seems to be what makes him special to those who hear him perform. Of the 90 young pianists selected for the first round of the Honens competition from the 150 who apply, really only ten or a dozen, according to Stephen McHolm, have what the Honens jury is looking for: the ability to go beyond technique to look for what the music has to say.

I also asked Minsoo what he was looking forward to doing in the not-too-distant-future. “Right now my big project is a recording of the Goldberg Variations. I would like to add my own personal footprint to the discography of this great work.” Indeed, his interpretation of Bach’s Goldberg Variations from the Honens Competition has been described as “extraordinary,” and has been broadcast numerous times on CBC and across the United States on NPR’s Performance Today.

Other Events

There’s far more than can be written about here – but perhaps I can give a feel for the depth and breadth of music that October and early November offer:

Early in the month, there are a number of noteworthy concerts, including, of course, all the musical events related to Nuit Blanche and the final four days of the Colours of Music Festival in Barrie. The Emerson String Quartet with pianist Menahem Pressler, who performed at the Toronto Summer Music festival this year, will play in Koerner Hall on October 1; and on October 10 Frederica von Stade will be on the Koerner Hall Stage as part of her farewell tour. October 1 and 2 the Ontario Philharmonic (formerly the Oshawa-Durham Symphony Orchestra) presents its season opener, The Philharmonic Rocks, in the superior acoustics of the P.C. Ho Theatre at the Chinese Cultural Centre in Scarborough.

The Royal Canadian College of Organists (RCCO) has started a new series, “Organ Horizons,” which makes its debut on October 2 with Kola Owalabi giving a recital at Glenview Presbyterian Church. The next evening, October 3, pianist Raymond Spasovski gives a benefit concert at Walter Hall while Caledon Chamber Concerts presents the Cecilia String Quartet in Caledon East. Also on October 3 the Kitchener-Waterloo Chamber Orchestra, with pianist Koichi Inoue, will play the music of the Czech composers Dvořák and Vorisek. At the University of Toronto, cellist Shauna Rolston will give a recital on October 16, followed on October 19 by the American Brass Quintet. On October 29 composer Srul Irving Glick will be remembered in a tribute concert at the Al Green Theatre.

Season Openers

On October 15 Music Toronto presents the Takács Quartet; on October 15 and 16 Via Salzburg performs music by Dvořák and Pärt; on October 16 the Toronto Centre for the Arts presents Argentinean pianist Christina Ortiz; on October 17 the Mississauga Symphony Orchestra plays Beethoven’s “Emperor Concerto” with soloist Li Wang; on October 18 the Aldeburgh Connection focuses on the life, times and poetry of Alfred Lord Tennyson; on October 23 Sinfonia Toronto performs with violinist Lara St. John; and on October 25 Mooredale Concerts presents pianist Gary Graffman.

Allan Pulker is a flautist and a founder of The WholeNote who currently serves as Chairman of the WholeNote’s board of directors. He can be contacted at:
classicalbeyond@thewholenote.com.

Toronto Concert June 30 2009
Gala Concert brings master organist Gillian Weir full circle

Royal Canadian College of Organists Celebrates 100th anniversary with major international organ festival

On Friday May 1 this year, I listened to Dame Gillian Weir, master organist, give a breathtaking recital, jet-lag be damned, to open the fourth annual ORGANIX festival, on Casavant Organ Opus 3095, newly installed in Holy Trinity Church, in the shadow of the Eaton Centre. The following morning I caught up with her for a whirlwind interview, a few blocks east, at the console of Metropolitan United Church's mighty Casavant Opus 1367, en route to the airport on her way back home to England.

Between those two organs hangs this particular tale.

gillian weir 002

Read more: Dame Gillian Weir, master organist

More Articles ...

  1. Chamber wealth - Quodlibet: April 09
  2. Peter DeSotto: Reinventing Quartetto Gelato
  3. Two Cities, Four Orchestras, a Flutist and her Nephew
Page 26 of 27
canadianchamberorchestra_BB_27-JUN

Newsletter Signup

Sign up for our email newsletter HalfTones here. Up to 4 emails a month in news, contests and a notification for when the digital edition is online.

* indicates required
Back to top