Beat Columns (Live Music)

In Virginia Woolf’s novel, To the Lighthouse, the painter Lily Briscoe is much troubled when she recalls a young ambitious male academic saying: “Women can’t write; women can’t paint.” Nobody has ever doubted that there have been great women performers. Just think of the concerto delle donne in late 16th-century Ferrara or the girls who were trained at the Ospedale della Pietà in 18th-century Venice, of actresses like Sarah Siddons, Sarah Bernhardt and Eleanora Duse or dancers like Anna Pavlova. But the ability of women to become creative artists has in the past been questioned. It was sometimes asserted that women could never become great poets since they lacked creative power. I suspect that this attitude goes back to a long discredited physiological theory that held that only men could create, since the homunculus was already present in the sperm and that a woman simply provided a space where the embryo could develop.

Of course, there have been a number of important women composers from Hildegard von Bingen in the 12th century to Germaine Tailleferre and Lili Boulanger in the early 20th and Kaija Saariaho, Sofia Gubaidulina and Ana Sokolović in our time. I also suspect that there would have been others had the intellectual climate been more sympathetic to the female composer. Several women composers have been close relatives of more famous men: Francesca Caccini was the daughter of Giulio Caccini; Clara Schumann was the wife of Robert Schumann; Fanny Mendelssohn was the sister of Felix Mendelssohn; Pauline Viardot was the daughter of Manuel García. As a consequence they are sometimes seen as pale reflections of the male figures to whom they were related.

Sometimes too, a woman may have been content to be a “helpmeet.” There are two extant manuscripts of Claudio Monteverdi’s last opera, L’incoronazione di Poppea; one of these shows that Francesco Cavalli, Monteverdi’s pupil and successor, had made a number of revisions. But two-thirds of the manuscript is in the hand of Cavalli’s wife Maria. We know little about her: she was a widow when Francesco married her in 1630; she began copying in 1650 (her hand has been detected not only in the Monteverdi but also in several of Cavalli’s own operas); she died in 1652. She must have been musically literate to be able to do this work. Could she have become a composer herself? We shall never know. When Gustav Mahler courted Alma Schindler (who had studied composition with Alexander von Zemlinsky), he insisted that she could not be a composer, as it would be wrong to have more than one composer in the family. Like Maria Cavalli, she became a copyist of her husband’s music. (Mahler was to change his mind about Alma’s compositions later.)

Alison Mackay has played violone and double bass for Tafelmusik since 1979. For Tafelmusik she has created several highly successful multi-media projects: “The Galileo Project;” ‘The Four Seasons;” “The House of Dreams.” Her next project is for the Toronto Consort: “A Woman’s Life” on May 24 and 25 at 8pm and May 26 at 3:30pm at Trinity-St. Paul’s Centre. The program will explore the lives of women composers and singers from the Middle Ages, the Renaissance and the early Baroque. It will feature vocal music by von Bingen, Francesca Caccini and Barbara Strozzi.

Other events: Tafelmusik presents arias and choruses from Handel’s oratorios with Sophie Daneman, soprano, and Rufus Müller, tenor, at Trinity-St. Paul’s Centre, May 1 to May 4 at 8pm and May 5 at 3:30pm, and at the George Weston Recital Hall, May 7 at 8pm.

The Aldeburgh Connection continues its Britten Festival of Song with “The Song Cycles,” with Shannon Mercer, soprano, and Susan Platts, mezzo at the Glenn Gould Studio, May 7 at 8pm and “A Time There Was,” with Virginia Hatfield, soprano, Scott Belluz, countertenor, Colin Ainsworth, tenor, and Geoffrey Sirett, baritone, at Walter Hall May 26 at 2:30pm.

On May 7 and 8 the Talisker Players presents a program of works that evoke birds. It includes music by Telemann and Arvo Pärt. The singers are Erin Bardua, soprano, and Vicki St. Pierre, mezzo, at Trinity St. Paul’s Centre at 8pm.

I met R.H. Thomson more than 40 years ago when we were both in a production of the crucifixion scene from the York Mystery plays. Thomson played Pilate and I was one of the malefactors who torment Christ. This may have been the high point of my theatrical career but Thomson’s had barely taken off. Over the years he has become one of our most distinguished actors. Earlier this season he performed (for Tafelmusik) the fictional memoirs of an early 18th-century oboist. On May 10, Thomson appears in an Eybler Quartet performance titled “An Evening with Michael Kelly” at the Heliconian Hall; repeated at St. Barnabas Church, St. Catharines, May 12 at 2pm. Although the works played are instrumental, the program will be of interest in relation to the history of vocal music. Kelly was an Irish tenor, who created the roles of Don Curzio and Don Basilio in The Marriage of Figaro andThomson’s performance will be based on Kelly’s Reminiscences. Thomson will also perform in “The Star of Robbie Burns” (Church of the Redeemer, June 7) with Virginia Hatfield, soprano, and Benjamin Covey, baritone.

The Toronto Masque Theatre will give its final concert of the season on May 10 and 11 (at 8pm) and May 12 (at 3pm; all at the Al Green Theatre). The program consists of John Blow’s masque, Venus and Adonis, and a newly commissioned opera by Alice Ping Yee Ho, The Lesson of Da Ji. The singers are Vania Chan, Charlotte Corwin and Xin Wang, soprano, Marion Newman, mezzo, Timothy Wong, countertenor, Benjamin Covey and Alexander Dobson, baritone.

Klara Ek, soprano, and Gerald Finley, bass-baritone, will be the soloists in Brahms’ German Requiem, with the Toronto Symphony (Roy Thomson Hall, May 22, 23 and 25). The first two of these concerts will also include Lieberson’s settings of poems by Neruda.

Recitals at Rosedale kicks off its 2013/14 season with a special launch concert on June 1 (Rosedale Presbyterian Church at 7:30pm).

This month in its free Vocal Series the COC presents: Anna Christy, soprano, the star of the current production of Lucia di Lammermoor, in recital on May 21; a concert by the graduating artists of the COC Ensemble Studio on May 23; and a sneak preview of this year’s Toronto Summer Music Festival on May 30. All three concerts are in the Richard Bradshaw Amphitheatre in the Four Seasons Centre from 12 noon to 1pm and are free.

And beyond the GTA: Leslie Fagan, soprano, Laura Pudwell, mezzo, Adam Bishop, tenor, and Peter McGillivray, baritone, will be the soloists in a performance of Bach’s B Minor Mass (George Street United Church, Peterborough, May 11 at 7:30pm).

A postscript: I enjoyedthe lively performance of Mozart’s Don Giovanni by students of the Glenn Gould School (although I have always seen the opera more as an account of frustrated desire than as an indulgence in bunga bunga). The Don (Diego Catala) sang a beautiful “Serenade” and Don Ottavio (Justin Stolz) was terrific in “Il mio tesoro.” The finest performance came from Beste Kalender as Zerlina. She sang with warmth and had just the right mixture of naiveté, spontaneity and artfulness. 

Hans de Groot is a concertgoer and active listener. He also sings and plays the recorder.

Highly eccentric and strangely fascinating — much like the man himself — the music of Gia Ionesco is anything but background music. To describe his unconventional artistry in words seems like an exercise in futility, but it’s worth a try. Classically trained from a young age, Romanian-born Ionesco is a formidable pianist who plays with fiery passion, sometimes playing multiple keyboards at once (!) but his unique writing style makes him a composer first. Considering the arrangements, instrumentation and influences associated with his writing, there is a lot to digest here, perhaps even too much for certain listeners. While on the one hand Ionesco’s rollercoaster-like blending of jazz, world, fusion and progressive rock might be dizzying for some, on the other, his growing fan base ranges in age from 6 to 92, a compliment that speaks volumes. Actually, judging by the smiles on their faces alone, some of his biggest fans include guitarist Reg Schwager, percussionist Alan Hetherington and saxophonist Johnny Johnson, all members of Ionesco’s band, Gia & The Unpredictable Update.

Around this time last year, I saw the band in action at The Rex Hotel, and will not forget the contagious joy that emanated from the stage that night. It was a sight to behold, as if a gifted group of middle-aged men were rocking out like teenagers in their parents’ basement! In particular, Johnny Johnson — one of the most sought-after horn players in the country, frequently seen and heard around the globe with Molly Johnson and Holly Cole — seemed like he was having the time of his life, so I asked him a few questions, starting with his first impression of Ionesco’s music:

“It was like hearing the past, present and future of music, all at once,” he said. “So of course, the first time I heard Gia’s music I was speechless. My mind needed some time to process it all ... What makes this music unique is its compositional versatility. Because Gia incorporates so many styles in his writing there are any number of directions the band can take during a performance ... Honestly you never really know what’s in store at the end of the song but we do know it will be fun getting there. And there are a lot of songs. I’m guessing Gia has written over 250 songs and I’m sure there are at least that many more in that crazy creative brain of his.”

Big news: on Monday, May 6, 8:30pm at Hugh’s Room, the band will perform a concert to celebrate their upcoming tour of China, which will culminate in an appearance at the prestigious Shanghai Spring International Music Festival. This is the first time that a Canadian act has been invited! The Unpredictable Update at Hugh’s Room will be: Gia Ionesco, keyboards; Bruce Cassidy, trumpet; Johnny Johnson and Clifford Ojala, saxophones; Reg Schwager, guitar; Alex St. Kitts, bass; Alan Hetherington, percussion and Wilson Laurencin, drums. Come to Hugh’s Room to wish this group well as they tour the other side of the world later this month!

Lula Lula! Living in this vast country of a city, one sometimes takes for granted the little things. This is one of the most multicultural cities in the world, where just about any kind of cuisine can be found, and the same goes for music.

On that note, the Lula Lounge Music and Arts Centre presents its annual multicultural music festival, Lulaworld 2013. Opening this festival, Friday May 10, is a unique collaboration: the Jay Danley Ethio Jazz Project featuring special guest, master Ethiopian musician Fantahun Shewankochew on vocals and Krar, and Toronto’s own Danley on guitar, Chris Gale and Elena Kapeleris on saxophones, Sam Petite on bass, Jeff Halischuck on drums and Richard Whiteman on piano.

Danley, himself a versatile guitarist who has spent the past two decades playing traditional Cuban music and traditional jazz, was inspired to play Ethiojazz by listening to Les Ethiopiques, a series of recordings by the inventor of this style, Mulatu Astatke. In the late 1960s and early 1970s, Berklee-trained, Ethiopia-born Astatke was the first to combine modern jazz with Ethiopian scales.

“The very difficult musical challenge of composing, arranging and improvising using these scales is very rewarding to me,” says Danley. “I have also added some of my own personal tastes and influences to my compositions that make them unique.”

The collaboration with Danley’s group and Shewankochew has an interesting back story; they played a gig at Lula back in February, ten days before the Batuki Music Society presented a concert at the Glenn Gould Studio called Abyssinian Roots. The special concert brought to Toronto some of the hottest Ethiopian musicians from the nightclub scene of Addis Ababa, including Henok Abebe, Martha Ashagari, and Fantahun Shewankochew himself. Danley was in the audience that night and was absolutely amazed; meeting Shewankochew afterwards, it turned out that the Ethiopian master had attended their gig at Lula and wanted to work together. The organizers of Lulaworld were approached and decided that this collaboration would be a great way to open the 2013 festival.

Meanwhile, one of the few Toronto players on the aforementioned Batuki Music Society concert was drummer Daniel Barnes, who has recently put together “DB3” — the Daniel Barnes Groove Trio, another new world/jazz music band with an Ethiopian connection, playing every second and fourth Thursday of the month at Hirut Restaurant, 2050 Danforth Ave. “We’ve taken root at Hirut because audiences enjoy the place, the cuisine and our show,” adds Barnes. “It’s exciting cultural times with global interconnectedness and Toronto itself being a cultural force of diverse backgrounds for generations now.” But that will have to be a story for another day. 

Ori Dagan is a Toronto-based jazz musician, writer and educator who can be reached at oridagan.com.

Last September Stephen Ralls and Bruce Ubukata, the artistic directors of the Aldeburgh Connection, announced that this season, their 32nd, would be their last. Sad news, but nobody would want to force the directors to see the series as a life sentence. In any case, they want to end things now rather than wait until the time when people would say, “they have obviously run out of ideas,” however remote and even hypothetical that must seem at present.

Ralls’ work at Aldeburgh, the seaside town in southeast England, and his professional involvement with the operas of Benjamin Britten, began in 1972 when he worked as pianist and vocal coach on A Midsummer Night’s Dream; subsequently he played the piano in Britten’s final opera, Death in Venice (he can be heard as the pianist on the opera’s original recording). Ubukata arrived in Aldeburgh in 1977 with the intention of auditing some of the masterclasses, but there was a last minute vacancy and he stayed as a coach and accompanist instead. It was then that Ralls and Ubukata first met but they realized they could have met four years earlier when Ubukata was in the audience at an Edinburgh performance of Death in Venice, in which Ralls played the piano.

The Aldeburgh Connection’s main goal has always been to help young Canadian singers gain experience in the song repertoire. Recently I have been struck by the way Aldeburgh’s concerts have maintained a balance between emerging singers and established artists. Its most recent concert, for instance, had the well-known soprano Monica Whicher but also the tenor Isaiah Bell and the bass-baritone Gordon Bintner, neither of whom is at all well known in Toronto. (That is bound to change now that Bintner has become a member of the COC Ensemble Studio.) But the established singers were also young emerging singers at one time and many were given important professional experience by the Aldeburgh Connection early in their careers. That is as true of singers who retired many years ago (Henry Ingram, Ingemar Korjus, Catherine Robbin, Janet Stubbs) as it is of those who are still in the middle of successful careers (Colin Ainsworth, Russell Braun, Brett Polegato, Michael Schade). A number of singers made their first professional appearance with the Aldeburgh Connection: Alexander Dobson, Virginia Hatfield, Joni Henson, Benjamin Covey and Lucia Cesaroni. Over the years the Aldeburgh Connection has commissioned a number of works. Several of these were recorded on the CD Our Own Songs, with Adrianne Pieczonka, Monica Whicher, Elizabeth Turnbull, Colin Ainsworth and Mark Pedrotti.

Ralls and Ubukata have always acknowledged the help they received from their patrons. First and foremost was Peter Pears, Britten’s partner and the singer for whom he wrote many of his works. Another was Greta Kraus, pianist and harpsichordist, vocal coach and accompanist. It is in her memory that the Aldeburgh Connection established its annual Schubertiad.

One of the finest things about the concerts of the Aldeburgh Connection is the work that the directors have done to establish the cultural contexts of the songs. The first of their concerts that I attended was based on songs that were performed in Jane Austen’s family. To prepare for that concert Ralls and Ubukata travelled to the Jane Austen’s House Museum (in Chawton in Hampshire) where they examined the music that Austen had copied out. The first half of their most recent concert consisted of Schubert songs with texts based on the poetry of Ovid, Virgil and Catullus. It is those poems that were read (Ralls and Ubukata are excellent readers). There have also been contributions over the years by leading Canadian actors. There my finest memory is Christopher Newton’s reading of the Christmas dinner chapter from James Joyce’s Portrait of the Artist as a Young Man. Incorporating readings is now a feature of many concerts, a practice no doubt influenced by the Aldeburgh Connection. The danger is that these readings are often rather loosely related to the music. That has never been true of the Aldeburgh Connection.

Special attention has always been given to the anniversaries of composers: Schubert, Poulenc, Hugo Wolf. It is fitting that in this, their final year, they will finish with three concerts devoted to the work of Britten, who was born 100 years ago. The first of these concerts, at Glenn Gould Studio on April 26 at 8pm, presents three of the Canticles as well as The Ballad of Little Musgrave and Lady Barnard and Britten’s Purcell Realizations. The soloists are Daniel Taylor, countertenor, Benjamin Butterfield, tenor, and Alexander Dobson, baritone. The second of the concerts will take place on May 7 in the Glenn Gould Studio at 8pm, featuring Shannon Mercer, soprano, and Susan Platts, mezzo, as soloists in On this Island, A Charm of Lullabies, The Poet’s Echo and some of the folksong arrangements. A Charm of Lullabies and The Poet’s Echo have a special meaning for Ralls and Ubukata as they were written for singers whom they knew and remember fondly: Nancy Evans and Galina Vishnevskaya. “A Britten Festival of Song” (and indeed the Aldeburgh Connection) will end with a vocal tapestry, “A Time There Was” in Walter Hall, May 26 at 2:30pm. The soloists are Virginia Hatfield, soprano, Scott Belluz, countertenor, Colin Ainsworth, tenor, and Geoffrey Sirett, baritone.

I feel confident about the continuing presence in Toronto of Ralls and Ubukata. Ralls will be the collaborative pianist in a recital with Allyson McHardy featuring works by Berlioz, Schumann, Rossini and Jonathan Larson, as well as Scottish folksongs, on April 14 in Glenn Gould Studio at 2pm. Last month Ubukata travelled to York University to direct a masterclass with the students of Catherine Robbin and Norma Burrowes. But I am less sanguine about the continuing presence of song recitals in Toronto. The celebrity recitals at Roy Thomson Hall were discontinued a couple of years ago and there is now very little vocal music at Koerner Hall. To some extent the slack has been taken up by the four-concert series “Canadian Voices,” organized by Massey Hall/Roy Thomson Hall and given at the Glenn Gould Studio, but, unlike the concerts of the Aldeburgh Connection, these concerts feature established singers, not emerging artists. There are, of course, other concerts that may feature songs. One of the finest things I have heard in a long time was the staged performance of Janáček’s The Diary of One Who Disappeared, given by Against the Grain Theatre with Colin Ainsworth, Lauren Segal and Christopher Mokrzewski.

Other series will incorporate sung performances next season: Isabel Bayrakdarian will perform with Tafelmusik in April 2014 and Philip Addis sings for Music Toronto in December of this year. Addis will also pay tribute to the music of Britten: his recital includes the Songs and Proverbs of William Blake as well as one of Britten’s Purcell Realizations. The Toronto Symphony Orchestra program for next season includes Britten’s Serenade Op. 31 for tenor (Nicholas Phan), horn (Neil Deland) and strings, Alban Berg’s Seven Early Songs (Erin Wall), Mozart’s Coronation Mass (Leslie Ann Bradley, Lauren Segal, Lawrence Wiliford and Philippe Sly), a range of soprano-mezzo duets (Yulia Van Doren and Wallis Giunta), an evening of music by Lerner and Loewe (Amy Wallis, Colin Ainsworth and Jonathan Estabrooks) and Richard Strauss’ Four Last Songs (Sondra Radvanovsky). Many singers now organize their own concerts at venues like the Heliconian Hall on Hazelton Ave. It is there that recently we have been able to hear Meredith Hall (with Brahm Goldhamer), John Holland (with William Shookhoff), Isaiah Bell (with Stephen Ralls) and several others.

The new series that comes closest to what the Aldeburgh Connection has given us is Recitals at Rosedale (Rosedale is short for Rosedale Presbyterian Church), directed by Rachel Andrist and John Greer. The series opens on June 1 at 7:30pm with a special launch concert; the subsequent recitals are on October 6, December 1, February 9 and May 25 (all Sundays at 2:30pm, a day of the week and a time inherited from the Aldeburgh Connection). Like the Aldeburgh Connection, Recitals at Rosedale is committed to using only Canadian singers (their lineup includes major talents like Ambur Braid and Lauren Segal, Colin Ainsworth and Gregory Dahl). I am looking forward to these concerts but I have to add that the emphasis in their advance publicity on “renowned Canadian artists” does not suggest that bringing out emerging singers will be one of their priorities.

OTHER EVENTS

On April 5 and 6 in Trinity-St. Paul’s Centre at 8pm, the Toronto Consort presents Emma Kirkby, soprano, and Jakob Lindberg, lute, in a concert of music by Dowland and Purcell. Kirkby will give a masterclass on April 7 at 2:30pm, also at the Trinity-St. Paul’s Centre.

On April 11 and 13 in Roy Thomson Hall at 8pm, Measha Brueggergosman, soprano, will sing four songs by Duparc and Samuel Barber’s Knoxville: Summer of 1915 with the Toronto Symphony Orchestra.

Lucy Fitz Gibbon, soprano, will give a free recital in Mazzoleni Hall at the Royal Conservatory on April 14 at 5pm. The program includes songs for voice and harp — Rubbra’s Jade Mountain and Britten’s A Birthday Hansel, with Ingrid Bauer — and works for voice and piano — Hymnen an die Nacht by Vivier, Cinq mélodies de Venise by Fauré and The Ugly Duckling by Prokofiev, with Peter Tiefenbach. Fitz Gibbon will also sing at the Canadian Music Centre (20 St. Joseph St.) on April 13 at 5:30pm.

There are four free vocal performances at the Richard Bradshaw Amphitheatre in the Four Seasons Centre next month, all at noon: “A Celebration of Canadian Art Song" on April 16 includes a world premiere of a work by Norbert Palej performed by Lawrence Wiliford, tenor, a new work by Andrew Ager, dedicated to and performed by Shannon Mercer, soprano, and songs by Jean Coulthard sung by Peter McGillivray, baritone — Stephen Philcox is the collaborative pianist; songs from Newfoundland sung by tenors Michael Barrett and Adam Luther are featured on April 23; the April 30 concert, “Inspired by Lorca,” showcases La selva de los relojes, a new chamber work by Chris Paul Harman with Krisztina Szabó, mezzo; and “Sérénade Française,” French arias and art songs with the COC Ensemble Studio takes place on May 2.

“Greece to Granada,” a program of Greek, Balkan and Spanish music, will be performed on April 26 at 8pm in the Heliconian Hall. The singer is the mezzo Maria Soulis and the instrumentalists are William Beauvais, guitar, and Julian Knight, violin. Soulis has had a busy career in Europe, where her roles included the title role in Carmen and Rosina in The Barber of Seville. She has recently returned to Canada. Here she has sung, among other parts, the role of Clara in a workshop production of the second act of The Enslavement and Liberation of Oksana G. (music by Aaron Gervais and libretto by Colleen Murphy) for Tapestry Opera. 

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

It’s impossible, given the copious concert-going options available each month, to note adequately all those that fall within the scope of this column. Each month, I take a deep breath and then choose a cluster of concerts, a theme, a genre, a group of artists or composers, to fill the few precious pages allotted to the Classical & Beyond beat, knowing full well that I will have left out innumerable events equally deserving of coverage. Such is the nature of the beast.

I’m aware, as well, that many concerts warrant more than the scant lines I’m able to afford them. Sometimes though, when the date of a short-shrifted concert falls within the first seven days of the month, thus overlapping two issues, I get to redeem myself. And while it means less space still for the newer listings, well ... I’ve resigned myself to the fact that there will always be those irked and annoyed at me for the concerts I select to write about each month: such, too, is the nature of the beast.

Redemption via Rachmaninoff: Hence my decision to revisit the Etobicoke Philharmonic Orchestra’s upcoming April 5 performance of Rachmaninoff’s Piano Concerto No. 3, with the distinguished pianist, Arthur Ozolins. In its 52-year history, the EPO has never performed the Rachmaninoff Third. For its 50th anniversary gala, however, Ozolins played Rachmaninoff’s Second with the orchestra. Sabatino Vacca, the EPO’s music director, tells what happened afterward:

“As we were coming offstage I gently remarked that we really should do the Third sometime. He politely declined, knowing how demanding a piece it is and how demanding he would be of himself to prepare it. I knew it was a lot to ask so I was not too disappointed. A few months passed and Arthur then called us to see if in fact it were possible to program the Third as he was considering playing it after all. You cannot imagine how delighted I was! I immediately began to see where it would best fit into our current season.”

Vacca goes on to describe the thrill of rehearsing the concerto in the two-piano version with Ozolins; of getting a glimpse into ‘’just how thoroughly Mr. Ozolins prepares a concerto; no ‘note’ is left unturned!” And how Ozolins “often manages, somehow to play both [piano parts] at the same time!” Though Ozolins has played it throughout his long career, Vacca remarks on the “boyish curiosity” that comes through Ozolin’s preparation, “as if coming to it for the first time, always discovering new things.”

Interestingly, in an audio interview with Paul Robinson (posted July 31, 2010 — date of conversation unknown; theartoftheconductor.podbean.com), Ozolins speaks endearingly of his early childhood exposure to (and enduring affinity for) the music of Rachmaninoff:

“I used to sit under my mother’s piano when she was practising before she died. [Ozolins was only five and a half.] Then afterward my grandmother kept playing because she was also a graduate from the St. Petersburg Conservatory in Russia. And she knew Rachmaninoff; and she just almost constantly was practising the First and the Second piano concertos of Rachmaninoff. Maybe that’s why I have such an identification with Rachmaninoff. I just adore Rachmaninoff so much; I’ve heard it ever since a child.”

Vacca clearly appreciates Ozolins’ deep connection to Rachmaninoff’s music, acknowledging that “it will be a great experience and privilege for us to perform [the Third Concerto] with someone who counts it as one of his signature pieces. “It will be,” he enthuses, “a rare opportunity for the Etobicoke community and beyond to hear Mr. Ozolins perform this concerto, one of the pinnacles of ultra-Romantic bravura pianism.”

It seems rather fitting that this exceptional concert, which gets under way at 8pm, is being performed at Martingrove Collegiate, home to the gifted program in Etobicoke. There certainly will be no shortage of musical gifts emanating from the stage that night.

115 years young: The EPO may be in its 52nd year, but it’s a mere tot compared to the Women’s Musical Club of Toronto, now in its 115th season — yes, 115, and going strong — it announced season 116 last month! And of course, the wonderful women — and men — of the WMCT are celebrating the organization’s 115th anniversary in grand style. On May 2 at 1:30pm, the stage of Koerner Hall will be graced by Canadian musical luminaries, violinist James Ehnes and baritone Russell Braun. Collaborative pianist Carolyn Maule, who happens to be married to Braun, joins them.

How do you get two of the busiest classical musicians on the planet to perform together? How does the program get chosen? How long does it take to nail down the details? And the venue? Last week I put these questions to WMCT’s artistic director, Simon Fryer (concurrently principal cello with the Regina Symphony, head of strings at the Regina Conservatory and active chamber musician), and here’s what he told me:

“The idea for this project came forward in the course of a discussion with Russell in Parry Sound at the 2009 Festival of the Sound. Both artists have been long-time favorites of the WMCT so when Russell mentioned that they had been talking about collaborating it was a no-brainer to grab the idea and run with it. The details of programming took longer to pin down but Russell had clear and wonderful ideas to build around and once the skeleton was in place James was able to fit appropriate works into it. These are both major artists with very busy schedules, but once we had a good handle on the program direction it fell into place nicely. With such possibilities the project was an obvious choice to present at a major event in Koerner Hall.”

Simple, eh? But it took a lot more than just being at the right place at the right time. Fryer’s background, experience and personality all contributed to his being at that “right place.” In asking what drew him to the WMCT position, which he assumed in 2005/6 — planning was then under way for the 110th season — he shed some light on all three:

“I had left the Toronto Symphony to join the Penderecki String Quartet in 2003. My sheepdog personality enjoys collecting artists and audiences together with great music, so bringing ideas for musical events and collaborations to reality had always been an interest for me. With many such events behind me, the opportunity to consolidate from random events to a coherent season was something I began to search for.

“The opportunity presented itself in the form of the WMCT. Here was an organization in strong financial shape, with a loyal and knowledgeable audience, looking for artistic direction from the professional arena for the first time ... I had known of the WMCT ever since I arrived in Toronto and was impressed by the people I met with and their clear sense of purpose.”

To what does he attribute the WMCT’s unparalleled success and how does he plan to sustain it?

“The success of the series over 115 years is a result of careful management, strong understanding of the tastes of the members and a large and enthusiastic resource of volunteers. It is my job to maintain and build that understanding so that tastes are developed and new horizons approached. Continuing the tradition of bringing a spectrum of Canadian and international artists to the WMCT stage, is a fascinating and rewarding task. I do not work alone either — I have a wonderful artists selection committee that provides both an expert sounding board for ideas and a superb resource of knowledge.”

It sounds like the WMCT is in very savvy and capable hands under Fryer’s artistic leadership.

And now back to the big event. While it won’t be the first time Ehnes and Braun will be sharing the stage for a WMCT concert — that happened in 1998 at the WMCT’s centennial celebration concert– it will be their first time actually playing together. (A further “fun fact”: in 1992 both Ehnes and Braun made their Toronto debuts with the WMCT in season 95, within a month of each other.)

The afternoon will begin with works by Bach (the first for voice and violin; the second for solo violin) and will end with settings of English songs based on poet A. E. Housman’s A Shropshire Lad, by Vaughan Williams, Butterworth and Barber, for the combinations of voice and violin, voice and piano, and voice, violin and piano. In between you’ll get to marvel at Ehnes’ virtuosity with three Paganini caprices, and luxuriate in Braun’s rich tones in Beethoven’s only song cycle. A new work for voice, violin and piano by John Estacio, commissioned by the WMCT for the occasion, will complete the outstanding program — one fit for this most exciting and monumental occasion!

In addition to these two magnificent evenings of music making, there are probably another 115 listings to consider for April and early May. It’s spring — time to step out and take in the season’s multitude of musical offerings. Enjoy! 

Sharna Searle trained as a musician and lawyer, practised a lot more piano than law and is listings editor at The WholeNote. She can be contacted at classicalbeyond@thewholenote.com.

When we attend any sort of concert, listening is automatically assumed. That’s what we go for — to listen. But the question can be asked — how do we listen? What happens to our attention while the musicians on stage are busily engaged in their performance? Do we watch their body movements, analyze the audience around us, listen to the thoughts inside the music, or wonder about what we’ll do after the concert? What do those sounds we are hearing have to do with the actual soundscape we are experiencing? How do we distinguish between hearing and listening?

One composer who has spent her lifetime creating and reflecting on the question of listening is Pauline Oliveros. She sought a balanced approach that includes both attention and awareness. Think of a circle with a dot in the middle. “Attention is narrow, pointed and selective — that’s the dot in the middle. Awareness is broad, diffuse and inclusive — that’s the circle. Both have a tunable range: attention can be honed to a finer and finer point. Awareness can be expanded until it seems all-inclusive.” [Pauline Oliveros “On Sonic Meditation” in Software for People, 1984, Smith Publications, p. 139]

It is a heightened and pure experience when suddenly attention and awareness meld together in concert. That is what comes to mind when I think of the music of Ann Southam, a pioneering soul who was passionately committed to creating music that opened up the listening ear, creating that wide expansive field of both inner and outer reality of which Oliveros speaks. Southam’s aesthetic was influenced by the minimalist ideas of drawing the listener’s attention to a gradual unfolding process of change, which allows space for the perception of subtle modulations and alterations in the music.

In Southam’s works written specifically for Toronto pianist Eve Egoyan, the elements of simplicity and mystery abound. On April 19 at a concert presented by Earwitness Productions at the Glenn Gould Studio, Egoyan will be launching her ninth solo disc, and her third of Southam’s compositions. The album, 5, will certainly raise interest internationally, as it features world premiere recordings of five posthumously discovered pieces composed by Southam. As a performer specializing in performing the works of contemporary composers, Egoyan’s repertoire covers a wide range, and this concert is no exception. Egoyan will be premiering Southam’s Returnings II which she describes as filling our ears with its magnetic pull, alongside the complexities of SKRYABIN in itself by Michael Finnissy. Works by composers Claude Vivier (Canada), Taylan Susam (Netherlands) and Piers Hellawell (Ireland) are also included in the program.

Another opportunity to hear an outstanding ambassador for contemporary concert music on the piano will be Continuum Contemporary Music’s presentation of UK pianist Philip Thomas in back to back concerts titled “Out of the Apartment,” on April 24 at Gallery 345, and “Correlation Street,” on April 25 at the Music Gallery. The first of these concerts will feature four specially commissioned works by Canadians Martin Arnold and Cassandra Miller and English composers Christopher Fox and Bryn Harrison.

Thomas is drawn to both freely improvised music as well as the experimental music of John Cage, and those working within a Cageian aesthetic such as Morton Feldman and Christian Wolff. He is known for designing concert programs that create connections between different composers, and when looking at the repertoire of the upcoming Continuum concert, one can definitely see his curatorial interests in action. In addition to the composers mentioned above, Thomas will be performing works by Canadians Michael Oesterle and Linda C. Smith.

Cage, of course, is renowned for 4’33” in which the pianist sits in silence on the stool, thus drawing the attention of the listener to the sounds in the room. As an aside, I made a fascinating discovery this past fall in one of the presentations made at The Future of Cage: Credo festival in October, 2012. Apparently, the premiere of that work took place in late August in an outdoor venue with the late summer tree-frog concert in full chorus. Thus Cage’s intention was not so much that we experience the coughs, shuffles and hums of the concert hall, as is the usual experience of hearing this work, but to bring attention and awareness to the rich soundscape in the natural environment and to include these sounds as part of what we consider to be music. I mention this because the act of creating this piece by Cage was a revolutionary step in expanding our conception of listening and one that continued to evolve in Oliveros’ work.

Yet another leading pianist in the interpretation of 20th-century music to visit Toronto this month will be Louise Bessette from Montreal. She will be performing works by fellow Montrealer Gilles Tremblay in New Music Concerts’ tribute to Tremblay on April 27. Bessette has cultivated an international career performing contemporary works from leading composers throughout Europe, Asia and the Americas, while releasing 20 recordings. She will perform two of Tremblay’s piano works from the 1950s among others.

Taking a leap beyond the solo pianist in concert, Soundstreams will be bringing together nine Canadian virtuoso pianists in “Piano Ecstasy,” its April 26 concert. These artists will perform in a wide range of styles: from Cage’s The Beatles to minimalist Steve Reich’s Six Pianos, as well as a newly commissioned work — Two Pieces for Three Pianos by Glenn Buhr. Cage and Reich come together again in TorQ Percussion Quartet’s concert “New Manoeuvers” for percussion and dance on May 3. Reich’s Mallet Quartet and Cage’s Third Construction will be complemented by new works from composers James Rolfe and Daniel Morphy.

April marks the end of the university school year and there is one noteworthy event: composer Cecilia Livingston presents her doctoral composition recital at the University of Toronto on April 14. Given the focus that composers such as Southam and Cage place on awareness as integral to the listening process, it is interesting that this young composer has titled her topic of compositional research “A Still Point: Music for Voices.”

And finally, the Canadian Opera Company will join with Queen of Puddings Music Theatre in presenting a new vocal work by Chris Paul Harman on April 30. Earlier this year, Queen of Puddings announced the closure of their company as of August 31, 2013. Their inventive way of staging chamber opera and music theatre works incorporated elements from physical theatre as well as placing the instrumentalists on stage. In reflecting back on their legacy, founding co-artistic directors Dáirine Ní Mheadhra and John Hess had this to say: “With Queen of Puddings, we’ve achieved what we set out to do, which was to commission and produce original Canadian opera to a high artistic standard, and to develop an international profile for this work.” Certainly one of their highlights was the launching of soprano Measha Brueggergosman in the 1999 production of Beatrice Chancy. For their swan song, Queen of Puddings will stage La selva de los relojes (The Forest of Clocks), Harman’s vocal work based on texts by Federico García Lorca. Lorca was a Spanish poet, dramatist and theatre director who died during the Spanish Civil War in 1936. It will be fascinating to see how Queen of Puddings stages what will most likely be an intensely dramatic work.

Additional concerts featuring contemporary piano music

April 13: Works by Hétu, Sherkin, Steven and Vivier. Canadian Music Centre.

April 23: “The Unruly Music of the Present.” Gallery 345.

April 27: Works by Gougeon, Morlock, Jaeger and Schafer. Canadian Music Centre.

May 3: Works by Mozetich, Kenins, Weinzweig, Behrens and Baker, performed by Mary Kenedi. Canadian Music Centre.

May 4: “Signposts.” Poetry and improvised music. Music by Gilliam and Ringas. Gallery 345. 

Wendalyn Bartley is a Toronto-based composer and electro-vocal sound artist. She can be contacted at sounddreaming@gmail.com.

It seems that the arrival of spring (however tenuous it may be as I write) is an invitation for wonderful things to happen — collaborations and encounters, the influence of one element upon another, tranform what was into something new. Here, in the domain of early music, are a few examples:

The mission of Nota Bene Baroque is to bring music of the baroque and early classical periods to the Kitchener-Waterloo region. But this chamber group of strings and keyboard, whose members perform on period instruments in period style, enjoys presenting concerts “with a plus” as they say. This time it’s the addition of storytellers and a professional shadow puppet troupe — I think something magical might transpire! “Once Upon A Time” is presented on April 14 at Kitchener’s Registry Theatre, with guests including local storytellers and Shadow Puppet Theatre.

For Sine Nomine Ensemble, the collaboration with Peter Drobac, music director at Toronto’s Orthodox parish of Saint Silouan the Athonite, is a great opportunity to expose little-heard music from some of those “zones of encounter” of the Middle Ages — the “Christian West,” Byzantine civilization, the varied cultures of the Islamic world. Andrea Budgey describes the colourful variety of what will be presented: Eastern Orthodox chant from late-medieval manuscripts; Turkish late-medieval instrumental music; French-influenced polyphony from 14th-century Cyprus; 14th-century Italian instrumental music with probable Eastern influence. “Orientis partibus: A musical meeting of East and West” is presented at Saint Thomas’s Church on April 26.

The influence of Italian style was strong at the court of King Louis XIV of France. For French music this meant a general infusion of Italian exuberance, as well as the fostering of purely instrumental forms (sonata, symphony, concerto). You can hear some results of this melding of styles, the delicacy of the French mixed with the vivacity of the Italian, in the Musicians In Ordinary’s season finale “French Cantatas Mixed with Symphonies.” Cantatas by Clerambault and Jacquet de la Guerre as well as instrumental music by Marais and others are performed by soprano voice, theorbo, violin, harpsichord and viola da gamba, on April 27 at Toronto’s Heliconian Hall.

The collaboration between composer Stephanie Martin and the Windermere String Quartet on Period Instruments bore the fruit of a new quartet, which Martin composed for the group in its 2011/12 season. Titled From a Distant Island, this work closes with a fugue and that particular feature prompted the WSQ to question: Why do composers like concluding with a fugue? “Does its contrapuntal nature appeal to a sense of instrumental justice, giving each instrument an equal voice? Or is it an opportunity to display compositional virtuosity by fusing intellectual and expressive approaches?” All questions to ponder as you listen to their program “The Art of the Fugal Finale,” which presents three works, by Haydn, Beethoven and Martin, each of whose final movement is a fugue. The concert takes place on April 28 at St. Olave’s Church.

Baroque encounters Baroque Idol at Aradia Ensemble’s next show, a takeoff on the popular American Idol concept — except this time, the audience votes for their favourite new work for baroque ensemble and its composer receives not only the “Baroque Idol” award but also the commission of a new work specially for Aradia. And there’s a further catalyst in the mix: the submitting composers can bring along their own bands too — you’ll get Aradia musicians sharing the stage with “progressive pop/rock” band The Quiet Revolution, the experimental musical storytelling of Ronley Teper and her Lipliners, the easy tuneful beat of Roman Tomé. Who knows what will come of this? “Baroque Idol 2!” happens on May 3 at the Music Gallery.

Others

April 11: Virtuoso musicians are showcased in “Music for Three Violins,” a presentation of the Oratory of St. Philip Neri. Violinists Christopher Verrette, Julia Wedman and Patricia Ahern, gambist Felix Deak and organist Philip Fournier perform music by Purcell, Marini, Schmelzer, Fontana and Gabrieli.

April 12: Based in Montreal, the Quatuor Franz-Joseph has performed the complete Haydn string quartets on period instruments alongside string quartet repertoire from both early and modern eras. In Waterloo, for the Kitchener-Waterloo Chamber Music Society, they are heard in quartets by Haydn and Jadin.

April 20, 21: “May no rash intruder disturb their soft hours” — this is one of the most beloved choruses from Handel’s oratorio Solomon. The complete work is presented by two different choirs this month, on the same weekend: April 20 and 21 in Oakville by Masterworks of Oakville Chorus and Orchestra; and April 21 in Toronto by Pax Christi Chorale.

April 27: Each year the Tallis Choir delights in bringing to the surface an historic event, reimagining through music and research how it might have been experienced in actuality. On the 200th anniversaryof the British-American conflict at York, the choir presents “Upper Canada Preserved: A Grand Concert for the Battle of York, 1813.” Music reflecting the tumult of the times, by Haydn, Boyce, Billings and others, will be performed at St. James’ Cathedral, the site of the makeshift hospital set up for the injured, 200 years ago.

April 28: A year-end celebration of the music of Bach takes place in Brampton, as the Georgetown Bach Chorale presents “Music from the Great Passions.” Featured are sublime choruses and instrumental selections from concertos.

April 28: Two musicians whose musical hearts reside at least partially in medieval times bring you a program of medieval and early Mediterranean folk music. Multi-instrumentalist Michael Franklin (woodwinds, reeds, bagpipes, hurdy-gurdy, voice) and percussionist-singer Gaven Dianda are featured in this TEMC presentation, which takes place at St. David’s Church.

May 1–5, 7: When Handel is the subject of a performance by Tafelmusik and its wonderful Chamber Choir, great music happens. “A Handel Celebration” features odes, serenades and oratorio choruses, “in a celebration of the human spirit” as they affirm.

May 4: Two choirs double the pleasure of one. The Toronto Chamber Choir welcomes as guests the Chamber Singers of the Kitchener-Waterloo’s Grand Philharmonic Choir. Each group will perform a set (music by Sheppard and Purcell), and then come together for Duruflé’s Requiem (which incorporates Gregorian chant) and Tallis’ magnificent 40-voice motet Spem in Alium. “Media Vita: In the Midst of Life” is presented at Grace Church on-the-Hill and will be repeated in Kitchener later in May.

May 4, 5: Expressions of love originally written in biblical verses or heard in raunchy poems were often transformed by renaissance composers into innocent-sounding ditties or lush, sensual motets. The 16-voice a cappella choir Cantemus Singers performs a varied program of these works, by early French, English and German composers. “Love Songs” is presented twice, at Holy Trinity Church and at St. Aidan’s.

May 5: In Kingston, the Melos Choir and Chamber Orchestra presents “The Tudors,” with music that includes Byrd’s Mass for Four Voices, Gibbons’ This is the record of John, and much else. Guests include tenor Dylan Hayden and a consort of viols, harpsichord and organ.

With all the riches of music abounding, we are also a little poorer for the deaths of two musicians who touched many people with their heartfelt music making. Washington McClain was a truly gentle and intensely musical soul, an esteemed baroque oboist who performed with many groups including Tafelmusik and Montreal’s Ensemble Arion. Leslie Huggett was a visionary who, with his wife Margaret and their four children, “The Huggett Family,” awakened audiences across Canada to the pleasures of medieval, renaissance and baroque music, in a day when early music was regarded mostly with disinterest. Both are remembered fondly and will be missed. 

Simone Desilets is a long-time contributor to The WholeNote in several capacities who plays the viola da gamba. She can be contacted at earlymusic@thewholenote.com.

April, as has become usual, offers the most concentrated number of opera productions of any month in the year. Every April we can always count on large-scale productions from the Canadian Opera Company and Opera Atelier and the spring production from Toronto Operetta Theatre, while smaller companies and operas in concert serve the important function of adding variety and breadth. If we artificially extend the month to May 10, an opera lover can sample the whole history of opera from the 17th century to the present.

1683: Venus and Adonis by John Blow on May 10, 11 and 12 by Toronto Masque Theatre. The oldest opera presented in this six-week period tells of the love of the goddess Venus (Marion Newman) for the mortal Adonis (Alexander Dobson). The opera, fully staged with the TMT Orchestra conducted by Larry Beckwith, is on a double bill with the world premiere of The Lesson of Ja Di (below).

1733: La serva padrona by Giovanni Pergolesi on April 5 and 7. Metro Youth Opera was founded by Kate Applin in 2010 to give Toronto’s young opera singers the chance to perform complete roles. The company’s third production is a triple bill of comedies, the earliest of which is Pergolesi’s important work, often seen as the bridge between the baroque and classical periods. The plot is about how the maid Serpina (Applin) tricks her bachelor master (Janaka Welihinda) into marrying her. Alison Wong directs with Blair Salter at the piano.

1790: Così fan tutte by Wolfgang Amadeus Mozart on April 27 only. Opera by Request presents the third of Mozart’s collaborations with librettist Lorenzo Da Ponte. Jonathan MacArthur is Ferrando, Josh Whalen is Guglielmo, while Naomi Eberhard and Alexandra Beley are the fiancées, Fiordiligi and Dorabella, whose faithfulness they test. William Shookhoff provides the piano accompaniment.

1791: Mozart’sThe Magic Flute on April 6, 7, 9, 10, 12 and 13. Opera Atelier remounts its much-loved production of Mozart’s fairy-tale opera with a cast of OA favourites. Colin Ainsworth sings Tamino, Laura Albino is Pamina, Ambur Braid is the Queen of the Night, João Fernandes is Sarastro with Olivier Laquerre as Papageno and Carla Huhtanen as Papagena. David Fallis conducts the Tafelmusik Baroque Orchestra and Marshall Pynkoski directs.

1816: Il Barbiere di Siviglia by Gioacchino Rossini on April 6 only. Opera by Request presents Rossini’s well-known opera based on the first of Beaumarchais’ plays about the wily barber Figaro. Jay Lambie sings Figaro, William Parker is his friend Count Almaviva and Nicole Bower is Rosina, the object of the Count’s desire. William Shookhoff provides the piano accompaniment. For those interested in comparisons, the Soulpepper Theatre Company presents an adaptation of Beaumarchais’ play itself with previews beginning May 9.

1835: Lucia di Lammermoor by Gaetano Donizetti on April 17, 20, 26, 30 and May 9, 12, 15, 18 and 24. The COC presents the acclaimed production of Donizetti’s bel canto masterpiece created by director David Alden in 2008 for soprano Anna Christy and the English National Opera. Christy herself sings the title role with Stephen Costello as Edgardo, the man she loves, and Brian Mulligan as Enrico, Lucia’s brutal brother who forces her to marry someone else. Stephen Lord conducts the COC Orchestra.

1853: Il Trovatore by Giuseppe Verdi on April 18 and 20. Now in its eighth season, Opera Belcanto of York will present a fully staged production at the Richmond Hill Centre of Verdi’s opera about gypsies and children switched at birth. Guest soloists from the Yerevan State Opera include Tatevik Ashuryan as Leonora, Hovhannes Ayvzyan as the troubadour Manrico and Nariné Ananikyan as Azucena with Canadian Jeffrey Carl as the Conte di Luna. OBY founder David Varjabed conducts and Gabriele Graziano directs.

1866: La Vie Parisienne by Jacques Offenbach on May 2, 3, 4 and 5. The final offering of the season from Toronto Operetta Theatre is Offenbach’s first full-length operetta dealing with contemporary life in Paris rather than the mythological satires like Orphée aux Enfers (1858) and La Belle Hélène (1864) that made him famous. The story involves the first visit to Paris of a Swedish baron and baroness whose tour is confounded by the actions of a Brazilian millionaire and a Parisian courtesan. The cast includes Elizabeth DeGrazia, Lauren Segal, Christopher Mayell and Adam Fisher. Larry Beckwith conducts and Guillermo Silva-Marin directs. The TOT last staged this operetta in 1992. In an odd coincidence L’Opéra de Québec will later present the work May 11, 14, 16 and 18 in Quebec City.

1901: Rusalka by Antonín Dvořák on April 19 only. Opera by Request presents the first of two Czech operas that form a study in contrasts. Though separated by only three years, Dvořák’s opera is fully romantic, while Janáček’s Jenůfa is realistic. Janáček’s new style of composition based on Czech speech patterns is a break from Dvořák’s more traditional symphonic style. Deena Nicklefork sings the title role of the water nymph who falls in love with a mortal, Ryan Harper is the prince she loves, David English is Vodník, the ruler of the lake, and Karen Bojti sings Ježibaba, the witch who changes Rusalka into a mortal at a terrible cost. William Shookhoff is, as usual, the piano accompanist.

1904: Jenůfa by Leoś Janáček on May 5 only. Unlike Rusalka’s world of supernatural beings and courtiers, Janáček’s Jenůfa focuses on peasant life. Kostelnička (Monica Zerbe), stepmother of Jenůfa (Michèle Cusson), forbids her to marry Števa (Lenard Whiting), unaware that Jenůfa is already pregnant by him. Meanwhile, Števa’s half-brother Laca (Paul Williamson) loves Jenůfa and can’t understand her indifference to him. William Shookhoff is again the piano accompanist.

1905: Salome by Richard Strauss on April 21 and 27 and May 1, 4, 7, 10 16 and 22. For the first time since 2002, the COC revives Atom Egoyan’s acclaimed production of Richard Strauss’ shocker based on Oscar Wilde’s one-act play. Erika Sunnegårdh sings the title role, Richard Margison is her dissolute father Herod, Hanna Schwarz is her stern mother Herodias and Martin Gantner (April 21 to May 4) and Alan Held (May 7 to 22) sing John the Baptist, the object of Salome’s depraved desire. Johannes Debus conducts the COC Orchestra.

1915: Goyescas by Enrique Granados (1867–1916) on April 29 and May 1 and 2. Opera Five helps us fill in our knowledge of opera by presenting a double bill of two one-act operas from Spain. The title of Granados’ opera is best known as a piano suite reflecting various paintings by Francisco Goya. The composer was encouraged to turn the suite into an opera and so, contrary to usual procedure, Granados’ librettist had to write a libretto to fit the music. The story deals with two men, Fernando (Conrad Siebert) and Paquiro (Giovanni Spanu), who fight a duel over Rosario (Emily Ding), the woman they both love. Maika’i Nash is the music director and pianist and Aria Umezawa is the stage director. Performances take place at Gallery 345. 

1922: Mavra by Igor Stravinsky on April 5 and 7. This rarely performed work is part of Metro Youth Opera’s triple bill of comic operas. (The COC last performed it in 1965 on a double bill with Salome.) Based on a story by Pushkin, the opera tells how the young Parasha (Laura MacLean) tries to deceive her Mother (Sarah Hicks) by smuggling her lover Vassili (Jan Nato) into the house disguised as the new maid “Mavra.” Alison Wong directs with Blair Salter at the piano.

1923: El retablo de maese Pedro by Manuel de Falla on April 29 and May 1 and 2. The second work on Opera Five’s Spanish double bill (see above) is a rarely performed one-act opera based on an episode from Don Quixote and usually translated as Master Peter’s Puppet Show. The opera focusses on the reactions of Don Quixote (Giovanni Spanu) to a puppet play presented by Pedro (Conrad Siebert) depicting Charlemagne’s adoptive daughter being abducted by Moors. As might be expected, Don Quixote cannot control his anger on viewing such an outrage.

1957: Dialogues des Carmélites by Francis Poulenc on May 8, 11, 14, 17, 19, 21, 23 and 25. The COC’s final offering of the 2012/13 season is Robert Carsen’s production of this 20th-century masterpiece created for the Lyric Opera of Chicago in 2007. Isabel Bayrakdarian starred as Blanche de la Force in Chicago and does so again in Toronto. Daughter of an aristocrat, Blanche decides to become a nun to escape the chaos of the French Revolution only to find herself caught up in it after she joins the convent. The starry cast includes Judith Forst, Adrianne Pieczonka, Hélène Guilmette, Irina Mishura, Frédéric Antoun and Jean-François Lapointe. Johannes Debus conducts the COC Orchestra.

1961: Le magicien by Jean Vallerand (1915–94) on April 5 and 7. The third work on Metro Youth Opera’s triple bill is the rarest of all. It is the only opera by Québecois composer Vallerand, written for Jeunesses Musicales as a curtain-raiser for their tour of Debussy’s L’Enfant prodigue. The libretto, also written by Vallerand, concerns a magician who brings the marionettes Colombine and Arlequin to life only to find that they refuse to return to their former state. Though it was performed more than 100 times in the 1961–62 season and recorded in by the CBC in 1967, it lapsed into obscurity until it was revived in concert in Montreal in 1989. MYO does us a great service in giving us the chance to see it now.

2013: Inspired by Lorca by Chris Paul Harman on April 30 is not an opera but a song cycle now titled La selva de los relojes (The Forest of Clocks) based on the poetry of Spanish poet Federico García Lorca. I include it here because it is the last piece that the much-loved Queen of Puddings Music Theatre will produce before it dissolves at the end of August. Mezzo-soprano Krisztina Szabó is the soloist and QoP co-founder Dáirine Ní Mheadhra conducts a chamber ensemble of piano, harp, cello, flute and percussion. The performance takes place at the Richard Bradshaw Amphitheatre in the Four Seasons Centre and is free.

2013: Ruth by Jeffrey Ryan on May 4 only. This is a workshop performance given by Tapestry Opera (formerly Tapestry New Opera) of Ryan’s opera to a libretto by Michael Lewis MacLennan that reimagines the Biblical story as an immigrant tale about the struggle to find welcome in a new country. The performance takes place at the Ernest Balmer Studio in the Distillery District.

2013: The Lesson of Ja Di by Alice Ping Yee Ho on May 10, 11 and 12 by Toronto Masque Theatre. The newest opera presented in this six-week period is a world premiere written as a companion piece to the oldest opera here, John Blow’s Venus and Adonis (above). Based on a true story from the Shang dynasty (second millennium B.C.), it tells of the horrific revenge that a King wreaks on his concubine Da Ji for falling in love with her music teacher, the nobleman Bo Yi. Larry Beckwith conducts the TMT Orchestra on period instruments, augmented on this occasion with traditional Chinese instruments such as the erhu, pipa and guzheng.

Enjoy the bounty on offer in these six weeks and create your own opera festival. 

Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at opera@thewholenote.com.

Every issue, I wade through The WholeNote concert listings, picking out events that highlight aspects of “world music”including its often conflicted identity, performance practice, instrumentation, genrefication, commercialization and reception. Some are easier to identify than others!

A concert self-labelled as flamenco, as is Jorge Miguel’s concert on April 17 at Lula Lounge, seems fairly straightforward, for example. Likewise any concert tagged with a recognizable geographic location outside of the Euro-American mainstream or an established music genre with non-Western or hybrid origins — like samba. But hold on, is the “West” not part of the world? And what about mixed musical marriages, as exemplified by the April 28 concert by the Hungarian group Meszecsinka also at Lula Lounge? They also accurately reflect the real world we travel through and listen to and serve to remind us of the engines of transformation working within every healthy culture to knock down the genres we so lovingly construct.

Instrumentation, once a dead giveaway, can also be problematic as a world music marker. For instance the name of the Burmese instrument called the sandaya says more about the modal performance practices of Burmese music than the instrument, which is in fact a standard Western piano — or even these days perhaps an electronic keyboard. The Carnatic “mandolin” playing South Indian classical music is another case of repurposed terminology. It is actually a small solid body electric guitar adapted in its string tuning and popularized by the virtuoso U. Srinivas (b.1969). Similarly, the Carnatic “violinist” A. Kanyakumari often plays an electric viola which is nevertheless called a violin in programs and albums. On April 19 Toronto audiences can witness one such piece of instrumental rebranding at work at the Trinity-St.Paul’s Centre concert by Vishwa Mohan Bhatt. He plays the mohan veena, an Indianized slide guitar, the manner of playing it some argue being partly introduced to India by Hawaiian musicians.

Another consideration is the context in which music is performed and mediated. Most events I cover here occur in concert halls large and small, in churches, or in clubs like Lula Lounge with a stage. In a feasting society like that of Georgia however food and drink are essential components of some kinds of traditional music performances. Before public concert halls were built the supra, a kind of elaborate well-appointed Georgian feast, was an excellent place to hear indigenous polyphonic singing. Georgian society has elevated feasting and toasting with wine to a consummate art form. You can experience a hint of this custom on April 6 at Toronto’s Heliconian Hall where a tasting of Georgian organic wines accompanies performances of Georgian and Russian songs.

Concerts world wide are often a vehicle for the expression of public grief and tribute. In the case of the concert on Sunday April 7 at Lula Lounge for the recently deceased Uganda-born lukeme (aka “thumb piano”) player Achilla Orru Apaa-Idomo, it will be the occasion of a celebration of a career. The concert features his bandmates African Guitar Summit, as well as Njacko Backo, Ann Lederman, Baana Afrique, Nhapitapi Mbira, Ruth Mathiang and Sani Abu of Ijovudu Dance. His “subway friends” join the party along with Kwame Stephens, Katenen ‘Cheka’ Dioubate, Lizzy Mahashe, and Kobena Aquaa-Harrison.

I, along with thousands of other commuters, heard Apaa-Idomo in passing at the Bloor St. subway station. His virtuoso amplified lukeme playing and textured singing bounced around the station foyer emanating from where he set up beside the concession kiosk. During the precious quiet moments in between trains it echoed down the subway platform. His sweet music inspired me to dream of collaborating with him musically, a possibility sadly now not to be.

That being said, the world’s music will continue to echo through the halls of our city this month, a sweet reminder of the global musical renewal constantly under way all around us.

April 6 is a good place to start, with at least three world music concerts listed. As mentioned last issue, Small World Music/Wine Dine Africa presents the veteran Oliver Mtukudzi and Black Spirits in “The Voice of Zimbabwe” at the Phoenix Concert Theatre. The same day Diana Iremashvili presents an “Evening of World Music” at Yorkville’s Heliconian Hall with Georgian and Russian urban romantic songs and “Russian gypsy” ballads. Featured are the mother and daughter vocal-guitar duet of Diana and Madona Iremashvili, with the added punch of Georgian song specialists Andrea Kuzmich (vocals and guitar), Bachi Makharashvili (vocals and panduri), singers Al Hakimov and Shalva Chxaidze, and Leonid Peisaxov on violin. If unusual repertoire smartly performed is not enough, insiders tell me that a rare multi-flight Georgian organic wine tasting rounds out the evening. It certainly sounds like a worthwhile occasion to revisit this warm-sounding 1875 carpenter’s gothic board-and-batten church once again.

Also on April 6 the Toronto group ten ten performs a concert and album release titled “Odori ni Ten” (odori refers to Japanese dance) at the Robert Gill Theatre. The group features composer Aki Takahashi (shamisen, taiko and voice) and Heidi Chan (fue, taiko and voice). Yoshi Yamano on sitar and the taiko group Nagata Shachu add their booming drums to this cross-cultural collaborative.

April 11 the prize-winning Argentinian quintet 34 Puñaladas, four guitarists and a vocalist, appear at Lula Lounge. Among the youngest generation of tango bands, they aim to reinterpret and untangle the dark roots of urban tango music from the 1920s and 1930s in genre-appropriate guitar arrangements and lyrics often revealing gritty themes of thieves, prostitutes, drugs and the bitter love of the marginalized Portenos, the natives of Buenos Aires.

As mentioned at the outset of the column, April 17 Jorge Miguel Flamenco takes over the Lula Lounge in a program called “Una Vez, Cada Mes.” Torontonian Miguel, a Spanish Canadian guitarist and composer, interprets the flamenco tradition through “the fingers, voice and feet” of an ensemble committed to the spirit of flamenco.

Also as mentioned, on April 19 Toronto’s Small World Music launches its 11th annual Asian Music Series with Vishwa Mohan Bhatt playing Indian slide guitar and Subhen Chatterjee accompanying on tabla at Trinity-St. Paul’s Centre.

The Asian Music Series continues May 4 with award-winning Rajeev Taranath, sarod soloist, at the Maja Prentic Theatre in Mississauga. From the recently introduced slide guitar here we move to the sarod, an instrument which entered the Hindustani instrumentarium perhaps in the 19th century and was modernized in the 20th. Taranath is one of its leading exponents. Master-student lineage is important in this music. Taranath is a distinguished disciple of the late sarod master Ustad Ali Akbar Khan (1922–2009) whom I saw give memorable performances several times in Toronto.

The Esmeralda Enrique Spanish Dance Company’s concert premiere of their production of “Portales” on April 25 to 28 at the Fleck Dance Theatre highlights the multiple intimate relationships that often exist between social or theatrical dance and music. The performers include violinist Chris Church, guitarists Nicolás Hernández and Oscar Lago, singers Naike Ponce and Manuel Soto, and five dancers.

April 28, the extraordinary Hungarian group Meszecsinka appears at Lula Lounge. This Budapest band’s lead singer, Annamária Oláh, sings in six languages: Hungarian, Roma, Bulgarian, Finnish, English and Spanish. The band members are natives of Hungary, Bulgaria and Algeria. Together they have forged an exciting, as yet untaggable, musical fusion, rooted in the folk music of the Balkans and Central Europe, to which they have added Latin, funk, drone, psychedelic and 70s experimental jazz musical features.

The May 5 “Mouth Music” concert by the Echo Women’s Choir at the Church of the Holy Trinity, co-conducted by Becca Whitla and Alan Gasser, brings my Toronto picks to a close. Dance songs from Bulgaria, Macedonia and Georgia are featured in addition to other works. The guest vocalist, JUNO-nominated songwriter Maria Dunn who draws on the Anglo-Scottish-Irish folk tradition of storytelling through song, has been compared to Woody Guthrie for incorporating an engaged social awareness into her songs.

As always, taken as a whole, the results of this monthly amble through The WholeNote’s listings, even if described as world music, sound like Canada to me. 

Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com.

I’m writing this column on March 18, a year to the day after the unexpected passing of Bruce Kirkpatrick Hill, an event that affected many choral singers throughout the city (read my column about this here). In honour of a man who loved choral music and the choral community, I’m going to dispense with my usual rants and jokes and get right to as many concerts as possible.

Off the top, a nod to a concert that will be over before the magazine is out: The Toronto Mendelssohn Choir’s “Sacred Music Concert” takes place on Good Friday March 29. The concert includes Palestrina’s Missa Papae Marcelli — likely the composer’s best known work — and Allegri’s Miserere. This composition from 17th century Italy is a haunting setting of the Latin translation of Psalm 51. Choral and plainchant passages alternate with a virtuosic solo quartet. As well, Canadian composer Timothy Corlis’ God So Loved the World is premiered here. Based in Vancouver, Corlis is an experienced choral singer that has moved on to composition.

For those who like Handel’s oratorios (and like an alternative to that other minor work of his that always gets performed at Christmas), there are two opportunities to hear Solomon, a work written in 1748. It is full of inventive choral writing and has a number of beautiful solo arias. Oddly, both performances are taking place on the same weekend of April 20–21. Solomon is performed in Oakville by the Masterworks of Oakville Chorus & Orchestra and in Toronto by the Pax Christi Chorale.

More Handel in the form of odes, serenades and oratorio choruses can be heard performed by the virtuoso Tafelmusik Chamber Choir, May 1–5 and 7, in “A Handel Celebration.” This concert will be a terrific opportunity to hear the breadth of expression in Handel’s choral works.

For those who would like to hear some choral jazz and gospel this spring, on April 6, We Are One Jazz Choir performs in Beach United Church’s monthly series titled Beach Jazz & Reflection. This concert is funded in part by a freewill offering. On April 5 and 6 the York University Gospel Choir performs at the Ivan Fecan Theatre at York University.

Paul Halley’s Missa Gaia: Earth Mass is a popular work that has been performed many times since it was composed in 1982. To some degree Missa Gaia anticipated the focus on environmentalism that is now part of mainstream social and political discourse, and that has been made all the more urgent because of the increasing threat of global warming. The work is performed by the students of the Cardinal Carter Academy for the Arts on April 3 and 5.

On April 13 the Healey Willan Singers present “España” a Latin-themed concert that includes music by Brazilian composer Heitor Villa-Lobos. Villa-Lobos was a brilliant composer who wrote music of both flamboyance and depth. This concert includes his Missa Sao Sabastiao, first performed in 1937. I’m not aware of any recent concerts of Villa-Lobos’ work, so this is a rare opportunity for Torontonians.

On April 20, the Cantores Celestes Women’s Choir presents a concert titled “The Circle of Days.” This includes Fauré’s Requiem, the premiere of Belarusian-American Sergey Khvoshchinsky’s setting of Dona Nobis Pacem, and David Hamilton’s The Circle of Days. The concert takes place at Runnymede United Church and is a fundraiser to help buy sewing machines and other materials for the Ituna community in Zambia.

If things seem a bit loud in Aurora on April 27, the “Aurora Choral Celebration” is probably the reason. I count at least five choirs that will be taking part in this event, which will undoubtedly be fun and lively, and an opportunity to hear many enthusiastic choral singers. Works include Handel’s Ye Boundless Realms of Joy (one of the composer’s Chandos Anthems, written for a church setting between 1717 and 1719) and All The Little Rivers by veteran Canadian composer and choral activist Larry Nickel.

This month provides two opportunities to hear Brahms’ renowned German Requiem. The Etobicoke Centennial Choir performs it on April 6 and the Achill Choral Society performs it on April 28 in Colgan.

Another late-Romantic setting of the Requiem text takes place on May 4, when Chorus Niagara performs the Verdi Requiem in St. Catharines. The opposite of an introspective setting like that of Brahms, this version when executed well is overwhelming, a sonic force of nature like an earthquake or volcano. The concert celebrates the occasion of Chorus Niagara’s 50th anniversary.

On May 5 the Echo Women’s Choir presents an eclectic program titled “Mouth Music” that includes The Road to Canterbury, by American composer Malcolm Dalglish, a setting of Chaucer’s Prologue to the Canterbury Tales, and William Westcott’s In the Almost Evening, a setting of lyrics by Canadian writer Joy Kogawa. Eastern European choral music is a specialty of this choir, and the concert includes songs from Bulgaria, Macedonia and the Republic of Georgia.

Often, the focus on large-scale religious works of the European classical canon can obscure the reality that composers also wrote music to celebrate the joys and pleasures of temporal love. On May 4 and 5 the Cantemus Singers’ “Love Songs,” a concert appropriate for spring, includes works by Josquin, Byrd, Janequin and Schütz. These composers are the backbone of the early music repertoire and this is a rare opportunity to hear their music performed live.

Having just given a lecture on making a living as a musician last month, I am more than usually aware of how difficult it can be to fund music making. Choirs are fighting hard for both audience share and the funds necessary to execute concerts, as ticket sales can never approach more than a fraction of performance expenses.

Two choirs are holding their own fundraisers. On April 6 the Amadeus Choir presents “A Celtic Celebration.” The event includes live and silent auctions. Lydia Adams, the choir’s conductor, also leads the Elmer Isler Singers and is a central figure in Canadian choral endeavour. On April 20 the Toronto Jewish Folk Choir hosts a fundraising concert of solos and songs titled “Sing Me a Song in Yiddish.”

Last but perhaps most urgently, Reaching Out Through Music program holds a benefit concert and silent auction on April 20, which includes the participation of the St. James Town Children’s Choir. Many of the families of St. James Town are struggling to provide basic care for themselves and their children. The Reaching Out Through Music was created to provide children with group and private music lessons. For young people in economic need music can be a focus for discipline, self-expression and hope. This is one of the most important areas of musical outreach in the city.

Finally, I would like an opportunity to write more extensively about the phenomenon of the show choir, and will do so at some point. This combination of singing and stage work may well be the future of choral music in North America. Show Choir Canada conducts its national championships on April 20 and 21 in the Queen Elizabeth Theatre at Exhibition place. This is an event that will be excellent for children and may be a way to inspire their interest in choral singing. 

Ben Stein is a Toronto tenor and theorbist. He can be contacted at choralscene@thewholenote.com Visit his website at www.benjaminstein.ca.

“Come, fill the Cup, and in the Fire of Spring

The Winter Garment of Repentance fling:

The Bird of Time has but a little way

To fly—and Lo! the Bird is on the Wing.”

—Omar Khayyám

Omar didn’t know it, but the last line of the above probably influenced the following flight of fancy:

Spring is sprung

The grass is ris’

I wonder where the boidies is

The boid is on the wing

But thats absoid

I always thought the wing was on the boid!

And speaking of “boid,” or more correctly bird, makes me think of the jazz bird, Charlie Parker, and from there it’s an easy step to “Bird and Diz.”

Which leads me to a concert worth checking out this month — the Dave Young-Terry Promane Octet and the Heavyweights Brass Band, with special guests percussionist Giovanni Hidalgo and trumpeter Claudio Roditi, will celebrate the music of Dizzy Gillespie on April 13 at Koerner Hall.

I hardly need to say anything about Dave Young and Terry Promane, both stalwarts of the Canadian scene, but maybe a line or two about the visiting firemen is in order.

Master percussionist Hidalgo was born in San Juan, Puerto Rico, into a musical family and came to the United States via Cuba. While performing with Eddie Palmieri at the Village Gate in New York City, the legendary jazz musician Dizzy Gillespie walked in and was so impressed with Hidalgo that he later invited him to join Gillespie’s United Nations Orchestra.

Roditi, born in Rio de Janeiro, Brazil, cites Clifford Brown and Lee Morgan as important influences and was also a member of Gillespie’s United Nations Orchestra.

It should be one of the highlights of this month.

Early this month I’ll be winging my way over to Europe, not for April in Paris, but springtime in Vienna and London. Sad to say, the jazz scene in London has diminished over the years. Ronnie Scott’s still soldiers on, but be prepared to pay New York prices; the Pizza Express is still active, but that seems to be it for full-time jazz clubs in the heart of London. Likewise in Vienna you have two major clubs, Porgy and Bess and Jazzland, where I have played at least once a year for well over 30 years and that’s where I’ll be for part of this month.

“Tain't no sin to take off your skin and dance around in your bones."—1929 song by Walter Donaldson; lyrics by Edgar Leslie

As I looked over the listings for this month I was struck by the number of jazz performances there are in churches. I counted at least five — an interesting transition when you consider that it was once regarded by many as the Devil’s music and Toronto was a bastion of 19th-century Victorian morality known as “Toronto the good.”

But narrow-minded prejudice wasn’t confined to Victorian times. In the early years of the 20th century jazz music was one of the main targets. For example, in 1921 the Women’s Home Journal printed an article entitled, “Does Jazz Put The Sin In Syncopation?” To say that the writer disapproved of the music is an understatement. I quote:

“We have all been taught to believe that ‘music soothes the savage breast,’ ... Therefore, it is somewhat of a rude awakening for many of these parents to find that America is facing a most serious situation regarding its popular music. Welfare workers tell us that never in the history of our land have there been such immoral conditions among our young people, and in the surveys made by many organisations regarding these conditions, the blame is laid on jazz music and its evil influence on the young people of today ... That jazz is an influence for evil is also felt by a number of the biggest country clubs, which have forbidden the corset check room, the leaving of the hall between dances and the jazz orchestras — three evils which have also been eliminated from many municipal dance halls, particularly when these have been taken under the chaperonage of the Women’s Clubs.”

Sounds incredible doesn’t it? But back in 1921 there was an outcry from many segments of society, coming from both religious leaders and music educators, that jazz music had an evil influence on its listeners! Some felt that it led to immoral dancing and promiscuity while others went so far to say that jazz could cause permanent damage to the brain cells of those who played or listened to it!

But it doesn’t end there. If we fast forward in time to 2007, an extreme religious fundamentalist website contained the following words: “Like the blues, boogie-woogie, and ragtime, jazz was born in the unwholesome and sensual environment of sleazy bars, honkytonks, juke joints, and whorehouses. The very name “jazz” refers to immorality.”

What a collection of sinners we are!

Contrast the above with these words by Dizzy Gillespie: “The church had a deep significance for me musically ... I first learned there how music could transport people spiritually.”

And there is this from Dave Brubeck: “To me, if you get into that creative part of your mind when you’re playing jazz, it’s just as religious as when you’re writing a sacred service.”

When it comes to questions of morality I rather like the words of Ernest Hemingway: “I know only that what is moral is what you feel good after and what is immoral is what you feel bad after.”

Before leaving the topic it is interesting to note that from medieval times improvisation was a highly valued skill and improvised counterpoint was a fundamental part of every musician’s education. Many famous composers and musicians were known especially for their improvisational skills.

I would hazard a guess that if Bach, Handel, Mozart, Chopin and Liszt were around today they might well have been jazzers.

By the way there are at least two significant birthdays on April 1: that wonderful singer Alberta Hunter and Harry Carney, long-time baritone sax player with Duke Ellington.

No April fools, they!

Happy listening and make sure you get out and hear some of that sinful music! 

Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at jazznotes@thewholenote.com.