Beat Columns (Live Music)

For months there has been speculation, in “the business” and out, about what the unannounced “secret” seventh show of the upcoming 2024/25 Mirvish season might be. Possibilities mooted have included Beetlejuice and MJ: the musical, among others.

The real news is much more exciting.

Women from Space: In last month’s issue, I wrote about the Women from Space festival, which happened from March 8-10. I was delighted to attend some of the events, and came away feeling inspired and energized by what I heard. The festival opener was a spectacular improvisation by Bloop, the duo made up of trumpeter Lina Allemano and her performance partner Mike Smith, whose electronics wizardry was fully on display in the effects processing he conjured from the equipment at hand. At times Allemano also played various gong instruments, such as a large cow-bell with one of her hands, adding different sonorities to the mix.

As we endure the coldest stretch of the year, anticipating the first signs of thaw around six weeks from the release of this issue, it seems that new music activity in the city is also undergoing a bit of a hibernation, with many of the typical presenters holding off until April to resurge into action. However, as I discovered while perusing the listings, there are some signs of vibrant and percolating life out there. One concert in particular caught my eye – a performance of Morton Feldman’s 80-minute work for piano and cello entitled Patterns in a Chromatic Field, performed and produced by members of Freesound on February 29 and March 1.

There is a conventional narrative about a musician’s career trajectory, perpetuated in television and film: in the US version, the talented young musical artist plays progressively bigger stages, from high school talent shows to local clubs to Madison Square Garden, or Carnegie Hall, or the Grand Ole Opry, depending on the genre; and at the conclusion of the hero’s journey, we are left with an image of our protagonist as having arrived, as it were, on their rightful stage, never again to play in a venue smaller than an aircraft carrier.

For those of you who haven’t tried it yet, the “Just Ask” feature under the Listings tab on our website is a handy way of filtering our daily event listings to show only the types of music that you are interested in. For example, select “choral” for the February 1 to April 7 date range covered in this issue’s listings, and you get details of 72 events – far and away the largest single category we list.

Somehow “We’re going to the opera!” doesn’t even just mean the building or the performance. It’s about both, and the alchemy of the immersive and transformative experience we anticipate. We go to the opera for the music and for the story, familiar or not. We go for the visual stimulation of the sets and costumes. But we also go for the shared experience and the shared excitement, and because one way or another, the experience is always larger than our own lives.

It’s a new year, so cue the cold winds and snow as the lighthearted fare of the holiday season gives way to tougher, darker, fascinatingly rich new works drawn from older sources.

Given the precariousness involved in the retail and service industries, it is something of a miracle when new grassroots venues emerge. It is not as though larger ventures – such as the nascent Allied Music Centre at Massey Hall – are without risk; presenting live music is always a tricky proposition. Large, established organizations, however, have the benefit of development departments, of long-cultivated reputations within the community, and, typically, of owning the physical space in which they host concerts. For small establishments, the math looks quite a bit different.

For a classical work that features in only 19 of the 123 concerts in this issue’s listings that involve a choir (or choirs), Handel’s Messiah still commands a lot of Christmas concert attention. (I think the rule is I am allowed to say “Christmas” if I use “Messiah” in the same sentence.)

The sheer number of concerts in our listings is impressive enough. Even more impressive is the resonances between seemingly unrelated events once you start to dig a little deeper and start to connect the dots. Take, as an example, Art of Time and Sinfonia Toronto, mainstay ensembles in our midst for almost as long as The WholeNote has been around. Each is in the midst of a silver anniversary, 25th season with the founding artistic directors of both groups (Nurhan Arman and Andrew Burashko) still at the helm of their respective ensembles. Both of them delight in arranging music, and in creative programming, constantly seeking to blend the familiar with the new, introducing top-flight soloists to challenge their ensembles and delight their audiences.