The Aperture Room is the crown jewel of a beautifully preserved building at 340 Yonge St., a couple of blocks north of Yonge and Dundas, designed and built in 1922 for the Thornton-Smith Company – an antique furniture and interior design firm.
I first met Ron almost 45 years ago when we were both studying with Robert Bick at York University. Bick had recently returned to Toronto from Brattleboro, Vermont where he had been studying with the great French flautist and teacher, Marcel Moyse, who, before the Second World War, had been the flute teacher at the Paris Conservatoire.
Tafelmusik Baroque Ensemble is making good use of its emerging hybrid artistic leadership model: a three-player artistic co-directorship (Brandon Chui, Dominic Teresi, and Cristina Zacharias), mentored by Principal Guest Director Rachel Podger. Together they are in the process of putting together a storied season. February and March alone will bring 11 performances of four different programs.
Such is the nature of usually writing about shows ahead of time that I don’t often enough get to go to the shows I write about. On August 3, however, I travelled to Stratford Summer Music to take in Gregory Oh’s performance of Lessons in Failure. I had interviewed him back in May for the summer issue of The WholeNote and was quite taken by his stories of making mistakes during key moments of his performance career.
New Brunswick violinist Katya Poplyansky first participated as a fellow in the TSM emerging artist program in the summer of 2018 and returned the following summer.
If I were talking only to long-time readers of this magazine right now, I would suggest you do some online homework before carrying on with reading this story, by heading off to one particular spot on the Toronto Summer Music (TSM) website. Once you arrived, I’d ask you to scroll your way up through the two lists of musicians you’ll find there – the alumni of the TSM’s two Academy programs (chamber and vocal music) from 2012 to 2023. (The lists are easy to find even if you don’t have a link: just go to “Alumni” under the tab “Academy.”)
“It’s time” I rumble (fussing with the shirt studs and cufflinks) “once again” (muttering while untwisting the back strap on my white vest) “to carp and whine about this ridiculously outmoded uniform requirement!”
The occasion? Getting set to join my colleagues in the Hamilton Philharmonic, a fine regional orchestra where I am sometimes called as a substitute. We are to perform music by Mozart, who wrote his beloved Symphony No.40 in G Minor before white tie and tails were a thing, and Richard Strauss, who lived during their rise as formal evening wear.
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.
Here on the island, there’s artistic blood in everybody. I mean, everybody somehow sings and dances and carves and – or plays an instrument. And there’s nothing more natural and more true to the human being than art and music. – Mahani Teave
Mahani Teave [Tay-AH-vay] – who makes her Koerner Hall debut at 3pm on October 1 as part of her first North American tour – is the sole professional pianist on one of the most remote, inhabited islands on Earth, Rapa Nui (Easter Island). There she heads the island’s only music school. She’s living a remarkable story.
Toronto Summer Music (TSM) returns July 6 to 29 with Metamorphosis as its motif and, appropriately enough, a butterfly as its graphic signature.
“What strikes you instantly is that Pouliot’s sound is a beauty: big, rich and warm in the lower registers, clean and clear up high, feathery and husky qualities, along with sweet and rough, all equally there in his colouristic palette.” – Gramophone Magazine
Toronto-born violinist Blake Pouliot (pronounced pool-YACHT) brings his passionate music- making to Koerner Hall, where he will make his debut on April 21. Winning the Grand Prize at the 2016 Orchestre Symphonique de Montréal Manulife Competition – the most significant of Pouliot’s early accolades – led to his first recording (for Analekta). His 2019 Juno Award nomination was further evidence of an ascending career path, leading to this much-anticipated Koerner visit. The following email Q&A took place in early March.
