The new International Orchestra Series announced October 6 is an exciting addition to the Royal Conservatory’s dance card. The upcoming first visit to Toronto by the Chicago Symphony Orchestra (their first since 1914) is an intriguing prospect that prompts a few questions. Who better than Mervon Mehta, the Conservatory’s executive director of performing arts, to fill us in?
Let’s start at the beginning. Trichy Sankaran was born on July 27, 1942 in Poovalur, Thiruchirappalli district of Tamil Nadu in southern India. Another significant date occurred 29 years later when the classically trained Indian drummer Sankaran took a momentous leap of faith across the globe, accepting a job teaching at the fledgling Music Department, York University. He arrived in 1971, retired in 2015. What he accomplished in between is the subject of the first part of this story, and the prequel to the second part.
“A wild idea coming to fruition.” That is how composer Alexina Louie summed up the nature of Esprit Orchestra’s concert on November 27, featuring three exceptional concertmasters all based in Toronto and all sharing the stage, performing four violin concertos as part of Esprit Orchestra’s 40th season (an amazing feat in its own right).
The idea of programming an entire concert of violin concertos was an idea cooked up by Esprit’s conductor and music director Alex Pauk. Louie’s response when Pauk proposed the idea was to push back: “How can you do that? How often have you heard three violinists playing three violin concertos on one concert? In all of my concertgoing days, I’ve never seen a concert like that.” But Pauk persisted.
The concert will feature Aaron Schwebel from the National Ballet of Canada Orchestra performing José Evangelista’s concerto Violinissimo, written in 1992, which Esprit has performed before; Marie Bérard from the Canadian Opera Company Orchestra performing John Rea’s Figures hâtives written in 2006, a work she has previously performed; and Stephen Sitarski, Esprit Orchestra’s concertmaster, performing a newly commissioned work, Six Enigmas, by Andrew Staniland. The concert will conclude with Louie’s Triple Concerto for Three Violins and Orchestra that was commissioned by three different orchestras in 2017 to celebrate Canada’s sesquicentennial year: The Toronto Symphony Orchestra, the National Arts Centre Orchestra and the Montreal Symphony Orchestra, performed, in that case, by each of their respective concert masters.
When he was 24, Lucas Debargue finished fourth in the 2015 Tchaikovsky Piano Competition but, more importantly, the Moscow Music Critics Association bestowed their top honours on him as “the pianist whose performance at the Competition has become an event of genuine musical significance, and whose incredible gift, artistic vision and creative freedom have impressed the critics as well as the audience.”
Just before the COVID-19 protocols took effect in March 2020, Debargue made his third Koerner Hall appearance headlined by ten Scarlatti sonatas in support of his SONY recording released in 2019. He returns to Koerner Hall on October 29, just days after his 32nd birthday in an intriguing recital titled “An Evening in Paris.” It features music written by composers who lived in Paris or wrote the music while staying there – pillars of the repertoire by Mozart (Sonata for Piano No.8 in D Minor, K310) and Chopin (Ballade No. 2 in F major, Op. 38; Prelude in C sharp minor, Op. 45; Polonaise-Fantaisie in A flat major, Op. 61; and the rarely performed tour-de-force, Alkan’s Concerto for Solo Piano, Op.39 No. 8, Op.39 No. 8).
Arguably Canada’s greatest living pianist, Marc-André Hamelin – whose own recital on October 16, also at Koerner, features an exploration of works by Fauré – made his early reputation mining the treasure trove of music by 19th-century composer-pianists, including the enigmatic Alkan. When Hamelin recorded the Concerto for Solo Piano for Hyperion, their website called it “one of the great pianistic high-wire acts – an epic work which demands unprecedented levels of technical ability and physical stamina. It is conceived on a breathtakingly grand scale and is rich with both orchestral sonorities and lyrical pianistic passages.”
Why do we love Mendelssohn’s Elijah? For many conductors, performers and listeners, it is the perfect oratorio, combining all the dramatic musical elements required to bring this colourful story to life.
A more puzzling question is why do we love this character, Elijah? In the oratorio’s opening scene, the cantankerous prophet bursts into ominous incantation, pre-empting the overture with a curse. He condemns his people to drought and famine to force their allegiance to Jehovah, and then massacres the prophets of Baal at Kishon’s brook to ensure his rival cult will never rise again. But unlike other bad boy baritones (like Scarpia) or terrible tenors (like Pinkerton) or murderous mezzos (like Clytemnestra), we have sympathy for Elijah, thanks to librettist Julius Schubring’s careful management of Biblically inspired text. Elijah’s fiery, public character is balanced with his gentler, private self, with intimate scenes of tender compassion toward a widow and her child, his humble loyalty to his people, and his gratitude. Ultimately, in his own emotional wilderness scene, he confronts his self-doubt and contemplates suicide. He is saved by a group of angels who sing “Lift thine eyes to the mountains.”
For the past six weeks I have been immersed, as stage manager, in the 19th-century world of Anton Chekhov’s Uncle Vanya – or rather, in a version of that world seen through a contemporary Canadian lens that illuminates a classic of the past and, in breaking it open, offers insights that apply equally to our own times. (The production is a new adaptation by award-winning Canadian actor Liisa Repo-Martell, bringing together a wonderful group of actors under the innovative and daring direction of Chris Abraham.)
Meanwhile, next door in the same building (Crow’s Theatre in Toronto’s East End), a new theatrical concert The Shape of Home: Songs in Search of Al Purdy is continuing to develop – undertaking a similar journey of turning a modern lens on an icon of the past, in this case the “unofficial poet laureate of Canada,” Al Purdy. The modern lens, in this case, is overtly musical.
As the new season of concerts gets underway in these somewhat post-Covid days, some of the larger-scale presenters have, with fingers crossed, announced ambitious season lineups. As I looked through their listings, a noteworthy trend was emerging: the regular programming of contemporary works. Perhaps there’s been a shift away from the token or obligatory inclusion of music by living composers which would indicate that past events such as the TSO’s New Creations Festivals, or several seasons of the 21C Festival have been successful in bringing in an eager audience interested in listening to current ideas and styles.
A good example of this lies with two October concerts presented by the Toronto Symphony Orchestra. On their October 12 concert, the programming includes a work by Christina Volpini, a Hamilton/Toronto based composer whose music is known for its subtle and nuanced textures, and the Canadian premiere of subito con forza (2020) by Korean-born/Berlin-based composer Unsuk Chin. Volpini’s piece is one of the five Celebration Preludes commissioned from GTA composers for the 2022/23 season. These recently composed pieces stand alongside 20th-century master Ligeti’s Atmosphères and classic compositions by Haydn and Beethoven. Chin’s piece was composed for the 2020 Beethoven anniversary year, and quotes from his 1807 Coriolan Overture are shape-shifted and woven throughout the orchestra. Other references to Beethoven’s music in Chin’s densely textured piece include the Fifth Symphony’s opening rhythm and flourishes from the Emperor Concerto.
Stratford: On April 29, 1875, a fire in Ballycroy, Ontario took three young lives. Several buildings went down in this probable arson, but the only human casualties were the three women trapped in their second floor room of the Small’s Hotel. Recent immigrants from Ireland, Mary Fanning, Bridget Burke and Margaret Daley had just started working in the millinery trade. They belonged to a Catholic parish in Colgan, one town over. Nothing else is known about them. Reasons for the arson, if indeed it was, remain unknown. The once vibrant all-Irish town, Ballycroy itself is now a ghost town.
Something about this story deeply touched composer and writer Marek Norman who, upon coming across an article about it in a local paper, felt called to imagine and write these women’s lives. The result is Ballycroy, his two-act play with music in which the three women come back as ghosts to recount their lives. Stratford-based INNERChamber Ensemble with its artistic director Andrew Chung on violin and Norman conducting from the piano will perform a condensed concert version of the play on November 5 in Avondale United Church in Stratford. The piece is scored for three voices, piano, violin, viola, cello, flute, oboe, clarinet and percussion. Directing the production: one of Canada’s theatre legends, Marti Maraden.
While some cite Paris’ 2001 Nuit Blanche as the concept’s ground zero, it likely had its roots in Helsinki in 1989; Helsinki’s nighttime festival of the arts, with all museums and galleries open “until at least midnight” proved to be contagious, steadily spreading to over a hundred of the world’s cities, including across Canada, including Montreal, Ottawa, Toronto, Edmonton, Calgary, Halifax, Winnipeg and Saskatoon.
I well recall the buzz around Toronto’s premiere Nuit Blanche in 2006. I cut out the double-page downtown event map in NOW magazine to facilitate my bicycle-driven art crawl to well over a dozen events and installations. Dubbed Scotiabank Nuit Blanche for its title sponsor, it is today the City of Toronto’s baby, after the bank withdrew in 20125, saying the event no longer aligned with its sponsorship priorities. By then, it had “grown into one of the largest public art exhibitions in North America,” according to the city’s website. How large? In 2015 the city claimed in a promotional video that “Since the inaugural event, more than 9.5 million people explored 1,200 art projects by 4,500 artists.”
First, full disclosure of a personal bias: I prefer my early music live – up close and in person, the way it was intended at the time of its composition. Recordings of period music, even on period instruments, always leave me feeling a bit weird. So the past way-too-many months have been a real struggle for me. Now, there’s so much live performance to choose from that I hardly know where to begin. (Details of all these events mentioned here can be found in the listings, starting on page 34.)
Sep 23 & 24: Tafelmusik Baroque Orchestra invites us to “picture a vibrant city humming with creative spirit, attracting artists who exchange diverse ideas and perspectives.” Present day New York or Toronto? No, 18th-century London. “Handel’s London” offers up Handel, Purcell and Geminiani, also lesser-known works by Kusser and Hellendaa, and a Purcell-inspired piece by one of Tafelmusik’s own, the late Allan Whear. Guest director, leading from the harpsichord, is Avi Stein, associate organist and chorus master at Trinity Wall Street,a teacher at The Juilliard School and Yale University, and artistic director of the Helicon Foundation (New York).
Of the many experiences that point to our collective hunger for dependable post-lockdown life, none has hit quite so close to home for me as seeing post-secondary students get back to classes. Sure, it still feels like a novelty to watch maskless people thunking melons in the grocery store, restaurant patrons trying each other’s drinks, or a trumpet player mercilessly spraying the floor of a venue with spit-valve effluvia. But – as I experienced on an unexpectedly brisk morning in early September, walking across the University of Toronto campus for coffee with a friend – nothing quite says “we’re back” like overhearing two new roommates arguing about whether hanging a Quentin Tarantino poster would be “edgy and transgressive” or “you know, uh, maybe a bit much, like… politically?”
During COVID, we witnessed seismic changes on the club scene: closures, pivots, renovations, and rebrandings. For some organizations, the enforced and recurring lockdowns meant the end: time ran out. For others the lockdowns bought time for necessary rethinking and new developments.
