Beat Columns (Live Music)

Fiddling around (not literally) on the internet I found some interesting jazz birthday items for March. For instance, saxophonists James Moody, Brew Moore, Flip Phillips and Lew Tabackin all share March 26 as their birth dates and the very next day is shared by Harold Ashby, Pee Wee Russell and Ben Webster. Different years of course, but the same date.

Likewise, pianists Frankie Carle, Pete Johnson, Cecil Taylor share the 25th.

(Speaking of Cecil Taylor, the avant-garde pianist is one of the pioneers of free jazz and his playing uses a very physical approach, at times attacking the piano with his fists and forearms. There is a story which may be apocryphal but makes for a good yarn. A truck was transporting a Bösendorfer grand piano, Taylor’s piano of choice, through city streets when the following small disaster occurred — the Bösendorfer fell off the truck and was smashed to pieces. Someone told the story to Taylor who paused for a few seconds before saying, “I wish I’d heard that!” Now you know what his playing can sound like.)

Jimmy McPartland, jazz trumpeter and husband of Marian, who incidentally was born on March 20, was born on March 15, 1907, and died on March 13, 1991.

Drummer Barrett Deems was born on March 1. So, for that matter, was Glenn Miller, but I’m not in the mood to write about Miller, although he shows up on quite a number of early jazz recordings long before he became James Stewart.

(By the way, did you know that one of Miller’s early compositions, for the Dorsey Brothers Orchestra, was a ditty called Cousin Annie’s Fanny and was reportedly banned by a number of radio stations because of double entendres in the lyrics?!)

But I digress. It’s Barrett Deems who is the focal point of this little story.

Deems is probably best remembered for years spent as a member of the Louis Armstrong All-Stars. He had a formidable driving technique and was sometimes referred to as “the world’s fastest drummer.”

Armstrong, who used to refer to him as “The Kid” was quoted as having said about Deems’ playing that “he makes coffee nervous.”

Deems  always was a bit of a character but the older he got the more eccentric he became; by this time he had grown a beard and, truth to tell, had a pretty wild appearance. He was never at a loss for words and described himself as the oldest teenager in the business. The words weren’t always, shall we say, acceptable in polite circles and he ruined more than one recorded interview. He certainly was justification for the practice of broadcast delay. It was around this time that Mr. Deems entered my life.

We were both appearing at the Bern International Jazz Festival which in those days used the five-star Hotel Schweizerhof as its headquarters. The festival musicians stayed at the hotel and each evening we ate like kings in its very elegant restaurant. Enter, literally, Barrett Deems who in a typically loud voice asked why they wouldn’t serve him a hamburger!

But the straw that broke the camel’s back requires a little explanation. Deems was in the habit of carrying a duck call in his pocket — a very piercing duck call — and yes, came the evening when he paraded through the restaurant blowing the duck call to the obvious dismay of all and sundry. The very next day we were all advised that in future we would be served dinner at a nearby restaurant.

It was a very nice restaurant, but it wasn’t the Schweizerhof.

For the last few years of his life in Chicago, Deems  had a successful big band and could still drive it along with energy and enthusiasm.

In September of 1998 the oldest teenager in the business died of pneumonia, leaving many of us with a trail of memories of an era when jazz had more than its share of real characters.

Speaking of characters, March 24 is a date that has been set aside from 4pm to 8pm as a celebration of the life of Geoff Chapman, longtime writer for the Toronto Star and later a contributor to The WholeNote, reviewing CDs of Canadian jazz artists.

After Chapman’s death last September, former Star editor Vian Ewart suggested having a celebration of Geoff’s life. Chapman’s wife Bilgi supported the idea and David Stimpson, founder of University Press Group, avid reader and jazz enthusiast, suggested The Pilot as a suitable venue.We met with Michelle Elliott, The Pilot’s events co-ordinator, who helped to organize the event.

There will be nibbles available and a cash bar. Geoff’s interests were wide-ranging and we are hoping that not only his jazz fans will come out and join in the party.

There will, of course, be music, provided by Don Thompson, piano, Neil Swainson, bass, and Terry Clarke, drums, with other musicians invited to sit in (and don’t be surprised if they do).

I like to imagine that Geoff will be looking down on us quaffing his drink of choice, a good English beer.

Marchons, marchons!

Happy listening and please make some of it live. 

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

How does one get started in banding? Nowadays, the most common way is through school music programs. Almost every secondary school in this part of the world has a music program, and many elementary schools do as well. It hasn’t always been that way though. When I went to school in Windsor, Ontario, we had no formal music program, nor did any other school in the city. The school had an excellent fully equipped auditorium with a balcony. It was the best auditorium in the city. When world renowned groups like the Russian Don Cossack Chorus came to town, that is where they performed. It was also home to many amateur productions like the Gilbert and Sullivan operettas where my parents first met.

Things have changed. Most secondary schools have bands as well as choirs, and many have large string ensembles as well. As for my old school, it is now the major school for the performing arts in the region. How did young people get introduced to music performance back then? For boys there were a few boys’ bands, and girls were more or less left out. A recent short excerpt on CBC Radio triggered my thoughts on this subject. In the program B is for Brass Dave Pell, bass trombonist with the Hannaford Street Silver Band, related how he started. As a boy, Pell’s introduction began when he was given a euphonium in the Salvation Army band. He was soon in love with the instrument and its sound. However, it’s only used in bands. So when it was time to buy his own instrument, he wanted an instrument which would be found in a broader spectrum of ensembles. He chose the trombone.

My own case was very similar. My two best friends, Keith and Jimmy, played in a boys’ band sponsored by a local service club. I decided to try to join the band with them. I thought that I would like to play drums. There were no “openings” for drummers, so I was handed a euphonium and shown how to made a semi-musical sound. When that band ceased to operate, I was without an instrument. I liked the euphonium, but realized that there were many kinds of musical groups where the euphonium was not used. I wanted the option of being able to play in dance orchestras or symphony orchestras. Would it be trumpet with the same fingering or trombone with the same mouthpiece? Like Pell, I chose trombone. Also like Pell, I have retained my love affair with the sound of the euphonium and the counter melodies often written for it. When I meet young people who have embraced their particular instruments, a frequent question which I ask is: “Did you choose the instrument or did the instrument choose you”? In Dave Pell’s case and mine the euphonium chose us, then we chose the trombone.

Bands, their repertoire, their audiences and their performance venues have certainly evolved over the years. From the works bands of Britain and Europe to the early town bands in North America, much of the programming was military music or transcriptions of classical works. Prior to and throughout WWII the major events for bands were tattoos, with most groups parading before a reviewing stand. On the platform would be one featured band playing such works as concert overtures between various parts of the marching groups. But gradually, over the years the perception of bands and band music has evolved. The concert band has finally gained the respectability of performing in concert halls. The concert band that also participates in parades is a rarity today.

Not so splendid isolation: Before looking at what the bands in this area are offering this spring and summer, there is another evolving trend in the band world which is receiving mixed reactions in the banding community. I’m referring to the use of mp3 files for learning new works. Many bands are now posting recordings of their current repertoire on their bands’ websites or asking their members to sign on to their internet groups, to listen to a recording and follow it on their printed music. In some cases it is suggested that the members should play along with this at home. Is this a good idea?

Proponents are all in favour of using any means to achieve a better performance. But the first flaw is the assumption that all band members have ready access to a high speed internet connection with suitable sound reproduction capabilities. It also assumes that members are comfortable using all of this technology. Even if this unlikely situation were possible, and that there were no distractions in the home, is this the best way to learn a new work? There certainly would be no interaction with other band members. Those opposed to the idea consider it to be the community band equivalent of “paint by numbers” games for children. There is an output. But is it art? What will happen to the all important sight reading skills which are so valued? We would love to hear from readers on this subject. Have you tried it? Did it work for you and/or your band, or was it more of a distraction? Are there other aspects of modern technology having an influence in your band experience?

Upcoming: As for programming, so far we have heard from two bands with details of what they will be performing in the coming months. In both cases, in keeping with a popular trend, they are “theme” programs. The first is that of Henry Meredith’s Plumbing Factory Brass Band in London, Ontario, which always has imaginative programs. Titled “Our Home and Native Land – A Celebration of Canada,” the April 17 program will open and close with two different marches both called Bravura, a word which conjures up our national spirit of energy, pride and glory. Included will be Handel’s Coronation Anthem “Zadok the Priest” which was performed 60 years ago at our Queen’s coronation in 1953. The band will then take the audience on a musical tour of Canada with such numbers as Howard Cable’s The Banks of Newfoundland, an arrangement of several folk songs from our oldest, yet newest, province. Canada’s waterways will be portrayed by Herbert L. Clarke’s cornet solo The Maid of the Mist, named for the famous Niagara Falls tour boat.

The Uxbridge Community Concert Band has taken a different approach to its theme programming. Last year band members were asked to vote on a single number from previous years that they would like to perform again. Their choice of previously performed music was a suite from The Firebird. From that evolved the theme of “The Elements” for an upcoming concert. It will all be music about earth, wind, air and fire. From the fast-moving Dancing in the Wind, the power of the sacred volcano Mazama and the gospel stylings of Wade in the Water, through the tumultuous Ritual Fire Dance to the grand finale of The Firebird, it should be quite a musical journey.

Down the road: The University of Toronto, Scarborough (UTSC) and the Ontario Band Association (OBA), are inviting interested groups to participate in the 2013 UTSC & OBA Chamber Music Festival. This is a three-day music festival that will take place from April 16 to 18, 2013, at the UTSC campus. Further information will soon be available at onband.ca/cmf.

We have not heard any more on the York University band workshop in May, mentioned in last month’s column, but expect to have more details well before the date. 

Jack MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

Retraction: In the March 2010 issue of this publication I referred to a collection of early wax cylinder recordings in my possession (picked up at a sale in a barn in Prince Edward County, by the way). Amongst them, I said, there was, to the best of my recollection, a conversation reputed to be between Thomas Edison and Johannes Brahms. Challenged repeatedly by a reader to substantiate my claim or retract it (since there is no evidence that Brahms and Edison ever met), I have stalled on doing so, in the hope that I’d get round to rummaging through more than half a century of “stuff.” Since, three years later,
I seem to be no closer to getting around to doing so, I hereby retract any claims made in this column as to the existence of such a cylinder.

Those who think that Victoria, BC, is still the land of “the newly wed and the nearly dead” need to update their impressions — at least where the local music scene is concerned. Better yet, they might like to plan a late winter/early spring getaway from the frigid, grey-toned rigours of Toronto to sample the mild, evergreen delights of the West Coast — including some remarkably adventurous concert programming.

The Victoria Symphony: An institution not always renowned for breaking new musical ground — now does so regularly under the inspired and visionary leadership of Tania Miller. Currently celebrating her tenth anniversary as music director — the first Canadian woman to hold such a position — “Maestra” Miller (as she is known here) challenges and rewards orchestra members and audiences alike with fresh, revelatory readings of standard works, thematic mini-festivals and frequent forays into new and unusual repertoire.

Already this season, Miller and the VS have teamed up with the University of Victoria and the Victoria Art Gallery to celebrate John Cage’s 100th birthday, and presented the world premiere of a major new orchestral work, Figures in the Night Passing, by the dean of Canadian composers, R. Murray Schafer. Coming up on March 15: a very special concert designed to climax a two-month, city-wide celebration of Victoria’s Chinatown, the oldest in Canada and second-oldest in North America (after San Francisco’s). The project epitomizes the VS’s commitment both to new music and to connecting classical music with the broader context of community life — particularly its multicultural dimensions.

The highlight of the program is undoubtedly the world premiere of a 45-minute “symphonic theatre” creation, by Toronto-based composer Chan Ka Nin, called Harmonious Interest. The title is a reference to a striking and colourful structure called The Gate of Harmonious Interest that marks the entrance to Victoria’s Chinatown; the concert will take place just a few steps from that spot, in the McPherson Playhouse. A former Pantages vaudeville house, The Mac is about to celebrate its own centenary, along with its sister theatre, the Royal, which is the Symphony’s usual home base.

The seven-movement work is scored for orchestra, percussion soloist, hulusi (a Chinese reed instrument with drone pipes), plus two singer/actors and a dancer. Like Chan’s earlier opera, Iron Road, this new piece is a collaboration with librettist Mark Brownell and dramatizes the Chinese immigrant experience on the West Coast — and by extension across Canada. We follow a recently arrived labourer as he explores the city’s narrow, twisting Fan Tan Alley with its gambling rooms and opium dens, struggles to learn to be a Chinese cook, and dictates a letter home to his beloved wife.

The final movement of the work has already been heard once, at last summer’s Victoria Symphony Splash concert, where it was well received. Splash is an iconic annual outdoor event that attracts some 40,000 spectators to the Inner Harbour, where the orchestra performs on a barge, surrounded by enthusiastic listeners in kayaks. (The equivalent in terms of public impact would be if a quarter of a million people came to Harbourfront to hear the TSO.) Splash always takes place on the Sunday of BC Day weekend; next year will mark its 25th anniversary, and the year after that, the Victoria Symphony will celebrate its 75th anniversary.

But back to the March 15 concert: in addition to the world premiere of Chan’s Harmonious Interest, the program will also include Strange Air, by Dorothy Chang, a UBC associate professor. This piece was the inaugural commission from the Women’s Philharmonic Commissioning Project of Meet the Composer (now part of New Music USA), and was premiered at the Cabrillo Festival of Contemporary Music in Santa Cruz, CA, under the baton of the festival’s music director, Marin Alsop, herself a trailblazer for women in leadership roles in classical music. As well, VS concertmaster Terence Tam will be featured as soloist in the Butterfly Lovers’ Concerto, the well-known and accessible work written in 1959 by Chinese composers Chen Gang and He Zhanhao.

Vox Humana: The mid-March weekend in Victoria that starts with Friday evening’s VS “Chinatown” concert continues with a true embarrassment of riches, musically speaking. On Saturday and Sunday, the focus shifts to choral music — a genre with which this city is particularly well blessed. Easter comes early this year, and March 17 is Passion Sunday, a fact which one of our pre-eminent chamber choirs, Vox Humana, is acknowledging with back-to-back offerings: an ambitious doubleheader on the subject of the Passion.

On Saturday evening, under the ethereal dome of St. Andrew’s Roman Catholic Cathedral, Vox Humana will present a program that includes Arvo Pärt’s Passio for chorus, soloists and chamber orchestra. The piece represents the culmination of the composer’s tintinnabuli style. On Sunday afternoon, at St. Barnabas Church, the featured work will be the British Columbia premiere of The Little Match Girl Passion, by the hot New York-based composer (and co-founder of the Bang on a Can collective) David Lang. Synthesized out of influences that range from Hans Christian Andersen to Johann Sebastian Bach, the work won the 2008 Pulitzer Prize for Music. It has received a wide variety of innovative stagings in productions around the world — including one in London for shadow puppets, no less! The Victoria version will incorporate original choreography for three dancers.

Both the Saturday and Sunday Vox Humana shows will also provide opportunities to hear the first performances of a short work by the young Victoria composer David Archer. Titled Compassio, it is described by its creator as a choral prelude; as its name suggests, it is a meditation on the theme of compassion, intended as a companion piece to Pärt’s Passio, and complementing the latter’s musical exploration of the theme of suffering. Archer works in fields ranging from church music to film scores, and also plays lounge piano at a local hotel–a not-atypical life for an aspiring young musician these days. One of his orchestral works was read during one of the Victoria Symphony’s annual composers’ workshops.

Vox Humana is a 24-voice ensemble led by Brian Wismath, a former Toronto Mendelssohn Youth Choir chorister and conducting protégé of Robert Cooper. Since moving to Victoria just three years ago, Wismath has made himself both indispensable and omnipresent on the city’s and the province’s choral scene. Among other things, he directs the Victoria Choral Society, a large choir that appears regularly with the Victoria Symphony, most recently in the Mozart Requiem, on the same bill as the Schafer premiere mentioned earlier. They will offer Haydn’s Nelson Mass on May 6. As for Vox Humana, on May 25, 26 and 27 they will appear on two different programs with the Victoria Children’s Choir, who took first place at the 2011 Summa Cum Laude International Youth Music Festival in Vienna.

The “Big Three” music-presenting institutions in this city (apart from the University) are the Symphony, the Victoria Conservatory of Music and Pacific Opera Victoria. VCM appointed a new dean this year; he’s Stephen Green, formerly of the Royal Conservatory in Toronto. POV has just celebrated yet another composer’s centenary — that of Benjamin Britten — with yet another mini-festival, anchored by an excellent mainstage production of Albert Herring with a fine young Canadian cast, including the likes of Lawrence Wiliford, Sally Dibblee, Phillip Addis and Giles Tomkins, among others. Surprisingly, it’s Pacific Opera’s first-ever co-production with Vancouver Opera, which will remount it, with many of the same performers, this fall. The punningly named Festival of Britten also presented Noye’s Fludde with the aforementioned Victoria Children’s Choir and a double bill of Let’s Make an Opera and The Little Sweep, co-produced with the Conservatory and the Belfry Theatre respectively — typical of the kind of partnerships that are becoming increasingly common and necessary to make things like this happen.

Pacific Opera Victoria rounds out its current season in April with five performances of Tosca, starring Joni Henson, Luc Robert and David John Pike.

As for the Victoria Symphony, with which this whirlwind overview began, its main season runs through May 11 and 12 when Miller conducts a program marking the centenary of The Rite of Spring. The program includes the premiere of the second of four movements in a “new” New World Symphony (being created over two years by VS composer-in-residence Michael Oesterle) and welcomes, as soloist in the Sibelius Violin Concerto, Canadian fiddle superstar James Ehnes. The Brandon native, now Florida resident, recently took over as artistic director of the Seattle Chamber Music Festival, and there’s talk of future collaboration between him and pianist Arthur Rowe, who helms the Victoria Summer Music Festival. But we’re getting ahead of ourselves!

A single column can only hint at the richness of musical life out here on the Pacific Rim. As I write in late February, the ninth annual Pacific Baroque Festival is in full swing, with five concerts focusing on the music of Henry Purcell’s London. On March 12, Benjamin Butterfield will sing the Evangelist when the Victoria Baroque Players presents Bach’s Saint John Passion under the baton of POV artistic director Timothy Vernon. On June 8, Butterfield’s brother, Peter, leads his Victoria Philharmonic Choir in the Monteverdi Vespers. And so it goes. Hopefully, future missives from the West Coast can round out the picture, and — who knows? — we may even find space to talk about musical life in that “other” BC city on the eastern edge of the Salish Sea. 

Ian Alexander is a former CBC on-air host and executive, now a Victoria-based independent consultant, teacher and writer.

Clubs have folded, restaurants have closed and music programming has been cut, resulting in plenty of blues to be sung for the jazz community but hardly any venues to sing them in.

“If you want to make a million dollars from jazz, start with two million” is a saying that has been going around.

Enter Colin Hunter, founding president, CEO and owner of the airline carrier Sunwing Airlines and the all-inclusive package company, Sunwing Vacations. He’s also a part-time crooner. Now, with the help of wife Joan Hunter and general manager Sybil Walker, he is set to open the Jazz Bistro, the long-awaited, eagerly anticipated business venture that is finally ready to roll.

Sharing the same address as the famed jazz club Top O’ The Senator (1990–2005), the Jazz Bistro has been years in the making, but the wait is over, and it was well worth it.

“Toronto didn’t have an establishment of this calibre, so I sensed there was an opportunity,” says Colin Hunter. “I’ve done a few gigs with Joe Sealy in Montreal at the House of Jazz and wanted to give Toronto an establishment that was better than anything that was in Montreal. For starters, we are going to have better food, better service and better ambiance.”

Designed by Joan Hunter, the Bistro is a feast for the eyes, boasting a beautiful balcony, a ruby chandelier and a signature Steinway piano that even has a name: Red Pop.

As suggested by the name of the club itself, cuisine will be instrumental in complementing the musical experience: “We have hired a chef I have known and respected for some time, Matt Cowan,” says general manager Sybil Walker. “I have always been impressed with his respect for his ingredients, his passion for finding just the right food pairings and his insatiable interest in food on every level.”

Walker is also responsible for booking the club and has initiated a weekly jazz brunch featuring a different vocalist each month. The series debuts on March 17 with illustrious bass-baritone Marcus Nance; another sure highlight this month will be a three-night stint with veteran American flutist and saxophonist Lew Tabackin, booked with the Mark Eisenman Trio March 28 to 30.

Tuesday nights are going to feature a variety of special events including CD releases, the first one being Tuesday, March 26, when July/August 2010 cover girl for The WholeNote, Alex Pangman, will celebrate her newest release, Have a Little Fun. Notably, this Justin Time release features a guest appearance by legendary guitarist Bucky Pizzarelli, 87 years old as of this writing.

“I was actually saying to my husband that I’d love to record with Pizzarelli one day,” says Pangman. “Then I heard that Jazz.FM was bringing him to town for a concert and I just about had a heart attack. I learned that he had a little time off so I got up the gumption and asked him. You can’t win a lottery if you don’t buy a ticket!” she laughs. “The recording is essentially an ode to the human condition, and since I like to have a little fun, the title made sense! There are songs about love, loss, deception and forgiveness, mostly 1930s tunes but with four originals that I’ve written in this style.” While Pangman will be playing with Pizzarelli at a sold-out concert March 4 at the Old Mill, her great band, the Alleycats, will be backing her up at the Jazz Bistro March 26. Be sure to reserve!

Meanwhile in the west end Junction neighbourhood, this year Indira Nanavati Cadena will celebrate the third anniversary of her Mexican restaurant and music venue, La Revolución. Affectionately known as “La Rev,” this very inviting, unpretentious spot features reasonably priced traditional fare and service with a smile. In a dimly lit intimate back room, weekly events include a Saturday evening singer-songwriter night hosted by Jay Linden with guest headliners, as well as gypsy jazz happening every Sunday night with Mikko Hilden’s Les Petites Nouveaux and special guests.

“La Revolución was initially inspired by a trip to Mexico city, which sparked my interest in the local ingredients used in traditional cuisine, the varied genres of live music and the effect the Mexican revolution had on its society,” says Cadena. “Out of these three ideas was born a small but big-minded business, which is meant to be a revolution of mind, music and flavour!” Finding an acoustic piano which is kept in tune is not common these days, so it is unsurprising to learn that Cadena is herself a musician-turned-entrepreneuse.

“Whether it was composing, performing or as it turns out, running a music venue, music has always been my greatest passion. I studied classical piano up until university, at which point I took an interest in sound production and engineering. It’s really nice to be able to relate to the musicians outside of business terms, and it’s even nicer to be able to run the soundboard and focus on the quality of what’s being presented to the listeners. The local music in Toronto is so raw and full of talent. I’m just happy to be a part of it and help support it. ... While the Junction has been known more for blues and rock bands, the response to our songwriter series and the gypsy jazz has been very enthusiastic so far.”

Back to a familiar venue, The Rex, where our next singer can be found on a regular basis but has a very special CD release this month. The very talented and entertaining Terra Hazelton was first heard in a jazz context as the featured vocalist with Jeff Healey’s Jazz Wizards. Back then, her electrifying voice came across as the channelling of some wicked 1920s blues shouter. Now she can still do that, but in the five years since Healey’s passing, Hazelton has worked with many musicians — Brandi Disterheft, Sophia Perlman, the TurnArounds and the Jive Bombers to name a few — and stepped outside of her comfort zone.

Today Hazelton sings with even more range than ever before; her ballads have grown particularly arresting and genuinely sentimental. Teaming up with a pair of very spirited players — guitarist Nathan Hiltz and bassist Jordan O’Connor — is all sorts of brand new for Hazelton, as she has usually worked with far bigger ensembles. But when these three play together, nothing is missing; a wonderful musical chemistry exists, and if you’ll pardon an Ira Gershwin cliché, who could ask for anything more? Hazelton, Hiltz and O’Connor have decided to “go old school” on their new recording and do what’s considered bold these days: go into the studio, record live off the floor and release what comes out without doing any fixes. The only thing better than getting this record is seeing the smiles on their faces. Don’t miss the Terra Hazelton Trio’s CD Release Party for That’s All on Thursday March 7 at 9:30pm at The Rex Hotel. That’s all! 

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

The swiss tenor Hugues Cuénod made his name in 1937 in the pioneering recordings of the music of Monteverdi, directed by Nadia Boulanger. Subsequently he became a noted performer of French song. In 1987, in his 85th year, he made his debut at the Met in New York in the role of the Emperor Altoun in Puccini’s Turandot. He continued to perform in public until he was 90; he died in 2010, at the age of 108. Cuénod’s career was unusual but he was not the only singer who has gone on performing into old age. Placido Domingo is now 72; he began as a baritone (like Jean de Reszke, John Coates, Lauritz Melchior and Ramon Vinay) and he has now moved back to the baritone repertoire (while still singing tenor parts) and is performing some of the great Verdi baritone roles.

On the other hand, many singers have retired from public performances in middle age. I remember the sadness I felt when Elly Ameling and Janet Baker retired but, looking back, I am sure they made the right decision. It would not have been a good thing if some old codger were to say “She is good but you should have heard her 12 years ago.” Still, some singers retire very early. Norma Burrowes began her career in 1970 (Glyndebourne, Royal Opera House Covent Garden). In 1971 she joined the English National Opera and later in the 70s she performed in Salzburg, Aix-en-Provence, the New York Met and the Paris Opéra. I heard her several times in London and I treasure the recording of Acis and Galatea in which she sings Galatea. She retired in 1982, when she was in her 38th year. She became a vocal coach at the University of Saskatchewan in 1992, moved to Toronto in 1994 and now teaches at York University. My colleague Ori Dagan writes: “Norma was always warm and encouraging to me, going out of her way to suggest repertoire that might suit my voice. I remember in particular the way her eyes lit up when talking about a particular song by Fauré — “It would be so perfect for you, Ori” — Her passion for teaching this music was undoubtedly infectious.”

Another singer who retired early is the versatile soprano Jennie Such. She has sung opera, oratorio, song recitals and even musical comedy. I have vivid memories of her superb Susanna in Mozart’s Marriage of Figaro for Opera Ontario in Hamilton. She now has a young child and finds combining motherhood with a full-time performing career difficult. But she remains a teacher and an adjudicator and is now exploring a new field: music therapy.

Kathy Domoney was a member of the COC Ensemble Studio and the COC chorus, gave recitals and performed with groups such as the Aldeburgh Connection and Opera in Concert, performed at Banff and at the National Arts Centre in Ottawa. She no longer performs (although she is still active as an adjudicator) but has instead opened an agency. It is a small agency (a boutique agency as she calls it) and she wishes to keep it that way as that allows her to help the artists she represents in a more effective way than would be the case in a bigger firm. At present she has 17 artists on her list, ranging from the soprano Charlotte Corwin to the recorder player-conductor-composer Matthias Maute.

The soprano Adreana Braun has moved sideways, so to speak. Braun trained as a classical singer and performed with Opera Atelier and the Canadian Opera Company. Over the past 12 years, however, she has established herself as a jazz singer and it is as Adi Braun that she is now best known. You will be able to hear her on March 6 at 8pm, when she will perform at Musideum.

Some other events

The French soprano Sandrine Piau sang Vivaldi and Handel with Tafelmusik on January 31; there will be further performances on February 1 and 2 at 8pm and on February 3 at 3:30pm, all at Trinity-St. Paul’s Centre.

On February 9 at 8pm at the Eastminster United Church, Nathalie Paulin will be the soprano soloist in a concert of music by Bach, titled “Bach’s Blessings.” According to the presenter, Academy Concert Series: “In the Baroque era, G major was the key of Benediction or ‘blessing’ and is central to the theme of this concert.”

Also on February 9, Gillian Keith, soprano, and Keith Weber, piano, will perform works by Schumann, Britten, Purcell, Lehár and others at the Rosedale Presbyterian Church, 7:30pm.

Colin Ainsworth will be the vocal soloist in the Toronto Masque Theatre production of “Les Roses de la Vie” at the Enoch Turner Schoolhouse, February 7 to 9, 8pm.

There will be two free vocal recitals by the Canadian Opera Company Ensemble Studio: “Vive l’amour,” a musical celebration of love, on February 14, and a concert of arias and songs by Richard Strauss on February 21, both at noon in the Richard Bradshaw Auditorium.

On February 16 soprano Carla Huhtanen is the soloist in “The Tapestry Songbook,” a concert of Canadian music at 7:30pm in the Ernest Balmer Studio drawn from Tapestry Opera’s 33-year history of new opera productions.

The Canadian Voices series at Glenn Gould Studio, February 24 at 2pm, returns with David Pomeroy, tenor and Sandra Horst, piano. The program includes music by Handel, Beethoven, Duparc, Quilter and de Curtis as well as three Newfoundland sea song arrangements with clarinet obbligato. We last heard Pomeroy in the role of Alfred in Die Fledermaus. That role is a parody of the operatic tenor: a randy male with a high voice. But the part can only be performed properly by someone who can sing the real thing, as Pomeroy did in his superb performance as Offenbach’s Hoffmann for the COC last season.

On March 1 and 2 at 8pm, Against the Grain Theatre presents two song cycles: Janáček’s Diary of One Who Disappeared and Kurtág’s Kafka-Fragments. The performers: in the Janáček, Lesley Bouza and Sarah Halmerson, sopranos, Eugenia Dermentzis and Lauren Segal, mezzos, Colin Ainsworth, tenor, and Christopher Mokrzewski, piano; in the Kurtág, Jacqueline Woodley, soprano, and Kerry DuWors.

Earlier this year soprano Erin Wall took three months off on maternity leave but she returns to the stage in the TSO performance of Beethoven’s Ninth Symphony, along with mezzo Allyson McHardy, tenor Joseph Kaiser and bass-baritone Shenyang at Roy Thomson Hall, February 13, 15 and 16 at 8pm. On March 7 at 8pm she will perform with the pianist John Hess, in a program of works by Schubert, Korngold, Strauss and Ricky Ian Gordon at the Jane Mallett Theatre. Rather surprisingly, this is part of Music Toronto’s Discovery Series—those who heard Wall’s fine performances in the COC productions of Love from Afar and The Tales of Hoffmann must feel that she no longer needs to be discovered.

A postscript: I was privileged to attend the competition for entry to the COC Ensemble Studio on November 29. First prize as well as the audience prize went to the bass-baritone Gordon Bintner, the second prize was awarded to the tenor Andrew Haji and the mezzo Charlotte Burrage won third prize. All three will be members of the Ensemble Studio for 2013/14; they will be joined by soprano Aviva Fortunata, mezzo Danielle MacMillan and baritone Clarence Frazer. 

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

In december 2012 a photo essay appeared in the New York Times showing the destruction of a piano abandoned on a New York sidewalk. A series of successive photos told a putatively moving story, accompanied by music sombre and dramatic by turns, in which the piano was stared at, played idly by passersby and ultimately destroyed and carted away.

What was more illuminating than the photos themselves were the comments posted online as the essay travelled over the internet. A number could be paraphrased as “What a sad comment on the current state of the arts, as the piano is trashed just like the culture.” The mixture of ruefulness and self-satisfaction was galling.

In art and everywhere else, the good old days were never good, folks. Culture is always in flux, and time alters our view of art that is initially considered trashy or meretricious — like Shakespeare, Delta blues or cable television — into something elevated and timeless. Anyone nostalgic for an Elysian epoch in which classical culture was ascendant throughout the West and there was a piano, a violin and a Beethoven score in every humble home, simply hasn’t read any history.

In 2009 American music historian Elijah Wald published How the Beatles Destroyed Rock ‘n’ Roll: An Alternative History of American Popular Music. Once you get past the misleadingly quarrel-picking title (good for generating a bit of buzz, anyhow), this book has many excellent insights about how we listen to music, and how our perception of it evolves over time.

Wald makes the point that the ability to record music irrevocably changed our experience of it. John Phillip Sousa coined the term “canned music,” and felt that recorded music would degrade people’s ability to create it themselves. In many ways he was correct. Wald states: “virtually all dancing is now commonly done to recordings.” Singing of lullabies at home and at religious services, two areas in which live music still functions, can easily be replaced with recorded music.

At the same time, Wald observes that we now have instant access to “the finest artists, alive or dead, who have ever been recorded anywhere in the world, and we can hear it whenever we want, wherever we go, in whatever order and whatever volume we please.” This has given modern musicians “a breadth of experience and created a wealth of fusions that would have been unimaginable” in the past. From the point of view of cross-cultural awareness and opportunity, you could argue that the good old days are right now. Let us look at the stylistic mixture of several concerts coming up in the next few weeks.

TCC on the move: Perhaps I am not especially sympathetic to pianos, abandoned or otherwise, because I regard them as such a poor instrument on which to introduce young children to music. When asked by parents about the advisability of beginner piano lessons, I usually start ranting about the dangers of subjecting children’s formative musical experiences to the piano’s complicated key mechanism and rigid tuning system. If the parents are still listening after an hour, I finish with a diatribe about singing and movement’s centrality to the development of musical skill.

My apologies, piano teachers. But what better support can I offer for these heretical notions than the excellent Toronto Children’s Chorus, which is helping raise the next generation of singers and choral conductors. They combine music and movement as they perform “Dance All Around the World” on February 23.

Sondheim Vivace: American musical theatre icon Stephen Sondheim’s brilliant scores are a resource that more choirs should explore. Choral versions of musical theatre songs lean towards the classic composers or the mid-20th century, or the juggernaut mega-musicals of the 1980s. Sondheim’s work is searching and complex, witty and sardonic, and a good choral performance of it can be rewarding for both audience and singers. Conductor and singer Linda Eyman is responsible for a busy pocket of Toronto music making — she conducts four separate choirs and maintains a private singing studio as well. One of her ensembles, Vivace Vox performs “Sondheim! Sondheim!”on February 24, including selections from Company, Into the Woods, Follies and Sweeney Todd, among others.

Bell’Arte’s 25th: Toronto’s Bell’Arte Singershas drawn many excellent Toronto singers into its ranks. They celebrate a quarter century of work with their “25th Anniversary Concert: Memories and Reflections” on March 2.

Gesualdo Sinister: In an art form that does not lack for odd characters, Italian Renaissance composer Carlo Gesualdo is one of the oddest and most sinister figures in history. The title of the Tallis Choir’s March 2 concert, “Gesualdo: Murderer & Musician,” states the case straightforwardly. I won’t relate the shocking story here. Instead, attend the concert to find out more, and don’t cheat by resorting to an online check. Gesualdo’s music is always worth hearing live — its anarchic harmonic shifts and haunting word painting are a high point of Renaissance madrigal writing. Some of his work sounds uncannily like some of the choral compositions of 20th century Austrian composer Ernst Krenek, and many modernist composers were drawn to his madrigals .

Rossini Solenelle (times two): Toronto audiences have a rare opportunity to hear Rossini’s Petite Messe Solenelle not once, but twice. The Toronto Mendelssohn Choir performs the work on February 9, and the Toronto Classical Singers sing it on March 3. The work was written in 1864, four years before the famed opera composer’s death. It is an engaging piece, first performed with a quirky piano and harmonium accompaniment. Rossini orchestrated it later on. Fans of bel cantoItalian vocal style will find much to love, especially the tenor solo showstopper, “Domine Deus.”

Magdalena goes modern: Schola Magdalena is a chamber ensemble of women’s voices, conducted by choral multi-tasker Stephanie Martin. Usually focused on early music , they make a foray into modern works in a concert sponsored by NUMUS, a very good contemporary music organization based out of Waterloo. This concert takes place on February 7 in Waterloo and again at the Church of St. Mary Magdalene in Toronto.

These are only a few of the excellent concert choices available in the coming weeks — please check out the listings and find out about the many other excellent choirs around. 

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

As I sit here, on the coldest January day in Toronto on record since 2009, it’s almost comforting to have to turn my thoughts to the romantic, warmth-inducing, Valentine’s Day-inspired concerts that February brings. And, indeed, there is much to tempt us, an array of delightful performances to warm the “cockles of your heart” — metaphorical or otherwise, whatever they are — and, hopefully, the rest of your body, too.

Chopin, obviously: Think fast. Most romantic composer? Answer: Chopin. Yes, there are others, and he may not be your first choice (or not your choice at all), but, let’s face it: it’s not really possible to get through a column about concerts in the “season of romance” without mentioning those featuring the works of Chopin. Besides, who would want to? For so many, myself included, it’s gorgeous, seductive, romantic music.

Chopin’s oeuvre consists mostly of solo piano works — nocturnes, waltzes, préludes, études, ballades, impromptus, polonaises and mazurkas, to name some of the most familiar and beloved. In addition, he also wrote two piano concertos, some songs set to Polish texts and a few chamber pieces. This month, we are treated to at least one ballade, waltz and polonaise, two sets of études (12 in each), his set of 24 préludes, a sonata, two scherzos, a chamber work and a concerto. So much Chopin, so little time ... or space.

So let’s get right to it; and don’t forget to check the Quick Picks at the end.

Chopin, not so obviously: Chopin is not the first composer to spring to mind when considering repertoire for a chamber choir known for its historically accurate performances of music from the Baroque and Classical periods. Then again, the Georgetown Bach Chorale is not your average chamber choir. In addition to its innovative choral programming, as part of its season it also offers concerts of orchestral, chamber and solo performances, often involving creative collaborations with guest artists, in unique venues.

Its February 10 and March 3 concerts are a case in point: the first is a 4pm house concert titled “Winter Moods,” and features guest cellist Mary-Katherine Finch and the Chorale’s artistic director/conductor, Ron Greidanus, at the piano, in chamber works by Debussy, Chopin and Prokofiev. Regarding the Chopin “mystery music” (“works by” is all we were told), it’s a safe bet to expect either — or possibly both (there are only two Chopin works for cello and piano) — the Cello Sonata in G Minor, Op.65 and/or the Grand Duo concertant in E Major B70, (written, jointly, with Chopin’s friend, cellist Auguste Franchomme). If that isn’t filling enough, for the $45 in-advance-only ticket, you also get a choice of hot stews, cheeses and homemade bread after the concert. If music — and stews — be the food of love, indeed!

“Relics of the Romantic Era,” on March 3, 8pm, in the quaint Norval United Church, will feature solo works by Chopin performed by guest pianist Matthew Pope, in addition to choral works by Reger, Brahms and Tavener. As stated in its brochure, it has always been a mission of the Chorale “to expand the musical experiences of its listeners.” Judging by these two concerts, clearly it’s “mission accomplished.”

And with that interesting detour out of the way, on to the solo piano music!

Formidable Fialkowska: Celebrated Canadian pianist Janina Fialkowska is a musical force to be reckoned with and a distinguished interpreter of Chopin’s piano works. Along the way, she received some excellent mentoring: after her prize-winning performance at the inaugural Arthur Rubinstein International Piano Master Competition, held in Tel Aviv in 1974. Rubinstein, himself, took her under his wing and helped launch her international career. The rest, as they say ... 

But it wasn’t all smooth sailing. In 2002, Fialkowska’s hugely successful career was sidetracked by the discovery of a cancerous tumour in her left arm. However, her heroic recovery and successful “two-handed” return to the stage in 2004 — for 18 months, prior, she performed the “left hand” concertos of Ravel and Prokofiev which she adapted for the right hand — is, by now, the stuff of legend and widely documented, so I won’t go on. Besides, as she told the Financial Times’ Andrew Clark in a January 11, 2013 interview, she “hates“ talking about that hiatus in her career, though she recognizes that it “makes a good story” and that it inspires others. Clark adds: “That sense of life regained has transformed her music-making: her playing now has a spirit-of-the-moment freshness and spontaneity that many musicians strive for but few attain.”

That freshness and spontaneity will be on display when Fialkowska graces the stage at two concerts in February: one on Chopin’s birthday, February 22 (yes, March 1 is also often cited), at London’s Aeolian Hall, and the second a day later, on the 23rd, in Waterloo, for the Kitchener-Waterloo Chamber Music Society. Both concerts offer works by Chopin, Grieg and Schubert; the Aeolian concert, however, is another “works by” situation; the “fleshed-out” repertoire provided by the KWCMS suggests what Fialkowska might also play in London (but no guarantees): Schubert’s Four Impromptus D935, Op.posth.142, four Lyric Pieces by Grieg, and the following works by Chopin: Polonaise in E-Flat Minor, Op.26 No.2, Scherzo No.4 in E Major Op.54, Scherzo No.1 in B Minor Op.20, Waltz in A-Flat Major, Op.64 No.3, Mazurka in C Major, Op.56 No.2 and Mazurka in C Minor, Op.56 No.3. If I had my druthers, I’d go to both concerts!

Chopin at noon: While Chopin’s sublime, sensuous music may be tailor-made for late-night listening, who says you can’t enjoy it during daylight hours? This month, as part of its popular free, noon hour Piano Virtuoso Series, the Canadian Opera Company offers two concerts featuring piano works by Chopin. For the first one, “Reflections,” on February 26, pianist Connie Kim-Sheng, a 2010/11 Glenn Gould School Concerto Competition winner, performs Ballade No.3 in A-Flat Major, Op.47; the program also includes the first movement of Beethoven’s Sonata No.31 in A-Flat Major, Op.110, Miroirs by Ravel and Rachmaninoff’s Études-Tableaux Op.39 No.5. “Shades of Chopin,” the second concert on February 28, features a young Saskatoon-born pianist, Justin Min, in an all-Chopin program, including the Sonata No.3 in B Minor, Op.58, his final piano sonata. Perfect lunchtime fare!

Études vs. Préludes: One might call it an embarrassment of riches, when two extraordinary pianists are scheduled to perform in recital, on the same day, at basically the same time, with Chopin on both programs, no less. Here’s what’s happening on March 3: at 3pm, Jan Lisiecki, the prodigiously gifted, 17-year-old pianist is performing Chopin’s two sets of 12 Études, Op. 10 and Op. 25, at the Royal Conservatory’s Koerner Hall. And over at Walter Hall, at 3:15pm, the brilliant (and clearly more seasoned) Hung-Kuan Chen is making his Toronto debut in a performance of the 24 Préludes Op.28, for Mooredale Concerts; Chen’s program also includes Mozart’s A Little Gigue in G Major KV574, a fragment from his Suite in C Major KV399, and Schubert’s Sonata in C Minor D958.

Jan Lisiecki is known to, and has dazzled, Toronto audiences; he’s also been featured in the pages of The WholeNote and in video interview at Conversations@TheWholeNote. Hung-Kuan Chen, on the other hand, is new to The WholeNote, so a few more words are warranted.

Taipei-born and raised in Germany, Chen shares more than one thing in common with Janina Fialkowska: both were prize winners of the Rubinstein Piano Master Competition (he in 1983) and both, curiously, experienced serious damage to the tools of their trade and a remarkable recovery from the damage. Chen suffered an injury to his right hand in 1992, that caused neurological damage, resulting, eventually, in focal dystonia, a disorder consisting of confused motor commands. In an article Chen penned, he describes the disorder: “When the brain is sending overly complex and conflicting messages, the commands are conflicting and the fingers become stiff in the process. A fitting visual analogy would be the old style telephone switchboard with tangled-up wires.” Read more about Chen’s journey at focaldystonia.co.uk/#/piano/4563030880.

Like Fialkowska’s, Chen’s return to the stage, in 1998, was met with rave reviews and he has gone on to a celebrated career. A reviewer for the Boston Globe had this to say in 2006: “Hung-Kuan Chen is back in prime technical form ... This man plays music with uncommon understanding and the instrument with uncommon imagination.”

And it is our uncommon good fortune to have the choice between Lisiecki and Chen. Perhaps it will all come down toétudes vs. préludes.

A Little More Love and Romance:
Some Heart-Warming Quick Picks

Feb 01 8:00: Aurora Culture Centre. Great Artist Piano Series:
Chu-Fang Huang, piano. Haydn, Chopin, Wanghua Chu and others.

Feb 07 8:00: Toronto Masque Theatre. Les Roses de la Vie: A Parisian Soirée. Music by Marais, Couperin, Chopin, Fauré, Debussy, Poulenc, Aznavour and others. Also Feb 8 and 9.

Feb 12 8:00: Music Toronto. Piano Series: Gabriela Montero, piano. Brahms: Three Intermezzos Op.117; Schumann: Fantasie in C Op.17; Montero: improvisations.

Feb 14 8:00: Hart House Orchestra. Violins and Valentine’s Day: A Perfect Match. Schumann: Second Symphony; Beethoven: King Stephen Overture; Copland: Clarinet Concerto.

Feb 14 8:00: LUSH Cello Quartet. An Evening with LUSH Cello Quartet. Love-themed songs and classical works.

Feb 14 8:00: Toronto Concert Orchestra. Love Notes. Tchaikovsky: Violin Concerto; Saint Saëns: Suite in D; Gray: Introduction and Autumn Prelude. Christoph Seybold, violin; Kerry Stratton, conductor.

Feb 16 8:00: Kindred Spirits Orchestra. Beethoven, Schumann, Mendelssohn. Beethoven: Overture to Fidelio Op.72c; Schumann: Piano Concerto Op.54; Mendelssohn: Symphony No.3 Op.56 “Scottish.”

Feb 16 8:00: York Symphony Orchestra. Romantic Legends. Tchaikovsky: Polonaise from Eugene Onegin; Romeo and Juliet Overture; Capriccio Italien; Chopin: Piano Concerto No.1; also Feb 17.

Feb 19 8:00: Toronto Symphony Orchestra. Love Will Keep Us Together. Songs by Porter, Berlin, Mancini and others. Betsy Wolfe, soprano; Mike Eldred, tenor; Steven Reineke, conductor. Also Feb 20 (mat and eve).

Feb 24 5:00: Nocturnes in the City. Anna Betka, Piano. Works by Beethoven, Bach, Schumann, Prokofiev and Smetana.

May your hearts be warmed and your senses seduced. 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.

Here we are just past the top of the year, and it seems to this writer to be snowing composers — so many are represented in this month’s concerts. Some are not generally well known, so here’s a bit about five of them that I hope may whet your appetite to hear their music.

Pérotin: A man whose life is almost totally obscured by time, Pérotin is believed to have composed for the newly constructed Notre-Dame Cathedral in the late 12th and early 13th centuries. He must have been hugely affected by the spiritual power of this magnificent edifice, for he wrote monumental works in three- and four-part polyphony the likes of which had never been heard before. One of these, the complex and luminous Sederunt principes, is on Schola Magdalena’s upcoming program on February 8 at Toronto’s Church of Saint Mary Magdalene, along with music by Hildegard, plainchant, and newly-composed pieces. This six-voice women’s ensemble will also be performing at Waterloo’s NUMUS Concerts on February 7.

Cavalli: Think of a little boy with a good soprano voice, mentored by a Venetian nobleman who took him to Venice to sing in the cappella at St. Mark’s Basilica. His life was forever shaped by this early turn of events. He worked under the direction of the great Monteverdi, eventually became organist at St. Mark’s, composed sacred music and also branched out to write for the stage — 41 operas in all — becoming the most influential composer in the genre of opera in mid-17th century Venice. This was Francesco Cavalli, and his music is featured in two presentations this month: February 15 and 16, the Toronto Consort performs as an opera in concert The Loves of Apollo and Daphne; February 24, tenor Bud Roach and guests perform sacred motets by Cavalli and others as part of TEMC’s Musically Speaking series.

Taverner: Scaramella’s “Hartes Ease” (February 9) and Cantemus Singers’ “The Virgin Queen” (March 2 and 3) don’t appear at first glance to have much similarity, but they do have common elements. One of these is the 16th century composer John Taverner. Lincolnshire-born-and -buried, not much else is known about his life except that he held the position of organist and Master of the Choristers at Christ Church, Oxford; also he is alleged to have been an agent of Cromwell, assisting in Henry VIII’s suppression of the monasteries. But he is forever revered as the one who brought English choral polyphony of the period to its pinnacle. Viol players also regard him as rather notorious, for a particular sequence of notes on the words “In Nomine Domini” (excerpted from his mass Gloria Tibi Trinitas) that has forever installed itself in viol consort repertoire. You can hear one “In Nomine” by him in Scaramella’s showcasing of four antique English viols, which brings together four marvellous musicians to play them, in a diversity of music both early and modern. Taverner’s Sanctus and Benedictus from the Missa “Westron Wynde” is featured in the 16-voice Cantemus Singers’ performance, along with many madrigals and church motets.

Vincenzo Galilei was the father of the astronomer Galileo. In his own right he was an important musical figure of the late Renaissance, a lutenist, theorist and composer. He seems to have displayed an interesting mix of progressive thought and backward-looking sentiments: On the one hand, he made substantial discoveries in acoustics, reportedly involving his son in his experiments and encouraging him to approach scientific research in a practical as well as a theoretical way (who knows how the invention of the telescope would have played out without the counsel of Galileo the father?). On the other hand though, Vincenzo condemned modern music and championed the revival of the monodic (single melody) singing style of ancient Greece. He is one of several composers featured in the Musicians In Ordinary’s concert “You Who Hear In These Scattered Rhymes.” Soprano Hallie Fishel and lutenist John Edwards perform baroque settings of great Italian renaissance poetry on March 2.

“The greatest composer you’ve never heard of” is the Windermere String Quartet’s description of Georges Onslow, whose string quintet they’ll be presenting. Onslow was a contemporary of Beethoven and Schubert, coming from an aristocratic British family but actually born in France. He “did not mean to become an artist, even less a composer” states a website devoted to him — but obviously he was meant to be one, writing operas, symphonies and much chamber music and becoming a highly regarded composer in his time. His music is extremely beautiful and full of inspiration but, alas, has virtually disappeared from modern view. On March 3 you can hear a lovely example of his work in the Windermere String Quartet’s “The Power of Five.” Played on period instruments, with guest violist Emily Eng, this is a concert of early 19th century viola quintets — a special, dark sound that only two violas can bring.

Others

February 7 to 9: Feeling lately that you’d like to forsake the Canadian cold for a delightful evening in Paris? Well just around the corner, there’s a cabaret happening with the gaity and sophistication of Parisian life from medieval times right to the present day. Toronto Masque Theatre presents “Les Roses de la Vie: A Parisian Soirée,” with music by Marais, Couperin and more recent composers, also poetry, movement and film. Among the featured performers is acclaimed corporeal mime artist Giuseppe Condello.

February 9: The Academy Concert Seriespresents “Bach’s Blessings,” in the form of music for solo cello and solo harpsichord, a violin sonata, cantata arias and the complete Wedding Cantata. This concert features four artists well versed in the art of historically informed interpretations: soprano Nathalie Paulin, violinist Emily Eng, cellist Kerri McGonigle and harpsichordist Lysiane Boulva.

February 9, 12 and 16: The Velvet Curtain Ensemble with director Douglas Rice, orchestra and guest artists presents Purcell’s opera Dido and Aeneas. Among the stated values of this group is “to believe in our potential to shape the future of our diverse cultures and civilization by bringing strength and confidence to future generations who will endeavor to define humanity through the arts.”

February 10: In Kitchener, a celebration of food — for the ear and for the palate, as Nota Bene Baroque presents “If Music Be the Food of Love...” with food-related music by Schmelzer, Legrenzi, Bernier and others, and guest soprano Stephanie Kramer.

February 12: The Musicians In Ordinary are busy people — not only do they present their regular concert series at Heliconian Hall (March 2, mentioned above) but they are also ensemble-in-residence at U of T’s St. Michael’s College. In this capacity they present “Hail Bishop Valentine!” performing love songs from the time of the wedding of Princess Elizabeth, daughter of James I, to Frederick, Elector Palatine. Guest reader is David Klausner.

February 21 to 24: “Shrouded in mystery and speculation since Mozart’s death, the Requiem is a masterpiece for all time ...” begins Tafelmusik’s press release for their next concerts. Mozart’s Requiem features four wonderful soloists: soprano Nathalie Paulin, mezzo Laura Pudwell, tenor Lawrence Wiliford and baritone Nathaniel Watson; the Tafelmusik Orchestra and Chamber Choir are directed by Ivars Taurins.

February 22: Sine Nomine Ensemble takes you to medieval Iberia, whose musical culture was greatly influenced by that of both North Africa and neighbouring Europe. In “Musica Yspanica: Spanish music of pilgrimage and praise” you’ll hear how some of these colourful influences manifested themselves, in songs of courtly love, cantigas in praise of Mary, sacred music from the royal nunnery at Las Huelgas and songs of popular devotion from Spanish pilgrimage centres.

March 3: “Out of the depths have I called unto you, O Lord” begins Psalm 130, a stunning poem of entreaty that has inspired composers through the ages. In “Kaffeemusik,” a concert which seeks to inform and enlighten as well as entertain, the Toronto Chamber Choir presents several settings of this text by composers including Schein, Sweelinck, Schütz and Bach.

Please consult The WholeNote’s daily listings for details of all these, and others not mentioned. 

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.

On january 23 Canadian Opera Company General Director Alexander Neef announced his 2013/14 season. Neef has assembled a particularly starry line-up of singers and directors, but what is immediately striking about this season, the COC’s 64th, is that three of the seven operas have never been presented by the COC before. This is only the fourth time since 1990 (1991/92, 2008/09 and 2011/12 were the others) that this has happened. Having their COC premieres, back to back in spring 2014, will be Handel’s Hercules, Donizetti’s Roberto Devereux andMassenet’s Don Quichotte. Adding spice to the season is that Hercules is also one of three COC-commissioned new productions.

The 2013/14 season opens, in fact, with one of these new productions: Puccini’s La Bohème. The opera was last seen here in 2009 and this will be its 15th appearance making it the COC’s most often staged opera. The new production, opening October 9, will be directed by Canadian-born British director John Caird, who directed Verdi’s Don Carlos for the company in 2007, and is probably most famous for the original production of Les Misérables, which has been running in London since 1985. Italian conductor Carlo Rizzi leads the COC Orchestra and Chorus. Alternating in the role of Mimì are Italian soprano Grazia Doronzio and Canadian soprano Joyce El-Khoury. The role of Rodolfo, Mimì’s lover, is shared by young tenors, Mexican David Lomelí (Rigoletto, 2011) and Romanian Teodor Ilincăi.

Alternating with La Bohème will be a production of Benjamin Britten’s Peter Grimes,  celebrating the centenary of the composer’s birth, and starring Ben Heppner in the title role. Last at the COC in 2003, this Grimes will be the company’s third. Australian director Neil Armfield, who directed Ariadne auf Naxos here in 2011, A Midsummer Night’s Dream in 2009 and Billy Budd in 2001, directs, and COC Music Director Johannes Debus makes his Britten debut. Three COC Ensemble Studio alumni appear — soprano Ileana Montalbetti, tenor Roger Honeywell, and baritone Peter Barrett. Alan Held, last year’s Gianni Schicchi, sings Captain Balstrode.

 The winter season opens on January 18, 2014, with Mozart’s Così fan tutte  running in repertory with Verdi’s Un ballo in maschera. Così will be a new COC production by Canadian film director Atom Egoyan, his third production for the COC (Salome, 1996 and Die Walküre, 2004). Debus conducts. Cast as the sisters are two Canadians — soprano Layla Claire in her COC debut as Fiordiligi and mezzo-soprano Wallis Giunta returning for a second season in a row, this time as Dorabella. The sisters’ two suitors are American tenor Paul Appleby (Ferrando) and COC Ensemble graduate bass-baritone Robert Gleadow (Guglielmo). Beloved Canadian soprano Tracy Dahl returns to the COC stage after a 19-year absence in the role of the wily servant Despina. Famed baritone Thomas Allen makes his COC debut as Don Alfonso.

For Un ballo in maschera Canadian soprano Adrianne Pieczonka and Greek-American tenor Dimitri Pittas make their role debuts as lovers Amelia and Riccardo. British baritone Roland Wood is Renato, Amelia’s husband; acclaimed Canadian mezzo-soprano Marie-Nicole Lemieux is the fortune teller Ulrica; and rising Ensemble Studio graduate, soprano Simone Osborne, is Oscar the page.

A question that always arises with Ballo is where it will be set — in 18th-century Stockholm, as Verdi intended, where King Gustav III was assassinated in 1792, or in Boston during the British colonial period, where censors forced him to move the action because of its incendiary plot. The directing duo Jossi Wieler and Sergio Morabito stir the pot again, by locating this production from the Berlin Staatsoper in the American South of the 1960s with its resonances of Kennedy-era tensions and assassinations.

Spring 2014 brings the three premieres. First up on April 5 is Handel’s Hercules (1745) in a new co-production with Lyric Opera of Chicago directed by the renowned Peter Sellars. Sellars’ production which moves the action from mythological Greece to the present day won universal acclaim when it premiered in Chicago in 2011. The COC presentation will use the Chicago cast, and what a cast. American bass-baritone Eric Owens makes his COC debut as Hercules; British mezzo-soprano Alice Coote is Hercules’s wife Dejanira; American countertenor David Daniels returns to the COC as Hercules’ trusted aide, Lichas; American tenor Richard Croft returns as Hercules’ son, Hyllus; and British soprano Lucy Crowe makes her COC debut as Iole, a princess Hercules has taken captive. Conducting is Baroque specialist and COC favourite Harry Bicket. In 2012 Tafelmusik presented a staged concert version of Hercules directed by Opera Atelier’s Marshall Pynkoski. Anyone who saw it will know that it is a powerful drama told in glorious music.

Beginning April 25, 2014, is a real rarity, Donizetti’s Roberto Devereux (1837). This opera, along with Maria Stuarda (1835) and Anna Bolena (1830), comprises what is sometimes called Donizetti’s “Three Queens” trilogy. It was first presented as a trilogy in 1972, with Beverly Sills as the slighted British monarch in each production. From 2007 to 2010 Dallas Opera mounted all three directed by Stephen Lawless and using a set inspired by Shakespeare’s Globe Theatre. The COC’s Maria Stuarda was part of the Dallas Opera series and so is this Roberto Devereux. Is there an Anna Bolena in the wings?

American soprano Sondra Radvanovsky, our Aida in 2010, makes her role debut as the central character Elisabetta, in love with the courtier Devereux. Making his COC and role debut as Devereux is Italian lyric tenor Giuseppe Filianoti. Also making role debuts are COC favourites, Canadian baritone Russell Braun and mezzo-soprano Allyson McHardy as the Duke and Duchess of Nottingham. Italian conductor Corrado Rovaris makes his COC debut.

The final presentation of the 2013/14 season is another rarity, Don Quichotte (1910), one of the last operas by French composer Jules Massenet (1842–1912). The last time the COC presented an opera by Massenet was Werther in 1992. Don Quichotte has become a showcase work for great basses with Samuel Ramey, José van Dam and John Relyea recently essaying the role. Italian Ferruccio Furlanetto makes his COC debut in the title role of the iconic idealistic dreamer. Metropolitan Opera star, Russian mezzo-soprano Ekaterina Gubanova, makes her COC debut as Quichotte’s beloved Dulcinée. American baritone Quinn Kelsey, acclaimed here for his Rigoletto in 2011, returns to makes his role debut as Don Quichotte’s realistic sidekick, Sancho Panza. American Linda Brovsky, who helmed this production at the Seattle Opera, makes her COC debut as director. Johannes Debus conducts. Many see this opera not only as Massenet’s loving study of Cervantes’ hero but as the composer’s farewell to the age of romanticism that had inspired him throughout his life and that he saw fading with the dawn of the 20th century. The opera runs May 9 to 24, 2014. Visit coc.ca to inquire about subscriptions. 

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

For the adventurously minded, the act of music making can be all about paving the way for the future of music to unfold. If you were to think 50 years ahead or even 25, what would your prediction be for how music will be created, experienced and listened to?

This year’s New Creations Festival presented by the Toronto Symphony Orchestra from March 2 to 9 will be an opportunity to catch a glimpse of what may be in store for the music lovers of 2050. When the TSO invited American composer and technology wizard Tod Machover to both curate the 2013 festival and compose a new work for it, Machover began dreaming big.

He started with the question — what does the city of Toronto sound like? He added to that question the vision of opening up the creative process to anyone who wanted to participate. This new symphonic work was to be a collaboration on a massive scale with the citizens of Toronto, resulting in something that could not have been done by any one individual. And with this mandate before him, Machover stepped onto the road of future music making where he envisions collaboration at the core of each piece, and professional musicians moving beyond teaching and mentoring people to the act of “making things with them.”