March 31, 2021

Concert Report: Confluence Concerts songful celebration of composer John Beckwith’s 94th birthday

by Wendalyn Bartley

Confluence Concerts most recent event was a marathon of composer John Beckwith’s music for solo voice – three 90-minute back-to-back online recitals. The production was a family affair, curated and co-hosted by the composer’s son, Larry Beckwith, and granddaughter Alison…
March 23, 2021

Concert Report: Toronto Consort’s Of Tricksters and Trolls - a whirl of haunting repertoire

by Jane Coombs

A wraithlike water-dweller, a covetous goddess, a phantom bride. Welcome to the world of Of Tricksters and Trolls, the Toronto Consort’s latest performance released March 16 on their new streaming platform, Early Music TV. Filmed earlier this year at the…
March 20, 2021

Inside out as the best way forward: Musical playgrounds, virtual and real

by Richard Marsella

This global health pandemic has certainly illustrated the old Italian proverb, “tutto il mondo è un paese” – indeed, all the world is a village, and every village needs a playground.  In my capacity as the executive director of the…
March 20, 2021

Take One: Morgan-Paige Melbourne’s multidimensional practice

by Gloria Blizzard

When pianist and composer Morgan-Paige Melbourne recorded her first album, it was during the March 2020 lockdown. She did it on her own, with one podium microphone and an iPad. She placed her mic underneath the piano to capture the…
March 20, 2021

From limbo to grey zone: Inconsistent lockdown protocols hamper the live performing arts

by Paul Ennis

On February 22, in response to the continuing uncertainty about when the Ontario government would ease the COVID-19 lockdown protocols disproportionately affecting the live performing arts, the Toronto Alliance for the Performing Arts (TAPA), which represents 164 professional theatre, dance…
March 20, 2021

The Many Virtues of Necessity

by Jennifer Parr

This is such a strange time to be writing about music theatre. As I scour the Internet for news of new works and remounts, the contrast with this time last year is impossible to escape. On top of that, as…
March 19, 2021

Listening Fast and Hearing Long

by Steve Wallace

Jazz is not easily boiled down to any one element but when you get right down to it, learning to play jazz is largely about learning how to listen. Really listen, hard, to many things simultaneously while making spontaneous decisions…
March 19, 2021

Up Close and Impersonal? A New Kind of Educational Intimacy

by Colin Story

“You know, we’ve still never seen each other in person.” So said one of my favourite guitar students, a man in his early 40s whom I teach on Wednesday evenings. I’ve been teaching him for nearly a year, since spring…
March 19, 2021

SHHH!! means “Listen to This”

by Max Christie

Many of us are finding things to do outside of our usual range of work activities, since one thing afforded by the current pandemic for many performing musicians, if not for those in other professions, is time. Zac Pulak, one…
March 19, 2021

Toronto ‘woke leftist’? Sounds like a plot for an opera

by Robert Harris

Here’s a reminder for those of you who think we Canadians have no substantial international intellectual clout. You are wrong. So wrong. And how do I know? Because Le Monde, France’s leading newspaper, told me. You see, Paris is up in…
March 01, 2021

Now via hologram: Women From Space returns, streaming April 9-11

by Camille Kiku Belair

The third annual Women From Space Festival, a Toronto-based concert series, is returning this year, livestreamed on www.womenfromspace.com. Recently postponed due to ongoing COVID-19 restrictions, the festival is now taking place April 9-11, 2021. Festival passes this year are free,…
March 01, 2021

Concert report: “The Human Voice/La Voix Humaine” makes for fascinating programming, digital or live

by Jennifer Parr

On February 5, Toronto’s Voicebox: Opera in Concert (OIC) made its digital debut with a fascinating double bill: The Human Voice and La Voix Humaine. This choice of material—an English-language version of Jean Cocteau’s 1928 play, paired with the 1958…
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