April 25, 2022

A house full of richness: Sheku and Isata Kanneh-Mason

by Paul Ennis

The fearlessness it takes Cellist Sheku Kanneh-Mason’s meteoric rise began when his passionate playing won him the 2016 BBC Young Musician Competition. Then he upped his fame quotient when he performed three short pieces at the wedding of Prince Harry…
April 25, 2022

“As If The Music Knows What It Is Doing” THE TORONTO BACH FESTIVAL 2022

by Matthew Whitfield

Why Bach? Over 270 years after his death, Bach’s music continues to inspire and attract both new and familiar audience members to concerts in numbers that are perhaps unmatched by any other Western composer. Why, all these centuries, later, is…
April 25, 2022

Women from Space: Redefining the sonic landscape

by Stuart Broomer

Women from Space is a very special festival, highlighting creativity across a diverse range of music and mixed-media work, often improvisatory, sometimes electronic, scheduled each year to coincide with International Women’s Day weekend. First launched in 2019 just a week…
April 25, 2022

Language as Music as language – Orphan Song at Tarragon Theatre

by Jennifer Parr

I believe that theatre is at its most exciting when it is taking chances and pushing at the walls that define genre. Even if the risks taken don’t pay off 100%. The world premiere of Orphan Song by Canadian playwright Sean…
April 25, 2022

As the Songbirds Return

by David Perlman

It might as well be spring The WholeNote has been keeping track of the (mostly southern) Ontario choral scene for almost exactly 20 years, and during that time Ontario choirs have followed a predictable winter-to-spring ritual as predictable as swallows…
April 25, 2022

Music shines transformative light on three kinds of thematic darkness

by Jennifer Parr

Live theatre is back and breaking down the walls of convention in every direction. George F. Walker’s Orphans of the Czar at Crow’s Theatre is an uncannily apt combination of an iconic Canadian voice and the state of Russia just before…
April 25, 2022

Serious Bandleading and DROM's “Safe Journey”

by Colin Story

There are many pleasant aspects to writing this column: going to cool shows, getting to think about jazz professionally, having an editor who excises my most egregiously constructed jokes. One of the most pleasant, however, is developing an ongoing knowledge…
April 23, 2022

Remembering Boris Brott (1944-2022)

by MJ (Jack) Buell

We were already deep in production on this edition when Boris Brott was killed in a hit-and-run accident, steps away from his home in Hamilton. The disbelief, shock and dismay from the arts community and beyond has been followed by…
March 14, 2022

Tribute to Jeanne Lamon: Tafelmusik Returns to Live Performance

by David Perlman

“I wanted to begin with The Galileo Project, which is the one I mostly closely identify with Jeanne. And Galileo begins with Vivaldi,” Alison Mackay explains. It is February 15 and we are chatting, via Zoom, about an upcoming April…
March 14, 2022

Across the board, there’s a spring in the seasonal step!

by Paul Ennis

In what promises to be an unforgettable night, the Toronto Symphony Orchestra is bringing all five of their living music directors to the Roy Thomson Hall stage on April 9 at 7:30 for a unique historical event. The five conductors’…
March 14, 2022

Johnston’s Voice & Devaux’s Imagined Sounds

by Wendalyn Bartley

Two concerts, one in early March, the other in early April, resonate with the day on the calendar set aside to celebrate the historical, cultural and political achievements of women: International Women’s Day (IWD) on March 8. This special day…
March 14, 2022

Period performance on a sliding historical scale

by Matthew Whitfield

Although a little bit misleading, and perhaps overly optimistic, the notion that we are entering a post-pandemic world is a seductive one right now, as governments, performing arts venues, theatres, restaurants, and countless other businesses enter a period of comprehensive…
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