Toronto, meet TONE.

Percussionist Tatsuya Nakatani, who opens the first concert of TONE. Credit: Jonathan Sielaff.A new undertaking by Karen Ng, Tad Michalak, Ron Gaskin and Daniel Pencer, TONE is a newcomer to the local summer festival scene this month. But unlike other festivals this summer, this one focuses exclusively on experimental music—programming a breadth of artists known for their adventurous approach rather than zeroing in on specific genres or styles. And unlike most other first-time projects, TONE—which features no less than eight concerts between June 14 and 29—has a scope that echoes that fearlessness.

In a recent interview with NOW, organizer Tad Michalak talks about how TONE was conceived as a way of filling a void, in a city that often omits experimental music from its summer festival offerings. “Year after year, it got disheartening to see a scene we worked year-round to build and invigorate get ignored by many major festivals,” he explains to NOW’s Carla Gillis. “TONE came about essentially out of necessity.”

If their goal was to do something about the dearth of summertime avant-garde music in Toronto, then TONE is a promising start. The festival features several sets of improvised music from both local and international artists, and aligns itself with some of the most active local venues for experimental music in the city. Acclaimed Japanese percussionist Tatsuya Nakatani opens the festival tonight (Wednesday, June 14) at the Tranzac, with other concerts taking place there in the following weeks, as well as at the Burdock, Array Space, the Jam Factory, and Ratio—which, having just announced its closure as a music venue, will present a TONE show on Saturday, June 24 as its last-ever concert.

Apart from a mandate for supporting experimental music, the TONE team—each of whom has a wealth of experience running music collectives and curating experimental music of one kind or another during the regular Toronto concert season—has been intentionally indiscriminate about genre. It means, ultimately, that among fans of the avant-garde, there really is something for everybody. Beyond opening night and the Ratio show, other standouts in the festival lineup include a three-set show co-presented with the Music Gallery on Thursday, June 15, featuring groups DKV, Icepick, and Invisible Out; an appearance by Berlin-based pianist Achim Kaufmann’s trio Grünen at Array on Monday, June 19 (in a double-bill with local group The Cluttertones); and a co-presentation with Electric Eclectics on Wednesday, June 21 at the Jam Factory, which opens with a performance by Ethiopian jazz accordion virtuoso Hailu Mergia.

Tickets range between $10 and $22 per show, with a 4-show pass available for $45 and a full festival pass available for $85—all of which are available at the door or in advance at Circus Books & Music, Rotate This, and Soundscapes.

Congrats to TONE for being bold, for making a plan for re-invigorating the summer experimental music scene, and for making it happen.

TONE, curated by Karen Ng, Tad Michalak, Ron Gaskin and Daniel Pencer, runs from June 14 to 29 in multiple locations throughout Toronto. For details, visit www.tonetoronto.tumblr.com.

Sara Constant is a Toronto-based flutist and musicologist, and is digital media editor at The WholeNote. She can be contacted at editorial@thewholenote.com.

Erin Stone, from the cast of Whose Opera is it Anyway?!. Credit: Dahlia Katz Photography.Opera is no stranger to onstage ridiculousness—but it isn’t always as slyly self-aware as this.

Following its inaugural show of the same name in July 2015, Loose TEA Music Theatre is back with a new installment of opera improv series Whose Opera is it Anyway?!. Inspired by the popular improv comedy TV show Whose Line is it Anyway?, Loose TEA’s production strings together improv comedy games into an opera of sorts, where professionals from the local opera community are forced to put their vocal and theatrical talents to comedic, and unexpected, use.

The show, which is organized by Loose TEA’s artistic director Alaina Viau and coached by Carly Heffernen of Second City, takes place on Friday, June 16, at Bad Dog Theatre in Toronto. The cast itself is a promising cross-section of local opera singers, including Jeff Boyd, Amanda Cogan, Adanya Dunn, Gillian Grossman, Rachel Krehm, Jonathan MacArthur, Erin Stone and Lindsay Sutherland-Boal. Schmopera’s Greg Finney will host and Natasha Fransblow will accompany at the piano.

Loose TEA isn’t the only group experimenting with musical manifestations of improv comedy, either. Also in town this month from London’s West End is Showstopper!, an improvised musical comedy running at the Panasonic Theatre until June 25. The show features a troupe of musical comedians billed as ‘The Showstoppers’, who, similar to Whose Line, use audience suggestions to create an on-the-spot performance of musical theatre. While the show has toured extensively in the UK, this Mirvish-hosted run is the group’s North American debut.

Whether these shows represent a growing trend or simply coincidental offshoots into music theatre’s less serious side remains to be seen. And though it’s of course impossible to say exactly what these shows will offer, the mix of operatic and musical tropes with improv comedy is an interesting one, which pokes fun at the melodrama of music theatre while offering something more casual, spontaneous and light-spirited than your average Verdi or Wagner. A bit of a collision of worlds, perhaps, but one that makes sense—and one worth watching.

Loose TEA Music Theatre’s Whose Opera is it Anyway?! takes place at Bad Dog Theatre in Toronto on Friday, June 16 at 9:30pm, and is a 19+ show. Tickets are $12; for details visit http://baddogtheatre.com/whose-opera-is-it-anyway. Showstopper! runs until June 25 at the Panasonic Theatre; more info at https://www.mirvish.com/shows/showstopper.

Sara Constant is a Toronto-based flutist and musicologist, and is digital media editor at The WholeNote. She can be contacted at editorial@thewholenote.com.

2208 HT BannerAndrei Feher, the Kitchener-Waterloo Symphony’s Music Director Designate. Photo credit: Matthieu Gauchet.The end of a season is always a time for shifts of musical leadership—and this year in particular has seen more changes of conductors, concertmasters, and artistic directors than most. And while, between Toronto’s closing venues and school boards’ slimming down of performing arts programs, most news on local music has waxed apocalyptic, these changes offer something more familiar, and more hopeful: local stars leaving the spotlight, and fresh, promising faces taking their place.

One of those places is at the helm of the Kitchener-Waterloo Symphony. After ten years with the orchestra, artistic director Edwin Outwater is stepping down, finishing his tenure at the end of the 2016/17 season. Known for his charisma on the podium and for his knack for inventive programming, Outwater’s absence is sure to be felt by the orchestra and its audience alike.

“Edwin came to us just in the nick of time,” writes K-W Symphony principal oboist Jim Mason, on the tribute page the orchestra has put up in Outwater’s honour. “We were floundering and going nowhere, still in a world of strife as an orchestra. He came and led us, both on the podium and off, showing us what we were capable of and making us believe in ourselves. He added life to the organization and the city. I wish him all the best and I will sorely miss him.”

The K-W Symphony’s upcoming concerts on May 26 and 27 will be Outwater’s final concert with the orchestra. Titled “Grand Finale: Edwin’s Farewell,” Outwater will lead the orchestra, the Grand Philharmonic Choir, and the Amadeus Choir of Greater Toronto in John Adams’ Harmonium, Mahler’s Symphony No. 1, and Richard Reed Parry’s Outwater Fanfare, composed in Outwater’s honour. Following the show, Outwater will assume the title of Music Director Laureate, and will hand over his role to 26-year-old Romanian-Canadian conductor Andrei Feher, who will serve as Music Director Designate in 2017/18 before officially taking over leadership of the orchestra in August of next year. For more information on the concerts, or on the orchestra, visit www.kwsymphony.ca.

Here’s a recap of other arrivals and departures in local classical music leadership.

St. Thomas’s Anglican Church

Departing: John Tuttle

Arriving: Matthew Larkin

John Tuttle, organist and choirmaster at St. Thomas’s Anglican Church since 1989, retired from his position there last July, and has just been replaced by incoming organist and music director Matthew Larkin (effective August 2017). Larkin, perhaps best known to WholeNote readers as conductor of the Larkin Singers, comes to Toronto from Ottawa’s Christ Church Cathedral, and is a former organ student of the University of Toronto—where he studied with none other than John Tuttle himself.

More info: http://stthomas.on.ca/.

 

Pax Christi Chorale

Departing: Stephanie Martin

Arriving: David Bowser

Stephanie Martin, artistic director of Pax Christi Chorale since 1996, will be departing at the end of this season. Taking her place will be David Bowser, who is already active as a local conductor with the Hart House Chorus and the Mozart Project and who will lead Pax Christi in a 3-concert season beginning in the fall. Details: http://www.paxchristichorale.org.

 

Tafelmusik

Arrived: Elisa Citterio

This new arrival is already well-known to many local Tafel fans, having just co-directed her first concert as the baroque orchestra’s Music Director Designate earlier this month. She’ll be officially joining the orchestra, taking over from longtime director Jeanne Lamon, in the 2017/18 season. More info: www.tafelmusik.org.

 

Luminato

Arrived: Josephine Ridge

Josephine Ridge joined the Luminato Festival team in summer 2016, moving to Canada from Australia, where she was artistic director of the Melbourne Festival, and taking over from outgoing Luminato artistic director Jörn Weisbrodt. This summer’s festival, taking place in various locations throughout the city June 14 to 25, will be the first edition under Ridge’s leadership. More about Ridge in the upcoming summer issue of The WholeNote; and more on this year’s festival at www.luminatofestival.com.

Young Voices Toronto

Departing: Zimfira Poloz

Arriving: TBA

Zimfira Poloz, who has been a conductor of the children’s choir Young Voices Toronto since 2002 and artistic director since 2004, will be leaving her position at the end of the season. Young Voices Toronto still hasn’t divulged who her replacement will be, but will do so in the coming weeks—look for an announcement in the June issue of Halftones! More info: http://youngvoicestoronto.com/.

Sara Constant is a Toronto-based flutist and musicologist, and is digital media editor at The WholeNote. She can be contacted at editorial@thewholenote.com.

2208 HT Banner2Flutist Leslie Newman.Once a year, Hamilton’s street-level music scene gets a welcome classical infusion as the Hamilton Philharmonic Orchestra hosts its annual What Next Festival—a celebration of up-and-coming music from Canadian-born composers. This year, the festival’s seventh, the theme is based on the specifics of Canadian regions such as its land, wildlife and folk music—and has composers writing about what Canada is to them.

Directed by Abigail Richardson-Schulte, the festival—for which all tickets are PWYC—takes place between May 23 and May 28, in various venues around Hamilton. Of particular note is a concert on May 27, where the HPO’s principal flutist Leslie Newman will be a featured performer in a chamber ensemble playing pieces by Hamilton composer William Peltier. Peltier's work (which appears alongside pieces by John Beckwith, Brian Current, Barbara Monk Feldman, Derek Charke and Liam Ritz) has Newman imitating loons, stomping on plywood and playing with throat singers on a recording, as well as playing a jig. Straying away from the traditional classical style of Mozart and Beethoven to introduce a more contemporary sound adds a level of intrigue that makes this music worth experiencing in person.

The What Next Festival will feature both prominent and emerging composers: Hamilton locals William Peltier and Liam Ritz, as well as renowned composers Marjan Mozetich, Sir Ernest MacMillan and Allan Gordon Bell. The music that will be played ranges from works for full string orchestra to solo and small chamber ensemble performances.

On May 28, HPO principal clarinetist Stephen Pierre will be playing a program of music that reflects nature in Canada through the eyes and compositions of its composers. When asked what piece Stephen is most excited to share, he pointed to La Nuit s’ouvre (The Night Opens), a solo work by Elma Miller. “The piece is for unaccompanied clarinet and represents the shimmers of light and life as day becomes night,” explained Pierre. “The freedom Miller has granted me in creating this atmosphere in sound is something that is seldom afforded a performer. Animal sounds, weather effects and changes of luminosity produced by the clarinet timbre are challenges that inspire creativity in a performer. The work is brilliant and Miller will be on hand to introduce it to the audience.” The magic of pieces like this is in how it encourages one to use their imagination, and create picturesque imagery inspired by the music that is being performed.

As a musician who doesn’t have a lot of money and loves classical music, it is exciting to be able to attend an affordable festival featuring renowned musicians and composers. The chamber music in smaller and more intimate settings is what first caught my eye and makes me excited to attend. I'm sure that this, plus the allure of a string orchestra with solo performances, will entice classical and new music lovers from across the greater Toronto and Hamilton areas to attend and enjoy this wonderful event.

For more information on the Hamilton Philharmonic Orchestra’s What Next Festival, visit http://hpo.org/whatnextfestival/.

Cole Gibson is a freelance woodwind player based in Hamilton.

Bechdel Tested's last panel talk, on women in comedy. Photo credit: Akemi Liyanage.When it comes to how we treat women in the music industry, we can do better.

The classical music scene is no exception—in fact, in many cases it lags further behind than most. In a world where the Met programming an opera by a female-identifying composer makes international headlines, and where audiences still start scandals around the kinds of dresses Yuja Wang wears to her concerts, there is a long way to go before women in music have the platform, and the community, they need to succeed.

Erica Shiner certainly thinks so. She comes from a communications background but has long been an advocate for women in the music scene—and at the upcoming event in her film series Bechdel Tested, she’s using cinema as a springboard for starting feminist discussion within our music community. The concept for the series is simple: based on the Bechdel Test—a test named after cartoonist Alison Bechdel that requires a work of fiction to feature at least two female characters who have a conversation about something other than a man—each edition of Bechdel Tested screens a women-centric film, alongside a panel discussion about the larger structural issues referenced in that film.

Hosted on Sunday, April 23 at the Revue Cinema on Roncesvalles (where Shiner is a member of the board) and co-presented with Toronto Women in Music, “Bechdel Tested: Women in Music” is the series’ sixth installment. This month’s event will feature panelists Robyn Phillips of Vallens, rapper Michie Mee, and Tao-Ming Lao of Billions Corporation, moderated by Aliya Pabani of arts and culture podcast The Imposter, and will screen 1954 film Carmen Jones.

“I wanted to use cinema as a vehicle to foster and support feminist community and networking for women in different industries,” says Shiner, who started the series one year ago. “I love the concept of the Bechdel Test, and I thought the brilliance of that concept would translate well into a series that does more than just screen movies that pass the test.”

“A lot of film programming is catered toward cinephiles, and that's fine, but I wanted to create an experience where cinema is a platform for women in all sorts of different fields,” she adds. “Each event brings together a different type of audience, whether it's those who work in the particular industry, people interested in the film we're screening, or just those interested in building feminist community.”

Shiner points out that in the music industry, where many women work in the public eye, toxic gendered frameworks can be especially ubiquitous, and especially insidious. “Music is an industry that's much less insular than others, in the sense that nearly everyone actively consumes music of some sort,” she says. “So the ways that women are both represented and repressed within the industry are very visible to everyone. You look at Kesha's legal issues after being assaulted by her manager, the Ike and Tina Turner story, Amy Winehouse, Whitney Houston, Nannerl Mozart, Fanny Mendelssohn—these women were either ignored or devoured by the music world. You have a lot of really prominent women in the spotlight, but an absolute dearth of women behind the scenes. It's inevitable that this dynamic will create a culture of gendered exploitation. At every Bechdel Tested panel we want to look at these structural issues and brainstorm solutions.”

Still from the film Carmen Jones.The film, Carmen Jones, is a 1954 movie version of Oscar Hammerstein II’s Broadway musical of the same name, and is an adaptation of Bizet’s opera Carmen set in the 1940s American south. Dorothy Dandridge, who plays the role of Carmen, was nominated for an Oscar—the first African-American woman to receive a nomination—for her performance in the film.

“Representation, not just of women but of POC and the LGBTQ community, is paramount to what we are doing with this series,” says Shiner. “I always prioritize WOC when we are selecting panelists but we weren't paying enough attention to this in terms of our film selections. Our last four films all had white women leads, and so it was a necessity that we found a film that featured a WOC, and when I discovered Carmen Jones I was shocked that I'd never heard of it before. [...] There's really no reason other than so many decades of racism that this film isn't a well-known classic. I'm so glad that I found it and we have the opportunity to screen it.”

The screening this month is one in a string of Bechdel Tested events, each of which highlights the work of women in a different profession. And for Shiner, it’s proven a powerful way of using her connection with the Revue to reach out to women from an array of communities across Toronto.

“As with all of our events, more than anything I want to provide our audience with a sense of belonging and empowerment,” she says. “Women are frustrated and alienated by the sexism that pervades nearly every profession out there. We want to bring women together to inspire them to carry on and to strengthen their resolve to push for the changes we all need to grow and thrive in our respective fields.”

It’s a worthy goal—and a film worth watching in the process.

“Bechdel Tested: Women in Music” takes place at the Revue Cinema on April 23 at 7pm. For details and ticket information, visit the event’s Facebook page at https://www.facebook.com/events/1235168683199338/.

Sara Constant is a Toronto-based flutist and musicologist, and is digital media editor at The WholeNote. She can be contacted at editorial@thewholenote.com.

 

Update, April 17, 11am EST: This article previously contained errors regarding the nature of Shiner's connection to film and to the Revue, and has been updated to correct this. 

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