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Appassionato David Meek to Retire at the End of the Season

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Appassionato David Meek to Retire at the End of the Season IN THIS ISSUE INTERVIEW WITH CANADIAN MUSIC DAL RICHARDS VAM's NEW BOARD COMPETITION AT SCHOOL OF CHAIR (P4) VAM (P10) SWING (P15) SPRING 2015 APPASSIONATO DAVID MEEK TO RETIRE AT THE END OF THE SEASON VAM’s long-time Head of the Voice I met my wife Sheila in the music program Department, David Meek, is set to retire as well; she was studying piano. We got this year after 25 years at the Academy. In married after we graduated, and both this time he has built up a reputation for the did some education courses. Then I saw a opera program, and for himself as a voice program on TV about the Toronto Opera coach, that is enviable—an internet search School. At the time it was affiliated with reveals scores of sites of professional the Canadian Opera Company (now it is singers around the world who list Meek and part of the U of T). I auditioned and got in, VAM in their CVs! Having just completed a and we moved to Toronto. I started working run of Studio Opera Scenes for the spring professionally with the COC in chorus and David Meek takes a nostalgic visit to session, David took some time from his busy small parts and went on tour with them Würtzberg on the Main river, where he schedule to talk to Appassionato about his for six or eight months all over the US and sang for six years at the Stadttheater musical trajectory: eastern Canada. That was a huge learning experience. We did six or eight shows a week, “My father was an Irishman who loved to living in hotels, sometimes staying in one sing old ballads, Bing Crosby, that sort of place for as long as four days, but usually stuff, and I sang with him a lot. Some less. The biggest challenge is to stay healthy. friends of his heard me sing, and coaxed me You pick up stuff from everywhere, but you to enter a competition at Semiahmoo High have to be able to perform! School in White Rock. Well I won that. The adjudicator was a British gentleman called After the tour I worked with the COC and did George Weaver; he was a music teacher and concerts in the Toronto area. We had some critic. He offered to take me on as a student, friends, a tenor and piano couple, like us, which my mother encouraged me to do, so I who were working for a small company in spent my high school years learning with Vienna. They were moving on, and suggested him. After high school I didn’t really know that we come over and take their places. what I wanted to do; actually I wanted to be a By this time we had been in Toronto for pop singer —I was (still am!) a huge Frank five years, and we decided to pack up and Sinatra fan—but I realized it probably move to Vienna. That job didn’t pan out wasn’t for me. My oldest brother had a unfortunately—the guy who was running client, Hugh McLean, a terrific organist, the company went on vacation with his who was teaching at UBC. My brother secretary and didn’t tell anyone, didn’t come told him about me, and Hugh suggested I back—so eventually I got an audition at the audition for him. That went well, and he Stadttheater in Würzburg, on the Main River recommended me to UBC. I did the Bachelor of in Bavaria and they took me on. I started out Music there, and in about the second or with a chorus/solo contract—mainly chorus, third year I got into the opera program. but guaranteed two solo roles per year. As That’s when I fell in love with opera. it happened, around Christmas time, they continued on page 3 1 As the 2014/15 school year draws to a close, it seems miraculous that so much was squeezed in to such a narrow VANCOUVER ACADEMY OF MUSIC window of time. The panoply of concerts and events that keep VAM’s performance spaces ‘singing’ are a testament 1270 Chestnut Street to the vibrancy of our aspiring students and dedicated Vancouver, BC, V6J 4R9, Canada faculty. This vibrancy is reflected in the scope of article topics covered in this current edition of Appassionato, t. 604. 734. 2301 validating VAM’s unique learning environment where f. 604. 731. 1920 amazing bursts of creativity are part of daily operations. [email protected] l www.vam.ca Music is a communally appreciated art form and the articles in this newsletter speak to the importance that community plays as the foundation of VAM’s success. VAM’s primary aim remains to nurture the personal BOARD OF TRUSTEES development of our students through an engaged relationship with music and the performing arts; this Yuen Pau Woo, Chair relationship can take many forms, and we strive to offer Raymond Dong , Vice Chair a solid foundation, and also exposure to the wide variety of Ian MacIntosh, Immediate Past Chair activity that today’s exciting musical world has to offer. I look forward to greeting you at a future VAM concert and Eric Wilson, Treasurer thank you for your support. Michael Baker, Secretary Musically yours, Alex Lim Abdul Pirbhai Joseph Elworthy Rona Radler Executive Director Norman Tsang Monique Wilberg ADMINISTRATION Joseph Elworthy, Executive Director As a parent of four children who studied at VAM, I can Cecilia Ng, Administrative Director attest to the profound influence that music education has had on our lives. For us, VAM is more than a Gloria Wong, Director of Development collection of instruction studios and practice rooms. It is & International Relations more akin to a community centre, with gathering places Elaine Lee, Controller for networking, gossip, and mutual help; social events; Nicole Hurst, Registrar group activities; and a park setting like none other! VAM Marsha Bahador, Front Office is not simply a place where music is learned; it is where Administrator musical life is experienced. Daniel Marshall, Marketing & Website VAM takes the “community” dimension of “community Maintenance Associate music school” very seriously. Your Board has been Jacqueline Leggatt, Librarian / working hard to further strengthen the community feel Orchestra Manager of our school and you will already have noticed the many James Oh, Building Manager innovations introduced by Joseph Elworthy and his team, Tony Previté, Shop Manager from the physical renovations and redecoration in the building to open houses for prospective students, summer Ruth Enns, College Registrar programs, and a greater range of ensemble opportunities. Tanya Spagnol, Assistant to the I am also delighted that for the first time, there is a parent-led College Program initiative to mobilize this year’s graduating class in a fundraising effort to celebrate the success of that cohort and to contribute to VAM’s future generations. This newsletter highlights just a few of the happenings APPASSIONATO in our community. If you would like to get more involved Barbara Dominik, Writer/Editor in YOUR academy, do speak with Gloria Wong, Director Elyce Choi, Design of Development. Yuen Pau Woo Chair, Board of Trustees 2 continued from page 1 were missing a tenor, and were hiring a guy costumes, in addition to the voice, the music to come in every night to sing the Duke in and the text. Opera is probably one of the Rigoletto, so I offered to do that. I learned most demanding disciplines in the arts. WEALTHY HEIRESS the part in about three weeks, in German—I Directors will demand anything; singing already knew some of it in Italian, so that upside down, flat on the floor, on your USES CLEVER RUSE TO helped. That was my real solo debut. After knees for half an hour. People who love the that they gave me a solo contract. I sang stage gravitate towards opera. For those TRAP JEALOUS LOVER! most of the major Mozart roles, Belmonte who have the voice, but not the natural from Die Entführung aus dem Serail, Tamino theatrical instincts, the challenge is to learn from The Magic Flute, Cosi fan Tutte. I did to move and act in character. For example, Alfredo in Verdi’s Traviata, Edgardo in as we rehearse for The Merry Widow, Donizetti’s Lucia di Lammermoor, the title I’ve been telling the students, ‘this is an role in Offenbach’s Tales of Hoffmann. age of elegance, of nobility. Every move you make on stage has to be elegant.’ And you My wife got a job playing for the ballet, and are playing a role, you are not really she played in the orchestra, accompanied yourself. Once you put a costume on, you operettas. Also, both my kids were born in become that character. Although we can’t Germany; I have a son, who is a director/ rehearse all the time in full costume, I producer and a daughter, who is a high encourage students to wear something school science teacher. We wanted to bring resembling what they might wear for the the kids up in Canada, and also my mother production —skirts, or jackets for the was not well, so we came back to White Rock men, whatever they might need for in 1979, and that’s when I started teaching. interacting with props, if they need Katrina Goh plays Hanna Glawari in VAM’s upcoming operaproduction The Merry Widow pockets or whatever—so they can get Photo credit: Max Fürstenberg When I started coaching my primary used to the feel. student was a young soprano named Aline This June, the VAM Opera Studio presents Kutan.
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    Document generated on 09/29/2021 1:48 p.m. Circuit Musiques contemporaines Liste des oeuvres lyriques citées Opéra aujourd’hui Volume 12, Number 2, 2002 URI: https://id.erudit.org/iderudit/902256ar DOI: https://doi.org/10.7202/902256ar See table of contents Publisher(s) Les Presses de l'Université de Montréal ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this document (2002). Liste des oeuvres lyriques citées. Circuit, 12(2), 89–100. https://doi.org/10.7202/902256ar Tous droits réservés © Les Presses de l’Université de Montréal, 2002 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Liste des œuvres lyriques citées ADAMS, John, El Nino ( 1999-2000) Création : Theater of Voices, London Voices, Maîtrise de Paris, Deutsches Symphonie- Orchester Berlin, Kent Nagano (dir.), théâtre du Châtelet, Paris, décembre 2000. AMY, Gilbert, le Premier Cercle (1996-99) Livret d'après Soljénitsyne. Création : Opéra national de Lyon, Michel Plasson (dir.), octobre 1999. Mise en scène : Lukas Hemleb. ANDRIESSEN, Louis, Rosa, A Horse Drama ( 1993-94) Livret de Peter Greenaway. Commande de Pierre Audi pour l'Opéra d'Amsterdam. Création : Netherlands Opera, Schônberg Ensemble, Asko Ensemble, Reinbert de Leeuw (dir.), Muziektheater, Amsterdam, novembre 1994.
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