PROGRAM

Night Games

Prologue , L’Amfiparnaso (1597) Allegrezza d’Amore Fabritio Caroso, Nobilità de Dame (1600)

THE MASKS Tich toch, o Zanni! Vecchi, Selva di varia ricreatione (1590) Trinc tin tin Adriano Banchieri, La Pazzia Senile (1598) Chi passa per sta strada (instrumental) Filippo Azziolo (fl. 1530-1570) Lauretta viso d’oro Banchieri, La Pazzia Senile Pantalon, che vostu far? Banchieri, La Pazzia Senile

Lazzo di Pantalone (silent) O Pierulin dov’estu? Vecchi, L’Amfiparnaso Leggiadria d’Amore Caroso, Il Ballarino (1581)

THE IMITATION GAME Imitation of a Venetian Vecchi, Le Veglie di Siena (1604) Pavana El Todesco (instrumental) collected by Henry Fitzalan (1560) Matona mia cara (Imitation of a German) Orlando di Lasso (1581) Imitation of a Spaniard Vecchi, Le Veglie di Siena Spagnoletta (instrumental) , Terpsichore (1612)

O, ecco il Capitano Vecchi, L’Amfiparnaso La Folia Andrea Falconieri (c.1585-1656) Choreographic arrangement by Marie-Nathalie Lacoursière inspired by Baltasar de Rojas Pantoja, Feuillet and Pécour

Intermission Join us for the Intermission Café, located in the gym.

READ BETWEEN THE LINES Brando dei cavalli (instrumental) L’Orchesographie (1589) Tiridola non dormire Vecchi, Selva (1590) Saltarello detto Trivella Vecchi, Selva O bene mio Adrian Willaert (1545) Chi chi li chi Lasso (1581)

Lazzo di Pantalone (silent) Daspuò c’ho stabilio sto parentato Vecchi, L’Amfiparnaso La Fedeltà d’Amore Cesare Negri, Le Gratie d’Amore (1602)

VIVA L’AMORE! A quand’a quand’haveva una vicina Willaert (1545) Passacaille à 3 (instrumental) Falconieri Mostrava in ciel Vecchi, Selva

Celeste Giglio – Balletto Jean-Baptiste Besard (c.1600) Caroso, Nobilità de Dame Tonight’s Performers are: Staff & Administration

Michelle Knight, Managing Director Katherine Hill, Artistic Director, soprano, Adam Thomas Smith, Director of viola da gamba Audience Engagement and Education Michele DeBoer, soprano Nellie Austin, Bookkeeper Kirk Elliott, accordion, fiddle, Chris Abbott, Graphic Designer mandolin, bladder pipe Romina Julian, Marketing and Development Assistant Yara Jakymiw, Season Brochure Graphic Designer Ben Grossman, colascione, Martin Reis, Derek Haukenfreres, Box Office hurdy-gurdy, percussion Peter Smurlick, Database Consultant Paul Jenkins, tenor, Gordon Baker, Stage Manager Cecilia Booth, Front of House, Volunteer Coordinator Cory Knight, tenor Gordon Peck, Technical Director Esteban La Rotta, , guitar Pradeep Gade, CD Sales and Event Assistant Alison Melville, flute, recorder Lydia Lee, Intern

John Pepper, bass

Laura Pudwell, alto Board of Directors

Heather Turnbull, President WITH SPECIAL GUESTS Ann Posen, Past President Marie-Nathalie Lacoursière*, Harry Deeg, Treasurer actor, dancer, director Frances Campbell, Secretary Jason Bernardon Stéphanie Brochard, dancer Jennifer Bryan Pierre-François Dollé, dancer Anita Nador Tiffany Grace Tobias *The participation of this Artist is arranged by permission Andrea Whitehead of Canadian Actors’ Equity Association under the provisions of the Dance Opera Theatre Policy (DOT).

The Toronto Consort Follow us on Facebook is a Proud Member of and Instagram! @TorontoConsort

427 Bloor Street West, Toronto ON M5S 1X7 Box Office 416-964-6337 Admin 416-966-1045 | [email protected]

bloorstculturecorridor.com TorontoConsort.org ABOUT US

Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Photo Credit: Paul Orenstein

Since its founding in 1972, The Toronto Consort to Europe and Great Britain four times, and has become internationally recognized for its frequently across Canada and into the US. excellence in the performance of medieval, The Toronto Consort has made recordings renaissance and early . Collectively for the CBC Collection, Berandol, SRI, Dorian, led by eight Artistic Associates, some of Canada’s and currently Marquis Classics, with 10 CDs to leading specialists have come together to its credit, two of which have been nominated form The Toronto Consort, whose members include for Juno awards. The most recent recording both singers and instrumentalists (lute, recorder, (The Italian Queen of France) was released in 2017. guitar, flute, early keyboards and percussion). Recently, the ensemble has been called Each year The Toronto Consort offers a upon to produce music for historical-drama subscription series in Toronto, presented in the TV series, including The Tudors, The Borgias and beautiful acoustic of the recently-renovated The Vikings, all produced by the cable network 700-seat Jeanne Lamon Hall, at the Trinity- Showtime. The Toronto Consort recorded St. Paul’s Centre in downtown Toronto. The the soundtrack for Atom Egoyan’s award- ensemble also tours regularly, having been winning film The Sweet Hereafter. PROGRAM NOTES

Night Games: Comedy and early operas blended ancient mythology and the Renaissance Theatrum Mundi a new style of composition for solo voice and chordal accompaniment (both of which were to The world is a stage, become integral elements of baroque music), Life is a performance; madrigal comedy relied on two traditions that You come, you watch, you go. were thoroughly grounded in the Renaissance — Democritus (c.460-c.370 BCE) – commedia dell’arte (a style of theatre featuring masks, improvisation and archetypal characters) While most of us might not be overly familiar and the madrigal (a poem sung by multiple with the ancient Greek philosopher Democritus, voices) – to create what we might think of today as it is very likely that we have seen his stylized, sixteenth-century-style musical revues. Madrigal grinning face in the duo of comedy and tragedy comedies were produced over a span of a mere masks that symbolize theatre in the Western sixty years or so (1567-1630), with only twenty- world. Just as Democritus’ mask represents both two works belonging to the canon; compared to an actor in a comedy and an audience member opera, the genre is a veritable blip on the giant watching a comedy, so the other mask of the radar screen of music history! What I hope we will pair, a mournful and literally down-in-the-mouth discover tonight is that, while madrigal comedy Heraclitus, bears its relationship to tragedy. itself did not endure, works from this genre show These figures illustrate for us the metaphor of off late-Renaissance vocal and instrumental the theatrum mundi, or Theatre of the World, music at its best, in terms of its high quality, in which we are all both actors and spectators, expressive power, wit and irresistible appeal. caught up in the drama of life on earth. In Night Games, we are sampling vocal and Tonight’s performance will give us a chance instrumental music from madrigal comedies of to situate ourselves in the Renaissance theatrum the 1590s and early 1600s. As in any Renaissance mundi, as we explore the musico-theatrical entertainment, dance will also take centre stage, genre of madrigal comedy, which was emerging as our special guests, led by the incomparable in northern at the same time as opera, Marie-Nathalie Lacoursière, will offer us a rare that is, in the late sixteenth century. Where opportunity to enjoy choreography and dance tunes from sixteenth-century dance manuals From its beginnings in the 1520s, it remained a (Allegrezza d’Amore, Leggiadria d’Amore, La highly popular form, enjoyed in both private and Fedeltà d’Amore). In the vocal music, we will public spheres in all kinds of contexts. Madrigal encounter serenading, swaggering, battles of sought to intensify the sound and insults (Lauretta viso d’oro) and propositions meaning of poetry by using a toolbox of variety (Chi chi li chi), as well as playful imitations of and invention, coordinating or scattering the musical instruments, of stutterers (O bene singers’ voices and rhythms, painting specific mio) and of smooth operators (Imitation of a words with evocative melodic gestures, and Venetian). In true, politically incorrect madrigal- colouring different emotions with sweet, languid comedy fashion, particular cultural groups will or jarring harmonies. A vast variety of conceits, be parodied, both musically and linguistically, narratives and emotions could be encompassed including the Spanish (via the quintessentially by these techniques, and so ranged macho Captain Cardon), the Germans (Matona in tone from the academic and serious to the mia cara), and the “uncultured”, speakers of pastoral, the lighthearted, the humorous and non-Tuscan (read: non-literary) dialects from the downright raunchy. The “dialogue” style , Bergamo and (from our Toronto of madrigal, in which a conversation between perspective, think Charlie Farquharson or the two or more people could be represented by Trailer Park Boys). We will hear instruments different groupings of voices, is featured in that complement the comedic tenor of the several pieces on the programme (Tich toch, evening, including harpsichord, percussion, Tiridola), but perhaps most brilliantly in the hurdy-gurdy, guitar, bladder pipes (yes, you three commedia scenes from Orazio Vecchi’s read that right: a small bagpipe made out of a madrigal comedy L’Amfiparnaso(“The Double sheep’s bladder) and … accordion. As with our Parnassus of Theatre and Music”, 1597), which English surtitles this evening, we hope that will be simultaneously acted out, by our the accordion, with its present-day association superb colleagues, using sixteenth-century with comedy and entertainment, can bring us commedia dell’arte tropes and techniques. closer to the direct experience of the material that the original audiences would have had. Born in Modena in 1550, tonight’s star , Orazio Vecchi, was trained in music The madrigal, the central item on tonight’s from a very early age, and spent his life in menu, can be described as a musical setting, both courtly and ecclesiastical service, writing for three to eight voices, of a secular poem that a vast array of vocal and instrumental music, does not conform to a specific metrical structure. including four madrigal comedies. Fearlessly experimental in his approach, Vecchi’s theatrical imaginable. As Renaissance writer Michel de works contain a compelling combination of Montaigne (1533-1592) reminds us, “Pity and hilarity and sophistication. His madrigal comedy commiseration are mingled with some esteem Selva di varia ricreatione (“The Forest of Diverse for the thing we pity.” Taking our cue from the Pleasures”, 1590) is a collection of vocal pieces, wisdom of the past, then, we are ending tonight’s for three to ten voices, interspersed with dance performance with some genuinely beautiful tunes (Saltarello detto Trivella), beautiful pastoral and sincere love songs, crowned at the very end madrigals, and vocal dance music (Mostrava in by our three dancers, in full period costume, ciel). Our programme also features the inventive bringing to life one of the most poignant and music of one of Vecchi’s contemporaries, Adriano gorgeous dance tunes of the sixteenth century, Banchieri (1568-1634), who is responsible for Celeste giglio (“Heavenly Lily”). After all, here in thirteen of the twenty-two extant madrigal this great Theatre of the World, we need to know comedies. His La Pazzia Senile (“The Madness that we will always have the consolation of the of Old Age”, 1598) offers us ingenious musical delightful and beautiful to pick us back up after caricatures of two of the more elderly characters we inevitably slip on the next banana peel. from commedia dell’arte, Dr Gratiano and Pantalone (Trinc tin tin and Pantalon, che vostu – Katherine Hill, Artistic director far?), who prove, not for the first or last time, that they are their own worst enemies.

In his introduction to Le Veglie di Siena (“The Night Games of Siena”, 1604), Vecchi declares that any artistic undertaking needs to strike a balance between the ridiculous and the serious, and that both require the same standards of craftsmanship and skill to create and to perform. Likewise, while commedia dell’arte may at first glance appear to be only about comedic, exaggerated characters, this tradition, too, requiring the highest levels of technique and imagination, inspires our pity and compassion, even while we are watching the predicament of the most foolish character A WORD FROM THE STAGE DIRECTOR

“I have no other purpose in representing the first time that women were seen on stage. people with dramatic poetry than to better Vecchi’s madrigals are a combination of imitate the things of life” – Orazio Vecchi dramatic realism, dance-like rhythms, and word- painting. It felt therefore natural to integrate When Katherine called me to participate dance into this evening. The Balletto, a new form and to co-create this spettacolo with her, I was of Spectacle, appeared in the 15th century, and by thrilled to work again with the Toronto Consort the 16th century, the Italian professional dancers (it has been 10 years!) I was very excited to were in demand in all courts. Dancing skills were return to Vecchi’s madrigal comedies and to cultivated in daily practice by nobility with the create a show which integrates singing, dancing assistance of dancing masters such as Fabritio and commedia dell’arte – all of which I love. Caroso, Cesare Negri and Ercole Santucci. Dancing It is a rare chance and a great opportunity treatises such as Caroso’s Il Ballarino published to perform a show around this period. in 1581 explain the dances, and describe their Commedia dell’arte was created in the musical scores, rules and steps, as well as the 16th century in Venice, and brought together social behaviour that should be observed. the theatre performed by the literate society I love the collective creation process where with that of street performers – it had one our ideas arise and mix, and from this gradually foot in the palace and the other in the street. a new object emerges, a show. It represents This form of theatre was very popular: The each of us individually and all of us at the same best troupes were patronized by nobility, and time. So tonight, please let yourself laugh and would also be funded during carnival by the sing with us, clap, even dance from your seats various towns or cities in which they played. – because you, dear public, are the final and Played with half-masks, Commedia performers most important element of this spettacolo. used simple props instead of extensive scenery, and the characters were from all levels of – Marie-Nathalie Lacoursière, commedia society. These typically were drawn from four dell’arte director, actor, dancer categories: the servants, with characters such as Arlecchino and Pedrolino; the old men, such as Pantalone and il Dottore; the lovers, with names such as Flavio and Isabella; and the Captains. Commedia all’improvviso had no aesthetic doctrine beyond pleasing its audience. It is also

BIOGRAPHIES

Katherine Hill, Artistic Direction Singer KATHERINE HILL first developed a love for old European text and music here in her native Toronto. With support from the Canada Council for the Arts she moved to the Netherlands in 2000, studying, appearing in concerts, radio broadcasts and at festivals throughout Europe over many years. Her particular interest in music from medieval women’s communities has led to her developing and directing her own projects in Amsterdam, Toronto and Calgary, and she currently directs a women’s group, Vinea (The Vineyard). In 2010, she completed an M.A. in Medieval Studies at the University of Toronto’s world-renowned Centre for Medieval Studies, and in 2012, with the support of the Canada Council for the Arts, Katherine received a diploma from the Eric Sahlström Institute in Sweden, where she studied the nyckelharpa (a Swedish keyed fiddle with origins in the middle ages). Katherine is the Director of Music at St Bartholomew’s Anglican Church, an Anglo-Catholic parish in Regent Park, Toronto. She performs and records frequently with early, traditional and new music groups here in Toronto and abroad.

Marie-Nathalie Lacoursière, commedia dell’arte master Born director, choreographer and dancer MARIE-NATHALIE LACOURSIÈRE is the founder and co-artistic director of Les Jardins Chorégraphiques in Montreal and co-artistic director of Le Nouvel Opéra in Montreal and was associate director with Toronto Masque Theatre for 15 years. She specialized in mask work and was invited at the opera of Nice and at the Boston Early Music Festival, was invited to play Harlequin at which she will be choreographing Steffani’s Orlando at the 2019 festival. She has directed, choreographed and danced in Canada, the United States and Europe for over 25 years, including the Festival de St-Riquier (France), the Boston Early Music Festival, Musicale Estense (Italy), Music Alberta, Festival of Ideas (Edmonton), Clavecin en Concert (Corsica), the New Zealand Chamber Music Festival and Early Music Vancouver. Her creations include Lully’s Le Ballet de l’Impatience, Les Indes Galantes ou les automates de Topkapi, Rossini et ses Muses, le Grand dîner and Grétry’s Zémire et Azor for the Opera of Montreal. For the Toronto Masque Theatre, Marie-Nathalie has choreographed or directed all of Purcell’s stage works and many new operas, including Juliet Palmer’s The Man Who Married Himself and James Rolfe’s Europa and Orpheus. She won the Opus Prize for her staging of Blow’s Venus and Adonis presented with Clavecin en Concert.

Stéphanie Brochard STÉPHANIE BROCHARD is a dancer and choreographer. Her artistic career is marked by curiosity and cultural exchanges, as evidenced by the diversity and international nature of her training: Conservatory Regional in Angers (France), Jacques Lecoq’s International Theater School in Paris, Quebec School of Dance and the school of the National Ballet of Canada. Stéphanie likes to navigate from dance theatre to contemporary dance, from clown to baroque dance. In 2008, Stéphanie joined the Sursaut Dance Company as a dancer and became assistant artistic director in 2011. She also has danced with les Jardins Chorégraphiques since 2008 and in 2018 assumed the co-artistic direction with Marie-Nathalie Lacoursière. In 2015 she choreographed her first contemporary work Me Squared and completed in 2017 the creation of Compromis Improbable, a solo she choreographed and danced, stemming from a desire to explore a new choreographic vocabulary by fusing baroque and contemporary dance. Stéphanie also regularly teaches in different dance programs as well as offering workshops for children.

Michele DeBoer Born and raised in Toronto, MICHELE DEBOER enjoyed a rich musical education growing up, particularly through the Claude Watson School for the Arts and the Toronto Children’s Chorus. After completion of a Bachelor of Music at the University of Western Ontario and an Associateship in Singing Performing (ARCM) from the Royal College of Music in London, England, a career balancing performing and teaching evolved. Michele has sung with Tafelmusik, Opera Atelier and many other leading early music groups and professional choirs in the GTA and Quebec, while maintaining voice studios in Toronto, Mississauga and Oakville, directing choirs for children and teens, and consulting and adjudicating for the Toronto Catholic District School Board. This fall, Michele embarks on an exciting new adventure as she works towards a Master’s degree in Speech Language Pathology at McMaster University. Pierre-François Dollé After training and being graduated ”Major” at the Dance Academy in Cologne (Germany), PIERRE-FRANÇOIS DOLLÉ joined the ballet company of the Bonn Opera, the theater of Schleswig-Holstein, and the European Ballet in London. He obtained his Dance Teacher State Diploma and regularly teaches workshops, courses or training in classical dance or old dances. In 2019, Pierre-François will choreograph “Puss in Boots” from Perrault’s tale at the Cracovia Danza Festival, and will be invited to dance with the Early Music Festival in Boston, the festival Montréal Baroque and finally in Osaka and Tokyo in Japan. He is artistic director and choreographer of the Cie Fantaisies Baroques, founded with Irene Feste, whose shows include Danceries en Fables, Derrière les Miroirs and the new 2018 creation L’île des Esclaves from Marivaux. Dance research is central to his current work, in the Cie Fantasies Baroques on treatises of the First Empire and with Christine Bayle on treatises of the early seventeenth century.

Kirk Elliott KIRK ELLIOTT is a musician, arranger and composer from Toronto. He has travelled throughout Canada and the United States for over 25 years performing with family entertainers Sharon, Lois & Bram, appearing at such venues as Carnegie Hall and the Palace Theatre on Broadway. He works in his recording studio with over 60 musical instruments, and has created scores for CBC, CTV, YTV, the National Film Board, the National Ballet, Toronto Dance Theatre, and Oscar-winning animated film director Chris Landreth. Kirk performs frequently with Ensemble Polaris, for whom he composes and plays fiddle, bass, mandolin, bouzouki, Celtic , accordion, balalaika and an assortment of . On his latest CD, Solstice Spirit, the Musical Visions of Sister Gildaherd the Benign, Kirk plays over 25 instruments, offering “wonderful entertainment … Peter Schickele’s PDQ Bach has a long-lost brother in arms” (The WholeNote).

Ben Grossman BEN GROSSMAN is a busy musician: improviser, studio musician, composer, noise-maker and audio artist. He works in many fields, having played on over 100 CDs, soundtracks for film and television, sound design for theatre, installations, work designed for radio transmission, and live performances spanning early to experimental sound art. Ben’s tools of choice are electronics, percussion, and, especially, the hurdy-gurdy ( à roue), a contemporary electro- acoustic string instrument with roots in the European middle ages. He studied the instrument in Europe (with Valentin Clastrier, Matthias Loibner and Maxou Heintzen) and has also studied Turkish music in Istanbul. www.macrophone.org

Paul Jenkins PAUL JENKINS cultivates an eclectic musical career as a keyboardist and tenor. A longtime member of the Toronto Consort, he has appeared with some of Canada’s leading baroque and early music groups, including Tafelmusik, Opera Atelier, La Nef, Aradia, and Theatre of Early Music. Other guest appearances include the London Symphonia, Hamilton Philharmonic, the Kitchener-Waterloo, Windsor, and Toronto Symphony Orchestras, the Canadian Opera Company, Opera in Concert, Esprit Orchestra, Soundstreams, Apollo’s Fire, I Furiosi, Toronto Masque Theatre, and North Wind Concerts. This season includes performances with Scaramella and Sinfonia Toronto.

Cory Knight Described as ”that rare, wonderful, lyric tenor who turns every note he sings into gold” (Musical Toronto), CORY KNIGHT is in demand as a soloist and ensemble singer. He recently returned home to Toronto after completing a Masters degree in Historical Performance Practice at the prestigious Schola Cantorum Basiliensis in Switzerland. He has sung at major festivals and concert venues across Europe including the Utrecht Early Music Festival, the Trigonale Early Music Festival, the Baroque Music Festival in Ambronay, the Warsaw Philharmonic Hall, the Concertgebouw in Amsterdam and the Palau de la Música Catalana in Barcelona. He has also appeared on a number of CD recordings, most recently spending a week at the beautiful Muri Abbey recording music by Kaiser Leopold I and Georg Muffat. Highlights of his work in Canada include singing with Tafelmusik Chamber Choir, Pacific Opera Victoria, Les Violons du Roy, and Opera Atelier. Esteban La Rotta ESTEBAN LA ROTTA is one of Canada’s leading lutenists. In demand as both a soloist and continuo player, he studied at the Civica Scuola di Musica di Milano with Paul Beier, and in Montreal with Sylvain Bergeron where he received his doctorate in performance in 2008 concentrating on the baroque guitar. His interest in the origins of the lute as a polyphonic instrument brought him to pursue a specialization on the solo repertoire for lute in the late Middle Ages and early Renaissance at the Schola Cantorum Basiliensis under the guidance of Crawford Young and Hopkinson Smith. As a specialist in a variety of early plucked instruments, La Rotta has extensive experience with the early renaissance repertoire as well as with Baroque Italian and French repertoire for solo . He is a regular participant at Festival Montréal Baroque and collaborated regularly with ensembles such as the Copenhagen Soloists, Ensemble , Les Violons du Roy, Les Voix Humaines, Les idées Heureuses, the SMAM, Ensemble Caprice, and Pallade Musica. He has appeared in numerous festivals including Musique Royale, Boston Early Music Festival, Seattle Early Music Guild, Tage Alter Musik (Regensburg), Lamèque Early Music Festival, Stratford Festival, the National Arts Centre in Ottawa, and the Orford Music Festival. His performances have been broadcast on the CBC in Canada and the BBC in England. He can be heard on the Atma label, both as a soloist and with Pallade Musica, and on the Passacaille and Recercare labels. Since 2017 La Rotta teaches early music ensembles at McGill University.

Alison Melville Toronto-born ALISON MELVILLE began her musical life by playing the recorder in a school classroom in London (UK). Her subsequent career on historical flutes of many kinds has taken her across North America and to New Zealand, Iceland, Japan and Europe, most recently to Switzerland and Finland. She is a member of Ensemble Polaris and Artistic Director of the Bird Project, appears regularly with Tafelmusik, and collaborates in many other varied artistic endeavours. Some personal career highlights include playing for The Tudors, CBC-TV’s The Friendly Giant, and Atom Egoyan’s The Sweet Hereafter; solo shows in inner-city London (UK) schools; an improvised duet with an acrobat in northern Finland this summer; and, oh yes, a summer of concerts in Ontario prisons. Alison has been heard on CBC/R-C, BBC, RNZ, NPR, Iceland’s RUV, and on over 60 CDs. She taught for many years at the Oberlin Conservatory of Music, is currently on faculty at the University of Toronto and Wilfrid Laurier University, and also teaches music appreciation classes for the Royal Conservatory of Music and Ryerson University’s Life Institute. Tales of musical adventure can be read at calliopessister.com. For more information please see www.alisonmelville.com.

John Pepper A native of Annapolis, Maryland, bass JOHN PEPPER sang for many years with Festival Singers of Canada, Tapestry Singers, The Gents, the Tafelmusik Chamber Choir, Elora Festival Singers and the Toronto Chamber Choir, and now works regularly with Opera Atelier and Choir 21. He has recorded extensively with most of those organizations and with Canadian Brass, and has taken part in recordings and premières of music by John Beckwith, R. Murray Schafer, Harry Somers and Arvo Pärt. His work in music theatre includes Huron Country Playhouse, Comus Music Theatre and Rainbow Stage Theatre. He has written program notes for The Toronto Mendelssohn Choir, the Elora Festival and Roy Thomson Hall, and liner notes for CBC Records and CentreDiscs, among others. John has been a member of the Toronto Consort since 1990. His principal hobby is genealogy and family history. Laura Pudwell Grammy–nominated LAURA PUDWELL has a well-established international profile, with recent engagements in Paris, Salzburg, London, Houston, Boston and Vienna. She has sung with many leading orchestras and opera companies, including Tafelmusik, Les Violons du Roi, the Boston Early Music Festival, the Calgary Philharmonic Orchestra, Calgary Opera, Vancouver Opera, Opera Atelier, Symphony Nova Scotia and the Kitchener-Waterloo Symphony. Her range of repertoire is immense, ranging from , through a recording of Dido and the Sorceress in Purcell’s Dido and Aeneas under Hervé Niquet, to Prokofiev’s Alexander Nevsky, Elgar’s Dream of Gerontius, and evenings of Stephen Sondheim and Cole Porter. A native of Fort Erie, she lives in Waterloo with her husband and two children. www.knowlesarts.com Thank You The Toronto Consort gratefully acknowledges the generous ongoing support of Trinity-St. Paul’s Centre, our sponsor and foundation partners, our long-time government funders and our many wonderful dedicated volunteers.

An agency of the Government of Ontario Un organisme du gouvernement de l’Ontario

Corporate & Community Supporters

Foundation Supporters

The Keith Foundation at the Strategic Giving Charitable Foundation, Audrey S. Hellyer Charitable Foundation, The Mary Margaret Webb Foundation, and The Pluralism Fund.

Special Thanks Special thanks to Guillaume Bernardi, Robert Busiakiewicz, Walter Hannam & Sarah Benson, Julie Harris & Early Music Voices Calgary, Eva Saphir & Vesuvius Ensemble for the use of the colascione, Caroline Guilbault for the image and the rooster, and Brigitte Lacoursière for the Renaissance costume. Many thanks to our team of over 100 volunteers who provide ushering, event hosting and administrative support. 2018-19 Toronto Consort Donors

GOLD RENAISSANCE Marion Breukelman Miret Anya Humphrey PATRON CIRCLE Jayne & Ted Dawson Peter Jennings — — Jean Edwards Nancy Jacobi & Peter Jones ($100 – $199) ($5,000 and above) Eva & Doug Green Ludwig W. Kalchhauser George Hathaway George & Kathryn Kawasaki Robert D. Bedolf Ann H. Atkinson Jill Humphries Grace & Henry Klaassen Gyuszi Berki Greig Dunn D. Kee Ania & Walter Kordiuk Stephen Bishop & Robert Maclennan Gerhard & Louise Klaassen Lois Kunkel & John Olthuis Alison Booz Jane & Al Forest Eric A. Lipka Sean Lawrence & Chris Brownhill Estate of Patricia Hosack Mundy McLaughlin Esther Shipman Sheila Campbell Vivian E. Pilar Lynda Newmarch Michael Lerner Philippa Campsie Joan E. Robinson Prof. E.M. Orsten Dr. Teresa Liem & Norman Ball Dr. Helen Ostovich Oliver & Gillian Long Connie Catalfamo Paul & Elaine Pudwell ($2,500 – $4,999) Robert MacKinnon Rose Marie Cira Judy Skinner Margaret Magee Stephen Cockle Barbara Tangney Tom Bogart & Kathy Tamaki Mary Ella Magill Kim Condon Heather Walsh Estate of Christina Mahler & Jonathan Barrentine Meg & Jim Young Norman John Cornack & Jeanne Lamon Nancy Conn Tiit Kodar, Pat & Howard Malone Douglas Crowe in memory of Jean Kodar Alina Matus David & Liz Currie John & Maire Percy S. Davidson Trini Mitra Ann F. Posen BENEFACTOR Stephanie de Bruijn Alec & Joyce Monro — Colin Dobell Margaret & Reid Morden ($200 – $499) Richard Earls Sara Morgan ($1,000 – $2,499) Lee Emerson & Daniel Philpott Anonymous (2) Joyce Ford Elizabeth Mowat Anonymous (1) Lewis W. Abbott Frank & Donna Lynne Fraser C. Bergeron James & Penny Arthur Stephen J. Munro David & Helena Garlin Jane Couchman & Bill Found Nellie Austin Toby & Martine O’Brien Brydon Gombay David Fallis Edward & Jocelyn Badovinac Selma Odom Ulla Habekost Kevin Finora David & Anne Bailey Ruth Pincoe & David Peebles Terrie-Lee Hamilton Chester & Camilla Gryski Sara Blake Carol Percy Richard & Marie Hands John Ison Helen G. & Harry Bowler Georgia Quartaro Corinne Hart William & Hiroko Keith Jennifer Bryan Brenda Rolfe Avril N. Hill Robert & Michelle Knight Marcus Butler Dorothy & Robert Ross Deborah Holdsworth Oleg Kuzin, Frances Campbell Joanne & Walter Ross Gail Houston in memory of Betty Kuzin & Larry Isaacson Lee Smith & Lyle Burton Susanna Jacob Marion Lane & Bill Irvine Priscilla Chong B. Stalbecker-Pountney J. & J. Jimenez Bonnie & Timothy McGee Michael Clase Elizabeth Stewart Elisabeth Jocz Anita Nador Thomas & Elizabeth Cohen Paul & Lynne Stott Sophia Kaplan Ted & Sheila Sharp Stephen & Linda Cook Richard Sumner Ann Karner Heather Turnbull Steven Davidson and Karen Teasdale William Karner & Priyanka Sheth Rob MacKinnon Mary Thomas Nagel David Keenleyside Guy Upjohn Annette DeBoer Edward J. Thompson John Klassen Jane Witherspoon Natalie Kuzmich Harry Deeg Tiffany Grace Tobias & Brian Stewart Anne-Louise Lanteigne Michael Disney Roger Townshend Anita Lapidus Neil and Susan Dobbs Patricia & Alasdair Urquhart Kathy & Ken Lawday In memory of Everett & Gisela Van Steen Cheryl Lewis & Mihkel Voore Freddy Fleming & the late Mark Van Steen RENAISSANCE CIRCLE Oliver & Gillian Long Katalin Gallyas In Memory of Melissa Virag — Kenneth & Mary Lund Joan Mary & David Gilbert Catherine & Gary Vivian ($500 – $999) Edward & Margaret Lyons Janet Walker Carol & Peter Gould Duncan MacKenzie Sharon Walker Anonymous (2) David Grant & Arlene Gehring Mendl Malkin Laurie White Margaret Ackerman John & Jane Grant B. Lesley Mann Andrea Whitehead Donald E. Altman Joan & Ian Guenther Gloria Marsh Morden Yolles Matthew & Phyllis Airhart Pauline S. Hill Ingrid & James McCartney Monica Armour Jerry Hogan Gary McIntosh Brenda Ellenwood in honour of Ross Tilley Angela Emmett Barbara McNutt Margaret Furneaux Sean Miller Ruben Gaetani Frank Moens Constance Gardner Jeanne Moffat Joan Garner Darryl Nakamoto Isabelle Gibb Lorna Novosel Christopher Harris Sheila O’Connor & Mary Shenstone Christopher Palin Beatrice & Larry Herman FRESCOBALDI Jean Podolsky Marie Howes-Clark Anne-Marie Prendiville Gail Houston & THE GLORIES OF ROME & John Gillies Andrea Kinch David Ptolemy Tiiu Klein Tim Reid Ronald Leprohon Jason Roberts Mary & Kenneth Lund David Roberston Ingrid & James McCarthy CD fundraiser & Eva M. MacDonald Vaclava G. Matus The Toronto Consort is grateful to the following Elaine Rolfe Ellen Mole Marina Romain Lorna Novosel donors who supported the Frescobaldi & the Joan Rosenfield Dana Oakes Glories of Rome CD Recording Project. Janet Rubinoff Annabelle Orejana David Saunders G.D. Olds Cathy Schell Manfred & Sylvia Petz RENAISSANCE CIRCLE Erik Schryer June Pickney — C. Schuh & M. Horn Marion Pope ($500 and above) Douglas R. Scott Anne Power Jill Shefrin Holly Price John Gillies Kevin Skelton Cathy Richardson & Anne-Marie Prendiville Donald Smith Molly Robbins John & Maire Percy Brian Taylor Heather Schreiner Anonymous (3) Ella Taylor-Walsh Bill Schultz Martha ter Kuile Takayo Shimoda BENEFACTOR Ross Tilley Roberta Smith — Carol Vine Janet Stern ($125 - $499) Mary Vise Barry Tinnish Imogene Walker William Toye Matthew & Phyllis Airhart Jeffrey White Kaspers Tuters Alison Booz Marilyn Whiteley Catherine Ukas Frances Campbell Beverley Wybrow Carol Watson & David Abel Rose Marie Cira Angie Wong Anne & William Whitla Ruth Comfort Sharon Zimmerman Nora Wilson Lee Emerson Perry Wong Kevin Finora Barbara Yip Tom Fleming George B. Hantziagelis FRIEND Anonymous (4) Ray & Mary Kinoshita — Michael Lerner ($50 – $99) Listing includes donations Christopher Palin received as of April 19, 2019. Ann Posen Dianna Allen Please let us know if we have Ted & Sheila Sharp Sandra Alston missed you or made an error. Tony Alton Cheri & Gregory Barnett PATRON Larry Beckwith — Geraldine Campbell ($10 - $124) Ann Carson Coleen Clark Catherine Pepper Brenda Rolfe Marie & Gavin Clark Amy Colson Ruth Comfort Sue Cousland It is not too late to be a part of our recording! John Crozier Visit www.torontoconsort.org or call 416-966-1045 Hans De Groot Mary Catherine Doyle to donate today! Donald Elrick 19/20 Thank you CONCERT SERIES Harbord Bakery! SUBSCRIBE TODAY AND SAVE UP TO 25%

TOP BRASS THE LOST OCTOBER 3, 2019 KARAOKE TAPES JANUARY 30, 2020 TWO ODYSSEYS: PIMOOTEEWIN / IMPROVISED GÁLLÁBÁRTNIT COMPONENTS NOVEMBER 13-16, 2019 MARCH 6, 2020

ELECTRIC MESSIAH SECRETS DECEMBER 10 – 12, 2019 APRIL 23 & 24, 2020

MUSIK FÜR DAS ENDE MAY 6 – 9, 2020 You make our intermissions delicious! TO ORDER, VISIT SOUNDSTREAMS.CA/SUBSCRIPTIONS 115 Harbord (West of Spadina) | harbordbakery.ca

2018/19 Season

magnificatbach Directed by Ivars Taurins Tafelmusik Chamber Choir Magnificent music to end the season, from the perfection of Bach to the splendour of Zelenka. May 9–12, 2019 Koerner Hall, TelUS CenTre

tafelmusik.org FOUR UNIQUE TORONTO CONCERTS! BACH FESTIVAL MAY 24–26, 2019 John Abberger, Artistic Director

John Abberger, & director | Julia Wedman, | Luc Beauséjour, harpsichord | Elinor Frey, cello

Celebrate one of the world’s most prolific and best loved composers, Johann Sebastian Bach, in a three-day festival of historically informed performances in Toronto. Concerts JUL 11 - AUG 3 include: Brandenburg Five, Lutheran Masses, and a solo performance by renowned harpsichordist Luc Beauséjour. Tickets from $20 | 3-Concert Festival passes from $30 TorontoBachFestival.org 416.466.8241 TORONTOSUMMERMUSIC.COM AGAINST NATURE DIRECTED + CHOREOGRAPHED BY: JAMES KUDELKA Words MAY 22-25 + and Music MAY 29-JUNE 1 8PM Friday, May 24, 2019, 8 p.m. THE CITADEL: ROSS CENTRE FOR DANCE St. Thomas’s Church, 383 Huron St. Tickets and more info: www.exultate.net

BOX OFFICE: 416.364.8011 citadelcie.com Toronto’s Newest Luxury Boutique Hotel in the Annex We’re putting down roots in Toronto’s iconic Annex neighbourhood with our new boutique hotel on Bloor Street. In its vibrant cultural scene, you can sense the neighbourhood’s bohemian spirit and elegant historic bona fides, making for a compelling mix of grit and sophistication that begs to be explored. It’s the ideal setting for Kimpton’s signature approach to hospitality.

Relax in our living room among original pieces by local artists. Unwind with a Canadian whisky at our adjacent craft pub. Or borrow a bicycle and hit the streets to discover the many hidden and not-so-hidden treasures this city has to offer. At Kimpton Saint George Hotel, we’re all about cultivating a desire for discovery of the authentic Toronto.

Rich design elements, a saturated colour palette and the subtle, eclectic décor of collected artifacts make for an appealing urban sanctuary with a nod to authentic Toronto. Explore your suite’s collection of vinyl and put a record on the turntable to set the mood while you kick back on a luxe, soft sofa or your stylish bedscape.

*Proud partners with The Toronto Consort *Please visit www.torontoconsort.org for preferred rates link with Kimpton Saint George Hotel

K IMPTON 280 Bloor Street West | Toronto, ON | M5S IV8 | Canada 416-968-0010 | kimptonsaintgeorge.com | #saintgeorgetoronto