February 3 & 4, 2017

2016-2017 Season Sponsor

Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor St. West salutes Ann H. Atkinson for her generous support of this production

salutes The Pluralism Fund for their generous support of this production

Under 35? Do you love music? Are you 16-35 or a full-time student? Join Club Consort and pay only $15 for the best available seats. Sign up online, then call or visit the box office! Planting the tree of peace Honour Song George Paul Migizi Honour Song Coming by canoe Lintuwakon ciw Oqiton (Song of the Canoe) Dans les prisons de Nantes La belle a pris l’épée Le Prince Eugène A meeting of nations All Nation Song Kondiaronk le chef huron Georges Sioui Death of a leader Lintuwakon ciw Mehcinut (Death Chant) Renaud Ornate aras Moving onward Lintuwakon ciw Esuwonikahattitit (Trading Song) Niigaaniin (Moving Forward) Etsondénon ni Atakwen Georges Sioui

INTERMISSION Please join us for refreshments and the CD Boutique in the Gymnasium.

Wendake/Huronia John Beckwith 1. Raquettes (Snowshoes) 2. Champlain 3. Le Canotage (Canoeing) 4. La Grande Fête des Âmes (The Festival of Souls) 5. Lamentation, 1642 6. À l’avenir (To the future) TONIGHT’S PERFORMERS ARE: STAFF & ADMINISTRATION

David Fallis, Artistic Director Michele DeBoer, soprano Michelle Knight, Managing Director Adam Thomas Smith, David Fallis, tenor, conductor Marketing Director Nellie Austin, Bookkeeper Ben Grossman, hurdy-gurdy, percussion Kiran Hacker, Graphic Designer Katherine Hill, soprano, viola da gamba Yara Jakymiw, Season Brochure Graphic Designer Paul Jenkins, tenor, chamber organ Martin Reis, Derek Haukenfreres Terry McKenna, , mandolin, guitar & Ruth Denton, Box Office Peter Smurlick, Database Consultant Alison Melville, flute, recorder Gordon Baker, Stage Manager Cecilia Booth, Front of House John Pepper, bass & Volunteer Coordinator Laura Pudwell, mezzo-soprano Gordon Peck, Technical Director Sam Elliott, Intermissions & Receptions Margaret Matian, WITH SPECIAL GUESTS CD Sales and Event Assistant Heather Engli, Touring

Georges Sioui, narrator, singer BOARD OF DIRECTORS

Jeremy Dutcher, vocal artist Heather Turnbull, President Ann Posen, Past President Marilyn George, singer, drummer John Ison, Treasurer Shirley Hay, singer, drummer Kim Condon, Secretary Harry Deeg Toronto Chamber Choir, Trini Mitra Lucas Harris, Artistic Director Sara Morgan Tiffany Grace Tobias Members of the Brookside Music Association, John French, Artistic Director FOLLOW US ON FACEBOOK!

427 Bloor Street West AND Toronto ON M5S 1X7 Box Office 416-964-6337 Admin 416-966-1045 Alex Eddington, projectionist [email protected] Jason LaPrade, sound engineer 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 The Toronto Consort has made recordings for Consort has become internationally recognized the CBC Collection, Berandol, SRI, Dorian, for its excellence in the performance of and currently Marquis Classics, with 10 CDs to medieval, and early baroque music. its credit, two of which have been nominated Led by Artistic Director David Fallis, nine of for Juno awards. The most recent recording Canada’s leading specialists have (Navidad) was released in 2012; in 2014, come together to form The Toronto Consort, the group re-released its popular Christmas whose members include both singers and recording The Little Barley-Corne. instrumentalists (lute, recorder, guitar, flute, early keyboards and percussion). Recently, the ensemble has been called upon to produce music for historical-drama TV Each year The Toronto Consort offers a series, including The Tudors, The Borgias and subscription series in Toronto, presented in the The Vikings, all produced by the cable network beautiful acoustic of the recently-renovated 700- Showtime. The Toronto Consort recorded the seat Jeanne Lamon Hall, at the Trinity-St. Paul’s soundtrack for Atom Egoyan’s award-winning Centre in downtown Toronto. The ensemble filmThe Sweet Hereafter. also tours regularly, having been to Europe and Great Britain four times, and frequently across Canada and into the US. PROGRAM NOTES

Welcome to Kanatha/Canada: First collection of traditional songs of the Encounters. This evening, an unusual one Wolastoqiyik (Maliseet people). After for the Toronto Consort, has had a long visiting the Museum of Canadian History period of gestation. It began in 2014 when in Gatineau, listening to old wax cylinder the Consort was asked to participate in recordings of songs and stories from some the world premieres of John Beckwith’s of his Wolastoq ancestors, and with the help Wendake/Huronia in the summer of 2015. of modern speakers, he clothes these songs This piece forms the second part of our in new colours. As he explains, “My project program; more detailed notes about it hopes to make these traditional Wolastoq follow. songs a part of our communities again.”

The experience of working on a piece which For the first half of the program we wanted included native singers Marilyn George to find a way to respectfully and genuinely and Shirley Hay, and included settings of combine the songs and voices of all the text by the Wendat scholar and tradition artists. The “Great Peace” of Montreal carrier Georges Sioui, was a moving one proved to be an interesting take-off point. for all of us, and we resolved to present The historian Gilles Havard, in his book the “choral documentary” on a series Montreal, 1701: Planting the Tree of Peace, concert in Toronto. The sesquicentennial of gives an introduction to this remarkable Confederation allowed a certain rightness event in Canadian history: to having the concert in 2017, while at the same time highlighting the idea that In the heat of the summer of 1701, Canada is much older than 150 years. (It hundreds of Native people paddled their was Jacques Cartier, in the report on his birchbark canoes down the Ottawa second voyage in 1535/36, who first wrote River, through the vast forests of the the word “Canada” to describe an area Laurentian basin. Shooting the rapids, near the Saguenay on the north shore of avoiding the rocks, they made their way the St. Lawrence, saying later, in a brief but towards Montreal, towards the rising fascinating list of native words, that canada sun. The impressive flotilla was made means town.) up of delegations from many nations of the Great Lakes region. They came We met Jeremy Dutcher in another musical from Michilimackinac (Odawas, Huron- encounter, and not only loved his singing, Petuns), Green Bay (Potawatamis, Sauks, but learned about his fascinating project Menominees, Winnebagos), the area called Wolastoqiyik Lintuwakonawa, a south of Lake Michigan (Mascoutens, Miamis) and the shores of Lake Superior intended to restore the grieving Wendats. (Crees, Ojibwas). Converging on The funeral procession arranged by the Montreal from other directions were French was led by 60 troops, followed by ambassadors of the Iroquois League, Huron warriors wearing long beaver pelts, an Abenaki delegation from Acadia, their faces blackened in mourning. Then and delegates from the mission villages came members of the clergy, followed by within the French colony. In total, about six war chiefs carrying the coffin. Next 1,300 Native delegates, representing came the family (Kandiaronk’s brother and 39 nations, would gather in the little children), followed by numerous Huron colonial town. Their purpose was to and Odawa leaders. Finally came the wife participate in a general peace conference of the French intendant, and the governor – or, to use one of their metaphors, to of Montreal. Following a Catholic service, “bury the hatchet deep in the earth” – in Kandiaronk was buried in Notre Dame order to put to an end decades of warfare Church in Montreal. Some scholars have between the Five Nations Iroquois on suggested that the death of Kandiaronk one side and the French and their Native contributed to reconciliation between the allies on the other. various sides, and helped lead to the signing of the peace treaty. One of the most important native delegates was a Wendat named Kandiaronk. Born Shortly afterwards, the peace treaty was in Wendake (Huronia) just before the signed by all the leading delegates, followed dispersal of the Wendat at the hands of the by general feasting, celebration, and further Iroquois, renowned for his intellect, wit and time to engage in trade (a constant feature eloquence, he became a critical ally of the of any such gathering at the time). French in arranging for so many delegates to come to Montreal, and was a respected The music in the first half has been arranged and eloquent promoter of the peace. In the and inspired by this meeting of nations middle of the conference, he caught a violent which took place in Canada so many fever (probably the same disease which had years ago: honour songs to welcome and already killed many Natives) and died. The greet; canoeing songs from both native conference came to a halt, and he was given and voyageur traditions; music to ease the funeral rites by both Natives and the French. passing of a leader, including a piece found French and Iroquois attended the hut of in the collections of 17th-century sacred the Huron chief, and Native orators spoke music in the Ursuline convent in Quebec; at length about the deceased, followed by songs of trading and walking together. the condolence ceremony – the drying of tears, the opening of the ears, the opening – David Fallis of the throat to pour in “a sweet medicine” COMPOSER NOTES on Wendake/Huronia

Late in 2013, John French, founder and 2. Champlain. Champlain’s published artistic director of the Brookside Music account of his travels (1619) includes Association in Midland, conceived the in its second edition (1632) a poetic idea of commissioning a special work to epigraph written by a fan, Pierre Trichet. commemorate the 400th anniversary of It employs the then-brand-new terms Samuel de Champlain’s voyage to the “Canada” and “la Nouvelle ,” region of Huronia (known as Wendake and elaborately extols Champlain, his to the natives), the first encounter of First ventures, and his writings. I decided Nations people with European explorers to set three of its four stanzas, in a in what is now Ontario. The commission contrapuntal choral style that might was supported by the Ontario Arts Council sound “European” after that prologue. and I was asked to take it on. I decided to compile a text from various sources, aiming 3. Le Canotage (Canoeing). Like for a sort of chronological summary of snowshoes in winter, canoes in summer the Wendat experience, before and after were new and fascinating to the French, Champlain. It is mostly in French, with a who admired both the vessels and their few insertions in Wendat. The result is a adroit management by the natives. My “choral documentary” for choir, alto soloist, third panel is an instrumental evocation narrator, and an early-instrument ensemble of canoeing, accompanying extracts including First Nations drums. The six from contemporary descriptions chanted movements evolved as follows: by the chorus (they are from the travel writings of a missionary, Gabriel 1. Raquettes (Snowshoes). For a Sagard). Individual voices shout Wendat prologue suggesting “pre-contact” I terms associated with canoeing, again chose a feature that the French visitors contributed by John Steckley. found novel and remarkable: snowshoes. Against percussion and choral noises 4. La Grande Fête des Âmes (The imitating the sound of this mode of Festival of Souls). I first read of the travel, individual voices shout out, as in traditional “Feast of the Dead” in Olive a roll-call, the names of various Wendat Dickason’s ground-breaking study clans. The words were provided by Canada’s First Nations. The aboriginal the linguist John Steckley, the leading term is “Feast of Souls.” Once a decade authority on the Wendat language, who or so, villagers would disinter their also kindly supplied me with a prayer- deceased and transport their remains like text to be sung by the alto soloist. to an agreed central place where in a week-long ceremony of dancing and sentiments reflecting today’s efforts chanting they would rebury them in a towards reconciliation of aboriginal common plot, with furs, food, ceramics, and settler cultures. In his most recent and other artifacts. The early French book of poems, Seawi (2013), I found observers all mention this festival, an English-language poem addressed including Champlain, Sagard (copying to his infant nephew, expressing hopes Champlain almost word for word), of a more peaceful future, and with his and the later Jesuit missionary Jean de permission used a French version of it for Brébeuf. I felt a musical depiction of the work’s finale. the Feast was essential. Extracts from Brébeuf’s text are spoken by a narrator Among the Consort’s available instruments, against instrumental and choral sound- I chose those most suited to a 17th- illustrations, ending with a traditional century Canadian setting: recorders, lute, First Nations mourning song. mandolin, viola da gamba, chamber organ, and – for percussion – drums, rattles, sticks, 5. Lamentation, 1642. Bruce Trigger’s and scrapers. I felt I should avoid metal The Children of Atahentsic (1976) and percussion but on learning that small bells Georges Sioui’s Les Wendats (1994) were favoured at that time as trade items are the most profound studies of the allowed myself a hand-bell. Wendat history. As an appendix to Les Wendats, Sioui published a paper he Wendake/Huronia was first performed in gave at Laval University in 1992 on the Midland, Parry Sound, and Meaford in 500th anniversary of another famous the summer of 2015, under David Fallis’s voyage, that of Columbus. It imagines direction. the life-patterns of Wendats in the years 992, 1492, and 1642. His picture of – John Beckwith the state of Huronia a century and a half after Columbus affected me deeply. He imagines a young Wendat, having lived through the crisis of European “takeover,” the drastic epidemics and warfare, calling on the Great Spirit to restore his people to their former dignity.

6. À l’Avenir (To the future). “But,” Georges Sioui advised me, “don’t end there.” He thought the angry lament should be followed by more optimistic DAVID FALLIS, ARTISTIC DIRECTOR

David Fallis has been a member of the Toronto Consort since 1979 and its Artistic Director since 1990. He has led the ensemble in many critically- acclaimed programs, including The Praetorius Christmas Vespers, The Play of Daniel, all three of Monteverdi’s operas in concert, Cavalli’s La Calisto and Carissimi’s Jephte, among many others. He has directed the group in its many recordings and tours, and has conceived and scripted many of their most popular programs, such as The Marco Polo Project, The Queen, and The Real Man of La Mancha. He is also one of Canada’s leading interpreters of operatic and choral/ orchestral repertoire, especially from the Baroque and Classical periods. He is Music Director for Opera Atelier and has conducted major operatic works by Mozart, Monteverdi, Purcell, Lully and Handel in Toronto and on tour to France, the US, Japan, Korea and Singapore. He has conducted for the Luminato Festival, Houston Grand Opera, Wolf Trap Theatre, Utah Opera, Orchestra London, Symphony Nova Scotia, the Windsor Symphony, Festival Vancouver, the Singapore Festival, the Elora Festival, and the Elmer Iseler Singers. He is also the director of Choir 21, a vocal ensemble specializing in contemporary choral music, and has led them in performances for Soundstreams, Continuum, The Art of Time Ensemble and the TIFF series at the Bell Lightbox. He was the Historical Music Producer for two Showtime historical dramas: The Tudors and The Borgias.

Thank You Harbord Bakery You make Toronto Consort intermissions delicious! Making and baking good things since 1945 115 Harbord (west of Spadina) 416-922-5767 harbordbakery.ca JOHN BECKWITH

John Beckwith, composer, music educator, and writer, was born in Victoria, British Columbia, in 1927. He received his musical education in Toronto (1945-50) and Paris (1950-52). He was associated with the Faculty of Music, University of Toronto, from 1952, serving as dean 1970-77 and as first director of its Institute for Canadian Music from 1985 until his early retirement in 1990. His more than 160 compositions include four operas, a dozen orchestral works, chamber and solo works, songs, and works for chorus. In an active career of over sixty years, his music has attracted commissions and performances by leading ensembles and solo artists. Most of his major instrumental, choral, and vocal works are available on compact disc and on the internet listening sources. Beckwith has edited or co-edited ten books, including volumes 5 and 18 of The Canadian Musical Heritage. He is the author of Music Papers: articles and talks by a Canadian composer, 1961-1994 (Ottawa, 1997), In search of Alberto Guerrero (Waterloo, 2006), and Unheard Of: Memoirs of a Canadian Composer (Waterloo, 2012). He is a former music columnist and reviewer for the Toronto Star and script writer and program planner for CBC Radio, and has contributed articles and reviews to musical journals in Canada, Britain, and the United States. He is a member of the Order of Canada, holds honorary degrees from five Canadian universities, and is an honorary member of the Canadian University Music Society and the Société québécoise de recherche en musique. He received the Canadian Music Council “Composer of the Year” award (1984), the Toronto Arts Award for music (1994), the diplôme d’honneur of the Canadian Conference of the Arts (1996), the “Friends of Canadian Music” award (2010), and the SOCAN Foundation Award of Excellence for Research in Canadian Music (2014). For more info visit www.individual.utoronto.ca/john_beckwith

Celebrating a Canadian music icon! The Toronto Consort wishes a very happy 90th birthday to John Beckwith in March! GEORGES PAUL EMERY SIOUI

Georges Sioui is a Huron-Wendat. At 18 years old, he was the personal fishing guide of the Prime Minister of Quebec and of the country’s official guests at Expo ’67. He did classical studies in Quebec and in Nova Scotia and studied liberal arts and languages at Université Laval and Ottawa University. He has been Editor-in-chief of the Kanatha magazine, in Wendake, and of the Tawow magazine at the Department of Indian Affairs, in Ottawa. In 1980, he became Assistant Director General and Corporate Secretary of the Cree Board of Health and Social Services of James Bay. In 1987, Georges Sioui obtained, at Université Laval, an MA and, in 1991, a Ph. D, both degrees in History. To date, he has published three landmark books on Amerindian history and philosophy: For an Amerindian Autohistory (1992), Huron-Wendat: The Heritage of the Circle (1999) and Histories of Kanatha seen and told (2008). In 2013, he published a book of poetry at Lavender Ink Press (New Orleans, USA). The title is Seawi. He has recently completed an autobiographical essay on the history and the deeper philosophical nature of Canada. He is presently compiling his musical works for future recordings. Georges Sioui has taught First Nations Studies at universities in Canada and the United States. He has been Dean of Academics at the Saskatchewan Indian Federated College, at the University of Regina (1993-1997), and President of the Institute of Indigenous Government, in Vancouver (1990-2000). Georges Sioui is also an activist. In 1982, he initiated and successfully co-defended with his four brothers the now famous Sioui Case (Supreme Court of Canada), a case of territorial and religious rights. In 2003, Georges Sioui became Head of Research at the Indian Claims Commission, in Ottawa. From 2004 to 2012, he was the Coordinator of the Program of Aboriginal Studies at the University of Ottawa. He recently retired from his position of Full Professor and now dedicates himself to writing and lecturing. Georges Sioui is polyglot, poet, essayist, songwriter and world-renowned speaker on the history, philosophy, spirituality and education of Aboriginal peoples. JEREMY DUTCHER

Jeremy Dutcher is an emerging Toronto-based composer and vocal artist. His music merges two worlds, that of the classical and traditional, operatic power and tuneful melodies of his Wolastoq (Maliseet) Nation. Jeremy’s forthcoming release, Wolastoqiyik Lintuwakonawa, is part composition, part musical ethnography, part linguistic reclamation. The Photo: John Paille melodies come from the oldest known field recordings of the indigenous peoples along the St. John (Wolastoq) river basin, and are arranged for voice, piano and string quartet. Jeremy is also prioritizing the Wolastoqey language in his music in hopes of inspiring other young Maliseets to learn this endangered language. Dutcher’s style is hard to define, as it blends distinct musical aesthetics into something entirely new, shapeshifting between classical, contemporary, traditional and jazz. Jeremy was the winner of Opera New Brunswick’s Young Artist Award in 2012 and most recently a recipient of the Canada Council for the Arts’ Aboriginal Music Award. He studied classical music at Dalhousie University and spent time learning from Passamaquoddy song carrier Maggie Paul. Jeremy has also been a featured soloist with the Mississauga Chamber Choir and Soundstreams Canada.

For more info visit jdutchermusic.com

MARILYN GEORGE

Marilyn George is an Ojibway woman from the Serpent River First Nation. Her Native name is Naatwekakatusahke, which means “Bright Star” in the Lakota language. She feels connected to her name, believing in the law of attraction and not promotion of herself. Marilyn resided on the Serpent River First Nation until the age of 18 when she left to attend college. She is the mother of four children, and has three grandchildren. Marilyn was taught her love of Native crafts at the age of eight. She is a traditional PowWow dancer and shares her Ojibway cultural teachings and knowledge through facilitating workshops involving Native crafts, artwork, songs and drumming. SHIRLEY HAY

Shirley Hay is a status member of the Wahta Mohawk First Nation and lives on Territory. She is of the Turtle clan and her Native name is Tekahontakwa, meaning “picking up the field.” Shirley has over 40 years of experience in the corporate, business, publishing, tourism, band governance, criminal justice system and social services field. She is a registered Social Services Worker and compassionate in her work assisting Aboriginal offenders in the criminal justice system. Shirley, a member of the Kanenhiio Singers, has travelled worldwide singing with the four-woman hand drum group from Wahta.

BROOKSIDE MUSIC ASSOCIATION

Brookside Music Association is a music-presenting organization in Midland, Ontario, which was founded by John French in 2010. It presents largely classical music concerts and school presentations throughout the year as well as a summer festival known as Festival of the Bay. In 2013, in anticipation of the activities commemorating the 400th anniversary of the arrival of Champlain in the region, Mr. French, through Brookside Music Association, commissioned an original composition by John Beckwith, Wendake/Huronia, with funding from the Ontario Arts Council. The work was premiered in the 2015 Festival of the Bay with a choir composed of singers from several regional choirs. Among those performing in the premiere, the following have joined the choir for this performance:

Bob Bruer, tenor Adele Hines, soprano Ken MacDonald, tenor

Angela Monoghan, soprano Mary Skinner, soprano TORONTO CHAMBER CHOIR

The Toronto Chamber Choir has presented a subscription concert series of early music in the city for the past 48 years. Directed by lutenist Lucas Harris since 2014, the TCC has a long- standing relationship with David Fallis, who was its conductor for over twenty years. The choir has performed several times in the Toronto Consort’s well-known Praetorius Christmas Vespers program, and is now pleased to be collaborating with the Consort in John Beckwith’s new work Wendake/Huronia. Upcoming TCC concerts include a performance of sacred choral music by Heinrich Ignaz Franz Biber, now considered to be the seventeenth century’s most phenomenal violinist. The concert will take place on Saturday, March 18, at 8:00pm, and will feature a pre-concert chat with violinists Julia Wedman and Christopher Verrette at 7:15pm. See www.torontochamberchoir.ca for details.

SOPRANOS ALTOS TENORS BASSES

Emma Campbell * Sharon Adamson David Barber Don Barber Mairi Cowan Ainslee Beer Lyle Clark Jonathan Deshman Tara Dhar * Rebecca Claborn + Andrew Donaldson Matthew Li + Leslie Fradkin Linda Deshman Bill Fallis Conan MacLean Natalie Griller Wendy Donaldson Michael Finn John Scopis Nancy Martin Stacey Kendall * Francesco Gagliardi Don Sinclair Christine Lesia Komorowsky Jean-François Roy Peter Thompson McClymont Mary Ella Magill Ralf Staebler Eric Walberg Julia Morson + Sarah Namer Martha Ter Kuile Sean Walker * Annick Morin Ada Spanjaard Andrew Walker + Mary Thomas Nagel Corrie Tuyl Miriam Nisonen Oliver *

* Rosedale School for the Arts apprentice members + Toronto Chamber Consort section leads 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.

CORPORATE & COMMUNITY SUPPORTERS

FOUNDATION SUPPORTERS

The J.P. Bickell Foundation, The Lloyd Carr-Harris Foundation, The McLean Foundation, The Keith Foundation at the Strategic Charitable Giving Foundation, The F.K. Morrow Foundation, The Catherine & Maxwell Meighen Foundation, The Ed Mirvish Family Foundation, Audrey S. Hellyer Charitable Foundation, The Mary Margaret Webb Foundation

SPECIAL THANKS

Many thanks to John Steckley (Wendat linguist), Alex McKay at the Centre for Indigenous Studies at the University of Toronto, Jeff Burnham of GoodMinds.com, and Greig Dunn 2016–17 DONORS

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On December 19th, 2016 in Kitchener-Waterloo, at Wilfred Laurier University’s Maureen Forrester Recital Hall, The Toronto Consort settled in for an intensive three-day recording session, which we’re happy to say went very well!Over the next five months we’ll be reviewing and editing the recordings as we work towards a manufacturing deadline in early July and release date in November 2017.

The Toronto Consort is grateful to the following donors who supported The Italian Queen of France CD Recording Project:

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Tom Bogart & Kathy Tamaki Matthew Airhart Anya Humphrey Alison Booz Elan Dresher Nellie Austin John Ison Ruth Comfort Tiit Kodar Edward & Jocelyn Badovinac Ray Kinoshita Isabelle K. Gibb Oleg Kuzin Anne & Dave Bailey Michael Lerner Jacqueline Jimenez John & Maire Percy J. Douglas Bodley Susan Middleton Verica Ketko Jean Patterson Edwards Harry & Helen Bowler & Christopher Palin Frances Maccusworth Ted Sharp Marcus Butler Alec & Joyce Monro Margaret Magee Michael & Catherine Clase Elizabeth Mowat Mary Ella Magill Amy Coulson Vivian Pilar Catherine Pepper Jane Couchman & Bill Found Ruth Pincoe Norman Perrin Tedd Dillon & Katie Engels D. Powell Wells Jean Podolsky Michael Disney John Reid Morden Trixie Postoff Colin R.C. Dobell Joan Robinson Margaret Rogow Richard Earls Katalin Schafer Alan Rosenthal Lee Emerson Erik Schyer David Saunders Sherri Erlichman Judy Skinner Imogene Walker Kevin Finora Gary Smith Sharon Walker Katalin Gallyas Janet Wood Joan Garner Berta Zaccardi Listing includes donations David & Joan Gilbert & Craig Robertson received up to January 15, Chester & Camilla Gryski 2017. Please let us know if A.L. Guthrie we missed you or made an Pauline S. Hill error. Call 416-966-1045. IN CONVERSATION with Laura Pudwell

TC: When did you get into TC: When did you join The Toronto Consort? music? LP: I joined the Consort in the fall of 1986. That is LP: When did I get into music? a very long time ago … Hm, is that like getting into pyjamas? Um. I apparently sang TC: Do you have a memorable performance or Swingle Singers in my crib to put moment? myself to sleep. I can’t remember LP: Many of us in the Consort will remember a not being into music. Having said candle lit Christmas tour, in Northern Ontario, that, I did not study music, and didn’t take my first when during intermission the wax from the candles voice lesson until I was 26. dripped onto the set of recorders, and the tenor TC: How about early music? recorder caught on fire. The phrase “Maman, maman, la flute s’enflamme” is indelibly etched in LP: Well, I vaguely remember my audition for the my memory. Toronto Consort, at some point early in 1986. I had discovered the Feather on the Breath of God TC: What do you like to do before a show to get recording of Abbess Hildegard von Bingen and ready? After a show? thought it was the most beautiful music I had ever LP: The only thing I really need to do before a heard. I decided to sing some of that for my audition concert is brush my teeth. I cannot sing with dirty for David. I guess I did OK. But really, having sung teeth… But otherwise, a little warm up, some nice in church choirs from before I can remember, and clothes, a bit of lipstick… I’m good to go. I have to having a mother who is a church organist, I have make sure to keep hydrated, and not eat too much always sung lots of early music. salt, but surely that’s true for all of us? TC: What was your first “professional” TC: Where can we find you next, outside of The performance? Consort? LP: Probably a wedding my Mum made me sing at LP: After the Consort programme, I will head down as a child or something. But I certainly remember to DC to sing DuFay and Binchois at the National the performance that changed the direction of my Gallery with Blue Heron, out of Boston. Then life. I was working at the Canadian Council of I’ll head back to Boston with the boys for an all Churches in 1985, specifically with the Interchurch Ockeghem project. I will likely teach my studio in Coalition for Refugees. Whenever I wasn’t at the Montreal several times between February and May, office, I was usually rehearsing or performing. I’m singing a St. John Passion in Kitchener/Waterloo That Christmas, I had my first full lengthMessiah in March, and then in April I will sing Dido in Dido as soloist, with orchestra and the whole works. and Aeneas with Pacific MusicWorks in Seattle, Very exciting. My boss and her husband chose that Washington. Messiah as their Christmas concert that year, not knowing that I was singing the alto solos. After the performance, they came backstage and offered to house me on their third floor for a year, with the understanding that I would pursue a career in singing. I haven’t regretted taking them up on their generous offer. Mozart's Operatic Masterpiece Amici performs portions of a rarely heard version of Mozart’s famous opera Don Giovanni by Joseph Triebensee, featuring the superlative wind players from the Toronto Symphony Orchestra and surprise guests. Feb. 19, 2017 • 3PM

The Toronto Consort is a Proud Member of

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Grand Prize includes round-trip tickets from Toronto and a 5-night stay at a 5-star Florence hotel

Purchase your raffle ticket by March 4, 2017 and qualify for the Early Bird draw for:

A set of 6 Zalto Stemware & a $300 LCBO Gift Card

Raffle tickets are $50 (Only 400 tickets will be sold)

The Early Bird draw will be held on March 4, 2017 at the close of the concert at 10pm. The Grand Prize draw will be held on May 14, 2017 at the close of the concert at 6pm. Both draws will be held at Trinity-St. Paul’s Centre, 427 Bloor Street West, Toronto

Lottery License no. M789846 Raffle proceeds support The Toronto Consort

COMING UP NEXT IN 2017

Welcome internationally-acclaimed Belgian Renaissance vocal ensemble Cappella Pratensis for their Canadian premiere of a program centered on the fantastical imagery of artist Hieronymus Bosch, with music by , Clemens non Papa and Jean Mouton.

Box Office: 416-964-6337 Online: TorontoConsort.org Trinity-St. Paul’s Centre, 427 Bloor St. W.