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The Music Scene Winter 2008 Issue tms_6-2_Cover.qxd 3/21/08 3:06 PM Page 1 Spring 2008 Vol. 6.2 • 4,95$ Display until 2008-7-7 0 2 0 6 5 3 8 5 0 4 6 4 4 9 Canada Post PMSA no. 40025257 tms_6-2_layout-ADs.qxd 3/21/08 3:18 PM Page 2 March 30 & 31 - April 1 & 2, 2008 7:30 p.m. – Pollack Hall – $15 / $10 George Frideric Handel April 9, 2008 Alcina 8:00 p.m. – Pollack Hall – $5 Patrick Hansen, stage director With 4th of 6 concerts dedicated to McGill Opera Studio György Ligeti McGill Baroque Orchestra Matt Haimovitz, cello Hank Knox, conductor McGill Contemporary Music Ensemble Denys Bouliane, conductor Jean-Michaël Lavoie, assistant conductor April 1, 2008 Works by Ligeti and McGill student composers 8:00 p.m. – Tanna Schulich Hall – $5 McGill Staff and Guests Series April 12, 2008 Aiyun Huang, percussion 8:00 p.m. – Saint-Jean-Baptiste Church – $10 Gregory Oh, Simon Docking, piano Works by Saariaho, Wilson, Lizée, et al. Benjamin Britten War Requiem McGill Symphony Orchestra April 5, 2008 McGill University Chorus 8:00 p.m. – Pollack Hall – $20 / $10 McGill Chamber Singers Cappella McGill McGill Jazz Visiting Artists Series Les Petits Chanteurs du Mont-Royal Slide Hampton, trombone and composer Robert Ingari, choral preparation McGill Jazz Orchestra Gilbert Patenaude, director Gordon Foote, conductor Leticia Brewer, soprano Stefano Algieri, tenor April 8, 2008 Michael Meraw, baritone 8:00 p.m. – Pollack Hall - $5 McGill Wind Symphony Alexis Hauser, conductor McGill Wind Orchestra Alain Cazes, director Works by Holst and Morel Information: (514) 398-5145 or www.mcgill.ca/music/events/concerts tms_6-2_p03_Contents-Masthead.qxd 3/21/08 3:11 PM Page 3 th CONTENTS cene ONTARIO Spring 2008 Vol. 6.2 Publisher La Scène Musicale / The Music Scene Directors Wah Keung Chan (pres.), Sandro Scola, Gilles Cloutier, Holly Higgins Jonas Editor Wah Keung Chan CD/Books Editor Graham Lord Jazz Editor Marc Chénard Contributors W.S. Habington, Norman Lebrecht, Graham Lord, Joseph K. So, Mike Vincent Cover Photo Gary Beechy Copy Editors/Proofreaders Annie Prothin, Jeff Wyns, Graham Lord, Kristine Berey, Christine Rogers Graphics Bruno Dubois, Kamal Akhabir, Ferdinand Hehewerth Website Normand Vandray, Mike Vincent, Susan Callaghan Admin. Assistants Kali Halapua, Graham Lord Calendar Eric Legault Calendar Assistants Andie Sigler, Dominic Spence Bookkeeper Kamal Ait Mouhoub Volunteers Wah Wing Chan, John Defayette, Lilian Liganor, Gillian Pritchett Photo: Gary Beechy Address 5409 Waverly St., Montreal 04 Bayrakdarian & Braun Quebec, Canada H2T 2X8 Tel.: (514) 948-2520 / Fax: (514) 274-9456 Editorial (514) 274-1128 MÉLISANDE & PELLÉAS Advertising (514) 948-0509 • [email protected] Gregory Cerallo NEWS & PERFORMANCE Mario Felton-Coletti Christine Rogers Julie Roy ▲ 08 Measha Brueggergosman Becomes Elettra [email protected] • Web: www.scena.org production – artwork: [email protected] 09 Profile: Simone Osborne, The Music Scene Ontario is the English Canada sister Spring 2008 publication of La Scena Musicale. It is dedicated to the Met Auditions Winner promotion of classical music and jazz. TMSO is published three times a year by 10 Karlheinz Stockhausen - ■ La Scène Musicale / The Music Scene, a registered non-profit organization and charity. Left to Inspire Inside, readers will find articles, interviews and reviews. La Scena Musicale is Italian for The Music Scene. 11 Previews Subscriptions Surface mail subscriptions (Canada) cost $20/yr or $35/2 yrs 15 Songs of Summer (taxes included) to cover postage and handling costs. Please mail, fax or email your name, address, telephone no., fax no., and email address. REVIEWS Donations are always welcome. (no. 14199 6579 RR0001) 20 CD, DVD Reviews Ver : 2008-03-21 © La Scène Musicale / The Music Scene. All rights reserved. No part of this publication may be repro- duced without the written permission of La Scena Musicale / The Music Scene. GUIDES ISSN 1916-159X (Print) ISSN 1916-1603 (Online) Canada Post Publication Mail Sales Agreement No. 40025257 14 International Festivals 16 Canadian Spring Festivals 17 Summer Camp Directory Music Scene ONTARIO The NEXT ISSUES For Advertising: May 2008: La Scena Musicale National Issue on Jazz, World and Folk Festivals June 2008: La Scena Musicale National Issue on Classical Music and Arts 514 948-2520 Festivals Fall 2008: The Music Scene Ontario, Fall Preview. http://ads.scena.org Visit ads.scena.org for details. tms_6-2_p04-06_CoverArticle.qxd 3/21/08 12:07 PM Page 4 Isabel Bayrakdarian and Russell Braun Mélisande& Pelléas Wah Keung Chan prince, Golaud, lost in a forest, finds a young woman and takes her home as his wife. This opening sequence of Claude Debussy’s operatic masterpieceA Pelléas et Mélisande lends itself to many interpretations and hidden mean- ings.“The Belgian librettist Maurice Maeterlinck wrote in a symbolic style; the words have a deeper meaning, not just in face value,” said Canadian baritone Russell Braun, who will be portraying Pelléas for the 8th time, and the first time in Canada at the Canadian Opera Company.“The forest is our morality,” said Braun.“At the very beginning, Golaud says,‘I cannot escape from this forest.’ The forest is from his thoughts and psyche. The very first sentence shows what you can expect from the rest of the opera. Every character has moments where they talk in great symbolic ways. Debussy really under- stood that you can get into this kind of almost-trance by listening to the images in the story. 4 ONTARIO Spring 2008 tms_6-2_p04-06_CoverArticle.qxd 3/21/08 12:50 PM Page 5 “Mélisande [the woman Golaud discovers] is the most enigmatic character of the opera,” said Braun. “She can be a chameleon to whichever man is with her, she can be easily dominated. The very first thing she said is, ‘Don’t touch me, don’t touch me, or I’ll throw myself into the water.’ Golaud questions her about her origin, and all she said is that she has thrown her crown into the water, at the bottom of this well. As a listener, you are drawn into this wonderful psychology. What does the well represent and what was the crown? For me, it’s the most satisfying 3.5 hours of music theatre.” Joining Braun in her first Mélisande is Canada’s four-time Juno award-winner, lyric soprano Isabel Bayrakdarian.“Mélisande is a mys- tery at the beginning and at the end,” said Bayrakdarian. “Someone has said that she is one of Bluebeard’s wives who has escape. Her reac- tions range from childlike to the profound.” For the 42-year old Braun, playing Golaud’s younger brother Pelléas may have been pre-des- tined. The son of legendary Canadian baritone Victor Braun who was himself a famous Golaud, Braun remembers seeing his first Pelléas et Photo: Ifkovits Johannes Mélisande at age 9. It was in this opera at the 1997 fell in love with Pelléas when she first saw him, where you can let your passion be expressed very Salzburg Festival, during his first year as Pelléas, but we don’t have that scene. And throughout freely and also find moments of restraint. Treat it where he performed with his father for the first the opera, she doesn’t show it.” as very pure music. We tend to think that impres- on the same stage. “It was wonderful to play the At first, the relationship between Pelléas and sionist music is just a wash of colours and dynam- opposites.” Mélisande is quite childlike. At a fountain, Pelléas ics, but it is very precise and the rhythmic pat- Braun’s high baritone is ideally suited for and Mélisande are playing. She tosses her wed- terns are very closely married to the emphasis of Pelléas, whose tessitura lies between tenor and ding ring and it is lost in the fountain. “There is a the words. You don’t have to interpret this music, baritone; at about 50 performances, this role is subconscious trying to erase her present, to start you just have to be honest. Be a little conservative the one he has most frequently sung. “I under- it with her new man,” said Bayrakdarian. “You and the magic of the score will come together.” stand French repertoire.You have to really adore it don’t throw your ring over a huge body of water. What does Braun mean by restraint? “There are to perform it well. It takes commitment to under- I’m still not sure how much of what she does is complex rhythmic structures in the score, where stand the style and the language.” In fact, when intentional and how much of it is fate.” triplets are followed by eighth notes and six- he first auditioned for Richard Bradshaw, the first For Bayrakdarian, who has been going from teenth notes. It is very specific writing; if you treat role the late maestro discussed with Braun was success to success in more cheerful roles, Pelléas them as ad-lib improvisation, the piece will lose Pelléas. “It was Richard Bradshaw’s favourite et Mélisande is quite a departure. “It’s very differ- some of its magic. Just be very true to the score.” opera. We had talked of doing this together for ent, musically and dramatically, from all the roles As the story unfolds, the passion between years.” I’ve portrayed so far. It’s almost like a chamber Pelléas and Mélisande deepens. Meanwhile, The intrigue in the story begins when Golaud opera. Especially for Mélisande, it’s all conversa- Golaud becomes very suspicious and jealous. brings Mélisande back to the kingdom of tion. It’s almost like singing Debussy’s art songs “Golaud tears Mélisande by the hair at one Allemonde.
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