ISSUE 08 Spring 2 ww 005 • Vol. 3 w.scena.org $4.95 .3
Peter Oundjian & Gary Kulesha on New Creations Will Crutchfield on Bel Canto Classical Concert Spring Picks Southern Ontario Winnipeg Calgary Edmonton Vancouver Victoria
Valery Gergiev Maestro in Motion
Youth: Canada’s Rising Stars • Music Camps • Careers
The Music Scene Spring 2005 Vol. 3.3 Version PDF
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ISSUE 08 www.scena.org Spring 2005 • Vol. 3.3 $4.95
Peter Oundjian & Gary Kulesha on New Creations Will Crutchfield on Bel Canto Classical Concert Spring Picks Southern Ontario Winnipeg Calgary Edmonton Vancouver Victoria
Valery Gergiev Maestro in Motion
Youth: Canada’s Rising Stars • Music Camps • Careers TMS3-3cover4 2005-03-15 13:32 Page 2 tms3-3_AC p03-11 3/11/05 10:07 PM Page 3 tms3-3_AC p03-11 3/11/05 10:11 PM Page 4 tms3-3_AC p03-11c 2005-03-16 14:17 Page 5
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The Music Scene ontents W Fr W Notes To Victoria Vancouver, Calgary, Edmonton, Winnipeg, Southern Ontario, Preview: J Crossing Borders azz CDReviews Spring 2005 ediefrAvriig a 7 05 Visit ads.scena.org for details. 2005. May 17, Deadline for Advertising: June 2005 Street Date: Summer Festivals Guide ancesca Caccini’s Opusto Woman Power l rthil:New Life for BelCanto ill Crutchfield: ho’s Afraid ofClassicalConcerts? r noNwCetosFestival onto New Creations Maestro inMotion V alery Gergiev alery 38 34 REVIEWS 22 20 18 16 12 11 10 YOUTH MUSICIAN’S CORNER: YO BakingtheirCake andEatingit Too VYSO: Musical CampsDirectory J Rick’s Picks CD Reviews Careers Ones to Watch Canadian RisingStars How MusicCampChanged my Life nSmn:aLife of Teaching an Simons: tms3-3_AC p03-11c 2005-03-16 16:35 Page 7
th Editorial cene n Monday, May 2, primary and secondary school students across the country will head outdoors. They will gather in courtyards and school grounds to share their Spring 2005 Vol. 3.3 Opassion for music and music education by playing A Little Music, a song written by Canadian composer and musician Chris Tait. The first annual event, dubbed “Music
Publisher La Scène Musicale / The Music Scene Monday,” is an initiative of the Coalition for Music Education in Canada (CMEC), and aims Directors Wah Keung Chan (pres.), Sandro Scola, Dean to emphasize the crucial role played by music students and educators in ensuring Canada’s Jobin-Bevans musical future. Editor Wah Keung Chan Assistant Editor Réjean Beaucage CD/Books Editor Réjean Beaucage This issue of The Music Scene also celebrates young people and music. As the future of clas- Contributors Kenna Burima, Marc Chénard, John Defayette, Danielle Dubois, Sasha M. Dyck, W.S. Habington, Kyle Irving- sical music, young people are its greatest ambassadors. And as our profiles on Canada’s Moroz, Robert Jordan, Norman Lebrecht, Gaétan Martel, Gordon Morash, Rick Phillips, Peter Phoa, Isabelle Picard, Paul Rising Stars demonstrate (p. 18), they are clearly rising to the challenge. This summer, thou- Serralheiro, Joseph K. So, Andrew Thompson, Bess sands of youngsters will head to Canada’s woods and lakes for musical inspiration. We are Vasilakopoulos Cover Photo Marco Borggreve happy to present our second annual Music Camp Directory (p. 12) to help them find it. Translators Danielle Dubois Despite this great love for music-making, youth attendance at classical concerts has been Proofreaders Danielle Dubois, Sasha M. Dyck declining for decades. On page 31, our British correspondent Norman Lebrecht explores Graphics WKC, Albert Cormier, Eric Ginestier, Sasha M. Dyck Illustrations Martin L’Allier ways to make concert-going a more appealing and rewarding experience. The article on the Website Normand Vandray, Mike Vincent, Linda Lee Admin. Assistant Sasha M. Dyck, Johanne Poirier, Antoine Vancouver Youth Symphony Orchestra (p. 10) looks at the parental opposition experienced Letendre by some young people hoping to translate their passion for music into a living. For youth hop- Regional Calendar Eric Legault Accounting Joanne Dufour ing to study music (and perhaps for their parents as well), our Musical Careers feature on Bookkeeper Kamal Ait Mouhoub page 22 is a must-read. This feature also introduces the latest addition to The Music Scene Volunteers Maria Bandrauk-Ignatow, Wah Wing Chan, John Defayette, Dean Jobin-Bevans, Lilian Liganor, Stephen Lloyd, team, musicologist and radio host Rick Phillips. Every issue, Rick will offer his picks of the best Renée Rouleau new classical CDs, starting with page 38 of this magazine. Lastly, we hope you will be Distribution Southern Ontario, Winnipeg, Calgary, Edmonton, inspired by our cover interview with Valery Gergiev (p. 26). For decades he has stayed true Vancouver & Victoria to his humanist and musical ideals while making music for the pure love of it. A better role Printer Calgary Colorpress model is hard to find. Address 5409 Waverly St., Montreal Quebec, Canada H2T 2X8 Three years ago, CMEC Executive Director Ingrid Whyte had a vision of Canadians joining Tel.: (514) 948-2520 / Fax: (514) 274-9456 in music: “I remember thinking, ‘wouldn’t it be wonderful to have a day where everybody Editorial (514) 274-1128 comes out and is unified through song?’” she told me. Music Monday is the realization of Advertising Bernadette Lacroix-Bjornson (514) 935-3781 that vision, a vision that The Music Scene is proud to share. Just as Ingrid wants students Mike Webber (514) 287-7668 to make A Little Music their own – apparently students in Newfoundland have already come Gillian Pritchett (514) 948-2520 National Sales (non-musical) up with a bluegrass version of the piece – we also want you to consider The Music Scene Relations Media (450) 661-8200 yours. Let us know what you’d like to see more (or less) of, and we’ll make it happen. [email protected] • Web : www.scena.org production – artwork : [email protected] The Music Scene is the English Canada sister publication of See you on May 2. I’m sure we’ll be hearing from you! La Scena Musicale. It is dedicated to the promotion of classical music. It is published four times per year. Inside, readers will find arti- cles, interviews and reviews. TMS is published by La Scène Musicale/The Music Scene, a registered non-profit organiza- tion. La Scena Musicale is Italian for The Music Scene. Subscriptions Surface mail subscriptions (Canada) cost $20/yr or $35/2 yrs (taxes included) to cover postage and handling costs. Please mail, fax or email your name, address, telephone no., fax no., and Wah Keung Chan email address. Donations are always welcome. (no. 14199 6579 RR0001) Editor-in-chief Ver:2005-3-14 © 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. ISSN 1703-8189 (Print) ISSN 1703-8197 (Online) Canada Post Publication Mail Sales Agreement No. 40025257 th SUBSCRIBE TO cene For Advertising • Don’t miss an issue (514) 948-0509 • Help promote classical music and jazz > http://ads.scena.org See form on page 50
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Notes from the files of scena.org WAH KEUNG CHAN, DANIELLE DUBOIS, SASHA M. DYCK
Alexia Cousin retires at 25 stage it would be a pity to shut the door definite- include the Ontario Provincial Honour Band, The rising French opera star Alexia Cousin ly for all those who had believed in her, her Pinchas Zukerman, the National Arts Centre, caused waves with her announcement on March unique talent and her precocious achievements Parents for the Arts, and The Canadian Brass. 3, that she is retiring from the opera scene. “I have […] Alexia should be aware that she will always The Coalition for Music Education in Canada is decided to terminate my artistic career,” find an open door with people who had an organization dedicated to ensuring all she said in a statement posted on her believed in her.” SMD Canadian children have access to music educa- agent’s web site. “The passion and the tion. Music Monday happens at 10 am PT, 1 pm wholeness that have always determined Students in harmony on ET and 2 pm AT. DD my way of singing will from now on lead Music Monday my life in another direction. I would like On Monday, May 2, children across the BBC airs Jerry Springer – The to thank from the depth of my heart all country will unite to play the same Opera those who had supported me in this piece of music in an event the Coalition Despite being pressured by a militant Welsh special adventure, from close up or from for Music Education in Canada has Christian group and receiving almost 50,000 far away, on both sides of the curtain.” dubbed Music Monday. The organiza- complaints, the BBC aired Jerry Springer – The The star, known for her remarkably tion will provide a melody in a variety of Opera last month to an audience of over 1.8 mil- large voice and stage presence, had recently arrangements to be played by both elementary lion viewers. Meanwhile, plans are now underway won rave reviews for her role as l’Aiglon in and high school bands and orchestras at the to bring the successful musical and 2004 Oliver Honegger and Ibert’s eponymous opera, present- same time. According to the Coalition’s Web site award-winner to Broadway. ed last September in Marseille. Cousin’s sudden (www.coalitionformusiced.ca), it hopes the event The musical, an irreverent comedy inspired by decision, and cancellation of her upcoming will offer “a tangible demonstration of how music American trash-television culture, has been a appearance in Manon Lescault at the Vienna programs shape young lives and the fun young London hit for three years. It stars a fictional Jerry State Opera, has fuelled the opera world rumour- people have in making music,” as well as “show Springer mediating a conflict between God, mill, but to no avail. So far no word of explanation the important links between school music pro- Satan, Mary and a diaper-wearing Jesus. It also has emerged, although her agent, Laurent grams, their communities and the cultural vitality features a large cast of audience members/cho- Delage, has kept some opera-lovers’s hopes alive of this country.” risters, transsexuals, a troupe of tap-dancing Ku with these cryptic comments: “Who can predict A series of outdoor school concerts will also Klux Klansmen and over 300 sung expletives. the future? Should the future bring her back to mark the occasion. Supporters of the project The previously-unknown prayer group
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Christian Voice sent thousands of protest letters ding lyric singers of the century, never for an ins- before the opera’s broadcast, and published the tant abandoning her Spanish roots. WKC home addresses and telephone numbers of BBC employees on its website, several of whom La Scala Saga continues reported receiving angry and threatening calls. Recent events at Milan's reputed La Scala opera “This is not an issue of freedom of speech,” house have only contributed to worsen an said Christian Voice national director Stephen already-tense atmosphere. "I believe that, at the Green, “but a case of broadcasting people not moment, there are not the conditions for us to knowing the civilized limits and having to be told play music together," wrote musical director them.” He later added: “If Jerry Springer – The Riccardo Muti to his musicians. His statement left Opera isn't blasphemous then nothing in Britain some people wondering whether Muti's letter is sacred. The damage that must have done to was one of resignation. impressionable young people is incalculable.” In any case, his announcement forced La Christian Voice also pressured a Scottish can- Scala to cancel yet another concert, adding to cer charity, Maggie's Centres, to return the the financial unrest caused by the string of £3,000 raised by a charity performance of the squabbles at the theatre. "The problem with Muti show by threatening to protest outside their is that he wants to be the absolute dictator of La office. David Soul, the actor who plays Springer, Scala — and he is succeeding," said the opera denounced the religious group’s “strong-arm, and film director Franco Zeffirelli. "It's unprece- mob-style tactics.” For his part, Green said the dented, unbelievable." charity had avoided a “potential public relations Musicians and staff of La Scala have been at disaster of profiting from filth and blasphemy.” odds with Muti and the board since February 24, Mark Thompson, director-general of the BBC, when previous general manager Carlo Fontana stated that showing Jerry Springer – The Opera was dismissed and replaced by Mauro Meli, the was “both right and important” in order for the theatre's former artistic director and Muti's BBC to remain “a space in which the widest range choice pick. Muti had accused Fontana of of ideas and creativity can be shared by the public. "dumbing down" La Scala's program. “The play is a satire aimed not at Christianity Yet the conductor is attracting his own share of but at what the authors take to be the valueless criticism. "He is drunk with himself, drugged by amorality of The Jerry Springer Show,” Thompson his own art and his own personal vanity," said said. “The second act explores the interior of the Zeffirelli. "He can only talk about himself, he's fictional Springer’s mind — it was not a critique or become a caricature of a conductor." Under attack on the Christian holy figures themselves." Muti's leadership, he added, La Scala has staged Despite the controversy in Britain, the show's "one horrendous production after another: consti- New York producer said that plans are still in pated, anal, with no explosion of vitality on stage." place for bringing the $13.9 million US show to All of the brouhaha has left concert-goers won- Broadway. Although no dates or theatre has dering whether they will have a chance to enjoy been announced yet, spokesperson John Barlow the expensive restructuring and refurbishment of said the Broadway version of Jerry Springer – the Italian theatre intended to return La Scala to The Opera plans to finalize its funding in the next the front rank of international opera houses. DD six months and premiere in early 2006. SMD New Budget Guarantees Canada Lost Vocal Greats Council’s Extra $25 Million The musical world Officials at Canada Council are breathing a sigh lost several great of relief at the news that Ralph Goodale’s singers in 2004, February budget has left intact their $25 million in among them bari- extra funding. That amount, first granted to them tone Robert Merril in 2001, has now been extended all the way to (1919-2004) and 2010. “Of course it doesn’t solve all of Canada Italian soprano Council’s financial problems, but it’s a start,” said Renata Tebaldi public relations director Donna Balkin, who (1922-2004). The expressed gratitude to Minister of Canadian former, reputed Heritage Liza Frulla for “being a champion of the for his velvet- arts in Canada.” Balkin also thanked the “many smooth voice, earned admiration for his interpre- artists and arts groups who expressed their sup- tations of dozens of roles, including Escamillo in port for Canada Council.” Carmen and Figaro in The Barber of Seville. The Council claims to have been extending and Renata Tebaldi, a great rival of Maria Callas, will creating new funding avenues for the arts, includ- be remembered for her rich and creamy voice ing programs for new music, spoken-word and and her masterful technique. Spanish soprano new media. “If we had lost the money, that would Victoria de los Angeles (1923-2005), also pas- have meant some serious cuts in grants,” said sed on in mid-January of this year. Despite begin- Balkin. “We know how much this means to artists, ning a career as a coloratura soprano, she went and now we can continue to help them achieve on to be recognized as one of the most outstan- their goals.” SMD Spring 2005 9 tms3-3_AC p03-11b 2005-03-14 12:59 Page 10
VYSO: Baking their Cake and Eating it Too DANIELLE DUBOIS
he Vancouver Youth Symphony Orchestra al orchestra and there was a definite lack of family’s experience with the VYSO, which, like T (VYSO) celebrates its 75th anniversary this music schools and university programs. Partly for many organizations, relies greatly on the work of year. Established in 1930, it is one of the oldest this reason, music was seen as a hobby and volunteers. Indeed, each of the 200 families is youth orchestras in the country, second only to entertainment but was not really respected,” expected to volunteer 20 hours per season, as Winnipeg’s Youth Orchestra. “Our primary role is explains Wang. tuition brings in only half of the annual budget. “I to give the most outstanding young classical Hsieh agrees there is still much education to be was parent representative and volunteer coordi- musicians an outlet to play masterworks at a very done before mentalities change. “At Vancouver nator and William volunteers as a conductor’s high level,”says Roger Cole, artistic director of the Symphony Orchestra concerts, there’s only about assistant,” says Chang of their involvement. VYSO and conductor of the Senior Orchestra. 1 percent of Asians in the audience,” a discoura- It is not uncommon for alumni of the VYSO to Composition is one of the chief elements that ging representation considering the demographics maintain good relations with the organization that distinguishes the VYSO from other national youth of the city. Nonetheless, Hsieh is encouraged by helped them advance their own careers. Li-Yin orchestras. Eighty-five percent of the VYSO’s the steps taken by the VYSO to open up the musi- Wang, now assistant and coach of the Debut and 230 musicians aged 8 to 21 are of Asian cal horizons of its members. “The musicians of the Junior Orchestras, knows the benefits of rehears- descent. Of course, not all members of the VYSO are receiving a lot of encouragement from ing with an orchestra of this calibre. “I learned a Debut, Junior, Intermediate and Senior Orches- teachers to attend concerts,” says Hsieh. lot of orchestral technique as a member of the tras join with a view to becoming professional Now the Conductor of the Vancouver Metropo- VYSO so that it was not a very big shock when I musicians – quite the contrary. Yet, for those litan Orchestra and Apprentice conductor of the started playing in a university orchestra,” says the musicians coming from Asian families, it is a career- National Academy Orchestra, it was only when musician who has played with various profession- path often frowned upon by parents. Hsieh got a job in the US that his father started al orchestras. Kenneth Hsieh knows how difficult it can be to warming up to the idea of his son being a conduc- The talents of both alumni and current VYSO overcome parental opposition. A member of the tor. “I hated it at the beginning,” says Hsieh of his members will be showcased at the VYSO’s 75th VYSO from 1992 to 1998, first as a violinist and time with the VYSO. “I’d rather have been playing year Gala Concert held at the Orpheum Theatre then as a tympanist and percussionist, he studied soccer. But people were very warm-hearted and on Sunday May 22. Gwen Hoebig, Concert pre-law before heeding the call of music. “My offered a lot of encouragement. Even if it was bor- Master of the Winnipeg Symphony Orchestra mother was supportive but my father, a very tradi- ing at times, you learned. It definitely helped me to and VYSO alumnus, will perform the Glazunov tional man who believes in absolute discipline, was develop a passion for music.” Violin Concerto. The concert will also feature the really against it,” says Hsieh. “Like many other Lina Chang’s 16 year-old son William is a violi- world premiere of a commissioned work by Asian people, he does not consider that music can nist with the Senior Orchestra of the VYSO. Frederick Schipizky, performed by all four of the lead to a money-making career.” Such a mentality Although she encouraged her son to pursue a pro- VYSO divisions. Guest conductor Maestro is typical among Asian people, especially the fessional career in music, William, now in Grade Kazuyoshi Akiyama will lead the Senior Orchestra Chinese and Taiwanese, says Hsieh who adds that 11, told her he would rather study law and keep and VYSO Alumni in Respighi’s Pines of Rome. parents want their kids to learn as many things as music as a hobby, a decision Chang supports just “It’s going to be very special,” promises Roger they can but never with the goal of bringing it to as she would have a music career. “I have an open Cole who extends an invitation to all music-lovers the next level. “I always make the analogy of bak- mind,” says Chang, “I think it is a stereotype that in the Vancouver area. a ing the cake but not eating it,” remarks Hsieh who musicians don’t make a lot of money.” Founder: Cyril Haworth, a flute student who finds it regretful so much money is spent on learn- The native Taiwanese speaks positively of her later made his career in New Zealand. ing skills that are not fully valued. Haworth remembers collecting «fifty cents a Not all musicians find themselves at odds with time» from the players to rent their first their parents’s vision. Li-Yin Wang joined the rehearsal hall. VYSO in 1992, shortly after arriving from Taiwan, First conductors: Alfredo Meunier and and stayed on until 1996. She pursued violin George Coutts studies at the University of Toronto and the First concert: Friday, May 27, 1932 at University of Western Ontario, always with the full Chalmers United Church Present Conductors: Roger Cole, Artistic support of her parents. “My mother was a piano Director, Conductor, Senior Orchestra teacher and she was happy to see me studying Jin Zhang, Conductor and Music Director, music,” says Wang whose mother had been dis- Intermediate Orchestra couraged from pursuing music while in Taiwan. Margitta Krebs, Conductor and Music “The 50s and 60s were not the best times eco- Director, Junior String Orchestra, Debut nomically. In Taiwan there was maybe one nation- Orchestra 10 Spring 2005 tms3-3_AC p03-11b 3/14/05 2:35 PM Page 11
Musician’s Corner Jan Simons: A Life of Teaching
DANIELLE DUBOIS
AN SIMONS WAS FLABBERGASTED TO LEARN HE good ears. That’s really the most important thing.” trip to Japan with the Bach Choir in 1961, where JWOULDBETHE RECIPIENT OF THIS YEAR’S HOMMAGE “Things really started taking off in Toronto,” remarks his solos were broadcast on Japanese television, PRIZE AWARDED BY THE BOARD OF DIRECTORSOFTHE Simons, who, by this time, had begun doing radio in colour. CONSEIL QUÉBECOIS DE LA MUSIQUE. “I guess it must work for the French and English CBC networks. It is A man of initiative himself, in 1955 Simons be because of my long association with CAMMAC also while a student in Toronto that Simons befriend- joined Gordon Rye and Tom Brown to found a (Canadian Amateur Musicians Musiciens Amateurs ed Glenn Gould. In 1950, the two shared a recital in professional choir that would later be named the du Canada) and my teaching,” says the Canadian Oshawa. Simons remembers attending Gould’s per- Elmer Iseler Singers, in honour of its conductor. baritone who has had an impressive career, both formance of Bach’s D-minor Concerto at the That same year, Simons went to CAMMAC for the as a performer and a teacher. Brussels World Fair in 1958. He himself was there as first time. Long a teacher at its summer camps Born in Germany in 1925, Simons was living in part of the Montreal Bach Choir. “After his concert, held on the shores of Lake MacDonald, Simons The Hague with his family when his father, certain Glenn asked me if I would carry his piano bench. I served as its general and artistic director for 25 there would be a war, decided to leave Europe for was tired of people always stopping us to congratu- years. Still faithful, he returns every summer to the United States. As chance would have it how- late Glenn so I went ahead to the tent where there teach vocal and interpretative classes. ever, the day Hugo Simons presented himself at was a big reception thrown by the Canadian Looking back on his musical career, Simons the American Embassy, its doors were locked. Ambassador to Brussels. When Glenn got there a does not hesitate to say its most rewarding With little time to waste, he did what any respon- few minutes later, the doorman wouldn’t let him in. He aspect has been teaching. His pedagogy is sim- sible man of instinct would have done—he walked was wearing his typically dirty old raincoat. His hair ple: “Going back to basics. I do that with every across the street to the Canadian Embassy. In was long and he looked like a bum.” It fell to Simons student, every lesson. That’s the only way to keep May 1939, the Simons family arrived in Montreal. to rectify the case of mistaken identity. the voice healthy,” maintains Simons, who has Jan Simons has a vivid memory of his first per- Possibly the most inspiring recital of Simons’ always been keen on clear diction. formance. War obliging, he was asked to sing career was his debut with Gerald Moore at Officially retired from McGill since 1995, Simons Elgar’s Land of Hope and Glory at a school assem- London’s Wigmore Hall. Despite a reputation for continues to teach at the University 11 hours a bly with Oscar Peterson accompanying him on being unkind to artists he didn’t like, Moore had a week, together with pianist Michael McMahon. piano. “Oscar was not pleased about reading soft spot for Canadians and the two immediately That’s in addition to his private students, seasoned music,” recalls Simons, who remembers listening to hit it off. “The rehearsals were particularly satisfy- professionals, amateurs, and singers suffering from the pianist improvising during lunch hour at The ing,” recalls Simons. “He was so generous with his serious vocal problems. “One of the most important High School of Montreal, now the FACE school. time and I learned a lot.” On the programme that things in teaching is to be positive with your stu- Despite having a natural voice, Simons had never evening were the Heine songs from Schubert’s dents, even if you don’t think they’re that talented, had any formal musical training apart from singing Schwanengesang and Schumann’s Dichterliebe, because if somebody really has a desire to sing, in choirs and learning the recorder while still in The the postlude of which Simons, whose preferred there’s always something there,” says an optimistic Hague. Nonetheless, it was clear he wanted to pur- repertoire is lieder and oratorio, will never forget. Simons, who was told he would never have a big sue singing and, after completing his high school Also memorable was performing at the voice. For beginners, Simons finds two shorter ses- diploma in 1947, he went to New York to audition Philadelphia Academy, one of the 42 stops for the sions a week make for more rapid progress than a for different voice teachers. National Ballet of Canada and its production Dark longer one – supervised practice he calls it. Simons stayed in New York for two years, Elegies, an Antony Tudor ballet in which Simons The care Simons takes in judging each personali- studying with Emilio de Gogorza. Yet, the passing performed Mahler’s Kindertotenlieder. “The day ty and his insistence on having students develop their of the 1948 draft law convinced the young bari- before the sold-out performance, I stood on the own voices instead of imitating those of others, make tone to return to Canada, where he earned a stage and felt like a dwarf, it was such a high build- him a much a sought-after teacher. “I’ve never been scholarship to Toronto’s Royal Conservatory of ing. I started to vocalise and a voice came from the so busy!” exclaims the 79 year old teacher whose Music, studying with Ernesto Vinci and Emmy back and said, this hall has the best acoustics in better-known students include the likes of Stephanie Heim. The latter was, musically speaking, the the world, you don’t have to push, you’ll be heard. Marshall, Olivier Laquerre, Matthew White, Michelle most influential of his teachers. “She was a very It was the janitor, and he was right. It was a won- Sutton, and Marie-Annick Béliveau. profound interpreter,” says Simons. “It was maybe derful singing there,” says Simons who still laughs Although the pace is not likely to slow down the death of two of her children from influenza that when he thinks of how the dancers made fun of him anytime soon for Simons, you won’t hear him gave her her depth of feeling, her intensity,” for not knowing how to put on make-up. complaining. “I’m still learning,” declares the born reflects the father of six. “What I’ve learned is There were many other firsts over the course of teacher whose instinct and good ears are sure to mostly through instinct,” he adds. “I’ve got a good Simons’ career: the lead role in the opera In a serve him and his students for a while yet. p feel for what I’m doing and I’ve been graced with Garden, directed by Pierre Mercure in 1952; a Spring 2005 11 tms3-3_SD p12-17b 3/14/05 1:06 PM Page 12
2 005 p Dire Summer Music Cam ctory
Newfoundland and Labrador Orford Arts Centre Music Academy Montréal :: 514-343-7512 Interprovincial Music Camp / IMC ecoledesjeunes.musique.umontreal.ca Vinland Music Camp Orford :: 800-567-6155 Junior String Academy / Jazz Camp www.arts-orford.org Camp musical de l’Estrie Campbellville :: 416-488-3316 Gros Morne National Park :: 709-670-3377 see ad on page 15 www.vinlandmusic.ca Sherbrooke :: 819-562-3132 www.imcontheweb.org Camp musical du Saguenay-Lac- www.camuest.com Prince Edward Island National Academy Orchestra of Saint-Jean Ontario Canada Confederation Centre Music Camp Métabetchouan :: 888-349-2085 National Music Camp Hamilton :: 888-475-9377 Charlottetown :: 902-628-1864 www.campmusical-slsj.qc.ca www.brottmusic.com www.confederationcentre.com English Music Festival Toronto :: 800-701-3132 see ad on page 17 www.nationalmusiccamp.com Nova Scotia Sherbrooke :: 800-267-8327 see ad below Canadian Opera Company - March www.usherbrooke.ca/musique Ceilidh Trail School of Celtic Music see ad below Westben Arts Festival Theatre Break Opera Program Toronto :: 416-292-9393 Inverness :: 781-545-3799 Domaine Forget Campbellford :: 877-883-5777 www.westben.on.ca www.coc.ca www.ceilidhtrail.com Saint-Irénée :: 418-452-8111 Summer Music Festival ~ Suzuki New Brunswick www.domaineforget.com Kincardine Summer Music Festival see ad on page 14 Kincardine :: 866-453-9716 Kingston Ear and Now Festival of New Music Camp chanson de Petite-Vallée www.ksmf.ca Kingston :: 613-542-1486 Sackville :: 506-364-2374 see ad on page 15 www.morethanmusic.com www.mta.ca/marshshakespeare Petite-Vallée :: 418-393-2394 www.festivalenchanson.com Silver Creek Summer School of Music Music at Port Milford University of New Brunswick Music Camp musical de Lanaudière Toronto :: 888-415-7394 Milford :: 914-769-9046 Camp www.silvercreeksummermusic.com www.mpmcamp.org Lac Priscault :: 450-755-2496 see ad on page 16 Fredericton :: 506-453-4697 www.campmusicallanaudiere.com Ontario Music Centre www.unb.ca/musiccamp Canadian Opera Company - Summer Lake MacDonald Music Centre Lakefield :: 866-273-7697 www.cammac.ca Quebec Harrington :: 888-622-8755 Opera Camp www.cammac.ca Southern Ontario Chamber Music Toronto :: 416-363-6671 Camp Artemusik see ad on page 13 www.coc.ca Montréal :: 514-849-1110 Institute www.artemusik.com Camp musical Tutti Oakville :: 905-842-5865 Manitoba Montréal :: 514-486-8727 www.socmi.org Camp musical des Laurentides www.geocities.com/campmusical University of Manitoba Summer Jazz Saint-Adolphe-d’Howard :: 450-227-0909 Tafelmusik Baroque Summer Institute Camp www.cmlaurentides.qc.ca McGill Summer Organ Academy Toronto :: 416-964-9562 Winnipeg :: 888-216-7011 x7018 Montréal :: 514-398-5530 www.tafelmusik.org www.umanitoba.ca/summer/jazz/ Montreal Suzuki Institute www.music.mcgill.ca/~organ Ste-Julie :: 450-922-8196 Thornhill Chamber Music Institute Manitoba Band Association's Camp musical Grande Coudée www.suzukimontreal.org Richmond Hill :: 905-764-1924 Summer Band Camp Saint-Martin :: 418-227-6375 www.tcmi.ca Camp musical Saint-Alexandre www.grandecoudee.com Winnipeg & Selkirk :: 204-663-1226 Saint-Alexandre :: 418-495-2898 Huckleberry Music Camp www.mbband.org www.campmusical.com Camp musical d’été de Montréal Lake of Bays :: 905-276-8234 Continued on page 14
12 Spring 2005 tms3-3-SD p12-17b 2005-03-14 12:06 Page 13
ConservatoryVictoria iÌÀiÊÕÃV>ÊÊ of Music `ÕÊ>VÊ >V >` -Ê -Ê1, / - Joanne Hounsell Artistic Director Summer Benjamin Butterfield / iÊ>iÊ >V >`ÊÊ Tenor Stuart Hamilton Vocal ÕÃVÊ iÌÀi Vocal Coach Ê/ Ê 1/1Ê1, / - Joan Patenaude-Yarnell Academy Voice Instructor Peter Barcza `ÕÊÓÈÊÕÊ>ÕÊÓ£Ê>×Ì Voice Instructor July 2 to 16 ÌiiÀÃÊÌiÃvÃÊÃi>iÊ£ÊVÕ>ÌÊ«À}À>iÊÊ Marc Bourdeau `iÊÛÝÊ>Û>VjÊ>ÛiVÊ>ÀÌÃÌiÊÛÌjiÊÞiÊÀÌ° Collaborative Piano & Vocal Coach +Õ>ÌÕÀÊiÊÀjÃ`iVi\Ê >Ã>Ê+Õ>ÀÌiÌÌÊi>}i®° Leslie Uyeda Victoria Conservatory *ÕÃiÕÀÃÊVÕÀÃÊVÕ>ÌÊÕõÕiÊ`iÊV >LÀi]ÊV >ÌÊ Collaborative Piano & Vocal Coach V À>]ÊÀV iÃÌÀi]Ê«À}À>iÃÊ«ÕÀÊiv>ÌÃÊiÌÊ>`Ã]Ê Ann Hodges of Music ÕõÕiÊ>Vii]Ê>ââ]ÊÕõÕiÊ`ÕÊ`iÊiÌÊ À>`Ü>Þ° Resident Director 907 Pandora Avenue, Robert Holliston Victoria, BC V8V 3P4 Canada ÕiÊÓÈÊÌÊÕ}ÕÃÌÊÓ£ Collaborative Piano & Vocal Coach -«iV>ÊÌiÃÛiÊVÕÀÃiÃÊÊ7iiÊ£ÊVÕ`}ÊÛViÊ (250) 386-5311 ÜÌ ÊëiV>Ê}ÕiÃÌÊÌi>V iÀÊÞiÊÀÌ° David Shefsiek Toll free (Canada & US): Workshop Instructor ,iÃ`iÌÊ-ÌÀ}Ê+Õ>ÀÌiÌ\Ê >Ã>Ê+Õ>ÀÌiÌÌÊiÀ>Þ®° 1-866-386-5311 Giuseppe Pietraroia >ÞÊVÕÀÃiÃÊVÕ`}ÊV >LiÀÊÕÃV]ÊV ÀÃ]Ê Conductor Fax: (250) 386-6602 ÀV iÃÌÀ>]ÊV `Ài½ÃÊ>`Ê>`iÃViÌÊ«À}À>Ã]Ê >ÀÞÊ Robyn Cathcart ÕÃV]Ê>ââ]ÊÜÀ`ÊÕÃVÊ>`Ê À>`Ü>Þ Movement Coach www.vcm.bc.ca ÜÜÜ°V>>V°V>ÊUÊ>Ì>JV>>V°V>ÊUÊnnn®ÊÈÓÓnÇxx Stephen Shields www.summermusicacademy.org Collaborative Piano Anna Cal Collaborative Piano /FFRE AUX MUSICIENS AMATEURS DE TOUT NIVEAU DES OCCASIONS DE FAIRE ENSEMBLE DE LA MUSIQUE DANS UN CADRE AMICAL ET DÏTENDU #!--!# /PPORTUNITIES FOR AMATEUR MUSICIANS OF ALL LEVELS TO MAKE MUSIC TOGETHER IN A RELAXED NON COMPETITIVE ENVIRONMENT
Spring 2005 13 tms3-3_SD p12-17b 3/14/05 1:23 PM Page 14
Music camps, from page 12 Manitoba Conservatory of Music and Langley Community Music School - French Woods Festival of the New Directions Cello Festival Arts - Sounds of Summer Daycamp Suzuki Student & Teacher Training Performing Arts Appleton, Wisconsin :: 877-665-5815 Winnipeg :: 204-943-6090 Langley :: 604-534-2848 Coral Springs, Florida :: 800-634-1703 www.newdirectionscello.com www.mcma.ca www.langleymusic.com www.frenchwoods.com Appel Farm Arts & Music Center Saskatchewan Yukon Camp Encore/Coda Elmer, New Jersey :: 856-358-2472 Sweden, Maine :: 617-325-1541 www.appelfarm.org Saskatchewan Cultural Exchange Yukon Summer Music Camp www.encore-coda.com Performance PLUS Society Fiddle Camp Whitehorse :: 867-633-2800 www.yukonmusiccamp.info Blue Lake Fine Arts Camp New Hampton, New Hampshire :: 603-677-3403 Regina :: 306-980-9494 www.performanceplus.com www.sces.ca/fiddlecamp Twin Lake, Michigan :: 800-221-3796 Nunavut www.bluelake.org Belvoir Terrace All Arts Camp Saskatchewan Band Association Camps Iqaluit Music Society - Summer California Summer Music Lenox, Massachusetts :: 212-580-3398 Regina, Saskatoon, Yorkton & Kenosee Lake Music Camp San Fransisco, California :: 415-753-8920 www.belvoirterrace.com Provincial Park :: 877-475-2263 www.csmusic.org www.saskband.org Iqaluit :: 867-975-2351 England Ashland Chamber Music Workshop Alberta Kivalliq Music Camp Dartington International Summer Rankin Inlet :: 800-220-6581 Ashland, Oregon :: 541-482-2204 Mount Royal College Organ Academy www.arctic.ca/ads/Music_Camp/ www.sou.edu/music/acmw School Calgary :: 403-440-7769 Totnes, County Devon:: 44 1803-847077 United States Kinhaven Music School www.dartingtonsummerschool.co.uk www.mtroyal.ca/conservatory/intsum- Weston, Vermont :: 610-868-9200 school.shtml Litchfield Jazz Camp www.kinhaven.org France The Banff Centre Summer Music Litchfield, Conneticut :: 860-567-4162 www.litchfieldjazzfest.com Lake Tahoe Music Festival Academy International Music Academy of Programs Lake Tahoe, California :: 530-448-3280 Montpellier Banff :: 403-762-6188 Camp Curtain Call www.tahoemusic.org/academy www.banffcentre.ca Montpellier, dept l’Hérault :: 33 0467608711 Dugspur, Virginia :: 865-573-7002 www.aimmtp.com www.campcurtaincall.com Cazadero Performing Arts Camp Morningside Music Bridge Berkeley, California :: 510-527-7500 Calgary :: 403-440-6821 Classically Kids www.cazadero.org Switzerland www.mtroyal.ca/conservatory/music- Cours International de Musique Boulder, Colorado :: 303-449-1397 KoSA International Percussion bridge.shtml www.coloradomusicfest.org Morges, Canton de Vaud :: 919-962-1042 Workshop www.morges.unc.edu British Columbia Signature Music Camp Castleton, Vermont :: 800-541-8401 Victoria Conservatory of Music Syracuse, New York :: 315-478-7840 www.kosamusic.com China www.signaturemusic.org Summer Music Academy Hartwick College Summer Music Beijing International Music Festival & Cannon Music Camp Victoria :: 250-386-5311 Festival Academy www.vcm.bc.ca Boone, North Carolina :: 828-262-4091 see ad on page 13 www.cannon.appstate.edu Oneonta, New York :: 607-431-4801 Beijing :: 718-275-0502 www.hartwickmusicfestival.org www.bimfa.org
14 Spring 2005 tms3-3_SD p12-17b 2005-03-17 16:16 Page 15
Michel Gagnon et Charles H. Magby unissent leur savoir-faire dans le but de répondre aux exigences précises de musiciens et musiciennes.
Michel Gagnon & Charles H. Magby combine their experience to meet the most exacting requirements of fine musicians.
310 Stepstone Hill Road, Guilford, CT, 06437 l (203) 453-2011 115 W 73 #7A, New York, NY (Monday) l (212) 874-4037 Fine Violins Ltd. www.fineviolinsltd.com
July 31 to August 13
JAZZ & BLUES • CHAMBER MUSIC INTERMEDIATE ADULT CHAMBER MUSIC • STRINGS & BANDS: beginner to advanced • SENIOR CHOIR, JUNIOR CHOIR • GUITAR CHILDREN'S MUSIC • NEW! SCOTTISH FIDDLE ORCHESTRA
Renee Rosnes, Jazz Artist in Residence, pianist and composer; Alex Dean, Jazz Artistic Director, sax; Mike Malone, trumpet/ composition, Dave McMurdo, trombone/composition; Pat Collins, bass; Barry Elmes, drums; Lorne Lofsky, guitar; Lisa Martinelli, vocals Arthur-LeBlanc Quartet, Chamber Music Artists in Residence; Peter Allen, piano; Gryphon Trio, Guest Artists
PLEASE REFERENCE THIS NUMBER WHEN REGISTERING: 57 KINCARDINE, ONTARIO, CANADA ONTARIO, KINCARDINE, www.ksmf.ca [email protected] 866-453-9716 Spring 2005 15 tms3-3_SD p12-17b 2005-03-14 16:38 Page 16
KYLE IRVING-MOROZ Camps How Music Camp Changed my Life
Performance at Morningside Music Bridge in Calgary
HEN I WASEIGHT YEARS OLD MY PARENTS laugh of a grandfather mischievously handing out teacher at the school and the conductor of both W ASKED ME WHICH INSTRUMENT I WANTED TO cookies right before dinner. From that moment on orchestras. LEARN. I REMEMBER ANSWERING WITHOUT HESITA- the other instruments at school didn’t stand a These new groups presented both challenges TION: “I WANT TO PLAY THE BAGPIPES.” My parents chance. The wind intruments gave me a headache, and opportunities. While the chamber orchestra had the unfortunate duty to tell me that FACE, the the violin was worse, and as for the viola, well, who repertoire was manageable, the music that the fine-arts school I attend in Montreal, didn’t offer played the viola? There was no going back for me: symphony played was quite a bit above my level. bagpipe classes (a fact for which, I am sure, our I was hooked on cello. At my first rehearsal I remember the music flying neighbours are still thanking their lucky stars). They After several joyful months of playing at school, I by me at speeds I thought I would never be able asked me if I was interested in any other instru- started taking private lessons on my tiny half-size to reach. It’s funny how sometimes things that ment, but I could not fathom any instrument being instrument. With me at the helm it sounded much seem impossible are achievable after all. When better than the bagpipes. Fortunately for all of us, more like a raspy wind than anything else, but I loved someone plops a part down in front of you, at first that summer my mother and I participated in the it nonetheless. When I had finally grown enough you can only play a few notes. With a little work, Canadian Amateur Musicians/Musiciens Amateurs musically and physically to move up to a three-quar- however, it starts to gradually fill in, and with lots du Canada (CAMMAC) music camp, where I dis- ter size instrument, I enjoyed the sound of the new and lots of help you can actually play through the covered that there might be another place for me in creature so much that when I ran out of music to play whole part. the musical world. I would just keep playing my own improvisations. Where has my initial camp experience led me? My time at camp changed my life. The people A couple of years later, a woman came up to Well, I am currently finishing my eleventh and last there seemed to be in a perpetually good mood — me in the school hall with a music score and asked year at FACE, and still enjoying being an active the teachers were wonderful friends and excellent if I knew any cellists who could play it. After look- part of both orchestras. I continue to study cello muscians, and the directors even cared about the ing over the part carefully I replied that I was a cel- privately with Gary Russell. I plan to devote my life campers enough to take a poll about which type list and would be willing to give it a try. Before I to music, if I can, and would particularly like to of water we liked best: the water that had been fil- knew it I was in two separate orchestras with so explore period performance of early music. Maybe tered or the water straight from the lake. (The fil- much hard music to practice that I could hardly I will take up the viola da gamba? Who knows! tered water won.) shake my bow at it all. One was a small chamber What is certain is that I will always cherish my The most important moment for me, however, ensemble and the other, the FACE Symphony music camp memories, without which I wouldn’t was the cello recital of one of my newfound Orchestra, was a full-blown symphony orchestra of be doing what I am today. If it wasn’t for my sum- friends. I was mesmerized by the instrument’s 50 musicians. The woman who had stopped me in mer at music camp, I would still be trying to learn deep, resonant, and warm sound, not unlike the the hall turned out to be Theodora Stathopoulos, a the bagpipes. p
certs. Both culminate in the 57-year old tradition wanting to work on their repertoire. More infor- Camps News of a Saturday evening pipe band parade through mation is available on the Orford website, town with the Kincardine Scottish Pipe Band. www.arts-orford.org Kincardine takes up Scottish fiddling More information is available on the KSMF web- True to its Scottish roots, Kincardine Summer site, www.ksmf.ca CAMMAC receives building grant Music Festival (KSMF) has launched the Scottish Canadian Amateur Musicians/Musiciens Fiddle Orchestra, a new program for fiddle play- New profs and program at Orford Amateurs du Canada (CAMMAC) will receive $2 ers running from August 1 to 5. Open to all play- The Orford Arts Centre Music Academy has million from the government of Quebec to help ers aged 14 and up who have a basic knowledge announced the addition of new professors for the rebuild the Lake MacDonald Music Centre in of notes and technique, the Orchestra is 2005 summer sessions, taking place this year Harrington, Quebec. Canada Economic designed to help fiddlers “explore the fun and from June 20 to August 13. Several of the new Development is also putting $814,928 towards congeniality of playing traditional Scottish and profs will come from abroad, including pianist the project, which includes a 41 room residence Celtic tunes in a relaxed atmosphere,” says Jacques Rouvier and bassoonist Marc Trénel with kitchen and dining room, teaching studios, a KSMF Organizing Chair John Schnarr. (France), violist Michael Kugel (Belgium), violinist concert area and space for CAMMAC’s music The KSMF is located in the historically Michael Frischenschlager (Austria) and clarinetist library, which holds over 10,000 works. Scottish-based town of Kincardine, on the shores Richard Stoltzman (USA). The new centre will emphasize many con- of Lake Huron. The festival offers 18 different Orford will inaugurate a new master class cepts in green architecture such as the use of programs for all instruments and ages. The first this year. It will be led by acclaimed Canadian solar energy, the recycling of grey water, and roof week, from August 1 to 5, offers nightly jazz and accompanist Michael McMahon, and will focus gardens. Bosses design + Box architecture was blues concerts. The second, from August 8 to on pianists specializing in voice coaching and the architectual firm selected to undertake the 13, features chamber music and classical con- accompaniment. It will also be open to singers project.
16 Spring 2005 tms3-3-SD p12-17b 2005-03-14 12:31 Page 17 e
Apr 7, May 5, June 9
John Molson School of Business Concordia University
Spring 2005 17 tms3-3_AC p18-31 2005-03-14 11:04 Page 18
Musician’s Corner Youth Canadian Rising Stars DANIELLE DUBOIS
The Music Scene and La Scena Musicale have a university students whose repertoire spans a wide Marie-Ève Poupart, violonist tradition of featuring exceptional young Canadian array of music from 16th Century Madrigals to age: 17 musicians, such as Yannick Nézet-Séguin, Marie- African-American Spirituals. hometown: Saint-Jean-sur-Richelieu, QC Nicole Lemieux and James Ehnes. For our first annu- With choral conducting being one of the lesser favourite interpreters : David Oistrakh, Jascha al Rising Stars feature, we chose the most promis- developed musical areas in Canada, Tranquilla Heifetz, Midori ing students from Canada’s major music schools. seizes the opportunities to develop his skills when- school : Conservatoire de musique du Québec à Montréal ever they present themselves. He recently attend- teachers : Angèle Dubeau, Anne Robert, Johanne Arel Sean Rice, clarinetist ed masterclasses in Vancouver with the Elmer favourite repertoire : Romantic, Baroque, Modern age: 21 / hometown: St. John’s, NL Iseler Singers. “I learn from making mistakes – Although many judges told school: Memorial University that’s how I see what my style is,” says Tranquilla her she had a promising teacher: Paul Bendozsa who cites Scott Leithead, founder and artistic career ahead of her, it is favourite interpreters: Kimball Sykes, James director of the Kokopelli Choir Association, as only this year that Marie-Ève Campbell, Richard Stoltzman being one of his role models. “I see myself settling Poupart started giving seri- Sean Rice likes to perform in a community and fostering a choral program,” ous thought to the idea of music that pushes his limits. shares Tranquilla who has experience working with being a full-time musician. “Beethoven and Mozart are both adults and children and who would like to do She definitely does not greats but I like to present work with theaters in the future. lack experience. Poupart has balanced programs with a been soloist with ensembles variety of pieces,” says the Nicolas Bernier, composer (electroacoustic music) such as the Montreal lover of contemporary music, age: 27 Symphonic Orchestra whose favourite piece is hometown: Hull (OSM), the Longueil Symphonic Orchestra and Aaron Copland’s Concerto school : Université de Montréal the Amati Ensemble. “I love going on stage and it for Clarinet and Strings. teachers : Robert Normandeau and Jean Piché is really wonderful when I feel the public react,” “Work ethics are key,” favourite composers : Maurizio Martusciello (Italy), says the violinist who recently won the « Paul adds Rice. Having set his Robert Normandeau, Louis Dufort, Gilles Gobeil, Merkelo » bursary at the 65th edition of the OSM sights on a solo career, the two-time National Françis Dhomon, Stéphane Roy, Martin Bédard competition. Music Festival winner certainly does not lack per- (d’Amours métal), Luc Ferrari, Serge Gainsbourg Once she completes her studies at the formance experience. In 2003, he performed with “Every time that I win a Conservatory, Poupart intends to go to the United Symphony Nova Scotia at the National Arts Centre prize or a piece is selected States and Europe in order to study with the great and was invited to give his own concert in the for a festival, I’m astound- masters. And after that? “Trips across the world Canadian capital. “The audience was great,” recalls ed,” says Nicolas Bernier, and concerts in as many countries as possible.” Rice, who finds auditions much more nerve-racking who first tried to develop than performances. His immediate plans are to his knowledge of electroa- Jessica Muirhead, soprano complete his Bachelor in Music Performance, after coustic music by reading age: 23 / hometown: Aurora, ON / school: McGill which he intends to pursue a Master’s and a treatises on the topic. Four teachers: Lucile Evans (voice teacher), Doctorate degree in Music. “I’m expanding my years later, he’s landing Robert K. Evans and Michael McMahon (coaches) technique and I still have a lot to learn,” says Rice, prizes and invitations to favourite composers: Mozart, Strauss who tries to practice between 4 and 5 hours a day. festivals left and right. For Jessica Muirhead, per- His approach to compo- forming is in large part Joel Tranquilla, choral conductor sition is simple: “I think composition turns out for about being honest. “I only age : 19 the best when it’s done rapidly and intensely.” want to perform music that hometown : Fredericton Bernier says he uses his ear as a guide – the intel- I love because otherwise I school : Mount Allison lectual work comes later. feel like such a fraud!” says teacher : Edmund Dawe (piano) The composer is grateful to friends who make the soprano, who makes a favourite composers : Bach, Eric Whitaker him discover musics not studied at university, and point of analyzing music Although Joel Tranquilla is although many of them consider his music com- and researching the prose pursuing a Bachelor of pletely abstract, they can appreciate it, as do the before she chooses her Music in piano, he has his bigwigs of the academic world. repertoire. “In the long run, sights set on choral con- Bernier is definitely not lacking enthousiasm for a my main goal is to stay true ducting. A member of the career he forsees as multifaceted. “I want to do it all! to myself and to the music,” adds Muirhead whose America Boy Choir School Acousmatic music, more popular electro music, main obstacle is being objective about her own when he was younger, installations, video, development of tools, etc.” One performances. Tranquilla is no stranger to of his long term plans is to develop the cultural A fan of Renée Fleming and Joan Sutherland, high level performance. The scene in his native Outaouais. His next project: an Muirhead is determined to have an international summer before beginning installation in a pool with speakers and an underwa- career. “Twenty years from now I would still like to university, he decided to ter video. “A very exciting project which will give us be performing but I could also see myself starting form his own choir. VocalEse a chance to get new bathing suits,” jokes Bernier. up my own voice studio,” says the student who is a 20 voice mixed ensemble made up mostly of completes her Master’s degree in the fall. Coming
18 Mars 2005 March tms3-3_AC p18-31 2005-03-14 12:52 Page 19
up is a performance of Beethoven’s Mass in C voice. “I want to engage audiences on levels that Major and Dvorak’s Te Deum with Cantabile in are more than purely auditory.” Lachine. Muirhead will also be busy learning Also a viola player, De Souza enjoys different Pamina for her European operatic debut in Vienna genres of music, from baroque to folk. He intends with the Volksoper Wien set for next December. to seek out new musical experiences by pursuing graduate studies in England, a path which might Mark Laver, jazz saxophonist eventually lead to teaching. “I really enjoy working age: 22 / hometown: Scarborough, ON with people and I see it as a way of passing on my school: University of Toronto love of music.” teachers: Kirk MacDonald, Alex Dean, Mike Murley, De Souza just recently finished composing a Len McCarthy, Phil Nimmons musical for a local elementary school and is start- favourite composers: Debussy, Ravel, Benjamin ing work on a piece for saxophone and electron- Britten, Steve Reich, Thad Jones, Gil Evans, Phil ics based on the telegrams of Charlie Parker. that talent has something to do with genes. Nimmons Respectively in their fourth and third year of the favourite jazz players: Lee Konitz, Paul Desmond, Sasa Gerzelj, pianist Honours Music Program, the two share almost every- Miles Davis, John Coltrane, Bill Frisell, Ed Bickert age: 28 / hometown: Maribor, Slovenia thing, including concerts. They made their orchestral Mark Laver appreciates the school: Glenn Gould School of The Royal debut performing Mozart’s Concerto for Two flexibility of jazz. “I played Conservatory of Music, Toronto Pianos with the Georgian Bay Symphony (GBS) in the first Bach Cello Suite main Teachers: Walter Kamper (Vienna), John Perry February 2003, as well as Victor Davies’ Mennonite on alto in a concert in (Toronto) Piano Concerto. In October 2004, their sister Cookstown, and we did a favourite composers: Schumann, Mozart, Haydn, Renee joined them in a performance of Mozart’s group improvisation based Beethoven, Stravinsky Three-piano Concerto, again with the GBS. on the theme from Bach’s favourite interpreters: Vladimir Horowitz, Alfred Although Rebecca and Richelle are very com- The Art of the Fugue,” he Brendel, Claudio Arrau mitted to music, the chemistry and physics lab says. A member of the See Sasa Gerzelj finds inspira- partners hope to study medicine. The way they see Through Trio and the Toron- tion everywhere. “I just try to it, a medical career does not rule out a musical to Jazz Orchestra, Laver have my ears, eyes and soul one. Already experienced soloists, the pair has still gets the jitters before getting up on stage. “I as open as possible. Life played a number of concerts, often benefit ones, in think I usually perform best if I’m a little bit on itself is like a huge encyclo- Canada and the United States. They are some- edge, at least initially.” pedia; you can find almost times joined by the other four Kruisselbrink sisters, Although he loves performing, Laver thinks his everything if you look hard also musicians and singers. Their secret? “We set future has other things in store for him. “I’d like to enough.” A concert pianist goals, manage our time well and get up early,” say be able to balance an academic and a perform- in training, Gerzelj made her the sisters, who are very thankful they have such a ance career. I think that I would feel very unful- orchestra debut in Slovenia supportive family. filled and unhappy if I were to give up either one.” in 1992. This paved the Teaching during the year, touring during the sum- way for solo recitals, recordings for RTV Slovenia, Nikki Chooi, violinist mer, and a little composing in between – why ORF (Austria), RNE (Spain), as well as solo per- age : 15 not? “I’ve recently written a piece for saxophone formances in festivals around the world. hometown: Victoria quartet based on the fourth movement of T.S. And the pace isn’t letting up. This year Gerzelj school : Mount Royal College, Calgary Eliot’s ‘The Wasteland,’ and a setting of Eliot’s played Strauss’ Burleske with the Rotterdam teachers : William van der Sloot ‘Marina,’” says the self-professed avid reader. And Orchestra under the direction of Maestro Conrad favourite repertoire : Spanish music, Brahms after all, in jazz, anything is possible. von Alphen. She also recently recorded a CD pro- At the age of 15, Nikki duced by RNE, Music for two Pianos, with duo Chooi is already well on his Jonathan De Souza, composer partner Regulo Martinez, also a student at the way to realizing his dream age : 22 Glenn Gould School. of becoming a world- hometown : London “The main thing is to prepare myself really well renowned soloist. Every teachers : Peter Paul Koprowski, Omar Daniel so that I feel confident. But when I play, I just let two weeks, he boards the school: University of Western Ontario the music take hold and I try to be honest. And plane going from Victoria to Jonathan De Souza is pas- when I do that, the public appreciates it.” Calgary to meet violin sionate about music and Gerzelj has followed master classes with teacher William van der theatre. “In fact, it is the teachers John Perry, Leon Fleisher, Marc Durand, Sloot with whom he’s been same passion. Theatre is Jacob Lateiner and S.I. Gadzijev, among others. working for two years. simply writing music with Although her focus is her performing career, she Past teachers have included Pinchas words,” says the composer has given teaching some thought. “I think it is Zukerman, Patinka Kopec, and Grigory and playwright. “My music something I will enjoy.” Kalinovsky, with whom Chooi worked while a par- combines elements of ticipant in the National Arts Centre Young Artists tonality, atonality, aleatory Rebecca and Richelle Kruisselbrink, pianists Programme in June of last year. The summer techniques and serial tech- age: 20 and 19 years old / hometown: Tara, ON before, he attended the Juilliard School on schol-
niques,” explains De Souza photo: Lockhart Emily school:Wilfrid Laurier University,Waterloo / teacher: arship and studied with Itzhak Perlman. whose musicals have won awards at the 2003 Anya Alexeyev Chooi won top prize at the National Music and 2004 Fringe Festivals. favourite interpreters: piano duo James Anagnoson Competition in Prince Edward Island this summer, “I try to call attention to the theatrical elements and Leslie Kinton and most recently, top honours at the 65th of performance,” points out De Souza who also favourite repertoire: Romantic Continued on page 21 writes instrumental music and music for solo Rebecca and Richelle Kruisselbrink might be proof
Mars 2005 March 19 tms3-3_AC p18-31 2005-03-14 11:31 Page 20
Musician’s Corner Youth Ones to Watch DANIELLE DUBOIS
Many young Canadian musicians have won major Reunion Island; many recitals in Canada in 2003, Shannon Mercer, soprano national and international competitions in the last notably on CBC Radio, and with the Montreal hometown: Ottawa, ON year. Keep you eye out for them. Symphony Orchestra; sung the role of the studies: McGill University, University of Toronto Countess Ceprano at the Opéra de Québec Opera School, Merola program of the San Francisco Phillip Addis, baritone (Rigoletto, Verdi) in 2003 and in 2005 will sing Opera, COC Ensemble Studio hometown: Port Colborne, ON Pedro (Don Quichotte, Massenet) and Frasquetta awards: 2004 Canada Council for the Arts Award studies: University of Toronto (Carmen, Bizet) at the Opéra d'Avignon. Discography: English Fancy with Masques (Analekta) repertoire: Opera and Recital Career highlights: Cleone awards: 2004 Winner of the 65th Montreal Allen Harrington, saxophonist (Médée) with Opera Symphony Orchestra Competition hometown: Winnipeg, MB Atelier, Dido (Dido and 2003 First Prize Winner of Orchestre de Québec’s studies: Northwestern University Aeneas) with the Studio de Canadian Concerto awards: 2004 International Stepping Stone musique ancienne de Competition competition, Canadian Music Competition Montréal and Opera Career Highlights: He has 1999 Grand Award at the National Music Festival McGill; and First lady (Die sung the roles of Taddeo in of Canada Zauberflöte) with Opéra de L’Opéra de Montréal’s pro- Career highlights: soloist with the Winnipeg Civic Québec. Soloist with Ensemble Arion, Les duction of L’Italiana in Orchestra, the Saskatoon Symphony Orchestra Violons du Roy and Cantata Singers of Ottawa. Algeri following featured and The Saskatchewan Chamber Orchestra; Upcoming: Shannon will spend a large part of roles in the company’s pro- member of the National Youth Orchestra of 2005 in Vienna studying with Margaret Singer. ductions of Madama Butterfly, Rigoletto and Die Canada; bassoonist for the Winnipeg, Saskatoon Zauberflöte. As well, Addis has toured extensively and Regina Symphony Orchestras. Jocelyne Roy, flautist throughout eastern Canada with Atelier Lyrique’s hometown : Repentigny, QC production of Carmen. Lana Henchell, pianist studies : Conservatoire de musique de Montréal, hometown: Calgary Université de Montréal, Manhattan School of Music Anne-Julie Caron, percussionist studies: University of Calgary awards : 2004, grant from the Canada Council for hometown: Saint-Romuald, QC awards: 2004 Winner of Eckhardt-Gramatté the Arts studies: Conservatoire de musique de Québec, in Competition 2003, second prize at the Montreal Symphony Boston with marimbist Nancy Zeltsman 2000 First-round competitor Orchestra Competition awards : 2004, Prix d'Europe in the Esther Honens 2002–2003 Participant in Début INC. and CBC 2003, winner of the Concours de l’Orchestre sym- Competition Young Performers competitions phonique de Trois-Rivières Career highlights: Soloist Career highlights : Soloist with the Montreal 2002, winner of the Conservatoire de musique de with various orchestras Symphony Orchestra the Orchestre symphonique Québec concerto competi- playing concerti by du Conservatoire de Montréal tion Beethoven, Rachmaninoff 2001, winner CBC and Grieg. Henchell Jasper Wood, violinist Competition for Young participated in the 2003 “Barbara Krakauer” hometown: Moncton, NB Performers Academy in Vaison la Romaine. born: 1974 inspirations : Percussionists studies: Cleveland Institute of Music, presently pro- Marie-Josée Simard and David DQ Lee, countertenor fessor at the University of British Columbia Mario Boivin hometown: Vancouver, BC awards: 2004 Canada Council for the Arts Award Upcoming: Two concerts as soloist with studies: Vancouver Academy of Canada discography: MacDonald: Great Square of Pegasus l’Orchestre symphonique de Québec in 2006 repertoire: Opera, Oratorio, (Centrediscs), Saint-Saëns (Disques Pelleas), Songs Eckhardt-Gramatté (Analekta), Stravinsky Hélène Guilmette, soprano awards: 2003 Canada (Endeavour Classical) hometown: Montmagny, QC Council for the Arts Career Career Highlights: Dame studies: Université Laval, Chautauqua Summer Grant Myra Hess Series in School of Music, Mannes School 2000 The Queen Elizabeth Chicago, the Phillips awards: 2004, second prize International Music Collection in Washington at Queen Elizabeth Competition in Belgium D.C, Carnegie Hall, in New International Music 2000 Young Concert Artists International York City, Place des Arts in Competition of Belgium; Competition in New York Montreal, Celebrity Series 2002, third prize in 1999 Finalist at the Metropolitan Opera National in Calgary, and Premier Concours Voix nouvelles in Council Audition, New York Performances in St. Louis.
Paris; photo: Anne De Gelas discography: Arianna a Naxos with Yannick Nézet- Upcoming: Concerts in Québec and the mar- Grant recepient from Canada Council for the Arts Séguin on piano (ATMA Classiques) itimes. Grant, Conseil des Arts et des Lettres du Québec Upcoming: Lee will make his Vienna Volksoper and de la Fondation Jacqueline-Desmarais. debut singing the role of Oberon from Britten’s A Career highlights: tour of France, Switzerland and Midsummer Night’s Dream. 20 Spring 2005 tms3-3_AC p18-31 3/14/05 1:39 PM Page 21
Avan Yu, pianist Rising Stars continued from p. 19 hometown: Vancouver teachers: Kenneth Broadway, Ralph Markham Montreal Symphony’s Standard Life Concerto music composition. Awards: 2004 Canadian Chopin Competition, 2002 Competition. As part of his prize he performed Classes in harmony First Prize in the Ninth Missouri Southern Sibelius’ Concerto with the Montreal Symphony and orchestration International Piano Orchestra in November. gave him the tools he Competition for the The admirer of Sarah Chang has a soft spot needed to write his Junior Division, 2002 for Spanish music. “I really like gypsy music, Concerto no. 1 for Tar and 2001 First Prize in especially Sarasate. It’s fun and you can play and Orchestra, which the Canadian Music around with the timing.” the Vancouver Competition (CMC), Symphony Orchestra 2002 Prize-winner at Heather Hindman, composer performed last March. the 4th Tchaikovsky age: 28 / hometown: Edmonton “When people were International Music school: University of Alberta crying after the per- Competition for Young teachers: Howard Bashaw and Laurie Radford formance, I knew I had Musicians (China) favourite composers: Ligeti, R. Murray, Beethoven, transferred some of Upcoming: Attending Liszt, Messiaen the feeling.” the Tenth Hamamatsu International Piano “The sounds we hear each day, the mass media Although he’s the first to admit his performing Academy in Japan, the National Arts Centre’s we are bombarded with, the actions and reac- abilities far surpass his composing ones – he has Young Artists Programme in Ottawa under the tions of individuals in our society, the effects of played in a number of ensembles and has already direction of Pinchas Zukerman, and in April of technology and capitalistic greed” – it is from recorded four CDs of persian music – Koushkani 2006, the performance of Mozart’s D minor these phenomena that Heather Hindman draws has some definite goals with respect to his newly Concerto with the Victoria Symphony. inspiration for her works. Composing is for her a acquired knowledge. “I want to compose for Learn more about the unrelenting drive, sacri- personal experience, as well as a difficult one. “I orchestras and play in them,” he says. Koushkani, fice, dedication and talent required of Avan Yu who also plays the sitar and sings, draws inspira- and fellow competition winners by watching tion from his past, spirituality and poetry. “My Arts & Minds: THE CANADIAN CHOPIN compositions have to be unique, I never use PIANO COMPETITION on Bravo’s weekly arts another person’s music.” magazine on Saturday, March 26 at 6pm ET and Sunday, March 27 at 7pm ET. Victoria Medeiros, soprano age: 19 / hometown: 100 Mile House school: Victoria Conservatory of Music (VCM) teacher: Joanne Hounsell Victoria favourite repertoire: French art song “Music is my goal and I will pursue it any way that Conservatory I can,” says Victoria Medeiros, who is just finish- of Music need to have a clear idea of a piece before I write ing up her diploma at the VCM. The first step on a note, aesthetically, musically, and formally,” says the ladder of ascent will be a Bachelor in the winner of a 2004 SOCAN award who begins Performance followed by a Master’s degree. a Master’s degree in composition in the fall. When asked where she’ll be in ten years, Viva It is by exploring different artistic environments Medeiros doesn’t hesitate long: “Probably study- that Hindman sees new music developing its ing.” A fan of Renée Fleming, she sees herself social and cultural understanding of contemporary eventually migrating to Europe or the US in order society, something she deems essential. In addi- to perfect her voice. Voce tion to concert music, Hindman would like to com- For inspiration, she looks to teacher Joanne pose for dance, theater and installations. As she Hounsell, who has helped define the route she searches for a style that is uniquely hers, Hindman wants her singing to take. Medeiros’s predilec- continues to reflect on the education that still tion at the moment is for the songs of Poulenc, needs to be done before the general public begins Debussy and Satie. “I love the textures and the Summer Voice to value new music. Current projects include writ- atmosphere in the music as well as the symbol- Workshop ing a collection of pieces for solo saxophone and ism in the poetry,” declares the soprano of For students tackling her first choral composition. Portuguese descent. “Singing keeps the rest of my life in balance.” 13 to 18 Amir Koushkani, Performer (Tar) and Composer Medeiros has placed at the Provincial Festival age: 35 ans / hometown: Teheran, Iran of the Arts on different occasions. p Monday, July 25 school: Simon Fraser University, Vancouver, BC Friday, July 29 teacher: Owen Underhill favourite composers: Stravinsky, Bartók, Berlioz, Joanne Hounsell, Artistic Director Beethoven Classical Music 907 Pandora Avenue, Why would a man, a master of the tar with years News Daily of musical study behind him, return to university Victoria, BC V8V 3P4 >www.scena.org 250 386-5311 www.vcm.bc.ca to study music? >www.classicalmusicnews.info toll free 1 866 386-5311 “I wanted to learn about classical music,” says Amir Koushkani, who is finishing up a BA in music scene Spring 2005 21 tms3-3_AC p18-31 2005-03-16 13:58 Page 22
Musician’s Corner Careers Alternative Careers WAH KEUNG CHAN, JOHN DEFAYETTE, DANIELLE DUBOIS, GAÉTAN MARTEL
Here are some music-related careers outside of thing you can do well,” advises Brown who is also performance. a conductor. DD
Jeremy Brown, Professor and Department Head, Michèle Gaudreau, Mezzo-Soprano, Translator Department of Music, University of Calgary Studies: Université de Montréal Age: 48 City: Montréal, QC Studies : Washington State University, Eastman Like many children, Michèle Gaudreau began her School of Music, Ohio State University musical career learning the piano. At the age of City: Calgary, AB 16 however, after 10 years of practicing, she turned to singing. It was the continuation of a love story with words that had begun some years ear- lier. Already at the age of 12, Gaudreau felt a strong affinity for language. “I loved latin while music techniques to promote wellness) just others didn’t understand anything. After my trans- seemed like a nice marriage for me.” lation studies at the Université de Montréal, I con- After completing her 1000 hour internship at the tinued my musical studies by travelling the world: Montreal General Hospital in palliative care, Killoran a scholarship winner in Ottawa, I went to study moved back to her hometown of Saskatoon to singing in France, where I won a competition in exercise her profession. “Music therapists are often the interpretation of French melodies. I then fol- client-focused,” explains Killoran who in addition to lowed [Louis] Quilico to Toronto and New York.” piano, has studied guitar and voice as part of her When Jeremy Brown obtained his Music There is, for Gaudreau, many links between training. Her present activities include working as a Education degree from Washington State music and language. “German lieder help to mem- research assistant, with a private client, and on an University in 1980, he had a pretty clear idea of orize!” says the mezzo-soprano. “Singing also after-school program for kids. “Working in correc- where he was headed. “I knew I wanted to be a gives assurance and encourages one to seek the tion facilities, in hospitals, in the area of rehabilita- university or a college teacher; the best way to do understanding of a word. Texts have to be consid- tion, with adults who have experienced trauma, or it was to be versatile,” says the saxophonist who ered as adaptations that have to be made supple, with youth at risk are all options for a musical ther- went on to do a Master’s degree at the Eastman more flowing and singing, so that one no longer apist,” says Killoran who points out that musical School of Music in woodwind pedagogy. This gave feels the translation.” Gaudreau often finds that therapy can achieve physical, social, emotional and him the tools he needed to teach band at Grand her musical antecedents actually make problems psychological goals. “I like working in palliative care Prairie College, which he did for six years before more easy to solve. “Take for example, the tradi- because it is an area where you deal with very per- going back to school, to Ohio State University this tional song ‘Old MacDonald’. How can it be sonal and emotional issues. It makes you realize time, where he earned a Doctor in Musical Arts adapted in French to the original melody?” that music is part of our life story.” degree in saxophone and conducting. Gaudreau recognizes that the training Although music therapy is not very developed Coming to the University of Calgary in 1990 received by translators is not the same as it was in Saskatchewan – there are sixteen musical ther- was both a curse and a blessing shares Brown. twenty years ago. “Unfortunately, the younger apists in the province and approximately 600 in “Because I could do a lot of things, I was asked generation no longer has Latin or Greek. That the country – Killoran says that people have been to do everything,” explains the professor who has makes translation much more difficult, not know- very receptive and interested in her work. She taught jazz history, jazz saxophone, woodwind ing the sources or the etymology… The training recently obtained a grant to do music therapy in techniques, band directing and a host of other has changed a lot but experience remains the an Edmonton hospital, something Killoran hopes classes. These days however, Brown focuses on most important, more than training, just like in will allow her to pursue her career in the prairies. teaching saxophone, publishing articles, and ful- singing the most important is the voice, the voice Killoran has the following advice for those think- filling his tasks as department head. Still, the and again the voice…” For her, voice and words ing of pursuing music therapy: “Find a music ther- administrator finds time to pursue his performimg are not easily separated. “It’s by translating that apist in your area and observe. Make sure to look inclinations. A member of the Verismo Jazz I’ve been able to sing all this time.” GM/DD into an area you are interested in.” DD Quintet, Brown is featured on two recordings, one with the Calgary Philharmonic (Scara- mouche, CBC records) and another solo disc Sheila Killoran, Music Therapist André Gremillet, President with Charles Foreman on piano (In the Company Age: 26 and Director of Development of My Soul, Arktos Records). Eventually, the sax- Studies: Capilano College, North Vancouver Studies : Mannes School of Music, McGill ophone soloist would like to record works by City: Saskatoon, SK City: St. Hyacinthe, QC Henry Cowell, an American avant-garde compos- Sheila Killoran did not always know she wanted to “I consider myself a musician-administrator,” says er on whom he has also done some research. be a musical therapist. “I love music but I didn’t André Gremillet, president of Casavant Frères, one “I enjoy the sheer variety of the things I do, and know if I wanted to be a performer,” says the of the most famous organ-builders in the world. working with people, whether as a performer, a young woman who obtained a Psychology degree Indeed, the company has built 3800 organs over teacher, a conductor or an educator,” says from the University of Saskatchewan before the last 125 years for clients around the world. “To Brown. His advice to those who would like to find attending Capilano College. “I had worked at a be a good administrator in the music world, I a niche in academia: “Be the best you can possi- camp for people with disabilities and I knew I liked believe one has to have a sound knowledge of bly be on your instrument and then find another helping people. Music therapy (using music or musicians and of their milieu,” shares Gremillet who 22 Spring 2005 tms3-3_AC p18-31 2005-03-16 16:59 Page 23
Christophe Rousset, David Fray, Alain Trudel, le “I really didn’t like it in management.” Nouvel Ensemble Moderne and the ensemble In 1994, when the network was looking for Clément Janequin among her clients. “The most new ideas, Phillips seized the opportunity to pro- important thing in my line of work is to establish duce, by himself, a music appreciation and CD a relationship between the artist and the public,” reviews show all in one. Part of the conditions says Scales. Polyvalence, she believes, is the key were that he become a freelancer on contract, to success. “It is important to have many facets, something which has its ups and downs. “I like to develop other skills, to think about what we are the fact that I’m my own boss,” says Phillips, “but doing and what we would like to do. There are the insecurity keeps me awake at night.” The key too many people who manage halls and artists to Phillips’s success is in his preparation – every without knowing anything about the arts, espe- word is scripted in advance and thoroughly cially in small communities where it’s important to rehearsed. Although he wrote papers at universi- keep the public educated…” ty, writing for radio has its particular challenges. Scales is well aware that not everyone who “You must speak in thoughts, in short sentences. studies music will become a musician. As her The writing is conversational style.” WKC has a Master’s in Piano Interpretation from New experience demonstrates, those who can com- York’s Mannes School of Music. bine curiosity, patience, persistance and a knowl- Also a graduate of the Master’s in Business edge of the music world, with an appreciation of Bruce Allen Scudder, Cruise Director Administration program at McGill, his job at artistic questions and the principles of business, Studies: Juilliard School of Music Casavant Frères allows him to harmonize busi- might think of applying their talents elsewhere, City: Detroit, Michigan ness savy with musical knowledge. “Originally, I always in the service of music of course. GM/DD When Bruce Allen Scudder says his job is a thought I would be working for arts centres or cruise, he isn’t talking about a holiday. As Musical opera houses but things worked out differently.” Director of the MS Prinsedam, Holland America’s As president and director of development, Rick Phillips, Radio Personality cruise ship, Scudder is busy keeping guests on Gremillet determines and implements the strate- Studies : McGill, University of Toronto board entertained night and day. gic orientations of the company and manages 90 City: Toronto, ON Scudder’s passion for music was kindled early. employees. “Building organs is a complex He began playing a home organ at the age of 6, process which involves many people: artisans, and later joined the Detroit organ club. After musicians and organists of course. We also have receiving a Bachelor and Master’s degree in an architect on our team.” music, he studied piano performance at Juilliard. Gremillet is confident that the market will con- His employment in the cruise industry is the con- tinue to demand people with a background similar sequence of fortuitous circumstances. “It started to his. “There is a need for musician-administra- in New York. I was in musical theatre for a few tors who are able to balance the financial aspects years. One thing led to another and I joined and the artistic product,” says Gremillet, who adds Holland America in 1992,” explains Scudder. “I that it is a difficult, albeit interesting challenge. As have been fortunate to have done ten world cruis- to the future of Casavant Frères, it looks promis- es, in addition to other cruises.” ing. “The market is more refined: quality is more Scudder describes the hoops one has to jump important than quantity. Clients are better through in order to find a job on a cruise ship: informed and they know exactly what they want. “Our Seattle head office has a Director of For this reason, we’ll always need artisans,” Entertainment who is responsible for choosing assures Gremillet, who also explains that given “Keep your options open,” says Rick Phillips, musicians. There is also a division in charge of the high cost of instruments, sales are cyclical one of the most recognizable voices on CBC individual performers and a music department, and dependent on the economy. GM/DD Radio Two. Now the host of Sound Advice, a which hires the orchestra musicians. Most of the popular CD reviews show heard on Saturday performers have agents, and since we are at sea mornings, Phillips has spent 30 years of his union membership is not an issue.” Barbara Scales, Founder and Manager career working for CBC. If Phillips came to radio, There are many elements considered in choos- of Latitude 45 Arts Promotion it was by walking into open doors. After obtaining ing the entertainment offered passengers. “In Studies : McGill (BA, MA in Philosophy) a Bachelor in Music degree in piano and choral music we look at the passenger mix, age, and City: Montreal, QC conducting from McGill University, and a whether the cruise is Caribbean or European. From childhood, Barbara Scales has cultivated a Master’s from the University of Toronto, Phillips Then there are more technical considerations like passion for the arts. “With my father, a music- taught music history and theory courses at the size of the stage — we have four lounges with lover, I listened to recordings every evening, Bishop’s University. pianos, which means we can offer almost all types especially of opera singers.” She herself sang In addition to accompanying singers and of music. The length of the cruise (7 versus 21 soprano as part of an ensemble, in addition to directing choirs, he began to do reviews for CBC days), as well as the feedback we receive from studying the piano. “I really liked modern and Radio on a freelance basis. Phillips contributed to our passengers are also determining factors.” contemporary dance and music. I did ballet and Jim Coward’s show Mid-Morning from 10 am to Scudder advises musicians seeking cruise was on a scholarship at the Martha Graham noon. This led to a 5-year assignment in Alberta, employment to brush up on their sight-reading School of Contemporary Dance,” says Scales. where he produced the show RSVP in Edmonton and be flexible players. “They have to be excellent Scales was no stranger to the arts when she and recorded live concerts in Calgary. “Initially, it sight-readers as they are hired individually and founded her own artistic agency Latitude 45 Arts was culture shock, but I grew to love the West,” meet the other members only once they board Promotion. “I registered the company in 1981 says Phillips. In 1985, he returned to Toronto to the ship,” he explains. “On this cruise, they with a type-writer as the sole piece of equipment,” produce Stereo Morning and Arts National, ris- accompany various acts such as the flutist and recalls Scales, who now counts Lucille Chung, ing to the rank of Executive Producer for 5 years. vocalist.” JD/DD Spring 2005 23 tms3-3_AC p18-31 2005-03-14 10:32 Page 24
Will Crutchfield: New Life for Bel Canto
PETER PHOA
always wanted to conduct, the other activi- donna del lago, and Donizetti’s Lucrezia Borgia. their own signature. Much to Crutchfield’s dismay, “Ities along the way were a detour,” says Will Apart from being his area of specialty, it is with this operatic tradition has been completely lost. He Crutchfield in between bites of his sandwich. It’s this obscure repertoire that Crutchfield acquired laments the fact that the typical opera graduate is dinner break at the Canadian Opera Company his first experience on the podium. “Bel Canto is not equipped with the proper knowledge of the (COC) where rehearsals for the upcoming pro- something where I saw a need for a clearer details, techniques and principles that allows the duction of Rossini’s Tancredi are well under way. understanding of certain historical things and for imagination to speak through ornamentation. Knowing that he has had something of an extraor- a better approach to teaching young singers.” “Before World War I, in the small window of record- dinary musical career makes Crutchfield’s claim After being with the Times for five years, ing from that time, there are ten different recordings particularly provocative; critic for the New York Crutchfield approached Mannes College about of Una Furtiva Lagrima. Then Caruso’s record sold Times, champion of bel canto, conductor of rare staging a performance of Gluck’s Paride ed about a million copies, and ever since then, there is opera, musicologist and discoverer of lost works Elena. This opportunity proved to be another exactly one cadenza for Una Furtiva Lagrima, and – these are not credentials often found on even defining moment for his career: the production its the one from Caruso’s record. This isn’t ‘tradi- the most impressive of resumes. attracted a lot of notice and his calendar soon tion’, this is ‘deciding what recording gets imitated’.” Crutchfield’s association with music is not sur- began to fill with engagements. Crutchfield He concedes that some might find bel canto prising considering he has been immersed in the admits that in walking this path of learning, taking less naturalistic than other opera. But Crutchfield world of opera since childhood. Reclining slightly the first step was a formidable adventure. dismisses this argument as having any signifi- in his chair, he fondly recalls his father, a Crutchfield is well aware of the curious discon- cance: “Shakespeare is less naturalistic than Presbyterian Minister and tenor who sang both nect opera goers sometimes feel when Eugene O’Neill. But it is all heartfelt music drama. lead and comprimario roles with an opera compa- approaching little-known Italian works, particular- It is just different, just like Matisse is different ny in Virginia. Music being something of a family ly of the bel canto tradition. According to him, this from Monet,” maintains Crutchfield. It is hard to affair, Crutchfield junior sang in a children’s cho- condition results from a lack of contextual famil- ignore his passion when the man speaks of rus, and began playing piano at an early age. The iarity: “There is a certain feeling of immediate Tancredi, the work he is conducting for the COC. skills he acquired eventually enabled him to be an access to Puccini because his musical and dra- “The musical freshness and beauty is absolutely accompanist and coach during his university matic language is closer to our time. When we stirring. Rossini is poised on the brink of under- years. Yet Crutchfield did not view music as an get to styles that are more remote, it is easier for standing Romantic opera. He has one foot in exclusive career-path. He considered studying those works that are funny because laughter is Mozart, but also in his briefcase is everything 19th law and even wrote the LSATs, but, try as he universal,” he says. For example, when audiences century Opera is going to use.” might, there was no ignoring the call of music think of Rossini’s operas, his comedies like The Crutchfield is encouraged by the increasing coursing through his veins. Barber of Seville and Cenerentola are the ones sophistication of opera audiences, and how this Crutchfield looks back on certain seminal that come to mind, rather than serious master- has led some to seek different programming. moments in his life as having led to extraordinary pieces like Tancredi or Semiramide. “It requires Initially championed by the operatic deities Maria opportunities. There was, for example, the time more from the audience to give itself over to a Callas, Joan Sutherland Marilyn Horne and he was living in Connecticut; someone serious piece from an earlier time,” says Monserrat Caballé who drew audiences to obscure approached him at a party and asked whether he Crutchfield who acknowledges that not all rare work because of their star power, the future for bel would write music reviews for the New Haven works are brilliant. canto work remains promising. “Forty years ago Register. He accepted and was subsequently “If I have a talent, it is this: I can look at a score there were only two cities that had ever seen noticed by Donel Henahan, senior critic of the that has not been revived and see an opera, rather Tancredi. Now there are over 25,” Crutchfield New York Times. Crutchfield soon became one than pages of arias and recitative. If I can believe in asserts as he offers me a cookie. p of its journalists, condolidating his reputation as a the whole piece as a music drama and see the music writer. shape as an evening in theatre – that’s when I want Peter Phoa is an opera aficionado who works in Most people assume, based on Crutchfield’s to do it,” says the experienced director who saw Marketing and Communications. He can occa- fame, that rare opera is his area of predilection. that kind of potential in Elizabeth, a lost opera by sionally be heard on CBC’s Saturday Afternoon However, a little prying will yield a confession: Donizetti that he discovered while looking through at the Opera. “Verdi and Wagner are my favourite.” As the cur- the dusty library of Covent Garden. Never per- rent Music Director of Opera de Colombia in formed because of unfortunate circumstances, Bogotá, Crutchfield explores the standard reper- Crutchfield prepared the work and gave life to Rossini | Tancredi toire – Verdi’s Otello and Aida, Mozart’s Don music, which until then, had been heard only in the April 1, 5, 7, 10, 13 and 16 | 7:30pm Giovanni and Figaro, to name a few. In America composer’s head. (Sunday Matinee 2:00pm) however, he is best known for breathing fire and Part of the magic of opera until the height of The Hummingbird Centre drama into seldom performed operas. Also Music Wagner was due to the music’s ornamentation: Tickets: 416-872-2262 Director of the Caramoor Festival, Crutchfield singers showed off their voice and artistry by www.coc.ca has explored works like Rossini’s Otello and La embellishing melodies and investing the music with 24 Spring 2005 tms3-3_AC p18-31 2005-03-14 15:35 Page 25
Countertenors Robin Blaze and Óääx Daniel Taylor ,9Ê"* , “Bringing Darkness into Light” Daniel Taylor leads the Theatre of Early ÓääÈ Music and countertenor Robin Blaze in a profound reading of Couperin’s -iVÕÀiÊÞÕÀÊ«>ViÊÊ Leçons de Ténèbres. iÊvÀÊÃi>ÌÃÊÊÌ iÊ iÜÞÊÀiÛ>Ìi`ÊÕLiiÊ Leçons de Ténèbres,‘readings in the Õ`ÌÀÕÊvÀÊ >}>ÀÞÊ dark’, were intended for use during "«iÀ>½ÃÊ>}wViÌÊ Holy Week in the early morning ÓääxÓääÈÊÃi>Ãt church services that began at 3 am and lasted until dawn. These musical *ÕVV½ÃÊ/ÕÀ>`ÌÊ meditations are set to text from the >iÊi}}i½ÃÊÊ Old Testaments Lamentations of i>`>Ê7>}Ê Jeremiah, which came to symbolize >>`>Ê«ÀiiÀi®Ê the sufferings of Jesus Christ. Intimate Theatre of Early Music’s in scale and meditative in expression, â>À̽ÃÊ >}VÊÕÌi debut recording for Ê the Leçons are paired with Couperins -iVÕÀiÊÞÕÀÊ«>ViÊÊ Magnificat, a motet for two voices. ÊiÊLÞÊV>}ÊÌ`>ÞtÊ “Canada's fastest rising star countertenor… Taylor sings with heart-stopping beauty and {äÎÓÈÓÇÓnÈÊ honesty” Sunday Telegraph, London, UK “a truly extraordinary singer... Blaze fashions a richness of timbre that can only be des- cribed as ravishing." Financial Times, London, UK (705) 748-5422
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/ iÊLiÃÌÊÃi>ÌÃ Ì iÊLiÃÌÊVViÀÌÃÊ APRIL 29-MAY 15/2005 Barrie Cabena Artistic Advisor • 38th Season >`ÊÞÕ° OPENING NIGHT GALA Henry Purcell’s The Fairy Queen Friday, April 29 • 8 pm / River Run Centre
plus… +AREN 'OMYO +RZYSZTOF *ABLONSKI
*OHN 0IZZARELLI Mary Lou Fallis 4ANIA -ILLER Eve Egoyan "ÕÀÊiÜÊÃi>ÃÊ Tafelmusik Baroque Orchestra ÊÃ>iÊÜ°
The Toronto Consort &OR