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CLASSICAL › JAZZ › CONCERTS › CDs, DVDs, BOOKS › INSTRUMENTS

SCENA.ORG Spring 2006 •Vol. 4.3 $4.95

Bill

EDDINSST A 21 CENTURY CONDUCTOR ISSUE 12 JAZZ MOZART AND SINGING MUSIC CAMPS GUIDE SUBSCRIPTION GUIDE CONCERT PICKS CALGARY, EDMONTON, VANCOUVER, VICTORIA

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SUMMER 2006 Join us on the picturesque west coast of Canada this summer for dynamic programmes designed to complement musical training and career preparation and unequalled musical camaraderie! Registration and details for all Summer Offerings at http://www.vcm.bc.ca/ SUMMER VOCAL ACADEMY JUNE 30 TO JULY 15, For singers and collaborative pianists. Learn with top-tier professional Canadian musicians. Opportunities for personal, professional and artistic development innovative approaches in musical preparation, interpretation and performance.

ARTISTIC DIRECTOR: Joanne Hounsell http://www.vcm.bc.ca/summervocalacademy.htm

VIVA VOCE SUMMER VOICE WORKSHOP JULY 24–28 AGES 13 - 18 Designed for aspiring young voice students offering a dynamic, intensive program of vocal instruction with a focus on performance technique. http://www.vcm.bc.ca/vv.html MAY 6–15, 2006 SUMMER STRING ACADEMY JULY 30TH - AUGUST 12 Celebrate Mozart’s 250th birthday Focus on performance, in the solo ﬁeld and ensemble. Enjoy a busy schedule of instruction, rehearsal and performance with orchestral concerts led by with Conservatory faculty and distinguished guest artists.

Mario Bernardi and Tania Miller, two ARTISTIC DIRECTOR: Walter Mony http://www.vcm.bc.ca/summerstringacademy.htm performances of Requiem, and chamber music concerts featuring pianist Helmut Brauss. SUMMER JAZZ WORKSHOP NEW! VOCAL SOLOIST STREAM JULY 10-14 Tickets on sale now! Big Band Days,Vocal Ensemble Stream, Combo Evenings (250) 386-6121 Jazz Concert Spectacular JULY 17-22 www.victoriasymphony.ca Unique opportunities to work under the direction of Gord Clements with some of the Jazz "greats" hotel sponsor Louise Rose, Hugh Fraser to name a few. Ensembles, workshops improv, performances and Big Band ! – an invigorating immersion in exciting music. Repertoire from the libraries of Basie, Ellington, Kenton, Herman, and many others. http://www.vcm.bc.ca/summerjazz.htm tms_4-3_layout3_/pp2-8 3/30/06 11:39 AM Page 3

May 26-28, 2006 The Historic Empress Theatre in Fort Macleod, Alberta ltural Ex A Festival www.windymountain.ca and Cu ploration of Cham isine Toll Free:be r800-540-9229 Music, Film, Cu Bernadene Blaha May 26-28, 2006 Lise Boutin The Historic Empress Theatre James Campbell in Fort Macleod, Alberta Cifra Steve Franse www.windymountain.ca Gerard Gibbs Toll Free: 800-540-9229 David Hoyt Music of Beethoven, Bartok, Chopin, Dohnanyi, John Lowry Graeme Mudd Farkas, Herzogenberg, Kodaly, Martinu, Schumann Gil Sharon and the Village Music of Hungary and Transylvania Rivka Golani, Artitsic Advisor Fort Macleod is located 1 hour from Waterton Lakes National Park, 30 Minutes from Head-Smashed-In Buffalo Jump UNESCO World Heritage Site and was the location of the filming of Brokeback Mountain.

July 1– 8, 2007 St. John’s • Newfoundland & Labrador • Canada 6TH BIENNIAL INTERNATIONAL FESTIVAL Anúna OF CHORAL MUSIC & CELEBRATION OF SONG Special Guest Artists Perform! Attend workshops! Experience choral music from around the globe! Join an exciting international line-up of singers, guest artists and clinicians for this non-competitive, shared extravaganza in choral music. Feel the mystique of ancient Celtic traditions through the music of Ireland’s Anúna. Guest Conductors Guest Performers Deadline for choir applications: June 1, 2006. Download the application form at www.festival500.com. Come Solo! Don’t belong to a choir? Your choir not attending? Come Solo…attend concerts, workshops and Celso Antunes Lyn Williams Buddy Wasisname Mary Lou Fallis perform with the massed choir! Massed Adult Choir Massed Youth Choir and The Other Fellers Tel: (709) 738-6013 • Fax: (709) 738-6014 • www.festival500.com

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th CONTENTS cene

Western Edition Spring 2006 Vol. 4.3 Publisher La Scène Musicale / The Music Scene Directors Wah Keung Chan (pres.), Sandro Scola, Joan Gauthier Editor Wah Keung Chan Assistant Editor Réjean Beaucage CD/Books Editor Réjean Beaucage Jazz Editor Marc Chénard Contributors Claire Marie Blaustein, Christopher Bourne, Marc Chénard, John Defayette, Jacques Desjardins, Danielle Dubois, W.S. Habington, Kat Hammer, Felix Hamel, Robert Jordan, Sean McCutcheon, Gordon Morash, Isabelle Picard, Paul Serralheiro, Joseph K. So, Mike Vincent, Jef Wyns Cover Photo Gary Beechey Translators Danielle Dubois Proofreaders Elisia Bargelletti, Danielle Dubois, Sasha Dyck

Graphics Christopher Bourne, Albert Cormier, Adam E. Norris, Jean-François Gauthier Website Normand Vandray, Mike Vincent, Linda Lee, Kat Hammer, Marc Galin Admin. Assistant Christopher Bourne, Adam E. Norris Regional Calendar Eric Legault Accounting Joanne Dufour Bookkeeper Kamal Ait Mouhoub Fundraising Gillian Pritchett Volunteers Maria Bandrauk-Ignatow, Wah Wing Chan, John Defayette, Lilian Liganor Distribution 6 Bill Eddins Calgary, Edmonton, Vancouver, Victoria Address SPECTACULAR MAESTRO 5409 Waverly St., Montreal Quebec, Canada H2T 2X8 Tel.: (514) 948-2520 / Fax: (514) 274-9456 Editorial (514) 274-1128 Advertising NEWS & PERFORMANCE JAZZ Kimberly Krautle (514) 807-5447 Mario Felton-Coletti (514) 948-0509 9 Notes 12 Jazz Books and Mike Webber (514) 667-1059 [email protected] • Web : www.scena.org 10 Mozart and Singing DVD Reviews production – artwork : [email protected] 13 Jazz CD Reviews The Music Scene is the English Canada sister publication of La Scena Musicale. It is dedicated to the promotion of classical music and jazz.

pring 2006 TMS is published four times a year by La Scène Musicale/The Music Scene, a registered non-proﬁt organization and charity. S REVIEWS Inside, readers will ﬁnd articles, interviews and reviews. La Scena Musicale is Italian for The Music Scene. p 16 CD Reviews 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 email CAMPS address. Donations are always welcome. (no. 14199 6579 RR0001) 22 Camps Guide Ver:2006-03-31 © La Scène Musicale / The Music Scene. All rights reserved. No part of this publication may be repro- 11 New in Instruments 22 Up in the Old Hotel duced without the written permission of La Scena Musicale / The Music Scene. 28 Ontario Subscription Guide ISSN 1703-8189 (Print) ISSN 1703-8197 (Online) Canada Post Publication Mail Sales Agreement No. 40025257 29 Previews The Music Scene The Music

NEXT ISSUE - SUMMER 2006 For Advertising: Summer Music Festivals • Summer Readings • Careers Street Date: June 7-15, 2006 Advertising Deadline: May 15, 2006. (514) 948-0019 Visit ads.scena.org for details. http://ads.scena.org

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Tosca by Puccini. Featuring Metropolitan of internationally renowned guest artists ith spring comes Opera soprano Cynthia Lawrence. April such as Renée Fleming, Yundi Li, Yefim the launching of 21, 24, 26, 28 & May 1 2007. Bronfman, Nadja Salerno-Sonnenberg, the 2006-07 Vadim Gluzman, John Pizzarelli, James concert season. W I puritani by Bellini. Opera in concert. Ehnes, Nicola Benedetti, Ryu Goto, and The Music Scene is proud August 8, 2006. many more. Subscribe and save up to to introduce the following 25% over regular prices, and enjoy a companies offering a sub- Werther by Massenet. Opera in concert. wide range of benefits including flexible scription series, a good October 14, 2006. exchanges, lost ticket insurance, and investment for passionate further savings and discounts. Download concert-goers and a Edmonton Symphony the 2006/2007 Season information source of financial stability online at: www.vancouversymphony.ca. for arts organizations. Orchestra Consider supporting both Edmonton, AB :: 800-563-5081 your passion for music and [email protected] your local arts group — www.edmontonsymphony.com consider subscribing! Music Director William Eddins leads the ESO through a season with a visceral con- Vancouver Recital Society nection to “The New World.” Masterpieces Vancouver, BC :: 604-602-0363 created or premiered in the western hemi- [email protected] sphere unite with topflight performers www.vanrecital.com from every genre of music. Classical treas- If you enjoy the adventure of discovering ures, dynamic Pops performances, an out- new talent, we have some remarkable standing children’s series, and our innova- musicians you've probably never even tive country series once again take the heard of. If high-profile superstars are stage of one of the country’s finest concert your preference, we have those in abun- Victoria Symphony halls - the Winspear Centre. Victoria, BC :: 250-385-6515 dance to. Just make sure that you secure The 2006-07 season of ESO Excitement your place at the Orpheum in October [email protected] showcases guest artists including the www.victoriasymphony.ca when the excitement begins. Canadian Brass, Andrew Litton, James Imagine...tenor, Rolando Villazon in his Pacific Opera Victoria Opening Night! - Pianist Krzysztof Jablonski Ehnes, Horacio Gutiérrez, Magic Circle Canadian debut, violinist extraordinaire, Victoria, BC returns again this season to play the Grieg Mime Company, Holly Cole, Paul Brandt, Maxim Vengerov, and the Kirov Orchestra 250-385-0222 Piano Concerto in A minor (September 10). Karina Gauvin, & Jon Kimura Parker. under Valery Gergiev all within a month. [email protected] www.pov.bc.ca Pianist André Laplante and principal guest Manon Lescaut by Giacomo Puccini conductor Yannick Nézet-Séguin join forces In Italian with English surtitles to present Beethoven’s Piano Concerto no. 1 Christiane Riel, Philip Webb, John Avey, (December 3 and 5). Terry Hodges. October 12, 14, 17, 19 and 21, 2006 Renowned violinist Moshe Hammer returns to Victoria for a performance of Beethoven’s Daphne by Richard Strauss stirring Violin Concerto in D major (January Vancouver Opera In German with English surtitles 29 and 30). Vancouver, BC :: 604-683-0222 Sookhyung Park, Kurt Lehmann, Brian [email protected] McIntosh, Rebecca Hass, Timothy Vernon The talented young musicians of the www.vancouveropera.ca February 15, 17, 22 and 24, 2007 Greater Victoria Youth Orchestra join the Victoria Symphony to perform Mahler’s Macbeth by Verdi. New co-production. Don Giovanni by W.A. Mozart. Symphony no. 1 (February 26 and 27). Featuring sensational soprano Jane Eaglen and Metropolitan Opera star baritone Greer In Italian with English surtitles Gregory Dahl, Frédérique Vézina, Brian Jackson fans will be in for a treat Grimsley. November 25, 28, 30 & Vancouver Symphony Benjamin Butterfield, and Monica when he teams up with Victoria’s own December 30. Vancouver, BC :: 604-876-3434 Huisman, Gary Relyea famous fiddler Daniel Lapp for a celebra- [email protected] April 19, 21, 24, 26 and 28, 2007 tion of Celtic music (March 2, 3 and 4) The Magic Flute by Mozart. New produc- www.vancouversymphony.ca tion. Set on the rocky shores and in the Three-opera subscription package: Our 4-year cycle of Bach’s greatest choral looming forests of the Pacific coast. The Vancouver Symphony Orchestra pres- $45 to $282 works continues with the St. Matthew January 27, 30 & February 1, 3, 6, 8. ents 15 different series packages, includ- Single tickets: $25 to $105 Passion, led by Maestra Tania Miller (April 1 ing Classics, Matinees, Pops, concerts for Pre-performance lectures nightly at 7 pm and 3). Ariadne auf Naxos by Richard Strauss. New kids and families, concerts throughout co-production. Featuring tenor John the Lower Mainland, and a "Make Your All Performances at 8 pm at the Royal MacMaster and sopranos Lori Phillips, Beth Own" subscription option. The 2006/2007 Theatre, 805 Broughton St., Victoria, BC Clayton and Tracy Dahl. March 3, 6, 8, 10. Season features an unparalleled line-up

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Bill EDDINS A 21ST CENTURY CONDUCTOR

ALL PHOTOS BY ELLIS BROTHERS PHOTOGRAPHY tms_WEST4-3_pg18-20.qxp 2006-04-05 16:44 Page 7

SKIM THROUGH any proﬁle of the Edmonton Symphony Orchestra’s new music director and you’ll be swept away in a ﬂurry of eager alliteration: exuberant, ebullient, enthusiastic, edgy, energetic, eclectic, electric. E, apparently, stands for Eddins.

BY KATE MOLLESON

ILL EDDINS IS NOT WHAT ONE WOULD CALL A His appointment last year offered a vital injection to the orchestra “conventional” conductor. His website, after a difficult strike and the walkout of former musical director, www.williameddins.com, contains everything from Grzegorz Nowak. And how is the new partnership developing? snapshots of family and friends to the ESO’s upcoming “I’m having a good time!” he laughs. If Eddins read reviews, which concert schedule. There are quirky captions, mp3 he doesn’t, he would realize that he’s not the only one: his reception Bsnippets, and even Eddins’ own podcast, Classical Connections. We has been rapturous. “I hate believing what’s written about me in the all talk about needing to bring a more up-to-date image to the classical press. It’s so easy to get false ideas, to get lazy. I have four advanced music world; Eddins’ brash multi-media approach is a living, breathing degrees in music… who knows better than I do whether it was a example of the genre at its most accessible. good performance or a bad one?” In fact, the 41-year old Eddins – whose hefty biography includes If the critics’ responses seem irrelevant to Eddins, it is certainly positions with the Chicago Symphony Orchestra, the National not due to any lack of engagement. “Music is the best – I absolutely Symphony Orchestra of Ireland, as well as guest appearances with love what I do. It sure beats working for a living.” The key to his success, almost every major North American orchestra – is almost unnervingly it would seem, comes down to genuine, unabashed enthusiasm. He unceremonious. Within the first two minutes of conversation, he describes a recent Mozart anniversary concert with the ESO as an switches our interview to speakerphone and proceeds to combat example of “that ‘lightening in the bottle’ moment. If you could capture more details than most people manage in a week. “No, this is a great and distill it, every government in the world would ban it. If I could time to talk…” as he charges about the room, answering the sell it, I’d be so rich Bill Gates would be my butler. There is nothing doorbell, organizing household repairs and attending to his two sons on earth that can come close to the feeling of a great performance whilst juggling my questions. One gets the feeling that there is never of the music you love.” a moment in Eddins’ life when there is only one thing on his mind. Of course it’s easy to err towards cynicism in the face of such a “The first male to ever succeed at multitasking!” he laughs, but seemingly wide-eyed, heart-on-the-sleeve message. But Eddins explains that such a hectic lifestyle in fact trains him well for represents the next generation of conductors, and it is clear that performance. As a conductor, he says, there is nothing more the days of Karajan and Furtwängler, of authority and austerity, have important than being able to handle a multitude of information at come to the end. In fact, Eddins actively throws himself into the the same time. Eddins is an accomplished pianist, and often category of “21st century conductor”, his doctrine steering firmly away conducts piano concerti from the keyboard – the ultimate challenge from the great Romantic and early 20th century repertoire which, in multitasking. He explains that it’s a question of knowing the music until recently, provided the bench-mark of a conductor’s career. “You inside out. “I’ll tune the radio to a talk-show and turn it way up, I’ll can take your Mahler cycle and you can cycle it right out my door, try to hold a productive conversation with whoever walks into the I ain’t going anywhere near that stuff.” He describes the composer room, and if I can still play all the way through the concerto, then as “the most overrated musician in history; he wasn’t a good I’m sure I know it well enough.” orchestrator, and his music is slapdash.” As for Bruckner – “if I wanted The impulse to conduct from the keyboard came from Eddins’ stupidly long sustained chords I’d go play the organ; there’s no way great mentor, Daniel Barenboim. “I used to watch him play and conduct, I would put any viola section through a Bruckner symphony.” and was appalled by how much fun he was having. I said to myself, Brazen, perhaps, but clearly Eddins’s intent is anything but I gotta get me some of this!” There is a definite element of pride orthodox. “Yeah, so I’m flying in the face of establishment”. This, involved in the process, he says: “I feel that I can sit at a piano in in his eyes, is more a tribute to human nature than a petulant rebellion. front of any orchestra in the world just as well as stand on the podium “People don’t have to like ‘piece A’ just because everyone says we in front of them. Call it arrogance, but believe me, it makes a should like ‘piece A’. It’s not how human beings work.” The beauty difference.” He suggests that by essentially becoming “one of the of the world, he says, lies in its diversity. musicians”, the traditional roles of “conductor” and “player” are blurred. So what does Eddins like, then? “Well my iPod contains Gregorian This, he says, affects the dynamic of the group in a positive way. Chant to Fats Waller, and everything in between. Admittedly, I’m not “If I stand in front of a group and say, “Play this music how I want one of these kids who has absolutely no musical barriers – that’s it,” they’ll be thinking, “Well, why?” But if I first play the piano and pretty scary – but there’s a lot of good stuff out there.” Having so then stand up, they’ll offer me their respect. They know that I’ve staunchly rejected some of the corner tones of the symphonic gone into conducting not because I suck at my instrument, but because repertoire, Eddins now chooses his own test-pieces. “While the classical I really have something to say.” world was busy chasing the false gods of 12-tone dodecaphony, the Certainly this proved a winning formula in Edmonton, where screech-bang noise that for 30 years was the only accepted thing Mozart piano concertos featured in Eddins’ introductory concerts. out there, there was actually some decent music being written.

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Korngold, Hermann – the American school that got snubbed Buffalo is that it’s 10 minutes from the border. Already we’re half- because they wrote for Hollywood. Nobody appreciated what Canadian; we watch Molson’s hockey night on TV. Whereas other they wrote for the stage.” Eddins also champions what he calls the Americans only know Canada only as the ‘land of Mounties and “Boulangerie” – those who knew and worked with Nadia Boulanger socialized medicine’ my family finds Albertan life refreshing. Culturally at the Paris Conservatoire. “Everyone who was anyone flocked to and politically, I have always felt attuned to the Canadian psyche.” Paris at the beginning of the 20th Century – it was the epicenter We talk about whether cultural distinctions are reflected in of the cultural world. Debussy, Satie, Ravel, Stravinsky, Prokoviev, musical custom – whether he has had to adjust his artistic Picasso, Chagall – overwhelming!” communication to cater for audiences north of the border. Eddins But most passionately, and perhaps most surprisingly, Eddins is adamant that although there are still distinctions between, for describes himself as a classicist, an “old-school guy.” He admits a example, the Russian and the North American orchestral style, fascination for early instruments, and is committed to applying classical those “societies in the same general orbit” produce a “near generic, techniques to modern settings. His performances of Mozart and homogenous sound. After all, music is music.” Beethoven, both as a pianist and as a conductor, have been hailed Inevitably, the question is raised as to whether or not the role as novel and persuasive contributions to classical interpretation. of a “21st century conductor” necessarily carries the responsibility An integral element to Eddins’ composite musical persona lies in of attracting a new, younger audience for classical music. Eddins brushes his relationship with Taoism. He sees the eastern religion as off the pervasively gloomy approach taken by so many. “In Edmonton performing a central role in all aspects of his life; its emphasis on our audiences are full of 20 and 30 year-olds. And to be honest, it mystery and balance highly pertinent to the reading of a piece of doesn’t surprise me one bit – when are people my age supposed music. “It’s all about seeing round corners – it’s a big picture to go out? If I’m not busy being a conductor, my ass is in bed by religion. In music, it’s so important to achieve a sense of architecture. 10 pm. I have two kids and a house, bills, a job… I’m exhausted. That’s Pacing; you have to get from A to Z, and you have to visit B to Y the reality of being middle-aged these days.” on the way.” Eddins admits that there are some pieces whose The ESO’s next season seems to carefully cater for its bright new Taoist balance he still has not found. “Mussorgsky’s Pictures at an star. Eddins’ larger-than-life persona will be matched by the likes of Exhibition: I knew this as a piano work originally, and it still doesn’t Janácˇek’s Glagolitic Mass, while Copland, Gershwin and Bernstein make sense to me in the orchestral version.” He will not perform offer a showcase of his bold, jocular musical heritage. The “motive” it until he has achieved the correct relationship with the score, he of the Master Series – “aspects of the new world” – could not be says. more aptly chosen. Eddins as an artist truly embraces the fresh, the Asked whether he has yet found a good balance within his new exciting, the modern; his approach is in many ways a symbol of classical life in Edmonton, Eddins explains that growing up in Buffalo, NY, music’s new world. ■ definitely helped soften any culture shock. “The best thing about

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FROM THE FILES OF WWW.SCENA.ORG NOTES Kat Hammer, Michael Vincent ARE HEADPHONES DAMAGING TO HEARING? has conducted Manitoba Opera, Calgary Opera and the National Pete Townsend, legendary guitarist for The Who, is warning Arts Centre Orchestra. Briskin has made frequent appearances as people of the damage headphones can do to hearing. Townsend guest conductor with the National Ballet during the last five blames his own hearing loss on years of wearing studio head- years. He will assume his new post as the Ballet moves into the phones in recording sessions, and cautions the “iPod Generation", new Four Seasons Centre for the Performing Arts this summer. frequent users of headphones, to be aware of the damage they The previous music director, Ormsby Wilkins, resigned from the might be doing. It is likely that The Who's live show is also to National Ballet which he led for 15 years to assume the position of blame for Townsend's hearing loss. In 1976, music director with the American Ballet Theatre in New York. KH the group set a record as the loudest pop group ever at over 120 decibels. BIRGIT NILSSON (1918-2005) In a recent study the British Royal On Christmas day, the legendary Swedish soprano Birgit Nilsson National Institute for the Deaf found passed away at the age of 87 in her childhood home in southern that 39% of 18- to 24-year-olds listen to Sweden. Nilsson, the child of middle-class farmers, became a leading personal music players for at least an hour exponent of Richard Wagner's operas. She has become the standard every day and 42% thought they had the from which to compare the essential Isolde, the volume too high. People surveyed were most mythic princess in Wagner's "Tristan und Isolde," likely to turn up the volume while listening to a role she sang more than 200 times throu- music in a loud environment, such as trains, to ghout her career. She was equally well known drown out external noises. European rules limit the volume of digital music players to 104 decibels, as Brunnhilde in Wagner's "Die Walkure," which is very loud compared to the noise limit Is the “iPod "Siegfried" and "Götterdämmerung." which is deemed safe for a working environ- generation” at Nilsson's miraculous voice and unending ment, only 85 decibels. In late March, in greater risk for doggedness thrilled audiences from New response to such concerns, Apple released a hearing loss? York's Metropolitan Opera to La Scala in software update that allows iPod owners, par- Milan, and her high notes made her the greatest ents included, to decrease the maximum volume. K H Wagnerian soprano since Kirsten Flagstad. Before retiring in 1984, she THEODORE ROZSA 1915-2006 was one of the highest-paid singers One of Calgary’s most prominent philanthropists passed away in the opera world, due to her mas- on Thursday, March 2nd. Ted Rozsa, together with his wife Lola tery of the genre and her great funded many arts organisations and other charities. They spear- popularity. Her voice will be headed the plans to build the prestigious Rozsa Centre on the remembered for its robustness University of Calgary campus, featuring the Eckhardt-Gramattee Concert Hall, a state of the art recording studio, and conference and precision. "She avoided all facilities. The Rozsas also founded the Rozsa Center for the the kind adulation that people Performing Arts at Ted's alma mater, Michigan Technological gave her," describes Placido University. Domingo. "Nobody has sung Countless arts and music organisations benefit from the Rozsa's Turandot like her. She was an gifts, including the Calgary Philharmonic, the Calgary Opera, the unbelievable lady." MV Banff Centre, and the Honens International Piano Competition. Named to the Order of Canada in 1991, Ted Rozsa was award- MOZART'S SKULL ed honorary doctorate degrees from the University of Calgary Scientists have failed to prove that a skull, long rumoured to and the Michigan Technological University. He will be remem- have been Mozart's, is indeed his. Mozart was buried in an bered by all in the arts community as a generous a man whose unmarked pauper's grave in Vienna's St. Mark's Cemetery. The contributions greatly enhanced Calgary’s arts scene. K H exact location of the grave is unknown, but a marker stands in its believed location. According to legend, the grave-digger Joseph NATIONAL BALLET Rothmayer removed the skull in 1801, ten years after Mozart's ANNOUNCES NEW burial. It has been in the possession of the International MUSIC DIRECTOR Mozarteum Foundation in Salzburg since 1902. The National Ballet has Scientists from the Institute for Forensic Medicine in announced that David Innsbruck, along with the US Armed Forces DNA Identification Briskin will become its new Laboratory in Rockville, Maryland, took DNA samples from two of music director and principal the skull’s teeth and compared them to DNA from two thigh conductor. Briskin is cur- rently conductor of the New bones taken from the Mozart family grave in Salzburg's St. York City Ballet. Other Sebastian Cemetery. The bones were believed to be from dance organisations he has Mozart's maternal grandmother and a niece. The tests show that conducted include the the skull is not related to either of these bones, but also that Joffrey Ballet, Les Grands these other bones do not share any genetic material. This raises Ballets Canadiens de new questions about the skeletons in the Mozart family grave. Montréal, and the compa- The test results were announced on a documentary celebrating nies of Martha Graham and the 250th anniversary of Mozart's birth. K H José Limón. Additionally, he music scene Spring 2006 9 tms_4-3_layout3/pp09-24 2006-04-04 3:43 PM Page 10

Joseph K. So

“I BELIEVE IN GOD, MOZART, AND BEETHOVEN,” Richard Wagner is reputed to have said. Schubert, another musical giant, writes in his diary, “O immortal Mozart, how many inspired suggestions of a better life have you left in our souls.” For countless millions of music lovers, January 27 th of this year marked a special day, the 250th anniversary of the birth of Wolfgang Amadeus Mozart.

alzburg, his birth city, is bracing for a deluge of tourists Covent Garden, plus the title role in a new production of Don on a musical pilgrimage, eager to snap up pricey sou- Giovanni in Vienna, and several appearances as baritone soloist in venirs and concert tickets costing a king’s ransom. the Mozart Requiem. Except for a few jaundiced nay-sayers – music critic It is often said that Mozart writes gratefully for the voice. “He Norman Lebrecht among them – writes for the voice like nobody else,” explains who bemoan the crass commercial- soprano Nathalie Paulin, who has delighted audi- ismS of this massive birthday bash and warn of ences as Susanna, Despina and Zerlina, and is the danger of an overdose of Mozart mit schlag, about to tackle her first Pamina. “ His melodies, most welcome the occasion to commemorate once learned, are great exercises for the voice.” and reflect on the great composer. Last month, Mozart may appear deceptively ‘easy’ to sing, opera houses, concert halls and airwaves but part of the trick is to be able to meet the resounded with his music. technical demands so well that the singing comes Perhaps no musicians hold Mozart more across as effortless. Purity of tone, clarity of dic- dearly to their collective heart than singers. tion, smooth, even scale and long breath line are The wonderful Austrian mezzo Angelika just some of the requirements in Mozart. The

Kirchschlager was recently quoted as saying Countess’s ‘Porgi amor’ demands a mezza voce of Mozart “is a gift from God; his work purifies not resolute beauty and steadiness, seamless legato only the voice but the soul.” What makes his and sureness of pitch, tricks of the trade common

music so special? First of all, it is supremely in the arsenal of the Mozart singer. The daunting accessible – few composers write such ‘humma- coloratura in Queen of the Night’s two arias ble’ melodies. Mozart himself considered requires great flexibility up to a high F, but also a melody the essence of music, stating that “even certain dramatic expression{ few light sopranos in situations of the possess. greatest horror, (music) The ideas of romantic love, power, social Is Mozart’s music

should never be painful “balm for the voice,”

to the ear, but should position“ – these are completely contemporary, really like some singers flatter and charm it, and claim? “Only if you timeless issues. And with the wonderful pulsating“ thereby always remain sing it correctly,” Finley music.” To many, energy and an anguished lyricism to his music, each replies. “If your tech- Mozart is the ultimate time I sing it, it feels like the ﬁrst time. nique is not in shape, ‘feel-good music’ that { you collapse in Mozart. lifts the spirit like no GERALD FINLEY, BARITONE He demands long lines others. Even the great Antonin Dvorák called it “a ray of sunshine.” and good breath control, together with a certain purity and clari- To be sure, there is a sincerity and directness of communication ty.” Suffice to say the technical facility has to be in place before a in Mozart’s musical language that touches the heart. His operas, singer is free to express the emotions inherent in the music. Unlike particularly the Da Ponte Trilogy, remain remarkably fresh two and Puccini and other verismo composers, the classical style does not a half centuries later, which may explain why many stage directors, lend itself to histrionics. Even buffo Leporello and Monostatos from Peter Sellers to Sir Kenneth Branagh, cannot resist an attempt should be sung rather than mugged. A lot of the expressions are at updating, with varying degrees of success. “Mozart’s characters already written into Mozart’s vocal line and in the orchestration, are timeless,” baritone Gerald Finley says. “In Le nozze di Figaro, you and if the singer is faithful to the composer, the emotions will come have the whole political thing; the relationship between servant through. Best is to let the music speak. Paulin agrees: “I love his and master, the haves and have-nots. The ideas of romantic love, soubrettes – the ones I have sung all have strong personalities. power, social position – these are completely contemporary, really Susanna is one of the greatest roles, quite long and a little low for timeless issues. And with the wonderful pulsating energy and an a soprano, but so fulfilling and challenging! Zerlina is another anguished lyricism to his music, each time I sing it, it feels like the strong headed girl – she falls for Don Giovanni for a moment, but first time.” Finley speaks from experience. A singer of great artistic she is nevertheless so much in love with her Masetto. And I would range, from Bach and Handel to John Adams and Sariaaho, he is dearly love to sing Elvira, that neurotic bag! (laughs) All these char- also a quintessential Mozartean, his Don Giovanni from the acters have flaws. That’s what I love about Mozart’s roles. They all Metropolitan Opera last season, a tour de force of vocal and dra- make good and bad decisions – because they are really human!” ■ matic veracity. On his 2006 calendar is a reprise of the Count for

10 Spring 2006 tms_4-3_layout3/pp09-24 2006-04-04 3:44 PM Page 11

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Canada’s foremost violin experts. Proud of our heritage. Excited about the future. music scene Spring 2006 11 tms_4-3_layout3/pp09-24 2006-04-04 3:45 PM Page 12

FROM HISTORY… has us join in on the early travels of musicians up she tracks Zorn down and down the West Coast and Canada, material at a concert in Mark Miller: Some Hustling This! previously covered in his study of African- Germany and sneaks Taking Jazz to the World, 1914-1929 The Mercury Press American jazz musicians in Canada (“Such her way backstage. ISBN: 1-55128-119-8 187 pp. + notes and index Melodious Racket: The Lost History of Jazz in Although he gives her Canada 1914-1949”, also from Mercury Press.) the cold shoulder, she Renowned as Much as in his previous works, Miller’s latest is undaunted. In fact, Canada’s national is one in which the facts speak for themselves, she settles in New jazz scribe, Toronto bereft of any preset agendas or theses to be York and slowly gains journalist Mark Miller defended. While it is not a scholarly work, the his confidence. has spawned another research nonetheless bears the Miller hallmarks However, Heuermann falls short in obtaining worthwhile tome in of thoroughness and precision. Concision is at a face to face interview with Zorn, despite his his role as jazz histo- a premium: we are presented with 45 chapters promises and her repeated attempts. The rian laureate. While in less than 190 pages, with all sources careful- resulting film is thus a cobbling together of his six previous works ly listed in 19 pages of endnotes. Also included material that only partially succeeds in unveil- were focused on the are helpful details such as the dates of the ing a man who remains very guarded. Still, country – either in characters’ births and deaths. In all, Miller’s lat- there are some insights to be found. For exam- the choice of sub- est is not only an entertaining read, but, more ple, the film reveals Zorn’s frustration at not jects and/or locations – Miller has this time importantly, an informative one. being accepted by the Japanese, despite learn- cast a wider net, bringing to life little-known ing the language and enjoying cult status tales from the early global jazz diaspora. … TO HIS STORY there. He muses that the situation is akin to True to the author’s journalist vocation (he “the old Jewish hang-up” of wanting to be recently retired from The Globe & Mail after John Zorn: A Bookshelf on Top of the Sky (12 accepted in a world that holds him at bay. 27 years), Miller writes to tell the story of jazz Stories about John Zorn) Dispersed through the film’s 82-minutes are but with the rigour of a historian, effectively Tzadik DVD Tz 300071-9 concert and rehearsal sequences shot in various searching through first and second-hand Few musicians working on the outer rims locations (with Masada, of course, but also with sources such as musician recollections and have been more successful than John Zorn, at its string variant and earlier bands like Naked newspaper coverage. “Some Hustling This!” least in making themselves known to a wide City). We are even witness to a short sequence brings us the stories of people like Louis audience. A post-modern artist par excellence, shot in Zorn’s downtown New York home, the Mitchell, Arthur Briggs, Ada “Bricktop” Smith, the saxophonist – who prefers to be known as artist surrounded by records scattered about. Frank Withers and many others who played a composer – has almost single-handedly cre- What emerges in the end is a portrait of an essential roles in the early spread of jazz on ated of himself the image of an enfant terrible; artist more willing to talk about his work than the Old Continent. In some cases these char- bound to repulse some or totally entrance himself. The filmmaker, for her part, conjectures acters were more important figures than others, but leaves little room for indifference. that the film is as much about her and her per- Sidney Bechet or the Original Dixieland Jazz German filmmaker Claudia Heuermann is ceptions as that of her chosen subject. Following Band, to date the most heralded personalities clearly taken up in the Zorn spell. Soon after a first run at film festivals, this documentary was in jazz lit. discovering the artist she became a rabid collec- released on DVD in 2004 by Zorn’s label. His The book brings us far afield to the early tor of his records, and devoted herself to mak- fans surely have this item by now, but others European jazz scene (with much emphasis on ing a documentary about him and his work. The should check it out too, perhaps by renting it at Paris and London), but also takes us on side resulting film, whose title emanates from Zorn one of the better video stores. trips to off-the-beaten-jazz track destinations himself, ends up something like a “Desperately Marc Chénard like Moscow, Sydney, and Shanghai. Miller also Seeking John” flick. It follows the filmmaker as

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clear that both Rollins and Kirk were pioneers of sound on their instruments, stretching our OFF THE RECORD notions of the possibilities of the saxophone and of the jazz idiom itself, and thereby setting new Marc Chénard, Felix Hamel, Paul Serralheiro standards. Barry Guy – London Jazz Composers Orchestra: label at that time for this kind of music. This These five Chicago-based players – Jeb Study II, Stringer time, this massive 42-minute opus (divided in Bishop on trombone (who has since been Intakt CD 095 four movements) and “Study II” make their first replaced by cellist Fred Lonberg-Holm); Kent ★★★★✩✩ CD appearance on the Swiss Intakt Records. Kessler on bass; Tim Daisy on drums; Dave Also worth listening to is the latest creation Rempis on alto and tenor saxes; Ken British bass virtuoso of this exceptional musician, titled “Oort- Vandermark on baritone/tenor sax, as well as extraordinaire Barry Entropy” (Intakt CD-101), a work scored for Bb and bass clarinets – bring much talent to Guy has been meet- his slightly downsized, ten-piece unit known the tribute. Together they produce poignant ing a single challenge as the Barry Guy New Orchestra. While this portraits of the music of Rollins (“Six for head on for 35 years comes as no news to the cognoscenti, it is Rollins”) and Kirk (“Free Kings — The Music of now: composing pieces for an orches- nonetheless highly recommended for anyone Roland Kirk”). While the vehicles that serve as tra mainly staffed by with ears yearning for more than just the usual starting points are not their own, the tight- free jazz players big band fare. (Check out Intakt’s website for working unit make them so by exuding fire and (Peter Brötzmann, Evan Parker, Paul Lytton, Paul an overview of its catalogue and its list of dis- spirit rather than respectful reproduction, thus Lovens, Phil Wachsmann). This issue combines tributors: www.intaktrec.ch) MC showing their understanding of the originals. two pieces recorded ten years apart. The first, It is hard to single out individual tracks “Study II”, (cut in 1991) is an etude of sound The Vandermark 5: Free Jazz Classics Vol. 3 & 4 since almost each one transports the listener. masses running under 20 minutes and comes Atavistic ALP170CD It is interesting, however, to hear what the ★★★★✩✩ to a peak of intensity after the halfway mark, group does with Rollins’ rather minimalist “John only to subside back into stillness. In spite of S.” After a voluble and extended rapid-fire intro its inherent freedom, this piece demands great The intense turn-on- by Vandermark, they play at compressing and collective discipline from the 17 players a-dime precision of stretching the tune. It is also interesting to involved. the Vandermark 5 is check out how they manage to do justice to “Stringer”, in contrast, is a more solo-orient- devoted to paying Kirk’s sound, idiosyncratic as it was. While you ed excursion for individuals and sub-groupings of the 18-man ensemble. The power here is tribute to two unlike- would never mistake any of the 12 themes cov- impressive, magnified by two basses and two ly figures of the free ered for Kirk’s own playing, these musicians do drum sets which fan the flames ignited by the avant-garde: Sonny manage to reference the rootsy soulfulness of horn players. The piece was first released in Rollins and Roland the late master. PS 1982 on Free Music Productions, the leading Kirk. The liner notes to this two CD set make

Anthony Braxton Quintet (London) 2004 second horn gives the music added dimension. One would have to Leo CD LR 449 ★★★★✩✩ search hard for a high point in this performance, since everything seems Anthony Braxton Sextet (Victoriaville) 2005 to be understated. There is a certain quiet intensity that underlines the Victo CD 098 proceedings, and the musicians are particularly well-tuned to Braxton’s ★★★★✩✩ conceptions, especially the trumpeter, who is the master’s long-time sympathetic partner. An encore, simply titled ‘part 2’, rounds up the Despite the importance of Anthony album that clocks in at exactly one hour. Braxton’s orchestral and solo outings, it is Recorded at last year’s Festival de Musique actuelle de Victoriaville, his compositions for more traditional small the sextet’s performance proved to be one of the event’s high points. jazz groups (or, in his own words, “creative On board were Bynum and Dahlgren, with Jessica Pavone (violin), Jay ensembles”) that are at the core of his Rozen (tuba, electronics) and Aaron Siegel (percussion), who togeth- work. It is in these that his concepts are er tackle the almost 70-minute Composition no. 345. The group’s sound most often clearly stated and understood. was varied in this performance, with violin, tuba and occasional vibra- This is the case with his recent Ghost phone adding some colour. While the leader burst into his trademark Trance Music (GTM) compositions. These sax wails, the overall feeling remained one of an almost Zen-like con- two albums, recorded six months apart, portray a recent stage of development of Braxton’s decade-old form of musical expression. templation, at least up to the 45-minute mark when the sextet entered If the early GTM compositions recorded on the Braxton House somewhat noisier territory, assisted by Rozen’s electronic backdrop. label in the mid-90’s appeared a bit stiff and repetitive, the concept Both albums share a sparse percussion conception, non-linear and seems slowly to have gained flexibility. Recorded at the Royal Festival un-rhythmic, which sometimes leaves the bass to set a pulse, thereby Hall in London in November 2004, the first of these albums features letting the percussionist add in improvised filigrees. Bynum excels here, Braxton’s Composition no. 343 with a quintet including Taylor Ho as does Rozen, but Braxton is still the dominant voice. Whatever the sax- Bynum on trumpet, Mary Halvorson on guitar, Chris Dahlgren on bass man does next (and it could be anything from a duet with a Buddhist and Satoshi Takeishi on percussion. monk to a new opera cycle), these two albums are at the core of his cur- The point of reference for Braxton’s small ensemble compositions rent musical development. The two sides considered, the Victo set might remains his quartet of the 80’s and 90’s with Marilyn Crispell, but here just get an extra half-star for its more diverse sound. Both titles are the piano has been replaced with a subtle guitar, and the presence of a indispensable for those with an interest in creative music. FH

music scene Spring 2006 13 tms_4-3_layout3/pp09-24 2006-04-04 3:48 PM Page 14

Andrew Hill: Andrew!!! Don Cherry: Where Is Brooklyn? Coat Cooke: Up Down Down Up Blue Note (Connoisseur series) 11437 Blue Note (Connoisseur series) 11435 Cellar Live 50605 ★★★★★✩ ★★★★✩✩ ★★★★✩✩

After introducing Don Cherry’s third This side is one of Thelonious Monk in Blue Note album, Coat Cooke’s rare the late 40’s and Where is Brooklyn?, appearances, apart Herbie Nichols in the recently saw its first from the previously- mid 50’s, Blue Note domestic CD release reviewed orchestra found yet another in the Connoisseur release. Appearing unique pianist/com- series. As with his with bassist Clyde poser in the 60’s: first disc for the label Reed and drummer Andrew Hill. – the excellent Kenton Loewen, he However, while Monk and Nichols found a cer- Complete Communion – this is a quartet session, performs at Vancouver’s leading jazz den, now tain recognition for their work (posthumously with bassist Henry Grimes and drummer Ed preserving and distributing performances via for the latter), Hill is still working hard at it with Blackwell, plus Pharaoh Sanders on tenor and its own in-house label. In keeping with Sonny a new Blue Note album, Time Lines, released in piccolo, replacing Cherry’s usual saxophonist Rollins’ 50-year-old tradition, Cooke plays nim- March. Reissued on CD for the first time, the of the time, Gato Barbieri. While Sanders might bly with sympathetic support, both on alto and 1964 Andrew!!! was Hill’s fifth date for Blue not be as in tune with Cherry’s music as tenor saxes (though the back of the record Note, and came right after his classic Point of Barbieri, he still provides fiery solos. The music perfunctorily lists him on “saxophone”). Departure. Bobby Hutcherson and Richard features classic versions of “Awake Nu” (a for- Difficult to say if they are actually playing writ- Davis remain from that earlier session, joined by mer Albert Ayler theme), “There is the Bomb” ten material in these 9 tracks, caught in June Joe Chambers and tenor saxophonist John and “The Thing”, all of which have become free 2005 at one of the trio’s Monday nights gigs. Gilmore, in one of his rare appearances away jazz staples today. They were notably played by Albeit very open, there is nothing aggressive, from Sun Ra’s Arkestra. The music is adventur- Ken Vandermark and Mats Gustafsson, whose nor challenging for that matter, to be found ous, bridging hard bop and the avant-garde, trio is called “The Thing”. While perhaps not on here. The tracks remain basically free-boppish, with six versions of recognizable Hill themes the level of his other two Blue Note produc- with tinges of blue and an unexpected quote in plus two bonus alternate takes. Essential listen- tions, this album is still classic Don Cherry. FH the opening cut from the old tune “Chicago”. ing. FH Cooke’s tenor is quite mellow, his alto more Now Orchestra and Marilyn Crispell: Pola rambunctious. At just under 73 minutes, this John Surman: Way Back When Victo CD097 disc, however, does not have enough gripping Cuneiform Records Rune 200 ★★★★✩✩ moments to really hold us from start to finish. ★★★★✩✩ Come to think of it, 50 minutes would have Made up of some of been just right. MC This previously unis- the strongest voices sued quartet/quin- on the Vancouver Tony Wilson: Horse’s Dream tet date is a nice scene, the Now Drip Audio MAX20152 blast from the past. Orchestra is an ★★★★✩✩ Baritone saxophon- ensemble with a dif- ist John Surman, 25 ference, focusing on West Coast guitarist at the time, con- collective improvisa- Tony Wilson plays the vened some of his tion. This latest instrument from friends for a session release finds them many angles in a just before leaving with an old friend and former collaborator, wide-ranging program Britain in 1969. Heard are pianist John Taylor, pianist Marilyn Crispell, who contributes the of pieces. Essentially playing the then-brand-new electric keyboard, slowly evolving, contrast-rich “Yin Yang”. Four a collection of tone bassist Brian Odgers, drummer John Marshall of the other compositions are by artistic direc- poems composed on and, on two tracks, the sadly vanished altoist tor Coat Cooke, and one comes from guitarist Hornby Island off the Mike Osborne. Only a few test pressings of the Ron Samworth. All six tunes could serve as B.C. coast, the music is both intimate and imag- session exist and the master tape was, until models of thematic conciseness, balanced with inative. We seem to get the private musings of recently, missing. Unavoidably, the music is collective development via improvisation. Two the artist collected for all to hear, from avant- dated because of the piano and the obstinate of Cooke’s shortest pieces are compressed garde noise pieces to introspective six-string grooves seeping in from the nascent jazz-rock vehicles that show the band’s ability to burn meditations, silky jazz noodlings, a bluegrass bal- trend. The leader’s spirit makes up for those within the rigours of closely controlled writing. lad delivered in idiosyncratic nihilistic tones, a wrinkles, however. On soprano sax, he careens The musicians blaze with just as much intensi- spiritual harp-like rendering of Coltrane’s through the first four tracks, a kind of suite ty on the other, longer vehicles – notably “Venus/Offering”, and, to close, a surprisingly that gives its title to this record. On the two Samworth’s “M.C.”, which embeds one of the fresh version of “Danny Boy”. Mainly a solo CD longer tracks, shared with Osborne, Surman most lyrical brass lines on the album, Cooke’s (Bob Grant on woodstove and utensils, and shows his extraordinary prowess on the bigger ominous, almost Wagnerian “Broken Dreams,” Jesse Zubot on violin, make spot appearances), horn, clearly reaffirming his position as a mas- and the pointillist and poetic “Suffused with this is a state-of-the-art report on the electric ter of that axe. On the basis of those qualities Blue Light”. PS guitar that rings true as a coherent artistic state- alone this disc merits four stars, minus half due ment. It is, thankfully, not an album of self-indul- to three of the suite’s tracks being alternate gent shredding, nor the kind of suave elevator takes of the same tune. MC music that some prominent guitarists in jazz often concoct. PS

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Spring at McGill

Monday, April 3, 8:00 p.m. Monday, April 10, 8:00 p.m. Pollack Hall - $5 Redpath Hall - $5 McGill Jazz OrchestraII McGill Baroque Orchestra Ron DiLauro, director Chantal Rémillard, guest conductor

Thursday, April 6, 8:00 p.m. Wednesday, April 12, 8:00 p.m. Pollack Hall - $5 Pollack Hall - $5 Canadian Impressions McGill Contemporary Music Ensemble McGill Wind Symphony Denys Bouliane, director Alain Cazes, director In collaboration with the Nicholas Francis, student guest conductor McGill Digital Composition Studio Works by Bell, Calvert, Cherney, Gougeon, Sean Ferguson, director Nin, Fromm With guest artist Denys Derome, horn Friday, April 7, 7:00 p.m. Works by Sudol, Maresz, Cherney, Ligeti McGill Faculty Fridays Ellen Jewett, violin Thursday, April 20, 7:30 p.m. Elizabeth Dolin, cello Pollack Hall - $15 / $10 Kyoko Hashimoto, piano CBC/McGill Series Works by Mozart, Lutoslawski, Sokolovic, Bartók Super Nova String Quartet Mark Fewer, Scott St. John, violin Saturday, April 8, 8:00 p.m. Douglas McNabney, viola St-Jean-Baptiste Church - $10 Denise Djokic, cello Dvorˇák’s Requiem, Op. 89 With Letitia Brewer, soprano Peter McGillivary, baritone Martina Govednik, mezzo-soprano John Novacek, piano Gaétan Sauvageau, tenor Works by Korngold, Vaughan Williams, Barber Marc-Antoine d’Aragon, bass The McGill Symphony Orchestra Wednesday, May 17, 8:00 p.m. The McGill Symphonic Choir Staff and Guests Series Alexis Hauser, conductor Recorders in trio Natalie Michaud, Sophie Larivière Monday, April 10, 8:00 p.m. Matthias Maute Pollack Hall - $5 Oriental Impressions McGill Wind Orchestra Alain Cazes, director Works by Chance, Chang, Rogers, Barker, Mashima

Renseignements : (514) 398-5145 ou www.mcgill.ca/music/events/concerts tms_4-3_layout3/pp09-24 2006-04-04 6:22 PM Page 16

REVIEWS ness that is perfect for this gloomiest of cycles. over-reverberant. The thick booklet contains REVIEW POLICY: While we review all the At over 79 minutes, the performance is some an essay, artists’s photos and biographies, best CDs we get, we don’t always receive 5 minutes longer than the ‘average’. A few plus texts in three languages, albeit in minis- every new release available. Therefore, if a songs are taken very slowly, while others move cule print. JKS new recording is not covered in the print at a surprisingly fast clip. Braun is not afraid to version of LSM, it does not necessarily take risks, opening up the voice to operatic Mozart imply that it is inferior. Many more CD dimensions in the more declamatory passages, Arias & duets reviews can be viewed on our Web site at Isabel Bayrakdarian, Michael Schade, Russell www.scena.org. but also capable of scaling things down to an almost Vickers-like whisper elsewhere. He is Braun COC Orchestra / Richard Bradshaw ★★★★★★ ably assisted at the piano by his wife Carolyn A MUST! CBC Records SMCD 5239 (67m 21s) ★★★★★✩ Maule. While she is stretched by its technical EXCELLENT ★★★★★✩ $$$$ ★★★★✩✩ VERY GOOD challenges, she compensates by practically ★★★✩✩✩ GOOD breathing with the soloist, offering genuinely ★★✩✩✩✩ SO-SO solid support. This is an important entry to the Released to coincide ★✩✩✩✩✩ MEDIOCRE discography of Winterreise, and it will likely with the Mozart cele- receive serious consideration when the time brations, this disc has $ <10 $ comes to choose the best Canadian vocal its origin from a terrific $$ 10–14.99 $ recording of 2005. JKS concert at the Glenn $$$ 15–20 $ $$$$ > 20 $ Gould Studio. The Mozart forces reunited at the Lieder acoustically superior George Weston Hall last REVIEWERS Suzie LeBlanc, soprano; June for the recording. The result is a highly Yannick Nézet-Séguin, fortepiano enjoyable disc capturing the three artists in WSH W.S. Habington ATMA Classique ACD2 2327 (63 min 12 s) great form. The lion’s share of the singing ★★★★✩✩ $$$ JKS Joseph K. So falls on the capable shoulders of baritone JW Jef Wyns Russell Braun, who is involved in 8 of the 15 Released in time for selections. Whether as Papageno, Don the 250th anniversary Giovanni, Guglielmo, or the Count, Braun of Mozart’s birth, this combines a virile sound with keen dramatic disc features the sense. It is a little disappointing that VOCAL MUSIC crystalline soprano of Bayrakdarian chose not to sing Pamina’s ‘Ach Suzie Leblanc, with the ich fuhls’, a role tailor-made for her; nor did Schubert conductor Yannick she venture deeper into Elvira territory with Winterreise Russell Braun, baritone; Carolyn Maule, piano Nézet-Séguin playing on a 1998 reproduc- the showpiece “Mi tradi”. But her ‘Ah, fuggi il CBC Records MVCD 1171 (79 min 12s) tion of a 1790 fortepiano. They tackle 22 traditor’ has gleaming tone and sparkling col- ★★★★★✩ $$$ familiar Mozart songs in German, French, oratura; and as expected, Susanna’s ‘Deh and Italian. It opens with vieni’ is truly exquisite. Michael Schade tack- ‘Abendempfindung’, arguably his finest. les four of the most difficult Mozart tenor This great song cycle LeBlanc brings an early-music approach to arias, combining his justly famous mezza voce has had a felicitous these songs, using relatively little vibrato and with ringing tone at the climaxes. The COC recording history – accentuating the fluty, plaintive quality in Orchestra under Richard Bradshaw sounds singers of all voice her voice. Pieces are occasionally on the surprisingly idiomatic in Mozart. The photos types have committed slow side, such as the opening song, but in the booklet and the inside of the jewel box it to disc. Some have LeBlanc sustains the mood well. ‘Der show the three artists obviously having a great made multiple record- Zauberer’ and ‘Das Veilchen’ are exquisite. time. I dare say, the sentiment is amply shared by ings at different stages of their careers – in ‘Kinderspiel’ has just the right bouncy qual- their listeners. JKS the case of the great Dietrich Fischer- ity. It should come as no surprise that Dieskau, he tried his hand at it three times! besides being a terrific conductor, Nézet- Ives This cycle is arguably the most difficult of all Séguin is also a wonderfully attentive and A Song – For Anything song cycles, requiring a two-octave range and sympathetic pianist. It is unfortunate that Gerald Finley, baritone; Julius Drake, piano the ability to hold the audience spellbound for the balance between the voice and the Hyperion HYP CDA 67516 (70 m 30 s) ★★★★★✩ almost an hour and a half. But first and fore- piano is less than ideal. The piano sound is $$$$ most, the communicative power has to be too recessed, at times sounding as if it is in there. This new entry by Canadian baritone the next room. LeBlanc’s beautiful voice is Ives wrote some 200 songs, but they Russell Braun ranks very high among contem- well captured, the tone rich and full, are underrepresented on disc. Thomas porary versions. His timbre is warm – a curi- although the miking is too close and one is Hampson and Susan Graham each ously moving sound tinged with a certain sad- aware of her breathing. The acoustics are recorded a few, but to me this new collec-

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tion of 31 songs is definitive. Brilliantly • Over 3,000 titles sung by Canadian baritone Gerald Finley, • All digital recordings it has become the gold standard by which •New recordings and all future recordings of these pieces will be compositions monthly measured. Finley meets the daunting vocal • Critical acclaim in all key and dramatic challenges with total com- classical publications mitment and superb musicianship. There • Featuring great Canadian artists is unfailing beauty of tone in the lyrical songs (‘Memories’; ‘Tom Sails Away’). In the more declamatory songs (‘General Booth’; All this at an astonishingly low price! ‘Charlie Rutlage’) he is unabashedly theatrical, complete with cowboy drawl. The songs are mostly in English except for The world’s leading three in German (including one set to the famous Heine text ‘Ich grolle nicht’) and one in French (‘Élégie’). One would be Classical Music label! hard-pressed to find a better collaborative pianist than Julius Drake, who even makes vocal contributions – in ‘Memories’ and Feature of the Month–April Feature of the Month–May ‘Charlie Rutlage’! Given its legal troubles, Hyperion is brave to Avail. April 18 take on this adventurous project. The critical success of this disc is richly deserved. JKS

Soprano Songs and Arias Ana María Martínez, soprano ; Prague Philharmonia / Steven Mercurio Naxos 8.557827 (53min 26s) ★★★★★✩ $$ 8557493 Puerto Rican soprano Ana María 8557826 Martínez has a stunning voice and she is John Tavener Hear My Prayer in glorious form on this disc, recorded in Lament For Jerusalem Choir of St. John’s, Elora 2000 and only now released in conjunc- Choir of London and Orchestra Karina Gauvin, soprano Jeremy Summerly, conductor Noel Edison, conductor tion with her Met debut as Micaëla. Having seen her Fiordiligi and Donna Elvira in Santa Fe, I dare say she rivals the best. Here she sings some of the chestnuts of the lyric soprano repertoire, from Puccini and Gounod to Canteloube and Villa-Lobos, all sung with gleaming tone and unfailing musicality. Perhaps one could ask for more temperament and personality – she is a bit placid and I miss the smile in the voice – but on a purely vocal level she is terrific. Baïlèro from Songs of the Auvergne and Bachianas Brasileiras No. 5 are 8558188-89 8557637 particularly lovely. Like most Latins singing in German (Vilja From Byzantium To Andalusia Dmitry Shostakovich Lied), she tends to suppress her consonants. Steven Mercurio Oni Wytars Ensemble A Portrait offers solid support, even if the Prague Philharmonia isn’t ter- His Words • His Life ribly idiomatic in the Spanish pieces. At 53 minutes the disc Various is a bit short but her beautiful singing makes up for it. Highly Avail. April 18 Avail. April 18 recommended for soprano buffs. JKS

The Golden Voice Joseph Calleja, tenor, Academy of St. Martin in the Fields, Carlo Rizzi, conductor Decca 475 6931 (59min 23s) ★★★★★✩ $$$$

This is the second solo disc by Maltese 8550533-34 tenor Joseph Calleja on Decca, where he 8557922 has an exclusive contract. One is tempt- John Rutter Gustav Mahler Mass of the Children Symphony No. 8 ed to dismiss the title “The Golden The Choir of Clare College, Warsaw National Philharmonic Voice” as nothing more than media hype, Cambridge Choir & Orchestra but to my ears, his voice does bear a cer- Timothy Brown, conductor Antoni Wit, conductor tain resemblance to the so-called ‘golden age’ singers. No doubt, Calleja has a major voice that is imme- Available at Or online at diately recognizable – a bright sound with plenty of squillo, a quick vibrato and a secure upper extension ideal in the bel canto repertoire of Donizetti and Bellini. He also sports a most 1383 Clyde Ave., NEPEAN impressive high diminuendo. He has certainly come a long way 1717 St. Laurent Blvd., OTTAWA 499 Terry Fox Drive, KANATA

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since the ‘diamond in the rough’ Rodolfo in in the form but Schwarz and his motivated Toronto five years ago. His ‘Una furtive ORCHESTRAL MUSIC West Coast Orchestra make an excellent lagrima’ is lighter and less substantial than case for them. Their instincts in this music the burnished sound of Rolando Villazon, Rochberg are faultless making this is another invalu- but Calleja has a plaintive quality that is Symphony No 2 able initiative from Naxos. WSH equally appealing. Anna Netrebko makes a Saarbrücken Radio Symphony cameo in the duet from La sonnambula, Orchestra / Christopher Lyndon-Gee Smetana trading high notes with Calleja, with the Naxos American Classics 8559182 (55 min 34 s) Má Vlast ★★★★✩✩ $ tenor coming out on top. Typical of these London Symphony Orchestra/Sir Colin Davis solo discs, the conductor Carlo Rizzi plays LSO0516 Hybrid SACD (75 min 15 s) ★★★★✩✩ ‘follow the divo’. A highly enjoyable disc. George Rochberg $$ JKS (1918-2005) was an individual, quest- Most of the record- J.S. Bach Cantatas Vol 10 ing force among ings released by LSO For the Nineteenth Sunday After Trinity: BMW American composers Live under the baton 48, 5, 90, 56; For the Feast of the Reformation: of the 20th century. of the orchestra’s BMW 79, 192, 80 – Soloists, Monteverdi Choir, His Second Symphony principal conductor English Baroque Soloists/Sir John Elliot Gardiner was acclaimed at its first performance in have been pieces long Sol Deo Gloria SDG 110 (121 min 46 s – 2 New York under the baton of George entrenched in Sir CDs) Szell in 1961. Rochberg had been a Colin’s discography from Berlioz, Sibelius ★★★★★✩ $$$$ wartime infantry officer and was serious- and Dvorˇák. This is the first time he has ly wounded during the Battle of the committed Smetana’s epic cycle of picture- Sir John Eliot Bulge. “My war experience had etched postcard tone poems to disc. While it may Gardiner took his itself deep in my soul...” the composer not replace the famous Kubelik accounts period forces on the explained, “...I lived with an ever sharpen- (on DG and Supraphon) in our affections, road in 2000 to per- ing awareness of the approach to the it is a performance to be reckoned with form all of Bach’s abyss.” The symphony reflects this and a stunning exhibition of prowess by a sacred cantatas. This anguish and reveals Rochberg’s unique great orchestra. Davis conducts with a firm is volume 10 in a tra- approach to twelve-tone technique. It but flowing style. His vigorously articulat- versal of the (hidden) bulk of the compos- receives a violent but articulate performed approach succeeds throughout and er’s output and the series is enjoying phe- ance from Lyndon-Gee. The disc includes especially in the climactic Blanik tone nomenal success. Recorded live in the a 24-minute coupling in the form of poem. historic churches of Potsdam and Imago Mundi inspired by travels to Japan. London’s Barbican Centre is a notori- Wittenberg, these are superlative yet spon- It displays Rochberg’s creative depth on ously difficult recording venue. Previous taneously exciting readings. The English the rebound from serialism. WSH LSO Live CDs have been criticized for Baroque Soloists (EBS) and the sound quality. The audio in the present Monteverdi Choir are, of course, standard Schuman issue (engineered by Jonathan Stokes) is bywords for excellence and the solo vocal- Symphonies Nos 7 & 10 very good and can be heard to best ists (Joanne Lunn, soprano; William Towers, Seattle Symphony / Gerard Schwarz advantage in SACD surround mode. This is alto; James Gilchrist, tenor; Peter Harvey, Naxos American Classics 8559255 (60 min 48 s) a Má Vlast of high artistic merit offered at ★★★★✩✩ bass) achieve rapturous heights of expression. $ a relatively low price. Collectors who have When it comes to this music, it is hard to avoid so far overlooked Smetana should not hes- the conclusion that “Sir John knows and does This is the second itate. WSH best.” volume in the new Collectors who have not yet taken the cycle of the ten sym- In Concert with Otto Klemperer and George plunge into Gardiner’s Bach Pilgrimage should phonies of William Szell try a single disc sampler from Sol Deo Gloria Schuman by the Beethoven: Symphonies 3 & 4; Brahms: Piano (SDG 114). In addition to ten extracts from Seattle Symphony Concerto No 2, Hindemith: Nobilissima Visione forthcoming issues in the cantata cycle, it and Gerard Schwarz – Géza Anda (piano), Cologne Radio Symphony Orchestra/Otto Klemperer includes a Bach discovery from 2005: Alles for Naxos. This is an important venture Andante AN 2130 (149 min 58 s – 2 CDs)) mit Gott und nichts ohn’ ihn. This was a 1713 because Schuman was the essential central ★★★★✩✩ $$$ birthday ode for the Duke of Saxe-Weimar figure in American music for much of the Beethoven: Coriolan & Egmont Overtures, Piano and it is performed with marvelous sensitivity past century. As a composer, educator and Concerto No 5, Symphony No 5; Bruckner: by soprano Elin Manahan Thomas and a arts administrator, he exerted enormous Symphony No 3 – Nikita Magaloff (piano), chamber group of EBS musicians. influence in the development of American Staatskapelle Dresden/George Szell Sol Deo Gloria is an imprint of rare quali- culture at the serious art level. This Andante AN 2180 (139 min 45 s – 2 CDs) ty with cover art by photographer Steve recording provides conclusive evidence of ★★★★✩✩ $$$ Curry, informative essays and full vocal the characteristics of Schuman’s sym- texts with English and French translations. phonies: stunning ingenuity and a com- It was in 1957 that Otto Klemperer This is most appropriate for music that plexity tempered with direct communica- received a surprise visitor to his dressing unfailingly comforts, consoles and inspires tion and a strong sense of formal room after a London performance of the the listener. WSH coherence. The Seventh (1960) and Tenth Eroica. “Herr von Karajan, what are you (1976) may not be among his finest works doing here?” Karajan replied, “I have simply

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come to thank you and The opera is awkward and virtually without sumptuous account of the incendiary score. to say that I hope that I plot. It is an arc-like, disturbing panorama of Dacapo provides excellent booklet notes and two shall live to conduct the human nature in which the composer (who also illuminating documentaries. This production Funeral March as well as devised the libretto) adroitly anticipates the cloy- reveals Antikrist as a formidable modern opera you have done it. Good ing disorientation of Rod Serling’s Twilight Zone. which deserves to be more widely known. WSH night.” This bargain- It has been described as a moralistic fable. Yet priced set from Andante Langgaard understood the cyclical element of Wagner of the 1954 Cologne broadcast recordings ‘prevailing social standards’ and his opera is a Die Walküre will give you a clear idea of what aroused commentary on repression giving way to excess Soloists, Orchester der Beyreuther Festspiele/ HvK’s admiration. This is Klemperer at the and the due process of moral revision, Daniel Barenboim top of his form in Beethoven Symphonies Imaginatively staged in Copenhagen’s old Stage Director: Harry Kupfer, Video Director: Horant H. Hohfield Nos 3 and 4. The Brahms is self-recommend- Riding School, Antikrist receives an outstanding Warner R2 62319 (237 min - 2 DVD) ing for the presence of Géza Anda as soloist, performance with fully committed singers such as ★★★★★✩ $$$ and Hindemith’s Nobilissima Visione is given Poul Elming, Susanne Resmark, Camilla Nylund surprisingly stylish treatment, considering and Jon Ketilsson. Thomas Dausgaard directs a Klemperer’s long standing antipathy to the composer. The Szell set serves up a generous por- tion of the true glory of the Staatskapelle Dresden in concert at the Salzburg Festival in 1961 and 1965. The conductor’s trademark interpretation of Beethoven’s Fifth evokes a note-perfect, spirited response from the Dresdeners. Nikita Magaloff is not a widely known pianist but his talents and insight are also aligned with Szell in the Emperor Concerto. The Bruckner Third is superbly idiosyncratic and compelling. These excellent sets should be irre- sistible to collectors who cherish what André Malraux has called the musée imag- inaire of the gramophone. WSH DVDS

Langgaard Antikrist Soloists, Danish National Symphony Orchestra and Choir/Thomas Dausgaard Stage Director: Staffan Valdemar Holm, Video Director: Uffe Borgwardt Dacapo 2.110402 (95 min) ★★★★★✩ $$$$

Here we have the Antikrist from the anti- Nielsen. Rued Langgaard (1893- 1952) was the bad boy of Danish music and this eccentric, heretical-Romantic has only been rehabilitat- ed in the last couple of decades. By the age of 47, he was grateful for the position of church organist on the storm-tossed coast of South Jutland. In all he composed 431 often-revised works including 16 impressive symphonies. Antikrist, a seg- mented and allegorical opera, was his most ambitious composition and it was considered un-performable when rewritten in 1930.

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The multitude of ideas and Puccini Manon Lescaut decisions that go into Maria Guleghina, Jose Cura, Lucio Gallo BOOKS every production, in Orchestra e Coro del Teatro alla Scala / Riccardo Choral Music in the Twentieth Century whole or part, of Der Ring Muti, conductor by Nick Strimple des Nibelungen, can be TDK DVD DVWW OPMLES (134 m) Amadeus Press, LLC - Copyright 2002 reduced to a simple ques- ★★★★★✩ $$$$ tion: “Is the story told so Paperback edition published in 2005 that the full magnitude of pp 389 the composer’s genius Taped on the stage of La Scala in June 1998, This guide to choral emerges clearly?” The this Manon Lescaut represents old-fashioned music will be a unique answer with respect to this 1992 Bayreuth theatre at its best. Very few companies – the tool in the hands of any Festival production is an emphatic, “Yes!”. The Met comes to mind – have the serious money choir director looking Barenboim/Kupfer Walküre makes James needed for such opulent, realistic productions. for fresh or exotic mate- Levine’s traditional performance from the Met The pairing of Maria Guleghina (Manon Lescaut) rial. The book covers (on DG) seem pallid by comparison and it even and Jose Cura (Des Grieux) is felicitous, catch- nearly every music-mak- surpasses the brilliant collaboration of Pierre ing both in excellent vocal states. There is good ing country in the Boulez and Patrice Chéreau (Bayreuth 1980, chemistry between them, and sparks fly in Acts Western world, and Nick now on DG). Kupfer’s vision is stark, dark and 3 and 4. Guleghina looks seductive, if only her Strimple makes it his kinetic. The cast is vocally the best to have face doesn’t remind one so much of American business to lead us from appeared on DVD and also the fittest. They comedy actress Terri Garr! Cura can be musical- one European country to the next. While get- sprint upstage and down on the minimalist sets ly wayward, but under the iron bâton of Muti, he ting briefly acquainted with the most out- and the dramatic impact is enhanced by the behaves himself. Lucio Gallo is perhaps too standing choral works, readers are presented with interesting facts. Did you know for widescreen picture aspect. Poul Elming youthful and not sufficiently slimy for Lescaut, instance that in the Baltic countries, just (Siegmund), Nadine Secunde (Sieglinde), and vocally he is decidedly small-scale. Veteran about every citizen is a member of a choral John Tomlinson (Wotan), Anne Evans bass Luigi Roni is a suitably crusty Geronte. group, or that twentieth century composers (Brünnhilde), Mathias Hölle (Hunding) and Though not a verismo specialist, Riccardo Muti travelled all over the globe, proportionally as Linda Finnie (Fricka) give portrayals of feral conducts with plenty of fire, generating torrents much as the Renaissance Italian composers intensity and psychological insight. Barenboim’s of sound from the orchestra at climaxes, without travelled in Europe? And have you ever reading of the score is more than twenty min- crossing over to crudeness. As is typical with La reflected on how the composition of Masses utes longer than the Boulez performance and Scala videos, there are no solo calls. and Requiems is an indestructible part of the he employs a wider orchestral dynamic. Surprisingly, the bravos were mixed with a few Western heritage? Interesting incidental tid- There are now four complete Ring cycles avail- boos in the final curtain, for reasons that escape bits about composers are sprinkled all able on DVD. Warner will be releasing the remain- me. The video quality is good but we are now through the text and the author follows the der of this one over the next year. It may well be spoiled with high definition picture, which this elusive line composers weave into their works the Ring production that all Wagnerians will one is not. Highly recommended. JKS as the result of their contact with other cul- absolutely need to possess. WSH tures and with the creations of their peers. Thus, the book provides readers with glimpses of music coming from the African shores and the Middle East, a good look at Israel, and also leads them on an extensive visit of the Americas. Choral Music in the Twentieth Century offers sufficient technical information about style and composition for a choir director to make appropriate musical choices, while staying well within the reach of the amateur choir member. The only rather disturbing flaw in the work is the sloppy attitude towards the spelling of names of compositions in languages other than English. Dozens of mis- Are you the next Pavarotti? spelled words in foreign languages put the Open submission call for season 2 of the hit TV series airing on Bravo! whole book in a minor key! Mr. Strimple should Bathroom Divas: So You Want to Be An Opera Star? hire a multilingual proofreader for the next edition of his otherwise most interesting book. JW Whether you are a nurse, truck driver or plumber, as long as you have a passion to sing we are looking for you! Potential candidates should be non-professional opera singers from diverse musical, cultural and occupational backgrounds, must be 18 years of age or older and be a Norman Lebrecht's Canadian citizen or permanent resident of Canada. Prospective "bathroom divas" may vary in musical training and experience. 100 Deﬁnitive Recording Submission Deadline: May 12, 2006 * A weekly series, now up to CD 82

For more information and submission guidelines please visit * At LSM Online www.bathroomdivas.com or e-mail [email protected] http://100recordings.scena.org@ 20 Spring 2006 tms_4-3_layout3/pp09-24 2006-04-04 4:24 PM Page 21

CROSSWORD PUZZLE SUBSCRIBE NOW! Jacques Desjardins

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10 name ...... address ...... 11 city ...... 12 province ...... country ...... ACROSS across – Is sung ■ 2 – Verdi opera postal code ...... ■ 1 – On his farewell tour – Personal – Where we treat trauma – Italian phone ...... pronoun ■ 2 – Could be dange- composer ■ 3 – Loves red – The email ...... ■ rous… – Japanese drama ■ 3 – A bit last was executed in 1918 4 – Visa/MC/Amex no...... Artificial intelligence – Belt – of admiral – In the title of a Mozart exp ...... / ...... opera ■ 4 – From a musical expression Information agency ■ 5 – Follow which brings one back to the begin- each other in the alphabet – Proves Send to : The Music Scene, 5409 Waverly st., Montreal (Quebec) ning – Chilean pianist ■ 5 – Wader – your age – Was spoken in Southern H2T 2X8 • Fax: 514 274.9456 • [email protected] Italian river – Old note ■ 6 – Make France ■ 6 – Lake in the Pyrenees fun of – Character in a Donizetti opera – In the compass – Greek letter – ■ 7 – Scandinavian currency – Half of Spanish article ■ 7 – Blows every- a laugh (backwards) ■ 8 – thing up – He carries the skies on Connection his shoulders ■ 8 – International ■ 9 – Marcato, for example ■ 10 – Airline Passengers Association – Do Female name – Religious leader ■ 11 not drink any more – Chemical ■ – Has recently given up armed strug- symbol 9 – At the very beginning gle – French underwear ■ 12 – Prefix ■ 10 – Possessive – Character in a which does not stay on the ground – Puccini opera ■ 11 – Makes you Canadian transportation company sweat! – Did a lot of damage during the Algerian War ■ 12 – Affirmation DOWN – American state – Follow each ■ 1 – First name of the rival of no. 1 other backwards in the alphabet CLASSIFIED ADS FOR SALE AUDITIONS VIOLONS - ALTOS - VIOLONCELLES - ARCHE- THE VANCOUVER CHAMBER CHOIR is holding TS / VIOLINS - VIOLA - VIOLONCELLOS - auditions for professional-level singers. BOWS Fine selection of rare instruments. Auditions will be held Saturday, April 22. All Sound specialist & master restorer. Montreal: voices (SATB) are invited to audition. Please 514-827-3163 USA: 203-453-2011. call Fiona at 604-466-9866 for an appoint- www.fineviolinsltd.com. Michel Gagnon ment or further information. [email protected] www.vancouverchamberchoir.com MUSICIANS WANTED MISCELLANEOUS Just Graduated as a Performance Major? Create a magniﬁcent gift for that person in What are your next steps to launch, sustain your life who deserves the best. and advance your career? You've invested sweetguillotine.com four years, now invest four hours. CULTURAL SUPPORT SERVICES: 519-662-3499, [email protected] P, ILY, Z 12 $ / 120 characters • 5 $ / 40 additional characters Tel.: (514) 948-2520 [email protected]

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Ré pertoire des camps musicaux Sum mer Music Camp Directory

artistes de grande renommée, brunchs. Domaine Forget Music and Dance MARITIME PROVINCES Academy Camp musical Tutti 5 Saint-Antoine 3440 Patricia Ave, Montreal, QC H4V 1Z1 Tel 418-452-8111 • Fax 418-452-3505 Tel/Fax 514-486-8727 www.domaineforget.com www.geocities.com/campmusical [email protected] Acadia Summer Music Camp: June 25 - July 2 • Deadline: none Camp: May 17 to Sept. 4 • Deadline: April 1 Kincardine Summer Music Festival Cost: $580 • Scholarships: Yes Cost: $575 / week • Scholarships: yes Continuing and Distance Education, 38 Box 251, Kincardine, ON N2Z 2Y7 Languages: English, French Languages: French & English Crowell Drive, Wolfville, NS, B49 2R6 Tel 866-453-9716 • Fax 519-396-9716 Disciplines: all Disciplines: Cui, WW, Gui, Crd, Vo, Cmp, Jz, Dn Tel 800-565-6568 • Fax 902-585-1068 www.ksmf.ca • [email protected] Particularities: Theatre, swimming, sports, Particularities: Private lessons, www.conted.acadiau.ca Camp: August 6 - 19 • Deadline: August 6 choir, art, yoga, massage. masterclasses, chamber music, work- [email protected] Cost: $115-$495 • Scholarships: Yes shops, student concerts, admission to the Camp: July 2 - Aug 12 • Deadline: June 4 Languages: English International Festival concerts included Cost: $500-700 Music Academy Orford Arts Centre Disciplines: Jz, Bl, Gui, Cho, Crd, Fid Languages: English 3165 chemin du Parc, Orford, QC J1X 7A2 Particularities: Beginner to experienced Disciplines: Jz, Wd, Pi, Crd, Gui, CM, Tec Tel 819-843-3981 / 800-567-6155 ONTARIO levels, exceptional teachers, daytime Particularities: Top musicians in Canada Fax 819-843-7274 classes, world-class evening concerts. A work with aspiring and accomplished young www.arts-orford.org • [email protected] remarkable experience in beautiful musicians to help them achieve their goals. Camp: June 18 - August 12 • Deadline: May 1 Summer Opera Scene Study & Music Kincardine on Lake Huron. Programs are one week in length. Cost: $575 / week • Scholarships: no Theatre Camps Languages: English, French The Royal Conservatory of Music 90 Croatia St, Toronto, ON M6H 1K9 Music at Port Milford UNB Music Camp Disciplines: Vo, Pn, Cmp, Crd, Cui, WW Tel 416-408-2825 • Fax 416-408-1955 89 Colliers Rd, Milford, ON K0K 2P0 PO Box 4400 Fredericton, NB E3B 5A3 Particularities: Private lessons, master classes, string quartet workshop, opera www.rcmusic.ca/summerschool Tel 914-769-4046 • Fax 914-729-3489 Tel/Fax 506-453-4697 Camp: June-August • Deadline: See website www.mpmcamp.org www.unb.ca/musiccamp • [email protected] workshop, sound creation workshop, student concerts. Cost: $675 + reg fee • Scholarships: Yes Camp: July 15-Aug. 12 • Deadline: Rolling Camp: August 12-20 • Deadline: July 15 Languages: English • Disciplines: Vo, CM Cost: $1250-$2300 • Scholarships: Yes Cost: $500 • Languages: English Languages: English Académie du Festival international Particularities: Opera Scene Study: Adults Disciplines: WW, Cui, Crd, Vo, Gui, Pi will perform excerpt of major works. Disciplines: Vln, Vla, Vlc, CB d’orgue et de clavecin de Rimouski Particularities: Top musicians and educa- Music Theatre Camps: Young adults (13- Particularities: Come celebrate our 20th tors from across North America provide C.P. 84 Rimouski, QC G5L 7B7 18) will perform an original show. season! Borealis, Tokai, Alcan, Arthur Le quality instruction to students age 10-18. Tél 418-724-6887 • Fax 418-725-4319 Blanc in residence. Located in historic On campus housing is available. www.rimouskiweb.com/orgue&clavecin Southern Ontario Chamber Music Prince Edward County. Camp: 8-12 juillet • Date limite: 15 mai Coût: 25 $ - 150 $ • Bourses: oui Institute (SOCMI) QUÉBEC 146 Lakeshore Rd. East, 2nd Floor, Langues: français, anglais sur demande MANITOBA Disciplines: Or, Clv Oakville, ON L6J 1H4 Tel 905-842-5865 • Fax 905-844-1154 Lake MacDonald Music Centre Particularités: Professeurs invités : Manitoba Conservatory Summer Day 85 chemin CAMMAC, Harrington, QC J8G 2T2 Blandine Verlet au clavecin, Jean-Guy www.socmi.org • aﬁ[email protected] Tel 888-622-8755 • Fax 819-687-3323 Proulx à l’orgue. Participation des sta- Camp: August 7-20 • Deadline: May 1 Camps www.cammac.ca gaires à un des cinq concerts du Festival. Cost: $1250 • Scholarships: Possibly 105-211 Bannatyne, Winnipeg, MB R3B 3P2 Camp: June 25 to Aug 20 • Deadline: no Languages: English • Disciplines: Vln, Vla, Tel 204-943-6090 • Fax 204-947-3853 Cost: $315 - $1523 • Scholarships: yes Camp musical des Laurentides Vlc, Pi www.mcma.ca • [email protected] Particularities: An intensive chamber Camp: July 10 to August 4 • Deadline: July 3 Languages: French and English 60, place Mozart, Saint-Adolphe-d’Howard, music programme with mentors: Cost: $150/wk • Languages: English Disciplines: Vo, Pi, MA, FàB, Fl, Hrp, WW, QC J0T 2B0 Penderecki, Lafayette, Tokai String Disciplines: Orff method Cui, Jz, Cho, CM, Dn Tél 450-277-0909 • Fax 450-226-6770 Quartets, Mark Fewer, André Roy, Shauna Particularities: Choose from four different Particularitiess: On-site lodging and camp- www.cmlaurentides.qc.ca Rolston, Heather Schmidt. theme weeks (fairy tales, drama, composers, ground. For amateur musicians of all levels. [email protected] world music) with activities for campers Tennis, nature trails, boating, swimming. Camp: 18 juin - 26 août • Date limite: 15 mai ages 4-12. All camps use the Orff method. Coût: 50 $ • Bourses: par demande écrite CAMMAC Ontario Music Centre Camp musical du Saguenay – Lac- Langues: français & anglais 304 Stone Rd W, #721, Guelph, ON N1G 4W4 “Little Maestros” Half-Day Mini Camp Saint-Jean Disciplines: Vo, Crd, WW, Cui, Pi, Per Tel 866-273-7697 • Fax 416-536-3362 www.cammac.ca • [email protected] 105-211 Bannatyne, Winnipeg, MB R3B 3P2 1589, rte 169, Métabetchouan, Lac-à-la- Particularités: Le camp musical offre un Camp: July 30-Aug. 20 • Deadline: June 19 Tel 204-943-6090 • Fax 204-947-3853 Croix, QC G8G 1A8 enseignement de niveau supérieur Cost: $745-$1015 • Scholarships: Yes www.mcma.ca • [email protected] Tél 888-349-2085 • Fax 518-349-8719 favorisant les cours individuels. Les étudi- Languages: English Camp: July 10-14 • Deadline: July 3 www.campmusical-slsj.qc.ca ants reçoivent donc un enseignement per- Disciplines: Vo, Crd, Fl, FàB, Cl, Hb, Ba, Cost: $85 • Languages: English Camp: 24 juin au 20 août • Date limite: non sonnalisé en plus de participer aussi à dif- Gui, Cui, Pi, Per, Dn, Cho, CM Disciplines: Vo Coût: 325 $ - 854 $ • Bourses: oui ferents cours de groupe tel l’orchestre ou Particularities: Week 1: more jazz; Week 2: Particularities: A “music-full” half-day Langues: français des classes de maître. more classical; Week 3: more world music. camp for kids aged 4-5. Includes art and Disciplines: Pi, Crd, WW, Cui, Vo, Jz, Cho Evening concerts, swimming, canoeing, creating simple instruments. Particularités: Classes de maître, musique hiking, tennis. Large and small ensembles. de chambre, concerts de fin de stage,

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SASKATCHEWAN The Walden School Navarro River String Camp Particularities: This camp provides an 31 A 29th St, San Francisco, CA 94118 PO Box 333 Navarro, CA 95463 opportunity for serious musicians to expand Saito Conducting Method Workshop Tel 415-648-4710 • Fax 415-648-1561 Tel/Fax 707-895-3906 and develop musical skills within a stimulating musical community. 1610 Morgan Ave, Saskatoon, SK S7H 2S1 www.waldenschool.org www.navarrorivermusic.com Tel 306-373-6408 [email protected] pizzicato@pacific.net Saint Paul Conservatory of Music www.conductorschool.com Camp: June 24 - July 30 • Deadline: March 10 Camp: August 6-10, 2006 • Deadline: April 30 [email protected] Cost: $5,500 • Scholarships: yes Cost: $354-$486 • Scholarships: no Children’s Music Workshop Languages: English Languages: English Camp: July 23-29 • Deadline: July 1 29 E Exchange St, St Paul, MN 55104 Disciplines: all Disciplines: Vln, Vla, Vlc, OS, Imp, CM Cost: $850-$975 • Scholarships: No Tel 651-224-2205 • Fax 651-224-5725 Languages: English, Japanese Particularities: A New Hampshire music Particularities: Musical retreat in the www.thespcm.org • [email protected] Disciplines: Chef camp and festival with an international redwoods of northern California for 25 Camp: July 10-21 • Deadline: June 16 Particularities: Empower your gestures with reputation for providing creative theoreti- beginning/intermediate adult players who Cost: $325-$525 • Scholarships: yes precision and artistry. Rare opportunity to cal training to young musicians. want to gain ensemble experience. Languages: English study with Morihiro Okabe and Wayne Toews. Disciplines: Crd, Per, Rk, Pi, WW, Cui, Gui, Valley of the Moon Scottish Fiddling Lark Camp World Music & Dance Camp Chef, Cho, Comp, MT Limited enrollment. School PO Box 1176 Mendocino, CA 95460 Particularities: Aspiring young musicians ALBERTA 1281 Fifth Ave, San Francisco, CA 94122 Tel 707-964-4826 • www.larkcamp.com can play instruments, sing and compose Tel 415-566-4355 [email protected] music in a positive learning environment. 5th International Voice Symposium www.valleyofthemoon.org • [email protected] Camp: July 28 - August 5 Deadline: Until full The Banff Centre, Banff, Alberta Camp: August 25 - September 2 Summer String-In at Monmouth Cost: $480 + meals Tel 403-284-9590 • Fax 403-289-4988 Deadline: March 4 University, West Long Branch, NJ Scholarships: many work scholarships www.canadianvoicecarefdn.com Cost: $600-$700, free (under age 5) c/o David Bakamjian 48-36 44th St, Apt 7B, Languages: Mostly English [email protected] Scholarships: yes • Languages: English Woodside, NY 11377 Disciplines: Dn, Per, WM Camp: August 9-13 • Deadline: May 1 Disciplines: Fid, Vlc, Pi, Gui, Mdn, Per, Dn, Vo Tel 718-482-9283 • Fax 206-984-4632 Particularities: Music, dance & song from Cost: $180-$695 • Scholarships: no Particularities: Scottish and related fiddle www.summerstringin.org • [email protected] all over the world. Over 100 instructors. Languages: English styles, and relevant accompanimen, dance Camp: July 31-August 5 • Deadline: June 9 Particularities: This 5th International Care and singing. Beginning to advanced Cost: $655 • Scholarships: possibly of the Professional & Occupational Voice fiddlers. All teaching by ear. Jamey Aebersold’s Summer Jazz Languages: English Symposium is presented by the Canadian Workshops Disciplines: Vln, Vla, Vcl, CB Voice Care Foundation. A variety of infor- Alasdair Fraser’s Sierra Fiddle Camp PO Box 1244 New Albany, IN 47151-1244 Particularities: Intensive, non-competitive mation sessions and lectures will prove 1281 Fifth Ave, San Francisco, CA 94122 Tel 800-546-1388x5 • Fax 812-949-2006 chamber music program for adults with the informative to any professional voice user. Tel 415-566-4355 www.summerjazzworkshops.com Simon Quartet. Individuals and pre-formed www.sierrafiddlecamp.org • [email protected] [email protected] groups accepted. Repertoire assigned in Camp: June 26 - July 1 • Deadline: March 4 Camp: July 2-7 & 9-14 • Deadline: June 2 advance. Performance opportunities, fac- BRITISH COLUMBIA Cost: $600-$700, free (under age 5) Cost: $395-$685 • Scholarships: no ulty concert. Scholarships: yes • Languages: English Languages: English Disciplines: Fid, Vlc, Pi, Gui, Mdn, Per, Dn, Vo Disciplines: All instruments and voice Princeton Chamber Music Play Week: CYMC International Summer Youth Particularities: Scottish and related fiddle Particularities: Held at University of Play Week West, Albuquerque, NM Music School & Festival styles, and relevant accompanimen, dance Louisville. 2-day “Anyone Can Improvise” July c/o David Bakamjian 48-36 44th St, Apt 7B, PO Box 3056 #204 580 Duncan Ave, and singing. Beginning to advanced 1-2. Bass-Drum Workshops July 1-2 & 8-9. Woodside, NY 11377 Courtenay, BC V9N 5N3 fiddlers. All teaching by ear. Tel 718-482-9283 • Fax 206-984-4632 Tel 250-338-7456 • Fax 250-703-2251 www.playweek.net • [email protected] www.cymc.ca • [email protected] Jazz Camp West 2006 Camp: July 23-30 • Deadline: June 23 Camp: July 1-30 • Deadline: June 15 765 61st St. Oakland, CA 94609 Cost: $485 • Scholarships: possibly Cost: $630-$830 • Scholarships: yes Tel 510-287-8880 • Fax 510-486-2785 Languages: English Languages: English www.jazzcampwest.com Disciplines: Vln, Vla, Vcl, Cl, Fl Disciplines: Crd, WW, Cui, Hrp, Per, Jz, CM, [email protected] Particularities: Intensive, non-competitive Vo, Cho French Woods Festival of the Camp: June 24-July 1 chamber music program for adults with Particularities: Pacific Coast setting, world- Deadline: June 1 for $50 discount Performing Arts expert coaches. Individuals and pre-formed class instruction! Orchestra, Concert Band, Cost: $895-$965 • Scholarships: yes PO Box 770100 Coral Springs, FL 33077-0100 groups accepted. Most repertoire assigned Chamber Music, Hapr, Percussion, Jazz, Languages: English Tel 800-634-1703 • Fax 954-346-7564 in advance. Performance opportunities, fac- Musical Theatre, Serious learning, serious fun. Disciplines: Vo, Dn, Jz, WM, MT, Per, Imp www.frenchwoodscamp.com ulty concert. Particularities: Eight day jazz immersion [email protected] INTERNATIONAL program for older teens and adults in the Camp: June 9 - Aug 27 Hartwick College Summer Music beautiful redwoods of northern California. Deadline: until full • Cost: $750-$1,400 / week Scholarships: no • Languages: English Festival & Institute Beginners through advanced levels. 1 Hartwick dr, Oneonta, NY 13820 Music @ Menlo Chamber Music Institute Disciplines: OS, Jz, Rk Particularities: Specialty programs in Tel 800-388-0337 • Fax 607-431-4245 50 Valparaiso Ave, Atherton, CA 94027 Amherst Early Music Festival at New www.hartwickmusicfestival.org Tel 650-330-2030 • Fax 650-330-2016 London, CT music, theatre, dance, circus, art, magic, rock, video, tech theatre, sports, tennis, [email protected] www.musicatmenlo.org 47 Prentiss St, Watertown, MA 02472 waterfront and horseback riding. Camp: July 2-30 • Deadline: none [email protected] Tel 617-744-1324 • Fax 617-744-1327 Cost: $1,500-$2,900 • Scholarships: yes Camp: July 23-Aug. 11 • Deadline: Feb 25 www.amherstearlymusic.org Saint Paul Conservatory of Music Languages: English Cost: $1,500-$2,000 • Scholarships: yes [email protected] Disciplines: All, Vo, WM Languages: English Camp: July 9-23 • Deadline: April 15 High School Music Workshop Particularities: Summer Music Camp for Disciplines: Vln, Vla, Vcl, Pi Cost: $475 • Scholarships: yes 29 E Exchange St, St Paul, MN 55104 ages 13-22. Activities include music Particularities: The San Fransisco Bay Languages: English Tel 651-224-2205 • Fax 651-224-5725 classes, small and large ensembles, jazz, Area’s premier chamber music festival and Disciplines: Vo, Fl, Hb, Ba, FàB, VdG, Crn, www.thespcm.org • [email protected] musical theatre, improvisation, guest artist institute. An inparalleled opportunity to Skb, Lt, Hrp, Vln, Vla, Vcl Camp: June 19-29 • Deadline: May 26 series and much more. interact with world-renowned artist faculty. Particularities: Two weeks of classes for all Cost: $525 • Scholarships: yes Intensive training in classical music. Private Artistic Directors: David Finckel and Wu Han. levels in Medeival, Renaissance and Baroque Languages: English lessons, chamber groups, choral singing, larg- Music. Intensve programs offered. Location: Disciplines: Crd, Per, Rk, Pi, WW, Cui, Gui, er ensembles, & full symphony performances. Connecticut College, New London, CT. Chef, Cho, CM

music scene Spring 2006 23 tms_4-3_layout3/pp09-24 4/3/06 5:29 PM Page 24

Eastern U.S. Music Camp at Colgate Peace Garden on the Manitoba-North c/o David Bakamjian 48-36 44th St, Apt 7B, (City tour, Hermitage Arts Museum, University Dakota boarder. Weekend sessions for Woodside, NY 11377 Peterhoff Fountains, Mariinsky Ballet 7 Brook Hollow Rd, Ballston Lake, NY 12019 students & adults. Tel 718-482-9283 • Fax 206-984-4632 Theater, Church of the “Savior of the Tel 866-777-7841 • Fax 518-877-4943 www.playweek.net • [email protected] Blood.” www.easternusmusiccamp.com Summer Stars: Summer Programs at Camp: June 11-18 • Deadline: June 9 Camp: June 25 to July 22 Oklahoma City University Cost: $650 • Scholarships: possibly International Academy of Music in Deadline: Rolling • Cost: $598-$2512 2501 N. Blackwelder, Oklahoma City, OK Languages: English Castelnuovo di Garfagnana, Italy Scholarships: Yes • Languages: English 73106 Disciplines: Vln, Vla, Vcl, Cl, Fl 145 Palisade St, Dobbs Ferry, NY 10522 Disciplines: Jz, Vo, OS, Pi, Gui, Hrp, Per, Wd, Tel 405-208-5410 • 405-208-5971 Particularities: Intensive, non-competitive Tel 914-328-3479 • Fax 914-328-3479 Crd, Cui, MT, Comp, Chef, Imp, WW www.okcu.edu/music/academy chamber music program for adults with www.internationalacademyofmusic.com Particularities: Our well-balanced program [email protected] expert coaches. Individuals and pre-formed [email protected] offers young people between the ages of 10 Camp: various • Deadline: April 24 groups accepted. Most repertoire assigned Camp: June 20-30 • Deadline: Mar 15 and 19 the opportunity to pursue musical Cost: various • Scholarships: yes in advance. Performance opportunities, fac- Cost: $1,980 • Languages: English studies through individual, class, and Languages: English ulty concert. Scholarships: no group instruction; to perform a wide range Disciplines: Crd, Cui, Per, Vo, CM, Gui, Vcl Disciplines: Pi, Crd, WW of instrumental and choral works in Particularities: Residence programs Point CounterPoint Chamber Music Particularities: Sight-seeing tour. ensemble and concert; and to participate in feature air-conditioned apartments and all Camp for Strings and Piano supervised sports and other informal meals. Special cello masterclass with PO Box 3181, Terre Haute, IN 47803 recreational activities. cellist Kolwasaki. Download a brochure at Tel 812-877-3745 • Fax 812-877-2124 www.okcu.edu/music/academy/classes.as www.pointcp.com • [email protected] Ithaca College Chamber Music Insitute Camp: June 25 - August 12 • Deadline: KEY Britt Institute Summer Camps rolling 201 Egbert Hall, Ithaca, NY 14850-7071 Ba • Basoon Tel 607-272-6006 • Fax 607-274-1867 PO Box 1124, Medford, OR 97501 Cost: $2,825-$3,425 • Scholarships: yes www.ithaca.edu/cmi • [email protected] Tel 541-779-0847x112 Languages: English Bl • Blues Camp: July 2-22 • Deadline: March 10 Fax 541-776-3712 Disciplines: MT, Vln, Vla, Vlc, Pi CB • Bass Cost: $2293 • Scholarships: Viola and cello www.brittfest.org/summercamps.htm Particularities: On beautiful Lake Dunmore, Cho • Chorus Languages: English [email protected] Vermont, a concentrated music program CM • Musical Theatre Disciplines: Vln, Vla, Vlc Camp: July-August along with traditional camp activities. Chef • Conducting Particularities: Three-week intense pro- Deadline: March 1 & April 11 Resident, professional faculty. Cl • Clarinet gram of string quartet rehearsals, coach- Cost: $300-$1,000 • Scholarships: yes Clv • Harpsichord Languages: English Kinhaven Music School ing, seminars, lessons, technique classes Cmp • Composition and perfomances. Disciplines: Jz, Sax, Crd, Vo, Pi Weston Vermont New York Summer Music Festival Particularities: Five camps, three Tel/Fax 610-868-9200 Crd • Strings PO Box 947 Oneonta State University, co-sposored by Southern Oregon University, www.kinhaven.org • [email protected] Crn • Cornetto Oneonta, NY 13820 all with top edcators and all set in Camp: Sr: June 23-Aug 6, Jr Aug 12-27 Cui • Brass Tel 607-267-4024 • 607-436-2718 beautiful southern Oregon. Deadline: Flexible Dn • Dance www.nysmf.org • [email protected] Cost: Sr: $5,400, Jr: $2,300 FàB • Recorder Camp: June 25 - August 5 • Deadline: June 1 The Performing Arts Institute Scholarships: yes • Languages: English Fl • Flute Cost: $900-$4300 • Scholarships: yes 201 North Sprague Ave, Kingston, PA 18704 Disciplines: Vln, Vla, Vcl, CB, WW, Cui, Per, Pi Fid • Fiddle Languages: English Tel 570-270-2188 • Fax 570-270-2198 Particularities: For young musicians, inten- Gui • Guitar www.wyomingseminary.org/pai sive training in classical music. Private les- Disciplines: Pi, Vo, Crd, Cl, Sax, Cui, Per, Or, Hrp • Harp Gui, Jz, Imp, Cmp, CM [email protected] sons, chamber groups, choral singing, larg- Particularities: Internationally known musi- Camp: June 25 - Aug 5 • Deadline: May 1 er ensembles, & full symphony Hb • Oboe cians will conduct Master Classes, clinics Cost: $783/week • Scholarships: yes performances. HB • Handbells and concerts. Private lessons available. Languages: English Imp • Improvisation Disciplines: All, Jz, CM, Dn KoSA International Percussion Jz • Jazz NYU Steinhardt Summer Music Particularities: An intense international Workshop and Festival Lt • Lute Programs program for serious students of music, Johnson State College in Johnson, VT MA • Period Music New York University, Steinhardt School 25 W theatre or dance ages 12-18. Guest artists Tel 800-541-8401 • Fax 954-346-7564 Mdn • Mandolin 4th St, Suite 777, New York, NY 10012 for 2006 include the Shanghai String www.kosamusic.com Quartet. Very high performance standards. MT • Musical Theory Tel 212-992-9380 [email protected] Or • Organ Camp: August 7-13 • Deadline: July 7 www.steinhardt.nyu.edu/music/summer OS • Symphony Orchestra Camp: June - August • Deadline: varies Princeton Chamber Music Play Cost: $900-$975 • Scholarships: no Cost: $900-$4300 • Scholarships: no Week: Play Week Virginia, Lexington, Languages: English • Disciplines: Per, Chef Per • Percussion Languages: English VA. Particularities: An intensive, hands-on res- Pi • Piano Disciplines: WW, Crd, Gui, Jz, CM c/o David Bakamjian 48-36 44th St, Apt idency in drums and percussion for partic- Rk • Rock Particularities: Courses and special work- 7B, Woodside, NY 11377 ipants of all ages and levels. Participants Sax • Saxophone shops in New York City, for precollege, under- Tel 718-482-9283 • Fax 206-984-4632 14 and under must come accompanied by Skb • Sackbut graduate, and graduate students in perform- www.playweek.net • [email protected] an adult. Nightly concerts open to the pub- Tec • Engineering ance, composition, music business, Camp: July 9-16 • Deadline: June 23 lic. Masterclasses and jam sessions. Tr • Trombone education. Cost: $675 • Scholarships: possibly Tro • Trumpet Languages: English International Academy of Music in St. VdG • Viola da Gamba International Music Camp Disciplines: Vln, Vla, Vcl, Cl, Fl Petersburg, Russia Vla • Viola 1930 23rd Ave SE, Minot, ND 38701 Particularities: Intensive, non-competitive 145 Palisade St, Dobbs Ferry, NY 10522 Tel/Fax 701-838-8472 chamber music program for adults with Tel/Fax 914-328-3479 Vlc • Cello www.internationalmusiccamp.com expert coaches. Individuals and pre- www.internationalacademyofmusic.com Vln • Violin [email protected] formed groups accepted. Most repertoire [email protected] Vo • Voice Camp: June 11 - Aug. 1 • Deadline: May 1 assigned in advance. Performance oppor- Camp: June 20-30 • Deadline: Mar 15 WM • World Music Cost: $300/week • Scholarships: no tunities, faculty concert. Cost: $1,980 • Languages: English WW • Woodwinds Languages: English Scholarships: no All • All major instruments Princeton Chamber Music Play Disciplines: Jz, Cho, Gui, Pi, Or, Per, Dn, Fl, HB Disciplines: Pi, Crd, WW International rates are in $US. Particularities: Located at the International Week: Play Week East, Reading PA Particularities: Five organized excursions

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music scene Spring 2006 25 tms_WEST4-3_layout3/ppB25-B32b 2006-04-05 16:52 Page B26

UPOLD IN THEHOTEL

NCE YOU FIND LOST RIVER YOU KNOW YOU ARE CLOSE TO YOUR DESTINATION. ANOTHER 10 MINUTES WIND- OING THROUGH THE FOREST NORTHWEST OF MONTREAL, THEN TURN LEFT AT THE CAMMAC SIGN, BUMP DOWN THE DIRT ROAD, AND PARK BY THE SHORE OF LAKE MACDONALD.

Here, almost 40 years ago, CAMMAC you get to know many of the more than (Canadian Amateur Musicians/Musiciens 100 people, both the professionals who amateurs du Canada) bought an old teach and the amateurs who learn, at a hotel to use for its summer music camp. CAMMAC week. Typically, a summer camp is where you The kids, meanwhile, leave their par- send the kids so they can spend time ents to go and eat with their friends. They with other kids doing fun things togeth- spend most of the day amongst them- er. At Lake MacDonald it's not just kids selves, at their scheduled activities, or who get together but whole families, and running in packs. They'll breathlessly what they do together is make music. acknowledge their parents when they When I first came here with my wife and bump into them during the day, then run son some more than 10 years ago we set- on. tled into a rustic room and a whirlwind of The bell rings at 8:30 for a short early- activity. morning concert. The amateurs who play To appreciate what is so addictively get a performance-induced adrenalin enjoyable about the CAMMAC experi- buzz at an unusually early hour. ence you should know about a typical The morning hours that follow are for day. coached sessions: blowing, bowing, pluck- It begins with everyone still in bed ing, and singing, becoming familiar with all except for the kitchen staff, the handful of kinds of new composers, teachers, and hardy swimmers – babes, biddies, and players. The atmosphere is supportive and geezers but, curiously, no hunks – crossing free of compulsion, commitment, or com- the lake, the quiet few who like to watch petiveness. for wildlife and the morning mist, and the After lunch there is a quiet hour during giggling band playing or singing to wake which most, sensibly, nap. everybody else up. If you want to play more, then you just Even before breakfast, you check the get together with people and reserve one bulletin board for that days classes. of the practice huts for some time in the At breakfast, as at every other meal, afternoon.

THE COMOX VALLEY YOUTH MUSIC CENTRE CELEBRATES 40 YEARS OF MAKING MUSIC! SUMMER 2006 INTERNATIONAL SUMMER YOUTH MUSIC SCHOOL + FESTIVAL July 1st - 30th 2006 Courtenay, British Columbia

Pacific Jazz Workshop Orchestra Concert Bandc + Chamber Music Musical Theatre

www.cymc.ca ~ 250-338-7463

26 Spring 2006 tms_WEST4-3_layout3/ppB25-B32b 2006-04-05 4:32 PM Page B27

The author and his wife, Sally Campbell, at usic making starts again at 3 and con- Lake MacDonald, summer 2005. tinues until well after sunset. If you M were to stroll around the camp during, say, early music week, you would hear the sounds of snatches of madrigals, recorder ensembles, and consorts of viols mixed with the voices of dancers counting time for their steps, tennis players call- ing out the score, kids splashing in the lake, smok- ers chatting on the verandah, and the sound of readers in wooden armchairs turning pages. The whirlwind keeps on whirling after dinner. Maybe you're rehearsing with the orchestra or the choir for the big Saturday night concert. Then, at 9, the teachers give a concert at which you may hear something really interesting played well. After the post-concert snack and chat most people go to bed. But down in the old hotel's basement, which is where the kids and adolescents hang out during the day and early evening, the teachers gather to gossip and to fortify themselves with Scotch. The old hotel was a fire inspector's nightmare. This winter it was finally torn down and, thanks to a successful fund-raising campaign, CAMMAC is putting up a new main building. PHOTO: TAKAYO SHIMODA TAKAYO PHOTO: The accommodation may be less rustic and more expensive, but the lake and the forest have not changed and you can still enjoy their beauty from the old boat- house built on stilts over the water, with its windows on all three sides letting in light and the sight of the cliffs on the far shore. It's the activity and the place and the people rather than the architecture that make the CAMMAC experience enjoyable. Maybe you too will drive up past Lost River to Lake MacDonald to play music with others, some of whom may be crazy but almost none of whom are boring. p SEAN MCCUTCHEON

Sean McCutcheon lives in Montreal and plays ﬂute.

COMOX VALLEY YOUTH MUSIC CENTRE 40TURNS

hat began 40 years ago as a summer retreat for the Vancouver Youth W Symphony Orchestra has since become a venue for thousands of young Canadian musicians to hone their skills and talents. The CYMC now plays host to a summer music school and festival that serve to bring together professional musicians, students, and music lovers. Notable camp alumni include jazz greats Diana Krall and Phil Nimmons. The CYMC has established the Comox Valley as an important force in the musical development of British Columbia.

music scene Spring 2006 27 tms_WEST4-3_layout3/ppB25-B32 3/30/06 12:29 PM Page B28

CONCERT PICKS

PREVIEWS SPRING2006

APRIL 1 - JUNE 10 EDMONTON SYMPHONY ORCHESTRA: On April 20 the ESO goes to the movies with a highly anticipated pres- THE EDMONTON SCENE entation of the 1931 Charlie Chaplin classic, City Lights. Music director Bill Eddins will conduct the original Chaplin score as the silent movie unspools on the stage of the dmonton’s spring-into-summer classical music lineup Francis Winspear Centre. Marc-André Hamelin makes a encompasses the return of old classics, the continua- stop on June 2 and 3 to perform the Beethoven Piano E tion of the Mozart celebration year, a musical accom- Concerto No. 4 in G Major, Op.58. Hamelin last performed paniment to a classic Charlie Chaplin movie—with a score in Edmonton under the baton of Boston Pops conductor by the Tramp himself—and the appearance of a pianist Keith Lockhart for a performance of Rachmaninov’s Second described in some quarters as “knuckle-busting”. Piano Concerto. The final highlight on the ESO 2006 calendar is the SEMPRE LA MUSICA: First appearing in January 2004, this third annual Mozart festival, officially known as the chamber ensemble draws its musicians from the Calgary Enbridge Mozart Effect. Created for Eddins by the ESO, Philharmonic and the Edmonton Symphony Orchestra (ESO) this year’s edition runs June 6, 7 and 9, with two evenings and friends. Led by the ESO’s principal viola, Stefan Jungkind, devoted to instrumental works (concerts on the 6th and the concerts are split between the two cities. The May 5 con- small-ensemble works on the 7th). On the final night, the cert at the First Mennonite Church features the quartet of festival goes choral with a performance of the Mozart Debra Belmonte (violin), Olenka Kilchyk (cello), Stefan Requiem with the Da Camera Singers and I Coristi, and Jungkind (viola), and John Robertson (piano), performing the soloists Kirsten Blaise (soprano), Susan Platts (mezzo- Beethoven String Trio in G Major, Op. 9, No. 1, soprano), Michael Colvin (tenor), and Alain Coulombe Mendelssohn’s Variations Concertantes in D Major, Op. 70, (bass). For more information, contact the Edmonton and the Roussel Piano Trio in E Flat Major, Op. 2. Tickets are Symphony Orchestra, (780) 428-1414 or 1-800-563- available from Tix on the Square, (780) 420-1757, www.tixon- 5081, www.edmontonsymphony.com. thesquare.ca, or The Gramophone (780) 428-2356. ALBERTA BAROQUE ENSEMBLE: On April 2, the Alberta CHORAL WORKS: Get ready for two big pieces by two Baroque Ensemble (ABE) performs a concert featuring Russell dissimilarly sized choirs - Pro Coro Canada and the Richard White on trumpet and Lidia Khaner on oboe. Both soloists are Eaton Singers (RES). Pro Coro Canada, the 25-voice cham- players with the Edmonton Symphony Orchestra—as are ber choir, has carved out a niche for itself each year on many of the ABE’s members—and Khaner has been the Good Friday, usually filling the Francis Winspear Centre for orchestra’s principal oboe since 1996. The pieces for the Music. In this Mozart year, also the choir’s 25th anniversary concert include Albinoni’s Concerto for Two Oboes in F year, Pro Coro performs Bach’s B Minor Mass on April 14 Major, Torelli’s Trumpet Concerto in D Major, Vivaldi’s Oboe with the backing of the Pro Coro Chamber Orchestra, and Concerto in F Major, and Corelli’s La Folia Hertel Concerto for concert master Martin Riseley. Oboe and Trumpet in E Flat Major. For tickets, contact the In 1985 the RES welcomed Dr. Leonard Ratzlaff as their Alberta Baroque Ensemble, (780) 467-6531, www.albertaba- new music director. For his 25th anniversary performance on roque.com April 30, Dr. Ratzlaff chose “The Dream of Gerontius” by Edward Elgar. It has been 21 years since Elgar’s massive, but WEDNESDAYS AT WINSPEAR: April generally means two seldom-performed, English and Latin text oratorio has been things in Edmonton: the hopeful final appearance of snow, heard in Edmonton. Back in 1985, the piece was done by and the popular Wednesdays at Winspear, a series of free Edmonton’s 140-voice symphonic choir, featuring a young noon-hour concerts by Alberta musicians at the Francis Daniel Lichti in the role of The Priest. Gerontius makes its Winspear Centre for Music. The concerts are recorded by return to the Francis Winspear Centre for Music with the CBC for later broadcast in May and June on Radio Two’s Our choir and the ESO. Gerontius will be sung by tenor Scot Music, heard on Sundays at 12:10 p.m. While the dates for Weir, while mezzo-soprano Kimberley Barber and baritone this year’s series have been determined—April 5, 12, 19 Daniel Lichti sing other parts such as the angelic voices. and 26—by press time the artists have yet to be identified. (Call (780) 428-1414 or toll free at 1-800-563-5081 for The seats to this series fill up quickly. Visit tickets. For more information visit www.procoro.ab.ca and www.cbc.ca/edmonton for more information. www.richardeatonsingers.com.) GORDON MORASH

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THE CALGARY ROBERTO MINCZUK SCENE

his is a busy season for music in Calgary. Land's End Chamber Music T Ensemble have launched their new CD and are touring Alberta and Saskatchewan performing concerts and giving educa- tional presentations. The CD, enti- tled Rollin' Down No. 1, is the cul- mination of a year of research into the history of composition in Alberta and Saskatchewan, featuring chamber pieces from the earli- est days of settlement in the prairies through to two brand new commissions. Rollin' Down No. 1 contains pieces by Vernon Barford, Jack Bullough, Clifford Higgin, SCOT WEIR Graham Morgan, Leonard Leacock, Violet Archer, Robert Flemming, EDMONTON Murray Adaskin, Thomas Schudel, Malcolm Forsyth, Allan Gordon Bell, Howard Bashaw, and Murray Adaskin. Baroque music on April 24. The German William Jordan, Elizabeth Raum, Howard The Calgary Philharmonic has recently early music ensemble Il Dolcimelo will be per- Bashaw, Hope Lee, David Eagle, Shane appointed Roberto Minczuk as Music forming sonatas by Telemann, Scarlatti, Fage, and Neil Currie. Director. Minczuk is also Artistic Director of Vivaldi, Corelli, and Nicolas Chédeville. The Land's End’s annual composer's the Orquesta Sinfonica Brasileira in Rio de ensemble for this tour consists of Katja competition is continuing this year, with Janeiro and until recently, served as Principal Beisch (recorder), Marie Verweyen (baroque young composers from across Alberta Guest Conductor of the Sao Paulo State violin), Doris Runge (baroque violoncello), submitting works. The finalists will have Symphony Orchestra. He has also appeared and Christoph Lehmann (harpsichord). Il their pieces workshopped at the Rozsa with the New York Philharmonic, the Dolcimelo advocates experimentation and Centre on April 5, and the winner's piece National Arts Centre Orchestra and the freedom of interpretation, rather than muse- will be included in the concert on April 23 Toronto Symphony Orchestra to name a um-like recreations of early works on the in the Eckhardt-Gramatté Hall at the few. The post had been vacant since the basis that divisions between serious and Rozsa Centre. The concert will also departure of Hans Graf to the Houston more entertaining aspects were much more include works featured on the new CD Symphony. It will be interesting to see what flexible than today. from William Jordan, Allan Gordon Bell, changes Minczuk will bring to the The Classical Guitar Society has orchestra. been keeping a lower profile this year, The Philharmonic has a particular- having had Elliot Fisk last year, but is nev- ly exciting concert planned for March ertheless presenting excellent concerts in 31 and April 1. Guest conductor the beautiful Hillhurst United Church. Junichi Hirokami will lead the orches- Michael Nicolella performs there on April tra at the Jack Singer Concert Hall. 22. This should prove to be their most The Philharmonic will also be exciting concert of the season. Nicolella repeating its successful concert performs standard classical guitar reper- “Beethoven in the Badlands” on June toire, while also incorporating electric 10. This outdoor concert takes place guitar, his own compositions, and new in the dramatic and desertic land- works by other composers into the pro- scape of Drumheller, Alberta. gram. Although the audience at guitar Rosemary Thomson will be conduct- society concerts is typically made up of ing. Thomson has been Resident other guitarists, Nicolella's concert Conductor of both the Calgary should appeal to a much wider audience. Philharmonic and the Winnipeg Symphony, and is Assistant algarians are still amazed by the new Conductor of the Canadian Opera look of the Jubilee Auditorium, and Company. The first half of the con- the organizations using the space are cert will feature the music of C Beethoven, while the second half happy to be back in their home. Standing in includes music from other composers. the stunning lobby and hall, one has difficul- LAURA WHALEN IN FILUMENA Call (403) 571-0849 for tickets. ty believing this is still the same place. Early music is also being represented Sightlines and acoustics are much improved, CALGARY this spring at Pro Musica’s concert of although the latter still leaves a lot to be

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desired. Many of the orchestral colours fail to reach the second bal- any opera I almost invariably have found refreshing and esthetically cony, resulting in a thin, weak sound for those unable to pay for the true to the creator’s intentions. Yannick Nézet-Séguin will be in the better seats on the main level. pit and, despite his relative youth, brings fresh but genuinely musi- Anyone interested in seeing and hearing the renovated cal insights to all he conducts. It will also be a chance to hear young Jubilee should go to Calgary Opera's presentation of The Magic Canadian soprano Erin Marie Wall singing Marguerite, a role with Flute on April 22, 26, and 28. It has been a few years since which she has had much success since her debut with it at the Lyric Calgary Opera last staged this familiar favourite. The perform- Opera of Chicago. April 22-May 2 at the Queen Elizabeth Theatre ance will feature soprano Laura Whalen as Pamina, tenor at 7:30 p.m. (www.vancouveropera.ca or call (604) 683-0222) Benjamin Butterfield as Tamino, bass Matthew Bedard as Sarastro, tenor Joshua Hopkins as ne of the most potentially revitalizing Papageno, and soprano Heather Buck aim- possibilities for Western classical ing for the high notes as the Queen of the O music is its interaction with the music Night. It should be a fitting contribution to of other cultures. In Birdsong Persian the celebrations of the 250th anniversary Poetry of Rumi at the Chan Centre on of Mozart's birth. Call (403) 262-7286 or Friday, April 28, the Vancouver Chamber visit www.ticketmaster.ca for tickets. Choir does precisely that. KAT HAMMER In this informative and astutely designed program, music director Jon Washburn will first conduct the choir THE VANCOUVER SCENE singing from the Denis Stevens edition of the 13th century Worcester Fragments to

ancouver’s 2006-07 classical convey what was going on in England’s music season seems to be heading music world around the time Mowlana into the home stretch in relatively Jelaluddin Rumi was active in Persia (today’s

V good shape. The major – and not Iran). Rumi died in 1273 and the Worcester so major - musical organizations survive Fragments date from about 1291. Next, to intact even though not all budgets can be acclamatize members of the audience unfa- described as robust. Ah, what else is new in NICHOLAS MUNI miliar with Persian{ music, Amir Koushkani the current classical music will play Music for Tar

climate? The main thing is (Persian lute) with an

that there is good music Nicholas Muni is a director whose ensemble of guitar, cello happening in town and “take on any opera I almost invariably“ and tabla. Finally, the numerous concerts to have found refreshing and esthetically choir will premiere enjoy on any given day of Birdsong, Edward the week. true to the creator’s intentions Henderson’s new setting Recent fatherhood, { of poems by Rumi for wonderful though it may be, limits my ability to roam the high- choir and tar. Although Rumi’s poetry is well-known enough in the ways and byways of the Vancouver concert circuit with the wild West, Persian music has not enjoyed such widespread popularity. abandon I once did. I now must pick and choose carefully in light This is the kind of concert which could begin to change all that. For of my limited opportunities. So, here in purely chronological information visit www.vancouverchamberchoir.com or call (604) order, are my four not-to-be-missed-except-for-total-catastro- 738-6822; for tickets www.ticketmaster.ca or call (604) 280-3311. phe concerts for the latter third of the 2006-07 concert sea- In an informative vein similar to the Chamber Choir’s enterpris- son. (Unless otherwise noted, all concert times are 8:00 p.m.) ing concert above (but dealing wholly with Western music), Early Vancouver Opera last staged Gounod’s Faust just over ten Music Vancouver, in collaboration with Vancouver’s Turning Point years ago in a production that exceeded my expectations for Ensemble guest-conducted by American cellist and conductor quality of music, performance, production values, sustained Kenneth Slowik, presents a fascinating glimpse into early 20th-cen- interest and pure enjoyment of the whole experience to such a tury performance practice and Mahler’s style. It’s at the University degree that I have been curious to see it again. Chapel (Early Music Vancouver’s website has clear directions for It’s not only the opera itself. Even though I like Faust, it’s not one finding this venue) and there is also a pre-concert talk at 7:15 p.m. of my top ten. However, Nicholas Muni is a director whose take on Ensemble members first play Schöenberg’s 1902 Verklärte

WINDY MOUNTAIN FESTIVAL BLOWS INTO ALBERTA and cello, and Bartók's Contrasts. Lastly, the Sunday afternoon concert features pieces by Chopin, Herzogenberg, and Schumann. THERE'S A NEW MUSIC FESTIVAL IN ALBERTA. The Windy Performers include Rivka Golani, Bernadene Blaha, Lise Boutin, Mountain Music Festival will take place in Fort Macleod from May 26 to James Campbell, Stephen Franse, Gerard Gibbs, David Hoyt, John 28 and will celebrate Hungarian music, dance, film, and food. Lowry, Graeme Mudd, Gil Sharon, and Ronelle Schaufele. Four concerts are scheduled over three days. The first fea- There will also be pre-concert chats by University of tures early Beethoven chamber works and Dohnányi's Op. 10 Lethbridge Professor of Music Brian Black, as well as a screening Serenade for violin, viola, and cello. The second concert, features of the film Taking Sides, which tells the story of conductor the Hungarian folk ensemble Cifra, together with the Csárdás Wilhelm Furtwängler. There will also be a buffet of Hungarian food Dancers. The Saturday evening concert features two of Martin°u's on site to assuage the appetites of dedicated music-goers. More Serenades, Farkas's Maskaràk, Kodály's Gavotte for three violins information is available at www.windymountain.ca.

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Nacht in its original string sextet version but with gut-strung instruments. After the intermission, the ensemble will accompany mezzo- soprano Jennifer Lane and tenor Robert Craig in Mahler’s Das Lied von der Erde (1910) in the arrangement for 15-member chamber ensemble begun by Schoenberg in 1921 and completed by Rainer Riehn in 1983. Although Mahler authority Henry-Louis de La Grange estimates Schoenberg’s contribution to the arrangement was approx- imately three per cent, Riehn worked from Schoenberg’s annotat- ed scores and added harp and YANNICK NÉZET-SÉGUIN celesta to the ensemble. (www.earlymu- April 2 (2 p.m. vcm.bc.ca, admission by Choirs in Concert charity event is being held sic.bc.ca (604) 732-1610.) donation). That night the Celebration of in Cobble Hill on April 1 at 7:30 p.m. and will Finally, the Vancouver Symphony Music group presents compositions by feature eight choirs from the region ((250) Orchestra, conducted by music director Adaskin, Dvorˇa´k and Mozart. The Pacific 743-8756). In most part of the country the Bramwell Tovey, winds down the season in Opera’s last of the season is Verdi’s May flowers are in bloom and in Victoria we style on June 10 and 12 at the Orpheum Rigoletto running from April 20 to 29 at look forward to a tea party with the Palm Theatre. Gabriel Fauré’s peaceful Pavane, 8 p.m. (www.pov.bc.ca, (250) 385-0222). Court Orchestra at 2:30 p.m. on the 28 Op. 50 opens a concert in which the The Victoria Operatic Society performs (palmcourtorchestra.com, (250) 748- devout Roman Catholicism of Poulenc’s Evita at the McPherson Playhouse from 9964). The Victoria Symphony celebrates Gloria rubs shoulders brazenly with the April 28 to May 7 (8 p.m. (250) 386- Mozart with six concerts from May 6 to 15. pagan delights of Ravel’s sensuous ballet, 6121). In Sidney, Via Choralis chamber On April 13 the Aventa Ensemble will take Daphnis et Chloé. From Poulenc’s punchy, choir joins the Sidney Classical Orchestra over the Fisgard Lighthouse with five works of angular style to Ravel’s sultry, beguiling for an evening of popular opera pieces at new music and on May 19, they present new melodies, it’s all gorgeous music with 8p.m. on April 28 (sidneyclassicalorches- music from Quebec at 8 p.m. (aventa.ca, Canadian soprano Laura Whalen in the tra.ca (250) 656-7793). (250) 592-9713). There is a faculty concert Gloria and the venerable Vancouver Bach The U Vic School of Music celebrates at the Victoria Conservatory with chamber Choir as provider of choral services. Mozart’s 250th anniversary with a double- works by Beaser, Castelnuvo-Tedesco and For information visit www.vancouver- Requiem programme (Mozart and Fauré), Forsyth, May 13 at 2 p.m. JOHN DEFAYETTE symphony.ca or call (604) 876-3434; For on April 1 at 8 p.m. The U Vic single tickets visit www.ticketmaster.ca or Chorus and Orchestra will be led call (604) 280-3311). ROBERT JORDAN by Janos Sandor and Susan Young (uvic.ca, (250) 721- 8480). The Lafayette String THE VICTORIA SCENE Quartet return after their sab- batical on April 7 with a pro- appy 65th birthday to the gramme including works by Greig, Victoria Symphony! May you Mozart and Ravel (8 p.m.). The have many more years of provid- Prima Youth Choir with special H ing beautiful music for us. As guest Louise Rose present choral Easter draws near, the Symphony performs music with African roots on April St. Matthew’s Passion with a choral group 8 at St. Andrew’s Cathedral on April 1 and 3. Tania Miller conducts (8 p.m.). The U Vic Philomena young Canadian pianist Ian Parker in pieces Women’s choir, conducted by by Rachmaninov and Shostakovich (April 9 Mary Kennedy, concludes the and 10). On the 23, the Symphony will semester April 9 at 2:30 p.m. accompany a projection of the classic silent The Greater Victoria film “Phantom of the Opera” with a score Performing Arts festival, however, by Gabriel Thibaudeau. All concert times will just be beginning, with Choral 8 p.m. (victoriasymphony.bc.ca or call Honours on April 7 and Junior Piano (250) 385-6515). the following day. Senior Piano is on The Victoria Conservatory puts on the 28 and the Vocal Finals concert BRAMWELL TOVEY an afternoon faculty concert with music (Rose Bowl) is on the 29 (gvpaf.org, by Bruch, Jacob, Mozart and Reineke on (250) 386-9223). The 13th annual VANCOUVER

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