Inside:
The Royal Conservatory of Music’s National Magazine
Vol. 6.5 Février – February 2001
Valentins musicaux: les 10 favoris Top 10 Musical Valentines Société canadienne des postes – Envois de publication convention #1225561 Canada Post Publications Mail Sales Agreement No. 1225561 ATMA Classique Nouveautés • New Releases
Artiste invité de l'Orchestre Baroque de Montréal, le 18 février à la salle Pierre-Mercure. Guest of Orchestre Baroque de Montréal, February 18 at salle Pierre-Mercure. Classique ATMA FOR JAZZ & CLASSICAL LOVERS P.J. Perry- member of the world renowned Boss Brass
Let PJ take you on a lush musical journey, from Bossa Nova to the Pops. Sommaire CONTENTS EN COUVERTURE COVER STORY 6 Yegor Dyachkov La passion du jeu – A Passion for Playing ARTICLES / FEATURES 10 Valentins musicaux : les 10 favoris -P.J. Perry - Canada’s best Alto Sax player for seven years straight according to The Jazz Report. Top 10 Musical Valentines -He is a living legend. PJ is a Juno winner, and has 12 Les revues dédiées à l’opéra performed with Kenny Wheeler, the Boss Brass, Dizzy Opera Magazines Gillespie and many others. Discover PJ Perry in a new setting with the powerful 14 Verdi: De l’opéra bel canto à l’opéra d’action yet seductive sounds of the Edmonton Symphony Verdi: The Transition from Bel Canto to Dramatic Opera Orchestra. 16 This is definitely not just another Jazz release. L’ECM: musique contemporaine toutes générations confondues AVAILABLE IN FINE RECORD STORES Contemporary Music for all Generations EVERYWHERE 18 American Symphonic Jazz 22 Le monde enchanté des agents Agents: A World of Operatic Proportions 24 If you like PJ Perry, try Grammy Notes nominated Maria Schneider. LE CALENDRIER / CALENDAR 28 Calendrier canadien Canadian Calendar 38 Calendrier détachable Pull-Out Calendar CRITIQUES / REVIEWS 53 Les livres – Book Reviews 54 Les disques – CD Reviews Allegresse featuring the Maria Schneider 61 Orchestra is on Time Magazine’s Top 10 list for MUSIC IN OUR LIVES the best CDs of 2000.
LaScenaMusicale / Février 2001 February / 3 New Year and New Friends On behalf of the dedicated team of staff and volunteers at La Scena Musicale,I would like to wish all our regular readers and advertisers a happy new millennium. Through our collaboration with the Royal Conservatory of Music, one of the oldest and most respected music institutions in Canada, this issue contains the RCM’s national magazine Music in Our Lives, and is also being sent to RCM alumni across Founding Editors / Rédacteurs fondateurs Canada, as well as being distributed in larger quantities in Toronto, reaching 180,000 Philip Anson — Wah Keung Chan people, twice the readership of our regular issue. This month, our calendar contains listings for all regions in Canada. Février 2001 / February 2001 • Vol. 6.5 We would like to welcome those discovering our magazine for the first time. La Scena Éditeur/Publisher La Scène Musicale, Musicale is a free monthly magazine published in both English and French by The Music Directeurs : Wah Keung Chan (président), Scene, a non-profit organization dedicated to the promotion of classical music. Annie Prothin, Sandro Scola, Jacques Desjardins Continuing our February tradition of recognizing young Canadian talent— Rédacteur/Editor Wah Keung Chan Rédactrice adjointe/Assistant Editor Lucie Renaud conductor Yannick Nézet-Séguin (2000) and violinist Leila Josefowicz (1999) appeared Rédactrice CD Lucie Renaud on our previous covers—we introduce cellist Yegor Dyachkov. The article “Symphonic Collaborateurs/Contributors Jazz” is a winner of our first Student Writing Contest. The deadline for the second Philip Anson (New York correspondent), Geneviève Beaudet, Anaik Bernèche, Pierre-Marc Bellemare, Annual Student Writing Contest is May 15, 2001. Finally, we would like to thank all Frédéric Cardin, Marc Chénard, Céline Choiselat, Eric those who helped with our feature “Top 10 Musical Valentines” (see page 10). We will Domville, Betty King, Éric Legault, Marielle Leroux, be offering free musical valentine e-cards at our website www.scena.org, based on Dominique Olivier, Joseph So, Stéphane Villemin these selections. While at our award-winning website, check out our latest web page, Traducteurs/Translators Jane Brierley, Alexandre Lebedeff, Lucie Renaud the Classical Music Webcast Scheduler. Photo Couverture/Cover Picture Pierre Yves Gagnon Happy reading. Réviseurs/Proofreaders Jane Brierley, Daniel Desrochers, Wah Keung Chan Michèle Gaudreau, Tom Holzinger, Annie Prothin Calendrier/Calendar Éric Legault Publisher Directeur artistique/Artistic Director Martin L’Allier Graphisme/Graphics Albert Cormier, Kathie Lim Publicité/Advertising (514) 948-2520 Nouvelle année et nouveaux amis Bernadette Bjornson, Christina Groom, Claude Au nom de l’équipe dévouée d’employés et de bénévoles de La Scena Musicale,je Payeur, Elisabeth Starenkyj, Mike Webber tiens à souhaiter à nos fidèles lecteurs et commanditaires un très joyeux nouveau mil- Ventes nationales/National Sales (Non-Musical) DPS Média (416) 413-9291 lénaire. Grâce à notre collaboration avec le Conservatoire Royal de Musique du Adjointe administrative Marielle Leroux Canada, une des institutions musicales les plus anciennes et les plus respectées du Comptabilité/Accounting Joanne Dufour Canada, cette édition inclut la revue nationale Music in Our Lives et nous permettra de Distribution La Scène Musicale (Montréal), Distribution Affiche-Tout (Québec), Diffusart rejoindre les diplômés du Conservatoire Royal. Elle sera également distribuée plus lar- (Ottawa), Print Distribution Services (Toronto) gement à Toronto, nous permettant ainsi de rejoindre 180000 personnes, le double de Site Web Normand Vandray notre lectorat habituel. Ce mois-ci, notre calendrier incluera des événements qui ont Administration Éric Ginestier, Yves Laporte Bénévoles/Volunteers Jane Brierley, Alain Cavenne, lieu dans toutes les régions du Canada. Wah Wing Chan, Michèle Gaudreau, Tom Holzinger, Nous souhaitons la bienvenue à ceux qui découvrent notre mensuel pour la premiè- Alan Li, Phyllis Potts re fois. La Scena Musicale est distribuée tous les mois gratuitement et est publiée en fran- Remerciement M.Joe Gora, Galerie Gora / Espace305, pour nous avoir gracieusement permis d’utiliser ses çais et en anglais par La Scène Musicale, un organisme à but non-lucratif dévoué à la locaux pour la séance photo de la couverture de notre promotion de la musique classique. édition décembre 2000 – janvier 2001. Nous poursuivons cette année la tradition du mois de février consistant à reconnaître Galerie Gora / Espace305, 460, St-Catherine O., #305 l’émergence d’un jeune talent canadien. Le chef d’orchestre Yannick Nézet-Séguin ornait Mtl. Tél.: (514) 879-9694 / Fax: (514) 934-5903 Imprimeur/Printer Payette & Simms ainsi notre couverture en février 2000 et la jeune violoniste Leila Josefowicz celle de Adresses/Addresses février 1999. Cette année nous vous présentons le violoncelliste Yegor Dyachkov. 5409, rue Waverly, Montréal Québec, CANADA H2T 2X8 L’article «Symphonic Jazz» s’est mérité le deuxième prix du côté anglophone lors Tél.: (514) 274-1128 / Fax : (514) 274-9456 Publicité/Advertising: (514) 948-2520 de notre premier concours d’articles d’étudiants. Nous réitérerons l’expérience cette email : [email protected] • Web : www.scena.org année. Les textes devront nous parvenir avant le 15 mai 2001. Production – Artwork : [email protected] Finalement, nous tenons à remercier tous ceux qui ont contribué de près ou de loin La Scena Musicale, publié dix fois par année, est consacré à la promotion de la musique classique. Chaque numéro à notre recherche des «Dix valentins musicaux favoris» (page 10) Nous offrirons des contient un calendrier de concerts, de conférences, de cartes de Saint Valentin musicales sur notre site Web www.scena.org inspirées de ces films et d’émissions ainsi que des critiques et des choix et ce, gratuitement. Venez découvrir notre site primé et profitez-en pour décou- articles. LSM est publié par La Scène Musicale, un orga- nisme sans but lucratif. La Scena Musicale est la traduc- vrir notre nouveau répertoire des diffusions sur le Web de musique classique. tion italienne de la scène musicale. Bonne lecture! La Scena Musicale is dedicated to the promotion of classi- Wah Keung Chan cal music. It is published ten times per year. Inside, read- ers will find listings of live concerts, lectures, films, broad- L’Éditeur casts, as well as articles and reviews. LSM is published by La Scène Musicale, a registered non-profit organization. La Scena Musicale is Italian for the music scene. Abonnements/Subscriptions : PROCHAIN NUMERO L’abonnement postal (Canada) coûte 25 $/an (taxes incluses). Veuillez envoyez votre nom, adresse, numéros NEXT ISSUE téléphone, télécopieur et courrier électronique. Tous les dons seront appréciés. Mars 2001 March 2001 Surface mail subscriptions (Canada) cost $25/yr (taxes ☛ included) to cover postage and handling costs. Please mail, fax or email your name, address, telephone no., fax no., and email address. Donations and volunteers Date de tombée – Deadline Publicité – Advertising are always welcome. 15 15 (514) 948-2520 Ver : 2001-01-23 © La Scène Musicale. février – February Le contenu de La Scena Musicale ne peut être reproduit, en 2001 tout ou en partie, sans autorisation de l'éditeur. www.scena.org La direction n'est responsable d'aucun document soumis à la revue. All rights reserved. No part of this publication may be Next National Issue: June 2001 – Summer Festivals reproduced without the written permission of La Scena Musicale. ISSN 1486-0317 Version imprimée/ Printed Prochaine édition nationale: juin 2001 – Festivals d’été ISSN 1206-9973 Version Internet Envois de publication canadienne, Contrat de vente / Canada Post Publication Mail Sales Agreement No. 1225561 TAFELMUSIK BAROQUE ORCHESTRA JEANNE LAMON, MUSIC DIRECTOR Handel’s WaterMusic
MARCH 7 at 7:00 pm SPECIAL MARCH 8 – 10 at 8:00 pm FAMILY MATINEE MARCH 11 at 3:30 pm SAT, MARCH 10 Plus a suite from Rameau's at 2:00 pm Le Temple de la Gloire With musicians' introductions to baroque instruments and music S PONSORED BY Special Youth Price: $15
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roclamé en 2000 « Artiste de l’année » par la Société Radio-Canada wenty-six-year-old cellist Yegor Dyachkov seems headed for a et le Toronto Women’s Musical Club et récipiendaire du Young brilliant international career. Last year he garnered both the first PCanadian Musician Award, d’une valeur de 15000 dollars, le jeune TArtist of the Year Award, jointly presented by CBC and the Toronto violoncelliste de 26 ans Yegor Dyachkov semble promis à une brillante Women’s Musical Club, and the Young Canadian Musician Award, worth carrière internationale. Soliste réputé mais chambriste convaincu, il sait $15,000, offered by the foundation of the same name. A well-known marier avec succès vie privée et concerts, tournées avec le Quatuor soloist as well as a dedicated chamber musician, he has managed to per- Arthur-Leblanc et projets d’enregistrements, expressivité et maturité form, record, and tour with the Arthur Leblanc Quartet while coping exceptionnelle. Entre deux tournées, il a accepté de se confier à La Scena with the demands of private life. He brings to his work exceptional Musicale. powers of expression and maturity. La Scena Musicale was able to catch Né à Moscou d’une mère pianiste et d’un père altiste, le jeune Yegor him for an interview between two tours. ne pouvait échapper à l’emprise de la musique. Après des essais peu Dyachkov comes from a musical family—his mother is a pianist, his convaincants au piano et au violon, il se retrouve à l’âge de huit ans sans father a violist. As a youngster in Moscow, where he was born, he tried moyen d’expression viable. Le métier qui le faisait alors rêver étant celui both the piano and violin. At eight, he still hadn’t found the right instru- d’employé de zoo, sa mère utilise un subterfuge, l’assurant qu’il devrait ment. His dream was to work in a zoo, so his mother resorted to some essayer de jouer du violoncelle, incontestablement l’instrument préféré gentle trickery by encouraging him to try the cello, assuring him that it des animaux. L’enfant découvre enfin le confident qui lui permettra was the animals’ favourite instrument. He did—and the young Yegor at d’épancher sa très grande sensibilité. last discovered an outlet for his enormous musical sensitivity. Étudiant au Conservatoire de Moscou, la discipline s’avère extrême et Dyachkov studied at the Moscow Conservatory, where discipline was la compétition féroce. Les souvenirs que Yegor Dyachkov garde de cette extremely severe and competition ferocious. He has mixed feelings époque restent mitigés. « L’environnement était finalement assez mal- about this period of his life: “The environment got to be pretty sain. Je ne suis pas certain que si j’étais resté deux ans de plus à l’école unhealthy. If I’d stayed two more years, I think the system might have centrale que le système ne m’aurait pas écrasé en tant qu’individu créa- crushed all my individual creativity.” But his family left Moscow and, teur», confie-t-il. Après quelques mois de transit, sa famille émigrera after moving around for a few months, in 1988 finally immigrated to finalement à Montréal en 1988. Il poursuit alors ses études avec Yuli Montreal. There Dyachkov studied with Yuli Turovsky. In 1998 he com- Turovsky. Il complétera en 1998 à Cologne un autre diplôme avec Boris pleted a further degree in Cologne, where he studied with Boris Pergamenschikow, originaire de Saint-Pétersbourg. « Il m’a enseigné Pergamenschikow, originally of St. Petersburg. “He taught me an enor- énormément de choses indispensables qui ont rehaussé mon niveau de mous number of essential things that improved my level of perfor- jeu», affirme-t-il. Quand on mentionne que tous ses professeurs sem- mance.” At the suggestion that he is a child of the Russian school, blent tributaires de l’école russe, le violoncelliste nuance: « Je dirais plu- Dyachkov says he’s more the product of a transposed Russian school. tôt que je suis le produit d’une école russe transposée. Pergamenschikow “Pergamenschikow was probably more influenced by a European était plutôt d’influence européenne, d’une pensée presque allemande. » approach and was almost German in his thinking,” he explains. Il a également eu l’occasion de travailler plusieurs fois avec Rostropovitch, artiste, vulgarisateur et communicateur qu’il admire Cellists shouldn’t be on a pedestal énormément. « On sent une énergie palpable sur tous ses enregistre- On several occasions Dyachkov also had the chance to work with ments. Pourtant parfois je trouve qu’il y a trop de Rostropovitch et pas Rostropovitch, about whom he says, “This is an artist who is capable of
6 / LaScenaMusicale / Février 2001 February
7 Scena February / / February 2001 Février / Musicale La
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ebedpi npupu ’na uQaurAtu-eln,qu’il Arthur-Leblanc, Quatuor du an d’un plus peu un depuis Membre played concerto has the qualities of chamber music,” he says. He has been has He says. he music,” chamber of qualities the has concerto played
ocroqis as inrui e ultsd uiu ecabe » chambre. de musique de qualités les réunit bien passe se qui concerto an ideal to be striven for, even as a soloist with an orchestra. “A well- “A orchestra. an with soloist a as even for, striven be to ideal an
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La musique de chambre reste un point de référence pour lui, un idéal un lui, pour référence de point un reste chambre de musique La only be learned by actually being onstage.” being actually by learned be only
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des enregistrements! On apprend à jouer pour soi mais le vrai travail vrai le mais soi pour jouer à apprend On enregistrements! des this is how you learn to play, not by making recordings! You learn to play to learn You recordings! making by not play, to learn you how is this
un processus irremplaçable : c’est là qu’on apprend à jouer, pas en faisant en pas jouer, à apprend qu’on là c’est : irremplaçable processus un the inspiration, and his playing partners. There’s no other way to do it— do to way other no There’s partners. playing his and inspiration, the
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prète a la liberté de s’exprimer. On travaille autant avec les acquis, avec la avec acquis, les avec autant travaille On s’exprimer. de liberté la a prète music always at the top as far as I’m concerned. The performer is free to free is performer The concerned. I’m as far as top the at always music
rt tl uiu,qej lc ojusa-ess nrctl l’inter- récital, En au-dessus. toujours place je que musique, la et prète angle is established with the public, the performer, and the music—the the and performer, the public, the with established is angle
e ocrs ntinl ’tbi,suin-l nr epbi,l’inter- public, le entre soutient-il, s’établit, triangle Un « concerts. des Dyachkov greatly enjoys relating to the public at his concerts. “A tri- “A concerts. his at public the to relating enjoys greatly Dyachkov
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d’un même récital. Le défi pour changer de cap reste grand mais le plai- le mais grand reste cap de changer pour défi Le récital. même d’un with different musical palettes and exploring this music with the public.” the with music this exploring and palettes musical different with
combiner Bach, une création contemporaine, Beethoven et Brahms lors Brahms et Beethoven contemporaine, création une Bach, combiner ncagn as u hr’ ohn qa otepesr fworking of pleasure the to equal nothing there’s but hats, changing in
to composé pour lui par André Prévost. « C’est un plaisir pour moi de moi pour plaisir un C’est « Prévost. André par lui pour composé to Beethoven, and Brahms in one recital,” he says. “There’s a great challenge great a “There’s says. he recital,” one in Brahms and Beethoven,
création d’œuvres nouvelles, entre autres autres entre nouvelles, d’œuvres création , un concer- un , Présence : Menuhin posed for him by André Prévost.“I love combining Bach, a modern work, modern a Bach, combining love Prévost.“I André by him for posed
positeurs de toutes les époques, même si récemment il a été associé à la à associé été a il récemment si même époques, les toutes de positeurs been involved in new works such as as such works new in involved been ,a concerto com- concerto ,a Présence Menuhin:
Interrogé sur son répertoire de prédilection, il avoue apprécier les com- les apprécier avoue il prédilection, de répertoire son sur Interrogé he says he likes composers from all periods, even though he has recently has he though even periods, all from composers likes he says he
virtuosité chez lui demeure toujours au service d’une expressivité intense. expressivité d’une service au toujours demeure lui chez virtuosité a means of intense expression. When asked about his preferred repertoire, preferred his about asked When expression. intense of means a
et ooiécatnersedaler soiea e eYgr La Yegor. de jeu au associée d’ailleurs reste chantante sonorité Cette Dyachkov’s playing has kept this singing tone. His virtuosity is always is virtuosity His tone. singing this kept has playing Dyachkov’s
n.» gné. life I used to listen to a great many good singers, and that taught me a lot.” a me taught that and singers, good many great a to listen to used I life
j’ai écouté énormément de bons chanteurs qui m’ont beaucoup ensei- beaucoup m’ont qui chanteurs bons de énormément écouté j’ai me evolve musically, through recordings and concerts. At one time in my in time one At concerts. and recordings through musically, evolve me
ment, grâce à un enregistrement ou un concert. À une période de ma vie, ma de période une À concert. un ou enregistrement un à grâce ment, ers. “I learn from them every day. Artists I’ve never met have also helped also have met never I’ve Artists day. every them from learn “I ers.
que je n’ai jamais rencontrés m’ont également permis d’évoluer musicale- d’évoluer permis également m’ont rencontrés jamais n’ai je que that all his chamber music partners should also be thought of as his teach- his as of thought be also should partners music chamber his all that
seurs: « Je continue d’apprendre auprès d’eux tous les jours. Des artistes Des jours. les tous d’eux auprès d’apprendre continue Je « seurs: ing a work, because that’s what defines you as an artist.” Dyachkov says Dyachkov artist.” an as you defines what that’s because work, a ing
de musique de chambre devraient également être considérés ses profes- ses considérés être également devraient chambre de musique de a hn,yudntwn ocp noe o a’ p u finterpret- of out opt can’t You anyone. copy to want don’t you thing, bad
qui nous définit en temps qu’artiste. » Il affirme que tous ses partenaires ses tous que affirme Il » qu’artiste. temps en définit nous qui combination of all the great cellists. Although imitation isn’t necessarily a necessarily isn’t imitation Although cellists. great the all of combination
pas nécessairement mauvaise. On ne peut pas ne pas interpréter, c’est ce c’est interpréter, pas ne pas peut ne On mauvaise. nécessairement pas Dyachkov, no cellist should be put on a pedestal. “The ideal cellist is a is cellist ideal “The pedestal. a on put be should cellist no Dyachkov,
violoncellistes. On ne veut jamais copier quelqu’un mais l’imitation n’est l’imitation mais quelqu’un copier jamais veut ne On violoncellistes. us too much Rostropovitch and not enough music.” According to According music.” enough not and Rostropovitch much too us
un piédestal : « Le violoncelliste idéal est un composite de tous les grands les tous de composite un est idéal violoncelliste Le « : piédestal un the energy on all his recordings. But I sometimes find he gives he find sometimes I But recordings. his all on energy the feel just can
assez de musique ». Aucun violoncelliste selon lui ne devrait être mis sur mis être devrait ne lui selon violoncelliste Aucun ». musique de assez omnctn n ouaiigmsc diehmeomul.You enormously. him admire I music. popularizing and communicating aime « comme sa deuxième famille », il considère maintenant cette acti- a member of the Arthur Leblanc Quartet for just over a year. He loves the vité essentielle à son épanouissement. « C’est un mariage unique entre quartet “like a second family,”and now feels that working with it is essen- quatre instruments, très exigeant mais suprêmement satisfaisant, juge-t-il. tial to his development. In his opinion, “It’s a unique marriage of four Toutes les facettes de l’interprétation s’y rencontrent pour faire passer un instruments, very demanding but supremely satisfying. All the facets of message. Quand la communion sur scène entre les musiciens est excel- interpretation meet to deliver a message. When the musicians onstage are lente et qu’elle se transmet au public, se passent les choses les plus magni- really communicating with each other and the public, the most magnif- fiques. » icent things happen.” Son enthousiasme pour son art est tangible. C’est d’ailleurs ce qu’il Dyachkov’s enthusiasm for his art is very evident. It is what he most désire plus que tout transmettre aux jeunes violoncellistes qu’il rencontre wants to get across to the young cellists he meets in his occasional mas- lors des cours de maître qu’il donne parfois. « J’essaie de communiquer ter classes. “I try to make them see the pleasure involved!” he exclaims. un plaisir, souligne-t-il. C’est ce qui me fait fonctionner, ce qui me per- “That’s what makes me tick and helps me get through the difficulties of met de passer à travers les difficultés du métier, parce qu’on ne passe this profession—because you can’t sidestep anything except by denying jamais par-dessus quelque chose, à moins de la nier. Je pratique un it. It’s a difficult vocation, what with the work, travel, and time differ- métier difficile : le travail, les voyages, le décalage horaire. On continue ences. One keeps at it in order to rediscover the pleasure of communi- pour redécouvrir le plaisir de communiquer, de créer des sons qui trans- cating and of creating sounds that change people. It is abstract, not mate- forment les gens. Ce n’est pas palpable, matériel. Notre monde l’est bien rial—our world is material enough. There are things you can transmit assez. Il y a des choses que l’on peut transmettre sans les dire en paroles without putting them into words. That’s part of life.” qui restent essentielles. Cela fait partie de la vie. » Même s’il privilégie le concert, il admet que les enregistrements res- Recordings open doors tent des cartes de visite qui permettent l’élargissement des frontières. Although Dyachkov devotes a good part of his time to concerts, he C’est d’ailleurs après avoir entendu son dernier enregistrement de admits that recordings are a way of pushing back frontiers. It was after sonates de compositeurs russes avec le pianiste Jean Saulnier que Yo-Yo hearing his latest recording of sonatas by Russian composers with pianist Ma a décidé de l’inviter à participer au « Silk Road Project ». Largement Jean Saulnier that Yo-Yo Ma invited him to take part in the “Silk Road épaulé par le géant Sony, le projet permettra au public de plusieurs festi- Project.” The project, which is largely funded by the Sony corporation, vals internationaux de revivre les différentes étapes de la route de la soie, will enable the public to relive the different stages of the Silk Road, from du Japon à l’Italie, en passant par l’Inde et le Proche-Orient. Une quin- Japan to Italy, by way of India and the Near East. Some fifteen well- zaine de compositeurs contemporains réputés et une quarantaine de known contemporary composers and forty western and folk musicians musiciens, autant occidentaux que traditionnels, ont été invités à parti- were invited to take part in a series of exploratory workshops in ciper à une série d’ateliers exploratoires l’été dernier à Tanglewood. Ce Tanglewood last summer. Dyachkov was especially interested because it projet touche particulièrement Dyachkov car il lui permet de s’ouvrir à allows him to get in touch with other cultures. “I love discovering worlds la réalité des autres cultures. « J’ai beaucoup de plaisir à découvrir des of sound that are different, and trying to get at some kind of truth. It’s mondes sonores différents et d’essayer là aussi de toucher à une certaine often very difficult for a westerner to play traditional music. I was com- vérité, dit-il. Pour un occidental, il est souvent très difficile de rendre la pletely bowled over by the humility of folk musicians and the way they musique traditionnelle. L’intériorité, l’humilité des musiciens tradition- internalize their music. It became obvious to me that musicians all over nels m’ont conquis. Une évidence m’est alors apparue: partout au monde the world work with the same basic material—sound.” les musiciens travaillent avec le même matériau: le son. » Dyachkov has plenty of projects planned for the future. Much of his Les projets d’avenir ne manquent pas: tournées avec le Quatuor (une time is taken up with tours with the quartet (some sixty concerts a year), soixantaine de concerts par année), récitals, engagements avec des recitals, and orchestral engagements. He will have to learn to pick and orchestres occupent une grande partie de sa vie. Il devra maintenant choose his projects. Paramount for him is the need to “live off his art,”to apprendre à choisir les projets qui l’habiteront. L’essentiel pour lui reste be able to devote time to his family and to avoid getting in a rut. He is la nécessité de vivre de son art, de pouvoir consacrer du temps à sa fa- always up on the latest discoveries, and would like more time to work on mille et que jamais la routine ne s’installe. Toujours à l’affût de nouvelles Bach’s suites. “I’m discovering the pleasure of playing his music and of découvertes, il souhaiterait avoir plus de temps pour travailler les suites losing myself in it completely. You must utilize the energy of the de Bach: « Je découvre le plaisir de jouer cette musique, de m’y aban- moment, not lose your flexibility, your freedom.” One can be sure that, donner complètement. Il faut exploiter l’énergie du moment, il ne faut once again, he will be able to strike a responsive chord in his audience pas perdre la flexibilité, la liberté. » Nul doute qu’encore une fois, il saura through the magic of his cello. p faire vibrer le public grâce à la magie de son instrument. p [Translated by Jane Brierley]
8 / LaScenaMusicale / Février 2001 February Faculté de musique PROGRAMMATION...... À NE PAS MANQUER 50 ÉVÉNEMENTS
r EN i n MUSIQUE e v . a . re 19 h 00 s . ot Jeudi, 8 février a n n Salle B-421 ser 17 h 30 à compo Salle B-421 343-6427 – 6$ Dans la semaine interculturelle OPÉRAMANIA de l’Université de Montréal Norma de Bellini Conférence Résonances de Guinée Production de la Canadian avec Claudette Berthiaume-Zavada Opera Company (1981) Conférence Musiques afro-cubaines er avec Vincent Roy Mardi, 20 février Jeudi, 1 février 10 h 30 17 h 00 19 h 30 Salle B-484 Salle B-484 En collaboration avec le Conservatoire de musique du Québec à Montréal RÉCITAL DE FLÛTE Salle B-484 RÉCITAL DE PIANO COURS DE MAÎTRE EN GUITARE Classe de Lise Daoust Patrick Roux et Philipp Candellaria du Canadian Guitar Quartet Œuvres de Bach, Borne, Cimarosa, Dutilleux… Classe de Claude Savard Œuvres de Bach, Beethoven, Debussy, Rachmaninoff, Schumann… Mercredi, 21 février Vendredi, 2 février 19 h 30 12 h 00 Salle B-484 Salle B-421 20 h 00 Chapelle historique du Bon Pasteur RÉCITAL DE FLÛTE RÉCITAL DE PIANO Classe de Lise Daoust Classe de Gilles Manny 100, rue Sherbrooke Est 872-5338 (laissez-passer) Œuvres de Bach, Borne, Doppler, Tremblay… Vendredi 2 et samedi 3 février ROMANTISME MOINS CONNU Du 21 au 24 février 19 h 30 Jutta Puchhammer, alto 20 h 00 Salle B-421 Élise Desjardins, piano Salle Claude-Champagne 343-6427 – 6$ Œuvres de Scharwenka, Joseph Joachim, 15$ (régulier) / 12$ (aînés) / 8$ (étudiants) OPÉRAMANIA André Prévost, Rebecca Clarke SOIRÉE PUCCINI Lucia di Lammermoor de Donizetti L’ATELIER D’OPÉRA ET L’ORCHESTRE DE Production de la Scala de Milan (1992) Vendredi, 9 février 19 h 30 L’UNIVERSITÉ DE MONTRÉAL Samedi, 3 février Salle B-421 Jean-François Rivest, chef 20 h 00 343-6427 – 6$ Robin Wheeler, directeur musical Salle Pollack OPÉRAMANIA Benoît Brière, metteur en scène 555, rue Sherbrooke Ouest Lucia di Lammermoor de Donizetti Scénographie : Maryse Bienvenu 23$ (régulier) / 15$ (aînés et étudiants) Film-opéra réalisé par Mario Lanfranchi (1971) Éclairage : Nicolas Ricard 1. La Bohème, Manon Lescaut, madame Butterfly Billetterie : 398-4547 Samedi, 10 février (extraits en version concert) LE QUATUOR ALCAN 2. Opéra Gianni Schicchi (en version scénique) Maîtres invités de l’Université de Montréal 20 h 00 Beethoven : Le cycle complet des quatuors Salle B-484 Jeudi, 22 février à cordes (4e concert) RÉCITAL DE GUITARE 19 h 00 Classe de Peter McCutcheon Salle B-421 21 h 00 Œuvres de Bach, Brouwer, Guiliani, Torroba RÉCITAL DE PIANO (fin maîtrise) Salle Claude-Champagne Lynette Wahlstron HOMMAGE AUX BÂTISSEURS Mardi, 13 février Œuvres de Bach, Beethoven et Debussy Lorraine Vaillancourt, Jacques Drouin, Julien Grégoire, Robert 17 h 00 à 20 h 00 Salle B-421 19 h 30 Leroux, Lise Daoust, Gail Desmarais, Jean-Eudes Vaillancourt, e Quatuor Quasar, Pauline Vaillancourt Conférence « L’École française de lutherie du 18 siècle Salle B-484 Œuvres de Papineau-Couture, Bartok, Donatoni,… jusqu’à Vuillaume » et « L’École d’archèterie de Tourte » RÉCITAL DE CLARINETTE avec Jean-Jacques Rampal (expert luthier de Paris) Classe de Martin Carpentier Œuvres de Arnold, Crawlei, Kovacs… Lundi, 5 février 20 h 00 20 h 00 Salle B-484 Vendredi, 23 février Salle B-484 RÉCITAL DE CHANT 12 h 15 RÉCITAL DE SAXOPHONE Classe de Adrienne Savoie Salle B-421 Classe de Jean-Marc Bouchard Œuvres de Falla, Haendel, Mozart et Purcell RÉCITAL DE PIANO Œuvres de Blais, Schulhoff, improvisation Classe de Gilles Manny Jeudi, 15 février Mardi, 6 février 19 h 30 Dimanche, 25 février 20 h 00 14 h 00 Salle B-484 Salle B-484 RÉCITAL DE CHANT Église du Très-Saint-Nom-de-Jésus RÉCITAL DE FLÛTE 4215 rue Adam Classe de Gisèle Millet Classe de Yolande Parent 15$ (régulier) /10$ (aînés) / gratuit (étudiants) Œuvres de Cowell, Reinecke, Sancan… Œuvres de Bach, Haendel, Mozart, Obradors et Rodrigo Billets en vente à la porte, le jour du concert RÉCITAL D’ORGUE Les 6, 7, 8 février Vendredi, 16 février Marc-André Doran et Benjamin Waterhouse 12 h à 17 h 12 h 00 Salle B-873 Salle B-421 19 h 00 EXPOSITION D’INSTRUMENTS DE MUSIQUE RÉCITAL DE PIANO Salle B-484 du Laboratoire de Recherche Classe de Gilles Manny RÉCITAL DE VIOLON ET DE VIOLONCELLE sur les Musiques du Monde Classes de Eleonore et Yuli Turovsky Œuvres de Bach, Breval, Isaye, Locatelli, Paganini, Prokofieff et Schnittke 200, avenue Vincent-d’Indy (métro Édouard-Montpetit)entrée libre sauf exceptions – rens. : (514) 343-6427
Billetterie 842-2112 www.umontreal.ca Spécial Saint-Valentin / Saint Valentine’s Special Valentins musicaux: les dix favoris les mercredis de mars 2001 Top 10 Musical Valentines Lucie Renaud e l’orgue 40 anniversaire de l’orgue Beckerath 1. Wagner: Tristan und Isolde (Prélude) 2. (Tied / à égalité) en concert à20h00 Clara Schumann: Liebst du um Schönheit En collaboration avec les Amis de l'orgue Rogers and Hart: My Funny Valentine FQAO. de Montréal et la 4. (Tied / à égalité) Schubert: Ständchen Saint-Saëns: Mon cœur s’ouvre à ta voix (Samson et Dalila) Richard Strauss: Morgen 7. (Tied / à égalité) Duparc: L’invitation au voyage 8. Poulenc: Les chemins de l’amour 9. (Tied / à égalité) Puccini: Che gelida manina (La Bohème) 07 mars : Gaston Arel Orgelbüchlein de J. S. Bach Berlioz: Le spectre de la rose, (Les nuits d’été) 14 mars : Réal Gauthier 21 mars : Lucienne L’Heureux-Arel es déclarations d’amour musicales ne datent pas d’hier. En effet, l’ar- 28 mars : Gaston Arel chéologue tchèque Bratislav Vachala vient de découvrir, sur les murs Ld’une tombe d’un noble Égyptien, des hiéroglyphes représentant une chanson d’amour, probablement vieille de 4 000 ans. Église de l’Immaculée-Conception Dans cet esprit, en janvier, La Scena Musicale a établi, à partir de sug- (coin Papineau et Rachel) gestions reçues de nos collaborateurs et d’autres spécialistes en musique classique, une liste des 88 œuvres qui se prêteraient le mieux à une décla- prix des billets : ration d’amour passionnée à l’être aimé. Nous avons ensuite demandé 15$ forfait pour les quatre concerts : 50$ aux visiteurs de notre site Web
About the winner CD double à prix spécial Wagner wrote,“I can’t conceive the spirit of music residing anywhere but in music.” In his mind, the line between passionate love, sensuality, Nikolaus Harnoncourt / exaltation and sacred love is often blurred in a musical idea stronger Philharmonique de Vienne than the sum of its parts. Concert pour le Nouvel An 2001 Performed for the first time in 1865, Tristan und Isolde has become more or less romantic love’s ultimate reference. The use of chromaticism pushes the tonality to its limits. Seventh and ninth chords are used in the same way traditional perfect chords were used before. Dissonances never get resolved, giving an impression of endless modulation. The anxiety portrayed in the music communicates the restless love between Tristan and Isolde that will in the end be resolved only by death. 10 / LaScenaMusicale / Février 2001 February Send Musical Valentine e-Cards Visit www.scena.org to send Musical Valentines. Choose from the Top 10. Linda Maguire, mezzo-soprano Envoyez vos cartes Concerts, Recitals, Oratorios (select charitable events) musicales de Saint-Valentin En visitant notre site Web www.scena.org, Phone (416) 925-8922 vous pourrez envoyer des valentins Fax (416) 255-6207 musicaux aux personnes chères à votre Please visit: www.LindaMaguire.com cœur. Choisissez parmi les 10 favoris. Bien plus original que des fleurs (with over 60 select audio and video clips) ou du chocolat! Live webcast Feb. 13, 2001, 6:30 p.m. E.S.T. St. Valentine’s Concert — Wagner: Wesendoncklieder
Les choix des critiques musicaux Critics’ Choice Claude Gingras, critique musical La Presse • la mélodie Psyché de Paladilhe qui met en valeur une poésie superbe. L’interprétation de Maggie Teyte est magistrale. •l’Adagietto tiré de la Cinquième Symphonie de Malher, surtout sous la baguette de Leonard Bernstein.
Arthur Kaptainis, music critic The Montreal Gazette • Beethoven’s An die ferne Geliebte (to the distant beloved). “The wonderful early-Romantic poetry beautifully describes love at a distance. I especially enjoy Wolfgang Holzmair’s recording on Philips. • Bizet’s aria from Carmen,“La fleur que tu m’avais jetée,” maybe in an early Carreras version. • Liszt’s Liebestraum no 3. Full-blooded Roman- ticism at his best. I recommend the Jorge Bolet interpretation in the Decca/Philips Great Pianists series.
Wah Keung Chan, editor La Scena Musicale • Richard Strauss’s Morgen performed by Jussi Björling for the sensitive interpretation, sweet- ness of tone and sustained legato. • “Che gelida manina” from La Bohème, again Björling. • Wagner’s Siegfried Idyll. I like Glenn Gould’s chamber version.
Lucie Renaud, rédactrice adjointe La Scena Musicale • Morgen de Richard Strauss. Comme cadeau de mariage, mon professeur m’avait offert l’enre- gistrement de Jessye Norman des Quatre der- niers lieders. Cette œuvre a continué de m’habi- ter au cours des ans, dans sa version orchestrale mais également dans sa version originale pour voix et piano. Le sublime mis en musique! DE POINTE-À-CALLIÈRE • L’invitation au voyage de Duparc. Même si j’ai En collaboration avec la Société du Vieux-Port de Montréal eu l’occasion d’accompagner cette mélodie plu- Symphonies à 14 h. Animation musicale avant les Symphonies à 13 h 30, sur la place Royale, face au Musée sieurs fois, l’intensité du texte de Beaudelaire, la Dimanche 25 février Dimanche 4 mars beauté de la ligne mélodique, la richesse de l’ac- Une œuvre de Michel Tétreault Une œuvre de Danielle Palardy Roger compagnement me font chavirer à tout coup. • Milonga del Angel d’Astor Piazzola mais je pourrais aussi bien mentionner plusieurs Musée d’archéologie et d’histoire de Montréal autres tangos du maître argentin. Pour la 350, place Royale passion exacerbée sous-jacente! Angle de la Commune Vieux-Montréal www.musee-pointe-a-calliere.qc.ca
LaScenaMusicale / Février 2001 February / 11 Revue de presse / Magazines Les revues dédiées à l’opéra Vocal Magazines
Opera News Alberto Innaurato on the scandale at La Scala. La revue « Opera International, le magazine $5.15 an issue ($45 USD /yr - 12 issues) Another innovation is the occasional interview de l’art lyrique » de Paris est l’une des meilleures au 212-769-7080 of famous people about their opera-going monde. Ses numéros sont minces (moins de 100 This venerable publication is an indispens- habits. Recently, there was a three-part series by pages), mais d’un contenu substantiel, car ils ne able source of information on the opera scene Kelli Rae Patton, a “twenty-something” opera comportent que relativement peu d’annonces. Les in North America and abroad. Published neophyte. Some readers welcome the broaden- entrevues exclusives et les dossiers, tout parti- monthly by the Metropolitan Opera Guild, ing of the magazine’s coverage, while true-blue culièrement les discographies rétrospectives, y Inc., its relationship with the Met in editorial opera buffs decry the dilution of content. Yet occupent une place d’honneur, de même que les and critical content is kept at arm’s length. there is no denying that the new style makes for critiques, souvent illustrées en couleurs, de pro- However, longtime readers of Opera News can a livelier and more gossipy read. - Joseph So ductions d’opéra récentes, en France, en Europe remember a time when there were no reviews et dans d’autres régions du monde. Même si la of Met performances and criticism of the orga- Opera Quarterly rédaction insiste tout particulièrement sur l’actu- nization was practically non-existent. Also it $15.50 ($42 USD /yr - 4 issues) 716-342-3852 alité « hexagonale », la rédaction déploie des used to be a fortnightly publication during the Published by Oxford University Press, this efforts marqués pour justifier l’épithète d’« inter- Met season, almost unthinkable in today’s eco- journal is not a magazine but a scholarly publi- national » que s’est donnée le magazine. C’est ainsi nomics of classical music publishing. This cation, with a large editorial board made up of que la section « Programmes » constitue sans labour-intensive format was abandoned a few academics, critics, journalists, and performers doute l’une des meilleures sources imprimées à years ago in favour of the current monthly fre- such as Marilyn Horne, with a policy of peer- consulter quand on veut savoir ce qui se passe et se quency, with better binding, expanded content review of manuscripts sent in for publication. passera sur toutes les grandes, et moins grandes, and glossier packaging. Starting about three It is not meant for casual opera-lovers, but scènes lyriques du monde. Mais la section qui, years ago, one noticed a shift from a rather those with the appropriate background will sans nul doute, retiendra le plus l’attention est celle staid and rigid style to more trendy content find the often rather exoteric articles highly des recensions d’ouvrages, d’enregistrements designed to attract a younger readership. Early informative and useful research tools. Periodic vidéo, mais surtout d’enregistrements audio, qui experimentation of photo spreads of thinly- issues on composers—I am thinking of the n’occupe jamais moins de 15 à 20 pages. Côté clad, hunky baritones the likes of Nathan Gunn Wagner and Strauss issues—contain excellent audio, et que l’on parle de disques d’opéra avant and Richard Bernstein seemed to have disap- articles and comprehensive critical discogra- tout, mais aussi d’oratorio et de chant classique, je peared, replaced by the more fully clothed ver- phies written by some of the best scholars ne connais pas de magazines qui mette autant de sions. Some of the articles border on the on voice today. Also valuable are the in-depth soin à rendre compte de tout ce qui paraît, et en tabloid, such as the juicy three-part series by profiles on singers, many of them essentially particulier de ces enregistrements dits forgotten or unjustly neglected, such as sopra- « pirates » que les autres revues ont tendance à no Ellen Faull in the current issue (Vol. 16, no. dédaigner. Ces recensions critiques d’Opera 3). Other regular features are reviews of books, International, œuvres de toute une armée de videos and recordings, plus a challenging cross- collaborateurs et souvent comparatives, sont word puzzle. Unlike the other publications, toujours très précises et très bien documentées. there are few illustrations, all in black and Seule ombre au tableau: le réseau de distri- white. Even though at $42 USD per year for bution canadien de cette belle revue n’est plus NATIONAL four issues, it seems fairly pricey, it is well ce qu’il a déjà été, mais il y a encore quelques worth the expense for the serious opera lover. endroits, à Montréal à tout le moins, où l’on ACADEMY - Joseph So peut la trouver. - Pierre Marc Bellemare
ORCHESTRA Cambridge Opera Journal Opera Canada 2001 011-223-325757 $5.95 ($20 /year - 4 issues) 1-800-222-5097 Not unlike Opera Quarterly, this is another The quarterly magazine founded by the late scholarly publication. It contains articles on all Ruby Mercer recently celebrated 40 years of Canada's aspects of European, American, non-Western recording Canada’s operatic history. Though Only National opera, and musical theatre. The papers are Opera Canada has undergone a new graphic carefully researched and well documented, design, the basic formula is still intact. Half the Orchestral School! often complete with musical illustrations. In magazine is devoted to reviews of productions Hamilton, ON addition, each issue has one or more review in Canada and abroad, recent recordings and articles on recent publications of importance in books. Profiles and interviews of current stars, the field. Cambridge Opera Journal is published past favourites, and young singers, all with a three times a year—in March, July, and Canadian flavour, are regular features. Not November, with a subscription price of $55 available on the web. - Wah Keung Chan USD. Recent articles include essays on Phedre and the operatic stage; structure and expression Classical Singer in the scenes of Rameau’s Hippolyte et Aricie; $6.95 at Tower in Toronto ($54 USD /yr - Boris Brott, and “Grieving in the mirrors of Verdi’s willow 11 issues) 973-378-9549 Artistic Director Song: Desdemona, Barbara, and a ‘feeble, Formerly the New York City Vocal Newsletter, strange voice’. ” As you can see, not exactly for the strength of this publication is its large listing Live & Taped beginners! But it is a valuable publication for of vocal and opera competitions and auditions, musicologists and opera professionals, as well along with interviews and features written for the Auditions avail. as serious students of opera. - Joseph So singer. Visit http://www.classicalsinger.com for Call the html version of their latest issue (free) and for (905) 525-SONG Opera International their directories (membership required). (580 FF /yr - 11 issues) 011-33-1-4289-0919 - Wah Keung Chan
12 / LaScenaMusicale / Février 2001 February 14e saison 2000-2001 Direction artistique Geneviève Soly et Natalie Michaud PHOTO: LAURENT LAFOLIE Sortez avec Louis XIV! Spectacle de danse et musique baroque Les vendredi et samedi, 16 et 17 février 2001 à 20h Avec la compagnie de danse baroque française l’Éventail et l’Ensemble des Idées heureuses «VOYAGE EN EUROPE» Chorégraphies originales sur des musiques de Campra, Purcell, Rosenmüller et Vivaldi Accrochez vos perruques, ça va décoiffer!
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De l’opéra à l’opéra d’action The transition from bel cantoto dramatic opera
Céline Choiselat 1910) L. Balestrieri (v.
ar tradition, l’opéra italien consacre le règne du chanteur, tyran talian opera traditionally enshrined the reign of the singer, and com- auquel se sont pliés les compositeurs. Cette tyrannie des chanteurs, posers were forced to bow to this tyrant—a custom that reached its Pqui a prédominé essentiellement au XVIIIe siècle mais dont on trouve Iheight in the eighteenth century. Remnants of it can still be found in encore trace au début du XIXe siècle, marque l’ère de l’art opératique de operas of the early nineteenth century with the aria da capo, which made l’aria da capo. the singer the most important element. L’aria da capo, passage obligé de l’opéra italien, institue le chanteur As a result, composers had to submit to the singers’ demands by pro- comme « artiste-roi ». En d’autres termes, le compositeur doit se sou- viding scores that highlighted their technique, virtuosity, and individual mettre aux exigences de l’interprète en lui offrant une partition qui met vocal features, so that their performances would be as brilliant as possi- en valeur sa technique, sa virtuosité et ses excentricités vocales de façon ble. Generally speaking, Italian opera was defined by the aesthetic prin- à ce qu’il puisse briller le plus possible. D’une manière générale, l’opéra ciple of bel canto (beautiful singing), and its direct outcome, the aria da italien se définit donc par ce principe esthétique du beau chant (bel capo. canto), dont relève directement l’aria da capo. The bel canto period lasted from 1680 to 1820, although we still speak Historiquement, on peut circonscrire l’époque du bel canto dans une of bel canto in works by composers such as Bellini, Rossini and Donizetti. période allant de 1680 à 1820. Toutefois, on parle encore de bel canto chez The singers of bel canto considered it their right to adapt an aria to their des compositeurs tels que Bellini, Rossini ou Donizetti. Les chanteurs range, add ornaments not in the score, or even insert pieces written by belcantistes s’octroyaient alors le droit d’adapter un air à leur tessiture, other composers to the point where the singers became co-authors of the d’ajouter des ornements non écrits, ou encore d’intercaler des morceaux work. This state of affairs revealed the singers’ lack of interest in the composés par d’autres compositeurs, au point de devenir eux-mêmes libretto, which was sacrificed in favour of a musical pot-pourri. Rossini, coauteurs de l’ouvrage. Cela montre encore le peu d’intérêt accordé au who was tired of these goings-on and was the first to state specifically all livret par les interprètes eux-mêmes. the ornaments that were to be used, didn’t manage to escape the singers’ Même si Rossini, lassé de toutes ces libertés, fut le premier à fixer tous self-appointed role as editors. les ornements à exécuter, il ne fut pas épargné par ces pratiques désin- voltes. Le livret était donc sacrifié, devenant un pot-pourri qui réunissait Romantic era brings change des airs de différents compositeurs. Change came with the onset of the Romantic era and the attraction Mais l’attrait des romantiques pour l’opéra amènera un changement of the Romantics for opera. Singers were obliged to respond to public d’attitude parmi les chanteurs, obligés de se soumettre aux attentes d’un demand for a genuinely dramatic work and not display their vocal acro- public plus exigeant qui désire assister à un véritable spectacle et non batics. The fact that opera had distanced itself from poetic declamation plus aux seuls numéros d’acrobatie vocale. Le fait que l’opéra se soit éloi- over time inspired a new concept of the librettists’ creative role. Now they gné de la déclamation poétique au cours de son évolution historique a were seen not merely as poets to be judged on the musicality of their engendré une nouvelle conception de la fonction du librettiste. texts, but as playwrights, creating plots, characters, and scenes. Today the Celui-ci ne devait plus être un simple poète que l’on jugeait sur la art of the librettist is recognized as distinct from that of the poet, having musicalité de ses vers; il est devenu avant tout un dramaturge, créateur its own demands, and entirely governed by music. de situations, de personnages et de scènes. As a result the tyranny of performers gave way to the importance of On reconnaît aujourd’hui que l’art du librettiste se distingue de celui the libretto and the music. Rossini was the first to rebel, followed by du poète. C’est un art qui a ses exigences propres, entièrement détermi- Verdi. The result was genuinely dramatic opera—the opera of action. né par l’articulation musicale. The battles of singers demonstrating their vocal prowess no longer satis- Ainsi, l’artiste-roi semble passer au second plan, reléguant la musique fied the public. Instead of showing off their technique, singers had to try et le livret au premier plan. Rossini d’abord, et Verdi ensuite, s’insurgent to move the public emotionally. From then on, singers were expected to contre le dictat des chanteurs. À l’opéra bel canto succède dorénavant express the feelings and passions of their roles, striving for psychological l’opéra d’action. Les numéros de prouesses vocales des chanteurs, van- and dramatic truth to touch the audience. tant le chant pour le chant, pour le seul bel canto, ne satisfaisaient plus ce Opera-goers no longer wanted to watch a stand-off between gods and public éclairé. L’interprète ne doit donc plus faire étalage de sa technique, heroes in a shower of allegories and symbols. Comic opera had already
14 / LaScenaMusicale / Février 2001 February mais doit chercher à émouvoir. brought the stage and the audience closer to one another, but grand opera had Dès lors, ce qui doit être privilégié, c’est l’expression de sentiments, to do this while satisfying the public’s contradictory demand for the spectac- d’émotions et de passions. Alors que le bel canto sublimait le langage des ular, something almost impossible to combine with truly moving drama. personnages, le romantisme vise à une vérité psychologique et drama- Understandably, librettists and composers turned to historical rather tique qui touche le public. than mythological sources to solve their dilemma. They had to choose En fin de compte, il ne désire plus assister à un drame où se confron- plots that would speak to the heart rather than the mind, and still con- tent dieux et héros sous une cascade d’allégories et de symboles. L’opéra vey lofty ideals (Verdi’s choral music comes to mind—veritable hymns to bouffe avait déjà rapproché la scène du spectateur, mais l’opera seria doit the Risorgimento). faire face à une deuxième exigence qui pouvait se poser comme une contradiction insurmontable: le goût de l’époque pour le « spectaculai- Verdi and the Risorgimento re », propre à susciter l’enthousiasme. The Risorgimento movement for Italian unity and an end to foreign On comprend dès lors que pour pallier à cette double exigence, les occupation was at the heart of Verdi’s artistic motivation. Through the librettistes et les compositeurs aient cherché dans les littératures histo- use of choral music, he was able to touch the deepest, most nationalistic riques — et non plus mythologiques — le fond de leurs ouvrages. Ces feelings in his audience. In Nabucco he transformed a biblical love story thèmes devront parler un langage qui s’adressera directement au cœur, et into a drama about a persecuted people under a foreign oppression that non plus à l’esprit. Ce qui ne l’empêchera pas d’être porteur de grandes amounted to an anti-Austrian manifesto. idées (on pense ici aux chœurs de Verdi, véritables hymnes du mouve- Verdi wanted his political ideas to be expressed not only in the ment du Risorgimento). orchestration but also in the libretto. He therefore had to be able to La cause du Risorgimento, c’est-à-dire la cause de l’unité italienne choose his librettos or call on librettists who shared his views. His aim contre l’occupation italienne, constitue le noyau de l’esthétique ver- was always the same: to adapt a libretto to represent current and recog- dienne. Et Verdi, grâce à l’utilisation des chœurs, touche directement le nizable Italian causes. In the interests of achieving this, he demanded peuple dont il a su faire vibrer les fibres les plus intimes et les plus natio- total cooperation from his librettists, whom he chose personally—a task nalistes. Il transformera dans Nabucco une histoire d’amour dans le normally reserved for the impresario. Verdi’s considerable participation contexte biblique en un ouvrage où le peuple persécuté par un oppres- in the libretto is evidence that he, more than any contemporary compos- seur étranger passe au premier plan: cette démarche prenait l’allure er except Wagner, was aware of how important the libretto was in opera. d’une manifestation anti-autrichienne. Another aspect of Verdi’s theatrical conception of opera is his inter- Mais cet investissement politique ne saurait se faire sentir unique- est in voices, which he felt must serve to highlight character and plot, ment par la musique instrumentale, par l’orchestration; il faut donc que rather than the music or the text. Dramatic truth, not vocal splendour, Verdi ait pu sélectionner ses livrets, ou encore s’adjoindre la complicité was what he was looking for. This was why he could refuse to have des librettistes compatriotes. Eugenia Tadolini sing the role of Lady Macbeth, even though she was considered to have one of the finest voices in the world. Verdi distanced himself from bel canto because he no longer wanted La voix doit servir les personnages et fine singing for its own sake, rather an expressive voice that would bring the role and the character to life. He inaugurated an interpretive tradition le drame avant la musique that was first exemplified in his works but spread to the entire Italian lyric repertoire. He worked closely with performers and was very insistent on ou le texte. respect for the score, all of which totally changed the approach to opera. Verdi, who lived from 1813 to 1901, witnessed the rise of the greatest musicians of his era—Rossini, Bellini, and Donizetti. He saw them become Ainsi le but, pour Verdi, sera toujours le même: adapter un livret aux obsolete, to be replaced by new maestros who tried to substitute symphon- causes nationales de l’époque, où l’Italie puisse se reconnaître. Et, sou- ic art for melody and song. Composers like Richard Strauss, Schoenberg, cieux de s’entourer des meilleures garanties de succès, Verdi exigera de and others in the twentieth century were the direct heirs of Wagner. Verdi’s ses librettistes une totale collaboration. Dans cette optique, Verdi va être descendants were the great dramatic singers, from Caruso to Callas. p amené à bouleverser la coutume en choisissant lui-même son librettiste, tâche normalement réservée à l’imprésario. [Translated by Jane Brierley] Mais si Verdi est si présent dans la constitution même du livret, c’est aussi parce qu’il a conscience plus qu’aucun autre compositeur de son The article is the first in a series celebrating the 100th anniversary of Verdi’s époque (hormis Wagner) de l’importance du livret. death. Un autre aspect de l’esthétique verdienne découle directement de cette conception théâtrale de l’opéra: l’intérêt porté à la voix. La voix doit servir les personnages et le drame avant la musique ou le texte. Avant la splendeur vocale, Verdi recherche la vérité dramatique. C’est ainsi qu’il a Lucia di Lammermoor pu refuser à Eugenia Tadolini, pourtant estimée comme l’une des plus belles voix du monde, le rôle de Lady Macbeth. Un exemple parfait d’un opéra transitionnel qui sait faire le lien En s’éloignant du bel canto, Verdi a ouvert la porte à une tradition entre l’art du bel canto et celui de Verdi reste certainement l’opéra de d’interprétation qui mise sur l’expressivité et qui met la voix au service Donizetti Lucia di Lammermoor. d’un personnage à qui il faut insuffler vie. L’insistance qu’il manifesta Lucia incarne à merveille l’amour romantique, le seul amour véri- tant dans son œuvre écrit que dans son travail physique auprès de ses table qui sera récompensé même au delà de la tombe. C’est le sens de interprètes a bouleversé la manière d’aborder l’opéra. la cabalette après la scène de la folie: l’amour dure jusque dans l’au- Né en 1813, Verdi ne devait s’éteindre qu’en 1901. Il vit, dans son delà. « Je viens à toi » chantera Edgardo lorsqu’il apprend la mort de propre pays, grandir la renommée des plus grands musiciens de son Lucia. époque. Il assista à leur désuétude, à leur remplacement par de nou- Un grande partie du succès de Lucia dérive de son caractère veaux maîtres qui tentèrent de substituer l’art symphonique à celui de la « romantique », et c’est ce trait qui toucha le public de l’époque. mélodie et du chant. Ainsi, si les Richard Strauss, Schoenberg et autres Tandis que Bellini présente des personnages abstraits, dont les émo- compositeurs du XXe siècle sont les héritiers directs de Wagner, Verdi tions sont sublimés par la chant, Donizetti donne à ses personnages nous a offert pour descendance les plus grands interprètes, de Caruso à des caractères concrets. Callas. p Les hasards du calendrier nous permettent de célébrer l’amour en assistant aux repésentations exceptionnelles de Lucia di Lammermoor Cet article est le premier d’une série qui soulignera le 100e anniversaire données par L’Opéra de Montréal les 10, 12, 15, 17, 21 et 24 février du décès de Verdi. 2001 à la Salle Wilfrid-Pelletier.
LaScenaMusicale / Février 2001 February / 15 Article Musique contemporaine toutes générations confondues Lucie Renaud
’année 2000 s’est avérée bien remplie pour Une fascination pour l’inconnu Les jeunes compositeurs voulant faire parve- l’Ensemble Contemporain de Montréal et L’interprétation et la diffusion de la nir leur dossier pour participer à l’atelier Lsa fondatrice et directrice artistique, musique contemporaine ont toujours coulé de Génération 2001 ont jusqu’au 15 février pour le Véronique Lacroix. La Scena Musicale l’a ren- source pour Véronique Lacroix. En 1987, alors faire. Détails sur le site Web de l’Ensemble à contrée au retour de la première tournée cana- jeune étudiante en direction d’orchestre au l’adresse:
16 / LaScenaMusicale / Février 2001 February Article Contemporary Music for all Generations Lucie Renaud Montréal he year 2000 turned out to be a busy one A fascination for the unknown for the Montreal Contemporary Ensemble For Lacroix, the interpretation and propa- La Chapelle historique du Bon Pasteur T/ Ensemble Contemporain de Montréal gation of contemporary music have always 100, rue Sherbrooke est (ECM). La Scena Musicale interviewed its foun- been second nature. In 1987, considering it Vancouver der and artistic director, Véronique Lacroix, essential to participate in the musical life of her Studio One Canadian Broadcasting Corporation, after the ECM’s first Pan-Canadian tour, which time, and as a young conducting student at the 700 Hamilton Street - at Georgia took it from New Brunswick to British- Conservatory, she founded the Ensemble, Columbia, as part of the Generation 2000 made up of fellow students. The conductor workshops. clearly remembers the Ensemble’s first concert, which blended a Mozart Montréal octet and a creation by Le dimanche 4 fevrier 2001 - 15h30 Anthony Rosankovik in a thematic approach. • JEREMY THOMPSON, piano 1. The ECM musicians are now young professionals 2. recognized as fine instru- Montréal mentalists, but Lacroix Le dimanche 25 fevrier 2001 - 15h30 continues to combine • SARAH STACK, hautbois composers old and new. Pamela Reimer, piano 1. Emily Doolittle “As an interpreter, to 2. Andriy Talpash understand contempo- • CHRISTINA TANNOUS, soprano 3. Gordon Fitzell rary music well, one must Michael McMahon, piano 5. 4. Jean-François Laporte also know what came before,” she insists. 3. 4. 5. Rose Bolton Eighty new works Montréal later, creation continues Le dimanche 18 mars, 2001 - 15h30 to stimulate Lacroix. “I never tire of watching • NOTA BENE, QUATUOR DE SAXOPHONES Generation 2001 the creative process, she says. I like its unset- For the first time since 1994, the tling dimension. The challenge lies not only in • OLIVIER LAQUERRE, baryton Generation contest was opened last year to all giving shape to the notes and the rhythm of a Dominique Roy, piano of Canada’s composers. The five selected work, but in making it come alive.” composers (Andriy Talpash, Rose Bolton, The concert continues to be a unique Gordon Fitzell, Emily Doolittle and Jean- moment for the conductor: “A concert is an Vancouver François Laporte) needed first of all to focus event, a celebration, a time for the audience to Friday, March 23, 2001 - 7:30 p.m. their approach during preliminary work- focus on listening to the work. It greatly EIKO AKATSUKASA shops attended by a growing number of inter- enhances the capacity to listen. The presence of • R N , piano ested music lovers. After the Ensemble and its the musicians onstage affords the possibility of • JULIA BONNETT, soprano composer worked on a composition, it was more electrifying moments.” David Boothroyd, piano fine-tuned for a concert presentation in the Director Lacroix wants to avoid falling into a fall, preceded by reference points drawn up by routine, and this explains no doubt the unique the composer. “Being required to synthesize variety of the ECM programming. “With the one’s thoughts for the public, at the prelimi- Generation workshops we go through a rational nary stage or at the concert, helps put the analysis while explaining the creative process. work in focus. Often composers cannot The thematic concert with its mixed fare, a accomplish what they aspire to; there are hybrid of classical and contemporary and its practical choices to be made,” sums up extra-musical dimension, is a way of reaching Véronique Lacroix. out to a public of non-initiates. It carries the lis- The Ensemble, in residence at Montreal’s teners into another dimension without their Montréal : L’entrée aux concerts est libre, Conservatory of music since 1995, wants to noticing, simply through emotion. That way les laissez-passer sont disponibles à la stimulate young composers by providing dif- everyone can get something out of the experi- Chapelle historique du Bon Pasteur. ferent contexts for creation. It also wants to ence, simply by allowing themselves to be car- Vancouver : Tickets at the door: ensure that the partnership with the com- ried by the flow,” concludes the conductor. $ 12.00 adults posers is long-term. “In Quebec,” says the A prospect of exciting discoveries ahead! p $ 8.00 students and seniors artistic director, “even beginning composers can consider a career. We guarantee them [Translated by Alexandre Lebedeff] three or four commissions over a ten-year Renseignements/Information: period—elsewhere, composers can expect their works to be performed only after ten Young composers wishing to participate in the Montréal: (514) 488-4848 years! When we initiate a partnership we Generation 2001 workshops have until February [email protected] accompany the composers in their career, 15. Details are available at the Ensemble’s web Toronto: (416) 944-0170 their evolution. These are the composers of site at:
LaScenaMusicale / Février 2001 February / 17 Jazz American symphonic jazz : an excursion into the geography of music Betty King
ymphonic jazz, that fusion of jazz and Music geography blishes a bond with European high-culture music that arose The musical characteristics of symphonic American cities, especi- Sin the United States of the 1920s, is close- jazz reflect the sociocultural conditions of the ally New York. ly identified with American urban settings. The U.S.A. in the 1920s. But how exactly is music “Cities can be reco- music creates images on cultural, geographic, linked to a nation, culture, geography, or land- gnized by their pace just as ethnic, and economic levels, using the technical scape? Identified as closely tied to human people can by their components of melody, harmony, rhythm, and migration patterns, musical acculturation walk,” writes Robert form—as well as less definable elements—to occurs when the musical idioms of two cultures Musil.3 However, long evoke American identity. gradually borrow characteristics from one before the field of True symphonic jazz is a concert music another through commerce and intermarriage. cultural geography whose musical language is derived from However, the ties between music and cultural arose, critic Hiram European Romantic tradition, African- geography were little understood until music K. Moderwell, an American jazz, and American popular music. geography emerged around 1970 as a subfield early enthusiast The term “symphonic jazz” was coined by of cultural geography. of symphonic famed American band leader Paul Whiteman Music geographers point out that we can jazz, found that early in the 1920s. The first piece of sym- sense environment aurally. Music can convey ragtime phonic jazz is thought to have been the opera social, political, economic and cultural con- rhythms Blue Monday, George Gershwin’s 1922 texts, as outlined in the article “Hearing evoked the attempt at a new sound, which preceded Places.”1 The authors argue that music can sounds of the Darius Milhaud’s more famous symphonic evoke memories and emotional responses, and American jazz ballet La création du monde. By far the create “soundscapes” in the same way that a city. “I like to best known symphonic jazz work, often painting can evoke a landscape.2 think that it regarded as the first such composition, was It is a natural extension of this idea that not [ragtime] is the Gershwin’s Rhapsody in Blue of 1924. His only nations, but each culturally distinct city, perfect expression famous Concerto in F appeared in short order. should have a “soundmark” — a characteristic of the American city, George Gershwin Many other jazz symphonies followed, sound that can be musically conveyed through with its restless bustle including George Antheil’s Jazz Symphony representative rhythms, melodies, instruments, and motion... and its and Ferde Grofé’s Metropolis. structures or harmonies. Symphonic jazz esta- underlying rhythmic LaScenaMusicale CONCOURS ANNUEL D’ARTICLES D’ÉTUDIANTS SimplementMontréal ANNUAL STUDENT coup d’œil sur une ville unique Venez admirer plus de 800 objets WRINTING CONTEST de la célèbre collection du McCord. sur la musique classique / on Classical Music
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18 / LaScenaMusicale / Février 2001 February progress toward a vague Somewhere.”4 them jazz conjured up the rhythm of daily life Identifiable city soundscapes occur in many in America’s cities. For Berlin, jazz evoked the works of this period. Gershwin’s Second “rhythmic beat of our everyday lives. Its swift- Rhapsody, for example, evokes the rhythm of ness is interpretive of our verve and speed and À la riveting, along with images of construction and ceaseless activity.”6 Gershwin spoke about commercial growth. machine elements and rhythms in his music The music of America contains the sounds and the music of his American contemporaries. Chapelle of different cultures, like the nation itself. “The Machine Age has influenced practically Composers, songwriters, and arrangers of sym- everything. I do not mean only music but phonic jazz reflect their culture through everything from the arts to finance. The historique rhythm, melody, harmony, formal structure, machine has not affected our age in form as and instrumentation. Symphonic jazz in par- much as in tempo, speed, and sound. It has ticular, democratically combines the most affected us in sound whenever composers utili- du Bon-Pasteur interesting elements of black jazz, American ze new instruments to imitate its aspects.7 popular music, and European high-culture musical styles. Other elements Part of the American musical heritage is the Artistes en résidence: Cultural characteristics traditional symphonic framework within le Trio Gagné-Richard American culture values innovation in all which certain jazz techniques were used. things. The innovative concept of symphonic Symphonic jazz has evident origins in Western 3 février au 18 février jazz offered a fusion that most Americans gene- tonal music, especially in the late Romantic rally welcomed with open arms. Rhapsody in style, the symphonic orchestration, the rich La musique en cavale Blue premiered at the Paul Whiteman concert harmonies and dissonances, and the long entitled “An experiment in modern music.” It melodic lines, all of which contribute to the Samedi 3 février 2001, 15 h presented a hybrid form of music with roots in “American” sound. p Concert commenté the emotionalism of European Romantic There are elements of American popular Les sons de l’orchestre de chambre I Musici de orchestral music, in African-American and music in symphonic jazz. These include jazz Montréal et les propos de son chef Yuli Turovsky Latin rhythms, and in popular music forms. rhythms and colours, popular melodies, and nous font voyager à travers le monde The experimental nature of this combination advanced harmonies typical of Tin Pan Alley was a major element of its American identity. songs. Formal structure is another: symphonic Dimanche 11 février 2001, 15 h 30 Symphonic jazz also expresses a forward- jazz contains echoes of the American popular p La danse sous Louis XIV driving energy typical of the U.S.A., one of its song with its typical harmonies and 16-bar or Grâce aux musiciens des Idées heureuses, Marie- most insistent and distinctive qualities. 32-bar structures. Nathalie Lacoursière et Edgar Tumak dansent sur Gershwin summed up the importance of Important among other identifiable des musiques de Lully, d’Anglebert, Rebel, America’s rhythmic energy in his compositions American melodic elements are blues themes. Campra, Couperin et Marais, le tout agrémenté des commentaires de la claveciniste Geneviève as follows: “Basically, it is a matter of rhythm... Gershwin’s Concerto in F uses blues melodies Soly. Produit en collaboration avec le Conseil des In America this preferred rhythm is called extensively. The frequent occurrence of flat- arts de la Communauté urbaine de Montréal dans jazz... Jazz is the result of the energy stored up tened blues thirds, bent pitches, and “blue” le cadre du programme Jouer dans l’Île. in America. It is a very energetic kind of music, notes are very noticeable. noisy, boisterous and even vulgar.”5 Jeudi 15 février 2001, 20 h Rushing rhythms p Les Jeunes Artistes Musical democratization The people’s imagination was mainly Quatre mains dansent et se croisent sur le clavier Yet another typically American element is caught by the new African rhythms, including du piano Fazioli de la Chapelle, celles du Duo Latour the strong trend after 1900 toward removing syncopation and cross-rhythms, as striking an formé de Jean-François et de Jacinthe Latour, dans distinctions between high-culture and popular “American” note and creating the image of the des œuvres de Mendelssohn, Schumann, Brahms et music. Symphonic jazz is a democratization of city rush-hour and bustling modern life. Schubert. Produit en collaboration avec la Chaîne culturelle de Radio-Canada dans le cadre de l’émis- concert music. Of course, America is well- Roy Harris, in his influential article sion Les Jeunes artistes. known for its fascination with reducing every- “Problems of American Composers,” says that thing cultural to its lowest common denomina- “Our [American] rhythmic impulses are funda- Dimanche 18 février 2001, 15 h 30 tor. Some people see symphonic jazz as a mere mentally different from the rhythmic impulses p Le projet Roy popularization of European high-culture of Europeans... Our sense of rhythm is less sym- Alors que le pianiste Stéphan Sylvestre joue des music. It has traditionally been classified among metrical... European musicians are trained to œuvres de Chopin, le danseur Ken Roy interprète the light classics or “pops” and is regarded as think of rhythm in its largest common denom- trois chorégraphies: Pas seul d’Hélène Blackburn, music for the middle class. Like American soci- inator, while we are born with a feeling for its Cascando de Louise Bédard et Duo pour corps et ety, it is decidedly middle-class and far less smallest units.” 8 piano de Danièle Desnoyers. Produit en collabora- class-conscious than its European counterpart. Harris goes on to present contrasting exam- tion avec le Conseil des arts de la Communauté ples of European-based rhythms in 4/4 time, urbaine de Montréal dans le cadre du programme Jouer dans l’Île. Unexpected rhythms which concentrate on equal, predictable divi- Symphonic jazz also embodies America’s sions of quarter, eighth, and sixteenth notes, Renseignements: (514) 872-5338 history of challenging European authority. versus American spontaneous rhythmic variety: When it first appeared, it defied European tonal thinking and conventional Romantic sounds Chapelle historique by using unexpected rhythms of African or Latin origin. The syncopation and dissonant du Bon-Pasteur new harmonies contested the musical status 100, rue Sherbrooke Est, Mtl quo and expressed America’s budding cultural Examples of these “American” rhythms, www.ville.montreal.qc.ca/maisons independence. polyrhythms and syncopation abound in the The excitement of the “Roaring ‘20s” can be works of Gershwin and his followers. Harris heard in the energy of symphonic jazz. Irving points out that U.S. composers of popular jazz Berlin and George Gershwin stated that for and high-culture music alike employ several
LaScenaMusicale / Février 2001 February / 19 typically American techniques, including asymmetrical melodies (due to their asymmetrical sense of rhythm), modal harmonies, and a tendency to avoid definite cadences.9
Instrumentation To the above list of American characteristics should be added a definite- ly American approach to instrumentation. While symphonic jazz retains the standard European symphony orchestra, some jazz instruments are used. These are sometimes replaced by traditional instruments—a clarinet instead of a saxophone, for example. Specific instruments such as the saxophone, and unexpected instrumental timbres, especially in percussion, create men- tal images of America’s energy, ethnic makeup, and geographical features. Inventive instrumentation in symphonic jazz includes Gershwin’s use of car horns in the programmatic American in Paris. George Antheil used air- plane and typewriter sounds in his work. Copland employed the wood block to convey city traffic images. Symphonic jazz is the culmination of the American composers’ striving for their own characteristic sound. As a movement, it shows how national characteristics can be embodied in music bearing the stamp of the cultures that created it. Both the movement and its individual compositions express the inventiveness and energy of American life, providing the soundmark of the nation’s big cities—an interesting excursion for students of music and music geography alike. p
1. J. Ingham, M. Purvis, D.B. Clarke, “Hearing places, making spaces: Sonorous geogra- phies, ephemeral rhythms,” Environment and Planning D: Society and Space 17 (June 1999): 283. 2. Ibid., 285. 3. Robert Musil, quoted in J. Ingham et al., 187. 4. Edward Jablonski, Gershwin (New York: Doubleday, 1987), 58. 5. George Gershwin, “The Composer in the Machine Age,” in The American Composer Speaks, ed. Gilbert Chase (Louisiana: Louisiana State University Press, 1966), 142. 6. Irving Berlin, quoted in Kathy Ogren, The Jazz Revolution: Twenties America & the Meaning of Jazz (New York: Oxford University Press, 1989), 144. 7. George Gershwin, in Chase, 140. 8. Roy Harris, “Problems of American Composers,” in American Composers on American Music, ed. Henry Cowell (New York: Frederick Ungar Publishing Co., 1962), 151. 9. Harris, 154.
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20 / LaScenaMusicale / Février 2001 February Music at Bishop’s Why do students study music at Bishop’s University? Un réseau d’établissements de formation professionnelle présents partout au Québec 4 Flexible B.A. degree with Honours, Major or Minor in Music Le Conservatoire offre en musique : 4 Complete programme: music history, theory, • Une préparation à la carrière musicale dès composition, electronic music, all instruments le jeune âge; 4 Degree easily combined with other subjects: • Un enseignement dispensé par des musiciens Arts, Sciences, Business, Education professionnels; 4 Small classes and individual attention • Un rapport maître-élèves des plus favorables 4 Great facilities and cultural life à l’apprentissage individualisé et au meilleur encadrement pédagogique; 4 That indefinable “Bishop’s experience” • Une progression par cours; Call us to find out more • Une pratique de la scène. La date limite pour présenter une demande d’admis- Email: [email protected] sion pour l’année scolaire 2001-2002 est le 1er mars. or [email protected] Pour tout renseignement à ce sujet, communiquer Information: www.ubishops.ca/ccc/div/hum/mus avec l’établissement de votre région. Liaison Office: (819) 822-9600 ext. 2681 Le Conservatoire de musique de Chicoutimi 202, rue Jacques-Cartier Est, Chicoutimi G7H 6R8 Tél. : (418) 698-3506 - [email protected] Le Conservatoire de musique de Hull 430, boul. Alexandre-Taché, Hull J9A 1M7 Tél. : (819) 772-3283 - [email protected] Le Conservatoire de musique de Montréal 100, rue Notre-Dame Est, 2e étage - Montréal H2Y 1C1 Tél. : (514) 873-4031 - [email protected] Le Conservatoire de musique de Québec 270, rue Saint-Amable, Québec G1R 5G1 Tél. : (418) 643-4955 - [email protected] Le Conservatoire de musique de Rimouski 22, rue Sainte-Marie, Rimouski G5L 8M2 Tél. : (418) 727-3706 - [email protected] Le Conservatoire de musique de Trois-Rivières 587, rue Radisson, Trois-Rivières G9A 5K8 Tél. : (819) 371-6748 - [email protected] Le Conservatoire de musique de Val-d’Or 88, rue Allard, Val-d’Or J9P 2Y1 Tél. : (819) 354-4585 - [email protected]
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LaScenaMusicale / Février 2001 February / 21 Article Le monde enchanté des agents Agents: a World of Operatic Proportions Anaïk Bernèche uel est le rôle d’un agent? Est-il préférable de faire partie d’une petite hat does an agent really do? Is it better to be with a small or a big ou d’une grande agence? Peut-on réussir sans agent? Voilà quelques agency? Does a singer need an agent? These are some of the Qquestions que La Scena Musicale a voulu éclaircir pour vous. Wquestions that La Scena Musicale will try to clarify for its readers. Dès sa sortie de l’université ou du conservatoire, l’étudiant en musique Fresh out of college or the conservatory, a Canadian music student is est immédiatement confronté à l’un des mythes les plus persistants au sujet confronted with one of the most enduring myths concerning agents: name- des agents: « Tous les bons agents sont à New York. » C’est faux, affirme ly, that all the good ones are in New York. “Not so,” says Mary Ingraham, Mary Ingraham, la fondatrice de ICRM Corp. (Ingraham Cultural founder of Ingraham Cultural Resources Management Corporation Resources Management Corporation), une agence de Vancouver. Plusieurs (I.C.R.M. Corp.), an agency based in Vancouver. There are many in Canada, agences sont établies au Canada, dont certaines se spécialisent dans les including a few that specialize in singers, such as Dean Artists Management chanteurs, comme Dean Artists de Toronto, Colwell Arts Management de in Toronto, Colwell Arts Management in New Hamburg (just outside New Hamburg (près de Toronto), Gossage Artist Management d’Ottawa, Toronto), Gossage Artists Management in Ottawa, Mulè Agency in Montreal Agence Mulè et ICRM Corp. de Vancouver. « L’agent peut habiter n’im- and I.C.R.M. Corp. in Vancouver.“It doesn’t matter where the agent lives, so porte où, ajoute madame Ingraham, en autant que son bureau soit muni long as his or her office is equipped with a telephone, fax, answering d’un téléphone, d’un télécopieur, d’un répondeur et de courriel. L’artiste, machine, and e-mail. What does matter, however, is where the artist lives.” par contre, doit soit habiter dans un grand centre, soit pouvoir voyager Though the artist does not have to live in a major city, he or she should have d’une grande ville à l’autre. » Vivre à proximité d’un aéroport semble être easy access to an airport and also have the means to finance a frequent-flyer la solution idéale. Grâce à l’ouverture du marché, les billets d’avion ne coû- lifestyle. Travelling itself need not cost an arm and a leg. Affordable fares can tent plus les yeux de la tête; on peut trouver de réelles aubaines chez des be found on several airlines, such as Canada 3000, Royal Airlines, and transporteurs aériens tels Canada 3000, la ligne Royal, WestJet, sans WestJet Airlines — not to mention seat sales by larger companies. compter les fréquents rabais des grands transporteurs. Big or small? Grosse ou petite? Is a big agency truly better than a small one? “That really depends on Est-il préférable d’appartenir à une grosse agence ou à une petite? the singer,” says Ingraham. “Some [singers] actually need the individua- « Cela dépend du chanteur, répond madame Ingraham. Certains lized, focused attention, especially at the start of their careers, since it can chanteurs ont besoin d’une attention individualisée, surtout au début de take up to three years to build an artist’s profile.” However, for more leur carrière, c’est-à-dire pendant les trois premières années qu’une experienced artists who have already appeared in principal roles in regional opera houses and are ready for more aggressive marketing, it may be time to look into joining one of the big agencies. L’agent voit à ce que le client reçoive When an artist signs a contract with an agency, one of the first items on the agenda is assembling materials for the agent to distribute to opera ce qui lui est dû, s’assure de conditions de travail companies, orchestras, and other groups. These materials usually include équitables et le protège des gens peu scrupuleux. a resumé and biography, press clippings, reviews, an 8x10 black and white glossy photo, a cassette, CD, or video demo. The artist pays for these materials. They can cost several hundred dollars for a demo and agence doit consacrer à établir la visibilité de l’artiste. » Cependant, les photos, and even as much as $10,000 USD up front the first year, as is the artistes dont la carrière a déjà pris son envol et qui ont besoin d’un mar- case with one of the most famous New York agencies. These expenses are keting plus dynamique pour s’imposer sur la scène musicale pourraient not included in either the retainer fee (ranging from $100 a month to songer à joindre les rangs d’une grosse agence. several thousand a year), which most agencies now charge, or the 10% to Une fois le contrat signé, la première chose que l’agence (petite ou 20% fee usually charged for engagements. grande) demande au nouveau client est de rassembler tout le matériel à When is it time to start looking for an agent? “The when is the same distribuer aux producteurs, compagnies d’opéra, orchestres, etc. Le as the why,” quips Ingraham. When the engagements start rolling in, matériel requis comprend un curriculum vitæ, des notes biographiques, when auditions are lined up for a whole season, the artist no longer has des coupures de presse, des critiques, une photo 8 sur 10 en noir et blanc the time to fill out application forms. Few artists possess the marketing sur papier glacé, une cassette, un CD ou encore une cassette vidéo. Toutes skills necessary to advance their careers, and fewer still have the contacts ces dépenses sont aux frais de l’artiste et peuvent représenter plusieurs needed to open doors that remain closed to all but managed singers. In centaines de dollars pour les photos ou un CD. Sans compter le coût des fact, most singers are immensely relieved to hand over this work to an billets d’avion pour se rendre aux auditions, la première année peut agent, and many consider it a badge of honour to have one. coûter de 2000 $ à 10000 $, comme c’est le cas pour l’une des grandes Pros and cons agences de New York. Et ces dépenses ne comprennent pas encore les When used in the clients’ best interests, the agents’ knowledge and acomptes versés à l’agence (de 100 $ à 800 $ par mois) ni les commissions skill ensure that artists are properly paid for their time and protected de 10 à 20 % sur les cachets. from unscrupulous practices and unfair demands (such as an opera Quand est-il temps de chercher un agent? « Le quand est comparable company selling tickets to a dress rehearsal, thereby hoodwinking au pourquoi », lance la présidente d’ICRM. Quand les engagements se singers into giving an extra performance for free). multiplient, quand une saison est remplie d’avance, l’artiste n’a plus le Still, this same business savvy can act as a double-edged sword: after temps de s’occuper de la paperasse. De plus, peu d’artistes possèdent les all, agents are in the business of artist representation in order to make aptitudes de marketing nécessaires à l’avancement de leur carrière, et money. As Mary Jane, a mezzo-soprano from the Midwest currently encore moins d’entre eux ont les contacts indispensables pour ouvrir les residing in New York, is quick to point out,“You really have to watch out. portes réservées aux artistes représentés. En fait, la plupart des artistes In the three years with [agency name withheld], I gave them over $5,000 confient allégrement le fardeau administratif à l’agent — et certains se [US] in retainer fees and all the important jobs I have obtained were font un point d’honneur d’en avoir un. through my own efforts—nothing to do with my agents—yet they col-
22 / LaScenaMusicale / Février 2001 February L’agent, qui, on l’espère, est plus versé en affaires que l’artiste, voit à lected their 15% on every job I did!” Ironically, despite her disillusion- ce que le client reçoive ce qui lui est dû, s’assure de conditions de travail ment with the system, she has resigned herself to staying with the agen- équitables et le protège des gens peu scrupuleux (telle une compagnie cy because it is “better than having no agent at all.” d’opéra qui vend des billets pour une générale et par ce procédé obtient Of course, performers can take matters into their own hands and do une prestation gratuite de l’artiste). the work themselves, but it is a daunting task, as they have difficulty fin- ding enough time to tend to business outside of their musical pursuits. Le pour et le contre Should you plan to represent yourself, whether by choice or necessi- Il reste que les agents représentent des artistes pour faire de l’argent, ty, you’ll need the tools professional agents use. A good place to start is comme le signale Mary-Jane, une mezzo-soprano qui habite New York: Musical America, a comprehensive directory of singers, instrumentalists, « Il faut vraiment garder les yeux bien ouverts. Depuis trois ans, j’ai payé agents, competitions, opera houses, orchestras, dance companies, music au-delà de 5000 $US à mon agent et les engagements que j’ai eus, je les schools, festivals, and so on, published every year in December (over ai obtenus par moi-même, sans aide aucune de mon agent — qui a pour- $100 USD a copy). It is available at Patelson’s (a music store in New York, tant récolté ses 15 % sur chaque engagement. » Malgré sa désillusion, tel.: (212) 582-5840) and in most music libraries. Another excellent ref- Mary Jane continue d’appartenir à cette agence parce que, dit-elle, « il erence is a book entitled Making Music in Looking Glass Land ($17.95 vaut mieux avoir un agent que rien du tout ». USD), published by the Concert Artists Guild (tel.: (212) 333-5200). Évidemment, un artiste peut retrousser ses manches et faire tout le Magazines and newsletters catering to singers, such as the Classical travail lui-même, mais peu d’artistes trouvent le temps de s’occuper Singer, Opera News, Opera, and La Scena Musicale, are all good sources of d’une telle gestion tout en poursuivant une carrière de chanteur. information for getting your career started. p Néanmoins, celui ou celle qui choisit d’être son propre agent devra utilis- er les mêmes ressources qu’un agent. Un outil indispensable est le Musical America, un répertoire exhaus- tif comprenant chanteurs, instrumentistes, agents, concours, maisons d’opéra, orchestres, compagnies de danse, écoles de musique, festivals et Récital de flûte et piano bien d’autres, publié chaque année en décembre (plutôt dispendieux, à plus de 100 $US). On peut se le procurer chez Patelson’s (un magasin de JEUDI LE 1ER FÉVRIER 2001 À 20 H livres et partitions de musique de New York, tél. (212) 582-5840) ou le consulter dans toutes les bonnes bibliothèques de musique. Un autre Guy Vanasse, flûtiste excellent ouvrage de référence s’intitule Making Music in Looking Glass Suzanne Blondin, pianiste Land (17,95 $US plus les frais d’expédition et de manutention) publié par la Concert Artist Guild (tél. (212) 333-5200). Sans oublier les maga- zines et autres publications consacrés à l’art lyrique, tels que Classical Singer, Opera News, Opera, ainsi que La Scena Musicale. Voilà autant Entrée 15 $ 300, boul. de Maisonneuve Est, Montréal d’outils qui vous seront utiles dans vos démarches. p (gratuit pour les étudiants) Billets : 987-6919; Renseignements : 987-3000, poste 0294
For a rewarding career in Arts and Cultural Administration... Arts Organizations — Festivals — Tourism Graduate Diploma in Administration Graduate Certificate in Cultural Affairs and Event Management http://www-commerce.concordia.ca WINTER 2001 INFORMATION SESSIONS Dates Thursdays PROGRAM FEATURES February 8 March 8 p 30-credit diploma or 18-credit certificate March 29 p 3-month internship in diploma Time p part-time or full-time studies p transfer credits to the MBA 6:00 pm – 7:00 pm Place Room GM 403-2 Concordia University 1550 de Maisonneuve W FACULTY OF COMMERCE (Metro Guy-Concordia) AND ADMINISTRATION Sign up Tel: (514) 848-2718 Fax: (514) 848-2816 Email: [email protected]
LaScenaMusicale / Février 2001 February / 23 Notes
Des nouvelles des chefs L’Orchestre de Philadelphie, quant à lui, Le magazine américain Forbes vient de inaugurera le Verizon Hall, une salle de 2500 divulguer les salaires des chefs les mieux payés auditeurs, le 15 décembre 2001. Les solistes de aux États-Unis. James Levine (Metropolitan ce concert seront Emmanuel Ax, Itzhak salle Opera de New York) décroche la palme avec Perlman et Yo-Yo Ma. - Lucie Renaud son salaire de 1857000 dollars américains. Non Jean-Grimaldi loin derrière, mentionnons Kurt Masur Concours, nominations et prix (Cégep André-Laurendeau) (Orchestre philharmonique de New York) avec Le jeune violoniste québécois Jing Wang 1111, rue Lapierre, LaSalle QC 1510868 dollars, Michael Tilson Thomas vient de remporter le premier prix du concours STATIONNEMENT GRATUIT (Orchestre symphonique de San Francisco) Concertino Praga, ex aequo, avec une violoniste avec 1283644 dollars, Wolfgang Sawallisch espagnole, Leticia Munoz. Il a également mérité (Orchestre de Philadelphie) avec 1213000 dol- le prix spécial de la meilleure interprétation de lars, Leonard Slatkin (Orchestre national sym- l’œuvre imposée. En 1997, le jury du Concours phonique) avec 1074544 dollars et Christoph de musique du Canada lui avait déjà décerné la von Dohnanyi (Orchestre de Cleveland) avec plus haute note jamais donnée à un participant. 1035348 dollars. En 1999, il raflait le premier prix du Concours La saison 2001-2002 de Carnegie Hall de l’Orchestre symphonique de Montréal. comptera toute une série d’adieux de chefs à Lors du concours de la Fondation leur orchestre: Claudio Abbado à l’Orchestre Liederkranz de New York en janvier, le ténor philarmonique de Berlin, Seiji Osawa à Guy Lessard, originaire de Québec a remporté l’Orchestre symphonique de Boston, Christoph une deuxième place dans la catégorie des von Dohnanyi à l’Orchestre de Cleveland et chanteurs wagnériens en interprétant des Kurt Masur à l’Orchestre philarmonique de extraits de Die Walkyrie et de Rienzi. New York. La saison de l’Orchestre de New York, Le compositeur Pierre Boulez vient de rem- baptisée «Thank you, Kurt Masur» proposera la porter le prix Grawemeyer pour Sur incises.La Société de guitare création de nouvelles œuvres, la publication fondation qui gère le prix avait reçu cette année d’un livre de souvenirs, un coffret CD en hom- plus de 170 nominations de compositeurs de Montréal mage au chef ainsi qu’une exposition. originaires de 25 pays différents. Le prix s’ac- «Les guitares chantent et dansent» Le chef allemand Christoph Eschenbach, compagne d’une bourse de 200000 $US. La 30e Dimanche, 4 mars 2001 • 14 h • 13$ tx incl. actuel directeur de l’Orchestre de Paris, vient édition du Prix d’Europe se tiendra du 5 au d’être nommé directeur de l’Orchestre de 8 juin à la Chapelle historique du Bon-Pasteur. Philadelphie pour une période de 7 ans à Les jeunes musiciens québécois de 18 à 30 ans compter de 2003, en remplacement de Wolfgang ont jusqu’au 1er mars pour s’y inscrire. De plus Sawallisch. L’annonce a peu surpris puisqu’il y a amples renseignements au numéro (514) 528- quelques semaines, Eschenbach avait clairement 1961 ou à l’adresse
24 / LaScenaMusicale / Février 2001 February home on December 23 at the age of 91. it the theory attributing Beethoven’s death to Classically trained, he would transform the venereal disease. - L. R. great works of the piano repertoire into delightful sketches that even musicians would Opera News relate to. He fled to the USA in 1940, taught The Canadian Opera Company announced himself English and first performed on Bing that for the fourth consecutive year, the compa- Crosby’s radio show in 1941, soon becoming ny has achieved a small surplus—$8,000 for the very popular worldwide. 1999/2000 season. The COC attracted a record The Danish bass Aage Haugland, famous 17,900 subscribers, a 16% increase over the past for his interpretations of Wagner and Strauss, year and 93% over six years ago. A new fund was lost his battle to cancer at the age of 56. His also established in support of baroque opera. favorite role was Hunding in Wagner’s Walkyrie. With a more than generous gift of $120,000 He made his Metropolitan Opera debut in 1979 from Peter E. Sandor, long-time supporter of the as Rosenkavalier’s Baron Ochs. - L. R. COC, the fund will ensure that baroque operas Canada's Leading continue to be performed. The opera company Beethoven’s Hair was also elated to announce that it will perform Violin Shop! Beethoven certainly seems to embody the Canada’s first complete Ring cycle starting in stereotype of the tortured genius enduring 2003, thanks to an extraordinary gift of $2.5 mil- For a free catalog and intense physical and mental anguish. In lion from Mrs. Delia Moog and the Kolter cleaning-cloth call October 2000, thanks to state-of-the-art testing Property Company. The gift will pay for cos- tel: 888.353.7427 on a lock of hair snipped at the moment of his tumes, sets and other production costs. death in 1827, scientists discovered that the The COC’s 2001-2002 season includes the or e-mail to lead concentration in his body was more then revivals of Strauss’s Salome and the combo of [email protected] 100 times greater than the level normally found Bluebeard’s Castle and Erwarthung, as well as in Americans today. Dr. William Walsh, direc- Handel’s Julius Ceasar in Egypt with the star and mention this ad! tor of the Beethoven Research Project, is cer- studded cast of Ewa Podlès (Cesare), Isabel tain that Beethoven was exposed to lead some- Bayrakdarian (Cleopatra), Daniel Taylor time between the ages of 18 and 22. Most likely (Sesto), Brian Asawa (Tolomeo) and Marie- Services it caused the composer’s depression, abdomi- Nicole Lemieux (Cornelia) in April 2002. nal pain, irritability, personality changes, and The Opéra de Montréal has appointed maybe even his deafness. A day before Walsh Kimberley J Gaynor to the position of General 96 page sheet music made his findings public, Russell Martin had Director, effective March 19, 2001. An accom- published Beethoven’s Hair, a fascinating tale of plished career arts administrator, Ms. Gaynor catalog with RCM the whereabouts of that strand of hair between returns to Canada after an absence of eight cross references 1827 and today. These findings further discred- years in Europe, where she worked at the Royal Choral Skills Quality Rentals Sight Singing Full repair and Gregorian Chant restoration department Lively courses with... Bow Re-hairing Deux cours avec... Grand Concert Lawrence Harris Arion, un classique For singers and lovers of chant Mozart et la riche histoire de l’église St-Joachim Fine Instrument and Pour les chanteurs et amateurs du chant Mozart and the fascinating history of St-Joachim Church Bow Department Notre-Dame-de-Bon-Secours commentée par/with comments from Marc Béland Bow approval program Vieux Montréal Vendredi 2 fév. / Friday Feb. 2nd (try a selection in your Courses given in English 8 p.m. home before purchase). Everyone welcome Grand Concert Feb 10 head start day, Mar 3, 17, 31 Huge selection of student April 14, 28, May 12, 26, June 9, 23 Sacrée Landowska Enroll in either course or both: Ensemble contemporain de Montréal, instruments, bows, accessories, Dir. Véronique Lacroix Choral Skills / Sight Singing 2 - 3 pm strings, sheet music and more! Vendredi 16 fév. / Friday Feb. 16th An energetic workout to develop skills 8 p.m. and boost confidence. Especially helpful Visit us on the web at the to parish choir singers. $100 Billets/Tickets: $10, $5, disponibles à Stewart NEW... Gregorian Chant 3 - 5 pm Hall ou à la porte avant le concert/available at Sing the chant and learn its history. $200, Stewart Hall or at the door before the concert www.sharmusic.com with Sight-Singing class free and optional Église St-Joachim, 2 Ste-Anne, P.-C. 26 Cumberland Street - 2ND Floor Solfège Pointe-Claire Cultural Centre, Toronto, ON M4W 1J5 Chant Grégorien Stewart Hall, tél. (514) 630-1220 Tel: 888.353.7427
LaScenaMusicale / Février 2001 February / 25 Opera House and her own consulting firm. Previously, she held the position of Assistant General Director and later Interim General Director of the Grands Ballets Canadiens. The position became open when current Artistic enr. Director Bernard Uzan resigned the General Direction last summer. Gaynor stated that her priority is to bring new audiences to opera and to spearhead the campaign for corporate fund-rais- ing. Ms. Gaynor will also participate in the selec- tion of a replacement for Uzan, who leaves the 735, rue Jacques-Berthiaume OdM at the end of December. - L. R. Sainte-Foy (Québec) Maazel / Vilar Conductors’ G1V 3T2 Competition Launched Maestro Lorin Maazel and arts philan- (418) 659-7098 thropist Alberto Vilar announced on January 17 the launching of an international music compe- tition designed to identify and develop out- standing young conducting talent. Vilar spoke reverently about the importance of the conduc- tor’s role, saying, “Cultivating the next genera- tion of conductors is essential to continuing and enhancing the magnificent work of the world’s symphony orchestras and opera houses.”Maazel promised that the Maazel-Vilar Competition will coach conductors in all aspects of a con- ducting career, including orchestra psychology, union negotiation, and publicity. The Competition’s prize, which includes an intensive conducting fellowship with Lorin Maazel and other distinguished artists over a two- to three-year period, a cash award of $45,000, and select professional engagements with symphony orchestras. For more information, consult the website:
One to watch Twenty-two-year old mezzo soprano Michèle Lozier was named the winner of the Prix Lyrique Français des Journées de la Musique Française 2000 (JMF) ($5000 and the role of Dorabella in Mozart’s Così fan tutte at the Avignon Opera) besting 62 other participants. The JMF was held in Montreal in December 2000 in conjunction with the Jeunes Ambassadeurs Lyriques 2000 Auditions, allowing 89 candidates to sing in front of artistic and general directors from European and Canadian opera houses (this year Vancouver Opera was represented). Trained in piano and in only her fifth year as a singer, the McGill student won over the jury with her natural well-project- ed rich timbre and earnest musicianship. She was also offered a 10-month engagement with the Giessen Opera in 2001-2002. Other winners with prizes consisting of cash and/or future engage- ments and auditions in Europe include: Journées de la Musique Française 2000: Lambroula Maria Pappas, Hélène Guilmette, Robyn Drieder- Klassen, Mélanie Esseltine, Karine Michon, Tamara Hummel, and Isabelle Trottier. Auditions des Jeunes Ambassadeurs Lyriques 2000: Hélène Guilmette, Geneviève Couillard, Lambroula Maria Pappas, Dina Martire Krisztina Szabo, Sergei Stilmachenko, and Caroline Ménard. The first round of the next national auditions of the Jeunes Ambassadeurs Lyriques will be held on May 3-8. Info: Théâtre lyrichorégra 20 at (514) 684-7287. - Wah Keung Chan
26 / LaScenaMusicale / Février 2001 February Jean-François Rivest, Artistic Director 25 years
CHAMBER ORCHESTRA
SEASON SPONSOR 2000 - 2001 Season February 23 février (Friday/vendredi) Simon Streatfeild Guest Conductor/chef invité Judy Kang, violin/violon
March 23 mars (Friday/vendredi) Grant Cooper Guest Conductor/chef invité Charles Hamann oboe and oboe d’amore
May 4 mai (Friday/vendredi) Jean-François Rivest conductor/chef attitré Matthew White counter-tenor/haute contre
All concerts at 8:00 pm St. Andrew’s Church Wellington Street at Kent, Ottawa Advance tickets at: HMV (Sparks St.), CD Warehouse, Leading Note. Adults $20; Students/Seniors $15; Youth $5 At the door: Adults $22; Students/Seniors $17; Youth $5 Subscriptions: available at the door
For more information, (613) 745-1142
www.thirteenstrings.ca
LaScenaMusicale / Février 2001 February / 27 CALENDRIER / CALENDAR du 1er février au 7 mars / February 1 to March 7
TABLE DES MATIÈRES / dans la description de l’événement, et/ou dans la clé CPC conférence pré-concert l’événement est répété le même jour, il se peut des abréviations au début de chaque section régionale. CV Contribution volontaire (montant suggéré dans qu'il n'y ait qu'une seule inscription. TABLE OF CONTENTS © Les prix des billets sont arrondis au dollar près. Les certains cas) indique la date (et région) de l'inscription où se Montréal ...... page 28 solistes mentionnés sans instrument sont des EL entrée libre trouvent les détails pour cet événement, y com- Québec ...... page 41 FA free admission pris les dates de toutes les représentations. chanteurs. Les événements reçus après la date de † Ailleurs au Québec ...... page 42 tombée sont affichés dans le calendrier de notre site FO Freewill offering indique la date d’un événement relié. Ottawa ...... page 43 Web. Celui-ci contient plus de détails pour les concerts JMC Jeunesses musicales du Canada Toronto ...... page 44 qui présentent plusieurs œuvres ou artistes. LP gratuit mais laissez-passer obligatoire/free but SYMBOLS Ontario ...... page 47 pass required (NB les LP sont souvent en nombre † indicates dates (and regions) for all other perfor- Manitoba ...... page 48 COMMENTS : Cancellations and program changes restreint, il faut s’y prendre à l’avance pour les mances of the same event. If an event is repeat- Saskatchewan ...... page 48 may occur. Readers can check details by using the obtenir. Certains établissements exigent une ed on the same day, it is not always listed sepa- Alberta ...... page 48 phone numbers included in the event descriptions, preuve de résidence.) rately. British Columbia ...... page 49 and/or in the abbreviations section at the beginning of MC Maison de la culture © indicates the date (and region) for the listing Atlantic Provinces ...... page 50 each region. Prices are rounded off to the nearest dollar. O. S. Orchestre symphonique which shows complete details for that event, Radio ...... page 51 Soloists mentioned without instrument are singers. PCC pre-concert chat or activities including all performance dates. TV ...... page 52 Events received after our deadline appear in our website RSVP prière de réserver tôt/please reserve in advance † indicates the date of a related event. calendar, which also has more details for concerts with SRC CC (autre que dans les sections Radio et TV) Ce Visit our website for the Canadian Classical numerous works or performers. Music Calendar / Visitez notre site Web pour le concert sera diffusé sur la Chaîne culturelle de Date de tombée pour le prochain calendrier : Calendrier canadien de musique classique Radio-Canada Deadline for the next calendar : ABRÉVIATIONS GÉNÉRALES S. O. Symphony orchestra www.scena.org CBC R2 (other than in Radio and TV sections) 12 février 2001 / February 12, 2001 REMARQUES : Des annulations ou modifications Concert will be broadcast later on CBC Radio Two SYMBOLES fax : (514) 274-9456 peuvent survenir. Pour vous aider à vérifier les détails CMQ Conservatoires de musique du Québec (à † indique les dates (et régions) de toutes les email: [email protected] des événements, des numéros de téléphone sont inclus Montréal, Rimouski, etc.) autres représentations du même événement. Si BPap Bois Papineau, 3235 boul. St-Martin Est Sherbrooke O, 285-1600: AMC Auditorium Wilfrid-Pelletier CCC-M Cathédrale Christ Church, 635 Ste- Maxwell-Cummings, Pavillon Benaiah Gibb, UdeM-MUS Université de Montréal, Faculté de Catherine O, 288-6421, 843-6577 1379 Sherbrooke ouest musique, 200 Vincent-d’Indy, 343-6427: SCC CDesj Complexe Desjardins, Ste-Catherine Ouest / MC FR MC Frontenac, 2550 Ontario E, 872-7882 Salle Claude-Champagne, 220 av Vincent- Jeanne-Mance MC PMR MC Plateau Mont-Royal, 465 Mont-Royal d’Indy; B-484 B-484; B-421 B-421 CHBP Chapelle historique du Bon-Pasteur, 100 E, 872-2266 Sherbrooke E, 872-5338 McGill-MUS McGill University Faculty of Music, 555 CMQ-M Conservatoire de musique du Québec à Sherbrooke W, 398-5145, 398-4547: POL Salle FÉVRIER Montréal, 100 Notre-Dame E, 873-4031: SGC Pollack; RED Salle Redpath, 3461 McTavish Salle Gabriel-Cusson McCord Musée McCord, 690 Sherbrooke Ouest, Exposition CPP Centre Pierre-Péladeau, 300 Maisonneuve E, 398-7100 poste 234 CHBP. Thérèse Chabot: Offrandes d’une reine. du MONTRÉAL 987-6919: SPM Salle Pierre-Mercure Ogilvy Magasin Ogilvy, 1307 Ste-Catherine Ouest: 1er au 25. 872-5338 ÉMVI École de musique Vincent-d’Indy, 628 ch TUD Salle Tudor Sauf indication contraire, les événements ont lieu Côte-Ste-Catherine OratSJ Oratoire St-Joseph, 3800 ch. Queen-Mary, Jeudi 1 Thursday à Montréal, et l’indicatif régional est 514. FMLum Festival Montréal en Lumière 733-8211: BAS Basilique > MA-LAV Maison des Arts, 1395 boul. de la OSM Orchestre symphonique de Montréal 9h. MA Lav. 6$. La musique au grand jour, Principales billetteries: Admission 790-1245, Découverte de l’opéra. Monteverdi: Orfeo. Pierre 800-361-4595; Articulée 844-2172; Place des Concorde O, 450-667-2040 PdA Place des Arts, 175 Ste-Catherine Ouest, 842- MBAM Musée des beaux-arts de Montréal, 1379 2112: TM Théâtre Maisonneuve; SWP Salle Castonguay, conférencier. 450-668-9417, Arts 842-2112 450-667-2040
Arion, un classique GEOFFREY OVINGTON concerts musique et histoire Maker of Violins, Arion vous invite, pour une seconde saison, à sa soirée Violas and ‘Celli toute spéciale où les églises du XVIIIe siècle de la région de Montréal sont au cœur d’une fête musicale. Marc Béland, comédien, racontera l’histoire de ces Instruments of Distinction monuments et des gens de la Nouvelle-France. Played Internationaly
André Panneton Les musiciens d’Arion feront revivre ces trésors ______du patrimoine en tant qu’instruments de musique Marc Béland à l’acoustique exceptionnelle. comédien Geoffrey Ovington Violins AU PROGRAMME Vendredi le 2 février, 20h Eagleville road Quatuors pour flûte et cordes Église Saint-Joachim de Pointe-Claire Shushan, NY 12873 2, rue Sainte-Anne, Pointe-Claire 514-630-1220 de Wolfgang Amadeus Mozart U.S.A. Dimanche le 4 février, 20h 518.854.3648 Claire Guimond, flûte Église de la Visitation Chantal Rémillard, 1829, boulevard Gouin Est, Montréal 514-872-8749 Vienna Philharmonic Olivier Brault, violons Dimanche le 6 mai, 15h Los Angeles Chamber Orchestra Élisabeth Comtois, alto Église Saint-Joseph de Rivière-des-Prairies Joachim-Koechert Quartet 10050, boulevard Gouin Est, Montréal 514-872-9814 Susan Napper, violoncelle Buffalo Philharmonic Samedi le 3 février, 20h Deutsche Kammerphilharmonie Église de la Paroisse de Saint-Hilaire Lafayette Quartet New York Philharmonic 260, Chemin des Patriotes, Mont Saint-Hilaire 450-467-4434 Bavarian Radio Symphony Exceptionnellement, cette soirée sera animée par Oslo Philarmonic Franciscan String Quartet Laurier Lacroix, historien de l’art, spécialiste de l’œuvre Vienna Radio Symphony d’Ozias Leduc. Cette soirée est une présentation de Norwegian Chamber Orchestra la Société d’histoire de Beloeil – Mont-Saint-Hilaire. St. Cecilia Chamber Orchestra Prometheus Quartet (Köln)
28 / LaScenaMusicale / Février 2001 February > 16h. Centre communautaire Elgar, 260 Elgar, Île Apportez vos instruments pour participer des Soeurs, Verdun. 2$. Conférences Puces activement à ces échanges. 873-4031 À venir (jeune public 5-12 ans). La lutherie. > 18h15. Centre culturel, 13850 boul Gouin O, Les Productions Rigoletto partagent leur amour de l’art lyrique Introduction au métier du luthier; anatomie du Pierrefonds. 6-9$. Tournée CACUM. The Tale of violon et de l’alto. Martin Héroux. 765-7150 the Little Tailor. SMCQ Jeunesse. (f 17 18). > 17h. UdeM-MUS B-484. EL. Bach, Borne, 843-9305, 624-1100 La jeune compagnie Les Productions Rigoletto offre deux spectacles > Cimarosa, Dutilleux. Classe de Lise Daoust, 18h30. CMQ-M SGC. EL. Virginie Gagné, violon; différents au cours de février. Hommage à Lionel Daunais (3 février à la flûte. 343-6427 Suzanne Goyette, piano accomp. 873-4031 > 18h30. CMQ-M SGC. EL. Classe de Johanne > 19h30. UdeM-MUS B-421. 6$. Opéramania Maison de la culture de Pointe-aux-Trembles) permettra au public de Arel, violon; Claire Ouellet, piano accomp. (projection d’opéra sur grand écran). Donizetti: découvrir ou de redécouvrir un grand artiste ayant profondément marqué 873-4031 Lucia di Lammermoor. Michel Veilleux, musico- > 19h. MA Lav. 6$. Musique sous les étoiles; logue, animateur. La Scala (1992), avec Devia, la scène lyrique canadienne, et Duo d’opérettes... et autres délices (les 11 Musique symphonique de Mendelssohn et La Scola, Bruson, Colombara; Ranzani, chef; et 18 février à la Bibliothèque de l’Île Bizard et à la Maison de la culture Bruch. Bruch: Symphonie #1. Pierre Pier’Alli, mise en scène (f 3 9). 343-6427 du Plateau-Mont-Royal) présente un habile collage des plus beaux extraits Castonguay, conférencier. 450-668-9417, > 20h. CPP SPM. 15-25$. Vivaldi: Les Quatres 450-667-2040 Saisons; Magnificat RV610a; M. Corrette: Motet d’opérettes françaises et viennoises. > 19h30. McGill-MUS POL. 10-15$. CBC McGill. “Laudate Dominum de coelis” (d’après Vivaldi). Premières chaises II. Tchaikovsky: Sextuor; La Chapelle de Montréal, Yannick Nézet- Clermont Tremblay, également directeur général et artistique de la Rheinberger: Nonet. Richard Roberts, violon; Séguin, chef. 527-5019, 987-6919 autres premières chaises. 398-5145, 398- > 20h. Collège St-Maurice, 630 Girouard Ouest, compagnie, incarne Lionel Daunais (1901 - 1982), interprète, composi- 4547, 790-1245 St-Hyacinthe. Concerts des Amériques (JMC). teur et parolier. Le spectacle dresse un portrait de l’artiste, qui, par ses > 20h. CPP SPM. 0-15$. Ma corde sensible. Rossini, Saint-Saëns, Berlioz, Ravel, Dvorak, activités au sein du Trio lyrique et des Variétés lyriques, a fasciné par un Beethoven, Schumann, Schubert, Franck, Archer, Brahms. Duo Ouellet Murray, piano 4 Ouellette: oeuvres pour violon transcrites pour mains. (f 3 Montréal; 7 8 9 11 12 24 Ailleurs répertoire à l’humour subtil et mordant, que l’on retrouvera dans des flûte (transcr.: Vanasse et al.). Guy Vanasse, au Québec; 22 Ottawa; 16 21 Ontario). 845- pièces comme Le petit chien de laine, Le pinguoin, Le Kangouroucoq, Les flûte; Suzanne Blondin, piano. 987-3000 poste 4108 poste 229 mots d’amour et Les patates. La qualité et la justesse dont fait preuve M. 0294, 987-6919 > 20h. Église St-Joachim, 2 Ste-Anne, Pointe- > 20h. CHBP. LP. Innovations en concerts. Claire. 10$. Le patrimoine historique de l’église Tremblay dans son interprétation proviennent en grande partie de la Musique contemporaine. Claude Vivier, Serge St-Joachim. Mozart. Ensemble Arion; Marc recherche attentive effectuée autour du personnage de Daunais. On Garant, R. Murray Schafer, Robert Lemay, Tim Béland, comédien. 630-1220 Brady, André Ristic. Bradyworks: Annie > 20h. McGill-MUS POL. 5$. Professeurs, invités retrouve dans le spectacle des extraits du manuscrit Propos divers de mes Tremblay, voix; Lisa Godwin, piano; André et anciens de McGill. Willan, Fiala, Infante, automnes, écrit par Daunais lui-même. Leroux, saxophone; Tim Brady, sonorisation, Dychko, Kolodub. Luba et Ireneus Zuk, duo de traitement numérique. SRC CC. 872-5338 piano. 398-5145, 398-4547 > 20h. CMQ-M SGC. EL. Classe de Johanne Arel, Dans Duo d’opérettes... et autres délices, la soprano Anne Saint-Denis violon; Claire Ouellet, piano accomp. 873- Samedi 3 Saturday se joint à Clermont Tremblay et à la pianiste Nancy Pelletier pour présen- 4031 > 15h. CHBP. EL. Les pré-concerts d’I Musici de ter une comédie des plus divertissantes dans laquelle le chant, la choré- > 20h. Hôtel de ville, 1800 boul St-Joseph, Montréal. Répétition publique, commentée. Yuli Lachine, Salle publique. $. Borodine, Bax, Turovski, chef. 872-5338 graphie, les costumes et la mise en scène s’unissent pour donner vie à une Bartok. Quatuor Claudel; Philippe Magnan, > 19h30. UdeM-MUS B-421. 6$. Opéramania, série de personnages colorés. hautbois. (f 4 21/2, 1/3). 634-3471 Lucia di Lammermoor. (La Scala 1992) (h 2) > 20h. Cégep de Granby Haute-Yamaska, 50 St- Vendredi 2 Friday Joseph, Granby, Auditorium. 5-15$. Ouellet Les spectacles des Productions Rigoletto ont la réputation de ravir les > 12h. UdeM-MUS B-421. EL. Classe de Gilles Murray (JMC). 845-4108 poste 229, 450-378- membres de l’assistance par ce qu’ils font voir et entendre. Leur secret Manny, piano. 343-6427 7504 (h 2) vient sans doute de la rigueur et du professionalisme qu’ils mettent à offrir > 12h15. McGill-MUS RED. EL. Noon-Hour Organ. > 20h. McGill-MUS RED. 16-20$. Tziganes. Brahms, (f 9 16/2, 2/3). 398-5145, 398-4547 Schumann, Dvorak, Bartok. VivaVoce, Peter à leur public un spectacle enjoué, dans une atmosphère chaleureuse et > 13h. Église St-Pierre-Apôtre, 1201 de la Schubert, direction; Michael McMahon, piano; détendue. Information : (450) 583-3126. Visitation. EL. Ateliers d’improvisation (CMQ- Bokreta (groupe folklorique hongrois). Com- Marielle Leroux M). Orgue. Jean Le Buis. Durée: 3 heures. mentaires bilingues (f 9). 489-3739, 398-4547
PETER SCHUBERT, directeur artistique avec Michael McMahon, piano
Concerts commentés pour le plaisir de savoir
Tziganes! Musique vocale de l'époque romantique inspirée par une vision idéalisée du mode de vie des Tziganes. Brahms, Schumann, Dvorák˘ et Bartók. Avec la participation des membres du groupe folklorique hongrois Bokréta.
le samedi 3 février à 20 h le vendredi 9 février à 20 h Salle Redpath Musée McCord l'Université McGill 690, rue Sherbrooke Ouest 3461, rue McTavish Billetterie: (514) 398-7100, Billetterie: (514) 398-4547 ext. 234
Régulier: 20 $ Étudiant(e)/Aîné(e): 16 $ Renseignements: (514) 489-3739
LaScenaMusicale / Février 2001 February / 29 méthode Suzuki, Jean Grimard, direction. > 17h. CMQ-M SGC. EL. Classe de René Gosselin, À venir 398-5145, 398-4547 contrebasse. 873-4031 > Les membres du quatuor à cordes tchèque Prazak seront les invités de 15h. CMQ-M SGC. EL. Rendez-vous du dimanche > 19h. MA Lav. 6$. Musique sous les étoiles; (professeurs du CMQ-M et leurs invités). Christina Chopin: l’oeuvre et la vie. Chopin: Les Études. la Société Pro Musica le 5 février. Vingt-cinq ans après leurs débuts, héri- Tannous, soprano; Jean-François Normand, clar- Pierre Castonguay, conférencier. 450-668- tiers de la riche tradition du quatuor en Bohème et forts d’une reconnais- inette; Louise-Andrée Baril, piano. 873-4031 9417, 450-667-2040 > > sance internationale, ils offriront aux mélomanes le Quatuor opus 20 no4 15h30. CHBP. LP. Début inc. Série pour Jeunes 20h. Église Unie de Mont-Royal, 1800 boul Artistes. Chopin, Scriabine, Liszt. Jeremy Graham, Mont-Royal. 12-20$. Vivaldi, Haydn, de Haydn, l’opus 105 de leur compatriote Dvorˇàk et le Premier Quatuor Thompson, piano. 768-3424, 872-5338 Mozart, Weber. Orchestre Philharmonique du du mal-aimé de l’école viennoise, Zemlinski, œuvre qu’ils interprètent > 15h30. MA Lav. 9-15$. OSL, famille. (h 14h) Nouveau Monde, Dominique Fanal, chef; Tina > 15h30. OrSJo BAS. Raymond Daveluy, orgue. Zang, violon; Martin Gauvreau, clarinette. avec beaucoup de lyrisme en enregistrement. Info : (514) 845-0532 (Pro (f 11 18 25/2, 4/3). 733-8211 342-0942 Musica) ou 842-2112 (Place des Arts). > 20h. Église de la Visitation, 1847 boul. Gouin E. > 20h. MAI, 3680 Jeanne-Mance. 10-15$. Andrew EL. Le patrimoine historique de l’église de la Timar, Diego Luzuriaga, Yoshiharu Takahashi: Visitation. Mozart: Quatuors à cordes; Quatuors > musique. Concerts, ateliers en musicothérapie, world premieres; traditional Chinese and 20h. McGill-MUS POL. 15-23$. Intégrale des pour flûte et cordes. Ensemble Arion; Marc Japanese music. Nishikawa Ensemble. (f 15 quatuors à cordes. Beethoven: op. 18 #4; op.74 atelier de pédagogie musicale, répétitions, Béland, comédien. 630-1220, 872-8749 master class, etc. Professeurs et chargés de Toronto). 982-3386 «Harpe»; op.131. Quatuor Alcan. (*prochain > 20h. UdeM-MUS B-484. EL. Cowell, Reinecke, 7/3). 418-543-0083, 343-6427, 398-45473 fév. cours du Département de musique de l’UQAM. Lundi 5 Monday > jusqu’à 16h (3e étage). 987-3000 poste 0294 Sancan. Classe de Gisèle Millet, flûte. 343- 20h. MC de Pointe-aux-Trembles, Hommage à > 6427 Lionel Daunais. Clermont Tremblay, baryton; > 13h. CCC. EL, CV. Brahms: Piano Quartet op.60; 10h. Cégep Marie-Victorin, 7000 Marie-Victorin, Rivière-des-Prairies, Salle Desilets. Jeune Nancy Pelletier, piano (Les Productions Rigo- Scott Tresham: Lyveden (1999). Frederic Mercredi 7 Wednesday letto). 872-2240. Bednarz, violin; Pemi Paull, viola; Pierre-Alain Public 6-10 ans. Menus Ménestrels, comédie > musicale médiévale. Strada. Prés. Ville de > 12h. CPP SPM. EL. Concerts-midis, Projet 20h. Pavillon des Arts, 1364 ch. Pierre- Bouvrette, cello; Olivier Godin, piano. 288- f Péladeau, Ste-Adèle. 25$. Fauré, Schumann, 6421, 843-6577 Montréal Nord ( 9 10 11 26/2, 4/3). 418-649- Mozart. Mozart: Pièces pour piano solo. Pierre > 13h30. Centre communautaire, Charlemagne. 7141, 328-4150 Jasmin, piano; Claude Dauphin, musicologue. Mendelssohn, Brahms. Francine Chabot, > f piano; Thérèse Ryan, violoncelle. (suivi d’un 7$. Jeune Public. Les crapauderies. Chansons et 20h. PdA TM. 12-25$. Société Pro Musica, série ( 14 28/2, 7/3). 987-4174, 987-6919 légendes traditionnelles d’Amérique française; Émeraude. Haydn: Quatuor op.20 #4; Zemlinski: > 12h. UdeM-MUS B-421. EL. Exposition. (h 6) vin et fromage; exposition d’art). 450-229-2586 > > 21h. UdeM-MUS SCC. EL. Hommage aux bâtis- instruments insolites; jeux de mots et de mains Quatuor #1; Dvorak: Quatuor op.105. Quatuor à 12h30. CCC. EL, CV. Intégrale de l’oeuvre pour cordes Prazak. SRC CC. 842-2112, 845-0532 orgue de Messiaen. Messiaen: Méditations sur seurs. Papineau-Couture, Bartok, Donatoni, (4-9 ans). Danielle Martineau, Lisan Hubert. > Moussorgsky, Reich, Wagner. Lise Daoust, flûte; 45 min. 450-589-9198, 450-581-2541 #25 20h. UdeM-MUS B-484. EL. Blais, Schulhoff, le mystère de la Sainte Trinité. Patrick Wedd, > 14h. Église Notre-Dame de la Garde, 785 Brault, improvisation. Classe de Jean-Marc Bouchard, orgue. 288-6421, 843-6577 Gail Desmarais, Pauline Vaillancourt, sopranos; > Jean-Eudes Vaillancourt, piano accomp.; Verdun. EL, CV. Concerts de musique sacrée. saxophone. 343-6427 13h30. BPap Local 218. 5$. La Relance, Quasar (quatuor de saxophones); Lorraine Haydn: Missa brevis. Fanny Larivière, Isabelle Musique Classique II. Sibelius, Schoenberg, Vaillancourt, Jacques Drouin, pianos; Robert Ricard, Martin Pilon, Vincent Ranallo; Sandra Mardi 6 Tuesday Marin Marais, Ginastera, etc. (compositeur, Leroux, Julien Grégoire, percussions. 343-6427 Simard, orgue. 769-3459 > 9h30. CMQ-M SGM. EL. Cours de maître. Louise oeuvre, structure; écoute d’une oeuvre mar- > 14h. MA Lav. 9-15$. Matinée pour la famille. Pellerin, hautbois. durée: 3h. 873-4031 quante). Pierre Castonguay, conférencier. (f Dimanche 4 Sunday Isabelle Panneton: Trois fois passera; Prokofiev: > 12h. UdeM-MUS B-873. EL. Exposition d’instru- 14 21 28/2, 7/3). 450-661-4276, 450-668-9417 > > Pierre et le Loup; Vivaldi: Concerto pour flauti- ments de musique. Laboratoire de Recherche 17h. CMQ-M SGC. EL. Isabelle Grégoire, 11h. PdA PN. 6$. Sons et Brioches. Le piano en f Isabelle Marois, cuivres; Diane Mauger, piano cascades. Mozart, Liszt, Ravel. David Jalbert, no. O.S. de Laval, Jean-François Rivest, chef; sur les Musiques du Monde. (jusqu’à 17h) ( Marie-Andrée Benny, piccolo; Benoît Brière, 7 8). 343-6427 accomp. 873-4031 piano. 10h20 Foyer SWP: muffins, etc. aux 500 > > 18h30. CMQ-M SGC. EL. Isabelle Demers, Sze premiers arrivés. Animation: Monique Leblanc. narrateur. (f 15h30). 450-978-3666, 450- 13h. MA Lav. 6$. La musique au grand jour, 662-4442 Découverte de la musique classique. Hildegard Wan Sit, Alkisti Helli Raptis, Olivier Godin, 842-2112 piano; Raoul Sosa, piano accomp. 873-4031 > 11h. Université du Québec à Montréal, > 14h30. Auditorium Le Prévost, 7355 Von Bingen, Bach, Mozart, Beethoven, Ravel, Christophe-Colomb. LP. Quatuor Claudel, Penderecki, etc. (compositeur, oeuvre, structure; > 19h30. Église Notre-Dame des Sept-Douleurs, Département de musique, 1440 St-Denis. EL. 4155 Wellington, Verdun (& de l’Église). 12$. La Journée portes ouvertes au département de Magnan. 872-6131 (h 1) écoute d’une oeuvre marquante). Pierre > 14h30. McGill-MUS POL. EL. Élèves en violon Castonguay, conférencier. (f 13 20 27). 450- danse sous Louis XIV. Lully, d’Anglebert, Rebel, 668-9417, 450-667-2040 Campra, Couperin, Marais. Les Idées Orchestre Philharmonique du Nouveau Monde > 14h. CMQ-M SGM. EL. Pellerin hautbois. durée: heureuses; Geneviève Soly, animation; Marie- 1h30 (h 9h30) Nathalie Lacoursière, Edgar Tumak, danse. (f 11). 843-5881, 765-7150 Mardi le 6 février / Tuesday February the 6th 20 h, Église Unie Mont-Royal 1800, Boul. Graham, Ville Mont-Royal Vivaldi, Haydn, Mozart, C. M. von Weber Dominique Fanal, chef invité Tina Zang, violon, soliste Yuli Turovsky Directeur artistique Martin Gauvreau, clarinette, soliste JANIS VAKARELIS, piano JEUDI 8 FÉVRIER 2001, 20 H Renseignements: (514) 342-0942 VAKARELIS, présente PIANISTE DU SOLEIL SÉRIE CONCERTS CENTRE-VILLE PORTES OUVERTES WOLFGANG A. MOZART JEUDI 8 FÉVRIER 2001, 20 H Concerto pour piano no 12 AU DÉPARTEMENT DE en la majeur, K. 414 GEORGES COUROUPOS MUSIQUE DE L’UQAM Concertino pour piano EN COLLABORATION AVEC et orchestre à cordes Le dimanche 4 février 2001 PREMIÉRE MONDIALE présente SÉRIE CONCERTS OUEST-DE-L’ÎLE 11h à 16h30 DIMANCHE 11 FÉVRIER 2001, 14 H ANTON BRUCKNER ÉGLISE SAINTE-GENEVIÈVE Concerts, ateliers, répétitions et Quintette à cordes NOUVELLE SÉRIE DÉVELOPPÉE EN PARTENARIAT en fa majeur (arr. Yuli Turovsky) AVEC LES VILLES DE POINTE-CLAIRE, séances d'information SAINTE-GENEVIÈVE, DORVAL ET PIERREFONDS. BILLETERIES 514-982-6038 514-790-1245 www.imusici.com www.admission.com Pavillon de Musique COMMANDITAIRE PRINCIPAL 1440, rue Saint-Denis Renseignements : Montréal (métro Berri-UQAM) (514) 987-3000, poste 0294
30 / LaScenaMusicale / Février 2001 February > 20h. Cégep Marie-Victorin, 7000 Marie-Victorin, Romantiques 3. Liszt. Jorge Gomez Labraña, Rivière-des-Prairies, Salle Desilets. Autriche. pianiste. 450-436-3037, 450-224-4484 À venir Haydn: Symphonie #38; Mozart: La Flûte > 19h30. UdeM-MUS B-484. EL. Bach, Beethoven, Pour la Saint-Valentin enchantée, deux airs; Albrechtsberger: Concerto Debussy, Rachmaninoff, Schumann. Classe de pour trombone; Schubert: Symphonie #9. Claude Savard, piano. 343-6427 Si vous désirez faire partager votre amour de la musique classique à Orchestre Métropolitain, Yannick Nézet- > 20h. CHBP. LP. Reinecke, Fuchs, Joseph votre douce moitié en cette fête des amoureux, votre cœur hésitera peut- Séguin, chef; Alain Trudel, trombone. CPC 19h Joachim, Scharwenka. Jutta Puchhammer, alto; être. Le Chœur du Studio de musique ancienne et ses invités, le claveci- (f 9 13 19). 598-0870, 872-9814 Élise Desjardins, piano (U de M). 343-6427, > 20h. Cégep Montmorency, 475 boul. de l’Avenir, 872-5338 niste Hank Knox, le violoniste baroque Olivier Brault et la gambiste Betsy Laval (& boul. Concorde), Salle André-Mathieu. > 20h. MC PMR. LP. Musique de chambre, genre MacMillan, présenteront des œuvres de Janequin, Couperin et Violon d’enfer. Tartini, Paganini, Offenbach, film noir. Ensemble Ulysse, Antoine Butros, Saint-Saëns, Binder, Boccherini, de Falla, Liszt, chef. 872-2266 Charpentier. Information : (514) 398-5145. Dompierre, Morricone, Rolling Stones. Angèle > 20h. McGill-MUS POL. 10-25$. Mozart: Concerto Si vos goûts oscillent plutôt du côté de la musique contemporaine, le Dubeau, violon; La Pietà; Michel Rivard, mise pour piano #12; Kouroupos: Concerto pour piano jeune Quatuor Bozzini propose des œuvres de Blais, Brady, Chaslow, en scène. (f 9 10/2 Montréal; 11/2, 1 2 3 4/3 et orchestre à cordes; Bruckner: Quintette à Ailleurs au Québec). 450-667-2040 cordes en fa majeur (arr. Turovsky). I Musici de Golove et Gundersen. Information : (514) 848-4848. > 20h. CHBP. EL. SQRM: Présences de la musique. Montréal, Yuli Turovsky, chef; Janis Vakarelis, Sous la présidence de Son Altesse Royale la princesse de Hanovre, les De la beauté et de l’humain dans la musique du piano. (f 11). 982-6038, 398-4547 réputés Ballets de Monte-Carlo danseront, quant à eux, en première cana- dernier millénaire. Louise Morand, musico- > 20h. McGill-MUS RED. EL. Allegra Chamber logue. Société québécoise de recherche en Music Series. Schumann, Bach, Hétu, Saint- dienne, Cendrillon. La chorégraphie de Jean-Christophe Maillot sur la musique (f 1 Québec). 843-9305 Saëns. Dorothy Fieldman-Fraiberg, piano; musique de Prokofiev propose un regard neuf sur l’une des plus belles his- > 20h. McGill-MUS POL. 5$. Orchestre d’instru- Martin Foster, violon. 484-0333, 398-4547 toires d’amour de notre enfance. Le chorégraphe aborde ici le conte à l’en- ments à vent de McGill, Daniel Gordon, chef. 398-5145, 398-4547 Vendredi 9 Friday vers, par le biais des souvenirs de Cendrillon, mais tout en conservant les > 9h30. Salle Pauline-Julien, 15615 boul. Gouin repaires de cette histoire où finit par triompher l’amour. D’autres repré- Jeudi 8 Thursday Ouest, Ste-Geneviève. Menus Ménestrels. 418- sentations du 15 au 18 février. Billets au (514) 842-2112. > 12h. UdeM-MUS B-421. EL. Exposition. (h 6) 649-7141 (h 5) > 17h. CDesj. EL. FMLum. Les Jeunes du > 12h15. McGill-MUS RED. EL. Noon-Hour Organ. Conservatoire: Les Chambristes. Ensemble de (h 2) trombones, Alain Trudel, dir. 873-4031 > 18h30. CMQ-M SGC. EL. Guillaume Bourgault, > 17h30. UdeM-MUS B-421. EL. Semaine intercul- piano; Suzanne Goyette, piano accomp. 873-4031 turelle UdeM. Conférences. Résonances de > 19h. Centre Berthiaume-du Tremblay, 1474 Guinée (projections de vidéo et CD-ROM); Fleury E. 12$. Horizon 45-65 (les pré-retraités). ARIA Atelier de chant Musiques afro-cubaine. Claudette Berthiaume- La musique au temps des cathédrales et La seule école privée spécialisée pour le chant classique au Québec châteaux-forts. Les chants vieux romain, Zavada; Vincent Roy. 343-6427 Mercredi, le 14 février 2001 à 20h > 18h30. CMQ-M SGC. EL. Classe de Claude ambroisiens, grégoriens; musique des Brisson, saxophone; Sandra Murray, piano troubadours et trouvères; musique au temps accomp. 873-4031 des croisades; Dufay, Alphonse Le Sage, St-Valentin, musique, vin et fraises > 19h. CDesj. EL. FMLum. Les Jeunes du Hildegard Von Bingen; Carmina Burana, Le Livre Les étudiants de tous les niveaux d’ARIA Conservatoire: Les Chambristes. Trio et Vermeil, Le Roman de Fauvel, la Fête de l’Âne, quatuor. 873-4031 etc. Pierre Castonguay, conférencier. 382- Danièle-Sarrah LeBlanc, comédienne > 19h. MA Lav. 6$. Musique sous les étoiles; 0310 poste 203, 450-668-9417, 872-8749 Marie-Claude Roy et Paul Lachance, pianistes Musique symphonique de Mendelssohn et > 19h30. UdeM-MUS B-421. 6$. Opéramania, Haendel, Vivaldi, Mozart, Schumann, Duparc Bruch. Mendelssohn: Symphonie #3 “Écos- Lucia di Lammermoor. Film-opéra de Mario Prix du billet : 10$ Direction Anica Nonveiller Lieu: Studio d’ARIA saise”. Pierre Castonguay, conférencier. 450- Lanfranchi (1971), avec Moffo, Kozma, 668-9417, 450-667-2040 Fioravanti, Washington; Cillario, chef (plus: 1435, de Bleury, #300, Montréal, Québec H3A 2H7 (514) 845-4242 > 19h30. Centre communautaire et culturel, 794 extraits vidéo de Bergonzi, Robin, Scotto, Gobbi, [email protected] www3.sympatico.ca/nonveiller/Aria.htm Maple, Prévost. 15$. Concert conférence. Zanasi, etc.) (h 2) CONCERT no4 Allegra Samedi 3 février / Saturday February 3 Chamber No. 4 op. 18 no. 4 / No. 10 op. 74 Harpe / No. 14 op. 131 Music INTÉGRALE DES QUATUORS DE Series th BEETHOVEN 20 Season STRING QUARTET CYCLE
violin QUATUOR Martin Foster piano ALCAN Dorothy Fieldman-Fraiberg QUARTET
Works by Schumann, Bach, Hétu & Saint-Saëns E N / IN S I X C O N C E R T S Thursday, February 8 at 8 p.m. Redpath Hall, McGill University 19 SEPT./SEPT. 7 NOV./NOV. 7 MARS/MARCH 14 OCT./OCT. 3 FÉV./FEB. 21 AVRIL/APRIL SALLE POLLACK HALL Admission free 555 SHERBROOKE, MONTRÉAL To promote live music, this performance is partly funded by the Recording Companies of America Web:Web :http://pages.infinit.net.baron.qalcoan.htm http://pages.infinit.net/baron/qalcan.htm through The Music Performance Trust Funds, under agreements with the American Federation of Muisicians, as arranged by The Musicians’ Guild of Quebec.
LaScenaMusicale / Février 2001 February / 31 Lanaudière, piano, quatuor. 450-589-2216, co, guitare; Dominique Soulard, accomp.; Marie À venir 450-492-4777 (h 9) Parisella, Lyne McGee, danseuses. 624-1100 > 21h. Théâtre La Chapelle, 3700 St-Dominique. > 20h. CPP SPM. 11-23$. Radio-Concerts. Festival de musique pour jeune public 12-15$. Les Portraits de musiques nouvelles. Impressions d’un siècle. Liszt, Gougeon, Ravel, Dans le cadre du festival « Montréal en lumière », le Musée McCord Laetitia Sonami (É-U): The Lady’s Glove, La Stravinsky, Schoenberg, Delage, Weill, Chan Ka présentera une série de spectacles musicaux pour toute la famille. Le femme au gant noir. Performance musicale Nin, Vivier. Ingrid Schmithüsen, soprano; pour gant électronique sophistiqué. 843-7738 Ensemble de la SMCQ, Walter Boudreau, chef. samedi 10 février, la guitare démystifiera son passé. Le 17 février, l’en- SRC CC. 987-6919 fance de Mozart sera racontée par des marionnettes. Le 24 février, des Dimanche 11 Sunday > 20h. CHBP. LP. Bach au Coeur. Bach: Concerto instruments à cordes des quatre coins du monde attendent d’être décou- > 10h. MA Lav. 6-13$. Faustina et Bach (pour la de Brandenburg #3; Concerto pour deux violons; verts et le 25 février, plaisir garanti pour un spectacle de gigue tradition- famille). Bach, Händel, Purcell, Mouret: etc. Les Jeunes Virtuoses, Alexander Brott, musique vocale et instrumentale; anecdotes Denis Brott, chefs. 872-5338 nelle québécoise. Les représentations ont lieu à 13 h 30 en français et à historiques; participation du public. Kerry- > 20h. McGill-MUS POL. EL. Schubert, Schumann, 15 h en anglais. Information : (514) 398-7100, poste 290. Anne Kutz, soprano; Michael Cartile, Poulenc, Heifetz. Donna Laube, piano (Master’s trompette; Andrea Cartile, violon (leur fille); Recital); Sonia Sasseville, soprano; Bram Sandra Hunt, piano; Gary Russell, Vanessa Goldstein, violin; Katerina Juraskova, cello; > 20h. Centre culturel, 600 Richelieu, Beloeil. $. Alba: Isabelle Héroux, Alain Leblanc, guitares. Hunt-Russell (leur fille), violoncelles (en cos- Jason Pan, clarinet. 398-5145, 398-4547 Le piano versatile. Elgar, Mozart, Aubin, Productions Micheline Gervais. 398-7100, 631- tumes du 18e siècle). (f 23). 450-667-2040 > 20h. PdA SWP. 38-98$. Opéra de Montréal, Gershwin, etc. Sinfonia de Lanaudière, 9748 > 11h. Bibliothèque municipale, 500 de l’Église, Île- Lucia di Lammermoor. (h 10) Stéphane Laforest, chef; Stéphane Aubin, > 14h. CHBP. LP. Menus Ménestrels. 872-5338 > 20h. Théâtre du Rideau Vert, 4664 St-Denis. 10- h Bizard. $. Duos d’opérettes et autres délices. piano; Quatuor Claudel. (f 10 11). 450-589- ( 5) Collage de duos d’opérettes françaises et viennois- 20$. Les lundis classiques. Italie. Donizetti, 2216, 450-589-9198 > 15h. McCord. 6-12$. Duo Alba. (h 13h30) Respighi, Tosti, Martucci. Marie Fabi, piano; > es. Anne St-Denis, soprano; Clermont Tremblay, > 20h. CPP SPM. 19-30$. Dubeau, Pietà. 790- 20h. CCC. 7-10$. Messiaen: Quatuor pour la fin baryton; Nancy Pelletier, piano (Productions Annie Gadbois, violoncelle; Pascale Gagnon, 1245, 987-6919 (h 7) des temps; Sokolovic: Secret de Polichinelle; Rigoletto). (f 18). 729-5079, 620-6331 violon; Michèle Losier, mezzo. 844-1793 > 20h. CHBP. LP. Concerts M. Cage, Ives, Marcel, Takemitsu: Quatrain II. Trio Fibonacci; François > 11h. École secondaire Jean-Baptiste-Meilleur, Rea. Quatuor Bozzini. 872-5338 Houle, clarinette. 736-4935, 278-0523 Mardi 13 Tuesday > 777 boul. Iberville, Repentigny, Auditorium. 4- > 20h. Chapelle Notre-Dame de Bon-Secours, 400 20h. CPP SPM. 19-30$. Dubeau, Pietà. 288- 8$. Menus Ménestrels. 450-582-6714 (h 5) > 9h30. MBAM AMC. 5-15$. Le monde merveilleux St-Paul E. 12-20$. Flûtes plurielles. Locatelli, 9955, 888-477-9955, 987-6919 (h 7) > > 14h. Église Ste-Geneviève, 16037 boul. Gouin O, des cordes (pour la famille). Ensemble Amati, Pepusch, Babell, Maute, W.F. Bach: concertos et 20h. CDesj. EL. FMLum. Barber: Adagio; Pierrefonds. 10-17$. I Musici, Vakarelis. 982- Raymond Dessaints, chef; Robert Blondin, sonates pour flûtes à bec et traversière. Les Sibelius: Valse triste; Rimsky Korsakov: 6038 (h 8) animateur. (f 15). 285-1600 Boréades de Montréal; Matthias Maute, flûtes Capriccio espagnol; Saint-Saëns: Samson et > 14h30. McGill-MUS RED. EL. McGill Brass > 12h30. MBAM AMC. 5-15$. Amati, famille. (h à bec et traversière. 259-5114 Dalila, Bacchanale. I Musici de Montréal; Choirs, Dennis Miller, director. 398-5145, 398- 9h30) > 20h. CMQ-M SGC. EL. Jérémie Pelletier, piano; Cirque Éloize. 982-6038 > > 4547 13h. MA Lav. 6$. Découverte de la musique Suzanne Goyette, piano accomp. 873-4031 20h. ÉMVI SMS. 10-15$. Équi Vox Montréal > 15h. CMQ-M SGC. EL. Rendez-vous du dimanche classique. (h 6) > 20h. McGill-MUS POL. EL. Special Student présente. Plaisirs d’amour. Chansons et duos (professeurs du CMQ-M et leurs invités). > 17h. UdeM-MUS B-421. EL. Conférences. L’École Project. Monica Guenter, viola; Erin Flynn, d’amour. Claire Cloutier, soprano; Andrée Beethoven, Honegger, Vieuxtemps. Robert française de lutherie du 18e siècle jusqu’à dancer. 398-5145, 398-4547 Lavoie, mezzo. 321-2495, 495-7955 > Verebes, alto; Suzanne Blondin, piano. 873-4031 Vuillaume; L’École d’archèterie de Tourte. Jean- > 20h. McCord. 16-20$. VivaVoce. 489-3739, 20h. McGill-MUS POL. 5$. McGill University > 15h. Théâtre Hector-Charland, 255 boul. l’Ange- Jacques Rampal, expert luthier de Paris. 398-7100 poste 234 (h 3) Chorus, Women’s Chorale, Robert Ingari, Gardien, L’Assomption. 0-16$. Sinfonia de (jusqu’à 20h). 343-6427 > 20h. Polyvalente, 13800 boul. Pierrefonds, director. 398-5145, 398-4547 h > > Lanaudière, piano, quatuor. ( 9) 19h. MA Lav. 6$. Musique sous les étoiles; Pierrefonds (Comprehensive High School). OM, 20h. PdA SWP. 40-105$. Donizetti: Lucia di > 15h30. CHBP. LP. Les Idées heureuses, Louis Chopin: l’oeuvre et la vie. Chopin: Les Trudel. CPC 19h. 598-0870, 624-1100 (h 7) Lammermoor. Opéra de Montréal; OSM, Guy XIV. 843-5881, 872-5338 (h 7) Nocturnes. Pierre Castonguay, conférencier. Montavon, chef; Mary Dunleavy, Gran Wilson, > 15h30. OrSJo BAS. Daveluy, orgue. (h 4) 450-668-9417, 450-667-2040 Samedi 10 Saturday Brian Davis, James Patterson, Marc Hervieux. > f 20h. ÉMVI SMS. 12-15$. La flûte à l’opéra. > Biosphère. EL. FMLum. Concert. Marionnettes. ( 12 15 17 21 24). 985-2258, 842-2112 Bizet, Rossini, Borodine, Ponchielli, etc. > 20h. UdeM-MUS B-484. EL. Bach, Brouwer, Lundi 12 Monday 283-5000 > Quatuor La Flûte Enchantée; Bernard Tanguay, > 13h30. McCord. 6-12$. FMLum; Festival de Guiliani, Torroba. Classe de Peter 19h30. Centre culturel, 13850 boul Gouin O, Pierrefonds. 20$. Musique du monde, souper- animateur. 254-4773 musique pour jeune public. Deux guitares en McCutcheon, guitare. 343-6427 > 20h. Église St-Sixte, 1895 de l’Église, St- folie / Two Guitars Going Nuts. Dowland, Händel, > 20h30. Théâtre du Vieux Terrebonne, 867 St- concert. Tango flamenco. Ensemble Montréal Tango; Marcos Marin (Esp.), chanteur flamen- Laurent. 10-12$. OM, Trudel. CPC 19h. 598- Leroy, Brouwer, Falla, Domeniconi, etc. Duo Pierre, Terrebonne. 15$. Sinfonia de 0870, 855-6110 (h 7) Pour la St-Valentin ! Lussier McNabney Beaudoin Carpentier Berick Dugré
Bourget Forget Darling LE QUATUOR LA FLÛTE ENCHANTÉE VOUS PROPOSE SON CONCERT : Quintette pentaèdrepentaèdreà vents saison 2000-2001 Quintette à vents « La flûte à l’opéra » Airs et ouvertures célèbres de Rossini, Bizet, Mozart, Borodine, 16 février 2001, 20 heures Puccini, Verdi, etc. Yehonathan Berick, violon ; Douglas McNabney, alto ; Mardi le 13 février 2001, 20h00 James Darling, violoncelle ; Jacques Beaudoin, contrebasse Salle Marie-Stéphane Stravinsky, Nielsen, Villa-Lobos, Lachner Commanditaire École de Musique Vincent-D’Indy, informations 628, chemin Côte Ste-Catherine, Mtl Billets : 20$ adultes et 15$ étudiants. Pentaèdre ou au Réseau Admission : (514) 790.1245 Nos concerts ont lieu à la Salle Marie-Stéphane : 628, chemin de la Côte Ste-Catherine. Admission générale : $15.00 L’ensemble Pentaèdre de Montréal. Pour recevoir notre dépliant, communiquez avec nous par courriel : [email protected] ou par téléphone : (514) 271.8870 Aînés / étudiants : $12.00 Information et réservation : 11 mai 2001, 20h (514) 254-4773 Musique composée pour… piano! Brahms, Ravel, Mussorgsky http://pages.infinit.net/vivo/flute
32 / LaScenaMusicale / Février 2001 February À venir La danse baroque en lumière L’ensemble de musique baroque Les Idées Heureuses et son invité spécial, la troupe de danse française L’Éventail, présentent un grand spec- tacle de danse baroque intitulé Voyage en Europe, dans le cadre du festi- val Montréal en Lumière. Quatre tableaux provenant de quatre pays révéleront l’esthétique de l’époque baroque : la France, l’Angleterre, l’Allemagne et l’Italie. Sept danseurs interpréteront des chorégraphies originales de Marie-Geneviève Massé sur des musiques de Campra, Purcell, Rosenmüller et Vivaldi. Geneviève Soly, directrice des Idées Heureuses, a découvert en France l’immense talent de L’Éventail. À la suite du coup de cœur qu’elle a eu pour cette troupe, elle a tenu absolument à la faire connaître au public montréalais, qu’elle invite avec enthousiasme à assister au spectacle des 16 et 17 février à la Salle Pierre-Mercure du Centre Pierre-Péladeau. (514) 843-5881.
> 20h. PdA SWP. 16-74$. Concerts Gala. Bruckner: et ses opéras. Claudio Ricignuolo, conférenci- Symphonie #8. OSM; Claus Peter Flor, chef. er. 385-5015 CPC 18h30 Guy Marchand, musicologue, UdeM > 19h30. McGill-MUS RED. 10-15$. CBC McGill. (f 14). 842-9951, 842-2112 Bestiaire musical. Janequin, Couperin, > 20h. UdeM-MUS B-484. EL. Falla, Händel, Charpentier. Hank Knox, clavecin; Olivier Mozart, Purcell. Classe de Adrienne Savoie, Brault, violon baroque; Betsy MacMillan, viole chant. 343-6427 de gambe; Choeur du Studio de musique anci- > 20h. Usine C, 1345 Lalonde. 20-26$. FMLum. enne de Montréal, Christopher Jackson, chef. Passage. Chants, danse, légendes. Théâtre 398-5145, 398-4547, 790-1245 Talipot (France, Réunion). 790-1245, 521- > 20h. Atelier Aria, 1435 Bleury suite 300. 10$. 4493 Saint-Valentin, musique, vin et fraises. Händel, Vivaldi, Mozart, Schumann, Duparc, Fauré. Étu- Mercredi 14 Wednesday diants d’Aria; Danièle-Sarah LeBlanc, comédi- > 12h. CPP SPM. EL. Projet Mozart. (h 7) enne; Marie-Claude Roy, Paul Lachance, > 13h30. BPap Local 218. 5$. Musique Classique piano. 845-4242 II. (h 7) > 20h. CMQ-M SGC. EL. Classe de Guy Fouquet, > 17h. CMQ-M SGC. EL. Katherine Lavoie, violoncelle; Sandra Murray, piano accomp. Caroline Plamondon, hautbois; Diane Mauger, 873-4031 piano accomp. 873-4031 > 20h. MC PMR. LP. Électro-Chocs (concert dia- > 18h30. CMQ-M SGC. EL. Classe de Guy logue). Classe d’Yves Daoust, électroacous- Fouquet, violoncelle; Sandra Murray, piano tique (CMQ-M). 873-4031, 872-2266 accomp. 873-4031 > 20h. McGill-MUS POL. 5$. Bach, Debussy, > 18h30. Orchestre Métropolitain, 505 Sherbrooke Gabrieli, Ives, Tippett, Somers, etc. McGill Est, bureau 202 (Les bureaux de). 12$ RSVP. Chamber Singers, Concert Choir; A. Nicholle Invitation à la Mélomanie et à l’Opéra. Puccini Martin, Serge Medawar, conductors (for
Concerts CBC/McGill 2000-2001
22e saison
MERCREDI Hank Knox, clavecin 14 février Claire Guimond, flûte baroque Salle Redpath Olivier Brault, violon baroque Betsy MacMillan, viole de gambe Le Choeur du Studio de musique ancienne de Montréal – Christopher Jackson, chef Un bestiaire musical selon Jannequin, Couperin et Charpentier.
JEUDI Anne Grimm, soprano 8 mars Benjamin Butterfield, ténor Salle Pollack Michael McMahon, piano Du salon au cabaret : Mélodies, airs et duos de Mendelssohn, Fauré, Vaughan Williams et Weill.
JEUDI Antonio Lysy, violoncelle 29 mars David Breitman, piano-forte Salle Redpath Amour immortel : Beethoven au son des instruments d’époque.
JEUDI Janina Fialkowska, piano 19 avril Musique d'hier et d'aujourd'hui : Mozart, Schubert, Chopin, Liszt Salle Pollack et une nouvelle oeuvre du compositeur montréalais Sean Ferguson.
Renseignements : Billets : 15 $ (10 $ étudiants et aînés) On peut se procurer des billets dès le 5 septembre au guichet de la Salle Pollack, de midi à 18 h, du lundi au vendredi, et de 12 h à 20 h 30, le jour du concert. Tous les prix comprennent les taxes et les frais de redevance. Tél. : (514) 398-4547 Les billets sont aussi en vente à travers le réseau Admission (plus frais de service). Tél. : (514) 790-1245 Programmez votre saison de concerts ! À l’achat d’un premier billet au prix régulier, vous avez droit à une remise de 2,50 $ sur le prix des billets de chacun des autres concerts. (Tous les billets doivent être achetés en même temps.) Une partie des recettes des concerts sera versée au Prix de musique CBC/McGill. (514) 398-4547 Salle Pollack : 555, rue Sherbrooke Ouest, Salle Redpath : Campus principal, porte McTavish Tous les concerts débutent à 19 h 30. Visitez notre site web: mcgill.cbc.ca
LaScenaMusicale / Février 2001 February / 33 > 20h. CHBP. EL. Les Jeunes Artistes. > 20h. Salle Claude-Potvin, 216 boul. Marc- > 14h. SCP. TALL, 20e anniversaire. (h 16) À venir Mendelssohn, Schumann, Brahms, Schubert. Aurèle-Fortin, Ste-Rose, Laval. 15-19$. Concert > 14h30. ÉMVI. 8-15$. Société de musique vien- Le violoncelliste anglais Duo Latour (Jean-François Latour, Jacinthe du 20e anniversaire. Extraits d’opéra et noise du Québec. Ragtime in Vienna. Johann Latour, piano 4 mains). SRC CC. 872-5338 d’opérette. Théâtre d’art lyrique de Laval, Strauss II, J.P. Sousa, Joplin, Ziehrer. Trio Steven Isserlis, gagnant du Prix > 20h. McGill-MUS POL. 5$. Darren Fung: Roger Lessard, chef. (f 17 18). 450-975-8685 Kaffeehaus. 450-435-1611 Robert Schumann 2000, sera Gleichbleibend*; Mahler: Lieder eines fahrenden > 15h. CMQ-M SGC. EL. Rendez-vous du l’invité du LMMC le 18 février. Un Gesellen; Berg: Kammerkonzert op.8; Anne Samedi 17 Saturday dimanche (professeurs du CMQ-M et leurs Nikitin* (*créations). Ensemble de musique con- > 13h30. McCord. 6-12$. FMLum; Festival de invités). Bach, Popper, Villa-Lobos. Denis Brott, invité régulier des plus grands temporaine de McGill, Denys Bouliane, chef; musique pour jeune public. Le petit univers de Carole Bogenez, violoncelles; Multi Celli orchestres, aussi à l’aise dans le Brigitte Poulin, piano; Clemens Merkel, violon; Mozart / Mozart’s Tiny Universe. Magda (ensemble de violoncelles). 873-4031 > répertoire baroque que contempo- Michelle Losier, mezzo. 398-5145, 398-4547 Harmignies, conceptrice. Karine Gagnon, mari- 15h30. CHBP. LP. Projet Roy. Chorégraphies de > 20h. PdA SWP. 38-98$. Opéra de Montréal, onnettiste (musique enregistrée). 398-7100, Louise Bédard, Hélène Blackburn, Danièle rain (il a inspiré au compositeur Lucia di Lammermoor. (h 10) 631-9748 Desnoyers; musique de Chopin. Ken Roy, anglais John Tavener plusieurs > 20h. PdA TM. 23-60$. Les Grands Ballets > 14h. PdA TM. 23-60$. Ballets de Monte-Carlo. (h15) danseur; Stéphan Sylvestre, piano. 872-5338 > oeuvres), son récital montréalais Canadiens présentent. Maillot/Prokofiev: > 15h. McCord. 6-12$. Mozart, Gagnon. (h 13h30) 15h30. McGill-MUS POL. 15-25$. Ladies’ Cendrillon. Ballets de Monte-Carlo (bande > 19h. Centre communautaire, 30 Lyncraft, Morning Musical Club. Chostakovitch, Britten, sera dédié aux compositeurs du sonore). (f 16 17 18). 849-0269, 842-2112 Hampstead. 3$. SMCQ Jeunesse, Little Tailor. Janacek, Martinu. Steven Isserlis, violoncelle. XXe siècle. Information : (514) 843-9305, 369-8260 (h 2) 932-6796 Vendredi 16 Friday > > 15h30. OrSJo BAS. Daveluy, orgue. (h 4) 932-6796. 19h. ÉMVI. 15-25$. Fergusson, Brahms, > 11h. Ogilvy TUD. 10-17$. I Musici, Concerti Schumann, Schubert, Bizet, Glinka, Field, > 20h. Société Radio-Canada, 1400 boul René- grossi. (f 17h45) (h 15) Podgaits. Yelena Sorokina, Alexandre Bakhchiev, Lévesque Est (Maison de Radio-Canada), Studio 12. 15-25$. Hors-série. SMCQ solo. Masters in Choral Conducting). 398-5145, > 12h. UdeM-MUS B-421. EL. Classe de Gilles piano. Prod. L’Avant-Scène Montréal. 342-7865, Manny, piano. 343-6427 735-5261 Ligeti, Oesterle, Coulombe-St-Marcoux, Hamel, 398-4547 Stockhausen. Olga Ranzenhofer, violon; Lise > 20h. PdA SWP. 16-74$. OSM, Bruckner #8. CPC > 12h15. McGill-MUS RED. EL. Noon-Hour Organ. > 20h. CPP SPM. Les Idées heureuses, h (h 2) L’Éventail. (h 16) Daoust, flûte; Lise Beauchamp, hautbois; 18h30 ( 13) Michèle Gagnon, cor; Louise-Andrée Baril, > 20h30. Oscar Peterson Concert Hall, 7141 > 17h45. Ogilvy TUD. 10-17$. I Musici, Concerti > 20h. Pavillon des Arts, 1364 ch. Pierre- grossi. (h 15) Péladeau, Ste-Adèle. 25$. Franck, Scriabin, piano; Julien Grégoire, percussion. SRC CC. Sherbrooke Ouest (Concordia University, Loyola 843-9305, 597-6000 Campus). 10-14$. Concerts M. Blais, Brady, > 18h30. CMQ-M SGC. EL. Geneviève Martineau, Satie, Stravinsky, Ravel, Debussy. Louis- Chaslow, Golove, Gundersen. Quatuor Bozzini; violon; Suzanne Goyette, piano accomp. 873- Philippe Pelletier, piano. (suivi d’un vin et fro- Lundi 19 Monday Bradyworks. 848-4848 4031 mage; exposition d’art). 450-229-2586 > 19h. Salle Jean-Eudes, 3535 boul. Rosemont > 20h. PdA SWP. 40-105$. Opéra de Montréal, > 19h. Goethe Institut, 418 Sherbrooke E. 7-12$. Jeudi 15 Thursday (MC Rosemont-Petite Patrie). LP. Takadja. Lucia di Lammermoor. (h 10) Société musicale André Turp: Conférences. Le > > Danse et musique africaine (Sénégal, Mali, 20h. PdA TM. 23-60$. Ballets de Monte-Carlo. voyage en musique. Winterreise de Schubert, et 9h. MA Lav. 6$. La musique au grand jour, Guinée). Robert Lépine, Francine Martel, (h 15) autres évocations du voyage en musique Découverte de l’opéra. Verdi: La Traviata. Pierre Youssou Seck, Delphine Pan Déoué. 872-1730 > 20h. SCP. TALL, 20e anniversaire. (h 16) (Vaughan Williams, Krenek). 397-0068 Castonguay, conférencier. 450-668-9417, > 19h. UdeM-MUS B-421. 6$. Opéramania (pro- > 19h30. PdA TM. 10-36$. OM, Trudel. 598-0870, 450-667-2040 h > h jection d’opéra sur grand écran). Bellini: Norma. Dimanche 18 Sunday 842-2112 ( 7) 9h30. MBAM AMC. 5-15$. Amati, famille. ( 13) Michel Veilleux, musicologue, animateur. > 20h. CMQ-M SGC. EL. Canadian Guitar Quartet. > 11h. Ogilvy TUD. 10-17$. Concerts Ogilvy. > 10h. Centre communautaire et culturel, 794 Canadian Opera Company (1981), avec Maple, Prévost. 15$. Sons et brioches. Grenon; 873-4031 Vivaldi, Scarlatti, Albinoni: Concerti grossi. I Sutherland, Troyanos, Ortiz, Diaz; Bonynge, Musici de Montréal, Yuli Turovsky, chef. (f musique celtique et sud-américaine. Robin f chef; L. Mansouri, mise en scène. 343-6427 Grenon, harpe; Gisèle Guibord, orgue, harpe. Mardi 20 Tuesday 17h45) ( 16). 982-6038 > 20h. CPP SPM. 20-40$. FMLum. Voyage en > 12h30. MBAM AMC. 5-15$. Amati, famille. (h 13) 450-436-3037, 450-224-4484 > 10h30. UdeM-MUS B-484. EL. Cours de maître. > Europe. Chorégraphie originale; musique de > 11h30. Hôtel Ritz-Carlton, 1228 Sherbrooke Patrick Roux, Philipp Candellaria (Canadian 17h. CDesj. EL. FMLum. Les Jeunes du Campra, Purcell, Rosenmüller, Vivaldi. Les Conservatoire: Violon et piano. Classe de Ouest (près de Drummond), Salon Ovale. 66$. Guitar Quartet). Collaboration CMQ-M. 343-6427 Idées heureuses; L’Éventail, troupe de danse Les Brunch Musici. Mozart, Britten. I Musici de > 13h. MA Lav. 6$. Découverte de la musique Johanne Arel; Claire Ouellet, piano accomp. française (avec costumes et décors). (f 17). 873-4031 Montréal, Yuli Turovsky, chef. 11h30 cocktail; classique. (h 6) > 843-5881, 987-6919 12h concert; 12h30 brunch accompagné d’un > 17h. CMQ-M SGC. EL. Louis-Antoine Lassonde, 17h. CMQ-M SGC. EL. Classe de Jean > 20h. ÉMVI SMS. 15-20$. Stravinsky, Nielsen, Gaudreault, cor; Diane Mauger, piano accomp. quatuor. 982-6038, 842-4212 x761 Jean-Christian Houde, Mathieu Déry, contre- Villa-Lobos, Lachner. Ensemble Pentaèdre de > 13h30. McCord. 19-23$. FMLum. Paroles d’es- basses; Diane Mauger, piano accomp. 873-4031 873-4031 Montréal; Yehonathan Berick, violon; Douglas > 17h45. Ogilvy TUD. 10-17$. I Musici, Concerti pace et de froidure. Légendes inuit illustrées au > 18h30. CMQ-M SGC. EL. Classe de Guy h McNabney, alto; James Darling, violoncelle; fur et à mesure par des sculptures de papier Fouquet, violoncelle; Sandra Murray, piano grossi. ( 11h) Jacques Beaudouin, contrebasse. 271-8870, > 18h30. CMQ-M SGC. EL. Classe de Carole créées sur place; chants de gorge traditionnels; accomp. 873-4031 790-1245 dégustation de mets (caribou, omble, gras de > 19h. MA Lav. 6$. Musique sous les étoiles; Bogenez, violoncelle; Suzanne Goyette, piano > 20h. École secondaire Jean-Baptiste-Meilleur, accomp. 873-4031 baleine, pain); démonstration d’outils de chas- Chopin: l’oeuvre et la vie. Chopin: Les Préludes. > 777 boul. Iberville, Repentigny, Auditorium. 16- se et pêche. Jacques Pasquet, conteur; Orta Pierre Castonguay, conférencier. 450-668- 19h. CDesj. EL. FMLum. Les Jeunes du 20$. Association de Repentigny pour l’avance- Conservatoire: Violoncelle et piano. Classe de Van Hoye, sculpteure; chanteuses de gorge. À 9417, 450-667-2040 ment de la musique: Opéra. Wolf-Ferrari: Il voir aussi: exposition “Sculptures des > 19h30. PdA SWP. 16-65$. Envolées musicales Air Denis Brott; Claire Ouellet, piano accomp. Segreto di Susanna; extraits d’opéras. Atelier 873-4031 paléoesquimaux”. 398-7100 Canada. Mozart: Symphonie #35: “Haffner”; > lyrique de l’Opéra de Montréal. 450-582-6714 > 14h. Bibliothèque, 17100 boul. Hymus, Korngold: Concerto pour violon; Kreisler: Caprice 19h. MA Lav. 6$. Musique sous les étoiles; > 20h. Église St-Joachim, 2 Ste-Anne, Pointe- Musique symphonique de Mendelssohn et Kirkland. 3$. SMCQ Jeunesse, Little Tailor. 843- viennois; Liebesleid; Liebesfreud; J. Strauss fils: Claire. $. Sacrée Landowska. Bach, de Falla, 9305, 630-2704 (h 2) Wiener Blut, ouverture; Pizzicato Polka; Bruch. Mendelssohn, Bruch: Les concertos pour Demers, Rea. Ensemble contemporain de violon. Pierre Castonguay, conférencier. 450- > 14h. MC Mercier, 8105 Hochelaga. EL. Classe Egyptischer Marsch; Im Krapfenwaldl; Montréal, Véronique Lacroix, chef; Catherine de Johanne Arel, violon; Claire Ouellet, piano Kaiserwalzer. OSM; Rolf Bertsch, chef; Renaud 668-9417, 450-667-2040 Perrin, clavecin, animatrice. (f 20 Montréal; > 19h30. UdeM-MUS B-484. EL. Bach, Händel, accomp. 873-4031 Capuçon, violon. (f 22). 842-9951, 842-2112 17 Ailleurs au Québec). 524-0173, 630-1220 > 14h. MC PMR. LP. Tremblay St-Denis Pelletier. > 20h. CMQ-M SGC. EL. Classe de Marie-Andrée Mozart, Obradors, Rodrigo. Classe de Yolande > 20h. PdA TM. 23-60$. Ballets de Monte-Carlo. Parent, chant. 343-6427 729-5079, 872-2266 (h 11) Benny, flûte; Sandra Murray, piano accomp. (h 15) > 14h. PdA TM. 23-60$. Ballets de Monte-Carlo. (h15) 873-4031
Une soirée passionnément musicale qui fait revivre L’ECM «en résidence» au la claveciniste Wanda Conservatoire de musique Landowska, musicienne de du Québec à Montréal génie et monstre sacré. Vendredi 16 février 2001, 20h Église St-Joachim 2, rue Ste-Anne, Pointe-Claire (514) 630-1220 œuvres de: Sacrée Samedi 17 février 2001, 20h Théâtre Centennial Jean-Sébastien Bach Université Bishop, Lennoxville (819) 822-9692 Inouk Demers Mardi 20 février 2001, 20h Landowska John Rea, Landowska Salle Redpath, Université McGill Véronique LACROIX, chef Théâtre musical 3461, rue McTavish, Montréal Mise en scène: Jean Marchand (514) 524-0173 Catherine PERRIN, claveciniste et animatrice invitée Billets: 25$ Régulier, Manuel de Falla 20$ Prévente, étudiants et aînés ECM, 7 musiciens Étudiants, aînés: second billet gratuit à l’achat du premier.
34 / LaScenaMusicale / Février 2001 February > 20h. Église St-Marc de Rosemont, 2602 > 19h. UdeM-MUS B-421. EL. Bach, Beethoven, 455-1901, 457-9356 > 20h. UdeM-MUS SCC. 8-15$. UdeM opéra Beaubien E. EL. Chants anciens. Schönberg, Debussy. Lynette Wahlstrom, piano (fin > 19h30. MC Côte-des-Neiges, 5290 ch Côte-des- Puccini. (h 21) Schumann, Cabézon, Vivaldi, Giannini, maîtrise). 343-6427 Neiges. LP. Faustina et Bach. 872-6889 (h 11) Gregson. La Grande Fanfare Classique (UdeM, > 19h30. Centre communautaire et culturel, 794 > 20h. CCC. 10-15$. J.S. Bach et ses fils: Dimanche 25 Sunday CMQ-M), Alain Cazes, chef. 873-4031 Maple, Prévost. 15$. Concert conférence. musique de chambre. Ensemble Baroquen > 11h. Hôtel de ville, 435 boul. Iberville, > 20h. McGill-MUS RED. 25$. ECM, Sacrée Romantiques 4: Les Russes. Jorge Gomez Voyces. (f 24). 279-8656 Repentigny, Salle du conseil. 6-8$. Association Landowska. 524-0173, 398-4547 (h 16) Labraña, pianiste. 450-436-3037, 450-224-4484 > 20h. Centre Émilie-Gamelin, 1440 Dufresne de Repentigny pour l’avancement de la > 19h30. PdA SWP. 16-65$. OSM, Capuçon. (h 20) (métro Papineau), Chapelle. CV. Mozart, musique: Sons et brioches. Hurlstone, Goepfart; Mercredi 21 Wednesday > 19h30. UdeM-MUS B-484. EL. Arnold, Crawlei, Puccini, Verdi, Bellini, Donizetti: airs d’opéra. Wuensch (création). Trio 3: Martin Carpentier, > 13h30. BPap Local 218. 5$. Musique Classique Kovacs. Classe de Martin Carpentier, clar- Dorothéa Ventura, soprano; Claudine Ledoux, clarinette; Mathieu Lussier, basson; Louise II. (h 7) inette. 343-6427 mezzo; Jacques Saint-Jean, piano. 495-9091 Lessard, piano. 450-582-6714, 450-654-2330 > 18h30. CMQ-M SGC. EL. J.S. Bach. La section > 20h. CHBP. LP. Fauré, Dvorak. Trio Gagné- > 20h. McGill-MUS RED. 12-20$. Musique espag- > 11h30. CMQ-M SGM. EL. Les Quatre C (causerie, des claviers. 873-4031 Richard (violon, violoncelle, piano). (f 26). nole 16-17e siècles. La Nef. 523-3095, 398-4547 café, croissant, confiture). Les châteaux de la > 19h30. UdeM-MUS B-484. EL. Bach, Borne, 872-5338 > 20h. PdA SWP. 27-58$. FMLum. Bernard Loire. Musique de cour du temps de Valois; excur- Doppler, Tremblay. Classe de Lise Daoust, flûte. > 20h. CDesj. EL. FMLum. Les Jeunes du Herrmann: musique des films d’Alfred Hitchcock; sion gastronomique (vins de Sancerre et de 343-6427 Conservatoire: Les petits bijoux de l’opéra. extraits de films sur grand écran. OSM, Rolf Saumur; fromages de Valençay, crémants > 20h. CHBP. LP. Anne-Marie Donovan, mezzo; Atelier lyrique du CMQ-M, Louise-Andrée Bertsch, chef. 790-1245, 842-2112 d’Anjou). Élèves du CMQ-M; Édouard Lachapelle, Lisa Godwin, piano. 872-5338 Baril, dir. 873-4031 > 20h. UdeM-MUS SCC. 8-15$. UdeM opéra animateur. 873-4031 > 20h. CMQ-M SGC. EL. Julie Lebel, piano. 873- > 20h. CMQ-M SGC. EL. Chloé Dominguez, vio- Puccini. (h 21) > 13h30. Musée du Château Ramezay, 280 Notre- 4031 loncelle. 873-4031 Dame E. Prix inclus dans l’entrée au musée. > 20h. MC Notre-Dame-de-Grâce, 3755 Botrel. LP. > 20h. PdA TM. 40-50$. FMLums. Société Pro Samedi 24 Saturday Musique café. Airs traditionnels irlandais. Alan Quatuor Claudel, Magnan. 872-2157 (h 1) Musica, Saphir hors-série. Bach: Sonate #3 > 13h. CCC. 2-5$. Lecture à vue, CAMMAC Jones, cornemuses; Johanne St-Laurent, > 20h. PdA 5e salle. 35$. FMLum. Lylatov, Satie, BWV1016; Poulenc: Sonate; Webern: Quatre Montréal. Haydn: Messe en l’honneur de Saint harpe celtique. (f 15h). 861-3708 Mathieu, Ginastera, Champagne, Secan, Pièces op.7; Beethoven: Sonate #9 op.47 Nicolas. Patrick Wedd, direction. On invite > 13h30. McCord. 6-12$. FMLum; Festival de Rodgers & Hart, Lefèvre. Alain Lefèvre, piano. “Kreutzer”. Midori, violon; Robert McDonald, chanteurs et instrumentistes amateurs (cordes, musique pour jeune public. La grande chaîne en 790-1245, 842-2112 piano. 842-2112, 845-0532 flûtes, hautbois, cor); apporter instrument et gigue / Traditional Music and Jig. Dorothée Hogan, > 20h. PdA SWP. 38-98$. Opéra de Montréal, > 20h. Théâtre de la Ville, Salle Pratt & Whitney, lutrin, partition distribuée sur place. 274-3297 piano; Richard Forest, violon; Pierre Chartrand, Lucia di Lammermoor. (h 10) 150 Gentilly E. 13-40$. Voyage vers les pays de > 13h30. McCord. 6-12$. FMLum; Festival de pieds, animation. 398-7100, 631-9748 > 20h. UdeM-MUS SCC. 8-15$. Puccini: La l’Est. Smetana: La Moldau; Wieniaski: Concerto musique pour jeune public. Cordophonie / > 14h. Église du Très-St-Nom de Jésus, 4215 rue Bohème, Manon Lescaut, Madama Butterfly pour violon #2; Sokolovic: L’Appel; Dvorak: Cordophony. Pierre Giroux, violon, psaltérion, Adam (ou 1645 Desjardins, près Pie-IX & Ste- (extraits, version concert); Gianni Schicchi (ver- Symphonie #8. O.S. de la Montérégie, Marc balalaïka, erhu, banjo, mandoline, doucemère, Catherine). 10-15$. Récitals d’orgue, Université sion scénique). Atelier d’opéra de l’UdeM, Robin David, chef; Marc-André Gauthier, violon. 450- autoharpe, arc musical, ukulele, guitare élec- de Montréal. Bach, Jean Alain, Roger Matton, Wheeler, direction; Orchestre de l’UdeM, Jean- 646-3890, 450-670-1616 trique, etc. 398-7100, 631-9748 Messiaen, Daniel Lesur. Marc-André Doran, François Rivest, chef. (f 22 23 24). 343-6427 > 20h. UdeM-MUS SCC. 8-15$. UdeM opéra > 15h. McCord. 6-12$. Cordophonie. (h 13h30) Benjamin Waterhouse, orgue. 343-6427 Puccini. (h 21) > 19h30. Église St.Columba by the Lake, 11 Rodney, > 14h. MC Mercier, 8105 Hochelaga. EL. Classe de Jeudi 22 Thursday Pointe-Claire. 10-15$. Baroquen Voyces, Bach et Suzanne Goyette, piano. 873-4031 > 9h. MA Lav. 6$. La musique au grand jour, Vendredi 23 Friday fils. 279-8656, 697-8015 (h 23) > 14h. Vieux Port. EL. Symphonies portuaires de Découverte de l’opéra. Wagner: Tannhäuser. > 12h15. UdeM-MUS B-421. EL. Classe de Gilles > 20h. CPP SPM. EL. Wagner: Tristan et Isolde, Pointe-à-Callière. Michel Tétreault. 13h30 Place Pierre Castonguay, conférencier. 450-668- Manny, piano. 343-6427 Prélude et Liebestod; Brahms: Concerto pour Royale (face au Musée): animation. 872-9150 9417, 450-667-2040 > 19h. Centre Berthiaume-du Tremblay, 1474 violon, 1er mouvement; Tchaikovsky: Symphonie > 14h30. Église St-Marc de Rosemont, 2602 Beaubien > 17h. CMQ-M SGC. EL. Ling-Fei Kang, David Fleury E. 12$. Horizon 45-65 (les pré-retraités). #5. O.S. du CMQ-M, Agnès Grossmann, chef; E. EL. O.S. CMQ-M, Roy. 873-4031 (h 24) Jomphe, hautbois; Diane Mauger, piano La musique au temps des châteaux de la Loire. Jean-Sébastien Roy, violon. (f 25). 873-4031, > 15h. CMQ-M SGC. EL. Rendez-vous du dimanche accomp. 873-4031 Musique de la Renaissance, de Praetorius à 987-6919 (professeurs du CMQ-M et leurs invités). Bach, > 18h30. CMQ-M SGC. EL. Louis-Philippe Monteverdi. Pierre Castonguay, conférencier. > 20h. Église St-Hubert, 5310 ch. Chambly, St- Beethoven, Brahms. Guy Fouquet, Elizabeth Dolin, Robillard, violoncelle. 873-4031 382-0310 poste 203, 450-668-9417, 872-8749 Hubert. 10-15$. Mozart: Requiem. Choeur de la violoncelles; Brigitte Poulin, piano. 873-4031 > 19h. MA Lav. 6$. Musique sous les étoiles; > 19h30. Église Union, 24 Maple, Ste-Anne-de- Montagne de St-Hilaire; Orchestre CAMMAC, > 15h. Église de la Visitation, 1847 boul. Gouin E. Musique symphonique de Mendelssohn et Bruch. Bellevue. 5-10$. Lakeshore Chamber Music Sébastien Lauriault, chef. (f 25). 450-676- LP. Les guitares chantent et dansent. Bach, Bruch: Symphonie #2. Pierre Castonguay, con- Society. Beethoven, Rachmninoff, Shostakovich. 2030, 450-676-4442, 450-681-6950 Vivaldi, Piazzola, Grieg. Société de guitare de férencier. 450-668-9417, 450-667-2040 Trio Rachmaninoff (cordes). 695-6229, 450- > 20h. PdA SWP. 40-105$. Opéra de Montréal, Montréal. (f 1 4 6/3). 389-2829, 872-8749 Lucia di Lammermoor. (h 10) > 15h. Église St-Jean-Baptiste, 309 Rachel E (/ SAISON Série La Nef 2000 / 2001
vendredi 23 février 20h Salle Redpath, Université McGill
Musique espagnole instrumentale (XVIe-XVIIe s.)
Sylvain Bergeron guitare baroque
Rafik Samman percussions
Betsy MacMillan violes de gambe
Robin Grenon harpe
20 $ 16 $ 12 $ taxes incluses www.la-nef.com Billetterie (514) 398-4547 Info (514) 523-3095 LaScenaMusicale / Février 2001 February / 35 ton; Iwan Edwards, chef. 483-6922, 398-4547 > 20h. MC FR. LP. Trio Gagné-Richard. 872-7882 Passacaglia ohne Thema; Mozart: Concerto pour À venir > 15h. McCord. 6-12$. Gigue Jig. (h 13h30) (h 22) piano #25: K. 503; Saint-Saëns: Symphonie #3: > 15h30. CHBP. LP. Début inc. Série pour Jeunes > 20h. McGill-MUS RED. EL. Händel, Mozart, R. “Avec Orgue”. OSM; Jean-Claude Casadesus, chef; Considéré comme un des Artistes. Couperin, Poulenc, Dutilleux; Barber, Strauss, Griffes, Duparc, Lehrer. John Taylor, Barry Douglas, piano. (f 28). 842-9951, 842-2112 meilleurs ténors lyriques de notre Chausson, Ravel, Schubert. Sarah Stack, haut- bass (Master’s Recital); Nathalie Doucet, époque, Christoph Prégardien reste bois; Pamela Reimer, piano, clavecin; Christina piano. 398-5145, 398-4547 Mercredi 28 Wednesday Tannous, soprano; Michael McMahon, piano. > 20h. PdA 5e salle. 10-22$. Société Pro Musica, > 12h. CPP SPM. EL. Projet Mozart. (h 7) particulièrement apprécié comme 768-3424, 872-5338 série Topaze. Khatchaturian: Trio; Ives: Largo Kw > 13h30. BPap Local 218. 5$. Musique Classique interprète du lied allemand. > 15h30. OrSJo BAS. Daveluy, orgue. (h 4) 5; Cardy: Tango; Milhaud: Suite op.157b; Bartok: II. (h 7) > Il interprétera le cycle ma- 19h. UdeM-MUS B-484. EL. Bach, Breval, Ysaÿe, Kontrasztok Sz.111. Trio Contrastes (Québec). > 18h30. Orchestre Métropolitain, 505 Sherbrooke Locatelli, Paganini, Prokofieff, Schnittke. 842-2112, 845-0532 Est, bureau 202 (Les bureaux de). 12$ RSVP. gnifique de Schubert Die Winter- Classes de Eleonore et Yuli Turovsky, violon, Invitation à la Mélomanie et à l’Opéra. reise en compagnie de son com- violoncelle. 343-6427 Mardi 27 Tuesday Mefistofele de Boito. Claudio Ricignuolo, con- > plice Michael Gees le 25 février 19h30. ÉSHub. 10-15$. CAMMAC, Choeur de la > 13h. MA Lav. 6$. Découverte de la musique férencier. 385-5015 Montagne. 450-676-2030, 450-676-4442 (h 24) classique. (h 6) > 19h30. MC FR. LP. Cartier: Dis Blaise, chanson à la Salle Pollack. > 20h. McGill-MUS POL. 32-47$. Société musicale > 19h. MA Lav. 6$. Musique sous les étoiles; du Transsibérien. Pierre Cartier, Aline Gélinas, (514) 397-0068. André Turp. Schubert: Die Winterreise. Chopin: l’oeuvre et la vie. Chopin: Ballades; compositeurs, musiciens. (f 1/3). 872-7882 Christoph Prégardien, ténor; Michael Gees, Barcarolle op.60. Pierre Castonguay, con- > 19h30. McGill-MUS POL. 15$. Canciones piano. 397-0068, 398-4547 férencier. 450-668-9417, 450-667-2040 españolas. Turina, Cordero, Montsalvatge, Henri-Julien). 10-20$. Poetry in Song. Bruce > 20h. McGill-MUS RED. EL. Mozart, Wolf, Couture, Rodrigo, Granados, Lorca. Guillermo Silva- Ruddell: The Spirit of Haida Gwai; Vaughan Lundi 26 Monday Somers, Argento. Janet Warrington, soprano (Master’s Marin, tenor; Brahm Goldhamer, piano; Robert Williams: Five Mystical Songs; etc.; Mark Sirett; > 13h. MC Ahuntsic-Cartierville, 10300 Lajeunesse. Recital); Martin Dubé, piano. 398-5145, 398-4547 McDonald, guitar. 398-5145, 398-4547 Lydia Adams. Choeur Saint-Laurent; Ensemble LP. Menus Ménestrels. 418-649-7141, 872-8749 (h5) > 20h. PdA SWP. 16-74$. Grands Concerts. Bouliane: > 20h. CHBP. LP. Elizabeth Dolin, violoncelle; Amati; Nathalie Paulin, soprano; John Avey, bary-
Pollack Hall, McGill University Guillermo Silva-Marin TENOR CANCIONES ESPAÑOLAS A RECITAL OF SPANISH SONGS Works by / Oeuvres de Ernesto Cordero, Federico Garcia Lorca, Rodrigo, Turina, Granados and/et Monsalvatge with/avec Brahm Goldhamer, pianist and/et Garry Antonio, guitarist Wed. February 28 - 7:30 p.m.
le mercredi 28 février - 19 h 30
Pollack Hall / la Salle Pollack 514-398-4547 Le monde enchanté de la musique! The Enchanted World of Music! Winterreise Schubert Piano: Michael Gees Salle Pollack Hall 25 février 2001, 20h / February 25, 2001, 8 p.m. Présente / Presents Billets: (514) 398-4547 ou admission.com INFO: (514) 397-0068 CRISTOPHCHRISTOPH PRÉGARDIENPRÉGARDIEN ténorténor // tenortenor
36 / LaScenaMusicale / Février 2001 February Notre mission Qui sont nos membres? Le CQM est un organisme sans but lucratif qui ras- Le CQM compte près de 200 membres issus de tous semble les professionnels de la musique dite de les secteurs de la musique dite de concert : concert. Sa mission consiste à promouvoir la discipli- ne et à soutenir son rayonnement. Le CQM favorise des individus œuvrant professionnellement dans le deux axes d'intervention : la représentation du sec- milieu : compositeurs, interprètes, chercheurs, fac- teur et les services aux membres. teurs d’instruments, éducateurs et professionnels de la gestion, de la production et de la promotion de la Nos activités et réalisations musique. Les Prix Opus, une célébration de l'excellence des organismes incorporés ayant des activités pro- musicale dont nous préparons actuellement la qua- fessionnelles dans le milieu : producteurs-diffuseurs, trième édition. associations et organismes de soutien, éditeurs et Le Québec en musique, un programme touristi- maisons de disques, conservatoires, facultés ou que offrant une variété de séjours musicaux à travers départements de musique des universités, syndicats la province. et associations patronales. Diapason, un service d'aide à la gestion pour les organismes musicaux. des associations ou regroupements d'organismes Le Répertoire des membres du CQM, disponible œuvrant dans le monde de la musique dite de aux internautes sur notre site au www.cqm.qc.ca . concert et des écoles de musique. Le Calendrier de concerts, diffusé mensuellement Devenir membre, dans La Scena Musicale, outil d'information resserrant c'est non seulement obtenir une meilleure visibili- les liens entre le milieu et le public. té, mais surtout se donner une voix. C'est aussi Également, des événements, des colloques, des participer au développement, à la consolidation et rencontres professionnelles... à la cohésion du milieu musical.
Renseignements : CONSEIL QUÉBÉCOIS DE LA MUSIQUE 1908, rue Panet, bureau 302 • Montréal (Québec) H2L 3A2 Téléphone : (514) 524-1310 • Télécopieur : (514) 524-2219 [email protected] • http://www.cqm.qc.ca DIMANCHE LUNDI MARDI SUNDAY MONDAY TUESDAY
Les Idées heureuses Les Productions Rigoletto VivaVoce 2001 7, 11, 16 et 17 février 3 février 3, 9 février
February 4 5 4 Cons. de musique de Qc : 19 h 30, 6 Café-spectacles du Palais Montcalm à Qc. 2 (418) 643-7427 4 Cons. de musique de Qc : 12 h, Stud. 4 OSQ : 20 h, Grand Th. de Qc. 2-53 du Cons. de musique de Qc. 2 (418) 643-8486 2 (418) 643-7427 4 Quatuor de l’Isle : 20 h, S. de concert du Montréal 4 Cons. de musique de Qc : 19 h 30, Stud. Cons. de musique de Chicoutimi. 4 OS de Laval : 14 h, 15 h 30, Maison des 2-53 du Cons. de musique de Qc. 2 (418) 545-3409 Québec Arts de Laval. 2 (450) 978-3666 2 (418) 643-7427 4 OS de Laval : 9 h 30, 11 h, S. A.-Mathieu à 4 Cons. de musique du Qc à Mtl : 15 h, 4 Société Pro Musica : 20 h, Th. Laval. 2 (450) 978-3666 S. Gabriel-Cusson. 2 (514) 873-4031 Maisonneuve. 2 (514) 845-0532 4 Orchestre Philharmonique du Nouveau 4 Orch. Sym. de Tr-Riv.: 20 h, Cons. de 4 OS de Laval : 9 h 30, 11 h, S. A.-Mathieu à Monde : 20 h, Église Unie Mont-Royal. Trois-Rivières. 2 (819) 373-5340 Laval. 2 (450) 978-3666 2 (514) 342-0942 Février
4 Les Productions Rigoletto : 11 h, Bibli. de l’Île-Bizard 11 12 13 à L’Île-Bizard. 2 (514) 729-5079 4 I Musici de Mtl : 14 h, Ég. Ste-Geneviève. 2 (514) 982-6038 4 Cons. de musique du Qc à Mtl : 15 h, S. Gabriel-Cusson. 2 (514) 873-4031 4 La Sinfonia de Lanaudière et Quatuor 4 Cons. de musique de Qc : 20 h,
Musicale Claudel : 15 h, Th. Hector-Charland à S. L.-Fréchette du Grand Th. de Qc. 4 Orchestre Métropolitain : 20 h, Ég. L’Assomption. 2 (450) 589-9198 2 (418) 643-7427 St-Sixte à St-Laurent. 2 (514) 855-6110 4 Les Idées heureuses : 15 h 30, Chp. hist. 4 L’Opéra de Mtl : 20 h, S. W.-Pelletier. 4 Orch. Sym. de Mtl : 20 h, S. W.-Pelletier. du Bon-Pasteur. 2 (514) 843-5881 2 (514) 985-2258 2 (514) 842-9951 4 Lorraine Desmarais, piano : 20 h, Th. de 4 Société du Ctr. Pierre-Péladeau : 20 h, 4 Ensemble Amati : 9 h 30, 12 h 30, Musée Baie-Comeau. 2 (418) 295-2500 S. P.-Mercure. 2 (514) 987-6919 des Beaux-Arts de Mtl. 2 (514) 484-9310
4 I Musici de Mtl : 11 h 30, Hôtel Ritz- Pour annoncer un événement Carlton. 2 (514) 842-4212 dans ce calendrier, veuillez 4 Les Productions Rigoletto : 14 h, 1819 20 MC du Plateau Mt-Royal. 2 (514) 872-2266 contacter le département 4 SMCQ Jeunesse : 14 h, Complexe sportif des ventes. Kirkland. 2 (514) 843-9305 4 Trio Kaffehaus : 14 h 30, Éc. de musique 2 To list your event in Vincent-d’Indy. (450) 435-1611 4 Cons. de musique du Qc à Mtl : 15 h, 4 Société musicale André Turp : 19 h, 4 Cons. de musique de Qc : 12 h, Café- this calendar, please S. Gabriel-Cusson. 2 (514) 873-4031 Goethe Institut. 2 (514) 397-0068 spectacles du Palais Montcalm à Qc. contact your LSM sales rep. 4 Steven Isserlis, violoncelle, LMMC : 15 h 4 Cons. de musique de Qc : 19 h 30, 2 (418) 643-7427
Scena 30, S. Pollack. 2 (514) 932-6796 Stud. 2-53 du Cons. de musique de Qc. 4 Orch. Sym. de Mtl : 19 h 30, Renseignements / Information 4 Orchestre Baroque de Mtl : 20 h, S. P.- 2 (418) 643-7427 S. W.-Pelletier. 2 (514) 842-9951 Mercure. 2 (514) 987-6919 4 Orchestre Métropolitain : 19 h 30, Th. 4 Ensemble contemporain de Mtl : 20 h, (514) 948-2520 4 SMCQ: 20 h, Stud. 12, Maison de Radio- Maisonneuve. 2 (514) 598-0870 S. Redpath. 2 (514) 524-0173 Canada. 2 (514) 843-9305 La L’inscription des concerts des organismes et individus membres 4 Fac. de musique de l’U. de Mtl : du Conseil québécois de la 14 h, Ég. du Très-St-Nom-de-Jésus. 25 26 27 musique est rendue possible 2 (514) 343-6427 grâce au soutien financier du 4 Cons. de musique du Qc à Mtl : 14 h 30, Ég. St-Marc de Rosemont. Calendar entries of the Conseil 2 (514) 873-4031 québécois de la musique 4 Cons. de musique du Qc à Mtl : 15 h, members are made possible by S. Gabriel-Cusson. 2 (514) 873-4031 4 Choeur St-Laurent: 15 h, Ég. St-Jean- Baptiste 2 (514) 483-6922 4 Cons. de musique de Qc : 12 h, Stud. 4 Ensemble Amati : 20 h, Ég. St-Jean- 2-53 du Cons. de musique de Qc. Baptiste 2 (514) 484-9310 2 (418) 643-7427 4 Société musicale André Turp : 20 h, 4 Société Pro Musica : 20 h, 5e S. de la 4 Orch. Sym. de Mtl : 20 h, S. W.-Pelletier. S. Pollack. 2 (514) 397-0068 Place des Arts. 2 (514) 845-0532 2 (514) 842-9951
38 / LaScenaMusicale / Février 2001 February MERCREDI JEUDI VENDREDI SAMEDI WEDNESDAY THURSDAY FRIDAY SATURDAY 4 Fac. de mus. de l’U. McGill : 12 h 15, S. Redpath. 4 I Musici de Mtl : 15 h, Chp. hist. du 20 h, S. Pollack.2 (514) 398-4547 Bon-Pasteur. 2 (514) 872-5338 1 2 4 3 4 Cons. de musique du Qc à Mtl : 13 h, Lorraine Desmarais, piano : 20 h, Ég. St-Pierre-Apôtre. 2 (514) 873-4031 Th. Hector-Charland à L’Assomption. 4 SMCQ Jeunesse : 19 h, Ctr. cult. de Pierrefonds. 2 (450) 589-9198 2 (514) 843-9305 4 Orch. Sym. de Tr-Riv. : 20 h, Cons. de 4 Les Violons du Roy : 20 h, Palais Montcalm à Qc. Trois-Rivières. 2 (819) 373-5340 4 Quatuor Alcan, Fac. de musique de 4 SQRM et Fac. de musique de l’U. Laval : 2 (418) 670-9011 4 Lorraine Desmarais, piano : 20 h, l’UdeM : 20 h, S. Pollack. 16 h 30, S. H.-Gagnon, Pav. Casault, 2 2 S. Pauline-Julien à Ste-Geneviève. (514) 398-4547 U. Laval à Ste-Foy. (514) 843-9305 4 VivaVoce : 20 h, S. Redpath. 4 Fac. de musique de l’U. McGill : 19 h 30, 2 (514) 626-7887 4 Orch. Sym. de Tr-Riv. : 20 h, Cons. de Trois- 2 (514) 489-3739 S. Pollack. 2 (514) 398-4547 4 4 Rivières. 2 (819) 373-5340 Les Productions Rigoletto : Bradyworks : 20 h, Chp. hist. du Bon- 20 h, MC de Pointe-aux-Trembles Pasteur. 2 (514) 845-4046 4 Arion: 20 h, Ég. St-Joachim à Pte-Claire. 2 (514) 630-1220 2 (514) 872-2240
7 4 Cons. de musique de Qc : 19 h 30, 8 9 10 Musée du Qc. 2 (418) 643-7427 4 Fac. de musique de l’U. McGill : 12 h 15, 4 Duo Alba : 13 h 30, 15 h, Musée McCord. 4 Fac. de musique de l’U. de Mtl et Duo S. Redpath. 2 (514) 398-4547 2 (514) 389-7100 4 Les Idées heureuses : 19 h 30, à Verdun. Puchhammer-Desjardins : 20 h, Chp. 4 L’Ensemble Les Boréades de Mtl : 20 h, 4 Ensemble Musica Nova : 20 h, S. Bandeen 2 (514) 843-5881 hist. du Bon-Pasteur. 2 (514) 872-5338 Chp. N.-D.-du-Bon-Secours. de l’U. Bishop à Lennoxville. 4 Orchestre Métropolitain : 20 h, S. Désilets, 4 I Musici de Mtl : 20 h, S. Pollack. 2 (514) 259-5114 2 (819) 822-9692 Cégep Marie-Victorin. 2 (514) 872-9814 2 (514) 982-6038 4 Orchestre Métropolitain : 20 h, 4 L’Opéra de Mtl : 20 h, S. W.-Pelletier. 4 Société du Ctr. Pierre-Péladeau : 20 h, S. 4 Lorraine Desmarais, piano : 20 h, Th. de Pierrefonds Comprehensive High School. 2 (514) 985-2258 P.-Mercure. 2 (514) 987-6919 la ville à Longueuil. 2 (450) 670-1611 2 (514) 624-1100 4 Lorraine Desmarais, piano : 20 h, S. de 4 SQRM : 20 h, Chp. hist. du Bon-Pasteur. 4 Société du Ctr. Pierre-Péladeau : 20 h, 4 Quatuor Bozzini : 20 h, Chp. hist. du Bon- spectacle de Sept-Îles. 2 (418) 962-0850 2 (514) 843-9305 S. P.-Mercure. 2 (514) 987-6919 Pasteur. 2 (514) 845-4046 4 Orch. Sym. de Tr-Riv.: 20 h, S. J.-A.- 4 OS de Laval : 9 h 30, 11 h, S. A.-Mathieu à 4 Allegra Chamber Music Series : 20 h, 4 VivaVoce : 20 h, Musée McCord. Thompson à Trois-Rivières. Laval. 2 (450) 978-3666 S. Redpath. 2 (514) 484-0333 2 (514) 489-3739 2 (819) 373-5340
4 Trio Kaffeehaus : 18 h, 14 15 16 Rest. Le Châtel Vienna à 17 2 Date de tombée pour La Scena Musicale Ste-Agathe-des-Monts. (450) 435-1611 4 La Scena Musicale Deadline SMCQ Jeunesse : 19 h, Éc. Hampstead. [ [ 2 (514) 843-9305 4 I Musici de Mtl : 11 h, 17 h 45, S. Tudor. 4 Ensemble contemporain de Mtl : 20 h, 4 Cons. de musique de Qc : 12 h, Foyer du 2 (514) 982-6038 Ég. St-Joachim à Pte-Claire. Grand Th. de Qc. 2 (418) 643-7427 4 I Musici de Mtl : 11 h, 17 h 45, S. Tudor. 4 Fac. de musique de l’U. McGill : 12 h 15, 2 (514) 524-0173 4 Fac. de musique de l’U. McGill : 19 h 30, 2 (514) 982-6038 S. Redpath. 2 (514) 398-4547 4 L’Opéra de Mtl : 20 h, S. W.-Pelletier. S. Redpath. 2 (514) 398-4547 4 L’Opéra de Mtl : 20 h, S. W.-Pelletier. 4 Ensemble contemporain de Mtl : 20 h, 2 (514) 985-2258 4 Orch. Sym. de Mtl : 20 h, S. W.-Pelletier. 2 (514) 985-2258 Ég. St-Joachim à Pte-Claire. 4 Les Idées heureuses : 20 h, S. P.-Mercure. 2 (514) 842-9951 4 Ensemble Amati : 9 h 30, 12 h 30, 2 (514) 524-0173 2 (514) 843-5881 4 Bradyworks + Quatuor Bozzini : 20 h 30, Musée des Beaux-Arts de Mtl. 4 Les Idées heureuses : 20 h, S. P.-Mercure. 4 Orchestre de chambre de Hull : 20 h, Ég. S. Oscar-Peterson. 2 (514) 845-4046 2 (514) 484-9310 2 (514) 843-5881 St-Benoît-Abbé à Hull. 2 (819) 777-0008
4 Société Pro Musica : 20 h, Th. Maisonneuve. 2 (514) 845-0532 21 4 Cons. de musique de Qc : 12h 10, 22 23 24 détachable Musée du Qc. 2 (418) 643-7427 4 Orch. Sym. de Mtl : 19 h 30, 4 Fac. de musique de l’UdM : 20 h, S. W.-Pelletier. 2 (514) 842-9951 S. Claude-Champagne 4 Lorraine Desmarais, piano : 20 h, 2 (514) 343-6427 4 Fac. de musique de l’UdM : 20 h, 4 Fac. de musique de l’UdM : 20 h, S. Félix-Leclerc à Val-d’Or. 4 Cons. de musique de Qc : 19 h 30, Pav. S. Claude-Champagne S. Claude-Champagne 2 (819) 825-3060 François-Ranvoyzé, Musée de l’Amérique 2 (514) 343-6427 2 (514) 343-6427 4 OS de la Montérégie : 20 h, S. Pratt et française à Qc. 2 (418) 643-7427 4 Cons. de musique du Qc à Mtl : 20 h, 4 Cons. de musique de Qc : 20 h, Cath. Whitney Canada à Longueuil. 4 Cie musicale La Nef : 20 h, S. Redpath. S. P.-Mercure. 2 (514) 873-4031 épiscopale de la Ste-Trinité à Qc. 2 (450) 646-3890 2 (514) 523-3095 4 Isabelle Héroux, guitare : 20 h, Ctr. d’art 2 (418) 643-7427 4 Fac. de musique de l’UdM : 20 h, 4 Lorraine Desmarais, piano : 20 h, Th. du de Richmond. 2 (819) 826-2488 4 L’Opéra de Mtl : 20 h, S. W.-Pelletier. S. Claude-Champagne Cuivre à Rouyn-Noranda. 4 L’Opéra de Mtl : 20 h, S. W.-Pelletier. 2 (514) 985-2258 2 (514) 343-6427 2 (819) 797-7133 2 (514) 985-2258 28 t pull-out Date de sortie de La Scena Musicale [ Appearance of La Scena Musicale [
4 Orch. Sym. de Mtl : 10 h 30, S. W.-Pelletier. 2 (514) 842-9951 4 Cons. de musique de Qc : 12 h, Foyer du Grand Th. de Qc. 2 (418) 643-7427 4 Orch. Sym. de Mtl : 20 h, S. W.-Pelletier. Benoît Brière, UdM Christoph Prégardien, Soc. mus. 2 (514) 842-9951 21–24 février André Turp: 25 février
LaScenaMusicale / Février 2001 February / 39
Brigitte Poulin, piano. 872-5338 Apportez vos instruments pour participer vues d’un secret. Arcuri: Accords perdus; James Bernard Labadie, chef. 692-3026, 670-9011, > 20h. PdA SWP. 16-74$. OSM, Douglas. (h 27) activement à ces échanges. 873-4031 Harley: Cachée; Michael Oesterle: Studio; Isabelle 691-7411 > 14h. Église du Très-St-Nom de Jésus, 4215 rue Van Grimde: Pour quatre corps et mille parts insé- 3 20h. Cathédrale épiscopale Sainte-Trinité, 31 Adam (ou 1645 Desjardins, près Pie-IX & Ste- parables (chorégraphie) (créations). Ensemble Des Jardins. 10$. Locke, Jenkins, Lawes, MARS Catherine). 15$. Récitals d’orgue, Université de contemporain de Montréal; Jérôme Ducharme, Cooper. Ensemble Masques. (f 2 Toronto). Montréal. Sylvain Caron, Sophie Trépanier, guitare; Katerina Juraskova, violoncelle; Van 694-9195 Jeudi 1 Thursday orgue. 343-6427 Grimde Corps Secrets. 524-0173, 525-1500 4 11h. DomCat. 4-8$. Concerts-Croissants > > > 9h. MA Lav. 6$. La musique au grand jour, 14h. Église Notre-Dame de la Garde, 785 Brault, 20h. CHBP. EL. SQRM: Présences de la musique. Hydro-Québec. Terry Ellen Christophersen, Découverte de l’opéra. Bizet: Carmen. Pierre Verdun. EL, CV. Bach: cantates. Fanny Larivière, Les sources manuscrites de la restauration du Richard Roberto, flûtes. 681-3010 Castonguay, conférencier. 450-668-9417, Isabelle Ricard, Martin Pilon, Vincent Ranallo; chant grégorien: Solesmes 1860-1869. Jean- 4 11h. GTQ Foyer. EL. Croissants Musique. Passion Sandra Simard, orgue. 769-3459 Pierre Noiseux, conférencier. (f 1 Québec). macaque. Musique de diverses cultures et épo- 450-667-2040 > > 19h. MA Lav. 6$. Musique sous les étoiles; 14h. MC Mercier, 8105 Hochelaga. LP. Menus 843-9305 ques. Skalène (Jean-Marc Hébert, René Thomas, Ménestrels. 418-649-7141, 872-8755 (h 5/2) > 20h. McGill-MUS POL. 15-23$. Intégrale des guitares; Martin Bonin, Mario Labrosse, percus- Musique symphonique de Mendelssohn et > Bruch. Mendelssohn: Symphonie #4 “Italienne”. 14h. MC Pointe-aux-Trembles, 14678 Notre- quatuors à cordes. Beethoven: op.18 #5; sions). 643-8131, 877-643-8131 Pierre Castonguay, conférencier. 450-668- Dame Est. LP. Musique médiévale, folklorique, op.132. Quatuor Alcan. (*prochain 21/4). 418- 4 14h. ULav-MUS SHG. EL. Étudiants en musique; contemporaine. Ensemble Rubia. 872-2240 543-0083, 343-6427, 398-4547 Paul Cadrin, animateur. 656-7061 9417, 450-667-2040 > > 19h30. Bibliothèque municipale, 8420 14h. Salle Jean-Grimaldi, 1111 Lapierre, 6 20h. GTQ SLF. 14-47$. Grands Concerts. Lacordaire, St-Léonard. 10$. Société de guitares LaSalle (Cégep André-Laurendeau). 13$. Chopin: Concerto pour piano #2; Chostakovich: de Montréal. 389-2829, 328-8585 (h 25/2) Société de guitares de Montréal. 389-2829, Symphonie #10. O.S. de Québec, Uriel Segal, > 367-1412 (h 25/2) chef; Angela Cheng, piano. 643-8486, 643- 20h. MC Côte-des-Neiges, 5290 ch Côte-des- > Neiges. LP. Quatuor Claudel, Magnan. 872- 14h. Vieux Port. EL. Symphonies portuaires de 8131, 877-643-8131 6889 (h 1/2) Pointe-à-Callière. Danielle Palardy Roger. 8 12h. ULav-MUS SHG. EL. Classe de Francis > 20h. MC FR. LP. Dis Blaise. (h 28/2) 13h30 Place Royale (face au Musée): anima- Dubé, piano. 656-7061 > tion. 872-9150 11 11h. DomCat. 4-8$. Concerts-Croissants Hydro- 20h. UdeM-MUS SCC. 8-15$. Radio-concerts Piano. > Liszt: transcriptions (Mendelssohn, Schumann, Chopin, 15h. CMQ-M SGC. EL. Rendez-vous du dimanche Québec. Michel Lessard, guitare. 681-3010 Lassen); Harmonies poétiques et religieuses. Sylviane (professeurs du CMQ-M et leurs invités). Carte 11 14h. ULav-MUS SHG. EL. Ensemble Canto e Deferne, piano. 343-6427, 597-3800, 842-2112 blanche aux cuivres. Bozza, Ewald, Delerue. piango, Michel Ducharme, chef. 656-7061 Alain Trudel, trombone; Manon Lafrance, 14 12h. GTQ Foyer. EL. Midis-Musique. Yana Vendredi 2 Friday trompette; Jean Gaudreault, cor. 873-4031 Ouellet, basson; Frédéric Paci, trompette. > h > 15h30. OrSJo BAS. Daveluy, orgue. ( 4/2) (Sandwiches, jus, café disponibles sur place). 10h. CMQ-M SGC. EL. Conférence et Cours de > 19h45. Société Radio-Canada, 1400 boul René- Sauf indication contraire, les événements ont lieu 643-8131, 877-643-8131 maître. Piano. Beethoven: Sonates. Monique Lévesque Est (Maison de Radio-Canada), à Québec, et l’indicatif régional est 418. 14 20h. ULav-MUS SHG. EL. Concert de la St- Deschaussées. Durée: 6h. Collab. Consulat de Studio 12. EL. Résonances. Clarence Barlow: Principale billetterie: Billetech 670-9011 Valentin. André Papillon, animation. 656-7061 France et APMQ (f 3). 873-4031 > Spright the Diner by Nib Wryter; Gyula Caspò: DomCat Domaine Cataraqui (Fondation 17 9h30. ULav-MUS SLB. 25$ pour la journée. 12h15. McGill-MUS RED. EL. Noon-Hour Organ. Sutraecitations; Hark Edvard (hommage à Bagatelle), 2141 chemin St-Louis, 681-3010 École préparatoire de musique. Regards sur la (h 2/2) > Grieg); Phrag Mental Friezes. Ensemble KORE. GTQ Grand Théâtre de Québec, 269 boul. René- musique contemporaine canadienne pour 14h. MC PMR. LP. Barocambolesque (pour les 6-12 989-9846, 597-6000 Lévesque E, 643-8131, 877-643-8131 jeunes pianistes. Ateliers. Gilles Comeau, con- ans). Une danseuse qui prépare une audition pour > 20h. CPP SPM. 11-23$. Radio-Concerts. Le par- ULav-MUS Université Laval, Faculté de musique, férencier. (jusqu’à 16h30). 656-7061 une comédie musicale se cogne à deux flûtistes du adis perdu. Musique juive et chrétienne du Pavillon Louis-Jacques Casault, Cité universi- 17 14h. Moulin des Jésuites, 7960 boul. Henri- 18e siècle. Marie-Nathalie Lacoursière, danseuse; f temps d’Alphonse X (Espagne, 1221-1284). taire, 656-7061: SHG Salle Henri-Gagnon Bourassa, Charlesbourg. 10$. Vivaldi, Sanz, Sophie Larivière, Matthias Maute, flûtes. ( 5). Hesperion XXI, Jordi Savall, chef; Montserrat (3155) Bach, Sor, Albéniz, Boyd, Villa-Lobos, Barrios, 872-2266 > Figueras, soprano. SRC CC. 987-6919 McKinnon. Geneviève et Claude McKinnon, gui- 19h30. UdeM-MUS B-421. 6$. Opéramania tares. 626-3770, 872-8041 poste 176 (projection d’opéra sur grand écran). Verdi: Lundi 5 Monday FÉVRIER 17 19h30. Moulin des Jésuites. 10$. McKinnon, Stiffelio. Michel Veilleux, musicologue, anima- > guitares. (h 14h) teur. Metropolitan Opera (1993), avec Domingo, 13h30. MC FR. LP. Barocambolesque. Prod. 1 16h30. ULav-MUS SHG. EL. SQRM, Morand. Jeunesses Musicales du Canada. 872-7882 (h 2) SQRM (h Montréal 7) 17 20h. ULav-MUS SHG. $. Willams, Courage, Lai, Sweet, Chernov, Plishka; Levine, chef; Del Rodgers, Bullock: musique de films. Ensemble Monaco, mise en scène. 343-6427 2 20h. Palais Montcalm, 995 place d’Youville, Mardi 6 Tuesday Salle Raoul-Jobin. 22-27$. Händel: Concerti vent et percussion de Québec, René Joly, chef. > 20h. MC Pointe-aux-Trembles, 14678 Notre- f > 13h30. MC FR. LP. Bijopsky (pour les 6-12 ans). grossi, op.6, extraits. Les Violons du Roy, ( 18). 656-7061, 643-8131 Dame Est. LP. Hommage à Lionel Daunais. 18 11h. DomCat. 4-8$. Concerts-Croissants Chansons et textes de L. Daunais (avec mise en Vivaldi, Bach, Mozart, Ibert, Joplin. Danielle scène, costumes, accessoires). Clermont Hébert, basson; Marie-Claude Parent, clar- Tremblay, baryton; Nancy Pelletier, piano. inette; Benoît Parent, hautbois; Vincent Magnat, 729-5079, 872-2240 comédien. Prod. Jeunesses Musicales du Canada. > 20h. McGill-MUS POL. 5$. Weber: Der 872-7882 Freischütz, ouverture; Britten: Sinfonia da > 19h30. Théâtre Outremont, 1248 Bernard Requiem; Brahms: Symphonie #4. O.S. de Ouest, Outremont. $. Société de guitares de En collaboration avec McGill, Hilary Griffiths, chef. (f 3). 398-5145, Montréal. 389-2829, 495-6218 (h 25/2) 398-4547 > 20h. CHBP. EL. Les chambristes du CMQ-M. 873-4031, 872-5338 Samedi 3 Saturday > 20h. Église St-Sixte, 1895 de l’Église, St- > 10h. CMQ-M SGC. EL. CMQ-M, Deschaussées. Laurent. 10-12$. Allemagne. Bach-Stokowski: Durée: 6 heures (h 2) Toccate et fugue en ré mineur; Beethoven: Triple > 20h. McGill-MUS POL. 5$. McGill SO, Griffiths. concerto; Brahms: Symphonie #3. Orchestre 12, 15, 17 et 19 mai 2001 (h 2) Métropolitain, Yannick Nézet-Séguin, chef; > Stéphan Sylvestre, piano; Martin Beaver, vio- Direction artistique et musicale 20h. McGill-MUS RED. 15-22$. Schubert: f Bernard LABADIE Quintette “La Truite” D.667; Octuor D.803. lon; Élizabeth Dolin, violoncelle. CPC 19h ( 7). 598-0870, 855-6110 Musica Camerata Montréal. 489-8713, 398- Mise en scène 4547 Mercredi 7 Wednesday Serge DENONCOURT > 20h. Pavillon des Arts, 1364 ch. Pierre-Péladeau, 643-8131 Ste-Adèle. 25$. Mendelssohn: Sonate op.58; > 12h. CPP SPM. EL. Projet Mozart. (h 7/2) TOSCA: Michele CAPALBO Bloch: De la vie juive; Fauré: Papillon op.77; > 12h30. CCC. EL, CV. Intégrale de l’oeuvre pour SCARPIA: Gaétan LAPERRIÈRE Raymond Perrin: commande; Barber: Sonate orgue de Messiaen. Messiaen: Livre du Saint 529-0688 op.6. Sébastien Lépine, violoncelle; Nathalie Sacrement I-IV, XII-XVIII. Patrick Wedd, orgue. Chœur de l’Opéra de Québec Lépine, piano. (suivi d’un vin et fromage; exposi- 288-6421, 843-6577 Orchestre symphonique de Québec tion d’art). 450-229-2586 > 13h30. BPap Local 218. 5$. Musique Classique II. (h 7/2) Dimanche 4 Sunday > 19h30. Église Notre-Dame des Sept-Douleurs, > 4155 Wellington, Verdun (& de l’Église). 12$. OM, 10h. CMQ-M Studio A. EL. Ateliers d’improvisa- h tion. Trombone. Alain Trudel. Durée: 3 heures. les 3 B. CPC 18h30. 598-0870, 765-7150 ( 6) > 20h. Agora de la danse, 840 Cherrier. $14-21. Trois
GiacomoGiacomo PUCCINIPUCCINI
LaScenaMusicale / Février 2001 February / 41 À venir MARS FÉVRIER Le clavecin à l’honneur 1 12h. ULav-MUS SHG. EL. Classe de Michel 3 20h. Salle de spectacle, 1660 de Bretagne, L’Université Bishop’s de Lennoxville consacre les journées du 15 au 17 Franck, piano. 656-7061 Baie-Comeau. Concerts des Amériques (JMC). 1 16h30. ULav-MUS SHG. EL. SQRM, Noiseux. (h Wagner, Mozart, Rossini, Vaughan Williams, février à la célébration de la musique de clavecin par un festival intitulé Montréal 7) Ravel, Fauré. Olivier Laquerre, baryton; Le clavecin d’hier et d’aujourd’hui. Dom André Laberge, Luc Beauséjour, 2 20h. ULav-MUS SHG. EL. Classe de Marie Fabi, Dominique Roy, piano. (f 4 6 7 24 25 Ailleurs piano. 656-7061 au Québec; 21 Toronto; 11 13 14 17 Atlantic Hank Knox, Rachelle Taylor et Johanne Couture interprèteront des chefs- 4 11h. DomCat. 4-8$. Concerts-Croissants Provinces). 514-845-4108 poste 229 d’œuvre des maîtres des siècles passés tels Couperin, Fescobaldi, Hydro-Québec. Geneviève Martin, Martin Roy, 4 15h. Église St-Alexandre, 55 Portage des Scarlatti, Sweelinck et J.S. Bach. La claveciniste vivie’ vinçent, quant à saxophones altos. 681-3010 Mousses, Port-Cartier. 8-15$. Laquerre, Roy 4 11h. GTQ Foyer. EL. Croissants Musique. (JMC). 418-766-5380 (h 3) elle, se spécialise dans le répertoire contemporain et exécutera, entre Musique irlandaise. Trio Reelique (Andrée 6 20h. Cégep, Matane, Salle Lucien-Bellemare. autres, des œuvres de John Beckwith, Bruce Mather, Pierre Schaeffer et Bilodeau, violon; Christophe Garenc, corne- 0-20$. Laquerre, Roy (JMC). 514-845-4108, Wendy Prezament. Le public est également invité à assister aux confé- muse, flûtes irlandaises, bodhran; François 418-562-4212 (h 3) Morrissette, bouzouki, turlutte). 643-8131, 7 19h30. Cégep, Gaspé, Auditorium. Laquerre, rences données par John Beckwith, Rachelle Taylor, Johanne Couture, 877-643-8131 Roy (JMC). (h 3) Mary Okeeffe, vivie’ vinçent et Jérôme Blais afin d’approfondir la richesse 4 14h. ULav-MUS SHG. EL. Concert des étudi- 7 20h. Polyvalente Polyno, 500 Principale Sud, La de l’univers du clavecin. En clôture du Festival, on pourra assister à ants. Michel Ducharme, animation. 656-7061 Sarre, Auditorium. Ouellet Murray (JMC). 819- 6 20h. GTQ SLF. 13-43$. Hommage à Tchaikovsky. 333-5828, 819-333-3294 (h Montréal 2) Sacrée Landowska (Mémoires d’outre-tombe). Information : (819) 822- Tchaikovsky: Concertos poupr piano #2-3; 8 20h. Théâtre du Cuivre, 145 Tachereau Ouest, 9600, poste 2422. Capriccio italien; /Stravinsky: La Belle au bois Rouyn-Noranda. 5-15$. Ouellet Murray (JMC). dormant, variations et entracte. O.S. de Québec; 514-845-4108 poste 229, 819-797-5337 (h Stéphane Laforest, chef; Nadia Weintraub, Montréal 2) Hydro-Québec. Jean-François Gagné, alto; 25 11h. DomCat. 4-8$. Concerts-Croissants piano. 643-8486, 643-8131, 877-643-8131 9 12h30. BishUn Ban. EL. Lecture & recital. Geneviève Boileau, piano. 681-3010 Hydro-Québec. Anne-Julie Caron, vibraphone; 7 12h. ULav-MUS SHG. EL. Classe de Michel Andrew Timar, Diego Luzuriaga, Yoshiharu 18 14h. Musée du Québec, 1 Wolfe Montcalm (Parc Christian Dubois, marimba. 681-3010 Franck, piano. 656-7061 Takahashi: world premieres; David Loeb, des Champs-de-Bataille). 5-7$. Concerts 25 14h. Basilique Notre-Dame, 16 Buade. 6-10$. 7 20h. GTQ SLF. 20-50$. Club musical de Québec. Katsutoshi Nagasawa; traditional Chinese and Couperin. Stéphane Sylvestre, piano. Musique Les Amis de l’Orgue de Québec. Bach, Jordi Savall, Hesperion XXI. 643-8131, 877- Japanese music. Nishikawa Ensemble. polonaise Buxtehude, Mendelssohn, Léger, Franck, Alain. 643-8131 Lecture: Performance and creation of new 18 14h. ULav-MUS SHG. $. EVPQ, Musique de Monique Gendron, orgue. 681-3927 f h music for traditional instruments ( 13 films. ( 17) 25 19h30. Mouvement de guitare classique La Toronto). 819-822-9600 ext.2395 19 20h. Palais Montcalm, 995 place d’Youville, Soribande inc. / Claude McKinnon, guitare, 9 20h. Musée canadien des civilisations, 100 Salle Raoul-Jobin. 10-25$. Classique et com- 600, 60e rue Est, Charlesbourg. 1-3$. Laurier, Hull. 8-12$. Orchestre des jeunes pagnie. J.S. Bach, W.F. Bach, Soler. Andreas Mouvement de guitare classique la Soribande. Camerata (Australie). (f 10). 819-776-7000, Staier, Geneviève Soly, clavecins. 670-9011, Élèves en guitare du privé et du campus 800-555-5621 691-7411 Notre-Dame-de-Foy, niveau collégial. 626- 9 20h. Salle Félix-Leclerc, 600, 7e rue, Val-d’Or. 19 20h. ULav-MUS SHG. EL. Mélodies, airs 3770, 872-8041 poste 176 Ouellet Murray (JMC). (h Montréal 2) d’opéras. Hélène Fortin, soprano; Claude 27 12h. ULav-MUS SHG. EL. Les mardis musico- 10 Théâtre du Cuivre, 145 Tachereau Ouest, Rouyn- Soucy, piano. 656-7061 poétiques. Chantal Masson-Bourque, Denyse Noranda. $. Jeunesses Musicales du Canada. 22 19h. ULav-MUS SHG. EL. Cours de maître. Noreau, animation. 656-7061 Souper concert St-Valentin. 819-797-5337 Mario Boivin, marimba. 656-7061 27 20h. ULav-MUS SHG. EL. Classe de Gilbert 10 20h. BishUn Ban. 5-15$. Atelier de jeunes 23 20h. ULav-MUS SHG. EL. György Terebesi, Blais, trompettes. 656-7061 AILLEURS AU QUÉBEC compositeurs-étudiants. Tremblay, Murail, Martin LeSage, violons; Rachel Martel, piano. 28 12h. GTQ Foyer. EL. Midis-Musique. Maude Ferguson, Hyland, Vivier, Turmerl; étudiants de 656-7061 Bouchard, clarinette; Annie Morrier, alto. BishUn Bishop’s University, Department of Music, l’U de Sherbrooke et de Bishop. Ensemble 24 ULav-MUS SHG. EL. Concours du disque des étu- (Sandwiches, jus, café disponibles sur place). f Lennoxville, 819-822-9692: Ban Salle Bandeen Musica Nova (flûte, alto, saxo, piano). 819- diants. Élèves de la Faculté. ( 25). 656-7061 643-8131, 877-643-8131 348-1742, 819-822-9692 25 ULav-MUS SHG. EL. Concours du disque des h h 10 20h. MCDC. 8-12$. Camerata Australie. ( 9) étudiants. ( 24) 10 20h. Salle J.-Antonio-Thompson, 374 des
Musique Chez Nous Le clavecin d’hier & d’aujourd’hui Harpsichord & (L’Hiver 2001) Then Now L’Université Bishop’s, Un festival bilingue d’une durée Département de Musique de 3 jours célébrant musique ancienne et Le vendredi, 19 janvier • Andrew MacDonald, guitare & contemporaine écrite pour le clavecin. Eleanor Gang, soprano – Bach, Villa-Lobos, Giuliani; et Sor, Nicholas Maw, Andrew MacDonald (première) Le vendredi, 26 janvier • Brigitte Poulin, piano – Les Le jeudi, 15 février jusqu’au samedi, sonates et interludes pour piano préparé de John Cage SRC * 17 février 2001. Le vendredi, 2 février • Le quatuor jazz Mike Gauthier – présentent un Cabaret musical Le jeudi, 15 février • Dom André Laberge, clavecin – Concerts : Dom André Laberge, Bach, Couperin, Böhm, Duphly SRC* Luc Beauséjour, Hank Knox, Le vendredi, 16 février • Luc Beauséjour, clavecin – Scarlatti, Soler, Frescobaldi SRC* vivie’ vinçent, Rachelle Taylor, Le vendredi, 16 mars • Alexander Tselyakov, piano – Johanne Couture,et Catherine Perrin, Chopin, Mozart, Rachmaninoff SRC * avec l’Ensemble Contemporain de Le vendredi, 23 mars • Anick Lessard, flûte & Mario Montréal Boivin, percussions – Piazzolla, Farr, Lemay (premiere , dirigé par Véronique Lacroix Canadienne) SRC * Le vendredi, 6 avril • Les Chanteurs de l’Université, Jamie Crooks, dir. – Gilbert & Sullivan, Broadway. Le concert Conférences : John Beckwith, vivie’ donné à nouveau le samedi 7 avril et le dimanche 8 avril, à 20 h. vinçent, Jérome Blais, Rachelle Taylor, SRC * enregistré par Johanne Couture, Mary OKeeffe Société Radio-Canada L’Université Bishop’s, Lennoxville, QC SALLE BANDEEN — L’UNIVERSITY BISHOP’S, LENNOXVILLE (Tous Salle Bandeen et Théâtre Centennial les concerts sont présentés le vendredi à 20 h, à moins d’indication contraire) BILLETS: $10 / $8 / $5 (Étudiants) ABONNEMENTS: $35 / $25 / $15 Renseignements : (819) 822-9600, poste 2422 (5 billets pour n’importe quels concerts) RENSEIGNEMENTS: (819) 822- 9692 [email protected]
42 / LaScenaMusicale / Février 2001 February Forges, Trois-Rivières. 18-34$. Beethoven: Mer 17 20h. BishUn, Théâtre Centennial. (prix: voir 3 20h. Théâtre des Eskers, 152, 14e avenue, Amos. Choral gems from Renaissance to today. calme et heureux voyage; Concerto pour piano #5, 11h). ECM, Sacrée Landowska. 514-524- Dubeau, Pietà. 819-732-9233 (h Montréal 7/2) Seventeen Voyces, Kevin Reeves, director; 1er mouvement; Brahms: Rhapsodie pour alto et 0173, 819-822-9692 (h Montréal 16) 4 16h30. Séminaire St-Joseph, 858 Laviolette, Kevin James, viola; Matthew Larkin, piano, choeur op.53; Nänie op.82; Gesang der Parzen 17 20h. Église St-Benoît-Abbé, 170 Sherbrooke, Trois-Rivières, Chapelle. 18-25$. Musique de organ. 234-2532, 234-4024, 234-5482 op.89. O.S. de Trois-Rivières, Gilles Bellemare, Hull (coin Moussette). 20-25$. Reinecke: chambre. Mozart: Serenade “Eine kleine 8 8pm. NAC SH. $31-66. CJOH Pops. Songs new chef; Marie-Nicole Lemieux, mezzo; Rachel Octuor op.216; Donizetti: Symphonie pour Nachtmusik” K.525; Concerto pour flûte #1; and old (bilingual). NACO; Ginette Reno, Cotton, piano; Choeur polyphonique de l’OSTR. vents; Dvorak: Sérénade pour vents op.44; R. Symphonie #29; Denis Dion: Homme-âge à la singer. (f 9 10). 947-7000 819-373-5340, 819-380-9797 Strass: Suite pour vents op.4. Les vents de mère. O.S. de Trois-Rivières, Gilles Bellemare, 9 8pm. NAC SH. $31-66. NACO, Reno. (h 8) 11 11h. Maison du Citoyen, 25 Laurier, Hull, Salle l’Orchestre de chambre de Hull, Louis chef; Timothy Hutchins, flûte. 819-373-5340, 10 10am. UofO-MUS FH. FO. Masterclass. Angela Jean-Desprez. 12-28$. Concerts Ponticello. Lavigueur, chef. 819-777-0008 819-380-9797 Hewitt, piano. 562-5733 Mozart, C.P.E. Bach. Olivier Brault, violon; 18 14h. Séminaire St-Joseph, 858 Laviolette, 4 20h. Polyvalente St-Joseph, Mont-Laurier. 10 8pm. NAC SH. $31-66. NACO, Reno. (h 8) Marie Bouchard, clavecin. (10h brunch léger). Trois-Rivières, Chapelle. Concerts Pro Organo Dubeau, Pietà. (h Montréal 7/2) 10 8pm. St. Andrew’s Presbyterian Church, 82 Kent St 819-771-6454, 819-595-7997 Mauricie. Danny Bélisle, orgue; Julie Triquet, (& Wellington). 10-15$. Ottawa Chamber Music 11 14h. Théâtre des Eskers, 152, 14e avenue, violon. 819-378-4960, 819-376-6010 Society. Mozart: String Quintet K.516; Vaughan Amos. Ouellet Murray (JMC). 514-845-4108 18 19h30. Église St-Grégoire, 150 McLaren Est, Williams: Phantasy Quintet; Brahms: String poste 229, 819-732-9233 (h Montréal 2) Buckingham (Outaouais). 8-20$. Concerts Quintet op.111. James Ehnes, violin; Jonathan 11 20h. Université de Sherbrooke, Centre culturel, Ponticello. Bach, Roux, Pujol. Quatuor de gui- Crow, violin; Steven Dann, viola; Guylaine 2500 boul. Université, Sherbrooke, Salle tares du Canada. 819-771-6454 Lemaire, viola; Julian Armour, cello. 234-8008 Maurice-O’Brady. Dubeau, Pietà. 819-820- 24 18h. Restaurant Le Chatel Vienna, 6 Ste-Lucie, 13 8pm. NAC SH. $23-49. Great Performers. 1000 (h Montréal 7) Ste-Agathe des Monts. 45$. Société de musique Beethoven: Violin Sonatas #5 “Spring”, #6, #7 12 20h. Salle Augustin-Chénier, Ville-Marie. viennoise du Québec. Souper-concert St-Valentin. “Eroica”. Pinchas Zukerman, violin; Marc Ouellet Murray (JMC). (h Montréal 2) Trio Kaffeehaus. 450-435-1611, 819-326-1485 Neikrug, piano. 947-7000 15 13h. BishUn Ban. 12-15$. Harpsichord Then 24 20h. Les amis de la musique / Le Centre d’art, 14 8pm. NAC SH. $25-56. Connoisseur. Bruch: and Now Festival-Conference. Concerts of 1010 Principale Nord, Richmond. 15$. Duo Canzone for Cello op.55; Adagio on Celtic new music and early music; new work by Piazzolla (Isabelle Héroux, guitare; Patrick OTTAWA Melodies op.56; Bach: Concerto for Violin and Jérome Blais; lecture, discussion. Hank Knox, Healey, flûte traversière). 819-826-2488 Oboe BWV1060; Devienne: Flute Concerto #7; Dom André Laberge, Jérome Blais, harpsi- 24 20h. Monastère des Augustines, 414 Brassard, Unless stated otherwise, events take place in Haydn: Sinfonia concertante H.I:105. NACO; chord; vivie’ vinçente, speaker. (until 10pm). Roberval. Laquerre, Roy (JMC). (h 3) Ottawa, and the area code is 613. Main ticket Pinchas Zukerman, conductor, violin; Amanda 819-822-9600 x2422 24 20h. Polyvalente, 1099 boul. Hamel, St- agents: NAC 976-5051; Ticketmaster 755-1111 Forsyth, cello; Joanna G’froerer, flute; Charles 15 20h. BishUn Ban. 5-10$ (c 13h). Festival Félicien, Auditorium. Ouellet Murray (JMC). (h NAC National Arts Centre, 53 Elgin St, 947-7000: Hamann, oboe; Gerald Corey, bassoon. 18:45 Harpsichord Then and Now. Musique chez nous. Montréal 2) SH Southam Hall Pre-Concert Chamber Music: Pinchas Zukerman, French and German music of the Baroque. Dom 24 20h. Université de Sherbrooke, Centre culturel, NACO National Arts Centre Orchestra violin, viola; Marc Neikrug, piano; musicians of Andre Laberge, clavecin. SRC CC. 819-822-9692 2500 boul. Université, Sherbrooke, Salle UofO University of Ottawa, Department of Music, NACO; Mozart: Piano Quartet #1 K.478; Clarinet 16 10h. BishUn Ban. 12-15$/all day. Harpsichord Maurice-O’Brady. 10-27$. Vaughan Williams: 50 University Street, 562-5733: TabCh Chapel Trio K.498 “Kegelstatt” (f 15). 947-7000 Then and Now Festival-Conference. Concerts Symphonie #2 “London”; Dona nobis pacem; (Room 112), 550 Cumberland (& Wilbrod), 15 8pm. NAC SH. $25-56. NACO, Forsyth, of new music and early music; lectures. vivie’ Mendelssohn: Ouverture Les Hébrides. O.S. de Tabaret Hall; FH Freiman Hall (Room 121), 610 G’froerer, Hamnn, Corey. (h 14) vinçente, Rachelle Taylor, Luc Beauséjour, Sherbrooke, Stéphane Laforest, chef; Choeur Cumberland, Pérez Building 17 2pm. Embassy of Japan, 255 Sussex Drive. harpsichord; Rachelle Taylor, Mary O’Keeffe, symphonique; Louise Marcotte, soprano; Katsutoshi Nagasawa: music for Japanese per- speakers. (until 10pm). 819-822-9600 x2422 Michel Ducharme, baryton. 819-820-1000 cussion and flute; etc. Nishikawa Ensemble; 16 20h. BishUn Ban. 5-10$ (c 10h). Musique chez 25 20h. Centre culturel / Cégep de Chicoutimi, FEBRUARY Kiyoshi Nagata, percussion. 241-8541 nous. Italian and Spanish music of the 18th- 534 Jacques-Cartier Est, Chicoutimi, Salle Le 3 8pm. UofO-MUS TabCh. FO. Mozart: Violin 17 2:30pm. UofO-MUS FH. FO. Masterclass. Low century. Scarlatti, Frescobaldi, Soler, etc. Luc Ménestrel. Laquerre, Roy (JMC). (h 3) Concerto in A Major. University of Ottawa Brass. John Griffiths. 562-5733 Beauséjour, clavecin. SRC CC. 819-822-9692 Orchestra, David Currie, conductor; David 17 8pm. NAC SH. Black and White Opera Soirée. 17 11h. BishUn Ban. 16-20$/all day. Harpsichord Stewart, violin. 562-5733 Benefit concert for OLO and NACO. Opera Lyra Then and Now Festival-Conference. Lecture- MARS 4 2pm. UofO-MUS FH. FO. Masterclass. David Ottawa Chorus and soli; NACO. 233-9200, recital; concert of Canadian music. Johanne 1 20h. Auditorium Le Carrefour, 125 Self, Val- Stewart, violin. 562-5733 877-233-LYRA, 947-7000 Couture, harpsichord, speaker; vivie’ d’Or. Dubeau, Pietà. (h Montréal 7/2) 4 7:30pm. St. Matthew’s Anglican Church, 217 17 8pm. UofO-MUS TabCh. FO. Mozart, Gounod, vinçente, harpsichord. (until 8pm). 819-822- 2 20h. Théâtre du Cuivre, 145 Tachereau Ouest, First Avenue (or 130 Glebe, at Bank St). $10- Saint-Saëns. University of Ottawa Orchestra, 9600 x2422 Rouyn-Noranda. Dubeau, Pietà. (h Montréal 7/2) 20. Benefit concert for the church’s organ fund. David Currie, conductor; Pascale Beaudin,
Seventeen Voyces
A Benefit Concert for the St. Matthew's Organ Restoration Fund
A potpourri of choral gems from the Renaissance to the 21st Century
Director: Kevin Reeves, Viola: Kevin James Piano/organ: Matthew Larkin
February 4, 2001, 7:30 pm, St. Matthew's Anglican Church, Glebe Avenue just west of Bank, Ottawa
Tickets: $20 / $15 (seniors)/ $10 (students) available from Church office (613) 234-4024; Compact Music, 785 Bank; or at the door
LaScenaMusicale / Février 2001 February / 43 Debussy, Shostakovich. David Stewart, violin; 363-8231, 800-250-4653, 872-2262 Arthur; etc. Paul Grindlay, bass; Norman Engel, Upcoming Julian Armour, cello; Andrew Tunis, piano. > 8pm. RTH. $25-85. Mozart: Piano Concertos #17 trumpet; Rona Goldensher, Julie Baumgartel, 562-5733 and #25; Haydn: Symphony #88. TSO, Murray violins; Mary-Katherine Finch, cello; Ottawa Chamber 3 2pm. NAC SH. $12-18. 2001: A Musical Perahia, conductor, piano. (f 2 3). 593-4828 Christopher Dawes, chamber organ. 588-4301 Music Society Odyssey/ Young People’s Concerts (for 7-11 > 8pm. SVT. $15-18. Sondheim/Wheeler/Bond: Enjoy chamber music at its y.o.; featuring giant-screen close-up of the Sweeney Todd. Scarborough Music Theatre. (f Sunday 4 best! Come and hear great artists musicians). A Sports Odyssey: Fun as We Go. 2 3 4 8 9 10 11 15 16 17). 438-8734, 396-4049 > 1:30pm. Lansing United Church, 49 Bogert Ave, Richard Hayman: Freddie the Football; Rossini: > 8pm. SLCA JMT. $39-43. Music Toronto; North York. $20 (free for TEMPO members). Toronto playing great composers: James William Tell Overture; P.D.Q. Bach: Beethoven: Quartets. Haydn: Quartet op.33 #1; Heather Early Music Players Organization Workshops. Ehnes, Jonathan Crow, violins, Symphony #5 as seen by sports commentators. Anne Schmidt: Phantoms; Toshi Ichiyanagi: In Renaissance music. David Klausner. 2.5 hours Steven Dann, Guylaine Lemaire, NACO; Boris Brott, conductor. 947-7000 The Forest; Ravel: Quartet in F Major. Amernet (For amateur early instruments players of interme- 5 8pm. NAC SH. Morel: Prélude; Bizet/Schchedrin: Quartet. 366-7723, 214-1660 diate level and up; bring music stand). 480-0225, violas, and Julian Armour, cello, Carmen Suite; Franck: Symphony in D minor. 905-648-2261 play Mozart, Vaughan Williams, Ottawa S.O., David Currie, conductor. 747- Friday 2 > 2pm. GGS. $30. On Stage/Singers. Haydn, 3104, 947-7000 > and Brahms at St. Andrew’s 8pm. GGS. $30. On Stage/Lortie, Schumann & Mozart, Beethoven, Mahler, Strauss: songs. Brahms. Schumann: Piano Quintet op.34; Wolfgang Holzmair, baritone; Russell Ryan, Presbyterian Church on February Brahms: Piano Quintet op.44. Louis Lortie, piano. 205-5555 10. (613) 234-8008. piano; Takacs String Quartet. 205-5555 > 2pm. HCPA. $15-135. COC, La Fanciulla del > 8pm. RTH. $25-85. TSO, Perahia. (h 1) West. (h 1) > 8pm. SVT. $15-18. Sweeney Todd. (h 1) > 2pm. SVT. $15-18. Sweeney Todd. (h 1) soprano; Christopher Devlin, piano; Isabelle > 8pm. St. Patrick’s Church, 137/141 McCaul St. > 2pm. SLCA JMT. $26. King’s Rhapsody, a tribute Lacroix, soprano (winners of 2001 Concerto $25-30. Mystical Voices. Hatzis: D’Angelis; Togni: to Ivor Novello. Toronto Operetta Theatre; Mark Competition). 562-5733 Grandmother Moon; Tavener: Hymn of the Virgin DuBois, tenor; Suzanne Kompass, soprano; 21 8pm. NAC SH. $27-60. Connoisseur. Brahms: Mary; Pärt: Magnificat; Gorecki: Totus Tuus; First Gloria Saarinen, piano. 465-2912, 366-7723 Symphony #2; Piano Concerto #2. NACO; Nations: Mi’kmaq Honour Song. Elmer Iseler > 2:30pm. Neilson Park Creative Centre, 56 Neilson Pinchas Zukerman, conductor; Emanuel Ax, Singers, Lydia Adams, conductor; Amadeus Dr. (near The West Mall and Bloor, Etobicoke). FA. piano. 18:45 Pre-Concert Chamber Music: Chamber Choir; Laura Pudwell, mezzo. 217-0537 New Music Concerts, Music Speaks (outreach Pinchas Zukerman, violin; Emanuel Ax, piano; TOOORONT O > 8pm. TSPC. $10. Locke, Jenkins, Lawes, Cooper. concerts and lectures). Alexina Louie: Earth Brahms: Violin Sonata #3 (f 22). 947-7000 h Ensemble Masques. 418-694-9195, 410-4022 Cycles; Lukas Foss: Curriculum Vitae; Arne 22 8pm. NAC SH. $27-60. NACO, Ax. ( 21) Unless stated otherwise, events take place in > 8pm. Willowdale United Church, 349 Kenneth Nordheim: Flashing. Joseph Macerollo, accor- 22 8pm. St. Andrew’s Presbyterian Church, Centre Toronto, and the area code is 416. Main ticket Ave (southeast of Finch/Yonge). $20-25. Les dion (performance, discussion). 961-9594, St. North, Prescott. 0-15$. Ouellet Murray agents: Ticketmaster 870-8000 h AMIS Concerts. Lin Hua: Woodcuts; An Lung 622-5294 (JMC). 925-5050 ( Montréal 2) CCSJ Cathedral Church of St. James, 65 Church St, Hwang: Concertino for erhu; Mozart: Diverti- 23 5:30pm. UofO-MUS FH. FA. National 364-7865 mento K.136; Schnittke: Suite in Old Style; Tuesday 6 Association of Teachers of Singing, National GGS Glenn Gould Studio, 250 Front St W, 205-5555 Taneyev: Arabesque. Canadian Sinfonietta, Tak- > 1pm. CCSJ. FA. Lunch Hour. Hindemith: Sonata Capital Region Chapter, Vocal Festival. Junior, MeaTh Meadowvale Theatre, 6315 Montevideo Rd, Ng Lai, conductor; Julian Milkis, clarinet; Intermediate and Senior levels. (until 10pm) No. 1; Bach: Prelude and Fugue in G BWV 541. Mississauga, 821-0090 George Gao, erhu. 905-773-7712 Kim Soobok, organ (Korean Jun-Kwang (f 24 25). 271-2656, 562-5733 RCM Royal Conservatory of Music, 273 Bloor St W, 23 8pm. St. Andrew’s Presbyterian Church, 82 Kent St (& church). 364-7865 408-2824 x321 Saturday 3 > 8pm. SLCA JMT. $39-43. Music Toronto; Piano. Wellington). $5-22. Vivaldi, Albinoni, Bach/Rivest, RTH Roy Thomson Hall, 60 Simcoe St, 872-4255 > Pärt, Reinecke. Thirteen Strings, Simon Streatfeild, 8pm. GGS. $18-29. Wolf-Ferrari: Serenade; Mozart: Sonata K.332; Debussy: Images Book 1 SLCA St.Lawrence Centre for the Arts, 27 Front St E, 366- Pierné: Canzonetta; Zfasman: Intermezzo; (Reflets dans l’eau; Hommage à Rameau; cond.; Judy Kang, violin. 745-1142 7723, 800-708-6754: JMT Jane Mallett Theatre 24 9am. UofO-MUS FH. FA. NATS NCR Vocal Levkovich: Brasiliana; Schubert: Death and the Mouvement); Images Book 2 (Cloches à travers SGMC St.George the Martyr Church, 197 John St Maiden. Sinfonia Toronto, Nurhan Arman, con- les feuilles; Et la lune descend sur le temple qui Festival. (until 5pm) (h 23) SVT Scarborough Village Theatre, 3600 Kingston 24 8pm. Town Hall, 14 Bridge St, Almonte. $8-20. ductor; Julian Milkis, clarinet. 205-5555 fut; Poissons d’or); Albeniz: Iberia (Evocacion; Road, Scarborough, 396-4049 > 8pm. Hummingbird Centre for the Performing Arts, Triana; El Albaicin); Rachmaninoff: Preludes; Almonte in Concert. Juliette Kang, violin; TCA Toronto Centre for the Arts, 5040 Yonge St, Melvin Chen, piano. 253-3353 1 Front St E. $15-135. Henze: Venus and Adonis. Moments musicaux; Transcriptions. Arthur 733-0545, 870-8000: GWRH George Weston Canadian Opera Company Orchestra and Chorus; Ozolins, piano. 366-7723, 214-1660 25 2pm. UofO-MUS TabCh. 5$. NATS NCR Vocal Recital Hall Festival. (until 4pm) (h 23) Alan Woodrow (Clemente/Adonis); Stephen West TSO Toronto Symphony Orchestra (The Leading Man/Mars); Richard Bradshaw, Wednesday 7 25 7:30pm. St. Matthias’ Anglican Church, 555 TSPC Trinity St.Paul’s United Church, 427 Bloor W. Parkdale (& Queensway). 10-12$. Song Fiesta. cond. 363-8231, 800-250-4653, 872-2262 > 7pm. TSPC. $20-50. The Bach Dynasty. J.S. > 8pm. RTH. $25-85. TSO, Perahia. (h 1) Bach: motet; Harpsichord Concerto in D Major; Songs from various countries. Duo Cantabile. > 829-4402 FEBRUARY 8pm. Salvation Army Temple, 570 Thornton Rd. etc. Tafelmusik Orchestra and Chamber Choir; 26 7pm. National Library of Canada, 395 N, Oshawa. $. Chamber Music Residency. Charlotte Nediger, harpsichord. (f 8 9 10 11). Wellington St. $12. Opera Lyra Ottawa’s Purcell, Nicola Matteis, Telemann, Geminiani, 964-6337 Thursday 1 Vivaldi, Bach. Tafelmusik Baroque Soloists; Definitely the Opera. Verdi: Macbeth (video pre- > sentation). 233-9200, 260-2804 8pm. Hummingbird Centre for the Performing Alexander Weimann, harpsichord. 964-6337, Thursday 8 Arts, 1 Front St E. $15-135. Puccini: La Fanciulla 28 8pm. St. Andrew’s Presbyterian Church, 82 905-579-0185 > 1:30pm. University of Toronto Faculty of Music, 80 del West. Canadian Opera Company Orchestra > 8pm. SVT. $15-18. Sweeney Todd. (h 1) Kent St (& Wellington). 10-15$. Chamber Music > Queen’s Park Circle (Edward Johnson Bldg), Walter Residency. Purcell, Nicola Matteis, Telemann, and Chorus; Elena Filipova (Minnie); John 8pm. SGMC. $14-18. Baroque Music Beside The Fanning (Jack Rance); Michael Sylvester (Dick Hall. $22. Women’s Musical Club of Toronto’s Geminiani, Vivaldi, Bach. Tafelmusik Baroque Grange. Voices of Influence. Telemann: Cantatas Music in the Afternoon. Chopin, Debussy, Ravel. Soloists; Alexander Weimann, harpsichord. Johnson); Gregory Dahl (Sid); Cornelis Opthof “Liebe, die von Himmel stammet”; “Jauchzet (Happy); Richard Buckley, conductor. (f 4). Dang Thai Son, piano. 923-7052, 978-3744 (f 3 Toronto). 234-8008, 416-964-6337 dem Herrn”, arias; Purcell: Theatre music, King > 8pm. RTH. $25-85. Tchaikovsky: Romeo and Juliet Fantasy Overture; Prokofiev: Violin Concerto #2; Stravinsky: Song of the Nightingale; The Firebird MARCH Upcoming Suite (1919). TSO, Roberto Abbado, conductor; 1 6:30pm. National Gallery of Canada, 380 Sussex Piano lovers will be thrilled this February. To start the month with a big Kyung Wha Chung, violin. (f 10). 593-4828 > h Drive, Rideau Chapel. 6$. Concerts aux Beaux- bang, Murray Perahia will play the dual roles of soloist and conductor in 8pm. SVT. $15-18. Sweeney Todd. ( 1) Arts. Brahms, Rea. Quatuor Bozzini (cordes). > 8pm. TSPC. $20-50. Tafelmusik, Bach Dynasty. 990-1985, 998-8888, 888-541-8888 Mozart’s Concertos no 17 and no 25 on February 1, 2, and 3. Also on (h 7) 1 8pm. NAC SH. $25-56. Connoisseur. Liszt: The February 2, Canada’s own Louis Lortie will share the stage with the Takacs Friday 9 Black Gondola; From the Cradle to the Grave; Quartet, performing two of the most beautiful piano quintets ever written, Totentanz; Ravel: Pavane pour une infante > 8pm. GGS. $18-29. Rachmaninov: Sonata for défunte; Debussy: Children’s Corner Suite; those by Schumann and Brahms. On February 8, Dang Thai Son will offer piano and cello op.19; Schulhoff: Duo for violin Franck: Variations symphoniques. NACO; Robert a solo recital of works by Chopin, Debussy, and Ravel. To celebrate and cello; Schubert: Piano Trio D.929. Alexandar Spano, conductor; Louis Lortie, piano. 18:45 Madzar, piano; Louise Hopkins, cello; Mayumi Pre-Concert Chamber Music: Louis Lortie, piano Valentine’s Day in style, why not bring your sweetheart to hear the dazzling Seiler, violin. 972-9193, 205-5555 (f 2). 947-7000 Jon Kimura Parker, who will perform Rachmaninoff’s Variations on a > 8pm. Heliconian Hall, 35 Hazelton Ave, Yorkville. 2 8pm. NAC SH. $25-56. NACO, Lortie. (h 1) theme by Paganini on February 14, 15, and 17. $15-20. The New Guitar. Violet Archer, Robert 2 8pm. UofO-MUS TabCh. FO. Schubert, Ysaÿe, Baker, Anne Lauber, Thea Musgrave; Lofsky, Camp Musical Lac-Nominingue Accueil Notre-Dame-du-Lac, Épaulière MACH ONE Rest 100 chemin des Grands Ducs, Lac-Nominingue, J0W 1R0 For Violin or Viola, in plastic or wood patented. SESSION INTENSIVE DU 21 JUIN (OU 23 JUIN) AU 30 JUIN 2001 PETER MACH - Luthier: 309 Eardley Rd, Aylmer, Québec, J9H 5C9 Phone and Fax: (819) 684-3886. E-Mail: [email protected] * Tous choix des instruments Condition d'admission: s'intéresser * Enseignement: chant, théâtre, peinture vraiment à la musique, soit débutant, ateliers de créativité et composition intermédiaire ou avancé. Professeurs sous la direction de Mme Esfir Dyachkov, directrice générale et artistique
Information: Accueil Notre-Dame-du-Lac (819) 278-3768 Madame Esfir Dyachkov (514) 486-8727
44 / LaScenaMusicale / Février 2001 February Piltch, Kirk Macdonald, Ted Moses, Don and composer, hosted by Iain Scott. 922-2147, Thompson. Danielle Cumming; Lorne Lofsky, 870-8000 Upcoming Rob Piltch Duo. 252-4792 > 3pm. Living Arts Centre, 4141 Living Arts Drive, > 8pm. SVT. $15-18. Sweeney Todd. (h 1) Mississauga, Royal Bank Theatre. $28. Kids’ Night Out > 8pm. TSPC. $20-50. Tafelmusik, Bach Dynasty. Chamber Series. Finzi: Concerto for Clarinet; In February, over 30 Toronto venues are participating in the first (h 7) Bartok: Divertimento. Sinfonia Mississauga; KidsNightOut, a city-wide programme that will bring the magic of live per- Stephen Pierre, clarinet. 905-615-4404, 905- Saturday 10 306-6000, 888-805-8888 formance to kids. Each full price ticket purchased by an adult entitles a > 6:30pm. Marriott Hotel Eaton Centre, 525 Bay > 3pm. RTH. $35-75. Virtuoso Performances. Purcell: young person to attend the performance for free. A unique way to intro- St. $150. Gala Ball & Supper, Auctions. Toronto Dido and Aeneas; Charpentier: Actéon. Les Arts duce kids aged 6 to 18 to the world of classical music. Children’s Chorus Chamber Choir. 932-8666 Florissants, William Christie, conductor. 872-4255 A few concerts could be the best Young Person’s Guide to the > 7:30pm. Our Lady of The Assumption Church, > 3:30pm. TSPC. $20-50. Tafelmusik, Bach 2565 Bathurst. $15. Great Moments in Opera. Dynasty. (h 7) Orchestra. Les Arts Florissants will be in town on February 11 at Roy La Bohème, La Traviata, La Forza del destino, Tuesday 13 Thomson Hall, to transport audiences to the courts of Louis XIV and his Faust, Roméo et Juliette, etc. Opera Encore. contemporaries. 784-0799 > 1pm. CCSJ. FA. Lunch Hour. Corrine Dutton, > 8pm. Birchmount Park Collegiate Institute, 3663 organ (St. Matthew’s Lutheran Church, Sinfonia Toronto presents a varied mix of musical styles, from Schubert Danforth, Scarborough. $10-16 ($40 family). Kitchener). 364-7865 to jazz and Brazilian music, commented by conductor Nurhan Arman and Berlioz: Roméo et Juliette, Scène d’amour; > 4pm. SGMC. Lecture & recital. Andrew Timar, Shostakovich: The Gadfly, Romance; Fauré: Diego Luzuriaga, Yoshiharu Takahashi: world solo clarinetist Julian Milkis. Pelléas et Mélisande op.80; Bernstein: West Side premieres; David Loeb, Katsutoshi Nagasawa; Tafelmusik will bridge the generation gap with its Bach Dynasty con- Story, Symphonic Dances; various: classic love traditional Chinese and Japanese music. cert on February 7. songs from Europe and Canada. Scarborough Nishikawa Ensemble. 204-1080 Philharmonic, Jerome D. Summers, conductor; > 8pm. GGS. $30. On Stage/Singers. German art The Toronto Symphony offers various concerts; you can, for instance, Mark DuBois, tenor. 261-0380 song to cabaret. Jean Stilwell, mezzo; Robert bring your young one to the romantic program including music from > 8pm. Eastminster United Church, 310 Danforth Kortgaard, piano; Cabaret Ensemble. 205-5555 Prokofieff’s Romeo and Juliet, Peters’ Paradoxes of the heart, and Ave. $5-12. Music Umbrella Chamber Concerts. > 8pm. Metropolitan United Church, 56 Queen St E. Post Medieval Syndrome. Medieval and contem- $18-25. Soundstreams Canada. Ligeti: Lux Rachmaninoff’s Rhapsody on a Theme of Paganini on February 12, 15, and porary music. Ben Grossman, percussion, Aeterna; R. Strauss: Deutsche Mottete, Op. 62; 17. Another good option would be the February 24, 25, and 26 concerts that hurdy-gurdy; Paul Jenkins, harpsichord; Lidholm: Libera Me; Schnittke: Concerto for Mixed will include the timeless Tchaikovsky’s Swan Lake and Bizet/Waxman’s Catherine Keenan, hurdy-gurdy; Alison Chorus; H. Somers: Feller from Fortune. Swedish Melville, recorders, flutes; Barry Prophet, Radio Choir; Eric Ericson Chamber Choir, Eric Carmen Fantasy. percussion; Jean-Marc Guillemette, visual Ericson, conductor. 3pm Workshop with Eric Information: www.kidsnightout.com artist. 461-6681 Ericson, followed by open rehearsal ($5 or free > h 8pm. RTH. $25-85. TSO, Chung. ( 8) with ticket to concert). 363-0331, 504-7529 h > 8pm. SVT. $15-18. Sweeney Todd. (h 1) a ticket to the 8pm concert) ( 14) Quartets. Satz and Fugue. Mendelssohn: 4 > Wednesday 14 > 8pm. RTH. $25-85. TSO, Parker. (h 14) Pieces for String Quartet op.81; Schubert: 8pm. TSPC. $20-50. Tafelmusik, Bach Dynasty. > (h 7) > 8pm. RCM EM. $12-15. Glenn Gould Artist Quartettsatz; Webern: Langsamer Satz; Kurtag: 6pm. RTH. $0-5. Classic Intros pre-concert Series 2. Fandango. Fossa, Boccherini, de Falla. Microludes; Mozart: Adagio and Fugue K.546; chat. Rachmaninoff’s Rhapsody on a Theme of Jeffrey McFadden, guitar; Ann Monoyios, Beethoven: Grosse Fugue. Tokyo Quartet. 366- Sunday 11 Paganini. Jon Kimura Parker, pianist; Peter > soprano; Marie Bérard, violin; Rennie Regehr, 7723, 214-1660 2pm. RCM EM. $8-12. RCM Faculty Series. Tiefenbach, host. (free with a ticket to the 8pm viola; Trevor Fitzpatrick, cello; Blair Lofgren, > 8pm. TCA GWRH. $32-37. Masterworks Series. Romance and the Cabaret. Bellini/Klose, concert) (f 15). 593-4828 > cello. 408-2824 x321 Beethoven: Consecration of the House Overture; Hagens, Salaks, Schumann. Kalais Trio (Bruce 8pm. RTH. $25-85. Randolph Peters: Paradoxes > 8pm. SVT. $15-18. Sweeney Todd. (h 1) Symphony #6 “Pastoral”; Piano Concerto #4. Redstone, saxophone; Jamie Thompson, flute; of the Heart; Rachmaninnoff: Rhapsody on a > 8pm. SGMC. $15-20. Andrew Timar, Diego Toronto Philharmonia, Kerry Stratton, conduc- Peteris Zarins, piano). 408-2824 x321 Theme of Paganini; Prokofiev: Romeo and Juliet, Luzuriaga, Yoshiharu Takahashi: world pre- tor; Eldon Ng, piano. 733-0545, 499-2204, > 2pm. SVT. $15-18. Sweeney Todd. (h 1) excerpts. TSO, Bramwell Tovey, conductor; Jon > f mieres; traditional Chinese and Japanese 870-8000 2:30pm. TCA GWRH. $20-50. Opera in Concert. Kimura Parker, piano. ( 15 17). 593-4828 music. Nishikawa Ensemble. 204-1080 Szymanowski: King Roger. Kinga Mitrowska, Kevin > 8pm. SLCA JMT. $39-43. Music Toronto; McMillan; Kitchener-Waterloo Symphony, Mario Thursday 15 Bernardi, cond. 13:45 Backgrounder on the opera > 6pm. RTH. $0-5. TSO, Classic Intros. (free with
Simon Fryer
Mark DuBois
Douglas Perry
Anita Krause
LaScenaMusicale / Février 2001 February / 45 > 8pm. RTH. $39-77. TSO, Movie Magic. (h 19) Wednesday 28 > Upcoming 8pm. York Woods Public Library, 1785 Finch Ave W. > 6pm. RTH. $0-5. Evening Overtures chamber In February, Toronto offers as wide array of concerts. In the world of $7-10. A Night at the Opera. Verdi, Rossini, music. Pinchas Zukerman, viola/violin; mem- Smetana, Tchaikovsky. North York Concert opera, for instance, right after the Canadian Opera Company’s productions bers of the TSO. (free with ticket to 8pm con- Orchestra, Janez Govednik, conductor. 730-9721 cert) (f 1/3). 593-4828 of, Henze’s Venus and Adonis and Puccini’s La Fanciulla del West, the > 8pm. RTH. $25-85. Mozart: Violin Sonata K.378; redoubtable French group, Les Arts Florissants (as always, under William Thursday 22 Shostakovich: Piano Concerto #1; Schumann: > Christie) presents a concert version of two “one-act” operas: Purcell’s Dido 8pm. GGS. $30. On Stage/Singers. Schumann, Symphony #2. TSO, Pinchas Zukerman, cond., Wolf, Beethoven, Schubert, Shoeck, Loewe, violin; Andrew Burashko, piano; Andrew and Aeneas and Charpentier’s Actéon (Roy Thompson Hall, February 11). Diepenbrock: lieder based on texts by Goethe. McCandless, trumpet. (f 1 4/3). 593-4828 Renowned for his superb diction and voluptuous tone, tenor Christoph Prégardien, tenor; Michael Gees, piano. 205-5555 Christoph Prégardien, accompanied by pianist Michael Gees, will per- > 8pm. MeaTh. $. Fiddler on the Roof. (h 16) MARCH form lieder based on texts by Goethe by Schumann, Wolf, Beethoven, > 8pm. SGMC. $5-15. Music Gallery, Guerrilla Schubert, Shoeck, Loewe and Diepenbrock on February 22. A night of Gallery. Two Chevrons Apart. Orlando Jacinto Thursday 1 Garcia, Randall Smith, Christian Eloy, James music and poetry sure to be remembered by music lovers. > 6pm. RTH. $0-5. TSO, Evening Overtures. (free Beckwith Maxwell, Doug Schmidt, Jérôme Blais. with ticket to 8pm concert) (h 2/28) Also this month, some fine chamber-music concerts are not to be Continuum Contemporary Music, Rosemary > 8pm. RTH. $25-85. TSO, McCandless, Burashko. missed, especially two at the St. Lawrence Centre. On February 15, the Thomson, conductor. 481-3418 (h 2/28) Tokyo Quartet presents an unusual programme, a mélange of individual Friday 23 > 8pm. SLCA JMT. $39-43. Music Toronto; Quartets. Mozart: Quartet K.575; Chan Ka Nin: movements by various composers, culminating in Beethoven’s Grosse > 8pm. Lawrence Park Community Church, 2180 Quartet #3; Beethoven: Quartet op.59 #3 Fuge. Five days later on February 20, the Gryphon Trio, one of Canada’s Bayview Ave. $20-25. Fridays at Eight. Bach, “Hero”. Miro Quartet. 366-7723, 214-1660 Messiaen, Duruflé. David Palmer, organ. 489-1551 best, appears with guests Jean Stilwell (in Shostakovich’s Seven > 8pm. MeaTh. $. Fiddler on the Roof. (h 16) Friday 2 > Romances on Verses by Alexander Blok) and James Campbell (in 8pm. St.Thomas’s Anglican Church, 383 Huron St > 10am. RCM. FA. New Music Concerts, Composer Messiaen’s Quartet for the End of Time). (St.George Subway). 10-18$. Duruflé: Requiem; Forum. The Music and Ideas of Charles Wuorinen. Riddell. Exultate Chamber Singers, Wayne Charles Wuorinen. 961-9594, 408-2824 x321 Riddell, conductor. 961-8382, 979-2323 > > 8pm. CCSJ. $12-15. The Healing Time: a Lenten Friday 16 Queen’s Park Circle (Edward Johnson Bldg), 8pm. Yorkminster Park Baptist Church, 1585 sacred concert. Allegri: Miserere; Vaughan > Walter Hall. $10-15. Mooredale Concerts, Yonge (at Heath). $28. A Symphony of Voices. Williams: Mass in G minor; Bach, Julius Reubke: Casa Loma, 1 Austin Terrace. $135 ($1200 for a h Rachmaninoff: Vespers: Byrd: Mass for Four table of 10). Dinner, ball and concert, silent Mendelssohn. 922-3714, 978-3744 ( 17) organ works. Choir of Men and Boys and > 7:30pm. RCM EM. $12-15. Glenn Gould Artist Voices. Toronto Mendelssohn Choir, Noel auction. Orchestra Toronto. 467-7142 f Pilgrim Singers of St. James’ Cathedral; > Series 1. Happy Birthday Leslie Kinton. Brahms, Edison, conductor. 7pm PCC Rick Phillips ( Christopher Dawes, conductor; Michael Bloss, 8pm. MeaTh. $. Encore Series. Bock/Harnick/Stein: 24). 598-0422, 925-7312 Fiddler on the Roof. Music Theatre Mississauga; Mozart, Debussy, Rachmaninov. Leslie Kinton, organ. 364-7865 James Anagnoson, piano. 408-2824 x321 Meadowvale Music Theatre. (f 17 18 22 23 24). Saturday 24 > 8pm. Eastminster United Church, 310 Danforth Ave. $5-12. Music Umbrella Chamber Concerts. 905-821-0090, 821-0090 > > 8pm. SVT. $15-18. Sweeney Todd. (h 1) Monday 19 10am. Lawrence Park Community Church, 2180 On the Wilder Side. Alec Wilder: Octets; > 8pm. RTH. $39-77. Pops. Movie Magic. Flash Bayview Ave. Master Class. David Palmer, Koprowski: Dream People; Rimsky-Korsakov: Saturday 17 Dance, Star Wars, James Bond, etc. TSO, Erich organ; Toronto Centre of the Royal Canadian Capriccio espagnol (transcribed for winds, Kunzel, conductor; Michael Chertock, piano. College of Organists. 489-1551 string and piano). Toronto Wind Orchestra, > 7:30pm. RTH. $25-50. TSO, Parker. (no > h (f 20 21). 593-4828 7:30pm. RTH. $25-50. Tchaikovsky: Swan Lake, selec- Mark Hopkins, conductor. 461-6681 Randolph Peters piece) ( 14) tions; Saint-Saëns: Samson et Dalila, Bacchanale; > 8pm. Church of the Holy Trinity, 10 Trinity Square > 8pm. GGS. $12-30. Bach, Brahms, R. Clarke, Tuesday 20 Sarasate: Zigeunerweisen; Bizet/Waxman: Carmen Cardy, Steinhardt, Grusin. Amici Ensemble; (beside Eaton Centre). $15-25. Bach: Lutheran Fantasy; Bizet: L’Arlésienne Suite #1; Smetana: Ma Mass BWV 235; Cantata #147 “Herz und Mund > 1pm. CCSJ. FA. Lunch Hour. Tom Fitches, organ Scott St. John, violin; Arnold Steinhardt, violin. (Church of St. Clement, Toronto). 364-7865 Vlast: The Moldau, Sarka. TSO, Charles Olivieri- 205-5555, 425-7964, 205-3700, 514-597-6000 und Tat und Leben”; Komm Jesu Komm BWV 229; Munroe, conductor; Lara St. John, violin. (f 25 26). Lobet den Herrn alle Heiden BWV 230; Orchetra > 8pm. Arts and Letters Club, 14 Elm St. FA ($5 sug- > 8pm. Heliconian Hall, 35 Hazelton Ave, Yorkville. gested donation). Toronto Wagner Society. Opera 593-4828 $5-15. Les AMIS Concerts. Bach: Partita #6 D Suite #3 BWV 1068. VocalPoint Chamber Choir, > 8pm. Calvin Presbyterian Church, 26 Delisle Ave Ian Grundy, conductor; Talisker Players. 484- from Scratch: a practical guide to the earliest major; Prokofiev: Sonata #7; Schumann: approaches to vocal recording. John Rutherford (north of St. Clair, west of Yonge). $12-18. Arbor Oak. Fantaisie op.16; Archer: Sonatina #3. Sarah 0185, 598-4521 x224 A Choral Wreath. Renaissance and Baroque choral > 8pm. MeaTh. $. Fiddler on the Roof. (h 16) (audio historian), speaker. 966-5289 Frost, piano. 905-773-7712 > h > 8pm. RTH. $39-77. TSO, Movie Magic. (h 19) and instrumental miniatures. Kitchener-Waterloo 8pm. SVT. $15-18. Sweeney Todd. ( 1) Philharmonic Chamber Choir, Howard Dyck, con- > 8pm. TCA GWRH. The Art of Orchestra and Voice. > 8pm. SLCA JMT. $39-43. Music Toronto; Saturday 3 Ensembles-in-residence; Contemporary Classics. ductor. PCC 7:15pm Howard Dyck. 778-4923 > 7:30pm. TCA GWRH. Children Helping Children - A Orchestral Splendour. Haydn, Strauss, Mahler, > 8pm. Christ Church Deer Park Anglican, 1570 Schubert. Singers of the COC Ensemble Studio. Shostakovich: Seven Romances on Verses by benefit for the Hospital for Sick Children. Chan Ka Alexander Blok op.127; Messiaen: Quartet for the Yonge St (at Heath). $6-20. Rise and Schein. Nin: Carla’s Poems; Hatfield: African Celebration; 363-8231, 800-250-4653, 733-0545, 870-8000 Johann Hermann Schein (1586-1630). Te Deum > 8pm. Willowdale United Church, 349 Kenneth End of Time. Gryphon Trio; Jean Stilwell, mezzo; Halley: Freedom Trilogy; Rachmaninoff, Boulanger, James Campbell, clarinet. 366-7723, 214-1660 Singers, Richard Birney-Smith, conductor. Larsen. Toronto Children’s Chorus, Jean Ashworth Ave (southeast of Finch/Yonge). $10-15. 8pm chat from the stage; 8:15pm concert (f Mooredale Concerts. Mendelssohn: Piano Trio in Bartle, conductor. 932-8666, 872-4255 Wednesday 21 23 Ontario). 905-628-4533, 800-263-0320 > D minor; various: solo works for violin, cello and > 8pm. Deer Park United Church, 129 St. Clair Ave > 8pm. Heliconian Hall, 35 Hazelton Ave, Yorkville. W. (Avenue Rd). $20. Deer Park Concerts. The piano. Erika Raum, violin; Kristine Bogyo, 12:30pm. Faculty of Fine Arts York University, $8-18. Berg: Seven Early Songs; Bartok: Sonata cello; Angela Park, piano. (f 18). 922-3714 Music Recital Hall, McLauglin College. $5-15. Legacy of Bach. William Wright, organ. 962-3381 for solo violin; Baker: new work; Three Songs > 8pm. GGS. $18-29. Mozart: Divertimento K.138; Composers of York University; Jérôme Blais, (1994). toneART ensemble (Corey Gemmell, Sunday 18 Christian Eloy, Kristian Bredin. Continuum Hovhaness: Violin Concerto; Macdonald: violin; Elizabeth Pomès, soprano; Robert A. Triangulum; Miaskovsky: Sinfonietta. Sinfonia > 2pm. Gardiner Museum of Ceramic Arts, 111 Contemporary Music; Rosemary Thomson, Baker, piano). 485-5084 Queen’s Park (Museum Subway). FA RSVP. New conductor. 481-3418, 736-5186 > h Toronto, Nurhan Arman, conductor; Jasper > h 8pm. MeaTh. $. Fiddler on the Roof. ( 16) Wood, violin. 205-5555 Music Concerts, Music Speaks (outreach con- 2pm. RTH. $25-50. TSO, Movie Magic. ( 19) > 8pm. Willowdale United Church, 349 Kenneth Ave certs and lectures). Henri Dutilleux, Ernst > 7:30pm. Mountainview Christian Reformed > 8pm. Grace Church on the Hill, 300 Lonsdale Rd (southeast of Finch/Yonge). $10-15. Madrigal (at Russell Hill Rd). $9-17. Canadian Exposure. Krenek; Alice Ho, Chan Ka Nin (Toronto): works Church, 290 Main St. East, Grimsby. $3 stu- Festival. All The King’s Voices. 225-2255 for solo cello. David Hetherington, cello (per- dents. Concerts des Amériques (JMC). Wagner, > Works and arrangements by Adams, Willan, Daley, 8pm. YPBC. $28. Mendelssohn Choir, Vespers. Raminsh, Henderson, Lang, Hatfield, Govedas, formance, discussion). 961-9594, 586-8080 Mozart, Rossini, Vaughan Williams, Ravel, (h 23) > 2pm. MeaTh. $. Fiddler on the Roof. (h 16) Fauré. Olivier Laquerre, baryton; Dominique Calvert, Patriquin. Oriana Singers, William Brown, > 2:30pm. GGS. $22-38. Off Centre Music Salon. Roy, piano. 514-845-4108 poste 229 Sunday 25 conductor; Claire Preston, organ. 742-7006 > > 8pm. Leah Posluns Theatre, 4588 Bathurst St. Schubertiad. Schubert: songs and chamber music. 8pm. GGS. $20-25. Aldeburgh Connection, Recital > h Series. Britten: Cabaret Songs; Thomas Adès: Powder 3pm. RTH. $25-50. TSO, St. John. ( 24) $18-20. Revueltas: Night of the Mayas; Brahms: Russel Braun, baritone; Carolyn Maule (his wife), > 4pm. Metropolitan United Church, 56 Queen St E. Inna Perkis, Boris Zarankin, piano; Jacques Her Face (excerpt); Mozart, Granados, Webern, Symphony #1. Orchestra Toronto, Douglas Szymanowski, Ives. Valdine Anderson, soprano; $8-20. A Little Music for a Sunday Afternoon. Sanford, conductor. 467-7142 Israelievitch, violin. 466-1870, 205-5555 Belyea: At the Zoo; Jacob: Six Songs about Beasts; > 3pm. University of Toronto Faculty of Music, 80 Stephen Ralls, piano. 444-3976, 205-5555 > 8pm. Living Arts Centre, 4141 Living Arts Drive, Bryan: Rip van Winkle; Canadian folk songs. TCC Mississauga, Hammerson Hall. $28-33. Brahms: training choirs & boys’ choir, Jean Ashworth Symphony #1; Sullivan: Concerto for Cello; Robert Bartle, conductor. 932-8666, 872-4255 Fleming (Ottawa): Ballet Introduction. Mississauga > 7:30pm. GGS. $15-25. Weiner: Divertimento; S.O., John Barnum, conductor; Simon Fryer, cello. Martinu: Serenade; Dvorak: Quintet. Amadeus 905-615-4404, 905-306-6000, 888-805-8888 Ensemble, Moshe Hammer, violin, leader. 480- > 8pm. St.Paul’s Anglican Church, 227 Bloor St E. Opera Tickets 2346, 205-5555 $12-20. Orff: Carmina Burana. Bell’Arte Singers, Lee Willingham, conductor; Sharla Monday 26 Nafziger, Darryl Edwards, Doug MacNaughton; La Scala • Palais Garnier • Opera Bastille > 2pm. RTH. $25-52. TSO, St. John. (h 24) Popov and Vona, duo piano; Ian Sadler, organ; orchestral ensemble. 699-5879, 961-8116 Metropolitan Opera Tuesday 27 > 1pm. CCSJ. FA. Lunch Hour. Peter Mahon, Sunday 4 All Venues Worldwide countertenor; Christopher Dawes, organ (St. > 2:30pm. University of Toronto Faculty of Music, James’ Cathedral). 364-7865 80 Queen’s Park Circle (Edward Johnson Bldg), > 8pm. GGS. $30. On Stage/Classics. Arias and Walter Hall. $20-25. Aldeburgh Connection, 800-326-0331 • 602-254-3300 duets. Kathleen Brett, soprano; Kimberly Barber, Sunday Series. The Enchanted Garden. Ravel: mezzo; Canadian Opera Company Orchestra, songs. Nathalie Paulin, soprano; Catherine Fax 602-254-3387 • www.wstickets.com Richard Bradshaw, conductor. 205-5555 Robbin, mezzo; Brett Polegato, baritone. 444- 3976, 978-3744 > 3pm. TCA GWRH. $25-60. TSO, McCandless,
46 / LaScenaMusicale / Février 2001 February Burashko. 872-4255, 593-4828, 870-8000 (h 2/28) Mass; Eric Ewazen: Saxophone Quintet; Gavin horn. 10:15am: Prelude: Mozart: Concerto for 25. Piano Six, Hamelin. 613-382-1851 (h 17) > 3pm. TSPC. $10-12. Kaffeemusik. Purcell. Bryars: Incipit Vita Nova; Randolph Peters: piano #14 K.449 (f 7:30pm). 519-252-6579, 20 7:30pm. Mackenzie High School, Deep River. Toronto Chamber Choir, David Fallis, conduc- Tango from Smoked Lizard Lips; Astor Piazzola: 800-387-9181 Piano Six, Hamelin. 613-584-3013 (h 17) tor; Giles Bryant, narrator. 968-1338 Milonga del Angel; Gregorio Allegri: Miserere. 16 7:30pm. UWind-MUS AssUCh. $12-21. Windsor 21 8pm. Cambrian College, Sudbury, Recital Hall. > 8pm. GGS. $10-20. New Music Concerts. Penderecki String Quartet; Tactus vocal S.O. (h 11 am) Piano Six, Hamelin. 705-524-7325 (h 17) Charles Wuorinen: A Portrait. Wuorinen: Lepton; ensemble; Willem Moolenbeek, saxophone; 16 8pm. CSQ. Masterpiece Series. Haydn: 21 8pm. Centennial Secondary School, 160 Palmer Trombone Trio; The River of Light; Stefan Wolpe: Dance Theatre David Earle. 519-579-1232 Symphony #94 “Surprise”; Bizet: Symphony in Rd, Belleville, Robert Horwood Auditorium. 7- Piece in Two Parts; Peter Lieberson: Free and 3 8pm. Chrysler Theatre, 201 Riverside Drive W, C; Sibelius: Symphony #1. Kitchener Waterloo 14$. Ouellet Murray (JMC). 514-845-4108 Easy Wanderer. New Music Concerts Ensemble, Windsor (Cleary International Centre). $12-38. S.O., Simon Streatfeild, conductor. 6:45pm poste 229, 613-962-1309 (h Montréal 2) Charles Wuorinen, conductor; Robert Aitken, Pops Celebration Series. Bernstein; Gilbert & Pre-concert chat by Thomas Kay (principal 22 7:30pm. O’Gorman High School, Timmins. flute; James Avery, piano. PCC 7:15pm. 961- Sullivan; Gershwin; Lerner & Loewe; Rodgers & flute) about the works and composers (f 17). Piano Six, Hamelin. 705-267-2759 (h 17) 9594, 205-5555 Hammerstein; Grieg; Lloyd-Webber & Rice; 800-265-8977, 519-578-1570 23 8pm. CSQ. Pops Series. Men with Horns. Hoagy Humperdinck; Sondheim; Boubilil & Schoenberg. 16 8pm. Public Library, 34 Frank St., Strathroy. Carmichael, Duke Ellington, Cole Porter, Harry Monday 5 Windsor S.O., David Cripps, conductor; Ouellet Murray (JMC). (h Montréal 2) James. Kitchener Waterloo S.O., David Martin, > 8pm. Casa Loma, 1 Austin Terrace. $12.50. Windsor Light Opera soloists and chorus, 17 9am. CSQ. Kinderconcerts (40 minute concerts conductor, trombone; Larry Larson, trumpet. Toronto Theatre Organ Society. The Mark of Zorro David Burrows, director. (f 4). 519-252- for children 3-5 and their family). Kitchener (f 24). 800-265-8977, 519-578-1570 (silent film). William O’Meara, Wurlitzer organ. 6579, 800-387-9181 Waterloo S.O. (f 10:15am, 11:15am). 800- 23 8pm. Christ’s Church Cathedral, 252 James St info 421-0918, tickets 870-8000 4 2:30pm. Chrysler Theatre, Windsor. $12-38. 265-8977, 519-578-1570 N, Hamilton (near Barton). $6-20. Te Deum, Windsor S.O., Light Opera. (h 3) 17 8pm. CSQ. KWSO, Streatfield. 6:45pm Pre-con- Schein. 8pm chat from the stage; 8:15pm con- Tuesday 6 4 8pm. KWCMS. $8-15. Kitchener Waterloo cert chat by Thomas Kay (principal flute) about cert (h Toronto 24) h > Chamber Music Society. Satie. Eve Egoyan, the works and composers ( 16) 24 2pm. CSQ. KWS Youth Orchestra. Kitchener 1pm. CCSJ. FA. Lunch Hour. Michael Bloss, piano. 519-886-1673 17 8pm. Christ’s Church Cathedral, 252 James St organ (St. James’ Cathedral). 364-7865 Waterloo Symphony Youth Orchestra (Junior, > 6 12pm. WLU MFRH. FA. Beethoven. Daniel N, Hamilton (near Barton). $20-22. Viennese Intermediate, Senior), Erna van Daele, 8pm. GGS. $30. On Stage/Lortie, Schumann & Lichti, baritione; Leslie De’Ath, fortepiano. Delights. Bach Elgar Choir, Ian Sadler, con- Brahms. Schumann: Spanisches Liederspiel Matthew Jones, Christopher Sharpe, conduc- 519-884-0710 +3554 ductor; Elizabeth Harwood, accompanist. tors. 800-265-8977, 519-578-1570 op.75; Spanische Liebes-Lieder op.138; Brahms: 6 8pm. River Run Centre, 35 Woolwich St, Guelph. 905-527-5995 Liebeslieder Walzer op.52. Louis Lortie, Hélène 24 7:30pm. Lincoln Heights Public School, 270 Close Encounters with Mozart. By Arrangement. 17 8pm. Haliburton High School, Northern Lights Quickfall Drive, Waterloo. $10-12. Kitchener Mercier, pianos; Edith Wiens, Catherine Hoffmeister: Quartet on themes of Mozart; Pavillion, Haliburton. $15-25. Piano Six Tour. Robbin, Mark DuBois, Mark Pedrotti. 205-5555 Waterloo Philharmonic Youth Choir, Nancy Mozart: Quintet after K.388; R. Strauss: Till Schubert: Fantasy in C major (The Wanderer), Tanguay, conductor. 519-578-6885 Wednesday 7 Eulenspiegel lustige Streiche; Mussorgsky/Irvine: op. 15; Alkan: Symphony for solo piano (from 24 7:30pm. University of Guelph School of Fine Pictures at an Exhibition. The Canadian Chamber the Twelve Studies in all the Minor Keys, op. 39, > Arts and Music, Rm211 MacKinnon Bldg, 7pm. TSPC. $20-50. Händel: Water Music; Ensemble (Kitchener Waterloo S.O.). (f 7). 800- nos. 4-7); Hamelin: Con Intimissimo Guelph, Creelman Hall. $40. Sound of Music Rameau: Orchestral Suite. Tafelmusik. 964-6337 265-8977, 519-578-1570, 519-763-3000 Sentimento; Liszt: Réminiscences de “Norma” > Sing-along. Broadway music. Guelph Chamber 8pm. RTH. $25-85. Barber: Essay #2; Saint- 7 8pm. The Cedars Worship and Community (after Bellini). Marc-André Hamelin, piano. (f Choir, Gerald Neufeld, conductor; Chris Saëns: Havanaise; Ravel: Tzigane; Tchaikovsky: Centre, 543 Beechwood Drive, Waterloo. $10- 19 20 21 22). 705-457-3919 Dawes, organ. 519-824-4120 Symphony #4. TSO, Marin Alsop, conductor; 20. Canadian Chamber Ensemble. Co-pres. K- 17 8pm. Tivoli Theatre, 108 James St. N, Hamilton. 24 8pm. CSQ. KWSO, Men with Horns. (h 23) Nadja Salerno-Sonnenberg, violin. 593-4828 W Chamber Music Society. 800-265-8977, $5-15. Beethoven: Symphony #5; Brahms: 25 2pm. Wellington County Museum, R.R.1, Fergus. 519-578-1570, 519-746-6080, 519-886-1673 Concerto for violin and cello op.102. Symphony $1-4. Gallery Music Group. Chris Kessel, flute; (h 6) Hamilton, James R. McKay, conductor; Corey John Liddle, trumpet; Peter West, Triz 10 8pm. Brock University Centre for the Arts, 500 Gemmell, violin; Tom Mueller, cello. 905-526- Remedios, piano; Two’s Company (Christina Glenridge Ave, St. Catharines, Playhouse 6690, 905-777-9777 Ariss-Birch, soprano; Dwane Webster, bari- Theatre. $15-29. John Alleyne: The Faerie 18 2pm. Hamilton Place, 1 Summer’s Lane, tone; Edith Gardiner, piano). 519-821-2415 Queen (music by Purcell). Ballet British Hamilton, Great Hall. $7-10. Kids’ Corner (for 25 4pm. St.Peter’s Lutheran Church, 49 Queen St Columbia. 905-688-5550 +3257 ages 6 and up). How the Gimquat Found Her N, Kitchener. $5-15. Chamber Singers Series. 10 8pm. Hamilton Place, 1 Summer’s Lane, Song. A magician meets a bird who has no song; Palestrina: Missa Aeterna Christi munerera; Hamilton, Great Hall. $20-42. Classics Series. The together they travel through time searching for Gabrielli: Benedixisti, Domine; Demantius: German Mark. Colgrass: The Schubert Birds; just the song to suit her. Hamilton Philharmonic Weissagung des Leidens; Schutz: Ich weiss Schumann: Piano concerto in A minor; Beethoven: Orchestra, Michael Reason, conductor; dass mein Erloser lebt; etc. Kitchener Symphony #2. Hamilton Philharmonic Orchestra, Platypus Theatre Company. 905-526-6556 Waterloo Philharmonic Chamber Singers, OOONTARIO Matteo Rubiconi, conductor; Janina Filakowska, 19 8pm. Grace United Church, Gananoque. $15- Howard Dyck, conductor; Arbor Oak Trio. piano. 905-526-6556 CSQ Centre in the Square, 101 Queen St N, 10 8pm. WLU MFRH. $4-8. WLU Wind Ensemble. Kitchener, 519-578-1570, 800-265-8977 519-884-0710 +3554 KWCMS Kitchener Waterloo Chamber Music 11 8pm. KWCMS. $10-20. Kitchener Waterloo Society, 57 Young St W, Waterloo, 519-886- Chamber Music Society. Poulenc: Flute Sonata; 1673 Brass Trio; Buxtehude: Ciaconna; Saint-Saëns: WLU Wilfrid Laurier University, 75 University Ave W, Variations on a Danish Theme for winds and Waterloo, 519-884-0710 +3554: MFRH piano; Plogg: Animal Ditties (trumpet, narrator, Maureen Forrester Recital Hall, John Aird piano, brass quintet); Thuille: Piano and Wind Centre, 75 University Ave W Sextet. Canadian Chamber Ensemble wood- winds, brass, piano. 519-886-1673 International School for Musical Arts FEBRUARY 13 12pm. WLU MFRH. FA. Amelia Roosevelt, Atis Bankas, Director Baroque violin; Audrey Axinn, fortepiano. 519-884-0710 +3554 Advanced Summer Program for Piano and Strings 14 8pm. KWCMS. $8-15. Kitchener Waterloo Chamber Music Society. Villa-Lobos: Études August 4 - 25, 2001 and Préludes; Rodrigo: Tres Piezas Españolas; Bach: Chaconne. Pierre Beaudry, guitar. 519- JUNIOR,SENIOR AND PROFESSIONAL DIVISIONS 886-1673 Located on campus of Niagara College in Niagara-on-the-Lake 14 8pm. WLU MFRH. FA. Faculty of Music student compositions. Student Composers. 519-884- in Ontario, Canada, this very intensive three week program offers: 0710 +3554 8 Private Lessons, 8 Chamber Music Coachings, 2 8pm. Brock University Centre for the Arts, 500 15 8pm. WLU MFRH. FA. Chamber Music. Faculty Glenridge Ave, St. Catharines, Sean O’Sullivan of Music students. 519-884-0710 +3554 Master Classes, Faculty Concerts Theatre. $16-20. Department of Music 16 11am. University of Windsor, Assumption Student Concerts and Public Performances with Participation in the Professional Concert Series. John Sherwood, University Chapel, 400 Huron Church Rd. $12- piano; The Jazz Nine. 905-688-5550 +3257 21. Mozart & More Series. Elgar: Serenade for Niagara International Chamber Music Festival and 2 8pm. Registry Theatre, 122 Frederick St., Strings; Weber: Concertino for Horn & Orchestra; Young Artist International Competition Kitchener (@ Weber). $12-20. NUMUS. The Mozart: Symphony #34. Windsor S.O., tba, Sacred and the Profane. Glenn Buhr: Richot guest conductor; Martin Limoges, French 35 Distinguished Faculty from leading schools and universities from Canada, USA, Switzerland, Germany, UK, France and Japan
For more information please inquire: International School for Musical Arts 32 Albany Ave., Toronto, Ontario, M5R 3C3 Canada Tel.: 416-530-4050 Fax: 416-538-4342 e-mail: [email protected] web site: www.chamberconcerts.com
LaScenaMusicale / Février 2001 February / 47 519-578-1570 4 3pm. WLU TAud. $10-15. Opera Production. George Gershwin; etc. Winnipeg S.O., Jeff 4/3). 800-413-8368, 403-762-6301 25 8pm. KWCMS. $20-25. Kitchener Waterloo Cham- WLU S.O. 519-884-0710 +3554 Tyzik, conductor. (f 3 4). 204-949-3999, 6 8pm. Winspear. $17-20. RFCM. Gala Opening ber Music Society. Mozart: Sonata K.310; Beethoven: 4 8pm. KWCMS. $10-20. Kitchener Waterloo 204-957-0835 Concert. Avni: Mizmar (Chant); Bryars: The Porazzi Sonata op.10 #2; Chopin: Ballade #4; Schumann: Chamber Music Society. Mozart; K.D. Schober: 3 8pm. MCCH. WinnSO, Pops. (h 2) Fragment; Forsyth: Concerto for Accordion and Fasschingschwank aus Wien; Liszt/ Mendelssohn: new work; Beethoven: Op. 59 #3. Miro Quartet 4 2pm. MCCH. WinnSO, Pops. (h 2) Orchestra*; Hiscott: Pilgrimage for Orchestra*; Midsummer Night’s Dream Fantasy. Janina (Banff winners 1998). 519-886-1673 Hillborg: Clarinet Concerto* (premieres*). ESO, Fialkowska, piano. 519-886-1673 6 12pm. WLU KMC. FA. James Kibbie, organ. Grzegorz Nowak, conductor; Menashe Sasson, 27 12pm. WLU MFRH. FA. Canadian composers. 519-884-0710 +3554 santour; Martin Fröst, clarinet; Aiyun Huang, Kimberley Enns-Hildebrand, soprano; Beth 7 8pm. KWCMS. $10-20. Kitchener Waterloo xylophone; N. Antonio Peruch, accordion. 780- Ann de Sousa, piano. 519-884-0710 +3554 Chamber Music Society. Jeremy Findlay, cello; 428-1414, 800-563-5081 28 8pm. KWCMS. $10-20. Kitchener Waterloo Ellen Braslavsky, piano. 519-886-1673 7 12pm. Banff RRH. FA. Wednesdays at Noon. Chamber Music Society. Ning Kam, violin. 519- 7 8pm. WLU MFRH. FA. Percussion Ensemble; International musicians from the Music & 886-1673 David Campion, director. 519-884-0710 +3554 Sound residency program. (f 14 21 28/2, 28 8pm. WLU MFRH. FA. Faculty of Music student 7/3). 800-413-8368, 403-762-6301 compositions. Student Composers. 519-884- 7 12pm. Winspear. FA. RFCM. Glimpses of Grace. 0710 +3554 Varotsis: The Third Side of the Coin; Boulez: domaines; Ross: Scottish Bagpipe Music; Grella- SSSASKATC HEWAN Mozejko: Numen; Rosen: Glimpses of Grace (pre- MARCH miere); Bryars: Sub Rosa. St. Crispin’s Chamber 1 8pm. WLU TAud. $10-15. Opera Production. Ensemble, Don Ross, art. dir. 780-428-1414, WLU S.O. 519-884-0710 +3554 FEBRUARY 800-563-5081 2 8pm. Brock University Centre for the Arts, 500 10 7:30pm. Third Avenue United Church, 304 3rd 7 8pm. Winspear. $17-20. RFCM. Godin: Cowboy*; Glenridge Ave, St. Catharines, Sean O’Sullivan Avenue North, Saskatoon. $10-20. Chamber Nicholson: Space*; Schmidt: Aubade*; Baker: Theatre. $16-20. Department of Music Orchestra Series. Weill: Three Penny Opera Suite; Flute Concerto; Rota: Concerto for Strings; Professional Concert Series. Classical, electro- Offenbach: Gaîté parisienne; Currie: Rhapsody Bryars: The North Shore (*premieres). Edmonton acoustic, jazz, folk, experimental, pop. JERK MANITOBA for Saxophone and orchestra. Saskatoon S.O., Chamber Orchestra, David Hoyt, conductor; (Toronto), percussion, home-made instru- Earl Stafford, conductor; Claude Delangle, Martin Riseley, violin; Colin Ryan, cello; ments, electronics. 905-688-5550 +3257 MCCH Manitoba Centennial Concert Hall, 555 Main saxophone; North American Saxophone Elizabeth Koch, flute; Darren Salyn, marimba; 2 8pm. Hamilton Place, 1 Summer’s Lane, Street, Winnipeg, 204-957-0835 Alliance Conference. 306-665-6414 Aiyun Huang, percussion; Michael Massey, Hamilton, Great Hall. $20-42. Pops Series. 17 7:30pm. Centennial Auditorium, Saskatoon. piano; Brian Webb Dance Company. 780-428- Celtic Passions. Danny Boy; Riverdance; etc. $18-33. Master Series. Murphy: Hammer of the 1414, 800-563-5081 Hamilton Philharmonic Orchestra, Michael FEBRUARY Sorceress; Brahms: Double Concerto; Haydn: 8 12pm. Winspear. FA. RFCM. Martin Fröst, clar- Reason, conductor; Richard Wood, fiddle. 11 2pm. MCCH. Superconcerts for Families. Bravo Symphony #103. Saskatoon S.O., Earl inet; electroacoustic tape accompaniment. 905-526-6556 Babar. Babar the elephant leaves his jungle Stafford, conductor; Gwen and Desmond 780-428-1414, 800-563-5081 2 8pm. River Run Centre, 35 Woolwich St, Guelph. home for a thrilling trip to Paris (music: Hoebig, violin and cello; David Moroz, piano. 8 4pm. Winspear. FA. RFCM. Canadian Concerto Sachertorte: An Afternoon in Vienna. Mozart: Magic Poulenc). Winnipeg S.O.; Manitoba Theatre for 306-665-6414 Competition 2001 Semi Finals. Christie Reside, Flute, overture; Clarinet Concerto, adagio; Young People Theatre School. 204-949-3999, 25 2:30pm. Bessborough Hotel, Saskatoon. $10- flute; Vivian Xia, yangqin; Louis-Philippe Beethoven: Symphony #6. Kitchener Waterloo S.O., 204-957-0835 15. Music For A Sunday Afternoon. Boccherini: Marsolais, horn; Joslin Romphf, soprano; Olena Yves Abel, conductor; Ross Edwards, clarinet. 15 7:30pm. MCCH. Light Classics. The 1800s. Notturno #1; Beethoven: Variations on “Là ci Kilchyk, cello. 780-428-1414, 800-563-5081 800-265-8977, 519-578-1570, 519-763-3000 Wagner: Siegfried Idyll; Bruch: Violin Concerto #1; darem la mano”; Lachner: Nonetto. Saskatoon 8 8pm. CitaTh Shoc. $35. The Citadel/Edmonton 2 8pm. WLU TAud. $10-15. Opera Production. Smetana: The Moldau; Liszt: Les Préludes; Rossini: S.O., Earl Stafford, conductor;. 306-665-6414 Opera co-production. Rolfe/Clarke: Beatrice WLU S.O. 519-884-0710 +3554 The Silken Ladder. Winnipeg S.O., Michael Hall, Chancy. Measha Gosman, Lori Klassen, Lisa 3 2pm. Sanderson Centre, 88 Dalhousie St, conductor, host; Feng Ning, violin; Winnipeg Lindo, sopranos; Gregory Dahl, Vanya Brantford. $22-25. Gilbert and Sullivan: H.M.S. Youth S.O. 204-949-3999, 204-957-0835 Abrahams, baritones; Marcus Nance, bass; Pinafore. Gilbert and Sullivan Society, Waterloo 16 8pm. MCCH. MTS Pops. Love Stories from 42nd Dáirine Ní Mheadhra, conductor. (f 10 11 13). Regional Branch, Alex Mustakas, director. (f St. Broadway love songs and duets (South 780-425-1820, 888-425-1820, 780-429-1000 8pm). 519-758-8090, 800-265-0710 Pacific, Oklahoma, Guys and Dolls, West Side 8 8pm. PAC JSCH. $26-62. Classics Series. R. 3 8pm. Chrysler Theatre, 201 Riverside Drive W, Story, etc.). Winnipeg S.O.; Michael Hope, Donna Strauss: Don Quixote op.35; Bruckner: Symphony Windsor (Cleary International Centre). $12-38. Fletcher, vocalists; Michael Hall, conductor. (f #9 in D minor. Hans Graf, conductor; Carter Premier Classic Series. Vaughan Williams: Fantasia 17 18). 204-949-3999, 204-957-0835 Brey, cello; John Thompson, viola. (f 9). 403- on a theme by Thomas Tallis; Haydn: Te Deum; 17 8pm. MCCH. WinnSO, Hope & Fletcher. (h 16) 571-0849, 403-299-8888 Symphony #103 “Drum Roll”; Mozart: Coronation 18 2pm. MCCH. WinnSO, Hope & Fletcher. (h 16) 9 12pm. Winspear. FA. RFCM. Sasson: Exodus; Mass. Windsor S.O. and Chorus, Earl Stafford, 23 8pm. MCCH. Rossini: The Italian Girl in Algiers: Frazelle, Rouse, Lieberson, Corigliano, Schickele, conductor; University Singers; Tamara Hummel, Overture; Mendelssohn: Violin Concerto; ALBERTA Danielpour: The New Goldberg Variations. Menashe Catherine McKeever, Michael Colvin, Stephen Sibelius: Symphony #5. Winnipeg S.O., George Sasson, santour; Tanya Prochazka, cello; Jacques Henrikson. 519-252-6579, 800-387-9181 Cleve, conductor; Elmar Oliveira, violin. (f Banff Banff Centre for the Arts, Box 1020 Station Després, piano. 780-428-1414, 800-563-5081 3 8pm. Lake Street Armoury, St. Catharines. $12- 24). 204-949-3999, 204-957-0835 28, Banff, 800-413-8368, 403-762-6301: 9 7:30pm. Banff RRH. $10-15. Friday Evening 22. Verdi: Requiem. Chorus Niagara, Robert 23 8pm. Westminster Church, Winnipeg. PCDIC Policeman’s Creek Drop-in Centre, 701 Concerts. Burhan Sukarma, suling, flute; Cooper, conductor; Niagara-on-the-Lake Dittersdorf: Sinfonia; Mozart: Exultate, jubilate; 9th Street, Canmore; RRH Rolston Recital Hall Evergreen Club Gamelon Ensemble. 800-413- Sinfonia; Cellar Singers, Albert Greer, direc- Haydn: Cello Concerto; Jomelli: Ciaccona; opera CitaTh Citadel Theatre, 9828 – 101A Avenue, 8368, 403-762-6301 tor; Measha Bruggergosman, Linda Maguire, arias. Tafelmusik; Karina Gauvin, soprano; Edmonton, 780-425-1820, 888-425-1820: 9 8pm. Winspear. $17-20. RFCM. Tavener: Sviatri; Kurt Lehman, John Avey. 905-688-5550 +3257 Christina Mahler, cello. (f 20 21 22 Atlantic Shoc Shoctor Stage Corigliano: L’invitation au voyage; Gilliland: 3 8pm. WLU MFRH. FA. Clarinet Ensemble; Ross Provinces). 204-783-7377 ESO Edmonton Symphony Orchestra Cloths of Heaven; Rolfe: Three Songs of Pauline Edwards, director. 519-884-0710 +3554 24 8pm. MCCH. WinnSO, Oliveira. (h 23) PAC Performing Arts Centre, 205 8th Ave S.E., Johnson; Come Lovely and Soothing Death; 4 2:30pm. CSQ. Classical Café. Sachertorte: An Calgary, 403-299-8888: JSCH Jack Singer Ligeti: Lux aeterna; Tormis: Raua nedmine; Afternoon in Vienna. Mozart: Magic Flute, over- Concert Hall Radford: in pursuit of ephemera (premiere); ture; Clarinet Concerto, adagio; Beethoven: MARCH RFCM Resound Festival of Contemporary Music (ESO) Hopkins: Past Life Melodies. University of Symphony #6; Brahms: Hungarian Dances; 1 7:30pm. MCCH. Light Classics. The 1900s. Winspear Francis Winspear Centre for Music, #4 Alberta Madrigal Singers, Leonard Ratzlaff, Leopold Mozart: Toy Symphony; Schubert: Prokofiev: Classical Symphony; Lehar: Gold and Sir Winston Churchill Square, Edmonton, 780- Ardelle Ries, conductors; Tanya Prochazka, Rosamunde Overture; Strauss Sr: Radetzky Silver Waltz; Respighi: The Birds; Rodrigo: 428-1414, 800-563-5081 cello; Pro Coro Canada, Richard Sparks, direc- March; Strauss Jr.: Vienna Blood; tba: concerto. Concierto de Aranjuez. Winnipeg S.O., Michael tor. 780-428-1414, 800-563-5081 Kitchener Waterloo S.O., Yves Abel, conductor; Hall, conductor, host; Alexander Dunn, guitar. 9 8pm. PAC JSCH. $26-62. CPO, Brey, Ross Edwards, clarinet; winner of the Ken 204-949-3999, 204-957-0835 FEBRUARY Thompson. (h 8) Murray Scholarship Competition tba; Tom Allen 2 8pm. MCCH. MTS Pops. Orchestra Showcase. 1 8pm. Winspear. $17-57. Nutron Lighter Classics. 10 2pm. Winspear. $10. RFCM. Music in the Visual (CBC), host. 800-265-8977, 519-578-1570 Duke Ellington/Tchaikovsky: Nutcracker Suite; Forsyth: Images of Night; Lully (arr. Mottl): Ballet Arts - Workshop. Gavin Bryars, composer. Suite; Lalo: Le Roi d’Ys: Overture; Ravel: Tzigane; 780-428-1414, 800-563-5081 Berlioz: Reverie; Caprice; Le Corsaire. ESO, 10 8pm. CitaTh Shoc. $35. Beatrice Chancy. (h 8) Michael Reason, conductor; Martin Riseley, 10 8pm. Winspear. $17-20. RFCM. Bryars: The violin. 780-428-1414, 800-563-5081 Bulls of Bashan (violin concerto); Kilar: 2 7:30pm. Banff RRH. $10-15. Friday Evening Krzesany. ESO, Grzegorz Nowak, conductor; Concerts. Miró String Quartet (USA). 800-413- Martin Riseley, violin; finalists of the Canadian 8368, 403-762-6301 Concerto Competition. 780-428-1414, 800- 2 8pm. Winspear. $21-62. Pops. Fun in the Sun. 563-5081 Brazil, Cuba, Hawaii, Caribbean, Mexico, Italy; Rodgers & Hammerstein, Gershwin, Gould, etc. ESO, Howard Cable, conductor; David Rogers, singer. (f 3). 780-428-1414, 800-563-5081 2 8pm. Southern Alberta Jubilee Auditorium, 1415- 14 Avenue NW, Calgary, Mainstage. $12-80. Floyd: Susannah. Calgary Opera, Daniel Beckwith, conductor; Valdine Anderson, Andrew Wentzel, Steven Harrison. PCC 7:15pm with Marnie Patrick-Roberts. 403-262-7286, 403-297-8000 11 2:30pm. Banff PCDIC. FA. Sundays in 3 2pm. PAC JSCH. $17-25. Young People’s Series. Canmore. (h 4) Tchaikovsky Discovers America. Rolf Bertsch, 11 8pm. CitaTh Shoc. $35. Beatrice Chancy. (h 8) conductor. 403-571-0849, 403-299-8888 13 8pm. CitaTh Shoc. $35. Beatrice Chancy. (h 8) 3 8pm. Winspear. $. ESO, Rogers. (h 2) 14 12pm. Banff RRH. FA. Wednesdays at Noon. (h 7) 4 2:30pm. Banff PCDIC. FA. Sundays in Canmore. 14 8pm. PAC JSCH. $20-48. Baroque Series. International musicians from the Music & Händel: Concerto Grosso in A minor op.6 #4; Sound residency program. (f 11 18 25/2, Mozart: Piano Concerto #14; Mendelssohn:
48 / LaScenaMusicale / Février 2001 February Concerto for Violin and Piano; Haydn: Symphony Grzegorz Nowak, conductor; Richard #83. Bernard Labadie, conductor; Olga Kotova, Roberts, violin. 780-428-1414, 800-563-5081 Upcoming violin; Dmitry Nesterov, piano. 403-571-0849, 4 2pm. Banff PCDIC. FA. Sundays in Canmore. 403-299-8888 (h 2-4) Piano Six 16 7:30pm. Banff RRH. $10-15. Friday Evening 7 12pm. Banff RRH. FA. Wednesdays at Noon. Move over, Three Tenors! Piano Six, a unique and dedicated group of Concerts. Steve Doane, cello. 800-413-8368, (h 2-7) six of Canada’s top concert pianists–Janina Fialkowkska, Jon Kimura 403-762-6301 17 10am. PAC JSCH. $7-10/$30 family. Saturday Parker, Angela Hewitt, Marc-André Hamelin, Angela Cheng and André Morning at the Symphony. Arthur Bachmann (CPO): Laplante–offers high-quality recitals to all Canadians, at a very reasonable creation, CPO commission. Calgary Philharmonic rate. Orchestra subset, Bernard Labadie, conductor. 403-571-0849, 403-299-8888 In collaboration with Colwell Arts Management and some start-up 17 8pm. PAC JSCH. $26-62. Light Classics Series. money from the J.W. McConnell Family Foundation, Piano Six was Dvorak: Legends; Dvorak: Slavonic Dance #1; launched in 1993. The brainchild of Janina Fialkowska, this project is an Chopin: Krakowiak; Wieniawski: Scherzo- Tarantelle. Bernard Labadie, conductor; innovative ten-year outreach program intended to bring classical music to Nadejda Vlaeva, piano; Cenek Vrba, violin. any community that shows interest. 403-571-0849, 403-299-8888 Each of the six pianists in the group sets aside a ten-day period every 18 2:30pm. Banff PCDIC. FA. Sundays in BRITISCOUSH COLUMBIA Canmore. (h 4) year in order to tour coast to coast. The artist makes himself available for 21 12pm. Banff RRH. FA. Wednesdays at Noon. (h 7) Main ticket agent: Ticketmaster 604-280-3311 more than just the recital. Depending on the host community’s wishes, the 21 8pm. Arts Development Centre, 100-2nd Avenue GatT Gateway Theatre, 6500 Gilbert Rd, Richmond, visit might also include a school concert, a masterclass for young music NW, Sundre. $10-25. Piano Six Tour. Haydn: 604-270-1812 Sonata #60 in C major; Louie: Memories in an RoyTh Royal Theatre, 805 Broughton St, Victoria, students, or a workshop for piano teachers. The community takes care of Ancient Garden; Ravel; Gaspard de la nuit; 250-386-6121 the local arrangements (hall and piano rentals, publicity, housing), but the Ondine; Le Gibet; Scarbo; Chopin; Polonaise- OrpTh Orpheum Theatre, Smithe St, Vancouver Fantaisie in A-flat major op.61; Bach-Busoni: McPh McPherson Playhouse, #3 Centennial artists generously agree to perform for only a small percentage of their Chaconne in D minor (from BWV 1004). Angela Square, Victoria usual fee, making it possible for even the smallest towns to afford a great Cheng, piano. (f 24 25 26 27/2, 1/3 British recital. Last year, for example, Janina Fialkowska visited several native Columbia). 403-638-3333 23 7:30pm. Banff RRH. $10-15. Friday Evening FEBRUARY communities on Manitoulin Island during her ten-day visit. Concerts. Bob Becker, percussion. 800-413- 1 2pm. RoTh. $16-29. Pops Series. The English Since its inauguration in 1994, Piano Six has performed each season 8368, 403-762-6301 Music Hall. Flanders and Swann, British pops. in nearly one hundred schools, churches and concert halls throughout 24 8pm. Northern Alberta Jubilee Auditorium, Victoria Symphony, Brian Jackson, conduc- 11455 - 87 Avenue, Edmonton. $19-78. Mozart: tor; Colin Skinner, thespian. (f 2 3). 250- Canada. Piano Six welcomed two more Canadian pianists in its ranks last Così fan tutte. Edmonton Opera; Peter Dala, 385-6515, 250-386-6121 year: in the fall Bernadene Blaha and Stéphane Lemelin toured for the conductor; Benjamin Butterfield; Nathan 2 8pm. RoTh. $16-29. Victoria Symphony, organisation. Berg; Mark Pedrotti; Sally Dibblee; Daniele Skinner. (h 1) LeBlanc; Barbara Hannigan. (f 27/2, 1/3). 3 8pm. Orph. Great Composers. Schumann: In February, Janina Fialkowska will be in Bristish Columbia (Vancouver 780-429-1000 Overture, Scherzo and Finale; Mendelssohn: Island and the northern Gulf Islands), Marc-André Hamelin will be in 25 2pm. PAC JSCH. $10-15. Allan Bell/Rick Piano Concerto #2; Fanny Mendelssohn-Hensel: northeast Ontario, and Angela Cheng in Alberta and southeast British McNair: Turtle Wakes. Quest Theatre. Co-prod. Ouverture; Schumann: Symphony #2. Vancouver Calgary Opera. 403-262-7286, 403-299-8888 S.O., Andrey Boreyko, conductor; Lang Lang, Columbia. Check calendar for dates. 25 2:30pm. Banff PCDIC. FA. Sundays in piano. 7pm pre-concert chat Orpheum stage (f For information or donations to support the Piano Six Foundation, con- h Canmore. ( 4) 5). 604-280-3311, 604-876-3434 tact Colwell Arts Management at (519) 662-3499 or visit their Web site 27 7:30pm. NAJA. $19-78. Così fan tutte. (h 24) 3 8pm. RoTh. $16-29. Victoria Symphony, 28 12pm. Banff RRH. FA. Wednesdays at Noon. Skinner. (h 1) at www.pianosix.com. (h 7) 3 8pm. St Andrew’s Presbyterian Church, Douglas Lucie Renaud at Broughton, Victoria. $9-17. Early Music Society of the Islands. S.L. Weiss, A. Falkenhagen. John MARCH Schneiderman, lute. 250-882-5058 250-386-5311 604-280-3311, 604-738-6822 h 5 8pm. Orph. VSO, Lang. 7pm pre-concert chat 11 2pm. Orph. VSO, Raymond. (h 9) 1 7:30pm. NAJA. $19-78. Così fan tutte. ( 2-24) 4 2pm. Orph. Kids’ Koncerts. Bending the Bows. h 2 7:30pm. Banff RRH. $10-15. Friday Evening Various styles; battle fiddle vs. violin. Orpheum stage ( 3) Concerts. Kolja Lessing, piano, violin; Edgar Vancouver S.O.; Frank Leahy, Eduard Minevich, 9 8pm. Massey Theatre, New Westminster. Meyer, bass. 800-413-8368, 403-762-6301 violins. 604-280-3311, 604-876-3434 Musically Speaking. Weber: Der Freischütz, 3 2pm. Winspear. $9-22. Symphony for Kids. Judy 4 2pm. RoTh. $12-14. Concerts for Kids. How the Overture; Wagner: Siegfried Idyll; Liszt: Piano and David’s Symphonic Adventure. ESO, David Gimquat Found Her Song. A magician meets a Concerto #2; Beethoven: Symphony #8. Vancouver S.O., David Lockington, conductor; Hoyt, conductor, host; Judy and David, chil- bird without a song; together they travel f dren’s entertainers. 780-428-1414, 800-563- through the ages of music on a search for a Richard Raymond, piano. ( 10 11). 604- 280-3311, 604-876-3434 5081 suitable song. Victoria Symphony, Brian h 3 2pm. PAC JSCH. $17-25. Young People’s Series. Jackson, conductor; Platypus Theatre. (f 10 8pm. Orph. VSO, Raymond. ( 9) Rolf Bertsch, conductor; W.P. Puppet 3:30pm). 250-385-6515, 250-386-6121 10 8pm. Ryerson United Church, 45th Ave & Yew St, 12 7:30pm. Quadra Island Community Centre, West Theatre. 403-571-0849, 403-299-8888 4 2:30pm. RoTh. $12-14. How the Gimquat. (h 2 pm) Vancouver. $14-17. 20th Annual National Road, Quadra Island. $15-25. Piano Six Tour. 4 2:30pm. Winspear. $17-40. Bach: Concerto for 4 2:30pm. Victoria Conservatory of Music, 907 Conductors’ Symposium. Final Concert. Dowland, Bach: Partita #1 BWV 825; Mozart: Sonata 2 violins in D minor; Schnittke: Concerto grosso Pandora Ave, Victoria, Alix Goolden Performance Mozart, Schubert, Fauré, Brahms, Britten, Foster. K.310; Beethoven: Sonata op.10 #2; Schubert: #1; Mozart: Symphony #41 “Jupiter”. ESO, Hall. $15-18. Jane Coop, piano. 250-384-0594, Vancouver Chamber Choir, Jon Washburn, cond; Sonata D.958; John Burge: Everything waits for National Conductors’ Symposium 6 participants. the Lilacs; Liszt/Mendelssohn: Fantasy on A
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• 6 days – AUGUST 28 TO SEPTEMBER 2 • 10 competing quartets • $50,000 in prizes
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: Banff International String Quartet Competition The Banff Centre for the Arts PHONE (1/403) 762.6188 FAX (1/403) 762.6338 E-MAIL [email protected] www.banffcentre.ab.ca/music/bisqc
LaScenaMusicale / Février 2001 February / 49 Midsummer Night’s Dream. Janina Fialkowska, piano. (f 13 15 16 17 18 20 21). 250-285-3458 Upcoming 13 8pm. Evergreen Theatre, Powell River, Brooks Hall. $15- Pianist Richard Raymond should dazzle the audience with Liszt’s 25. Piano Six, Fialkowska. 604-485-9633 (h 12) 15 7:30pm. Festival Hall, Hornby Island. $15-25. Piano Concerto no 2 on February 9, 10 and 11. The Vancouver Symphony Piano Six, Fialkowska. 604-335-2734 (h 12) Orchestra will complete these concerts with Weber’s Freischütz’s Overture, 15 8pm. McPh. $19-75. Giannini: The Taming of the Shrew. Pacific Opera Victoria; Timothy Vernon, Wagner’s Siegfried Idyll and Beethoven’s Eight Symphony. conductor; Jennifer Maines-Chamandy; Kurt Hélène Grimaud will also join the orchestra to perform Schumann’s Lehmann; Tom Goerz; Jennie Such; Curtis beautiful Piano Concerto on February 17 and 19. Her recording of this con- Sullivan; Doug Macnaughton; Christopher Coyea; Robert Milne; Blaine Hendsbee; Ian Funk. (f 17 certo won her a Victoire award last year. 20 22 24). 250-385-0222, 250-386-6121 If you want to hear the young piano stars of tomorrow, rush to the 7th ATLANTICOCSC PROVINCES 16 7:30pm. Victoria Conservatory of Music, 907 Annual Pacific Piano Competition in Richmond starting February 21. Pandora Ave, Victoria, Alix Goolden Performance Hall. $22-25. VCM Spectrum 2001 With several dates in Februay, opera lovers won’t want to miss Pacific FEBRUARY Faculty Concert Series. Amour et Chocolat / Opera Victoria’s production of Giannini’s Taming of the Shrew . The opera, 6 8pm. Dalhousie Arts Centre, 6101 University Ave., Chocolate Classics III. Early music love songs written in 1953, is an adaptation of Shakespeare’s humourous tale of Halifax, Rebecca Cohn Auditorium. $25-34. from France. Elizabeth MacIsaac, soprano; Celebrity Series. Kulesha: Celebration Overture; Douglas Hensley, lutes, gittern; Stacey Boal, Petruchio’s efforts to calm the heart and tame the spirit of Katherine. (See Stravinsky: Dumbarton Oaks Concerto; Nielsen: recorders; Nicholas Fairbank, harpsichord; calendar for dates) Flute Concerto; Elgar: Serenade for Strings; Brahms: Martin Bonham, viola da gamba (period Variations on a theme of Haydn. Symphony Nova instruments). With chocolates, desserts and 20 8pm. McPh. $19-75. POV, Taming of the f Scotia, Simon Streatfeild, conductor; Patricia fine wines. 250-384-0594 ductor; Capriccio Vocal Ensemble. ( 26). Shrew. (h 15) 250-385-6515, 250-386-6121 Creighton, flute. 7:15pm Sculptures Lounge: pre- 16 8pm. Baptist Church, White Rock. Piano Six, 21 GaTh. 7th Annual Pacific Piano Competition. concert chat. 902-421-1300, 902-494-3820, 800- Fialkowska. 604-538-5057 (h 12) 25 7pm. Southern Okanagan Secondary School, Auditions (f 22 23 25). 604-270-1812 10332-350th Avenue, Oliver (Fairview Road), 874-1669, 902-494-7081 x3 17 8pm. McPh. $19-75. POV, Taming of the 21 8pm. Nanaimo Conservatory, 125 Front St., 9 8pm. Dalhousie Arts Centre, 6101 University Shrew. (h 15) Venables Auditorium. $15-25. Piano Six, Nanaimo, Port Theatre. $15-25. Piano Six, Cheng. 250-495-3565 (h Alberta 21) Ave., Halifax, Rebecca Cohn Auditorium. $25- 17 8pm. Orph. Masterworks Diamond. Beethoven: Fialkowska. 250-245-4658 (h 12) 34. Traditional Pops Series. Postcards from the Coriolan Overture; Schumann: Piano Concerto; 26 7:30pm. Trail United Church, 1300 Pine 22 GaTh. Pacific Piano. Auditions (h 21) Avenue, Trail. $15-25. Piano Six, Cheng. 250- Sand. Music from the great beaches of the Dvorak: Symphony #7. Vancouver S.O., Sergiu 22 8pm. McPh. $19-75. POV, Taming of the h world. Symphony Nova Scotia, Howard Cable, Comissiona, conductor; Hélène Grimaud, 364-2144 ( Alberta 21) Shrew. (h 15) 26 8pm. UVic FarqA. $16-29. Victoria Symphony, conductor; David Rogers, tenor. 7:15pm piano. 7pm pre-concert chat Orpheum stage 23 GaTh. Pacific Piano. Final (h 21) h Sculptures Lounge: pre-concert chat. 902-421- (f 19). 604-280-3311, 604-876-3434 Capriccio Vocal Ensemble. ( 25) 24 10am. Sue Gay Studio, 33433 95th Street, 27 1pm. Trail United Church, 1300 Pine Avenue, 1300, 902-494-3820, 800-874-1669, 902- 17 8pm. West Acres, 23575-124 Ave, Maple Ridge. $15- 494-7081 x3 h Oliver. $5-15. Piano Six, Cheng. 250-495-6487 Trail. $5-15. Piano Six, Cheng. 250-364-2144 25. Piano Six, Fialkowska. 604-467-3162 ( 12) (h Alberta 21) h 9 8pm. Memorial University School of Music, St. 18 8pm. St Andrew’s United Church, Grand Street, ( Alberta 21) 24 8pm. GaTh. $15-20. 7th Annual Pacific Piano 27 7:30pm. Capital Theatre, 421 Victoria Street, John’s, D.F. Cook Recital Hall. $14-16. Recital Mission. $15-25. Piano Six, Fialkowska. 604- Competition. Bernadene Blaha, piano. 604- Series. Mozart: K.387; Haydn: op.33 #1; 820-9369 (h 12) Nelson. $15-25. Piano Six, Cheng. 250-352- 270-1812 6745 (h Alberta 21) Beethoven: Septet op.20. Atlantic String Quartet; 18 8pm. Vancouver Playhouse, Hamilton St. & 24 8pm. McPh. $19-75. POV, Taming of the Lorne Buick, clarinet; Grant Etchegary, bas- Dunsmuir St., Vancouver. $29-42. Vancouver Shrew. (h 15) soon; Douglas Vaughan, horn. 709-753-6492 Recital Society. Beethoven: Sonata “Tempest” 24 8pm. Orph. $51-181. Vancouver Recital Society. MARCH 10 8pm. St.Mary’s University Art Gallery, Halifax. op.31 #2; Sonata op.101; Four Bagatelles from Début Atlantic. Mozart: Sonata K. 332; Chopin: Cecilia Bartoli, mezzo; Il Giardino Armonico. 1 2pm. RoTh. $16-29. Pops Series. Song and op.119; Sonata op.110. Stephen Kovacevich, 604-602-0363 Ballade #4 in f minor op.52; Nocturne op.27 #1 piano. 7:15pm Pre-concert talk. 604-602-0363 Dance. Sibelius: Finlandia; Gilbert and Sullivan; in c minor; Scherzo in b flat minor op.31. #2; 25 1pm. GaTh. Pacific Piano. Masterclass until Tchaikovsky; Delibes; etc. Victoria Symphony, 19 8pm. Orph. VSO, Grimaud. 7pm pre-concert h Srul Irving Glick: New work world premiere; h 5pm ( 21) Brian Jackson, conductor; Victoria Choral chat Orpheum stage ( 17) 25 2:30pm. University of Victoria School of Music, f Rachmaninoff: Sonata #2 op.36 (1931). 20 8pm. Eagle Eye Community Theatre, Squamish. Society, Michael Gormley, director. ( 2 3). Alexander Tselyakov, piano. (f 11 13 14 15 Ring Road, Victoria, Farquhar Auditorium. $16- 250-385-6515, 250-386-6121 $15-25. Piano Six, Fialkowska. 604-898-5503 29. Classics Series. Bach: St. John Passion. 17 20 21). 902-420-4376, 902-420-4462 (h 12) 1 7:30pm. Key City Theatre, 20- 14th Avenue 11 8pm. Mount Allison University, 144 Main Street, Victoria Symphony, Michael Gormley, con- South, Cranbrook. $15-25. Piano Six, Cheng. h Sackville, Marjorie Young Bell Convocation 250-426-4536 ( Alberta 2-21) Hall. $13-25. Tselyakov. 902-420-4376, 506- 2 8pm. Metropolitan Tabernacle Church, 189 West 364-2662 (h 10) summer opera lyric theatre 11th Avenue, Vancouver. $16-20. Early Music 11 8pm. Théâtre de l’École L.E.R., 390 Adélaïde, Vancouver. Early and contemporary music. Ellen Dalhousie. $15. Laquerre, Roy (JMC). 506-684- and research centre Hargis, soprano; Fretwork (Wendy Gillespie; 3965 (h Ailleurs au Québec 3) Richard Campbell; Richard Boothby; Julia Guillermo Silva-Marin, General Director 13 8pm. École secondaire Népisiguit, 915 Ste- Hodgson; William Hunt). 7:15pm Pre-concert Anne, Bathurst. Laquerre, Roy (JMC). (h intro (Co-pres. Vancouver New Music). 604- Ailleurs au Québec 3) announces auditions for 732-1610 13 8pm. Grand Falls-Windsor Arts and Culture 2 8pm. Orph. Symphony Pops. Big brass Centre, Cromer Avenue, Grand Falls-Windsor. favourites, big band. Vancouver S.O., Doc h the 2001 Opera Workshop f $12-16. Tselyakov. 709-292-4520 ( 10) Severinsen, trumpet, conductor. ( 3). 604- 14 8pm. Gander Arts and Culture Centre, 50 280-3311, 604-876-3434 Airport Blvd., Gander. $12-16. Tselyakov. 709- 2 8pm. RoTh. $16-29. Victoria Symphony, 256-1082 (h 10) Victoria Choral Society. (h 1) h 14 8pm. Université de Moncton, Moncton, Salle 3 8pm. Orph. VSO, Severinsen. ( 2) Jeanne-de-Valois (Faculté de l’éducation). La Bohème 3 8pm. RoTh. $16-29. Victoria Symphony, Laquerre, Roy (JMC). (h Ailleurs au Québec 3) h Giacomo Puccini Victoria Choral Society. ( 1) 15 8pm. Memorial University School of Music, St. 3 8pm. St Andrew’s Presbyterian Church, John’s, D.F. Cook Recital Hall. $12-16. Tselyakov. Douglas at Broughton, Victoria. $9-17. Early 709-729-3900, 709-737-4455 (h 10) Music Society of the Islands. Purcell, Byrd, etc. 16 8pm. St. John’s Arts and Culture Centre, Prince Fretwork (viols, UK); Ellen Hargis, soprano Philip Drive, St. John’s. $13-27. Masterworks (USA). 250-882-5058 Series. Liszt: Les Préludes (symphonic poem); Vanessa 4 2pm. RoTh. $12-14. Concerts for Kids. Stars of André Mathieu: Concerto de Québec; Moussorg- Samuel Barber Tomorrow. Michael Haydn: Toy Symphony. sky/Ravel: Pictures at an Exhibition. Newfound- Victoria Symphony, Brian Jackson, conduc- land Symphony Youth Orchestra, Marc David, tor; Margit Juhasz, piano; Nikki Chooi, violin; f conductor; Thomas Yee, piano. 7:15pm prelude ensemble of special soloists. ( 3:30pm). concert: Scruncheons Percussion Ensemble. 709- Hansel and Gretel 250-385-6515, 250-386-6121 753-6492, 709-729-3900 h Ingebert Humperdinck 4 3:30pm. RoTh. $12-14. Stars of Tomorrow. ( 2 pm) Audition Dates: February 20, 21, and 22 INTERNATIONAL DIFFUSARTINTERNATIONAL Workshop Dates: « AMIS de L’ART et de la CULTURE » June 10 to August 5 Encourageons les commerçants « AMIS de L’ART et de la CULTURE ». Ces commerçants vous renseignent sur les activités artistiques et culturelles en Toronto, Canada acceptant les affiches et les dépliants distribués par Diffusart. Démontrons-leur que nous apprécions le soutien qu’ils apportent Send resume to: à l’Art et à la Culture dans notre région. SUMMER OPERA LYRIC THEATRE DIFFUSART : Distribution d’affiches, de dépliants, de journaux... 33 West Avenue, Toronto, Ontario M4M 2L7 de l’est à l’ouest du pays (416) 922-2912 (613) 523-2010 [email protected]
50 / LaScenaMusicale / Février 2001 February 17 8pm. Jamieson Academy, Burin. Tselyakov. siècle, vendredis 14h55, anim. Françoise Davoine, Arion; Barthold Kuijken, chef. 514-597-6000 902-420-4376, 709-891-1546 (h 10) réal. Michèle Paris FÉVRIER 16 14h55. SRC CC. MUS-S. Les grands festivals 17 8pm. Université de Moncton Centre universitaire 1 20h. SRC CC. Radio-Concerts. Carl Philipp (incluant les camps et académies d’été). Prod. St-Louis Maillet, 165 boul. Hébert, Edmunston, Emanuel Bach. Hélène Lévesque, Marguerite Radio Suisse Pavillon des Sciences, Amphithéâtre. 0-20$. 16 20h. SRC CC. Radio-Concerts. Musiques du h Schabas, flûtes; Catherine Perron, violon- Laquerre, Roy (JMC). 506-737-5033 ( Ailleurs celle; Jonathan Oldengarm, clavecin. 514- 16e siècle tirées du recueil de Jane Pickering. au Québec 3) 597-6000 Jacob Heringman, Gail Gillespie, luths. 514- 18 2pm. St. Andrew’s United Church, Coburg/Robie 2 14h55. SRC CC. MUS-S. Décadence et renou- 597-6000 Streets, Halifax. $22-26. Baroque Series. veau du répertoire lyrique. Prod. Radio belge 17 1:30pm. CBC R2, SRC CC. MET-OP. Rossini: Telemann: Trumpet Concerto in D; Vivaldi: 2 20h. SRC CC. Radio-Concerts. Festival Folk de L’Italiana in Algeri. Jennifer Larmore; Paul Bassoon Concerto; Gluck: Dance of the Blessed l’UER. Musiques traditionnelles d’Europe. (f Austin Kelly; Alessandro Corbelli; Samuel Spirits; J.C. Bach, Boyce: Symphonies. Symphony 9). 514-597-6000 Ramey; Bruno Campanella, cond. (end time: Nova Scotia, Hank Knox, conductor, harpsi- 3 1pm. CBC R2, SRC CC. MET-OP. Bizet: Carmen. 4:30pm) chord; Ivor Rothwell, bassoon; Curtis Dietz, Janice Watson; Olga Borodina; Richard 20 20h. SRC CC. Radio-Concerts. Berio: Linea; trumpet. 902-421-1300 CBC R2 Canadian Broadcasting Corporation Radio Leech; Franck Ferrari; Bertrand de Billy, Debussy: En blanc et noir; Ravel: la Valse; 20 8pm. RCS Netherwood, Rothesay ((private Two (93.5 Montréal 597-6000 (if they do not cond. (end time: 4:40pm) Bartok: Sonate. Andrea Lucchesini, Pietro De school)). $25. Tselyakov. 902-420-4376, 506- have the information you are looking for, ask to Maria, pianos; Maurizio Ben Omar, Andrea h 5 20h. SRC CC. Radio-Concerts. Nino Rota, John 847-8224 ( 10) be transferred to Toronto Audience Relations); Corigliano, Aaron Copland: Musique de cinéma. Dulbecco, percussions. 514-597-6000 20 8pm. The Playhouse, Fredericton. Tafelmusik, 103.3 Ottawa 724-1200). Also broadcast live 21 20h. SRC CC. Radio-Concerts. Wagner: Der h Orchestre de la radio de Radio-Canada; Gauvin. 506-458-8344 ( Manitoba 23) on the web
LaScenaMusicale / Février 2001 February / 51 Richard Bradshaw. Mozart: Idomeneo. Glyndbourne Festival Opera Les grands classiques 10 7pm. Bravo!. Saturday Night At The Opera With dans le ciberespace Richard Bradshaw. Mozart: Idomeneo. Glynden- bourne Festival Opera; Bernard Haitink, con- ductor; Philip Langridge, Carol Vaness 10 7pm. Bravo!. Aria and Pasta. (h 3) WWW.SCENA.ORG 17 7pm. Bravo!. Aria and Pasta. (h 3) 17 8:30pm. Bravo!. Pavarotti 2000. Musical trib- Classics in Cyberspace ute to Dalai Lama (240 min.). Luciano Pavarotti; George Michael, Tracey Chapman, The Eurythmics, Enrique Iglesias, Aqua and TÉLÉVISION Mary J. Blige 20 8pm. Bravo!. Tribute to Mario Lanza. The Bravo! Pay TV 800-924-4444. Music shows listed Lanza Sessions. The musical legacy of one of below. They also have jazz and dance shows. the most popular operatic singers of the centu- The following programs sometimes have ry (archival footage, interviews, musical trib- music-related segments: Arts & Minds, Bravo utes, 60 min.). Mario Lanza, tenor Arts, Bravo Videos. Times are ET. 20 9pm. Bravo!. Tribute to Mario Lanza. Seven PBS Public Broadcasting Service, USA. VPT Vermont Hills Of Rome. A popular singer in the U.S. tries Public Television channel 33 Burlington. WCFE to re-launch his career in his homeland of Italy Mountain Lake channel 57 Plattsburgh (120 min.). Mario Lanza, Renato Rascel, TLN Telelatino (Vidéotron: Montréal, Québec, Hull, Marisa Allasio, Peggy Castle Gatineau; Bell ExpressVu; Star Choice; LOOK TV) 24 7pm. Bravo!. Aria and Pasta. (h 3) 514-324-4231: opera on Sat. nights 11:30pm 24 9pm. Bravo!. Elizabeth Taylor: A Musical Télé-Québec 514-521-2424 Celebration. In honour of her DBEing (150 hébergé par min.). Michael Jackson, Tony Bennett, Ute hosted by FEBRUARY Lemper, Andrea Bocelli, Joan Collins, Reba McEntire 3 7pm. Bravo!. Aria And Pasta (8 part series). Vous y trouverez Lives and careers of leading opera singers; interviewer and subject talk over a delicious • La Scena Musicale en ligne meal (30 min.). (f 10 17 24/2, 3/3) MARCH • Calendrier canadien interactif de musique classique 10 Bravo!. Saturday Night at the Opera with 3 7pm. Bravo!. Aria and Pasta. (h 2-3) • Critiques • Version Acrobat de notre édition • Fichiers d’extraits sonores PETITES ANNONCES • Actualités: revue de presse, plus de 8000 articles. • Communiqués LSM: service de nouvelles sur la musique CLASSIFIED ADS classique. Hébergement disponible. 8 $ / 120 caractères | 3 $ / 40 caractères additionels | (514) 948-2520 Nouveautés: • Cartes de souhaits musicales virtuelles, avec des extraits sonores en direct Auditions Pola (Pavarotti’s teacher) and Franco Corelli, • Répertoire des diffusions sur le Web de musique classique and has sung with Bartoli, Nucci, Bumbry, L’ensemble choral Vox, répertoire classique, Cossotto, Muti, Gavazzeni, etc. is opening a en direct, en archive et sur demande recherche des choristes d’expérience, des studio in Montreal teaching the Italian Bel ______ténors et des sopranos en particulier. Canto tradition. (514) 626-8146 Répétitions le mardi soir, à l’église St-Stanislas. You’ll find Communiquer avec Guy Isabelle, dir. musical, À vendre – For Sale • La Scena Musicale Online entre 9h et 17h. (514) 725-6113 50 albums de 4 disques chacun. 33t, col- • Canadian Classical Music Interactive Calendar Tout au long de l’année CAMMAC propose lection Time-Life, avec photos, biographies, de nombreuses activités musicales aux musi- analyses, époque Renaissance à aujour- • Reviews ciens amateurs (instrumentistes et chan- d’hui. Prix très réduit. (514) 340-0459 • Acrobat version of our edition teurs). Joignez-vous à l’orchestre sympho- Archet 4/4 de violon en pernambuco, excel- • Sound extract samples nique, l’orchestre de chambre, l’ensemble lente condition, rebondit facilement, 700 $ vocal ou l’ensemble de flûte à bec ou enco- nég. / 1880 Estey Harmonium, mahogany, • ClassicalMusicNews.org re aux lectures à vue offertes cet hiver. excellent working condition, 1000 $. (514) Info.: (514) 681-6950 481-0853 Media Watch—daily links to news and reviews. Cours – Lessons Find out why this is so popular with music critics from Divers – Misc. around the world. Over 8000 indices. 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52 / LaScenaMusicale / Février 2001 February Book Review / Critique de livre M. Owen Lee: A Season of Opera, from Orpheus to Ariadne Éric Legault
n his latest book, Father Owen Lee writes in But all is not rosy in Operaland. In the last depth on twenty-two operas and two chapter, Lee criticizes some trends in 20th-century IBroadway musicals, from Monteverdi’s opera: “Berg and Schönberg’s cerebral, astringent, Orfeo to Rodgers and Hammerstein’s Oklaho- ear-wearying twelve-tone system, it is by now ma. Each chapter is based on his articles and clear, was no substitute for the less intellectualized lectures originally written for opera magazines musical traditions of the past. Nor were the other and Metropolitan Opera radio broadcasts over musical styles, stubbornly academic, that fol- the last 30 years. Not surprisingly, the focus is lowed.” He also points out the political hypocrisy quite varied from one essay to the next. in American operas. Ending on an optimistic note, Whether praising the music’s originality in he proposes Ariadne auf Naxos as “the most signif- Orfeo ed Euridice and L’elisir d’amore, drawing icant and in many ways the best opera of the cen- parallels between Wagner and Cola di Rienzo tury.”He suggests that if opera itself is to survive as (the historical subject of his opera Rienzi),or an art form, it must continually evolve, without revealing hidden subtleties in the libretto of Il discarding its better inventions. And evolution— trovatore, the author gives each work its proper especially when steered by Love—is precisely what enthusiasts, along with its two predecessors, due, especially those he feels were dismissed Strauss’s opera is all about. Wagner’s Ring: Turning the Sky Round and First unfairly by critics. Some chapters are just over- As a writer, teacher, and popular lecturer, Intermissions. p flowing with ideas: In The Music of Intuitive Lee inspires his readers and listeners to pave Angels: The Magic Flute, he discusses, among their own road to erudition. For that purpose, M. Owen Lee: A Season of Opera, other things, the opera’s literary sources and he provides a list of recommended recordings from Orpheus to Ariadne similarities to various mythologies, the charac- and videos and a short but smart list of University of Toronto Press 1998, paperback ters’ Jungian dualities, the battles between Free- “Further Readings,” which unfortunately does edition 2000, 241 pages mason Enlightenment and the Counter- not include any of the hundred or so non- N.D.L.R. Cet ouvrage est maintenant dispo- Reformation, and even the latest findings on operatic classics mentioned throughout the nible en français. Editor’s Note: This book is now Mozart’s death and burial. All within 12 pages! book. A Season of Opera is a must for all opera available in French.
LaScenaMusicale / Février 2001 February / 53 Viaggio Musicale. Musique italienne du capacité inouïe à peindre les clairs obscurs si LES DISQUES xviie siècle: œuvres de Monteverdi, Merula, essentiels à la compréhension de l’idéologie Castello, Spadio, Riccio, Marini, Uccellini, baroque. CD REVIEWS Rossi, Fontana, Piccinini, Rognoni et Cima. La pochette cartonnée, superbe, se feuillette Il Giardino Armonico comme un album qu’on laisse traîner sur la Teldec/Warner 8573-82536-2 table à café. Heureux celui qui, comme Ulysse, ✪✪✪✪ Politique de critique : Seulement les $$$ fera ce beau voyage! meilleurs des nouveaux disques que L’ensemble Il Giardino Armonico, après – Lucie Renaud nous recevons chaque mois sont abor- avoir dépoussiéré Vivaldi (leur interprétation dés ici. Nous critiquons tous les bons des Quatre Saisons Giacinto Scelsi: The piano works 1 CD que nous recevons, mais nous ne avait décoiffé plus Louise Bessette, piano d’un auditeur), s’at- Mode 92 recevons pas toutes les nouveautés. ✪✪✪✪ Donc si une nouveauté n’est pas men- taque au répertoire de e tionnée, cela ne veut pas dire qu’elle l’Italie du xvii siècle. Si vous aimez la Concord Sonata de est inférieure. Vous trouverez des criti- Ce voyage (viaggio) l’Américain Charles Ives ou si votre esprit s’en- ques additionnelles dans notre site musical fait voir du vole à l’écoute de musique improvisée contem- Web :< www.scena.org> pays (les composi- poraine pour piano (Cecil Taylor, par exemple), teurs représentés vous succomberez à la musique pour piano de Review Policy: We review all the good habitant Milan, Bologne, Venise ou Crémone, Giacento Scelsi (1905–1988), une œuvre excen- CDs we get, but we don’t get every new par exemple) et chevauche le siècle. Le plus trique, intense, étrange et inexplicable, d’une release. Only the very best of the new beau périple reste celui qui permet de savourer grande virtuosité et créativité, musique extrême recordings we receive each month are les sonorités contrastantes (la brillance du vio- comme il y a des « sports extrêmes ». reviewed in the printed version of LSM. lon, la légèreté des flûtes, le timbre plus sombre Dans ce premier disque consacré à l’œuvre If a new release is not mentioned in des cornets) et les transitions entre pièces plus de Scelsi, la petite compagnie new-yorkaise print, it does not imply it is inferior. mystiques — la Sonate de Riccio par exemple Mode a invité l’excellente pianiste montréalaise You will find many more CD reviews on — qui côtoient sans heurt l’exubérance pure — Louise Bessette, interprète reconnue de musi- our website at
54 / LaScenaMusicale / Février 2001 February lui dans ses notes inlassablement répétées, ses l’ensemble son naturel, c’est bien sous cet angle Messiaen: Turangalîla Symphony / imposants « clusters » et ses registres limites. que Volodos se révèle le plus convaincant. Cette L’ascension Un grand moment d’émotion et d’intensité version du Troisième Concerto est peut-être la François Weigel, piano pour les amoureux du piano, de l’improvisa- seule que l’on puisse réécouter en boucle sans Thomas Bloch, ondes Martenot tion, de musique contemporaine ou actuelle. éprouver de fatigue tant elle a été polie, Antoni Wit/Polish National Radio Symphony – Geneviève Beaudet arrondie et donc plus proche de la voix et de Orchestra l’humain. Ce plaisir retrouvé des sons pleins et Naxos 8.554478-79 (107 min 26 s) Rachmaninoff : Concerto pour piano n˚3, chaleureux prend volontiers sa place à côté du ✪✪✪✪$$ Andante de la Sonate pour violoncelle et démoniaque d’Horowitz (pourtant seule ver- Antoni Wit s’est illustré depuis quelques piano (transcription A. Volodos), Sérénade sion à donner des frissons dans le dos), du mys- années avec ses excellentes interprétations en si bémol mineur op. 3 n˚5 tique intériorisé d’Ashkenazy avec le d’œuvres exigeantes Romance en fa mineur op. 10 n˚6, Prélude en Concertgebouw ou de la virtuosité flamboy- du XXe siècle, en parti- fa mineur op. 32 n˚6 ante d’Earl Wild (version avec coupures, cepen- culier celles de Luto- Prélude en ré mineur op. Posthume, Étude- dant). Le toucher de Volodos et sa manière de slawski et de Messi- tableau en ut dièse mineur op. 33 n˚6 faire chanter l’instrument en allégeant l’accom- aen. La Symphonie Arcadi Volodos, piano, Orchestre pagnement surpasse sur ce point l’ensemble Turangalîla est un Philarmonique de Berlin, James Levine des autres versions. Cette optique est pourtant chef-d’œuvre de mys- Sony SK64384 (61min 2s) perfectible, ne serait-ce qu’en optant pour la ticisme extatique qui a ✪✪✪✪ cadence en arpèges dans le premier mouve- été visité avec pas- En 1923, Rachmaninoff révélait lors d’un ment, plus fluide et plus légère que la cadence sablement de succès entretien pour le magazine The Etude:«Je crois en accords dont l’écriture est certainement depuis une dizaine d’années par d’aussi émi- en ce qu’on pourrait étouffante et trop binaire. La réussite de ce nentes baguettes que celle de Myung Whun appeler la musique disque tient aussi à l’accompagnement de Chung, Riccardo Chailly, Simon Rattle et Esa- naturelle du piano… James Levine, dont la vision rejoint celle de Pekka Salonen. Toutes ces versions sont bonnes Même en ce qui con- Volodos,en soulignant distinctement les chants à leur façon, et celle de Wit mérite amplement cerne mes propres et les contre-chants aux différents pupitres. La de se classer parmi elles. Il fait bien ressortir le concertos, je préfère de rondeur sonore de la Philarmonie de Berlin remarquable kaléidoscope de couleurs de cette beaucoup le Troisième délivre la touche finale. Ce culte du chant se partition en lui donnant une clarté crystalline. parce que le Deuxième poursuit dans les pièces pour piano seul qui La prise de son, très directe, magnifie aussi est si incommode à complètent ce programme. Avec la transcrip- cette impression de pureté éclatante. À côté, interpréter. » De ce concerto, il disait aussi: « Je tion de l’Andante de la Sonate pour violoncelle Myung Whun Chung, par exemple (pour n’en voulais chanter la mélodie sur le piano, tout et piano, Volodos réussit à nous faire oublier choisir qu’un), est beaucoup plus intériorisé comme un chanteur la chanterait. » que le piano est un instrument à percussion. dans son expression. Son orchestre et la prise Faire prédominer le chant et rendre à – Stéphane Villemin de son de la Deutsche Grammophon rend le
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LaScenaMusicale / Février 2001 February / 55 tout plus somptueux, presque velouté. de rebondissements: par moment, on imagine L’expression d’une communion très personnelle presque un grand dessin animé… d’art. Un Giuseppe Verdi et très profonde avec le divin. Une vision plus rare moment de plaisir de musique contempo- « littérale », plus extériorisée que nous donne Wit, raine. 1813–1901 donc, mais non moins pertinente et exaltante. Plus tendue, La joie éclatante des jeunes – Frédéric Cardin époux (1999) du compositeur Pierre Klanac, un e 100 anniversaire Québécois de deuxième génération dont les 100th anniversary Bernstein: A White House Cantata parents sont originaires des Balkans. Une K. Nagano/London Symphony Orchestra œuvre, selon les dires du compositeur, DG 463448-2 (80’07) « festive », d’inspiration biblique, qui impose ✪✪✪$$$ une présence auditive de tous les instants. This recording is a reworking of the musical Masques et chimères (1996) de Jean Lesage 1600 Pennsylvania Avenue written by Leonard est une œuvre plus calme, quelquefois statique, Bernstein, in collaboration with Alan Jay bien située en troisième place sur le disque. Lerner, had its premiere to coincide with the M. Lesage endosse la difficile position du com- American Bicentennial in 1976. Not a success at positeur québécois « ordinaire » du disque. the time, this new reincarnation tightened up Deuxième « coup de cœur »: Par-ci, par là the score by retaining the best material. It had (1996) du compositeur Ka Nin Chan, l’œuvre its debut in 1997 at the City of London Festival la plus surprenante du disque. Les repères at the Barbican Centre under the same forces as musicaux asiatiques nous sont moins connus this recording. Given the current political tur- que ceux de tradition européenne. C’est une moil around the American election, this new œuvre épique et imagée, sans une seconde de issue will prove especially interesting. At its répit, aux influences complexes et fascinantes. best, the music is vintage Bernstein, with ele- À découvrir! ments of Broadway, jazz, big band, spirituals, – Geneviève Beaudet premières mondiales and other popular musical genres, including
5 467 2802 world premieres quotations from the Star-spangled Banner. The Les Maisons de plaisance cast is led by Thomas Hampson, who sings all Musique pour deux violes Verdi – Messa Solenne the Presidents with mellifluous tone and excel- Wieland et Sigiswald Kuijken Libera me – Œuvres sacrées/Sacred Works lent diction. June Anderson (First Lady), on the Accent ACC 99132 D Orchestra Sinfonica other hand, is afflicted with a slow vibrato that ✪✪✪ e Coro di Milano Giuseppe Verdi intrudes in high forte passages; and her diction Ce disque au titre joli et intriguant, «Les is none too clear. Tenor Kenneth Tarver and Maisons de plaisance», nous présente des soprano Barbara Hendricks play the “other” œuvres pour deux violes de Joseph Bodin de couple, Lud—the black manservant at the Boismortier, Johannes Schenk, Christoph White House and his love Seena. Tarver uses his Schaffrath et d’un anonyme de la seconde moi- ingratiating tenor to advantage in his aria and tié du XVIIIe siècle français. Les deux célèbres his duets with Hendricks, who sings well except interprètes, Wieland et Sigiswald Kuijken, ont when she has to dip into chest voice. Kent su rendre avec justesse le ton donné par ce titre, Nagano conducts the London Symphony qui fait allusion aux modes de divertissement Orchestra with energy and bite, giving the qui avaient cours sous Louis XV,par opposition whole piece a welcoming propulsion. The à ceux du règne précédent. La cour prenait recorded sound is fine. For Bernstein aficiona- alors plaisir à passer ses journées dans l’inti- dos, Broadway musical fans, and the politically mité des maisons de plaisance, plutôt que dans 466 9172 addicted. la pompe et l’étiquette du château de Versailles, – Joseph So nous explique l’auteur des notes, Marc Andreas Scholl Vanscheeuwijck. La musique pour deux violes A Musical Banquet Nouveaux territoires 01 est l’incarnation des heures douces que l’on Ensemble contemporain de Montréal passait dans ces atmosphères raffinées, où le dirigé par Véronique Lacroix divertissement était un art de vivre. Les Kuijken ATMA ACD 2 2229 maîtrisent à merveille le langage rococo qui ✪✪✪✪ domine cet enregistrement plaisant, sans Le dernier disque de l’Ensemble contempo- défaut, mais, en revanche, sans beaucoup de rain de Montréal est joliment présenté par la relief. Agréable. directrice artistique – Dominique Olivier Véronique Lacroix comme une aventure Le mariage vocal parfait
469 5262 de découverte d’un Pierrette Alarie, soprano, nouveau «folklore ima- Léopold Simoneau, ténor Mahler ginaire» qui intègrent Les disques SRC PSCD 2022 (78min 31s) Das Lied von der Erde des éléments d’ici et ✪✪✪✪ $$$$ Le chant de la terre / The Song of the Earth d’ailleurs. « Le mariage vocal parfait », en effet ! Violetta Urmana, Michael Schade Premier «coup de Obsédés sommes-nous aujourd’hui par le Wiener Philarmoniker, Pierre Boulez cœur», Géométrie sentimentale (1997) d’Ana couple Angela Gheorghiu-Roberto Alagna, on Sokolovic, pièce qui a connu un réel succès en arrive à oublier que le Québec a donné au d’estime auprès des amateurs de musique con- monde lyrique l’un de ses couples vocaux les temporaine et qui a remporté quelques prix plus extraordinaires, il y a un demi-siècle. Ces (SRC, CACUM). C’est une œuvre contempo- deux voix, parmi les plus recherchées dans le raine d’audition naturelle et aisée pour tous, monde vocal à une époque, déjà si envoû- rythmée, sans complexes, pleine d’humour et tantes par elles-mêmes, prennent carrément
56 / LaScenaMusicale / Février 2001 February l’allure du sublime lorsque réunies. La légèreté exceptionnelle alliée à une assurance sans faille font de Pierrette Alarie une grande mozartienne, ce qui nous est donné d’enten- dre dans ces enregistrements. Accompagné de la puissante virtuosité de son mari, Léopold Simoneau, voilà un disque rempli de plaisirs immanquablement renouvelés à chaque écoute. Les duos de Schumann, quant à eux, sont tout à fait délectables et d’une prenante et sincère tendresse. Ce disque est essentiel pour nous rappeler toujours que ce n’est pas d’hier que le Québec est une véritable pépinière de grandes voix. The world’s leading classical label – Frédéric Cardin The Way of the Pilgrim Great Selection David Fallis / The Toronto Consort Our catalogue includes over 2,000 CDs Dorian DOR-93214 (65.42) ✪✪✪ Another disc to add to the innumerable Outstanding Quality catalogue of troubadour songs and medieval All-digital recordings with informative liner notes chansons. Ever since early music buffs deci- ded that this repertoire should be fun, that Budget priced the percussion backup with tambourine and Much more music for much less money drum should be lively and danceable, that religious pilgrims who sang this repertoire were actually earthy peasants who enjoyed a Free Catalogues & Booklets good time, the market has been flooded with Naxos catalogue (188 pages) …. How to Build a Classical recordings of medieval jam sessions. This CD Collection (64 pages) …. How to Enjoy a Live recording, the fourth Dorian CD by the Concert (50 pages) Toronto Consort, is a cut above the competi- tion. The repertoire/concept is songs that might have been sung on medieval religious pilgrimages (or on Crusades) to the Holy Land, Rome, or Santiago de Compostella. The languages are Latin, medieval French, and Spanish (we won’t get into dialectical details). The sacred and (mildly) profane texts are sung by tenor, mezzo, and bass. All the voca- lists have good voices and a fine sense of style. The spicy orchestral accompaniment is drum, lute, bouzouki, recorder, vielle, and rebec. There is nothing revolutionary about this disc. It is like a hundred others, well-made and recommendable for fans of this reper- toire. The sound (Humbercrest United Church, Toronto, Feb. 2000) is very good. Notes in English only. Texts in the original languages with English translation. – Philip Anson Naxos Educational packages: A to Z of Classical Music (2 CDs plus a 562 page book) NEW A to Z of Opera (2 CDs plus a 762 page book) NEW • Discover Classical Music (2 CD’s plus 60 pages of notes) • Discover the Classics 2 (2 CD’s plus 60 pages of notes) • Discover the Symphony (2 CDs plus 84 pages of notes) • Discover the Concerto (2 CDs plus 40 pages of notes • Introduction to Canadian Music (2 CDs plus 70 pages of notes) • À la découverte du Classique (un livret et 2 CD) AVAILABLE AT FINE RECORD STORES EVERYWHERE www.naxos.com
LaScenaMusicale / Février 2001 February / 57 Johannes Brahms: Concerto pour piano no 2, deur et en couleur. Vladimir Horowitz, son zoological romp through La Fontaine’s Fables. Symphonie no 3 gendre, était régulièrement invité aux émis- The six scenes corresponding to fables such as Arturo Toscanini, Orchestre de la NBC sions radiodiffusées de Toscanini. Aussi con- the well-known “The Grasshopper and the Vladimir Horowitz, piano naissait-il la conception brahmsienne de son Ant”, elicit some of Poulenc’s best descriptive Music and Arts 1077 (79min 33s) beau-père. Dire qu’il y adhérait totalement est music, peppered with French popular tunes. ✪✪✪ une autre histoire. Il semble même que le Poulenc’s Sonata for Cello and Piano (1941- De 1937 à 1954, Toscanini crée un rendez- second mouvement du Concerto, dans cet 1948) was recorded by Johannesen and vous hebdomadaire avec les Américains sur les enregistrement, mette en évidence un certain Russian-Canadian cellist Zara Nelsova in 1969. ondes de la RCA Victor. Ces fameux concerts conflit de tempo. Toscanini presse alors The piano part is lush and tenderly played, du samedi soir lui donnent l’occasion de parta- qu’Horowitz souhaiterait plus d’espace pour la while the cello is chatty and eloquent. A sight ger avec ses auditeurs l’étendue de son réper- poésie et la liberté d’expression. Ceci mis à problem is the split miking, with the cello on toire encyclopédique, comptant plus de 110 part, le reste du Concerto est un exemple left and piano on right. Poulenc’s Improvi- opéras et quelques 480 œuvres symphoniques. d’équilibre entre la structure et l’émotion. La sations (1932–1937) are some of the most rav- Music and Arts a reporté sur ce CD une diffu- rencontre de deux fortes personnalités est ishing ditties for piano written during the last sion de 1946 (la Troisième Symphonie), complé- inévitablement un mélange de l’eau et du feu; century and Johannesen’s 1961 recording of the tée par le Deuxième Concerto de Brahms issu lorsque la musique en sort vainqueur, l’inter- last six (ie. Book II, Nos. 7-12) has never been d’une émission de 1948. Le tout recrée une soi- prétation devient hors pair. bettered. The Story of Babar (The Little rée Brahms telle que Toscanini les aimait. – Stéphane Villemin Elephant), another of Poulenc’s wartime com- Disons-le sans ambages: le Brahms de positions, was recorded in 1974 with English Toscanini est un régal de clareté, de construc- Grant Johannesen Plays Poulenc narration by the late Broadway actress Mildred tion limpide et de vision globale. À l’opposé de VAIA 1183 (76.38) Natwick. Johannesen plays the piano accompa- la tradition germanique qui le peint en mat à ✪✪✪ $$$ niment, a delicious musical illustration to grand renfort de pathos, de pâte et de patine, American pianist Grant Johannesen was Laurent de Brunhoff’s children’s story. Pro- Toscanini, quant à lui, l’allège en le scandant de first introduced to the piano music of Francis gram notes in English only, by Johannesen manière à le présenter sous une apparence dia- Poulenc at age 12 by his piano teacher in Utah. himself. The recorded sound (all made in the phane. Le miracle, c’est que la tension demeure Later he met Poulenc and became his foremost same U.S. studios) is clear, vivid, and natural. intacte. L’équilibre des pupitres s’avère renfor- American interpreter. The American VAIA – Philip Anson cé. Par moment, cependant, cette interpréta- label, which specializes in resurrecting worthy tion comporte les défauts de ses qualités et l’ar- archival material, is now re-issuing a series of Beatles Baroque ticulation peut quelquefois paraître artificielle. LP recordings made by Johannesen for the Les Boréades de Montréal Concernant la Symphonie, on préférera par Golden Crest label in the 1960s and 1970s. This Atma Classique exemple l’enregistrement réalisé avec le all-Poulenc album is a treat. The piano suite Les ACD 2 2218. (41min 45s) Philarmonia Orchestra en 1952 (Testament Animaux Modèles, arranged by Johannesen ✪✪✪ SBT 3167) qui gagne quelques points en ron- from Poulenc’s 1942 ballet, is a joyful, witty Les Boréades, gagnants d’un prix au dernier
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58 / LaScenaMusicale / Février 2001 February gala Opus, tente avec cet enregistrement l’im- pensable pour les puristes en harmonisant les mélodies connues des Beatles à la sauce baroque. Un choix qui peut sembler déroutant à première vue mais qui, dès la seconde écoute, charme pourtant. Les Boréades, ensemble reconnu pour le sérieux de sa recherche his- torique, a confié les arrangements de plusieurs classiques (et quelques choix qui font moins partie de l’inconscient collectif, par exemple Piggies) au claveciniste Eric Milnes, directeur du très sérieux New York Baroque Ensemble, qui s’en est donné à cœur joie côté instrumen- tation. Toujours facilement reconnaissables, les mélodies se prêtent en général assez bien au traitement baroque mais quelques arrange- ments m’ont brimée quelque peu, en particuli- er celui de Lucy in the Sky with Diamonds, qui manquait de puissance rythmique. Pourtant, ce côté dansant était très bien rendu avec Lady Madonna (voix en prime). Yesterday, une mélodie d’une classique beauté, toutes caté- gories de genre confondues, orchestrée avec simplicité mais conviction, est rendue avec beaucoup d’émotion par le fondateur de l’ensemble, Francis Colpron. Une façon de faire apprécier le baroque à ceux qui avaient juré qu’on ne les y reprendrait plus! – Lucie Renaud
Beethoven : Sonates pour piano op. 57 « Appassionata », op. 7, 54 et 79 Stephen Kovacevich, piano EMI 7243 5 56965 2 6 (70 min 29 s) ✪✪✪✪$$$$ Kovacevich est certainement l’un des meilleurs beethovéniens de la scène musicale actuelle. Son cycle des sonates est en passe de devenir, lorsqu’il sera terminé, la meilleure intégrale Calgary Opera entièrement numérique sur le marché. Ce disque est une autre superbe …presents… démonstration de sa maestria dans cet univers électrisant. Et le moins que l’on puisse dire ici, c’est que le courant passe! Son « Appassionata » est tout bonnement enlevante! Rarement TURTLE WAKES entend-on si bien cette voix intérieure, cette Composer:Allan Bell • Librettist: Rick McNair âme beethovénienne par delà les contrastes A new opera for family audiences. explosifs et les mélodies romantiques. Quelle Suggested for ages 9 and up. fougue dans le presto final! Il ne nous est pas TICKETMASTER souvent donné d’entendre la Sonate op. 7,et Public Performance: 2pm February 25 c’est bien dommage car on peut déjà percevoir, 299-8888 chez ce jeune Beethoven toute la maturité du MADAME BUTTERFLY www.calgaryopera.com grand maître à venir, en particulier dans le by Giacomo Puccini développement des thèmes et l’élaboration déjà Sung in Italian with English Surtitles très savante de la structure de l’ensemble. De facture presque symphonique, c’est une œuvre March 24, 28, 30 & April 1 aux textures denses et contrastées, qui demande plus d’attention que les deux autres DENYCE GRAVES au programme, la no 22 (anecdote fort agréable en 2 mouvements) et la liliputienne no 25, Mezzo-Soprano in Recital moment musical plutôt accrocheur. Il serait Wednesday, April 11 difficile de trouver meilleures interprétations que celles que nous offrent M. Kovacevich. It’s Time for the Opera! - Frédéric Cardin
LaScenaMusicale / Février 2001 February / 59 found its niche in traditional Indian music. At days, Jean-Michel Pilc is one name which JAZZ ON TAP this time, she is in the midst of an eight-month must not be kept under wraps anymore. And residency in Calcutta to study this instrument since this disc is but volume one, please keep Marc Chénard with a master. While we anxiously await her your eyes and ears peeled for the next install- return to our shores later this year, we can at ment. least revel in this very convincing outing of Myra Melford’s Crush Trio hers. Joachim Kuhn Dance Beyond the Color The Diminished Augmented System Arabesque AJ0147 Jean-Michel Pilc Trio Verve 542 320-2 ✪✪✪1/2 Together ✪✪✪1/2 Of the many musicians associated with New Live at Sweet Basil Vol.1 What instrument is better suited for solo York’s contemporary jazz scene, pianist Myra A Records AL 73195 playing in Western Music than the piano? Melford has been most successful in integrating ✪✪✪✪ Notwithstanding the great classical virtuosos, past traditions within today’s cutting edge Four years after his arrival in New York jazz, too, is full of master keyboardists, from styles. In a little over a decade, she has released City, French pianist Jean-Michel Pilc presents the ragtimers of yesteryear to the “free-timers” a modest number of recordings, but each one us with a most remarkable recording debut on of today. A thorougly modern player capable documents her growth as a player and, more American soil. Recorded live in Manhattan at of doing it all, German virtuoso Joachim pointedly, as a composer. Of late, she has been Sweet Basil’s, the keyboardist manages to draw Kühn has few equals in terms of astounding performing with the trio Equal Interest (com- in the listener from the opening notes of technical capabilities and sheer musical inven- prising two of her mentors, veteran reedman “Softly as in a Morning Sunrise,”one of eleven tion. At 56, this European deserves a far Joseph Jarman and violinist Leroy Jenkins); pieces (including six standards) spread over greater audience on our side of the world, and apart from that, she has been working with the this generous 73-minute side. Pilc doesn’t this recording serves to remind us of the present unit, “The Crush Trio.” Though she is miss a beat either and is equally nimble in breadth of his vision. While the program con- the leader, there is a sympatico group feel here, reshaping those familiar melodies with unex- sists of 19 short pieces, the repertoire is equal- with bass guitarist (both electric and acoustic) pected turns of phrase. What’s more, his ly divided into originals, pieces by Ornette Stomu Takeishi and drummer Kenny Wolleson flights of fancy are made more convincing Coleman and extrapolations on excerpts from in tow (the latter tastefully adding some sam- thanks to the strong support of his stallwart Bach’s Partitas. If comparisons are warranted, pled electronics into the proceedings). The accompanists, bassist François Moutin and one can easily put him on the same footing mood is more on the reflective side, but drummer Ari Hoenig. Together, they display a with the great Martial Solal, though Kühn’s Melford is very adept in bringing things to a honed group interplay that borders on tele- phrases seem more patterned than his French boil with a few spiky and bluesy twists, too. pathic, most notably during the free-form counterpart. For best enjoyment, one should What’s more, the pianist provides a fresh sonic track, simply entitled “Trio Improvisation.” listen to this disc a few cuts at a time, so as not colour here thanks to a harmonium, an age-old While the mainstream media is still busy to feel overwhelmed by his quicksilver runs of keyboard instrument with bellows that has heaping its praise on Brad Mehldau these steely edged notes.
60 / LaScenaMusicale / Février 2001 February The Royal Conservatory of Music National Magazine Winter 2001 Vol. 6, No. 1
Profile:Profile: OscarOscar PetersonPeterson UpdateUpdate onon LearningLearning ThroughThrough thethe Arts™Arts™ RoyalRoyal OccasionOccasion NewsNews TheThe GlennGlenn GouldGould ProfessionalProfessional SchoolSchool AdvancedAdvanced CertificateCertificate inin EarlyEarly ChildhoodChildhood MusicMusic EducationEducation President’s Message
Contents
63 President’s Message 64 Prime Minister and Madame Chrétien Attend Convocation elcome to a very special issue of Music In Our Lives. RCM Annual Program Marks Its Sixth For this publication of our national alumni maga- Year Wzine, The Royal Conservatory of Music is pleased to collaborate with La Scena Musicale, one of Canada’s leading 65 Profile classical music publications, to bring you all The RCM news you’ve come to expect from Music In Our Lives, plus the added 68 Upcoming Events benefit of interesting information on the classical music scene provided by La Scena Musicale. Historic Register Volume Two! A great deal has happened at The RCM since our 2001 Space Odyssey pales next to this! Summer 2000 issue. Learning Through the Arts™ is now operating in seven cities across Canada and plans are under- Classical 96 and 103 FM Contest Results! way for even more expansion (see page 69 for details). In the spring of 2001, The RCM’s publishing division, 69 Learning Through the Arts The Frederick Harris Music Co., Limited, will be launching The Celebration Series ®, The Piano Odyssey ®. This series of 70 A Nation of Music piano repertoire books containing 31 titles and 14 compact discs has been eagerly awaited by teachers and students 71 Ruby Mercer (1906 – 1999) across Canada. The Glenn Gould Professional School continues to The RCM’s Advanced Certificate in Early expand and to engage some of Canada’s greatest artists to Childhood Music Education teach and nurture our future musical stars. Students and graduates of The GGPS continue their unprecedented suc- 72 Today’s Musicians… Tomorrow’s cess in international competitions and job placements. Artistic Leaders Our Community School continues another successful year with new and innovative learning programs such as the Film 74 An Interview with pianist David Jalbert Scoring Workshop and continues to develop pedagogical models that have both national and international application. Last spring our beautiful Historic Register travelled across the nation. Work has begun on a second edition of Chair, Board of Directors Bob Rae the Register, which will include all those names which were missed in the first edition. President Peter Simon We are currently organizing our annual fundraising gala Director of Development Louise Yearwood event, A Royal Occasion. On May 29, 2001 we will pay tri- Editor Cathy Landolt bute to Canadian jazz legend Oscar Peterson (see page 65 Original Design Flamingo Graphics for details). Design/Production La Scena Musicale We hope you enjoy this issue. Feel free to send us your Circulation Peggy Vidya comments at The Royal Conservatory of Music, The Editor, Membership Brian Quinn Music In Our Lives, 273 Bloor Street West, Toronto, Ontario, Canada, M5S 1W2. © 2001 The Royal Conservatory of Music. All Rights Reserved. Let me conclude by extending my thanks to our Board, No part of this magazine may be copied, reproduced or duplicated faculty, staff, students, alumni, friends and sponsors for in any way without the express written consent of the Editor. their outstanding support of The Royal Conservatory of Printed in Canada. Music, a truly great Canadian institution. Winter 2001, Vol. 6 No. 1 Charitable Registration No. 10793-5413-RR0001 Peter Simon issn 1203-956X On the cover: Oscar Peterson 62 Spring 2001 The Royal Conservatory of Music Prime Minister and Madame Chrétien Attend Convocation
n January 21, 2001, The Royal Leon Fleisher and Edith Lantos. thousands of Canadians through her Conservatory of Music held its Madame Chrétien, Honorary Chair of long teaching career. The Honorary Oannual Convocation ceremony The RCM’s National Advisory Board, Fellows and special guests attended a at the George Weston Recital Hall at has been a long time supporter of The pre-ceremony reception at the the Toronto Centre for the Arts. RCM’s Learning Through The Arts™ Museum of Canadian Contemporary Graduates from across Canada program. Leon Fleisher, considered Art at the Toronto Centre for The Arts. gathered in Toronto to receive one of one of the greatest pianists of our Pianist André Laplante performed for five diplomas ranging from The Royal time, is a guest artist and conductor at an audience of over eight hundred atten- Conservatory of Music’s Associate The Glenn Gould Professional School dees including Prime Minister Jean Diploma (ARCT), to Performance and has been involved with The RCM Chrétien, RCM staff and faculty, more Diplomas and Artist Diplomas from for many years. Edith Lantos is a than one hundred graduates from across The Glenn Gould Professional School. Kodàly specialist who trained with the country, their family and friends and In addition, honorary fellowships Zoltan Kodàly in Hungary and has other special guests. The graduating were conferred on Aline Chrétien, influenced the musical education of address was given by Leon Fleisher.
RCM Annual Program Marks Its Sixth Year By Brian Quinn he Royal Conservatory of Communicator. All gifts of $20 or calls, please step forward and answer the Music’s Annual Campaign is more are tax deductible. call to support The Royal Conservatory Tonce again in full swing. Its We are pleased to announce that of Music’s Annual Program. And, to our mission is to foster awareness of The donations to The RCM can also be made many friends who have already helped, RCM amongst its alumni and friends on-line through our website, www.rcmu- we sincerely thank you. and to raise funds to help support The sic.ca (look for the blue “Donate Now” To become a supporter, please com- RCM’s initiatives. button) or through www.charity.ca. All plete the attached application form or Since 1996, we have been hard at donations received through this site are contact us at The Royal Conservatory of work communicating with friends eligible for tax receipts as well as mem- Music at (416) 408 2824 extension 451, from across the country. While updat- bership privileges. or call our toll-free number at 1 800 709 ing our alumni on The RCM, we are When a telephone representative 0888. often able to hear and respond to your views and concerns as well. Annual Program donations are very important to the life of The RCM and I wish to become a MemberYes, of The Royal Conservatory of Music! its many programs including Learning Through the Arts™, our school trans- Please indicate membership category: formation initiative. While The RCM ❑ Member $50 ❑ Royal Supporter $100 ❑ Royal Founder $250 ❑ Other $_____ receives a small amount of govern- ❑ My cheque payable to The Royal Conservatory of Music is enclosed; or ment support, it generates most of its ❑ ❑ ❑ own revenues and the support of its I wish to pay by VISA/MC Visa Mastercard friends and alumni is vital for its sur- ❑ Credit Card No. ______Expiry Date ______vival and the maintenance of its stan- Signature ______dard of musical excellence. Name ______The levels of support range from the “Annual Supporter” level at $50 Address ______up to our Chairman’s Circle at the Prov ______Postal Code ______$1000 level. “Supporters” receive a Tel: (home) ______(Business) ______CD, featuring alumni and students of The RCM, and our national maga- 273 Bloor Street West, Toronto, Ontario M5S 1W2 zine, Music In Our Lives as well as our Tel. (416) 408-2824 ext. 457 Fax (416) 408-3096 alumni newsletters, Impromptu and Thank you for your support
The Royal Conservatory of Music Spring 2001 63 Profile Oscar Peterson by Cathy Landolt scar Peterson was born on bos of the time. In 1958, with the August 25, 1925 in Montreal, retirement of Herb Ellis, Ed Thigpen OQuebec. All five Peterson chil- joined the Trio. The Trio would keep dren, Fred, Daisy, Charles, Oscar and this line-up until 1965 when both Ray May, learned to read and write at an Brown and Ed Thigpen retired from early age and were expected to learn touring. musical instruments. Oscar Peterson In 1960, shortly after moving to started his musical studies on the trum- Toronto, Oscar Peterson, Ray Brown, pet but, after a bout of tuberculosis, Ed Thigpen, Butch Watanabe and Phil switched to piano at the age of eight. Nimmons opened the Advanced School Initially, he was taught by his father, a of Contemporary Music. In its three self-taught pianist, and then by his years, the school attracted students older sister Daisy, who also taught from all over North America. Oliver Jones and Joe Sealy. In 1964, Mr. Peterson also released At the age of 12, Mr. Peterson went “Canadiana Suite”, a series of jazz to study with Lou Hooper and then themes inspired by the different cities attended the Conservatoire de musique and areas of Canada, which won a du Québec à Montréal. By the age of 15, Grammy in 1965. This was the start of Mr. Peterson was studying with classi- yet another facet of his career; Oscar cal pianist Paul de Marky who helped develop his piano Peterson the composer. “Canadiana Suite” was the first technique. That same year, Oscar Peterson won an ama- of many major compositions, which also included African teur contest sponsored by Ken Soble, a local radio persona- Suite (1979) and A Royal Wedding Suite (1981) in honour lity on CKAC in Montreal. He began his own radio show, of the marriage of Lady Diana Spencer and HRH Prince “Fifteen Minutes Piano Rambling”. By 1941, he was per- Charles. He was later commissioned to create works for forming on the weekly radio show “Rhythm Time” on Ballets Jazz de Montréal (“City Lights”) and works for Bach CBM in Montreal and in 1945 was heard regularly on 300 for jazz trio and orchestra as well as for the 1988 CBC’s “Light Up and Listen” and “The Happy Gang”. Calgary Winter Olympics. His movie score for “The Silent Oscar Peterson remained in Canada throughout his Partner” won a Genie award in 1978. career, despite offers from both Count Basie and Jimmie Also in 1964, Oscar Peterson was invited to play for Lunceford to join their bands. From 1944 to 1947, Mr. German millionaire Hans Georg Brunner-Schwer who Peterson was a member of Johnny Holmes orchestra, loved jazz music and also had a strong interest in audio which played in the Montreal area. He then formed a trio recording technology. Mr. Peterson recorded over 20 and gave a series of performances in Montreal’s Alberta albums with Hans Georg, who later formed his own record Lounge from 1948 – 1949, which were broadcast live on a label, both as a solo artist and with the Oscar Peterson local radio station. Norman Granz, the producer of “Jazz Trio. At The Philharmonic”, heard one of these broadcasts and Between 1966 and 1974, Oscar Peterson continued to went to the club to meet with Oscar. In 1949, Mr. tour and record with different partners in his Trio. Peterson accepted an offer by Norman Granz to be “plan- However, by 1977, he was starting to feel the effects of ted” in the audience at a “Jazz At The Philharmonic” pre- arthritis and scaled back on his touring and performing sentation at Carnegie Hall on September 18, 1949. His duties, focusing on solo recitals, composing and continu- “surprise” guest performance with bassist Ray Brown ing his broadcasting career. During the mid-1970s, he caused a sensation and was the beginning of Oscar hosted CTV’s “Oscar Peterson Presents” television show Peterson’s partnership with Norman Granz, who became and “Piano Party” for the BBC. He was featured on televi- his manager until 1988. sion specials on CBC and had his own 13-week series in In 1951, Oscar Peterson formed The Oscar Peterson 1980 called “Oscar Peterson and Friends”. In 1984, he Trio with Ray Brown and Charlie Smith who was replaced was re-united with Ray Brown and Herb Ellis and, togeth- by Herb Ellis in 1952 and recorded and toured extensively er, they released four albums. He continued to record and with Jazz At The Philharmonic. They made extensive perform and made many concert appearances. recordings and were acclaimed as one of the greatest com- In 1993, Oscar Peterson suffered a stroke which pre-
64 Spring 2001 The Royal Conservatory of Music vented him from playing and working is truly amazing and inspiring. His for almost two years. After working at influence on hundreds of young jazz recovering his piano dexterity, he is musicians and the scope of his talent now active again as a performer, truly make him a national treasure. recording artist and composer. The Royal Conservatory of Music will He has a fascination with music host a tribute to this remarkable musician technology that dates back to the early to honour his contributions and achieve- 1980s. At home, Oscar Peterson has a ments at its annual Royal Occasion on fully-equipped recording studio for his May 29, 2001. A scholarship named in many keyboards and computers. The his honour will be announced at that tools help him to compose, and orches- time. For more information, please see trate, more quickly and effectively than “Oscar Peterson Honoured at The Royal traditional methods. Occasion” above. Mr. Peterson has won numerous For more information about Oscar awards and accolades during his career Peterson, please visit including a Juno and five Grammy www.oscarpeterson.com and The National awards, was inducted into the Juno Library of Canada’s exhibition in Ottawa Hall of Fame in 1978 and was awarded at www.nlc-bnc.ca/oscarpeterson or in per- a Lifetime Achievement Grammy in son through September 2001. 1997. He has received ten honorary Doctorates, was made an adjunct professor of music at Sources: York University in Toronto in 1985 and was appointed its Chancellor in 1991. In 1999, Concordia University Lees, Gene, Oscar Peterson: The Will To Swing. renamed its concert hall the Oscar Peterson Hall. He was Key Porter Books, Toronto, 2000. awarded a from the Canadian Diplôme d’honneur Miller Conference of the Arts in 1975, was made a Companion of , Mark, “Oscar Peterson”, The Canadian the Order of Canada in 1984 and, in 1991, was appointed a Encylopedia, Volume 3. James H. Marsh, Editor in Chief. Hurtig Publishers, Edmonton, 1988. Chevalier in the Ordre National du Québec and received a lifetime achievement award from the Toronto Arts Miller, Mark, “Oscar Peterson”. Encyclopedia of Music in Council. Canada, Second Edition. Kallman, Potvin, Winters, Oscar Peterson is a Canadian and international jazz leg- Editors. University of Toronto Press, Toronto, 1992. end. His remarkable talent has been a fixture on the jazz scene since the early 1940’s. With a recording career span- www.oscarpeterson.com ning 50 years and more than 90 recordings, his longevity Oscar Peterson Honoured at The Royal Occasion n Tuesday, May 29, 2001, The fourth annual Royal Occasion to Concert Hall room, followed by a Royal Conservatory of Music benefit The RCM’s Learning Through series of performances by the group of Owill honour Canadian jazz the Arts™ program. Artists involved leading jazz musicians gathered legend Oscar Peterson with a special with this unique school transforma- together to honour Mr. Peterson. tribute evening at the fifth annual tion program performed at the recep- Tickets for this fundraiser are Royal Occasion featuring performances tion and entertainment was provided available now and orders for corporate by leading Canadian musicians. by RCM graduates singer Michael tables should be placed as soon as The Royal Occasion gala began in Burgess and pianist Doug Riley. Over possible to ensure the best seating. 1996 to raise funds for the various $100,000 was raised for Learning The Royal Occasion is a great projects of The RCM. The following Through the Arts™. evening out and a fantastic way to year, a Royal Occasion event took place In 2001, the Royal Occasion will entertain clients and guests. It is also to mark the fiftieth anniversary of The take place at the Royal York Hotel in a wonderful opportunity to support a RCM’s receipt of the Royal Charter. Toronto. Monies raised at this event Canadian jazz legend, and to take part The 1998 event featured an excerpt will go towards a new Oscar Peterson in a memorable evening. from the Broadway show Two Pianos, Scholarship, which will be formally For more information on the Royal Four Hands, and provided the three announced at the special tribute Occasion, please contact Cathy hundred guests with outstanding evening. Five hundred guests will be Landolt, Coordinator, Special Events at entertainment. treated to a cocktail reception and an The Royal Conservatory of Music at In June 1999, The RCM hosted its elegant dinner in the spectacular (416) 408 2824 x325.
The Royal Conservatory of Music Spring 2001 65 THE QUEEN OF BROADWAY ON KING.
Bernadette Peters
Jukka-Pekka Saraste conductor
Marvin Laird conductor
Programme includes: Bernstein: Symphonic Dances from West Side Story Tchaikovsky: Romeo and Juliet Fantasy Overture
The legendary Broadway sensation, Bernadette Peters brings her dramatic voice and sparkling sense of humour to this glamourous celebration.You won’t want to miss it!
Thursday, April 19 at 7 pm Concert tickets start at $50. Gala seating and post-performance Symphony Soirée $350
Jukka-Pekka Saraste Music Director | Sir Andrew Davis Conductor Laureate | Gary Kulesha Composer Advisor 416.598.3375 concert at Roy Thomson Hall | groups call 416.593.7769 ext. 336
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IMPORTANT NOTICE! Strad Various Ltd, a division of Remenyi Music has managed the RCM Music & Bookstore since 1991 as their print music division Effective April 1st, 2001 this operation will move from the Royal Conservatory Building to the Remenyi premises across the street at 210 Bloor Street West COMBINING ALL OUR DIVISIONS UNDER ONE ROOF ine Stringed Instruments STEINWAY PIANO GALLERY Music Bookstore Remenyi House of Music
210 BLOOR STREET WEST (just w. of Avenue Rd) TORONTO ON. M5S 1T8 Tel: 416-961.3111 Toll Free: 1-888-882.8981 www.remenyi.com Historic Upcoming Events The Royal Conservatory of and students from The GGPS. Music from The Glenn Gould Professional Register Music’s concert season continues by Fossa, Boccherini and de Falla School with more outstanding perfor- Tickets: $15 / $12 (students & Tickets: $5 / $3 (students & seniors) mances by RCM Faculty, students seniors) ❙ Saturday, March 24, 2001 - Volume Two! and guest artists. ❙ Sunday, February 18, 2001 - 8:00 pm 3:00 pm Monday, March 26, 2001 - As many of you know, All concerts take place at The Glenn Gould Artist Series 1: 8:00 pm Volume One of The Historic Royal Conservatory of Music at “In Honour of Pierre Souvairin, 1911- Opera Workshop: Mozart’s “Cosi Fan Register was published in 273 Bloor Street West unless 2000”. Music by Brahms, Mozart, Tutte” early 2000. It contains more otherwise stated. For tickets or and Stravinsky Tickets: $10 / $5 (students & seni- than 45,000 names of former more information, please contact Tickets: $15 / $12 (students & seni- ors) students from across Canada, the Box Office at (416) 408 2824 ors) ❙ Sunday, March 25, 2001 - ❙ as well as photos, concert pro- ext. 321. Friday, March 16, 2001 - 2:30 pm grams, letters, anecdotes 8:00 pm Glenn Gould Artist Series 2: ❙ from former students, and Sunday, February 11, 2001 - Royal Conservatory Orchestra Series; “From Russia with Love” 2:00 pm Franz-Paul Decker, conductor. Music Performers: Artists from The Glenn historical copy about the years RCM Faculty Series: “Romance and by J.Strauss, R.Strauss, Weber & Gould Professional School Faculty. from 1886 through 1999. the Cabaret”. Kalais Trio. Music by Hindemith Music by Stravinsky, Rachmaninov & After touring eleven commu- Bellini/Klose, Hagens, Salaks, Tickets: $15 / $12 (students & seni- Prokofiev nities across Canada in April Schumann ors) Tickets: $15 / $12 (students & seni- and May, Volume One is now Tickets: $12 / $8 (students & seniors) Location: Glenn Gould Studio, ors) on display at The Royal ❙ Thursday, February 15, 2001 - 250 Front Street West, Toronto ❙ Thursday, March 29, 2001 - Conservatory in downtown 8:00 pm ❙ Saturday, March 17, 2001 - 8:00 pm Toronto. Glenn Gould Artist Series 2: 7:00 pm Glenn Gould Artist Series 1: Volume Two will also “Fandango”. Jeffrey McFadden, guitar; Special Event 2: John Perry, piano include materials from The Ann Monoyios, soprano; Marie Monster Piano Concert. Tickets: $15 / $12 (students & seni- Royal Conservatory’s century- Bérard, violin; Rennie Regehr, viola, International award winning pianists ors) old history, more memorabi- lia from the new entries and hopefully, more thousands of 2001 Space Odyssey pales next to this! names! February 2001, marks the beginning of a new content by both modern day and olden SO… If you have ever taken new musical odyssey for The Frederick day composers. classes, lessons or exams with Harris Music Co., Ltd. The Celebration A major media launch for the new series The Royal Conservatory of Series®, The Piano Odyssey®, comes off the will be held in Ettore Mazzoleni Concert Music, you are eligible to presses this month, on its way to pianos, Hall at The RCM in Toronto on Tuesday, enter your name into Volume teachers and students around the world. April 3, 2001. Two of The Historic Register. The launch of this 31-title, 14-CD series is Please direct product inquiries to Adding your name is abso- the culmination of an unprecedented scale Christine Sharp at 905-501-1595 x 241 or lutely free, and it is as easy as of manuscript development which began [email protected]. Media dialing the toll free number: seven years ago, including old masters, old please contact Debra Chandler at 416-408- 1-800-709-0888. favourites and a significant percentage of 5019 or [email protected]. If you remember singing around the piano at Christmas time; if you took Classical 96 and 103 FM Contest Results! lessons or exams through The We have a winner in our Classical 96 and with her family and took the keyboard to Royal Conservatory of Music, 103 FM Radio Contest! Over 300 Ontarians Winnipeg for Christmas so that her son or if you helped your children called in to add their names to Volume Two could practice for his first-ever RCM piano or grandchildren learn the joy of The Historic Register, and of these, six exam in January! of music at The Conservatory, won prizes. Prize winners of RCM tote bags filled call the toll free number, and Deborah Czaplynsky and her four children, with t-shirts, hats, note pads, CDs, piano make sure your names are from Oakville, Ontario won the Grand Prize books, and concert tickets are: Therese entered for Volume Two. of a Yamaha portable keyboard, a full set of Meharchand of Willowdale, Suzanne and TOLL FREE: 1-800-709- piano books from The Frederick Harris Andrew Sewartuk of Milton, Michael Birkett 0888 Leave your name and Music Co., Ltd. and four months of free of Ancaster, Jonathan and David Molyneau number, and someone will lessons at The RCM. She intends to use of Guelph, and Pat McGee of Unionville. call you back! the lessons for herself, share the books Congratulations to each of the winners!
68 Spring 2001 The Royal Conservatory of Music Learning Through the Arts TM Education as you’ve never seen it before “ rade five students learn how a dent confirmation of many findings conveyer belt converts circular to which indicate that participation in the linear motion. They must convey LTTA program raises skill levels in G math and literacy, improves student an object – their teacher- across the gym- nasium floor. Collaboratively, they prob- motivation, and increases teacher moti- lem solve and find a solution. They lie in a vation, satisfaction, and skill sets. row, and one by one, they roll over. Their LTTA has been acclaimed interna- teacher glides effortlessly across the room.” tionally as ‘a template for the future’ of All across the country, schools are education [UNESCO-sponsored confer- being transformed by The RCM’s ence, Athens, 2000]. The first interna- Learning Through the Arts™ (LTTA) tional LTTA site has since been esta- program which provides students with blished in Stockholm, Sweden, several multiple paths to learning, and teachers U.S. sites are now entering into plan- with a voice in the educational process. ning stages, and the momentum for With this program, The Royal LTTA continues to grow! Conservatory of Music has developed a Early success of Learning Through new kind of learning environment to the Arts™ in sites such as Vancouver, stimulate students’ natural curiosity and cultivate a broad Calgary, Regina, Windsor, Toronto, Cape Breton, and range of learning skills. Enthusiasm abounds and opportu- Corner Brook has warranted further expansion. With a nities for success multiply as the classroom becomes $3.5 million investment by the Government of Ontario, and vibrant, active, and fun. a $1.5 million commitment from presenting sponsor, TD The program’s success stems from its consistent focus on Bank Financial Group, Learning Through the Arts™ will teacher development in integrated curriculum. In this process, expand over the next five years into every school board teachers work closely with specially trained professional arts practi- across Ontario. We will also begin a new bilingual site in tioners from the local community. Working in partnership, tea- Montreal, a new site in Winnipeg, and enlarge our existing chers and artist educators develop, test and document successful sites in both Vancouver and Calgary. Growth in 2002 and math, science, history, geography and language units that incorpo- 2003 will be exponential. rate performing and visual arts into the learning process. Thanks to the leadership of our principal sponsors, as Initiated by The RCM in 1994, Learning Through the well as commitments from school boards, 75% of the Arts™ was developed in partnership with more than 200 required funds are committed for this major growth. The public school teachers, and expanded to more than 63 goal for 2001 is to raise the remaining $2.5 million schools in seven cities across the country. With the sup- required for the full expansion. port of the Canadian Pacific Charitable Foundation and the If your organization would like to learn more about sponsor- George Cedric Metcalf Foundation, The RCM has commis- ship opportunities, please contact Jennifer Laughton, Development sioned Canada’s largest independent assessment of the Manager at 416-408-2824 x 459. For program information and impact of arts on learning, co-led by Dr. Rena Upitis and how your school can get involved, please contact Angela Elster, Dr. Katharine Smithrim, both of Queen’s University. This Director of Learning Through the Arts™ at 416-408-2824 x223 or ground-breaking study was undertaken to provide indepen- Colleen Smith, Program Manager, at 416-408-2824 x 354.
The Royal Conservatory of Music 4 The George Cedric Metcalf Foundation 4 Enbridge Consumers gas gratefully acknowledges our Learning 4 The Canadian Pacific Charitable 4 Ernst & Young Through the Arts™ national spon- Foundation 4 The Hope Charitable Foundation sors who have made it possible to 4 The Ministry of Education of the 4 The Henry N.R. Jackman Foundation grow a pilot project into a national Government of Ontario 4 The Imperial Oil Charitable program: Media Sponsors: Foundation 4 The Globe and Mail 4 The Catherine & Maxwell Meighen Major Sponsors: 4 Time Canada Ltd. Foundation 4 TD Bank Financial Group Additional supporters: 4 The Ontario Arts Council 4 The Government of Canada’s 4 Bank of Montreal 4 The Vancouver Foundation Millennium Partnership Program 4 The Lloyd Carr-Harris Foundation 4 Contributors to the RCM’s Annual 4 The Salamander Foundation 4 DuPont Canada Inc. Fundraising Program
The Royal Conservatory of Music Spring 2001 69 A Nation of Music By Albert Clouter
ounded in 1886 in Toronto, The Royal Conservatory of numerous professional placements, including leading orches- Music quickly achieved national prominence and, in tras in Canada, the United States and Europe. Many of them F1947, received a Royal Charter in recognition of the have come to The RCM after having completed graduate excellence of its programs. Within decades, the curriculum, degrees at other leading institutions. They were attracted by accreditation and assessment system developed by The the outstanding faculty and unique curriculum, which pro- Conservatory was adopted by teachers and students of all ages vides far more one-on-one teacher time than other conservato- in every province of Canada. This curriculum as well as the ries, more practice time and more performance opportunities pedagogical methodologies and compositions of The RCM’s in various community venues, as well as training in commu- leading teachers was published and disseminated nationally. nications, digital technology and career management. This distinctive pattern of development was quite different As an independent institution receiving modest support from from that of the major conservatories and university music government, The RCM struggles constantly with the need to balance faculties in the United States and Europe. Having grown out its budget while maintaining programs of the highest calibre. Due to of our geography and history, The Royal Conservatory of lack of local funding over the years, many of our brightest and best Music is unique: it is the only music education institution in students have been lured abroad by generous full scholarships at the world with such a broad range of operations. It has the other wealthy institutions. This, of course, is evidence of the fine potential to involve millions of people in cultural activity and, musicians that Canada is producing. Alas, when they leave, they in doing so, to shape the society itself. often never return to contribute to the training of the next genera- From the beginning, the mission of The Royal tion and the advancement of the arts in their homeland. Conservatory has been to provide training for school-age stu- For The Royal Conservatory, the solution to this dilemma is dents, gifted performers, music teachers and adult amateurs. well-funded scholarship support for promising students, backed Its operations have expanded to include a network of over by permanent endowments giving reliable, steady income. 20,000 teachers, over 200,000 students annually and 300 Three years ago, The RCM launched a campaign to urge for- examination centres administrating 90% of the music exams mer students and friends across the country to contribute to its in Canada. This infrastructure is evidence of a continuing endowment fund. Donors are encouraged to think of their commitment to our system of uniform national standards for accumulated assets as potential contributions through specific music education, a unique Canadian achievement. bequests in their Wills. This is a simple and reliable procedure The RCM’s centre for advanced studies, The Glenn Gould for establishing a named memorial scholarship reflecting the Professional School, is now the school of choice for the most donor’s values and priorities, while securing tax relief that will talented music students in Canada, as well as a growing num- help to conserve estates for other beneficiaries. The donor’s ber of exceptional students from around the world. In this contributions are held in trust and protected in perpetuity by small and congenial community, students study full-time with The Royal Conservatory; only the net annual income is dis- a distinguished faculty and benefit from frequent master tributed as tuition subsidies to scholarship students. classes by well-known international artists. The goal of the The response to this campaign has been very positive, both Professional School is to develop a new kind of music leader- in term of funds received and bequests pledged, although we ship in Canada by training gifted musicians who are not only still have a long way to go to reach our goals. One of the outstanding performers and teachers, but also effective commu- donors to this scholarship drive was the well-known figure in nicators and committed music advocates in the community. Canadian opera, Ruby Mercer. Mrs. Mercer Por began an Graduates of The Glenn Gould Professional School have annual scholarship with The Royal Conservatory during her won over 35 international competitions and awards, as well as lifetime and, upon her death, left a substantial bequest to the scholarship to ensure its continuation in perpetuity. Whilst she was alive she was able to receive letters of thanks from the A New Scholarship For Mary Rezza recipients of her scholarship and to take an interest in their An new scholarship has been established in the name of Mary careers (see sidebar). Donors who begin a scholarship now Rezza. Mary graduated with a combined Teacher's and Solo per- former's ARCT in 1949. She specialized in vocal accompaniment often say that "it feels good to give something back" to The and spent her career accompanying thousands of students as RCM and to have the satisfaction of knowing that their support official accompanist for the Kiwanis Festival of Music. In addition, for young musicians will stretch far into the future. For The Mary became both a vocal coach and singing teacher at The RCM RCM, the income from a growing endowment fund it the key and coached many students who went on to international careers including Robert Goulet, Ermanno Mauro, Catherine Robbin, to long-term financial stability and renewed commitment to Gwenlynn Little and Jon Vickers. She continued to teach at home making Canada the most musically literate country in the until she died in February 2000, after a lengthy battle with cancer. world; a nation of music! Those wishing to support the Mary Rezza Memorial Scholarship If you would like to receive more information on how to establish a scholar- should send their donation c/o The Mary Rezza Memorial Scholarship, The Royal Conservatory of Music, 273 Bloor Street West, Toronto, ship endowment at The Royal Conservatory of Music, please contact Albert Ontario, M5S 1W2. Clouter, Planned Giving Officer, at 1-800-709-0888 or 416-408-2824 ext. 236.
70 Spring 2001 The Royal Conservatory of Music Ruby Mercer The RCM’s Advanced Certificate (1906 – 1999) in Early Childhood Music Education By Jacquelyne Berry
upported by a and memory as well as plethora of recent eyesight and hearing Sstudies, educa- acuity. The arithmeti- tors, parents and musi- cal quality of music cians are recognizing actually helps wire the the fact that music and brain for mathematics. Ruby Mercer young children are Due to the relation- uby Mercer was born in natural and productive ship between music and Athens, Ohio on July 26, partners. Arts educa- abstract reasoning, lis- R1906. She studied at the tion advocates are con- tening to music can Cincinnati Conservatory and at The vinced that music edu- improve a child’s ability Julliard. She made her New York cation helps children in to perform the complex recital debut in 1931, won the early childhood learn but, to date, there tasks of spatial reasoning. Music is Naumberg Award in 1935 and first has been little training available for shown to contribute to a child’s performed with the Metropolitan early childhood music educators. In development by improving intellectual Opera in 1937. In 1938, Ms. Mercer recognition of this urgent need for and motor skills as well as social abilities. was signed to a contract with MGM, music education for teachers of young Participation in music games and music which led to roles in three Broadway children, a joint program in early child- education improves listening skills and productions and appearances on hood music education is now being teaches fundamental concepts. radio and television. Ms. Mercer offered by The Royal Conservatory of Mary Stouffer, ECME Program first performed in Canada on Music, Community School and Coordinator for The RCM, ardently October 31, 1933 with the Montreal Ryerson University, the Advanced believes that “early childhood teachers Opera Company and would return Certificate in Early Childhood Music have a unique and significant opportu- to Canada to sing in 1937, 1944 and Education (ECME). nity to provide quality music programs 1945. In 1958, Ms. Mercer married First initiated in 1991, the original to the children in their care…It is the Geza Por, a Canadian, and moved ECME program demonstrated great right of every child to have the oppor- to Toronto. foresight by forging into unfamiliar tunity to develop musical skills. It In 1960, Ms. Mercer founded territory and was the first of its kind in needs to be part of the daily curricu- Opera Canada, one of Canada’s lead- North America. In July 2000, The lum in early childhood as well as in ing music periodicals. Opera RCM and Ryerson successfully intro- the elementary school… ECE teachers Canada has grown from a newsletter duced a revised and strengthened pro- can provide valuable daily music expe- into an independent music publica- gram which has met with a positive riences with the children to bring a tion that showcases and promotes response from early childhood educa- different kind of joy to their lives.” the growing interest in opera in tors everywhere. The Advanced Certificate in Early Canada. Ms. Mercer served as editor Scientists and educators are reali- Childhood Music Education offers and publisher until 1990. In 1968, zing that early, positive musical experi- those already involved in early child- Ms. Mercer founded the Canadian ence is uniquely effective in helping hood education the opportunity to Children’s Opera Chorus, the first of children achieve their full potential enhance their skills, and those who its kind in Canada, featuring 32 chil- intellectually, artistically and emotion- are entering the field a career advan- dren between the ages of 8 and 16 ally. Sensory experience wires a tage from the start. performing choral and opera reper- child’s brain into usable neural net- The Advanced Certificate in ECME toire. Now, more than thirty years works. Research indicates that babies comprises eight one-semester courses, or later, the CCOC has expanded to 60 learn through hearing; exposure to their equivalent in two streams – music voices and has commissioned and music and parents’ singing helps chil- education and early childhood education premiered works by leading dren learn to learn. The same discri- theory and practice. Applications for Canadian composers. mination between sounds that is 2001/2002 are being accepted at The Throughout her life, Ruby Mercer learned through listening to music is RCM by January 26, 2001 or April 20, took an extraordinary personal inter- required to succeed in spelling 2001. For more information, call 416- (continued on page 74) lessons. Hands-on use of instruments 408-2824 ext 251 or e-mail earlychild- enhances coordination, concentration [email protected].
The Royal Conservatory of Music Spring 2001 71 Today’s Musicians… Tomorrow’s Artistic Leaders
ollowing a century-long tradition, of musicianship required for suc- the modern agenda for profes- cess. Each year, students can observe Fsional training at The Royal and participate in more than 150 Conservatory of Music began in 1987 master classes, conducted by interna- with the introduction of three pro- tionally renowned artists such as grams designed to prepare students for Leon Fleisher, William Preucil, the diverse range of activities required Warren Jones, Jeanne Baxtresser, to be a leading professional musician. Gilbert Kalish, Claude Frank and In 1997, that tradition was reaffirmed many others. with the founding of The Glenn Gould Professional School (GGPS), named Innovative and Unique after The Royal Conservatory of Curriculum Music’s most celebrated alumnus, The Glenn Gould Professional Glenn Gould. The school has grown School’s mission is to train musicians dramatically from 6 students in 1987 Glenn Gould for successful careers as professional to 180 students in 2000. In 1999, The manage careers and professional musicians and teachers, equipping GGPS was officially recognized by The opportunities successfully; to utilize them to make a positive and profound Government of Canada’s Department new technologies for creative and impact on society. Legendary of Canadian Heritage through its artistic purposes; and to dedicate their Canadian Lister Sinclair, Toronto Star National Arts Training Contribution lives to the advancement of the art music critic William Littler, artist Program as a national training institute form in society. In addition, students manager Andrew Kwan and art histo- for musicians. receive high levels of lesson time and rian Francis Broun contribute to a dis- The GGPS has quickly gained individual attention from a world-class tinguished faculty offering courses in international acclaim for its innovative faculty and internationally acclaimed career management, music criticism, philosophy and program offering. guest artists. art history and creative aspects of art The School’s progressive curriculum The overall calibre of GGPS stu- & music. Students also learn about is unique in North America, develop- dents is a distinguishing feature has the latest technologies and how they ing musicians whose superior per- helped to create a Canadian institution play a key role in the professional life; forming abilities are complemented by that ranks among the best in the world. advanced pedagogy courses are an ability to communicate with a vari- The Glenn Gould Professional offered in order to prepare students ety of audiences; to teach and inspire School’s guiding principal is that for the challenging task of teaching future generations of musicians to talented young Canadians should not music; and mock orchestral auditions have to leave Canada or compromise and support for international music their standards to receive high quality competitions are provided. The Glenn Gould music training. The GGPS is now an Professional School gratefully institution that could be compared Faculty favorably with established schools in Year after year, students from The acknowledges its media and the United States and abroad. Glenn Gould Professional School concert season sponsors: dominate the Canadian competition Highlights of The Glenn Gould scene while many continue their suc- Professional School cess in the international circuit. This can be attributed to one of the finest Master Classes music schools in North America. Each The GGPS believes that master student receives 1.5 hours of private classes are one of the most effective lesson time per week, which is ways for young musicians to become approximately 60% more lesson time fully aware of the international level than at the conventional music school.
72 Spring 2001 The Royal Conservatory of Music Programs Distinguished faculty of The Here are some of our distinguished The GGPS offers a post secondary alumni: Glenn Gould Professional 4-year Performance Diploma Andrew Burashko, piano School include: Program and, through an articulation Peter Longworth, piano Piano: James Anagnoson, Andrew agreement with British Columbia Kevin Fitzgerald, piano Burashko, Marc Durand, Leslie Open University, an option for a St. Lawrence String Quartet - Geoff Kinton, André Laplante, Peter Bachelor of Music Degree in Nuttall, Barry Schiffman, Leslie Performance as well as a post-bache- Longworth, David Louie, Boris Robertson and Marina Hoover lor’s 2-year Artist Diploma Program. Francine Kay, piano Lysenko, Andrew Markow, Marietta Piano, Orchestral instruments and Mariko Anraku, harp Orlov, John Perry, Jenny Regehr, undergraduate Voice studies were Richard Raymond, piano Dianne Werner established in 1987. New to the Violin: Marie Bérard, Lorand school are the Performance Diploma Fenyves, Mark Fewer, Jeanne Program in guitar, Performance Diploma Program in composition, Lamon, Erika Raum, Mayumi Artist Diploma Program in voice and Seiler the ground-breaking Artist Diploma Viola: Steven Dann, Rennie Regehr Program in Piano Performance and (Dean of The Glenn Gould Pedagogy. Professional School) Alumni Cello: Simon Fryer The Royal Conservatory of Double Bass: Joel Quarrington Music has an outstanding 115-year Naida Cole, piano Harp: Judy Loman record of achievement. The RCM Barbara Croall, composer Guitar: Jeffrey McFadden has trained some of the world’s Stephen Ham, piano Flute: Julie Ranti, leading artists including: soprano Lisa Yui, piano Kathleen Rudolph Teresa Stratas, tenor Jon Vickers, Oboe: Keith Atkinson, pianist Glenn Gould, soprano Lois Marshall, composer Harry Somers, Richard Dorsey conductor Mario Bernardi, enter- Clarinet: Max Christie, tainer Paul Shaffer, and writer/pro- Avrahm Galper ducer David Foster. Thousands of Bassoon: Fraser Jackson, Nadina other graduates have established Mackie Jackson, Michael Sweeney independent businesses as local Horn: Chris Gongos, Fred Rizner, community teachers and musi- cians. The accomplishments of its Joan Watson graduates comprise a major part of Trumpet: Andrew McCandless the cultural history of Canada. Isabel Bayrakdarian, soprano Trombone: David Archer, Jeffrey Today, The RCM continues its Timothy Haig, baroque violin Hall (bass), Gordon Sweeney unique role in training Canadians Genevieve Gilardeau, baroque violin Tuba: Frank Tetreault for careers in music through The Rosemary Shaw, viola Percussion: Paul Houle, David Glenn Gould Professional School and The Young Artist Performance Kent, John Rudolph Academy. Supervised by The Voice Teachers: Joel Katz, Jean GGPS, the Young Artists MacPhail, Ann Monoyios, Elisabeth Performance Academy of The Pomes, Roxolana Roslak, Donna Royal Conservatory of Music is a Sherman, Eraine Shwing-Braun. comprehensive performance pro- Voice Coaches: Brahm Goldhamer, gram that develops performance skills, musicianship and excellence Stephen Philcox, Peter Tiefenbach in gifted young musicians, ages 7 Compositition: Jack Behrens, to 18. This program prepares Samuel Dolin, Gary Kulesha, young people for post-secondary Larysa Kuzmenko, Alexander studies in music and it also gives Rapoport them a jump-start towards profes- Stewart Goodyear, piano sional music careers. Robert Pomakov, bass
The Royal Conservatory of Music Spring 2001 73 An Interview with pianist David Jalbert By Jun Fujimoto
n the March 2000 edition of La Scena your development as a pianist and artist? Musicale, various music critics were asked to A. Laplante and Fleisher are two pieces of the share their thoughts on their favourite puzzle that come together and complete what I Marc starts. Fleisher covers half of the reper- pianists, past and present and who they predict will be the pianists of the future. Arthur Kaptainis toire and Laplante completes what Fleisher of The Montreal Gazette chose Glenn Gould doesn’t teach. With these two and Marc (past), André Laplante (present) and Rimouski Durand, I feel like I’m always going into the native David Jalbert (future). right direction, all the time. Not only are they Based on Mr. Jalbert’s recent success, Kaptainis’ experts in their repertoire, they are also phe- prediction is already becoming a reality. At his nomenal performers. first major international competition, the 22-year David Jalbert old David Jalbert took 4th prize in The AXA Q. In addition to your teachers, who else has Dublin International Piano Competition, per- influenced you pianistically? forming the Brahms D minor Piano Concerto with the Dublin A. Here at The Glenn Gould School, I’ve played in mas- Philharmonic Orchestra. Other recent highlights include a per- ter classes for Claude Frank, John Perry and Marilyn formance of Gershwin’s Rhapsody in Blue with the Quebec Engle. All three were totally amazing in their own Symphony Orchestra and conductor Skitch Henderson, unique ways. Jeunesse Musicale Tour of Quebec, Ontario and New Brunswick earlier this year, and 2nd Prize in the 1999 CBC Q. How do you find your studies at The Glenn Gould Competition. David has also performed solos with the Montreal Professional School? Symphony Orchestra and The National Arts Centre Orchestra. A. I am extremely impressed by the high level of the This year, David is the recipient of the Classical.96 FM schol- school’s student orchestra (The Royal Conservatory arship and he is currently finishing his Artist Diploma with Orchestra). It’s always enjoyable to hear great orchestra Marc Durand, André Laplante and Leon Fleisher at The concerts with great conductors such as Simon Streatfeild Glenn Gould Professional School of the Royal Conservatory of and Leon Fleisher. I particularly enjoyed Lister Sinclair’s Music. David shares with us his experiences at The Glenn “Aspects of Creativity” class. With regard to the academic Gould Professional School. curriculum, this class was extremely mind-broadening. It’s always a joy to have a class with intense discussions about Q. Of all your teachers, who would you say has had the art & science that is both fascinating and relevant to my most influence on you? life as a musician and as a human being. The atmosphere A. Marc Durand. He made me feel comfortable at the of this school is pleasant - everyone is so friendly [unlike] piano by mixing and balancing the physical and musical the highly tense and competitive atmosphere of most elements. He made piano playing simpler & logical. Marc schools that I’ve seen. also taught me how to approach a piece of music – how to feel it, how to think about it and how the composer com- Q. What are your plans for the future? posed it. The intellectual aspect is also key in his method. A. After the positive experience at Dublin, I would like to continue entering international piano competitions. Next Q. This past year, you also have been working closely with year I will continue building my concert repertoire, which Andre Laplante and Leon Fleisher. How are they effecting will include many concertos.
Ruby Mercer formances across Canada, offering Music Council medal in 1983 and a (Continued from page 71) encouragement to performers. Toronto Arts Council Lifetime est in the careers and development of Ruby Mercer continued her broad- Achievement award in 1988. young singers, including the students casting career in Canada by hosting Ruby Mercer’s lifetime commit- at The Royal Conservatory of Music’s weekly opera programs on CBC from ment to music and culture in Canada Opera School. Ms. Mercer also tra- 1962 – 1984. She also wrote and continues to this day. During her veled extensively around the world published two biographies; a biogra- lifetime, she established an annual and across Canada to hear young phy of Edward Johnson, “The Tenor scholarship at The RCM and, after opera singers. She liked to know of His Time”, in 1976 and “The her death in January 1999, her estate who was “up and coming” and was a Quilico’s – Louis, Gino and Lina” in established an endowed scholarship well-known figure backstage at per- 1990. in order to continue her musical Ms. Mercer was awarded a Canada legacy in perpetuity.
74 Spring 2001 The Royal Conservatory of Music 75 The Canadian Opera Company presents three distinctive concerts of music and song, to be savoured in the intimate splendour of the George Weston Recital Hall. ExperiencEExperiencexperience the full artistry of the COC Orchestra under Richard Bradshaw.
ORCHESTRAL SPLENDOUR Saturday, February 17, 2001, at 8pm With singers of the COC Ensemble Studio and oboist Mark Rogers: Mozart’s Oboe Concerto, songs by Mahler and Strauss, Schubert’s Symphony no. 3, D.200
VOCAL DISCOVERIES Sunday, March 11, 2001, at 2pm With singers of the COC Ensemble Studio and Robert Pomakov: Mussorgsky’s Songs and Dances of Death, Milhaud’s La création du monde, op. 81, Berlioz’ Les nuits d’été, Mahler’s Symphony No. 5: Adagietto, Britten’s Sinfonia da requiem, op. 20
NEW STARS Friday, April 27, 2001, at 8pm With soprano Isabel Bayrakdarian and baritone James Westman. Arias and duets by Mozart, Rossini and Handel
All performances at the Toronto Centre for the Performing Arts
For tickets call (416) 870-8000 or visit the Toronto Centre Box Office. Programme subject to change.
With generous support from the Gifted Young Artists Fund, founded by R. Fraser Elliott.
COC Orchestral Excellence Sponsor: We’re successful because of you.
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® Yamaha Pianos PIANOS are selected the FIRST CHOICE Yamaha Canada Music Ltd., 135 Milner Avenue, Toronto, ON M1S 3R1 • www.yamaha.ca of The Royal Conservatory of Music ©2001 Yamaha Corporation of America, P.O. Box 6600, Buena Park, CA 90622-6600 La Scena FULL PAGE BB 26/01/01 11:01 Page 1
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Celebrate Valentine's Day with Fêtez la Saint-Valentin avec à la carte - dinner and romance Includes recipes, wine recommendations and over an hour of mood enhancing classical music. Incluant des recettes, des conseils pour le vin et plus d’une heure de musique classique. What you do after dessert is entirely up to you. Ce que vous faites après le dessert est à votre discrétion.
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