National Arts Centre Annual Report 2009–2010
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Sam Quinn's Posthumous Visit with Gram Parsons by Carole Perkins 2008
Sam Quinn's Posthumous Visit With Gram Parsons by Carole Perkins 2008 Sam Quinn and his band, the everybodyfields, recently stayed at The Joshua Tree Inn where legendary singer/songwriter Gram Parsons died from a drug and alcohol overdose in 1973 at the age of 26. Quinn, Jill Andrews, Josh Oliver, and Tom Pryor, comprise the everybodyfields whose music has been described as, "a fresh set of fingerprints in the archives of bluegrass, country, and folk music." The band was touring the west coast when Quinn discovered the band was booked to stay at The Joshua Tree Inn. The Joshua Tree Inn is a simple but mythical motel in California, about 140 miles east of Los Angeles. It was popular in the fifties for Hollywood rabble rousers and trendy in the seventies for rockers and celebrities. These days, the main attraction is the room Parsons passed away in, room Number Eight, where thousands of fans pilgrimage every year to pay homage to Parsons. Quinn says he's been a fan of Parsons since he was eighteen but never dreamed he'd be sharing a wall with Parson's old motel room one day. "It was really far out to find out we would be staying in the Joshua Tree Inn. I had just woken up in our van that was parked about a mile away. I knew we'd be in the vicinity of where Gram died but sharing a wall with Gram, no, not a chance," he says. "So we walk into the lobby and the lady at the front desk gives me a key to room Number Seven, the room right next to the one Gram died in. -
William Bruneau and David Gordon Duke Jean Coulthard: a Life in Music
150 Historical Studies in Education / Revue d’histoire de l’éducation BOOK REVIEWS / COMPTES RENDUS William Bruneau and David Gordon Duke Jean Coulthard: A Life in Music. Vancouver: Ronsdale, 2005. 216 pp. William J. Egnatoff She “made sense of life by composing.” (p. 146) “My aim is simply to write music that is good . to minister to human welfare . [A] composer’s musical language should be instinctive, personal, and natural to him.” (p. 157) Bruneau and Duke’s illuminating guide to the life and music of Vancouver composer Jean Coulthard (“th” pronounced as in “Earth Music” (‘cello, 1986) or “Threnody” (various choral and instrumental, 1933, 1947, 1960, 1968, 1970, 1981, 1986) con- tributes substantially and distinctively in form and detail to the growing array of biographical material on internationally-known Canadian composers of the twen- tieth century. Coulthard (1908–2000) began writing music in childhood and con- tinued as long as she could. Composition dates in the 428-page catalogue of the Coulthard manuscripts which can be found at the Web page http://www.library. ubc.ca/archives/u_arch/2007.06.27.cat.pdf, and was prepared by the authors to accompany the posthumous third accession to the composer’s archives, range from 1917 to 1997. The catalogue is housed at the University of British Columbia at the Web site http://www.library.ubc.ca/archives/u_arch/coulth.html. Her works span all forms from delightful graded pieces for young piano students, through choral and chamber music, to opera and large orchestral scores. The book addresses students of Canadian classical music, women’s issues, and the performing arts. -
FEATURE | Pondering the Direction of Canadian Classical Music by Jennifer Liu on February 4, 2017
FEATURE | Pondering The Direction Of Canadian Classical Music By Jennifer Liu on February 4, 2017 150 Years of History, Another Good 150 of Innovation: A commemoration of classical music in Canada. [excerpt: see full article here: http://www.musicaltoronto.org/2017/02/04/feature-pondering-the-question- of-canadian-classical-music/] Step into the future, and we see pianist Darren Creech stepping on stage in tropical short shorts, glittery hair and a big grin on his face. But in fact, as his audiences from Montreal to Toronto have witnessed, Darren has already pulled off the dress code to rave reviews, including for his Master’s graduation recital (to which a jury panelist gushed “LOVE those legs!”) How does Darren project his many identities through music — from his Mennonite heritage, to identifying as queer, to experiences from his eclectic childhood on three continents? Darren was born in Ottawa before his family went on the move — first to Texas, then to France, then to Dakar, Senegal. There on the African continent, Darren sought out a local piano teacher who had studied with the venerable pedagogue Alfred Cortot. Thus Darren gained his entry into the authentic classical tradition: through his teachers in Dakar and eventually in Canada, he is the direct heir to the musical lineages of Chopin and Beethoven. But how does a disciple carry out their legacy for today’s audiences, whether in Africa or in North America? Here Darren counters with a question: “Why perpetuate classical music in the context of social disparity. What is its relevance?” That was the probing sentiment that instilled his spirit to search for answers — and self-made opportunities. -
Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
MAGISTERRA-Canada-Fundraiser
MAGISTERRA SOLOISTS Magisterra Soloists is a vibrant Canadian classical music ensemble dedicated to programming innovative and venturesome chamber music works in juxtaposition with traditional staples of the classical repertoire. The ensemble brings together established professional musicians and young emerging artists from across the globe to create something fresh, engaging, and gutsy. In the context of its varied programming, Magisterra is delighted to collaborate with esteemed guest singers and instrumentalists. Magisterra is proud to offer its mentorship program, “Magisterra Fellows”, for select young artists who are invited to perform with the group. In the Spring of 2016, Magisterra launched its “Salon Series”, which is designed to offer music to more intimate audiences. Outside of its regular concert schedule, the ensemble presents concerts in schools throughout Ontario through its outreach program, “Magisterra in Schools”. Founded in the fall of 2015 by internationally-acclaimed German violinist, Annette-Barbara Vogel, Magisterra Soloists is currently based in London, Ontario. Within its first twelve months of concertizing, the ensemble performed to critical acclaim in more than two dozen of venues across Ontario, including Kingston’s Isabel Bader Centre for the Performing Arts. It has also succeeded in designing an educational program which provides interactive exposure to the arts for young children, and which it has presented to captivated audiences of both students and teachers in a number of schools throughout the province. In May of 2016, Magisterra Soloists gave the Canadian premiere of the ensemble’s first commission, Sapling, by award-winning Canadian composer Emily Doolittle. It subsequently premiered this work in August during its inaugural international six-city tour to Brazil which included performances in Rio de Janeiro, Sao Paulo, Porto Alegre, Belo Horizonte, Campinas, and Florianopolis, with the support of the Canadian Consulate in Rio de Janeiro. -
Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening. -
Year in Review 2018/2019
Contents Shaping the Museum of the Future 2 Philanthropy on View 4 The Year at a Glance 8 Compelling Mix of Original and Touring Exhibitions 12 ROM Objects on Loan Locally and Globally 26 Leading-Edge Research 36 ROM Scholarship in Print 46 Community Connections 50 Access to First Peoples Art and Culture 58 Programming That Inspires 60 Learning at the ROM 66 Members and Volunteers 70 Digital Readiness 72 Philanthropy 74 ROM Leadership 80 Our Supporters 86 2 royal ontario museum year in review 2018–2019 3 One of the initiatives we were most proud of in 2018 was the opening of the Daphne Cockwell Gallery dedicated to First Peoples art & culture as free to the public every day the Museum is open. Initiatives such as this represent just one step on our journey. ROM programs and exhibitions continue to be bold, ambitious, and diverse, fostering discourse at home and around the world. Being Japanese Canadian: reflections on a broken world, Gods in My Home: Chinese New Year with Ancestor Portraits and Deity Prints and The Evidence Room helped ROM visitors connect past to present and understand forces and influences that have shaped our world, while #MeToo & the Arts brought forward a critical conversation about the arts, institutions, and cultural movements. Immersive and interactive exhibitions such as aptured in these pages is a pivotal Zuul: Life of an Armoured Dinosaur and Spiders: year for the Royal Ontario Museum. Fear & Fascination showcased groundbreaking Shaping Not only did the Museum’s robust ROM research and world-class storytelling. The Cattendance of 1.34 million visitors contribute to success achieved with these exhibitions set the our ranking as the #1 most-visited museum in stage for upcoming ROM-originals Bloodsuckers: the Canada and #7 in North America according to The Legends to Leeches, The Cloth That Changed the Art Newspaper, but a new report by Deloitte shows World: India’s Painted and Printed Cottons, and the the ROM, through its various activities, contributed busy slate of art, culture, and nature ahead. -
Full Page Photo
Editorial Susan Cohen Editor I Redactrice In this issue Dance in Canada celebrates the twenty-fifth Ce numero de Danse au Canada celebre le vingt anniversary of the National Ballet of Canada. On cinquieme anniversaire du Bal let National du Canada. Le November 12, 1951, Cel ia Franca and her dancers stepped 12 novembre 1951, Celia Franca et ses danseurs on the boards as a company for the first time; exactly 25 montaient sur les planches pour la premiere fois a titre de years later the company salutes the occasion with a gala compagnie. Exactement 25 ans plus tard, la compagnie opening and a special season at Toronto's O'Keefe commemore cet evenement par une premiere de grand Centre. This celebration is a reminder, not just of how far gala et une saison toute speciale au Centre O'Keefe de one company has come, but also of how far the field has Toronto. Cette celebration n'est pas un simple rappel du progressed in that quarter of a century. The National is chemin parcouru par la compagnie, mais aussi des one example of the excellence, diversity and maturity of progres realises dans le domaine de la danse au cours de dance in Canada. ce quart de siecle. Le Ballet National est l'un des exemples de l'excellence, de la variete et de la maturite de la danse In a magazine as small as ours, the decisions about what au Canada. to cover and what to leave out are heartbreaking. We would like to mention all the individuals who contributed L'espace restreint de notre revue rend toujours penible to the company, but we have chosen to focus on the la decision quant au contenu de chaque numero. -
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds. -
14Th Annual Report the Canada Council 1970-1971
1 14th Annual Report The Canada Council 1970-1971 Honourable Gérard Pelletier Secretary of State of Canada Ottawa, Canada Sir, I have the honour to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth Ii, 1957, Chap. 3) for the fiscal year ending March 31, 1971. I am, Sir, Yours very truly, John G. Prentice, Chairman. June 341971 3 Contents The Arts The Humanities and Social Sciences Other Programs 10 Introduction 50 Levels of Subsidy, 1966-67 to 1970-71 90 Prizes and Special Awards 12 Levels of Subsidy, 1966-67 to 1970-71 51 Research Training 91 Cultural Exchanges Doctoral Fe//owships; distribution of 14 Music and Opera Doctoral Fellowships by discipline. 96 Canadian Commission for Unesco 21 Theatre 54 Research Work 100 Stanley House Leave Fellowships; distribution of Leave 27 Dance Fellowships by discipline; Research Finances Grants; distribution of Research Grants 102 Introduction 30 Visual Arts, Film and Photography by disciph’ne; list of Leave Fellowships, Killam Awards and large Research 105 Financial Statement 39 Writing Grants. Appendix 1 48 Other Grants 78 Research Communication 119 List of Doctoral Fellowships List of grants for publication, confer- ences, and travel to international Appendix 2 meetings. 125 List of Research Grants of less than $5,000 86 Special Grants Support of Learned Societies; Appendix 3 Other Assistance. 135 List of Securities March 31. 1971 Members John G. Prentice (Chairman) Brian Flemming Guy Rocher (Vice-Chairman) John M. Godfrey Ronald Baker Elizabeth A. Lane Jean-Charles Bonenfant Léon Lortie Alex Colville Byron March J. -
Narrator Bio 2012
Veronica Tennant, C.C. Narrator Bio During her illustrious career as Prima Ballerina with The National Ballet of Canada, Veronica Tennant won a devoted following on the international stage as a dancer of extraordinary versatility and dramatic power. She danced for 25 years across North and South America, Europe and Japan, with the greatest male dancers of our time, including Rudolf Nureyev, and Mikhail Baryshnikov. Tennant gave her farewell performances in Romeo and Juliet and in a subsequent gala – A Passion For Dance – Celebrating the Tennant Magic in 1989. Particularly celebrated as a gifted musical dancer and as an actor, Veronica Tennant has appeared extensively as narrator/creator on the concert stage. She has performed with all the major orchestras across Canada, including; The Toronto Symphony and The National Arts Centre Orchestra, and debuted her own musical narrative of The Nutcracker with The Vancouver Symphony. Her highly successful The Little Match Girl, combines narration, an original music score by Christopher Donison, and choreography for her and a young child dancer. Premiering at Harbourfront, Toronto December 1995, it was invited again in 1996 as well as with The Edmonton Symphony. Warmly received, The Little Match Girl has been presented in 1997, with The Victoria Symphony and The Vancouver Symphony, and in 1998 with The Calgary Philharmonic. Veronica Tennant has been a frequent guest with The Festival of the Sound in a number of collaborations. She performed Patrick Cardy’s The Snow Queen, with The St. Lawrence Quartet; and Godfrey Ridout’s Exile – drawn from the journals of Susanna Moodie. She devised and performed with pianist Marc Andre Hamelin, a drama/dance piece, Maud, drawn from the journals of Lucy Maud Montgomery.