Singers, Including Members of the Atelier Lyrique of the Zonka, Is the Cover Artist

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SPRING 2011 » CONTENTS

5 EDITORIAL 9 NOTES / NEWS ITEMS 10 SHANNON MERCER A TRADEMARK VOICE 12 MULRONEY: THE OPERA 13 WISH OPERA / ROSE MARIE 14 OTTAWA CONCERT PREVIEWS 16 SOUTHERN ONTARIO VOCAL PREVIEWS 17 SOUTHERN ONTARIO INSTRUMENTAL PREVIEWS 18 SUMMER CAMPS SPECIAL » Lakefield Music Camp » Shannon Mercer on music camps

22 INTERNATIONAL OPERA FESTIVALS COVER STORY 24 REVIEWS: CDS & DVDS « 26 PHILIPPE SLY / MET OPERA AUDITION WINNER ADRIANNE GUIDES 6 PIECZONKA 19 CAMPS Vissi d’arte 23 INTERNATIONAL FESTIVALS / SPRING CLASSICAL FESTIVALS The reigning Canadian prima donna speaks openly about her art and her life.

CONTRIBUTORS VOLUNTEERS SUBSCRIPTIONS FOUNDING EDITORS Ontario subscribers receive the bi-annual Wah Keung Chan – Stephen Habington, Norman Lebrecht, Wah Wing Chan, Virginia Lam, Lilian I. Li- The Shannon Mercer, Pemi Paull, Paul E. Robin- ganor, Stephen Lloyd Music Scene FREE with subscription to La Scena Philip Anson Musicale. Surface mail subscriptions (Canada) son, Joseph K. So, L.H. Tiffany Tsieh ADVERTISING cost $40/yr or $73/2 yrs (taxes included) to cover THE MUSIC SCENE ART DIRECTOR Smail Berraoui, Marc Chénard, postage and handling costs. Please mail, fax or VOL. 9.2 – SPRING 2011 Adam Norris Ioan Hipp, Claudio Pinto email your name, address, telephone no., fax no., PUBLISHER PRODUCTION MANAGER (514) 948-0509 www.ads.scena.org and email address. Crystal Chan La Scène Musicale ADDRESSES Donations are always welcome. BOARD OF DIRECTORS PRODUCTION ASSISTANT 5409 Waverly Street, Montreal (no. 14199 6579 RR0001) Wah Keung Chan (prés.), Gilles Cloutier Rebecca Clark (Quebec) Canada H2T 2X8 Ver: 2011-04-18 © La Scène Musicale/The Music Scene (v.p.), Iwan Edwards, COVER PHOTO Andreas Klinberg Tel.: (514) 948-2520 Fax: (514) 274-9456 All rights reserved. No part of this publication may Holly Higgins-Jonas, Sandro Scola OFFICE & DISTRIBUTION MANAGER [email protected] be reproduced without the written permission of EDITOR-IN-CHIEF Julie Berardino www.scena.org La Scena Musicale / The Music Scene. Wah Keung Chan SUBSCRIPTIONS & FUNDRAISING Production/artwork: [email protected] ASSOCIATE EDITOR COORDINATOR ISSN 1916-159X (Print) / ISSN 1916-1603 Joseph K. So Fjóla Evans THE MUSIC SCENE is the English Canada (Online) / Canada Post Publication Mail Sales ASSISTANT EDITOR REGIONAL CALENDAR sister publication of La Scena Musicale. Agreement No. 40025257 Crystal Chan Eric Legault It is dedicated to the promotion of classical CD EDITOR WEBSITE music and jazz. TMS is published two times a year NEXT ISSUE » Laura Bates Normand Vandray, Michael Vincent by La Scène Musicale / The Music Scene, a registered non-proﬁt organization and charity. Inside, readers The Music Scene Summer 2011 COPY EDITOR BOOKEEPERS Canadian music and arts festivals Miriam Clouthier will ﬁnd articles, interviews, and reviews. La Scena Kamal Ait Mouhoub, Mourad Ben Achour Musicale is Italian for The Music Scene. Appearance: June 3, 2011 Ad deadline: May 27, 2011 4 SPRING 2011 TMS9-2_p4-5_TOC+Editorial_TMS9-2_pXX_layout 11-04-17 8:15 PM Page 5

EDITORIAL

ast December 9, The Music Scene/La Scena Musicale concluded its 2010 Endowment Fund campaign with an entertaining recital featuring soprano Aline Kutan, pianist Martin Dubé and trombonist Matthew Russell at the Westmount home of Mar-  garet Lefebvre. About 35 people braved the snow and traffic for a selection of traditional English carols featuring brass, an Armenian hymn and arias from Lakmé and Roméo et Juliette. The prevailing comment heard afterward was that the evening was magical. Music has that effect. As for our Endowment Fund, thanks to supporters at our two fundraisers (the first was in Toronto on November 5, 2010 and featured Phillip Addis and Car- olyn Maule) and 150 other donors, we raised $40,000, which the Quebec government’s Placements Culture program will generously match with another $60,000, creating a total $100,000 fund. The grant stipulates that we

deposit the money in the Founda- Tansey Helen PHOTO tion of Greater Montreal for a pe- Vocal star SHANNON MERCER is featured this month on page 10 riod of 10 years and that we benefit from the annual interest earned. We hope that this will help TMS in the long term. See we will offer birthday greetings as well as greetings for page 21 for the list of donors. Mother’s Day. To order a song or to be volunteer singer, please For those who missed our first Endowment Fund Campaign, email [email protected] your donation will still count as we will be launching a second In the coming months, we will be launching an online auc- Endowment Fund campaign later this year. In the short term, tion of music and arts related items. We need the help of we are planning more fundraising activities for 2011 to help musicians and artists. Please contact us at fundraising@ L lascena.org to donate goods or services for the auction. with our operating budget, including more intimate concerts. Last Valentine’s Day, La Scena Musicale helped spread This Spring 2011 issue of The Music Scene is a special on romantic cheer through our first Singing Valentines fundraiser. Opera. Canada’s leading dramatic soprano, Adrianne Piec- Canadian politics Seven singers, including members of the Atelier Lyrique of the zonka, is the cover artist. She performs at the COC as well as meets opera in Opéra de Montréal (mezzos Aidan Fergerson and Emma Parkin- in recital at Koerner Hall this spring. Profiles of Shannon Mulroney: The Opera; son and baritones Philip Kalmanovitch and Pierre Rancourt), Mercer, coverage of Wish Opera, the new opera on Brian page 12 serenaded 25 valentines from across Canada over the Mulroney, a profile of 2011 MET Audition winner Ottawa bass- phone. The other three singers were mezzo Rebecca baritone Philippe Sly, and previews of upcoming vocal concerts Harvey, baritone Jeremy Carver-James and yours round out our opera coverage. And we’re proud to provide truly. Thanks again to our volunteer singers (see the readers with four guides in this issue: summer camps, sub- ad on page 31 to visit their websites). scription series, international music festivals and Canadian The most popular request was Saint- spring classical music festivals. In addition, check out our Saëns’s “Mon coeur s’ouvre à ta voix,” concert picks in Toronto and Ottawa as well as our CD reviews. followed by “My Funny Valentine.” Other songs offered included “L’invitation au Have a great musical spring. voyage,” “Morgen” and “Che gelida manina.” The singers from the Ate - WAH KEUNG CHAN lier Lyrique reported that helping FOUNDING EDITOR make the day for the valentines The Music Scene PHOTO Rhombus Media PHOTO was the ultimate reward, showing La Scena Musicale / La SCENA again what live music can do. The idea was inspired by my many years of phoning birthday greetings to friends and family, and the surprised and thrilled reaction it got. Based on the positive feedback,

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am like the tortoise in ‘The Tortoise and the Hare’—slow and steady!” quips soprano Adrianne Pieczonka with a touch of self-effacing humour. Maybe so, but it is the textbook case “Iof “slow and steady wins the race.” Since her debut in 1987 as the female convict in the COC Lady Mac- beth of Mtsensk, Pieczonka’s career has been ap- proaching the quarter-century mark, which many of her diva colleagues fail to reach. Her calendar is booked well in advance, with plum assignments in some of the most prestigious venues in Europe and North America—Vienna, Munich, Berlin, Bayreuth, the Met, the COC, to name a few. Celebrated for her Wagner and Strauss, Pieczonka has also won acclaim in the Italian repertoire in recent years, as Amelia in Simon Boccanegra, Elisabetta in Don Carlos, and in the title role of Tosca, which she sang in San Francisco Opera and was simulcast to thousands at the AT&T Park. Last season, she had her first Met in HD exposure, as Amelia opposite the great Plácido Domingo. Her newest role, Senta in Wagner’s Die fliegende Hol- lander at the Paris and Vienna operas garnered rave reviews. A sign of her increasing stature, Pieczonka received the title of Kammersangerin at the Vienna State Opera, as well as the Order of Canada. Last fall, she received her first honorary doctorate bestowed upon her by McMaster University in Hamilton, a stone’s throw from Burlington, where the soprano grew up. Five years ago, after living in Europe for eighteen years, Pieczonka returned to Canada and bought a home in Toronto, which she shares with her partner in life and in art, mezzo-soprano Laura Tucker and their five-year old daughter Grace. Recently the singer was able to spend some time at home between gigs. During this brief hiatus, she attended the TMS opening of The Art of Canadian Music, an exhibition

COVER of thirty paintings of famous Canadian musicians at the John B. Aird Gallery in Queen’s Park. Portraitist Tadeusz Biernot has created a strikingly original work on the soprano, at 60 x 78 cm, easily the largest can- vas in the exhibition. Taking time out from preparing for her upcoming Desdemona for Deutsche Oper Berlin, Pieczonka graciously agreed to meet for a long, wide-ranging conversation about her life and her art: STORY

PIECZby JOSEPHO K. SO NKA Johannes Ifkovits PHOTO

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TMS COVER STORY

CANADIAN PAINTER TADEUSZ BIERNOT unveils his portrait of Adrianne Pieczonka

Congratulations on your success as Senta. Tell us about your experience of singing this role in Vienna… You know it’s funny—Senta was never a role I was dying to sing. Vocally it’s a real challenge—very dramatic and very high. It requires youthfulness in the voice and a ringing top. This was the second time I did it, the first was in Paris, and I’ll do it again next year in Bayreuth with Thielemann. I’m conscious of not filling my calendar with too many Sentas. Just like Sieglinde, it has been a very rewarding part for me—I got fantastic reviews in the Willy Decker production in Paris. It’s surprising that the roles you don’t think are IT’S SURPRISING THAT THE ROLES going to be so great turn out to be so rewarding. YOU DON’T THINK ARE GOING TO BE You are known for your Wagner and Strauss, but you’ve been adding more and more Italian roles. You’re singing Tosca all over, including the SO GREAT TURN OUT TO BE SO COC next season. How do you manage to switch back and forth between the Italian and the German repertoires? REWARDING… Johannes Ifkovits PHOTO The answer may disappoint you—I approach them the same way! I worked on Desdemona a little bit this morning… Of course you have to think of the difference in the language, a bit more legato and more portamenti in Italian It’s a subtle opera—the Composer’s ode to music is so beautiful, and Zerbi- and not so much in the German rep, although I use it in Senta—and in Elsa netta’s aria is always a showstopper. My music is more cerebral—sometimes totally! I’ll be doing Amelia in Ballo and Aïda, both big roles. I try to sing lyri- I must say you sing and sing, and…. (more laughs) cally, and to use piano whenever I can and to keep the lightness in my voice. If you had to choose between “Ein schönes war” and “Es gibt ein Reich,” When you prepare a role, do you listen to recordings? Who do you listen to? which would you pick? When I was preparing Amelia in Simon Boccanegra, I listened to Tebaldi. For “Ein Schönes war”—it’s so beautiful! And it’s more difficult, more ex- Tosca, I watched Callas and Gobbi video from Covent Garden… just to watch posed…those B-flats have to be floated. “Es gibt” doesn’t move me as much. her intensity, her gestures and her eyes! When I was preparing Senta, I tried Do you know one of my first professional jobs was as Naiad in Ariadne? In to find who could be the ideal Senta for me. You’ve got Varady and Studer; Vancouver, Jean Stilwell, Martha Collins and I were the nymphs! Judy Forst and then there’s Anja Silja who did it at twenty—crazy! was the Composer, Mary Jane Johnson was Ariadne and Barbara Kilduff was Zerbinetta. Let’s talk a little about your upcoming COC Ariadne, one of your signature roles. Ariadne is a woman who can only be fulfilled by having a man You also have concerts coming up in Toronto—your recital at Koerner Hall in her life. Given the 21st century post-feminist critique, isn’t she a little and Beethoven’s 9th at the Black Creek Festival. Have you sung in Koer- old-fashioned? Why do you love her so much? ner Hall before? What’s on the recital program? It’s not fair! (laughs) Look at Senta and Elsa—a lot of Wagner is misogynis- No I haven’t even heard a classical concert there yet—only Barbara Cook! tic. You know I don’t have an issue with Ariadne, if you think of her as a Greek It’s a very impressive facility… world class, really. I’m so pleased they asked goddess and you put yourself back in her time. Maybe she’s a bit mad; […] me, even though it’s a bit challenging for me as it’s during the run of Ariadne. maybe she has lost touch with reality. You have this polarization—in the It’s an all-German program—Schubert, Strauss, and Wagner’s Wesendonck Prologue she’s the diva, and then in the Opera itself you have this forlorn, Lieder. My pianist is Brian Zeger. And I’m going to sing some show tunes at bereft woman. I am married to a woman, so why am I even doing this role? the end as homage to Barbara Cook. She is 83 but she still has that youth- Because the music is glorious! The duet between Zerbinetta and the Com- ful quality—she sounds like a young girl! As to Black Creek, I’ve only been poser is so beautiful. I just sang Ariadne in Munich with Alice (Coote) and there for tennis! When I look at the line-up, with Domingo and Maazel— Jane (Archibald). It was wonderful. I hope the Toronto audience will love it. wow, it’s right for Toronto. Bravo!

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TMS You’ve mentioned that you enjoy adays. I’m proud that my career is in its 3rd COVER teaching. What draws you to decade while so many singers today often teaching? What makes a good teacher? don't end up singing more than 10 years I think teaching for me is a combination of professionally. Like I mentioned, my “tor- passing on my knowledge and experience toise mentality” has been good in that I as well as continuing to delve into the have been patient and never been keen to mystery of singing. It’s a never-ending be an overnight star. The pressure has been

STORY process and I am amazed at how much I taken off and I am content to sing wonder- learn from working with each singer. I am ful roles in wonderful houses, and not be a still very much evolving as a voice teacher media darling or megastar. and feel that there are still several years until I can dedicate myself wholly to teach- What (and who) are the most important ing. I don't think there is a certain recipe things (and people) in your life now? If that makes a good teacher—some famous you were to draw your career to a close singers were not good teachers. So to be a tomorrow, how do you want to be good teacher it’s not necessary to have remembered? Of course we all know had a big career as a professional singer. I that you have many years ahead of you think empathy and excellent listening career-wise, but it is nice once in awhile to reflect and take stock... skills are imperative. A young singer is often on an emotional journey and there My family is the most important thing in can be tears and frustration along the way. my life. That being said, I feel I have A good teacher will approach each pupil recently developed a new level of devotion as an individual and be sensitive to the and commitment to my singing and to my student’s needs. career—it’s very interesting! But my family grounds me and brings me such joy and You are now in the 24th year of your pleasure. Singing does this as well but, career, a very good length by any alas, it is fleeting! If I were to quit singing standard. To what do you attribute your tomorrow, I'd like to be remembered as an longevity? How do you keep your voice artist who has brought joy to many people healthy and in good condition? and who was a generous person who I make sure there are breaks in my calendar, enjoyed nurturing young singers. not just going from one job to the next, taking summer vacations. I keep working with Speaking of young singers, what advice my teachers—Mary Morrison here in do you have for these aspiring artists Toronto, and Hilde Zadek when I’m in ready to step into the opera world? Europe. I’ve been working hard to keep the Enjoy your lives! Enjoy the journey you are lyricism in my voice as much as possible. It’s on, and be thankful you are able to sing easy to get on a wrong track vocally and glorious music. Be passionate about your start singing too heavily. I’ve discovered that art… embrace it and go for it! sometimes 'less is more' and the ability to » April 30, May 3 - 29: Strauss's Ariadne auf float and sing pianissimo is imperative to Naxos, title role, Canadian Opera Company coc.ca my technique and approach. I often feel » May 7: Recital, Koerner Hall rcmusic.ca that singing pianissimo is a dying art now-

AT HOME ON THE ROAD

When I am home, I’m usually not perform- When I’m on the road I still wake up early, ing so I tend to focus on my family. Need I A Day in often before 8 a.m., even on the day of a per- say I’m a morning person—I get up early, formance—strange but true! I like to go for a around 7 a.m. and make breakfast for our power walk or do some yoga in the morning daughter Grace and take her to school by after breakfast, then vocalize around 11 a.m. 8:15. Then I practice for about an hour and a or noon if it’s a performance day. I eat at half—I enjoy doing this in the morning, so the Life around 2 or 3 p.m. and then I don't eat until that the day is then free for other things. I after the performance. I try to eat things like like taking power walks or working out at fish or chicken with some rice or potatoes of a and I also try to avoid heavy meals after a the gym. School pick up for grace is 3 p.m., and often we will have a play date at our show. I take a catnap after lunch. I try to house. Dinner is about 5:30 p.m. and both skype my family at breakfast (Toronto time), Laura and I enjoy cooking. I enjoy reading as this is a wonderful way to stay connected stories to Grace at bedtime. Then I like to Prima to my family. What did we ever do before relax by watching a bit of television, reading skype—it’s the most marvelous invention or soaking in the tub! I’m often in bed by 10 and it’s free! It’s hard on the road when I’m p.m.! I've never been a night owl but I do separated from my family for weeks at a time enjoy going out for dinner with friends or to Donna but I just try to make the most of each day the theatre or a concert. and keep positive! PHOTO Andreas Klinberg Andreas PHOTO

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N TES NOTES CONTINUE ON PAGE 11 by CRYSTAL CHAN AND Celebrated for his interpretation of works by Brit- MUSIC CRITIC JOSEPH K. SO ten and Tippet, his Aschenbach in Death in KEN WINTERS PASSES AWAY Venice received critical acclaim and is preserved Ken Winters, aged 81, passed away on March 22, ALAIN TRUDEL THE NEW MUSIC on DVD. Tear last sang as Emperor Altoun in Tu- after a heart attack. He was a critic for news- DIRECTOR OF ORCHESTRA LONDON randot at the Royal Opera Covent Garden two papers including, most recently, the Globe and seasons ago. He has been suffering from cancer Orchestra London announced on April 6 that Mail, and co-editor of the original edition of The of the esophagus since last fall. JKS Orchestre symphonique de Laval’s Alain Trudel Encyclopedia of Music in Canada. He had worked will be its new music director. This follows several for more than 40 years at the CBC, hosting shows guest appearances by Trudel with the OL. Trudel such as Mostly Music, Personalities in Music, and is also the artistic director and principal conduc- Ken Winters on Music. CC tor of the National Broadcast Orchestra, an ensemble created by CBC Radio Orchestra musicians YAKOV KREIZBERG DIES AT 51 after it was disbanded, the principal guest con- Music director of the Monte Carlo Philharmonic, ductor of the Victoria Symphony Orchestra, the chief conductor of the Netherlands Philharmonic conductor of the Toronto Symphony Youth Or- and Netherlands Chamber Orchestra, Yakov chestra, and a regularly invited conductor of the Kreizberg passed away on March 15, following a National Youth Orche stra of Canada. The OL per- RICCARDO MUTI PHOTO Todd Rosenberg long illness. After emigrating to the U.S. from Russia forms over 50 concerts each season. CC in 1976, Kreizberg became a rising star in the con- RICCARDO MUTI WINS ducting world, landing fellowships at Tanglewood, THE BIRGIT NILSSON PRIZE studying with Leonard Bernstein and Michael Tilson Thomas, and winning the 1986 Leopold Stokowski Conductor Riccardo Muti has been awarded the Conducting Competition. His last public appearance prestigious Birgit Nilsson Prize. The prize comes as a conductor was with the Netherlands Philhar- with a $1-million remuneration. Muti is the sec- monic on Valentine’s Day 2011. CC ond winner of the prize, after Plácido Domingo, who received it in 2008, three years after Nilsson passed away. Muti has been the music director of 2011 JUNO AWARD WINNERS the Chicago Symphony since 2010, and over his illustrious career he has been at the helm of such Vocal Jazz Album of the Year orchestras as London’s Philharmonia Orchestra, Kellylee Evans, Nina Filarmonica della Scala, Philadelphia Orchestra Contemporary Jazz Album of the Year and has guest conduced the Berlin and Vienna Christine Jensen Jazz Orchestra, Treelines Philharmonics. CC Traditional Jazz Album of the Year John MacLeod’s Rex Hotel Orchestra, Our First Set Instrumental Album of the Year Songwriter and poet LEONARD COHEN CANADIANS COME THIRD Fond of Tigers, Continent & Western received the Glenn Gould Prize this year. AT ROYAL OPERA HOUSE BIENNIAL Classical Album of the Year: Solo or Chamber The Canadian team of Joel Ivany, Camellia Koo Ensemble - Gryphon Trio, Beethoven: Piano Trios and Jason Hand came third in the 6th Biennial Op. 70 No. 1, Ghost & No. 2: Op 11 NINTH GLENN GOULD PRIZE Europäischen Opernregie-Preis that took place at Classical Album of the Year: Large Ensemble or LAUREATE IS LEONARD COHEN the Royal Opera House Covent Garden in Soloist(s) with Large Ensemble Accompaniment March. The team competed against 212 other Lara St. John, Mozart/Scott and Lara St. Out of a shortlist of other distinguished interna- participants from 24 countries, and was picked as John/The Knights tional artists, singer-songwriter-poet Leonard one of four team finalists. Each team submitted Classical Album of the Year: Vocal or Choral Cohen has been presented with the $50,000 a directorial and design concept for Bellini’s I Ca- Performance - Gerald Finley, Great Operatic Arias Glenn Gould Prize. The award is presented every puleti e i Montecchi. The winning team, from the Classical Composition of the Year - R. Murray two years to a living artist in recognition of life- UK, was chosen for the originality of its concept, Schafer,“Duo For Violin And Piano”, WILD BIRD time achievement. One of his most-covered sig- as well as its suitability to the stages of the north- nature tunes is “Hallelujah.” Recent past laureates ern Italian opera houses (Bescia, Como, Pavia, and include el Sistema founder Dr. José Antonio Abreu Verona) where the work will be performed in the (2008), Pierre Boulez (2002), Oscar Peterson (1993) coming season. The competition is held every two THE GRYPHON TRIO and Yo-Yo Ma (1999). CC years. Many of the winners are now working suc- cessfully as directors and set and costume IN MEMORIAM: ROBERT TEAR designers. Ivany, who led the Canadian team, is (MARCH 8 1939 - MARCH 29 2011) currently assistant director of a production of Welsh tenor Robert Tear passed away at age 72. Rigoletto at the Den Norske Opera in Oslo, Nor- Born in Barry, Glamorgan, Wales, Tear made his way. He will also assist director Robert Carsen in operatic debut in 1966 as Peter Quint in Brit- the upcoming Canadian Opera Company’s pro- ten’s The Turn of the Screw. He made his Royal duction of Orfeo ed Euridice (May 8 – 28). JKS Opera debut as Lensky in Eugene Onegin in 1970. PHOTO John Beebe John PHOTO

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a singer… My father’s mother was left in a basket on the steps of an orphanage in June of 1913 in Gelligaer, Glamorgan, South Wales. My father immigrated to [Canada] in 1967 along with my mother and my three eldest siblings… He discovered the Ottawa Welsh Society and began to sing with the Gwalia Singers. I was able to carry on this inherited tradition when, at the age of 15, I traveled SHANNON MERCER to Wales to sing in the prestigious Llangollen Inter- national Musical Eisteddfod. I returned to Canada as a proud ambassador, bringing home the winning silver cup!” By this time, Mercer had been taking voice aTRADE- lessons for eight years with Joan Burnside, as well as playing guitar and violin. Her life revolved around music, highlighted by the annual Kiwanis Music Festival. At Canterbury, an arts high school, she gained experience in many musical and artistic MARK genres. “That helped me become a well-rounded singer,” she explains. “I was able to draw on all that and not get stuck on one genre of music.” It was at McGill that Mercer’s passion for early VOICE music took off, when she discovered that early music

PHOTOS Helen Tansey Helen PHOTOS ensembles provided more stage time. It turned out she had a natural ease with the genre, and she com- by CRYSTAL CHAN pleted a double major in vocal performance and early music. In Montreal, she INTERVIEW BY WAH KEUNG CHAN became known as a baroque specialist, starting out in professional choirs such as the Studio de musique ancienne de Montréal (SMAM) and La Chapelle de arm, clear, and easy on the vibrato, Shannon Mercer’s trade- Québec of Les Violons du Roy. “There is a stigma saying you have to sing with this mark sound is unmistakable. The Canadian soprano is colour voice for this and another for something else,” says Mercer. “At McGill, hailed as a leading Baroque vocalist, with the honours to nobody ever said to me ‘you have to sing that way.’” Voice teachers Thérèse prove it: most recently, a 2011 Juno nomination and a 2011 Sevadjian and Lucille Evans encouraged Mercer to hold on to her own voice, Opus Awards win and three nominations. Known for her reveling in its tone, strengths, and weaknesses rather than try to change it with versatility, Mercer is not one to be pigeon-holed, succeeding in early music, each role. “I’ve always used my own voice, for Baroque or other music. I realize Wopera, contemporary and folk music, and holding her own in seemingly any that with different repertoire you’re required to have more or less of a steady genre she turns to. rate of vibrato.” Witness her current role in Love Songs, a one-woman show written by Mercer’s voice has, naturally, subtly changed over the years, yet the essence SMCQ 2011-2012 homage composer Ana Sokolovic. In the demanding hour- of her sound has remained unchanged. Even though she’s never been able to long performance Mercer sings a cappella and performs monologues, using pop what she jokingly calls “Z sharps” (impossibly high notes), she now finds 100 languages, all the while playing a chair and drum as percussion instru- her voice dropping lower and developing a richer timbre, which matches her ments. It’s a virtuosic maelstrom of styles, weaving Baroque influences with increased stamina, confidence, knowledge, and emotional depth. contemporary music, experimental vocal techniques, and spoken word. Her After McGill, Mercer developed a separate opera persona by studying at the voice fits seamlessly into each mode. “It shows off my ability to sing different University of Toronto’s Opera School, followed by San Francisco Opera's Merola styles,” she says. Mercer and reporters alike have noted the strong effect the Opera Summer Program and the Canadian Opera Company (COC) Ensemble performance, featuring love songs and poems from around the world, has on Studio. Now based in Toronto, she performs on stages across North America audiences, who often give way to tears. Mercer is currently touring the show and Europe, including Carnegie Hall, Lincoln Center, the Hollywood Bowl, Royal in western Canada, following performances in Toronto, Amsterdam, and Paris. Albert Hall, and Covent Garden. She has performed for opera companies including the COC, l'Opéra du Québec, Opera Lyra Ottawa, Opera Ontario, Opera FROM OTTAWA TO CARNEGIE HALL Atelier, Toronto Operetta Theatre, and Opéra national de Montpellier, in addi- At 34, Mercer has already accomplished more than many do in a lifelong career. tion to dozens of ensembles and orchestras. Displaying a strong sense of Named a “Leader of Tomorrow” by Maclean’s, she is the recipient of numerous humour and great theatrical flair, Mercer starred in the Gemini-nominated awards including a Career Development Grant and the Virginia Parker Prize filmed comic opera Burnt Toast as well as Not the Messiah, a musical based on from the Canada Council for the Arts, the 2004 Bernard Diamant Prize, and Monty Python’s Life of Brian, written by the creators of Spamalot. the Women's Musical Club of Toronto Career Development Award. Ensemble This year’s season has seen or will see her perform with the Tafelmusik Caprice’s December 3, 2009, performance of Bach’s Mass in B minor, which fea- Baroque Orchestra, Arion Baroque Orchestra, Portland Baroque Orchestra, Les tured Mercer, won Early Music Concert of the Year at this year’s Opus Awards. Voix Baroques, Ensemble Caprice, Les Violons du Roy, the Welsh music group A juggler of many projects, she has an extensive discography—nine records in Skye Consort, the Colorado Symphony Orchestra, Houston’s Mercury Baroque, seven years. O Viva Rosa (2010), a finalist at this year’s Opus for Early Music Record and the Toronto Symphony Orchestra. of the Year, brings to light unpublished music by Francesca Caccini, whom Mercer describes with reverence as “a very unique voice in music, but, as a female com- BREAKING THE RULES poser, sadly, not always taken seriously.” The album is her sixth under the Analekta As multifaceted as her talents and interests are, early music holds a particularly label, but she hasn’t renewed her contract with them. Next year, ATMA will be special place. “It’s like I was born in that time. Purcell is one of, if not the, issuing two recordings featuring Mercer: Bach’s St. John Passion and a Purcell disc. favourite composer of mine, and as for Handel, Bach, Mozart, I’ve always felt a With one Juno win already under her belt for her part in Ensemble Caprice’s connection with them. The music really speaks to me and suits my voice,” she Gloria! Vivaldi's Angels in 2009, this year sees a nomination for Ensemble states. She loves the challenge of tackling music that’s still relatively shrouded Caprice’s Salsa Baroque disc, another acclaimed record with her name on the in mystery, enjoying the task of interpreting old scores with only several trea- credits. Also in 2009, Mercer surprised listeners with a turn to folk music with tises, theories, and your own imagination to guide you. There are challenges the release of Wales, The Land of Song. “To those who know me as a classical specific to composers, too; while some composers such as Handel write perfect vocalist, this Welsh folksong album may seem odd,” she writes in the liner lines tailored to singers’ capabilities (a lot of singers dub Handel “medicine for notes. “But this music, this Welsh culture and heritage is the reason I became the voice”), others such as Bach write vocal lines in an instrumental way,

10 SPRING 2011 TMS9-2_p10-11_Mercer_TMS9-2_pXX_layout 2011-04-18 6:42 PM Page 11 PROFILE creating long lines without a space to breathe about another Sokolovic piece she’s premiering this naturally. When she was younger, she pushed June in Toronto: Svadba – The Wedding. through “ridiculous phrases.” Now, she feels lucky In the end, Mercer welcomes any project, she has great breath control and has learned not regardless of genre, as long as she feels connected to force herself too far. “When you're in perform- to the piece and the other performers. In Decem- ance your breath changes significantly because of ber, she even narrated a Toronto Symphony your nerves,” she explains. “Whether it's nervous- Orchestra concert, singing not one note. ness or excitement, it affects you the same way: “I’ve never followed the rules,” she admits with a your breath becomes more shallow. You shouldn’t laugh. “I’m versatile; if I got stuck in one genre of put the pressure on yourself to make it through music, I wouldn’t be able to try crazy things. I think crazy phrases; you should breathe where it feels there's this joke about me where whenever an comfortable.” organization goes: ‘hmm we need a soprano for Mercer also has a talent for improvisation and kazoo, who could do that… oh, Shannon Mercer!’ I'm ornamentation, writing her own cadenzas. In always inspired and excited about the next project.” Baroque tradition, the da capo (repeat) of the first You can’t compare yourself to others, she believes. part of a song is usually open to the performer for “There are people at the top of their game, but it can embellishment, allowing each to create their own “I’VE NEVER FOLLOWED THE RULES. be lonely and unfulfilling. I don’t want that to hap- “version” to best show themselves off. Latter-day I’M VERSATILE; IF I GOT STUCK IN pen. I don’t want to stop loving it. I will never be a vocal stars such as sopranos Francesca Cuzzoni Wagnerian soprano, and I’m okay with that—I have and Faustina Bordoni participated in musical ONE GENRE OF MUSIC, I WOULDN’T to try to be the best I can be at what I can do.” duels,Tansey Helen PHOTO each trying to perform more virtuosic Many of her fellow musicians have advised her cadenzas than the other. There are no hard-set BE ABLE TO TRY CRAZY THINGS.” that, in the end, the sole priority becomes making rules, but Mercer likes traditional ornaments that amazing music with amazing people. It’s now her don’t stray too far from the initial melody or hit own ornamental style, just like you develop the personal goal. “One of the great things about her the stratospheres of a performer’s range: all in way you dress.” is that she is not only a very fine singer, but so good taste. Mercer’s cadenzas are so admired by It might seem Mercer is stepping in a very dif- much fun to work with,” says Artistic Director of colleagues that many have asked for permission ferent direction with a contemporary piece like Love Ensemble Caprice, Matthias Maute. “Working to use them or even for her to write for them. She Songs, but for her, “there’s a cross-over between hard and cracking jokes at the same time don’t herself rarely borrows from other singers. She early and contemporary music as there’s a certain exclude each other!” listens to recordings (some of her favourites are by ability to be spontaneous, improvisational, and take Emma Kirkby) to hone in on techniques she likes things that are not written in the score and make »April 16, Mulroney: The Opera in movie theatres but she builds her own unique vocabulary—not the piece your own, whereas in classical or Roman- »May 5-6, Enwave Theatre: Charpentier's La Descente by emulation, but through trial and error. “I never tic music it’s really written in the piece and you d'Orphee aux Enfers, James Rolfe's Orpheus and Eurydice listen to a recording of a piece until I’ve already mustn’t stray.” She’s eager to work on other »June, The Queen of Puddings Music Theatre learned the notes,” she says. “You develop your contemporary works, and is extremely excited www.shannonmercer.com THE POLITICAL N TES CONTINUED FROM PAGE 9 PHILADELPHIA ORCHESTRA DECLARES BANKRUPTCY SIDE of the ARTS After 111 years in operations, the board of the prestigious Philadelphia  Orchestra voted on April 16 to file for bankruptcy protection, making it by REBECCA CLARK the first major American ensemble to do so. For now, the PO will continue his May 2, will arts policy influence your vote as it did in the 2008 to perform concerts. In an attempt to save the orchestra from liquida- election? According to a July 2008 report from the Conference tion, they are expected to announce a $214 million fundraising campaign, Board of Canada, Canada’s artistic and cultural sector is respon- their largest to date. The musicians have also been asked to take a 16% sible for 7.4% of Canada’s total real GDP and over 1.1 million jobs. pay cut as well as other concessions. CC T Support from the Canadian government is essential to the sector. The Conservative government increased Canada Council for the Arts fund- MIMC QUARTERFINAL CANDIDATES ANNOUNCED ing by 20% to more than $180M, and, along with 14 Canadian network and The 10th Montreal International Musical Competition (this year dedicated telecommunications companies, helped create the Canadian Media Fund. to piano) has announced 24 candidates (average age 25) from twelve But in 2008, Harper implied that the arts were irrelevant to Canadians, and countries for the quarterfinals (May 24-26), each vying for the $30,000 have repeatedly delayed the $25M Canada Prize announced in the 2009 top prize. Canada has the most pianists with four: Tina Chong, Younggun budget. This year, the Tories promise to support the Royal Conservatory and Kim, Steven Massicotte, and Avan Yu. The semi-finals will take place May the Canadian Periodical Fund. In its budget, the Tories introduced a tax credit 27 and 28, while the finals will be held on May 31 and June 1. As in past for families of $500 per child enrolled in “eligible arts or cultural activities,” years, all rounds can be viewed live (audio-video) courtesy of Espace- five years after introducing a similar tax credit for sports; note, the credit musique. The international jury includes Arnaldo Cohen (Brazil), Jean- effectively gives $75 per child. Philippe Collard (France), Mari Kodama (Japan), James Parker (Canada), The Liberal party promises to double Canada Council for the Arts funding to Benjamin Pasternack (United States), Imre Rohmann (Austria) and Lilya $360M. They also promise to reinstate funding for PromArt and Trade Routes with Zilberstein. www.concoursmontreal.ca CC $25M. As for media concerns, the Libs want greater access to broadband internet without usage caps for Canadians and have worked for effective copyright laws. VANCOUVER OPERA MOVES INTO NEW HOME The NDP believes in creating new arts touring funds to replace PromArt To unite its production and administrative facilities, the Vancouver Opera and Trade Routes and, like the Liberals, in net neutrality and copyright reform will be moving to a new rehearsal, production, storage, box office, and that “[balances] consumers’ and creator’s rights.” They also support tax administrative space: the Vancouver Opera Centre (1945 McLean Avenue, averaging for artists, which can ease income tax time for artists whose in- near Commercial Drive). Its main stage performances will continue to be comes vary greatly from year to year. performed at the Queen Elizabeth Theatre downtown. CC Valuing Culture: Measuring and Understanding Canada’s Creative Economy by the Conference Board of Canada is available free of charge at www.conferenceboard.ca

SPRING 2011 11 TMS9-2_p12-13_Mulroney+Wish_TMS9-2_pXX_layout 2011-04-18 8:36 PM Page 12 OPERA MULRONEY THE OPERA A former Prime Minister gets the operatic treatment

by JOSEPH K. SO

ho says politics and art don’t mix? Or to be more precise—who says political Wthemes make deathly dull subjects in the arts? The fact is that politics have always been fodder for the operatic imagination, from Verdi’s Un ballo in maschera to Adams’ Nixon in China. But typically composers treat their subject with the utmost se- riousness, even reverence. Not so Canadian composer Alexina Louie and writer/librettist Dan Redican. They have taken an outrageously funny look at one of the most flamboyant and contro- versial figures in Canadian politics in their newest creation Mulroney: The Opera. Filmed by Rhombus Media with actors and a separately recorded soundtrack with opera singers, the film premiered in selected cinemas across Canada on April 16 (there will be an encore presentation on April 27) as part of the Met in HD series, introduced by Peter Gelb no less. Four years in the making, it represents the continuing collaborative efforts of Though he looks nothing like the politician in real composer Louie and producer Larry Weinstein. PHOTOS Rhombus Media life, after three-hour make-up sessions and a pros- They had previously collaborated on Toothpaste thetic chin, Miller’s transformation is nothing short and Burnt Toast, two works that have won critical cast of characters that made up the Mulroney era of astounding. Others are equally impressive—the acclaim. Mulroney: The Opera is a much more am- are also finely drawn; in fact, the film pokes fun at profile of Trudeau (played mischievously by Wayne bitious project, with a budget of $3.5 million and everyone, living or dead. Stylistically it’s like a series Best) reclining on a chaise lounge, cape and all, sniff- a huge cast of actors and singers. It captures a of political cartoons, as librettist Dan Redican so ing a red rose is priceless. Despite having separate particularly interesting moment in Canadian his- succinctly puts it. Not only has Redican contributed singers and actors, the lip-synching is nearly perfect. tory, a time populated by larger-than-life person- a brilliant libretto, he is also hilarious as the bum- The casting of light tenors for several of Mulroney’s alities like Brian Mulroney and Pierre Elliott bling Fictitious Historian, a sort of “speaker” or antagonists—including John Turner—portrays Trudeau. As the film begins, it’s 2002 and the dig- “narrator” such as one finds in certain Greek them as wimpy foes next to the manly baritone of nitaries are gathered on Parliament Hill for the tragedies. Musically the work does not pretend to Okulitch (pace character tenors!). The ultimate ques- unveiling of the Mulroney official portrait. In be original—it’s best described as eclectic, consist- tion has to be: What would be the reaction of the flashback style, the film goes on to give the viewer ing of a pastiche of musical styles that somehow real life Mulroney to this film? The accompanying a snapshot of the former PM—his childhood in manages to work. The Baie Comeau scene is like a documentary seems to offer him an olive branch. It Baie Comeau, his romance with one Mila Pivnicki, page out of Gilbert & Sullivan, complete with a stresses that the whole thing is all in fun— “It’s not his dramatic election win, and the subsequent swaying chorus. Opera buffs are bound to get a kick a grueling satire; there’s a certain affection [for him]; controversies and scandals that plagued his two out of the many literal quotations from famous if not in the words, it’s in the music,” says producer terms in office. operas— Don Giovanni, Flying Dutchman, La Weinstein. Okulitch adds that the film “is not trying I was fortunate to have had a sneak peek at the bohème, Carmen, even Dido and Aeneas! Who can to be a realistic recreation of his life—it’s meant to film and the accompanying documentary. Without resist the outlandish images of Trudeau and Mul- be a satire.” The reaction of the 18th prime minister giving too much away, I can say that, typical of this roney in a combative tango set to the music of the of Canada to Mulroney: The Opera is anyone’s guess. genre, Mulroney: The Opera is not meant to be a Habanera? Or in the film’s dénouement when Mul- Will he even see it? Perhaps the final chapter of the history lesson. Rather, it retells Mulroney's story in roney desperately intones “Remember me… Mulroney saga remains to be written. TMS an outrageously comedic fashion, one that is a remember me…” from “Dido’s Lament”? strange mix of truth and fancy. To be sure, it cleverly Actor Rick Miller is a tour-de-force Mulroney. The April 27 in select theatres. www.mulroneytheopera.ca captures Mulroney the man and the politician. The make-up department deserves some sort of award.

12 SPRING 2011 TMS9-2_p12-13_Mulroney+Wish_TMS9-2_pXX_layout 11-04-18 7:13 PM Page 13 OPERA WHEN YOU WISH UPON

AN OPERA… The newest operatic kid

on the block kicks off with Rose Marie by JOSEPH K. SO TONIA CIANCIULLI: “ We are just focusing hat’s more quintessentially on bringing things up Canadian than the Rockies, Mounties, Indians and Ro- to date and making Wmance? It’s billed as a Canadian them accessible to love story between a French girl and an English boy, set in the wild west of the the modern day Canadian Rockies. Throw in a scintillating score Monica McKenna PHOTO with catchy tunes, sung by up-and-coming singers audience. with beautiful voices and attractive stage presence, That’s not in the movie… and you’ve got the right ingredients for success. people who may not even think of going to the No it’s not, because the movie is not true to the That’s certainly the strategy of Wish Opera, in its opera. In our productions, in addition to singers original operetta. In the original this scene does inaugural production of Rudolf Friml’s operetta, we also feature Canadian designers of fashion, exist. The Montreal designers are Denis Gagnon Rose Marie. Founded in the spring of 2010, Wish furniture, interiors, and photographers. and Marie Saint Pierre—they are very talented and Opera has as it mission the fusion of fashion and certainly designers to watch. When we get a larger design with the beauty of the operatic art form in Last year at the Wish Opera Launch Concert at budget, we’ll be able to go to the designers and ask productions that appeal to the contemporary au- York University, you announced plans for a if they can create specific costumes for us. For now dience. Given its mandate to support and nurture production of Don Giovanni in a different venue we are just going with what they already have. Canadian artists, Rose Marie stars an all-Canadian and with a different conductor. Why the change? cast, led by Quebec mezzo-soprano Maude Brunet We had planned to do Don Giovanni up at York Considering that you use contemporary design- as Rose Marie La Flamme. Her love interest, English University, but after the launch, we quickly ers, is it safe to say your productions are going Canadian miner Jim Kenyon, is sung by baritone realized that to sustain the company we needed to have a contemporary feel to them, as oppo- Todd Delaney. Bass-baritone Olivier Laquerre is to be downtown. A lot of our audience are in the sed to traditional productions? Rose Marie’s brother Emile. This musical was a downtown core—that’s just the reality of it. We Well, I am not looking for things to be abstract. If huge hit on Broadway in 1924, and it was adapted found a new home in the John Bassett theatre at it’s more contemporary, it’ll be more accessible for for film no less than three times. The most famous the Metro Toronto Convention Centre. It’s a stun- the audience. We might be doing period pieces as version was the 1936 Hollywood movie starring ning 1,300 seat facility, and they are excited to well, but for now, I think we are just focusing on Jeanette MacDonald and Nelson Eddy, and the have us there. We also found a new music director bringing things up to date and making them song “Indian Love Call” became the signature tune in Kerry Stratton. He’s got an incredible persona - accessible to the modern day audience. of this screen couple. Soprano Tonia Cianciulli is the lity and is very supportive of Canadian talent. driving force behind this ambitious venture. Re- Tell us about your plans for the orchestra. cently she spoke with TMS about her new project: Combining the beauty of music with fashion We are forming a Wish Opera Orchestra. Kerry and design, which are by nature also expres- (Stratton) can speak to that. Trumpeter Andre Tell us a little about your background as an sions of beauty. In other words “beauty” figures Dubelsten is working with Kerry to pull together artist and what is your vision for Wish Opera. prominently in the ethos of Wish Opera. Does a team. For Rose Marie it will be an orchestra of 19 Can you explain the concept of combining that mean when it comes to opera singers, you or 20 musicians. This work has a lot of Canadian music with fashion and design for our readers? want them to be beautiful too? content—it’s set in the Rockies and we have an all- I am a classically trained singer—I studied voice (Laughs) I guess that’s an understandable question! Canadian cast. We’ve even have the RCMP on at the University of Western Ontario. The idea for No, we are looking for singers who can perform the board. They are often reluctant to come to these Wish Opera came out of an event I did for clients role—we are not looking to fill the roles with the events as people often don’t take them seriously. I of my husband’s company six years ago. We took same tall, skinny people! Ideally we want to hire had to convince them that it would be a good op- over an empty loft space in the Liberty Village area singers who can do a quality job. Where the fashion portunity for them to educate the public. Before in downtown Toronto, painted it white and we comes in at this point is that we are pulling pieces curtain, Constable Terry Russel will appear, dressed had six or seven different artists displaying their from different designers’ lines that we can use as in his Royal Red Surge regalia, and speak to the au- works. We had a stage built for live jazz, opera, and costumes. It gives the designers exposure and lets dience about the significance of the Mounties uni- fashion; it represented a fusion of the arts. We got people know that there are lots of local talent. For form. Canadian painter Charles Pachter has also great feedback from the arts community. This Rose Marie we have two designers from Montreal agreed to be on board. He is well known for his ren- event provided a platform for artists to gain who have agreed to feature their lines on stage for derings of the Canadian flag and the Queen on the exposure and experience. Through that I devel- us. There’s actually a scene in Rose Marie that takes moose and his classic painting of a Mountie—you oped a passion for working with artists of all place in a dress boutique in Quebec City where a can’t get more Canuck than that (laughs)! TMS mediums, and I see this as a way of expanding the little fashion show takes place! audience of opera. By fusing the different art Friml & Stothart: Rose Marie, April 15 & 16, John Bassett forms, we are opening it up to younger people, Theatre, 255 Front Street West, Toronto www.wishopera.ca

SPRING 2011 13 TMS9-2_p14-15_OttawaPreviews_TMS9-2_pXX_layout 11-04-18 7:19 PM Page 14 PREVIEWS

MALCOLM LOWE to perform FANS OF YUJA WANG can catch her Brahms with Darren Lowe at the National Arts Centre PHOTO Michael Lutch PHOTO

OTTAWA

by JULIE BERARDINO Holger Hage PHOTO VERDI REQUIEM The Polish-born Canadian soprano Maria Knapik has performed throughout Europe and North America, including Carnegie Hall. Highly involved in the promotion of the arts, she recently was awarded a gold SOPRANO DONNA BROWN will ANGELA HEWITT medal from the American Institute of Polish Culture. She will be fea- appear with Thirteen Strings in recital on may 7 tured soloist in Verdi’s Requiem, alongside mezzo Renée Lapointe, tenor

PHOTO www.duobrazil.com www.duobrazil.com PHOTO Enrique Pina and baritone Jeffrey Carl, under the direction of Michel PHOTO Bernd Eberle PHOTO Brousseau, her partner and companion. This unique event is a collabo- ration between the Ottawa Classical Choir and New World Philharmonic Orchestra. May 21, NAC. www.ottawaclassicalchoir.com

The Bogotá Philharmonic Orchestra, EXCITING PROGRAM AT Colombia, public institution attached to the THE NATIONAL ARTS CENTRE «Secretaría Distrital de Cultura, Recreación y In addition to a beautiful afternoon of chamber music of Brahms, on Deporte» of the Mayor's Office of Bogotá May 8 at 2 p.m. with Malcolm and Darren Lowe, the NAC offers the PUBLIC ANNOUNCEMENT opportunity to hear rising stars on May 16 at the Finals of the 2011 NAC Orchestra Bursary Competition. of selection for individuals interested in taking part in the » On the symphonic side, the amazing pianist Yuja Wang performs the Invitation to Compete No.001 of 2011 for the provision of the virtuosic Rhapsody on a Theme of Paganini by Rachmaninov on May 25 following posts: and 26. Sibelius’s First Symphony and Freak in Burbank by contem porary One (1) vacancy for Swedish composer Albert Schnelzer are also on the program. Thomas Bassoon Group Leader – Grade 05 Dausgaard, conducts. One (1) vacancy for Orchestra Musician » On June 1, be carried away by the grandiose and fantastic poetry of Violoncello – Grade 03 One (1) vacancy for Orchestra Musician Mahler’s Fourth Symphony. The finale will feature soprano Erin Wall, Violoncello - Grade 02 whose agile coloratura technique has earned her critical acclaim. Pianist One (1) vacancy for Orchestra Musician Jon Kimura Parker performing Mozart’s 27th and last piano concerto; Violin – Grade 01 Pinchas Zukermann conducts. www.nac-cna.ca Nature of the post: Public Servant Engagement: Working Contract. ANGELA HEWITT APPLICATIONS: From 02nd May to 10th June 2011 Always popular, a recital by pianist Angela Hewitt is a must, especially since all ticket sales of the May 7 concert go to support the Bruyère FURTHER INFORMATION: Foundation, champions of the well-being of aging Canadians. It’s a [email protected] demanding program of Bach, Beethoven and Brahms, full of nuance and www.filarmonicabogota.gov.co subtlety. Christ Church Cathedral. www.chamberplayers.ca THIRTEEN STRINGS A refreshing program awaits you on May 10, when conductor Kevin Mal- lon leads the Thirteen Strings and the Junior Thirteen Strings. The wonderful soprano Donna Brown will perform works by Arne, Purcell and Britten’s Les Illuminations. St. Andrew’s Church. www.thirteenstrings.ca

14 SPRING 2011 TMS9-2_p15_donationad_sm16-5_pXX 11-04-18 7:03 PM Page 15

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SOUTHERN ONTARIO tenor Krešimir Špicer. David Fallis conducts. www.operaatelier.com

VOCAL On the recital front, soprano Adrianne PREVIEWS Pieczonka will take time out from her PREVIEW run of Ariadne to sing an all-German liederabend at Koerner Hall, with Brian by JOSEPH K. SO Zeger at the piano. On the program are songs by Schubert, Strauss, and It may not look or feel like it, but spring Wagner’s Wesendonck- Lieder. In my is officially here in Southern Ontario, interview with her recently, she said and with it come plenty of operatic she’s programming as encores some blooms. Top on the list is the three- show tunes, as homage to the great production Spring Season of the Cana- Barbara Cook who recently appeared at dian Opera Company, led by the return Koerner Hall. www.rcmusic.ca of Rossini’s La Cenerentola (Apr. 23 – PHOTO Marty Umans PHOTO May 25). It was last staged by the COC The International Resource Centre for in April 1996 with the marvelous Anna Performing Artists will present a week Caterina Antonacci as Angelina. This of opera coaching (May 5-9) in Toronto time around it will be mezzo Elizabeth by renowned Metropolitan Opera vocal DeShong in the title role, with sensa- coach Joan Dornemann and La Scala’s tional high tenor Lawrence Brownlee Vincenzo Scaleria. The sessions are as her Prince Charming, called Don open to the public for $20. The week Ramiro in the Rossini opera. Baritone culminates with a concert on May 11 to Brett Polegato is Dandini and Ita lian celebrate Toscannini. www.international- buffo Donato DiStefano returns to the resourcecentreforperformingartists.com, COC as Don Magnifico. Conductor 416-362-1422 Leonardo Vordoni makes his COC debut. Strauss’ Ariadne auf Naxos (Apr. Finnish diva Karita Mattila is making 30 – May 29) returns after a 16-year one of her rare visits to Toronto on May absence, this time with soprano 5 and 7, as soloist with the Toronto Adrianne Pieczonka in one of her sig- Symphony Orchestra, in an evening of nature roles. Alice Coote is the Kompo - (nearly) all Finnish music. On the pro- nist and Canadian soprano Jane gram are works by Saariaho, Sibelius,

PHOTO Cylla von Tiedemann von Cylla PHOTO Archibald is Zerbinetta. These ladies Ravel and Bloch. Mattila will be singing recently sang together in Ariadne in in Sibelius’ Luonnotor as well as in Mi- Munich and it was fabulous. Bacchus rage, a piece composed for her by Saari- is tenor Richard Margison, and Sir An- aho. Hannu Lintu conducts. www.tso.ca drew Davis makes his COC conducting debut. The third production is Gluck’s The Aldeburgh Connection is presenting Orfeo ed Euridice (May 8 – 28) with the its annual Schubertiad in memory of fabulous countertenor Lawrence Zazzo Greta Kraus on May 1 at Walter Hall, as Orfeo and Canadian soprano Isabel University of Toronto. The soloists are Bayrakdarian as Euridice. Early music soprano Gillian Keith, tenor Lawrence specialist Harry Bicket returns to the Wiliford and baritone Tyler Duncan. COC to conduct. www.coc.ca Stephen Ralls and Bruce Ubukata are at the piano. www.aldeburghconnection.org Another high profile show is Opera Ate- lier’s La clemenza di Tito (Apr. 22- May 1). On May 8 at the Glenn Gould Studio, the It marks the return of Canadian so- Off Centre Music Salon is presenting its

PHOTO Yves Rivard Yves PHOTO prano/pop culture diva Measha Brueg- Czech/Russian and Italian Salons, with gergosman to OA after her sensational the colourful title Lost in Love… and Elettra in Idomeneo three seasons ago. sometimes Lust! Soloists are tenor Colin She is singing the dramatic role of Vitel- Ainsworth, baritone Peter McGillivray, lia. The exceptional male soprano and sopranos Rachel Cleland-Ainsworth Michael Maniaci returns to OA as Sesto, and Lucia Cesaroni. Boris and Inna and the title role is taken by dramatic Zarankin are, as usual, at the keyboard.

PHOTO Lauri Eriksson PHOTO www.offcentremusic.com

FROM TOP LEFT: 1. LAWRENCE BROWNLEE 2. MEASHA BRUEGGERGOSMAN 3. MAUDE BRUNET 4. KARITA MATTILA

16 SPRING 2011 PREVIEWS Kin Akira PHOTO , 17 and Unstern! Sinistre, Rorate Coeli Rorate www.showoneproductions.ca and Rachmaninoff’s Sonata and Rachmaninoff’s Eine Sonate für das Album von für das Album Eine Sonate 2011 Mephisto Waltz S.199, S.199, Nuages gris, 1, No. S.200, If you saw this Russian powerhouse at powerhouse Roy saw this Russian If you Matsuev, by Show One Productions, Presented Aimard, who is named Instrumentalist who of the Aimard, The Sinfonia Toronto has come a long way in a long way has come Toronto The Sinfonia SPRING WWV 85, Berg’s Piano Sonata in B Minor, Sonata Piano Berg’s WWV 85, M.W., Frau 9 in F Major, No. Sonata Piano 1 and Scriabin’s Op. www.performance.rcmusic.ca “Black Mass”. 68 Op. and the Gergiev Valery Thomson Hall with you last season, Orchestra Theatre sky Mariin in his want to miss pianistwon’t Denis Matsuev 12. debut on May piano recital Toronto has been the artistic of director 35, the Sergei since 2008 and has Foundation Rachmaninoff on the unknown works Rachmaninoff’s recorded house in piano at the Rachmaninoff composer’s Mat- recital, In this special one-day-only Lucerne. A minor, Sonata Schubert’s has programmed suev “Appasionata” 23 No. Sonata Beethoven’s Op.143, Liszt’s , S.208, disastro in B Sonata and Piano the daunting the pianist will also In between, S.178. Minor, perform Wagner’s Koerner Hall’s Sunday afternoon piano series will afternoon Sunday Hall’s Koerner Laurent pianist Pierre- to an end with French come 1. on May Aimard in Lon- Philharmonic Awards by both the Royal Year a mostly Liszt will present don and Musical America, gon- La lugubre of the composer’s program recital dola, conclude with the orchestral version of Schubert’s version with the orchestral conclude www.sinfoniatoronto.com Quartet in G minor. No. 2 (second edition). edition). 2 (second No. recent years. Under the baton of conductor Under the baton years. recent the 13-piece virtuoso string Nurhan Arman, pianist Laplante joins Canadian André orchestra 2 No. Concerto Piano Glenn at CBC’s in Beethoven’s The concert will open 13. Gould Studio on May of include the premiere Adagio, with Albinoni’s Norbert composer Palej’s Polish

The

PHOTO Henry Fair Henry PHOTO El amor PHOTO Nan Watanab Nan PHOTO and Rach- Les offrandes Les www.tso.ca .

The Isle of the Dead PHOTO EMI Classics EMI PHOTO If you prefer live concerts in a more intimate concerts in a more live prefer If you will play Kuerti the 72-year-old On April 30, Simone pianists Stewart Goodyear, Following After she turns 41 years old on May 10, the 10, old on May she turns 41 years After setting, it’s a keyboard wonderland over at wonderland over a keyboard it’s setting, Hall and who better to tackle Johannes Koerner Kuerti. own Anton than Brahms the city’s in D minor, No.1 Concerto Piano beloved Brahms’ in founded with Philharmonic, the Ontario Op.15 Marco in 1957 and led by conductor Oshawa features The other half of the program Parisotto. Op.68. in C minor, No.1 Symphony Brahms’ Fleisher, Hélène Grimaud and Leon Dinnerstein, maninoff’s maninoff’s , com- Concerto Water 26 and 28: town on May in composed , Concerto and Paper posed in 1998, Both concertos run about 30 minutes each 2003. ones that unusual solo instruments, and feature made from and ones that are with water interact enlisted for Percussionists respectively. paper, these two highly visual and entertaining per- Wang and Cui Kun Beibei, Wang are formances Dun will his own compositions, Aside from Juan. Manuel de in Spanish composer TSO conduct the his ballet from Dance” “Ritual Fire Falla’s Apprentice The Sorcerer’s Dukas’ oubliées, , composed in 1915, and Charles Ives’ and Charles Ives’ 1915, in composed brujo, in 1906. composed Question, Unanswered pianist Gabriela Montero Venezuelan-American Known for debut on June 1 and 2. TSO her will make will take Montero gifts, her unique improvisational Theme of showy Rhapsody on a on Rachmaninoff’s Paganini, 43 Op. Oundjian Peter with music director TSO’s will also feature The program on the podium. Valdepeñas, Joaquin own principal clarinettist, very Clarinet rhapsodie for Première in Debussy’s and and jam- not itthis exciting for That’s Orchestra. to concert will also be three treated packed as you symphonic poems of Messiaen’s

). La clemenza di La clemenza

on May 21. Perlman is Perlman 21. on May  1. TAN DUN TAN 1.

will bring two of his concertos to 3. EMANUEL AX 3. L.H. TIFFANY HSIEH TIFFANY L.H. on May 11 and 12. Ax returns to Toronto to returns Ax 11 and 12. on May PREVIEW 2. ITZHAK PERLMAN ITZHAK 2. by

Itzhak Perlman SOUTHERN ONTARIO Tan Dun Tan 4. GABRIELA MONTERO GABRIELA 4. , K. 621 and concludes with Strauss’ Eine with Strauss’ 621 and concludes K. , CLOCKWISE FROM TOP LEFT: TOP FROM CLOCKWISE Ever the dramatist, Chinese composer and con- Chinese composer the dramatist, Ever The Toronto Symphony Orchestra has a stun- Orchestra Symphony Toronto The at the favourite as a perennial Also returning INSTRUMENTAL Tito 64 (An Alpine Symphony Op. , Alpensinfonie a one- back as both soloist for and conductor this special concert, For performance. night-only violin virtuoso has pro- the Israeli-American works, much-loved of Mozart’s three grammed K. and Orchestra, Violin his Adagio in E Major for K. and Orchestra, Violin in C Major for Rondo 261, The 173dB. K. 25 in G Minor, No. 373 and Symphony No. Symphony up with Dvoák’s concert will wrap World”. the New “From 95, Op. 9 in E Minor, ductor with conductor Sir Andrew Davis in one of Mozart’s Davis Sir Andrew with conductor his Piano most appealing and charming works, The program 453. K. 17 in G Major, No. Concerto Overture to opens with Mozart’s ning line-up of great performers in May and June, in May performers ning line-up of great starting with pianist the modest American-Jewish Emanuel Ax long-time friend and collaborator, is Ax’s TSO violinist The heavyweights are coming to Toronto in Toronto to coming are The heavyweights and you of months the next couple over droves can them if you to look for hard too have won’t Hall or Koerner Thomson Hall, just get to Roy Glenn Gould Studio. TMS9-2_p16-17_Previews_TMS9-2_pXX_layout 11-04-18 7:22 PM Page 17 Page PM 7:22 11-04-18 TMS9-2_p16-17_Previews_TMS9-2_pXX_layout TMS9-2_p18-21_Camps_TMS9-2_pXX_layout 2011-04-18 6:57 PM Page 18

CAMPS SPECIAL INTO the WOODS NEW PROGRAMS at LAKEFIELD MUSIC by FJÓLA EVANS ake Field Music camp, nestled in the trees above Lake Katchewanooka in the picturesque Kawartha Lakes region Lof Ontario, is a camp like no other. Dur- ing the month of August, the campus of Lake Field College School becomes overrun with music lovers, but this is not the typical scene of twelve-year-olds hacking away at their Suzuki method—Lake Field Music caters specifically to adult musicians. Running alongside CAMMAC (Canadian Amateur Musicians/Musiciens ama- teurs du Canada) and known as the CAMMAC On- tario Music Center for the past 33 years, the camp recently became independent and is presenting its first summer program as an independent body. also plenty to choose from, with thirty courses making in a non-competitive and encouraging Like most music camps, Lake Field offers a wide offered by the Classical session. The range environment.” If a more experienced musician variety of activities, including non-musical ones. includes everything from full orchestra to playing attending the camp wants to bring their non- Activities centred on the natural beauty of the handbells to Mastering Ornamentation in musician spouse, there are courses offered at a region are very popular, as it is possible to enjoy a Baroque and Classical Music. The world music level for everyone! In addition, for the past six swim or canoe ride in Lake Katchewanooka, a hike, contingent is also represented here, with tabla years, the camp has been offering classes to the or a game of tennis on the campus grounds. But player Ravi Naimpally teaching a course on Indian children of participants. They hope to inspire in it is in its attention to musical programming classical music where students learn how to play the children a life-long love of music, and encour- where Lake Field Music really stands apart. The the tabla, the rhythmic cycle of beats that is inte- age them to return to the camp as adults. Lake camp offers a wide array of classes for many levels gral to Indian Classical music. New classes this Field Music is a diverse musical summer learning of students. The programming focuses on two year were added to include a focus on courses experience open to all. In the words of Andrew sessions in August, one jazz and one classical where vocalists and instrumentalists perform Wolf, “The camp has always succeeded at accom- music session. The jazz session offers fifteen dif- together, such as Jazz Standards in the jazz week modating beginner and advanced musicians ferent courses including Intro to Jazz Improvisa- and Early Music Repertoire in the classical week. without compromising each other’s experience. tion, Jazz Choir (new in 2011), Instrumental Jazz In an effort to make the camp more appealing Participants can come year after year and have a Combo and Brass Technique, all designed to hone and accessible to beginner musicians, two new different experience depending on their chang- students’ jazz and improv chops. Lake Field also courses were added this year specifically geared ing abilities and interests. No auditions required, provides a multitude of courses designed to towards the novice: Learn to Sing and Learn just play, sing, enjoy and be inspired!” expand the students’ exposure to different musi- Guitar. The objective the camp envisions is to keep cal genres. The jazz week presents a Klezmer class the camp accessible to students of different levels Lake Field Music is running two sessions this summer: Jazz taught by Martin van de Ven where the students but also to make the camp available to entire (July 31-August 7) and the Classical Music week (August 7- learn about the centuries-old musical tradition, families. According to camp president Andrew 14). The deadline to apply for a bursary is May 31. and study and play in the nuanced style. There is Wolf, “The goal is to facilitate amateur music- www.lakeﬁeldmusic.ca

When I got much older I took part in young artist training summer programs: Tanglewood in 2001, Remembering the Merola Opera Training Program affiliated with SUMMER MUSIC CAMP San Francisco Opera in 2002, and finally the Music Academy of the West in Santa Barbara in 2003. by SHANNON MERCER I had wonderful experiences at all of these programs and worked with incredible coaches, I did many different kinds of summer camps teachers, conductors and colleagues. I was able to growing up. Sometimes my focus was on instru- continue my growth as an artist while connecting ments other than the voice such as violin, clarinet with like-minded people and creating lasting and percussion. Back then, I was interested and friendships. curious about all things musical. I think that The main thing was learning that there were curiosity helped me later on to get excited about other kids at that young age who also had a pas- orchestration and how the instruments weave sion for music. I remember the one headed up by and support the vocal line. My limited time play- Rod Ellias, a well-known guitarist in the Ottawa ing the violin still influences how I think about area and across Canada, where I played several Tansey Helen PHOTO breathing, phrasing and articulation. instruments, having much fun making music! TMS Read an interview with Shannon Mercer on page 10.

18 SPRING 2011 TMS9-2_p18-21_Camps_TMS9-2_pXX_layout 2011-04-18 6:57 PM Page 19

www.lambdaarts.ca | from June 1 to Au- www.camuest.com | from August 1 to 13, NEWFOUNDLAND gust 31, 2011 2011 Vinland Music Camp McGill Conservatory Day Camp Camp musical des Laurentides Box 40, Ladle Cove Strathcona Music Building, 555 Sherbrooke 60 place Mozart, St-Adolphe d’Howard www.soundbone.ca | from August 21 to 27, St. West, Montréal www.cmlaurentides.qc.ca | from June 26 to 2011 www.mcgill.ca/conservatory-camp | from August 21, 2011 June 27 to August 19, 2011 NOVA SCOTIA Camp musical du lac Matapédia Atlantic Jazz Festival Halifax, Musée d’art contemporain de (musique, danse, théâtre) Creative Music Workshop Montréal Day Camps Case postale 62, Rimouski S 185 Ste-Catherine Ouest, Montréal www.camplacmatapedia.com | from June Box 33043, Halifax www.jazzeast.com | from July 11 to 17, www.macm.org | from June 27 to August 26 to August 28, 2011 12, 2011 2011 Camp musical du Saguenay Lac- NEW BRUNSWICK Sunny Acres Day Camps St-Jean 21275 Lakeshore Road, Sainte-Anne-de-Bel- 1589, Route 169, Metabetchouan-Lac-à-la- University of New Brunswick levue Croix Music Camp sunnyacresdaycamp.com | from June 27 to www.campmusical-slsj.qc.ca | from June 16 University of New Brunswick-Box 4400, Fre- August 19, 2011 to August 21, 2011 dericton SuperCamp @ Vanier College www.unb.ca/cel/programs/creative/music/ Camp musical Père Lindsay music-camp | from August 13 to 20, 2011 821 Ste-Croix Sports Complex, St-Laurent C.P. 44, Joliette www.vaniercollege.qc.ca/supercamp | from www.campmusicallanaudiere.com | from MONTRÉAL June 22 to August 14, 2011 June 26 to August 20, 2011 Arti-Culture, camps multi-arts et Visual Arts Centre spécialisés 350, avenue Victoria, Montréal 2292, De Marbella, Laval visualartscentre.ca | from June 27 to Au- www.articulture.ca | from July 4 to August gust 26, 2011 26, 2011 QUEBEC CITY Camp Amy Molson Camp d’été de l’École de danse 5165 Sherbrooke St. W., suite 210, Montréal de Québec www.campamymolson.com | from June 5 to August 18, 2011 Centre de production artistique et cultu- relle Alyne-LeBel, Québec Camp de Blues www.ledq.qc.ca 400, de Maisonneuve West Blvd, Montreal www.campdeblues.com | from April 30 to QC ELSEWHERE May 1, 2011 CAMMAC Lake MacDonald Music Camp de jour de l’École Nos Voix Centre Nos Visages 85 chemin Cammac, Harrington (près de Lachute) 2516, rue Sainte-Hélène, Longueuil Camp musical Saint-Alexandre www.nosvoixnosvisages.org | from June 27 www.cammac.ca | from June 26 to August 267 rang St-Gérard, St-Alexandre-de-Ka- to August 19, 2011 14, 2011 mouraska Camp Livingstone Camp chanson de Petite-Vallée www.campmusical.com | from June 26 to CP818, Magog 51, rue Principale, Petite-Vallée August 21, 2011 www.camplivingstone.ca | from July 3 to www.festivalenchanson.com | from July 4 418-495-2898 • [email protected] August 13, 2011 to August 21, 2011 Camp: 26 juin au 21 août Camp musical d’été de Montréal Camp Musical d’Asbestos Limite: 15 juin 2011 (CMEM) C.P. 6, Asbestos Coût: 400$ - 1500$ Bourses: sur demande Université de Montréal, Faculté de Mu- www.campmusicalinc.com | from June 5 to sique.École des jeunes CP6128 succ. centre- August 19, 2011 Langues: français ville, Montréal Camp musical de l’Abitibi-Témis- Disciplines: chant, piano, flûte à bec, trompette, trombone, cor français, cuivres, vio- ecoledesjeunes.musique.umontreal.ca | camingue from June 27 to July 22, 2011 lon, alto, violoncelles, contrebasses, cordes, 8, rue Allard, Val-d’Or guitare, saxophone, clarinette, basson, Creative Video Day Camp www.campmusicalat.ca | from July 1 to Au- hautbois, bois, percussions, orchestre, cho- 6405 de Terrebonne, Montréal (NDG) gust 13, 2011 rale, musique de chambre, théorie, comé- die musicale, danse, régie sonore. collectivevision.ca | from July 5 to August Camp musical de l’Estrie 27, 2011 1370 Maurice-Duplessis, Sherbrooke École d’été, Arts et métiers d’art de Mont-Laurier CP 334, Mont-Laurier www.lecoledete.com | from July 4 to 29, 2011 École de théâtre du vieux St-Eus- tache, camp de théâtre et d’impro 36, rue St-Eustache, St-Eustache www.ecoledetheatrevse.com | from July 4 to 22, 2011 Institut Suzuki Montréal Université Concordia, Montréal www.suzukimontreal.org | from July 24 to 29, 2011 Lambda School of Music and Fine Arts 4989 boul des Sources, Pierrefonds

SPRING 2011 19 TMS9-2_p18-21_Camps_TMS9-2_pXX_layout 2011-04-18 8:45 PM Page 20

Camp musical Tutti 227 Front Street East, Toronto ONTARIO ELSEWHERE www.grebel.uwaterloo.ca/ommc | from Au- Bishop’s University, Lennoxville www.coc.ca | from July 11 to 22, 2011 gust 14 to 26, 2011 Algoma Music Camp www.camptutti.com | from June 26 to July Canadian Opera Company, Sum- Southhampton Summer Music Sault Ste-Marie 3, 2011 mer Youth Intensive 228 Edward Street, Southampton algomafallfestival.com | from July 17 to 30, www.summermusic.com | from July 25 to 227 Front Street East, Toronto 2011 29, 2011 www.coc.ca | from July 4 to 8, 2011 Arts Integra Centre for Music Fern Hill Summer Camp Southwestern Ontario Suzuki Camp Nominingue and the Arts Institute 3300 Ninth Line Road, Oakville 132 Main Street, Unionville 1889, ch des Mésanges, Nominingue Wilfrid Laurier University, Waterloo www.fernhillschool.com www.artsintegra.com | from July 5 to 9, www.nominingue.com | from July 2 to www.artset.net/sosi.html | from August 13 2011 August 28, 2011 Kingsway Conservatory Summer to 21, 2011 Camps Canadian Operatic Arts Academy Summer Camp at Singing Brook 2848 Bloor St. W, Toronto Don Wright Faculty of Music, London Farm kingswayconservatory.ca www.music.uwo.ca/coaa.html | from May 2 R R 2, Ingersoll to 22, 2011 National Music Camp singingbrookfarm.ca | from July 11 to Au- 227 Eglinton Ave. W, Toronto Elora Festival Kids’ Camp gust 19, 2011 www.nationalmusiccamp.com | from Au- PO Box 370, Elora SASKATCHEWAN gust 21 to September 4, 2011 www.elorafestival.com SOA Saito Conducting Workshop No Strings Theatre, Summer Goderich Celtic College & Kids’ Domine Forget International with Wayne Toews Music Theatre for Teens Day Camp Music and Dance Academy 1610 Morgan Ave, Saskatoon 50 Ashburnham Rd, Toronto Box 171, Goderich 5 rang St-Antoine, Saint-Irénée www.conductorschool.com | from July 24 www.nostringstheatre.com | from July 4 to www.celticfestival.ca/kids-day-camp.html | to 31, 2011 www.domaineforget.com | from May 16 to 31, 2011 from August 1 to February 5, 2011 September 5, 2011 ALBERTA 418-452-8111 • admission@domainefor- Ontario Youth Choir Guelph Youth Music Centre get.com A-1422 Bayview Avenue, Toronto 75 Cardigan Street, Guelph Banff Centre for the Arts - Sum- Limite: 15 mai 2011 www.choirsontario.org | from August 19 to gymc.ca | from July 1 to August 31, 2011 mer Music and Sound Programs Coût: 680$ - 2440$ selon le stage et la 27, 2011 107 Tunnel Mountain Dr., box 1020, Banff, durée Guitar Workshop Plus Banff Royal Conservatory of Music Bourses: Oui PO Box 21207, Mississauga www.banffcentre.ab.ca/Music 273 Bloor Street West, Toronto Langues: anglais, français www.guitarworkshopplus.com | from July www.rcmusic.ca 17 to 29, 2011 BRITISH COLUMBIA Disciplines: Chant, flûte, piano, trompette, trombone, cor français, cuivres, violon, alto, Southern Ontario Chamber Music Huckleberry Music Camp Comox Valley Youth Music violoncelle, contrebasse, cordes, guitare, Institute Muskoka Centre (CYMC) International clarinette, basson, hautbois, bois, musique Summer Youth Music School and de chambre, musique nouvelle, jazz, jazz 268 Lakeshore Rd. East, Suite 512, Oakville huckleberrymusiccamp.com | from July 2 vocal, danse. www.socmi.org | from July 31 to August 7, to 9, 2011 Festival Cours particuliers, classes de maître, mu- 2011 Humber College Summer Jazz 580 Duncan Avenue, Courtenay sique de chambre,ateliers spécialisés, www.cymc.ca | from July 3 to 29, 2011 concerts étudiants, entrées aux concerts Summer Opera Lyric Theatre, Workshop du Festival International… Une expérience Opera Workshop 3199 Lakeshore Blvd. W., Etobicoke Langley Community Music unique dans un cadre majestueux! 947 Queen St. E., 2nd Floor, Toronto calendardb.humber.ca | from July 18 to 22, School Suzuki Summer Work- www.solt.ca | from June 12 to August 8, 2011 shop 2011 Orford Arts Centre Interprovincial Music Camp 4899 207th Street, Langley 3165 chemin du Parc, Orford Tafelmusik Baroque Summer Camp Manitou, Parry Sound www.langleymusic.com | from July 6 to Au- gust 10, 2011 www.arts-orford.org | from June 10 to Au- Institute www.interprovincialmusiccamp.ca | from gust 13, 2011 427 Bloor Street West, Toronto August 20 to September 6, 2011 Penticton Academy of Music Université de Sherbrooke, École www.tafelmusik.org | from June 2 to 15, JVL Summer School for Perfor- Summer Programs 2011 d’été de chant choral ming Arts “Music in Summer” 220 Manor Park Ave, Penticton 2500 boul Université, Sherbrooke Theatre Ontario Summer Festival 2011 www.pentictonacademyofmusic.ca | from July 6 to 22, 2011 www.usherbrooke.ca/musique | from June Courses 79 Chagall Drive, Thornhill 25 to July 2, 2011 Peterborough www.musicinsummer.com | from July 7 to Pulse Creative and Innovative OTTAWA-GATINEAU theatreontario.org | from August 8 to 14, 17, 2011 Chamber Music Program and 2011 Kincardine Summer Music Festi- Festival Camp musical Adagio Toronto School for Strings, Sum- val 4899 207th Street, Langley 851-E, St-René O., Gatineau (Hull) mer Camps & Programs Box 251, Kincardine www.langleymusic.com | from July 23 to www.campmusicaladagio.com | from July 31, 2011 85 Collier Street, Toronto www.ksmf.ca | from July 31 to August 13, 4 to 29, 2011 torontoschoolforstrings.com 2011 Victoria Conservatory of Music JazzWorks Summer Jazz Work- Summer Academies Toronto School of Music Canada Lake Field Music (formerly CAM- shop 900 Johnson Street, Victoria 5803 Yonge Street, North York MAC Ontario Music Centre) CAMMAC, MacDonald Lake www.vcm.bc.ca | from July 4 to August 6, torontoschoolofmusic.com Lakefield College School, Lakefield www.jazzworkscanada.com | from August 2011 lakefieldmusic.ca | from July 31 to August 18 to 21, 2011 Toronto Summer Music Academy 14, 2011 EUROPE & Festival TORONTO Music at Port Milford 720 Bathurst Street, Suite 501, Toronto Brasov International Opera Pro- Bravo Academy for the Perfor- www.torontosummermusic.com | from 89 Colliers Road, Pleasantville gram ming Arts July 17 to February 14, 2011 www.mpmcamp.org | from July 16 to Au- Brasov 150 Laird Drive, Toronto gust 13, 2011 ispbrasovl20.wifeo.com | from July 1 to 15, University of Toronto Faculty of 2011 www.bravoacademy.ca | from July 1 to Au- Music Summer Programs Oakville Performing Arts Suzuki gust 31, 2011 Day Camp 80 Queen’s Park Circle, Toronto Camp Wahanowin, Creative Arts www.utoronto.ca/music | from July 4 to 268 Lakeshore Road East-Suite 512, Oak- Programs February 10, 2011 ville 227 Eglinton Ave W, Toronto www.oakvillesuzuki.org | from July 4 to 15, Yamaha Music Camp 2011 www.wahanowin.com 5075 Yonge St., 10th Floor, Toronto Ontario Mennonite Music Camp Canadian Opera Company yamahamusicschool.ca | from July 4 to 29, Summer Opera Camp 2011 Conrad Grabel College, Waterloo www.scena.org 20 SPRING 2011 TMS9-2_p21-23_International_TMS9-2_pXX_layout 11-04-25 7:29 PM Page 21 FESTIVALS

BARITONE MICHAEL VOLLE is set to give a recital at the Munich Opera Festival PHOTO Anne Kirchbach PHOTO FANS OF ADRIANNE PIECZONKA can catch her in Ariadne auf Naxos and Lohengrin

THE NATIONAL THEATRE Munich, one of Johannes Ifkovits PHOTO several venues playing host to the Munich – Aug. 28). This is a Ring-less summer – just Opera Festival, June 28 - July 31 Tannhauser, Die Meistersinger von Nurnburg, PHOTO Wilfried Wilfried Hosi PHOTO Lohengrin, Parsifal, and Tristan und Isolde. Bayreuth productions are extremely avant-garde of so be prepared! If you are one of the lucky ones SONGS with tickets in hand, enjoy the unforgettable BEL CANTO QUEEN EDITA GRUBEROVA experience; if you don’t have tickets and hope to SUMMER will reprise her Lucrezia Borgia show up hoping for returns, my advice is – don’t INTERNATIONAL Christian Laimer PHOTO bother, as your chance of success is very slim. Other singers giving recitals include baritones www.bayreuther-festspiele.de/english/programme_157.html OPERA FESTIVAL Michael Volle and Christian Gerhaher, as well as PREVIEW tenor Pavol Breslik, all at the larger Prinzregen- If Europe is too far for you, I can recommend Glim- tentheater. But tenor Jonas Kaufmann, whose merglass Opera (July 2 – Aug. 23) and Santa Fe Opera (July 2 – Aug. 27). Located it Cooperstown, by JOSEPH K. SO fame has reached rock-star status in Europe, will give one in the biggest theatre, the National - New York, it is ideal for opera fans who are also theater. And likely it will sell out, as his concert into baseball—there are quite a few of us out The weather is still cold outside, but there is noth- last summer was sold out in a matter of hours! there, believe it or not! If you are not a baseball ing like planning a trip to the summer festivals to Very special is the rare Saint François D’Assise by fan, I would suggest that you avoid the Baseball warm the hearts of Canadian opera fans. Since Olivier Messaien, and this is a great chance to Hall of Fame Weekend (July 22 – 24) as things get opera in Canada during the summer is virtually hear Jonas Kaufmann as Florestan in Fidelio. COC crazy in this small town. This season, the operas non-existent, we travel elsewhere. If time and Music Director Johannes Debus will be there for are Carmen, Medea, Annie Get Your Gun (!), and a money are not a concern, one can festival-hop to a single performance of Die Entfuhrung aus dem double-bill of A Blizzard in Marblehead Neck/Later venues such as the Salzburger Osterfestspiele Serail. Speaking of conductors, Canadian Yves the Same Evening. Deborah Voigt, the Met’s (April), Prague Spring Festival and Maggio Musi- Abel will conduct Bellini’s I Capuleti e i Montec- Brunnhilde, is adding Annie Oakley to go with her cale Fiorentino (May), White Nights Festival in St. chi. Bel canto queen Edita Gruberova reprises her Minnie in La fanciulla del West. She has the dash- Petersburg, Holland Festival and Aix-en-Provence Lucrezia Borgia, and there will be two performing Rodney Gilfry as Frank Butler. Francesca (June), Munich, Glyndebourne, Bregenz, Salzburg, ances of the magnificent Jürgen Rose/Otto Zambello directs. The double-bill of contempo- Santa Fe, Glimmerglass, Bayreuth, Savonlinna, Schenk production of Der Rosenkavalier starring rary works is intriguing: Blizzard is based on an Verona, Torre del Lago, Orange, Aix-en-Provence, the incomparable Anja Harteros as the episode in the life of playwright Eugene O’Neill, Macerata, Pesaro (July and August). Things quiet Marschallin. www.bayerische.staatsoper.de/866-- and Evening is inspired by on five paintings by down in the Fall, but there’s still the last weeks of ~Staatsoper~bso_aktuell~aktuelles.html Edward Hopper. Given the small town environ- the London Proms (Sept.) and Wexford in Ireland ment, booking accommodations in advance is a (Oct.). Below is a mini-preview of some of the From Munich it’s just a short hop to the Salzburg must. www.glimmerglass.org/season/season.html great offerings this summer. With the high Festival (July 27 – Aug. 30), with its glitz and Canadian dollar, there is no better time for a visit. glamour, not to mention fabulous music. As Finally, a favorite summer destination is the Santa usual, it will feature seven operas, with Die Frau Fe Opera Festival. I have attended this venue Top on my personal list is the Munich Opera ohne Schatten conducted by Christian Thiele- almost annually for the last dozen years. The mag- Festival (June 28 – July 31). There are many Cana- mann as the must-see. If you miss Gerald Finley’s nificent outdoor theatre with its superb acoustics dians singing there this summer, including four Don Giovanni in Munich, you can catch it in set against the spectacular desert landscape of in Don Giovanni (Gerald Finley, Erin Wall, Joseph Salzburg, conducted by Yannick Nézet-Séguin. northern New Mexico is unforgettable. The five Kaiser and Philip Ens). Fans of Adrianne Pieczonka Other Canadians include Michèle Losier as Dora- operas this summer are Faust, La Boheme, Griselda, can catch her in Ariadne auf Naxos and Lohen- bella in Cosi fan tutte, and John Relyea in the dou- The Last Savage and Wozzeck. Usually there are lots grin; and our own Ben Heppner will be there at ble-bill of Le Rossignol and Iolanta. Salzburg of Canadians singing there each summer, but this the end of the festival for two performances of tickets and accommodations are expensive. year it’s just baritone Daniel Okulitch in the rarely Tristan und Isolde opposite the fabulous Isolde of www.salzburgerfestspiele.at/oper seen The Last Savage by Giancarlo Menotti. The su- Nina Stemme. The great Soile Isokoski will give a perb singer and actor, soprano Nicola Beller liederabend of Grieg, Sibelius, Ives and Strauss in It is the dream of every Wagner fan to “make a Carbone, Opera de Montreal’s Salome, will sing the intimate and truly exquisite Cuvilliés-Theater. pilgrimage” to the Bayreuther Festspiele (July 25 Marie in Wozzeck. Highly recommended!

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festivals.scena.org SUMMER INTERNATIONAL 2011 FESTIVALS GUIDE

AUSTRALIA FRANCE MUSIKFEST BERLIN SPAIN Berlin, Sept. 2 to 20, berlinerfestspiele.de BRISBANE FESTIVAL 31ÈME FESTIVAL INTERNATIO- SCHLESWIG-HOLSTEIN MUSIK INT. CHOIR COMPETITION & Brisbane, September 3 to 24, NAL DE PIANO DE LA ROQUE FESTIVAL FESTIVAL MALTA brisbanefestival.com.au D’ANTHÉRON Schleswig-Holstein, July 9 to Aug 28, shmf.de Malta, November 3 to 7, interkultur.com La Roque d’Anthéron, July 22 to August 20, AUSTRIA festival-piano.com GREECE SWITZERLAND ACADÉMIE-FESTIVAL DES ARCS 1ST WORLD CHOIR CHAMPION- Les Arcs, July 17 to August 5, INTERNATIONAL FESTIVAL OF LUCERNE FESTIVAL IN SUMMER SHIPS FOR YOUTH AND YOUNG festivaldesarcs.com THE AEGEAN Lucerne, Aug. 10 to Sept. 18, ADULTS BESANCON INTERNATIONAL Hermoupolis, Syros, July 12 to 25, lucernefestival.ch Graz, July 10 to 17, graz2011.interkultur.com MUSIC FESTIVAL festivaloftheaegean.com VERBIER FESTIVAL AMERICAN INSTITUTE OF MUSI- Besançon, Sept. 16 to Oct. 1, Verbier, July 15 to 31, verbierfestival.com CAL STUDIES IRELAND festival-besancon.com ZURICH FESTIVAL Graz, July 4 to August 14, aimsgraz.com CHORÉGIES D’ORANGE WEST CORK CHAMBER MUSIC Zurich, June 17 to July 10, BREGENZER FESTIVAL Orange Cedux, July 9 to Aug 2, choregies.com FESTIVAL zuercher-festspiele.ch Bregenz, July 20 to August 21, FESTIVAL D’AIX-EN-PROVENCE Bantry, June 24 to July 2, westcorkmusic.ie bregenzerfestspiele.com TURKEY Aix-en-Provence, July 5 to 25, GRAFENEGG MUSIC FESTIVAL festival-aix.com ITALY 38TH INTERNATIONAL ISTANBUL Grafenegg, August 19 to September 7, FESTIVAL D’AUVERS-SUR-OISE grafenegg.at 9TH VENEZIA IN MUSICA, CHOIR MUSIC FESTIVAL Auvers-sur-Oise, June 4 to July 7, Istanbul, June 4 to 29, iksv.org INNSBRUCK FESTIVAL OF EARLY festival-auvers.com COMPETITION AND FESTIVAL MUSIC Venezia, April 27 to May 1, interkultur.com FESTIVAL DE MUSIQUE DE UK Innsbruck, August 10 to 28, altemusik.at STRASBOURG FESTIVAL DEI 2 MONDI INT. ANTON BRUCKNER CHOIR Strasbourg, June 7 to 24, Spoleto, June 24 to July 10, ALDEBURGH FESTIVAL festivaldispoleto.com COMPETITION AND FESTIVAL festival-strasbourg.com Suffolk, June 10 to 26, aldeburgh.co.uk Linz, June 1 to 5, interkultur.com FESTIVAL INTERNATIONAL DE FESTIVAL PUCCINI BATH INTERN. MUSIC FEST COLMAR Torre del Lago, July 22 to August 27, SALZBURG FESTIVAL Bath, May 25 to 5, bathmusicfest.org.uk Colmar, July 1 to 14, festival-colmar.com puccinifestival.it Salzburg, July 27 to Aug. 30, BBC PROMS salzburgfestival.com FESTIVAL MILLE ET UNE NOTES HIGHSCORE FESTIVAL London, July 15 to September 10, Pavia, July 6 to 18, highscorefestival.com WIENER FESTWOCHEN Limousin, July 17 to August 11, bbc.co.uk/proms festival1001notes.com Vienna, May 13 to June 19, festwochen.at IN... CANTO SUL GARDA INT. BRIGHTON FESTIVAL FESTIVAL MUSIQUE SUR CIEL CHOIR COMPETITION & FESTIVAL Brighton, May 7 to 29, brightonfestival.org BELGIUM Cordes sur Ciel, July 17 to 29, Riva del Garda, October 13 to 17, festivalmusiquesurciel.fr interkultur.com EDINBURGH INTERNATIONAL QUEEN ELISABETH COMPETI- LES NUITS PIANISTIQUES MAGGIO MUSICALE FESTIVAL FESTIVAL TION- INTERNATIONAL FESTIVAL Edinburgh, Aug. 12 to Sept. 4, eif.co.uk Lignane Puyricard, August 2 to September 3, Florence, April 28 to June 23, Brussels, May 5 to 21, cmireb.be lesnuitspianistiques.com maggiofiorentino.com GLYNDEBOURNE FESTIVAL PLACIDO DOMINGO’S OPERALIA MUSICASACRA A ROMA OPERA CROATIA Paris, July 18 to 24, operalia.org Rome, June 2 to 6, interkultur.com East Sussex, May 21 to August 28, glyndebourne.com DUBROVNIK SUMMER FESTIVAL RAVENNA FESTIVAL HENLEY FESTIVAL Dubrovnik, July 10 to Aug. 25, GERMANY Ravenna, June 7 to July 9, ravennafestival.org dubrovnik-festival.hr Henley-on-Thames, July 6 to 10, BAYREUTH PIANO FESTIVAL ROSSINI OPERA FESTIVAL henley-festival.co.uk CZECH REPUBLIC (LISZT CELEBRATIONS) Pesaro, Aug. 10 to 23, rossinioperafestival.it LAKE DISTRICT SUMMER MUSIC Bayreuth, July 3 to 30, steingraeber.de INTERNATIONAL FESTIVAL JAPAN PRAGUE SPRING INTERNATIONAL BAYREUTHER FESTSPIELE Kendal, July 29 to August 14, ldsm.org.uk MUSIC FESTIVAL Bayreuth, July 25 to August 28, PACIFIC MUSIC FESTIVAL LLANGOLLEN INTERNATIONAL Prague, May 12 to June 4, festival.cz bayreuther-festspiele.de SAPPORO MUSICAL EISTEDDFOD BEETHOVENFEST BONN Sapporo, July 9 to August 4, pmf.or.jp Llangollen, July 4 to 10, DENMARK international-eisteddfod.co.uk Bonn, Sept. 9 to Oct. 9, beethovenfest.de CARL NIELSEN INTERNATIONAL NETHERLANDS LUFTHANSA FESTIVAL OF BA- EUROPEAN MEDIA ART FESTIVAL ROQUE MUSIC MUSIC COMPETITION AND FESTI- Osnabrück, April 27 to May 1, emaf.de VAL HOLLAND FESTIVAL London, May 13 to 21, lufthansafestival.org.uk GERMAN PROTESTANT Amsterdam, June 1 to 26, hollandfestival.nl OPERA HOLLAND PARK Odense, May 31 to June 9, KIRCHENTAG nielsen.odensesymfoni.dk London, June 7 to August 13, Dresden, June 1 to 5, musikfestspiele.com NORWAY operahollandpark.com FINLAND GÖTTINGEN INTERNATIONAL BERGEN INTERNATIONAL FESTI- ST. MAGNUS INTERNATIONAL HANDEL FESTIVAL FESTIVAL HELSINKI FESTIVAL VAL Göttingen, Lower Saxony, June 3 to 14, Kirkwall, Orkney Islands, June 17 to 23, Helsinki, Aug. 19 to Sept. 4, helsinkifestival.fi haendel-festspiele.de Bergen, May 25 to June 8, fib.no stmagnusfestival.com ORIVESI SUMMER FESTIVALS INT. JOHANNES BRAHMS CHOIR RUSSIA THREE CHOIRS FESTIVAL Orivesi, June 4 to August 13, orivedensuvi.fi FESTIVAL AND COMPETITION Gloucester, August 6 to 13, 3choirs.org Weingerode, July 6 to 10, interkultur.com SAVONLINNA OPERA FESTIVAL STARS OF THE WHITE NIGHTS WELSH PROMS Savonlinna, July 1 to 27, operafestival.fi MORITZBURG FESTIVAL FESTIVAL Cardiff, July 8 to 16, welshproms.co.uk SYSMA SUMMER SOUNDS Dresden, August 7 to 27, St Petersburg, May 23 to July 24, moritzburgfestival.de mariinsky.ru/en YORK EARLY MUSIC FESTIVAL Sysma, July 2 to 9, sysmansuvisoitto.com MUNICH OPERA FESTIVAL York, July 8 to 16, ncem.co.uk/yemf.shtml Munich, June 25 to July 31, staatsoper.de

22 SPRING 2011 TMS9-2_p21-23_International_TMS9-2_pXX_layout 11-04-18 8:51 PM Page 23 FESTIVALS BOSTON EARLY MUSIC FESTIVAL Santa Fe, NM, July 17 to August 22, KINGSTON CHAMBER MUSIC FES- USA santafechambermusic.com Boston, MA, June 12 to 19, bemf.org TIVAL SANTA FE OPERA ANCHORAGE FESTIVAL OF MUSIC The largest Early Music festival in North America, Kingston, RI, July 20 to 31, BEMF features a fully staged operatic centerpiece— Santa Fe, NM, July 1 to August 27, kingstonchambermusic.org Anchorage, AK, August 22 to 22, Steffani’s “Niobe, Regina di Tebe” with soprano santafeopera.org anchoragefestivalmusic.com Amanda Forsythe and countertenor Philippe Ja- SPOLETO FESTIVAL USA JUNEAU JAZZ & CLASSICS roussky—alongside a week of concerts of Mediae- TAOS SCHOOL OF MUSIC SUMMER Charleston, SC, May 27 to June 12, val, Renaissance, and Baroque music, the CHAMBER MUSIC FESTIVAL spoletousa.org Juneau, AK, May 6 to 21, jazzandclassics.org world-famous Exhibition of instrument makers, pu- Taos, NM, June 19 to August 7, blishers, and other professionals, and more. AMERICAN FESTIVAL FOR THE SITKA SUMMER MUSIC FESTIVAL taosschoolofmusic.com ARTS Sitka, AK, June 3 to 24, sitkamusicfestival.org ROCKPORT CHAMBER MUSIC THE AMERICAN INTERNATIONAL FESTIVAL Houston, TX, June 20 to July 22, afatexas.net SEDONA BLUEGRASS FESTIVAL CHORAL FESTIVAL – RENO- Rockport, MA, June 9 to July 17, rcmf.org TAHOE 2011 AUSTIN CHAMBER MUSIC FESTI- Sedona, AZ, May 8, chambermusicsedona.org VAL & WORKSHOP TANGLEWOOD MUSIC FESTIVAL Reno-Tahoe, NV, May 4 to 8, MUSIC ACADEMY OF THE WEST renochoralfestival.com Austin, TX, July 6 to 23, SUMMER FESTIVAL Lenox, MA, June 25 to September 4, bso.org austinchambermusic.org BARD MUSIC FESTIVAL Santa Barbara, CA, June 20 to August 13, CHESAPEAKE CHAMBER MUSIC MIMIR CHAMBER MUSIC FESTI- musicacademy.org FESTIVAL Annandale-on-Hudson, NY, August 12 to 21, fishercenter.bard.edu/bmf VAL MUSIC IN THE VINEYARDS : NAPA Eastern, MD, May 30 to June 13, Fort Worth, TX, July 4 to 15, mimirfestival.org chesapeakechambermusic.com/festival BRIDGEHAMPTON CHAMBER VALLEY CHAMBER MUSIC FESTI- ROUND TOP FESTIVAL INSTITUTE VAL BOWDOIN INTERNATIONAL MUSIC MUSIC FESTIVAL FESTIVAL Bridgehampton, NY, July 28 to August 21, Round Top, TX, June 5 to July 17, Napa, CA, August 3 to 21, bcmf.org festivalhill.org musicinthevineyards.org Brunswick, ME, June 25 to August 6, VICTORIA BACH FESTIVAL NAPA VALLEY FESTIVAL DEL summermusic.org CARAMOOR INTERNATIONAL MUSIC FESTIVAL Victoria, TX, June 7 to 11, SOLE INTERNATIONAL MUSICAL ARTS victoriabachfestival.org INSTITUTE/FESTIVAL Caramoor, NY, July 28 to August 21, Napa Valley, CA, July 15 to 24, caramoor.org MOAB MUSIC FESTIVAL festivaldelsole.org Fryeburg, ME, July 7 to 16, imaifestival.org CHAUTAUQUA INSTITUTION Moab, UT, September 1 to 12, SUMMER MUSIC WEST KNEISEL HALL CHAMBER MUSIC moabmusicfest.org Chautauqua, NY, June 25 to August 28, San Francisco, CA, June 20 to August 5, FESTIVAL ciweb.org sfcm.edu/summer UTAH FESTIVAL OPERA Blue Hill, ME, June 24 to August 28, SUMMERFEST 2011 kneisel.org GLIMMERGLASS OPERA Logan, UT, July 6 to August 6, ufoc.org Cooperstown, NY, July 2 to August 23, ASH LAWN OPERA FESTIVAL San Diego, CA, August 3 to 26, ljms.org PORTLAND CHAMBER MUSIC glimmerglass.org FESTIVAL Charlottesville, VA, July 15 to August 7, TEMECULA VALLEY INTERNATIO- GREAT SOUTH BAY MUSIC ashlawnopera.org NAL FILM AND MUSIC FESTIVAL Portland, ME, August 11 to 20, pcmf.org FESTIVAL GREEN MOUNTAIN OPERA Temecula, CA, September 14 to 18, tviff.com PORTLAND STRING QUARTET Port Jefferson, NY, July 15 to 17, FESTIVAL ASPEN MUSIC FESTIVAL WORKSHOP AT ST. JOSEPH’S greatsouthbaymusicfestival.com COLLEGE Waitsfield & Barre, VT, May 28 to June 19, Aspen, CO, June 29 to August 21, JUNE IN BUFFALO greenmountainoperafestival.com aspenmusicfestival.com Standish, ME, July 17 to 31, portlandstringquartet.org/workshop.htm Buffalo, NY, June 6 to 12, KILLINGTON MUSIC FESTIVAL BRAVO! VAIL VALLEY MUSIC music.buffalo.edu/juneinbuffalo SALT BAY CHAMBERFEST Rutland, VT, June 19 to July 29, FESTIVAL LUZERNE CHAMBER MUSIC killingtonmusicfestival.org Vail, CO, June 26 to Aug. 3, Damariscotta, ME, August 16 to 26, FESTIVAL saltbaychamberfest.org MANCHESTER MUSIC FESTIVAL vailmusicfestival.org Lake Luzerne, NY, July 3 to August 22, CONCERT SERIES CENTRAL CITY OPERA INTERLOCHEN SUMMER ARTS luzernemusic.org FESTIVAL Manchester, VT, July 7 to August 18, Denver, CO, June 25 to August 7, MUSIC SALEM mmfvt.org centralcityopera.org Interlochen, MI, April 14 to May 23, interlochen.org Cambridge, NY, June 5 to August 14, MARLBORO MUSIC FESTIVAL COLORADO MUSIC FESTIVAL musicfromsalem.org KANSAS CITY STRING QUARTET Marlboro, VT, July 16 to August 14, Boulder, CO, June 25 to August 5, SARATOGA CHAMBER MUSIC marlboromusic.org coloradomusicfest.org PROGRAM FESTIVAL Kansas City, MO, July 22 to 30, ROCHESTER CHAMBER MUSIC CRESTED BUTTE MUSIC FESTIVAL kcstringquartet.org Saratoga Springs, NY, July 26 to August 14, SOCIETY spac.org Crested Butte, CO, July 3 to 12, SUMMERFEST CHAMBER MUSIC Rochester, VT, April 16 to 16, crestedbuttemusicfestival.com THE QUARTET PROGRAM AT SUNY rochesterchambermusic.org FESTIVAL ROCKY RIDGE MUSIC CENTER FREDONIA Kansas City, MO, July 9 to 31, VERMONT FESTIVAL OF THE ARTS Estes Park, CO, June 8 to August 21, summerfestkc.org Fredonia, NY, June 12 to July 31, Mad River Valley, VT, August 1 to September rockyridge.org quartetprogram.com 5, vermontartfest.com BREVARD MUSIC CENTER SUM- THE SKANEATELES FESTIVAL STRINGS IN THE MOUNTAINS MER INSTITUTE & FESTIVAL VERMONT MOZART FESTIVAL Steamboat Springs, CO, June 28 to August 27, Skaneateles, NY, August 8 to September 3, Burlington, VT, July 17 to August 7, Brevard, NC, June 24 to August 7, skanfest.org stringsmusicfestival.com brevardmusic.org vtmozart.com THE QUARTET PROGRAM AT U CO- WINDHAM CHAMBER MUSIC YELLOW BARN MUSIC SCHOOL HIGHLANDS-CASHIERS CHAMBER FESTIVAL LORADO BOULDER MUSIC FESTIVAL AND FESTIVAL Windham, NY, May 28 to September 3, Boulder, CO, July 3 to 31, Highlands, NC, August 8 to 14, Putney, VT, July 3 to August 7, yellowbarn.org quartetprogram.com windhammusic.com h-cmusicfestival.org SUMMER FESTIVAL AT OVERLAKE NORFOLK CHAMBER MUSIC FES- DAKOTA CHAMBER MUSIC SCHOOL TIVAL Minot, ND, June 6 to 12, luminustrio.com Redmond, WA, July 5 to August 12, Norfolk, CT, July 8 to August 13, seattlechambermusic.org/index.html yale.edu/norfolk WATERVILLE VALLEY MUSIC CENTER SUMMER CAMP BACH DANCING & DYNAMITE SO- AMELIA ISLAND CHAMBER MUSIC CIETY CHAMBER FESTIVAL FESTIVAL CONCERTS Waterville Valley, NH, July 24 to August 7, Madison, WI, June 10 to 26, Fernandina Beach, FL, May 20 to June 19, wvmusiccenter.org bachdancinganddynamite.org aicmf.com GREEN LAKE FESTIVAL OF MUSIC SARASOTA MUSIC FESTIVAL CAPE MAY MUSIC FESTIVAL Cape May, NJ, May 26 to June 15, Green Lake, WI, June 8 to July 24, Sarasota, FL, May 29 to June 19, capemaymac.org greenlakefestival.org sarasotaorchestra.org OREGON BACH FESTIVAL RARITAN RIVER MUSIC FESTIVAL Eugene, OR, June 23 to July 10, MIDWEST YOUNG ARTISTS SUM- ASTON MAGNA FESTIVAL oregonbachfestival.com Oldwick, NJ, May 7 to 28, MER MUSIC FESTIVAL Great Barrington, MA, June 16 to July 9, raritanrivermusic.org Helmuth Rilling, artistic director; guests Yo-Yo Ma, Kenosha, WI, June 20 to July 23, astonmagna.org Marin Alsop, Jeffrey Kahane, Matthew Halls, Monica mya.org/summer CHAMBER MUSIC ALBUQUERQUE Huggett, pianist Shai Wosner, soprano Tamara Wil- BANG ON A CAN SUMMER MUSIC MUSIC BY THE LAKE FESTIVAL Albuquerque, NM, June 12 to 19, cma-abq.org son. Works include Brahms: Requiem, Bach: Magni- ficat, Beethoven: No. 9, Golijov: Azul, Bach and Williams Bay, WI, July 2 to August 13, North Adams, MA, July 11 to 31, MUSIC ANGEL FIRE Britten: Cello Suites, Purcell: Dido and Aeneas, and musicbythelake.com bangonacan.org Handel, Purcell, Britten odes to St. Cecilia. Angel Fire, NM, August 19 to September 4, TOKEN CREEK CHAMBER MUSIC musicfromangelfire.org MUSIC AT GRETNA BERKSHIRE CHORAL FESTIVAL FESTIVAL Sheffield, MA, July 15 to September 18, SANTA FE CHAMBER MUSIC Mt. Gretna, PA, August 4 to September 4, Madison, WI, August 24 to September 4, chorus.org gretnamusic.org FESTIVAL tokencreekfestival.org

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REVIEWS SPRING2011 » CDS » DVDS Handel: “Cleopatra” - Giulio Cesare Opera Arias aversion, my tendency to Natalie Dessay, soprano; Le Concert d’Astrée/Emmanuelle Haïm dismiss him as a master trill- REVIEW POLICY: While we try to review as many products as possible, we are unable to cover every new release. More Virgin Classics 5099990787225 maker with little to offer the reviews can be viewed on our website at scena.org ###$$$ intellect or the emotions. A bit breathless to start, The cure is called Julia Lezh- ###### A MUST! Dessay does not quite out neva and the seven arias she #####$ EXCELLENT vamp Elizabeth Taylor with dispenses on this modest ####$$ VERY GOOD the asp, but there are disc have hardly been off my ###$$$ GOOD enough hot moments to playing deck all week. ##$$$$ SO-SO rumple your baroque collar Lezhnova, new to me, comes from a Russian fam- #$$$$$ MEDIOCRE and Emmanuelle Haïm’s ily of geophysicists and has been finishing her stud- crisp harpsichord direction ies in Cardiff with tenor Dennis O’Neill. She won the REVIEWERS never lets the action flag. NL first Paris International Opera Competition six PP: Pemi Paull, NL: Norman Lebrecht months ago, does not yet have a working website JKS: Joseph K. So, PER: Paul E. Robinson, Richard Strauss: “Poesie” Orchestral Songs and, on her debut disc at 21, seems to be heading for WSH: Stephen Habington Diana Damrau, soprano; Münchner Philharmoniker/Christian the stratosphere. Thielemann The first thing that strikes me about her fireworks Virgin Classics 50999 628664 0 8 (71 min 9 s) is the complete lack of fuss. “Tanti affetti” from La #####$ Donna del lago is delivered with a rare integrity that VOCAL MUSIC makes the glitter part of the general texture rather German soprano Diana than an applause magnet. The voice sounds mature Damrau is considered by and fully formed. Often as not in the Cenerentola Diva/Divo: Opera Arias many to be the outstanding Joyce DiDonato, mezzo-soprano; Orchestre et Choeur de arias one is reminded more of Mozart style than Ital- coloratura of the 21st century, l’Opéra de Lyon/Kazushi Ono ian excess. Marc Minkowski directs the Sinfonia following in the footsteps of Virgin Classics 50999 641986 0 6 (80 min 41 s) Varsovia with a very light touch and the choir of War- the great Edita Gruberova #####$ saw Chamber Opera do the necessary. But it’s Lezh- (80s) and Natalie Dessay neva that keeps the ear glued to the speakers, In the interesting essay by (90s). Like the other ladies, demanding more. She’ll go far. NL Joyce DiDonato that opens Damrau combines a silvery, flexible high soprano with the accompanying booklet, stunning technique and innate musicality, not to men- she expresses her gratitude tion abundant stage allure. Here she is in an all-Strauss INSTRUMENTAL for being blessed with program, accompanied by none other than Christian slightly longer vocal cords Thielemann and the Munich Philharmonic – talk MUSIC that made her a mezzo. Her about luxury casting! In a generous program of 22 legions of fans are sure to Strauss songs lasting over 70 minutes, Damrau sings Bach: A Strange Beauty agree. Her bright, creamy tone, marvelous col- with lovely tone, crystal clear diction (except perhaps Simone Dinnerstein/Kammerorchester Staatskapelle Berlin oratura – with a stunning trill – and exceptional in the stratosphere), great expression, and most of all musicality make her ideal in works that range from Sony 88697 81742 2 (57 min 42 s) with the exquisite lightness that is her trademark. The ###### the Baroque to the twentieth century. As the title disc is full of magical moments, but the best are when suggests, DiDonato explores her extensive skirt she sings very softly, gently caressing the phrases as in Called “a throwback to such and trouser roles in this very generous disc of over “Waldseligkeit” and “Morgen.” When ecstatic exuber- high priestesses of music as 80 minutes. Whether it is Susanna or Cherubino, ance is called for, as in “Cäcilie” and “Zueignung,” the Wanda Landowska and Cinderella or Prince Charming, DiDonato sings voice goes into overdrive and the vibrato becomes Myra Hess” by Slate maga- everything with resplendent tone and dramatic more pronounced but never unpleasant. She is well zine, the New York-based pi- acuity. Her range is impressive, from soprano highs supported by the great Christian Thielemann. Under anist Simone Dinnerstein – Vitellia in La clemenza di Tito – to the low mezzo his direction, the orchestral sound is like the smoothest has developed an interna- territory of Marguerite in La Damnation de Faust dark chocolate – delectably sumptuous, with just the tional following on the strength of her debut record- and Romeo in I Capuleti e i Montecchi. Whether most gorgeous string solos! Thielemann’s tempi tend ing of Bach’s Goldberg Variations, which caused a high or low, the tone is always even and lustrous. to be on the slow side, allowing the music to breathe sensation in 2007 (it ranked #1 on the Billboard Clas- Even in the liberal use of chest voice in the Bellini but the musical lines are always taut and alive. If I were sical Chart in its first week of sales). For her first out- opera, it is always used with taste and no sign of to quibble, the songs are arranged in a seemingly ran- ing as a Sony artist, she presents another Bach disc. strain. Japanese maestro Kazushi Ono proves a dom fashion with no rhyme or reason. The booklet has Calling her approach a throwback to an earlier era of sensitive musician. Several selections enlist the a nice essay on Strauss’s orchestral songs, text and Bach playing only tells part of the story, for Ms. Din- services of other singers – no great voices here but translations, a photo each of the soprano and the con- nerstein is clearly an artist of her time. The perform- all competent and up to the task. It’s good to have ductor, and a tiny essay by Damrau dedicating the disc ances on this disc are more of a restoration of a certain the Composer’s Aria from Ariadne auf Naxos here, to her parents. This is a beautiful disc that stacks up expressive vocabulary which was once mainstream a role she has sung very few times. It shows the well against the many wonderful Strauss discs already but has been displaced by the period-performance mezzo to be a formidable Straussian. It makes one in the catalogue. JKS aesthetic. Dinnerstein chooses to record an all-Bach long for her Octavian, a role she recently sang in album, including three 19th and 20th century tran- Madrid and will sing again in La Scala in October. Rossini: Opera Arias scriptions on a modern concert grand. Nonetheless, The booklet has trilingual text, essays by the singer Julia Lezhneva, soprano; Warsaw Chamber Opera Choir; Sin- these are staggering performances, full of intelli- and music critic Roger Pines but no artist bios. fonia Varsovia/Marc Minkowski gence, tenderness, and commitment. The awareness Highly recommended. JKS Naïve V 5221 (58 min) of performance practice and conscious rejection of ####$$ many of its sacred values are meaningless when you listen to an album this transcendentally beautiful, I think I have found a cure for my generalised Rossini

24 SPRING 2011 TMS9-2_p25-27_CDs-PROOF_TMS9-2_pXX_layout 11-04-17 10:54 PM Page 25 REVIEWS and compellingly interesting. Simone Dinnerstein and then falling away, as compared to the more sus- Just as interesting on this CD are the filler items: plays Bach as naturally as breathing. This is a great tained phrasing customary in music of the roman- two lesser-known Holst orchestral works. Beni album. PP tic era. There are plenty of examples in the first Mora was inspired by a trip to Algeria and it is com- movement, and then again in the horn trio in the prised of three vaguely North African dances. The Bach: Six Suites for Unaccompanied Cello, BWV Scherzo. To my ears, this historically informed ap- Japanese Suite has little discernible Japanese content 1007-1012 proach to phrasing and dynamics verges on affec- but was composed for a Japanese dancer. Like Beni Josephine van Lier, cello tation when it is used so often. On the other hand, Mora it has highly evocative colours and rhythms. Vanlier2010-01 (3 h 43 min 52 s) there is no denying that Nagano has gone over the The BBC Philharmonic, based in Manchester, is #####$ score with infinite care and made decisions about generally considered a notch or two below the Lon- This disc comes with a the shape of every phrase and the length of every don-based BBC Symphony. But on this recording its twist: The first and fourth note. But in being meticulous he has not ignored playing is absolutely first-rate. PER suite are performed on a the big picture. This performance is consistently en- cello with a modern setup, grossing and often exciting. John Adams Portrait the third, on a carbon-fibre The recording team deserves a lot of credit too Angèle Dubeau, violon; Louise Bessette, piano; La Pietà instrument, while the sec- for achieving such an optimum balance between Analekta AN 2 8732 (60 min 36 s) ####$$ ond suite is played on a clarity and reverberation. It is a triumph for Nagano, baroque cello, and the sixth the OSM and Analekta. PER John Adams goes all huffy on a five-string piccolo cello. The fifth suite is recorded nowadays when anyone three times, using the baroque, the contemporary, Franck: Symphonie en ré mineur / Schmitt: La Tra- refers to him as a mini- and the carbon-fibre instruments. This four-disc set gédie de Salomé malist, distancing himself comes with liner notes about the differences be- Orchestre Métropolitain/Yannick Nézet-Séguin from his roots in a move- tween the instruments, an interview with van Lier, ATMA ACD2 2647 (70 min 58 s) ment that made melody ####$$ even a graph showing an analysis of the harmonic permissible, often to the spectrums of the instruments. All of this seems gim- The first piece on the pro- point of nausea. micky, yet it is understandable when one considers gramme here is La Tragédie The three pieces on this disc, played with great the daunting task of trying to make a splash with yet de Salomé by Florent zest by Angèle Dubeau’s Quebec ensemble La Pietà, another recording of the Suites. The verdict? The play- Schmitt (1870-1958). This demonstrate the strength of those roots. Shaker ing throughout is spacious and free, the preludes are rarely recorded composi- Loops for string septet was made in 1978 out of imaginative, and the dances are idiomatic. What is tion originated as a ballet fragments of a previous string quartet, itself interesting is that despite the intent to highlight the score for 20 musicians. founded on Steve Reich’s use of melodic loops of differences between the instruments, what comes Schmitt reduced its dura- differing length. The language here may belong to across most is the stylistic consistency of the record- tion and arranged it for full orchestra in 1911. This Reich but the syntax is uniquely Adams, a relent- ing as a whole. This is not the recording you want as performance reveals it to be a full blooded Roman- less pulsing that offers no promise of eventual res- your reference for this music, but if you love the cello tic fireworks display. Under Nézet-Séguin’s inspired olution. You take the ride at your own risk. suites, this one is recommended. PP direction, the orchestra is in spectacular form. This Both other pieces here date from the early 1990s, Salomé is worth getting to know. Beethoven: Gods, Heroes, and Men - The Creatures In the booklet note, Robert Rival states that Franck’s of Prometheus/Symphony No. 3 “Eroica” Symphony in D minor is the most frequently performed 0XVLFD9LYD6LQJHUV0XVLFD9LYD6LQJHUV Orchestre symphonique de Montréal/Kent Nagano French symphony with the exception of Berlioz’s Fan- SUHVHQWVSUHVHQWVSUHVHQWVSUHVHQWV Analekta AN2 9838 (73 min 51 s) tastique. Most of the great conductors of the 20th cen- ####$$ tury could not resist recording it. This account is very $:RUOGRI6RQJ$:RUOGRI6RQJ timely because the absolute gold standard of the digi- The album includes some 'LUHFWHGE\0DUJ6WXELQJWRQ explanatory notes by con- tal era, with Charles Dutoit conducting the OSM (Decca ductor Kent Nagano. - 1991), is currently absent from the catalogue. The new- )HDWXULQJWKHSUHPLHUHRI Nagano’s writing style comer is a most acceptable replacement. Nézet-Séguin :RUOG0XVLF6XLWH7KUHH tends to the formal and is more forceful than Dutoit but no less lyrical in the E\'RQDOG3DWULTXLQ prolix but he makes some slow-burn passages. Again, the orchestra (deservedly interesting points nonethe- listed by name in the booklet) responds magnificently. less. He sees the The results are thrilling. WSH Prometheus myth as symbolic of the entire European Enlightenment period. Prometheus is the new self- Holst: The Planets/Beni Mora/Japanese Suite creating man beholden neither to gods nor kings. BBC Philharmonic/Sir Andrew Davis Napoleon was the Prometheus incarnate of the time Chandos CHSA 5086 (78 min 24 s) #####$ and Beethoven – at least until Napoleon declared himself emperor – greatly admired this man who New recordings of The Plan- would remake the world. The Promethean Spirit was, ets are not news but this for Beethoven, a hope. But for us today, according to one is exceptional. First of

Nagano, it is “a warning, or perhaps even a curse.” all, the sound is spectacu- 0DU\0F/RXJKOLQZZZPFORXJKOLQVWXGLRVFRP The CD begins with five excerpts from larly good. This is rather im- :LWKVSHFLDOJXHVWV&DQWLDPR*LUOV&KRLU Beethoven’s The Creatures of Prometheus ballet portant for a work with 9DQHVVD/RQGRQ7KURDW6LQJHUV score. Apart from the overture, they are fragments such a wide dynamic range /\QGD%URZQDQG+HLGL/DQJLOOH and only occasionally compelling, but Nagano and and so many subtle and 6DWXUGD\0D\DWSP the OSM play them with tremendous energy and original instrumental colourings. And Andrew Davis 6W%ULJLG V&HQWUHIRUWKH$UWV attention to detail. Nagano is known to be very in- leads a performance which is precise and attentive to 6W3DWULFN6W terested in historically informed performance prac- the smallest detail. Holst calls for a huge orchestra tice and there is certainly plenty of evidence of it in including organ in this piece, but Davis makes sure 7LFNHWV DGXOWV VHQLRUVVWXGHQWV DYDLODEOHIURPFKRLUPHPEHUV this Eroica. Tempi are quick in accordance with that we hear everything. Tempos seem just right for &RPSDFW0XVLFDQG%DQN6W Beethoven’s metronome markings, vibrato is used every movement. Amazing how everything falls into 7KH/HDGLQJ1RWH(OJLQ6W sparingly, and the timpanist uses hard sticks. In ad- place when conductors find the right tempo! %RRN%D]DDU%DQN6W dition, Nagano’s phrasing often involves swelling up » CDS CONTINUE P. 27

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lways inging PROFILE PHILIPPE as told to CRYSTAL CHAN

In March, at 22, Philippe Sly became one of five winners of the 2011 Metro- politan Opera’s National Council Auditions, which heard a total of of 1,500 singers. Sly has received many offers but plans to continue his studies with trying to contrive it. A good teacher allows you to just discover what the Canadian Opera Company Ensemble Studio. A native of Ottawa, his SLY your natural voice is instead of trying to impose a sound quality, father is an anglophone while his mother is from La Tuque, a little town in intensity, or aesthetic that people want. Northern Quebec which he calls “my other hometown”; his self-proclaimed I was warned very early on that there's no use in emulating any- cultural heritage is “all French-Canadian.” He shares his story. body, because you're never going to be able to imitate their sound quality exactly. But Bryn Terfel was a great influence on me. He's hen I grew up there was an elderly neighbour living so musical and he has a voice set close to mine. Canadian-wise, I right beside us named Muriel Racine. As soon as I find Gerald Finley a supreme artist. Gerald and I were in the same started walking, she would have me come for tea al- church choir in Ottawa, St. Matthew's, and we both have an affil- “Wmost everyday. She would sing to me and I would iation with the Brian Law Opera Competition. sing back. It was quite formal. I was wired, hyper as a I've been fortunate to sing some really exciting roles at McGill: child; she funneled that energy into singing. My parents brought me to see an Nick Shadow in The Rake's Progress —I realized that I'm not going operetta that the Opera Lyra Boys Choir put on, and it was the first time I stood to find much that matches up [to that]—and Marcello from La still; I was awestruck for the entire concert. I told my parents: 'That's what I Bohème, one of the best baritone roles that Puccini wrote. [The want to do.' At seven, I auditioned and joined that choir, started taking voice lessons. I haven't looked back since. My voice changed later than most boys. I thought I'd be a counter tenor, as I maintained a very high falsetto for a long time. It was only later when I started auditioning for university in Grade 12 that I realized baritone would be the only way for me. My voice coach, Laurence Ewashko (a teacher at the University of Ottawa), was the one who really gave me a lot of direction through that change. I've been singing as a bass-baritone for only five years. I came to McGill specifically to study with [Sanford Sylvan]. I had a great audition at McGill and I realized there was someone on the panel that I didn't know, and he was going to be a new teacher the next year. So Michael McMahon—the best coach in this country, really—told me I should schedule a lesson. Afterward, I immediately knew that this was the teacher I wanted. At McGill, solidifying the voice took a long time. At the beginning, it was a hard and arduous process. There are different kinds of baritones, and because I am so young they didn't know how to classify my voice: I have a big voice and I can sing lower repertoire— bass-baritone—but I can access the higher repertoire too. The idea in classical music that you can only sing certain roles is really not useful. So they just wanted me to sing what sounded most beautiful. People seem to want me to sing Handel and Wagner—which are completely contrast- ing. As a young man your voice changes over a long

period of time; it settles much later than for women. [Sylvan] helped me sing with ease

beautifully and allowed me to find my voice instead of I WANT TO BE ABLE“ TO CREATE, NO MATTER WHAT

“MEDIUM IT IS. Adam Scotti PHOTO

26 SPRING 2011 TMS9-2_p25-27_CDs-PROOF_TMS9-2_pXX_layout 11-04-17 10:55 PM Page 27

two roles each have] a different fach; I am a bass- » CDS CONTINUED FROM P. 25 It is worth remembering REVIEWS baritone with a dark core to my sound but an when Adams was struggling with his eclectic vio- that Klaus Tennstedt’s 1986 extension that's quite intense, so my voice is lin concerto. Road Movies for violin and piano man- studio recording of going in a direction where it might be able to sing ages to be repetitive without ever becoming Mahler’s Eighth was a Puccini, Verdi, and Wagner in the future. My hypnotic so effectively does the composer shift the league leader for more dream role is Don Giovanni, a character that I landscape with new features. John’s Book of Al- than a decade. Like other can't wait to sink my teeth into. Don Giovanni is leged Dances is plain old mischief – six itchy riffs LPO Mahler concert relays a constant struggle for every baritone to try and for string quartet in which the tune is forever chal- under this uniquely gifted figure out. lenged by pizzicato clicks of what might be a de- conductor, here is a recording which might just be- I'm also a big admirer of new opera and I want fective metronome. The album is original and come a benchmark for discriminating collectors. The to take part in the creative process. I also love Dubeau’s sense of fun is infectious and the sound performance had already been issued to wide criti- discovering roles in operas that haven't been immediate. NL cal acclaim on an EMI DVD in 2006. Tennstedt had a performed in the last century; there is so much special understanding of this sprawling score, and out there. I know my career will rest very much in Mahler: Symphony No. 2 his ability to communicate through sheer nervous Mozart, baroque and new opera, with baroque Stephania Woytowicz, soprano; Anny Delorie, contralto; energy to the massed performers was unparalleled. music being the closest thing to my heart. Cologne Radio Chorus; Cologne Radio Symphony Orches- A comparative version was released simultane- Playing jazz trombone in high school was very tra/William Steinberg ously by Oehms Classics. Bertrand de Billy leads the influential to me because learning how to impro- Recorded in Cologne 10 September 1965 Austrian Radio SO Vienna in a strong performance. vise is quintessential to my musicality. Onstage ICA Classics ICAC 5001 (79 min 38 s) It might seem better without competition from the things never go as planned. Your reaction to what's ####$$ LPO archive. De Billy is more operatic in his approach, going on has to be successful. If you plan out every- in the Solti manner. But listen to the build-up of con- The history of Mahler per- thing then you won't give yourself the chance to gestion at critical points. The newcomer just cannot formance should take note be moved, inspired, react and communicate in a match Tennstedt’s mastery of balancing voices and of the pioneering conduc- way that's direct. Jazz gave me that concept. That's orchestra and instruments and sections within the tors who embraced the something that there's not enough of in opera orchestra. In a live concert situation, Klaus Tennst- music before it was firmly today: the idea of improvisation and reaction. edt appears to be invincible. WSH A singer can't practice as much as an instru- rooted in the orchestral mentalist can. My instrument is part of my body repertory. After the com- Tchaikovsky: Orchestral Works (Symphony No. 4 - and can only sustain so much at a time. Half an poser’s associates: Walter, Romeo and Juliet Fantasy Overture) Klemperer and Fried came conductors such as Carl hour of straight singing is very taxing. In a three- Russian National Orchestra/Mikhail Pletnev Schuricht, Hans Schmidt-Isserstedt and Hermann hour opera, you're not singing through that whole PentaTone Classics PTC 5186 384 (Hybrid SACD - 60 min 19 s) three hours non-stop. As a singer you can prac- Scherchen in Germany, John Barbirolli and Charles ####$$ tice—full singing—maybe an hour a day. The rest Groves in the UK,and European conductors estab- lished in America, notably Eugene Ormandy, Fritz Mikhail Pletnev and the is memorization, poetry and verse analysis. To Russian National Orches- learn the music you can say the words in rhythm Reiner and Erich Leinsdorf. To these must be added William (formerly Hans Wilhelm) Steinberg on the tra previously recorded a and learn the notes on the piano. cycle of the Tchaikovsky No matter what I'm doing I want to be dealing strength of this superb interpretation of Sym- phony No. 2. The launch of ICA Classics happily co- symphonies for DG in with the stage. I would be more than willing to 1996. This release is the be part of traditional theatre and musical theatre. incides with the second Mahler anniversary year and this is an important Mahler recording. first in a new traversal of I know that during and after having my career as the symphonies. Pletnev an opera singer, directing is something I'm sure Steinberg (1899-1978), a student of Hermann Abendroth, was engaged as an assistant to Otto has not significantly changed his approach to the I’ll be a part of. I want to be able to create, no Fourth. He maintains the character of classical re- matter what medium it is. Klemperer at the Cologne Opera. He fled Germany in 1933. During 24 seasons with the Pittsburgh SO, finement. This goes against the grain of dramatic emphasis and contrast found in the interpreta- THE MET he also worked as music director of the Boston Symphony Orchestra and the London Philharmonic. tions of Evgeny Mravinsky and subsequent vig- It was my first time in New York. I became very His recorded legacy is not widely available and orous followers. Never mind; Pletnev’s method is close friends with one of the other winners, Ryan many collectors will be making Steinberg’s ac- probably closer to what the composer had in Speedo Green. My highlights included attending quaintance for the first time with this release. It is mind and would certainly please the Fourth’s the performances and working with the orchestra a tremendous performance delivered with distin- dedicatee, Nadezhda von Meck (and Tchaikovsky’s and the conductor. I felt like I was just rehearsing guished authority. The Cologne RSO’s knowledge of patroness in 1878, when the score was com- here at McGill. Mahler must have been scant in 1965 but Steinberg pleted). An exquisitely played account, this I wasn't nervous during the performances, but inspires them to play as well as any orchestra could. recording trumps the DG issue (now boxed up in I was nervous as soon as it ended. I remember my The same could be said for the vocal soloists and a collector’s bargain box) with state of the art last aria at the finals: right after I finished the last chorus. No Mahlerian should be without this disc. super audio sound. note there was a silence. Then somebody led the WSH This conductor has never been reticent in per- applause, shouting ‘bravo.’ Then I began to shake. forming Tchaikovsky’s overtures and symphonic I bowed and walking back to my dressing room, I Mahler: Symphony No. 8 poems,and this recording of Romeo and Juliet is no was weeping—I hadn't realized it. I had so much Julia Varady, soprano (Magna Peccatrix); Jane Eaglen, so- exception. Again, the quality of PentaTone’s sound pent-up nervousness that it was just being re- prano (Una Peontntium); Susan Bullock, soprano (Mater makes this the one to have in either super audio leased after that moment was over. Gloriosa); Trudeliese Schmidt, alto (Mulier Samaritana); or conventional playback. WSH Remember Muriel? She had passed away, but Jadwiga Rappé, (Maria Aegyptiaca); Kenneth Rigel, tenor Ferenc Fricsay conducts Béla Bartók her son happened to be in New York and came to (Doctor Marianus); Eike Wilm Schulte, baritone (Pater Ecs- Violin Concerto (No. 2); Two Portraits; Cantata Profana; see the finals and visited me afterward. It meant taticus); Hans Sotin, bass (Pater Profundis); Eton College Music for Strings, Percussion and Celesta; Dance Suite; Di- a lot to me. Muriel was at my beginning, and it’s Boys’ Choir; London Symphony Chorus; London Philharmo- vertimento; Rhapsody for Piano and Orchestra; Piano like she was also there when my career was nic Orchestra and Choir/Klaus Tennstedt Concertos Nos. 2 and 3 launched. It was almost prophetic.” Recorded in concert by the BBC, Royal Festival Hall, Lon- don, 27 January 1991 Helmut Krebs, tenor; Dietrich Fischer-Dieskau, baritone; Tibor » With the Ottawa Choral Society, May 1; Soloist in Dover LPO-0052 (87 min 22 s) Varga, violin; Géza Anda, Louis Kentner, Andor Foldes, piano; PHOTO Adam Scotti PHOTO Beach by Samuel Barber, Dominion-Chalmers United #####$ RIAS-Kammerchor; Chor der St. Hedwigskathedrale; RIAS Sym- Church, Ottawa www.ottawachoralsociety.com phony Orchestra/Ferenc Fricsay Audite 21.407 (213 min 42 s)

SPRING 2011 27 TMS9-2_p25-27_CDs-PROOF_TMS9-2_pXX_layout 11-04-1710:55PMPage28 REVIEWS 28 his contemporaneous Vienna Beethoven symphony DVD versions (also from CMajor)of the conventional The picture qualityhere isremarkable. Incontrastto #####$ C Major705504(Blu-ray–90min) Thielemann Staatsopernchor Dresden;StaatskapelleDresden/Christian prano; MichaelSchade,tenor;Franz-JosefSelig,baritone; Krassimira Stoyanova,soprano;ElǐnaGaran˘ Beethoven: Missasolemnis noteby did booklet Wolfgang Rathert. tapes+.mono master isenrichedbyasplen- The set terity. Audio qualityissuperbgiventhe 60-year-old these outstandingperformances for pos- serving owned BélaBartók. Audite deserves creditfor pre- studio recordings were made, but, byGod,they still and the concert their homelandby1950-53, when in the conductor, hadbeendisinherited these artists asamajor20thcentury composer.of Bartók Andlike Foldes, musicianswhogrewthe emergence upwith minded Magyar collaborators Vargas, Kentner and andsparklingwit.sight Here heisabettedbylike- Hungary, Fricsay’s interpretations offered uniquein- well. anything the musicofhisnativeduct Andin hecouldthat con-the fact to Those albumsattest a Fricsay editionwhichhasreached adozen discs. 1948 and1954(and from1959). Audite are compiling SOasitsmusicdirector between the RIAS lishing is,the present set ifanything, even more desirable. enthusiasm bycollectors ofvintage recordings and riod 1950-52. These collections were greeted with the sameorchestrawith recordedthe pe- during box offive featured CDs HansKnappertsbusch keythe BPO. with repertory the endof2010, At a disc box of Wilhelm Furtwängler conducting his broadcasts. In2009,this connection yielded a 12- tapes ofconcert master purethe RIAS goldwith the earlyyearsthe Colding of War. Audite struck the westernalliesdur- by the occupation zones held the siegelinesof within airlift insustainingmorale second only tothe Berlin Sector. The station was forthe American Radio in werethe callletters RIAS #####$ SVADBA SVADBA ol rmeeoeab n Sokolovic Ana by opera premiere world A 416.368.3110 www.canadianstage.com Downstairs StreetTheatre Berkeley 24 June composers opera gifted female most 6 Canada’s for of force one de by tour singers cappella a intoxicating An Ferenc Fricsay was (1914-1963) decisive inestab- DVD &BLU-RAY – uy2 2011 2, July – – WEDDING WEDDING SPRING ca, mezzo-so- rdcinSponsor Production 2011 WSH Staatskapelle. This DVD includesa “bonus” inwhich phonies inBerlin, Vienna andNew Yorkthe with on presenting allninecompleted Mahlersym- celebrationsto collaboratethey decided in2010-2011 forand collaboratorstheMahler for many years,and isaworldclassensemble. it monic but the BerlinPhilhar- the equalof chestra in2000. may be It not Conductor for Lifethis or- of boim wasto beChief chosen Staatskapelle Berlin. Baren- the iscalled it gives concerts, the operaWhen orchestra State Opera Berlinsince1992. the German Music Director of Barenboim hasbeenGeneral #####$ C MajorDVD703708(101min) Staatskapelle Berlin/DanielBarenboim Mahler: SymphonyNo.9 future Dresden memorialconcerts. the quiem and War Requiem byBenjaminBrittenfor sual medium.to perform He isplanning Verdi’s Re- for posterity, may it neverthe audio-vi- besurpassedin soothing measure ofconsolation andfaith. Preserved weeksthe war. of Thielemann’s performance offers a reasonto rememberthe catastrophicthe last of action also beendestroyedthe bombing. by The cityhasgood tion ofDresden’s had Frauenkirche,which magnificent Fabio LuisiinNovemberthe restora- 2005inhonourof DVDthe EuroArts of the chorusspellbinding.perb and trumps This account the soloists, includingourownMichaelSchade, are su- is marvellous. The Staatskapelle isinrapturous form, the thusiastic direction of VPO. The performance itself far lesscorybanticthan hisphysically en- strained – Thielemann’s podiummanneris alsosuitablyre- the dignitariesinattendance.Gorbachev isamong was destroyedthe raids. in opera Mikhail house,which mand andinrecognitionthe 1985re-openingthe of of 1945 byRAF BomberCom- of13Februarythe night on ofDresdenthe destruction to commemorateconcert up occasion:the memorial this isvery muchabuttoned- helps.the darksuit haps For Maestro Thielemann.Per- twenty poundsoffand cycle, Blu-ray takes ten years Pierre BoulezandBarenboim have beenfriends Missa Solemnis conducted by WSH namic versionthis opera hesitate. of shouldnot the cast.one weaklinkin Those seekinganewanddy- in1994 (Met/Decca). Behrensthe Met at There isnot title character sinceHildegardthe of depiction best ing blazes withdramatic genius. Iréne Theorin givesthe the latesetting of Herbert Wernicke. The Salzburg stag- Arte). tiredThe latterthe conceptual wasdownby let Thielemann withLinda Watsontitle rolethe (Opus in conducted byChristian Baden-Baden inFebruary 2010, iscomparablequality it to aperformance given at anaxe insight.tricide without terms ofmusical In tale ofbetrayal,the sion in obsession, madnessandma- Lenhofften- to generate manages stomach-churning plot, Nikolaus small screen. Despiteawell-known forthe This verythe best successfulproduction isoneof continuesto represent to audiences. somethingdaring one hundred years after performance, itsfirst Strauss hisinnovative, at creative peakand, morethan were immersedinconventional idioms. This opera is His remaining stageworks leading edgeofmusicdrama. returned tothe epoch-making lome. Initswake, Strauss never waswhat achieved with aries ofopera even beyond Strauss to extend the bound- Elektra for after Sophocles, bretto, Hugo von Hofmannsthal’s li- ####$$ Arthaus Musik101560(Blu-ray–109min) Stage Director:NikolausLenhoff moniker/Daniele Gatti René Pape(Orest),WienerStaasopernchor, WienerPhilhar- Maria Westbroek (Chrysothemis),RobertGambill(Aegisth), Iréne Theorin(Elektra),Waltraud Meier(Klytämnestra),Eva- Richard Strauss:Elektra playersthis fineperformance. in kudos are inorder forthe principalhorn, violaandcello players offthrilling playing. pullit withsome Special thought.ment. Barenboim soI But andhis least Orat asks for aneventhe move-the endof faster tempo at is very fast, leaving himnowhereto gowhenMahler movement, “Rondo. Burleske.” Barenboim’stempo basic isrequired.when it third Iwasthe especiallystruckby the Bernsteinmanner.in there Andyet isintensity the printed score.on the music personalize Hedoesnot Barenboim was recorded live inBerlin inApril, 2009. formancethe Ninth Symphony of conducted by together.two musiciansdiscussMahler the The per- Barenboim’s approachto Mahlerisvery muchbased Subscription for Students Special LaScenaMusicale inspired Richard DON’T LEAVE WITHOUT IT! SCHOOL WWW.SCENA.ORG [email protected] INFO: 514-948-2520 Sa- Elektra WSH PER TMS9-2_ADS_TMS9-2_pXX_layout 11-04-17 7:20 PM Page 29

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