Oct_TSO_fpg_TFS1828_Gabriel.qxp 2018-09-07 11:00 AM Page 2

Toronto Symphony Orchestra Individuals Sir Andrew Davis, Interim Artistic Director

Thursday, November 8, 2018 at 8:00pm Saturday, November 10, 2018 at 8:00pm

Bramwell Tovey, conductor who reflect, Tatiana Pavlovskaya, , Russell Braun, C U L I N A R Y S C I E N T I S T Toronto Mendelssohn Toronto Children’s Chorus citizens War , Op. 66 I N T E R N A T I O N A L V I S I O N A R Y I. Requiem aeternam II. Dies irae

III. Offertorium IV. A P R O V E D B Y V. who act. VI. Libera me

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NOVEMBER EDITION ABOUT THE WORKS

Benjamin Britten (Lord Britten of ) , Op. 66

Born: Lowestoft, England, November 22, 1913 82 Died: Aldeburgh, England, December 4, 1976 min Composed: 1961

The première took place in the same causes that concerned Britten: peace Cathedral, England, on May 30, 1962, with the and brotherhood. conducting duties shared by the composer The boldness and ingenuity of the War and . The medieval cathedral Requiem continue through the nature and in Coventry had been heavily damaged by layout of the performing forces. Britten calls bombing during the Second World War. Britten for three separate groups—soprano solo, agreed to compose a choral work for the mixed chorus, and full orchestra to perform arts festival celebrating its reconstruction. the Mass texts; chamber orchestra, and tenor He decided it would involve the text of the and baritone solos, representing an English traditional Latin Mass for the Dead. But since and a German soldier, respectively, for the he wished to relate it specifically to the tragedy Owen poems; and a boys’ chorus (in this of war, he sought out other words, to comment case a mixed children’s chorus) with organ, upon and intensify the Mass text. The poetry offering disembodied commentary on the of , the most gifted English poet proceedings. of the First World War era, provided precisely what Britten needed. In a further gesture toward universality and post-war reconciliation, he conceived the “I am not concerned with Poetry. My subject music with three specific vocal soloists in is War, and the pity of War,” Owen had written. mind: English tenor , German “The Poetry is in the pity. Yet these elegies are baritone Dietrich Fischer Dieskau, and Russian to this generation in no sense consolatory. soprano (a distinction They may be to the next. All a poet can do that will be mirrored in the linguistic today is warn. That is why the true Poets must heritages of the three soloists in these TSO be truthful.” performances of the work). Owen died in action, aged 25, one week before The first section, Requiem aeternam (Eternal the WWI Armistice of which this year marks the Rest), opens as a slow, anguished funeral 100th anniversary. His poems, as they appear procession. Britten quickly establishes the on the score of Britten’s War Requiem, help differences in tone that characterize the make Britten’s piece a strong candidate for performing groups. The soprano, mixed the most eloquent and moving of all anti-war chorus, and children’s chorus, singing in Latin, compositions. It uses Owen’s poems to plead operate on a formal level. The tenor soloist

10 TORONTO SYMPHONY ORCHESTRA then addresses listeners face to face, walking The first half of the Sanctus develops as a the ground and breathing the air of our own glorious paean to God. The second half is a planet, in our own time, in the words of the heartrending baritone solo, Owen’s sonnet Owen sonnet “”. “The End”, stressing the cold finality of death. Britten then offers a degree of consolation, The opening fanfares of the Dies irae (Day albeit ambivalent, in Agnus Dei (Lamb of of Wrath) section grow more insistent God), with the tenor soloist, in the words and menacing, as the Day of Judgment is of Owen’s “At a Calvary Near the Ancre”, announced. The baritone soloist offers a drawing comparisons between the spirit of quieter but equally unsettling portrait of self-sacrifice represented by Christ and that of soldiers waiting to be called into battle. those who have died in war. Soprano and semichorus ask for guidance, followed by another Owen sonnet, “The Next The final section, Libera me (Deliver Me), War”, a duet between tenor and baritone. With begins with a funeral march recalling the chilling, satiric heartiness, they sing of the War Requiem’s opening pages, building to a false bravado that soldiers of all nations have catastrophic climax. This is followed by the text forced upon them by their superior officers. of Owen’s “”, in which tenor The chorus then performs an increasingly and baritone are left in some timeless, distant fervid apostrophe to Christ for salvation. This location where earthly suffering no longer flows into the baritone’s account of a piece has meaning. Differences have no place here, of heavy artillery being wheeled into battle, only mutual understanding and tenderness. here symbolizing all weaponry, past, present, Their words are addressed not only to each and future. The Dies irae returns in all its fury, other but to all. “I am the enemy you killed, my counterpointed by the tenor’s plea (Owen’s friend.” Britten accompanies them sparely but “”) to move a dying soldier into the sun. with great colouristic resource. Offertorium begins with the children’s chorus’s The work concludes with all three groups call for the deliverance of the faithful from the performing together for the only time, offering sufferings of hell. The mixed chorus then sings a final benediction. Britten gives the closing a rhythmically buoyant introduction to Owen’s words to the chorus, unaccompanied: “May “The Parable of the Old Man and the Young”, a they rest in peace. Amen.” bitterly ironic retelling, by baritone and tenor, Program note by Don Anderson of the biblical story of Abraham and Isaac.

TEXT AND TRANSLATIONS The text of War Requiem that follows is by Benjamin Britten himself, including the translations to English of sections from the Latin Mass. Texts of Wilfred Owen’s poetry are from the 1931 Complete Poems of Wilfred Owen (ed. Edmund Blunden) as transcribed, and in some cases altered or abridged, by the composer.

NOVEMBER 8 & 10, 2018 11 TEXT AND TRANSLATIONS

I. Requiem aeternam Chorus Chorus Requiem aeternam dona eis, Domine; Lord, grant them eternal rest; et lux perpetua luceat eis. and let the perpetual light shine upon them.

Children’s Chorus Children’s Chorus Te decet hymnus, Deus in Sion: Thou shalt have praise in Zion, of God: et tibi reddetur votum in Jerusalem; and homage shall be paid to thee in Jerusalem; exaudi orationem meam, hear my prayer, ad te omnis caro veniet. all flesh shall come before Thee.

Chorus Chorus Requiem aeternam dona eis, Domine; Lord, grant them eternal rest; et lux perpetua luceat eis. and let the perpetual light shine upon them.

Tenor What passing bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells, Nor any voice of mourning save the ,— The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of goodbyes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds.

Chorus Chorus eleison Lord, have mercy upon them Christe eleison Christ, have mercy upon them Kyrie eleison Lord, have mercy upon them

II. Dies irae Chorus Chorus Dies irae, dies illa, This day, this day of wrath Solvet saeclum in favilla: Shall consume the world in ashes, Teste David cum Sibylla. As foretold by David and Sibyl. Quantus tremor est futurus, What trembling there shall be Quando Judex est venturus, When the judge shall come Cuncta stricte discussurus! To weigh everything strictly. mirum spargens sonum The , scattering its awful sound

12 TORONTO SYMPHONY ORCHESTRA Per sepulchra regionum Across the graves of all lands Coget omnes ante thronum. Summons all before the throne. Mors stupebit et natura, Death and nature shall be stunned Cum resurget creatura, When mankind arises Judicanti responsura. To render account before the judge.

Baritone Bugles sang, saddening the evening air; And bugles answered, sorrowful to hear. Voices of boys were by the river-side. Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men. Voices of old despondency resigned, Bowed by the shadow of the morrow, slept.

Soprano Soprano Liber scriptus proferetur, The written book shall be brought In quo totum continetur, In which all is contained Unde mundus judicetur. Whereby the world shall be judged. Judex ergo cum sedebit When the judge takes his seat Quidquid latet, apparebit: All that is hidden shall appear: Nil inultum remanebit. Nothing will remain unavenged.

Chorus Chorus Quid sum miser tunc dicturus? What shall I, a wretch, say then? Quem patronem rogaturus, To which protector shall I appeal Cum vix justus sit securus? When even the just man is barely safe?

Soprano and Chorus Soprano and Chorus Rex tremendae majestatis, King of awful majesty, Qui salvandos salvas gratis, Who freely savest those worthy of salvation, Salva me, fons pietatis. Save me, fount of pity.

Tenor and Baritone Out there, we’ve walked quite friendly up to Death: Sat down and eaten with him, cool and bland,— Pardoned his spilling mess-tins in our hand. We’ve sniffed the green thick odour of his breath,— Our eyes wept, but our courage didn’t writhe. He’s spat at us with bullets and he’s coughed Shrapnel. We chorused when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers. We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death - for Life; not men - for flags. Please turn pages quietly.

NOVEMBER 8 & 10, 2018 13 TEXT AND TRANSLATIONS

Chorus Chorus Recordare Jesu pie, Remember, gentle Jesus, Quod sum causa tuae viae: That I am the reason for Thy time on earth, Ne me perdas illa die. Do not cast me out on that day. Quaerens me, sedisti lassus: Seeking me, Thou didst sink down wearily, Redemisti crucem passus: Thou hast saved me by enduring the cross, Tantus labor non sit cassus: Such travail must not be in vain. Ingemisco, tamquam reus: I groan, like the sinner that I am, Culpa rubet vultus meus: Guilt reddens my face, Supplicanti parce Deus. Oh God spare the supplicant. Qui Mariam absolvisti, Thou, who pardoned Mary Et latronem exaudisti, And heeded the thief, Mihi quoque spem dedisti. Hast given me hope as well. Inter oves locum praesta, Give me a place among the sheep Et ab haedis me sequestra, And separate me from the goats, Statuens in parte dextra. Let me stand at Thy right hand. Confutatis maledictis, When the damned are cast away Flammis acribus addictis, And consigned to the searing flames, Voca me cum benedictis. Call me to be with the blessed. Oro supplex et acclinis Bowed down in supplication I beg Thee, Cor contritum quasi cinis My heart as though ground to ashes: Gere curam mei finis. Help me in my last hour.

Baritone Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul!

Chorus Chorus Dies irae, dies illa, This day, this day of wrath Solvet saeclum in favilla: Shall consume the world in ashes, Teste David cum Sibylla. As foretold by David and Sibyl. Quantus tremor est futurus, What trembling there shall be Quando Judex est venturus, When the judge shall come Cuncta stricte discussurus! To weigh everything strictly.

Soprano and Chorus Soprano and Chorus Lacrimosa dies illa, Oh this day full of tears Qua resurget ex favilla, When from the ashes arises Judicandus homo reus: Guilty man, to be judged: Huic ergo parce Deus. Oh Lord, have mercy upon him.

14 TORONTO SYMPHONY ORCHESTRA Tenor Move him into the sun— Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know.

Soprano and Chorus Soprano and Chorus Lacrimosa dies illa... Oh this day full of tears...

Tenor Think how it wakes the seeds— Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved—still warm—too hard to stir? Was it for this the clay grew tall?

Soprano and Chorus Soprano and Chorus ...Qua resurget ex favilla...... When from the ashes arises...

Tenor Was it for this the clay grew tall?

Soprano and Chorus Soprano and Chorus ...Judicandus homo reus. ...Guilty man, to be judged.

Tenor —O what made fatuous sunbeams toil To break earth’s sleep at all?

Chorus Chorus Pie Jesu Domine, dona eis requiem. Gentle Lord Jesus, grant them rest. Amen. Amen.

III. Offertorium Children’s Chorus Children’s Chorus Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas omnium fidelium deliver the souls of the faithful defunctorum de poenis inferni, departed from the pains of hell, et de profundo lacu: and the bottomless pit: libera eas de ore leonis, ne absorbeat eas deliver them from the jaw of the lion, lest hell tartarus, ne cadant in obscurum. engulf them, lest they be plunged into darkness.

Please turn pages quietly.

NOVEMBER 8 & 10, 2018 15 TEXT AND TRANSLATIONS

Chorus Chorus Sed signifer sanctus Michael But let the holy standard-bearer Michael repraesentet eas in lucem sanctam: lead them into the holy light Quam olim Abrahae promisisti, as Thou didst promise Abraham et semini ejus. and his seed.

Tenor and Baritone So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenches there, And stretched forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son,— And half the seed of Europe, one by one.

Children’s Chorus Children’s Chorus Hostias et preces tibi Domine Lord, in praise we offer to Thee laudis offerimus; tu suscipe pro sacrifices and prayers, do Thou receive them animabus illis, quarum hodie for the souls of those whom we remember memoriam facimus: fac eas, Domine, this day: Lord, make them pass de morte transire ad vitam. from death to life. Quam olim Abrahae promisisti As Thou didst promise Abraham en semini ejus. and his seed.

Chorus Chorus ...Quam olim Abrahae promisisti ...As Thou didst promise Abraham et semini ejus. and his seed.

IV. Sanctus Soprano and Chorus Soprano and Chorus Sanctus, sanctus, sanctus Holy, holy, holy Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt coeli et terra gloria tua, Heaven and earth are full of Thy glory. Hosanna in excelsis. Hosanna in the highest. Sanctus. Holy.

16 TORONTO SYMPHONY ORCHESTRA Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. Sanctus. Holy.

Baritone After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of time have rolled and ceased, And by the bronze west long retreat is blown, Shall life renew these bodies? Of a truth All death will He annul, all tears assuage?— Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: “My head hangs weighed with snow.” And when I hearken to the Earth, she saith: “My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.”

V. Agnus Dei Tenor One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him.

Chorus Chorus Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona eis requiem. grant them rest.

Tenor Near Golgotha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ’s denied.

Chorus Chorus Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona eis requiem. grant them rest.

Tenor The scribes on all the people shove and bawl allegiance to the state,

Chorus Chorus Agnus Dei, qui tollis peccata mundi... Lamb of God, that takest away the sins of the world...

Please turn pages quietly.

NOVEMBER 8 & 10, 2018 17 TEXT AND TRANSLATIONS

Tenor But they who love the greater love Lay down their life; they do not hate.

Chorus Chorus ...Dona eis requiem. ...Grant them rest.

Tenor Tenor Dona nobis pacem. Grant us peace.

VI. Libera me Chorus Chorus Libera me, Domine, de morte aeterna, Deliver me, O Lord, from eternal death in die illa tremenda: in that awful day Quando coeli movendi sunt et terra: when the heavens and earth shall be shaken Dum veneris judicare saeculum per ignem. when Thou shalt come to judge the world by fire.

Soprano and Chorus Soprano and Chorus Tremens factus sum ego, et timeo I am seized with fear and trembling, dum discussio venerit, atque ventura ira. until the trial shall be at hand and the wrath to come. Libera me, Domine, de morte aeterna. Deliver me, O Lord, from eternal death. Quando coeli movendi sunt i terra. When the heavens and earth shall be shaken. Dies illa, dies irae, calamitatis That day, that day of wrath, of calamity et miseriae, dies magna et amara valde. and misery, a great day and exceeding bitter. Libera me, Domine. Deliver me, O Lord.

Tenor It seems that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. “Strange friend,” I said, “here is no cause to mourn.”

Baritone “None”, said the other, “save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world, For by my glee might many men have laughed,

18 TORONTO SYMPHONY ORCHESTRA And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil boldly, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariot-wheels I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even from the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold. Let us sleep now...”

Children, then Chorus, then Soprano Children, then Chorus, then Soprano In paradisum deducant te Angeli; Into Paradise may the Angels lead thee: in tuo adventu suscipiant te Martyres, at thy coming may the Martyrs receive thee, et perducant te in civitatem sanctam and bring thee into the holy city Jerusalem. Jerusalem. Chorus Angelorum te suscipiat, May the Choir of Angels receive thee et cum Lazaro quondam paupere aeternam and with Lazarus, once poor, habeas requiem. may thou have eternal rest.

Children’s Chorus Children’s Chorus Requiem aeternam dona eis, Domine: Lord, grant them eternal rest, et lux perpetua luceat eis. and let the perpetual light shine upon them.

Chorus Chorus In paradisum deducant etc. Into Paradise, etc.

Soprano Soprano Chorus Angelorum, te suscipiat etc. May the Choir of Angels, etc.

Tenor and Baritone Let us sleep now.

Chorus Chorus Requiescant in pace. Amen. Let them rest in peace. Amen.

NOVEMBER 8 & 10, 2018 19 THE ARTISTS

Bramwell Tovey conductor Bramwell Tovey made his TSO début in October 1991.

Grammy and Juno award–winning conductor and composer Bramwell Tovey is the Principal Conductor of the BBC Concert Orchestra, a position he assumed in January 2018. In September 2018, he was appointed to the position of Artistic Advisor of the Rhode Island Philharmonic. Following an exceptional 18-year tenure as Music Director of the Vancouver Symphony, which concluded in summer 2018, he now returns as the orchestra’s Music Director Emeritus. Under his leadership, the VSO toured China, Korea, and across and the United States. His VSO innovations included the establishment of the VSO School of Music of which he is Artistic Advisor, the VSO’s annual festival of contemporary music, and the VSO Orchestral Institute at Whistler, a comprehensive summer orchestral-training program for young musicians held in the scenic mountain resort of Whistler in British Columbia. During 2018/19, his guest appearances include the Chicago, St. Louis, Houston, Indianapolis, and Toronto Symphonies, and special Christmas programs with the Philadelphia Orchestra. In January, he will return to the Winnipeg Symphony’s New Music Festival, which he initiated during his tenure there. In 2013, he was appointed an honorary Officer of the Order of Canada for services to music. Since 2006, he has been Artistic Director of the National Youth Brass Band of Great Britain. In 2017, he joined the faculty of Boston University teaching conducting and overseeing BU’s extensive orchestra program. He recently began serving as the Director of Orchestral and Conducting Studies.

Tatiana Pavlovskaya soprano These performances mark Tatiana Pavlovskaya’s TSO début.

Tatiana Pavlovskaya began her musical education playing the , and later as a choral director. She completed postgraduate study in St. Petersburg’s State Rimsky-Korsakov Conservatory and taught solo singing as a professor’s assistant. After graduating from the conservatory in 1994, she joined the , where she had a great success in her début as Tatiana (Eugene Onegin). She currently holds the position of Honored Artist of Russia at the Mariinsky Theatre. Her repertoire includes Gorislava (Ruslan and Lyudmila), Tamara (The Demon), Tatiana (Eugene Onegin), Maria (Mazeppa), Kupava (The Snow Maiden), Olga (The Maid of Pskov), Paulina (The

20 TORONTO SYMPHONY ORCHESTRA Gambler), Sofia Semyon( Kotko), Clara (), Natasha Rostova (), Desdemona (Otello), Alice (Falstaff), Elizabeth (Don Carlo), Verdi Requiem, Mimi (La Boheme), Liu (), Antonia (Les Contes d’Hoffmann), Rosina (Le nozze di Figaro), Elvira (Don Giovanni), Fiordiligi (Così fan tutte), Elsa (Lohengrin), Vittel (La Clemenza di Tito), Governess (The Turn of the Screw), title role (Jenůfa), Judith (Bluebeard’s Castle), Maria and Marietta (Die tote stadt), Volkhova (Sadko), Nastja (Tcharodeika), Lisa (Pique Dame), Katerina Ismailova (Lady Macbeth of Mtsensk), and Kayzerin (Frau ohne Schatten). Recent engagements include: performances of War Requiem for the Bratislava International Music Festival conducted by James Conlon, with the Philadelphia Orchestra and the Orchestre de la Suisse Romande; and Amelia Grimaldi (Simon Boccanegra), Liu (Turandot), Nedda (Pagliacci), Yaroslavna (Prince Igor), and Liza (Pique Dame) at the Mariinsky Theatre.

Toby Spence tenor Toby Spence made his TSO début in December 2010.

An honours graduate and choral scholar from New College, Oxford, Toby Spence studied at the School of the Guildhall School of Music and Drama. He was the winner of the Royal Philharmonic Society 2011 Singer of the Year award. In concert, Toby has sung with many of the world’s leading conductors and orchestras. Recent appearances include The Seasons with the Philharmonie de Paris, Bruckner Mass in F Minor with the Sinfonieorchester Basel; Das von der Erde with the Orchestra of the Age of Enlightenment; Liszt’s Faust Symphony with the Mozarteum Orchester Salzburg; with the Houston Symphony Orchestra; Messiah, Beethoven’s Choral Fantasy, and Haydn’s Nelson Mass with the Bournemouth Symphony Orchestra; War Requiem with the Orchestre de la Suisse Romande; and Missa Solemnis with the London Symphony Orchestra. A prolific recitalist, Toby has given numerous solo recitals for BBC Radio 3 and at London’s , and has appeared at LSO St Luke’s, Opera de Lille, Northern Ireland Opera’s Festival of Voice, Janacek’s Brno International Music Festival, and . He has made numerous recordings for Deutsche Grammophon, Decca, BMG, Philips, Collins, Linn Records, Hyperion, and EMI. Recent opera engagements include Ghandi (Satyagraha) at ; Captain Vere () for Teatro Real and Opera di Roma; Anatol (Vanessa) for Frankfurt Opera; Don Ottavio at the Liceu Barcelona; Eisenstein (Die Fledermaus) and Antonio () for the ; Don Ottavio and Tito for the Wiener Staatsoper; Essex () and Tamino (Die Zauberflöte) for the ; Tamino, Candide, Paris (La Belle Hélène), Lensky, and Faust for English National Opera; Madwoman () for the Edinburgh Festival; Tito, Tamino, and Henry Morosus (Die Schweigsame Frau) for the Bayerische Staatsoper; and Tom Rakewell and David (Die Meistersinger) at Opéra de Paris. Concert engagements in the 2018/19 season include Dvořák Stabat Mater with Houston Symphony Orchestra; Britten War Requiem with Toronto Symphony Orchestra; Szymanowski’s Third Symphony for the Gulbenkian Foundation, and performances of Orff’s Carmina Burana in Shanghai and Beijing.

NOVEMBER 8 & 10, 2018 21 THE ARTISTS

Russell Braun baritone Russell Braun made his TSO début in May 1991.

Renowned for his luminous voice “capable of the most powerful explosions as well as the gentlest covered notes” (Toronto Star), baritone Russell Braun rightfully claims his place on the concert, opera, and recital stages of the world. This season will feature two important role débuts for Mr. Braun: first as Don Alfonso in Mozart’s Così fan tutte at the Canadian Opera Company, then as Peter in Hänsel und Gretel with Michigan Opera Theatre. In concert, Mr. Braun returned to in London with Britten’s War Requiem, a piece he reprises with the Atlanta Symphony and the Toronto Symphony. Other concert engagements will include Messiah with the Montreal Symphony. Another exciting project this season is the baritone’s collaboration with director Tim Albery on Hanns Eisler’s Hollywood Songbook, Hell’s Fury, which will be seen at the Luminato Festival. Future projects include a return to the Canadian Opera Company. Last season included returns to the as Pentheus in Henze’s The Bassarids, to the Theater an der Wien for Alfred Ill in Der Besuch der alten Dame, and to the Calgary Opera as Figaro in Il Barbiere di Siviglia. In concert, Russell performed Mahler’s Symphony No. 8 with the Danish National Symphony Orchestra and the Montreal Symphony, Brahms’s Ein deutsches Requiem with the Houston Symphony, and Messiah with the Grand Philharmonic Choir. He will also appear in recital at Toronto’s Royal Conservatory of Music.

Toronto Mendelssohn Choir David Fallis, Interim Conductor and Artistic Advisor Cynthia Hawkins, Executive Director Ezra Burke, Associate Conductor The Toronto Mendelssohn Choir made its TSO début in March 1937.

The Toronto Mendelssohn Choir (TMC), Canada’s world-renowned and Grammy-nominated large vocal ensemble, performs choral music drawn from five centuries, including grand symphonic masterworks, world premières of new compositions, and rarely heard works. The TMC presented its first concert on January 15, 1895, as part of Massey Hall’s inaugural season. The Choir, now in its 125th season, continues to present its own annual series of subscription concerts in addition to making regular appearances with the Toronto Symphony Orchestra. The choristers of the TMC include a core of professional singers, auditioned volunteers, and choral apprentices aged 17 to 22. As part of its mission to champion choral music in Canada, the Choir supports emerging conductors through its Associate Conductor program, and Canadian composers through its annual Choral Composition Competition. For amateur choristers, the Choir

22 TORONTO SYMPHONY ORCHESTRA hosts an annual series of choral workshops exploring a wide range of repertoire. Since 2012, the TMC has made many of its performances accessible through international concert webcasts. See tmchoir.org for more information on all TMC programs. The TMC is now conducting an international search for a new artistic director, only the eighth conductor in its 125-year history. The TMC, performing with the TSO, presented the Canadian Première performance of Benjamin Britten’s War Requiem under the baton of Walter Susskind at Massey Hall in November 1964.

Choristers for these Toronto Symphony Orchestra performances

Soprano Cathy Minnaar Annie Odom Isaiah-John Sison ¥ Kathryn Barber Emma Mogyorodi Yesim Özbabacan Steve Szmutni * Ann-Marie Barrett- Dawn O’Dwyer Pamela Psarianos Christopher Wenman Tandy Alison Price Marg Rappolt Bill Wilson Nicole Bernabei Boyanna Rajic Amy Rossiter Lesley Emma Bouza * Heather Rowe Alison Roy * Jeffrey Baker Ada Chan Joanne Tang Jan Szot Tony Churchill Laureen Choi Madison Trupp Halyna Troian Barry Clegg Katy Clark * Jennie Worden Chantelle Whiteside Miles Hearn Emily Dotzlaw ¥ Kate Wright * Emma Willemsma Ronald Jewell Leslie Finlay Hannah You Mitzi Wolfe Zohar Nien-Chu (David) Kaveri Gandhi Claire X. Yu Andrea Wong Kuan Julia Goss Sophya Yumakulov Susan Worthington Dennis Kwok ¥ Brett Harris Jessica Wright * Alto Lawrie McEwan * Pui See (Natasha) Ho Virginia Wright Jane Agosta Joseph McGowan IV ¥ Pat M. Irwin YuYang Wu Marlo Alcock Marc Michalak * Jennylynd James Julia Barber * Tenor Roger Musselman Christine Kerr Betty Bennett Mitch Aldrich * Paul Oros * Jennifer Kerr Janis Benson Mason Borges ¥ Daniel Parkinson Jennifer (Ye Won) Kim Kristin Crawford Samuel Broverman Phil Penney Jennifer Krabbe * Kirsten Fielding * Brian Chang John Pepper * Alysha Ladha Kim Finkelstein Peter DeRoche David B. Powell Minha Lee ¥ Karen Frank John Duwyn Milovan Prelevic Sarah Maria Leung Gillian Grant John Gladwell Jordan Scholl * Claire Luc ¥ Ilone Harrison Nicholas Gough * Edward Shafran Marlene Lynds Marilyn Isaac Stewart Alejandro Guerrero Seymour Stern Katharine Mahon Valarie Koziol Valdis Jevtejevs * Chia-An (Victor) Tung Teresa Mahon * Manami Kuge Jim Jones Jonathan Wong ¥ Sachiko Marshall Jennifer McGraw Clement Kam Lydia McIntosh Marcia Myers Nestor Li * Elora Singers Lindsay McIntyre * Sarah Namer William Parker ¥ Apprentice Lauren Milner Rachel Neville-Fox William Reid * Members

NOVEMBER 8 & 10, 2018 23 THE ARTISTS

Toronto Children’s Chorus Elise Bradley, MNZM, Artistic Director Matthew Otto, Assistant Artistic Director The Toronto Children’s Chorus made its TSO début in October 1978.

Now in its 12th year under Artistic Director Elise Bradley, MNZM, the Chorus has won many competitions, recorded professionally, and represented Toronto on 30 international and seven national tours since its founding in 1978 by Conductor Laureate Jean Ashworth Bartle, C.M., O.Ont. The Chorus is privileged to return to the TSO stage this season to perform Benjamin Britten’s War Requiem and Carl Orff’s Carmina Burana. The Toronto Children’s Chorus is internationally recognized for its high standard of performance and its challenging and eclectic treble repertoire that spans diverse cultures, languages, and traditions. Its latest CD, Sounzscapes: From Our Lands, was named Outstanding Choral Recording by Choral Canada in 2014.

Artistic Director Elise Bradley, a passionate musician, award-winning teacher and conductor, and internationally respected adjudicator and clinician, was recently named a Member of the New Zealand Order of Merit (MNZM), a Royal Honour awarded in recognition of her services to Music. In addition to her work as Artistic Director of the 300-member Toronto Children’s Chorus, she receives many invitations to conduct choirs and present at conferences around the globe, including the 11th World Symposium on Choral Music (Barcelona), Dozan wa Awtar children’s choir (Amman), the inaugural New Zealand National Children’s Choir (Auckland), the IFCM World Choral Expo (Macau), and Gondwana Voices (Sydney). In the summer of 2019, she and the Chamber Choir will embark on a month-long tour “Down Under” to New Zealand and Australia.

Toronto Children’s Chorus Chorale Choir

Christina Baksay Florence Ho Asha Mayadunne Alice Sedgwick Giulia Brown Jerry Jia Selina Mei Alexandra Skira Tatjana Buczynskyj Veronika Keras Gabrielle Moreau Katrina Skuterud Irene Chatzimichail Madeleine Kerbler Nicholas Moreau Rena Solomos Poem Choi Cassandra King Sebastian Moreau Ania Suri † Sophie Daum Molly Klebanoff † Jeremy Ngai Clara-Maria Thaut Matthew Dennis Mirabella Kolodkin Tal Ohana Cole Vadacchino Zoë Earle Grace Kos Alice Peng Arin Walker Fiona Fisher † Victoria Kung Anne Marie Autumn Wang Julia Flagal Yoojin Lee Pongonthara Ruth Wang Saskia Fowler Gloriann Lobo Nora Popescu Kathleen Wu Barbora Frynta Anna Luo Alice Quan Eileen Xiong Elizabeth Frynta Teagan MacFarlane Sofia Radenko Serena Zhang Catherine Fullerton Ellie MacKinnon Forouhar Rezvani Miranda Zhao Laura Fullerton Maisie MacNaughton Baghae Catherine Ziabko Charmaine Handojo † Hannah Marshman Jamie Rokin † Simone Hedley Gabriela Martins Arjun Satkunaratnam † Head Chorister

24 TORONTO SYMPHONY ORCHESTRA