Volume 24 Issue 8 - May 2019

PRICELESS 

Vol 24 No 8 

MAY 2019 

CONCERT LISTINGS 

FEATURES | REVIEWS 

INSIDE: 17th ANNUAL 

CANARY PAGES 

CHORAL DIRECTORY 

ART OF SONG 

The Right Kind of Crazy 

Vocal Mentor, Liz Upchurch 

PLANTING NOT PAVING 

Faith-Arts Centres 

Creating Healthy Hybrids 

REAR VIEW MIRROR 

A Love Letter to YouTube 

Choir!Choir!Choir!

A SONG CYCLE FOR OUR DIGITAL AGE 

ı swallowed 

a moon 

made of iron 

WORLD 

PREMIERE 

photo: Mikael Aldo 

MAY 16-26 

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2408_MayCover.indd 1 

PRICELESS 

Vol 24 No 8 

2019-04-21 6:52 PM 

ON OUR COVER 

MAY 2019 

CONCERT LISTINGS 

FEATURES | REVIEWS 

INSIDE: 17th ANNUAL 

CANARY PAGES 

CHORAL DIRECTORY 

ART OF SONG 

The Right Kind of Crazy 

Vocal Mentor, Liz Upchurch 


Faith-Arts Centres 

Creating Healthy Hybrids 

REAR VIEW MIRROR 

A Love Letter to YouTube 

PHOTO: KEVIN KING 

Choir!Choir!Choir! 

Volume 24 No 8 | May 2019 

April 5, 2019, Nathan Phillips Square, Toronto 

CHOIR!CHOIR!CHOIR! is a fun, inclusive, no-commitment 

choir who meet two evenings a week at Clinton’s Tavern in 

Toronto. Led by Nobu Adilman and guitarist Daveed Goldman 

(AKA “DaBu”) they also tour, fundraise and generally make 

music to express both collective grief and celebration. When 

the choir invited the public to come and sing The Beatles’ 

Here Comes the Sun to launch The Canadian Cancer Society’s 

Daffodil Campaign, The WholeNote’s Kevin King was there: 

“A fantastic event and experience to be there photographing it; 

surrounded by so many smiling faces and joyous voices. The sun 

itself had been a bit shy that day but these singers managed to 

bring the sunshine with them!” 

An additional photo of the CHOiR!CHOiR!CHOiR! event 

appears on the cover of our Canary Pages (page C1). A recording 

of the event can be found on the C!C!C! Facebook page. 

FRANZ 

LISZT 

12 Études d’exécution 

transcendante 

2 Études de concert 

FEATURES 

7 OPENER | From Where 

I Sat, Jazz Lives | 

DAVID PERLMAN 

8 FEATURE | The Right Kind 

of Crazy – Liz Upchurch | 

LYDIA PEROVIÇ 

12 PLANTING NOT PAVING | 

Faith-Arts Centres – 

Creating Healthy Hybrids | 

KENDRA FRY 

14 PROFILE | Ana Sokolović 

– Evta Comes to Town | 

DAVID JAEGER 

16 IN CONVERSATION | 

Eifman Ballet’s 

Tchaikovsky. PRO et 

CONTRA | JENNIFER PARR 

19 FEATURE | Syrinx Concerts 

on the Move | DAVID PERLMAN 

41 WE ARE ALL MUSIC’S 

CHILDEN | MJ BUELL 

86 REARVIEW MIRROR | 

A Love Letter to YouTube | 

ROBERT HARRIS 

ACD2 2783 

SHENG CAI 

piano 

“The most electrifying 

soloist of the 2017 season” 

- South Coast TODAY 

Massachusetts USA 2017 

JUST RELEASED! 

16 

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an Ontario government agency 

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21 In with the New | WENDALYN 

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23 Classical & Beyond | 

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26 Music Theatre | JENNIFER PARR 

28 On Opera | CHRISTOPHER HOILE 

30 Early Music | 

MATTHEW WHITFIELD 

32 Jazz Notes | STEVE WALLACE 

34 Choral Scene | BRIAN CHANG 

36 World View | ANDREW TIMAR 

38 Bandstand | JACK MACQUARRIE 

60 Mainly Clubs, Mostly Jazz | 

COLIN STORY 

LISTINGS 

42 A | Concerts in the GTA 

55 B | Concerts Beyond the GTA 

58 C | Music Theatre 

59 D | In the Clubs (Mostly Jazz) 

62 E | The ETCeteras 

C1 

CHOIR!CHOIR!CHOIR! 

DISCOVERIES: 

RECORDINGS REVIEWED 

67 Editor’s Corner | DAVID OLDS 

69 Strings Attached | 

TERRY ROBBINS 

71 Keyed In | ALEX BARAN 

72 Vocal 

74 Classical and Beyond 

75 Modern and Contemporary 

79 Jazz and Improvised Music 

81 Pot Pourri 

82 Something in the Air | 

KEN WAXMAN 

84 Old Wine, New Bottles | 

BRUCE SURTEES 

MORE 

6 Contact Information 

7 Upcoming dates and 

deadlines 

64 Classified Ads 

SPECIAL SECTIONS 

C1-C16 | THE CANARY PAGES 

Our 17th annual directory of 

Southern Ontario choirs 

65-66 | GREEEN PAGES PREVIEW 

Profiles of Early Summer Music 

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6 | May 2019 thewholenote.com

FOR OPENERS | DAVID PERLMAN 

From Where I Sat, Jazz Lives 

From where I sat, in row D of the first balcony at Koerner Hall, this 

past April 10, 2019, jazz definitely lives. 

Just like the program in my hand said it did. “Jazz Lives 2019: a 

Tribute to Jazz.FM91 past, present and future” was the event’s full 

title. It was the 15th such consecutive event giving faithful followers 

of the listener-supported radio station a chance to show that indeed 

they still do support it, in spite of recent upheavals as painful as any in 

the station’s storied history since its birth as CJRT-FM at the Ryerson 

Institute of Technology (now Ryerson University) in 1949 (that’s 70 

years ago, people!). How long ago was that? Well, the JRT in CJRT’s 

call sign stood for Journalism, Radio, and Technology, which were 

three of Ryerson’s cutting edge educational mandates. 

By all accounts it’s been a rough spell, and most of the people in 

the audience had a pretty good idea of what’s been going on. With a 

new board of directors in place, and a boatload of station personalities 

bouncing on and off the stage (some of them after being notably 

absent during the past half year) what was particularly encouraging 

was a classy absence of gloating – a sense of quiet determination to 

get on with things. And a really strange sense of intimacy between the 

audience in the hall and the people on stage – strange, that is, until 

one realizes that radio is still probably the most intimate of media. For 

all I know the guy next to me shouting “we love you Brad” to the host 

of “Afternoon Drive with Brad Barker” was listening to Barker with his 

shirt on for the very first time. 

That’s because radio doesn’t require you to put on a face to meet it, 

and it meets you, exactly halfway no matter where you are. 

A fine time was had by all, not least because the musicians who 

came to the party treated us to two very swinging sets. Come to think 

of it, from the youngest members of the JazzFM91 youth band who 

kicked things off to the oldest of the household names on stage, we 

were probably looking at an age range pretty damn close to the entire 

duration of the station’s storied history. 

May the beat go on. 

Where I sat, in row D of the first balcony at Koerner Hall, this past 

April 10, 2019, I was definitely a supported listener. 

At some moment during the proceedings I looked down at the little 

silver-coloured plaque on the arm of my seat. It informed me that my 

particular bum-in-seat was being supported in thanks to a donation 

in honour of “George Ullmann, music lover and music entrepreneur, 

on his 80th birthday.” 

Once back home, I googled the aforementioned Mr. Ullmann and 

found that, after graduating with a B.MUS (Toronto) in 1967 and an 

MA (Toronto) two years later, he had gone on to head up Boosey & 

Hawkes’ Canadian operations from the late 1970s till they closed 

their operations at the end of 1994 (with scores by such notable 

composers as Talivaldis Kenins, Violet Archer, John Weinzweig, Healey 

Willan and many others among their holdings). At which point 

the entrepreneurial Mr. Ullmann established Counterpoint Musical 

Service, which helped bridge the gap left by Boosey & Hawkes’ exit, 

and who went on to serve on the boards of various music industry and 

service organizations, SOCAN among them. 

One could do worse than to have “music lover and musical 

entrepreneur” as an epitaph. 

From where I sit right now, thumbing through the page proofs of 

this issue, finally ready to go to press, the music lovers around me 

give reason for hope: 

–the hundreds in our cover photograph joining Choir!Choir!Choir! 

to sing Here Comes the Sun into the drizzle and mist (see On Our 

Cover, page 5); 

–the more-than-hundred choirs taking the time to announce their 

presence to prospective choristers in this year’s 17th Annual Canary 

Pages Choral Directory, inside this issue; 

–the writers of the astonishing range of stories in the issue, all so 

different and yet all reflective, one way or another, of how much 

music matters; 

the astonishing people we are lucky enough to get to write about, to 

whom music matters as much as it does to us; 

–and, of course, you. 

We are lucky. 

publisher@thewholenote.com 

Upcoming Dates & Deadlines for our combined SUMMER 2019 edition, for June | July | August 

The Green Pages Summer Music Guide 

6pm Friday May 10 (profiles) 

Free Event Listings Deadline 

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Display Ad Reservations Deadline 

6pm Wednesday May 15 

Advertising Materials Due 

6pm Monday May 20 

Classifieds Deadline 

6pm Saturday May 25 

Publication Date 

Tuesday May 28 (online) 

Thursday May 30 (print edition) 

Volume 24 No 9 “SUMMER” 

will list events 

June 1 to September 7, 2019 

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thewholenote.com May 2019 | 7

ART OF SONG 

KEVIN LLOYD 

THE RIGHT KIND 

OF CRAZY 

LIZ 

UPCHURCH’S 

FAVOURITE 

THINGS 

CHRIS HUTCHESON 

Liz Upchurch accompanies Jane Archibald in the COC’s 

Free Concert Series in the Richard Bradshaw Amphitheatre, 2018 

LYDIA PEROVIĆ 

Not a lot of people know that 

Liz Upchurch, the head of 

the COC Ensemble Studio 

and a key figure in operatic 

training in our country, started 

her career as an art song buff. The 

Royal Academy of Music graduate 

Liz Upchurch and London-born pianist who 

studied with Roger Vignoles first came to Canada for 

a lieder course led by Martin Isepp in Banff, where 

she met Mary Morrison, Michael McMahon and 

John Hess, who all had extensive opera experience. 

“At the time I had just started to lose my sight,” she 

remembers. “I have a retinal disease which started 

to manifest seriously around that time… it had been 

a difficult year. I’d just been given an okay by the 

specialist to go for the summer.” 


After the course, Isepp asked her to come with him to Italy, to an 

opera summer program he was running. “I wasn’t in love with opera 

then,” she admits. “I was in love with singers and art song. When 

I asked what we’d be working on, and was told a Mozart opera, I 

thought, hmm. But I’m so glad I went: it changed the course of my 

life. He became a mentor. I wanted to have that kind of artistic sensibility 

where I can be in both worlds, opera and art song.” 

Upchurch is celebrating her 20 years with the COC with a noon 

concert, “Some of My Favourite Things,” on May 7 at the Richard 

Bradshaw Amphitheatre (RBA), and the program will be back-toback-to-back 

art song. “I did a double first at the RAM in solo and 

chamber music, but I always played for singers, for their classes and 

recitals, and was kind of crazy for singers. There’s nothing as amazing 

as the written words set to music – the human voice. Human voices 

send me.” 

Back in Banff, John Hess, in particular, became a fast friend, and 

opened further doors into opera – and hiking. “John would always 

lead these hikes. I couldn’t do the hikes with other singers and pianists 

– when you start to lose your vision, you’re seeing in two dimensions, 

the whole up-down thing is confusing. He said, ‘I’ll take you on 

walks at the end of the course.’ And he got me over a couple of fears 

that I had.” Banff was also the place where Upchurch met her future 

wife, theatre director Jennifer Tarver, who was then assisting Rhoda 

Levine. But that was to come later. “Then John on that hike said, 

‘Look, I do this course in the winter, it’s called Dramatic Integration, 

for Canadian singers doing contemporary music. I can’t really explain 

the course, it’s a bit crazy, but I think you might be the right kind of 

crazy to do it.’” 

Two things were immediately evident, Hess tells me when I ask him 

about the experience. “Liz was a beautiful pianist. Superb sound, great 

fingers, deeply musical and a superb ensemble player. The other thing 

was a wicked sense of humour.” She was also, he writes, a dramatic 

sight to see while playing. “She was already beginning to have vision 

issues and she would often play with a tissue draped over one side 

of her glasses.” She accepted this unknown disease in stride, almost 

in an off-hand manner. “This was vintage Liz. She had an unabated 

appetite for the beauty of the Rockies and even with her physical challenges 

she was undaunted in getting to the top of whatever mountain 

she could.” 

Young pianist Jennifer Szeto, now Montreal-based former Ensemble 

Studio member and Adler Fellow, also remembers that sense of humour 

and the cheek. They met by accident, when Szeto played an audition 

for a friend whose regular pianist cancelled. “It’s a story which Liz 

likes to tell in a completely different way. But we met at that COSI audition. 

I walked in, played the audition, the singer left and Liz looked at 

me at the piano and went Who are you?! Um, I’m Jenn Szeto. I was 

a second-year student at that point. She asked me if I’ve ever seen an 

opera before. Which is a funny thing to ask someone. And thankfully 

I had seen an opera, as I was dating a young baritone. Liz invited me 

to the COSI program on the spot, and I spent the summer immersing 

myself in opera. Martin Isepp was coaching Cosi fan tutte, conducted by 

Stephen Philcox and featuring all the ensemble members at the COC. 

Sam Chan was there. Kinza Tyrrell conducted a Haydn opera, Aviva 

Fortunata was singing. I had an amazing introduction to the world of 

opera. That’s how Liz found me and I joined the Ensemble eight years 

after that. I’ve been learning and working in opera for about ten years 

since that first encounter. If I hadn’t agreed to play that audition, I’d 

never have met her; if she hadn’t asked who I was, I wouldn’t have the 

career that I’m building right now. It’s really because of her. And I’m 

sure I’m not the only person.” 

The two kept in touch over the years, but when Szeto inquired too 

early about trying out for the Ensemble Studio, she got an honest 

answer. “Jenny, she said. You’re not ready. I needed to wait a few 

more years. She is always honest with her advice. And I auditioned 

when I was ready.” Upchurch is known for keeping an eye on young 

musical talent across the country, and Szeto confirms it. “She likes to 

keep tabs. She likes to keep a good pulse on everything. I think that’s 

what makes her so good at her job: she has a remarkable eye for talent. 

She is a fabulous teacher and mentor, but really has an eye for spotting 

that thing that makes you different.” 

SIMON FRYER, ARTISTIC DIRECTOR 

OCTOBER 3, 2019 | 1.30 PM 

TRIO FIBONACCI 

Julie-Anne Derome, violin; Gabriel Prynn, cello; 

Steven Massicotte, piano 

NOVEMBER 14, 2019 | 1.30 PM 

JANE ARCHIBALD 

Jane Archibald, soprano 

pianist TBA 

FEBRUARY 27, 2020 | 1.30 PM 

DIOTIMA QUARTET 

Yun-Peng Zhao, violin; Constance Ronzatti, violin; 

Franck Chevalier, viola; Pierre Morlet, cello 

APRIL 2, 2020 | 1.30 PM 

BEVERLEY JOHNSTON 

& FRIENDS 

Beverley Johnston, percussion 

Aiyun Huang, and Russell Hartenberger, 

percussion 

Susan Hoeppner, flutes 

Marc Djokic, violin 

MAY 7, 2020 | 1.30 PM 

BLAKE POULIOT 

Blake Pouliot, violin 

pianist TBA 

2019 

2020 

PREMIÈRE OF WMCT 

COMMISSIONED WORK BY 

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416-923-7052 


GAETZ PHOTOGRAPHY 

Liz Upchurch with the 2018/2019 COC Ensemble Studio 

By the time the first round of taped submissions for the Ensemble 

Studio auditions arrives, Upchurch will have heard a good number of 

applicants already. She spends a chunk of her year travelling to vocal 

programs and festivals. “By the end of a summer, I’ve heard between 

50 and 80 Canadian singers from undergraduate level up, and several 

pianists. That allows me not just to hear young people with a lot of 

potential and watch them and be at the significant point to guide 

them over the next few steps, but also to interact with their teachers 

and people that they are with. So: there are no real surprises, honestly. 

The talented people rise. It’s important to have that big radar.” 

You can have a wonderful voice and not 

know how to communicate. You’ve got to 

sort of have it all and then you’ve got to 

really want it. It has to be a calling. It’s a 

very hard discipline, singing. 

What is she looking for in the 130-plus submissions that they get? 

“Extraordinariness. Beauty. People with amazing sense of message: 

communicators. You can have a wonderful voice and not know how 

to communicate. You’ve got to sort of have it all and then you’ve got to 

really want it. It has to be a calling. It’s a very hard discipline, singing. 

It looks incredibly glamorous, but the fact is it’s a very difficult life.” 

The international success of Canadian singers thrills her, but she’s 

not entirely sure how to explain it. “It’s a miracle. I’ve said it for years: 

for a country this size, how is it conceivable that everywhere you go, 

any of the major opera houses right now, you will fall over a Canadian 

on the stage. Frankfurt’s now become a mini-Toronto, in a way.” There 

are Canadians in Berlin, and Paris, and across France. Doesn’t it also 

speak to the quality of training here? “Yes. When you have such a 

plethora of amazing training, there’s not necessarily work of a certain 

type for everybody,” she adds, and the singers travel abroad. 

What about the training program, developed over the years, at the 

COC that she now heads up? “I have a small army, basically,” she 

says. Because it’s a large art form, it can be broken down and taught 

in separate ways. “You’ll do movement in one room, you do German 

diction over here, you have a vocal session here, you have coaching 

over there, everything is silo’d in boxes. For the singers who’re trying 

to put it all together, if there wasn’t a unified language, they are 

starting to ping pong.” She is first and foremost a pianist and she plays 

for all the trainers that she brings in, which means that she can see 

first-hand whether this trainer is a good fit for that particular group 

of singers. “It took me a long time to find this team. I have people like 

Wendy Nielsen, and Tom Diamond, and Jennifer Swan whom I met in 

Italy ten years ago, who’s an expert on breathing and physicality. It’s 

taken years to develop a sort of language, an understanding, a philosophy, 

and a method – a repeatable method. Sometimes we have four 

trainers in the room. We’re very good at sharing who needs to go 

when in the room, who needs to talk. The teamwork is essential. They 

also teach them separately.” 

The new Studio members are always introduced to the audience of 

the noon-hour concert series as a group, but they say farewell individually, 

in the Les Adieux concerts. Near the end the repertoire is 

often ambitious. “They sometimes want to do big song cycles, and we 

created space for them in the series for that. I’ve already spoken to 

the incoming studio members about their Les Adieux concert. For a 

Schubert concert like Samuel Chan just did, that is two years’ work.” 

“The song aspect has been elevated during Liz’s tenure with the 

Ensemble and that’s been a fantastic thing,” says Wendy Nielsen, the 

head vocal consultant at the Ensemble Studio and the head of voice 

at U of T. The two women did a recital together in 2011 in the RBA 

and after meeting as teachers at the Ensemble Studio, Nielsen invited 

Upchurch to come to her own summer program in St. Andrews in 

New Brunswick. What is Upchurch after in a young singer? “She’s 

primarily focused on helping them to develop their artistry,” says 

Nielsen. “Obviously voice matters, that’s their instrument, but she has 

a real ability to bring out the artist inside them.” And if that includes 

singers or pianists who also compose, like Danika Lorèn and Stéphane 

Mayer, she will find ways to bring forward their original work. “She 

is very respectful of what each ensemble member needs, and aware 


that they all need something different. One of her strengths is that 

she meets someone where they are. The recipe is not the same for 

each person. While providing training, the program allows for a lot of 

growth in different directions.” 

When I ask Upchurch what composers she favours personally, she 

takes the Romantic lane. “Brahms was my first love – and Schumann. 

I get Schumann. I was obsessed with the letters, with the relationship, 

with how he wrote, how he changed from improvising to seeing 

text for the first time, that whole thing. The Brahms-Mendelssohn- 

Schumann-Wolf axis was a major love affair for me. All of the piano 

trios, Brahms piano trios, Brahms cello sonatas, violin sonatas, 

how violin sonatas bleed into art song – all that.” But Brahms and 

Schumann won’t be on the program on May 7, giving way to some 

contemporary music, as is only right. Schubert, though – “a god of 

writing for text” – will make an appearance, with An die Musik. 

It was hard reducing her favourite things to an hour-long concert, she 

says. “I was really stuck – and I’m never stuck. It gelled about a month 

ago when I really knew exactly who I could have. I decided it should be 

about the Studio – the first year Simona Genga and Anna-Sophie Neher, 

who are friends, will do duets and rep that they love. The COC orchestra 

concertmaster, Marie Bérard, will play the violin solo in Strauss’ 

Morgen, with Genga singing.” Among the songs by living composers, 

the Ana Sokolović cycle Dawn Always Begins in the Bones will be well 

represented, as will Derek Holman’s The Four Seasons. “It’s an incredible 

set, which I’ve already recorded with Lance [Wiliford]. The Fair 

Daffodils is a true gem – Anna-Sophie will sing it.” 

Upchurch also composes. “Monica Whicher and I used to perform 

this song that I wrote, but this time it will be with a violin since Marie 

is there. It’s a lullaby for my son, who’s now nine, and who I have to 

go collect right after our interview. He’s never fallen asleep to it, not 

once in nine years,” she tut-tuts. 

Lydia Perović is an arts journalist in Toronto. Send her your 

art-of-song news to artofsong@thewholenote.com. 

ART OF SONG 

QUICK PICKS 

MAY 11, FROM 2PM TO 10PM: The 4th Annual African Women 

Acting Festival presents a tribute to Miriam Makeba. Centre for 

Social Innovation, 720 Bathurst St. 

MAY 11, 3:30PM: At Kingsway Conservatory of Music in Etobicoke 

(2848 Bloor St. W.), soprano Vania Chan will perform a selection 

of arias for Handel’s heroines, Cleopatra included. Rezonance 

Baroque Ensemble is, besides Chan, Rezan Onen-Lapointe and 

Kailey Richards, baroque violins; Matthew Antal, baroque viola; 

Erika Nielsen, baroque cello and David Podgorski, harpsichord. 

It’s a 45-min program, on PWYC basis, which the ensemble test 

drives before taking it to the Early Music America Emerging Artists 

Showcase in Indiana. Chan’s version of the aria “Piangero” from 

Giulio Cesare in Egitto can be found on the Tube. 

MAY16 TO 26: Canadian Stage. I Swallowed a Moon Made of Iron, 

the staged song cycle with poetry by Xu Lizhi about his life making 

electronic parts on an assembly line in a factory in Shenzhen, 

China. Created by Njo Kong Kie (Picnic in the Cemetery, Mr Shi and 

His Lover). 



Faith-Arts 

Centres 

Creating 

Healthy 

Hybrids KENDRA FRY 

La Monastère performing in St. Jax Anglican Church 

It’s March 25, 2019 as I write this here at 

Trinity-St. Paul’s Centre for Faith, Justice and the Arts. 

That puts us right in the middle of Lent (the lead-up to 

Easter celebrations). We just struck St. Matthew’s Passion 

for Tafelmusik (which occurred on the same day as our 

meditative Compline service) and then headed straight 

into the University of Toronto’s student concerts. By the 

end of the week we’ll be onto Trio Arkel. And that’s just 

the sanctuary, one of ten available spaces in this large 

urban church. 

Church. A place of faith. First and foremost, Trinity-St. Paul’s is that: 

a United Church, built 130 years ago for the gathering of a congregation 

of Christian worship. However, the intervening decades have 

seen this definition of its purpose adjust, with usage patterns and the 

will of the congregation, into something far more inclusive. Inclusive 

of different worship forms and inclusive of community in the 

broadest sense. On any given day you will see seniors exercising, children 

arriving for daycare, dance and music lessons, language classes 

and 12-step groups meeting, and professional arts organizations 

performing. It is a messy mélange of all the best things of community. 

And more and more T-SP (along with others) is serving as a model for 

faith buildings across Canada. 

So, dear readers of The WholeNote magazine, why does this matter 

to you? Because the new models being built in these faith communities 

are providing new spaces for the arts and allowing for broad 

spectrum partnerships that could deepen our community’s relationship 

to the arts. 

In 2013, Alan Brown of WolfBrown in the United States released a 

paper that talked about the increasing desire to create art rather than 

just witness it – to participate. He broke arts participation down into 

five “modalities”: inventive, interpretive, curatorial, observational and 

ambient (WolfBrown, A Fresh Look at Arts Participation, 2013). He 

argued that we deepen our relationship with the arts when we engage 

at all of these levels, acting as both practitioner and patron. 

Our new hybrid faith-arts, community-centre spaces offer the 

opportunity to be inventive and observational in one venue, without 

the excessive costs of a full-scale theatre to hinder these explorations. 

The best centres create a dynamic in which audiences are allowed to 

feel a sense of ownership and the comfort of a home away from home. 

Unlike many large-scale recital halls, these are not “high art” places, 

even when the art being produced in them often is. The intimate scale 

of the work at Trinity-St. Paul’s, for example, can best be seen postshow 

in the lobby where artists pass through on the way to retrieve 

their things. There is a natural collapsing of distance, an ability to 

imagine oneself as being fully a part of the success of that venture, a 

part of a journey of art creation. 

What We Know (and Don’t Know) About Canadian Arts Audiences 

In a 2013 blog on the culturedays.ca website, titled What We 

Know (and Don’t Know) About Canadian Arts Audiences, Shannon 

Litzenberger quotes a National Endowment for the Arts (US) Periodic 

Survey of Public Participation in the Arts as saying “we are rapidly 

introducing new or blended forms … expanding beyond purpose-built 

arts facilities, moving into bookstores, community centres, schools, 

places of worship and especially the home.” These models aren’t particularly 

new; who hasn’t heard of the infamous Trinity Sessions by 

the Cowboy Junkies at Holy Trinity Anglican, after all? What is new, 

however, is that aging congregations, and the weight of often historical 

buildings, are putting the model of faith buildings as multi-disciplinary 

hubs under threat. Regeneration Works (a project of the National Trust 

for Canada and Faith & the Common Good) estimates that 9000 faith 

buildings will close in Canada in the next ten years. How many of these 

buildings currently house rehearsals, workshops or performances? 

There is an opportunity here, to preserve these unique architectural 

spaces, creating new venues for the arts that can work in collaboration 

with community activation. Many models are being developed around 

Canada, but here are just a couple to consider. 

After the congregation at Dominion-Chalmers United Church in 

Ottawa had shrunk to a point where it couldn’t maintain the building, 


Carleton University offered to purchase it. The new arts and education 

centre (yet to be named) will still house the faith community, but 

will also have Carleton University’s department of music, the Ottawa 

Symphony Orchestra, Ottawa Children’s Theatre and other amateur 

and professional practitioners. This can only strengthen the learning 

environment and provide a built-in future audience. Carleton is 

invested in this concept of a hybrid culture, creating a more nuanced 

educational experience that will also involve adult learner lecture 

series. Check out more on the project at https://carleton.ca/dcuc. 

Meanwhile, in Montreal, St. Jax Anglican Church has just 

announced a partnership with La Monastère as the resident circus 

company. La Monastère describes themselves as a cabaret circus, 

interested in creating fully immersive events in St. Jax’s sanctuary in 

which the seating has been removed to allow for large-scale public 

gatherings and events. With a bar, full lighting and sound system 

and the gorgeous architecture of the church, the venue is proving 

to be divine (excuse the pun) for La Monastère. The sense of height 

and daring inherent in the circus arts seems to be enhanced by the 

curved architectural features of this Anglican church, creating a 

Seniors exercising, children arriving for 

daycare, dance and music lessons, language 

classes and 12-step groups meeting, professional 

arts organizations performing … It is a messy 

mélange of all the best things of community. 

Trinity-St. Paul’s resident cat 

experience that is both intimate and death-defying. The Anglican 

congregation continues to worship there and the team at St. Jax 

is looking to expand its mission by bringing more co-users into its 

community hub embrace. As they curate their own particular hub 

they are considering a gym (possibly circus-based), co-working and 

café spaces, as viable options that would enhance their mission. 

While both of these models have favoured the church remaining 

resident, on the East Coast there are models in which arts groups 

have fully purchased the faith building, creating wholly new venues 

centred on the arts. These include the Highland Arts Theatre Centre 

in Sydney, Nova Scotia and the Indian River Music Festival, in Prince 

Edward Island. The Indian River Music Festival has expanded its 

programming to encompass the entire summer, with musicians of all 

different genres from across Canada, including, this summer, Polaris 

Prize winner, Jeremy Dutcher. As well, a sensitive glass addition to 

the historically designated site allows room for audiences to gather 

pre- and post-show, without damaging the historic structure. 

Regeneration Works continues to work on models like these 

across the country, inspired by what has been created and looking 

to the future of hybrid faith-arts centres. In Winnipeg and Kingston, 

mighty Vancouver and tiny little whistle-stop Kingsbridge, 

communities are embracing these civic assets and asking them to 

DOORS OPEN 

TORONTO 

at 

www.metunited.ca ~ 416.363.0331 x26 

reoccupy a place in the broader public life. If you’re interested in 

seeing more models that are being tested, head on over to www. 

faithcommongood.org/places_of_faith to learn more; or consider 

joining us for a workshop in Kingston on June 1 at the Spire of 

Sydenham, another fantastic “arts in a faith building” project. Also feel 

free to join us on social media, and keep an eye out for our upcoming 

survey of how faith buildings are serving the broader not-for-profit 

community. We look forward to hearing about co-use projects from all 

over Canada via this two-year study. 

As I finish writing this, a toddler has just chased the resident cat 

down the hallway and Dancing with Parkinsons is setting up for 

their weekly therapy/dance class/community gathering. In the sanctuary, 

a few tourists have come off the street and asked to pray, and 

rather unusually,the space was available. Someone tunes the piano for 

tonight while they pray. I cannot help but feel that this is a glorious 

use for this old place of sanctuary. 

Kendra Fry is the general manager of Trinity-St. Paul’s Centre for 

Faith, Justice and the Arts and an associate of Regeneration Works: 

Places of Faith, a project of the National Trust for Canada and Faith 

& the Common Good. She is passionate about building places where 

communities can grow and thrive. 

2 

concerts in the heart 

of downtown! 

Saturday 

Praise and Protest 

May 25 , 7:30 pm Jazz, Blues and Gospel 

$20/10 

Sunday 

May 26 , 1:30 pm 

Free admission! 

Challenges & Affirmations 

Featuring guest singer Laurel Tubman, 

the Met Choir , band & soloists 

Metropolitan Silver Band 

Enjoy an entertaining brass program 

in our historic space 


PROFILE 

ANDRÉ PARMANTIER 

Ana 

Sokolović 

Evta Comes to Town 

DAVID JAEGER 

I 

remember the first time 

I heard Ana Sokolović’s 

music: I was in Paris, 

participating as CBC Radio’s 

delegate at the International 

Rostrum of Composers 

(IRC) in 1996. My Radio- 

Canada colleague, Laurent 

Ana Sokolović 

Major, had chosen to 

present a work for violin duo, Ambient V, composed in 

1995 by Montreal composer Sokolović (b. 1968) who had 

come to Canada from her native Serbia in 1992. I recall 

thinking that this was a distinctly fresh musical voice. 

There were elements of Serbian folk music, minimalism, 

as well as choreographed movement by the two players. 

It all added up to a memorable impression of music that 

was playful, yet highly focused and purposeful. 

I certainly was not the only person to be impressed by Ambient 

V. Another young Montreal composer, Jean Lesage (b. 1958), heard 

the work and recommended it to a colleague who was designing 

a program for the Société de musique contemporaine du Québec 

(SMCQ). The piece was programmed on the SMCQ concert, recorded 

for broadcast on Radio-Canada, and subsequently chosen as the 

Radio-Canada submission to the IRC. Ambient V is available on a 

recording on the SNE label called Nouvelle Musique Montréalaise 

II through the Canadian Music Centre. Incidentally, Sokolović and 

A scene from Svadba 

Lesage connected romantically, and were married in 1998. 

In 1999, Sokolović was named Grand Prize winner in the CBC/ 

Radio-Canada National Competition for Young Composers, for which 

I served as CBC’s coordinator. The work with which she won is titled, 

Géométrie sentimentale. It’s a work in which the thematic material 

is seen from three different angles: “music through different geometries,” 

as her program note states. It was through her success at the 

competition that I first met Sokolović, and since that time we have 

collaborated on numerous occasions. 

Géométrie sentimentale had been commissioned in 1997 by the 

Ensemble contemporaine de Montréal (ECM+), a large chamber 

ensemble created in 1988 and led by its founder and artistic director, 

the Montreal conductor, Véronique Lacroix. Lacroix had also been 

in the audience for that same SMCQ concert in 1995 and had heard 

Sokolović’s Ambient V. Like many others, Lacroix, too, was struck 

by the distinctive voice she heard in the work. Over time, and at last 

count, she has commissioned four works from Sokolović. The most 

recent of these commissions is the violin concerto, Evta. 

Sokolović told me she based the concerto on ideas that surfaced in 

conversations with her soloist, the Montreal-born, but now Torontobased 

violin virtuoso, Andréa Tyniec. Two areas of interest that Tyniec 

expressed were Gypsy violin music and yoga. Sokolović wrote, “Evta 

means ‘seven’ in the Serbian Roma language. Each of the seven movements 

of the concerto is inspired by the colours of the chakras and 

is associated with one of the notes of the scale: C/red, D/orange, E/ 

yellow, F/green, G/blue, A/indigo and B/violet.” She further mentions, 

“The work is strongly influenced by Gypsy violin music played in 

the Balkans.” Tyniec told me: “Working with Ana on Evta after 

performing so many of her violin works during the past years, both 

solo and chamber, has been a real artistic highlight for me in my 

career. Playing Evta is a personal experience since some of its themes 

and structures are drawn from conversations Ana and I had years 

ago. Evta is also a wonderful challenge for any soloist, to be at once 

a prominent voice leading the narrative and still remaining a part of 

the bigger textures of the work. There is such joy in being able to both 

stand out, be oneself and belong.” 

BERNARD COUTANT 


The concerto was premiered by Tyniec and ECM+, conducted by 

Lacroix at the 2017 World Music Days in Vancouver, sponsored by the 

International Society of Contemporary Music and Music on Main. I 

attended that performance. In my review of it for The WholeNote, 

I observed that Tyniec’s solo violin was an astounding traveller 

through the seven movements, flashing virtuosity in so many ways, 

one lost count. The thread of this fascinating composition never lost 

clarity as it swept through its intricate and surprising courses. It was 

a riveting experience to witness the unfolding of this exciting, highly 

original work. 

“To be at once a prominent voice leading the 

narrative and still remaining a part of the bigger 

textures of the work … there is such joy in being 

able to both stand out, be oneself and belong.” 

— Violinist Andréa Tyniec 

Toronto audiences will at last get their chance to hear Tyniec 

perform Sokolović’s Evta on May 26 at 8pm when New Music 

Concerts (NMC) presents the work as part of their season’s final 

concert at Betty Oliphant Theatre. NMC artistic director Robert Aitken 

will conduct the NMC ensemble in a concert that also includes music 

by two rising young Canadian composers, Samuel Andreyev (b. 1981) 

and Matthias McIntire (b. 1986). 

Evta is also available on a newly released CD on the ATMA label 

titled Sirènes (ATMA ACD2 2762.) The recording contains four major 

works by Sokolović, including the title track, Sirènes, a work for six 

female voices, written for Queen of Puddings Music Theatre (QOP) in 

2000. In 2010 Sokolović wrote another, more ambitious work for six 

female voices for QOP, a 55-minute one-act opera in Serbian called 

Svadba (Wedding), arguably her greatest success to date. 

In her note to the opera, Sokolović wrote: “When Queen of 

Puddings Music Theatre (1995–2013) approached me to write an opera 

for six female voices, I took the opportunity to explore the theme of a 

wedding, particularly the evening before the ceremony, during which 

the bride-to-be and her friends devote themselves to private ancient 

rituals. The text is based on original Serbian poetry but given a new 

context, adapting it to our contemporary culture, and the music is 

derived from traditional folklore.” Sokolović has told me that when 

she arrived in Canada as a student, she saw herself as a member of an 

international contemporary music community, and she tried to avoid 

any limitation to her music that might result from emphasizing her 

Andréa Tyniec 

Serbian roots. However, she learned that, rather than being limiting, 

expressing her musical roots in a contemporary context enabled her to 

strengthen her voice as a composer. 

Svadba has had 20 productions to date. John Hess, the co-founder 

(along with Dáirine Ni Mheadhra) of QOP told me, “I think it is easily 

the most performed Canadian opera ever. Our enchantment with 

Ana had a lot to do with her imaginative vocal writing and the unique 

exploratory quality of much of that. Her roots in Serbian traditional 

music and her ability to use that as a compelling ingredient of her 

work without becoming gratuitous or sentimental was important to 

us. Finally, her strong dramatic instinct left us with a body of works 

for the singing stage that continue to be performed.” 

Sokolović’s proven success as an opera composer has led to a 

commission for a new mainstage opera from the Canadian Opera 

Company (COC). The Old Fools is an opera that Sokolović is creating 

with British librettist Paul Bentley. The two-act opera was inspired by 

a poem by English poet Philip Larkin, focusing on the fear of aging 

and death. In announcing the commission, COC general director 

Alexander Neef said: “One of the things I enjoy most about Ana’s 

works is that they are stories that tap into shared human experience, 

while simultaneously challenging our perceptions of what that is.” 

The Old Fools is currently in development, even as the exact production 

date has yet to be announced. 

David Jaeger is a composer, producer and broadcaster 

based in Toronto. 

SASHA ONYSHCHENKO 

orhpeus by request 

Orpheus celebrates Artistic Director Robert Cooper’s 15 years with the Choir 

in a unique program of our most beloved works as voted on by our audiences. 

Did your favourite Orpheus performances make the cut? Come and find out in 

an evening of surprises, celebration, and fun hosted by choral celebrity 

Howard Dyck. Join us as we recognize Robert Cooper and look ahead to 

many more years together! 

May 15, 2019 7:30 PM Grace Church on-the-Hill 300 Lonsdale Rd. Toronto 

Adult: $45 / Senior: $35 / Under30: $20 / Family: $100 www.orpheuschoirtoronto.com 416-530-4428 

The Jackman Foundation 


IN CONVERSATION 

GETTING UNDER THE COMPOSER’S MUSICAL SKIN 

Eifman Ballet’s Tchaikovsky. 

PRO et CONTRA 

JENNIFER PARR 

Scene from Tchaikovsky. PRO et CONTRA 

COURTESY EIFMAN BALLET 


Boris Eifman 

Good ballet is a feast for the 

senses, whether classical 

or contemporary in style. 

Music, movement and design 

create a symbolic display or depict 

character and story, with dancers 

moving through space delineated 

by the choreographer’s specific 

interweaving of physical steps 

and musical phrases, offset by the 

physical design of set, costumes 

and lighting. But conveying inner 

stories is not typically the art 

form’s long suite. 

Having no words is usually an integral part of the definition of ballet; 

yet, recently, choreographers have been getting closer to finding a way 

to articulate thoughts and feelings that demand words as their medium 

of expression. Balletic adaptations of Shakespeare’s later, more complex 

plays are a case in point. Kevin O’Day’s Hamlet is extraordinarily 

effective at communicating Hamlet’s intellectual and spiritual torment. 

Christopher Wheeldon’s The Winter’s Tale is magical in how clearly the 

complexity of Leontes’ jealousy is conveyed. 

The Eifman Ballet of St. Petersburg, coming to Toronto this month, 

has become internationally renowned for full-length ballets of great 

psychological depth; ballets that require not only a choreographer able 

to meld music and movement in ways that will invoke a powerful, 

detailed response in audiences, but also dancers able to embody his 

creations. Around the world, audiences have responded with great 

applause dubbing the company “unique” in their approach. 

This week I had the exciting opportunity to speak with Boris 

Eifman, the founding artistic director and choreographer of the 

Eifman Ballet as the company prepares to begin a new North 

American tour in Toronto with Eifman’s latest production, the already 

acclaimed: Tchaikovsky. PRO et CONTRA. 

What makes the company unique, Eifman says, is that in every ballet 

he choreographs, they “are really trying to reflect on the interior world 

of the characters, showing the emotions and feelings of that inner world 

through the language of dance and movement.” While grounded in 

the strong traditions of classical Russian ballet that emphasize having 

a clear storyline, emotional content and strong acting, they have taken 

those elements into the present, utilizing new contemporary choreography, 

modern design and cutting-edge technology. Founded by Eifman 

in 1977 as the Leningrad New Ballet, the company recently celebrated 


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Scene from 

Tchaikovsky. 

PRO et CONTRA 

“The main focus is to find out and 

understand what provoked the 

particular pieces that we all 

know by heart and think 

we understand.” 

its 40th anniversary, and boasts a dedicated ensemble of phenomenally 

talented dancers who are also very skillful actors. “In fact they are 

unique,” says their director, because “their acting and dancing skills are 

equal.” He credits these abilities and their “wonderful personalities” for 

constantly inspiring him in the creative process. 

When it comes to the company’s individual ballets, inspiration 

can come from different directions, Eifman says: “When I was doing 

Mozart’s Requiem it was the music that came first. When I did Anna 

Karenina, it was definitely the story and the great novel by Tolstoy.” 

For this ballet, Tchaikovsky, PRO et CONTRA, he says, it is in equal 

parts the music and the story of the tormented life of the great 

composer. “Basically,” he says, “it is like a deathbed confession. What 

I am trying to do is show the secret or mystery of the life of this absolutely 

unique human being who, in spite of leading an incredibly difficult 

life, was yet able to create the phenomenal music that we all love.” 

Interestingly, the phrase “mystery of life” also occurs in the title 

of an earlier Eifman ballet about the composer: Tchaikovsky:The 

Mystery of Life and Death. I asked him about the connection. “They 

are completely different works from different times,” he says. “When 

the first production came out in 1993, it caused a great scandal 

because the ballet explored Tchaikovsky’s homosexuality; and because 

of the social climate in Russia at the time it was felt that the great 

composer – who is of course an icon for every Russian – was being 

defamed. There were demonstrations, protests against the theatre, and 

I even received death threats.” 

“Now we are in a different time, when homosexuality is not 

unknown or taboo to the extent it was 25 years ago,” he says. “The new 

ballet [created in 2016] Tchaikovsky. PRO et CONTRA is a completely 

different production that raises many different questions about 

Tchaikovsky’s difficult life and the effect it had on his artistic creations, 

even while drawing on some of the same biographical facts.” 

He explains: “Tchaikovsky [1840-1893] was a very religious person 

but, of course, at that time, especially in Russia, to be a homosexual and 

to be religious was not supposed to be possible, as being a homosexual 

was considered to be one of the greatest sins. That is why all his life he 

was torn between God and the Devil, so much so that it was like a split 

in his personality; and that is a main focus of this production.” 

The idea of the split personality is given tangible form in the ballet. 

“Tchaikovsky is two characters in this production; one is Tchaikovsky 

the composer, and the other is his alter ego. One is always trying to 

move up to meet God, and the other trying to move down to meet 

the Devil.” 

Watching the official trailers for the ballet on YouTube, one can see 

that concept being echoed literally in the choreography; Tchaikovsky 

and his double usually move vertically, often one lifting or lowering 

the other, while the rest of the company swirls around them dancing 

on the horizontal plane, enacting scenarios from Tchaikovsky’s life, or 

fantastic visions where his real life and artistic creations intertwine. 

This led to one of my big questions for the choreographer. Given that 

Tchaikovsky composed some of the world’s most dearly loved ballet 

scores for works that are considered to be archetypal classical ballets, 

most notably Swan Lake, The Nutcracker and Sleeping Beauty, I 

wondered if we would hear any of this music in the new ballet, or 

see any images from or snippets of the original Petipa choreography 

woven into the new story. 

I was surprised by his answer: the music from the ballet scores is 

not used at all. While all written by Tchaikovsky, the music is taken 

from six different symphonic works (including Symphony No.5 in E 

Minor and the Serenade for Strings in C Major). On the other hand, 

images reminiscent of Tchaikovsky’s ballets Swan Lake and The 

Nutcracker, and his operas Eugene Onegin and The Queen of Spades 

are incorporated into the all-new choreography. “The main focus is to 

find out and understand what provoked the particular pieces that we 

all know by heart and think we understand. What was behind these 

creations? Why did he create these and not something different?” 

(For those who don’t want to know, beware! There are spoilers 

coming up.) 

In what appears to be a long vision of his life flashing before his 

eyes, Tchaikovsky’s Double merges into von Rothbart, Drosselmeyer 

and Onegin. Visions of his disastrous marriage to his student Antonina 

Milyukova (who is said to have reminded him of Tatiana in Onegin ) 

overlap with images of swans from Swan Lake. At one point, the stage 

is suddenly filled by a swarm of mice seemingly escaped from The 

Nutcracker. At another, a table is surrounded by ferocious card players 

from The Queen of Spades, and Tchaikovsky’s unloved patroness 

Nadezhda von Meck appears as his nemesis in the guise of Carabosse, 

the evil fairy, from Sleeping Beauty. 

In many ways this ballet could be viewed as the culmination of 

Eifman’s lifelong admiration for Tchaikovsky’s brilliant music, even 

though he has created six previous ballets using various music by 

the composer including The Idiot (1980), Tchaikovsky: The Mystery 

of Life and Death (1993), Red Giselle (1997), Musagete (2004), Anna 

Karenina (2005), and Onegin (2009). “What is it about the composer’s 

music that you respond so strongly to?” I asked. “The emotional 

quality of the music is important” he says, “but most of all the music 

is very plastic (tangible), very theatrical; primarily it is the music’s 

strong dramatic energy that touches me the most and provokes me 

to create new works.” As for calling it a “culmination” he sounds a 

cautionary note, joking that he “has a lot of work to do as there is still 

a lot of music to be used.” 

I ask if he has found that audiences in Canada or North America 

respond differently to his ballets than audiences at home in Russia. 

“The audience reaction is very, very similar,” he says. “I believe there 

are a lot of people here who know and understand ballet; and they 

give the company great feedback, so that we are always very happy to 

come and bring our new productions.” 

Tchaikovsky. PRO et CONTRA plays at Toronto’s Sony Centre for 

three performances only, May 9 to 11 at 8pm, with pre-show talks by 

dance writer Deirdre Kelly before each performance at 7pm. 

Jennifer Parr is a Toronto-based director, dramaturge, fight director, 

and acting coach, brought up from a young age on a rich mix of 

musicals, Shakespeare, and new Canadian plays. 


FEATURE 

SHORT JOURNEY, 

MAJOR DEPARTURE 

Syrinx 

Concerts 

on the 

Move 

DAVID PERLMAN 

Ishay Shaer 

GILAD SHABANI SHOOFAN 

JULIE GLICK 

Syrinx Concerts Toronto hasn’t 

always been called that (it was 

Chrylark for its first two seasons, 

in 2002 and 2003) but it still does 

what it has done with remarkable 

consistency for the better part of a 

decade and a half – namely present 

Dorothy Sandler-Glick 

four to five annual chamber concerts 

with an identifiably unique character, performed by 

a roster of top-flight musicians who ply their musical 

trade, regularly or occasionally, in Toronto. One of the 

two concerts Syrinx will present over the course of the 

coming four or five weeks, May 26 at Heliconian Hall, 

is definitely typical of what Syrinx does; the second, 

June 6, is definitely not. 

Observably, a longstanding concert series with an identifiably 

unique character doesn’t get to be that way without some stubborn 

and creative individual of strong character holding it all together. And 

in Syrinx’s case, Dorothy Sandler-Glick is that someone. 

Sandler-Glick, Syrinx’s founding artistic director, is both excited 

and a little bit anxious contemplating the month ahead, and it’s 

not the May 26 concert that is the source of her anxiety. After all, 

Heliconian Hall on Hazelton Ave. has been Syrinx’s home for every 

concert of their history; and the accomplished Moncton-born Quatuor 

Arthur-LeBlanc, Laval University quartet-in-residence since 2005, 

are Syrinx regulars who know and appreciate the deeply attentive 

listening that characterizes a Syrinx recital. 

Russian 

Salon: 

Ages & Stages 

“ I am as though dead. 

But as a comfort to the world, 

with its thousands of souls, 

I live on in the hearts of all 

loving people. And that 

means I am not dust.” 

– Michelangelo Buonarroti 

JUNE 9, 2019 3:00 pm 

Trinity-St. Paul’s Centre 

427 Bloor Street West 

FEATURING 

Tyler DUNCAN, baritone 

Lara DODDS-EDEN, piano 

Julie HEREISH, cello 

Sheila JAFFÉ, violin 

Inna PERKIS, piano 

Ernesto Ramirez, tenor 

Boris ZARANKIN, piano 

Ilana ZARANKIN, soprano 

To order tickets or subscriptions, please call 416.466.6323 or visit 

OFFCENTREMUSIC.COM 


They also know the time-honoured Syrinx concert formula: main 

works drawn from the standard classical chamber repertoire; always 

a piece by a Canadian composer; and, as often as not, an opportunity, 

in at least one work on the program, to collaborate with another 

musician from Sandler-Glick’s always renewing circle of musical associates. 

For their April 2014 visit it was Dohnányi’s Piano Quintet with 

one of Sandler Glick’s favourite Toronto-based collaborative pianists, 

Gregory Oh. This time it is Schumann’s Piano Quintet in E-flat, Op.44 

with rising Israeli pianist, Ishay Shaer. 

And it is with the introduction of Shaer to this story that an explanation 

of Sandler-Glick’s state of mind starts to become clear, because 

hard on the heels of Shaer’s May 26 guest appearance with the 

LeBlancs, his June 6 solo piano recital will take Syrinx, for the first 

time in their history, out of the cosy confines of their Heliconian Hall 

home into unfamiliar surroundings – Mazzoleni Concert Hall at the 

Royal Conservatory of Music. 

It’s a short journey – just a few blocks – but it’s a major departure. 

It’s also, Sandler-Glick says, a risk worth taking. “We’ve promoted 

or presented Ishay a few times already,” she says, “and I’ve just seen 

his evolution. You could say I’ve become somewhat of a groupie. I’ve 

gone to Holland to hear him, this last time was a Brahms festival in the 

Hague. And I also went to Paris to hear him do a solo concert. Over the 

years I’ve kept track of him and been in touch, and have read reviews 

that have been just superb. Last year I heard him at Bristol and it was 

just top of the mark. So I thought ‘I have to do something more for 

him.’ And this is the best thing I can do. I can’t get him into Koerner 

Hall. I don’t have the wherewithal for that, either the money or, as 

important, the audience.” 

Even Mazzoleni, at double the capacity of Heliconian, is no cinch, in 

terms of drawing an audience. Does double the capacity mean double 

the cost? I ask. “I wish!” she says, ruefully, and itemizes all the areas 

where the increases are exponential. So she will invite people, vigorously, 

beyond her faithful subscriber base and, with luck and good 

management, draw on the relationships she has started building with 

two other salon series, both home-based, one, with a following of 80 

to 100, the other with 40 or 45. “I used to worry about the question of 

having our own audience cannibalized,” she says. “But not any more. 

The reward is in both directions. We are all happy about it.” 

Ishay’s June 6 concert program is a hefty one: Beethoven’s Piano 

Sonata No.32 (his last); selected Debussy Etudes (which the composer 

warned pianists not to attempt “unless they have remarkable hands”); 

and Chopin’s Piano Sonata No.3 in B Minor, Op.58, considered to 

be one of Chopin’s most difficult compositions, both technically 

and musically. And, yes, telltale Syrinx fingerprint, there will be a 

Canadian work on this program too – Image Astrale by pioneering 

composer Jean Coulthard, one of three Western Canadian women (the 

others were Violet Archer and Barbara Pentland) who left their formative 

mark on the 20th century Canadian musical landscape. “It was on 

his 2017 program for us too,” Sandler Glick says. “There is something 

about her music that I think he really gets.” 

“So is the Canadian work on the program ever the starting point for 

building a program.” I ask. A quick shake of the head. “This is the part 

of it that makes me a dictator, and I love it. I have a lot of say. I get to 

suggest repertoire, and I suggest what I want to hear; and a lot of what 

I want to hear is the familiar, the music I love. It’s a lot of what the 

audience wants to hear too. So if there’s enough of what’s familiar on 

either side, at least they are not going to complain. And at best they 

are going to be receptive.” 

Out of context, one could take the comment as dismissive of Syrinx’s 

bedrock commitment to Canadian work. But to do so would be to miss 

a fundamental point. Chrylark/Syrinx was founded in 2003, one year 

after the death of Sandler Glick’s former husband, composer Srul Irving 

Glick, with the express mission of creating an artistic context in which 

his music would be kept alive. Over time the mandate spread to include 

other composers, notably in the early years, Oskar Morawetz and Walter 

Buczynski who were part of Srul Irving Glick’s own circle. 

“At first we tried programming one composer for a whole season,” 

she says. “But life is not long enough for that! So it became one 

composer per concert, and we have heard some wonderful pieces over 

the years.” Srul Irving Glick’s own work has not been neglected over 

This part of the work is what makes me 

a dictator, and I love it. And many of the artists 

who come to us appreciate it too. 

the passing years. But neither has it been thrust forward, although 

with the coming season being the 85th anniversary of his birth, there 

might be a case for doing so again in the near future. “It’s a balance 

you have to find,” she says. 

April 23, 2017, 15 years after Srul Irving Glick’s death almost to the 

day, was one such beautifully balanced moment: both in terms of 

his legacy and, as important in terms of defining the complex skill 

set that Sandler-Glick brings to keeping Syrinx a significant part of 

Toronto’s musical life. The concert that night was a live CD recording 

of all six of Glick’s Suites Hébraïques, the first time that all six suites 

had been performed together. The roster of musicians assembled for 

the event reflects Sandler-Glick’s priorities: Susan Hoeppner, flute; 

James Campbell, clarinet; Wallace Halladay, saxophone; Elissa Lee, 

violin; Barry Shiffman, violin; Sharon Wei, viola; Cameron Crozman, 

cello; and Angela Park, piano – established, mid-career and emerging 

artists, a testament to her commitment, above all else to putting the 

interests of the musicians ahead of everything else. 

Easy to lose sight of in talking about her curatorial role, is Sandler- 

Glick’s own lifelong passion for the piano, starting at age four, 

studying under Alberto Guerrero at the RCM, continuing in Paris 

where she gave recitals and taught while studying herself, then upon 

her return performing professionally with orchestras and in solo and 

chamber music recitals, live and for CBC radio, premiering many new 

works by Canadian composers along the way. And, from the latter half 

of the 1990s, maintaining a vigorous teaching career, both at the RCM 

and privately. “I had to get a real job after Srul and I separated,” she 

says. “Now I only teach my grandchildren, which is a bit of a mixed 

thing. I can’t make them practise. But they are all musical and all 

interesting people to know.” 

You won’t ever find her name among the pianists in her own series 

though: “I was never a very happy performer” she says. “Not as a soloist 

nor even as a chamber player.” One could surmise that part of what she 

brings to her relationship with musicians, and to forwarding the musical 

aspirations of “top of the mark” performers like Ishay Shaer, stems from 

her own understanding of just what it takes to get, and stay there. 

As for her own musical and pianistic journey, it has taken a recent 

and happy turn. “It was after I turned 80, I told myself I wanted to do a 

concert again,” she says. And did, late last year. At the Schubert House 

in Vienna, no less, after a trial run at home salon in Toronto. I wasn’t 

there, but if the concert went as planned it included a Mozart sonata, 

three Schubert Impromptus a Brahms Capriccio and Ballade and 

Schubert’s Sonata in A Minor for Arpeggione and Piano. 

And, of course, a Canadian work: Sonata for flute and piano by, 

who else, Srul Irving Glick. 

David Perlman can be reached at publisher@thewholenote.com 

Schubert House in Vienna 


Beat by Beat | In with the New 

Conflagration: 

Improvisation, Radio 

and Gwendolyn 

MacEwen 

WENDALYN BARTLEY 

The dictionary defines a conflagration as 

an extensive fire that destroys a great 

deal of land or property. (The recent 

Notre Dame fire in Paris on April 15 can be 

considered such an event.) It is also the very 

word that the beloved Toronto-born poet and 

novelist Gwendolyn MacEwen (1941-1987) 

used, metaphorically, to describe Nikola Tesla, 

the Serbian-American inventor and electrical 

engineer who brought us alternating current 

(AC) – the electricity system we use every day. 

In the last paragraph of the opening section 

of Tesla, MacEwen’s verse-play for radio, she 

states: “He set the entire earth in electrical 

vibration with a generator that spouted 

lightning that rivalled the fiery artillery of the 

heavens….Tesla was a conflagration.” 

Tesla was one of two MacEwen verse-plays 

that were commissioned by and broadcast 

on CBC’s Anthology program in the early to 

mid-1960s. The Tesla piece explores Tesla’s 

achievements and his AC current that was 

used in the hydroelectric plant at Niagara 

Falls, the first of its kind. It also covers the 

highly controversial “War of Currents” he was engaged in with Edison 

and his direct-current (DC) system to determine which system would 

power the world. Tesla won. The second was Terror and Erebus, the 

names of the two ships used in the Franklin expedition to discover the 

Northwest Passage. Franklin’s Arctic expedition, had a less auspicious 

outcome: the two ships became icebound for three years, and despite 

several attempts to find them, the entire crew eventually died. Only 

the Inuit knew where they were. 

TIO at Array: May 26 at the Array Space, the Toronto Improvisers 

Orchestra (TIO) will present a performance of both of these radio 

verse-plays, featuring actors Rod Campbell and Randi Helmers with 

an original score by composer Eugene Martynec for the Tesla piece, in 

an event that promises to be something of a conflagration of mixed art 

forms. Using the wireless technology that Tesla himself foresaw, I had 

a Skype conversation with TIO members Martynec and Campbell to 

hear more about the TIO in general and about this upcoming performance 

which is part of a series of events that the TIO has initiated to 

celebrate great artists and improvisers from Toronto. 

The orchestra itself is the inspiration of Martynec who started it 

up about seven years ago after 

returning from a three-year stay in 

London UK where he played several 

times with the well-seasoned 

London Improvisers Orchestra. One 

of the hallmarks of that ensemble is 

the use of conduction cues, a series 

of hand signals used by a conductor 

to guide the musicians through 

an improvisational performance. 

These were originally designed 

by American cornet player and 

composer Butch Morris and have 

become a standard system used by 

many improvising ensembles in 

Europe and North America. 

Currently, the TIO performs twice 

a month – at the Tranzac Club and 

the Array Space – and is a very 

musician-centric ensemble. These 

gatherings consist of a one-hour 

rehearsal beforehand to warm up 

and go over the cues, and then the 

Gwendolyn MacEwen 

actual improvisational performance 

begins. “The hand signals are there 

to help us out, not to tell people what to do” Martynec explains. The 

basic guidelines are that players are asked not to play in their usual 

genre (jazz, classical, blues, etc), melodies are to be atonal only and 

extended techniques on one’s instrument are highly encouraged. 

NEW MUSIC CONCERTS | ROBERT AITKEN ARTISTIC DIRECTOR| WWW.NEWMUSICCONCERTS.COM | RESERVATIONS 416.961.9594 

Matthias McIntire 

Cathedral Grove 

(and the Gray Jay) 

Matthias McIntire violin 

Ana Sokolovic 

Evta 

(Seven) 

Andréa Tyniec violin 

Samuel Andreyev 

Iridescent 

Notation 

Maeve Palmer soprano 

New Music Concerts Ensemble | Robert Aitken direction 

IRIDESCENCE | SUNDAY MAY 26 | BETTY OLIPHANT THEATRE | 404 JARVIS STREET | INTRO 7 15 | CONCERT 8 00 


Toronto Improvisers Orchestra at Array Space with Christine Duncan and the Element Choir 

Listening is key to making the music work, and for improvisers this 

includes not playing too much or louder than everyone else, enhancing 

what is happening, and knowing when to stop. Sometimes 

doing nothing at all can be the most appropriate contribution to the 

whole. There is a core of about six to eight players; for special events, 

such as this one in May, the orchestra grows to about 18 players. 

Instrumentation varies according 

to who participates, but usually 

consists of trumpet, piano, classical 

guitar, zheng (Chinese 

zither), flute, banjo, soprano sax, 

electric guitar and Martynec’s 

unique and custom-made laptop 

instrument that emulates an old 

Atari computer. He has designed 

several digitally based instruments 

that can be accessed through 

different types of controllers and 

mouse gestures. 

For the Tesla piece, as I 

mentioned above, Martynec has 

created a score, which may seem 

contradictory for an improvisational 

ensemble. Martynec, 

though, describes the score as 

Eugene Martynec 

“a series of cues that are constrained improvisations.” Campbell 

will be conducting it and although the musicians will have seen the 

score before arriving, they will not have read the radio scripts and so 

it will truly be an improvisatory interaction. One aspect Martynec 

wants to include is the electronic sounds created when one unplugs a 

guitar from an amplifier, for example. These sounds are at 60 Hz, the 

frequency of alternating current (AC) and he is also requesting players 

tune to 60 HZ if possible, which is between B flat and B. The plan is 

to create a drone-like effect at one point during the Tesla performance. 

There will be no score for Terror and Erebus, and players will be 

asked to be ready to play sounds that reflect the ideas of ice and the 

North. Of course for Tesla, other encouraged sounds will be electronic 

and crackling in nature. Interestingly, in the original CBC production 

of Tesla, MacEwen had an instruction in the script that stated: 

“Wherever sound effects are indicated in the play, I have assumed 

these would be electronic. Oskar Sala’s Five Improvisations on 

Magnetic Tape would be an ideal record, although not necessarily the 

sole possibility.” Apparently, that’s not what was used in the end, and 

Campbell said when he listened to the archival recording, there were a 

lot of oscillator-like sounds used. 

To conclude our conversation, I asked both Campbell and Martynec 

why they are drawn to improvisation. Campbell said he enjoys both 

listening to and playing improvised music and feels it is a natural 

thing for musicians to want to engage in. He is particularly curious 

about where it can go and especially those occasions 

when everyone stops at the same moment. 

“How did that happen?” they both exclaimed in 

chorus. Martynec enjoys the conversation that 

occurs along with the surprises, and due to the 

nature of his digital instrument, it’s the only situation 

he can play in, he said. They also both spoke 

about how sometimes things can go wrong, but 

that’s okay because it’s improvised music. For 

example, Campbell said, “The conductor can give 

a cue to a player, and then it goes somewhere 

different. It’s not wrong but different enough 

that everyone will then switch to accompany that 

person. It takes its own direction and eventually 

things work out.” 

No doubt there will be plenty of surprises, 

and alternating currents, taking place during 

the performance of these two legendary radio 

verse-plays by MacEwen, whom author Michael 

Ondaatje referred to as “the last great bardic poet” 

since all her readings were done by memory. 

IN WITH THE NEW QUICK PICKS 

!! 

MAY 2, 8PM: Spectrum Music presents Coding Chaos with compositions inspired 

by the Creator archetype, with a pre-concert chat with software artist Ryan Kelln at 

7:30. New compositions exploring artificial intelligence and a deeper look into the 

digital world by Spectrum composers Mason Victoria, Chelsea McBride, Jackson 

Welchner, Suzy Wilde with guest composers Nebyu Yohannes and Harrison Argatoff. 

!! 

MAY 3, 8PM: The Music Gallery. In this final Emergents concert of the season, 

the experimental music theatre group Din of Shadows will present their newest 

project Material Mythology with a team of performers, composers, dancers and visual 

artists. The piece speculates about the hidden meanings and mythologies behind 

everyday actions, objects and spaces. 

!! 

MAY 9, 12PM: Canadian Opera Company presents “Between Sound and Silence,” 

in their chamber music series, featuring Movement by German composer Helmut 

Lachenmann. Performed by the Glenn Gould School New Music Ensemble directed by 

Brian Current. Free. 

!! 

MAY 10, 7:30PM: Upper Canada Choristers mark their 25th anniversary with the 

world premiere of Teasdale Love Songs by Canadian composer Stephen Chatman, a 

song cycle in six movements set to the poetry of Sara Teasdale. The evening includes 

Five Hebrew Love Songs by American composer Eric Whitacre and performances by 

the Cantemos Latin Ensemble performing the music of Venezuelan composer César 

Alejandro Carrillo. 

!! 

MAY 10, 8PM: Continuum 

Contemporary Music presents 

“RADIOfänik” filled with music from 

various new genres including Sub-Club 

Drone, Indie Crossover and Gen-X 

Jams. Canadian works on the program 

include a new commission by Maxime 

Corbeil-Perron, two by Nicole Lizée 

including the world premiere of her 

Marsh Chapel Experiment and Doubt 

Is a Distance by James O’Callaghan. 

Pieces by Israeli composer Yair Klartag, 

Danish composer Simon Steen- 

Andersen and Polish composer Jagoda 

Szmytka complete the program. The 

Maxime Corbeil-Perron 

Continuum Ensemble will be joined by 

Rob MacDonald on electric guitar. 

!! 

MAY 26, 8PM: New Music Concerts presents “Iridescence,” their last concert 

of the season, featuring works by three Canadian composers: Matthias McIntire’s 

Cathedral Grove (and the Gray Jay) for solo violin with electronics; Samuel Andreyev’s 

Iridescent Notation for soprano and ensemble; and Ana Sokolović’s Evta for solo violin 

and ensemble. Violin soloists Matthias McIntire and Andréa Tyniec will join the New 

Music Concerts Ensemble directed by Robert Aitken. 

Wendalyn Bartley is a Toronto-based composer and electrovocal 

sound artist. sounddreaming@gmail.com. 


Beat by Beat | Classical & Beyond 

Daniel 

Wnukowski 

and the New 

Piano Six 

PAUL ENNIS 

Founded in 1994 by pianist Janina Fialkowska, Piano Six and Piano 

Plus brought live classical music events – mostly solo performers 

– to under-serviced parts of Canada until 2010. Over a period of 

16 years, Fialkowska’s efforts reached over 100,000 people directly 

– and tens of thousands indirectly – through over 430 events across 

Canada. In addition to Fialkowska, the other original members of the 

powerhouse ensemble were Angela Cheng, Marc-André Hamelin, 

Angela Hewitt, André Laplante and Jon Kimura Parker. 

At each destination, a musician would collaborate with local 

presenters, schools and volunteers to provide multiple experiences 

directly with audiences, through concerts, workshops, masterclasses 

and Q&A sessions. 

The initiative was launched in February 1995 with concerts in 

Toronto (broadcast on CBC) and Quebec City. Although the program 

concentrated on individual rather than ensemble visits, the pianists 

occasionally appeared together – at the Festival international de 

Lanaudière in 1999 and the 2000 Ottawa Chamber Music Festival, 

for example. 

In 2017, pianist Daniel Wnukowski resurrected the original Piano 

Six model and relaunched it as Piano Six – New Generation. The new 

ensemble consists of Marika Bournaki, David Jalbert, Angela Park, 

Ian Parker and Anastasia Rizikov. Using many technological advances 

including web 2.0, social media and video streaming, Wnukowski has 

shifted the model to focus on the next generation of Canadians, especially 

post-millennials. Five colleagues joined the board having only 

met via Skype and Facetime. 

Piano Six – New Generation will begin its first season of touring 

this month, starting with Wnukowski visiting Rainy River and Fort 

Frances in Ontario on May 6 and 8 respectively, and Fort Nelson BC on 

May 9 and 10, in a program he calls Piano through the Ages (Handel, 

Mozart, Chopin and Morawetz). Park and her program, Scenes 

from Nature (Chopin, Ravel, Burge, Beethoven, Lizst and Debussy), 

travel to Fort St. John BC (May 13 and 14) and Slave Lake in Alberta 

(May 16 and 17). 

Then, on May 25, Bravo Niagara! will present a special Piano Six 

Gala Concert at St. Mark’s Anglican Church in Niagara-on-the-Lake 

featuring Bournaki, Jalbert, Park, Parker, Wnukowski and special 

guest Godwin Friesen. 

Wnukowski told me that the goal of the gala concert is “to leave 

audiences awed and inspired by the solo, four and six hands repertoire 

– with performances that range from scintillating to formidable. 

We are aiming through the May 25th concert to generate awareness 

about our cross-Canada tours and to garner enthusiasm and support 

for next year’s tour,” he said. 

“The idea behind this particular concert program is to showcase the 

individual personalities of each pianist. First, we commissioned jazz 

composer Darren Sigesmund to write a short work involving all six 

pianists,” he said. “And each pianist was then asked to submit a short 

solo piece as well as suggestions for four-hand/two-piano repertoire.” 

To Wnukowski’s surprise, every pianist submitted a French work 

as their choice of a solo work! Bournaki submitted Poulenc’s Trois 

Daniel Wnukowski 

novelettes; Jalbert chose Fauré’s Nocturne No.6; Park picked Ravel’s 

Miroirs No.3, Une barque sur l’ocean; and Friesen selected Debussy’s 

Clair de lune. “This was an interesting coincidence,” Wnukowski 

said, “as the harmonic progressions of Impressionism have long 

been considered a catalyst to the development of the jazz idiom.” 

Ian Parker and Wnukowski also decided to jump onto the jazz bandwagon 

and contributed several jazz works to provide the program 

with better form. [Parker chose Gershwin’s Three Preludes and 

Wnukowski picked Bill Evans’ sublime Peace Piece; together they will 

play Gershwin’s Rhapsody in Blue for their four-hands/two-piano 

selection.] 

The French/Jazz theme has at this point taken on a life of its own, 

“offering a fine balance between bombastic and artful, introspective” 

CLAUDIA ZADORY 


NIKOLAJ LUND 

Cameron Crozman 

Wnukowski said. “The program ends on a whirling tone with ecstatic, 

two-piano arrangements of Bernstein’s West Side Story, followed 

by Darren Sigesmund’s commissioned work for 12 hands on two 

pianos. We spend a great deal of time curating our programs in order 

to immerse our audiences in an extrasensory experience,” he adds, 

“providing commentaries between pieces, pulling the music apart 

and suggesting why certain components generate specific emotional 

responses within listeners.” 

For Wnukowski, having the concert in the Niagara region is 

extremely meaningful; he spent his early childhood in Niagara Falls 

where his mother owned a children’s clothing shop. “There is a great 

deal of sentiment for me in having the first Piano Six Gala Concert 

where my most precious childhood memories were formed,” he said. 

The Montreal Chamber Music Festival: Ludwig van Beethoven was 

born mid-December of 1770, likely on December 15 or 16 – his 

baptism was recorded as December 17 – so 2020 marks the 250th 

anniversary of his birth. Beethoven’s music is always in the air, but 

there have been serious rumblings of ambitious celebrations to 

come in recent weeks, in programming by the TSO and Mooredale 

Concerts. So too the recent announcement that the Montreal Chamber 

Music Festival’s 24th anniversary season – June 7 to 16, 2019 – will 

be the first of a three-year project to celebrate Beethoven, with the 

master composer’s 250th birthday coinciding with the Festival’s 25th 

anniversary. “Unlike any programming Montreal has ever heard,” 

according to founder and artistic director Denis Brott, each of the 

2019, 2020 and 2021 “Beethoven Chez Nous!” festivals will feature 

“significant cycles of complete works by Beethoven. Not only is 

Beethoven perhaps the greatest classical composer of all time, he also 

wrote the most chamber music, perfected the string quartet form, and 

single-handedly transitioned classical music from the classical to the 

Romantic era.” 

Two complete surveys highlight the 2019 program: 2019 Grammy 

Award-winner James Ehnes, with longtime pianistic partner Andrew 

Armstrong, will perform Beethoven’s ten sonatas for violin and 

piano over three evenings (June 13 to 15). Gramophone magazine, 

in an Editor’s Choice review, called the duo’s recording 

of Sonatas 6 & 9 for Onyx Classics “a compelling addition to 

Ehnes and Armstrong’s remarkable discography.” And in an even 

more ambitious programming stroke, the Festival will present 

Franz Liszt’s astonishing transcriptions of Beethoven’s nine 

symphonies over a span of five late-afternoon concerts at Salle 

Bourgie (June 11 to 15). Among the most technically demanding 

piano music ever written, Liszt’s remarkable reproductions will 

be performed by six pianists including Alexander Ullman, First 

Prize winner of the 2017 Liszt International Piano Competition 

(Symphonies 1 & 3); Vancouver’s Jocelyn Lai (Symphonies 2 & 6); 

Juilliard alumnus Carlos Avila (Symphonies 8 & 7); Conservatoire 

de musique de Montréal faculty member, Richard Raymond 

(Symphonies 4 & 5); and the virtuosic David Jalbert and Wonny 

Song (artistic director of Orford Music and Mooredale Concerts) 

in a two-piano version of the Ninth Symphony. The 5pm concerts 

include a complimentary glass of wine! 

Another festival highlight: a new series of five free noon-hour 

concerts (June 11 to 15 at Salle Bourgie) spotlights emerging artists 

under 30: pianist Alexander Ullman; cellists Cameron Crozman and 

Bruno Tobon; and violinists Christina Bouey, Byungchan Lee and 

Emmanuel Vukovich. Tobon opens the series with a program devoted 

to cello duets (artistic director Denis Brott is the other cellist); British 

pianist Ullman’s June 12 hour includes late Liszt and two dynamic 

suites (Tchaikovsky’s The Nutcracker arranged by Pletnev; Stravinsky’s 

The Firebird); Lee’s program on June 13 moves from Bach to Kreisler 

to Prokofiev, and Ryan to Hermann in music for a combination of 

violinists including Martin Beaver, Heemin Choi and Amy Hillis; 

the June 14 concert headlined by Bouey and Vukovich also features 

violinists Hillis and Carissa Klopoushak and cellist Crozman in music 

by Ysaÿe, Honegger and Ernst’s Last Rose of Summer; Crozman and 

violinist Lee bring their solo and collaborative skills to the June 15 

program which ranges from Bach to Ysaÿe and Casado to Glière and 

Handel-Halvorsen. 

Eager to get a start on the summer festival season? There are plenty 

of reasons to start in June as spring winds down. Beethoven Chez 

Nous beckons. 

Toronto Symphony Orchestra: The TSO’s season intensifies this 

month as the 2018/2019 season moves toward June and the next 

visit of music director-elect, Gustavo Gimeno. On the heels of Kerem 

Hasan’s Beethoven’s Symphony No. 3 “Eroica” the TSO turns to 

another English guest conductor, 33-year-old Nicholas Collon, to 

lead the orchestra May 11 and 12 in Beethoven’s fateful icon, the 

kinetic Symphony No.5. Born in London, Collon trained as a violist, 

pianist and organist, and studied as Organ Scholar at Clare College, 

Cambridge. He is founder and principal conductor of the groundbreaking 

Aurora Orchestra, chief conductor and artistic advisor of the 

Residentie Orkest in The Hague, and principal guest conductor of the 

Guerzenich Orchester in Cologne. Israeli-born, New York resident and 

Juilliard grad, 43-year-old Shai Wosner is the soloist in Mozart’s everpopular 

Piano Concerto No.21 K467. 

A month after their stirring performance of Mahler’s Symphony 

No.2 “Resurrection,” under guest conductor Matthew Halls, on May 15 

and 16, the TSO takes on the composer’s Symphony No.7, a work of 

contrasting moods, from darkness to light, an orchestral chiaroscuro, 

under the baton of interim artistic director, Sir Andrew Davis. The 

elegant Louis Lortie is the soloist in Franck’s exuberant Symphonic 

Variations for Piano and Orchestra. A week later, May 24 and 25, 

Lortie and Davis return with a program of showpieces – Rossini’s 

familiar Overture to William Tell, Saint-Saëns’ late-Romantic masterwork, 

Piano Concerto No.4 and Respighi’s electric crowd pleaser, 

Pines of Rome. 

Known for what The New York Times calls “his penetrating intellectual 

engagement,” pianist Jeremy Denk, winner of the MacArthur 

“Genius” Fellowship, has concocted an all-Mozart program which 

he will lead on May 29, May 30 and June 1. Included are the Piano 

Concerto No.14 (generally considered the first of the composer’s 

Jeremy Denk 

24 | May 2019 thewholenote.com

MICHAEL BODE 

Karl-Heinz Steffens 

mature works in that genre) and the magisterial Piano Concerto No. 

25 (separated in the evening by the darkly melancholic and ethereally 

beautiful Rondo for Solo Piano K511). 

Formerly principal clarinet with the Berlin Philharmonic, Germanborn 

conductor Karl-Heinz Steffens makes his TSO debut, June 5, 6 

and 8, in Brahms’ inspired Symphony No.4. Earlier in the evening he 

and the orchestra are joined by Jan Lisiecki, the rapidly rising former 

wunderkind, in Mendelssohn’s infectious Piano Concerto No.1 (a 

version of which you can find on Lisiecki’s most recent Deutsche 

Grammophon CD). 

CLASSICAL AND BEYOND QUICK PICKS 

!! 

MAY 11, 7:30PM: The Georgian Bay Symphony and TSO concertmaster Jonathan 

Crow perform Sibelius’ lush Violin Concerto at the Regional Auditorium in 

Owen Sound. 

!! 

MAY 11, 7:30PM: Gemma New leads the Hamilton Philharmonic 

Orchestra in Mahler’s Symphony No.5. According to Sir Simon Rattle: “Of 

all Mahler’s symphonies, this is the one most rooted in Viennese rhythms. 

This makes it much tougher to play. You don’t play what you see in the 

score. You have to play what it means.” 

!! 

MAY 12, 1PM: Bravo Niagara! Festival of the Arts presents pianist 

Jamie Parker, hornist Brian Mangrum and violinist Boson Mo in a sparkling 

program that ranges from solo piano (a Debussy Book Two Prélude 

and Brahms’ quintessentially Romantic Intermezzo Op.118, No.2), piano 

and horn (Schumann’s Adagio and Allegro Op.70) piano and violin 

(Franck’s glorious Sonata in A Major) to all three instruments (Brahms 

Trio for Violin, Horn and Piano in E-flat Major). Stratus Vineyards, 

Niagara-on-the-Lake. 

!! 

MAY 12, 2PM AND MAY 13, 7:30PM: Canzona Chamber Players 

present Richard Strauss’ early Serenade Op.7 for 13 Winds and Mozart’s 

great Serenade K361 “Gran Partita.” 

!! 

MAY 12, 5PM: Nocturnes in the City presents Montreal-based Duo 

Ventapane (Martin Karlicek, piano, ManaShiharshi, violin) in works by Martinú, 

Janáček, Dvořák and others at St. Wenceslaus Church, 496 Gladstone Ave. 

!! 

MAY 21, 12PM: COC presents pianist Stéphane Mayer playing Frederic Rzewski’s De 

Profundis. Richard Bradshaw Amphitheatre. Free. 

!! 

MAY 24 AND MAY 25, 8PM: Kitchener-Waterloo Chamber Music Society presents 

cellist Cameron Crozman and pianist Philip Chiu performing music by Bach, Debussy, 

Françaix and Mendelssohn on May 24. The following evening, Jeffery Concerts 

presents the same program at Wolf Performance Hall, London. 

!! 

MAY 25, 8PM: Gallery 345 presents James Giles in an ambitious program in their 

Art of the Piano series. Giles, who is based at Northwestern University in Chicago, 

follows a selection of Brahms’ Waltzes Op.39 and Schubert’s final sonata (D960) with 

miniatures from the piano’s golden age by Godowsky, Levitski, Rosenthal, Friedman 

and Paderewski. 

Paul Ennis is the managing editor of The WholeNote. 

JUL 11 - AUG 3, 2019 

TORONTOSUMMERMUSIC.COM 


DAHLIA KATZ 

Beat by Beat | Music Theatre 

Stretching the 

Boundaries of 

Creation 

JENNIFER PARR 

Toronto’s music theatre scene in April was notable for two plays 

which had music playing a thematically essential role, as I 

previewed in my last column. 

Under the Stairs at Young People’s Theatre was a fun, theatrically 

imaginative tale of children sorting 

out the world in which the characters 

in the “real world” all sang, and those 

hiding “under the stairs” spoke, though 

often in a mix of prose and poetic 

language. What became very interesting 

was when the characters overlapped, 

particularly at the end when the children 

who have been hiding emerge to 

reunite the family, even taking in a stray 

“lost boy” in a subconscious tribute to 

Peter Pan. 

In Lorena Gale’s Angélique, music 

played a different role, underlying and 

accenting almost the entirety of the 

action with a spare but thematically 

attuned percussion score composed and 

played by acclaimed ensemble Sixtrum. 

The play is shockingly relevant and revelatory. I had no idea previously 

that there was legal slavery in Quebec in 1734; and the horrors of that 

reality, and its seemingly acceptable entrenchment in society, were 

powerfully shown in director Mike Payette’s staging. There are several 

scenes where the music truly took centre stage: the vigorous washing 

of the sheets, and the wonderful dance scene where the rather rigid 

Quebecois step dancing is juxtaposed with the more sinuous and 

supple African dancing of Angélique also pointed to the fact that this 

would be great material for a serious musical or operatic adaptation. 

Amanda Smith, FAWN’s founding artistic 

director and resident stage director 

The Brothers Size 

This month another play that uses music as an integral storytelling 

tool is The Brothers Size, the second in a trilogy of plays by Tarell Alvin 

McCraney, the writer of the unpublished semi-autobiographical play 

that Barry Jenkins transformed into the Academy Award-winning film 

Moonlight. 

Set in the Deep South of Louisiana this is an explosive contemporary 

story of the return from prison of the fun-loving Oshoosi to 

live with his serious older brother Ogun (named for the Yoruba god of 

hard work), but it is also a poetic tale interwoven and imbued with the 

power of African Yoruba mythology and music. As Oshoosi’s former 

prison mate Eregba (named for the Yoruba trickster god) arrives to 

turn their lives upside down, the play interweaves the dreaming and 

waking lives of these three “brothers” using music as the medium 

of transfer and emotion. Masterminding the music for this production 

as composer and onstage percussionist is Waleed Abdulhamid, 

who praises the three-man cast for being really strong singers and 

inspiring him to experiment with harmonies and arrangements for 

the vocal music. Drawing on both his youth in Sudan and an awardwinning 

career in Canadian theatre and film, Abdulhamid describes 

the music he is creating as a “melting of the worlds” of North America 

and Africa, incorporating influences from the blues to Yoruba, from 

the songs of Nigeria to those of Harlem and Mississippi. 

FAWN’s Pandora 

Also coming up in May is Pandora, a new opera/ballet created by indie 

company FAWN, inspired by the Greek myth of the girl who unleashes 

all the evils into the world from a sealed jar (or box) that has been 

entrusted to her, only closing it in time to keep hope inside. 

Intrigued about FAWN and their new take on this classic tale, I 

contacted the creative team – founding artistic director and stage 

director of Pandora, Amanda Smith, choreographer and dancer 

Jennifer Nichols, and librettist David James Brock – to learn more. 

WN: FAWN is a relatively new company on the opera/music theatre 

scene. Can you tell me about why you founded FAWN and what your 

goals with the company are? 

AS: I founded FAWN because I wanted to be able to create the kind 

of work I specifically was interested in and in the way I was interested 

in creating it. Of course, these interests have changed over time 

as FAWN has grown to include new company members and collaborators. 

We’ve been active in the new music and indie opera scene for 

about six years. 

Where did the name FAWN come 

from, and how does it fit with your 

company mandate? 

AS: I always wanted the company to be 

about developing new content and investigating 

the possibilities of what the new 

classical music sound can be in Canada. I 

loved the idea of a fawn being born, testing 

its environment, exploring and eventually 

growing to be a beautiful animal. To get 

there, it requires nurturing, and the same 

can be said about the creative process. 

How did the new Pandora project 

come about? 

AS: Three years ago, FAWN put out an 

open call for submissions, from which we 

selected the works of six composers for a 

performance in our Synesthesia series that was intending to bring 

together music and movement. With these works, I created a narrative 

path for choreographer Jennifer Nichols and I to develop into a dancetheatre 

piece. Since FAWN has a rather different audience, including a 

lot of young people and those who don’t typically patronize opera and 

classical music, I wanted to give them the opportunity to have input. 

So, at the Synesthesia performance, we asked our audience to select 

the three composers featured in the show that they most wanted us to 

work with, and they chose Joseph Glaser, Kit Soden and David Storen. 

Our three selected composers were then asked to write a 20-minute 

opera-ballet that we would then produce, and to participate in a oneweek 

devised creation workshop with our team to provide them with 

the seeds of inspiration for their work. We workshopped the music 

last summer and it was decided by the team that we would like them 

to be presented as one piece, thus allowing it to be one experience for 

the audience. To accomplish this, the composers and our librettist, 

David James Brock, created a through-line between all three pieces, 

which I think has been very effective. 

Jennifer and David, what it is like working with Amanda and FAWN? 

How is it the same or different from other projects or companies you 

have worked with? 

JN: The experiences I’ve had working with FAWN have emphasized 

a fully collaborative approach to new work, with all artistic contributors 

sharing ideas from the beginning of the process, rather than 

inserting their work into an already formed production structure. 

There are benefits to a variety of different processes, but I find this 

allows for growth that is organic, rather than pre-conceived. The work 

takes shape via the contribution of all, and is guided along the way by 

Amanda. It makes for a very balanced work. 

In the very first stage of this process, Synesthesia IV, I also worked 

very closely with Amanda in the studio, just the two of us. We 

dissected and discussed all of the movement as it was created, a 


director and choreographer working intimately together as the work 

took shape. 

I’m very excited to apply a similar approach to working with David 

on Pandora. He and I first worked together on the Canadian Art Song 

Project’s staged production of Sewing the Earthworm. 

DJB: FAWN is asking some pretty big questions about what it means 

to create new opera. What stories are we telling? Who is telling them? 

And how can something as labour-intensive as opera be 

developed and performed in a way that maybe opens things 

up a bit? Amanda’s organic connection with artists and 

artistic forms that aren’t often part of opera (I’m particularly 

thinking of her connection to electronic music) has really 

opened up the possibility of not just how opera is made, but 

who it’s made for. 

Can you talk about the specific development of Pandora for 

each of you and how your part of the creative process overlapped 

with the other members of the creative team? 

JN: As I write this, I am still in the beginning stages of my 

biggest creative process, movement-wise. The next month in 

studio will be where the choreography takes shape; however, 

the conceptual and research process began over a year ago 

in our devised workshop. There was a great deal of table 

discussion, improvisation and workshopping with an invited 

audience which informed the composition and libretti and 

choreographic structure. My job now is to flesh out the 

layers of movement that support both of these and focus on character 

development. 

DJB: When I first met everyone there wasn’t a story, yet. We would 

find it together. But once we all got together in a room, and I think this 

goes for any new creative relationship, we had to learn each other’s 

approach (or unlearn whatever approaches we might have come in 

with). Informed by that first week of exploring ideas, I went away and 

started writing a piece with each composer. About a year later, when 

we needed to find a vehicle to carry them all, I added the Pandora 

framing with interlude text (which the composers then also set). It 

was really important that even though this was being created with 

three composers, that this became one show written by the four of 

us: Pandora. 

As you move into the final stage of rehearsals for the performances 

in May, is there any more you can tell me about how each of the 

different elements: music, libretto and dance, come together to tell 

your new take on the classical story of Pandora? 

DJB: Pandora, the mythical character, often gets a raw deal – I mean 

being blamed for all the world’s evils is a lot to lay on one woman. I 

liked the idea that we could take some of the heat off her and share 

some of the blame. So, in this retelling, though Pandora exists, 

we have this new character written specifically for tenor Jonathan 

MacArthur who also opens the jar (as we all probably would have) and 

is subjected to the myriad things that escape. Without giving away too 

much, things don’t go so well for him. 

JN: I think our interpretation of the classical story of Pandora is 

such that not only is she not entirely to blame for “releasing and 

bringing into existence the evils of the world,” she is actually the presence 

that subsequently ensures a balance of hope and despair. She 

is vulnerable yet strong, and perhaps her damned curiosity is representative 

of mankind’s curiosity in general. Music, text and choreography 

come together to impose limits on her through separate, unique 

narratives, yet her presence is consistent and timeless. In mythology, 

Pandora is known as the first “human woman” (and the one who just 

couldn’t resist…). Our extrapolation of the story makes her timeless 

and far more complex than mischievous. And of course Jonathan’s 

character shares this onus. 

It’s always been incredibly important to me as a choreographer to 

place as much emphasis and attention on the text as the score (if there 

is accompanying text) and when working with a writer like David, I 

have to ask myself some big questions. It’s not about simply layering 

aesthetically pleasing or interesting movement onto the libretto. 

The text drives the motivation of the choreography and the music 

shapes it. 

DJB: Unique to Pandora’s creation for me was that dance was much 

more up front for me than it has ever been, and it really does inspire 

much of the text (and subsequently the scores). I knew Jennifer 

Nichols was going to be a part of this, both as choreographer and 

dancer, so I wrote very much with her in mind. Jennifer truly understands 

and cares about the words, 

and in writing something I knew 

she’d be a part of, I tried to create 

Pandora’s dramatic beats so that 

they’d demand (and in some cases, 

restrict) movement. So it was 

important to me in Pandora that 

Jennifer was a character integral to 

the stories, not something “added” 

later, or a reflection of an emotion, 

or simply part of the spectacle. Each 

of the composers was onboard with 

this, so you’ll see that in each of 

the pieces, filtered through each of 

their unique musical sensibilities. 

Though my part in the creation is 

largely done, I am excited to see how 

Pandora librettist David James Brock 

Amanda and Jennifer interpret the 

movement written into the scenes. 

Pandora plays at Geary Lane (360 Geary Avenue) May 23 to 25. 

www.fawnchambercreative.com 

MUSIC THEATRE QUICK PICKS 

!! 

ONGOING TO MAY 5: Mirvish. Beautiful – The Carole King Musical. Princess 

of Wales Theatre, 300 King . Runs to May 5. An unexpectedly practically perfect 

biographical jukebox musical full of songs you didn’t know you knew. Canadian star 

Chilina Kennedy glows and delights as Carole King. Catch it while you can! 

!! 

ONGOING TO MAY 19: Mirvish/Musical Stage Company. Next to Normal. Ma-Anne 

Dionisio and Louise Pitre lead a strong cast directed by award-winning Philip Akin, in 

this timely musical. 

!! 

MAY 4, 3PM AND 7:30PM: The Canadian Music Theatre Project presents, an 

Off-Sheridan staged reading of Stars of Mars. Theatre Passe Muraille. A new musical 

comedy by Canadians Daniel Abrahamson and Ashley Botting, set inside the first 

human colony on Mars, about a mother and daughter who are worlds apart. 

Jennifer Parr is a Toronto-based director, dramaturge, fight 

director, and acting coach, brought up from a young age on a 

rich mix of musicals, Shakespeare, and new Canadian plays. 

The world premiere of a 

lesbian opera comes to 

Buddies in Bad Times 

Theatre in Toronto 

June 5-9, 2019 

Music by Kye Marshall 

Libretto by Amanda Hale 

#PomOpera 

@pomegranateopera 

www.pomegranateopera.comm 

BOOK NOW! 

416-975-8555 

buddiesinbadtimes.com/ 

show/pomegranate 

Opening Night Gala 

June 6 @ 7:30 pm 

Performances 

June 5-9 @ 7:30 pm & 2:00 pm 

Tickets: $30 / $40 / $50 

thewholenote.com May 2019 | 27 

ANITA NAGRA

Beat by Beat | On Opera 

Argento 

Commemorated, 

Shanawdithit 

Revealed 

CHRISTOPHER HOILE 

The Canadian Opera Company’s production of Puccini’s La 

Bohème continues to May 22 and its production of Verdi’s Otello 

to May 21. Yet, May is not simply devoted to revivals of standard 

repertory. The month also sees the premiere of a brand new Canadian 

opera from Tapestry Opera and the revival of two operas by American 

composer Dominick Argento who died on February 20 this year. 

Argento wrote works in many genres but is best known for his 

operas, of which he wrote 13, and his dramatic song cycles that he 

termed “monodramas.” 

His best known operas are 

Postcard from Morocco 

(1971), Miss Havisham’s 

Fire (1977, rev. 1995) and 

The Aspern Papers (1988). 

Postcard from Morocco was 

last staged in Toronto by 

the University of Toronto 

Opera Division in 2015, but 

Argento’s other works have 

seldom been seen or heard 

in Ontario. 

Opera by Request, 

Toronto’s opera-in-concert 

company where the singers 

choose the repertoire, will 

be presenting a double-bill 

of Miss Havisham’s Wedding 

Night (1981) and one of 

Argento’s monodramas, A 

Water Bird Talk (1977). Miss 

Havisham’s Wedding Night 

focuses on the famous character 

in Dickens’ novel Great 

Expectations (1861) who was 

jilted on her wedding night 

and now, 50 years later, still 

replays the events in her mind. 

It is a prequel to another opera by Argento about the same character 

in Miss Havisham’s Fire. A Water Bird Talk is inspired by Chekhov’s 

one-person play On the Harmful Effects of Tobacco (1886). In Argento 

the gentleman lecturer does not deliver a talk about tobacco but about 

water birds, yet as in Chekhov’s play, the lecturer can’t refrain from 

mentioning illustrative points drawn from his private life. 

The singer behind the selection of OBR’s double bill is soprano 

Brianna DeSantis. In April DeSantis provided me with a detailed 

account of how she was drawn to these works and how they function 

as a double bill. She writes: “I came across Miss Havisham’s 

Wedding Night when looking for a piece for my opera literature class. 

Being an avid reader, I first went to opera adaptations of literature. I 

came across Argento’s Miss Havisham’s Fire and Wedding Night and 

saw that we had a copy of the score and CD in the library at Western. I 

took a listen and loved it. I read Great Expectations as a child and was 

always attracted to Miss Havisham’s character – why was she like that? 

Argento’s work gives us a glimpse into her psyche. 

“I decided to perform a small excerpt of the monodrama in a recital 

and loved it so much that I thought I should learn the whole piece 

one day. I believe we [Shookhoff and I] met sometime about a year 

ago and discussed doing Miss Havisham’s Wedding Night with Opera 

by Request. We thought of programming it with its frequently paired 

piece, Argento’sWater Bird Talk, because they both discuss the ins and 

outs of relationships, specifically, marriages. 

“Since then, we have found ourselves a baritone [Parker Clement] 

to sing the role of the Lecturer, and I will be singing Miss Havisham. 

This project is special because it shines a light on gender disparity 

in madness, specifically in Miss Havisham’s Wedding Night, which 

is basically one long mad scene written in the vein of Lucia di 

Lammermoor. The opera provides a commentary on madness during 

the 19th century, where madness was often viewed as the irrational 

‘female’ reaction to the rationality of the ‘male.’ We seek to highlight 

this gender disparity and offer a different perspective on what 

madness involves – that way the audience can decide. While the music 

may be unfamiliar, the message the operas seek to send is one that 

will resonate with many.” 

The double bill, titled “Til Death Do Us Part? – A Dominick 

Argento Commemoration,” will have one performance in Toronto 

on May 3 at the College St. United Church with William Shookhoff 

as pianist and music director and Claire Harris 

on keyboard. The program will then be repeated 

in Windsor on May 4 at the Paulin Memorial 

Presbyterian Church. 

Shanawdithit: A commemoration of another sort 

is the purpose behind Tapestry Opera’s second 

new opera of the season after its highly popular 

presentation of Hook Up by Chris Thornborrow 

earlier this year. This is the world premiere of 

Shanawdithit by Newfoundland composer Dean 

Burry to a libretto by Algonquin playwright Yvette 

Nolan. Its title is the name of a woman (1801-29) 

encountered by a white settler William Cormack 

in 1829 in Newfoundland and thought to be the 

last member of the Beothuk Nation. Cormack took 

Shanawdithit to St. John’s where she created ten 

drawings that are the only first-person account of 

the life of the Beothuk. 

In March, Tapestry Opera artistic director 

Michael Hidetoshi Mori provided me with invaluable 

information about the creation and importance 

of the opera which Burry and Nolan have 

been working on for the past three and a half 

years. Mori states: “This project came about a 

few years after a conversation between Dean 

Burry and Yvette Nolan about the subject of 

Shanawdithit for an opera. 

“Yvette was very keen on finding a way to tell 

Neville Marriner (left) and Dominick Argento 

the story without relying on the texts of Cormack 

and other settler historians. The challenge with Shanawdithit was that 

there are no Beothuk Elders, there was little Indigenous documentation 

of the Beothuk, and even if there were surviving bloodlines, they 

had been mostly absorbed into the Mi’kmaq almost 200 years ago. 

“Yvette turned to the ten drawings Shanawdithit did in her last year 

of life as one of the only first-person accounts of Beothuk life and 

Shanawdithit’s perspective. She proposed we work with the ten drawings 

and five to ten Indigenous artists to interpret them, with the 

intent of retelling the last days of Shanawdithit and questioning the 

prevailing dominant settler scholarship and history. 

“Yvette, Dean and I met, and we proposed an unconventional 

approach to creation. Yvette would write the libretto, with elasticity 

for collaborative artist input, and with specific vessels for where the 


ALEX FELIPE 

Yvette Nolan 

drawings would come to life, with a dominant point of view from a 

collaborating artist. The artists would meet with Yvette and depending 

on their discipline, also Dean and myself, to reflect on the drawings 

and work through their thoughts and what was possible within a 

musical-dramatic-narrative and design framework. 

“Dean would compose soundscapes, not music, to start. Drawing 

on his shared familiarity with the same lakes, land, rivers and weather 

that Shanawdithit grew up and lived in, he would experiment with 

capturing those sounds rather than risk imitating or appropriating 

‘Indigenous’ music sounds or stereotypes. 

“Five of our seven performers are also Indigenous performers (all 

of the named characters portrayed as Indigenous are Indigenous 

performers), Asitha Tennekoon plays Peyton and Clarence Frazer plays 

Cormack. Every step of the way the Indigenous performers were active 

participants in shaping and responding to the story and its potential 

treatment (e.g. engaging in the conversation of whether Cormack was 

a hero, a villain, or just out of his ken). 

“Chronologically this meant that instead of Yvette completing a final 

libretto and sharing it with Dean for him to take over, as is most often 

the case, in-depth meetings with all of the collaborators following 

the first draft libretto led to changes in the libretto. New art commissions 

based on the artists’ interpretations had to have their directions 

finalized before Dean would compose that section. All in all, the 

process was complex and instead of hierarchical, it was collaborative 

and organic.” 

In response to the question whether anyone saw a difficulty in 

having a non-Indigenous person compose the music, Mori writes, 

“Reconciliation on the truth and reconciliation website begins with 

the text ‘Reconciliation is an ongoing journey, one that will take 

a collective effort to find a new way forward.’ Many First Nations 

colleagues have stressed that the necessary dialogue is two-way. 

Indeed our history of violence and injustice against First Nations is 

also our history. 

“That said, this is not another settler artist explaining what 

happened. The key to the success of Shanawdithit is in its welcoming 

Indigenous voices to shape and lead the work in creation and 

performance. This is meant to be a contrast to previous artistic works, 

histories and academic publications that ignored Indigenous voices 

and placed a positivist settler perspective on history. This work challenges 

that one-sided historical perspective. 

“Considering the collaborative and facilitation role of composition 

in how Dean is approaching Shanawdithit, it should be understandable 

why the team is not completely Indigenous. It is Indigenous 

led and as a result many will see the piece as a true coming together 

of settler and Indigenous arts and artists, where the Indigenous 

voices are privileged. In working in opera we can explore a story that 

requires Indigenous voices and leadership, which will have the story 

and its retelling reach a different and new public through the mixing 

audiences of opera, multimedia theatre and Indigenous arts in Toronto 

One of Shanawdithit’s drawings 

and St. John’s.” 

Shanawdithit will be performed at the Imperial Oil Opera Theatre 

in Toronto May 16, 18, 21, 22, 23 and 25 with Marion Newman in 

the title role and Clarence Frazer as William Cormack. The cast also 

includes Asitha Tennekoon, Rebecca Cuddy, Deantha Edmunds, 

Evan Korbut and Aria Evans. Michael Hidetoshi Mori and Yvette 

Nolan co-direct, Michelle Olson is the choreographer and Rosemary 

Thomson is the music director. On June 21 the opera, a co-production 

with Opera on the Avalon, will be performed at the St. John’s Arts and 

Culture Centre. 

Christopher Hoile is a Toronto-based writer on opera and 

theatre. He can be contacted at opera@thewholenote.com. 

CONFLUENCE CONCERTS 

LARRY BECKWITH | ARTISTIC PRODUCER 

AT THE RIVER 

Saturday, June 1 at 8 pm 

Pre-concert talk at 7:15 pm 

St. Thomas's Church 

383 Huron Street, Toronto 

A star-studded season finale, with words and 

music inspired by an enduring image 

Tickets: bemusednetwork.com/events 

confluenceconcerts.ca 


Beat by Beat | Early Music 

John Abberger’s 

Bach Fest at Four 

MATTHEW WHITFIELD 

For the past three years, the Toronto Bach Festival has presented 

a three-day intensive series of concerts, recitals, and lecture 

presentations focusing on Johann Sebastian Bach, his world, 

and his works. Increasing in size and scale each year, the festival 

attracts magnificent performers and interpreters. This year it runs 

from May 24 to 26 and includes ensemble performances of Bach’s 

Fifth Brandenburg Concerto and his Lutheran Masses, as well as solo 

performances by harpsichordist Luc Beauséjour and cellist Elinor 

Frey, and a lecture on 

Bach and the French 

Luc Beauséjour 

Style featuring renowned 

musicologist Ellen Exner. 

With such a full and 

fulfilling roster of events, 

Bach aficionados have 

much to look forward to. 

The Toronto Bach 

Festival is led by 

founding artistic director 

and renowned early 

music specialist John 

Abberger, perhaps most 

immediately recognizable 

as the principal 

oboist of the Tafelmusik 

Baroque Orchestra, who will be at the 

helm for both the Brandenburg Concerto 

and Lutheran Mass concerts. In preparation 

for this year’s festival, Abberger 

shared his thoughts on Bach, the master’s 

works, and how the Toronto Bach Festival 

provides a unique perspective in the 

interpretation of this timeless music: 

WN: Toronto is a city full of classical 

music of all types, including strong 

proponents of Early Music. What led you 

to establish the Toronto Bach Festival in 

such a culturally dense arts scene? 

JA: First of all, despite the high name 

recognition that Bach enjoys, and despite the fact that everyone knows 

he wrote truly great music, a good 70 percent of his music is seldom 

performed. This is because many major musical organizations have a 

broader mandate to perform music from a huge repertory and cannot 

program more than a few works by Bach in the course of their regular 

offerings. A Bach festival provides an obvious context for performing 

lots of Bach, and while the Toronto Bach Festival may occasionally 

perform works by other composers (whose works illuminate our 

understanding of Bach’s achievements, or works that show his influence 

on later composers), our mandate is to perform Bach, and to 

explore as many of his works as possible, the well-known and the less 

well-known. Consider the wealth of amazing music contained in the 

over 200 cantatas: in my 30 years with Tafelmusik we have performed 

a complete cantata on only a small handful of occasions. 

Second, I am interested in applying the performance practice 

research findings of the last 30 years that indicate that Bach habitually 

used a much smaller vocal group when he performed his choral 

works. Apart from age-old Victorian assumptions about large choirs 

performing Bach, many musical organizations are structurally set 

up to use these larger choirs, such as the Mendelssohn Choir at the 

Toronto Symphony. I find performing Bach’s vocal works in the way 

we do (with one or two singers to each part) to be artistically compelling, 

and I think our audiences deserve an opportunity to hear these 

great works performed this way. 

Third, many cities (large and small) have a regular Bach festival. A 

city with such a strong and vibrant cultural landscape surely deserves 

to have a festival devoted to one of the greatest composers of all time. 

Look at the wonderful success of the Toronto International Film 

Festival. Wouldn’t it be great if we had a Bach festival that is a cultural 

destination to celebrate here in Toronto? 

This year’s festival features an eclectic mix of Bach’s secular and 

sacred music. Is there an organizing principle or underlying idea 

that permeates your concerts and 

programming? 

Elinor Frey Absolutely! From day one, a 

guiding principle for the programming 

has been that the three main 

genres in which Bach worked, 

choral, keyboard and instrumental, 

should be represented at each 

festival. This is why we will always 

have a keyboard recital, generally 

alternating between harpsichord 

and organ. Another important 

artistic mandate is to perform 

cantatas each year. With so many to 

choose from, we won’t run out for 

quite a few years! The instrumental 

works comprise works for solo 

instruments (violin, cello and 

flute) as well as chamber and 

orchestral music. I strive each 

year to find a nice balance with 

the great diversity of genres in 

which Bach worked. 

Why Bach? 

It’s difficult to overstate 

the influence of Bach and his 

music on the musical landscape 

of the ensuing 250 

years of Western European 

musical culture. None of the 

great achievements of Mozart, 

Beethoven and Brahms would 

have been possible without 

the path-breaking creations of 

John Abberger 

Bach. But what we really want 

to celebrate is the uncanny 

ability of Bach’s music to reach into our souls and speak to us. Many 

writers and musicians speak of the timeless beauty and transformative 

power of his music. I believe these qualities have the ability to 

transcend cultural boundaries and create a bond of shared community 

among audience and performers alike. 

But Wait, There’s More... 

...More Bach, that is! Abberger joins his Tafelmusik Orchestra 

and Choir compatriots in an exciting concert featuring J.S. Bach’s 

Magnificat and Jan Dismas Zelenka’s extraordinary Missa Divi 

Xaverii at Koerner Hall on May 9-12. The Magnificat is one of Bach’s 

best-known small-scale choral works, shorter in duration than the 

double cantatas but enormously wide-ranging in style and expression. 

Jan Dismas Zelenka, likely a new name to many concertgoers, 

is a perfect pairing for Bach, as his pieces are characterized by a very 

daring compositional structure with a highly spirited harmonic invention 

and complex counterpoint, providing a musical experience that is 

simultaneously thrilling and uplifting. 

Zelenka (1679-1745) was a Czech composer who was raised in 

ELIZABETH DELAGE 


Central Bohemia, educated in Prague and Vienna, and spent his 

professional life in Dresden. His works are often virtuosic and difficult 

to perform yet fresh and surprising, with sudden changes of 

harmony and rhythm; an accomplished violone player, Zelenka’s 

writing for bass instruments is far more demanding than that of 

other composers of his era, writing fast-moving continuo parts with 

driving, complicated rhythms. A prolific and well-travelled musician, 

he wrote complex fugues, ornate operatic arias, galant-style dances, 

baroque recitatives, Palestrina-like chorales and virtuosic concertos. 

Zelenka’s musical language is closest to Bach’s, especially in its richness 

of contrapuntal harmonies and ingenious usage of fugal themes. 

Nevertheless, Zelenka’s language is idiosyncratic in its unexpected 

harmonic twists, frequent use of chromatic harmonies, large usage of 

syncopation and unusually long phrases full of varied musical ideas. 

Sometimes considered Bach’s Catholic counterpart, Bach held 

Zelenka in high esteem, and the two composers knew each other, 

as evidenced by a letter from C.P.E. Bach to the Bach biographer 

Johann Nikolaus Forkel. According to this document, Bach was 

trusted enough by Zelenka for his eldest son Wilhelm Friedemann 

to copy out the “Amen” from Zelenka’s Magnificat to use in Leipzig’s 

Thomaskirche, where J. S. Bach was cantor. In addition to composing, 

Zelenka was a teacher, instructing a number of the most prominent 

musicians of his time, including Johann Joachim Quantz; his 

close friends included renowned composers such as Georg Philipp 

Telemann and Johann Georg Pisendel. 

Why, then, do we not know more works by this extraordinary 

composer? Zelenka never married and had no children, and his 

compositions and musical estate were purchased from his beneficiaries 

by the Electress of Saxony/Queen of Poland, Maria Josepha of 

Austria after his death. These were considered valuable court possessions 

and were kept under lock and key for a century, only being 

rediscovered in the Dresden archives in the late 19th century. Interest 

in Zelenka’s music has continued to grow since the 1950s and his 

works have become much more widely known and recorded since 

then. It is wonderful to see Tafelmusik presenting Zelenka in live 

performance, making this a don’t-miss concert that will illuminate, 

inform, and inspire anyone with an interest in early music. 

Musical Women Who Persisted 

Here’s a challenge for you: name five female composers of Western art 

music from the years 1100 to 1900. If you came up empty, the Toronto 

Chamber Choir has just the concert for you on May 24: A Voice of Her 

Own – Musical Women Who Persisted focuses on female composers 

and their works from the last nine centuries, enhanced with a multimedia 

presentation to both elucidate and entertain. With music by 

Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Fanny 

Mendelssohn, Clara Schumann and more, there will be much to learn 

about the various stereotypes, societal constructs, and utter indifference 

that prevented the free expression of creativity among female 

composers. Featuring conductor Lucas Harris, organist Stephanie 

Martin and narrator Katherine Larson, this performance will not only 

be musically excellent, but also edifying for those who take the time to 

make themselves aware of what life was like for the female creatives of 

the past and, perhaps, the present as well. 

Speaking of female composers, Stephanie Martin is a musician who 

wears many hats: composer; 

conductor; organist and teacher 

and a fixture of Toronto’s 

musical scene. In addition to 

the Toronto Chamber Choir, 

Martin also makes an appearance 

with I Furiosi Baroque 

Ensemble this May 17 as 

composer of I Furiosi: The 

Opera, a pastiche Baroque 

opera with music by Handel, 

Purcell and Martin, and libretto 

by Craig Martin. What can we 

expect from an I Furiosi opera? 

You’ll have to see it to find out! 

Stephanie Martin 

Drop me a line if you have any questions on what’s happening this 

month, or want some more info on why Zelenka might be the best 

composer you’ve never heard of: earlymusic@thewholenote.com 

EARLY MUSIC QUICK PICKS 

!! 

MAY 4, 8PM: Toronto Consort. “Night Games.” Trinity-St. Paul’s Centre, 427 Bloor 

Street West. With so much early music being obsessed with religious propriety, 

it’s nice to let your wig down once in a while. Check out this irreverent evening of 

madrigal comedy with the Toronto Consort and triple-threat director/actor/dancer 

Marie-Nathalie Lacoursière. 

!! 

MAY 5, 3PM: Windermere String Quartet. “Alpha and Omega.” St. Olave’s Anglican 

Church, 360 Windermere Avenue. Hear three quartets by the masters of the genre: 

Haydn, Mozart and Beethoven – the pinnacles of Viennese quartet writing – and 

rediscover how ingenious these composers can be with only four instruments… no 

orchestra required! 

!! 

JUN 2, 3PM: Rosewood Consort. “Love, Loss, and Passion: A Musical Tour of 

Renaissance Europe.” Grace Lutheran Church, 1107 Main Street W., Hamilton. Take a 

trip down the QEW and take in stunning music by des Prez, Willaert, Palestrina, and 

more, pinnacles of the 16th-century polyphonists. 

Matthew Whitfield is a Toronto-based harpsichordist and organist. 

2018/19 Season 

CLOSE ENCOUNTERS CHAMBER SERIES 

Fantasticus 

Wed May 22 at noon 

Holy Trinity Church 

Sat May 25 at 2pm 

Temerty Theatre, 

TELUS Centre 

Join us for this intimate chamber concert 

featuring the bold, unrestrained stylus 

fantasticus (“fantastic style”) that was all 

the rage in 17th century instrumental music. 


CLOSE ENCOUNTERS 

MEDIA PARTNER 


Beat by Beat | Jazz Notes 

Youth Will Be 

Served, Won’t 

They? 

STEVE WALLACE 

Bassist Michel Donato moved to Toronto from 

Montreal in the mid-70s and though he was here 

a relatively short time, perhaps six or seven years, 

he became an integral part of the Toronto jazz scene. 

He certainly had a huge impact on my development 

as a bassist in a number of ways: his powerful playing 

provided a model and inspiration; he began giving 

me work subbing for him; and he took me under his 

wing as a mentor. One of the best pieces of advice he 

ever gave me was that if I wanted to become a good 

jazz player, I had to play every day. Not just practise 

and study on my own, but play. With other musicians, 

preferably some who were better than me. I took it to 

heart and spent a lot of time as an aspiring musician 

playing daily “sessions” as we called them, which 

were arranged much like gigs but with no audience or 

money involved. (The jaded wags out there will note 

that these conditions sound a lot like some real jazz 

gigs, but never mind.) 

Michel’s advice was true then and, as jazz education 

has expanded and evolved in the intervening years, 

is just as true now. Any post-secondary jazz program 

must stress performance and provide students with a 

lot of group-playing opportunities, not just in classroom 

ensembles, but in actual performances – i.e. in front of an 

audience, which heightens the whole experience by providing both 

pressure and inspiration. There’s nothing like playing in front of a 

listening audience to make musicians, young or otherwise, focus 

and play their best, and everything else – individual practise, study, 

learning about theory and harmony, repertoire development, listening 

to records, etc. – should run through live playing. 

Live performance is certainly stressed in the jazz program at U of 

T where I’ve become increasingly involved as a teacher, and I assume 

it’s similar at the three other local schools offering jazz programs – 

Humber College, York University and Hamilton’s Mohawk College. I 

hope so, anyway. At U of T, each of the numerous small jazz ensembles, 

which meet once a week, must do three live performances 

during the year – one at Upper Jazz, the makeshift concert hall in the 

music building at 90 Wellesley St., and two at The Rex on Monday 

evenings. Three performances over two semesters may not seem like 

that much, but remember there are a lot of jazz ensembles to fit in, 

and each student likely plays in more than one, so it works out to a 

fair amount of playing for each. Three for each band feels about right. 

In terms of my small jazz ensembles over the last three years, I’ve 

had a unique window into these performances because I don’t just 

coach the bands, I play bass in them as well, so I’m wearing two hats. 

(The opportunity of playing with me is somehow seen as a draw 

– go figure.) It’s interesting to experience the difference between 

performing in Upper Jazz and at The Rex. The concerts in Upper Jazz 

are attended by fellow students, members of the public and some 

teachers, so they’re real performances and the students certainly raise 

their game for them. But they’re on school grounds so somehow feel 

safer – invariably the students get up more for playing at The Rex as 

it’s a more public venue and a real jazz club. And while there is no 

cover (something I feel could be rethought) for the student concerts, 

people are there spending money on food and drink, plus the students 

receive some pay from the proceeds of the tip jar, which brings a small 

stamp of professionalism and realness to the proceedings – attendance 

is generally good and people are fairly generous, so the students 

walk away with some money for a 40-minute set. Along with the allimportant 

complimentary jug or two of draft beer provided to each 

ensemble – yes, this is part of jazz education too. But above all, my 

ensembles always play better at The Rex, only in part because we 

generally play there later in the year – but mostly because the students 

realize they’re playing on the same stage as the professionals have over 

many years. It’s palpable and stretches them. 

Of course the jazz students also take a lot of initiative in creating 

playing situations for themselves. There’s always a lot of jamming 

going on at the school at all hours and I’m constantly seeing posters 

advertising performances at venues like the 

Tranzac, The Emmet Ray, the 120 Diner, The 

Rex, the Cavern, Alchemy, The Dakota Tavern, 

Burdock and others. 

Due pay: As key as live playing is to the musical 

growth of young jazz players, getting paid 

for performances is equally important to the 

development of professionalism. Or, to put it 

more bluntly: to hell with internship, and the 

sooner, the better. Fortunately, there are signs 

that this is happening, as there are initiatives 

afoot to ensure that young people are getting 

work opportunities, being paid, and paid fairly. 

Some of these have come from policy at U of T 

itself. At any school performance, jazz students 

who are skilled at sound design, usually two 

of them, are paid to do the sound and this 

includes year-end recitals, of which there are 

many. Also at these recitals, a student is hired 

to “do the door” – greeting people, making sure 

that they get seating and a program, and that 

everything runs smoothly. I’m not privy to how 

Michel Donato 

much the students are paid for these services, 

but to hear them tell it, it’s generous, fair and 

they’re very glad of it. It fosters professionalism and more importantly, it 

helps them get by. Apart from how busy they are with school, a big challenge 

to being a student is keeping the wolf from the door, just as it is for 

professional jazz musicians. And the jazz program at U of T has a good 

record of hiring graduates as part-time teachers and of creating employment 

opportunities for them in other ways. For example, a position 

of social media co-ordinator was created for next year and a recent 

graduate, Jenna-Marie Pinard, as skilled with the Internet as she is at 

singing, has been hired. 

JPEC: The Jazz Performance and Education Centre (JPEC), has always 

made the inclusion of opportunities for young jazz players a priority 

of their mandate, and deserve credit for this. Apart from their many 

jazz education outreach programs, student groups have always been 

featured prior to regular JPEC concerts, often playing in the lobby of 

the venue, and have always been paid for this. The idea is not only 

to provide young people a chance to ply their trade, but to create a 

younger jazz audience by doing so. Yes, young players go out to hear 

veteran musicians, I see them all the time in numbers at gigs I do. But 

they really come out to hear their peers, it’s the way it works, and they 

represent the future of jazz – not only as players, but as an audience. 

JPEC has expanded this with a recent initiative at the Aga Khan 

Museum, its preferred concert venue – a Student Concert Series at 

the Museum’s Diwan Restaurant. As part of a pilot program, four 

different trios consisting of saxophone, guitar, and bass – it’s not a 

large space – have been organized from the four jazz schools and 

will be performing in this intimate setting. The trios are properly 

paid and also receive free meals and paid parking. As an incentive to 

attract audiences, attendees are given free admission to the museum’s 

permanent collection as well as to special exhibitions. This resulted in 

a 90-percent-capacity audience for the first concert in Diwan. JPEC 


music business in general, and it’s been hard not to 

get too downcast about it. In fact, for a long time I 

have been discouraged about it, mourning the loss of 

the “good old days.” But hearing the musical conviction 

and imagination displayed in these recitals has 

me convinced that there are good new days ahead, as 

Pollyanna-ish as that may sound. These young players 

have me almost in danger of feeling optimistic, in 

spite of myself. 

JAZZ NOTES QUICK PICKS 

!! 

MAY 8 AND 9, 9:30PM: The Rex Hotel, 194 Queen St. W. The 

Kirk MacDonald Quartet. One of Canada’s most accomplished 

jazz musicians, backed by a stellar trio of Brian Dickinson, Neil 

Swainson and Barry Romberg. 

!! 

MAY 9, 7:30PM: The Homesmith Bar, 9 Old Mill Rd. The Worst 

JPEC takes its student concert series to the Aga Khan Museum’s Diwan Restaurant 

Pop Band Ever. Chris Gale (tenor), Matt Newton (piano), Drew 

has been supported in this by the Trio Restaurant in North York’s 

Birston (bass), Tim Shia (Drums). A lively quartet made up of some 

Novotel Hotel, where student groups have been hired and compensated, 

also receiving free meals. These are small steps, but steps in the !! 

MAY 18 AND 25, 7PM: The Rex Hotel, 194 Queen St. W. Triple Bari Ensemble. As 

of Toronto’s best players. 

right direction. As Duke Ellington once put it, “There is nothing to advertised, three baritone saxophonists – Alec Trent, Alex Manoukas and Conrad 

keeping a band together. You simply have to have a gimmick, and the Gluch – backed by a rhythm section. Manoukas, in particular, is a brilliant player. 

gimmick I use is to pay them money.” What a concept. 

!! 

MAY 24, 7:30PM: The Homesmith Bar, 9 Old Mill Rd. The Warren Commission. 

Drummer Ted Warren leads a marvellous band with Mike Malone (trumpet). Ted 

Quinlan (guitar), Pat Collins (bass), and special guest Melissa Stylianou, now based 

in NYC. 

!! 

MAY 27, 8:30PM: The Rex Hotel, 194 Queen St. W. John MacLeod’s Rex Hotel 

Orchestra. Toronto’s premier big band in their natural habitat, always worth hearing. 

Toronto bassist Steve Wallace writes a blog called “Steve 

Wallace jazz, baseball, life and other ephemera” which 

can be accessed at wallacebass.com. Aside from the topics 

mentioned, he sometimes writes about movies and food. 

“There is nothing to keeping a band together. You simply have to have a 

gimmick, and the gimmick I use is to pay them money.” – Duke Ellington 

High calibre concerts: To return to the importance of performance 

values in jazz education, a closing word about some I’ve attended a lot 

in recent weeks: the end-of -year jazz recitals by third-year, fourthyear 

and master’s students at U of T. These are held in Upper Jazz at 90 

Wellesley during April and early May. I’ve been present at some as an 

adjudicator grading the performances, but just as often I attend just to 

hear the music, especially if the leader is a student of mine. According 

to how far along the student is, there is an increased emphasis on 

composing/arranging as well as instrumental (or vocal) performance, 

so these concerts often involve either original music you’re not 

going to hear elsewhere, or arrangements of familiar material which 

are often fresh and highly imaginative. Between last year and this year 

I’ve been to about 30 of these, with more to come, and the music has 

never been less than good, and most often well beyond that. There 

are some fairly advanced players involved and the leaders put a lot 

of thought and preparation into forming their bands and offering a 

cohesive and broad-ranging program of music; and it shows. Many 

of the concerts I’ve heard have been inspired, compelling, sometimes 

technically brilliant and always emotionally rewarding. Along 

with parents, fellow students and teachers, I’m beginning to notice 

members of the jazz listening public turning up regularly as part of 

the attentive audiences at these concerts, which is very heartening. 

These fine young players are often at their best in this pressure-packed 

crucible and are beginning to make names for themselves, which 

bodes well for the future. 

Having been at jazz for a long time now, I’ve witnessed the huge 

shrinkage in the jazz scene as I once knew it, not to mention of the 

SING IT AGAIN! 

A Fundraising Concert for 

Hosted by Heather Bambrick 

An afternoon of song with Recollectiv, Heather Bambrick and other musical guests 

Raffle and Cash Bar • Saturday, May 11, 2019 • The Tranzac Club (fully accessible) 

292 Brunswick Avenue, Toronto • Doors open 12:30 pm • Fun begins 1:00 pm 

For more information and to order tickets, go to 

www.recollectiv.ca 


Beat by Beat | Choral Scene 

Vocal Powerhouse 

Sing! The Toronto 

Vocal Arts Festival 

BRIAN CHANG 

In March, Suba Sankaran and Dylan Bell led a choral workshop as 

part of the Toronto Mendelssohn Choir’s Singsation Saturday program. 

In the church basement of Calvin 

Presbyterian Church, the duo led 

about 100 people in exploring their 

voices. No sheet music, no instruments. 

Nothing but the power of the a 

cappella, human voice. 

Sankaran and Bell are partners in 

music and life and perform under the 

name FreePlay Duo. Together, they 

have spearheaded and led the annual 

Sing! Toronto Vocal Arts Festival for 

nine years. We exchanged questions 

and answers by email. “Our musical 

goals are to excite, to inspire, to teach, 

to entertain, and most importantly, to 

demonstrate that the human voice has 

infinite possibilities,” they wrote. 

“The human voice is an amazing 

instrument,” they continued. “And 

group singing is such an amazing 

feeling of community. You might ask 

yourself, why do you need to sing? 

The answer is very simple: people 

have always needed to sing together. 

It’s part of who we are as human beings, it’s a natural impulse, and it 

shows us that we can work together in large numbers, in harmony.” 

Sankaran and Bell have curated a festival that demands participation 

and offers experience, providing a host of opportunities to sing, 

listen or both. For those who want to get into the thick of things, “the 

Mass Choir event is a unique opportunity created by SING! to reach 

out to the community, give them a voice, an opportunity to work with 

a professional singer, performer and educator, and the chance to strut 

their stuff on stage,” they say. Kurt Sampson who is leading the mass 

choir performance is known for his work in Cadence, a Toronto-based 

a cappella quartet. Sampson is the anchoring bass in that ensemble 

and his athletic vocal percussion is part of their signature sound. 

Participants who choose to perform in the mass choir event will have 

much to look forward to. 

“Once you register, you will be given the music (ahead of time), and 

then on Sunday, May 26 – the day of the event – you will be guided by 

Kurt… He will conduct workshops, get in-depth with the mass choir 

songs, provide micro-clinics with some of the local ensembles who 

opt to also have a performance spot that evening, and then all will 

culminate in a concert that features some participating vocal ensembles, 

the mass choir singers, as well as a performance by Cadence. You 

do not have to be part of a choir to enjoy this experience. If you are a 

singer who wants to find a choir in the moment, this is your chance!” 

This type of opportunity to participate is a hallmark of the Sing! 

experience. In an interview last year with The WholeNote, Sankaran 

shared her love of being able to travel and network with a cappella 

singers around the world, a vibrant community all over the world 

focused on the human voice. But a Toronto staycation has much 

Suba Sankaran (left) and Dylan Bell 

to offer too. “There are a few generations of people who have come 

up as singers,” Sankaran says. “We really are an a cappella family. 

One example is Debbie Fleming – founder of award-winning group, 

Hampton Avenue, who has been singing in the business and has been 

an advocate for a cappella for several decades.” Fleming will be the 

recipient of the Slaight Music SING! Toronto Legacy Award this year. 

“As well, many collegiate a cappella groups have been formed over 

the past few decades and have paved a path. Wibi A Cappella from 

York University (where both Dylan and I cut our teeth as conductors, 

arrangers and composers) is an example of the longest running, 

independent collegiate a cappella groups in Canada.” Wibi, who will 

Mykola Hobdych, Conductor 

2019 

The Sounds of Ukraine 

concert tour of the world-renowned 

KYIV CHAMBER CHOIR 

Toronto Concert 

Sunday May 26 3:00 p.m. 

Koerner Hall – Telus Centre 

273 Bloor St. West 

To order tickets online from the Box Office and for further concert information: 

www.platinumconcerts.com 

or call the Box Office: 416-408-0828 


perform as part of Art Battle during the festival, celebrated their 30th 

anniversary in 2018! 

Sankaran and Bell hope people are challenged by the breadth [of 

musical experiences] being presented. There is a huge range of international 

performing artists: Mzansi from South Africa presenting their 

Nelson Mandela tribute, Vocal Sampling from Cuba, The Swingles from 

the UK, and Jo Wallfisch (UK/US). “With this in mind, we hope to open 

not just voices, and ears, but minds and hearts as well. We tend to aim 

high with this festival, and so we hope to maintain our standards by 

bringing the best of the best that a cappella has to offer from around the 

world, and especially continue to feature our local treasures.” 

Freeplay, featuring Sankaran and Bell, are themselves one such local 

treasure. They will perform as opening act for Vocal Sampling. “They 

are an amazing a cappella sextet from Cuba,” Sankaran and Bell write, 

“emulating the sounds of a hot Cuban orchestra, without an instrument 

in sight. They have been our heroes for such a long time and 

we’re so honoured to share the stage with them, for both workshops 

and a concert on Sunday, June 2 at Lula Lounge.” 

Bell and Sankaran hope also to delve more deeply into multi-disciplinary 

shows, like this festival’s Songs and Stories of Migration, that 

bring different art forms together but also provoke thought and really 

in-depth chances for complex conversations carried through the 

medium of musical storytelling in a wide range of forms and styles. 

Toronto’s own Pressgang Mutiny, who sing sea shanties are one such 

group. Shanties are often associated with a fantastical history of what 

life at sea was like in the days of pirates. But for sailors and passengers 

throughout history, boats of cargo and people have been meeting 

places for cultures, stories, commerce, and also war. These nautical 

meeting places have a history and Pressgang Mutiny breathe life into 

these shanties, minus the swashbuckling. 

A cappella vocal music also opens doors into diverse cultures. You’ll 

hear the sounds of the Eastern Mediterranean instantly when Turkwaz 

takes the stage. This quartet of women explores the sounds and 

myriad stories of Greece, Turkey, the Balkans and more, the evocative 

power of their voices in a diverse set of styles folding the listener into 

the pages of beloved story after story. After all, “singing is storytelling 

through song, and there are so many compelling stories to tell!” 

Last year, Sing! was part of the massive Fringe Festival in the 

Scottish city of Edinburgh. “We’ve been building inroads with 

our affiliate festivals, like Sing! Montreal, Sing! Texas, and Sing! 

Edinburgh,” share Sankaran and Bell, “We hope to continue to spread 

the word and joy of Sing! Around the globe.” 

SOME HIGHLIGHTS OF SING! THE TORONTO VOCAL ARTS 

FESTIVAL, MAY 24 TO JUNE 2 

!! 

MAY 24, 8:30PM: Sing! Mandela Celebration with Mzansi. A musical celebration 

of Nelson Mandela with a cross-cutting extravaganza of sounds and styles. Young 

People’s Theatre, Toronto. 

!! 

MAY 26, 7:30PM: The Mass Choir comes together under Kurt Sampson of Cadence. 

Come for the concert or join in the choir itself earlier in the day. This will be a signature 

festival event. Young People’s Theatre, Toronto. 

Vocal Sampling performs at Lula Lounge June 2 

!! 

MAY 28, 8:30PM: Sing! Songs & Stories of Migration featuring a host of artists 

and histories. Ariel Balevi with Persian folklore; Pressgang Mutiny with sea shanties; 

Turkwaz with Arabic, Greek and Turkish heritage; Sage Tyrtle blending stories and 

fairy tales; Joanna Wallfisch with looped storytelling; and Dan Yashinsky and his extraordinary 

tales of travels. A new feature on the docket for Sing! and bound to excite 

your heart and ears. Hugh’s Room Live, Toronto. 

!! 

JUN 1, 8PM: SoundCrowd: Dance Party! Why should dance parties only be reserved 

for instruments? Scott Pietrangelo leads this a cappella powerhouse of a choir with 

70 voices strong. The Opera House, Toronto. 

!! 

JUN 2, 7:30PM: Sing! Cuban Fantasies with Vocal Sampling and Freeplay. Steamy 

music highly likely, tropical heat not guaranteed. Lula Lounge, Toronto. 

JEWISH MUSIC WEEK, MAY 26 TO JUNE 2 

Another musical arts festival runs over the last week of May. Jewish Music Week 

presents the ninth year of guests, local and international, featuring a host of fantastic 

music influenced, created and/or performed by Jewish artists, with significant highlights 

for aficionados of vocal and choral music. 

!! 

MAY 29, 12PM: The Yonge Guns Quartet host a midday concert at Princess 

Margaret. Part of the hospital’s “Music in the Atrium” program, these award-winning 

four men have been singing barbershop together since high school. Princess 

Margaret Cancer Centre Atrium, Seventh Floor, Toronto. 

!! 

MAY 29, 7:30PM: Three Famed Cantors, One Voice. American cantors from three 

of New York City’s Jewish congregations make their Canadian debut. Featuring a host 

of styles and sacred works, these three tenors combine their voices under music 

director Robbie Grunwald. Holy Blossom Temple, Toronto. 

!! 

JUN 1, 10:15PM: Community Melaveh Malka. Marking Shabbat with an evening 

performance; three choirs will perform. Featuring Shir Harmony, the Toronto Jewish 

Male Choir and the Toronto Jewish Chorus. Beth David B’nai Israel Beth Am, Toronto. 

!! 

JUN 2, 3:30PM: The Sawuti African Children’s Choir performs as part of their 

Canada tour, ongoing since January. These seven children and five adults from East 

Africa are sponsored by the Evangelical Christian organization, Seven Wells Ministries 

and the Jewish cross-religious organization, Return Ministries. St Andrew’s Church, 

(Simcoe and King), Toronto. 

Follow Brian on Twitter @bfchang Send info/media/ 

tips to choralscene@thewholenote.com. 

20TH ANNIVERSARY IN 2020! 

SING AND CELEBRATE WITH US in a spectacular 5 composer 

commissioning project inspired by the dramatic stories from 

Ovid’s Metamorphoses. 

THE CHOIRS OF VIVA! PRESENT 

You’ve Got a Friend 

SAT MAY 25 ~ 6:30 PM 

TRINITY - ST PAUL’S CENTRE 

427 BLOOR ST WEST 

SING WITH VIVA! 

• Children’s Choirs from age four to teens 

• Adult Choirs for beginners to experienced 

choral singers 

• TD Bank Group Inclusion Program for 

singers with disabilities 

For information or to book a vocal assessment: info@vivayouthsingers.com www.vivayouthsingers.com 


Beat by Beat | World View 

Polyphonic 

and Modal 

Musical Mastery 

Usher in the Spring 

ANDREW TIMAR 

Spring is a season of renewal. As the last of the dirty snow melts 

away, grass greens around us, tree buds begin to plump and birds 

return to song, we’re reminded that the season is connected to 

some of humanity’s deepest values and hopes. 

That optimism is reflected in major cyclical religious holidays celebrated 

round the world – Holi, Nowruz, Passover and Easter – each 

of which possesses an extensive song list. While these spring-launch 

festivals will have taken place by the time you read this, there still 

remains the balance of the season to explore in music the many sacred 

and profane rites of spring associated with the vernal equinox. Please 

use this column as your guide to some of its rich abundance in our 

Greater Toronto Area communities. 

In this issue I’ll be exploring ethnic pluralism, aka cultural diversity 

as performed in music, in three stories. First is a preview of the second 

season of Labyrinth Ontario, modal music’s Toronto outpost, then 

a segue to the Toronto leg of the Canadian tour of a choir from the 

Republic of Georgia, finally arriving, in my Quick Picks, at the smorgasbord 

of musical offerings this season. 

Labyrinth Musical Workshop Ontario 

Speaking of renewal, Labyrinth Music Workshop Ontario, an organization 

“dedicated to promoting the study and enjoyment of global traditions 

of modal music,” is launching its second season of workshops, 

capped by a concert. 

In its inaugural season, the full range of spirit of an extended modal 

family was reflected in Labyrinth’s remarkably 

ambitious lineup featuring nine week-long 

workshops, twelve concerts, plus two panel 

discussions. Eleven masters of Greek, Turkish, 

Bulgarian, Iranian, Azerbaijani, Arabic, Kurdish 

and Afghani music traditions gave lessons and 

performed. Historically these musical cultures 

have interacted variously in and between their 

homelands, but last year’s Toronto concerts 

reflected an intensified interaction perhaps only 

possible on the ground here today. 

Ethnomusicologist Rob Simms, a Labyrinth 

Ontario board member, provided an overview 

on the site’s blog. “Labyrinth’s inaugural season 

offered attendees an immense wealth of practical 

insights into the technique and craft of modal 

music, inspiring performances, and valuable 

lore and wisdom regarding the larger context of 

contemporary modal cultures, straight from the 

source of some of the most important representative 

artists. 

“While there was much great music making 

going on, I was particularly struck by the 

reminder that true mastery goes beyond playing 

to knowing what really matters on a deeper 

cultural, aesthetic, and ultimately spiritual level with this music—and 

being it, living it. … Toronto’s Danforth and Chester neighbourhood 

is quite likely the modal musical centre of the planet for the 

month of May!” 

Ross Daly, a musician of international influence and founder in 

1982 of the original Labyrinth centre in Crete – after which Labyrinth 

Ontario is modelled–- was on hand for the duration of last year’s 

events. An eloquent spokesman for contemporary modal music, Daly 

offered thought-provoking perspectives at the panel discussions on 

many aspects of his long, inspiring career. He spoke to the relationship 

of individuals to tradition, building a repertoire, the balance of study 

and intuitive creativity, aesthetic preferences, the dynamics of audiences, 

the effect of recordings on learning and performing, and on 

the role of “cultural outsiders.” These are all issues very pertinent to 

Canadian musicians in this scene too. 

Labyrinth Ontario June 2019 Workshops 

Daly again plays a central role in this year’s Labyrinth activities. June 3 

to 7 he will blend lecture, demonstration, performance and handson 

composition in his workshop, drawing 

on his decades of study of modal traditions. 

A modal heads-up: while the workshop 

is suitable for performers and composers 

of all levels and backgrounds, an “instrument 

capable of playing quarter-tones” is 

recommended. All workshops will be held 

at Eastminster United Church, 310 Danforth 

Ave., Toronto 

Running concurrently, Cretan lyra virtuosa 

Kelly Thoma leads a workshop on her instrument 

covering technique and repertoire, 

serving as an introduction to Cretan music 

and to her compositional and performance 

practice. Award-winning Bulgarian diva 

Tzvetanka Varimezova brings her decades 

of experience as a choir director and solo 

vocalist to cover vocal techniques and several 

styles of Bulgarian song in her class. 

The following week on June 10 to 14, 

Araz Salek (tar) and Hamidreza Khalatbari 

(kamanche) jointly offer an Introduction to 

Iranian Music covering the fundamentals of 

Iranian modal music, while tombak virtuoso 

Pedram Khavarzamini teaches Percussion 

Cycles drawing on his deep intercultural study of cyclic rhythmic 

patterns in his workshop. 

Kelly Thoma 

Ross Daly 


Araz Salek 

Didgori Ensemble 

Labyrinth Ontario’s concert 

Saturday June 8, Labyrinth Ontario presents Modal Music Summit at 

Eastminster United Church, the concert tying together various threads 

explored by workshop leaders, including Ross Daly, the group This 

Tale of Ours (Daley, Thoma, Salek and Khavarzamini), plus vocalist 

Varimezova. 

I spoke recently with Labyrinth’s artistic director, Araz Salek, about 

the organization’s first year. One of the healthiest aspects of the inaugural 

concerts was the mixed audiences, he told me. “They were not 

just drawn from the music’s community of origin, but also attended 

by Torontonians eager for something new. That’s in the core missions 

of Labyrinth: to encourage audiences to experience and then enjoy 

musics beyond what they listen to day to day. We believe audiences 

can develop a taste and ear for modal music traditions. We can learn 

to appreciate musics other than those we’ve grown up with.” 

Why is that important? “Because that experience ultimately 

enriches our lives. Many of us look forward to exploring cuisines we 

didn’t grow up with, eventually developing a taste for diverse food and 

drink: why not music?” 

Salek cautions against easy solutions, however. “Musicians from 

modal traditions often aim to make their music palatable to a broad 

international audience. All too often this results in reducing its essential 

characteristics to the lowest common denominator that the music 

shares with Western models. That’s the opposite of what we’re trying 

to do at Labyrinth. We encourage musicians, their students and our 

audiences to reach for what’s essential in each musical tradition, and 

to develop it. Getting rid of microtones, modality and shoehorning 

melodies and performance practices into a Western framework, 

compromises the cultural voice of the individual culture represented.” 

Cultural bridges are crucial, Salek reminds us, “but it takes good 

will, time and considerable effort to build a sturdy and elegant bridge 

that accommodates both sides without compromise.” This insight 

is useful for musicians to keep in mind when embarking on transcultural 

musical collaborations. 

Didgori Ensemble in Canada 

Didgori Ensemble is an award-winning six-voice choir from the 

Republic of Georgia performing the country’s unique polyphonic 

choral repertoire. Since 2004, the have toured Russia, UK, France, 

Switzerland, Poland, the Czech Republic, Latvia, Uzbekistan, Turkey 

and Israel. Late in May into mid-June their Canadian tour promises to 

be a huge moment for Georgian music in Canada, an opportunity that 

happens perhaps once in a lifetime. How uncommon is this? The only 

time a choir from Georgia toured Canada previously was in the 1970s. 

Co-sponsored by a consortium of Toronto, Edmonton, Winnipeg 

and Quebecois producers, Didgori’s tour kicks off with a concert 

and workshop at the Edmonton International Choral Festival. The 

Winnipeg Singers then present them in Manitoba before they travel to 

Toronto, followed by dates in Kingston and Quebec. 

Declared by UNESCO in 2001 as an Intangible Cultural Heritage of 

Humanity, the millennial-old Georgian polyphonic singing tradition, 

with its close harmonies and un-tempered scales, is a visceral experience. 

It features three-part singing in a variety of regionally based 

styles, ranging from melismatic lyrical singing and drones, to relaxed 

urban songs, to exploding “crunchy” counterpoint, reflecting the old, 

diverse and complex Georgian social and physical landscape. 

The Didgori singers are acknowledged masters of a variety of 

Georgian musical styles. They are dedicated to the traditions of their 

ancestors through the mastery and popularization of Georgian polyphonic 

folk songs and liturgical chants. Didgori’s very name honours 

the 1121 battle that helped reunite Georgia and usher in a period of 

growth in arts and culture. 

Didgori Ensemble in Toronto: concert and workshops 

Friday June 7, three Toronto arts organizations – MusiCamp, Clay & 

Paper Theatre and Folk Camp Canada – present Didgori Ensemble at 

Jeanne Lamon Hall, Trinity-St. Paul’s Centre. 

On June 8, Didgori gives a public Georgian choral workshop from 5 

to7pm at the St. Vladimir Institute, 620 Spadina Ave. Then on Sunday, 

June 9, MusiCamp holds a five-hour Georgian choral workshop 

with Didgori at the MusiCamp Studio, 11 Cobourg Ave. from 11am 


to 4pm. Limited to 12 participants, this intensive mentoring experience 

with six experts of traditional Georgian choral repertoire is the 

closest Torontonians can get to this music short of a very, very long 

plane ride to Tbilisi. For more information about registration check 

MusiCamp’s website. 

Monday June 10, Didgori drives east for a 12:15pm concert at 

St. George’s Cathedral, 270 King St. E, Kingston, Ontario, before travelling 

to dates in Québec. 

WORLD VIEW QUICK PICKS 

!! 

MAY 1, 5:30PM: the Canadian Opera Company presents Stomp the Floor with the 

sibling-fuelled Métis Fiddler Quartet at the Richard Bradshaw Amphitheatre, Four 

Seasons Centre for the Performing Arts, as part of its noon hour World Music Series. 

The concert is free, but note that a “no late seating” is strictly observed. 

!! 

MAY 2, 7PM: North York Central Library/University of Toronto Faculty of Music offer 

Toronto audiences the rarely heard Music of Rajasthan with vocalist Abhishek Iyer, 

harmonium player Sushant Anatharam and Tanmay Sharma on tabla, at the North 

York Central Library. The event is free but registration is required. 

!! 

MAY 2, 8PM: the popular sitarist Anoushka Shankar and party perform at Koerner 

Hall, Telus Centre in a concert produced by the Royal Conservatory of Music 

!! 

MAY 3 AND 4, 8PM; MAY 5, 3PM: Esmeralda Enrique Spanish Dance Company 

stages its latest show Impulso at the Fleck Dance Theatre, Harbourfront Centre. 

The production features works by choreographers Esmeralda Enrique and José 

Maldonado. Guitarists Caroline Planté and Benjamin Barrile, vocalists Manuel Soto 

and Marcos Marin, are joined by percussionist Derek Gray to provide the energizing 

dance music. 

!! 

MAY 4, 7PM: Singing Together 2019 presents A Celebration of Cultural Diversity, a 

“multicultural choral concert with seven choirs from different ethnic backgrounds,” 

at St. Paschal Baylon Church, Thornhill. Groups include the Chinese Canadian Choir 

of Toronto (Cantonese); Coro San Marco (Italian); Joyful Singers (Korean); Nayiri 

Armenian Choir of Toronto (Armenian); Noor Children’s Choir (Armenian); Toronto 

Taiwanese Choir (Mandarin), plus the guest Filipino Choral Group. 

!! 

MAY 4, 6:30PM: the Mississauga Festival Choir, joined by guest world music 

ensemble Autorickshaw, offers songs from South Africa, South Asia and Canada’s far 

north in a concert titled Building Bridges at the Living Arts Centre, Mississauga. 

!! 

MAY 5, 1PM: the Royal Conservatory of Music presents the illustrious Toronto vocal 

quartet Turkwaz at the Mazzoleni Concert Hall, Royal Conservatory. Maryem Hassan 

Tollar draws on her Arabic language heritage, Jayne Brown and Sophia Grigoriadis 

bring their experience with Greek music and Brenna MacCrimmon adds her expertise 

in Turkish song repertoire to the mix. 

!! 

MAY 12, 3PM: Echo Women’s Choir performs a Mother’s Day Concert: Thanks to 

Life, A Celebration of Songs from the Americas at the Church of the Holy Trinity. The 

repertoire includes Calixto Alvarez’s Cuban Suite and Violeta Parra’s Gracias a la 

Vida (arr. B. Whitla). Guest singer-songwriter Amanda Martinez joins veteran Echo 

conductors Becca Whitla and Alan Gasser. 

!! 

MAY 17, 8PM: Small World Music Society presents Anindo Chatterjee & Guests, 

a North-meets-South-Indian percussion summit at the Small World Music Centre, 

Artscape Youngplace. Tabla master Pandit Anindo Chatterjee headlines, joined 

by Gowrishanker Balachandran (mrdangam), Ramana Indrakumar (ghatam), 

Shirshendu Mukherjee (vocalist), Hardeep Chana (harmonium), and local tabla 

maestro Ravi Naimpally. 

!! 

MAY 26, 3PM: the Kyiv Chamber Choir conducted by Mykola Hobdych sings a 

program titled Sounds of Ukraine at the Koerner Hall, Telus Centre. 

!! 

MAY 26, 7PM: Jewish Music Week in Toronto presents Nomadica: Music of the 

Gypsies, Arabs and Jews featuring David Buchbinder on trumpet and vocalist Roula 

Said at Lula Lounge. 

!! 

MAY 28, 12PM: the Canadian Opera Company presents Celebrate Japan! in its 

World Music Series. Nagata Sachu, directed by Kiyoshi Nagata, will makes the Richard 

Bradshaw Amphitheatre ring with festive percussion-centric sounds. 

!! 

JUN 2, 7:30PM: Sing! The Toronto Vocal Arts Festival continues with Cuban 

Fantasies with Vocal Sampling and Freeplay at Lula Lounge. 

Andrew Timar is a Toronto musician and music writer. He 

can be contacted at worldmusic@thewholenote.com. 

Beat by Beat | Bandstand 

Anniversary Time 

for Waterloo and 

Wychwood 

JACK MACQUARRIE 

In my previous column I mentioned some anniversaries on the 

horizon. One of these will be a May 5 celebration by the Waterloo 

Concert Band of the 100th anniversary of the arrival in town 

of “Professor” Thiele, as he was known, by performing his newly 

discovered Festival Overture. This will be at Knox Presbyterian 

Church, 50 Erb St. W., Waterloo. Since mentioning the event last issue, 

I have been overwhelmed by information about Thiele from a variety 

of sources. From one friend I received a copy of a 130-page university 

thesis on Thiele’s life, work and contributions to Waterloo; and writer 

Pauline Finch, who plays piccolo and flute with the Waterloo Concert 

Band and others, provided far more information on Thiele than I could 

ever have discovered on my own. 

Charles Frederick Thiele’s newly discovered Festival Overture 

Charles Frederick Thiele did not study or teach at any prestigious 

music school. He was largely self-taught and earned his renown 

through natural talent and experience. The title “Professor” (always 

in quotation marks) was an informal mark of respect often given to 

popular concert and show-band conductors during the 19th and early 

20th centuries. It did not have any real academic connotations, but 

might well, in his case, equate to an honorary doctorate today. 

Thiele was a self-employed freelancer like many in his day – holding 

multiple positions, often several at one time. As celebrated as he 

became in Canadian music during first half of the 20th century, he 

wasn’t a hometown boy either. When he arrived in Waterloo 100 years 

ago on April 1, 1919, hired to direct the Waterloo Musical Society Band, 

he was nearly 35, having been born in the Lower East Side neighbourhood 

of New York City to impoverished German immigrant parents. 

Despite their only son’s early aptitude for music, they were too destitute 

to provide him with lessons. However, the boy in question was 

also gifted with disciplined ambition, hints of a true leader’s charisma, 

and a shrewd instinct for business opportunities – qualities 

that served him well in his parallel careers as composer, entertainer, 

impresario and industrialist. 

Well before the turn of the 20th century, and still in his teens, Thiele 

made his first money as a street photographer. With his earnings he 

was able to acquire a cornet. By 19, he’d married his 17-year-old girlfriend 

Louise (an accomplished singer, actress and instrumentalist in 

her own right). By his early 20s, he was finally able to afford regular 

PAULINE FINCH 


cornet lessons and quickly made up for lost time, 

soon progressing to the rank of a steadily employed 

freelance musician, learning on the job, playing with 

numerous professional bands in parades, political 

rallies, lodges, social clubs, sports events, festivals, 

circuses, silent films, and just about any occasion 

where paid live music was required. 

After answering the band’s advertisement in 

early in 1919, he travelled to Waterloo (which had 

only 5,000 people at the time) to meet his potential 

employers in person. He landed the job at a salary of 

$1,200 a year, roughly equivalent to $15,706 in 2019, 

supplementing this part-time income by teaching 

and freelancing, and wasting no time imprinting 

his legendary creative energy on his new hometown. 

As early as 1921, he’d founded the Waterloo 

Music Company as a sheet music mail-order business 

in a spare room of his house. The business 

began as a profitable service to silent movie houses 

throughout Canada; by the time “talkies” put an end 

to demand, less than a decade later, Thiele already 

had Plan B figured out – providing educational music 

for schools. 

Thiele was actually the Waterloo band’s ninth 

bandmaster, but because he served in the post for 

32 years, even some locals assumed he had founded 

the band. When radio came along just before the 

Depression, Thiele managed to have the Waterloo 

Musical Society Band chosen to play the first live 

band concert in Canadian broadcast history. 

Worthy of further investigation, I also learned that 

Thiele was instrumental in the introduction of the Ontario “Band Tax 

Law” in 1937 which enabled many smaller Ontario town bands to 

survive during and after the Great Depression. 

I had never heard of such a law before, but, 

continuing to dig, discovered that somewhat 

earlier, in 1921, the State of Iowa had enacted 

the Iowa Band Law, municipalities in the state 

to fund town bands. In fact, in 1923, composer 

Karl King wrote a fine march titled (there 

are at least two versions of it on YouTube) to 

commemorate the law’s passage. 

Wychwood 

The other previously mentioned May anniversary 

(May 26) belongs to the Wychwood Clarinet 

Choir. The choir’s musical director Michele Jacot 

responded to my inquiry about the concert 

with this: “Yes, it will be our tenth! A special 

show complete with cake and bubbly afterward. 

We are going to raise a glass to the first ten 

(if I may toot our own horn for a moment, very 

successful) seasons. The team is amazing. All I 

do is wave my arms around until the music stops 

and then turn around and bow.” 

The selections for this show are a “best of” 

from those first ten seasons, featuring works 

by their “composers’ collective” and core 

group of talented arrangers. They have tried to 

include something by all of the members in 

that talent hub. Included will be Fen Watkin’s 

Anne of Green Gables Medley; Selections from 

Canteloube’s Chants d'Auvergne (arr. Moore); 

and a stellar arrangement of Gershwin’s An 

American in Paris by Roy Greaves. 

As a prelude to the concert, on May 4, St. John’s Music, Toronto 

invites interested parties to take part in a Wychwood Clarinet Choir 

Michele Jacot and Roy Greaves with 

“Oscar” at their last concert when the 

theme was “A Night at the Oscars” 

PAUL BRYAN 

A WORLD CLASS 

MUSIC FESTIVAL 

AN ENCHANTING 

SETTING 

JUST TICKETS 

AWAY! 

The Elora Singers 

Natalie MacMaster 

State Choir Latvija 

Lemon Bucket Orkestra 

Unforgettable: Nat King Cole 

Measha Bruegergossman 

Kuné Global Orchestra 

Voices Of Light 

Daniel Taylor 

Piano Six 

. . .and much more! 


performance and reading session between 10am and 12 noon. Anyone 

interested should contact Ben McGillis at 416-785-5000. 

Newmarket 

Many bands tend to suffer from a lack of advanced planning, but not 

the Newmarket Citizen’s Band who have already initiated the planning 

process for their 150th anniversary in 2022. The band’s executive 

has started the process of identifying several projects intended 

to commemorate this very important milestone in their history, 

and to illustrate to the broader community, the band’s contributions 

to the cultural and social life of the residents of Newmarket and 

the surrounding area over the years. But circle May 1 2022 on your 

busy calendars for the launch at the Newmarket Old Town Hall of an 

exhibit of the band’s history! 

Orangeville Community Band 

It was very pleasing recently to receive an email message from Bernie 

Lynch of the Orangeville Community Band, who tells me the column 

has given him much pleasure for several years and goes on to say: “As a 

member of a band which is in its 12th year, I am asking for the opportunity 

to inform readers about our next concert on May 11, at 7pm, 

titled “A Celebration of Crooners, Canaries and Chorales,” including 

and other Irish selections,, selections from and more. It all happens at 

Orangeville District Secondary School, 22 Faulkner St.(back entrance), 

Orangeville.” 

North York 

On Saturday, May 11 at 7:30, the North York Concert Band’s Spring 

Bouquet, 2019 Gala Concert sounds entertaining! It will take place at 

the Al Green Theatre, Miles Nadal JCC; and under the direction of John 

Liddle, the band will present a variety of hits, some classic concert 

band repertoire and two special features. The first of these, , is a technical 

trombone solo, mixing the raw ragtime feel of the 20s with a 

laid-back rhythm of an early blues. Principal trombonist, Martin 

Hubel, will be there, we are informed, with “a trombone and a toilet 

plunger.” The other special feature is a new band commission by 

William R. Wilcox, titled inspired, they tell us, by the famous march. 

(In golf, a bogey is, of course, “one over par.”) 

UCCB 

It is a bit too early to report on the plans for this year of the Uxbridge 

Community Concert Band. This a summertime band which usually 

begins rehearsals in May. Since last December, Conductor Steffan 

Brunette has been dealing with a serious health crisis. Now on the 

mend, he and his committee are making plans which will include two 

standby assistant conductors to step in if needed. There are about 60 

people on the band list, so they should be up and running soon, so 

stay tuned. 

Other Recent Events 

Before closing I feel compelled to report on three very different 

musical events which I had the pleasure of attending a week before 

I began this column. While none had anything to do with concert 

bands or their music, they all left lasting musical impressions. 

The first event, in Uxbridge, was one of the most unusual concerts in 

my memory. It was officially titled “Chiaroscuro,” meaning “from light 

to dark into light.” The featured work was by Greek-born Canadian 

composer Christos Hatzis, a professor of composition at the University 

of Toronto. It was a work for choir, percussion, electronic audio effects 

and bass clarinet. The featured guest performer, on bass clarinet, was 

Jeff Reilly, senior CBC Radio producer of music production for the 

Atlantic Region, who has an international reputation as an innovative 

master of the bass clarinet. 

The second event was a violin recital by Duncan McDougall. I first 

heard him perform as a child old-time fiddler at a summer event in 

a park in Uxbridge. This time it was a “Violin Recital” with selections 

from such as Mozart’s , Saint-Saëns’ , Mendelssohn’s and other works 

by Bach and Paganini. This Grade 11 high school student performed 

the entire program from memory with amazing stage presence. 

Now serving as co-concertmaster of the Toronto Symphony Youth 

Orchestra, Duncan will be attending Morningside Music Bridge at the 

New England Conservatory this coming summer. He’s one to keep 

an eye on. 

The third event was a performance at Roy Thomson Hall of Gustav 

Mahler’s by the TSO, Amadeus Choir and The Elmer Iseler Singers. 

Going from a solo recital one evening to this massive work two days 

later was quite an experience. How often does one see no fewer than 

eight French horns in one orchestra? To top it all off, Juanjo Mena, 

who was supposed to conduct the three performances of this work, 

was suddenly taken ill. Matthew Halls stepped in at the last minute 

and made it look as though he had prepared for weeks. His athletic 

conducting style made him one of the stars. 

BANDSTAND QUICK PICKS 

!! 

MAY 3, 7:30PM: Scarborough Concert Band. Spring Concert. Keith Bohlender, 

conductor. Wilmar Heights Centre, 963 Pharmacy Ave., Scarborough. 

!! 

MAY 5, 11AM: Mississauga Big Band Jazz Ensemble. MBBJE Live big band recording 

with guest vocalists Whitney Ross-Barris, Sam Broverman, Glenn Chipkar, Suzanne 

McKenney, Denise Leslie. Port Credit Legion, 35 Front St. N., Port Credit. 

!! 

MAY 5, 3PM: The Weston Silver Band will have their “Afternoon at the Proms” with. 

Canadian and British repertoire. Glenn Gould Studio, 250 Front St.W. 

!! 

MAY 24, 8PM: Etobicoke Community Concert Band presents “On the Road Again,” 

with guest: Calvin Morais. Etobicoke Collegiate Auditorium, 86 Montgomery Rd., 

Etobicoke. 

!! 

MAY 25, 7:30PM: Silverthorn Symphonic Winds present “Masters of Music.” Cable: 

Scottish Rhapsody; Vaughan Williams: English Folk Song Suite; Hazo: Arabesque. 

Wilmar Heights Centre, 963 Pharmacy Ave., Scarborough. 

!! 

MAY 26, 1:30PM: Music at Metropolitan with the Metropolitan Silver Band . 

Metropolitan United Church, 56 Queen St. E. 

!! 

MAY 26, 2PM: The Mississauga Big Band Jazz Ensemble. “Jazz at the Legion.” Port 

Credit Legion, 35 Front St. N., Port Credit. 

!! 

JUN 1, 7:30PM: The Barrie Concert Band presents “150 Years – Let’s Celebrate!” 

featuring Mark Tetrault on tuba; Peter Volsey, music director; and former conductors 

of the Barrie Concert Band. Collier Street United Church, 112 Collier St., Barrie. 

!! 

JUN 2, 3:30PM: The North Toronto Community Band. will have their “Spring 

Rhythms” with marches, classics, show tunes, big band and more. Danny Wilks, 

conductor; Phil Coonce, violin; Sharon Smith, vocalist. Tribute Communities Recital 

Hall, Accolade East Building, York University, 4700 Keele St. 

!! 

JUN 2, 7PM: Strings Attached Orchestra. will have their “Family & Friends Annual 

Year End Concert.” Isabel Bader Theatre, 93 Charles St. W. 

Jack MacQuarrie plays several brass instruments and 

has performed in many community ensembles. He can 

be contacted at bandstand@thewholenote.com. 

Coffee House 345 

{REVISITED} 

MAY 30 @ 8:00 

Gallery 345 

www.NewMusicConcerts.com 

As a parting gift David Olds and his musical friends 

will celebrate in song his 20 years as general manager of 

New Music Concerts. Tickets ($60, two for $100) include 

free food and drinks, with proceeds to benefit NMC. 

Call 416.961.9594 for reservations. 


17th Annual 

Choral Directory

CANARY PAGES 

17 

Welcome to The Canary Pages - 

The WholeNote’s 17th annual 

directory of Ontario choirs. 

We hope you’ll enjoy browsing 

these pages where choirs 

introduce themselves, in their own 

words.There’s so much to sing 

about! Are you are new to the 

region, maybe a lapsed chorister 

looking to sing again, a chorister 

on the hunt for new challenges? 

Are you secretly thinking of joining 

a choir for the very first time? This 

is the perfect place to start your 

search. There are choirs that have 

been around for decades, and 

groups new to the scene. There 

are choruses of hundreds of 

CANADIAN CHILDREN’S OPERA COMPANY 

voices, small chamber ensembles, 

children’s and youth choirs, 

auditioned choirs and those open 

to all, for every level of skill and 

commitment. Whether you want to 

sing or listen, there’s a whole rich 

world of choral music just waiting 

for you to discover and enjoy. 

And you can view the directory 

online, any time, at 

www.thewholenote.com/canary. 

THE 2019 CANARY PAGES TEAM 

PROJECT MANAGER: Karen Ages 

PROJECT EDITOR: Kevin King 

PROOFREADING: Danial Jazaeri 

LAYOUT AND DESIGN: Susan Sinclair 

WEBSITE: Kevin King 

●●A Cappella York 

Formerly the Upper Canada Chordsmen Chorus, 

A Cappella York is now a mixed chorus – men and 

women. Experience the joy of singing four-part a 

cappella harmony in the company of your newest 

friends while supporting our local community 

through various artistic and musical events. We sing 

in the “barbershop” style and are totally dedicated 

to pursuing excellence in entertaining our audiences. 

We are based in Newmarket and Sharon, Ontario, 

serving York Region and surrounding communities. 

Guests are welcome at weekly rehearsals. 

As a chorus member you will also enjoy membership 

in the Barbershop Harmony Society (an international 

organization) and its Ontario District. 

Opportunities for performing, quartetting, workshops 

and competitions abound. 

RENÉ FRAPPIER 

416-526-3142 

info@uccchorus.com 

www.uccchorus.com 

●●Achill Choral Society 

Now in its 36th season, ACHILL is a mixed, auditioned, 

75-voice community choir established in 1982. 

ACHILL concerts are performed twice yearly in the 

surrounding communities of Orangeville, Alliston, 

Caledon and Bolton. 

Auditions take place in September and in January. 

Rehearsals are held each Wednesday at 7pm at St. 

John’s Anglican Church (6km east of Orangeville 

on Hwy 9). Tenors and Basses are encouraged to 

audition. 

ACHILL has flourished under the expert leadership 

of our musical conductor, Mr. Shawn Grenke, 

who has also been accompanist to several of Canada’s 

leading professional choirs, including the Elmer Iseler 

Singers and the Amadeus Choir. 

For more information, contact us at info@achill. 

ca or visit our website www.achill.ca 

LINDA PUNSTEL 

519-942-6110 

info@achill.ca 

www.achill.ca 

theWholeNote 2019/20 CANARY PAGES DIRECTORY 

●●All Saints Kingsway Choir 

All Saints Kingsway Choir provides musical 

leadership at weekly Sunday morning Eucharists, 

Festival Evensongs, community outreach projects 

and concerts year-round. The choir is made up of 

paid section leads and volunteer participants and 

welcomes new singers throughout the year. Recent 

performances include Benjamin Britten’s A Ceremony 

of Carols, Gabriel Fauré’s Requiem, festal celebrations 

with the drumming ensemble Beyond Sound Empijah, 

the Michael Occhipinti Jazz Quartet, Maurice 

Duruflé’s Requiem and Samuel Coleridge-Taylor’s 

The Atonement, both with the Nathaniel Dett Chorale. 

Jazz Vespers and lunchtime organ recitals round 

out the regular musical offerings. New members are 

always welcome to the Music at All Saints Kingsway 

family. Come and be a part of a fantastic choral and 

instrumental creative community. 

C2

BRAINERD BLYDEN-TAYLOR 

416-233-1125 x23 

music@allsaintskingsway.ca 

www.allsaintskingsway.ca 

●●Amadeus Choir of Greater Toronto 

The Amadeus Choir, following 35 years under the 

leadership of Lydia Adams, welcomes Kathleen Allan 

as artistic director and conductor in the 2019/20 

season. The choir performs diverse programmes 

featuring Canadian and international composers 

through a self-produced concert series, guest performances 

and special events at various venues in Toronto 

and beyond. 

The Amadeus Choir actively engages in educational 

and community outreach through choral workshops 

for students, music educators, composers and 

conductors. Regular rehearsals are held on Tuesday 

nights in the Don Mills and Lawrence area. The 

choir’s membership comprises singers from across 

the GTA. Annual auditions for all voice parts are 

held in May and June. Please call or email the choir 

office for more information. 

MEGHAN MCCRACKEN 

416-446-0188 

info@amadeuschoir.com 

www.amadeuschoir.com 

●The ● Annex Singers 

The Annex Singers is a spirited 60-voice auditioned 

choir with an eclectic repertoire spanning 

seven centuries. Under the dynamic and creative 

leadership of artistic director Maria Case, the choir 

performs three concerts annually, collaborating with 

a wide array of professional soloists and ensembles. 

Recently performed large-scale works include Fauré’s 

Requiem, Poulenc’s Gloria, and Mozart’s Great Mass 

in C minor. The Annex Chamber Singers, a smaller 

ensemble drawn from the main choir, is dedicated 

to presenting gems from the chamber repertoire. 

We provide ongoing professional development to all 

choir members and encourage young singers with a 

sponsorship program. Rehearsals are held Monday 

evenings at St. Thomas’s Anglican Church, 383 

Huron Street. Please visit our website to arrange 

your audition. 

JOANNE EIDINGER 

416-458-4434 

joeidinger@gmail.com 

www.annexsingers.com 

●●Bach Chamber Youth Choir (BCYC) 

The Bach Chamber Youth Choir (BCYC) is an 

award-winning SATB choir for ages 16- 24 (or boys 

with changed/changing voices). BCYC also includes 

a fabulous a cappella vocal ensemble comprised of 

talented university students. 

As part of the Bach Children’s Chorus organization, 

the BCYC is a highlight at the organization’s 

twice-yearly concerts at the Toronto Centre for the 

Arts. Additional performances include a coffee-house, 

a gala fundraiser, benefit concerts and collaborations 

with the other top youth choirs in the city. BCYC 

rehearses Sunday evenings on the Danforth, across 

from Chester Station. Auditions are held in May or 

by request (music background is strongly recommended). 

Interested youth are welcome to observe 

a Sunday evening rehearsal. 

JANE GREENWOOD 

416-431-0790 

jane@bachchildrenschorus.ca 

www.bachchildrenschorus.ca 

●●Bach Children’s Chorus 

Bach Children’s Chorus is an award-winning 

organization of three performance-oriented treble 

choirs (ages 7-16), one mixed-voice choir (Bach 

Chamber Youth Choir – see separate listing), and 

two Preparatory Choirs for children aged 4-7. 

BCC members experience a positive and focused 

learning environment as they explore a broad range 

of musical styles. BCC proudly continues to set the 

highest standards of musical literacy and education 

for community choirs across Canada with private 

vocal coaching, sight-singing groups, and a choralfocused 

theory curriculum. 

BCC rehearses once per week in Scarborough, 

performs as a Company-in-Residence at the Toronto 

Centre for the Arts and appears regularly at Toronto 

events. Each choir participates in retreats, festivals, 

workshops and concerts with other choirs 

and conductors. 

JANE GREENWOOD 

416-431-0790 

jane@bachchildrenschorus.ca 

www.bachchildrenschorus.ca 

●●Bach Elgar Choir 

The Bach Elgar Choir is Hamilton’s renowned 

concert choir. The ensemble performed its first 

concert in 1905 and has become essential to musical 

life in the region. The BEC has several firsts to its 

credit, including the North American premiere 

of Verdi’s Requiem and the Canadian premiere of 

Mahler’s “Symphony No. 2”. The BEC’s concert 

season features works for choir and orchestra, its cherished 

annual presentation of Handel’s Messiah, as well 

as programs of diverse vocal repertoire from opera 

to pops. We feature the very best Canadian talent in 

its soloists, and work together with top orchestras 

including the Hamilton Philharmonic Orchestra. 

Now entering its 114th year, the Bach Elgar Choir 

invites interested singers from all sections to join us 

under the leadership of our dedicated artistic director 

Alexander Cann. 

ALEXANDER CANN 

905-319-1251 

duffd@sympatico.ca 

www.bachelgar.com 

●●Bel Canto Singers 

BCS is an auditioned community choir. Members 

share a love of choral singing. We welcome and enjoy 

the challenges of a widely-varied repertoire including 

Broadway, folk songs, spirituals, opera music and 

yes, rock. Rehearsals are Tuesday evenings at Scarborough 

Bluffs United Church, 3739 Kingston Rd. 

Scarborough. We sing concerts in early December 

and early May at the same venue. We also perform 

at senior’s residences, and we support the Kids Help 

Phone. This is our 26th year. 

Friendships and fun are woven through all of 

our activities. We hold workshops twice a year for 

improving our singing skills and social events such 

as our annual banquet for fun. BCS is a non-profit, 

financed by ticket sales and annual memberships. 

Our director, Leanne Piller, is a highly respected 

professional. Come sing with us! 

EDWIN PERRIN 

416-265-7586 

laured@sympatico.ca 

www.belcantosingers.ca 

ALL SAINTS KINGSWAY CHOIR 


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●●Canadian Bandurist Capella 

The Canadian Bandurist Capella is one of the 

premiere bandura ensembles in North America. The 

group showcases powerful male voices combined 

with the rich sound of the bandura - the national 

instrument of Ukraine. The Capella is committed 

to advancing and exploring new possibilities with 

choral-bandura music, while honouring the instrument’s 

deep history. 

Founded in 2001, the Canadian Bandurist Capella 

has grown to become a considerable force within 

the Ukrainian Community in Ontario. The group 

unites the talents of some 40 volunteer singers and 

instrumentalists who work together to further their 

common mission. As a not-for-profit group, the 

Capella depends on the support of the community 

and generous individuals to continue its work. 

IVAN DUSANOWSKYJ 

647-888-8400 

president@banduristy.com 

www.banduristy.com 

●●Canadian Celtic Choir 

The Canadian Celtic Choir is a London-based 

SATB choir of more than 50 voices that has built a 

solid reputation as one of the most in-demand choirs 

in SW Ontario. Founded in 1996, we have been led 

by conductor William “Bill” Zadorsky and accompanied 

by Jean Willadsen on piano since 2010. Our 

vocal coach, alternate conductor and emcee is Paul 

Grambo. Our repertoire features songs primarily from 

Ireland, Scotland, England, Wales, and the Canadian 

Maritimes. In 2015, we won the Most Popular Classical 

Choir at the Forest City London Music Awards. 

Also, we have received the Mayor’s Award from the 

City of London for our cultural contributions to 

the city. Our two most recent CDs are: A Celtic Noel 

(2013), and Celtic Inspiration (2014) and are available 

for purchase from our website. The Choir is touring 

Ireland in July 2020. 

IAN DAVIES 

519-319-5847 

celticchoir@iandavies.com 

www.celticchoir.ca 

●●Canadian Children’s 

Opera Company 

Now over 50 years old, the CCOC consists of six 

choruses for ages 3-19 and is the only permanent children’s 

opera company in Canada to regularly commission 

and produce operas for children. Opera is simply 

storytelling with music, and those are two things that 

kids and youth love! A unique experience, the CCOC 

offers members unparalleled performance opportunities 

and life skills through age-appropriate vocal 

and dramatic training. Members regularly perform 

with the Canadian Opera Company and other major 

professional arts organizations. Rehearsals are weekdays 

after school in the downtown area. Auditions 

are held April to June and occasionally during the 

year. A non-auditioned in- and after-school workshop 

program was launched in 2008 as part of the OPER- 

Ation KIDS outreach arm of the CCOC. 

KEN HALL 

416-366-0467 

info@canadianchildrensopera.com 

www.canadianchildrensopera.com 

●●Canadian Men’s Chorus 

The Canadian Men’s Chorus under artistic director 

Greg Rainville is a premier men’s chamber ensemble 

in Toronto, performing works from the classical repertoire 

and many other genres. The CMC is noted for 

its exquisite blend, exciting and varied performances 

and the ability to take the audience on an emotional 

journey. Currently in its 9th season, the CMC is 

preparing for an exciting 10th anniversary season with 

three concerts in 2019/20. Over the past 9 seasons, the 

CMC has commissioned and premiered over 45 new 

Canadian works for men’s voices by noted composers 

such as Stephanie Martin, Mark Sirett, Laura Sgroi, 

Scott Christian, Matthew Emery and more. The CMC 

welcomes experienced male singers to join the camaraderie 

and fine singing by contacting Greg at grainville@canadianmenschorus.ca 

for an audition. 

GREG RAINVILLE, ARTISTIC DIRECTOR 

416-573-5993 

grainville@canadianmenschorus.ca 

www.canadianmenschorus.ca 

●●Cantabile Chamber Singers 

Led by artistic director and founder Cheryll Chung 

since 2006, the Cantabile Chamber Singers (CCS) 

performs an eclectic mix of choral music that spans 

6 centuries and premieres works of Canadian and 

international composers through a self-produced 

Toronto concert series, guest performances and 

special projects with local orchestras, festivals and 

choirs. CCS is known for its informed interpretation, 

audience engagement and innovative programming. 

Performing and commissioning new Canadian 

music is part of our mandate, with over 50 new works 

premiered since 2006. Contact us for an audition or 

to submit a newly written a cappella choral work. 

Check out our recordings on iTunes and YouTube, 

find us on Facebook & follow us on Twitter @CantabileTO. 

Auditions are held throughout the year, as 

needed - for tenors, basses and sopranos. 

CHERYLL CHUNG 

416-509-8122 

cantabilechambersingers@gmail.com 

www.cantabilechambersingers.com 

●●Cantabile Choirs of Kingston 

Since 1996, the Cantabile Choirs of Kingston, 

under composer/conductor Mark Sirett, have become 

known for concerts featuring non-traditional staging 

and joyful repertoire sung with skill and enthusiasm 

by Cantabile’s 300 singers. 

In our 24th season: “Life To Everything”; “Music 

gives a soul to the universe, wings to the mind, flight 

to the imagination and life to everything” (Plato). 

November 2, “Life Has Loveliness: music on themes 

of water, nature, ecology.” December 20-21, “Wings 

of Angels: Christmas with Cantabile.” March 7, 

“Spirit & Soul” with Daniel Taylor as guest conductor 

along with the Theatre of Ancient Music. April 18, 

2020, Imagination: our young singers present “Lion 

King KIDS!” May 23, 2020, “Sweet Music Here” 

Cantabile’s teens, men, women perform favourites 

from 24 years of music making. 

HOLLIE STEWART 

613-549-0099 

info@cantabilechoirs.net 

www.cantabilechoirs.ca 

●The ● Cellar Singers 

The Cellar Singers is a 40-voice mixed choir based 

in Orillia. For over 50 years, the choir has delighted 

audiences in Simcoe and Muskoka with choral 

masterpieces grand and intimate. Under the direction 

of gifted choral specialist Mitchell Pady, the choir 

presents four main concerts each season. Rehearsals 

are open to all and are held Wednesday evenings, 

7:15pm, at St. James’ Anglican Church, Orillia. 

Visit us at www.thecellarsingers.com; Facebook. 

com/TheCellarSingers or Twitter/@cschoir. 

For more information, contact us at info@thecellarsingers.com 

or at 905-515-3356 

KATE WARD 

905-515-3356 

info@thecellarsingers.com 

www.thecellarsingers.com 

●●Choralairs of North York 

The Choralairs are a non-profit, charitable 

50-member, four-part adult choir who sing a variety 

of popular songs, Broadway, seasonal tunes and 

folk songs. We rehearse from September to June on 

Tuesday evenings at Edithvale Community Centre 

on Finch Ave West and have performed 8 concerts 

per season for seniors in the GTA for over 50 years. 

Directed by our talented team of Peter Ness as 

conductor and Asher Farber on keyboard, the choir 

requires no auditions - just a love of singing and the 

ability to carry a tune! All are welcome at our annual 

public concert on Sunday, June 2, 2019 at 2-3pm at 

B’nai Torah Synagogue, 465 Patricia Ave. in Toronto. 

ELAINE ROSE 

905-731-8416 

elainemrose@yahoo.ca; choralairs@gmail.com 

www.choralairschoir.com 

●●Choralis Camerata 

Choralis Camerata is one of Niagara’s premier 

choral groups, ambitious in its scope and creative in 

its productions. Now in its 13th season, the 50-person 

SATB chamber choir performs throughout the 

Niagara region, working with talented soloists and 

professional musicians to perform a wide variety 

of works, from perennial favourites like Handel’s 

Messiah and Vivaldi’s Gloria, to operatic works like 

Gilbert and Sullivan’s Trial by Jury. Learn more about 

Choralis Camerata’s 2019/20 season at www.choraliscamerata.com 

JOANNE GEORGE 

905-646-9225; 905-934-2415 

choraliscamerata@gmail.com 

www.choraliscamerata.com 

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●●Chorus Hamilton 

Chorus Hamilton is a registered charitable arts 

organization and is one of Hamilton’s finest choral 

ensembles. Founded in 1968 to participate in the 

opening of Mohawk College, Fennell Campus, the 

choir is now a 70-member choral society. The ensemble 

performs a large variety of music, from chamber music 

to the greatest large-scale works in the choral repertoire, 

with orchestral accompaniment and the best 

Canadian soloists. Auditions are held in September 

and January and the choir gathers Tuesday evenings 

at Mohawk College to rehearse. Chorus Hamilton 

invites interested singers from all sections to come and 

join us under the leadership of artistic director David 

Holler and accompanist Erika Reiman. Please visit 

our website for concert listings and more information. 

JOAN STICKWOOD 

905-318-9381 

chorushamilton@yahoo.ca 

www.chorushamilton.ca 

CANADIAN BANDURIST CAPELLA 

●●Chorus Niagara 

●●Christ Church Deer Park 

andrew.timothy.adair@gmail.com 

www.stmarymagdalene.ca 

Chorus Niagara, the Power of 100, is a passionate 

group of singers of diverse ages and walks of life. As 

the Niagara region’s premier auditioned symphonic 

chorus for the past 57 years, Chorus Niagara 

performs classic choral masterpieces, innovative 

new modern, and seldom-heard works, providing 

a showcase for emerging Canadian talent. Chorus 

Niagara attracts singers of all ages through its Chorus 

Niagara Children’s Choir (CNCC), Side-by-Side High 

School Chorale (SXS) and Robert Cooper Choral 

Scholars program (RCCS). Concerts are performed 

in the beautiful Partridge Hall in the FirstOntario 

Performing Arts Centre in downtown St.Catharines. 

View our flash mob with over 52 million views 

on YouTube. 

ROBERT COOPER, ARTISTIC DIRECTOR 

DIANA MCADOREY, 

MANAGING DIRECTOR 

905-934-5575 

cnadmin@becon.org 

www.chorusniagara.org 

●●Chorus York 

Chorus York is an amateur performance community 

choir based in Richmond Hill. We perform three to 

four concerts per year and sing a variety of choral 

music, from Bach to Broadway. We are diverse in 

age and culture, but we all share a love of fine choral 

music. Recent concerts include “Top Hats & Tunes,” 

“Encore,” a program of Broadway hits, “Romantic 

Melodies,” a program of love songs for Valentine’s 

Day, and to come in May, “Classics in the Spring,” a 

program of classical choral music, and “True North 

Strong & Free,” with the Richmond Hill Philharmonic 

Orchestra in June. New members are always welcome. 

Please send inquiries to info@chorusyork.ca 

STEPHANE POTVIN, ARTISTIC DIRECTOR 

BRUCE MORROW, CHOIR PRESIDENT 

905-884-7922 

info@chorusyork.ca 

www.chorusyork.ca 

Continuing its long tradition of musical excellence, 

Christ Church Deer Park boasts an innovative 

music program. Our choir, consisting of professional 

members and skilled volunteers, performs a 

rich treasury of sacred choral music and hymnody 

at the 10am Sunday liturgy. The choir also performs 

at other special events, feast days, Evensongs and 

concerts throughout the year. Rehearsals take place 

on Thursday evenings from 6:45pm to 8:45pm and 

offer an opportunity to develop musicianship through 

vocal instruction, while being part of an open and 

welcoming community. In addition, we present “Jazz 

Vespers”, a popular, informal service held bi-monthly 

from September to June and featuring some of the 

city’s finest jazz musicians. For more information 

contact Matthew Otto, director of music. 

MATTHEW OTTO 

4169205211 

motto@christchurchdeerpark.org 

www.thereslifehere.org 

●●Church of St. Mary Magdalene 

Steeped in musical heritage and assisted by a 

generous acoustic, the Church of St. Mary Magdalene 

offers a music program strongly rooted in the tradition 

established by Healey Willan. Every Sunday, 

at the 11am Solemn Mass, the Gallery Choir sings 

a mass and motet from the west gallery, while the 

Ritual Choir sings the Gregorian propers from the 

east end. Both choirs rehearse on Thursdays. 

At the 9:30am Sung Mass, the SMM Singers sing a 

motet and lead congregational singing. Membership 

is informal: rehearsals are at 9:00am directly before 

the service; regular attendance is not mandatory. 

One Sunday per month at 4:30pm, the meditative 

Solemn Evensong and Benediction is sung, preceded 

by an organ recital at 4pm. 

For information, please contact the director of 

music, Andrew Adair. 

ANDREW ADAIR 

416-531-7955 

●●Church of St. Peter and St. 

Simon-the-Apostle, Anglican 

Music is central to worship at St. Peter and St. 

Simon and is rooted in the rich liturgical tradition of 

the Anglican Church. The Adult Choir enjoys a repertoire 

from medieval chant to 21st-century anthems, 

motets and spirituals. With approximately 25 voices 

including a professional core, many of its members 

have had extensive choral training or as instrumentalists 

and solo singers. The choir provides musical 

leadership at the Sunday 10:30am weekly worship 

service including full mass settings and seasonal evensong 

services. Carol Services are presented for Advent 

and Christmas. Annual concerts feature major works, 

with soloists and instrumental ensemble accompaniment. 

The choir will be travelling to the UK to sing 

for one week residencies at Gloucester and Chichester 

Cathedrals in August of 2019. 

ROBIN DAVIS 

905-409-6121 

robin.davis@rogers.com 

www.stpeterstsimon.ca/worship/music 

●●City Choir 

Launched in 2010, City Choir is an exciting nonauditioned 

SATB choir. Our five well-known directors 

have worked with us since then – Waleed Abdulhamid, 

John Millard, Patricia O’Callaghan, Greg 

Oh, and Suba Sankaran. 

Open to all who love to sing, we perform music of 

many styles, as well as original compositions. Based 

on pay-what-you-can, we meet at 188 Carlton St. on 

Tuesday nights from September to June. Vocal techniques 

are taught. 

There are two main concerts and two cabaret 

nights, as well as other events. Solo performances 

welcome. We have sung at the Tranzac Club, the 

Drake Underground, the Aga Khan Museum, the 

Luminato Festival, and in the SING! a Cappella 


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Festival. We are returning to Luminato and SING! 

festivals in 2019. 

ARIANNE SCHAFFER 

647-296-9775 

member@citychoir.ca 

www.citychoir.ca 

●●Cummer Avenue United 

Church Choir 

Cummer Avenue United Church Choir consists of 

a group of volunteer singers supported by a number 

of professional section leaders. The choir provides 

strong and vibrant musical leadership in worship 

each Sunday, 12 months of the year. A wide range 

of musical styles are included in the repertoire, and 

in addition to full choir anthems, various ensembles 

and solos are presented by members of the choir. On 

selected Sundays, the choir presents extra choral music 

such as traditional carols at Christmas and a cantata 

at Easter. Rehearsals are held Thursday evenings from 

early fall to early spring and on Sunday mornings all 

year. Due to extensive renovations of our church site, 

we are temporarily worshipping with the congregation 

of Willowdale/Emmanuel United Church just 

a few blocks south at 349 Kenneth Ave. 

CUMMER AVENUE UNITED CHURCH 

416-222-5417 

taylorsullivan@yahoo.com 

www.cummeravenueuc.ca 

●●DaCapo Chamber Choir 

The 24-voice DaCapo Chamber Choir was founded 

in 1998 in Kitchener-Waterloo under the direction of 

Leonard Enns. The mission of the choir is to identify, 

study, rehearse and present outstanding choral 

chamber works of the past 100 years and to champion 

music of Canadian and local composers. In 

November 2018, the choir released its newest CD, 

NewWorks, with selections received through the first 

10 years of its national choral composition competition. 

The 2019/20 season marks the end of a 3-season 

exploration of themes related to the global refugee 

crisis: 17/18 Displacement, 18/19 Resettlement, 

19/20 Renewal. Guest artists will include harpist 

Angela Schwartzkopf (November), mezzo-soprano 

Jennifer Enns-Modolo (March), and pianist Catherine 

Robertson (May). 

Like us on Facebook or follow us on 

Twitter @DaCapoChoir. 

SARA MARTIN, MANAGER 

519-725-7549 

info@dacapochamberchoir.ca 

www.dacapochamberchoir.ca 

●●Duly Noted 

Duly Noted is a Toronto-based a cappella ensemble, 

singing everything from madrigals to Shawn Mendes. 

We are currently 8 women strong but have had up 

to 12 members. One primary mandate is to support 

charities while sharing our love of singing. To date 

we have raised over $10,000 for local GTA charities. 

Find out more about us and when we are performing 

at www.dulynotedtoronto.com 

JENNIFER KIRNER 

416-629-7554 

dulynotedto@gmail.com 

www.dulynotedtoronto.com 

●●Durham Girls’ Choir 

Girls from across Durham region come together 

in this active, fun, performing choir. Our Junior and 

Senior ensembles provide girls aged 7 through 18 

an opportunity to sing together, build team spirit 

and participate in a variety of public performances. 

Through weekly rehearsals, our members build leadership 

skills, further their musical education and create 

lasting friendships. Registration for our 2019/20 

season is now open, and young singers of all talent 

levels are encouraged to join us as we share the joy 

of music with our Durham Region community. Visit 

our website to hear us perform, read what alumni 

say about the choir and see photos from our many 

events throughout the year. We hope you will join us! 

LAURIE STAPLEY 

905-434-7269 

durhamgirlschoir@sympatico.ca 

www.durhamgirlschoir.org 

●●Echo Women’s Choir 

Celebrating its 28th year, Echo is a 60-voice, nonauditioned 

community choir open to women from 

all walks of life. Echo rehearses each Tuesday night 

at the Church of the Holy Trinity, Toronto (beside 

the Eaton Centre), performs at city-wide grassroots 

events, and holds fall and spring concerts. Co-led by 

Becca Whitla and Alan Gasser, Echo aims to build 

a strong, varied and vibrant culture and community 

through song. Repertoire includes music from worldwide 

village singing traditions and newly-commissioned 

music. Echo aims to keep membership fees 

and concert tickets accessible to all. To join Echo, 

register on our website. Spring concert: “Gracias a la 

Vida (Thanks to Life): A Celebration of Songs from 

the Americas, with special guest Amanda Martinez, 

May 12, 3pm at Holy Trinity. 

ALAN GASSER 

416-779-5554 

info.echo@gmail.com 

www.echowomenschoir.ca 

●●Elmer Iseler Singers 

Elmer Iseler Singers is a 20-voice professional 

chamber choir based in Toronto and founded in 1979. 

Directed by the acclaimed Lydia Adams, the Singers 

are known for tonal beauty and interpretive range, 

and valued for their contributions to masterclasses 

and workshops with schools and community choirs. 

Their unique “Get Music! Educational Outreach 

Initiative” mentors conductors, music educators 

and students. EIS has 15 recorded CDs featuring 

Canadian music. EIS with TSO was 2019 Grammynominated 

and JUNO awarded for a collaborative 

CD. Touring in Canada is a major part of the Elmer 

Iseler Singers’ activities, offering both concerts and 

workshops to Canadian audiences. Weekly rehearsals 

are on Mondays and Tuesdays in preparation for 

our Toronto Series. Open auditions are held in May. 

JESSIE ISELER, GENERAL MANAGER 

416-217-0537 

info@elmeriselersingers.com 

www.elmeriselersingers.com 

●The ● Elora Singers 

With 2019 marking its 39th year, The Elora Singers 

(TES) has established itself as one of Canada’s leading 

professional chamber choirs. Under artistic director 

Mark Vuorinen, the 25-singer ensemble fulfills a rich 

mandate with its year-round activities. TES presents 

its own winter concert series serving Elora and 

surrounding communities. TES is also involved in 

education programs, community programs and health 

& wellness programs throughout the year. 

Each July TES serves as the resident choir for the 

annual Elora Festival with an intense performance 

schedule of solo work, collaborative efforts, and 

education and outreach programs.TES is JUNOand 

Grammy-nominated, with a dozen recordings 

on the NAXOS label. 

CHRIS SHARPE 

226-384-7412 

chris@elorafestival.com 

www.elorasingers.ca 

●●Encore! 

Encore! (formerly the YRDSB Staff Singers) is a 

non-auditioned, 60-voice SATB community choir 

based in Aurora. The core of the group has been 

making music together for 31 years, but new members 

are always warmly welcomed. Singers hail from 

Thornhill in the southern part of York Region to 

Barrie in the north. The choir rehearses Thursday 

evenings at Dr. G.W. Williams Secondary School 

in Aurora from September to May. We perform two 

concerts annually in December and in the spring. Our 

repertoire includes a wide range of musical styles 

which appeal to singers and audiences alike. Most 

concerts include collaborations with instrumentalists. 

Join us May 5 for “Summer of ‘69: Voices of a 

Generation” - a tribute to Woodstock! 

DEE LAWRENCE, CONDUCTOR 

GEORGE VANDIKAS, ACCOMPANIST 

905-722-6535 

deelawr@rogers.com 

www.encoreyr.wixsite.com/choir 

●●Etobicoke Centennial Choir 

Etobicoke Centennial Choir (ECC) is an inclusive, 

community-based SATB choir in its 53rd season. We 

aspire to enrich the community through vibrant and 

diverse performances, ranging from choral masterpieces 

to contemporary compositions and popular 

music. ECC is a welcoming choir that offers singers 

a challenging but supportive choral music experience, 

facilitated by our professional music director, 

accompanist and vocal section leads. 

Our 2019/20 season begins December 7 with 

Vivaldi’s Gloria. On April 4, 2020, we perform Cherubini’s 

Requiem Mass in C minor, along with works by 

Brahms, Vaughn-Williams and others. On June 6, 

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“Musica Borealis” will highlight diverse vocal music 

from northern climes. 

Rehearsals are Tuesday evenings. New singers are 

always welcome. Open rehearsals are held in early 

September and January. 

CAROLINE CORKUM 

647-518-5297 

info@etobicokecentennialchoir.ca 

www.etobcokecentennialchoir.ca 

●●Exultate Chamber Singers 

Exultate Chamber Singers is an auditioned group 

of 30 skilled singers who enjoy performing a variety 

of chamber choir repertoire, both a cappella and 

accompanied, including many works by Canadian 

composers. Now in its 39th season, the choir is under 

the direction of artistic director Mark Ramsay and 

continues its tradition of presenting four concerts 

per season. In addition, the choir commissions new 

works, collaborates with guest artists, and supports 

aspiring young music professionals with singing and 

conducting opportunities. Rehearsals take place on 

Tuesdays from 5:45-7:45pm at St. Thomas’s Anglican 

Church, 383 Huron St. For audition information, 

please contact exultate@exultate.net. 

VIVIAN MOENS 

416-971-9229 

exultate@exultate.net 

www.exultate.net 

●●Fanshawe Chorus London 

Fanshawe Chorus London has built a world-class 

reputation since its inception at Fanshawe College 

in 1969 by performing the finest in classical choralorchestral 

music. As an elite auditioned community 

choir conducted by artistic director David Holler, 

the chorus provides college-level training for adult 

singers and gives emerging vocal soloists the opportunity 

to perform professionally with orchestra. The 

chorus has won the prestigious Ontario Lieutenant- 

Governor’s Award twice and was selected to sing at 

Ottawa’s National Arts Centre Canada Day celebrations 

during the 2010 visit of HRM Queen Elizabeth 

II. Winner of London’s Classical Vocal Group 

of the Year in 2012, 2013, 2014 and 2017, Fanshawe 

Chorus London offers talented adult singers an inclusive 

welcoming community committed to “Making 

Hearts Sing.” 

APRIL VOTH 

519-433-9650 

generalmanager@choruslondon.com 

www.choruslondon.com 

●●Georgetown Choral Society 

GCS, with some 80 amateur singers, has been 

delighting audiences since its formation in 1971. 

Our rehearsal and performance home is the Christian 

Reformed Church in Georgetown, Ontario. 

Our choral director, Christopher Dawes, is a freelance 

professional musician and is among Canada’s 

leading church musicians, concert organists and 

choral accompanists. He performs across a wide 

spectrum of the Toronto music scene and occupies 

a range of musical leadership positions. GCS is a 

registered charity performing a variety of musical 

genres, including classical, pop and folk, and from 

sacred to secular, at a level normally associated with 

professional groups. It has performed at Toronto’s 

Roy Thomson Hall, the Ford Centre in North York 

and the Mississauga Living Arts Centre. It has also 

performed in Holland and Ireland. 

LAURENT THIBAULT 

905-877-7795 

lthibault@cogeco.ca 

www.georgetownchoral.ca 

●The ● Georgian Bay Children’s Choir 

Now in its 32nd season, the Georgian Bay Children’s 

Choir welcomes singers ages 5 through 20 from 

the Southern Georgian Bay Region of Ontario into its 

multi level choral music program. Concert programs 

represent many genres including folk, sacred, pop, 

broadway, world music, Canadian composers, 

commissioned works and more. Music literacy is a 

key component of our program. 

Choir performances include 2 family concerts in 

May & December - annually, with guest appearances 

with the Georgian Bay symphony, Concert choir 

and other groups, Seniors homes and community 

events. In July we will be participating in the Ottawa 

Unisong Festival. 

DR. LESLIE WYBER AND 

LINDA HAWKINS, CONDUCTORS 

REANNE KRUISSELBRINK, ACCOMPANIST 

MARYLOU TREMILLS, CHOIR FOUNDER 

519-371-1237 

lindamariehawkins@gmail.com 

www.gbcc.ca 

●●Grace Church on-the-Hill 

The choir of Grace Church on-the-Hill proudly 

embraces our excellent Anglican choral tradition while 

looking towards the future for new inspiration. Our 

choirs for both adults and children sing weekly from 

September to June. Our children’s choirs provide the 

ideal learning environment for young musicians, and 

we have funding available to subsidize the cost of music 

lessons for our children! Choristers of all ages develop 

lifelong friendships, self-esteem, and the joy of coming 

together to sing. We take a choir tour every year. Some 

tours are small, like a day trip to Niagara-on-the-Lake, 

and some tours are larger, such as our two-week tour to 

sing in cathedrals in Dublin and Oxford in 2016. We 

welcome new members every September. 

STEPHEN FRKETIC 

416-488-7884 

music@gracechurchonthehill.ca 

www.gracechurchonthehill.ca 

●●Harbourfront Chorus 

Did you know that Choral singing improves health 

and happiness? You are invited to join Harbourfront 

Chorus, a non-auditioned community choir. We 

perform a wide range of music that spans from early 

Renaissance music to contemporary popular songs. 

Rehearsals run Tuesdays from 7:45pm to 9:15pm at 

the Waterfront Neighbourhood Centre, located at 

the south-east corner of Queens Quay W. and Bathurst 

St. Our season runs September through May. 

The 2019/20 season begins Tuesday, September 10. 

CATHERINE NETHERSOLE 

416-458-2530 

harbourfrontchorus@gmail.com 

www.facebook.com/harbourfrontchorus 

●●Harbourtown Sound 

An award-winning, volunteer-based auditioned 

men’s chorus, offering a wide range of a capella music 

- barbershop, inspirational, jazz, pop, soft rock - all 

designed to both bring back fond memories and to 

create memorable new ones. 

Representing the Hamilton chapter of the Ontario 

District of the Barbershop Harmony Society, we have 

been entertaining at home and abroad since 2003. 

As a not-for-profit community group, we promote a 

love of singing and an appreciation for choral music. 

Under the direction of Jordan Travis, we are always 

GEORGIAN BAY CHILDREN’S CHOIR 


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eager to support our community by volunteering 

to perform at district events as well as presenting 

our own concerts in the Burlington Performing Arts 

Centre several times a year. Learn more about our 

professional a cappella chorus of amateur singers 

on our website. 

SANDY BELL 

519-822-6153 

president@harbourtownsound.ca 

www.harbourtownsound.ca 

●The ● Harmony Singers 

Under conductor Harvey Patterson, this dynamic 

35-voice women’s chorus memorizes, stages and 

performs a sparkling repertoire of pop, show, folk, 

jazz and light classical music. Our accompanist 

is the renowned pianist Bruce Harvey. The group 

proudly presents “A Song to Remember” on May 26 

in Humber Valley United Church. Special guest is 

vocalist Asia Rosa, winner of the 2019 scholarship 

presented to an outstanding graduate of Etobicoke 

School of the Arts. The group has sung at a Blue 

Jays game and recently took part in a Festival of 

Friends choral concert in Mississauga. There are a few 

openings for new members - choral experience and 

sight-reading ability are not mandatory, but certainly 

helpful. Rehearsals are Monday evenings from late 

August to May in Martin Grove United Church. 

HARVEY PATTERSON 

416-239-5821 

theharmonysingers@ca.inter.net 

www.harmonysingers.ca 

●●Hart House Chorus 

The Hart House Chorus is a 50-voice choir auditioned 

from musically talented students, faculty, and 

alumni of the University of Toronto. Since its inception 

in 1972, as a reincarnation of the long-standing 

men’s Glee Club, the Chorus has maintained a reputation 

for the highest standard of performance locally, 

nationally, and abroad. In 1993 the Chorus was a 

finalist in the Large Choir category of the CBC Radio 

Competition for Amateur Choirs, and in 2002 it was 

featured in the University of Toronto’s first reading 

of Charles Dickens’ “A Christmas Carol.” In addition 

to other engagements, the Chorus performs twice 

annually in the Great Hall at Hart House. The aim of 

the Hart House Chorus is to provide talented musicians 

with the opportunity to pursue excellence in 

music in a friendly, focused environment. 

AMY CHEN 

647-859-9631 

hhchorus@gmail.com 

www.hhchorus.wixsite.com/harthousechorus 

●●Healey Willan Singers 

The Healey Willan Singers was originally formed 

as a youth choir to celebrate Dr. Willan’s 125th anniversary 

in 2005. Since 2007, the choir has reinvented 

itself into a women’s ensemble and has become one of 

the finest women’s ensembles in the city. Rehearsals 

run from September to April on Saturday mornings 

from 10:15am to 12:30pm. This coming season, the 

choir will present our annual Christmas concert in 

December and at the end of April with “Women 

and Songs V,” our biennial celebration of women’s 

composers and poets. The choir performs repertoire 

from Gregorian chants to contemporary new 

works, especially music by women and Canadian 

composers. Auditions are held throughout the year. 

Rehearsals and concerts are held at the Church of 

St. Martin-in-the-Fields, 151 Glenlake Avenue in 

Toronto’s west end. 

RON CHEUNG 

416-519-0528 

rkmcheung@yahoo.ca 

www.healeywillansingers.com 

●●Hillcrest Village Choir 

Since 2003, this SATB teaching choir has enabled 

amateur singers to improve their singing technique 

and performance skills in full choir, small group and 

solo settings. In an open and engaging atmosphere, 

members enjoy an eclectic repertoire that evolves 

with the interests of the membership. The director/ 

conductor, Ben D’Cunha, trains members in vocal 

technique, sight-reading, theory and improvisation, 

and writes the arrangements for the choir. Choir 

rehearsals are held September to June on Tuesdays, 

7pm to 9pm, with sectionals on Mondays, 7pm to 9pm. 

Concerts: January 25 and June 20, 2020. 

Solo opportunities with pro backing bands in Cabarets. 

November and March our composer study will 

be focused on the music of George Gershwin, with 

a performance in April 2020. Learning to sing is 

fun! Join us! 

BEN D’CUNHA 

647-688-7765 

hillcrestvillagechoir@gmail.com 

●●Incontra Vocal Ensemble 

Incontra Vocal Ensemble is a choral-arts collective 

of like minded conductors, composers, vocal pedagogues, 

professional-level singers, and emerging 

artists. Entering its sixth season, Incontra (Latin for 

“encounter”) is transforming itself to now offer professional 

development opportunities for its members, 

showcasing their artistry as singers, conductors and 

composers through high-level musical collaborations. 

Pushing the boundaries of traditional, Western 

choral music, Incontra is committed to innovative 

and diverse choral repertoire from across the globe, 

alongside authentic interpretation and exceptional 

vocalism. Through its programs and performances, 

Incontra offers a profoundly unique choral ‘encounter’ 

for its members and audiences. 

MATTHEW OTTO 

647-241-3623 

matthew.otto@gmail.com 

www.incontravocalensemble.com 

●●Islington United Church Choirs 

The extensive and active music program at 

Islington, under the direction of Jason Locke and 

assisted by many talented and committed musicians 

including two music associates, includes the Junior 

(grades 1-6), Youth (grades 7-12), and Senior choirs, 

along with two handbell choirs, chimes, string and 

brass ensembles. Supported by a magnificent Schoenstein 

organ and grand piano, music rings through the 

Modern Gothic sanctuary for two morning services 

each Sunday and numerous special services, events 

and concerts. The accomplished Senior choir, with 

25-30 talented singers enriched by section leaders, 

is attentive to musical detail and expressiveness to 

enhance worship, singing Renaissance to the 21st 

century, a cappella to orchestral accompaniment, 

spirituals to Bach cantatas. 

JASON LOCKE, MINISTER OF MUSIC 

416-239-1131 x226 

jason@islingtonunited.org 

www.islingtonunited.org 

●●Jubilate Singers 

The Jubilate Singers is a mixed-voice community 

choir of about 30–35 voices with both a non-auditioned 

main choir and an auditioned chamber choir. 

We sing choral music from the Renaissance to the 

present, in original languages and reflecting the 

cultural diversity of Toronto. We perform three 

concerts a year, plus community concerts at seniors’ 

residences and community centres. Our 2019/20 

season features Navidad Nuestra by Ariel Ramirez in 

an all–Latin American program, a concert themed 

“Seas,” and a concert “Of Love and Nature.” We 

rehearse Tuesday nights near Yonge and Lawrence. 

Interested singers are encouraged to sit in on a 

rehearsal; auditions for the chamber choir are available. 

A welcoming, friendly experience, and music 

you won’t hear anywhere else. 

PAULINE MCKENZIE 

416-223-7690 

paulinemckenzie@rogers.com 

www.jubilatesingers.ca 

●●King Edward Choir 

Founded in 1952 by Jean Dobson, Barrie’s King 

Edward Choir began as a ladies’ choir, named after 

the school in which they practised. Today it is a group 

of 50 dedicated musicians encompassing all voices, 

under the leadership of artistic director, Oliver Balaburski. 

We strive to present a repertoire that is broad 

and engaging to both chorister and audience; recent 

years have seen performances of works by Britten, 

Mozart, Bernstein, Freedman, Rutter, Handel and 

Dvořàk, with offerings of Renaissance motets, Spirituals, 

folk songs and show tunes. King Edward Choir 

frequently collaborates with other artists and groups, 

and enjoys community sing-outs. Rehearsals for 

our three annual performances take place Monday 

nights. Open auditions occur each September, but 

new members are welcome any time! 

PETER SULLIVAN 

705-739-7281 

pesullivan71@gmail.com 

www.kingedwardchoir.ca 

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●●Kingsway Children’s Choir & 

Drum Ensemble/Kingsway 

Chamber Singers 

Discover the joy of choral singing at the Kingsway 

Conservatory of Music! Venturing outside the 

bounds of traditional choir training, the Kingsway 

Children’s Choir & Drum Ensemble is a unique, 

liberating choral experience for children aged 7 and 

up. Directed by a professional music educator with 

extensive choral conducting experience, the choir 

explores vast repertoire spanning world music, folk 

songs and classic choral works. Weekly rehearsals 

are an invigorating musical work-out encompassing 

voice and body warm-ups, vocal technique, singing 

skills and drum circle. For more experienced singers, 

the Kingsway Chamber Singers offers an enriched, 

multi-part choral experience. Throughout a 30-week 

season, both choirs take their music to a variety of 

stages, including festivals, recitals, and corporate and 

community events. 

SHARON OF BURLACOFF 

416-234-0121 

sharonkcm@bellnet.ca 

www.kingswayconservatory.ca 

●●Lawrence Park Community 

Church Choir 

LPCCC sings at weekly Sunday worship services, 

September to June, and rehearses Thursday evenings. 

Consisting of 25 members, including professional 

section leads, the choir also presents special 

seasonal musical offerings. John Rutter’s Requiem was 

performed on April 19. On May 10, our “Fridays@8” 

Concert Series presents Missa Gaia (Earth Mass) by 

the Paul Winter Consort with the LPCCC, instrumental 

ensemble and special guests, members of 

Vox Youth Choir. 

The choir has commissioned anthems from 

composers including Bob Chilcott, Ruth Watson 

Henderson and Paul Halley and has recorded several 

CDs. The Lawrence Park Handbell Ringers rehearse 

Tuesday afternoons from September to May and are 

directed by Mark Toews. 

MARK TOEWS 

416-489-1551 x28; 416-515-8326 

mark@lawrenceparkchurch.ca 

www.lawrenceparkchurch.ca 

●●Lirit Women’s Chamber Choir 

Founded by soprano and conductor, Renée Bouthot, 

Lirit Women’s Chamber Choir is a Toronto-based 

group of experienced choral singers. Committed to 

exploring the joy and vast range of Jewish music, 

whether through Jewish texts, themes, or composers, 

they perform one major concert per year, as well as 

smaller community events. Funded by the Judy Dan 

Arts and Education Award, Lirit welcomes singers of 

all backgrounds and interests. Rehearsals take place 

Mondays evenings at Temple Emanu-El in North York, 

from October to June, with a two-month winter hiatus. 

Lirit is always looking for more altos and sopranos to 

join this lively group. Please call to arrange a stressfree 

meeting and audition. 

RENÉE BOUTHOT 

416-577-6513 

reneebouthot@gmail.com 

www.lirit.ca 

●●London Pro Musica Choir 

London Pro Musica is an auditioned, mixed-voice 

choir based in London, Ontario, Canada. LPMC is an 

inclusive and multi-generational, member-managed 

adult choral organization under professional leadership, 

dedicated to engaging audiences by providing 

and promoting artistic excellence in the London area 

and beyond, through education, outreach and high 

quality performances of choral music. 

We perform an extensive range of classical music 

- from the medieval to the contemporary - both for 

accompanied and unaccompanied voices. 

MELANIE VAN DEN BORRE 

519-914-5769 

marketing@londonpromusica.ca 

www.londonpromusica.ca 

●●Lyrica Chamber Choir of Barrie 

Founded in 2000 by the late Natalyia Gurin 

and directed since 2005 by Steve Winfield, Lyrica 

Chamber Choir of Barrie strives to present eclectic 

and evocative programs of excellent choral chamber 

music. The 40 singers of Lyrica demonstrate a strong 

desire to present artistically varied choral programs 

with a high degree of musicianship to the community 

of Barrie and surrounding area. Recent highlights 

include performances of Marc-Antoine Charpentier’s 

Messe de Minuit pour Noël, Benjamin Britten’s A 

Ceremony of Carols, Ola Gjeilo’s Dark Night of the Soul 

and Josef Rheinberger’s Missa in G “St. Crucis” Op. 151. 

Professional soloists and instrumental musicians regularly 

join Lyrica for performances. Our accompanist, 

Brent Mayhew, enhances the choir’s performances. 

STEVE WINFIELD 

705-722-0271 

steve.winfield@sympatico.ca 

www.lyricachoir.ca 

●●Masterworks of Oakville 

Chorus & Orchestra 

We are a community-based group, dedicated to 

performing the great works of the Western Classical 

tradition, particularly sacred works for choir and 

orchestra. We have a strong commitment to artistic 

excellence and are proud to preserve and continue 

a great musical tradition. Masterworks is an extraordinary 

community group – with a chorus of over 

100 voices and a commitment to performing the most 

challenging choral works. Masterworks exists with 

the enthusiasm of its choristers and orchestra players, 

which is the hallmark of its performances. 

CHARLES DEMUYNCK 

905-399-9732 

info@masterworksofoakville.ca 

www.masterworksofoakville.ca 

●●MCS Chorus 

MCS Chorus, a chamber choir of 35 auditioned 

voices, is Mississauga’s only adult choral organization 

committed to the choral classical repertoire. 

MCS Chorus offers a diversified season of extensive 

community engagement events and ticketed 

concerts performed with chamber orchestras, instrumental 

ensembles and soloists. This wide range of 

programming contributes a strong and unique voice 

to the cultural fabric of the city. 

MCS is dedicated to bringing the choir’s performances 

into the communities of Mississauga under 

the dynamic leadership of artistic director Mervin 

William Fick. 

SANDY 

905-278-7059 

info@mcschorus.ca 

www.mcschorus.ca 

HART HOUSE CHORUS 


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●●Metropolitan United Church Choirs 

The auditioned 32-member Metropolitan United 

Church Choir has eight lead singers, rehearses 

Thursday evenings and sings on Sunday mornings 

and special occasions, September through June. 

Repertoire is Medieval through 21st-century. Singers 

must have sight-singing ability. A waiting list exists; 

contact our director in late spring or early fall to join. 

The Festival Choir adds 10 to 15 singers to the core 

choir and rehearses Sunday afternoons for six weeks 

prior to Good Friday. Past concerts have featured 

Bach, Mozart, Fauré, Duruflé, Gilles and others. 

The Metropolitan Sparklers (ages 4 to 6), Choristers 

(7 to 11), Great Heart Ensemble (vocal and instrumental, 

ages 12 and up) and Metropolitan Handbells 

are groups open to all. 

DR. PATRICIA WRIGHT 

416-363-0331 x26 

patriciaw@metunited.org 

www.metunited.org 

●●Milton Choristers 

This dynamic four-part community choir has 

entertained audiences in Halton Region and beyond. 

The 50-member choir performs two major concerts 

annually, often including premier guest soloists and 

musicians. We also enjoy performing at numerous 

local events. Our director, Rachel Cleland, is 

expanding our already varied repertoire. From classical 

to contemporary, sacred to secular, we sing it all. 

Rehearsals are Tuesday nights from 7:30 to 9:30pm, 

from September to June. A love of singing, some sight 

reading and a sense of humour are all you need to 

become a Milton Chorister. 

BILL MCLEAN 

905-875-1730 

info@miltonchoristers.com 

www.miltonchoristers.com 

●●Mississauga Festival 

Chamber Choir 

Mississauga Festival Chamber Choir (MFCC) 

was formed in 2008 as a smaller branch of the 

large ensemble, Mississauga Festival Choir (MFC). 

This 26-voice, auditioned choir delights audiences 

with intimate and challenging works of music, 

their most recent being The Wound in the Water by 

Kim Andre Arnesen with string orchestra. MFCC 

performs an annual concert, as well as various 

performances throughout the season, serving as 

an ambassador for MFC. They reach out to the 

community in a variety of venues from the Port Credit 

Library to Hammerson Hall. All experienced choral 

singers are now welcome to audition, as it is no longer 

a requirement to sing with MFC to be part of Mississauga 

Festival Chamber Choir. 

JENNY JOHNSTON 

416-986-5537 

choiradmin@mfchoir.com 

www.mfchoir.com 

●●Mississauga Festival Choir 

With over 150 singers, Mississauga Festival Choir 

is the largest and most spirited community choir in 

our city. Our Mission is to enrich lives through music 

by way of performance, education and outreach, 

while valuing excellence in choral music. Under the 

leadership of David Ambrose, MFC also host three 

subsidiary choirs: Mississauga Festival Chamber 

Choir, an auditioned group which explores intimate 

and challenging works; Resonance, a non-auditioned 

choir for youth and young adults aged 15-28 

directed by Bob Anderson (resonance.mfchoir.com), 

and Raising Voices - an intergenerational choir of 

music lovers to provide the therapeutic value of 

music to people with Alzheimer’s and dementia and 

their caregivers. 


416-986-5537 

info@mississaugafestivalchoir.com 

www.mfchoir.com 

●●MNjcc Adult Daytime Choir 

Love to sing? Prefer rehearsing during the day? 

Join us and fill your life with the joy of singing in 

harmony! A fun-filled, relaxed environment. No 

experience or sight-reading necessary. Meets Tuesday 

afternoons, 1:00-2:30 pm. Learn vocal technique, 

sing a wide variety of musical styles, stretch yourself. 

Includes a spring concert. Conductor: Asher Farber. 

Accompanist: Clive Walton. Conveniently located 

near Spadina TTC station. 

DEANNA DI LELLO 

416-924-6211 x250 

music@mnjcc.org 

www.mnjcc.org 

●●MNjcc Community Choir 

Tackle world, jazz, classical, Jewish, folk, Canadian, 

gospel and pop music. Our 75-member auditioned 

SATB choir meets Wednesday evenings, Sept - June. 

Rehearsals are well-structured and singers learn skills 

in different musical genres, expression, blend, vocal 

production, and reading. A wonderful community 

of dedicated singers. Annual Spring Concerts in the 

Al Green Theatre. Ensemble and Cabaret opportunities. 

Good supportive learning materials. Conductor: 

Mark Ramsay. Assistant Conductor: Briony Glassco. 

Accompanist: Asher Farber. Conveniently located 

near Spadina TTC station. 



deannad@mnjcc.org 

www.mnjcc.org 

●●MNjcc Specialty Choirs 

8 weeks devoted to different genres: Broadway 

(fall), pop (winter), and folk (spring). Enjoy diverse 

repertoire, vocal technique, and train your ear to 

harmony. Leave each rehearsal with a song in your 

heart. No experience or audition required. Join 

any or all. Meets Thursday evenings, 7:00-8:30pm. 

Conductor: Alex Fiddes. Conveniently located near 

Spadina TTC station. 



deannad@mnjcc.org 

www.mnjcc.org 

●The ● Nathaniel Dett Chorale 

The Nathaniel Dett Chorale is a 21-voice SATB 

professional choir based in Toronto, dedicated to 

performing Afrocentric music of all genres, including 

classical, spiritual, gospel, jazz, folk and blues. 

Founded by artistic director D. Brainerd Blyden- 

Taylor in 1998, the NDC is Canada’s premier 

performer of Afrocentric composers and a touchstone 

for the education of audiences and communities 

regarding the full spectrum of Afrocentric choral 

music. The mission of the NDC is to build bridges 

of understanding, appreciation and acceptance 

between communities of people through the medium 

of music. The Chorale has a three-concert season 

in Toronto, tours extensively each season and has 

released several CDs and DVDs. The Nathaniel Dett 

Chorale is artist-in-residence at the Harriet Tubman 

Institute for Research. 

D. BRAINERD BLYDEN-TAYLOR 

416-712-7740 

info@nathanieldettchorale.org 

www.nathanieldettchorale.org 

●●Oakham House Choir Society 

Founded in 1984, the 80-member Oakham House 

Choir specializes in the large-scale masterpieces of 

the choral repertoire. This is one of the few Toronto 

choirs where amateur singers perform regularly with a 

professional orchestra (the Toronto Sinfonietta). The 

choir has a diverse membership of Ryerson University 

students, alumni, faculty and staff, as well as singers 

from outside the university; it is led by its founding 

music director, Matthew Jaskiewicz. Rehearsals 

begin in early September and take place on Monday 

evenings on the Ryerson campus. We give our main 

concerts at the end of November and April, often at 

Calvin Presbyterian Church. For more details, please 

visit our website. Experienced choristers are invited to 

contact us by email for information about openings. 

MATTHEW JASKIEWICZ 

416-578-2546 

oakhamhousechoir1@gmail.com 

www.oakhamchoir.ca 

●●Oakville Choir for Children & Youth 

For 25 years, Oakville Choir has provided exceptional 

music education and leadership training to 

young people. We believe that providing a fun, safe 

and educational space for youth to express themselves 

encourages them to find their voice and use it 

as a force for good in this world. Currently, we offer a 

collaborative and comprehensive choral music education 

program to nearly 300 young people, exploring 

a wide range of repertoire, diverse musical programming, 

and high standards of performance. We are 

proud of the choral collaborations that we have 

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created with other arts and community organizations, 

both locally and internationally through our 

touring program. We continue to focus on empowering 

all youth to use their voice to lead, connect, 

learn, and build confidence in our community. 

KATHERINE HAMILTON 

905-337-7104 

info@oakvillechildrenschoir.org 

www.oakvillechoir.org 

●●Oasis Vocal Jazz 

Oasis Vocal Jazz, Toronto’s longest-running close 

harmony ensemble, has been making a unique contribution 

to the city’s artistic life since 1985. Influenced 

by pioneers Lambert, Hendricks and Ross 

and inspired by modern-day masters of the genre 

such as New York Voices, Take 6 and Toronto’s own 

Cadence, we enjoy sharing our love of vocal jazz with 

a wide range of audiences. Whether performing in 

community or corporate events and charitable fundraisers, 

or putting on our own concerts backed by 

some of the city’s top jazz instrumentalists, we have 

always valued both the pursuit of musical excellence 

and the joy of making music with each other. We are 

always looking for new voices to add to our blend. 

For more information, contact us. Why not become 

a fan of our Facebook page? 

ALAN GOTLIB 

416-500-7040 

info@oasisvocaljazz.com 

www.oasisvocaljazz.com 

●●Oriana Women’s Choir 

Oriana Women’s Choir is an auditioned ensemble 

of 30 - 40 amateur female singers who perform at a 

high artistic standard. With artistic director Mitchell 

Pady, Oriana explores the possibilities in choral music 

for the female voice, collaborating with diverse artists 

to push the boundaries of typical expectations for 

women’s choirs. We foster the creation of Canadian 

choral music, regularly commissioning works from 

Canadian composers for women’s voices. In rehearsal 

we are focused but friendly, and maintain an inclusive, 

respectful and supportive environment. Oriana 

presents a three-concert series every year, and tours 

regularly. We welcome potential new singers to 

attend a rehearsal prior to scheduling an audition. 

Rehearsals are on Tuesdays, 7:30-10pm in the Sheppard-Yonge 

corridor. 

CHOIR MANAGER 

416-346-7918 

info@orianachoir.com 

www.orianachoir.com 

●●Orpheus Choir of Toronto 

Orpheus’ vision is to celebrate the transformational 

power of choral music as an agent of social 

change and a passionate medium of artistic expression. 

The 65-voice choir, under artistic director Robert 

Cooper, champions the new and unusual in choral 

performance, commissioning and introducing new 

works and performing overlooked masterpieces. 

Working frequently with living composers and singing 

a wide range of repertoire styles in concerts with high 

production values, Orpheus has introduced audiences 

to many fascinating and accessible works from the 

current generation of leading composers. Orpheus 

supports young emerging vocal talent through its 

highly respected Sidgwick Scholars Program and 

Vocal Apprentice Program for high school singers. 

We welcome enthusiastic singers for an “expect something 

different” experience. 

LISA GRIFFITHS, MANAGING DIRECTOR 

416-530-4428 

info@orpheuschoirtoronto.com 

www.orpheuschoirtoronto.com 

●●Pax Christi Chorale 

Hailed by critics and audiences alike as one of 

Canada’s finest oratorio choirs, Pax Christi Chorale 

delivers stirring performances with great polish and 

total conviction. 

Under the leadership of artistic director David 

Bowser, the award-winning choir aspires to build 

on its strengths and accomplishments to achieve 

new levels of performance and audience engagement. 

Collaborations with outstanding guest artists 

and partners give audiences and performers a deep 

appreciation for choral masterworks and new 

Canadian music. 

The Pax Christi Chamber Choir placed first in its 

category in Choral Canada’s 2017 national competition 

for amateur choirs. 

We champion great choral music among a diverse 

community. We have an inclusive philosophy and 

welcome audience members, choristers, from all backgrounds 

and walks of life. 

HELEN NESTOR 

647-345-7743 

info@paxchristichorale.org 

www.paxchristichorale.org 

●●Penthelia Singers 

Founded in 1997, Penthelia Singers has earned 

a reputation for presenting high quality, innovative 

concerts of choral repertoire in a multitude of styles 

and languages. A vibrant ensemble of women, we 

are committed to excellence in performing culturally 

diverse and musically sophisticated repertoire spanning 

the Renaissance to the 21st-century. The choir 

seeks opportunities to collaborate with special guest 

artists such as Suba Sankaran (world music), Raigelee 

Alorut (Inuit throat singing) and Steve Mancuso 

(Brazilian capoeira) to workshop different styles of 

music, as well as work with many talented instrumentalists 

who support our performances. Penthelia 

Singers is a welcoming group of women committed 

to high standards of music-making, diversity, 

community outreach and enjoyment through the 

learning process. 

ALICE MALACH 

416-579-7464 

alice_malach@hotmail.com 

www.penthelia.com 

●●Peterborough Singers 

The Peterborough Singers was founded in 1993 

under the energetic and creative leadership of founder 

and music director Sydney Birrell. We are an auditioned 

100-voice choir of adults and youth which 

attracts members and audience from Peterborough, 

the Kawarthas, Northumberland and locations along 

the lakeshore. We generally perform four concerts per 

year: a Yuletide concert, Handel’s Messiah, an oratorio, 

and one concert dedicated to music outside the box of 

regular classical programming. Rehearsals are held 

Wednesday evenings from September to the beginning 

of May at Murray Street Baptist Church in Peterborough. 

Auditions take place in May and September. 

PEG MCCRACKEN, BUSINESS MANAGER 

705-745-1820 

singers@peterboroughsingers.com 

www.peterboroughsingers.com 

NATHANIEL DETT CHORALE 


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●●Resonance 

Founded in 2016, Resonance is the newest member 

to the Mississauga Festival Choir family directed by 

award-winning conductor, Bob Anderson. Resonance 

is a non-auditioned choir for youth and young 

adults ages 15 to 28. Each season they have performed 

their own concert, as well as collaborating in concerts 

with several choirs and ensembles around the Greater 

Toronto Area. Their most recent performances 

were with the Toronto Symphony, the Mississauga 

Symphony, A Few Good Men, and the Elmer Isler 

Singers. For information visit their website. 


416-986-5537 

choiradmin@mfchoir.com 

www.resonance.mfchoir.com 

●●Schola Magdalena 

Schola Magdalena is a six-voice ensemble singing 

medieval polyphony, chant, and new music for 

women’s voices. Ensemble-in-residence at the Church 

of Saint Mary Magdalene, Toronto, we have recorded 

two CDs (available on iTunes) and have toured from 

Chicago to Chicoutimi, from Waterloo to Waupoos. 

Our past season centred around touring and holding 

workshops with amateur singers interested in learning 

about Gregorian chant and the music of Hildegard 

von Bingen. In the coming year, we look forward to 

a return to Prince Edward County. For details, please 

visit our website, our Facebook page, or check out our 

Bravo Video on YouTube. 

STEPHANIE MARTIN, ARTISTIC DIRECTOR 

416-256-9421 

stmartin@yorku.ca 

www.scholamagdalena.ca 

●●Serenata Singers 

Serenata Singers is a 60-voice, four-part community 

seniors’ choir. This fall we begin our 44th year, under 

the guidance of our accomplished choral director, Ms. 

Leanne Piller. Serenata’s repertoire covers a wide range 

of music, including classical, show tunes, pop, folk 

and Canadiana. Rehearsals are held on Wednesday 

mornings from September to May at Wilmar Heights 

Centre, 963 Pharmacy Ave., Scarborough. During the 

year, we sing at seniors’ residences and the season 

crescendos with two concerts held in the spring. The 

choir welcomes new members in every vocal range. 

An informal, non-threatening voice screening process 

is performed by our choral director to properly place 

voices and maintain our performance standards. 

LOIS 

loiebruce@gmail.com 

●●Shevchenko Choir 

The Shevchenko Choir is an integral part of the Shevchenko 

Musical Ensemble with the Toronto Mandolin 

Orchestra. Although its roots lie in the Ukrainian 

community, through more than our 65-year history, 

we have evolved into a multicultural choir whose repertoire 

reflects the diversity of our society, including folk 

songs, classical and original works. Currently, the choir 

presents its own choral concert each year; performs 

2-3 times at Seniors Residences; and appears with the 

Toronto Mandolin Orchestra, including instrumental 

and vocal soloists, as part of the full Ensemble. 

A non-audition choir, its rehearsals are held Sunday 

mornings (10:00-12:30am) at Borochov Cultural 

Centre, 272 Codsell Ave. 

Our highly talented conductor, Alexander Veprinskiy, 

blends the choir and orchestra into a unique 

musical ensemble. 

ALEXANDER VEPRINSKIY 

905-763-7516 

veprinskiy9@hotmail.com 

shevchenkomusic.com 

●●Society of Singers 

The Society of Singers is a non-auditioned SATB 

choir that rehearses Wednesdays from 1-3pm at Blythwood 

Road Church (80 Blythwood Rd.). Under the 

direction of Peter Ness, we sing a wide repertoire of 

music ranging from classical and gospel hymns to 

traditional ballads to show tunes to swing numbers. 

We perform one or two afternoon concerts per month 

at Toronto seniors’ residences, where we are always 

much appreciated. If you love to sing and are looking 

for a happy, relaxed choir that is still serious about 

music, you are warmly invited to drop in to any 

Wednesday rehearsal or to contact us (by email, preferably) 

for more information. 

CATHY 

647-202-1800 

societysingers@gmail.com 

www.societyofsingers.ca 

●●SoundCrowd 

SoundCrowd, Toronto’s first large-scale a cappella 

ensemble, made its concert debut alongside former 

Barenaked Ladies frontman Steven Page on Danforth 

Music Hall in November of 2016. Under the direction 

of founder and artistic director Scott Pietrangelo, they 

have since performed at notable public venues around 

the GTA (Princess of Wales Theatre, The Opera 

House, Jane Mallett Theatre, Richmond Hill Centre 

for the Arts), hosted sold-out concerts, created viral 

YouTube videos, performed at Carnegie Hall with 

choirs from around the world led by Deke Sharon 

(Pitch Perfect, The Sing Off), and have shared the 

stage with such notable artists as DCappella, Cadence, 

Lorraine Segata, Countermeasure, Retrocity and 

cast members from the original Toronto production 

of “Les Miserables”. 

SCOTT PIETRANGELO 

647-970-1397 

scottpietrangelo@gmail.com 

www.soundcrowd.ca 

●●Spiritus Ensemble 

Spiritus Ensemble is a semi-professional choralinstrumental 

ensemble of 18 voices plus an orchestra 

of varying size that performs mainly the liturgical 

music of J.S. Bach and other liturgically-conceived 

music. We perform four or five times a season in 

Kitchener-Waterloo, sometimes in concert and sometimes 

in a Bach Vespers format. Rehearsals take place 

on the two or three Saturday mornings preceding 

each performance. Performances are on Sundays at 

4pm. The principal works for the 2019/20 season 

will be Bach’s Cantatas 76, 116, the St John Passion 

and Handel’s Messiah. 

KENNETH HULL 

519-579-8335 

krhull@uwaterloo.ca 

www.spiritusensemble.com 

●●St. Clement’s Eglinton 

The thriving, growing and inclusive church of St. 

Clement’s, Yonge/Eglinton is recruiting new members 

for its three choirs. Our robed choir of 22 sings at our 

11am service and rehearses on Thursday evenings. This 

choir is led by six professional singers and explores the 

treasures of the Anglican choral repertoire across six 

centuries of music. We have sung in English, Latin, 

German, Norwegian, Welsh and Russian and recent 

performances have included double-choir motets by 

Tomkins and a number of pieces specially commissioned 

by St. Clement’s, or written for us. We work 

hard but have a lot of fun. The standard is exacting 

but we don’t audition - we’d prefer you to give us a try 

and see how we find each other! St. Clement’s also has 

a pick-up choir at its 9am service and a Youth Choir 

that rehearses on Thursday afternoons. 

DANIEL WEBB 

416-483-6664 

dwebb@stclements-church.org 

www.stclements-church.org 

●●St. James Cathedral Parish Choir 

If you enjoy singing a wide range of motets that 

span five centuries - from the sublime offerings of 

Byrd, Palestrina, and Tallis to the composers of today 

via Healey Willan, John Rutter, Saint-Saëns, and 

Charles Gounod - there is no better remedy for your 

craving than the exhilarating membership of a cathedral 

choir of like-minded volunteers with an appetite 

for musical challenges and artistic companionship. 

This social group of singers rehearses each Thursday 

from 7 to 8pm, and comprises sopranos, altos, tenors, 

and basses. Director of music Robert Busiakiewicz 

welcomes enquiries from those who might like to join 

the ranks, or those who simply want to give singing a 

try in a relaxed rehearsal setting. The choir sings at 

the 9am Cathedral Eucharist each week. We warmly 

welcome all genders and ages. 

JESSIE-ANN BAINES 

416-364-7865 

music@stjamescathedral.ca 

www.stjamescathedral.ca/music 

●●St. James Town Children’s Choir 

The St. James Town Children’s Choir, founded in 

2007, welcomes children from grades 3 to 8 from St. 

James Town and surrounding neighborhoods. The 

choir’s artistic directors over the years have many 

years working with children’s choirs, many of them 

music specialists from the RCM and Toronto District 

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School Board. Over the years, the choir has sung 

with professional choirs, at sports events, in longterm 

care facilities, in schools and community events, 

and has collaborated with professional musicians 

(e.g. Ensemble Vivant, Suba Sankaran). The repertoire 

is secular, diverse, inclusive, fun and musically 

enriching. Music literacy and performance opportunities 

are a priority. 

Choristers are welcomed for September 2019. 

Information is available on our website and questions 

may be directed to ed.rotm@gmail.com, or 

416-421-8518. 

VIRGINIA EVOY, EXECUTIVE DIRECTOR 

416-421-8518 

ed.rotm@gmail.com 

www.reachingoutthroughmusic.org 

●●St. Michael’s Choir School 

St. Michael’s Choir School was founded in 

1937, with the purpose of providing sacred music 

for services at St. Michael’s Cathedral Basilica. 

St. Michael’s Choir School is an all-boys school 

from grades 3 through 12 located in downtown 

Toronto. Comprised of between 250-300 students, 

St. Michael’s Choir School is a centre for musical 

and academic excellence. It is one of only six choir 

schools in the world affiliated with the Pontifical 

Institute of Sacred Music in Rome. Each student 

attending the Choir School is accepted on the basis 

of a vocal audition and sings in at least one of the 

school’s choirs. Each St. Michael’s Choir School 

student is trained in music theory, vocal and instrumental 

music. In addition to weekly Masses and 

numerous annual concerts, SMCS choirs tour regularly 

and perform at various local events. 

WANDA THORNE 

416-397-6367 

thorne@smcs.on.ca 

www.smcs.on.ca 

●●St. Olave’s Anglican Church Choir 

The Choir at St. Olave’s Anglican Church sings 

music for Communion, Morning Prayer, and Evensong 

services in the English choral tradition (Berkeley, 

Byrd, Elgar, Howells, Leighton, Stanford, Willan). 

While our focus is on British and Canadian composers, 

we also sing motets by Palestrina and Victoria, and 

choral music from the 18th to 21st century. Rehearsals 

are on Thursdays, 7:30-9pm and Sundays at 9:30am 

for the 10:30am service. Evensongs are sung by our 

Choir or visiting Choirs approximately once a month. 

We are an auditioned Choir made up of volunteers 

and paid leads, and have a passion for what we do. 

JOHN STEPHENSON, DIRECTOR OF MUSIC 

416-768-5686 

music@stolaves.ca 

www.stolaves.ca 

●Tafelmusik ● 

Chamber Choir 

The Tafelmusik Chamber Choir, specializing in 

baroque and classical performance practice, was 

formed in 1981 to complement the Tafelmusik 

Baroque Orchestra. Under the direction of Ivars 

Taurins, the Chamber Choir has become one of the 

most fêted in North America, awarded the Healey- 

Willan Prize in 1991 for its consistently high level of 

artistic achievement and for its unique contribution 

to choral art in Canada, and described as “the best 

period-performance choir anywhere in the world” 

(The Globe and Mail). 

The choir has made several critically acclaimed 

recordings, including a live-concert CD of Handel’s 

Messiah, which was nominated for a 2013 JUNO 

Award. Tafelmusik’s annual performances of Messiah 

and “Sing-Along Messiah” have become an established 

part of Toronto’s holiday tradition. 

TAFELMUSIK 

416-964-9562 

info@tafelmusik.org 

www.tafelmusik.org 

●Tempus ● Choral Society 

Tempus Choral Society is a very welcoming, 

100-voice SATB un-auditioned community choir based 

in Oakville, led by director Brian Turnbull. Our repertoire 

encompasses contemporary, Broadway, Great 

American Songbook, gospel, classical and jazz. This 

year, we celebrate our 20th anniversary. We love to 

travel and to reach out to our community. Tempus has 

sung Handel’s Messiah at Lincoln Center, performed 

Vaughan Williams’ Dona Nobis Pacem at Carnegie 

Hall, as part of an international choir of auditioned 

singers. In 2015, Tempus4Us (our 60-voice children’s 

choir) and Tempus Jazz Choir were formed, with help 

from an Ontario Trillium Foundation grant. After our 

2018 European singing tour, we are headed to the 

Baltics in 2020. New members are heartily welcomed 

in September and January; please visit our website. 

KATHY DIXON, MEMBERSHIP DIRECTOR 

416-200-1731 

membership@tempuschoralsociety.com 

www.tempurchoralsociety.com 

●That ● Choir 

That Choir is one of Toronto’s most exciting a 

cappella ensembles, combining high-calibre performance 

with storytelling through choral music. Founded 

in 2008 by artistic director Craig Pike, That Choir now 

draws together close to twenty auditioned singers 

with diverse backgrounds in culture, work and study. 

Recent appearances include the “City Carol Sing” 

at Yorkminster Park Baptist Church, sharing the stage 

with Sir Christopher Plummer and Louise Pitre as a 

featured performer at the Shakespeare Globe Centre 

of Canada’s 25th Anniversary Gala at Casa Loma, 

featured performances in Barrie and Alliston, Ontario, 

and feature choir with international touring concerts: 

“Game of Thrones Live Concert Experience”, “Hans 

Zimmer Live on Tour 2017” (both at the Air Canada 

Centre), and “The Legend of Zelda” at the Sony Centre. 

CRAIG PIKE 

416-419-1756 

info@thatchoir.com 

www.thatchoir.com 

●Toronto ● Beach Chorale 

Toronto Beach Chorale (artistic director, Mervin W. 

Fick) is an auditioned SATB choir of up to 65 voices. 

Singers share a passion for great classical choral music, 

a strong commitment to sharing the gift of music, and 

engaging their community in quality musical experiences. 

TBC invites professional musicians, soloists, 

actors and arts organizations to join in 3-4 concerts per 

season. TBC organizes and participates in “Messiah 

for the City” - free concert for the United Way charities 

- and in many local community events. TBC’s 

Choral Scholars Program offers subsidy and training 

to singers aged 19 to 24. Rehearsals are Wednesdays, 

7-9:30pm, September to May in the Beach area. Auditions 

are held in September and January. The ability to 

read music and choral experience are assets. 

DAVID GARDE 

416-699-6634 

torontobeachchorale@gmail.com 

www.torontobeachchorale.com 

SOUNDCROWD 


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●Toronto ● Beaches Children’s 

and Youth Chorus 

TBCYC, founded in 2006 by artistic director 

Bronwen Low with drama instructor, Joanne 

Mitchell, has grown from a membership of 30 to 

over 150 children and youth (JK and up) from all 

over Scarborough and Toronto’s East End. 

TBCYC welcomes all, regardless of ability, 

offering a high quality musical and dramatic experience 

within a supportive, fun atmosphere. Each year, 

TBCYC choristers are involved in concerts and events 

throughout the city. In the spring, they perform a fully 

staged musical production at a professional theatre. 

The 2019 show is “Shrek Jr., the Musical” 

Past touring highlights include singing in Nashville 

at the Grand Ole Opry and in the 2016 DCINY 

festival performance at Carnegie Hall. This July, they 

will perform at the Kennedy Center as part of the 

Serenade Choral Festival in Washington, D.C. 

BRONWEN LOW 

416-698-9864 

info@tbcyc.com 

www.tbcyc.com 

●Toronto ● Chamber Choir 

Building on 50 years of concert performances, the 

Toronto Chamber Choir of around 40 skilled singers has 

held a prominent place in Canada’s early music scene 

since 1968. It specializes in renaissance and baroque 

repertoire, collaborating regularly with Toronto’s rich 

pool of period instrumentalists, but also with forays into 

other periods. Four concerts per season - two Saturday 

evening concerts and two Sunday afternoon “Kaffeemusik” 

presentations - explore the cultural context of 

our repertoire through narration, often with a special 

guest expert. Rehearsals are Wednesday evenings at 

St. Patrick’s Parish Hall with occasional Saturday 

“retreats.” Auditions for new volunteer members are 

held anytime by arrangement with the director, while 

auditions for our Toronto Chamber Consort section 

lead program are held in May. 

LUCAS HARRIS 

416-763-1695 

lucasharris@live.ca 

www.torontochamberchoir.ca 

●Toronto ● Children’s Chorus 

The award-winning Toronto Children’s Chorus 

marks its 42nd season, and its 13th under artistic 

director Elise Bradley, this 2019/20 season. The 

chorus comprises a family of choirs: KinderNotes 

for children aged 3 to 6 (no audition required), four 

Training Choirs, Main Choir (four ensembles) and 

Toronto Youth Choir (aged 16 to 30). More than 400 

choristers develop skills in vocal technique, sightsinging 

and music theory each year. Main Choir 

offers masterclasses and exceptional performance and 

recording opportunities, including with the Toronto 

Symphony Orchestra. The TCC offers KinderNotes 

and Training Choir programs in North York and 

Midtown. The Main Choir and Toronto Youth Choir 

rehearse at the Midtown location. 

BONNIE O’SULLIVAN 

416-932-8666 x225 

bonnie@torontochildrenschorus.com 

www.torontochildrenschorus.com 

●Toronto ● Choral Society 

The Toronto Choral Society (TCS) was founded 

in 1845, to foster a positive musical environment that 

enables members to learn and develop both musical 

ability and choral repertoire. The TCS aims to be an 

integral part of the community of Toronto, presenting 

important works from the traditional choral repertoire 

and exploring the music of the many cultures 

that make up our community. 

The TCS has performed our last two Christmas 

Concerts to sold out audiences at Koerner Hall. 

The TCS rehearsals take place on Wednesday 

nights 7:30-9:30pm at Eastminster United Church, 

310 Danforth Ave.. 

Our season (both rehearsals and performance) 

begins in September and continues until May, 

performing a minimum of 3 concerts a year. If you 

would like more information please go to our website. 

DEBBY NEILL BLYTH 

416-499-3000 

dblyth@sympatico.ca 

www.torontochoralsociety.org 

●Toronto ● Classical Singers 

Toronto Classical Singers is the only choir in the 

country dedicated exclusively to the great choral/ 

orchestral repertoire. Now in its 28th season, the 

organization continues to celebrate and contribute to 

the glorious tradition of choral music with performances 

of Handel, Schubert and Vaughan-Williams 

over 2019/20. Known for its unique musical point-ofview 

and its diverse and high-quality programming, 

the choir features lesser-known and rarely performed 

pieces as well as the beloved vocal/orchestral repertoire. 

Led by founding conductor and artistic director 

Jurgen Petrenko, the choir has established a longstanding 

partnership with Talisker Players who 

accompany the choir in their presentations of the 

great choral masterpieces. 

Auditions are in early September. Please visit our 

website to learn more about us. 

KATHLEEN PAYNE 

416-986-8749 

info@torontoclassicalsingers.ca 

www.torontoclassicalsingers.ca 

●Toronto ● Mass Choir 

The Toronto Mass Choir is a Juno award-winning 

Gospel Choir made up of singers representing a crosssection 

of cultures and evangelical churches from 

across the GTA. The Toronto Mass Choir incorporates 

contemporary gospel, traditional gospel 

and Caribbean music influences and released 12 

albums including their most recent release, “By 

Special Request.” 

Led by artistic director, Karen Burke, TMC 

travels extensively both in Canada and internationally, 

performing original and beloved Gospel favourites 

in guest performances and several self-produced 

concert events. The Toronto Mass Choir also actively 

engages in educational and community outreach. 

Regular rehearsals are held on Friday nights and 

auditions are held periodically. Please email the choir 

office for more information. 

KAREN BURKE 

905-794-1139 

info@tmc.ca 

www.tmc.ca 

●Toronto ● Mendelssohn Choir 

The Toronto Mendelssohn Choir celebrates its 

125th anniversary with a gala concert in October 

under interim conductor David Fallis. The TMC has 

long been recognized for its grand symphonic sound, 

and for the clarity and precision of its interpretation 

of some of the greatest sacred and secular music ever 

composed. The 120-voice choir includes a professional 

core, auditioned volunteers, and apprentices 

(aged 17 to 22). The TMC performs over 20 concerts 

annually, including major choral works, “Festival of 

Carols”, and “Sacred Music for a Sacred Space” on 

Good Friday. It also performs regularly with the TSO, 

including annual performances of Messiah. The TMC 

is currently conducting an international search for a 

new artistic director - only the 8th in the organization’s 

125-year history. 

ADMINISTRATOR 

416-598-0422 

admin@tmchoir.org 

www.tmchoir.org 

●Toronto ● Summer Music 

Chamber Choir 

The Chamber Choir is a chance to refresh vocal 

skills and study inspiring works of choral literature 

in the intimacy of a chamber vocal ensemble. Spend 

a week singing and rehearsing with acclaimed choral 

conductor, virtuoso recorder player and composer, 

Matthias Maute. Aside from daily choir rehearsals, 

you’ll also have the opportunity to enjoy sectionals 

with various vocal coaches. 

Repertoire: Mozart’s Great Mass in C minor 

(excerpts); Abendlied by Rheinberger; José Maurício 

Nunes Garcia: Matinas do Apóstolo São Pedro; Juan 

García de Zéspedes: Convida 

Dates: July 29 to August 3. Must be over 18 years 

of age. Tuition includes daily lunch and a ticket to 

all TSM Festival Concerts July 29 to August 3. Cost: 

$700 plus HST. Apply now on our website link. 

JENNIFER MAK 

647-430-5699 x111 

jennifer@torontosummermusic.com 

www.torontosummermusic.com/ 

community-academy 

●Toronto ● Welsh Male Voice Choir 

The Toronto Welsh Male Voice Choir (TWMVC) 

was established in 1995 when its founding member 

and first president, Gwyn Roberts, gathered together 

a group of like-minded individuals of Welsh heritage, 

who sought to kindle the spirit of traditional Welsh 

male voice singing in their adopted country. The 

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TWMVC proudly draws on the great Welsh tradition 

of singing hymns and songs; born of the mountains 

and valleys of Wales. At the same time, it emphasizes 

a multicultural context in its broad repertoire, which 

also includes spirituals; operatic arias, Canadian folk 

songs as well as Broadway show tunes and contemporary 

music. Our blend of traditional and contemporary 

music, all sung off book in accordance with 

tradition, appeals to a broad audience. We are always 

looking for new members to join our choir! 

ALAN SADEGURSKY 

647-389-8084 

alansadegursky@yahoo.ca 

www.welshchoir.ca 

●●Upper Canada Choristers 

The Upper Canada Choristers is a mixed-voice 

community choir with a diverse membership that 

interweaves fun with the commitment to musical 

excellence and vibrant community service. Performances 

feature collaborations with international choirs, 

local children’s choirs, and professional instrumentalists 

and singers. Cantemos is an auditioned a cappella 

latin ensemble within UCC. Led by artistic director 

Laurie Evan Fraser, the choirs perform three diverse 

choral programs annually. Weekly rehearsals for the 

Main Choir are Monday evenings from 7:30pm to 

9:30pm at Grace Church on-the-Hill, 300 Lonsdale 

Rd. Cantemos rehearses on Saturday mornings 

from 10:30am to 12:30pm at 2 Romar Cres. The 

choirs sing up to 20 concerts annually in a variety 

of community venues. 

LAURIE EVAN FRASER 

416-256-0510 

info@uppercanadachoristers.org 

www.uppercanadachoristers.org 

●●Uxbridge Chamber Choir 

The Uxbridge Chamber Choir is an amateur SATB 

choir under the direction of founding conductor Tom 

Baker. Since 1983, the choir has brought unique 

performances of the great choral masterpieces, from 

the Renaissance to modernity, to the rural community 

of Uxbridge and the surrounding area. Together our 

enthusiastic singers develop and express their musical 

talents, often collaborating with local professional 

vocalists and instrumentalists. Recent performances 

include Tedesco’s Romancero Gitano, Beethoven’s 

Mass in C, Gjeilo’s Sunrise Mass, Mozart’s Requiem, 

Monteverdi’s Vespers, Bach’s St. John Passion and 

Bernstein’s Chichester Psalms, Faure’s Requiem and 

Durufle’s Requiem. 

Membership is by a non-threatening screening 

process at the first rehearsal. Rehearsals are Monday 

nights, September to May in Uxbridge. 

MARG CUNNINGHAM 

905-642-2096 

uxbridgechamberchoir@gmail.com 

www.uxbridgechamberchoir.ca 

●●Vesnivka Choir 

Vesnivka Choir was established in 1965 by founding 

artistic director Halyna Kvitka Kondracki. This awardwinning 

women’s ensemble has delighted audiences 

around the world with its rich repertoire of Ukrainian 

liturgical, classical, contemporary and traditional folk 

music. The choir’s regular concert season comprises 

three major concerts, one of which is its ever-popular 

annual Christmas concert. Vesnivka, together with its 

partner the Toronto Ukrainian Male Chamber Choir 

(TUMCC), are often accompanied by professional 

soloists and chamber ensembles of area musicians. 

Vesnivka also sings at Christmas and Easter Liturgies. 

Singers are welcome; rehearsals on Tuesdays, 7:30pm 

to 9:30pm (4 Bellwoods Ave., Toronto). Male singers 

are welcome to join TUMCC; rehearsals on Mondays, 

7:30pm to 9pm (2445 Bloor St. W., Toronto). 

NYKOLA PARZEI 

416-246-9880 

nykola@vesnivka.com 

www.vesnivka.com 

●●Victoria College Choir 

The Victoria College Choir has been a fixture of 

the Vic community since the move to Toronto from 

Cobourg in 1892. Though it has seen many different 

forms and incarnations over the past century, musical 

life at Vic has been consistently dominated by the 

chorus. The present Vic Chorus was established in 

1991 as a non-audition, community-wide chamber 

choir open to students, faculty, alumni, and staff. Our 

concerts are held regularly in the gothic setting of 

the Victoria College Chapel. Often involving various 

guest artists, these concerts present a wide range of 

choral musical selections, from classical to contemporary, 

global, operetta and more! We rehearse in 

the Goldring Student Building at Victoria College 

on Tuesdays starting at 5:15pm. 

TAYLOR SULLIVAN 

416-585-4521 

t.sullivan.vicchorus@gmail.com 

www.vicchorus.com 

●●Victoria Scholars Men’s 

Choral Ensemble 

A past winner of the Canada Council Healey Willan 

Grand Prize, CBC Radio National Competition for 

Amateur Choirs, and one of Canada’s finest male 

choral ensembles, the Victoria Scholars treat audiences 

to a wide range of music, from Medieval plainchant 

and works from the baroque, renaissance and romantic 

eras through to contemporary and newly commissioned 

works from some of Canada’s best-known 

composers. Along with an annual three-concert series 

in Toronto, the Scholars have toured nationally and 

internationally, perform regularly with international 

vocal soloists, and have released five acclaimed recordings, 

including most recently in January 2016, Songs of 

Love. If you are an experienced musician with excellent 

sight reading abilities and would like to join us for the 

upcoming season, please contact us today. 

JERZY CICHOCKI 

416-761-7776 

info@victoriascholars.ca 

www.victoriascholars.ca 

●●Village Voices 

Village Voices, a diverse, mixed-voice 70-voice 

community choir based in Markham, entered its 

30th season in September 2018. Directed by Oksana 

Vignan, the choir presents two major concerts annually 

and sings at seniors’ residences and special 

community events, performing repertoire from 

the classics to contemporary music. Village Voices 

has collaborated with other Ontario choirs and as 

guest artists of instrumental ensembles such as the 

Markham Concert Band and the Kindred Spirits 

Orchestra. The choir’s musical skills are honed regularly 

through special workshops with outstanding 

choral musicians. “Joy of Singing” (May 4, 2019) is 

Village Voices’ 30th anniversary concert and features 

an eclectic repertoire, from the swing of “Moonglow” 

to the tenderness of “The Ground,” by Ola Gjeilo. 

ELLEN DOWSWELL 

905-763-4172 

info@villagevoiceschoir.com 

www.villagevoices.ca 

TORONTO CLASSICAL SINGERS 


C15

CANARY PAGES 


●●VIVA! Youth Singers of Toronto 

VIVA!’s seven choirs for ages four through adult 

offer members the opportunity to achieve artistic 

excellence in a singer-centred, collaborative choral 

community, featuring youth mentoring programs and 

the TD Bank Group Inclusion Program. 

VIVA!’s choirs include: the Preparatory Chorus 

(ages 4-6); the Junior Choir (ages 6-10); the Main 

Chorus (ages 9-18); the Senior Treble Chorus (ages 

14-18); the SATB Chamber Choir (youth and adults); 

the non-auditioned VIVA! Community Choir (SATB) 

and the Everyone Can Sing (ECS) Chorus, for singers 

with disabilities. 

This season VIVA! members have been exploring 

the relationship between singing, song-writing and 

wellness. For our 20th anniversary next season, we 

will explore the stories of Ovid’s Metamorphoses 

through an ambitious multi composer commissioning 

project. 

CHARLOTTE BURRAGE 

416-788-8482 

charlotte@vivayouthsingers.com 

www.vivayouthsingers.com 

●●VOCA Chorus of Toronto 

The VOCA Chorus of Toronto is a dynamic, auditioned 

ensemble that performs eclectic repertoire 

(including arrangements by our artistic director) in 

collaboration with some of Canada’s finest artists. 

Each season consists of two major concerts, a cabaret, 

two retreats (with guest clinicians) and community 

performances. Rehearsals are Mondays at Eastminster 

United (near Chester subway). On Saturday, 

April 27, we will present “Earth, Sea & Sky II,” a 

celebration of Earth Week, featuring Paul Winter’s 

Missa Gaia, Andrew Balfour’s Ambe, and works by 

Paul Halley, Matthew Emery, Sarah Quartel, Ola 

Gjeilo and others. Director: Jenny Crober. Accompanist: 

Elizabeth Acker. Guests: Alana Bridgewater, 

vocalist; Colleen Allen, sax; Shawn Grenke, organ; 

Roberto Occhipinti, bass; Mark Kelso, drums/percussion; 

Juan Carlos Medrano, percussion. 

VOCA CHORUS OF TORONTO 

416-463-8225 

crober.best@gmail.com 

www.vocachorus.ca 

●●Voices Chamber Choir 

Entering into the choir’s 24th season, Voices has 

firmly established itself as one of Toronto finest 

chamber choirs and it has received awards and recognition 

from across Canada. As part of the 2019-20 

season, the choir will perform Britten’s Ceremony of 

Carols for our Christmas presentation in December, 

followed by our annual Lenten concert in March, 

and ending with a concert of music set to great 

poems and writings. To end our current season on 

Sunday, June 9, the choir will present a matinee 

concert featuring G. F. Handel’s Coronation Anthems 

and music by Joseph and Michael Haydn. Voices 

rehearses from September to June on Wednesday 

evenings from 7:30pm to 10pm at St. Thomas’s 

Church, 383 Huron Street, Toronto. Auditions are 

available throughout the year. 

RON CHEUNG 

416-519-0528 

rkmcheung@yahoo.ca 

www.voiceschoir.com 

●●Wayne Gilpin Singers 

Beautiful melodies, rocking sax solos, edgy new 

jazz arrangements of Handel’s Messiah – if any of this 

appeals to you, read on. The Waterloo-based Wayne 

Gilpin Singers is an auditioned (a singer-friendly 

audition, we promise!) chamber choir that sings a 

wide variety of music, including contemporary Christian, 

gospel, show tunes, spirituals and more. Resident 

composer/accompanist Andrew Gilpin pens 

unique arrangements for an ever-expanding Jazz 

Messiah, an annual event that twins Handel’s beautiful 

melodies with modern rhythms and musical styles. 

Also featured in concert are talented guest artists on 

bass, drums and saxophone, providing an unforgettable 

musical experience for both audience and choir. 

WAYNE GILPIN 

1-800-867-3281 

wayne@gilpin.ca 

●●West Toronto Community Choir 

We are a mixed-voice, secular community choir 

serving Roncesvalles, Parkdale, the Junction and 

surrounding communities. Our group performs 2 

major concerts per season as well as guest appearances 

at other community events, such as Roncy Rocks and 

the Roncesvalles Community Tree Lighting Ceremony. 

Music is a mix of contemporary choral, folk tunes, 

and musical theatre, with a few pop tunes thrown in. 

Our vibe is fun and social, with a focus on community 

engagement and shared music-making. We have a mix 

of seasoned choristers and novices, and there are no 

auditions. We value the diversity of gender, age, race, 

ethnicity, ability, sexual orientation, gender identity, 

education, and political perspective and are open to 

all. Rehearsals take place on Monday evenings 7:15- 

8:45pm at Roncesvalles United Church. 

TAYLOR STRANDE 

647-388-3604 

westtorontocommunitychoir@gmail.com 

www.facebook.com/groups/ 

westtorontocommunitychoir 

●●Windsor Classic Chorale 

Founded in 1977 by director emeritus Richard 

Householder, the Windsor Classic Chorale has become 

a core component of the local arts community. Now 

under the direction of Dr. Bruce Kotowich, the Chorale 

continues to grow musically and to enjoy collaborations 

with many other local organizations and solo 

artists, performing at a wide variety of different venues 

throughout Windsor-Essex and beyond, including a 

performance at New York’s Carnegie Hall just last year. 

The choir is made up of teachers, librarians, administrators, 

lawyers and accountants. We are working 

professionals, busy parents and retirees. What brings 

us together is our love for choral music and the belief 

that it expresses the deepest parts of our humanity. We 

believe in using music to connect with each other and 

with our community. 

ALLISON BROWN 

519-567-7407 

windsorclassicchorale@gmail.com 

www.windsorclassicchorale.org 

●The ● Yorkminstrels Show Choir 

The Yorkminstrels Show Choir is an SATB choir, 

founded in 1974 as an arm of The Yorkminstrels 

musical theatre company. We sing mostly Broadway 

music, with oldies, contemporary and seasonal songs 

added to the mix. With our repertoire, costumes and 

movement, the show choir has evolved into a unique 

group. We take entertainment into the community, 

doing occasional concerts throughout the season at 

seniors’ residences, and for condo/church/synagogue 

groups and fundraisers. Rehearsals are held 

on Wednesday evenings at Cummer Lodge in North 

York, from September through June. A simple audition 

is required; note-reading is not essential. We are 

a warm, fun-loving and welcoming group, so if you 

enjoy singing, learning harmony and performing, we 

invite you to join us! 

SANDI HORWITZ 

416-229-9313 

horwitz@rogers.com 

www.yorkminstrels.com 

●Young ● Singers 

Experience the magic of music and release your 

child’s musical artistry through choral music! A unique 

musical education is offered to youth in the Durham 

Region in a supportive and challenging environment. 

Five distinct choirs include three non-auditioned ensembles 

for ages four to 14, an auditioned treble choir for 

ages 10 to 15, and an auditioned SATB choir for ages 

14 and older. Repertoire which develops musical skills 

and vocal technique embraces all styles and genres and 

often includes choreography. In addition to winter and 

spring concerts and regular appearances; these proud 

choral ambassadors have enjoyed recent tours to Ireland 

and China. Young Singers was founded in 1992! 

MARK ORACION 

905-686-9821 

administrator@youngsingers.ca 

www.youngsingers.ca 

Thank you for taking a gander at this year’s Canaries! If you are looking for a specific group of 

songbirds, visit our directory online, at thewholenote.com/canary where you can do more browsing, 

read these profiles and easily follow the links they contain to these choir's own websites. 

C16

WE ARE ALL MUSIC’S CHILDREN 

MJ BUELL 

If you’re a new reader, a word of explanation is in order. 

In our regular photo contest, We Are ALL Music’s Children, readers 

identify members of the music community from a childhood photo, 

for an opportunity to win tickets and recordings. 

April’s 

Children 

were 

Baritone Russell Braun and his sister 

singer and composer Adi Braun; 

Pianist Christina Petrowska Quilico; 

Mezzo-soprano Krizstina Szabó; 

Tenor Colin Ainsworth; 

Violist, educator and arts 

administrator Douglas McNabney 

A new, equally challenging contest will appear next month. 

Russell Braun and Adi Braun 

Christina Petrowska Quilico 

Krizstina Szabó 

Colin Ainsworth Douglas McNabney 

CONGRATULATIONS TO OUR WINNERS! 

A few readers managed to correctly identity of all six of last 

month’s mystery children! 

WholeNote reader Trina Wasilewski wins a pair 

of tickets to Hell’s Fury, The Hollywood Songbook. 

Presented by Soundstreams in partnership with 

Luminato this new opera features baritone Russell 

Braun and pianist Serouj Kradjian, with staging by 

Tim Albery and design by Michael Levine. Hear the 

wonderful, neglected songs of exile by Hanns Eisler, 

an Austrian, Jewish, Marxist composer who fled to 

Hollywood in 1938, only to be deported a decade later, 

an early casualty of the McCarthy era (Harbourfront 

Centre Theatre, June 19 to 23). 

Gregory Millar wins a pair of tickets 

to hear Christina Petrowska Quilico 

with the Kindred Spirits Orchestra, 

in a concert that includes “Canadian 

Mozart” André Mathieu’s long-lost Piano 

Concerto No.4, written in 1947 when the composer was just 18 years 

old; also Hindemith’s Symphonic Metamorphosis, and Prokofiev’s 

Symphony No.2, Op 40. This concert will be given at the Richmond 

Hill Centre for the Performing Arts on May 11, conducted by Kristian 

Alexander, and also on June 29 at the CBC Glenn Gould Studio 

conducted by Jiří Petrdlík. 

Adi Braun’s fifth recording and current 

touring show Moderne Frau is a collection 

of Weimar cabaret songs from between the 

two world wars, when women were famously 

performers, but significantly also becoming 

cabaret owners and managers. “Clearly Braun’s 

redemptive gods are Bertolt Brecht and Kurt 

Weill and she makes every gesture count meaningfully 

on this disc, where biting satire and burlesque meet outrageously 

colourful art song.” (Raul Da Gama, in The WholeNote 

(Nov 2017). Anne-Katherine Dionne wins a copy of the CD. 

Christina Petrowska Quilico’s 2018 recording 

Global Sirens features works by 15 women 

composers, from the United States, Canada, 

Russia, South Africa, Germany, Italy, Australia, 

and France, written between the mid-1900s and 

the present. Traditional, impressionist, 12-tone, 

minimalist, folk, ragtime and romantic, these 

mostly neglected treasures for the piano are 

“only a fraction of the scope and breadth of works that have been 

rarely played or forgotten.” [Fleur de Son] Lynda Moon wins a copy 

of this CD. 

Previous artist profiles and full-length interviews can be read 

at thewholenote.com/musicschildren. 

Or – you can view them in their original magazine format by 

visiting our online back issues https://kiosk.thewholenote.com. 


The WholeNote listings are arranged in five sections: 

A. 

GTA (GREATER TORONTO AREA) covers all of Toronto 

plus Halton, Peel, York and Durham regions. 

B. 

BEYOND THE GTA covers many areas of Southern 

Ontario outside Toronto and the GTA. Starts on page 55. 

C. 

MUSIC THEATRE covers a wide range of music types: 

from opera, operetta and musicals, to non-traditional 

performance types where words and music are in some 

fashion equal partners in the drama. Starts on page 58. 

D. 

IN THE CLUBS (MOSTLY JAZZ) 

is organized alphabetically by club. 

Starts on page 59. 

E. 

THE ETCETERAS is for galas, fundraisers, competitions, 

screenings, lectures, symposia, masterclasses, workshops, 

singalongs and other music-related events (except 

performances) which may be of interest to our readers. 

Starts on page 62. 

A GENERAL WORD OF CAUTION. A phone number is provided 

with every listing in The WholeNote — in fact, we won’t publish 

a listing without one. Concerts are sometimes cancelled or postponed; 

artists or venues may change after listings are published. 

Please check before you go out to a concert. 

HOW TO LIST. Listings in The WholeNote in the four sections above 

are a free service available, at our discretion, to eligible presenters. 

If you have an event, send us your information no later than the 

8th of the month prior to the issue or issues in which your listing is 

eligible to appear. 

LISTINGS DEADLINE. The next issue is our combined summer 

edition, covering the period from June 1 to September 7, 2019. All 

listings must be received by 11:59pm, Wednesday May 8. 

LISTINGS can be sent by email to listings@thewholenote.com 

or by using the online form on our website. We do not receive 

listings by phone, but you can call 416-323-2232 x27 for further 

information. 

LISTINGS ZONE MAP. Visit our website to search for concerts 

by the zones on this map: thewholenote.com. 

Lake 

Huron 

6 

Georgian 

Bay 

7 

2 1 

5 

Lake Erie 

3 4 

8 

City of Toronto 

LISTINGS 

Lake Ontario 

Wednesday May 1 

●●12:30: Organix Concerts/All Saints Kingsway. 

Kingsway Organ Concert Series. 

Andrew Adair, organ. All Saints Kingsway 

Anglican Church, 2850 Bloor St. W. 416-571- 

3680 or organixconcerts.ca. Freewill offering. 

45-minute concert. 

●●12:30: Yorkminster Park Baptist Church. 

Noonday Organ Recital. Sharon L. Beckstead, 

organ. 1585 Yonge St. 416-922-1167. Free. All 

welcome. 


Organ Recital. Sharon Beckstead, organ. 

1585 Yonge St. 416-922-1167. Free. 

●●5:30: Canadian Opera Company. World 

Music Series: Stomp the Floor. Métis Fiddler 

Quartet. Richard Bradshaw Amphitheatre, 

Four Seasons Centre for the Performing Arts, 

145 Queen St. W. 416-363-8231. Free. First 

come, first served. No late seating. 

●●6:30: Tongue in Cheek Productions. Democracy 

in Action. Natalya Gennadi, Teiya 

Kasahara, sopranos; Krisztina Szabó, Julie 

Nesrallah, mezzos; Romulo Delgado, tenor; 

and others. Lula Lounge, 1585 Dundas St. W. 

647-825-3151. $35; $25(arts worker). 

●●8:00: Royal Conservatory of Music. Peter 

Serkin. Mozart: Adagio K540; Piano Sonata 

K570; Bach: Goldberg Variations. Peter 

Serkin, piano. Koerner Hall, Telus Centre, 

273 Bloor St. W. 416-408-0208. $120. 7pm - 

Pre-concert talk. SOLD OUT. 

Thursday May 2 

●●12:00 noon: Canadian Opera Company. 

Chamber Music Series: 2019 Festival Preview. 

Toronto Summer Music Festival; 

Jonathan Crow, artistic director. Richard 

Bradshaw Amphitheatre, Four Seasons Centre 

for the Performing Arts, 145 Queen St. W. 

416-363-8231. Free. First come, first served. 

No late seating. 

WOMEN’S MUSICAL CLUB OF TORONTO 

MAY 2, 2019 | 1.30 PM 

ROLSTON 

STRING QUARTET 

416-923-7052 

wmct.on.ca 

●●1:30: Women’s Musical Club of Toronto. 

Music in the Afternoon: Rolston String Quartet. 

Mozart: String Quartet No.19 in C K465; 

R. Murray Schafer: String Quartet No.2; 

Beethoven: String Quartet No.13 in B-flat 

Op.130. Ralston String Quartet (Luri Lee, violin; 

Emily Kruspe, violin; Hezekiah Leung, 

viola; Jonathan Lo, cello). Walter Hall, Edward 

A. Concerts in the GTA 

Johnson Building, University of Toronto, 

80 Queen’s Park. 416-923-7052 or wmct. 

on.ca. $45. 

●●7:00: North York Central Library/University 

of Toronto Faculty of Music. The 

Music of Rajasthan. Abhishek Iyer, singer; 

Sushant Anatharam, harmonium; Tanmay 

Sharma, tabla. North York Central Library, 

5120 Yonge St. 416-395-5639. Free. Registration 

required. 

LA BOHÈME 

Puccini 

APRIL 17 – MAY 22 

coc.ca 

●●7:30: Canadian Opera Company. La 

bohème. Music by Giacomo Puccini, libretto 

by Luigi Illica and Giuseppe Giacosa. Angel 

Blue/Miriam Khalil, sopranos (Mimì); Atalla 

Ayan/Joshua Guerrero, tenors (Rodolfo); 

Andriana Chuchman/Danika Lorèn, sopranos 

(Musetta); Lucas Meachem/Andrzej 

Filończyk, tenors (Marcello); Brandon Cedel/ 

Önay Köse, baritones (Colline); Donato Di 

Stefano, bass (Benoit/Alcindoro); Phillip 

Addis/Joel Allison, baritones (Schaunard); 

John Caird, stage director. Four Seasons Centre 


416-363-8231. $35-$225. Runs Apr 17-May 22. 

Start times vary. 

●●7:30: TO Live. Harry Potter and the Order 

of the Phoenix in Concert. Movie screening 

with live symphony orchestra. Sony Centre 

for the Performing Arts, 1 Front St. E. 1-855- 

872-7669. $55-$111. Also May 3-4. 

●●8:00: Royal Conservatory of Music. 

Anoushka Shankar. Koerner Hall, Telus Centre, 

273 Bloor St. W. 416-408-0208. $55-$110. 

●●8:00: Spectrum Music. Coding Chaos. 

Works by Mason Victoria, Chelsea McBride, 

Jackson Welchner, and Suzy Wilde. Guest 

composers: Nebyu Yohannes and Harrison 

Argatoff. Bruce Cassidy, EVI; Larnell Lewis, 

electric drums; and Chris Pruden, keyboards. 

The Tell, 401 Richmond St. W. spectrummusic. 

ca. $30/$25(adv); $20(st)/$15(st /adv). Preconcert 

chat with software artist Ryan Kelln 

at 7:30pm. 

Friday May 3 

● ● 12:10: Music at St. Andrew’s. Noontime 

Recital. R. Strauss: Violin Sonata in E-flat 

Op.18; Schubert: Rondo in b for violin and 

piano D895 Op.70 “Rondo brillant”. Royce 

Rich, violin; Jeanie Chung, piano. St. Andrew’s 

42 | May 1 - June 7, 2019 thewholenote.com

Church (Toronto), 73 Simcoe St. 416-593- 

5600 x231. Free. 

●●7:00: Canadian International Organ Competition. 

The Piping Hot Rematch! Liszt: 

Liebestraum No.3; Rachmaninoff: Symphonic 

Dances (Non allegro mvmt); Wagner: Ride of 

the Valkyries; Glass: Satyagraha (Act III: Conclusion); 

Rossini: Overture to William Tell. 

Alcee Chriss III, Nicholas Capozzoli, Yuan 

Shen, Thomas Gaynor, organ. St. Paul’s Bloor 

Street, 227 Bloor St. E. 514-510-5678. $25; 

$75(reserved seats with VIP post-concert 

artist meet-and-greet cocktail). 

OTELLO 

Verdi 

APRIL 27 – MAY 21 

coc.ca 

●●7:30: Canadian Opera Company. Otello. 

Music by Giuseppe Verdi, libretto by Arrigo 

Boito. Russell Thomas, tenor (Otello); Gerald 

Finley, baritone (Iago); Tamara Wilson, soprano 

(Desdemona); Andrew Haji, tenor (Cassio); 

Carolyn Sproule, mezzo (Emilia); Owen 

McCausland, tenor (Roderigo); Önay Köse, 

bass (Lodovico); Johannes Debus, conductor; 

David Alden, stage director. Four Seasons 

Centre for the Performing Arts, 145 Queen 

St. W. 416-363-8231. $35-$225. Runs 

Apr 27-May 21. Start times vary. 

●●7:30: Opera by Request. Miss Havisham’s 

Wedding Night and Waterbird Talk. Music by 

Dominick Argento. Brianna DeSantis, soprano 

(Miss Havisham); Parker Clement, 

baritone (The Lecturer); Claire Harris, keyboard; 

William Shookhoff, pianist/music director. 

College St. United Church, 452 College 

St. 416-455-2365. $20. Also May 4(Windsor, 

7pm). 

●●7:30: Scarborough Concert Band. Spring 

Concert. Keith Bohlender, conductor. Wilmar 

Heights Centre, 963 Pharmacy Ave., Scarborough. 

scarboroughconcertband.ca. $15. 






●●8:00: Esmeralda Enrique Spanish Dance 

Company. Impulso. El Sonido de mi Alma 

(Taranta); Torontontero (Tangos); Garnata 

(Granaina); El Camino (Alegrias); A 

mis padres (Rondeña); and other works. 

Esmeralda Enrique and José Maldonado, 

choreographers; Caroline Planté, Benjamin 

Barrile, guitars; Manuel Soto, Marcos 

Marin, vocalists; Derek Gray, percussion. 

Fleck Dance Theatre, Harbourfront Centre, 

235 Queens Quay W. 416-973-4000. $34-$48; 

$28-$34(sr/st). Wheelchair accessible. Also 

May 4(8pm), 5(3pm). 

●●8:00: Luke Jackson. Hannah Sanders & 

Ben Savage. Small World Music Centre, Artscape 

Youngplace, 180 Shaw St. 647-339- 

5853. $25. 

●●8:00: Music Gallery. Emergents IV: Din 

of Shadows - Material Mythology. Works by 

Julia Mermelstein, Quinn Jacobs, Domenic 

Jarlkaganova, Ming-Bo Lam, Ann Southam, 

and John Cage. Angela Blumberg, choreographer. 

Music Gallery at 918 Bathurst, 

918 Bathurst St. 416-204-1080. $12; 

$8(members/st). 

●●8:00: Royal Conservatory of Music. Art of 

Time Ensemble: Doghouse Roses - The Words 

and Music of Steve Earle. Andy Maize, vocals; 

Susie Ungerlieder, vocals; Tom Wilson, vocals; 

Gregory Hoskins, vocals; Michael Ondaatje, 

reader; Rick Roberts, reader; Andrew 

Burashko, piano. Koerner Hall, Telus Centre, 

273 Bloor St. W. 416-408-0208. $35-$90. 

●●8:00: Sinfonia Toronto. Hatzis and 

Beethoven. Hatzis: Arabesque for Violin, 

Piano and String Orchestra; Beethoven: Sinfonia 

Op.127a. Andréa Tyniec, violin; Nurhan 

Arman, conductor. George Weston Recital 

Hall, 5040 Yonge St. 416-499-0403 or online 

at sinfoniatoronto.ca. $42; $35(sr); $15(st). 

●●8:00: Tempus Choral Society. A Musical 

Celebration. Tempus4Us Children’s Choir; 

Tempus Jazz Choir; Brian L. Turnbull, 

music director; Jane Wamsley, accompanist. 

Clearview Christian Reformed Church, 

2300 Sheridan Garden Dr., Oakville. 647-967- 

6704 or tickets@tempuschoralsociety.com. 

$20. Also May 4(3pm). 

2018-2019: The Colours of Early Music 

NIGHT 

GAMES 

MAY 3 & 4 at 8pm | May 5 at 3:30pm 

Tickets starting at $ 29! 

TorontoConsort.org 

● ● 8:00: Toronto Consort. Night Games. 

An irreverent evening of madrigal comedy. 

Works by Vecchi and Banchieri. Marie-Nathalie 

Lacoursière, director/actor/dancer; Katherine 

Hill, artistic director/gamba/soprano; 

Michele DeBoer, soprano; Kirk Elliott, mandolin/violin/accordion/bladder 

pipes; Ben 

Grossman, colascione/hurdy-gurdy/percussion; 

and others. Trinity-St. Paul’s Centre, 

427 Bloor St. W. 416-964-6337. $15-$74. Also 

May 4, 5(3:30pm). 

Saturday May 4 

●●2:30: Bel Canto Singers. Royal Game of 

Thrones. Mozart: Mass in C; Beethoven: Hallelujah; 

Handel: Zadok the Priest; Wonder: 

Isn’t She Lovely; Beatles: Ob la di Ob la da and 

others. Scarborough Bluffs United Church, 

3739 Kingston Rd., Scarborough. 416-737- 

1475. $20; $5(child under 12). Cash only at the 

door. Wheelchair accessible. 

●●2:30: Music4Life Ensemble. Music for 

a Cure. Forest Brook Community Church, 

60 Kearney Dr., Ajax. 647-409-2274. $15; 

$10(sr); $10(st); free(child 12 and under); 

$50(Music4Life Supporter - $35 goes to 

orchestra); $25(Music4Life Supporter - 

$10 goes to orchestra). Concert benefit 

for Cystic Fibrosis Canada. Free reception 

post-concert. 

●●2:30: Village Voices. Joy of Singing: 30th 

Anniversary Concert. Hoagy Carmichael, A 

Choral Portrait; Moonglow; River of Judea; 

The Ground; Afternoon on a Hill; and other 

works. Village Voices Chamber Choir; Village 

Voices Community Choir; Oksana Vignan, 

conductor; Robert Graham, piano. Markham 

Missionary Church, 5438 Major Mackenzie 

Dr. E., Markham. 905-471-4464 or info@villagevoiceschoir.com. 

$25; $20(sr); $10(st); 

free(child under 12). 

●●3:00: Toronto Children’s Chorus. In 

Remembrance. Works by Bach, Brahms 

and others. Members of the Toronto Children’s 

Chorus. Guest: Krisztina Szabó, 

mezzo-soprano. Toronto Centre for the Arts, 

5040 Yonge St., North York. 416-932-8666 

x231. $35.50-$45.50. 


bohème. See May 2. Also May 5(2pm), 

7(7:30pm), 11(2pm), 11(7:30pm), 22(7:30pm). 

●●7:00: Array Music. A Celebration of Music 

from the Baroque to the Present. Kellie 

Masalas and Holly Chaplin, sopranos; Gennady 

Grebenchuk, baritone; Brahm Goldhammer, 

piano. Array Space, 155 Walnut Ave. 

647-746-5708. $30. 

●●7:00: Gallery 345. Magisterra on Tour 

2019: Eight. Brahms: Sextet; Theriot: String 

Octet; Suski: New commission. Guests: Jutta 

Puchhammer, viola; Pablo Mahave-Veglia, 

cello. 345 Sorauren Ave. 416-822-9781 or 

Eventbrite.ca. $25; $20(sr); $15(st). Cash only 

at the door. 

●●7:00: Singing Together 2019. A Celebration 

of Cultural Diversity. Multicultural choral 

concert with 7 choirs from different ethnic 

backgrounds. Chinese Canadian Choir of 

Toronto (Cantonese); Coro San Marco (Italian); 

Joyful Singers (Korean); Nayiri Armenian 

Choir of Toronto (Armenian); Noor 

Children’s Choir (Armenian); Toronto Taiwanese 

Choir (Mandarin); Guest: Filipino Choral 

Group. St. Paschal Baylon Church, 92 Steeles 

Ave. W., Thornhill. 416-399-9053 or 647-289- 

1954. $20. 

●●7:30: Bel Canto Singers & Ruckus Choir. 

Royal Game of Thrones. Mozart: Mass in C; 

Beethoven: Hallelujah; Handel: Zadok the 

Priest; Wonder: Isn’t She Lovely; Beatles: Ob 

la di Ob la da and others. Scarborough Bluffs 

United Church, 3739 Kingston Rd., Scarborough. 

416-737-1475. $20; $5(child under 12). 

Cash only at the door. Wheelchair accessible. 

●●7:30: Cor Unum Ensemble. Dido & Belinda. 

OperaQ; Ryan Patrick McDonald, countertenor 

(Dido); Camille Rogers, mezzo (Aeneas); 

Rebecca Genge, soprano (Belinda); Cor Unum 

Ensemble; Ruth Denton, conductor. Trinity 

College Chapel, U of T, 6 Hoskin Ave. 416-371- 

6999 or corunumensemble.com. $20; $10(st/ 

arts workers). Also May 5. 

●●7:30: Durham Youth Orchestra. Spring 

Concert. Mendelssohn: Violin Concerto in 

e; Beethoven: Symphony No.5. Samantha 

Cardwell, violin. Hebron Christian Reformed 

Church, 4240 Anderson St., Whitby. 905-579- 

2401. $20. 

●●7:30: Georgetown Choral Society. Play 

It Again Sam. Chris Dawes, accompanist. 

Georgetown Christian Reformed Church, 

11611 Trafalgar Rd., Georgetown. 905-877- 

7795. $25. 

●●7:30: Heather Dale. Sphere CD Release. 

Heather Dale, vocalist, piano, Irish folk instruments; 

Ben Deschamps, guitars, bass, keyboards; 

John Stadtlander, percussion; 

Amphis Chamber Strings. Church of the Holy 

Trinity, 19 Trinity Sq. 416-931-4724 or HeatherDale.com. 

$20-$30. Self-select pricing. 

Choose the price you can afford. 

●●7:30: Milton Philharmonic Orchestra. 

May The Fourth Be With You. Works by John 

thewholenote.com May 1 - June 7, 2019 | 43

Williams. FirstOntario Arts Centre, 1010 Main 

St., Milton. 905-875-5399. $28; $22(sr/st/ 

child). 

●●7:30: Mississauga Festival Choir. Building 

Bridges. Music from South Africa, South Asia, 

and Canada's First Nations communities. 

Guests: Autorickshaw. Hammerson Hall, Living 

Arts Centre, 4141 Living Arts Dr., Mississauga. 

905-306-6000 or livingartscentre.ca. 

$37; $32(sr/st); $17(under 12). 

●●7:30: St. Matthew’s Anglican Church, 

Islington. Saturday Night at the Movies. 

Thomas Gonder, organ. 3962 Bloor St. W., 

Etobicoke. 416-231-4014 or saintmatts.ca. 

$10. 

●●7:30: Tallis Choir. Light Divine. Works by 

Elgar, Harris, and Whitacre; Gregorian chant 

and Byzantine chant. Peter Mahon, conductor. 

St. Patrick’s Church, 131 McCaul St. 

416-286-9798 or tallischoir.com. $30; $25(sr); 

$10(st). 






●●8:00: Academy Concert Series. A Poe 

Cabaret. Alexina Louie: The Raven, for narrator, 

harp and string quartet; Caplet: Conte 

fantastique; Debussy: String Quartet. Tom 

Allen, narrator; Lori Gemmell, harp; Sheila 

Jaffé, violin; Bethany Bergman, violin; Emily 

Eng, viola; Kerri McGonnigle, cello. Eastminster 

United Church, 310 Danforth Ave. 416- 

629-3716. $20; $14(sr/st); $5(under 18). 

●●8:00: Chorus York. Classics in the Spring. 

Vivaldi: Gloria; and works by Tallis, Boyce 

and Byrd. Angela Gibbon, soprano; Kira 

Braun, soprano; Stéphane Potvin, conductor; 

Richard Hansen, organ. St. Matthew’s United 

Church, 333 Crosby Ave., Richmond Hill. 905- 

884-7922. $55(family); $25; $20(sr); $15(st); 

free(under 10). Reception following concert. 

Also May 5 (3pm, Thornhill). 




(Granaina); El Camino (Alegrias); A mis 

padres (Rondeña); and other works. Esmeralda 

Enrique and José Maldonado, choreographers; 

Caroline Planté, Benjamin Barrile, 

guitars; Manuel Soto, Marcos Marin, vocalists; 

Derek Gray, percussion. Fleck Dance 

Theatre, Harbourfront Centre, 235 Queens 

Quay W. 416-973-4000. $34-$48; $28-$34(sr/ 

st). Wheelchair accessible. Also May 3(8pm), 

5(3pm). 

●●8:00: Fonitika Vocal Ensemble. Spring 

Forth! Works by Palestrina, Hindemith, R. 

Murray Schafer, Rodgers & Hammerstein and 

excerpts from Star Wars. Sarah Maria Leung, 

soprano; Lydia Harper, alto; Arieh Sacke, 

tenor; Joshua McFaul, bass. Assembly Theatre, 

1479 Queen St. W. 647-631-2047. $15- 

$40 or PWYC. 

●●8:00: Oakville Symphony. Musical Paris. 

Gershwin: An American in Paris; Rachmaninoff: 

Piano Concerto No.2 in c Op.18; and 

arias by Puccini and Charpentier. Christopher 

Goodpasture, piano; Tessa Laengert, soprano. 

Oakville Centre for the Performing Arts, 

130 Navy St., Oakville. 905-815-2021. $27- 


●●8:00: Royal Conservatory of Music. Robi 

Botos and Friends. Koerner Hall, Telus Centre, 

273 Bloor St. W. 416-408-0208. $35-$85. 


●●8:00: Scarborough Philharmonic Orchestra. 

Classic Film Music and New Animated 

Shorts. Williams: Suite from Star Wars; Mancini: 

Theme from The Pink Panther (arr. Calvis 

Custer); Prokofiev: Lieutenant Kijé Suite 

Op.60; Korngold: Violin Concerto in D Op.35; 

and new works by Samuel Bisson, Bruno 

Degazio, Ronald Royer, and Sergei Kofman 

to accompany short films by top Sheridan 

College students. Aaron Schwebel, violin; 

Ronald Royer, conductor. Salvation Army 

Scarborough Citadel, 2021 Lawrence Ave. E., 

Scarborough. spo@spo.ca or spo.ca. $35; 

$30(sr); $15(st/musician); $10(child under 

10). Free parking. 

●●8:00: Tempus Choral Society. A Musical 

Celebration. Tempus4Us Children’s Choir; 

Tempus Jazz Choir; Brian L. Turnbull, 

music director; Jane Wamsley, accompanist. 

Clearview Christian Reformed Church, 

2300 Sheridan Garden Dr., Oakville. 647-967- 

6704 or tickets@tempuschoralsociety.com. 


●●8:00: Toronto Consort. Night Games. 


Works by Vecchi and Banchieri. Marie-Nathalie 

Lacoursière, director/actor/dancer; Katherine 

Hill, artistic director/gamba/soprano; 

Michele DeBoer, soprano; Kirk Elliott, mandolin/violin/accordion/bladder 

pipes; Ben 

Grossman, colascione/hurdy-gurdy/percussion; 

and others. Trinity-St. Paul’s Centre, 

427 Bloor St. W. 416-964-6337. $15-$74. Also 

May 3, 5 (3:30pm). 

Sunday May 5 

●●11:00am: Mississauga Big Band Jazz 

Ensemble. MBBJE Live Big Band Recording 

with Guest Vocalists. Whitney Ross-Barris, 

Sam Broverman, Glenn Chipkar, Suzanne 

McKenney, Denise Leslie, vocalists. Port 

Credit Legion, 35 Front St. N., Port Credit. 

905-270-4757. Free. 

●●1:00: Royal Conservatory of Music. Turkwaz. 

Mazzoleni Concert Hall, Royal Conservatory, 

273 Bloor St. W. 416-408-0208. 

Free(ticket required). 


bohème. See May 2. Also May 7(7:30pm), 

11(2pm), 11(7:30pm), 22(7:30pm). 

●●2:00: Corey Gemmell, Tom Mueller & 

Friends. Bach, Beethoven and Die Bande: A 

Fund-Raising Recital for Orchestra Toronto. 

Bach: Suite for Solo Cello No.1 in G BWV 1007; 

Solo Violin No.1 in g BWV 1001; Beethoven: 

Septet in E-Flat Op.20 for violin, viola, cello, 

bass, clarinet, horn and bassoon. Tom Mueller, 

cello; Corey Gemmell, violin; special 

guests from Orchestra Toronto. Gallery 345, 

345 Sorauren Ave. 416-467-7142. $50; $90(for 

2). Concert to benefit Orchestra Toronto. 

Cash bar; cash raffle. 

●●2:00: Oakville Symphony. Musical Paris. 

Gershwin: An American in Paris; Rachmaninoff: 

Piano Concerto No.2 in c Op.18; and 

arias by Puccini and Charpentier. Christopher 

Goodpasture, piano; Tessa Laengert, soprano. 

Oakville Centre for the Performing Arts, 

130 Navy St., Oakville. 905-815-2021. $27- 


●●3:00: Chorus York. Classics in the Spring. 

Vivaldi: Gloria; and works by Tallis, Boyce 

and Byrd. Angela Gibbon, soprano; Kira 

Braun, soprano; Stéphane Potvin, conductor; 

Richard Hansen, organ. Thornhill Presbyterian 

Church, 271 Centre St., Thornhill. 

905-884-7922. $55(family); $25; $20(sr); 

$15(st); free(under 10). Also May 4 (8pm, 

Richmond Hill). 

●●3:00: Encore! Chorus. Summer of ‘69: 

Voices of a Generation. Dee Lawrence, conductor; 

George Vandikas, piano. Bethel Community 

Christian Reformed Church, 333 Davis 

Dr., Newmarket. 905-722-6535. $18; $15(sr/ 

st). 




(Granaina); El Camino (Alegrias); A mis 

padres (Rondeña); and other works. Esmeralda 

Enrique and José Maldonado, choreographers; 

Caroline Planté, Benjamin Barrile, 

guitars; Manuel Soto, Marcos Marin, vocalists; 

Derek Gray, percussion. Fleck Dance 

Theatre, Harbourfront Centre, 235 Queens 

Quay W. 416-973-4000. $34-$48; $28-$34(sr/ 

st). Wheelchair accessible. Also May 3(8pm), 

4(8pm). 

●●3:00: Toronto Symphony Orchestra. 

Toronto Symphony Youth Orchestra. Mussorgsky 

(arr. Rimsky-Korsakov): Prelude to 

Khovanshchina; Prokofiev: Suite from The 

Love of Three Oranges; Shostakovich: Symphony 

No.10. Simon Rivard, RBC Resident 

Conductor & TSYO Conductor. Roy Thomson 

Hall, 60 Simcoe St. 416-598-3375. $16-$28. 

●●3:00: Uxbridge Chamber Choir. Lord Nelson’s 

Mass and MacMillan’s Miserere. Haydn: 

Mass No.11 in d “Missa in Angustiis”; J. Mac- 

Millan: Miserere. Grace Rogers, soprano; Don 

Willmer, baritone; Imre Olah, organ. St. Paul’s 

Anglican Church (Uxbridge), 59 Toronto St. 

S., Uxbridge. 905-642-2096. $25. 

●●3:00: Weston Silver Band. Afternoon at 

the Proms. Canadian and British repertoire. 

Glenn Gould Studio, 250 Front St. W. 905- 

691–2744. $27/$25(adv); $22(sr)/$20(adv); 

$17(st)/$15(adv). 

on period instruments 

Alpha & Omega 

Haydn Op. 0 

Mozart K. 387 

Beethoven Op. 135 

Sunday May 5, 3pm 

●●3:00: Windermere String Quartet. 

Alpha and Omega. Haydn: Quartet in 

E-flat Op.1 No.0; Mozart: Quartet in G K387; 

Beethoven: Quartet in F Op.135. St. Olave’s 

Anglican Church, 360 Windermere Ave. 416- 

769-0952. $25; $20(sr); $10(st). On period 

instruments. 

●●3:30: Toronto Consort. Night Games. 


Works by Vecchi and Banchieri. 

Marie-Nathalie Lacoursière, director/actor/ 

dancer; Katherine Hill, artistic director/ 

gamba/soprano; Michele DeBoer, soprano; 

Kirk Elliott, mandolin/violin/accordion/bladder 

pipes; Ben Grossman, colascione/hurdygurdy/percussion; 

and others. Trinity-St. 

Paul’s Centre, 427 Bloor St. W. 416-964-6337. 

$15-$74. Also May 3, 4(8pm). 

●●4:00: Church of St. Mary Magdalene. 

Organ Fireworks. Andrew Adair, organ. 

Church of St. Mary Magdalene (Toronto), 

477 Manning Ave. 416-531-7955. Free. 

●●4:00: Toronto Classical Singers. A Whirlwind 

to Heaven. Mendelssohn: Elijah. Talisker 

Players; Lesley Bouza, soprano; Danielle 

MacMillan, mezzo; Zachary Rioux, tenor; Matthew 

Zadow, baritone; Sara Schmidt-McQuillan, 

soprano; Jurgen Petrenko, conductor. 

Christ Church Deer Park, 1570 Yonge St. 416- 

444-7863. $30. 

●●5:00: Show One Productions. Unity Songs. 

M. Turetsky Choir; Soprano Vocal Group. Mel 

Lastman Square, 5100 Yonge St., North York. 

416-726-6992 or russiantix.com or 

torontovka.com. Free. 

PAYADORA 

Tango Ensemble 

with guest vocalist, 

Elbio Fernandez 

SUNDAY MAY 5 

7-9:30PM 

www.payadora.com 

●●7:00: Jazz Bistro. Payadora Tango Ensemble. 

Tango and Argentine folk music. 

251 Victoria St. 416-363-5299 or 

payadora.com. $20. 

●●7:00: Oakville Symphony Youth Orchestra. 

Capriccio Brilliante. Luke Welsh, piano. Oakville 

Centre for the Performing Arts, 130 Navy 

St., Oakville. 289-815-0018. $56; $50(sr); 

$39(young adult to 35); $27(st). 

●●7:30: Cor Unum Ensemble. Dido & Belinda. 

OperaQ; Ryan Patrick McDonald, countertenor 

(Dido); Camille Rogers, mezzo (Aeneas); 

Rebecca Genge, soprano (Belinda); Cor Unum 

Ensemble; Ruth Denton, conductor. Trinity 

College Chapel, U of T, 6 Hoskin Ave. 416-371- 

6999 or corunumensemble.com. $20; $10(st/ 

arts workers). Also May 4. 

●●8:00: Mississauga Symphony Youth 

Orchestra. Symphony at the Movies. Living 

Arts Centre, Hammerson Hall, 4141 Living 

Arts Dr., Mississauga. 905-306-6000. $30. 

Monday May 6 

● ● 12:15: Music Mondays. A Spring Story. 

Beethoven: Violin Sonata No.3; works by 

Kreisler, Rachmaninoff, Massenet and Saint- 

Saëns. Alice Haekyo Lee, violin; Todd Yaniw, 


piano. Church of the Holy Trinity, 19 Trinity Sq. 

416-598-4521x223. PWYC($10 suggested). 

●●7:30: Elmer Iseler Singers. Get Music! Educational 

Gala. Works by Canadian and International 

composers. Lydia Adams, conductor; 

Guest conductors from participating secondary 

schools and choirs. Metropolitan United 

Church (Toronto), 56 Queen St. E. 416-217- 

0537. $25; Free(season subscribers). 

Tuesday May 7 


Vocal Series: A Few of My Favourite Things. 

Artists of the COC; Liz Upchurch, piano. 

Richard Bradshaw Amphitheatre, Four 

Seasons Centre for the Performing Arts, 



●●12:10: Nine Sparrows Arts Foundation/ 

Yorkminster Park Baptist Church. Lunchtime 

Chamber Music: Rising Stars Recital. 

Students from the Glenn Gould School. Yorkminster 

Park Baptist Church, 1585 Yonge St. 

416-241-1298. Free, donations welcome. 

●●2:30: Glenn Gould School, Royal Conservatory 

of Music. Historical Performance Class 

of the Glenn Gould School. Works by Corelli, 

Muffat, Biber, Schmelzer, Marini and Albinoni. 

Members of the Historical Performance 

class; Kathleen Kajioka, baroque violin and 

conductor. Mazzoleni Concert Hall, Telus Centre, 

273 Bloor St. W. 416-408-2824 x322. Free. 


bohème. See May 2. Also May 11(2pm), 

11(7:30pm), 22(7:30pm). 

●●7:30: Toronto Community Orchestra. Rhythm 

of the Hours: A Musical Journey Through the 

Day. Gershwin arr. Whitney: An American in 

Paris; Mozart: Clarinet Concerto; Bryant: Dusk; 

Mussorgsky: Night on Bald Mountain; Ponchielli: 

Dance of the Hours. David Marshall, clarinet; 

Leonidas Varahidis, conductor. Eastminster 

United Church, 310 Danforth Ave. 416-358-0783. 

Free. Wheelchair accessible. 


Queens of Soul. Brie Cassil, vocalist; Melissa 

May 6 - Alice Lee & 

Todd Yaniw 

May 13 - Daniel 

Arthur Trio 

May 20 - Penny 

Johnson 

May 27 - Anthony 

D'Alessandro Trio 

feat. Chase Sanborn 

www.musicmondays.ca 

McMillan, vocalist; Shayna Steele, vocalist; 

Jeff Tyzik, conductor. Roy Thomson Hall, 

60 Simcoe St. 416-598-3375. $35.75-$107. 

Also May 8(mat), 8(eve). 



Chamber Music Series: Louis Spohr: Chamber 

Music for Strings. Spohr: Double String 

Quartet and other works. Artists of the COC 

Orchestra. Richard Bradshaw Amphitheatre, 





Organ Recital. William Maddox, organ. 

1585 Yonge St. 416-922-1167. Free. 





60 Simcoe St. 416-598-3375. $35.75-$83.75. 

Also May 7, 8(eve). 

●●5:00: Jazz Performance and Education 

Centre (JPEC)/Aga Khan Museum. Dinner 

Jazz at Diwan. Students from University of 

Toronto and York University Jazz programs. 

Diwan Restaurant, Aga Khan Museum, 

77 Wynford Dr. 416-646-4670 or diwan.agakhanmuseum.org. 

Call restaurant for reservations. 

Also May 22. 

●●7:30: TO Live. SPIN. Songs played live on 

a vintage bicycle takes the audience on an 

innovative musical journey. Evalyn Parry, theatre 

artist. St. Lawrence Centre for the Arts, 

27 Front St. E. 1-800-708-6754. $28-$56. 





60 Simcoe St. 416-598-3375. $43.25-$107. 

Also May 7, 8(mat). 

●●9:00: Music Gallery/East End Arts. Departure 

Series: Jaimie Branch’s Fly or Die + Not 

the Wind Not the Flag. Jaimie Branch, trumpet; 

Lester St. Louis, cello; Jason Ajemian, 

bass; Chad Taylor, drums. St. Matthew’s Clubhouse, 

450 Broadview Ave. musicgallery.org. 

$15/$13(adv); $10(members). 



Chamber Music Series: Between Sound and 

Silence. Helmut Lachmann: Movement; and 

other works. Glenn Gould School New Music 

Ensemble; Brian Current, director. Richard 

Bradshaw Amphitheatre, Four Seasons Centre 


416-363-8231. Free. First come, first served. 

No late seating. 

●●7:00: Holy Trinity School. Tiffany Yeung Violin 

Recital. Brahms: Violin Concerto in D; Franck: 

Violin Sonata in A; Lutoslawski: Subito; Massenet: 

Meditation from Thaïs; Ponce/Heifetz: 

Estrellita. Tiffany Yeung, violin; Victor Cheng and 

Christopher Yeung, pianos. 11300 Bayview Ave., 

Richmond Hill. 905-737-1114. Free. 


Music by Giuseppe Verdi, libretto by Arrigo 

Boito. Russell Thomas, tenor (Otello); Gerald 

Finley, baritone (Iago); Tamara Wilson, soprano 

(Desdemona); Andrew Haji, tenor (Cassio); 

Carolyn Sproule, mezzo (Emilia); Owen 

McCausland, tenor (Roderigo); Önay Köse, 

bass (Lodovico); Johannes Debus, conductor; 

David Alden, stage director. Four Seasons 


St. W. 416-363-8231. $35-$225. Runs 

Apr 27-May 21. Start times vary. 

●●8:00: Art of Time Ensemble. Best of Words 

and Music. Excerpts from 2 Pianos, 4 Hands, 

poetry by Margaret Atwood set to original 

music, scenes from Shakespeare’s Much Ado 

About Nothing, and other works. Isabel Bayrakdarian, 

soprano; Sarah Slean, singer; Martha 

Burns, actor; Rick Roberts, actor; Jonathan 

Crow, violin; Ted Dykstra, piano; Richard 

Greenblatt, piano. Harbourfront Centre Theatre, 

235 Queens Quay W. 416-973-4000. $25- 

$64; $15(st/under 30). Also May 10, 11. 

BACH 

MAGNIFICAT 

May 9–12, 2019 

Koerner Hall, TELUS Centre 


●●8:00: Tafelmusik. Bach Magnificat. Bach: 

Magnificat; Zelenka: Missa Divi Xaverii. Jana 

Miller, soprano; Meg Bragle, mezzo-soprano; 

Colin Ainsworth, tenor; Tafelmusik Chamber 

Choir; Ivars Taurins, conductor. Koerner Hall, 

Telus Centre, 273 Bloor St. W. 416-408-0208. 

$36 and up. Also May 10, 11, 12(mat). 

●●8:00: Show One Productions/TO Live. Eifman 

Ballet: Tchaikovsky. PRO et CONTRA. 

Sony Centre for the Performing Arts, 1 Front 

St. E. 1-855-872-7669. $62.75-$166.50. Preshow 

talk 7pm. Also May 10, 11. 

●●9:00: Ara Arakelyan. Armenia Meets Cuba 

at Jazz Bistro. Guest: Hilario Duran, piano; Ara 

Arakelyann, saxophone/keyboards; Madiana 

Torosyan, kanun; Armen Matosyan, duk/pku; 

Joaquin Nunez Hidalgo, drums and others. 

Jazz Bistro, 251 Victoria St. 416-363-5299. $35. 


●●12:10: Music at St. Andrew’s. Noontime 

Recital. Works by Bach, Czerny, Albéniz, 

Debussy and Liszt. Brian Hsu, piano. St. 

Andrew’s Church (Toronto), 73 Simcoe St. 

416-593-5600 x231. Free. 

●●7:30: Living Arts Centre. Sharron Matthews 

Superstar! RBC Theatre, Living Arts 

Centre, 4141 Living Arts Dr., Mississauga. 

905-306-6000. $40-$60; $80.95-$100.95 

(dinner & show package). 

●●7:30: Upper Canada Choristers. 25th Anniversary 

Concert: How Can I Keep from Singing? 

On the theme of love. Stephen Chatman: 

Teasdale Love Songs (world premiere); Eric 

Whitacre: Five Hebrew Love Songs; Laurie 

Evan Fraser: Blessing-Bendicion; a cappella 

arrangements of Beatles songs; and 

other works. Children of Maurice Cody Junior 


Public School (Carole Snow, conductor); Cantemos 

Latin ensemble; Hye Won Cecilia Lee, 

piano; Laurie Evan Fraser, conductor. Metropolitan 

United Church (Toronto), 56 Queen 

St. E. 416-256-0510. $25; free(child/teens 

accompanied by an adult). 




music, scenes from Shakespeare’s Much Ado 

About Nothing, and other works. Isabel Bayrakdarian, 

soprano; Sarah Slean, singer; Martha 

Burns, actor; Rick Roberts, actor; Jonathan 

Crow, violin; Ted Dykstra, piano; Richard 

Greenblatt, piano. Harbourfront Centre Theatre, 

235 Queens Quay W. 416-973-4000. $25- 

$64; $15(st/under 30). Also May 9, 11. 

●●8:00: Continuum Contemporary Music. 

RADIOfänik. Corbeil-Perron: new commission; 

Klartag: Nothing to Express; Lizée: 

Marsh Chapel Experiment; I Still Think About 

You; O’Callaghan: Doubt Is a Distance; Steen- 

Andersen: Beside Besides; Szmytka: f* for 

music (premiere). James O’Callaghan, media 

director; Continuum Ensemble; Rob MacDonald, 

electric guitar. 918 Bathurst Centre/The 

Music Gallery, 918 Bathurst St. 416-204-1080. 

$20; $15(Music Gallery member). 

●●8:00: Etobicoke Philharmonic Orchestra. 

Love, Death and Hope. Wagner: Prelude and 

Liebestod from Tristan und Isolde; R. Strauss: 

Morgen; Mahler: Symphony No.4 in G. Margarete 

von Vaight & Betty Wayne Allison, sopranos; 

Matthew Jones, conductor. Martingrove 

Collegiate Institute, 50 Winterton Dr., Etobicoke. 

416-239-5665 or info@eporchestra.ca. 

$30; $25(sr)/$22(adv); $15(st). 


●●8:00: Fridays @ 8. Paul Winter Consort: 

Missa Gaia. Lawrence Park Community 

Church Choir; Mark Toews, conductor. Lawrence 

Park Community Church, 2180 Bayview 

Ave. 416-489-1551. $20; $15(st); $40(family). 




St. E. 1-855-872-7669. $62.75-$166.50. Preshow 




BACH CHILDREN’S CHORUS & 

BACH CHAMBER YOUTH CHOIR 

Sharing our love of making music. 

Charissa Bagan 

Artistic Director 

James Pinhorn 

BCYC Conductor 

B O N S 

CREATED BY 

Friday, May 10, 2019 

at 8 pm 

The Choir of Lawrence Park 

Community Church 

www.lawrenceparkchurch.ca 

Eleanor Daley 

Pianist 

VOYAG E U R S ! 

A celebration of spirited music inspired 

by brave voyageurs and magical journeys, 

featuring songs of the Acadians and 

contemporary French-Canadian artists. 

SATURDAY MAY 11, 2019 AT 7:30PM 

Toronto Centre for the Arts, 5040 Yonge St (north of Sheppard) 

$25 – $40 at the box office or Ticketmaster at 1.855.985.2787 

bachchildrenschorus.ca 







●●1:30: Oakville Choir for Children and 

Youth. Celebrating 25 Years of Song. Oakville 


St., Oakville. 905-337-7104. $25; $20(sr); 

$15(under 13). Also 4:30pm. 

●●2:00: African Women Acting. 4th Annual 

African Women Acting Festival: Tribute to 

Miriam Makeba. Best of local and international 

African music and performances. 

Zenzile Makeba; Sonia Aimy; Arsene Duevi; 

Faith Amour; Rama Club. Centre for Social 

Innovation, 720 Bathurst St. 647-770-3293. 

$40/$30(adv). 


bohème. See May 2. Also May 11(7:30pm), 

22(7:30pm). 

●●3:00: Kindred Spirits Orchestra. Metamorphosis. 

Hindemith: Symphonic Metamorphosis; 

Mathieu: Piano Concerto No.4; 

Prokofiev: Symphony No.2 Op.40. Christina 

Petrowska-Quilico, piano; Kristian Alexander, 

conductor. Richmond Hill Centre for the Performing 

Arts, 10268 Yonge St., Richmond Hill. 

905-604-8339. $30-$40; $25(sr); $15(under 

30). 2:15pm pre-concert recital; 2:30pm preconcert 

talk; intermission discussion with 

Christina Petrowska-Quilico. 

●●3:30: Rezonance Baroque Ensemble. Handel’s 

Heroines. Opera arias and instrumental 

works by Handel. Vania Chan, soprano; 

Rezan Onen-Lapoint and Kailey Richards, violins; 

Matthew Antal, viola; Erika Nielsen, cello; 

David Podgorski, harpsichord. Kingsway Conservatory 

of Music, 2848 Bloor St. W., Etobicoke. 

647-779-5695. PWYC. 

●●4:00: Celebration Choir. A Choral Celebration. 

Mixed program of folk song and gospel 

favourites. Linda Eyman, conductor. Bloor 

Street United Church, 300 Bloor St. W. 416- 

455-9238. $20; $15(sr/st). Cash only. 

●●4:30: Oakville Choir for Children and 

Youth. Celebrating 25 Years of Song. Oakville 


St., Oakville. 905-337-7104. $25; $20(sr); 

$15(under 13). Also 1pm. 

●●7:00: Canadian Bandurist Capella. Crossroads 

Tour - Toronto. Guest: Maria Cherwick, 

violin. Church of the Holy Trinity, 19 Trinity 

Sq. 416-845-2691. $30; $25(st under 25); 

$20(child under 18). 

●●7:00: North York Concert Band. A Spring 

Bouquet. John Liddle, trumpet/conductor. 

Al Green Theatre, 750 Spadina Ave. 416-721- 

2748. $15; $5(child under 12). 

●●7:30: Bach Children’s Chorus and Bach 

Chamber Youth Choir. Bon Voyageurs! 

180 voices of children and youth which will 

include choreography and dance. Eleanor 

Daley, piano; Charissa Bagan, artistic director; 

James Pinhorn, conductor. Toronto Centre 

for the Arts, 5040 Yonge St., North York. 

1-855-985-2787. $25-$40. 

●●7:30: Canadian Men’s Chorus. Shadowland. 

Church of the Redeemer, 162 Bloor St. W. 

grainville@canadianmenschorus.ca. $21-$33. 


bohème. See May 2. Also May 22(7:30pm). 

●●7:30: Elmer Iseler Singers. Bach: Mass 

in B Minor. In celebration of Lydia Adams’ 

35 years of musical leadership. Elmer Iseler 

Singers; Amadeus Choir of Greater Toronto; 

Leslie Fagan, soprano; Catherine Wyn-Rogers, 

mezzo; Andrew Haji, tenor; Alexander 

Dobson, baritone; Lydia Adams, conductor. 

Yorkminster Park Baptist Church, 1585 Yonge 

St. 416-446-0188. $50; $40(sr); $25(under 

30). With orchestra. 

●●7:30: Harbourtown Sound. Celebrating 

15 Years of Making Great Music & Friends. 

Performing A Cappella favourites, old & new. 

Guests: Rhythmfoot...rhythm through music, 

dance and song. Burlington Performing Arts 

Centre, 440 Locust St., Burlington. 905-681- 

6000. $20-$35. 

KOREAN 

CANADIAN 

CHAMBER 

CONCERTS 

캐나다한인음악협회 

SOUVENIRS 

Music Inspired by Travels 

Saturday May 11, 7:30pm 

kccc.ca 

●●7:30: Korean Canadian Chamber Concerts 

& Friends. Souvenirs: Music Inspired by 

Travels. Tchaikovsky: Souvenir de Florence; 

Dvořák: American Quintet. Milal Church, 

405 Gordon Baker Rd., North York. 416-737- 

0521. $20; $10(st). 

York 

Chamber 

Ensemble 

KOREAN 

CANADIAN 

CHAMBER 

CONCERTS 

캐나다한인음악협회 

THE AGE OF ELEGANCE 

AND ROMANTICISM 

Barbara 

Dickson, 

cellist 

May 11, 

7:30 pm 

yorkchamberensemble.ca 

●●7:30: York Chamber Ensemble. The Age of 

Elegance and Romanticism. Schubert: Symphony 

No.3; Mass in G; Fauré: Pavane; Élegie. 

York Festival Chorus; Barbara J. Dickson, 

cello; Michael Berec, conductor. Trinity Anglican 

Church (Aurora), 79 Victoria St., Aurora. 

yorkchamberensemble.ca. $25; $20(sr/st); 


$10(child under 10). 

●●8:00: Acoustic Harvest. Eileen McGann. 

St. Paul’s United Church (Scarborough), 

200 McIntosh St., Scarborough. 

lillian.wauthier@gmail.com. $25/$22(adv). 

●●8:00: Acoustic Harvest-Live Music East. 

Eileen McGann. St. Paul’s United Church 

(Scarborough), 200 McIntosh St., Scarborough. 

416-729-7564 or acousticharvest.ca. 

$25/$22(adv). Wheelchair accessible. 

●●8:00: Ambiance Singers. Annual Charity 

Concert. Guest: Bob DeAngelis; Danny McErlain, 

conductor. Living Arts Centre, 4141 Living 

Arts Dr., Mississauga. 905-306-6000. 

$37.50; $18.75(child 12 and under). Proceeds 

to Caring and Sharing of Peel. 




music, scenes from Shakespeare’s Much 

Ado About Nothing, and other works. Isabel 

Bayrakdarian, soprano; Sarah Slean, 

singer; Martha Burns, actor; Rick Roberts, 

actor; Jonathan Crow, violin; Ted Dykstra, 

piano; Richard Greenblatt, piano. Harbourfront 

Centre Theatre, 235 Queens Quay W. 

416-973-4000. $25-$64; $15(st/under 30). 

Also May 9, 10. 

●●8:00: Ontario Pops Orchestra. A Present 

for Mom: The Best of Ontario Pops. Magic of 

Harry Potter; Best of the Beatles; Williams: 

Star Wars Through the Years; Mozart: Sinfonia 

Concertante KV279b (Mvt 1). Humber 

Valley United Church, 76 Anglesey Blvd., 

Etobicoke. 647-913-6072. $22; $5(child). 

●●8:00: Royal Conservatory of Music. Song- 

Bird North. Temerty Theatre, Telus Centre, 

273 Bloor St. W. 416-408-0208. $35. 




St. E. 1-855-872-7669. $62.75-$166.50. Preshow 










Beethoven Symphony 5. Elgar: Serenade 

for Strings; Mozart: Piano Concerto No.21 

K467; Beethoven: Symphony No.5. Shai Wosner, 

piano; Nicholas Collon, conductor. Roy 

Thomson Hall, 60 Simcoe St. 416-598-3375. 

$34.75-$107. Also May 12(mat, George Weston 

Recital Hall). 



See May 3. Also May 15, 18(4:30pm), 

21(7:30pm). 

●●2:00: Canzona Chamber Players. Serenade 

for Winds & Gran Partita. R. Strauss: Serenade 

Op.7 for 13 Winds; Mozart: Serenade 

K.361 “Gran Partita”. Canzona Chamber Players; 

Evan Mitchell, conductor. St. Andrew 

by-the-Lake Anglican Church, Cibola Ave., 

Toronto Island. 416-822-0613 or reservations@canzona.org. 

$30. Brunch at 12:30pm 

$20 (reservations required). Also May 13 

(7:30pm, St. George the Martyr Church). 

●●2:00: Peter Margolian and Friends. Chamber 

Music Concert. Music for voice, wind, 

strings and piano. Works by Dvořák, Debussy, 

Pijpez and Casadesus. Canadian Music 

Centre, 20 St. Joseph St. 647-980-5475. Free. 

●●2:30: Surinder S. Mundra. Musical Morsels 

& Afternoon Tea: A Most Elegant Mother’s 

Day Concert. Works by Dowland, Mozart, 

Beethoven and Schubert. Alyssa DiMarco, 

soprano; Anna Kolosowski, flute; Dobrochna 

Zubek, cello; Surinder Mundra, director. St. 

George’s Anglican Church (Pickering Village), 

77 Randall Dr., Ajax. 905-683-7981. $30; 

$25(sr/st). Wheelchair accessible. 

●●3:00: Echo Women’s Choir. Mother’s Day 

Concert: Thanks to Life, A Celebration of 

Songs from the Americas. Calixto Alvarez: 

Cuban Suite; Violeta Parra: Gracias a la vida 

(arr. B. Whitla); and other works. Amanda 

Martinez, singer-songwriter; Becca Whitla 

& Alan Gasser, conductors. Church of the 

Holy Trinity, 19 Trinity Sq. 416-779-5554 or 

info.echo@gmail.com. $25; $15(sr/child/ 

underwaged). 

●●3:00: Symphony on the Bay. American 

Proms. Gershwin: Overture to Crazy 

for You; Various: Tribute to Benny Goodman; 

Dvořák: Cello Concerto in b (1st mvmt: 

Allegro); Brahms: Violin Concerto in D (1st 

mvmt: Allegro non troppo). Bob DeAngelis, 

clarinet; Eena Yoon, cello; Katelyn Emery, 

violin. Burlington Performing Arts Centre, 

440 Locust St., Burlington. 905-681-6000 

or symphonyonthebay.ca. $43; $36.50(sr); 

$24.50(16-24); $12(under 16). 


Beethoven Symphony 5. Elgar: Serenade for 

Strings; Mozart: Piano Concerto No.21, K467; 

Beethoven: Symphony No.5. Shai Wosner, 

piano; Nicholas Collon, conductor. George Weston 

Recital Hall, 5040 Yonge St. 416-598-3375. 

$87.25-$100.50. Also May 11(Roy Thomson Hall). 



Miller, soprano; Meg Bragle, mezzo; Colin 

Ainsworth, tenor; Tafelmusik Chamber Choir; 

Ivars Taurins, conductor. Koerner Hall, Telus 

Centre, 273 Bloor St. W. 416-408-0208. $36 

and up. Also May 9, 10, 11. 

SUN 12 MAY AT 4 

Choral Evensong 

plus St. George’s Tea and at 5: 

BEST ACTS OF 

COURAGE 

Drama, poetry and music with 

St. Olave’s Arts Guild 

and steel band Pan4Christ 

● ● 4:00: St. Olave’s Church. Best Acts of Courage. 

Choral Evensong for St. George. St. 

Olave’s Anglican Church, 360 Windermere 

Ave. 416-769-5686. Contributions appreciated. 

Followed by St. George’s Tea and drama, 

poetry, music and songs by the St. Olave’s 

Arts Guild. 

●●4:30: Christ Church Deer Park. Jazz Vespers: 

20th Anniversary Celebrations. Dave 

Brubeck: Time Out. Bernie Senensky, piano; 

John Johnson, alto saxophone; Scott Alexander, 

bass; Brian Barlow, drums. 1570 Yonge 

St. 416-920-5211. Freewill offering. Religious 

service. Post-service wine and cheese 

reception. 

●●5:00: Canadian Sinfonietta. Young Artist 

Concert: Celebrates Mother’s Day. Saint- 

Saëns: Introduction and Rondo Capriccioso; 

Cello Concerto No.1 (Mvt 1); Mozart: Violin 

Concerto No.4 (Mvt 1); Handel: E pur così in un 

giorno from Giulio Cesare; Beethoven: Symphony 

No.3 (Mvt 1). Featuring the winners of 

the Canadian Sinfonietta Young Artist Competition 

and the Unionville Music Academy 

Competition: Emmanuelle Sievers, violin; Duncan 

McDougall, Sophie Caplin, and Eugene 

Yo, cello; Members of the Canadian Sinfonietta 

Youth Orchestra. Markham People’s 

Community Church, 22 Esna Park Dr., Markham. 

canadiansinfonietta.yapsody.com. $40; 

$35(sr); $20(st). 

●●5:00: Nocturnes in the City. Chamber 

Music Recital. Works by Martinů, Janáček, 

Dvořák, and others. Duo Ventapane (Martin 

Karlícek, piano; Mana Shiharshi, violin). St. 

Wenceslaus Church, 496 Gladstone Ave. 416- 

481-7294. $25. 

●●5:00: St. Olave’s Arts Guild. Best Acts of 

Courage. Millay: Courage That My Mother 

Had; Johnson: St. George and the Dragon and 

Shakespeare. St. Olave’s Anglican Church, 

360 Windermere Ave. 416-769-5686 or stolaves.ca. 

Free. Contributions appreciated. 

Choral Evensong at 4pm followed by St. 

George’s Tea. 

●●7:00: Prater Ensemble. Johannes Brahms 

in A. Brahms: Piano Trio in A Op.posth.; 

Double Concerto in a Op.102. Narmina 

Afandiyeva, piano; Roufat Amiraliev, violin; 

Alik Volkov, cello. Helconian Hall, 35 Hazelton 

Ave. 416-859-0955 or parter.ca. $30; $20(sr); 

$10(st). 

●●8:00: Burlington Performing Arts Centre. 

Anagnoson & Kinton: The Orchestral Piano. 

Ravel: Mother Goose Suite; Dvořák: Slavonic 

Dances (selections); Stavinsky: Petrouchka. 

Burlington Performing Arts Centre, Community 

Studio Theatre, 440 Locust St., Burlington. 

905-681-6000. $49; $44(Member). 


●●12:15: Music Mondays. Daniel Arthur Trio. 

Church of the Holy Trinity, 19 Trinity Sq. 416- 

598-4521x223. PWYC($10 suggested). 

●●7:30: Canzona Chamber Players. Serenade 

for Winds & Gran Partita. R. Strauss: Serenade 

Op.7 for 13 Winds; Mozart: Serenade 

K.361 “Gran Partita”. Canzona Chamber Players; 

Evan Mitchell, conductor. St. George the 

Martyr Church, 30 Stephanie St. 416-822- 

0613 or reservations@canzona.org. $30. Also 

May 12 (2pm, St. Andrew by-the-Lake Anglican 

Church). 

●●7:30: Chorisma. Songs for Mother’s Day. 

Brahms to the Beatles. Gretchen Anner, violin; 

Jenny Cheong, cello; Oleg Samokhin, 

piano; Damon Richardson, percussion; Robert 

Richardson, conductor. Thornhill United 

Church, 25 Elgin St., Thornhill. 905-731-8318. 

Freewill offering. 

●●8:00: Summerhill Orchestra. Lark and 

Rhapsody. Mozart: Overture to The Abduction 

from the Seraglio; Vaughan Williams: The 

Lark Ascending; Rachmaninoff: Rhapsody on 

a Theme of Paganini. Kathleen Chang, piano; 

Victoria Yeh, violin; Sarah John, conductor. 

Church of the Messiah, 240 Avenue Rd. 647- 

267-0750 or Eventbrite. $5-$25. Accessible. 



Vocal Series: 1001 Nights - Tales from the 

East. Works by composers inspired by Eastern 

themes or with text by Eastern poets. 

Miriam Khalil, soprano; Topher Mokrzewski, 

piano. Richard Bradshaw Amphitheatre, 






Chamber Music. Rebecca Moranis, flute. 

Yorkminster Park Baptist Church, 1585 Yonge 

St. 416-241-1298. Free, donations welcome. 

●●8:00: Miles Nadal Jewish Community Centre. 

MNjcc Spring Ensembles Concert. Klezmer 

ensemble; Eric Stein, director; Daytime 

Choir, Asher Farber, director; Clive Walton, 

piano. Al Green Theatre, Miles Nadal JCC, 

750 Spadina Ave. 416-924-6211 x0 or 

mnjcc.org/ensemblesconcert. $15. 

KINDRED SPIRITS ORCHESTRA 

10 th anniversary concert season 


●●8:00: Royal Conservatory of Music. Lighthouse: 

50 Years of Sunny Days. Koerner Hall, 


$35-$85. 



Kingsway Organ Concert Series. Mark 

Himmelman, organ. All Saints Kingsway 

Anglican Church, 2850 Bloor St. W. 416-571- 

3680 or organixconcerts.ca. Freewill offering. 



Organ Recital. Thomas Fitches, organ. 

1585 Yonge St. 416-922-1167. Free. 

●●7:30: Canadian Opera Company. Otello. See 

May 3. Also May 18(4:30pm), 21(7:30pm). 

●●7:30: Free Times Cafe. 60s Folk Revival: 

Where Have All the Folk Songs Gone? 

320 College St. 416-967-1078. $15(cash at the 

door). Dinner reservations recommended. 

●●7:30: Gallery 345. Nella Fantasia: Iris Rodrigues, 

Soprano. Guests: Andrea Allini, clarinet; 

Brahm Goldhamer, piano. 345 Sorauren 

Ave. 416-822-9781 or info@gallery345.com. 

$30; $20(st). Cash only at the door. 

●●7:30: Orpheus Choir of Toronto. Orpheus 

By Request. Works selected by audience 

via online voting. Howard Dyck, narrator; 

Orpheus Chamber Ensemble; Robert 

Cooper, artistic director; Edward Moroney, 

accompanist. Grace Church on-the-Hill, 

300 Lonsdale Rd. 416-530-4428. $45; $35(sr); 

$20(under 30). 

●●7:30: Toronto Children’s Chorus. True Colours. 

Toronto Youth Choir; surprise guests. 

Trinity-St. Paul’s Centre, 427 Bloor St. W. 416- 

932-8666 x231. $25; $20(sr/st); $10(child). 

●●7:30: Toronto Choral Society. Two French 

Requiems. Fauré: Requiem, Op.48; Duruflé: 

Requiem, Op.9. Eastminster United Church, 

310 Danforth Ave. 416-410-3509 or torontochoralsociety.org. 

$25(adv). 

●●8:00: Harbourfront Chorus. Spring Concert: 

Exploring New Places. Waterfront Neighbourhood 

Centre, 627 Queen’s Quay West. 416-458- 

2350 or harbourfrontchorus@gmail.com. Free. 

●●8:00: Toronto Symphony Orchestra. Mahler 

Symphony 7. Chan Ka Nin: My Most Beautiful, 

Wonderful, Terrific, Amazing, Fantastic, 


MAY 15 & 16 

Magnificent Homeland: Sesquie for Canada’s 

150th; Franck: Symphonic Variations for 

Piano and Orchestra; Mahler: Symphony No.7. 

Louis Lortie, piano; Sir Andrew Davis, conductor. 

Roy Thomson Hall, 60 Simcoe St. 416- 

598-3375. $34.75-$148. Also May 16. 


●●6:00: 120 Diner. Faith Amour: Tribute to 

Nancy Wilson. If I Could, Never Will I Marry, 

Don’t Rain On My Parade, How Glad I Am 

and other songs. 120 Church St. 416-792- 

7725. $21. 

●●7:30: North Wind Concerts. Sopratutto 

Vivaldi! Vivaldi: Chamber concertos and trio 

sonatas; and works by Telemann and Fasch. 

Marco Cera, oboe; Alison Melville, recorder; 

Cristina Zacharias, violin; Dominic Teresi, bassoon, 

Stefano Demicheli, harpsichord. Heliconian 

Hall, 35 Hazelton Ave. 416-588-4301 

or bemusednetwork.com/events/detail/614. 

$32; $25(sr); $18(st/arts); $12(12 and under). 

●●8:00: Toronto Symphony Orchestra. Mahler 

Symphony 7. Chan Ka Nin: My Most Beautiful, 

Wonderful, Terrific, Amazing, Fantastic, 

THE TORONTO CHORAL SOCIETY PRESENTS 

Magnificent Homeland: Sesquie for Canada’s 

150th; Franck: Symphonic Variations for 

Piano and Orchestra; Mahler: Symphony No.7. 

Louis Lortie, piano; Sir Andrew Davis, conductor. 


598-3375. $34.75-$148. Also May 15. 



Recital. Bill Bridges: Jazz standards 

and arrangements. Tanya Wills, vocalist; 

Bill Bridges, guitar; Jordan Klapman, piano; 

Ron Johnston, bass. St. Andrew’s Church 

(Toronto), 73 Simcoe St. 416-593-5600 x231. 

Free. 

●●7:00: Gallery 345. unQuartet String Trio. 

Meghan Cheng, violin; Nelson Moneo, violin; 

Cheryl O, cello. Guest: Peter Lutek, bassoon. 

345 Sorauren Ave. 416-822-9781 or eventbrite. 

ca. $25; $10(st). Cash only at the door. 

●●8:00: Alpharabius/Sine Nomine. Encounters 

and Reflections. Trinity College Chapel, 

U of T, 6 Hoskin Ave. 416-638-9445. $15-$20. 

●●8:00: Dr. Vedrana Subotic. Piano Concert. 

Chopin: Ballade No.3 in A–flat Op.47; 

4 Mazurkas Op.17; Vasilije Mokranjac: 

7 Etudes; Haydn: Sonata in E-flat HobXVI:52; 

Beethoven: Piano Sonata Op.26. Dr. Vedrana 

Subotic, piano. Heliconian Hall, 35 Hazelton 

Ave. 647-332-3352 or eventbrite.com/e/ 

vedrana-subotic-piano-in-toronto-tickets-59471274182. 

$25. 

I FURIOSI 

BAROQUE ENSEMBLE 

I FURIOSI: THE OPERA 

with a prologue commissioned 

by Stephanie Martin for 

I Furiosi’s 20th Anniversary 

Friday May 17, 8pm 

●●8:00: Gallery 345. Ugly Beauties. 

345 Sorauren Ave. 416-822-9781 or Eventbrite.ca. 


●●8:00: Rakestar Arkestra. Sung Ra. Element 

Choir; Christine Duncan, director. 

Tranzac Club, 292 Brunswick Ave. 1-800-838- 

3006. $15; $10(st). 

●●8:00: Small World Music Society. respectfulchild 

and Janice Jo Lee Trio. Small 

World Music Centre, Artscape Youngplace, 

180 Shaw St. 416-536-5439. $20/$15(adv). 

Part of the 17th Annual Small World Music 

Society Asian Music Series. 

●●9:10: Swing Toronto. Swing Dance with 

Faith Amour & the Savoy Band. When I Get 

Low, I Get High; Cheek to Cheek; Dream a Little 

Dream of Me and others. Faith Amour, 

vocals; Aleksandr Valuiskikh, keyboard; John 

Collin, drums; Christopher Francisco, bass; 

Gabriel Kerekes, reeds. Dovercourt House, 

805 Dovercourt Rd. 416-505-3193. $10. 


●●2:00: Hope United Church. Music on a Sunday 

Afternoon. Glinka: Sonata in d; Vieuxtemps: 

Sonata in B-flat Op.36. Michelle Kim, 

piano; Julia Park, viola. 2550 Danforth Ave. 

416-691-9682. Free/PWYC. 

●●3:00: Gallery 345. Jazz for Two: Decus Duo. 

Works by Gershwin, Bolling, Kapustin, Piazzolla, 

and Say. 345 Sorauren Ave. 416-822- 

9781 or Eventbrite.ca. $25; $15(st). Cash only 

at the door. 


●●12:15: Music Mondays. The Mighty Goldberg 

Variations. Music by Bach. Penny 

Johnson, piano. Church of the Holy Trinity, 

19 Trinity Sq. 416-598-4521x223. PWYC($10 

suggested). 



Piano Virtuoso Series: Les Adieux - From 

the Depths. Frederic Rzewski: De Profundis. 

alpharabius & 

sine nomine 

Encounters and 

Reflections 

Advance Tickets $25 TorontoChora/Society.org 

●●8:00: I Furiosi Baroque Ensemble. I Furiosi: 

The Opera. A pastiche Baroque opera. 

Music by Stephanie Martin. Libretto by 

Craig Martin. Works by Handel, Purcell, 

and Stephanie Martin. Guest: James Johnstone, 

harpsichord. Trinity-St. Paul’s Centre, 

427 Bloor St. W. ifuriosi.com. $25; $15(sr/st/ 

underemployed). 

●●8:00: Small World Music Society. Anindo 

Chatterjee & Guests. Pandit Anindo Chatterjee; 

Gowrishanker Balachandran, mrdangam; 

Ramana Indrakumar, ghatam; Shirshendu 

Mukherjee, vocalist; Hardeep Chana, harmonium; 

and Ravi Naimpally, tabla. Small 

World Music Centre, Artscape Youngplace, 

180 Shaw St. 416-536-5439. $20. 


● ● 4:30: Canadian Opera Company. Otello. 

See May 3. Also May 21(7:30pm). 

Medieval Mediterranean & 

classical and traditional 

Middle Eastern music 

Friday, May 17, at 8 pm 

Trinity College Chapel 

6 Hoskin Avenue 

Information 416-638-9445 

Tickets $20 / $15 at the door or 

brownpapertickets.com/ 

event/4216834 


Stéphane Mayer, piano. Richard Bradshaw 

Amphitheatre, Four Seasons Centre for the 

Performing Arts, 145 Queen St. W. 416-363- 

8231. Free. First come, first served. No late 

seating. 



Chamber Music. Maddie Worndl, soprano. 

Yorkminster Park Baptist Church, 

1585 Yonge St. 416-241-1298. Free, donations 

welcome. 


See May 3. 



Vocal Series: Sea Variations. Canadian Art 

Song Project. Dean Burry: Sea Variations. 

Michael Colvin, tenor; Steven Philcox, piano. 





CLOSE 

ENCOUNTERS 

CHAMBER SERIES 

Fantasticus 

May 22 & 25 


●●12:00 noon: Tafelmusik. Fantasticus: Close 

Encounters Chamber Series. Patricia Ahern, 

violin; Chris Verrette, violin; Dominic Teresi, 

dulcian; Lucas Harris, lute; Charlotte 

Nediger, harpsichord. Church of the Holy 

Trinity, 19 Trinity Sq. 416-964-6337. $42. Also 

May 25(Temerty Theatre). 


Organ Recital. Angus Sinclair, organ. 

1585 Yonge St. 416-922-1167. Free. 


bohème. See May 2. 

●●7:30: Toronto Choristers. 27th Annual 

Concert. Sir John A. MacDonald Collegiate 

instrumental 

liberation 

front 

THE JAZZ OF CLASSICAL SOUND 

Institute, 2300 Pharmacy Ave., Scarborough. 

torontochoristers.ca. $15. 

●●8:00: B-Xalted!Sing Joyfully. Choir of writers, 

artists and arts workers. Mozart: Coronation 

Mass; Ave Verum Corpus; Bach: Sheep 

may safely graze; Haydn: Insanae et Venae 

Cura; Brahms: How Lovely Are Thy Dwellings; 

and other works. Dallas Chorley, soprano; 

Rebecca Gray, alto; Charles Davidson, 

tenor; David Walsh, tenor; Janaka Welihinda, 

bass; Andrew Adair, organ; Simon Walker, 

conductor. Church of St. Mary Magdalene 

(Toronto), 477 Manning Ave. 647-823-1233. 

$25; $15(underemployed). 



Chamber Music Series: Rebanks Family 

Fellowship Showcase. Artists of The Glenn 

Gould School. Richard Bradshaw Amphitheatre, 

Four Seasons Centre for the Performing 

Arts, 145 Queen St. W. 416-363-8231. Free. 

First come, first served. No late seating. 

●●6:00: People for Education. Telling Tales 

Out of School. A gala benefit to support 

People for Education. Elvira Kurt, host; Sofia 

Kay, singer/songwriter; Sharon and Bram; 

and other performers. Streetcar Crowsnest, 

345 Carlaw Ave. 416-534-0100. $125; $100 

(per ticket, two or more). 

●●7:00: Ukranian Art Song Project. Contrasts 

in a Theme. Olesia Verzole, soprano; 

Andrea Ludwig, mezzo; Taras Chmil, 

tenor; Robert Kortgaard, piano. Gallery 345, 

345 Sorauren Ave. 416-822-9781 or 

ukrainianartsong.ca. $35; $20(st). 

●●8:00: Ron Davis and SymphRONica. SymphRONica 

& The Instrumental Music Liberation 

Front! Music by David, Gill, Downes 

and others. Ron Davis, piano; Kevin Barrett, 

guitar; Mike Downes, bass; Aline Homzy, 

violin; Raphael Weinroth-Browne, cello. 

918 Bathurst Centre for Culture, Arts, Media 

and Education, 918 Bathurst St. 416-347-6765. 

$25/$20(adv); $10(sr/st). Food and drink 

from 7pm. 

Friday May 24 


Recital. Liszt: Selections from Années de 

pèlerinage (Years of Pilgrimage). Vlad Soloviev, 

piano. St. Andrew’s Church (Toronto), 

73 Simcoe St. 416-593-5600 x231. Free. 

●●1:00: Miles Nadal Jewish Community Centre/Bernard 

Betel Centre/Healthy at Home. 

Celebrating Shabbat in Song. Jewish-themed 

concert featuring a participatory Shabbat 

ceremony, challah and traditional treats. 

David Wall, vocals; Marilyn Lerner, piano. 

Miles Nadal JCC, 750 Spadina Ave. 416-924- 

6211 x0 or lisar@mnjcc.org. Free. 

●●5:00: Jazz Performance and Education 

RON DAVIS’ SYMPHRONICA PRESENTS Thursday May 23, 2019 

918 Bathurst Centre for Culture 

918 Bathurst St, Toronto 

Food & Drink: 7:00 Music: 8:00 

$20 advance/$25 door 

students/seniors $10 

(includes HST) 

Tickets & Info: bemusednetwork.com 

Ron Davis & SymphRONica celebrate two great institutions of purely 

instrumental music: Jazz & Western classical, bringing them together in new 

compositions to create a jazz-energized, one-of-a-kind musical experience. 

Special food & drink menu by the great Canadian chef Dinah Koo! 

#SymphRONica rondavismusic.com 

Centre (JPEC)/Aga Khan Museum. Dinner 

Jazz at Diwan. Students from University 

of Toronto and York University Jazz 

programs. Diwan Restaurant, Aga Khan 

Museum, 77 Wynford Dr. 416-646-4670 or 

diwan.agakhanmuseum.org. Call restaurant 

for reservations. Also May 8. 

●●7:30: Opus 8. Chromatic License. Works by 

Ligeti, Brahms, Hindemith, Stravinsky, Gabrieli, 

and others. Opus 8 Choral Octet. Heliconian 

Hall, 35 Hazelton Ave. 

opus8choir.com/concerts. PWYC. 


Pines of Rome. Rossini: Overture to William 

Tell; Saint-Saëns: Piano Concerto No.4; Jordan 

Pal: Colour of Chaos; Respighi: Pines of 

Rome. Louis Lortie, piano; Sir Andrew Davis, 

conductor; Simon Rivard, RBC Resident 

Conductor. Roy Thomson Hall, 60 Simcoe 

St. 416-598-3375. $34.75-$148. Also 

May 25(8pm). 

●●8:00: Toronto Bach Festival. Opening Concert: 

Brandenburg Five. Bach: Tritt auf die 

Glaubensbahn BWV152; Brandenburg Concerto 

No.5 BWV1050; Concerto in a for violin 

BWV1041; Du wahrer Gott und Davids Sohn 

TORONTO 

BACH 

FESTIVAL 

BRANDENBURG 

FIVE 

Fri May 24 @ 8pm 

TorontoBachFestival.org 

Chromatic 

License 

May 24, 7:30pm, 

Heliconian Hall 

Opus 8 tackle the 12 pitches 

of the western octave performing 

choral works by Ligeti, Brahms, 

Hindemith, Stravinsky, Gabrieli, 

Gesualdo and more. 



Inspired - 

The Music of Jeff Enns 

2018 / 2019 

Season 

Presents 

Saturday, May 25, 2019 ~ 8 pm 

BWV23. Hélène Brunet, soprano; Daniel Taylor, 

countertenor; Nick Veltmeyer, tenor; Joel 

Allison, bass; Luc Beauséjour, harpsichord; 

and other solosits; John Abberger, conductor. 

St. Barnabas Anglican Church, 361 Danforth 

Ave. 416-466-8241. $42; $37(sr); $15(30 and 

under). Festival runs May 24-26. 

●●8:00: Alliance Française de Toronto. 

Pierre Guitard with Georgian Bay. 24 Spadina 

Rd. 416-922-2014 x37. $25; $20(sr/st); 

$12(members). 

●●8:00: Etobicoke Community Concert 

Band. On the Road Again. Guest: Calvin 

Morais. Etobicoke Collegiate Auditorium, 

86 Montgomery Rd., Etobicoke. 416-410-1570. 

$15; free(child under 12). 

●●8:00: Exultate Chamber Singers. Words 

and Music. Tate: Emily Carr Suite; Walker: 

I Asked of God; Daley: Grandmother Moon. 

Mark Ramsay, artistic director. Guest: Emily 

Sanford, poet. St. Thomas’s Anglican Church 

(Toronto), 383 Huron St. 416-971-9229. $25; 

$20(sr); $10(st). 

●●8:00: Ton Beau String Quartet. Music, She 

Wrote. Sgroi: String Quartet No.2; Simms: 

Swallow/Breathe; Cummings: Chasing 

Beauty; Beethoven: Op.18 No.4. Bijan Sepanji 

and Jeremy Potts, violins; Alex McLeod, viola; 

Sarah Steeves, violoncello. Agricola Lutheran 

Church, 25 Old York Mills Rd. 647-525-3161. 

$30; $20(st/arts workers). Concert in memory 

of Rebekah Cummings. 

●●8:30: SING! The Toronto Vocal Arts Festival. 

SING! Mandela Celebration with Mzansi. 

Mzansi. Young People’s Theatre, 165 Front St. 

E. 416-694-6400. $30. 


●●2:00: Tafelmusik. Fantasticus: Close 

Encounters Chamber Series. Patricia Ahern, 

violin; Chris Verrette, violin; Dominic Teresi, 

dulcian; Lucas Harris, lute; Charlotte Nediger, 

harpsichord. Temerty Theatre, Telus Centre, 

273 Bloor St. W. 416-964-6337. $42. Also 

May 22(Church of the Holy Trinity). 

COMMON THREAD 

COMMUNITY CHORUS 

presents 

MUSIC, COMMUNITY 

& SOCIAL JUSTICE 

20 th Anniversary Concert 

& Sing-Along 

music-community-social-justice-tickets-59252498819. 

$30. 20th anniversary 

concert. Gala reception post-concert with 

cash bar. 

TORONTO 

BACH 

FESTIVAL 

BACH & THE 

FRENCH STYLE 

Luc Beauséjour, solo harpsichord 

Sat May 25 @ 5pm 


●●5:00: Toronto Bach Festival. Bach and the 

French Style. Luc Beauséjour, harpsichord. 

St. Barnabas Anglican Church, 361 Danforth 

Ave. 416-466-8241. $42; $37(sr); $15(30 and 

under). Festival runs May 24-26. 

●●6:30: Durham Girls’ Choir. Gallery of Song. 

Chilcott: The Lily and the Rose and others. 

Northminster United Church (Oshawa), 

676 Simcoe St. N., Oshawa. 905-434-7269. 

$15; $10(st/st). 

You’ve Got a 

Friend 

FEATURING 

PETER KATZ 

& 

THE VIVA! YOUTH BAND 

Calvin Presbyterian Church ~ 26 Delisle Ave. ~ Toronto 

Tickets available at www.orianachoir.com 

Adults: $25 Seniors/under 35: $20 Students: $10 

Oriana is scheduling auditions for next season in May and June 

Email us at auditions@orianachoir.com for more information 

ORIANA Women’s Choir gratefully acknowledges the financial assistance of 

www.orianachoir.com 

info@orianachoir.com 

MAY 25, 3PM 

commonthreadchorus.ca 

●●3:00: Common Thread Community 

Chorus. Music, Community & Social 

Justice. CT Kids, and special guests Pat 

Humphries and Sandy O. of Emma’s Revolution. 

Estonian House, 958 Broadview 

Ave. 647-345-7743 or eventbrite.ca/e/ 

●●6:30: VIVA! Youth Singers. You’ve Got a 

Friend. Trinity-St. Paul’s Centre, 427 Bloor St. 

W. 416-788-8482. $25; $20(sr/st). 

●●7:00: Café e Cultura Toronto. Tribute to 

Tom Jobim. Jobim: Dindi; Caramuru: Cigarra 

(Cicada); Jobim: A correnteza (The River’s 

Current); Caramuru: Sapo-cururu (Cururu 

Frog); Jobim: Água de beber (Drinking 

Water); and other works. Fábio Caramuru, 

piano. eventbrite.ca/fabio-caramuru. $60; 

$30(st). Reception to follow: complimentary 


appetizers; drinks available for purchase. 

●●7:15: Toronto Gilbert and Sullivan Society. 

Iolanthe. Operetta in concert. Audience 

members will be the chorus! St. Andrew’s 

United Church (Bloor St.), 117 Bloor St E. 416- 

763-0832. $10. Refreshments included. 

●●7:30: Brampton Folk Club. Annual Showcase 

Concert. Coffee-house-style folk music 

concert. St. Paul’s United Church (Brampton), 

30 Main St. S., Brampton. 647-233-3655. $18; 

$15(sr/st). Fundraising concert. 

●●7:30: Music at Metropolitan. Praise and 

Protest: Jazz, Blues and Gospel Challenges 

and Affirmations. The Met Choir, band, 

and soloists. Guest: Laurel Tubman, vocalist. 

Metropolitan United Church (Toronto), 

56 Queen St. E. 416-363-0331 x26. $20; 

$10(18 and under). 

●●7:30: Oakville Chamber Orchestra. The 

Unity of Humanity. Williams: Three Pieces 

from Schindler’s List; Demuynck: The Other 

(world première); Mendelssohn: Symphony 

No. 3 “Scottish”. Arielle Silverberg, violin; Ariel 

Harwood-Jones, soprano. Shaarel Beth-El 

Synagogue, 186 Morrison Rd., Oakville. 905- 

483-6787. $30; $25(sr); $15(st). Also May 26 

(3pm). 

●●7:30: Silverthorn Symphonic Winds. Masters 

of Music. Cable: Scottish Rhapsody; 

Vaughan Williams: English Folk Song Suite; 

Hazo: Arabesque. Wilmar Heights Centre, 

963 Pharmacy Ave., Scarborough. 416- 

742-4237. $20; $15(st). Free on-site parking; 

wheelchair accessible. 

●●8:00: Cathedral Bluffs Symphony Orchestra. 

Subscription Concert #5. Favourites 

from ballets such as Swan Lake, Nutcracker, 

Romeo and Juliet, and other well-known 

masterpieces. YOU dance Apprentices of 

the National Ballet of Canada. P.C. Ho Theatre, 

Chinese Cultural Centre of Greater 

Toronto, 5183 Sheppard Ave. E., Scarborough. 

416-879-5566. $35-$55; $30-$45(sr/ 

st); free(under 12). 7:15pm: Pre-concert talk. 

cathedralbluffs.com. 

●●8:00: Gallery 345. The Art of the Piano: 

James Giles. Works by Brahms, Schubert, 

Godowsky, Levitski, Rosenthal and others. 

345 Sorauren Ave. 416-822-9781 or Eventbrite. 


●●8:00: Mississauga Symphony Orchestra. 

The Resurrection. Mahler: Symphony No.2 

“Resurrection”. Toronto Mendelssohn 

Choir. Living Arts Centre, Hammerson Hall, 

4141 Living Arts Dr., Mississauga. 905-306- 

6000. $40-$65. 

●●8:00: Oriana Women’s Choir. Inspired: The 

Music of Jeff Enns. Jeff Enns: pieces handselected 

by the composer and other works. 

Calvin Presbyterian Church, 26 Delisle Ave. 

416-526-6257. $25; $20(sr/under 35); $10(st). 

●●8:00: Scarborough Philharmonic Orchestra. 

East Meets West. Schubert: Quartettsatz; 

Puccini: Cristanemi; Brunetti: Quintet for 

Bassoon and String Quartet Op.2 No.4; Handel: 

Lascio ch’io pianga from Rinaldo for soprano 

and string orchestra; J. Strauss: One Day 

We Were Young for women’s choir and piano; 

and new music, arrangements, and commissions 

from members of the SPO community. 

SPO Women’s Choir; Yiping Chao, soprano; 

Daniel Robinson, baritone; Larkin Hinder, bassoon; 

Ronald Royer, cello; Mark Laidman, bass; 

David Lin, piano; Odin String Quartet. St. Paul’s 

L’Amoreaux Anglican Church, 3333 Finch Ave. 

E., Scarborough. spo@spo.ca or spo.ca. $35; 

$30(sr); $15(st/musician); $10(child under 10). 

Pre-concert performance at 7:30pm: Musicians 

from St. Paul’s L’Amoureaux Community 

Music Program. 


SING! O Canada! Spotlight on Leonard 

Cohen. Heather Bambrick; The Ault Sisters; 

Hampton Avenue; Patricia O’Callaghan; David 

Sereda; The Watch. Young People’s Theatre, 

165 Front St. E. 416-694-6900. $30. 

●●8:00: St. Jude’s Celebration of the Arts. 

A Winchester Preview. Mozart: Gloria from 

the Coronation Mass; Finzi: Let Us Garlands 

Bring song cycle; Raminsh: Ubi Caritas; 

Vaughan Williams: Five Mystical Songs; Willan: 

O Praise the Lord. Kyle Guglielmo, baritone; 

St. Jude’s Choir; Simon Walker, director; 

Andrei Streliaev, organ/piano. St. Jude’s 

Anglican Church, 160 William St., Oakville. 

905-844-3972. $20. A preview of the musical 

program to be presented in the UK at Winchester 

Cathedral. 


Pines of Rome. Rossini: Overture to William 

Tell; Saint-Saëns: Piano Concerto No.4; Jordan 

Pal: Colour of Chaos; Respighi: Pines of 

Cathedral Bluffs 

SYMPHONY ORCHESTRA 

Norman Reintamm 

Artistic Director/Principal Conductor 

Saturday May 25, 2019 8 pm 

TCHAIKOVSKY 

SEASON FINALE with favourites from 

Swan Lake, Nutcracker, Romeo & Juliet, & more! 

featuring members of YOU dance Apprentices 

of the National Ballet of Canada 

— Pre-Concert Talk at 7:15 pm — 

TICKETS: from $35 ($30 student/senior; children under 12 are free) 

ORDER ONLINE cathedralbluffs.com BY PHONE 416.879.5566 

P.C. Ho Theatre 5183 Sheppard Ave East 

subscription 

(1 block east of Markham Rd), Scarborough 

cathedralbluffs.com | 416.879.5566 

concert 5 

Rome. Louis Lortie, piano; Sir Andrew Davis, 

conductor; Simon Rivard, RBC Resident Conductor. 


598-3375. $34.75-$148. Also May 24(7:30pm). 

TORONTO 

BACH 

FESTIVAL 

LATE NIGHT 

WITH BACH 

Elinor Frey, solo cello 

Sat May 25 @ 9pm 


●●9:00: Toronto Bach Festival. Late Night 

with Bach. Bach: Suite No.6 for Cello in 

D; Scott Edward Godin: Guided by voices; 

Isaiah Ceccarelli: With concord of sweet 

sounds. Elinor Frey, cello. The Black Swan, 

154 Danforth Ave. 416-466-8241. $42; 

$37(sr); $15(30 and under). Festival runs 

May 24-26. 


●●1:00: Opticianado. Lowfills Live at Opticianado. 

Laura Gillis, vocals & guitar; Phil Marvy, 

bass; Will Bustin, drums; Joe Burke, lap steel. 

2919 Dundas St. W. 416-604-2020. Free. 

●●1:30: Music at Metropolitan. Metropolitan 

Silver Band Concert. Metropolitan United 

Church (Toronto), 56 Queen St. E. 416-363- 

0331 x26. Free. Donations welcomed. 

●●2:00: Mississauga Big Band Jazz Ensemble. 

Jazz at the Legion. Port Credit Legion, 35 Front 

St. N., Port Credit. 905-270-4757. PWYC. 


SING! Duly Noted: You Make Me Feel Like 

Dancing. Duly Noted. St. Augustine of Canterbury, 

1847 Bayview Ave. 416-694-6900. $15. 

●●2:00: University Settlement Music & Arts 

School. Chamber Concert. St. George the 

Martyr Church, 30 Stephanie St. 416-598- 

3444. Free. 

●●3:00: Durham Chamber Orchestra. Ciao! 

Italian Favourites. Rota: Theme from The 

Godfather; Novaro: Inno di Mameli (Italian 

National Anthem); Puccini: O mio babbino 

caro from Gianni Schicchi; Nasi: Vortex Fractal; 

Vivaldi: Bassoon Concerto in e; and other 

works. Nadina Mackie Jackson, bassoon; 

Emily Rocha, vocalist; Country Town Singers; 

Carlos Bastidas, conductor. Forest Brook 

Community Church, 60 Kearney Dr., Ajax. 

905-493-4277. $20; free(under 12). 

●●3:00: Harmony Singers. A Song to Remember. 

You Belong to Me; Fascinatin’ Rhythm; 

I Believe, One of Those Songs, Can’t Smile 

Without You. Harvey Patterson, conductor; 

Bruce Harvey, piano. Humber Valley United 

Church, 76 Anglesey Blvd., Etobicoke. 416- 

239-5821. $20; free(child under 10). 

●●3:00: Oakville Chamber Orchestra. The 

Unity of Humanity. Williams: Three Pieces 

from Schindler’s List; Demuynck: The Other 

(world première); Mendelssohn: Symphony 

No. 3 “Scottish”. Arielle Silverberg, violin; Ariel 

Harwood-Jones, soprano. Shaarel Beth-El 

Synagogue, 186 Morrison Rd., Oakville. 905- 

483-6787. $30; $25(sr); $15(st). Also May 25 

(7:30pm). 

●●3:00: Orchestra Toronto. Primavera. Rossini: 

Overture to La gazza ladra; Weber: Clarinet 

Concerto No.1 in f; Rossini (arr. Britten); 

Les matinées musicales Op.24; Respighi: The 

Pines of Rome. Dominic Desautels, clarinet; 

Michael Newnham, conductor. George Weston 

Recital Hall, 5040 Yonge St. 1-855-985- 

2787. $45; $39(sr); $19(under 30). 

●●3:00: Syrinx Concerts Toronto. Chamber 

Music Salon. Beethoven: String Quartet 

TBA; Schumann: Piano Quintet in E-flat, Op.44; 

Morawetz: Work for String Quartet. String 

Quartet Arthur LeBlanc; Ishay Shaer, piano. 


Heliconian Hall, 35 Hazelton Ave. 416-654- 

0877. $30; $20(st). 

●●3:00: Platinum Concerts International/ 

Royal Conservatory. Sounds of Ukraine. Kyiv 

Chamber Choir; Mykola Hobdych, conductor. 

Koerner Hall, Telus Centre, 273 Bloor St. W. 

416-408-0208. $55-$75. 

TORONTO 

BACH 

FESTIVAL 

LUTHERAN 

MASSES 

Sun May 26 @ 3pm 


●●3:00: Toronto Bach Festival. Lutheran 

Masses. Bach: Mass in G BWV236; Sanctus 

in D BWV238; Mass in F BWV233. Hélène 

Brunet, soprano; Daniel Taylor, countertenor; 

Lawrence Wiliford, tenor; Joel Allison, bass; 

Toronto Bach Festival Singers and Orchestra; 

John Abberger, conductor. St. Barnabas 

Anglican Church, 361 Danforth Ave. 416-466- 

8241. $42; $37(sr); $15(30 and under). Festival 

runs May 24-26. 

●●3:00: Toronto Chamber Choir. Kaffeemusik: 

A Voice of Her Own - Musical Women 

Who Persisted, 1098-1896. Slideshow and 

music by Hildegard of Bingen, Casulana, V. 

Aleotti, R. Aleotti, Cozzolani, Strozzi, Martines, 

Fanny Mendelssohn, and Clara Schumann. 

Lucas Harris, conductor/lute; 

Stephanie Martin, chamber organ; Katherine 


Larson, narrator. Church of the Redeemer, 

162 Bloor St. W. 416-763-1695. $30; $25(sr); 

$12.50(under 30). 

●●3:30: Shevchenko Musical Ensemble. A 

Feast of Thunder: A Musical Oratorio. Surdin 

and Ryga. Shevchenko Choir; Toronto Mandolin 

Orchestra; Alexander Veprinsky, conductor. 

Trinity-St. Paul’s Centre, 427 Bloor St. 

W. 416-533-2725. $35; $20(st). 

●●3:30: Wychwood Clarinet Choir. 

Sounds of Spring, 10th Anniversary Edition. 

Howard Cable: Clarinet on Wychwood; 

Roy Greaves: Canadian Folk Song 

Suite; Watkin: Anne of Green Gables 

Medley; Canteloube: Selections from 

Chants d’Auvergne (arr. Moore); Gershwin: 

An American in Paris (arr. Greaves); 

and other works. Christina Haldane, 

soprano; Michele Jacot, clarinet and 

conductor; Roy Greaves, associate conductor. 

Church of St. Michael and All 

Angels, 611 St. Clair Ave. W. 647-292-4204 

or wychwoodchoir.com. $25; $15(sr/st); 

free(under 12). 

●●4:30: Christ Church Deer Park. Jazz Vespers: 

20th Anniversary Celebrations. The 

Music of Miles Davis. Steve McDade, trumpet; 

Alex Dean, saxophone; Robi Botos, piano; 

Scott Alexander, bass; Brian Barlow, drums. 

1570 Yonge St. 416-920-5211. Freewill offering. 

Religious service. Post-service wine and 

cheese reception. 

●●7:00: Jewish Music Week in Toronto. 

Nomadica: Music of the Gypsies, Arabs & 

Jews. David Buchbinder; Roula Said, vocalist. 

Lula Lounge, 1585 Dundas St. W. 416-508- 

0307. $30/$25(adv). Tickets at 

nomadica.eventbrite.ca. 

●●7:30: Lirit Women’s Chamber Choir. Love 

and Hallelujahs: Jewish Music for Women’s 

Voices. Works by Castelnuovo-Tedesco, 

Whitacre, Adelman Gershon, Green Willner, 

and others; Jane Naylor: After Mountains (premiere). 

Ellen Meyer, piano; Jonathan Newman, 

percussion; Renée Bouthot, soprano/ 

conductor; Guests: Penthelia Singers; Alice 

Malach, conductor. Temple Emanu-El, 120 Old 

Colony Rd., North York. templeemanuel.ca/ 

event/lirit-concert.html. $10. 


SING! Mass Choir Concert. Cadence; Kurt 

Sampson, conductor. Young People’s Theatre, 

165 Front St. E. 416-694-6900. $20. 

●●7:30: Victoria Scholars. Canadian Scholars. 

Works by Denis Bédard, Stephen 

Chatman, Tomáš Dušatko, Sir Ernest MacMillan, 

Imant Raminsh and Peter Togni. Our Lady 

of Sorrows Church, 3055 Bloor St. W., Etobicoke. 

416-761-7776. $30/$25(adv); $25(sr/ 

st)/$20(adv). 

●●8:00: New Music Concerts. Iridescence. 

McIntire: Cathedral Grove (and the Gray Jay); 

IRIDESCENCE 

Matthias McIntire 

Ana Sokolovic 

Samuel Andreyev 

May 26 | Oliphant Theatre 


Andreyev: Iridescent Notation; Sokolovic: Evta 

for solo violin and ensemble. Matthias McIntire, 

violin; Andréa Tyniec, violin; Maeve Palmer, 

soprano; New Music Concerts Ensemble; Robert 

Aitken, director. Betty Oliphant Theatre, 

404 Jarvis St. 416-961-9594. $35; $25(sr/arts 

workers); $10(st). 7:15pm: pre-concert talk. 

●●8:00: That Choir. The Moon's Glow Once 

Lit. An evening of contemporary choral music 

specially chosen by members of the choir. 

Craig Pike, conductor. Trinity College Chapel, 

U of T, 6 Hoskin Ave. thatchoir.com. PWYC. 

●●8:00: Toronto Improvisers Orchestra. 

Celebration of Gwendolyn MacEwen. Mac- 

Ewen: Terror and Erebus; Tesla (score by 

Works by Denis Bédard, Stephen Chatman, 

Ernest MacMillan, Imant Raminsh, and Peter Togni. 

Admission | $30 

Seniors & Students | $25 


Martynec). Members of the TIO; Rod Campbell, 

Robin White and Randi Helmers, actors. 

Array Space, 155 Walnut Ave. 416-830-2653. 

$10 or PWYC. 


●●12:15: Music Mondays. The Golden Age of 

Jazz Trumpet. Anthony D’Alessandro Trio; 

Chase Sanborn, trumpet. Church of the Holy 

Trinity, 19 Trinity Sq. 416-598-4521 x223. 

PWYC($10 suggested). 

●●7:00: Opera Canada. Take Note! Emerging 

Artist Series. Mélissa Danis, soprano; Ariana 

Maubach, mezzo; Noah Grove, baritone; 

Rachel Andrist, piano. Tulip Lounge, 1015 Mt. 

Pleasant Rd. 416-625-7501. $125; $100(under 

30). Tax receipt. Hors d’oeuvres, open bar. 

Casual dress. Limited seating. Street parking. 

●●7:30: Jewish Music Week in Toronto. From 

Broadway to the Met. Works by Bernstein, 

Gershwin, Bergman, Kalman, Offenbach and 

others. Nofar Yacobi, Kati Szabo Kovari, sopranos; 

Lauren Segal, mezzo; Guy Mannheim, 

Hazzan Tibor Kovari, tenors. Beth Tikvah Synagogue, 

3080 Bayview Ave. 416-221-3433. 

$40/$36(adv). Tickets at bethtikvahtoronto.org. 

●●7:30: Shaftsbury Salon Series. A Sumptuous 

Night of Song. English and French Art Songs; 

works by Strauss and Freedman. Simona Rose 

Genga, mezzo; Stéphane Mayer, piano. Atrium, 

21 Shaftesbury Ave. 647-638-4234. $30. 


●●9:45am: Jewish Music Week in Toronto. 

My Musical Story. Klara Bagley, vocalist 

and story-teller. Bernard Betel Centre, 

1003 Steeles Ave W. 416-638-4492. Free. 

●●12:00 noon: Canadian Opera Company. World 

Music Series: Celebrate Japan! Nagata Sachu; 

Kijoshi Nagata, director. Richard Bradshaw 

Amphitheatre, Four Seasons Centre for the Performing 

Arts, 145 Queen St. W. 416-363-8231. 

Free. First come, first served. No late seating. 

●●12:00 noon: Jewish Music Week in 

Toronto. The “I Could Be You” Cabaret. 

Sunday, May 26 at 3 p.m. 

A Voice of Her Own: 

Musical women 

who persisted, 

1098-1896 

Church of the Redeemer162 

Bloor St. West 

(416) 763-1695 

torontochamberchoir.ca 

Mitch Aldrich, singer. Bernard Betel Centre, 

1003 Steeles Ave W. 416-638-4492. Free. Tickets 

required at jewishcabaret.eventbrite.ca. 



Chamber Music. Sophian Szokolay, violin. Yorkminster 

Park Baptist Church, 1585 Yonge St. 

416-241-1298. Free, donations welcome. 

●●2:00: Jewish Music Week in Toronto. Two- 

Shekel Swing. Yoni Avi Battat, fiddle/vocals; 

Jesse Chevan, drums; Travis Pullman, guitar; 

David Chevan, drums; Travis Pullman, 

bass. Bernard Betel Centre, 1003 Steeles Ave 

W. 416-638-4492. Free. Tickets required at 

twoshekel.eventbrite.ca. 

●●7:30: Jewish Music Week in Toronto. Budapest 

to Israel to Toronto. Moshe Hammer, violin; 

Shoshana Telner, piano; David Guber, cantor. 

Beth Emeth Bais Yehuda Synagogue, 100 Elder 

St. 416-633-4492. $36. Tickets at beby.org. 


SING! Songs & Stories of Migration. Ariel 

Balevi; Pressgang Mutiny; Turkwaz; Sage 

Turtle; Joanna Wallfisch. Hugh’s Room Live, 

2261 Dundas St. W. 416-694-6900. $25. 


Toronto. Yonge Guns Quartet. Princess Margaret 

Cancer Centre Atrium, 610 University 

Ave. 416-633-4492. Free. 



Kingsway Organ Concert Series. Rich 

Spotts, organ. All Saints Kingsway Anglican 

Church, 2850 Bloor St. W. 416-571-3680 

or organixconcerts.ca. Freewill offering. 


●●2:00: Jewish Music Week in Toronto. Afro- 

Semitic Experience. David Cheven, bass; Warren 

Byrd, piano; Will Barlett, saxophone/ 

clarinet/flute; Saskia Laroo, trumpet; Alvin 

Carter Jr., drums. Rex Hotel Jazz and Blues 

Bar, 194 Queen St. W. 416-638-4492. Free. 

Food and drink available for purchase. 


Art Battle & SING! Toronto. Wibi A Cappella; 

Yonge Guns; Pretty Sharp. The Great 

Hall, 1087 Queen St. W. 416-694-6900. $25. 


Three Famed Cantors, One Voice. Azi 

Schwartz, Chaim Dovid Berson, Mo Glazman, 

cantors; Robbie Grunwald, music director. 

Holy Blossom Temple, 1950 Bathurst St. 416- 

789-3291 x224. $40; $20(youth 18 and under). 

Tickets at holyblossom.org. 

●●8:00: Toronto Symphony Orchestra. Denk 

Plays Mozart. Mozart: Overture to Don Giovanni 

K527; Piano Concerto No.14 in E-flat 

K449; Rondo in a K511 (for solo piano); Piano 

Concerto No.25 in C K503. Jeremy Denk, 

leader and piano; Simon Rivard, RBC Resident 

Conductor. Roy Thomson Hall, 60 Simcoe St. 

416-598-3375. $34.75-$148. Also May 30, Jun 1. 



Toronto. Tomorrow’s Stars Sing Jewish 

Disney. Artists from the Bravo Academy 

for the Performing Arts. Al Green 

Theatre, 750 Spadina Ave. 416-638-4492. 

$15/$10(adv). Tickets at 

jewishdisney.eventbrite.ca. 

●●2:00: Jewish Music Week in Toronto. The 

Stephen Sondheim Hour. Tammy Everett, 

singer; Jeannie Wyse, piano. Al Green Theatre, 

750 Spadina Ave. 416-638-4492. $15/$10(adv). 

Tickets at sondheimhour.eventbrite.ca. 


Daniel Kahn & The Painted Bird. Lula 

Lounge, 1585 Dundas St. W. 416-979-9955. 

$30/$25(adv). Tickets at ashkenaz.ca. Dinner 

reservations call 416-588-0307 after ticket 

purchase. 

Coffee House 345 

{REVISITED} 

MAY 30 @ 8:00 

Gallery 345 


●●8:00: New Music Concerts. Coffee House 

345 (Revisited). Gallery 345, 345 Sorauren 

Ave. 416-961-9594. $60; $100(2 tix). Includes 

complimentary snacks and bar. Proceeds to 

benefit New Music Concerts. 


SING! Retro-oke with Retrocity. C’est 

What, 67 Front St. E. 416-694-6900. $15. 








416-598-3375. $34.75-$148. Free pre-concert 

performance by The TSO Chamber Soloists 

(May 30 only). Also May 29, Jun 1. 


● ● 10:00am: Jewish Music Week in Toronto. 

Songs of the Jews of Calcutta. Matthias 

Hemmel, tenor; Natasha Franslow, 

piano. Shaarei Shomayim Congregation, 

470 Glencairn Ave., North York. 416-638- 

4492. Free. 


Toronto. MIR Trio. Zoomer Hall, 70 Jefferson 

Ave. mirtrio.eventbrite.ca. Free. Tickets 

required. Live on-air radio show. 

●●12:10: Music at St. Andrew’s. Noontime Recital. 

Music for 4 Hands by Brahms, Schubert and Piazzolla. 

Higuera-Lee Duo. St. Andrew’s Church 

(Toronto), 73 Simcoe St. 416-593-5600 x231. Free. 

●●2:00: Jewish Music Week in Toronto. Direct 

from Israel: Jazz Central. Shai Jaschek, 

guitar; Rosa Lea Salamon, bass/vocals; Ben 

Friedkin, drums. Rex Hotel Jazz and Blues Bar, 

194 Queen St. W. 416-633-4492. Free. Food 

and drink available for purchase. 

●●7:30: Classical Context. Prehistoric Ligeti. 

Ligeti: String Quartet No.1: Metamorphoses 

Nocturnes; Öt Arany-dal; Sonata for Solo 

Cello; Musica Ricercata I & VII; Cordes à 

vide. Quartour Despax; Elizabeth Lee, cello; 

Andrew James Clark, piano. Canadian Music 

Centre, 20 St. Joseph St. 416-961-6601. $20. 

●●7:30: Music at Dewi Sant. An Evening with 

Arthur Ozolins. Bach: Concerto in f BWV1056; 

Vierne: Carillon de Westminster; Rachmaninoff: 

Prelude in c-sharp Op.3 No.2; Schumann: 

Concerto in a. Matthew Coons, organ; Arthur 

Ozolins, piano. Dewi Sant Welsh United 

Church, 33 Melrose Ave. 416-485-7583. $20. 

●●7:30: Music at the Toronto Oratory. Oratory 

Children’s Choir: Spring Concert. Works 

by Britten, Rutter, Mozart and others. Aaron 

James, director/accompanist. Holy Family 

Roman Catholic Church, 1372 King St. W. 416- 

532-2879. Free. Donations accepted. 


SING! Jazz It Up with The Swingles 

& Countermeasure. Little Trinity Anglican 

Church, 425 King St. E. 416-694-6900. $35. 

●●8:00: Gallery 345. The Art of the Piano: 

Robi Botos. 345 Sorauren Ave. 416-822-9781 

or Eventbrite. $35. Cash only at the door. 

●●8:00: Istituto Italiano di Cultura di 

Toronto. Vesuvius Ensemble: The Plucking 

Opera. Heliconian Hall, 35 Hazelton Ave. 416- 

356-5016. $30; free(child). 

Saturday June 1 

●●7:00: Claire de Sévigné/Aviva Fortunata. 

Two Sopranos, One Friendship. Works by 

Mozart, Strauss, Donizetti and others. Claire 

de Sévigné and Aviva Fortunata, sopranos; 


Jenna Simeonov, piano. St. John’s United 

Church (Oakville), 262 Randall St., Oakville. 

n/a. $40. 

●●7:30: Annex Singers. Underneath the 

Stars. Cabaret concert of jazz standards 

and popular songs. Works by Gershwin, Porter, 

Berlin and other Songbook composers. 

Maria Case, artistic director. Parish Hall, 

Grace Church on-the-Hill, 300 Lonsdale Rd. 

416-458-4434. $30; $25(sr/st). Light fare; 

cash bar. 

●●7:30: Cantemus Singers. Tanzen und 

Springen/Dancing and Leaping. Franck: Bierlied; 

Lasso: Un jeune moine; Pange Lingua; 

Schütz: Tornate cari baci; Buxtehude: Missa 

Brevis for 5 voices. Michael Erdman, conductor. 

Church of the Holy Trinity, 19 Trinity 

Sq. 416-578-6602. $20; free(under 12). Also 

Jun 2(3pm). 

●●7:30: Etobicoke Centennial Choir. After 

the Rain. Apostolov: After the Rain, Barefoot 

Dance, Guardian Angel, and Mystic Mountain; 

Lauridsen: Les chansons des roses; and 

works by Byrd, Delibes, Fauré and others. 

Anton Apostolov, guitar; Jacek Karlowski, 

tamboura (Bulgarian lute); Nikola Gaidarov, 

kaval (Bulgarian wooden flute); Sunjung Park, 

keyboard; Hasheel Lodhia, bansuri (Indian 

flute); Rosendo Chendy Leon, percussion; Carl 

Steinhauser, piano. Humber Valley United 

Church, 76 Anglesey Blvd., Etobicoke. 416- 

779-2258. $30. Venue is accessible. 

●●7:30: National Ballet of Canada. Physical 

Thinking. Music by Franz Schubert and Thom 

Willems. William Forsythe, choreographer 

and designer. Four Seasons Centre for the 


9595. $39 and up. Opens Jun 1, 7:30pm. Runs 

to Jun 8. Sat/Sun(2pm), Wed-Fri(7:30pm). 

●●7:30: Opera by Request. Nabucco. Music 

by Verdi; libretto by Solera. Gene Wu, baritone 

(Nabucco); Cristina Pisani, soprano 

(Abigaille); Dylan Wright, bass (Zaccaria); 

Cian Horrobin, tenor (Ismaele); and others; 

Jubilate Singers 

& North York 

Concert Orchestra 

with the Hart House CHorus 

Ode 

to 

Joy 

jubilatesingers.ca 


conductor 

Rafael Luz 

Beethoven’S gLoRiouS 

9 th Symphony 

Sat. June 1, 8 pm 

Yorkminster Citadel 

Sun. June 2, 7:30 pm 

St. Simon-the-Apostle Church 

William Shookhoff, piano and conductor. 

Christ Church UCC, 1700 Mazo Crescent, Mississauga. 

416-455-2365. $20. 

●●7:30: Resonance (part of Mississauga Festival 

Choir family). Resonance in Performance: 

Spring Concert. First United Church 

(Port Credit), 151 Lakeshore Rd W., Mississauga. 

416-986-5537. $35; $30(sr/st). 

●●7:30: Toronto Messiaen Ensemble. Portrait 

of a Friendship. Gideon Gee-Bum Kim: 

Riddle, Two Poems and Epilogue, Impromptu 

on the Korean Folk tune “Doraji”; Ofer Ben- 

Amots: Montage Music, Bulgar Genevois; 

and other works. Esther Choi, flute; Peter 

Pinteric, clarinet; Steve Koh; violin; Yoon 

Woo Kim, viola; Evan Lamberton, cello; Amy 

Seulky Lee, piano; Gideon Gee-Bum Kim, artistic 

director/conductor. Guest: Daniel Ramjattan, 

guitar. Canadian Music Centre, 20 St. 

Joseph St. torontomessiaen@hotmail.com. 

Donation. 

●●8:00: Acoustic Harvest. Angelique Francis. 

St. Paul’s United Church (Scarborough), 

200 McIntosh St., Scarborough. 

lillian.wauthier@gmail.com. $25/$22(adv). 

●●8:00: Canadian Sinfonietta. Wine and 

Cheese Concert. R. Strauss: Sonata in E-flat 

for Violin and Piano; Taneyev: Piano Quintet 

in g Op.30. Erika Crino, piano; Joyce Lai and 

Alain Bouvier, violins; Ian Clarke, viola; Andras 

Weber, cello. Heliconian Hall, 35 Hazelton 

Ave. canadiansinfonietta.yapsody.com. $35; 

$30(sr); $25(st). 

●●8:00: North York Concert Orchestra/ 

Jubilate Singers/Hart House Chorus. Ode to 

Joy. Beethoven: Symphony No.9. Andrea Lett, 

soprano; Danielle MacMillan, mezzo; Michael 

Barrett, tenor; Bradley Christensen, baritone; 

Jubilate Singers; Hart House Chorus; Rafael 

Luz, conductor. Yorkminster Citadel, 1 Lord 

Seaton Rd., North York. 416-628-9195. $30; 

$25(sr); $10(st). Pre-concert chat at 7:30pm. 

Also Jun 2(7:30pm, Church of St. Peter and 

St. Simon-the-Apostle). 

The Mississauga Festival 

Choir’s youth and young 

adult choir. 

OUR FOURTH ANNUAL 

SPRING CONCERT! 

Saturday June 1, 2019 

7:30 p.m. 

First United Church: 

151 Lakeshore Rd. West 

TICKETS: mfchoir.com 

Confluence Concerts 

AT THE RIVER 

Words and music inspired by 

an enduring image 

Saturday, June 1 

8 p.m. 

confluenceconcerts.ca 

●●8:00: Confluence. At the River. St. Thomas’s 

Anglican Church (Toronto), 383 Huron 

St. 416-410-4561. $30; $20(st). 7:15 pre-concert 

chat. 


Soundcrowd: Dance Party. Opera House, 

735 Queen St. E. 416-694-6900. $30. 








416-598-3375. $34.75-$148. Also May 29, 30. 

●●10:15: Jewish Music Week in Toronto. After 

Dark: Community Melaveh Makla. Shir Harmony; 

Toronto Jewish Chorus; Toronto Jewish 

Male Choir; Jonno Lightstone, clarinet. 

Beth David B’nai Israel Beth Am, 55 Yeomans 

Rd. 416-638-4492. Free. 

Sunday June 2 

●●10:30am: Jewish Music Week in Toronto. 

Cool Kids’ Concert: Sonshine & Broccoli! 

Lisa Sonshine; Brock Burford. Beth Sholom 

Synagogue, 1445 Eglinton Ave. W. 416-638- 

4492. Free. 

●●11:30am: Mississauga Big Band Jazz Ensemble. 

Bread & Honey Festival. Memorial Park 

Streetsville, 355 Church St., Mississauga. 905- 

270-4757 or rboniface@rogers.com. Free. 

●●2:00: Choralairs Choir. Annual Public Concert. 

Beatles in Revue (medley), Hallelujah, 

Blue Skies and Joseph & the Amazing Technicolor 

Dreamcoat medley. SATB Choir. B’nai 

Torah Synagogue, 465 Patricia Ave. 416-787- 

8307. $10; free(under 10); $8(10 or more 

group rate). Accessible. 


Thinking. See Jun 1. Also Jun 5, 6, 7. 

●●3:00: Cantemus Singers. Tanzen und 

Springen/Dancing and Leaping. Franck: Bierlied; 

Lasso: Un jeune moine; Pange Lingua; 

Schütz: Tornate cari baci; Buxtehude: Missa 

Brevis for 5 voices. Michael Erdman, conductor. 

Church of the Holy Trinity, 19 Trinity Sq. 416-578- 

6602. $20; free(under 12). Also Jun 1(7:30pm). 


Sing Together with Sawuti African Children’s 

Choir. St. Andrew’s Church (Toronto), 

73 Simcoe St. 416-638-4492. Free. 

●●3:00: St. Paul’s Bloor Street Anglican 

Church. Organ Concert. Gerald Loo, organ. 

227 Bloor St. E. 416-961-8116. Free. 

●●3:30: North Toronto Community Band. 

Spring Rhythms. Marches, classics, show 

tunes, big band and more. Danny Wilks, conductor; 

Phil Coonce, violin; Sharon Smith, 

vocalist. Tribute Communities Recital Hall, 

Accolade East Building, YU, 4700 Keele St. 

416-736-5888. $20; $10(children 12 and 

under). Silent auction. 

●●4:00: Church of St. Mary Magdalene. 

Organ Fireworks. Andrew Adair, organ. 

Church of St. Mary Magdalene (Toronto), 

477 Manning Ave. 416-531-7955. Free. 

●●7:00: Strings Attached Orchestra. 

Family & Friends Annual Year End Concert. 

Isabel Bader Theatre, 93 Charles St. W. 

info@stringsattachedorchestra.com. $20. 

●●7:30: Jewish Music Week in Toronto. Jerusalem 

Swings! The Manhattan Transfer; 

Simon Spiro; Wendy Lands, singer; Canadian 

All-Star Swing Orchestra. Winter Garden 

Theatre, 189 Yonge St. 416-872-1212 or 

mirvish.com/ticketing. $60-$150. 

●●7:30: North York Concert Orchestra/Jubilate 

Singers/Hart House Chorus. Ode to Joy. 

Beethoven: Symphony No.9. Andrea Lett, soprano; 

Danielle MacMillan, mezzo; Michael Barrett, 

tenor; Bradley Christensen, baritone; 

Jubilate Singers; Hart House Chorus; Rafael 

Luz, conductor. Church of St. Peter and St. 

Simon-the-Apostle, 525 Bloor St. E. 416-485- 

1988 or brownpapertickets.com or nyco.ca. 

$30; $25(sr); $10(st). Also Jun 1(8pm, Yorkminster 

Citadel). 


SING! Cuban Fantasies with Vocal Sampling 

and Freeplay. Lula Lounge, 1585 Dundas 

St. W. 416-694-6900. $25. 

●●7:30: The Bronze Foundation. America the 

Beautiful. Handbell Ensemble. Wexford Heights 

United Church, 2102 Lawrence Ave. E., Scarborough. 

905-764-6903. $20; $10(st). 

Monday June 3 

●●12:15: Music Mondays. Acquired Taste 

Choir. Stephen Chatman: Remember; and 

June 3 - Acquired 

Taste Choir 

June 10 - James 

McLean & William 

Aide 

June 17 - Andrew 

Sords 

June 24 - Ilana 

Waldston 



other works. Church of the Holy Trinity, 

19 Trinity Sq. 416-598-4521x223. PWYC($10 

suggested). Proceeds donated to a local 

charity. 

●●8:00: Tafelmusik. Tafelmusik Baroque Summer 

Festival: Opening Night. Tafelmusik Baroque 

Orchestra and Chamber Choir; Ivars 

Taurins, choir director; Elisa Citterio; director. 

Trinity-St. Paul’s Centre, 427 Bloor St. W. 

416-964-6337. Free. Advanced general admission 

tickets will be available online for priority 

seating. 

Tuesday June 4 



Chamber Music. Jacqueline Leung, 

piano. Yorkminster Park Baptist Church, 

1585 Yonge St. 416-241-1298. Free, donations 

welcome. 


MNjcc Suzuki End of Season Ensemble 

Concert. Al Green Theatre, Miles Nadal JCC, 

750 Spadina Ave. 416-924-6211 x0 or 

gretchena@mnjcc.org. Free. 

Wednesday June 5 

●●12:30: Yorkminster Park Baptist 

Church. Organ Recital. John Palmer, organ. 

1585 Yonge St. 416-922-1167. Free. 


Thinking. See Jun 1. Also Jun 6, 7. 

●●7:30: Pomegranate Opera Productions/ 

Pride Toronto. Pomegranate. Music by Kye 

Marshall, libretto by Amanda Hale. Buddies 

in Bad Times Theatre, 12 Alexander St. pomegranateopera.com. 

$30-$50. Opens Jun 5, 

7:30pm. Runs to Jun 9. Wed-Sat(7:30pm), 

Sat/Sun(2pm). 


MNjcc Community Choir Concerts. Popular 

hits by Sting and The Lumineers; The Wiz 

(selections); Avenue Q (selections); choral 

works by Bevan and Jenkins; Gjeilo: Across 

the Vast Eternal Sky. MNjcc Suzuki string 

ARIKO 

portrait de famille 

THÉÂTRE 

SPADINA 

THEATRE 

24 SPADINA RD 

8 JUIN 20H 

JUNE 8TH 8PM 

alliance-francaise.ca 

program members; Mark Ramsay, choir director; 

Briony Glassco, assistant director; 

Asher Farber, piano. Al Green Theatre, Miles 

Nadal JCC, 750 Spadina Ave. 416-924-6211 x0 

or Mnjcc.org/choirconcert. $15. Also Jun 6. 


Brahms Symphony 4. Schumann: Overture to 

Manfred; Mendelssohn: Piano Concerto No.1; 

Brahms: Symphony No.4. Jan Lisiecki, piano; 

Karl-Heinz Steffens, conductor. Roy Thomson 

Hall, 60 Simcoe St. 416-598-3375. $34.75- 

$148. Also Jun 6, 8. 

Thursday June 6 

●●12:00 noon: Roy Thomson Hall. Noon-Hour 

Concert Series: Here’s to Song! Oakville Choir 

for Children and Youth. 60 Simcoe St. 416- 

872-4255. Free. 

●●7:30: Syrinx Concerts Toronto. Ishay Shaer 

in Concert. Beethoven: Piano Sonata Op.111; 

Debussy: 2 Etudes; Chopin: Piano Sonata No.3 

in b Op.58; Coulthard: Image Astrale. Mazzoleni 

Concert Hall, Royal Conservatory, 

273 Bloor St. W. 416-654-0877. $30; $20(st). 


Thinking. See Jun 1. Also Jun 7. 





$30-$50. Opens Jun 5, 


Sat/Sun(2pm). 


MNjcc Community Choir Concerts. Popular 

hits by Sting and The Lumineers; The Wiz 

(selections); Avenue Q (selections); choral 

works by Bevan and Jenkins; Gjeilo: Across 

the Vast Eternal Sky. MNjcc Suzuki string program 

members; Mark Ramsay, choir director; 

Briony Glassco, assistant director; Asher Farber, 

piano. Al Green Theatre, Miles Nadal JCC, 

750 Spadina Ave. 416-924-6211 x0 or Mnjcc. 

org/choirconcert. $15. Also Jun 5. 


Brahms Symphony 4. Schumann: Overture 

to Manfred; Mendelssohn: Piano Concerto 

No.1; Brahms: Symphony No.4. Jan Lisiecki, 

piano; Karl-Heinz Steffens, conductor. Roy 

Thomson Hall, 60 Simcoe St. 416-598-3375. 

$34.75-$148. Also Jun 5, 8. 

Friday June 7 


Thinking. See Jun 1. 

●●7:30: Opera by Request. A Summer Feast. 

Purcell: If Music Be the Food of Love; Hoiby: 

Bon Appetit (complete with real chocolate 

cake); Berkeley: A Dinner Engagement. 

Meghan Symon, mezzo; Lawrence Shirkie, 

baritone; Gwendolynn Yearwood, soprano; 

Josh Clemenger and Francis Domingue, 

tenors; William Shookhoff, piano and conductor. 

College Street United Church, 

452 College St. 416-455-2365. $20. 





$30-$50. Opens Jun 5, 


Sat/Sun(2pm). 

●●8:00: Didgori/MusiCamp/Clay and Paper 

Theatre/Folk Camp Canada. Didgori Ensemble 

in Toronto. Georgian polyphony. 6 members 

of Didgori ensemble from Georgia singing and 

accompanying themselves on traditional instruments. 

Trinity-St. Paul's Centre, Jeanne Lamon 

Hall, 427 Bloor St. W. 647-836-4852 or musicampto.com. 

$30; $15(st/underemployed). 

B. Concerts Beyond the GTA 

IN THIS ISSUE: Ajax, Alliston, Barrie, Belleville, Brantford, 

Cambridge, Campbellford, Deep River, Gravenhurst, Grimbsy, 

Guelph, Haliburton, Hamilton, Kingston, Kitchener, Leith, London, 

Niagara-on-the-Lake, North Bay, Orangeville, Oshawa, Owen 

Sound, Peterborough, Port Hope, St. Catharines, Stratford, 

Sudbury, Tecumseh, Uxbridge, Waterloo, Whitby, Windsor. 


●●12:00 noon: Midday Music with Shigeru. 

Chamber Music Concert. Winners from the 

Barrie Music Festival. Hiway Pentecostal 

Church, 50 Anne St. N., Barrie. 705-726-1181. 

$10; free(st). 

●●8:00: Kitchener-Waterloo Symphony. Sing 

Me a Song. Bach: Brandenburg Concerto No.6 

in B-flat; Dvořák: Serenade for Winds in d; 

Brahms: Serenade No.2 in A. James Mason, curator. 

First United Church (Waterloo), 16 William 

St. W., Waterloo. 519-745-4711 or 1-888-745- 

4717. $36. Also May 3(Guelph); 4(Cambridge). 


●●7:00: Magisterra Soloists. Eight! Brahms: 

String Sextet No.1 and works by Ferdinand 

Thieriot. Museum London Theatre, 421 Ridout 

St. N., London. 519-661-0333. $30; $25(sr); 

$15(st); $10(child). 

●●7:30: FirstOntario Performing Arts Centre. 

Art of Time Ensemble: Doghouse Roses 

- The Words & Music of Steve Earle. Andy 

Maize, vocals; Susie Ungerlieder, vocals; 

Tom Wilson, vocals; Gregory Hoskins, vocals; 

Michael Ondaatje, reader; Rick Roberts, 

reader; Andrew Burashko, piano. 250 St. 

Paul St., St. Catharines. 905-688-0722. $55; 

$46(member); $25(st). 


●●12:00 noon: Westben. New Now: Antian 

Jiang: First-Friday Lunchtime Tick Talk. 

Haydn: Variations in f; Debussy: Pour le piano; 

Beethoven: Variations on an Original Theme 

in c WoO80; Liszt: Tarentella. Antian Jiang, 

piano. Clock Tower Cultural Centre, 36 Front 

St. S., Campbellford. 705-653-5508. PWYC. 

Sixty minute concert chat. 

●●8:00: Kitchener-Waterloo Symphony. Sing 

Me a Song. Bach: Brandenburg Concerto 

No.6 in B-flat; Dvořák: Serenade for Winds 

in d; Brahms: Serenade No.2 in A. James 

Mason, curator. Harcourt Memorial United 

Church, 87 Dean Ave., Guelph. 519-745-4711 

or 1-888-745-4717. $36. Also May 1(Waterloo); 

4(Cambridge). 


●●10:00am: Kitchener-Waterloo Symphony. 

Flowers Wake Up. KWS Musicians; 

Barbara Croall, storyteller. Waterloo Region 

Museum, 10 Huron Rd., Kitchener. 519- 

745-4711 or 1-888-745-4717. $13; $11(child). 

Also Apr 27(Woolwich Memorial Centre); 

May 11(Conrad Centre for the Performing 

Arts). 10am: Pre-concert activities. 

●●2:00: King Edward Choir. Messiah Plus! 

With chamber orchestra. Handel: Choruses 

from Messiah; Dvořàk: Songs of Nature; 

Brahms: How Lovely Is Thy Dwelling Place; 

Puccini: Requiem; Rachmaninoff: Ave Maria; 

Gershwin: Medley. Oliver Balaburski, conductor. 

Collier Street United Church, 

112 Collier St., Barrie. 705-733-7955. $25; 

$15(st). Also 7:30pm. 

●●2:30: Music4Life Ensemble. Music for 

a Cure. Forest Brook Community Church, 

60 Kearney Dr., Ajax. 647-409-2274. $15; 

$10(sr); $10(st); free(child 12 and under); 


$50(Music4Life Supporter - $35 goes to 

orchestra); $25(Music4Life Supporter - 

$10 goes to orchestra). Concert benefit 

for Cystic Fibrosis Canada. Free reception 

post-concert. 

●●3:00: Achill Choral Society. In the Heart 

of the World. Mozart: Coronation Mass; Lauridsen: 

Sure on This Shining Night; Daley: In 

Remembrance; Chilcott: In the Heart of the 

World. Westminster United Church (Orangeville), 

247 Broadway Ave., Orangeville. 519- 

942-6110. $25; $10(st 13-17); $5(child). Also 

May 5(Alliston). With string quartet. 

●●7:00: Opera by Request. Miss Havisham’s 

Wedding Night and Waterbird Talk. Music by 

Dominick Argento. Brianna DeSantis, soprano 

(Miss Havisham); Parker Clement, 

baritone (The Lecturer); Claire Harris, keyboard; 

William Shookhoff, pianist/music director. 

Paulin Memorial Presbyterian Church, 

3200 Woodland Ave., Windsor. 416-455- 

2365. $25. Also May 3(Toronto, 7:30pm). 

●●7:30: Chorus Niagara. Peter Pan. Silent 

film screening with custom curated live 

choral soundtrack by Robert Cooper. Edward 

Moroney, organ; Krista Rhodes, piano; Robert 

Cooper, conductor. FirstOntario Performing 

Arts Centre, 250 St. Paul St., St. 

Catharines. 1-855-515-0722 or 905-688- 

0722. $45; $43(sr); $30(under 30); $20(st); 

$15(under 15). 

●●7:30: Deep River Symphony Orchestra. In 

Concert. Hindemith: Trauermusik; Hummel: 

Fantasie for Viola and Orchestra; Bruckner: 

Symphony No.4. Alexa King, viola; Peter Morris, 

conductor. Childs Auditorium, Mackenzie 

Community School, 87 Brockhouse Way, Deep 

River. 613-584-3737. $25; $5(st). 

●●7:30: Durham Youth Orchestra. Spring 

Concert. Mendelssohn: Violin Concerto in 

e; Beethoven: Symphony No.5. Samantha 

Cardwell, violin. Hebron Christian Reformed 

Church, 4240 Anderson St., Whitby. 905-579- 

2401. $20. 

●●7:30: Isabel Bader Centre for the Performing 

Arts. Baroque and Beyond: Bach 

and His World. Conceived, scripted and programmed 

by Alison Mackay. Blair Williams, 

narrator. 390 King St. W., Kingston. 613- 

533-2424. $40-$58; $37-$55(faculty/staff); 

$19-$29(st). 

●●7:30: King Edward Choir. Messiah Plus! 

With chamber orchestra. Handel: Choruses 

from Messiah; Dvořàk: Songs of Nature; 

Brahms: How Lovely Is Thy Dwelling Place; 

Puccini: Requiem; Rachmaninoff: Ave Maria; 

Gershwin: Medley. Oliver Balaburski, conductor. 

Collier Street United Church, 

112 Collier St., Barrie. 705-733-7955. $25; 

$15(st). Also 2pm. 

●●7:30: Menno Singers. Celebration. Mendelssohn: 

Lobgesang (Hymn of Praise). 

Mennonite Mass Choir; Waterloo Chamber 

Players. St. Peter’s Lutheran Church, 

49 Queen St. N., Kitchener. 519-576-8751. 

●●7:30: Music at First-St. Andrew’s United 

Church. Spring Concert. Jenkins: The Peacemakers. 

FSA Senior Choir; H.B. Beal S.S. Madrigal 

Singers; Sonja Gustafson, soprano; 

Laudamus Bells. First-St. Andrew’s United 

Church (London), 350 Queens Ave., London. 

519-679-8182. $20; $10(st 18 and under). 

●●7:30: New Tecumseth Singers. United in 

Song. Traditional Latvian folk songs. Septini 

Sapni Choir. Grace Baptist Church, 

354 Victoria St. E., Alliston. 705-435-5497. 


$20. 

●●7:30: Peterborough Singers. Belshazzar’s 

Feast & Fauré’s Requiem. Walton: Belshazzar’s 

Feast; Fauré: Requiem. Agnes Zsigovics, 

soprano; Andrew Tees, baritone; Ian 

Sadler, organ. Emmanuel United Church 

(Peterborough), 534 George St. N., Peterborough. 

705-745-1820. $30; $20(30 and under); 

$10(st). 

●●7:30: Sudbury Symphony Orchestra. Fireworks 

& Festivities. Louie: Music for a Celebration; 

Elgar: Cello Concerto; Beethoven: 

Symphony No.5. Rafeal Hoekman, cello. Fraser 

Auditorium, 935 Ramsey Lake Rd., Sudbury. 

705-673-1280. $44; $20(Amped Up! - 21 

and under). 

●●8:00: Bill Culp Productions. The Carpenters. 

We’ve Only Just Begun, Rainy Days and 

Mondays, Top of the World and other songs. 

Bruce Tournay and Loralee McGuirl, peformers. 

Gravenhurst Opera House, 295 Muskoka 

Rd. S., Gravenhurst. 705-687-5550. $39. 

●●8:00: Kitchener-Waterloo Symphony. 

Sing Me a Song. Bach: Brandenburg Concerto 

No.6 in B-flat; Dvořák: Serenade for 

Winds in d; Brahms: Serenade No.2 in A. 

James Mason, curator. Central Presbyterian 

Church (Cambridge), 7 Queens Sq., Cambridge. 

519-745-4711 or 1-888-745-4717. $36. 

Also May 1(Waterloo); 3(Guelph). 


●●2:00: Waterloo Concert Band. Centennial 

Celebration: C.F. Thiele. Thiele: Festival 

Overture and works by his contemporaries. 

Trevor Wagler, conductor. Knox Presbyterian 

Church (Waterloo), 50 Erb St. W., Waterloo. 

226-647-1290. Free. Snacks provided at 

intermission. 

●●2:30: Haliburton Concert Series. Rolston 

String Quartet. Mozart: String Quartet No.19 

in C, K465; Schafer: String Quartet No.2; 

Brahms: String Quartet No.2 in a, Op.51. 

Northern Lights Performing Arts Pavilion, 

5358 County Rd. 21, Haliburton. 705-455- 

9060. $30; $10(st). 

●●3:00: Achill Choral Society. In the Heart 

of the World. Mozart: Coronation Mass; Lauridsen: 

Sure on This Shining Night; Daley: In 

Remembrance; Chilcott: In the Heart of the 

World. Knox Presbyterian Church (Alliston), 

160 King St. S., Alliston. 519-942-6110. $25; 

$10(st 13-17); $5(child). Also May 4(Orangeville). 

With string quartet. 

●●3:00: Chorus Niagara Children’s Choir. We 

Come Together. Songs of family and friends 

from different cultures. Chorus Niagara 

Children’s Choir (Training Choir, Intermediate 

Choir, Concert Choir, Chamber Choir). 

St. Catharines Mennonite United Church, 

335 Linwell Rd., St. Catharines. 905-220- 

9968. $20/$15(adv); $5(12 and under). 

●●3:00: Kawartha Youth Orchestra. Spring 

Notes Concert. Northminster United Church, 

300 Sunset Blvd, Peterborough. 705-927- 

6017. $20; $5(youth); $45(family - 2 adults + 4 

children at the same residence). 

●●3:00: Klaritas Vocal Ensemble. A Concert 

for Charity. Works by Latvian and Canadian 

composers, including Ēriks Ešenvalds, 

Tālivaldis Ķeniņš, Erika Yost, Rita Strautiņš 

and others. Klaritas Vocal Ensemble; The 

Hamilton Men’s Ensemble. Christ Latvian 

Evangelical Lutheran Church, 18 Victoria Ave. 

S., Hamilton. 416-346-1955. Admission by 

donation (suggested min $20). All proceeds 

will provide aid to needy seniors in Latvia and 

contribute to the Hamilton church’s renovation 

fund. 

●●3:00: La Jeunesse Youth Orchestra. Sonic 

Bloom. Port Hope United Church, 34 South 

St., Port Hope. jyo.ca/contact. $25; free(child 

under 12). 

●●3:00: London Community Orchestra. 

Russia. Borodin: Petite Suite; Tchaikovsky: 

Piano Concerto No.1, Op.23. Stéphan Sylvestre, 

piano. Dundas Centre United Church, 

482 Dundas St., London. onstagedirect.com/ 

lco or info@lco-on.ca. $20; $16(sr); $12(st); 

$5(child 12 and under). 

●●3:00: Uxbridge Chamber Choir. Lord Nelson’s 

Mass and MacMillan’s Miserere. Haydn: 

Mass No.11 in d “Missa in Angustiis”; J. Mac- 

Millan: Miserere. Grace Rogers, soprano; Don 

Willmer, baritone; Imre Olah, organ. St. Paul’s 

Anglican Church (Uxbridge), 59 Toronto St. 

S., Uxbridge. 905-642-2096. $25. 

●●3:00: Westben. Quartet to a Tea. Meraki 

String Quartet. Clock Tower Cultural Centre, 

36 Front St. S., Campbellford. 705-653-5508. 

$35. Includes tea and treats. 

●●3:30: Artword Artbar. 60s Folk Revival: 


15 Colbourne St., Hamilton. 905-543-8512. 

$15. Also May 11(eve). 

●●3:30: Dufferin Concert Singers. United in 

Song. Traditional Latvian folk music. Septini 

Sapni Choir. Westminster United Church 

(Orangeville), 247 Broadway Ave., Orangeville. 

705-435-5497. $20. 


●●8:00: Kitchener-Waterloo Chamber Music 

Society. Complete Mozart String Quintets 1. 

Mozart: String Quintet No.1 in B-flat, No.5 in D, 

and No.3. Lafayette Quartet; Yariv Aloni, viola. 

KWCMS Music Room, 57 Young St. W., Waterloo. 

519-886-1673. $40; $25(st). 


●●2:30: Seniors Serenade. Songs and Stories 

from the Great American Songboook. Works 

by Rogers and Hart, Gershwin, Lerner and 

Lowe, and Loesser. David Schindler, piano. 

Bethel Community Church, 128 St. Vincent 

Street, Barrie. 705-726-1181. Free. 


Society. Complete Mozart String Quintets 2. 

Mozart: String Quintet No.2 in c; No.6 in E-flat; 

No.4 in g. Lafayette Quartet; Yariv Aloni, viola. 


519-886-1673. $40; $25(st). 



Carmina Burana. Eric Champagne: Vers les 

astres; Prokofiev: Violin Concerto No.1 in 

D; Orff: Carmina Burana. Bénédicte Lauzière, 

violin; Danika Lorèn, soprano; Christopher 

Mayell, tenor; Elliot Madore, baritone; 

Grand Philharmonic Choir, Children’s Choir 

and Youth Choir; Andrei Feher, conductor. 

Centre in the Square, 101 Queen St. N., Kitchener. 

519-745-4711 or 1-888-745-4717. $19- 

$85. Also May 11. 


●●10:00am: Kitchener-Waterloo Symphony. 

Flowers Wake Up. KWS Musicians; Barbara 

Croall, storyteller. Conrad Centre for the Performing 

Arts, 36 King St. W., Kitchener. 519- 

745-4711 or 1-888-745-4717. $13; $11(child). 

Also Apr 27(Woolwich Memorial Centre); 

May 4(Waterloo Region Museum). 10am: Preconcert 

activities. 

●●7:00: Melos Choir and Period Instruments. 

Early Music and Dance. From the Middle East 

to France, 9th-19th centuries. Rameau: Music 

from Les indes galantes; traditional Arabic 

folk tunes, and Eastern and Western chants. 

Guests: Alpharabius. Isabel Bader Centre for 

the Performing Arts, 390 King St. W., Kingston. 

613-767-7245. $28. 

●●7:00: Orangeville Community Band. A Celebration 

of Crooners, Canaries and Chorales. 

Featuring sing-a-longs for audience participation. 

The Rains of Scarborough Fair; Disney 

at the Movies; St. Loius Blues; Dry Your Tears 

Africa; Irish Songs. Concert band; vocal quartet. 

Orangeville District Secondary School, 

22 Faulkner St., Orangeville. 519-942-9673. 

$20/$15(adv); $15/$10(sr/adv); $10/$5(child/ 

adv). Advance tickets from Booklore or band 

members. 

●●7:00: WomEnchant Chorus & Drummers. 

The Beat Goes On. Works by Near, Cohen, 

Thompson and Sondheim. Jocelyn Fralick, 

soprano; Laura Thomas, conductor; Laurel 

Candler, accompanist. Trinity United Church 

(Grimsby), 100 Main St., Grimbsy. 905-945- 

2240. $20; free(12 and under). 

●●7:30: Brantford Symphony Orchestra. 

Pipes and Strings. Rheinberger: Concerto 

No.1 in F. Ian Sadler, organ. St. Andrew’s 

United Church (Brantford), 95 Darling St., 

Brantford. 519-759-8781. $30. 

●●7:30: Bravo Niagara! Festival of the Arts. 

Alfredo Rodriguez and Pedrito Martinez. 

Alfredo Rodriguez, piano; Pedrito Martinez, 

percussion. Stratus Vineyards, 2059 Niagara 

Stone Rd., Niagara-on-the-Lake. 289-868- 

9177 or bravoniagara.org. $60-$80. 

●●7:30: Georgian Bay Symphony. Jonathan 

Crow Plays Sibelius. Symphony No. 3 in C 

Op.52; Violin Concerto in d Op.47. Jonathan 

Crow, violin; François Koh, conductor. OSCVI 

Regional Auditorium, 1550 8th St. E., Owen 

Sound. 519-372-0212. $29; $27(sr); $5(st). 

●●7:30: Hamilton Philharmonic Orchestra. 

Mahler’s Fifth. Vivier: Orion; Mahler: Symphony 

No.5. Gemma New, conductor. FirstOntario 

Concert Hall, 1 Summers Ln., Hamilton. 

905-526-7756. $10-$71. 

●●7:30: London Symphonia. Obsessions. 

Prokofiev: Symphony No.1 Op.25; Schubert: 

Gretchen am Spinnrade; Mahler: Ich bin der 

Welt abhanden gekommen; Ravel: Boléro; 

Good: Babbit (Saxophone Concerto). Wallace 

Halladay, saxophone; Jennifer Enns-Modolo, 

mezzo. Metropolitan United Church (London), 

468 Wellington St., London. 226-270-0910. 

$47; $60(premium); $17(st). Premium provides 

best available views in reserved block 

of seating. 

●●7:30: Stratford Symphony Orchestra. Best 

of the Crooners. Michael Vanhevel, crooner. 

Avondale United Church, 194 Avondale Ave., 

Stratford. 519-271-0990. $40; $10(st); 

free(child 12 and under). 

●●8:00: Artword Artbar. 60s Folk Revival: 


15 Colbourne St., Hamilton. 905-543-8512. 

$15. Also May 5(mat). 

●●8:00: DaCapo Chamber Choir. There 

Will Be Rest. Price: Laughter & Light (premiere); 

Barber: Agnus Dei; Martin: They Will 

Pass Through the Land. Mark McDowell, 

organ. St. Matthews Lutheran Church (Kitchener), 

54 Benton St., Kitchener. 519-725- 

7549. $25; $20(sr); $1(st); $5(under 19). Also 


May 12(mat). 


Carmina Burana. Eric Champagne: Vers les 

astres; Prokofiev: Violin Concerto No.1 in 

D; Orff: Carmina Burana. Bénédicte Lauzière, 

violin; Danika Lorèn, soprano; Christopher 

Mayell, tenor; Elliot Madore, baritone; 

Grand Philharmonic Choir, Children’s Choir 

and Youth Choir; Andrei Feher, conductor. 

Centre in the Square, 101 Queen St. N., Kitchener. 

519-745-4711 or 1-888-745-4717. $19- 

$85. Also May 10. 



Jamie Parker and the New Gen. Works by 

Debussy, Brahms, Schumann and Franck. 

Jamie Parker, piano; Brian Mangrum, 

horn; Boson Mo, violin. Stratus Vineyards, 

2059 Niagara Stone Rd., Niagara-on-the- 

Lake. 289-868-9177 or bravoniagara.org. 

$25-$50. 

●●2:30: North Bay Symphony. Quintet for 

the End of Time. Messiaen: Quatuor pour la 

fin du temps; Brahms: Clarinet Sonata No.2 

(excerpts); Beethoven: Archduke Piano Trio in 

B-flat (excerpts); Cheng: Time. Calvin Cheng, 

violin; Chris Hwang, cello; Carla Perrotta, 

clarinet; Sijing Ye, piano. Calvin Presbyterian 

Church (North Bay), 401 1st Ave. W., North 

Bay. 705-474-4747 or 1-888-834-4747. $30; 

$12(st 13+); free(child with purchase of adult 

or student ticket). 

●●2:30: Orchestra Kingston. Legends and 

Light. Works by Wagner, Rimsky-Korsakov, 

Tchaikovsky, Mendelssohn and Palmer. 

Guests: The Quinte Symphony. Isabel Bader 

Centre for the Performing Arts, 390 King St. 

W., Kingston. 613-533-2424. $27; $22(sr/st/ 

faculty/staff). 

●●2:30: Surinder S. Mundra. Musical Morsels 

& Afternoon Tea: A Most Elegant Mother’s 

Day Concert. Works by Dowland, Mozart, 

Beethoven and Schubert. Alyssa DiMarco, 

soprano; Anna Kolosowski, flute; Dobrochna 

Zubek, cello; Surinder Mundra, director. St. 

George’s Anglican Church (Pickering Village), 

77 Randall Dr., Ajax. 905-683-7981. $30; 

$25(sr/st). Wheelchair accessible. 

●●3:00: DaCapo Chamber Choir. There Will 

Be Rest. Price: Laughter & Light (premiere); 

Barber: Agnus Dei; Martin: They Will Pass 

Through the Land. Mark McDowell, organ. 

Trillium Lutheran Church, 22 Willow St., Waterloo. 

519-725-7549. $25; $20(sr); $1(st); 

$5(under 19). Also May 11(eve). 

●●3:00: St. George’s Cathedral Children’s 

Choir / Youth Choir. Afternoon Tea & Concert. 

Michael Capon and Emma Drinnan, conductors. 

St. George’s Cathedral Great Hall, 

129 Wellington St., Kingston. 613-548-4617. 

Free. Voluntary offering will be collected in 

support of the choir program. 

●●3:00: Symphony on the Bay. American 

Proms. Gershwin: Overture to Crazy 

for You; Various: Tribute to Benny Goodman; 

Dvořák: Cello Concerto in b (1st mvmt: 

Allegro); Brahms: Violin Concerto in D (1st 

mvmt: Allegro non troppo). Bob DeAngelis, 

clarinet; Eena Yoon, cello; Katelyn Emery, 

violin. Burlington Performing Arts Centre, 

440 Locust St., Burlington. 905-681-6000 

or symphonyonthebay.ca. $43; $36.50(sr); 

$24.50(16-24); $12(under 16). 

●●3:30: Huronia Symphony Orchestra. Season 

Finale: Reflections of the Future. Stravinsky: 

Pulcinella Suite; Brahms: Symphony 

No.4 Op.98; Coulthard: A Canadian Fantasy. 

Oliver Balaburski, conductor. Collier Street 

United Church, 112 Collier St., Barrie. 705-721- 

4752. $25; $10(st); $5(child). 


●●12:00 noon: Music at St. Andrew’s. Organ 

Recital. Marilyn Reesor, organ. St. Andrew’s 

Presbyterian Church (Barrie), 47 Owen St., 

Barrie. 705-726-1181. $10; free(st). 


Society. In Concert. Selection of songs; Ann 

Southam: Rivers, Set II. Karen Reimer-Watts, 

piano & vocals; Vega Hingert-Mcdonald, violin 

& vocals. KWCMS Music Room, 57 Young 

St. W., Waterloo. 519-886-1673. Admission by 

donation. Receipts for $20 or more. 


●●8:00: SweetWater Music Festival. Sweet- 

Water Jazz III. Mark Fewer and Drew 

Jurecka, violins; Nathan Hiltz, guitar; Joseph 

Phillips, double bass. Heartwood Hall, 939 

2nd Ave. E., Owen Sound. 519-477-1403. 

$30/$25(adv with surcharge). Venue accessible 

only by stairs. 


●●8:00: Night Kitchen Too. In Concert. 

Invited musicians, poets and spoken word 

artists. Pinnacle Playhouse, 256 Pinnacle St., 

Belleville. 613-295-9115 or 613-849-1976. $10. 


●●2:30: Niagara Symphony Orchestra. A 

Wild Ride! (On the Opera Train). Selections 

by Verdi, Puccini, Donizetti. Chorus Niagara, 

Robert Cooper, artistic director; Chorus 

Niagara Children’s Choir, Amanda Nell, artistic 

director; Bradley Thachuk, conductor. 

Partridge Hall, FirstOntario Performing Arts 

Centre, 250 St. Paul St., St. Catharines. 

905-688-0722. $69; $64(sr);$12(st/child); 

$33(30 and under); $20(arts worker); 

$5(EyeGO). 


●●8:00: Kitchener-Waterloo Chamber 

Music Society. In Concert. Winners of the 

2019 Kiwanis Piano Competition. KWCMS 

Music Room, 57 Young St. W., Waterloo. 519- 

886-1673. $20; $10(st). 


●●7:30: Plumbing Factory Brass Band. 

Playing Favourites: Top Ten Tunes. Janáček: 

Sokol Fanfare from Sinfonietta; De Nardis: 

Trumpets Shall Sound From Every Corner 

of the Heavens from Universal Judgement; 

Unknown: The Challange; Kabalevsky: 

Overture to Colas Breugnon; Stephen Foster: 

A Medley Quick Step; and other works. 

Henry Meredith, director. Byron United 

Church, 420 Boler Rd., London. 519-471- 

1250 or 519-659-3600. $15/$13(adv); 

$10(st)/$8(st adv). Refreshments and conversation 

to follow. 


Society. In Concert. Keenan Reimer-Watts, 

piano. KWCMS Music Room, 57 Young St. W., 

Waterloo. 519-886-1673. $30; $20(st). 


●●7:30: Hamilton Philharmonic Orchestra. 

Intimate & Immersive: In the Groove. Cerrona: 

The Pieces That Fell to Earth; Di Castri: 

Cortege; Frehner: God Save the Human 

Cannonball; and other works. Gemma 

New, conductor. FirstOntario Concert Hall, 

1 Summers Ln., Hamilton. 905-526-7756. $25. 

Friday May 24 

●●7:00: Music at First-St. Andrew’s United 

Church. Woodfield Jazz. Charlie Rallo 

Quartet. First-St. Andrew’s United Church 

(London), 350 Queens Ave., London. 519-679- 

8182. $25. Cash bar. 


Society. In Concert. Bach: Gamba Sonata 

No.1 in G; Debussy: Sonata for Cello and Piano 

in d; Françaix: Variations de concert; Mendelssohn: 

Cello Sonata No.2 in D Op.56. Cameron 

Crozman, cello; Philip Chiu, piano. 


519-886-1673. $30; $20(st). 


Piano Men. Music by Billy Joel and Elton 

John. Jim Witter, piano and vocalist; Alexander 

Cannon, conductor. Centre in the Square, 

101 Queen St. N., Kitchener. 519-745-4711 or 

1-888-745-4717. $19-$88. Also May 25. 


●●6:30: Durham Girls’ Choir. Gallery of Song. 

Chilcott: The Lily and the Rose and others. 

Northminster United Church (Oshawa), 

676 Simcoe St. N., Oshawa. 905-434-7269. 

$15; $10(st/st). 


Piano Six Gala Concert. Marika Bournaki, 

Daniel Wnukowski, David Jalbert, Angela 

Park, Ian Parker, Anastasia Rizikov, pianos. 

Stratus Vineyards, 2059 Niagara Stone Rd., 

Niagara-on-the-Lake. 289-868-9177 or 

bravoniagara.org. $25-$50. 

●●7:30: Cambridge Symphony Orchestra. 

Masterworks. Knox’s Galt Presbyterian 

Church, 2 Grand Ave. S., Cambridge. 519-716- 

5566. PWYC. 

●●7:30: Melrose United Church. Beethoven 

Mass in C. Beethoven: Symphony No.5; Mass 

in C. 86 Homewood Ave., Hamilton. 905-527- 

5995. $35; $30(sr); $15(st). 

●●7:30: Peterborough Symphony Orchestra. 

Witches’ Sabbath. Berlioz: Symphonie fantastique; 

Haydn: “Military” Symphony No.100. 

Showplace Performance Centre, 290 George 

St. N., Peterborough. 705-742-7469. $20-$49; 

$10(st). 6:40pm: “Meet the Maestro” preconcert 

chat. 

●●7:30: Westben. Megan Nash: House Concert. 

David Newland: Northbound - The 

Northwest Passage in Story and Song. Clock 

Tower Cultural Centre, 36 Front St. S., Campbellford. 

705-653-5508. $20. 

●●8:00: Canadian Renaissance Music Summer 

School. Musica Transalpina. Works 

by Byrd, Tomkins, and others. Choir of the 

2019 CRMSS; Lukas Harris, lute; Greg Skidmore, 

music director. St. Peter’s Cathedral 

Basilica, 196 Dufferin Ave., London. 519-574- 

4297 or crmss.org or info@crmss.org. $25; 

$12.50(sr/st). 

●●8:00: Jeffery Concerts. Cameron Crozman 

and Philip Chiu. Bach: Gamba Sonata No.1 in 

G; Debussy: Sonata for Cello and Piano in d; 

Françaix: Variations de Concert; Mendelssohn: 

Cello Sonata No.2 in D Op.58. Cameron 

Crozman, cello; Philip Chiu, piano. Wolf Performance 

Hall, 251 Dundas St., London. 519- 

672-8800. $40. 


Piano Men. Music by Billy Joel and Elton John. 

Jim Witter, piano and vocalist; Alexander 

Cannon, conductor. Centre in the Square, 

101 Queen St. N., Kitchener. 519-745-4711 or 

1-888-745-4717. $19-$88. Also May 24. 

●●8:00: Orchestra Breva. Eroica: A Sesquicentennial 

Tribute to Laura Secord. 

Beethoven: Eroica Symphony; Gluck: Iphigénie 

en Aulide Overture; Newly commissioned 

works. Melanie Paul Tanovich, conductor. 

Assumption Hall, University of Windsor, 

400 Huron Church Rd., Windsor. 519- 

980-1113. $40/$35(adv); $30(sr)/$25(adv); 

$20(st)/$15(adv); $10(child)/$5(adv); 

free(veterans). Also May 26(St. Anne’s Parish, 

Tecumseh). 


●●3:00: Dundas Valley Orchestra. Looking Back 

and Looking Forward. Nicolai: Overture to The 

Merry Wives of Windsor; Prokofiev: Violin Concerto 

No.1 in D Op.19; Yoshiaki Okita: Promenade 

(Winner of the 2019 DVO Student Composer 

Competition); Thomas: Kinder Concerto; Mussorgsky: 

Pictures at an Exhibition. Cory Gemmell, 

violin; Laura Thomas, conductor. St. Paul’s 

United Church (Dundas), 29 Park St. W., Dundas. 

905-387-4773 or jambol@rogers.com. 

Free. Donations welcome; tax receipts issued 

for $10 or more. 

●●3:00: Durham Chamber Orchestra. Ciao! 

Italian Favourites. Rota: Theme from The 

Godfather; Novaro: Inno di Mameli (Italian 

National Anthem); Puccini: O mio babbino 

caro from Gianni Schicchi; Nasi: Vortex Fractal; 

Vivaldi: Bassoon Concerto in e; and other 

works. Nadina Mackie Jackson, bassoon; 

Emily Rocha, vocalist; Country Town Singers; 

Carlos Bastidas, conductor. Forest Brook 

Community Church, 60 Kearney Dr., Ajax. 

905-493-4277. $20; free(under 12). 


Orchestra. The Quintessence of Beethoven 

Concert. Beethoven: Symphony No.5. Knox 

Presbyterian Church (Waterloo), 50 Erb St. 

W., Waterloo. info@kwchamberorchestra.ca. 

$20; $15(sr 60+); $5(st full time); free(child 

orchestra breva 

EROICA 

A Sesquicentennial Tribute to 

Laura Secord 

Windsor | May 25 

Tecumseh | May 26 

Ingersoll | June 20 

Brantford | June 21 

Niagara-on-the-Lake | June 23 

orchestrabreva.com 



C. Music Theatre 

under 10). 

●●3:30: Kokoro Singers. Eclectic - Ah! Scarlatti: 

Exsultate Deo; K. A. Arnesen: Flight Song; 

A. Edenroth: Bumble Bee. Brenda Uchimaru, 

conductor. St. Ann’s Roman Catholic Church, 

11 Wilson St. W., Ancaster. 905-630-0748. 

$20; $15(sr/st); free(under 13). Tickets at the 

door, cash only. Also Jun 1(eve, Kitchener). 

●●7:00: Opera by Request. Der fliegende 

Holländer. Music and libretto by Wagner. 

Peter Bass, baritone (The Dutchman); Stephanie 

DeCiantis, soprano (Senta); Steven Henrikson, 

baritone (Daland); Rob Martin, tenor 

(Erik); and others; William Shookhoff, piano 

and conductor. St. Matthew’s United Church 

(Belleville), 25 Holloway St., Belleville. 416- 

455-2365. $20. 

●●8:00: Orchestra Breva. Eroica: A Sesquicentennial 

Tribute to Laura Secord. 

Beethoven: Eroica Symphony; Gluck: Iphigénie 

en Aulide Overture; Newly commissioned 

works. Melanie Paul Tanovich, conductor. 

St. Anne’s Parish, 12233 Tecumseh Rd. E., 

Tecumseh. 519-980-1113. $40/$35(adv); 

$30(sr)/$25(adv); $20(st)/$15(adv); 

$10(child)/$5(adv); free(veterans). Also 

May 25(Assumption Hall, Windsor). 



Music Society. In Concert. Haydn: Variations 

in f; Debussy: Pour le piano; Beethoven: 

Diabelli Variations in c; Piano Sonata Op.110; 

Liszt: Tarantella. Antian Jiang, piano. KWCMS 

Music Room, 57 Young St. W., Waterloo. 519- 

886-1673. $30; $20(st). 

Saturday June 1 

●●2:00: Westben. From the Top! 20th Anniversary 

Celebration. Excerpts from The 

Sound of Music, Fiddler on the Roof, The 

Selfish Giant, Joseph and the Technicolour 

Dreamcoat, and other works. Donna Bennett, 

soprano; Virginia Hatfield, soprano; Kim 

Dafoe, mezzo; Gabrielle Prata, mezzo; Mark 

DuBois, tenor; and others; Westben Choruses 

& Alumni. The Barn, 6688 County Road 

30, Campbellford. 705-653-5508. $20. Also 

Jun 2. 

●●7:30: Barrie Concert Band. 150 Years - 

Let’s Celebrate! Pauze: New work; and other 

works. Mark Tetrault, tuba; Peter Volsey, 

music director; and former conductors of the 

Barrie Concert Band. Collier Street United 

Church, 112 Collier St., Barrie. 705-252-3484. 

$20; $10(st); free(5 and under). 

●●7:30: Cellar Singers. The Road Less Travelled. 

Works by R. Murray Schafer, Derek 

Heleay and Harry Somers. St. James Anglican 

Church (Orillia), 58 Peter St. N., Orillia. thecellarsingers.com. 

$25; $10(st). 

●●7:30: Kokoro Singers. Eclectic - Ah! Scarlatti: 

Exsultate Deo; K. A. Arnesen: Flight Song; 

A. Edenroth: Bumble Bee. Brenda Uchimaru, 

conductor. Rockway Mennonite Church, 

Search listings 

by genre online at 

thewholenote.com/just-ask 

47 Onward Ave., Kitchener. 905-630-0748. 

$20; $15(sr/st); free(under 13). Tickets at the 

door, cash only. Also May 26(mat, Ancaster). 

Sunday June 2 

●●12:15: St. George’s Cathedral. Summer 

Concerts. Works by Turina, Rodrigo, Albéniz, 

Tarrega, Scarlatti and others. Adam Cicchillitti, 

guitar. St. George’s Cathedral (Kingston), 

270 King St. E., Kingston. 613-548-4617. Freewill 

donations. 

●●2:00: SweetWater Music Festival. Next 

Wave Showcase. Aspiring, emerging musicians. 

Historic Leith Church, 419134 Tom 

Thomson Lane, Leith. 519-477-1403. By donation 

($10 suggested). 

●●2:00: Westben. From the Top! 20th Anniversary 

Celebration. Excerpts from The 

Sound of Music, Fiddler on the Roof, The 

Selfish Giant, Joseph and the Technicolour 

Dreamcoat, and other works. Donna Bennett, 

soprano; Virginia Hatfield, soprano; Kim 

Dafoe, mezzo; Gabrielle Prata, mezzo; Mark 

DuBois, tenor; and others; Westben Choruses 

& Alumni. The Barn, 6688 County Road 

30, Campbellford. 705-653-5508. $20. Also 

Jun 1. 

●●3:00: Kitchener-Waterloo Community 

Orchestra. Youth Concerto Concert. Mendelssohn: 

Wedding March; Ravel: Menuet 

from Le tombeau de Couperin; Bizet: Farandole 

from L’Arlésienne Suite No.2; Sibelius: 

Valse triste; Mussorgsky: Night on Bald 

Mountain. Knox Presbyterian Church (Waterloo), 

50 Erb St. W., Waterloo. kwcommunityorchestra@gmail.com. 

$18; $15(univ or 

college st); free(high school st or younger). 

●●3:00: Rosewood Consort. Love, Loss, and 

Passion: A Musical Tour of Renaissance Europe. 

Works by des Prez, Willaert, Susato, 

Palestrina and others. David Federman, conductor. 

Grace Lutheran Church (Hamilton), 

1107 Main St. W., Hamilton. 905-648-5607. By 

donation at the door. 

Wednesday June 5 

●●12:00 noon: Midday Music with Shigeru. 

Vocal Recital. Works by Mozart, Korngold, 

Schubert, Wagner, Liszt, and Choi. Clarence 

Frazer, baritone; Julie Choi, piano. Hiway 

Pentecostal Church, 50 Anne St. N., Barrie. 

705-726-1181. $10; free(st). 

Thursday June 6 

●●12:15: St. George’s Cathedral. Summer 

Concerts. Works by Bach, Bertino and Castelnuovo-Tedesco. 

SHHH!! Ensemble (Zac 

Pulak, percussion; Edana Higham, piano). St. 

George’s Cathedral (Kingston), 270 King St. E., 

Kingston. 613-548-4617. Freewill donations. 

Friday June 7 


Society. QuartetFest I. Schubert: Winterreise 

(arr. for string quartet and voice); and other 

works. Daniel Lichti, baritone. Maureen Forrester 

Recital Hall, 75 University Ave., Waterloo. 

519-886-1673. $40; $25(st). 

●●8:00: St. George’s Cathedral. June Choirs 

Festival: Opening Choral Concert. Libertas 

Male Choir; Groot Mannenkoor Nederland. 

St. George’s Cathedral (Kingston), 270 King 

St. E., Kingston. 613-548-4617 or stgeorgescathedral.ca. 

$20. 

These music theatre listings contain a wide range of music theatre types including 

opera, operetta, musicals and other performance genres where music and 

drama combine. Listings in this section are sorted alphabetically by presenter. 

●●Belleville Theatre Guild. The Last Five 

Years. Music and lyrics by Jason Robert 

Brown. Pinnacle Playhouse Theatre, 

256 Pinnacle St., Belleville. 613-967-1442. $25; 

$22(sr); $10(st). Opens May 30, 8pm. Runs to 

Jun 16. Wed-Sat(8pm), Sun(2pm). 

●●Brampton Music Theatre. Into the Woods 

Jr. Music and lyrics by Stephen Sondheim, 

book by James Lapine. Cyril Clark Library 

Theatre, 20 Loafers Lake Lane, Brampton. 

905-874-2800. $20; $15(sr/st). Opens May 9, 

7:30pm. Runs to May 11. Thurs-Sat(7:30pm), 

Sat(4pm). 

●●Canadian Opera Company. La bohème. 

Music by Giacomo Puccini, libretto by Luigi 

Illica and Giuseppe Giacosa. Four Seasons 


St. W. 416-363-8231. $35-$225. Opens Apr 17, 

7:30pm. Runs to May 22. Days and times vary; 

visit coc.ca for details. 

●●Canadian Opera Company. Otello. Music 

by Giuseppe Verdi, libretto by Arrigo Boito. 


145 Queen St. W. 416-363-8231. $35-$225. 

Opens Apr 27, 7:30pm. Runs to May 21. Days 

and times vary; visit coc.ca for details. 

●●Canadian Opera Company. Vocal Series: 

A Few of My Favourite Things. Artists of the 

COC; Liz Upchurch, piano. Richard Bradshaw 



8231. Free. May 7, 12pm. 


1001 Nights - Tales from the East. Works by 

composers inspired by Eastern themes or 

with text by Eastern poets. Richard Bradshaw 



8231. Free. May 14, 12pm. 


Sea Variations. Canadian Art Song Project. 



145 Queen St. W. 416-363-8231. Free. May 22, 

12pm. 

●●Canadian Stage. I Swallowed a Moon Made 

of Iron. Created by Njo Kong Kie. Poetry by Xu 

Lizhi. Berkeley Street Theatre, 26 Berkeley St. 

416-368-3110. canadianstage.com. $29-$59. 

Opens May 16. Runs to May 26. Times vary. 

●●Civic Light Opera Company. Man of La 

Mancha. Music by Mitch Leigh, lyrics by Joe 

Darion, book by Dale Wasserman. Zion Cultural 

Centre, 1650 Finch Ave. E. 416-755- 

1717. $28. Opens Jun 5, 7pm. Runs to Jun 16. 

Wed(7pm), Thurs-Sat(8pm), Sun(2pm). 

●●Clarkson Music Theatre. At the Movies. 

Eden United Church, 3051 Battleford Rd., 

Mississauga. 905-828-1933. $25. May 10, 

7:30pm. Also May 11(2pm). 

●●Cor Unum Ensemble. Dido & Belinda. 

OperaQ; Trinity College Chapel, U of T, 

6 Hoskin Ave. 416-371-6999. $20; $10(st/arts 

workers). May 4, 7:30pm. Also May 5. 

●●Drayton Entertainment. Jack and the 

Beanstalk: The Panto. King’s Wharf Theatre, 

97 Jury Dr., Penetanguishene. 1-855-372- 

9866. $29-$48. Opens Jun 5, 10:30am. Runs 

to Jun 22. Days and times vary. Visit draytonentertainment.com 

for details. 

●●Drayton Entertainment. Annie. Music by 

Charles Strouse, lyrics by Martin Charnin, 

book by Thomas Meehan. Drayton Festival 

Theatre, 33 Wellington St. S., Drayton. 1-855- 

372-9866. $29-$48. Opens Jun 5, 2pm. Runs 

to Jun 30. Days and times vary. Visit draytonentertainment.com 

for details. 

●●Drayton Entertainment. Thoroughly Modern 

Millie. Music by Jeanine Tesori, lyrics by 

Dick Scanlan, book by Richard Morris and 

Dick Scanlan, based on the film. Huron County 

Playhouse, RR1, 70689 B Line, South Huron. 

1-855-372-9866. $29-$48. Opens Jun 5, 

7:30pm. Runs to Jun 22. Tues-Sat(2pm), 

Thurs/Sat(7:30pm). Note: extra show Jun 9, 

2pm. 

●●Drayton Entertainment. You’ll Get Used to 

It: The War Show. By Peter Colley. St. Jacobs 

Country Playhouse, 40 Benjamin Rd. E., Waterloo. 

1-855-372-9866. $29-$48. Opens 

Jun 5, 2pm. Runs to Jun 22. Tues-Sat(2pm), 

Thurs/Sat(7:30pm). Note: extra show Jun 9, 

2pm. 

●●Grand Theatre. Cabaret. Music by John 

Kander, lyrics by Fred Ebb, book by Joe 

Masteroff, based on the novel. Grand Theatre, 

471 Richmond St., London. 519-672- 

8800. $50-$55. Opens Apr 9, 7:30pm. Runs 

to May 11. Tues-Thurs(7:30pm), Wed(1pm), 

Fri/Sat(8pm), Sat/Sun(2pm). 

●●Grand Theatre. Mamma Mia! Music and 

lyrics by Benny Andersson, Björn Ulvaeus, 

and some songs with Stig Anderson, book 

by Catherine Johnson. Grand Theatre, 

471 Richmond St., London. 519-672-8800. 

$56-$86. Opens Apr 23, 7:30pm. Runs to 

May 11. Tues-Thurs(7:30pm), Fri/Sat(8pm), 

Sat/Sun(2pm). 

●●Harold Green Jewish Theatre Company. 

Knishes ‘n Grits. By Thom Allison and Micah 

Barnes. Greenwin Theatre, Toronto Centre 

for the Arts, 5040 Yonge St. 416-932- 

9995. $28 and up. Opens May 21, 8pm. Runs 

to Jun 2. Mon-Thurs/Sat(8pm), Wed(1pm), 

Sun(2pm). 

●●I Furiosi Baroque Ensemble. I Furiosi: The 

Opera. A pastiche Baroque opera. Music 

by Stephanie Martin, libretto by Craig Martin. 

Trinity-St. Paul’s Centre, 427 Bloor St. W. 

ifuriosi.com. $25; $15(sr/st/underemployed). 

May 17, 8pm. 

●●Istituto Italiano di Cultura di Toronto. 

Vesuvius Ensemble: The Plucking Opera. Heliconian 

Hall, 35 Hazelton Ave. 416-356-5016. 

$30; free(child). May 31, 8pm. 

●●Jewish Music Week in Toronto. From 

Broadway to the Met. Beth Tikvah Synagogue, 

3080 Bayview Ave. 416-221-3433. 

$40/$36(adv). May 27, 7:30pm. 

●●Kempenfelt Community Players. The Wedding 

Singer. Music by Matthew Sklar, lyrics 

by Chad Beguelin, book by Chad Beguelin and 

Tim Herlihy, based on the film. Ferndale Banquet 

Hall, 24 Ferndale Industrial Dr., Barrie. 

705-739-4228. $25; $20(sr/st). Opens 

May 8, 8pm. Runs to May 12. Wed-Sat(8pm), 

Sun(2pm). 

●●Lower Ossington Theatre. 9 to 5, The 

Musical. Music and lyrics by Dolly Parton, 

book by Patricia Resnick, based on the film. 

Lower Ossington Theatre, 100A Ossington 

Ave. 1-888-324-6282. $59.50-$69.50. Opens 

Mar 14, 7:30pm. Runs to May 26. Thurs- 

Sat(7:30pm), Sat/Sun(3:30pm). 


●●Lower Ossington Theatre. Mary Poppins. 

Music and lyrics by Richard M. Sherman and 

Robert B. Sherman, with George Stiles and 

Anthony Drewe, book by Julian Fellowes. 

Randolph Theatre, 736 Bathurst St. 1-888- 

324-6282. $54.99-$64.99. Opens Apr 5, 

7:30pm. Runs to May 12. Thurs-Sat(7:30pm), 

Sat(3:30pm), Sun(12pm,4pm). 

●●Mirvish. Come From Away. Music, lyrics 

and book by Irene Sankoff and David Hein. 

Elgin Theatre, 189 Yonge St. 416-872-1212. 

$69 and up. Ongoing. Tues-Sat(8pm), 

Wed(1:30pm), Sat/Sun(2pm). 

●●Mirvish. Dear Evan Hansen. Music and 

lyrics by Benj Pasek and Justin Paul, book 

by Steven Levenson. Royal Alexandra Theatre, 

260 King St. W. 416-872-1212. $69 and 

up. Opens Mar 5, 8pm. Runs to Jun 30. Tues- 

Sat(8pm), Wed(1:30pm), Sat/Sun(2pm). 

●●Mirvish. Beautiful: The Carole King 

Musical. Songs of Carole King, book by 

Douglas McGrath. Princess of Wales Theatre, 

300 King St. W. 416-872-1212. $59 and 

up. Opens Apr 9, 8pm. Runs to May 5. Tues- 

Sat(8pm), Wed(1:30pm), Sat/Sun(2pm). 

●●Mirvish. Return to Grace. Songs of Elvis. 

Princess of Wales Theatre, 300 King St. W. 

416-872-1212. $30-$130. Opens May 7, 8pm. 

Runs to May 12. Tues-Sat(8pm), Wed(1:30pm), 

Sat/Sun(2pm). 

●●Mirvish. The Sound of Music. Music by 

Richard Rodgers, lyrics by Oscar Hammerstein 

II, book by Howard Lindsay and Russel 

Crouse. Princess of Wales Theatre, 300 King 

St. W. 416-872-1212. $39-$129. Opens May 28, 

7:30pm. Runs to Jun 2. Tues-Sat(7:30pm), 

Wed/Sat/Sun(1:30pm). 

●●Mirvish. Little Black Dress. Written by Danielle 

Trzcinski, Amanda Barker, Natalie Tenenbaum 

and Christopher Bond. CAA Theatre, 

651 Yonge St. 416-872-1212. $30-$70. Opens 

Jun 4, 8pm. Runs to Jun 9. Tues-Sat(8pm), 

Sat/Sun(2pm), Sun(7pm). 

●●Mirvish/Musical Stage Company. Next to 

Normal. Music by Tom Kitt, lyrics and book by 

Brian Yorkey. CAA Theatre, 651 Yonge St. 416- 

872-1212. $60-$110. Opens Apr 26, 8pm. Runs 

to May 19. Tues-Sat(8pm), Sat/Sun(2pm). 

●●Musical Theatre Productions. Show Off: 

30 Years of Musical Theatre. Wave, Western 

University, 1151 Richmond Rd., London. 


Runs to May 4. Wed-Sat(8pm; dinner at 6pm). 

Sat(2pm). 

●●National Ballet of Canada. Physical Thinking. 

Music by Franz Schubert and Thom 

Willems. William Forsythe, choreographer 

and designer. Four Seasons Centre for the 


9595. $39 and up. Opens Jun 1, 7:30pm. Runs 

to Jun 8. Sat/Sun(2pm), Wed-Fri(7:30pm). 

●●Native Earth Performing Arts/Opera on 

the Avalon/Tapestry Opera. Shanawdithit. 

Music by Dean Burry, libretto by Yvette Nolan. 

Imperial Oil Opera Theatre, 227 Front St. E. 


Runs to May 25. Tues-Thurs/Sat(8pm). Note: 

May 18 show at 4pm. 

●●Niagara Symphony Orchestra. A Wild 

Ride! (On the Opera Train). Partridge Hall, 

FirstOntario Performing Arts Centre, 250 St. 

Paul St., St. Catharines. 905-688-0722. $69; 

$64(sr);$12(st/child); $33(30 and under); 

$20(arts worker). May 19, 2:30pm. 

●●Opera by Request. Miss Havisham’s Wedding 

Night and Waterbird Talk. Music by 

Dominick Argento. College St. United Church, 

452 College St. 416-455-2365. $20. May 3, 

7:30pm. Also May 4(Windsor, 7pm). 

●●Opera by Request. Miss Havisham’s Wedding 

Night and Waterbird Talk. Music by 

Dominick Argento. Paulin Memorial Presbyterian 

Church, 3200 Woodland Ave., Windsor. 

416-455-2365. $25. May 4, 7pm. Also 

May 3(Toronto, 7:30pm). 

●●Opera by Request. Der fliegende Holländer. 

Music and libretto by Richard Wagner. William 

Shookhoff, piano and conductor. St. Matthew’s 

United Church (Belleville), 25 Holloway 

St., Belleville. 416-455-2365. $20. May 26, 

7pm. 

●●Opera by Request. Nabucco. Music by 

Giuseppe Verdi, libretto by Temistocle Solera. 

William Shookhoff, piano and conductor. 

Christ Church UCC, 1700 Mazo Cr., Mississauga. 

416-455-2365. $20. Jun 1, 7:30pm. 

●●Opera by Request. A Summer Feast. William 

Shookhoff, piano and conductor. College 

Street United Church, 452 College St. 416- 

455-2365. $20. Jun 7, 7:30pm. 

●●Opera Canada. Take Note! Emerging Artist 

Series. Tulip Lounge, 1015 Mt. Pleasant Rd. 

416-625-7501. $125; $100(under 30). May 27, 

7pm. 

●●Pomegranate Opera Productions/Pride 

Toronto. Pomegranate. Music by Kye Marshall, 

libretto by Amanda Hale. Buddies in 

Bad Times Theatre, 12 Alexander St. pomegranateopera.com. 

$30-$50. Opens Jun 5, 


Sat/Sun(2pm). 

●●Port Hope Festival Theatre. Guys and 

Dolls. Music and lyrics by Frank Loesser, book 

by Jo Swerling and Abe Burrows. Cameco 

Capitol Arts Centre, 20 Queen St, Port Hope. 

1-888-732-1680. $38-$41. Opens May 21, 2pm. 

Runs to Jun 16. Tues-Thurs/Sat-Sun(2pm), 

Thurs-Sat(8pm). 

●●Scarborough Music Theatre. Mamma Mia! 

Music and lyrics by Benny Andersson, Björn 

Ulvaeus, and some songs with Stig Anderson, 

book by Catherine Johnson. Scarborough 

Village Theatre, 3600 Kingston Rd. 416-267- 

9292. $30; $27(sr/st). Opens May 2, 8pm. 

Runs to May 18. Days and times vary. Visit theatrescarborough.com 

for details. 

●●Shaw Festival. Brigadoon. Music by Frederick 

Loewe, lyrics and book by Alan Jay Lerner. 

Festival Theatre, 10 Queen’s Parade, 

Niagara-on-the-lake. 1-800-511-7429. $30 

and up. Previews begin May 5, 1pm. Runs to 

October 13. Days and times vary. Visit 

shawfest.com for details. 

●●Soulpepper. 88 Keys. Written and hosted 

by Tom Allen. Mike Ross, director and music 

director. Young Centre for the Performing 

Arts, 50 Tank House Lane. 416-866-8666. 

$30-$75. Opens Jun 1, 1:30pm. Runs to Jun 21. 

Days and times vary. Visit soulpepper.ca for 

details. 

●●Stratford Festival. Billy Elliot the Musical. 

Music by Elton John, lyrics and book by Lee 

Hall. Festival Theatre, 55 Queen St, Stratford. 

1-800-567-1600. $35 and up. Previews begin 

Apr 16, 2pm. Runs to Nov 3. Days and times 

vary. Visit stratfordfestival.ca for details. 

●●Stratford Festival. Little Shop of Horrors. 

Music by Alan Menken, lyrics and book by Howard 

Ashman. Avon Theatre, 99 Downie St, 

Stratford. 1-800-567-1600. $35 and up. Previews 

begin Apr 29, 2pm. Runs to Nov 2. Days 

and times vary. Visit stratfordfestival.ca for 

details. 

●●Surinder S. Mundra. Musical Morsels & 

Afternoon Tea: A Most Elegant Mother’s Day 

Concert. St. George’s Anglican Church (Pickering 

Village), 77 Randall Dr., Ajax. 905-683- 

7981. $30; $25(sr/st). May 12, 2:30pm. 

●●Theatre Ancaster Chorus. Good Vibrations: 

Sounds of the 60s. Old Firehall Arts 

Centre, 334 Wilson St. E., Ancaster. 905-304- 

7469. $28; $26(sr); $12(st). Opens May 24, 

8pm. Runs to May 26. Fri/Sat(8pm), Sat/ 

Sun(2pm). 

●●Theatre Aquarius. Freaky Friday. Music 

by Tom Kitt, lyrics by Brian Yorkey, book by 

Bridget Carpenter, based on the book. Theatre 

Aquarius, 190 King William St., Hamilton. 

905-522-7529. $40 and up. Opens Apr 24, 

7:30pm. Runs to May 19. Tues-Sat(7:30pm), 

Sat/Sun(1pm). 

●●Toronto Catholic District School Board 

Staff Arts. Disney’s The Little Mermaid. Music 

by Alan Menken, lyrics by Howard Ashman 

and Glenn Slater, book by Doug Wright. Cardinal 

Carter Academy for the Arts Theatre, 

36 Greenfield Ave. 416-222-8282 x2787. $30. 

Opens May 31, 7:30pm. Runs to Jun 8. Days 

and times vary. Visit tcdsb.org/staffarts for 

details. 

●●Toronto Singing Studio. The Dating Game. 

Written by Linda Eyman. George Ignatieff 

Theatre, Trinity College, 15 Devonshire Place. 

416-455-9238. $30; $25(sr/st). Opens May 24, 

7:30pm. Also May 25. 

●●Windsor Light Musical Theatre. Hairspray. 

Music by Marc Shaiman, lyrics by Scott 

Wittman and Marc Shaiman, book by Mark 

O’Donnell and Thomas Meehan, based on 

the film. St. Clair College Centre for the Arts: 

Chrysler Theatre, 201 Riverside Dr. W., Windsor. 

519-974-6593. $36; $31(sr/st); $19(ch). 

Opens May 3, 8pm. Runs to May 12. Fri/ 

Sat(8pm), Sun(2pm). 

D. In the Clubs (Mostly Jazz) 

120 Diner 

120 Church St. 416-792-7725 

120diner.com (full schedule) 

All shows: PWYC ($10-$20 suggested) 

Alleycatz 

2409 Yonge St. 416-481-6865 

alleycatz.ca 

All shows: Call for cover charge info. 

Mon 8:30pm Salsa Night with DJ Romantico 

with free lessons. 

Tues 8:30pm Bachata Night with Weekly 

Guest DJ with free lessons. 

Wed 7pm Midtown Blues Jam hosted by 

Andrew “Voodoo” Walters. 

Thurs 7pm Spotlight Thursdays. 

Fri & Sat 9:30pm Funk, Soul, R&B Top 40 $10 

cover after 9pm. 

Sat 3pm-6pm Matinee Jazz. 

Sun 4pm Blues in The Alley w/ Big Groove. 

May 3 Lady Kane. May 4 Soular. May 10 Gyles 

Band. May 11 Lady Kane. May 17 URequest 

Band. May 18 Soular. May 24 Red Velvet. 

May 25 York Jazz Ensemble (matinee), Disco 

Party w/ Escapade (evening). May 31 Lady 

Kane. 

Artword Artbar 

15 Colbourne St., Hamilton. 905-543-8512 

artword.net (full schedule) 

The Blue Goose Tavern 

1 Blue Goose St. 416-255-2442 

thebluegoosetavern.com (full schedule) 

Bloom 

2315 Bloor St. W. 416-767-1315 

bloomrestaurant.com (full schedule) 

All shows 7pm 19+. Call for reservations. 

Burdock 

1184 Bloor St. W. 416-546-4033 

burdockto.com 

Ticket prices vary by show, but typically 

$10-$20; check website for individual show 

prices. 

May 1 9:30pm Burhan Berken. May 2 9:30pm 

Emily Reo, Foxes in Fiction & Hush Pup. 

May 4 6:30pm Saffron A w/ Wax Mannequin. 

May 5 6:30pm Donna Linklater & Jennifer 

Foster, 9:30pm Izzy Heltai, Yitzy, Marla 

& David Celia. May 6 9:30pm Merin, Drago 

Dit Dragon & Cam Kirk Band. May 8 9:30pm 

Silver Pools & Sing Leaf. May 9 6:30pm & 

9:30pm (two shows) Jadea Kelly w/ Kennedy 

Road. May 10 9:30pm Efrim Manuel Menuck 

& Kevin Doria + Mimico. May 11 6:30pm Ken 

McCaw & John McMillan. May 12 6:30pm 

The Party Ball ft. FLOSS, Optical Flow, Nadia 

and the Half-Dozen. May 15 9:30pm Emma 

Beckett & Grace Bakker. May 16 9:30pm 

Kennedy Road. May 17 6:30pm Meg Tennant, 

9:30pm Sparklesaurus, Tange & The 

Monotymes. May 18 6:30pm Eybler Quartet, 

9:30pm SHADES: Another Black Experience. 

May 19 9:30pm Merival, Yum & Tiptoes. 

May 20 9:30pm Soda Pony w/ Kitty & The 

Rooster. May 21 6:30pm Jane Cory & Kyle 

Burghout, 9:30pm Poolblood & Louie Short. 

May 22 6:30pm Leanne Hoffman, Kate Boothman 

& Kellie Loder. May 29 6:30pm Peter 

Serrado, 9:30pm Jiants, Rogue Tenant & 

Feather Weight. 

Cameron House 

408 Queen St. W. 416-703-0811 

thecameron.com 

Castro’s Lounge 

2116 Queen St. E. 416-699-8272 

castroslounge.com (full schedule) 

All shows: No cover/PWYC 

C’est What 

67 Front St. E. (416) 867-9499 

cestwhat.com (full schedule) 

All concerts are PWYC unless otherwise 

noted. 

May 4 3pm The Boxcar Boys, 9pm Mary 

Beth’s Birthday Show w/ Special Guests. 

May 10 9pm Metronome Chomsky. May 11 

3pm The Hot Five Jazzmakers, 9pm Julia 

Tynes Band. May 15 8pm Water Cooler Trivia. 

May 18 3pm Don Valley Stompers. May 19 

7pm Pale Criminal and The Living Street. 

May 23 9pm Kevin California and Bernadette 

Connors. May 24 9pm Bob Dylan Birthday 

Bash w/ Virgil Kinsley and The Complete 

Unknowns. May 25 3pm The Hot Five Jazzmakers. 

May 26 7pm Bob Wegner. May 30 

8pm Sing! Retro-Oke with Retrocity. 

Emmet Ray, The 

924 College St. 416-792-4497 

theemmetray.com (full schedule) 


Beat by Beat | Mainly Clubs, Mostly Jazz! 

What Could 

Become of May 

COLIN STORY 

It has been a long, wet, cold road that we, weary citizens of Southern 

Ontario, have trod since the end of December. As of the publication 

of this issue of The WholeNote, it will have been about six weeks 

since the official start of spring; as of the actual writing of this 

column, in mid-to-late April, we have yet to experience any consistent 

period of the kind of spring weather that could conceivably inspire 

hope, cheerfulness, or meteorological trust. (As I look out the window 

at the world into which I will eventually have to journey, I’m treated to 

a vision of Toronto at its gloomy worst, with bright umbrellas on rainsoaked 

sidewalks providing the only glimpse of colour.) But before 

we allow ourselves to give in to despair in this season of perpetual 

discomfort, and without resorting to flowery clichés about how all of 

this rain will be worthwhile, we should perhaps consider the various 

ways in which things are, in fact, getting better in May. The first: May 

will be the first month since August in which the sun will be setting 

after 8pm for the majority of the month, making the decision between 

going out to see a show and staying in to watch yet more Netflix easier. 

The second: May marks something of a beginning to the run-up to 

the TD Toronto Jazz Festival, which will be starting on June 21, and 

which will be covered in a variety of ways, as in previous years, by The 

WholeNote, both in print and online. The third: there will be a lot of 

great music happening. 

The multi-night engagement, once a norm for clubs, is something of a 

rarity today. It is a tradition carried on by a few notable clubs, such as 

Manhattan’s venerable Blue Note, which, this May, will present funk 

saxophone legend Maceo Parker for no fewer than 12 performances 

over the course of six days. When we see a multi-night engagement 

in Toronto, however, it’s typically for a two-night run, which tends 

to happen regularly at The Rex, Jazz Bistro, and a few other venues. 

It is noteworthy, then, that Jazz Bistro will be hosting The North, a 

The North: (from left) Mike Murley, David Braid, 

Anders Mogensen, Johnny Åman 

collaborative, international quartet made up of Toronto-based musicians 

Mike Murley (saxophone) and David Braid (piano), Sweden’s 

Johnny Åman (bass) and Denmark’s Anders Mogensen (drums), for 

three evenings near the end of May. Winning a 2018 JUNO Award for 

their self-titled album, the theme that binds this collective together 

is a shared cultural experience of living in “the north,” whether in 

Canada or Scandinavia. Most WholeNote readers will likely be familiar 

with Braid and Murley, both of whom are mature, technically accomplished 

players who tend to favour communication and big-picture 

group improvisation over individual instrumental athleticism, an 

outlook which seems to be shared by Åman and Mogensen. The 

North appears in Toronto as part of touring efforts that have led them 

throughout Europe, to Australia and to China; check them out at Jazz 

Bistro on May 23, 24 and 25. 

Another multi-night engagement will be taking place at the end 

of May at The Rex, on May 30 and 31, as Teri Parker’s Free Spirits 

ensemble takes the stage in tribute to pianists Mary Lou Williams 

and Geri Allen. For those unfamiliar with these two seminal figures 

in the history of jazz piano, some context. Williams (1910-1981) was 

a textbook musical prodigy, learning how to play piano at age three 

and performing at parties to earn money for her family by age six. 

At the age of 19, after playing with Duke Ellington’s band, she was 

composing and arranging for her own group, one of the few women to 

do so at the time as an instrumentalist. A lifelong educator, she played 

with and mentored many leading bebop musicians, including Dizzy 


All shows: No cover/PWYC 

Grossman’s Tavern 

379 Spadina Ave. 416-977-7000 

grossmanstavern.com (full schedule) 

All shows: No cover (unless otherwise noted). 

Every Sat 4:30pm The Happy Pals Dixieland 

Jazz Jam. Every Sun 4:30pm New Orleans 

Connection All Star Band; 10pm Sunday Jam 

with Bill Hedefine. Every Wed 10pm Action 

Sound Band w/ Leo Valvassori. 

JPEC and 

Aga Khan 

Museum 

team up with student trios 

at the Diwan Restaurant 

on May 8 and 22. 

www.jazzcentre.ca 

has all the info. 

Hirut Cafe and Restaurant 

2050 Danforth Ave. 416-551-7560 

hirut.ca 

Every Sunday 3pm Hirut Sundays Open Mic. 

First and Third Tuesday 8pm Fingerstyle Guitar 

Association. 

Home Smith Bar – See Old Mill, The 

Hugh’s Room 

2261 Dundas St. W 416 533 5483 

hughsroom.com 

All shows at 8:30pm unless otherwise noted. 

See website for individual show prices. 

May 1 Martha Chaves. May 2 Raine Hamilton 

+ Campbell Woods. May 5 Zoe Chilco. 

May 6 Valdy w/ Doris Mason. May 9 Martyn 

Joseph. May 10 Leela Gilday. May 11 Big 

Dave McLean + Raoul And The Big Time. 

May 12 2pm Mother’s Day Jazz Brunch 

w/ Tiki Collective. May 15 James Hill & 

Anne Janelle. May 16 Tom Wilson aka 

Lee Harvey Osmond. May 17 Rob Tardik. 

May 18 Judy Collins. May 19 Cathy Fink 

+ Marcy Marxer. May 21 Martin Taylor. 

May 22 Anthony Gomes. May 25 Tin Pan 

North 2019. May 26 Manuel Valera Trio. 

May 28 SING! Songs and Stories of Migration. 

May 30 Vernon Reid. May 31 Jane Siberry. 

Jazz Bistro, The 

251 Victoria St. 416-363-5299 

jazzbistro.ca (full schedule) 

May 1 7pm GNO Jazz Jam w/ Lisa Particelli. 

May 2 8pm Colin Hunter and The Anthony 

Terpstra Seventet. May 3 8:30pm Colin 

Hunter and The Joe Sealy Quartet. May 4 

8:30pm Colin Hunter and The Joe Sealy Quartet. 

May 5 7pm Payadora Tango Ensemble 

w/ Elbio Fernandez. May 8 8pm Richard 

Hadfield. May 9 9pm Armenia Meets Cuba. 

May 10 9pm Svetlana. May 11 9pm Svetlana. 

May 12 7pm Mother’s Day w/ The Fern Lindzon 

Trio. May 14 8pm Kalya Ramu. May 15 

8pm Whiteley Wednesday. May 16 8pm Jeremy 

Walmsley Trio and Friends. May 17 

9pm Fernanda Cunha. May 18 9pm Fernanda 

Cunha. May 19 7pm Bob Brough Quartet. 

May 23 9pm The North, w/ David Braid 

and Mike Murley. May 23 9pm The North, w/ 

David Braid and Mike Murley. May 24 9pm 

The North, w/ David Braid and Mike Murley. 

May 25 9pm The North, w/ David Braid 

and Mike Murley. May 26 7pm Allyson Morris. 

May 29 8pm Janet Whiteway & Friends. 

May 30 8pm Arnold Faber’s Gold Monster w/ 

The L’il Monsters. May 31 9pm Coldjack. 

Jazz Room, The 

Located in the Huether Hotel, 59 King St. N., 

Waterloo. 226-476-1565 

kwjazzroom.com (full schedule) 

All shows: 8:30-11:30pm unless otherwise 

indicated. Attendees must be 19+. Cover 

charge varies (generally $12-$25) 

May 3 Brenda Lewis Quintet. 

May 4 Michelle Mele Trio. May 10 Ted Gibbons 


with her hands over her eyes, cursing at me?) In any case, the proposition 

at which I’m driving is that you, dear reader, consider taking 

the mother figure in your life to one of the fine shows happening on 

Mother’s Day weekend. Amongst the many possibilities, there are a 

few bona fide Mother’s Day performances happening, including (but 

not limited to) a Mother’s Day brunch at Lula Lounge, a Mother’s 

Day Jazz Brunch at Hugh’s Room, featuring a number of excellent 

singers, including Joanna Majoko, Mingjia Chen and Jocelyn Barth, 

and a Mother’s Day-themed evening performance by Fern Lindzon 

at Jazz Bistro, all happening on Sunday May 12. In any case, whatever 

you decide to do, just don’t take your mother to a movie that gives 

her motion sickness, especially not after taking her out to a two-hour 

tasting-menu meal. She will thank you. 

Gillespie and Thelonious Monk. Williams was a major influence on 

Allen (1957-2017), who led the Mary Lou Williams Collective, in addition 

to her own groups, which regularly featured musicians such as 

Wallace Roney, Ron Carter, and Terri Lyne Carrington. In addition to 

Parker, the Free Spirits band consists of trumpeter Rebecca Hennessy, 

alto saxophonist Allison Au, bassist Lauren Falls, and drummer Sarah 

Thawer, who will be playing Williams and Allen compositions that 

span almost 100 years of jazz. 

Mother’s Day: An important reminder for all readers: Mother’s Day 

is May 12. If you are reading this closer to the beginning of May, there 

is still ample time to organize a card, make some plans, and pick out 

some sort of gift. Unless your mother is particularly fond of flowers, 

chocolate and the like, try your best to avoid these trite avatars of 

affection; instead, consider giving her something that she might 

actually like, such as quality time with you. While my own mother 

has described spending long periods of time with me as “something 

of a chore,” she still enjoys my company in small doses, particularly 

when I put in the effort to actually make plans with her that she might 

enjoy. (How was I to remember, when I dragged her along to watch 

the climbing documentary Free Solo, that she was afraid of heights, 

and would spend the following hour and a half in the movie theatre 

Quartet. May 11 Mark Kelso & The Jazz Exiles. 

May 17 Christian Howes. May 18 Andrea 

Superstein Quartet. May 25 Barbra Lica. 

May 25 Manuel Valera Trio. May 29 8pm 

Saina Singer and George Koller + Mark 

Mosca. May 31 David Tiviluk Quintet. 

Lula Lounge 

1585 Dundas St. W. 416-588-0307 

lula.ca (full schedule) 

Every Fri 7:30pm Afterwork Global Party 

Series free before 8pm; Every Fri 8:30pm 

Havana Club Fridays $15; Every Sat 10:30pm 

Salsa Saturdays $15. 

May 1 6:30pm Democracy In Action. May 2 

6:30pm The Outlaw Divas sing Willie Nelson. 

May 5 6:45pm Harrison Craig. May 6 6pm 

Adrienne Maree Brown Book Launch. May 8 

7pm ÌFÉ. May 9 6:30pm Records Mama Used 

to Play feat. Carlos Morgan, 9pm Dream 

More Festival. May 12 10:30am Mother’s 

Day Brunch. May 28 5:30pm Speaker Slam: 

Power of Beliefs. 

Manhattans Pizza Bistro & Music Club 

951 Gordon St., Guelph 519-767-2440 

manhattans.ca (full schedule) 

Teri Parker at the Halifax Jazz Festival, 2017 


Mezzetta Restaurant 

681 St. Clair Ave. W. 416-658-5687 

mezzettarestaurant.com (full schedule) 

Every Wed 9 & 10:15pm Wednesday Concert 

Series. 

May 1 Dino Toledo & Tamar Ilana. May 8 Julie 

Michels & Kevin Barret. May 15 Dan Ionescu 

& John McMurchy. May 22 Brian Katz & 

Ernie Tollar. 

Monarch Tavern 

12 Clinton St. 416-531-5833 

themonarchtavern.com (full schedule) 

May 1 8pm Sam Amidon. Mat 3 9pm Kirin 

J Callinan. May 6 7:30pm Martin Loomer 

& His Orange Devils Orchestra. May 7 8pm 

Belleville-Ville. May 9 7:30pm Hooded Fang 

w/ Luge, Body Lens, Nikki Fierce. May 10 

7:30pm Red Mass w/ Brenda, Pink Acid Wash 

+ World News. May 11 7:30pm Good Kid w/ 

For Jane, the Mooks, The Dead Projectionists. 

May 13 8pm Matthew Logan Vasquez. 

May 16 8:30pm Arkson w/ Sara Fazackerely, 

Say Ritual. May 18 9pm Molly Burch. May 23 

8pm Language Arts w/ Group Therapy, LISA 

+ Cold Tea. 

Continues -> 

MAINLY CLUBS, MOSTLY JAZZ QUICK PICKS 

!! 

MAY 4, 2:30PM: Pat LaBarbera Quartet, The Pilot. Internationally renowned saxophonist 

LaBarbera leads his quartet at The Pilot’s second-floor Stealth Lounge. 

!! 

MAY 12, 7PM: Mother’s Day with the Fern Lindzon Trio, Jazz Bistro. Pianist/vocalist 

Lindzon hosts a special Mother’s Day-themed evening at Jazz Bistro. 

!! 

MAY 23 TO MAY 25, 9PM: The North, Jazz Bistro. The cross-border collective The 

North performs for three consecutive nights as part of their international tour, with 

David Braid, Mike Murley, Johnny Åman and Anders Mogensen. 

!! 

MAY 30 AND 31, 9:30PM: Teri Parker’s Free Spirits, The Rex. Parker leads a 

new quintet for two nights at The Rex in tribute to pianists Geri Allen and Mary Lou 

Williams. 

Colin Story is a jazz guitarist, writer and teacher based in Toronto. 

He can be reached at www.colinstory.com, on Instagram and 

on Twitter. 

Christ Church Deer Park 

jazz vespers 

20th Anniversary Celebrations! 

In 1999 Christ Church Deer 

Park started a liturgical 

trend – evening prayer 

with local, live jazz – and it 

took off! Join us for three 

evenings as we celebrate 

20 yearsof this unique 

expression of worship. 

April 28th at 4:30pm will feature a tribute to Art Blakey 

with Alexander Brown (trumpet), John Johnson 

(saxophone), John Sherwood (piano), Pat Collins (bass) 

& Brian Barlow (drums) 

May 12th at 4:30pm will feature Dave Brubeck’s 

“Time Out” with Bernie Senensky (piano), John Johnson 

(alto sax), Scott Alexander (bass) & Brian Barlow (drums) 

May 26 at 4:30pm will feature the music of Miles Davis, 

with Steve McDade (trumpet), Alex Dean (saxophone), 

RobiBotos (piano), Scott Alexander (bass) & 

Brian Barlow (drums) 

Wine and Cheese reception after each service 

Christ Church Deer Park, 1570 Yonge St. 

(north of St. Clair at Heath St.) 

Admission is free; donations are welcome. 

416-920-5211 

www.thereslifehere.org 



N’awlins Jazz Bar & Dining 

299 King St. W. 416-595-1958 

nawlins.ca 

All shows: No cover/PWYC. 

Every Tue 6:30pm Stacie McGregor. Every 

Wed 7pm The Jim Heineman Trio. Every Thur 

8pm Nothin’ But the Blues with Joe Bowden. 

Every Fri & Sat 8:30pm N’awlins All Star 

Band; Every Sun 7pm Brooke Blackburn. 

Nice Bistro, The 

117 Brock St. N., Whitby. 905-668-8839 

nicebistro.com (full schedule) 

Live jazz and dinner, $45.00 per person. Dinner 

from 6pm and music from 7pm to 9pm. 

May 1 Zoey Adams & Tony Quarrington. 

May 22 Larry Bond and Bob Mills. 

Old Mill, The 

21 Old Mill Rd. 416-236-2641 

oldmilltoronto.com (full schedule) 

The Home Smith Bar: No reservations. No 

cover. $20 food/drink minimum. All shows: 

7:30-10:30pm unless otherwise listed. 

May 1 Denielle Bassels Trio. May 2 John 

MacMurchy & Alison Young Quintet. 

May 3 Canadian Jazz Quartet & Friends. 

May 4 Mandy Lagan Quartet. May 7 Gene 

DiNovi. May 8 John MacLeod & Friends. 

May 8 Worst Pop Band Ever. May 10 Lenny 

Solomon’s Hot Club Experience. May 11 The 

Heillig Manoeuvre. May 15 Jules Estrin 

Quartet. May 17 Bob DeAngelis & Friends. 

May 17 Andrea Superstein Quartet. 

May 18 Brian Blain’s Blues Campfire Jam. 

May 22 Russ Little Quartet. May 23 Adrean 

Farrugia & Sophia Perlman’s Jazz Party. 

May 24 Ted’s Warren Commission. 

May 25 Sharon Smith Trio. May 29 Carol 

McCartney Quartet. May 30 Jeremy Ledbetter 

Trio. May 31 Bonnie Brett Trio. 

Only Café, The 

972 Danforth Ave. 416-463-7843 

theonlycafe.com (full schedule) 

Pilot Tavern, The 

22 Cumberland Ave. 416-923-5716 

thepilot.ca 

All shows: 2:30pm. No cover. 

May 4 Pat LaBarbera Quartet. May 11 Dave 

Young Quartet. May 25 Steve McDade 

Quartet. 

Poetry Jazz Café 

224 Augusta Ave. 416-599-5299 

poetryjazzcafe.com (full schedule) 

Reposado Bar & Lounge 

136 Ossington Ave. 416-532-6474 

reposadobar.com (full schedule) 

Reservoir Lounge, The 

52 Wellington St. E. 416-955-0887 

reservoirlounge.com (full schedule). 

Every Tue & Sat, 8:45pm Tyler Yarema 

and his Rhythm. Every Wed 9pm The Digs. 

Every Thurs 9:45pm Stacey Kaniuk. Every 

Fri 9:45pm Dee Dee and the Dirty Martinis. 

Rex Hotel Jazz & Blues Bar, The 

194 Queen St. W. 416-598-2475 

therex.ca (full schedule) 

Call for cover charge info. 

May 1 6:30pm JV’s Boogaloo Squad, 9:30pm 

Dave Young Quartet. May 2 6:30pm Kevin Quain, 

9:30pm Dave Young Quintet. May 3 4pm Hogtown 

Syncopators, 6:30pm Hannah Barstow, 

9:45pm Chuck Jackson’s Big Bad Blues Band. 

May 4 12pm Sinners Choir, 7pm Elena Kapeleris 

Group. May 5 12pm Humber College Community 

Music School Recitals, 7pm Winona Collective, 

9:30pm Jacob’s Cattle. May 6 6:30pm Peter 

Hill Quintet, 9:30pm Mike Malone & The Writers 

Jazz Orchestra. May 7 6:30pm Victor Bateman 

Trio, 9:30pm Classic Rex Jazz Jam. May 8 

6:30pm Carlo – Surf & Soul, 9:30pm Kirk Mac- 

Donald Quartet. May 9 6:30pm Kevin Quain, 

9:30pm Kirk MacDonald Quartet. May 10 4pm 

Hogtown Syncopators, 6:30pm Ben Edgecombe 

& Super Breakfast, 9:45pm Steve Koven’s Project 

Rex. May 11 12pm Sinners Choir, 3:30pm 

Swing Shift Big Band, 7pm Neon Eagle, 9:45pm 

Marito Marques. May 12 12pm Tom Richards’ 

The Big Butter & Egg Men, 3:30pm Red Hot 

Ramble, 7pm Winona Collective, 9:30pm Janice 

Mitchell. May 13 6:30pm Peter Hill Quintet, 

9:30pm Mike Herriot & the OTR Band. May 14 

6:30pm Victor Bateman Trio, 9:30pm Classic 

Rex Jazz Jam. May 15 6:30pm Carlo – Surf 

& Soul, 9:30pm Attila Fias Trio. May 16 6:30pm 

Andrew Superstein, 9:30pm Brian Charette 

Organ Trio. May 17 4pm Hogtown Syncopators, 

6:30pm Ben Edgecombe & Super Breakfast, 

9:30pm William Sperandei. May 18 12pm 

Sinners Choir, 3:30pm York University Big 

Band, 7pm Triple Bari Ensemble, 9:45pm Brian 

Krock’s Liddle. May 19 12pm Tom Richards’ The 

Big Butter & Egg Men, 3:30pm Dr. Nick & The 

Rollercoasters, 7pm Winona Collective, 9:30pm 

Christian Howe & Canadian Creative Strings. 

May 21 6:30pm Victor Bateman Trio, 9:30pm 

Classic Rex Jazz Jam. May 22 6:30pm Carlo – 

Surf & Soul, 9:30pm Larry Graves & Surefire 

Sweat. May 23 6:30pm Kevin Quain, 9:30pm 

Mark Kelso’s Fezziwig Project. May 24 4pm Hogtown 

Syncopators, 6:30pm Ben Edgecombe 

& Super Breakfast, 9:45pm Mark Kelso’s Jazz 

Exiles. May 25 12pm Sinners Choir, 3:30pm 

Laura Hubert Group, 7pm Triple Bari Ensemble, 

9:45pm Nuf Said. May 26 12pm Tom Richards’ 

The Big Butter & Egg Men, 3:30pm Need 

to Know. May 27 6:30pm Peter Hill Quintet, 

8:30pm John MacLeod’s Rex Hotel Orchestra. 

May 28 6:30pm Victor Bateman Trio. May 29 

2pm Afro-Semitic Experience, 6:30pm Carlo 

– Surf & Soul, 9:30pm Andrew Scott Group. 

May 30 6:30pm Kevin Quain, 9:30pm Teri Parker’s 

Free Spirits. May 31 2pm Direct from Israel 

– Jazz Central, 4pm Hogtown Syncopators, 

6:30pm Ben Edgecombe & Super Breakfast, 

9:30pm Teri Parker’s Free Spirits. 

Salty Dog Bar & Grill, The 

1980 Queen St. E. 416-849-5064 

thesaltydog.ca (full schedule) 

Every Tue 7-10pm Jazz Night. Every 

Thu 8:30pm Karaoke. Every Fri 9:30pm 

Blues Jam - house band with weekly featured 

guest. Every Sat 3pm Salty Dog Saturday 

Matinée. 

Sauce on Danforth 

1376 Danforth Ave. 647-748-1376 

sauceondanforth.com 

All shows: No cover. 

Every Mon 9pm Gareth Parry’s Book Club. 

Every Tue 6pm Julian Fauth. Every Wed Paul 

Reddick & Friends. Every Thu 8pm Steve 

Koven and Artie Roth. Sat and Sun Matinees 

4pm various performers. 

The Senator Winebar 

249 Victoria St 416 364-7517 

thesenator.com (full schedule) 

All shows with $10 cover charge ($5 after 

10pm arrival, free after 11pm arrival) 

May 3 Julian Fauth and Danny B. May 4 Alex 

Pangman. May 10 Julian Fauth and Bill Heffernan. 

May 11 Freeman Dre. May 17 Julian Fauth 

and Fraser Melvin. May 18 QuiQue Escamilla. 

Film Screenings 

●●May 04 7:30: St. Matthew’s Anglican 

Church, Islington. Saturday Night at the 

Movies. Accompanied by featured organist 

Thomas Gonder. St. Matthew’s Anglican 

Church, Islington. 3962 Bloor St. W., Etobicoke. 

Free parking at rear. Refreshments. 

Contact 416-231-4014 or saintmatts.ca. 

Admission $10 at the door. 

●●May 27 12:45pm: Jewish Music Week in 

Toronto. Fiddler on the Roof Singalong. You 

know the story, you love the songs! Now’s 

your chance to sing along with Tevye, Tzeitel, 

Lazar Wolf and the rest of the villagers in 

Anatevke. Based on the Broadway musical, 

this award-winning classic film features 

songs by Jerry Bock and Sheldon Harnick. 

With words projected on the screen, it’s easy 

to sing out with the rest of the audience to 

Matchmaker, To Life, Sunrise Sunset and, of 

course, Tradition! Introduction and behindthe-scenes 

trivia by Aliza Spiro. Jacob Family 

Theatre in the Posluns Auditorium, Baycrest 

Centre, 3560 Bathurst St. 2nd floor. 416-638- 

4492. Free admission. 

Galas and Fundraisers 

●●May 04 2:30: Music4Life Ensemble. Music 

for a Cure. Forest Brook Community Church, 

60 Kearney Dr., Ajax. $15; $10(sr); $10(st); 

free(child 12 and under); $50(Music4Life Supporter); 

$25(Music4Life Supporter). Benefit 

concert for Cystic Fibrosis Canada. Free postconcert 

reception. 

●●May 05 3:00: Klaritas Vocal Ensemble. 

A Concert for Charity. Works by Latvian 

and Canadian composers, including Ēriks 

Ešenvalds, Tālivaldis Ķeniņš, Erika Yost, Rita 

Strautiņš and others. Klaritas Vocal Ensemble; 

The Hamilton Men’s Ensemble. Christ Latvian 

Evangelical Lutheran Church, 18 Victoria 

Ave. S., Hamilton. For information: 416-346- 

1955. Admission by donation (suggested minimum 

of $20). All proceeds will provide aid to 

needy seniors in Latvia and contribute to the 

Hamilton church’s renovation fund. 

●●May 05 2:00: Corey Gemmell, Tom Mueller 

Elmer 

Iseler 

Singers 

Lydia Adams, Conductor 

and Artistic Director 

E. The ETCeteras 

May 24 Julian Fauth and Ken Whiteley. 

May 25 Sinners Choir. May 31 Julian Fauth 

and Ken Yoshioka. 

Tranzac 

292 Brunswick Ave. 416-923-8137 

tranzac.org (full schedule) 

3-4 shows daily, various styles, in four different 

performance spaces. Mostly PWYC. 

& Friends. Bach, Beethoven and Die Bande: A 

Fund-Raising Recital for Orchestra Toronto. 

Bach: Suite for Solo Cello No.1 in G BWV1007; 

Solo Violin No.1 in g BWV1001; Beethoven: 

Septet in E-Flat Op.20 for violin, viola, cello, 

bass, clarinet, horn and bassoon. Tom Mueller, 

cello; Corey Gemmell, violin; special 

guests from Orchestra Toronto. Gallery 345, 

345 Sorauren Ave. 416-467-7142. $50; $90(for 

2). Concert to benefit Orchestra Toronto. 

Cash bar; cash raffle. 

●●May 11 1:00: Recollectiv. Sing It Again!: A 

Fundraising Concert. An afternoon of song 

with Recollectiv, Heather Bambrick (host), 

and other musical guests. Raffle and cash 

bar. Tranzac Club, 292 Brunswick Ave. Information 

and tickets at recollectiv.ca 

●●May 16 9:00: Canadian Opera Company. 

Operanation. Open bar, hors d’oeuvres, and 

entertainment. VIP dinner currently sold out 

with a wait list. Four Seasons Centre for the 

Performing Arts, 145 Queen St. W. (at University 

Ave.). Tickets at operanation.ca or 416- 

363-8231. $150. 

●●May 23 6:00: People for Education. Telling 

Tales Out of School. A gala benefit to support 

People for Education. Includes beverages, 

hors d’oeuvres, admission to gala performance, 

live and silent auctions. Elvira Kurt, 

host; Sofia Kay, singer/songwriter; Sharon 

and Bram; and other performers. Streetcar 

Crowsnest Theatre, 345 Carlaw Ave. 416- 

534-0100 or peopleforeducation.ca/events/ 

telling-tales/. $125; $100 (per ticket, two or 

more). 

●●Jun 02 3:00: Toronto Early Music Players 

Organization. Annual Fundraising Tea 

and Silent Auction. Live music, free food and 

beverages. CDs, books, and sheet music for 

sale. Parish Hall, Grace Church on-the-Hill, 

300 Lonsdale Rd. For information call 416- 

779-5750. Admission PWYC. Suggested donation 

$10. 

Lectures, Salons and Symposia 

●●May 06 7:00: Canadian Opera Company/Woodbridge 

Library. Opera Talks: 

La Bohème. A 60-minute lecture with 

2019/20 Season 

OPEN AUDITIONS 

For singers in all 

voice categories 

Email resume: info@elmeriselersingers.com 

or telephone: 416-217-0537 

elmeriselersingers.com 


musicologist Margaret Cormier providing 

an insider’s look at the music. You’ll learn 

about what makes La Bohème one of the 

world’s most loved operas. Woodbridge 

Library, 150 Woodbridge Ave., Woodbridge. 

Advanced registration is recommended 

by calling the Woodbridge Library branch 

of the Vaughan Public Library at 905-653- 

7323. Free. 

●●May 07 7:30: The Heliconian Club. The Joy 

of Singing. Presented by Stephanie Bogle. 

In this interactive lecture Stephanie will talk 

about her career in Europe, and then get 

people to participate in some vocal exercises 

and talk about vocal technique, style 

and health. Heliconian Hall, 35 Hazleton Ave. 

416-922-3618. heliconianclub.org. Tickets 

$25, children under 12 free when accompanied 

by an adult. 


Staging Othello and Otello with the Stratford 

Festival. Explore the story of Othello as 

told through Shakespeare’s Othello and Verdi’s 

Otello in partnership with the Stratford 

Festival. Shakespeare scholar Jane Freeman 

investigates how Shakespeare, Verdi, and 

the artists performing each work employ the 

tools of their respective crafts to convey the 

human character. Learn how each genre’s 

unique qualities lend themselves to telling 

the world’s grandest narratives. Education 

Centre, Four Seasons Centre for the Performing 

Arts, 145 Queen St. W. (at University 

Ave.). Reserve tickets in advance at coc.ca/ 

OperaInsights or at 416-363-8231. Free. 

●●May 19 2:00: Classical Music Club Toronto. 

Verdi’s Otello. In conjunction with the Canadian 

Opera Company’s current production, 

our program will survey a number of audio and 

video recordings. For further information, visit 

classicalmusicclubtoronto.org or contact John 

Sharpe at 416-898-2549 or torontoshi@sympatico.ca. 

Annual membership: $25(regular); 

$10(sr/st). Free for first-time visitors. Donations 

accepted for refreshments. 

●●May 19 2:00: Toronto Opera Club. Johannes 

Debus, Music Director, Canadian Opera 

Company, guest speaker. Edward Johnson 

Bldg., Faculty of Music, 80 Queens Park, 

Room 330. 416-924-3940. $10. 

●●May 25 3:30: Toronto Bach Festival. Bach 

and the French Style. Lecture featuring Dr. 

Ellen Exner. Discover more about how Bach’s 

TORONTO 

BACH 

FESTIVAL 

FREE BACH 

LECTURE 

with Dr. Ellen Exner 

Sat May 25 @ 3:30pm 


exposure to the French Style as a young musician 

shaped his compositional approach 

across many genres. St. Barnabas-on-the- 

Danforth, 361 Danforth Ave. 416-466-8241 or 

info@torontobachfestival.org. Free. 

●●May 27 10:00am: Jewish Music Week in 

Toronto. The Hallel Lecture. Cantor Benjamin 

Maissner shares everything you want 

to know about Hallel, the beautiful psalms 

recited on joyous festivals and Rosh Chodesh. 

He will explore the wide variety of Hallel 

music through the centuries –– from rich 

choral traditions and community singing, to 

authentic Chazzanut of the Golden Age of 

the Cantorate. Accompanied by Nadia Adler, 

piano. Jacob Family Theatre in the Posluns 

Auditorium, Baycrest Centre, 3560 Bathurst 

St. 2nd floor. 416-638-4492 Free admission. 


Toronto. Current Trends in Israeli Music. Benjamin 

Rubin shows how popular music in Israel 

both reflects and affects changes in Israeli society. 

Arabic, Mediterranean, Spirituality and Rap: 

Israeli popular music today is vital, dynamic, 

diverse, colourful and beautiful –– demonstrated 

with a playlist of leading performing artists. Original 

English translations of lyrics provided. Columbus 

Centre, Carrier Room, 901 Lawrence 

Ave. W. 416-638-4492 Free admission. 


Toronto. The Holocaust’s Impact on Music. In 

this compelling session, Eric Gertner examines 

the impact of the Nazis’ coming to power 

and the Holocaust on Jewish musicians and 

Jewish music. Beginning with 1933, Eric will 

take us through the changing musical decades 

to the present, when we witness for the 

first time in history a Grammy nomination 

for a Yiddish album. Columbus Centre, Carrier 

Room, 901 Lawrence Ave. W. 416-638- 

4492 Free admission. 

Tours 

●●May 05 10:30am: Canadian Opera Company. 

90-Minute Tour of the Four Seasons 

Centre. Led by a trained docent. Includes 

information and access to the Isadore and 

Rosalie Sharp City Room, the Richard Bradshaw 

Amphitheatre and R. Fraser Elliott Hall, 

as well as backstage areas such as the wig 

rooms and dressing rooms, the orchestra 

pit, and other spaces that only a stage door 

pass could unlock. Four Seasons Centre for 

the Performing Arts, 145 Queen St. W. 416- 

363-8231. coc.ca. $20(adults); $15(sr/st). 

Also May 12, 26. A tour is available in French 

on May 26. 

Workshops 

●●May 04 10:30am: Toronto Mendelssohn 

Choir. Singsation Saturday Choral Workshop. 

Presented by. Dr. Rachel Rensink-Hoff 

of Avanti Singers and Brock University who 

will lead participants through some great 

Kyrie-Gloria pairings from early masses of 

Palestrina and Byrd through to contemporary 

settings. Yorkminster Park Baptist Church, 

Cameron Hall, 1585 Yonge St. Information at 

tmchoir.org/singsation-saturdays. $10 fee 

includes refreshments. 

●●May 07 1:30: Toronto Early Music Players 

Organization. Workshop coached by 

recorder player Matthias Maute. Armour 

Heights Community Centre, 2140 Avenue Rd. 

Bring your early instruments and a music 

stand. 416-779-5750. tempotoronto.net. $20. 

●●May 10 7:30: Toronto Recorder Players 

Society. Renaissance and Baroque workshop 

for recorders and other early instruments. 

Mount Pleasant Road Baptist Church, 

527 Mount Pleasant Rd. (entrance off Belsize). 

416-480-1853. Guests: $15. Refreshments 

included. rpstoronto.ca. 


Exploring Opera. Families with children of all 

ages are welcome to explore an opera in the 

company’s 2018/19 season through accessible 

music and drama activities. This onehour 

workshop focuses on Otello by Verdi. 

No previous experience with opera or the 

performing arts is required. Education Centre, 

Four Seasons Centre for the Performing 

Arts, 145 Queen St. W. (at University Ave.). For 

information, visit coc.ca/EO. Advance registration 

is required at the website. Free. 

●●May 31 7:30: Toronto Recorder Players 

Society. Renaissance and Baroque workshop 

for recorders and other early instruments. 

Mount Pleasant Road Baptist Church, 

527 Mount Pleasant Rd. (entrance off Belsize).416-480-1853. 

Guests: $15. Refreshments 

included. rpstoronto.ca. 

●●Jun 02 2:00: CAMMAC Toronto Region. 

Reading for singers and instrumentalists 

of Dvořák’s Stabat Mater. Alexandra 

Bourque, conductor. Christ Church Deer 

Park, 1570 Yonge St. 416-386-0258. $10; 

$6(members). 

●●Jun 03 10:00am: Labyrinth Ontario. Bulgarian 

Singing with Tzvetanka Varimezova. 

Tzvetanka brings her decades of experience 

as a choir director, vocal teacher, and highly 

respected performer to teach solo and group 

styles of Bulgarian singing. The workshop covers 

specific vocal techniques and several styles 

of Bulgarian repertoire. Vocalists of any background 

are welcome. Students at all levels 

are welcome. Easterminster United Church, 

310 Danforth Ave. Further information at labyrinthontario.com. 

Also Jun 4-7. $450. 

●●Jun 03 10:00am: Labyrinth Ontario. Lyra 

with Sympathetic Strings with Kelly Thoma. 

This individualized workshop covers technique 

and repertoire on a contemporary version 

of the traditional Cretan Lyra which Kelly has 

been involved in developing. It also serves as 

an introduction to Cretan music and to Kelly’s 

own compositional and performance practice. 

Players of any experience level are welcome. 

Those needing an instrument should contact 

Labyrinth Ontario at labyrinthontario@ 

gmail.com. Students at all levels are welcome. 

Easterminster United Church, 310 Danforth 

Ave. Further information at labyrinthontario. 

com. Also Jun 4-7. $450. 

●●Jun 03 10:00am: Labyrinth Ontario. Modal 

Music Composition with Ross Daly. Blending 

lecture, demonstration, performance, and 

hands-on composition, this workshop draws 

from Ross Daly’s decades of study of modal 

traditions. Suitable for performers and composers 

of all backgrounds. An instrument 

capable of playing quarter tones is recommended. 

Students at all levels are welcome. 

Easterminster United Church, 310 Danforth 

Ave. Further information at labyrinthontario. 

com. Also Jun 4-7. $450. 

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ADVANCED AMATEUR SINGERS! Auditioning 

all vocal parts, especially tenors for Madrigal 

workshops starting in September. We will 

be singing 1-on-a-part 5 and 6 part English 

and Italian Madrigals. Call or text Sheila at 

416-574-5250. 

Available pro bono positions with the 

KINDRED SPIRITS ORCHESTRA: Oboe, 

Bassoon, Horn, Trumpet, Violins, Violas, 

Violoncellos and Contrabasses. For 

information, visit KSOchestra.ca or email 

GM@KSOrchestra.ca 

NAVAL RESERVE BAND IN DOWNTOWN 

TORONTO IS LOOKING FOR MUSICIANS: 

Clarinet, French Horn, other positions 

available. Take pride and join. Get paid to play. 

Email david.pottinger@forces.gc.ca 

TENOR AND BASS SECTION LEADERS 

NEEDED, for Anglican Church in Unionville 

Paid positons. Contact nwucotton@spoth.ca 

BUY & SELL 

CLASSICAL RECORD AND CD COLLECTIONS 

WANTED. Minimum 350 units. Call, text or 

e-mail Aaron 416-471-8169 or A@A31.CA 

FRENCH HORN: double horn in excellent 

condition. Suitable for a committed student 

or working musician. mjbuell@gmail.com 

TRUMPET Bach Stradivarius model 37 

(never used); TENOR saxophone, Yamaha; 

TRUMPET, Olds Ambassador; Phone 

416-964-3642. 

Excellent Recording Venue 

Sessions available as short as 4 hours 

Steinway Concert Grand if desired 

Humbercrest United Church 

(Jane St. & Annette St.) 

416-767-6122 

www.humbercrest.ca 


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CELLO LESSONS DOWN TOWN TORONTO 

Individual approach to every student. 

Young professionals, adults and beginners. 

Dr. Dobrochna Zubek zubekdobrochna@ 

hotmail.com http://dobrochnazubek.com 

http://celloteaching.ca 

DO YOU SING IN A CHOIR? Would you like 

to practice your sight-singing skills? Or need 

a little help learning your notes or rhythms? 

Or experience the joy of singing duets? 

Treat yourself! Private and group lessons 

available Monday-Saturday afternoons. 

Near Woodbine subway. Call or text Sheila at 

BUSINESS 

CLASSIFIEDS 

Economical and visible! 

Promote your services 

& products to our 

musically engaged readers, 

in print and on-line. 

BOOKING DEADLINE: MAY 17 

classad@thewholenote.com 

If you can read this, 

thank a music teacher. 

MosePianoForAll.com 

416-574-5250, or lilackayak@gmail.com 

FRIENDLY, WISE PIANO TEACHER with 

loyal following and buckets of patience. 

Conservatory washouts and hesitant 

adult beginners most welcome. Lovely 

Cabbagetown studio. “Best teacher ever!” - 

Beaches tween. “Beats studying with those 

Quebec nuns!” - Rosedale senior. Peter Mose, 

416.923.3060. MosePianoForAll.com. (This 

might change your life.) 

FLUTE, PIANO, THEORY LESSONS. RCM 

Certified Advanced Specialist. Samantha 

Chang, FTCL, FLCM, LRAM, PGDip, ARCT. 

Toronto, Scarborough 416-801-9196, 

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www.samanthaflute.com 

LESSONS FOR ALL! Friendly and firm - I’m 

an experienced musician and mom teaching 

piano and singing to children (and the young at 

heart) in my Toronto home (East Leslieville). To 

discuss your child’s need for music-making 

please contact kskwhite@gmail.com 

MUSIC LESSONS IN WEST TORONTO in a 

relaxed and friendly environment. Piano, 

bass, guitar, ukelele, banjo and voice. 

marcenkin@gmail.com 416-763-3516. 

SERVICES 

ACCOUNTING AND INCOME TAX SERVICE 

for small business and individuals, to save you 

time and money, customized to meet your 

needs. Norm Pulker, B. Math. CMA. 

905-251-0309 or 905-830-2985. 

JULY 19 TH – AUGUST 10 TH , 2019 

DOG BOARDING (near Woodbine subway). 

Heading away for a while and can’t bring 

your favourite canine companion? I take just 

one dog at a time and give it a very special 

vacation. Your dog will pull you to my door on 

repeat visits! Call or text Sheila at 

416-574-5250 or lilackayak@gmail.com. 

RESTORE PRECIOUS MEMORIES lost on 

old records, tapes, photos etc.? Recitals, 

gigs, auditions, air checks, family stuff. on 

78’s, cassettes, reels, 35mm slides etc?. 

ArtsMediaProjects will lovingly restore them 

to CD’s or DVD’s. Call George @ 416-910-1091. 

VENUES AVAILABLE / WANTED 

ARE YOU PLANNING A CONCERT OR 

RECITAL? Looking for a venue? Consider 

Bloor Street United Church. Phone: 416-924- 

7439 x22. Email: tina@bloorstreetunited.org. 

GREAT CONCERT VENUE - WONDERFUL 

ACOUSTIC! Pianos - Yamaha C7 (1974) 

Bluthner (1890), Keats Pipe Organ - (1964) 

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416-691-9682 Email HopeUnitedChurch@ 

gmail.com 

PERFORMANCE / REHEARSAL / STUDIO 

SPACE AVAILABLE: great acoustics, 

reasonable rates, close to Green P 

Parking, cafés & restaurants. Historic 

church at College & Bellevue, near 

Spadina. Phone 416-921-6350. E-mail 

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PRECIOUS MEMORIES 

& PERFORMANCES 

transferred to CD, DVD. 

records | tapes 

VHS | Hi-8 | mini DV 

slides | photos | clippings 

RESTORED & 

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416-910-1091 

BEN EWING RECORDINGS 

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solutions for albums, concerts, 

demos and more. 

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Canadian Guitar Quartet, Elmer Iseler Singers, 

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Janina Fialkowska, Gryphon Trio, Moshe Hammer, 

Drew Jurecka, Julie Nesrallah, New Zealand 

String Quartet, Penderecki String Quartet, 

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GREEN PAGES 

EARLY- BIRD 

SUMMER MUSIC GUIDE 

Summer is just around the corner! 

The WholeNote’s 15th annual Green Pages will be published as 

usual in our upcoming big SUMMER edition (June/July/August). 

The print magazine hits the stands June 1 but there are always a 

few festivals that begin earlier! So some of these are featured on 

this page and the next. 

The Green Pages includes festival profiles and pictures, concert 

and event listings. Look forward to an exciting overview of the 

summer musical map – classical, jazz, opera, folk, world music and 

much more – in beautiful and sometimes unexpected locations. 

Online at thewholenote.com/green, festival profiles are added 

as they arrive, and updated, supplemented with photos, videos, 

links to social media and more. So if you can’t wait for June 1, visit 

us online at thewholenote.com/green, where you can do more 

browsing or begin a more focused search. 

Meanwhile, summer music is already under way. 

Here’s a tempting sample of the goodness to come! 

FESTIVAL CLASSICA Montreal, QC 

FESTIVAL CLASSICA 

May 24 to June 16 

Saint-Lambert, South Shore of Montreal, 

Montreal, North Shore of Montreal 

!! 

Held in Saint-Lambert, along with satellite concerts presented in 8 cities in 

the Montérégie region, on the island of Montréal and on the North Shore. From 

Berlioz to the Bee Gees: more than 65 indoor and outdoor concerts, featuring 

Natalie Choquette, Stéphane Tétreault, Jean-Philippe Sylvestre, Valérie Milot, 

Alexandre Da Costa and many more artists! 

In 2019, we mark the 150th anniversary of the death of famous composer Hector 

Berlioz (1803-1869), the 200th anniversary of the birth of composer and cellist 

Jacques Offenbach (1819-1880), as well as the 150th anniversary of the birth of 

composer Albert Roussel (1869-1937). 

888-801-9906 

www.festivalclassica.com 

LUMINATO 

June 7 to 23 

Toronto, ON 

!! 

Each June, Luminato, Toronto’s international festival of arts and ideas, takes 

over the city with a flurry of cultural activities and events designed to provoke, 

delight and inspire audiences of all ages. Over the festival’s 12-year history, more 

than 9.1 million people have experienced over 3,600 productions featuring 15,000+ 

artists from more than 40 countries around the world. 

Luminato 2019 takes place June 7 to 23, 2019 at various venues across the city 

and is jam-packed with the most exciting theatre, music, visual art, opera, dance, 

film and more from Canada and around the world. Spanning 17 days, the festival 

lineup features both paid and free indoor and outdoor events including a largerthan-life 

mirrored maze and massive choral event. 

416-368-4849 

www.luminatofestival.com 

MONTREAL CHAMBER MUSIC FESTIVAL 

June 7 to 16 

2064 ave. de Marlowe, Montréal, QC, H4A 3L5 

!! 

This season marks the beginning of a three-year project by the Montreal 

Chamber Music Festival to celebrate the life of the great Ludwig van Beethoven, 

entitled “Beethoven Chez Nous!” In 2019, 2020 and 2021, the Festival will feature 

cycles of complete works by Beethoven, some with a very special twist! Highlights 

this year are the Beethoven Violin Sonatas performed by 2019 Grammy winner 

James Ehnes and pianist Andrew Armstrong, and the Beethoven Symphonies as 

transcribed for piano by Franz Liszt, with six outstanding pianists from across 

the world. The Festival opens with a new show by Quebec’s star entertainer 

Gregory Charles, an exuberant survey of the past 250 years in music. This year 

we also showcase star tenor Joseph Kaiser and the best young talent in BMO 

Hottest Classical Artists Under 30! 

514-489-7444 

www.festivalmontreal.org 

MUSIC MONDAYS 

May 6 to September 2 

Church of the Holy Trinity, 19 Trinity Square, Toronto, ON M5G 1B1 

!! 

A lunchtime concert series at the Church of the Holy Trinity – welcome to 

our 28th season! Music Mondays has served as a launching pad for emerging 

talent since its inception in 1992. Our concerts take place in the warm acoustics 

of Holy Trinity Church, just steps away from the Eaton Centre. We feature an 

eclectic mix of everything from classical solo and chamber music to jazz, fusion 

and world music. Our goal is to provide the highest possible musical experience 

to a pay-what-you-can downtown Toronto audience. Suggested donation $10. 

Please join us and bring your lunch – and a friend – every Monday at 12:15pm 

from May to Labour Day. 

416-598-4521 x223 



MARIA BARANOVA 

LUMINATO Toronto, ON 

SING! THE TORONTO VOCAL ARTS FESTIVAL 

Toronto, ON 

ORCHESTRA BREVA - EROICA: A SESQUICENTENNIAL 

TRIBUTE TO LAURA SECORD 

May 25, 26 and June 20, 21, 23 

Windsor, Tecumseh, Ingersoll, Brantford, Niagara 

!! 

Laura Ingersoll Secord’s remarkable and significant contributions to our country’s 

history are recognized in this concert celebration highlighting her heroic acts 

and life’s journey, illustrated through music significant to her time and circumstance. 

All who have served humanity in times of war and peace, through acts of 

bravery and sacrifice, will be honoured. Featuring classical musicians, Indigenous 

artists, local historians, new works and Beethoven’s Eroica Symphony, conducted 

by Melanie Paul Tanovich. 

May 25, 8pm: Assumption Hall, Windsor; May 26, 8pm: Paroisse Ste 

Anne Parish, Tecumseh; June 20, 8pm: Ingersoll Cheese Museum, Ingersoll; 

June 21, 8pm: Sanderson Centre, Brantford; June 23, 2pm: Queenston Heights, 

Niagara-on-the-Lake. 

519-980-1113 

www.orchestrabreva.com 

SING! THE TORONTO VOCAL ARTS FESTIVAL 

May 24 to June 2 

Toronto, ON 

!! 

SING! TORONTO is Canada’s premier a cappella festival. All the amazing 

sounds of the unaccompanied human voice come together for ten days of glorious 

singing featuring pop, jazz, folk, gospel, choral, world, barbershop and live 

looping music. Featured groups this year include international superstars The 

Swingles (UK), Mzansi A Cappella Ensemble from South Africa, Cuba’s Vocal 

Sampling; some of Canada’s leading a cappella groups including Countermeasure, 

Freeplay, Retrocity, Hampton Avenue, The Watch, and Pressgang Mutiny, a SING! 

Mass Choir conducted by Kurt Sampson with Toronto’s Juno Award-winning 

Cadence; celebrated Canadian singers Heather Bambrick, David Sereda, Patricia 

O’Callaghan; up and coming groups The Ault Sisters, WIBI, Yonge Guns and 

Turkwaz. Choose from 10 concerts, 4 free outdoor stage events and 7 workshops. 

416-694-6900 

www.singtoronto.com 

TAFELMUSIK BAROQUE SUMMER FESTIVAL 

June 3 to 15 

Toronto, ON 

!! 

Musicians from around the world gather in Toronto for the annual Tafelmusik 

Baroque Summer Festival, featuring the Tafelmusik Baroque Orchestra 

and Chamber Choir, and presented in conjunction with the Tafelmusik Baroque 

Summer Institute. Join us for a series of five free concerts in Jeanne Lamon Hall, 

Trinity-St. Paul’s Centre; Walter Hall, University of Toronto; and Grace Church 

on-the-Hill. All concerts are open to the public. Tickets required for “Opening 

Night” on June 3 and “The Grand Finale” on June 15. For tickets and more information, 

visit www.tafelmusik.org/TBSF 

416-964-6337 

www.tafelmusik.org/TBSF 

SUMMER MUSIC PRESENTERS! Like what you see? 

The WholeNote’s annual Green Pages Summer 

Music Guide is an excellent and inexpensive 

vehicle for promoting your festival to 

music lovers in Ontario and beyond, published 

in our upcoming SUMMER print edition (June/ 

July/August; 30,000 copies) and online at 

thewholenote.com/green. 

You get a 120-word profile of your festival, a 

photo accompanying the online profile plus 

optional web links and embedded video links. 

You get the opportunity to submit and update 

daily concert and event listings, and discount 

opportunities for additional print advertising. 

Daily listings information (events June 1 

through Sept 7) must be emailed to 

listings@thewholenote.com by MAY 8. 

For The Green Pages contact Karen Ages at 

416-323-2232 x26 or karen@thewholenote. 

com – print edition deadline: MAY 10 


DISCOVERIES | RECORDINGS REVIEWED 

DAVID OLDS 

I must confess that German-Canadian cellist 

Johannes Moser was more or less unknown 

to me until the arrival of his recording of the 

Lutosławski and Dutilleux Cello Concertos 

with the Rundfunk-Sinfonieorchester Berlin 

under Thomas Søndergård (Pentatone PTC 

5186 689 pentatonemusic.com). That’s the 

trouble with having someone like Terry 

Robbins as delegate for most of the string 

recordings that cross my desk. Checking my archive I was surprised 

to note that Terry has reviewed two of Moser’s discs since we instigated 

the Strings Attached column back in 2011. Fortunately for me, he 

has such a backlog of titles at the moment that I have no qualms about 

cherry picking for my own purposes – two months in a row – a few 

discs that would otherwise have gone to him. 

You may recall from my column last month that Witold Lutosławski 

(1913-1994) is one of my favourite composers. I had the great pleasure 

and privilege of meeting that fine gentleman in October 1993 when 

he conducted the New Music Concerts Ensemble with soloists Fujiko 

Imajishi, violin, and soprano Valdine Anderson. We did not know 

it at the time, but that concert would turn out to be the last he ever 

gave; he died of cancer less than four months later. The recording of 

that concert was released independently and later reissued by Naxos 

(naxos.com). 

By the way, the photo of Lutosławski that graces that album cover 

is by André Leduc, who you may remember from last month’s issue. 

André and I also had the opportunity to meet Henri Dutilleux (1916- 

2013) when he was the guest of the Toronto Symphony Orchestra 

and the University of Toronto back in May 1998. The TSO performance 

of three of Dutilleux’s large orchestral works under the direction 

of Jukka-Pekka Saraste was released the following year (Finlandia 

Records 3984-23524-2). 

I sometimes wonder why it takes me so long to write this column. 

Often it is because of side trips such as this down memory lane, revisiting 

treasured recordings that slow me down. 

So, back to Johannes Moser: it was an easy decision to keep this 

fabulous new CD for myself. His biography makes a point of saying 

that he was born into a musical family in 1979 with dual German 

and Canadian citizenship. I was not able to find anything more about 

his Canadian heritage initially, but Tourism Saskatoon provides the 

information that “Moser is the son of Saskatchewan musical royalty; 

[his] mother is Saskatchewan-born soprano Edith Wiens.” He began 

playing the cello at eight. Ten years later, he was studying with the 

renowned Lithuanian cellist David Geringas, a pupil of Rostropovich, 

who won the Gold Medal at the Tchaikovsky Competition in 1970. 

In 2002, Moser himself received that same honour. He is enjoying 

an electrifying international career, performing with top orchestras 

around the world – the Berlin, Vienna, New York, Los Angeles and 

Israel Philharmonics to name a few – and has recently formed a trio 

with violinist Vadim Gluzman and pianist Yevgeny Sudbin. 

Moser’s performance on this new disc is superb. The Lutosławski 

concerto begins quietly, with an opening motive like a heartbeat that 

is intermittently interrupted by scurrying sounds above and below the 

pitch of the pulse. The interruptions gradually become more insistent 

and intense, all created by the cello alone. It is only after four and a 

half minutes, and a return to the heartbeat, that other members of the 

orchestra join in, with brazen fanfares from individual brass instruments. 

This pattern is developed throughout the Four Episodes of 

the second movement and the Cantilena third, with the solo cello as 

protagonist facing off with various orchestral disturbances, but also 

holding its own. And always returning to the heartbeat. It is only in 

the final movement that the full orchestra explodes in seeming fury. 

But the cello is not daunted and rises against the din with a repeated 

shrieking pulse, now more reminiscent of a heart attack than a 

heartbeat. 

Dutilleux’s concerto Tout un monde lointain was written in the 

same year as Lutosławski’s – 1970 – and once again it is a dramatic 

work that starts in near silence. Its title and the epigrams for the five 

movements are taken from Baudelaire’s Les Fleurs de mal. If you are 

not familiar with this work, or the Lutosławski, I urge you to rectify 

the situation with this very fine recording. Søndergård leads the Berlin 

RSO in what, for me, are definitive performances; and the sound is 

impeccable. I’ve never heard these concertos live and don’t know 

whether it would be possible to achieve such a perfect balance 

between cello and orchestra in a concert setting. I hope someday to 

have the opportunity to find out, ideally with Johannes Moser as 

the soloist. 

Sticking with a theme, the next disc also 

involves solo cello, but in this instance 

without an orchestra or any accompaniment 

whatsoever. Esa-Pekka Salonen; Kaija 

Saariaho – Works for Solo Cello (Ondine 

ODE 1294-2 naxosdirect.com) features 

American cellist Wilhelmina Smith in 

repertoire that pushes the extreme limits 

of the instrument. It begins with Salonen’s 

YTA III, one of a series of works for solo instruments. Yta is the 

Swedish word for surface, and in this piece the pitch C, in any of five 

octaves, surfaces and resurfaces in what the composer describes as “a 

vision of the death of an organism”; in music this vision is “violent 

and ugly.” Much of the disc gives this same impression and at times 

I found myself wondering where such anger was coming from. Even 

Saariaho’s Sept papillons (Seven Butterflies) more often resembles the 

buzzing of angry bees than the floating grace of its namesakes. For all 

that, there is a compelling power to this music that drew me in and 

held my attention. And there are moments of respite, for instance 

in the middle movement of Salonen’s knock, breathe, shine, where 

for an instant I thought the eerie sound coming from the cello was 

actually a theremin. But even with that I found that I could not listen 

to the whole disc at one sitting, despite the inclusion of a “palette 

cleanser” in the form of what may well be the first piece ever written 

for solo cello, Chiacona by Giuseppe Colombi (1635-1694). 

Mystery Variations was a set of 31 pieces that were commissioned 

on behalf of Finnish cellist Annsi Karttunen, in which each composer 

would take as a foundation the above-mentioned Chiacona. Both 

the composers featured here contributed to the series; on this disc 

the original is bookended by Salonen’s Sarabande per un coyote and 

Saariaho’s Dreaming Chaconne. The first, after a stately opening, leads 

“the coyote into rough terrain, up rugged peaks of harmony and over 

precarious ridges of dissonance.” In the second Saariaho “maintains 

the fundamental pitch structure of the Colombi, which is, however, 

in disguise behind the veil of shades traversed by the instrument and 

the performer.” On first listening, without having read the program 

notes, I must confess that I did not hear the relationship of either to 

the original, which appeared as a wonderful aberration (apparition) in 

the midst of a very difficult listening session. But there is much here 

to be enjoyed, or at least marvelled at, including the vast technical 

acumen of Smith and the range of ethereal sounds she is able to coax, 

or wrestle, from her instrument. 


Bernd Alois Zimmermann (1918-1970) was 

already dead by his own hand when I first 

discovered his music in my formative years, 

but what a revelation that music was. From a 

piece for solo cello, to electronic compositions, 

works for large orchestra and the thoughtto-be 

“un-performable opera” (due to its 

complexity and the sheer size of the resources 

required) Die Soldaten, I was blown away 

by everything I heard. Other than the early Sonata for 

Viola Solo performed by Rivka Golani and the late Four 

Short Studies for solo cello performed by Siegfried Palm, 

both under the auspices of New Music Concerts, I don’t 

believe I have ever heard Zimmermann’s music live. I 

take heart from a new Ondine release which confirms 

that his oeuvre is still in favour, at least in some parts 

of the world. Recent recordings of the Violin Concerto 

(1950), Photoptosis (1968) and Die Soldaten Vocal 

Symphony (1957-1963) are here performed by violinist 

Leila Josefowicz, vocal soloists, and the Finnish RSO 

under the direction of Hannu Lintu (ODE 1325-2 naxosdirect.com). 

It is the middle of these works that I would 

suggest as an introduction to this extremely forwardlooking 

German composer. From the opening bars of 

Photoptosis (Incidence of Light) for large orchestra, 

which seem to emerge from some primordial ooze, 

the music grows in intensity through richer and richer 

textures. Out of this dense stew arise quotations from 

familiar iconic works – Beethoven’s Ninth, Scriabin’s 

Poem of Ecstasy and Tchaikovsky’s The Nutcracker – 

and the tension recedes, only to build relentlessly again 

to an explosive finale. 

During the years Zimmermann was working on his opera, he was 

also preparing a concert version roughly one third the length of the 

two-hour original. Calling for soprano, alto, contralto, tenor, baritone 

and bass soloists, and interspersing instrumental sections among the 

operatic scenes, the Vocal Symphony provides a precis of the extravagantly 

dramatic work. The opera was originally broadcast on radio in 

1963 and received its first full staging in 1965 by the Cologne Opera 

under Michael Gielen. Since that time it has enjoyed several productions 

in each of the subsequent decades, most often in Europe, but 

also Britain, the USA and in 2016, Buenos Aires. In Zimmermann’s 

centenary year, Die Soldaten enjoyed productions in Nuremberg, 

Madrid and Cologne. I have a feeling that recordings are as close as 

Toronto audiences are likely to get to the opera in the foreseeable future. 

And to bring it full circle, I will mention one more of my “brushes 

with greatness,” this time not in my formative years, but in those of 

the artist. During my time as a music programmer at CJRT-FM in the 

early 1990s, I had the opportunity 

to meet Leila Josefowicz as 

a child prodigy on her first press 

junket. I’m not sure if that was 

before or after her Carnegie Hall 

debut in 1994, but I expect it was 

in conjunction with the Philips 

release of her Tchaikovsky and 

Sibelius concertos the following 

year. She was born in Mississauga 

in 1977; her parents relocated to 

Los Angeles when she was three, 

and then moved to Philadelphia 

a decade later so that she could 

attend the Curtis Institute of 

Music. And the rest, as they say, is 

history. She is enjoying a significant 

international career, with 

well over a dozen recordings on 

such labels as Warner, Nonesuch, 

DG and Hyperion, with repertoire 

from Beethoven and Brahms 

What we're listening to this month: 

Elles 

Marina Thibeault; Marie-Eve 

Scarfone 

ELLES, the new album by the violist 

Marina Thibeault and pianist 

Marie-Eve Scarfone features 

repertoire by exceptional 19th and 

21st century women composers. 

to John Adams, and now Zimmermann. The craggy Violin Concerto is 

the earliest work on this disc, but its intensity, postmodernism, and 

its extremes of tonality, belie its origins. Josefowicz rises to all of the 

challenges and is obviously not daunted by “difficult music.” When I 

was doing my program Transfigured Night at CKLN-FM in the 1980s, 

I used to present a Difficult Listening Hour – sit bolt upright in that 

straight-backed chair (with a nod to Laurie Anderson) – and any of 

these pieces would have (and likely did) find a home there. Not for the 

faint of heart. 

Shameless self-promotion: After 20 years as general manager of New 

Music Concerts I will be stepping down at the end of this season. As 

a parting gift to the organization, I am hosting a fundraiser on behalf 

of NMC, “Coffee House 345 Revisited” (aka Gallery 345 on Sorauren), 

on Thursday May 30. I will be bringing my eclectic repertoire, 6- and 

12-string guitars and a few musical friends along for the ride. It’s a 

benefit so the tickets are a little pricey – $60 each or two for $100 – 

but that includes complimentary snacks and drinks, and a charitable 

receipt for the CRA allowable portion. I hope you will join me. For 

reservations call 416-961-9594. 

We invite submissions. CDs, DVDs and comments should be sent 

to: DISCoveries, WholeNote Media Inc., The Centre for Social 

Innovation, 503 – 720 Bathurst St. Toronto ON M5S 2R4. 

David Olds, DISCoveries Editor 

discoveries@thewholenote.com 

Ana Sokolović: Sirènes 

Ensemble Contemporain de 

Montréal; Mélanie Lacroix 

ATMA Classique presents an 

evocative musical portrait 

of Canadian composer Ana 

Sokolović. 

thewholenote.com/listening 

The Other Side 

University of St. Thomas 

Symphonic Wind Ensemble 

This golden volume has something for 

everyone: symphonic Romanticism, 

allusions to Surrealism and Abstract 

Art, jazz/rock fusion with virtuosic solo 

and ensemble performances. 

68 | May 2019 thewholenote.com 

DANIEL FOLEY

STRINGS 

ATTACHED 

TERRY ROBBINS 

On her latest Chandos CD Tasmin Little 

plays Clara Schumann, Dame Ethel Smyth 

& Amy Beach (CHAN 20030 chandos.net), 

the outstanding English violinist is accompanied 

by her longtime recital partner John 

Lenehan. All three women composers were 

encouraged by their families in their early 

musical endeavours but experienced far less 

support, if not outright opposition, when it 

came to pursuing professional careers. 

Beach’s Violin Sonata Op.34 from 1896 is a full-blooded work with 

sweeping melodies and rich harmonies in the German Romantic 

tradition; music critics in Berlin noted its indebtedness to Robert 

Schumann and Brahms. It draws big, strong playing from both 

performers. 

Clara Schumann’s compositional activity declined – by choice – 

after her marriage to Robert, and the Drei Romanzen Op.22 from 1853 

was her final chamber work. Originally described as being for piano 

and violin these lovely pieces again feature flowing melodies for the 

violin over quite demanding passage work for the pianist. 

Ethel Smyth’s Violin Sonata Op.7 from 1887 also shows a strong 

Germanic influence, hardly surprising given that ten years earlier the 

then-19-year-old composer had moved to Leipzig to study and had 

spent the subsequent decade on the continent, being encouraged by 

both Clara Schumann and Brahms. 

Two lovely short pieces by Beach – Romance Op.23 and Invocation 

Op.55 – complete a terrific CD. Little has announced her decision to 

retire from the concert stage in 2020 when she turns 55. Presumably 

– and hopefully – it won’t include an end to her outstanding series of 

superb CDs. 

Clara Schumann’s Three Romances Op.22 

appear again on another recital of works by 

women composers, this time as the opening 

tracks on ELLES, featuring the Canadian 

duo of violist Marina Thibeault and pianist 

Marie-Ève Scarfone (ATMA Classique ACD2 

2772 atmaclassique.com/En). There’s no 

word on the transcription source (a viola 

version was published in 2010) for this or 

the following work on the CD, the Trois 

pièces pour violoncelle et piano by Nadia Boulanger. Written in 

Boulanger’s mid-20s, some seven years before she gave up composition 

to concentrate on teaching, the piano again features prominently 

in three brief movements, two of which were transcriptions of organ 

improvisations. 

A very brief setting of a Goethe poem by Fanny Hensel, 

Mendelssohn’s highly talented sister, precedes the two major works 

on the disc: Rebecca Clarke’s Sonata for Viola and Piano from 1919; 

and the Sonate Pastorale for solo viola by the American violist Lillian 

Fuchs. A professional violist, Clarke left a wealth of viola works that 

finally seem to be attracting the amount of recording attention they 

richly deserve. Written in New York, her sonata is redolent of contemporary 

French music. 

In all the viola and piano works, Thibeault plays with a pure tone 

and a smooth melodic line, ably supported by Scarfone; there are 

times, perhaps, when a stronger attack could be used. That, however, 

is exactly what we get in the two unaccompanied works that follow. 

Fuchs wrote little in a long life (both she and Clarke made it into their 

90s) but the three-movement Sonate is a simply terrific work that 

brings the best playing on the CD from Thibeault. 

Another solo work that began as a piece for cello, young Canadian 

composer Anna Pidgorna’s The Child, Bringer of Light from 2012, ends 

the CD. Its eight continuous sections use a variety of techniques to 

great effect and once again show just how talented a player 

Thibeault is. 

There’s a really lovely set of the Brahms 

Three Sonatas for Violin and Piano featuring 

the duo of violinist Wen-Lei Gu and pianist 

Catherine Kautsky (Centaur CRC 3684 

naxosdirect.com). Both performers are on 

the music faculty at Lawrence University in 

Appleton, Wisconsin. 

The opening bars of the Sonata No.1 in 

G Major Op.78 always seem to set the tone 

for all three works, and it’s clear from the outset here that we are in 

excellent hands. From the autumnal feel of the first sonata through 

the warmth of the Sonata No.2 in A Major Op.100 to the passion and 

restlessness of the Sonata No.3 in D Minor Op.108 the playing here is 

all you could ask for, with warmth, sensitivity, passion when needed 

and an ever-present sense of innate musicality. 

If you collect different performances of these lovely sonatas then 

this will make a strong and welcome addition to your CDs; if you’re 

just looking for one set then this one has a great deal to offer and will 

certainly not disappoint you. 

The Australian violinist Elizabeth Holowell 

studied Viennese string performance practice 

during the 1780 to 1820s in her postgraduate 

work – studies which had a major 

influence on The Grand Duo, her recording 

of the Schubert Complete Sonatas for Violin 

and Piano with Erin Helyard at the fortepiano 

(Centaur CRC 3665 naxosdirect.com). 

The result is an attempt to recreate as far 

as possible what a contemporary performance 

of the music would have sounded like. The violin here is without 

modern fittings and has gut strings; the bow is described as a pre- 

Tourte transitional model. More significantly, the fortepiano is a new 

copy of a contemporary Viennese model by Conrad Graf that has six 

pedals that provide a variety of special tonal effects, including one for 

Turkish or janissary bells and drums. 

Holowell says that interpretation of the notation of these works led 

to reassessments of tempo, dynamics, phrasing, bowing and articulation. 

The recording levels also reflect the fact that the three 1816 

sonatas – in D Major D384, A Minor D385 and G Minor D408 – were 

published as sonatas “with violin accompaniment.” The Sonata in A 

Major D574, known as The Grand Duo completes the CD. 

The results are, at times, quite startling. It’s part Historically 

Informed Performance, part early Romantic in style: vibrato comes 

and goes; there’s portamento and elasticity in tempo and phrasing; 

and very occasional pitch issues with the gut strings. Above all, the 

fortepiano sound varies a good deal, including adding crashing bells 

and drums to the occasional chord. It’s intriguing and always more 

than merely interesting, but it will probably come down to a matter 

of personal taste as to whether you feel that this approach really 

enhances the music and your understanding of it, or merely serves as 

a historical demonstration. 

Either way, it’s not your standard Schubert recital! 

There are two quite superb guitar CDs from Naxos this month, both 

beautifully recorded at St. Paul’s Church in Newmarket, Ontario with 

the ever-reliable Norbert Kraft as producer, engineer and editor. At the 

Naxos retail price they are both simply must-buys for any lover of the 

classical guitar. 

The debut CD by Serbian guitarist Vojin Kocić (born 1990) follows 

his win at the 2017 Heinsberg International Guitar Competition in 


Germany – and what a debut it is, with 

music ranging from the Baroque to the 

present day (8.573906 naxos.com). 

Kocić’s own arrangement of the Bach 

Partita No.2 in D Minor BWV1004 for 

solo violin works beautifully. It’s essentially 

the violin score note for note, with a 

crystal-clear line, superb articulation in the 

numerous fast runs, a lovely sense of pulse 

and a warm resonance that allows the implied harmonies to sound 

through. In particular, the guitar’s chording ability means that the 

multiple stopping – always a stumbling block for violinists – ceases to 

be a problem. It makes the Sarabande and, in particular, the monumental 

Chaconne (with its quadruple stops) smoother, calmer and 

– appropriately – more stately. Add beautifully shaped phrasing that 

displays musicianship to match the impeccable technique and you 

have a performance that will stand comparison with any. 

The standard never drops in the other three works on the CD. The 

Introduction et Caprice Op.23 is a dazzling work by Giulio Regondi, 

the 19th-century prodigy whose music fell into oblivion before being 

republished in 1981. Manuel Ponce wrote his Diferencias sobre la folía 

de España y Fuga for Segovia in 1930; it’s one of the more challenging 

works in the standard repertoire. 

Marek Pasieczny’s Phosphenes (After Sylvius Leopold Weiss) was 

commissioned by the International Guitar Festival as a set piece for 

their Guitar Masters 2016 competition in Warsaw. It’s a fairly short but 

tough work that shows Kocić equally comfortable in the contemporary 

field. 

The Chilean guitarist José Antonio Escobar 

(born 1973) is the soloist on the second CD, 

Guitar Music of Eduardo Sáinz de la Maza 

(8.573456 naxos.com). The composer’s 

life spanned most of the 20th century, and 

the works here are mostly from the period 

1961 to 1973. 

The main work on the CD is the lovely 

Platero y yo (Platero and I), a suite of eight 

scenes from the 138 prose-poems of the same name by the Spanish 

poet Juan Ramón Jiménez that illustrate tales of the donkey Platero 

and his owner. It’s a work full of tenderness and colour. Ten shorter 

works that still serve to illustrate the composer’s technical and expressive 

breadth fill out the CD, including a delightful Habanera that 

involves tuning down the two lower strings and three Homenajes – 

homages to Haydn, Toulouse-Lautrec and the guitar itself. 

Again, the playing here is clean, warm, resonant and full of colour, 

and with impeccable technique, the fast tremolo in the Campanas del 

Alba (The Bells of Dawn) being particularly brilliant. 

The music of Lithuanian composer Romuald 

Twardowski (b.1930) is presented on 

Violin Concerto, featuring the New Yorkbased 

Polish violinist Kinga Augustyn with 

Poland’s Toruń Symphony Orchestra under 

Mariusz Smolij (Naxos 8.579031 naxos.com). 

Twardowski’s music is described as blending 

tradition and modernity with what the 

composer calls “a clarity of expression,” and 

the works here are all highly accessible and 

finely crafted. 

Three pieces – the brilliant Spanish Fantasia from 1984, Niggunim 

“Melodies of the Hasidim” from 1991 and Capriccio in Blue “George 

Gershwin in memoriam” from 1979 – were originally for violin and 

piano and later orchestrated by the composer. The respective influences 

– Andalusian music, Polish/Ukrainian Jewish melodies, and jazz 

– are captured effectively and give the soloist ample opportunity to 

display a range of styles. 

The major work is the quite lovely 2006 Violin Concerto, a mainstream 

work with a challenging cadenza. The Serenade for string 

orchestra from 2003, another lovely work with a lush Andante movement, 

completes the CD. Augustyn’s playing is clear, warm and 

assured, untroubled in the technically challenging passages and with 

a flowing line in the many melodic sections. Orchestral support and 

recorded sound are both excellent. 

Li-Wei Qin is the cello soloist on Russian 

Cello Concertos with the Czech Chamber 

Philharmonic Orchestra Pardubice under 

Michael Halász (Naxos 8.573860 

naxos.com). It’s a somewhat misleading 

title, given that of the seven works on the CD 

only one – Glazunov’s Concerto ballata in C 

Major Op.108, written in 1931 after he had 

left Russia – is anything like a true concerto, 

although admittedly Tchaikovsky’s Variations on a Rococo Theme in 

A Major Op.33, heard here in the usual revised and rearranged version 

by the composer’s colleague Wilhelm Fitzenhagen, does come close. 

Qin draws a lovely sound from his 1780 Guadagnini cello in the two 

major works as well as in the shorter recital pieces: Glazunov’s Deux 

Morceaux Op.20 and the Chant du ménestrel in F-sharp Minor Op.71; 

Tchaikovsky’s Pezzo capriccioso in B Minor Op.62 and the Andante 

Cantabile from his String Quartet No.1 in D Major Op.11; and Rimsky- 

Korsakov’s Serenade Op.37. 

What we're listening to this month: 

thewholenote.com/listening 

Vienna and the West 

Gernot Wolfgang 

VIENNA AND THE WEST (grooveoriented 

chamber music vol.4) 

acknowledges Gernot Wolfgang's 

deep Austrian musical roots, 

filtered through more than 20 

years of California living. 

Both Sides 

Marc Jordan 

A newly minted collection of chilled 

out romantic contemporary jazz 

arrangements of popular songs! 

This Could be the One 

Karin Plato 

“reserved melancholy…absolutely 

impeccable production…wideopen 

space in the sound”- Stuart 

Derdeyn, The Vancouver Sun “voice 

that seems to caress each note” 

- Dianne Donovan, Voices in Jazz 

Domestic Tranquillity 

13go 

Living Colour's Guitarist, Vernon 

Reid, offers his production skills 

and playing on 13go's debut album. 

It is an ambitious record with 

great playing. 


Keyed In 

ALEX BARAN 

Kirill Gerstein’s new recording of the Busoni 

Piano Concerto (Myrios Classics, MYR024, 

naxosdirect.com) is a mammoth production 

in every way. The Piano Concerto in C 

Major Op.39 is a five-movement work that 

takes more than 70 minutes to perform and 

calls for a large male chorus that sings extensively 

through the final movement. Premiered 

in late 1904, it displays a breadth of conception 

and orchestration stylistically similar to later Mahler symphonies and 

Rachmaninoff piano concertos. And while it predates the modern cinema 

by many decades, the music has a grand sweep of musical ideas for both 

the piano and the orchestra that conjures up epic films on big screens. 

Busoni has made the piano very much an equal partner with the 

orchestra in this work rather than having the two engage in a contest 

of wills. Some of the critical writing about the concerto sees the work 

as the final iteration of this late-Romantic form, the end of one era 

rather than the beginning of a new one. But there is so much forwardlooking 

writing in the concerto that grounds for the counter argument 

are very strong. Busoni’s own personal evolution toward modernism 

and experiments with keyboard tonality are further evidence of his 

contribution to music in a time of profound transition. 

This disc was recorded live at Symphony Hall in Boston. Gerstein’s 

output of sheer pianistic energy for the duration of this enormous 

work is amazing. For many, this Busoni concerto will be new material, 

and because of its superb performance, should be eagerly acquired. 

Svetlana Belsky has an enduring fascination 

with Busoni whose life as a pianist 

figures centrally in her doctoral dissertation. 

Her new release Ferruccio Busoni – The Late 

Works (Ravello RR8007, ravellorecords.com) 

reveals Busoni’s emerging modernist views 

on tonality and eventual rejection of late- 

Romantic performance practices. 

Busoni was renowned for his technique, 

as any who have played his transcriptions of Bach organ works will 

know. Massive chords, dense harmonies and seemingly impossible 

reaches speak to his mastery of both composition and performance. 

These familiar baroque transcriptions make it all the more intriguing 

to hear Busoni writing in a voice so firmly early 20th century. 

Belsky opens the disc with Sonatina Seconda, a striking example of 

the composer’s inclination to challenge conventional tonality. The Nine 

Variations on a Chopin Prelude follow with their increasing degree of 

technical difficulty. The last work is the set of six Elegies, each dedicated 

by Busoni to one of his piano students. A curious feature of 

this set is the appearance of some material from his Turandot Suite. 

Busoni mistakenly thought the tune Greensleeves was a Chinese folk 

melody and used it as such in this setting (apologies still owing to 

Henry Tudor or an anonymous contemporary). 

This disc is an important document. With it, Belsky reveals a littleknown 

side of this composer whose original works are refreshingly 

innovative for their time. 

Boris Giltburg’s new Naxos release 

Liszt Études d’exécution transcendante 

(8.573981, naxos.com) expands his impressive 

and growing discography for the label. 

A good many musical scribes have opined 

on the way that Liszt’s work, in the hands 

of the finest performers, forges a powerful 

single expression in which the components 

are indistinguishable. Composer, performer and instrument 

become a unified artistic force. Giltburg plays Liszt? Or Liszt plays 

Giltburg? Such ambiguity can only arise because of the brilliance 

of this performance. There is both total surrender and total control. 

Ambiguity and contradiction, the powerful drivers of the highest 

artistic experience, are everywhere in this recording. Any one of the 

Études could serve as an example of peerless performance but No.4, 

“Mazeppa” stands out for its captivating rhythm as well as the three 

harmonic suspensions in the middle section that add a brief contemplative 

moment to the maelstrom. 

The Études alone would be enough to fill a disc but Giltburg also 

adds Liszt’s Paraphrase de concert sur Rigoletto and the second of the 

3 Études de concert, S144/R2b. The Verdi Paraphrase is an example of 

the distance that any of Liszt’s paraphrases lie from their original 

material. With only the melody intact, Giltburg wraps the composer’s 

harmonic and ornamental creation around the operatic excerpt in a 

way that reimagines it as wholly new. 

Andrey Gugnin has also recorded the Liszt 

Études d’exécution transcendante (Piano 

Classics, PCL10158, naxosdirect.com). This 

award-winning, festival-conquering young 

pianist plays with a towering technique. 

More poignant, however, is the affinity 

he displays for Liszt’s writing. From the 

very outset of the Études he plays with the 

single-minded conviction that the piano is 

no longer just a piano. Gugnin, like Liszt, is seemingly unburdened by 

any limitations that he or the instrument might have. Herein lies the 

transcendental nature of this music. The pianist’s extraordinary technique 

moves the music beyond conventional levels of comprehension 

to a richer understanding of what the sounds can actually convey. 

Having transcended the physical challenges of the music, Gugnin 

brings a mysticism to his playing that matches the composer’s, note 

for note. It’s the perfect pairing of master and disciple with the tantalizing 

promise that the student may even surpass his mentor. 

Gugnin’s entire performance blazes with energy – yet his ability to 

retreat into the quiet moments of Paysage and Harmonies du soir is 

as impressive as his explosive eruptions of Lisztian genius. Feux follets 

displays a beautifully sustained and controlled line that runs through 

the piece, with unassuming determination providing the backdrop for 

Liszt’s main ideas. 

This performance is the rare combination of youthful athleticism 

and an unnatural early maturity. 

Anne-Catherine Bucher is among the 

latest to record the Johann Sebastian Bach 

Goldberg Variations (Naxos 8.551405, 

naxos.com). The peculiar challenges of the 

Variations seem to place them among the 

peaks that many keyboard artists want to 

conquer at least once in their performance 

lifetime. Considering the illustrious 

performance history of the work and the 

height at which that bar has been set, the undertaking can be a career 

risk. In this recording, however, there is no such hazard. 

Bucher, an organist and harpsichordist, performs on a modern 

instrument by builder Matthias Griewisch. The two-manual harpsichord 

(cembalo) is a replica of a 1745 instrument from the workshop 

of Flemish builder Johann Daniel Dulcken. With three choirs 

of strings and at least one buff stop, the instrument offers a variety 

of individual and combined sounds along with opportunities to solo 

a voice on a separate manual with a different sound. This is something 

Bucher does first in Variation 7 and many times subsequently 

with wonderful effect. Bucher also has a profound grasp of the larger 

progressive structure Bach uses through the 30 variations. She makes 

this obvious both in her playing and in her concise liner notes. 

The Goldberg Variations are, like any piece of music, a window into 

the soul of the performer. Choice of instrument, tempi, phrasings, etc. 

all say something about the player sitting at the keyboard. While 


Bucher’s recording is scholarly and informed, it rises quickly to gratifying 

levels of inspired creativity that have a lasting emotional impact. 

It’s a performance of thought and substance. 

Ronald Brautigam has a new recording of 

the Mendelssohn Piano Concertos (BIS, 

BIS-2264, naxosdirect.com) in which he 

performs on a modern fortepiano, a copy 

of Pleyel Op.1555 from 1830 which is still 

preserved in the Paris Museum of Music. The 

instrument’s sound is an immediate clue 

to the period project in which Die Kölner 

Akademie also performs with period orchestral 

instruments, historical seating plan and critical editions of scores. 

Brautigam’s instrument is remarkable. While it has the characteristically 

short resonance of all fortepianos, it is 244cm (8 ft.) long and 

offers plenty of power against the volume of the orchestra. Equally 

impressive is the quick keyboard response to the extremely fast 

passages. The Presto movement of the Concerto No.1 is an example of 

this amazing key action technology from 1830. It’s unlikely that Pleyel 

had yet developed his own double escapement action to match his 

competitor Érard who’d invented it just a decade earlier. But Pleyel’s 

hammers and actions were known to be lighter and very responsive to 

the need for speed and repetition. Additionally, Brautigam’s modern 

copy also holds its tuning remarkably well for all the rigour that 

Mendelssohn’s score imposes on it. The upper register in particular is 

beautifully pitched and voiced. 

In addition to the two Mendelssohn concertos, the disc also includes 

his Rondo Brillant in E-flat Major, Op.29, Capriccio Brillant in B 

Minor, Op.22 and Serenade and Allegro Giojoso, Op.43. 

Thomas Leininger – Fortepiano, Mozart, 

Beethoven (Talbot Records, TR 1901, 

talbotrecords.net) is a new disc recorded 

at Von Kuster Hall, University of Western 

Ontario. Leininger plays a modern fortepiano 

built in Freeport, Maine after an 

instrument by Anton Walter, a German-born 

builder who ran a successful business in 

Vienna for nearly 50 years. 

Leininger is a trained organist and harpsichordist. His recognized 

specialization in early music has attracted invitations for him to 

compose missing passages, many of them extensive, in fragmentary 

works by Handel and Vivaldi. On this disc, his performance of 

Mozart’s Sonatas K331 and 332, and Beethoven’s Sonata Op.2, No.1 

demonstrates not only how such works could have sounded to their 

composers and audiences, but how differently phrasings, speeds and 

dynamics must have been understood. These period instruments 

respond differently to touch, produce different colours and offer a 

musical experience unlike what we know today. 

Leininger knows his instrument extremely well. He uses the lighter, 

simpler mechanical action to shape the tone of his notes with great 

effect. His playing style uses the well-documented freedoms of tempo 

and ornamentation that are common for the repertoire period. An 

intriguing feature of this recording is the brief prelude that Leininger 

improvises before each of the sonatas. The production is well 

informed, and intelligently and beautifully played. 

In 2010 Andras Schiff acquired a stunning 

walnut Brodman fortepiano built in Vienna 

ca. 1820. Brodman was one of Vienna’s 

finest builders whose instruments were, not 

surprisingly, owned by the Austrian Royal 

Family. The last Austrian Emperor took this 

one into Swiss exile with him in 1919. One 

of Brodman’s young apprentices named 

Bösendorfer in time took over the business 

and made it the familiar name we know today. This instrument underwent 

some restoration in 1965 and has been on loan to the Beethoven 

Haus in Bonn since Schiff took ownership. Schiff brought the instrument 

to London for a recital at Wigmore Hall in early 2015 where he 

performed a program of three Schubert Sonatas. The following year he 

used it to record this disc Franz Schubert Sonatas and Impromptus, 

(ECM, ECM 2535/36, ecmrecords.com) in the Kammermusiksaal at 

the Beethoven Haus back in Bonn. 

Schiff’s fortepiano exhibits all the mechanical and tonal characteristics 

of its period: very brief open resonance, comparatively little 

overall power, and a unique tonal colouring that makes this recording 

a real gem. Each of the high, middle and low registers has its own 

quality. Additional mechanisms create a gentle bassoon-like buzz in 

the bass and a general dampening of the strings in play. But the most 

striking feature is the intense intimacy, the true smallness of sound 

that Schiff is able to create from the keyboard. Whether for historical 

reasons or out of pure curiosity, this recording is a must-have. 

VOCAL 

Renmen Laments 

Renaissance Men; Eric Christopher Perry 

Navona Records nv6210 

(navonarecords.com) 

!! 

RenMen, short 

for the Renaissance 

Men, have teamed 

with Navona 

Records to release 

Renmen Laments, 

a beautiful reimagining 

of the music 

of such composers 

as Pablo Casals 

and Darius Milhaud, along with the ensemble’s 

continued relationship with the great 

contemporary American choral composer 

Daniel E. Gawthrop, that easily evokes an 

otherworldly ethereal beauty in celebration 

of the adult male voice. Beautifully recorded 

at the Westminster Presbyterian church in 

Buffalo, New York the ten-piece vocal group, 

formed in 2014, offers up another fine collection 

of music that demonstrates why they 

are a welcome addition to the already busy 

choral music scene in Boston, and a satisfying 

collection of new work for choral music fans 

worldwide. 

On Laments, the group is authentically 

and expertly able to bring a Renaissance 

vocal approach and sensibility to the wide 

swath of music presented here, leaping 

countries of origin, historical timelines 

and style. Finding artistic simpatico with 

American composers Gawthrop and the 

fellow Massachusetts-based musician Patricia 

Van Ness, the Renmen have worked, and 

succeeded, at bringing what some may 

view as a historically antiquated music into 

cultural relevance for 21st-century audiences. 

With this victory, coupled with what I hope 

is the widespread dissemination power of 

a new record company and a busy calendar 

of public concert engagements in 2019, the 

group holds the promise to help Renaissance 

music have its own renaissance in the foreseeable 

future. Laments is a highly recommended 

recording for enthusiasts of vocal 

music, choral work and the Renaissance more 

generally. 

Andrew Scott 

Pauline García Viardot – Le Dernier Sorcier 

Soloists; Manhattan Girls Chorus; Trudie 

Styler 

Bridge Records 9515 (bridgerecords.com) 

! ! The French/ 

Spanish mezzosoprano, 

composer, 

and pedagogue 

Pauline García 

Viardot composed 

Le Dernier Sorcier 

(The Last Sorcerer) 

in collaboration 

with her partner, Russian novelist/librettist 

Ivan Turgenev. After its 1867 premiere, the 


original manuscript of this two-act chamber 

opera, scored for solo voices, treble chorus 

and piano, was held in a private collection 

until the Harvard University Houghton 

Library recently acquired it and allowed this 

world premiere recording. 

The libretto tells the story of Krakamiche, 

(bass-baritone Eric Owens), a once powerful 

sorcerer who has fallen on hard times after 

upsetting the lives of the fairies, (sung 

brightly by the Manhattan Girls Chorus), who 

live in the forest. The love story is between 

his daughter Stella (soprano Camille Zamora) 

and the lovelorn Prince Lelio (mezzo-soprano 

Adriana Zabala). Other characters round out 

the story. The great thing is that though sung 

in French (with liner notes both in French 

and English translation), actress Trudie Styler 

as the narrator recites in English between 

sung moments. 

This entertaining, funny, toe-tapping, 

quasi-cliché opera merits dancing and singing 

along. The music is so very in the style of the 

operas of the day, with such classic sounds 

as alternating loud and soft volumes, piano 

accompaniment marching, waltz and lyrical 

lines, vocals soaring high and low. Pianist 

Myra Huang supports all the superb singers 

with clear playing. 

Totally unexpected fun makes this a 

recording to lift one’s spirits! 

Tiina Kiik 

George Benjamin – Lessons in Love and 

Violence 

Stéphane Degout; Barbara Hannigan; 

Gyula Orendt; Peter Hoare; Samuel Boden; 

Orchestra of the Royal Opera House; 

George Benjamin 

Opus Arte OA 1221 D (naxosdirect.com) 

!! 

It’s been four 

years since the 

Toronto Symphony 

gave an unforgettable 

concert 

performance of 

British composer 

George Benjamin’s 

opera Written on 

Skin. It featured the 

dynamic Canadian 

soprano Barbara 

Hannigan, who 

subsequently premiered Benjamin’s gripping 

new opera, Lessons in Love and Violence in 

this production from the Royal Opera House 

two years ago. 

Playwright Martin Crimp uses Christopher 

Marlowe’s Elizabethan play Edward II, 

along with historic records, to recount the 

messy downfall of the 14th-century British 

King, who ruled neither wisely nor well. 

Director Katie Mitchell pulls off some innovative 

moves to shape an exciting drama 

from Benjamin’s gorgeous, evocative music, 

Crimp’s poetic text and Vicki Mortimer’s 

stylish modern sets and costumes. The 

resourceful but unobtrusive camerawork 

from video director Margaret Williams 

ensures a sense of immediacy, especially in 

the use of imaginative overhead shots, soft 

focus, and close-ups. 

As riveting an actor as singer, Hannigan 

provides the opera’s most chilling moments 

as Isabel, the alluring, raging Queen. There 

are vivid performances from Peter Hoare 

as Mortimer, Isabel’s lover and the King’s 

nemesis, Samuel Boden as the son, Ocean 

Barrington-Cook as the daughter (extraordinary 

in a non-singing role), and Canadian 

mezzo Krisztina Szabó, who also sang in that 

TSO performance, as a courtier. But the most 

moving passages belong to the two splendid 

baritones, Stéphane Degout as the King and 

Gyula Orendt as his lover Gaveston, especially 

in their impassioned duets. 

This is a timely work – and all the more 

eloquently rich for that. While it’s the King’s 

blind infatuation that brings him down, the 

problem isn’t that he is gay. It isn’t even that 

he is having an affair. The problem is that he 

has abused his power by neglecting his family 

and his people, lavishing all his attention and 

resources on Gaveston. Yet it’s only after the 

King rejects Isabel that she turns on him. By 

the time their children, who have been forced 

to witness the violent power plays that ensue, 

manage to seize the power for themselves, 

they are able to show that they have learned 

their lessons only too well. 

Pamela Margles 

Concert note: The Toronto Symphony 

Orchestra begins its 2019/2020 season with 

“Dynamic Duo: Hannigan & Storgårds” on 

September 19 and 21. Both Barbara Hannigan 

and John Storgårds are featured in double 

roles, soprano/conductor and violinist/ 

conductor respectively. 

Richard Thompson – The Mask in the 

Mirror, A Chamber Opera 

SANAA Opera Project; Stephen Tucker 



!! 

Richard 

Thompson’s 

haunting opera in 

three acts The Mask 

in the Mirror tells 

the story of the 

ill-fated marriage 

between the 

African-American 

writer Paul Laurence Dunbar and the lighterskinned 

Alice Ruth Moore. Thompson tells 

the story of the lovers with minute and tragic 

detail, allowing his singers plenty of space 

to explore the tension of this extraordinary 

relationship, which unfolds in the context of 

racism in 19th-century America as well as in 

terms of the psychological drama surrounding 

two lovers ill-equipped to distinguish 

between sexual desire and the loftier ideals of 

their fraught relationship. 

Cameo Humes’ Dunbar is truly inspired 

and the character unfolds through his 

sonorous tenor which is wielded with enormous 

power to unlock the vivid metaphor of 

the mask in the mirror. Angela Owens’ Moore 

is equally spectacular. She describes Moore’s 

less successful but nevertheless equally strong 

character with dramatic thrust. Together with 

other incidental characters – all exceptionally 

developed by Thompson – and the superbly 

moody orchestral performance, The Mask in 

the Mirror is powerful and heady, as well as 

appropriately literary. 

The score remains relatively spare 

throughout yet provides enough detail to tell 

the complex story. Thompson demonstrates a 

masterly control of dramatic pace, ratcheting 

up tension slowly but surely so that the final 

dénouement reaches a devastating climax, 

aided by performances – led by the dark-hued 

timbre of Humes’ Dunbar – which vividly 

project the complicated nature of the drama. 

Raul da Gama 

Perpetual Twilight 

Choral Scholars of University College 

Dublin; Desmond Earley 

Signum Classics SIGCD558 

(signumrecords.com) 

! ! While Ireland 

has long been 

renowned for 

its outstanding 

literary tradition, 

it is perhaps 

less well known 

for its contributions 

to choral 

music. Nevertheless, if this CD Perpetual 

Twilight, featuring the Choral Scholars of 

University College Dublin under the direction 

of Desmond Earley, is any indication, it would 

appear that the current Irish choral scene is a 

very vibrant one indeed. 

The 28-member chamber choir was 

founded by Earley in 1999, and since then, 

numerous tours to various parts of Europe 

and the United States have earned the 

ensemble international acclaim. From the 

opening track Dúlamán, a lively traditional 

working song from Northern Ireland, it’s 

evident that the disc is infused with a strong 

Irish flavour – and what a warm and mellow 

sound the ensemble produces! Tenors – 

rares aves in many vocal ensembles – appear 

to be a major component of the Choral 

Scholars, resulting in a well-balanced blend 

of vocal ranges. 

The thoughtfully chosen program – an 

attractive mix of traditional folk songs with 

newly commissioned pieces – includes 

the well-known My Love is like a Red Red 

Rose and Danny Boy in addition to the 

less familiar Maid of Culmore and Bó na 

Leathadhairce, the latter arranged by the 

conductor. Earley is also a composer, and 

works such as the uplifting Body of the Moon 

and Strings in the Earth and Air, are testament 

to his creative talents. 


Throughout, the 13-member instrumental 

ensemble – including a bodhrán, a tin whistle 

and a harp – provide a solid and sensitive 

accompaniment. For lovers of the Irish folk 

tradition, Perpetual Twilight is a delight – 

joyful singing from the land of Joyce and 

Beckett – comhghairdeas! 

Richard Haskell 

CLASSICAL AND BEYOND 

Johann Nepomuk Hummel – Flute Sonatas 

Dorothea Seel; Christoph Hammer 

Hanssler Classics HC18103 

(naxosdirect.com) 

!! 

Dorothea Seel is 

both a flutist and a 

musicologist, whose 

area of research is 

the playing techniques 

and sound 

aesthetics of 

19th-century flutes. 

She has presented 

her research in her dissertation, Der Diskurs 

um den Klang der Flöte im 19. Jahrhundert 

(The Discourse about the Sound of the Flute 

in the 19th Century), published earlier this 

year by Kunstuniversität Graz, for which she 

has received the Award of Excellence from the 

Austrian government. 

Her collaborator on this recording, 

Christoph Hammer, also a specialist in the 

music and instruments of the 19th century is, 

according to the liner notes, “also committed 

to the revival of less-well-known composers 

and the research and editing of their works.” 

What I heard listening to this recording was 

something of a shock; it revealed an entirely 

different sound aesthetic from that with 

which I am familiar and, I would say, have 

come to expect, listening to recordings of 

music for the flute. As the liner notes explain, 

Seel’s research led her to “forgotten playing 

techniques... many of which would meet with 

the disapproval of modern-day exponents.” 

When I left behind my expectations, however, 

Hummel’s music took on an almost exotic 

quality, revealing the forgotten zeitgeist of a 

world long gone. 

So, while I am not about to abandon 

my Boehm flute for an early 19th-century 

Viennese Ziegler instrument of the type 

played by Seel on this recording, I am 

extremely grateful for her work and her 

ability to translate her research into practice. 

Allan Pulker 

Mendelssohn: Symphony No.1; Piano 

Concerto No.2 

Kristian Bezuidenhout; Freiburger 

Barockorchester; Pablo Heras-Casado 

Harmonia mundi HMM 902369 

(smarturl.it/xs369d) 

!! 

This brand 

new issue belongs 

to a series initiated 

by young 

conductor Pablo 

Heras-Casado’s 

Diving into German 

Romanticism and 

what better way to 

start than Mendelssohn? Mendelssohn was 

probably one of the most gifted musicians 

that ever lived and was capable of composing 

a symphony for full orchestra at the age of 12! 

Perhaps due to the superiority of his later 

mature works, Symphony No.1 has been 

unjustifiably neglected but it’s certainly worth 

hearing as it is performed here. Typically 

sturm und drang and written in the sombre 

key of C Minor, the first movement is full of 

sound and fury at a frantic speed of Allegro 

di molto with strings rushing like a whirlwind 

demonstrating this orchestra’s amazing 

virtuosity. Peace and solace relieve the storm 

in the beautiful second movement that sings 

like one of Mendelssohn’s Lieder Ohne Worte 

where the interplay of woodwinds is a pure 

delight. The dominating C Minor stormy 

mood returns Allegro con fuoco piu stretto in 

the fourth movement with interesting contrapuntal 

episodes but ending the symphony 

triumphantly in a major key. 

The Piano Concerto No.2 in D Minor was 

regrettably completely overshadowed by 

Mendelssohn’s popular, irresistible first 

foray into the genre. However, South African 

Kristian Bezuidenhout’s agile brilliance 

yet gentle touch on the Fortepiano Érard 

(Paris 1837) plus a highly precise and exciting 

period instrument accompaniment, makes 

this concerto truly shine. 

As the recording progressed I found myself 

falling in love with Mendelssohn over and 

over again. And that energetically driven, 

passionate rendition of the Fair Melusina 

Overture tops it all. I haven’t heard it played 

as beautifully since Sir Thomas Beecham. 

Janos Gardonyi 

The Rossini Project Volume 1 – The Young 

Rossini 

Orchestra della Svizzera Italiana; Markus 

Poschner 

Concerto Classics CD 2112 


!! 

Rossini was 

a wunderkind 

who came on the 

musical scene 

like a comet and 

music just poured 

out of him, much 

like Mozart. His 

creative genius never diminished and his 

greatest works came near the end of his 

long life. Last year was the 150th anniversary 

of his death and this ongoing ambitious 

project, which includes some first recordings, 

has been created with the Lugano-based 

Swiss orchestra to explore and record much 

of his lesser-known and hitherto unedited 

works. It certainly starts off splendidly with 

a wonderfully pointed, sparkling rendition 

of the Overture to L’Italiana in Algeri. 

Though not at all unknown, it immediately 

demonstrates the gifted young German 

conductor Markus Poschner’s obvious affinity 

to Rossini. The overtures that follow are 

youthful attempts but already showing the 

lion’s teeth of the master emerging, as in the 

alternate version of L’equivoco stravagante 

(1811) with its beautiful horn solo and subsequent 

brilliant use of woodwinds, and the 

first manifestations of the Rossini crescendo 

in Tancredi Overture. 

The period covered (1808-14) is mostly 

from Venice, young Rossini’s first major stop, 

just up the Adriatic coast from his birthplace 

Pesaro where he ran away as a teenager 

to become the toast of the town in a few 

years. The Venetian sojourn produced a dozen 

operas, two of them masterpieces: L’Italiana 

in Algeri and Tancredi , the latter duly represented 

here by excerpts and sung by virtuoso, 

strong Russian tenor Dmitry Korchak, who 

proves to be very much at home in Rossini’s 

murderous tessituras. 

Highly recommended – a most enjoyable 

inaugural release in a series worthy of Rossini. 


Rachmaninoff – The Isle of the Dead; 

Symphony No.1 

London Philharmonic Orchestra. Vladimir 

Jurowsky-cond. 

LPO Live LPO 0111 (lpo.org.uk/recordingsand-gifts) 

! ! Rachmaninoff’s 

First Symphony 

hasn’t had an easy 

time. Conductor 

Glazunov was 

drunk and made 

it a dismal failure 

at its premiere 

in 1897 and the 


discouraged young composer locked the score 

away vowing never to perform it again. The 

original score was never found, but miraculously 

the orchestral parts were discovered in 

1944 and it was performed once more in 1945 

in Moscow. 

This new performance comes from a recent 

concert in London conducted by Vladimir 

Jurowsky and what a concert it must have 

been! The audience went wild and the critics 

were raving and I imagine Rachmaninoff 

must have been very pleased and the 

symphony vindicated. Royal Philharmonic 

Society 2018 award winner Jurowsky’s name 

may not be too familiar, but he is one of 

the most sought after conductors and has a 

tremendous worldwide reputation that’s well 

proven here. 

None of this music will come to you easily, 

in fact it requires several hearings and total 

concentration to appreciate Jurowsky’s 

“hypnotic drive,” especially in The Isle of 

the Dead’s sinister 5/8 ostinato undulating 

motion representing Charon the oarsman 

rowing a boat towards the other shore. It 

brought an “eerie chill” to the Festival Hall, 

one critic remarked. 

The Symphony itself was a triumph. 

Rachmaninoff is the connecting tissue in 

Russian music between Tchaikovsky and 

Shostakovich and here you can see why. It has 

youthful excitement, intense passion and a 

tremendous emotional depth Jurowsky brings 

out to the utmost. The last movement Allegro 

con fuoco is where it all comes together; it’s 

both “frightening and triumphant” and one 

could feel the intensity and frisson of the live 

performance. 


Symphonic Dances – Copland; Ravel; 

Stravinsky 

Park Avenue Chamber Symphony; David 

Bernard 

Recursive Classics (naxosdirect.com) 

!! 

Pity the ballet 

orchestra musician; 

so much great 

music gets borne 

away from their pit 

by the changing 

tides of dance 

fashion. The 20th 

century is littered 

with scores from 

the early moderns that were introduced as 

dance accompaniment and became, instead, 

great works for the symphony stage. Hardly 

anyone stages Stravinsky’s The Rite of Spring 

anymore, and almost all of Ravel’s works are 

similarly banished from the standard ballet 

repertoire. 

The Park Avenue Chamber Symphony, 

under conductor David Bernard, has recorded 

three modern masterworks: Aaron Copland’s 

Appalachain Spring Suite, Ravel’s Daphnis 

and Chloe Suite No.2, and Stravinsky’s 

Firebird Suite. With time and space, one 

could discuss the ways ballet scenarios 

changed from the mythic to the mundane as 

reflected in the selected works, but better to 

leave that to dance critics. These are, above all, 

wondrous works that orchestral players love 

to sink their chops into, and symphonic audience 

members love them as much. 

All three are now period pieces of earlyto 

mid-20th-century French and American 

music. Don’t tell me Stravinsky was neither; 

he wrote for the tastes of his audience, and 

The Firebird often sounds a lot like Ravel. And 

of course, Copland was deeply influenced by 

Nadia Boulanger. 

The recordings took place in three different 

locations, the orchestra may well have had 

a few interchangeable players, and the 

1919 Kalmus version of the Firebird score 

was edited, possibly to suit the size of the 

orchestra. The playing is uneven, especially 

as regards intonation, and microphone placement 

brings the wind soloists uncomfortably 

close, but the performances are careful and 

loving; in fact it’s just nice to hear a scrappy, 

not-quite-perfect recording of any of this 

material, which might make it more periodauthentic 

than anything else. 

Max Christie 

George Antheil – Symphonies 3 & 6 

BBC Philharmonic; John Storgårds 

Chandos CHAN 10982 (naxosdirect.com) 

!! 

The 1940s was 

an especially busy 

decade for the 

prolific American 

composer, pianist, 

author and 

inventor George 

Antheil (1900- 

1959). With the 

spectre of WWII looming in the USA, in 1941 

he and the actress Hedy Lamarr set out to 

develop a code-based radio guidance system 

for torpedoes. He also continued to turn 

out scores for Hollywood features (his catalogue 

lists 30), while his 1945 autobiography 

Bad Boy of Music – referring to the international 

avant-garde reputation he attracted 

in the 1920s – became a best-seller. As well, 

Antheil continued to compose for the concert 

stage, completing several symphonies, a violin 

concerto and other works in the 1940s. 

This second Chandos album of his 

symphonic output by the BBC Philharmonic 

and its chief guest conductor, John Storgårds, 

delights listeners with outstanding performances 

of two of those symphonies plus three 

shorter orchestral works. Symphony No.3 

“American” (completed 1946) is cinematic 

in its conservative harmonic language and 

highly episodic block treatment of themes. 

In parts, an Aaron Copland-esque American 

populism is jump-cut with syncopated jazzy 

sections and a marked stylistic eclecticism: 

Antheil leans strongly on the musical legacies 

of Sibelius, Mahler and Prokofiev. The work 

concludes with a triumphalist finale. 

Symphony No.6 (completed 1949-50) is 

overall a more sombre and artistically ambitious 

work. The influences of Shostakovich, 

and in parts Ives, permeate Antheil’s patriotic 

portrait of American life in music in a 

manner both touching in its heart-on-sleeve 

Romantic lyricism, and evocative of the 

vernacular regionalisms and dynamism of 

post-war USA. 

Andrew Timar 

Concert note: The Toronto Symphony 

Orchestra begins its 2019/2020 season with 

“Dynamic Duo: Hannigan & Storgårds” on 

September 19 and 21. Both Barbara Hannigan 

and John Storgårds are featured in double 

roles, soprano/conductor and violinist/ 

conductor respectively. 

MODERN AND CONTEMPORARY 

20th Century French Flute Concertos 

Ransom Wilson; BBC Concert Orchestra; 

Perry So 

Nimbus Alliance NI 6375 


! ! No nation’s 

composers have 

contributed more 

to the flute repertoire 

than those of 

France. From the 

Baroque era to the 

present, French 

composers have 

excelled as weavers 

of iridescent, gossamer musical tapestries, 

employing as a favourite filament the 

diaphanous sound of the flute. On this CD, 

American flutist Ransom Wilson, conductor 

Perry So and the BBC Concert Orchestra 

present three rarely recorded, captivating 

works by Jean Françaix (1912-1997), Jean 

Rivier (1896-1987) and Jean-Michel Damase 

(1928-2013), plus a repertoire staple by 

Jacques Ibert (1890-1962). 

In the opening Moderato of Françaix’s 

Impromptu for Flute and Strings (1983), 

the flute dances sprightly filigrees over the 

strings’ waltz beat. Two sweetly dreamy 

movements, Largo and Andante poetica, 

containing echoes of Poulenc (I’ve always 

thought of Françaix as “Poulenc-lite”), frame 

a playful Scherzando. It’s an irresistibly 

charming piece! 

The Allegro moderato of Rivier’s Concerto 

for Flute and Strings (1956) alternates wistful 

and animated passages for the flute, followed 

by the central Lento sensibile, in which the 

flute seems to wander in a subterranean 

labyrinth, before emerging into the light 

and sprinting to the finish line in the 

Molto vivace. 

The three connected movements of 

Damase’s Sérénade for Flute and Strings, 

Op.36 (1956), all marked Très large, encompass 

mystery, joy, angst-filled disquiet and a 


pair of hauntingly beautiful melodies. Even 

with its gentle, non-virtuosic ending, it 

should have become “standard rep” by now. 

A warm-hearted performance of Ibert’s 

familiar, audience-pleasing Flute Concerto 

(1933) ends this extremely enjoyable, 

extremely recommendable CD. 

Michael Schulman 

Ana Sokolović – Sirènes 

Ensemble contemporain de Montréal; 

Véronique Lacroix; Ensemble vocal Queen 

of Puddings Music Theatre; Dáirine Ní 

Mheadhra 

ATMA ACD2 2762 (atmaclassique.com) 

!! 

2019 JUNO 

Classical Composer 

of the Year Ana 

Sokolović composes 

with her highly 

identifiable tonal/ 

atonal soundscapes 

in four works 

here. Sirènes/Sirens 

(2000) is performed 

perfectly by six female voices of Queen of 

Puddings Music Theatre Vocal Ensemble. 

Inspired by ancient Balkan voices of the Sirens 

legend, high-pitched female voices, quasiwobbly, 

humorous yet haunting vocal effects, 

shrieks, quieter moments, and driving vocal 

rhythms are intense. The five-movement Tanzer 

Lieder (2005) is set to five German, French 

and English poems by Austrian poet Francisco 

Tanzer. A slightly more operatic work, soprano 

Florie Valiquette embraces Sokolović’s trademark 

loud high pitches and dramatic held notes 

above such instrumental accompaniment as 

reflective flute/piccolo, piano and cello plucks. 

Mezzo-soprano Krisztina Szabó shines especially 

in her colourful lower pitches in the fivemovement/language 

Pesma (1996-2007) above 

the ECM+ instrumentalists under the direction 

of Véronique Lacroix. 

The title of the violin concerto Evta (2017) 

means “seven” in Serbian Roma. Seven 

joined movements are inspired by chakra 

colours and associated with each note of the 

scale as Sokolović now explores her characteristic 

sounds with only instruments. The 

ECM+ ensemble, with soloist Andréa Tyniec, 

performs with technical and musical greatness, 

executing more rapid ascending lines, 

held notes, pizzicatos and plucks, touches 

of Gypsy-flavoured sounds and the occasional 

more tonal sections in this less intense 

composition. 

One can only imagine how gratifying it 

must be to successfully perform and compose 

such complex contemporary works. Yes it is 

intense, but worth the time to listen to and 

understand Sokolović! 

Tiina Kiik 

Concert note: Andréa Tyniec is featured in 

the Toronto premiere of Ana Sokolović’s Evta 

with the New Music Concerts Ensemble on 

May 26 at Betty Oliphant Theatre. 

Sweet Apple 

Dawn Davi 

Independent (dawndavi.com) 

!! 

These subtly 

musical performances 

are a telling 

document of 

pianist Dawn Davi’s 

compelling, lifeaffirming 

compositional 

gift. The 

nine pieces on her 

second album Sweet Apple are also sufficiently 

exceptional to stand out in what is 

becoming a rather crowded field of young 

musicians who feel compelled to express 

themselves. Certainly the expressive way in 

which Davi’s music suggests quiet humanity 

also gives us a fine example of the self-effacing 

poetry that appears to be the hallmark of 

her style. 

Her use of synthesizer and sustaining pedal 

give this music a degree of harmonic blurring 

which in turn – when listened to in consonance 

with the brass and strings that are added 

to these songs – also conveys the ethereal 

effect that she intends us to hear in her music. 

Davi takes a decidedly elegiac view of life in 

the expressive music of this disc. In doing 

so she offers a performance of mellowness 

and beauty. On Eyes of a Tree (for instance) 

she coaxes the strings into gentle harmonic 

enjoinders to her stoic melody which she 

essentially plays pianissimo, but with 

exquisite dynamics throughout. 

This is typical of Davi’s eloquence and 

her ability to create a hauntingly beautiful 

soundscape evocative of a bard contemplating 

the natural world and the glories that 

lie within it. With Sweet Apple, clearly Davi 

has succeeded in celebrating the mysteries 

of life with music of exceptional stoicism 

and beauty. 

Raul da Gama 

Sergio Cervetti – Parallel Realms: XXI 

Century Works for Orchestra 

Moravian Philhjarmonic Orchestra; Petr 

Vronsky 



!! 

The Uruguayan- 

American composer 

Sergio Cervetti 

has long enjoyed a 

celebrated career 

as composer and 

educator (a former 

professor at the 

Tisch School of the 

Arts at New York University), and has clearly 

cultivated an impressive work ethic in his 

life, creating and releasing challenging and 

provocative new music at an impressive rate. 

Realized here by the Moravian Philharmonic 

Orchestra under the skillful direction of 

conductor Petr Vronský and captured 

beautifully in the sonically satisfying 

Reduta Hall in the Czech Republic, Parallel 

Realms is comprised of three single-movement 

symphonic works, Et in Arcadia ego, 

Consolamentum and Plexus, in which 

Cervetti uses religious and scientific themes to 

musically confront childhood memories that 

have remained with him throughout his life. 

The selections contained on this 2019 

recording combine new music with a 

reimaging of a 1970 semi-graphic score 

(Plexus) that thread together the composer’s 

desire to bridge the deeply religious and 

spiritual with the metaphysical. Vacillating 

between the tumultuous swirl of the 

orchestra and quiet minimalism, Cervetti uses 

the ensemble to its fullest, finding beauty in 

opposite extremes of the group’s dynamic 

range. Clearly this is modern music, but 

anchored as it is to the strong narrative of 

biography and religious themes (as captured 

in the accompanying liner notes), the 

recording presents here as timeless, capable 

of tapping into universal human emotions 

and feelings. 

The eighth Cervetti recording to be released 

on the Navona Records label, Parallel 

Realms comes recommended for fans of 

symphonic music who hope to be challenged 

in their listening and satisfied in their quest 

for exciting and beautiful new music. 

Andrew Scott 

Frédéric D’Haene – Music with Silent 

Aitake’s 

Reigakusha Gagaku Ensemble; Ensemble 

Modern; Kasper De Roo 

Ravello Records rr8008 

(ravellorecords.com) 

! ! Frédéric 

D’Haene is a 

Belgian avant-garde 

composer who 

studied with several 

renowned European 

and American 

composers. But 

it was his 1986 

discovery of gagaku (court music of Japan) 

which dramatically changed the direction of 

his musical worldview. D’Haene’s study of 

gagaku – a musical genre a world apart from 

his own – and its incorporation in his scores, 

ultimately resulted in what the composer 

calls “paradoxophony” or “paradoxical 

coexistence.” This transcultural approach has 

informed his compositions ever since. 

Music with Silent Aitake’s – performed by 

the esteemed Reigakusha ensemble joined by 

the premier group Ensemble Modern, both 

conducted by Kasper De Roo – is a banner 

example of that approach. Scored for gagaku 

and chamber orchestra, the five-part work 

exemplifies D’Haene’s ideal of the coexistence 

of Western and Japanese instrumental worlds. 

The liner notes underscore the composer’s 

key aim: pluralism. It’s an aesthetic and social 

vision of coexistence which does not favour 


one musical world over another. 

D’Haene’s principle of paradoxophony 

penetrates his combinations of perceived dual 

opposites in Music with Silent Aitake’s. We 

hear modality, atonality and spectral music 

techniques, stasis and dynamism, sound 

mass and silence, as well as simplicity and 

complexity coexisting within both random 

and organized forms. 

Deliberately avoiding Eurocentricity, exoticism 

or easy melody-with-accompaniment 

tropes D’Haene has indeed fostered a kind of 

musical common ground between his chosen 

two groups in this work. That he’s done so 

maintaining the integrity of their identities 

and performing traditions, while expressing 

his own forceful vision, is indeed an impressive 

achievement. 

Andrew Timar 

Greek Wind Quintets 

Aeolos Woodwind Quintet 

Naxos 8.579037 (naxos.com) 

!! 

Pop quiz: name 

three contemporary 

Greek composers 

whose names don’t 

begin with an “X.” 

I am not the only 

one who would 

fail this test. The 

aptly named Aeolos 

Woodwind Quintet has undertaken a project 

to improve their compatriots’ international 

profile, and so released a CD of nothing but 

works for that ensemble: small forces to 

accomplish a large mission; but the effort is to 

be applauded. 

Aeolos has included just over one hour of 

material by seven composers, some deceased, 

some fairly advanced in years. No one born 

after the 1960s is included, leaving one to 

wonder if younger composers are ignoring 

the form or if the group chose to focus only 

on more established names. 

The players acquit themselves well, but 

much of the earlier material sounds a good 

deal as though the composers all admired 

Carl Nielsen; the music is folkloric, charming, 

tuneful and tonally fresh, but not very 

exploratory. The more recent works, towards 

the end of the disc, are the most interesting. 

Giorgos Koumendakis’ A Blackbird 

in the Cricket’s Gorge (2013) is a lot of title 

for a brief, tonally fluid bit of sound painting 

(including bird calls) originally written for 

three pianos. Theodore Antoniou’s Woodwind 

Quintet No.2 (2014), dedicated to Aeolos, is 

in turns mysteriously searching about and 

madly dancing in place, a challenging piece 

rhythmically and tonally, played with confident 

flair. Woodwind Quintet (1995) by 

Andreas Makris, closes out the disc with the 

players passing a rhythmic motif back and 

forth against a lyric counter argument, ideas 

which play around for an interesting ten 

minutes (the longest cut on the disc). 

Max Christie 

Beneath the Tide – A Collection of 

Concertos 

Soloists; Croatian Chamber Orchestra; 

Miran Vaupotic 



!! 

Don’t be misled 

by the CD’s title or 

the accompanying 

notes that liken its 

contents to “ocean 

currents… uncovering 

what was 

previously hidden.” 

Rather than 

exposing murky, 

below-the-surface secrets, all five pieces, by 

four Americans and one Taiwanese composer, 

display immediately accessible clarity of 

expression. Nor is this disc “a collection of 

concertos,” as stated on its cover. Although all 

the works are scored for instrumental soloists 

and chamber orchestra, only three are 

genuine concertos and are so titled. 

Restless dissonances in the outer movements 

of Michael G. Cunningham’s 15-minute 

Clarinet Concerto Op.186 bracket the middle 

movement’s brooding lyricism. Virtuoso runs 

from bottom to top of the clarinet’s range 

help make this a brilliant showpiece for the 

instrument. 

Rain Worthington’s ten-minute In Passages 

for violin and string orchestra is a sustained, 

moody beauty, imbued with Middle Eastern 

melodic melismas and glissandi. It would 

make a superb slow movement for a fulllength 

violin concerto. 

In her 15-minute Guitar Concerto No.1, 

subtitled Remembrance of Hometown, 

Ssu-Yu Huang draws upon musical traditions 

of her Chinese forebears to create an impressionistic 

series of atmospheric brush paintings 

in sound. 

At just under six minutes, Bruce Reiprich’s 

Lullaby features a long-lined violin solo, 

more intense than gently calming. Perhaps it 

just needs another title. 

The CD concludes with Beth Mehocic’s 

cheerful 18-minute Piano Concerto, music 

that suggested, to me at least, playful leprechauns, 

the final Allegretto a rousing Irish jig. 

An entertaining end to an entertaining disc. 


Carl Vollrath – Souls in Transitions 

Summa Trio 



!!“When I first 

wrote these pieces,” 

says Carl Vollrath 

(b. New York City, 

1931), “I had no set 

concept of what 

they ‘meant.’” 

Vollrath’s titles for 

the three trios and 

their umbrella title 

Souls in Transitions were added only after 

a colleague at Alabama’s Troy University, 

where Vollrath taught for 40 years, said that 

the first trio reminded him of prehistoric cave 

paintings. Vollrath’s colleague was undoubtedly 

responding to the sense of primitive 

mystery created by Vollrath’s use pf pentatonic 

and modal scales, ostinato piano bassnote 

“drum-beats” and repeated melodic and 

rhythmic motifs typical of religious rituals. 

Vollrath’s title for the first trio, The Secrets 

of the Magdalenian Caves, references those 

prehistoric paintings. Tombs of Ancient 

Times, writes Vollrath, evokes “traditions 

surrounding passing in ancient Egypt,” in 

which “community members would bring 

food to the tomb” for use by the departed in 

the afterlife. Finally, Buddha of the Future 

reflects “how the image of Buddha has 

changed over time.” While all three trios 

share many stylistic characteristics, there 

is a subtle increase in lyrical warmth over 

the cycle, their titles perhaps suggesting the 

growing sophistication of their metaphysical 

world views. 

Vollrath’s sure-handed scoring for violin, 

cello and piano creates effects almost orchestral 

in nature, ably performed by the Summa 

Trio, Los Angeles-based contemporary music 

specialists. The entire disc could easily serve 

as the soundtrack for a TV documentary 

about archaeological sacred sites; CD listeners 

will have to rely on their own imaginations. 


Phil Salathé – Imaginary Birds 

Ling-Fei Kang; Charles Huang 

Ravello Records rr8006 

(ravellorecords.com) 

! ! To join Phil 

Salathé on 

Imaginary Birds, 

his magical adventure, 

the listener 

must allow oneself 

to be led by the 

clear and penetrating 

soprano 

voice of the oboe and the more covered, 

tenor timbre of the pear-shaped bell of the 

cor anglais, into the wonderful imaginary 

sound world of the composer. Here we are 

quite easily seduced by the oboe of Ling-Fei 


Kang and the cor anglais of Charles Huang 

as we traverse the interior landscape of 

Salathé’s vivid imagination. Along the way 

we are also joined by cello, piano, celesta, 

harp and guitar to explore the mysterious 

depths and wondrous heights of birds in their 

wondrous habitat. 

We find ourselves coming under the spell 

of a composer who is a master of mood 

and atmosphere and who has the ability to 

coordinate colour and structure to a rare 

degree. The bird repertoire – Mandarin Ducks 

and Imaginary Birds of the Frozen North 

– swirls amid equally atmospheric pieces 

such as The Heart that Loves But Once and 

The Wood Between the Worlds as well as 

Expecting the Spring Breeze (composed by 

Teng Yu-Hsien and arranged by Salathé). 

The sometimes diabolical difficulty of this 

music is expertly navigated by Kang and 

Huang as well as by the other musicians. Each 

piece is given a lively reading and is played 

with buoyant, aristocratic grace and almost 

insolent virtuosity. Equally important is the 

fact that a delightfully spare atmosphere is 

maintained throughout. 

Raul da Gama 

Julius Eastman – Femenine 

Apartment House 

Another Timbre at137 (anothertimbre.com) 

!! 

Julius Eastman 

(1940-1990) is 

as fascinating 

to read about as 

he is to listen to. 

This performance 

of his breathtaking, 

hour-long 

work, Femenine takes us to one of the most 

eloquent members of the 20th-century avantgarde. 

The performance of this austere work 

by the ensemble Apartment House is replete 

with all the virtues that Eastman embodied: 

unfailing clarity, innate elegance, an unerring 

sense of proportion, a finely honed mastery of 

style, melodic finesse and unobtrusive grasp 

of harmonic rhythm, not to mention a matchless 

sense of aural geometry. 

The work is layered with subtle colours. 

Each layer – with each hypnotic and intensifying 

repeat – is daubed with minutely thickening 

textured music that seems to ebb and 

flow like a gentle tide that swells steadily 

from silence before gently building into a soft 

whoosh of the keyboard, vibraphone, violin, 

cello and two flutes. Throughout, the uniquely 

Eastman-like tension between harmonically 

loaded melody and the essentially neutral, 

often near-static nature of the metre, has 

its sense of symmetry quietly disturbed by 

minute figures played by each instrument as 

the players recreate the composer’s prevailing 

tonal palette through appropriately lean, but 

always beautifully focused, orchestration. 

The result proves well worth seeking out. 

Eastman’s was a diverse style with firm roots 

in John Cage-like stasis; but there is more 

heart-on-sleeve Romantic post-avant-gardism 

than one would expect. Either way the music 

has an emotional power that Apartment 

House articulates ever so eloquently. 

Raul da Gama 

Alexander Moyzes – Symphonies Nos.9 and 

10 

Slovak RSO; Ladislav Slovák 

Naxos 8.573654 (naxos.com) 

!! 

One in a Naxos 

re-release series of 

Slovak composer 

Alexander 

Moyzes’ (1906- 

1984) complete 

symphonies, 

this Marco Polo 

recording was 

previously issued in the early 2000s. A master 

of 20th-century techniques and expression, 

Moyzes developed a style clear in 

texture, dramatic, and influenced by both 

his own nation’s and Shostakovich’s music. 

The three-movement Ninth Symphony 

(1971) is spare and dissonant; grotesque 

marches intrude and build to climaxes. In 

the third movement, solo violin cadenzalike 

passages cry out. Density, tempo and 

volume increase till the work ends with a 

now-subdued violin. Program notes mention 

the composer’s despair following the 1968 

invasion of Czechoslovakia by the Soviet 

Union, yet I found the work a continuously 

involving artistic triumph. The Slovak 

RSO under conductor Ladislav Slovák plays 

with commitment; woodwinds, including a 

spectacular piccolo, excel in both lyrical and 

virtuosic passages. 

The Tenth Symphony (1977-78) is more 

upbeat, though with pensive moments. The 

opening movement begins slowly and is like 

the Ninth Symphony in its powerful overture-like 

dotted rhythms. There are triads 

and added-note chords now, and fewer bare 

dyads. A scherzo-type movement is contrapuntal 

and lively, its trio section featuring 

realistic woodwind bird calls over hushed 

strings. Then the long Larghetto caps the 

work with idyllic, lyrical beauty, but an 

early slight smear in the strings foreshadows 

surprising rich and complex polychords. The 

radiant folk-like finale features colourful 

orchestration including tinkling percussion; 

it’s a lot of fun leading to a boisterous close. 

Roger Knox 

The Other Side 

University of St. Thomas Symphonic Wind 

Ensemble; Matthew George 

Innova innova 007 (innova.mu) 

!! 

We hear 

string orchestras 

in concert 

halls, backing pop 

artists and even in 

the supermarket. 

Alternatively, we 

may only have 

heard concert bands 

at high school 

performances or marching in parades. The 

Minnesota-based University of St. Thomas 

Symphonic Wind Ensemble (Matthew George, 

conductor) is a highly skilled ensemble 

of brass, woodwind and percussion that 

presents a welcome change in timbre and 

material. They have a long history of commissioning 

works and this is their seventh album 

in that series. 

One of the album’s highlights is the 

opening B-Side Concerto – For Rock Band 

and Wind Ensemble by Spanish composer 

Luis Serrano Alarcón. This 16-minute work 

showcases both the wind orchestra and 

the rock band and contains great rhythmic 

riffing sections, some odd metre segments 

and excellent wailing guitar solos. It is a tour 

de force which manages to incorporate the 

rock band within the wind ensemble so their 

distinctive sounds blend to achieve an edgy 

and exciting effect. 

Another highlight, Mysteries of the Horizon 

(After Four René Magritte Surrealist Paintings) 

by Nigel Clarke features the virtuoso Belgium 

cornet player Harmen Vanhoorne. Part 1, The 

Menaced Assassin, begins with a solo cornet 

playing a short fanfare and then works into a 

back-and-forth duel with the wind ensemble 

containing several angular and sophisticated 

harmonies and rhythms. 

Kit Turnbull’s three-movement Everything 

starts from a dot (based on a quote from 

Kandinsky) and a second piece by Alarcón, 

Symphony No. 2 for Wind Orchestra, are the 

additional works on this engaging CD. 

Ted Parkinson 

Gernot Wolfgang – Vienna and the West, 

Groove-Oriented Chamber Music, Vol. 4 

Various Artists 

Albany Records TROY1760 

(gernotwolfgang.com) 

! ! If you are 

searching for a fresh 

and distinct fusion 

of styles, something 

classically based yet 

different, this is the 

album you might 

want to consider. 

Gernot Wolfgang, 

an Austrian-born 

composer now based in Los Angeles, masters 


an idiosyncratic fusion of the elements of the 

Second Viennese School with contemporary 

jazz in this selection of chamber music pieces 

featuring various combinations of instruments. 

In a way, these pieces take inventory of 

the stylistic as well as geographical influences 

on Wolfgang’s compositional style. Music 

on this album has a firm and clear classical 

music foundation but what makes it interesting 

is the interweaving of the rhythmical 

jazz grooves, occasional country western 

music motives (especially in strings) and the 

cinematic quality of some sections. 

Passage to Vienna for piano trio, the 

second piece on the album, is a story told in 

fragments, and exemplifies why this unique 

fusion works so well. It opens with a beautifully 

flowing, seductive melody in the piano 

and repeated unison in the strings. Groovy 

rhythms precede a jazzy violin solo, done 

with flair and style. We are then transported 

to Vienna at the turn of the century, 

and non-linearity takes over along with 

strong cinematic colours. The mood shifts 

back to America toward the end and the 

opening theme comes back but this time it 

is coloured with dissonance. Another jazzy 

violin solo, with added country-style motives 

and propelling rhythms in the piano bring 

this piece to a conclusion. The textures are 

simply divine. 

All the compositions on this album are 

engaging and atmospheric and a strong cast 

of musicians adds individual flavours to 

Wolfgang’s music. 

Ivana Popovic 

JAZZ AND IMPROVISED 

All There Is 

Sheila Soares 

Independent (sheilasoaresmusic.com) 

!! 

Gifted vocalist 

and composer 

Sheila Soares’ new 

recording is one of 

the freshest, most 

engaging and thoroughly 

musical 

CDs to be released 

this year. Although 

Soares is no unseasoned debutante, her debut 

offering is rife with new, intriguing, genreblurring 

original material and fine musicianship. 

Deftly produced by talented guitarist 

Eric St-Laurent, Soares’ excellent collaborators 

also include Jeff McLeod on piano and 

organ, Jordan O’Connor on acoustic bass and 

Chris Wallace on drums. 

At first blush, there is an obvious sonic 

similarity between the vocal timbre of Soares 

and the late Blossom Dearie; however, Dearie 

(with her quirky, narcissistic performances) 

never came near Soares’ interpretive sensitivity 

and jaunty songwriting style. It may 

be that good tunesmiths (such as Soares) are 

just “born” when the creative stars align, and 

they can enter our consciousness at any point 

along their journey – it’s inevitable… and as 

Soares says, “Music is like breathing to me.” 

Highlights include the lovely title track, 

as well as the stunning Les Fraises Sur La 

Lune (Strawberries on the Moon), which 

displays Soares’ skilled, pitch-pure vocal 

instrument and considerable ability to swing. 

The romantic Constellation boasts not only 

beautiful chord changes, but also a lilting 

melody and a gentle, rhythmic jazz sensibility 

that make this gorgeous track a total 

standout. Jazz has many faces and expressions, 

and happily for all of us, Soares will no 

doubt be delighting us with her jazz eclecticism 

and irresistible perspective for a very 

long time to come. 

Lesley Mitchell-Clarke 

Both Sides 

Marc Jordan 

Linus 270389 (marcjordan.com) 

!! 

Listing all of 

Marc Jordan’s songwriting 

credits, 

awards and accolades 

would take 

up the whole word 

count of this review, 

so let me simply 

say that the man 

knows his way around a song. And since 

this album is mostly covers – only two of the 

tracks are originals – his mighty interpretative 

skills are a key component here. The other 

key component of Both Sides is Lou Pomanti, 

who produced, arranged and orchestrated 

all the tracks. These two men are at the top 

of their games and we are the beneficiaries. 

The album is rich with instrumentation courtesy 

of the Prague Symphony Orchestra and 

guest appearances by international heavies 

like Randy Brecker and Tommy Emmanuel, 

and local luminaries like Kevin Breit 

and Larnell Lewis. 

Although he covers a couple of standards 

from the Great American Songbook, 

it’s the reinterpretations of classic folk/rock 

songs that are standouts for me. In particular, 

Lou Reed’s Walk on the Wild Side shines 

with its many layers and gorgeous woodwinds, 

courtesy of Toronto’s own, John 

Johnson. Although the soft, groovy treatment 

of the tune is antithetical to its subject matter, 

it works. Beautifully. Jordan’s thoughtful 

handling of the title tune also caused me to 

hear these familiar lyrics with fresh ears and 

I was struck by how mature Joni Mitchell’s 

writing was for one so young. (She was in her 

early 20s when she wrote Both Sides Now.) 

Overall, the album reflects a full-grown artist 

who has lived completely, and well. 

Cathy Riches 

Concert notes: Marc Jordan will be 

appearing in a number of venues around 

Ontario this month: May 2, in Ottawa 

(Meridian Theatre); 4, in Kingston (Grand 

Theatre); 5, in Collingwood (Gayety Theatre); 

6, in Owen Sound (Roxy Theatre); 8, in Peterborough 

(Market Hall); 9, in Guelph (River 

Run Centre); 10, in Oshawa (Regent Theatre); 

and on June 22 in Hamilton (Artsfest). 

This Could Be The One 

Karin Plato 

Independent KP0418 (karinplato.com) 

! ! Released worldwide 

on April 12 

through Stikjazz 

Music, This Could 

Be The One is 

Vancouver-based 

vocalist Karin 

Plato’s eighth 

studio album, 

and the culmination 

of ten years of work with her quintet, 

which includes herself, clarinetist James 

Danderfer, pianist Chris Gestrin, bassist 

Laurence Mollerup and drummer Joe Poole. 

This Could Be The One also features three 

special guests: blues musician Jim Byrnes, 

singer Rebecca Shoichet and trombonist 

Rod Murray. Recorded live off the floor by 

Sheldon Zaharko in Vancouver at Warehouse 

Studio, the album has a warm, inviting vibe, 

emulating, to a certain degree, the experience 

of hearing acoustic jazz from a good seat in a 

well-appointed venue. 

This Could Be The One is largely made 

up of Plato’s original material, with a 

few re-arranged exceptions: the Lennon/ 

McCartney-penned I’ve Just Seen A Face, 

Hank Williams’ I’m So Lonesome I Could 

Cry, and the ubiquitous Heart And Soul. 

Byrnes joins Plato on What Came Before, 

Plato’s loping, 3/4 ode to empathy; though 

they represent different vocal traditions, the 

two singers’ voices blend well, with Byrnes’ 

big, woolly voice complementing Plato’s 

controlled clarity. Shoichet and Plato sing 

together on Sorrow, another Plato original, a 

bittersweet, straight-eighths song that serves 

as the album’s final entry. 

With an overall mood that tends toward 

the calm and communicative, even during 

its more bombastic moments, This Could Be 

The One is a worthy addition to the canon of 

modern Canadian vocal jazz. 

Colin Story 


Le way qu’a do 

Les Surruralists 

Tour de Bras TDB90033CD 

(tourdebras.com) 

Spine 

Monicker (Arthur Bull; Scott Thomson; 

Roger Turner) 

Ambiances Magnétiques AM 246 CD 

(actuellecd.com) 

!! 

Guitarist and 

poet, Toronto-born, 

Nova Scotia resident 

Arthur Bull enjoys a 

compound musical 

identity. He has 

been a part of the 

Canadian improvising 

community 

for decades, developing a personal idiom that 

draws in equal parts from the extended techniques 

of free improvisation and the slide 

and finger-style traditions of blues and folk 

idioms. These two CDs, from Spring 2018, 

present Bull in radically different, if equally 

radical settings. 

The Surruralists is essentially a duo of Bull 

and electric bassist Éric Normand, though 

guests sometimes contribute to a music that’s 

at once timeless and timely. The two (sometimes 

subtly, sometimes not) merge free 

improvisation with folk singing, mixing 

French and English traditions to craft a 

primal music in which country tunes and 

proto-rhythm ‘n’ blues collide with flashes of 

an unearthly sound art. Bull’s raw baritone 

and slide guitar drive Jack o’ Diamonds and 

Frankie (and Johnny), while his gift for 

epigram emerges on the spoken Skidmarks: “I 

couldn’t count how many ways the woodpecker 

could divide the beat.” Normand adds 

weird electronic burbles to condition familiar 

themes, and he’s eloquent on the dirge La 

courtisane brûlée, with Bull adding plaintive 

harmonica and Ben Grossman a funereal 

vielle à roue (hurdy-gurdy). 

Among Bull’s 

international associations 

is one 

formed in 2002 

with drummer 

Roger Turner, a 

charter member of 

the British school 

of free improvisation. 

Turner’s sometimes 

machine-like approach can be traced 

directly to an early appreciation of the brilliant 

precision of Dave Tough, the drummer 

who propelled the rise of Chicago jazz over 90 

years ago. Anyone who imagines free improvisation 

to be somehow vague in its contours 

simply hasn’t heard Roger Turner. In 2018 

Bull and Turner expanded their duo with 

the addition of trombonist Scott Thomson 

for a tour (as Monicker) that stretched from 

Southern Ontario to Nova Scotia. 

No blow-by-blow description could do 

justice to Spine: the music is mercurial, each 

of the CD’s six tracks a continuum of shifting, 

permutating relationships and voices, much 

of it conducted at incredible speed, from 

Thomson’s burbling register leaps and runs, 

squeezed through a metal mute, to Turner’s 

high-pitched clatter. Bull’s voices range from 

long, wandering bass glissandi to high-speed 

flurries of metallic scattershot, liable to be 

confused with some of Thomson and Turner’s 

own voicings; but the very determination 

with which the three proceed soon destroys 

any identikit game of “he said, he said” with a 

conclusive “When was that?” It’s a high-water 

mark in Canadian free improvisation. 

Stuart Broomer 

Walk Don’t Run 

Jonathan Bauer 

Slammin Media (jonathanbauermusic.com) 

!! 

Prolific Albertaborn 

trumpeter and 

composer, Jonathan 

Bauer, harkens 

back commendably 

to the past while 

adding a modern, 

unique touch on 

his long-awaited debut album. Coming from 

playing with the Grammy-Award-winning 

New Orleans Jazz Orchestra, Bauer’s immense 

talent and skills are apparent on this album, 

with sultry and smooth riffs throughout 

the pieces and each track written by him. 

A perfect musical balance is achieved with 

support from saxophonist Alexander Geddes, 

pianist Ryan Hanseler, bassist Alex Dyring 

and drummer Gerald Watkins. Each musician 

is given several opportunities to showcase 

their talent through solos, and instruments 

blend together for a New Orleans-flavoured, 

foot-tapping jazz journey. 

The album is said to “celebrate the past 

while looking to the future,” showcasing 

Bauer’s influences, among them Art Blakey 

and Roy Hargrove. Tracks such as Chattin’, 

Precious Moments and We Need to Do Better 

transport the listener back to the era of jazz 

greats and classics while pieces like Ella and 

Violet showcase a more contemporary sound. 

The record as a whole is a beautiful contrast, 

bringing to light Bauer’s desire to hark back 

to the past while reaching into the future by 

adding a modernistic touch to some pieces. 

This gem of an album is suitable for aficionados 

of both classical and newer jazz, with 

tracks that suit the tastes of both. The talented 

Canadian bandleader has released a debut 

record that has truly been worth the wait. 

Kati Kiilaspea 

Sun of Goldfinger 

David Torn 

ECM 2613 773 1919 (ecmrecords.com) 

!! 

David Torn has 

had an extensive 

career as guitarist, 

film composer and 

record producer, 

ranging from work 

with the Nordiccool 

saxophonist Jan 

Garbarek to projects 

with David Bowie. Torn has also worked 

extensively with alto saxophonist Tim Berne, 

whose heated New York free jazz may seem at 

odds with some of Torn’s abstract cool. In this 

latest work, however, the association makes 

perfect sense. 

Torn is a master of looping, constructing 

artificial orchestras with compound ostinatos, 

orchestral chords and percussion. There 

are three long works here, ranging from 22:10 

to 23:55. The opening and closing pieces, Eye 

Meddle and Soften the Blow, began as trio 

improvisations with Berne and drummer 

Ches Smith (the three now performing as 

Sun of Goldfinger), with Smith and Torn both 

making extensive use of electronics while still 

playing percussion and guitar. Torn has then 

taken the materials into the studio, editing, 

mixing and multiplying the improvisations. 

Ultimately, they’re layered assemblages, the 

looping expanding and cooling Berne’s role, 

merging his micro-variations with literal 

repetition. The music retains its expressionist 

quality while becoming increasingly trancelike, 

creating musical worlds at once akin to 

those of Ornette Coleman and Terry Riley. 

The work grows more allusive in the central 

piece, Spartan, Before It Hit, a Torn composition 

that supplements the trio with a string 

quartet, two more guitarists and keyboard 

player Craig Taborn. Sometimes creating thin 

washes of sound, it clarifies and broadens 

Torn’s textures while retaining their fundamental 

mystery. 

Stuart Broomer 

Quintet 

John Heward 

Mode/Avant 19 (moderecords.com) 

! ! A fitting 

memorial for 

Montreal visual 

artist John Heward 

(1934-2018), who 

was as proficient 

in free music as in 

painting and sculpture, 

this 2014 

77-minute improvisation shows how his 

sensitive and sophisticated approach applied 

proper percussion accents without bluster. 

Veteran American improvisers, bassist Barre 

Phillips and alto/soprano saxophonist Joe 

McPhee plus locals, bass clarinetist Lori 

Freedman and pianist Dana Reason are 


featured with no thought of hierarchy and 

ample space for each. 

Matched in flutter tonguing, trilling or 

excavating basso tones from their instruments, 

the reed players are frequently 

involved in interchanges or doubling with 

either the bassist or pianist. Showcased on 

Improvisation 1 though, there’s no mistaking 

Freedman’s snorts or top-of-range squeals 

for McPhee’s shaded vibrations, even in 

altissimo mode. Often setting up sequences, 

Phillips’ angled bow strokes or measured 

pizzicato runs seem to always find the 

sweet spot between efficiency and encouragement. 

Meanwhile Reason’s feature on 

Improvisation 3, backed by brooding doublebass 

lines and drum rat-tat-tats, reveals a 

stylist whose methodical chromatic comping 

doesn’t stop her from challenging moody 

soprano saxophone vibrations with rubato 

cross pulses and inner piano-string scratches. 

Unfazed by whatever sound challenges are 

posed, Heward reacts like a cultivated artist. 

For instance, he extends McPhee’s pinched 

soprano tones with patterning paradiddles 

to achieve the proper colour balance; or elsewhere 

adds a martial beat to physically shape 

Freedman’s octave jumps to proper angles. 

Quintet posits that Heward may be remembered 

as much for his music as for his art. 

Ken Waxman 

Witness 

Kirk Knuffke; Steven Herring 

Steeplechase SCCD 31859 

(steeplechase.dk) 

!! 

Shredding 

conventions, jazz 

cornetist Kirk 

Knuffke teams 

up with classically 

trained baritone 

Steven Herring 

for off-the-wall 

performances that 

range from operatic classics and spirituals, to 

poetry set to music, and standards. Raising 

the idiosyncratic interpretation stakes still 

higher, other accompaniment is from the 

patterning of Russ Lossing’s piano and the 

gruff oom pah pah of Ben Goldberg’s contra 

alto clarinet. Remarkably most of the transitions 

work. 

Unsurprisingly Herring aces the declarative 

nuances of Iago’s Credo and Questo 

Amor with studied formalism. But his creativity 

isn’t solipsistic. Goldberg’s stentorian 

puffs and Knuffke’s capillary peeps match 

operatic chortles on the former. Meanwhile 

the amorous exposition on the latter owes 

as much to plunger brass notes and seductive 

piano chords as to ebullient vocalizing. 

Witness, A City Called Heaven and 

other traditional religious songs fare as well. 

However, mellow horn parts and broad 

melodic sweeps from the pianist on Witness, 

as well as carefully modulated vamps from all 

the instrumentalists, produce subtle swing on 

both tunes, leaving the emotion to Herring. 

The baritone’s parlando serves him appropriately 

when Knuffke’s musical setting of Carl 

Sandburg’s Subway is transformed into song. 

But the recitation is mated with the cornetist’s 

passionate grace notes to reach its goal. In 

fact, the only miscue is Sun Ra’s The Satellites 

are Spinning. While clarinet snarls and 

cornet blats enliven it, the vocalist’s theatrical 

declarations miss its sardonic and humorous 

aspects. Witness works wonderfully as long as 

the musical alterations remain down to earth. 

Ken Waxman 

POT POURRI 

Paul Green – A Bissel Rhythm 

Paul Green & Two Worlds 

Big Round Records br8955 

(bigroundrecords.com) 

!! 

I was more than 

a bissel (Yiddish for 

“little”) tickled to 

see A Bissel Rhythm 

on the list of available 

CDs for review 

this month. For 

starters, being an 

unabashed lover of 

Yiddish, the title 

alone put a smile on my face. And it stayed 

there as I made my way through clarinetist 

Paul Green’s lively and engaging exploration 

of that most natural of fusions: the coming 

together of the distinct, yet equally soul-stirring 

styles of Jewish music and jazz. 

While this is Green’s second recorded 

foray into the world of Jewish/jazz fusion, it 

is his first as composer. Green and his aptly 

named band, Two Worlds, perform his eight 

original tracks with tremendous skill, warmth 

and verve; it is clear they are having a lot of 

fun, too! 

In A Bissel Rhythm, a standard jazz structure 

collides with a freilach; a New Orleans 

funeral meets a klezmer doina; the Jewish 

misheberach scale snakes its way around a 

blues. And it all works! From the joyful and 

virtuosic title track, and the poignant sweetness 

of Zoey’s Chosidl (perhaps the only time 

a beloved pet has been memorialized with 

a jazz-infused Hasidic dance), to the slinky, 

funky ramble of Doina and Ramble, and the 

waltz/ballad-like Joe’s Hurra, the album does 

more than simply pay homage to the two 

musical genres it celebrates: it wraps them in 

a loving embrace. 

Nu? Go pour yourself a bissel schnapps and 

enjoy A Bissel Rhythm! 

Sharna Searle 

Joy 

AKA Trio 

bendigedig BEND14-1 (bendigedig.org) 

!! 

Coming from 

three continents 

– Europe, 

Africa and South 

America – the three 

virtuoso musicians 

of the AKA 

Trio have merged 

into the relaxed 

and attractive transnational musical unit we 

hear in the aptly titled Joy. Italian guitarist 

and composer Antonio Forcione has toured 

for over two decades, having collaborated 

with major musicians such as Charlie 

Haden, Trilok Gurtu, Angelique Kidjo and 

Bulgarian Voices, on the way releasing 20 

albums. He brings rhythmic and tuning 

precision, plus a soulful expressiveness into 

his acoustic guitar solos on Joy’s ten tracks. 

Seckou Keita from Senegal, among the 

world’s foremost kora players, has variously 

been dubbed “the Hendrix of kora,” and “the 

Clapton of kora.” International innovation 

running deep throughout his work, he has 

collaborated with Welsh harpist Catrin Finch 

and Cuban pianist Omar Sosa. Born into the 

Senegalese griot tradition, Keita‘s warm, flexible 

voice is key to the melodic and emotional 

charm of much of Joy. Brazilian percussionist 

and composer Adriano Adewale has also 

widely collaborated, including with Bobby 

McFerrin and Joanna McGregor, and includes 

compositions for orchestra and dance theatre 

in his credits. Adewale brings an easy and 

timbrally rich percussive energy to Joy, 

always tasteful, never overbearing. 

While Forcione, Keita and Adewale grew up 

in three different landscapes, speaking three 

different languages, formed by three different 

cultures and musical traditions, their musical 

convergence in AKA Trio is so unforced as 

to appear inevitable. I predict their polished 

arrangements will be a hit on the international 

world music circuit. 

Andrew Timar 

Consecration 

Rafael Zaldivar 

Effendi Records FND153 (naxosdirect.com) 

! ! Since moving 

from his native 

Camagüey, Cuba 

to Montreal in 

the mid-2000s, 

pianist Rafael 

Zaldivar has established 

himself as 

one of Canada’s top 

Afro-Cuban musicians. His latest album, 

Consecration, released on March 15 through 

Effendi Records, is a celebration of Zaldivar’s 

Yoruba spirituality, as well as a showcase for 

his multifaceted musicianship: Consecration 

deftly blends the pianist’s Afro-Cuban 


musical heritage with modern jazz, fusion 

and classical musics. Zaldivar is joined on 

Consecration by electric bassist Rémi-Jean 

LeBlanc, upright bassist David Gagné, vocalist 

Mireille Boily, percussionist/vocalist Amado 

Dedeu Jr., conguero Eugenio Osorio and 

drummer Michel Medrano. 

Consecration begins with A Rock con Leche, 

which effectively sets the pace for the album 

that follows: after an evocative introduction of 

chanting and far-off, reverb-soaked whistling, 

it quickly shifts into a hard-driving groove, 

with drums and percussion providing a strong 

pulse under Zaldivar’s synth solo. Afro-Cuban 

Warriors follows a similar trajectory, as an 

insistent choir of voices introduces the thunderous 

song and weaves throughout the rest 

of the piece. When I Think of You and Simple 

Talking both feature Boily singing wordless 

melodies, and are amongst Consecration’s 

gentler pieces, as is Rezos, which features 

Zaldivar alone at the piano. 

Consecration is an intriguing, creative 

album that recalls the work of musicians 

such as Michel Camilo and Luciana Souza, 

but it stands uniquely on its own, in no small 

part due to Zaldivar’s unique approach to 

integrating a multiplicity of voices into his 

compositions. 

Colin Story 

A Good Thing 

Blue Standard 

Big Time Records BTRCD-007 

(downinthevalley.com) 

!! 

It does not take 

much to become 

entranced by this 

disarmingly natural 

and eloquent 

performance by 

the duo that calls 

itself Blue Standard. 

Both vocalist Raoul 

Bhaneja and pianist Jesse Whiteley bring out 

the music’s inherent drama with deeply felt 

emotion (in the case of the vocals) and deft 

touch (in the case of the pianist) together 

indulging each other’s lyrical and storytelling 

instincts to the full. Bhaneja brings 

élan, intelligence and passionate engagement 

to these performances throughout A Good 

Thing. For his part, Whiteley is an immaculate 

accompanist, showing a particularly 

clean set of fingers in the dashing virtuosity 

of every song on the disc. 

Bhaneja’s enunciation of the lyrics is 

funded by a deep understanding of the characters 

in the stories told in song. He expresses 

the myriad of emotions behind the phrases 

in each song with clarity and precision so 

that each imaginative speculation is based as 

much on intuition as on reason. This naturally 

ensures that the lyrics are imbued with 

both musical conviction and beauty of tone. 

Meanwhile, Whiteley too, sniffs out all of 

the music’s detail, expressing each in a 

manner thoroughly deserving of his virtuosic 

attention. The result is an energizing and 

colouristic invocation of the piano’s full 

melodic and harmonic potential by someone 

who participates equally in the creativity of 

this session. For this reason even an old song, 

like LOVE for instance, sounds as if it were 

newly minted. 

Raul da Gama 

Domestic Tranquility 

13go 

Independent (13gomusic.com) 

!! 

The album’s title 

comes from the 

Preamble to the US 

Constitution which 

is an ambitious 

document tying 

together several 

political and philosophical 

imperatives. 

This album is 

also ambitious and brings together musicians 

from Canada (Aubrey Dayle, drummer and 

composer), Kim Ratcliffe (guitarist, miscellaneous 

strings and composer), Uganda (Ian 

de Souza, bass), and the USA (Vernon Reid, 

guitar on selected tracks). 

Although the group’s CDBaby page 

describes the album as “guitar fusion music,” 

the first few songs demonstrate more varied 

sounds and textures. Boogie Down 1 is exactly 

what the title advertises, a solid groove with 

some nicely phased guitar lines and simple 

melodies that create and release tension. How 

Much Longer is faster, more intense and with 

some wicked guitar from both Ratcliffe and 

Reid and more complex drumming. Pointe- 

Claire is a softer and more lyrical homage to 

the town where Dayle grew up and Eleanor 

Rigby is a solid cover that combines tasteful 

playing with a very laid-back sense of time. 

The other tracks include some spoken 

word segments ending with Boogie Down 2, 

which is very ska-influenced, and There’s 

Three Little Girls at the Window, a whimsical 

Ratcliffe composition with mandolin as the 

primary instrument, which is calming and 

definitely tranquil. 

The album has a nice pacing, contrasting 

edgy fusion pieces with softer, more introspective 

works, which encourages a sustained 

listening experience. 

Ted Parkinson 

Something in the Air 

Inventive Improvisational 

Inspirations Are Infinite 

KEN WAXMAN 

As difficult as the idea of creating sophisticated improvisational music may sometimes 

seem, even more fraught with challenges is finding the inspiration behind any 

improvisation. Creation may be singular or involve ensembles of varying size, while 

the influence or incentive for the work may result from examining a work of art, an historical 

action, a physical or spatial location or even a realized sonic concept. Each of these notable 

discs defines inspirations in a unique fashion. 

Take American violinist Jason Kao Hwang’s Blood (True Sound 

Recordings TS1 jasonkaohwang.com). His eight-member Burning 

Bridge ensemble mixes Eastern (pipa and erhu) and Western (three 

brass, double bass and drums) instruments on five of Hwang’s polychromatic 

compositions which make their points by twisting varied 

musical strands, but without trading efficiency for exoticism. 

Although reflecting on trauma inflicted on his mother in China and 

his associates in the Vietnam War, Blood isn’t agitprop. Instead, 

melancholy and aggression are portrayed through sounds. For 

instance, on the title track, stop-time counterpoint from Steve Swell’s trombone projecting 

from a bellicose march driven by Andrew Drury’s drums cedes space to delicate textures from 

Wang Guowei’s erhu and Sun Li’s pipa. Although the concluding Declarations references and 

resolves the CD with a peaceful overlay consisting of chromatic pipa strums plus pedal-point 

modulations from Swell and tubist Joseph Daley, theatrical woe is balanced by sophisticated 

virtuosity. Giving the Asian instruments parts that unselfconsciously swing, some of Hwang’s 

other tunes skip and soar with lively inferences. The two-part Surge for example, finds string 

parts swirling around Taylor Ho Bynum’s graceful, kinetic cornet, and if Hwang’s violin solo 

impresses with calculated flying spiccato then so do Li’s crunching strums with a blues 


sensibility closer to the Mississippi river than the Yangtze. Surge Part 2 

is more memorable, since not only does Daley confirm his breath 

control as he matter-of-factly slides from basso-like to sopranino-like 

tones, but the composition’s uniqueness is confirmed when Hwang’s 

bluesy sweeps and Swell’s plunger yelps erupt from within a sequence 

that emphasizes string stretches from the traditional Chinese 

instruments. 

Concerned with the realization of musical 

concepts, rather than reflecting tangible 

actions or emotions, is Façons 

(Microcidi 014 tourdebras.com), a two-CD 

set where the 20-odd members of 

Rimouski, Quebec-based GGRIL interpret 

free music tropes created specifically for 

the ensemble. Describing exactly his aim, 

Organon, by Montreal’s Isaiah Ceccarelli, 

aims to transform the orchestra into a gigantic pipe organ, and the 

inflated crescendo which introduces the piece does just that with a 

collection of tremolo polyrhythms and polytones making 

distinctive sonic colours judder every which way. As the organ-like 

chording intensifies however, helped by wave form pressure from 

GGRIL’s low-energy synthesizers, individual contributions such as 

Alexandre Robichaud’s trumpet slurps, undulating split tones from 

all four reedists, plus bell clangs and glockenspiel smacks from 

percussionist Antoine Létourneau-Berger, bring singular personalities 

forward. By the climactic finale, brass and reed parts retain 

the concentrated theme, while fissures in the form of idiosyncratic 

runs from the three electric guitarists, percussion and two violinists 

create a contrapuntal challenge. On disc two, rather than 

concentrated textures, London-based soprano saxophonist John 

Butcher, who joins the group as it plays his six-part Local 

Fixations, emphasizes tonal contrasts. As metallic guitar frails from 

Olivier D’Amours and Robert Bastien sharpen the exposition, 

string section modulations join with Robin Servant’s accordion 

vibrations to create divergent drones. By midpoint, the development 

divides between solo snatches of high-pitched flute echoes, 

reed bites and fiddle sweeps plus stop-time from the entire 

ensemble. An interval of triple-tongued saxophone, bowed bass 

and guitar plucks creates wider intervals on the penultimate 

Collective Memories II until cogwheel ratchets signal a hushed 

interval. A concluding sequence, Floating Amphora emphasizes sul 

ponticello string bowing, mechanized thumps, cawing brass and 

reed cries as well as tough rebounds from Éric Normand’s electric 

bass; a final orchestral tutti sways into conclusive snorts from 

Gabriel Rochette-Bériau’s trombone and Mathieu Gosselin’s baritone 

saxophone that blur the disparate timbres into a 

distinctive finale. 

Shrinking the personnel down to one and 

the inspiration to description, is Lisbonbased 

cellist Ulrich Mitzlaff’s Sonic 

Miniatures about Edvard Munch’s “The 

Scream” (Creative Sources CS 531 CD 

creativesources.com), During ten brief 

tracks, Mitzlaff’s cello figuratively examines 

the famous Norwegian painting from every 

perspective, using extended techniques 

to make each diminutive track distinctive. The most significant is 

Miniature #5, a multi-hued sketch in itself. Beginning with the sound 

of the bow clattering on the ground, it evolves to resonating pizzicato 

plucks advanced one at a time in ascending pitches, until aggregate 

stops vibrate all strings with below-the-bridge drags, and then 

suddenly fade to one concluding twang. Shaded differently, Miniature 

#9 is almost as dramatic, with speedy spiccato shuffles shading the 

melody as it moves at a frenetic pace, only to end with lulling timbres. 

Also displaying col legno pops, chamber music-like formalism, sul 

ponticello echoes, distinctive low pitches and strongly focused stops, 

the cellist doesn’t echo the message of Munch’s painting as much as 

create a distinctive art work of his own. 

Original methods of using spatial considerations 

inspire two other sessions. Songs 

of the Wild Cave (RogueArt ROG 0084 

roguart.com) was recorded in the dark and 

silence of a Paleolithic cave in southwestern 

France by Americans, saxophonist Larry 

Ochs and drummer Gerald Cleaver. The 

other CD was recorded in the Chihuahuan 

Desert in West Texas by American alto saxophonist 

Joe McPhee and tenor saxophonist 

John Butcher, far removed from GGRIL. Named for the massive brick 

sculptures constructed in the desert by a reclusive American sculptor, 

the improvisations on At the Hill of James Magee (Trost TR174 CD 

trost.at) were created as much in the desert air as inside the shalerock 

structures. 

On Songs of the Wild Cave though, shadowy haze masking 

prehistoric cave paintings and stone walls dripping moisture become 

part of the program as Ochs and Cleaver first tentatively and then 

sonorously pierce the oppressive quiet with contemporary noises. 

Fully acclimatized, midway through the program with a track literally 

titled Deeper, Ochs’ combination of glossolalia, horn shakes, reed 

bites and dyspeptic tones breech the opaque air to such an extent that 

reed cries could bring out ghosts of more than Albert Ayler. 

Meanwhile the drummer complements these saxophone spurts with 

cymbal smacks, wood pops and rebounding patterns. Adapting to the 

cave’s spatial qualities, by Ringing It In, the saxophonist’s harsh 

narrow vibrations and squealing split tones seem to be figuratively 

digging through the murk and the clay-encrusted walls beyond. 

Dispersing the cavern’s chill, the drummer performs a similar feat, 

warming the air with subtle tambourine and maracas-like shakes and 

bass-drum smacks. As the improvisations thicken on the penultimate 

Rooted in Clay, a quasi-melody, never previously heard in these 

primeval surroundings is constructed out of repeated breaths, slurs 

and vocalized cries, and moulded linearly with bell ringing and 

rattling strokes. When wide honks and inflated multiphonics bounce 

off the earth and rocks during the final extended Light from the 

Shadows, it appears as if the title’s promise is fulfilled; Cleaver’s 

subsequent near-bebop rhythm, decorated with intermittent saxophone 

peeps, confirms the sound illumination. 

Inventively displaying meditations on a 

comparable structural challenge on At the 

Hill of James Magee, at least McPhee and 

Butcher had the advantage of defining their 

art above ground. At the same time, the 

opportunity to produce sounds within and 

outside 40-foot high edifices, made of shale 

with iron doors and encompassing shattered 

glass, rust, flowers and textile shards, is as 

daring as it is unique. Turning acoustics to advantage, natural amplification 

makes saxophone strategy stand out even more. On Mine Shaft 

for instance, the width of a pit is marked with circular breathing, that 

while touching the saxophone’s highest reaches, also relaxes into a 

melodic theme. Oddly, the echoes on Butcher’s Paradise Overcast, 

more than the previous improvisation, reflect a near-bottomless 

pit, as his darkened slurs and key percussion are coordinated into 

a rhythmic smear. Otherwise using vamps and asides to emphasize 

tonal differences between their horns, the duo’s most profound 

application of this spatial inspiration is the almost 21-minute introductory 

Sometimes Yes, Sometimes No. Apparently convening from 

opposite angles of the structures, ghostly reed tones connect in 

concentric circles of growls and buzzes that inflate as they deepen. 

The alto saxophonist’s moderated tone and the tenor saxophonist’s 

harsh overblowing fragment in a climatic intermezzo after which 

watery but lyrical timbres predominate. Individual textural variations 

appear before a protracted pause with a finale that balances McPhee’s 

narrowed tweets with dampened snarls from Butcher. 

Whether rooted in cerebral hypothesis or a physical object, fascinating 

improvisations can have many sources. These CDs show some of 

the ways this happens. 


Old Wine, New Bottles 

Fine Old Recordings Re-Released 

BRUCE SURTEES 

Wilhelm Kempff – The Complete Schubert 

Recordings On Deutsche Grammophon 

(deutschegrammophon.com, 9 CDs + 1 

Blu-ray audio disc). Wilhelm Kempff was 

born in Jüterbog, Germany in 1895. He 

grew up in Potsdam where his father was 

the organist at the St. Nicolai Church. His 

grandfather was also an organist and his 

brother the director of church music at the 

University of Erlangen. Wilhelm’s first teacher was his father; then, 

when he was nine, he went to the Berlin Hochschule für Musik where 

one of his piano teachers was Karl Heinrich Barth with whom Arthur 

Rubinstein also studied. His teacher for composition was Robert 

Kahn. Kempff would write two symphonies, piano concertos, violin 

concertos, four operas, chamber music and choral works. In 1914 he 

continued his studies at the Viktoria Gymnasium in Potsdam after 

which he returned to Berlin to finish his training. In 1917 he won both 

the Mendelssohn Prizes. By 1916 he was already recognized as one of 

the leading pianists of his time, especially noted as a Beethoven interpreter. 

His first major recital was in 1917 playing predominantly major 

works including Beethoven’s Hammerklavier Sonata and Brahms 

Variations on a theme of Paganini. From 1924 to 1929 he was director 

of music at the Hochschule für Musik in Stuttgart. From then he 

devoted himself to concert appearances throughout the world. He was 

so well received in Japan that, it is said, they named an island for him, 

Kenpu-san. His first recital there was in 1936, returning frequently 

until 1979. Kempff made his first London appearance in 1951 and his 

New York debut in 1964. He gave his last public performance in Paris 

in 1981, retiring for health reasons (Parkinson’s disease), dying in 

Positano in 1991. 

In 1934/1935 Kempff made his first Schubert recordings. With the 

exception of a 1935 recording of Liszt’s cute arrangement of Schubert’s 

Stänchen D889, here only on CD, his complete Schubert recordings 

from DG are also contained on the single Blu-Ray audio disc 

in immaculate sound. Included are every one of the piano sonatas 

plus these no lesser works: six Moments Musicaux, D780; four 

Impromptus D899; four Impromptus D935; “Wanderer” Fantasy in 

C major D760; Three Piano Pieces D946; Andante in A Major D604; 

Allegretto in C Minor D915; Scherzo in B-flat Major D593 No.1, and 

finally his last Schubert recording for DG: from August 1970, 13 

Variations on a Theme in A Minor by Anselm Hüttenbrenner D576. 

From the very first sonata to be heard in this welcome assembly of 

Kempff performances, it is clear that this pianist was a natural 

Schubertian who understood and projected the composer’s thoughts 

beyond the printed score. 

A new CD from SWR Classic contains an 

in-concert recording of a piano recital 

from the 1962 Schwetzinger Festspiel 

with Wilhelm Kempff playing in the 

Schwetzingen Schloss (SWR 19412). 

The program consists of short pieces by 

Rameau, Couperin, Handel, Beethoven 

and Schubert’s Piano Sonata, D845. Poetic 

repertoire and pleasingly charming. 

Bridge Records has reissued an album produced in association with 

the Musical Heritage Society for the Walter Fund Prize for Young 

Concert Artists first published in 1989 

recorded at the SUNY Purchase Recital Hall. 

The artists involved are cellist Marcy Rosen 

and pianist Susan Walters playing Cello 

Sonatas of Richard Strauss and Edvard 

Grieg (Bridge CD 9512 bridgerecords.com). 

Marcy Rosen has a high profile among 

concertgoers in the United States, Canada, 

England, Italy, France and The Netherlands. 

She was born in Phoenix, Arizona and her 

teachers include Marcus Adeney, Felix Galimir and Sándor Végh. She has 

collaborated with a who’s who of luminaries including Leon Fleisher, 

Richard Goode, Mitsuko Uchida, Isaac Stern, Robert Mann, Sandor Végh, 

Kim Kashkashian and the list goes on. She is currently Professor of Cello 

at the Aaron Copeland School of Music at Queens College. 

Susan Walters studied piano at the Curtis Institute and the Mannes 

College of music. She joined the New York City Ballet as a solo pianist 

in 1997 and has performed many important piano solos with the 

company. She performs outside the ballet with renowned artists 

including Midori, Mendelssohn Quartet, Orpheus Chamber Ensemble 

and with members of the New York Philharmonic. She works regularly 

with Jacques d’Amboise at the National Dance Institute. Walters 

is on the faculty at the Mannes College of Music in NYC. She is to be 

heard on recordings from the major studios including Bis, DG, Sony, 

Philips, Koch and others. 

Together these two are a superlative chamber music team. Rosen is 

in perfect command of her instrument. Her playing has a beautiful 

singing quality and Walters’ piano is sensitive to it. Together their 

music making flows spontaneously. With such harmonious playing 

our attention is on the music, not the players. Such a pleasure. Some 

credit must go to the engineers who perfectly balanced the two 

instruments. 

Back in the days of 78 rpm discs the pieces 

that took only one or two sides were the 

backbone of the industry. Recordings in 

the classical field of an overture, a waltz, an 

intermezzo, etc. were all safe bets to release 

just about anywhere. In Europe, Electrola 

was the company and their recordings were 

issued worldwide on HMV and their affiliates. 

In April 1935 Electrola made their 

first studio recording with the Saxon State Orchestra (Staatskapelle 

Dresden) conducted by their recently appointed (in 1933), 38-yearold 

conductor, Karl Böhm. Those two recordings of ballet music 

from Undine and the Clog Dance from Zar und Zimmermann, in 

remarkably fine sound, are included in a 2CD set of recordings from 

1935 and 1938-39 of Overtures and Entertaining Concert Pieces 

(Profil PH18035 naxosdirect.com) all recorded in the Semperoper in 

Dresden. There are 24 tracks including overtures to Die Fledermaus; 

The Marriage of Figaro; The Abduction from the Seraglio; Leonore 3; 

Egmont; Der Freischütz; Aida (prelude); Oberon; Donna Diana and 

The Bartered Bride. Other pieces include the Interlude Music from A 

Thousand and One Nights; Eine Kleine Nachtmusik; two Hungarian 

Dances by Brahms; the Rákóczy March; the Emperor Waltz and other 

lollipops including a truncated version of Capriccio Italien. Dazzling 

would be the right word to rate the sound on these transfers. Not one 

quibble about the performances. 


Telling Tales Out of School 

A gala benefit to support People for Education 

Thursday, May 23, 2019, 6:00 p.m. 

Streetcar Crowsnest Theatre 345 Carlaw Avenue, Toronto 

Hosted by comedy legend Elvira Kurt, and featuring 13 year old sensation 

Sofia Kay, alongside Canadian icons Sharon & Bram in their final Toronto 

performance! 

Single tickets are $125. Or buy two or more for $100 each. 

Includes beverages, hors d’oeuvres, admission to gala 

performance, live and silent auctions. 

Get tickets by phone at 

416-534-0100 or online at 

https://peopleforeducation.ca/ 

events/telling-tales/

REAR VIEW 

MIRROR 

A love letter to YouTube. 

ROBERT HARRIS 

More and more these days, I do my music 

listening on YouTube. YouTube, rather than 

CDs, or ITunes, or the radio, or live concerts. 

And I’m not alone. 

YouTube, although intended as a video platform, has become the 

prime music-listening service on the planet. With 300 million daily 

users, 400 hours of content uploaded to the site every minute, and an 

enormous wealth of archival material hidden in its nooks and crannies, 

subterranean depths and byways, YouTube, without meaning to, has 

become the most important music-listening service the world has ever 

known. While music companies, tech entrepreneurs and record labels 

were viciously jockeying for position for two decades to determine what 

format would replace the CD and reap its multi-billion dollar profits, 

YouTube just snuck into predominance – a position it will never relinquish. 

It is just too rich as a music service to ever be challenged. 

For me, what makes YouTube so delicious is the wealth of 

unexpected and one-of-a-kind treasures it contains. Because it is 

a crowd-sourced platform, with literally millions of people worldwide 

contributing content to its astonishing archive, basically 

anything that’s ever been recorded – from film, TV, radio, recordings, 

cell phones, piano rolls, 45s, 78s, you name it – has been uploaded 

by someone somewhere to YouTube. That means with the touch of 

a few keystrokes, you can access piano rolls of Scriabin playing his 

own music, and Scott Joplin, and Mahler (an amazing performance 

of the entire first movement of the Fifth Symphony). You can watch 

and listen to close to 100 years of the most famous performers and 

performances in the world. A TV feed of an impossibly young Pavarotti 

singing La Traviata live from La Scala – check. Dozens of videos of the 

greatest conductor ever placed on the earth, Carlos Kleiber, dancing 

his way into the heart of the music of everyone from Strauss, Jr. to 

Weber to Brahms – check. The single greatest performance (to my ear) 

of Pergolesi’s Stabat Mater performed by Christophe Roussel and Les 

Talens Lyriques, not available anywhere else – check. The ability to 

quickly compare a dozen performances of Brahms’s enigmatic Opp. 117 

and 118 late works, simply and effectively – check. Documentaries of 

Glenn Gould from European television unknown to us here – check. An 

absolutely riveting hour of Murray Perahia discussing Bach for Israeli 

television – check. Masterclasses from everyone from Andras Schiff to 

Joyce DiDonato to Scharzkopf to Leon Fleisher – check. And on and on. 

Whatever your taste, whatever your musical interest, whatever your 

curiosity, YouTube can endlessly satisfy it. 

And that’s just in the world of classical music. When it comes to 

pop, or Broadway, or jazz, or any other world music, YouTube is as 

valuable a service, if not more so. Not to mention the thousands of 

really fine instructional videos available on the service – all for free – 

did I mention that? I taught myself the chords and voicings for the 

opening of John Coltrane’s Giant Steps the other night thanks to a fine 

YouTube instructor. I can honestly say that some of the most moving 

and illuminating musical experiences of my life have been occasioned 

by a YouTube video. 

Of course, the service is not perfect. It’s owned by Google, so who 

knows to what nefarious purpose my viewing and listening history 

is put (although what someone thinks they can sell me because I 

listened to Marguerite Long and Ravel perform the premiere recording 

of his G-Major Piano Concerto is beyond me)? The quality of the 

sound is often weak, even terrible. The cataloguing system is nonexistent, 

because each uploader gets to call his or her entry what they 

choose. (If you want a uniquely 21st-century exercise in total frustration, 

try refinding a YouTube video you once saw and loved, but can’t 

now remember how it was titled.) Because it was never intended to be 

a music-delivery system, noone at YouTube seems to have given much 

thought how to make it a better one – except for the billion-hit pop 

videos that make the channel a ton of money. 

But it’s precisely the bumbling, unintended, poorly organized, 

haphazard nature of the service that I love. Wandering through 

YouTube is like wandering through an amazing maze of a great 

musical city, with corners and alleyways and treasures beckoning 

you from every quarter. You may start down an intended path, but 

you won’t stay there for long. And that’s because, even though it’s 

only 20 years old, more or less, the Internet has gone through many 

distinct phases in its journey from light to darkness. We’re deep in the 

dark Web today, with fake news and hate-filled belchings eroding the 

central foundations of this astounding information device. But it was 

May 2019 thewholenote.com

Britain’S Got talent Star tenor 

“You are unbelievable!” 

Simon Cowell 

only just a few years ago that the Web was a place of enlightenment 

and human development, unparalleled in human history. This is the 

Web of Wikipedia, still an astounding free, crowd-created source of 

knowledge. And it’s the YouTube created in that spirit that I value, the 

YouTube motivated by a simple and sincere desire to share things that 

are loved. To me, it’s the rare recording that someone has uploaded 

(that has 612 hits) because they wanted others to hear it, or the 

lovingly created analysis of a Bach fugue that someone has laboured 

over that make YouTube so special and wonderful, such a beacon of 

hope in an increasingly hopeless world. 

YouTube, without meaning to, has become the most 

important music-listening service the world has ever 

known. […] I can honestly say that some of the most 

moving and illuminating musical experiences of my life 

have been occasioned by a YouTube video. 

And that’s why the question of copyright has so little relevance in 

the world of YouTube sharing. It’s a topic for another time, but copyright 

and music are, or should be, mortal enemies. That’s because 

the essence of music is to be shared – the very nature of its production, 

waves freely transmitted through the natural air, proclaims 

that truth. Music is about connecting people, and copyright is about 

disconnecting them, denying people valued and valuable experiences 

through force of law. All you have to do is revel in the intense joy 

of a YouTube discovery to realize how irrelevant copyright is to your 

experience and the discussion about the economics of music in the 

21st century. Yes, of course, musicians have to be paid, but the notion 

that you or I might be denied the deeply powerful experience of 

watching and listening to Kleiber conduct Beethoven 7 because some 

uploader doesn’t have the rights to the material truly makes me recoil 

in disgust. Music was made to be heard. Anything that furthers that 

goal is divine; anything that hinders it is demonic. 

And by that measure, YouTube is divine. Long may it, and the 

millions of its fans, and the sharing values we represent, prosper. 

Robert Harris is a writer and broadcaster on music in all its 

forms. He is the former classical music critic of the Globe and 

Mail and the author of the Stratford Lectures and Song of a Nation: 

The Untold Story of O Canada. 

Jonathan Antoine 

l i v e i n C o n C e r t 

A Voice You’ll Never Forget 

June 6 & 8 at 7:30 pm 

the winter Garden the atre 

t iCke t k inG.C o m 

416.872.1212 

Fe at urin G 

ti n a G u o 

Presented by Helga Schmidt, 

Attila Glatz Concert Productions 

and Elev8 Global Entertainment 

thewholenote.com May 2019

TS 

Sir Andrew Davis, Interim Artistic Director 

Toronto 

Symphony 

Orchestra 

A host of piano greats take to the keys 

this May to play concerti from Sant-Saëns, 

Mendelssohn, and Mozart. 

MAHLER 

SYMPHONY 7 

MAY 15 & 16 

Sir Andrew Davis, conductor 

Louis Lortie, piano 

PINES OF ROME 

MAY 24 & 25 

Sir Andrew Davis, conductor 

Simon Rivard, RBC Resident 

Conductor (overture only) 

Louis Lortie, piano 

BRAHMS 

SYMPHONY 4 

JUN 5, 6 & 8 

Karl-Heinz Steffens, 

conductor 

Jan Lisiecki, piano 

DENK PLAYS 

MOZART 

MAY 29, 30 & JUN 1 

Jeremy Denk, leader & piano 

Simon Rivard, RBC Resident 

Conductor (overture only) 

Reserve your seats today! 

416.593.1285 TSO.CA 

SEASON PRESENTING SPONSOR

Volume 24 Issue 8 - May 2019

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