COC Ensemble Studio member Adrian Kramer sang his farewell concert at the Richard Bradshaw Amphitheatre with accompanist Christopher Mokrzewski last May.
The most significant concert presenter in this city outside the Toronto Symphony Orchestra is Nina Draganic, the unheralded doyenne of the Canadian Opera Company’s annual 10-months of free concerts at the Richard Bradshaw Amphitheatre.
The new season kicks off at lunchtime on Sept. 18, with a concert by the COC’s Ensemble Studio and will run its combination of classical, jazz, world and new music, dance and lecture concerts through to the end of June. Continue reading →
A page from the Eton Choirbook representing a motet by composer John Browne, whose reationship with the fabled school started as a choirboy in the 1460s.
There was an in-joke among English choristers in the late 15th century: “The French sing, Italians shake, Germans wail and the Enlish rejoice” (Galli cantant, Italiae capriant, Germani ululant, Anglici jublilant, in the original Latin).
The national slurs are silly, of course, but it’s pretty much impossible not to reach a state of bliss after listening to a new album featuring seven pieces chosen by English a capella choir Tonus Peregrinus from the Eton Choirbook, one of the rare sources of English sacred music from the closing decades of the 1400s. Continue reading →
Today marks the 150th anniversary of the birth of Claude Debussy, one of Western music’s revolutionaries.
As with the varying styles of Impressionist paintings, the long view represents something defined, but the closer you get, the more his compositions start to fall apart into the individual components that our minds work imperceptibly to piece together into meaningful shapes.
The long view is so sleek and seductive that listeners long ago began taking Debussy’s art for granted.
For 11 straight years, pianist Martha Argerich has assembled her personal dream team of musicians for a festival in Switzerland — captured in an album of highlights.
MARTHA ARGERICH AND FRIENDS Live from Lugano 201 (EMI Classics)
A half-century of musicmaking seems only to have been a warmup for Argentinean pianist Martha Argerich, who continues to wow with the immediacy and love she pours into every note she plays. There is life force in everything she touches. Continue reading →
Emily Atkinson as Teresa in Volcano Theatre and Classical Music Consort production of A Synonym for Love at the Gladstone Hotel (John Lauener photo).
Take something like an opera, give it something like a staging across four floors of a Victorian hotel, and you either have a treat or a disaster on your hands.
Fortunately for the clever troupe of singers, actors and orchestra musicians having the dramatic time of their lives at the Gladstone Hotel until Aug. 31, their modern English adaptation of George Frideric Handel’s 1707 cantata Clori, Trisi e Fileno, renamed A Synonym for Love, is an unqualified success. Continue reading →
Sainte-Clothilde basilica in Paris inspired César Franck.
The pipe organ has had several lives over its five-century history, the grandest as a symphony orchestra substitute, starting in the second half of the 19th century.
We have a chance to hear a live performance tomorrow of the French composition that heralded this great, golden chapter in the instrument’s history: the Grande pièce symphonique. The 30-minute work will be performed by Simon Walker, one of Toronto’s bright young organ virtuosos, at St James Cathedral, at 1 p.m. Continue reading →