Winter/Spring Music Preview and Special on Strings at La Scena Musicale

The deadline for advertising in the February 2012 issue is January 27.
Winter/Spring Music Preview and Special on Strings at La Scena Musicale 

La Scena Musicale begins 2012 with a special Winter/Spring 2012 Concert Guide, aimed to help readers plan their musical Winter and Spring. In addition to our usual concert previews and calendars, there will be three pages of critics’ picks for must see events (covering February to May) in Montreal, Quebec City, and Ottawa.

It's also string mania at La Scena Musicale. This upcoming February edition features French violist Antoine Tamestit on the cover. We also speak with the Hagen Quartet and violinists Jonathan Crow, Nikolaj Znaider, and Ray Chen, while violinist Carissa Klopoushak shares her guide to the instrument in our monthly "Instrumental Insights" column. Our philantrophist of the month is Jacqueline Desmarais. Of course, there is plenty more as usual, including our calendar cover profile of harpsichordist Mélisande McNabney and our jazz section and reviews.

SUBSCRIBER'S BONUS: all LSM subscribers will receive a disc of Schubert violin sonatas performed by Jonathan Crow & Philip Chiu free (courtesy of XXI Records)—email subscriptions@lascena.org or visithttp://dons.lascena.org
In September, La Scena Musicale transformed into two magazines: a separate English and a separate French edition; now, you can read all the LSM articles in your favourite language in one handy issue. The distribution of the two magazines has doubled to 50,000 copies (reaching 100,000 readers) and we are also pleased to return to Ottawa-Gatineau and Quebec City with 5,000 copies in each region.  

The year will also see the reintroduction of the Bring a Teen outreach program.

The eBook of Volume 16 of La Scena Musicale is now available for $9.99. Get all of 2010-2011 magazines in a PDF or iPad format for tablets, plus the 10 Discovery CDs in MP3 format. Visitezhttp://dons.lascena.org

Happy 2012.

Wah Keung Chan
Founding Editor and Publisher

Next Issues 
La Scena Musicale February 2012

• NEW: Separate English and French editions
• On the cover : French violist Antoine Tamestit
• Special: Strings
• Theme: Winter/Spring Concert Previews

• Appearance: February 1, 2012
• Ad Deadline: January 27, 2012
• Artwork: January 27-30
• Calendar Deadline: January 16, 2011 (info)
• Print run: 50,000 copies
  • English Edition: 25,000 copies
  • French Edition: 25,000 copies
• Distribution: Montréal, Quebec City (5000 copies), Ottawa/Gatineau (5000 copies) and through the province of Quebec
• Target audience: amateur and professional artists, music and arts lovers

CONTACT

• 514-948-0509, 514-656-3948 or sales@lascena.org
• Media Kit: http://ads.scena.org

La rentrée musicale hiver/printemps et un spécial « cordes » à La Scena Musicale

La date de tombée pour les annonces pour le numéro de février 2012 de La Scena Musicale est le 26 janvier.
La rentrée musicale hiver/printemps et un spécial « cordes » à La Scena Musicale 

La Scena Musicale amorce 2012 avec un guide spécial des concerts de l’hiver et du printemps 2012, qui aidera nos lecteursà prévoir leur saison musicale. En plus de notre rubrique « concerts à venir » et de nos calendriers habituels, il y aura trois pages des choix de nos chroniqueurs sur les concerts de février à mai à ne pas manquer à Montréal, Québec et Ottawa.

C’est de plus la folie des cordes à La Scena Musicale. Notre édition de février fait pleins feux sur l’altiste français Antoine Tamestit, présenté en couverture. Nous nous entretenons également avec le Quatuor Hagen et les violonistes Jonathan Crow, Nikolaj Znaider et Ray Chen, tandis que l’altiste Carissa Klopoushak partage son guide de l’instrument dans notre chronique mensuelle « informations instrumentales ». Bien sûr, il y aura comme toujours beaucoup plus au rendez-vous, notamment le portrait de la claveciniste Mélisande McNabney en couverture de notre calendrier ainsi que notre section jazz et nos critiques.

Nous sommes particulièrement fiers de vous présenter un article tiré d’une entrevue exclusive avec Oliver Berliner, le petit-fils d’Emile Berliner—l’inventeur du gramophone et du microphone et fondateur de trois étiquettes légendaire: Deutsche Grammophon, EMI et Victor.

BONUS exclusif: tous les abonnés LSM recevront un disque des Sonates pour violon de Schubert, interprétées par Jonathan Crow et Philip Chiu, une gracieuseté des Productions XXI. Courriel : subscriptions@lascena.org ou visitez lehttp://dons.lascena.org

En septembre, La Scena Musicale s'est transformée en deux magazines, une édition anglaise séparée et une édition française séparée. Maintenant, vous pourrez lire tous les articles LSM dans votre langue maternelle, dans un seul exemplaire pratique. La distribution de nos deux magazines a doublé à 50 000 exemplaires (touchant 100 000 lecteurs). Nous sommes également heureux de retourner à Ottawa-Gatineau et à Québec avec 5000 exemplaires par région.

Cette année verra aussi le retour de l’initiative communautaire « Sortez votre ado ».

La version électronique du volume 16 de La Scena Musicale est maintenant disponible pour seulement 9.99 $. Obtenez tous les magazines 2010-2011 en format PDF ou iPad pour les tablettes. Visitez http://dons.lascena.org

Bonne année 2012 !

Wah Keung Chan
Fondateur

Prochains numéros

La Scena Musicale février 2012

• NOUVEAU : les éditions anglaise et française
• En couverture : l’altiste français Antoine Tamestit
• Spécial : cordes
• La Rentrée hiver et printemps

• Sortie : le 1 février
• Tombée (publicité) : le 26 janvier
• Maquettes (publicité) : le 26-27 janvier
• Tombée (calendrier) : le 16 janvier (info)
• Tirage : 50 000 exemplaires
  • édition française : 25 000 exemplaires
  • édition anglasie : 25 000 exemplaires
• Distribution : Montréal, Laval, Rive-Sud et ailleurs au Québec, plus Québec (5000 exemplaires) et Ottawa-Gatineau (5000)
• Public visé : artistes amateurs et professionnels, passionnés de musique et d’art

• Contact : 514-948-0509, 514-656-3948 ou sales@lascena.org
• Trousse média : http://ads.scena.org

Longtime Arts Manager Honored with NAPAMA Award

Photo: Ann Summers Dossena

TORONTO ARTIST MANAGER ANN SUMMERS DOSSENA HONORED

JANUARY 9 IN NEW YORK WITH NAPAMA AWARD

New York City – January 10, 2012 – Legendary Canadian artist manager Ann Summers Dossena of Toronto was honored by her peers from across North America, Monday in New York City.

Ms. Summers Dossena, who operates Ann Summers International in Toronto and Rome, was presented with the first Manager of the Year Award at the annual Awards Ceremony and Luncheon of NAPAMA – the North American Association of Performing Arts Managers and Agents – and APAP – the Association of Performing Arts Presenters. The presentation was made by Robert Baird, Toronto artist manager and president of NAPAMA, at the Hilton New York.

Ms. Summers Dossena was actually a founding member of NAPAMA, in the late 1970s. As well, she is an honorary life member of ISPA, the International Society for the Performing Arts, which has member arts presenters in 42 countries.

BIO: ANN SUMMERS DOSSENA (www.sumarts.com)

From her 1958 start in New York, through her years in Rome (1968-1977) to her Toronto base since 1977, Ann Summers Dossena has been a tireless advocate for the arts for more than five decades.

Through Ann Summers International, she has represented international artists in their career development, and has concurrently had a successful career as an imaginative and resourceful presenter and producer of concerts, tours and events.

In New York, she created the Extended Engagement Plan, which later became known as the Artists in Residence program and funded by the National Endowment of the Arts and Chamber Music America in order to develop and create full-time employment for chamber music artists, and at the same time stimulate the interest of concert goers. She also initiated an informal series called Concert Party. As well, she produced and presented the first concerts at Carnegie Hall after it was saved from the wrecking ball in the 1960s; and produced the first concerts at Lincoln Center.

Moving to Italy, she extended the Concert Party concept to Rome, and presented and produced such high profile arts events as concerts by the Los Angeles Philharmonic with Zubin Mehta, a tour of the Royal Winnipeg Ballet to Israel, and two tours of the National Arts Centre Orchestra in Italy.

Returning to her native Toronto in 1977, Ms. Summers Dossena established Ann Summers International, with a focus on serving both artists and audiences internationally. In 1983, she founded the International Resource Centre for Performing Artists, a non-profit charitable organization with a mandate to help young artists move into their careers. Its Careers in Focus
program includes Encounters with Employers and Business in Performing workshops. Other activities have included a Singers Round-Table, a Parents of Gifted Children seminar,Balletto Classico (a company of six ballet artists), Singing Stars of Tomorrow concerts, and Sumptuous Sunday Brunches, honoring Canadian operatic icons and showcasing young performers.

In 2011 alone, the IRCPA presented Opera Week, in which 22 participating singers benefited from coaching sessions with Vincenzo Scalera of Teatro alla Scala, and Joan Dornemann from the Metropolitan Opera; a Career Moves session featuring a panel of Canadian arts professionals in a frank discussion on the industry; and a session with the revered Edna Landau, co-founder of IMG Artists, and artist advisor through Musical America’s Ask Edna column.

A more detailed bio is available at www.sumarts.com/aboutus.html. More info on the IRCPA can be found at www.ircpa.net.

Spivakov and Kern Brings their North American Debut Tour to Toronto

VIOLINIST VLADIMIR SPIVAKOV & PIANIST OLGA KERN

IN THEIR NORTH AMERICAN DEBUT TOUR AS A DUO

"Brilliant bowing, wide shining tone, splendid intonation and a vibrato as sweet as molten sugar." – New York Times

"His playing was godlike, creating sound perhaps no other living violinist has ever before successfully attempted." – Daily News (New York)

“Kern's musicality radiates off the stage and saturates the hall, and it is joyously alive, immediately communicative, fragrantly sensual, and almost visual in its intensity. Whatever it is – call it star quality – music likes Kern the way the camera liked Garbo.” – Ronald Broun, The Washington Post

Legendary violinist Vladimir Spivakov and scintillating Van Cliburn-winning pianist Olga Kern perform together for the first time in Toronto as a duo. Show One Productions presents an unparalleled evening of romantic and 20^thcentury masterworks, in their North American debut tour, Thursday, February 23, 2012, 8 p.m. at Koerner Hall, 273 Bloor St. W.

Tickets, $50-120, are available from the Koerner Hall box office, 416-408-2824 or http://rcmusic.ca. More information is at www.showoneproductions.ca.

The program features two 19^th century sonatas – Brahms’ Sonata No. 3 in D minor, and Franck’s Sonata in A – along with two 20^th century favorites – Stravinsky’s Suite Italien, based on his ballet music for Pulcinella, his treatment of Italian baroque music; and Arvo Pärt’s poignant Fratres.

Show One has previously presented Spivakov and Kern in Toronto, but with Spivakov as conductor and Kern as soloist in piano concerti by Haydn and Shostakovich, at a sold-out concert (with seats on stage) with the Moscow Virtuosi in 2008.

The North American recital tour of Spivakov and Kern, which begins in January 2012, marks their first joint recital tour outside of Europe.

VLADIMIR SPIVAKOV, VIOLIN (www.vladimirspivakov.com)

A violinist of “soulful refinement and technical finesse”, Vladimir Spivakov appears regularly as a recitalist and orchestra soloist in all of the major international music capitals. For over three decades, he has been one of the most acclaimed violin virtuosos of our time.

Winner of the Montreal International Competition in 1969 and the Tchaikovsky Competition in 1970, Mr. Spivakov made his United States recital debut in 1975 and international engagements quickly followed. As a violinist, he has performed as soloist with the most important orchestras in the world, and collaborated with some of the 20th century’s most eminent conductors, including Svetlanov, Kondrashin, Temirkanov, Rostropovich, Bernstein, Leinsdorf, Ozawa, Maazel, Giulini, Masur, Chailly, Conlon and Abbado. Critics of the leading musical countries unanimously appreciate Spivakov’s deep insight into composers’ intentions, the richness, beauty and volume of his tone, his fine phrasing and nuance, his emotional impact on his audiences, and his refined artistry and intelligence. In addition to performing major traditional works, Mr. Spivakov has continually treated his audiences to new and innovative repertoire, both in chamber music and orchestral works. Mr. Spivakov plays a violin by Stradivari.

OLGA KERN, PIANO (www.olgakern.com)

It is now 10 years since Olga Kern’s career took off with her gold-medal performance at the Eleventh Van Cliburn International Piano Competition in 2001. Her second catapulting triumph came in New York City on May 4, 2004, with a highly acclaimed New York City recital debut at Carnegie’s Zankel Hall. In an unprecedented turn of events, she returned eight days later, for a recital in the Isaac Stern Auditorium, at the invitation of Carnegie Hall.

With her vivid stage presence, passionately confident musicianship and extraordinary technique, the striking young Russian pianist continues to captivate fans and critics alike. She has performed in recital or as a soloist with orchestra in many of the world's most important venues, in her native Russia, in Europe, Asia, North and South America – and South Africa, where she is Artistic Director of the Cape Town Festival.

Among her numerous recent North American appearances were co-presentations in March and April 2011 by the Dallas Symphony Orchestra and Van Cliburn Foundation, honoring her Cliburn victory 10 years ago.

Ms. Kern records exclusively with Harmonia Mundi, and her highly anticipated Chopin Sonatas CD was recently released in 2010.

Musicians In Ordinary Welcomes New Year with Baroque Concert

THE MUSICIANS IN ORDINARY START THE NEW YEAR

BY GOING FOR BAROQUE JANUARY 1 & 2

Too much partying over the holiday season?

The Musicians In Ordinary ease music lovers into the New Year in gentle elegance, with their annual New Year’s Day concert.

Soprano Hallie Fishel, lutenist John Edwards, violinists Edwin Huizinga and Christopher Verrette, and harpsichordist Lysiane Boulva in her MIO debut perform baroque music from Italy and elsewhere in Europe, Sunday, January 1, 2012 at 2 p.m. at the Heliconian Hall, 35 Hazelton Avenue (Bay subway). The concert will be repeated Monday, January 2 at 8 p.m. Single tickets, $25, $20 for students and seniors, are available at the door. More information may be obtained from www.musiciansinordinary.ca, by e-mailing musinord@sympatico.ca or by calling 416-535-9956.

As an alternative to the traditional New Year’s Day fare of 19^th century Viennese waltzes and polkas, The Musicians In Ordinary offer cantatas by Vivaldi and Alessandro Scarlatti, a trio sonata by Corelli, and John Edwards playing solo archlute music by Giovanni Zamboni.

John Edwards invites the public to enjoy their unique way to bring in the New Year: “I think the elegance and subtle shading of the Baroque sets us off from other musical offerings on New Year's Day, while still exhibiting the joy and exuberance so appropriate as we look forward to the New Year.”

Christopher Verrette has been a member of the violin section of Tafelmusik since 1993 and is a frequent soloist and leader with the orchestra. He holds a Bachelor of Music and a Performer’s Certificate from Indiana University and has contributed to the development of early music in the American Midwest as a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire (Indianapolis), and as a guest director with the Indianapolis Baroque Orchestra. He collaborates with numerous ensembles around North America, performing music from seven centuries on violins, viola, rebec, vielle and viola d’amore. He was concertmaster for a recording of rarely heard classical symphonies for an anthology soon to be released by Indiana University Press, and most recently collaborated with Sylvia Tyson on the companion recording to her novel, Joyner’s Dream.

Edwin Huizinga has toured throughout Canada, Europe and Asia with Tafelmusik and performed with the Aradia Ensemble and I Furiosi. He has soloed with the Oberlin, Note Bene and San Francisco Baroque Orchestras, the San Bernardino Symphony, Sacramento Baroque Ensemble, Kitchener-Waterloo Chamber Orchestra and Carmel Bach Festival Orchestra. He has been guest concertmaster of the San Francisco Bach Chorale and guest director of the Atlanta Baroque Orchestra, toured with the Wallfisch Band under Gustav Leonhardt, and has been a guest artist at the Conservatory of Amsterdam. Currently a member of the ensemble Passemezzo Moderno, in November 2011 he makes his Carnegie Hall debut with the Theatre of Early Music. Huizinga has a passion for bringing chamber music to the people and is a founding member of the Classical Revolution, which began in San Francisco in 2006. He is now developing a Toronto chapter, which will bring chamber music closer to the public. An avid improviser, Edwin can be found collaborating in many different genres in the artistic community.

Lysiane Boulva holds a Master in harpsichord from the Université de Montréal and a Master in Arts in early music and historical performance practice from the Royal Conservatoire in The Hague, Netherlands (2010). She has performed in France, Belgium, Netherlands and in Canada, for concerts organized, among others, by the Festival Oude Muziek − Fringe Festival in Utrecht (NL), the Festival Alexandria (ON), the Amis de l’orgue de Rimouski (QC), the Concerts aux Iles du Bic Festival (QC) and as a guest artist with the baroque ensemble I FURIOSI (Toronto). Recipient of a grant from the Canada Council for the Arts, an Ontario Graduate Scholarship as well as a J. Armand Bombardier Internationalist Fellowship, Lysiane has studied with Fabio Bonizzoni, Kenneth Gilbert, Ton Koopman, Réjean Poirier and Blandine Verlet. She now pursues a Doctorate in Musical Arts at the University of Toronto with Charlotte Nediger and Mary Ann Parker, during which she is specializing in French harpsichord music of the 18th century.

Montreal soprano Sasha Djihanian Wins Inaugural COC Ensemble Studio Competition

(l. to r.) Owen McCausland, Claire de Sevigne, Sasha Djihanian, Lindsay Barrett (Photo: Chris Hutcheson)

MONTREAL’S SASHA DJIHANIAN WINS INAUGURAL COC ENSEMBLE STUDIO COMPETITION

Toronto – Soprano Sasha Djihanian, a native of Montreal, claimed the top prize last night at the inaugural Canadian Opera Company Ensemble Studio Competition at the Four Seasons Centre for the Performing Arts, selected from 10 finalists to receive the $5,000 award. Soprano Claire de Sévigné, also from Montreal, won the second prize of $3,000 and tenor Owen McCausland from Saint John, New Brunswick was awarded the third prize of $1,500. In addition, Sudbury soprano Lindsay Barrett was selected by the audience as the winner of the Audience Choice Award, worth $1,500.

The 10 finalists from across Canada were selected from over 160 singers in preliminary auditions in Toronto, Vancouver, Montreal and New York. Each finalist performed two arias with piano accompaniment in front of a live audience and an adjudicator panel comprised of COC General Director Alexander Neef, Music Administrator Sandra Gavinchuk, Head of the Ensemble Studio Liz Upchurch, and guest judges Opera Canada editor Wayne Gooding, and Canadian soprano, voice teacher, and Ensemble Studio alumna Wendy Nielsen.

“The audience at last night’s competition was treated to an exclusive preview of the exceptionally bright future of Canadian operatic talent,” says COC General Director Alexander Neef. “All of the finalists tonight demonstrated remarkable skill, and the prize winners impressed the judges and tonight’s audience with their technique and rich tone, as well their intelligent and emotional delivery. Following all of these young artists’ careers is going to be a pleasure for me personally and for our audiences as well.”

In addition to the four cash prizes, the finalists were competing for highly coveted positions in the 2012/2013 COC Ensemble Studio, Canada’s premier training program for young opera professionals. The competition marked the first time in COC history that the final auditions for the Ensemble Studio were held in front of a public audience. Taking into account the performances at last night’s Ensemble Studio Competition, COC artistic staff will now finalize the lineup of the 12/13 Ensemble Studio. The full lineup will be announced in the new year. The 12/13 Ensemble Studio members will be joining an illustrious program that, since its inception in 1980, has launched the careers of over 150 Canadian singers, opera coaches, stage directors and conductors, including Ben Heppner, Isabel Bayrakdarian, John Fanning, David Pomeroy, Joseph Kaiser, Lauren Segal and Krisztina Szabó.

The Canadian Opera Company is grateful to the following for their support of the inaugural Ensemble Studio Competition: Laurie & Fareed Ali, Earlaine Collins, Ninalee Craig, George & Kathy Dembroski, Marjorie & Roy Linden, Sandra L. Simpson, The Stratton Trust, Colleen Sexsmith, Trina & Don McQueen, Jo Lander, Sue Mortimer, Brian Wilks and an anonymous donor.

The COC Ensemble Studio Competition was presented in part by RBC Foundation and the Hal Jackman Foundation.

The annual Ensemble Studio audition process is only open to Canadian citizens and landed immigrants.
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About the Winners

SASHA DJIHANIAN, $5,000 winner

Arias performed: “Je dis que rien ne m’épouvante” from Carmen (Bizet),“Deh vieni, non tardar” from
Le nozze di Figaro (Mozart)

Sasha Djihanian was born in Montreal and is a graduate of the Conservatoire de Musique de Montréal with honours of First Prize and Great Distinction. She is a Jacqueline Desmarais Grant Holder, winner of the Third Prize at the Czech and Slovak International Competition, and Second Prize at the Gerda Lissner International Vocal Competition. Ms Djihanian was a national finalist in the 2011 Metropolitan Opera National Council Auditions, a semi-finalist in the 2011 Queen Elisabeth Competition and a finalist in the 2011 BBC Cardiff Singer of the World Competition. Upcoming performances include Haydn's Die Schöpfung and Micaëla in Carmen at the Teatro Petruzzelli in Bari, Italy with Lorin Maazel conducting.

CLAIRE DE SÉVIGNÉ, $3,000 winner
Arias performed: “Ah! Douce enfant” from Cendrillon (Massenet), “Da tempeste” from Giulio Cesare (Handel)

Soprano Claire de Sévigné, a native of Montreal, received her master's degree in opera from the University of Toronto and a bachelor's degree from McGill University, with additional training at the Aspen Opera Program, Tafelmusik Institute, the Centre for Opera Studies in Italy, Institut Canadien d'Art Vocal, Brevard Opera and Opera NUOVA. Recent appearances include the title role in a workshop of The Enslavement and Liberation of Oksana G with Tapestry New Opera; Lucia in Lucia di Lammermoor, Gretel in Hansel and Gretel, Flaminia in Il mondo della luna, and Cunegonde in Candide at UofT. This season she will perform the role of Cleopatra in Giulio Cesare with Thirteen Strings Orchestra.

OWEN MCCAUSLAND, $1,500 winner
Arias performed: “Questa o quella” from Rigoletto (Verdi),“Une furtiva lagrima” from L’elisir d’amore (Donizetti)

Tenor Owen McCausland, born and raised in Saint John, New Brunswick, is a multi-year winner at the New Brunswick Competitive Festival of Music. He is currently working towards completing a bachelor of arts in music with Dalhousie University. Mr. McCausland recently performed the role of Don Ottavio in Don Giovanni at the Centre for Opera Studies in Italy. Other operatic credits include Don Juan in Don Quichotte (Opera Nova Scotia), Spoletta in Tosca (Maritime Concert Opera) as well as Aeneas in Dido and Aeneas and Rinuccio in Gianni Schicchi (Dalhousie Opera).

LINDSAY BARRETT, Audience Choice Award winner, $1,500
Arias performed: “Sempre libera” from La Traviata (Verdi), “Chi il bel sogno” from La Rondine (Puccini)

Soprano Lindsay Barrett, a native of Sudbury, Ontario, graduated from the University of Toronto's Opera School receiving the Tecumseh Sherman Rogers Graduating Scholarship. She recently appeared inIsis and the Seven Scorpions with the COC's Xstrata Ensemble Studio School Tour. Other credits include Tatyana in Eugene Onegin with Off Centre Music; Violetta in La Traviata with Saskatoon Opera; Laetitia in Menotti's The Old Maid and the Thief, and Fanny in Rossini's La Cambiale di Matrimonio with Highlands Opera Studio; Cunegonde in Candide and Flaminia in Haydn's Il mondo della luna with UofT; and, Beethoven's Ninth Symphony with conductor David Briskin and the UofT Orchestra.
________________________________________________________________________________________

About the Ensemble Studio

The members of the Ensemble Studio are the COC’s resident artists and are important ambassadors for the company. Since its inception in 1980, over 150 young professional Canadian singers, opera coaches, stage directors and conductors have acquired their first major professional operatic experience through the Canadian Opera Company Ensemble Studio. Former members include Ben Heppner, Isabel Bayrakdarian, John Fanning, Wendy Nielsen, David Pomeroy, Joseph Kaiser, Lauren Segal and Krisztina Szabó.

Members of the Ensemble Studio receive a blend of advanced study and practical experience through an individually-tailored, multi-year program, involving understudying and performing mainstage roles, intensive vocal coaching, language and acting studies, and career skills development, as well as participation in masterclasses with internationally-renowned opera professionals.

The Ensemble Studio is generously supported by the Government of Canada through the Department of Canadian Heritage, ARIAS (The Canadian Student Opera Development Fund), in loving memory of Mr. George R. Bishop from his family & friends, John A. Cook Young Artist Development Fund, in honour of Earlaine Collins, in honour of Ninalee Craig, Estate of Horst Dantz and Don Quick, Michael & Lora Gibbens, Ethel Harris, Audrey S. Hellyer Charitable Foundation, Peter & Hélène Hunt, Patrick & Barbara Keenan, Hal Jackman Fund at the Ontario Arts Foundation, Jo Lander, Ruby Mercer Fund, George Cedric Metcalf Charitable Foundation, Roger D. Moore Ensemble Studio Endowment Fund, RBC Foundation, Katalin Schäfer, in honour of Colleen Sexsmith, Slaight Family, John Stratton Trust, William & Phyllis Waters, and an anonymous donor.

About the Canadian Opera Company

Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and one of the five largest in North America. The COC enjoys a loyal audience support-base and one of the highest attendance and subscription rates in North America. The COC celebrates its 62nd anniversary during the 11/12 season. Under its leadership team of General Director Alexander Neef and Music Director Johannes Debus, the COC is increasingly capturing the opera world’s attention. The COC maintains its international reputation for artistic excellence and creative innovation by creating new productions within its diverse repertoire, collaborating with leading opera companies and festivals, and attracting the world’s foremost Canadian and international artists. The COC performs in its own opera house, the Four Seasons Centre for the Performing Arts, hailed internationally as one of the finest in the world. Designed by Diamond and Schmitt Architects, the Four Seasons Centre opened in 2006, and is also the performance venue for The National Ballet of Canada. For more information on the Canadian Opera Company, please visit its award-winning website, coc.ca.

Ce concert souligne également les 20 ans de fondation de la Maison du Parc.

*******************
POUR DIFFUSION IMMÉDIATE

À l’occasion de la journée mondiale du SIDA, l’Église St. Andrew and St. Paul (SASP), en collaboration avec l’Association des musiciens de l’Orchestre symphonique de Montréal (OSM), présente le vendredi 25 novembre à 19 h 30 « Voix d’espoir », un concert donné au profit de la Maison du Parc, un établissement qui offre hébergement, accompagnement et soins palliatifs aux adultes sidéens, hommes et femmes. Une soirée tout Mozart avec le Requiem et le motet Exsultate, jubilate, sans doute deux des œuvres les plus touchantes et plus connues du compositeur. Les solistes : la soprano Marie-Ève Munger, le haute-contre Daniel Taylor, le ténor Isaiah Bell et le baryton Sanford Sylvan. Jordan de Souza, chef de chœur attitré à SASP, dirigera les solistes, le chœur de SASP et la vingtaine d’instrumentistes membres de l’Association des musiciens de l’OSM. L'organiste Jonathan Oldengarm accompagnera Marie-Ève Munger dans le motet Exsultate, jubilate.

Ce concert souligne également les 20 ans de fondation de la Maison du Parc.

Voix d’espoir / Le vendredi 25 novembre 2011 à 19 h 30
Église St. Andrew and St. Paul, 3415 rue Sherbrooke Ouest, angle Redpath


Marie-Ève Munger, soprano / Daniel Taylor, contre-ténor / Isaiah Bell, ténor / Sanford Sylvan, baryton
Chœur de St. Andrew and St. Paul / Association des musiciens de l’OSM
Jonathan Oldengarm, organiste
Jordan de Souza, chef d‘orchestre
Kelly Rice, animateur

Programme, dans l’ordre exact d’exécution :
W. A. Mozart (1756-1791)

Motet Exsultate, jubilate, K. 165
(Marie-Ève Munger, soprano; Jonathan Oldengarm, orgue)

Requiem, K. 626 (version Süssmayr)

Billets en vente à l’entrée: 25 $


Renseignements : 514.523.6467 / www.maisonduparc.org <http://www.maisonduparc.org> <http://www.maisonduparc.org>

Opera Lyra Ottawa cancels two remaining productions for 2011-2012 to focus on long-term financial stability

Opera Lyra Ottawa cancels two remaining productions for 2011-2012 to focus on long-term financial stability

Ottawa, ON - November 15, 2011 

Opera Lyra Ottawa (OLO) announced today that, despite presenting two artistically acclaimed productions earlier this fall, it has cancelled the two remaining productions of its 2011-2012 season due to a lack of financial resources. The company said it is reorganizing its operations to emerge in a stronger financial position next season.

Opera Lyra will return for its 28th season with a main stage presentation of La Bohème in Sept. 2012, and La Traviata in concert in March 2013.

"Since the economic downturn in 2008, we have had three consecutive years of severe financial challenges and simply do not have the funds available for these two productions," said Malcolm McCulloch, Chair of Opera Lyra's Board of Directors. "Opera Lyra is acknowledged as one of Canada's foremost opera companies, but our subscriptions, single-ticket sales and private sponsorships have nevertheless declined significantly."

The cancelled productions are The Flying Dutchman in concert, scheduled for February 29, 2012, and Tosca, scheduled for March 31 and April, 2, 4 and 7, 2012. OLO is doing this now to be fair to the artists, production staff, and everyone affected by the decision.

McCulloch emphasized the productions were cancelled only after other administrative and production cost-cutting measures were taken. "This was a very difficult decision, but one that is necessary to ensure we can continue providing the community with the highest-quality opera in the future," he said. "We want to thank our donors and subscribers for their ongoing support and understanding as we deal with these financial pressures, which many other performing arts groups are also facing."

All ticket holders will be contacted by Opera Lyra within the next two weeks by mail with details about their options, including ticket exchanges and refunds.

Opera Lyra expects to continue its support of emerging opera singers and its initiative to introduce students to opera through a yearly children's production that tours elementary schools. Opera Lyra will also be launching a new outreach program aimed at the same young audiences in the spring of 2012. More information about Opera Lyra's plans will be available in the near future.

Opera Lyra is dedicated to the music and adventure that is opera. The company presents first-class main stage productions, showcasing top Canadian and international talent. It inspires and educates young audiences through its Young People's outreach programs.

For more information about Opera Lyra Ottawa, please visit the website www.operalyra.ca

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Opera Lyra d'Ottawa annule ses deux prochaines productions 2011-2012

afin de se consacrer à la revitalisation d'une stabilité financière durable

Ottawa, Ontario le novembre 15 2011 

Opera Lyra d'Ottawa (OLO) annonce aujourd'hui qu'en dépit d'avoir présenté deux productions artistiquement acclamées plus tôt cet automne, elle doit annuler les deux prochaines productions de la saison 2011-2012 faute de financement suffisant. La compagnie avoue devoir rationaliser ses opérations afin d'aboutir à une situation financière plus saine.

Opera Lyra nous reviendra pour sa 28ème saison dès septembre 2012 avec La Bohème et la version concert de La Traviata en mars 2013.

«Depuis le ralentissement économique en 2008, nous avons affronté ces trois années de défis financiers sévères et ne disposons simplement plus des moyens nécessaires à ces productions» avoue le Président du Conseil d'administration, Malcolm McCulloch. «Opera Lyra est reconnue comme une compagnie de premier rang, mais tant nos abonnements que les ventes de billets et les commandites privées ont malgré tout marqué un déclin important.»

Les productions annulées sont Le Vaisseau fantôme en version concert prévue pour le 29 février 2012 et la Tosca, les 31 mars et 2, 4 et 7 avril 2012. OLO agit ainsi dès maintenant dans un souci d'équité à l'endroit des artistes, de l'équipe de la production et de quiconque est affecté par cette décision.

McCulloch souligne que ce n'est qu'après avoir appliqué d'autres mesures administratives et de compression des coûts de production qu'Opera Lyra a dû annuler les dites productions. «Ce fut une décision très difficile, mais une décision nécessaire à l'assurance d'offrir à notre communauté un opéra de la plus haute qualité pour les années à venir.» dit-il. «Nous tenons à remercier nos donateurs et nos abonnés de leur soutien indéfectible et de leur compréhension face à ces pressions financières, pressions auxquelles bon nombre d'autres catégories des arts de la scène doivent faire face.»

Au cours des prochaines deux semaines, Opera Lyra communiquera par courrier avec tous les détenteurs de billet(s) pour leur fournir les détails quant à leurs options, incluant un échange de billet(s) et un remboursement.

Opera Lyra compte maintenir son appui aux nouveaux chanteurs d'opéra de même que son programme d'initiation des étudiants à l'opéra via ses tournées annuelles pour enfants dans les écoles élémentaires. Au printemps 2012, Opera Lyra lancera également un nouveau programme de rayonnement destiné aux mêmes jeunes auditoires. Nous vous offrirons sous peu un complément de renseignements quant aux plans d'Opera Lyra.

Opera Lyra se consacre à la musique et à l'aventure qu'est l'opéra. La compagnie présente des productions de la plus haute qualité mettant en vedette les meilleurs talents canadiens et internationaux. Par le biais de ses programmes de rayonnement, elle inspire et éduque les jeunes auditoires.

Pour de plus amples renseignements sur Opera Lyra d'Ottawa, veuillez consulter notre site web www.operalyra.ca.

Upper Canada Choristers Present Wintertide

Friday, December 9 at Grace Church-on-the-Hill

THE UPPER CANADA CHORISTERS PRESENT WINTERTIDE

FEATURING NORTH AMERICAN PREMIERE

OF KARL JENKINS' STELLA NATALIS

Music from many cultures celebrates the coming winter season, when the Upper Canada Choristers present a Wintertide, Friday, December 9 at 8 p.m. at Grace Church-on-the-Hill, 300 Lonsdale Road. The performance features the North American premiere of Stella Natalis by Welsh composer Karl Jenkins.

Founder Laurie Evan Fraser conducts the 45-voice choir of men and women, with Jo Greenaway at the piano.

Tickets – $20 in advance, $25 at the door, children and high school students free – may be ordered by calling (416) 256-0510. More information is posted atwww.uppercanadachoristers.org.

The centrepiece, Stella Natalis (“star of birth” or “star of origin”), comprises 12 movements that celebrate various aspects of the season – winter, the sleeping child, peace and thanksgiving – using texts from the Old Testament, Zulu sources, and new texts by Carol Barratt. Trumpeter Michael Barth and percussionist David Tomlinson join Fraser, Greenaway and the choir. The work was recorded by EMI Classics in 2009, and revised in its 2010 publication.

The Upper Canada Choristers’ program also features carols from a variety of cultures – British Isles, Europe, Latin America and Canada – and includes music for Hanukkah. The audience will have a chance to join the choir to sing along in favorite carols. As well, the choir will premiere Winter Fanfare, written by Laurie Evan Fraser.

Cantemos, the UCC’s highly accomplished Latin-American ensemble, performs music from Spain and Venezuela, as well as combining with the Choristers to present Stella Natalis.

Cantemos’ debut CD, featuring Latin-American Christmas music, will be available for sale.

Excerpts from Stella Natalis and conversation with the composer and recording artists can be enjoyed at www.youtube.com/watch?v=_aNnItpn6HY. More information on the work is at www.jenkinsstellanatalis.com/press/Stellanatalispressrelease.pdf.

Cantemos and the Choir have a busy fall season. Cantemos appeared at the Kensington Market Pedestrian Mall in September, and October 1 at Nuit Blanche in front of Queen Street West’s Arepa Cafe. The main choir is part of The Big Sing, November 6 at Roy Thomson Hall.

COC Reports Modest Surplus for 2010-11 Season

CANADIAN OPERA COMPANY REPORTS MODEST SURPLUS FOR 2010/2011 SEASON

Toronto – Today at the Canadian Opera Company’s Annual General Meeting, COC Board President Philip C. Deck announced the COC achieved another successful performance year in 2010/2011, recording a modest surplus of $10,000. In its fifth season at the Four Seasons Centre for the Performing Arts, the COC generated ticket revenue of $12.3 million and recorded an average attendance of 94%.

“In a year in which virtually every arts organization in North America visibly suffered, the COC balanced its books and achieved a very impressive attendance capacity of 94%,” said COC Board President Philip C. Deck. “For this we remain extremely grateful to the thousands of patrons and donors as well as our public and private sponsors who support the COC in the belief that the art we create improves and informs everyone’s lives.”

In total, 129,450 patrons attended the 66 performances of the seven operas comprising the 10/11 mainstage season, including a special performance of Mozart’s The Magic Flute featuring members of the COC Ensemble Studio. Box Office revenue represented 33% of total operating revenues, with fundraising and grants accounting for 25%, government funding accounting for 19%, and 17% coming from other income sources such as space and production rentals. The remaining 6% came from other grants made up of contributions from the Canadian Opera Foundation, reflecting a normal distribution of earnings on the endowment funds, and the Canadian Opera House Corporation, through the general assets and activities of owning and operating the Four Seasons Centre.

Over 6,000 loyal supporters, subscribers and donors, corporations, and foundations contributed more than $8.6 million (net) to the COC in 10/11, an increase of almost 5% over the previous year. Approximately 75% of the $8.6 million – $6.5 million – came from individuals in support of the COC’s mainstage productions and artists, as well as transition and endowment funding, training, and education and outreach programs. In addition, many donors contributed annually through the Golden Circle, President’s Council and Friends of the COC patron programs, including a lead gift from Dr. William Waters and an anonymous donor to the Year-End Matching Appeal. Individual support is particularly crucial to the COC’s commitment to stage new productions each season in order to remain an artistically relevant producer of opera, as well as providing a diversified revenue stream from rental and co-production opportunities. The COC’s new productions of Aida andThe Magic Flute were generously underwritten in part by Tim and Frances Price and the Catherine and Maxwell Meighen Foundation, respectively.

COC fundraising efforts through special projects and events, including the 17th Annual KPMG Opera Golf Classic, the 12th Annual Fine Wine Auction, and Operanation VII, netted over $360,000 to the company.

The COC continued to receive support from several loyal corporate sponsors: Sun Life Financial with the Sun Life Financial Accessibility Program; Jaguar Land Rover Canada as the Official Automotive Sponsor; Trius wine from Andrew Peller Limited as the Official Canadian Wine of the COC; Delvinia as the Digital Marketing Sponsor; CTV and The Globe and Mail as the Official Media Sponsors; and the Hilton Toronto as the Preferred Hospitality Sponsor. Production Sponsors for the season included RBC (The Magic Flute) and CIBC and CIBC Mellon (Nixon in China). Other sponsors were Xstrata, TD Bank Group, BMO Financial Group and National Bank Financial Group.

Government investment in, and support for, the COC continued to remain a cornerstone of the company’s core funding model, with all levels of government demonstrating their commitment for a strong and vibrant cultural sector. In addition to continued investment by the Canada Council for the Arts and the Ontario Arts Council, both funding bodies provided support for the COC’s tour of The Nightingale and Other Short Fables to Brooklyn Academy of Music (BAM). The tour, which brought significant critical acclaim to the COC, would not have been possible without the support of both government and private donors. The COC is also grateful for the increase to its annual investment from Toronto Culture.

“When we prepare future seasons, the guiding principle is always to balance our artistic ambitions with the financial realities and, when planning seasons upwards of five years in advance, the ongoing fluctuations in the economy can prove challenging to navigate on a yearly basis,” says COC General Director Alexander Neef. “I am very proud that our 10/11 season was extremely successful on both the artistic and financial side, and very grateful for the constant support and dedication of our patrons, subscribers and generous donors. We continue to strive to offer our audiences opera of the highest standards, collaborating with exceptional Canadian and international artists and companies, and the results show that we continue to rank among the best in the world.”

The 10/11 season was a significant year for the COC in many ways as it saw the company add two new productions to its repertoire, perform two 20th-century works and make its long-awaited return to BAM. The COC opened its fall run with a new production of Verdi’s Aida, featuring a contemporary Middle Eastern setting that stripped away the conventional Egyptian iconography. Paired with Aida was Britten’sDeath in Venice, starring Alan Oke in a Dora Award-winning performance. The winter months offered a new production of Mozart’s belovedThe Magic Flute and the COC premiere of one of the most performed and respected operas of the late 20th-century, Adams’ Nixon in China. In the spring, the COC made its second tour in 18 years to the world-renowned BAM with its 2009 production of Robert Lepage’s The Nightingale and Other Short Fables. Upon returning to Toronto, the COC concluded its 10/11 season with an intriguing combination of operatic repertoire: Rossini’s Cinderella (La Cenerentola), R. Strauss’s Ariadne auf Naxos and the company premiere of Gluck’s Orfeo ed Euridice, the latter earning Dora Awards for outstanding production and outstanding musical direction.

In 10/11, the COC’s popular Free Concert Series in the Richard Bradshaw Amphitheatre marked its fifth year with 79 free events ranging from vocal recitals to cutting-edge contemporary dance performances, and continued to draw capacity crowds. The Free Concert Series attracted approximately 15,000 audience members of all backgrounds and ages who experienced the artistic excellence and cultural diversity of the city. Also, in addition to travelling to elementary schools across Ontario, the company’s annual Xstrata Ensemble Studio School Tour brought opera to a completely new audience in performing its school tour adaptation of Cinderella for the Inuit communities of Salluit and Kangiqsujuaq in northern Quebec.

The COC began its 2011/2012 season this fall with the company premiere of Gluck’s Iphigenia in Tauris and a new production of Verdi’s Rigoletto. It continues in January 2012 with Puccini’s Tosca and the Canadian premiere of Kaija Saariaho’s Love from Afar, one of the most performed 21st-century operas. The spring run includes Offenbach’s The Tales of Hoffmann, a double bill of darkly witty, one-act operas: Alexander Zemlinsky’s A Florentine Tragedy
(a Canadian premiere) and Giacomo Puccini’s Gianni Schicchi, and the COC premiere of Handel’s Semele. The Ensemble Studio performance of Semele on the mainstage takes place on May 23, 2012.

About the Canadian Opera Company

Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and one of the five largest in North America. The COC enjoys a loyal audience support-base and one of the highest attendance and subscription rates in North America. The COC celebrates its 62nd anniversary with the 2011/2012 season that was officially opened at the end of September. Under its new leadership team of General Director Alexander Neef and Music Director Johannes Debus, the COC is increasingly capturing the opera world’s attention. The COC maintains its international reputation for artistic excellence and creative innovation by creating new productions within its diverse repertoire, collaborating with leading opera companies and festivals, and attracting the world’s foremost Canadian and international artists. The COC performs in its own opera house, the Four Seasons Centre for the Performing Arts, hailed internationally as one of the finest in the world. Designed by Diamond and Schmitt Architects, the Four Seasons Centre opened in 2006, and is also the performance venue for The National Ballet of Canada. For more information on the Canadian Opera Company, please visit its award-winning website at coc.ca.