LSM Newswire

Monday, November 30, 2009

Stage is set for 2010 Junofest submissions

Perform in a two-night music extravaganza as part of JUNO Week
April 16 & 17 in St. John's, Newfoundland and Labrador

Submissions open November 16, 2009

WHAT:

JunoFest is a two-night music festival that is a part of the 2010 JUNO Week. The all-live festival will feature the talents of over 100 local, regional, and national artists representing the many genres of Canadian music.

A significant number of artists participating will be selected locally to celebrate St. John's distinct music scene, in addition to performances from 2010 JUNO Award nominees and some of Canada's national touring acts.

WHEN:

JunoFest will take place at over a dozen venues in downtown St. John's on Friday, April 16th and Saturday, April 17th each night from 9:00 p.m. to 2:00 a.m.

HOW:

Artists and bands that wish to partake in this year's JunoFest can apply online through Sonic Bids at www.sonicbids.com/junofest starting Monday, November 16, 2009. The deadline for submissions is Tuesday January 12, 2010 at 11:59 p.m. ET.

A $10 application fee will apply. All applicants must be Canadian residents and 19 years of age or over.

We thank all applicants who apply, but only those selected will be contacted.

About JunoFest: 2010 marks the nine year anniversary of JunoFest since its inception in St. John's in 2002. As a means to promote and celebrate Canadian music, JunoFest has showcased more than 1,000 artists and bands of all backgrounds and genres including: African Guitar Summit, Arkells, Bedouin Soundclash, Classified, Divine Brown, D-Sissive, Doc Walker, Elliott Brood, Feist, Hey Rosetta!, Jane Bunnett, Marianas Trench, Matt Mays & El Torpedo, The Midway State, MSTRKRFT, Plants and Animals, Ron Sexsmith, The Sadies, Saint Alvia, Sam Roberts, Shad, Sloan, Thornley, Two Hours Traffic, and hundreds more.

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Dévoilement de l'étude « La culture à Montréal : 
impacts économiques et financement privé »

Chambre de commerce du Montréal métropolitain Board of Trade of Metropolitan Montreal
For English version, see below

Montréal, le 20 novembre 2009 - La Chambre de commerce du Montréal métropolitain dévoile aujourd'hui les résultats de son étude intitulée : La culture à Montréal : impacts économiques et financement privé. Réalisée dans la foulée du Rendez-vous novembre 2007 - Montréal, métropole culturelle, cette analyse illustre, avec des données concrètes, la puissance du secteur culturel comme levier de développement économique pour Montréal et dresse un portrait synthétique de la contribution du secteur privé.

« En réalisant cette étude sur les impacts économiques du secteur culturel à Montréal, nous avions la volonté de contribuer à une meilleure compréhension collective de cet atout incomparable pour la métropole. Nous souhaitions également nous doter d'un outil rigoureux et reproductible dans le temps. En effet, l'étude a été conçue de façon à servir de jalon pour suivre l'évolution de ce secteur hautement stratégique pour Montréal, de même que l'implication du secteur privé à son financement au fil des ans », a déclaré Michel Leblanc, président et chef de la direction de la Chambre de commerce du Montréal métropolitain.

« Je me réjouis que la Chambre de commerce du Montréal métropolitain dévoile aujourd'hui une analyse qui démontre "chiffres en main" la place importante qu'occupe la culture dans l'économie de la grande région de Montréal. Ce document constituera assurément un ajout positif dans notre réflexion sur les façons de préparer l'avenir pour les multiples acteurs culturels de la métropole », a pour sa part dit Christine St-Pierre, ministre de la Culture, des Communications et de la Condition féminine.

À la lumière des résultats qui émanent de l'étude, la Chambre tire les trois grands constats suivants :
1. Un secteur économique vigoureux et en croissance
« Le secteur culturel est un créateur d'emplois important avec près de 100 000 personnes qui y oeuvrent dans le Grand Montréal. Il s'agit là d'un nombre d'emplois supérieur à celui généré par les grappes des sciences de la vie et de l'aérospatiale combinées. Qui plus est, l'emploi y croît trois fois plus rapidement que pour l'ensemble des autres secteurs économiques et ces emplois en culture ont un effet de levier plus grand que la moyenne sur la création d'emplois indirects », a indiqué Michel Leblanc.
« Parmi les données économiques qui méritent d'être soulignées, mentionnons que le secteur culturel montréalais génère des retombées économiques totales de 12 milliards de dollars, dont près de huit milliards en retombées directes, ce qui représente 6 % du PIB de la métropole. C'est énorme ! », a ajouté Michel Leblanc.

2. Un « coeur créatif » fragile
« Malgré la vigueur dont témoignent les données économiques du secteur culturel montréalais, il faut se garder d'être complaisants. Le "coeur créatif culturel" de Montréal - le secteur artistique - est fragile. En effet, quand on observe le sous-secteur qui est au centre du foisonnement culturel montréalais, soit les artistes, auteurs et interprètes, on se rend compte qu'il demeure généralement précaire. Cette catégorie de travailleurs a des revenus représentant la moitié du salaire moyen à Montréal, et près de 20 000 $ en deçà du revenu moyen en culture », a précisé Michel Leblanc.
3. Une implication notable, mais inégale, du secteur privé

« En culture, le secteur privé est un joueur important. Quand on analyse le budget des organismes culturels en lien avec le Conseil des arts de Montréal, on constate que le financement privé est de l'ordre de 21 %. Cependant, les engagements dans le domaine des arts ont souvent une portée qui varie grandement selon la taille des organismes et leur secteur d'activité. Cela met en lumière un enjeu majeur : comment favoriser une meilleure collaboration entre les entreprises et les organismes culturels ? Et comment faire en sorte que le "coeur créatif" soit encore mieux appuyé ? Cette étude représente autant un témoignage du dynamisme économique de notre secteur culturel qu'un appel à la mobilisation des gens d'affaires en sa faveur. À nous maintenant de poursuivre nos efforts pour développer des stratégies de renforcement afin que notre secteur culturel se développe davantage et contribue pleinement à la création de richesse », a conclu Michel Leblanc.

Faits saillants de l'étude
• En 2008, on recensait 96 910 emplois directs, une croissance annuelle de 4,6 % en 10 ans, soit presque trois fois plus que la moyenne globale du marché du travail, qui était de 1,7 % sur la même période.
• Les retombées économiques annuelles totales (directes et indirectes) du secteur de la culture à Montréal sont évaluées à 12 milliards $. La contribution directe à l'économie est de 
7,8 milliards $, soit environ 6 % du PIB de la grande région de Montréal.
• Le salaire moyen des artistes, auteurs et interprètes est de 24 400 $. Cette catégorie d'emploi est la moins bien rémunérée du secteur culturel, soit à peine plus que la moitié (55 %) du salaire moyen dans le secteur culturel (44 000 $).
• Les 294 organismes artistiques constituant l'échantillon analysé par le Conseil des arts de Montréal sont financés à 21 % par le privé, soit 14 % en dons et 7 % en commandites. Cette proportion varie beaucoup en fonction du budget ainsi que du domaine d'activité des organismes.

Cette étude de la Chambre de commerce du Montréal métropolitain a été réalisée grâce au soutien financier du ministère de la Culture, des Communications et de la Condition féminine du Québec ainsi qu'à la collaboration de Culture Montréal et du Conseil des arts de Montréal.
La Chambre de commerce du Montréal métropolitain compte quelque 7 000 membres. Sa mission est de représenter les intérêts de la communauté des affaires de l'agglomération urbaine de Montréal et d'offrir une gamme intégrée de services spécialisés aux individus, aux commerçants et aux entreprises de toutes tailles de façon à les appuyer dans la réalisation de leur plein potentiel en matière d'innovation, de productivité et de compétitivité. La Chambre est le plus important organisme privé au Québec voué au développement économique.

*****

Launch of Culture in Montréal: Economic Impacts and Private Funding

Montréal, November 20, 2009 - The Board of Trade of Metropolitan Montreal is proud to launch the results of its study entitled Culture in Montréal: Economic Impacts and Private Funding. Initiated following the Rendez-vous November 2007 - Montréal, Cultural Metropolis, this project draws on concrete data to illustrate the cultural sector's power as a lever of economic development for Montréal and synthesizes this data to define how the private sector contributes to culture.

"This study on the economic impacts of Montréal's cultural sector arose from our desire to create a better collective understanding of this vital asset for the city. We also wanted a powerful tool that could be reproduced over time. The study was in fact designed to mark the evolution of this highly strategic sector for Montréal as well as private sector involvement in terms of funding over the years," declared Michel Leblanc, President and CEO of the Board of Trade of Metropolitan Montreal.

"I am very pleased that the Board of Trade of Metropolitan Montreal has launched this study, which uses facts and figures to paint a portrait of the major role that culture plays in the Greater Montréal economy. This document will indeed make a positive contribution to our thinking process on how to prepare the future for the city's various cultural stakeholders," said Christine St-Pierre, Minister of Culture, Communications and the Status of Women.

In light of the study's findings, the Board of Trade has made the following three main observations:
1. A dynamic and growing economic sector
"Culture is a major generator of jobs, with nearly 100,000 people working in this sector in Greater Montréal. This number surpasses the jobs created by the life sciences and aerospace clusters combined. Furthermore, jobs in this sector are growing three times faster than in all other economic sectors, and these cultural jobs have a greater-than-average leverage effect on the creation of indirect jobs," stated Michel Leblanc.
"Among the economic data worth mentioning is that Montréal's cultural sector generates spin-offs totalling $12 billion, including $8 billion in direct spin-offs, which represents 6% of the GDP of the metropolis. That is a huge contribution!" added Michel Leblanc.
2. A fragile "creative core"
"Despite the strength of Montréal's cultural sector, as shown by economic data, we must be careful not to become complacent. Montréal's 'creative core,' its artistic sector, is fragile. When we look at this sub-sector made up of artists, authors and performers-or those at the heart of Montréal's cultural expansion-we see a group that is generally in a precarious position. The income of these workers is half the average salary in Montréal and about $20,000 below the average income for the cultural sector," explained Michel Leblanc.
3. Notable, but uneven, involvement from the private sector

"The private sector is an important player when it comes to culture. When we looked at data provided by the Conseil des arts de Montréal on cultural organizations, we found that private funding accounts for 21% of their budgets. However, the scope of commitments to the arts can vary greatly depending on the size of the cultural organization and its activity sector. This highlights a major issue: how can we promote better collaboration between businesses and cultural organizations? And how do we ensure that the 'creative core' receives even more support? This study both provides evidence of the economic vitality of our cultural sector and represents a call for business people to help this sector flourish. It is now up to us to continue developing reinforcement strategies so that our cultural expansion can develop even more and fully contribute to wealth creation," concluded Michel Leblanc.

Study highlights
• In 2008, there were 96,910 direct jobs created in the cultural sector for annual growth of 4.6% in 10 years, or almost three times more than the total labour market average, which was 1.7% over the same period.
• The overall annual economic spin-offs (direct and indirect) of Montréal's cultural sector have been calculated at $12 billion. The direct contribution to the economy is 
$7.8 billion, or about 6% of the GDP of the Greater Montréal region.
• The average salary of artists, authors and performers is $24,400. This job category is the least well paid of the cultural sector at barely more than half (55%) of the average salary in the cultural sector ($44,000).
• The 294 artistic organizations that make up the sample analysed by the Conseil des arts de Montréal receive 21% of their funding from the private sector, which includes 14% in donations and 7% in sponsorships. This percentage varies greatly depending on the budget and activity sector of the cultural organization.

This study by the Board of Trade of Metropolitan Montreal was carried out thanks to the financial support of the Ministry of Culture, Communications and the Status of Women and the participation of Culture Montréal and the Conseil des arts de Montréal.

The Board of Trade of Metropolitan Montreal has nearly 7,000 members. Its primary mission is to represent the interests of the business community of Greater Montreal and to provide individuals, merchants, and businesses of all sizes with a variety of specialized services to help them achieve their full potential in terms of innovation, productivity and competitiveness. The Board of Trade is Quebec's leading private economic development organization.

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12 Stagaires font leurs premières expériences de travail dans des organismes artistiques reconnus

Montréal, le 18 novembre 2009 – Grâce au renouvellement du programme pilote de soutien aux Premières expériences de travail dans des fonctions liées au domaine artistique, 12 jeunes stagiaires bénéficieront d’une expérience d’emploi significative au sein d’organismes artistiques reconnus. Réalisé dans le cadre de Outiller la relève artistique montréalaise, ce programme pilote bénéficie d’un investissement de 166 188 $ auquel ont participé Service Canada dans le cadre de la Stratégie d’emploi jeunesse, le Conseil des arts de Montréal, le Fonds de solidarité FTQ et le Forum jeunesse de l’île de Montréal.

Madame Louise Roy, présidente du Conseil des arts de Montréal, Monsieur Marc-André Laurier Thibault, vice-président du Forum Jeunesse de l’île de Montréal et Monsieur Mario Tremblay, vice-président aux affaires publiques et corporatives du Fonds de solidarité FTQ ont dévoilé les noms des stagiaires et des organismes qui les accueillent, lors d’une rencontre à la Maison du Conseil des arts de Montréal dans l’Édifice Gaston-Miron.

Ces stages de 22 semaines (du 16 novembre 2009 au 16 avril 2010) ont pour objectif d’améliorer l’employabilité des jeunes à long terme. Ainsi, ces 12 jeunes artistes, artisans de la scène ou travailleurs culturels seront en mesure de mettre en pratique les connaissances acquises lors de leur formation, d’acquérir de nouvelles compétences, d’élargir leur réseau de contacts et de participer à la consolidation des organismes, tout en côtoyant des praticiens et des gestionnaires chevronnés. On se rappellera du succès de la première année de ce programme qui a permis aux 11 stagiaires de terminer leur expérience en demeurant tous en emploi dans le milieu culturel. Un taux de placement de 100% qui a dépassé les attentes de rétention originellement prévues à 80%.

Les organismes demandeurs devaient sélectionner des personnes de moins de 30 ans, ayant en main un diplôme universitaire ou collégial depuis moins de cinq ans, pour leur offrir un stage de qualité dans des fonctions administratives, techniques ou artistiques qui leur donne une expérience pertinente et transférable. À la date d’échéance du 9 octobre dernier, 42 organismes avaient déposé leur demande. Ce nombre important témoigne du besoin du milieu artistique pour un soutien à la formation au sein de compagnies et de la volonté de transmettre leur savoir-faire aux plus jeunes générations.

Liste des stages
Stage artistique (incluant production)
Bouge de là Danse
Emily Honegger
Interprétation
Des mots d'la dynamite (Nathalie Derome) Nouvelles pratiques artistiques
Karine Sauvé
Mise en scène, scénographie, animation et développement de public
Le Groupe de la Veillée Théâtre
Annie-Claude Beaudry
Assistante à la mise en scène
Productions SuperMusique Musique
Lévy Bourbonnais
Direction technique
Studio 303 Danse
Evelyne Langlois-Paquette
Régisseure de plateau et assistante à la programmation artistique
Théâtre Denise-Pelletier Théâtre
Mariflore Beaudin-Véronneau
Adjointe à la direction artistique
TOHU, Cité des arts du cirque Arts du cirques
André Leroux
Coordonnateur technique
Stage administratif
Regroupement des artistes en arts visuels du Québec (RAAV) Arts visuels
Joanna Piro
Assistante à la direction
UMA - La Maison de l'image et de la photographie Arts visuels
Andréanne Michon
Adjointe aux directions
Suoni Per Il Popolo Musique
Alice Renucci
Assistante aux communications et à la coordination du festival
OFF.T.A. Nouvelles pratiques artistiques
Étienne Langlois-Vallières
Adjoint à la direction générale
Théâtre Aux Écuries Théâtre
Ève Bouchard
Adjointe à l'administration et aux communications

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La relève en danse contemporaine s'unit à des créateurs accomplis Des rencontres au sommet orchestrées par LADMMI

Montréal, le 30 novembre 2009 – Après une saison riche en expériences et en rencontres fructueuses, les étudiants de LADMMI, l’école de danse contemporaine, vous convient à découvrir le fruit de leurs efforts sur la scène du Monument-National, dès le 9 décembre, alors qu'ils interpréteront cinq œuvres chorégraphiques de créateurs d'ici et d'ailleurs.

Tout d’abord, la présentation publique des étudiants de 2e année

Du 9 au 12 décembre, le grand public est invité à découvrir Les danses de la mi-chemin 3/6, LADMMI 2009, un spectacle qui marque la mi-temps du parcours de 15 étudiants de LADMMI tout aussi passionnés que doués. Cette année, les jeunes danseurs ont eu la chance d'explorer de nouvelles avenues avec le chorégraphe chevronné Massimo Agostinelli, ainsi qu'avec l'étoile montante de la danse contemporaine Chanti Wadge. Pour nos jeunes artistes, il s'agissait de deux défis d'envergure qu'ils ont relevés avec audace. Ainsi, c'est avec une fébrilité palpable qu'ils apprivoiseront la scène pour interpréter la pièce Maybe Tomorrow imaginée par Massimo Agostinelli, et in-studio sampler de Chanti Wadge.

Ensuite, place au spectacle des étudiants de 3e année

Du 16 au 19 décembre, les étudiants de 3e année de LADMMI, à quelques mois de leur envol professionnel, présenteront un Cru d'automne inspiré qui témoigne de leur passion et de leur travail acharné. Pour l'occasion, nos étudiants ont eu l'honneur de travailler avec trois chorégraphes d'exception qui ont fait preuve d'une grande générosité.

Tout d'abord, le chorégraphe Emmanuel Jouthe, dont l'originalité des œuvres a été saluée à maintes reprises, nous présente un volet de CINQ HUMEURS. Empreinte de force et de vulnérabilité, cette grande entreprise de création est inspirée par l'œuvre de Vivaldi.

Ensuite, pour la toute première fois, la chorégraphe Dana Gingras signe une création originale pour les étudiants de LADMMI, emits burning stars. La cofondatrice de la célèbre troupe The Holy Body Tattoo a déclaré avoir profité de l'occasion pour explorer de nouvelles avenues créatives. Lucie Boissinot, directrice artistique et des études de LADMMI, s'en réjouit : « Cela me porte à croire que notre école, en donnant carte blanche à des chorégraphes chevronnés pour créer sur de jeunes danseurs en formation, participe au ressourcement des créateurs et au renouvellement du genre ».

Pour terminer, le chorégraphe berlinois Sebastian Matthias, dont le talent et l'esprit innovateur lui ont valu une résidence de création à LADMMI par le biais des Pépinières européennes pour jeunes artistes, signe la pièce originale basssolo.

À propos de LADMMI
Fondé en 1981 et spécialisé dans la formation des interprètes en danse contemporaine, LADMMI, l’école de danse contemporaine, est un établissement d’enseignement affilié au cégep du Vieux Montréal et accrédité par le ministère de l’Éducation, du Loisir et du Sport. Reconnu pour l’avant-gardisme et la rigueur de la formation offerte à ses étudiants, LADMMI se positionne comme un chef de file de la formation en danse selon les employeurs des arts de la scène du Canada.

Les danses de la mi-chemin 3/6, LADMMI 2009
Spectacle des étudiants de 2e année
Du 9 au 12 décembre à 20 h 30
Studio Hydro-Québec du Monument-National

Créations originales de
Massimo Agostinelli – Maybe Tomorrow
Chanti Wadge – in-studio sampler

Interprètes
Marie-Ève Archambault, Isabelle Boulanger, David Campbell, Michelle Clermont Daigneault, Rosie Contant, Jonathan Corbeil, Zeena Dotiwalla, Erin Drumheller, Noémie Dufour-Campeau, Kim Henry, Joanie Leblanc-Proulx, Jean-Mathieu Ledoux, Audrey Rochette, Catherine St-Laurent et Simon Vermeulen

Concepteurs
Stéphane Ménigot (éclairages); Angela Rassenti et Cynthia St-Gelais (costumes)

*****

Cru d'automne, LADMMI 2009
Spectacle des étudiants de 3e année
Du 16 au 19 décembre à 20 h 30
Studio Hydro-Québec du Monument-National

Créations originales de
Emmanuel Jouthe – CINQ HUMEURS (extraits)
Dana Gingras– emits burning stars
Sebastian Matthias – basssolo

Interprètes
Marie-Pier Bazinet, Élise Bergeron, Laurence Bonneville, Alexandre Carlos, Simon Chiasson, Lisanne Goodhue, Lydia Jenvey, Lola O'Breham Rondeau, Philippe Poirier, Marie-Michèle Poissant, Marie-Laurence Rock, Jean-Philippe Sisla, Colleen Snell, Amélie Valois et Jessica Viau

Concepteurs
Stéphane Ménigot (éclairages); Madeleine Saint-Jacques (costumes)
Billetterie : 514 871-2224
17 $ régulier; 10 $ étudiants de LADMMI et étudiants membres de l’ADÉSAM

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NEC Mourns Death of Violinist Marylou Speaker Churchill, former Principal Second Violin of Boston Symphony

Known for Her Generosity of Spirit, She Taught on Faculties of the College, Preparatory School for 28 Years

Served as Principal Second Violin of Boston Symphony for 23 Years, and Member of Orchestra for 30 Years

New England Conservatory is mourning the death of violinist Marylou Speaker Churchill, member of the College and Preparatory School faculties and wife of Mark Churchill, Dean and Artistic Director of the Preparatory and Continuing Education. Former Principal Second Violin of the Boston Symphony Orchestra, Mrs. Churchill died November 10 at her home surrounded by her loved ones. She was 64.

Brought up in Portland, Oregon, Mrs. Churchill began studying violin at age 7 and became active in youth orchestras by the time she was 10. She came east to Massachusetts when she was 18 to be a fellow at the Tanglewood Music Center. At Tanglewood, she came to the attention of Boston Symphony Orchestra concertmaster Joseph Silverstein and followed him to NEC where she studied with him until receiving her B.M. with honors in 1967. From there, she went to the University of Southern California for graduate work, serving as concertmaster of the university orchestra and first violinist of the resident string quartet. After graduation, she worked as a freelance musician in Los Angeles until receiving an invitation to join the BSO in 1970.

“When I got that letter, I thought, ‘This is it.’ I never thought of applying to another orchestra. This was the only orchestra I want to play in…” she told the Boston Globe in August 2000, as she was retiring after a 30-year career. Mrs. Churchill played as a member of the violin section until 1977 when she was appointed Principal Second Violin of the BSO and Boston Pops. In 1993, she was appointed second violinist of the BSO Chamber Players.

Having returned to Boston to play with the BSO, Mrs. Churchill also returned to NEC, where she joined the Preparatory School faculty in 1981. She served as chair of the Prep string department for 10 years and was known for mentoring some of the school’s most talented young students—violinists like Elizabeth Ann Larson and Ayano Ninomya. Her husband recalled that she maintained a studio of 25—30 students even as she played full-time in the BSO. "She would start teaching at 8 a.m. on Saturday and go through until 6, have dinner, and then go play a BSO concert," he said. "She would often stop at the Symphony shop and buy chocolate to get her through the concert and when she retired the Symphony shop gave her a huge basket of chocolates."

As part of her work mentoring young orchestra-players-to-be, Mrs. Churchill offered many words of wisdom about the challenges before them. In a 1994 conversation with some New World Symphony players, she talked about the specter of stage fright that many unsuccessful auditioners blamed for their poor showing. "Assuming proper preparation and a good attitude (I have nothing to lose, I don't have the job so I can't lose it), the manifestation of a loss of control is simply fear; fear of not doing as well as you can," she said. Drawing on her deep religious faith, she asserted: "There is a law of this universe which is so simple and so powerful and it literally wipes this fear out of your being, and it is this... 'perfect love casts out fear.' If you are actively engaged in loving your instrument, loving the music, loving the audience, loving the committee, loving your enemies, then there is simply no room for fear of any kind, and you will find yourself playing better than you expected."

Speaking about the work of an orchestra musician, she asked: "Is playing orchestra a joy or a job? It's wise to make it a joyful job, but remember that no job really employs you completely. Working for money is never the real reason for doing any job. You must love what you do, and then you will find happiness and joy in your work. In actuality you are always being employed to express all the best qualities you are capable of, such as intelligence, wisdom, beauty, balance, grace, sensitivity, awareness, love... If you are miserable, it's your own fault. Make excellence, beauty, and truth your goals, and you will rise to that level."

Former Boston Globe Music Critic Richard Dyer, who followed her playing in the BSO for more than two decades, recalled Mrs. Churchill as "a radiant presence in the orchestra." Along with leadership qualities, "she brought musicianship, command of the instrument, perfect intonation, lustrous tone. The range of her imagination was matched only by the intense focus of her concentration on detail. She was a both a wonderful soloist and a wonderful, interactive chamber-music player, and both of these qualities played into her role in the orchestra; she was a team player who elevated the quality of the ensemble."

Upon her retirement from the BSO, Mrs. Churchill increased her teaching commitment as a member of the NEC college faculty, which she had joined in the late 1990s. There, along with studio teaching, she brought her enormous experience as an orchestral player to bear in the Orchestral Repertory class. It was as a member of that class that violinist/violist Julianne Lee ’08 M.M. was encouraged to audition for the BSO and was engaged while still a student.

A teaching position at NEC was also responsible for Mrs. Churchill meeting her husband. It was Mark Churchill, a cellist and conductor who –then as now—directed the Preparatory School, who recruited her for the job as a violin teacher in 1981. A year later they were married. In 1996, the couple adopted twin eight-month old daughters, Emma Claire and Julia Helen, who came to them from the Marshall Islands in the south Pacific. Both girls are active in the NEC Preparatory School as pianists and string players.

Mrs. Churchill was always much in demand as a teacher and she traveled around the globe coaching and leading masterclasses. She was invited by Sir George Solti to be faculty and Principal Second Violin of the Carnegie Hall Solti Project in 1994, and a year later, he invited her to lead the second violins in the "Musicians of the World" orchestra concert held in Geneva, Switzerland to celebrate the 50th anniversary of the United Nations. She also coached for the New World Symphony Orchestra in Miami Beach, Florida and was a violin coach for the Asian Youth Orchestra in Hong-Kong, youth festivals in New Zealand and the USA, and for Venezuela’s El Sistema.

Her commitment to her students and other young musicians extended to opening her home to a veritable “parade of music students” who needed a place to live, according to a 2000 Berkshire Eagle story. This included a Chinese couple she met during the BSO’s pioneering tour of China in 1979 and some 80 other “adoptees” from abroad. Other examples are the young Ayano Ninomya who lived in the Churchill household after her parents returned to Japan when she was 11 years old, and Itamar Golan, now a leading collaborative pianist.

Mrs. Churchill's devotion to teaching was honored in 2006 when she received the Louis and Adrienne Krasner Teaching Excellence Award at NEC's Commencement exercises.

"Marylou was absolutely committed to the wellbeing of her students in every sense," said NEC President Tony Woodcock. "She not only concerned herself with their technical command of the instrument but also their musicianship, their sense of responsibility to the art, and their physical and spiritual health. She had a transformative effect on their lives."

Woodcock's thoughts were echoed by Laurence Lesser, President Emeritus of NEC and occupant of the Walter W. Naumburg Chair in Music. "Marylou was my valued friend and colleague from the time we met at USC some 40 years ago. She was then a graduate student and I a very young faculty member, and coaching her in a Brahms Trio was a joyful experience. When I came here in 1974, she was a stalwart of the BSO and already a pillar of the faculty. She was always generous of spirit, warm in friendship and nurturing to all those around her. Her contributions to NEC would fill volumes and she and her husband, Mark (a member of my first class of cellists here), gave selflessly and seemingly endlessly to the institutional home they loved so much."

Funeral arrangements will be private, but the family will welcome students, friends, and colleagues at an open house on Sunday, Nov. 15 from 4 to 8 p.m. at 41 Woodward St. in Newton Highlands. A celebration of Mrs. Churchill's life will take place in the near future. A scholarship fund in her memory will also be established at the Preparatory School. Details will be announced shortly. A Facebook page, created several weeks ago contains the thoughts and tributes of hundreds of Mrs. Churchill's admirers. It can be accessed here:
http://www.facebook.com/group.php?gid=171604412417&ref=ts

For further information, check the NEC Website at: http://necmusic.edu/faculty/marylou-speaker-churchill .

ABOUT NEW ENGLAND CONSERVATORY

Recognized nationally and internationally as a leader among music schools, New England Conservatory offers rigorous training in an intimate, nurturing community to 750 undergraduate, graduate, and doctoral music students from around the world. Its faculty of 225 boasts internationally esteemed artist-teachers and scholars. Its alumni go on to fill orchestra chairs, concert hall stages, jazz clubs, recording studios, and arts management positions worldwide. Nearly half of the Boston Symphony Orchestra is composed of NEC trained musicians and faculty.

The oldest independent school of music in the United States, NEC was founded in 1867 by Eben Tourjee. Its curriculum is remarkable for its wide range of styles and traditions. On the college level, it features training in classical, jazz, Contemporary Improvisation, world and early music. Through its Preparatory School, School of Continuing Education, and Community Collaboration Programs, it provides training and performance opportunities for children, pre-college students, adults, and seniors. Through its outreach projects, it allows young musicians to engage with non-traditional audiences in schools, hospitals, and nursing homes—thereby bringing pleasure to new listeners and enlarging the universe for classical music and jazz.

NEC presents more than 600 free concerts each year, many of them in Jordan Hall, its world- renowned, 100-year old, beautifully restored concert hall. These programs range from solo recitals to chamber music to orchestral programs to jazz and opera scenes. Every year, NEC’s opera studies department also presents two fully staged opera productions at the Cutler Majestic Theatre in Boston.

NEC is co-founder and educational partner of “From the Top,” a weekly radio program that celebrates outstanding young classical musicians from the entire country. With its broadcast home in Jordan Hall, the show is now carried by National Public Radio and is heard on 250 stations throughout the United States.

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Shaw Festival 48th Season Closes

Niagara-on-the-Lake, Ontario, November 5, 2009 . . . The Shaw Festival’s 48th season closed on November 1, and Executive Director Colleen Blake today released the attendance results for the 2009 season. With a turbulent 2008 winter, the Shaw Festival began rehearsals in March at 20% behind the year-to-date sales target. However as soon as performances began, sales jumped back, dramatically narrowing the gap. Attendance reached 253,000 or 63.5% of capacity for 800 performances (2008 attendance was 70% of capacity). Box office revenues reached $13.7 million.

In announcing these figures, Ms. Blake noted: “Given the uncertain world economic situation when we went on sale for the 2009 season, we are very pleased with the significant increase once our productions hit the stage and are delighted with our final results.”

The recession impacted The Shaw’s attendance this season, a result also experienced by our tourism partners throughout the Niagara Region. Funding from the federal and provincial governments to bolster marketing initiatives aimed at key Canadian and U.S. markets proved very helpful, resulting in a boost to attendance numbers in the latter months of the season. The Shaw’s box office revenues drive an overall economic impact of close to $100 million annually for the Niagara Region.

Artistic Director Jackie Maxwell commented on the artistic highlights of the season: “As we come to the end of what can definitely be called a rollercoaster year, I am so pleased that our audiences responded so strongly to our work, from the ecstatic reception for Born Yesterday, to the huge enthusiasm for The Entertainer and our new Studio Theatre, and of course the interest, national and international, in our Coward Tonight at 8:30 series.”

Tickets for the 2010 season go on sale to Shaw Festival Members on November 7. Sales to the general public begin January 11 by mail, fax and on-line and January 16 by phone or in person. Details are available on the Shaw Festival website, www.shawfest.com, or by calling 1-800-511-SHAW (7429).

Audited financial reports will be available January 29 at The Shaw’s Annual General Meeting, to be held at the Festival Theatre in Niagara-on-the-Lake.

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Pianist Yuja Wang's Sonatas and Etudes Wins The International Piano Awards Best Debut Album of 2009

International Piano magazine has announced that twenty-two year old pianist Yuja Wang’s recording Sonatas & Etudes has been selected as the International Piano Awards Best Debut Album of 2009. Now in its fourth year, the 2009 International Piano Awards celebrate the best piano recordings, sheet music, books and DVDs released between October 2008 and November 2009. The complete list of winners will be published in the November/December 2009 issue of International Piano and can be found online at http://www.rhinegold.co.uk and www.international-piano.com.

Yuja Wang is an exclusive artist for Deutsche Grammophon. Her debut album, Sonatas & Etudes, released in the spring of 2009 “suggests a combination of blazing technique and a rare instinct for poetry.” [Gramophone] The recording includes works by Chopin, Ligeti, Scriabin and Liszt.

“What marks out the playing of Yuja Wang is the mix of superb technique, a remarkable sensitivity and formidable musical intelligence. She traverses a wide repertoire with ease. Still, there is no doubt that there is room for her to grow, and that makes tracking her career all the more exciting.” said Chloe Cutts, editor of International Piano.

Recognized for playing that combines the spontaneity and fearless imagination of youth with the discipline and precision of a mature artist, Yuja is noted for her authority over the most complex technical demands of the repertoire, the depth of her musical insight, as well as her fresh interpretations and graceful, charismatic stage presence. She has been praised for her controlled, prodigious technique and her command of the piano has been described as “astounding” and “superhuman.”

Following Yuja’s Carnegie Hall debut performing with the Philadelphia Orchestra led by Charles Dutoit earlier this season, The New York Times wrote “the evening’s most breathtaking moments were provided by the pianist Yuja Wang…She seems to have everything: speed, flexibility, pianistic thunder and interpretive nuance.” This season Yuja will also make her Kimmel Center recital debut, appear as soloist with the Shanghai Symphony Orchestra and Russian National Orchestra during their U.S. tours, and perform with the Indianapolis Symphony, the San Francisco Symphony, and the New World Symphony. She will also perform the world premiere of Jennifer Higdon’s piano concerto with the National Symphony Orchestra led by Andrew Litton and give recitals in San Francisco, Vancouver, Detroit, and Washington DC, among other cities. Yuja was also recently name the named the Classic FM Gramophone Awards 2009 Young Artist of the Year.

For further information visit www.yujawang.com.

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COC's 2009/10 Fall Run Closes with 99.6% Attendance

Toronto, Ontario – The Canadian Opera Company is proud to announce that the fall run of its 2009/10 Diamond Anniversary season, Madama Butterfly and The Nightingale and Other Short Fables, closed to 99.6% capacity. A total of 22 of the total 24 performances in the fall run played to 100% capacity with over 49,000 people attending. Madama Butterfly ran for 15 performances and the world premiere of The Nightingale and Other Short Fables ran for nine performances – one more than originally scheduled due to an unprecedented demand for tickets. This statistic continues a sustained series of record attendance numbers for the COC, averaging at least 99% since the opening of the Four Seasons Centre for the Performing Arts in 2006.

The COC’s Madama Butterfly will air on CBC Radio 2’s Saturday Afternoon at the Opera on November 28, 2009; The Nightingale and Other Short Fables will air on December 5, 2009. Concerts on Demand and future broadcast dates are yet to be confirmed.

The COC’s Diamond Anniversary season continues in January with Georges Bizet’s popular Carmen, opening January 27, 2010 and running for 12 performances, and Giuseppe Verdi’s powerful Otello, opening on February 3, 2010 with nine performances. Single tickets for the winter run go on sale Monday, November 16, 2009 and can be purchased online at coc.ca, by calling 416-363-8231, or in person at the Four Seasons Centre Box Office (145 Queen St. W., Toronto).

COC Fall Run Ticket Facts and Figures:

· 124,000: number of Madama Butterfly tickets sold since this production was first staged in 1990

· 30,117: number of Madama Butterfly tickets sold for the 2009/10 season
§ 30,780: highest number of tickets sold for a single COC production (Carmen in 1990)

· 575: record number of single-day calls fielded by the COC’s Box Office following The Nightingale and Other Short Fables opening night reviews
§ 505: previous single-day call record (2007/08 fall season single-ticket onsale)

· 24: number of hours it took for the October 20 performance of The Nightingale and Other Short Fables to sell-out following the opening night reviews

The world premiere of The Nightingale and Other Short Fables was a technically challenging production which incorporated singers, acrobats, and Asian puppetry, dramatically transforming the conventional theatre landscape. It featured the COC Orchestra and conductors Jonathan Darlington and Jayce Ogren (November 2 and 5) on stage with the singers performing and manipulating puppets in the orchestra pit which was filled with 67 tonnes of water.


Fall Run Production Facts and Figures:

· 21: number of set changeovers between Madama Butterfly and The Nightingale and Other Short Fables
· 32: number of crew members to changeover the set from Madama Butterfly to The Nightingale and Other Short Fables
· 4: average number of hours to changeover from Madama Butterfly to The Nightingale and Other Short Fables and vice-versa
· 75: minutes to fill the pool for The Nightingale and Other Short Fables
· 80: minutes to drain the pool for The Nightingale and Other Short Fables

Production Sponsor of Madama Butterfly: RBC Financial Group

The Nightingale and Other Short Fables and the additional performances of Madama Butterfly have been financially assisted by the Ontario Cultural Attractions Fund of the Government of Ontario through the Ministry of Culture, administered by the Ontario Cultural Attractions Fund Corporation.

The Nightingale and Other Short Fables has been generously underwritten in part by The Catherine and Maxwell Meighen Foundation.

Carmen Production Co-sponsors: CIBC and CIBC Mellon

Otello Production Sponsor: National Bank Financial Group

Broadcast Partner: CBC Radio 2

About the Canadian Opera Company
Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and fifth largest in North America, and celebrates its 60th anniversary in 2009/10. Under its new leadership of General Director Alexander Neef and Music Director Johannes Debus, the COC continues its international reputation for artistic excellence and creative innovation. The COC currently enjoys a remarkable 99% attendance rate and one of the highest subscription rates in North America. The COC performs in its new opera house, the Four Seasons Centre for the Performing Arts, designed by Diamond and Schmitt Architects Inc. From its inauguration in 2006, the Four Seasons Centre has been internationally hailed as one of the finest opera houses in the world.

The Four Seasons Centre is also the performance venue for The National Ballet of Canada. 


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Indianapolis Symphony Orchestra Held Annual Meeting on Nov. 16

Indianapolis Symphony Orchestra re-caps artistic highlights of its 2008-2009 season which includes several world premieres in both classical and pops series

ISO’s Marsh Symphony on the Prairie posts all-time attendance record

ISO’s Learning Community reaches 123,000 people of all ages through a wide range of programs including the newly-adopted Metropolitan Youth Orchestra; MYO students perform at Annual Meeting

ISO releases financial data and makes commitment to endowment fundraising, earned revenue and controlling operational expenses for the next several years

Indiana Symphony Society elects new members to its Board of Directors

INDIANAPOLIS—The Indiana Symphony Society held its 2009 Annual Meeting on Monday, Nov. 16, at the Hilbert Circle Theatre and highlighted the Indianapolis Symphony Orchestra’s artistic achievements, outreach into the classroom and community, its successes with several sell-out performances, and its commitment to attracting new audiences to concerts and programs during the Orchestra’s 2008-2009 season.

“The Indianapolis Symphony Orchestra is an organization that pursues incredibly high artistic ideals, embraces the needs of the 21st century audience and understands and steps up to meet the key issues of the city,” said Simon Crookall, President and CEO of the Indianapolis Symphony Orchestra. “Although this has been a challenging year for us financially, we have tremendous optimism about our future.”

During the 2008-09 season, the ISO performed nearly 200 classical, pops, family and special concerts at the Hilbert Circle Theatre and at Marsh Symphony on the Prairie and at other locations throughout the central Indiana community. The ISO recorded a total attendance of more than 350,000. Highlights of the year included:

• Sell-out crowds for Opening Night Gala featuring violinist Joshua Bell; Guys and Dolls in October; Valentine’s Day Weekend concerts; Gabriela Montero playing Rhapsody in Blue in February; and André Watts’ performance of Rachmaninoff’s Second Piano Concerto and Cirque de la Symphonie in March.

• World premieres featuring composer Jennifer Higdon’s Violin Concerto written for Hilary Hahn; composer Gabriela Lena Frank’s Peregrinos (Pilgrims) which brought to life the stories of Indianapolis’ Hispanic community; and the production Irving Berlin: From Ragtime to Ritzes as part of the Symphonic Pops Consortium founded by the ISO’s Principal Pops Conductor, Jack Everly.

• Collaborations with Dance Kaleidoscope for Rimsky-Korsakov’s Scheherazade and the critically-acclaimed production of Wagner’s Das Rheingold with the Indianapolis Opera.

• The Metropolitan Youth Orchestra’s (MYO) adoption into the ISO’s Learning Community department. Led by founder Betty Perry, the MYO provides children with reduced-tuition music instruction and ensemble performance opportunities. The Learning Community also provides educational programs that specifically address state-mandated standards in the arts and other curricular areas and plans concerts, master classes, events and other educational programs that reached approximately 123,000 people this season.

• More than 40,000 patrons for the annual Duke Energy Yuletide Celebration, which featured Tony Award-nominated singer and songwriter Ann Hampton Callaway and special guests Daniel Okulitch and the Capitol Quartet.

• Capacity crowds for performances of Handel’s Messiah at Clowes Memorial Hall and the annual Classical Christmas concert led by ISO Conductor Laureate Raymond Leppard.

• A new all-time attendance record of 107,281 for its Marsh Symphony on the Prairie season, exceeding the previous mark of 107,245 set in 1999.

• In August, the ISO became one of only four orchestras in the country with its own iPhone application, which offers free and inexpensive downloadable music and information from the Symphony. The ISO also has the most extensive digital music library of any orchestra available through InstantEncore.com.

The Society announced financial data for the 2008-2009 fiscal year ending Aug. 31, 2009. Crookall reported that fiscal year 2009 expenses exceeded revenue by $2.8 million on a budget of $28.3 million. Income was lower than the previous year in all categories, particularly from the ISO Foundation and from large, one-time gifts. However, through a series of cost-cutting measures affecting operational and department expenses, total expenditure was down from the previous year. More cuts in expenses, including a new agreement with the ISO musicians that represents $4 million in savings over the next three years, and salary cuts for ISO staff, were put in place in the beginning of this fiscal year. The endowment’s balance as of Aug. 31, 2009 was $85 million (down from $110 million in 2008). Since 2003, the ISO’s endowment draw amount has remained flat.

“Now more than ever, our financial future is reliant on companies and individuals buying tickets, sponsoring performances and supporting our activities,” said Crookall. “Moving forward, the ISO staff and musicians have already made significant contributions back to the organization through salary reductions. The next phase will be growing our endowment for long-term stability, growing our audience base and being good stewards of the generous support we currently receive by controlling expenses.”

“We have this valuable inspirational asset called the Indianapolis Symphony Orchestra, which adds so much to Indiana’s cultural and economic climate,” said Robert Kaspar, outgoing chairman of the ISO Board of Directors. “Even under these extraordinary economic challenges, management is making prudent business decisions now to address a new financial reality. Additional support from the community will be necessary in both annual gifts as well as significant contributions to its foundation to stabilize the ISO’s short term financial situation. The next two years will be critical in making progress.”

The Society elected the following new Board members for three-year terms:
Deborah Ware Balogh, Provost and Vice President for Academic Affairs, University of Indianapolis
Andrea Cranfill, Vice President, FlashPoint
John R. Gibbs, Co-Founder/Retired, Interactive Intelligence
Holly M. Pantzer, Tax Advisor, BKD
J. Daniel Philpott, Senior Vice President, Fifth Third Private Bank
Marcia Raab, Chief Marketing Officer, Defender Direct
Marianne Williams Tobias, Program Book Annotator, Indianapolis Symphony Orchestra
Ralph V. Wilhelm, President & Founder, Wilhelm Associates

The following Board members were re-elected for a second term:
Don Altemeyer
Carolyn S. Hardman
Tomisue Hilbert
Alvin E. Kite Jr.
Kay F. Koch
Bruce C. McCaw
Alexander David Mih, M.D.
Kenneth L. Renkens M.D.
Christopher A. Slapak
Pete Ward
David E. Wilcox, P.E.

The following outgoing Board members were recognized for their service:
Robert A. Anker
Rollin M. Dick
Margot L. Eccles
Megan Fowler
Bradley S. Fuson
Kathy L. Humphrey

The Society also recognized first violin Vladimir Krakovich and Vice President and General Manager Thomas R. Ramsey for 25 years of distinguished service and presented the “Outstanding Staff Award” to Joanne Bennett, Director of Facilities and Audience Services, for extraordinary service to the ISO.

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Erik Ryan nommé président du conseil 2009-2010 
de la Chambre de commerce du Montréal métropolitain

Chambre de commerce du Montréal métropolitain Board of Trade of Metropolitan Montreal
For English version, see below

Montréal, le 4 novembre 2009 - Lors de l'assemblée annuelle de la Chambre de commerce du Montréal métropolitain, qui s'est tenue aujourd'hui, les membres ont élu leur conseil d'administration pour l'année 2009-2010. M. Erik Ryan, vice-président principal, Communications et relations externes chez Rio Tinto Alcan, a été nommé à la présidence du conseil pour un mandat d'un an. Il succède ainsi à Rémi Racine, président et chef de la direction d'A2M, qui devient président sortant du conseil.

« Notre rôle, à la Chambre, est de faire en sorte que la métropole soit dotée des meilleures conditions d'affaires. Dans le contexte actuel, nous allons tout mettre en oeuvre pour que la grande région métropolitaine puisse pleinement bénéficier de la reprise économique qui pointe déjà à l'horizon. Nous travaillerons sans relâche pour que Montréal puisse connaître un véritable élan de prospérité », a déclaré Erik Ryan, nouveau président du conseil de la Chambre de commerce du Montréal métropolitain.

Erik Ryan est titulaire d'un baccalauréat en génie mécanique de l'Université McGill (1987) et d'une maîtrise en administration de la Harvard Business School (1995).

En septembre 2002, M. Ryan se joint à Alcan inc. en tant que directeur, Soutien de la gestion stratégique. Il fait partie de l'équipe d'acquisition de Pechiney et agit par la suite comme codirecteur de l'équipe d'intégration d'Alcan-Pechiney à Paris. À l'automne 2004, il est nommé vice-président, Stratégie et développement, du secteur Emballages cosmétiques d'Emballages Alcan. En janvier 2005, M. Ryan est nommé vice-président, Affaires générales et communications, du groupe Alcan Métal primaire. En 2007, s'ajoutent à ses responsabilités la diversification industrielle régionale ainsi qu'une usine de coulage spécialisée en aérospatiale et en alliages nucléaires alors qu'il devient vice-président, Relations avec les partenaires et communications.

Erik Ryan a commencé son implication à la Chambre en 2002 à travers le comité d'analyse stratégique sur le développement économique avant de se joindre à son conseil d'administration et, par la suite, au comité exécutif.

Avant de se joindre à Rio Tinto Alcan, Erik Ryan a été le secrétaire général du Sommet de Montréal 2002, où il a dirigé la conception et la tenue de cet événement fondateur créé pour identifier les priorités et initiatives stratégiques essentielles à la nouvelle Ville de Montréal.

De 1995 à 2001, après ses études à Boston, M. Ryan a oeuvré en tant que consultant pour Monitor Company, une société de conseil située à Boston. Il a agi en tant que chef du bureau de Paris de 1995 à 1997. De 1989 à 1993, il a été conseiller politique de Gérald Tremblay, qui était à l'époque ministre de l'Industrie, du Commerce et de la Technologie. M. Ryan a alors contribué à la conception et au déploiement de la stratégie des grappes industrielles et des négociations du contrat social.

À titre de président du conseil de la Chambre, Erik Ryan s'impliquera dans les activités de la Chambre pendant l'année, puis comme président sortant du conseil l'année suivante. Tout au long de cette période, M. Ryan siégera au comité exécutif de la Chambre.

Les membres suivants composent le conseil pour l'année 2009-2010 :

Président du conseil :
Erik Ryan*
Vice-président principal,
Communications et relations externes
Rio Tinto Alcan

Président sortant du conseil :
Rémi Racine*
Président et chef de la direction
A2M

Premier vice-président du conseil :
Joseph Iannicelli*
Président et chef de la direction
Compagnie d'assurance Standard Life du Canada

Trésorier : 
Luc Martin*
Associé leader de la pratique manufacturière-Canada
Deloitte & Touche

Dimitri Antonopoulos
Vice-président, Marketing et développement hôtels et restaurants
Le Groupe Antonopoulos

Christiane Bergevin
Vice-présidente exécutive, Partenariats stratégiques
Bureau de la présidence
Mouvement Desjardins

Marc-André Blanchard*
Associé directeur, Région du Québec
McCarthy Tétrault

Stéphane Boisvert
Président, Bell Marchés Affaires
Bell Canada

Hubert Bolduc
Vice-président
Communications et affaires publiques
Cascades inc.

Manon Brouillette
Vice-présidente exécutive, Stratégie et commercialisation
Vidéotron ltée

Charles-Mathieu Brunelle
Directeur général
Muséums nature de Montréal

Isabelle Courville*
Présidente
Hydro-Québec TransÉnergie

Robert Desbiens
Vice-président exécutif, Stratégies corporatives
R3D Conseil inc.

François Giroux
Président et chef de la direction
Allianz Madvac inc.

Michael Goodman
Président et fondateur
Michael Goodman Recherche de cadres

Michel Leblanc
Président et chef de la direction
Chambre de commerce du Montréal métropolitain

Jean-Marc Léger
Président
Léger Marketing

Caroline Ménard
Présidente
Jeune Chambre de commerce de Montréal

Heather Munroe-Blum
Principale et vice-chancelière
Université McGill

Michel Patry
Directeur
HEC Montréal

Daniel Peritz
Vice-président principal, Montréal
Canderel Management inc.

Lorraine Pintal*
Directrice artistique et générale
Théâtre du Nouveau Monde

Luc Sabbatini
Président
Astral Media Affichage

Javier San Juan
Président-directeur général
L'Oréal Canada

Sylvain Vincent*
Associé directeur de l'est du Canada et membre du comité exécutif canadien
Ernst & Young s.r.l./S.E.N.C.R.L.

* Membres du comité exécutif

Vous trouverez sur le site Web de la Chambre les notes biographiques et les photos des membres du conseil d'administration.

La Chambre de commerce du Montréal métropolitain compte quelque 7 000 membres. Sa mission est de représenter les intérêts de la communauté des affaires de l'agglomération urbaine de Montréal et d'offrir une gamme intégrée de services spécialisés aux individus, aux commerçants et aux entreprises de toutes tailles de façon à les appuyer dans la réalisation de leur plein potentiel en matière d'innovation, de productivité et de compétitivité. La Chambre est le plus important organisme privé au Québec voué au développement économique.

*****

Erik Ryan appointed Chairman of the board of directors of the
Board of Trade of Metropolitan Montreal for 2009-2010

Montréal, November 4, 2009 - At the Board of Trade of Metropolitan Montreal's annual assembly, which was held today, members elected their board of directors for 2009-2010. Mr. Erik Ryan, Senior Vice-President, Communications and External Relations, of Rio Tinto Alcan, was appointed Chairman of the board of directors for a one-year term. He succeeds Rémi Racine, President and CEO of A2M, who became the Retiring Chairman.

"Our role at the Board of Trade is to ensure that Montréal has the best conditions for business. In the current environment, we will do everything we can to enable the greater metropolitan region to fully benefit from the economic recovery that is already visible on the horizon. We are working non-stop so that Montréal can enjoy a true surge of prosperity," stated Erik Ryan, new Chairman of the board of directors of the Board of Trade of Metropolitan Montreal.

Erik Ryan holds a B. Eng. in Mechanical Engineering from McGill University (1987) and an MBA from the Harvard Business School (1995).

Mr. Ryan joins Alcan Inc. in September 2002 as Director, Strategic Management Support. He is part of the Pechiney acquisition team, and is later co-leader of the Alcan-Pechiney Integration Leadership Team in Paris. In the fall of 2004, he becomes Vice-President, Strategy and Business Development, for Alcan Packaging Global Beauty sector. In January 2005, Mr. Ryan is appointed Vice-President, Corporate Affairs and Communications, for Alcan Primary Metal Group. In 2007, Regional Industrial Diversification and an aerospace and nuclear alloys casting plant are added to his responsibilities, as he becomes Vice-President, Stakeholder Relations and Communications.

Erik Ryan first became involved with the Board of Trade in 2002 through the strategic analysis committee on economic development before joining the board of directors and then, its executive committee.

Prior to joining Rio Tinto Alcan, Mr. Ryan was Secretary General of the Sommet de Montréal 2002, in charge of designing and conducting this foundational event created to identify the strategic priorities and initiatives critical to the new City of Montréal.

Between 1995 and 2001, following his studies in Boston, Mr. Ryan worked as a consultant for Monitor Company, a Boston consultancy. Between 1995 and 1997, he headed its Paris office. Between 1989 and 1993, he was political advisor to Gérald Tremblay, then Minister of Industry, Trade, and Technology. At that time, Mr. Ryan contributed to the design and deployment of the industrial cluster strategy, and to negotiating the social contract.

As Chairman of the board of directors of the Board of Trade, Erik Ryan will be involved in the Board of Trade's activities during the current year, and also as Retiring Chairman the following year. Over this entire period, Mr. Ryan will sit on the Board of Trade's executive committee.

The 2009-2010 board of directors is composed of the following members:

Chairman of the board:
Erik Ryan*
Senior Vice-President, Communications and External Relations
Rio Tinto Alcan

Retiring Chairman of the board:
Rémi Racine*
President and CEO
A2M

First Vice-President of the board:
Joseph Iannicelli*
President and Chief Executive Officer
The Standard Life Assurance Company of Canada

Treasurer:
Luc Martin*
Manufacturing Practice Leader-Canada
Deloitte & Touche

Dimitri Antonopoulos
Vice-President, Marketing, Hotel and Restaurant Development
The Antonopoulos Group

Christiane Bergevin
Executive Vice-President, Strategic Partnerships, Office of the President
Desjardins Group

Marc-André Blanchard*
Managing Partner, Quebec Region
McCarthy Tétrault

Stéphane Boisvert
President, Bell Business Markets
Bell Canada

Hubert Bolduc
Vice-President, Communications and Public Affairs
Cascades Inc.

Manon Brouillette
Executive Vice-President, Strategy and Market Development
Videotron Ltd.

Charles-Mathieu Brunelle
Executive Director
Montréal's Nature Museums

Isabelle Courville*
President
Hydro-Québec TransÉnergie

Robert Desbiens
Executive Vice-President, Corporate Strategies
R3D Consulting Inc.

François Giroux
President and CEO
Allianz Madvac Inc.

Michael Goodman
President and Founder
Michael Goodman Executive Search

Michel Leblanc
President and CEO
Board of Trade of Metropolitan Montreal

Jean-Marc Léger
President
Leger Marketing

Caroline Ménard
President
Jeune Chambre de commerce de Montréal

Heather Munroe-Blum
Principal and Vice-Chancellor
McGill University

Michel Patry
Director
HEC Montréal

Daniel Peritz
Senior Vice-President, Montréal
Canderel Management Inc.

Lorraine Pintal*
Artistic and General Director
Théâtre du Nouveau Monde

Luc Sabbatini
President
Astral Media Outdoors

Javier San Juan
President and Chief Executive Officer
L'Oréal Canada

Sylvain Vincent*
Managing Partner, Eastern Canada and Member of Canadian Executive Committee
Ernst & Young LLP

* Member of the executive committee

Biographies and photos of the members of the board of directors can be found on the Board of Trade's Website.

The Board of Trade of Metropolitan Montreal has some 7,000 members. Its primary mission is to represent the interests of the business community of Greater Montréal and to provide individuals, merchants, and local businesses of all sizes with a variety of specialized services to help them achieve their full potential in terms of innovation, productivity and competitiveness. The Board of Trade is Quebec's leading private economic development organization.

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En 2010 aux Grands Ballets Canadiens de Montréal

logo Les Grands Ballets Canadiens de Montréal

LE BALLET ROMANTIQUE PAR EXCELLENCE !

Seule compagnie invitée dans la prochaine saison des Grands Ballets Canadiens de Montréal,
le Ballet de Guangzhou, compagnie de ballet chinoise dirigée par Zhang Dandan, s’arrête à Montréal le temps de trois représentations pour présenter, en première nord-américaine La Sylphide. D’une beauté à couper le souffle, cette soirée mémorable vous entraînera au royaume du romantisme. Dépaysement assuré à la Salle Wilfrid-Pelletier de la Place des Arts les 18, 19 et 20 février 2010.

La Sylphide

La Sylphide est créée à l’Opéra de Paris en 1832 par Filippo Taglioni pour sa fille, la danseuse Marie Taglioni, qui dansera le rôle jusqu’en 1847 et inaugurera la technique des pointes. L’oeuvre marque l’avènement du romantisme dans le domaine du ballet. Salué par écrivains et artistes, prisé par le public, le ballet sera présenté dans les grandes capitales européennes avec grand succès jusqu’en 1863 avant de disparaître peu à peu de l’affiche. Seule survit la version d’Auguste Bournonville, conçue au Danemark en 1836 sur une musique différente de celle de Jean-Madeleine Schneitzhoeffer. Le chorégraphe français Pierre Lacotte, après bien des recherches, ressuscita le ballet original d’abord dans une version filmée par l’ORTF en 1971, puis
l’année suivante pour l’Opéra de Paris. Il recréera décors et costumes avant d’aborder la chorégraphie.

La Sylphide raconte l’histoire d’un jeune Écossais, James, aimé par une sylphide que lui seul peut voir. Le jour du mariage de ce dernier, la sylphide s’empare de son alliance et s’enfuit dans les bois. James la poursuit et rencontre alors une vieille sorcière qu’il avait jadis chassée. Elle lui donne un voile qui doit lui permettre de capturer la sylphide ; celle-ci y perd ses ailes et meurt. James, dans un immense chagrin, aperçoit au loin son ancienne fiancée avec son rival. La première mondiale de La Sylphide par le Ballet de Guangzhou a eu lieu au Théâtre Huang Hua Gang à Guangzhou les 28 et 29 avril 2007.


La Sylphide de Pierre Lacotte d’après Filippo Taglioni
BALLET DE GUANGZHOU, compagnie invitée par Les GBCM
Musique de Jean-Madeleine Schneitzhoeffer
Les 18,19 et 20 février 2010, 20 h
Salle Wilfrid-Pelletier de la Place des Arts
Billetterie : 514 842-2112 / www.laplacedesarts.com
Des causeries animées auront lieu à la Salle Wilfrid-Pelletier avant toutes les représentations de 19 h à 19 h 30.

LA BEAUTÉ SELON KYLIÁN

Au printemps 2010, Les Grands Ballets Canadiens de Montréal proposent une soirée d’exception signée Jirˇí Kylián, grand maître de la danse néoclassique européenne qui a su marier avec brio l’héritage classique à la modernité. Au programme, trois joyaux inscrits au répertoire des Grands Ballets depuis 2003 : Symphonie de psaumes, Bella Figura et Six Dances. Entre spiritualité, onirisme, et burlesque, trois fascinantes facettes du talent de l’un des géants de la danse de notre époque, à voir les 18, 19, 20, 25, 26 et 27 mars 2010 au Théâtre Maisonneuve de la Place des Arts. Du grand art.

Kylián, puissance trois

L’une des pièces préférées de Kylián, Symphonie de psaumes (1978), oeuvre pour 16 danseurs sur la musique d’Igor Stravinski, entend « louer le Seigneur avec la danse ». Constamment en scène, les danseurs sont sans cesse sollicités, au sein d’un choeur en parfaite cohérence avec l’écriture musicale. L’oeuvre invite à célébrer la spiritualité qui habite l’être humain, que
la chorégraphie traduit par le lyrisme des corps des danseurs exprimant la souffrance, l’affliction, mais aussi la tendresse et l’espoir, en des duos et ensembles passionnés. Le parti pris géométrique adopté par le chorégraphe est accentué par la verticalité du patchwork de tapis d’Orient suspendus à l’arrière-plan. « Mon propos n’est pas à proprement parler religieux.
J’essaie de suivre le développement musical : celui d’un rituel, dont les rythmes charrient des flots émotionnels et pathétiques », affirme Kylián. D’un souffle puissant, la partition s’appuie sur les psaumes de David et a été commandée à Stravinski par l’Orchestre symphonique de Boston pour le 50e anniversaire de sa création en 1930.

À la lisière du rêve et de la réalité, du visible et de l’invisible, Bella Figura (1995) est une suite de duos, trios et quatuors baroques pour neuf danseurs, d’une suprême harmonie et d’une subjuguante beauté. Construite sur des musiques des XVIIe et XVIIIe siècles de Pergolesi, Vivaldi, Lukas Foss, Allessandro Marcello et Giuseppe Torelli, l’oeuvre interroge l’ambiguïté
esthétique de la représentation théâtrale. « Où commence la représentation ? », se demande Kylián. À la naissance, ou au lever du rideau ? Où finit le spectacle : quand on sort de scène ? Qu’appelle-t-on « déguisement » : le vêtement que nous mettons pour sortir dans la rue ou le costume que nous portons au théâtre ? Quelle est vraiment la différence entre ce qu’on nomme
l’art et l’artifice, entre la réalité et l’imaginaire ? Je recherche le moment où le rêve s’introduit dans notre vie et où la vie entre dans nos rêves. » « Vraiment une pure jubilation.» La Presse, Montréal.


Enfin, la soirée se termine avec Six Dances (1986) sur les Sechs Tänze de W. A. Mozart, écrites il y a deux siècles, un déferlement de poésie absurde pour huit danseurs. Le chorégraphe réalise un « divertissement » emperruqué qu’il tourne en dérision, jusqu’à la bouffonnerie. Face aux agitations du monde, la virtuosité burlesque est aussi une politesse du désespoir.

« Cette courte pièce ne cesse d’amuser le public depuis plus de vingt ans. […] Les Grands l’ont servie avec un splendide équilibre entre le contrôle et la frivolité. Les spectateurs ont applaudi admirativement et ont réservé plusieurs rappels aux danseurs. » The Gazette (Les Étés de la danse)


Symphonie de psaumes, Bella Figura, Six Dances de Jirˇí Kylián
par Les Grands Ballets Canadiens de Montréal
Les 18, 19, 20, 25, 26 et 27 mars 2010, 20 h
Théâtre Maisonneuve de la Place des Arts
Billetterie : 514 842-2112 / www.laplacedesarts.com
Des causeries animées auront lieu au Théâtre Maisonneuve avant toutes les représentations de 19 h à 19 h 30.

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Suburban Hotel held over - - - 3 exécutions additionnelles

For those who missed some of Tableau D'Hôte Theatre's 6-play series Suburban Motel, there will be one more showing of each duo.
Dates prolongées pour Suburban Motel presenté par Théâtre Tableau D'Hôte.

$15 flat rate for each show!
$15 par exécution

• Tues./Mardi le 1 Dec. 1 - Problem Child (7pm - 19h) and/et Adult Entertianment (9pm - 21h)
• Wed./Merc. le 2 Dec. 2 - Featuring Loretta (7pm - 19h) and/et The End of Civilization (9pm - 21h)
• Thurs./Jeudi le 4 Dec. 4 - Criminal Genius ((7pm - 19h) and/et Risk Everything (9pm - 21h)

And then the Motel permanently closes for business!
Ensuite que le motel est fermé !

Venue / Lieu
Mainline Theatre
3997, boul. St-Laurent

Box Office / Billetterie
(514) 849 – FEST (3378)

Web Site Web
www.tableaudhotetheatre.ca

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Conseil des arts de Montréal launches the Diversity Award / lance le prix Diversité

LogoCAM

Montreal, November 3, 2009 – A new award has been created to promote the diversity of artistic expressions in Montreal: the Diversity Award. Five partners, the Conseil des arts de Montréal, CBC Radio 2, MAI (Montréal, arts interculturels), Place des Arts, and Vision Diversité have come together to offer this award to an artist or artists’ collective from Montreal’s cultural diversity working in the world-music sector. Over the course of a one-year circuit, the winner will benefit from the partners’ help and support in the areas of creation, production, dissemination, and touring.

Thanks to this artistic circuit, the winner will enjoy two creative residencies and have several opportunities to present his or her artistic work to audiences at MAI and Place des Arts, in collaboration with Vision Diversité, as well as throughout Montreal neighborhoods, as part of Conseil des arts de Montréal en tournée. The Prix de la diversité also includes a radio taping by CBC Radio 2, the official broadcaster, which will make the podcast available on its website. All of this will be covered by a joint promotion. The estimated value of the award is $25,000.
The objective of the Diversity Award is to promote a promising professional artist or artists’ collective, still unknown within the arts milieu and by the Montreal public, whose practice reflects a diversity of artistic expressions. With this award, the Conseil des arts de Montréal and its partners wish to encourage the full participation of all artists in the city’s artistic life and give a boost to their professional career. Furthermore, this award can help diversify audiences in Montreal’s various presentation venues.

A jury, formed by a representative of the each of the five partners, will evaluate the submissions’ artistic excellence and merit, quality of previous productions, interest of the artistic proposal (originality and innovation), dissemination potential, and authenticity of the musical approach, among others. The winner will be announced on March 23, 2010, during the Grand Prix du Conseil des arts de Montréal luncheon.

Applications for the Diversity Award will be accepted until January 15, 2010 and the application form is available online at: www.artsmontreal.org/prixdiversite.php.

*****

Montréal, le 3 novembre 2009 – Un nouveau prix viendra mettre en valeur la diversité des expressions artistiques de Montréal : le Prix de la diversité. Cinq partenaires, le Conseil des arts de Montréal, CBC Radio 2, le MAI (Montréal, arts interculturels), la Place des Arts et Vision Diversité se sont réunis pour offrir ce prix à un artiste ou à un collectif d'artistes du domaine de la musique du monde et issus de la diversité culturelle montréalaise. Le lauréat du prix bénéficiera, dans le cadre d’un parcours d’un an, d’un soutien et d’un accompagnement à la création, à la production, à la diffusion et à la circulation offerts par les partenaires.

À travers ce parcours artistique, le lauréat disposera de deux résidences de création et aura plusieurs occasions de présenter son travail artistique devant public au MAI et à la Place des Arts en collaboration avec Vision Diversité, de même que dans les quartiers de Montréal dans le cadre du Conseil des arts de Montréal en tournée. Le Prix de la diversité inclut aussi une captation radiophonique par CBC Radio 2, diffuseur officiel, qui sera disponible en balladodiffusion sur son site Concerts On Demand. Le tout est conjugué par une promotion commune. La valeur du Prix est estimée à 25 000$.

L`objectif du Prix de la diversité est de mettre en valeur un artiste ou un collectif d'artistes professionnels prometteurs, peu connu du milieu artistique et du public montréalais, qui reflète, dans sa pratique, la diversité des expressions artistiques. Par ce prix, le Conseil des arts de Montréal et ses partenaires souhaitent favoriser la pleine participation de tous les artistes à la vie artistique de la métropole et donner une impulsion à leur carrière professionnelle. En outre, ce prix pourra contribuer à diversifier les publics dans les différents lieux de diffusion montréalais.

Le jury, composé d’un représentant des cinq partenaires, évaluera entre autres l’excellence et le mérite artistique, la qualité des réalisations antérieures, l’intérêt de la proposition artistique (originalité et innovation), le potentiel de diffusion et l’authenticité de la démarche musique. Le lauréat sera annoncé le 23 mars 2010, lors du déjeuner du Grand Prix du Conseil des arts de Montréal.

Les candidatures pour le Prix de la diversité seront acceptées jusqu’au 15 janvier 2010 et le formulaire est disponible en ligne à cette adresse : www.artsmontreal.org/prixdiversite.php.

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Educating Rita @ Segal Centre



MONTRÉAL novembre 2009 – Le Centre Segal des arts de la scène et KPMG sont fiers de présenter EDUCATING RITA, l'hilarante et astucieuse comédie du dramaturge primé Willy Russell.

Mise en scène par Marcia Kash, la production du Centre Segal met en vedette Carly Street et Ric Reid.

« Le courant particulier qui passe entre ces deux acteurs extraordinaires et la vivacité de leurs répliques comiques vous feront sourire tout au long de la pièce », a déclaré Bryna Wasserman, directrice artistique et exécutive du Centre Segal.

Ric Reid joue Frank Bryant, un écrivain raté et professeur de littérature désabusé qui juge ses étudiants épouvantablement ennuyeux et dépourvus de toute originalité. L'universitaire à la cinquantaine complètement blasée aimerait mieux passer son temps à boire du scotch au pub du coin que d'enseigner derrière un lutrin.

Surgit alors Rita, le personnage joué par Carly Street : une coiffeuse délurée de 26 ans, originaire de Liverpool, bien déterminée à s'instruire et à se défaire de son image de prolétaire. De son vrai nom, Susan, elle se fait appeler Rita en l'honneur de l'auteur féministe Rita Mae Brown afin de paraître plus sophistiquée. Rita est persuadée que Brown est un écrivain brillant, mais Frank n'en a même jamais entendu parler.

Au début, Frank accepte à contrecœur de donner des cours particuliers à cette fille de Liverpool dont la fougue est inversement proportionnelle à l'instruction. À la longue toutefois, sa passion et sa soif d'apprendre finiront par enchanter Frank.

« La metteuse en scène Marcia Kash connaît étroitement le personnage de Rita », ajoute Bryna Wasserman. « Saviez-vous que c'était la première actrice à jouer Rita au Canada? Et elle a fait plusieurs fois le tour du pays dans la peau de ce personnage. Cette expérience unique et précieuse fait d'elle la spécialiste de l'accent de Liverpool quand il s'agit de donner des cours de diction. »

Marcia Kash reconnaît que le personnage de Rita l'a influencée de façon subtile à bien des égards chaque fois qu'elle l'a joué, et elle porte en elle encore aujourd'hui des pans de la personnalité de Rita.

« C'est fascinant de revenir à cette pièce maintenant, après tant d'années, alors que tant de choses ont changé dans le monde et dans ma vie. Mais le personnage de Rita reste pertinent. Et l'histoire classique de Pygmalion a toujours autant de charme de nos jours. J'ai hâte de voir quelles nouvelles découvertes nous allons faire en travaillant sur la pièce, et je suis certaine que, inspirés par la fabuleuse équipe de création et portés par le talent considérable de Carly Street et Ric Reid, nous allons faire des choix intéressants et pleins d'imagination. »

Les décors et les costumes sont signés John C. Dinning et l'éclairage est de Spike Lyne. Merissa Tordjman est la régisseuse générale de la production.

Educating Rita est en partie autobiographique. En effet, le dramaturge britannique Willy Russell a grandi dans une famille ouvrière de Liverpool avant de devenir coiffeur. Il a fini par faire des études universitaires et s'est mis à écrire des pièces, qui lui ont ouvert la porte sur tout un monde de possibilités et lui ont conféré une gloire internationale.

__________________________________________________________________________

88.5 CBC Radio One est fière de présenter Un Dimanche au Segal Le dimanche 22 novembre 2009 à 11 h. Entrée libre.
Conférencier : John C. Dinning, concepteur des décors et des costumes pour Educating Rita


Soirées Parole au public
Dans le cadre de notre série de discussions, les lundis soirs après la pièce, certains acteurs ou concepteurs artistiques demeureront sur scène pour répondre aux questions des spectateurs. Les soirées Parole au public constituent une occasion intimiste de dialoguer avec les personnalités qui présentent un théâtre anglais professionnel de première classe à Montréal.


Encourager l'émergence d'un nouveau public au théâtre
Nous sommes tous conscients de l'importance d'encourager l'émergence d'un nouveau public au théâtre. C'est pourquoi le Centre Segal propose des rabais intéressants aux spectateurs âgés de moins de 30 ans, offrant ainsi aux étudiants à temps plein des collèges et des universités et aux jeunes professionnels l'occasion de vivre une expérience théâtrale de haute qualité à un prix abordable.

INFORMATIONS SUR LES BILLETS

La pièce sera présentée :
du 22 novembre au 13 décembre 2009

Avant-premières :
le 22 novembre à 13 h 30
les 23, 24 et 25 novembre à 20 h

Dimanche au Segal :
le 22 novembre à 11 h

Représentations :
Du lundi au jeudi à 20 h
Samedi à 20 h 30
Dimanche à 19 h

Matinées :
Les mercredis à 13 h
Les dimanches à 14 h

Billetterie :
514 739-7944

Admission
514 790-1245
www.admission.com

Le Centre Segal des arts de la scène
5170, chemin de la Côte-Sainte-Catherine
www.segalcentre.org

*****

MONTREAL November 2009 – The Segal Centre for Performing Arts and KPMG are proud to present EDUCATING RITA, the hilarious and clever comedy by award-winning playwright Willy Russell.

Directed by Marcia Kash, the Segal production stars Carly Street and Ric Reid.

"The special chemistry and briskly-paced comedic repartee between these two extraordinary actors will have you smiling all through the play," said Bryna Wasserman, Artistic and Executive Director of the Segal Centre.

Ric Reid plays Frank Bryant, a failed writer and disillusioned literature professor who views his students as appallingly boring and lacking in originality. The cynical middle-age academic would rather spend time drinking scotch at the local pub than teach at the lectern.

Enter Rita, played by Carly Street - a brash, twenty-six year old hairdresser from Liverpool who is determined to get an education and shed her working-class image. Her real name is Susan, but she wants to appear more sophisticated so she calls herself Rita after feminist writer Rita Mae Brown. Rita thinks Brown is a brilliant writer but Frank has never heard of her.

At first, Frank grudgingly accepts to tutor this uneducated and feisty Liverpudlian, but in time her passion for learning intrigues and enchants him.

"Director Marcia Kash knows the Rita character intimately," adds Bryna Wasserman. Did you know that she was the first actor in Canada to play Rita, and played the role several times across the country? Her unique and valuable experience also makes her the perfect Liverpudlian voice coach".

Marcia Kash feels the character of Rita influenced her in subtly different ways every time she played her, and she carries parts of Rita within her to this day.

"Returning to the play now, after so many years, much has changed in the world, and in my life. But Rita is still relevant. And the classic Pygmalion story is as winsome as it ever was. I look forward to the new discoveries we will find working on this play and I'm sure, together with the considerable talents of Carly Street and Ric Reid, and a fabulous creative team, we will be inspired to make interesting and inventive choices".

Set and costumes are by John C. Dinning and lighting is by Spike Lyne. Merissa Tordjman is the stage manager.

Educating Rita is partially autobiographical. British playwright Willy Russell grew up in a working class family in Liverpool and became a hairdresser. He eventually returned to college and started writing drama, which opened up a world of new possibilities and brought him international success.

__________________________________________________________________________

88.5 CBC Radio One proudly presents Sunday-@-the-Segal Sunday, November 22, 2009 - 11am. Admission is free.
Speaker: John. C. Dinning - set and costume designer for Educating Rita

Monday Night Talkbacks
As usual following the play, some of the actors and/or designers will remain on stage to take questions from the audience. Monday Night Talkbacks provides an intimate opportunity for audiences to engage up close and personal with the personalities bringing first class professional English language theatre to Montreal.

Building audiences for the future
Everyone knows the importance of creating and fostering new theatre audiences. To this end, the Segal Centre is offering substantial savings for those under 30, providing an opportunity for full-time college and university students and young professionals to experience high quality theatre at an affordable price.

TICKETS INFORMATION

Run:
November 22 to December 13, 2009

Previews:
November 22 - 1:30 pm
November 23-25 - 8:00 pm

Sunday-@-the-Segal:
November 22 - 11:00 am

Performances:
Monday - Thursday, 8:00 pm
Saturday 8:30 pm
Sunday 7:00 pm

Matinées:
Wednesdays 1:00 pm
Sundays 2:00 pm

Box Office:
(514) 739-7944

Admission
(514) 790-1245
www.admission.com

Segal Centre for Performing Arts
5170 Côte Ste. Catherine Rd.
www.segalcentre.org

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Sunday, November 22, 2009

Winners of the 70th edition of the OSM Standard Life Competition



PRESS RELEASE
For immediate distribution


The OSM reveals the identities of the winners of the 70th edition
of the OSM Standard Life Competition
(piano and percussion)


Montreal, November 21, 2009 – The winner of the OSM Standard Life Grand Prize is Jan Lisiecki, pianist from Alberta, born in 1995. The 70th edition of the OSM Standard Life Competition wound up after four days of auditions (semi-finals and finals) in Tanna Schulich Recital Hall at McGill University’s Schulich School of Music. Twenty-one (21) competitors took part in the semi-finals of the Competition, this year devoted to piano and percussion.

The jury chairman and judge (semifinals, finals - piano and percussion)  was Henry Fogel. Mr Fogel is  Dean of the Chicago College of Performing Arts at Roosevelt University as of July 2009, President and CEO of the American Symphony Orchestra League from 2003 to 2008, and President and CEO of the Chicago Symphony Orchestra from 1985 to 2003. "The 70th OSM Standard Life Competition was an extraordinary and thrilling event to be part of. The musical quality was exceedingly high, the world class jury was a model of what a competition jury should be, and the Orchestre symphonique de Montreal's  staff and volunteers did a fabulous job in organizing it. It has been a privilege for me to be a part of it" said Henry Fogel.
                      
The jury for the semi-finals in the piano category was made up of Michel Béroff, concert pianist and Professor at the Paris Conservatoire national supérieur de musique et de danse, and Robert McDonald, Professor at The Juilliard School of Music in New York. In the percussion category, it was made up of Louis Charbonneau, Principal Timpani with the OSM from 1950 to 1998, and Emmanuel Séjourné, percussionist and Head of Percussion Department of the Strasbourg Conservatoire.

For the finals, the following judges joined the semi finals’ jury: Earl Blackburn, Senior Vice-President and Agent with Opus 3 Artists, and Walter Homburger, Artist Manager since 1947 and General Director of the Toronto Symphony Orchestra from 1962 to 1987.

The jury for the preliminary round, in the piano category, consisted of Lise Boucher, pianist and Head of the competition Prix d'Europe, Stéphane Lemelin, concert pianist, Professor and Chair of the School of Music at Ottawa University, and member of Trio Hochelaga, and Natalie Pepin, pianist and Professor Emeritus at Université de Montréal. In the percussion category, it was made up of Ian Bernard, Principal Timpani at the National Arts Centre Orchestra in Ottawa, Serge Desgagnés, Principal Percussion with the OSM, and Carol Lemieux, percussionist and Director of the Conservatoire de musique de Québec.

THE RESULTS

OSM Standard Life GRAND PRIZE

The winner of the OSM Standard Life Grand Prize is Jan Lisiecki, pianist from Alberta born in 1995. This prize is awarded to one of the first-prize winners (piano and percussion) who made the strongest impression during the Competition.

In addition to receiving a $10,000 scholarship offered by Standard Life, the winner will perform in aconcert with the OSM, under the direction of Roberto Minczuk, on January 12, 2010 in Salle Wilfrid-Pelletier at Place des Arts, as part of the OSM 2009-2010 Season. The Grand Prize OSM  Standard Life also include:

  • The Espace musique Prize: a professional recording in one of the CBC studios

  • A recital at the Northern Arts and Cultural Centre in Yellowknife, Northwest Territories, as part of the 2010-2011 NACC season

  • A concert with the Newfoundland Symphony Orchestra in St. John’s, Newfoundland, as part of the 2010-2011 NSO season

  • The Orford Arts Centre Prize: a recital at the Orford Arts Centre presented in 2010

The first prizes

  • A $10,000 Standard Life Scholarship, awarded in each of the three categories

Piano category (class A): the winner is Tristan Longval-Gagné, Québec, (21 years old)
Piano category (class B): the winner is Jan Lisiecki, Alberta (14 years old)
Percussion category: the winner is Benjamin Duinker, Nouvelle-Écosse, (26 years old)


The second prizes

  • A $5,000 scholarship, offered by Marjorie and Gerald Bronfman, piano category, class A.
The winner isAlexander Malikov, Alberta, (20 years old)

  • The $5,000 Rosemary-Bell and Gabrielle-Côté scholarship, offered by the OSM Volunteer Committee, piano category, class B
The winner isMeagan MilatzSaskatchewan (16 years old)

  • The $5,000 V. E. Lambert scholarship, offered by the Succession Lambert-Fortier-Gagnon, percussion category
The winner is: Clara Warnaar, Québec, (18 years old)

The third prizes

  • The $2,000 V.E. Lambert scholarship, offered by the Succession Lambert-Fortier-Gagnon, piano category, class A
The winner isOlivier Hébert-Bouchard, Québec, (21 years old)

  • The $2,000 Aline-Hector-Perrier scholarship, offered by the Fonds Les Amis de l'Art, piano category, class B
The winner isSimon Boily ProulxQuébec, (16 years old)

  • A $2,000 scholarship, offered by an anonymous contributor, percussion category
The winner isNoam Bierstone, Ontario, (19 years old)
                                        

Prizes for the best performance of a Canadian work

  • A $2,000 scholarship, offered by the Groupe Archambault, piano category, class A
The winner is: Tristan Longval-GagnéQuébec (21 years old)
Marc-André Hamelin, Etude no 2, "Prélude et fugue"

  • A $2,000 scholarship, offered by the OSM Musicians Association, piano category, class B
The winner isJan Lisiecki, Alberta (14 years old)
Marjan Mozetich, Prélude, extrait de Three Pieces for Piano


  • A $2,000 scholarship, offered by the OSM Volunteer Committee, percussion category
The winner isBenjamin DuinkerNouvelle-Écosse (26 years old)
Alcides Lanza, Diastemas

The other prizes

  • The Paul Merkelo scholarship: open to all participants and awarded by a jury chaired by Paul Merkelo, principal trumpet of the OSM, the $2,000 scholarship aims at encouraging musical excellence and providing relevant financial assistance to a candidate's proposed training program
The winner isCharles Richard-Hamelin, (piano), Québec, (26 years old)

  • The Banff Centre Prize: three scholarships covering tuition and accommodation for a three-week session in the Music and Sound Department at the Banff Centre for the Arts, in 2010

·         Piano category (class A): the winner is Charles Richard-Hamelin, Québec, (26 years old)
·         Piano catégorie (class B): the winner is Jan Lisiecki, Alberta, (14 years old)
·         Percussion catagory : the winner is Clara Warnaar, Québec, (18 years old)

  • The Domaine Forget Prize: one scholarship covering tuition and accommodation for a two-week music session within the framework of the Rencontres de musique nouvelle en Charlevoix, at the Domaine Forget in 2010

The winner isNoam Bierstone, (percussion)Ontario, (19 years old)

  • The Orford Arts Centre Prize: three scholarships covering tuition and accommodation for a two-week music session at the Orford Arts Centre, in 2010

·         Piano category (class A): the winner is Tristan Longval-Gagné, Québec, (21 years old)
·         Piano category (class B): the winner is Simon Boily Proulx, Québec, (16 years old)
·         Piano category (class B): the winner is Meagan Milatz, Saskatchewan, (16 years old)

  • The Toronto Summer Music Festival Prize: two scholarships covering tuition for a music session lasting up to four weeks at the Toronto Summer Music Academy, in 2010

·         Piano category (class A): the winner is Alexander Malikov, Alberta, (20 years old)
·         Piano category (class B): the winner is Benjamin Woo, Colombie-Britannique (18 years old)

The Orchestre symphonique de Montréal congratulates all the winners and thanks the partners who made it possible to stage this competition. Sponsored for 18 years by the Standard Life Assurance Company of Canada, the OSM Standard Life Competition, this year under the presidency of Mr. Jean Élie, is a Canada-wide competition offering $100,000 in prizes and scholarships.

About Standard Life
Standard Life is an important Scottish asset-management group that carries out its activities around the world, including in Canada for more than 175 years. Today it specializes in investment products for retirement and in insurance for individuals and for companies. With 2,000 employees based in Montreal and across Canada, the Canadian operation is Standard Life’s largest outside the U.K.
For more information: www.standardlife.ca


The Orchestre symphonique de Montréal is presented by Hydro-Québec


Info: OSM.ca

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