LSM Newswire

Thursday, March 31, 2011

Chanticleer's Out Of This World at Marhkham Theatre


Out Of This World!

Sunday, April 17th, 2011 at 8:00PM

Tickets: $59 $54 and $49

For Tickets call 905-305-SHOW (7469) or Toll Free 1-866-768-8801

Box Office Hours: Mon – Sat. 11 a.m. – 6 p.m.

FOR IMMEDIATE RELEASE - Toronto, ON. Thursday, March 31, 2011

The Washington Post has dubbed Grammy Award winning a capella chorus Chanticleer “The reigning gods of the men′s chorus world. The only full-time classical vocal ensemble in the United States, Chanticleer has developed a remarkable reputation over its 33-year history for its interpretation of vocal literature, from Renaissance to jazz, and from gospel to venturesome new music. With its seamless blend of twelve male voices, ranging from countertenor to bass, Chanticleer has earned international renown as "an orchestra of voices", and now boasts countless fans around the world. Chanticleer′s debut performance at the Markham Theatre takes place at 8:00PM on Sunday, April 17, 2011. The only GTA stop on the Out of this Worldtour, this celestial-themed program includes repertoire drawn from the Italian Renaissance, German Romantic, and American modern eras.

Exploring new music has been a defining characteristic of the group for three decades, so it is no surprise that Chanticleer′s Out of this Worldperformance features a span of over 500 years of musical responses to the planets, the moon, the sun and the stars. The program begins with four early sacred settings, among these, two settings of Ave regina coelorum and a double-choir piece by Andrea Gabrieli. A quartet of four Italian poems: the Renaissance madrigals, both by Claudio Monteverdi, and William Hawley’s six-voice Fuggi, fuggi dolor, Benjamin Britten’s Hymn to St. Cecilia,Robert Schumann’s An die Sterne, and a choral arrangement of Gustav Mahler’s Ich bin der Welt follow. A selection of newer works, such as Kirke Mechem’s Island in Space; a premiere performance of Berkeley-based composer Mason Bates′ Observer in the Magellanic Cloud and Stelle, vostra mercè, a piece written for Chanticleer, artfully employ the group’s voices to evoke a sky full of stars. Sarah Hopkins’ textless Past Life Melodies and a finale of four arrangements of jazz and musical theater are also highlights. Rounding out the lush program is Vince Peterson′s arrangement Cells Planets composed by Erika Lloyd, lead singer of New York Indie rock bank Little Grey Girlfriend; and Change the World an anthem popularized by legendary rocker Eric Clapton.

Named for the "clear-singing" rooster in Geoffrey Chaucer's Canterbury Tales, Chanticleer was founded in 1978 by tenor Louis Botto, who sang with the group until 1989 and served as Artistic Director until his death in 1997. During their remarkable 33-year history, Chanticleer has seen its share of changes in personnel, including this season, in which two of the 12 singers are new. Nevertheless, the group still maintains a trademark sound, a smooth blend, a wide dynamic range and a purity of tone.

Since 1994, Chanticleer has been recording exclusively for Teldec Classics International, making the group's recordings available worldwide. The ensemble has 22 recordings to its credit, including Colors of Love, which won the GRAMMY Award for Best Small Ensemble Performance (with or without Conductor) and the Contemporary A Capella Recording Award for Best Classical Album. Their most recent release, Magnificat, a disc of early music devoted to the Virgin Mary, climbed to the top four on Billboard's Classical Chart. The ensemble performs over 100 concerts a year throughout the world, appearing regularly in New York, Boston, Los Angeles, Washington, Chicago, Tokyo, Paris, as well as their home base of San Francisco.

Chanticleer's long-standing commitment to developing the choral repertoire has led the group to commission works from many composers, includingChen Yi, David Conte, Brent Michael Davids, Anthony Davis, William Hawley, Jake Heggie, Tania LeÛn, Bernard Rands, Steven Sametz, Paul Schoenfield, Steven Stucky, and Augusta Read Thomas. For more information, please visit

About the Markham Theatre for the Performing Arts

Markham Theatre is an intimate 530 seat, state-of-the-art performance facility that attracts the best and brightest stars from around the global. With over 60 performances featuring artists and productions from Asia, South Asia, Australia, Europe, South America, the United States and Canada, the 2010/2011 season has been one of the theatre’s most diverse and exciting line-ups to date. With the launch of their 2011/2012 season, this leading performance venue will continue to be at the forefront of cultural diversity, showcasing musical virtuosity from East to West. The 2011 /2012, Season will be unveiled at an exclusive launch event on Monday, May 9 at 7:00PM. For more details on how you can become a member of Markham Theatre’s Circle of Stars and be a part of this special preview event, please call Wendy Woof-Severn, Marketing & Development Manager, Markham Theatre,(905) 415-7537 ext. 5580 /

Easily accessible, the Markham Theatre is located only 30 minutes from the downtown core and offers world-class entertainment at your doorstep. Flexible package options, student discounts and complimentary parking are available. Markham Theatre offers value priced tickets for students. The EYE GO to the Arts program aimed at High School students offers $5.00 tickets, while college and university students can purchase UGO tickets for $20.00. Student discounts are available upon the presentation of a valid student ID card.

The Markham Theatre’s 26th Annual Season is proudly presented by Flato Developments Inc. Media sponsorship is provided by YRMG, Rogers TV andClassical 96.3 FM.


Wednesday, March 30, 2011

Amici Chamber Ensemble Plays Glenn Gould Studio April 3 2011


The final concert of the 2010-2011 season will be an amazing afternoon of music. Amici, with very special guest, Wallis Giunta explore a recurring theme in classical music history - one is regarded as a giant of his time and the other stays “in the shadow”.

In this instance Beethoven was the Master and Spohr who produced masterpieces of his own was often referred to as the “Forgotten Master”.

Austrian Webern and Frühling, although contemporaries, musically-speaking lived in entirely different worlds.

We are very proud to present our special guest; rising star, mezzo-soprano Wallis Giunta.

The programme:

L. van Beethoven Twelve Variations on the theme “Ein Mädchen oder Weibchen” from Mozart’s Opera “The Magic Flute” Op. 66,
for cello and piano

L. Spohr 6 German Songs Op. 103, for voice, clarinet and piano

A. Webern 3 Little Pieces Op. 11, for cello and piano

C. Frühling Trio in A minor Op. 40, for clarinet, cello and piano

Last week Amici shone during the Ovation concert at Roy Thomson Hall where they were one of an amazing group of Canada’s finest. In fact, there were calls of “Bravo” after their piece!

Single concert tickets Adult $45 • Senior $40 • Student $10
Tickets are available by calling the Roy Thomson Hall box office @ 416.872.4255.


Toronto Mendelssohn Choir Presents Mozart's Mass in C Minor

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Mozart’s Great Mass in C Minor concert:

Toronto Mendelssohn Choir returns to Koerner Hall

Wednesday, may 11 at 7:30 pm

The Toronto Mendelssohn Choir concludes its 2010-11 season in Koerner Hall with an all-Mozart program. Under the direction of conductor Noel Edison, four stellar soloists will join the 150-voice TMC and the Festival Orchestra for Mozart’s Great Mass in C minor and other works. Visit the TMC’s Mozart concert page.

This concert brings together three noted Canadian soloists who have received international acclaim for their performances on the recital and opera stage. Soprano Gillian Keith performs and records extensively in Europe, including principal roles with the English National Opera and Scottish Opera. Gillian Keith and mezzo-soprano Anita Krause, a prizewinner at the Salzburg International Mozart Competition, join with bass-baritone Thomas Goerz and tenor (TBA).

The first half of the concert features a selection of Mozart’s great choral works: Ave Verum Corpus; Splendente Te, Deus; and excerpts from Vesperae solennes de confessore, including the Laudate Dominum with Gillian Keith, soprano.

In the second half of the concert the audience will experience the forceful choral settings and emotional solos of the Mass in C minor, composed by Mozart in thanksgiving for his marriage.

The concert takes place on Wednesday, May 11 at 7:30 pm in Koerner Hall at the Royal Conservatory’s Telus Centre for Performance and Learning. Tickets are $43-$73 ($38 to $68 for seniors) and VoxTix for 15-25 year olds are only $15. Service charge and HST are additional. Tickets are available at the Koerner Hall Box Office at 416-408-0208 or online at the Koerner Hall Box Office.

Music broadcaster and writer Rick Phillips will offer a pre-concert chat at 6:50 pm.

Tuesday, March 29, 2011

International Resource Centre For Performing Artists Presents Opera Week

Presented by the International Resource Centre For Performing Artists

Celebrating the 65th Anniversary of La Scala’s Reopening by Toscanini

An exciting new crop of opera singers will be presented in the Opera Week Toscanini Celebration Concert, Wednesday, May 11, 8 p.m. at the George Weston Recital Hall, Toronto Centre for the Arts, 5040 Yonge Street (North York City Centre subway). They will have been chosen after an intensive week of work, by renowned coaches from La Scala, Milan and the Metropolitan Opera Company, New York, as well as representatives from the International Resource Centre for Performing Artists (IRCPA).

Tickets, $30, $25 seniors and students, may be obtained from the Centre’s box office, 416-872-1111, or through Ticketmaster, More information is available

Opera Week is presented by the International Resource Centre for Performing Artists in collaboration with the Toronto Centre for the Arts, the Istituto Italiano di Cultura (Italian Cultural Institute), Remenyi House of Music, Novotel and The New Classical 96.3FM.


Beginning May 5, Vincenzo Scalera of La Scala and Joan Dornemann of the Metropolitan Opera will be in Toronto to work intensively with Canadian opera singers during Opera Week.

The sessions will help singers learn what their possibilities might be in the international market, and how to prepare important auditions for employment. The information will also be of interest to coaches, pianists, conductors, stage directors, teachers and managers.

Morning and afternoon sessions will take place May 5-9 at the TCA’s Gallery Theatre Space. Observers are welcome. Tickets are $20 a session (payable at the door).


Thursday and Friday, May 5 and 6 – 10 a.m.-1 p.m.; 2-5 p.m.

Saturday, May 7 (and Sunday, May 8 if there is sufficient interest) – 12-3 p.m.; 4-7 p.m.

Monday, May 9 – 10 a.m.-1 p.m.; 2-5 p.m.

Well-known as an accompanist with some of opera’s greatest stars in recital, pianist and coach Vincenzo Scalera of La Scala Opera house and the Academy of La Scala ( will give the sessions May 5 and 6. (He accompanied Andrea Bocelli for the famed tenor’s Metropolitan Opera recital debut on February 13.)

Joan Dornemann, whose name is familiar to Metropolitan Opera broadcast fans around the world as coach and prompter, and known for her work as head of the International Vocal Arts Institute in Tel Aviv, Montreal and Virginia (, will begin May 7.

Singers may apply to participate by sending audio or video tapes for audition to IRCPA, 43 Bright Street, Toronto ON M5A 3H5, before April 10. More information is available, by calling 416-362- 1422, or by emailing

Singers for the May 11 concert will be chosen during the week’s coaching sessions, by Mr. Scalera and Ms. Dornemann, together with Canadian operatic divas Clarice Carson and Lois McDonall, both retired after illustrious international careers, and now active members of the IRCPA.

The May 11 concert will celebrate the 65th anniversary of the reopening of La Scala by legendary conductor Arturo Toscanini on May 11, 1946, after it was bombed in 1943.

The International Resource Centre for Performing Artists has designed programs since 1983 to make artists ready for employment. After formal training, they need guidance in auditioning for national or international markets. The IRCPA provides the opportunity for them to learn from artistic directors and high-level coaches who work with international casts and know what they need to be hired. The artists thus gain rare access to people currently at the pinnacle of their field, while saving on the costs of travel and an accompanist normally needed in seeking out these people.

These sessions (also called “encounters”) are often supplemented by panel discussions and information on the “business” of performing – including contracts, protocol, and the expectations presenters and employers have of artists. The next such encounter is scheduled for November 2011.


Toronto Symphony Orchestra Returns Triumphant from Carnegie Hall



Toronto March 29, 2011 – On Saturday March 26, TSO Music Director Peter Oundjian and the Toronto Symphony Orchestra performed a critically acclaimed concert to a sold-out audience at New York City’s Carnegie Hall.

In a review following the concert, Zachary Woolfe of The New York Times wrote that, “On Saturday evening at Carnegie Hall the results of Mr. Oundjian’s careful work were clear. The orchestra sounded bright and confident”.

Toronto Star Music Critic John Terauds wrote that the TSO presented “the program of a music director who was ready to stab his baton at the air and say, we dare you to compare us to the world’s finest orchestras”.

The TSO’s Carnegie Hall programme began with a performance of Britten’s “Four Sea Interludes” from Peter Grimes which Arthur Kaptainis of the National Post called an “inspired starter” and “ left no doubt of the orchestra’s ability to paint a convincing picture”. Of the opening piece, The New York Times wrote that the TSO’s “playing was lithe and sensuous, particularly in the strings, which brought surging lyricism to the great “Moonlight” interlude. The transitions of mood between sections were seamless; there was ominous urgency even in quiet passages”.

The TSO welcomed Canadian composer John Estacio to New York, performing the Carnegie Hall début of his concert piece, Frenergy. wrote that ”Frenergy gave a display of orchestral virtuosity on the part of Mr. Oundjian and his people as few orchestras are capable”.

Also joining the TSO was legendary violinist Itzhak Perlman whose performance of Bruch’s Violin Concerto No. 1 had the sold-out audience on their feet with applause. Itzhak Perlman has performed with the TSO annually since 1970, and is featured with the TSO in Toronto conducting and playing violin on May 21, 2011.

TSO Music Director Peter Oundjian completed the Carnegie Hall programme with a performance of Vaughan Williams Symphony No 4 that the Toronto Star called “[e]qually stunning for both its mix of technical clarity and careful artistry ... a deep and affecting reading”. The New York Times wrote that the “symphony’s brassy bursts had shine and authority” and the National Post noted that “[t]he harsh fortissimos … were grand and balanced, not just loud, and Oundjian tapered the quiet conclusion of the first movement to perfection”.

The TSO’s performance at Carnegie Hall was made possible by the support of generous donors and sponsors, many of whom travelled to New York with the orchestra.

“As a global business, RBC Wealth Management is pleased to play a role in bringing some of Canada’s finest talents to new audiences in New York, a key U.S. market for us and our partners in RBC Capital Markets who are headquartered here,” said George Lewis, Group Head, RBC Wealth Management. “RBC has been supporting the TSO for over 25 years and we are proud to have helped make it possible for the TSO to return to the prestigious Carnegie Hall.”

This Carnegie Hall performance follows the Toronto Symphony Orchestra’s successful January 2011 six-city tour of the leading venues in Florida, and marks an expansion in the orchestra’s out of town activities. These TSO performances abroad have garnered the attention of international critics who praise Toronto’s orchestra as “enjoying [its] artistic prosperity” (The New York Times) and “surely Canada's finest orchestra” (The Sarasota Herald Tribune).

Read media reviews of the Toronto Symphony Orchestra’s March 26 Carnegie Hall performance:

To download high-res publicity photos of the TSO and Music Director Peter Oundjian, please

Official Sponsor of the New York Tour is RBC Wealth Management.

Post-concert Reception Sponsor is Livingston International, Inc.

Special Tour support provided by Tiffany & Co. Canada

Tour Cartage provided by Tippet-Richardson Limited

Patrons of the Carnegie Hall Performance are Hans & Susan Brenninkmeyer,

James & Joyce Gutmann, and Sharon Zuckerman

Tour Support provided by the Canada Council for the Arts.

TSO Concert Season Sponsor is Tippet-Richardson Limited.

TSO Conductor’s Podium Sponsor is BMO Financial Group.

ABOUT THE TSO: Founded in 1922, the Toronto Symphony Orchestra is one of Canada’s major cultural institutions. Under the leadership of Music Director Peter Oundjian, the orchestra has increased recording and touring projects to include a self-produced record label and performances throughout the United States and Canada. The Orchestra continues to develop its international presence by being an active commissioning body for new Canadian and international works, as well as attracting distinguished guest artists and conductors to performances at Roy Thomson Hall. In addition to providing over 100 concert performances each season, the TSO serves the community with one of the largest educational programs in Canada, connecting students throughout Ontario with curriculum-based outreach. The 2011.2012 season marks the TSO’s 90th


Aix-en-Provence Announces 63rd Season

Operas – Symphonic Concerts – Chamber Music – Recitals
8 Inspiring locations from July 5-25, 2011

Natalie Dessay starring in Verdi’s LA TRAVIATA, conducted by Louis Langrée

New production of Mozart’s LA CLEMENZA DI TITO, directed by David McVicar, with Sir Colin Davis conducting the London Symphony Orchestra

William Kentridge’s acclaimed production of Shostakovich’s THE NOSE, co-produced by the Metropolitan Opera, Festival d’Aix and Lyon National Opera House, opening on July 7, 2011

World premieres of Oscar Bianchi’s THANKS TO MY EYES, with libretto by Joël Pommerat, and Jérôme Combier’s AUSTERLITZ

Handel’s ACIS AND GALATEA, with the Académie Européenne de Musique



(New York, NY, March 27, 2011)

From July 5 to 25, 2011, the 63rd season of Festival d’Aix-en-Provence will offer six new opera and musical theater productions including two world premieres; a concert series featuring symphonic works, chamber music and recitals; and the programs of the 14th Académie Européenne de Musique. In all, more than sixty performances will be dispersed over eight venues with picturesque surroundings and landscapes in the heart of Provence. The Festival’s international productions, including Shostakovich’s The Nose, a major success at the Metropolitan Opera last spring, and most recently Stravinsky’s The Nightingale and Other Tales, in acclaimed performances by the Canadian Opera Company at the Brooklyn Academy of Music, have established Aix as an important leader in the opera world.

For its second year in residence, the London Symphony Orchestra, conducted by Sir Colin Davis and Valery Gergiev, will give sixteen opera performances and two symphonic concerts. Chamber music concerts and recitals by exceptional soloists, highlighted by dialogue between traditional and contemporary music, will round off one of the richest concert programs the Festival d’Aix has ever presented.

The opera and musical theater works in the 2011 season of the Festival d’Aix range from works of the early 18th up to the 21st century and offer a vast variety of styles, reflecting the Festival’s mission of encouraging new works, presenting traditional works in modern interpretations, and expanding the boundaries of the art form. La Clemenza di Tito, Mozart’s Enlightenment gloss on opera seria runs alongside Verdi’s classic La Traviata, explored with a contemporary realism which illuminates the scandal that followed the opera’s 1853 premiere. The pastoral elegy Acis and Galatea is worlds away from the pungent irony of Gogol and Shostakovich in The Nose. For Joël Pommerat's first appearance in the opera field, his strange and elusive characters will find their expression in music with a score by Oscar Bianchi in Thanks to my Eyes (world premiere), as spectators will be progressively lured into a story that reveals itself as it goes, while the stage alternates between poetic darkness and breaches of light. Jérôme Combier and Pierre Nouvel set off on the traces of a character named Austerlitz, following in his tracks and filming the clues dispersed by W.G. Sebald in his eponymous novel. Austerlitz (world premiere) is not an opera in the literal sense, but a visual and musical production which thoroughly reflects the artistic exploration characteristic of our times. Despite their disparities in musical and dramatic style, these diverse operatic selections are united by their focus on figures on the margins of society, in conflict with their environment and suffering from inner turmoil.

In accordance with this theme, the works of Shostakovich, a composer who showed rare freedom and audacity in the face of official censure, will be at the core of the concerts programmed for the Festival and the Académie. His works will also shed new light on the works juxtaposed with them, by those who were a source of inspiration to the Russian composer, including Bach, Mozart, Beethoven, and Mahler.

In the words of Festival General Director Bernard Foccroulle, “A common conception underlies the artistic programming and implementation, the relationships with the artists and audiences: opera, as we conceive of it, is a living art, and the Festival d’Aix, we may hope, a place dedicated to creating and sharing. May this 2011 Edition spark off a flow of encounters and debates, of emotions and passions.”

The Festival d’Aix-en-Provence has long devoted much of its efforts to training and promoting young artists, thanks to its Académie Européenne de Musique, now celebrating its 14th anniversary. Its programs include The Vocal Académie, including a component established last year for pianists wishing to perfect their skills as vocal accompanists or directors, The Chamber Music Académie, and The Opera in Creation Workshop, which brings together young composers, librettists, dramaturgs, stage directors, scenic designers, costume designers, choreographers and other creators, puts them to work on themes and issues of contemporary lyric creation through meetings, lectures and debates. The Youth Orchestra of the Festival d’Aix-en-Provence, now in its second season and supported by the musicians of the LSO, welcomes instrumentalists in the final stage of their studies for a symphonic concert which brings the Festival to a close.


Tuesday 5 and Saturday 9 July 2011 at 8pm, Wednesday 6, Friday 8 and Monday 11 July 2011 at 6pm. Théâtre du Jeu de Paume

Oscar Bianchi* THANKS TO MY EYES
Libretto by Joël Pommerat and Oscar Bianchi. Adapted from the play by Pommerat, Grâce à mes yeux.
Musical Director Franck Ollu
Stage Director Joël Pommerat
Scenic Designer and Lighting Eric Soyer
Costumes Isabelle Deffin
Aymar Hagen Matzeit
The Father Brian Bannatyne-Scott
The Mother Anne Rotger
A Woman in the Night Keren Motseri
A Young Blonde Woman Fflur Wyn
Orchestra Ensemble Modern

WORLD PREMIERE Commissioned by the Festival d’Aix-en-Provence and T&M-Paris / Réseau Varèse
New production of the Festival d'Aix-en-Provence, in co-production with T&M-Paris/Théâtre de Gennevilliers CDNCC, the Royal Theatre La Monnaie in Brussels and Musica, the Festival of Today's Music in Strasbourg.

Supported by the Réseau Varèse, subsidized by the Cultural Programme of the European Commission

* Artist who recently participated in the «Académie Européenne de Musique»

Wednesday 6, Friday 8, Saturday 9, Tuesday 12, Saturday 16, Monday 18, Wednesday 20, Friday 22, Sunday 24 July 2011 at 9:30pm, Thursday 14 July 2011 at 10pm. Théâtre de l’Archevêché

Giuseppe Verdi
Opera in three acts, libretto by Francesco Maria Piave adapted from The Lady of the Camellias by Alexandre Dumas, fils. Created on 6th March 1853 at La Fenice in Venice.

Musical Director Louis Langrée
Stage Director Jean-François Sivadier
Scenic Designer Alexandre de Dardel
Costumes Virginie Gervaise
Lighting Philippe Berthomé

Violetta Valéry Natalie Dessay (July 6, 9, 12, 16, 20, 24)
Irina Lungu (July 8, 14, 18, 22)
Giorgio Germont Ludovic Tézier
Alfredo Germont Charles Castronovo (July 6, 9, 12, 14, 16, 20, 22, 24)
Fabrizio Mercurio (July 8, 18)
Annina Adelina Scarabelli
Flora Bervoix Silvia de La Muela*
Gastone de Letorière Manuel Nunez Camelino
Barone Douphol Kostas Smoriginas
Marchese D’Obigny Andrea Mastroni
Dottor Grenvil Maurizio Lo Piccolo*
Choir Estonian Philharmonic Chamber Choir
Orchestra London Symphony Orchestra

NEW PRODUCTION OF THE FESTIVAL D’AIX-EN-PROVENCE, in co-production with the Wiener Staatsoper and the Dijon Opera House. Associate Co-producer: Theatre of Caen.

* Artists who participated in the «Académie Européenne de Musique»

Thursday 7, Sunday 10, Wednesday 13, Friday 15, Tuesday 19,Thursday 21 July 2011 at 9:30pm. Théâtre de l’Archevêché
Wolfgang Amadeus Mozart

LA CLEMENZA DI TITO - The Clemency of Titus
Opera seria in two acts, K.621, libretto by Caterino Mazzolà adapted from Pietro Metastasio. Created on 6th September 1791 at the Prague National Theater.

Musical Director Sir Colin Davis
Stage and Scenic Director David McVicar
Costumes Jenny Tiramani
Lighting Jennifer Tipton
Titus John Mark Ainsley
Vitellia Carmen Giannattasio
Sesto Sarah Connolly
Annio Anna Stephany*
Servilia Simona Mihai
Publio Darren Jeffery
Choir Estonian Philharmonic Chamber Choir
Orchestra London Symphony Orchestra

NEW PRODUCTION OF THE FESTIVAL D'AIX-EN-PROVENCE, in co-production with the Théâtre du Capitole in Toulouse and Marseille Opera House.

* Artist who participated in the « Académie européenne de Musique »

Friday 8 and Tuesday 12 July 2011 at 8pm, Sunday 10 and Thursday 14 July 2011 at 5pm. Grand Théâtre de Provence

Dimitri Shostakovich

Opera in three acts and ten scenes, libretto by Dimitri Shostakovich, Alexandre Preis, Gueorgui Ionine and Evgueni Zamiatine, adapted from the eponymous short story by Nicolai Gogol. Created at the Maly Drama Theater in Leningrad, on 18th January 1930.

Musical Director Kazushi Ono
Stage and Video Director William Kentridge
Scenic Directors William Kentridge and Sabine Theunissen
Costumes Greta Goiris
Lighting Urs Schönebaum
Associate Stage Director Luc De Wit
Video Editor Catherine Meyburgh
Kovaliov Albert Shagidullin
The Nose Alexander Kravets
The Police Inspector Andrei Popov
Ivan Yakovlévitch Vladimir Ognovenko
Praskovia Ossipovna Claudia Waite
Ivan the Servant Vassily Efimov
The Newspaper Official Yuri Kissin
The Doctor Gennady Bezzubenkov
Mrs Podtotchina Margarita Nekrasova
Mrs Podtotchina's Daughter Elena Galitskaya*
Choir Choir of the Lyon National Opera House
Choir Director Alan Woodbridge
Orchestra Orchestra of the Lyon National Opera House


* Artist who recently participated in the « Académie européenne de Musique »

« I am not me, the Horse is not mine »

Aix-en-Provence, Cité du Livre, Atelier Cézanne
From July to September 2011 (dates to be defined)

Installation for 8 film fragments
I am not me, the Horse is not mine takes Gogol's short story (but also its earlier history and literary heirs) as a basis for looking at the formal inventiveness of different strains of Russian Modernism and the calamitous end of the Russian artistic avant-garde.

Those eight short films were made to prepare the production of Shostakovich's opera, presented at the Festival d’Aix-en-Provence. Everything starts with an errant nose, or a nose on the move (usually appearing as a paper nose placed on a human body).

I am not me, the Horse is not mine is an elegy (perhaps too loud for an elegy) both for the formal artistic language that was crushed in the 1930s and for the possibility of human transformation that so many hoped for and believed in during the Russian revolution.

I have used the transcription of some meetings of the Plenum of the Central Committee of the Communist Party, at which Nikolaï Bukharin, one of Lenin's close lieutenants struggles politically and physically for survival. Here I found my title, which is a popular Russian saying (meaning literally « I am not me, the horse is not mine ») used to deny one's guilt in an affair. This is not about what the owner of the nose would say about his olfactory organ but what the nose might say about him.

William Kentridge
(Extract from William Kentridge, Five themes, 5 continents, Publisher/ Jeu de Paume, 2010, p. 205.)
Exhibition achieved thanks to the support of the artist, of the Galerie Marian Goodman, Paris, New York and the Goodman Gallery, Johannesbourg.

Saturday 9, Sunday 10, Tuesday 12, Wednesday 13, Saturday 16, Sunday 17,
Tuesday 19, Wednesday 20, Friday 22, Saturday 23 July 2011 at 9:30pm.
Domaine du Grand Saint-Jean

George Frideric Handel
Pastoral Opera in one act, libretto by John Gay, Alexander Pope and John Hughes. Created in 1718 in Cannons.

Musical Director Leonardo Garcia Alarcon
Stage and Set Director,
Costumes and Lighting Saburo Teshigawara
Acis Julien Behr*
Pascal Charbonneau
Galatea Julie Fuchs*
Joelle Harvey
Damon Rupert Charlesworth
Coridon Zachary Wilder
Polypheme Joseph Barron
Grigory Soloviov
Soloists Choir Magali Arnault Stanczak / Christopher Lowrey*
Zachary Wilder / Rupert Charlesworth
Joseph Barron ou Grigory Soloviov
Orchestra Baroque Orchestra of the Académie Européenne de Musique

With the support of ENOA, of the Teatro la Fenice in Venice and the Den Nye Opera (Bergen)

* Artists who participated in the «Académie Européenne de Musique»

Tuesday 19 and Wednesday 20 July 2011 at 5pm. Théâtre du Jeu de Paume
Jérôme Combier
AUSTERLITZ Eine Kindheitsreise – a Childhood Journey
Theater and musical piece, adapted from the novel Austerlitz by W. G. Sebald

Stage Director Jérôme Combier* and Pierre Nouvel
Video and Scenic Director Pierre Nouvel*
Lighting Bertrand Couderc
Sound Engineer Alex Fostier
Actor Johan Leysen
Instrumental Ensemble Ensemble Ictus

WORLD PREMIERE Commissioned by the Festival d’Aix-en-Provence and Ictus

NEW PRODUCTION OF THE FESTIVAL D’AIX-EN-PROVENCE in co-production with Ictus and Lille Opera

* Artists who recently participated in the «Académie Européenne de Musique»


Sunday 17 July 2011 at 8pm at the Grand Théâtre de Provence
London Symphony Orchestra

Musical Director Sir Colin Davis
Piano Nelson Freire
Joseph Haydn Symphony n°99 in E flat major
Wolfgang Amadeus Mozart Concerto n°20 for piano in D minor K. 466
Carl Nielsen Symphony n°6 «Sinfonia semplice»

Saturday 23 July 2011 at 8pm at the Grand Théâtre de Provence
London Symphony Orchestra
Musical Director Valery Gergiev
Claude Debussy La mer
Dimitri Shostakovich Symphony n°8 in C minor op. 65

Chamber Music
Thursday 7 July 2011 at 8pm at the Théâtre du Jeu de Paume
Keller Quartet

Ludwig van Beethoven String Quartet n°16 op. 135
Dimitri Shostakovich String Quartet no15 in E flat minor op. 144
Monday 11 July 2011 at 9:30pm at the Grand Saint-Jean
Jerusalem String Quartet
Frank Braley, piano

Dimitri Shostakovich Quartet n°3 in F major op. 73
Quintet for piano and strings in G minor op. 57

Tuesday 12 July 2011 at 8pm at the Théâtre du Jeu de Paume
Jerusalem String Quartet – The Académie Quartet
Dimitri Shostakovich Quartet n°2 in A major op.68 *another quartet to be determined

Thursday 14 July 2011 at 8pm at the Théâtre du Jeu de Paume
Jerusalem String Quartet – The Académie Quartet

Dimitri Shostakovich Quartet n°8 in C minor op.110 *another quartet to be determined

Monday 18 July 2011 at 9:30pm at the Domaine du Grand Saint-Jean
The Berliner Philharmoniker Wind Quintet
Michael Hase, flute - Andreas Wittmann, oboe - Walter Seyfarth, clarinet, Marion Reinhard, bassoon and Fergus McWilliam, horn

Franz Danzi Wind Quintet in F major op. 68 n°2
Johan Kvandal Wind Quintet op. 34
Henri Tomasi Five Profane and Sacred Dances
Carl Nielsen Wind Quintet op.43

In partnership with the Vanderbilt Music Academy

Monday 18 July 2011 at 8pm at the Grand Théâtre de Provence
Andreas Staier, harpsichord - Alexandre Melnikov, piano

Johann Sebastian Bach Preludes and Fugues extracts from The Well-Tempered Clavier
Dimitri Shostakovich Preludes and Fugues op. 87

Wednesday 20 July 2011 at 8pm at the Grand Théâtre de Provence
Les Talens Lyriques
Musical Director Christophe Rousset
Soprano Véronique Gens

«Romantic Heroins» Arias and extracts from French operas, from Gluck to Berlioz

Friday 22 July 2011 at 8:30pm at the Eglise Saint-Jean de Malte
Lorenzo Ghielmi, organ
Johann Sebastian Bach
Prelude, Largo BWV 59 and fugue BWV 545 in C major
Aria variata alla maniera italiana BWV 989
«Schmücke dich, o liebe Seele» with two keyboards and pedals BWV 654
Trio super «Herr Jesu Christ, dich zu uns wend» with two keyboards and pedals BWV 655
Concerto for organ in D minor BWV 596 after Vivaldi
Canzona for organ in D minor BWV 588
Fugue in B minor on a theme by Corelli BWV 579
Toccata, Adagio and fugue in C major BWV 564

World of Music
Rhythmic speech cycle in four concerts

At the Hôtel Maynier d’Oppède
Monday 11 July 2011 at 9:30pm
The Groove Spirit
Andy Emler, composer, improviser, pianist, Claude Tchamitchian, double bass, and Eric Echampard, drums

Tuesday 12 July 2011 at 9:30pm
Poetry Slam or the Word as a Rocket
Dgiz, slam - Junkaz Lou, DJ - Pierre Lambla, saxophone and Florent Mathon, violin

Wednesday 13 July 2011 at 9:30pm
The Atlas and Amazigh ritornello
Raissa Fatima Tabaamrant, Berber singing from the Atlas - Mohamed Abouzzya, rebab, Lahcen Akharraz, tam-tam - Bouslam Ouqia and Omar Bajddy, lute guitar, and Mohamed Anjar, naqus

At the Grand Saint-Jean
Friday 15 July 2011 at 9:30pm
The call of the Atlas / From the poetry slam to the Atlas mountains
Andy Emler, composition / improvisation, piano and musical direction, Guillaume Orti, saxophone - Laurent Blondiau, trumpet, Claude Tchamitchian, double bass, and Eric Echampard, drums, Dgiz, slam poet /performer, texts (French), Raissa Fatima Tabaamrant, Berber singing from the Atlas, texts (Amazigh language), Khalid Moukdar, slam, rap, texts (in Darija and classic Arabic), Mehdi Nassouli, guembri and electric guembri, ghaita, vocals, Khalid El Berkaoui, Moroccan percussions - Mohamed Abouzzya, rebab, Mohamed Labied, oud, Taoufiq Izeddiou, choreography

In partnership with the Royaumont Foundation / Oral and Improvised Music
Exceptional Concert
Thursday 21 July 2011 at 8:30pm at the Abbaye de Silvacane
Musical Director Roland Hayrabedian
Zad Moultaka The Other Shore for 12 voices, cimbalom, guitar and percussions


The creation of an educational service within the Festival in January 2007 allowed the institution to reach out to all school levels, from primary to university, throughout programs such as:

EDUCATIONAL PROGRAMS: Artistic Practice and Creativity, Vocal and Choral Practice, Choreographic Practice, Sound Explorers – Musical Introduction for 5-7 year olds, Lyric Impromptu: to one of Handel's tunes.

SOCIO-ARTISTIC ACTION: The “passerelles” program, Artistic practice workshops, musical encounters, activities developing awareness of opera and its related professions, are some of the countless opportunities for discovery and learning and cultural exchange sparked by the socio-artistic program called «passerelles».

CREATIVE RESIDENCY (Community Opera): Every year, these residencies invite amateurs of all backgrounds and generations to work with professionals on a multidisciplinary creation. In 2011, the education team of the LSO will lead several groups in the production of a «Community Opera».

Telephone: 0820 922 923 (0,12 €/min)
from abroad: 0033 (4) 34 08 02 17
Business Hours
by phone or at the Festival's shop
Palais de l’Ancien Archevêché - 13100 Aix-en-Provence
Until 24th June 2011: Tuesday to Friday from 10am to 1pm and from 2pm to 6pm / on Saturday from 10am to 1pm
From 25th June to 25th July 2011: everyday from 10am to 7pm


Press relations
Tel: 0033 (1) 44 88 59 66 – Fax: 0033(1) 44 88 59 69
Valérie Weill -
Véronique Furlan -

North America Press Contact:
Pascal Nadon - - (646) 234-7088


Saturday, March 26, 2011

Pianist Kirill Gerstein Opens 2011 Toronto Summer Music Festival


Full festival program to be announced on April 12, 2011

Inaugurating his tenure as Artistic Director of the Toronto Summer Music Festival and Academy, Douglas McNabney announced today that the extraordinary Gilmore Award-winning pianist Kirill Gerstein will launch the 2011 edition of the Festival with a gala concert at 7:30 pm on July 19 at Koerner Hall, The Royal Conservatory of Music, TELUS Centre for Performance and Learning. The recital will be followed by a champagne reception for the audience. Festival passes will go on sale at the Royal Conservatory Box Office at 10:00 am on April 12, and single tickets for individual concerts will be available starting May 1. Full details for the 2011 Festival, which runs July 19 to August 13 in downtown Toronto, will be announced on April 12.

Toronto Summer Music has become one of the city’s most eagerly awaited summer cultural events. Many said it couldn’t be done; that you couldn’t mount a first-rate festival of classical music in downtown Toronto in the summer. Kudos to my predecessor, Agnes Grossmann, for proving them wrong! Here we are, about to enter our sixth season with an opening gala recital featuring the remarkable Kirill Gerstein,” says Douglas McNabney.

The 32 year-old Russian-born virtuoso Kirill Gerstein won the coveted 2010 Gilmore Artist Award which recognizes extraordinary artistry with a $300,000 prize. The award is given every four years to an exceptional pianist who is a profound musician with both charisma and breadth of musicianship. As a child, Gerstein taught himself jazz by imitating his parents’ record collection at the piano. He later dedicated himself to classical music after becoming absorbed by the many layers in its masterworks. An extraordinary musical experience was provided by Kirill Gerstein ... a gripping performance ... not a single note or phrase could have been improved upon. Listening to this enormously gifted young musician, one was convinced that maturity isn’t necessarily a matter of age.” (Jerusalem Post).

The Festival runs parallel to the Toronto Summer Music Academy, which houses two complementary programs designed for professional-level young artists: The Chamber Music Institute (July 17 to August 14), and The Art of Song (July 24 to August 7).

Festival passes go on sale at 10:00 am, April 12 and tickets for individual concerts on May 1 at The Royal Conservatory Box Office, 273 Bloor St W, 416-408-0208. For more information — and starting April 12, full program details — visit Find us on Facebook.

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Anton Kuerti Plays Mooredale Concert's All-Brahms Finale

Pianist Anton Kuerti (photo: Martin Tosoian)

Saturday, April 30 at Koerner Hall



“[Maestro Parisotto] made the Montreal Symphony Orchestra sound like a marvel…an artist who stands among the greatest” – Le Devoir, Montreal

“”Suddenly we were in the unmistakable presence of greatness. [Anton Kuerti] was no longer playing the piano’ the music was playing him, and we rode the wave too.” – The Globe and Mail

Mooredale Concerts ends its 2010-11 season with a grand climax, presenting the beauty and magnificence of Brahms’ heroic First Piano Concerto and his stunning First Symphony. The Ontario Philharmonic Orchestra makes its Toronto debut, led by Maestro Marco Parisotto. Soloist is Mooredale Concerts’ artistic director, internationally acclaimed pianist Anton Kuerti.

The performance brings Mooredale Concerts into the acoustic splendor of Koerner Hall, 273 Bloor St. W., Saturday, April 30, 8 p.m. (Note change from the regular day, time and venue.)

Continuing its tradition as “Toronto’s Best Bargain for Great Music,” Mooredale Concerts is offering a special price of $38 (HST included) for online or phone-in orders purchased directly via or 416-587-9411.

(This same concert will be performed Friday, April 29, 7:30 p.m. at the Regent Theatre, Oshawa. Details are at, or phone 905-987-3083.)

Brahms’ Piano Concerto No. 1 in D minor and Symphony No. 1 in C minor were both begun in 1854, and took some years to complete. When the concerto was premiered in 1859, it was greeted by hissing, and decried by critics as “perfectly unorthodox, banal and horrid” (Wikipedia). It went on to be favorably compared to Beethoven’s Third Piano Concerto and a staple of the piano concerto repertoire. Anton Kuerti has recorded it with Montreal’s Orchestre Métropolitain on the Analekta label.

The first symphony, which took about 14 years for Brahms to finish, and which includes an homage to Beethoven, was called Beethoven’s “Tenth” by the critics.

Maestro Marco Parisotto –

Born in Montreal, Maestro Parisotto has won seven international competitions and appeared in major concert halls around the world, winning praise with numerous orchestras including most of Canada’s major orchestras and those of London (England), Rochester, Osaka, Tokyo, Belgrade, Bucharest, Mexico City and many others. He has also served as principal conductor of the Shanghai Symphony Orchestra. In 1997 at the Besançon International Competition for Conductors, he made history as the first young conductor to be awarded both the Grand Prix and the Prix de Public. Trained as both a violinist and pianist in addition to his studies with such leading conductors as Bernstein, Giulini and Slatkin, he is hailed by critics particularly for his Russian and German repertoire, as well as his passionate productions of Italian opera. His performances have been broadcast on radio and TV and recorded on disc.

Anton Kuerti, pianist –

Artistic director of Mooredale Concerts, Anton Kuerti has performed with leading orchestras and conductors in nearly 40 countries. In Canada, he has appeared in 140 communities, and played with every professional orchestra, including 39 concerts with the Toronto Symphony. His vast repertoire includes some 50 concertos; he has recorded all the Beethoven concertos and sonatas, the Brahms and Schumann concertos, all the Schubert sonatas and much more. London’s CD Review has called him “one of the truly great pianists of this century.” Having debuted at 11 with the Boston Pops Orchestra and won the prestigious Leventritt Award as a student, he also holds the Banff Centre National Arts ward, the Schumann Prize of the Schumann Gesellschaft, the Governor General’s Lifetime Artistic Achievement Award, and honorary doctorates from McGill, York, Dalhousie, the University of Western Ontario and other universities. He is also an Officer of the Order of Canada.

The Ontario Philharmonic Orchestra –

Founded in 1957 as the Oshawa Philharmonic, the Ontario Philharmonic took off when Marco Parisotto was appointed as music director in 1996. Under his leadership, the orchestra has grown into a large professional symphonic ensemble of high standard, attracting prominent Canadian and international soloists. It is the only professional orchestra in Durham Region.

MUSIC & TRUFFLES: Mooredale Concerts’ children’s series concludes Saturday, April 30, 1:15 p.m. at Walter Hall, 80 Queen’s Park Crescent with a special treat for children 5-15 (adults also welcome). Pianist Andrew Rangell narrates and illustrates the beloved story of The Story of Babar, the Little Elephant, and plays the specially-written music by French composer Francis Poulenc. Rangell’s 2007 performance of Babar at Music & Truffles was a big success, with a second show being added after the first sold out weeks ahead. Tickets are $12.


Friday, March 25, 2011

Royal Conservatory Announces Partnership with Carnegie Hall


The Royal Conservatory and Carnegie Hall have partnered to launch the Carnegie Hall Royal Conservatory Achievement Program (The Achievement Program), a national system of music study and assessment for students and teachers across the United States.

“The launch of The Achievement Program marks an extraordinary milestone for The Royal Conservatory and for music education in the United States,” says Dr. Peter Simon, President and CEO of The Royal Conservatory. “Our belief in the transformative power and benefits of the arts, through greater participation in music study, led us to a partnership with the leading icon of excellence in musical performance — Carnegie Hall.”

“Carnegie Hall is proud to align itself with The Royal Conservatory's 125-year legacy of excellence in music education,” says Clive Gillinson, Executive and Artistic Director of Carnegie Hall. “By establishing a commonly understood set of standards for people studying music across the United States, this national program will create engaging new ways for students, both kids and adults, to measure their progress, motivating them to work toward greater musical accomplishments. The Achievement Program will also assist parents who seek a better understanding of their children’s level of performance and musical growth, while supporting teachers through opportunities for high-quality professional development and curricular resources.”

The Achievement Program is based on the internationally renowned curriculum and examination system developed by The Royal Conservatory, which provides a recognized standard of musical success through an effectively sequenced course of study from beginner to advanced levels. Over 100,000 students participate in RCM Examinations annually in communities across Canada.

The Achievement Program includes elements that have made The Royal Conservatory examination system the most respected in the world, including:
• Practical examinations evaluating a student’s proficiency in music
• Theory and history examinations, which play an essential role in developing musicianship and music literacy
• One-on-one sessions with a professional examiner ensuring consistent assessment standards
• Syllabi, repertoire books, and other educational materials and resources

The Royal Conservatory is one of the largest and most respected music education institutions in the world. Providing the definitive standard in music education through its curriculum, assessment, performance, and teacher education, the programs of The Royal Conservatory have had a substantial impact upon the lives of millions of people globally. The Royal Conservatory has helped to train a number of great artists including Glenn Gould, Oscar Peterson, David Foster, Sarah McLachlan, Angela Hewitt, and Diana Krall. Motivated by its powerful mission to develop human potential through music and the arts, The Royal Conservatory has emerged over the last two decades as a leader in the development of arts-based programs that address a wide range of social issues. For more information, please visit

Founded in 1891, New York City’s Carnegie Hall presents exceptional performances by the world’s finest artists on its three stages—the renowned Stern Auditorium/Perelman Stage, the intimate Weill Recital Hall, and the innovative Zankel Hall—ranging from orchestral concerts, chamber music, and solo recitals to jazz, world, and popular music. Extensive music education and community programs developed by Carnegie Hall’s Weill Music Institute play a central role in Carnegie Hall’s commitment to making great music accessible to as many people as possible. WMI’s programs annually serve over 170,000 children, students, teachers, parents, young music professionals, and adults in the New York City metropolitan area, across the country, and around the globe, with more than an additional 100,000 people taking advantage of WMI’s online music education resources. For more information on Carnegie Hall or other Weill Music Institute national/international music programs, please


Wednesday, March 23, 2011

Advertising Deadlines - La Scena Musicale April 2011/La SCENA Spring 2011

[Version française]

The deadline for advertising for the April 2011 issue of La Scena Musicale/Spring issue of La SCENA is March 25 (colour) and March 28 (black & white); artwork is due on March 28 (colour) and March 29 (black & white).
Reach over 50,000 readers with 25,000 copies distributed in Montreal and the province of Quebec, and another 25,000 copies in English Canada. La Scena Musicale contains award-winning editorial features, an extensive calendar of events (for the province of Quebec, including radio and TV listings) and product reviews; readers consult each issue 4.5 times a month, generating 225,000 viewings per month.

For more info on rates and production please visit for our 2010-2011 schedule or contact our sales department directly at 514-656-3948 subscribe, call 514-948-2520.

Wah Keung Chan
Founding Editor and Publisher
On the Web / Sur Internet
» Blogue/Blog :
Nouveau : Cette semaine à Montréal
» Twitter : LaSCENA
» Facebook : La Scena Musicale


La Scena Musicale :: April 2011 / La SCENA :: Spring 2011
  • Guide : International Festivals (PDF form)
  • Guide to Subscription Series
  • Special La SCENA : Visual Arts
  • On the cover (La SCENA) : M. M. Ciociovan, painter
  • On the cover (La Scena Musicale) : Marianne Fiset, soprano
  • Total 25,000 copies, 50,000 readers
    • Québec City: 1 000
    • Montreal: 20,000
    • Music Schools: 2,000
    • Mailing: 2,000
  • Ad reservations: March 25 (colour) and March 28 (black and white)
  • Artwork: March 28 (colour) and March 29 (black and white)
  • Distribution: April 1
The Music Scene :: Spring 2011
  • Special Opera
  • On the cover: Soprano Adrianne Pieczonka
  • Profiles: Shannon Mercer, Wish Opera, Mulroney The Opera
  • Guide: Summer International Festivals (PDF form)
  • Guide to Subscription Series (PDF form)
  • Guide: Summer Music and Arts Camps (PDF form)
  • Total 25,000 copies, 50,000 readers
    • Toronto: 15,000
    • Ottawa: 5,000
    • Music Schools: 3,000
    • Mailing: 2,000
  • Deadline for ad reservations: April 1
  • Deadline for artwork: April 4
  • Distribution: April 7


La Scena Musicale
 :: March 2011

The March 2011 issue of La Scena Musicale is now available in PDF Format (12 Meg) and Flash FormatThe March 2011 Discovery CD (in partnership with XXI Records) is dedicated to Canadian violinist Anne Robert. The English Edition is also available at

2011 Subscription Campaign

The subscription include benefits such as the Naxos Music Library (50,000 CDs streaming) and free MP3 downloads of the Discovery CD Collection (20 full CDs). 

Winter Promotion: 2 FOR 1
Buy one subscription and get the second free (makes a great gift).
For new Canadian print subscriptions only. Offer valid until March 31, 2011.


Donations Requested:

La Scena Musicale/The Music Scene is a registered charity promoting music and the arts through three magazines and a website. We connect musicians/artists, the arts community and music/art lovers together through education and information. Help us continue our work with a donation (cash or goods) or by volunteering.

Please contact 514-948-2520 or or

Donate through Paypal » Donate

Charitable tax no. 14199 6579 RR0001

Wah Keung Chan
L'Éditeur/Rédacteur en chef
La Scena Musicale
The Music Scene

15 ans à promouvoir la musique et les arts

5409 Waverly, Montreal, QC Canada H2T 2X8
514-400-0882 (bureau)


Voyez le nouveau blogue de La Scena Musicale à pour les dernières nouvelles sur la musique et les arts.

La Scena Musicale, mention d'honneur aux Prix du magazine canadien de 2007, catégorie arts et spectacles