Thursday March 1, 2012 8pm Edmonton Symphony - Behind the Silver Screen. William Eddins, conductor, Ashu, saxophone. Korngold, Saxophone Concerto (Cello Concerto in C Major, arr. Hemke) Waxman, Music from Sunset Boulevard and A Place in the Sun, Bock, Music from Fiddler on the Roof and Bernstein, Symphonic Dances from West Side Story. Winspear Centre.
Friday March 2, 2012 7pm Cosmopolitan Music Society – Monday Band Community Concert with the Junior High Honour Band, Garry Silverman and Bill Wahl, conductors. For more information email info@cosmopolitanmusic.org Beulah Alliance Church 17504 - 98A avenue $10 at the door.
Friday March 2, 2012 8pm FREE Steinway Artist Alan Chow. Convocation Hall, UofA.
Saturday March 3 2012, 7pm Location? St. Albert Community Band and the Athabasca Community Band.
Saturday March 3, 2012 7:30pm Edmonton Columbian Choirs, Spring Bouqets. McDougall United Church. Tickets $15, call 780 430 6808.
Saturday, March 3, 2012 8pm UofA Kilburn Memorial Concert Series presents Afiara Quartet. Yuri Cho, violin, Adrian Fung, cello, David Samuel, viola, Valerie Li, violin. Works by Beethoven, Nielsen and Sibelius. Tickets $20,$15,$10 at door. Convocation Hall, UofA.
Sunday March 4, 2012 2pm A Country House Weekend - An English Idyll in four days and a prologue. Catherine Abele, soprano, Elizabeth Turnbull, mezzo, Mark Wilkinson, baritone, Stephen Ralls, piano, Bruce Ubakata, piano. Convocation Hall, UofA. $20, $15, $10 at the door only. Refreshments at intermission.
Sunday March 4, 2012 2pm Edmonton Symphony - A Symphonic Guide to New Music. William Eddins, conductor, Brian Current, composer and narrator, Victor Pipkin, cello. Current, A Symphonic Guide to New Music, Korngold, Cello Concerto, Waxman, Sunset Boulevard and The Ride of the Cossacks. Winspear Centre
Sunday March 4, 2012 3pm Da Camera Singers 50th Anniversary Gala Concert with alumni choir. Carmina Burana, Carl Orff. First Presbyterian Church 10025 – 105 St. $20-$15.
Sunday March 4, 2012 7pm FREE John Sampen, saxophone, Roger Admiral, piano. Studio 27, Fine Arts Bldg, UofA.
Sunday March 4, 2012 7pm (cocktails-dinner 5pm) If My Friends Could See Me Now! - celebration of the 35th anniversary of Edmonton Musical Theatre. Featuring Susan Gilmour, Vance Avery, Marleigh Rouault, Bernard Quilala, Byron Leffler and EMT Show Group. Yardbird Suite, 11 Tommy Banks Way, $70 in advance, $80 at the door. Tix on the Square.
Monday March 5, 2012 UofA Monday Noon Music FREE 45 min, student concerts from western classical to world music. Don’t forget to bring your lunch! Convocation Hall, UofA.
Monday March 5, 2012 8pm 15th Annual Salute to the Bands - a tribute to the great swing bands of the 30s and 40s. UofA and Grant MacEwan Jazz Bands, Bryan Hall, MC. Convocation Hall, UofA. Admission by donation.
Wednesday, February 29, 2012
Nominees for the Mayor's Arts Awards to be Announced Thursday March 1, 2012
Mayor Stephen Mandel and the Professional Arts Coalition of Edmonton (PACE), together with the sponsors for the 25th Annual Celebration of the Arts, will announce the nominees in the following categories:
- Youth Artist Award
- Award for an Emerging Artist
- Courage to Innovate Award
- Award for Excellence in Artistic Direction
- Award for Outstanding Lifetime Achievement
- Mayor's Award for Sustained Support of the Arts
- Innovative Support of the Arts by a Business
- Award for Promotion of the Arts
- Robert Kroetsch City of Edmonton Book Prize
Review - "Glorious Voices", Indeed
From our friends at Sound and Noise - University of Alberta Students on Music February 28, 2012
The stage was set. The Edmonton Symphony was presenting a concert that featured the stars of tomorrow, four of Edmonton’s best choirs, and the Poulenc Gloria. An organ prelude welcomed the congregation… err uh… audience members to the packed Enmax Hall of the Winspear Centre. The program included two Old Testament settings, one New Testament setting, and several parts of the mass. All was set for what could have been a truly religious experience. Figuratively, was it that good? I am neither spiritual enough nor willing enough to go that far, but the evening was as wonderful as I could possibly describe in my heathen, technology-driven colloquialism.
Bill Eddins, music director of the Edmonton Symphony, said it correctly: a concert that celebrates the importance and influence of religion on music must begin with Bach. After Maestro Eddins played a short prelude, Bach’s solo cantata, Ich armer Mensch, ich Sündenknecht (Bach’s only cantata for solo tenor), was next. Rising Canadian tenor Christopher Mayell was charged with the task of singing this famously difficult cantata. Bach’s often-difficult vocal writing can make the best of us uneasy, but Mayell’s assured beauty of tone and clarity of diction calmed any fears of even the most discerning critic. His performance was engaging from start to finish.
Introducing beautiful but rarely presented repertoire to an audience is never a bad idea, especially when one performs it well. This was certainly the case with the choosing of Mendelssohn’s setting of Psalm 42, a work that even the soloist later admitted she had never heard of. This soloist was Jeanine de Bique, an increasingly busy soprano on the international scene. Jeanine de Bique sang with rich, engaging tone throughout. Not just another bright-toned soprano, she sings with full use of her colourful voice from her highest notes to her lowest ones. She has a “bite” to her sound that recalls the great Kiri Te Kanawa. As the Mendelssohn concluded, I could not wait to hear her in the Poulenc.
Throughout the evening, each of the four choirs (the Cantilon Chamber Choir, the Ukrainian Male Chorus of Edmonton, Da Camera Singers, and i coristi Chamber Choir) had its moment to shine. Whether singing back-up to one of the soloists or presenting a stand-alone choral work with orchestra, each choir added its own flavour to the diversity of the program (including a lovely rendition of Mozart’s famous Ave Verum Corpus by the young members of the Cantilon Chamber Choir). The choirs were strongest when together, however, in the work that I (and most likely the audience) came to hear.
Poulenc’s Gloria has become a staple in the choral-orchestral repertoire. The beautiful melodies and tour-de-force soprano solo catch your attention, but it is the creative orchestration and exciting surprises that keep you hooked. For example, few standard works for mass chorus and orchestra have such exhilarating lines for the brass instruments. Several audience members, on this occasion, practically leapt out of their seats at the crashing of the brass. There is also a never-ending juxtaposition between thrills and absolute calmness. Both Maestro Eddins and Ms. de Bique took full advantage of this, taking the audience through all of the highs and all of the lows. As hinted to earlier, the combined sound of the choirs was fittingly glorious for both the title of the concert and the name of the piece.
Friday night’s concert, “Glorious Voices,” was indeed just that… glorious.
-Mark Wilkinson
http://thesoundandnoise.com/2012/02/28/glorious-voices-indeed/
Bill Eddins, music director of the Edmonton Symphony, said it correctly: a concert that celebrates the importance and influence of religion on music must begin with Bach. After Maestro Eddins played a short prelude, Bach’s solo cantata, Ich armer Mensch, ich Sündenknecht (Bach’s only cantata for solo tenor), was next. Rising Canadian tenor Christopher Mayell was charged with the task of singing this famously difficult cantata. Bach’s often-difficult vocal writing can make the best of us uneasy, but Mayell’s assured beauty of tone and clarity of diction calmed any fears of even the most discerning critic. His performance was engaging from start to finish.
Introducing beautiful but rarely presented repertoire to an audience is never a bad idea, especially when one performs it well. This was certainly the case with the choosing of Mendelssohn’s setting of Psalm 42, a work that even the soloist later admitted she had never heard of. This soloist was Jeanine de Bique, an increasingly busy soprano on the international scene. Jeanine de Bique sang with rich, engaging tone throughout. Not just another bright-toned soprano, she sings with full use of her colourful voice from her highest notes to her lowest ones. She has a “bite” to her sound that recalls the great Kiri Te Kanawa. As the Mendelssohn concluded, I could not wait to hear her in the Poulenc.
Throughout the evening, each of the four choirs (the Cantilon Chamber Choir, the Ukrainian Male Chorus of Edmonton, Da Camera Singers, and i coristi Chamber Choir) had its moment to shine. Whether singing back-up to one of the soloists or presenting a stand-alone choral work with orchestra, each choir added its own flavour to the diversity of the program (including a lovely rendition of Mozart’s famous Ave Verum Corpus by the young members of the Cantilon Chamber Choir). The choirs were strongest when together, however, in the work that I (and most likely the audience) came to hear.
Poulenc’s Gloria has become a staple in the choral-orchestral repertoire. The beautiful melodies and tour-de-force soprano solo catch your attention, but it is the creative orchestration and exciting surprises that keep you hooked. For example, few standard works for mass chorus and orchestra have such exhilarating lines for the brass instruments. Several audience members, on this occasion, practically leapt out of their seats at the crashing of the brass. There is also a never-ending juxtaposition between thrills and absolute calmness. Both Maestro Eddins and Ms. de Bique took full advantage of this, taking the audience through all of the highs and all of the lows. As hinted to earlier, the combined sound of the choirs was fittingly glorious for both the title of the concert and the name of the piece.
Friday night’s concert, “Glorious Voices,” was indeed just that… glorious.
-Mark Wilkinson
http://thesoundandnoise.com/2012/02/28/glorious-voices-indeed/
Tuesday, February 21, 2012
UPDATED: Concert Listings February 21 - 26
Wednesday February 22 to Sunday February 26, 2012 Cats – presented by Broadway Across Canada. Jubilee Auditorium.
Thursday February 24, 2012 to March 4, 2012 Hairspray - Stageworks Academy of the Performing Arts. MacLab Centre for the Performing Arts, Leduc. $15 in advance, $18 at door.
Friday February 24, 2012 7:30pm Guitar Republic - Pino Farstiere, Stefano Barone, Sergio Altamura, guitar. Arden Theatre, St. Albert.
Friday February 24, 2012 7:30pm and Saturday February 25 8pm Edmonton Symphony - Glorious Voices. William Eddins, conductor, organ and harpsichord, Jeanine De Bique, soprano, Christopher Mayell, tenor, Da Camera Singers, Cantilon Chamber Choir, Ukrainian Male Chorus of Edmonton. Mozart, Ave verum corpus, Poulenc, Gloria, JS Bach, Cantata 55 “Ich armer Mensch”, Mendelssohn, Psalm 42 “Wie der Hirsch schreit”, Cherubini, Offertorium, Schubert, “Intende voci”. Winspear Centre.
Friday February 24, and Saturday February 25, 2012 7:30pm I Coristi Chamber Choir, Glorious Voices. Edmonton Symphony Orchestra, Bill Eddins, conductor. Bach Cantata 55, Ich armer Mensch, ich Südenknecht, Poulenc, Gloria. Winspear Centre.
Saturday February 25 and Sunday February 26, 2012 2:30pm Cantilon Choirs, Broadway Gala featuring the music of “Oliver”. The Arden Theatre, St. Albert. Tix on the Square.
Sunday February 26, 2012 2pm Concordia Symphony Orchestra, Dr. Joy Berg, conductor, Alfredo Villanueva, conductor, Rev. Lorne Manweiler, organ. Music - Frenergy, John Estacio, Academic Festival Overture, Brahms, Symphony No. 3 - Organ Concerto, Saint-Saëns. Robert Tegler Student Centre, 7128 Ada Blvd. Tickets $12, $10, Tix on the Square or at the door.
Sunday February 26, 2012 2pm Edmonton Youth Orchestra, Senior and Intermediate Orchestras. Michael Massey, conductor, Lee Smith, violin. Two Tales Op. 54 with Micki, Nicholai Medtner, Intermezzo, waltz from “Eugene Onegin”, Tchaikovsky, Prelude a l’apres midi d’un faune and “Fetes” from Nocturnes, Debussy, Symphony no. 2 in D Major Op. 43, Sibelius. Winspear Centre, tickets $15 and $10. Tickets available from Tix on the Square or orchestra members.
Sunday February 26, 2012 7:30pm Vocal Alchemy (including the Men of Vocal Alchemy with special guests) and Edmonton Youth Choir, Jordan Van Biert, conductor. Music includes Randall Thompson's Alleluia. McDougall United Church, 10025 101 St. Tickets $15-$12 in advance, $17-$15 at the door. Tix on the Square.
Thursday February 24, 2012 to March 4, 2012 Hairspray - Stageworks Academy of the Performing Arts. MacLab Centre for the Performing Arts, Leduc. $15 in advance, $18 at door.
Friday February 24, 2012 7:30pm Guitar Republic - Pino Farstiere, Stefano Barone, Sergio Altamura, guitar. Arden Theatre, St. Albert.
Friday February 24, 2012 7:30pm and Saturday February 25 8pm Edmonton Symphony - Glorious Voices. William Eddins, conductor, organ and harpsichord, Jeanine De Bique, soprano, Christopher Mayell, tenor, Da Camera Singers, Cantilon Chamber Choir, Ukrainian Male Chorus of Edmonton. Mozart, Ave verum corpus, Poulenc, Gloria, JS Bach, Cantata 55 “Ich armer Mensch”, Mendelssohn, Psalm 42 “Wie der Hirsch schreit”, Cherubini, Offertorium, Schubert, “Intende voci”. Winspear Centre.
Friday February 24, and Saturday February 25, 2012 7:30pm I Coristi Chamber Choir, Glorious Voices. Edmonton Symphony Orchestra, Bill Eddins, conductor. Bach Cantata 55, Ich armer Mensch, ich Südenknecht, Poulenc, Gloria. Winspear Centre.
Saturday February 25 and Sunday February 26, 2012 2:30pm Cantilon Choirs, Broadway Gala featuring the music of “Oliver”. The Arden Theatre, St. Albert. Tix on the Square.
Sunday February 26, 2012 2pm Concordia Symphony Orchestra, Dr. Joy Berg, conductor, Alfredo Villanueva, conductor, Rev. Lorne Manweiler, organ. Music - Frenergy, John Estacio, Academic Festival Overture, Brahms, Symphony No. 3 - Organ Concerto, Saint-Saëns. Robert Tegler Student Centre, 7128 Ada Blvd. Tickets $12, $10, Tix on the Square or at the door.
Sunday February 26, 2012 2pm Edmonton Youth Orchestra, Senior and Intermediate Orchestras. Michael Massey, conductor, Lee Smith, violin. Two Tales Op. 54 with Micki, Nicholai Medtner, Intermezzo, waltz from “Eugene Onegin”, Tchaikovsky, Prelude a l’apres midi d’un faune and “Fetes” from Nocturnes, Debussy, Symphony no. 2 in D Major Op. 43, Sibelius. Winspear Centre, tickets $15 and $10. Tickets available from Tix on the Square or orchestra members.
Sunday February 26, 2012 7:30pm Vocal Alchemy (including the Men of Vocal Alchemy with special guests) and Edmonton Youth Choir, Jordan Van Biert, conductor. Music includes Randall Thompson's Alleluia. McDougall United Church, 10025 101 St. Tickets $15-$12 in advance, $17-$15 at the door. Tix on the Square.
Tuesday, February 14, 2012
Montreal company promises a Baroque 'roller-coaster'
Sorry, should have posted this earlier! From the Edmonton Journal, Friday February 10, 2012, by Tom Murray (freelance)
Concert preview
Theatre of Early Music: Dido and Aeneas
When: Monday at 8 p.m.
Where: University of Alberta Convocation Hall
Tickets: $11.75 to $37, available at Tix on the Square, 780-420-1757, tixonthesquare.ca and at the door
There may not have been much interest in Henry Purcell's Dido and Aeneas after it was first staged in the late 17th century, but the English composer's first opera has certainly gained legs since.
The tragic Baroque opera is based on Virgil's Aeneid, the saga of Dido, Queen of Carthage, and the Trojan Prince Aeneas. It has been revived a number of times in the last hundred years, with Daniel Taylor's Montreal-based Theatre of Early Music being the most recent company to stage it.
The acclaimed counter-tenor and artistic director for the ensemble has assembled quite the impressive crew of vocalists (along with the choir and orchestra) for a six-show tour that opened in Winnipeg on Tuesday - sopranos Noemi Kiss (as Dido), Grace Davidson, and Agnes Zsigov-ics; baritone Alexander Dobson as Aeneas, tenor Benjamin Butterfield and Taylor himself as the evil Sorceress.
They'll make their way through Seattle before hitting Edmonton, finishing up with performances in Ottawa and Montreal in the middle of February.
Taylor spoke with The Journal the day after the Winnipeg première about Purcell's opera and the joy of singing the role of an evil villain.
How was the opening night?
"It was great, absolutely fantastic. I'm amazed at the amount of attention that's been given to the up-coming tour, and to the first show in Winnipeg. I think both shows have sold out, and Manitoba Opera has come in as co-presenters, which is pretty amazing when you consider how opera houses and symphonies are struggling these days."
You seem to have built an audience that is willing to come along for the ride.
"I've spoken with friends many times about how wonderful it is to present concerts of this relatively neglected music; it's not The Magic Flute or Aida, but it's beautiful and somewhat unknown to many people. But listen; we could be anywhere, doing anything, and 500 to 1,000 people decide to come out and have this conversation about art.
"We work as performers, and along with the audience we reveal this music. How lucky I am to be part of that."
What drew you to this story in the first place?
"Well, there is this tremendous array of strong female characters, which makes for an interesting story. There's also nothing really superfluous, or what I like to refer to as noise, in this story. It's pure plot, three acts done in around 55 minutes, and it barrels along like a roller-coaster. The end is right off a cliff, and it's not a soft ending."
You also get to play a very juicy role yourself, as the main villain of the piece.
"Yes, it's wonderful and really fun to play. The Sorceress is pure evil; she comes in with an agenda and there's no stopping her.
"She has it all planned and knows how it will work out. In the first half I sing a very beautiful piece from (Handel's) Judas Maccabeus with Grace Davidson, and then in the second half I think very little about vocal beauty, only about storytelling."
© Copyright (c) The Edmonton Journal
http://www.edmontonjournal.com/entertainment/Montreal+company+promises+Baroque+roller+coaster/6131504/story.html
Concert preview
Theatre of Early Music: Dido and Aeneas
When: Monday at 8 p.m.
Where: University of Alberta Convocation Hall
Tickets: $11.75 to $37, available at Tix on the Square, 780-420-1757, tixonthesquare.ca and at the door
There may not have been much interest in Henry Purcell's Dido and Aeneas after it was first staged in the late 17th century, but the English composer's first opera has certainly gained legs since.
The tragic Baroque opera is based on Virgil's Aeneid, the saga of Dido, Queen of Carthage, and the Trojan Prince Aeneas. It has been revived a number of times in the last hundred years, with Daniel Taylor's Montreal-based Theatre of Early Music being the most recent company to stage it.
The acclaimed counter-tenor and artistic director for the ensemble has assembled quite the impressive crew of vocalists (along with the choir and orchestra) for a six-show tour that opened in Winnipeg on Tuesday - sopranos Noemi Kiss (as Dido), Grace Davidson, and Agnes Zsigov-ics; baritone Alexander Dobson as Aeneas, tenor Benjamin Butterfield and Taylor himself as the evil Sorceress.
They'll make their way through Seattle before hitting Edmonton, finishing up with performances in Ottawa and Montreal in the middle of February.
Taylor spoke with The Journal the day after the Winnipeg première about Purcell's opera and the joy of singing the role of an evil villain.
How was the opening night?
"It was great, absolutely fantastic. I'm amazed at the amount of attention that's been given to the up-coming tour, and to the first show in Winnipeg. I think both shows have sold out, and Manitoba Opera has come in as co-presenters, which is pretty amazing when you consider how opera houses and symphonies are struggling these days."
You seem to have built an audience that is willing to come along for the ride.
"I've spoken with friends many times about how wonderful it is to present concerts of this relatively neglected music; it's not The Magic Flute or Aida, but it's beautiful and somewhat unknown to many people. But listen; we could be anywhere, doing anything, and 500 to 1,000 people decide to come out and have this conversation about art.
"We work as performers, and along with the audience we reveal this music. How lucky I am to be part of that."
What drew you to this story in the first place?
"Well, there is this tremendous array of strong female characters, which makes for an interesting story. There's also nothing really superfluous, or what I like to refer to as noise, in this story. It's pure plot, three acts done in around 55 minutes, and it barrels along like a roller-coaster. The end is right off a cliff, and it's not a soft ending."
You also get to play a very juicy role yourself, as the main villain of the piece.
"Yes, it's wonderful and really fun to play. The Sorceress is pure evil; she comes in with an agenda and there's no stopping her.
"She has it all planned and knows how it will work out. In the first half I sing a very beautiful piece from (Handel's) Judas Maccabeus with Grace Davidson, and then in the second half I think very little about vocal beauty, only about storytelling."
© Copyright (c) The Edmonton Journal
http://www.edmontonjournal.com/entertainment/Montreal+company+promises+Baroque+roller+coaster/6131504/story.html
Monday, February 13, 2012
30% Off Edmonton Opera tickets for Fidelio - Valentine's Day Only!
Edmonton Opera has the perfect gift for your loved one this Valentine's Day! For one day only, February 14th, receive 30% off single tickets for Fidelio!
Join Edmonton Opera for this timeless ode to love, peace and hope on April 21, 24 & 26, 2012.
In order to take advantage of this special offer, please call Edmonton Opera's Box Office at 780.429.1000 on February 14th between 9:00am-4:30pm.
Happy Valentine's Day!
Concert Listings February 14 - 19
Tuesday February 14, 2012 6:30pm Edmonton Opera Valentine's Gala at the Shaw Conference Centre. To reserve a table click here or contact Mary Cousineau at 780 497 3261.
Friday February 17, 2012 8pm UofA Music - University Symphony Orchestra featuring performances by the 2011-12 Concerto Competition winners Emilie Schutz, saxophone, Legende by Schmitt, and Mark Wilkinson, baritone, Let us Garlands Bring, by Finzi. Convocation Hall, UofA.
Friday February 17, 2012 8pm Beth Levia, oboe, Sylvia Shadick-Taylor, piano. Presented by Tonus Vivus. Paul Steenhuisen, Copralite Culture and Analysis #21-X for oboe, piano and live electronics commissioned by Tonus Vivus, Harrison Birtwistle, Pulse Sampler, John Beckwith, Arctic Dances, Makato Shinohara, Obsession, Malcolm Forsythe, Tre Toccate. Holy Trinity Anglican Church, 10037-84th Av.
February 17 and 18, 2012 7:30pm Alberta Ballet, Cinderella (Prokofiev). Jubillee Auditorium.
Saturday February 18, 2012 2pm and 7pm Kokopelli Choirs – Stories. West End Christian Reform Church, 10015 149 St. $20, $15 - Tix on the Square.
Saturday February 18, 2012 2pm and 7:30pm Linda Tillery and the Cultural Heritage Choir (African-American roots music). Horizon Stage, Spruce Grove.
Friday February 17, 2012 8pm UofA Music - University Symphony Orchestra featuring performances by the 2011-12 Concerto Competition winners Emilie Schutz, saxophone, Legende by Schmitt, and Mark Wilkinson, baritone, Let us Garlands Bring, by Finzi. Convocation Hall, UofA.
Friday February 17, 2012 8pm Beth Levia, oboe, Sylvia Shadick-Taylor, piano. Presented by Tonus Vivus. Paul Steenhuisen, Copralite Culture and Analysis #21-X for oboe, piano and live electronics commissioned by Tonus Vivus, Harrison Birtwistle, Pulse Sampler, John Beckwith, Arctic Dances, Makato Shinohara, Obsession, Malcolm Forsythe, Tre Toccate. Holy Trinity Anglican Church, 10037-84th Av.
February 17 and 18, 2012 7:30pm Alberta Ballet, Cinderella (Prokofiev). Jubillee Auditorium.
Saturday February 18, 2012 2pm and 7pm Kokopelli Choirs – Stories. West End Christian Reform Church, 10015 149 St. $20, $15 - Tix on the Square.
Saturday February 18, 2012 2pm and 7:30pm Linda Tillery and the Cultural Heritage Choir (African-American roots music). Horizon Stage, Spruce Grove.
Tuesday, February 7, 2012
UPDATED: Concert Listings February 7-13, 2012
Wednesday, February 8, 2012 7:30pm Patricia O'Callaghan, The Heart of the Song. Arden Theatre, St. Albert.
Thursday February 9, 2012 7:30pm Edmonton Opera The Mikado (Gilbert and Sullivan). Jubillee Auditorium.
Friday February 10 to 18, 2012 Merrily We Roll Along Stephen Sondheim. MacEwan University, John L. Haar Theatre.
Friday February 10, 2012 7pm Craig Humber, organ. First Presbyterian Church. 10025 105 St. $21.75-$19.75. Contact Tix on the Square.
Saturday, February 11, 2012 7pm Looking Forward: New Works by Faculty Composers. Acoustic and Electroacoustic Music by Bashaw, Hannesson, Smallwood and Talpash performed by Roger Admiral, piano, William Street, baritone saxophone, Ken Read, bass trombone, Alden Lowrey, tuba. Tickets $20,$15,$10 at door. Convocation Hall, UofA.
Sunday February 12, 2012 2:30pm Pro Coro: Canada, meet Scandinavia. Erik Westberg, conductor. McDougall United Church.
Sunday, February 12, 2012 2:30pm New Edmonton Wind Sinfonia - For Band Lovers. Myer Horowitz Theatre, UofA. $20-$15.
Sunday, February 12, 2012 3pm Variations for Winds – UofA Symphonic Wind Ensemble with special guests The Northern Alberta Honour Band. Music by Mozart, Charles Ives and Canadian Michael Colgrass. Tickets $20,$15,$10 at door. Winspear Centre.
Monday February 13, 2012 UofA Monday Noon Music FREE 45 min, student concerts from western classical to world music. Don’t forget to bring your lunch! Convocation Hall, UofA.
Monday February 13, 2012 8pm Edmonton Chamber Music Society, Theatre of Early Music presents Dido and Aeneas. Noemi Kiss (Dido), Grace Davidson (Belinda), Julia Doyle (2nd woman), Alexander Dobson (Aeneas), Daniel Taylor (Sorceress and Artistic Director), Benjamin Butterfield (sailor). Convocation Hall, UofA. Tix on the Square.
Thursday February 9, 2012 7:30pm Edmonton Opera The Mikado (Gilbert and Sullivan). Jubillee Auditorium.
Friday February 10 to 18, 2012 Merrily We Roll Along Stephen Sondheim. MacEwan University, John L. Haar Theatre.
Friday February 10, 2012 7pm Craig Humber, organ. First Presbyterian Church. 10025 105 St. $21.75-$19.75. Contact Tix on the Square.
Saturday, February 11, 2012 7pm Looking Forward: New Works by Faculty Composers. Acoustic and Electroacoustic Music by Bashaw, Hannesson, Smallwood and Talpash performed by Roger Admiral, piano, William Street, baritone saxophone, Ken Read, bass trombone, Alden Lowrey, tuba. Tickets $20,$15,$10 at door. Convocation Hall, UofA.
Sunday February 12, 2012 2:30pm Pro Coro: Canada, meet Scandinavia. Erik Westberg, conductor. McDougall United Church.
Sunday, February 12, 2012 2:30pm New Edmonton Wind Sinfonia - For Band Lovers. Myer Horowitz Theatre, UofA. $20-$15.
Sunday, February 12, 2012 3pm Variations for Winds – UofA Symphonic Wind Ensemble with special guests The Northern Alberta Honour Band. Music by Mozart, Charles Ives and Canadian Michael Colgrass. Tickets $20,$15,$10 at door. Winspear Centre.
Monday February 13, 2012 UofA Monday Noon Music FREE 45 min, student concerts from western classical to world music. Don’t forget to bring your lunch! Convocation Hall, UofA.
Monday February 13, 2012 8pm Edmonton Chamber Music Society, Theatre of Early Music presents Dido and Aeneas. Noemi Kiss (Dido), Grace Davidson (Belinda), Julia Doyle (2nd woman), Alexander Dobson (Aeneas), Daniel Taylor (Sorceress and Artistic Director), Benjamin Butterfield (sailor). Convocation Hall, UofA. Tix on the Square.
Review - Edmonton Opera Presents: The Mikado
A new review from Sound and Noise - University of Alberta Students on Music - February 4, 2012
First and foremost I want you, the reader, to know that I am by no means a connoisseur of opera and am only partially acquainted with classic works such as Giuseppe Verdi’s Aida or Tchaikovsky’s Romeo and Juliet, and most of my conceptions of the format come from Andrew Loyd Webber’s The Phantom of The Opera. For all intents and purposes, this is my first real outing at the opera, and it was a pleasant experience.
The Mikado, as performed by the Edmonton Opera, takes place in a modern day feudal Japan where no one seems to know exactly what tone is implied by the mix of vicious empirical rule and 21st century pop culture . This aspect of The Mikado is odd, but wonderfully comical. Imagine an act where an emperor enters wearing what looks to be a brightly colored ceremonial suit inspired by ancient samurai armor and sunglasses while riding a Segway to center stage. The characters read decrees from the Mikado on iPads. They discuss betrothal, executions by beheading and then pose for pictures enthusiastically and brandish double fingered peace signs while they do it. It is all marvelously surreal and the cartoonish characters add to that vibe with loads of humor. Unfortunately, the performance I attended was filled with elementary school children so most of the jokes fell flat (save for some of the more slap-stick antics and a reference to Justin Bieber.)
The story involves an executioner, named Ko-Ko, with a dilemma. He must find someone to execute before the end of the month, or he will be executed by his own hand for the crime of flirting. Luckily, Ko-Ko finds a young rhythm guitar player in the depths of despair ready to commit suicide because his one true love, named Yum-Yum, is betrothed to Ko-Ko. Ko-Ko makes a deal that the musician can marry Yum-Yum, and be happy with her for a month if he will let Ko-Ko execute him publicly at the end of that month. It all seems to be going so well until some of the fine print of this oddball society’s laws are revealed, as well as some secret identities, and before you know it the majority of the cast is looking for ways to escape the chopping block. The plot is all very convoluted and nothing seems to make any sense, but that’s part of the fun. This piece of opera does not look to be taken too seriously. It’s a comedy, borderlining on parody.
The best example of such parody is the character Ko-Ko. He has a funny habit of breaking the fourth wall, referring to his stage managers and orchestra members. He knows he’s in an opera and subject to the fate that the opera has for him. He is not quite so aware as the players in Tom Stoppard’s Rosencrantz and Guildenstern are Dead, but he is a tad meta. Every character seems to have a little bit of a quirk. Especially Ko-Ko’s proud solicitor who has traced his family line back to the upper-class portion of primordial soup. He holds nearly every respectable position imaginable, including, oddly enough, the premier of Alberta and head of the RCMP.
In fact my only real complaint with The Mikado is the frequent references to Canadian and Albertan politics, in spite of the opera taking place in Japan. It seemed a tad like pandering to me. That and the unfortunate under-use of the opera’s lead female, Yum-Yum. She hit a few high notes here and there, but the focus was primarily on her male co-stars.
-Eric T. Behr
http://thesoundandnoise.com/2012/02/04/edmonton-opera-presents-the-mikado/
The Mikado, as performed by the Edmonton Opera, takes place in a modern day feudal Japan where no one seems to know exactly what tone is implied by the mix of vicious empirical rule and 21st century pop culture . This aspect of The Mikado is odd, but wonderfully comical. Imagine an act where an emperor enters wearing what looks to be a brightly colored ceremonial suit inspired by ancient samurai armor and sunglasses while riding a Segway to center stage. The characters read decrees from the Mikado on iPads. They discuss betrothal, executions by beheading and then pose for pictures enthusiastically and brandish double fingered peace signs while they do it. It is all marvelously surreal and the cartoonish characters add to that vibe with loads of humor. Unfortunately, the performance I attended was filled with elementary school children so most of the jokes fell flat (save for some of the more slap-stick antics and a reference to Justin Bieber.)
The story involves an executioner, named Ko-Ko, with a dilemma. He must find someone to execute before the end of the month, or he will be executed by his own hand for the crime of flirting. Luckily, Ko-Ko finds a young rhythm guitar player in the depths of despair ready to commit suicide because his one true love, named Yum-Yum, is betrothed to Ko-Ko. Ko-Ko makes a deal that the musician can marry Yum-Yum, and be happy with her for a month if he will let Ko-Ko execute him publicly at the end of that month. It all seems to be going so well until some of the fine print of this oddball society’s laws are revealed, as well as some secret identities, and before you know it the majority of the cast is looking for ways to escape the chopping block. The plot is all very convoluted and nothing seems to make any sense, but that’s part of the fun. This piece of opera does not look to be taken too seriously. It’s a comedy, borderlining on parody.
The best example of such parody is the character Ko-Ko. He has a funny habit of breaking the fourth wall, referring to his stage managers and orchestra members. He knows he’s in an opera and subject to the fate that the opera has for him. He is not quite so aware as the players in Tom Stoppard’s Rosencrantz and Guildenstern are Dead, but he is a tad meta. Every character seems to have a little bit of a quirk. Especially Ko-Ko’s proud solicitor who has traced his family line back to the upper-class portion of primordial soup. He holds nearly every respectable position imaginable, including, oddly enough, the premier of Alberta and head of the RCMP.
In fact my only real complaint with The Mikado is the frequent references to Canadian and Albertan politics, in spite of the opera taking place in Japan. It seemed a tad like pandering to me. That and the unfortunate under-use of the opera’s lead female, Yum-Yum. She hit a few high notes here and there, but the focus was primarily on her male co-stars.
-Eric T. Behr
http://thesoundandnoise.com/2012/02/04/edmonton-opera-presents-the-mikado/
Michael Zaugg Named New Pro Coro Artistic Director
From Sound and Noise - University of Alberta Students on Music - February 4, 2012
Pro Coro Canada – Alberta’s professional choir, based in Edmonton – announced its new Artistic Director and Principal Conductor last night: Michael Zaugg. Mr. Zaugg originally hails from Switzerland but calls Montreal home. This appointment follows an in-depth 18 month search, which saw 28 applications from four continents.
Zaugg serves as Artistic Director of both the St. Lawrence Choir in Montreal and the Cantata Singers of Ottawa. When speaking about how he sees performances, Zaugg compared choral performances to a full-course meal, saying each performance gives the listener the opportunity to experience a variety of different flavours, some exotic and others familiar. Zaugg brings a new type of innovation and creativity to choral music with his experimentation with integrating different art forms – such as dance and painting – with choral music.
I had the opportunity to ask Michael Zaugg a few questions about his vision for Pro Coro after he was introduced as the new Artistic Director.
Jenna Marynowski: You mentioned that you’ve known of Pro Coro for quite a while. Before this position was available, what was your impression of Pro Coro as a choir?
Michael Zaugg: In fact it’s the choir I heard of the earliest…They were almost always the most interesting to me because they have a Swedish or Scandinavian founding idea. Their founder brought over Swedish conductors as well, so there’s sort of a Scandinavian connection with myself.
JM: Based on your experience working with the choir, what do you feel is the next step for Pro Coro?
MZ: Definately we need to do a tour. I think the last cross-Canada tour the choir did was 5 years ago. So that’s the next step, just go out and do concerts all over Canada, and hopefully in two or three years, maybe an international tour.
JM: So, do you want to make Pro Coro more of a “household” name like some of the other choirs in Canada?
MZ: They are a household name in the sense of, if you talk about the three big choirs in Canada, they’re one of them. But, they haven’t really got a lot of CDs out, so they’re sort of living through their reputation. We have to feed into and nurture [that reputation].
JM: You said that collaboration was really important to you in your speech – are you referring to collaboration with other choirs in the city, or the Edmonton arts community in general?
MZ: I think that it’s with the art community at large. For sure we will involve other choirs, but it’s more just to go out and work with other disciplines that you wouldn’t think [could] work together with choir. For example, contemporary dance. I don’t think people think of that as a possible concept, but it is, and it’s really very exciting. Or choir and film – [specifically] choir and live video. So, there’s camera’s in the room and there’s someone, almost like a VJ, working and matching the feeds to the music. It’s like bringing choir into the 21st century.
Pro Coro’s next performance is the world premier of David Mott’s “Heart Mediations” on February 12 at the McDougall United church, conducted by Erik Westberg. More information, and tickets, are available from the Winspear Centre.
- Jenna Marynowski
http://thesoundandnoise.com/2012/02/04/michael-zaugg-named-new-pro-coro-artistic-director/
Zaugg serves as Artistic Director of both the St. Lawrence Choir in Montreal and the Cantata Singers of Ottawa. When speaking about how he sees performances, Zaugg compared choral performances to a full-course meal, saying each performance gives the listener the opportunity to experience a variety of different flavours, some exotic and others familiar. Zaugg brings a new type of innovation and creativity to choral music with his experimentation with integrating different art forms – such as dance and painting – with choral music.
I had the opportunity to ask Michael Zaugg a few questions about his vision for Pro Coro after he was introduced as the new Artistic Director.
Jenna Marynowski: You mentioned that you’ve known of Pro Coro for quite a while. Before this position was available, what was your impression of Pro Coro as a choir?
Michael Zaugg: In fact it’s the choir I heard of the earliest…They were almost always the most interesting to me because they have a Swedish or Scandinavian founding idea. Their founder brought over Swedish conductors as well, so there’s sort of a Scandinavian connection with myself.
JM: Based on your experience working with the choir, what do you feel is the next step for Pro Coro?
MZ: Definately we need to do a tour. I think the last cross-Canada tour the choir did was 5 years ago. So that’s the next step, just go out and do concerts all over Canada, and hopefully in two or three years, maybe an international tour.
JM: So, do you want to make Pro Coro more of a “household” name like some of the other choirs in Canada?
MZ: They are a household name in the sense of, if you talk about the three big choirs in Canada, they’re one of them. But, they haven’t really got a lot of CDs out, so they’re sort of living through their reputation. We have to feed into and nurture [that reputation].
JM: You said that collaboration was really important to you in your speech – are you referring to collaboration with other choirs in the city, or the Edmonton arts community in general?
MZ: I think that it’s with the art community at large. For sure we will involve other choirs, but it’s more just to go out and work with other disciplines that you wouldn’t think [could] work together with choir. For example, contemporary dance. I don’t think people think of that as a possible concept, but it is, and it’s really very exciting. Or choir and film – [specifically] choir and live video. So, there’s camera’s in the room and there’s someone, almost like a VJ, working and matching the feeds to the music. It’s like bringing choir into the 21st century.
Pro Coro’s next performance is the world premier of David Mott’s “Heart Mediations” on February 12 at the McDougall United church, conducted by Erik Westberg. More information, and tickets, are available from the Winspear Centre.
- Jenna Marynowski
http://thesoundandnoise.com/2012/02/04/michael-zaugg-named-new-pro-coro-artistic-director/
Michael Zaugg - New Conductor of Pro Coro Canada
Pro Coro Canada—Alberta’s Professional Choir—is very proud to announce that Michael Zaugg of Montreal has accepted the position of Artistic Director and Principal Conductor. Following the resignation of longtime Pro Coro conductor Richard Sparks, who took up a full-time teaching position in the US, an exhaustive eighteen-month search that fielded twenty-eight candidates from four continents culminated in spectacular audition concerts last fall by three finalists—Dr. Magen Solomon of San Francisco, CA, Mark Bailey of New Haven, CT, and Michael Zaugg of Montreal, QC.
The appointment of Mr. Zaugg to a three-year contract was approved by the choir’s board of directors, based on the recommendation of an ad hoc Search and Select Committee, which consulted with several distinguished members of the local choral community. Input was also solicited from the Pro Coro singers, and from audience members, whose knowledgeability and dedication made a great impression on the committee. Furthermore, Pro Coro Canada has been greatly assisted during this transitional 2011–2012 season by acting Artistic Director Trent Worthington.
[Mr. Zaugg’s biography is provided separately, and at http://www.michaelzaugg.info/]
Pro Coro Canada’s concert season continues with the world premiere of David Mott’s “Heart Meditations” on Feb. 12 at McDougall United Church, conducted by renowned Swedish conductor Erik Westberg and with the composer in attendance as guest soloist. The season rounds out with the beloved tradition of “Good Friday at the Winspear” on Apr. 6, including an orchestral string ensemble, conducted by Canada’s “Dean of Choral Conductors,” Dr. Leonard Ratzlaff.
Pro Coro Canada’s 2012–2013 season and future plans under new Artistic Director and Principal Conductor Michael Zaugg will be unveiled at the Winspear on April 6. In the meantime, for up-to-date information please subscribe to the choir’s e-newsletter, The Pro Coro Voice, at http://www.industrymailout.com/Industry/Subscribe.aspx?m=1146).
The appointment of Mr. Zaugg to a three-year contract was approved by the choir’s board of directors, based on the recommendation of an ad hoc Search and Select Committee, which consulted with several distinguished members of the local choral community. Input was also solicited from the Pro Coro singers, and from audience members, whose knowledgeability and dedication made a great impression on the committee. Furthermore, Pro Coro Canada has been greatly assisted during this transitional 2011–2012 season by acting Artistic Director Trent Worthington.
[Mr. Zaugg’s biography is provided separately, and at http://www.michaelzaugg.info/]
Pro Coro Canada’s concert season continues with the world premiere of David Mott’s “Heart Meditations” on Feb. 12 at McDougall United Church, conducted by renowned Swedish conductor Erik Westberg and with the composer in attendance as guest soloist. The season rounds out with the beloved tradition of “Good Friday at the Winspear” on Apr. 6, including an orchestral string ensemble, conducted by Canada’s “Dean of Choral Conductors,” Dr. Leonard Ratzlaff.
Pro Coro Canada’s 2012–2013 season and future plans under new Artistic Director and Principal Conductor Michael Zaugg will be unveiled at the Winspear on April 6. In the meantime, for up-to-date information please subscribe to the choir’s e-newsletter, The Pro Coro Voice, at http://www.industrymailout.com/Industry/Subscribe.aspx?m=1146).
Friday, February 3, 2012
Auditions for the Ben Folds Choir to perform with the ESO March 2012
It was announced yesterday that Ben Folds will be performing with the Edmonton Symphony Orchestra at the Winspear Centre on Thursday March 29, 2012 - check out the article in the Edmonton Journal by Sandra Sperounes.
You can be part of this concert as a member of the Ben Folds choir, or "Foldschoir" to perform with Ben Folds and the Edmonton Symphony Orchestra.
For more information on how to audition, go to http://www.kerrymarsh.com/foldschoir
You can be part of this concert as a member of the Ben Folds choir, or "Foldschoir" to perform with Ben Folds and the Edmonton Symphony Orchestra.
For more information on how to audition, go to http://www.kerrymarsh.com/foldschoir
Good luck!
Thursday, February 2, 2012
Pro Coro to announce New Artistic Director and Principal Conductor
On Friday, February 3, 2012 6:30 pm, Pro Coro Canada will announce its new New Artistic Director and Principal Conductor after a long 18 month search and three excellent finalists: Dr. Magen Solomon of San Francisco, Mark Bailey of New Haven, CT and Michael Zaugg of Montreal.
The new conductor will be present and perform with Pro Coro in PCL Hall, 5th floor, Alberta College Conservatory of Music at MacEwan University, 10050 MacDonald Drive.
For more information contact Ksenia at the Pro Coro office 780 420 1247 or thechoir@procoro.ab.ca
The new conductor will be present and perform with Pro Coro in PCL Hall, 5th floor, Alberta College Conservatory of Music at MacEwan University, 10050 MacDonald Drive.
For more information contact Ksenia at the Pro Coro office 780 420 1247 or thechoir@procoro.ab.ca
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