Toronto Summer Music Festival - Concert Programme - July 22-28

Concert Programme July 22-28
#TSM2016

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2

Because it’s more
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Summer Music, its Festival and
Academy, and congratulates
Douglas McNabney on his six
years of extraordinary
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Message
from
Ben Heppner
Dear Friends of Music,
I’ve got a summer job! I’m now the spokesperson for the 2016 Toronto Summer
Music Festival, and I couldn’t be more excited. This year’s festival is called:
“London Calling! Music in Great Britain.”
Toronto Summer Music Festival is an oasis in the musical desert of Toronto
summers. Over the last 11 years, TSM has become the go-to-summer event for
everybody who loves great music. Whether you’re new to classical music or a
connoisseur, the festival has got something for you.
There is something extra-special about this year’s festival. Opera is coming back!
Toronto Summer Music – in cooperation with Against the Grain Theatre, the Banff
Centre, and the Canadian Opera Company – is presenting Benjamin Britten’s great
chamber opera, The Rape of Lucretia on July 22. The opera will be presented at
the Winter Garden Theatre, a historical venue in downtown Toronto – a beautiful
hidden jewel that you need to visit and see. I have no doubt that this opera is going
to be a hallmark event for 2016 festival.
But wait… there’s more! Mezzo-soprano Jamie Barton, the sensational winner
of the BBC Cardiff Singer of the World in 2013, is holding a solo recital on July
25. At the opening night concert on July 14, up-and-coming tenor Nicholas Phan
joins the Grammy Award-winning Parker String Quartet and other great musicians
on a program for voice and strings. And plenty of other exceptional singers are
performing in this year’s festival. To name just three: mezzo-soprano Allyson
McHardy; baritone Peter McGillivray; and countertenor Daniel Taylor.
Please join me during 2016 TSM Festival, for the fabulous variety of musical treats
in store – a singular tribute to Music in Great Britain!
Ben Heppner
Spokesperson for Toronto Summer Music 2016
5

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TL_Toronto_Summer_Music.indd 1
2016-06-23 10:16 AM

JUL
22
THE RAPE OF LUCRETIA
Friday, July 22, 2016 at 7:30 pm
Winter Garden Theatre
An Opera in Two Acts
First performed in Glyndebourne,
Music by Benjamin Britten
Sussex, England on July 12, 1946
Libretto by Ronald Duncan
Based on the play Le viol de Lucrèce by André Obey
Cast & Creative
Male Chorus
Female Chorus
Collatinus, a Roman general
Junius, a Roman general
Tarquinius, prince of Rome
Lucretia, wife of Collatinus
Bianca, Lucretia’s nurse
Lucia, Lucretia’s maid
Artistic Director
Music Director & Conductor
Stage Director
Stage Manager
Lighting Designer
Owen McCausland, tenor
Chelsea Rus, soprano
Jasper Leever, bass-baritone
Peter Rolfe Dauz, baritone
iain MacNeil, bass-baritone
emma Char, mezzo-soprano
Beste Kalender, mezzo-soprano
ellen McAteer, soprano
Joel Ivany
Topher Mokrzewski
Anna Theodosakis
Taryn Dougall
Chantal Labonté
ORCHESTRA
Kristan Toczko, harp
Sue Hoeppner, flute
Lief Mosbaugh, oboe
Bradley Cherwin, clarinet
Nadina Mackie Jackson, bassoon
Chris Gongos, horn
Dave Burns, percussion
Jeongmin Lee, violin
Amanda Goodburn, violin
Brandon Chui, viola
Britton Riley, cello
Theo Chan, double bass
Produced at the Banff Centre in
collaboration with Against the Grain
Theatre, Canadian Opera Company,
and Toronto Summer Music.
9

Owen McCausland, TENOR
A native of Saint John, New Brunswick, Owen
McCausland is a recent graduate of the Canadian Opera
Company Ensemble Studio. He recently appeared with
the COC as Testo in Il Combattimento di Tancredi e
Clorinda, Juan in Don Quichotte, Lord Cecil in Roberto
Devereux, Ferrando in Così fan tutte (Ensemble Studio
performance), and Reverend Horace Adams in Peter
Grimes. In 2013, he stepped into the title role in La
clemenza di Tito for several performances on the COC
mainstage, in addition to singing the role in the Ensemble Studio performance.
Other roles include the title role in Werther (Chautauqua Institution); Rinuccio
in Gianni Schicchi (Opera on the Avalon) and Don Ottavio in Don Giovanni (Centre for
Opera Studies in Italy). In the upcoming 2016/2017 season McCausland will appear
as Lurcanio in Ariodante with the COC and also Tamino in Die Zauberflöte. We
sincerely thank Dr. Thomas Beechy for sponsoring Owen McCausland’s performance
this evening.
CHELSEA RUS, SOPRANO
Canadian Soprano Chelsea Rus is a recent graduate
of McGill University and winner of the Elizabeth Wirth
Vocal Competition. This coming year, Rus will be joining
the Atelier Lyrique at the Opéra de Montreal for their
2016-2017 season. Orchestra. Recent roles include the
Countess (The Marriage of Figaro, Kelowna Opera, 2015),
Beth (Little Women, Opera McGill, 2015), and Adina
(L’Elisir D’Amore, Opera McGill, 2016). This summer,
Rus will perform the role of Female Chorus in The Banff
Centre’s production of Benjamin Britten’s The Rape of Lucretia as a part of the
Open Space: Opera in the 21st Century festival. We sincerely thank Adele Salvagno
for sponsoring Chelsea Rus’ performance this evening.
JASPER LEEVER, bass-baritone
Jasper Leever (1990) has finished his studies at the Royal
Conservatoire of The Hague in The Netherlands last May
with Frans Fiselier as his teacher, and Phyllis Ferwerda as
his coach. There he has built a strong feeling for various
styles of singing like Gregorian chant, early music, lied,
oratorio and opera. He also followed masterclasses with
Claron McFadden, Michael Chance and Marcel Rijans.
As for opera, Jasper has started out with the role of Don
Bazilio in Il Barbiere di Seviglia by Rossini in France in
2015. Then Il Commendatore in Mozart’s Don Giovanni as a guest singer with the
Dutch National Opera Academy at the start of 2016.
He also sang the role of Christ from the St. Matthew and the St. John passions
by J.S. Bach on Gran Canaria. And also worked together with various conductors
throughout Europe. We sincerely thank Michiel and Cornelia Horn for sponsoring
Jasper Leever’s performance this evening.
10

Peter Rolfe Dauz, BARITONE
San Francisco native, Filipino-American baritone Peter
Rolfe Dauz’s performance highlights include Don Alfonso
(Cosi fan tutte), Leporello (Don Giovanni), Figaro (Le nozze
di Figaro), Achilla (Giulio Cesare), and Claudio (Agrippina).
In 2014, Dauz began his Master’s Degree at McGill
University and performed the title role in Le nozze di Figaro
as well as Betto in Puccini’s Gianni Schicchi. Currently,
Dauz is a second year graduate student of the Vocal Arts
Program at Bard College Conservatory where he works
with Sanford Sylvan, Dawn Upshaw, Kayo Iwama and Erika Switzer. He made his
New York State symphonic debut as the Bass soloist in Handel’s Alexander’s Feast
with the Broad Street Orchestra in Kinderhook, New York. Peter Rolfe was recently
invited as one of fifteen young professionals to Open Space: Opera in the 21st
Century to perform the role of Junius in Britten’s The Rape of Lucretia at The Banff
Centre. Dauz is thrilled to be part of this unique production in collaboration with
Against the Grain Theatre, Canadian Opera Company, and Toronto Summer Music.
Iain MacNeil, bass-baritone
Canadian Opera Company Ensemble Studio graduate
and Brockville, Ontario native bass-baritone Iain MacNeil
recently appeared with the COC as Le Dancaïre in
Carmen, as the Marquis d’Obigny in La Traviata, and as
the title role in the Ensemble performance of Le Nozze
di Figaro. In the COC’s 2014/2015 season, Mr. MacNeil
made his COC debut as the Imperial Commissioner
in Madama Butterfly, and sang the role of Fiorello in
the company’s production of The Barber of Seville. He
also sang the role of Dr. Bartolo in the Ensemble performance of The Barber of
Seville. In 2013 he claimed Third Prize in the COC’s Third Annual Ensemble Studio
Competition. He studied at the University of Toronto’s Opera Division and received
a bachelor of music degree from Dalhousie University. Credits include Guglielmo
in Così fan tutte and Figaro in Le nozze di Figaro (Centre for Opera Studies in
Italy); Sid in Albert Herring (University of Toronto Opera School); Bobby in Kurt
Weill’s Mahagonny-Songspiel, the title role in Sweeney Todd, Brewer in Comedy
on the Bridge and Tom/John in The Face on the Barroom Floor (Dalhousie Opera
Workshop). We sincerely thank Michael and Linda Hutcheon for sponsoring Iain
MacNeil›s performance this evening.
Emma Char, Mezzo-soprano
American - Canadian mezzo-soprano, Emma Char’s
recent operatic performances include Hänsel in Hänsel
und Gretel, The Mother in Amahl and the Night Visitors
(Atelier lyrique de L’Opéra de Montréal) Mallika in Lakmé,
Rosette in Manon (L’Opéra de Montréal) and Ramiro in
Ensemble Caprice’s Production of Vivaldi’s Motezuma.
Emma has also covered the roles of Margret in Wozzeck
and Mrs. Umeya in the North American Premiere of Dr.
Sun Yat-sen for The Santa Fe Opera. Ms. Char’s concert
performances include the Alto soloist in the Mozart Requiem (I Musici de Montréal)
11

12
and Pergolesi’s Stabat Mater with Les Violons du Roy. Emma received her BM
from The Eastman School of Music, MM from Florida State University and Artist
Diploma from The University of Cincinnati, College – Conservatory of Music. Ms.
Char’s professional training includes apprenticeships with The Santa Fe Opera,
Opera Saratoga and The Atelier Lyrique de L’opéra de Montréal.
BESTE KALENDER, MEZZO SOPRANO
Mezzo soprano Beste Kalender is a 2016 graduate from
The Rebanks Family Fellowship at The Royal Conservatory
of Music and an alumna of the Calgary Opera Emerging
Artist Program (2015) where she made her main stage
debut in the title role of Bizet’s Carmen. So far, Kalender
has performed with Les Chorégies D’Orange (2014), The
Music Academy of The West Summer Music Festival
(2014, 2015), The Song Continues at Carnegie Hall (2016),
CoOPERAtive Program at Westminster (2013, 2016),
International Vocal Arts Institute (2012), and Opera On The Avalon (2012). Kalender’s
operatic roles include: Carmen (Carmen), Cenerentola (La Cenerentola), Hansel
(Hansel & Gretel), Mercedes (Carmen), Zerlina (Don Giovanni), Cherubino (La
Nozze di Figaro), Cornelia (Giulio Cesare) and Tancredi (Tancredi). We sincerely thank
William and Eva Krangle for sponsoring Beste Kalender’s performance this evening.
Ellen McAteer, Soprano
“Young rising star, soprano Ellen McAteer,” (CBC Radio)
is the two-time recipient of the Richard Bradshaw
Graduate Fellowship in Opera and has been awarded
a Ruby Mercer Opera Award, Schulich Scholarship,
Gaelyne Gabora Memorial Prize and E. M. Wirth
Scholarship. Ellen’s portrayal of Lola in James Rolfe’s
Crush was hailed, “Stunning… Universally admired,
McAteer braved Rolfe’s challenging score with virtuoso
daring, and her eloquently played characterization
became the hinging point of success for the entire opera.” (Opera Canada).
Upcoming performances include Handel’s Messiah with the Peterborough Singers
and Newfoundland Symphony Orchestra, Bach’s Christmas Oratorio with the
Bethlehem Bach Festival, and First Witch / Second Woman in Purcell’s Dido and
Aeneas with Opera Atelier. We sincerely thank Ninalee Craig for sponsoring Ellen
McAteer’s performance this evening.
JOEL IVANY, artistic director,
AGAINST THE GRAIN THEATRE
Joel Ivany is the founder and artistic director of Against
the Grain Theatre (AtG), a Toronto based cutting-edge
company collective producing intimate, innovative
theater. NOW Magazine said, “Against the Grain
Theatre proves itself one of the city’s most inventive
young companies.” He directed their first production of
La bohème for which he wrote a new English libretto
(againstthegraintheatre.com), which has since been
used by Opera Columbus and Cowtown Opera in Calgary. He has directed for

Against the Grain Theatre, The Canadian Opera Company, Minnesota Opera,
The Aventa Ensemble, The Canadian Children’s Opera Company, The Centre for
Opera Studies in Italy, The U of T Opera Division, Wilfrid Laurier University, Music
Niagara, Opera Nuova and The Banff Centre. We sincerely thank Colleen Sexsmith
for sponsoring Joel Ivany’s direction of this evening’s performance.
Topher Mokrzewski,
MUSIC DIRECTOR
Conductor and pianist Topher Mokrzewski is Resident
Conductor of Calgary Opera, Music Director of Against
the Grain Theatre as well as Music Director of the Open
Space Opera Program at Banff Centre. A 2008 graduate
of the Canadian Opera Company Ensemble Studio and
subsequent member of the COC music staff, he has been
described by music critic John Terauds as “one of those
bright, eager, whip-smart young artists who could give even
the most hardened cynic a jolt of optimism about the future of classical music and opera”.
He was named one of CBC Music’s “Hot 30 Classical Musicians under 30” in 2013.
Anna Theodosakis,
STAGE DIRECTOR
Anna Theodosakis completed her Diploma in Operatic
Stage Direction at The University of Toronto this June. In
November she had the honour of being the first student
director of a University of Toronto Opera mainstage
production with The Medium. Past productions with
UofT Opera as an assistant director/choreographer
include Postcard from Morocco with Michael Cavanagh,
HMS Pinafore with Michael Albano, as well as Tim
Albery’s Last Days and The Fatal Gaze. In January Theodosakis joined Joel Ivany as
assistant director for the Toronto Symphony Orchestra’s staged Mozart Requiem.
Theodosakis is the resident stage director of MYOpera and directed their production
of The Rape of Lucretia this spring. Theodosakis was the assistant director for Paul
Curran’s Lucretia at the Banff Centre this July. In August she will direct Manitoba
Underground Opera’s Magic Flute and the Muskoka Opera Festival’s Eugene
Onegin. This fall Theodosakis will choreograph UofT Opera’s Orpheus and the
Underworld and start work as the Canadian Art Song Project’s stage director.
TARYN DOUGALL, STAGE MANAGER
Taryn Dougall is an emerging Musical Theatre Performer
and Stage Manager based in Toronto, Ontario. She holds
her Advanced Diploma in Music Theatre Performance
from St. Clair College in Windsor and a Bachelor of
Performing Arts Degree from Capilano University in
North Vancouver. She recently completed a six week
training practicum at the Banff Centre as an Opera
Assistant Stage Manager. During this time she was the
practicum ASM for No One’s Safe, an immersive opera
directed by Joel Ivany that was in partnership with Against the Grain Theatre. For
more information, visit taryndougall.com
13

Chantal Labonté, Lighting
Designer
Chantal is a Montreal based lighting designer and a
recent graduate of the National Theatre School of Canada
(NTSC). In the past year she lit two shows produced by
NTSC: Macbeth d’après Müller and the site specific
show Miss Julie. In 2016 she also signed the designs for
Le temps nes’agrippe pas for Les Productions Fil d’Or in
Montreal and On Verra for Théatre du Trillium in Ottawa.
In addition to designing, Chantal also assists the lighting
designer Nicolas Ricard in numerous shows, events and festivals. This summer she
is assisting Jason Hand in The Rape of Lucretia at the Banff Arts Centre. Her future
projects include collaboration with directors Christian Lapointe, Jean-Stéphane Roy
and Frédéric Sasseville-Painchaud in new works in both Montreal and Ottawa.
SYNOPSIS
Act 1, Scene 1
The Male and Female Chorus explain the historical background to the story: It is
509 BC. The tyrannical Etruscan king Tarquinius Superbus (Tarquin the Proud) has
become the ruler of Rome through intrigue and murder. His son, Sextus Tarquinius
(the Tarquinius of the opera) is no better; he leads a Roman army against the
Greeks to distract attention from conditions in Rome and treats the proud city as
if it were his whore.
The Choruses explain that they will observe the action of the opera and interpret
it from a Christian perspective.
A military camp outside Rome is now revealed. It is a hot summer evening, and a
storm is threatening; the sound of crickets (the harp) and bullfrogs (double bass)
can be heard.
Sextus Tarquinius and two Roman commanders, Collatinus and Junius, are drinking
and quarrelling about women. The previous evening, on a bet, they had ridden to
Rome to see if their wives were being faithful in their absence. The only one who
was at home behaving properly was Collatinus’ wife, Lucretia.
Tarquinius taunts Junius for his wife’s infidelity; Junius angrily retorts that the
unmarried Tarquinius knows only the constancy of whores. Collatinus intervenes
and proposes a toast to Lucretia. Shortly after, Collatinus leaves for bed.
The ambitious Junius continues to brood about his own wife’s infidelity and the
political advantage that Collatinus may gain because of Lucretia’s good reputation.
Junius keeps insisting to Tarquinius that women are chaste when they are not
tempted, challenging Tarquinius to put Lucretia’s fidelity to the test. Provoked by
Junius’ challenge and increasingly intrigued by the beautiful Lucretia, Tarquinius
declares that he will prove Lucretia chaste. He calls for his horse.
In an interlude containing some of the most energetic music of the opera, the
Chorus describes Tarquinius’ ride through the night to Rome.
14

Act 1, Scene 2
Lucretia’s home. Lucretia is sewing
while her servants Bianca and Lucia are
spinning. Lucretia imagines she hears a
knock and hopes it is a messenger from
Collatinus. But no one is at the door.
Lucretia laments, How cruel men are to
teach us to love! only to ride away while
we still yearn.
The three women prepare for bed as the
Choruses describe the sleeping city and
Tarquinius’ arrival in Rome. The Choruses
continue to describe what is happening
as the characters mime the actions.
Tarquinius’ loud knock at the door is
too late for a messenger and too loud
for a friend. He is admitted and asks
for a room for the night. The women
reluctantly comply, as etiquette compels
what discretion would refuse.
They all bid one another good night and
depart for bed.
Classical
pecmusicfestival.com
SEPTEMBER
Act 2, Scene 1
The Choruses describe the violence of the Etruscans and the increasing unrest
and resentment of the Romans. They reiterate their roles as Christian interpreters
of the action.
In her bedroom, Lucretia is asleep with a candle beside her. The Female Chorus
sings a lullaby: She sleeps as a rose upon the night. Tarquinius’ approach is
described by the Male Chorus. The prince admires Lucretia’s beauty and urges
her to wake up. He kisses her, and to the crack of a whip, she wakes.
Lucretia asks, What do you want with me?
Tarquinius: What do you fear?
Lucretia: You! In the forest of my dreams you have always been the Tiger.
They argue and struggle as the Choruses add their comments. Finally Tarquinius
draws his sword and rapes her.
In an interlude, the Choruses comment on virtue assailed by sin and pray to Mary,
the Mother of God.
Act 2, Scene 2
In the hall of Lucretia’s home, Bianca and Lucia sing Oh! What a lovely day! as
they arrange flowers, leaving the orchids, Collatinus’ favourite flower, for Lucretia
to arrange. Lucretia enters in a daze and becomes hysterical when Bianca gives
her the orchids. She tells Lucia to send one of the flowers to Collatinus with a
message that a Roman harlot sent it.
15

She then twines the remaining flowers into a wreath. As Bianca begins to
grasp what has happened, she tries, too late, to stop the messenger. However,
Collatinus arrives almost at once, accompanied by Junius, who has warned him
that Tarquinius left the camp the night before and returned at dawn.
Lucretia enters dressed in mourning. She and Collatinus speak of their deep love,
and Lucretia tells him that Tarquinius raped her. Although Collatinus assures her
that there was no shame since she had not consented, she seizes a sword and
stabs herself to death: See, how my wanton blood washes my shame away!
All present, including the Choruses, sing a lament. Junius, ever ambitious, seizes
the opportunity to address the crowd outside, inciting the rebellion that will follow:
Romans, arise! See what the Etruscans have done!
The lament continues: So brief is beauty. Is this it all? It is all.
Epilogue
The Female Chorus repeats the question: Is it all?
In answer, the Male Chorus sings of Christ’s forgiveness:
It is not all …
Though our nature’s still as frail
And we still fall …
He bears our sin
And does not fall …
And then forgives us all …
He is all!
Synopsis courtesy of Pacific Opera Victoria
This Toronto Summer
Music presentation
is based on an
original Banff Centre
production with
staging from Paul
Curran, original set
and costume designs
by Camellia Koo and
lighting by Jason
Hand.
16

Thank You!
This evening’s performance of The Rape of Lucretia marks the return of Opera
to Toronto Summer Music. We are grateful to the following individuals whose
support has allowed us to make this presentation possible.
Dr. Elizabeth Kocmur
& James Baillie
Peter and Leslie
Barton
Larry Beare
Rosemary
Clark-Beattie &
Robert Beattie
Peter Becher
Angie Beck
Tracey Lawko &
Peter Blaiklock
Sherry Boeckh
Mark Wheeler &
Alexandra Brown
John Chong
Robert & Carolyn
DeMelo
Peter Douchanov
Ellen & Robert
Eisenberg
James M. Estes
Catherine G.
Fauquier
Stephen Grant &
Sandra Forbes
Laura Gainer
Sheila Goldenberg
Pauline Thompson &
Dr. Paul Gooch
Bryan & Mary
Graham
Beatrice De
Montmollin &
Lawrence Herman
William Hewitt
Helen Holtby
Kevin Kenney
William & Eva
Krangle
Jonathan Krehm
Glen Ladouceur
John B. Lawson
Elaine Ling
Karen Rice &
Douglas Ludwig
Harry & Ann
Malcolmson
Arleen & John
McCallum
Isolde Lagacé &
Douglas McNabney
Chris Seto & Angela
Montgomery
Krystyna Ostrowska
Malcolm Rains
Greg & Heather
Reed
Audrey Loeb &
David Ross
Dorothy Russel
Adele Salvagno
Andree Shore
Stephen &
Jane Smith
Jim & Kathie Spence
The Estate of James
Stewart
Edda Stockton
Dr. William Siegel &
Margaret Swaine
Iwona Tarasiewicz
Denise Ireland &
Harry Underwood
Miriam Varadi
Edward Waitzer
Roly B. Watt
Maryann Weston
Jack Whiteside
Martha Wilder
Diana Wiley
Norman Shulman &
Jan Wong
www.opera5.ca
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2016/2017
Boris Zarankin & Inna Perkis
FOUNDERS & ARTISTIC DIRECTORS
all concerts take place at TRINITY-ST. PAUL’s CENTRE, 427 Bloor St. West
s eason preview
september 18, 2016 3 PM
schubertiad:
4 MEMORIES
Maeve PALMER
Inna PERKIS
Giles TOMKINS
Boris ZARANKIN
november 13, 2016 3 PM
Igor GEFTER
Joni HENSON
Inna PERKIS
all concerts take place at TRINITY-ST. PAUL’s CENTRE, 427 Bloor St. Ernesto West RAMIREZ
Mark SKAZINETZKY
Boris ZARANKIN
russian salon:
4 SEASONS OF MOTHER RUSSIA
season preview
april 2, 2017 3 PM
a musical invasion of
Paris: THE MIGHTY 4
june 4, 2017 3 PM
tour de 4...ce!
BRAHMS Liebeslieder Waltzer
SCHUMANN Spanische Liebeslieder
Michèle BOGDANOWICZ
Lucia CESARONI
Adrian KRAMER
Peter McGILLIVRAY
Inna PERKIS
Boris ZARANKIN
Isabel BAYRAKDARIAN
Russell BRAUN
Inna PERKIS
Ernesto RAMIREZ
Boris ZARANKIN
Ilana ZARANKIN
for tickets and information, please call 416.466.1870
offcentremusic.com

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Reaching their Someday is music
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JUL
25
JAMIE BARTON IN RECITAL
Monday, July 25, 2016 at 7:30 pm
Koerner Hall
Jamie Barton, mezzo-soprano
Bradley Moore, piano
Joaquín Turina: Homenaje a Lope de Vega, Op. 90
I. Cuando tan Hermosa os miro
II. Si con mis deseos
III. Al val de Fuente Ovejuna
Ernest Chausson: Three Mélodies
Le Colibri
Hébé
Le Temps des Lilas
Franz Schubert: Four Lieder on texts by Goethe
Der König in Thule, D. 367
Gretchen am Spinnrade, D. 118
Schäfers Klagelied, D. 121
Rastlose Liebe, D. 138
INTERMISSION
Antonín Dvořák: Cigánske melódie (Gypsy Songs), Op. 55
I. Má píseň zas mi láskou zní
II. Aj! Kterak trojhranec můj přerozkošně zvoní
III. A les je tichý kolem kol
IV. Když mne stará matka zpívat, zpívat učívala
V. Struna naladěna
VI. Široké rukávy a široké gate
VII. Dejte klec jestřábu ze zlata ryzého
Arranged by Harry Thacker Burleigh: Swing Low, Sweet Chariot
Arranged by James Ivey: His Eye is on the Sparrow
Arranged by James Ivey: Ride on King Jesus
20

JAMIE BARTON, MEZZO-SOPRANO
Recipient of the 2015 Richard Tucker Award, mezzosoprano
Jamie Barton is also the winner of both Main and
Song Prizes at the 2013 BBC Cardiff Singer of the World
Competition, a winner of the 2007 Metropolitan Opera
National Council Auditions, and a Grammy nominee.
In the 2016/17 season, Ms. Barton returns to the
Metropolitan Opera for her role debut as Ježibaba in a
new production of Rusalka and as Fenena in Nabucco.
Both appearances will be simulcast in cinemas around the globe via the Met’s Live
in HD series. She sings her first Princess Eboli in Don Carlo in her Deutsche Oper
Berlin debut, makes her New York Philharmonic debut as Fricka in Das Rheingold,
and returns to Houston Grand Opera as Waltraute / 2nd Norn in Götterdämmerung.
Ms. Barton’s concert season includes her much-anticipated debut with the Atlanta
Symphony Orchestra in Elgar’s Sea Pictures, a work she also performs with the
Florida Orchestra. Other highlights include Mahler’s 3rd Symphony with the
Toronto Symphony Orchestra and a recital tour with James Baillieu, culminating in
her Wigmore Hall debut.
Bradley Moore, piano
Bradley Moore is Head of Music Staff at the Houston
Grand Opera, and Music Director of the HGO Studio.
In the coming season he will conduct the world
premiere of Laura Kaminsky’s Some Light Emerges
and performances of L’Elisir d’amore at HGO; he has
also conducted The Little Prince, Tosca and The Magic
Flute at HGO in recent seasons. He has conducted The
Crucible at the Miami Music Festival, Madama Butterfly
at the Castleton Festival, and Il Barbiere di Siviglia at Opera Colorado. He has been
an assistant conductor at the Metropolitan Opera, the Salzburg Festival, Opéra
National de Paris, the Canadian Opera Company, and the Los Angeles Opera. In
2014 he made his Met debut as the onstage pianist in Wozzeck.
Widely acclaimed as a recital partner, Mr. Moore recently appeared with Susan
Graham in venues including the Casals Festival and the Gilmore Festival. Last
year he and Jamie Barton were heard in recital at Oper Frankfurt, Zankel Hall at
Carnegie Hall, at the Kennedy Center, and several other venues; he also appeared
with Ms. Barton and Angela Meade in recital at the US Supreme Court.
Mr. Moore has been piano soloist with orchestras including the National
Symphony Orchestra and the Buffalo Philharmonic. He performed the Martinu
Harpsichord Concerto with the San Francisco Ballet for the world premiere of
Mark Morris’ Beaux, and has also been heard as a recitative accompanist and
continuo player with the Met Orchestra, the Wiener Philharmoniker, the Los
Angeles Philharmonic, and the Met Chamber Ensemble.
21

programme notes
A pillar of 20 th -century Spanish music, Joaquín Turina (1882-1949), born in Seville,
studied in Paris under d’Indy. He admired Franck and for a while was influenced by
the French academicism. But Albéniz and Falla persuaded him to seek inspiration
in Spanish folk music. Andalusian colours infuse his last song cycle, Homenaje a
Lope de Vega (1935), an homage to the great Spanish poet and playwright Félix
Lope de Vega (1562–1635). Its three love songs are exquisitely crafted, the vocal
line in particular possessing a rare simplicity and clarity.
Ernest Chausson (1855-1899) appeased his parents by studying law. He obtained
a doctorate and at 22 was sworn in as a barrister but never practiced, devoting
himself instead to a life in music. At the Paris Conservatoire he studied with Franck
and Massenet. Admired for his vocal music, “Le Colibri” (The Hummingbird) and
“Hébé” (Hebe), both composed in 1882, belong to Sept Mélodies, Op. 2. The
former, a naive love song, lilts gently in 5/4 metre. The latter assumes classical
restraint to depict Hebe, the goddess of youth and cupbearer to the gods on
Mount Olympus, whose exit symbolizes the passing of time. “Le Temps des
Lilas” (The Time of Lilacs), taken from the end of a sprawling work for voice and
orchestra, Poème de l’amour et de la mer (1882-93), expresses profound sadness,
its desolate conclusion, “our love is dead forever”, enough to extinguish all life.
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22

Franz Schubert (1797-1828) was the first major composer for whom the art
song became a focus of attention. In the process he elevated the genre from
the wings to centre stage. He wrote his first song at 15, his last a few weeks
before his death. In his output of over 600 he set 150 different poets including
some of the greats (Schiller, Goethe, Heine). Schubert’s songs are distinguished
by their sensitivity to the text; their sophisticated piano accompaniment, including
its dialogue with the voice; their expressive harmony; their dramatic conception;
and, their astounding variety. “Every one of his songs is in reality a poem on the
poem he set to music,” said his lifelong friend, Joseph von Spaun. Schubert’s 74
settings of Goethe include the four on this program, all written between 1814-16.
“Der König in Thule” (The King of Thule), a ballad from Faust in which Gretchen
reflects upon her first meeting with Faust, tells of a faithful king who gave his dying
mistress a golden goblet. “Gretchen am Spinnrade” (Gretchen at the Spinningwheel)
features the same protagonist but here in an agitated, impassioned state.
The lied’s fame derives from the novel use of a piano accompaniment figure that
serves two functions simultaneously: it depicts the circular motion of the spinning
wheel and also drives the drama, notable when it stops at “ah, his kiss!” The
through-composed “Schäfers Klagelied” (Shepherd’s Lament) flits through varied
moods and tempos, settling in despondency. “Rastlose Liebe” (Love without
Respite), meanwhile, embraces love’s contradictions with relentless arpeggios in
the accompaniment and a declamatory vocal style.
After completing his violin concerto in fall 1879, Antonín Dvorák (1841-1904)
turned to smaller works, including the cycle Gypsy Songs (1880), considered by
Great music
lives here.
BMO is proud to support the
2016 Toronto Summer Music Festival
London Calling.
23

many to be his finest. Certainly the nostalgic No. 4, “Songs my mother taught
me”, vies with Humoresque as the composer’s most popular creation. Alfred
Heyduk’s Czech poems were inspired by the gypsies of Slovakia. Dvorák had
the poet himself produce German translations that follow the metre precisely. In
German, then, the songs were premiered—by the Bohemian-born Gustav Walter,
tenor in the Vienna Court Opera—and first published. If they do not contain actual
gypsy melodies they do evoke related cultural references. No. 1, “My song of love
rings”, for instance, imitates the cimbalom in the accompaniment’s distinctive
trilling figure. The elegiac No. 3, “And the wood is silent all around” depicts
deep sorrow with a hint of Brahms. But No. 4, “Songs my mother taught me”,
out-Brahms Brahms in nostalgia, a heartfelt melody with sighing motives floating
in 2/4 above the gently rocking 6/8 rhythm in the piano: listen and weep. The
remaining three songs adopt shades of exuberance appropriate for texts that
address gypsy pride, a sentiment with which Dvorák could no doubt identify given
the suppression of Czech nationalist aspirations by the Hapsburg Empire.
“Even more than the incredible blues and jazz of black people,” writes the outspoken
American scholar and activist Cornel West, “the spirituals enact the initial ‘soulmaking’
of New World Africans.” The African-American spiritual, he continues,
“with its motifs of homelessness, namelessness, and hope against hope—is
the first modern artistic expression of this human outcry in the New World”. The
classic “Swing Low, Sweet Chariot” carries multiple meanings: God coming
to take an individual to Heaven or, in this world, to help find freedom in Africa or
Canada. “Ride On, King Jesus” speaks with a strength and confidence befitting
its subject matter. The 1905 Gospel
hymn “His Eye Is on the Sparrow”,
composed by Charles H. Gabriel on
lyrics by Civilla D. Martin, has long been
associated with Ethel Waters. More
recently it was recorded by Whitney
Houston on the soundtrack of the 2012
remake of the 1976 film Sparkle.
Copyright © 2016 Robert Rival | Robert Rival is a composer,
music writer & teacher. robertrival.com @robertrival
24

JUL
26
THE CORONATION OF KING GEORGE II
Tuesday, July 26, 2016 at 7:30 pm
Walter Hall
Daniel Taylor, conductor
The Choir and Orchestra of the Theatre of Early Music
Trumpet Fanfare
Procession of Drums
Hubert Parry: I was Glad
George Frideric Handel: A Grand Instrumental Procession
George Frideric Handel: The King Shall Rejoice (from the Coronation
Anthems)
Orlando Gibbons: Drop, Drop Slow Tears
Giovanni Pierluigi da Palestrina: Jesu, Rex Admirabilis
Henry Purcell: Remember Not, Lord
Henry Purcell: Hear my Prayer, O Lord
Hubert Parry: Jerusalem
John Tavener: Hymn to the Mother of God
George Frideric Handel: Zadok the Priest (from the Coronation Anthems)
Drum Solo
George Frideric Handel: Worthy the Lamb (from Messiah)
Please be advised there is no intermission for this evening’s concert.
25

DANIEL TAYLOR, CONDUCTOR
A Sony Classical artist, Daniel Taylor is sought-after for
his portrayals on the opera and concert stage, on cd/dvd
and in film. Appearing on more than 100 recordings, his
projects have been recognized by a GRAMMY as well
as with the JUNO, OPUS and ADISQ prizes. Daniel
Taylor is the founder and Artistic Director of the Trinity
Choir - “Four Thousand Winter” was their stunning
debut on SONY. His tireless curiosity, devotion to
classical music and passion have established himself as one of the leading up-andcoming
conductors in the period and modern fields. Daniel debuted as the first
Guest Conductor in the history of the Tallis Scholars - debuts followed with the
Kammerchor Stuttgart, the Musica Angelica Orchestra and the Gabrieli Consort.
He is also founder and Artistic Director of the Choir and Orchestra of the Theatre
of Early Music, with whom he continues to tour worldwide and has made many
award-winning recordings.
Theatre of Early Music
Founded by artistic director and conductor Daniel Taylor, the Theatre of Early Music
(TEM) are sought-after interpreters of magnificent yet neglected choral repertoire
from four centuries. Their appearances include stunning a cappella programs, with
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informing thought-provoking, passionate
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26

Daniel Taylor, artistic director & conductor
Alan Gallichan as the Archbishop
Bill Coleman as the King
CHOIR
Soprano
Alison Beckwith
Brenda Enns
Carrie Loring
Jennifer Madronich
Natalie Mahon
Ellen McAteer
Bronwyn
Thies-Thompson
Alto
Simon Honeyman
Peter Mahon
Victoria Marhsall
Tenor
Larry Beckwith
Asitha Tennekoon
Cory Knight
Paul Ziadé
Bass
Alex Dobson
Sean Nix
Paul Oros
Cairan Ryan
ORCHESTRA
Chris Verrette, first violin
Julie Wedman, second violin
Matt Antal, viola
Felix Deak, cello
Gillian Howard, first oboe
Daniel Brielmaier, second oboe
Matthew Larkin, organ
Norm Engel, first trumpet
Shawn Spicer, second trumpet
David Campion, percussion
Check out our Shuffle Concerts and free daytime lectures,
masterclasses, and open rehearsals - full schedule at
torontosummermusic.com
27

programme notes
The Hanoverian King of England George I died on 11 June 1727 whilst on his way
back to his native Germany. His only son was proclaimed king three days later by
the Privy Council. Every monarch since William the Conqueror had been crowned
at Westminster Abbey, in a tradition stretching back to 1066. To crown England’s
new King George II a magnificent coronation service full of pomp, ceremony and
fine music
The Privy Council met three days after the death of the king but, with a new
monarch on the throne, there would have been many pressing matters of state
to which to attend. So it was nearly two months later, on 11 August, that the
coronation was first officially discussed. October 4th was proclaimed as the
date for the service. More detailed discussion was probably limited because the
Archbishop of Canterbury was away, convalescing from illness in Tunbridge Wells.
In his absence, it seems likely that the Lord Chamberlain and the Dean of the
Chapel Royal, Edmund Gibson (also Bishop of London), took it upon themselves
to make the practical arrangements.
Much of the music to be performed would, following established tradition, have
been taken from that performed at previous coronations. The commissioning of
any new compositions for the service would normally have been entrusted to
the Organist and Composer of the Chapel Royal, but disaster struck when, on
14 August, the incumbent of that post, William Croft, died. On 18 August the
Bishop of Salisbury recommended
that Maurice Greene succeed, but his
appointment was not officially confirmed
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until 4 September, by which time
arrangements for the coronation would
have been well under way. In any case, it
seems that the king had already made up
his own mind, and on 9 September the
newspapers announced that ‘Mr Hendel,
the famous Composer to the opera, is
appointed by the King to compose the
Anthem at the Coronation which is to
be sung in Westminster Abbey at the
Grand Ceremony’. Handel seems actually
to have been commissioned to write
not one, but four new anthems for the
occasion.
Final preparations for the coronation day
start early in Westminster Abbey. The
last items are placed in their positions:
the ampulla is filled with oil, and laid on
the altar with its ceremonial spoon. The
congregation of the great and the good
take their seats, filling every corner of
this most impressive of Gothic abbeys.
28

Special galleries have been constructed to add extra seats. Our listening position
is that of a privileged attendee, placed near the altar at the east end of the abbey:
the preparations at the west door, some hundred metres down the nave, thus are
heard in the distance. Looking upwards we see the astonishing vaulted ceiling, the
highest in England, stretching 31 metres above us. Outside, the architecture of the
west end is markedly different to that we know today, for the two west towers
which greet today’s royalty were only added by Nicholas Hawksmoor between
1735 and 1740.
The Archbishop and Choir form their procession outside the west door of the
abbey whilst they await the arrival by carriage of King George and Queen Caroline.
As they stand alongside the dean and officials of Westminster, the king and
queen’s own clergy and the choirs of both the abbey and the Chapel Royal, the
abbey’s great bell tolls, symbolically calling the congregation to the ceremony. The
royal procession is announced to the congregation by the first of many trumpet
fanfares, sounded by trumpeters of the Royal Household standing at both sides
of the abbey’s west end while the fanfare is followed by ceremonial drummers.
The young Scholars of Westminster School
had been granted the right by King James
II in 1685 to greet the new monarch as he
enters the Abbey. They now greet him with
their privileged: being scholars, they are
the only people to do so in Latin. Another
trumpet fanfare sounds as a preface to
the introit, performed by the combined
choirs of the abbey and the Chapel Royal
at the west door. In his capacity first as
organist at St George’s Chapel, Windsor,
and subsequently as one of the musicians
at the Chapel Royal, William Child
(1606–1697) had been organist at three
coronations during the previous century:
those of Charles II, James II and William
and Mary. The clergy and choir process up
the aisle through the vast congregation
whilst the orchestra plays Handel’s Grand
Instrumental Procession, later used as
the stirring overture to The Occasional
Oratorio. Archbishop Wake noted that the
anthem scheduled in the service paper to
greet the king and queen on their arrival at
their seats ‘was omitted and no anthem at
all sung ... by the Negligence of the Choir
of Westminster’, but Jonathan Smith
recorded that I was glad when they said
unto me was sung in a ‘full anthem’. Henry
Purcell (1659–1695), himself of course a
former organist of Westminster Abbey,
had written a fine setting of this text, from
Psalm 122, for the opulent coronation of
29

30
King James II in 1685; this evening’s concert offers two celebrated anthems by
the great composer. Anthems almost certainly still in the abbey library – though
perhaps already wrongly ascribed, as it was to remain for many years, to John
Blow.
During this anthem the king and queen pass through the main body of the abbey,
on through the choir, and up the steps to their positions at the east end where they
sit in chairs placed in front of, and below, the two thrones. They make their private
devotions. After the anthem is finished, the archbishop (on the occasion, but not
this evening) accompanied by the Lord Chancellor, Lord Great Chamberlain, Lord
High Constable and Earl Marshal) presents the new king to the people, asking if
they are willing to pay their homage to their monarch.
The archbishop is answered first by the assembled bishops, and then by the
peers and nobles, who ‘signify their willingness and joy, by loud and repeated
acclamations, all with one voice crying out “God save King George”’ Again, the
trumpets sound a fanfare in a royal salute.
For the singing of the litany, performed in the glorious setting by the former
Gentleman of the Chapel Royal, Thomas Tallis (c1505–1585), a bishop, wearing
his cope, kneels at a faldstool above the steps of the theatre. Gibbons, Tallis
and Purcell’s sublime compositions are haunting in their simplicity. With a nod
to the contemporary composers of today, Poston and Tavener provide echoes of
notes written in ancient times. The anointing of the monarch by the archbishop is
prefaced by the singing of the great hymn ‘Jerusalem’; in true Anglican tradition
the entire congregation of the abbey joins in.
That rousing hymn is followed by a work that has never been eclipsed as the
greatest of all coronation compositions, the only one to have been repeated at
every subsequent crowing of a British monarch: Handel’s extraordinary setting
of the Old Testament text from the First Book of Kings, Zadok the Priest. Its
opening instrumental prelude, commencing with a whispering arpeggionic piano,
is brilliantly orchestrated to create one of the most inexorable crescendos of the
whole canon of western music. In the two following sections Handel is at his most
regally ceremonial.
The king has been anointed on his head, breast and hands, and presented in a
series of spoken ceremonies with the spurs, sword, robe and orb of state. His
Investiture is prefaced by the presentation of two further tokens, a ring for the
fourth finger of his right hand, and two sceptres, one with a dove, the other with a
cross, placed respectively in his left and right hands. His Investiture is celebrated
by a trumpet fanfare, the solemnity of the moment enhanced by the addition of
timpani. The archbishop, standing in front of the abbey’s altar, takes up the crown
and blesses it. Assisted by the other bishops and by the Dean of Westminster,
the archbishop crowns King George. A trumpet fanfare rings out and the entire
congregation in the abbey, in a thrilling moment, ‘with loud and repeated shouts’
acclaim their new monarch. The instructions are simple: ‘The drums beat and the
Trumpets sound and all the People shout, crying out: God save King George. Long
live King George. May the King live forever!’ The archbishop presents the king with
a Holy Bible, signifying wisdom and law, and then blesses him.
The king is now crowned. The queen, who has sat silently through the ceremony
so far, must be anointed, given a ring, and then her crown, sceptre and ivory

od. Handel’s excerpt from Messiah “Worthy is the Lamb” is suitably celebratory
complete with soaring vocal lines and a dramatic pause before the final statement
“Amen”.
But as soon as the ‘Amen’ was uttered, the king and queen replace their crowns,
take up their sceptres again and return to their thrones for the final pageantry of
the occasion. The traditional trumpet call ‘Draw Swords’ sounds bu. The king and
queen are led into St Edward’s Chapel, where they put on their royal robes, made
of purple velvets, and the procession leads them back towards the outside world.
As the abbey’s great doors are thrown open, the king and his queen are greeted
not only by the pealing of the bells of Westminster Abbey but, on that signal, by
the extraordinary sound of the combined bells of all the churches of London co,
joyfully celebrating this most glorious of coronations.
Daniel Taylor After Robert King © 2014/2001
Many thanks to Robert King for his permission to quote his research and for his important work.
31

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JUL
27
A SHAKESPEARE SERENADE
Wednesday, July 27, 2016 at 7:30 pm
Walter Hall
Patrick Hansen, Music and Stage Direction
Michael Shannon, piano
Operatic Shakespeare
William Shakespeare: A Midsummer Night’s Dream, Act 3, Scene 1
Tytania: Vanessa Oude-Reimerink; Bottom: Geoffrey Penar; Fairies: Simone
McIntosh, Rose Naggar-Tremblay, Rachel Krehm, and Ana Toumine
Benjamin Britten & Peter Pears: A Midsummer Night’s Dream,
Tytania’s aria (1960)
Tytania: Vanessa Oude-Reimerink; Bottom: Geoffrey Penar
Shakespeare: The Tempest, Act 3, Scene 2
Caliban: Kevin Myers; Stephano: Zachary Rubens; Trinculo: Russell Wustenberg
Lee Hoiby & Mark Shulgasser: The Tempest, “Be not afeard” (1986)
Caliban: Kevin Myers; Offstage chorus: Ladies of the Company
Shakespeare: Otello, Act 3, Scene 3
Desdemona: Samantha Pickett; Emilia: Stephanie Kallay
Giuseppe Verdi & Arrigo Boito: Otello, “Salce” (1887)
Desdemona: Samantha Pickett; Emilia: Stephanie Kallay
Shakespeare: Romeo and Juliet, Act 4, Scene 3
Juliet: Rachel Krehm
Charles Gounod, Jules Barbier & Michel Carré: Roméo et Juliette, Poison
aria (1867)
Juliette: Rachel Krehm
Shakespeare: The Merry Wives of Windsor, Act 2, Scene 1
Mrs. Ford: Ana Toumine; Mrs. Page: Simone McIntosh
Otto Nicolai & S. H. Mosenthal: Die Lustigen Weiber, Letter duet (1849)
Mrs. Ford: Ana Toumine; Mrs. Page: Simone McIntosh
33

Giuseppe Verdi & Arrigo Boito: Falstaff, Letter quartet (1893)
Alice Ford: Samantha Pickett; Meg Page: Erin Lawson; Nanetta: Vanessa
Oude-Reimerink; Dame Quickly: Rose Naggar-Tremblay
INTERMISSION
Sonnets and Songs: A Shakespeare Serenade
The Tempest
Michael Tippett: Songs for Ariel
Come unto these yellow sands
Shakespeare: Sonnet 116
Stephanie Kallay, mezzo
Russell Wustenberg
Twelfth Night and As You Like It
Roger Quilter: 3 Shakespeare Songs, Op. 6
Come away death
Kevin Myers, tenor
O mistress mine
Aaron Sheppard, tenor
Blow, thou winter wind Russell Wustenberg, tenor
Shakespeare: Sonnet 60
Rachel Krehm
Twelfth Night
Erich Korngold: Songs of the
Clown, Op. 29
Come away death
Adieu, good man devil
Hey, Robin
For the rain, it raineth
everyday
Shakespeare: Sonnet 94
Rose Naggar-Tremblay, mezzo
Erin Lawson, mezzo
Zachary Rubens, tenor
Rachel Krehm, soprano
Zachary Rubens
Otello
Erich Korngold: Desdemona’s
Song, Op. 31
Shakespeare: Sonnet 29
Ana Toumine, soprano
Geoffrey Penar
Much Ado About Nothing
Virgil Thomson: Sigh no more,
ladies
Shakespeare: Sonnet 54
Vanessa Oude-Reimerink,
soprano
Keith Lam
34

Twelfth Night, Gentlemen of Verona, Cymbeline, and As You Like It
Gerald Finzi: Let Us Garlands Bring
Come away death
Who is Silvia?
Fear no more the heat o’ the sun
O mistress mine
It was a lover and his lass
Bruno Roy, baritone
Samantha Pickett, soprano
Keith Lam, baritone
Simone McIntosh, mezzo
Geoffrey Penar, baritone
Shakespeare: Sonnet 18
The Merchant of Venice
Ralph Vaughan Williams:
Serenade to Music
Simone McIntosh
The Company
We sincerely thank Priscilla Wright for sponsoring this evening’s performance.
PATRICK HANSEN,
Music and Stage Direction
Patrick Hansen continues his unique career throughout
North America as an operatic conductor, vocal coach,
and stage director. Currently he is the Director of Opera
Studies at the Schulich School of Music of McGill
University in Montreal, Quebec. His stagings have
garnered praise in both Canada and the United States.
For his conducting of Bartok’s operatic masterpiece
Bluebeard’s Castle, New York Times critic Anthony Tommasini praised his “lithe
pacing and vivid colors” while Pulitzer prize-winning Financial Times critic Martin
Bernheimer wrote “Hansen respected the delicate balance between passion and
introspection. He made much of Bartok’s epic essay in psycho-sexual angst.”
Mr. Hansen has been on the musical staffs of the Lyric Opera of Chicago, Pittsburgh
Opera, Tulsa Opera, Opera Memphis, Des Moines Metro Opera, Ash Lawn Opera,
The Juilliard Opera Center, and Glimmerglass Opera as well as being the Director
of Artistic Administration for Florida Grand Opera during the opening of the halfbillion
dollar downtown Miami arts centre.
The former director of the Young American Artist Program at Glimmerglass Opera,
Mr. Hansen recently presented masterclasses and coachings with the Young
Artists of Virginia Opera and returned to the Kennedy Center for his fourth collaboration
as stage director with the Washington Chorus’ “Essential Verdi”. Future
productions include directing Handel’s Alcina for Opera McGill, Die Zauberflöte for
Fargo-Moorhead Opera, and conducting Die Fledermaus for Opera McGill’s 60th
Anniversary Season. In March of 2017, he will produce the world’s first “Opera
Binge Festival” in Montreal: Seven different operas performed in five different
venues in just 24 hours!
35

36
MICHAEL SHANNON, piano
London, Ontario native Michael Shannon, a recent
graduate of the Canadian Opera Company’s Ensemble
Studio, is now a COC music staff member. This upcoming
2016/17 season, he joins the music staff for The Magic
Flute, Tosca, as well as a recital with critically acclaimed
American tenor, Issachah Savage.
Michael began his eclectic musical interests at age
three studying piano, with further studies in violin, viola,
and voice. He has played for numerous operas while
studying voice at McGill University and spent three summers at Opera NUOVA
with Michael McMahon and at the Brevard Music Center with Patrick Hansen.
Michael is a proud alum of the Merola Opera Program at the San Francisco Opera,
where he was répétiteur and continuo player for their 2013 production of The
Marriage of Figaro, conducted by Xian Zhang.
Stephanie Kallay, MEZZO
Stephanie Kallay is making a vibrant impact on the
Canadian performing arts and opera scene as an aspiring
musician and an accomplished mezzo-soprano. She
first fell in love with opera while performing with the
Canadian Children’s Opera Company in Toronto. She
later went on to study opera and voice performance,
recently achieving her Masters of Music from McGill
University. Through her training and experience,
Stephanie developed an extensive resume of operatic
roles, chorus work and solo concert repertoire. Her performance credits include
Nancy in Albert Herring, Cherubino in Le Nozze di Figaro and Prince Orlovsky in
Johann Strauss’ Die Fledermaus, as well as alto soloist in concert settings of
Haydn’s Missa in Augustii and Pergolesi’s Maginifcat. In addition to the standard
operatic repertoire, Stephanie has also appeared in world premiere performances
of works by Canadian composer Andrew Ager, including Wings of a Dove and Die
Führebunker.
Rachel Krehm, SOPRANO
Soprano Rachel Krehm has been praised for her “lovely
radiant voice” (Opera Canada). She is the co-founder and
General Director of Toronto based Indie opera company,
Opera 5. Opera 5 just closed out a highly successful
season ending with a production of and immersive
production of Die Fledermaus that was met with sold
out audiences and high critical acclaim. Highlights this
season include a Family and Pops shows with the
Kingston Symphony Orchestra, Lieder eines fahrenden
Gesellen with the Las Vegas Young Artists Orchestra, Mahler 2 with Canzona
Chamber Players Orchestra, Mozart’s Regina Coeli with the Kingston Chamber
Choir and Rosalinde in Die Fledermaus with Opera 5. We sincerely thank Jonathan
Krehm for sponsoring Rachel Krehm’s performance this evening.

Keith Lam, BARITONE
Toronto baritone Keith Lam was described as “a suave,
fine grained baritone” by the Boston Globe. He was
most recently seen in Opera 5’s hit production of Die
Fledermaus as Dr. Falke and also in the role of Melisso
in Handel’s Alcina at Koerner Hall. Last season, he
performed the role of Don Basilio in Rossini’s Il Barbiere
di Siviglia at the Brott Music Festival. Keith has made
appearances with companies such as Opera Atelier,
Against the Grain Theatre and Jeunesse Musicales
Canada. He is a member of the Tafelmusik Chamber Choir and also the casting
director of the Confidential Opera Project.
Erin Lawson, MEZZO
Praised for her beautiful lyric mezzo-soprano voice
(Opera Canada), and coloratura to die for (Hamilton
Spectator), mezzo-soprano Erin Lawson is attracting
attention on opera and concert stages across Canada.
With a voice that shows an exceptionally strong core,
Ms. Lawson is equally at home on oratorio and concert
stages. Recent operatic highlights include Marcellina in
La Nozze di Figaro with Pacific Opera Victoria, Emilia in
Otello with Calgary Opera and Pitti-Sing in The Mikado
with Edmonton Opera. She is an alumnus of Calgary Opera’s Emerging Artist
Program and Pacific Opera Victoria’s Resident Artist Program. We sincerely thank
Françoise Sutton for sponsoring Erin Lawson’s performance this evening.
Simone McIntosh, MEZZO
Simone McIntosh, mezzo-soprano, is currently
completing a Master’s in Voice/Opera at McGill
University and holds a Bachelor of Music in Opera from
the UBC. Throughout her Bachelor Degree at UBC,
McIntosh performed leading roles such as Giulietta
(Les Contes d’Hoffmann), the Fox (The Cunning Little
Vixen), Alexander Jr. (The Inventor, by Bramwell Tovey),
and Harry (Albert Herring). During the 2014/15 season,
McIntosh resided in Toronto, where she performed the
title role in Béatrice et Bénédict with MY Opera. McIntosh finished the season in
a premiere of James Rolfe’s Crush at The Banff Centre of Performing Arts in the
leading role, Donna. In the 2015/16 season, McIntosh performed Meg in Little
Women through Opera McGill. Later, she performed the Soprano Solo in Mozart’s
Regina Coeli K. 127 with the Windsor Symphony Orchestra. The participation of
mezzo-soprano, Simone McIntosh is arranged by permission of Canadian Actors’ Equity.
37

Kevin Myers, tenor
Kevin Myers, tenor, was born and raised in Deep River,
Ontario and studied voice there with Peter Morris. He
completed his undergraduate and graduate degrees
at McGill University, where he studied with Stefano
Algieri and Sanford Sylvan. Highlights from his time at
McGill include many roles with the opera program under
the direction of Patrick Hansen; namely Don Ottavio,
Lysander and Tamino. From 2014 to 2016 Kevin was part
of Calgary Opera’s Emerging Artist program and was
lucky to sing or cover in every main stage production. Kevin’s upcoming schedule
includes Fenton in Verdi’s Falstaff at Manitoba Opera and Pang in Puccini’s Turandot
at Calgary Opera.
Rose Naggar-Tremblay,
SOPRANO
Recently nominated for the Wirth vocal prize competition,
the Canadian mezzo-soprano Rose Naggar-Tremblay
started her vocal training at the école préparatoire de
musique de l’UQAM at the age of 12. She began to
study acting and dancing at an early age, performing
roles such as Métella in La vie parisienne, Cupidon in
Orphée aux enfers and Cherubino in Le nozze di Figaro.
After her DEC in music at the Cegep de St-Laurent, she
entered the voice performance program at McGill University in Winston Purdy’s
studio. Recent performances include roles such as Cecilia March in Adamo’s Little
Women, Unulfo in Handel’s Rodelinda and Cherubino in Mozart’s Le nozze di
Figaro. She will be performing Bradamante in Handel’s Alcina in November.
Vanessa Oude-Reimerink,
SOPRANO
Ontario soprano Vanessa Oude-Reimerink will be joining
Vancouver Opera’s 2016/2017 Yulanda M. Faris Young
Artist Program where she will perform the Sandman and
Dewfairy in Hansel and Gretel and make appearances
at the inaugural Vancouver Opera Festival. Vanessa was
a member of Calgary Opera’s Emerging Artist Program
where she made her debut as Barbarina in Le Nozze di
Figaro. This past season, Vanessa made debuts with
the Toronto Summer Music Festival as Cathy in The Last Five Years, FestivalOpéra
St. Eustache in the title role of Viardot’s Cendrillon and Edmonton Opera as Frasquita
in Carmen. Other roles include Tytania, Susanna, Pamina, Miss Wordsworth,
Clara in The Light in the Piazza, Rapunzel in Into the Woods, and the Canadian
première of Volpone by John Musto. Vanessa holds a Master’s Degree from the
Schulich School of Music at McGill University, where she studied with Sanford
Sylvan.
38

Geoffrey Penar, BARITONE
Geoffrey Penar is a bass baritone hailing from Burlington,
VT and a product of Eastman and McGill. He most
recently appeared in Toronto with Opera 5’s production
of Die Fledermaus as Frank. Other recent credits include
Papageno from Mozart’s Die Zauberflöte with Pacific
MusicWorks, Guglielmo from Mozart’s Così fan tutte
with the Peoria Symphony, Tarquinius from Britten’s The
Rape of Lucretia with Green Mountain Music Festival,
and Count Almaviva from Mozart’s Le Nozze di Figaro
with Hubbard Hall Opera.
Samantha Pickett, SOPRANO
Soprano Samantha Pickett is from Kitchener, Ontario
and is a recent Masters of Opera and Voice graduate
at McGill University (Montreal, QC), where she studied
with Professor Sanford Sylvan. Miss Pickett is joining
the Canadian Opera Company’s Ensemble Studio
for the 2016-2017 season. Her engagements include
understudy for the roles of Third Norn and Gutrune in
Götterdämmerung, and chorus in Louis Riel and Tosca. In
the summer of 2015, Miss Pickett debuted at the Banff
Centre in the world premiere of Crush, performing the role of Anna. Engagements
with Opera McGill included Contessa Almaviva in Le Nozze di Figaro, La Ciesca
in Gianni Schicchi, Elle in La Voix humaine, as well as understudy for the title role
in Suor Angelica. Miss Pickett’s other recent roles include Micaëla in Carmen and
Donna Elvira in Don Giovanni (Opera NUOVA), Countess Almaviva and Marcellina
in The Marriage of Figaro, and Die Erste Dame in Die Zauberflöte (Opera Laurier).
Miss Pickett is a recipient of a Joseph Armand Bombardier Master’s CGS Grant,
courtesy of the Social Sciences and Humanities Research Council.
Bruno Roy, baritone
A native of the Montreal area, baritone Bruno Roy is
equally at home on the operatic stage and in concert.
He completed his Master of Music under the tutelage of
Ben Heppner and Winston Purdy at McGill University. In
November 2016, he came in third place at the Canadian
Opera Company’s annual Centre Stage competition,
whose finalists were taken from a pool of nationwide
applicants. Operatic credits include John Brooke in Little
Women, Belcore in L’elisir d’amore, Il Conte in Le Nozze
di Figaro (Opera McGill), Danilo in The Merry Widow (McGill Savoy Society) and
Mercutio in Romeo and Juliette (IVAI). He will be joining the Canadian Opera
Company’s Ensemble Studio in the fall of 2016.
39

Zachary Rubens, TENOR
Zachary Rubens is a tenor from Montréal, Québec who
recently completed his Bachelor’s Degree in Classical
Voice Performance at McGill University. He recently
performed the role of Aaron as well as Friar 1 in the 2016
Opera McGill double-bill production of Michael Ching’s
Speed Dating Tonight and Buoso’s Ghost and in 2015
performed the role of First Shepherd in the Opera McGill
double-bill production of Blow’s Venus and Adonis and
Rameau’s Pygmalion. Zachary is also fond of art song
and has attended the Sankt Goar International Music Festival and Academy and
other summer programs. Zachary is a student of voice teacher Neil Semer.
Aaron Sheppard, TENOR
Tenor Aaron Sheppard hails from St. John’s,
Newfoundland. Sheppard is a current member of
the Canadian Opera Company Ensemble Studio, and
a previous member of the Young Artist Programs
at l’Opera de Montreal, and the Salzburg Festival.
Previous highlights include Kronprinz (Silent Night), Pong
(Turandot) and Hadji (Lakmé) with l’Opera de Montreal,
Pedrillo (Die Entfuhrung aus dem Serail) and Monostatos
(Die Zauberflöte) with the Salzburg Festival. Other
credits include Tamino (Die Zauberflöte), Ferrando (Così Fan Tutte), and Rinuccio
(Gianni Schicchi). Mr. Sheppard is also the winner of the Metropolitan Opera
National Council Auditions Western Canada Region, and a prize winner at the 2014
Canadian Opera Company Ensemble Studio Competition.
Ana Toumine, SOPRANO
Edmonton born soprano Ana Toumine is currently based
in Montreal where she is completing her Master’s
of Music in Opera and Voice performance at McGill
University under the creative eye of Dominique Labelle.
This year, she made two role debuts: as Mimí in La
Bohème at Opera Nuova, and Anna Glawari in The Merry
Widow with the McGill Savoy Society. In November,
Ana will be performing the title role of Alcina with
Opera McGill. Past awards include the North Dakota
district Metropolitan Opera National Council Auditions
Encouragement Award, as well as an Alberta Foundation
of the Arts Training and Career Development Grant.
Russell Wustenberg, TENOR
Growing up on his family’s thirteen acre farm in
Minnesota, Russell Wustenberg’s love of loud singing
grew unchecked. After finishing his studies at McGill
University, he has expanded his love of all things opera
by serving as the professional stage manager for Opera
McGill while concomitantly singing and directing. Last
40

seen performing here in Toronto, Russell gambled and flirted throughout Opera
5’s immersive production of Die Fledermaus, and then appeared in Minnesota as
the audience-guide for a site-specific Le Nozze di Figaro produced by Angels &
Demons Entertainment at the James J. Hill House. This fall, Russell resumes his
position with Opera McGill.
Shakespeare as source material for opera and song literature is a rich and wondrous
world, yet once one is past the famous works like Verdi’s Macbeth, Otello and
Falstaff or Gounod’s Romeo et Juliette, Bernstein’s West Side Story, or Finzi’s
song cycle Let Us Garlands Bring, the well of knowledge seems to dry up, at least
for many modern artists and audiences alike. Which is too bad because these two
huge – and formidable – “genres” of western civilization, the works of William
Shakespeare and the thousands of vocal works for the operatic stage and recital
hall are two of the major forces in our classical culture.
I write “formidable” because to come to know either of them takes a bit of
tenacity. Shakespeare is not just something to read, but to see and especially to
hear. To listen to Shakespeare’s text given voice is at the essence of beginning to
understand his works. Shakespeare’s texts open up vast worlds through poetry,
through the antiquated language one has to discover in order to understand its
meanings, through his genius for creating characters, and through his first-hand
knowledge of acting in live theatre. Additionally, it takes more than just watching
Branagh’s movie adaptation of Much
Ado About Nothing or seeing a live
Shakespeare-In-The-Park presentation
of King Lear to start to even begin to
know Shakespeare. It is a taste acquired
by many meals taken in the theatre, at
the cinema, and with the plays in hand,
reading them at leisure.
The same can be said for opera. This
acquired taste also comes at a price –
mainly in the time needed to digest not
just one opera, but 400 years of compositional
styles and theatrical conventions.
Just getting to know the myriad of
operatic adaptations of Shakespeare
(research puts it at close to 300 operas
based on his plays) can be a daunting
experience; from Purcell’s The Fairy
Queen to Salieri’s Falstaff to the French
and Italian 19 th century translations
on Shakespeare (including an Amleto
by Faccio in 1871 and a Hamlet by the
French composer Thomas just three
years prior), to the great Verdi trilogy, and
on into the 20 th century with Britten’s
Midsummer and now in the 21 st century,
programme notes
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41

42
with Ades’ The Tempest, operatic composers of all styles have chosen his stories
as inspiration for their libretti. Often these libretti were based on poorly translated
Shakespeare plays, and so the most important Shakespearean element, his words,
was literally lost in translation. What we are often times left with is the basic plot
and a handful of characters, many truncated down to just a few lines and filling
in during ensembles (witness tonight the difference in Emilia in Shakespeare’s
Othello versus the same scene in Verdi’s Otello.) For many Shakespeareans, they
are at a loss to understand the changes made to, for example, Gounod’s Romeo
and Juliet (the most grievous example being the end of the opera) yet at the same
time it might be hard for them to admit that perhaps Verdi’s Falstaff is a better
piece of theatre than Shakespeare’s The Merry Wives of Windsor.
One of the challenges we face in bringing the Shakespeare source directly to
opera, is its use of multiple languages which are sung in a very heightened fashion
accompanied oftentimes by huge orchestral forces. This can often have the effect
of removing Shakespeare’s text – already antiquated, foreign poetry – one further
step away from the modern audience. The Shakespearean source can get more
than a bit lost once it is translated into another language and then set into a musical
vocal line, often with other voices singing at the same time (something that does
not happen in a Shakespeare play – people take turns speaking!)
Yet for hundreds of years now, composers have turned to Shakespeare’s poetry,
particularly to the songs within the plays and to his Sonnets, for inspiration when
writing, especially song literature. With the rise of the British composers in the
early 20 th century – Quilter, Finzi, Britten, Vaughan Williams, coupled with the
plethora of American song composers who took to Shakespeare almost as often,
there are hundreds and hundreds of Shakespeare songs, choral pieces, ballets
and purely instrumental works (without texts) inspired by Shakespeare (from
Mendelssohn to Prokofiev.) The glaring omission is Mozart, who dabbled in the
idea of an operatic King Lear but never materialized. A loss, I think, due to his
death in his thirties. Perhaps if he had lived a few more years, we would have his
Lear, and a mad scene for Ophelia.
But what we have for tonight’s performance is an integrated two-part program.
The first half is Shakespeare side by side with its operatic treatment. Starting
with the almost word-for-word treatment by Benjamin Britten (the libretto that
he and his partner Peter Pears created together) and ending with two different
takes on the letter scene between Alice Ford and Meg Page (an operetta-like
duet in German and an expanded scene created by Boito for the magnificent
quartet by Verdi). This program was inspired by workshops between students
and guest artists at McGill University over two semesters. Professor Paul Yachin,
the Tomlinson Chair of Shakespeare at McGill, Paul Hopkins, actor and former
artistic director of Montreal’s Repercussion Theatre, and I – along with a number
of Shakespeare actors – spent multiple Saturdays investigating the connections
between Shakespeare and Opera. There is a six-part documentary on these
workshops that can be found on YouTube at: https://youtu.be/yVmF70SCDm8 (or
Google Shakespeare + Opera + McGill and enjoy!)
The second half of the program is a redux of a performance that I created three
years ago, also at McGill, in celebration of the 450 th anniversary of Shakespeare’s
birth in 1564. It is an evening of 16 staged songs by Tippet, Korngold, Quilter,
Thomson, and Finzi, interspersed with Shakespeare sonnets which culminates

in all 16 singers singing the original version of “Serenade To Music” by Vaughan
Williams. There are no characters, per se, but each of the singers interacts with
each other, falling in and out of love or reacting to the various texts. I chose multiple
different versions of the same text in order to showcase how different and varied
musical settings can affect Shakespeare’s text (for example, the three versions of
“Come Away Death”.)
The Quilter and Finzi cycles are probably the most famous (Finzi’s is dedicated to
Vaughan Williams) and needed to be included in any program of this type. I chose
to include the Korngold “Songs of the Clown” because they are mini-nuggets that
showcase his genius for creating concise sonic worlds in which Shakespeare’s
humorous texts can be revealed.
Program note by Patrick Hansen
Cue the lights. Raise the curtain.
With CIBC`s continued commitment to community development and the arts,
we are proud to support Toronto Summer Music. Together, we are creating
more vibrant communities across Canada.
Congratulations on your 11 th anniversary!
#FitsYourLife
CIBC Cube Design & “Banking that fits your life.” are trademarks of CIBC.
43

JUL
28
JONATHAN CROW AND CO.
Thursday, July 28, 2016 at 7:30 pm
Walter Hall
Jonathan Crow, violin
Bénédicte Lauzière, violin
Eric Nowlin, viola
Roberta Janzen, cello
Angela Park, piano
Wolfgang Amadeus Mozart: Violin Sonata No. 10 in B-flat major, K. 15
I. Andante maestoso
II. Allegro grazioso
Edward Elgar: Violin Sonata in E minor, Op. 82
I. Allegro
II. Romance: Andante
III. Allegro non troppo
INTERMISSION
Arnold Bax: Piano Quartet in one movement
Allegro moderato
Frank Bridge: Piano Quintet in D minor, H. 49
I. Adagio – Allegro moderato – Adagio e sostenuto
II. Adagio ma non troppo – Allegro con brio – Adagio ma non troppo
III. Allegro energico
This concert is being recorded for future broadcast by the CBC.
We sincerely thank Jones Collombin Investment Counsel for sponsoring Jonathan
Crow’s performances at the 2016 Festival.
44

Jonathan Crow, violin
The 2015/2016 season marks Canadian violinist Jonathan
Crow’s fifth season as Concertmaster of the Toronto
Symphony Orchestra. A native of Prince George, British
Columbia, Jonathan earned his Bachelor of Music in
Honours Performance from McGill University in 1998, at
which time he joined the Montreal Symphony Orchestra
as Associate Principal Second Violin. Between 2002
and 2006 Jonathan was the Concertmaster of the
Montreal Symphony Orchestra; during this time he was
the youngest concertmaster of any major North American orchestra. Jonathan
continues to perform as guest concertmaster with orchestras around the world,
including the National Arts Centre Orchestra, Pittsburgh Symphony Orchestra,
Mahler Chamber Orchestra, Filarmonia de Lanaudiere and Pernambuco Festival
Orchestra (Brazil).
Jonathan has performed as a soloist with most major Canadian orchestras
including the Montreal, Toronto, and Vancouver Symphony Orchestras, the
National Arts Centre and Calgary Philharmonic Orchestras, the Victoria and
Kingston Symphonies and Orchestra London, under the baton of such conductors
as Charles Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, Kent
Nagano, Mario Bernardi, and João Carlos Martins.
An avid chamber musician, Jonathan has performed at chamber music festivals
throughout North America, South America, and Europe including the Banff, Ravinia,
Orford, Domaine Forget, Seattle, Montreal, Ottawa, Incontri in Terra di Sienna,
Alpenglow, Festival Vancouver, Pernambuco (Brazil), Giverny (France), and String
in the Mountains festivals. He is also a founding member of the New Orford String
Quartet, a new project-based ensemble dedicated to the promotion of standard
and Canadian string quartet repertoire throughout North America. Jonathan is
currently Associate Professor of Violin at the University of Toronto.
Bénédicte Lauzière, violin
Described as “beautiful to watch and breathtaking
to hear” by the Guelph Mercury, violinist Bénédicte
Lauzière enjoys a prolific career on the Canadian stage
notably as concertmaster of the Kitchener-Waterloo
Symphony, but also as a soloist, chamber musician
and recitalist. She won numerous prizes and awards
including the Prix d’Europe 2014, the Michael-Measures
Award 2011, the Peter Mendell Prize 2010 as well as
a grant for professional musicians from the Canada
Council for the Arts. Ms. Lauzière was a laureate of the prestigious Stulberg
International String Competition in 2010 and won several first prizes in national
competitions. As a soloist, her recent performances include Ravel’s Tzigane with
the Kitchener-Waterloo Symphony in April 2016, Tchaikovsky’s Concerto in D major,
Op. 35 with the Kingston Symphony in January 2016 and Beethoven’s Concerto
in D major, Op. 61 with the Orchestre Symphonique des Jeunes de Montréal in
45

March 2015. She also had the great privilege of sharing the stage as a soloist with
the Quebec Symphony Orchestra and Yoav Talmi as well as with the Western
Michigan University Orchestra. Bénédicte obtained her Master of Music degree
from the Juilliard School in New York City in May 2014, where she studied with
Masao Kawasaki with the support of the Karl H. Kraeuter, H. & E. Kivekas and Starr
scholarships. She holds a Bachelor of Music degree from the Schulich School of
Music at McGill University, studying with Jonathan Crow as recipient of the Lloyd
Carr-Harris scholarship. She also studied with Helmut Lipsky at Conservatoire de
Musique de Montréal.
ERIC NOWLIN, viola
Violist Eric Nowlin has performed extensively throughout
the United States as well as abroad. Mr. Nowlin
won second prize in the 2006 Walter W. Naumburg
Competition, as well as first prize in the 2003 Irving
M. Klein International String Competition and the
2001 Juilliard Viola Concerto Competition. Mr. Nowlin
recently won the position of Principal Viola of the Detroit
Symphony, where he will begin in the 2016/17 season.
He is also the violist of the Opus Award winning and Juno nominated New Orford
String Quartet. He has participated in the Marlboro Music Festival and Ravinia’s
Steans Institute, and he received his Bachelor’s and Master’s Degrees from
The Juilliard School as a student of Samuel Rhodes. Mr. Nowlin is an Assistant
Professor at the Faculty of Music at the University of Toronto.
roberta janzen, cello
Winnipeg-born cellist Roberta Janzen performs as a
member of the Toronto Symphony Orchestra, a position
she has held for eleven years. Prior to that she was a
member of the Canadian Opera Company Orchestra and
appeared as acting principal cellist with the Manitoba
Chamber Orchestra and Les Violons du Roy. Ms.
Janzen has recorded for CBC Radio, CBC Records, and
REM (France). She enjoys many diverse collaborations
in Toronto’s chamber music scene appearing on numerous series with her
colleagues. As well she appears with her ensemble, The Lark Ensemble on their
newly-formed series at the Corkin Gallery in the Distillery. She has participated
in summer festivals at Tanglewood, Ravinia and the Banff Centre. She holds a
Doctorate from SUNY-Stony Brook where she was a student of Timothy Eddy,
and a Masters from New England Conservatory of Music where she studied with
Laurence Lesser and Eugene Lehner. A recipient of numerous grants from the
Canada Council and the Manitoba Arts Council, Ms. Janzen performs on a cello
made in 1824 by Antonio Merighi.
46

Angela Park, piano
Canadian pianist Angela Park has received numerous
awards and prizes from major competitions, including
the International Grace Welsh Prize for Piano in Chicago,
World Piano Competition in Cincinnati, Canadian National
Music Festival, Honens International Piano Competition,
and the Maria Canals International Piano Competition.
She is a founding member of Ensemble Made In
Canada, the Mercer-Park Duo, and the Seiler Trio, and
regularly performs across Canada as well as internationally as soloist and chamber
musician. Angela was Visiting Assistant Professor of Music at Indiana University’s
Jacobs School of Music from 2011-2014, and is currently Artist-in-Residence at
Western University with EMIC.
programme notes
In 1763 Leopold Mozart took his family on a tour of Europe that would last three
years. He hoped to reap a fortune by showcasing his talented children, Marianne
and her younger brother Wolfgang (1756-1791). In spring 1764 they arrived in
London where they stayed for over a year. “It is hard to express which is more
astonishing,” read a typical concert announcement concerning the boy prodigy, “his
Execution upon the Harpsichord playing at Sight, or his own Composition.” While in
London Mozart composed six violin (or flute)
sonatas, dedicated to Queen Charlotte and
published as Op. 3, of which the charming
K. 15 is the last. “My boy knows in this his
eighth year what one would expect only from
a man of forty,” noted a proud father.
The piano part “requires much consideration
and advice” confided Edward Elgar (1857-
1934), an accomplished violinist but a lessskilled
pianist, in a letter to an organist
colleague about the Violin Sonata he
was writing in 1918. Ultimately it came
off brilliantly, its thin texture allowing the
violin sufficient space to breathe, unlike
the approach taken by many composerpianists
whose overwrought keyboard parts
drown out their partners. Thus Elgar turned
deficiency to advantage and seemed pleased
with the result, calling the piece “concise
and clear and passionate”. He composed the
sonata while living at a secluded cottage
in Sussex. “I have never seen anything so
wonderful as the sun climbing over our view
in golden mist,” he wrote. “I see now where
Turner found such sights as Norham Castle.”
From Vivaldi to a Kung Fu
mash up…all in one weekend.
SWEETWATER
MUSIC FESTIVAL
2016
SEPTEMBER 16 -18
Artistic Director Mark Fewer
has assembled a stellar line
up including
The Gryphon Trio
Aiyun Huang
James Campbell
Matthias Maute
offering an entirely new take
on classical and jazz music.
For full programme and
ticket details go to
sweetwatermusicfestival.ca
SWEETWATER MUSIC FESTIVAL is supported by
47

Elgar’s wife immediately heard a reflection of this landscape in the work-inprogress,
a certain “wood magic…so elusive and delicate”. That description seems
to fit the outer sections of the slow movement, a Romance, its quasi-improvised,
recitative-like utterances and pizzicato effects “most fantastic, and full of subtle
touches of great beauty”, according to violinist W.H. Reed, an Elgar collaborator.
The outer movements, meanwhile, tend toward the muscular. Reed singled out
the first movement’s “strong masculine theme, full of dignity and breathing of
open-air life”. Even so, a good deal of it inhabits a more restrained, delicate sound
world. Elgar described the last movement as “very broad and soothing”. It certainly
begins this way, but soon lurches into a passionate outpouring, joined near the
end by a quotation of a theme from the second movement. Reed described the
expansive ending as “a very lofty conception, gradually rising to a climax, the work
ending in a blaze”.
Arnold Bax (1883-1953) was the leading interwar British symphonist—at least
until nudged out in the 1930s by Walton and Vaughan Williams. Since that time his
music has fallen to the margins where it has sadly remained despite many faithful
advocates and availability through recordings. Alongside seven symphonies Bax
produced a sizeable body of chamber music. The First Symphony dates from 1922
as do the Oboe Quintet, the Viola Sonata and the Piano Quartet. The latter, in one
movement, begins with an arresting chord whose repetition establishes a martial
mood, whose meaning is illuminated in Bax’s program notes for Saga Fragment
(1933), his arrangement of the quartet for chamber orchestra: “… although the
music follows no detailed program, the title, suggesting violent and passionate
scenes in a Northern land, may evoke in the listener’s mind the ‘battles of long
ago’ of which the composer was thinking”. On Bax’s mind, too, no doubt, when he
wrote the quartet, was the immediate bloody turmoil in Ireland, a land and culture
for which he had developed a keen interest and close connection.
An exquisite craftsman and consummate musician, Frank Bridge (1879-1941) is
best known today through his only composition pupil, Benjamin Britten, who paid
tribute to his mentor with Variations on a Theme of Frank Bridge. Britten admired
the perennial elegance in Bridge, whose “inclination was instinctively towards the
French tradition of skill, grace and good workmanship”. Bridge played viola in the
leading English string quartets of his day. He was also a conductor valued for his
musicianship. Before the First World War his music bore the stamp of Brahms;
after, it came under the spell of a thorny modernism. The Piano Quintet dates
from the early period, its first version completed in 1905. But upon hearing it
Bridge shelved the piece until 1912 at which time he made drastic revisions: by
pruning large sections; by rendering the piano part more fluid, like Fauré’s; and,
in an artistic coup, by combining the separate slow movement and scherzo into
a single entity. The latter ingenious manoeuvre places a nimble, slightly sinister
scherzo in the middle, bound on either side by warm, slowly-moving music whose
reprise, in which a solo cello intones above piano block chords, bears a whiff of
Saint-Saëns’s late woodwind sonatas. The first movement follows a similar arc-like
design, its initial thunderous, chromatic bass line in the piano echoed at the end.
But for the most part a lush, Romantic texture and an impassioned mood prevail,
qualities embraced again in the finale where, in a nod to French cyclic tradition,
themes from the first movement are given new life.
Copyright © 2016 Robert Rival | Robert Rival is a composer, music writer & teacher. robertrival.com @robertrival
48

TORONTO SUMMER MUSIC FESTIVAL SUPPORTERS
Honorary Patrons
Don McLean, PhD
Dean, Faculty of Music, University of Toronto
Walter Homburger, C.M.
Alexander Neef
General Director, Canadian Opera Company
Peter Oundjian
Music Director, Toronto Symphony Orchestra
Dr. Peter Simon
President, The Royal Conservatory of Music
Patrons
William and Phyllis Waters
Founding Patrons
Jerry and Joan Lozinski, St. Joseph Communications, Philip and Maria Smith
Artistic Director’s Circle
Recognizing founding Artistic Director Agnes Grossmann and the extraordinary service of artists, faculty, staff, and volunteers.
2007 Raffi Armenian, John Swinden
2009 Donald Pounsett (1933-2015)
2010 Anton Kuerti , André Laplante, Menahem Pressler, Janos Starker (1924-2013)
2012 Roberta Albert, Barbara J. Thompson, Charles Pachter
2013 David Beach
2014 Dr. Peter Alberti
2015 Mebbie Black, Rayna Jolley, Adrienne Pollak
Silver Creek Circle
platinum ($100,000+)
George & Glenna Fierheller
Jim & Margaret Fleck
The Jackman Foundation,
courtesy of the Reverend
Edward J.R. Jackman
John B. Lawson
Joy Levine
Jerry & Joan Lozinski
Metcalf Foundation
Stephen & Jane Smith
Philip & Maria Smith
The Stratton Trust
William & Phyllis Waters
GOLD ($50,000+)
Anonymous
Grant & Alice Burton
Nelson Arthur
Acknowledging donors for their outstanding cumulative support since 2003
Hyland Foundation
James Norcop
The Estate of James Stewart
Jack Whiteside
SILVER ($15,000+)
Peter & Elizabeth Alberti
Peter & Jocelyn Allen
Agnes Grossmann &
Raffi Armenian
John & Jenny Balmer
Peter & Leslie Barton
David Beach
Bennett Family Foundation
Lisa Balfour Bowen
Beverley Hamblin & Peter
Brieger
Charles H. Ivey Foundation
Mary Louise Dickson
James M. Estes
Nona MacDonald Heaslip
Beatrice De Montmollin &
Lawrence Herman
Richard & Donna Holbrook
J.P. Bickell Foundation
William & Eva Krangle
Roy & Marjorie Linden
Che Anne Loewen
Wilmot & Judith Matthews
Rowley Mossop & Don Melady
Douglas McNabney & Isolde
Lagacé
Colleen Sexsmith
John & Helen Swinden
Charles Petersen & Riki
Turofsky
Denise Ireland & Harry
Underwood
The Browning Watt Foundation
PRIVACY POLICY: Your contact information will be used solely to provide you with your tickets and to keep you informed of other Toronto Summer Music
Festival events and fundraising opportunities. If you wish to be removed from our list, simply contact us by email at info@torontosummermusic.com or
phone at 647-430-5699.
49

50
Thank You!
The Toronto Summer Music Foundation’s annual individual donors and foundations are dedicated music
enthusiasts who make a valuable contribution to fostering excellence in performance for emerging professional
musicians and creating a music festival of the highest caliber for Torontonians and their visitors.
BENEFACTORS ($10,000+)
Anonymous*
Glenna & George Fierheller*
Jim & Margaret Fleck*
The Jackman Foundation,
courtesy of the Reverend
Edward J.R. Jackman*
Nelson Arthur Hyland
Foundation
Roy & Marjorie Linden*
Jerry & Joan Lozinski*
Metcalf Foundation
Stephen & Jane Smith+
The Estate of James Stewart
The Stratton Trust*
W. Garfield Weston
Foundation+
Jack Whiteside*
LUMINARIES ($3,000+)
Anonymous+
Anonymous
John & Jenny Balmer+
Peter & Leslie Barton+
Bob Beattie & Rosemary
Clark-Beattie+
Bennett Family Foundation
Catherine Bergeron+
Beverley Hamblin & Peter
Brieger+
Margaret H. Cameron+
Charles H. Ivey Foundation
John Chong+
Mary Louise Dickson+
James M. Estes+
David & Pat Foley
Sandra Forbes & Stephen
Grant+
Bryan & Mary Graham+
Nona MacDonald Heaslip+
Beatrice De Montmollin
& Lawrence Herman
William & Eva Krangle
John B. Lawson+
Joy Levine
Elaine Ling+
Wilmot & Judith Matthews+
McCarthy Tétrault
Foundation
Dr. Don Melady
& Mr. Rowley Mossop
Kathleen & Brian Metcalfe+
James Norcop
Colleen Sexsmith
Sandra Simpson+
Mary Jane Stitt+
Denise Ireland & Harry
Underwood+
The Browning Watt
Foundation+
Women’s Musical Club of
Toronto Foundation+
RISING STARS ($1,000+)
Peter & Elizabeth Alberti+
Chris & Suzanne Armstrong
Thomas Beechy
Doug Bodley
Joseph & Deanne Bogdan
Lisa Balfour Bowen
Alexandra Brown
Ninalee Craig
Jeanie Davis
Patricia Jackson & Ramsay
Derry
Dan Bjarnason & Nance
Gelber+
Hal Jackman Foundation
Dianne Henderson
William Hewitt
Cornelia Schuh & Michiel
Horn
Michael & Linda Hutcheon
Mai Why & Peter Levitt
Anthony Lisanti
Ellen Richardson & Bruce
Little
Isolde Lagace & Douglas
McNabney
Roger Moore
Eileen Newell+
Stephen A. Otto
John & Maire Percy
Brayton Polka
Bob Presner & Lola
Rasminsky, in honour of
Bob Beattie
Adele Salvagno
David & Mary Saunders
Philip Somerville
Clarence & Arija Stiver+
Francoise Sutton
Lisa & Bill Teskey
William & Phyllis Waters
Diana Wiley+
Norman Shulman & Jan
Wong
ASSOCIATES ($500+)
Anonymous, in memory of
James C.S. Wernham
Robert & Mary Catherine
Acheson
Clive V. Allen
Dr. Elizabeth Kocmur &
James Baillie
Mary Balfour
Richard J. Balfour
Rosemary Clark-Beattie &
Robert Beattie
Peter Becher
Angie Beck
David & Kathleen Black
Betty & Bob Calvin
Natasha Bood & Stephen
Carlini
John & Theresa Caldwell
Jack Cashman & Frances
Carmichael
John & Catherine Conforzi
Robert & Carolyn DeMelo
Peter Douchanov
Ellen & Robert Eisenberg
Danielle Fraser & Gordon
Fulton
Hugh Furneaux & Penny Fine
John & Encarnita Gardner
Kevin & Roger Garland
Judith Gelber
Pauline Thompson &
Dr. Paul Gooch
Helen Holtby
William Johnston, in honour
of Bill & Eva Krangle
Margie Kelk
Kevin Kenney
Judy Korthals & Peter Irwin
Terence Corcoran & Claudia
Krawchuk
Jonathan Krehm
Jooyun Kwan
Glen Ladouceur
Diane Loeb
Harry & Ann Malcolmson
Eleanor McCain
Arleen & John McCallum
John D. & Esther McNeil
Gary L. Miles
Chris Seto & Angela
Montgomery
Steve Munro
John & Sarah Nagel
Simon Nyilassy
John & Mitzi Pepall
Malcolm Rains
Greg & Heather Reed
Thomas & Helga Reed
Audrey Loeb & David Ross
Beverly & Fred Schaeffer
Dawn Marie Schlegel &
Darryl Matthews
Harry & Lillian Seymour
Donald & Elizabeth Smith
Jim & Kathie Spence
Edward & Jane Stephenson
Dr. William Siegel &
Margaret Swaine
Susanne Tabur
Ross Tucker
Charles Petersen & Riki
Turofsky
Edward Waitzer
Morden Yolles
FRIENDS ($250+)
Anonymous(3)
Lorne & Donna Albaum
Gerda Andersen
David Barrett
Larry Beare
Jane Knox & Harvey
Beresford
Peter Blaiklock & Tracey
Lawko
Sherry Boeckh
Patrick & Marilyn Brown
Denise Fujiwara & John M.
Campbell
Laurie & Chris Carter
Sydney Clark
John & Ruth Crow
Nancy Dillow
Jean Edwards
Cheryl Belkin Epstein &
Dr. Seymour Epstein
Catherine G. Fauquier
Laura Gainer
Holde Gerlach
Lorna Gladney, in honour of
Tom Gladney
Sheila Goldenberg
Frank White & Peter A.
Goulding
Jim Gregory
Susan & Greg Guichon
Peter A. Herrndorf
Lorraine Kaake
Anthony Keith
Gün Koleoglu
Janet & Bill L’Heureux
Vance Logan
Karen Rice & Douglas
Ludwig
Elizabeth Macmillan,
in memory of Charles E.
Hubley
Joanna Manning, in memory
of Josephine Giggins
Johanna Morgan
Heather Reid & Graham
Morris
Taketo & Vija Murata
Roald Nasgaard & Lori
Walters
James & Valda Oestreicher
Krystyna Ostrowska
Lorraine Paterson
Kenneth Read
Dorothy Russel
Nick & Lynn Ross Charitable
Foundation
Mr. & Mrs. Hart Sernick
Carlo Siccion
Gerald Sperling & Maggie
Siggins
Hume Smith
Edda Stockton
Patricia Stone
Iwona Tarasiewicz
Katherine Toksoy
Stephen Ralls & Bruce
Ubukata
Irene Van Cauwenberghe
Miriam Varadi
Lenore Walters
Maryann Weston
Martha Wilder
Roland & Marion Wilk,
in memory of Becky &
Derrick Dorn & George Wilk
Meg Wilson
SUPPORTERS:
Anonymous (13)
Anonymous - in memory of
Diana Knight
Doris Adler
Joan Hodges & Dominick
Amato
Margaret Bagshaw
Patricia Baker
Shari Baker
Dr. Jeannine Girard-Pearlman
& Dr. Alan Banack, in
honour of Bill & Eva
Krangle
Earl & Elizabeth Barnsley
Gillian & Ken Bartlett
Julia Bass & David
Hamilton

Irene Beinarovics
Allan & Freda Brender
Lorraine Butler
Laila & Paul Cakuls
Judith Chapman
Andrew Chase
Brian Clarke
Eli Clarke
Priscilla Chong
Karen Danylak & Aaron
Coholan
Amy Colson
Rimas Danaitis
John Davis
Andrea Diplock
Steven D Donohoe
Janet Douglas
Sherida Etherington
Gino & Jane Falconi
Corinne Farber
Steven Feldman
Tim Fourie
Grace & Bruce Galler
Ena & Gordon Garmaise
Virginia Gies
Andrew Gillespie
Hannah & Thomas Greiner
Ingrid Harms
Peter Hart
Ronald Haynes
Susan Hendry
Peter & Verity Hobbs
Frances Hogg
Phillip Jang
Norma Jansson
Susan & Don Johnston
Shelagh Johnston & Louis
Riley
Rayna Jolley
Giuliana Katz
Jasmine Kochar
Pauline Konviser
William & Eva Krangle,
in memory of Tamara
Schildkraut
William & Eva Krangle,
in honour of Frank & Milli
Richmond
Robert Lapper, Q.C.
Irene & Roger Lenney
Willadean Leo
David TW Leung
Edward & Myrna Levy
Venita Lok
Torry Lowenbach,
in memory of K. Janet
Ritch
Robert & Lynn MacIntosh
Lesley Maciver
Juleen Marchant
Judith Marshall
Janet Marson
Mary McClymont
Linda McFarlane
Peter & Jennifer
McGillivray
Rory McLeod
Lynn Mekinda
Janina Milisiewicz
Jo-Ann Minden
Catherine Mitchell
Larry Moore
Carl Morey
Mary Morrison
Marilynn Murphy
Stuart Mutch
Silvana Ness
Mark Nielsen &
Dr. Maryska Taylor
Jean O’Grady
Veronique Perez
Richard Phillips
Harold Povilaitis
Shirley Powis
Margaret Procter
Brian & Rochelle
Rabinowicz
Julie Rahn
Dr. John Stanley & Dr.
Helmut Reichenbächer
Gladys Richards
Brenda Rolfe
Lorna Rosenstein
Harriet Sakuma
David Sandler
Catherine Sandrasagra
Iain & Barbara Scott
Jeffrey Shaw, in memory
of Alyssa & Margaret
Shaw
Andree & Murray Shore
Judy Simmonds
Robert Simpson
Joseph So
Howard & Susan Swartz
Margaret Szucs
Nancy Thornton
Gerald L. Timmins
Diana Tremain
Lawrence A. Ward
Lyse Ward
Wilbert Ward
Michael Johnson &
Joseph Wearing
Barbara Wright-George
TSM Donors have directed their gifts in the following ways
* Mainstage Concert Sponsor + Academy Fellowship Sponsor
This list reflects donations received from July 21, 2015 to June 28, 2016. Despite efforts to avoid errors and omissions, mistakes can occur. Please notify us of any
errors at 647-430-5699. Toronto Summer Music Foundation is a registered Charitable Organization, Revenue Canada.
Corporate
Blakes
BMO Financial Group
Business for the Arts
CIBC
Jones Collombin
OLG
PwC
RBC Emerging Artists
Project
TD Financial
Special Thanks
Anders Azzopardi
Elizabeth Black
Eli Clarke
Stephen Clarke
Jonathan Crow
Olivia Cummings
Nina Draganic
Doug Fisher
Jenny Ginder
Mary Ann Griffin
Mike Haliechuk
Kevin Harris
Joel Ivany
Yara Jakymiw
Rayna Jolley
Eddie Kastrau
Joe Lesniak
Zile Liepins
Karen Lorenowicz
Jennifer Mak
Sam Marinucci
Patricia McKinna
Dan McKinnon
Dean Don McLean
Claire Morley
Marlene Murphy
James Norcop
Roberto Occhipinti
Sangjoon Park
David Perlman
Incredible Printing
Michael and Rosa Remenyi
Edie Shore
Stephen Smith
The Estate of James
Stewart
Riley Szulc
Susanne Tabur
Michael Tong, Sublime
Catering
The University Club
Yonge Bloor Bay Business
Association
The York Club
Heather Young
Rosy Zhang
Reception Hosts
Lawrence Herman &
Beatrice De Montmollin
William and Eva Krangle
John B. Lawson
Joy Levine
Jerry and Joan Lozinski
Remenyi House of Music
Billet Hosts
Darius Bagli
Peter and Leslie Barton
David Hamilton & Julia Bass
Bob Beattie & Rosemary Clark-Beattie
Lawrence Herman & Beatrice
de Montmollin
Jonathan Krehm
John B. Lawson
Joy Levine
Jos Lennards
Bruce Little & Ellen Richardson
Judith Marshall
Ulrich Menzefricke
Kathleen and Brian Metcalfe
Dr. Don Melady and Mr. Rowley
Mossop
Charlotte & Jerome Ryan
Gerald Sperling & Maggie Siggins
Volunteers
Anders Azzopardi
Maral Att
Patricia Baker
Mebbie Black
Lillian Bruno
Stefan Campana
Priscilla Chong
Marja Cope
Yolanda Croney
Carolyn Cruickshank
Karen Dorn
Christine Edwards
Susan Evans
Corinne Farber
Judy Gombita
Jennifer Guo
Leo Hekim
Alvin Ho
Daria Ilkina
Helen Ing
Norma Jacobson
Rayna Jolley
Etienne Kaplan
Lindy King
Eden Letrondo
Debbie Lim
Mary Liu
Yi Liu
Stephanie Matiz
Lynda Moon
Kenjiro Moore
Angela Pang
Adrienne Pollak
Marilyn Rinaldo
Carol Schaer
Joel Schaer
Evgeniya Sedletskaya
Judith Seifer
Victoria Shalygin
Jenny Shaw
Edie Shore
Thulacy Sriskantha
Mariana Strugarova
Rosalie Sussman
Nancy Thorton
Charlotte Tombs
Maria Wu
Yujia (Katherine) Zhu
51

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23

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Blue Engine String Quartet
December 15 - Gryphon Trio
January 26 - St. Lawrence String Quartet
February 16 - Eybler Quartet
March 2 - Prazak Quartet
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Piano Series
Tuesdays
October 25 - Janina Fialkowska
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