Volume 10 Issue 4 - December 2004

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DISCOVER YOUR POTENTIAL The North Toronto Institute of Music "How I met my Teacher" personal reflections on a formative relationship when music is a family affair Anna Madgett singer and music theatre performer compiled and edited by Masha Buell Private lessons in a wide variety of instruments including: epiano eguitar eviola eviolin •Cello •Saxophone •Clarinet eflute eaccordion Voice instruction Jazz Workshops Theory classes Acting and Scene study Pre-School classes Musical instruction by highly qualified teachers in the heart of Toronto Call Right Now! 416-488-2588 www.ntimusic.com Artist International Music and Dance Association seeks MUSICIANS between 17 and 35 to enter the 6th Annual MUSIC COMPETITION for Piano, Voice, Strings & Woodwinds Competition Dates: December 16 -18, 2004 Applications: Please send a resume, photo, and an Application Fee of $75 to: Artist International Music and Dance Association 1 Bowen Court, Toronto, ON M2K 3A8 Application Deadline: Dec. 15 Winners' Prizes: First $13,000; Second $5,000; Third $3,000 Grants of $500 will be given to all finalists, to be used at TSM. This year features the Maria Callas Award of $1,000 cash. A Concert of Finalists will take place December 18 at the Toronto Centre for the Arts. I The Toronto School of Music is currently looking for new f acuity members! (Canadians preferred) Phone: 416-260-1882 Fax: 416-260-9997 torontoschoolofmusic@canada.com wwwtorontoschoolofmusiccanada.com WWW. T H ::: ::: My name is Anna Madgeu and I am curremly starring as Sophie Sheridan in the hit musical "Mamma Mia!" playing at the Royal Alexandra Theatre in dowmown Toronto. I would like to share with you how I ·met' my lirst teacher, my mother. My mother is Canadian soprano diva Mary Lou Fallis and needless to say I come by performing honestly from having her as my morn. My mother was always very encouraging when it came to performing. I'd say that I've been working with my mother on singing since I was about six years old and I don't think I will ever stop learning from her. I grew up in the beaches area of Toronto and we had a huge back deck that my father (TQrOn· to Symphony double bassist) Peter Madgett built. When I was about six my friends and I thought it had a better use - a stage of course! We would perform our favourite cheesy pop songs and I had 10 be the lead singer. My girlfriends and I would perform these "concerts" for our parents. I would always ask my mother for criticisms and "notes"' on how 10 make the per- , formance beuer. I think the first time my morn realized that I was serious about performing was when I was seven years old and I heard a radio announcement for auditions for the musical "Les Miserables." I begged her to let me audition and linally she agreed. I ended up getting 1he part of young Co· sette. I would say that I owe it all to my mother. my teacher. She has taught me many tech· nical lessons to do with singing but I think the most impor1ant are the practical ones. One of the most memorable lessons I learned from her is how to stay focused and engaged while sing· MUSIC LESSONS www. music-lessons.ea +16-8)8-+906 •L.xcdlcnt Kates •Convenient location n,-.11 f'>.1tl1nbt ;·v c,t , L11r •Fnvate Instruction • ·"-,ll ·\T(• • -..:11 ,::,.1,, • \.ii ..,tqlc:' •', l H 111_.:,. [ fl
ing a song. She taught me to pick a focus point in ihe room such as an emergency exit sign , to keep yourself' grounded - it's something that I do even today when performing. I think the most important lessons I've learned from my morn were by example. I would watch her perform and learned how t0 carry myself . stand and look pro fes ional on stage. My mmher has also taught me discipline. Growing up I realized more and more that she had to make sacrifices to be s uccess ful. Alex Dean musician and educator Being a Jazz musician I had a lot of teachers, depending on my focus at the time. My father was a musician but mostly self-taught. So gelling a good grounding in the actual mechanics of playing the saxophone was important 10 him, I suppose because he never had that. He sent me to Paul Brodie when I wa s about 14. Paul was known and is still known as a great cla ssica l or European an music performer. I think I may have had some ability at the time but I had no concept of the discipline required 10 be a player and Mr. Brodie had to work preuy hard 10 instill that in me. I think as I look back now I probably had an auitude about being a jazz musician and nothing else. We worked our way I've learned a lot from just growing up with the parents that I was blessed with. Music was a huge pan of my life as a child and both my parents were nonjudgmental in my choice to become a performer even at such a young age. In closing, I would like to say that I think people can learn more from their parents than they think - no matter what career path they choose to follow. The lessons and advice that they have is more valuable than you know. through a lot of the standard repertoire for the saxophone over almost 6 years and he opened my eyes to a lot of stuff. I guess my most important Jazz music teacher after my farher would be Pat LaBarbera.I studied with him at Humber College but really I studied from him on his gigs. I would go to CONTINUES NEXT PACE lvtA'R]O'RIE SPARKS VOICE STUVIV t-!AF.]'01?.!£ Sf'A'RKS, SOPRANO 8.MUS. 8. 'EV. CLASSICAL TECHNIQUE PRIVATE VOICE LESSONS AT ALL LEVELS INSTRUCTIONS FOR UNIVERSITY AUDITIONS RCM EXAMS, COMPETITIONS AND PROFESSIONAL PERFORMANCES. FREQUE NT STUDIO RECITALS. WORKSHOPS - to train Music Teachers in a new way of Teaching Music with Colour '-'r
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Page 6 and 7: I • Martin Haselbock, conductor E
Page 8 and 9: Editor's 0 Reflections on "Family f
Page 10 and 11: As for french horn: that's where th
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Page 16 and 17: .. I 16 A Christmas Concert, under
Page 18 and 19: ( . ROBERT LOWREY Proudly Introduce
Page 20 and 21: " Gould • Studio , 99.1 CIC. radi
Page 22 and 23: fV?J' Lydia Adams, Conductor 26th S
Page 24 and 25: RIVERDALE YOUTH nNGER5 IS LOOKING F
Page 26 and 27: ENSEMBLE NOIR www.ensemblenoir.org
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Page 30 and 31: COMPOSER TO Composer Ajier a 111111
Page 32 and 33: }' cci&,-.-,Q> n1usic '5 Fine quali
Page 34 and 35: Violins, violas, cellos, and bows C
Page 36 and 37: y Sergei Prokofiev in French Opera
Page 38 and 39: Toronto Musicians Association News
Page 42 and 43: his gigs and ask him what he was do
Page 44 and 45: WE ARE ALL Music's CHILDREN by Mash
Page 46 and 47: ••• CONCERT LISTINGS: GTA to1
Page 48 and 49: • •• CONCERT LISTINGS: GTA Wa
Page 50 and 51: ••• CONCERT LISTINGS: GTA - B
Page 52 and 53: ••• CONCERT LISTINGS: GTA Ton
Page 54 and 55: ERROL GAY, MUSIC DIRECTOR AND CONDU
Page 56 and 57: • arnaaeus cnoir LYDIA ADAMS, CON
Page 58 and 59: ... CONCERT LISTINGS: GT A Wednesda
Page 60 and 61: • • • CON CERT LISTINGS: GT A
Page 62 and 63: ••• CONCERT LISTINGS: GTA - 3
Page 64 and 65: ••• CONCERT LISTINGS : GTA Si
Page 66 and 67: ... SOUTHERN ONTARIO, CONT I NUED K
Page 68 and 69: BEYOND THE GTA ••• SOUTHERN O
Page 70 and 71: In the Listings h\· Sophia Perlman
Page 72 and 73: ••• ANNO U NCEMENTS, LECTURES
Page 74 and 75: OPERA, CHORAL AND VOCAL MUSIC Ramea
Page 76 and 77: Biber - Requiem Gabrieli Consort &
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Page 80 and 81: Ediior's 01e: I was curious as to j
Page 82 and 83: CANADIAN John Etacio - Frenerg) Edm
Page 84 and 85: mainframe sounds from acoustic inst
Page 86 and 87: Taking a Chance on Love Jane Moohei
Page 88 and 89: The Mau in tl1e Red Suit .Joe Seal)
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Praetorius - Christmas Vespers Toro
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Ensemble recreates his Midnight Mas
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Select three shows: Motus 0 present
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lpod mini BV APPLE •349" 15"' ski
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Volume 10 Issue 4 - December 2004

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