Volume 20 Issue 1 - September 2014

KATIE CROSS PHOTOGRAPHYAnd beyond the GTA:Chris Ness, piano, and Janet Ness, vocals, will perform worksby Gershwin, Porter and Kern at Grace United Church, Barrie;September 10.Daniel Lichti, bass-baritone, will bethe soloist with the Nota Bene BaroqueOrchestra and Alison Melville, traverso, onSeptember 18 at noon. On September 25,also at noon, the tenor James McLeanand pianist Lorin Shalanko will perform.Both concerts are free, at the MaureenForrester Recital Hall, Wilfred LaurierUniversity, Waterloo.On September 14 at 2pm, CharlotteKnight, soprano, and Jonathan Dick, baritone,will perform Schubert’s Der Hirt aufdem Felsen as well as songs by Argentoand Bolcom and selections from My FairLady and The Phantom of the Opera.Michele Jacot is the clarinet soloist in theSchubert at Silver Spire United Church,St. Catharines.On September 15, the Kitchener-Waterloo Chamber Music Societywill present a concert in which the main work is Schoenberg’s PierrotLunaire. The soprano soloist is Rachel Krehm at the KWCMS MusicRoom, Waterloo.There will be a tribute to one of our most distinguished, andcertainly our most inventive, living composer R. Murray Schafer, inThe Barn at Campbellford on September 21 at 2pm. Donna Bennett,soprano, and Eleanor James, mezzo, will sing. The host will beBen Heppner.Rachel Krehm (left); EssentialOpera’s Erin Bardua (above)Two Postscripts:In 2012/13 the outstandingmusical event was theJanáček-Kurtág double billpresented by Against theGrain Theatre. After thatthere was a modern adaptationof Mozart’s Le Nozzedi Figaro, which I thoughtwas splendid in some parts,less successful in others. Buttheir latest offering this pastJune, Debussy’s Pelléas etMélisande, was a triumph.It is an opera I am very fondof but I have never seena production which wasas imaginative and whichwas sung with the intensitythat these performersbrought to it.In June I reviewed a newCD of Telemann’s operaMiraways. Since its publication Scott Paterson has pointed out to methat the main theme of one of its arias (“Ein doppler Kranz”) reappearsin an instrumental trio by Handel. The opera dates from 1728; theHandel trio probably from the early 1740s. Much has been writtenabout Handel’s borrowings but, as far as I am aware, this particularborrowing has not been noted before.Hans de Groot is a concert goer and active listenerwho also sings and plays the recorder. He can becontacted at artofsong@thewholenote.com.32 | September 1, 2014 – October 7, 2014 thewholenote.com