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Volume 26 Issue 7 - May and June 2021

Meet some makers (of musical things) - a live filmed operatic premiere of a Handel oratorio?; 20 years of Summer Music in the Garden, short documentary film A Concerto is a Conversation; choirs Zooming in to keep connection live; a watershed moment for bridging the opera/musical theatre divide; and more than 100 recordings listened to and reviewed since the last time.

Meet some makers (of musical things) - a live filmed operatic premiere of a Handel oratorio?; 20 years of Summer Music in the Garden, short documentary film A Concerto is a Conversation; choirs Zooming in to keep connection live; a watershed moment for bridging the opera/musical theatre divide; and more than 100 recordings listened to and reviewed since the last time.

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FEATURE<br />

Summer Music in the Garden Bids<br />

Farewell to Founding Artistic Director<br />

TAMARA BERNSTEIN<br />

CATHY RICHES<br />

BC folk fusion duo Qristina & Quinn Bach<strong>and</strong><br />

TAMARA BERNSTEIN<br />

Anyone who witnessed the first concert in <strong>June</strong> 2001 –<br />

a miserable rainy evening with only a h<strong>and</strong>ful of<br />

people in the audience – might have been forgiven<br />

for thinking the Summer Music in the Garden series was<br />

doomed to failure. But that first concert didn’t daunt<br />

Tamara Bernstein, the founding artistic director of the<br />

series. Nor were the audiences deterred. In its 20-year<br />

history, the free concert series grew to become one of the<br />

most popular on the Toronto summer festival roster.<br />

By its name, you would think that a venue called the Toronto Music<br />

Garden was made for live music, but that wasn’t the case. Perched on<br />

the inner harbour of Lake Ontario near the foot of Spadina Avenue,<br />

<strong>and</strong> designed in consultation with famed cellist Yo-Yo Ma, the Toronto<br />

Music Garden interprets, through the l<strong>and</strong>scape of its six different<br />

garden sections, the six movements of J.S. Bach’s Suite No. 1 in G<br />

Major for Solo Cello.<br />

It’s an idyllic natural setting with the breezes off the lake <strong>and</strong> the<br />

rustling of the trees, or so it seems, but for some of the performers<br />

it could be both a blessing <strong>and</strong> a curse. Flamenco dancer Esmeralda<br />

Enrique, who has been a regular performer there from the early days<br />

of Summer Music in the Garden, remembers how challenging those<br />

first performances were.<br />

“At first, it was quite difficult technically. Outdoors, the sound dissipates<br />

<strong>and</strong> it’s difficult for musicians <strong>and</strong> dancers to hear each other,<br />

which is vital in live flamenco performances,” said Enrique. “The mist<br />

coming in later in the afternoon muffled the sound quite a lot <strong>and</strong> at<br />

times there were a lot of bugs flying around. I remember one flew into<br />

my mouth once! Ugh!<br />

“As we came to know the physical limitations <strong>and</strong> sound level<br />

limits, we programmed performances more suited to the environment<br />

<strong>and</strong> temperature,” Enrique explained. “Despite some challenges,<br />

I have always loved performing outdoors. In the Music Garden we<br />

were inspired by the trees <strong>and</strong> the wind <strong>and</strong> felt like they were part<br />

of our set.”<br />

8 | <strong>May</strong> <strong>and</strong> <strong>June</strong> <strong>2021</strong> thewholenote.com

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