Volume 29 Issue 3 | December 2023 & January 2024

VOLUME 29 NO 3 

DECEMBER 2023 & 

JANUARY 2024 

MUSIC! LISTINGS 

live and livestreamed 

STORIES 

profiles, previews 

and interviews 

RECORD REVIEWS 

and Listening Room 

Lara St. John

Wednesday, January 24, 2024 

(THREE) 

TICKETS 

Koerner Hall Box Office 

416 408 0208 

espritorchestra.com 

Misato Mochizuki 

Rita Ueda 

Zhongxi Wu 

Naomi Sato 

Alex Pauk, Conductor | Naomi Sato, Sho ‐ | Zhongxi Wu, Sheng/Suona 

Misato Mochizuki (Japan) 

Nigredo (2009/rev.2018) 

Hommage à Robert Schumann 

Unsuk Chin (South Korea) Operascope (2023) 

Rita Ueda (Canada) Birds Calling…From the Canada in You (2022) 

for sho ‐ , sheng/suona & orchestra 

2033/2024 — BIG SEASON, BIG ORCHESTRA, BIG REPERTOIRE 

Alex Pauk Founder, Music Director, Conductor 

Unsuk Chin 

The Michael and Sonja Koerner Charitable Foundation The Mary-Margaret Webb Foundation The Max Clarkson Family Foundation Tim & Frances Price Anonymous

An agency of the Government of Ontario 

Un organisme du gouvernement de l’Ontario 

A Joyous Tradition 

HANDEL MESSIAH 

Directed by Ivars Taurins 

Dec 14–16 at 7:30pm 

Koerner Hall, TELUS Centre 

for Performance and Learning 

tafelmusik.org/messiah 

HANDEL 

MESSIAH 

SING-ALONG MESSIAH 

Directed by Mr. Handel 

Dec 17 at 2pm 



tafelmusik.org/sing-along 

IN THE NEW YEAR 

FANTASTICUS 

Directed by Spanish violinist Lina Tur Bonet 

Lina Tur Bonet guides us through a program in 

“fantastic style”—featuring unfettered improvisations, 

dramatic contrasts, and the passionate give-and-take 

of friends in musical conversation. 

Feb 2–4, 2024 

Jeanne Lamon Hall, Trinity-St. Paul’s Centre 

Tickets are on sale now at tafelmusik.org

2903_DecJan2023_cover.indd 1 

2023-11-22 10:04 PM 

Volume 29 No 3 | December 2023 - January 2024 

ON OUR COVER 


DECEMBER 2023 & 

JANUARY 2024 



STORIES 





Lara St. John 

PHOTO: MILICA PARANOSIC 

Milica is also a composer (of the opening track of my 

album), a stylist, and a great designer. We are really good 

friends so I am far more comfortable with her than I ever 

was with the guys who have taken photos of me in the 

past. I look much more real in a photo taken by a friend 

with a great eye for light and style than I ever have for folks 

who always want to make me play violin and smile at the 

same time and other terrible ideas. I’m so tired of trying to 

make a violin look natural. It was so great to not even have 

one, at that golden hour in Jamaica. — Lara St. John 

Story begins on page 10. 

ACD2 2881 

The multi-award winning string 

quartet comes back with their 2nd 

volume dedicated to Philip Glass. 

8 FOR OPENERS | Back to Front 

STORIES & INTERVIEWS 

10 IN WITH THE NEW | String 

Magic - Lara St. John in 

conversation | 

WENDALYN BARTLEY 

13 MUSIC THEATRE (1) | Crow’s, 

MSC, and The Great Comet of 

1812 | JENNIFER PARR 

15 CLASSICAL AND BEYOND | 

Connecting the dots | 

PAUL ENNIS 

18 CHORAL SCENE | The 6.47% 

solution | DAVID PERLMAN 

 

ACD2 2855 

Violist Elvira Misbakhova plays 

Shakespeare inspired pieces by 

Prokofiev, Shostakovich and 

Ichmouratov, with I Musici de 

Montréal. 

13 

ACD2 2866 

The young prodigious organist, 

winner of many competitions, 

releases his first debut album, 

recorded on a Casavant organ. 

ALL ALBUMS ARE AVAILABLE. 

ORDER NOW FOR CHRISTMAS! 

VISIT OUR 

WEBSITE 

thewholenote.com December 2023 & January 2024 | 5

The WholeNote 


DECEMBER 2023 & JANUARY 2024 

EDITORIAL 

Publisher/Editor in Chief | David Perlman 

publisher@thewholenote.com 

Managing Editor | Paul Ennis 

editorial@thewholenote.com 

Recordings Editor | David Olds 

discoveries@thewholenote.com 

DIGITAL MEDIA 

digital@thewholenote.com 

Listings Editor | John Sharpe 

listings@thewholenote.com 

SOCIAL MEDIA 

Danial Jazaeri, Colin Story 

social@thewholenote.com 

SALES, MARKETING & MEMBERSHIP 

Concert & Event Advertising / Membership | Karen Ages 

members@thewholenote.com 

Production & Operations | Jack Buell 

jack@thewholenote.com 

Advertising Art 

adart@thewholenote.com 

WEBSITE / SYSTEMS 

Kevin King 

systems@thewholenote.com 

CIRCULATION 

Sheila McCoy & Chris Malcolm 

circulation@thewholenote.com 

SUBSCRIPTIONS 

subscriptions@thewholenote.com 

$48 + HST (6 issues) 

single copies and back issues $8 

*international - additional postage applies 

WholeNote Media Inc. 

Centre for Social Innovation 

503–720 Bathurst Street 

Toronto ON M5S 2R4 

Phone 416-323-2232 | Fax 416-603-4791 

Instagram @the_wholenote 

Facebook & Twitter @theWholenote 

thewholenote.com 

STORIES & 

INTERVIEWS 

20 EARLY MUSIC | The Trinity 

Bach project - making choices 

that count | DAVID PERLMAN 

23 MUSIC THEATRE (2) | Holiday 

shows - old favourites and 

new contenders | 

JENNIFER PARR 

26 MAINLY CLUBS | Precarious 

independence and big hall 

highlights | COLIN STORY 

27 FROM UP HERE | Brampton, 

Braun, Broadsway and 

beyond | SOPHIA PERLMAN 

LISTINGS 

30 EVENTS BY DATE 

Live and/or online 

47 MAINLY CLUBS 

20 

DISCOVERIES: 

RECORDINGS REVIEWED 

48 Editor’s Corner | DAVID OLDS 

51 Strings Attached | TERRY ROBBINS 

54 Vocal 

56 Classical and Beyond 

59 Modern and Contemporary 

61 Jazz and Improvised Music 

66 Pot Pourri 

68 Something in the Air | 

KEN WAXMAN 

69 From the Archives 

70 What we’re listening to, INDEX 

an Ontario government agency 

un organisme du gouvernement de l’Ontario 

6 | December 2023 & January 2024 thewholenote.com

THE TRIPLETS 

OF BELLEVILLE 

CINE-CONCERT 

JANUARY 20, 2024 / 7:00PM 

WALKING THROUGH THE FIRE 

FEATURING SULTANS OF STRING 

JANUARY 25, 2024 / 8:00PM 

BOX OFFICE: 905 874 2800

The WholeNote 


DECEMBER 2023 & JANUARY 2024 

IN THIS EDITION 

STORIES AND INTERVIEWS 

Wendalyn Bartley, Paul Ennis, Jennifer Parr, 

David Perlman, Sophia Perlman, Colin Story 

CD Reviewers 

Stuart Broomer, Max Christie, Edwin Gailits, Raul da 

Gama, Janos Gardonyi, Richard Haskell, Kati 

Kiilaspea, Lesley Mitchell-Clarke, David Olds, Ted 

Parkinson, Ivana Popovic, Terry Robbins, Michael 

Schulman, Andrew Scott, Melissa Scott, Sharna 

Searle, Adam Sherkin, Bruce Surtees, Andrew Timar, 

Yoshi Maclear Wall, Ken Waxman, Matthew Whitfield 

Proofreading 

David Olds, John Sharpe 

Listings Team 

John Sharpe, Gary Heard, Colin Story 

Design Team 

Kevin King, Susan Sinclair 

Circulation Team 

Dave Bell, Jack Buell, Jane Dalziel, Bruno Difilippo, 

Carl Finkle, Vito Gallucci, James Harris, 

Bob Jerome, Marianela Lopez, Miguel Brito-Lopez, 

Chris Malcolm, Sheila McCoy, Lorna Nevison, 

Janet O’Brien, Tom Sepp and Angie Todesco 

UPCOMING DATES AND DEADLINES 

Weekly Online Listings Updates 

6pm every Tuesday for weekend posting 

Volume 29 No. 4, 

FEBRUARY & MARCH 2024 

will be published 

Friday, January 26 (digital) 

Tuesday, January 30, (print) 

Print edition listings deadline 

6pm Tuesday, January 9, 2024 

Print advertising, reservation deadline 

6pm Tuesday, January 16, 2024 

Web advertising can be booked at any time 

VOLUME 29 includes six print editions: 

September 2023 (Aug 29); 

October & November (Sept 26); 

December & January (Nov 28); 

February & March (Jan 30); 

April & May (Mar 26); 

Summer (May 28) 

Printed in Canada 

Couto Printing & Publishing Services 

Circulation Statement - October 7,, 2023 

9000 printed & distributed 

Canadian Publication Product 

Sales Agreement 1263846 

ISSN 14888-8785 WHOLENOTE 

Publications Mail Agreement #40026682 

WholeNote Media Inc. accepts no responsibility or 

liability for claims made for any product or service 

reported on or advertised in this issue. 

COPYRIGHT © 2023 WHOLENOTE MEDIA INC 

Back to Front 

Once in a while, writing these Openers is tough. And this is one of those times. Had 

life been business as usual these past five or six weeks, I’d be boots-and-all happily 

into the rah-rah rhetoric of the holiday season: “Go ahead, dear reader, you’ve 

earned a break; throw caution to the winds and get silly. And once you get past the holiday 

hangover, January’s and early February’s thoughtful musical offerings (also listed in this 

issue) will get you back on a straight and earnest track, better suited to winter survival”. 

I would have indulged in a bit of “light in darkness” imagery as well, trying to make it 

all as ecumenically cheerful as I could: a dab of Diwali, a spritz of solstice, a candle for 

Hannukah, and (cue the secular snowflakes) a bit of walking in a winter wonderland. Even 

a chorus or two of “Little town of Bethlehem” (although the line “how still we see thee lie” 

will likely never sound quite the same to me again). 

I am going to resist the temptation to tell you what I think you should think about the 

darkness we are right now plunged in. But I will commit the sin of “talking politics” at the 

table, and tell you how I am feeling. As a white, South African-born Jew, born seven years 

after the end of WW2, I have never felt more conflicted, helpless and hopeless, as I watch 

the torches of intractable hate being passed to the next generation, and witness the imprisoning 

paradox of people building walls to keep the other out, only to find that instead they 

have fenced themselves in. 

So bring on the season’s balms and blandishments, take your consolations where you 

may. Hug those you can. 

The back-to-fronters 

The Wholenote, 

Summer 2001 

FOR OPENERS 

I should probably have begun by giving a shout out to everyone 

whose tenacity, loyalty and trust had helped us get through the 

twists and turns of another impossibly convoluted and difficult 

year: staff, contributors, advertisers, you, dear reader – and, most 

of all, the people who by their artistry and efforts weave musicmaking 

deeply into the fabric of our cultural and community life, 

giving us something to turn to when words alone are either not 

enough, or, as in the case of the preceding, a bit too much. 

So let me say something, long overdue, about our 

DISCoveries section. 

Perhaps not so much now, but back in the day most magazines 

had a substantial subset of readers I would describe as “back-tofronters.” 

They look at the front cover, flip the magazine over, look at the back cover, open 

the magazine to the inside back and look at it, and from there browse their way back to 

the front, allowing their eyes to be caught by stuff on the way. Of course I am talking about 

print only. In the world of digital magazining ideas like back and front, beginning and end 

don’t apply. 

I can’t say whether back-to-fronters are an endangered species elsewhere. Here they are 

not, thanks to the rock-solid presence in the magazine of DISCoveries – our record review 

T'KARONTO 

For thousands of years before European settlement, T’karonto (The Meeting Place) 

was part of the traditional territory of many Nations, including the Mississaugas 

of the Credit River, the Anishinaabe, the Chippewa, the Haudenosaunee, and the 

Wendat peoples, and remains their home to this day, as it now is for many diverse First 

Nations, Inuit and Metis peoples. 

This Meeting Place lies within the territory governed by the Sewatokwa’tshera’t (Dish 

with One Spoon) treaty between the Anishinaabe, Mississaugas and Haudenosaunee 

– a Treaty which bound them to share the territory and protect the land. Subsequent 

Indigenous Nations and Peoples, and all newcomers are invited into this treaty in the 

spirit of peace, friendship, respect and reconciliation. We are grateful to live and work 

here, helping spread the word about the healing power of music in this place. 


Trio Arkel 

2804_FebMar_cover.in d 1 

Trash Panda 

Brass Band 

2805_AprMay_cover.indd 1 

2806_Summer2023_cover.in d 1 

2023-02-03 10:38 AM 

2023-03-24 9:56 AM 

2023-05-25 7:24 PM 

section. My theory is that the COVID years 

were a shot in the arm for DISCoveries for the 

same reasons they did harm to our coverage of 

live music. 

DISCoveries, under founding editor, David 

Olds, was launched in the summer of 2001, 

containing 14 reviews. In the 22 years since 

then, we have reviewed 10,853 titles – an 

average of just under 500 a year. Of those, 

2324 have been reviewed since lockdown in 

March 2020, three and a half years ago – an 

average of 664 a year, even though the number 

of magazines we published in those years was 

fewer than prior to the pandemic. It makes 

sense, right? A lot of the artists who would 

normally have poured their energies into 

gifting us with live performance transferred 

that energy into creative digital streams, both 

in terms of process and product. 

Now what we are starting to see is a kind 

of reverse engineering: artists with new tools 

gained during that three and a half year livemusic 

hiatus, bringing those new tools into 

their live performance practices. It’s going to 

be fun to watch.. 

The rah-rah rhetoric of the holiday season 

Here’s a nice little story about a listing, 

sitting right at the cusp between old year and 

new, that particularly caught my eye, But 

first a cautionary note: it contains details that 

some readers may find frivolous and of no 

redeeming social value, so viewer indiscretion 

is strongly advised. 

Salute to Vienna, at Roy Thomson Hall on 

New Year’s has been, for almost as long as 

this magazine has been around, the flagship 

presentation of Attila Glatz Productions – an 

unapologetic celebration of Old World high 

society. (Film buffs, think of the moments in 

2001, A Space Odyssey where Johann Strauss, 

not Richard, is waltzing things along.) 

Somewhere along the line, Attila and Marion 

Glatz decided to add a New Year’s Eve sister 

show to their calendar. Titled Bravissimo! New 

Year’s at the Opera its focus is unabashedly 

operatic, usually with four singers in various 

combinations – cramming as many orgasmic 

arias as possible into an hour and a half, so 

audiences can be comfortably out of the hall in 

time for the midnight countdown. 

Top to bottom: Carolyn Sproule, 

Johannes Debus, Mane Galoyan, 

Matthew Cairns, Vito Priante 

FAY FOX SAM GAETZ SIMON PAULY. ANTONIO ARAGONA 

As with Salute to Vienna a full orchestra 

is required for the high-note hijinks. As is 

customary for such road shows, orchestras 

are generally wrangled for the occasion. 

So I found myself doing a double take at this 

year’s Bravissimo listing: the Canadian Opera 

Company Orchestra, conducted by Johannes 

Debus, will be the orchestra for this year’s show. 

The first thing that struck me: I couldn’t 

remember the COC Orchestra ever performing 

at Roy Thomson Hall before. And the second: it 

was hard to imagine the COC agreeing to a dialit-in 

job just for the money, so I found myself 

wondering about how hand-on their involvement 

in the event would be. 

Digging into the first question proved more 

complicated than I would have thought. Closest 

thing to a Bravissimo-style New Year’s Eve 

event at RTH was in 2001, with a huge cast of 

operatic superstars dropping in for a tune or 

two, and the COC’s Richard Bradshaw doing 

the conducting honours. But the TSO was the 

orchestra that night. So, indeed, this may well 

be the first time the COC has made the six city 

block journey to RTH. 

As to whether the COC is into the event, 

artistic boots and all, the answer is ringingly 

affirmative. All four singers, two Canadians and 

two from Europe, have ongoing ties to the COC: 

Carolyn Sproule, three times previously and 

will be back as Dog in Cunning Little Vixen; 

Matthew Cairns as a memorable Macduff in 

their recent Macbeth; Vito Priante as Figaro in 

their 2020 Barber of Seville; and Mane Galoyan, 

who will make her COC debut appearance as 

Donna Anna in Don Giovanni in winter 2024. 

Debus and COC artistic director Roberto Mauro 

are shaping the show, with meticulous attention 

to selection of repertoire suited to the voices of 

their singers. 

Why my delight? Simply that this kind of 

creative collaboration between commercial 

and not-for-profit artistic entities is rare, to put 

it mildly. God knows, it’s not the most urgent 

bit of bridge-building needed out there, but in 

times like these, any such effort is worth raising 

a glass to. Or two. Or three. Or … what the hell, 

just pass me the bottle. 

David Perlman can be reached at 

publisher@thewholenote.com. 

SUBSCRIBE to The WholeNote! 

VOLUME 28 NO 3 

DECEMBER 2022 - JANUARY 2023 


FEBRUARY - MARCH 2023 


APRIL - MAY 2023 


SUMMER 2023 


SEPTEMBER 2023 

Give someone the gift of music. 

Or give it to yourself. 


OCTOBER & NOVEMBER 2023 

On page 71, we thank the music presenters whose annual 

memberships help us continue to offer concert listings, free of 

charge, to anyone making live music. 

For just $48 for six issues you can help us keep on doing what we do 

best, and you’ll also be supporting the live music presenters whose 

gifts of skill and passion are celebrated and promoted in our pages. 



STORIES 





The Queer Songbook Orchestra 

2803_Dec_cover.in d 1 2022- 1-30 8:42 PM 


live and 

livestreamed 

STORIES 





Luminato’s Walk with Amal 

2804_FebMar_cover.in d 1 2023-02-03 10:38 AM 


live and 

livestreamed 

STORIES 





The Rex by 

David Crighton 

2805_AprMay_cover.indd 1 2023-03-24 9:56 AM 

MUSIC LISTINGS 

FESTIVALS 

STORIES 


2806_Summer2023_cover.in d 1 2023-05-25 7:24 PM 


live and 

livestreamed 

STORIES 





Christina Petrowska Quilico 



STORIES 





BLUE PAGES 

(Presenter profiles) 

2902_Sept2023_cover.indd 1 2023-09-27 9:45 AM 

To subscribe, use the link under “About” 

on our home page at thewholenote.com 

Or contact subscriptions@thewholenote.com 


IN WITH THE NEW 

STRING 

MAGIC 

Lara St. John 

in Conversation 

WENDALYN BARTLEY 

COURTESY LARA ST. JOHN 

Laurie Anderson’s Statue of Liberty, arranged for solo violin 

by Lara St. John, from her recent album she/her/hers. 

It was an inspiring moment for me – one that 

revitalized my love of music which can sometimes 

become dulled by too much media exposure. The 

moment I’m speaking of was listening to and watching 

one of violinist Lara St. John’s performances on YouTube 

and finding myself absolutely mesmerized by a full-on 

sensory experience where sound, image and raw emotion 

became completely intertwined, in her performance of 

Czardashian Rhapsody, by composer Martin Kennedy. 

Accompanied by pianist Matt Herskowitz, the two of 

them raised the roof with their joyful and outrageous 

performance of two Hungarian tunes, in a performance 

that is available on her album Shiksa released in 2015. 

By the end I was left breathless and full of wonder at her 

incredible artistry. 

she/her/hers at 21C 

Thanks to the upcoming 21C music festival, Toronto audiences will 

have an opportunity, on January 20th, to have their own experience of 

this Canadian-born performer, when St. John will present the music 

from her 2022 album entitled ♀she/her/hers. This project features 17 

original works for solo violin by 12 women composers, with some of 

the pieces written for her, and others in her own arrangements. The 

album, released by Ancalagon Records, is part of St. John’s vision to 

use the platform she has “to raise up voices that have been muted all 

these years”, she told me in our recent interview. It is part of her fight 

for women’s rights and other marginalized voices in music. 

The repertoire choices began with an interest in solo violin works 

and a desire to do something beyond “another encore of Bach”, she 

said with a chuckle. She turned to the Caprices composed by Sophie- 

Carmen Eckhardt Gramatté (1899–1974) which she found to be very 

violinistic and descriptive. The album gradually took shape with pieces 

composed by friends Valerie Coleman, Jessie Montgomery and Milica 

Paranosic, and her own arrangement of Statue of Liberty by Laurie 

Anderson, who will be performing herself at the 21C Festival on April 5. 

Gender Inequity 

St. John is passionate about her vision to address gender inequity 

within musical institutions. Her story of being repeatedly sexually 

abused by her renowned violin teacher Jascha Brodsky while a teenage 

student at the Curtis Institute of Music in Philadelphia during the 

mid 1980s finally became public in a 2019 article in the Philadelphia 

Inquirer. As recounted by NPR, for many years, St. John’s claims were 

repeatedly denied and jokingly dismissed by the administration, and 

it was not until 2013 that the board finally agreed to hire a law agency 

to investigate not only St. John’s reports but other female students 

who subsequently came forward. The investigation found, 35 years 

later, that her allegations were credible and subsequently Curtis has 

issued an apology. 

St. John has not only has been public about the rampant sexual 

abuse she and others have faced, but also about the lack of gender 

equity in the principal roles within leading orchestras, as well as 

in the programming of works by women composers. One story she 

relayed to me in our conversation featured comments made by the 

Israeli conductor Talia Ilan who was quoted in the San Francisco 

Chronicle as saying that due to blind auditions, “we know that talent 

is equal between the two genders. But if you look at composition and 

conducting, only 5 to 10% of those roles are filled by women. That’s 

a hell of a lot of mediocre men who have a very vested interest in 

keeping women down.” 

“Exclusion of women correlates directly with violence against 

women,” St. John went on to say, “and that’s something that really 

nobody can get behind. What I’m campaigning for is systemic 


change throughout the culture.” She gave as an example the kinds of 

damaging comments made repeatedly by the Soviet-born conductor 

Yuri Temirkanov, who died this month at age 84: “Women are the 

essence of weakness, and conducting is the essence of strength, so 

women shouldn’t conduct,” he was quoted as saying. In St. John’s 

experience in the performing world, this mentality is pervasive. “I 

think the only way to get rid of this is to start screaming from the 

rooftops which is basically what I’ve done.” 

Creating change 

One hopeful and positive sign she spoke of is the Boulanger 

Initiative, an organization in the USA committed to promoting music 

composed by women through performance, education, research, 

consulting, and commissions. This includes publishing music by 

women from earlier centuries that has been long buried. She also 

cited examples of women being appointed composer-in-residence for 

orchestras in Chicago and Philadelphia. Hopefully this will spread to 

other major leading orchestras (as it already has here in Toronto). 

Creating change in attitudes is also at the heart of her upcoming 

film documentary. After the article in the Philadelphia Inquirer was 

published, it was read far and wide and St. John received hundreds of 

letters of support, along with multiple stories of other women’s experiences 

in music. She decided to go on the road with her camera and 

conduct interviews with some of the people who wrote to her and it is 

these stories that will form the narrative of the film. She does all her own 

post production as well, having started video editing 14 years ago, initially 

because she couldn’t find anyone who knew how to synchronize 

violin properly. Many of her performances are available as music 

videos and can be viewed on YouTube, which I heartily recommend. 

Thursday, December 7 at 8pm 

GRYPHON TRIO 

Echo: Memories of the World 

with Marion Newman Nege’ga, 

mezzo-soprano and 

čačumḥi aaron wells, actor 

Czardashian Rhapsody, from St John’s 2015 album Shiksa 

COURTESY LARA ST JOHN 

In her 21C concert on January 20, she will also be performing a 

solo Bach Sonata: as she says, “there’s no way anybody writes for solo 

violin without some kind of influence from him (i.e. Bach)”. She highlights 

this in the program notes she has written, pointing out similarities 

between Bach’s approach and how those techniques end up in 

the contemporary repertoire she is performing. “It will create a lot of 

interesting juxtapositions”, she said. 

Other upcoming events include a few firsts for her. She has been 

invited by one of Estonia’s orchestras to perform Scottish Fantasy 

written in 1880 by Max Bruch. “It’s a piece you often play in your 

teenage years,” she said, “but I never did. Now I’ve been asked to make 

it more Scottish.” She’s decided to insert traditional Scottish tunes in 

between the movements and change some of the cadenzas in response 

to this request. Another first will be a performance of a Schoenberg 

concerto in June in Buenos Aires. And finally, back to the 21C festival, 

she will be performing in a work by Turkish pianist Fazil Say in his 

January 19th concert, along with her brother Scott St. John and others. 

Thursday, January 18 at 8pm 

VERONA QUARTET 

All Roads Lead to Rome 

Tickets: 416-366-7723 

option 1-1 

27 Front Street East, Toronto 

| music-toronto.com 

The Feast Continues 

The feast of new music continues after the 21C Festival when Esprit 

Orchestra present their program on January 24 titled Three, with 


work Pillars. The piece, written for the Brooklyn-based Sandbox 

Percussion quartet, premiered in December 2021 after a lengthy 

period of creation. The composer states that the piece was written 

specifically for the individual performers in the Quartet; each of the 

seven Pillars, or quartets are inspired not only by architecture but by 

the personalities of each performer. The Grammy-nominated album 

also includes accompanying videos for each of the Pillars. 

DANYLO BOBYK 

At the Azrieli Music Prizes Gala Concert: (l-r) suona/sheng 

player Zhongxi Wu, Rita Ueda, the Orchestre Métropolitain’s 

conductor Alexandre Bloch and shō player Naomi Sato. 

works by Misato Mochizuki from Japan, Unsuk Chin from South 

Korea/Germany, as well as the Toronto premiere of Birds Calling... 

From the Canada in You by Rita Ueda, the recipient of the 2022 Azrieli 

Music Prize for New Canadian Music. Ueda’s work, composed for shō, 

sheng/suona & orchestra was premiered at the December 2022 Azrieli 

Music Prizes Gala Concert. 

“Other than a handful of beautiful songbirds (white throated sparrows, 

loons, blue jays, cardinals, etc.), many of the most iconic birds 

of Canada (hummingbirds, Canada geese, arctic cranes, puffins, 

snowy owls, etc.) are not songbirds. They generally screech, grunt, 

and shriek” Ueda said of the work. “Yet they are much loved by us 

Canadians. I thought this parallels the way Canadians take in immigrants 

from all over the world, regardless of where they come from.” 

Soundstreams 

To celebrate the upcoming festive season in December, Soundstreams 

will once again present another iteration of their Electric Messiah 

performance, a stripped-down version of Handel’s Messiah. The 

performances this year run from December 14-17 at Theatre Passe 

Muraille and will deliver a mix of arias and choruses in a variety 

of musical styles, ranging from jazz, gospel, and hip-hop to classical. 

Guided by composer and synth performer Adam Scime, the five 

singers and additional four instrumentalists will recreate the classic 

narrative with its themes of love, betrayal, joy and redemption. 

Soundstreams returns on February 3 2024 with a concert of vocal 

works performed by the Estonian Philharmonic Chamber Choir, 

including works by Arvo Pärt and Palestrina, and a world premiere by 

Canadian Omar Daniel. 

Wendalyn Bartley is a Toronto-based composer and electro-vocal 

sound artist. sounddreaming@gmail.com 

Pillars composer Andy Akiho 

UTNMF 

Three days later, the U of T Faculty of Music’s New Music Festival 

commences, running from January 27 to February 4, featuring 

Marjan Mozetich as this year’s Roger D. Moore Distinguished Visitor 

in Composition. This festival of performances, lectures, and master 

classes will also welcome the Gryphon Trio, the Penderecki String 

Quartet, John Burge, and accordionist Joseph Petric among others. 

The final concert of the festival on Feb 4 will be a special event with 

a performance of American Andy Akiho’s monumental percussion 

AESTHETICIZE MEDIA 


MUSIC THEATRE 1 

A “Charming” music video 

featuring Hélène 

(Divine Brown), Natasha 

(Hailey Gillis), and Anatole 

(George Krissa). 

CROW’S, MSC, AND 

THE GREAT COMET OF 1812 

JENNIFER PARR 

HOFFWORKS 

I 

walk into the Crow’s Theatre gallery space, on a 

mid-November day, excited to be here to sit in on 

the afternoon’s rehearsal of Natasha, Pierre & the 

Great Comet of 1812. The space is familiar to me from 

stage managing Uncle Vanya and The Master Plan 

here, but I have never seen it so full of stuff. There are 

instruments everywhere – a double bass, two cellos, 

a drum set, two keyboards, two accordions, a clarinet, 

someone with a guitar ... 

I say hello to actors I know, get a big hug from one, check in with 

the stage management team, and find where I am to sit to watch. For 

months I have been hearing the buzz at Crow’s about this hugely 

ambitious and exciting Canadian premiere, and their first full 

collaboration with the Musical Stage Company. 

Creator Dave Malloy’s brilliant musical adaptation of Tolstoy’s 

famous novel War and Peace began as an off-Broadway experiment 

in 2012 and grew into a hit production on Broadway, garnering 12 

Tony Award nominations in 2017 (winning two along with many 

other awards). The score is eclectic, encompassing indie rock, pop, 

folk, electronic dance and classic Broadway, and is completely sungthrough, 

with many of the performers (soloists as well as ensemble) 

playing instruments as part of the immersive staging. 

The story is taken from a 70-page slice of Tolstoy’s masterpiece: 

the young Countess Natasha Rostova has become engaged to the 

27.1.2024 to 4.2.2024 

Marjan Mozetich 

Roger D. Moore Distinguished 

Visitor in Composition 

Edward Johnson Building 

Faculty of Music 

80 Queen’s Park, Toronto 

utnmf.music.utoronto.ca 


DAHLIA KATZ 

DAHLIA KATZ 

At right, director Chris Abraham (right), who is artistic 

director for Crow’s Theatre; and at left, choreographer Ray 

Hogg who is artistic director for Musical Stage Co. 

handsome Prince Andrei Bolkonsky but Andrei’s father has insisted 

that they wait a year before marrying. As the opening ‘Prologue’ 

tells us, “There’s a war going on out there, and Andrei is not here.” 

The unexpectedly vulnerable Natasha finds herself swept up into 

a new infatuation, alongside dear friend of the family, Pierre 

Bezukhov, in part disillusioned by his unhappy marriage, who is 

questioning the meaning of his life. 

Chris Abraham 

In the middle of the crowded rehearsal space is a black wooden 

platform: it turns out to be a working revolve that will move into 

the theatre soon, as the set is being built. Luckily for me I get to see 

a preview of it in action. Director Chris Abraham walks in with a 

quick smile and wave “hello” and work begins. Oh my, this is going 

to be fun! It’s the “Abduction” scene – one of the big set pieces of 

the show where the rake Anatole Kuragin says farewell to his “gypsy 

lovers” and then with his friend Dolokhov (and the company) acts 

out how his planned elopement with Natasha will go. Part way 

through – the playacting turns into the real thing, a sweeping, fabulously 

inventive sequence that fills the space – with the revolve 

magically becoming a troika in which Anatole will drive Natasha 

away, only ... I won’t give away any more of the plot. 

As they move for sequences already rehearsed into new staging, 

one of my questions coming into the rehearsal is answered: would 

Abraham be directing a musical in the same way that he does a 

play? The answer is mostly “yes”, While music is the fixed element 

leading the creation, the actors are all given freedom by Abraham 

to experiment with their moves, following their characters’ needs 

and emotions. He then gives notes at the end of a sequence to build 

on what they have given him, amplifying good ideas and opening 

up the staging so that it works for all three sides of the audience that 

will surround the playing space. 

I watch, for example, the creation of a magical scene where the 

simple addition of a chaise and the spinning of the revolve echo the 

turmoil in Natasha’s heart. I comment later to Abraham how thrilling 

it was to see this degree of collaborative creation happening at this 

high professional level. “The lucky thing” he replies, “is that there 

is a great map in the show of what the characters want, what they 

are going after, and the problems that they have. Once you onboard 

everyone with all that – and musical theatre performers are very good 

at committing to those kind of things – they just jump right in.” 

Abraham himself seems so remarkably at home and happy 

directing a musical (he has mentioned on social media that it has 

been decades since he last worked on one) that I ask about his 

past experience and discover to my surprise that this was how he 

started out! “When I was a teenager,” he told me, “I cut my teeth 

doing musicals with The Markham Youth Theatre which I founded, 

and then left that behind in my twenties when I went to university 

Taking a moment to stretch on the first day of music rehearsals: 

Divine Brown (Hélène) & Donna Garner (ensemble); to their 

right: Hailey Gillis (Natasha) & Marcus Nance (Andrei) 

and the National Theatre School, but you know, that was the thing I 

loved first.” 

That being said, I ask specifically “why this musical and why 

now?” and the answer is a fascinating one, going back to when he 

fell in love with Tolstoy’s novel in university. “There was something 

about Pierre’s journey – about him as the moral centre of the novel, 

and the delicacy of his revelation about what a good life means and 

how that is connected to other people – that was very significant 

to me when I read the novel the first time, ” he told me. “And then, 

when I saw one of the early pre-Broadway productions of NP&tGC I 

loved it. It did all the things I want theatre to do and I felt like it was 

made for me, like me personally, so I always had that in my back 

pocket. When the rights became available years later I felt it was an 

experience that I wanted to share with other people. As I said to the 

team on the first day, it’s almost as though the goal of the show as a 

piece of theatre is to build the foundations for an audience to have a 

transformational experience that culminates with the revelation of 

what it is to wake up to a new life, so that they can both understand 

and feel the power of that experience that Pierre has in the story.” 

Another thing that this musical does extraordinarily well, he 

continues, “is that it allows you to have an immediate understanding 

of and emotional access to a whole variety of characters from a variety 

of points of view. Included in that is a powerful immersion of the 

audience in the world of desire of this portion of the novel, and the 

sense that Dave Malloy creates of the characters being insulated in a 

world of champagne and caviar while the world burns around them.” 

The great comet of the story, seen at first as a harbinger of destruction 

as it hangs in the sky above the decadent city of Moscow becomes 

at the end, in Abraham’s words, ”in a magical way a harbinger of life 

as opposed to destruction” as Pierre in his “leap of empathy to risk his 

comfort and his friendships in order to stand up for someone else” 

also gives Natasha hope for a new and better life to come. 

In 2021 Crow’s and Musical Stage obtained the rights and were 

about to cast the show for a production at the Winter Garden 

Theatre when the pandemic shut it down. Now their dream is 

being realized in the magically immersive space of Crow’s own 

Guloien Theatre starting on December 5 with an outstanding cast of 

Canadian musical theatre stars. 

Jennifer Parr is a Toronto-based director, dramaturge, fight 

director and acting coach, brought up from a young age on a rich 

mix of musicals, Shakespeare and new Canadian plays. 

For more information visit https://www.crowstheatre.com/ 

whats-on/view-all/natashapierregreatcomet. 

And for a taste of the show, there is a truly “charming” music 

video featuring Hélène (Divine Brown), Natasha (Hailey Gillis), 

and Anatole (George Krissa): https://vimeo.com/877215280 


CLASSICAL AND BEYOND 

Nurhan Arman 

Stéphane 

Tétreault 

JOHN LAUENER 

April 2013: how time flies. Benjamin Bowman, 

Andrew Burashko and Rachel Mercer in Art of 

Time’s live recording of Schubert’s Piano Trio 

No. 2 in E Flat Major, iv. Allegro Moderato. 

LUC-ROBITAILLE 

CONNECTING THE DOTS 

PAUL ENNIS 

The sheer number of concerts in our listings is 

impressive enough. Even more impressive is the 

resonances between seemingly unrelated events once 

you start to dig a little deeper and start to connect the dots. 

Take, as an example, Art of Time and Sinfonia Toronto, mainstay 

ensembles in our midst for almost as long as The WholeNote has been 

around. Each is in the midst of a silver anniversary, 25th season with the 

founding artistic directors of both groups (Nurhan Arman and Andrew 

Burashko) still at the helm of their respective ensembles. Both of them 

delight in arranging music, and in creative programming, constantly 

seeking to blend the familiar with the new, introducing top-flight soloists 

to challenge their ensembles and delight their audiences. 

But this season the parallels have their limits. Art of Time has 

already announced that the season now underway – commencing 

with concerts on December 7 to 9 and culminating in May with a 

tribute to Joni Mitchell – will be their last. For Sinfonia Toronto, the 

season as announced, is business as usual,with two programs (on 

December 8 and January 26) falling within this WholeNote publication 

cycle, a further three programs in the new year, and, so far, no 

signs of slowing down. 

Stéphane Tétreault 

On December 8, Arman’s Sinfonia Toronto features cellist Stéphane 

Tétreault as the soloist in Robert Schumann’s only cello concerto. 

Chosen as the first ever Soloist-in-Residence of the Orchestre 

Métropolitain, the acclaimed cellist performed with Yannick Nézet- 

Séguin during the 2014-2015 season, made his debut in 2016 with 

the Philadelphia Orchestra under the direction of Nézet-Séguin, and 

performed at the Gstaad Menuhin Festival in Switzerland. During 

the 2017-2018 season he took part in the Orchestre Métropolitain’s 

first European tour with Nézet-Séguin and made his debut with the 

London Philharmonic Orchestra. A noteworthy way to begin a career! 

Arman calls Schumann’s writing in this cello concerto personal 

and lyrical rather than full of étude-like passages meant to display the 

soloist’s technical skill. Perhaps that was why the concerto was not 

received warmly in Schumann’s lifetime. Today it is loved for its great 

ALLIANCE STRING QUARTET 

JANUARY 19 AT 8PM 

24 Spadina Road Tickets available online www.alliance-francaise.ca 


Abigail Richardson-Schulte 

melodic beauty and the interpretive artistry it reveals in the cellists 

who perform it. 

After the Schumann, Sinfonia Toronto will perform Corelli’s 

Concerto Grosso, Op.6, No.8, a masterpiece written for the night of 

Christmas and one of the composer’s most famous works. 

Jocelyn Morlock’s Nostalgia opens the program and selections from 

Dvořák’s Valses and Slavonic Dances close it. Written in traditional 

Romantic style, the work is characterized by beautiful melodies, rich 

harmonies and expressive counterpoint. 

The highlight of Sinfonia Toronto’s January 26 concert is Mozart’s 

Piano Concerto No.23, Op.488. The grandeur of its second movement 

– which filmmaker Terrence Malick wisely chose to support his 2005 

film, The New World, with its unique take on the story of John Smith 

and Pocahantas – is unsurpassed. The third movement is a wily rondo, 

witty and sublime which will put Ukrainian-Canadian pianist and 

composer Dmitri Levkovich in the spotlight. Levkovich studied for 11 

years with legendary Armenian pedagogue Sergei Babayan who also 

mentored Daniil Trifonov. 

Eighth and final Art of Time Holiday concert 

The Art of Time’s December 7 to 9 concerts will be their eighth and 

final presentation of what has become an Art of Time holiday tradition, 

characterized, in their typically breezy fashion, as “our celebration 

of the holiday season with the joy and irreverence you have 

come to expect, featuring the best of the best taken from the last seven 

years.” Performers include Thom Allison, Jessica Mitchell, Jackie 

Richardson, Julian Richings, David Wall and Tom Wilson. 

Penderecki String Quartet 

and variations – is an early example of a theme employing all 12 tones 

of the chromatic scale. The grand finale, Bruckner’s Symphony No. 3, 

showcases a masterwork of virtuosic orchestral sound for conductor 

Kristian Alexander to unveil. The intermission features a conversation 

between Daniel Vnukowski and violinist Crow. 

Kitchener-Waterloo 

In late September, as reported by the CBC, the Grand Philharmonic 

Choir (GPC) in Waterloo region announced that it would honour, 

directly with the musicians from the former Kitchener-Waterloo 

Symphony (who found themselves out of a permanent gig after the 

KWS declared bankruptcy), the contracts the choir had inked for the 

season with the KWS. 

The relationship between the Grand Philharmonic Choir and the 

KWS goes back 75 years, GPC artistic director Mark Vuorinen pointed 

out – in fact the symphony was actually founded to accompany the 

choir in the great oratorios, and they have had a very symbiotic relationship 

over the decades. In the second concert of the GPC’s season, 

on December 9, the choir and KWS members will perform a rarely 

heard gem: Bach’s Christmas Oratorio, where the composer’s celebration 

of Christmas sparkles with joy and optimism. 

A week later, on December 16, the Mississauga Symphonic 

Orchestra’s cheerful “Holiday. A Merry Little Christmas” kicks off at 

7pm. Also on December 16, the Kitchener-Waterloo Chamber Music 

Society presents the Penderecki String Quartet celebrating another 

famous birth. It’s Beethoven’s birthday and the Quartet will be playing 

two of the master’s finest: Op.18, No.6 and Op.131. The former can be 

Orchestral Holiday Fare 

Now that Home Alone has replaced It’s a Wonderful Life as the 

go-to-Christmas movie-of-choice, the holiday season has never been 

the same. The TSO invites all its fans to celebrate with them the return 

of Home Alone in Concert. Macaulay Culkin stars as a resourceful 

eight-year-old, accidentally left alone over Christmas, who repeatedly 

outsmarts a couple of bone-headed burglars. This beloved holiday 

film features renowned composer John Williams’ delightful score 

performed live-to-picture by the TSO in five screenings conducted by 

Constantine Kitsopoulos, December 7 to 9. 

Down the QEW, the Hamilton Philharmonic Orchestra’s “Holidays 

& The Hockey Sweater” at 3pm on December 9 stands out. From 

Jesu, Joy of Man’s Desiring to Leroy Anderson’s Sleigh Ride, Abigail 

Richardson-Schulte’s musical treatment of Roch Carrier’s The Hockey 

Sweater and more, the repertoire makes for a promising afternoon. 

Also on December 9, up in Markham, in a Kindred Spirits Orchestra 

concert titled The Greatest Show, Stravinsky’s Circus Polka, “For 

a Young Elephant”, composed as a short ballet production for the 

Ringling Bros. and Barnum and Bailey’s Greatest Show on Earth, 

kicks things off. Do not however expect the ballet to be performed, 

as the original was, by several young elephants in pink tutus. TSO 

concertmaster Jonathan Crow then takes centre stage to perform 

Bartók’s Violin Concerto No. 2, whose second movement – a theme 


Quartet in E minor, the only surviving chamber work in his repertoire, 

was composed in 1873 in Naples, during a production of Aida. If 

the performance is as playful as the curation, we are in for a treat. 

Alliance String Quartet 

seen as Beethoven’s goodbye to his youth, the latter is simply one of 

the greatest string quartets ever written. The Pendereckis have been 

marking this birthday for years and have just emerged from a period 

where they played all 16 string quartets. It will undoubtedly be a 

memorable recital. 

Alliance and Verona String Quartets 

Kicking off 2024 as we concluded 2023, two string quartet concerts 

caught my eye, for quite different reasons: the Verona String Quartet 

at Music Toronto on January 18, and the newly minted Alliance String 

Quartet, at Alliance Française Toronto Toronto, on January 19. 

Verona: Mentored along their way by the Cleveland, Juilliard and 

Pacifica Quartets, and billed as “a string quartet for the 21st century,” 

the Verona Quartet, now quartet-in-residence at Ohio’s Oberlin 

Conservatory, “champions the rich breadth of the string quartet repertoire 

from the time-honoured canon through contemporary classics.” 

Their concert here includes Puccini, Britten, Mozart and Verdi and is, 

somewhat cryptically, titled “All Roads Lead to Rome”. It’s certainly true 

of Verona itself (600 kilometres but less than three hours from Rome 

by train), but also, in one way or another, it speaks to all the works on 

the program, each of which links to one or another Italian city. Puccini’s 

Crisantemi was written (in one night) in memory of his friend, the Duke 

of Aosta. Britten’s String Quartet No. 3 was drafted in Venice, late in his 

life (and draws on themes from his Death in Venice composed two years 

earlier). Mozart’s String Quartet No. 3 is one of his six Milanese quartets, 

so named because he wrote them, age 16 and 17, during the year 

he spent in Milan working on his opera Lucio Silla. And Verdi’s String 

Alliance: 

The Alliance String Quartet comes to its name by happenstance as 

much as by design. “It was during the pandemic,” violinist Mayumi 

Seiler explained. “I decided to take the opportunity to advance my 

French language skills, so I went to Alliance Française Toronto on 

Spadina Road, becoming aware of the lovely little concert hall they 

have, and their performance series. I was hungry to perform with 

musicians I love and respect; Alliance Française was interested in 

having us perform, and we had to call it something – “Alliance” felt 

like a name that reflected the relationship with the venue but even 

more so, the strong bond among us as musicians.” 

Cellist Rachel Mercer and Seiler go back the furthest, Seiler says. 

“I ran a chamber music series here for about 14 years, called Via 

Salzburg, starting in the late 1990s, and Rachel was from the very 

beginning our principal cellist; Min-Jeong Koh was once a student of 

mine and now we are colleagues at the Glenn Gould School; Rémi has 

been a fellow mentor at Toronto Summer Music, is a close friend, and 

a musician I admire. And his French is better than mine! 

January 19 is described on the AFT website as the “inaugural” 

concert of the Quartet, but Seiler is cautious. “The reality is that we 

are four established musicians with busy and complicated schedules 

who love and respect each other and are looking forward to making 

the most of this opportunity. And then …we’ll see. 

Repertoire for the concert consists of the Ravel String Quartet, 

Beethoven’s String Quartet Op.18, No.6, and “a beautiful work for 

string quartet by Canadian composer Stefan Hintersteininger, titled 

The Growing Season.” 

Paul Ennis is the managing editor of The WholeNote. 

Kindred Spirits Orchestra 

Krissan Alexander | Music Director 

THE GREATEST SHOW 


CHORAL SCENE 

A gift that’s 

ALWAYS 

in season. 

Long & McQuade 

Gift Cards 

In any denomination. 

For any product or service. 

Purchase in-store 

or online today! 

www.long-mcquade.com 

ELECTRIC 

MESSIAH 

THEATRE PASSE 

MURAILLE 

DEC 14–17, 2023 

THE 6.47% 

SOLUTION 

Handel’s Messiah 

still holds its own 

DAVID PERLMAN 

For a classical work that features in only 19 of the 

123 concerts in this issue’s listings that involve a choir 

(or choirs), Handel’s Messiah still commands a lot of 

Christmas concert attention. (I think the rule is I am allowed 

to say “Christmas” if I use “Messiah” in the same sentence.) 

Continuity: One part of its enduring appeal around here has to do 

with the major ensembles who have been offering it up every year, 

religiously you might say, for decades, in multiple performances. 

Tafelmusik Baroque Orchestra and Choir are staging three regular 

performances, December 14, 15, and 16, with their chart-topping (and 

sometimes heart-stopping) Sing-along Messiah the following evening, 

with Tafelmusik Chamber Choir’s Ivars Taurins in his perennial role as 

Herr Handel calling the orchestral shots. 

Not to be outdone, the Toronto Symphony Orchestra weighs in from 

Dec 17 to Dec 23, with five performances over a six day span, accompanied 

by the Toronto Mendelssohn Choir – a reversal of the original 

relationship between the TSO and TMChoir. Arguably the TSO would 

not exist were it not for the fact that the TMChoir, founded 30 years 

before the current iteration of the TSO, needed a reliable house band 

for the grand performances of the great oratorios that the newly 

opened Massey Hall, Toronto’s rival to Carnegie, lent itself too. 

(A brief aside: the phenomenon of the choir as chicken, with the 

symphony orchestra as egg, had another profoundly important, and 

ARTISTS 

Chelsea Dab Hilke Stage Director 

Adam Scime 

Music Director/ Sound Design 

Echo Zhou 周芷會 Lighting Designer 

Midori Marsh Soprano 

Rebecca Cuddy Mezzo-Soprano 

Elizabeth Shepherd Mezzo-Soprano 

Never the same, always Electric 

Messiah! Book your tickets today for 

an unforgettable holiday experience. 

SOUNDSTREAMS.CA 

The Michael and Sonja Koerner 

Charitable Foundation 

Daniel Cabena Counter-Tenor 

Korin Thomas-Smith Baritone 

Amahl Arulanandam Electric Cello 

Luan Phung Guitar 

Wesley Shen Harpsichord 

Joel Visentin Keyboards 

The Mary-Margaret Webb 

Foundation 

The JB Doherty 

Family Foundation 

The Anne-Marie H. 

Applin Foundation 

Lesley Abarquez Stage Manager 


Sing Along Messiah, 

Tafelmusik 

Trevor Pinnock tells the story of an English aristocrat in attendance at a 

performance complimenting Handel on the “entertainment.” “I should 

be sorry if I only entertained them,” Handel replied. 

David Perlman can be reached at publisher@thewholenote.com. 

NINETEEN MESSIAHS (see the listings for details) 

Dec 02 | 1:30 and 4:00pm: Pax Christi Chorale. Children’s Messiah. A 60-minute, family 

friendly, casual concert. Pax Christi Chorale; Pax Christi Chorale Soloists; Student 

Orchestra; Elaine Choi, conductor. Pay what you can. 

Dec 03 | 3:30: The Edison Singers. Abridged performance. 90 mins. Soloists & full 

orchestra; The Edison Singers; Noel Edison, conductor. $50; $30(st/18 and under). 

Dec 08 | 7:30: Elmer Iseler Singers. Messiah by G. F. Handel. Elmer Iseler Singers; 

VIVA Chamber Singers; Amadeus Choir of Greater Toronto; Linda Tsatsanis, soprano; 

Hillary Tufford, mezzo; Michael Colvin, tenor; Jorell Williams, baritone; $55; $50(sr); 

$35(under 30). 

sorely missed, incarnation in this part of the world: the oratoriodriven 

needs of Kitchener-Waterloo’s Grand Philharmonic Choir led 

directly to the formation of the Kitchener-Waterloo Symphony, and 

the symbiosis between the two led in turn to the building of Kitchener’s 

Centre in the Square – one of the region’s best big concert halls.) 

Change: another of the Messiah’s enduring fascination has to do 

with the extent to which the more the work stays the same, the more 

it is capable of change. At the level of the big symphonic-scale productions, 

a lot of the buzz, and the one-upmanship, revolves around who is 

conducting the work in any given year. But, even more so, around who 

the four soloists in a given year are going to be. “Did you see KW-S has 

Ben and Suzie and Daniel and Teddy this year?!” That kind of thing. 

At a less frivolous level, though, part of the work’s enduring appeal 

has to do not with changes of artistic personnel but with the capacity 

of the work itself to morph and change. It somehow renders itself 

performable on every imaginable scale, adjustable to a whole spectrum 

of motivations for presenting it, from high art to the visceral need 

of communities, including communities of faith, to come together and 

immerse in joyful noise during the winter’s darkest days. 

The brief list of what’s on offer this year gives a taste of this diversity, 

but before getting there, one last thought. Handel, unlike Bach, was 

a musical entrepreneur, with showmanship built into him the way a 

shark has cartilage instead of bone. Very early audiences in England 

actually never forgave him for making a public spectacle of what, in 

all decency, should have been private devotion. But thinking of his 

Messiah as purely theatrical misses the point. Harpsichordist/conductor 

Dec 09 | 7:30: Kingston Choral Society. Sing Along Messiah. Sit among the KCS choristers 

by section, or with friends and family. Bring your score and join in the fun, or just 

come & enjoy the wonderful music. Brian Jackson, guest conductor. $30(adults/sr); 

$20(st); Free(16 and under). 

Dec 14, 15, 16 | 7:30: Tafelmusik. Handel: Messiah. Rachel Redmond, soprano; Cameron 

Shahbazi, countertenor; James Reese; tenor; Enrico Lagasca, bass-baritone; Tafelmusik 

Chamber Choir; Tafelmusik Baroque Orchestra; Ivars Taurins, director. From $50. 

Dec 15 | 7:30: St. James Cathedral. Messiah by G. F. Handel. St. James Cathedral Choir; 

Chapel Choir of Trinity College, U of T, orchestra and soloists. During the performance 

artists from OCAD will paint canvases based upon the themes of the libretto. $25 

Dec 16 | 7:30, Dec 17 | 3:00: Hamilton Philharmonic Orchestra. Handel’s Messiah. Bach 

Elgar Choir. $20-$45. 

Dec 17 | 2:00: Tafelmusik. Sing-Along Messiah. From $59. General admission. Seating by 

vocal section. 

Dec 17 | 3:00, Dec 18, 19, 20, 21, 23 | 8:00: Toronto Symphony Orchestra. Messiah. 

Lauren Snouffer, soprano; Krisztina Szabó, mezzo; Colin Ainsworth, tenor; Joshua 

Hopkins, baritone; Toronto Mendelssohn Choir; Dame Jane Glover, conductor. From $41. 

Dec 18 | 7:00: Peterborough Singers. Handel’s Messiah. Lesley Bouza, soprano; Lillian 

Brooks, mezzo; Joshua Wales, tenor; Graham Roginson, bass; Ian Sadler, organ; Paul 

Otway, trumpet; Douglas Sutherland, trumpet. $40; $10(st). 

Dec 22 | 7:30: Guelph Chamber Choir. Handel’s Messiah. Ineza Mugisha, soprano; 

Jennifer Enns Modolo, alto; Owen McCausland, tenor, Stephen Hegedus, bass; with 

period instruments. $45; $40(sr); $10(ages 16-30); $5(ages 15 and under). 

ESTONIAN 

PHILHARMONIC 

CHAMBER 

CHOIR 

Don’t miss your chance to 

experience this deeply fulfilling 

international collaboration! 

Conductor 

Tõnu Kaljuste 

REPERTOIRE 

Arvo Pärt 

Palestrina 

Omar Daniel 

Antarktos Monodies 

(2023) 

Antarktos Monodies 

commission funded by 

ST. PAUL’S 

BASILICA 

FEB 3, 2024 

7:30pm 

SOUNDSTREAMS.CA 

The Michael and Sonja Koerner 

Charitable Foundation 

The Mary-Margaret Webb 

Foundation 

The JB Doherty 

Family Foundation 

The Anne-Marie H. 

Applin Foundation 


NOT THE MESSIAH: 

CHORAL MUSIC UPCOMING 

There is almost NO date between Dec 1-23 when you will not find a 

seasonal choral concert in our listings. And some days when you will find 

ten or more. So below, we’ve included a few that are after January 1, 

to whet your appetite and get you browsing. But for January be sure to 

keep checking our updated listings online at thewholenote.com 

EARLY MUSIC 

Jan 14 | Vesnivka Choir. Ukrainian Christmas Concert. Vesnivka Choir; Toronto 

Ukrainian Male Chamber Choir. The concert will include traditional and contemporary 

Ukrainian Christmas Carols (Kolyadky) and New Year songs (Shchedrivky). 

Joined by guest artists Zoloti Struny - a vocal ensemble of young musicians who play 

the bandura. This is Ukraine’s national instrument—a plucked-string instrument that 

combines elements of the zither and the lute. (Toronto) 

Jan 20 | SoundCrowd. Billy Joel vs Elton John. Arrangements of songs by “The 

Piano Man” and “The Rocket Man”, performed by this large-scale (up to 80 singers) 

a cappella vocal ensemble, go head-to-head. And the audience gets to decide the 

winner! (Toronto) 

Jan 26 | VIVA Singers, Flying Machine. Sounds intriguing, yes? This is a performance 

by their SATB Chamber Singers. (Toronto) 

Feb 03 | Soundstreams. Estonian Philharmonic Chamber Choir returns to 

Soundstreams for the sixth time. Led by its founder Tõnu Kaljuste, the EPCC is in the 

top rank of the world’s greatest vocal ensembles, famous as the foremost interpreters 

of music by their beloved countryman Arvo Pärt. Works by Pärt, Palestrina and the 

world premiere of Omar Daniel’s Antarktos Monodies. (Toronto) 

Feb 07 | Royal Conservatory of Music, Vocal Concerts Series. Los Angeles Master 

Chorale, staged by Peter Sellars. Schütz’s Musikalische Exequien (Music to Accompany 

a Departure) was composed during the terrible ravages of the 30 Years War, and it 

was dedicated to the memory of one of his dearest friends. The music speaks with 

both quiet emotion and enormous depth of feeling. (Toronto) 

JOIN READERS FROM 

around the globe 

who have enjoyed 

the enormously 

popular and 

important work 

Handel’s Messiah, 

told with the 

irreverent humor 

that only David W. 

Barber can provide 

in this 

30th-anniversary 

edition. 

Amazon.ca 

Indigo.ca 

Compiled by WholeNote Staff 

visit IndentPublishing.com 

THE TRINITY 

BACH PROJECT 

Making Choices that Count 

DAVID PERLMAN 

As a writer one is sometimes tempted to treat the 

moment one becomes aware of the existence of 

something remarkable as a definitive moment 

in its coming into being – as though it were somehow 

one’s personal discovery. Now in only its second season 

the Trinity Bach Project (new to me) already has 17 

performances under its belt and looks well set to carry on. 

In December 2023 and January 2024 alone, TBP will present 

seven performances of four distinct programs: Bach and Christmas 

(December 8 and 9); Bach and Schütz (January 9 and 27); Chamber 

Baroque and Handel’s Gloria (January 11); and Heart, Mouth, Deed, 

Life (January 19 and 20). 

It takes more than raw enthusiasm, beginners’ luck, passion and 

tenacity to maintain a pace like that. It takes an instinct for making 

the right choices, an understanding of what makes the musical 

ecosystem tick, and a healthy dose of self-awareness as to one’s own 

best place in that ecosystem. I connected with Nicholas Nicolaidis, 

TFP’s Music Director to ask about that. 

WN: You could choose worse places than Bach to start, in terms of 

building musical bridges of one kind or another – between music of 

different periods, for example. 

NN: we’re not only bridging from Bach backwards in musical 

time to early composers like Schütz and Tallis, but also forward to 

Romantic composers like Mendelssohn and Rheinberger. Our core 

value is presenting the works of artists who were creating the best 

sacred choral music they could imagine. Naturally we consider Bach 

to be the best of the best. The process of creating such music hasn’t 

stopped with these greats, however. TBP has already engaged young 

Canadian composers to prepare works for a New Sacred Music 

program next season—artists who are working “in the spirit of Bach” 

to bring sacred texts to life as powerfully and beautifully as they can. 


SIMON REMARK 

Rehearsing Brahms’ 

Geistliches Lied, Op. 30, 

May 13, 2023, St. 

Matthew’s Riverdale. 

Orchestra L-R: Michelle 

Odorico, Valerie Gordon, 

violin; Felix Deák, cello; 

Shannon Knights, viola 

Choir L-R: Matthew 

Muggeridge, James 

Dyck, countertenor; 

Jane Fingler, Louise 

Zacharias Friesen, 

soprano; Kieran Kane, 

Graham Robinson, bass; 

Mitchell Pady, Nicholas 

Nicolaidis, tenor. 

You also seem to have found a way of balancing 

vocal and instrumental forces on an 

ongoing basis, suited precisely to the needs of 

individual programs. You must have a loyal 

and flexible core to work from. 

We work with a pool of around 16 premier 

singers to build a choir of eight to twelve for 

each program and performance. Within that 

pool a consistent core has been present from 

the very start, but top-level singers in the GTA 

are busy with many commitments, so we’ve 

developed what you might call an “openconcept” 

ensemble. 

On the orchestral side, we have a handful of 

excellent organists to choose from program by 

program, and our orchestral director, violinist 

Michelle Odorico, does an amazing job of 

gathering the instrumentalists each cantata 

requires. A number of these players have 

become regulars through the 17 concerts TBP has presented since last 

October. Cellist Felix Deák, for example, has played in all but one! We’re 

featuring Felix performing movements of Bach’s unaccompanied cello 

suites throughout our ongoing program series called “Bach and Schütz” 

(Nov 23, Jan 9, Jan 27, and Apr 20 in various locations). 

So, how does all this work in terms of things like regular rehearsal 

days – pretty tough to arrange I imagine, when so many musicians go 

gig to gig? 

In the 2023/24 season, TBP’s second, we’re continuing last season’s 

strategy of polling the choir to arrange an intensive burst of rehearsals 

before each new program. A set weekly rehearsal day will definitely 

be an option for 2024/25, but as a new initiative in the region 

we’ve relied on project-based 

rehearsing to be able to access 

the singers we need. Rather 

than forcing them to choose 

between TBP and other ensembles, 

we’ve built our schedule to 

avoid conflicts with Tafelmusik, 

Toronto Mendelssohn Choir, the 

Elora Singers, and so on. 

Tell me about your project 

name; the “Trinity” for 

your Dec 8 and 9 Bach and 

Christmas is Little Trinity 

Anglican Church on King St E., 

so I assumed that Little Trinity is 

Nicholas Nicolaidis 

home base for the project? 

No, although a number of us do have connections to that congregation. 

“Home base” is Trinity College Chapel at the U of T, not Little 

Trinity Anglican. For the record, though, the name of our ensemble, 

“Trinity Bach Project,” is not formally linked with either of these institutions 

– more of a happy coincidence you could say. 

And then, of course, there’s “big Trinity” I suppose you could call 

it – Trinity-St. Paul’s on Bloor St. W. with its decades of connection to 

early music. I noticed you are taking Heart, Mouth, Deed, Life there 

on January 20 and 21, with Elisa Citterio as guest artist in Bach’s A 

Minor violin concerto. It’s TBP’s first performance there, right? 

Yes, it will be our first set of performances there, and also Elisa’s 

first return to Trinity-St. Paul’s since moving on from Tafel. 

For details, see our listings or visit trinitybachproject.org: 

David Perlman can be reached at publisher@thewholenote.com. 

SIMON REMARK 

A New Beginning 

2023–2024 Season 

Medieval Christmas 

Dec. 8 & 9 at 8 pm | Dec. 9 at 2 pm 

Artistic Direction by the Artistic Associates 

A Yuletide feast for the eyes and ears! 

Songs of the Palace 

February 9 & 10 at 8 pm 

Artistic Direction by Esteban La Rotta 

The profound impact of European Exploration. 

Trinity-St. Paul’s Centre, 427 Bloor St. W. | Tickets: 416-964-6337 or TorontoConsort.org 


An agency of the Government of Ontario 

Un organisme du gouvernement de l’Ontario 

EARLY MUSIC 

UPCOMING 

While legions of early music players and singers are involved in December performances of Handel’s Messiah, there 

are options, as you’ll see below! And then, in January, when you’re ready for early music that might be adventurously 

unfamiliar, there are some great treats in store. More details can be found in our listings section. And by January, 

there will be even more - so be sure to check our updated listings online at thewholenote.com 

Dec 1 | Fridays at 12:30 Concert Series: Musicians of 

Tafelmusik. Tafelmusik musicians join faculty from the DWFM 

Early Music Studio for this popular annual performance featuring 

Baroque chamber music by lesser-known composers 

as well as beloved masters. Don Wright Faculty of Music, 

Western University. Free. LIVE & LIVESTREAM. (London) 

Dec 1 | Bach’s Christmas Oratorio (Weihnachtsoratorium) 

BWV 248 Toronto Choral Society. Bach: Christmas 

Oratorio (Weihnachtsoratorium) BWV 248.Stephanie 

Kim, soprano; Veronika Anissimova, alto; Dion Mazerolle, 

baritone. (Toronto) 

Dec 8 | Medieval Christmas. Toronto Consort. A serene 

and heartfelt Yuletide program combining music with 

projected images taken from the treasure trove of 

medieval paintings, book illuminations, and stained glass. 

Medieval Christmas is presented in a darkened, candle-lit 

hall designed to transport you, unplug you from the world 

outside, and send you home feeling some joy. (Toronto) 

Also on Dec 9 (2pm & 8pm). (Toronto) 

Dec 9 | Bach: Christmas Oratorio. Grand Philharmonic 

Choir, and Musicians of the KWSymphony. Molly Netter, 

soprano; Lillian Brooks, mezzo; Asitha Tennekoon, tenor; 

Stephen Hegedus; bass-baritone; Mark Vuorinen, conductor. 

(Kitchener) 

Dec 9 | Christmas in the Renaissance. The Tallis Choir. 

Tallis: Videte miraculum; Guerrero: Pastores loquebantur; 

Palestrina: Hodie Christus natus est. (Toronto) 

Dec 13 | Journey Together. Toronto Chamber Choir. 

Christmas-themed music by Bingen, Bach, and Biebl. 

With Bach Children’s Chorus; Charissa Bagan, guest 

director. (Toronto) 

Dec 19 | The Diapente Book of Carols. Apocryphonia. 

A selection of holiday favourites from the 14th to the 17th 

century, sung by Toronto’s only Renaissance vocal quintet: 

Jane Fingler, soprano; Peter Koniers, countertenor; 

Alexander Cappellazzo, tenor; Jonathan Stuchbery, tenor 

& continuo; Martin Gomes, bass. (Toronto) 

Jan 20 | Puzzle Me This. North Wind Concerts. Works by 

Bach, Da Rore/Dalla Casa, Geysen, Anonymous, and others 

with ACTA Recorder Quartet: Avery MacLean, Colin Savage, 

Tatsuki Shimoda, and Alison Melville. (Toronto) 

Jan 21 | Ensemble Caprice - Sweet! - Chocolate & French 

Baroque Music. The Jeffery Concerts. Works by Médard, 

Flecha, Charpentier, Rameau, Corrette, Royer, Marais, 

Corbetta, and Couperin. Ensemble Caprice: Matthias 

Maute and Sophie Larivière, recorders and Baroque flutes. 

(London) 

Feb 2 | The Enchanted Garden: Music and Poetry Inspired 

by Nature. Kingston Baroque Consort. Works by Vivaldi, 

Couperin, and others. (Kingston) 

Feb 2 | Fantasticus. Tafelmusik. Originating in Italy in the 

17th century, the “stylus fantasticus” featured unfettered 

improvisations, dramatic contrasts, and the passionate 

give-and-take of friends in musical conversation. Lina Tur 

Bonat, guest director and violin Also Feb 3 (8pm) & 

Feb 4 (3pm). (Toronto) 

Feb 4 | Disappearing Act. Rezonance Baroque Ensemble. 

Virtuoso works by composers overlooked by the history 

books. Concerti by Maddalena Sirmen, Joseph Bologne, 

and others. (Toronto) 

Compiled by WholeNote Staff 

PASSIONS 

REVEALED 

Aisslinn Nosky, 

guest director & violin 

Canadian violinist and friend of Tafelmusik 

Aisslinn Nosky returns to direct a program 

revealing the peaks and valleys of the 

human emotional landscape. 


Jeanne Lamon Hall, Trinity-St. Paul’s Centre 

On sale now at tafelmusik.org/tickets 


MUSIC THEATRE 

HOLIDAY 

SHOWS 

Old Favourites and 

New Contenders 

JENNIFER PARR 

December is usually filled with the return of 

shows we think of as old family favourites so it 

is exciting when new candidates for that status 

take a step into the spotlight. One such is new holiday 

musical Chris, Mrs. making its world premiere debut in 

December at Toronto’s beautiful Winter Garden Theatre 

December 5-31. 

The title is in part a play on the of Santa Claus as “Kris Kringle”, but 

that thought is a bit of a red herring, in what is a contemporary story 

of an advertising executive and single dad, Ben Chris, who in a final 

visit to his late parents’ lodge (which he is planning to leverage for a 

promotion) runs head first into family opposition from his brother 

Charlie, teenage daughter Claire, and troublemaking twins Samuel 

and Samantha. After discovering a ring in their father’s suitcase, the 

twins write to Santa for assistance. Enter Holly, a seasonal employee 

at the lodge. Between Charlie’s nostalgic nature and Holly’s Christmas 

cheer, it soon becomes a holiday no one will forget. 

The co-creators of Chris, Mrs. – Katie Kerr (book 

& lyrics) and Matt Stodolak (score) 

KK & MS: It was a happy accident. We began writing just before 

the pandemic, so we initially envisioned the show for the stage. We 

wanted to create a fun and exciting family musical experience. Once 

things locked down, film was the only industry that was still in 

production, so we began to pivot the stage version into a film script. 

In doing so, the parallels between the traditional Hallmark tropes and 

our holiday musical rom-com became more obvious. Now that theatre 

ROB ANZIT 

If this sounds to you like a Hallmark movie plot you’re not wrong 

as I found out chatting by email with the musical’s creators, Canadian 

couple Katie Kerr (book & lyrics) and Matt Stodolak (score) who 

are also behind the new company presenting this show: Boldly 

Productions. (This interview has been edited and condensed) 

WN: What gave you the inspiration to create a new holiday 

musical, and this story in particular? 

K&M: We met doing the same Christmas musical and realized that 

there is very little content in the Christmas musical theatre canon, 

especially content that is Canadian. As we began dating, we also realized 

that we both not only loved Christmas, but that we had each 

been looking for a partner to write with. So we began writing during 

lock-down in the basement of Matt’s parents’ house. Chris, Mrs. has 

always been about the importance of family, but after that first season 

without our loved ones, we also began to explore the importance of 

traditions and how they shape our lives. 

On the website it says that the show “combines the whimsy of a 

Hallmark movie with the spectacle of the stage.” Is this what you 

were aiming for from the get-go or did you realize along the way that 

this is what you had created? 


MAX POWER 

From the trailer for Chris, Mrs.: Addison Wagman “Samantha”, Danielle 

Wade “Holly”, Liam Tobin “Ben”, Lucien Duncan-Reid “Samuel” 

is coming back, our show offers the perfect blend of the comfort of 

those made for TV movies, with the social and spectacle elements of 

live theatre. We hope to welcome all kinds of friends and families into 

a new holiday tradition at Chris, Mrs. this December. 

Katie, were you inspired by your Come From Away experience? 

KK: My time at Sheridan College and the Canadian Musical Theatre 

Project changed the course of my professional career. In my final 

year I had my heart set on being on in the Main Stage production of 

Chicago. When I read that I had been cast in the new works piece in 

the G Basement, my heart dropped. Who at that point had ever heard 

of Come From Away? But my experience in that show opened my 

eyes to a world I had never thought to explore. I fell in love with the 

development and exploration of new works. It absolutely inspired me 

to become a writer and to believe that incredible things can be built in 

a basement. 

Can you tell us more about the musical structure of this show and 

your musical influences? 

KK & MS: In terms of influences our strongest comes from Stephen 

Sondheim: “Content dictates form; Less is more; God is in the details.” 

In this show we have the unique opportunity to write for three generations 

since the story has young kids, teenagers, and adults. Our 

approach to this was to think about what the sound of each generation 

is; what artists do they listen to and feel tell their story. For example, 

the teenage love song in the show has an early Taylor Swift influence. 

The “I Want” song for our female lead, Holly has a flavour of Alanis 

Morissette. So using those song books as a jumping off point to translate 

as a vehicle for musical theatre was the driving force behind the 

musical world of Chris, Mrs. 

With it’s tuneful songs, light 

but warm-hearted script, and cast 

of 17 talented Canadian actors 

Chris, Mrs. promises to be a 

delightful way to celebrate the 

holidays. For more details please 

visit: www.chrismrs.com/ 

Trailer: www.youtube.com/ 

watch?v=6CxiQI6UkBs&t=1s 

Top to bottom: 

Stewart Adam McKensy 

as Tommy Albright and 

Alexis Gordon as Fiona 

MacLaren in Lerner and 

Loewe’s Brigadoon, at 

the Shaw Festival. 

It’s A Wonderful Life: (l-r) 

Caitlyn MacInnis as Sally 

Applewhite & Amy Matysio 

as Lana Sherwood. 

The 2019 cast of A Huron 

County Christmas Carol 

More holiday fare 

Pollyanna: Another candidate for new family favourite is the world 

premiere, at Hamilton’s Theatre Aquarius, of Pollyanna, Stephen 

Gallagher’s (score) and Linda Barnett’s (book & lyrics) musical adaptation 

of Eleanor Porter’s beloved novel of the little girl who is almost 

too good to be true. Remember the iconic (non musical) Disney film 

version starring Hayley Mills? https://theatreaquarius.org/events/ 

pollyanna/. New takes on classics are popping up elsewhere, too, 

including the Shaw Festival production of Lerner & Lowe favourite 

Brigadoon with a revised book 

by Canadian Brian Hill that ties 

the Scottish fantasy more closely 

to the real world and threat of 

war. www.shawfest.com/playbill/ 

brigadoon/ 

A Wonderful Life: At Young 

People’s Theatre in Toronto A 

Wonderful Life - which we all 

know from the famous Frank 

Capra film starring Jimmy 

Stewart - is being presented 

in the form of a radio play 

with all the mechanics of the 

production on display to the 

“studio” audience. www.youngpeoplestheatre.org/shows-tickets/ 

its-a-wonderful-life/ 

Blyth: Outside the city again, 

the Blyth Festival is presenting 

their own modernized regionally 

specific take on a Dickens 

classic with A Huron County 

Christmas Carol starring Blyth 

mainstay Randy Hughson 

as Scrooge, and promising a 

rollicking original score by John 

Powers. https://blythfestival.com/ 

show/a-huron-county-christmascarol/2023-11-30/ 

DAVID COOPER. YPT FACEBOOK TERRY MANZO 


Slava’s Snow Show: Back in Toronto the internationally acclaimed 

visual and musical clown-inspired extravaganza Slava’s Snow Show is 

celebrating its 30th anniversary of touring internationally with a short 

stay at the Elgin Theatre. I’m looking forward to seeing this for the first 

time as my inner child was captivated by this description: “a sea of 

magical bubbles floating through the air, an unlikely shark swimming 

in a misty sea, being tangled up with the performers in a gigantic 

spider’s web, and an out-of-this-world snowstorm that turns the 

theatre into a life sized snow globe.” https://slavasnowshow.com/en/ 

A scene from Slava’s Snow Show: created and performed by clown 

Slava Polunin and his Academy of Fools troupe. December 22-31 

at the Elgin Theatre, presented by Show One Productions. 

And beyond 

January seems so far away right now but I can’t wait to see the 

Ontario premiere of Edmonton’s Catalyst Theatre’s fierce musical 

triumph The Invisible – Agents of Ungentlemanly Warfare, a gripping 

musical story about the untold, true life events of undercover 

female agents in World War II packed with a thrilling film-noir-meetsgraphic-novel 

scenic design, and a powerful score. At London’s The 

Grand Theatre Jan. 16-Feb 3. grandtheatre.com/event/the-invisible 

Jennifer Parr is a Toronto-based director, dramaturge, fight 

director and acting coach, brought up from a young age on a rich 

mix of musicals, Shakespeare and new Canadian plays. 

A scene from Catalyst Theatre’s The Invisible – Agents of 

Ungentlemanly Warfare, coming to The Grand Theatre, London. 

EMILY COOPER 


MOSTLY JAZZ 

PRECARIOUS 

INDEPENDENCE 

AND BIG HALL 

HIGHLIGHTS 

COLIN STORY 

Jonathan (centre) and Andrew Kay (right), at the Rex 

in Toronto with saxophonist Pat LaBarbera and bassist 

Roberto Occhipinti. They will be together again for The 

Coltrane Sutras at The Jazz Room in Kitchener, Dec 9. 

Given the precariousness involved in the retail and 

service industries, it is something of a miracle 

when new grassroots venues emerge. It is not as 

though larger ventures – such as the nascent Allied Music 

Centre at Massey Hall – are without risk; presenting live 

music is always a tricky proposition. Large, established 

organizations, however, have the benefit of development 

departments, of long-cultivated reputations within the 

community, and, typically, of owning the physical space 

in which they host concerts. For small establishments, the 

math looks quite a bit different. 

An independent restaurant, for example, might 

decide that a weekly jazz night is a great idea: 

music will add to the ambience, the band will 

bring in customers who might not otherwise dine 

there, and the restaurant will gain valuable support 

within the community. In practice, however, any 

number of issues can arise. Perhaps the manager’s 

idea of jazz is Frank Sinatra singing “Fly Me To The 

Moon,” not John Coltrane playing “Giant Steps;” 

perhaps the band does bring in new customers, 

but they’re mostly university students who don’t 

have the budget for more than an appetizer and 

a glass of water; perhaps the restaurant, realizing 

after a month or two that they are losing money, 

must then cancel the series, much to the chagrin 

of the band’s family and friends. Everyone involved 

has acted with the best of intentions, but the series 

was not sustainable. 

Having witnessed this cycle many times over, 

in Toronto and elsewhere, it has been a distinct 

pleasure to see the success of two unique venues 

that have emerged from the pandemic with an 

ongoing commitment to hosting live music. 

Sellers & Newel Second Hand Books first 

opened at 672 College Street in November, 2011. 

The Sellers & Newel Literary Society – both the 

name of a performance series and the eponymous mailing list that 

gets sent out to those looking to keep up to date with the performances 

– was started in 2015, and quickly grew from there. The shows 

themselves take place right in the bookstore, against a backdrop of 

books, vintage chandeliers, and concert posters from past performances. 

It is a small space, and can only accommodate 30-40 patrons; 

fittingly, the ensembles that play there are typically small, with an 

emphasis on duos and trios. On Friday, December 8, Sellers & Newel 

will host its 12th Anniversary Show, which will feature the trio 

of guitarist Dan Pitt, saxophonist Brittany Pitt, and vocalist Laura 

Swankey, playing adventurous, exploratory music. 

Bebop Joe’s – formerly Antikka – is a coffee shop and record store 

located at 960 Queen Street W. Like Sellers & Newel, it is a space that 

does not automatically suggest itself as a live-music venue, but it 

has cultivated a presence for itself as a regular 

Holly Cole 

presenter of concerts, with an emphasis on 

small ensembles playing jazz and indie music. 

On select weekday evenings and on weekend 

mornings/afternoons, catch the likes of vocalist/ 

trombonist Charlotte McAfee-Brunner and 

guitarist Jared Higgins, guitarist Tak Arikushi, 

and singer-songwriter Brigit McDermott. 

Molly Johnson 

Koerner: Speaking of larger venues, there are 

a number of interesting shows happening in 

December that one can experience from some 

of Toronto’s most comfortable seats. Koerner 

Hall continues to bring in some of the best 

and brightest of American jazz talent, with 

shows by Jon Cowherd, Samara Joy, Christian 

McBride, Joshua Redman, and Brad Mehldau 

all on the schedule for this season. (A headlining 

project from Brian Blade would have 

rounded out Redman’s famous 1990s quartet.) 

On December 8, Koerner Hall plays host to 

vocalist Holly Cole, who leads a holiday show 

entitled “A Swinging Christmas.” Performing 

material featured on her two Christmas albums, 

Cole is joined by longtime collaborator Aaron 

Davis as pianist, musical director, and string 

arranger, as well as bassist George Koller, woodwind 

specialist John Johnson, drummer Mark 

Mariash, and a string ensemble of students 


FROM UP HERE 

Bebop Joe’s 

Hornepayne 

Brampton, Braun, 

Broadsway & Beyond 

SOPHIA PERLMAN 

from the Glenn Gould School, the Royal Conservator’s post-secondary 

training program. One day later, on December 9, Terence Blanchard’s 

E-Collective hits the stage, with the Turtle Island Quartet. Blanchard 

– trumpeter, bandleader, and film, television, and opera composer – 

will be a familiar name to many WholeNote readers, as will his bandmates, 

guitarist Charles Altura, pianist Taylor Eigsti, bassist David 

Ginyard, and drummer Oscar Seaton Jr. 

At Roy Thomson Hall, the Toronto Symphony Orchestra is staging 

a run of Holiday Pops concerts from December 11 to 13. Conducted by 

Steven Reineke, the shows will feature vocalists Molly Johnson and 

Billy Newton Davis, supported by the rhythm section of pianist Robi 

Botos, bassist Mike Downes, and drummer Davide Direnzo. The show 

will also feature a “Holiday Chorus” made up of students from the 

Etobicoke School of the Arts, which is sure to be a formative experience 

for the high-school students involved. 

Non-holiday notables: Some other notable concerts are happening 

this holiday season, none of which happen to be holiday shows. On 

November 30 and December 1, the legendary saxophonist and flutist 

Lew Tabackin takes the stage at Jazz Bistro, playing with the local 

rhythm section of pianist Mark Eisenman, bassist Pat Collins, and 

drummer Morgan Childs. At The Rex, rising-star trumpeter/vocalist 

Madeleine Ertel leads a quartet for a four-night residency, between 

November 29 and December 2, with the support of violinist Aline 

Homzy, drummer Aiden McConnell, and Dan Fortin (on November 30 

and December 1) and Julian Anderson-Bowes (on November 29 and 

December 2) splitting bass duties. At the Jazz Room in Waterloo, 

brothers Jonathan and Andrew Kay lead a fusion ensemble of saxophonist 

Pat LaBarbera, 

bassist Roberto Occhipinti, 

Lew Tabackin 

table player and percussions 

Dhaivat Jani, and drummer 

Adam Teixeira play The 

Coltrane Sutras, a “transcultural 

re-imagining of 

the music of John and 

Alice Coltrane.” 

Colin Story is a jazz 

guitarist, writer, and teacher 

based in Toronto. He can 

be reached at www.colinstory.com, 

on Instagram 

and Twitter. 

Peter Sellers, outside his College Street 

bookstore, which has been “moonlighting” 

as a music venue since June 2015. 

ORI DAGAN 

For those reliant on public transit, Brampton may seem 

impossibly north. From this writer’s current location, 

it’s 1,063 km south. 

With that in mind, it seems fair to say that Brampton On Stage’s 

wonderfully diverse programming (music and otherwise) across five 

venues in that city make a compelling argument for downtowners 

to take the 43 minute ride from Union Station on the Kitchener or 

Brampton/Orangeville GO lines. 

Lovers of jazz, cabaret, humour and storytelling should take 

particular note of a pair of Brampton concerts in this issue’s listings, 

whether you are looking for a departure from your usual holiday 

programming or resisting the generic musical tyranny of seasonal 

banks and supermarket aisles. First, Adi Braun and her quartet bring 

“Noir” to the Lester B Pearson Theatre on Thursday December 14. The 

music of the Film Noir Era is perfectly suited to Braun’s signature 

style, which sits beautifully in the nebulous zone between jazz and 

cabaret and a significant step removed from holiday cheer. 

On the other hand, my own reluctance to embrace the season in any 

way softened a little, even teetering toward “Christmas in November” 

when I discovered that Toronto-based trio Broadsway were bringing 

their Most Wonderful Time of the Year…Maybe a little closer to Santa 

Adi Braun 

Broadsway 

Claus (and me!) with stops in Sault Ste Marie and Kirkland Lake 

(4 ½ hours and 5 ½ hours southeast respectively from here, if you have 

a car). Ironically, if you don’t drive, it’s probably easier to plan a trip 

to Brampton! 

Broadsway is the jazz-cabaret supergroup of Diane Leah, Heather 

Bambrick and Julie Michels, and they will return south from here with 

stops in Toronto and North York before wrapping up at Brampton’s Rose 

Theatre on Thursday December 19. Each of these women is a powerhouse 

musician, performer and storyteller in their own right; the 868-seat Rose 

auditorium is an amazing opportunity to watch the collective magic they 

create together - taking a space of any size, anywhere, turning it into the 

most intimate of kitchen parties, and then blowing the roof off the place. 

On the train ride home, even the holiday reluctant in your traveling party 

will have to admit they had a good time. 

Sophia Perlman grew up bouncing around the jazz, opera, theatre 

and community arts scene in Toronto. She now eagerly awaits the 

arrival of her monthly WholeNote to Hornepayne, Ontario, where she 

uses it to armchair-travel and inform her Internet video consumption. 


MUSIC 

FESTIVAL 

FEARLESS MUSICIANS 

BRING US FRESH NEW 

SOUNDS AND IDEAS 

BRAD MEHLDAU LAURIE ANDERSON KRONOS QUARTET 

CALIDORE STRING QUARTET BRIDGET KIBBEY LARA ST. JOHN FAZIL SAY 

KOERNER 

HALL 

2023.24 

CONCERT 

SEASON 

SEASON SPONSOR: 

Academy Chamber Orchestra 

SAT., DEC. 16, 7:30PM MAZZOLENI CONCERT HALL 

FREE (TICKET REQUIRED) 

String students from The Phil and Eli Taylor 

Performance Academy for Young Artists 

come together as the Academy 

Chamber Orchestra to perform 

a special concert. 

Free tickets available starting from 

10am on Fri., Dec. 8, 2023. 

The Glenn Gould 

School Vocal 

Showcase 

SAT., JAN. 27, 7:30PM 

MAZZOLENI CONCERT HALL 

TICKETS: $20 

Hear the shimmering voices 

of The Glenn Gould School’s 

voice students as they 

perform an evening of art 

songs and opera excerpts. 

The Robert W. & G. Ann Corcoran 

Concerto Competition Finals 

TUES., JAN. 23, 7:30PM KOERNER HALL 


Students of The Glenn Gould School compete 

for the opportunity to perform a concerto with 

the Royal Conservatory Orchestra during the 

2024-25 concert season. 

Free tickets available starting from 10am on Tues., Jan. 16, 2024. 

Mayumi Seiler, violin, 

with Jeanie Chung, piano 

SUN., JAN. 28, 2PM 


TICKETS: $25 

Violinist Mayumi Seiler performs 

two monumental sonatas, 

Schubert’s “Grand Duo” and 

Schumann’s No. 2 in D Minor, 

with pianist Jeanie Chung. 

Generous support provided from 

The Michael and Sonia Koerner 

Fund for Classical Programming 

237 BLOOR STREET WEST 

(BLOOR ST. & AVENUE RD.) TORONTO 

TICKETS & SUBSCRIPTIONS

ON SALE N 

TICKETS FOR 

ALL CONCERTS 

START AT $21 

THE 21C MUSIC FESTIVAL IS MADE POSSIBLE THROUGH THE 

GENEROUS SUPPORT OF MICHAEL AND SONJA KOERNER 

Fazıl Say and Friends 

FRI., JAN. 19, 8PM KOERNER HALL 

Turkish pianist Fazıl Say performs an 

evening of his own works for solo piano, 

voice, and chamber ensemble featuring 

Turkish-Canadian mezzo-soprano Beste 

Kalender, Lara and Scott St. John (violins), 

Barry Shiffman (viola), and Winona 

Zelenka (cello). 

Lara St. John: ☥ she/her/hers 

SAT., JAN. 20, 8PM 


Canadian violinist and musical maverick 

Lara St. John performs solo violin pieces 

composed by 12 leading composers, 

including Laurie Anderson, Valerie 

Coleman, Gabriela Lena Frank, and more. 

Concert generously supported by Judith Gelber 

21C Afterhours: Indígena 

SAT., JAN. 20, 10PM TEMERTY THEATRE 

Curated and conducted by Brian Current, 

the students of The Glenn Gould School 

perform ground-breaking works by 

contemporary composers. 

Bridget Kibbey with the 

Calidore String Quartet and 

Mervon Mehta, narrator 

SUN., JAN. 21, 3PM KOERNER HALL 

The “Yo-Yo Ma of the harp” (Vogue), 

Bridget Kibbey joins the acclaimed 

Calidore String Quartet and Mervon 

Mehta for an eclectic evening including 

a new commission for harp and quartet 

by Sebastian Currier and Edgar Allen 

Poe/André Caplet’s The Masque of the 

Red Death. 

Brad Mehldau: 14 Reveries 

SAT., JAN. 27, 8PM KOERNER HALL 

“The most influential jazz pianist of 

the last 20 years” (The New York Times) 

Brad Mehldau plays a solo night of new 

jazz works commissioned by The Royal 

Conservatory, Wigmore Hall (London), 

Carnegie Hall, and Cal Performances 

(UC Berkeley). 

Laurie Anderson 

FRI., APR. 5, 8PM KOERNER HALL 

One of America’s most renowned and 

daring creative pioneers returns for 

another magical night. 

Kronos Quartet: Five Decades 

THURS., MAY 9, 8PM KOERNER HALL 

Celebrate the legacy and impact of one 

of the most illustrious and influential 

groups of our time. 

ON SALE NOW! 416.408.0208 RCMUSIC.COM/21C @KOERNERHALL #21CMUSIC #KOERNERHALL 

Taylor Academy 

Showcase Concert 

SAT., FEB. 3, 4:30PM 



The Phil and Eli Taylor Performance 

Academy for Young Artists presents 

a concert by the leading young 

classical musicians in Canada. 

Hear the stars of tomorrow! 

Free tickets available starting 

from 10am on Fri., Jan. 26, 2024. 

Joshua Weilerstein conducts 

the Royal Conservatory 

Orchestra Kanon Shibata, cello 

FRI., FEB. 9, 8PM KOERNER HALL 

TICKETS START AT ONLY $25 

Joshua Weilerstein will lead cellist 

Kanon Shibata and the Royal Conservatory 

Orchestra in a program of works by 

Edward Elgar and Gustav Mahler. 

Part of the Temerty Orchestral Program 

Los Angeles Master Chorale, 

staged by Peter Sellars 

Music to Accompany a Departure 

WED., FEB. 7, 8PM KOERNER HALL 


A deeply personal yet uplifting 

meditation on what it means to say 

goodbye to those we love. 

Series generously supported by an anonymous donor 

Concert generously supported In memory of Robert Calvin 

With generous support from The Michael and Sonja Koerner Fund 

for Classical Programming 

Isabelle Faust, violin, 

Alexander Melnikov, piano, 

and Jean-Guihen Queyras, cello 

SAT., FEB. 10, 8PM KOERNER HALL 


Violinist Isabelle Faust, cellist Jean-Guihen Queyras, 

and pianist Alexander Melnikov take us on a fascinating 

journey through a thrilling repertory of piano trio ‘hits’ 

by Beethoven, Brahms, and Elliott Carter. 

Generous support provided from The Michael and Sonia Koerner 

Fund for Classical Programming 

ON SALE NOW! 416.408.0208 RCMUSIC.COM/PERFORMANCE

LIVE OR ONLINE | Dec 1, 2023 to Feb 7, 2024 

Friday December 1 

● 12:30: Don Wright Faculty of Music. Fridays 

at 12:30 Concert Series: Musicians of 

Tafelmusik. Von Kuster Hall, Music Building, 

Western University, 1151 Richmond St. N., London. 

519-661-3767 or www.music.uwo.ca/ 

events. Free. LIVE & LIVESTREAM. 

● 7:00: Burlington Performing Arts Centre. 

State Ballet Theatre of Ukraine: Snow White 

and the Seven Dwarfs. Burlington Performing 

Arts Centre - Main Theatre, 440 Locust St., 

Burlington. www.burlingtonpac.ca/events/ 

snow-white or 905-568-1600. From $64.50. 

● 7:00: Jazz at Durbar. Medium Curry, Hot 

Jazz. Jazz standards, Chick Corea, Wayne 

Shorter, Bill Evans tunes. Matt Pines, piano; 

Eddie Castro, double-bass; Michael Massaro, 

sax; Dennis Song, drums. Durbar Indian Restaurant, 

2469 Bloor St. W. 416-762-4441. Free. 

Reservations strongly recommended. 

● 7:00: Small World Music. Auspicious Folk: 

Contemporary Expressions of Asian Canadian 

Artists. Darling Cora; Mohsin Jaman; 

Arlene; Tennyson King; Janice Lo Lee, host;. 

Small World Music Centre, Artscape Youngplace, 

180 Shaw St. info@smallworldmusic. 

com or www.eventbrite.ca/e/auspicious-folktickets. 

$20. 

● 7:30: Don Wright Faculty of Music. Western 

University Wind Ensemble Concert. Paul 

Davenport Theatre, Talbot College, Western 

University, 1151 Richmond St. N., London. 519- 

661-3767 or www.music.uwo.ca/events. Free. 

● 7:30: Toronto Choral Society. Bach’s 

Christmas Oratorio. Bach: Christmas Oratorio 

(Weihnachtsoratorium) BWV 248. 

Stephanie Kim, soprano; Veronika Anissimova, 

alto; Dion Mazerolle, baritone. 

Koerner Hall, TELUS Centre, 273 Bloor St. W. 

416-408-0208 or 1-888-408-0208. $45. 

● 7:30: Toronto Symphony Orchestra. Tchaikovsky’s 

Sleeping Beauty. Humperdinck: Prelude 

to Hänsel and Gretel; Marjan Mozetich: 

Bassoon Concerto; Tchaikovsky (compiled 

by Emelyanychev): Suite from The Sleeping 

Beauty. Michael Sweeney, bassoon; Maxim 

Emelyanychev, conductor. Roy Thomson Hall, 

60 Simcoe St. 416-598-3375. From $41. Also 

Nov 29(8pm), Nov 30(8pm), Dec 3(3pm). 

● 7:30: Upper Canada Choristers/Cantemos. 

A Seasonal Journey. Opening concert of the 

choir’s 30th season. Ariel Ramirez: Navidad 

nuestra (Our Nativity); Christmas and other 

music from British, Celtic, and other traditions. 

Upper Canada Choristers; Cantemos; 

Hye Won (Cecilia) Lee, piano; Ernesto Cárdenas, 

kena; Miguel Vásquez, percussion & 

kena; José Sanhueza, guitar; Rodrigo Chavez, 

charango & percussion; Laurie Evan Fraser, 

conductor. Grace Church on-the-Hill, 

300 Lonsdale Rd. www.uppercanadachoristers.org 

or info@uppercanadachoristers. 

org or 416-256-0510 or www.youtube.com/ 

watch?v=Qi6Om4qUEGE. $25 via Eventbrite 

or at the door; Free(children under 16 with 

an adult). Free streaming at www.uppercanadachoristers.org 

or YouTube (link to be 

announced). Donations are welcome. LIVE & 

STREAMED. 

● 8:00: Brampton On Stage. Rising Vibes. 

Curated by TCspades. Hip Hop and R&B. 

TCspades, Jon Kabongo, NC Capo, Shanuka, 

and BeBeBoy. The Rose Studio, 1 Theatre Ln., 

Brampton. www.tickets.brampton.ca/online 

or 905-874-2800. $10. 

● 8:00: Flato Markham Theatre. Men of the 

Deeps: Christmas in the Mine. Colin Grant, 

fiddle. 171 Town Centre Blvd., Markham. 905- 

305-7469 www.flatomarkhamtheatre.ca. 

$78(regular); $83(prime); $15(YTX). 

● 8:00: Old Mill Toronto. Old Mill Toronto 

Jazz Lounge: Fifth Element. Jazz. Nina Richmond, 

vocals; Jack Gelbloom, piano; Ron 

Johnston, double-bass; Glenn Anderson, 

drums; Dave Coules, tenor sax. 21 Old Mill Rd. 

416-207-2020 or www.oldmilltoronto.com/ 

jazz-lounge. $20 cover. Minimum $30 food & 

beverage spend. Restricted to ages 19+. Dinner 

at 6pm. Show at 8pm. 

● 8:00: Something Else!Dans les arbres. 

Xavier Charles, clarinet; Christian Wallumrød, 

piano; Ivar Grydeland, guitar; Ingar Zach, percussion. 

St. Cuthbert’s Presbyterian Church, 

2 Bond St. N., Hamilton. www.eventbrite. 

ca/e/something-else-series-dans-les-arbrestickets-747862054537. 

$20(door)/$15(adv at 

Eventbrite). 

Saturday December 2 

● 1:30: Pax Christi Chorale. Children’s Messiah. 

Experience Handel’s masterpiece 

through the eyes of a child. Children’s Messiah 

introduces young audience members 

to a great choral masterwork and the joys 

of the collective live musical experience in 

this 60-minute, family friendly, casual concert. 

Pax Christi Chorale; Pax Christi Chorale 

Soloists; Student Orchestra; Elaine Choi, conductor. 

Church of the Redeemer, 162 Bloor 

St. W. www.paxchristichorale.org. Pay what 

you can. Donations accepted for Church of 

the Redeemer’s The Common Table program. 

Also 4pm. 

● 2:00: Ballet Jörgen. Nutcracker. Music by 

Pyotr Ilyich Tchaikovsky and Choreography 

by Bengt Jörgen. FirstOntario Concert Hall, 

1 Summers Ln., Hamilton. www.jorgendance. 

ca/event/the-nutcracker-a-canadian-tradition-in-hamilton 

or info@balletjorgen.ca or 

416-961-4725. From $57. 


State Ballet Theatre of Ukraine: The 

Nutcracker. Music by Peter Tchaikovsky. 

Burlington Performing Arts Centre - Main 

Theatre, 440 Locust St., Burlington. www. 

burlingtonpac.ca/events/nutcracker or 905- 

568-1600. From $64.50. Also 7pm. 

● 2:00: Lajeunesse Youth Orchestra. Home 

for the Holidays. Port Hope United Church, 

34 South St., Port Hope. www.ljyo.ca/concerts-and-tickets. 

$20. 

● 2:00: Westben. Christmas at Westben: 

Speaking of Gifts. An exploration of giving 

through word and song. Westben Festival 

Chorus; Brian Finley, director; Kerstin Walsh, 

accompanist; Sarah Lewis, spoken-word artist. 

The Barn, 6698 County Road 30, Campbellford. 

1-877-883-5777 or www.westben.ca. 

$28; $25(sr); $5(under 30). Also Dec 3. 

● 2:00: Yorkminster Park Baptist Church. 

Annual City Carol Sing. With special guests 

Keith Hampshire & Martina Ortiz Luis. Devo 

Brown, host. 1585 Yonge St. www.yorkminsterpark.com. 

Free. Donations welcome at 

the door. 

● 3:00: Achill Choral Society. Achill Celebrates 

40! John Rutter: Magnificat; John 

Williams: Home Alone Suite; Howard Blake: 

The Snowman; Elaine Hagenburg: Sussex 

Carol plus seasonal favorites and selections 

from our inaugural 1982 performance. 

Alumni Singers; Nancy Dettbarn, collaborative 

pianist; Shawn Grenke, director; a string 

quartet and other performers. Knox Presbyterian 

Church, 160 King St. S., Alliston. 

www.achill.ca or 647-712-3039. $30; $15(st). 

Also Nov 25(Westminster United Church, 

Orangeville). 


University Symphonic Band Concert. Paul 




● 3:00: Flato Markham Theatre. The Manhattan 

Transfer: Farewell Tour. 171 Town Centre 

Blvd., Markham. 905-305-7469 www. 

flatomarkhamtheatre.ca. $88(regular); 

$98(prime); $15(YTX). Also 8pm. 

● 3:00: Singing Out. Holiday Reflections. 

Guest: Joey Niceforo. East End United 

Church, 310 Danforth Ave. www.singingout. 

com/buy-tickets. $35; $25(sr/st); $15(ages 

5-10); Free(ages under 4). Also 7pm. 

● 4:00: Pax Christi Chorale. Children’s Messiah. 

See 1:30pm. 

● 6:00: VIVA Singers Toronto. A Medieval 

Bestiary. Dean Burry: A Medieval Bestiary. 

Youth and Adult Choirs of VIVA Singers 

Toronto; Toronto Consort. Trinity-St. Paul’s 

Centre, Jeanne Lamon Hall, 427 Bloor St. W. 

416-788-8482. $25. 

listings@theWholeNote.com 

Event listings are free of charge to 

artists, venues and presenters. 

This issue contains event listings from December 1, 2023 to February 7, 2024. 

IN THIS ISSUE 

● Live and/or livestream (date-specific daily listings for 

performances, workshops, etcetera) 

● Directory of alternative venues (mainly clubs mostly 

jazz) 

● Ongoing, On Demand and Other (not tied to a specific 

date) 

HOW TO LIST 

1. Use the convenient online form at 

thewholenote.com/applylistings 

2. Email listings to listings@thewholenote.com. 

Please note, we do not take listings over the phone. 

PLACEMENT 

Listings are received every day and published in all media for 

which they are received in time. 

• WEEKLY LISTINGS UPDATE (e-letter & online) 

• JUST ASK (searchable online listings database) 

• PRINT (see list of 2023/24 publication dates on page 9). 

DEADLINES 

Weekly Listings Update and Just Ask: Eligible listings received 

by 6pm Tuesday, each week, will be included in the following 

Sunday’s e-letter, and simultaneously posted to our searchable 

online listings database. 

Print: Our next print issue, Volume 29 no.4 covers February and 

March 2024. The listings submission deadline for that issue will 

be Tuesday January 9. Please note: the Weekly listing e-letter typically 

looks 2-3 weeks ahead; the Just Ask database is searchable 

as far into the future as we have listings. Listings received for the 

Weekly Update prior to an upcoming print deadline do not need to be 

resubmitted unless there are changes. 

REGISTER FOR THE WEEKLY LISTINGS UPDATE 

at thewholenote.com/newsletter 

All other inquiries about WholeNote listings should be addressed to 

John Sharpe, Listings Editor at listings@thewholenote.com. 


● 7:00: Apocryphonia. Silent Fright: A Horrifically 

Chilling Classical Cabaret. Works by 

Clara Schumann, Alfred Schnittke, Pauline 

Viardot-Garcia, Charles Griffes, and others. 

Simmie Patoka, soprano; Catharin Carew, 

mezzo; Austin Larusson, baritone; Ivan Jovanovic, 

piano; Veronika Kolarska, violin. Heliconian 

Hall, 35 Hazelton Ave. 514-378-2558. Pay 

What You Can: suggested $20-$30. 


State Ballet Theatre of Ukraine: The Nutcracker. 

See 2pm. 

● 7:00: Singing Out. Holiday Reflections. 

See 3pm. 

● 7:00: St. Michael’s Choir School. Choirs of 

Angels. Conrad Susa: Christmas in the Southwest; 

Randol Bass: Christmas Flourish; Terre 

Roche: Star of Wonder; Mitchell Parish & 

Leroy Anderson: Sleigh Ride; Pietro A. Yon: 

Gesu Bambino. Choirs of St. Michael’s Choir 

School; Christian Masucci-Facchini, countertenor; 

Philip J. Fillion, organ; True North 

Brass. Massey Hall, 178 Victoria St. 416-872- 

4255. From $40. 

● 7:30: Aurora Cultural Centre. Windborne. 

Supported by Freeplay. Niagara College, 

Aurora Armoury, 89 Mosley St., Aurora. 

905-713-1818 or info@auroraculturalcentre. 

ca. $30. 

● 7:30: Chorus York. Sing Joy to the World. 

The Bells of St. Matthew’s (handbell choir) 

with Joan Plume, founder/director; Jennifer 

Min-Young Lee, artistic director. St. 

Matthew’s United Church, 333 Crosby Ave., 

Richmond Hill. www.chorusyork.ca. $25(at 

door or online); Free(ages 12 & under). 

● 7:30: Etobicoke Centennial Choir. Holiday 

Fanfare. Rutter: Gloria and a selection 

of glorious songs of the season and a 

sing-along to some of your favourite carols. 

Guests: Members of the Hannaford Street 

Silver Band. Runnymede United Church, 

432 Runnymede Rd. 416-779-2258 or www. 

etobicokecentennialchoir.ca. $30. 

● 7:30: FirstOntario Performing Arts Centre. 

In My Body by BBOYIZM. FirstOntario 

Performing Arts Centre, Partridge Hall, 

250 St. Paul St., St. Catharines. 905-688- 

0722 or boxoffice@firstontariopac.ca. $35; 

$30(members). 

● 7:30: Scarborough Philharmonic Orchestra. 

Holiday Memories. Bel Canto Choir 

(Michael Morgan, director); SPO Women’s 

Choir (Yiping Chao, director); Scarborough 

Philharmonic Orchestra; Ronald Royer, conductor. 

Salvation Army Scarborough Citadel, 

2021 Lawrence Ave. E., Scarborough. 

647-482-7761 or www.spo.ca/Concerts. $35; 

$30(sr); $15(st). 

● 7:30: St. Paul’s Anglican Church. Holiday 

Harmonies. Franz Strauss: Nocturne for Horn; 

Tchaikovsky: Nutcracker Suite; Pergolesi: Magnificat; 

Christopher Dedrick: The Night Before 

Christmas; Leroy Anderson: A Christmas Festival; 

and other holiday favourites. Elke Elbe, 

horn; Take Note Chamber Choir; Ian Clarke, 1st 

violin; Anita Hancock, 2nd violin; Leise Warner, 

viola; Barb Dickson, cello; Diana Parker Hood, 

double-bass; Michael Berec, music director. 

227 Church St., Newmarket. info@yorkchamberensemble.ca. 

$25. 

● 7:30: The Salvation Army. Christmas with 

The Salvation Army. Canadian Staff Band, 

Canadian Staff Songsters, and NEON. Roy 

Thomson Hall, 60 Simcoe St. . . 

● 7:30: Toronto Concert Choir. The Very 

Best Time of Year. Schubert: Mass No.2 in G 

and works by John Rutter and from diverse 

traditions. Includes a Christmas carol singalong. 

Katelyn Bird, soprano; Toronto Concert 

Choir; Toronto Sinfonietta; Matthew 

Jaskiewicz, music director. Knox Presbyterian 

Church, 630 Spadina Ave. 547-858-8970 

or www.torontoconcertchoir.ca. $30; $15(st); 

Free(TMU st & children 12 and under). 

● 7:30: University of Toronto Faculty of 

Music. University of Toronto Wind Ensemble: 

Games and Fantasies. Dominic Ghiglione, 

trombone; Gillian MacKay, conductor. Mac- 

Millan, 80 Queen’s Park. 416-408-0208. $30; 

$20(sr); $10(st). U of T students admitted free 

with a valid TCard, space permitting. 

● 8:00: Batuki Music Society. Okavango 

African Orchestra Concert in Toronto. Featuring 

General Electric. Redwood Theatre, 

1300 Gerrard Ave. E. www.TinyUrl.com/Okav- 

2Dec23. $25(door); $20(adv). 

● 8:00: Brampton On Stage. Brampton Concert 

Band: Christmas at The Rose. Rose Theatre, 

1 Theatre Ln., Brampton. www.tickets. 

brampton.ca/online or 905-874-2800. From 

$20. 

● 8:00: Centre in the Square. Choir! Choir! 

Choir!: Un-Silent Night - An Epic Holiday Sing- 

Along. Daveed Goldman and Nobu Adilman, 

choir organizers. 101 Queen St. N., Kitchener. 

www.kwtickets.evenue.net/cgi-bin/ncommerce3/SEGetEventList?groupCode=CHOIR 

&linkID=cits&shopperContext=&caller=&ap 

pCode. From $34.50. 

● 8:00: Flato Markham Theatre. The Manhattan 

Transfer: Farewell Tour. 171 Town Centre 

Blvd., Markham. 905-305-7469 or www. 


$98(prime); $15(YTX). Also 3pm. 

● 8:00: Greater Toronto Philharmonic 

Orchestra. Romantica. Wagner: Overture to 

Tannhäuser; Tchaikovsky: Violin Concerto in D 

Op.35; Tchaikovsky: Symphony No.4 in f Op.36. 

Eden Silverberg, violin; Oliver Balaburski, conductor. 

Calvin Presbyterian Church, 26 Delisle 

Ave. www.gtpo.ca or 647-238-0015. $25-$30. 

● 8:00: Hugh’s Room Live. Carlos del Junco. 

Carlos del Junco, harmonica; Eric St. Laurent, 

guitars; Henry Heillig, bass; Illios Steryannis, 

drums. 296 Broadview Ave. www.hughsroomlive.com 

or www.showpass.com/carlosdel-junco-2. 

$40. 

● 8:00: Margaret Maria & Bill Gilliam. 

Uncountable Spheres + Goddess of Edges, 

CD releases. Annette Studios, 566 Annette 

St. 416-871-8078. $30. Ticket price includes 

both CDs. 

● 8:00: Voices Chamber Choir. Night of 

Wonder. An evening of music of the season, 

featuring. Healey Willan: The Great “O” Antiphons 

of Advent; and other works. Conrad 

Gold, organ; Ron Ka Ming Cheung, conductor. 

St. Martin-in-the-Fields Anglican Church, 

151 Glenlake Ave. 416-519-0528 or www. 

voiceschoir.com. $30; $25(sr/st - cash only). 

● 9:00: Fallsview Casino Resort. Jason Bonham’s 

Led Zeppelin Evening. OLG Stage at 

Fallsview Casino, 6366 Stanley Ave., Niagara 

Falls. 1-888-325-5788; ticketmaster.ca. 

$128.52-$386.75. 

Sunday December 3 

● 2:00: Hugh’s Room Live. Ashley MacIsaac. 

296 Broadview Ave. www.hughsroomlive. 

com or www.showpass.com/ashley-macisaac-matinee. 

$65. Also 8pm. 

● 2:00: Markham Concert Band. A Seasonal 

Celebration. Flato Markham Theatre, 

171 Town Centre Blvd., Markham. 905-305- 

7469 or www.flatomarkhamtheatre.ca. 

$10-$26. 

● 2:00: Westben. Christmas at Westben: 

Speaking of Gifts. See Dec 2. 

● 2:30: Barrie Concerts Association. And So 

It Goes. Music from Broadway musicals and 

operettas by Sigmund Romberg, Cole Porter, 

Noel Coward, and Rodgers & Hammerstein. 

Brett Polegato, baritone; Robert Kortgaard, 

piano. Bethel Community Church, 128 St. Vincent 

Street, Barrie. www.barrieconcerts.org 

or 705-436-1232. $35; $10(st). Livestream: 

$20; $10(st). Available for up to 30 days after 

the concert. 


Music. U of T Choirs: Winter Song. Jamie Hillman, 

Lori Dolloff, Thomas Burton, conductors. 

MacMillan, 80 Queen’s Park. 416-408-0208. 

$30; $20(sr); $10(st). U of T students admitted 

free with a valid TCard, space permitting. 


University Early Music Studio with Musicians 

of Tafelmusik. Von Kuster Hall, Music 

Building, Western University, 1151 Richmond 

St. N., London. 519-661-3767 or www.music. 

uwo.ca/events. Free. 

● 3:00: Off Centre Music Salon. Fritz Kreisler 

and his Epoch. Performances, food, and 

silent auction. Sheila Jaffe, violin; Inna Perkis, 

piano; Ilana Zarankin, soprano/artistic director; 

Andrea Ludwig, mezzo; Ernesto Ramirez, 

tenor; Giles Tomkins, bass-baritone; Kathryn 

Tremills, piano; Boris Zarankin, piano/artistic 

director. Trinity-St. Paul’s Centre, 427 Bloor 

St. W. www.offcentremusic.com. Admission 

by donation. Tax receipts will be issued for 

the maximum allowable amount. 

● 3:00: Toronto Symphony Orchestra. Tchaikovsky’s 

Sleeping Beauty. See Dec 1. 

● 3:30: The Edison Singers. Handel’s Messiah. 

Handel: Messiah (abridged performance. 

90 mins.). Soloists & full orchestra; 

The Edison Singers; Noel Edison, conductor. 

Basilica of Our Lady Immaculate, 28 Norfolk 

St., Guelph. www.theedisonsingers.com/ 

Fritz Kreisler and his Epoch 

December 3 rd , 2023 at 3:00 p.m. 

FEATURING: 

Sheila Jaffe, violin; Andrea Ludwig, mezzo soprano; 

Inna Perkis, piano; Ernesto Ramirez, tenor; 

Giles Tomkins, bass-baritone; Kathryn Tremills, piano; 

Boris Zarankin, piano; Ilana Zarankin, soprano. 

Artistic Directors: Boris Zarankin & Inna Perkis 

For more details and to purchase tickets 

www.offcentremusic.com 



performances or 226-384-9300. $50; 

$30(st/18 and under). 

● 4:00: Magisterra Soloists. Christmas Baroque. 

Showcasing the 2023 Young Performer’s 

Award recipients. First St. Andrew’s 

United Church, 350 Queens Ave., London. 

www.magisterra.com. $35; $30(sr); $15(st); 

$10(under 10). 

● 5:00: St. Thomas’s Anglican Church. Lessons 

and Carols for Advent. Traditional 

(arr. Willcocks): Come, Thou Redeemer 

Elmer 

Iseler 

Singers 

of the Earth; Vaughan Williams: The Truth 

from Above; Britten: A Hymn to the Virgin; 

Stopford: There Is No Rose; O Come, O 

Come, Emmanuel, and other carols. Choir 

of St. Thomas’s Church; Elizabeth Anderson, 

director; Manuel Piazza, assistant director. 

383 Huron St. 416-979-2323 or www. 

stthomas.on.ca. Freewill offering. 

● 7:00: Opera Revue. Ruckus at the Revival 

Vol. 2: The Parody Edition. Original operatic 

parodies. Danie Friesen, soprano; Alexandra 

LeBlanc, soprano; Alexander Hajek, baritone; 

Gregory Finney, baritone; Gene Wu, baritone; 

Claire Elise Harris, piano; and surprise special 

guests. The Revival, 783 College St. 437-970- 

2605. From $20. 

● 7:30: Brampton Festival Singers. Holiday 

Concert Featuring Traditional and Caribbean 

Music. St. Joseph of Nazareth Church, 

290 Balmoral Dr., Brampton. 647-529-6752 or 

www.bfschoir.org or at the door. $20. 

● 7:30: Bravo Niagara! Festival of the 

Arts. TD Jazz Series: The Manhattan Transfer 

50th Anniversary and Final World Tour. 

FirstOntario Performing Arts Centre, Partridge 

Hall, 250 St. Paul St., St. Catharines. 

www.bravoniagara.org. $75; $35(st/youth); 

$105(box seats). 

● 8:00: Hugh’s Room Live. Ashley MacIsaac. 

See 2pm. 

Monday December 4 

● 7:30: Don Wright Faculty of Music. Contemporary 

Music Studio Concert. Von Kuster 

Hall, Music Building, Western University, 

1151 Richmond St. N., London. 519-661-3767 

Lydia Adams, Conductor 

Fri. Dec 8, 2023 @ 7:30pm 

Yorkminster Park Baptist Church 

Messiah 

by G.F. Handel 

OVER 100 RESOUNDING VOICES 

with VIVA Chamber Singers, 

Amadeus Choir of Greater Toronto, 

Linda Tsatsanis, Hillary Tufford, 

Michael Colvin, and Jorell Williams 

416-217-0537 elmeriselersingers.com 

or www.music.uwo.ca/events. Free. 


Music. Brass Chamber Ensembles. Anita 

McAlister, director. Walter Hall, Edward 

Johnson Building, University of Toronto, 

80 Queen’s Park. 416-978-3750 or www. 

music.utoronto.ca. Free. 

Tuesday December 5 

● 12:10: Nine Sparrows Arts Foundation. 

Lunchtime Chamber Music: Rising Stars 

Recital. Featuring students from the University 

of Toronto Faculty of Music. Yorkminster 

Park Baptist Church, 1585 Yonge St. 416-922- 

1167 or www.yorkminsterpark.com. Free. 

Donations welcome. 


Music. Tuesday Noon Series: 4th Year Lieder 

Students - “Gesundheit und Wohlbefinden”. 

Walter Hall, Edward Johnson Building, University 

of Toronto, 80 Queen’s Park. 416-978- 

3750 or www.music.utoronto.ca. Free. 

● 1:00: St. James Cathedral. Tuesday Organ 

Recital. Peter Bayer, organ. Cathedral Church 

of St. James, 106 King St. E. 416-364-7865 

or www.stjamescathedral.ca/recitals. Free. 

Donations welcome. 

● 7:30: Don Wright Faculty of Music. Choral 

Concert: Chorale. Paul Davenport Theatre, 

Talbot College, Western University, 



● 7:30: Toronto Mendelssohn Choir. Festival 

of Carols. Jocelyn Morlock: Io, Io; Peter- 

Anthony Togni: Of the Father’s Love Begotten; 

Healey Willan: Quelle est cette odeur agréable 

(Whence is that goodly fragrance flowing); 

Sarah Quartel: On This Silent Night; 

Andrew Balfour: Coventry Carol; and other 

works. Toronto Mendelssohn Choir; Toronto 

Mendelssohn Singers; Jonathan Oldengarm, 

organ; Jean-Sébastien Vallée, conductor. 

Yorkminster Park Baptist Church, 1585 Yonge 

St. www.tmchoir.org. From $25. Also Dec 6. 


Music. University of Toronto Contemporary 

Music Ensemble: Land of Winter. Wallace 

Halladay, director. Walter Hall, Edward 


80 Queen’s Park. 416-408-0208. In person: 

$30; $20(sr); $10(st). Livestream: $10. U of T 

students admitted free with a valid TCard, 

space permitting. 

● 7:30: Winter Garden Theatre. Chris, Mrs. 

Directed, Written by, and Lyrics by Katie Kerr. 

Music by Matt Stodolak. 189 Yonge St. www. 

ChrisMrs.com / boxoffice@boldlyproductions.com 

/ 416-366-7723 / 1-800-708- 

6754. From $51. Opens Dec 5. Runs Dec 5-31. 

7:30pm evenings, 2pm weekday/Sat mat, 1pm 

Sun mat. 

● 8:00: Brampton On Stage. Stagedoor Stories: 

Susan Aglukark - Canada’s Arctic Rose. 

Rose Theatre, 1 Theatre Ln., Brampton. www. 

tickets.brampton.ca/online or 905-874- 

2800. $39. 

● 8:00: Don Wright Faculty of Music. Electroacoustic 

Composers Concert. Studio 

242, Music Building, Western University, 



Wednesday December 6 

● 12:15: St. Andrew’s Presbyterian Church. 

Noon Hour Series: Douglas Haas Legacy Concerts. 

Christmas Music. Waterloo County 

Carollers. 54 Queen St. N., Kitchener. 

519-578-4430 or www.standrewskw.com. 

Free. Lunch available for $10 or bring your 

own. 

● 7:30: Don Wright Faculty of Music. Choral 

Concert: Les Choristes & Western University 

Singers. Von Kuster Hall, Music Building, 

Western University, 1151 Richmond St. N., 

London. 519-661-3767 or www.music.uwo.ca/ 

events. Free. 

● 7:30: Toronto Mendelssohn Choir. Festival 

of Carols. See Dec 5. 


Music. Guitar Orchestra and Guitar/Flute 

Class. Rob MacDonald, director. Walter Hall, 

Edward Johnson Building, University of 

Toronto, 80 Queen’s Park. 416-978-3750 or 

www.music.utoronto.ca. Free. 

● 8:00: Hugh’s Room Live. Susan Aglukark 

and Her ᐅᐱᓐᓇᖅ - Uppinaq Christmas Tour. 

296 Broadview Ave. www.hughsroomlive. 

com or www.showpass.com/susan-aglukark-2. 

$45. 

● 8:30: Fallsview Casino Resort. A Johnny 

Reid Christmas - One Night Only. OLG Stage 

at Fallsview Casino, 6366 Stanley Ave., Niagara 

Falls. 1-888-325-5788; ticketmaster.ca. 

$39.20-$64.55. 

Thursday December 7 

● 10:00am: New Adventures in Sound Art 

(NAISA). Threads of an Uncertain Future (inperson 

version). Kelly Ruth, modified loom 

& live electronics. NAISA North Media Arts 

Centre, 313 Highway 124, South River. www. 

naisa.ca/purchase-tickets/ or 705-386- 

0880. In-person: by donation. Online: Free. 

Dec 7-10 between 10am & 4pm for artistguided 

installation experience. Dec 8 & 9 at 

1pm for performances. 

● 11:00am: Encore Symphonic Concert 

Band. Monthly Concert. Featuring music 

celebrating the Christmas season with vocalists. 

Trinity Presbyterian Church York Mills, 

2737 Bayview Ave. www.encoreband.ca. $10. 


Jeremy Dutcher. FirstOntario Performing 

Arts Centre, Partridge Hall, 


0722; boxoffice@firstontariopac.ca. $45; 

$39(members). 

● 7:30: Royal Conservatory of Music. Discovery 

Series: Joaquín Valdepeñas Conducts. 

Mozart: Serenade for Winds in E-flat K.375; 

Stravinsky: Symphonies of Wind Instruments. 

Mazzoleni Concert Hall, TELUS Centre, 

273 Bloor St. W. 416-408-0208 or www. 

rcmusic.com/performance. $20. 

● 7:30: Toronto Symphony Orchestra. Film 

Screening: Home Alone In Concert. Resonance 

Youth Choir (Bob Anderson, director); 

Constantine Kitsopoulos, conductor. Roy 

Thomson Hall, 60 Simcoe St. 416-598-3375. 

From $55. Also Dec 8(7:30pm), 9(2pm & 

7:30pm), 10(2pm). 

● 8:00: Art of Time Ensemble. To All A Good 

Night 8. Music by Tom Waits, John Prine, Joni 

Mitchell, Tom Lehrer, Steve Earle, Harry Connick, 

and others. Featured performers: Thom 

Allison, Jessica Mitchell, Jackie Richardson, 

Julian Richings, David Wall, Tom Wilson, and 

a stellar Art of Time Ensemble. Harbourfront 

Centre Theatre, 235 Queens Quay W. www. 

harbourfrontcentre.com/event/to-all-agood-night-8. 

From $40. Also Dec 8, 9. 


The World-Famous Glenn Miller Orchestra: 

In the Holiday Mood. Burlington Performing 


Arts Centre - Main Theatre, 440 Locust St., 

Burlington. www.burlingtonpac.ca/events/ 

glenn-miller-orchestra or 905-568-1600. 

From $64.50. 

● 8:00: Massey Hall. The Andy Kim Christmas. 

178 Victoria St. www.masseyhall.mhrth. 

com/tickets/andy-kim-christmas or www. 

ticketmaster.ca. From $35.50. Event proceeds 

donated to CAMH’s Gifts of Light. 

December 7 at 8pm 

GRYPHON TRIO 

Echo: Memories of the World 

with Marion Newman Nege’ga, 

mezzo-soprano and 

čačumḥi aaron wells, actor 

music-toronto.com 

● 8:00: Music Toronto. Echo: Memories of 

the World. A unique fusion of music, video, 

spoken word, soundscape, and other artistic 

media. Gryphon Trio (Annalee Patipatanakoon, 

violin; Roman Borys, cello; Jamie 

Parker, piano); Marion Newman Nege’ga, 

mezzo-soprano; čačumḥi aaron wells, actor. 

Jane Mallett Theatre, St. Lawrence Centre for 

the Arts, 27 Front St. E. 416-366-7723 or www. 

music-toronto.com. $47.50-$52, $10(st). 


● 6:00: North York Central Library. Open 

Mic at the Library: North York Edition. Music, 

poetry & storytelling. Are you a musician, poet, 

or storyteller? If so, then you are invited to 

share your talents at the North York Central 

Library Open Mic. Guitar, piano & djembe provided. 

7 minutes for each performance. For 

adults, teens, and seniors. North York Central 

Library Auditorium, 5120 Yonge St. Sign-up is 

at 5:30pm. For more information, contact the 

Language, Literature & Fine Arts Department 

at 416-395-5639. Free. 






2469 Bloor St. W. 416-762-4441. Free. 


● 7:00: North Halton Community Singers. A 

Holly Jolly Christmas. A mix of Christmas and 

other songs. Holy Cross Church, 14400 Argyll 

Rd., Georgetown. 647-203-7795. $25. 


University Symphony Orchestra. Paul 




● 7:30: Elmer Iseler Singers. Messiah by G. F. 

Handel. Elmer Iseler Singers; VIVA Chamber 

Singers; Amadeus Choir of Greater Toronto; 

Linda Tsatsanis, soprano; Hillary Tufford, 

mezzo; Michael Colvin, tenor; Jorell Williams, 

baritone; Orchestra. Yorkminster Park Baptist 

Church, 1585 Yonge St. www.elmeriselersingers.com/events/handels-messiah-2023. 

$55; $50(sr); $35(under 30). 

● 7:30: Queensway Performing Arts. The 

Christmas Hit! Church on the Queensway, 

1536 The Queensway, Etobicoke. www. 

tickets.thechurch.to/eventperformances. 

asp?evt=49 or 226-213-4811. $12.50; Free(3 

and under). Also Dec 9(3pm), 10(3pm). 

● 7:30: St. Andrew’s Presbyterian Church. A 

Ceilidh Christmas at St. Andrew’s. Celebrate 

Christmas in true Maritime ceilidh (kitchen 

party) style! Carol of the Bells, The Christmas 

Star, Now the Bells Ring, plus traditional jigs 

and reels. Gallery Choir; The Jordan Klapman 

Quintet; Alana Cline, Celtic fiddler. 73 Simcoe 

St. 416-593-5600 X231. Pay What You Can. 

Benefit for the St. Andrew’s Refugee Sponsorship 

Program. 


Screening: Home Alone In Concert. Resonance 

Youth Choir (Bob Anderson, director); 

Constantine Kitsopoulos, conductor. Roy 


From $55. See Dec 7. Also Dec 9(2pm & 

7:30pm), 10(2pm). 

● 7:30: Trinity Bach Project. Bach and Christmas. 

Bach: Cantata BWV 191 “Gloria in excelsis 

Deo”; Bach: Keyboard Concerto in g BWV 

1058; Movement 1 from Cantata BWV 62 “Nun 

komm, der Heiden Heiland”; Bach: Motet 

BWV 229 “Komm, Jesu, komm”; and Mendelssohn 

motets. Guest artist: Godwin Friesen. 

Twelve-voice choir and orchestra; Nicholas 

Nicolaidis, music director. Little Trinity Anglican 

Church, 425 King St. E. 306-250-4256 

or www.trinitybachproject.org. Pay-whatyou-like 

at door. Suggested: $30; $20(st); 

Free(child). Also Dec 9. 


Music. University of Toronto Wind Symphony: 

Fantasia. Yunfei Xie, alto saxophone; Pratik 

Gandhi, conductor. MacMillan Theatre, Edward 

Johnson Building, 80 Queen’s Park. 416- 

408-0208. In person: $30; $20(sr); $10(st). 

Livestream: $10. U of T students admitted free 



Music. PianoFest (3-day festival). Lydia Wong, 

director. Walter Hall, Edward Johnson Building, 

University of Toronto, 80 Queen’s Park. 

416-978-3750 or www.music.utoronto.ca. 

Free. Also Dec 9(2:30pm) & 10(2:30pm). 


Night 8. See Dec 7. Also Dec 9. 


Christmas with the Ennis Sisters. Burlington 

Performing Arts Centre - Main Theatre, 

440 Locust St., Burlington. www.burlingtonpac.ca/events/ennis-sisters-christmas 

or 

905-568-1600. From $44.50. 

● 8:00: Flato Markham Theatre. ONES - 

The Beatles #1 Hits. 171 Town Centre Blvd., 

Markham. 905-305-7469 or www.flatomarkhamtheatre.ca. 

$93.52(prime); 

$83.52(regular). 


Jazz Lounge: Lou Pomanti Soul Jazz Ensemble. 

Jazz, Folk Rock. Lou Pomanti; Steve 

Heathcote, drums; Steve Lucas, doublebass; 

Robyn Black, vocals. 21 Old Mill Rd. 





● 8:00: RAW Taiko. home. Taiko drumming, 

movement, vocals and poetry. Betty Oliphant 

Theatre, 404 Jarvis St. 416-671-7256. From 

$25. Also Dec 9(8pm) & 10(2pm). NOTE: The 

Sunday performance is child-friendly and 

deaf/hearing accessible. 

● 8:00: Royal Conservatory of Music. Music 

Mix Series: Holly Cole: A Swinging Christmas 

with the Royal Conservatory. Koerner 

Hall, TELUS Centre, 273 Bloor St. W. 416-408- 

0208; rcmusic.com/performance. From $50. 

● 8:00: Sinfonia Toronto. Schumann & 

Dvořák / Rejoice in Romance. Schumann: 

Cello Concerto in a Op.129; Irina Grafova: 

Odessa Waltz and Dedication (first performance); 

Jocelyn Morlock: Nostalgia; Corelli: 

Christmas Concerto; Dvořák: Selections 

from Slavonic Dances Op. 46, Eight Waltzes 

Op.54, and Slavonic Dances Op.72. Stéphane 

Tétreault, cello; Sinfonia Toronto; Nurhan 

Arman, conductor. Jane Mallett Theatre, St. 

Lawrence Centre for the Arts, 27 Front St. E. 

416-499-0403 or www.sinfoniatoronto.com. 

$52; $40(sr); $20(st). 

Medieval Christmas 

Dec. 8 & 9 at 8 pm 

Dec. 9 at 2 pm 

TorontoConsort.org 

FRIDAY DECEMBER 8 

7:30 p.m. 

PAY WHAT 

YOU CAN 

FOR CONCERT INFO 

MEDIA SPONSOR 

King & Simcoe, Toronto 

(416) 593-5600 x231 

ST. ANDREW’S SUPERB 

GALLERY CHOIR 

JORDAN KLAPMAN QUINTET 

CELTIC FIDDLER ALANA CLINE 



● 8:00: Toronto Consort. Medieval Christmas. 

Presented in a darkened, candle-lit hall 

designed to transport you into the mesmerizing 

world of the Middle Ages. Trinity-St. Paul’s 


www.torontoconsort.org or 416-964-6337. 

From $20. Also Dec 9(2pm & 8pm). 


● 1:00am: Encore Symphonic Concert Band. 

Christmas Concert. Trinity Church Choir and 

Musicians complemented with the Encore 

Concert Band. Trinity Presbyterian Church 

York Mills, 2737 Bayview Ave. www.encoreband.ca. 

$10. 

● 11:00am: Xenia Concerts. An Adaptive Concert 

with Pulse Music Collective TO. Meridian 

Hall, 1 Front St. E. 647-896-8295. $5. Also 

at 2pm. 

● 2:00: Avenue Road Music and Performance 

Academy. Marbin Matinees Concert 

Series: Composers on Vacation - Cameron 

Crozman & Meagan Milatz, Piano-Cello 

Recital. Works by David Popper, Manuel de 

Falla, and Johannes Brahms. Avenue Road 

Music and Performance Academy, Gordon 

Lightfoot Concert Hall, 460 Avenue Rd. www. 

avenueroadmusic.com or info@avenueroadmusic.com 

or 416-922-0855. Free. Donations 

are welcome. Seating is limited so pre-registration 

is required. Salon concert setting. 

Reception to follow. 


See Dec 8. Also Dec 9(8pm). 


Screening: Home Alone In Concert. See Dec 7. 

Also Dec 9(7:30pm), 10(2pm). 

● 2:00: Xenia Concerts/Alzheimer Society 

of Toronto. An Adaptive Concert with Pulse 

Music Collective TO. See Dec 9(11am). 

● 2:30: Beach United Church. Christmas Jazz 

Concert with Heather Bambrick. A selection 

of holiday favourites. Heather Bambrick, 

Diane Leah, Jon Maharaj. 140 Wineva Ave. 

416-691-8082 or www.beachunitedchurch. 

com. Entry by freewill donation. 


Music. PianoFest (3-day festival). See Dec 8. 

Also Dec 10(2:30pm). 

● 3:00: Hamilton Philharmonic Orchestra. 

Holidays & The Hockey Sweater. Bach: 

Jesu, Joy of Man’s Desiring; Coleridge-Taylor: 

Christmas Overture; Jingle Bell Swing! 

(arr. Christopher Eastburn); Suresh Singaratnam: 

Canadian Christmas; Sarah Quartel: 

Excerpts from Snow Angel; Waldteufel: Skaters’ 

Waltz; Anderson: Sleigh Ride; Tchaikovsky: 

Selections from The Nutcracker; Abigail 

Richardson-Schulte: The Hockey Sweater; 

and other works. Hamilton Philharmonic 

Youth Orchestra; Hamilton Children’s Choir; 

Tom Allen, narrator; Kalena Bovell, conductor. 

FirstOntario Concert Hall, 1 Summers Ln., 

Hamilton. 905-526-7756; boxoffice@hpo.org. 

$20-$80. 


Christmas Hit! See Dec 8. Also Dec 10(3pm). 

● 4:00: Pax Christi Chorale. Christmas 

Through the Ages. Music and stories to 

evoke the wonder and joy of Christmas, from 

our family to yours. John Rutter: Gloria; and 

works by Halley, Victoria, and Lauridsen. 

Pax Christi Chorale; Hogtown Brass; Josh 

Tamayo, organ & piano; Elaine Choi, conductor. 

Eglinton St. George’s United Church, 

35 Lytton Blvd. www.paxchristichorale.org. 

$45; $40(sr); $20(19-35); $10(18 and under). 

● 4:30: Church of the Holy Trinity. The 

Christmas Story. Professional musicians 

and a volunteer cast present this charming 

hour-long pageant. 19 Trinity Sq. www. 

thechristmasstory.ca or 416-598-4521 Ext. 

301. Suggestion donations: $25(adult); 

$10(child). Also Dec 10(4:30pm); 16(4:30pm); 

17(4:30pm); 22(7pm); 23(4:30); 24(1:30pm). 

American Sign Language interpretation on 

Dec 10. 

● 7:00: Grand Philharmonic Choir. Bach: 

Christmas Oratorio. Musicians of the 

KWSymphony; Molly Netter, soprano; Lillian 

Brooks, mezzo; Asitha Tennekoon, tenor; Stephen 

Hegedus; bass-baritone; Mark Vuorinen, 

conductor. Centre in the Square, 

101 Queen St. N., Kitchener. 519-578-1570. 

From $10. 

● 7:00: Kitchener-Waterloo Chamber 

Music Society. K-W Guitar Orchestra. Respighi, 

Fountains of Rome; Debussy: Petite 

Suite; Godowsky: Excerpts from Miniatures; 

Brahms: Symphony No.2. Michael Occhipinti, 

guitar soloist & composer. Keffer 

Memorial Chapel, Wilfrid Laurier University, 

75 University Ave. W., Waterloo. 519-569- 

1809 or www.ticketscene.ca/kwcms. $25; 

$15(sr); Free(12 & under). 

● 7:30: Brampton On Stage. The Rose 

Orchestra’s Gingerbread Joy. Rose Theatre, 

1 Theatre Ln., Brampton. www.tickets.brampton.ca/online 

or 905-874-2800. 

From $20. 

● 7:30: Counterpoint Community Orchestra. 

Melodies of Love: An Enchanted Queer Holiday 

Soirée. Johann Strauss II: Overture to Die 

Fledermaus; Puccini: “Quando m’en vo” from 

La Bohème; Gounod: “Je veux vivre” from 

Romeo and Juliet; C. Moore: ‘Twas the Night 

Before Christmas; Tchaikovsky: Suite from 

The Nutcracker. Rebecca Gray, soprano; Fay 

Slift, drag performer. East End United Church, 

310 Danforth Ave. 416-762-9257 or www. 

ccorchestra.org. $25; $15(st under 20). 

● 7:30: Kingston Choral Society. Sing Along 

Messiah. Audience members will have the 

opportunity to sit among the KCS choristers 

by section, or with friends and family. Bring 

your score and join in the fun, or just come 

& enjoy the wonderful music. Brian Jackson, 

guest conductor; Emily McPherson, 

assistant conductor; Clare Marion, piano. 

The Spire/Sydenham Street United Church, 

82 Sydenham St., Kingston. www.kingstonchoralsociety.ca. 

$30(adults/sr); $20(st); 

Free(16 and under). 

● 7:30: Kokoro Singers. Wintersong. Festive 

songs of the holiday season. Brenda Uchimaru, 

director. St. James’ Anglican Church, 

520 Ellis Rd., Cambridge. 289-337-9763. Cash 

at the door: $20; $15(sr/st); Free(under 12). 

Also Dec 10(3pm - Burlington). 

● 7:30: London Symphonia. Christmas 

with The McAuley Boys. Experience the 

joy and wonder of the holidays with music 

from The Nutcracker, A Ceremony of Carols, 

Eric Whitacre’s Glow, and other works. 

The McAuley Boys; Choirs of Metropolitan 

United Church, London; London Symphonia. 

Metropolitan United Church, 468 Wellington 

St., London. 226-270-0910 or www.londonsymphonia.ca. 

$70(premium); $52(adult); 

$22(st). 

● 7:30: Mississauga Chamber Singers. Ceremony 

of Carols. Britten: A Ceremony of Carols 

Op.28. Also music for the Christmas season. 

Mississauga Chamber Singers; Jacqueline 

Goring, harp. Christ First United Church, 

151 Lakeshore Rd. W., Mississauga. 647-549- 

4524. $30; $15(7-18); free(under 7). 

● 7:30: The Tallis Choir. Christmas in the 

Renaissance. Tallis: Videte miraculum; Guerrero: 

Pastores loquebantur; Palestrina: Hodie 

Christus natus est. St. Patrick’s Catholic 

Church, 131 McCaul St. www.tallischoir.com 

or 416-286-9798. $30; $25(sr); $10(st with ID 

at the door). 



Also Dec 10(2pm). 

● 7:30: Trinity Bach Project. Bach and Christmas. 

See Dec 8. 


Music. University of Toronto Symphony 

Peter Mahon 

Artistic Director 

TallIs 

ChoIr 

Orchestra. Emily Rocha, soprano; Uri Mayer, 

conductor. MacMillan Theatre, Edward Johnson 

Building, 80 Queen’s Park. 416-408-0208. 

In person: $30; $20(sr); $10(st). Livestream: 

$10. U of T students admitted free with a valid 

TCard, space permitting. 

● 8:00: Acoustic Harvest. A Christmas Carol 

with John Huston & Abby Zotz. St. Paul’s 

United Church, 200 McIntosh St., Scarborough. 

www.acousticharvest.ca or 416-729- 

7564. $40/$35(adv). 


Night 8. See Dec 7. 

● 8:00: Greenbank Folk Music Society. Noah 

Zacharin and The Points of Light. Selections 

from Point of Light CD and others. Noah Zacharin, 

guitar & voice; Gary Craig, drums; John 

Dymond, bass; Burke Carroll, pedal steel. 

Greenbank Hall, 19965 Highway #12, Greenbank. 

905-985-8351. $35. 

● 8:00: Kindred Spirits Orchestra. The 

Greatest Show. Stravinsky: Circus Polka - For 

a Young Elephant; Bartók: Violin Concerto 

No.2 BB 117; Bruckner’s Symphony No.3 in d 

WAB 103. Jonathan Crow, violin; Daniel Vnukowski, 

host; Kristian Alexander, conductor. 

Flato Markham Theatre, 171 Town Centre 

Blvd., Markham. 905-787-8811. $30-$40; 

$22.50-$30(sr); $15-$20(full time student 

or 18 and under). 7pm: Silent auction in support 

of music education and the arts (closes 

after the intermission). 7:10pm: Prélude preconcert 

recital. 7:20pm: pre-concert talk. 

Intermission discussion and Q&A with Jonathan 

Crow and Daniel Vnukowski. Post-concert 

reception. 

● 8:00: Nagata Shachu. Kiyoshi Nagata 

40th Anniversary Concert. Al Green Theatre, 

750 Spadina Ave. Kiyoshi.eventbrite.ca. $35- 

$45; $30-$35(st/sr). 







● 8:00: Royal Conservatory of Music. Jazz 

Concerts Series: Terence Blanchard’s E-Collective 

with Turtle Island Quartet. Koerner 


0208; rcmusic.com/performance. From $50. 

Christmas in the Renaissance 

Celebrate a Renaissance 

Christmas with the Tallis 

Choir, featuring works that 

havebroughtjoytothe 

festive season for centuries. 

Saturday, December 9 

7:30pm, St. Patrick's Church 

141 McCaul St. 

Order tickets online: tallischoir.square.site 

www.tallischoir.com 



See Dec 8. 



The Music of A Charlie Brown Christmas. 

FirstOntario Performing Arts Centre, Robertson 

Theatre, 250 St. Paul St., St. Catharines. 

905-688-0722; boxoffice@firstontariopac.ca. 

$35; $186(table of six). Also 7pm. 







● 2:00: Royal Conservatory of Music. Loreena 

McKennitt’s Under A Winter’s Moon. A 

mixture of carols and tales and the oral traditions 

found in many cultures, interwoven 

with strands of the natural world revealed 

through Indigenous stories. Cedric Smith, 

actor; Jeffrey “Red” George, artist & flute; 

Caroline Lavelle, cello; Members of The Bookends; 

Loreena McKennitt, harp. Koerner Hall, 

TELUS Centre, 273 Bloor St. W. 416-408-0208 

and www.rcmusic.com/performance. From 

$85. A limited number of Rush Tickets is available 

starting 3 hours before all performances 

by phone only. Also 7pm. 



● 2:30: The Isabel Voices. A Festive Celebration. 

Morten Lauridsen: O Magnum 

Mysterium; Morten Lauridsen: Mid-Winter 

Songs; and beloved seasonal favorites. 

Isabel Bader Centre for the Performing 

Arts, Jennifer Velva Bernstein Performance 

Hall, 390 King St. W., Kingston. www. 

queensu.ca/theisabel/whats-on/breathlife-presented-isabel-voices. 

$30; $25(sr); 

$15(st). Livestream: Pay What You Can Donation 

$10/$25/$35/$50/$100/$200. LIVE & 

LIVESTREAM. 


Music. PianoFest (3-day festival). Lydia Wong, 

director. Walter Hall, Edward Johnson Building, 

University of Toronto, 80 Queen’s Park. 


Free. See Dec 8. 

● 3:00: Burlington Symphony Orchestra. 

A Christmas Spectacular. An assortment of 

seasonal favourites and sing-along carols, 

perfect for families. Burlington Performing 

Arts Centre, 440 Locust St., Burlington. 905- 

681-6000 or www.burlingtonsymphony.ca. 

$15-$50. 

● 3:00: Kokoro Singers. Wintersong. Festive 

songs of the holiday season. Brenda Uchimaru, 

director. West Plains United Church, 

549 Plains Rd. W., Burlington. 289-337-9763. 

Cash at the door: $20; $15(sr/st); Free(under 

12). Also Dec 9(7:30pm - Cambridge). 

● 3:00: Orchestra Toronto. A Winter Festival. 

Tchaikovsky: Selections from The Nutcracker; 

Vaughan Williams: Folk Songs 

of the Four Seasons. Canadian Children’s 

Opera Company; Michael Newnham, 

conductor. George Weston Recital Hall, 

Meridian Arts Centre, 5040 Yonge St. 416- 

467-7142 or www.ticketmaster.ca/a-winter-festival-toronto-ontario-12-10-2023/ 

event/10005EB0AEA0228A. From $14. Preconcert 

chat at 2:15pm. 


Krissan Alexander | Music Director 

THE GREATEST SHOW 

Carols by 

Candlelight 

SUNDAY, DECEMBER 10, 4:30 P.M. 

A traditional candlelight choral presentation. 

Nine Lessons 

& Carols 

SUNDAY, DECEMBER 17, 4:30 P.M. 

Following the historic tradition of 

King’s College in Cambridge. 

Featuring: 

The Yorkminster Park Choir 

William Maddox, conductor 

Sharon L. Beckstead, organist 

Admission is FREE for both events 

JOIN US IN-PERSON AND ONLINE 

Yorkminster Park 

Baptist Church 

1585 Yonge Street | YorkminsterPark.com 




Christmas Hit! See Dec 8. 

● 4:00: Aurora United Church. Carols by 

Candlelight - Sing Nowell! Arrive early for the 

singing of your favourite Christmas carols. 

Aurora United Church Chancel Choir; Aurora 

United Church Handbell Ensembles; Aldbury 

Gardens Brass Quintet; Tim Birtch, trumpet; 

Wesley Bells, violin. Trinity Anglican Church, 

79 Victoria St., Aurora. 905-737-1935. Freewill 

offering. Also 7:30pm. 

● 4:00: Toronto Classical Singers. A Christmas 

Gift. Finzi: In terra pax; Haydn: Missa 

Sancti Nicolai, Mass No.6 in G Hob.XXII/6 

“Nicolaimesse (Nicholas Mass). Lesley 

Bouza, soprano; Sandra Boyes, mezzo; Stephen 

McClare, tenor; Bruce Kelly, baritone; 

Toronto Classical Singers & Players; Jurgen 

Petrenko, conductor. Christ Church Deer 

Park, 1570 Yonge St. 416-986-8749. $30. 


Christmas Story. See Dec 9. American Sign 

Language interpretation on Dec 10. 


The Music of A Charlie Brown Christmas. 

See 2pm. 

● 7:00: Royal Conservatory of Music. Loreena 

McKennitt’s Under A Winter’s Moon. 

See 2pm. 

● 7:30: Aurora United Church. Carols by 

Candlelight - Sing Nowell! See 4pm. 

● 7:30: Cuckoo’s Nest Folk Club. David Bradstreet 

with Carl Keesee. Chaucer’s Pub, 

122 Carling St., London. 519-319-5847; ticketscene.ca/events/46027. 

$25. 

● 7:30: Toronto Beach Chorale. Christmas 

Impressions. Saint-Saëns: Oratorio de 

Noël (Christmas Oratorio) Op.12: Berlioz: 

The Shepherds’ Farewell from L’enfance du 

Christ Op.25 H.130; Christmas carols from 

the French tradition. Toronto Beach Chorale; 

Jennifer Krabbe, soprano; Rachel Miller, 

mezzo; Deborah Overes, contralto; Charles 

Davidson, tenor; Matthew Cassils; bass; harp, 

organ, and string orchestra; Mervin W. Fick, 

conductor. Kingston Road United Church, 

975 Kingston Rd. www.torontobeachchorale. 

com. $30; $15(youth). 


● 7:30: Coro San Marco. A Christmas Concert: 

Pastores Transeunt Usque Bethlehem. 

Columbus Centre, Joseph D. Carrier Gallery, 

901 Lawrence Ave. W. www.corosanmarco. 

com or 416-789-7011 X248. $15. 


● 12:00 noon: Canadian Opera Company. 

Instrumental Series: cons○tell○ation | 星 

星 of contemporary wind. Stories exploring 

diaspora, memory inherited memories, home, 

ethnic origin, identity, and cultural trauma. 

Featuring East Asian diasporic womxn composers 

of Turtle Island. Jennifer Tran, saxophone; 

Jialiang Zhu, piano. Richard Bradshaw 

Amphitheatre, Four Seasons Centre for the 

Performing Arts, 145 Queen St. W. www.coc. 

ca/free-concert-series. Free. 



Recital. Featuring students from the Glenn 

Gould School at the Royal Conservatory of 

Music. Yorkminster Park Baptist Church, 

1585 Yonge St. 416-922-1167 or www.yorkminsterpark.com. 

Free. Donations welcome. 


Recital. Nathan Jeffery, organ. Cathedral 

Church of St. James, 106 King St. E. 416-364- 

7865 or www.stjamescathedral.ca/recitals. 


● 7:30: Confluence Concerts. Dreams of 

Home. KöNG Duo. Heliconian Hall, 35 Hazelton 

Ave. www.bemusednetwork.com/events. 

$25. Pre-concert chat at 6:45pm. 

● 7:30: Toronto Community Orchestra. After 

Darkness Comes the Light. Weber: Overture 

to Der Freischütz; Corelli: Concerto Grosso 

Op.6 No.1; Mendelssohn: Symphony No.5 

“Reformation”; Wilson: Synphonic Impressions 

- The Music Man; O’Neill/Kinkle: Christmas 

Eve/Sarajevo 12/24; and other works. 

Nicolo Arrigo: artistic director & conductor. 

East End United Church, 310 Danforth Ave. 

416-358-0783. Free. Donations gratefully 

accepted. Wheelchair-accessible. 

● 8:00: Toronto Symphony Orchestra. TSO 

Holiday Pops. Molly Johnson, vocalist; Etobicoke 

School of the Arts Holiday Chorus; Steven 

Reineke, conductor. Roy Thomson Hall, 


Dec 13. 



Chamber Music Series: Szymanowski, 

Ravel, and More. Dmytro Udovychenko, violin. 

Richard Bradshaw Amphitheatre, Four 

Seasons Centre for the Performing Arts, 

145 Queen St. W. www.coc.ca/free-concertseries. 

Free. 



Renaissance School of the Arts Flute 

Choir; Wendy Wagler, director. 54 Queen St. 

N., Kitchener. 519-578-4430 or www.standrewskw.com. 

Free. Lunch available for $10 

or bring your own. 

● 12:30: ORGANIX Concerts. Final ORGANIX 

Organ Concert. William O’Meara, organ. Our 

Lady of Sorrows Catholic Church, 3055 Bloor 

St. W. 416-571-3680 or www.organixconcerts.ca. 

Suggested free-will offering of $20. 

Post-concert reception. 

● 7:00: Brampton On Stage. Ballet Jörgen: 

The Nutcracker - A Canadian Tradition. 

Excerpts The Nutcracker. Bengt Jörgen, 

choreographer and artistic director. Rose 

Theatre, 1 Theatre Ln., Brampton. www.tickets.brampton.ca/online 

or 905-874-2800. 

From $15. 

● 7:30: Toronto Chamber Choir. Journey 

Together. Christmas-themed music 

by Bingen, Bach, and Biebl. Toronto Chamber 

Choir; Bach Children’s Chorus; Charissa 

Bagan, guest director. Grace Church-onthe-Hill, 

300 Lonsdale Rd. 416-763-1695 or 

www.torontochamberchoir.ca. Pay what you 

choose: $30, $20, $5. 

● 7:30: Toronto Welsh Male Voice Choir. 

Christmas Concert. Calvin Presbyterian 

Church, 26 Delisle Ave. 416-489-9094 or 

www.welshchoir.ca. $45. $35 advance tickets 

until Dec 1. 

● 8:00: Toronto Symphony Orchestra. TSO 

Holiday Pops. See Dec 12. 



Jazz Series: Winter Celebrations. Artists of 

the COC Ensemble Studio celebrate the winter 

season with beloved songs, both sacred 

and secular. Richard Bradshaw Amphitheatre, 

Four Seasons Centre for the Performing 

Arts, 145 Queen St. W. www.coc.ca/free-concert-series. 

Free. 

● 7:30: Alumnae Theatre. How I Lost One 

Pound, The Musical-ish. Music by Danny 

GLIONNA MANSELL PRESENTS 

23 

A Music Series unlike any other 

www.organixconcerts.ca 

Zaidman. Featured performers: Lesley Carlberg, 

Tamika Poetzsch, Morgan Bargent, 

Maria Michelli, and Robyn Kotsopoulos. 

Danny Zaidman; musical director. 70 Berkeley 

St. www.brownpapertickets.com/ 

event/6160828. $45; $25(sr/st/arts worker); 

$75(Angel Supporter). Also Dec 15 & 16. 


The Next Generation Leahy. FirstOntario 




$39(members). 

HANDEL 

MESSIAH 

Directed by Ivars Taurins 

Dec 14–16, 2023 



tafelmusik.org 

Lunch Time 

Concerts 

12:30 - 1:30 pm 

All concerts performed at 

Our Lady of Sorrows Catholic, 3055 Bloor Street West - Toronto 

Free-will Offering (suggested $20 Donation) 

Final ORGANIX Concert! 

TH 

DEC. 13 William O’Meara 

Reception following concert 

Toronto Beach Chorale 

Mervin W. Fick - Conductor 

Christmas Impressions 

Camille Saint-Saëns: Christmas Oratorio 

with Harp, Strings and Organ 

Sunday, December 10, 2023 at 7:30pm 

Kingston Road United Church 

975 Kingston Road, Toronto 

For Information: 

organixconcerts.ca 

Call/Text:416-571-3680 


● 7:30: Tafelmusik. Handel: Messiah. Rachel 

Redmond, soprano; Cameron Shahbazi, 

countertenor; James Reese; tenor; Enrico 

Lagasca, bass-baritone; Tafelmusik Chamber 

Choir; Tafelmusik Baroque Orchestra; Ivars 

Taurins, director. Koerner Hall, TELUS Centre, 

273 Bloor St. W. www.tafelmusik.org/handelmessiah 

or 416-408-0208. From $50. Also 

Dec 15 & 16. 

● 7:30: Soundstreams. Electric Messiah. 

Midori Marsh, soprano; Rebecca Cuddy, 

mezzo; Elizabeth Shepherd, mezzo; Daniel 

Cabena, countertenor; Korin Thomas-Smith, 

baritone; and others; Chelsea Dab Hilke, 

stage director; Adam Scime, music director 

& sound design. Theatre Passe Muraille, 

16 Ryerson Ave. 416-504-1282 or www.Soundstreams.ca. 

From $25. Also Dec 15(7:30pm), 

16(2pm & 7:30pm), 17(2pm). 

● 8:00: Brampton On Stage. Adi Braun Quartet: 

Noir. An evening of delicious and dangerous 

music from the era of Film Noir. 

Adi Braun, vocals; Adi Braun Quintet. Lester 

B. Pearson Theatre, 150 Central Park Dr., 

Brampton. 905-874-2800. $15-$39. 

● 8:00: TO Live. Digging Roots with Lacey Hill. 

Jane Mallett Theatre, St. Lawrence Centre 

for the Arts, 27 Front St. E. www.tolive.com or 

416-366-7723 and 1-800-708-6754 or boxoffice@tolive.com. 

$20. 







2469 Bloor St. W. 416-762-4441. Free. 



Pound, The Musical-ish. See Dec 14. Also 

Dec 16. 

● 7:30: Soundstreams. Electric Messiah. See 

Dec 14. Also Dec 16(2pm & 7:30pm), 17(2pm). 

● 7:30: St. James Cathedral. Messiah by 

G. F. Handel. St. James Cathedral Choir; 

Chapel Choir of Trinity College, UofT, orchestra 

and soloists. Cathedral Church of St. 

James, 106 King St. E. 416-364-7865 or www. 

stjamescathedral.ca. $25. During the performance 

artists from OCAD will paint canvases 

based upon the themes of the libretto 

of Messiah. These paintings will be auctioned 

at the performance with all proceeds to be 

given to the artists. 

● 7:30: Tafelmusik. Handel: Messiah. See 

Dec 14. Also Dec 16. 

● 8:00: Exultate Chamber Singers. Songs of 

Light. Elgar: Lux aeterna; Dolly Parton: Light 

of a Clear Blue Morning; Mari Alice Conrad: At 

First Light; Andrew Balfour: Anang (A Star); 

Don Macdonald: Winter Sun; Mishaal Surti: 

Beauty of the Stars (a commissioned work); 

Lynn Flynn: White Moon. Calvin Presbyterian 

Church, 26 Delisle Ave. 416-971-9229 or www. 

exultate.net/performances. Pay What You 

Wish: $5, $20, $40 or over. Tax receipt. 

● 8:00: Flato Markham Theatre. The Next 

Generation Leahy Christmas. 171 Town Centre 

Blvd., Markham. 905-305-7469 or www. 


$78(prime); $15(YTX). 

● 8:00: Etobicoke Philharmonic Orchestra. 

Ho Ho Ho EPO. Haydn: Trumpet Concerto 

plus seasonal favourites, a singalong, 

and other works. Sam Cancellara, trumpet. 

Humber Valley United Church, 76 Anglesey 

Blvd., Etobicoke. www.eporchestra.ca/season/2324. 

$30; $25(sr); $15(st); Free(under 

12). 

● 8:00: Nathaniel Dett Chorale. An Indigo 

Christmas: Nguzo Saba & The Black 

Madonna. Glenn Edward Burleigh: Nguzo 

Saba Suite and works by Bax, Carter, Casals, 

Courtney, Łukaszewski, and Poulenc plus seasonal 

favourites celebrating Kwanzaa. Also 

commemorating significant anniversaries 

of death and birth of several of the composers. 

St. Andrew’s Presbyterian Church, 

73 Simcoe St. www.nathanieldettchorale. 

org. $45; $39(sr 65+); $15(st); Free(children 

12 and under). 


Jazz Lounge: Alison Young. Jazz. 21 Old Mill 

Rd. 416-207-2020 or www.oldmilltoronto. 

com/jazz-lounge. $20 cover. Minimum $30 

food & beverage spend. Restricted to ages 

19+. Dinner at 6pm. Show at 8pm. 

● 8:00: Ontario Pops Orchestra. The 

Magic of The Holiday Season. Tchaikovsky: 

Selections from The Nutcracker; Anderson: 

A Christmas Festival; Johann Strauss, 

Sr: Radetzky March. Glenn Gould Studio, 

250 Front St. W. www.ontariopops.com or 

416-543-9891. $30. 


● 11:00am: Aurora Cultural Centre. Ariko: 

Family Series Holiday Show. Niagara College, 

Aurora Armoury, 89 Mosley St., Aurora. 

905-713-1818 or info@auroraculturalcentre. 

ca. $15. 

● 12:00 noon: TYT Theatre. Don’t Let the 

Pigeon Drive the Bus! the Musical! Script 

by Mo Willems. Based on the book by Mo 

Willems. Music by Deborah Wicks La Puma. 

Recommended for ages 5 and up. Randolph 

Theatre, 736 Bathurst St. www.tickets.ticketwise.com/event/don-t-let-the-pigeon-drivethe-bus-the-musical. 

From $25. Runs from 

Dec 16 to Jan 14. Showtimes vary. 

● 2:00: Roy Thomson Hall. Toronto Children’s 

Chorus: Songs of the Season. Jude B. 

Roldan: Missa Virtutum (Canadian première) 

and other works. Guests: Toronto Symphony 

Youth Orchestra. 60 Simcoe St. 416-872- 

4255. From $49. 


Dec 14. Also Dec 16(7:30pm), 17(2pm). 

● 2:30: Bel Canto Singers. Haber-Dashing 

Through The Snow. An eclectic blend 

SCAN FOR 

TICKETS 

HERE: 

G.F. HANDEL 

THE CHOIR OF ST. JAMES CATHEDRAL WITH THE CHAPEL 

CHOIR OF TRINITY COLLEGE, U OF T, AND ORCHESTRA 

FRIDAY, DECEMBER 15, 2023 

7:30 P.M. 

LOCATION: 

ST. JAMES CATHEDRAL 

106 KING ST E, TORONTO 

DETAILS: stjamescathedral.ca 

Zimfira Poloz, Artistic Director 

Songs of 

the Season 

with the Toronto Children’s Chorus 

ROY THOMSON HALL | SATURDAY, DECEMBER 16 | 2:00 PM 

Featuring the Canadian premiere of Missa Virtutum 

by Filipino composer Jude B. Roldan, performed with 

the Toronto Symphony Youth Orchestra 



of Christmas music for the whole family. 

Jacqueline Mokrzewski, piano; Michael Morgan, 

director. Scarborough Bluffs United 

Church, 3739 Kingston Rd., Scarborough. 

647-831-3245 or www.belcantosingers.ca. 

$25; $5(child). Also at 7:30pm. 

● 3:00: That Choir. Carols. St. Anne’s Anglican 

Church, 276 Gladstone Ave. 416-568- 

2466. From $10. Also Dec 17(8pm). 

● 4:00: Hamilton Children’s Choir. In The 

House With Nobody Else. Guest: Tom Wilson, 

narrator. Central Presbyterian Church (Hamilton), 

165 Charlton Ave. W., Hamilton. www. 

eventbrite.ca/e/in-the-house-with-nobodyelse-tickets. 

$30(preferred); $25(adult); 

$20(sr); $15(st/alumni); $10(child over 12); 

Free(child under 12). Also 7pm. 

● 4:00: Mississauga Symphony Orchestra. 

Holiday: A Merry Little Christmas. Mississauga 

Symphony Orchestra; Mississauga 

Symphony Youth Orchestra. Living Arts Centre, 

Hammerson Hall, 4141 Living Arts Dr., 

Mississauga. www.mississaugasymphony. 

ca or 905-306-6000. $25. Matinée for 

Young Families(4pm) & Concert for All 

Ages(7:30pm). 

● 4:30: Beach United Church. Christmas 

Organ Concert with Manuel Piazza. Adventand 

Christmas-themed organ concert. 

140 Wineva Ave. 416-691-8082. Entry by freewill 

donation. 

● 4:30: Church of the Holy Trinity. 

The Christmas Story. See Dec 9. Also 

Dec 17(4:30pm); 22(7pm); 23(4:30); 

24(1:30pm). 

● 7:00: Brampton On Stage. A Whole New 

World: The Musical Magic of Alan Menken. 

Be Our Guest, Part Of Your World, Friend 

Like Me, Under The Sea, Colors of the Wind, 

Go The Distance, Suddenly Seymour, and A 

Whole New World. Lester B. Pearson Theatre, 

150 Central Park Dr., Brampton. 905-874- 

2800. From $29. 

● 7:00: Hamilton Children’s Choir. In The 

House With Nobody Else. See 4pm. 

● 7:00: Kitchener-Waterloo Chamber Music 

Society. Penderecki String Quartet Plays 

Beethoven’s Birthday Program. Beethoven: 

String Quartet No.6 in B-flat Op.18 No.6; 

String Quartet No.14 in c-sharp Op.131. Keffer 

Memorial Chapel, Wilfrid Laurier University, 

75 University Ave. W., Waterloo. 519-569- 

1809 or www.ticketscene.ca/kwcms. $40; 

$25(sr); Free(12 & under). 

● 7:00: Univox Choir. Goodness Matters. 

Choral works representing goodness 

throughout the world. Ola Gjeilo: Dreamweaver; 

Rosephanye Powell: “To Sit and 

Dream” and “I Dream a World”; and other 

works. Univox Choir; Joshua Tamayo, piano; 

The Dreamweaver Orchestra; Malcolm Cody 

MacFarlane, conductor. Christ Church Deer 

Park, 1570 Yonge St. www.voxchoirs.com. 

$25; $30(with a $5 donation); Free(under 

12). Intermission will include a Bake Sale with 

donations supporting the choir. 


Pound, The Musical-ish. See Dec 14. 

● 7:30: Amadeus Choir of Greater Toronto/ 

Hannaford Street Silver Band. Silver and 

Gold. Holiday classics, celebratory new 

arrangements, world premieres, singalongs, 

and more. Amadeus Choir; Hannaford 

Street Silver Band. George Weston Recital 

Hall, Meridian Arts Centre, 5040 Yonge St. 

www.amadeuschoir.com or www.hssb.ca. 

From $22. 

● 7:30: Bel Canto Singers. Haber-Dashing 

Through The Snow. See 2:30pm. 

10TH ANNIVERSARY SEASON! 

Flute Street 

presents 

Suites of 

Seasonal Sweets 

Saturday, December 16, 7:30pm 

www.flutestreet.ca 

● 7:30: Flute Street. Tenth Anniversary 

Season: Suites of Seasonal Sweets. Works 

by Tchaikovsky, Respighi, Kelly Via, Holst, 

and Nancy Nourse. Isaac Page, conductor. 

Church of St. Peter and St. Simon-the-Apostle, 

525 Bloor St. E. 416-462-9498 or www. 

flutestreet.ca. PWYC - $25 suggested. 


Handel’s Messiah. Bach Elgar Choir. Melrose 

United Church, 86 Homewood Ave., Hamilton. 

905-526-7756; boxoffice@hpo.org. $20- 

$45. Also Dec 17(3pm). 

● 7:30: Mississauga Symphony Orchestra. 

Holiday: A Merry Little Christmas. Mississauga 

Symphony Orchestra; Mississauga 

Symphony Youth Orchestra. Living Arts Centre, 

Hammerson Hall, 4141 Living Arts Dr., 

Mississauga. www.mississaugasymphony. 

ca or 905-306-6000. From $35. Matinée 

for Young Families(4pm) & Concert for All 

Ages(7:30pm). 

● 7:30: Niagara Symphony Orchestra. NSO 

Now 2: Brad’s Home for the Holidays. Kaylee 

Harwood, soprano; Sayer Roberts, tenor; 

Laura Secord S.S. Choir. FirstOntario Performing 

Arts Centre, Partridge Hall, 250 St. 

Paul St., St. Catharines. 905-688-0722; 

boxoffice@firstontariopac.ca. $75(regular); 

$100(diamond); $52(arts worker); $46(35 

under 35); $29(student-university/college); 

$24(youth 18 and under). Also Dec 17(2:30pm). 

● 7:30: Ontario-Cross Cultural Music Society/The 

Singing School. Winter Wonderland 

Holiday Concert. 170 performers from 

The Singing School, OCMS Choir, and OCMS 

Orchestra. Japanese Canadian Cultural Centre, 

6 Sakura Way. 905-415-7772. $35. 

● 7:30: Royal Conservatory of Music. Academy 

Chamber Orchestra. Mazzoleni Concert 


0208; rcmusic.com/performance. Free. 


Dec 14. Also Dec 17(2pm). 

● 7:30: Tafelmusik. Handel: Messiah. See 

Dec 14. 

THE AMADEUS CHOIR & 

THE HANNAFORD STREET SILVER BAND 

PRESENT 

DEC. 16, 2023 7:30PM 

@ GEORGE WESTON 

RECITAL HALL 

HSSB.CA 

AMADEUSCHOIR.COM 


IN 

THE 

MARGINS 

DECEMBER 16, 2023 

7:30 PM 

ANNEXSINGERS.COM 

● 7:30: The Annex Singers. In the Margins. 

Works by Pachelbel, Berlioz, Pärt, Rutter, 

and others including a newly commissioned 

work by Frank Horvat. Annex Singers; Matti 

Pulkki, accordion; Maria Case, artistic director. 

Grace Church on-the-Hill, 300 Lonsdale 

Rd. www.annexsingers.com. From $15. LIVE 

& STREAMED. 

● 7:30: VOCA Chorus of Toronto. Songs 

for a Winter’s Night. Gordon Lightfoot (arr. 

Jenny Crober): Song for a Winter’s Night 

and works by Ola Gjeilo, Mark Sirett, Jake 

Runestad, Donald Patriquin, Morten Lauridsen 

and others including a variety of seasonal 

music, including traditional tunes and 

selections evoking the Northern Lights, starladen 

skies, travelling carollers and songs 

about peace. Jenny Crober, director; Dakota 

Scott-Digout, piano. Guests: Jason Fowler, 

guitar; Jamie Drake, percussion. Eastminster 

United Church, 310 Danforth Ave. www. 

vocachorus.ca/concerts or www.eventbrite. 

com/e/vocas-songs-for-a-winters-night-satdec-16-730-pm-tickets-738863409347. 

$30; 

$15(st). 

● 8:00: Cathedral Bluffs Symphony Orchestra. 

Fairytales. Winners of the North York Music 

Festival Concerto Competition: Clair Cho, cello; 

Danila Zhang, piano; Martin MacDonald, conductor. 

P.C. Ho Theatre, Chinese Cultural Centre 

of Greater Toronto, 5183 Sheppard Ave. E., 

Scarborough. 416-879-5566 or www.cathedralbluffs.com. 

From $25. Free for children 

under 12. Pre-concert talk: 7:15pm. 

● 8:00: Flato Markham Theatre. A Ben Heppner 

Christmas. Elmer Iseler Singers. 171 Town 

Centre Blvd., Markham. 905-305-7469 or 

www.flatomarkhamtheatre.ca. $68(regular); 

$78(prime); $15(YTX). 

● 8:00: Healey Willan Singers. Enchanted 

Carols. An evening of music for the season. 

Howard Goodall: Enchanted Carols and other 

choral gems for Christmas for the upper 

voices. Ellen Meyer, piano; Ron Ka Ming Cheung, 

conductor. St. Martin-in-the-Fields 

Anglican Church, 151 Glenlake Ave. www. 

healeywillansingers.com. $20; $15(sr/st). 

● 8:00: Hugh’s Room Live. Steven Taetz’s 

Christmas Celebration. Steven Taetz, singer/ 

songwriter/bandleader; Lauren Dillen, guitar 

& singer; Adina V, guitar & singer; Jacob 

Damelin, keyboards; Will Fisher, drums; and 

others. 296 Broadview Ave. 647-347-4769 or 

www.hughsroomlive.com. $30. 


● 7:00am: Encore Symphonic Concert Band. 

Christmas Concert. Featuring music to celebrate 

the Christmas season with vocalists. 

Trinity Presbyterian Church York Mills, 

2737 Bayview Ave. www.encoreband.ca. $10. 

● 2:00: Flato Markham Theatre. A Swingin’ 

Christmas with Toronto All Star Big Band. 

171 Town Centre Blvd., Markham. 905-305-7469 

or www.flatomarkhamtheatre.ca. From $60. 

● 2:00: Soundstreams. Electric Messiah. 

See Dec 14. 

SING-ALONG 

MESSIAH 

Directed by Mr. Handel 

Dec 17, 2023 




WINTER 

WAKING 

DEC 19TH - 7:30 PM 

GRACE CHURCH ON-THE-HILL 

300 LONSDALE RD 

● 2:00: Tafelmusik. Sing-Along Messiah. 

Rachel Redmond, soprano; Cameron Shahbazi, 

countertenor; James Reese; tenor; 

Enrico Lagasca, bass-baritone; Tafelmusik 

Chamber Choir; Tafelmusik Baroque Orchestra; 

Ivars Taurins, director. Koerner Hall, 

TELUS Centre, 273 Bloor St. W. www.tafelmusik.org/sing-along 

or 416-408-0208. From 

$59. General admission. Seating by vocal 

section. 


Now 2: Brad’s Home for the Holidays. See 

Dec 16. 

● 3:00: Dundas Concert Band. Annual Christmas 

Concert. Anderson: Sleigh Ride; Prokovief: 

Troika; Sounds of Christmas; Christmas 

Eve/Sarajevo 12/24; Tchaikovsky: Scenes from 

The Nutcracker. St. Paul’s United Church 

(Dundas), 29 Park St. W., Dundas. 905 523- 

9500. Free. Donations gratefully accepted. 

Receipts will be given for $10 or more. 


Handel’s Messiah. See Dec 16. 

● 3:00: Toronto Symphony Orchestra. Messiah. 

Handel: Messiah. Lauren Snouffer, 

soprano; Krisztina Szabó, mezzo; Colin Ainsworth, 

tenor; Joshua Hopkins, baritone; 

Toronto Mendelssohn Choir (Jean-Sébastien 

Vallée, artistic director); Dame Jane Glover, 

conductor. Roy Thomson Hall, 60 Simcoe St. 

416-598-3375. From $41. Also Dec 19(8pm), 

20(8pm), 22(8pm), 23(8pm). 

● 4:00: Silent Revue. The Phantom Carriage. 

A 1926 silent film screening from Sweden 

with live musical accompaniment. Director: 

Victor Sjöström. Cast: Victor Sjöström, Tore 

Svennberg, Hilda Borgström. Live accompaniment: 

William O’Meara. Revue Cinema, 

WELCOMING NEW ARTISTIC DIRECTOR 

THOMAS BURTON 

400 Roncesvalles Ave. 416-531-9950 or info@ 

revuecinema.ca. $17; $14(Bronze/Loyalty 

Members, st/sr); $13(Silver Members); 

Free(Gold/Individual/Family Members). 



Dec 22(7pm); 23(4:30); 24(1:30pm). 

● 7:00: Brampton On Stage. A Next Generation 

Leahy Christmas. Rose Theatre, 1 Theatre 

Ln., Brampton. 905-874-2800. From $20. 

● 8:00: That Choir. Carols. See Dec 16(3pm). 


● 7:00: Peterborough Singers. Handel’s 

Messiah. Lesley Bouza, soprano; Lillian 

Brooks, mezzo; Joshua Wales, tenor; Graham 

Roginson, bass; Ian Sadler, organ; Paul Otway, 

trumpet; Douglas Sutherland, trumpet. 

Emmanuel United Church, 534 George St. N., 

Peterborough. 705-745-1820 or www.peterboroughsingers.com. 

$40; $10(st). 

● 7:30: The Edison Singers. ‘Tis the Season. 

Join us for a joyous celebration of the 

music of Christmas! The Edison Singers; Noel 

Edison, conductor. Court House Theatre, 

26 Queen St., Niagara-on-the-Lake. www. 

theedisonsingers.com/performances or 226- 

384-9300. $45; $25(st/18 and under). Also 

Dec 20(Brantford) & Dec 23(Elora). 



Recital. Jean-Paul Feo, organ. Cathedral 




● 7:00: Apocryphonia. The Diapente Book of 

Carols. A selection of holiday favourites from 

the 14th to the 17th century, sung by Toronto’s 

only Renaissance vocal quintet. Diapente 

Renaissance Vocal Quintet: Jane Fingler, soprano; 

Peter Koniers, countertenor; Alexander 

Cappellazzo, tenor; Jonathan Stuchbery, 

tenor & continuo; Martin Gomes, bass. St. 

Olave’s Anglican Church, 360 Windermere 



Ave. 514-378-2558. Pay What You Can: suggested 

$20-$30. 

● 7:30: Orpheus Choir of Toronto. Winter 

Waking. Lauridsen: Midwinter Songs; Hawley: 

In dulci jubilo; Hogan: Glory, Glory, Glory; 

Rutter: Still, Still, Still. Sidgwick Scholars, 

soloists; Vlad Soloviev, collaborative pianist; 

Thomas Burton, conductor. Grace Church 

on-the-Hill, 300 Lonsdale Rd. 416-420-9660 

or www.orpheuschoirtoronto.com. $45; 

$35(sr); $20(st). 

● 8:00: Brampton On Stage. B-Jazzed. Curated 

by Carmen Spada. Carmen Spada & 

Broadsway. Rose Theatre, 1 Theatre Ln., 

Brampton. 905-874-2800. From $20. 

● 8:00: Toronto Symphony Orchestra. 

Messiah. Handel: Messiah.See Dec 17. Also 

Dec 20(8pm), 22(8pm), 23(8pm). 




Cambridge Girls’ Choir; Jessica Strub, 

director. 54 Queen St. N., Kitchener. 519-578- 

4430 or www.standrewskw.com. Free. Lunch 

available for $10 or bring your own. 

● 7:00: Yorkminster Park Baptist Church. 

John McDermott Family Christmas. In support 

of Yorkminster Baptist Church “Out from 

The Cold Program” and McDermott House 

Canada. Special guests: Dala. 1585 Yonge St. 

www.yorkminsterpark.com. Free. Donations 

welcome at the door. 

● 7:30: FirstOntario Performing Arts 

Centre. Sass Jordan with Skye Wallace. 



905-688-0722 or boxoffice@firstontariopac. 

ca. $55; $49(members). 


Join us for a joyous celebration of 

the music of Christmas! The Edison Singers; 

Noel Edison, conductor. St. Andrew’s 

United Church, 95 Darling St., Brantford. 

www.theedisonsingers.com/performances 

or 226-384-9300. $45; $25(st/18 and 

under). Also Dec 18(Niagara-on-the-Lake) & 

Dec 23(Elora). 


See Dec 17. Also Dec 22(8pm), 23(8pm). 


● 8:00: Flato Markham Theatre. ELVIS Wonderful 

World of Christmas. Steve Michaels, 

vocalist. 171 Town Centre Blvd., Markham. 

905-305-7469 or www.flatomarkhamtheatre. 

ca. $68(regular); $78(prime); $15(YTX). Also 

Dec 22, 23(3pm & 8pm). 


Jazz Lounge: A Jewish Boy’s Christmas. 

Sam Broverman brings the joy of Christmas 

(and a bit of Hanukah) with Christmas standards, 

hilarious parodies and stories behind 

the music, leaving you with the understanding 

that Christmas may also be a little bit Jewish. 

Sam Broverman, vocals. 21 Old Mill Rd. 





● 8:00: Travel by Sound. Victoria Yeh’s Timeless. 

Celebrate Winter Solstice with music 

that will lift your spirit out of the darkness 

of the longest night of the year. Piazzolla: 

中西匯粹新年音樂會 

New Year ‘ 

s Concert 2024 

East-Meets-West Concert of Favourite Classics 

Music by Strauss, Mozart, Verdi, 

Løvland, Beethoven, 

and Chinese Music etc. 

Toronto Festival Orchestra and Choir 

Conductor: Dr. Jin Wang 

Pianist: Kevin Wang 

Host: Kemin Zhang 

T I C K E T S : $ 1 0 8 , $ 9 5 , $ 8 5 , $ 6 5 , $ 5 5 , $ 4 5 , $ 3 9 

B O X O F F I C E : M E R I D I A N A R T S C E N T R E , 4 1 6 - 3 6 8 - 6 1 6 1 

W W W . T I C K E T M A S T E R . C A 1 - 8 5 5 - 9 8 5 - 2 7 8 7 

E N Q U I R Y & G R O U P T I C K E T S 

T H E L I D E L U N M U S I C F O U N D A T I O N 

3 6 5 - 5 9 7 - 6 7 8 8 I N F O @ L I D E L U N . O R G 

“Invierno” from The Four Seasons in Buenos 

Aires; Vivaldi: “Winter” from The Four Seasons; 

Victoria Yeh: Winter in Canada (world 

première) plus original music from Victoria 

Yeh & Mike Graham with a light installation by 

the Ludmila Gallery. Victoria Yeh, violin; Natalie 

Wong, concertmaster; Mike Graham, guitar; 

Steve Lucas, double-bass; Spirit Awakens 

Orchestra; John Kraus, conductor. Market 

Hall Performing Arts Centre, 140 Charlotte 

St., Peterborough. www.victoriayeh.com/ 

timeless. Pricing to be announced. 




Dec 23(4:30); 24(1:30pm). 






2469 Bloor St. W. 416-762-4441. Free. 


● 7:30: Cuckoo’s Nest Folk Club. Pub Caroling. 

Steve Holowitz and Paul Grambo. 

Chaucer’s Pub, 122 Carling St., London. 519- 

319-5847 or folk@iandavies.com. Suggested 

donation: $5-$10. All music is provided. 

● 7:30: Guelph Chamber Choir. Handel’s 

Messiah. Ineza Mugisha, soprano; Jennifer 

Enns Modolo, alto; Owen McCausland, 

tenor, Stephen Hegedus, bass; with period 

instruments. Basilica of Our Lady Immaculate, 

28 Norfolk St., Guelph. 519-993-6414. 

$45; $40(sr); $10(ages 16-30); $5(ages 15 

and under). 


World of Christmas. See Dec 21. Also 

Dec 23(3pm & 8pm). 


Jazz Lounge: Colleen Allen. Saxophone & 

flute. 21 Old Mill Rd. 416-207-2020 or www. 

oldmilltoronto.com/jazz-lounge. $20 cover. 

Minimum $30 food & beverage spend. 

Restricted to ages 19+. Dinner at 6pm. Show 

at 8pm. 


See Dec 17. Also Dec 23(8pm). 


● 2:00: Toronto International Ballet Theatre. 

The Nutcracker. Shale Wagman, principal 

dancer; Carollina Bastos, dancer; Tatiana 

Stepanova, artistic director. Meridian Hall, 

1 Front St. E. www.tolive.com/Event-Details- 

Page/reference/The-Nutcracker-2023 or 

www.torontoballet.ca. From $65. Also 7pm. 


World of Christmas. See Dec 21.. 


Join us for a joyous celebration of the music 

of Christmas! The Edison Singers; Noel Edison, 

conductor. Knox Presbyterian Church, 

51 Church St., Elora. www.theedisonsingers. 

com/performances or 226-384-9300. $45; 

$25(st/18 and under). Also Also Dec 18(Niagara-on-the-Lake) 

& Dec 20(Brantford). 



Dec 24(1:30pm).. 

● 7:00: Canadian Bandurist Capella. Ukrainian 

Bandura Christmas. Antonina Laskarzhevska, 

soprano; Alexandra Beley, mezzo. St. 

Matthew’s Centre, 54 Benton St., Kitchener. 

www.banduristy.com. $25; Free(under 18). 

Also Dec 30(Toronto). 

● 7:00: Toronto International Ballet Theatre. 

The Nutcracker. See 2pm. 


World of Christmas. See Dec 21. 


See Dec 17. 



Christmas Story. See Dec 9. 


● 2:00: Flato Markham Theatre. Chris Funk 

the Wonderist. Magic, music, and comedy. 

171 Town Centre Blvd., Markham. 905- 

305-7469 or www.flatomarkhamtheatre. 

ca. $58(regular); $68(prime); $15(YTX). 

Also 7pm. 


● 2:00: Ballet Jörgen. Nutcracker. Music 

by Pyotr Ilyich Tchaikovsky and Choreography 

by Bengt Jörgen. Centre in the Square, 

101 Queen St. N., Kitchener. www.jorgendance.ca/event/the-nutcracker-a-canadian-tradition-in-kitchener-on 

or info@ 

balletjorgen.ca or 416-961-4725. From $27. 

Also 7pm. 

Friday December 29 


Sing-A-Long Sound of Music. FirstOntario 



0722 or boxoffice@firstontariopac.ca. $20. 

Costumes welcome. Costume parade - 2pm. 

● 8:00: Toronto Operetta Theatre. The 

Merry Widow. Music by Franz Lehár. Soloists: 

Stuart Graham, Nathan Keoughan, Olivia 

Morton, and Jonelle Sills; Chamber Orchestra; 

Derek Bate, conductor. Jane Mallett 

Theatre, St. Lawrence Centre for the Arts, 

27 Front St. E. 416-366-7723 or 1–800-708- 

6754 or www.tolive.com. From $75. Also 

Dec 30, 31, Jan 2. 


● 2:00: Flato Markham Theatre. Ballet Jörgen 

The Nutcracker: A Canadian Tradition. 

171 Town Centre Blvd., Markham. 905-305- 

7469 or www.flatomarkhamtheatre.ca. 

$68(regular); $73(prime); $15(YTX). Also 

7pm, Dec 31(11am & 3pm). 

● 7:00: Canadian Bandurist Capella. Ukrainian 

Bandura Christmas. Antonina Laskarzhevska, 

soprano; Alexandra Beley, mezzo. 

Grace Church-on-the-Hill, 300 Lonsdale Rd. 

www.banduristy.com. $25; Free(under 18). 

Also Dec 23(Kitchener). 

● 7:00: Flato Markham Theatre. Ballet Jörgen 

The Nutcracker: A Canadian Tradition. 

See 2pm. Also Dec 31(11am & 3pm). 

● 8:00: Attila Glatz Concert Productions. 

Salute to Vienna New Year’s Concert. Katharina 

Rückgaber, soprano; Thomas Weinhappel, 

baritone; Budapest Dance Ensemble; 

International Champion Ballroom Dancers; 

Strauss Symphony of Canada; Imre 

Kollár, conductor. FirstOntario Concert Hall, 

1 Summers Ln., Hamilton. www.salutetovienna.com. 

From $75. Also Jan 1(Toronto). 


Merry Widow. See Dec 29. Also Dec 31 & 

Jan 2. 



● 11:00am: Flato Markham Theatre. Ballet 

Jörgen The Nutcracker: A Canadian Tradition. 

See Dec 30. Also 3pm. 


Bravissimo! New Year’s at the Opera. Mané 

Galoyan, soprano; Carolyn Sproule, mezzo; 

Matthew Cairns, tenor; Vito Priante, baritone; 

Canadian Opera Company Orchestra; Johannes 

Debus, conductor. Roy Thomson Hall, 

60 Simcoe St. www.roythomsonhall.mhrth. 

com/tickets/bravissimo. From $75. 


New Year’s Eve with Jim Witter. FirstOntario 




$39(members). 


Sing-a-long Grease. Film screening with 

lyrics on-screen. 20-minute pre-show and 

fancy-dress competition with Rainer Noak, 

host. Burlington Performing Arts Centre - 

Main Theatre, 440 Locust St., Burlington. 

www.burlingtonpac.ca/events/sing-a-longgrease 

or 905-568-1600. From $34.50. 

Includes complimentary sparkling wine, costume 

contests, fun packs and photo booth to 

memorialize the night. 


Merry Widow. See Dec 29. Also Jan 2. 

Monday January 1 


Salute to Vienna New Year’s Concert. Katharina 

Rückgaber, soprano; Thomas Weinhappel, 

baritone; Budapest Dance Ensemble; 

International Champion Ballroom Dancers; 

Strauss Symphony of Canada; Imre Kollár, 

conductor. Roy Thomson Hall, 60 Simcoe St. 

www.salutetovienna.com or 416-872-4255. 

From $75. Also Jan 2(Hamilton). 

Tuesday January 2 


Merry Widow. See Dec 29. 

Saturday January 6 

● 7:00: Toronto Gilbert & Sullivan Society. 

Annual Songfest. All welcome. Performing 

companies from around the city sing 

excerpts of their upcoming shows – G&S and 

more. St. Andrew’s United Church, 117 Bloor 

St E. Sheryl at 416-616-1462. Free(members); 

$5(non-members). All welcome. 

● 7:30: Li Delun Music Foundation. New 

Year’s Concert 2024. J. Strauss II: Overture 

from Die Fledermaus; Mozart: Piano Concerto 

No. 20; J. Verdi: Overture to La forza del destino; 

Beethoven: Ode to Joy; Chinese music. 

Toronto Festival Orchestra & Choir; Jin Wang; 

conductor; Kevin Wang, piano; Quanfang Zhai, 

vocalist. George Weston Recital Hall, Meridian 

Arts Centre, 5040 Yonge St. 1-855-985- 

2787 or 365-597-6788 or info@lidelun.org. 

From $39. 

Sunday January 7 

● 7:00: OPUS Chamber Music. OPUS IV: 

From the Heart - Program 1: Soul. Clarke: 

Viola Sonata; Weiner: String Trio; Webern: 

Langsamer satz for String Quartet; Schumann: 

Piano Quartet. Stella Chen, violin; Isabella 

Perron, violin; Matthew Lipman, viola; 

Brannon Cho, cello; Kevin Ahfat, piano. 

Trinity-St. Paul’s Centre, 427 Bloor St. W. 

303-808-3931 or contact@jomcollective.com 

or www.jomcollective.com/opuschambermusic. 

$40; $20 (sr/st). 


● 12:00 noon: Trinity Bach Project. Bach and 

Schütz. Bach: Motet BWV 227 “Jesu, meine 

Freude”; Schutz: “Selig sind die Toten” and 

other motets; Monteverdi: Cantate Domino; 

Bruckner: Locus iste; Bach: Selected movements 

of Suites Nos.1 & 2 for unaccompanied 

cello. Eleven-voice choir; Nicholas Nicolaidis, 

music director; Felix Deák, cello; Aaron 

James, organ. Timothy Eaton Memorial 

Church, 230 St. Clair Ave. W. 306-250-4256 

or www.trinitybachproject.org. Pay what you 

like ($30 suggested). 


Lunchtime Chamber Music: Piano Recital. 

Naomi Wong, piano. Yorkminster Park Baptist 

Church, 1585 Yonge St. 416-922-1167 or 


welcome. 


Music. Tuesday Noon Series: Master Class 

with Mezzo-Soprano Marion Newman. Walter 

Hall, Edward Johnson Building, University 

of Toronto, 80 Queen’s Park. 416-978-3750 or 



Recital. Mark Himmelman, organ. Cathedral 




● 7:30: OPUS Chamber Music. OPUS IV: 

From the Heart - Program 2: Joy. Handel (arr. 

Halvorsen): Passacaglia; Tcherepnin: Suite 

for Solo Cello; Klein: String Trio; Wegener: 

Suite for String Trio; Beethoven: Kreutzer 

Sonata. Stella Chen, violin; Matthew Lipman, 

viola; Brannon Cho, cello; Kevin Ahfat, piano. 

Arts and Letters Club, 14 Elm St. 303-808- 

3931 or contact@jomcollective.com or www. 

jomcollective.com/opuschambermusic. $40; 

$20(sr/st). 

Wednesday January 10 

● 3:00: Fallsview Casino Resort. Legends 

in Concert. Fallsview Casino Resort, Avalon 

Theatre, 6380 Fallsview Blvd., Niagara 

Falls. 1-877-833-3110 or www.ticketmaster. 

ca. From $45. Also Jan 11(3pm & 8:30pm), 

12(9pm), 14(3pm & 7pm), 15(3pm), 16(3pm), 

17(3pm & 8:30pm). 


Trifonov Plays Brahms. Walker: Sinfonia 

No.2; Lutosławski: Concerto for Orchestra; 

Brahms: Piano Concerto No.1. Daniil Trifonov, 

piano; Gustavo Gimeno, conductor. Roy Thomson 

Hall, 60 Simcoe St. 416-598-3375. From 

$35. Also Jan 11 & 13. 

Thursday January 11 

● 12:00 noon: Trinity Bach Project. Chamber 

Baroque and Handel’s Gloria. Handel: 

Missa Sapientiae, Gloria, HWV 245; Bach: 

Trio Sonata in G BWV 1039; and other chamber 

works for strings and solo voice. Louise 

Zacharias Friesen, soprano; Christopher 

Bagan, organ; Michelle Odorico, violin; Felix 

Deak, cello. St. Augustine of Canterbury, 

1847 Bayview Ave. 306-250-4256 or www. 

trinitybachproject.org. Free. Suggested 

donation $25. 


in Concert. See Jan 10. Also Jan 11(8:30pm), 

12(9pm), 14(3pm & 7pm), 15(3pm), 16(3pm), 

17(3pm & 8:30pm). 

● 8:00: Toronto Symphony Orchestra. Trifonov 

Plays Brahms. See Jan 10. Also Jan 13. 


in Concert. See Jan 10. Also Jan 12(9pm), 

14(3pm & 7pm), 15(3pm), 16(3pm), 17(3pm & 

8:30pm). 


Music. Canadian Women’s Brass Collective. 



www.music.utoronto.ca. Free. Also Jan 12 

& 13. 

Friday January 12 

● 7:30: Confluence Concerts. Dichterliebe: 

Whose Love? A reimagining of Robert Schumann’s 

romantic song cycle in its pure form, 

from a gender inclusive perspective. Teiya 

Kasahara, vocalist; David Eliakis, piano. Heliconian 

Hall, 35 Hazelton Ave. www.bemusednetwork.com/events. 

$25. Also Jan 13. 

● 9:00: Fallsview Casino Resort. Legends in 

Concert. See Jan 10. Also Jan 14(3pm & 7pm), 

15(3pm), 16(3pm), 17(3pm & 8:30pm). 



See Jan 11. Also Jan 13. 


● 7:30: Barrie Concerts Association. Sheng 

Cai, Piano. Tchaikovsky: Grand Sonata Op.37; 

Rachmaninoff: Sonata No.2 in b-flat Op.36; 

André Mathieu: “Spring” and “Summer” from 

Saisons canadiennes. Hiway Pentecostal 

Church, 50 Anne St. N., Barrie. www.barrieconcerts.org. 

$45. LIVE & LIVESTREAM. 

● 7:30: Confluence Concerts. Dichterliebe: 

Whose Love? See Jan 12. 

● 8:00: Toronto Symphony Orchestra. Trifonov 

Plays Brahms. See Jan 10. 

● 9:00: Fallsview Casino Resort. Walk Off 

The Earth. OLG Stage at Fallsview Casino, 

6366 Stanley Ave., Niagara Falls. 1-888-325- 

5788; ticketmaster.ca. $64.55-$75.85. 



See Jan 11. 




15(3pm), 16(3pm), 17(3pm & 8:30pm). 

● 3:00: Royal Conservatory of Music. 

Piano Concerts Series: Angela Hewitt. Bach: 

Excerpts from Book 1 from The Well-Tempered 

Clavier BWV 846-869; Mendelssohn: 

Fugue from Prelude & Fugue in e Op.35 No.1; 

Shostakovich: Prelude & Fugue No.18 in f 

Op.87; Barber: Fugue from the Piano Sonata 

in e-flat Op.26; Schumann: Piano Sonata No.1 

in f-sharp Op.11. Koerner Hall, TELUS Centre, 


rcmusic.com/performance. From $50. 

● 4:00: Vesnivka Choir. Ukrainian Christmas 

Concert. Vesnivka Choir; Toronto Ukrainian 

Male Chamber Choir. Guests: Vira Zelinska 

Bandura Capelle “Zoloti Struny”. Our Lady of 

Sorrows Catholic Church, 3055 Bloor St. W. 

Contact Nykola Parzei at 416-246-9880. $25; 

Free(child under 16). 



16(3pm), 17(3pm & 8:30pm). 


Society. Daniel Ramjattan, Classical Guitar. 

Bach: Ciaccona from BWV 1004; Mertz: 

Elegie; Risa "LiSa" Oribe (arr. Ramjattan): 

Homura ( 炎 ); Sergio Assad: Aquarelle; Naoko 

Tsujita: Hidden Paths; Roland Dyens: Libra 

Sonatine. First United Church (Waterloo), 

16 William St. W., Waterloo. 519-569-1809 or 

www.ticketscene.ca/kwcms. $40; $25(sr); 

Free(12 & under). 



Lunchtime Chamber Music: Piano Recital. 

Vanessa Yu, piano. Yorkminster Park Baptist 

Church, 1585 Yonge St. 416-922-1167 or 


welcome. 


Music. Tuesday Noon Series: In Conversation 

with Rebecca Townsend. Walter Hall, 




Recital. Nicholas Wanstall, organ. Cathedral 

OPUS 

CHAMBER MUSIC 

TORONTO 

presents 

OPUS IV: FROM THE HEART 

TWO DYNAMIC PROGRAMS 

MADE TO MOVE YOU 

JAN 7 & JAN 9 

PROGRAM 1: SOUL 

@Trinity-St. Paul’s 

PROGRAM 2: JOY 

@Arts & Letters 

INFO & TICKETS: 

jomcollective.com/opuschambermusic 





Free. Donations encouraged. 


in Concert. See Jan 10. Also Jan 17(3pm & 

8:30pm). 


● 8:00: Payadora Tango Ensemble. A Night 

of Tango with Payadora. Classic and modern 

tango, originals, and South American folk 

music. Rebekah Wolkstein, violin & vocals; 

Drew Jurecka, bandoneon/violin/mandolin; 

Robert Horvath, piano; Joe Phillips, doublebass 

& guitar; Elbio Fernandez, vocals. Jazz 

Bistro, 251 Victoria St. 416-363-5299. $25. 

Also Mar 6, May 15, Jul 17, Sep 18, Nov 13. 


Oundjian Conducts Rachmaninoff. Katerina 

Gimon: New Work (World première/TSO 

Commission); John Adams: Saxophone Concerto 

(Canadian première); Rachmaninoff: 

Symphony No.3. Steven Banks, saxophone; 

Peter Oundjian, conductor. Roy Thomson 

Hall, 60 Simcoe St. 416-598-3375. From $35. 

Also Jan 20(8pm), 21(3pm. George Weston 

Recital Hall). 

● 8:30: Fallsview Casino Resort. Legends in 

Concert. See Jan 10. 


● 12:10: University of Toronto Faculty 

of Music. Thursdays At Noon: Laureates 

- Innovators. Jonah Nung, piano; Katya 

Poplyansky, violin; and Chihiro Yasufuku, soprano. 

Walter Hall, 80 Queen’s Park. 416-978- 

3750 or www.music.utoronto.ca. Free. LIVE 

& LIVESTREAM. 

● 8:00: Flato Markham Theatre. Epic Eagles 

Tribute. 171 Town Centre Blvd., Markham. 

905-305-7469 or www.flatomarkhamtheatre. 

ca. $65(prime); $60(regular). 

● 8:00: Music Toronto. Verona Quartet: All 

Roads Lead to Rome. Puccini: Crisantemi 

(Chrysanthemums); Britten: String Quartet 

No.3 in G Op.94; Mozart: String Quartet 

No.7 in E-flat K.160; Verdi: String Quartet in 

e. Verona Quartet: Jonathan Ong, violin; Dorothy 

Ro, violin; Abigail Rojansky, viola; Jonathan 

Dormand, cello. Jane Mallett Theatre, St. 

Lawrence Centre for the Arts, 27 Front St. E. 

416-366-7723 option 2. $47.50-$52; $10(st). 

January 18 at 8pm 

VERONA 

QUARTET 

All Roads Lead to Rome 

music-toronto.com 


● 7:30: Aurora Cultural Centre. The Last 

Waltz. Lance Anderson, piano & organ; Chuck 

Jackson, Johnny Max, Matt Weidinger, and 

Quisha Wint, vocalists. St. Andrew’s College, 

15800 Yonge St., Aurora. 905-713-1818 or 

info@auroraculturalcentre.ca. $50. 


The Triplets of Belleville. Benoit Charest, 

conductor. FirstOntario Performing 

Arts Centre, Partridge Hall, 250 St. Paul St., 

St. Catharines. 905-688-0722; boxoffice@ 

firstontariopac.ca. $30; $25(members). 

● 7:30: Trinity Bach Project. Heart, Mouth, 

Deed, Life. Bach: Cantata BWV 147 “Herz und 

Mund und Tat und Leben”; Bach: Violin Concerto 

in a BWV 1041; Bach: Motet BWV 229 

“Komm, Jesu, komm”; and contemporary 

choral selections. Guest artist: Elisa Citterio, 

violin. Thirteen voices with orchestra; Nicholas 

Nicolaidis, music director. Trinity-St. Paul’s 


306-250-4256 or www.trinitybachproject. 

org. $40. Also Jan 20. 

● 8:00: Alliance Française de Toronto. Alliance 

String Quartet. Spadina Theatre, Alliance 

Française de Toronto, 24 Spadina Rd. 

www.alliance-francaise.ca. $18. 


David Wilcox. Burlington Performing Arts 

Centre - Main Theatre, 440 Locust St., Burlington. 

www.burlingtonpac.ca/events/davidwilcox 

or 905-568-1600. From $64.50. 

● 8:00: Flato Markham Theatre. Dominic 

Mancuso & Vittorio Mezza: Dances in my 

Mind. 171 Town Centre Blvd., Markham. 905- 

305-7469 or www.flatomarkhamtheatre.ca. 

$58(regular); $68(prime); $15(YTX). 

● 8:00: Royal Conservatory of Music. 21C 

Music Festival Series: Fazil Say & Friends. Say: 

Gezi Park 2, Sonata for Piano Op.52, Gezi Park 

3, for piano, string quartet and mezzo Op.54, 

Yürüyen köşk (The Moving Mansion), piano 

quintet, Op.72b, 5 Songs from İlk Şarkılar, 

Op.5e and Yeni Şarkılar Op.57-61, Ballads and 

Jazz Fantasies for piano solo. Koerner Hall, 

TELUS Centre, 273 Bloor St. W. 416-408-0208; 



● 3:00: SoundCrowd. Billy Joel vs Elton John. 

A cappella arrangements of songs by The 

Piano Man and The Rocket Man go head-tohead 

and YOU, the audience, decide the winner! 

Paradise Theatre, 1006 Bloor St. W. 

www.soundcrowd.ca or info@soundcrowd. 

ca. $30. Limited tickets. Also 8pm. 

● 7:00: Brampton On Stage. The Triplets of 

Belleville Cine-Concert. FIlm screening with 

live orchestra. Benoit Charest, composer 

& conductor. Lester B. Pearson Theatre, 

150 Central Park Dr., Brampton. 905-874- 

2800. From $24. 

● 7:30: Guitar Society of Toronto. Boyd 

Meets Girl. Rupert Boyd, guitar; Laura 

Metcalf, cello. St. Andrew’s Presbyterian 

Church, 73 Simcoe St. www.guitarsocietyoftoronto.com/concert-season 

or 

416-964-8298. General: $35(adv)/$40(door). 

Seniors: $30(adv)/$35(door). Students: 

$15(adv)/$20(door). 


The Music of Queen. FirstOntario Concert 

Hall, 1 Summers Ln., Hamilton. 905-526-7756; 

boxoffice@hpo.org. $20-$80. 6:30pm preconcert 

talk. 

● 7:30: North Wind Concerts. Puzzle Me 

This. Works by Bach, Da Rore/Dalla Casa, Geysen, 

Anonymous, and others. ACTA Recorder 

Quartet: Avery MacLean, Colin Savage, Tatsuki 

Shimoda, and Alison Melville. Heliconian 

Hall, 35 Hazelton Ave. 416-588-4301 or www. 

bemusednetwork.com/events/detail/1014. 

Pay-What-You-Can. 

● 7:30: Trinity Bach Project. Heart, Mouth, 

Deed, Life. See Jan 19. 

● 8:00: Acoustic Harvest. Isabel Fryszberg 

Trio and Shawna Caspi. St. Paul’s United 

Church, 200 McIntosh St., Scarborough. 

www.acousticharvest.ca or 416-729-7564. 

$30. 

● 8:00: International Music Festival & Competition. 

Le Jardin Mouillé. Works by Bach, 

Muczynski, Boutry, Schumann, Fauré and 

others. Adriel Sloss, violin; Benjamin Liu, alto 

saxophone; Michelle Yeh, piano; Marie-Raquel 

Conceição, soprano; Sebastian Gobells, harp. 

Cornell Recital Hall, 3201 Bur Oak Ave., Markham. 

905-604-8854. $15. 


Music Festival Series: Lara St. John: she/ 

her/hers. Paranosic: Bubamara; Meyer: Confronting 

the Sky; Frank: “Pinkillo Llorando,” 

“Tarqueada” and “Luciernagas” from Suite 

Mestiza; Kaplan: Whitewashed; Coleman: 

Danza de la mariposa and others. Mazzoleni 

Concert Hall, TELUS Centre, 273 Bloor St. W. 

416-408-0208 or www.rcmusic.com/performance. 

From $21. 

● 8:00: SoundCrowd. Billy Joel vs Elton John. 

A cappella arrangements of songs by The 

Piano Man and The Rocket Man go head-tohead 

and YOU, the audience, decide the winner! 

Paradise Theatre, 1006 Bloor St. W. 

www.soundcrowd.ca or info@soundcrowd. 

ca. $30. Limited tickets. Also 3pm. 

● 8:00: Toronto Symphony Orchestra. Oundjian 

Conducts Rachmaninoff. See Jan 17. Also 

Jan 21(3pm - George Weston Recital Hall). 


Music Festival & Discovery Series: 21C Afterhours: 

Indigena. Leone: Indigena (1991), for 

large ensemble; Jodlowski: Respire (2008), 

for ensemble, electronics and video projections; 

Czernowin: Habekhi (The Crying) 

(2018) for ensemble, electronics and mezzosoprano; 

Martinaityte: Ping Pong Concerto 

(2011) for ensemble and ping pong players. 

Temerty Theatre, Telus Centre, 273 Bloor St. 

W. 416-408-0208; rcmusic.com/performance. 

From $21. 



Music. U of T Opera Student Composers 

Collective: Lysistrata. MacMillan Theatre, 

Edward Johnson Building, 80 Queen’s Park. 


Free. LIVE & LIVESTREAM. 


Music Festival Series: Bridget Kibbey with 

the Calidore String Quartet & Mervon Mehta, 

Narrator. Bach: Toccata and Fugue in d BWV 

565 (trans. Kibbey); Debussy: Prélude from 

Suite Bergamasque L.75; Fauré: Une châtelaine 

en sa tour Op.110; Currier: Ongoingness, 

for harp quintet (world première); Albéniz: 

Mallorca (trans. Kibbey) and others. Koerner 


0208 or www.rcmusic.com/performance. 

From $21. 

● 3:00: The Jeffery Concerts. Ensemble 

Caprice - Sweet! - Chocolate & French 

Baroque Music. Works by Médard, Flecha, 

Charpentier, Rameau, Corrette, Royer, 

Marais, Corbetta, and Couperin. Ensemble 

Caprice: Matthias Maute and Sophie Larivière, 

recorders and Baroque flutes. Wolf 

Performance Hall, 251 Dundas St., London. 

jefferyconcerts@gmail.com or www.jefferyconcerts.com 

or www.Grandtheatre.com 

or 519-672-8800 or in person at the Grand 

Theatre Box Office, 471 Richmond St. $40; 

Free(st). 

● 3:00: Toronto Symphony Orchestra. Oundjian 

Conducts Rachmaninoff. Katerina Gimon: 

New Work (World première/TSO Commission); 

John Adams: Saxophone Concerto 

(Canadian première); Rachmaninoff: Symphony 

No.3. Steven Banks, saxophone; Peter 

Oundjian, conductor. George Weston Recital 

Hall, Meridian Arts Centre, 5040 Yonge St. 

416-598-3375. From $54. 


Hear! Here! with Mark Lalama Trio. 

FirstOntario Performing Arts Centre, Robertson 

Theatre, 250 St. Paul St., St. Catharines. 


ca. $35; $186(table of 6). 


Society. Chamber Music Concert. Bénédicte 

Lauzière, violin; Angela Park, piano. First 

United Church (Waterloo), 16 William St. W., 

Waterloo. 519-569-1809 or www.ticketscene. 

ca/kwcms. $35; $20(sr); Free(12 & under). At 

door: $40; $25(sr). 










Music. Tuesday Noon Series: SOAR-atorio 

- Arias and Ensembles That Celebrate and 

Unite. Walter Hall, Edward Johnson Building, 


University of Toronto, 80 Queen’s Park. 416- 

978-3750 or www.music.utoronto.ca. Free. 


Recital. Sebastian Moreno, organ. Cathedral 





Series: Robert W. & G. Ann Corcoran 

Concerto Competition Finals. Koerner Hall, 

TELUS Centre, 273 Bloor St. W. 416-408- 

0208; rcmusic.com/performance. Free. 



Music. France-Canada Distinguished Visitor 

in Music: Sophie Dervaux, Bassoon. Walter 


of Toronto, 80 Queen’s Park. 416-978-3750 

or www.music.utoronto.ca. Free. LIVE & 

LIVESTREAM. 

Unsuk Chin 

Operascope (2023) 

Wed Jan 24 

(THREE) 


● 8:00: Esprit Orchestra. Three. Misato 

Mochizuki: Nigredo; Misato Mochizuki: Hommage 

à Robert Schumann; Unsuk Chin: Operascope; 

Rita Ueda: Birds Calling… From 

the Canada in You, for shō, sheng/suona & 

orchestra. Naomi Sato, shō; Zhongxi Wu, 

sheng/suona; Alex Pauk, conductor. Koerner 


0208 or www.espritorchestra.com or www. 

rcmusic.com/events-and-performances/ 

esprit-orchestra-presents-three. From $20. 



Music. Music Education Colloquium: Prof. 

adam patrick bell (UWO) - “Meaningful Inclusion 

in Music Education: Toward a Disability- 

Led Model of Practice and Research”. Edward 

Johnson Building, Room 225, 80 Queen’s 

Park. 416-978-3750 or www.music.utoronto. 

ca. Free. 

● 7:00: Magisterra Soloists. Magisterra 

at the Museum: Music and the Holocaust - 

Grafeneck 10654: An Ode to Memory and 

Hope. A multimedia project commemorating 

the atrocities committed by the Nazis in 

1940, killing 10,654 victims at Castle Grafeneck. 

Guests: Helmut Lipsky, Louise Bessette, 

Olivier Maranda. Museum London, 421 Ridout 

St. N., London. www.magisterra.com. $35; 

$30(sr); $15(st); $10(under 10). 

● 7:30: FirstOntario Performing Arts 

Centre. David Wilcox. FirstOntario Performing 


Paul St., St. Catharines. 905-688-0722 or 

www.boxoffice@firstontariopac.ca. $359 

$49(members). 


Music. Instrumentalis II. Walter Hall, Edward 




● 8:00: Brampton On Stage. Walking 

Through the Fire. From Métis fiddling to an 

East Coast Kitchen Party, Rumba to Rock, 

to the drumming of the Pacific Northwest, 

experience the beauty and diversity of music 

from Turtle Island. Sultans of String; Alyssa 

Delbaere-Sawchuk, fiddler; Marc Meriläinen 

singer/songwriter; Shannon Thunderbird, 

singer/songwriter. Virtual guests: Dr. Duke 

Redbird, the Northern Cree Pow Wow group, 

and others. Rose Theatre, 1 Theatre Ln., 

Brampton. 905-874-2800. . 

● 8:30: Fallsview Casino Resort. Colin 

James. OLG Stage at Fallsview Casino, 

6366 Stanley Ave., Niagara Falls. www.ticketmaster.ca. 

$51.50-$261.74. 


● 1:00: University of Toronto Faculty 

of Music. Woodwind Chamber Masterclass. 

Presented by Sophie Dervaux, bassoon, 

France-Canada Distinguished Visitor in 

Music. Walter Hall, Edward Johnson Building, 



● 7:00: FirstOntario Performing Arts Centre/Brock 

University. Beyond the Imitation 

Game From Dieppe & James Bond 

to Blackberry & Quantum Encryption. 

Peter Berg, David O’Keefe, Richard Brisson, 

Thomas Jennewein, speakers. FirstOntario 

Performing Arts Centre, Cairns Recital 

Hall, 250 St. Paul St., St. Catharines. 905- 

688-0722; boxoffice@firstontariopac.ca. 

PWYC($20 suggested). 


Emm Gryner. Burlington Performing 

Arts Centre - Community Studio Theatre, 

440 Locust St., Burlington. www.burlingtonpac.ca/events/emm-gryner 

or 905-568- 

1600. From $34.50. 

● 7:30: Canadian Opera Company. The Cunning 

Little Vixen. Music by Leoš Janáček. Jane 

Archibald, soprano (Vixen [Sharp Ears]); Ema 

Nikolovska, mezzo (Fox [Gold Stripe]); Christopher 

Purves, baritone (Forester); Giles 

Tomkins, bass-baritone (Parson/Badger); 

Megan Latham, mezzo (Forester’s Wife/Owl); 

Carolyn Sproule, mezzo (Lapák), and other 

soloists. Canadian Opera Company Chorus 

& Orchestra; Johannes Debus, conductor; 

Jamie Manton, director. Four Seasons Centre 

for the Performing Arts, 145 Queen St. W. 416- 

363-8231 or 1-800-250-4653 or tickets@coc. 

ca. Also Jan 28(2pm), Feb 3(4:30pm), 8, 10, 

14, 16. At 7:30pm unless otherwise noted. 

● 7:30: GFN Productions. The Lord of the 

Rings: The Two Towers in Concert. With English 

subtitles. Rated only for persons of 14 

years and over. FILMharmonic Orchestra and 

Choir. Meridian Hall, 1 Front St. E. www.tolive. 

com. From $100. Also Jan 27 & 28. 


Korngold’s Violin. Prokofiev: Overture to 

War and Peace; Schubert: Symphony No.8 

“Unfinished”; Korngold: Violin Concerto; 

Ravel: La valse. Ray Chen, violin; Joana 

Mallwitz, conductor. Roy Thomson Hall, 


Jan 27(8pm). 

● 7:30: VIVA Singers Toronto. Flying 

Machine. VIVA Singers Toronto’s Chamber 

Singers SATB Choir. Regis College Chapel, 

100 Wellesley St. W. 416-788-8482. $25. 

● 8:00: Brampton On Stage. Classic Albums 

Live: Pink Floyd - Dark Side of The Moon. Rose 

Theatre, 1 Theatre Ln., Brampton. 905-874- 

2800 or www.tickets.brampton.ca. From 

$45. 

● 8:00: Sinfonia Toronto. Mozart & Janáček 

/ Winter Warmth. Mozart: Piano Concerto 

No.23 in A; Kevork Andonian: In Festive Commemoration 

(first performance); Jean Coulthard: 

A Winter’s Tale; Janáček: Idyll. Dmitri 

Levkovich, piano; Sinfonia Toronto; Nurhan 

Arman, conductor. Trinity-St. Paul’s Centre, 

427 Bloor St. W. 416-499-0403 or www.sinfoniatoronto.com. 

$52; $40(sr); $20(st). 


● 1:00: Brampton On Stage. Mini Pop Kids 

Live: The Good Vibes Tour. Rose Theatre, 

1 Theatre Ln., Brampton. 905-874-2800 or 

www.tickets.brampton.ca. From $38. Also 

3pm. 


Music. University of Toronto New Music Festival: 

Piano Music & Movies. Walter Hall, 




● 3:00: Brampton On Stage. Mini Pop Kids 

Live: The Good Vibes Tour. See 1pm. 

● 7:30: Aurora Cultural Centre. Elizabeth 

Shepherd. Supported by Charlotte McAfee- 

Brunner. Niagara College, Aurora Armoury, 

89 Mosley St., Aurora. 905-713-1818 or info@ 

auroraculturalcentre.ca. $30. 


Rings: The Two Towers in Concert. See 

Jan 26. Also Jan 28. 

● 7:30: London Symphonia. Janina Fialkowska 

Plays Chopin. Farrenc: Symphony No.2 

in D Op.35; Chopin: Piano Concerto No.1 in e 

Op.11. Janina Fialkowska, piano; London Symphonia; 

Rei Hotoda, conductor. Metropolitan 

United Church, 468 Wellington St., London. 

226-270-0910 or www.londonsymphonia.ca. 

$70(premium); $52(adult); $22(st). 


Series: Glenn Gould School Vocal 

Showcase. Art songs and opera excerpts. 

Mazzoleni Concert Hall, TELUS Centre, 

273 Bloor St. W. 416-408-0208; rcmusic.com/ 

performance. $20. 

● 7:30: Trinity Bach Project. Bach and 

Schütz. Bach: Motet BWV 227 “Jesu, meine 

Freude”; Schutz: “Selig sind die Toten” and 

other motets; Monteverdi: Cantate Domino; 

Bruckner: Locus iste; Bach: Selected movements 

of Suites Nos.1 & 2 for unaccompanied 

cello. Eleven-voice choir; Nicholas Nicolaidis, 

music director; Felix Deák, cello; Aaron 

James, organ. St. Augustine of Canterbury, 

1847 Bayview Ave. 306-250-4256 or www. 

trinitybachproject.org. Pay what you like ($30 

suggested). 



University of Toronto Symphony Orchestra. 

MacMillan Theatre, Edward Johnson 




● 8:00: Brampton On Stage. Rising Vibes. 

A hip hop and R&B showcase curated by 

TCspades. Rose Theatre, 1 Theatre Ln., 

Brampton. 905-874-2800 or www.tickets. 

brampton.ca. From $10. 

● 8:00: Flato Markham Theatre. Emilie- 

Claire Barlow. 171 Town Centre Blvd., 


$68(regular); $78(prime); 

$15(YTX). 


Music Festival Series: Brad Mehldau. Works 

by Mehldau and others. Koerner Hall, TELUS 

Centre, 273 Bloor St. W. 416-408-0208 or 

www.rcmusic.com/performance. From $21. 

● 8:00: Toronto Symphony Orchestra. Korngold’s 

Violin. See Jan 26. 


● 2:00: Canadian Opera Company. The 

Cunning Little Vixen. See Jan 26. Also 

Feb 3(4:30pm), 8, 10, 14, 16. At 7:30pm unless 

otherwise noted. 

Symphonic 

Storylines 

DISCOVERY 

MATINEE CONCERT 

Explore what’s behind 

the music – 

and have fun doing it 

● 2:00: Etobicoke Philharmonic Orchestra. 

Discovery Matinee Concert: Symphonic 

Storylines. Works by Mozart, Tchaikovsky, 

Bach and Prokofiev. Matthew Jones, 

conductor. Humber Valley United Church, 

76 Anglesey Blvd., Etobicoke. www.eporchestra.ca/season/2324. 

$20; $10(child). 

● 2:00: HCA Dance Theatre. Piano Concert 

Featuring Janina Fialkowska. 126 James St. 

S., Hamilton. 905-528-4020 or www.hcadancetheatre.com/shop-standard. 

From $15. 

● 2:00: Royal Conservatory of Music. Mazzoleni 

Masters Series: Mayumi Seiler with 

Jeanie Chung. Schubert: Violin Sonata in A 

op. posth.162 D.574 (“Grand Duo”); Prokofiev: 

Sonata for Two Violins in C Op.56; Schumann: 

Sonata for Violin and Piano No.2 in d 

Op.121. Mazzoleni Concert Hall, TELUS Centre, 


rcmusic.com/performance. $25. 


3 Classic: Earthbeat. Ho: Earthbeat; Jiang: 

River Memory; Lau: Between Earth and Forever; 

Brahms: Symphony No.4. Amely Zhou, 

erhu/piano; Niagara Youth Orchestra. 






ca. $15.64-$82.90. 



Canadian Art Song Showcase. Walter 

Hall, Edward Johnson Building, University of 




Rings: The Two Towers in Concert. See Jan 26. 



Electroacoustic Music Concert. Walter 




Monday January 29 

● 9:00am: University of Toronto Faculty of 


Masterclass #1. Presented by Marjan 

Mozetich, Roger D. Moore Distinguished Visitor 

in Music. Edward Johnson Building, Room 

109, 80 Queen’s Park. 416-978-3750 or www. 




John Burge Plays John Burge. Walter 

Hall, Edward Johnson Building, University of 



● 7:00: Arraymusic/ECCG Gamelan. Evergreen 

Club Contemporary Gamelan Monthly 

Meetup. Array Space, 155 Walnut Ave. 416- 

532-3019. Free. No musical experience 

required. 



Gryphon Trio @ UTNMF. Walter Hall, 






Lunchtime Chamber Music: Trumpet Recital. 

Freddy Abu Sido, trumpet. Yorkminster Park 

Baptist Church, 1585 Yonge St. 416-922-1167 

or www.yorkminsterpark.com. Free. Donations 

welcome. 


Recital. Imre Olah, organ. Cathedral Church 

of St. James, 106 King St. E. 416-364-7865 

or www.stjamescathedral.ca/recitals. Free. 

Donations encouraged. 


Society. Janina Fialkowska, Piano. First 

United Church (Waterloo), 16 William St. W., 

Waterloo. 519-569-1809 or www.ticketscene. 

ca/kwcms. $40; $25(sr); Free(12 & under). At 

door: $45; $30(sr). 



Contemporary Music Ensemble - Body 

Electric. MacMillan Theatre, Edward Johnson 





● 10:00am: University of Toronto Faculty 

of Music. University of Toronto New Music 


Kristian Alexander | Music Director 

AROUND THE WORLD 

Festival: Masterclass #2. Presented by Marjan 

Mozetich, Roger D. Moore Distinguished 

Visitor in Music. Edward Johnson Building, 

Room 109, 80 Queen’s Park. 416-978-3750 or 


Thursday February 1 


Music. Thursdays At Noon: University of 

Toronto New Music Festival - Joseph Petric 

+ Penderecki String Quartet, Part 1. Walter 


of Toronto, 80 Queen’s Park. 416-978-3750 

or www.music.utoronto.ca. Free. LIVE & 

LIVESTREAM. 


Lessons in Temperament by Outside the 

March. James Smith, creator/performer; 

Mitchell Cushman, director/development; 

Nick Blais, designer. FirstOntario Performing 

Arts Centre, Robertson Theatre, 250 St. 


boxoffice@firstontariopac.ca. $30. Also 

Feb 2(1pm). Mature content. 

● 8:00: Brampton On Stage. Bluebird 

Brampton. Inspired by Nashville’s celebrated 

Bluebird Café, Johnny Rivex curates 

an acoustic country music night of bands, ballads, 

dance songs, and duos. Rose Theatre, 

1 Theatre Ln., Brampton. 905-874-2800 or 

www.tickets.brampton.ca. 

● 8:00: Flato Markham Theatre. Circa: 

Humans 2.0. 171 Town Centre Blvd., Markham. 

905-305-7469 or www.flatomarkhamtheatre.ca. 


$15(YTX). 

● 8:00: Toronto Symphony Orchestra. Pines 

of Rome. Verdi: Ballet Music from Macbeth; 

Respighi: Roman Festivals; Berio: 4 dédicaces; 

Rota: Selections from “Ballabili” from Il 

Gattopardo (The Leopard); Respighi: Pines 

of Rome. Gustavo Gimeno, conductor. Roy 


From $35. Also Feb 3(8pm) & 4(3om). 

Friday February 2 


Lessons in Temperament by Outside the 

March. See Feb 1. Mature content. 

● 5:15: Kingston Baroque Consort. The 

Enchanted Garden: Music and Poetry 

Inspired by Nature. Works by Vivaldi, Couperin, 

and others. St. James Anglican Church 

(Kingston), 10 Union St, Kingston. legerek@ 

queensu.ca or 613-217-5099 or at Novel Idea, 

156 Princess St or www.livemusickingston. 

ca/kingston-baroque-consort-2023/. $25; 

$10(st); Free(under 17). 


Humans 2.0 by C!RCA. FirstOntario Performing 



www.boxoffice@firstontariopac.ca. $49; 

$45(members). 



Megumi Masaki Plays Kotoka Suzuki. 




● 8:00: Brampton On Stage. Pimento featuring 

King Cosmos: Celebrating the Music of 

Harry Belafonte. Cyril Clark Library Theatre, 

20 Loafers Lake Ln, Brampton. 905-874-2800 

or www.tickets.brampton.ca. $29. 

● 8:00: Cathedral Bluffs Symphony Orchestra. 

Sultans of String: Walking Through the 

Fire. P.C. Ho Theatre, Chinese Cultural Centre 

of Greater Toronto, 5183 Sheppard Ave. E., 

Scarborough. 416-879-5566 or www.cathedralbluffs.com. 

From $25. Free for children 

under 12. Pre-concert talk: 7:15pm. 

● 8:00: Flato Markham Theatre. Jeanick 

Fournier Sings Celine. 171 Town Centre Blvd., 



$15(YTX). 


Special Performances: Joshua Redman: 

where are we. Koerner Hall, TELUS Centre, 



FANTASTICUS 

Directed by Spanish violinist 

Lina Tur Bonet 


Jeanne Lamon Hall, 

Trinity-St. Paul’s Centre 


● 8:00: Tafelmusik. Fantasticus. Originating 

in Italy in the 17th century, the “stylus 

fantasticus” featured unfettered improvisations, 

dramatic contrasts, and the passionate 

give-and-take of friends in musical 

conversation. Lina Tur Bonat, guest director 

and violin; Tafelmusik Baroque Orchestra. 

Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 

427 Bloor St. W. www.tafelmusik.org/ 

fantasticus or 416-964-6337. From $47. Also 

Feb 3(8pm) & 4(3pm). 

Saturday February 3 

● 2:00: Wychwood Clarinet Choir. Performance 

at Wychwood Public Library. Wychwood 

Clarinet Choir; Michele Jacot, director. Wychwood 

Public Library, 1431 Bathurst St. www. 

wychwoodclarinetchoir.ca. Free. 


Music. University of Toronto New Music 

Festival: Bridge & Wolak and Bedford Trio 

Hong Kong Showcase. Walter Hall, Edward 




● 4:00: Toronto Operetta Theatre. TOT Cabaret 

Series: Ira and George Gershwin. Edward 

Jackman Centre, 947 Queen St. E., 2nd Floor. 

416-366-7723 or 1–800-708-6754 or www. 

tolive.com. $45. 

● 4:30: Canadian Opera Company. The Cunning 

Little Vixen. See Jan 26. Also Feb 8, 10, 14, 

16. At 7:30pm unless otherwise noted. 

● 4:30: Royal Conservatory of Music. Taylor 

Academy Concert Series: Taylor Academy 

Showcase Concert. Mazzoleni Concert Hall, 

TELUS Centre, 273 Bloor St. W. 416-408-0208 


or www.rcmusic.com/performance. Free. 

● 7:30: Soundstreams. Estonian Philharmonic 

Chamber Choir. Omar Daniel: 

Antarktos Monodies (world première) and 

works by Arvo Pärt and Palestrina. Tõnu Kaljuste, 

conductor. St. Paul’s Basilica, 83 Power 

St. 416-504-1282 or www.soundstreams.ca. 

From $25. 



University of Toronto Wind Ensemble 

- Anniversaries and Acknowledgements. 

MacMillan Theatre, Edward Johnson Building, 

80 Queen’s Park. 416-408-0208. $30; 

$20(sr); $10(st). U of T students admitted free 


● 8:00: International Music Festival & Competition. 

Légende. Kreisler: Praeludium and 

Allegro; Wieniawski: Légende Op.17. Ruoyi 

Qiao, violin. Flato Markham Theatre, 171 Town 

Centre Blvd., Markham. 905-604-8854. $15. 

● 8:00: Kindred Spirits Orchestra. Around 

the World. Stravinsky: Scènes de ballet; 

Saint-Saëns: Piano Concerto No.2 in g Op.22; 

Shostakovich: Symphony No. 8 in c Op.65. 

Sumi Kim, piano; Daniel Vnukowski, host; Kristian 

Alexander, conductor. Flato Markham 

Theatre, 171 Town Centre Blvd., Markham. 

905-305-7469. $30-$40; $22.50-$30(sr); 

$15-$20(full time student or 18 and under). 

7:10pm: Prélude pre-concert recital. 7:20pm: 

pre-concert talk. Intermission discussion and 

Q&A with Sumi Kim and Daniel Vnukowski. 

Post-concert reception. 


Quiet Please, There’s a Lady on Stage Series: 

Cesária Évora Orchestra. Koerner Hall, 

TELUS Centre, 273 Bloor St. W. 416-408- 

0208 or www.rcmusic.com/performance. 

From $45. 

● 8:00: Tafelmusik. Fantasticus. See Feb 2. 

Also Feb 4(3pm). 


of Rome. See Feb 1. Also Feb 4(3pm). 

● 9:00: Fallsview Casino Resort. Purple 

Reign - Prince Tribute. Fallsview Casino 

Resort, Avalon Theatre, 6380 Fallsview Blvd., 

Niagara Falls. 1-877-833-3110 or www.ticketmaster.ca. 

From $45. 

Sunday February 4 

● 2:00: HCA Dance Theatre. Payadora. 

126 James St. S., Hamilton. 905-528-4020. 

● 2:30: Barrie Concerts Association. Ladom 

Ensemble. Michael Bridge, accordion; Beth 

Silver, cello; Adam Campbell, percussion; 

Pouya Hamidi, piano. Bethel Community 

Church, 128 St. Vincent Street, Barrie. www. 

barrieconcerts.org or 705-436-1232. $35. 

Special pricing for students and on-line. Livestreamed 

concert will be available for 30 

days following the initial performance. LIVE & 

LIVESTREAM. 



University of Toronto Jazz Faculty & 

DOG Ensemble. Walter Hall, Edward Johnson 

Building, University of Toronto, 80 Queen’s 


ca. Free. 


Society. The Penderecki Quartet with Ben 

Smith, Piano. Franck: Piano Quintet; Milhaud: 

La création du monde Op.81a for piano quintet; 

Ravel: String Quartet. Registry Theatre, 

122 Frederick St., Kitchener. 519-569-1809 or 

www.ticketscene.ca/kwcms. $30; $25(sr); 

Free(12 & under). 

● 3:00: Royal Conservatory of Music. Piano 

Concerts Series: Víkingur Ólafsson: The Goldberg 

Variations. Bach: The Goldberg Variations 

BWV988. Koerner Hall, TELUS Centre, 

273 Bloor St. W. 416-408-0208; rcmusic.com/ 

performance. From $50. 

● 3:00: Tafelmusik. Fantasticus. See Feb 2. 


of Rome. See Feb 1. 

● 4:00: Rezonance Baroque Ensemble. Disappearing 

Act. Virtuoso works by composers 

overlooked by the history books. Concerti 

by Maddalena Sirmen, Joseph Bologne, and 

others. Kailey Richards and Erin James, violins; 

Rezonance Baroque Ensemble. St. 

David’s Anglican Church, 49 Donlands Ave. 

www.rezonanceensemble.com/concerts. 

$30; $20(st). 

SUN 4 FEB AT 4 

Choral Evensong 

followed at 4.45 by 

ISAAC 

WATTS 350 

with Jeremy Tingle 

● 4:00: St. Olave’s Anglican Church. Isaac 

Watts 350. Opens with Choral Evensong 

for Candlemas, a religious service including 

hymns written by Watts. Followed directly 

by a music feature to mark the 350th anniversary 

of his birth. Director of Music Jeremy 

Tingle discusses the history of hymnody 

within the Anglican liturgy, with an emphasis 

on Isaac Watts’s 18th-century paraphrases of 

the Psalms. 360 Windermere Ave. www.You- 

Tube.com/StOlavesAnglicanChurch or 416- 

769-5686. Contributions appreciated. LIVE 

OR ONLINE. 


Music. University of Toronto New Music 

Festival: University of Toronto Percussion 

Ensemble - Pillars. MacMillan Theatre, 

Edward Johnson Building, 80 Queen’s Park. 


Free. 

Monday February 5 


Music. John R. Stratton Visitor in Music: 

Opening Lecture. Presented by Will Crutchfield 

and moderated by Stephen Clarke. Walter 






Workshop - Cadenzas and Cuts in Bel Canto 

Repertoire. Presented by Will Crutchfield. 




Tuesday February 6 










Master Class I - Bel Canto Songs and Early 

Arias with Ornamentation. Presented by Will 

Crutchfield. Walter Hall, Edward Johnson 

Building, University of Toronto, 80 Queen’s 


ca. Free. 


Recital. Joshua Duncan Lee, organ. Cathedral 




Wednesday February 7 


Music. John R. Stratton Visitor in Music: Master 

Class II - Historical Performance Practice 

in the 21st Century. Presented by Will Crutchfield. 

Walter Hall, Edward Johnson Building, 

Songs of the Palace 

Feb. 9 & 10 at 8 pm 

TorontoConsort.org 



● 8:00: Royal Conservatory of Music. Vocal 

Concerts Series: Los Angeles Master Chorale, 

staged by Peter Sellars: Music to Accompany 

a Departure. Schütz: Musikalische 

Exequien (Music to Accompany a Departure). 

Koerner Hall, TELUS Centre, 273 Bloor St. W. 

416-408-0208 or www.rcmusic.com/performance. 

From $65. 

Ongoing, On Demand & Other 

FILM SCREENINGS 

● Dec 07 7:30: Toronto Symphony Orchestra. 

Film Screening: Home Alone In Concert. 

Resonance Youth Choir (Bob Anderson, director); 

Constantine Kitsopoulos, conductor. 

Roy Thomson Hall, 60 Simcoe St. 416-598- 

3375. From $55. Dec 7(7:30pm), 8(7:30pm), 

9(2pm & 7:30pm), 10(2pm). 

● Dec 17 4:00: Silent Revue. The Phantom 

Carriage. A 1926 silent film screening from 

Sweden with live musical accompaniment. 

Director: Victor Sjöström. Cast: Victor Sjöström, 

Tore Svennberg, Hilda Borgström. 

Live accompaniment: William O’Meara. 

Revue Cinema, 400 Roncesvalles Ave. 416- 

531-9950 or info@revuecinema.ca. $17; 

$14(Bronze/Loyalty Members, st/sr); $13(Silver 

Members); Free(Gold/Individual/Family 

Members). 

● Jan 19 7:30: FirstOntario Performing 

Arts Centre. The Triplets of Belleville. FIlm 

screening with live orchestra. Benoit Charest, 

conductor. FirstOntario Performing 

Arts Centre, Partridge Hall, 250 St. Paul St., 

St. Catharines. 905-688-0722; boxoffice@ 

firstontariopac.ca. $30; $25(members). 

● Jan 20 7:00: Brampton On Stage. The Triplets 

of Belleville Cine-Concert. FIlm screening 

with live orchestra. Benoit Charest, 

composer & conductor. Lester B. Pearson 

Theatre, 150 Central Park Dr., Brampton. 

905-874-2800. From $24. 

● Jan 26 7:30: GFN Productions. The Lord of 

the Rings: The Two Towers in Concert. With 

English subtitles. Rated only for persons of 14 

years and over. FILMharmonic Orchestra and 

Choir. Meridian Hall, 1 Front St. E. www.tolive. 

com. From $100. Also Jan 27 & 28. 

LECTURES 

● Jan 25 5:30: University of Toronto Faculty 

of Music. Music Education Colloquium: Prof. 

adam patrick bell (UWO) - “Meaningful Inclusion 

in Music Education: Toward a Disability- 

Led Model of Practice and Research”. Edward 

Johnson Building, Room 225, 80 Queen’s 


ca. Free. 

● Jan 26 7:00: FirstOntario Performing 


Ongoing, On Demand & Other 

Arts Centre/Brock University. Beyond 

the Imitation Game From Dieppe & James 

Bond to Blackberry & Quantum Encryption. 

Peter Berg, David O’Keefe, Richard Brisson, 

Thomas Jennewein, speakers. FirstOntario 

Performing Arts Centre, Cairns Recital 

Hall, 250 St. Paul St., St. Catharines. 905- 

688-0722; boxoffice@firstontariopac.ca. 

PWYC($20 suggested). 

MASTERCLASSES 

● Jan 29 9:00am: University of Toronto Faculty 

of Music. University of Toronto New 

Music Festival: Masterclass #1. Presented 

by Marjan Mozetich, Roger D. Moore Distinguished 

Visitor in Music. Edward Johnson 

Building, Room 109, 80 Queen’s Park. 416- 


● Jan 31 10:00am: University of Toronto 

Faculty of Music. University of Toronto New 

Music Festival: Masterclass #2. Presented 

by Marjan Mozetich, Roger D. Moore Distinguished 

Visitor in Music. Edward Johnson 

Building, Room 109, 80 Queen’s Park. 416- 


MUSICAL THEATRE & OPERA 

● Alumnae Theatre. How I Lost One Pound, 

The Musical-ish. Music by Danny Zaidman. 

Featured performers: Lesley Carlberg, 

Tamika Poetzsch, Morgan Bargent, Maria 

Michelli, and Robyn Kotsopoulos. Danny Zaidman; 

musical director. 70 Berkeley St. www. 

brownpapertickets.com/event/6160828. 

$45; $25(sr/st/arts worker); $75(Angel 

Supporter). Dec 14, 15 & 16 at 7:30pm. 

● Canadian Opera Company. The Cunning 

Little Vixen. Music by Leoš Janáček. Jane 

Archibald, soprano (Vixen [Sharp Ears]); Ema 

Nikolovska, mezzo (Fox [Gold Stripe]); Christopher 

Purves, baritone (Forester); Giles 

Tomkins, bass-baritone (Parson/Badger); 

Megan Latham, mezzo (Forester’s Wife/Owl); 

Carolyn Sproule, mezzo (Lapák), and other 

soloists. Canadian Opera Company Chorus 

& Orchestra; Johannes Debus, conductor; 

Jamie Manton, director. Four Seasons Centre 

for the Performing Arts, 145 Queen St. 

W. 416-363-8231 or 1-800-250-4653 or tickets@coc.ca. 

Also Jan 26(7:30pm), 28(2pm), 

Feb 3(4:30pm), 8, 10, 14, 16. At 7:30pm unless 

otherwise noted. 

● Church of the Holy Trinity. The Christmas 

Story. Professional musicians and a volunteer 

cast present this charming hour-long 

pageant. 19 Trinity Sq. www.thechristmasstory.ca 

or 416-598-4521 Ext. 301. Suggestion 

donations: $25(adult); $10(child). Also 

Dec 9(4:30pm), 10(4:30pm); 16(4:30pm); 

17(4:30pm); 22(7pm); 23(4:30); 24(1:30pm). 

American Sign Language interpretation on 

Dec 10. 

● Grand Theatre. Charlie and the Chocolate 

Factory. Book by David Greig. Music by 

Marc Shaiman. Lyrics by Scott Wittman & 

Marc Shaiman. Based on the novel by Roald 

Dahl Songs from the Motion Picture by Leslie 

Bricusse & Anthony Newley. Grand Theatre 

(London), 471 Richmond St., London. www. 

grandtheatre.com or 519-672-8800. From 

$23. Runs from Nov 21 to Dec 24. 

● Theatre Orangeville. Cinderella...if 

the Shoe Fits. Opera House - Orangeville, 

87 Broadway, Orangeville. 519-942-3423; 

1-800-424-1295 or tickets@theatreorangeville.ca. 

$49/$41(preview/matinee/relaxed); 

$25(st). Preview Nov 30; Also Dec 1, 2, 

3(2pm), 6(2pm), 7, 8, 9, 10(2pm), 13(2pm) 

14(11am relaxed & 7:30pm), 15, 16, 17(2pm), 

20, 21, 22, 23(2pm & 7:30pm). 

● Toronto Operetta Theatre. The Merry 

Widow. Music by Franz Lehár. Soloists: Stuart 

Graham, Nathan Keoughan, Olivia Morton, 

and Jonelle Sills; Chamber Orchestra; 

Derek Bate, conductor. Jane Mallett Theatre, 

St. Lawrence Centre for the Arts, 27 Front St. 

E. 416-366-7723 or 1–800-708-6754 or www. 

tolive.com. From $75. Dec 29, 30, 31, Jan 2. 

● TYT Theatre. Don’t Let the Pigeon Drive the 

Bus! the Musical! Script by Mo Willems. Based 

on the book by Mo Willems. Music by Deborah 

Wicks La Puma. Recommended for ages 

5 and up. Randolph Theatre, 736 Bathurst 

St. www.tickets.ticketwise.com/event/dont-let-the-pigeon-drive-the-bus-the-musical. 

From $25. Runs from Dec 16 to Jan 14. Showtimes 

vary. 

● Winter Garden Theatre. Chris, Mrs. 

Directed, Written by, and Lyrics by Katie Kerr. 

Music by Matt Stodolak. 189 Yonge St. www. 

ChrisMrs.com / boxoffice@boldlyproductions.com 

/ 416-366-7723 / 1-800-708- 

6754. From $51. Opens Dec 5. Runs Dec 5-31. 

7:30pm evenings, 2pm weekday/Sat mat, 1pm 

Sun mat. 

ONGOING EVENTS 

● Trinity College, University of Toronto. 

Evensong. Traditional Anglican choral music. 

Trinity College Chapel Choir; Thomas Bell, director 

of music; Peter Bayer, organ scholar. 

Trinity College Chapel, University of Toronto, 

6 Hoskin Ave. 416-978-2522 or Trinity College. 

Free. Evensong is sung every Wednesday 

starting Sep 13 at 5:15pm in the beautiful Trinity 

College chapel during term time. 

● Encore Symphonic Concert Band. Monthly 

Concert Band Concert. The first Thursday of 

every month at 11am. 35-piece concert band 

performing band concert music, pop tunes, 

jazz standards (2 singers) and the occasional 

march. Trinity Presbyterian Church 

York Mills, 2737 Bayview Ave. www.encoreband.ca. 

$10. 

ONLINE EVENTS 

● Arts@Home. A vibrant hub connecting 

Torontonians to arts and culture. Designed to 

strengthen personal and societal resilience 

through the arts. www.artsathome.ca. 

● North Toronto Community Band. Openings 

for clarinet, trumpet, trombone, tuba and 

auxiliary percussion. Rehearsals held at Willowdale 

Presbyterian Church 38 Ellerslie Ave. 

(just north of Mel Lastman Square). Monday 

evenings 7:30 to 9:30 p.m. Contact ntcband@ 

gmail.com. 

● Recollectiv. For anyone living with cognitive 

challenges from Alzheimer’s, dementia, traumatic 

brain injury, stroke or PTSD. The group 

meets weekly to rediscover the joy of making 

BUSINESS 

CLASSIFIEDS 

Economical and visible! 

Promote your services 

& products to our 

musically engaged readers, 

in print and on-line. 

BOOKING DEADLINE: TUESDAY JANUARY 16 

classad@thewholenote.com 

If you can read this, 

thank a music teacher. 

MosePianoForAll.com 

A SHARPER EDGE 

machetes, 

scythes & axes 

clippers, scissors 

and knives 

ALSO 

tree felling, 

trail-making, 

and chainsaw 

maintenance 

fdmroz@icloud.com 416-705-8427 

A vacation 

for your dog! 

Barker Avenue Boarding 

in East York 

call or text 416-574-5250 


music. Community members and music students 

are welcome to this fun, rewarding and 

inter-generational experience. Sessions take 

place from 2 to 3pm (with sound checks and 

socializing at 1:30pm). Please contact recollectiv@gmail.com 

for more information. 

PERFORMANCE OPPORTUNITIES 

● North York Central Library. Open Mic at 

the Library: North York Edition. Music, poetry 

Bebop Joe’s Coffee House 

960 Queen St W. 416-534-5298 

Formerly Antikka Café & Records, Bebop 

Joe’s Coffee House carries on the legacy of 

Turkish coffee, collectible vinyl, and live jazz 

on Queen Street. 

BSMT 254 

254 Lansdowne Ave. 416-801-6325 

bsmt254.com 

A cozy music venue with an underground 

vibe, BSMT 254 has a wide variety of shows, 

from jazz to hip-hop to DJ nights. 

Burdock 

1184 Bloor St. W. 416-546-4033 

burdockto.com 

A sleek music hall with exceptional sound 

and ambience, featuring a draft list of housemade 

brews. 

Cameron House 

408 Queen St. W. 416-703-0811 

thecameron.com 

An intimate, bohemian bar with ceiling 

murals & nightly performances from local 

roots acts on 2 stages. 

Capone’s Cocktail Lounge 

1573 Bloor St. W. 416-534-7911 

caponestoronto.com 

A self-described perfect marriage of an 

intimate cocktail den and comfortable neighbourhood 

bar, with live music Wednesday 

through Sunday. 

Castro’s Lounge 

2116 Queen St. E. 416-699-8272 

castroslounge.com 

Featuring an ever-changing selection of specialty 

beers, Castro’s hosts a variety of local 

live music acts, including bluegrass, jazz, 

rockabilly, and alt-country. 

C’est What 

67 Front St. E. 416-867-9499 

cestwhat.com 

A haven for those who appreciate real cask 

ale, draught beer from local Ontario breweries, 

and live music. 

Drom Taberna 

458 Queen St. W. 647-748-2099 

dromtaberna.com 

A heartfelt homage to the lands that stretch 

from the Baltic to the Balkans to the Black 

Sea, with a wide variety of music. 

MAINLY CLUBS 

& storytelling. Are you a musician, poet, or 

storyteller? If so, then you are invited to 

share your talents at the North York Central 

Library Open Mic. Guitar, piano & djembe provided. 

7 minutes for each performance. For 

adults, teens, and seniors. North York Central 

Library Auditorium, 5120 Yonge St. Sign-up is 

at 5:30pm. For more information, contact the 

Language, Literature & Fine Arts Department 

at 416-395-5639. Free. Dec 8. 

Emmet Ray, The 

924 College St. 416-792-4497 

theemmetray.com 

A whisky bar with a great food menu, an everchanging 

draft list, and live jazz, funk, folk and 

more in the back room. 

Grossman’s Tavern 

379 Spadina Ave. 416-977-7000 

grossmanstavern.com 

One of the city’s longest-running live music 

venues, and Toronto’s self-described “Home 

of the Blues.” 

Hirut Cafe and Restaurant 

2050 Danforth Ave. 416-551-7560 

hirut.ca 

A major destination for delicious and nutritious 

Ethiopian cuisine, with monthly jazz 

residencies and jam sessions. 

Home Smith Bar – See Old Mill, The 

Hugh’s Room 

296 Broadview Ave. 647-960-2593 

hughsroom.com 

A dedicated listening room with an intimate 

performing space, great acoustics, and 

an attentive audience, Hugh’s Room recently 

made the move to their new permanent home 

on Broadview Avenue. 

Jazz Bistro, The 

251 Victoria St. 416-363-5299 

jazzbistro.ca 

In an historic location, Jazz Bistro features 

great food, a stellar wine list, and world-class 

jazz musicians in airy club environs. 

Jazz Room, The 

Located in the Huether Hotel, 59 King St. N., 

Waterloo. 226-476-1565 

kwjazzroom.com 

A welcoming music venue dedicated to the 

best in jazz music presentations, and home to 

the Grand River Jazz Society, which presents 

regular series throughout the year. 

Lula Lounge 

1585 Dundas St. W. 416-588-0307 

lula.ca 

Toronto’s mecca for salsa, jazz, afro-Cuban, 

and world music, with Latin dance classes 

and excellent food and drinks. 

Manhattans Pizza Bistro & Music Club 

951 Gordon St., Guelph 519-767-2440 

manhattans.ca 

An independently owned neighbourhood restaurant 

boasting a unique dining experience 

that features live music almost every night 

of the week. 

Mekan Toronto 

817 Queen St. W. 647-901-6280 

mekantoronto.com 

A new Queen St. spot with an emphasis on 

lively music, good times, and Turkish culture, 

Mekan features world music, jazz, swing, 

and more. 

Mezzetta Restaurant 

681 St. Clair Ave. W. 416-658-5687 

mezzettarestaurant.com 

With a cozy atmosphere and a menu of Middle-Eastern 

cuisine, Mezzetta hosts music on 

Wednesday evenings. 

Monarch Tavern 

12 Clinton St. 416-531-5833 

themonarchtavern.com 

With a café/cocktail bar on the main floor and 

a pub with microbrews upstairs, Monarch 

Tavern regularly hosts indie, rock, and other 

musical genres on its stage. 

Nice Bistro, The 

117 Brock St. N., Whitby. 905-668-8839 

nicebistro.com 

A French restaurant with Mediterranean flair, 

Nice Bistro hosts ticketed live music events 

once every month or so. 

Old Mill, The 

21 Old Mill Rd. 416-236-2641 

oldmilltoronto.com 

The Home Smith Bar: 

With a stone-lined room and deep, plus seating, 

the Home Smith Bar provides elevated 

pub food and cocktails along with straightahead 

live jazz. 

Oud and the Fuzz, The 

21 Kensington Ave. 647-283-9136 

With a focus on Armenian-inspired food and 

cocktails, The Oud and the Fuzz regularly presents 

a wide variety of musical genres, as 

well as poetry nights, themed Arabic events, 

and more. 

Pamenar 

307 Augusta Ave. 

cafepamenar.com 

One of the city’s best third-wave coffee shops 

by day and bar by night, Pamenar hosts live 

music, DJs, comedy, and more. 

Pilot Tavern, The 

22 Cumberland Ave. 416-923-5716 

thepilot.ca 

With over 75 years around Yonge and Bloor, 

the Pilot is a multi-level bar that hosts live jazz 

on Saturday afternoons. 

Poetry Jazz Café 

1078 Queen St W. 416-599-5299 

poetryjazzcafe.com 

A sexy, clubby space, Poetry hosts live jazz, 

hip-hop, and DJs nightly on Queen St. West. 

Reposado Bar & Lounge 

136 Ossington Ave. 416-532-6474 

reposadobar.com 

A chic, low-light bar with top-shelf tequila, 

Mexican tapas, and live music. 

Reservoir Lounge, The 

52 Wellington St. E. 416-955-0887 

reservoirlounge.com 

Toronto’s self-professed original swingjazz 

bar and restaurant, located in a historic 

speakeasy near St. Lawrence Market, with 

live music four nights a week. 

Rev, La 

2848 Dundas St. W. 416-766-0746 

larev.ca 

La Rev offers their guests and authentic taste of 

comida casera (Mexican homestyle cooking), 

and a welcoming performance space featuring 

some of Toronto’s most talented musicians. 

Rex Hotel Jazz & Blues Bar, The 

194 Queen St. W. 416-598-2475 

therex.ca 

With over 60 shows per month of Canadian 

and international groups, The Rex is Toronto’s 

longest-running jazz club, with full bar and 

kitchen menu. 

Sauce on Danforth 

1376 Danforth Ave. 647-748-1376 

sauceondanforth.com 

With Victorian lighting, cocktails, and an 

extensive tap and bottle list, Sauce on Danforth 

has live music Tuesday through Saturday 

(and sometimes Sunday). 

The Senator Winebar 

249 Victoria St 416 364-7517 

thesenator.com 

An intimate, upscale French-inspired bistro 

with live music serving hearty, delicious comfort 

food alongside a curated selection of 

wine and cocktails. 

Smokeshow BBQ and Brew 

744 Mt. Pleasant Rd 416-901-7469 

Smokeshowbbqandbrew.com 

A laid-back venue with an emphasis on barbecue 

and beer, Smokeshow hosts cover artists 

and original music Thursday through Sunday, 

with Bachata lessons on Tuesdays and Karaoke 

on Wednesdays. 

Tapestry 

224 Augusta Ave. 

In the space formerly occupied by Poetry, 

Tapestry features jazz, electronic music, soul, 

and more. 

Tranzac 

292 Brunswick Ave. 416-923-8137 

tranzac.org 

A community arts venue dedicated to supporting, 

presenting, and promoting creative 

and cultural activity in Toronto, with 

live shows in multiple rooms every day of 

the week. 

Search listings online 

at thewholenote.com/just-ask 


DISCOVERIES | RECORDINGS REVIEWED 

DAVID OLDS 

After a career of 47 years the renowned 

Emerson String Quartet is calling it a day 

and they have enrolled Canadian superstar 

Barbara Hannigan for their farewell 

offering, Infinite Voyage (Alpha 1000 

outhere-music.com/en/albums/infinitevoyage). 

The disc opens gently with Paul 

Hindemith’s four-song cycle Melancholie, 

Op.13 which Hannigan’s pure soprano is the 

perfect vehicle for the poems of Christian Morgenstern. Set in memory 

of Hindemith’s friend Karl Köhler, whose death on the Western Front 

in 1918 left the composer devastated, noting “Everything is dreary and 

empty. I feel deathly sad.” This is followed by Alban Berg’s String 

Quartet, Op.3, with its references to Tristan und Isolde as a tribute to 

the composer’s beloved – and later its eerie prefiguring of the madness 

depicted in his own opera Wozzeck – in a deeply moving performance 

by the quartet. Pianist Bertrand Chamayou joins the others for Ernest 

Chausson’s Chanson perpétuelle, a setting of abridged verses from 

Charles Cros’ Nocturne in which the narrator, abandoned by her lover, 

prepares for suicide. At nearly half an hour, Schoenberg’s String 

Quartet No.2, in F-sharp Minor, Op.10 is the most substantive work 

presented here. The first two movements are scored for traditional 

string quartet. The first movement expands the tonality of the key 

signature without venturing too far outside the lines. Things begin to 

go astray in the second movement, when toward the end a fractured, 

but recognizable rendition of the popular song O du Lieber Augustine 

with it’s refrain “All is over” is heard. The third and fourth movements 

both feature soprano and the poetry of Stefan George: Litany built on 

motives from the previous movements using a text that opens “Deep is 

the sadness that gloomily comes over me”; and Ecstasy, in which 

there is no longer a key signature and the words begin “I feel air from 

another planet” as the work indeed leads us into a new world of 

tonality. Once again Hannigan’s is the perfect voice for this powerful 

and haunting work, which provides a fitting end to the Emerson 

Quartet’s “infinite voyage.” Their journey lasted most of half a century 

and they produced nearly three dozen recordings. The Emersons will 

be missed, but what a legacy! 

Transfigured featuring the Kaleidoscope 

Chamber Collective and soprano Francesca 

Chiejina (Chandos CHAN 20277 chandos. 

net/products/catalogue/CHAN%2020277) 

presents a program of chamber music from 

the turn of the 20th century with and 

without voice. The disc begins with 

Alexander von Zemlinsky’s Maiblumen 

blühten überall for soprano and string 

sextet from 1898, a setting of Richard Dehmel’s gruesome poem that 

translates to Lilies-of-the-valley blossomed everywhere, which ends 

“and the sun burned him to death in the corn.” Anton Webern’s 1907 

Quintet for Piano and Strings, at 13 minutes is one of the composer’s 

most sustained works. Written early in his studies with Schoenberg, it 

shows some influence of Zemlinsky, his orchestration teacher, and 

certainly an appreciation of Brahms, as well as an understanding of 

his new mentor’s ideas. Zemlinsky, Schoenberg’s teacher and later his 

brother-in-law, also numbered among his students Alma Schindler, 

who became his lover before her marriage to Gustav Mahler in 1902. 

She wrote a variety of compositions before her marriage, but Mahler 

decreed that his wife would have to give up composing. He later 

relented somewhat and in 1910 sent her music to Universal Edition 

who published some of the songs recorded here. Kaleidoscope pianist 

Tom Poster has arranged them quite effectively for soprano and string 

sextet and in this form they perfectly complement the other repertoire 

on the disc. Chiejina’s dark, dramatic voice is well suited to these 

songs which actually show more affinity with the world of Zemlinsky 

and Schoenberg than that of Mahler. In 1899 Schoenberg wrote the 

string sextet Verklärte Nacht (Transfigured Night) which remains his 

most celebrated work, with the possible exception of the mammoth 

Gurrelieder published a decade later. Like Zemlinsky’s Maiblumen 

and the first of Alma’s songs presented here, Die stille Stadt, it is based 

on an emotionally charged poem by Dehmel. In this case however, the 

text is interpreted solely through music in an extended and gripping 

tone poem replete with sturm und drang. As the notes tell us, 

“indebted to Brahms in its string sextet form, the work seemed to be a 

deliberate repudiation of such a soundworld and its harmonic rules.” 

Although still some years away from his development of the “atonal” 

12-note system of composition, and still using a traditional key signature 

(D minor), in this seminal work Schoenberg expands the tonality, 

stretching it almost to the breaking point while still conveying the 

depths of emotion in this star-crossed love story. Kaleidoscope rises 

and falls exquisitely with all the rollercoaster twists and turns of the 

plot until eventually, a half hour later, the quiet and compassionate 

resolution brings this very satisfying disc to a resplendent close. 

I have spent some time in recent months 

sorting through several thousand LPs in my 

basement and came across Glenn Gould’s 

two iconic recordings of Bach’s Goldberg 

Variations. I took the opportunity to give 

them both a spin and was surprised at just 

how much I appreciated Gould’s “mature” 

1981 version (51 minutes) with its leisurely 

approach versus the sprightly, often breakneck 

tempos of his youthful 1955 debut (38 minutes). A few days after 

this comparative listening session a new recording of the Goldbergs by 

Icelander Vikingur Ólafsson arrived at my desk (Deutsche 

Grammophon 486 4553 vikingurolafsson.com) and to my surprise, I 

now have a new favourite of this much-recorded work. As the opening 

Aria began, I got the impression that, as with the elder Gould, I was in 

for another treat and settled in for a smooth and relaxing ride, but 


soon had to fasten my seatbelt; a number of the 30 variations proved 

to be as nimble and breathtaking as the young Gould’s renderings. It is 

simply astounding to me that fingers can actually move that quickly 

and articulately. That notwithstanding, the relationship between the 

slow and fast movements and overall arc of the trajectory from 

opening aria to closing reprise gave the impression of a thoughtful, 

relaxed and balanced performance. It has always surprised me that a 

work commissioned by an insomniac to ease him through long, sleepless 

nights is quite so active and engaging. I would have expected the 

intention to be more of a sleep-aid than an entertainment. In spite of 

his virtuosic dexterity in the faster variations, I found Ólafsson’s interpretation 

to be more in keeping with my own sensibilities in this 

regard. I was quite surprised to find that this new recording is virtually 

twice as long as Gould’s original, despite Ólafsson’s equally fast 

tempos in some of the variations. I had to refer to the score to confirm 

my suspicion that, as is somewhat common practice, Gould omitted 

the second (and I think even some of the first) repeats, whereas 

Ólafsson plays them all, giving an outstanding performance that lasts 

some 74 minutes. 

Concert Note: Vikingur Olafsson performs Bach's Goldberg Variations 

at Koerner Hall on February 4. 

One of my great pleasures this past summer 

was reading Ma vie heureuse (My Happy 

Life) by Darius Milhaud (1892-1974). I was 

quite surprised to discover that this prolific 

French composer, a member of Les Six, is 

sadly underrepresented in current commercial 

recordings and on websites like YouTube 

and Spotify. My own collection, built over 

the past half century, is thankfully more 

complete than what’s out there currently, so 

I was nonetheless able to revisit some of Milhaud’s wonderful 

compositions in conjunction with his delightful memoire. That being 

said, I was pleased to receive a new disc from clarinetist Yevgeny 

Dokshansky recently featuring Milhaud’s Suite for Clarinet, Violin, 

and Piano Op.157b (1936), comprising charming movements excepted 

from the music for a play by Jean Anouilh. Around the World: Trios 

for Clarinet, Violin and Piano performed by Ensemble Next Parallel 

(Heritage Records HTGCD170 heritage-records.com) also includes 

work by Milhaud’s contemporary, Armenian Aram Khachaturian, and 

living composers Peter Schickele (USA) and Roger J. Henry (Trinidad 

and Tobago). Khachaturian’s trio has a Romantic sensibility, and its 

final movement draws on an Uzbek folk melody. In Serenade for 

Three, Schickele is up to his usual tricks, particularly in the final 

movement’s perpetually rising variations on a theme from his alter 

ego PDQ Bach’s oratorio Oedipus Tex. Henry’s Caribbean infused 

music is actually not dissimilar to the 

sounds of Brazil that so inspired Milhaud 

most of a century earlier. 

Yevgeny Dokshansky also included his 

earlier Heritage release featuring another 

of my mid-century favourite composers – 

From Jewish Life: The Music of Ernest Bloch 

– on which he is accompanied by pianist 

Richard Masters. Another welcome addition 

to my collection. 

Regional Roots Roundup: 

As I write this in early November, I have just enjoyed a heady evening 

at the new Hugh’s Room Live. It was my maiden voyage to the venue 

on Broadview Avenue, and I must say I was mightily impressed 

with the layout and the acoustics of the former Broadview Avenue 

Congregational Church, an 1894 structure designed by iconic Toronto 

architect E.J. Lennox. Unfortunately the venue is not yet wheelchair 

accessible, but press releases assure us it is a priority to rectify this as 

soon as possible. 

The occasion of my outing involved the launch of the Andrew Collins 

Trio CD The Rule of Three (andrewcollinstrio.com). The musicianship 

of this band is outstanding; between the 

three of them they cover mandolin(s), 

mandola, mandocello, string bass, guitar 

and fiddle(s). As to what kind of music they 

play, Collins is the first to admit it’s hard to 

describe. He’s even written a song about it 

that you can check out on YouTube: I Don’t 

Know (But I Like It). The influences are 

diverse. While leaning heavily to bluegrass, 

there’s a healthy mix of western swing, old-time, folky singer/songwriter, 

a bit of pop – including a tune by Pink Floyd – and straight up 

classical, with a remarkable rendition of Debussy’s Clair de Lune on 

this new album. Although mostly a string band, not all of the repertoire 

is instrumental. Vocals are mostly taken care of by Collins, with 

bass player James McEleney providing sweet harmonies and occasional 

leads. The Rule of Three opens with Contranym, which Collins 

explained refers to words which are also their own opposites, such as 

cleave or sanction. It’s not a word I was familiar with, but in one of 

life’s little synchronicities Contranyms came up as a category on the 

episode of Jeopardy I watched the very next day. Other highlights for 

me include the raucous How Do You Get to Carnegie Hall, the balladic 

title track, the dizzyingly virtuosic Fleabag and That Jethro Really 

Burns!, a swinging tribute to Kenneth C. “Jethro” Burns of Homer and 

Jethro fame. 

Collins also spoke about the strange experience of sheltering in 

place during the pandemic, a time spent 

playing alone and writing mandolin tunes. 

The result was the 2022 solo release Love 

Away the Hate on which he performs 

admirably as a one-man band, combining 

mandolin, mandola, mandocello, violin 

and guitar arrangements of ten tunes also 

available in notation and tablature in an 


accompanying book of sheet music. I look 

forward to using this to hone my own 

mandolin skills! 

The new Hugh’s Room doesn’t have a 

kitchen, so rather than the dinner club 

aspect of the original venue, focus is on the 

intimate concert hall setting so well appreciated 

by the audience. One potential casualty 

of this format is Ken Whiteley’s Gospel Brunches, a treasured monthly 

feature at the old location. Fortunately, Whiteley has adapted his 

approach. The first Gospel Matinee took place on Sunday November 12 

and presumably will continue in the new year. The first installment 

served as a launch for Whiteley’s latest CD So Glad I’m Here 

(kenwhiteley.com) featuring a special guest – Iranian tar and oud 

master Davod Azad – giving an ecumenical take on the gospel genre. 

On it, Whiteley plays a host of instruments, including guitar and resophonic 

guitar, accordion, mandolin and Hammond organ among 

others, with George Koller on bass, Bucky Berger on drums and half a 

dozen supporting musicians and singers, all making “a joyful noise 

unto the Lord.” The repertoire involves traditional gospel tunes 

adapted and arranged by Whiteley, along with several originals, 

including the anthemic (My God Is) Bigger Than That (a sentiment I 

much prefer to the one more common in this troubled world, “My 

God is Bigger than Yours!”). One of the real rockers is Gospel Ship 

which is kind of a family affair with brother Chris Whiteley on 

harmonica and son Ben on bass, along with full chorus. Azad’s 

ethereal introduction to Reverend Dan Smith’s This Is The Lord’s 

House sets the stage for a truly welcoming invitation for everyone to 

come in and “taste the bread of life.” Each of the nine songs is a 

treasure, but a highlight is the title track with Whiteley’s finger style 

guitar intro and Azad’s solo, which is a true stunner. The penultimate 

track, It’s Gonna Rain, is superb. 

There are several connections to the 

preceding in Constellations, the new album 

by Canadian Appalachian clawhammer-style 

banjo playing, guitar picking singer/songwriter 

Meredith Moon (True North Records 

TND807 meredithmoon.com). The CD was 

recorded, mixed and mastered by Andrew 

Collins and the Toronto launch took place at 

Hugh’s Room Live back in October. Eight of 

the ten tracks are self-penned, mostly self-accompanied ballads with 

an old-time feel. One exception is Soldier’s Joy including bass and 

subtle drums and a fiddle break from Tony Allen, with strangely dark 

lyrics about the whiskey/beer/morphine concoction used in the 19th 

century in lieu of anesthetic for battlefield surgeries. I had not heard 

the words before and only knew it as an upbeat traditional fiddle tune. 

Quite a surprise! The other is Needlecase Medley, another traditional 

offering, in this case solo banjo with Moon accompanying herself with 

podorythmie (foot tapping common in Québécois and Acadian 

music). Other highlights include the beautiful title track, a nostalgic 

look back at the wanderlust of Moon’s earlier days, and the closer, 

Slow Moving Train, a haunting depiction of time rolling on. 

I’m surprised and a little embarrassed to say 

that I had never heard of Canadian singer/ 

songwriter Noah Zacharin until his ninth 

CD Points of Light (noahsong.com) landed 

on my desk. I’m sorry to have come so late 

to the parade because Zacharin is really 

something. In addition to his solo career in 

which he has opened for the likes of Odetta, 

Dave van Ronk and Fairport Convention, he 

has appeared as a musician or producer on some 65 albums by artists 

from across North America. This latest disc showcases his outstanding 

finger-style guitar chops accompanying his solo vocals in storytelling 

ballads, as well as full band versions of another half a dozen songs in 

various styles from the gentle and gorgeous (My Love is a) Red Red 

Bird featuring Denis Keldie (B3) and Burke Carroll (pedal steel) to 

some rollicking blues and honkytonk tunes to me reminiscent of the 

late Mose Scarlett and (Chris and Ken Whiteley’s) Original Sloth Band, 

with help from Gary Craig (drums), Russ Boswell (bass) with cameos 

from Kevin Turcotte (trumpet) and Roly Platt (harmonica). The disc 

opens in solo mode with Ten Tons of Road, a paean to love and the 

call of the road, and continues with one of my favourites 17 Minute, 

an anti-lament of sorts for past loves. Zacharin seems content to let 

the past go, with no hard feelings putting me in mind of Tom Rush’s 

iconic No Regrets. Something Like a River is a solo acoustic guitar 

instrumental depicting a stretch of the York River in the Canadian 

Shield where Zacharin spends time in an off-grid cabin. The disc ends 

quietly with the lovely Been a Long Day, just guitar and voice complemented 

by an inobtrusive, though lush, string arrangement by Drew 

Jurecka. I’m so glad that Points of Light found its way to me. 

Concert Notes: Noah Zacharin performs at the Greenbank Folk Music 

Society on December 9 in Greenbank, north of Whitby. He will also be 

the host at Bill’s Coffee House and Open Mic at Don Heights Unitarian 

Congregation on Wynford Drive on February 9. 

We invite submissions. CDs, DVDs and comments should 

be sent to: DISCoveries, The WholeNote c/o Music Alive, 

The Centre for Social Innovation, 720 Bathurst St. Toronto 

ON M5S 2R4 or to discoveries@thewholenote.com. 

What we're listening to this month: 

The WholeNote 

Listening Room 

Hear tracks from any of 

the recordings displayed in 

this section: 

Plus 

Watch Videos 

Click to Buy 

thewholenote.com/listening 

Around the World: Trios For 

Clarinet, Violin & Piano 

Ensemble Next Parallel 

This CD takes listeners on a 

musical journey of the composers 

from Armenia, France, America, 

and finally to the islands of Trinidad 

and Tobago. 

The Rule of Three 

The Andrew Collins Trio 

Mandolin maestro Collins, central 

to Canada's acoustic/newgrass 

scene, teams up with string 

experts Shier and McEleney, 

earning accolades for energetic, 

genre-hopping performances. 

Points of Light 

Noah Zacharin 

Multi-genre fingerstyle guitarmaster 

and songwriter’s 9th. 

Blues, folk, country, jazz, and more. 

Solo and band performances 

featuring some of the planet's best 

musicians. 


STRINGS 

ATTACHED 

TERRY ROBBINS 

On his outstanding new solo CD Ricercari 

the Canadian cellist Cameron Crozman 

combines Domenico Gabrieli’s Seven 

Ricercari with a recital of contemporary 

pieces (ATMA Classique ACD2 2870 atmaclassique.com/en). 

Gabrieli’s Ricercari (Italian for “to seek 

out”) were written in 1689 and heralded 

the beginning of music for unaccompanied 

cello. Crozman decided to rekindle 

this exploratory kind of music-making by commissioning six new 

works to play alongside the Gabrieli, adding a seventh himself. The 

Ricercari are strikingly original pieces, covering a wide range of keys 

and moods. They alternate throughout the disc with an impressive list 

of commissioned works by Alexina Louie, Nina C. Young, Jordan Pal, 

Daniel Alvarado Bonilla, Benoît Sitzia and Kelly-Marie Murphy, with 

Crozman’s Falling Forward, a terrific first attempt at composition, 

completing the line-up. 

With his superb technique Crozman is equally at home in the 

Baroque and contemporary works. 

On LIEBESTOD Works for Violin and 

Piano pianist Fazil Say reunites with 

violinist Friedemann Eichhorn in a recital 

of mid-19th-century German works 

(Naxos 8.574434 naxos.com/Search/Keywor 

dSearchResults/?q=Liebestod). 

Schumann’s Violin Sonata No.1 in A 

Minor Op.105 from 1851 sets the stage for 

the whole disc with a glorious opening, Friedemann’s rich, rapturous 

commitment sweeping all before it, with Say matching him every step 

of the way. Schumann’s Drei Romanzen Op.94 from 1849, originally 

for oboe and piano are beautifully nuanced. 

Schumann, Brahms and the latter’s pupil Albert Dietrich collaborated 

on the F-A-E Sonata in A Minor, written in 1853 for violinist 

Joseph Joachim’s birthday, the three notes not only significant in the 

composition but also standing for Frei aber einsam (Free but lonely), 

Joachim’s personal motto. World-premiere recordings of Say’s absolutely 

stunning transcriptions of the Act I Prelude and the Act III 

Liebestod from Wagner’s Tristan und Isolde complete a superb CD. 

Stained Glass, the latest top-notch CD 

from the stellar duo of Johan Dalene and 

pianist Christian Hadland presents two 

20th-century sonatas together with lesserknown 

works by Arvo Pärt, Lili Boulanger 

and Grażyna Bacewicz (BIS-2730 SACD 

allmusic.com/album/release/stained-glassmr0006096518). 

The sonatas are Ravel’s 

Sonata in G Major from 1923-27, its jazzinfluenced 

Blues middle movement a real 

delight, and Prokofiev’s 1943 Sonata No.2 in D Major Op.94a, originally 

for flute and piano and arranged for violin with the assistance 

of David Oistrakh. Described as full of sweet lyricism and playful 

humour, it’s given a beautifully assured reading here. 

Pärt’s Fratres draws strong, sustained playing from the duo, with 

Boulanger’s very brief but quite lovely Nocturne from 1911 sensitively 

nuanced. Four short pieces by Bacewicz – Humoresque from 1953, 

Lullaby and Slavonic Dance, both from 1952 and the early Stainedglass 

window from 1932 – end an immensely satisfying disc full of 

outstanding playing. 

The Chilean-American violist Georgina 

Isabel Rossi and the Chinese-Canadian 

pianist Silvie Cheng are the performers on 

CHORINHO: Music for Viola and Piano 

from Brazil (navona records NV6537 

navonarecords.com). 

The world-premiere recording of the 

lovely title track by João de Souza Lima 

(1898-1982) opens the disc, and there 

are two other world-premiere recordings, 

both for solo viola: the three-movement Meloritmias: No.5 

by Ernani Aguiar (b.1950); and the 1981 Pequeno Estudio Op.78 by 

Lindembergue Cardoso (1939-89), the latter one of several works 

that are more than merely lyrical. The 1977 Appassionato, Cantilena 


Ricercari 

Cameron Crozman 

This album pairs the 1689 

Ricercari by Italian baroque 

composer Domenico Gabrielli with 

new solo cello works by Canadian, 

French, Colombian, and American 

composers. 

Midnight Pavane 

Don MacDonald 

Based in Toronto, Don performs 

a variety of styles. This second 

album of solo guitar music reflects 

his interest in composition and 

modern playing techniques 

Myths Contested 

Washington Bach Consort 

The first commercial recording 

from the Washington Bach 

Consort in over a decade, Myths 

Contested marks a new beginning, 

with a newly composed work. 

Lovers and Mourners 

Dorian Komanoff Bandy; Hank 

Knox; Elinor Frey 

Lovers and Mourners explores 

17th-century German variation sets 

that are by turns quirky, beguiling, 

heartfelt, and brazenly virtuosic. 


e Toccata by Osvaldo Lacerda (1927-2011) has a third movement 

described as “deceptively modern”; the three-movement 1964 Sonata 

by Brenno Blauth (1931-93) is “at times highly lyrical, at others 

aggressive.” 

Cheng has Villa-Lobos’ Valse da dor as a solo, and the 1912 song Lua 

branca by Brazil’s first woman conductor Chiquinha Gonzaga (1847- 

1936) ends a disc full of fine playing. 

There’s more really lovely viola playing 

on Hans Sitt Viola and Piano Works, with 

the Spanish violist Alicia Calabuig ably 

supported by pianist Jorge Blasco (eudora 

EUD-SACD-2305 eudorarecords.com). 

Sitt was an outstanding violinist and 

violist as well as a composer and teacher, 

spending almost the last 36 years of his life 

(1850-1922) as violin professor at the Leipzig 

Conservatory, which tied him to the Mendelssohn-Schumann-Bruch- 

Brahms composer tradition. The works here were mostly written 

between 1891 and 1919, when the post-Wagner rise of composers like 

Richard Strauss, Mahler and Zemlinsky rendered Sitt’s style somewhat 

anachronistic. 

Still, these are beautifully crafted works, not particularly virtuosic 

and extremely attractive. Included are the Albumblätter Op.39, the 3 

Fantasiestücke Op.58, the Romance Op.72, the 3 Morceaux Op.75, the 

Romanze Op.102/1 and the Gavotte and Mazurka Op.132. Calabuig’s 

warm tone is a perfect match, as is her beautifully judged vibrato – 

never constant, and never too wide or heavy. It’s a delightful CD. 

The French cellist Xavier Phillips grew 

up with the music of Gabriel Fauré, and 

on Fauré: The music for cello and piano 

he teams with pianist Cédric Tiberghien 

in a recital of the complete works (La 

dolce vita LDV102 ladolcevolta.com/ 

catalogue/?lang=en). 

Both players are fully aware of the 

flowing, sensuous nature of the music. “To 

work on Fauré,” says Tiberghien, “you need 

to let go. . . you have to leave this music free to go its own way,” and 

the warm, rapturous performances do exactly that. Presented here are 

the Berceuse Op.16, the Élégie in C Minor Op.24, the Romance Op.69, 

Papillon Op.77, the Sicilienne Op.78 and the Sérénade Op.98, together 

with the two late Cello Sonatas No.1 in D Minor Op.109 and No.2 in G 

Minor Op.117. 

Casals’ transcription of the song Après un rêve Op.7 No.1 completes 

a delightful CD. 

On L’altra Venezia the Scaramuccia 

ensemble of violinist Javier Lupiáñez, cellist 

Inés Salinas and harpsichordist Patrícia 

Vintém presents world premiere recordings 

of chamber music by several of the 

most prominent and capable Venetian 

composers active around 1700, roughly 

contemporary with Vivaldi but now littleknown 

in comparison (Snakewood Editions 

SCD202301 snakewoodeditions.com). 

There are three works by Giorgio Gentili – his Cello Sonatas in A 

Major and G Major and his Violin Capriccio XI in B Minor – and two 

Violin Sonatas in B-flat Major and G Minor by Tomaso Albinoni. 

Single violin sonatas by Diogenio Bigaglia (his “Dresden” Sonata No.2 

in C Major), Antonio Caldara (in F major) and Giovanni Battista Reali 

(his Sonata VII in B-flat Major) complete the disc. 

Excellent booklet notes and an annotated map of Venice that details 

the composers’ ties to the city add to a delightful and revelatory CD. 

Instrumental fantasias from the continent, predominantly for lute 

or keyboard were being published in England by the 1560s, and by 

the end of the century William Byrd had established instrumental 

ensemble fantasias, ranging from three to six parts as the pre-eminent 

chamber music in England. By 1667, 

however, Christopher Simpson, himself a 

composer of fantasias noted their “rapid 

decline into neglect.” 

In 1680 the young Purcell wrote a set of 

12, the very last ensemble fantasias to be 

published in England. They are presented 

in excellent performances on Henry Purcell 

Fantazias in three and four parts by the 

John Holloway Ensemble of violinist John 

Holloway, violists Monika Baer and Renate Steinmann and cellist 

Martin Zeller (ECM New Series 2249 485 6006 ecmrecords.com). 

Purcell biographer Bruce Wood rightly called them “astonishing 

pieces. . . among the most profound and searching counterpoint of the 

17th century.” 

On 1923 – 100 Years of Radio the Schumann 

Quartett celebrates the year that saw not 

only the first radio broadcasts in Germany 

and Austria but also the First Chamber 

Festival of the recently formed International 

Society for Contemporary Music (ISCM) 

in Salzburg (Berlin Classics 0302968BC 

berlin-classics-music.com/en). 

All five composers on this fascinating 

disc – Paul Hindemith, Alban Berg, Erwin 

Schulhoff, Leoš Janáček and Aaron Copland – were present at the 

festival. Janáček’s String Quartet No, “Kreutzer Sonata” was written a 

few weeks later. Hindemith’s delightfully humourous six-movement 

Minimax “Repertoire for Military Band” is from July 1923. 

Berg’s String Quartet Op.3, written in 1910, was performed to great 

acclaim at the festival’s opening concert, and Schulhoff’s Five Pieces 

for String Quartet were written on his return to Prague from Salzburg. 

Copland’s short Movement for String Quartet was written the same 

year at the end of his studies with Nadia Boulanger, but the manuscript 

didn’t come to light until 1983. 

Over 80 minutes of outstanding performances of truly eclectic 

music makes for an absolute gem of a CD. 

Tendres échos 

Anne Thivierge 

French repertoire of the 17th and 

18th centuries, this album highlights 

works for flute and continuo by 

Couperin, Blavet, Marin Marais, and 

Jean-Marie Leclair. 

The digital release Mendelssohn String 

Quartets Nos.1, 2 & 3 by the Quarteto Carlos 

Gomes is the first volume in a proposed 

complete set of the composer’s quartets on 

the Brazilian label Azul Music (AMDA1887 

azulmusic.com.br). 

All three works here – the String Quartets 

No.1 in E-flat Major Op.12, No.2 in A Major 

Op.13 and No.3 in D Major Op.44 No.1 


Composing Israel: the First Three 

Generations 

Liora Ziv-Li, Israel Philharmonic 

Orchestra, Voices of Bedouin 

schoolchildren, et al 

A panorama of ten compelling solo 

piano, chamber, and electronic 

works by nine noted Israeli 

composers. 


– were previously available as individual digital releases. I can’t find 

too much about the performers, but a full, resonant recording 

complements some committed and passionate playing on a very satisfying 

release. 

Discovering Mendelssohn is the second 

album from the young violinist Christian 

Li, who won the 2018 Yehudi Menuhin 

International Competition for Young 

Violinists – at age He’s still only 15 

and displays quite remarkable talent 

(Decca 485 3987 deccaclassics.com/en/ 

artists/christian-li). 

At the heart of the CD is the Violin 

Concerto in E Minor Op.64, with Sir Andrew Davis and the 

Melbourne Symphony Orchestra, an engaging performance perhaps 

with not quite the emotional depth he will surely find later. The rest of 

the CD comprises four short pieces by Mendelssohn – On Wings of 

Song with harpist Yinuo Mu, Venetian Gondola Song with guitarist 

Xuefei Yang, Spring Song with pianist James Baillieu and the dazzling 

Rondo capriccioso Op.14 with pianist Laurence Matheson – and three 

by his contemporaries or influences: Mozart’s Violin Sonata in E 

Minor K304 with Baillieu; Schubert’s Serenade with Matheson; and 

Bach’s Erbarme dich, mein Gott with cellist David Berlin. 

In the booklet notes for the 2CD set 

MOZART – The Violin Concertos (Deutsche 

Grammophon 4864067 deutschegrammophon.com/en/artists/renaud-capucon) 

featuring Renaud Capuçon and his 

Orchestre de Chambre de Lausanne, 

Capuçon makes an interesting point about 

the youthful concertos, that over-analyzing 

them can be counterproductive: “Mozart 

wrote these pieces extremely quickly; they quite literally flowed from 

his pen. And as a soloist you need to be able to communicate this 

rapid flow and this lightness.” 

That shouldn’t imply any absence of depth and insight, though, 

and Capuçon finds a perfect balance in beautiful performances of 

the five concertos plus the Rondo in C Major K373 and the Adagio 

in E Major K261, both written as alternative movements for violinist 

Antonio Brunetti. 

Capuçon says that he has to be happy and contented when 

performing Mozart – “only then does it really work.” Which it 

certainly does here. 

Dependent Rising, the latest CD from violinist Rachel Barton Pine 

with Tito Muñoz and the Royal Scottish National Orchestra explores 

connections between classical music and heavy metal in concertos 

by Dmitri Shostakovich and the American 

violinist/composer Earl Maneein, both 

concertos openly confronting pain and 

suffering (Çedille CDR 90000 223 cedillerecords.org). 

Both Barton Pine and Maneein have 

been heavy metal devotees since their early 

teens, with the former often including her 

own arrangements of metal songs in her 

performances. She commissioned the solo 

piece Metal Organic Framework from Maneein in 2014; Muñoz was at 

the premiere and consequently commissioned the concerto. 

It’s not the best recording of the Shostakovich Concerto No.1 in A 

Minor Op.77 available, but the CD stands or falls on the strength of the 

heavy metal-influenced Maneein concerto that gives the CD its title. 

It’s a three-movement work of remarkable impact and resonance, 

with tough cadenzas in the first and predominantly lyrical second 

movements, and a real “thrash” finale. 

Cellist Antonio Meneses is the excellent 

soloist on Heitor VILLA-LOBOS Cello 

Concertos Nos.1 and 2, the latest release 

in the Naxos Music of Brazil series. Isaac 

Karabtchevsky conducts the São Paulo 

Symphony Orchestra (Naxos 8.574531 

naxos.com/CatalogueDetail/?id=8.574531). 

The Cello Concerto No.1 Op.50 from 1915 

was the composer’s first major orchestral 

work, the eclectic style suggesting a composer still trying to find 

his own individual voice. It’s an appealing and virtuosic work full of 

youthful energy. The Cello Concerto No.2 from 1953 is a four-movement 

work commissioned by Aldo Parisot for his Carnegie Hall debut 

in February 1955. Lushly scored, it apparently suggests “man’s cosmic 

solitude when facing the vastness of the natural world.” 

The final work on the CD is the three-movement Fantasie for Cello 

and Orchestra from 1945, when the composer’s reputation was at its 

peak and he was able to give free rein to his imagination in 

flowing style. 

The Canadian guitarist Don MacDonald 

says that the COVID pandemic and lockdown 

afforded him an enormous amount 

of time to concentrate on composition, 

and his consequent search for inspiration 

is reflected in the three pieces on his new 

classical guitar CD Midnight Pavane (www. 

donmacdonaldmusic.ca). 

Hex Suite is a set of four movements 


Edward Cowie: Where the Wood 

Thrush Forever Sings 

Anna Hashimoto, Roderick 

Chadwick 

A captivating new album from the 

extraordinary talents of Edward 

Cowie. This is the exhilarating third 

cycle of his epic ‘bird portraits’. 

The Head Of A Mouse 

Audrey Ochoa 

Audrey Ochoa’s strongest showing 

yet features inspired and personal 

compositions performed by an 

all-star lineup with seamless liveoff-the-floor 

execution. 

Satyam 

Vineet Vyas 

Celebrates the rhythmical and 

improvisatory beauty of the Tabla 

Drums with inspiring melodies. 

2023 Global Recording of the Year 

nomination 

- East Coast Music Awards 

Wanderlust 

Lara Deutsch; Adam Cicchillitti 

With music from the coasts of 

Japan to the kitchen parties of 

Newfoundland, Wanderlust stokes 

the fires of adventure that reside 

in us all. 


– including the title track – based on a six-note scale, while Night 

Visions is a group of seven pieces, alternating in tempo, that use 

varying moods and textures. Zephyrs, the longest and most interesting 

piece, was inspired by Britten’s Nocturnal after John Dowland, a 

theme and variations work where the theme unfolds at the end of the 

piece, and not at the beginning. 

The compositions employ standard classical guitar techniques and 

have a real sense of exploration. The playing is beautifully clean, and 

perfectly captured by the recording engineer, the legendary Anton 

Kwiatkowski. 

Baroque guitarist Pascal Valois’ new CD, PARIS 1790 – La Musique de 

Monsieur Vidal features music by a guitarist/composer whose first 

name, date and place of birth remain unknown (he died in 1803), 

but who was apparently one of the most important guitar figures 

in late-18th-century Europe and is credited 

with writing the first guitar concerto 

(Analekta AN 2 9196 analekta.com/en). 

It’s presumably that concerto, a short 

two-movement work that opens the CD. 

Violinist Jacques-André Houle is the 

partner on the Guitar Sonata with Violin 

Accompaniment WoO and on two Duos 

for Guitar and Violin Opp.24 No.3 and 28 

No.5, and Jean-Guy Côté the cellist on the Guitar Sonata with Basso 

Continuo. Four solo works complete the disc. 

Valois plays a Baroque-style guitar with five courses double-strung 

in unison, which he feels is best-suited to the music, especially the 

non-traditional thumb and index finger tremolos which he handles 

superbly. 

VOCAL 

Myths Contested 

Washington Bach Consort; Dana Marsh 

Acis APL53752 (acisproductions.com) 

! Johann Sebastian 

Bach is synonymous 

with church music, 

writing hundreds 

of compositions 

for choir, orchestra 

and organ, many 

of which were 

intended for use 

in his role as 

Kapellmeister of Leipzig’s Thomaskirche. 

In addition to these myriad works, Bach 

also wrote a number of secular vocal works, 

including the stunning Geschwinde, geschwinde, 

ihr wirbelnden Winde, BWV 201, also 

known as The Contest between Phoebus and 

Pan, featured on this disc by the Washington 

Bach Consort. 

Titled Myths Contested, this recording 

juxtaposes Bach’s secular musical drama with 

American composer Trevor Weston’s A New 

Song. This work, commissioned by the Bach 

Consort, addresses the challenges that arise 

from attempting to evaluate music from past 

centuries in relation to contemporary music, 

an issue that resonates with anyone who is 

asked to review music in a public forum. 

Bach’s Contest between Phoebus and Pan 

is a delightful work composed in traditional 

cantata form, with recitatives and arias bookended 

by choral movements. The Washington 

Bach Consort manages Bach’s contrapuntal 

intricacies masterfully, and the orchestra 

shines in the opening movement, particularly 

through the virtuosic writing for wind 

instruments (which is characteristic Bach, 

given that the choir is singing “Hasten, you 

swirling winds.”). 

Weston’s A New Song is fascinating, a 

modern “cantata” for choir and Baroque 

orchestra that adheres to certain stylistic 

conventions while defying others. For 

example, the opening and closing movements 

include trumpet and full choir, and 

arias (titled “songs”) are the primary middle 

movements, although a chorus and chorale 

are each interspersed between the solo movements. 

While these traditions look back to 

the Baroque, the musical vernacular is strikingly 

different than anything Bach ever wrote, 

resulting in a listening experience that is 

simultaneously familiar yet new. 

Matthew Whitfield 

ArtChoral Vol.5 – Romantique 

Ensemble ArtChoral; Matthias Maute 

ATMA ACD2 2424 (atmaclassique.com/en) 

! The Montrealbased 

Ensemble 

ArtChoral – initially 

known as Ensemble 

Vocal Arts-Québec, 

was founded by 

Yves Courville in 

1979 with the aim of 

presenting professional 

choral music both in Canada and internationally. 

Since then, the group has earned a 

formidable reputation, and with the appointment 

of Matthias Maute as music director in 

2019, the ensemble has not only increased its 

appearances, but has also been the recipient 

of two JUNOs and an OPUS Prize (for Musical 

Event of the Year in 2020). 

This newest recording on the ATMA label 

presents music by Romanic-period composers 

including Mendelssohn, Tchaikovsky, Brahms 

and Fauré, appropriately titled Romantique. 

It is the fifth in a projected series of 11 aiming 

to cover the entire history of European choral 

music. The pieces on the program are brief 

– none more than five minutes in length – 

and the entire program totals no more than 

40 minutes. Opening with Rheinberger’s 

Abenlied Op.69 No.3, the choir sings with a 

solid conviction while demonstrating a fine 

sense of phrasing and dynamics. 

Three songs by Brahms – Schnitter Tod, 

Abendständchen and Darthulas Grabgesang 

– are all fine examples of the German volkslied 

tradition, while the choir has no difficulty 

in capturing the mystical religious mood in 

Tchaikovsky’s Hymne des Chérubins Op.41. 

The fine sound produced by Ensemble 

ArtChoral’s performers together with the 

thoughtfully chosen program go to make this 

a compelling recording, although it could 

have been even more fulfilling had Maute 

included one or two more substantial works. 

Nevertheless, this is a minor quibble and 

doesn’t mar an otherwise fine performance – 

we can look forward to more in the series. 

Richard Haskell 

Giuseppe Verdi – Ernani 

Soloists; Orchestra e Coro del Maggio 

Musicale Fiorentino; James Conlon 

Dynamic DVD 37972 DVD (naxos.com/ 

Search/KeywordSearchResults/?q=37972) 

! For some 

unknown reason 

Verdi’s Ernani does 

not even make it to 

the operatic maestro’s 

greatest hits. 

This performance 

by Francesco Meli 

(in the title role), 

Roberto Frontali 

(Don Carlo), Vitalij 

Kowaljow (Don Ruy 

Gomez de Silva) 

and the inimitable 

Maria José Siri (Elvira) is nothing short of 

stellar, more so for the masterful direction of 

Leo Muscato who enables them to bring the 

characters to life. James Conlon’s conducting 

of the Orchestra e Coro del Maggio Musicale 

Fiorentino is superb. 

There is real gain from watching this DVD, 

with those stars throwing every fibre of 

their being into intense portrayals of what 

becomes an emotional whirlpool by the end 

of the opera. Verdi adapted Victor Hugo’s 

play which came at a time when Hugo was 


waging a “culture war” that aimed to promote 

“ideas for progress” in the 1830s. By the time 

of this opera the Italian master’s work had 

already become synonymous with the word 

“operatic”. 

Verdi throws his characters in Ernani 

into infernos for tortured souls. But while 

the passion with which Meli, Frontali, 

Kowaljow and Siri play their parts may not 

be unexpected, it is impressive indeed to 

watch and listen to the subtlety of so much 

soft singing. Meli and Siri’s performances 

tingle with so much nervous intensity. The 

set is elegantly simple, costumes are superb 

down to the last accessory and the filming – 

designed to accentuate the melodrama – is 

excellent. 

Raul da Gama 

Guiseppe Verdi – I Due Foscari 

Soloists; Czech Philharmonic Choir Brno; 

Cappella Aquileia; Marcus Bosch 

Coviello Classics COV92514 Blu-ray 

(covielloclassics.de/en) 

! I Due Foscari is 

Verdi’s sixth opera, 

preceded immediately 

by Ernani, 

both in the same 

year, 1844 with 

the same librettist, 

Francesco 

Maria Piave. It is 

well documented 

that Verdi was very 

actively involved 

with the development of the libretto, wishing 

to inject it with more theatricality. Based on 

the true story of Francesco Foscari, the 65th 

and longest reigning Doge of the Republic of 

Venice. The opera owes its inspiration to the 

poetic drama play by England’s Lord Byron, 

The Two Foscari. 

On the surface, the plot of I Due Foscari 

is the tragic story of a father and son and 

the father’s responsibilities to the Republic 

versus his responsibilities as a father. The 

Doge of 15-century Venice, Francesco and 

his seemingly popular son Jacopo highlight 

the fight for power and corruption of the 

ruling families of the realm. When Jacopo is 

wrongly accused and convicted of a crime 

for which he will be exiled, his father doesn’t 

defend him. Prior to being exonerated in the 

third act, Jacopo dies in jail from a broken 

heart. Francesco is forced from power, finds 

out his son has died and he too perishes of 

heartbreak. 

The baritone Luca Grassi as the Doge, 

Héctor Sandoval as Jacopo and Sophie 

Gordeladze as Lucrezia his wife, all deliver 

stunning performances. Marcus Bosch 

conducts the Czech Philharmonic Choir Brno 

and the Orchestra of Heidenheim Opera 

Festival brilliantly, supporting the inspired 

stage direction of Philipp Westerbarkei. 

Bruce Surtees 

Wagner – Siegfried 

Simon O’Neill; Anja Kampe; Bavarian Radio 

Symphony Orchestra; Simon Rattle 

BR Klassik 900211 (brso.de/en/cd-dvd/ 

Richard-wagner-siegfried/) 

! Siegfried 

was the third in 

Wagner’s Ring 

Cycle; preceded 

by Das Rheingold 

and Die Walküre 

and followed by 

Götterdämmerung. 

Die Walküre 

ended with the pregnant heroine Sieglinde 

fleeing into the woods, and with the Valkyrie 

Brünnhilde condemned to sleep within a ring 

of fire until rescued. 

This opera skips ahead: Sieglinde’s child is 

now a young man, Siegfried. Since Sieglinde 

died in childbirth, Siegfried was raised by a 

Nibelung, Mime. Siegfried is defiant, boastful 

and even arrogant. The role is played to the 

hilt by Simon O’Neill, his powerful tenor 

fulfilling all of the qualities with which 

Wagner had imbued Siegfried’s character. 

These are not negative traits. Instead, they 

reflect the unconquerable nature and innate 

heroism of the great Wagnerian character. 

The finale, Act III, features exceptional 

music. Baritone Michael Volle is powerful, even 

majestic, playing Wotan, The Wanderer, and 

gives the performance of his life as he bares 

his soul to the goddess Erda. Meanwhile the 

sequence where O’Neill’s Siegfried expresses 

his feelings for Brünnhilde (sung by the 

lustrous soprano Anja Kampe) veers from 

plangent lyricism to flame-toned declamation. 

Sir Simon Rattle conducting 

Symphonieorchester des Bayerischer 

Rundfunks is a strong contender for the finest 

Siegfried on CD in recent times. O’Neill is at 

his peak as Siegfried while Volle is uniquely 

authoritative as Wotan. Rattle is a less showy 

conductor than his rivals, but he offers a 

refreshingly unforced quality, one to which 

his performers are deeply responsive. 

Raul da Gama 

Frati Uccelli 

La Squadra di Genova 

Alborada Editions (alborada-editions.com) 

! Musical recordings 

are most often 

self-contained 

microcosms, with 

everything that a 

listener needs to 

understand the 

material in question 

contained on 

a single disc or playlist. For those looking 

for greater information, detail and context, 

liner notes and booklets are included, but 

while these are undoubtedly helpful, they 

are not often required to listen to a particular 

piece of music. 

What happens, however, when the music 

one is listening to is extracted from a larger 

artistic production, of which music is only a 

portion of the whole? Consider, for example, 

Wagner’s idea of “Gesamtkunstwerk” or 

Total Art Work, in which all the senses are 

engaged in the consumption of a work of art. 

While one can listen to Wagner’s music away 

from the stage, it is questionable whether he 

would be pleased with the thought of tearing 

his Total Art Work limb from limb into its 

constituent parts. 

It is this reviewer’s conundrum that such 

a situation has arisen here, with La Squadra 

di Genova’s Frati uccelli, a small, five-track 

release that originally accompanied Nino 

Laisné’s visual and sound installation of 

the same name at the Saorge Monastery 

in France. This monastery was previously 

home to Franciscan monks and Frati uccelli 

attempts to revive their memory through the 

monastery’s physical space and these polyphonic 

vocal works. 

The music itself is a blend of Genovese and 

early Baroque polyphony, playfully interpreted 

by La Squadra di Genova. Crafted 

specifically for the Frati uccelli exhibit, 

these works are adaptations of texts by 

historical figures including Luca Marenzio 

and Giovanni Legrenzi – both of whom 

were notable composers – as well as two 

Anonymous period compositions, all of 

which provide delightful forays into early 

Italian musical styles. 


Wonderland 

The King’s Singers 

Signum Classics SIGCD739 (kingssingers. 

com/albums) 

! With his 

centenary year 

ending, at last 

there comes a vocal 

project worthy of 

one of the most 

iconic and adventurous 

composers 

of the 20th century, 

György Ligeti. That project comes in the 

name and shape of Wonderland, by the celebrated 

King’s Singers. To be exact, while the 

project is built around Ligeti’s eerily beautiful 

Nonsense Madrigals, the composer’s delightfully 

zany world is embellished by works – 

equally and beautifully daft – by seven other 

composers who take us through the rabbit 

hole of Ligeti’s making. 

Makiko Kinoshita, Ola Gjeilo, Francesca 

Amewudah-Rivers, Joe Hisaishi, Judith 

Bingham, Malcolm Williamson and Paul 

Patterson give us equal cause for merriment 

and joy as they leap off Ligeti’s song cycle 

with marvellous works of their own. 

Together the seven composers create a 

parallel world evocative of Lewis Carroll’s 

Wonderland (that Alice tumbles into), as 

magical as Ligeti’s madcap world (not unlike 


his Breughelland – a world derived from 

the paintings of Breughel and Bosch – from 

his opera Le Grand Macabre). Only this 

Wonderland is one infinitely more lighthearted, 

evoking Ligeti’s inimitably personal 

manner with a lyric often expressed in a 

complex rhythmic style in which conflicting 

layers of tempi are used to drive narratives – 

and the music – ever onward. 

In the wrong hands these works might 

sound merely odd. But The King’s Singers 

deliver the crazy lyrics with consummate 

musicality, allowing the narratives of their 

strange beauty to flower. 

Raul da Gama 

Afarin Mansouri – Dancing with Love 

Afarin Mansouri; Various Artists 

Centrediscs CMCCD 31923 

(afarinmansouri.com/recorded-albums) 

! Toronto-based 

Afarin Mansouri 

(b.Teheran 1974) 

came to Canada 

in 2002 and 

studied composition, 

receiving her 

doctorate from York 

University. Singing 

in Farsi, she brings 

her vibrant mezzo-soprano voice to nine of 

this CD’s 12 selections, all involving aspects 

of “Love.” 

Mansouri has drawn most of the texts 

from medieval Persian poetry. Verses by 

venerated 13th-century mystic Rumi and 

14th-century Hafiz adorn three arias from her 

opera Zuleykha. Mansouri calls her libretto 

a revisionist “female perspective” on the 

biblical Potiphar’s wife, lovesick for Joseph. 

In addition to four solo songs, she’s joined in 

two duets by beguiling, velvet-voiced tenor 

Milad Bagheri, including the finale of her 

opera-in-progress The Endless Sea. Its about 

the tenth-century Rabia Balkhi, considered 

Persia’s first female poet, and incorporates 

Balkhi’s poetry. Bagheri also solos in two of 

Mansouri’s songs. 

They’re variously accompanied by pianist 

Cheryl Duvall and other members of the Thin 

Edge New Music Collective, plus Padideh 

Ahrarnejad on the waisted-lute tar and 

Ali Masoudi on tombak and daf drums. 

Mansouri also adds atmospheric electronic 

soundscapes to three selections. 

I can’t imagine anyone, whatever their 

musical preferences, not enjoying Mansouri’s 

richly melodic, vivaciously rhythmic and 

exotically scored compositions, inspired 

by traditional Persian music yet contemporary 

in sensibility. Her rapturous traversal 

of love’s joy, yearning and despair ends with 

the poignant A Lament for Love for solo flute, 

played by Terry Lim. It expresses, writes 

Mansouri, her “heartfelt love and nostalgia for 

the homeland.” Texts are included. 

Michael Schulman 

It Floats Away from You 

Byrne:Kozar:Duo 

New Focus Recordings FCR378 

(newfocusrecordings.com) 

! A debut 

album from the 

Byrne:Kozar:Duo 

hits an impressive 

mark, with finely 

curated and exquisitely 

performed new 

works for soprano 

and trumpet. 

Undoubtedly, this ensemble is a unique 

one. It unveils surprising tonal ecosystems 

and colouristic effects rarely heard, originating 

from an elliptic Renaissance sensibility. 

The duo endeavours to “guide the way, 

providing a template for integration across 

multiple parameters as a powerful vehicle 

for expression and depth.” Once moving 

past such novelties, the listener embraces 

a lustrous, generous universe of diptychinfused 

dedication, perfectly integrated in a 

concordant yet plural narrative. The skilled 

synthesis from these two musicians is one 

reason for this achievement. The other: the 

compositions themselves, boasting sensitive 

text settings and idiomatic constructions. 

Austere, even stark, music like Li Qi’s 

Lonely Grave (with a fixed media component) 

sets a compelling foil to such pieces as 

Alexandre Lunsqui’s Two Patches and Jeffrey 

Gavette’s Proof of Concept for Floating Child, 

the latter exemplifying the duo’s textural 

and rhythmic possibilities, inspired by heavy 

metal music and Meredith Monk. 

While each track is well ordered, the 

disc plays more as a recital rather than a 

coherent album. That is not necessarily scabrous, 

especially when considering a debut 

record. Indeed it might compel the listener to 

leave the audio space and seek live performances 

from this new duo, having whet the 

aural appetite with unexpected soundscapes. 

Let the armchair listener witness first hand 

the energy, intimacy and aired spell, the 

Byrne:Kozar:Duo so masterfully conjures. 

Adam Sherkin 

CLASSICAL AND BEYOND 

Lovers and Mourners – Variations and 

Sonatas from 17th Century Germany 

Dorian Komanoff Bandy; Hank Knox; Elinor 

Frey 

Leaf Music LM263 (leaf-music.ca) 

! The artfulness of 

virtuoso composerperformers, 

nurtured and cherished 

in the 17th 

century, is at the 

centre of this lovely 

new release, cleverly 

reinforced by 

violinist Dorian Komanoff Bandy’s choice 

of repertoire. Presented here are variations 

and sonatas from 17th-century German 

composers Schenck, Walther, Biber, Pisendel 

and Becker. Variations, arguably a favourite 

compositional technique of that time, allowed 

both composers and performers to display 

their respective abilities and imagination 

by the way of building up rich melodic and 

harmonic material over a short, repeated 

theme, usually in the bass. Similar to lovers 

and mourners, going through spiraling, 

intense emotions, the music here expresses 

meandering states via “stylus phanansticus,” 

a popular compositional style of that time 

that was free flowing, improvisational and 

characterized by swirling virtuosic elements. 

Bandy’s virtuosity is on full display here – 

relentless, precise and, above all, dazzling. He 

draws beautiful colours out of his Baroque 

violin, even amidst the fast passages or more 

uniform material. The emotional scope of 

his interpretation is impressive, especially in 

Biber’s sonatas. The Baroque-style articulations 

are brought to life with well thoughtout 

phrasing and back and forth trading of 

ideas within the ensemble. Harpsichordist 

Hank Knox and gambist Elinor Frey, although 

mostly in the supporting roles in this repertoire, 

are nevertheless essential in building 

the overall sound and direct a spotlight on the 

inventiveness of these compositions. 

Ivana Popovic 

Tendres échos 

Anne Thivierge; Mélisande Corriveau; Eric 

Milnes 

ATMA ACD2 2871 (atmaclassique.com/en) 

! Flutist Anne 

Thivierge, viola de 

gambist Mélisande 

Corriveau and harpsichordist 

Eric 

Milnes, playing 

period instruments, 

bring works from 

François Couperin’s 

Concert Royal No 2 

for Flute and Continuo in D Major and Minor 

and the Pièces de clavecin, the 14th suite (of 

27) from his book Ordres to life – together 

with works by Marin Marais, Michel Blavet 

and Jean-Marie Leclair. 

Couperin’s work is marked by expressiveness 

enhanced by rich ornamentation, 

which – unusual for the time – is never left 

to the discretion of the performer, but always 

precisely specified. Here he adopts what came 

to be called style brisé (broken style) in which 

the notes of the chord are not all played 

together, but one after the other (originally in 

imitation of lutists). 

Marais, who studied with Jean-Baptiste 

Lully, had come under the latter’s development 

of a style that melded the French and 

the Italian (of Corelli). Marais’ Pièce for 

Viola de gamba and Continuo Suite No.1 

in D Minor soars in its rhapsodic La follette 


movement and ends with the soulfully 

expressive Gigue La favorite. 

On Blavet’s Sonata for Flute and Continuo 

in D Minor Op.2 No.2, the flute is clean and 

vibrant, the continuo gently sympathetic, as 

the musicians immerse themselves in the 

music’s warm beauty. An alert sense of rhetoric 

is evident in the intricately wrought, 

magical performance of Leclair’s Trio Sonata 

for Flute, Viola de gamba and Continuo 

in D Major. 

Raul da Gama 

Boulder Bach Festival 

Boulder Bach Festival; Zachary Carrettin 

Sono Luminus DSL-02265 

(sonoluminus.com) 

! Recorded 

immediately after 

the 2022 Boulder 

Bach Festival, this 

disc contains several 

of the highlights 

featured in that 

year’s performances, 

including 

Bach’s Concerto for two violins, BWV 1043, 

and the magnificent Concerto for harpsichord, 

BWV 1052, as well as two vocal works 

by Johann Christoph Bach. 

For early music aficionados, what makes 

this recording most interesting is that these 

works are performed on modern instruments 

– apart from the harpsichord, of course 

– with period-based nuances such as using a 

Baroque bow for the double bass, or a classical 

bow on a viola, added at the discretion of 

the performer. By making these decisions by 

ear, rather than adherence to convention and 

20th-century tradition, the musicians tailored 

their sound to the overall interpretation, 

producing a result that is more forthcoming 

and strident than period instruments, but 

with the shapes and phrasings that listeners 

have come to expect. 

These interpretations portray Bach at 

his most dramatic and invigorating, with 

performances that are full of energy and joy. 

The Concerto for two violins is serious yet 

playful, abounding with communicativeness 

and ample musical dialogue between 

the soloists and orchestra. The Concerto 

for harpsichord, always serious, is imbued 

with a lightness and grace that keeps it from 

becoming funereal, but it is also played deliberately 

enough that it contains all the gravity 

demanded of it. 

The vocal works by J.S. Bach’s older cousin 

Johann Christoph Bach (1642-1703) – not to 

be confused with J.S. Bach’s uncle, who had 

the same name and introduced J.S. to the 

organ, or J.S.’ eldest brother who also had 

the same name and mentored J.S. after his 

parents died – are beautiful in their simplicity, 

and a fine contrast to the density of 

Johann Sebastian’s musical vernacular. 

With two excellent performances of two of 

Bach’s finest concertos, this disc is not one 

to be overlooked, and is an excellent testament 

to the talent present at the Boulder 

Bach Festival. 


Bach Generations 

Albrecht Mayer; Berliner Barock Solisten 

Deutsche Grammophon 486 4183 (store. 

deutschegrammophon.com/p50-a157976/ 

albrecht-mayer) 

! Curated by 

oboist, Albrecht 

Mayer, Bach 

Generations is the 

latest in a series 

of portrait albums 

featuring the Bach 

family. Beginning 

the incredible 

legacy, Johann Sebastian’s early musical influences 

began with his father who played 

the violin and extended to his father’s first 

cousin, composer Johann Christoph. Johann 

Sebastian went on to become one of the most 

prolific composers of all time, teaching all 

ten* of his children music with four of them 

becoming notable composers. Each of these 

composer sons had their own style and relationship 

to their father’s music. This album 

showcases three generations of the Bach 

family with music by JS Bach’s uncle, Johann 

Christoph, Johann Sebastian himself as well 

as two of his sons, Carl Philipp Emanuel and 

Johann Christoph Friedrich Bach. 

Bach Generations opens with the JS’s 

Concerto for Oboe d’amore which is best 

known today as the Harpsichord Concerto 

No.4 in A Major. Following this beautiful 

work are transcriptions of concertos by Carl 

Philipp Emanuel and Johann Christoph 

Friedrich, a Badinerie and Air from Johann 

Sebastian’s Orchestral Suites Nos.2 and 3, 

as well as a Bach family favourite, Gottfried 

Heinrich Stölzel’s Bist du bei mir. Concluding 

with Ach, dass ich Wassers g’nug hätte by 

Johann Christoph Bach, Mayer ties in the 

third generation of the Bach family legacy 

with this lovely transcription for English 

horn, solo violin, strings, and continuo. 

Played with Berliner Barock Solisten in 

traditional Baroque style, Mayer elegantly 

performs these works on modern instruments. 

With his rounded tone, expressive 

playing and virtuosity on the oboe, oboe 

d’amore and English horn, he showcases the 

beauty of expression throughout the Bach 

generations. 

Melissa Scott 

Editor’s note: Although JS Bach fathered 

some twenty children, only ten survived 

into adulthood. 

The Complete Beethoven Piano Concertos 

Garrick Ohlsson; Grand Teton Music 

Festival Orchestra; Sir Donald Runnicles 

Reference Recordings FR-751SACD (gtmf. 

org/beethoven-piano-concertosrecording) 

! Ludwig van 

Beethoven’s five 

piano concertos 

are monumental 

contributions to the 

Western Art Music 

canon, providing an 

overview of musical 

evolution through masterful compositions 

that have remained in the core repertory for 

over two centuries. Always an innovator and 

disruptor of established trends, these works 

trace Beethoven’s progression from traditional 

forms to increasingly original ones. 

For example, Beethoven’s Fifth Concerto, 

the “Emperor” begins with a piano-centric 

cadenza at a time when it was customary for 

the orchestra to play a lengthy introduction. 

Although this seems like a mildly interesting 

break from convention in the 21st century, 

such re-inventions were edge-of-your-seat 

moments for Beethoven’s audience. 

Recorded during live performances at the 

2022 Grand Teton Music Festival, located 

near Wyoming’s Rocky Mountain range, this 

complete set of Beethoven concertos features 

the festival’s orchestra conducted by the 

renowned Sir Donald Runnicles and pianist 

Garrick Ohlsson, a student of the late Claudio 

Arrau. This collection is decidedly levelheaded, 

providing consistently reliable results, 

but also limiting the impact of climactic 

moments. These interpretations are charming, 

but perhaps lack the precipitousness and risktaking 

that is required to turn them into something 

beautiful and breathtaking. 

Despite its overall conservatism, there 

are some striking moments on this disc, 

including the glorious Adagio from the fifth 

concerto, in which the balance between 

winds and strings is notable, particularly for 

a live recording. Performing the complete set 

of Beethoven’s piano concertos is an expansive 

and impressive task, and this collection 

is well-suited for those seeking an all-encompassing 

survey of these magnificent works. 


For Clara 

Hélène Grimaud; Konstantin Krimmel 

Deutsche Grammophon 

(deutschegrammophon.com/en/artists/ 

helenegrimaud) 

! “Imagine, since 

my last letter I 

have again an 

entire volume 

of new things 

ready. I shall call it 

Kreisleriana. My 

music seems to me 


to be wonderfully entwined, for all its simplicity.” 

So wrote Robert Schumann to his wife 

Clara in April 1838 regarding the set of eight 

pieces which he named after a fictious character 

created by E.T.A. Hoffmann. Dedicating 

the collection to Chopin, it became one his 

most renowned compositions and is featured 

on this splendid DG recording titled For Clara 

together with the three Intermezzi Op.117 

and the set of Lieder und Gesange Op.32 

by Brahms performed by pianist Hélène 

Grimaud with baritone Konstantin Krimmel. 

The French-born pianist refers to 

Schumann as “the most literary of 

composers” and she returns to his music 

having previously recorded Kreisleriana in 

2009 and the Piano Concerto in 2022. Not 

surprisingly, her performance is subline. The 

first, third and seventh in the set display a 

flawless technique while the neverending 

changes in mood throughout are treated with 

a stylish sensitivity. 

The three Intermezzi by Brahms from 1892 

are quietly introspective, each one of a deeply 

personal character. These autumnal works 

were among the last the composer wrote and 

Grimaud approaches the score with a delicate 

poignancy. 

With their themes of loss and disillusionment, 

the set of nine Lieder und Gesange 

written in 1864 with texts by Georg Friedrich 

Daumer and August von Platen may seem 

a dark choice for these challenging times. 

Nevertheless, Grimaud and Krimmel are a 

formidable pairing, with Krimmel’s warm 

tone and fine diction together with Grimaud’s 

sympathetic partnership resulting in a most 

satisfying performance. Bravo to both artists 

– Robert, Clara and Johannes would all have 

been pleased! 

Richard Haskell 

Franz Liszt – Transcendental Etudes 

Haochen Zhang 

BIS BIS-2681 (bis.se) 

! Liszt’s 12 Études 

d’exécution trancendante 

(or 

Transcendental 

Etudes) comprise 

perhaps the 

greatest documents 

of musical 

Romanticism, a 

high watermark in the history of the piano, 

amounting to nothing less than the creation 

of modern keyboard technique. That Haochen 

Zhang has even attempted these studies is a 

testament as much to his audacity as it is to 

the unbridled virtuosity that he displays in 

his performance of them. 

These studies teem with such outrageous 

difficulties that, in their day (1831) they 

were the most difficult works for the piano; 

even now there’s but a handful of pianists 

who can play them authoritatively. Lazar 

Berman’s (Melodiya, 1963), Boris Berezovsky’s 

(TELDEC, 1996) and Leslie Howard’s 

(Hyperion, 2016) have always been considered 

benchmark recordings. 

We must add Zhang’s exquisite recording 

to this short list. To play these works at all 

requires a formidable technique; to play them 

so as to convey their poetry rather than the 

effort required to play them is a gift afforded 

to very few. Clearly Zheng is one of those. 

Throughout the performance of the 12 

studies Zheng displays technical prowess 

to deal with the pyrotechnics required of a 

stellar performance of the works. He rises 

above mere gratuitous display of pianism to 

reach a plateau of intense emotional conviction 

– especially in the first four etudes. 

Moreover, he also knows how to enter the 

introspective core of such pieces as the 

beautiful Ricordanza and Harmonies du soir. 

Raul da Gama 

Saint-Saëns – Complete Symphonies 

Malmo Symphony Orchestra; Marc 

Soustrot 

Naxos 8.503301 (naxos.com/ 

CatalogueDetail/?id=8.503301) 

! Anyone trying 

to dismiss Camille 

Saint-Saëns as a 

minor composer 

and pushing him 

to the sidelines 

would be surprised 

hearing this already 

much praised new 

set of his complete symphonic output. The 

conductor is Marc Soustrot a highly accomplished 

French musician, specialist in French 

Romanticism and he puts his heart and 

soul into these performances. The Swedish 

orchestra follows him every inch of the way 

and with HD sound this set becomes a clear 

first choice. 

I have always been fond of this tremendously 

talented French composer/pianist 

who had a long productive life from the mid 

19th into early 20th century. The fondness I 

mentioned originated when my father took 

me to the first concert of my life at age seven 

right after the War. The program started with 

Danse Macabre and my dad explained to me 

the story of the ghosts and the skeletons, the 

midnight bells, the devil’s violin solo and the 

final rooster call.... Wow! I also became quite 

addicted to the Carnival of the Animals. 

Saint-Saëns was a child prodigy and wrote 

a symphony when he was 15 but was cautious 

like Brahms and didn’t give it a number. He 

called it Symphony in A Major and it is a 

tribute to Mozart. It’s a charming work, quite 

expertly written; it is interesting that he used 

the same four notes (C, D, F, E) Mozart used to 

build the last magnificent contrapuntal movement 

of the Jupiter Symphony. 

His numbered symphonies began two years 

later with No.1 in E-flat Major and I found 

it thoroughly enjoyable. It has a gorgeous 

second movement (March, Scherzo) with a 

melody one wants to sing along with while 

the Adagio has a long, sustained clarinet solo, 

so enchanting I wished it would never end. 

To top it, the Finale even has a military band 

that sounds like a Napoleonic march. This is 

French Empire music. In fact, the symphonies 

were admired by Berlioz and Gounod. 

After a competition entry symphony, again 

without a number, Urbs Roma (now almost 

never played) the boy keeps honing his skills 

with the Second Symphony, already a mature 

work with an energetic, syncopated fugue 

and an elegant presto, a somewhat Italianate 

finale where the influence of Mendelssohn is 

noticeable. 

However, the best is yet to come. 

It is so interesting that in many a composer’s 

career there is a sudden qualitative leap, 

a divine inspiration that produces a work so 

superior to and unlike what has been written 

before. Such a work is the magnificent 

Third Symphony in C Minor. It’s a masterpiece 

of the first order, highly innovative 

with an organ and two pianos added. Much 

recorded by the greats, it’s always a highlight 

in the concert hall. There is a cyclical 

theme (à la Liszt) which underlines the structure, 

is capable of many transformations and 

keeps everything together. The first movement 

is exciting with the cyclical theme in 

restless, constant motion while the second 

movement simply glows with religious piety 

with the wonderful support by the organ. The 

tempo picks up in the incisive Scherzo where 

the two pianos are added. After a suspenseful 

Transition an explosion ff of the organ is very 

effective. The symphony ends triumphantly 

with a final accelerando and a long-reverberated 

organ note. 

As an added bonus, this fascinating set 

also contains the four inspired and atmospheric 

symphonic poems, including my old 

friend the Danse Macabre and three others all 

inspired by Greek mythology. 

Janos Gardonyi 

Sergei Rachmaninoff – Symphonies 2 & 3; 

Isle of the Dead 

Philadelphia Orchestra; Yannick Nézet- 

Séguin 

Deutsche Grammophon 486 4775 

(deutschegrammophon.com/en/catalogue/ 

products/rachmaninoff-symphonies-nos- 

23-isle-of-the-dead-nezet-seguin-thephiladelphia-orchestra-13001) 

! Mention the 

name Sergei 

Rachmaninoff today 

and the chances 

are that pianist 

Yuja Wang and 

her incandescent 

recordings of his 

work come to mind. 

Not this time, however, for what we have 

here is the enigmatic and towering figure 

of Yannick Nézet-Séguin conducting the 

mighty Philadelphia Orchestra. The result is 

a double disc featuring Symphonies Nos. 2 & 


3 and Rachmaninoff’s first orchestral masterpiece 

Isle of The Dead, performed in all their 

solemn grandeur. 

Symphony No.2 is a work of immense 

power and maturity. Its richness of themes 

makes it the most absorbing of the composer’s 

three symphonies. The penultimate 

Adagio is one of the greatest symphonic 

movements in Russian music. It becomes 

perilously sentimental in places, but its lush 

harmony and exquisite orchestration are so 

genuinely felt that you’ll forgive any excesses. 

Symphony No.3 is very nearly as powerful; 

a great surge of orchestral energy follows the 

hushed Orthodox chant of the opening, and 

the singing interludes between the music’s 

recurring motifs are of Rachmaninoff’s most 

alluring kind. 

The Isle of The Dead is an amazingly 

powerful piece, whose sepulchral air works 

its way insidiously into the memory. 

Throughout the program Nézet-Séguin fires 

up the Philadelphia Orchestra to get into the 

guts of this extraordinary music. His sense of 

the passion and grand design of the works is 

non pareil. His interpretation is thrilling and 

he maintains a tight balance and responsive 

tempi throughout. 

Raul da Gama 

Vivace – A Film by Sigrid Faltin 

Anne-Sophie Mutter 

SWR Classic SWR19132DVD (naxos.com/ 

CatalogueDetail/?id=SWR19132DVD) 

! World-famous 

violinist Anne- 

Sophie Mutter is 60 

years old, a widow 

of two illustrious 

beloved husbands, 

an avid tennis 

player (her icon is 

Roger Federer) and 

in terrific physical 

and psychical shape. 

So, when awardwinning 

German 

filmmaker Sigrid Faltin decided to create a 

documentary about her she chose to portray 

Mutter in an outdoor Alpine setting, in a 

long mountain hike near Kitzbuhel, Austria 

walking side by side with the filmmaker and 

her little dachshund, talking spontaneously 

about anything that comes to mind. 

The most important feature of the film is 

her place in society represented by a few of 

her favorite people, her friends. They area an 

eminent group including Federer, German 

composer Jörg Widmann, Daniel Barenboim, 

who conducted for her in Salzburg, celebrity 

composer/conductor John Williams who 

wrote a concerto for her, her accompanist 

Lambert Orkis and a magician from New 

York, Steve Cohen. Cohen performs a little 

magic trick of tearing up a dollar bill into 

little pieces, puts it into his mouth, takes it 

out, blows at it and it becomes whole again, 

perfectly intact. Wow! 

In the film there are excerpts of her playing 

at various ages. She was a child prodigy and 

could play Paganini caprices at age five or a 

Hungarian Dance at breakneck speed. She 

was discovered by the legendary Herbert von 

Karajan and became his protégé. This gave 

an immense boost and catapulted her into 

world fame. Today she owns two priceless 

Stradivari violins and has given concerts all 

over the world, gathering many awards and 

decorations. Even played at the White House 

for Barack Obama. Her discography is simply 

astounding, mostly with DGG, but also with 

Sony and EMI. 

But fame didn’t spoil her. She is a 

passionate supporter of new music, introducing 

many new works and sharing her 

considerable fortune to help young musicians 

and many charities. Now she is touring the 

world with her own chamber group, Mutter 

Virtuosi, comprising amazing young string 

players. What a delight to listen to them. Her 

motto is FORWARD! It just about sums her up. 


MODERN AND CONTEMPORARY 

John Robertson – Portraits 

Bratislava Symphony Orchestra; Anthony 

Armore 

Centrediscs CMCCD32623 (cmccanada. 

org/product-category/recordings/ 

centrediscs) 

! Kingston-based 

John Robertson 

(b.1943) creates 

colourfully scored, 

neo-Romantic 

music that succeeds 

in sounding freshly 

minted, avoiding 

Hollywood clichés 

or borrowings from 

other composers. This CD presents six pieces, 

all but one under 12 minutes long. 

Overture for a Musical Comedy, Op.15 

evokes, for me, the song-and-dance of a 1930s 

cabaret. Salome Dances, Op.32 is more subtly 

suggestive of that legendary unveiling than 

Richard Strauss’ frenetic version. Cyrano, 

Op.53 affectionately depicts scenes of love 

and strife from Edmond Rostand’s classic play. 

The Death of Crowe, Op.30 describes 

an episode in Timothy Findlay’s novel Not 

Wanted on the Voyage in which Mrs. Noah 

laments the death of her blind cat’s dear 

friend. The music is fanciful and poignantly 

lyrical, featuring an extended clarinet solo 

wandering over repeated descending strings. 

The melancholy, perturbed Overture to 

Robertson’s ballet Lady Jane – A Fable, Op.66 

includes, writes Robertson, “various themes 

that will be heard later in the work.” 

The 31-minute, six-movement Suite from 

Robertson’s opera Orpheus – A Masque, 

Op.64 suggests that his take on the familiar 

myth is closer in spirit to that of the irreverent 

Offenbach than to Monteverdi or Gluck, its 

insouciant lack of gravitas offsetting the 

tender beauty of Orpheus’ and Euridice’s love 

music. (The rocking, bittersweet waltz tune of 

Dancing in the Elysian Fields has become, for 

me, a recurrent, invigorating earworm!) 

Anthony Armoré, conductor of four CDs 

of Robertson’s compositions on the Navona 

label, continues to champion Robertson’s 

music with enthusiasm, entirely merited. 


All we are made of is borrowed 

Paramorph Collective 

Redshift Records TK534 

(redshiftrecords.org) 

! Montreal-Ottawa 

musicians and 

multidisciplinary 

artists, An Laurence 

(guitar, voice, etc.) 

and Kim Farris- 

Manning (piano, 

voice, synthesizer, 

etc.), comprise 

the Paramorph Collective. “Paramorph” in 

mineralogy refers to the process of transformation 

of a mineral through the reorganization 

of its molecular structure only. Analogously, 

the collective aims to transform itself and its 

audience through “rearranging inner feelings 

or thoughts… seeking new perspectives.” The 

Collective’s nine-track debut album All we’re 

made of is borrowed shows the duo in twin 

roles: music creators and performers of scores 

by Canadian composers Rodney Sharman 

and Linda C Smith, and California-based 

Margot George. 

Smith’s remarkable Thought and Desire is 

an engaging piano solo until 3’45” when the 

pianist begins singing in her soft soprano. At 

that moment the piano’s identity suddenly 

shifts, its role thereafter is to accompany. 

It’s a delightful perceptual shift for listeners. 

Four of the tracks are original works by the 

Collective, evoking an overall peaceful, soft 

and layered aesthetic space through spoken 

word, electronics and guitar-supported 

song. Margot George’s rousing Fruiting 

Bodies forms the album’s centerpiece. Farris- 

Manning’s custom-built organ synthesizer’s 

sustained chords are animated by Laurence’s 

crashing electric guitar clusters and sustained 

single tones. This 21-minute commission 

presents dichotomic extremes: of sound pressure 

and distortion, sustained keyboard vs 

plucked strings – counterpointed by shimmering 

stacked organ chords evoking ecclesiastical 

regions. 

The album notes ask listeners to reflect 

on the title – All we’re made of is borrowed 

– and to hold onto “the time we have left as 

medicine.” 

Andrew Timar 


Live in Toronto 

Spindle Ensemble; Evergreen Club 

Gamelan Ensemble 

Hidden Notes (spindleensemble.bandcamp. 

com/album/live-in-toronto) 

! Live in Toronto, 

the 2022 collaboration 

between 

the seven-musician 

Toronto group 

Evergreen Club 

Contemporary 

Gamelan and 

the UK Spindle 

Ensemble (violin, cello, piano, marimba), is 

nothing short of captivating. 

Spindle pianist Daniel Inzani’s composition 

Lucid Living firmly establishes ECCG’s 

degung gamelan voice, amplified by Spindle’s 

tight harmonies. Evoking monochrome hues 

of early morning light, the musical palette 

is enhanced with the addition of Spindle’s 

marimba and piano before opening into 

full daylight. Inzani’s music took me on an 

impressionistic Joycean journey. 

Orpheus by Spindle’s Harriet Riley begins 

as an homage to Stravinsky’s ballet of the 

same name. Its Western roots however soon 

give way to ECCG’s Southeast Asian tones, 

reminding me of American composer Lou 

Harrison’s gamelan-centric approach in some 

of his works. Riley found exquisite ways to 

blend the 11 instruments at her disposal: the 

strings (violin and cello) overlap ECCG’s wind 

(suling, a ring flute) making for an enchanting 

sonic exchange. 

ECCG suling soloist Andrew Timar’s 

composition Open Fifths: Gardens takes us to 

the EP’s summit, a work featuring complexity 

of a kind I associate with the best modal 

jazz improvisation. The performers play off 

one another with a sensitivity that finds 

the fruitful common ground between the 

musical worlds the two ensembles inhabit. 

When Timar’s low-sounding suling gambuh 

invites the cello into the conversation we 

witness an unanticipated aural blending and 

the unfolding sound palette celebrates all the 

voices present. 

My only question lies in Open Fifths’ 

ending. The suspended silence before the last 

note – reminiscent of a certain Chopin piano 

Prelude in E Minor – caught me off guard. 

Open Fifths, like the rest of this EP, is filled 

with happy surprises. 

Edwin Gailits 

Composing Israel – The First Three 

Generations 

Various Artists 

Neuma 177 (neumarecords.org) 

! Ten compositions 

spanning six 

decades present an 

overview of “the 

first three generations” 

of Israeli 

composers, variously 

performed 

by 24 musicians 

including members of the Israel Philharmonic 

Orchestra and five different pianists. 

Toccata, Op.34, No.5 for piano (1943) is a 

wild, whirlwind dance by Paul Ben-Haim (né 

Paul Frankenburger, 1897-1984), a German 

refugee who helped found the “Eastern- 

Mediterranean School” of Israeli composition. 

German refugee Tzvi Avni (né Hermann 

Steinke, b.1927) studied with Ben-Haim and 

dedicated his Capriccio for piano (1955, 

rev.1975) to his mentor. Like Toccata, it 

embraces the volatile rhythms of Middle- 

Eastern music. 

Arabesque No.2 for flute and harp (1973) 

by Ben-Haim student Ami Maayani (1936- 

2019) mixes Arabic rhythms with glissandi 

suggesting quarter-tones in its exultation of 

exoticism. Bashrav for chamber orchestra 

(2004) by Betty Olivero (b.1954), based on 

classic Persian music, while clearly Middle- 

Eastern in mood and materials, is less 

“folkish,” filled with explosive bursts and 

sudden silences. 

I enjoyed all these much more than the 

non-Middle-Eastern-sounding piano pieces 

by Abel Ehrlich (1915-2003), Arie Shapira 

(1943-2015) and Ari Ben-Shabetai (b.1954) 

or the electronic collage of Bedouin children 

speaking by Tsippi Fleischer (b.1946), all 

dating from the 1980s. 

In the 19-minute Wire for soprano and 

chamber ensemble (1986) by Oded Zehavi 

(b.1961), Denise Lundine keens a Hebrew 

poem, her “voice crying in the wilderness” 

over bursting percussion, the French horn 

emulating liturgical shofar (ram’s horn) 

elephantine trumpetings making this, by far 

the CD’s longest work, also its most “Jewish.” 


Éventail 

Heinz Holliger; Anton Kernjak 

ECM New Series ECM 2694 

(ecmrecords.com) 

! From one of 

the most recorded 

oboists of all time, 

Heinz Holliger’s 

newly released 

album, Éventail, is 

a colourful exploration 

of both the 

vocal and expressive 

qualities of the oboe and oboe d’amore 

in early 20-th-century French music. 

Opening the “richly coloured fan” of littleknown 

French Vocalise-Études by some 

of the most important French composers 

including Debussy, Ravel, Saint-Saëns, Jolivet, 

Casadesus, Messiaen, Koechlin and Milhaud, 

Holliger is joined by pianist Anton Kernjak 

and harpist Alice Belugou. 

Characteristic of his specialty in 20th- and 

21st-century-works, Holliger’s wide range 

of extended techniques and tonal texturing 

shine in Éventail, with gleaming performance 

and elements ranging from the traditional 

to the virtuosic. Having had personal 

relationships with many of these composers, 

Holliger’s performance provides a distinct 

approach and understanding of these works 

while showcasing his artistic personality 

and flare. 

Beginning with Ravel’s Pièce en forme 

de Habañera and Saint-Saëns’ Sonate pour 

hautbois et piano, Holliger and Kernjak set 

the stage with two standard pieces in the 

oboe repertoire. Holliger chose some surprisingly 

slow tempos in the Saint-Saëns yet still 

showed command over the instrument. 

Jolivet’s Controversia and Messiaen’s 

Vocalise-Étude and Morceau de lecture is 

where Holliger really shines. Although able to 

play the standard repertoire well, Holliger’s 

transcending nature seems to seek out every 

opportunity to explore and test the technical 

possibilities of the oboe. 

Éventail also beautifully showcases Charles 

Koechlin, one of the first composers to use 

the oboe d’amore after the Baroque era, and 

explores his unique use of muted timbre in Le 

repos de Tityre, recalling Debussy’s masterpiece 

for solo flute, Syrinx. Holliger then 

enhances this mood by transcribing and 

performing Syrinx on the oboe d’amore. 

The album concludes with Robert 

Casadesus’ Sonate. Originally written for his 

teacher, Émile Cassagnaud in 1954, Holliger 

decided to do what his teacher had intended 

and record this important work, bringing it to 

life as a standard in oboe repertoire. 

Melissa Scott 

Messiaen – Vingt Regards sur l’Enfant 

Jesus 

Kristoffer Hyldig 

Our Recordings 6.220677-78 

(ourrecordings.com) 

! Another pianist 

passionate about 

Olivier Messiaen, 

has released his 

recent take on 

Vingt regards sur 

l’Enfant-Jésus, 

a 20-piece solo 

piano cycle which – to some enthusiasts – 

represents a mighty pillar of mid-century 

modernism. The striking Danish pianist, 

Kristoffer Hyldig, recorded this disc at Vor 

Frekser’s Church in Copenhagen during a 

severe pandemic lockdown in March of 2021, 


an ideal locale to capture the spiritual and 

mystical aspects of this music. 

Hyldig’s approach is a one of reverence and 

fortitude. He comes to this work with admiration 

and a veritable desire to unlock its 

secrets. One attribute, immediately noticeable, 

is his command of distinct pianistic 

colours. He has competently etched out each 

movement in the cycle, allocating unique 

profiles, characters and sonorities. Messiaen’s 

keyboard music responds well to such attention 

and technical detail. 

This devotional music has become familiar 

to many 21st-century audiences and divining 

new identity within such a score can be challenging 

for any interpreter. Hyldig brings 

integrity to his performance with an earnest 

smattering of detail and refinement, through 

articulation, dynamic shadings and intricate 

realization of tempo relationships. The 

savvy listener might also ascertain unique 

palettes in play, born of northern pastels 

and Hanseatic hues, gleaned under the high 

Nordic sun. Compare these to the warmer, 

deeper equatorial chroma of Messiaen’s 

southern France and the result bears novel 

acoustic fruit indeed. In further augmentation 

of such qualities, Hyldig’s 2-disc release was 

recorded in the immersive DXD Format. 

Adam Sherkin 

John Luther Adams – darkness and 

scattered light 

Robert Black double bass 

Cold Blue Music CB0067 

(coldbluemusic.com) 

! Renowned 

award-winning 

American composer 

John Luther Adams’ 

album Darkness 

and Scattered 

Light is an unusual 

one, consisting of 

three major works 

for double bass. Two scored for solo double 

bass and one for bass quintet, each attractive 

piece is a substantial contribution to the bass 

repertoire. 

Superbly performed by the late bassist 

Robert Black (1956–2023) these virtuoso 

works call not only on the majesty of the 

lowest of the string section, but also on its 

ability in the right hands to evoke nearorchestral 

multi-part textures – as in the 

serene solo Three High Places (2007). 

Fascinatingly, all the sounds in this work 

consist of bowed natural harmonics or open 

strings, the musician’s fingers never touching 

the fingerboard. 

Darkness and Scattered Light (2023), 

Adams’ 16’32” single-movement score for five 

double basses (all played by Black), wades 

deeply into orchestral textures, employing 

both the harmonic and subharmonic overtone 

series. Marked by merging long tones 

transfigured onto a tonally ambiguous 

harmonic terrain, Adams’ aesthetically 

sophisticated, historically informed work is 

masterful. 

The other solo is Three Nocturnes (2022), 

evoking the dark side of the harmonic series 

and of nature herself. Dedicated to Black, 

he gave the premiere outdoors, amid red 

rock canyons. 

Composer Michael Gordon wrote that 

Black “has single-handedly reinvented the 

technique and repertoire of the double bass, 

bringing it bursting into the 21st century.” 

Black’s no-nonsense, committed, masterful 

playing of Adams’ music is his beautiful, 

lasting legacy. 

Andrew Timar 

Edward Cowie – Where the Wood Thrush 

Forever Sings 

Anna Hashimoto; Roderick Chatwick 

Metier mex 77104 (divineartrecords.com) 

! When one walks 

every morning 

through wooded 

areas, one hears the 

seasons changing 

in the calls of birds. 

Spring is as raucous 

as winter is silent, 

a muted summer 

leads to the random 

cries of migration in fall. One is hardly likely 

to find this strange chorale upsetting unless 

one suffers hypersensitivity to sound, as some 

poor souls no doubt do. 

Composer Edward Cowie has found the 

alchemical formula for transmuting various 

bird cries into duets for clarinet and piano. 

Played mellifluously on E-flat and B-flat 

clarinet by Anna Hashimoto, with Roderick 

Chadwick at the keyboard, this group of four 

“songbooks” are a series of short explorations 

of various birds’ musical identities. 

Hashimoto manages the higher register with 

accuracy that is sometimes piercing yet never 

shrill. Chadwick is sure-handed with the 

understated piano writing. Cowie’s harmonic 

language is both new and sometimes familiar. 

Birds and their environment have inspired 

composers before now, of course. Beethoven 

wrote a quartet of characters into the coda of 

the second movement of his Sixth Symphony, 

giving the poor clarinetist the role of Cuckoo 

(which some might find quite appropriate). 

Olivier Messiaen was noted for his sometimesverbatim 

quotes from the aviary, and his Abyss 

of the Birds is a tour-de-force for solo clarinet. 

Cowie’s settings do more than quote the 

melodic arc of any of the 24 birds represented 

here, but they are meticulously researched, as 

his field notes in the accompanying booklet 

indicate. This is his third collection, focused 

on North American species. Divided over two 

discs, six species per “book,” the tracks range 

between two and six minutes. I can’t decide 

whether it’s better to know which bird is 

singing as the disc plays or to simply enjoy the 

walk while trying to guess. 

Max Christie 

JAZZ AND IMPROVISED 

One More for the Road 

Guiso Basso 

Cornerstone Records CRSTCD165 

(cornerstonerecordsinc.com) 

! On this posthumous 

release, the 

legendary Guido 

Basso’s trumpet 

tone is absolute 

exuberant 

velvet, sounding 

equal parts strikingly 

warm and 

nimble. On these sessions Basso is paired up 

with many of Canada’s most illustrious, often 

with emphasis on the word “pair.” Highlights 

include the understated beauty of My Ideal 

with Lorne Lofsky, following the vigorous 

Blue Monk with Don Thompson (in which 

Thompson cannot resist dropping that little 

All Blues reference at the end). 

For a relative vault collection, One More 

for the Road has been taken meticulous care 

of. Sequencing is top-notch, Basso’s takes 

are transcendent, sonic fidelity is given the 

care it deserves, filler and fluff nowhere to 

be found. If anything, this album is a celebration 

of musical interaction, and the joy of 

sharing time with others. Every single musician 

has completely demonstrated control 

of their craft, and yet they sound that much 

more inspired bouncing ideas off each other. 

Ill Wind’s first bridge sports the heaviest, 

cleanest triplet you are likely to come across, 

with Neil Swainson and Terry Clarke allowing 

every Basso phrase ending a runway of silk. 

As a rule, any tune with the legendary Jimmy 

Dale has earned the headphones treatment, 

as it doesn’t get much more lush or restorative 

than this. It is also a testament to Basso’s 

integrity as an improviser and accompanist 

that Bye Bye Baby’s stride feel ends up 

equally nurtured by his presence. 

Yoshi Maclear Wall 

The Senator – A Tribute to Tommy Banks 

Hutchison Andrew Trio 

Chronograph Records CR 100 

(hatjazz.com) 

! Tommy Banks 

packed many 

accomplishments 

into his 81 years. He 

was a conductor, 

arranger, pianist, 

television personality 

and a member 

of the Canadian 

Senate from 2000 to 2011. The Senator is 

named after his political life but pays tribute 

to his music and how he inspired and influenced 

a younger generation of musicians. The 

members of the Hutchinson Andrew Trio 

(Chris Andrew, piano; Kodi Hutchinson, bass; 


Dave Laing, drums) all had a personal relationship 

to Banks, as did the “special guests” 

PJ Perry, Al Muirhead and Mallory Chipman, 

and these connections invigorate their 

performances. 

Highlights of the album include a bouncy 

version of Jig (a tune played and recorded 

by Banks) and Bank on It, written by Chris 

Andrew as a grooving bop tribute from 

one pianist to another. The Senator is a 

delightful undertaking that pays tribute 

to Banks› music legacy and reminds us of 

this important musician. It was recorded 

live over two nights at the Yardbird Suite in 

Edmonton, on what would have been Banks› 

85th birthday, and that adds to the sense of 

celebration. 

Ted Parkinson 

Éclipse 

Aline Homzy 

Elastic Recordings ER-009 

(alinehomzy.com) 

! An awardwinning 

Canadian 

violinist and 

composer, Aline 

Homzy is no 

stranger to the 

exploration of the 

unknown and this 

is precisely what 

she does with her debut album Éclipse. The 

world of Éclipse is elegant, nuanced and enigmatic, 

sparking a curiosity in the listener. 

Homzy and her Étoile Magique colleagues are 

set on capturing the enigma of incorporeality 

in their music, translating visual/physical 

shifts, such as movements of the celestial 

bodies, into an aural one. Thus we have the 

world built on the cosmos like textures using 

synths, theremin and the colours of vibraphone, 

creating a sonic background for our 

imagination. In that world, Homzy’s violin 

is both the guide and the explorer – her 

balanced sound and impeccable phrasing 

transversing beauty and etherealness but not 

shying away from bold gestures or rhythmic 

complexity. 

In addition to the explorative elements, 

Éclipse is still very much rooted in the jazz 

violin tradition and many arrangements are 

within the classic jazz structure. Ten original 

tunes by Homzy and vibraphonist Michael 

Davidson cultivate the best of that tradition 

while leaving a mark of their own. 

The rest of the core ensemble, consisting of 

guitarist Thom Gill, bassist Dan Fortin and 

percussionist Marito Marques, forms a tightknit 

group. Their own solos, most notably 

by Fortin in the only cover on the album – 

Charlie Parker’s Segment – are charming and 

engaging. With such a clear compositional 

direction and sophisticated performers, this 

album will be noted by many. 

Ivana Popovic 

Plays Long 

Longhand 

Drip Audio DA 02040 (dripaudio.com) 

Josh Zubot Strings 

Josh Zubot; Jesse Zubot; James Meger; 

Meredith Bates; Peggy Lee 

Drip Audio DA02420 (dripaudio.com) 

Emad Armoush’s Duos 

Emad Armoush; Francois Houle; Jesse 

Zubot; JP Carter; Kenton Loewen; Marina 

Hasselberg 

Drip Audio DA02392 (dripaudio.com) 

! Dividing his time 

among record 

production, film 

scoring and running 

the Drip Audio 

record label, British 

Columbia-based 

violinist Jesse Zubot 

finds time to play 

music. Fittingly for someone whose productions 

include pop and ethnic sounds, each of 

these sessions features different styles. On 

Longhand’s Play Long, he joins guitarist Tony 

Wilson’s jazz-rock fusion band featuring 

Russell Sholberg, playing bass and musical 

saw, percussionist Skye Brooks and Jesse’s 

brother Josh Zubot on violin. When the 

brothers become twin Jean-Luc Pontys, 

expositions are torqued to arena-rock distortion, 

especially when Wilson’s effects pedals 

produce stomps and buzzing tones. A bass 

groove and drum backbeat contribute as well. 

However when the violinists match Wilson’s 

kalimba colouration with gentleness and 

folksy bounces as on The Exotic Popsicle 

narratives are lightened. Chicken Grease is 

the most notable instance of moderated 

fusion. Here a moderated bass solo gives way 

to multiple-string shudders from the violinists 

and chiming chords from Wilson, leading 

to a theme with a pop music interface, but 

recapped enough to emphasize jazz tradition 

links. 

Josh Zubot, 

playing viola and 

violin, is the leader 

on Strings. 

Interpreting his 

jazz-improv 

compositions are 

cellist Peggy Lee; 

bassist James Meger; Meredith Bates playing 

violin/viola and brother Jesse on violian. 

Uniquely constituting this string quintet, 

Zubot’s arrangements include a few traditional 

sounding and mostly pastoral tutti 

themes and those ricocheting between 

Arcadian and avant-garde passages which 

divide the strings into soloists with sympathetic 

backing. Beach and Car is notable since 

it’s a suite of three separate sections in fewer 

than six and a half minutes. Beginning with 

pleasant swing it moves up the scale as a 

violinist’s broken-chord stops are backed by 

double bass thumps. Slowing to mid-range, 

the piece climaxes with a contrapuntal do-sido 

involving the lower-pitched strings’ watery 

textures and the higher pitched ones’ aviary 

squeaks before a full band ending. Multiple 

tracks vibrate in tempos ranging from 

andante to prestissimo, with the two 

Explorations the freest ones, highlighting 

harsh bow strokes and col legno string 

scratches. Other tunes invoke flat line 

minimalism, some almost romantic 

formalism, while others feature the closest to 

a martial beat string plyers can attain. With 

three violinists, it’s only on Augur 44 when 

the others play violas, that Jesse Zubot’s 

contributions stand out. Turning spiccato 

squeaks every which way after introducing a 

hoedown-like theme, the other musicians 

then add Eastern European-like presto slides. 

Tension from Zubot’s string jumping doesn’t 

upset the narrative’s unfolding, since pressure 

is released first by a mellow tutti interlude 

and later by slapped and sliding asides from 

the bassist and cellist. 

Jesse Zubot is one 

of the Vancouver 

players duetting 

with Syrianborn 

local Emad 

Armoush, who 

plays oud, ney, 

guitar and vocalizes 

on Electritradition. 

Some tracks are a little too close to ethnic 

music, but when Armoush partners with 

experienced improvisers the result is a 

dramatic blend of West Coast and Middle East. 

Zubot’s spiccato slides and buzzes seem more 

accompaniment than point making when he 

plays. More notable are duets with Kenton 

Loewen which refine Levantine lyrics and 

drum beats. Loewen’s rough accents on Talah 

create tandem progression with Armoush’s 

guitar twangs; and this toughness is intensified 

on Hey Free Bop as clashing ruffs make 

ney peeps almost swing. Clenched guitar 

picking on Flamenco Strut emphasizes the 

title’s second word as trumpeter JP Carter’s 

strained triplets create a Middle-Eastern 

blues. Equivalent brass shakes and toneless 

breaths on Labshi mean that Armoush’s 

percussive picking combines the free improv 

as well as the traditional music world. 

String oriented, but not string exclusive, 

these discs confirm that unprecedented 

sounds are being created and recorded in 

British Columbia. 

Ken Waxman 


Cry Me a River 

Hilario Durán and his Latin Jazz Big Band 

Alma Records ACD90832 

(almarecords.com) 

! A sign of a truly 

great musician is 

the ability to not 

only capture the 

attention of the 

listener from the 

first note, but also to 

maintain that same 

level of rapture 

throughout an entire recording. Renowned 

pianist Hilario Durán’s long-awaited Latin 

big band album does just that, it captivates 

and thoroughly ensnares within the sizzling 

melodies and rhythms of these tunes. The mix 

of original compositions and covers with an 

interesting and refreshing twinge make for an 

ear-pleasing whole that is as vibrantly expressive 

and joyful as the changing colours of the 

autumn leaves. 

A defining element of this album is the 

way in which Durán’s improvisational and 

genre-crossing talents are highlighted within 

each piece. It’s absolutely enthralling to listen 

to how the star pianist throws in his own 

flavour to well-known jazz standards such as 

Dizzy Gillespie’s A Night in Tunisia, which 

takes on decidedly more Latin flavour, adding 

a renewed element energy and passion to 

the classic tune. Rhythmic grooves and 

scorching melodies interspersed with Durán’s 

prolific improvisational riffs create a delicious 

musical potpourri that will fill the soul 

and body of listeners. The bandleader hops 

between genres and bends pieces to his will, 

jumping from traditional jazz to modern and 

even funk with the utmost ease. Featuring a 

roster of great musicians such as Luis Mario 

Ochoa on guitar, Elizabeth Rodríguez on 

violin and Roberto Occhipinti on bass, this is 

a must-have for any jazz-lover’s collection. 

Kati Kiilaspea 

The Head of a Mouse 

Audrey Ochoa; various artists 

Chronograph Records CR-103 

(audreyochoa.ca) 

! We’re now in 

the midst of chillier 

fall weather and 

what better way is 

there to add some 

warmth to these 

colder days than 

by moving your 

body to some spicy 

music? Edmonton-based trombonist Audrey 

Ochoa’s latest release is sure to motivate you 

to do just that; a fiery, Latin fiesta packed 

into one 13-track package. This is the starlet’s 

fourth album as a bandleader and features a 

slew of all-star names, among them Sandro 

Dominelli on drums, Jeremiah McDade 

on tenor saxophone and Rachel Therrien 

on trumpet. Showcasing her talents as a 

composer, all tracks on the record are penned 

and arranged by Ochoa herself. 

Conceived during pandemic times, the 

trombonist mentions that her desire and 

goal for the album is for “current and future 

generations [to] experience [the] music as 

a unique musical creation that reflects the 

experiences of an artist during an unprecedented 

time.” The contrast between hope and 

joy, sorrow and defeat is apparent throughout 

the collection, with a melancholy tinge 

weaving its way through the melodies and 

rhythms. Ochoa’s compositions reflect the 

essence of life in general, that it has its peaks 

and valleys, yet they are exactly what makes 

us stronger in the end. In essence, the record 

is like a journey through the mind of a musician 

through the darkest of times, where 

new and different ways of creative expression 

must be found, through which the darkness is 

conquered and defeated. 

Kati Kiilaspea 

Shaping the Invisible 

Teri Parker; Luis Deniz; Andrew McAnsh; 

Mark Godfrey; Ernesto Cervini 

Independent (teriparkermusic.com) 

! Skilled pianist/ 

composer/arranger 

Teri Parker has just 

released a remarkable 

project that 

began as an immersive 

writing experience… 

sans any 

pre-conceptions, 

and yet rife with a wide variety of influences. 

With the exception of two exquisite tracks 

(Segment by Charlie Parker and Retrograde 

by British producer/vocalist James Blake), all 

compositions have emerged from the creative 

soul of Parker. As she has so succinctly said, 

“Music is just sound particles in the air, but it 

doesn’t exist until you make it exist.” Parker 

has assembled a fine complement here, 

including Luis Deniz on alto and soprano 

sax, Mark Godfrey on bass, Ernesto Cervini 

on drums and special guest Andrew McAnsh 

on trumpet. 

The opening salvo, Becoming (inspired 

by Michelle Obama’s memoire), is replete 

with a languid, mystical intro featuring the 

supple Deniz and McAnsh, which gives way 

to a stirring and rhythmic melodic line, 

imbued with the sheer beauty and power of 

Parker’s piano. McAnsh provides a stunner 

of a solo here, engaging fully with the solid 

rhythm section. The groovy-cool Humph was 

written in tribute to the late bop-saxophonist 

Dewey Redman and masterfully lauds his 

eccentric style and command of his instrument. 

Deniz shines on alto here, and also on 

Desolate Places, which is a sumptuous, lilting 

duet between Parker and Deniz on soprano. 

Parker’s Segment is also a stunner, rendered 

here with all bop sensibilities intact, but also 

informed by Parker’s contemporary view, 

as well as her highly intuitive comping and 

potent soloing. 

The closer of this fine recording, Strolling, 

is a sultry exploration, replete with a luscious 

solo by Parker and dynamic percussion 

by Cervini. Nimble bassist Godfrey is also 

featured, with Deniz serving as the magical 

glue which encircles and binds the ensemble 

in pure creativity. 

Lesley Mitchell-Clakre 

Someday 

Marc Copland Quartet 

Inner Voice Jazz IVJ107 

(marccopland.com) 

! This album 

Someday by Marc 

Copland is not 

only enigmatically 

entitled but 

is replete with 

music to match. 

Copland declares 

his intent right out 

of the gate, exploring music’s spectral nature 

with a gloriously wistful interpretation of 

Frank Churchill’s iconic song Someday My 

Prince Will Come, one of three standards on 

this album. 

The pianist twists the B-flat Major key of 

the song shaping the harmony from obtuse 

angles, setting up the narrative in gambolling, 

elliptical melodic lines, sharing the 

oblique harmonic variations with saxophonist 

Robin Verheyen. By the time drummer Mark 

Ferber stirs the proverbial soup with beautiful 

brush strokes and bassist Drew Gress adds a 

dusky rumble to the gossamer melody you 

know you’re in for quite the ride on this 

sparkling set. 

Verheyen’s song Dukish is wonderfully 

sprightly and receives a delightful treatment 

as the musicians react with seamless 

vibrancy. Saxophonist and pianist invite 

the bassist and drummer to apply rhythmic 

propulsion to the quick outer movements, 

passing lines deftly to the other musicians 

who know exactly when to dominate and 

when to lend support. 

As a composer, Copland gives us a ringside 

perspective on his magical writing through 

two other originals including the wonderfully 

spiralling Round She Goes. The song, 

propelled by a hypnotic four-note piano 

figure, builds in intensity as the musicians 

capture the urgent and plaintive power that 

makes Copland’s music – and this album – so 

ethereally beautiful. 

Raul da Gama 


Rituals 

Kelly Jefferson 

Cellar Music CMR022023 (cellarlive.com) 

! When the 

Canadian JUNO- 

Award winning star 

of the saxophone – 

curved or straight 

– Kelly Jefferson 

decides to bare key 

moments in the 

past decade or so of 

his life it must be something special. When 

he plays the momentous music with a stellar 

trio of his peers – pianist Amanda Tosoff, 

bassist Jon Maharaj and drummer Morgan 

Childs, whose idiomatic interpretations mark 

this music – then the album of songs does, 

indeed, become something truly special. 

The title of the album – Rituals – suggests 

a rite of passage for Jefferson. Each of the 

nine charts marks the memory of a milestone 

that, as the lyric of the iconic Sam Cooke 

song suggests “a change is gonna come,” or 

in Jefferson’s case, a change did, in fact come. 

What these events were, are poured into 

deeply songful charts by the saxophonist. 

Each is suited to a particular horn – tenor, 

alto or soprano – and his playing will drive 

listeners, happily, into a state of frenzy. 

Whether it be Kindling, or No Time Like 

The Present, or even Dimmer Switch, each is 

suited to his alternating ultra-virtuosity and 

languor. With hallmark rapid crescendos and 

decrescendos, accelerandos or decelerandos, 

sometimes within a few bars, almost as if a 

grenade has been tossed into the saxophone, 

Jefferson announces his unique musical charisma 

to us, his rapt audience. 

Tosoff, Maharaj and Childs, fully attuned to 

Jefferson’s vision, remain inspired choices to 

bring this music to fruition. 

Raul da Gama 

Hummingbird 

Ashley Wey 

Independent (ashleywey.bandcamp.com/ 

album/hummingbird) 

! When pianist, 

vocalist and 

composer Ashley 

Wey opened for the 

great Lisa Fischer 

(of Rolling Stones 

and 20 Feet From 

Stardom fame) 

in Wey’s hometown of Victoria in 2018, she 

wrote a song for the occasion, inspired and 

actually titled by Fischer! Thus, Hummingbird 

became the name of both the album and 

title track of Wey’s most recent release. It’s 

also her first to feature mostly original music 

(written over a 15-year period). 

Wey is an “uncategorisable” artist who, 

while firmly grounded in the jazz tradition, is 

equally at home in the worlds of alternative 

folk and indie pop – “genre-blending,” rather 

than genre-bending. I had the pleasure of 

hearing Wey perform live in Victoria this past 

spring, at Superior Jazz, a project by Victoriabased 

jazz vocalist, Heather Ferguson (whose 

debut album I reviewed in the Feb/Mar 2023 

WholeNote). Wey impressed me with her 

versatility, generosity, energy and playfulness, 

qualities, along with some of that genreblending, 

apparent throughout the album. 

An overriding feeling of expansiveness 

repeatedly came up for me in listening to 

Hummingbird. It’s there, in abundance, in 

the title track, as well as in other instrumental 

tracks, Sterioso, Initially and Finally and 

Destiny – a lovely, fluid, Metheny-esque expansiveness 

that I found beautifully compelling. 

Along with her solid piano work were 

Wey’s breezily playful vocals on that old 

nugget, Just Squeeze Me. I could “hear” 

her smiling! 

Joining Wey are her longtime trio 

collaborators, Louis Rudner on bass 

and drummer Nicholas Bracewell, both 

masterful. Hummingbird will indeed leave 

you humming. 

Sharna Searle 

Kind Mind 

Josh Cole; Karen Ng; Michael Davidson 

Cassiar Records CR02 (cassiarrecords. 

bandcamp.com) 

! Through much 

of jazz history, from 

New Orleans beginnings 

to free jazz, 

the music’s shifting 

character has been 

defined by relationships 

between 

formal structure 

and improvisation. In recent years that 

has changed, with some individual musicians 

embracing everything from completely 

composed to through-improvised forms. 

What distinguishes Josh Cole’s Kind Mind is 

not its place on the spectrum but the rough 

division into those extremes. 

Kind Mind, both CD title and band name, 

is bassist/composer Cole’s trio with Karen 

Ng (alto saxophone, clarinet and synthesizer) 

and Michael Davidson (vibraphone, marimba 

and pedals). That attention to sonic variety 

extends to Cole’s sampler, field recordings 

and synthesizer. Of 11 tracks on a concise 

38-minute CD, six are credited to Cole, five 

to the three trio members. Those credited to 

Cole emphasize overlapping melodic gestures 

spread among Cole, Ng and Davidson. The 

effect is both lyric and timeless, almost 

ambient, made by instrumental sounds as 

engaging as you might hear, all apparent in 

Cole’s opening The Subway with Ng largely 

reconfiguring melodic content. Next up, 

talking makes it worse, credited to all three 

musicians, is taut free improvisation, marked 

by Cole’s scratching pizzicato and the flow 

of passionate saxophone and abstract vibraphone. 

In two tracks, totalling just 6’30” Kind 

Mind has constructed two different musical 

worlds, with several more to come. 

With some variations that pattern 

repeats, but with some looping and extensive 

field recordings enriching the experience, 

becoming increasingly hypnotic. The 

dilemma for the reviewer? I found I could 

listen to it forever. 

Stuart Broomer 

The Speed of Time 

Andrew Rathbun; Gary Versace; John 

Hebert; Tom Rainey 

Steeple Chase SCCD 31950 

(andrewrathbun.com) 

! Andrew 

Rathbun is a saxophone 

player 

and composer 

who grew up in 

Toronto, earned 

a Master’s from 

the New England 

Conservatory 

in Boston and a PhD in Jazz Arts from the 

Manhattan School of Music. His compositions 

and performances have appeared 

on his own and others’ albums for over 20 

years. Rathbun states that the works on The 

Speed of Time are «all connected with how 

the world has unfolded over the past few 

years» and are «influenced by the strange 

fluctuations» of his «perception of time 

during that period.» 

The Speed of Time offers pieces that are 

both sophisticated and funky. For example, 

the title composition has a very grooving 

piano ostinato that leads to a melodically 

complex saxophone line; the solos 

swing while also showing a strong intellectual 

component. Rathbun has a forceful and 

urgent tone on tenor sax that is not overblown. 

Widen the Doorway injects some 

great sax harmonies to add colour and 

contains vibrant sax and drum solo work. 

Rathbun’s soprano sax on Wandering is 

clear and beautiful. He cites Wayne Shorter 

as an influence but on Velocity Unknown I 

also hear the playful lyricism of Steve 

Lacy. The Speed of Time is an excellent album 

greatly aided by the subtle and fiery musicianship 

of Rathbun, Gary Versace (piano) 

and Tom Rainey (drums). 

Ted Parkinson 

If I Had 

Curtis Nowosad; Andrew Renfroe; Luke 

Sellick 

Independent (curtisnowosad.com) 

! Curtis Nowosad, 

a drummer and 

composer born 

in Winnipeg and 

currently living 

in New York City, 

released his first 

album in 2019. 


In my WholeNote review of this eponymously 

titled work I stated its choice of covers 

such as Gil Scott-Heron’s Home Is Where 

the Hatred Is and Nina Simone’s Sea Line 

Woman combined “socially conscious history 

with assured jazz performances.” 

Nowosad has now released an EP called If 

I Had containing covers of four songs by 

Nick Drake (Road), Pete Seeger (If I Had a 

Hammer), Jimmy Webb (By the Time I Get 

to Phoenix) and Stevie Wonder (Heaven is 

10 Zillion Light Years Away). These choices 

follow his tradition of mixing great classic 

songs with ones that are socially conscious. It 

is a pleasure to listen to these interpretations: 

Andrew Renfew’s guitar work is gorgeous 

and really shines on Phoenix while Luke 

Sellick (bass) and Nowosad (drums) offer 

complex and solid backing. Nowosad throws 

in seemingly effortless fills while keeping a 

solid and funky groove. 

Ted Parkinson 

Magnetic Dreaming 

Triio 

ER ER005 (alexfournier.bandcamp.com) 

! Extended plays 

can often be too 

concise, tapering 

off right as they 

begin, inviting a 

listener too late 

to an event that 

had long reached 

its peak. Triio’s 

Magnetic Dreaming follows you from the 

beginning, immediately arresting by means of 

hypnosis; vibraphone suggestions over chillinducing 

ambient guitar swells. The music 

itself is a six-part suite – recorded during the 

sessions of last year’s longer Six-ish Plateaus 

– and rather than sounding like an accessory, 

it absolutely flourishes on its own terms. Its 

form is said to be influenced by “dream logic,” 

which is almost a perfect description of these 

woozy yet gentle transitions between states of 

consciousness. Each passage blends into the 

next with incredible patience, leaving one to 

float between its many dimensions, completely 

oblivious to where they just arrived from. 

Alex Fournier’s steady bass intro on the 

climactic What Cycle or Identity, in Lie 

Group or Waking sounds like it’s emanating 

from the core of the Earth, creating a 

strong sense of unease that clenches the gut. 

As Stefan Hegerat’s drum groove borders 

increasingly on live turntablism, Bea Labikova 

and Naomi Carroll-Butler’s dual saxophoneclarinet 

attack remains steadfast; apocalyptic 

whispers piercing through a warm film 

noir fog. Tom Fleming (guitar) and Michael 

Davidson (vibraphone) lay an intoxicating 

foundation on the EP’s intro that, when 

scrubbing through each track, flows into 

each subsequent second supernaturally, with 

every drone feeling like a return flight to the 

mothership. 


The Magnificent 

Brad Turner Quintet 

Cellar Music CM011523 (cellarlive.com) 

! All nine of the 

compositions here 

were penned by 

Brad Turner, with 

Cory Weeds and 

Turner producing. 

The title is 

an homage to a 

late great trumpeter, 

harkening back to the 1956 Blue Note 

release, The Magnificent Thad Jones. For this 

project, Weeds encouraged Turner to select 

a “band of his dreams” which, in addition 

to Turner on piano and trumpet, includes 

Weeds on tenor saxophone, Peter Bernstein 

on guitar, Neil Swainson on bass and Quincy 

Davis on drums. 

First up is the melodic You’re OK, replete 

with a stunner of a trumpet solo from Turner. 

His tone, intonation, ideas, expressiveness 

and sheer technical skill are mesmerizing. 

The equally gifted Bernstein seems to sing 

through his guitar, using all of the possible 

emotional colours. Next is Barney’s Castle 

– an up-tempo, bop burner, in which the 

ensemble moves as a one-celled organism, 

gliding through dynamic, unison horn lines. 

Weed’s exquisite sound and rhythmic sensibility 

create a heady mix and Davis masterfully 

drives the ensemble down the pike, 

while Swainson establishes the tempo in his 

unique, potent way. 

Another standout is the languid and sultry 

Virtue Signals. Turner has said that this track 

is “simply a complete chromatic scale (though 

ornamented and disguised) in descent” – 

and yet the lithe beauty of the composition 

is palpable. Bernstein shines here, as does 

Turner on piano. The title track does not 

disappoint, and the cohesion of the musicians’ 

ideas and approach are nothing short 

of luminous. A true highlight is the almost 

unbearably gorgeous Theme for Jocie – a 

ballad written for Turner’s partner and fellow 

trumpeter Jocelyn Waugh, where Turner 

wraps his warm, evocative, trumpet sound 

around every note. 

Lesley Mitchell-Clakre 

The Drip 

Rubim de Toledo 

Independent (rubim.com) 

! If there exists 

one word to try and 

encapsulate the 

sheer abundance of 

groove in The Drip, 

it would be “punch” 

(“pop” would be 

a close second). 

In any case, this 

descriptor would need to be of the onomatopoeic 

variety, because this album is a verb, not 

a noun. Nine tracks of back-to-back-to-back 

momentum and drive, every break in the 

sonic stream implies re-entry. Syncopated 

bliss, tracks like Rhythm Chante deploy 

Karimah’s repeated phrases and Audrey 

Ochoa’s staccato trombone blasts to paint the 

proverbial town electric. One cannot help 

but feel that the totality of this experience is 

tailor-made to be taken beyond the studio, 

into a live space befitting its live energy. 

Switching between upright and electric 

bass, Rubim de Toledo is a curator of low 

end, opting with upright when more percussive 

attack is desired, and amping up when 

emphatically doubling horn lines. Across this 

galaxy of funk, it is de Toledo that remains 

integral to the sound of the ensemble. 

As much as there are standout tracks 

throughout, the elephant in the room here 

is certainly The Long Way (Up). Contrasting 

beautifully against the gauntlet of upbeat 

punchiness that proceeds it, this song has a 

very minimalist intro courtesy of guitarist 

Felix Tellez’s sustained arpeggios and Jamie 

Cooper’s ride cymbal alchemy. Just as that 

initial build to a climax begins to feel inevitable, 

Rubim de Toledo yanks on the reins and 

brings us home. 


Canons 

Lina Allemano 

Lumo Records LM 2023-15 (linaallemano. 

bandcamp.com) 

! Trumpeter/ 

composer Lina 

Allemano’s interest 

in the canon form, 

in which parts are 

repeated exactly 

within a composition, 

surfaced on 

her recent quartet 

CD, Pipe Dream, but here the form appears 

in various permutations, both in composed 

works with elements of improvisation 

and a series of improvisations by BLOOP, 

Allemano’s duo with Mike Smith contributing 

live processing and effects. While some 

playfulness is evident, Allemano’s expressive 

focus provides reflective balance. 

The opening 3 Trumpet Canon introduces 

a pattern of expanding complexity, one overdubbed 

trumpet following another until 

the initiating horn is sputtering a series of 

barely articulated sounds, the other parts 

following. There’s more playful creativity 

with German trombonist Matthias Müller 

as he and Allemano match wits on the duet 

of Canon of Sorts, while Bobby’s Canon, 

with cellist Peggy Lee and clarinetist Brodie 

West, is elegant chamber music. Butterscones 

and Twinkle Tones, with frequent collaborators 

bassist Rob Clutton, synthesist Ryan 

Driver and guitarist Tim Posgate emphasize 

collective creativity. 

The alternating improvised tracks by 

BLOOP are highlights, with Allemano’s spontaneous 

melodies “canonized” and altered 


in Mike Smith’s electronic repetitions and 

distortions, whether he’s slowing down the 

trumpeter’s phrases on Shadows or distorting 

and muffling her phrases within seconds 

of Wilds’ outset. On Moons, Smith turns 

Allemano’s shifting phrases and tonal explorations 

into a compound canon, while the 

concluding Ponds is also the richest track, 

with the keening lyricism of her trumpet 

lines multiplying in a warm universe. 


SOG 

Lina Allemano; Uwe Oberg; Matthias 

Bauer; Rudi Fischerlehner 

Creatives Sources CD 777 CD 

(creativesourcesrec.com) 

! Having fully 

integrated herself 

into the burgeoning 

Berlin free improv 

scene, Toronto 

trumpeter Lina 

Allemano helps 

make SOG a 

memorable instance of stretching instruments 

to their limits without losing cadenced evolution. 

Associates are Germans, bassist Matthias 

Bauer and pianist Uwe Oberg and Austrian 

percussionist Rudi Fischerlehner. 

Consisting of three extended tracks and 

a brief encore, the music touches on delicacy 

as well as dissonance. The former 

quality is expressed when focused trumpet 

grace notes brush up again chiming piano 

lines promoting quiet interludes among the 

generally invigorating sounds. A colourist, 

Fischerlehner’s wooden clave slaps, bell 

shakes and idiophone rattles pace the expositions, 

while Bauer’s sluicing bass line 

provides a proper pulse. That leaves space for 

Oberg and Allemano, who take full advantage. 

Expressive at varied tempos, the pianist 

sweeps from singular clips to extended glissandi 

with ping-ponging emphasis maintaining 

linear flow. Allemano meets Oberg 

and Fischerlehner’s rhythmic animation on 

Il Vortice with squeaky slides and bitten off 

single notes. The extended El Remolino finds 

her intermittently exposing the melody above 

drum punches and keyboard rumbles as she 

slides through a practice book of technical 

development including hand-muted squalls, 

clenched teeth growls and half-valve spits. 

Like Oberg though she makes the exposition 

less about technique and more about 

emotional transference. 

There’s no indication of what SOG translates 

to in any language. Maybe it stands for 

Session Obviously Good – but that slogan 

might itself be too limiting. 

Ken Waxman 

Nighttime Creatures 

Angelica Sanchez Nonet 

Pyroclastic Records PR30 

(pyroclasticrecords.com) 

! Expatriate 

Canadian Kris 

Davis is developing 

her Pyroclastic 

record label into 

a stellar chronicle 

of a contemporary 

jazz idiom that’s 

often as distinguished 

by compositional content as improvisatory 

flair. The latest enlistee is Angelica 

Sanchez, a fellow pianist-composer whose 

intensely lyrical small-group work has been 

documented over the past two decades. Here 

Sanchez makes a dramatic leap as a composer, 

writing for a nine-member ensemble, while 

drawing inspiration from a nocturnal forest 

far from her New York City home. 

Rather than typical nocturnes, Sanchez’s 

compositions abound with contrast, from 

subtle dissonances to complex rhythmic 

overlays. There is a jagged spikiness to C.B. 

the Time-Traveler and waves of dissonant 

polyphony on Land Here, all of it somehow 

framed in discovery and surprise. Ring Leader 

moves from a rhythmically even guitar line 

with sudden brass punctuations to an improvised 

duet of multiphonic tenor saxophone 

and drums. 

While her fleetly inventive, sometimes 

multi-directional piano can come to the fore, 

Sanchez also surrounds herself with musicians 

whose individual voices go beyond 

ensemble skills, including saxophonists 

Michaël Attias and Chris Speed. Two musicians 

bring particularly unusual instruments 

to both ensemble and solo roles, Ben 

Goldberg his contra alto clarinet and Thomas 

Heberer his quarter tone trumpet. 

Occasionally referencing Carla Bley, 

Sanchez also includes works by two other 

composers, performing Duke Ellington’s 

Lady of the Lavender Mist and Chilean 

composer Armando Carvajal’s Tristeza, a 

mysterious wandering through the ensemble’s 

individual voice before an ultimate 

collective theme statement. 


Continuing 

Tyshawn Sorey Trio 

Pi Recordings 98 (pirecordings.com) 

! In 2022 

drummer/composer 

Tyshawn Sorey, 

largely associated 

with extended 

composition and 

cutting-edge free 

jazz, added another 

dimension to his 

wide-ranging practice, creating a traditional 

jazz trio with pianist Aaron Diehl and bassist 

Matt Brewer to explore the broad repertoire 

of mainstream modern jazz. It began with 

Mesmerism and continues here. 

The trio emphasizes understated virtuosity, 

developing themes with an almost orchestral 

feel, reminiscent of classic piano trios 

led by Duke Ellington, Ahmad Jamal and Red 

Garland in ways that expand both form and 

interaction. The possibilities for depth are 

enhanced by slower tempos and extended 

lengths (from 10’25“ to 15’43”). The trio isn’t 

simply playing these pieces: they inhabit 

them. 

Wayne Shorter’s Reincarnation Blues is 

magisterially slow, the tempo emphasizing 

the precise sonority of each instrument, 

represented almost equally in the mix, Diehl’s 

punctuating chords and phrases delivered 

with trumpet-like brightness. By the conclusion, 

the listener is swimming in Diehl’s 

dense arpeggios and clusters while Sorey 

and Brewer maintain a rock-solid architecture. 

The program only gets richer with 

Ahmad Jamal’s Seleritus, at once elegant and 

spare, initially highlighting Brewer’s bass. 

Matt Dennis’ Angel Eyes resides in a tradition 

of exalted ballads, while In What Direction 

Are You Headed? by the late pianist Harold 

Mabern, a teacher of Sorey to whom this CD 

is dedicated, demonstrates the persistent 

relevance of classic soul jazz, as codified by 

Horace Silver and Bobby Timmons. 

Like its predecessor, Continuing is music to 

be savoured. 


POT POURRI 

Walking Through Fire 

Indigenous Collaborations with Sultans of 

String 

Independent MCK2301 

(sultansofstring.com) 

! This powerful 

project is the result 

of inspired musical 

and poetic collaborations 

between 

an array of gifted 

Indigenous artists 

from a wide variety 

of musics and tribal 

identities, and the highly regarded, multiple 

award-winning Sultans of String, which 

includes producer Chris McKhool on violin 

and viola, producer Kevin Laliberte on nylon-, 

steel-string and electric guitars, Drew Birston 

on electric and acoustic bass and Rosendo 

“Chandy” Leon Jr. on drums and percussion. 

These diverse artists – Indigenous and nonindigenous 

have joined together in the spirit 

of the Truth and Reconciliation Commission’s 

94 Calls to Action and Final Report, which 

sparked the co-creation of Walking Through 

Fire – the title of both the CD and live touring 

performances, which began on the National 

Day for Truth and Reconciliation this year. 


There are 14 original tracks here, each 

inspiring, thought-provoking and brilliantly 

produced. Works of particular beauty 

include A Beautiful Darkness featuring 

Ojibwe vocalist Marc Märileinen, backed 

by a thrilling wall of sound, punctuated by 

McKhool’s haunting violin lines; Kó, with 

luminous and resonant vocals by Dene artists 

Leela Gilday and Leanne Taneton and The 

Rez – a deeply moving ballad featuring both 

rock and fiddling motifs alongside a stirring, 

soulful vocal from young, contemporary 

Ojibwe performer Crystal Shawanda. 

Also unforgettable is the soul-searing 

Take Off the Crown, where the incomprehensible 

horror of the murdered children is 

explored in a place beyond tears, introduced 

by “Digging Roots” member Raven Kanatakta 

(Anishinaabe Algonquin/Onkwehón:we 

Mohawk). Our Mother The Earth is also a 

gem, featuring masterful work from the 

Sultans of String as well as the vocal gravitas 

of the eminent Dr. Duke Redbird (Chippewa/ 

Anishinaabe). This project is a rare gift from 

all of the artists involved… the gift of creativity, 

collaboration and hope for our future. 

Lesley Mitchell-Clarke 

Satyam 

Vineet Vyas 

Independent (vineetvyas.com) 

! Toronto-based 

tabla virtuoso 

Vineet Vyas’ musical 

path encompasses 

both the Canadian 

East Coast and 

one of the preeminent 

music traditions 

of India. Born 

into a family of 

Hindustani classical musicians in Nova Scotia, 

he began lessons on the tabla early. 

Already showing promise, in 1987 his 

studies modulated to the next level. That year 

he began instruction in the traditional gurushishya 

parampara manner with tabla master 

Pandit Kishan Maharaj in Varanasi, India. 

Vyas credits that intense training and sadhana 

(dedication) to his guru for enabling him to 

establish himself as a tabla musician on the 

international stage. 

Vyas’ seven-track album Satyam, his 

third solo outing, was nominated for Global 

Recording of the Year at the 2023 (Canadian) 

East Coast Music Awards. Satyam – a Sanskrit 

concept referring to examining the truth – 

musically evokes the Hindu myth of princess 

Savitri, her husband prince Satyavan and their 

struggle with Yama, the goddess of death. 

Spoiler alert: after extensive musical conflict, 

the last track resolves in a peaceful coda. 

While the record features Vyas’ tabla 

mastery throughout, Satyam also leans 

heavily on seven skilled musicians who 

provide melodies based on Hindustani ragas. 

They contextualize, support and sometimes 

also defy the often sonically dense and 

mathematically intense drumming. In addition 

to the gripping Savitri narrative, Ajay 

Prasanna (bansuri), Rajib Karmakar (sitar), 

Pankaj Mishra (sarangi), Justin Gray (electric 

bass) and Bageshree Vaze (vocals) make 

substantial contributions to Satyam’s success 

as a listen-through album. 

Andrew Timar 

Wanderlust 

Lara Deutsch; Adam Cicchillitti 

Leaf Music LM269 (leaf-music.ca) 

! During the 

mid-2010s I went 

to New York to 

research an article 

about some of the 

unusual characters 

that dot the historical 

jazz landscape. 

After a considerable 

crosstown public bus journey one day, 

I found myself sitting across from Bernard 

Stollman, whose career and life is too fantastical 

and wide-ranging to discuss here. Briefly, 

however, I was speaking to Stollman about 

that incredibly fertile 18-month period from 

1963 to 1965, when he oversaw and released 

45 largely freely improvised albums on his 

label ESP-DISK. Although the label would 

become best known for its association with 

Albert Ayler and Sunny Murray, ESP-DISK’s 

first release was Ni Kantu En Esperanto (Let’s 

Sing in Esperanto), a vocal album capturing 

a collection of folk songs in that “universal 

language” created by L.L. Zamenhof in 1887. 

What, you may ask, does any of this have 

to do with Wanderlust, the terrific Leaf 

Music collection of folk pieces by flutist Lara 

Deutsch and guitarist Adam Cicchillitti? I 

suppose it is that while enjoyably listening to 

this 2023 recording – which threads together 

eight disparate pieces representing a multiplicity 

of musical regions and cultures by way 

of gorgeous playing, telepathic musical interaction 

and two expertly cultivated instrumental 

sounds – I was again reminded that 

Zamenhof’s quest for a “universal language” 

had, in fact, already been realized. It’s called 

music. This aptly named travelogue recording, 

treats the music of Argentina, Romania, Japan 

and elsewhere with the equity of aplomb and 

care it deserves, foregrounding beauty while 

ensuring that nothing is lost in translation. 

Andrew Scott 

My Heart Speaks 

Ivan Lins 

Resonance Records 

(resonancerecords.org/product/ivan-linsmy-heart-speaks-cd) 

! All of the 

compositions 

here were written 

by the esteemed 

Ivan Lins (who 

has penned more 

than 600 tunes 

in his illustrious 

50-year career), 

and all arrangements are by Kuno Schmid. 

Lins’ dynamic core ensemble includes Josh 

Nelson on piano, Leo Amuedo on guitar, 

Carlitos Del Puerto on bass and Mauricio 

Zottarelli on drums and percussion, as well 

as the gorgeous inclusion of the Republic 

of Georgia’s Tbilisi Symphony Orchestra, 

conducted by Vakhtang Kakhidze. The 

recording was produced by Schmid and 

George Klabin and the stunning CD package 

itself features compelling liner notes from 

the eminent author and arts journalist, 

James Gavin. 

The first selection is the sumptuous Renata 

Maria, which features Lins’ recognizable 

tenor in a lovely melodic foray, enhanced by 

lush symphonic string lines, a superb guitar 

solo by Amuedo and Lins’ palpable sense of 

joy. Next up is the title track, replete with 

a luminous Dianne Reeves sailing directly 

into the listener’s heart, effortlessly wielding 

her languid and sultry-four octave range. 

Congada Blues features the core ensemble, 

and surrounds us with a deep, percussionenhanced 

tribal resonance, punctuated by a 

fine bass solo from Del Puerto. 

Other beauties here include the up-tempo, 

jazzy cooker Easy Going, the melancholy 

waltz, Corpos (Bodies) and Missing Miles, 

which features perhaps the most lush and 

thrilling symphonic elements on the project, 

as well as a superb wordless vocal from Lins 

and a deeply moving, muted solo from trumpeter 

extraordinaire, Randy Brecker. The 

final track, Nada Sem Voce (Nothing Without 

You) returns the music to the essential unit 

of piano and rhythm section – rendering 

it all the more emotional and directly 

communicative. 

Lesley Mitchell-Clarke 

Poetry is Blood 

Keith Garebian 

Independent KGCD2301 

(kgarebian@gmail.com) 

! Much in the 

same way that 

musical improvisation 

is sometimes 

referred to as “liquid 

composition,” and, 

conversely, composition 

as “frozen 


improvisation,” there exists a simpatico relationship 

to the best poetry and musical 

collaborations. Great poetry is indeed 

musical, and the best musical offerings poetic. 

Although prior to listening to the 

thoughtful, and thought-provoking, 

recording Poetry is Blood by Keith Garebian 

(with musical contributions from the great 

Ernie Tollar), my reference for successful 

fusions of poetry and jazz was limited to Jack 

Kerouac’s October in the Railroad Earth or 

American Haikus, where the late Beat writer’s 

prose is accompanied by some combination 

of Steve Allen, Al Cohn, and Zoot 

Sims. While admittedly genre non-adjacent 

to my aforementioned Kerouac reference, 

Garebian’s 2023 release, supported 

by a Mississauga Arts Council grant, is an 

equally compelling offering. Presenting 18 

poems taken from some 40 contained within 

Garebian’s 2018 book of the same name, 

this recording explores both dark and introspective 

themes as related to the ongoing 

Armenian genocide. As such, engaged 

listeners once again bear witness to the 

power of art to comment upon, contextualize 

and humanize tragic events that, in 

our 24-hour news cycle, may wax and wane 

in our collective imagination, but are nonetheless 

important to be reminded of and 

educated about. 

Read by the author in his fine voice and 

accompanied by Tollar on both flute and 

percussion utilizing a call-and-responsive 

trope of effective musical communication, 

the recording is not an easy listen, given the 

sobering magnitude of the subject matter. But 

for those looking to expand their knowledge 

of this unfolding world event through deeply 

personal and effective poetry and creative 

reflection, this recording comes highly 

recommended. 

Andrew Scott 

Something in the Air 

Multiple disc sets offer space for 

retrospection and innovation 

KEN WAXMAN 

Trying to release more music than fits on a conventional album 

has been a situation artists have faced since the invention of 

recorded music. Although advances in technology now offer 

more space; exposing multiple artists’ ideas and/or exhibiting the 

scope of a career, call for more than one disc. That’s what these 

multiple disc sessions offer. 

Born in 1942, UK saxophonist Alan 

Skidmore’s career has encompassed mainstream 

jazz with big bands and combos; 

studio work; R&B bands; early fusion; 

exploratory free music; and contemporary 

improvisation. Like players such as New 

York’s Dave Liebman and Toronto’s Pat 

LaBarbera, John Coltrane’s influence has 

been Skidmore’s touchstone. A Supreme 

Love (Confront Core Series Core 33 confrontrecordings.com.bandcamp.com/) 

shows his adaptation of the style in various settings on 

six CDs and 46 tracks from 1961 to 2019. If there’s one axiom that’s 

clear from the discs, it’s that Skidmore does his best work when challenged 

by other strong personalities, rather than being the focus of 

attention. Despite notable excursions on soprano saxophone, his most 

assured playing also a comes as a tenor saxophonist. While there may 

be a few too many tunes associated with Coltrane here, Skidmore’s are 

honest interpretations with flashes of originality. His ballad style on 

song standards can’t be faulted, but a combination of familiar material 

played with lugubrious sounding usually Continental big bands 

weighs down the performances. Two one-offs are particularly instructive. 

During a 1971 jam with Weather Report – keyboardist Joe 

Zawinul, percussionists Alphonse Mouzon and Dom Um Romao, 

soprano saxophonist Wayne Shorter and bassist Miroslav Vitous – his 

building solos help push the others towards unhyphenated pure jazz 

not the slicker fusion tropes dominated by keyboard tinctures the 

band helped to create and solidify. Seventeen years later he jammed 

with Elvin Jones, the drummer in Coltrane’s classic quartet on a 

simple blues, where he faced off against tenor saxophonist Sonny 

Fortune of the drummer’s working group. Propelled by Jones’ faultless 

beat that dovetails into an extended and propulsive solo, Skidmore 

demonstrates how he could have fit in Trane’s bands. Still, the most 

distinctive playing is in tracks featuring the all-saxophone free music 

SOS trio with himself, alto saxophonist Mike Osborne and baritone/ 

soprano saxophonist John Surman; and a brief reprise with just 

Surman; quintet improv alongside Canadian trumpeter Kenny 

Wheeler in 1969 and 1980; plus fruitful individual meetings with 

fellow tenor saxophonist Paul Dunmall or drummer Tony Levin. 

Harmonized, 1974’s Country Dance by SOS shows how reed blending 

creates sounds both Arcadian and avant. The 1991 Skidmore-Surman 

three-track reunion is more coordinated, faster-paced bluesier and 

jazzier. The Wheeler tracks were the height of modernity in 1969 with 

the trumpeter more ebullient than remembered, a fiery rhythm 

section and the saxophonist negotiating the evolution from emotional 

hard bop to the ping-ponging textures of free jazz. By 1980, playing 

his own Just Once with a more intense rhythm team, Skidmore 

pushes himself further outside with bent notes and smears as Wheeler 

squeaks out positioned triplets, although exploratory sounds are 

embedded within linear evolution. Oxford Road #13 with Levin and 

Skidmore both initially playing percussion instruments, until 

Skidmore trills and snorts out the extended exposition on sax, 

confirms that in 1977 he was still exploring new sounds and methods. 

Dunmall, slightly younger than Skidmore, but whose style comes out 

of Coltrane as well, is emboldened by the backing of long-time associates 

Levin and bassist Paul Rogers on 1985’s Modal Tonic. The friendly 

battle includes a roistering drum detonation, features enough ferocious 

reed bites, wide cadenzas and soaring squeaks to satisfy any 

Postmodern sax fancier and climaxes with a distinctive a cappella face 

off with each saxist vying to outdo the other in invention. Leapfrog to 

2019 and another rhythm section backs Skidmore, tenor saxophonists 

Ed Jones, Howard Cottle, other Trane interpreters during more than 

30 minutes of intense deconstruction of two Coltrane classics. 

Energetic, with pianist Steve Melling’s dynamic note clipping spurring 

them on, dynamic motions define each player’s soloing until all reach 

the heights of near sonic ecstasy while maintaining the tunes’ 

thematic nubs. 

Taking place over three days in Kraków 

rather than multiple decades, The Small 

Group Formations (NotTwo MW 1027-2 

Nottwo.com) is a slightly misnamed six-CD 

set celebrating the 50th anniversary of 

bassist Barry Guy’s London Jazz Composers 

Orchestra (LJCO). Consisting of 17 musicians 

from Switzerland, Spain, Germany, 

Norway, France and the UK, the first four 

discs showcase the dazzling and intricate styles of individual LJCO 

members in formations ranging from duos to sextets, while the final 


discs are full-band performances of Guy’s compositions, Flow I and 

Flow II and Harmos–Kraków. Especially on the latter piece, singular 

reflections such as Swiss percussionist Lucas Niggli’s brace of noise 

makers couple with linear ruffs; German Konrad Bauer’s and Brit 

Alan Tomlinson’s bouncing flutters and portamento blasts; Spanish 

pianist Agustí Fernández’s sly comping; and UK tenor saxophonist 

Simon Picard’s linear routes contrasted with Swiss alto saxophonist 

Jürg Wickihalder’s more delicate options are expressed in solo breaks 

that are brief but more orchestrally integrated than in the smaller 

formation. Harmos–Kraków is arranged with a symphonic flair, 

linking the leitmotifs of the initial theme statement which appear 

through to compositional evolution and a restatement at the climax. 

Plus the additional players mean that the program includes as many 

passages of polyphonic connective swing as miasmatic fragmentation 

and exuberance. Interludes include heraldic fanfares from the sixmember 

brass section and screaming and sway group section work 

from the five-person reed section. There’s slightly less intensity on the 

two Flow variations. But that’s before the entire group is involved in 

dynamic interpretations including a reed overlay of honks and smears, 

shuddering brass triplets and slick piano glissandi, the piece begins as 

a face-off between Guy’s moderated, but rugged double bass thumps 

and slaps and stunning string bending from violinist Phil Wachsmann 

involving whiny spiccato runs, pizzicato plucks and picking and a 

brief hoedown pivot. Overall, the set provides a complete LJCO sound 

picture in micro and macro forms. 

Similar instrumental virtuosity, but 

expressed in a minimalist fashion, is what 

distinguishes next generation improvisers 

from those of the LJCO as the three-CD set 

Live at Plus-Etage Volume 1 (New Wave of 

Jazz nwoj 0060 newwaveofjazz.bandcamp. 

com/album/live-at-plusetage-volume-1) 

demonstrates. The duos of trumpeter/flugelhornist 

Charlotte Keeffe and drummer 

Andrew Lisle from the UK; double bassists Martina Verhoeven from 

Belgum and Portuguese Gonçalo Almeida; and the trio of Belgian 

guitarist Dirk Serries, UK violist Benedict Taylor and German saxophonist 

Stefan Keune show that collaborating improvisers are as international 

as always and with one CD for each configuration, all have 

space to display what they can do. Except for an unaccompanied interlude 

of cymbal vibrations and drum rumbles during the second and 

concluding set Lisle mostly limits himself to claves-like resonations, 

bass drum plops and rim shots accents. That way the figurative spotlight 

shines on Keeffe’s brass prestidigitation. Emphasizing non-valve 

movement breaths, broken-chord smears, aviary-like peeps, throaty 

squalls and tremolo brassiness her spikey asides don’t preclude portamento 

affiliation however. As much as her tongue jujutsu, swerves 

and swallows exposing usually unexplored inner portions of her 

horn’s lead pipe for unexpected tone variations each time sections 

are repeated, passages of near-lyrical melodies and feathery brassiness 

are also heard. Vaguely related to the William Tell Overture, a riff 

that gallops through her improvised variations during the first set is 

sounded again before the concert is completed adding a connective 

leitmotif. Contrasting arco and pizzicato techniques characterize the 

Verhoeven/Almeida single track as they constantly switch roles with 

buzzing spiccato tones from whistling screams to woody rubs met 

with repeated strums and lowing stops that sometimes approximate a 

washtub bass’ single-string thud. More sophisticated than that primitivism, 

the sequences include interludes of ratcheting slices, string 

pops, vibration of implements placed among the strings, and heightened 

pressure that suggests the bow is cutting through the instrument’s 

wood finish. During the penultimate section bell shakes and 

ratcheting whirs add novel patterns as stropped strings expose the 

highest pitches and col legno pops the lowest. Eventually billowing 

arco strokes are heard from both, which gradually fade from staccato 

to connective. Interestingly enough, the two improvisations 

from three players seem most separated. The transformative program 

includes multiple instances of almost complete silence, while, except 

near the conclusion where Serries unleashes a string of mandolinlike 

twangs, the guitarist restricts himself to connective comping. 

Emphasis is on how Keune’s often singular irregularly vibrated split 

tones and narrowed peeps meet Taylor’s equally jagged bow slices, 

stops and sul tasto pressure. Although the two confront one another 

head on at intervals, fury among the calm is commonly given over to 

sequential timbral elaboration. Emphasizing melodic and rhythmic 

ambiguity, alternating expressions include the saxophonist’s dexterous 

bubbling trills, tongue stops and vibrated tone scoops, while the 

violist’s strained glissandi and squeaky rests are as distinctive as they 

are numerous. Preceding and expanding on the guitarist’s one showcase, 

linear advancement is emphasized in a climatic motif as pointed 

string scrubs, reed whorls and finger-style guitar chords are patched 

together. 

Sometimes exemplary creativity must be expressed in larger than 

usual forms and these multiple sets prove that truism. 

FROM THE ARCHIVES 

Tchaikovsky – Eugene Onegin (Glyndebourne) 

Soloists; London Philharmonic Orchestra; Andrew Davis 

Opus Arte OA1374D 

(naxos.com/Search/KeywordSearchResults/?q=OA1374D) 

! Glyndebourne, England’s private opera 

house is close to 90 years old, supported 

entirely by private donations. It was established 

in 1934 by John Christie on the principle 

“Not just the best we can do, but the 

best that can be done anywhere!” and ever 

since it has been a great honour for any 

artist to be invited as a guest of the Christie 

family. In 1994, they built a state-of-the-art 

opera theatre, and this archive production is 

from the very first season in 1994. 

Tchaikovsky’s masterpiece, this most 

beautiful of Russian operas, is based on 

Pushkin’s epic poem which is a morality tale. Tatjana’s innocent 

love is rejected by a bored, high-handed Onegin but later he regrets 

it bitterly. Now desperately in love himself he is rejected by Tatjana 

who in the meantime has become rich and married into high society. 

During the opera Onegin because of a foolish, jealous quarrel even 

kills his best friend in a duel that he regrets all his life. Tatjana’s rejection 

is the ultimate tragedy for him. Sad story. 

The director, the late Sir Graham Vick rightly concentrates on 

two key scenes, the two rejections and emphasizes the alienation 

between Onegin and Tatjana. The stage is empty except for two 

chairs diagonally opposite at either end, as if they don’t even want to 

listen to each other and hear the pronounced rejection. 

Woytech Drabowitz, a mellifluous baritone is an elegant Onegin; his 

friend Lensky is Martin Thompson, a passionate tenor, whose famous 

aria before the duel is movingly sung. The crucial Letter Scene is sung 

passionately by Elena Prokina (Tatjana) and basso profundo Frode 

Olson as Prince Gremlin, who sings proudly to Onegin about how 

much he loves Tatjana in another highlight. All these are interspersed 

with the dances Tchaikovsky is so famous for, the lovely Waltz and the 

Mazurka in the second act and the gorgeous Polonaise in the finale. 

The London Philharmonic in the orchestra pit is conducted sensitively 

by Toronto’s beloved Sir Andrew Davis. 



FROM THE ARCHIVES 

Elgar & Lalo Cello Concertos 

Ofra Harnoy 

Sony Classical 19658824342 (ofraharnoy.ca) 

! There’s a fascinating story behind the 

release of Ofra Harnoy Elgar & Lalo Cello 

Concertos. When Harnoy joined the international 

artists roster of RCA Victor Red Seal 

in 1987, she became the first Canadian classical 

instrumental soloist since Glenn Gould 

to gain an exclusive worldwide contract with 

a major record label. The Elgar was recorded 

with George Pehlivanian and the London 

Philharmonic Orchestra in April 1996 at the Abbey Road studios, 

but was never edited and released, apparently due to the ending of 

Harnoy’s association with RCA/BMG, now part of Sony Classical. 

After repeated enquiries and searches over the years the master 

tapes were finally located in 2022. Fortunately, notes from the sessions 

survived, and the original producer, Andrew Keener, was available 

to advise Harnoy’s husband and manager Mike Herriott, who edited 

the tapes in their own home studio. Ron Searles of Red Maple Sound 

in Toronto mastered the final edit, as well as remastering the Lalo 

Concerto in D Minor, a reissue of the 1995 recording with Antonio de 

Almeida and the Bournemouth Symphony Orchestra. 

In an interview just after the recording sessions Harnoy said that 

the Elgar “is one of those pieces that just wrings me dry; I always end 

up crying.” It’s a truly beautiful performance, emotionally searching 

and full of warmth. There is also a direct link to Jacqueline du Pré, 

with whom the concerto is inextricably associated, through mutual 

teacher William Pleeth as well as Harnoy’s participation in a du Pré 

masterclass. 

Lalo’s Concerto in D Minor was recorded at the Poole Arts Centre 

in Dorset in May of the previous year. It’s a fine addition to a significant 

release. 

Terry Robbins 

CHRISTMAS IS 

ALMOST HERE! 

From great Christmas 

recordings to our 

latest releases and 

the label's must-have 

albums, shop your 

loved ones' presents 

on atmaclassique.com 

Pssst: enjoy 50% off 

in our sales tab! 


49 Around the World: Trios 

For Clarinet, Violin & Piano 

Ensemble Next Parallel - 

Yevgeny Dokshansky, Anna 

Nizhegorodtseva, Enrique 

Reynosa 

49 The Rule of Three 

The Andrew Collins Trio 

51 Ricercari 

Cameron Crozman 

53 Midnight Pavane 

Don MacDonald 

54 Myths Contested 

Washington Bach Consort 

56 Tendres échos 

Anne Thivierge 

60 Composing Israel: the 

First Three Generations 

Liora Ziv-Li, Israel Philharmonic 

Orchestra, 

Voices of Bedouin schoolchildren, 

et al 

Anna Hashimoto, Roderick 

Chadwick 

63 The Head Of A Mouse 

Audrey Ochoa 

67 Satyam 

Vineet Vyas 

50 Points of Light 

Noah Zacharin 

56 Lovers and Mourners 

Dorian Komanoff Bandy; 

Hank Knox; Elinor Frey 

61 Edward Cowie: Where 

the Wood Thrush Forever 

Sings 

67 Wanderlust 

Lara Deutsch; Adam 

Cicchillitti 


‘TIS THE SEASON 

Aga Khan Museum 

agakhanmuseum.org 

Alliance Française Toronto 

alliance-francaise.ca 

Amadeus Choir of Greater Toronto 

amadeuschoir.com 

Annex Singers 

annexsingers.com 

Apocryphonia 

apocryphonia.com 

Attila Glatz Concert Productions 

glatzconcerts.com 

Azrieli Music Prizes 

azrielifoundation.org/priorities/ 

music-arts-culture 

Brampton On Stage 

tickets.brampton.ca 

Canadian Bandurist Capella 

banduristy.com 

Canadian Opera Company 

coc.ca 

Cathedral Bluffs Symphony Orchestra 

cathedralbluffs.com 

Church of St Mary Magdalene 

Gallery Choir 

stmarymagdalene.ca 

Confluence Concerts 

confluenceconcerts.ca 

Counterpoint Community Orchestra 

ccorchestra.org 

Crow’s Theatre 

crowstheatre.com 

DaCapo Chamber Choir 

dacapochamberchoir.ca 

Don Wright Faculty of Music 

at Western University 

music.uwo.ca 

Edison Singers 

theedisonsingers.com 

As you plan your musical adventures 

for the festive season, and 

beyond the turning of the year, 

please consider this: 

All of the presenters listed 

below choose to take an annual 

WholeNote Blue Pages paid 

membership. By doing so, they 

contribute to our being able to 

offer music listings services free 

of charge to the rest of the music 

community as well. 

The WholeNote would like to take this opportunity to recognise 

and thank them for everything that they do. 

There’s a chill in the air, the days are short, and the times are 

dark. Music shines light in all that darkness. 

Find out more about our Blue Pages members, in their own 

words, by visiting thewholenote.com/blue. Support them as 

they continue to support us. 

Elmer Iseler Singers 

elmeriselersingers.com 

Ensemble Vivant 

ensemblevivant.com 

Esprit Orchestra 


Etobicoke Centennial Choir 

etobicokecentennialchoir.ca 

Etobicoke Community Concert Band 

eccb.ca 

Etobicoke Philharmonic Orchestra 

eporchestra.ca 

Evergreen Club Contemporary Gamelan 

evergreenclubgamelan.com 

Exultate Chamber Singers 

exultate.net 

Flute Street 

flutestreet.ca 

Greater Toronto Philharmonic 

Orchestra 

gtpo.ca 

Hannaford Street Silver Band 

hssb.ca 

HCA Dance Theatre 

hcadancetheatre.com 

InterMusic Entertainment Group 

intermusicgroup.ca 

Isabel Bader 

Centre for the Performing Arts 

queensu.ca/theisabel 

Jubilate Singers 

jubilatesingers.ca 


ksorchestra.ca 

Li Delun Music Foundation 

lidelun.org 

London Symphonia 

londonsymphonia.ca 

Metropolitan United Church 

metunited.org 

Mississauga Chamber Singers 

mcsingers.ca 

Mississauga Symphony Orchestra 

mississaugasymphony.ca 

Mooredale Concerts 

mooredaleconcerts.com 

Music at St. Andrew’s 

standrewstoronto.org 

Music at St. Thomas’s Anglican Church 

stthomas.on.ca 

Music Gallery 

musicgallery.org 

Music in the Afternoon 

(Women’s Musical Club of Toronto) 

wmct.on.ca 

Music TORONTO 

musictorontoconcerts.com 

Nathaniel Dett Chorale 

nathanieldettchorale.org 

New Music Concerts 

newmusicconcerts.com 

Nine Sparrows Arts Foundation 

9sparrowsarts.org 

Nocturnes in the City 

masaryktown.ca/nocturnes 

Off Centre Music Salon 

offcentremusic.com 

Opera Atelier 

operaatelier.com 

Oriana Women’s Choir 

orianachoir.com 

Orpheus Choir of Toronto 

orpheuschoirtoronto.com 

Pax Christi Chorale 

paxchristichorale.org 

Peterborough Singers 

peterboroughsingers.com 

Rezonance Baroque Ensemble 

rezonanceensemble.com 

Royal Canadian 

College of Organists Toronto 

rcco.ca/Toronto 

Royal Conservatory of Music 

rcmusic.com/concerts 

Scarborough Philharmonic Orchestra 

spo.ca 

Show One Productions 

showoneproductions.ca 

SINE NOMINE 

Ensemble for Medieval Music 

pims.ca/article/sine-nomine 

Sinfonia Toronto 

sinfoniatoronto.com 

SoundCrowd 

soundcrowd.ca 

Soundstreams 

soundstreams.ca 

St. Bartholomew’s Anglican Church, 

Regent Park 

stbartstoronto.ca 

St. James Cathedral 

stjamescathedral.ca 

St. Michael’s Choir School 

smcs.on.ca 

St. Olave’s Anglican Church 

stolaves.ca 

Tafelmusik 

Baroque Orchestra and Choir 


Tallis Choir 

tallischoir.com 

Tapestry Opera 

tapestryopera.com 

TO Live 

tolive.com 

Toronto Beach Chorale 

torontobeachchorale.com 

Toronto Chamber Choir 

torontochamberchoir.ca 

Toronto Children’s Chorus 

torontochildrenschorus.com 

Toronto Choral Society 

torontochoralsociety.org 

Toronto Classical Singers 

torontoclassicalsingers.ca 

Toronto Community Orchestra 

torontocommunityorchestra.org 

Toronto Consort 

torontoconsort.org 

Toronto Mendelssohn Choir 

tmchoir.org 

Toronto Operetta Theatre 

torontooperetta.com 

Toronto Symphony Orchestra 

tso.ca 

Trio Arkel 

trioarkel.com 

University of Toronto 

Faculty of Music 

music.utoronto.ca 

Untitled Ensemble 

Chamber Music Society 

untitledensemble.ca 

Upper Canada Choristers 

uppercanadachoristers.org 

Vesnivka Choir 

vesnivka.com 

VIVA Singers Toronto 

vivasingerstoronto.com 

VOCA Chorus of Toronto 

vocachorus.ca 

VOICEBOX: Opera in Concert 

operainconcert.com 

Westben 

westben.ca 

Wychwood Clarinet Choir 

wychwoodclarinetchoir.ca 

Yorkminster Park Baptist Church 

yorkminsterpark.com

Original Soundtrack 

Listen:

Volume 29 Issue 3 | December 2023 & January 2024

Create successful ePaper yourself

Delete template?

Save as template?