Y ve s Sportis. Yve s Sporti s. Des extraits de certains de ces disques sont parfois disponibles sur Internet. Autre constante chez le saxophoniste schaerbeekois: se faire accompagner par un organiste. Claudio Fasoli N. La Compagnie de l'Arbre de Mai Giaco. Un disque sympathique et de bonne facture. Ce disque en est la preuve. Ce sont des moments intenses qui vont crescendo. Tea-time old fashioned! Pierrick Menuau Sextet feat. Il en sera ainsi tout au long du disque. Cecil L. Recchia pour certaines paroles. Martial Solal Solo Piano. Unreleased Los Angeles Sessions.
D'une part, les ensembles de trombones ici quatuor avec rythmique, dans le style swing, sont rares en France et ailleurs. Un pur moment de swing et l'un des meilleurs titres du CD. Gonzalez y prend un bon solo de piano. C'est Baptiste Techer qui joue en solo avec une solide technique. Puis Techer et Duthu interviennent en solo. Gardel punch! Les riffs sont parfaits! Lonnie Smith. Compositeur et soliste, il est aussi le nouveau directeur du Jazz Station Big Band.
Un disque excellent. Du grand art! Part One, Doina. Celui-ci assure le tempo, les ponctuations, la relance, sans jamais se mettre en avant. Also, "score", "parts" and "arr. He served as organist at St. Ambroise, St. Roch, St. Vincent de Paul, and Ste. Durand and Schoenewerk purchased the Paris music publisher Gustave-Alexandre Flaxland — — whose catalogue of approximately titles was started in — on the same day the new company was founded.
With the Flaxland purchase, they acquired the French rights for the early Wagner operas. After 20 years Schoenewerk withdrew from the business in late 19 November. The long-lived founder directed the company for another 20 years. The second half of the 20th century saw more expansion. Note: The plate numbers preceded by "D. Durand retained the plate number when a work was re-engraved but would update the prefix D. Plate numbers 1 though approx. If a work was merely reprinted from existing plates, the old prefix would often be replaced with the new one, but sometimes left untouched.
Durand also issued a new plate number when a score was reproduced in a reduced, study score format, even when it is merely a photographic reduction. Dates printed on the score itself or confirmed by reliable sources such as a composer's catalog, the Hofmeister Monatsbericht sometimes Warning and caveat! Hofmeister Monatsbericht sometimes- often- gives a date many years later than the actual first printing in France of a work. Use if possible the Bibliographie de la France instead. Durand Historical Publication Info. Contributor Portal.
Categories : Cleanup required Music Publishers. Contents 1 History 1. Polonaise, Op. Astorga tr. Dernier adieu, Op. Suite hongroise. Le chant des sylphes, Op. Chanson de Charles IX. Gai printemps, Op. Menuet de Bergame, Op. L'amour d'un page. Fleur de l'onde. Danse orientale, Op. Mazurka No. Gavotte, Op. Jeux d'enfants piano 4 hands. Villanelle, Op.
Suite d'orchestre No. Souvenir de la bastide, Op. Que voulez-vous que je vous dise? Je ne veux pas d'autres choses. Chanson du berger. Air de ballet, Op. Fior di speranza. Bizet - piano 4 hands. Chant d'automne, Op. Souvenir de Nantes, Op. Cello Sonata No. Cello Concerto No. Symphony No.
Sur le lac. Dans les bois d'Andilly. Les adieux du berger. L'heureux berger. Fermez les yeux, Op. Mazurka brillante No. Violin Concerto, Op. Violin Sonata, Op. Le voyageur. Amour fatal. Variations on a Theme of Beethoven, Op. String Quartet No. Airs espagnols, Op. Romance, Op. Berceuse, Op. Le soir vient. Premier amour. Croquis, Op. Pierrot et Arlequin, Op. Le Rouet d'Omphale, Op. Mes petits. Piano Concerto No. Orient et Occident, Op. Introduction et rondo capriccioso, Op. La Princesse jaune, Op. Alla riva del Tebro. Symphonie espagnole, Op. Romance for Violin and Orchestra, Op.
Danse macabre song. Allegro appassionato, Op. Danse macabre, Op. Piano Quartet, Op. Te souviens-tu? Fiesque vocal score. Suite No. Sonata for String Trio, Op. Samson et Dalila, Op. Souvenir viennois, Op. Joyeux moulin, Op. Rose d'amour. Quadrille brillant sur 'Piccolino' piano solo. Polka brillante sur 'Piccolino'.
Sorrentine de 'Piccolino', Op. Quadrille brillant sur 'Piccolino' piano 4 hands. Les glaneuses, Op. Le banc de pierre. Suite, Op. Au bal, Op. String Quintet in E major, G. Les paysans, Op. La Jeunesse d'Hercule, Op. Scherzo-valse, Op. Sentier fleuri, Op. Nocturnes, Op. Sarasate - violin and piano. Andantino et presto.
Qui recoit, qui donne. Passe-partout, Op. Violin Sonata No. La sieste. Sonata No. Scherzo-Caprice, Op. Requiem, Op. Menuet et Valse, Op. Bruits des champs, Op. Dimanche, Op. Sur la Mer, Op. La surprise de l'amour vocal score. Introduction et Rondo Capriccioso, Op. La Lyre et la Harpe, Op. Concerto Symphonique No. Violin Concerto No. Caprice sur les airs de ballet d'Alceste de Gluck.
Ave verum in E-flat major. Ave Maria in A Mio solo conforto. Fantaisie, Op. Pastorale, Op. Final, Op. Ave Verum in D. Piano Trio No. Morceau de Concert, Op. Scherzando, Op. Le Forgeron de Gretna Green full score. Valse No. Introduction et Allegro, Op. Jota Aragonese, Op. Septuor, Op. Pomone, Op. Jeux d'enfants suite. Bagatella, Op. Les sept ivresses.
Nocturne No. Les Patineurs, Op. Roques - piano 4 hands. Henry VIII full score. Allegro Appassionato, Op. Romance for Cello, Op. Scherzo for Orchestra. Caprice for Violin and Orchestra full score. Beau page. L'Enfant Prodigue vocal score. Album, Op. Rhapsodie d'Auvergne, Op. Tu es Petrus. Mass, Op. Tarantelle, Op. La cloche. Saltarelle, Op. Ballade, Op. Wedding Cake, Op. Tarantella in G minor, Op. Chernov - piano 4 hands. Liszt - piano solo. Roques - 2 pianos. Proserpine vocal score. La Carnaval des Animaux Le Cygne - transcription for cello and piano.
Chasse fantastique. Caprice sur des airs Danois et Russes, Op. Cello Sonata, Op. Wallenstein, Op. Proserpine Pavane - trans. Souvenir d'Italie, Op. Barcarolle No. Feuillet d'Album, Op. Havanaise, Op. La Carnaval des Animaux Le Cygne - trans. Chant d'Amour. Moto perpetuo. Ascanio vocal score. Petite Suite. Les Cloches du soir, Op. Piano Quintet, Op. Pourquoi pas. Fantasy for Piano and Orchestra, Op. Saltarelle-caprice, Op. L'invitation au voyage, Op. Plaisir d'Amour. Scherzo, Op.
Impromptu-Mazurk, Op. Divertissement, Op. Ascanio trans. Ascanio Airs de ballet - trans. Cramer - Pseudonym. Illustrations sur 'Ascanio'. Fantaisie pour grand orgue. Valse Canariote, Op. Scherzetto No. Guitares et mandolines. Ascanio full score. Debussy - 2 pianos. Gyptis vocal score. Africa, Fantasy for Piano and Orchestra, Op. Cantate Domino, Op. Sainte Marie Magdeleine, Op. Every competition has a living composer write a piece, which is a way of having young quartets learn new music.
Victor Fournelle-Blain, who had spent the three days before the competition at the Orford Arts Centre, says he was inspired by the advice given by the phenomenal pedagogue Mr. He says that it was a Maxim Vengerov concert he attended at the age of 8 or 9 when he began to play the violin that sparked his passion for the instrument. At the end of the concert, the audience went wild and Vengerov gave almost an hour-long encore.
He is still the favourite violinist of Victor and a great inspiration to him to this day. It is filled with excitement and inspiration from the Rocky Mountains that the young winner hones this work that he has longed to play for years. Additionally, as an attentive musician, he explains that one must allow the works to evolve and, admitting a preference for a more conservative repertoire, adds that there is a reason certain works are more popular than others!
Working on his own for the month and a half prior to the competition proved to himself that he is now ready to stand on his own two feet.
In that regard, winning the award seemed like the first step in his career as a violinist. Victor now hopes to enter other competitions, which are tremendously motivating and great opportunities to travel and meet other musicians. There is something about his disarming candour, integrity and openness, and care for the music that is unquestionably commendable. It is this quiet and endearing personality combined with his elegance and his genuine wide smile that has seduced his public and will continue doing so for a long time to come.
To mark the occasion, opera companies from Quebec to British Columbia are rushing to stage his works. According to statistics www. The statistics also reaffirm Verdi as the number one opera composer, with a total of performances of his 29 operas, beating out Mozart , Puccini and Wagner The audience was scandalized by a story set in their own time, not to mention the rather salacious subject of the life of a Parisian courtesan.
It seems that 19th century audiences were more comfortable with gods and goddesses or emperors and queens than real-life people dealing with real-life problems. La Traviata was ahead of its time given its novel realism. A case can be made that it was the antecedent of the verismo movement to come later, exemplified by such popular operas as Cavalleria rusticana, Pagliacci, Tosca, and Carmen. One of the most finely detailed of operatic heroines, Violetta has long been a role coveted by prima donnas—which soprano could resist the exquisite music and the opportunity to chew scenery?
That said, Violetta is also one of the most challenging soprano roles. It requires almost two types of voices, a lyric coloratura in Act One and a spinto in the rest of the opera. The tessitura of the rest of the role is quite a lot lower, best taken by a singer with a solid, dark-hued middle register. Given that modern audiences have come to expect singers to look the part, a slim, glamorous yet suitably consumptive-looking Violetta is a definite plus. Papatanasiu combines a silvery soprano with superb acting and a sympathetic stage presence, making her an ideal Violetta.
The great Franco Zeffirelli certainly thinks so—his choosing Papatanasiu over a famous but aging and generous-figured Italian soprano for his Rome Opera production three years ago made international headlines. De Biasio recently made his Metropolitan Opera debut in the title role of Ernani. With such an idiomatic cast, the OdeM audience can expect a scintillating evening at the opera. There are many excellent versions starring some of the biggest names in the opera world. Her incandescent La Scala performance with di Stefano and Bastianini conducted by Giulini is well worth hearing. Sutherland on Decca has brilliant coloratura, if muddy diction, with Merrill once again a fabulous Germont.
To my ears, the best modern version is the DG recording with Ileana Cotrubas, who has incredible morbidezza. Also enjoyable are the Alfredo of a fresh-voiced Domingo and the incomparable Carlos Kleiber at the helm. Other sopranos may have sung it better, but none can surpass the ethereal, otherworldly Violetta of Stratas. The young Roberto Alagna is an ardent Alfredo. Any of the above will do nicely! The concertos are daunting because they are a monumental work, a set of six sublime concertos scored for unusual groupings of instruments that, for many, symbolise the summit of the baroque concerto.
But when the classical music label Analekta suggested that Ensemble Caprice undertake the challenge of recording them, Maute was thrilled. It was like Christmas. The solution proposed by Ensemble Caprice was innovative: to punctuate each concerto with a transcribed prelude or fugue by 20th -century composer Dmitri Shostakovich, performed on Baroque period instruments.
In so doing, not only are the concertos presented in an unusual way—they point to a paradox that is perhaps unintentionally perpetuated by the period performance movement: that the trend of focusing exclusively on a given musical era contradicts the historical situation of composers of such eras in the first place. So I think we have a biased way to deal with music from the past. Now we have to find new answers to the same old questions so as to allow us to refresh the music.
Furthermore, he insists that many of the recordings of the Brandenburg Concertos do not acknowledge the alla breve indications. As a result, movements such as the first movement of the third concerto, and the last movement of the fourth, are often played too slowly. For instance, the opening theme in the first movement of the third Brandenburg Concerto makes vivid use of dynamic range. And I think this is exactly what happened in the visual arts when they discovered perspective: that corresponds to dynamics in music. It is an approach that some may embrace, while others may disparage.
Shostakovich shines unexpectedly on period instruments. The alluring, ethereal harmonies are accentuated, and imitation between the voices and the layering of different melodic lines become wonderfully apparent. This appreciation carries over to movements of the Brandenburg Concertos, for instance during the first movement of the second concerto, with the recorder, violin, oboe, and trumpet in a dazzling, crisp exchange of musical themes. One should bear in mind, however, the caveat that the tempi are unusually lively.
Listening to this recording requires an open mind. Ensemble Caprice challenges our assumptions of how these sublime concertos should be performed, and once past the jarring differences with previous renditions, the listener will undoubtedly find something—more likely several things— to appreciate in this rich recording. The American composer travelled often in Canada,developing both short and long term relationships with colleagues there.
He had that kind of natural ability to motivate people. She started to laugh like crazy. The whole audience started to laugh. And I looked at everything and I found the easiest thing to call it was music! It is to build an understanding between language, music and motion, to learn how to listen, how to understand. We want to encourage and support students to develop their own voice and sense of artistry and to reach their individual potential.
I believe in using a Socratic method, which encourages inquiry and debate so as to stimulate the critical mind and illuminate ideas. The goal is to understand the context of creation, making the objectives clear and believable, examining the physical action and analyzing the text. Rather, I believe in guiding individuals so that they are not entirely drawn into the vast stream of competition, where comparison and envy replace positive change. We explore the hidden aspect of relationships that are emotional and physical. We call on students to draw on their own emotions, to focus more on the dramatic text so that they can tell the story better.
By quieting and focusing the mind, we begin to free the voice. In preparing roles, understand that certain physical movements can create emotional and physical responses. When working with students, we begin with an introduction on the physiology and acoustics of the singing voice. This also includes phonation, breathing and body use.
Theater Music in France, Peter Lamothe
We must include the comparison of various teaching methodologies, movements and vocal exercises. We also discuss the health care of the voice and corrective measures for vocal issues. Students must clearly understand how each exercise can develop their technique. There is a consensus among pedagogues that to ensure a healthy vocal technique, to succeed in finding a warm, legato tone and efficient coloratura, it is vital that both teacher and student understand the fundamentals of breathing and the structure of the vocal mechanism. As singers, we have learned that efficient vocal function is achieved through healthy vocal-fold vibrations, a centered and energized airflow and active resonation, establishing stability of sound, healthy onset, the presence of legato and vibrato intensity full and reduced.
Students react effectively and consistently to positive imagery. We focus on energy, spirit and the work of the soul. Key to this is the mastering of the language—pure vowel and consonant choices—coupled with laryngeal freedom and monitored stage demeanor, which allows us to move towards improved technical results. The use of film, recording devices, laryngographs, sonographs and consultation with neuroscientists should not be underestimated. Scores must be treated with reverence and used to guide interpretation. Proper use of ornamentation, trillo and gruppo, grace notes and diminutions, palettes of colour and breathing are to be carefully examined.
Our work then requires knowledge and effective demonstration of the stylistic elements of performance practice. Within our practice, we discover extraordinary possibilities. In , he joins the St. An exclusive SONY recording artist, he has recorded more than discs. Single tickets on sale September 4 nac-cna. At ages five and seven, they are in the ideal window to start structured study, having acquired good reading skills along with the ability to sit still for a decent amount of time.
Music is a priority in our household. How do I continue giving my kids the best opportunities to appreciate music? How can they choose an instrument that takes advantage of their individual talents? My son is very social maybe guitar? An avid chess player, he can be focused and cerebral too. As for my daughter, I have a hunch that she possesses some inherent musical gifts: she tinkers endlessly at the piano, loves to listen to her music collection, and has sung in pitch since she was a baby.
Looking for advice, I turned to three friends and professional musicians. Rothman strongly believes that the child has to be part of the decision process. These two poised girls already form a beautiful-sounding duo. They study violin and cello in the Suzuki method. Parents should be forewarned, however, that Suzuki requires an enormous amount of commitment from the whole family. No dropping the kids off and running to do errands here! Her 12 year-old son is a talented cellist. Even though Laimon and Bessette are pianists, none of their children are studying the piano.
Bessette says that, for her, this was deliberate. Now, he plays competitions, often accompanied by his mother at the piano. What about finding a good teacher? I am keenly aware that making the right match can mean the difference between success or failure. When I took voice lessons, however, my singing teacher became an important advisor and confidante throughout my teenage years. If they are using Suzuki, find out how open they are to introducing other materials and find out when they introduce reading. Share your experience with our readers! Email editor lascena.
Check website for more details. Be the future of classical music. Attend concerts today. These wonderful works, little known, yet very interesting when interpreted by these bright musicians, provide an infectious listening pleasure. As many pianists before her have done, she offers an album composed of a medley of some of the best-known keyboard pieces.
However, in this CD, which she produced, she does not attempt to blow the audience away by playing pieces of great virtuosity. Instead, she works her way through a repertoire rich in sensitivity, gentleness and even sensuality. The disc is composed of 12 pieces, each with an average length of less than five minutes.
Each piece is interpreted with the requisite delicacy and one feels that the artist is in her element. Despite this, the CD is a good investment if you wish to acquaint yourself with this promising pianist. Admittedly, the strings here lack presence Concerto for Orchestra , or suffer from heavy reverberation Music for Strings, Percussion and Celesta , although as a whole, the recording measures up to the stiffest competition. The same holds for the interpretation.
Pianist Connie Shih developed an international career at a remarkably early age. On this fine-sounding new CD they make a great team playing mostly standard French repertoire. Zelenka has a wonderful technique and a maturity of phrasing that belies her years. Whether in its violin or cello version the Franck Sonata is often seriously overplayed, but Zelenka and Shih make it urgent and fresh once again. Shih certainly has the technique for the concerto-like piano part, but at times her tone lacks subtlety. The recording may be partly to blame.
I really enjoyed the Chausson Piece Op. But then there is so much Chausson that nobody knows or plays. In her liner notes cellist Zelenka explains the connections with both charm and insight. PAUL E. Christian Lane chose a rather panoramic approach to the recital rather than exploring in depth one or two more substantial works. This repertoire suits him well. The young performer, associated with Harvard, has a delicate touch, is attentive to subtle nuances and quite talented as a colourist. The harmonic discourse is well mastered and the dynamic contrasts are skillfully conducted, increasing the affective potential of the work.
A beautiful album. The premature death of the composer, at just 26, gives this work a special aura, not unlike that of Mozart and his Requiem. A string ensemble, reduced to a violin by the end, accompanies the two countertenors. This creates a feeling of proximity with the artists. The timbre of their voices being similar, the singers complement each other quite well.
We have here an excellent execution by the ensemble, light and seductive, free from the excessive pathos that is too often heard in this celebrated work. In fact, this version is closer to opera than pure religious vision. But the true star of this album is Valer Barna-Sabadus, who sings soprano. The ease with which he reaches the highest notes while embellishing them with superb ornaments is astonishing. His voice is a constant pleasure, especially in the joyful Laudate Pueri. Quite simply a phenomenon! This album includes 11 works by as many composers who subscribe to the traditional school of choral writing — traditional writing, certainly, but of an undeniably intrinsic beauty.
There are few celebrity composers represented here—the exceptions being Glenn Buhr and Stephen Chatman, established composers with imposing repertoires— but a nice range of recent choral compositions from the English side of Canada. The Elora Festival Singers, an Ontarian chamber choir, demonstrates quality sound and uncommon artistry. It is a real pleasure to listen to their beautiful timbres and perfect vocal harmony. Naxos has hit the mark with the second opus of this promising series.
We fervently hope to find Quebecois artists and performers among future editions. Until then, we have plenty to sustain our ears and mind! This disc demonstrates the evolution of French music in this period. Unfortunately, the result is disappointing. The instrument rings false from the first notes, and we rapidly lose interest in the music, no matter how beautiful it may be.
Impregnated with Italian sunshine while still being sumptuously French, his music is utterly charming. Margaret Little follows his slightest inflections in the basso continuo. The celebrated German violinist Christian Tetzlaff has been playing it for years to great acclaim and the young Taiwanese artist Ray Chen played it when he won the Menuhin Competition in While Chen has the more voluptuous tone Tetzlaff plays Mendelssohn with far more freedom and imagination.
Chen plays the Tchaikovsky with impressive virtuosity but again without much freshness. On the other hand, the orchestra is consistently too loud on both recordings.
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I would guess this is the fault of the engineers rather than the conductors. An instrument of subtle and surprising inflections, the tabla is absolutely charming. For this new disc, Shawn Mativetsky has called upon five Canadian composers to create works in which traditional classical Indian music finds a resonance in a contemporary North American discourse.
The musical fusion is successful and particularly interesting. A must! The repertoire of this first disc recorded on EMI is utterly approachable and consists of arrangements of well-known music. The only works originally for brass ensemble are two pieces by Jan Koetsier, a littleknown Dutch composer who died in , namely his Brass Symphony Op.
The symphony is sonorous, rhythmically engaging and not much avant-garde. Despite the unavoidable moments of thundering brass, the work is basically pleasant. The young musicians bring great energy to the ensemble and they have a beautiful sound. From the late s to , when a paralyzed vocal cord led to his premature retirement at 46, London was an unforgettable Wotan, Mefistopheles, Scarpia, Amfortas, Wolfram, Mandryka, Iago, and Don Giovanni, to name a few.
He had the distinction of being the first non-Russian to sing Boris at the Bolshoi in , at the height of the Cold War. His voluminous, dark-hued bass-baritone, with its somewhat veiled quality, was unique in timbre and ideal as the tortured Amfortas, the evil Scarpia, or the tragic Boris. This German documentary does an excellent job of exploring the life and art of this great singer, through many interviews with his colleagues and former students, and most importantly his wife, Nora London.
After his enforced retirement, London became an influential teacher. He trained many singers and supported them through the George London Foundation. Several have gone on to major international careers, among them Neil Shicoff, Deborah Polaski and Catherine Malfitano. They speak of their former teacher with respect and admiration in the documentary. Also interesting are rare clips of London singing Spirituals, Broadway show tunes and Schubert lieder. This DVD is an indispensable document of this great singer. The first film is dedicated to the question of the instrument itself, particularly thorny at that moment, when the Baroque revival was challenging established norms of performance.
The second is concerned with the importance of the fugue in music generally and particularly in the case of Bach.
The last is dedicated to the Goldberg Variations, the masterpiece still relatively little played in , with which Gould decided to begin his recording career. The pianist, who had been retired for some twenty years at the time of filming, died shortly afterwards, making these three cinematic documentaries important artefacts of music history.
In the first two DVDs, Gould demonstrates at the piano, playing several excerpts, some complete fugues, and even some longer pieces such as the Fourth Partita. In his classic rendition of the Goldberg Variations, we see and hear Glenn Gould, on his famous low chair, in a seemingly uncomfortable posture, accompanied by his murmurings and sound-sculpting gestures, as the incomparable music pours from his old Steinway. No tenor in the past half-century could surpass him for his bigger than life personality, and none possessed the sunny Mediterranean quality that makes the voice immediately recognizable.
Complementing the material already available on Pavarotti the Artist is this new German language documentary on Pavarotti the Man. From his earliest years to his untimely death from pancreatic cancer in September , the documentary traces his life and career with candour and sensitivity. The film captures Pavarotti well, his sunny personality, his generosity of spirit, his zest for life—and food, not to mention his appreciation of feminine beauty. Lamentably short at 58 minutes, the documentary goes by in a flash.
The bonus includes extra interview material of Bono, Carreras, Breslin and Volpe.
This is an absolute must-see for anyone interested in the charismatic Luciano Pavarotti. This production from the Nederlandse Opera created an uproar in the opera world. The sumptuous and glittering costumes, the breath-taking and marvellously coloured sets, and the stage direction, lively despite the static quality of the libretto, make this an unforgettable production. The vocal soloists are impeccable.
Everything is of an extremely high artistic quality. If you love opera, and particularly Tchaikovsky, you simply cannot pass up this spectacular Blu-ray. Torn between the vision of the composer and of that of the director, the transposition juggles with the values of disparate historical periods. The overburdened scenography seems to operate outside the scope of the music and text, which should in principle give the work its grounding force.
Inconsistencies are inevitable with such a nonliteral reading, requiring the suspension of critical thinking. Afterwards, Elisabeth whom Wagner kills rejoins Venus on said mattress, appearing, despite their rivalry, as twins draped in identical white, one brunette, the other blonde. Let LSM guide you in through the brochures and websites with our picks for the fall season…. The Orchestre symphonique de Laval and conductor Alain Trudel open their season with music inspired by European folklores.
Hear his Dances of Galanta, inspired by the town where he grew up. Jean-Marie Zeitouni begins his inaugural season as music director of I Musici with a concert centred on childhood. Eighteenth century music at its finest! Bach with two Romantic heavy hitters: Mahler and Bruckner. Not in Toronto? Catch this program in Montreal! The show will be conducted by Nathan Brock on October Behind them, there will be a mash up of projected animal images and everyday objects October September Airat Ichmouratov will conduct.
The orchestral presentation, boasting lasers, video and live action, will perform themes from some of the most popular games in history, including Zelda, Final Fantasy and Warcraft October Conductor-in-Residence Daniel Bartholomew-Poyser will direct the concert that will bring back Count Blacula, who debuted last season. Spectators are invited to come dressed in costume. Franco Zeffirelli specifically chose her as his ideal Violetta over another soprano for his Rome production two years ago. OdeM is also making an infrequent foray into Wagner with Der fliegende Hollander.
Four performances, Oct. It stars Mexican tenor Ramon Vargas in his firstever Manrico. Paired with the Verdi is Die Fledermaus, after an absence of twentyone years. The novelty is tenor Michael Schade singing Eisenstein, normally a baritone role. Another former Ensemble baritone, James Westman, takes on the cameo role of Frank.
Eleven performances from Oct. David Fallis leads the Tafelmusik Baroque Orchestra. The soloist is the young German lyric Christina Landshamer, while the marvelous Anke Vondung takes the all-important alto part. Performances on Sept. The Toronto Mendelssohn Choir supplies the choral forces. A much-needed innovation here is the use of surtitles in a concert situation. There are two performances on Nov.