La Scena Musicale

Friday, 28 August 2009

Get Ready for an exciting 2009-10 Met Live in HD

Karita Mattila as Tosca ready to jump to her death in Puccini's perennial favorite that opens the 2009-10 Met in HD Season (Photo courtesy of Metropolitan Opera)









While Canadians lament the end of summer and warm weather, we welcome the start of the much anticipated musical season. Now in its fourth year, the Met in HD has become a Saturday ritual for many of us. To be able to sample the best the Met has to offer, in air-conditioned comfort at a Cineplex theatre near you is something that opera lovers could only dream about a few short years ago. I have been attending these shows since The Magic Flute in its first season. This season, for the first time, patrons can purchase *reserved seats* in advance. This is a huge improvment. You no longer have to wait in line an hour ahead of time to get your desired seats. As I understand, since the tickets went on sale last week, business has been extremely brisk. Be sure to secure your seats before they are all gone. Here is the press release sent to me by Cineplex Entertainment with the details of the shows and the locations.

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Escape to the Ultimate Stage Spectacle The Met: Live in HD at Select Cineplex Entertainment Theatres
Advance tickets for 2009-10 series available Friday, August 21st
Toronto, ON (CGX.UN) – August 19, 2009 – Cineplex Entertainment is showcasing another great season of opera! Now in its fourth season, the wildly popular and award-winning The Met: Live in HDseries continues with nine live opera performances for the 2009-10 season. Shown in High Definition and Digital Surround Sound, all nine performances start at 1 pm EST beginning with Puccini’s Toscaon Saturday, October 10, 2009 and, for the first time, guests will be able to enjoy reserved seating at select Cineplex Entertainment theatres.

“We are pleased to have The Met: Live in HD series return for a fourth season to Cineplex Entertainment theatres across the country. The series has captivated our guests and their interest continues to grow with the performances becoming a familiar ritual on Saturday afternoons at our theatres,” said Pat Marshall, Vice-President, Communications and Investor Relations, Cineplex Entertainment. “This year, we have once again expanded the number of theatre locations by 10 per cent and, for the first time ever, added reserved seating at select locations as an added convenience for our guests to experience world class opera.”

Beginning Friday, September 4th individual tickets are available online at www.cineplex.com/events as well as at participating theatre box offices. Admission prices vary by location. SCENE and Met Opera members enjoy priority access with an exclusive advance ticket window for the 2009-10 series beginning Friday, August 21st at participating theatre box offices. Membership in the SCENE program is free and guests can apply online at www.scene.ca. For information on The Met Opera in New York or to obtain tickets or membership information, visit www.metopera.org/hdlive or call 1-800-Met-Opera (1-800-638-6737).

Season tickets can be purchased in person only at any of the participating theatres. Guests that purchase season tickets for all nine performances will receive a 15% discount off the purchase price, a 10% discount when purchasing tickets to any five or more performances and a 5% discount when purchasing tickets to any three or more performances. A special group rate is also available for groups of 20 or more. For more information on group rates, call 1-800-313-4461 or emailcorporatesales@cineplex.com.

Beginning Saturday, October 10th, the following performances will be shown live from New York at 1 pm EST at select Cineplex Entertainment theatres:

Saturday, October 10, 2009: TOSCA – Director James Levine, who conducts this new production of Puccini’s Tosca, tells the story of three people – a famous opera singer, a free-thinking painter and a sadistic chief of police – caught in a net of love and politics. Soprano Karita Matilla sings the title role for the first time outside her native Finland, Marcelo Ấlvarez as Cavaradossi and Juha Uusitalo as Scarpia.

Saturday, October 24, 2009: AIDASet in ancient Egypt, Verdi’s Aida is both a heartbreaking love story and an epic drama full of spectacular crowd scenes. Violeta Urmana stars in the title role of the enslaved Ethiopian princess, with Dolora Zajick as her rival. Johan Botha plays Radamès, commander of the Egyptian army and Daniele Gatti conducts. Among the score’s highlights is the celebrated Triumphal March.

Saturday, November 7, 2009: TURANDOTDirector Franco Zeffirelli’s breathtaking production of Puccini’s last opera is a favourite of the Met repertoire. Maria Guleghina plays the ruthless Chinese princess of the title, whose hatred of men is so strong that she has all suitors who can’t solve her riddles beheaded. Marcello Giordani sings Calàf, the unknown prince who eventually wins her love and whose solos include the famous “Nessun dorma”.

Saturday, December 19, 2009: LES CONTES D’HOFFMANN – Offenbach’s fictionalized take on the life and loves of the German romantic writer E.T.A Hoffmann is a fascinating psychological journey. Met Music Director James Levine conducts a stellar cast including Anna Netrebko as the tragic Antonia, Kate Lindsey as the ambiguous Nicklausse and Alan Held as the demonic four villains. Tony Award winner Bartlett Sher directs this new production.

Saturday, January 9, 2010: DER ROSENKAVALIER Strauss’s comic masterpiece of love and intrigue in 18th-century Vienna stars Renée Fleming as the aristocratic Marschallin and Susan Graham in the trouser role of her young lover. Music Director James Levine conducts a cast that also includes Kristinn Sigmundsson and Thomas Allen.

Saturday, January 16, 2010: CARMEN One of the most popular operas of all time, Carmen “is about sex, violence and racism – and its corollary: freedom,” says Olivier Award-winning director Richard Eyre about his new production of Bizet’s drama. Elīna Garanča plays the seductive gypsy of the title in her role debut, opposite Roberto Alagna as the obsessed Don José.

Saturday, February 6, 2010: SIMON BOCCANEGRA Four decades into a legendary Met career, tenor Plácido Domingo makes history singing the title role in Verdi’s gripping political thriller, which is written for a baritone. Adrianne Pieczonka, Marcello Giordani and James Morris are his co-stars in this moving and tragic story of a father and his lost daughter. James Levine conducts.

Saturday, March 27, 2010: HAMLET Simon Keenlyside and Natalis Dessay bring their extraordinary acting and singing skills to two of the Bard’s most unforgettable characters in this new production of Ambroise Thomas’s Hamlet. For the role of Ophelia, the French composer created an extended mad scene that is among the greatest in opera.

Saturday, May 1, 2010: ARMIDA This mythical story of a sorceress who enthralls men in her island prison has inspired operatic settings by a multitude of composers. Renée Fleming stars in the title role of Rossini’s version, opposite no fewer than six tenors. Tony Award winner Mary Zimmerman returns to direct this new production of a work she describes as “a buried treasure, a box of jewels”.

Cineplex Entertainment will also be showing encore presentations at select theatre locations at 1 pm EST for guests who may not be able to attend the live transmission or who simply want to watch it again. The encore presentation schedule is as follows:

Saturday, October 31, 2009 – Puccini’s Tosca
Saturday, November 21, 2009 – Verdi’s Aida
Saturday, December 5, 2009 – Puccini’s Turandot
Saturday, January 23, 2010 – Offenbach’s Les Contes d’Hoffmann
Saturday, March 6, 2010 – Strauss’s Der Rosenkavalier
Saturday, March 13, 2010 & Sunday, April 11, 2010 – Bizet’s Carmen
Saturday, March 20, 2010 – Verdi’s Simon Boccanegra
Saturday, April 24, 2010 – Thomas’s Hamlet
Saturday, May 22, 2010 – Rossini’s Armida

Cineplex Entertainment will present The Met: Live in HD at the following select theatres throughout Canada:

BRITISH COLUMBIA
SilverCity Coquitlam Cinemas (Reserved Seating)
170 Schoolhouse Street
Coquitlam, BC
SilverCity Riverport Cinemas
(Reserved Seating)
14211 Entertainment Way
Richmond, BC
SilverCity Victoria Cinemas
(Reserved Seating)
3130 Tillicum Road
Victoria, BC
Scotiabank Theatre Vancouver
(Reserved Seating)
900 Burrard Street
Vancouver, BC
Galaxy Cinemas Nanaimo
213-4750 Rutherford Road
Nanaimo, BC
Cineplex Odeon Park & Tilford Cinemas (Reserved Seating)
200-333 Brooksbank Avenue
North Vancouver, BC
Colossus Langley Cinemas
(Reserved Seating)
20090 91A Avenue
Langley, BC
Famous Players 7 Cinemas
2306 Highway 6
Vernon, BC
Famous Players 6 Cinemas
172-1600 Fifth Avenue
Prince George, BC
Famous Players Orchard Plaza Cinemas
160-1876 Cooper Road
Kelowna, BC
Cineplex Odeon Aberdeen Mall Cinemas
700-1320 Trans Canada Highway
Kamloops, BC

SilverCity Mission Cinemas
32555 London Avenue
Mission, BC
Cineplex Odeon Victoria Cinemas (Reserved Seating)
780 Yates Avenue
Victoria, BC

ALBERTA
Scotiabank Theatre Chinook
6455 Macleod Trail SW
Calgary, AB
Galaxy Cinemas Red Deer
357-37400 Highway #2
Red Deer, AB
Cineplex Odeon South Edmonton Cinemas
1525-99th Street NW
Edmonton, AB
Cineplex Odeon North Edmonton Cinemas
14231 137th Avenue NW
Edmonton, AB
Scotiabank Theatre Edmonton
8882-170 Street
Edmonton, AB
Galaxy Cinemas Lethbridge
501-1st Avenue SW
Lethbridge, AB
Galaxy Cinemas Medicine Hat
3292 Dunmore Road SE
Medicine Hat, AB

Cineplex Odeon Eau Claire Marketplace Cinemas
90-200 Barclay Parade SW
Calgary, AB

Famous Players Westhills Cinemas
165 Stewart Green SW
Calgary, AB
Cineplex Odeon Grand Prairie Cinemas
10330-109th Street
Grand Prairie, AB

Cineplex Odeon Crowfoot Crossing Cinemas
91 Crowfoot Terrace NW
Calgary, AB
SASKATCHEWAN
Galaxy Cinemas Regina
420 McCarthy Boulevard N
Regina, SK

Galaxy Cinemas Moose Jaw (NEW)
1235 Main Street N
Moose Jaw, SK

MANITOBA
SilverCity Polo Park Cinemas
817 St. James Street
Winnipeg, MB
Galaxy Cinemas Saskatoon
347 2nd Avenue
Saskatoon, SK






SilverCity St. Vital Cinemas
160-1255 St. Mary’s Road
Winnipeg, MB
ONTARIO
Scotiabank Theatre Toronto
(Reserved Seating)
259 Richmond Street W
Toronto, ON
Cineplex Odeon Queensway Cinemas (Reserved Seating)
1025 The Queensway
Etobicoke, ON
SilverCity Yonge-Eglinton Cinemas (Reserved Seating)
2300 Yonge Street
Toronto, ON
Cineplex Odeon Sheppard Grande Cinemas (Reserved Seating)
4861 Yonge Street
Toronto, ON
Alliance Atlantis Beaches Cinemas
1651 Queen Street East
Toronto, ON
Colossus Vaughan Cinemas
(Reserved Seating)
3555 Highway 7 W
Woodbridge, ON

Coliseum Scarborough Cinemas (Reserved Seating)
300 Borough Drive
Scarborough, ON

Coliseum Mississauga Cinemas (Reserved Seating)
309 Rathburn Road W
Mississauga, ON
SilverCity Brampton Cinemas
50 Great Lakes Drive
Brampton, ON
SilverCity Richmond Hill Cinemas (Reserved Seating)
8725 Yonge Street
Richmond Hill, ON
SilverCity Fairview Mall Cinemas (Reserved Seating)
1800 Sheppard Avenue E
Toronto, ON

Cineplex Odeon First Markham Place Cinemas (NEW)
3275 Highway 7
Markham, ON

Cineplex Odeon Aurora Cinemas (NEW)
15460 Bayview Avenue
Aurora, ON
SilverCity Newmarket Cinemas
18151 Yonge Street
Newmarket, ON


Cineplex Odeon Niagara Square Cinemas
7555 Montrose Road
Niagara Falls, ON

Cineplex Odeon Oshawa Cinemas
1351 Grandview Street N
Oshawa, ON
Cineplex Odeon Gardiners Road Cinemas (Reserved Seating)
626 Gardiners Road
Kingston, ON
SilverCity Sudbury Cinemas
355 Barrydowne Road
Sudbury, ON

Galaxy Cinemas Barrie
72 Commerce Park Drive
Barrie, ON

Galaxy Cinemas Cornwall
1325 Second Street E
Cornwall, ON

Galaxy Cinemas North Bay
300 Lakeshore Drive
North Bay, ON

Galaxy Cinemas Midland
9226 County Road 93
Midland, ON

Galaxy Cinemas Brockville
2399 Parkedale Avenue
Brockville, ON

Galaxy Cinemas Owen Sound
1020 10th Street
Owen Sound, ON
Cineplex Odeon Ajax Cinemas (NEW)
248 Kingston Road
Ajax, ON

Galaxy Cinemas Peterborough
320 Water Street
Peterborough, ON

Galaxy Cinemas Sault Ste. Marie
293 Bay Street
Sault Ste. Marie, ON

Galaxy Cinemas Orillia (NEW)
865 West Ridge Boulevard
Orillia, ON

Famous Players Belleville 8 Cinemas
160 Bell Boulevard
Belleville, ON

Cineplex Odeon Devonshire Mall Cinemas
3100 Howard Avenue
Windsor, ON
Galaxy Cinemas St. Thomas
417 Wellington Street
St. Thomas, ON

Galaxy Cinemas Orangeville
85 Fifth Avenue
Orangeville, ON

SilverCity Oakville Cinemas
(Reserved Seating)
3531 Wyecroft Road
Oakville, ON

Galaxy Cinemas Collingwood
6 Mountain Road
Collingwood, ON

SilverCity Burlington Cinemas (Reserved Seating)
1250 Brant Street
Burlington, ON

SilverCity London Cinemas
(Reserved Seating)
1680 Richmond Street
London, ON

SilverCity Thunder Bay Cinemas
850 North May Street
Thunder Bay, ON

Cineplex Odeon Barrhaven Cinemas (NEW)
131 Riocan Avenue
Barrhaven, ON

Coliseum Ottawa Cinemas
(Reserved Seating)
3090 Carling Avenue
Ottawa, ON

Cineplex Odeon South Keys Cinemas (Reserved Seating)
2214 Bank Street
Ottawa, ON
Galaxy Cinemas Waterloo
550 King Street N
Waterloo, ON

Galaxy Cinemas Cambridge
355 Hespeler Road
Cambridge, ON

Galaxy Cinemas Guelph
485 Woodlawn Road W
Guelph, ON


Galaxy Cinemas Milton (NEW)
1175 Maple Avenue
Milton, ON

SilverCity Hamilton Mountain Cinemas(NEW)
795 Paramount Drive
Stoney Creek, ON

Cineplex Odeon Westmount & VIP Cinemas (NEW) (Reserved Seating)
755 Wonderland Road S
London, ON

Galaxy Cinemas Brantford
300 King George Road
Brantford, ON

SilverCity Ancaster Cinemas
771 Golf Links Road
Ancaster, ON


Famous Players Lambton 9 Cinemas
1450 London Road
Sarnia, ON


SilverCity Gloucester Cinemas
(Reserved Seating)
2385 City Park Drive
Gloucester, ON
QUEBEC
Cineplex Odeon Brossard Cinemas (Reserved Seating)
9350 boul. Leduc
Brossard, QC
Cineplex Odeon Ste. Foy Cinemas (Reserved Seating)
1200 boul. Duplessis
Ste. Foy, QC
Colossus Laval Cinemas
(Reserved Seating)
2800 rue Cosmodôme
Laval, QC
Scotiabank Theatre Montreal
(Reserved Seating)
977 rue Ste-Catherine O
Montreal, QC
Coliseum Kirkland Cinemas
(Reserved Seating)
3200 rue Jean Yves
Kirkland, QC
Galaxy Cinemas Victoriaville
1121 Jutras Est
Victoriaville, QC
Starcité Montreal Cinemas
(Reserved Seating)
4825 ave. Pierre de Coubertin
Montreal, QC
Galaxy Cinemas Sherbrooke
4204 rue Bertrand
Rock Forest, QC
Cineplex Odeon Beauport Cinemas (Reserved Seating)
825 rue Clemenceau
Beauport, QC

Cineplex Odeon Latin Quarter Cinemas (Reserved Seating)
350 rue Emery
Montreal, QC

Gatineau 9 Cinemas
120 boul. de l’Hôpital
Gatineau, QC
Cineplex Odeon Boucherville Cinemas
20 boul. de Montagne
Boucherville, QC


Galaxy Cinemas Fleur-de-Lys
4520 boul. des Récollets
Trois Rivieres, QC





OTHER LOCATIONS
Lux Cinema Landmark
229 Bear Street
Banff, AB

Max Cameron Theatre
5400 Marine Avenue
Powell River, BC

Art Spring
100 Jackson Avenue
Salt Spring Island, BC

Rene M. Caisse Theatre
100 Clearbrook Trail
Bracebridge, ON

Capitol Theatre
20 Queen Street
Port Hope, ON

Cinema Elysée
160 rue Simonds nord
Granby, QC

Carrefour 10
220 rue Beaudry Nord
Joliette, QC

Carrefour du Nord St-Jérôme
900 rue Grignon
St-Jérôme, QC

Cinema Jonquiere
2445, rue St-Dominique
Jonquiere, QC

Cinema St-Laurent
8333 rue Industrielle
Sorel-Tracey, QC
Rialto Landmark
2655 Cliffe Avenue
Courtenay, BC

Pen Mar Centre Landmark
361 Martin Street
Penticton, BC

Salmar Classic Theatre
360 Alexander Street
Salmon Arm, BC

Raven’s Cry Theatre
5559 Sunshine Coast Highway
Sechelt, BC

Regent
224 Main Street
Picton, ON

Capitol Theatre
4920 – 52nd Street
Yellowknife, NWT

RGFM Drummondville
755 rue Hains
Drummondville, QC

Cinema Pine
24, rue Morin
Sainte-Adèle, QC

Cinema St. Eustache
305 Avenue Mathers
St. Eustache, QC

Cinema Triomphe
1100, rue Yves-Blais
Lachenaie, QC
For a list of theatre locations showing the encore performances, visit www.cineplex.com/events.

About The Met
Under the leadership of General Manager Peter Gelb and Music Director James Levine, the Met has a series of bold initiatives underway that are designed to broaden its audience and revitalize the company’s repertory. The Met has made a commitment to presenting modern masterpieces alongside the classic repertory, with highly theatrical productions featuring the greatest opera stars in the world.

The Met’s 2009-10 season features eight new productions, four of which are Met premieres: Janáček’sFrom the House of the Dead, Verdi’s Attila, Shostakovich’s The Nose, and Rossini’s Armida. The other new productions are Puccini’s Tosca, Offenbach’s Les Contes d’Hoffmann, Bizet’s Carmen, and Thomas’s Hamlet.

Building on its 78-year-old international radio broadcast history – heard over the Toll Brothers-Metropolitan Opera International Radio Network – the Met uses advanced media distribution platforms and state-of-the-art technology to reach audiences around the world.

The Emmy and Peabody Award-winning The Met: Live in HD series returns for its fourth season in 2009-10 with nine transmissions, beginning October 10 with Tosca starring Karita Mattila and ending with Armida starring Renée Fleming on May 1. The Met recently introduced Met Player, a new subscription service that makes much of its extensive video and audio catalog of full-length performances available to the public for the first time online, and in exceptional, state-of-the-art quality. Metropolitan Opera Radio on SIRIUS XM Radio broadcasts both live and rare historical performances; the Met on Rhapsody on-demand service offers audio recordings; and the Met presents free live audio streaming of performances on its website once every week during the opera season with support from RealNetworks®.

The Met has launched several audience development initiatives, including Open House dress rehearsals, a popular rush ticket program, reduced ticket prices, Gallery Met, and an annual Holiday Series presentation for families. For more information, please visit: www.metopera.org.

About Cineplex Entertainment
As the largest motion picture exhibitor in Canada, Cineplex Entertainment LP owns, leases or has a joint-venture interest in 129 theatres with 1,328 screens serving more than 63.5 million guests annually. Headquartered in Toronto, Canada, Cineplex Entertainment operates theatres from British Columbia to Quebec and is the largest exhibitor of digital, 3D and IMAX projection technologies in the country. Proudly Canadian and with a workforce of more than 10,000 employees, the company operates the following top tier brands: Cineplex Odeon, Galaxy, Famous Players, Colossus, Coliseum, SilverCity, Cinema City and Scotiabank Theatres. The units of Cineplex Galaxy Income Fund, which owns approximately 99.6% of Cineplex Entertainment LP, are traded on the Toronto Stock Exchange (symbol CGX.UN). For more information, visit www.cineplex.com.

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For more information, please contact:

Pat Marshall Georgia Sourtzis
Vice President, Communications Manager, Communications
and Investor Relations Cineplex Entertainment
Cineplex Entertainment 416-323-6728
416.323.6648 georgia.sourtzis@cineplex.com
pat.marshall@cineplex.com

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Monday, 24 August 2009

La SCENA Répertoire des arts 2009

Bientôt la rentrée! C’est le moment idéal pour annoncer la publication de la première édition du Répertoire annuel des arts et de la musique de La SCENA, contenant la liste complète des écoles et des agents, des chœurs et des ensembles amateurs et professionnels, des magasins de fournitures artistiques et de matériel pour audiophiles, et bien plus encore, dans les domaines de la musique, de la danse, du théâtre, du cinéma et des arts visuels. Étudiants, professionnels, artistes ou amateurs d’art, tous y trouveront leur compte !

Cette première édition du Répertoire des arts et de la musique n’est qu’un début. En raison des contraintes de temps et d’espace, nous avons dû limiter le nombre de renseignements qui y sont inclus. Au cours des prochaines années, nous espérons pouvoir en élargir la portée afin d’y faire figurer encore plus d’intervenants de toutes les disciplines artistiques, qu’il s’agisse d’organisations ou de personnes. À La SCENA, nous sommes convaincus que l’existence d’un tel répertoire est essentielle pour la vie des arts, puisqu’il aide à relier les divers segments du monde artistique et à les renforcer. Nous avons l’intention de le diffuser sur notre site Web, www.scena.org, et d’en faire la mise à jour tout au long de l’année. Si vous faites partie d’une organisation artistique ou musicale qui devrait, d’après vous, figurer dans le répertoire, n’hésitez pas à nous écrire à guides@scena.org afin de vous intégrer à cette ressource en pleine croissance.

Voulant économiser l’espace et éviter de surcharger nos lecteurs, nous avons soigneusement réfléchi à la question des coordonnées devant être incluses dans le répertoire. Par conséquent, nous donnons les adresses des lieux et des détaillants, mais seuls les numéros de téléphone et les adresses de sites Web des autres types d’organisations. Notre petite équipe d'employés et de bénévoles dévoués veille sans cesse à vérifier l'exactitude de l'information dans chaque numéro. Comme toujours, LSM apprécie vos commentaires, vos corrections et surtout vos suggestions pour améliorer la qualité de nos publications.

À l’intention de ceux qui ne connaissent pas notre organisation, nous rappelons que La Scène Musicale est un organisme de bienfaisance sans but lucratif dont la vocation est la promotion de la musique classique et des arts. Elle publie La Scena Musicale, un mensuel gratuit qui contient une liste complète de concerts, des critiques de disques et des entrevues avec des musiciens ainsi que des articles de fond sur des questions touchant la musique classique à l’échelle locale, nationale et internationale. Nous publions également un trimestriel interdisciplinaire sur les arts, La SCENA. Soyez à l’affût du numéro d’automne de La SCENA, lequel paraîtra le 3 septembre. Vous y trouverez un article sur Robert Lepage, le dramaturge, cinéaste et artiste multimédia canadien de renommée internationale. Les versions électroniques de nos publications sont accessibles aux lecteurs dans le monde entier grâce à notre site Web primé, www.scena.org.

Espérons que vous trouverez ce répertoire aussi utile qu’intéressant et qu’il deviendra une ressource incontournable pour vous. Profitez bien de ce qu’il reste de l’été !


> Téléchargez le Répertoire des arts en format PDF


Wah Keung Chan

Rédacteur-en-chef

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La SCENA Arts Directory Released

Just in time for fall, we are pleased to present the first-ever annual La SCENA Arts and Music Directory. In these pages, you will find comprehensive listings of schools, amateur and professional choirs and ensembles, supply stores, high-end audio, agents and more in the fields of music, dance, theatre, film, and visual arts. For students or professionals, artists or arts lovers, this guide has something for everyone.

This inaugural Arts and Music Directory is just the beginning. Due to limited time and space, we were constrained in the quantity and scope of information that we could include. In the coming years, we hope to expand our publication to encompass more organizations from every artistic discipline as well as individual artists and musicians. We at La SCENA believe that such a directory is a crucial part of keeping the arts alive, linking and strengthening the various components of the artistic world. We plan to make the guide available on our website, www.scena.org, updating it throughout the year. If you belong to an artistic or musical organization that you think belongs in the directory, don’t hesitate to e-mail us at guides@scena.org to become a part of this growing resource.

In order to conserve space and so as not to overwhelm our readers, we chose carefully which contact information to include in the directory. We provide the addresses of venues and retailers, while other organisations are listed with phone numbers and websites. Our small team of dedicated staff and volunteers made every effort to verify the accuracy of the information in this issue. As always, LSM welcomes your feedback, including corrections or suggestions for improvement.

For those of you who are not familiar with our organisation, La Scène Musicale is a non-profit charity dedicated to the promotion of classical music and the arts, now in our 14th year. We publish La Scena Musicale, a free monthly magazine that contains a comprehensive calendar of concerts, compact disc reviews and interviews with musicians as well as feature articles on the local, national and international classical music scenes. In addition, we produce a quarterly interdisciplinary arts magazine, La SCENA. Look for our fall issue of La SCENA, which will appear on September 3, featuring Canadian auteur Robert Lepage, the internationally acclaimed playwright, filmmaker and multimedia artist. The electronic versions of our publications are available world-wide on our award-winning website,www.scena.org.

We hope that you find this guide enriching and informative, and that you will come to view it as an essential resource in the years to come. Enjoy the last few days of summer!

> Download the Arts Directory in PDF format


Wah Keung Chan

Editor and Publisher

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Sunday, 23 August 2009

Renee Fleming's Violetta at Covent Garden in Your Local Cinema





Now that we are in the dog days of summer, operas are in short supply in southern Ontario. Sure you can drive seven hours to Cooperstown to catch the last week of the Glimmerglass Opera Festival, but a much easier way is to attend a performance of the Covent Garden La Traviata, in air conditioned comfort at the selected Empire Theatres across the country. It stars the American reigning prima donna Renee Fleming as Violetta, in a performance taped on June 30th. Opposite her is Maltese tenor Joseph Calleja as Alfredo. American baritone Thomas Hampson is Germont. Toronto opera audiences may remember Calleja as a very youthful Rodolfo in the COC La Boheme back in 2001. He has since become a big star, and will appear next May at Roy Thomson Hall as part of the Vocal Series. And Hampson is justly famous for his Germont, having sung it all over the world. The conductor is Royal Opera House's music director Antonio Pappano. With such a stellar cast, this show is well worth attending. I am attaching the press release from Digiscreen and Empire Theatres with the details:

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RENÉE FLEMING’S
TRIUMPHANT PERFORMANCE
IN ROYAL OPERA HOUSE’S
LA TRAVIATA
IN CINEMAS FOR TWO PRESENTATIONS
The most anticipated performance of the opera season, megastar Renée Fleming’s sumptuous Violetta in La traviata at Royal Opera House Covent Garden, will be on screen in High Definition for two presentations August 29th and August 30th at select Empire Theatres’ locations and other select cinema locations.
The aclaimed American soprano Renée Fleming took London by storm this June with her six sold-out performances as Violetta in The Royal Opera's production of Verdi's best-loved work LA TRAVIATA. The performance was given more ovations by sold-out audiences across Europe, when presented live in cinemas at the end of June.
Critics and audiences alike were spellbound.
“The soprano’s charisma on stage is truly magical!” – Dominic McHugh, Musical Criticism
“Renée Fleming wins all hearts with her breathtaking performance. She rightly brought the house down! Mesmerising!” – Keith Mc Donnell, Music OMH
“This is a world-class voice!” - Neil Fisher, The Times
“Nothing cautious about Ms. Fleming’s performance here! Tumultuous ovations!” – Anthony Tommasini, NY Times
Captured live by Opus Arte in London on June 30th, Canadian audiences will see Renée Fleming’s performance replayed and experience the thrill of this true operatic event in select cinemas on August 29th and 30th.
Richard Eyre's 2009 production is a revival of his highly acclaimed 1994 staging which dazzled audiences with its striking visual feast. Maltese tenor Joseph Calleja and American baritone Thomas Hampson co-star in the Royal Opera House’s La traviata. Music Director Antonio Pappano, now in his seventh Season with The Royal Opera, conducts La traviata for the first time at Covent Garden.
Based on La Dame aux Camélias, La traviata was first performed at the Teatro La Fenice, Venice in March 1853. A toast to the pleasures of life! Verdi’s masterpiece features some of the most poignantly tuneful music in all of opera.
Montreal distributor DigiScreen Corporation, in partnership with Royal Opera House’s Opus Arte releases 10-16 HD productions throughout the year. For more information or to find a participating theatre near you, please visit www.digiscreen.ca.
Tickets will be available at $19.95 + tax per adult, $16.95 + tax per senior and $9.95 + tax per child. For cinema locations and to purchase advance tickets throughout Ontario and the Western provinces visit www.empiretheatres.com/opusarte. For Landmark Cinemas in Alberta and BC, go to www.landmarkcinemas.com. For independent theatres in Vancouver and Waterloo, please visit www.festivalcinemas.ca, www.princesscinemas.com

About Royal Opera House

www.roh.org.uk
The Royal Opera House is the home of three world class performing companies - The Royal Ballet, The Royal Opera, and The Orchestra of the Royal Opera House. It is a focal point for England’s national and international artistic excellence, where the evolving traditions of opera and ballet are taken to the highest levels. This is the Royal Opera House - a shining symbol of excellence without compromise since 1732.
About Opus Arte
www.opusarte.com
Opus Arte, owned by the Royal Opera House, has been recording in High Definition for the past decade and has amassed a substantial catalogue of outstanding productions from around the world. Opus Arte led the way by being the first company to release a Classical HD-DVD, and also the first to release a Classical Blu-ray disc into the world market. Working closely with top organizations such as the BBC and TVE, Opus Arte has enabled a large number of people to share the magic of seeing an opera or ballet live. Partnerships with the world’s top opera houses has enabled Opus Arte to capture some of the most magnificent productions ever experienced on DVD for people to enjoy over again.

About DigiScreen Corporation

DigiScreen is a digital network for the distribution and presentation of independent film and alternative content. DigiScreen launched the network in 2007 with an exclusive collaboration with Opus Arte and the Royal Opera House of London. Thanks to this collaboration, the company is able to showcase the world’s most prestigious contemporary performing arts companies in an ongoing series of spectacular operas and ballets. These productions are captured live, in High Definition, from locations such as Convent Garden (London), Palais Garnier (Paris), Teatro Real (Madrid), Licieu (Barcelona), War Memorial (San Francisco) and other great stages of the world. These HD productions are presented exclusively by DigiScreen and its partners to audiences in more than 300 cinemas across the United States, Canada, United Kingdom, Europe, Japan and Australia. Presentations in South Africa and other territories will be starting shortly.

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Tuesday, 18 August 2009

Johann Strauss: Das Spitzentuch der Königin

Jessica Glatte, Elke Kottmair, soprano; Nadja Stefanoff, Gritt Gnauck, mezzo-soprano; Ralf Simon, Markus Liske, Hardy Brachmann, tenor; Chor der Staatsoperette Dresden; Orchester der Staatsoperette Dresden/Ernst Theis
Cpo 777 406-2 (2CD: 95 min 50 s)
**** $$$$

Cette production constitue le début d’un partenariat à long terme entre la maison cpo et le Staatsoperette de Dresde en vue de graver l’édition complète des œuvres lyriques de Strauss. Das Spitzentuch der Königin (Le Mouchoir de la Reine) est une satire se déroulant au Portugal, quelque part au 16e siècle, mais véhiculant une critique de la monarchie autrichienne qui la rendit populaire pendant les dernières années du 19e siècle viennois avant de disparaître du répertoire dès le début du 20e siècle. La résurrection que nous propose cette production aura tout pour plaire aux amoureux du beau chant et de la musique viennoise. Les chanteurs sont tout à fait convaincants, sauf peut-être à l’occasion Nadja Stefanoff dont la projection manque un peu d’ampleur. La musique est purement ravissante et offrira aux plus attentifs une petite surprise : la mélodie originale dont s’est servie Strauss quelques années plus tard dans la composition de la fameuse valse « Roses du Sud ». Cette septième opérette du roi de la valse n’est peut-être pas un grand chef-d’œuvre, mais elle sait réchauffer le cœur et titiller l’esprit avec sa belle vivacité et ses attrayantes mélodies, parfaitement soutenues par la direction précise d’Ernst Theis.

- Frédéric Cardin

Buy this CD at amazon.com

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Monday, 17 August 2009

Heart and Soul of the Knowlton Festival - Kent Nagano

by Paul E. Robinson


Le Chapiteau was filled to capacity and the sun was shining brightly on Sunday morning when Kent Nagano gave the downbeat for Brahms’ Symphony No. 1. Two hours later, after the closing chords of Strauss’ Der Rosenkavalier, it was clear that the Knowlton Festival had ended twelve days of fine music-making in triumph. Several hundred audience members stayed after the concert to enjoy an excellent buffet lunch served in the Chapiteau lobby. From the comments I overheard, the combination of beautiful music, good weather and tasty food had made believers of nearly everyone.

Brahms Symphony # 1 Concludes Cycle
In this final concert of the Knowlton Festival 2009, Kent Nagano and the OSM concluded their Brahms cycle with the magnificent Symphony No. 1. Today's performance was of a piece with those which had preceded it. Nagano likes his Brahms lyrical and transparent. In all his readings, one notices a wealth of detail often passed over by other conductors.

That said, to my mind, Nagano’s approach to the first movement of this particular symphony was a little sleepy. The second movement began extremely slowly and I wondered whether it could be sustained. It was! The OSM strings adjusted their bowing and, in the case of the solo wind players, dug deep for extra breath to carry them through the long lines. The horn and violin solos were exquisite.

The last movement is really the heart of this masterpiece and Nagano shaped it beautifully. The whisper-soft pizzicati were perfectly coordinated. Scarcely a sound was heard from the wholly attentive audience. The performance ended in a blaze of sound with particularly vigorous contributions from the OSM timpanist.

June Anderson, Sumi Jo and Susan Platts Sing Strauss
Every festival concert this season featured vocal music. On this occasion, we heard soprano June Anderson in Beethoven’s Ah! Perfido Op. 65, and in the "Marschallin’s Monologue" from Act I of Der Rosenkavalier by Richard Strauss. To cap the evening, Anderson was joined by soprano Sumi Jo and mezzo-soprano Susan Platts for the final scene from the same opera. Anderson and Sumi Jo are seasoned veterans, and Canadian Susan Platts held her own in this distinguished company. Nagano accompanied the artists with characteristic sensitivity, giving the audience music-making on a consistently high level.

Kudos to Maestro Kent Nagano
I had the privilege and the pleasure of attending nearly every concert in this year’s festival. It became obvious to me early on that much of the success of the Knowlton Festival depends on the artistic vision and energy of one man - Kent Nagano.

My own rough analysis suggests to me that, during the twelve days of the festival, Nagano must have commuted from Knowlton to Montreal and back at least a dozen times. Conducting seven concerts, Nagano must have been involved in at least twenty rehearsals of one kind or another, and yet, at each festival performance, he appeared fresh, involved and in total command. And let’s not forget that just days before the Knowlton Festival began, Nagano flew into Montreal from Germany, after an arduous series of opera performances – with very different repertoire - in Munich. And right after the Knowlton festival, he heads to Italy for performances of Don Giovanni with Canada’s Tafelmusik Baroque Orchestra.

There’s more than energy and artistic breadth to admire about Nagano. From a musician’s perspective, his technique is exceptional. You may notice that while many conductors keep both arms in motion doing pretty much the same thing, most of Nagano’s conducting is done with his right hand. You may also notice that the right hand moves in very carefully circumscribed motions. Most musicians prefer a conductor who is not flailing his arms all over the place, one whose gestures are clear and precise. In this respect Nagano is the ideal conductor. He gives the musicians what they need to give the best of themselves. In addition, he is - in his quiet and diplomatic way - absolutely insistent on getting what he wants. Musicians don’t mind being pushed and disciplined to a certain extent, as long as the person doing the pushing is well-informed and confines his pushing to musical matters. Again, this is an accurate description of Nagano.

Knowlton Festival Here to Stay?
The Knowlton Festival was launched last year by Kent Nagano and local businessman Marco Genoni to celebrate the glories of bel canto. Nearly all the concerts were given on successive weekends. This year, the repertoire was broadened and many more concerts were added to give music-lovers something to enjoy every night of the almost two-week long festival. Perhaps the expansion was a little too ambitious - the weeknight concerts drew smaller audiences; on the other hand, the festival certainly maintained a presence in the community it didn’t have last year.

As much as I enjoyed this new and expanded Knowlton Festival, I harbor some lingering concerns regarding its sustainability:

Maestro Kent Nagano is clearly the heart and soul of the Knowlton Festival; what will happen if he decides to leave the OSM? Would he continue his affiliation with Knowlton? Remember that the Lanaudière Festival lost Nagano and the OSM to Knowlton because Nagano is committed to being in Munich in July. How tempted will Nagano be to take on opportunities that will limit his appearances with the Knowlton Festival in the coming years?

And how long can anyone operate a summer festival featuring a major symphony orchestra in a small hall seating 850? I can’t think of any festivals anywhere in the world that can pull this off. Most successful festivals utilizing a small hall engage a student or training orchestra. A full-sized professional orchestra typically increases festival operating costs, to the point where halls seating thousands are required to balance the budget. Of course private donations and government grants are always required to make up the difference, but the fundraising challenge the Knowlton Festival has given itself appears almost insurmountable. Hopefully, festival organizers are already busy developing a sustainable long-term concept.

Festival Programming Too Many Missed!
On the penultimate day of the festival I heard some fine singing by soprano Marianne Lambert and tenor Juan Noval-Moro. Unfortunately, only about 50 people attended this ticketed concert at Chapelle St-Édouard.

I also took in part of an excellent - and well attended - master class by conductor and coach Massimiliano Muralli in West Brome. Muralli walked some young singers through excerpts from Mozart’s Don Giovanni and the expertise he shared with them (and the audience) was invaluable. He emphasized the importance of language in opera – accenting Italian correctly and really understanding the meaning of the words; the need for singers to respond to the harmony in the music and to what the orchestra is “saying”; and the importance of controlling volume to produce a more beautiful sound.

Finally, I had the pleasure of seeing a wonderful children’s opera called Orfea and the Golden Harp. This was a Jeunesses Musicales Canada presentation featuring a Toronto-based group called Theatre Cotton Robes. The two performers smoothly alternated French and English and their singing and costume changes kept the children in the audience enthralled. Much of the music was taken from well-known operas. This was a fine introduction to opera and should have been seen by more people. Again, there were fewer than fifty people in the church. Perhaps a greater effort could have been made encourage parents and children in the area to attend. It would be wise, both in terms of music education and audience development, to invite this nifty little troupe back to the festival again next year. But next time make sure that local schools are alerted! Who knows? Perhaps the local school board would even consider sharing some of the cost!

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Saturday, 15 August 2009

Knowlton Festival 2009: Operalia Winners Showcased in Bellini and Tchaikovsky



One lesson to be learned from Thursday night’s concert is that great singers can make even the worst music sound important - lesser singers not so much. On this occasion, we heard some talented young singers struggling with the inanities of Bellini’s I Capuleti e I Montecchi, second-rate music that should never have been inflicted on them. On the other hand, in the second half of the concert, excerpts from Tchaikovsky’s Eugen Onegin showed other Operalia winners to great advantage.

Murrali and Ensemble Undone by Bellini
As one of its missions, the Knowlton Festival celebrates the art of bel canto and features some of its finest practitioners. But as with everything else in life, there is good and not so good. To programme an hour of excerpts from I Capuleti e I Montecchi, conscript some promising young singers to perform it and force – remember, one has been bussed to the site from one’s car - a festival audience to sit through it, is cruel and unusual punishment. The music isn’t worth it. The singers chosen to present this repertoire showed little affinity for it, conductor Massimiliano Murrali didn’t do much with the score, and the Festival Orchestra seemed ill at ease with the whole undertaking.

At last night’s performance, we had the usual absence of surtitles or translations but were at least offered a brief synopsis of the story behind the opera by Kelly Rice, who also pointed out that in this telling of the Romeo and Juliet story, Romeo is a ‘trouser role’. Rather important I would suggest – particularly for those coming to the opera for the first time. – to be alerted to the fact that in this Bellini opera, as in some other operas such as Mozart’s Le Nozze di Figaro and Richard Strauss’ Der Rosenkavalier, one of the leading male parts is sung by a woman. Even more important in an hour without surtitles or translations.

To assist the audience further, Mr. Rice pointed out that mezzo-soprano Kremena Dilcheva would be instantly recognizable as playing the role of Romeo because she would in fact be wearing “trousers.” For all we know, there may still be members of the audience waiting in the Chapiteau for this mysterious trouser-wearing female singer. No such person ever appeared on stage during the performance I saw. What we did get was a Romeo in a glamorous shimmering blue (for “boy”?) low-cut gown.

As for this evening’s Juliet - dare I mention that Sumi Jo gave us a wondrous performance of Juliet’s aria, “O, quante volte” at last year’s festival?

Nagano and Company Bring Onegin to Life
So much for the first half of the concert. After intermission, we had music of real quality – from Tchaikovsky’s Eugen Onegin – and a conductor who knows his business and his music; Kent Nagano, no less, with an impressive cast of singers. Even the orchestra sounded a whole lot better.

The cast for the Tchaikovsky was headed by Ukrainian soprano Oksana Kramaryeva as Tatyana. I first heard her at Operalia in Québec City last September. At the time I was greatly impressed by the beauty of her voice and her command of phrasing, especially in an excerpt from Verdi’s Aïda. Last night, she was again impressive in the musical values of Tatyana’s great “Letter” aria. However, as we heard more of the opera, it seemed to me that she was underplaying the character. This is a deeply conflicted woman and her inner turmoil seldom bubbled to the surface in Kramaryeva’s performance. Baritone Christopher Magiera as Onegin also sang well and he was much more passionate. Tenor Dmitri Popov (photo: right) made an exceptionally heroic and ill-fated Lensky. Nagano kept it all flowing with total command of the score.

Cornucopia of Bel Canto Talent Presented at FestivalAs Marco Genoni noted in his opening remarks, the Knowlton Festival celebrates three generations of singers. It features big stars like Sumi Jo, Ben Heppner and Thomas Hampson, but also artists at the early stages of their career who are creating excitement through their prowess at the Operalia competition created by Placido Domingo. Finally, there are the young singers from the Accademia Nazionale di Santa Cecilia. This is an admirable concept and one hopes it will be an ongoing feature of the Knowlton Festival. The process, however, can be risky if young singers are entrusted with roles beyond their capacity, on the same stage where the stars have performed.

Audiences expect to pay a pretty price to see and hear proven internationally acclaimed artists. Tickets to performances by rising stars and students, on the other hand, should surely cost less.

For the record, it was a beautiful summer’s evening in Knowlton. Perhaps summer has finally settled in after weeks of below average temperatures and frequent rain. More of the same is expected through the final weekend of the festival.

Coming Next: the final performance of La Sonnambula will be given tonight (Saturday), and Sunday at 11 am Kent Nagano will conduct the OSM in the concluding concert. The programme includes the Symphony No. 1 by Brahms and the final scene from Richard Strauss’ Der Rosenkavalier. June Anderson, Sumi Jo and Susan Platts are the featured soloists. After the concert, patrons are invited to picnic on the hillside near the Chapiteau. Sounds like a great way to end an exciting festival. For more information visit the festival website.

Paul E. Robinson is the author of Herbert von Karajan: the Maestro as Superstar, and Sir Georg Solti: His Life and Music, both available at Amazon.com.
Group Photo (above) left to right: Oksana Kramaryeva, Dmitri Popov, Ekaterina Lekhina, Christoper Magiera, and accompanist Doug Han after recital earlier in the week.

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Friday, 14 August 2009

Knowlton Festival 2009: Nagano/OSM/Hampson Outstanding in Brahms/Strauss Programme

by Paul E. Robinson

Last night at the Knowlton Festival, Kent Nagano continued his Brahms cycle with the OSM playing the Symphony No. 3 in F major Op. 90. The evening’s guest soloist was American baritone Thomas Hampson (photo: right) in three songs by Richard Strauss. It was arguably one of the best concerts of the festival.

The Brahms Third opened the programme and from the first bars, Nagano’s ear for balance and beauty of sound was again evident. As the first movement unfolded, there was more. I wouldn’t say there was abandon – that quality doesn’t seem to be a part of Nagano’s artistic persona – but there was real intensity. This symphony is regarded as autumnal and reflective, and is the only one of the four Brahms symphonies to end quietly. In the first and last movements, however, there is excitement and grandeur and Nagano and his musicians captured much of it. I must say I have rarely heard the orchestra play better. The wind solos were not just accurate, but memorable. The string textures were rich and finely detailed.

Musicians know that the Third Symphony is very difficult as an ensemble piece. Nagano and the OSM players had obviously done their wood-shedding, and it paid off. The syncopations in the last movement were exceptionally precise. Much of the credit for the standard of playing must always go to the musicians themselves, but the conductor’s perception of sound is obviously crucial to the shape of the whole.

Nagano has an ear for both the big picture and the smallest detail. As far as the big picture is concerned, I was struck by his slower than usual tempo for the second movement. At this tempo, the lower strings had time to be expansive in their phrasing; they positively glowed. In the fourth movement, Nagano chose to maintain the quick tempo right into and through the second subject, where other conductors ease up. This strategy worked perfectly and added to the excitement without any loss of melodic grace.

Programming Major Work Before Intermission May be Wise
A minor point, but a significant one perhaps: at most of the Knowlton Festival concerts, the major work concludes the concert. At the final chord, a fair number of concert-goers – understandably – make a dash for the exits to make sure they don’t get caught up in the long lines to board busses.

Last night the Third Symphony, the major work on the programme, opened the concert. At its conclusion audience members stayed in their seats – or, more accurately, on their feet – to applaud Nagano and the OSM at the end of the performance. The ovation was warm, vocal, and sustained. Conductor and musicians clearly appreciated it.

Incidentally, in his opening remarks tonight, Knowlton Festival president and executive director Marco Genoni apologized for the transportation challenges and assured folks that these were being dealt with by management.

Baritone Thomas Hampson Beguiles Knowlton!After intermission, one of the leading stars of the Metropolitan Opera took the stage to perform some rarely-heard songs by Richard Strauss. Thomas Hampson is by now a beloved figure in New York and around the world and everything he does is informed by scholarly preparation, intelligent phrasing and a ringing voice. He was in fine voice last night and I thoroughly enjoyed the repertoire.

Hampson sang three songs, written in the years 1897-99, around the time Strauss was composing works such as Don Quixote and Ein Heldenleben, but before the composition of his most famous operas.

For me, the most impressive of the songs presented was Notturno Op. 44 No. 1. The poetry is by Richard Dehmel, the same man who later inspired Schönberg in his Verklärte Nacht. Since these are orchestral songs and the composer is Richard Strauss at the top of his game, it is not surprising that something amazing happens in the orchestra in every bar.

The orchestration, with its use of trombones at the bottom of their register combined with double basses and contrabassoon, suggested a sort of dry run for Elektra or Salome. The sustained chords played by this combination of instruments were ominous and unsettling. On top of these chords were frequent violin solos – virtually the top and bottom of the orchestra playing together. The sounds were mesmerizing and gave Hampson the ideal framework for his rendering of the text. A great song and an ideal performance.

Hampson also sang Hymnus Op. 33 No. 3 and Pilgers Morgenlied Op. 33 No. 4. Even without the texts available to them, the audience loved what they heard and demanded an encore. Hampson obliged with Rheinlegendchen (Rhine Legend) from Des Knaben Wunderhorn. This is folk poetry rendered into Mahlerian folk song and Hampson sang it beautifully. With all the accompanying body language, it was obvious to the audience that Hampson was telling some kind of amusing story. One wished he had let the audience in on at least the outlines of this charming tale before he sang it.

Hampson is justly famous for his Mahler, having recorded most of the songs with Leonard Bernstein and written extensively about the composer and his music. Come to think of it, it was more than twenty years ago that he made the Bernstein recordings and Hampson sounds better than ever! Anyone wanting to know more about Hampson should visit his website. It is filled with information including titles and texts of all the songs in his repertoire.

Incidentally, the violin soloist in Strauss’ Notturno was Andrew Wan, one of the OSM’s two concertmasters. Wan just joined the orchestra last year and it is already apparent that he is a huge asset for his stellar playing and for the obvious energy and leadership he brings to the role.

Good Sound Might Go Further with Portable Shell
I have long thought that where one sits at a concert has a lot to do with one’s impression of the performance. This is probably less true in a great hall but critical in a poor or mediocre hall. Le Chapiteau (tent) at the Knowlton Festival is not a great concert hall nor does it pretend to be one. Last night I sat in the sixth row – for many of the other concerts I have been much further back and off to the side – and for the first time I really began to feel I was hearing the orchestra properly and well. I would guess that anywhere in the first ten rows one will have a similar experience. The problem is that these are also the most expensive seats. A great experience for those who can afford to sit there; for the rest of the audience, some work needs to be done to enhance the sound. A portable shell of some kind might help.

Coming Next: Today at 5 pm Susan Platts gives a free recital and tonight at 8 pm Massimiliano Muralli leads the Festival Orchestra with prize winners from Placido Domingo’s Operalia competitions in excerpts from Bellini’s I Capuleti e I Montecchi, and Kent Nagano conducts excerpts from Tchaikovsky’s Eugen Onegin. Tomorrow (Saturday) morning the busiest day of the festival begins at 10 am with a children’s opera Orfea and the Golden Harp presented by Jeunesses Musicales du Canada, followed by a master class with Italian conductor Massimiliano Muralli. Marianne Lambert gives a recital at 2 pm. In the evening, there is a second performance of Bellini’s La Sonnambula led by Kent Nagano and featuring Sumi Jo. Finally, on Sunday morning at 11 am – note the unusual time for the concert – Kent Nagano conducts the OSM in the closing concert with soloists June Anderson, Sumi Jo and Susan Platts in the final scene from Richard Strauss’ Der Rosenkavalier. Nagano also completes his Brahms cycle with the Symphony No. 1. For more information visit the festival website.

Paul E. Robinson is the author of Herbert von Karajan: the Maestro as Superstar, and Sir Georg Solti: His Life and Music, both available at Amazon.com.

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