In my last entry on the weeknd, I wrote of the start of the new season for the Niagara Symphony; their 62nd. I mentioned it showed great promise and the interest generated by the search for a new Music Director was certainly a good thing at this point in time.
Now that I've been to the first Masters concert of the season, I think we can safely assume the orchestra has already found safer ground and is sounding pretty darn good, thank you very much. The first of the four conductors vying for the podium this season is Timothy Hankewich, who hails from British Columbia and presently is Music Director of the Cedar Rapids Symphony Orchestra. He had the enviable task of kicking off the season and making an early mark in the hearts and minds of symphony patrons, many of whom will be influencing the final decision on who will lead the orchestra next season.
The program began with a piece all four candidates will conduct at their Masters concert this year: Chase the Sun by T. Patrick Carrabre. This acts as a sort of comparision piece for the audience, although I think most will not really notice the subtle nuances each conductor will bring to the piece over the course of the season. Up next was a jubilant work by Hankewich's mentor, Malcolm Forsyth, titled Siyajabula! We Rejoice! It is full of colour and interesting influences from Forstyth's native South Africa. The solo piece on the program featured the Niagara Symphony's associate concertmaster, Xiaoling Li performing the Mozart Violin Concerto No. 4 in D Major, K. 218. Like all of Mozart's five violin concertos, this one is melodic and easy on the ears, with interesting cadenzas and a generally sunny disposition. Too bad Mozart didn't appear to like the violin concertos himself. Li was quite enjoyable, although clearly she was not used to the spotlight, not knowing quite what to do afterwards when the obligatory flower bouquet was presented to her.
After intermission, Hankewich took the gloves off and led the orchestra through a pretty bombastic interpretation of the Tchaikovsky Fourth Symphony. It is not easy to not present Tchaikovsky with a certain amount of bombast, frankly, and this interpretation was particularly noisy, which seemed to meet with the general approval of the audience on Sunday afternoon. Hankewich clearly took command of the orchestra and they appeared to enjoy the workout; I have not often heard them play so cohesively before, and that made for a fairly rewarding afternoon of music making. Hankewich showed he wants this job, and it is now up to the remaining three conductors to unseat the early favourite for the post.
So, where do we stand after this first weekend? Well, I can safely say the conductor search this time round is much more interesting than the last time we went down this road several years ago when Michael Reason won out over a generally lacklustre bunch of conductors that time out. I think we're in for a very interesting season with many more pleasant surprises from the candidates. Hankewich doesn't appear again until December when he conducts the second Pops! concert of the season, the ever-popular Holiday Pops concert. That presents a double-edged sword for this candidate, I think, as he makes his mark early and now it will be up to the others to erase his early lead; however, the season runs to next May, and like a movie that has 'Oscar' written all over it when it first comes out in say, May, could be forgotten when the voting actually takes place for the Academy Awards the following winter. We'll see how things go, but so far, Hankewich has made quite a positive impression his first time out.
Next up, Bradley Thachuk leads the orchestra in the first of the Pops! performances this season, titled Classic Rock, and playing the Sean O'Sullivan Theatre October 24 and 25. Should be quite a fun afternoon or evening down at Brock!
October 7th, 2009.
Wednesday, October 7, 2009
Saturday, October 3, 2009
News from the Niagara Symphony as a new season starts...
Hard to believe we are already well into the month of October, and Thanksgiving is not that far off. Also not that far off is the launch of the 62nd season of the Niagara Symphony, and with it, a lot of interest and excitement over the prospect of choosing a new Music Director. You might remember last year at this time, long-time Music Director Daniel Swift made, well, a 'swift' exit from the symphony just shortly before the season was about to begin. That lead to a string of guest conductors taking over the podium all last season.
This season, new ideas and renewed hope prevail as the new season is set to get underway Sunday afternoon, October 4th, at the Sean O'Sullivan Theatre at Brock University. Not only do we have the active search on for a new Music Director, but the newly-installed Executive Director Jack Mills is set to make his mark as the new head of the organization. He has his work cut out for him, of course, as the symphony has been floundering for a couple of years now with interim conductors, executive directors and what have you. People have been waiting to see how everything shakes out, and with good reason. In the past, there seemed to be a feeling of 'temporary' status hanging over the entire organization. Now, it seems, a steady hand is at the helm, ready to right the ship as it heads into another season.
I have not met Jack yet, although we've talked on the phone a couple of times, and he has graciously invited me back to sell in the lobby during the concerts again this season, which is great news. I always feel a special connection to the symphony and their patrons, and my business, A Web of Fine Music, will be there once again this season to find the music you are looking for during the symphony season. You can email your orders and requests to me directly, of course, at music@vaxxine.com.
Jack has said he wants to make the orchestra a more 'populist'organization and less elitist, and that will be good for the organization, I think. Too many people still think of the symphony as something 'other' people go to, when in reality it is everyone's orchestra, and it will now endeavour to prove that point by reaching out to a broader spectrum of the public in order to grow its audience. Truth be told, the audience is aging, as is the case with most orchestras today, so we have to find ways to reach out and draw new, younger members into the concerts. It is a challenge, to be sure, but I suspect Jack, who has been in this rebuilding situation before, most notably in Winnipeg, is ready for the job at hand.
The first Masters concert of the season this weekend features the first of four conductors vying for the post of Music Director, to be chosen after all four conduct one Pops! and one Masters concert this season and the audience has had a chance to evaluate each candidates' talents. First up this weekend is Timothy Hankewich, presently conductor of the Cedar Rapids Symphony, and a native of British Columbia. Timothy conducts a program that includes Carrabre's 'Chase the Sun', which all four conductors will interpret this season; Malcolm Forsyth's 'Siyajabula! We Rejoice!'; and the Tchaikovsky Symphony No. 4. Also on the program is Mozart's fourth violin concerto, K. 218, with guest artist Xiaoling Li, Associate Concertmaster for the NSA. It promises to be a nicely balanced program of new discoveries and tried-and-true classics.
Tickets are still available by calling the Brock box office at 905-688-5550, ext. 3257. And if you go, be sure to stop by my table in the lobby before, after and during intermission to see what I have in store for you at the symphony this weekend!
Also with the symphony, news came out just this week Associate Conductor Laura Thomas, long an indispensible part of the orchestra both as performer/conductor and administrator, was recognized for her "significant professional achievement by an established artist" at the 25th Annual City of St. Catharines Trillium Awards. Laura was given the "Excellence in the Arts" award for her more than thirty years as an outstanding musician, teacher, clinician and conductor. Laura has not only been associated with the Niagara Symphony for many years, she was at one time Music Director of the Niagara Youth Orchestra, and been part of many smaller musical organizations, including the choir Choralis Camerata, of which she is presently Music Director, and a member of the group Broadband. Also with the Niagara Symphony, Laura has also served for many years as director of the symphony's Summer Music Camp and has been a driving force behind the orchestra's 'Composer in the Classroom' program.
I have known Laura for many years, going all the way back to when she conducted a jazz band at Winston Churchill Secondary School back in the 1980s, and she has been a great friend and colleague, as well as customer of A Web of Fine Music from the very beginning.
Congratulations, Laura, on a well-deserved honour, and good luck to the entire Niagara Symphony organization as the new season gets underway this weekend!
October 3rd, 2009.
This season, new ideas and renewed hope prevail as the new season is set to get underway Sunday afternoon, October 4th, at the Sean O'Sullivan Theatre at Brock University. Not only do we have the active search on for a new Music Director, but the newly-installed Executive Director Jack Mills is set to make his mark as the new head of the organization. He has his work cut out for him, of course, as the symphony has been floundering for a couple of years now with interim conductors, executive directors and what have you. People have been waiting to see how everything shakes out, and with good reason. In the past, there seemed to be a feeling of 'temporary' status hanging over the entire organization. Now, it seems, a steady hand is at the helm, ready to right the ship as it heads into another season.
I have not met Jack yet, although we've talked on the phone a couple of times, and he has graciously invited me back to sell in the lobby during the concerts again this season, which is great news. I always feel a special connection to the symphony and their patrons, and my business, A Web of Fine Music, will be there once again this season to find the music you are looking for during the symphony season. You can email your orders and requests to me directly, of course, at music@vaxxine.com.
Jack has said he wants to make the orchestra a more 'populist'organization and less elitist, and that will be good for the organization, I think. Too many people still think of the symphony as something 'other' people go to, when in reality it is everyone's orchestra, and it will now endeavour to prove that point by reaching out to a broader spectrum of the public in order to grow its audience. Truth be told, the audience is aging, as is the case with most orchestras today, so we have to find ways to reach out and draw new, younger members into the concerts. It is a challenge, to be sure, but I suspect Jack, who has been in this rebuilding situation before, most notably in Winnipeg, is ready for the job at hand.
The first Masters concert of the season this weekend features the first of four conductors vying for the post of Music Director, to be chosen after all four conduct one Pops! and one Masters concert this season and the audience has had a chance to evaluate each candidates' talents. First up this weekend is Timothy Hankewich, presently conductor of the Cedar Rapids Symphony, and a native of British Columbia. Timothy conducts a program that includes Carrabre's 'Chase the Sun', which all four conductors will interpret this season; Malcolm Forsyth's 'Siyajabula! We Rejoice!'; and the Tchaikovsky Symphony No. 4. Also on the program is Mozart's fourth violin concerto, K. 218, with guest artist Xiaoling Li, Associate Concertmaster for the NSA. It promises to be a nicely balanced program of new discoveries and tried-and-true classics.
Tickets are still available by calling the Brock box office at 905-688-5550, ext. 3257. And if you go, be sure to stop by my table in the lobby before, after and during intermission to see what I have in store for you at the symphony this weekend!
Also with the symphony, news came out just this week Associate Conductor Laura Thomas, long an indispensible part of the orchestra both as performer/conductor and administrator, was recognized for her "significant professional achievement by an established artist" at the 25th Annual City of St. Catharines Trillium Awards. Laura was given the "Excellence in the Arts" award for her more than thirty years as an outstanding musician, teacher, clinician and conductor. Laura has not only been associated with the Niagara Symphony for many years, she was at one time Music Director of the Niagara Youth Orchestra, and been part of many smaller musical organizations, including the choir Choralis Camerata, of which she is presently Music Director, and a member of the group Broadband. Also with the Niagara Symphony, Laura has also served for many years as director of the symphony's Summer Music Camp and has been a driving force behind the orchestra's 'Composer in the Classroom' program.
I have known Laura for many years, going all the way back to when she conducted a jazz band at Winston Churchill Secondary School back in the 1980s, and she has been a great friend and colleague, as well as customer of A Web of Fine Music from the very beginning.
Congratulations, Laura, on a well-deserved honour, and good luck to the entire Niagara Symphony organization as the new season gets underway this weekend!
October 3rd, 2009.
Thursday, October 1, 2009
Final look at shows at the Stratford Festival this season
Remember on the last entry, I mentioned the off again on again situation with my medical problems that put me in the hospital in August? I mentioned I couldn't write as often as usual until I am over this thing. Well, I ended up in the hospital for a week again at the end of September, just after my last entry, so again my apologies for not getting my blog updated regularly. I hope to be a little more consistent now that October is finally here.
Just after my last entry, I left for a final weekend visit to Stratford to make up a couple of dates I had to cancel after my surgery in August. So I managed to catch the musical West Side Story and the Racine play Phedre before they closed, so a few brief comments here to present my final reviews for the season.
WEST SIDE STORY, with music by Leonard Bernstein and lyrics by Stephen Sondheim. Festival Theatre until October 31st. Four out of four stars.
I had heard nothing but good things all season long about the Stratford production of West Side Story, and I was not surprised nor disappointed when I finally made it to the show in September. The Stratford musicals are almost always big budget and well worth the effort, with this one being no exception. The spectacular but gritty production of the classic retelling of the Romeo & Juliet story is directed by Gary Griffin, and he makes full use of the thrust stage at the Festival Theatre. It was last produced at the Avon Theatre back in 1999, but I think it is far better suited to the Festival stage with all the action taking place. Lots of good performances here from a spirited cast, including Brandon Espinoza as Riff, the leader of The Jets; Paul Nolan as Tony, who falls for Maria from The Sharks, played by Chilina Kennedy; and Julius Sermonia as her first boyfriend, Chino. he's the guy who does in Tony, of course, but let's not give too much away here. Kennedy is an engaging Maria, with a wonderful stage presence and bright, clear voice. Paul Nolan as Tony, her love interest, is up to the job of winning her hand and heart.
There is not much to dislike about this production, and that is evidenced by the full house at the performance I attended, even in late September. If you have some time, catch this one before it closes. It rates a solid four out of four stars.
PHEDRE, by Jean Racine, translated and adapted by Timberlake Wertenbaker. Tom Patterson Theatre until October 3rd. Three out of four stars.
Not much time left to catch this production, as it closes this coming weekend. Unfortunately, my delay getting to the show means I can't give you much lead time on this one, which is a shame because it is certainly worth a look. Director Carey Perloff has given us a simple yet effective presentation here, with designs by Christina Poddubiuk. Solid acting all round here, including Tom McCamus as Theseus, son of Aegeus, King of Athens; Seana McKenna in the title role, wife of Theseus; and Jonathan Goad as Hippolytus, son of Theseus. Brian Bedford directed the last production of the work at Stratford back in 1990 also at the Tom Patterson Theatre, so this was due for a revival for sure. If you have the time, by all means catch one of the last performances before it closes; just don't make it your only production at Stratford this year. It rates a solid three out of four stars.
October 1st, 2009.
Just after my last entry, I left for a final weekend visit to Stratford to make up a couple of dates I had to cancel after my surgery in August. So I managed to catch the musical West Side Story and the Racine play Phedre before they closed, so a few brief comments here to present my final reviews for the season.
WEST SIDE STORY, with music by Leonard Bernstein and lyrics by Stephen Sondheim. Festival Theatre until October 31st. Four out of four stars.
I had heard nothing but good things all season long about the Stratford production of West Side Story, and I was not surprised nor disappointed when I finally made it to the show in September. The Stratford musicals are almost always big budget and well worth the effort, with this one being no exception. The spectacular but gritty production of the classic retelling of the Romeo & Juliet story is directed by Gary Griffin, and he makes full use of the thrust stage at the Festival Theatre. It was last produced at the Avon Theatre back in 1999, but I think it is far better suited to the Festival stage with all the action taking place. Lots of good performances here from a spirited cast, including Brandon Espinoza as Riff, the leader of The Jets; Paul Nolan as Tony, who falls for Maria from The Sharks, played by Chilina Kennedy; and Julius Sermonia as her first boyfriend, Chino. he's the guy who does in Tony, of course, but let's not give too much away here. Kennedy is an engaging Maria, with a wonderful stage presence and bright, clear voice. Paul Nolan as Tony, her love interest, is up to the job of winning her hand and heart.
There is not much to dislike about this production, and that is evidenced by the full house at the performance I attended, even in late September. If you have some time, catch this one before it closes. It rates a solid four out of four stars.
PHEDRE, by Jean Racine, translated and adapted by Timberlake Wertenbaker. Tom Patterson Theatre until October 3rd. Three out of four stars.
Not much time left to catch this production, as it closes this coming weekend. Unfortunately, my delay getting to the show means I can't give you much lead time on this one, which is a shame because it is certainly worth a look. Director Carey Perloff has given us a simple yet effective presentation here, with designs by Christina Poddubiuk. Solid acting all round here, including Tom McCamus as Theseus, son of Aegeus, King of Athens; Seana McKenna in the title role, wife of Theseus; and Jonathan Goad as Hippolytus, son of Theseus. Brian Bedford directed the last production of the work at Stratford back in 1990 also at the Tom Patterson Theatre, so this was due for a revival for sure. If you have the time, by all means catch one of the last performances before it closes; just don't make it your only production at Stratford this year. It rates a solid three out of four stars.
October 1st, 2009.
Saturday, September 19, 2009
The music world loses two masters of their art
It has been a couple of weeks since I last posted a blog, and I apologize for that, but with the recovery from last month's surgery continuing, I find I still tire rather easily, and since I started back at work this week, it is even more so. So while the spirit was often willing, the mind was weak, and I found myself putting things off until I started to feel better. My apologies for that, but what can you do? The recovery is going well, all things considered, so thanks for asking!
That being said, the classical music world lost two masters of their respective art earlier this month, and I thought I would write about those two events today. The first comes from Tuesday, September 1st, when conductor Erich Kunzel, who led the Cincinnati Pops Orchestra since 1977, died of cancer at the age of 74. he had been suffering from cancer of the liver, colon and pancreas for several months, so perhaps it wasn't expected, but it was still very much a shock when I first heard the news a couple of weeks ago. The Cincinnati Pops without Erich Kunzel? It had never occured to me any more than the Boston Pops without Arthur Fiedler years ago.
Erich began his lengthy stay with the orchestra on the invitation of Maestro Max Rudolf, who asked Kunzel to conduct the Pops concerts for the Cincinnati Symphony Orchestra, and the next year the Cincinnati Pops Orchestra was spun off from the main orchestra. I can't imagine that happening today, what with tighter budgets and such, but back in the 70s it made perfect sense. Ever since, Erich and the orchestra had played every conceivable venue, it seems, from New York's Radio City Music Hall to the Grand Ol' Opry. He recorded more than 85 albums for the Telarc label, almost all of them selling very well over the years. He just seemed to have the midas touch when it came to programming pops music.
What is perhaps less well known outside of Cincinnati was his love of opera, and he conducted Cincinnati Opera on many occasions since 1966. He had planned to return to his opera roots in 2006 to conduct The Tales of Hoffmann, but his hectic schedule prevented that from happening. Patricia Beggs, General Director and CEO of Cincinnati Opera, recalls riding in a cab one day in New York, and when the driver heard she was from Cincinnati, asked if she knew Erich Kunzel. It turns out the cabbie had several of his recordings in his collection; such was the wide-ranging popularity of the man!
Erich will be missed as a giant of pops music, but also as an ambassador for Cincinnati, a city he loved. I can't imagine anyone stepping into his shoes now and carrying on, but we'll see what happens in the months to come.
The second loss in the world of classical music was the untimely death of Fred Mills, a trumpeter who played for 24 years with the Canadian Brass, who died in an automobile accident at the age of 70 in early September. He died in an accident near Atlanta, where he had just returned from a concert date in Europe. Mills had left the Brass in 1996 to become a professor at the University of Georgia, but remained active as a soloist internationally.
Mills was born in Guelph, Ontario, and began his brass studies on a cornet purchased from a travelling salesman, of all people. One wonders if that salesman was ever thanked for the lucky break he unwittingly gave Fred Mills all those years ago! He studied at the Juilliard School in New York and was invited to join the Houston Symphony Orchestra as principal trumpet. he also performed under legendary conductor Leopold Stokowski when he formed the American Symphony Orchestra in 1961; Mills became a founding member of the ASO.
While most of the Canadian Brass recordings cannot be termed classical in the purest term, they knew how to entertain an audience, and seeing them in concert was always more fun than listening to a CD, although the CD usually better demonstrated their brilliant musicianship since you were not distracted by watching them perform onstage. I remember seeing them years ago several times, and the last time was with the Hamilton Philharmonic at the start of James Somerville's inaugural season, although by then Mills was long gone.
Mills, like Kunzel, was a consummate musican and an innovator. We won't likely see their like again, although hope springs eternal. For now, we can remember both with a wealth of CD releases still available. And needless to say, all recordings currently available by both Erich and Fred are available through my website, A Web of Fine Music, found at www.finemusic.ca.
September 19th, 2009.
That being said, the classical music world lost two masters of their respective art earlier this month, and I thought I would write about those two events today. The first comes from Tuesday, September 1st, when conductor Erich Kunzel, who led the Cincinnati Pops Orchestra since 1977, died of cancer at the age of 74. he had been suffering from cancer of the liver, colon and pancreas for several months, so perhaps it wasn't expected, but it was still very much a shock when I first heard the news a couple of weeks ago. The Cincinnati Pops without Erich Kunzel? It had never occured to me any more than the Boston Pops without Arthur Fiedler years ago.
Erich began his lengthy stay with the orchestra on the invitation of Maestro Max Rudolf, who asked Kunzel to conduct the Pops concerts for the Cincinnati Symphony Orchestra, and the next year the Cincinnati Pops Orchestra was spun off from the main orchestra. I can't imagine that happening today, what with tighter budgets and such, but back in the 70s it made perfect sense. Ever since, Erich and the orchestra had played every conceivable venue, it seems, from New York's Radio City Music Hall to the Grand Ol' Opry. He recorded more than 85 albums for the Telarc label, almost all of them selling very well over the years. He just seemed to have the midas touch when it came to programming pops music.
What is perhaps less well known outside of Cincinnati was his love of opera, and he conducted Cincinnati Opera on many occasions since 1966. He had planned to return to his opera roots in 2006 to conduct The Tales of Hoffmann, but his hectic schedule prevented that from happening. Patricia Beggs, General Director and CEO of Cincinnati Opera, recalls riding in a cab one day in New York, and when the driver heard she was from Cincinnati, asked if she knew Erich Kunzel. It turns out the cabbie had several of his recordings in his collection; such was the wide-ranging popularity of the man!
Erich will be missed as a giant of pops music, but also as an ambassador for Cincinnati, a city he loved. I can't imagine anyone stepping into his shoes now and carrying on, but we'll see what happens in the months to come.
The second loss in the world of classical music was the untimely death of Fred Mills, a trumpeter who played for 24 years with the Canadian Brass, who died in an automobile accident at the age of 70 in early September. He died in an accident near Atlanta, where he had just returned from a concert date in Europe. Mills had left the Brass in 1996 to become a professor at the University of Georgia, but remained active as a soloist internationally.
Mills was born in Guelph, Ontario, and began his brass studies on a cornet purchased from a travelling salesman, of all people. One wonders if that salesman was ever thanked for the lucky break he unwittingly gave Fred Mills all those years ago! He studied at the Juilliard School in New York and was invited to join the Houston Symphony Orchestra as principal trumpet. he also performed under legendary conductor Leopold Stokowski when he formed the American Symphony Orchestra in 1961; Mills became a founding member of the ASO.
While most of the Canadian Brass recordings cannot be termed classical in the purest term, they knew how to entertain an audience, and seeing them in concert was always more fun than listening to a CD, although the CD usually better demonstrated their brilliant musicianship since you were not distracted by watching them perform onstage. I remember seeing them years ago several times, and the last time was with the Hamilton Philharmonic at the start of James Somerville's inaugural season, although by then Mills was long gone.
Mills, like Kunzel, was a consummate musican and an innovator. We won't likely see their like again, although hope springs eternal. For now, we can remember both with a wealth of CD releases still available. And needless to say, all recordings currently available by both Erich and Fred are available through my website, A Web of Fine Music, found at www.finemusic.ca.
September 19th, 2009.
Saturday, September 5, 2009
News from the Niagara Symphony
Well, the Labour Day weekend is upon us, and along with kids starting back to school this week, many of us turn our attention to other pursuits as the summer begins to wind down for another year. Whether you enjoyed or despised the summer we had around these parts is up to you; for me, I thought it was quite lovely, thank you very much...
It is been awhile since I wrote anything about the Niagara Symphony, which is not unusual, since most symphony orchestras are rather quiet over the summer months, save for those with summer concert series planned. But I received word a week or so ago from the Niagara Symphony that new Executive Director, J. M. (Jack) Mills is already putting his stamp on the orchestra. A release came out last week that Judy Armstrong, better known to most people simply as "B.J.", has been appointed the Niagara Symphony's new Education Coordinator.
This is an inspired choice, I believe. B.J. will be helping to promote the symphony in ways it has not been promoted in the past, and hopefully reaching those young, aspiring music players and lovers who obviously will be the musicians and audience members of tomorrow. There will be a lot of work coordinating with Associate Conductor Laura Thomas on the successful Orchestra in the Classroom programme, along with other community outreach programmes.
B.J. comes to the symphony with a wealth of experience as Publicity Manager, Media Relations Coordinator, Education Coordinator and Stage Manager for such arts organizations as the Shaw Festival, the Grand Theatre, Theatre Beyond Words, Carousel Players and Theatre South. She comes by her musical knowledge naturally, as well as education and promotional skills honed from years of working with people of all ages, including work at Glenridge Public School in St. Catharines.
I have personally known B.J. for many years, going back to her days with the Publicity Department at the Shaw Festival, and more recently, as a client with my online music business, A Web of Fine Music (www.finemusic.ca). This should prove a fruitful partnership both for the symphony and for B.J.
This will be a very important season for the Niagara Symphony, of course, as they prepare to audition four candidates for the Music Director's post left vacant last season with the untimely departure of Daniel Swift. All four candidates for the job will each conduct one Masters and one Pops! performance during the upcoming season, which begins early next month. Then, in May 2010, hopefully the new Music Director will be announced, likely at the end of the current season. It should be an exciting season of creative music making, as four very talented conductors vie for the podium next season.
So, things look good for the Niagara Symphony as preparations are underway for the new season. I hope to get in to meet Mr. Mills very soon, and see how A Web of Fine Music and the Niagara Symphony will partner in the new season to bring music to many in Niagara.
Of course, you can always contact me through the website, www.finemusic.ca for all your musical needs regarding the symphony or for anything else you might be looking for, and complete season listings for the symphony can be found on the calendar page on my website as well.
Let the music begin!
September 5th, 2009.
It is been awhile since I wrote anything about the Niagara Symphony, which is not unusual, since most symphony orchestras are rather quiet over the summer months, save for those with summer concert series planned. But I received word a week or so ago from the Niagara Symphony that new Executive Director, J. M. (Jack) Mills is already putting his stamp on the orchestra. A release came out last week that Judy Armstrong, better known to most people simply as "B.J.", has been appointed the Niagara Symphony's new Education Coordinator.
This is an inspired choice, I believe. B.J. will be helping to promote the symphony in ways it has not been promoted in the past, and hopefully reaching those young, aspiring music players and lovers who obviously will be the musicians and audience members of tomorrow. There will be a lot of work coordinating with Associate Conductor Laura Thomas on the successful Orchestra in the Classroom programme, along with other community outreach programmes.
B.J. comes to the symphony with a wealth of experience as Publicity Manager, Media Relations Coordinator, Education Coordinator and Stage Manager for such arts organizations as the Shaw Festival, the Grand Theatre, Theatre Beyond Words, Carousel Players and Theatre South. She comes by her musical knowledge naturally, as well as education and promotional skills honed from years of working with people of all ages, including work at Glenridge Public School in St. Catharines.
I have personally known B.J. for many years, going back to her days with the Publicity Department at the Shaw Festival, and more recently, as a client with my online music business, A Web of Fine Music (www.finemusic.ca). This should prove a fruitful partnership both for the symphony and for B.J.
This will be a very important season for the Niagara Symphony, of course, as they prepare to audition four candidates for the Music Director's post left vacant last season with the untimely departure of Daniel Swift. All four candidates for the job will each conduct one Masters and one Pops! performance during the upcoming season, which begins early next month. Then, in May 2010, hopefully the new Music Director will be announced, likely at the end of the current season. It should be an exciting season of creative music making, as four very talented conductors vie for the podium next season.
So, things look good for the Niagara Symphony as preparations are underway for the new season. I hope to get in to meet Mr. Mills very soon, and see how A Web of Fine Music and the Niagara Symphony will partner in the new season to bring music to many in Niagara.
Of course, you can always contact me through the website, www.finemusic.ca for all your musical needs regarding the symphony or for anything else you might be looking for, and complete season listings for the symphony can be found on the calendar page on my website as well.
Let the music begin!
September 5th, 2009.
Thursday, September 3, 2009
Three more reviews from the Shaw Festival
With summer quickly ebbing away, I thought I had best get back on track here and get caught up on some of the shows I've had the pleasure of seeing at the Shaw Festival in Niagara-on-the-Lake this summer. This time round, two worth seeing and one you might want to pass on...
A MOON FOR THE MISBEGOTTEN by Eugene O'Neill - to October 9th at the Court House Theatre (three out of four stars)
This is a gritty, rather tough production of O'Neill's play, directed by Joseph Ziegler. It's a very long sit, and won't be for everyone; however, that being said, those who do venture into the theatre for this one will be richly rewarded with some very fine performances indeed.
Jenny Young is very tough but also quite good as Josie Hogan, the daughter of Phil Hogan, a hard-working, hard-drinking farmer just barely making ends meet on a farm that yields very little other than grief. As Phil, Jim Mezon is superb; conniving yet thoughtful; very rough yet with a soft spot for his equally rough daughter Josie. They have a special relationship with their landlord, James Tyrone, Jr., who takes a shine to Josie and Phil aims to sort of "help things along" a little bit. James, however, has a drinking problem, and just what is he going to do with that land, anyway? As James, David Jansen appears at times vulnerable and other times quite in control of things.
This is not a happy play, although it does have some lighter moments. But overall, it is a performance you'll have to work at to enjoy; the rewards come from the dialogue between the three main characters and their uniformly strong performances.
IN GOOD KING CHARLES'S GOLDEN DAYS by Bernard Shaw - to October 9th at the Royal George Theatre (two out of four stars)
You always know going in that a Shaw play is going to be wordy with lots of dialogue between the protagonists; usually, though, that wordiness is accompanied by very clever writing and clearly-defined arguments on both sides, leaving the audience with no doubt what is on Shaw's mind. In this late Shaw offering, dating from 1938-39, you get the words, but alas, not much in the way of substance worth remembering. In Good King Charles's Golden Days, subtitled "A True History That Never Happened", Shaw creates an imaginary 'meeting of the minds' as he brings together Isaac Newton, King Charles II, George Fox, Nell Gwynn and James, Duke of York, among others.
You would think those interesting historical figures could make for some real verbal fireworks and sparkling arguments that keep the audience on the edge of their seats. What we get here, unfortunately, is nothing but words, words, words, almost non-stop for the better part of three hours. At the end of it all, you don't really care what the characters think about anything; it's just that dull. Now, at least there are two intermissions to relieve the tedium, but really, that is small comfort with this production.
Oh, the cast is good and give it their best shot, directed with great attention to detail by Eda Holmes, making for a nice job all round in terms of execution, but where does it get you? As King Charles II, Benedict Campbell gives a very assured performance and is really a pleasure to watch. His brother, James, Duke of York, played by Andrew Bunker, is a bit of a hot-head and the total opposite of the King's amiable and more reasoned demeanor. But their one-on-one discussion in the second act brings the play to a screeching halt and seems to go on forever. Other notable performances include Laurie Paton as Queen Catherine of Braganca; Lisa Codrington as the Duchess of Portsmouth; and Ric Reid as George Fox. Of special interest is Mary Haney as Mrs. Basham, who offers a bit of comic relief in a play that dearly needs much more.
The sets and costumes are nice; the performances are strong; but if you want to see just one play at Shaw this season, take a look at the rest of the playbill. This would not be the one and only you'd want to see this season.
TONIGHT AT 8:30: WAYS OF THE HEART by Noel Coward - to October 11th at the Court House Theatre (three out of four stars)
It has been quite a gamble staging all ten of Noel Coward's one-act plays under the collective title "Tonight at 8:30". The three groupings making up a full evening or afternoon performance have been interesting, yet uneven at best. The performances have been strong; there just doesn't appear to be enough meat on the bone for the actors to sink their collective teeth into.
The lunchtime theatre offering of Star Chamber has been the exception, though, as it has proven to be one of the runaway hits of the 2009 season.
The third and final grouping of Coward's plays, opening late in August, have proven to be a little more substantial and interesting than some of the others, presented at the intimate Court House Theatre. Ways of the Heart groups The Astonished Heart, Family Album and Ways and Means together, with an intermission between one and two, and no break at all between two and three.
Blair Williams directs this group and the set is designed by Su LePage. In both cases, clever touches abound, making the three one-act plays sparkle more than just a little. These are still a bit of a stretch as a full evening's or afternoon's entertainment, but there are enough moments to lighten the load and make them worth the sit.
The cast for all three plays are uniformly good, with David Jansen and Claire Jullien stealing the spotlight in the first play The Astonished Heart, as lovers trying to come to terms with their relationship. It is a rather melodramatic piece, and certainly the longest of the three, but worth a look. Just don't be confused by the scene lineup in the programme: it all becomes clear once you see the play.
In Family Album, we see a funny, almost silly look at a family coming to terms with the death of the family patriarch and the ramifications of said death. Not a lot of meat on the bone here, but some good laughs make it bearable. Of particular note is Michael Ball as the butler Burrows, who gets his own brassy entrance and exit music, which lends considerable comic effect to his doddering characterization.
The final play of the trio, Ways and Means, is preceded by one of the truly great set changes you'll ever see, and sets the stage for a fun, almost nonsensical look at two opportunistic souls, played again by Jansen and Jullien, looking for a way to make some quick cash to pay off their considerable debts and set them up for more fun in the future. Both are fun characterizations,with Jullien showing her very sexy side in this play as well as in The Astonished Heart. The ending is not very likely, but then, why worry about it? This one is just played for fun, as it should be.
Overall, you'll enjoy the grouping of three plays in Ways of the Heart; just don't look for a huge amount of substance here, as has been the case with all ten of these Coward trifles.
September 3rd, 2009.
A MOON FOR THE MISBEGOTTEN by Eugene O'Neill - to October 9th at the Court House Theatre (three out of four stars)
This is a gritty, rather tough production of O'Neill's play, directed by Joseph Ziegler. It's a very long sit, and won't be for everyone; however, that being said, those who do venture into the theatre for this one will be richly rewarded with some very fine performances indeed.
Jenny Young is very tough but also quite good as Josie Hogan, the daughter of Phil Hogan, a hard-working, hard-drinking farmer just barely making ends meet on a farm that yields very little other than grief. As Phil, Jim Mezon is superb; conniving yet thoughtful; very rough yet with a soft spot for his equally rough daughter Josie. They have a special relationship with their landlord, James Tyrone, Jr., who takes a shine to Josie and Phil aims to sort of "help things along" a little bit. James, however, has a drinking problem, and just what is he going to do with that land, anyway? As James, David Jansen appears at times vulnerable and other times quite in control of things.
This is not a happy play, although it does have some lighter moments. But overall, it is a performance you'll have to work at to enjoy; the rewards come from the dialogue between the three main characters and their uniformly strong performances.
IN GOOD KING CHARLES'S GOLDEN DAYS by Bernard Shaw - to October 9th at the Royal George Theatre (two out of four stars)
You always know going in that a Shaw play is going to be wordy with lots of dialogue between the protagonists; usually, though, that wordiness is accompanied by very clever writing and clearly-defined arguments on both sides, leaving the audience with no doubt what is on Shaw's mind. In this late Shaw offering, dating from 1938-39, you get the words, but alas, not much in the way of substance worth remembering. In Good King Charles's Golden Days, subtitled "A True History That Never Happened", Shaw creates an imaginary 'meeting of the minds' as he brings together Isaac Newton, King Charles II, George Fox, Nell Gwynn and James, Duke of York, among others.
You would think those interesting historical figures could make for some real verbal fireworks and sparkling arguments that keep the audience on the edge of their seats. What we get here, unfortunately, is nothing but words, words, words, almost non-stop for the better part of three hours. At the end of it all, you don't really care what the characters think about anything; it's just that dull. Now, at least there are two intermissions to relieve the tedium, but really, that is small comfort with this production.
Oh, the cast is good and give it their best shot, directed with great attention to detail by Eda Holmes, making for a nice job all round in terms of execution, but where does it get you? As King Charles II, Benedict Campbell gives a very assured performance and is really a pleasure to watch. His brother, James, Duke of York, played by Andrew Bunker, is a bit of a hot-head and the total opposite of the King's amiable and more reasoned demeanor. But their one-on-one discussion in the second act brings the play to a screeching halt and seems to go on forever. Other notable performances include Laurie Paton as Queen Catherine of Braganca; Lisa Codrington as the Duchess of Portsmouth; and Ric Reid as George Fox. Of special interest is Mary Haney as Mrs. Basham, who offers a bit of comic relief in a play that dearly needs much more.
The sets and costumes are nice; the performances are strong; but if you want to see just one play at Shaw this season, take a look at the rest of the playbill. This would not be the one and only you'd want to see this season.
TONIGHT AT 8:30: WAYS OF THE HEART by Noel Coward - to October 11th at the Court House Theatre (three out of four stars)
It has been quite a gamble staging all ten of Noel Coward's one-act plays under the collective title "Tonight at 8:30". The three groupings making up a full evening or afternoon performance have been interesting, yet uneven at best. The performances have been strong; there just doesn't appear to be enough meat on the bone for the actors to sink their collective teeth into.
The lunchtime theatre offering of Star Chamber has been the exception, though, as it has proven to be one of the runaway hits of the 2009 season.
The third and final grouping of Coward's plays, opening late in August, have proven to be a little more substantial and interesting than some of the others, presented at the intimate Court House Theatre. Ways of the Heart groups The Astonished Heart, Family Album and Ways and Means together, with an intermission between one and two, and no break at all between two and three.
Blair Williams directs this group and the set is designed by Su LePage. In both cases, clever touches abound, making the three one-act plays sparkle more than just a little. These are still a bit of a stretch as a full evening's or afternoon's entertainment, but there are enough moments to lighten the load and make them worth the sit.
The cast for all three plays are uniformly good, with David Jansen and Claire Jullien stealing the spotlight in the first play The Astonished Heart, as lovers trying to come to terms with their relationship. It is a rather melodramatic piece, and certainly the longest of the three, but worth a look. Just don't be confused by the scene lineup in the programme: it all becomes clear once you see the play.
In Family Album, we see a funny, almost silly look at a family coming to terms with the death of the family patriarch and the ramifications of said death. Not a lot of meat on the bone here, but some good laughs make it bearable. Of particular note is Michael Ball as the butler Burrows, who gets his own brassy entrance and exit music, which lends considerable comic effect to his doddering characterization.
The final play of the trio, Ways and Means, is preceded by one of the truly great set changes you'll ever see, and sets the stage for a fun, almost nonsensical look at two opportunistic souls, played again by Jansen and Jullien, looking for a way to make some quick cash to pay off their considerable debts and set them up for more fun in the future. Both are fun characterizations,with Jullien showing her very sexy side in this play as well as in The Astonished Heart. The ending is not very likely, but then, why worry about it? This one is just played for fun, as it should be.
Overall, you'll enjoy the grouping of three plays in Ways of the Heart; just don't look for a huge amount of substance here, as has been the case with all ten of these Coward trifles.
September 3rd, 2009.
Sunday, August 30, 2009
Three more shows to see at the Stratford Festival
Well, even though I am still feeling I'm slow on the uptake following my surgery earlier this month, I am ever so gently getting back to my routine, which includes, of course, catching up on the reviews from Stratford and Shaw. We'll look at three shows at Stratford today, and later this week we'll look at some more from Shaw.
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM - Music and lyrics by Stephen Sondheim - Avon Theatre to November 1st (4 out of 4 stars)
I knew pretty much what to expect going in with this show, as Artistic Director Des McAnuff handles directorial duties here, and the original Broadway production and subsequent movie version were both huge hits. This Stratford production proves the show has not lost any of its lustre over the years, and is basically a madcap romp with particularly witty music and lyrics, although only one song has survived to this day, the show opener "Comedy Tonight". The set design by John Arnone is quite clever and effective; McAnuff's directing is a little over the top at times, a la Richard Monette, but it seems to fit the spirit of the show.
The characters, of course, are very broadly drawn, with lots of good performances here, including Bruce Dow in the central role of Pseudolus, slave to Hero, who wants nothing more than his freedom and will do almost anything to get it. Other cast members turning in fine performances are Randy Hughson as Senex, a citizen of Rome, Deann deGruijter as Domina, his wife, and Stephen Ouimette in a wonderfully comic role as Hysterium, their slave. As Hero, Mike Nadajewski is quite good, and his love interest, the virgin Philia, is played with great style by Chilina Kennedy.
Most people are familiar with the story, of course: a comic send-up of ancient Rome and Pseudolus the slave guides us through several plot twists and turns in order to bring Hero and Philia together and ultimately gain his freedom. This is not high drama in the least, but another example of Stephen Sondheim's witty and articulate musical craftsmanship, which has been experiencing a bit of a renaissance lately. Go see this show, and check all logic at the door!
THE IMPORTANCE OF BEING EARNEST - Oscar Wilde - Avon Theatre to October 30th (Three out of four stars)
Described as"The Mozart of English Comedy" by director Brian Bedford in his program notes, and with good reason. There is a delightful lightness to the text and unrelenting energy, as Bedford puts it, much like Mozart displayed in his music. Bedford as director and star is a lot of work, but he pulls it off admirably, supported by a very strong cast.
Robert Persichini gets the ball rolling as a very deadpan Lane, the butler. Mike Shara of St. Catharines is having a fine year at Stratford, this time playing the central role of Algernon Moncrieff, who is in love with Cecily Cardew, ward of his friend Jack Worthing. He also has an imaginary friend, "Bunbury", who is always sick and in need of Algernon's attentions whenever a social obligation comes up Algernon would rather avoid. As Worthing, Ben Carlson is every bit a match for Shara's Algernon; Andrea Runge makes a nice Cecily; and Sara Topham is very good as Jack's interest, Gwendolen Fairfax. Stephen Oiumette puts in a good comic turn as Rev. Canon Chasuble, but all attention centres on Brian Bedford as Lady Bracknell as she tries to gain control of all the shenanigans going on around her.
This is a very stylish, beautifully staged production, courtesy of Desmond Heeley, although I can't imagine doing a really bad production of the play. Oh, anything is possible, to be sure, but with this cast, success is almost assured. If you want to see just one show at Stratford aside from Shakespeare, this is the one to see.
EVER YOURS, OSCAR - Compiled by Peter Wylde, from the letters of Oscar Wilde - Tom Patterson Theatre to August 29th (Four out of four stars)
Unfortunately this show is now closed, and my apologies for not getting the review out there sooner, but for those who saw this show, ideally as a companion-piece to The Importance of Being Earnest, it was a performance not to be missed. Bedford alone on stage, with nothing but a podium and a small table to hold his water, and 90 minutes of letters Wilde wrote over the years, each providing insight into the world of Oscar Wilde, warts and all. We travel from his witty writings about English society of the day to the troubling personal life he tried to hide, ultimately proving to be his undoing. Afterwards, the letters showing Wilde's concerns for the less fortunate children he saw were particularly poignant.
Brian Bedford really does this material justice, and presents it with much love, care, and reserve. The capacity audience at the performance I attended knew what to expect, and they were not disappointed. If you missed the show this season, as it had a limited run, more's the pity. It was a rare gem at the Stratford Festival this year.
August 30th, 2009.
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM - Music and lyrics by Stephen Sondheim - Avon Theatre to November 1st (4 out of 4 stars)
I knew pretty much what to expect going in with this show, as Artistic Director Des McAnuff handles directorial duties here, and the original Broadway production and subsequent movie version were both huge hits. This Stratford production proves the show has not lost any of its lustre over the years, and is basically a madcap romp with particularly witty music and lyrics, although only one song has survived to this day, the show opener "Comedy Tonight". The set design by John Arnone is quite clever and effective; McAnuff's directing is a little over the top at times, a la Richard Monette, but it seems to fit the spirit of the show.
The characters, of course, are very broadly drawn, with lots of good performances here, including Bruce Dow in the central role of Pseudolus, slave to Hero, who wants nothing more than his freedom and will do almost anything to get it. Other cast members turning in fine performances are Randy Hughson as Senex, a citizen of Rome, Deann deGruijter as Domina, his wife, and Stephen Ouimette in a wonderfully comic role as Hysterium, their slave. As Hero, Mike Nadajewski is quite good, and his love interest, the virgin Philia, is played with great style by Chilina Kennedy.
Most people are familiar with the story, of course: a comic send-up of ancient Rome and Pseudolus the slave guides us through several plot twists and turns in order to bring Hero and Philia together and ultimately gain his freedom. This is not high drama in the least, but another example of Stephen Sondheim's witty and articulate musical craftsmanship, which has been experiencing a bit of a renaissance lately. Go see this show, and check all logic at the door!
THE IMPORTANCE OF BEING EARNEST - Oscar Wilde - Avon Theatre to October 30th (Three out of four stars)
Described as"The Mozart of English Comedy" by director Brian Bedford in his program notes, and with good reason. There is a delightful lightness to the text and unrelenting energy, as Bedford puts it, much like Mozart displayed in his music. Bedford as director and star is a lot of work, but he pulls it off admirably, supported by a very strong cast.
Robert Persichini gets the ball rolling as a very deadpan Lane, the butler. Mike Shara of St. Catharines is having a fine year at Stratford, this time playing the central role of Algernon Moncrieff, who is in love with Cecily Cardew, ward of his friend Jack Worthing. He also has an imaginary friend, "Bunbury", who is always sick and in need of Algernon's attentions whenever a social obligation comes up Algernon would rather avoid. As Worthing, Ben Carlson is every bit a match for Shara's Algernon; Andrea Runge makes a nice Cecily; and Sara Topham is very good as Jack's interest, Gwendolen Fairfax. Stephen Oiumette puts in a good comic turn as Rev. Canon Chasuble, but all attention centres on Brian Bedford as Lady Bracknell as she tries to gain control of all the shenanigans going on around her.
This is a very stylish, beautifully staged production, courtesy of Desmond Heeley, although I can't imagine doing a really bad production of the play. Oh, anything is possible, to be sure, but with this cast, success is almost assured. If you want to see just one show at Stratford aside from Shakespeare, this is the one to see.
EVER YOURS, OSCAR - Compiled by Peter Wylde, from the letters of Oscar Wilde - Tom Patterson Theatre to August 29th (Four out of four stars)
Unfortunately this show is now closed, and my apologies for not getting the review out there sooner, but for those who saw this show, ideally as a companion-piece to The Importance of Being Earnest, it was a performance not to be missed. Bedford alone on stage, with nothing but a podium and a small table to hold his water, and 90 minutes of letters Wilde wrote over the years, each providing insight into the world of Oscar Wilde, warts and all. We travel from his witty writings about English society of the day to the troubling personal life he tried to hide, ultimately proving to be his undoing. Afterwards, the letters showing Wilde's concerns for the less fortunate children he saw were particularly poignant.
Brian Bedford really does this material justice, and presents it with much love, care, and reserve. The capacity audience at the performance I attended knew what to expect, and they were not disappointed. If you missed the show this season, as it had a limited run, more's the pity. It was a rare gem at the Stratford Festival this year.
August 30th, 2009.
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