By Michael Vincent on April 25, 2015
Superstar conductor Yannick Nézet-Séguin brings Montreal's Orchestre Métropolitain to Koerner Hall with Stéphane Tétreault with for their Toronto debut.
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By Paul E. Robinson on April 20, 2015
Review: André Previn premieres his Double Concerto for Violin and Violoncello in Austin, Texas.
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By Paul E. Robinson on January 22, 2015
Tucson, Arizona | I caught up with conductor Roger McMurrin recently in Tucson, Arizona. In a few weeks time he was scheduled to make a return visit to Bishkek, Kyrgystan for a series of concerts, but home these days is Kiev, Ukraine where he has been making music and preaching the Gospel for the past 22 years...
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By Michael Vincent on December 15, 2014
At any given time during the holiday season, hundreds of choirs will amass in churches and various concert halls across the world, to perform Handel’s Messiah . With the exception of Beethoven’s Ode to Joy, no other choral work has been so fixed into western musical culture. In fact for many, the tradition of going to a performance of the Messiah is as dear as beautifying the Christmas tree in the family living room.
But why?
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By Neil Crory on December 3, 2014
The dynamic Italian conductor, Gianandrea Noseda, needs little introduction to Torontonians. Since his local debut in April 2002, he has conducted nearly a dozen programmes with the Toronto Symphony Orchestra. For his upcoming appearance, however, Noseda is bringing his own orchestra and chorus from the Teatro Regio Torino in Italy, together with twelve soloists for a single, not-to-be-missed performance of Rossini's epic William Tell (or, more appropriately, Guglielmo Tell).
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By Paul E. Robinson on November 2, 2014
Many years ago, in 1979 to be exact, Leon Major and I worked together at the St. Lawrence Centre in Toronto. Leon was the General Manager and directed most of the plays, and I was the incoming director of music programming, succeeding Franz Kraemer. For me it was a great opportunity to broaden my approach to music programming. I was to continue my work as music director at CJRT-FM and as conductor of the CJRT Radio Orchestra, but with Leon I could see new challenges. Alas, it was not to be. After ten years of working together, Leon and his board were ready to part ways, and he left just after I arrived. Without Leon at the helm, the St. Lawrence Centre seemed far less idealistic and far less interested in taking artistic risks. I too soon moved on.
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